Thesis
Kolosova, Svetlana Nikolaevna
Academic degree:
Doctor of Philology
Place of defense of the dissertation:
VAK specialty code:
Speciality:
Russian literature
Number of pages:
CHAPTER I: THE PORTRAIT AS A PHENOMENON OF CULTURE AND ART
§ 1. Portrait in literature and fine arts.
§ 2. The problem of dynamism and static in a lyrical portrait as an analogue of a pictorial one.
CHAPTER II: PORTRAIT OF A HERO IN A LYRICAL WORK
§ 1. Female portrait in Russian lyric poetry.
§ 2. impressionistic features in a lyrical portrait
§ 3. Romantic tradition in the portraits of heroes in lyric poetry.
§ 4. Personified portrait of the era in lyric poetry.
§ 5. Lyrical portrait in prose.
CHAPTER III: SELF-PORTRAIT IN RUSSIAN LYRICS.
§ 1. Self-portrait in the poetry of VV Mayakovsky of the pre-October period of creativity.
§ 2. Portrait of feelings: psychological lyrical in the portraits of the heroine A. A. Akhmatova.
§ 3. Impressionistic features in portraits and self-portraits by M.I. Tsvetaeva.
§ 4. Self-portrait in the individual style of S.A. Yesenin.
CHAPTER IV: TYPOLOGY OF THE LYRICAL PORTRAIT
§ 1. Principles of portrait typology in lyric poetry.
Introduction to the thesis (part of the abstract) On the topic "Typology and Poetics of the Portrait in Russian Lyric Poetry"
The portrait as a cultural phenomenon, an aesthetic object reveals itself initially in the fine arts. A priori, a portrait is understood as the transfer of a person's appearance "to the canvas". As B.V. Shaposhnikov wrote, “we call an image a portrait certain person when he alone is the only theme of the picture. And N.I. Zhinkin in the article “ portrait forms" gives a definition of a pictorial portrait, more specifically outlining its features and emphasizing the external static nature of the recreated object: "A portrait is an image on a plane of an individual person who is not involved in the action"2. The artist, creating a portrait, seeks to reflect not only the appearance individual person, but also his inner world, thoughts and feelings at a certain moment, which especially struck the creator, and refract his own own attitude to the subject of the image. It is no coincidence that they say about a picturesque portrait that it is “the product of a lyrical 3 attitude to the world”.
Note, however, that the portrait in literature is one of the components of " text canvas"- the concept is no less common and relevant. Under " portrait in literature"suggest a means of characterizing the hero, a description of his appearance, reflecting the inner world, the nature of interaction with the outside world, and correlate this concept (" portrait in literature”) with a prose work. Yes, in the dictionary literary terms edited by L.I. Timofeev and S.V. Turaev, a portrait in the literature is defined as “an image of the hero’s appearance: his face, figure, clothes, demeanor.<.>The character may not be described externally, and the portrait is given through the impression that the hero
1 Shaposhnikov B.V. Portrait and its original.// Art of the portrait. Sat. articles ed. A.G. Gabrichevsky. M., 1928. P.78.
Zhinkin N.I. Portrait forms.// Ibid. pp. 12-13.
3 Tarabukin N.M. Portrait as a problem of style.// Ibid. P. 173. 3 produces on others”1. In the Literary Encyclopedic Dictionary, edited by V.M. Kozhevnikov and P.A. Nikolaev, it is emphasized that the portrait is “ kind of description»2. And in other dictionaries, reference books, special literature on the theory of fiction3, a portrait is defined as a description of the appearance of characters, and it refers mainly to prose works, in which the portrait acts as one of the main means of creating an image in a work, as an artistic device.
The image of a person's appearance, which is the basis of any portrait, has various ways and forms of implementation in various types arts (fine arts, literature, music, photography, etc.). Accordingly, verbal portraits appear in literature, and depending on the genre-specific features of the work, it is advisable to single out the terms: “ literary portrait”,“ portrait in prose ”and“ portrait in lyrics". Of course, all these concepts are associated with the depiction of a person in a literary work of art and basically have a relationship with a pictorial portrait, but they also have fundamental differences, and the degree and properties of kinship with painting also differ.
The term " literary portrait" is considered in the scientific literature in two meanings:
1 Dictionary of literary terms, ed. L.I. Timofeeva and S.V. Turaeva. M., 1974. S.275-276. (Links to literary dictionaries and encyclopedias are important for us because they show the established terminological positions in the analysis of the artistic phenomena of literature),
2 “Portrait in literature (French portrait, from portraire - to portray), the image of the hero's appearance (facial features, figure, posture, facial expressions, gesture, clothing) as one of the means of characterizing him; kind of description" - Literary Encyclopedic Dictionary. Ed. V.M. Kozhevnikov and P.A. Nikolaev M., 1987.
3 Brief literary encyclopedia, ed. A.A. Surkov. T.V. M., 1968. S. 894-895; Encyclopedic dictionary for youth. literary criticism from A to Ya. M., 2001.S.264-267; Literary Encyclopedia terms and concepts, ed. A.N. Nikolyukin. M., 2001. P.162.
1. literary genre, close to the memoir, which is characterized by documentation, the desire for an accurate, reliable reproduction of the chosen object, which is superimposed on the personal perception of the author. “First of all, this is a story about the character and fate of a certain person, the interest in which forms the content of the new genre. Documentary and biographical material underlying literary portrait as a genre, demanded from the author and special ways of its artistic processing. The process of creating the image of a hero in a literary portrait, on the one hand, is "limited" by the facts of the biography specific person, but on the other hand, the law of the genre does not constrain the author in choosing the forms of the author's commentary, explaining the nature of the hero of the story "1. Barakhov V.C. convincingly wrote about the genre of the literary part of the portrait. , Trykov V.P. , Urtmintseva M.G.
2. Another meaning of the term " literary portrait" is used in scientific research, for example, Gabel M.O., as " depiction of human appearance»4 in literary work, i.e. is considered as an artistic device, and then this concept coincides with the concept that is given in literary reference books as “ portrait in literature". In the book of A.I. Beletsky " Selected writings on literary theory» in the chapter « The image of the appearance of persons”, written by M.O. Gabel, the question of what kind of portraits are in works of art of various eras and trends is considered. The author singles out, in particular, a portrait of passport signs, an abstract portrait, a portrait of a transitional style, a picturesque portrait, a portrait with a changing expression, plastic, architectural portraits5. Note that in this work, the portrait is considered solely as a technique and
1 Urtmintseva M.G. Talking Painting (Essays on the History of a Literary Portrait). - Nizhny Novgorod. 2000. P.11.
2 Barakhov B.C. Literary portrait. Origins, poetics, genre. L., 1985.
3 Trykov V.P. French literary portrait XIX century. - M. 1999.
4 Gabel M.O. Image of the appearance of persons. / / AI Beletsky Selected works on the theory of literature. - M., 1964. S. 149.
5 See ibid. for details. pp. 149-169. there is no delimitation of the concepts “portrait in lyrics” and “portrait in prose”, although examples of portraits in lyrics are given.
The term "portrait in prose", under this consideration, will coincide with the concept of " literary portrait» in the second sense, and then it is an artistic device used as a means of creating the image of the hero1. Perhaps the most accurate definition of a portrait, characteristic of a prose work, is given in the monograph by L.N. The author writes: “A portrait in a literary work is one of the means of creating the image of a hero, with a reflection of his personality, inner essence, soul through the image (portrait) of the external appearance, which is a special form of comprehension of reality and a characteristic feature individual style writer" 2. However, the above definition is quite fair for a portrait in a prose work, but does not take into account the peculiarities of a portrait in lyrics.
A.G. Gabrichevsky in the article " Portrait as an image problem” wrote: “The problem of the portrait becomes a problem of style, the presence or absence of a portrait, its character, the choice and interpretation of the model turn out to be a consequence or, at best, an expression of one or another worldview”3. In our opinion, the philosophy of a pictorial portrait most harmoniously reveals the philosophy of a portrait in lyrics, because, unlike prose, where the portrait often acts as a tool, as one of the means of creating a hero, in lyrical poetry a portrait (as in
1 Portrait in fiction. Interuniversity collection of scientific papers. -Syktyvkar, 1987; Kashina N.V. Man in the work of F.M. Dostoevsky. - M., 1989; Dmitrievskaya JI.H. Landscape and portrait: the problem of definition and literary analysis (landscape and portrait in the work of ZN Gippius)). Monograph. - M., 2005; Wu Chunmei Portrait in stories and short stories by LN Andreev. - M., 2006, etc.
Dmitrievskaya L.N. Landscape and portrait: the problem of definition and literary analysis (landscape and portrait in the work of ZN Gippius)). - M., 2005. P. 90. 3 Gabrichevsky A.G. Portrait as a Problem of Image.//The Art of the Portrait. Sat. articles ed. A.G. Gabrichevsky. M., 1928.S.55. 6 of painting) is both the subject and the purpose of the image, and at the same time the expression of the author's worldview. Therefore, when defining a portrait in lyrics, it is necessary to take into account the definition of a pictorial portrait. “A portrait is, first of all, an image, but not of any object, but of a person<.>not images of a person in general, but an individual one, or better - a single one, but not only an individual one, but one who is in a calm state, i.e. not involved in the action." So, fundamental for a portrait canvas is 1) the image of a hero; 2) his appearance is the only subject of the painting; 3) the means by which the artist operates reflect his vision and attitude towards the hero. When a portrait is created in lyric poetry, the artistic content of the work is focused exclusively on the description of the hero (albeit fragmentary), and it is through this description that the individual author's style is expressed, which, according to P.N. P.N. Sakulin).
Of course, with the passage of time in the literary process, the portrait in lyrics (and not only in lyrics) acquires more and more significance, greater semantic load and philosophical content. This is largely due to the fact that the word is acquiring an increasing associative breadth, " the word is art»3, according to A.A. Potebnya. In this regard, the portrait gradually becomes a kind of visual analogue of the word. A lyrical portrait is not only an image of an object, an image, but, first of all, a reflection of the complex mental processes of the poet himself. As B.V. Shaposhnikov wrote, speaking about the philosophy of the portrait as a whole: “The individuality of the artist himself colors all the“ ideas ”,
1 Zhinkin N.I. Portrait forms.// Ibid. pp. 12-13.
2 Sakulin P.N. Philology and cultural studies. - M., 1990. P. 141.
3 Potebnya A.A. Theoretical poetics. - SPb., 2003. P.38. 7 which he puts into all his works, including portraits. In this sense, all the artist's work is self-portrait"1.
Exploring the nature of the portrait, Yu.M. Lotman noticed that no matter how the portrait seemed to be “the most “natural” and not in need of theoretical substantiation of the genre of painting”, in reality “ the portrait fully confirms the general truth: the more understandable, the more incomprehensible»2. Certainly a portrait most interesting phenomenon in art, connecting the inner essence and external embodiment, similarity with the original and the author's vision of the object. "<. .="" class="hl">Essays on the history of the portrait "4, Yu.M. Lotman "Portrait" 5, N. Dmitrieva " Image and word»6, B. Galanova « Portrait art"," Painting with a word. Human. Landscape. Thing"7, L.S. Singer " Essays on the theory and history of the portrait»8, V. Friche « Sociology of art»9 and others. Today, there are enough works on the portrait in prose works in which the role of the portrait is empirically determined10.
1 Shaposhnikov B.V. Portrait and its original.// Art of the portrait. Sat. articles ed. A.G. Gabrichevsky. M., 1928.S.82 4 Lotman Yu.M. About art. - M., 1998. S.500.
3 Ibid. P.510.
4 Alpatov M. Essays on the history of the portrait. - M.-L., 1937.
5 Lotman Yu.M. Portrait.// Lotman Yu.M. About art. - M., 1998. S.500-518.
6 Dmitrieva N. Image and word. - M., 1962.
7 Galanov B, The Art of the Portrait. - M., 1967; Galanov B. Painting with a word. Human. Landscape. Thing. - M., 1972.
8 Zinger L.S. Essays on the theory and history of the portrait. M., 1989.
9 Fritsche V. Sociology of art. - M.-L., State Publishing House. 1930, 205s.
10 Abelyasheva G.E. Problems of the poetics of the portrait: (Based on the novel by M. Yu. Lermontov " Hero of our time"). - Simferopol, 1997; Portrait in fiction. Interuniversity collection of scientific papers. Syktyvkar, 1987 and others.
One of the most thorough studies in the field of lyrical portrait is the work of Bashkeeva V.V. "Russian verbal portrait: Lyrics and prose of the late 18th - first half of the 19th century", made as part of a doctoral dissertation. The author considers in the work a portrait in the poetry of G.R. Derzhavin, K.N. Batyushkov, V.A. Zhukovsky, a portrait in prose by N.M. Karamzin and A.A. .Pushkin. It should be noted that V.V. Bashkeeva sets herself the task of considering “the originality of portrait forms in their historical development in Russian poetry (lyrics) and prose of the period of the formation of a literary verbal portrait in the 1780-1830s”1, however, the theoretical justification the concept of a portrait in the lyrics, the author does not give its functional differences. The corresponding typology is not presented either.
The portrait in poetic creativity is a capacious and multifunctional phenomenon, its functioning in the text goes far beyond the artistic device. It is not just a means of creating a hero (as in prose work), a compositional device or even a genre, it is often the creation of an image of the idea of a work, a reflection of the author's understanding of the world as a whole.
Dictionaries and reference books3 do not single out a portrait in a lyrical work, only in the Literary Encyclopedia of Terms and Concepts, ed. A.N. Nikolyukin mentions that “in lyrics and especially in drama
1 Bashkeeva V.V. Russian verbal portrait: Lyrics and prose of the late 18th - first half of the 19th century. Dr. diss. -M., 2000. S.22-23.
2 Mineralov Yu.I. Theory of artistic literature. Poetics and individuality. M., 1997. S.208.
3 Dictionary of literary terms, ed. L.I. Timofeeva and S.V. Turaeva. M., 1974; Brief literary encyclopedia, ed. A.A.Surkova. - M., 1968; Literary encyclopedic dictionary. Under total ed. V.M. Kozhevnikov and P. Nikolaev. M., 1987; Encyclopedic dictionary for youth. Literary criticism from A to Z. - M., 2001. verbal portrayal is more or less difficult and limited”1. But it is not without attention in modern science. On the contrary, there are quite a few separate articles, analytical materials2 that touch upon this problem, which indicates an undoubted interest in it both in theoretical and historical-literary terms. In the presence of fragmentary, episodic approaches to the phenomenon presented in the title of the dissertation, the need has matured for a study in which both theoretical and historical-literary features of the named phenomenon in Russian poetry would be determined. The relevance of the study is determined by the need to identify the typological features of a lyrical portrait, as well as the urgent requirement modern history literature, determining the specifics of the complex of artistic techniques and forms of creating a lyrical portrait.
The object of this study is predominantly poetic works, indicative from the point of view of studying the historical and literary artistic phenomenon chosen for it, - I.A. Bunin, VL. Bryusov, M.A. Voloshin, N.S. poets of the turn of the 19th - 20th centuries, considered in the context of the Russian poetic tradition that has developed in the work of K.N. Batyushkov, A.S. Pushkin, M.Yu. Lermontov, E.A. Baratynsky, A.A. .Apukhtin, A.A. Fet, F.I. Tyutchev; as well as separate poetic works of V.V. Mayakovsky,
1 Literary encyclopedia of terms and concepts, ed. A.N. Nikolyukin. M., 2001. S. 762.
2 Vasiliev S. A. Portrait in the post-October lyrics of V. Khlebnikov / / Philological traditions and modern literary and linguistic education. Issue 3: In 2 v. V.1. - M., 2004. S. 152-158; Vasiliev S.A. Picturesque images of V.M.Vasnetsov in the lyrics of A.A.Blok// Synthesis in Russian and world artistic culture. Materials of the Fourth scientific and practical conference dedicated to the memory of A.F. Losev. - M., 2004. S. 46-50; Secrier A.E. Sketch, sketch, study as dynamic phenomena individual style of Igor Severyanin. // Synthesis in Russian and world artistic culture. Materials of the Third scientific-practical conference dedicated to the memory of A.F. Losev. -M., 2005 and others.
M.I. Tsvetaeva, A.A. Akhmatova, S.A. Yesenina, G. Ivanov and others. The paper analyzes lyrical poetic works in which the portrait image is the focus of the author. We do not consider satirical poetry, since it is correlated with special "comic" and satirical forms of fine art, which means that it is a topic for a separate work.
The subject of the study is the techniques, methods of creation, the functioning of portrait images in Russian lyrical poetry, as well as the role of the portrait in shaping the artistic world of the poet as a whole.
In our work, we aim to define, designate, characterize and differentiate such a significant, multifaceted phenomenon in Russian lyrics as a portrait. Accordingly, the objectives of the study are determined by the goal and are as follows:
To reveal and theoretically substantiate the concept of " portrait in lyrics”, which is not indicated in literary reference books and dictionaries as a special phenomenon that has significant differences from terms that are similar in name (“ literary portrait" and " portrait in prose»);
Show the fundamental differences between the devoid of a detailed description, often fragmentary (but in a fragment preserving the integrity of the portrait image) metonymic " portrait in lyrics"and epicly deployed, repeatedly "scattered" in the text, often with the author's commentary, analytical " portrait in prose»;
Determine the functional manifestations of a portrait in a poetic text, which has more analogies with the art of painting, a more detailed field of interaction with the general content aspect of a work than a portrait in prose, and also allows you to present the author's philosophical picture of the world in a "condensed" form;
To substantiate the rationale behind the consistent appeal to the portrait in Russian literature, especially at the end of the 19th century, when a scrupulous study of the microcosm of Man and his place in the general
11 picture of the universe leads to the development of new portrait forms, including in poetry;
Describe the main means of creating a portrait in lyrical work, the spectrum of which is significantly expanded in comparison with a portrait in prose, which is due to the general design features of poetic works, which make it possible to contain the descriptive texture of the portrait in a folded form, while maintaining the necessary dynamics; based on the analysis of literary texts, to identify, systematize and substantiate the typology of the portrait in lyric poetry;
Show the features of portrait "painting" in the individual style of Russian poets.
Methodology. Comparative-comparative, cultural-historical, structural-typological, historical-functional methods were used in the study. The methodological basis of the work was the works of F.I. Buslaev, A.A. Potebnya, A.F. Losev, P.N. Sakulin, M.M. Bakhtin, A.N. .Zhirmunsky. The methods of analysis and approaches to the study of the text developed by A.A. Potebnya, V.V. Vinogradov, A.N. Veselovsky, V.M. Zhirmunsky, Yu.M. the form of the word and the work as the main semantic center that forms the content of the artistic image and the corresponding associative links that allow revealing the content of the work as a multidimensional system.
The doctrine of A.F. Losev about the dialectic of art form art form<.>there is a person as a symbol or a symbol as a person ”(italics by A.F. Losev)) was taken as the basis for considering the concept of“ portrait”, in which the problem of the relationship between form and content was refracted: the appearance of a person (hero) is a reflection of the deep content of not only the image of the hero , but the works and worldviews of the author
12 overall. Therefore, one of the main concepts in the dissertation was the concept of individual style, developed in the works of A.F. Losev, P.N. Sakulin, P.A. Nikolaev, Yu.I. Mineralov. So, P.N. Sakulin believed that “ every great style is a formal expression of a certain worldview"1, and A.F. Losev called the style " the true face of a work of art» 2.
The development of the typology of portraits in lyrics was based on the works of M. M. Bakhtin about the author and the hero, Yu. M. Lotman about the portrait. In the study of analogies to fine arts, painting (icon painting) and lyrical poetry, the works of M.V. Alpatov, F.I. Buslaev, B. Galanov, N. Dmitrieva, M.O. for defense:
1. The concept of " portrait in lyrics" differs significantly from the concept of " portrait in prose"And the form and method of manifestation in the work, and the functional content. A portrait in prose is determined by a descriptive series of details, accompanied by an author's commentary, it is an artistic device, one of the means of creating the image of a hero, while a portrait in lyrics (if it becomes the object of the author's attention) is the main or one of the main subjects of the image in the work, metonymic, often devoid of descriptiveness and is the essence of the lyrical plot.
2. Under " portrait in lyrics"One should understand such a metaphorically capacious poetic image of the hero's appearance, in which through the details of the appearance or the impression of them not only his image is recreated, but the manifested, poetically visualized author's picture of the world.
1 Sakulin P.N. Philology and cultural studies. - M., 1990. S. 141.
2 Losev A.F. The dialectic of art form. - M., 2010. S.207.
3. The interpenetration of prose and poetry, which led to the mutual borrowing of techniques for constructing works, leads to the fact that in poems plot elements are more active, and in prose there is a weakening of the plot outline and an increase in the lyrical plan, which occurs mainly due to the widely used descriptiveness, in in particular, a portrait image, that is, a portrait becomes a manifestation of the lyrical in a prose work.
4. Having mastered the tradition of romantic poets of the second half of the 19th century, A.A. Fet, F.I. Tyutchev, as well as the philosophy of contemporary fine arts at that time, in particular, impressionistic painting, aimed at conveying movement in the space of the picture, the portrait of the hero in the lyrics of the early 20th century gradually becomes the embodiment of the emerging and transforming author's impression of the hero, his inner world and interaction with him.
5. Due to the cultural and historical development associated with the idea of anthropocentrism, with an increased interest in the study of the microcosm of the individual as a macrocosm (in accordance with neo-romantic tradition) the active development of portrait forms in literature (in prose, poetry and even drama1) at the turn of the 19th-20th centuries becomes a landmark phenomenon of the era, one of its main features.
6. Based on the teachings of M.M. Bakhtin on the relationship between the author and the hero, a portrait of the hero of the work is distinguished (if the hero is objectified in accordance with the plan, “removed” from the author) and a portrait
1 Jezuitov S.A. On the portrait in drama (Analysis of M. Gorky's plays of the 1930s) // Portrait in artistic prose. Interuniversity collection of scientific papers. - Syktyvkar, 1987. S.81-101. a lyrical hero, or a self-portrait, if the lyrical hero and the author are as close as possible.
7. In accordance with the nature of the manifestation of the lyrical "I" of the author, three main groups of portraits can be distinguished: 1) a portrait of the hero of a lyrical work, expressing the lyrical "I" of the author; 2) a portrait of the hero-addressee in a lyrical work; 3) self-portrait.
8. In a lyrical work as a small art form, the descriptive row is often elliptical, leaving the reader's attention with the most significant details (faces, figures, costumes, details accompanying the hero, etc.), which are taught by the author in such a way that both a portrait image and the author's position is revealed. The detail in the lyrics to a greater extent loses the function of descriptiveness, becomes more metaphorical, often is a “folded” 1 plot, which, opening up, fills the portrait of the hero, often supplemented by a sound component.
The philosophy of the portrait is directly related to the expression of personality through a particular image. The portrait as a cultural phenomenon has manifested itself in various fields of art. In literature, in particular, in prose, the portrait has become almost obligatory, although an optional or peripheral component in its purpose. In lyrics, a portrait image is not so necessary. However, in the case when it becomes the subject of the poet's attention, its role significantly exceeds its performance in the prose text, since the portrait in this case not only turns out to be a meaningful center that organizes the lyrical plot, but visualizes the metaphorically expressed idea of this text and the author's picture of the world as a whole. . The portrait in lyrics has a much greater degree of generalization than in prose, in which for expression
1 See for more details: Mineralov Yu.I. Theory of artistic literature. Poetics and style. - M., 1997. S. 217-248 The plot and a much more extensive system of images play a significant role in artistic content. The detailed descriptive texture of the portrait, characteristic of prose, is elliptical in the lyrical work due to its small volume, while maintaining a holistic view of the depicted object. The ways of expressing portrait integrity and completeness in poetry are very diverse (from color dynamics to sound painting and rhythmic drawing), and the complex of these means allows one to form a single idea of the poet's individual style, manner and nature of his "painting". In lyrical poetry, the portrait phenomenon is gradually becoming a subject that is not only more in demand in the practice of word artists, but reveals the global nature of this phenomenon in the literary process as a whole.
Thus, the novelty of the dissertation is determined by the fact that it 1) identifies and discloses the notion of " portraits in lyrics”, which in form, meaning and purpose differs significantly from the concept of “ portrait in prose»; 2) collected and systematized and theoretically substantiated historical and literary material related to the study of the portrait in a lyrical work; 3) on the basis of a comprehensive, comparative cultural and historical analysis of works of art, the specifics of a lyrical portrait are revealed; 4) its typology has been developed, and 5) the refraction of this phenomenon in the work of a number of poets has been demonstrated.
The practical significance of the work lies in the fact that the results can be used and are already being used in reading university basic courses on the history of Russian literature, elective courses, electives devoted to the history and theory of style, as well as issues related to the development of problems of lyrics, genres of poetry, the image of the hero and the lyrical hero, when choosing topics for term papers and theses of students, as well as in advanced courses teacher qualifications.
Approbation. The research materials have been tested for a number of years at lectures, special courses and electives on the history of Russian literature at the Department of Philological Education of the Moscow Institute of Open Education. The main provisions of the dissertation were reported at interuniversity scientific, scientific and practical conferences, at All-Russian conferences in Moscow, Lipetsk, Yelets, Nizhny Novgorod, Yaroslavl, in particular: “ World literature for children and about children"(19962000, 2003, Moscow State Pedagogical University), "Problems of the evolution of Russian literature of the XX century. Third Sheshukov Readings” (1998, Moscow State Pedagogical University), “IX Purishev Readings. world literature in the context of culture" (1998, Moscow State Pedagogical University), " Synthesis in world art culture"(2002-2006, Moscow State Pedagogical University)," Humanities and Orthodox culture(Easter Readings)"(2003-2005, Moscow State Pedagogical University)," Philological traditions and modern literary and linguistic education"(2005, MGPI) and others. On the topic of the dissertation, 2 monographs, 41 articles were published, including in publications recommended by the Higher Attestation Commission of the Russian Federation - 8.
Work structure. The thesis consists of an introduction, four chapters, a conclusion, a bibliography and an appendix. The total volume is 384 pages. The bibliography includes 311 titles.
Dissertation conclusion on the topic "Russian literature", Kolosova, Svetlana Nikolaevna
CONCLUSION
F.V. Schelling wrote: “<.>the human figure is the last and perfect subject of the pictorial representation; here art enters a sphere where, in fact, its absolute creations only begin and its true world is revealed. In lyrical poetry, a portrait is a particularly remarkable and significant phenomenon, because, due to the small volume of the work, in a “condensed”, concentrated form, they present not only and not so much the appearance of the hero, but a sensual visualized picture of the human microworld, inscribed in the macrocosm of the universe. "<.>The portrait is by no means reduced to depicting the face and figure of a person, but implies the depiction of the whole world through the human personality, individuality, transformed by art.
Traditionally, in literature, the portrait is considered as a significant, but optional component of the work, most often associated with the designation of certain traits of the hero, reflected in appearance. However, in a lyrical work, the portrait is most often not limited to the function of an artistic device. Inclusion in the poetic text of a description or reference to the appearance of the hero of the work or painting transfers semantic accents to it, and then the portrait turns out to be not just a technique (although this function is actively manifested in works with a dominant epic beginning), but becomes the content and structural center of the work, organizes the lyrical plot, becomes a clear metaphorical reflection philosophical views poet. Thus, being not only a means of creating an image, but reflecting the ideological picture of the artist's world, a portrait in a lyrical work acquires a categorical meaning.
1 Schelling F.V. Philosophy of art. - SPb., 1996. S.251.
2 Andronnikova M.I. Portrait. From rock paintings to sound film. -M., 1980. S.398.
Mastering the traditions of the lyrical depiction of appearance as a dynamic metonymic, transmitted color, sound writing, allusive connections, etc. pictures of the world, the poets of the subsequent era not only create a wide variety of samples in this area, but consistently use the portrait as one of the main objects of poetic creativity. It can be said that the most active development of portrait forms, in particular, the lyrical portrait, occurs in Russian literature at the turn of the 19th-20th centuries and becomes one of the characteristic signs of the time. (“A portrait is a chronicle of an era through a gallery of those portrayed”1.) The study of Man marks the study of his place and role in the Universal picture of the universe, and the portrait (especially in lyrics, given its concentrated metaphor, symbolism) allows you to discover and visualize the result of this study. A portrait in lyrics (even if it is given fragmentarily, metonymically) allows recreating a single image of the hero of the work, which is a symbolic expression of an individual philosophical model of the world, by detail, epithet, name, etc. (Recall that in painting, special attention is paid to a fragment of a picture, which allows you to see the nuances of a single image and more subtly feel their psychological, dynamic, color purpose). The small becomes a reflection of the Universal: the portrait is restored in detail, which in turn is an expression of the microcosm of the hero and the author in a single picture of the world.
Note, however, that if in the 19th century in poetry the portrait of the hero-addressee, created as a rule within the genre of the message, sonnet, etc., a priori predisposing to the poetic image of the image of the hero, became most widespread in poetry, in the era of the turn of the 19th-20th centuries in
1 Lushnikov B.V. Picture. Portrait. - M., 2004. P.5.
337 poetic creativity, there is an increased interest in the portrait, and in the form as a descriptive texture, and in the very idea of \u200b\u200bportrait as a philosophical concept (and this trend is explained by the characteristics of the era), then in the second third of the 20th century, interest in the portrait (especially in poetic creativity) fades. And this is also quite understandable. The change of times entails a change in aesthetic and philosophical views. Thus, in subsequent epochs significant change correlation between the concepts of the World and Man. The problems of the social structure come to the fore, ideas about Man as a reflection of the model of the Universe are destroyed.
The portrait in lyrics, in which the initially chosen subject is explored as the focus of internal dynamics reflected outside, loses its relevance. With the onset of a different era, wars, world upheavals, social transformations, a person as a microcosm is lost in the all-encompassing flow of history. The tragic destruction of Man as an intrinsically valuable world, the “dissolution” of the acutely individual in the universal led to the “cooling off” of interest in a lyrical portrait, in which personal uniqueness would be visualized. Man turned out to be lost, dissolved in a new world, in the universe. The priorities of the personal are replaced by the priorities of the social.
In the portrait art of S. Dali, perhaps, this trend is especially expressively reflected. On the portraits big paranoid"(1936)," Spain "(1938)," The face of the war "(1940)," Exploding Raphael head”(1951), the central image either breaks up into its component parts, or, on the contrary, the figures of warring or distressed people form a single image, symbolizing the portrait of the era (Appendix No. 39).
In poetry, a vivid example of such a process is the lyrics of Georgy Ivanov of the emigrant period, in which destruction became the leading motive ("Let's admit, as a poet, I will not die / But as a person, I die"1), the motive of "The decay of the atom" ("No longer belonging to life, yet not caught by the void. On the very edge."). The title of one of the collections, Portrait without resemblance”, eloquently declares a distorted, destroyed image of the hero, and therefore his world.
Nevertheless, the portrait in the lyrics of the late 19th - early 20th centuries, having absorbed the tradition of the previous era, is a poetic and philosophical category that allows the means of artistic expression to “outline” the author's model of the relationship between the world and man in their dynamics and clarity. It is fair to say that the concept portrait in lyrics”should be singled out as an autonomous, different from the“ portrait in prose ”, since it is conceptually different in terms of its functional content, a higher level of philosophical generalization, and its place and significance in the structural and semantic outline of the work as a whole.
A number of features of a portrait in lyrical poetry should be singled out: it is less specific, less “detailed” than a portrait in a prose work, it is less descriptive; often it is metonymic; ^ a portrait in lyrics is often not a means of creating a hero, but a way of conveying the idea of a poetic work; ^ a portrait in lyrics has a greater degree of generalization, most often it is a philosopheme that reflects the author's worldview; ^ a portrait in lyrics is created not so much by listing the actual portrait details, but by emphasizing the peripheral details of the lyrical plot, color content of the text, and verse organization;
1 Ivanov G.V. Inc. Op. in 3 volumes. T.1., M., 1994. P.321.
2 Ivanov G.V. "The decay of the atom" // Sob. op. in 3 volumes. T.P., M., 1994. S.ZZ.
339 A special place in the creation of a lyrical portrait is occupied by a poetic organization, a sound component, because the rhythmic pattern and sound associations that unite the main details of the portrait into a system make it possible to convey a single pictorial and musical picture of the human soul, realized in the portrait. ^ a lyrical portrait may be a component of the genre, but it can be distinguished as independent genre difficult, because in lyrics, he does not have characteristic genre features (such as a literary portrait).
The analyzed material reveals that the portrait in a lyrical work metaphorically visualizes the system of the author's relationship with reality, his philosophical model of the world, recreated in accordance with the poetics of his individual style in the guise of a hero. In the context of a poetic work, a portrait is considered by poets as a philosopheme, as a picture of the inner content of a person reflected outside, a visual symbolic image dynamic world of his experiences. For I.A. Bunin, let's say, a portrait is the result of a person's spiritual dynamics, his inner growth, therefore the portrait-movement, which captures the poetry of gesture, becomes dominant in his work. He creates a whole gallery of specific, tangible, sensual, earthly images, for him the very idea of a portrait is a reflection of human life in all its versatility, the unity of the divine soul and sensual body.
For Georgy Ivanov, who was formed in the era of the Silver Age, on the contrary, the portrait is a destructive principle, in which the conflict of the true and the false, the truth and its distortion is obviously embedded. For the poet, the portrait is also connected with the concept of time, but this is not a desire to catch a moment of a person’s spiritual transformation, as in I.A. Bunin, but, on the contrary, a descriptive portrait, prone to static, reproducing a pictorial plot, is a mystical facet that opens a temporary corridor, in
340 which is endless despair, a tragic trial, untimely suffering that destroys the human soul. The portrait, like a mirror, reflects the image, thereby, as it were, increasing and perpetuating the lingering melancholy of the lyrical hero. Time stopped in the portrait and in life at a desperate moment, and this is the main pathos of the poet's work. So the portrait becomes for Georgy Ivanov a symbol of the eternally suffering human soul.
In the poetry of V.Ya. Bryusov, the portrait has impressionistic features, this is a “dissolving” portrait, in which there is not and cannot be the slightest obviousness and certainty, because the essence of the poet’s worldview is an eternal search, the desire to comprehend an unattainable secret, which a priori cannot have specific images. And even visible and seemingly very real features dissolve under the gaze of the symbolist poet. Impressionism in portraits created by I. Severyanin, of a different kind. If in the poetry of V.Ya. impressionistic portrait of I. Severyanin is akin to the content of an impressionistic portrait in painting: the poet seeks to convey the mobility of the image and at the same time the mobility of the very feeling it evokes. In the work of A.A. Akhmatova, characteristic of her work " innuendo"is also manifested in portrait sketches, demonstrating the movement of the heroine's lyrical feelings.
The degree of "openness" of the author to the reader, the choice of the hero, arising from the characteristics of the individual style, determine the type of portrait used by the poet in the work. In the poem, a portrait of the hero can be created, maximally objectified, "remote" from the author by time, space, plot (as, for example, this often happens in the work of N.S. Gumilyov), but at the same time he expresses the author's position. The author remains more of an observer. However, in poetry, the presence of a lyrical hero determines the creation by him of portraits of heroes, to whom he expresses his attitude in one way or another.
If, when creating a portrait in a work, the author emphasizes autobiographical features in a lyrical hero (as, for example, in the poetry of S.A. Yesenin), actively uses confessional motives (as, for example, A.A. Akhmatova), then it is advisable to talk about a self-portrait in lyrical work.
Thus, the analysis of works of art allows us to assert that the portrait in lyrics is a special phenomenon, which has not an optional meaning in a work (as in prose), but a categorical one; the portrait as one of the dominant subjects of lyric poetry becomes a special symbolic phenomenon in the era of the turn of the 19th-20th centuries. The versatility, multifunctionality of the portrait in a poetic work is obvious. The portrait acts as a component genre formation, plot formation, largely determines the ideological and philosophical content of the text, that is, not only to a large extent reveals the artistic content of each individual work, but, most importantly, is a reflection of the aesthetic, philosophical vision of the author, his inner world, interaction and attitude to the universe .
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Photography experienced its rapid development in the middle of the 19th century. Created as an alternative to painting, photography eventually turned into an independent form of fine art, when the history of the photo portrait began. The first photographic experiments immediately aroused great interest. Particularly attractive was the illusion of ease of image acquisition. The quality of the photographer's work was assessed by the degree of achievement of external similarity, and photographic errors were corrected manually by retouchers. For example, eyes were drawn, which in photographic portraits of that time often turned out to be closed. At the request of customers, the photographs were painted with watercolors.
Portraits with character
Bulky cameras were used to create a portrait. The photographic materials used in that era required long exposures and did not allow capturing fleeting movements. But, on the other hand, due to the fact that a person remained in front of the camera lens for a long time, the portraits captured not only the external features of a person, but also revealed the features of his character. This approach to photography can be seen in the works of the famous Russian photographer Sergei Levitsky. His famous photographic portraits are famous Russian writers and public figures XIX century, such as N. A. Nekrasov, I. A. Goncharov, F. I. Tyutchev, I. A. Herzen and many others. In addition, in 1877 he received the title of photographer of Their Imperial Majesty and created portraits of four generations of the Romanov dynasty.
Photo by Moses Nappelbaum
As a rule, portrait photographers at the end of the 19th century created their work in the same style: repetitive accessories were used, works were performed on a white or gray background, group “three-tiered” compositions lined up. Photographer Moses
Experimenting with poses
Nappelbaum in his works challenges established traditions. He rejects the static poses that create a feeling of artificiality, stops using plain gray backgrounds and instead of the traditional composition offers live scenes of people communicating. Nappelbaum argued that movement must be felt in a portrait, otherwise there would be no life in it. Modern portrait photographers are also guided by this principle.
For example, in the old photographic portraits of the American photographer Rodney Smith, everything is important - posture, gesture, direction of gaze. All this creates in his portraits the energy inherent only to him. To date, Smith's work has won 75 awards and is exhibited in prestigious galleries around the world. With the invention of portable cameras, it became possible to abandon studio shooting and the need to pose in front of the camera. This provoked the development of a new genre - a reportage portrait. The famous photographer Andranik Kochar in his pictures refuses to search for expressive poses, but captures individual moments in a person's behavior during communication.
Visual images created with the help of light saturate the picture with warmth and life or, as in the works of Robert Mapplethorpe, on the contrary, make it almost lifeless. In his works, Mapplethorpe built light and composition in such a way as to emphasize the coldness, alienation, loneliness of the depicted, which seemed to be in a vacuum.
Speaking about his work, portrait photographer Arnold Newman noted that in order to make good portrait, it is necessary to think not only about the personal qualities of the posing person, but also about the house in which he lives and works, you need to know how he behaves in Everyday life and understand what makes this person a person.
The meaning of a portrait photo
Photography is important not only from an artistic point of view, it is a memorable historical document and is included in the arsenal of scientific tools and evidence. For example, photographs of ethnologists, geographers, reporters, travelers often have a high artistic value, but at the same time turned into important historical documents over time. The same can be said about the portrait genre. The typology of portraits is very diverse. These include both studio and reportage portraits, psychological and children's portraits, they can be both color and black and white. Over time, photographic portraits become scientific, historical and documentary evidence of the era.
The interpretation of the genre form of a work begins with its title, which is the most important component of the text. Some memoirs dedicated to contemporaries can be distinguished from other works of memoirs only by reading the titles of the works or their table of contents. "My moon friend. About Blok”, “Obsessed. About Bryusov", "The Thoughtful Wanderer. About Rozanov” and other portraits make up the collection “Living Faces” by Z. Gippius. "Berdyaev", "Alexander Benois", "Andrey Bely" are the chapters of B. Zaitsev's book "Far". V. Khodasevich's "Necropolis" includes the chapters "Bryusov", "Andrey Bely", "Muni", "Gumilyov and Blok"... Such a nomination of the chapters of works, of course, is not mandatory, but it is indicative.
We attribute the listed works to such a genre modification of memoirs as a literary portrait, which is an “active, widespread and productive form”, according to O. Markova.
A literary portrait is "an independent genre that gives an artistic holistic description of a real person in his individually unique, living appearance."
For example, L. Ginzburg (1975), O. Kashpur (1995), A. Yarkova (2002) write about the emergence of the literary portrait genre and the history of its development.
The heyday of the genre began on turn of XIX-XX centuries, this trend continued in the literature of the 20th century - both Soviet and Russian foreign. In the 20-30s of the 20th century, the literary portrait, as a modification of memoirs, "becomes a noticeable phenomenon of the literary process."
The study of the literary portrait in domestic science began on specific historical and literary material, primarily on the material of M. Gorky's work. The main problems of studying the portrait as a genre were outlined in the article by E. Tager (1960) and developed by V. Barakhov (1960), V. Grechnev (1964). Summarizing works that affect the specifics of the genre belong to B. Galanov (1974), V. Barakhov (1985), O. Markova (1990), O. Kashpur (1995), A. Yarkova (2002). We can say that the literary portrait has been studied quite thoroughly, its genre features have been characterized, and the elements of the structure have been described.
But the literary portrait as a modification of memoirs has not yet been studied enough. Although many researchers recognize that a literary portrait is “an independent genre of memoir literature”, “one of the genres of memoir literature”, although in general the typological properties of a “memoir portrait” are indicated, nevertheless, in practice, the genre nomination of works that are essentially memoir literary portraits , causes difficulties, which we showed in the introduction and will confirm on the example of specific works.
(Let's make a reservation that instead of the term "genre modifications of memoirs" we will use "genre" as more economical and as equivalent within the framework of this narrative).
It is necessary to clearly define the canon of a literary portrait as a modification of memoirs in order to further reveal the individual author's originality of works.
O. Markova in her dissertation research "Modern Literary Portrait: Typology and Poetics of the Genre" defines "the general principles of portraiture in a memoir portrait". This is "an attitude towards authenticity", retrospectiveness in understanding the personality and the era, openness of the author's assessments, reliance on the author's personal impressions, ... the person being portrayed is given against the backdrop of the era, ... in conjunction with "other" heroes of the book.
O. Kashpur in his work “The Genre of a Literary Portrait in the Works of B. Zaitsev” highlights “the specific features of a literary portrait as a special genre of memoirs”, but the indicated properties are, in our opinion, characteristic of a literary portrait as a whole and do not emphasize the “recollective” nature of the memoir portrait. Thus, the researcher defines the object of the image (a person who actually existed), the task of the author of the portrait (“to reproduce the features of the real appearance of the prototype as accurately as possible”), as well as the fact that “the portrait contains the subjective ideas of the author” and conjecture of the inner features of the hero.
The problem of external similarity in a literary portrait corresponds to the problem of memoir or historical accuracy. The principle of portraiture is born from the features of realistic typification, that is, such an artistic generalization that is inseparable from the individualized image of a person.
In many memoirs one can find many portraits and sketches. But they do not have their own separate genre status, but are included as an element of the text in the general description of the past, being only a detail of the picture and enlivening it with faces - the author's contemporaries.
In this regard, O. Markova distinguishes two types of memoir portrait in terms of structural organization - a “bound”, “non-free” portrait as part of a large memoir narrative and as an independent “free” genre formation. In our opinion, the typology proposed by the researcher does not take into account that the task of the author of a literary portrait is to "reproduce the features of the real appearance of the prototype as accurately as possible," as we have already quoted above.
The subject of narration in a literary portrait is other people, contemporaries of the memoirist. “A literary portrait synthetically generalizes all knowledge about a particular person, including his biography, works (if we are talking about a writer), the attitude of contemporaries towards him, as well as the attitude of the author,” writes A. Yarkova.
Both in a literary portrait, and - more broadly - in all memoir literature, the character of the person portrayed is "a fact of the same artistic significance as in a novel, because it is also a kind of creative construction." The difference between the author's strategy in a literary portrait and novelism lies in the fact that the author recreates the character of the hero outside of fiction. He reproduces his impressions, his vision of actions, mental characteristics, reflects the type of behavior of the individual, specific situations of life, without putting any of his creatively fictional details into the image.
Simultaneously with the description of the special character traits of the hero, the author seeks to highlight a set of typical qualities that will raise the personality to a clearly outlined type, in which important properties of time are concentrated. Thus, literary portraits at their best are the representation and knowledge of the era “in faces”.
"Hero" as close to real as possible historical face, but the author also reflects on the person being portrayed, not just observing, but peering, closely examining the object that he analyzes. As A. Yarkova notes, "the author is an active principle, he sets the task not only to objectively portray a person, but to study him, to understand the essence of personality." Understanding the characteristics of the hero's character, thoughtful penetration into his worldview, active author's interpretation of the hero and all the material construct the genre of literary portrait.
The analysis component inherent in the literary portrait genre represents such a genre-forming factor as “understanding of reality”, according to M. Bakhtin, or “the formula of the world”, according to N. Leiderman.
In memoirs in general, and in literary portraits in particular, there is a subjective element - even when memories are dedicated to other persons. In any case, the author leads the story through the prism of his individual perception. Consequently, "the author's subjectivity appears to be an integral feature of any memoirs", since the memoirist "strives to designate the radius of his horizons, the chronicle of meetings, personal retrospective moods, in one way or another to justify the selection of memorable episodes."
The inevitable subjectivity of the author brings into the literary portrait a shade of incompleteness of character: it is difficult for a memoirist to create a complete integrity of the character of his contemporary. And although the author from afar, from his time, knows “the immediate and long-term consequences”, according to A. Tartakovsky, he does not set himself the task of exhaustively drawing a character, as a novelist would do, who knows everything about the hero and who creates him based on your imagination.
Conceptual, thoughtful penetration into the person being portrayed, comprehension of the image in its integrity, a deep vision of the character of the hero by the author, the measure of generalization is thus the dominant factor, an indicator of the literary portrait genre, which differs from other modifications of memoirs, which are characterized by sketchy portrait sketches, their fluency interpretation.
In order to more accurately define the canon of a literary portrait, it is necessary to distinguish between the concepts of the author's principle and subjectivity. The author's beginning includes everything that is the author's consciousness in general: this is a worldview, a system of views - political, philosophical, moral and others. Subjectivity, on the other hand, enters the field of the author's beginning as one of its components - as a direct personal assessment of certain events, as a special intonation that accompanies the vision of life.
A literary portrait is initially characterized by a free composition and the absence of a rigid plot, which make it possible to easily move from one detail to another. Hence the mosaic and fragmentation, thanks to which the image of a person appears in the most diverse aspects and labyrinths of connection with the world. Building a plot, finding causal links and transitions would noticeably bind the memoirist and hinder the ease of presentation. However, elements of the plot in the presentation of individual episodes of the meeting are quite possible, and heterogeneous details, scenes characterizing one hero, only at first glance represent a mosaic. In fact, the constituent descriptive and dynamic pictorial elements form an integral space of the portrait with its own internal logic, subordinated to the general idea of the portrait painter.
In a literary portrait, the author comprehends the whole through a separate, particular, individually-personal, that is, he follows the inductive path of cognition - from facts to some general statement. This tradition comes from Plutarch, who remarked: "Often some insignificant act, word or joke reveals the character of a person better than battles, ... leadership of huge armies and sieges of cities."
The ancient tradition turned out to be so viable that in the 18th century J.-J. Rousseau admires Plutarch's style of portraiture: “Plutarch excels precisely in these details... He paints great people in small things with inimitable grace; and so successfully chooses these petty features that often one word, smile, gesture is enough for him to characterize his hero.
This tradition is also characteristic of the 20th century. “There are no trifles in the life of a real person,” said K. Paustovsky, a master of finding in “little things” the beauty of the unknown, “small drops of water in which the sun is reflected.” Successfully found household trifles add credibility and authenticity, physical tangibility to the literary portrait, since without them the contours of the face would not have received living filling and would have remained silhouettes. Therefore, the details acquire the function of significant artistic detail. It is no coincidence that A. Herzen valued those "trifles, without which faces cease to be alive and remain in memory as large essays, profiles."
Kirillova Ekaterina Leonidovna
© O.A. Maletina, 2006
TYPOLOGY OF THE PORTRAIT IN ARTISTIC DISCOURSE
O.A. Maletina
The typologies of portraits are numerous and varied, but the classifications of the artistic portrait are the most versatile. For example, they are classified according to such features as the method of creation, shape, structure, etc. The classification of portraits can be based on compositional and stylistic techniques for creating a portrait: an abstract portrait, a picturesque portrait, a plastic and architectural portrait, a passport portrait, a portrait with a predominant a feature, or portrait-leitmotif, a comic portrait, and also a portrait of a changing expression, where a change of expression means a connection between the physical and the mental, that is, changes in complexion, in the shape and brilliance of the eyes entail changes in mood, in facial expression 1.
G.S. Syritsa in his study offers a detailed situational classification portrait descriptions: portrait-perception, portrait-self-perception, portrait-recollection, portrait-self-remembering, portrait-recognition. A portrait can be a generalized description of individual portrait features or reflect the “current” state, when permanent features are highlighted by one side or another in a certain situation 2.
Based on the amount of transmitted information, A.N. Bespalov identifies the following types of portraits 3:
1) portrait stroke;
2) evaluation portrait;
3) situational portrait (minimum amount of information);
4) descriptive portrait (the amount of information exceeds the minimum number of previous types and tends to grow); This type of portrait is divided into fragmentary and full portrait.
A stroke portrait includes brief portrait characteristics of a character, consisting of one or two of his attributes. This kind
portrait is used when describing secondary and episodic characters. The evaluative portrait contains the author's evaluations, strongly colored by modality. The core of portrait structures of this type are such qualifying features as “best”, “worst”, “kind”, “beautiful”, their periphery is formed by fragments of other portrait types. The situational portrait includes those features that become characteristic of the character in various situations. A detailed descriptive portrait is characterized by the display of a larger number of individual signs of the situation by linguistic means. Fragmentary portraits are small portrait sketches containing two or three features of a character. A fragmentary portrait is a truncated version of a detailed one.
ON THE. Rodionova distinguishes the following types of artistic portrait 4:
1) portrait-representation (or portrait-acquaintance);
2) portrait-assessment (or portrait-perception);
3) portrait-situation.
The purpose of the portrait-representation is to introduce the reader to the character [a detailed and exhaustive portrait is given at the beginning of the text (in the story), chapter (in the novel and story)]. If the perception of the character does not matter for the portrait-representation, then in the portrait-assessment, on the contrary, the sensations of the observer, in the role of which the narrator or another character acts, are semantically significant (the lexical sign of such a portrait is the presence of predicates with the meaning of visual, auditory, that is, in general sensory perception). The purpose of the portrait-situation is associated with the reflection of the appearance of the hero, which is mentioned in some episode, that is, such a portrait is due to a specific situation.
It should be noted that A.N. Bespalov and N.A. Rodionov define a portrait-evaluation or an evaluative portrait in different ways, but as regards the portrait-situation, their opinions coincide. ON THE. Rodionova considers these types of portrait from the point of view of their syntactic implementation in a literary text. We consider it inappropriate to single out a portrait-situation, since in some cases a portrait-perception and a portrait-representation can be considered as a portrait-situation.
Special interest for us is the structural-semantic classification of K.L. Sizova, built on thematic and structural foundations. K.L. Sizova believes that the portrait description itself includes such elements that characterize the appearance of the character, such as the characteristics of the hero’s clothes, the characteristics of the shape of the facial features [the shape of the nose: straight, upturned, the shape of the eyes (eyes, eyes), mouth, chin, cheeks], the color characteristic of the hero’s appearance , characterization of gestures and demeanor, characterization of facial expressions (look and manner of smiling) and phonic characterization (characteristic of the character's voice).
K.L. Sizova offers a classification of portraits on thematic and structural grounds:
1) thematic typology (toilet-centric portrait, color-centric portrait, subject-centric portrait, zoocentric portrait, floro-centric portrait, aroma-centric portrait, music-centric portrait);
2) structural typology (dotted-line portrait, field portrait and three-dimensional portrait)5.
After analyzing the above classifications, we come to the conclusion that they do not reflect all types of existing portrait characteristics. Our material has shown that in previous studies of the portrait, there is no such type of portrait that contains a description of the characteristic features, skills and abilities of the character. For example, O.A. Nechaeva considers in her study a description-characteristic and identifies two types of its features: some of them are associated with biographical data, others denote character traits 6. Therefore, it seems to be purposeful
appropriate to supplement the classification of K.L. Sizovaya and, along with such types of portraits as toilet-centric, color-centric, subject-centric zoocentric, flora-centric, highlight a character-centric portrait containing information about the character, abilities and skills of the character. Due to the fact that previously the character-centric portrait was not described and carefully studied, we will consider it in more detail.
As part of the character-centric portrait of a character, the following components can be distinguished: psychological characteristics and social characteristics.
In the description of psychological characteristics, the mental abilities, moral qualities and personal characteristics of the character are revealed. Mental capacity characterize individual personality traits, which are subjective conditions successful implementation a certain type of activity. Moral qualities include a description of the moral traits that receive a moral assessment in society. Personal characteristics are individual characteristics that characterize a person.
The description of social characteristics reflects the social status, age, education and profession of the character. The social position characterizes the character in terms of what step or niche he occupies on the social ladder of society. Age is a stage of human development, characterized by specific patterns of formation of the body and personality, and is also a biological stage of maturation of the body, due to genetic determinants. Education is the process and result of the assimilation of systematized knowledge, skills and abilities. A profession is a kind of labor activity of a person who owns a complex of special knowledge and practical skills acquired as a result of training and work experience.
There is a relationship between the character's appearance and his character, that is, the character's character is a projection external image hero. Plays an important role psychological characteristic lead-
CONFIGURATION
general features of the character's appearance: expression of the eyes, smile, gait, manner of speaking. Behind the description of the external appearance of the character there is always such a goal as revealing the inner world of the hero, his character. The portrait includes not only the transfer of the external, but also the transfer of the internal expression of the properties, essence, soul of a person, and not just the image of his appearance. The portrait involves the disclosure of the human personality, that is, character 7.
The analyzed material allows us to distinguish two types of the analyzed type of portrait:
The character-centric portrait that appears in appearance characters;
A character-centric portrait that is not reflected in the appearance of the characters.
The first type of character-centric portrait is used when describing the main characters, and the second type is used when creating descriptions of secondary characters. Consider the first type of character-centric portrait with examples: 1) And so, too with the stout and large Mrs. Wilson, who stood beside him while he was attempting to rise to the importance of Clyde. She merely beamed a fatty beam. She was almost ponderous, and pink, with a tendency to a double chin. She smiled and smiled, largely because she was naturally genial and on her good behavior here...8; 2) Her eyes were round
and blue and intelligent - her lips and nose and ears and hands so small and pleasing 9; She was as he decided on sight, more intelligent and pleasing...10
In the first example, the good nature of the heroine is outwardly manifested in fullness, a full person is always a kind and good person, not capable of causing harm. The second example characterizes the mental abilities of the heroine, and outward manifestation this feature is found in the description of the eyes. The character-centric portrait of George Newton undoubtedly belongs to the second kind of this type of portrait: George Newton, as every one could see and feel, was a pleasant if not very emotional or romantic person who took his various small plans in regard to himself and his future as of the utmost importance 11. No description of Mr. Newton's physical appearance is given in the pages of the novel, as the author probably wants the addressee to know exactly; but seeks to inform the reader mainly about the most significant character traits of this character. So, in this article, we substantiated the legitimacy of highlighting a character-centric portrait, examined the types of this type of portrait and its components. Thus, it turns out that, in general, the portrait of any character has following structure(see picture).
Appearance Costume Character
subject-centric
zoocentric
toilet-centric
Character-centric _______ portrait_______
Color-centric ______portrait_____
Psychological
peculiarities
Aromacentric ______portrait_____
Social
characteristics
Florocentric
Mental abilities Social status
Moral qualities Age
Personal
quality
Education
Profession
Character portrait structure
O.A. Maletina. Typology of the portrait in artistic discourse
NOTES
1 Beletsky A.I. Selected works on the theory of literature. M., 1964.
2 Syritsa G.S. The language of the portrait in the novels of L.N. Tolstoy "War and Peace" and "Resurrection": Dis. ... cand. philol. Sciences. M., 1986. S. 34.
3 Bespalov A.N. The structure of portrait descriptions in the artistic text of the Middle English period: Dis. ... cand. philol. Sciences. M., 2001. S. 106-120.
4 Rodionova N.A. Types of portrait characteristics in I.A. Bunina: Linguistic and stylistic aspect: Dis. ... cand. philol. Sciences. Samara, 1999. S. 45-47.
5 Sizova K.L. Typology of the hero's portrait: based on the material of I.S. Turgenev: Dis. ... cand. philol. Sciences. Voronezh, 1995. S. 31-152.
6 Nechaeva O.A. Functional-semantic types of speech (description, narration, reasoning). Ulan-Ude, 1974, p. 75.
7 Andronnikova M.I. From the prototype to the image (to the problem of the portrait in literature and cinema). M., 1974. S. 4.
8 Dreiser Th. An American Tragedy. Moscow, 1949. Vol. 1. P 214.
9 Ibid. S. 256.
10 Ibid. S. 255.
Speaking about the literary, journalistic form of the portrait, it is appropriate to recall some of the features of this genre in the visual arts, to which the term “portrait” (French “portrait”) originally belongs. The word "portrait" comes from the French. “portrait”, which means the image of the original “trait pout trait” - “line to line”, “line to line”.
In the theory of art history, a portrait is understood as an image of a certain specific person or group of people, in which the appearance of a person is conveyed, reproduced, his inner world, the essence of his character, is revealed. Art historian M. Andronikova in her monograph on the art of creating a portrait said: “A portrait is not born along with art, but only when a person realizes himself as an exceptional phenomenon and not like any other creature, not one other person. A portrait is one of the highest forms of art, ripening for a long time in its depths before it takes shape, separates itself and wins its own independent and unique rights in it ”M. Andronikova. On the art of portraiture. M., 1975, p. 294 ..
A real artist who creates a portrait least of all claims to be a mirror-photographic display of “nature”. A person is recreated by art not “whole”, not in all manifestations of his personality, but only in some, in selected, in certain aspects. The purpose and meaning of the artist's work on any portrait is to search for the main idea by selecting the characteristic. The task of the artist is to raise this to the power of the image while maintaining the portrait features of a particular person.
“A good portrait is a dramatized biography of a model - the disclosure of the natural drama inherent in every person,” Charles Baudelaire argued, believing that a portrait painter must have not only the ability to imitate nature, but also the power of guessing. Therefore, each portrait contains the artist's ideas about his model.
The above principles of creation fine portrait in many respects strong in journalistic.
The interest of the press in the visual representation of a person is constant. As before, the act, character, career, fate of an individual person can be the most interesting for the reader. The essence of publications of this type is to give the audience a certain idea about the person. Solving this problem, a journalist, as a rule, pays attention to those moments in the life of his hero that are important for every person.
Knowledge of the goals, the “meanings of life”, which the heroes of publications serve, is necessary for the readership in order to compare them with their life attitudes. To a certain extent, this helps readers navigate the world and, perhaps, correct their actions, lifestyle, and so on. In addition, a number of portrait materials can satisfy the interest of many readers in the technology of success today.
Materials, in the center of which a person, in newspaper and magazine practice are represented by two genre forms: a portrait interview and an essay.
Given that most of the works devoted to the development of the theory of genres were published before the 90s of the twentieth century, new features have been added to the content of the continuously changing concept of “genre” during this time. Gorokhov V.M. Fundamentals of journalism. Moscow, 1989;
Sterltsov B.V. Fundamentals of journalism. Genres. Minsk, 1990;
Genres of the Soviet newspaper. Moscow, 1972;
Pelt V.D. Analytical genres of the newspaper. Moscow, 1980;
Tertychny A.A. Analytical journalism. Moscow, 1986;
Styuflaeva M.I. The poetics of journalism. Voronezh, 1975;
Prokhorov E.P. The art of journalism. Moscow, 1987;
Cherepahov V.M. Essay work. Moscow, 1980 Further in the work those definitions and characteristics are used, the relevance of which is undeniable for the materials of the periodical press published recently.
Genre is an essential form. In this concept, signs of content and structure are merged, allowing to express it - content - most expediently and effectively. The entire mass of materials written by journalists is divided into genres based on a number of division principles.
Everyone has it specific work there is a composition of certain characteristics. Regardless of how these characteristics arise: arbitrarily (the author does not think about what his text should be) or as a result of special creative efforts of the author (determines in advance what should be reflected in the text, how exactly and for what purpose) , texts with similar qualities can be classified into separate groups - genres.
The theoretical, at first glance, task - the definition of categories of journalistic genres - follows directly from the needs of practice. “The formation of ideas about the genre features of journalism has a significant practical significance, since it makes it possible to consciously orient oneself in a particular cognitive situation towards the creation of a very specific type of text, to the greatest extent "adapted" for adequate coverage of the phenomenon that interested the audience and the publication. Tertychny A.A. Genres of periodicals. M., 2000, p.9.
In defining the genres of periodicals, one should always take into account the impossibility of achieving their absolute purity in creative practice. The interaction of types of journalism is an indisputable fact.
Traditionally, all journalistic genres are divided into informational (note, reportage, report, some groups of interviews and correspondence), interspecies (they include such forms as interviews and comments) and journalistic in the proper sense of the word (among them there are scientific and journalistic and artistic journalistic). Therefore, when analyzing each material, it is important to set the search for the prevailing properties of the genre.
Of course, genres differ in their specific purpose. For information genres, the main concept that largely determines the content of materials is news. In this case, this is the news that the reader not only did not know about, but also could not know, since it appeared recently and is an eventful occasion. Notes, reports, reports, correspondence, each in their own ways and means, are designed to report socially significant facts.
News in journalistic, otherwise in analytical, genres is not new in itself (in the operational sense). The communication of new facts is only a means of argumentation for creating the necessary image of reality. For these forms (essay, feuilleton, pamphlet, sketch) the organization of the figurative structure of the material is of particular importance. By itself, the description of the material or the characteristics of an object, event or life fact is not an image. “An image in journalism is either a description that allows you to see, vividly, picturesquely imagine a certain phenomenon of life, or such a comparison, a juxtaposition that throws light on the very essence of this phenomenon, allows you to better understand, evaluate, define it.” Elsberg Ya.E. Image in journalism.//Soviet press, 1960, No. 10, p.20.
Thus, the main function of the journalistic image is illustrative. This is a kind of sensual support for the development of the thought of a publicist. "The publicistic image activates the thought process, creates a more stable idea of an object or phenomenon, accelerates the mastery of the truth." Arkhipov I.R. publicity image. Moscow, 1977, p.144
Choosing the genre forms of the portrait as a narrative, the journalist must represent the scale of the personality, take into account the reader's interest in relation to the character, and also decide in advance on his role in the material.
The peculiarity of the reflection of a person in the interspecies genre, the interview, was determined in her work “The Journalist and His Work” by M.I. Shostak: "It seems to be 'over-genre', reminiscent of a review, a reportage, a problematic article, or a portrait...". Shostak M.I. Journalist and his work. Moscow, 1998, p.66
A detailed conversation with the hero is a necessary step in working on any portrait material. Therefore, an interview can be both a method of obtaining biography facts, opinions, and a genre form that visualizes this process.
The main stimulus for writing material about a person in the form of a portrait interview is the opportunity for a journalist to bring to the fore extraordinary person interesting for everyone. The task of the interviewer is to try to create emotionally - psychological picture interlocutor. In this case, the reader is shown as much as possible of the identified information about the person, and in the final literary version of the conversation, the author's questions are emphasized, aimed at the personal characteristics of the interlocutor, and his especially revealing answers. All remarks given by a journalist should look significant not only in meaning, but also as a clear evidence of the character and personality of the interlocutor. The interlocutor's judgments, which reveal his system of life views, can give a greater completeness to a portrait interview. In some cases, the information that the hero owns due to his official rank helps to maintain the interest of readers in the material.
In the process of preparing a portrait interview, the journalist formulates his questions, adapting to the situation, and sometimes asks them this way and that if the answer does not satisfy him. The author prefers to listen to the character.
A journalist assigns another role to himself if he turns to one of the forms of artistic and journalistic genres - an essay. This type of genre flourished in the 1950s and 1960s. Unforgettable images of contemporaries were created by essayists - newspapermen L. Reisner, M. Koltsov, A. Serafimovich, B. Agapov, I. Ryabov, M. Shaginyan, V. Ovechkin. This portrait chronicle was continued by A. Agranovsky, G. Radov, M. Strua, A. Sokhnin and others.
In today's journalism, the change in attitude towards the essay is obvious to everyone. Thus, the authors of the encyclopedia of the life of modern Russian journalism, V. Bogdanov and Y. Zasursky, note: “When you open a newspaper today, it is sometimes difficult to determine which genres of journalism are used on its pages. The culture of the essay is gone from our newspapers. "Dying" of the essay genre - serious problem not only newspapers. Essay assumed famous philosophy life. Today we all lack the philosophy of movement. This lack of a philosophical perspective has a detrimental effect on serious genres and leads to the fact that newspapers are dominated by petty, petty topics, and in general the sharpness of today's press, in which there is no guiding thought, cannot be compared with previous periods of our journalism, and this is ours. trouble." Bogdanov V., Zasursky Ya. Power, a mirror or a maid. M., 1998, v.2, pp.136-137
Now in the professional environment of journalists there is a process of revising views on the processing and presentation of material. Factual journalism, which was especially popular in the 1990s, the journalism of fact, which noticeably squeezed analytical forms, is becoming a thing of the past. The former head of the Kommersant publishing house, V. Yakovlev, said in an interview: “The information concept was the market leader several years ago, but now it is not. It's time for normal journalism again. The market already requires a clearly defined position, the ability to write interesting, beautiful, tasty. We need the whole range of genres - from information to a skillfully crafted essay with a reportage in the middle. Yakovlev V. // Kommersant - power, 1998
“An essay is an artistic and journalistic genre in which, by combining logical-rational and emotional-figurative ways of reflecting reality, a certain aspect of the concept of a person or public life". Benevolenskaya T.A. Portrait of a contemporary. Newspaper essay. M., 1983 This genre combines documentary materials and art forms, imagery characteristics and high degree typing. The necessary components of the essay include factuality, analyticity, problematicity and imagery. The object of study in any essay is either a person or a problematic conflict situation. A portrait sketch develops a certain aspect of the concept of one person, creates an image. In each specific case, the essayist must understand the complexities of an individual character, create a psychological portrait, reveal the internal motivation of actions, the moral creed of his hero, the origins of driving force his spirituality.
As noted above, the entire volume of essay materials is represented by two types: a problematic essay and an essay-portrait. At the same time, the view of the essayist should be focused on a person or a problematic situation - in such a way that the final result is an artistic and journalistic development of a certain aspect of the concept of a person (portrait essay) or social life (problem essay).
Unlike the previous form of portrait material, the interview, the author of the essay does not just cite the most vivid remarks from the conversation that characterize the hero, but, relying on all the versatile material about a person, comprehends the originality of his personality.
If we turn to history, then the beginning of the portrait sketch was the description of customs, pictures of everyday life, characteristic and indicative of different sections of the human "anthill". The authors of these materials sought to capture the diversity of types of people.
The abundance of essay portrait materials is also characteristic of Soviet magazines and newspapers. "Unique in political passion, expressiveness psychological drawing and at the same time, strictly documentary and telling about the widest range of people, not only famous, but also ordinary, “inconspicuous”, essays about contemporaries occupy a special place in the arsenal of propaganda and organizational funds". Benevolenskaya T.A. Portrait of a contemporary. Newspaper essay. M., 1983.
In leading publications, essay texts were accompanied by various headings: "essay", "portrait of a contemporary", "social portrait", "collective portrait", "human fate", "living in conscience". The defining formula for the genre was: on the basis of the life of one person, to identify typological features Soviet man. The method of constructing the image was focused on the disclosure of the general, typical in the personality. Thus, the task of shaping the man of the future was solved. The then journalist of Komsomolskaya Pravda, A. Egorov, ideally stated it: “The initial rigid structure of the essay was the data of the last population census. We were looking for a hero close to the most typical features. People were looking for an average, without imposing anything from themselves and without introducing anything. Styuflaeva M.I. A person in journalism. Voronezh, 1989. At the same time, the purpose of the portrait essay was defined as follows: “Registered on a newspaper sheet constantly, they serve day by day inexhaustible source to display the Soviet people in all the diversity of their characters and destinies. Benevolenskaya T.A. Portrait of a contemporary. Newspaper essay. M., 1983, p.23.
The work on creating an image typical of Soviet reality in a portrait sketch went in parallel with the disclosure of the theme of self-realization, self-affirmation in the life of a working person. In the early 70s, the newspaper Sovetskaya Belorussia introduced the heading "Worker". The team of authors set out to reveal the face of the modern worker as fully as possible. The thematic focus of the journalistic search was carefully planned: “... to find typical representatives of the working class, which are characterized by a sense of professional and moral duty, the dignity of a citizen, the desire to improve skills and broaden their horizons, high cultural demands, and a desire to acquire engineering knowledge. Benevolenskaya T.A. Decree. cit., p.54 Journalists found such people and created a gallery of essays.
And in 1984, the Trud newspaper published eleven essay portrait materials in just four months. Here are the names of some of them: “The planer of the Krasny Proletarian plant, Innokenty Iv. Maltsev”, “Weaver Lyubov Kondratyevna Kondratieva”, “Miner Ivan Ivanovich Strelnichenko”, “Metallurgist Vasily Ivanovich Ovsyannikov” and others.
As a rule, these materials combined general statistical information about the profession, sociological reflections on the problems associated with it, and specific life practice, the individual existence of one of the representatives of this profession. “Last year, 175,000 people sailed on fishing boats. They got six million tons of fish and seafood, in other words, 25 kilograms of fish products per capita,” L. Pleshakov wrote in his essay “Rybak”. social portrait. M., 1967, p.67. One of the one hundred and seventy-five thousand people - Ivan Vinogradov - became his hero. Another example is the essay in "Komsomolskaya Pravda" "Agronomist Ilya Chibisov" begins like this: "Why did we decide to start the story about the current suffering with an agronomist?" TVNZ. 1972, July 11 The material came out in July. In the foreground is the harvest, its pace, features and tasks. This is what determined the story about the people of the harvest, and about specific human features agronomist I. Chibisov.
The newspaper portrait essay for the first time introduced the reader to the experience of the Shchekino initiators of the Zlobin method, the Oryol continuous work, innovators in any branch of the national economy, science, and culture. Through acquaintance with a person as a bearer of progressive methods of production, the effect of approaching distant experience, the effect of the absolute reality of what is described, the effect of accessibility of what is described in the essay was achieved.
When working on a portrait essay, the question of the effectiveness of such materials was always raised: “Real workers perceive an artistic and journalistic story about themselves with excitement and doubt: “Am I really that good, right?” Doubt pushes a person to self-improvement, activates his further activity. Genres of the Soviet newspaper. M., 1972, p.200.
The further development of the form I am considering, the sketch portrait, was connected with the existing problem of the correlation in the material of the individual, personal and social, inherent in many. They appear in varying proportions in each individual publication.
To illustrate this thesis, it suffices to compare two materials. The hero of the first was the organizer of the folk museum I. Bukhanchuk: “I liked him right away - open, friendly, a little naive. By his appearance, you can’t tell that he is a former military man: for some reason, the shoulders of his jacket slide off to one side, his raincoat is wide open, he tries to shake off the ashes from a cigarette on his knees. A person does not think, does not remember himself - it is immediately evident. Gusarova A. In defense of philanthropy.// Literary newspaper, 1982, November 17.
The second one tells about CEO Teraspol production and clothing association V.S. Solovieva: “Woman in the economy. A talented leader with life and professional experience, which stretched across all economic doctrines from the 30s to the present day. Let's look for an answer, where did a misfire occur in our past in the "women's" industry? Could we go further? To make women's work more meaningful and happy? Makartsev Yu. Portrait of a woman from 1987. // Interlocutor, 1987, No. 34.
The 90s became the time when portrait lines of the masters of life began to pass through all publications - successful entrepreneurs, successful people. In these materials, the Soviet formula of the hero "a man in his place" merged with the Western "a man who made his own destiny." Not only the “phenomenon of personality” (personal responsibility and decency, pain and thinking about everyone), but also the “phenomenon of luck” or the “Cinderella plot” became relevant for such portraits. Directly in the description of the person, the reader's interest focused on conflicts that were not introduced from outside, but were shown as the mistakes and doubts of the hero in search of a path.
On most portrait materials published in the 1990s, the following trend can be traced: most of all, character development is given more attention, while the hero’s involvement in the “unifying socially related circle of designations” is prescribed, as a rule, in thesis.
In each portrait material, the emphasis is on a detailed disclosure of two or three qualities of the hero. And here it is in the power of the author to highlight some characteristics and highlight them in detail, others - only to name, without revealing, and completely keep silent about the third. The character of the hero in journalism is always only a version. In real life, it cannot be as complete as the only complete author's concept of material on the pages of the periodical press. Even with the most careful description of a person, there is always some fundamentally incomprehensible residue.
The appearance of any person on the pages of current newspapers and magazines is accompanied by the following approach of a journalist to work on portrait material:
- 1. The most important is conveyed through observation of the behavior of the hero;
- 2. Paradoxes of fate are noted;
- 3. Figurative associations and visual episodes are involved.
Separate among the portraits of figures is a political portrait. Having absorbed all the main features of the genre, the profile portrait of a politician has its own characteristics, due both to the practice of the existence of this form on the pages of the press, and the development of Russian political culture as a whole.
The formation of the political portrait genre began with the emergence of power relations in the history of civilization. The main feature of the perception of power by Russian people is its personification. AT Russian history personality has always played an important role. Power was personified by a person: prince, king, leader, president.
The figures of politicians are extremely important for the public, since they allow us to reduce all the complex and impersonal processes of political life to the actions of individuals.
Specific personalities acting in politics make it accessible to understanding, humane, allow people to ascribe to them responsibility for the course of events. Therefore, politicians who have made a significant contribution to history have always aroused the interest of their contemporaries and descendants. This interest has never been limited to information about their activities in the political and public arena. A well-known figure always attracts attention precisely as a person - with all his moral and intellectual appearance, motives for his actions, his insights and miscalculations.
What kind of person this or that politician is, what feelings, symbols and ideas are associated with him, is of paramount interest to the public. Materials are called upon to fully satisfy the public need for information about leaders, in the center of which is a political figure with his spiritual world, character, revealed in generally significant actions, tense, sometimes conflict situations, in biographical episodes, in thoughts, speech, and even an external portrait of the hero. . The portrait essay is considered a recognized genre capable of forming the facets of the image of a politician in the mass consciousness. It is in the power of this genre to either confirm the image of the figure that has developed among people, or completely refute it.
Another feature of the portrait of a politician is the complication of this form by the task of political forecasting. "A political forecast can be defined as an ideological image formed in the minds of people and described, including the alleged, probable direction and intensity of the actions of parties or individuals." Sergiev V. Foresight in politics. M., 1974, p.51. A forecast in a political portrait answers the question of how the appointment or non-appointment of the described politician to the proposed position will turn out for voters, or it appears in the form of clear conclusions of the author of the material about the hero’s ability to act in politics, to solve socially significant tasks.
far from last place Among the characteristic features of a political portrait are the author's political intentions, which are usually clearly visible in the material. The authors of the journalistic genre of political portrait do not try to cover up their tendentiousness, their position, they do not hide their likes and dislikes. The image of a politician always reflects a certain emotional state of the publicist. The presence of this feature in journalistic materials is explained by the traditions of perception of political processes in Russia, which tend to blur the lines between political and non-political, public and personal.
“Attention drawn by politicians always carries a connotation of the irrational. In Russia, politicians are not looked at, they are devoured with their eyes, conjured, cursed, idolized. They put a piece of soul into them. Hence the mysticism of the political portrait in general and the Russian one in particular. Biological enzymes have been added to the political portrait at all times: saliva, oil, poison, sperm. It has always been correlated with one's own destiny, personal political ambitions and passions.
Expectations, hopes, spells and prophecies are easily read even in professionally presented analytical materials - this is our political portrait. Anton Katin. Portrait of a politician in the media // Net culture. App. to the magazine "Pushkin", 1998, May 1, p.23.
