Artwork. artistic image
ARTISTIC IMAGE - one of the most important terms aesthetics and art history, which serves to designate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, the feature of which is the expression of an abstract idea in a concrete sensual form. This definition allows us to highlight the specifics of artistic imaginative thinking in comparison with other basic forms of mental activity.
A truly artistic work is always distinguished by great depth of thought and the significance of the problems posed. In artistic form, like the most important means reflections of reality, the criteria of truthfulness and realism of art are concentrated. Connecting real world and the world of art, the artistic image, on the one hand, gives us a reproduction of actual thoughts, feelings, experiences, and on the other hand, it does this with the help of means characterized by convention. Truthfulness and conventionality exist together in the image. Therefore bright artistic imagery Not only the works of great realist artists differ, but also those that are entirely built on fiction ( folk tale, fantastic story etc.). Imagery is destroyed and disappears when the artist slavishly copies the facts of reality or when he completely avoids depicting the facts and thereby breaks the connection with reality, concentrating on reproducing his various subjective states.
Thus, as a result of the reflection of reality in art, an artistic image is a product of the artist’s thought, but the thought or idea contained in the image always has a specific sensory expression. Images refer to both individual expressive techniques, metaphors, comparisons, and integral structures (characters, personalities, the work as a whole, etc.). But beyond this there is also a figurative structure of directions, styles, manners, etc. (images medieval art, Renaissance, Baroque). An artistic image can be part of a work of art, but it can also be equal to it and even surpass it.
It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derivative of the work of art. If a work of art is the unity of material, form, content, i.e. everything that the artist works with to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed outcome creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original plan and sometimes the material, i.e. practice creative process makes its amendments to the very core of the artistic image. The master’s art here is organically fused with the worldview and aesthetic ideal, which serve as the basis of the artistic image.
The main stages, or levels, of the formation of an artistic image are:
Image-plan
artwork
Image-perception.
Each of them indicates a certain qualitative state in development artistic thought. Thus, the further course of the creative process largely depends on the idea. It is here that the artist’s “insight” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-plan plays an equally important and necessary role in the creative process of both the artist and the scientist.
The next stage is related to the concretization of the image-plan in the material. Conventionally, it is called an image-work. This is as important a level of the creative process as the idea. Here the laws associated with the nature of the material begin to operate, and only here the work receives real existence.
The last stage, which has its own laws, is the stage of perception of a work of art. Here, imagery is nothing more than the ability to recreate, to see in material (color, sound, word) ideological content works of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time having a huge educational impact on him.
An artistic image is an image of art, i.e. a phenomenon specially created in the process of special creative activity according to specific laws by the subject of art - the artist. In classical aesthetics there was a complete definition of the artistic image and the figurative nature of art. In general, an artistic image is understood as an organic spiritual-eideic integrity that expresses and presents a certain reality in the mode of greater and lesser isomorphism (similarity of form) and is realized (having existence) in its entirety only in the process of perception of a specific work of art by a specific recipient. It is then that the unique artistic world is fully revealed and actually functions, folded by the artist in the act of creating a work of art into its objective (pictorial, musical, poetic, etc.) reality and unfolding in some other specificity (another hypostasis) in inner world subject of perception. An image is a complex process of artistic exploration of the world. It assumes the presence of an objective or subjective reality that gave impetus to the process of artistic representation. It is transformed in the act of creating a work of art into a certain reality of the work itself. Then, in the act of a work of art, another process of transformation of the features, form, even the essence of the original reality (prototype) and the reality of the work of art (“secondary” image) occurs. The final (already third) image appears, often very far from the first two, but preserving nevertheless, something (this is the essence of isomorphism and the very principle of display) inherent in them and unites them in a single system of figurative expression, or artistic display. A work of art begins with the artist, or more precisely with a certain idea (this is a vague spiritual-emotional sketch) that arises in him before starting work. As his creativity progresses, the work is concretized; in the process of creating the work, the artist’s spiritual and mental powers work, and on the other hand, technical system his skills in handling (processing) specific material from which and on the basis of which the work is created. Often nothing remains of the original figurative-semantic sketch. It acts as the first motivating impulse for a sufficiently spontaneous creative process. The resulting work of art is also, and with greater justification, called an image, which, in turn, has a number of figurative levels, or sub-images - images of a more local nature. Inside this collapsed image-work we also find a whole series of smaller images, determined by the visual and expressive structure of this type of art. The higher the level of isomorphism, the closer the image of the visual-expressive level is to the external form of the depicted fragment of reality, the more “literary” it is, i.e. lends itself to verbal description and evokes corresponding “picture” ideas in the recipient. Images through isomorphism can be verbalized, but also not verbalized. For example, in connection with any painting by Kandinsky, we cannot talk about a specific compositional image, but we are talking about color rendering, balance and dissonance of color masses. Perception. IN spiritual world the subject of perception, an ideal reality arises, which through this work introduces the subject to universal existential values. The final stage of perception of a work of art is experienced and realized as a kind of breakthrough of the subject of perception to some unknown levels of reality, accompanied by a feeling of the fullness of being, extraordinary lightness, sublimity, spiritual joy.
Another option:
Hood image: place in the art world, functions and ontology. The thin image is a way to technically express that infinite semantic horizon that the cat launches art. Initially, the image was understood as an icon. The first meaning of the image fixed a reflective epistemological attitude to art (prototype, similarity, correspondence to reality, but not reality itself). In the 20th century there were two extremes: 1) absolutization of the meaning of the concept of image. Since the art is to think in images, it means to think in life-like similarities, which means that real art is life-like. But there are types of art that do not work with life-like images of reality. (What, for example, does music copy in life?). In architecture and abstract painting there is no clear subject denotation. 2) Image is not a category that can help convey the features of art. Refusal of the image category, because the claim is not a copy of reality. Art is not a reflection, but a transformation of reality. ? Important aspects of thin consciousness, art, cat are accumulated in a thin image and indicate the boundaries of art. ? Scheme of the claim: the world at which development is aimed? bad TV? work? bad perception. The thin image is an ideal way of thin activity, the structure of consciousness, through which art solves the following problems: 1) Hud mastery of the world 2) Translation of the result of this mastery. That. An image is a way of transmitting information, an ideal structure for communication. The image is inherent in the art, its specificity perfect shape. Those. with o.s. an image is a certain mechanism, a method (an internal form of consciousness), and with other words, it is not synonymous with a work of art, it is an ideal structure, the cat lives only in consciousness. The mat layer of the image (body, performance, novel, symphony) exists in potential form. The objective reality of art is artistic texts, the work is “not equal” to the text. ? a bad image is a specific substrate, a substance of bad consciousness and bad information. Outside of this substance, it is impossible to capture the state of artistry. This is the fabric of bad consciousness. An image is a specific space of existence of ideal information, experiences and its products, a space of communication. ? the image is a specific reality, it appears as a kind of world for the h-ka., as uniting the worlds of the artist. An image is such an organic structure of consciousness, the cat appears instantly (“Not yet. Already there”). ? 2 possible relationship this specific reality of the image to the consciousness of the creator: 1) Self-movement of the image. 2) The artist’s imperious subordination of this reality, i.e. S becomes an instrument of the self-creative activity of the image, as if someone is dictating the text. The image behaves like S, like a positing structure itself. ? Specifics of the thin image. The old dogmatic understanding of the image presupposes an isomorphic correspondence, a one-to-one correspondence with reality. But the image simultaneously truncates, transforms, turns, and complements reality. But this does not remove the correspondence relation. We are talking about a homomorphic partial correspondence between the image and reality. ! The image deals with axiological reality; the claim reflects the spiritual and value relations between S and O. It is these relations that are the goal of the claim, not O. The purpose of the claim: objectivity filled with a certain significance + relationships to this O-that (state S-that). The value of O-ta m.b. revealed only through the S state. That. The task of the image is to find a way to connect in interpenetration the value objects of O and the internal state of S. Value is the manifest meaning of the specificity of the image - to become a way of actualizing spiritual value relations. ? thin images are divided into 2 classes. 1) Modeling value relations through the recreation of the feeling structure of O, and the sub side is revealed indirectly. And all this is called an image. The images here are of a visual, objective nature (architecture, theater, cinema, painting). 2) Modeling the reality of subjective semantic relations. S's state cannot be depicted. And this is called non-image art (music, ballet). Here the subject is pure subjectivity and reference to something outside oneself? hence 2 forms of presentation of reality. 1st form: epic form, the value meaning is revealed by the O-th itself, and the S-t is the receiver of this spirit of information. 2nd form – lyrical: O – mirror of S. Oh, you just talk about something to S, hook him inside. state.? Conclusion. The hood image is a special ideal model of a person’s relationship to the world in a concentrated form.
Thought in art is expressed not in the form of formulas or some other rational constructions, as is the case in science, but through an artistic image. It is the artistic image that is the main carrier of content in art. An artistic image is a form of thinking in art, a form of expression of the artist’s ideas and worldview. No artistic image - no content. An artistic image is a specific, inherent way of art to reflect reality, its generalization from the standpoint of an aesthetic ideal in a concrete, sensual, directly perceived form. The term “artistic image” is used in two senses (meanings, plans): as a designation of a character in a work of art (the image of Tatyana in Eugene Onegin) and as a designation of the entire work of art.
The artistic image has a number of features:
An artistic image is a combination of objective and subjective. Images are created by the artist in the creative process, therefore they are the result of comprehension of reality;
The artistic image is associative. This is an indispensable condition. The artist puts associativity into it, but the viewer must also see it. An artist without associative thinking is nonsense: there is no ability to create associations, which means there is no ability to create an artistic image;
The artistic image has many meanings. This gives you the opportunity to choose different versions in his interpretation, the breadth of issues;
An artistic image often remains unsaid. This leaves room for the thoughts and feelings of the perceiver (reader, viewer, listener). The more ambiguous the image, the more complex and ambiguous it is in perception. It can be deciphered not only by the artist’s contemporaries, but also by representatives of other generations and eras. Understatement, like diversity, makes the recipient active, he is given the opportunity to co-create with a writer, artist or director. The perceiver, as it were, has a starting point, but at the same time retains a certain free will. Understatement stimulates thought;
The artistic image is multifaceted. This means that one reading of its content does not simultaneously cancel the other. Thanks to its versatility, the image can be interpreted in different ways and none of the interpretations will be false. That is why we are simultaneously interested in Hamlet by Smoktunovsky and Vysotsky; interesting is the story of King Lear, interpreted with different positions: as a family drama (the betrayal of his daughters), as a political drama (due to his own tyranny, Lear started dividing up the state at the most inopportune moment), as a personal tragedy (Lear discovers that his idol - power - turned out to be false). In science, polysemy is not in use due to objective circumstances (if you change the formula of water, you will get some other substance). At the same time, the possibility of different interpretations of an artistic image does not mean that the artistic image is absolutely gutta-percha, that there is no internal logic in it. On the contrary, an artistic image has internal self-development and is determined by many factors: it is not without reason that writers often talk about how a character begins to live his own life from a certain moment and dictate the further development of events to the author, i.e. seems to be out of control;
An artistic image is a dialectic between the typical (i.e. widespread, universal) and the individual. An artistic image may have a specific name (Demon, Ophelia, Faust, Hamlet), but at the same time it can express a universal idea. Moreover, it is impossible to express the universal or abstract in art outside of the individual. Since the universal in art is shown through the individual, the particular, the individual, the artist must capture the most essential in an object or phenomenon. Otherwise, he will not be able to rise to the level of generalization in his work and in his images;
An artistic image is a fusion of the emotional and the rational. Art is impossible without their union. Sometimes it seems that a work is based on pure impression (for example, a sketch), but this is only an appearance, since experience and individuality play a role here too. If thoughts and feelings are not melted together, then the work can degenerate either into a cold, dry scheme, or into empty and shallow emotions.
Often a work of art contains not one image, but a whole system artistic images– different and multifaceted. The system of images is more difficult to perceive and analyze, since each of the images not only interacts with others, but is itself in dynamics. The content of a work is not a copy of life. Art processes reality, creates its own special conditional world, which has its own structure and exists according to its own laws.
Artistic image
Typical image
Image-motive
Topos
Archetype.
Artistic image. The concept of artistic image. Functions and structure of the artistic image.
Artistic image– one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in work of art.
An artistic image is one of the means of understanding and changing the world, synthetic form reflections and expressions of the artist’s feelings, thoughts, aspirations, and aesthetic emotions.
Its main functions: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal specific features image, each of them separately characterizes only one side of it; isolated consideration of individual functions not only impoverishes the idea of the image, but also leads to the loss of its specificity as a special form public consciousness.
In the structure of the artistic image main role mechanisms of identification and transference play.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, and characteristics are combined into one whole; Moreover, identification is only partial, extremely limited: it borrows only one feature or a limited number of features of the object person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes- transfer.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed by associative paths to ever new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating the so-called in dreams and neuroses. thickening.
Conflict as the basis of the plot of the work. The concept of “motive” in Russian literary criticism.
Essential Function plot - the discovery of life contradictions, i.e. conflicts (in Hegel's terminology - collisions).
Conflict- a confrontation of contradiction either between characters, or between characters and circumstances, or within character, underlying the action. If we are dealing with small epic form, then the action develops on the basis of one single conflict. In works of large volume, the number of conflicts increases.
Conflict- the core around which everything revolves. The plot least of all resembles a solid, unbroken line connecting the beginning and end of an event series.
Stages of conflict development- basic plot elements:
Lyric-epic genres and their specificity.
Lyric-epic genres reveal connections within literature: from lyricism - theme, from epic - plot.
Combining an epic narrative with a lyrical beginning - a direct expression of the author’s experiences and thoughts
1. poem. – genre content can be either epic dominant or lyrical. (in this regard, the plot is either enhanced or reduced). In antiquity, and then in the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method; it is equally represented in romanticism (“Mtsyri”) and in realism (“ Bronze Horseman), in symbolism (“12”)…
2. ballad. - (French “dance song”) and in this sense it is a specifically romantic plot poetic work. In the second meaning of the word ballad is folk genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.
3. fable- one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) peculiarity genre form yavl. Inclusion in the text (at the beginning or at the end) of a special short stanza - morality. A fable is connected with a parable; in addition, a fable is genetically connected with a fairy tale, an anecdote, and later a short story. rare fable talents: Aesop, Lafontaine, I.A. Krylov.
4. lyrical cycle is a unique genre phenomenon belonging to the field of lyric epic, each work of which was and remains a lyrical work. All together these lyrical works create a “circle”: the unifying principle of the phenomenon. topic and lyrical hero. Cycles are created “at once” and there may be cycles that the author forms over many years.
Basic concepts of poetic language and their place in school curriculum according to literature.
POETIC LANGUAGE, artistic speech, language poetic (verse) and prosaic literary works, system of means artistic thinking and aesthetic development of reality.
Unlike ordinary (practical) language, whose main function is the communicative function (see Functions of language), in P. i. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression. General imagery and artistic originality lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, i.e. the actual communicative and poetic functions of language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. I., in their opinion, differs from the usual one in the perceptibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; the main thing in it is to “experience the making of a thing” (V.B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in understanding P. Ya., poetry itself is nothing more than “as a statement with an attitude toward expression (...). Poetry is language in its aesthetic function."
P. I. is closely related, on the one hand, to literary language(see), which is his normative basis, and on the other - with the national language, from where he draws a variety of characterological language means, eg. dialectisms when conveying the speech of characters or to create local color depicted. Poetic word grows out of the real word and in it, becoming motivated in the text and fulfilling a certain artistic function. Therefore, any sign of language can, in principle, be aesthetic.
19. The concept of artistic method. The history of world literature as the history of changes in artistic methods.
Artistic method(creative) method is a combination of the most general principles aesthetic assimilation of reality, which is consistently repeated in the work of one or another group of writers who form a direction, trend or school.
O.I. Fedotov notes that “the concept of “creative method” differs little from the concept of “artistic method” that gave birth to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire movements.”
The concept of artistic method appeared in the 1920s, when critics of the Russian Association of Proletarian Writers (RAPP) borrowed this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and depth creative thinking"proletarian" writers.
The artistic method has an aesthetic nature; it represents historically determined general forms emotionally charged figurative thinking.
Objects of art are the aesthetic qualities of reality, that is, “the broad social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically variable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, historical changes in artistic method, as well as the emergence of a new artistic method, can be explained not only through historical changes in the subject of art, but also through historical change aesthetic qualities of reality. The object of art contains life basis artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the artist’s general philosophical and political worldview. “The method always appears to us only in its specific artistic embodiment- in the living matter of the image. This matter of the image arises as a result of the artist’s personal, intimate interaction with the concrete world around him, which determines the entire artistic and mental process necessary to create a work of art” (L.I. Timofeev)
The creative method is nothing more than a projection of imagery into a specific historical setting. Only in it does the figurative perception of life receive its concrete implementation, i.e. is transformed into a specific, organically emerged system of characters, conflicts, and storylines.
The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically determined understanding of it in the light of those basic questions that life poses to art at each new stage of its development.
The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of an artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. Proximity aesthetic positions determines the unity of method of a number of writers, which is associated with commonality aesthetic ideals, similarity of characters, homogeneity of conflicts and plots, style of writing. For example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.
The artist's method is felt through style his works, i.e. through individual manifestation of the method. Since the method is a way of artistic thinking, the method represents the subjective side of the style, because This method of figurative thinking gives rise to certain ideological - artistic features art. The concept of method and the writer’s individual style are related to each other as the concept of genus and species.
Interaction method and style:
§ variety of styles within one creative method. This is confirmed by the fact that representatives of one or another method do not adhere to any one style;
§ stylistic unity is possible only within one method, since even external resemblance the works of authors adhering to the same method do not provide grounds for classifying them as a single style;
§ reverse influence of style on method.
Full use of the stylistic techniques of artists who adhere to one method is incompatible with consistent adherence to the principles of the new method.
Along with the concept of the creative method, the concept also arises direction or type of creativity, which in a wide variety of forms and relationships will manifest themselves in any method that arises in the process of development of the history of literature, since they express general properties figurative reflection of life. Taken together, the methods form literary movements(or directions: romanticism, realism, symbolism, etc.).
The method determines only the direction creative work the artist, not her individual properties. The artistic method interacts with the creative personality of the writer
The concept of “style” is not identical to the concept "creative individuality of the writer". The concept of "creative individuality" is broader than what is expressed narrow concept"style". A number of properties are manifested in the style of writers, which in their totality characterize the creative individuality of writers. Specific and real result These properties in literature is style. The writer develops, on the basis of one or another artistic method, his own individual style. We can say that the creative individuality of the writer is a necessary condition further development every artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individuals of writers become common and represent a new quality in their totality.
The artistic method and creative individuality of the writer are manifested in literature through the creation literary images, construction of motives.
Mythological school
The emergence of a mythological school at the turn of the 19th–19th centuries. The influence of the Brothers Grimm’s “German Mythology” on the formation of the mythological school.
Mythological school in Russian literary criticism: A.N.Afanasyev, F.I.Buslaev.
Traditions of the mythological school in the works of K. Nasyiri, Sh. Mardzhani, V.V. Radlov and others.
Biographical method
Theoretical and methodological foundations of the biographical method. The life and work of S.O. Saint-Beuve. Biographical method in Russian literary criticism of the 19th century. ( scientific activity N.A. Kotlyarevsky).
Transformation of the biographical method in the second half of the twentieth century: impressionistic criticism, essayism.
A biographical approach to studying the heritage of major literary artists (G. Tukay, S. Ramiev, Sh. Babich, etc.) in the works of Tatar scientists of the 20th century. Using a biographical approach in studying the works of M. Jalil, H. Tufan and others. Essays at the turn of the 20th-21st centuries.
Psychological direction
Spiritual and historical school in Germany (W. Dilthey, W. Wundt), psychological school in France (G. Tarde, E. Hennequin). Reasons and conditions for the emergence of a psychological trend in Russian literary criticism. Concepts by A.A. Potebnya, D.N. Ovsyaniko-Kulikovsky.
Psychological approach in Tatar literary criticism of the early twentieth century. Views of M. Marjani, J. Validi, G. Ibragimov, G. Gubaidullin, A. Mukhetdiniya and others. Work of G. Battala “Theory of Literature”.
Concept psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.
Psychoanalysis
Theoretical foundations psychoanalytic criticism. Life and work of S. Freud. Psychoanalytic works of Freud. Psychoanalysis by C. G. Jung. Individual and collective unconscious. Archetype theory. Humanistic psychoanalysis by Erich Fromm. The concept of the social unconscious. Research by J. Lacan.
Psychoanalytic theories in Russia in the 20s. XX century (I.D. Ermakov). Psychoanalysis in modern literary criticism.
Sociology
The emergence of sociology. Difference between sociological and cultural-historical methods. Features of application sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Works of G. Nigmati, F. Burnash.
Vulgar sociologism: genesis and essence (V.M. Friche, late works of V.F. Pereverzev). F.G. Galimullin about vulgar sociologism in Tatar literary criticism.
Sociologism as an element in literary concepts of the second half of the twentieth century (V.N. Voloshinov, G.A. Gukovsky).
The emergence of new concepts and trends that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the capabilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.
Sociologism on a global scale: in Germany (B. Brecht, G. Lukács), in Italy (G. Volpe), in France, the desire for a synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.
Formal school.
Scientific methodology of the formal school. Works of V. Shklovsky, B. Eikhenbaum, B. Tomashevsky. The concepts of “technique/material”, “motivation”, “defamiliarization”, etc. Formal school and literary methodologies of the 20th century.
The influence of the formal school on the views of Tatar literary scholars. Articles by H. Taktash, H. Tufan on versification. Works of H. Vali. T.N. Galiullin about formalism in Tatar literature and literary criticism.
Structuralism
The role of the Prague linguistic circle and the Geneva linguistic school in the formation of structuralism. Concepts of structure, function, element, level, opposition, etc. Views of J. Mukarzhovsky: structural dominant and norm.
Activities of the Parisian semiotic schools (early R. Barthes, C. Levi-Strauss, A. J. Greimas, C. Bremont, J. Genette, U. Todorov), the Belgian school of sociology of literature (L. Goldman and others).
Structuralism in Russia. Attempts to apply the structural method in studying Tatar folklore(works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis(A.G. Yakhin), when studying the history of Tatar literature (D.F. Zagidullina and others).
Emergence narratology - theories of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, V. Schmid. Terminological apparatus of narratology.
B.S.Meilakh about complex method in literary criticism. Kazan base group of Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Works of Yu.G. Nigmatullina.
Complex method in the studies of Tatar literary scholars T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.
Hermeneutics
The first information about the problem of interpretation in Ancient Greece and in the East. Views of representatives of the German “spiritual-historical” school (F. Schleiermacher, W. Dilthey). Concept of H. G. Gadamer. The concept of the “hermeneutic circle”. Hermeneutical theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).
Artistic image. The concept of artistic image. Classification of artistic images according to the nature of their generality.
Artistic image- a method of mastering and transforming reality inherent only in art. An image is any phenomenon creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
By the nature of their generality, artistic images can be divided into individual, characteristic, typical, image-motifs, topoi and archetypes (mythologems).
Individual images characterized by originality and uniqueness. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. These are, for example, Quasimodo in the “Cathedral” Notre Dame of Paris» V. Hugo, The Demon in poem of the same name M. Lermontov, Woland in “The Master and Margarita” by A. Bulgakov.
Characteristic image, is generalizing. It contains common features characters and morals inherent in many people of a certain era and its social spheres (characters of “The Brothers Karamazov” by F. Dostoevsky, plays by A. Ostrovsky).
Typical image represents the highest level of characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements realistic literature XIX century. It is enough to recall Father Goriot and Gobsek Balzac, Anna Sometimes both the socio-historical signs of an era and the universal character traits of a particular hero can be captured in an artistic image.
Image-motive is a steadily recurring theme in the work of any writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “ Beautiful Lady"by A. Blok).
Topos(Greek topos - place, locality) denotes general and typical images created in literature an entire era, nation, and not in the work of an individual author. An example would be the image “ little man"in the works of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term was first found among German romantics in early XIX century, however true life V various fields knowledge was given to him by the work of the Swiss psychologist C. Jung (1875–1961). Jung understood an “archetype” as a universal human image, unconsciously passed on from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, are literally “stuffed” with all of humanity, and archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.
In the generally accepted understanding, an artistic image is a sensory expression of a term that defines reality, the reflection of which is in the form of a specific life phenomenon. An artistic image is born in the imagination of a person involved in art. The sensual expression of any idea is the fruit of hard work, creative fantasies and thinking based only on one’s own life experience. The artist creates a certain image, which is an imprint in his mind of a real object, and embodies everything in paintings, books or films that reflect the creator’s own vision of the idea.
An artistic image can only be born when the author knows how to operate with his impressions, which will form the basis of his work.
The psychological process of sensually expressing an idea consists of imagining the final result of work before the creative process begins. Operating with fictitious images helps, even in the absence of the necessary completeness of knowledge, to realize your dream in the created work.
Artistic image created creative person, characterized by sincerity and reality. Characteristic feature art is skill. It is this that allows you to say something new, and this is only possible through experiences. Creation must go through the feelings of the author and be suffered by him.
The artistic image in each field of art has its own structure. It is determined by the criteria of the spiritual principle expressed in the work, as well as the specifics of the material that is used to create the creation. Thus, the artistic image in music is intonational, in architecture - static, in painting - pictorial, and in literary genre- dynamic. In one it is embodied in the image of a person, in another - in nature, in the third - in an object, in the fourth it appears as a combination of connections between the actions of people and their environment.
The artistic representation of reality lies in the unity of the rational and emotional sides. The ancient Indians believed that art owes its birth to those feelings that a person could not keep within himself. However, not every image can be classified as artistic. Sensual expressions must carry specific aesthetic purposes. They reflect beauty surrounding nature and the animal world, capture the perfection of man and his existence. An artistic image should testify to beauty and affirm the harmony of the world.
The sensual incarnations are a symbol of creativity. Artistic images act as a universal category for understanding life, and also contribute to its comprehension. They have properties that are unique to them. These include:
Typicality arising from a close relationship with life;
Liveliness or organicity;
Holistic orientation;
Understatement.
The building materials of the image are the following: the personality of the artist himself and the realities of the surrounding world. The sensual expression of reality combines the subjective and objective principles. It consists of reality, which is processed by the creative thought of the artist, reflecting his attitude to what is depicted.
