To this day it is one of the most interesting topics in literary criticism. After all, the work of Mikhail Yuryevich provides a vast ground for reflection, it strikes with its depth, as well as the range of feelings and emotions embedded in them. In many ways, the theme of Lermontov's work is connected with his biography, in addition, it is dictated to the writer by time itself. In this regard, poetry, lyrical-epic works and the author's prose should be considered separately.
Lyrics
M. Yu. Lermontov left a huge legacy in the form of his immortal poems. He began to write very early, and even the very first experiments were imbued with great feelings. The problems allow us to divide all his lyrical work into several categories:
1. Poems about loneliness, in which the main motive is misunderstanding, a break with people.
2. Poet and poetry.
3. Poems about love.
4. Poems about nature, about the motherland.
5. Poems about the war.
Let's look at each of the categories.
Lermontov's poems about loneliness
Mikhail Lermontov was brought up by his grandmother. He did not recognize either his father's, or perhaps this is what influenced all the work of the poet. In particular, this had an impact on the formation of this theme of creativity. Lermontov was worried about how people treated him. He was also depressed by the mores that prevailed in his time. An example is the poem "How often surrounded by a motley crowd", in which one hears a cruel reproach to a hypocritical society. Heroes of Lermontov are often carried away into the world of dreams, in this text it is the world of childhood, carefree and pure. AT later work the motive of loneliness ceases to be associated with accusations, but it is even more intensified. How strong the lines of the poem "The Rock" sound! In eight lines, the poet managed to express all the pain and longing of a lonely heart. This issue of Lermontov's works is closely connected with such images as a sail, a leaf, a cliff.
Poems about nature
Lermontov had the warmest feelings for Russian landscapes. It is in nature that his lyrical hero feels more calm, balanced and harmonious. Most bright work dedicated to the beauty of Russian nature - "When the yellowing field is agitated." The piece is very harmonious and melodic. The first three stanzas are a description of nature. Lermontov revives what surrounds him. The field is worried, the raspberry plum is “hiding in the garden”, the lily of the valley “nods its head amiably”. Admiring what is happening, the hero begins to feel humility and peace, all his worries fade away, and in heaven he begins to see the face of God.
love lyrics
The problems of Lermontov's works about human feelings is not limited to loneliness. The poet also pays attention to love. True, love in his lyrics is always shown as a tragedy. From the very first poems, Lermontov draws us tragic relationship between the lyrical hero and his beloved. The hero suffers because of ridicule, misunderstanding. The most striking example is the poem "The Beggar". It is built on the principle of the first part - the story of a beggar who, instead of alms, put a stone in his hand. The second part - deceived feelings lyrical hero. After meeting Lermontov, the mood changes. Now the feelings are mutual, but the lovers are not allowed to be together. This is the poem "We are accidentally brought together by fate."
Military poetry
The themes of Lermontov's work are not limited to feelings. He also addressed the topic of war. The originality of the poetry of this subject is that Lermontov pays great attention the unnaturalness of violence. So, in the poem "Valerik" the poet draws beautiful nature Caucasus, she is not interested in bloody events, arranged by people. The poem refers to the theme of the historical past home country, he admires the former might of the nation. This is a deeply patriotic work.
Prose Lermontov
The most striking was the novel "A Hero of Our Time". In the center of the image is Pechorin. This is a hero who does things recklessly. He destroys people without realizing it. At the same time, Pechorin is deeply convinced that people do not understand him, that many are unworthy of him. In fact, he is talented and smart, he can be admired. But there are features that cannot be called positive: the inability to make friends and love, pride and selfishness. The problems raised by Lermontov ( summary works clearly shows this) - this is the search for the hero of the time and the debunking of modern egocentric youth, as well as the problems of morality.
Lyric epic works
One of the most bright poems Mikhail Lermontov - "Mtsyri". Lonely romantic hero abandoned by the will of fate in the monastery. He is brought up in it, but does not feel at home. Mtsyri feels his restlessness, he is as if in prison, he dreams of getting free. The problems of Lermontov's works intersect in this poem. Both the theme of loneliness and the theme of freedom are raised here, and it is clearly seen how reverently Lermontov treats nature.
Moreover, the poem is a prime example romantic work. Mtsyri aspires to the world of dreams. After spending one day in the wild, he understands what it is real life. Staying in the monastery now becomes impossible. Having received mortal wounds in a fight with a leopard (the personification of the violent forces of nature), Mtsyri dies. Such is the tragic pathos of the entire work of the writer. The heroes of Lermontov in a collision with reality most often lose. Their dreams are not destined to come true, but life in this world is unbearable.
Many of us want to be creative individuals. And many in their hearts consider themselves to be just such, but do not know how to realize their desire. Often we carry interesting ideas but are unable to implement them. We have aspirations that we want to follow - learn to play the piano, draw, take lessons acting skills or write. Sometimes desires are more vague. We are drawn to something that can be called a creative life.
"Melancholy" - engraving on copper German artist Albrecht Durer. Melancholia is one of the most mysterious works Durer, saturated with many symbols and allegories.
talents and Creative skills each of us has. Creativity is natural life force which everyone can experience in one form or another. Like blood is just a part of our body that we do not need to invent, creativity is a part of ourselves, and each of us can “connect” to this inexhaustible powerful spiritual source to realize yourself.
We are destined to create. We renovate the interior of the apartment, decorate the Christmas tree for the holidays, experiment to cook tasty soup. No matter how respectable people we strive to become, our dreams continue to live, rustling in the cold souls, like leaves in autumn. They don't leave, they just hide. We draw little devils at a boring meeting, leave a funny note on the notice board in the office, come up with a suitable nickname for a strict boss, plant twice as many flowers as necessary.
Experiencing creative impatience, we crave more, we desire something, we are nervous. We want to do something, but we think that it should be something right which means something important. However, the most important thing is ourselves. And it’s not so difficult to arrange a holiday of creativity for yourself, albeit a very small one.
Although the means for instant and painless transformation into creative personality does not exist, creative development is a process that can be learned. Each of us is a complex and different individual, and yet there is a common approach to this process.
Think of magic, pleasure, joy. Do not treat creativity as a duty. Don't do what you're supposed to should Do: Refuse polite gestures like reading a boring article, even if it was recommended. Do what attracts you, study what interests you. Think about the mystery, not about the result, skill, prestige. The riddle attracts us, attracts us, seduces us. Duty, on the contrary, deprives of any interest in the matter, makes you bored.
One of the most important creative needs need for support and approval. Unfortunately, it's not easy to get it. Ideally, we should be supported first of all by the family, and then by a gradually expanding circle of friends, teachers and well-wishers. Those who begin to try their hand at art should be encouraged not only for success, but also for trial and effort. Most artists, alas, did not receive this early support. Because of this, they sometimes do not even realize that they are capable of creating.
Creative people love their own kind. The indecisive are drawn to their tribe, but do not dare to act, to assert their natural rights. Very often, it is courage, not talent, that makes people engage in creativity.
Perhaps the main barrier to creative life– our own skepticism. It can also be called secret doubt. Doubts about the Creator and creativity live in each of us. If doubts are not expelled from consciousness, they will continue to harm us.
We have started the process of our own creative revival it's time to change the approach. To do this, we need to put aside our skepticism (for a while, it will return itself when needed) and carefully open the door of perception a little wider.
Be careful, protect the newborn artist in yourself. Often we find ourselves in a dead end because we follow someone else's plans. Wanting to make time for creativity, we feel like we need to do something else. We place a lot of emphasis on duties to others, and tend to think that such behavior makes us “ a good man". No matter how. It's bad to be ordinary and boring.
When we are in a creative dead end, we often sit on the podium and criticize those who play on the field. “He’s not that talented,” we say about popular artist. And perhaps we are right. Often it is courage, not talent, that pushes a person to the middle of the stage. And we look at this lucky guy with hostility and are indignant: “We could come to terms with true genius, but he (a) is a genius of self-promotion! And it's not just jealousy. It's a complex evasion technique that keeps us stuck. We mentally make whole speeches for ourselves and everyone who wants to: "I would have done much better if ...".
You have everything it would have turned out at one important condition- If you dare to try!
Based on the book
J. Camereon "The Way of the Artist"
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2.Structure and levels creative process.
3. Specificity of scientific and technical creativity.
Consider the first question "Creativity as a philosophical category", the student follows, starting with the definition of the concept of "creativity".
Creation- it is ever-growing in its own way social significance a type of human activity that produces new, previously non-existent values. It finds its embodiment in the transformation and classification of information in accordance with the goals, intention, psychological attitude of the subject, in the formation of concepts, projects and other kinds of theoretical objects used to explain and transform the world.
Playing a key role in the system of modern philosophical knowledge, the category of creativity characterizes the active position of the subject in his relation to nature and society. Being included in the structure of philosophical knowledge, it significantly affects the modern style of philosophical thinking, allows theoretical substantiation of the subject's practically transformative contribution to the picture of the world he forms.
The creative activity of consciousness acts as a defining direction of the historical process, its value content. All socially significant spiritual values that fill history with meaning are the result of the creative activity of the minds of outstanding personalities.
This activity acquires special significance in a specific area of being - the technosphere. It refers to those areas on Earth and beyond, where technical means penetrate, as well as changes in the biosphere introduced by the production activities of people. In relation to the technosphere, the initial, organizing principle of creativity is innovative engineering thought, the objectified form of which is the world of technology. As Pitirim Sorokin (USA) noted, before taking on a “material” existence, machines must already have a “logical-psychic” existence in the mind of the inventor.
At the same time, the student should be aware that until recently, the category of creativity was not specifically considered in any of the university textbooks on philosophy, and the very idea of the creative activity of consciousness was replaced by the theory of reflection, which reduces the role of consciousness to “reflection”, “copying”, “photographing” objective world.
When studying the second question Structure and levels of the creative process" the student needs to understand that creativity has both objective and subjective grounds.
The objective basis of creativity is contained in social needs, cultural, scientific and technical progress. They also predetermine the methods of solving socially significant problems. However, all objective factors, before being realized in the uniqueness of the creative act, must pass through the consciousness of the subject of creativity.
The subject of creativity- this concept characterizes the author of innovations. Depending on the level of creative processes, they can be: personality, creative team, society.
In turn, the object of creativity cannot be determined on the basis of only natural characteristics. Included in the system of transformed nature, the object is largely determined by the activity of the subject, the goals pursued by him and the way of activity. In other words, what is called the object of creativity integrates in its content both primarily natural and technologically transformed elements.
The creative process cannot proceed in isolation from information coming from outside - without understanding and assessing the situation, objectively determined goals and methods for solving the problem. However, this information is not enough for manifestations of creativity. Cognitive and solving programs are also needed. They, including creative imagination, intuition, heuristics (methods that contribute to the development of activity, resourcefulness), must have a large set of internal freedoms, the ability to reproduce their own diversity, original solutions, projects for transforming reality.
Structurally, creativity contains two opposite and at the same time interconnected aspects: the display of objects and their change in accordance with some ideal. Thus, scientific and technical creativity is outlined within the framework of the technosphere, which combines a part of nature (materials, energy sources) included in the field of technological activity. At the same time, the technosphere receives its qualitative certainty due to the subjective factor that determines the direction, value and humanization of the transformation of nature.
In connection with the activity of a human creator, the problem of originality and usefulness of innovations arises. Not all social projects and technical solutions are optimally correct, useful for mankind. In modern conditions, there is often a merciless exploitation of nature. Hence - material and energy-consuming technologies, merciless exploitation of the earth, its subsoil, water resources and air environment of all life on the planet, including man himself. And all this is based on creatively developed, albeit one-sided, projects.
As a result, the technosphere, as an area of global human creative activity, appears to be internally contradictory, covering both corrected, improved primitive nature, and degrading nature, with increasing disorder and depletion of resources.
Taking into account the fact that creativity can be directed both to the benefit and to the detriment of a person has recently led to the emergence of a new branch of knowledge - technoethics. The latter sees the priority value of technical creativity in its moral and humanistic beginning - harmlessness and usefulness for people, environmental cleanliness, positive social consequences from the introduction of its results into practice.
Creativity as a special area of cognitive and constructive human activity includes such elements as: problem recognition; its wording; choice of the optimal method for solving it; search methodology; style of thinking; moral and value orientations and organizational, volitional qualities that affect the effectiveness of innovative activities.
The ability to see a problem does not always imply the ability to correctly formulate it, and even more so to find the shortest and most economical way to solve it. That is why the principle of dialogue is of particular importance here, which is most fully realized in the conditions of collective creativity.
Solving problems in the creative process involves the use of both algorithms (computation systems produced according to strictly defined rules) and non-formalized heuristic methods. The latter are manifested at each of the main stages of the creative process: recognition by the element of the problem - problem statement - choice of the optimal solution method.
When studying the process of creativity, the student needs to know that in this process important role the innovative, “pre-creative” activity of the subject plays: spatial imagination, a sense of harmony, beauty.
In order to determine the novelty of the object of creativity, it is necessary to take into account the degree of change in the program (methods, algorithms), on the basis of which the solution of the problem took place. Creative novelty can be reduced either to a change in the structure of the solution program or to the introduction of a new object that did not exist in the previous conditions of the problem. The first will mean the discovery of a fundamentally new technology or a new method of solving this class tasks, the second is the invention of a new, say, technical device, mechanism, or a significant improvement of the former.
A high level of creativity can be characterized by a simultaneous change in the solver and the introduction of new elements into the proposed problem.
The student should keep in mind that such a differentiation of the creative process according to the criterion of novelty and originality of the solution of the problem is important in terms of assessing the production feasibility and priority of the result obtained. It can be used as the basis for the classification characteristics of the activity of both an individual creative worker and a research team.
When considering the third question "Specificscientifictechnical creativity" it should be remembered that creativity manifests itself in various areas of social life: culture, art, politics, technology.
A special type of creativity is scientific and technical creativity, which can be divided depending on the nature of the transformation of the source information into the following subspecies: I) establishing scientific facts, the discovery of new objects that existed before they were discovered; 2) bringing the facts of science into a logical system: generalization and abstraction, interpretation, hypotheses, development of theories, formulation of principles, laws, etc.; 3) technical and constructive solutions, inventions, innovations in technology or organization of production.
In turn, scientific and technical creativity involves:
a) objective conditions for the origin and development of creative thought;
b) subjective conditions of creativity (the presence of a psychological attitude, actually innovative thinking)
c) experimental or production implementation of a creative idea.
Under the objective foundations of scientific and technical creativity, one should understand the totality of external circumstances and means that provide one or another degree of freedom to create something new. They are divided into: tasks (problems) outlined by the laws of nature, properties of materials, technology, the needs of the development of social production and solution methods consistent with the properties of the object of creativity (technical standards, scientific principles, data from experimental studies).
The statement of the problem (problem) and the set of methods for solving it constitute the original reproductive, i.e. reproducing, part of every scientific discovery or the development of new technology.
The most important feature of technical creativity is the search for optimal efficiency, taking into account the given criteria. The latter include, in particular, the reliability and quality of products, reducing resource costs, waste-free technology, environmental friendliness and production safety. At this stage, there is an indefinitely large number of pseudo-problems that either cannot be solved at all or can be solved at unreasonably high economic costs.
Practical implementation is the final stage of scientific and technical creativity. The materialization of a creative idea is a sequential series of its implementation in the products of engineering and design work: the solution of the problem in an approximate form - the working scheme - the experimental model - the trial copy - the introduction into production.
The student needs to know that scientific and technical creativity at the stage of its implementation is closely merged with production.
The connection between technical creativity and production determines a number of its features that distinguish it from other types of creativity. This is, firstly, the need to constantly take into account the production conditions that impose real restrictions on the creative thought of a design engineer.
Secondly, the inventor often acts here as an organizer of production, which places high demands on his personal qualities: citizenship, organizational skills, mastery of economic thinking and environmental culture, understanding of the social consequences of technical innovation, knowledge of engineering psychology.
Thirdly, since the introduction of this or that technical innovation is impossible without some compromises with the economic indicators of production, the implementation program should include an assessment of the degree of risk according to the main indicators of production: a possible decrease in the volume of production, the degree of reliability of the proposed technology, changes in safety standards, etc. unwanted consequences.
A problem is an aspect of the content of a work that the author focuses on. The range of problems covered by the author's interest, issues constitutes the problems of the work. Solving the problem is part of the writer's creative process.
The issue is directly related to the author's intention. It can be reflected "directly" when the problems are revealed in the text, regardless of figurative system. The author emphasizes the most significant, from his point of view, aspects of the subject of the image.
The problem can be realized at different levels of the work, most often in the depiction of characters, in an artistic conflict (Pushkin "Mozart and Salieri")
Along with this, problems can organically weave out of the subject matter of the work. This is what happens in a historical and artistic-historical work (Pushkin's "Arape of Peter the Great")
The issue depends on many factors: historical events, social problems, "ideas of time", "literary fashion". But first of all - the worldview of the author, his point of view. It is reflected in those author's accents that constitute the problematics of a work of art. (Turgenev "Fathers and Sons" and Chernyshevsky "What is to be done?")
Problematicness as a quality appeared rather late, it didn’t exist: in the archaic, ancient epic, or it was limited to the framework of various rules (for example, the position of a character in classicism is unchanged and the choice is predetermined).
The more diversely depicted, the more important and interesting the problems. It is diverse (philosophical, social, moral, etc.). In Russian literature, a prominent place is occupied by the social and socio-psychological (Nekrasov, “Who should live well in Rus'”).
The problem is realized either directly or indirectly (through images, system).
Theme is the subject of artistic representation (what is being said) and artistic knowledge (which became the basis of the author's interest, assessment). How the foundation subjugates the individual elements of the work. Topics are divided into several groups:
The subject of knowledge is eternal themes". This is a complex of significant for mankind in all epochs and in all literary phenomena- the crown of life and death, light and darkness, love, freedom, duty, etc. they are perceived by writers in their own way, but always leave an integral part of the theme. Some scientists distinguish subgroups:
Ontological - existential, universal, chaos and cosmos, mythology
Anthropological - the deep foundations of human existence, bodily and spiritual) (Bulgakov "The Master and Margarita")
The realities of life of peoples, countries and times in their historical concreteness (Block "Twelve"). They are characteristic in epics, legends, historical novels.
Future, Science fiction, fantasy (Dante's "The Divine Comedy")
Modernity, problems, exciting modern writer society (Gogol, Turgenev, etc.)
The most significant is the theme of man and his existence in the world, the inner world. Several conditional thematic groups:
Loneliness (Lermontov)
Creativity and art (Bulgakov "The Master and Margarita")
Image and knowledge of reality
Epic and drama works most often contain many themes. Allocate main theme or a theme that forms the content plan of the work, and side themes that arise along the way. Deep themes enrich the works and enable ambiguous interpretations (Nabokov).
Text from the exam
(1) I will say simply: inspiration is the reward for the exacting honesty of the artist. (2) The believer would specify - the reward of God. (3) An atheist would say: the reward of our moral nature. (4) To which a believer might ask: where did your moral nature come from? (5) But this dispute is eternal. (6) When we have a truly talented work in front of us, it is always subjectively honest, but the scope of the truth depends on the strength of talent, and knowledge of the subject, and the ideal of honesty that is developed by this writer. (7) Inspiration throws the writer to the top of his ideal. (8) But the peaks of the ideal of Leo Tolstoy or simply good writer Pisemsky are on different levels, and here our own honesty in measuring their achievements must take this into account. (9) Tolstoy sees everyone from his height and therefore is visible to everyone. (10) Just a gifted writer from his height sees something and is visible to some people. (11) Moreover, some parts of the opening landscape can be seen by a gifted writer better than a genius. (12) I'm only afraid that this consolation of mine would not stop Salieri. (13) Inspiration may err, but it cannot lie. (14) To be more precise, everything truly inspired is always truly true, but the addressee may be false. (15) Imagine a poet who wrote a brilliant poem about the life-giving rationality of the movement of the luminary from east to west. (16) Can we enjoy such a poem, knowing that it does not comply with the laws of astronomy? (17) Without condition, we can! (18) We enjoy the plasticity of the description summer day, we even enjoy the charm of the poet's gullibility: as he sees, so he sings! (19) Such mistakes happen, but they are relatively rare, because inspiration in general is an obsession with truth, and at the moment of inspiration, the artist sees the truth in all its fullness. (20) But the obsession with truth most often comes to the one who thinks about it the most. (21) I will say this thing: there is a miserable prejudice that, when sitting down to write, one must write honestly. (22) If we sit down to write with the thought of writing honestly, we thought about honesty late: the train has already left. (23) I think that for a writer, as, apparently, for any artist, the first major act of creativity is his life itself. (24) Thus, the writer, sitting down to write, only adds to what has already been written by his life. (25) What was written by his personal life has already determined the plot and the hero in the first act of his work. (26) Further, you can only add. (27) The writer not only, like any person, creates in his head an image of his worldview, but invariably reproduces it on paper. (28) He cannot reproduce anything else. (29) Everything else is stilts or someone else's inkwell. (30) This is immediately evident, and we say - this is not an artist. (31) Therefore real artist intuitively, and then consciously builds his worldview as a will to goodness, as an endless process of self-purification and purification environment. (32) And this is the build-up of ethical pathos, earned by one's own life. (33) And the writer simply has no other source of energy.
(F.A. Iskander)
Introduction
Writer's inspiration is the force through which we become witnesses amazing worlds born in the minds of artists and poets.
Sometimes we plunge headlong into a fictional world, experience together with the characters, admire the beauties of nature, not suspecting that this is nothing more than the true worldview of the author, poured out on paper thanks to the inspiration that descended on him.
Problem
What is inspiration? What is it based on and can it be intentionally invoked? F.A. reflects on this. Iskander in his text.
Comment
In his opinion, inspiration is a well-deserved reward for the honesty of a writer. Depending on the strength of the talent, the writer can cover only some part of the truth or all of it. In the latter case we are talking about genius.
Author's position
It is important for a writer to remember that when sitting down to work, it is impossible to set an attitude of honesty. Such work is doomed to failure. After all true master the plot and the development of the action dictates it own life, and further creativity is intended only to add a possible outcome of events.
For F. Iskander, inspiration is the artist's worldview, the process of his self-purification and purification of the environment. The writer simply has no other source of energy.
own position
F. Iskander - wonderful artist words and it is impossible not to agree with him. Inspiration is truth, knowledge that controls the artist on a subconscious level.
Argument #1
There are many examples in Russian and world literature when a certain heavenly force guides the hand of a writer or artist. For example, A.S. Pushkin, creating the novel "Eugene Onegin", only sketched the images of the characters, endowed them with certain character traits and psychological features, and then they began to act independently.
At the beginning of the novel, Tatyana appears as a modest girl, superstitious and naive, who easily and forever falls in love with Eugene, who is unlike those around her. Disregarding decorum, she writes young man a letter with a declaration of love and dutifully accepts his persuasive confession when he confesses his inability to reciprocate her.
Years later, when Tatyana Larina marries and turns into a noble and revered lady, she again meets with Eugene. Now he passionately falls in love with her, but she is adamant. At the end of the novel, when Onegin confesses his love to Tatyana, kneeling before her, the girl refuses him, saying: "But I am given to another and I will be faithful to him for a century."
In a letter to a friend Raevsky A.S. Pushkin admits that he did not expect such behavior from his beloved heroine, that she acted independently, regardless of the will of her creator.
Argument #2
For the poetry of the early 20th century, called poetry " Silver Age”, the poet appears as a demiurge, creator, creator. Responsibility for the image falls on his shoulders surrounding reality from your own perspective. We all admire the poems of A. Blok, V. Mayakovsky, B. Pasternak, A. Akhmatova, M. Tsvetaeva and others, although we do not suspect under the influence of what forces their works were created.
M. Tsvetaeva speaks about this: “If only you knew from what rubbish poems grow, not knowing shame. How yellow dandelion at the fence. Like burdocks and quinoa."
Conclusion
True inspiration does not depend on the mood or thoughts of the artist. It can germinate on completely unsuitable soil. But the result of this birth will be a magnificent work, the reading of which will reveal something unknown to us, help us understand the incomprehensible, or remind us of the past.
