features of a work of art are taken into account in the editorial analysis.
a work of art, an artistic object can be viewed from two points of view - from the point of view of its meaning (as an aesthetic object) and from the point of view of its form (as outer product).
the meaning of the artistic object, enclosed in a certain form, is aimed at reflecting the understanding of the artist surrounding reality. and the editor, when evaluating the essay, must proceed from the analysis of the “plan of meaning” and the “plan of fact” of the work (M. M. Bakhtin).
an artistic object is a point of interaction between the meaning and the fact of art. art object demonstrates the world, conveying it in an aesthetic form and revealing the ethical side of the world.
for editorial analysis, such an approach to considering artwork in which the work is examined in its connection with the reader. it is the influence of the work on the personality that should be the starting point in the evaluation of the artistic object.
An artistic object includes three stages: the stage of creating a work, the stage of its alienation from the master and independent existence, the stage of perception of the work.
as the starting point of the unifying beginning of the work of the artistic process in the editorial analysis, it is necessary to consider the idea of the work. it is the idea that merges together all the stages of the artistic object. this is evidenced by the attention of the artist, musician, writer to the selection of appropriate means of expression when creating works that are aimed at expressing the intention of the master.
In the book “How Our Word Responds,” the writer Yu. Trifonov notes: “the highest idea of a thing - that is, why all this damage to paper - is constantly in you, this is a given, your breath, which you do not notice, but without which you cannot live.”
the idea embodied in a work of art, it is the idea, first of all, that is perceived by the reader, the stage of perception artistic creativity.
but the whole artistic process is, as already mentioned, a dialogical process of communication between the artist and those who perceive the work.
the writer evaluates what surrounds him and talks about how he would like to see reality. rather, it does not “speak”, but reflects the world in such a way that the reader understands it. in a work of art, the existence and obligation of life is realized, the interpretation by the artist is carried out life values. it is the idea that absorbs the writer's value orientations and determines the selection of vital material for the work.
but the concept of design not only characterizes the main meaning of the work. the idea is the main component of the impact of a work of art at the time of its perception.
thus, the subject of art is not only a person and his connections and relations with the world. the composition of the subject area of the work also includes the personality of the author of the book, who evaluates the surrounding reality.
evaluating the intent, the editor determines how the material used by the author corresponds to the intent. so, a large, large-scale plan requires large form, for example, can be implemented in the genre of the novel. an idea that reveals the intimate aspects of a person's fate, in the genre of a story, a short story. considering the genre of the work, the editor answers the most main question related to the evaluation of the quality of the work - the question of the completeness of the disclosure of the idea. thus, having considered the plan of the meaning of the work, the editor analyzes the plan of the fact. details of the editor's evaluation of the concept and genre originality artistic will be discussed below. having answered the question of what the author said, the editor evaluates what he said, i.e., analyzes the skill of the writer. while the editor focuses on the basic laws, patterns, nature of art.
in art artistic image is a means of cognizing the surrounding reality, a means of mastering the world, as well as a means of recreating reality in a work of art - in an artistic object.
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Artwork idea.
Idea(from the Greek idea - prototype, ideal) - the main idea of the work, expressed through its entire figurative system. It is the mode of expression that distinguishes the idea of a work of art from a scientific idea.
The main thesis of statements about art by V.G. Plekhanov - “art cannot live without an idea” - and he repeats this idea repeatedly, analyzing this or that work of art. “The merit of a work of art,” writes Plekhanov, “is determined in the last analysis by the weight of that feeling, the depth of the idea that it expresses.”
For educational literature of the 1111th century. was characterized by high ideological content, due to the desire to reorganize society on the principles of reason. At the same time, the so-called salon, aristocratic literature "in the rococo style", devoid of high citizenship, also developed.
And in the future, in literature and art, there have always existed and exist two parallel ideological currents, sometimes touching and mixing, but more often separating and developing independently, gravitating towards opposite poles.
In this regard, the problem of correlation in the work of "ideological" and "artistic" is extremely important. But even outstanding artists words are far from always able to translate the idea of \u200b\u200bdesign into a perfect art form. Most often, writers who are completely “absorbed” by carrying out this or that idea stray into ordinary journalism and rhetoric, leaving artistic expressiveness on the second and third planes. This applies equally to all genres of art. According to V.G. Belinsky, the idea of a work "is not an abstract thought, not a dead form, but a living creation."
1. 1. Theme of the artwork .
Theme(from Greek thema) - what is put in the basis, the main problem and the main circle of life events depicted by the writer. The theme of the work is inextricably linked with its idea. The selection of material, the formulation of problems (the choice of topic) is dictated by the ideas that the author would like to express in the work.
It was about this connection between the theme and the idea of the work that M. Gorky wrote: “The theme is an idea that originated in the author’s experience, is suggested to him by life, but nestles in the receptacle of his impressions still unformed, and requiring embodiment in images, arouses in him the urge to work its design."
Along with the term "theme" is often used and close to it in meaning the term " themes". Its application indicates that the work includes not only the main, but also a number of auxiliary themes and thematic lines; or the themes of many works are closely related to one or a set of several related themes, forming an extensive theme of one class.
The plot of a work of art.
Plot(from French sujet - subject) - the course of the narrative about the events unfolding and happening in a work of art. As a rule, any such episode is subordinated to the main or auxiliary storyline.
However, there is no single definition of this term in literary criticism. There are three main approaches:
1) a plot is a way of developing a theme or presenting a plot;
2) plot is a way of developing a theme or presenting a plot;
3) the plot and the plot do not have a fundamental difference.
The plot is based on the conflict (clash of interests and characters) between the characters. That is why where there is no narration (lyrics), there is no plot.
The term "plot" was introduced in the 11th century. classicists P. Corneille and N. Boileau, but they were followers of Aristotle. Aristotle called what is called a "plot" a "narrative." Hence the "storyline".
The plot consists of the following main elements:
exposition
Action development
climax
denouement
exposition(lat. expositio - explanation, presentation) - an element of the plot containing a description of the life of the characters before they begin to act in the work. direct exposure located at the beginning of the story delayed exposure fits anywhere, but it must be said that contemporary writers rarely use this plot element.
tie- the initial, starting episode of the plot. She usually appears at the beginning of the story, but this is not the rule. So, about Chichikov's desire to buy dead Souls we learn only at the end of Gogol's poem.
Development of action proceeds at will actors storytelling and authorship. The development of the action precedes the climax.
climax(from lat. culmen - peak) - moment highest voltage actions in the work, its fracture. After the climax comes the denouement.
denouement- the final part of the plot, the end of the action, where the conflict is resolved and it turns out, the motivation for the actions of the main and some secondary characters and their psychological portraits are specified.
The denouement sometimes precedes the plot, especially in detective stories, where in order to interest the reader and capture his attention, the narrative begins with a murder.
Other supporting plot elements are prologue, prehistory, digression, inserted short story and epilogue.
However, in modern literary process we often do not meet with detailed expositions, or with prologues and epilogues, or with other elements of the plot, and even sometimes the plot itself is blurred, barely drawn, or even completely absent.
4. The plot of a work of art.
Plot (from lat. fabula - fable, story) - a sequence of events. This term was introduced by ancient Roman writers, apparently referring to the same property of narration that Aristotle spoke of.
Subsequently, the use of the terms "plot" and "plot" led to confusion, which is almost impossible to resolve without introducing other clarifying and explaining terms.
AT modern literary criticism the interpretation of correlation and plot, proposed by representatives of the Russian “formal school” and considered in detail in the works of G. Pospelov, is more often used. They understand the plot as “the events themselves”, chronologically recorded, while the plot is “the story of the events”.
Academician A.N. Veselovsky at work Historical poetics(1906) proposed the concept of " motive ”, giving it the meaning of the simplest narrative unit, similar to the concept of “element” in the periodic table. Combinations of the simplest motifs form, according to Veselovsky, the plot of a work of art.
5. Composition(from Latin compositio - compilation, binding) - the construction, arrangement of all elements of the form of a work of art, due to its content, nature and purpose, and largely determining its perception by the viewer, reader, listener.
Composition is internal and external.
To the sphere internal composition include all static elements of the work: portrait, landscape, interior, as well as extra-plot elements - exposure (prologue, introduction, prehistory), epilogue, inserted episodes, short stories; digressions (lyrical, philosophical, journalistic); motivations for narrative and description; forms of speech of characters (monologue, dialogue, correspondence, diary, notes; forms of narration (spatio-temporal, psychological, ideological, phraseological.
To external composition include the division of the epic work into books, parts and chapters; lyrical - into parts and stanzas; lyric-epic - for songs; dramatic - on acts and pictures.
Much is known today about composition, as well as about other elements of the plot of a work of art, but not every author succeeds in compiling an ideal composition. The point, obviously, is not so much in "knowing" how to do it, but in the presence of talent, taste and sense of proportion of the artist.
Delving into the historical distance of the question of the plot (from fr. sujet- content, development of events in time and space - in epic and dramatic works, sometimes in lyric) and plot, we find theoretical discussions on this issue for the first time in Aristotle's "Poetics". Aristotle does not use the terms "plot" or "plot" themselves, but in his reasoning he shows interest in what we now mean by plot, and makes a number of valuable observations and remarks on this subject. Not knowing the term "plot", as well as the term "plot", Aristotle uses a term close to the concept of "myth". By it, he understands the combination of facts in their relation to verbal expression, vividly presented before his eyes.
When translating Aristotle into Russian, sometimes the term "myth" is translated as "plot". But this is inaccurate: the term "plot" is Latin in origin, "fabulare", which means to tell, narrate, and in exact translation means a story, a narration. The term "plot" in Russian literature and literary criticism begins to be used from about the middle of the 19th century, i.e. somewhat later than the term "plot".
For example, "plot" as a term is found in Dostoevsky, who said that in the novel "Demons" he used the plot of the famous "Nechaevsky case", and in A. N. Ostrovsky, who believed that "the plot often means completely ready-made content ... with all the details, but there is a plot short story about some incident, case, story, devoid of any colors.
In the novel by G. P. Danilevsky "Mirovich", written in 1875, one of the characters, wanting to tell another funny story, says: "... And you listen to this comedy plot!". Although the novel is set in mid-eighteenth in. and the author follows the speech reliability of this time, he uses a word that has recently appeared in literary use.
The term "plot" in its literary sense was widely introduced by representatives of French classicism. In the "Poetic Art" of Boileau we read: "You should not delay us in plot enter. // You should observe the unity of the place in it, // Than with an endless, meaningless story // We tire our ears and revolt our mind. critical articles Corneille, theater, the term "plot" is also found ( sujet).
Mastering the French tradition, the Russian critical literature uses the term plot in a similar sense. In the article "On the Russian story and the stories of N.V. Gogol" (1835), V. Belinsky writes: to the will of one's imagination a form for one's thought. In this case, the field is limitless."
Subsequently, such a major literary theorist of the second half of XIX century, as A. N. Veselovsky, who laid the foundation for the theoretical study of the plot in Russian literary criticism, is limited only to this term.
Dividing the story into constituent elements- motives, having traced and explained their origin, Veselovsky gave his definition of the plot: "Plots are complex schemes, in the imagery of which generalized famous acts human life and psyche in alternating forms of everyday reality. Generalization is already connected with an assessment of the action, positive and negative. "And then he concludes:" By the plot, I mean the scheme in which the different positions- motives". As we see, in Russian criticism and literary tradition enough long time both terms are used: "plot" and "plot", although without distinguishing between their conceptual and categorical essence.
The most detailed development of these concepts and terms was made by representatives of the Russian "formal school". It was in the works of its participants that the categories of plot and plot were first clearly distinguished. In the writings of the formalists, the plot and plot were subjected to careful study and comparison. B. Tomashevsky writes in Theory of Literature: “But it is not enough to invent an entertaining chain of events, limiting them to a beginning and an end. You need to distribute these events, you need to build them in a certain order, set them out, make a literary combination out of plot material. Artistically constructed distribution of events in a work is called a plot.
Thus, the plot here is understood as something predetermined, like some kind of story, incident, event taken from the life or works of other authors.
So, for quite a long time in Russian literary criticism and criticism, the term "plot" has been used, which originates and is borrowed from French historians and literary theorists. Along with it, the term "plot" is also used, which has been quite widely used since the middle of the 19th century. In the 1920s the meaning of these concepts is terminologically divided within one work.
At all stages of the development of literature, the plot occupied a central place in the process of creating a work. But towards the middle 19th century, having received a brilliant development in the novels of Dickens, Balzac, Stendhal, Dostoevsky and many others, the plot seems to be beginning to burden some novelists ... "What seems beautiful to me and what I would like to create," writes the great French in one of his letters in 1870 stylist Gustave Flaubert (whose novels are beautifully organized by plot) is a book that would have almost no plot, or one, at least, in which the plot would be almost invisible. Most beautiful works those in which there is the least matter ... I think that the future of art lies in these perspectives ... ".
In Flaubert's desire to free himself from the plot, the desire for a free plot form is noticeable. Indeed, later in some novels of the XX century. the plot no longer has such a dominant meaning as in the novels of Dickens, Tolstoy, Turgenev. The genre of lyrical confession, memoirs with in-depth analysis got the right to exist.
But one of the most common genres today - the detective novel genre, has made a swift and unusually sharp plot its basic law and only principle.
Thus, the modern plot arsenal of the writer is so huge, he has at his disposal so many plot devices and principles for the construction and arrangement of events that this gives him inexhaustible opportunities for creative solutions.
Not only the plot principles have become more complicated, it has become incredibly complicated in the 20th century. the way of storytelling. In the novels and stories of G. Hesse, X. Borges, G. Marquez, complex associative memories and reflections, the displacement of different episodes that are far apart in time, and multiple interpretations of the same situations become the basis of the narrative.
Events in epic work can be combined different ways. In the "Family Chronicle" by S. Aksakov, in the stories of L. Tolstoy "Childhood", "Boyhood", "Youth" or in "Don Quixote" by Cervantes, the plot events are interconnected by a purely temporal connection, as they consistently develop one after another over long period of time. The English novelist Forster presented such an order in the development of events in a short figurative form: "The king died, and then the queen died." Plots of this type began to be called chronicles, in contrast to concentric ones, where the main events are concentrated around one central moment, are interconnected by a close causal relationship and develop in a short time period. "The king died, and then the queen died of grief" - so continued his thought about concentric plots the same Forster. Of course, it is impossible to draw a sharp line between the two types of plots, and such a division is very conditional. Most a prime example novel concentric could be called the novels of F. M. Dostoevsky. For example, in the novel "The Brothers Karamazov" plot events unfold rapidly over several days, are interconnected exclusively causality and are concentrated around one central moment of the murder of the old man F. P. Karamazov. The most common type of plot is the most frequently used in contemporary literature- chronicle-concentric type, where events are in a causal-temporal relationship.
Today, having the opportunity to compare and study the classic examples of plot perfection (the novels of M. Bulgakov, M. Sholokhov, V. Nabokov), we can hardly imagine that in its development the plot went through numerous stages of formation and developed its own principles of organization and formation. Already Aristotle noted that the plot should have "a beginning that presupposes further action, the middle, which presupposes both the previous and the following, and the final, which requires a previous action, but does not have a subsequent one.
Writers have always had to deal with a lot of plot and compositional problems: how to introduce new characters into the unfolding action, how to take them away from the pages of the story, how to group and distribute them in time and space. Such a seemingly necessary plot moment as a climax was first truly developed only by the English novelist Walter Scott, the creator of tense and fascinating plots.
The plot consists of episodes constructively organized in different ways. These episodes are: differently participate in the preparation of the plot climax and, in this regard, have varying degrees of "accent" or tension.
Specific narrative episodes are a narrative about specific events, the actions of characters, their actions, etc. These episodes can only be stage, as they depict only what is happening before the eyes of the reader at the moment.
summary-narrative episodes recount events in in general terms occurring as in the present story time, and with large digressions and excursions into the past, along with the author's comments, passing characteristics, etc.
descriptive episodes consist almost entirely of descriptions of the different nature: landscape, interior, time, place of action, certain circumstances and situations.
Psychological episodes depict inner experiences, processes psychological state characters, etc.
These are the main types of episodes from which the plot is built in an epic work. However, much more important is the question of how each episode of the plot is built and what narrative components it consists of. After all, everyone plot episode there is its own composition of those forms of the image from which it is built. This composition is best called construction plot episodes.
There are a great many options for the construction of episodes and the use of various narrative components in them, but they, as a rule, are repeated by each author. It should also be noted that the components of the plot episode in different writers have varying degrees of expressiveness and intensity. So, in the novel by F. M. Dostoevsky "The Brothers Karamazov" there are relatively few components that participate in the constructions of episodes of different nature and alternate with each other in a certain order. These are backstories, conversations between two characters (with or without a witness), dialogues, triologues and crowded gathering scenes. Conversations between two characters are divided into conversations in the form of a confession of one of the characters (this constructive-narrative form can be called a confession) and conversations-dialogues. Separate narrative components can be considered the image of the external actions of the characters and various descriptions. All other components are not clearly expressed, they serve only as a link and cannot be singled out as independent ones.
Similarly, the use of narrative components by other novelists can be distinguished and classified.
The plot traces the stages of movement of the underlying conflict. They are referred to as:
- - "prologue" (separated from the action of the introduction);
- - "exposure" (image of life in the period immediately preceding the plot);
- - "tie" (the beginning of the action, the emergence of a conflict);
- - "development of action", "culmination" (the highest point of tension in the development of events);
- – "decoupling" (the moment of the end of the action);
- - "epilogue" (final, separate from the action of the main part of the text).
However, one should not mechanically divide the plot of any work into these elements. The options here are very different and interesting. For example, a work might begin with a prologue (" Bronze Horseman"A. S. Pushkin) or from the epilogue ("What to do?" N. G. Chernyshevsky), from the exposition ("Ionych" by A. P. Chekhov) or immediately from the plot ("Inspector General" by N. V. Gogol). For reasons of ideological and artistic expressiveness, the exposition can move (Chichikov's biography, Oblomov's childhood story, etc.) At the same time, it would be wrong to consider these elements of the plot only as an external movement of what is happening, as connecting links, as methods of chaining events. They play a significant role in the ideological and artistic sense: the writer shows in them the characters, the logic of people's relationships, which makes it possible to understand the typical conflict of the depicted era, and gives them his assessment.
AT major work, as a rule, contains several storylines that are either intertwined, or merge, or develop in parallel (for example, in the novels of F. M. Dostoevsky and L. N. Tolstoy). A story may have one or more climaxes. So, in the novel by I. S. Turgenev "Fathers and Sons" in the storyline Evgeny Bazarov - Pavel Petrovich Kirsanov, the duel scene is the climax. In the Bazarov-Odintsov storyline, the climax is the scene when the hero confesses his love to Anna Sergeevna and rushes to her in a fit of passion...
No matter how complex a literary work, no matter how storylines it didn’t have anything, everything in it is directed towards a single goal - to the expression of a cross-cutting idea that unites all the threads of the plot into one whole.
Prologue, exposition, plot, climax, denouement, epilogue - all these are integral parts of the plot that can appear in one or another combination.
In ancient times plot schemes migrated from one work to another, and write on the same plot different authors was a matter of habit and literary legitimacy. For example, tragic fate Antigones in the plot interpretation of Sophocles and Euripides. Traditional plot schemes passed from country to country, from literature to literature, became the basis of many epic and dramatic works. Such plots were called wandering. The story of Don Juan, for example, bypassed almost all European literatures and became the basis of the plots of works of various genres.
In an epic work, the plot is considered as the subject-pictorial side of the form, since the image of the characters, which consists of many different details: actions, statements, external descriptions etc., and the very temporal sequence of these actions, this or that interconnection of events is individual expression common properties life in their author's understanding and evaluation. By the sequence of its development, the plot reveals the characters, the problems, the ideological and emotional assessment of the events in the work. The connection between the plot and the content has a certain character, which should be best described as functional, because the plot performs various functions. artistic features but in relation to the content they express.
Each time, the unique and individual sequence of events and actions of the characters is the result of the creative typification of characters in their life situations and relationships. In the typification of characters and situations, there is almost always hyperbolization and creative development. The plot of the work is almost always the most painful and painstaking work. After all, it is the plot that reveals the essence of the characters depicted, serves to highlight, strengthen, develop those aspects of life that are most significant for the writer.
The plot almost never happens all at once. Before it takes on a complete and permanent form, it changes many times, is reworked, acquires new facts from the life of the characters, plot links and motivations, each time turning into one of the future options in creative imagination writer. For example, in the drafts for the novel The Possessed, Dostoevsky goes over numerous possibilities for the relationship of several characters. There are multiple versions of the same event. There are about eight plot options for revealing the secret marriage of Stavrogin and Khromonozhka.
When creating a plot, creative expressiveness and emotionality of the image play an active role. The character needs to express himself most fully and completely in the events found and invented by the author. In connection with these events, experiences, reasoning, actions, self-revelations of heroes arise, which serve to reveal and embody their characters. Thus the plot is created creative fantasy artist to express the main ideological content and functionally related to it.
Disclosure of the characteristics of characters can be realized only in action, in actions and events, in the sequence of these events, or in plot. The development of relationships between characters, individual motivations, biographical, love stories, experiences - in other words, the entire individual-dynamic series is the plot of the work.
Usually, in the process of plot development, the writer depicts those aspects of his character's character that seem to him the most significant, revealing the idea of the work as fully as possible and which can only manifest themselves in certain events and their sequence. In revealing his plot, the author cannot, and indeed does not aim to, equally cover all plot links, episodes, relationships, etc. Concentrating his attention on the central, key moments of the event, choosing some of them for a detailed depiction and sacrificing others, the writer can build the development of the plot in a variety of ways. And this purposeful, sequential selection of events and relationships, some of which are placed at the center of the plot narrative, and the other serves as a link or an insignificant passing point, is the most important for plot construction.
The author's assessment can be expressed in different ways in the course of the plot narration. This may be direct authorial intervention, authorial maxims and moralizing, the election of one or more characters as the author's "mouthpiece", a kind of judge of what is happening. But in any case, the entire course of events, the entire causal and temporal conditionality of these events is based on the principle of the most expressive expression in them of the ideological assessment of characters.
Every scene, every episode plot device has a specific function. In each story, all the main and minor characters, performing their meaningful function, at the same time represent a certain hierarchy, individual in each case, of oppositions, confrontations, interlacings, united according to a certain artistic system.
There are two things that make this book fascinating: the character and its destiny. If you managed to create a bright, charming and original - in fact, half the battle is done. The reader's interest in your book is guaranteed. For the first hundred pages. But to justify it is the task of the plot.
What is a plot?
In Russian-language literature, there are two concepts - the plot and the plot. They mean roughly the same thing, but there are differences.
In short and simple, then:
- the plot is the facts of your history, naked and impartial, arranged in chronological order;
- the plot is that (with the eyes of which hero they showed them, what assessment they gave, maybe even changed chronological order, i.e., first they told about what happened, and then they showed the reason for what happened).
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For example, in Dostoevsky's novel "Crime and Punishment" the plot is as follows:
A poor student committed the murder of an old usurer. After a long time he suffered and repented. He confessed, went to hard labor and found peace and happiness.
And the plot is more complicated:
A poor student, reflecting on the latest philosophical concepts of his time, perceives the old usurer as an impersonal evil that stands in his way, the path of an enlightened and potentially great person, and everything in his life depends on whether he has enough determination and courage to admit that he above her and has the right to destroy her in order to achieve all that he can; whether he can be a real person, and not a trembling creature.
To prove to himself that he is a man and not a creature, the student kills the old woman - with an ax, clumsily and with horror; the scene of the murder shocks him so much that he falls into a state of shock and gradually slides into mental disorder… etc.
I think this is enough for you to understand the difference between plot and plot.
The plot (unlike the plot) is internal and external.
The inner story is what happens in the head and in the heart. The path of development of his character. After all, you already know that a hero is a hero because his character, his personality change in the course of the work. These changes are the inner story.
The external plot is what happens around the main character and with his direct participation. These are all the actions that take place in your story. Actions that affect, the people you talk about. Actions that generate facts.
Most often, these two types of plot peacefully coexist and support each other. But, of course, there are also stories where one of the plots prevails.
In the cited novel by Dostoevsky, the advantage, as you understand, is on the side of the internal plot.
But in stories about Conan the Barbarian, the external plot prevails.
In many ways, the ratio of internal and external plots stories depends on the literary niche for which you are going to write.
If your goal is mainstream, then the stories should be brought into balance. If - or, in other words, entertaining - literature, then it is better to work properly on the external plot. If you intend to get into elite literature, then you can safely deal only inner world your hero!
However, remember: best books any of the aforementioned trends are always built on an organic fusion of both types of plot. Rich spiritual world main character, his active inner life also stimulate sharp conflicts in the external world.
And vice versa.
Inspiration to you and good luck!
journalist, writer
(page VKontakte
Event in a literary text. Storytelling and non-storytelling. Features of plot construction: plot components (plot, course of action, climax, denouement - if any), sequence of main components. Relationship between plot and plot. Plot motives. Motive system. Plot types.
Difference between " plot" and " plot”is defined in different ways, some literary critics do not see a fundamental difference between these concepts, while for others, “plot” is the sequence of events as they happen, and “plot” is the sequence in which the author arranges them.
plot- the actual side of the narrative, those events, cases, actions, states in their causal-chronological sequence. The term "plot" refers to what is preserved as the "basis", "core" of the narrative.
Plot- this is a reflection of the dynamics of reality in the form of an action unfolding in a work, in the form of interrelated (by causal relationship) actions of characters, events that form a unity, that make up some complete whole. The plot is a form of development of the theme - an artistically constructed distribution of events.
The driving force behind the development of the plot, as a rule, is conflict(literally "collision"), a conflicting life situation, put by the writer at the center of the work. In a broad sense conflict we should call that system of contradictions that organizes a work of art into a certain unity, that struggle of images, characters, ideas, which is especially widely and fully developed in epic and dramatic works
Conflict- a more or less acute contradiction or clash between characters with their characters, or between characters and circumstances, or within the character and consciousness of a character or a lyrical subject; this is the central moment not only of epic and dramatic action, but also of lyrical experience.
There are various types of conflicts: between individual characters; between character and environment; psychological. The conflict can be external (the struggle of the hero with the forces opposing him) and internal (the struggle in the mind of the hero with himself). There are plots based only on internal conflicts (“psychological”, “intellectual”), the action in them is based not on events, but on the ups and downs of feelings, thoughts, experiences. In one work there can be a combination of different types of conflicts. Sharply pronounced contradictions, the opposite of the forces acting in the work, is called a collision.
Composition (architectonics) is the construction of a literary work, the composition and sequence of the arrangement of its individual parts and elements (prologue, exposition, plot, development of the action, climax, denouement, epilogue).
Prologue – introductory part literary work. The prologue tells about the events that precede and motivate the main action, or explains the author's artistic intention.
Exposure- a part of the work that precedes the beginning of the plot and is directly related to it. The exposition follows the arrangement of the characters and the circumstances, the reasons that “trigger” the plot conflict are shown.
tie in the plot - the event that served as the beginning of the conflict in a work of art; an episode that determines the entire subsequent deployment of the action (in N.V. Gogol's "Inspector General", for example, the plot is the message of the mayor about the arrival of the auditor). The plot is present at the beginning of the work, indicates the beginning of the development of artistic action. As a rule, it immediately introduces the work into the main conflict, determining the entire narrative and plot in the future. Sometimes the plot comes before the exposition (for example, the plot of the novel "Anna Karenina" by L. Tolstoy: "Everything is mixed up in the Oblonsky's house"). The writer's choice of one or another type of plot is determined by the stylistic and genre system in terms of which he draws up his work.
climax- the point of the highest rise, tension in the development of the plot (conflict).
denouement- conflict resolution; it completes the struggle of contradictions that make up the content of the work. The denouement marks the victory of one side over the other. The effectiveness of the denouement is determined by the significance of the entire preceding struggle and the climactic sharpness of the episode preceding the denouement.
Epilogue- the final part of the work, which briefly reports on the fate of the characters after the events depicted in it, and sometimes discusses the moral, philosophical aspects of the depicted (“Crime and Punishment” by F.M. Dostoevsky).
The composition of a literary work includes off-plot elements– author's digressions, inserted episodes, various descriptions(portrait, landscape, world of things), etc., serving to create artistic images, the disclosure of which, in fact, the whole work serves.
So, for example, episode as a relatively complete and independent part of the work, which depicts a completed event or an important moment in the fate of the character, can become an integral link in the problematics of the work or an important part of its general idea.
Landscape in a work of art, it is not just a picture of nature, a description of a part of the real environment in which the action unfolds. The role of the landscape in the work is not limited to depicting the scene. It serves to create a certain mood; is a way of expressing the author's position (for example, in the story of I.S. Turgenev "Date"). The landscape can emphasize or convey the state of mind of the characters, while the internal state of a person is likened or contrasted with the life of nature. The landscape can be rural, urban, industrial, marine, historical (pictures of the past), fantastic (the image of the future), etc. The landscape can also perform a social function (for example, the landscape in the 3rd chapter of the novel by I.S. Turgenev "Fathers and Sons", the urban landscape in the novel by F.M. Dostoevsky "Crime and Punishment"). In lyrics, the landscape usually has an independent meaning and reflects the perception of nature by a lyrical hero or a lyrical subject.
Even small artistic detail in literary work often plays an important role and performs a variety of functions: it can serve as an important addition to the characterization of the characters, their psychological state; be an expression of the author's position; can serve to create overall picture morals, have the meaning of a symbol, etc. Artistic details in the work are classified into portrait, landscape, world of things, psychological details.
Main literature: 20, 22, 50, 54.68, 69, 80, 86, 90
Further reading: 27, 28, 48, 58
