Space and time in the work. Artistic time and space

a) local time - space The classic diary in most of its samples is a sequential series of daily entries that reflect current events in the life of the author, his relatives and friends. The author seeks to record in the diary the most

b) continual time - space The fact that the chronotope is an ideological and aesthetic category is most convincingly shown by those diaries in which time and space go beyond the "here" and "now". Their authors in the daily recording strive to

V) psychological time- space Many authors chose the diary genre in order to mark events in it mental life. For them, everyday phenomena of reality were important to the extent that they were directly related to the facts of consciousness. IN

A) historical time- space In addition to the three main forms of the chronotope, the history of the diary genre has recorded several less productive varieties of time and space, which are reflected in the annals of the largest diary scholars. The appearance of such forms

Full of space and time: history, reality, time and space in the work of Mandelstam In the work of Osip Mandelstam, no less than in the poetry of Khlebnikov, although in a different way, one feels the desire to go beyond the boundaries of time and space,

A literary work, one way or another, reproduces the real world: nature, things, events, people in their external and inner being. In this sphere, the natural forms of the existence of the material and the ideal are time and space.

If the artistic world in a work is conditional, since it is an image of reality, then time and space in it are also conditional.

In literature, the immateriality of images, discovered by Lessing, gives them, i.e. images, the right to move instantly from one space and time to another. In the work, the author can depict events that occur simultaneously both in different places and at different times, with one caveat: "In the meantime." or "And on the other side of the city." Approximately this method of narration was used by Homer.

With development literary consciousness the forms of mastering time and space have changed, representing an essential element of artistic imagery, and thus have now constituted one of the most important theoretical questions about the interaction of time and space in fiction.

In Russia, the problems of formal “spatiality” in art, artistic time and artistic space and their solidity in literature, as well as the forms of time and chronotope in the novel, individual images of space, the influence of rhythm on space and time, etc., were consistently dealt with by P. A. Florensky , M. M. Bakhtin, Yu. M. Lotman, V. N. Toporov, groups of scientists from Leningrad, Novosibirsk, etc.20

Artistic time and space, tightly connected with each other, have a number of properties. In relation to the time depicted in a literary work, researchers use the term "discreteness", since literature is able not to reproduce the entire flow of time, but to select the most significant fragments from it, denoting gaps with verbal formulas, such as "Spring has come again.", or so, as it is done in one of the works of I. S. Turgenev: “Lavretsky spent the winter in Moscow, and in the spring of the following year the news reached him that Liza had cut her hair<.> ».

Temporal discreteness is the key to a dynamically developing plot, the psychologism of the image itself.

The fragmentation of the artistic space is manifested in the description of individual details that are most significant for the author. In I. I. Savin’s story “In the House of the Dead”, of the entire interior of the room prepared for the “unexpected guest”, only a dressing table, a table and an armchair are described in detail -

symbols of the past, “calm and comfortable life”, since it is they who often attract Khorov, who is “tired to death”.

The nature of the conventionality of time and space depends on the type of literature. Their maximum manifestation is found in lyrics, where the image of space can be completely absent (A. A. Akhmatova “You are my letter, dear, do not crumple.”), manifest allegorically through other images (A. S. Pushkin “The Prophet”, M. Yu Lermontov "Sail"), open up in specific spaces, realities surrounding the hero (for example, a typically Russian landscape in S. A. Yesenin's poem "White Birch"), or in a certain way line up through oppositions that are significant for not only romance: civilization and nature , “crowd” and “I” (I. A. Brodsky “March is coming. I serve again”).

With the predominance of the grammatical present in the lyrics, which actively interacts with the future and the past (Akhmatova “The Devil did not give away. I succeeded in everything”), the category of time can become the philosophical leitmotif of the poem (F. I. Tyutchev “Rolling down the mountain, the stone lay down in the valley. ”), is conceived as always existing (Tyutchev “Wave and Thought”) or momentary and instantaneous (I. F. Annensky “Longing of Transience”) - to have abstractness.

Conditional forms of existence of the real world - time and space -

tend to preserve some common features in the drama. Explaining the functioning of these forms in this kind of literature, V. E. Khalizev in a monograph on drama comes to the conclusion: “No matter how significant the role of narrative fragments in dramatic works, no matter how the depicted action is fragmented, no matter how the characters’ statements that sound aloud are subordinated logic of their inner speech, the drama is committed to closed in space and

time pictures".

In the epic kind of literature, the fragmentation of time and space, their transitions from one state to another become possible thanks to the narrator - an intermediary between the depicted life and readers. The narrator, as well as a personified personality, can “compress”, “stretch” and “stop” time in numerous descriptions and reasonings. Something similar happens in the works of I. Goncharov, N. Gogol, G. Fielding. So, the last one in "Tom's Story

Jones, the Foundling” the discreteness of artistic time is given by the very titles of the “books” that make up this novel.

Based on the features described above, time and space are represented in the literature by abstract or concrete forms of their manifestations.

An abstract is such an artistic space that can be perceived as universal, without a pronounced characteristic. This is a form of recreating the universal content, extended to the entire "human race", manifested in the genres of parables, fables, fairy tales, as well as in works of utopian or fantastic perception of the world and special genre modifications- dystopias. So, it does not have a significant impact on the characters and behavior of the characters, on the essence of the conflict, is not subject to the author's understanding, etc. space in ballads

V. Zhukovsky, F. Schiller, short stories by E. Poe, literature of modernism.

In a work, a specific artistic space actively influences the essence of what is depicted. In particular, Moscow in the comedy A.

S. Griboyedov “Woe from Wit”, Zamoskvorechye in the dramas of A. N. Ostrovsky and novels by I. S. Shmelev, Paris in the works of O. de Balzac are artistic images, since they are not only toponyms and urban realities depicted in the works. Here they are a specific artistic space that develops in the works a general psychological portrait of the Moscow nobility; recreating the Christian world order; revealing different sides the lives of the inhabitants of European cities; a certain way of existence - a way of being.

The sensually perceived (A. A. Potebnya) space as "noble nests" is a sign of the style of I. Turgenev's novels, generalized ideas about a provincial Russian city are spilled in A. Chekhov's prose. The symbolization of space, emphasized by a fictitious toponym, preserved the national and historical component in the prose of M. Saltykov-Shchedrin (“History of a City”), A. Platonov (“City of Gradov”).

In the works of literary theorists, specific artistic time means either linear-chronological or cyclic.

Linear-chronological historical time has an exact dating; in a work it usually correlates with a specific event. For example, in the novels by V. Hugo “The Cathedral Notre Dame of Paris”, Maxim Gorky “The Life of Klim Samgin”, K. Simonov “The Living and the Dead” real historical events are directly included in the fabric of the narrative, and the time of the action is determined to the nearest day. In the works of B.

Nabokov's time coordinates are vague, but by indirect signs they correlate with the events of 1/3 of the 20th century, since they seek to reproduce the historical flavor of that bygone era, and thus are also tied to a specific historical time.

In fiction, cyclic artistic time - the time of the year, the day - has a certain symbolic meaning: the day is the time of work, the night is peace and pleasure, the evening is calm and rest. From these initial meanings, stable poetic formulas arose: “life is declining”, “the dawn of a new life”, etc.

The image of cyclic time initially accompanied the plot (of Homer's poem), but already in mythology, some time periods had a certain emotional and symbolic meaning: night is the time of domination of secret forces, and morning is getting rid of evil spells. Traces of the mystical ideas of the people are preserved in the works of V. Zhukovsky ("Svetlana"),

A. Pushkin (“Songs of the Western Slavs”), M. Lermontov (“Demon”, “Vadim”), N. Gogol (“Evenings on a farm near Dikanka”, “Mirgorod”), M. Bulgakov (“Master and Margarita” ).

Works of fiction are capable of capturing an individualized, in terms of lyrical hero or character, emotional and psychological meaning of the time of day. So, in Pushkin's lyrics, the night is an expressive time of deep reflection of the subject of experience, in Akhmatova, the same period characterizes the anxious, restless moods of the heroine; in the poem by A. N. Apukhtin, the artistic image of the morning is shown through the elegiac mode of artistry.

In Russian literature, along with the traditional symbols of the agricultural cycle (F. Tyutchev “Winter is angry for a reason.”, I. Shmelev “The Lord’s Summer”, I. Bunin “Antonov apples”, etc.), there are also individual images of the seasons, performed, as well as individual images of the day, psychological design: unloved spring for Pushkin and Bulgakov, joyful and long-awaited for Chekhov.

Thus, when analyzing a work of fiction, it is important for an editor, publisher, philologist, language teacher to determine the filling of its time and space with forms, types, meanings, since this indicator characterizes the style of the work, the artist's writing style, the author's method of aesthetic modality.

However, the individual originality of artistic time and artistic space does not exclude the existence in literature of typological models in which the cultural experience of mankind is "objectified".

The motifs of the house, road, crossroads, bridge, top and bottom, open space, the appearance of a horse, types of organization of artistic time: annalistic, adventurous, biographical, and other models that testify to the accumulated experience of human existence are meaningful forms of literature. Each writer, endowing them with his own meanings, uses these models as "ready-made", preserving the general meaning inherent in them.

In the theory of literature, typological models of spatio-temporal nature are called chronotopes. Exploring the features of the typology of these meaningful forms, M. Bakhtin paid close attention to their literary and artistic embodiment and the culturological problems underlying them. By chronotope, Bakhtin understood the embodiment of various value systems and types of thinking about the world. In the monograph “Questions of Literature and Aesthetics”, the scientist wrote the following about the synthesis of space and time: “In the literary and artistic chronotope, there is a fusion of spatial and temporal signs in a meaningful and concrete whole. Time here thickens, condenses, becomes artistically visible; space is intensified, drawn into the movement of time, plot, history. Examples of time are revealed in space, and space is comprehended and measured by time. This intersection of rows and mergers will characterize the artistic chronotope.<...>The chronotope as a formally meaningful category determines (to a large extent) the image of a person in literature; this image is always significant

chronotopic."

Researchers identify such ancient types of value situations and chronotopes in the literature as "idyllic time" in the father's house (the parable of the prodigal son, the life of Ilya Oblomov in Oblomovka, etc.); "adventurous time" of trials in a foreign land (the life of Ibrahim in Pushkin's novel "Arap of Peter the Great"); "mystery time" of the descent into the underworld of disasters (Dante's "Divine Comedy"), which are partly preserved in a reduced form in the literature of modern times.

On the culture and literature of the XX-XXI centuries. a noticeable influence was exerted by the natural science concepts of time and space associated with A. Einstein's theory of relativity and its philosophical consequences. Most fruitfully mastered these ideas about space and time Science fiction. In the novels of R. Sheckley "Exchange of Minds", D. Priestley "June 31", A. Asimov "The End of Eternity" the deep moral, ideological problems of our time are actively developed.

to philosophical and scientific discoveries traditional literature also reacted vividly to time and space, reflecting in a special way the relativistic effects of demonstrating time and space (M. Bulgakov "The Master and Margarita": chapters "By Candlelight", "Extraction of the Master"; V. Nabokov "Invitation to execution"; T. Mann "The Magic Mountain").

Time and space are imprinted in works of art in two ways: in the form of motifs and leitmotifs that acquire a symbolic character and designate a certain picture of the world; and also as the basis of plots.

§ 2. Plot, plot and composition in a literary work

Plot (from French sujet) - a chain of events depicted in a literary work, the life of characters in its spatio-temporal dimensions, in successive positions and circumstances.

The events recreated by the creator form the basis objective world works are an integral part of its form. As the organizing principle of most epic and dramatic works, the plot can also be significant in the lyrical kind of literature.

The understanding of the plot as a set of events recreated in a work goes back to Russian literary criticism of the 19th century. :A.

N. Veselovsky in one of the sections of the monograph "Historical Poetics" presented a holistic description of the problem of literary plots from the point of

view of comparative historical analysis.

At the beginning of the 20th century, V. B. Shklovsky, B. V. Tomashevsky and other representatives of the formal school of literary criticism made an attempt to change the proposed terminology and connected the plot of the work with its plot (from Latin fibula - legend, myth, fable). They proposed to understand the plot as an artistically constructed distribution of events, and under the plot - the totality of events in their mutual internal connection21.

Sources of plots - mythology, historical tradition, literature of the past. Traditional stories, i.e. antique, were widely used by classic playwrights.

Events form the basis of numerous works historical character, or those that took place in a reality close to the writer, his own life.

Thus, the tragic history of the Don Cossacks and the drama of the military intelligentsia at the beginning of the 20th century, life prototypes and other phenomena of reality were the subject of the author's attention in the works of M. A. Sholokhov " Quiet Don”, M. A. Bulgakov “The White Guard”, V. V. Nabokov “Mashenka”, Yu. N. Tynyanov “The Death of Vazir-Mukhtar”. In literature, plots that actually arose as a fruit of the artist's imagination are also common. Based on this material, the story "The Nose" by N.V. Gogol, the novels by A.R. Belyaev "The Amphibian Man", V.

Obruchev "Sannikov Land" and others.

It happens that the series of events in a work go into subtext, giving way to the recreation of impressions, thoughts, experiences of the hero, descriptions of nature. These are, in particular, the stories of I. A. Bunin "Chang's Dreams", L. E. Ulitskaya "Barley Soup", I. I. Savin.

The plot has a range of meaningful functions. Firstly, it captures a picture of the world: the writer's vision of being, which has a deep meaning, gives hope - a harmonious world order. In historical poetics, this type of artist's views is defined as classical, it is typical for the plots of the literature of past centuries (the work of G. Heine, W. Thackeray, A. Maurois, N. Karamzin, I. Goncharov, A.

Chekhov and others). And vice versa, the writer can present the world as a hopeless, deadly existence, conducive to spiritual darkness. The second way of seeing the world - non-classical - underlies many literary plots of the XX-XXI centuries. literary heritage F. Kafka, A. Camus, J.-P. Sartre, B. Poplavsky and others are marked by general pessimism and disharmony in the general state of the characters.

Secondly, the series of events in the works are designed to reveal and recreate life's contradictions - conflicts in the fate of the characters, who, as a rule, are excited, tense, and deeply dissatisfied with something. By its nature, the plot is involved in what is meant by the term "drama".

Thirdly, plots organize a field of active search for the characters, allow them to fully reveal themselves to the thinking reader in their actions, and evoke a number of emotional and mental responses to what is happening. The plot form is well suited for a detailed recreation of the volitional principle in a person and is typical for the literature of the detective genre.

Theorists, professional researchers, editors of literary publications distinguish the following types of literary plots: concentric, chronicle, and, according to V. E. Khalizev, which are in causal relationships - supergenre.

Plots in which some one event situation comes to the fore (and the work is based on one storyline) are called concentric. Single-line event sequences were widespread in the literature of antiquity and classicism. It should be noted that the basis of small epic and dramatic genres, which are characterized by the unity of action, is also based on the specified plot.

In literature, chronicles are plots in which events are dispersed and unfold separately from each other. According to B.

E. Khalizeva, in these plots, the events do not have causal relationships among themselves and are correlated with each other only in time, as is the case in Homer's epic "Odyssey", Cervantes' novel "Don Quixote", Byron's poem "Don Juan".

The same scientist singles out multilinear plots as a variety of newsreels, i.e. parallel to each other unfolding, somewhat independent; only from time to time contiguous plot schemes, such as, for example, in the novels of L. N. Tolstoy "Anna Karenina", W. Thackeray "Vanity Fair", I. A. Goncharov "Cliff".

Plots are especially deeply rooted in the history of world literature, where events are concentrated in cause-and-effect relationships and reveal a full-fledged conflict: from the beginning of the action to its denouement. A good example is the tragedies of W. Shakespeare, the dramas of A. S. Griboyedov and A. N. Ostrovsky, and the novels of I. S. Turgenev.

Such types of literary plots are well described and carefully studied in literary criticism. V. Ya. Propp, in his monograph Morphology of a Fairy Tale, using the concept of “the function of characters”, revealed the significance of a character’s act for the further course of events22.

In one of the branches of the science of literature, narratology (from Latin narration - narration), a three-term plot scheme painted by V. Propp: the initial "lack" associated with the hero's desire to possess something - the confrontation between the hero and the anti-hero - a happy ending, for example, “accession to the throne” is considered as a super-genre (as a characteristic of the plot) and is associated with the concept of meditation, finding a measure and a middle.

Researchers of the structuralist orientation A. Greimas, K. Bremon believe that narrative meditation is based on special way thinking associated with a change in the view of the essence of human activity, marked by signs of freedom and independence, responsibility and irreversibility.

Thus, in the structure of the plot of the work, the series of events consist of signs of human activity, for which the immutability of the world and the possibility of change are the key to existence. According to these researchers, narrative meditation consists in "humanizing the world", in giving it a personal and event dimension. Greimas believed that the world is justified by the existence of man, and man himself

included in the world.

In classical plots, where actions move from plot to denouement, twists and turns play a big role - sudden shifts in the fate of characters: all kinds of turns from happiness to misfortune, from luck to failure, or vice versa, etc. Unexpected incidents with the characters give the work a deep philosophical meaning. As a rule, in plots with abundant ups and downs, a special idea is embodied of the power of various accidents over the fate of a person.

The vicissitudes give the work an important element of entertainment. Causing an increased interest in reading in the contemplative reader, eventful intricacies are characteristic of both entertaining literature and serious, “top” literature.

In the literature, along with the considered plots (concentric, chronicle, those where there is a plot, conflict, denouement), event sequences are highlighted, which are focused on the state human world in its complexity, versatility and persistent conflict. Moreover, the hero here yearns not so much to achieve some goal, but relates himself to the surrounding disharmonious reality as an integral part of it. He is often focused on the tasks of knowing the world and his place in it, is in constant search of agreement with himself. Philosophically important "self-discovery" of the heroes of F. Dostoevsky, N. Leskov, S. Aksakov, I. Goethe, Dante neutralize the external event dynamics of the narrative, and the vicissitudes here turn out to be unnecessary.

The stable conflict state of the world was actively mastered by literature: the works of M. de Cervantes "Don Quixote", J. Milton "Paradise Lost", "The Life of Archpriest Avvakum", A. Pushkin "Eugene Onegin", A. Chekhov "The Lady with the Dog", the plays of G. Ibsen and others are deeply debatable, consistently reveal the "layers of life" and are "doomed" to remain without a resolution.

Composition (from lat. composition - composition) - the connection of parts, or components, into a whole; the structure of the literary and artistic form.

Depending on what level, ie. layer, the art form in question, distinguish aspects of the composition.

Since a literary work appears to the reader as a verbal text perceived in time, having a linear extent, researchers, editors, publishers need to talk about the problems of textual composition: the sequence of words, sentences, the beginning and end of the text, the strong position of the text, etc.

In a literary work, there is an image behind the verbal material. Words are signs denoting objects, which together are structured into the subject level of a work. In the figurative world of art, the spatial principle of composition is inevitable, which manifests itself in the correlation of characters as characters. In the literature of classicism and sentimentalism, the subject level of the composition was revealed through the antithesis of vice and virtue: the works of J. B. Moliere "The tradesman in the nobility", D. I. Fonvizin "Undergrowth", A. S. Griboyedov "Woe from Wit", F. Schiller "Deceit and Love" revealed the balance between negative characters and positive ones.

IN further literature the antithesis of characters is softened by a universal motive, and the characters, for example, in F. M. Dostoevsky, acquire a new quality - duality, combining pride and humility. All this reveals the unity of the idea, the creative concept of the novels.

Clutch by contrast - the grouping of persons in the course of the plot - the scope of the works of L. N. Tolstoy. In his novel "War and Peace", the poetics of contrast extends to the family nests of the Rostovs, Bolkonskys, Kuragins, to groups distinguished by social, professional, age and other characteristics.

Since the plot of a literary work organizes the world of artistic images in its temporal extent, professional researchers inevitably raise the question of the sequence of events in plots and techniques that ensure the unity of perception of the artistic canvas.

The classic scheme of a single-line plot: plot, development of action, climax, denouement. The chronicle plot is composed, framed by chains of episodes, sometimes including concentric microplots that are outwardly not connected with the main action - inserted short stories, parables, fairy tales and other literary processed material. This way of connecting the parts of the work deepens the internal semantic connection between the inserted and the main plots.

The method of framing in the presence of the narrator reveals the deep meaning of the story being conveyed, as, for example, was reflected in the work of Leo Tolstoy “After the Ball”, or emphasizes the different attitude to many actions, both of the hero-narrator himself and his random fellow travelers, in particular, in the story of Nikolai Leskov "The Enchanted Wanderer".

The technique of montage (from Gr. montage - assembly, selection) came to literature from cinema. As a literary term, its meaning is reduced to the discontinuity (discreteness) of the image, the breakdown of the narrative into many small episodes, behind the fragmentation of which the unity is also hidden. artistic intent. The montage image of the surrounding world is characteristic of AI Solzhenitsyn's prose.

In the work, various omissions, secrets, omissions most often act as plot inversions, preparing recognition, discovery, organizing ups and downs that move the action itself to an interesting denouement.

Thus, composition in the broad sense of the word should be understood as a set of techniques used by the author to “arrange” his work, creating a common “drawing”, “routine” of its individual parts and transitions between them.

Literary critics, among the main types of composition, along with the named oratory, also note narrative, descriptive and explanatory.

Professional analysis, analysis, editing of a literary text requires a philologist, editor and proofreader to maximize the introduction into the "corpus of the literary body" - textual, subject and plot, focusing on the problem of the integrity of the perception of a work of art.

From the arrangement of characters as characters, one should distinguish the arrangement of their images, the arrangement in the text of the details that make up these images. For example, linkages in contrast can be emphasized

reception comparative characteristics, alternately describing the behavior

heroes, characters in the same situation, broken down into chapters, subheadings, etc.

The opposing groups of characters are introduced by the creator of the work through different storylines, described by him with the help of the "voices" of other characters. Parallels are not immediately noticeable to the reader in the fabric of the narrative and are revealed to him only during repeated and subsequent readings.

As you know, the narrative does not always follow the chronology of events. For an editor, a philologist who studies the sequence of events in works with several storylines, there may be a problem with the alternation of episodes in which certain characters are involved.

Problems of textual composition can also be associated with the introduction of the past hero or past events into the main action of the work; familiarizing the reader with the circumstances preceding the plot; subsequent fates of the characters.

Competent dispersal of literary material, auxiliary techniques - prologue, exposition, prehistory, epilogue - expands the spatio-temporal framework of the narrative without prejudice to the image of the main action of the work, in which the narrative is combined with description, and stage episodes are intertwined with psychological analysis.

The multidirectionality of the subject and textual composition is revealed by those works in which the plot, the series of events, have no denouement, and the conflict remains unresolved to the end. In this case, the editor, textologist, literary critic deals with the open ending of the work, since the plot is a category of the subject level in literature, and not a textual one.

A text, including an epic one, has a beginning: title, subtitle, epigraph (in narratology they are called the waiting horizon), table of contents, dedication, preface, first line, first paragraph, and end. The indicated parts of the text are frame components, i.e. frame. Any text is limited.

In drama, the text of a work is divided into acts (actions), scenes (pictures), phenomena, stage indications, main and secondary.

In lyrics, parts of the text include verse, stanza, strophoid. Here the function framework components performs an anacrusis (constant, variable, zero) and a clause enriched with rhyme and especially noticeable as a verse boundary in case of transfer.

However, successful understanding overall composition of a work of art consists in tracing the interaction not only of the plot, plot, subject level of the work and the components of the literary text, but also of the “point of view”.

In art, the categories of space and time are a specific system of signs that serve to embody and convey cognitive and evaluative artistic information. This dependence was first discovered and formulated by G. E. Lessing in the treatise "Laocoon, or On the Limits of Painting and Poetry". According to the philosopher, fine arts and poetry can artistically recreate bodies and actions, i.e. spatial and temporal relationships. As for the spatial arts, they are able to depict bodies directly, and actions - only indirectly, thanks to the depiction of the body in some fixed moment of movement. Temporal arts, on the other hand, are capable of depicting actions directly, and indirectly, bodies.

I. Kant considered time and space as a priori forms of sensory contemplation. The philosopher substantiated the position that the prerequisite for any experience is the ability of a person to organize his sensations in spatial and temporal terms.

Following the theoretical provisions of G. E. Lessing and I. Kant, developing them, many cultural theorists give the following classification of arts: spatial (painting, graphics, sculpture, architecture), temporal (verbal and musical creativity) and spatio-temporal (stage art, dance, cinema). However, it should be borne in mind that any scheme is relative, since the boundaries between the arts are often violated.

Each kind of literature has its own laws of the relationship of time and space. In classical drama, place and time are determined by the specific principles of this type. verbal creativity. Since the performing arts involves the presentation of events, time must be concentrated to the duration of the dialogues, and space is limited to mise-en-scenes.

In the theatrical text, the compositional order is predetermined and finally fixed. “The limited space by a ramp or backstage,” writes Yu. M. Lotman, “with the complete impossibility of transferring the artistically real (and not implied) action beyond these limits, is the law of the theater. This closed space can be expressed in the fact that the action takes place in indoors(house, room) with the image of its boundaries (walls) on the scenery. The absence of walls from the side of the auditorium does not change the matter, since it has a non-spatial character: in the language of the theater, it is equivalent to the condition for constructing a verbal artistic text, according to which the author and reader have the right to know everything they need about the characters and events.

There is no intrigue in the poetics of the theater of the absurd, which gives the plays a static character. In the dramaturgy of the 20th century, which acquired the status intellectual games, space and time insistently declare their relativity. In S. Beckett's play "Waiting for Godot" the present and the past are presented at the same time, and the place of action in this aesthetic system does not require designation at all. The closed space of the stage fixes the boundaries of the human cosmos, the limit of the temporal and spatial extent of life, and the expectation of the characters creates the scenic tension of time.

Poetic time moves faster than real time. In works in which there are no events, the lyrical, non-fable time becomes the style-forming beginning, for which, according to E. Vinokur, the past and the future are "one and the same continuous present."

The structure-forming beginning of epic time, as a rule, is the combination of various time layers. Direct speech in the novel is synchronous with real time. Indirect speech can vary in pace depending on the author's artistic attitudes.

There are two timelines in the piece of music. First of all, it is objective time, measured by the duration of the work itself. Another type lies in the specific organization of sound material, reflecting the style of thinking of the composer and the era. In music, time cannot be analyzed in isolation from space. The uniform pulsation of rhythmic parts, the principle of contrast, the presence of the main and secondary themes create a chain of events that reflects the present, recollection and foreboding. Space in works classical music due to its continuity, it plays an exceptional formative role. Time in music is manifested in the change of chords, melodic peaks, rhythmic accents.

In musical experiments of the XX century. time breaks up into separate self-contained moments. Composers, in their desire to break the shackles of time, strive to free musical sound from associations, to make it an end in itself due to the destruction of intonation and the absence of harmonic tonal gravity. Modernist music focuses on one sound, how to extract it, and how long it lasts. The undividedness and uniformity of the musical fabric leads to a synthesis of the moment and eternity. The task of modernist music is to divide eternity into many unique moments.

Time and space in cinematography should not be reduced to the analysis of technical devices or to the peculiarities of dramaturgy. In the film, the director combines mental, physical and dramatic time. The technique of editing, the rhythmic change of frames contribute to the appearance in the mind of the viewer of the illusion of spatial unity.

The director, depending on the need, can concentrate the chronology, unfolding the action only in space. When necessary, the film is constructed as a chain of events, sometimes time is reduced to a single moment. A number of images are similar to the clarity of a literary phrase, marked by musicality, which allows you to express the most vague feelings. Author's attitude to events is often embodied using the methods of compressed time, the coincidence of times or the reverse course of time. The continuity of movement in the cinema and the impression of integrity arises due to the sequence of discrete shots.

V. E. Meyerhold denied the right of "photography" to be called art, since in mechanical copying there is no movement and measurement of time, which are the basis of cinema. The director claimed that "the screen is something located in time and space, and that it is the task of the actor of the future to develop the consciousness of time in the game."

Cinema is based on montage. The reception itself was opened by the literature of romanticism. Editing is one of the leading ways of constructing a film. Cinema experiments with the categories of space and time, violates the relationship between causes and effects, creates a paradoxical shift in event plans, achieving a sophisticated transfer of the director's intention.

The universality of aesthetic laws brings together different types of art and their perception.

To understand the specifics of art, it is necessary to take into account the time of reception of the work. Perception is subject to certain laws. Repeated carrying out of the theme with expectation and recognition of it, keeping the plot texture in memory for long sections of the form, metrical organization of sound material are patterns related to the time of perception of a musical work.

The piece of music is perceived as sequence of sounds movie - like consistent organization of personnel, static works of painting, sculpture and architecture in human perception unfold in time as sequence of images. The perception of spatial arts is marked by the following composition: the aesthetic complex of the work opens up to the viewer - the plastic subordination of profiles and projections, the combination of shadows and light.

The perception of the plastic arts implies the initiative of the viewer when considering the subject: the angle of observation, the speed of transition from one point to another, the total duration of perception.

This does not mean absolute arbitrariness and uncontrollability of perception. P. Florensky reflects on this in his work "Analysis of spatiality in artistic and visual works": "Nothing prevents me from tearing a ball of thread anywhere or anywhere to open a book, but if I want to have a solid thread, I look for the end of the ball and from it I am already walking along all the turns of the thread. In the same way, if I want to perceive a book as a logical or artistic whole, I open it to the first page and go according to the page numbering in sequence. A fine work, of course, is accessible to my inspection from any place starting and in any order, but if I approach it as an artistic one, then with an involuntary instinct I find the first thing to start with, the second one, the next one, and, unconsciously following its guiding scheme, straighten it with an internal rhythm.

The work is constructed in such a way that this transformation of the scheme into rhythm is done by itself.

It is obvious that P. Florensky's thinking is aimed at a prepared viewer. Be that as it may, the perception of the plastic arts in any sequence ultimately creates a holistic view. Works of painting, sculpture, architecture are static, two-dimensionally or three-dimensionally plastic. They are excluded from the flow of time. Meanwhile, the act of perception - reading human experience into an artistic creation - overcomes the limitations of this or that type of art.

In various types of art, the categories of space and time manifest themselves in a special way. The existence of verbal and musical art is marked by processuality. The act of reading assumes a strict determinism due to the time of perception, which does not exclude the need to slow down or speed up reading or return to favorite places. The world of artistic images affects the reader, viewer and listener, breaks the spatial locality of the work and gives rise to various associations.

The categories of space and time in art have pictorial And expressive meanings. More than once, lyrical masterpieces have attracted composers. Music has influenced many works of world literature. The poets enthusiastically describe ancient statues, translating perfect plasticity into the sphere of images and rhymes. "Prose of moods" and " musical prose"are marked by the tension of the melodic atmosphere. In the picturesque arrangement of objects on the canvas, in the special study of the "light-air environment", a clear rhythm of space is felt. Musical themes evoke associations with the color scheme and color contrasts.

The undoubted relationship between music and painting makes it possible to liken a picturesque image to a harmonious sound. The composer, referring only to the ear, can evoke the same sensations that painting conveys with the help of paints. The Romantics insisted that architecture is frozen music. As for poetry, the definition of lyrical landscapes as "painting with words" has long ceased to be conditional - the images created by the great artists of the word are so bright and plastic.

A work of art is a source of information and is perceived differently. In this it differs from scientific texts, the information capacity of which is always strictly fixed and does not imply, as in communication with a work of art, the effect of empathy and sensual contemplation.

"What happens in the process of reading? - J. Carey talks about the role of time in shaping the reader's impressions. - At first, the reader perceives physiologically. In fact, only combinations of signs printed on paper appear before the reader. him something “with his on your own". Reading is a creative process, subject to the same rules, the same limitations, as the spiritual activity, by means of which a person contemplating a work of art turns a block of stone, colors applied to a canvas, i.e. things in themselves meaningless, into a meaningful impression.

Each era creates its own vision of the world, its own style of thinking and, accordingly, its own concept of time and space.

Ancient forms of thinking are marked by an anthropomorphic perception of time, endowing it with a moral meaning. archaic time ahistorical, it is cyclical and needs no precise measurement, events are reduced to categories, and individual histories are archetypal. Life, being freed from chance, is included in the structure of eternity. The future in the mythopoetic tradition is identified with fate, the temporal duration of wanderings is measured by the space overcome.

In folklore, the time of events is determined by circumstances external to the hero. Folklore narration documents non-event time as "pauses" and expresses it with sacred numbers, indicating not so much the duration as the immeasurability (three, seven, ten, thirty-three).

The epic is based on the principles of cyclization. The chronology of epic tales is alien to reliable dates. "Empty" time does not change the heroes. They are not subject to aging. The hero begins to undergo changes only when he is included in the action.

The mythopoetic tradition becomes a fruitful source of many artistic solutions literature of the last centuries.

A work of art is the embodiment of philosophical and ethical-aesthetic quests that materialize in a composition, a system of images, in a spatio-temporal continuum, giving the plot the necessary dynamics, reasoning and recognizability. The original, fundamentally heterogeneous material of reality is comprehended by the author and proposed as a dynamic figurative and artistic phenomenon, which unfolds in the form of a successive series of stages and is implemented in the space-time continuum - the chronotope.

The category "chronotope" is introduced into the research arsenal of literary criticism Μ. M. Bakhtin, who developed the theory of the poetics of the novel in a historical perspective. The visual function of the chronotope is to make events visible and tangible. “About an event,” writes M. M. Bakhtin, “one can report, inform, and at the same time give precise instructions about the place and time of its accomplishment. But the event does not become an image.

This happens due to the thickening of the time of a human life or historical event in certain areas of the artistic space. All the abstract elements of the novel, not marked by artistic figurativeness, philosophical reasoning, generalizations and representations of various kinds of ideas are filled with "flesh and blood, are attached to artistic figurativeness through the chronotope."

The chronotope, according to Bakhtin, creates an image, and in this its pictorial function is manifested. General meaning The chronotope lies in the fact that the events in a work of art are characterized by a certain spatio-temporal interdependence. Event time can be marked by duration, discreteness or continuity, limit or infinity, closure or openness.

The concept of chronotope does not exhaust the scope individual work, it is associated with the aesthetic trends of the era, the author's style, the genre of works and is often marked by a direct relationship with the typology of reader reactions.

In art, time can shrink and stretch, stop, go back, spatial relationships can shift and deform. On this basis, the distance arises between art form and reality, which is usually referred to as artistic convention.

D.S. Likhachev wrote that "time is a phenomenon of the very artistic fabric of a work, subordinating its grammatical and philosophical understanding by the writer to its artistic tasks."

The problem of spatio-temporal relationships in literature must be considered in connection with the evolution of artistic trends and styles. The classic principle of "three unities", which provoked fierce criticism from the theorists of romanticism, aimed to concentrate events to the utmost, to offer a clear portrait of what was happening, resisting the chaos of reality and the willfulness of the artist. "The Letter on the Rule of Twenty-Four Hours" by Jean Chaplin, "Practice of the Theater" by Francois d'Aubignac, "Poetic Art" by Nicolas Boileau-Despreo develop the theoretical aspects of classic poetics, set out the rules by which conditions are created for a differentiated disclosure of characters, ideas and deep analysis of the collision of private motivation with a rational norm.

The philosophical and aesthetic practice of classicism made it possible to plotly organize the source material full of contradictions, to generalize the depicted reality, to present it in the form of a holistic dramatic conflict.

In classicism, space and time are created in accordance with plastic patterns that have clear and open lines for aesthetic contemplation. The frightening multidimensionality of objects is brought into line with the stylistic norm. The spatial reasoning of conflicts is intended to confirm the artistic and figurative persuasiveness. In this sense, the subsequent polemic with the limitations of classic aesthetics is a dispute between romanticism and a culture that has chosen temporal-spatial convention as an independent value, providing artistic practice with theoretically solid arguments.

Classicists often transfer the action of works to the past, seeing in historical heroes the personification of the virtues and vices of their time. This decision characterizes all narrative aesthetics, but for classicism the principle of analogy is important, which allows illustrating the idea of ​​the over-time existence of the conflict between duty and passion.

The classicist idea of ​​compulsory aesthetic "discipline" will be developed in artistic creativity and literary-critical activity of representatives of the early Enlightenment. Supporters normative poetics and opponents of "unlimited freedom" in creativity rely on the idea of ​​measure, harmony and law. Meanwhile, the Age of Enlightenment expresses a skeptical attitude towards the desire of classicism to reasonably order the world. The authors of the novels strive to portray life in the realities of life itself: in its prejudices, dynamics, conflicts, epic temporal and spatial extent.

Romanticism defends the artist's right to free initiative in the artistic embodiment of the contradictions of a rebellious spirit. Writers extremely freely comment on the temporal circumstances of the characters' lives, correlate the eternal and the temporal, create an eschatological image of time, which measures the fatal pace of inevitable death. The idea of ​​the doom of titanic passions encourages romantics to narrow the time and space limits of the character's existence. The rebellious youth is defeated in a clash with the world. All attempts to overcome loneliness and longing are doomed. And even a journey does not change anything in a soul marked by disappointment. The authors depict the tragedy of the hero, reducing his physical representation in the world to a psychological reflection of what is happening. Such a subjective view of the image radically narrows reality itself, often making it unreal.

Romantics often resort to the reception of an asymmetric image of the universe. Writers interrupt the normal course of events that are not significant for the conflict with flashes of concentrated time, the metric of which is intended to reveal the dramatic culminations of the restless spirit.

Comprehension of the tragic ups and downs of fate in romantic art is often carried out in terms of musical aesthetics. Music allows you to overcome space-time boundaries, turn to the past and look into the future, promises to fulfill hopes and fatally programs fate. An active appeal to Platonic ideas is embodied in the development of the theory of "two worlds" and "double vision", which expands the space of romantic works: any plot situation is related to the world of ideas, the specifics of life turns out to be a simplified sketch of an ideal program of the world order.

Romantic irony relieves tension between the real and ideal worlds, it is assigned the role of expressing the author's doubt in the triumph of harmony and revealing the ability of a romantic reader to be equal to the ideal.

Romantics not only discover the wealth of oral folk art, but are also the first to begin to study folklore. Turning to folklore helps to expand the established boundaries of plots, and also brings into the culture fantasy elements, which allow you to look into the future and find in it the personification of the ideal, or the coming tragedy.

Romantics, in search of harmony, turn to the image of the patriarchal past, not overshadowed by the influence of a soulless civilization. The past beckons with a utopian sense of the unattainable and is painted in idyllic tones. An original view of history is offered by W. Scott. The writer is not limited to the traditional opposition of the past to the present. Turning to the history of England, the author of "Ivanhoe" uses the principle of analogy, discovering in the past the circumstances that determined the specific historical perspective of the country.

In the aesthetics of realism, spatio-temporal representations are focused on a scrupulous reproduction of reality.

In realism, space and time become one of the means of conveying the thoughts and feelings of the characters and the author, but their main purpose is a figurative generalization of reality.

AS Pushkin traces the connection between individual time and eternity. M. Yu. Lermontov contrasts the present and the past, modernity saddens the poet, encourages him to draw gloomy pictures of the future. For F. I. Tyutchev, life is a fragile moment, marked by a tragic sense of the finiteness of life. N. A. Nekrasov strives to objectify the poetic content of his works, inscribing signs of real historical time into the lyrics.

A. S. Pushkin, N. V. Gogol, I. A. Goncharov, L. N. Tolstoy, A. P. Chekhov, recreating a holistic and visible picture of human experiences, use effective techniques to "stop" time or when it is necessary to increase its duration.

D. S. Likhachev, reflecting on the poetics of artistic time, makes an important generalization: “On the one hand, the time of a work can be “closed”, “closed in itself”, taking place only within the plot, not connected with events taking place outside the work , with historical time. On the other hand, the time of a work can be "open", included in a wider flow of time, developing against the background of a precisely defined historical era. "Open" time of a work implies the presence of other events occurring simultaneously outside the work, its plot ".

In the works of N.V. Gogol, the structure of time and space becomes one of the main means of expression. In Evenings on a Farm near Dikanka real and fantastic spaces collide. Closed in its geographical specificity, "Petersburg Tales" become a metaphor for the world, destructive for a person, and the city depicted in "The Government Inspector" appears as an allegory of bureaucratic Russia. Space and time can manifest themselves in domestic scenes or in marking the boundaries of the existence of characters. In "Dead Souls" the image of the road as a form of space is identical to the idea of ​​the path as moral standard human life.

I. A. Goncharov in the novel "Oblomov", emphasizing the unhurriedness of the calendar of patriarchal existence, refers to the comparison of the hero's life with the "slow gradualness with which the geological modifications of our planet occur." The novel is based on the principle of open time. The author deliberately neglects the clear metrics of the narrative, slows down the passage of time, persistently returning to the description of the patriarchal idyll.

The depicted time and the time of the image in artistic texts may not coincide. So, the novel "Oblomov" reproduces several episodes from the life of the protagonist. Those points on which the author considered it important to dwell are presented in detail, others are only indicated. Nevertheless, this principle of organizing a work results in the creation of complete picture human life.

L. N. Tolstoy in the novel "War and Peace", reflecting on the laws of human society, refers to the mythopoetic tradition, which is based on the idea of ​​the cyclical development of the universe. The philosophical purpose of such a decision is the idea that everything in the world, chaotic and contradictory, is subject to the eternal human desire to comprehend harmony.

In the novel "War and Peace" the flow of time is determined by the law of non-linear transformations, which is embodied in the intersection of "real time" and "literary time". In the work of L. N. Tolstoy, a special role is played by chronological order. The writer carefully dates each chapter and even notes the time of day.

In the lines describing the experiences of the characters, the author of the epic manages to achieve the rhythmic tension of the narrative and the dynamic change of emotional states. The thoughts of the heroes either speed up, or seem to freeze, and, accordingly, time itself accelerates its movement or petrifies in anticipation.

A work of art belongs to special types of exploration of reality. The artistic image is only indirectly connected with the image of reality. The writer must always take into account in his work the spatio-temporal boundaries of reality, correlate them with the chronology of the created text. Often in a literary work, physical time and plot time do not coincide.

As an example, one can refer to the poetics of the novels of F. M. Dostoevsky. The writer puts his characters in crisis situations, the implementation of which requires an exceptionally long time. The events described in the novels of F. M. Dostoevsky, especially some scenes, do not fit into the framework of real time. But it is precisely such a chronotope of the novel that conveys the tension of the thoughts and will of the characters, caught up in the drama of life situations.

Readers may get the impression that the novels of F. M. Dostoevsky are based on different time plans. This feeling comes from a tense interweaving of events, discussions, confessions, facts, internal monologues and internal dialogues. In fact, the writer's works are marked by the unity of time, and all artistic material is offered in an integral space of simultaneous implementation.

The aesthetics of naturalism in the reproduction of space and time chooses the technique of a rigid spatio-temporal presentation of the material. E. Zola, E. and J. Goncourt record the facts of reality, correlate them with the voice of nature, revealing the conditionality of the intuitive actions of the characters by the eternal laws of nature.

Symbolism overcomes the objectivity of phenomenal existence, metaphors and symbols expand the horizons of human existence. With the help of "lyrical alchemy" C. Baudelaire, P. Verlaine, A. Rimbaud, S. Mallarmé compare reality with the irrational meanings of the world, prove that the symbol embodies the ideal plan, the essence of things that were, are or someday will certainly declare yourself.

Yu. M. Lotman noted that "the artistic space in a literary work is a continuum in which characters are placed and an action is performed. Naive perception constantly pushes the reader to identify artistic and physical space. There is some truth in such perception, because even when exposed its function of modeling extra-spatial relations, artistic space necessarily retains, as the first plane of the metaphor, an idea of ​​its physical nature.

According to the degree of conventionality, the categories of space and time can be relative and specific in a literary work. So, in the novels of A. Dumas, the action takes place in France of the 17th century, but the real historical place and time indicated by the writer is only an excuse for recreating heroic types. According to W. Eco, the main thing in this approach to the past is that it is "not here and not now."

Gogol's principles of realistic typification belong to the "concrete" principle of mastering reality. The image of the provincial city of N. is not at all a symbol of the Russian province, it is a symbol of bureaucratic Russia, an allegory of widespread lack of spirituality.

For the perception of a literary work, the difference between fictional and real topoi is not fundamental. The main thing is that Petersburg in the Russian novel, and the city of S. (A.P. Chekhov's story "The Lady with the Dog"), and the city of Kalinov (A. Ostrovsky's play "Thunderstorm") - all of them artistically embody the author's idea and are symbols of peace who have lost the concept of morality.

The conventionality and stereotype of literary time is manifested in the calendar of seasonal preferences. Winter is the most dangerous time of the year for the embodiment of intimate emotions. Many characters of romanticism reflect inconsolably in winter and recall the old glorious time that has gone into oblivion. A rare hero of romanticism in winter will be brought out of the scrap by love needs. Time and space are subject to the laws of strict regulation. Images of a blizzard, a winter cold in the literature are correlated with the struggle of infernal forces and often become, especially in realistic literature, allegories of social violence. No less common are winter landscape sketches, the purpose of which is to glorify the intrinsic value of life.

The normativity of classicism in the depiction of resurgent nature - an appeal to ancient images, pathetic comparisons - is overcome by a sentimentalist conviction in the identity of nature and soul. Romanticism saturates the description of the awakening world with objectivity, expressive details, and a rich color palette.

Nature awakening from its winter sleep provides convincing interiors for revealing the first feeling. Spring favors the birth of love. A hubbub reigns in the forests, restless birds are absorbed in the construction of housing. The world tirelessly prepares for a date with passion.

The heroes of romantic poetry, faithful to the imperative call of nature, with a heart full of hope, rush into the whirlwind of spring delusions. Lyrical poetry ascribes the most sincere and exciting emotions to spring. In the spring, as literature proves, it is simply necessary to fall in love. Heroes feel their belonging to the general unrest. Nature and the soul awaken from sorrow. The time has come to experience for yourself what you read, saw in a dream and cherished in dreams. Descriptions of the joy of innocent love sensations, languishing nights, and many-speaking sighs become dominant in literary plots. The metric of experiences is formed in accordance with the violent natural metamorphoses. Poetry enthusiastically describes the first thunder, the May thunderstorm - signs of a symbolic exposition of the renewal of nature and the birth of love.

Summer in literary works, as a rule, comes unnoticed and does not give the promised joys. Literature does not favor mise-en-scenes illuminated by bright sunlight. Everyone sincerely is afraid of publicity. For a love story, twilight is preferable. Evening walks evoke thoughts of eternity. Distant stars - the only witnesses of timid feelings - are watching the lucky ones. The very mise-en-scene of the evening meeting, as the works of romantics and A.P. Chekhov show, is built in such a way that the plot of recognition could come true.

The autumn plot declares the need to complete everything started in the spring and summer. The love-everyday mythology of literature warns of this. Autumn moods permeated English graveyard poetry. It is at this time of the year that the most painful events occur in the works of neo-romanticism. The range of "autumn" activity of the heroes is extremely poor. Realistic poetry denounces social injustice, and romantic heroes in autumn tend to put an end to love punctuation.

The literary category of time is marked by a wide range of artistic solutions. Literature actively uses images that are symbols of the measurement of time: an instant, a minute, an hour, a pendulum, a dial. In poetry, the opposition of the symbols of the measurable and the exorbitant - the moment and eternity - is widespread.

The interpretation of the space-time continuum in the works of the last century is ambiguous.

Literature of the 20th century marked by a special attitude to the category of time, to the phenomenon of reconstruction of what happened. Beginning with the "Confessions" of Blessed Augustine, the introduction of present and future plans into the past becomes one of the methods of confessional and memoir literature. Integration of the future into the present allows you to analyze what happened, to see it in a time perspective. V. Shklovsky, reflecting on the nature of the memoir genre, noted: “A person who begins to write memories has two dangers. The first is to write, inserting yourself today. Then it turns out that you always knew everything. The second danger is, remembering, to remain only in the past "Run through the past like a dog runs along a wire with its dog's chain on. Then a person always remembers the same thing: he remembers the petty things. Trampling on the grass of the past, he is attached to it. He is deprived of the future. One must write about the past, not inserting today's self into the past, but seeing the past from today."

At the beginning of the XX century. the genre of autobiography itself in the parameters outlined by Augustine and culminating in J.-J. Rousseau begins to demonstrate his insincerity. The fate of the autobiographical genre is changing.

The modernist experience of M. Proust shows that the author is faced with the fact of the need to choose what to prefer: an inspired presentation of life or the registration of a certain image of reality in the space of words. In other words, Proust does not tell the story of his life, but aims to find ways and mechanisms to reveal the past. Otherwise, time may be "lost". The leading instrument of penetration into what once happened is becoming narrative technique"automatic writing". It is she who, according to Proust, allows you to open and streamline the images of the departed.

The theory of "automatic writing" casts doubt on the possibility of reproducing the empirical content of the original reality. fact of life, whatever it may be, competes with the self-sufficiency of writing. As a result, tension arises between the word, which is aware of the world, and the event, which initially does not have an artificial form of perpetuation and therefore needs a word. What is the source of "acquired" time - a fact or a word - is a Proustian question, unequivocally decided by the writer in favor of the word.

After the artistic experiments of M. Proust, a special philosophical and aesthetic configuration is created in literature, in which the very parameters of the narrative structure tested for centuries undergo a qualitative metamorphosis. The idea of ​​the feasibility of traveling to the past - auto(I) bio(life) graphile(writing) - being forced out autograph, insistently proving the priority of writing over fact of life.

As a result, the idea of ​​the self-sufficiency of the word and the mysteries of the organization of the novel's narrative born from it begin to triumph over any reality in life. Therefore, it turns out to be fundamentally impossible to comprehend real experience and to complete it. M. Proust experiments with narrative time. The writer, studying in detail the mechanisms of recall, splits the hero's biography into a series of subjective images, excluding the objective course of history from the narrative. Following the task of restoring the lost, the writer ignores some impressions, poetically comprehends others. The hero's conflict with objective time leads to the fact that it begins to break up into many self-valuable absolutized moments, each of which destroys the physical reality of the previous one, marking it with hypertrophied subjectivity.

In the literature of the XX century. narrative time and real time, as a rule, do not coincide. J. Joyce in the novel "Ulysses" compares different time layers. Residents of Dublin are related to Homeric characters, the psychological world of the hero is associated with ancient eras. The eternal, embodied in plots, genres, words, shines through in the modern. This type of narration illustrates the idea of ​​the infinity of the existence of culture, embodied in the soul and consciousness of a person.

W. Wulf refuses the classical interpretation of time, reduces it to the study of intuition. Different episodes in the stream of consciousness lose their determinism, past and present demonstrate their unity. Dos Passos develops the theory of mechanical memory. Time in the works of W. Faulkner does not move. In the novels of the American writer, there is no linear order of events and correlation of episodes. Heroes exist in the time of their memories. And that is why the cause-and-effect relationships familiar to classical narratives turn out to be mystified.

The concept of the future in the literature of the XX century. inseparable from the idea of ​​the reversibility of time and space. This view is based on F. Nietzsche's idea of ​​"eternal return", which outlines the connection of time with the transition of possibility into reality and vice versa. Moreover, this recurrence is not accidental, but natural, as it reflects the essence of systemic processes.

GG Marquez in the romance "One Hundred Years of Solitude" unfolds the narrative in the space of reality and historical time, which are subject to the laws of the already created. Everything that happens and will happen to the heroes has not only happened, but is even described in a book, to read which means to come to the final plot of life. The classical comparison of a book with life takes on a completely non-metaphorical meaning in Marquez's poetic system.

M. Bulgakov in "The Master and Margarita" proves the connection of the past with the present and the future. "Manuscripts do not burn" is an expressive illustration of well-known romantic concepts, the controversy with which will be presented in U. Eco's novel "The Name of the Rose".

Postmodernist writers, refusing to self-sufficient recording of history, from the task of endowing it with exceptional ethical content, make the idea of ​​the impossibility of adequately understanding the meanings of things and concepts dissolved in time the key to interpreting what happened. U. Eco argues that only names remain from things that have gone into the past, which, due to their historical and cultural oversaturation with meanings, disorientate the modern reader, doom any attempt to offer an uncontested interpretation of what happened to failure.

The future is often used as an artistic device for revealing certain phenomena of reality. In science fiction, especially in the dystopian genre, the present is projected onto the future, time travel enhances the absurdity of phenomena that are still being born in modern times. The future, thus, explains the present day, expands its perception and understanding.

Many artistic experiments of the 20th century are persistent in their desire to convey the indivisibility of the time-spatial plans experienced by man. As a result, each time section of the works unites the already realized past, the directly experienced present and the future that has not yet been actualized.

The categories of artistic space and time depend on the evolving artistic consciousness, specific attitudes creative method, psychological and ideological positions of the artist and the specific tasks that the authors set in their works.