The originality of artistic imagery in the work of romantic writers. Artistic image

The artistic image is the central concept of aesthetics, therefore this problem is the object of research by a number of scientists. Among them, of considerable interest are the works of Leizerov N. L. "Imagery in Art" (M., 1974), D. Likhachev "Man in the Literature of Ancient Rus'" (M.-L., 1958, etc.).

The artistic image is a way of mastering and transforming reality, inherent only in art. An image is any phenomenon that is creatively recreated in a work of art, for example, the image of a warrior, the image of a people.). The phrase is an image of something (war), someone (the image of Natalia), etc. indicates the stable ability of the artistic image to correlate with non-artistic phenomena, therefore the image is a category that occupies a dominant place in aesthetics. In the image, the objective-cognitive, subjective-creative principle is merged. The traditional specificity of the image is determined in relation to two areas: reality and the process of thinking. The image not only reflects reality, but generalizes it. From this it is correctly emphasized that the image is a concretely generalized picture of life, which has found expression in a verbal image. According to Hegel, "the image stands in the middle between immediate sensitivity and the ideal thought belonging to the field" and represents "in the same integrity, both the concept of an object and its external being." The image represents the unity of sensitive and generalizing thinking.

The artistic specificity of the image is represented not only by the fact that it meaningfully reflects reality, but also by the fact that it creates a new, fictional world. The creative and cognitive nature of the image is manifested in two ways: 1) the artistic image is the result of the activity of the imagination, along with the objective, it embodies the individual, the subjective; 2) the image is the result not only of the creative reproduction of reality, but of its active transformation. The transition of sensual reflection into a mental generalization and further into fictional reality and its sensual embodiment - such is the inner moving essence of the image. The image is the suppression of the subject and semantic series of the verbally designated and implied. Lermontov's poetry is "a bell on a string tower" ("Poet"), F. Tyutchev's lightning is "deaf-mute demons", "the night sky is so gloomy." The purpose of the image is to transform a thing, to reveal the interpenetration of the most diverse aspects of being.

One of the most important functions of a literary image is to give the words the weight, integrity, and self-significance that things possess. “Poetry,” wrote G. E. Lessing, “has the means to elevate its arbitrary signs to the degree and strength of natural ones, “as it compensates for the dissimilarity of its signs with things” by the similarity of the designated thing with any other thing” (Laocoon. - M., 1957, p. 437, p. 440.)

The specificity of the verbal image is also manifested in its temporal organization. Artistic time and artistic space constitute the main specificity of the literary image. Since two components are singled out in the image - subject and semantic, hence the following classification of images is possible: subject, generalized semantic and structural.

Subject matter is divided into a number of layers. The first one includes: images - details, landscape, portrait, interior. Their distinctive property is static, descriptive, fragmentary. A 2-figurative layer grows out of them - a plot layer, thoroughly imbued with a purposeful action that links together all the subject details - actions, moods, aspirations - all dynamic moments deployed in the time of a work of art. The third layer - standing behind the action and causing it impulses - images of characters and circumstances, individual and collective. Finally, from the characters and circumstances, as a result of their interaction, integral images are formed. The image of fate and the world is being in general.

By semantic generalization, images are divided into individual, characteristic, typical, images, motifs, topoi, archetypes. Individual images are created by the original, sometimes bizarre imagination of the artist. Typicality is the highest degree of specificity. The typical image, incorporating the essential features of the concrete historical, socially characteristic, at the same time outgrows the boundaries of its era and acquires universal human features, revealing the stable eternal properties of human nature. Such are the eternal images of Don Quixote,

Hamlet, Oblomov (these images are individual, characteristic, typical - single in the sphere of existence). The following three varieties: motive, topos, archetype. A motif is an image that is repeated in several works by one or many authors. Such are the images of a snowstorm and wind at Blok, the sea - at Pushkin. topos(" common place") is an image characteristic of the whole culture of a given period, a given science. Topoi "road" or "winter" in Pushkin, Gogol. Nekrasov. The image "archetype" contains the most stable and ubiquitous schemes or formulas of the human imagination, manifested as in mythology, and in art at all stages of its historical development (a fund of plots and situations transmitted from writer to writer).

Together with the separation of the artistic image from the syncretic integrity of the world, the process of its theoretical understanding begins. The ancient term is equivalent to the concept - the image of "Eidos". Eidos is both the external appearance, the appearance of an object and its pure out-of-body and timeless essence, ideas that share the new European theories, emphasizing the inseparability in its essence of the form and idea.

Recently, in criticism, there has been a widespread desire to give the concept of an image a collective meaning and to speak in this sense about the “image of the collective”, “the image of the people.” We find a typical example in B. Bursov’s article “Character Structure in Tolstoy’s War and Peace. It talks about the images of Bolkonsky, Bezukhov, puts forward the concept of “democratic Russia.” Then the image of the people is formulated as the image of the masses. At the same time, the images of representatives of the nobility are also included in the “image of the people”, the image of the masses is included in the image of the nation. It is necessary to streamline the understanding of the category of character, character, character, hero, type. The protagonist and character are the concepts by which we designate the person shown in the work without regard to the extent to which they are deeply and truly depicted by the writer.

Character is a more definite concept: we are talking about character in the event that the person depicted in the work is described with sufficient completeness and certainty. The figurative reflection of life depends, first of all, on how the artist understands life in general, and this, in turn, depends on the historical conditions in which he finds himself. While essentially retaining its general functional properties, the figurative reflection of reality practically depends on the uniqueness of the historical situation. Character is a type of human social behavior created by certain social conditions.

The composition of a literary and artistic work, as well as images and language, plays big role in the expression of ideological meaning. The writer, focusing on those phenomena of life that attract him at the moment, embodying them in artistic images, characters, landscape, thoughts, mood, seeks to combine them in a work of art so that they sound with most persuasive: they revealed the essential aspects of reality more clearly, caused a deep work of thought in the reader.

Belinsky repeatedly emphasized in his critical articles the importance of composition in revealing the ideological meaning in a literary and artistic work: the distribution of roles for all persons is strictly proportional ... the completeness, completeness and isolation of the whole, he believed that these criteria should naturally follow from the unity of thought.

In literary criticism, there are different points of view on the problem of the composition of a work of art. To this day, there is no generally accepted definition of the very concept of composition. The most commonly used definition is:

“Composition is the construction of a work of art, the correlation of all parts of a work into a single whole. To depict a picture of life, writers use various elements of composition: titles, epigraphs, digressions, introductory, inserted episodes, plot, portrait, landscape, environment.

Titles and epigraphs play a significant role in a work of art.

Titles - can be associated with different aspects of a work of art. Most often with themes (“Autumn” by Pushkin, “Motherland” by Lermontov, “Nanny” by Pushkin and many others) with images (“Eugene Onegin” by Pushkin, “Oblomov” by Goncharov, “Rudin” by Turgenev and others): with problems (“Who is to blame?" Herzen, "What is to be done?" Chernyshevsky, "How the steel was tempered" by Ostrovsky and others.)

Epigraphs, as you know, represent the second name. Most often they are associated with the ideological meaning, with the ideological content of works, with a characteristic feature of a particular hero. (“Take care of honor from a young age”, “The Captain's Daughter” by Pushkin, “Vengeance is for me and I will repay.” “Anna Karenina” by Tolstoy, etc.)

Lyrical digressions make up extra-plot lines in which the author expresses a personal attitude to the depicted events, images, phenomena. So, N. Gogol, portraying Plyushkin, exclaimed sadly, trying to turn readers away from Plyushkin's type of human behavior:

“And to what insignificance, pettiness, vileness a person could descend! Could change! And does it look like it's true? - Everything seems to be true, everything can happen to a person, but the current fiery young man would jump back in horror if they showed him his own portrait in old age. Take with you on the road, leaving the soft youthful years in a severe, hardening courage - take with you all human movements, do not leave them on the road ... ".

Sometimes a lyrical digression dedicated to a character merges with the thoughts and feelings of another character, but nevertheless it is given in such a way that the reader perceives it as a direct expression of the author's thoughts and feelings. This is the lyrical digression in the "Young Guard" by A. Fadeev, dedicated to the mother - a hard worker.

"Mom mom! I remember your hands from the moment I became aware of myself in the world. During the summer, they were always covered with a tan, he no longer departed in the winter, he was so gentle, even, only a little bit darker on the veins. Or maybe they were even rougher than your hands, because they had so much work in life, but they always seemed so tender to me and I loved kissing them on their dark veins so much.

This digression sounds like a mother's anthem, her great maternal love, her labor exploits. It helps to more fully and vividly present the importance of a mother woman in our life.

Sometimes the writer resorts to lyrical digressions to communicate the nature and objectives of his work. A classic example of this kind of lyrical digression is Gogol's famous discourse in " Dead souls about two types of writers. It was important for the writer to explain to readers the social significance and patriotic meaning of his satire, which met the interests of the democratic circles of Russia and seemed unacceptable to the guardians of the autocratic-feudal system.

Along with lyrical digressions, introductory episodes are essential.

Introductory episodes are those that are directly related to the plot line of the story. This composite agent used by writers either to expand and deepen the content of a work, or to indicate its ideological meaning. In Chekhov's story "The Gooseberry", episodes that are not directly related to the main story are told about a certain Nikolai Ivanovich Chimsh-Himalayan.

Just like lyrical digressions, introductory episodes are also used to reveal the idea, the pathos of the work.

The elements of composition also include landscape and portrait. The masters of landscape and portrait sketches are Lermontov, Sholokhov, Turgenev, Dostoevsky, Tolstoy and others. In many works, the landscape plays an important ideological and compositional role. This, of course, is not about those works where nature is the direct subject of the image, but about those where the landscape plays an ideological-compositional, psychological role. In this regard, the example given by the literary critic L.A. Abramovich to the story "Lucerne" by L. Tolstoy is successful.

In the center of the story is an episode with a beggar tramp - a cripple singer, who sang and played the guitar for about half an hour for the rich who had gathered in Lucerne and settled in the most fashionable hotel in the city, who, standing on the balconies and at the windows, in "respectful silence" listened to wonderful singing. However, when later this singer turned to the listeners three times with a request to give him something, no one gave anything, and many laughed at him. In this episode, the writer shows the true face of contemporary bourgeois civilization, moreover, “where - as Tolstoy angrily writes” civilization, freedom and equality are brought to the highest degree where travelers gather, the most civilized people, the most civilized nations.

In fact, as described in Lucerne, there could be no question of any true freedom and true equality: the blessings of civilization belonged only to exceptionally rich people who were used to living for themselves, protecting their peace, taking care of the comfort of their lives. life, remaining deaf and indifferent to the fate of the people of the poor, not invoking their right to human dignity and happiness.

In order for such an inhuman life to appear in all its ugly unnaturalness, offending the feelings of beauty and goodness inherent in the masses of people, the great artist introduces the magnificent nature of Lucerne into the world he depicts.

In order to make the meaning of certain phenomena and characters depicted especially clear, writers sometimes resort to artistic framing, i.e. to the creation of paintings and scenes that are close in essence to the depicted phenomena and characters. For example: in the story "Hadji Murat" L.N. Tolstoy creates a more complete picture of the fate of the hero of the story by introducing a scene with a burdock.

In some works, artistic framing leads directly to main point depicted type of person. For example: in Chekhov’s “The Man in the Case”, the description of Belikov, who surrounds himself with some kind of shell that separates him from people, prepares the formulation of the problem of the formation of “case” characters in the then “official” as Chekhov called him Russia.

Of great ideological and compositional significance is the image depicted in the works environment. Its image, as well as pictures of nature, can also be correlated with the general meaning of the work, its individual aspects.

Gogol in "Old World Landowners" showed the "extraordinary solitary life" of his heroes. Everything in this life is closed within their home and its immediate surroundings.

Often the image of the setting has a more local meaning: it is the key to recreating the characters depicted by the author.

The composition of a literary and artistic work is not only a phenomenon of form. In a truly artistic work, it is closely connected with the theme and idea, follows from the life material that the artist operates on: just like images and language, it is a means (form) of revealing the ideological and thematic content. literary work and is subordinated to its main idea.

Belinsky considered the indispensable features of an artistically perfect work: “A strictly commensurate distribution of roles for all persons ... completeness, completeness and isolation of the whole”, which should naturally follow from “unity of thoughts”.

literary language

In numerous works on the language of works of art, one can find basically two approaches to the problem: linguistic and literary criticism.

The first is to determine the features of artistic speech this work in connection with the norms of the national literary language, as they had developed by the time this work appeared.

The literary approach is based on the thesis of the unity of content and form, on the position of the primacy of content.

Artistic speech is one of the sides of the form and therefore it is determined by the content of the work.

Artistic stylistic originality ultimately follows from the originality of the ideological artistic problem and the tasks that the writer sets himself. At the same time, he, of course, takes into account the general norms of the literary language, builds on them but is not limited to them, takes non-literary dialects, and most importantly, extracts from the wealth of the literary language only that which can serve as a means of expression. ideological content specific work of art.

To create an artistic image, you must use various resources language. But it is not always the case. The creation of living pictures is possible only if the writer owns all his wealth. national language. However, their use is not very large. It is important here, as N.G. Chernyshevsky "so that every word is not only in place, - so that it is necessary inevitably and so that there are as few words as possible."

We find a similar statement in V. G. Belinsky: “The artistry of the language of the work lies in the fact that one line, one word vividly and fully represents what without it can never be expressed even in 10 volumes,” the critic wrote.

The language of any person characterizes the features of his culture, life experience, mind, psychology. Often a literary hero with just one phrase can reveal his cultural level. In the speech of the nanny Tatyana Larina, there are vernacular that characterizes her as a peasant woman.

The individualization of the speech of characters is not always created by means that are noticeable to readers. It is more tangible when the writer wants to emphasize in the faces of the most characteristics. So with an abundance of metaphors, in comparison with the type “red mountain ash fire”, “smelling silence”, “icy maple” and many others, Yesenin tends to complex style language of Russian poetry in the 20s of the twentieth century.

Artistic image

typical image
Image-motive
topos
Archetype.

Artistic image. The concept of the artistic image. Functions and structure of the artistic image.

Artistic image- one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
The artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of feelings, thoughts, aspirations, aesthetic emotions of the artist.
Its main functions are: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal specific features image, each of them separately characterizes only one side of it; an isolated consideration of individual functions not only impoverishes the idea of ​​the image, but also leads to the loss of its specificity as a special form of social consciousness.
In the structure of the artistic image leading role mechanisms of identification and transfer play.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, signs are combined into a single whole; moreover, the identification is only partial, highly limited: it borrows only one feature or a limited number of features of the objective person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes - transference.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed in an associative way to all new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating in dreams and neuroses the so-called. thickening.

Conflict as the basis of the plot side of the work. The concept of "motive" in Russian literary criticism.

The most important function of the plot is the detection of life's contradictions, i.e. conflicts (in Hegel's terminology - collisions).

Conflict- confrontation of a contradiction either between characters, or between characters and circumstances, or within a character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of a single conflict. In works of large volume, the number of conflicts increases.

Conflict- the core around which everything revolves. The plot least of all resembles a solid, continuous line connecting the beginning and end of the series of events.

Stages of conflict development- basic plot elements:

Lyric-epic genres and their specificity.

Lyric epic genres reveal connections within literature: from lyrics - a theme, from epic - a plot.

Combining an epic narrative with a lyrical beginning - a direct expression of the experiences, thoughts of the author

1. poem. – genre content can be either epic or lyrical. (In this regard, the plot is either enhanced or reduced). In antiquity, and then in the era of the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method, it is equally represented in romanticism ("Mtsyri"), in realism ("The Bronze Horseman"), in symbolism ("12")...

2. ballad. - (French "dance song") and in this sense it is a specifically romantic narrative poetic work. In the second meaning of the word, the ballad is a folklore genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.

3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) a feature of the genre form yavl. The inclusion in the text (at the beginning or at the end) of a special short stanza - morality. The fable is connected with the parable, besides, the fable is genetically connected with the fairy tale, the anecdote, and later the short story. fable talents are rare: Aesop, Lafontaine, I.A. Krylov.

4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together these lyrical works create a "circle": a unifying principle yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.

Basic concepts of poetic language and their place in the school curriculum in literature.

POETIC LANGUAGE, fiction speech, language poetic (poetic) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, in which the communicative function is the main one (see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, that is, the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. I., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in in a certain sense slows down reading, destroying the usual automatic perception of the text; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is the language in it aesthetic function».
P. i. closely related, on the one hand, to literary language(see), which is its normative basis, and on the other hand, with the national language, from where it draws a variety of characterological linguistic means, for example. dialectisms when transmitting the speech of characters or to create a local color of the depicted. The poetic word grows out of the real word and in it, becoming motivated in the text and fulfilling a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.

19. The concept of the artistic method. The history of world literature as a history of changing artistic methods.

artistic method(creative) method is a set of the most general principles aesthetic assimilation of reality, which is consistently repeated in the work of one or another group of writers that form a direction, trend or school.

O.I. Fedotov notes that "the concept of "creative method" is not much different from the concept of "artistic method" that gave rise to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire trends.

The concept of the artistic method appears in the 1920s, when critics of the Russian Association of Proletarian Writers (RAPP) borrow this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of "proletarian" writers.

The artistic method has an aesthetic nature, it represents historically determined general forms emotionally charged figurative thinking.

Art objects are the aesthetic qualities of reality, i.e. “the wide social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changeable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through historical changes in the subject of art, but also through historical change aesthetic qualities of reality. The subject of art contains the lifeblood of the artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the general philosophical and political worldview of the artist. “Method always appears before us only in its concrete artistic expression- in the living matter of the image. This matter of the image arises as a result of the artist’s personal, most intimate interaction with the concrete world around him, which determines the entire artistic and thought process necessary to create a work of art” (L.I. Timofeev)

The creative method is nothing more than a projection of imagery into a certain concrete historical setting. Only in it does the figurative perception of life receive its concrete realization, i.e. is transformed into a certain, organically arisen system of characters, conflicts, storylines.

The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically conditioned understanding of it in the light of the main questions that life poses to art at each new stage of its development.

The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of the artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, the kinship of characters, the homogeneity of conflicts and plots, and the manner of writing. So, for example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.

The artist's method is felt through style his works, i.e. through individual manifestation method. Since the method is a way of artistic thinking, the method is the subjective side of the style, because. this way of figurative thinking generates certain ideologically - artistic features art. The concept of method and individual style of the writer correlate with each other as the concept of genus and species.

Interaction method and style:

§ Variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;

§ stylistic unity is possible only within one method, since even the external similarity of the works of authors adhering to the same method does not give grounds for attributing them to a single style;

§ Reverse influence of style on method.

The full use of the style techniques of artists who are adjacent to one method is incompatible with the consistent observance of the principles of the new method.

Along with the concept of creative method, the concept direction or type of creativity which, in the most diverse forms and proportions, will be manifested in any method that arises in the process of the development of the history of literature, since they express the general properties of the figurative reflection of life. In their totality, the methods form literary currents (or trends: romanticism, realism, symbolism, etc.).

The method determines only the direction of the artist's creative work, and not its individual properties. The artistic method interacts with the creative individuality of the writer

The concept of "style" is not identical with the concept "creative individuality of the writer". The concept of "creative individuality" is broader than what is expressed by the narrow concept of "style". In the style of writers, a number of properties are manifested, which in their totality characterize the creative individuality of writers. specific and real result these properties in literature is style. The writer develops his own individual style on the basis of this or that artistic method. We can say that the creative individuality of the writer is a necessary condition further development every artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individualities of writers become general and represent a new quality in their totality.

The artistic method and creative individuality of the writer are manifested in literature through the creation literary images, building motives.

mythological school

The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.

Mythological school in Russian literary criticism: A.N. Afanasiev, F.I. Buslaev.

Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.

biographical method

Theoretical and methodological foundations of the biographical method. Life and work of Sh.O. Saint-Bev. Biographical method in Russian literary criticism of the 19th century. ( scientific activity N.A. Kotlyarevsky).

Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.

Biographical approach to the study of the heritage of major artists of the word (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.

Psychological direction

Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.

Psychological approach in Tatar literary criticism of the early twentieth century. Views of M. Marjani, J. Validi, G. Ibragimov, G. Gubaydullin, A. Mukhetdiniya and others. G. Battala's work "Theory of Literature".

Concept psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.

Psychoanalysis

Theoretical basis psychoanalytic criticism. Life and work of Z. Freud. Psychoanalytic writings of Freud. Psychoanalysis of C.G. Jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis of Erich Fromm. The concept of the social unconscious. J. Lacan's research.

Psychoanalytic theories in Russia in the 1920s. 20th century (I.D. Ermakov). Psychoanalysis in modern literary criticism.

Sociologism

The emergence of sociology. The difference between sociological and cultural-historical methods. Features of the application of the sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Proceedings of G. Nigmati, F. Burnash.

Vulgar sociologism: genesis and essence (V.M. Friche, later works V.F. Pereverzeva). FG Galimullin about vulgar sociologism in Tatar literary criticism.

Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).

The emergence of new concepts, directions that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the possibilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.

Sociologism on a global scale: in Germany (B. Brecht, G. Lukacs), in Italy (G. Wolpe), in France, striving for the synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.

formal school.

Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.

Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague linguistic circle and the Genevan linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.

Activities of the Parisian semiotic schools (early R. Barthes, K. Levy-Strauss, A. J. Greimas, K. Bremont, J. Genette, W. Todorov), the Belgian school of the sociology of literature (L. Goldman and others).

Structuralism in Russia. Attempts to apply the structural method in the study of Tatar folklore (works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis(A.G. Yakhin), while studying the history of Tatar literature (D.F. Zagidullina and others).

Emergence narratology - the theory of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.

B.S.Meilakh about complex method in literary criticism. Kazan base group Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Proceedings of Yu.G. Nigmatullina.

An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.

hermeneutics

The first information about the problem of interpretation in Ancient Greece and in the East. The views of representatives of the German "spiritual-historical" school (F. Schleiermacher, W. Dilthey). The concept of H. G. Gadamer. The concept of "hermeneutic circle". Hermeneutic theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).

Artistic image. The concept of the artistic image. Classification artistic images by the nature of generalization.

Artistic image- a way of mastering and transforming reality, inherent only in art. An image is any phenomenon that is creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, images-motives, topoi and archetypes (mythologemes).
Individual images are characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in the "Notre Dame Cathedral" by V. Hugo, the Demon in poem of the same name M. Lermontov, Woland in "The Master and Margarita" by A. Bulgakov.
A characteristic image is generalizing. It contains common features characters and mores inherent in many people of a certain era and its public spheres(characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky).
typical image represents the highest level of the characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements realistic literature XIX century. Suffice it to recall the father of Goriot and Gobsek Balzac, Anna Sometimes in the artistic image can be captured both the socio-historical signs of the era, and the universal human character traits of a particular hero.
Image-motive- this is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “Beautiful Lady” by A. Blok).
topos(Greek topos - place, area) denotes general and typical images created in the literature of an entire era, a nation, and not in the work of an individual author. An example is the image " little man» in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term is first encountered in German romantics at the beginning of the 19th century, however, the work of the Swiss psychologist C. Jung (1875–1961) gave him a true life in various fields of knowledge. Jung understood the "archetype" as a universal image, unconsciously transmitted from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, literally “stuffed” all of humanity, and the archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.