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

Bulletin of Chelyabinsk State University. 2009. No. 35 (173).

Philology. Art history. Vol. 37. pp. 20-26.

E. B. Borisova

AND ‘IMAGATIONALITY’ IN LITERARY STUDIES AND LINGUISTICS

The article examines the content of the concepts 'image' and 'imagery' in various interpretations accepted in Russian literary criticism and linguistics. Various criteria for the interpretation of these terms are given and our own definition of the artistic image is proposed, which is derived taking into account two approaches.

Key words: artistic image, imagery, literary criticism, linguistics, fiction, character image, image of nature and the material world.

It is known that art has its own special, specifically artistic content. It is the result of an expanded creative mastery of the characteristic content of life and appears in the form of an artistically typified or artistically mastered characteristic, that is, such a characteristic in which the artist has creatively mastered the connection of a person’s individual existence with society or with the world as a whole. This artistically mastered characteristic is the basic unit of artistic content. It can appear in a work of art as the integral character of an individual, as a characteristic life-like situation, or as a characteristic mood.

If the basic unit of artistic content is the artistically mastered characteristic of life, then the basic unit artistic form is the image. An image is, first of all, a category of aesthetics that characterizes a special way of mastering and transforming reality, inherent only in art. Image and imagery are key concepts for the language of art and the language of fiction in particular, but there is still no clear definition of these terms. There is often a confusion between the concepts of ‘verbal’, ‘linguistic’, ‘speech’ and ‘artistic image’. It is noteworthy that even the compilers of the linguistic encyclopedia “Linguistics” do not consider the artistic image as a linguistic concept. This indicates that the artistic image, despite numerous studies, is not included in the terminological apparatus of the science of language. We will talk about the content of the concept of ‘image’ in fiction, which clarifies the qualitative originality

of this type of image in comparison with other possible ones, for example, logical, mental, etc.

Image and figurativeness are key concepts of literary language. The complexity of the problem of studying imagery is largely explained by the complexity and ambiguity of this concept, which is the subject of study in various scientific fields. The concepts of ‘image’ and ‘imagery’ are used, in accordance with their specificity, by philosophy, psychology, aesthetics, art criticism, literary criticism, linguistic stylistics, didactics and other sciences.

Particularly characteristic of modern Russian works on literary criticism is the approach to the image as a living and integral organism, most capable of comprehending the complete truth of existence, since it not only exists (as an object) and not only means (as a sign), but is what Means. In comparison with Western science, the concept of ‘image’ in Russian literary criticism is itself more “figurative” and polysemantic. I. F. Volkov comes to the following definition of the image: “An artistic image is a system of concrete sensory means that embodies the actual artistic content, that is, the artistically mastered characteristic of real reality”1. The specificity of the figurative principle in literature is largely predetermined by the fact that imagery in in this case framed in words. A word can mean everything. what is in a person's horizons. With the help of the word, literature masters the intelligible integrity of objects and phenomena. The word is a conventional sign, that is, it does not resemble the object it denotes. Word pictures are unknown

significant, through them the author addresses the reader’s imagination. That is, in literature there is figurativeness (subjectivity), but there is no direct clarity of images. Being insubstantial and lacking clarity, verbal and artistic images at the same time depict a fictional reality and appeal to the reader’s vision. This side of literary works is called verbal plasticity. Verbal works capture subjective reactions to the objective world to a greater extent than the objects themselves as directly visible. There are also “non-plastic” principles of imagery: sphere

psychology and thoughts of narrators, lyrical

ical heroes, characters2.

The image has a duality that allows disparate phenomena to be pulled together into one whole. An image is the intersection of the objective and semantic series, the verbally designated and the implied. In the image, one object is revealed through another, and their mutual transformation occurs. At the same time, the image can both facilitate and complicate the perception of an object, explain the unknown to the known or the known to the unknown. The purpose of an image is to transform a thing, to turn it into something else.

Complex into simple, simple into complex, but in any case to achieve the highest semantic tension between the two poles, to reveal the interpenetration of the most diverse planes of existence.

A deeper understanding of the image in fiction can be obtained by considering a literary work as a kind of structural model, presented in the form of a core surrounded by several shells. The outer shell contains the verbal material from which the work itself consists. The material considered in itself is a kind of text that does not yet have artistic meaning. The structural “shell” of a work becomes artistically significant only when it acquires a symbolic character, that is, it expresses the spiritual information contained in it. The core itself, which includes the theme and idea of ​​the work, that is, what the writer depicts and what he wants to say about what is depicted, has, in contrast to the content of everyday, business, scientific and other texts, a two-sided structure, since art understands life And

simultaneously evaluates it. The need to organically connect the verbal shell with the spiritual core, making it extremely expressive and poetically meaningful, leads to the appearance in the structure of two intermediate shells, usually called the internal and external form. The internal form is a system of images, and the external form is the organization of linguistic fabric, which makes it possible to achieve activation of the sound side of the text, which makes the text a carrier of new, artistic information, located in the subtext of the work.

Thus, subtext plays an important role in creating an image. Subtext is the hidden meaning of a statement, resulting from the relationship of verbal meanings with context. Usually subtext is a means of psychological characterization, but it can also evoke visual images. We can say that subtext is something that is beyond both the literal and figurative meaning of a word.

In an artistic image, real life characteristic no longer appears on its own, not simply as an object of evaluation, but in a creative synthesis with the author’s attitude towards it, that is, as a creatively transformed characteristic and, therefore, as part of a special, second, artistic reality.

It should be noted that in domestic literary criticism from the 20s of the last century to the present day, there are two different approaches to the study of the nature of the artistic image. Some scientists interpret the artistic image in literature as a purely speech phenomenon, as a property of the language of works of art. Others see a more complex phenomenon in the artistic image

A system of concrete sensory details that embody the content of a work of art, and not only details of the external, speech form, but also internal, object-figurative and rhythmically expressive.

So, for example, A.I. Efimov in his article “Figurative speech of a work of art” writes about two types of images. He calls one type literary images, by which he means images of characters in literary works, for example, the image of Tatyana, the image of Onegin.

Another type, from his point of view, consists of speech images, that is

figurative and expressive properties national language: colorful expressions, comparisons, tropes and more. At the same time

A. I. Efimov claims that the actual artistic significance of a literary work is achieved, first of all, thanks to speech imagery3.

However, this researcher does not take into account that speech images in themselves are not a sign of a literary text. In addition, literary text is not always replete with speech images. Speech images, as well as speech in general, acquire artistic significance only when they become a means of embodying the artistic content itself, in particular the characters of the heroes of epic works as a result of the artistic and creative development of the real characteristics of life.

A. I. Efimov’s article aroused fundamental objections from many well-known literary scholars, in particular P. V. Palievsky. According to P.V. Palievsky, the artistic image is not reduced to the figurativeness of language, it is a more complex and more capacious phenomenon, which includes, along with language, other means and performs a special, strictly artistic function. Thus, P. V. Palievsky considers an artistic image as a complex interconnection of details of a concrete sensual form, as a system of figurative details that are in complex mutual reflection, thanks to which something essentially new is created, possessing a colossal content capacity4.

Specifics artistic imagery ultimately determined by the specifics of artistic content. Therefore, the artistic image is often determined, first of all, by the general features of artistic content. For example, in the book by M. B. Khrapchenko “Horizons of the Artistic Image” the following definition is given: “an artistic image is a creative synthesis of universally significant, characteristic properties of life, the spiritual “I” of a person, a generalization of his ideas about what is essential, important in the world, the embodiment of a perfect ideal beauty. In the structure of the image in close unity are the synthetic development of the surrounding world, emotional attitude to the object of creativity, an orientation towards the internal perfection of artistic generalization, its potential impressive power”5.

The creatively mastered characteristic of real reality, which I. F. Volkov writes about, appears in a work of art as something concrete, first of all, as the character of a human individual. The artistic form, in turn, acquires certainty in the fact that the system of concrete sensory forms (speech and imaginary) forms something individual, in this case the image of the hero of an epic work. So, at the center of the literary image is a person in the life process, shown in the complexity and multidimensionality of his relationship to reality.

We find a similar point of view on image and figurativeness in the work of L. I. Timofeev “Fundamentals of the Theory of Literature.” According to the researcher, “an image is a specific and at the same time generalized picture human life created through fiction and having aesthetic significance"6. This scientist draws attention to two essential features of the figurative reflection of life: to the fact that, on the one hand, it contains, as in science, a well-known generalization that establishes characteristic features life phenomena, and, on the other hand, that these phenomena are depicted specifically, preserving their individual characteristics, that is, as we see them in life. The subject of artistic depiction, according to L.I. Timofeev, is a person in all the complexity of his relationships with society and nature. The writer reflects in his work all reality, all the complexity of life's relationships, but shows them in a certain refraction, the way they manifest themselves in a specific human life. The subject of his knowledge is reality, the subject of the image is man in his complex and multifaceted relationship to reality, man as a person.

Portraying a person as a unique personality in all the richness and diversity of his psychological and physical features, speech characteristics, social, everyday, intimate and natural settings, literature depicts him in the entire integrity of the life process that determines the formation and development of his character.

An image is a picture of human life. To reflect life with the help of images means to draw pictures of human life, that is, the actions and experiences of people, their characteristics.

thorny for a given area of ​​life, allowing one to judge it. An image as a picture of human life presupposes the artist’s use of everything that is connected with a person in life, but precisely in the refraction of all this material through human perception and lies the originality of literature.

L.I. Timofeev notes that the concept of image is broader than the concept of character, since it presupposes the image of all things, animals and in general objective world, in which a person is located and outside of which he is unthinkable, but, at the same time, without an image of character, an image cannot arise7.

However, some researchers consider artistic images only as images of characters. For example, V.P. Meshcheryakov notes that “with good reason, only images of human characters can be included in the concept of “artistic image”. In other cases, the use of this term presupposes a certain degree of convention, although its “broad” use is quite acceptable.”8

In our opinion, this understanding of the artistic image is somewhat narrow and does not reflect all the specifics of literature as a form of reflecting life in images.

IN linguistic literature image and figurativeness are considered inextricably from each other and, moreover, these concepts are defined one through the other.

In the “Dictionary of Linguistic Terms” by O. S. Akhmanova we find the concept of “figurative meaning”, i.e. “the meaning of a word that functions as a trope”9, therefore, the linguistic definition of image can be given through the understanding of figurativeness as a linguistic category that interpreted as semantic biplane, that is, the transfer of a name from one object to another.

Speaking about imagery from the point of view of linguistics, we cannot help but turn to such a concept as internal form, which was introduced into linguistic use in the 19th century. The first to talk about the internal form

V. Humboldt. He was interested in the internal form of language, by which he understood a system of concepts reflecting the features of the worldview, fixed by the external form of language. That is, in this case we are talking about the peculiarities of the worldview of a particular nation: the internal form of language as a worldview10.

Developing the theory of W. Humboldt, A. A. Potebnya distinguishes between the external (articulate sound) and internal form of the word (content objectified through sound). A. A. Potebnya writes: “The internal form of a word is the relation of the content of thought to consciousness; it shows how a person’s own thought appears to him. This only can explain why in the same language there can be many words to denote the same object, and vice versa, one word, completely in accordance with the requirements of the language, can denote dissimilar objects.”11

Continuing the research direction of A. A. Potebnya about the internal form of a word, G. O. Vinokur sees the essence artistic word is that “one content, expressed in a special sound form, serves as the form of another content that does not have a special sound expression”12.

Reality is embodied in the word, and the artist (poet, prose writer) performs its secondary transformation. In the context of a literary work, a word can acquire artistic ambiguity that is not recorded in dictionaries. The imagery of artistic speech lies not in the use of speech phenomena in themselves (expressiveness, individualization, tropes, etc.), but in the nature, in the principle of their use. For any verbally stands the person who created it.

Having examined the existing points of view in literary criticism and linguistics on the concept of 'image' and using as a basis the definition proposed by I. F. Volkov, we propose the following general definition of the concept of 'artistic image': “An artistic image is the basic unit of an artistic form, a system of concrete sensory means, embodying a special, strictly artistic content, that is, an artistically mastered characteristic of real reality, which appears in a work of art as something concrete and is created with the help of verbal and artistic compositional techniques.”

Despite the fact that in fiction the concept of “image” is associated primarily with the character of the human individual, we will try to expand the boundaries of this concept.

In this regard, we note that the authors of the Literary Encyclopedic Dictionary delimited and classified artistic images. Since two main components are isolated in the image - objective and semantic, said and implied and their relationship. Thus, the following threefold classification of images is possible: objective, generalized semantic and structural13.

The objectivity of the image is divided into a number of layers, appearing one within the other, like the big through the small. The first includes images-details, the smallest units of aesthetic vision. Images-details themselves can vary in scale: from details, often denoted by one word, to detailed descriptions consisting of many details, for example, landscape, portrait, interior; but at the same time their distinctive property is static, descriptive, fragmentary. From them grows the second figurative layer of the works - the plot, imbued with purposeful action, linking together all the substantive details. It consists of images of external and internal movements: events, actions, moods, aspirations - all dynamic moments unfolding in the time of a work of art. The third layer is the impulses behind the action and determining it - images of characters and circumstances, individual and collective heroes of works, possessing the energy of self-development and revealing themselves in the entire set of plot actions: collisions, various kinds of collisions and conflicts. Finally, from the images of characters and circumstances as a result of their interaction, holistic images of fate and the world are formed; this is being in general, as the artist sees and understands it - and behind this global image there are already non-objective, conceptual layers of the work.

According to their semantic generality, images are divided into individual, characteristic, typical, image-motifs, topoi, and archetypes.

Individual and individualized images are created by the original, often whimsical imagination of the artist and express the measure of his originality and uniqueness.

Characteristic images reveal the patterns of socio-historical life, capture the morals and customs common in a given era and in a given environment.

Typicality is the highest degree of specificity, thanks to which a typical (typical) image, absorbing essential features concrete historical, socially characteristic, at the same time outgrows the boundaries of its era and acquires universal human features, revealing the stable, eternal properties of human nature.

The indicated varieties of images (individual, characteristic, typical) are isolated in the sphere of their existence, that is, they are, as a rule, creative creation one author within one specific work.

The next three varieties (motive, topos, archetype) are generalized not according to the “reflected”, real-historical content, but according to the conditional, culturally developed and fixed form; therefore, they are characterized by the stability of their own use, going beyond the scope of one specific work.

A motif is an image that is repeated in several works of one or many authors and reveals the creative preferences of the writer or the whole artistic direction. Such, for example, are the images-motifs of a snowstorm and wind by A. A. Blok, rain and a garden by B. L. Pasternak.

Topos (“common place”) is an image that is already characteristic of an entire culture of a given period or a given nation. Such are the topoi of “the world as a book”, “the world as a theater” for the European artistic culture of the Middle Ages and the Renaissance, the topoi of the road or winter for Russian literature.

The archetype image contains the most stable and ubiquitous “schemes” or “formulas” of human imagination, manifested both in mythology and in art at all stages of its historical development. Permeating all fiction from its mythological origins to the present, archetypes form a permanent fund of plots and situations, passed on from writer to writer.

According to their structure, that is, the relationship between their two planes, the objective and the semantic, the revealed and the implied, images are divided into autological, “self-significant” ones, in which both planes coincide; metalogical, in which the revealed differs from the implied, as a part from the whole, the material from the spiritual, the greater from the lesser; here from-

all the image-tropes are worn; allegorical and symbolic, in which the implied is not fundamentally different from the revealed, but surpasses it in the degree of its universality and abstraction.

It should be noted that the study of the image was carried out in many other directions, correlating with different traditions and problems aesthetic thought: the connection of the image with myth and ritual (O. M. Freidenberg, A. F. Losev), image and artistic speech (G. O. Vinokur, A. V. Chicherin, V. V. Kozhinov), historical development and national specificity of images (G. D. Gachev, P. V. Palievsky), the image as a special model for mastering reality (M. B. Khrapchenko), the convention and iconicity of the image (Yu. M. Lotman, B. A. Uspensky ), spatio-temporal form of images (M. M. Bakhtin), the image of the author and hero (V. V. Vinogradov, L. Ya. Ginzburg). Particularly characteristic of modern aesthetics is the approach to the image as a living and integral organism, most capable of comprehending the complete truth of existence. In comparison with Western science, the concept of ‘image’ in Russian and Soviet literary criticism is itself more “figurative”, polysemantic, having a less differentiated scope of use.

Images of the objective world constitute a special subject of philological research. As E. R. Kotochigova notes in the article “The Thing in Artistic Representation”, there is no single term to designate these images: they are called “things”, “details of everyday life”, “interior”14. Speaking about the concept of ‘image’, we, to a certain extent, abstract it from the specific fabric of a work of art. It is indisputable that the most insignificant and most random details, things, phenomena in art world are subordinated to the main idea of ​​the work, the image of a person in all his forms. The anthropocentricity of any artistic image is irrefutable. But we should not underestimate the importance of the objective world. The most insignificant and random details, things, phenomena in the artistic world are a way of characterizing a person, an expression of his individuality.

In this regard, A. B. Esin calls the world depicted in a work of art an image, that is, “that picture of reality conditionally similar to the real world,

which the writer draws: people, things, nature, actions, experiences, etc.” This scientist introduces the concept of “the world of things” and identifies such types of images as portraits, landscapes, and the world of things. The author unites all these images with one name - artistic detail. A. B. Esin also writes that these images are of a subordinate nature, since an artistic detail is the smallest pictorial and expressive detail that forms a “block” of a larger image, which in turn flows into an even larger image - holistic image of a person15. So we once again confirm the anthropocentricity of artistic imagery.

So, material concreteness constitutes an integral and very significant facet of artistic subject imagery. Images of things “enter” literary texts in different ways. Most often they are episodic, present in very few episodes of the text, and are often given in passing, as if in between times. But sometimes images of things come to the fore and become the central link of the narrative.

Sharing the opinion about the absolute anthropocentricity of the artistic image, we emphasize that in a work of literary art it is advisable to distinguish both personified and non-personified images, i.e. images of people, animals, nature, images of things (images of the material / objective world), images feelings, verbal and speech images, images-details, etc.

Having examined the content of the concepts of ‘artistic image’ and ‘artistry’, as interpreted by literary scholars and linguists, it becomes clear to us that an image is a specific and at the same time generalized picture of existence, created with the help of verbal means and artistic and compositional techniques, and having aesthetic significance. The main types of image classifications can be considered subject (images-details, external internal images, images of characters and circumstances, individual and collective heroes of works); generalized semantic (individual, characteristic, typical, image-motives, topoi, archetypes) and structural (autological and metalogical).

From the above it follows that by artistic image we will understand

element or part of an artistic whole, i.e. a fragment that has independent life and content and is created by the author through the creative use of the richness of the literary language. At the same time, in an artistic text, linguistic units of all levels (word - phrase - sentence) realize the duality of their nature and appear in a transformed form, being a means of expressing not only the main content (plot), but also meta-content (creating an artistic image and providing an emotional and aesthetic impact per reader).

Notes

1 Volkov, I. F. Theory of Literature. M., 1995. P. 75.

2 Khalizev, V. E. Theory of Literature. M., 2007.

3 Efimov, A. I. Stylistics of artistic speech. M., 1959. P. 93.

4 See: Palievsky, P.V. Literature and theory. M., 1979.

5 Khrapchenko, M. B. Horizons of the artistic image. M., 1982. P. 79.

6 Timofeev, L. I. Fundamentals of the theory of literature. M., 1976. P. 60.

7 Ibid. P. 38.

8 Meshcheryakov, V. P. Dictionary literary characters. M., 2000. P. 18.

9 Akhmanova, O. S. Dictionary of linguistic terms. M., 1996. P. 163.

10 See: Humboldt, V. Language and Philosophy of Culture. M., 1985.

11 Potebnya, A. A. Aesthetics and poetics. M., 1976.S. 114.

12 Vinokur, G. O. Philological studies. M., 1990. P. 390.

13 Literary Encyclopedic Dictionary (LES). M., 1987. pp. 253-254.

14 Kotochigova, E. R. Thing in artistic representation // Introduction to literary studies. M., 1999. P. 45.

15 Esin, A. B. Principles of analysis of a literary work. M., 1998. P. 75.

The story "Mr. from San Francisco".

In the evenings, the floors of Atlantis gaped in the darkness with countless fiery eyes, and a great many servants worked in the cook, scullery and wine cellars. Oksan, who walked outside the walls, was scary, but they didn’t think about him, firmly believing in the power over him of the commander, a red-haired man of monstrous size and bulkiness, always as if sleepy, looking like a huge idol in his uniform with wide golden stripes and very rarely appearing at people from their mysterious chambers; on the forecastle the siren constantly wailed with hellish gloom and shrieked with furious anger, but few of the diners heard the siren - it was drowned out by the sounds of a beautiful string orchestra, exquisitely and tirelessly playing in a two-story hall, festively flooded with lights, crowded with low-cut ladies and men in tailcoats and tuxedos, slender footmen and respectful head waiters, among whom one, the one who took orders only for wine, even walked around with a chain around his neck, like a lord mayor. The tuxedo and starched underwear made the gentleman from San Francisco look very young. Dry, short, awkwardly cut, but tightly sewn, he sat in the golden-pearl radiance of this palace behind a bottle of wine, behind glasses and goblets of the finest glass, behind a curly bouquet of hyacinths. There was something Mongolian about him yellowish face with a trimmed silver mustache, his large teeth glittered with gold fillings, and his strong bald head was made of old ivory. His wife was dressed richly, but according to her years, a large, broad and calm woman; complex, but light and transparent, with innocent frankness - a daughter, tall, thin, with magnificent hair, charmingly styled, with aromatic breath from violet cakes and with the most delicate pink pimples near her lips and between her shoulder blades, slightly powdered... The dinner lasted more than an hour, and after dinner, dancing opened in the ballroom, during which the men - including, of course, the gentleman from San Francisco - with their legs in the air, their faces reddened with Havana, smoked Havana cigars and got drunk on liqueurs in a bar where blacks served red camisoles, with whites that looked like flaky hard-boiled eggs. The ocean roared behind the wall like black mountains, the blizzard whistled strongly in the heavy rigging, the whole steamer trembled, overcoming both it and these mountains, as if with a plow, breaking apart their unsteady masses that now and then boiled and fluttered high with foamy tails - in the siren suffocated by the fog moaned in mortal melancholy, the watchmen on their watchtower were freezing from the cold and went crazy from the unbearable strain of attention, the gloomy and sultry depths of the underworld, its last, ninth circle was like the underwater womb of the steamer - the one where the gigantic furnaces cackled dully, devouring with their hot the mouths of piles of coal, with a roar thrown into them by people drenched in acrid, dirty sweat and naked to the waist, crimson from the flames; and here, in the bar, they carelessly threw their feet up on the arms of the chairs, sipped cognac and liqueurs, swam in waves of spicy smoke, in the dance hall everything shone and shed light, warmth and joy, couples either waltzed or twisted in tango - and music persistently, in sweet, shameless sadness, she kept praying for one thing, all for the same thing...

(I.A. Bunin “Mr. from San Francisco”)

1. 
   What term in literary criticism is used to describe an artistic image that contains a generalized polysemantic meaning (ocean, steamship Atlantis)?
2. 
   Which epic genre does the work of I.A. belong to? Bunin's "Mr. from San Francisco"?
3. 
   What term denotes the means of allegorical expressiveness that the author refers to when describing the giant steamship Atlantis and its passengers: “... the floors... gaped with countless fiery eyes”; “swimmed in waves of spicy smoke”?
4. 
   Describing the appearance of the Atlantis commander, A. Bunin depicts him as “a red-haired man of monstrous size and bulk, always seemingly sleepy, looking like a huge idol in his uniform with wide gold stripes and very rarely appearing in public from his mysterious chambers.” What is this technique of characterizing a hero called in literary criticism?
5. 
   Indicate the term used to describe the depiction of a character’s inner life, an analysis of the character’s personality traits.
6. 
   What technique associated with endowing inanimate objects with the properties of living beings is contained in the following words: “... in mortal anguish the siren suffocated by the fog moaned...”?
7. 
   Indicate the name of the artistic figurative definition (“There was something Mongolian in his yellowish face with trimmed silver his mustache and gold fillings glittered large teeth, old ivory - strong bald head".)

1. 
   What is the author’s attitude towards the gentleman from San Francisco and the Atlantis passengers?
2. 
   Which of the Russian writers of the 20th century addressed the theme of the “well-fed” and how is this theme refracted in the fate of the gentleman from San Francisco?

The story "Clean Monday"

Bunin's heroes are uncompromising in their quest for absolute love. “We were both rich, healthy, young and so good-looking that in restaurants and at concerts people looked at us,” says the hero “ Clean Monday" It would seem that they have everything for absolute happiness. What else do you need? The hero of “Clean Monday” is an “ordinary” person, for all his physical attractiveness and emotional fullness. Not that – a heroine. In her strange actions one can feel the significance of her character, the rarity of her “chosen” nature. Her mind is torn. She is not averse to plunging into the “today’s” life of that elite Moscow, but internally she is alien to all this. She is intensely looking for something whole, heroic, selfless and finds her ideal in serving God. The present seems pitiful and untenable to her. On “Clean Monday” she settled with the “peace” - alluring love and loved ones - and went to the “great tonsure”, to the monastery.
!We complete tasks in the Unified State Exam format!

On the ground floor of Yegorov's tavern in Okhotny Ryad it was full of shaggy, thickly dressed cab drivers cutting up stacks of pancakes, doused in excess with butter and sour cream; it was steamy, like in a bathhouse. In the upper rooms, also very warm, with low ceilings, the Old Testament merchants washed down fiery pancakes with grainy caviar with frozen champagne. We went into the second room, where in the corner, in front of the black board of the icon of the Mother of God of Three Hands, a lamp was burning, we sat down at a long table on a black leather sofa... The fluff on her upper lip was frosted, the amber of her cheeks turned slightly pink, the blackness of the paradise completely merged with pupil,” I could not take my enthusiastic eyes off her face. And she said, taking a handkerchief from her fragrant muff:

Fine! There are wild men below, and here are pancakes with champagne and the Mother of God of Three Hands. Three hands! After all, this is India! You are a gentleman, you cannot understand this whole Moscow the way I do.

I can, I can! - I answered. - And let's order lunch strong!

How do you mean “strong”?

This means strong. How come you don't know? “Gyurgi’s speech...”

How good! Gyurgi!

Yes, Prince Yuri Dolgoruky. “Gyurga’s speech to Svyatoslav, Prince of Seversky: “Come to me, brother, in Moscow” and then arrange a dinner.”

How good. And now only this Rus' remains in some northern monasteries. Yes, even in church hymns. I recently went to the Conception Monastery - you can’t imagine how wonderfully the stichera are sung there! And in Chudovoy it’s even better. I last year I kept going there on Strastnaya. Oh, how good it was! There are puddles everywhere, the air is already soft, my soul is somehow tender, sad, and all the time there is this feeling of the homeland, its antiquity... All the doors in the cathedral are open, all day long ordinary people come and go, all day long the service... Oh, I’ll leave I’m going somewhere to a monastery, to some very remote one, in Vologda, Vyatka!<...>

And I was already absent-mindedly listening to what she said next. And she spoke to quiet light in the eyes:

I love Russian chronicles, I love Russian legends so much that I keep re-reading what I especially like until I know it by heart. “There was a city in the Russian land called Murom, and in it a noble prince ruled autocrat, named Pavel. And the devil introduced a flying serpent to his wife for fornication. And this serpent appeared to her in human nature, extremely beautiful...”

I jokingly made scary eyes:

Oh, what a horror!

She continued without listening:

This is how God tested her. “When the time came for a blessed death, this prince and princess begged God to repose before them on one day. And they agreed to be buried in a single coffin. And they ordered to carve two grave beds in a single stone. And they clothed themselves, at the same time, in monastic robes...”

And again my absent-mindedness gave way to surprise and even anxiety: what’s wrong with her today?

(I.A. Bunin “Clean Monday”)

1. 
   The conflict associated with the relationship between the hero and heroine determines the plot action of “Clean Monday” by I.A. Bunina. Define this conflict.
2. 
   What genre does “Clean Monday” by I.A. belong to? Bunin?
3. 
   Indicate the term that in literary criticism is used to describe the setting of the action, the interior decoration of the premises (“We went into the second room, where in the corner, in front of the black board of the icon of the Mother of God of the Three-Handed, a lamp was burning, we sat down at a long table on a black leather sofa...”).
4. 
   Name artistic medium, based on an image of a person’s appearance, his face, clothes, etc. (“The fluff on her upper lip was frosted, the amber of her cheeks turned slightly pink, the blackness of the paradise completely merged with the pupil...”).
5. 
   Describing the tavern where the heroes arrived, I.A. Bunin uses a figurative expression based on a comparison of two objects, concepts or states that have a common feature (“it was steamy, like in a bathhouse”). What is the name of this artistic technique?
6. 
   Name the form of artistic speech - exchange of remarks between characters, which I.A. uses. Bunin.
7. 
   Describing the heroine’s contradictory feelings, I.A. Bunin contrasts objects and phenomena: “There are wild men below, and here are pancakes with champagne and the Mother of God of Three Hands...”. What is the name of this artistic technique?

1. 
   What is the difference spiritual world hero and heroine and how did she determine their future fate?
2. 
   What are the similarities between “Clean Monday” by I.A. Bunin with other works of Russian classics of the 19th-20th centuries. about love? (When comparing, indicate works and authors.)

Zinaida Nikolaevna Gippius

(1869-1945)

Z.N. Gippius is a poet and prose writer, critic, author of many collections of poems, stories, dramas, and articles. D.S.'s wife Merezhkovsky.

Not accepting the 1917 revolution, she emigrated to France. Born in Belev. She lived in Tula for some time. Living in a foreign land, she was tormented by the memory of Russia: “Lord, let me see! I pray at night. Let me see my Russia again! However, she was not destined to see her or return to Russia. The poetess's work is a characteristic phenomenon of Russian decadence. At the beginning of the twentieth century, she was a recognized authority in literature.

Know!

She will not die - know that!

She will not die, -Russia.

They will sprout - believe me!

Its fields are golden.

And we will not die - believe me!

What do we need our salvation for?

Russia will be saved - know this!

And her Sunday is approaching.

1918

Yaroslav Vasilievich Smelyakov

(1913-1072)

Y.V. Smelyakov is a poet. Fate connected the classic of Russian poetry with the Tula region. After his release from captivity in 1945-1947, Smelyakov, a camp inmate, lived in Novomoskovsk. Worked in a bathhouse. He spoke to the miners. He collaborated with a local newspaper and directed its literary association.

This period of his life was surprisingly fruitful. The following poems were written: “Someone came up with this happily,” “Here I remembered you again, Mom,” “Locomotive Cemetery,” the poem “The Miner’s Lamp,” the play “Friends of Mikhail Yugov.” A memorial plaque was installed on the building of the newspaper editorial office, where the poet worked as an executive secretary. Novomoskovsk residents are proud of the wonderful Russian poet, who was given shelter and work during a difficult period of his life.

We spent the night in schools more than once.

We spent the night in schools more than once,

Weapons placed in our heads,

Among the white walls, tattered and bare,

On hastily swept floors.

And we dreamed that in schools we might dream:

Bird cherry, buzzing of May bees,

The eyes and braids of the first student,

Chalk and ink, globe and football.

We got up right at dawn,

Having taken off our tunics, we washed ourselves by the river.

And they walked forward, calm as children,

All-knowing, like old people.

We walked forward - retribution and retribution,

Left in the classroom near the wall

Pages of Pravda, a crumpled grenade,

The multiplied bloody bandage of a soldier -

Visual aids of war.
Igor Talkov

(1956-1991)
Igor Talkov is a poet, singer, composer. Born on November 4, 1956 in the city of Shchekino Tula region. In 1975, he created the first musical group in his life, and his VIA took over first Shchekino and then Tula dance floors. Talkov becomes a Tula celebrity.

Igor considered himself a patriot because he was not indifferent to what was happening to Russia. Talkov loved Russia and wanted its revival.

On September 6, 1991, in St. Petersburg, in the Yubileiny sports and concert hall, Igor Talkov was killed.

In his work he knew how to combine the incongruous: soft, lyrical songs about love sounded against the backdrop of harsh political, screaming compositions. But this is the essence of his soul. Talkov did not compose on purpose, he wrote only when something deeply worried him.

***

Someday, when evil gets tired

To rape you, barely alive, and on your withered brow

The Lord will shed a tear of rain,

You will straighten your broken figure,

As before, you will feel like a mission

And you will blossom to the envy of all your enemies,

Unhappy Great Russia.
Pavel Adamovich Lagun
P.A. Lagun lives in the city of Donskoy, Tula region. A philologist by training; Graduated from Tula State Pedagogical Institute named after. L.N. Tolstoy. Member of the Union of Writers of Russia. Author of poetry collections “The Winged Horse”, “Loneliness”, “Rotation of the Earth”, “The Philosophical Stone”, as well as prose works, novels “One Millionth Life”, “Procrustean Bed”; stories “Astral Body”, “Debt Pit”, “Division”. Author of a number of articles and publications in the central press.

P. Lagun’s poems were published in the magazines “Young Guard”, “Smena”, almanacs “Istoki”, “Oka”, and the newspaper “Literary Russia”.

Based on the novel “One Millionth Life,” a full-length feature film was shot in Poland in 1995. This novel became the winner of a literary competition announced in 1996 by the Russian Committee of Former Concentration Camp Prisoners.

***

No one will return it back

You love, hope, faith.

No one will ever knock

To your open doors.
Only the wind is a rusty loop

It creaks with an unbearable whistle;

Yes, autumn is a dirty broom

Rakes up piles of yellow leaves.
And like leaves in the wind

Souls are untied particles...

An old friend will not return,

And only the rain knocks on the door.

Vladimir Ivanovich Filatov

(1949-1996)

V. Filatov was born in 1949 in the city of Donskoy. At the age of two, he became seriously ill and stopped walking in the fourth grade. I studied at home.

He began writing poetry at the age of 12 and was fond of reading. historical novels and playing chess, painting on wood, photography. His favorite poets were V. Vysotsky, B. Okudzhava, B. Pasternak, M. Tsvetaeva.

Vladimir felt it more strongly than those around him, and more clearly, because next to him, shackled by illness and disability, everyone felt warm. Everyone needed his supportive words, his remarkable knowledge, his spiritual complicity, his ability to see light and kindness in everything called the world around him.

For everyone, he was that candle that was lit not for light, but for warmth. And like a lit candle, it slowly melted away. V. Filatov passed away on July 17, 1996.

It’s like the wire of the soul has been exposed -

I don't recommend touching it.

It didn’t work out, alas, it didn’t work out

My unforgettable happiness.

They fell apart like cubes at once

All attempts to find and add up.

And fate bares its teeth, “infection”

Doesn't let me either die or live.

It's easier to bear grief alone:

Less moaning, resentment and tears.

So I didn’t sleep last night

And he took the grievances to the dustbin.

It has become easier to meet eyes,

But don't touch the soul - it hurts.

There's only one thing left to do: say goodbye

And pray to Christ for salvation.

The artistic image is one of the most important categories aesthetics, defining the essence of art, its specificity. Art itself is often understood as thinking in images and is contrasted with conceptual thinking, which arose at a later stage of human development. The idea that initially people thought in concrete images (otherwise they simply did not know how) and that abstract thinking arose much later was developed by G. Vico in his book “Foundations of a new science of the general nature of nations” (1725). “Poets,” wrote Vico, “earlier formed poetic (figurative) Ed.) speech, composing frequent ideas... and the peoples that appeared subsequently formed prosaic speech, combining in each individual word, as if in one generic concept, those parts that have already been composed by poetic speech. For example, from the following poetic phrase: “The blood boils in my heart,” peoples made a single word “anger.”

Archaic thinking, or more precisely, figurative reflection and modeling of reality has survived to the present day and is the main one in artistic creativity. And not only in creativity. Imaginative “thinking” forms the basis of the human worldview, in which reality is reflected figuratively and fantastically. In other words, each of us brings a certain amount of his imagination to the picture of the world he presents. It is no coincidence that researchers of depth psychology from S. Freud to E. Fromm so often pointed to the closeness of dreams and works of art.

So, an artistic image is a concrete, sensory form of reproduction and transformation of reality. The image conveys reality and at the same time creates a new fictional world, which we perceive as actually existing. “The image is many-sided and multi-component, including all the moments of organic mutual transformation of the real and the spiritual; through the image, connecting the subjective with the objective, the essential with the possible, the individual with the general, the ideal with the real, the agreement of all these opposing spheres of existence, their comprehensive harmony is developed.”

When talking about artistic images, we mean the images of heroes, characters works and, of course, above all, people. And that's right. However, the concept of “artistic image” often also includes various objects or phenomena depicted in the work. Some scientists protest against such a broad understanding of the artistic image, considering it incorrect to use concepts like “the image of a tree” (foliage in “Farewell to Matera” by V. Rasputin or the oak in “War and Peace” by L. Tolstoy), “the image of the people” (including the same epic novel by Tolstoy). In such cases, it is suggested to talk about a figurative detail, which could be a tree, and about an idea, theme or problem of the people. The situation is even more complicated with images of animals. In some famous works ("Kashtanka" and "White-fronted" by A. Chekhov, "The Canvasser" by L. Tolstoy), the animal appears as a central character, whose psychology and worldview are reproduced in great detail. And yet, there is a fundamental difference between the image of a person and the image of an animal, which does not allow, in particular, to seriously analyze the latter, because in the artistic depiction itself there is deliberateness ( inner world animal is characterized through concepts related to human psychology).

Obviously, with good reason, only images of human characters can be included in the concept of “artistic image”. In other cases, the use of this term implies a certain degree of convention, although its “broad” use is quite acceptable.

For Russian literary studies“particularly characteristic is the approach to the image as a living and integral organism, most capable of comprehending the full truth of existence... In comparison with Western science, the concept of “image” in Russian and Soviet literary criticism is itself more “figurative”, polysemantic, having less differentiated scope of use.<...>The full meaning of the Russian concept of “image” is shown only by a number of Anglo-American terms... – symbol, copy, fiction, figure, icon...".

By the nature of their generality, artistic images can be divided into individual, characteristic, typical, motif images, topoi and archetypes.

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. Such, for example, are Quasimodo in “Notre Dame Cathedral” by V. Hugo, the Demon in the poem of the same name by M. Lermontov, Woland in “The Master and Margarita” by M. Bulgakov.

Characteristic image, unlike the individual, it is generalizing. It contains common features characters and morals inherent in many people of a certain era and its social spheres (characters from “The Brothers Karamazov” by F. Dostoevsky, plays by A. Ostrovsky, “The Forsyte Saga” by J. Galsworthy).

Typical image represents the highest level of characteristic image. Typical is the most probable, so to speak, exemplary for a certain era. The portrayal of typical images was one of the main goals, as well as achievements realistic literature XIX century. Suffice it to recall Father Goriot and Gobsek O. Balzac, Anna Karenina and Platon Karataev L. Tolstoy, Madame Bovary G. Flaubert and others. Sometimes an artistic image can capture both the socio-historical signs of an era and the universal character traits of a particular hero (so-called eternal images) – Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe...

Images-motives And topoi go beyond individual hero images. An image-motive is a steadily recurring theme in the work of a writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “Beautiful Lady” by A. Blok).

Topos(Greek topos– place, locality, letters, meaning – general place) denotes general and typical images created in the literature of an entire era, nation, and not in the work of an individual author. An example is the image of the “little man” in the works of Russian writers - from A. Pushkin and N. Gogol to M. Zoshchenko and A. Platonov.

IN lately in the science of literature the concept is very widely used "archetype"(from Greek arc he– beginning and typos- image). This term was first found among German romantics in early XIX century, but true life in 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. “As a doctor,” Jung wrote, “I had to identify images Greek mythology in the delirium of purebred blacks."

Brilliant (“visionary”, in Jung’s terminology) writers not only carry these images within themselves, like all people, but are also able to reproduce them, and the reproduction is not a simple copy, but is filled with something new, modern content. In this regard, K. Jung compares archetypes with the beds of dry rivers, which are always ready to be filled with new water.

To a large extent, the term widely used in literary criticism is close to the Jungian understanding of the archetype "mythologem"(in English literature - “mytheme”). The latter, like an archetype, includes both mythological images and mythological plots or parts thereof.

Much attention in literary criticism is paid to the problem of the relationship between image and symbol. This problem was posed back in the Middle Ages, in particular by Thomas Aquinas (XIII century). He believed that an artistic image should reflect not so much the visible world as express what cannot be perceived by the senses. Thus understood, the image actually turned into a symbol. In the understanding of Thomas Aquinas, this symbol was intended to express, first of all, the divine essence. Later, among the symbolist poets of the 19th and 20th centuries, symbolic images could also carry earthly content (“the eyes of the poor” by Charles Baudelaire, “yellow windows” by A. Blok). An artistic image does not have to be “dry” and divorced from objective, sensory reality, as Thomas Aquinas proclaimed. Blok’s Stranger is an example of a magnificent symbol and at the same time a full-blooded living image, perfectly integrated into the “objective”, earthly reality.

Philosophers and writers (Vico, Hegel, Belinsky, etc.), who defined art as “thinking in images,” somewhat simplified the essence and functions of the artistic image. A similar simplification is also characteristic of some modern theorists, who at best define the image as a special “iconic” sign (semiotics, partly structuralism). It is obvious that through images they not only think (or primitive people thought, as J. Vico rightly noted), but also feel, not only “reflect” reality, but also create a special aesthetic world, thereby changing and ennobling the real world.

The functions performed by the artistic image are numerous and extremely important. They include aesthetic, cognitive, educational, communicative and other possibilities. Let's limit ourselves to just one example. Sometimes created a brilliant artist a literary image actively influences life itself. So, imitating Goethe's Werther ("Suffering young Werther", 1774), many young people, like the hero of the novel, committed suicide.

The structure of the artistic image is both conservative and changeable. Any artistic image includes both the real impressions of the author and fiction, however, as art develops, the relationship between these components changes. Thus, in the images of literature of the Renaissance, the titanic passions of the heroes come to the fore; in the Enlightenment, the object of the image mainly becomes “natural” man and rationalism; in the realistic literature of the 19th century, writers strive for a comprehensive coverage of reality, discovering the inconsistency of human nature, etc. .d.

If we talk about the historical fate of the image, then there is hardly any reason to separate ancient figurative thinking from modern one. At the same time, for each new era there is a need for a new reading of images created before. “Subject to numerous interpretations that project the image onto the plane of certain facts, trends, ideas, the image continues its work of displaying and transforming reality beyond the boundaries of the text - in the minds and lives of changing generations of readers.”

The artistic image is one of the most multifaceted and complex literary and philosophical categories. And it is not surprising that dedicated to him scientific literature extremely large. The image is studied not only by writers and philosophers, but also by mythologists, anthropologists, linguists, historians and psychologists.

• Literary encyclopedic dictionary. M., 1987. P. 252.
• Literary encyclopedic dictionary. P. 256.
• Literary encyclopedic dictionary. P. 255.

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 a work of art.
An artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of the artist’s feelings, thoughts, aspirations, and aesthetic emotions.
Its main functions: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal the specific features of the image; each of them individually 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.

The most important function of the plot is to reveal life’s contradictions, that is, 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 a 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- main 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”), in realism (“The 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 folklore 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 the school literature curriculum.

POETIC LANGUAGE, artistic speech, is the language of poetic (verse) and prose literary works, a system of means of 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 uniqueness of literature. 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 towards expression (...). Poetry is language in its aesthetic function."
P. I. is closely related, on the one hand, to literary language(see), which is its normative basis, and on the other hand, with the national language, from which it draws a variety of characterological linguistic means, for example. dialectisms when conveying the speech of characters or to create local color depicted. The poetic word grows from the real word and in it, becoming motivated in the text and performing 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 set of the most general principles of the aesthetic development of reality, which is consistently repeated in the work of one or another group of writers who form a direction, movement 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 the depth of creative thinking of “proletarian” writers.

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

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 the artistic method, as well as the emergence of a new artistic method, can be explained not only through historical changes in the subject of art, but also through historical changes in the 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 the framework of one method, since even the external similarity of the works of authors adjoining the same method does 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 the general properties of the figurative reflection of life. In their totality, the methods form literary movements (or directions: romanticism, realism, symbolism, etc.).

The method determines only the direction of the artist’s creative work, and not its individual properties. The artistic method interacts with the creative 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 by the narrow concept of “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. A writer develops his own individual style based on one or another artistic method. We can say that the creative individuality of the writer is a necessary condition further development every artistic method. We can talk about a new artistic method when new individual phenomena created by the creative 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 of 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. Henneken). 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 at the beginning of the twentieth century. Views of M. Marjani, J. Validi, G. Ibragimov, G. Gubaidullin, A. Mukhetdiniya and others. Work of G. Battala “Theory of Literature”.

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

Psychoanalysis

Theoretical foundations of 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 the study of 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, W. 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 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”. Hermeneutic 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 way 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 are 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. Such, for example, are Quasimodo in “Notre Dame Cathedral” by V. Hugo, the Demon in the poem of the same name by M. Lermontov, Woland in “The Master and Margarita” by A. Bulgakov.
The characteristic image is generalizing. It contains common traits of character 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 of realistic literature of the 19th 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- this 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 the literature of an entire era, nation, and not in the work of an individual author. An example is the image of the “little man” in the works of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term was first encountered by German romantics at the beginning of the 19th century, but the works of the Swiss psychologist C. Jung (1875–1961) gave it real life in various fields of knowledge. 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.

Beautiful language, imagery, accuracy, rhythm of prose, the ability to convey the language of different strata of society, the power of imagination, expressive picturesqueness, subtle psychologism - these are just some of the features of his work, rooted in Russian classics. His literary merits were highly appreciated: he was awarded

2 Pushkin Prizes Russian Academy Sciences (1903, 1909)

Bunin was elected honorary academician of the Russian Academy of Sciences in the category of fine literature (1909)

Was awarded the Pushkin Gold Medals (1911, 1915)

Already in exile, Bunin was the first of the Russian writers to receive Nobel Prize (1933)

Bunin wrote about 1200 poems

1900 story “Antonov Apples”

1910 story “Village”

1911 story “Sukhodol”

1916 story "Mr. from San Francisco"

1916 story “Easy Breathing”

article “Cursed days”

novel "The Life of Arsenyev"

book of stories "Dark Alleys"

1944 story “Clean Monday”

1925 story “Sunstroke”

The story "Mr. from San Francisco"(1916)

Walked First world war, there was a crisis of civilization. Bunin addressed current problems, but not directly related to Russia, to current Russian reality. In the spring of 1910, Bunin visited France, Algeria, and Capri. In December 1910-spring 1911 he was in Egypt and Ceylon. In the spring of 1912 he again went to Capri, and in the summer of the following year he visited Trebizond, Constantinople, Bucharest and other European cities. From December 1913 he spent six months in Capri. Impressions from the travels were reflected in the stories and novellas that made up the collections “Sukhodol” (1912), “John the Weeper” (1913), “The Cup of Life” (1915), “The Master from San Francisco” (1916).

The story “The Gentleman from San Francisco” (originally titled “Death on Capri”) continued the tradition of depicting life and death as the most important events that reveal the true value of an individual (“Polikushka”, “The Death of Ivan Ilyich”). (The immediate impetus for the idea was the title of the story by the German writer T. Mann “Death in Venice”. Initially, the story had an epigraph: “Woe to you, Babylon, strong city!”, which Bunin removed only in the last edition of 1951 and which was taken from the Apocalypse) Along with the philosophical line, the story developed social issues related to a critical attitude towards the lack of spirituality of bourgeois society, towards the rise of technical progress to the detriment of internal improvement. Bunin does not accept bourgeois civilization as a whole.

Pathos of the story- in the feeling of the inevitability of the death of this world.

Plot built on a description of an accident that unexpectedly interrupted the established life and plans of the hero, whose name “no one remembered” (He “went to the Old World for two whole years, with his wife and daughter, solely for the sake of entertainment”)

The beginning– disruption of the millionaire’s plans (fog, rain and terrible rolling), his dissatisfaction with the bad weather

Climax– death of the main character

Denouement– the master’s body is sent home.

Heroes ___________________________________________________________________________

1. In the first sentence of which story about his hero is it said “... no one remembered his name either in Naples or Capri...”?

2.Indicate the title of the story, the hero of which, after meeting his first love, asks himself the following questions: “But, my God, what would happen next? What if I hadn't left her? What nonsense? This same Nadezhda is not the owner of the inn, but my wife, the mistress of my St. Petersburg house, the mother of my children?

3.Which epic genre does Bunin’s work “Mr. from San Francisco” belong to?

4.What was the original title of the story “The Mister from San Francisco”?

5.Which work, according to the writer himself, became the direct impetus for the idea of ​​“The Gentleman from San Francisco”?

6. In the latest edition of “The Gentleman from San Francisco,” the author removed the significant epigraph: “Woe to you, Babylon, strong city.” He removed it, perhaps, because these words, referring to the punished city of vice and debauchery Babylon, too clearly expressed his attitude towards what was described. What did Bunin quote?

7.What was the name of the ship on which the hero of “The Gentleman from San Francisco” traveled?

8.Name the main character.

9.What is the symbol of the ship?

10.What is the symbolism of the name of the ship?

11.What is the meaning of the epigraph removed by Bunin?

12.Who watched “from the rocks of Gibraltar, from the stone gates of two worlds, the ship leaving into the night and blizzard”?

13. With whom does Bunin compare the captain of the ship on which the main character travels?

14.What artistic technique does Bunin use when describing the ship: “dining rooms and ballrooms halls her poured out light and joy , buzzed the talk of a smart crowd, smelled fragrant fresh flowers, sang string orchestra"?

15.Name a means of creating the image of the main character, based on a description of his appearance: “Dry, short, poorly cut, but tightly sewn, he sat in a golden-pearl radiance... There was something Mongolian in his yellowish face with a trimmed silver mustache, gold fillings glittering his large teeth, old ivory - a strong bald head..."

16. At the heart of the plot of “The Gentleman from San Francisco”, in addition to the general philosophical meaning, there is also a social aspect: “If you cut the ship vertically, you will see: we are sitting, drinking wine... and the drivers are in the heat, black from coal, working... Is this fair?” What is the model of what in the text is the ship on which the heroes of the work are sailing?

16. Death in “The Mister from San Francisco” is contrasted with life. “I cried while writing the end,” Bunin admitted in his diary. The author cried not out of pity for the main character, but from the feeling of the fullness of existence, which he shared with the mountaineers rejoicing in the sun. Who did the highlanders worship?

17.What term in literary criticism is used to describe an artistic image that contains a generalized polysemantic meaning (ocean, Atlantis steamship)?

18.What is the name of the description of nature in a work of art: “The ocean that walked behind the walls was terrible... The ocean with a roar walked behind the wall like black mountains, the blizzard whistled tightly in the heavy gear... and these mountains, like a plow, breaking apart their unsteady sides, then and the masses were boiling and soaring high with their foamy tails.”

19.What is the name of the compositional technique with which the writer contrasts the elements of nature and the fragility of the human world?

20.What is the name of the artistic technique of animating an inanimate object used by the author: “In the evenings, the floors of Atlantis gaped in the darkness with countless fiery eyes,” “... the gigantic furnaces cackled dully, devouring piles of coal with their red-hot jaws”?

21. What term denotes the means of allegorical expressiveness that the author refers to when describing the giant ship “Atlantis”: “... the floors... gaped with countless fiery eyes”?

22.What term in literary criticism is used to describe an artistic image that contains a generalized polysemantic meaning (the ocean, the steamship Atlantis, the silver mustache and gold fillings of the gentleman from San Francisco)?

23.Indicate the term used to describe the depiction of a character’s inner life, an analysis of the character’s personality traits.

Questions about the work “Clean Monday”

1. The conflict associated with the relationship between the hero and heroine determines the plot action of “Clean Monday”. Define this conflict.

2.What genre does “Clean Monday” belong to?

3. Indicate the term that in literary criticism is used to describe the setting of the action, the interior decoration of the premises (“We went into the second room, where in the corner, in front of the black board of the icon of the Mother of God of the Three-Handed, a lamp was burning, we sat down at a long table on a black leather sofa...”)

4.Name an artistic medium based on the image of a person’s appearance, his face, clothes, etc. (“The fluff on her outer lip was covered in frost, the amber of her cheeks turned slightly pink, the blackness of her face completely merged with her pupil...”)

5. Describing the tavern where the heroes arrived, he uses a figurative expression based on a comparison of two objects, concepts or states that have a common feature (“it was steamy, like in a bathhouse”). What is the name of this artistic technique?

6. Name the form of artistic speech - exchange of remarks between characters - that is used.

7. Describing the heroine’s contradictory feelings, Bunin contrasts objects and phenomena: “There are wild men below, and here are pancakes with champagne and the Mother of God of Three Hands...”. What is the name of this artistic technique?

C1. What is the difference between the spiritual world of the hero and heroine and how did it determine their future fate?

C2.What are the similarities between “Clean Monday” and other works of Russian classics of the 19th and 20th centuries? about love? (When comparing, indicate works and authors)

Like in April at night in the alley

Like in April at night in the alley,

And the smoke is thinner than the upper branches,

And everything is easier, closer and more visible

The pale horizon behind him.

This top is in the constellations, in their patterns,

Smoky, airy and through,

These leaves rustle under your feet,

This sadness is the same as in spring.

Again the day before. And over the years

The heart doesn't count. I'm coming

With young, easy steps -

And again, again I’m waiting for something.

1.What literary movement did Bunin develop in his work?

2.What are they called in literary criticism? artistic definitions: « pale sky", " young, light steps"?

3.Indicate the name of the means of expression: “boughs smoke.”

4. Determine the meter in which the poem is written.

5. Determine the nature of the rhyme in the poem.

A task with a detailed answer of limited scope

What does the fate of the gentleman from San Francisco symbolize and which other writers of the 20th century addressed the theme of “the well-fed”?

Composition

Why is the ship in the story "Mr. from San Francisco" called "Atlantis"?

In which of Bunin's works is naturalness opposed to artificiality?

How is the theme of life and death revealed in prose?

What is the role of female characters in Bunin's stories?

How is the problem of man and civilization solved in the story “The Mister from San Francisco”?

What role do symbolic images play in prose?

What is unique about the composition of the story “Mr. from San Francisco”?