And creative in nature, this is how it differs from ordinary copying, compilation, or, even more so, plagiarism. For the same reason, it is necessary to distinguish between reminiscence and quotation.
The earliest reminiscences should be recognized as the silhouettes, proportions and plots of the ancient rock carvings, repeated in the "animal style" of the Scythians or in the work of masters modern era(painters, jewelers, designers, etc.). Some totems, coats of arms and trademarks are of a clear reminiscent nature. Distinguish between historical, compositional, deliberate and unsuccessful reminiscence. Reminiscences can be present both in the text itself, in the image or in the music, and in the title, subtitle or chapter titles of the work in question. Artistic images have a reminiscent nature, the names of some literary characters, individual motifs and stylistic devices (see the relationship between post-impressionists and the founders of impressionist painting).
Plato
The authorship of the ancient Greek philosophical term should be attributed to Plato. The concept was used in the Platonic doctrine of nature human soul and the doctrine of ideas. Plato believed that for the soul, intuition serves as a tool for collecting information about another world. This term found in three program works Plato. In Menon, Socrates talks about the universal affinity of objects to each other, thanks to which you can literally remember everything and find everything. The Platonic concept put into the mouth of Socrates is that the mechanism of recall ( anamnes, anamnesis, other Greek ἀνάμνησις ) opens access to judgments about causes. The Phaedo repeats the dogma that knowledge is really recollection. In Phaedra, Plato postulates reminiscence (remembrance) as an initiation into the mysteries and an approach to spiritual perfection.
Russia
At the same time, the word entered the Russian language as everyday gallicism and allusion. In a letter dated February 1, 1840 to the Russian historian T.N. musical term. In a letter to Russian composer On June 10, 1863, pianist and conductor M. A. Balakirev gave a description of the past opera through musical “reminiscences” to M. P. Mussorgsky.
In the modern period in Russia, M. M. Bakhtin, D. S. Likhachev, Yu. M. Lotman, A. Gollovacheva (), A. Arkhangelsky () and P. Bukharkin () were engaged in methodological problems of literary reminiscence. A number of fruitful solutions were found by Lotman in the article “Tyutchev and Dante. To the formulation of the problem "().
Movie
Leni Riefenstahl used reminiscence as a method of maximum impact on the viewer. For example, in the film Triumph of the Will, the climax was reached in shots in which the viewer could see the sea of poles and waving banners from above, but the figures of the standard-bearers were not visible. These frames should be considered as a reminiscence of the famous painting canvas Claude Monet, founder of Impressionism, Rue Saint-Denis. Holiday June 30, 1878. (Flags)."
Explicit reminiscences from the film "Triumph of the Will" are often found in modern world documentary cinema. For example, in English film"Lord of the "Golden Triangle", dedicated to the fusion of rebellious armies with drug dealers on the territory of the Asian people Shan: in scenes with a youth brigade, a morning military review, in an episode with a solemn raising of the flag in the army of an Asian drug lord and during outdoor shooting of singing soldiers moving in army columns Without entering into an open conflict with the commander of an illegal army, the authors of the film designate the analyzed social phenomenon as a “great threat to the Western world” solely due to reminiscence as a device accessible only to the viewer of Western European culture.
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Literature
- Reminiscence / Al. Morozov. // . - M. : Owls. Encikl, 1971. - T. 6. - S. 254.
An excerpt characterizing Reminiscence
- Well, go, go with your freak! - said the mother, pushing her daughter away in mock angrily. “This is my smaller one,” she turned to the guest.Natasha, tearing her face away from her mother's lace scarf for a moment, looked at her from below through tears of laughter, and again hid her face.
The guest, forced to admire the family scene, considered it necessary to take some part in it.
“Tell me, my dear,” she said, turning to Natasha, “how do you have this Mimi? Daughter, right?
Natasha did not like the tone of condescension to the childish conversation with which the guest turned to her. She did not answer and looked seriously at the guest.
Meanwhile, all this young generation: Boris - an officer, the son of Princess Anna Mikhailovna, Nikolai - a student, the eldest son of the count, Sonya - the fifteen-year-old niece of the count, and little Petrusha - the youngest son, all settled in the living room and, apparently, tried to keep within the boundaries of decency animation and gaiety that still breathed in every feature. It was evident that there, in the back rooms, whence they had all come running so swiftly, they had more cheerful conversations than here about city gossip, the weather, and comtesse Apraksine. [about Countess Apraksina.] From time to time they glanced at each other and could hardly restrain themselves from laughing.
Two young men, a student and an officer, friends since childhood, were of the same age and both were handsome, but did not resemble each other. Boris was a tall, fair-haired youth with regular, delicate features of a calm and beautiful face; Nicholas was a short curly young man with open expression faces. Black hairs were already showing on his upper lip, and swiftness and enthusiasm were expressed all over his face.
Nikolai blushed as soon as he entered the living room. It was evident that he was searching and did not find what to say; Boris, on the contrary, immediately found himself and told calmly, jokingly, how he knew this Mimi doll as a young girl with an unspoiled nose, how she had grown old in his memory at the age of five, and how her head had cracked all over her skull. Having said this, he looked at Natasha. Natasha turned away from him, looked at younger brother, who, closing her eyes, was shaking with soundless laughter, and, unable to contain herself any longer, jumped and ran out of the room as quickly as her quick legs could carry. Boris didn't laugh.
- You, it seems, also wanted to go, maman? Do you need a card? he said, addressing his mother with a smile.
“Yes, go, go, tell them to cook,” she said, pouring herself.
Boris went quietly out the door and followed Natasha, the fat boy angrily ran after them, as if annoyed at the disorder that had occurred in his studies.
Of youth, not counting eldest daughter the countess (who was four years older than her sister and already behaved like a big lady) and the guests of the young lady, Nikolai and Sonya's niece remained in the drawing room. Sonya was a thin, petite brunette with a soft look tinted with long eyelashes, a thick black plait that twined around her head twice, and a yellowish tint of skin on her face and especially on her naked, thin, but graceful muscular arms and neck. With her fluidity of movement, the softness and suppleness of her small limbs, and her somewhat cunning and restrained manner, she resembled a beautiful, but not yet formed kitten, who would be a lovely kitty. She apparently considered it proper to show participation in the general conversation with a smile; but against her will, her eyes from under long thick eyelashes looked at her cousin [cousin] leaving for the army with such girlish passionate adoration that her smile could not deceive anyone for a moment, and it was clear that the cat sat down only to jump more energetically and play with your cousin, as soon as they, like Boris and Natasha, get out of this living room.
“Yes, ma chere,” said the old count, turning to the guest and pointing to his Nicholas. - Here is his friend Boris promoted to officer, and out of friendship he does not want to lag behind him; throws both the university and the old man me: goes to military service, ma chere. And a place in the archive was ready for him, that's all. Is that friendship? said the Count inquiringly.
“But war, they say, has been declared,” said the guest.
“They have been talking for a long time,” said the count. - They will talk again, talk, and leave it like that. Ma chere, that's friendship! he repeated. - He goes to the hussars.
The guest, not knowing what to say, shook her head.
“Not out of friendship at all,” answered Nikolai, flushing and making excuses, as if from a shameful slander against him. - Not friendship at all, but I just feel called to military service.
He looked back at his cousin and at the guest, the young lady: both looked at him with a smile of approval.
“Today, Schubert, Colonel of the Pavlograd Hussar Regiment, is dining with us. He was on vacation here and takes it with him. What to do? said the Count, shrugging his shoulders and speaking jokingly about a business that apparently cost him a lot of grief.
“I already told you, daddy,” the son said, “that if you don’t want to let me go, I’ll stay. But I know I'm no good for anything but the military; I’m not a diplomat, I’m not an official, I don’t know how to hide what I feel, ”he said, looking all the time with the coquetry of beautiful youth at Sonya and the guest young lady.
The kitty, glaring at him with her eyes, seemed every second ready to play and show all her feline nature.
- Well, well, well! - said the old count, - everything is getting excited. All Bonaparte turned everyone's head; everyone thinks how he got from lieutenant to emperor. Well, God forbid,' he added, not noticing the guest's mocking smile.
The big ones started talking about Bonaparte. Julie, daughter of Karagina, turned to the young Rostov:
- What a pity that you were not at the Arkharovs on Thursday. I was bored without you,” she said, smiling gently at him.
The flattered young man with the coquettish smile of youth moved closer to her and entered into a separate conversation with the smiling Julie, not at all noticing that this involuntary smile of his with a knife of jealousy cut the heart of Sonya, who was blushing and pretending to smile. In the middle of the conversation, he looked back at her. Sonya looked at him passionately and vexedly, and, barely able to keep the tears in her eyes and a feigned smile on her lips, got up and left the room. All of Nikolai's animation was gone. He waited for the first break in the conversation and, with a distressed face, went out of the room to look for Sonya.
- How the secrets of all this youth are sewn with white thread! - said Anna Mikhailovna, pointing to the exit of Nikolai. - Cousinage dangereux voisinage, [Disaster business - cousins,] - she added.
“Yes,” said the countess, after the ray of sunshine that had entered the living room with this young generation had disappeared, and as if answering a question that no one asked her, but which constantly occupied her. - How much suffering, how much anxiety endured in order to now rejoice in them! And now, really, more fear than joy. Everything is afraid, everything is afraid! It is the age at which there are so many dangers for both girls and boys.
“It all depends on upbringing,” said the guest.
“Yes, you are right,” continued the Countess. “Until now, thank God, I have been a friend of my children and enjoy their full confidence,” the countess said, repeating the error of many parents who believe that their children have no secrets from them. - I know that I will always be the first confidente [attorney] of my daughters, and that Nikolenka, in her ardent character, if she is naughty (the boy cannot do without it), then everything is not like these St. Petersburg gentlemen.
“Yes, nice, nice guys,” the count confirmed, always resolving questions that were confusing for him by finding everything glorious. - Look, I wanted to be a hussars! Yes, that's what you want, ma chere!
This term refers to the “references” to previous literary facts present in literary texts; individual works or their groups, reminders of them. Reminiscences, in other words, are images of literature in literature. The most common form of reminiscence is quotation, exact or inexact; "Quote" or remaining implicit, subtext.
Reminiscences can be included in works consciously and purposefully, or arise independently of the will of the author, involuntarily ("literary recollection").
Among the implicit, only guessed (presumably!) reminiscences is the word "beggars" in the poem of 1915, which opens Akhmatova's book "The White Flock" (a quarter of a century later, according to L.K. Chukovskaya, A.A. Akhmatova called him the best of of all the poems she wrote).
We thought: we are poor, we have nothing,
And how they began to lose one after another,
So what happened every day
memorial day,
Started making songs
About the great bounty of God
Yes, about our former wealth.
Combined with a supporting pronoun plural“we”, “with us”, “ours” instead of the words “beggar” and “ former wealth” acquire a historical meaning, and the whole poem - the sound of civil, almost journalistic.
And there are associations with a wide stream of judgments of the pre-revolutionary years about supposedly eternal Russian squalor and poverty, to which both Bunin and Gorky paid tribute, to some extent Chekhov with his “Men”, and Blok with memorable words about love for “ impoverished Russia" with its gray huts ("Again, as in the golden years", 1908).
Reminiscences in the form of quotations constitute an essential variety of non-author's word. They signify either acceptance and approval by the writer of his predecessor, following him, or, on the contrary, arguing with him and parodying a previously created text: “for all the variety of citations, different and often dissimilar “voices” are always placed in such a context that allows you to hear behind someone else’s word author's (agreement or disagreement with this someone else's word).
At the same time, the scope of reminiscences is much wider than the area of citation as such. Reminiscences often become simple references to works and their creators, coupled with their evaluation characteristics. So, in the sixth chapter of the first part of the novel by M. de Cervantes, the priest and the barber sort out the books read by Don Quixote in order to burn some of them, and talk about them, so that the image of literature (mainly chivalric novels) is created in the complete absence of citation.
Reminiscences as single links of verbal and artistic texts are of the same nature as the borrowing of plots, the introduction of characters, previously created works, imitation, as well as free translations of foreign-language works, the origins of which in Russian classical poetry are poems and ballads by V.A. Zhukovsky.
Actually, literary reminiscences are also related to references to creations of other types of art as real ones (a majestic monument gothic architecture in the novel by V. Hugo “The Cathedral Notre Dame of Paris" or Mozart's "Requiem" in a small tragedy by A.S. Pushkin) and a fictional writer (“Portrait” by N.V. Gogol or “Doctor Faustus” by T. Mann, extensively “drawing” picturesque and musical creations). Artistic reminiscences are widely used in the literature of the 20th century.
A lot is said about painting in A. Blok's Italian Poems, musical images underlie his Carmen cycle; outside of persistent appeals to the motives of architecture, the work of O.E. Mandelstam: "I am talking with the Architect's Muse again" (from draft version poem "Admiralty"). According to D.S. Likhachev, "A Poem without a Hero" by A.A. Akhmatova "belongs to the number of works that are thoroughly permeated with literary, artistic, theatrical (in particular, ballet), architectural and decorative-painting associations and reminiscences."
Reminiscences constitute one of the links of the meaningful form literary works. They embody (realize) the cultural-artistic and genre-stylistic problems of the writers' creativity, their need for an artistic-figurative response to the phenomena of previous art, primarily verbal.
Expressing the comprehension and evaluation of literary facts, reminiscences often turn out to be a kind of literary-critical speeches - a kind of essay-criticism that invaded the world of artistic texts proper, which is clear in Pushkin's Eugene Onegin (for example, judgments about ode and elegy), Poor people” by Dostoevsky (where Makar Devushkin, apparently expressing the writer’s opinion, speaks enthusiastically about Pushkin’s “The Stationmaster” and very unkindly about Gogol’s “The Overcoat”), in the cycles of poems by M.I. Tsvetaeva and B.L. Pasternak dedicated to Alexander Blok.
Reminiscences are deeply significant in fiction different countries and epochs. So, in the works of Russian literature (not only ancient, but also modern) there are no number of direct and indirect references to canonical Christian texts. Abundant and very diverse are the appeals of writers to the previous fiction. Endless responses to Divine Comedy" A. Dante, "Don Quixote" by Cervantes, "Hamlet" by Shakespeare, on "The Bronze Horseman" by Pushkin, " Dead Souls» Gogol, on the works of L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov.
In the work of writers, including major, original ones, there is a huge number of reminiscences from a variety of sources. So, Pushkin's works - his lyrics, poems, "Eugene Onegin", "Belkin's Tale" - are saturated to the limit with references (often implicit) to literature, both domestic and Western European, including contemporary poet.
Here again Dante, Shakespeare, Byron, Derzhavin come to life; present K.N. Batyushkov, V.A. Zhukovsky, E.A. Baratynsky, P.A. Vyazemsky and many others. In the infinitely varied Pushkin's reminiscences, the poet's grateful acceptance of the art of his predecessors and contemporaries, and creative polemics with them, and ridicule of late classic and sentimental-romantic stereotypes, cliches, and clichés are palpable.
Let's turn to the story Stationmaster”, which is slyly attributed by Pushkin to the inexperienced provincial writer Ivan Petrovich Belkin.
Here the narrator listened to Samson Vyrin's sad story, accompanied by tears, about how he lost his only daughter. Further we read: “These tears were partly aroused by the punch, of which he drew out five glasses in the continuation of his narration; but be that as it may, they touched my heart greatly. Having parted with him, for a long time I could not forget the old caretaker, long thought poor Duma (Recall: from Vyrin’s story it is clear that Dunya is not at all “poor”: she lives in wealth and luxury, is loved by Minsky and loves him herself.)
Here, attention is also drawn to the reproduction of a motif that wandered from one sentimental story to another (the narrator-traveler, enriched by another sad touching story, indulges in "long" reflections about it on the way), and the stylistic incompatibility of vocabulary that characterizes the naive literary consciousness Belkin (neighborhood in one phrase of the archaically elevated phrase “these tears” and the sentimentalist stereotype “strongly touched my heart” with five glasses of punch, which the caretaker “pulled out”), and the helpless slip of the narrator associated with this detail (be that as it may, he is heartily touched), and, most importantly, the inapplicability of the stamped epithet “poor” to the fate of Dunya (Pushkin’s contemporary recalled not only Karamzin’s poor Lisa, but also the "unfortunate" Masha, Margarita, etc. who followed her).
A similar "flaw" of Belkin the writer was slyly ridiculed by Pushkin and in last episode story: “In the hallway (where poor Dunya once kissed me) a fat woman came out” and said that the caretaker had died. The close proximity of the stylistically polar phrases "poor Dunya" and "fat woman" is very funny.
In the above episodes of Belkin's cycle (the number of examples can be greatly increased), Pushkin's penchant for reminiscences of a playful, jokingly parodic nature has clearly affected. A significant fact: upon returning from Boldin in 1830, Pushkin informed P.A. Pletnev that Baratynsky, reading Belkin's stories, "neighs and beats." Apparently, this stormy laughter was caused precisely by reminiscences:
Reminiscences are also quite significant in post-Pushkin literature. Thus, explicit and implicit references to Gogol's work are numerous in Dostoevsky's works. But the appeals of Russian writers to Pushkin and his texts are the most persistent. Their own, so to speak, reminiscent history are also lyric poems great poet, and "Eugene Onegin", " Bronze Horseman", "Captain's daughter".
Pushkin's creations, perceived by writers primarily as the highest examples of art, sometimes become occasions for familiar retellings. So, in the chapter of the poem “Good!”, dedicated to the political conversation between Milyukov and Kuskova, V. Mayakovsky parodies Tatyana’s conversation with the nanny. I.A. Brodsky sharply transforms the text of the poem "I loved you" to express his mercilessly hard look at a person, the world, love:
I loved you. Love is still possible
that's just pain) drills into my brain.
Everything was blown to pieces.
I tried to shoot myself, but it's difficult
I loved you so much, hopelessly,
how God grant you others - but will not give!
In the literature of the last two centuries, freed from traditionalist "monophony", from genre and style norms, rules, canons, reminiscences have gained especially great significance. According to I.Yu. Podgaetskaya, "the poetry of the 19th century begins where "one's own" and "alien" are understood as a problem. Let's add to this: literary reminiscences mark the discussion of "one's own" and "alien" both in poetry and in prose, and not only in the 19th, but also in the 20th century.
The art of the word of the eras close to us is reminiscent to a different extent. References to literary facts are an integral and, Furthermore, the dominant component of V.A. Zhukovsky (almost everything he said about the alien and in its footsteps). Reminiscences are abundant and varied in A.S. Pushkin, A.A. Akhmatova, O.E. Mandelstam. But they are far from being so significant in L.N. Tolstoy, A.A. Feta, S.A. Yesenina, M.M. Prishvin, A.I. Solzhenitsyn: the reality comprehended by these artists of the word is most often removed from the world of literature and art.
internal norm literary creativity XIX-XX centuries is the active presence of reminiscences in it. The isolation of writers and their works from the experience of their predecessors and contemporaries marks their limitations and narrowness. However, hypertrophied, self-sufficient reminiscence, coupled with the isolation of literature in the world of artistic phenomena, interests, problems, is by no means favorable for culture and art itself.
This idea is embodied in the novel of the Austrian writer of the beginning of our century R. Musil "A Man without Qualities". Here the author, according to him, set as his task "to show people entirely composed of reminiscences of which they are unaware." A number of ironic judgments by M.M. Prishvin about what he called "meaningfulness" - about the complete, and therefore one-sided and even flawed immersion of a person (in particular, an artist) in the world of other people's thoughts and words that are far from living life.
distrust of " book culture” and “the principle of citation” was repeatedly expressed in Blok’s poetry. It was clearly reflected in the free verses of the second volume: "She came from the frost", "When you stand in my way." IN last poet addresses a fifteen-year-old girl with the words:
So that you fall in love with a simple person,
Who loves earth and sky
More than rhymed and unrhymed
Talk about earth and sky.
Blok's quotation "carries both a store of "cultural poisons" and the high pathos of Vita nuova."
The reminiscent layer of literary works, for all its great significance, does not need to be absolutized, to be considered as some kind of indispensable center writing creativity: a truly artistic work is necessarily marked by direct contacts not only with previous literature, but also with “extra-artistic” reality. The words of one of the Russian cultural philosophers of our century are significant: the sounds of Pushkin were inspired by Russian (Zhukovsky) and world literature (antiquity, Horace, Shakespeare, Byron), “but still, maybe more - by the Kremlin fire, snows and battles of 1812, and the fate of the Russian people, and the Russian village and the nanny. Let me also remind you of the harsh words of A.A. Akhmatova about critics of N.S. Gumilyov: “Deaf and mute literary critics do not understand at all what they are reading, and they see Parnassus and Leconte de Lisle where the poet bleeds. His burning love is masquerading as leconte de liève. Is the whole history of literature constructed in this manner?
V.E. Khalizev Theory of Literature. 1999
For the layman, reminiscence is famous saying or a thought that is reproduced without quotation marks. In fact, it is something more intellectual and creative. It is used to create a richer plot that will captivate the reader with its dynamism. What it is and what is the difference between a reminiscence and a quote can be found in the article.
The meaning of the concept
Reminiscence is an element artistic structure. From Latin, the word is translated as "remembrance".
It can be found in coats of arms, images, musical works, text. Even the names of some characters can carry the artistic image of the concept in question.
The origins of the doctrine of reminiscence
This term is mentioned in Ancient Greece. Plato is considered its author. He proves that remembrance (reminiscence) is an initiation into the sacraments, and therefore brings one closer to spiritual perfection. According to him, knowledge is nothing but recollection.
The emergence of the concept in Russia
In Russian, the term began to be mentioned from the 19th century. One of the first to use it was the poet and philosopher N.V. Stankevich. At that time, reminiscence, an example of which will be described below, became a traditional term in music. Later it began to be used in the literature.
The theoretical part of the problem under consideration in the literature has been dealt with by many researchers:
- M. Bakhtin;
- Y. Lotman;
- A. Arkhangelsky;
- P. Bukharkin;
- T. Marchenko.
Reminiscence in literature
To understand the problem, one should distinguish between reminiscence and literary borrowing. In the first case, everything happens unconsciously, with the aim of realizing specific artistic tasks. Not everyone can detect such a phenomenon. Only prepared and insightful readers, listeners or spectators succeed in this.
Reminiscence is an unconscious use by the author of the experience of predecessors. There are many examples in the world literature:
- "The Bead Game" German writer Hermann Hesse 1943.
- The novel Ulysses by the Irish author James Joyce, which was published in its entirety in 1922.
- "Long Way to Tea Party" English writer Anthony Burgess.
- The works of the American poet Ezra Pound.
Russian literature
Reminiscence in the literature of Russian classics is most often found in poetry. The authors unconsciously borrowed other people's images or a rhythmic-syntactic move. You can meet similar examples in the works of A. Blok, A. Pushkin, O. Mandelstam and many others.
Consciously, many Russian poets used the technique of reminiscence to create complex associations in the reader, which enriched the perception of the work.
Literary reminiscences in poetry:
- In A. Pushkin's poem "Eugene Onegin", when describing the grave of Lensky, the author created an association with the elegy of C. Milvois, popular at that time.
- In his work "Scythians" A. Blok uses a phrase from "The Tale of Igor's Campaign".
- In their poems, A. Blok and O. Mandelstam deliberately allude to the work of I. Annensky.
reminiscence effect
Reminiscence is an excellent technique by which a work can be made even more intense and dynamic. Its effect is associated with human memory and is based on associations and memories.
Reception is carried out by references to famous world works, historical facts, biographies famous people, various works of art. This may be a reference to a specific character, a scene from another work. In rare moments, direct quotation is used. The effect is achieved if the reader catches the similarity and draws the analogy that the author intended.
Many authors have learned to use reminiscence in their texts. In this case, even if the reader did not catch the analogy, he will be able to understand it with the hint of the author. However, it happens when the memory slips into the plot intuitively. Then the effect will not be so obvious, so only very attentive readers will be able to unravel it. This may also be a discovery for the writer himself, who did not intend to draw an explicit analogy.
Reminiscence in cinema
The phenomenon of memory is inherent in all kinds of art. The most popular today is cinema, which is also full of different methods of influencing the viewer. Reminiscence is no exception.
A striking example is the painting by Leni Riefenstahl "The Triumph of the Will". At the end of the film, an analogy is made with the canvas famous impressionist Claude Monet "Rue Saint Denis in a Day" national holiday". In the film, as well as on the canvas, only waving banners are visible without the people who hold them.
The scene between the main character and the CIA officer from the 1975 political drama Three Days of the Condor can be seen as a reminiscence of the Grand Inquisitor's monologue (a parable from F. Dostoevsky's novel The Brothers Karamazov).
An article about the artistic techniques of modern poetry related to citation methods. Citation techniques: allusion, application, contamination. Svetlana Skorik. Artistic techniques of quoting: Allusion Application Contamination Reminiscence Intertext.Allusion examples Application examples Contamination examples Reminiscence examples An example of intertext in postmodernism
Artistic techniques of quoting: allusion, application, contamination, reminiscence, intertext.
allusion
Allusion - literary technique of quoting using link to good known fact or a person, proverb, saying, quote from all famous work, the use of a walking expression in a poem.
Examples of allusion:
And the lightning will come in
Like music without words.
Like an impressionist
Into the grass where are you and breakfast.
(Natalya Belchenko)
The last example of allusion plays on the title of the painting "Breakfast on the Grass" by the French Impressionist painter Claude Monet.
As you can see, quoting often occurs in the form of a comparison, although this is not necessary: widely famous images, parts of proverbs can naturally intersperse in the text, thus referring to their source and causing stable associations. Very often they are used as a joke:
This allusion uses the name literary hero Cervantes Don Quixote, which in this case, softening the abusive expression "what the hell" (or "god"), gives the whole sentence an ironic connotation.
The artistic reception of allusion is very popular among all modern "living classics", since the original masters of the word always liked to engage in dialogue with other poets - predecessors and contemporaries. Allusion is an artistic technique that is also popular with the intellectual reader, since it involves his memory and sense of linguistic harmony - in fact, "the center of aesthetic pleasure."
However, all good things should be in moderation. An excessive abundance of allusions in a poem leads to a dimming of the meaning, distracts from the stated topic and actually turns the work into a set beautiful phrases, a trinket devoid of original interesting thoughts. In such poems, the allusion, under the guise of demonstrating the erudition of the author, is designed to hide the fact that he has absolutely nothing to say.
Application
Application - quotation technique, artistic technique inclusion in the text of the poem of a direct quote or quote in a slightly modified form. A line with a direct quote is not quoted, but organically enters the text of the poem, often being a reference line from which some conclusions follow about the stated thought, and often not reinforcing, but rather refuting the quote. In such cases, direct quoting must use a really well-known work of a famous classic or a saying. Otherwise, if the quote is direct, but does not belong too much famous author, it must first be placed in the form of an epigraph before the poem, necessarily indicating who it belongs to.
Application examples:
And lost at the bottom
Love is the last coin...
Of course, with Her no light is needed,
But is there still light in me? -
But is there still light in me...
E. Pugachev
and ends his poem with a direct quote, refuting the idea inherent in it:
"But is there still light in me..."
Or maybe you don't need light?
Shines the last coin!
At least at the very bottom.
An example of an application as a method of quoting in a modified form:
Put a leash on my mouth,
pull the Word by the melodious tongue.
(Irina Ivanchenko)
In this application, the saying “You can’t throw a scarf on someone else’s mouth” is played up.
In the application of Natalia Belchenko " IN china shop
meaning eternal elephant” the proverb-comparison “like an elephant in a china shop” is played up, and in the application “ Later Danube Delta sleeves"- the expression" sleeveless ".
Application by Irina Ivanchenko “Stop, the driver is strange, / my wandering around the countries, / my walking in the dark”is based on the playful use of the titles of the works - “Journey beyond the three seas” by Afanasy Nikitin and “Journey through the torment” by Alexei Tolstoy.
Usually, the quote included in the application does not really have a direct relationship to the subject in question in the poem, and is included deliberately - as a joke. Therefore, it should not be confused with contamination (see below). The artistic technique of the application is very popular with well-read readers, as it involves their sense of subtle irony, imagination, and creative thinking.
In many ways, it was precisely from the artistic technique of appliqué - as a parody of the previous style of traditional poetry - in the 60s-70s of the twentieth century. new directions have grown - neomodernism, underground and conceptualism.
It is appropriate to recall here such a variety of poetic errors as when the beginning of one phraseological turnover unintentionally, out of ignorance, is connected with the ending of another. This causes a completely unforeseen and undesirable humorous effect in a pathos or sincere work.
Application of the artistic technique of application testifies to developed sense language, since it requires the author to be able to play with the used expression, its sound, direct and figurative meanings.
Contamination
- Contamination as an artistic method of quoting- inclusion famous expression into the text of the poem not in the form of a quote, but as an organically relevant detail in this case.
- Examples of contamination.
Mysterious digital codes
I want to invest in iron verse...(Natalya Belchenko)
This example of contamination goes back to Lermontov: "And boldly throw an iron verse in their eyes, / Drenched in bitterness and anger."
Not because it is necessary
But because next to him is another.(L. Nekrasovskaya)
Compare this example of contamination with Innokenty Annensky: "Not because it is light, / But because it does not need light."
Get ink, cry still...
It's already March, and still there is no rest!Compare this example of contamination and its literary source- B. Pasternak: “February. Get ink and cry! .. "
Is memento mori?! What is it, uncle, memento,
when there are five sixes on the hand, and Vaskin's entry!(Stanislav Minakov)
is an example of contamination in the description of a card game.
- Contamination as a method of word creation and graphic technique- combining several words into one.
My year! My tree! (S. Kirsanov) Significantly whistling (Stanislav Minakov) - i.e. "whistling God knows what."
What you whisper, whispers,
Branch-good-branch-evil?
Will I perish barking,
Didn't cross Saturday?
Here, the last two examples of contamination are especially interesting, which are graphic techniques, i.e. methods that encourage artistic expressiveness by deliberately changing the accepted spelling of words and distorting their standard form. The contamination of "Shepcheshtoty" is based on the intersection of two "sh" and on cutting off the matched sound: whisper sh sh then you. Such a connection is a method using continuous spelling to convey an indistinct muttering, a whisper in which individual words are difficult to distinguish, one deaf shu-shu-shu is heard. The verb "zavo-zalaya" is a humorous author's neologism. It was formed by conjoint writing (but through a hyphen) of two different verbs, with the ending cut off from the first of them. An unexpected and very funny effect.
Reminiscence
Reminiscence (lat. reminiscentia, recollection) is a quoting technique, an artistic technique, which consists in the fact that the author reproduces rhythmic-syntactic constructions from someone else's poem.
Reminiscence example
And we ourselves are still in good health,
And our children go to school in the morning
Along Kirov street, Voykov street,
Along Sacco-Vanzeti street.
(Konstantin Simonov)
Using the classic stanza Soviet literature Konstantin Simonov, but already describing the junction of the era of stagnation with the period of perestroika, when the “new thinking” was introduced with difficulty, Yuri Kaplan writes:
After all, we ourselves are still in poor health,
And our children still go to school
Along the streets of Zhdanov and Voroshilov
And even on Brezhnev Square.
Intertext
Intertext is an artistic technique in postmodernism, which consists in the implicit, hidden conscious construction by the author of his entire work on other people's quotes or images of painting, music, cinema, theater and on reminiscences to other people's texts that require a solution. In this case, the quote ceases to play a role. additional information, references to something, but, recalling the original meaning, serves to express a different meaning in a new context, sets dialogicity, polyphony and makes the text open for multidimensional reader reading and understanding.
Osip Mandelstam wrote: “A quotation is not an excerpt. A quotation is a cicada - inexorability is characteristic of it. Anna Akhmatova put it this way about the essence of 20th-century poetry: "But perhaps poetry itself is one magnificent quotation." However, it is precisely the artistic device “intertext” that tends to sin with the multidimensionality of supposedly embedded meanings and the deliberate demonstration of the author’s erudition in the absence of any global, original differences between the author’s thoughts and the thoughts present in the quote. Thus, this artistic technique may completely lose its meaning, since it ceases to be a technique and turns into its imitation. What is detrimental to a poem that is overly full of allusions creates a breeding ground for intertexts that flourish in postmodernism, which already cease to play the role of dialogue and polyphony, because dialogue cannot be based on one-dimensional replicas embedded in one mental plane, only confirming what was known and before. So the declared "polyphony" gradually slips into a literary cacophony.
An example of intertext in postmodernism
Ismar killed Hippomedon, Lead killed Eteocles...
note: another, not that, because: Polyneices and Eteocles
(Oedipal vision) in the morning the good are dead, shining with stones of the wrists,
such is the news of the onset of the last winter
on groves of rare olives beyond black, where it seems.
Books must be read, even counted. Flip through. Burn.
Forget. White stones or teeth in a dream, or lilies
tart drops in pebble ice through a hair of displacement.
But Amphidiac kills Parthenopaeus. However,
according to sources smoldering on both rivers from the archive,
It was not he who killed Partenopeus at all, but a certain Periclimen, the son of Poseidon.
Oh, only names! .. which also needs to be taken into account
in the light of future events rolling like millstones across the plain.
Hollow Troy with dry Helen inside. Troy, where
Elena child-and-soldiers-and-peas - who built your walls
V children's city sore throats? Sisters in white coats
under which there is nothing like the heart of ashmavedha,
bright mercury at the barrier of dreams known to all.
Meanwhile, Melanippus - Tydia wounds in the stomach.
(Arkady Dragomoshchenko. Excerpt from The Theban Flashback)
There is no need to quote the entire text, since even this passage shows what lies ahead for the reader.
Thus, using artistic techniques quoting, it is necessary to observe the measure so that the “pendulum effect” does not turn out, as with the direction of “poetry for the sake of poetry”, when at first it was absolutized and brought to a complete separation from life, from reality, and in later historical periods- just because of this - they were generally eliminated from the "ship of modernity".
Modern poetic techniques: content
© Svetlana Skorik 07/17/2011
Citation techniques: Allusion Application Contamination Reminiscence Intertext. Allusion examples Application examples Contamination examples Reminiscence examples An example of intertext in postmodernism
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Reminiscence is a reflection in the new book of individual quotes and, of course, images of a previous famous work, most often created by a classic. It is quite thin and powerful creative tool, affecting memory and should not be confused with plagiarism. After all, if reminiscence in literature is a creative echo, rethought, introducing new colors, affecting the reader's imagination, then plagiarism, appropriation of authorship is, of course, theft. Ukrainian poet, the classic Kotlyarevsky, even creatively "dealt with" the plagiarist Mr. Matsapura, placing him in his "Aeneid" as one of the characters treated by the devils in hell.
By the way, almost all of us met with reminiscence. Remember how, as children, we asked our elders to “invent a fairy tale for us,” and then listened to stories about Ivan the Fool, Vasilisa the Beautiful, etc. in a free presentation (Reminiscence is also images that pass from fairy tale to fairy tale. ) It is also used by a collection of stories, united by a common main character, and a series similar to him in composition. At the same time, as you know, the later development of the plot allows references from a completely different book, where the general image used has already been met before.
This literary instrument is held in high esteem by the classics. Thus, Pushkin and Lermontov often and originally used reminiscence. Examples of this are numerous. When famous literary critic Vasily Andreevich Vyazemsky wrote about the beginning poet Alexander Sergeevich that he was a “consequence” of the poet Zhukovsky, then Pushkin himself clarified that he was not a consequence, but a student. In his poem "Ruslan and Lyudmila" Pushkin in the 12th chapter placed a whole mini-parody of the work of his older friend "The Song of the 12 Virgins". At the same time, with everything, Vyazemsky was his friend, and after the duel, he was inseparable, until the very end, was at the bedside.
In the 18th century, reminiscence is a powerful platform for creative collaboration. Continuing to talk about the reminiscences of the classics, let us recall Lermontov, who in his famous poem " Prisoner of the Caucasus» widely used this literary device, relying on poem of the same name Pushkin. This work young Michael Yuryevich Lermontov can even be called a creative presentation of Pushkin's lines. Not only do the beginnings of both poems (about the Circassians resting in their villages in the evening) coincide in the plot and rhythm, the compositional passages also coincide. The line about the long journey leading to Russia frankly coincides. Often Lermontov's reminiscence is a kind of creative mosaic. A deeper study of his poem "Circassians" reveals consonance with the works of Pushkin, Byron, Dmitriev, Kozlov. So is it possible to argue that Lermontov allowed plagiarism in his work? Of course not! creative ideas should not ossify and be perceived as licensed dogmas, they should be developed. Doesn't the "quoted" poet leave his mark on Literature? If the subsequent work is in no way inferior to the previous one in its strength and depth, is it plagiarism? Fortunately, the laws of creativity are different from the laws of business licensing.
Reminiscences are multifunctional: they often reproduce quotations and phrases already known to readers, either by transforming them, or even leaving them in a form characteristic of the original source. Otherwise, with the help of reminiscence, the names of characters and images from the previous ones suddenly appear in the new work.
The recognized master of reminiscence is our contemporary, the classic Viktor Pelevin. His novel "Chapaev and Emptiness" not only "reduces us" with previously known characters, the heroes of Furmanov, but draws a completely different storyline. The main character Peter Void, a decadent poet, appears. The action "bifurcates" between 1919 and 1990. Victor Pelevin uses the style of Vasily Ivanovich's speech from Dmitry Andreevich Furmanov's novel "Chapaev". In particular, in his speeches before going to the front, the same phrases and phrases “there is nothing to mess with”, “we knew what”, “we give a hand” were used. The image of Anka the Machine Gunner rethought by Pelevin is extremely interesting. In modern times, a mysteriously fickle woman and an educated secular lady. She masterfully leads the thread of the conversation, skillfully presents herself. And this is far from the only book by Viktor Pelevin in which reminiscence appears. Another of his novels with a more than laconic title "T" generally famously "twirls images". United by the methodology of Buddhism, it introduces the main character Leo Tolstoy. Further, as it turns out, the image of a classic is not independent. It, in turn, is written by five writers (an analogy with the demiurges). “Swallowing” the novel further, we meet Optina Pustyn, rethought by the writer, associated with Golgotha. The arguments of Pelevin's Count Tolstoy, which constitute his inner spiritual rethinking, are an obvious reminiscence with the autobiographical Notes of a Madman.
Is reminiscence relevant? The stage of its development states: “More and how!” Moreover, he often feeds on it, finds life-giving forces and ideas in it, and sometimes, as with Viktor Pelevin, it turns into a creative method.
