Beautiful language, imagery, accuracy, rhythm of prose, the ability to convey the language of different strata of society, the power of imagination, expressive picturesqueness, subtle psychologism are just some of the features of his work, rooted in Russian classics. Literary merits were highly appreciated: he was awarded
2 Pushkin Prizes Russian Academy Sciences (1903, 1909)
Bunin was elected an honorary academician of the Russian Academy of Sciences in the category of fine literature (1909)
He was awarded the Golden Pushkin medals (1911, 1915)
Already in exile, Bunin was the first Russian writer to receive Nobel Prize (1933)
Bunin are written about 1200 poems
1900 story "Antonov apples"
1910 story "Village"
1911 story "Dry Valley"
1916 short story "The Gentleman from San Francisco"
1916 story "Light Breath"
article "Cursed Days"
novel "The Life of Arseniev"
book of short stories "Dark Alleys"
1944 story "Clean Monday"
1925 story "Sunstroke"
The Story of the Gentleman from San Francisco(1916)
There was the First World War, there was a crisis of civilization. Bunin turned to the problems that are relevant, but not directly related to Russia, to the current Russian reality. In the spring of 1910 Bunin visited France, Algeria, Capri. In December 1910-spring 1911 he was in Egypt and Ceylon. In the spring of 1912 he again left for Capri, and in the summer of the following year he visited Trebizond, Constantinople, Bucharest and other European cities. From December 1913 he spent half a year in Capri. Travel impressions were reflected in the stories and short stories that made up the collections Sukhodol (1912), John the Rydalets (1913), The Cup of Life (1915), and The Gentleman from San Francisco (1916).
The story "The Gentleman from San Francisco" (originally titled "Death on Capri") continued the tradition of depicting life and death as major events that reveal true price personalities ("Polikushka", "Death of Ivan Ilyich"). (The direct impulse to the emergence of the idea was the title of the story German writer T. Mann "Death in Venice". Initially, the story had an epigraph: “Woe to you, Babylon, strong city!”, Which Bunin removed only in the last edition of 1951 and which was taken from the Apocalypse) Along with the philosophical line in the story, social issues associated with a critical attitude to the lack of spirituality of bourgeois society, to the rise of technical progress to the detriment of internal improvement. Bunin does not accept bourgeois civilization as a whole.
The pathos of the story- in a sense of the inevitability of the death of this world.
Plot built on the description of an accident that unexpectedly interrupted the well-established life and plans of the hero, whose name "no one remembered" (He "went to the Old World for two whole years, with his wife and daughter, solely for the sake of entertainment")
tie- violation of the plans of the millionaire (fog, rains and terrifying pitching), his dissatisfaction with the bad weather
climax- the death of the protagonist
denouement- the body of the master is sent home.
Heroes ___________________________________________________________________________
1. In the first phrase of which story about his hero is it said “... no one remembered his name either in Naples or in Capri ...”?
2. Indicate the name of the story, the hero of which, after meeting with his first love, asks himself such questions: “But, my God, what would happen next? What if I hadn't left her? What nonsense? This same Nadezhda is not the owner of an inn, but my wife, the mistress of my St. Petersburg house, the mother of my children?
3. Which of the epic genres does Bunin's work "The Gentleman from San Francisco" belong to?
4. What was the original title of the story "The Gentleman from San Francisco"?
5. What work, according to the writer himself, was the direct impulse to the emergence of the concept of "The Gentleman from San Francisco"?
6.B latest edition"Mr. from San Francisco" the author removed a significant epigraph: "Woe to you, Babylon, strong city." He removed it, perhaps because these words, referring to the punished city of vice and depravity, Babylon, too clearly expressed his attitude to what was described. What did Bunin quote?
7. What was the name of the ship on which the hero of "The Gentleman from San Francisco" traveled?
8. Name the main character.
9. What is the ship a symbol of?
10. What is the symbolism of the name of the ship?
11. What is the meaning of the epigraph removed by Bunin?
12. Who watched “from the rocks of Gibraltar, from the stone gates of the two worlds, the ship leaving into the night and blizzard”?
13. With whom does Bunin compare the captain of the ship on which the main character travels?
14. What artistic technique does Bunin use when describing the ship: “canteens and ballrooms halls her poured out light and joy , buzzed by the speech of the smart crowd, fragrant fresh flowers, sang string orchestra?
15. Name the means of creating the image of the protagonist, based on the description of his appearance: “Dry, short, awkwardly tailored, but firmly sewn, he sat in a golden-pearl radiance ... There was something Mongolian in his yellowish face with trimmed silver mustaches, gold fillings shone his large teeth, old ivory - a strong bald head ... "
16. At the heart of the plot of “The Gentleman from San Francisco”, in addition to the general philosophical meaning, there is also a social aspect: “If you cut the steamer vertically, you will see: we are sitting, drinking wine ... and the machinists are in hell, black from coal, working ... Is this fair?” What is the model of the ship on which the characters of the work are sailing in the text?
16. Death in "The Gentleman from San Francisco" is opposed to life. “I cried, writing the end,” Bunin admitted in his diary. Not out of pity for the main character, the author cried, but from the feeling of the fullness of being, which he shared with the highlanders, rejoicing in the sun. Whom did the mountaineers worship?
17. What term in literary criticism is called an artistic image that contains a generalized multi-valued meaning (ocean, steamer "Atlantis")?
18. What is the name of the description of nature in a work of art: “The ocean that walked behind the walls was terrible ... The ocean walked behind the wall with black mountains with a roar, the blizzard whistled hard in heavy gear ... and these mountains, like a plow breaking their unsteady sides, then and the masses boiling up and high with their frothy tails.
19. What is the name of the compositional technique with which the writer contrasts the elements of nature and the fragility of the human world?
20. What is the name of the artistic technique used by the author to animate an inanimate object: “In the evenings, the floors of Atlantis gaped in the darkness with countless fiery eyes”, “... gigantic fireboxes chuckled deafly, devouring piles of coal with their red-hot mouths”?
21. What is the term for the means of allegorical expressiveness that the author refers to when describing the giant ship "Atlantis": "... the floors ... gaped with fiery countless eyes"?
22. What term in literary criticism is used to call an artistic image that contains a generalized multi-valued meaning (the ocean, the steamer Atlantis, silver mustaches and golden fillings of a gentleman from San Francisco)?
23. Indicate the term that refers to the image of the inner life of the character, the analysis of the properties of the personality of the hero.
Questions about the work "Clean Monday"
1. The conflict associated with the relationship between the hero and the heroine determines the plot action " Clean Monday". Define this conflict.
2. What genre does "Clean Monday" belong to?
3. Indicate the term that is used in literary criticism to describe the situation of the action, the interior decoration of the premises (“We went into the second room, where in the corner, in front of the black board of the icon of the Three-Handed Mother of God, a lamp was burning, sat down at a long table on a black leather sofa ...”)
4. Name an artistic means based on the image of a person’s appearance, his face, clothes, etc. (“The fluff on her outer lip was frosted, the amber of her cheeks turned slightly pink, the blackness of the paradise completely merged with the pupil ...”)
5. Describing the tavern to which the heroes arrived, he uses a figurative expression built on a comparison of two objects, concepts or states that have common feature(“it was steamy, like in a bathhouse”). What is the name of this art form?
6. Name the shape artistic speech- the exchange of remarks between characters, which uses.
7. Describing the conflicting feelings of the heroine, Bunin contrasts objects and phenomena: “There are wild men below, and here are pancakes with champagne and the Virgin of three hands ...”. What is the name of this art form?
C1. What is the difference between the spiritual world of the hero and the heroine, and how did it determine their future fate?
C2. What is the similarity between "Clean Monday" and other works of Russian classics of the 19th-20th centuries. about love? (When comparing, indicate works and authors)
Like in April at night in the alley
Like in April at night in the alley,
And the smoke is thinner than the upper boughs,
And everything is easier, closer and more visible
The pale sky behind him.
This top in the constellations, in their patterns,
Smoky, airy and see-through,
These leaves rustle underfoot,
This sadness is the same as in spring.
Again the day before. And over the years
The heart doesn't count. I'm going
With young, light steps -
And again, again, waiting for something.
1. What literary tradition did Bunin develop in his work?
2. How artistic definitions are called in literary criticism: “ pale sky", " young, light Steps"?
3. Indicate the name of the means of expression: "bough smoke."
4. Determine the size in which the poem is written.
5. Determine the nature of the rhyme in the poem.
Task with a detailed answer of a limited volume
What does the fate of the gentleman from San Francisco symbolize, and which other writers of the 20th century addressed the theme of “well-fed”?
The writing
Why is the ship in "The Gentleman from San Francisco" named "Atlantis"?
In what works of Bunin naturalness is opposed to artificiality?
How is the theme of life and death revealed in prose?
What is the role female images in Bunin's stories?
How is the problem of man and civilization solved in the story "The Gentleman from San Francisco"?
What role do symbols play in prose?
What is the originality of the composition of the story "The Gentleman from San Francisco"?
1. What is the name of the form of allegory characteristic of fables, a parable? ( Allegory)
2. What is the term that is used in literary criticism to refer to an expression that has become winged? OR: In the speech of the heroes of the play, there are many short, figurative sayings expressing original thoughts (for example, in Ash's speech: "You are not a nail, I am not a tongs ..."). What are such statements called? OR: Many remarks of the heroes of the play have become common (for example: "You can't always cure the soul with the truth"). Indicate the term that denotes well-aimed figurative expressions containing a complete philosophical thought. (Aphorism)
3. How are characters called in literary criticism who do not appear on stage? OR: In the stories of Ms. Prostakova and Skotinin, the “dead father” and uncle Vavila Faleleich appear. What are the names of the characters mentioned in the speech of the heroes, but not appearing on the stage? ( off-stage)
4. What is the name of the monologue in a literary work that the hero says "to himself"? ( Internal monologue)
5. Wanting to show his importance, Khlestakov uses sheer exaggeration: "thirty-five thousand one couriers." What is the name of an artistic technique based on exaggeration? ( Hyperbola)
6. One of the characteristic techniques of classicism is the disclosure of the character of the hero through his last name. What are these surnames called? OR: In the surname of Khlestakov, as well as in the surnames of other characters in the play, there is a certain figurative characteristic. What are these surnames called? ( Talking)
7. Enter the name of the appointment artistic exaggeration, in which credibility gives way to fantasy, caricature. ( Grotesque)
8. What is the name of the expressive detail that carries in artistic text important semantic load? OR: Indicate the name of the detail that gives the story a special expressiveness (for example, a tear that rolled out from Chichikov. OR: What is the term for a significant small detail that contains an important meaning (for example, the father's chest from the story of Ms. Prostakova)? ( Detail)
9. What term denotes the form of speech of the characters, which is an exchange of remarks? OR: The text of the fragment is an alternation of the statements of the characters addressed to each other. What is this form of speech communication called? ( Dialog)
10. Specify genre to which the work belongs. ( epic genres: Novel, short story, story, fairy tale, fable, epic, short story, essay ... Dramatic genres: drama, comedy, tragedy ...
11. Determine genre of work. Fonvizin "Undergrowth" - a comedy. Griboyedov "Woe from Wit" - comedy. Gogol "The Government Inspector" is a comedy. Ostrovsky's "Thunderstorm" - drama. Chekhov "The Cherry Orchard" - comedy. Gorky "At the bottom" - drama.
12. To what genre variety refers to the novel? ( Socio-philosophical, psychological, social and household ...)
13. What stage in the development of the action does this fragment belong to? ( Ending, climax, denouement). OR: What is the name of the moment of the highest tension in the development of a dramatic plot. ( climax).
14. The free, unconstrained nature of the characters' speech is emphasized in this fragment by violating the direct word order in their phrases: "I'll give you money for them"; “After all, I have never sold the dead.” Name this trick. ( Inversion)
15. What is the name of the type of description in literary works that allowed the author to recreate the atmosphere of the dwelling? OR: Indicate the term that is used in literary criticism to describe the situation of the action, the interior decoration of the premises (“... in the corner, in front of the black board of the icon of the Three-Handed Mother of God, a lamp was burning, they sat down at a long table on a black leather sofa ...”). ( Interior)
16. Name an artistic technique that consists in the fact that the implied meaning of a word or phrase is the opposite of what is literally expressed (“The expert in interpreting decrees”). ( Irony)
17. The fragment begins and ends with a description of the fire in Smolensk, etc. Indicate the term that denotes the location and relationship of parts, episodes, images in a work of art. OR: What term is used to designate the organization of parts of a work, images and their connections? ( Composition)
18. The fragment depicts a sharp clash of positions of the heroes. What is the name of such a collision in the work? OR: The clashes between the characters are detected from the very beginning of the play. What is the name of the irreconcilable contradiction underlying the dramatic action? ( Conflict)
19. Type conflict? (public, love, social). OR: The conflict associated with the relationship between the hero and the heroine determines the plot action of "Clean Monday" by I.A. Bunin. Define this conflict. ( Love)
20. What literary direction was this work created? ( Sentimentalism, classicism, realism, symbolism...). OR: Indicate the name of the literary movement of the 18th century, the tradition of which Griboedov continues, endowing some of the heroes of his realistic play with “talking” surnames - characteristics. ( Classicism) OR: What is the name of the literary trend, the principles of which are partly formulated in the second part of the presented fragment (“bring out everything that every minute is before our eyes and that indifferent eyes do not see - all the terrible, amazing mire of trifles that have entangled our lives”)? ( Realism)
21. Indicate the type of trail, which is based on the transfer of the properties of some objects and phenomena to others (“flame of talent”). OR: What is the term for the means of allegorical expression, which the author refers to when describing the giant ship "Atlantis": "... the floors ... gaped with fiery countless eyes"? ( Metaphor)
22. What is the name of a detailed statement of one hero? ( Monologue)
23. At the beginning of the episode, a description of the night village is given. What is the term for such a description? OR: What term is used to designate the description of nature? ( Landscape)
24. Indicate the trope, which is a replacement of a proper name with a descriptive phrase. ( paraphrase)
25. What is the name of the intentional use of the same words in the text, which enhances the significance of the statement? OR: “Yes, he’s disgusted me, disgusted ..”, “It’s so hard, so hard.” What is the name of this technique? ( Repeat)
26. Name an artistic medium based on the image of a person's appearance, his face, clothes, etc. ("Fluff on her upper lip was in hoarfrost, the amber of the cheeks turned slightly pink, the blackness of the paradise completely merged with the pupil ...”). OR: At the beginning of the fragment, a description of the character's appearance is given. What is the name of this characterization tool? ( Portrait)
27. The speech of heroes is replete with words and expressions that violate literary norm(“such rubbish”, “grip me”, etc.). Specify this type of speech. ( vernacular)
28. What is the term used to describe the way of displaying the internal state of the characters, thoughts and feelings? OR: What is the name of the image of the hero's inner experiences, manifested in his behavior? (“He got mixed up, blushed all over, made a negative gesture with his head”)? ( Psychologism)
29. Events in the work are described on behalf of fictional character. What is the name of the character of the work, who is entrusted with the narration of events and other characters? ( Narrator)
30. What is the name of the hero who expresses the author's position? ( reasoner)
31. The first act of M. Gorky's play “At the Bottom” opens with the author's explanation: “A cellar that looks like a cave. Ceiling - heavy stone vaults, sooty, with fallen off plaster ... ". What is the name of the author's explanation that precedes or accompanies the course of action in the play? OR: Indicate the term used in the plays for brief author's remarks ("Teasing him", "With a sigh", etc.). ( remark)
32. Name the term that denotes the statement of the characters in the play. OR: What is the name of a particular phrase of the interlocutor in the stage dialogue in dramaturgy? ( Replica)
33. Enter a title kind literature to which the work belongs? ( Epic, drama)
34. How is it called in literary criticism special kind comic: ridicule, exposure of negative aspects of life, depicting them in an absurd caricature form (for example, the image of generals in the fairy tale by M. E. Saltykov-Shchedrin “The Tale of How One Man Feeded Two Generals”?) ( Satire)
35. Describing the tavern to which the heroes arrived, I.A. Bunin uses a figurative expression built on the correlation of two objects, concepts or states that have a common feature (“it was steamy, like in a bathhouse”). What is the name of this artistic technique? OR: Indicate the technique used by the author in the following phrase: "...hovering high above all other geniuses of the world like an eagle soars above other high-flyers. ( Comparison)
36. What is the name of the part of the act (action) of a dramatic work in which the composition of the characters remains unchanged? ( Scene)
37. What term denotes the totality of events, turns and vicissitudes of action in a work? ( Plot)
39. artistic time and space- the most important characteristics of the author's model of the world. What traditional spatial landmark does Goncharov use to create an image of a symbolically saturated enclosed space? ( House)
41. The above scene contains information about the characters, the place and time of the action, describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by these features. OR: What term is used to denote the part of the work, which depicts the circumstances that precede the main events of the plot? ( exposition)
42. What is the term for the final component of a work? ( Epilogue)
43. What is the name of a tool in literary criticism that helps to describe the hero (“weak”, “puny”)? OR: What is the name of figurative definitions, which are a traditional means of artistic representation? (
Artistic image
typical image
Image-motive
topos
Archetype.
Artistic image. The concept of the artistic image. Functions and structure of the artistic image.
Artistic image- one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
The artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of feelings, thoughts, aspirations, aesthetic emotions of the artist.
Its main functions are: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal specific features image, each of them separately characterizes only one side of it; an isolated consideration of individual functions not only impoverishes the idea of the image, but also leads to the loss of its specificity as a special form public consciousness.
In the structure of the artistic image leading role mechanisms of identification and transfer play.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, signs are combined into a single whole; moreover, the identification is only partial, highly limited: it borrows only one feature or a limited number of features of the objective person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes - transference.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed in an associative way to all new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating in dreams and neuroses the so-called. thickening.
Conflict as the basis of the plot side of the work. The concept of "motive" in Russian literary criticism.
The most important function of the plot is the discovery of life's contradictions, i.e. conflicts (in Hegel's terminology - collisions).
Conflict- confrontation of a contradiction either between characters, or between characters and circumstances, or within a character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of a single conflict. In works of large volume, the number of conflicts increases.
Conflict- the core around which everything revolves. The plot least of all resembles a solid, continuous line connecting the beginning and end of the series of events.
Stages of conflict development- basic plot elements:
Lyric-epic genres and their specificity.
Lyric epic genres reveal connections within literature: from lyrics - a theme, from epic - a plot.
Combining an epic narrative with a lyrical beginning - a direct expression of the experiences, thoughts of the author
1. poem. – genre content can be either epic or lyrical. (In this regard, the plot is either enhanced or reduced). In antiquity, and then in the era of the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method, it is equally represented in romanticism ("Mtsyri"), in realism ("The Bronze Horseman"), in symbolism ("12")...
2. ballad. - (French "dance song") and in this sense it is a specifically romantic narrative poetic work. In the second meaning of the word, the ballad is a folklore genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.
3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) feature genre form yavl. The inclusion in the text (at the beginning or at the end) of a special short stanza - morality. The fable is connected with the parable, besides, the fable is genetically connected with the fairy tale, the anecdote, and later the short story. fable talents are rare: Aesop, Lafontaine, I.A. Krylov.
4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together these lyrical works create a "circle": a unifying principle yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.
Basic concepts of poetic language and their place in the school curriculum in literature.
POETIC LANGUAGE, artistic speech, is the language of poetic (poetic) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, in which the communicative function is the main one (see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, that is, the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. I., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in in a certain sense slows down reading, destroying the usual automatic perception of the text; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is the language in it aesthetic function».
P. i. closely connected, on the one hand, with the literary language (see), which is its normative basis, and on the other hand, with the national language, from where it draws a variety of characterological linguistic means, for example. dialectisms when transmitting the speech of characters or to create a local color of the depicted. poetic word grows out of the real word and in it, becoming motivated in the text and fulfilling a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.
19. The concept of the artistic method. The history of world literature as a history of changing artistic methods.
The artistic method (creative) method is a combination of the most general principles aesthetic assimilation of reality, which is consistently repeated in the work of one or another group of writers that form a direction, trend or school.
O.I. Fedotov notes that “the concept of “creative method” is not much different from the concept of “artistic method” that gave rise to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire trends.
The concept of the artistic method appears in the 1920s, when critics of the Russian Association of Proletarian Writers (RAPP) borrow this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of "proletarian" writers.
The artistic method has an aesthetic nature, it represents the historically conditioned general forms of emotionally colored figurative thinking.
Art objects are the aesthetic qualities of reality, i.e. “the wide social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changeable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, the historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through the historical changes in the object of art, but also through the historical change in the aesthetic qualities of reality. The subject of art contains the lifeblood of the artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the general philosophical and political worldview of the artist. “The method always appears before us only in its concrete artistic embodiment – in the living matter of the image. This matter of the image arises as a result of the artist’s personal, most intimate interaction with the concrete world around him, which determines the entire artistic and thought process necessary to create a work of art” (L.I. Timofeev)
The creative method is nothing more than a projection of imagery into a certain concrete historical setting. Only in it does the figurative perception of life receive its concrete realization, i.e. is transformed into a certain, organically arisen system of characters, conflicts, storylines.
The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically conditioned understanding of it in the light of the main questions that life poses to art at each new stage of its development.
The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of the artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, the kinship of characters, the homogeneity of conflicts and plots, and the manner of writing. So, for example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.
The artist's method is felt through style his works, i.e. through individual manifestation method. Since the method is a way of artistic thinking, the method is the subjective side of the style, because. this way of figurative thinking generates certain ideologically - artistic features art. The concept of method and individual style of the writer correlate with each other as the concept of genus and species.
Interaction method and style:
§ Variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;
§ stylistic unity is possible only within the same method, since even the external similarity of the works of authors adhering to the same method does not give grounds for classifying them as a single style;
§ Reverse influence of style on method.
The full use of the style techniques of artists who are adjacent to one method is incompatible with the consistent observance of the principles of the new method.
Along with the concept of creative method, the concept direction or type of creativity which, in the most diverse forms and proportions, will be manifested in any method that arises in the process of the development of the history of literature, since they express the general properties of the figurative reflection of life. In their totality, the methods form literary currents (or trends: romanticism, realism, symbolism, etc.).
The method determines only the direction of the artist's creative work, and not its individual properties. The artistic method interacts with the creative individuality of the writer
The concept of "style" is not identical with the concept "creative individuality of the writer". The concept of "creative individuality" is broader than what is expressed by the narrow concept of "style". In the style of writers, a number of properties are manifested, which in their totality characterize the creative individuality of writers. The concrete and real result of these properties in literature is style. The writer develops his own individual style on the basis of this or that artistic method. We can say that the creative individuality of the writer is necessary condition further development every artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individualities of writers become general and represent a new quality in their totality.
The artistic method and creative individuality of the writer are manifested in literature through the creation of literary images, the construction of motives.
mythological school
The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.
Mythological school in Russian literary criticism: A.N. Afanasiev, F.I. Buslaev.
Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.
biographical method
Theoretical and methodological foundations of the biographical method. Life and work of Sh.O. Saint-Bev. Biographical method in Russian literary criticism of the 19th century. ( scientific activity N.A. Kotlyarevsky).
Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.
Biographical approach to the study of the heritage of major artists of the word (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.
Psychological direction
Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.
Psychological approach in Tatar literary criticism of the early twentieth century. Views of M.Marjani, J.Validi, G.Ibragimov, G.Gubaydullin, A.Mukhetdiniya and others. The work of G.Battala "Theory of Literature".
The concept of psychological analysis of a literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.
Psychoanalysis
Theoretical Foundations of Psychoanalytic Criticism. Life and work of Z. Freud. Psychoanalytic writings of Freud. Psychoanalysis of C.G. Jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis of Erich Fromm. The concept of the social unconscious. J. Lacan's research.
Psychoanalytic theories in Russia in the 1920s. 20th century (I.D. Ermakov). Psychoanalysis in modern literary criticism.
Sociologism
The emergence of sociology. The difference between sociological and cultural-historical methods. Features of the application of the sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Proceedings of G. Nigmati, F. Burnash.
Vulgar sociologism: genesis and essence (V.M. Friche, later works of V.F. Pereverzev). FG Galimullin about vulgar sociologism in Tatar literary criticism.
Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).
The emergence of new concepts, directions that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the possibilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.
Sociologism on a global scale: in Germany (B. Brecht, G. Lukacs), in Italy (G. Wolpe), in France, striving for the synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.
formal school.
Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.
Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.
Structuralism
The role of the Prague linguistic circle and the Genevan linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.
Activities of the Parisian semiotic schools (early R. Barthes, K. Levy-Strauss, A. J. Greimas, K. Bremont, J. Genette, W. Todorov), the Belgian school of the sociology of literature (L. Goldman and others).
Structuralism in Russia. Attempts to apply the structural method in the study of Tatar folklore (works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis(A.G. Yakhin), while studying the history of Tatar literature (D.F. Zagidullina and others).
emergence narratology - the theory of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.
B.S.Meilakh about complex method in literary criticism. Kazan base group Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Proceedings of Yu.G. Nigmatullina.
An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.
hermeneutics
The first information about the problem of interpretation in Ancient Greece and in the East. The views of representatives of the German "spiritual-historical" school (F. Schleiermacher, W. Dilthey). The concept of H. G. Gadamer. The concept of "hermeneutic circle". Hermeneutic theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).
Artistic image. The concept of the artistic image. Classification artistic images by the nature of generalization.
Artistic image- a way of mastering and transforming reality, inherent only in art. An image is any phenomenon that is creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, images-motives, topoi and archetypes (mythologemes).
Individual images are characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in the "Notre Dame Cathedral" by V. Hugo, the Demon in poem of the same name M. Lermontov, Woland in "The Master and Margarita" by A. Bulgakov.
A characteristic image is generalizing. It contains common traits of characters and morals inherent in many people of a certain era and its social spheres (characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky).
typical image represents the highest level of the characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of the realistic literature XIX century. Suffice it to recall the father of Goriot and Gobsek Balzac, Anna Sometimes in the artistic image can be captured both the socio-historical signs of the era, and the universal character traits of a particular hero.
Image-motive- this is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements (“village Russia” by S. Yesenin, “Beautiful Lady” by A. Blok).
topos(Greek topos - place, area) denotes common and typical images created in literature whole era, nation, and not in the work of an individual author. An example is the image " little man» in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term is first encountered in German romantics in early XIX century, but true life in various fields knowledge was given to him by the work of the Swiss psychologist C. Jung (1875–1961). Jung understood the "archetype" as a universal image, unconsciously transmitted from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, literally “stuffed” all of humanity, and the archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.
literary image. Word and image
A literary image is an artistic reflection with the help of a word of human characters, events, objects, phenomena in a specific, individually sensual form.
The term "image" in literary criticism is understood as 1) the character of a work of art (hero, protagonist, character), and as 2) a reflection of reality in an individual form (verbal image or trope).
The images created by the writer are distinguished by emotionality, associativity, originality, capacity.
Artistic image. Image and sign
Referring to the ways (means) by which literature and other forms of art with figurativeness carry out their mission, philosophers and scientists have long used the term "image" ( other-gr. eidos - shape, appearance). As part of philosophy and psychology, images are concrete representations, that is, a reflection by human consciousness of individual objects (phenomena, facts, events) in their sensually perceived appearance. They oppose the abstract concepts, which capture the general, recurring properties of reality, ignoring its unique individual features. There are, in other words, sensory-figurative and conceptual-logical forms of mastering the world.
Further, figurative representations (as a phenomenon of consciousness) and images proper as sensual (visual and auditory) embodiment of representations are distinguishable. A.A. Potebnya in his work "Thought and Language" considered the image as reproduced representation - as a kind of sensually perceived reality 1 . It is this meaning of the word “image” that is essential for the theory of art, which includes scientific-illustrative, factographic (informing about the facts that really took place) and artistic images. 2 . The latter (and this is their specificity) are created with the explicit participation of the imagination: they do not simply reproduce single facts, but condense, concentrate aspects of life that are essential for the author in the name of its evaluative comprehension. The artist's imagination is, therefore, not only a psychological stimulus for his work, but also a certain given that is present in the work. In the latter there is a fictitious objectivity that does not fully correspond to itself in reality.
Now the words “sign” and “significance” have taken root in literary criticism. They noticeably pushed the usual vocabulary ("image", "imagery"). The sign is the central concept of semiotics, the science of sign systems. Structuralism is guided by semiotics, which took root in the humanitarian sphere in the 1960s and was replaced by post-structuralism.
A sign is a material object that acts as a representative and substitute for another, “foreseeable” object (or properties and relations). Signs make up systems that serve to receive, store and enrich information, i.e., they have primarily a cognitive purpose.
The creators and supporters of semiotics consider it as a kind of center of scientific knowledge. One of the founders of this discipline, the American scientist C. Morris (1900 - 1978) wrote: “The relationship of semiotics to the sciences is twofold: on the one hand, it is a science in a number of other sciences, and on the other hand, it is an instrument of sciences”: a means of combining different areas of scientific knowledge and giving them "greater simplicity, rigor, clarity, the path to liberation from the" web of words "that a man of science has woven" 3 .
Domestic scientists (Yu.M. Lotman and his like-minded people) placed the concept of a sign at the center of cultural studies; substantiated the idea of culture as a phenomenon primarily semiotic. “Any reality,” wrote Yu.M. Lotman and B.A. Ouspensky, referring to the French structuralist philosopher M. Foucault, - being involved in the sphere of culture, begins to function as a sign<...>The very attitude towards sign and significance constitutes one of the main characteristics of culture" 4 .
Speaking about the sign process in the life of mankind ( semiotics), experts identify three aspects of sign systems: 1) syntactics(relation of signs to each other); 2) semantics(the relation of the sign to that which signifies: the signifier to the signified); 3) pragmatics(the relation of signs to those who operate and perceive them).
Signs are classified in a certain way. They are combined into three large groups: 1) index sign (sign- index) points to an object, but does not characterize it, it relies on the metonymic principle of contiguity (smoke as evidence of a fire, a skull as a warning about danger to life); 2) sign- symbol is conditional, here the signifier has neither similarity nor connection with the signified, what are the words of a natural language (except for onomatopoeic) or components of mathematical formulas; 3) iconic signs reproduce certain qualities of the signified or its integral appearance and, as a rule, are visual. In a number of iconic signs, they differ, firstly, diagrams- schematic recreations of objectivity that is not quite specific (graphic designation of the development of industry or the evolution of fertility) and, secondly, images that adequately recreate the sensually perceived properties of the designated single object (photographs, reports, as well as capturing the fruits of observation and fiction in works of art) 5 .
Thus, the concept of "sign" did not cancel the traditional ideas about the image and figurativeness, but placed these ideas in a new, very broad semantic context. The concept of a sign, vital in the science of language, is also significant for literary criticism: firstly, in the field of studying the verbal fabric of works, and secondly, when referring to the forms of behavior of actors.
In images-tropes, one object is equated to another by association, the unknown is explained by the known, the so-called “portable” meaning is manifested.
There are different types of images and different ways to classify them. If we consider everything imagined by the writer in a work of art as an image, then according to its objectivity, one can build a series from the image-detail in its varieties such as the image of trails, the image of landscape, the image-thing, the image-portrait, through the image-plot, then the image-character , and to integral images of fate and the world, the image of being.
By semantic generalization, images can be divided into individual, characteristic and image types. Separately, one can distinguish the image-motive, the image-topos and the image-archetype, as well as the concept of chronotope. These are images that go beyond the limits of a single work, they can be repeated.
The image-motif is repeated in several works by one author or by many authors. (The image of a blizzard and wind at Blok, rain and a garden at Pasternak.
An image-topos (a common place) is an image characteristic of an entire culture of a certain period, for the entire nation. (topos of the road, winters in Russian literature).
Image-archetype - the most stable images that appear in the literature different peoples throughout the course of development.
Chronotope is a term proposed by D. Bakhtin. This is “an essential interrelation of temporal and spatial relations, artistically mastered in literature”, otherwise called also “time-space”.
In poetry, there is also the concept of a "lyrical hero" - a collective image behind the lyrical verses of a particular poet.
The word "image" has several meanings. In the "Dictionary of the Russian language" S.I. Ozhegov, he is given the following interpretations: "1. View, appearance; 2. A living, visual representation of someone; 3. In literature, art: a generalized artistic reflection of reality, clothed in the form of a specific, individual phenomenon; 4. In artistic work: type, character; 5. Order, direction of something, method" [Ozhegov 1986: 372].
Availability different meanings words contribute to the fact that it is used in everyday life and at the same time acts as a term in various sciences. In philosophy, "image" refers to the reflection of the phenomena of life in the minds of people, any "display" of real reality (both conceptual and sensual). In psychology, "image" denotes a representation, that is, a mental contemplation of an object in its entirety.
Scientists emphasize that outside the images there is no reflection of reality, no knowledge, no imagination, no creativity. The image can take various forms, both sensual (sensations, perceptions, ideas) and rational (judgments, conclusions, theories). At the same time, images can be some idealized constructions that do not directly correlate with real-life objects and phenomena (fantastic images of the Serpent Gorynych or Baba Yaga in fairy tales, mythological images of centaurs or sirens).
Images surround people in their daily lives. They are found in albums with photographs, in private correspondence, in diaries, etc. Scientists often use images as an aid in presenting their theories. Images are used in science in order to make reasoning and conclusions expressed with the help of abstract concepts more accessible and visual. Along with this, images can be found in newspaper essays and journalistic writings. Such images are called factographic, scientific-illustrative, journalistic-illustrative [Introduction to Literary Studies 1976: 35 - 37]. Their main feature is that they show phenomena as they really are, without making any additions or corrections to this image.
An artistic image is a kind of image in general, which is understood as the result of a person's awareness of the phenomena of the surrounding world. In art criticism, the term "artistic image" is used to designate a special, inherent only in art way of mastering reality and transforming it into artistic reality. "For art historians, an 'image' is not just a reflection of a separate phenomenon of life in the human mind, but a reproduction of a phenomenon already reflected and realized by the artist with the help of certain material resources- with the help of speech, facial expressions and gestures, outlines and colors, a system of sounds, etc. "[Introduction to literary criticism 1976: 34].
Modern literary scholars call an image any phenomenon that is creatively recreated in a work of art (especially often a character or a literary hero). The very terminological phrase "image of something" or "image of someone" indicates the stable ability of the artistic image to correlate with non-artistic phenomena, to "absorb" reality. Hence the dominant position of the category "image" in aesthetic systems that establish a specific connection between art and non-art - life, consciousness, etc.
The origins of the theory of the image date back to ancient times. This theory began to be developed by the ancient philosophers Plato and Aristotle (4th century BC), who pointed out that art is "imitation of nature." The word "nature" they called the whole real life- both natural and social, - consisting of individual phenomena.
In antiquity, the word "eidos" was used to designate the image, which was simultaneously used in two meanings. "Eidos" was called and appearance object, its appearance, and its essence, idea. According to ancient philosophers, art is connected with eidos not directly, but through "mimesis", that is, through imitation. Ancient Greek thinkers called "imitation" the ability of art to recreate individual phenomena of life in sculptures and paintings, in works of art and stage performances. Thus, "mimesis" is the imitation and at the same time the transformation of an object that exists in reality into an image. In general, the statements of ancient thinkers indicate that they noted the dependence of "eidos" on reality.
The definition of art as "imitation of nature" is found in many works of a theoretical and literary nature up to XVIII century. He refused to consider art from such positions. German philosopher G.W.F. Hegel, who in his "Aesthetics" gave an interpretation of the concept of "image", close to modern ones.
Hegel paid the main attention to the fact that works of art are not a simple "imitation of nature". They recreate the phenomena of reality. According to the philosopher, "from the theoretical, scientific study artistic comprehension is distinguished by the fact that it is interested in the subject in its individual existence and does not seek to turn it into a universal thought and concept" [cited in Introduction to Literary Studies 2004: 24]. At the same time, Hegel emphasized that the individual, individual in art is capable of vividly, tangibly, visibly convey the general.
It should be noted that, using the word "image", Hegel did not give it special significance. This was later done by art theorists; Hegel's ideas turned out to be more durable than their methodological context and entered - in a transformed form - into modern literary criticism.
Currently, the artistic image is interpreted as "a category of aesthetics that characterizes the result of the author's (artist's) comprehension of a phenomenon, process in ways characteristic of a particular type of art, objectified in the form of a work as a whole or its individual fragments, parts" [Introduction to literary criticism 2004 : 23]. In particular, a literary work as an artistic whole is an image. It may include a system of images-characters, which, in turn, are created with the help of figurative and expressive means of poetic imagery.
Tropes (metaphor, metonymy, paraphrase, etc.) are sometimes referred to as images. At the same time, literary scholars point out that speech (verbal structure) and the objective world of a work are different levels of the artistic whole. Any image in the broad sense of the word is allegorical and polysemantic. The imagery of individual speech units and the imagery of texts are not identical; the world of literary works retains its figurativeness even if it is created with the help of harmless words.
Paths allow you to describe the image of a particular character or phenomenon more vividly and colorfully, contribute to the emergence of additional associations in the minds of readers. "But these are not independent images: they do not change the theme of the statement, remaining outside the world of the work (as an object of the image)" [Introduction to Literary Studies 2004: 40].
Scientists emphasize that the objective-cognitive and subjective-creative principles are inextricably merged in the artistic image. Revealing the specific features of artistic images, literary critics traditionally consider them in relation to two areas: reality and the process of thinking.
As a reflection of reality, the image is to some extent endowed with sensory authenticity, spatio-temporal extension, objective completeness, self-sufficiency and other properties of a single, really existing object. At the same time, the image is not a real object, as it is delimited by a conventional frame from all surrounding reality and belongs to the inner, "illusory" world of the work.
Being not a real, but an "ideal" object, the image has some properties of concepts, ideas, hypotheses and other mental structures. The image does not just reflect reality, it generalizes, reveals in a single and random - the essential, the most characteristic, typical. At the same time, unlike an abstract concept, the image is visual; he does not decompose the phenomenon into abstract-rational components, but preserves the sensual integrity and originality. In other words, the image represents in "the same integrity both the concept of an object and its external being" [Literary encyclopedic Dictionary 1987: 252].
The creative nature of images, like the cognitive one, manifests itself in two ways. On the one hand, the artistic image is the result of the activity of the imagination, recreating the world in accordance with the spiritual needs and aspirations of a person, his purposeful activity and holistic ideals. Therefore, in the image, along with the objectively existing and essential, the possible, desired, supposed, that is, everything that relates to the subjective, emotional-volitional sphere of being, is imprinted. On the other hand, in contrast to purely mental images of fantasy, in an artistic image a creative transformation of real material is achieved: sounds, colors, words, etc. place in the real world. Being objectified, the image returns to the reality that it has displayed, but not as its passive reproduction, but as an active transformation.
"The transition of a sensory reflection into a mental generalization and further into a fictional reality and its sensory embodiment - such is the internally mobile essence of the image in its two-sided conversion from the real to the ideal (in the process of cognition) and from the ideal to the real (in the process of creativity) [Literary Encyclopedic Dictionary 1987 : 252].As a result, the image is always a combination of objective and subjective principles.The objective "component" of the artistic image is those phenomena and objects that were captured by the writer in the work, the subjective - the position of the author, who acted as the creator of artistic reality.
Comparing images as such and artistic images, art historians emphasize that there is much in common between them. At the same time, there are also significant differences. Unlike scientific illustrative, journalistic illustrative or factual images, images of art are the creation of the creative thought and imagination of an artist, sculptor or writer. They arise not to illustrate generalizing observations and conclusions, not to provide information about any events, phenomena, etc. Artistic images have their own special purpose, which determines a number of features characteristic of such images.
Firstly, artistic consciousness, combining rational and intuitive approaches, captures the indivisibility, integrity, completeness of the real existence of the phenomena of reality and reflects it in a sensually visual form. In this regard, any image is perceived as a kind of integrity, even if it is created by the writer with the help of one or two details. Readers in their imagination must fill in the gaps.
Secondly, the artistic image is always a generalization. If in reality the ratio of the individual and the general can be different (in particular, the individual can obscure the general), then the images of art are concentrated embodiments of the general, essential in the individual.
Artistic generalization in creative practice takes various forms, colored by the author's emotions and assessments. For example, an image can have a representative character, when some features of a real object stand out, "sharpen" or be a symbol.
Often proper names literary characters are beginning to be perceived by readers as common nouns (Mitrofanushka ("Undergrowth" by D.I. Fonvizin), Khlestakov ("Inspector General" by N.V. Gogol), etc.). This serves as a clear indicator of the generalizing meaning of artistic images.
Typing does not necessarily involve the creation of life-like images. To focus on any in general terms displayed phenomena, more fully reflect the essence of the typed, writers can resort to the grotesque, fantasy, hyperbole ("Nose" by N.V. Gogol, "History of a City" by M.E. Saltykov-Shchedrin, etc.). These conditional forms are characterized by a deformation of reality, a deliberate deviation from external plausibility. Writers depict people, objects and phenomena that have no analogues in reality. In this case, the deliberate conventionality of images often serves to reveal the true essence of the phenomena depicted to a much greater extent than when the writer does not subject life forms to artistic transformation.
Thirdly, a characteristic feature of the artistic image is its expressiveness. The image always reflects the ideological and emotional attitude of the author of the work to the phenomenon or object depicted by him, therefore, it is addressed not only to the rational sphere, but also to the feelings of listeners or readers.
The firmly rooted tradition of dividing characters into "positive", "negative", "contradictory" (with all the critics' reservations about the inaccuracy of such "classifications") testifies to the ideological and emotional assessment of the characters portrayed by the writers.
Forms of expression author's assessment inexhaustible; in the very general view they can be divided into explicit (direct statements of the writer) and implicit. Tropes are close to evaluative vocabulary, as obvious ways of modeling the world at the stylistic level. The attitude of the author (subject of speech) to the subject is often clarified with the help of associations that arise due to tropes (metaphors, metonymy, paraphrases, etc.).
At the subject level, the writer's ability to express his assessment is much wider: he can not only resort to compositional or stylistic devices, but also create his own artistic world, with its time and space, characters and plot, details of description that are distinguished by emotional expressiveness.
Fourthly, the artistic image is always self-sufficient. It is the main and self-sufficient means of expressing the content of literary works and, in principle, does not need any explanations and comments.
As already noted, in science, in addition to images-concepts, images-symbols, images-comparisons are often used, which perform peculiar functions: they illustrate the positions being proved, make phenomena that are inaccessible to the human eye, more visual, etc. In particular, the image (symbol) of an atom can be represented as a ball and dots rotating around it in orbits - electrons. Artistic images do not supplement pre-given or supposed conclusions, do not serve to demonstrate any phenomena as illustrative examples, but contain generalizations in themselves, express them in their own "language".
The "idea" that an artistic image carries in itself is usually not formulated directly by the author. Even if the writer acts as an autocritic, explaining his intention in the work itself or in a separate article, his explanations cannot exhaust the fullness of the image he has drawn.
The imagery of art creates objective prerequisites for disputes about the meaning of the work, for its various interpretations, both close to the author's concept and polemical in relation to it. An artistic image can give rise to various interpretations and interpretations, including those that the author did not even think about. This feature stems from the nature of art as a form of reflection of the world through the prism of individual consciousness.
As already mentioned, the concept of "image" covers heterogeneous concepts in literary texts. An image is a reproduction of any object or phenomenon in its entirety. Therefore, the question of the typology of images is solved by various scientists ambiguously.
The "Literary Encyclopedic Dictionary" proposes a classification of artistic images, which is defined by scientists as a substantive one [Literary Encyclopedic Dictionary 1987: 252].
According to this classification, images can be divided into a number of groups or "layers", closely related to each other. The first of these groups will be images - details that have different scales (they can be created in one word and represent detailed descriptions consisting of many details (landscapes, interiors, portraits)). hallmark of all images-details is static and descriptive. The next "layer" of the work is the plot layer, connected with the action that unites all the subject details. It consists of images of external and internal movements: actions, events, moods, motivations - in other words, from all the dynamic moments deployed in the plot of the work. The third group is formed by the impulses standing behind the actions and causing them - images of characters and circumstances. On the last level"out of the images of characters and circumstances, as a result of their interaction, integral images of fate and the world are formed; this is being in general, as the artist sees and understands it, - and behind this global image there are already non-objective, conceptual layers of the work" [Literary Encyclopedic Dictionary 1987: 252] .
In the manual edited by L.V. Chernets distinguishes such types of images as image-representation, character (image-character), voice (primary subject of speech) [Introduction to literary criticism. 2004: 43]. The manual "Fundamentals of the Theory of Literature" states that in literary texts "the main subject of depiction and expression is a person standing ... in the very center of the poetic universe." "He can be a character, an image of the author and an image of the reader" [Fedorov 2003: 113].
Obviously, in the three classifications given, a significant place is given to images-characters. In various literary works, this term is interpreted almost the same way. "Under the character (from French personnage; from persona - face, mask) in the strict sense of this term, one should understand a kind of artistic image of a character endowed with external and internal individuality. hero" [Fedorov 2003: 113]. "Character (from Latin persona - person, face, mask) - a type of artistic image, the subject of action, statements, experiences in a work" [Introduction to literary criticism 2004: 197].
Delimiting the characters in relation to the conflict and the main action, they are divided into main, secondary, episodic and off-stage.
The character sphere of the work may not include all the people depicted in the text; episodic and off-stage characters usually act as images-representations. On the other hand, a character in a literary text can be not only a person, but also some fantastic creature, animal, tree, etc., invented by the author. Becoming a character, any object acquires human (anthropomorphic) features.
In epic and drama, the story (plot) being told necessarily presupposes the presence of a system of characters or characters. In the lyrics, characters, as a rule, are absent; lyrical subjects traditionally come to the fore in poems.
The primary subject of speech is usually also present in epic works - this is the narrator, on behalf of whom the story is being told. The choice of one or another subject of speech is extremely important: since he acts as the bearer of a certain "point of view", ascending to the author or, conversely, far from him (this is typical for role-playing lyrics or epic works, where there is a narrator who is not identical to the writer).
The primary subjects of speech can simultaneously be characters (heroes, actors) works. Such, in particular, are the lyrical hero in A. Blok's poem "The Stranger", the narrator in "The Man in the Case" by A.P. Chekhov, narrator in the cycle "Notes of a Hunter" by I.S. Turgenev. Along with this, the primary subjects of speech may not be characters and be present in the text only as voices.
The identified varieties of images have a different structure. An image-representation is most often a description. The image-character has a more detailed, multi-component structure: in this case, the "polar" components can be, on the one hand, a picturesque portrait (that is, an image-representation), on the other hand, reasoning (that is, a form of speech in which logical constructions predominate). ). Non-artistic statements of the author should be distinguished from reasoning as a component of the image-character: digressions to philosophical, historical, etc. themes, prefaces, etc.
As already noted, in works of art, natural phenomena and objects, animals and insects, creatures created by the writer's imagination, can act and talk, like people. In a number of literary genres (fable, science fiction, fairy tale, etc.), such characters are extremely common.
Despite the variety of types of characters, the image of any of them is associated with the main subject of fiction, which is a person. No matter how broadly the subject of knowledge is interpreted in artistic creativity, its center is always made up of human beings endowed with certain characters. "The means of revealing the character in the work are various components and details objective world: plot, speech characteristics, portrait, costume, interior, etc. "[Introduction to Literary Studies 2004: 201]. In other words, "the image of a character ... combines particular figurative divisions", "is made up of external and internal characteristics" [Fedorov 2003: 113]. is, when drawing a specific literary character, the authors strive to ensure that readers "see" this image and at the same time realize that a particular character "lives" in the art world in their actions, words, thoughts and feelings. The essence of the character is revealed due to the attitude of other characters towards him, and, most importantly, the writer himself, who thus embodies his concept of personality and the system of moral assessments of human qualities in the work.
In general, it should be noted that literary concept"image" is ambiguous. Works of art are likened by scientists to the universe, which is formed by combining particles of various levels (from micro-images-details to a holistic image of the world).
Scientists have most clearly defined the main features of character images, which can be played not only by people, but also by objects, natural phenomena, animals and plants invented by the writers themselves. fantasy creatures. Images-characters have a complex, multi-component structure. in epic and dramatic works the essence of the literary heroes depicted by the author, first of all, is revealed through the plot, that is, the totality of their actions and deeds, relationships with other characters and speech characteristics (including those replicas that contain their assessment of each other). In addition, character images are created using such fine reception as a portrait, which involves the delineation of the face, figure, demeanor, clothing, etc. The writer can draw a portrait in sufficient detail or be limited to only individual details, in any case, such external characteristic will serve as a kind of key to the depicted character. Often, a significant semantic load is also carried in the work by descriptions of pictures of nature, against which the hero appears, and the world of things surrounding him. Along with this, the statements of the author himself or the narrator, who acts as a narrator, are an important means of describing the character.
