Typology and individual forms of expression of the genre modification of a literary portrait. Term and concept in fine arts

Portrait (from French portrait - image, description of appearance) - an integral part of the structure of the character. A literary portrait is a three-dimensional concept. It includes not only the inner features of the hero, which make up the essence of a person’s character, but also external, complementary, embodying the typical, characteristic and individual. “A good painter must paint two main things: a person and the representation of his soul” - this is how Leonardo da Vinci formulated the task facing the artist. The portrait of the character is one of the important components of the work, organically merged with the composition of the text and the idea of the author.

Each artist has his own way of creating words. character image part of his poetics. There are also objective methods of portrait characteristics. The development of portrait art is closely connected with the change and evolution of literary and artistic styles. So, a portrait in sentimentalism is distinguished by a certain picturesqueness, it reflects the sensual world of the hero. In romantic aesthetics, a bright detail dominates, emphasizing one or another feature of character, revealing the infernal or sacred essence of the soul. The picturesqueness of the portrait description is achieved due to the abundance of colorful means and metaphors.

The emphasis on any one detail is characteristic of any type of portrait (sentimentalist, romantic, realistic, impressionistic). For example, a portrait of Silvio from A. S. Pushkin's story "The Shot": "Gloomy pallor, sparkling eyes and thick smoke coming out of his mouth, gave him the appearance of a real devil." Or the description of the revolutionary Shustova in L. N. Tolstoy's novel "Resurrection": "... low fat girl in a striped cotton blouse and with curly blond hair fringing her round and very pale, mother-like face. It is the use of epithets defined for aesthetics that gives these portraits a different romantic or realistic intonation. In both portraits, one detail is named - “pallor”. But in the guise of Silvio, this is the “pallor” of a fatal hero, while in Leo Tolstoy it is the painful pallor of a heroine who languishes in a gloomy prison. The clarification - "a very pale, mother-like face" (although the reader has never seen and will never see a portrait of this girl's mother in the text of the novel) - enhances the reader's compassion for the revolutionary.

Detailed portrait. Artists of the word give a detailed description of the hero's appearance: height, hair, face, eyes, as well as some characteristic individual features designed for visual perception.

A detailed portrait usually covers all aspects of the hero's appearance, down to his costume, movements, and gestures. Such a portrait is given, as a rule, at the first presentation of the character and is accompanied by the author's commentary, and in the process of plot development, additional strokes are superimposed on it.

This type of portrait is especially common in the novels of I. S. Turgenev. The reader immediately gets an idea of the writer's favorite characters. Particularly vivid details abound in portrait characteristics female images in the novel Rudin. Sometimes I. S. Turgenev deliberately intrigues the reader and presents the portrait of the heroine gradually or in a variety of guises.

In the story “Asya”, the author describes in detail the figure, gestures, but does not show those details of the portrait that would make it possible to guess the character of the heroine: her eyes were hidden by a large straw hat, so the reader cannot yet get a complete picture of the girl. Then Asya is portrayed either as a playful child dressed as a young man, or as an innocent peasant woman, or as a secular young lady. For a long time it remains a mystery both for Mr. K and for the reader.

F. M. Dostoevsky in the novel "Crime and Punishment", before introducing the main character, first gives a description of his miserable closet. This detailed outline of the dwelling precedes the portrait of Raskolnikov and creates a certain mood for a holistic perception of the image.

An important detail is the introduction of the very description of appearance: "By the way, he was remarkably good-looking, with beautiful dark eyes, dark Russian, taller than average, thin and slender." In the epilogue, when Raskolnikov finds hope, his "beautiful dark eyes" are illuminated by light, "deep thoughtfulness" no longer darkens the young man's face.

Psychological picture. In this portrait description, not so much external signs are important, so much psychological features. The social details of the image-character are also noted here. The authors use various artistic techniques to reveal the inner world of the hero.

A. S. Pushkin, representing the main character in the novel "Eugene Onegin", does not give detailed description Onegin’s appearance and the environment that shaped him, as was customary in a classic Western novel, and only jokingly remarks at the end of Chapter VII: “I sing a young friend and his many whims ...” The poet begins the novel with “the thoughts of a young rake”, and this is already an important psychological characteristic of the image and reveals the meaning of the epigraph to the entire novel, where the main properties of nature suffering from the “Russian melancholy” were named.

Many researchers have noted that Andrei Bolkonsky in Leo Tolstoy's novel "War and Peace" is an artistic continuation of the image of Eugene Onegin. A skeptical attitude towards the world is characteristic of both heroes. However, it is important for Tolstoy to show not only the inner world of the hero, but also the society that Bolkonsky despises.

Everything in his figure, from the tired, bored look to the quiet measured step, represented the sharpest contrast with his little lively wife. He, apparently, was not only familiar with everyone in the living room, but was already so tired that it was very boring for him to look at them and listen to them ... "

L. N. Tolstoy very carefully selected details to characterize the characters. He considered it necessary to note both the psychological and social characteristics of the hero's character. This is evidenced by the preparatory work of the writer. L. N. Tolstoy wrote “questionnaires” for each character under the following headings: “property, social, love, poetic, mental, family”. For example, the image of Nikolai Rostov:

“Property. Luxuriously lives according to his father, but prudent.

Public. Tact, gaiety, everlasting courtesy, little by little of all the talents.

Poetic. Everyone understands and feels little by little.

mental. Limited, speaks well. Passionate about fashion.

Love. He loves no one hard, a little intrigue, a little friendship ... "

The writer sought to convey the characters of people in their versatility, development and movement. This is what achieves the amazing plasticity and relief of Tolstoy's images.

In the portrait characteristics of L. N. Tolstoy one can always feel author's attitude to the hero. No matter how much the writer calls Vera Rostova beautiful and no matter how much he describes the correct features of her face, the reader still does not believe in her beauty, because she was cold, prudent and alien to the "Rostov breed", the world of Natasha and Nikolenka.

In the novel "Resurrection" L. N. Tolstoy replaces individually characteristic pictorial details, when they refer to a character belonging to high society, with negative details associated with the hero's belonging to a certain class, such a hero often does not even have a name. In the first version of the work, a detailed portrait of the juror merchant is given: "...long-haired, gray-haired, curly-haired, with very small eyes." In the final version of the text, the portrait of the merchant is stripped of everything individualized, leaving only one socially defining feature: "A tall, fat merchant."

I. S. Turgenev uses the principle of "secret psychology" in creating a portrait. The writer hides his attitude towards the characters. He can have both positive and negative characters equally beautiful.

However, with a purposeful selection of vocabulary, Turgenev makes the reader feel the falsity of the nature of Panshin or Varvara Pavlovna from the novel " Noble Nest". Lavretsky's wife “was calm and self-confidently affectionate, so that everyone in her presence immediately felt at home; moreover, from her whole captivating body, from her smiling eyes, from her innocently sloping shoulders and pale pink hands, from her light and at the same time, as it were, tired gait, from the very sound of her voice, slow, sweet, - elusive, like a delicate smell, insinuating charm, soft, yet bashful, negligence ... ".

Important role in a psychological portrait, a substantive detail and various literary reminiscences are performed. A vivid example of a detailed psychological portrait is the description of Pechorin's appearance.

M. Yu. Lermontov gives several descriptions of his appearance, as if gradually revealing the phenomenon of the “hero of the century”. In the chapter "Bel" Maxim Maksimych only notices the strangeness of this amazing person, the author is already setting the reader up to perceive Pechorin's exclusivity. In the chapter "Maxim Maksimych" a detailed psychological portrait of the protagonist is presented, and "the habits of a decent person", and "an aristocratic hand", "secrecy of character" are noted.

The comparison of Pechorin with a Balzac coquette becomes especially significant. This reminiscence spoke volumes to Lermontov's contemporaries. In O. Balzac's story "The Thirty-Year-Old Woman" and in his even more famous "Theory of Gait", the psychological motivation is given for the manner of behaving, to please people, to hide contempt for them. With this comparison, M. Yu. Lermontov included in the portrait a whole range of psychological details that make it possible to explain the inner world of the hero.

Satirical and ironic portrait. In satirical portraiture, psychological detail and poetic metaphor play an important role. Facilities artistic expressiveness based on the techniques of the comic. The strength of ridicule and denunciation depends on the degree of discrepancy between the appearance and essence of the phenomenon, between the form and content of the image, deed and character. In various artistic aesthetics, the comic technique is used in portraiture.

Pushkin creates a type of parodic portrait in the novel "Eugene Onegin" when he introduces Olga to the reader: "Eyes, like the sky, blue, // Smile, linen curls, // Movement, voice, light body, // Everything in Olga ... but any novel // Take it and find it right // Her portrait...”

It seems strange to Onegin that Lensky is in love with Olga: "...I would choose another if I were like you, a poet..." : // She is round, red in the face, // Like this stupid moon // In this stupid sky.

An ironic combination of details is found in the portrait of Lensky. It is especially important that in one of the published texts of "Eugene Onegin" there was a clarification "with the soul of a Goettingen philistine", and not, as we now read, "with a straight Goettingen soul ...". Specifying the peculiarity of the burgher nature of the hero, the author prepares the reader for the fact that the poet "an ordinary fate awaited". His romantic enthusiasm is just a tribute to fashion.

M. E. Saltykov-Shchedrin creates a gallery of satirical portraits in his “Provincial Essays”. The author often uses the technique of "effective phraseology", based on special shades of intonation.

In the chapter "Porfiry Petrovich", in addition to bright details, an important role is played by rhetorical figures that introduce satirical tones into the image: “He is not tall, but meanwhile his every body movement sprinkles with unbearable grandeur ...

What a pity that Porfiry Petrovich did not grow tall: he would have been an excellent governor! Nor can it be said that there was much grace in his whole posture; on the contrary, the whole of it is somehow complicated by a ridge; but how much calmness in this pose! How much dignity in this look, fading from an excess of greatness!

Satirical portraits of M. E. Saltykov-Shchedrin are created with the help of the grotesque, hyperbolization and fantasy. Often one detail is generalized, and the metonymic image reaches the level of typification. The use of diminutive forms of vocabulary allows you to convey the author's irony.

A.P. Chekhov uses the expressive detail of the portrait, which can replace the description of appearance. So, in the story "Thick and thin" there are no portrait characteristics. A.P. Chekhov focuses on smells.

The thin one smelled of "ham and coffee grounds" and the "thick" smelled of "sherry and orange blossom." The title of this story is literary reminiscence, allowing the reader to immediately recall Gogol's detailed description of officials in one of the lyrical digressions " dead souls”, where satirical generalizing portraits of “thick” and “thin” are presented.

With the help of taste associations, A.P. Chekhov also represents female nature in the story “A Woman from the Point of View of a Drunkard”: “A woman is an intoxicating product that has not yet guessed to impose an excise tax ... A woman under 16 years old is distilled water. .. From 20 to 23 - Tokay. From 23 to 26 - champagne. 28 - cognac with liqueur. From 32 to 35 - beer from the Vienna factory. From 40 to 100 - fusel oil ... "

A wide variety of portrait characteristics can be observed in epic texts. The authors of epic works use portraits-descriptions, portraits-comparisons, portraits-impressions, portraits-metaphors. Other means of artistic expression in the transfer of the appearance of the hero are used in lyrics and drama. In lyrical genres, the portrait is found in ballads, poems, epigrams, songs, parodies, as well as in “personal” lyrics.

Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005

TYPOLOGY OF THE PORTRAIT IN ARTISTIC DISCOURSE

O.A. Maletina

The typologies of portraits are numerous and varied, but the classifications of the artistic portrait are the most versatile. For example, they are classified according to such features as the method of creation, shape, structure, etc. The classification of portraits can be based on compositional and stylistic techniques for creating a portrait: an abstract portrait, a picturesque portrait, a plastic and architectural portrait, a passport portrait, a portrait with a predominant a feature, or portrait-leitmotif, a comic portrait, and also a portrait of a changing expression, where a change of expression means a connection between the physical and the mental, that is, changes in complexion, in the shape and brilliance of the eyes entail changes in mood, in facial expression 1.

G.S. Syritsa in her study offers a detailed situational classification of portrait descriptions: portrait-perception, portrait-self-perception, portrait-recollection, portrait-self-remembering, portrait-recognition. A portrait can be a generalized description of individual portrait features or reflect the “current” state, when permanent features are highlighted by one side or another in a certain situation 2.

Based on the amount of transmitted information, A.N. Bespalov identifies the following types of portraits 3:

1) portrait stroke;

2) evaluation portrait;

3) situational portrait (minimum amount of information);

4) descriptive portrait (the amount of information exceeds the minimum number of previous types and tends to grow); This type of portrait is divided into fragmentary and full portrait.

A stroke portrait includes brief portrait characteristics of a character, consisting of one or two of his attributes. This kind

portrait is used when describing secondary and episodic characters. The evaluative portrait contains the author's evaluations, strongly colored by modality. The core of portrait structures of this type are such qualifying features as “best”, “worst”, “kind”, “beautiful”, their periphery is formed by fragments of other portrait types. The situational portrait includes those signs that become characteristic of the character in different situations. A detailed descriptive portrait is characterized by displaying a larger number of individual signs of a situation. language means. Fragmentary portraits are small portrait sketches containing two or three features of a character. A fragmentary portrait is a truncated version of a detailed one.

ON THE. Rodionova distinguishes the following types of artistic portrait 4:

1) portrait-representation (or portrait-acquaintance);

2) portrait-assessment (or portrait-perception);

3) portrait-situation.

The purpose of the portrait-representation is to introduce the reader to the character [a detailed and exhaustive portrait is given at the beginning of the text (in the story), chapter (in the novel and story)]. If the perception of the character does not matter for the portrait-representation, then in the portrait-assessment, on the contrary, the sensations of the observer, in the role of which the narrator or another character acts, are semantically significant (the lexical sign of such a portrait is the presence of predicates with the meaning of visual, auditory, that is, in general sensory perception). The purpose of the portrait-situation is associated with the reflection of the appearance of the hero, which is mentioned in some episode, that is, such a portrait is due to a specific situation.

It should be noted that A.N. Bespalov and N.A. Rodionov define a portrait-evaluation or an evaluative portrait in different ways, but as regards the portrait-situation, their opinions coincide. ON THE. Rodionova considers these types of portrait from the point of view of their syntactic implementation in a literary text. We consider it inappropriate to single out a portrait-situation, since in some cases a portrait-perception and a portrait-representation can be considered as a portrait-situation.

Of particular interest to us is the structural-semantic classification of K.L. Sizova, built on thematic and structural foundations. K.L. Sizova believes that the portrait description itself includes such elements that characterize the appearance of the character, such as the characteristics of the hero’s clothes, the characteristics of the shape of the facial features [the shape of the nose: straight, upturned, the shape of the eyes (eyes, eyes), mouth, chin, cheeks], the color characteristic of the hero’s appearance , characterization of gestures and demeanor, characterization of facial expressions (look and manner of smiling) and phonic characterization (characteristic of the character's voice).

K.L. Sizova offers a classification of portraits on thematic and structural grounds:

1) thematic typology (toilet-centric portrait, color-centric portrait, subject-centric portrait, zoocentric portrait, floro-centric portrait, aroma-centric portrait, music-centric portrait);

2) structural typology (dotted-line portrait, field portrait and three-dimensional portrait)5.

After analyzing the above classifications, we come to the conclusion that they do not reflect all types of existing portrait characteristics. Our material has shown that in previous studies of the portrait, there is no such type of portrait that contains a description of the characteristic features, skills and abilities of the character. For example, O.A. Nechaeva considers in her study a description-characteristic and identifies two types of its features: some of them are associated with biographical data, others denote character traits 6. Therefore, it seems to be purposeful

appropriate to supplement the classification of K.L. Sizovaya and, along with such types of portraits as toilet-centric, color-centric, subject-centric zoocentric, flora-centric, highlight a character-centric portrait containing information about the character, abilities and skills of the character. Due to the fact that previously the character-centric portrait was not described and carefully studied, we will consider it in more detail.

As part of the character-centric portrait of a character, the following components can be distinguished: psychological characteristics and social characteristics.

In the description of psychological characteristics, the mental abilities, moral qualities and personal characteristics of the character are revealed. Mental abilities characterize the individual characteristics of a person, which are subjective conditions for the successful implementation of a certain kind of activity. Moral qualities include the characteristics of moral traits that receive a moral assessment in society. Personal characteristics are individual characteristics that characterize a person.

The description of social characteristics reflects the social status, age, education and profession of the character. The social position characterizes the character in terms of what step or niche he occupies on the social ladder of society. Age is a stage of human development, characterized by specific patterns of formation of the body and personality, and is also a biological stage of maturation of the body, due to genetic determinants. Education is the process and result of the assimilation of systematized knowledge, skills and abilities. A profession is a kind of labor activity of a person who owns a complex of special knowledge and practical skills acquired as a result of training and work experience.

There is a relationship between the appearance of the character and his character, that is, the character's character is a projection of the external image of the hero. Plays an important role psychological characteristic lead-

CONFIGURATION

general features of the character's appearance: expression of the eyes, smile, gait, manner of speaking. Behind the description appearance character always has such a goal as revealing the inner world of the hero, his character. The portrait includes not only the transfer of the external, but also the transfer of the internal expression of the properties, essence, soul of a person, and not just the image of his appearance. The portrait involves the disclosure of the human personality, that is, character 7.

The analyzed material allows us to distinguish two types of the analyzed type of portrait:

Character-centric portrait, manifested in the appearance of the characters;

A character-centric portrait that is not reflected in the appearance of the characters.

The first type of character-centric portrait is used when describing the main characters, and the second type is used when creating descriptions. secondary characters. Consider the first type of character-centric portrait with examples: 1) And so, too with the stout and large Mrs. Wilson, who stood beside him while he was attempting to rise to the importance of Clyde. She merely beamed a fatty beam. She was almost ponderous, and pink, with a tendency to a double chin. She smiled and smiled, largely because she was naturally genial and on her good behavior here...8; 2) Her eyes were round

and blue and intelligent - her lips and nose and ears and hands so small and pleasing 9; She was as he decided on sight, more intelligent and pleasing...10

In the first example, the good nature of the heroine is outwardly manifested in fullness, a full person is always a kind and good person, not capable of causing harm. In the second example, the characterization of the mental abilities of the heroine is given, and this trait finds its external manifestation in the description of the eyes. The character-centric portrait of George Newton undoubtedly belongs to the second kind of this type of portrait: George Newton, as every one could see and feel, was a pleasant if not very emotional or romantic person who took his various small plans in regard to himself and his future as of the utmost importance 11. No description of Mr. Newton's physical appearance is given in the pages of the novel, as the author probably wants the addressee to know exactly; but seeks to inform the reader primarily about the most significant features the nature of this character. So, in this article, we substantiated the legitimacy of highlighting a character-centric portrait, examined the types of this type of portrait and its components. Thus, it turns out that, in general, the portrait of any character has the following structure (see figure).

Appearance Costume Character

subject-centric

zoocentric

toilet-centric

Character-centric _______ portrait_______

Color-centric ______portrait_____

Psychological

peculiarities

Aromacentric ______portrait_____

Social

characteristics

Florocentric

Mental abilities Social status

Moral qualities Age

Personal

quality

Education

Profession

Character portrait structure

O.A. Maletina. Typology of the portrait in artistic discourse

NOTES

1 Beletsky A.I. Selected works on the theory of literature. M., 1964.

2 Syritsa G.S. The language of the portrait in the novels of L.N. Tolstoy "War and Peace" and "Resurrection": Dis. ... cand. philol. Sciences. M., 1986. S. 34.

3 Bespalov A.N. The structure of portrait descriptions in the artistic text of the Middle English period: Dis. ... cand. philol. Sciences. M., 2001. S. 106-120.

4 Rodionova N.A. Types of portrait characteristics in I.A. Bunina: Linguistic and stylistic aspect: Dis. ... cand. philol. Sciences. Samara, 1999. S. 45-47.

5 Sizova K.L. Typology of the hero's portrait: based on the material of I.S. Turgenev: Dis. ... cand. philol. Sciences. Voronezh, 1995. S. 31-152.

6 Nechaeva O.A. Functional-semantic types of speech (description, narration, reasoning). Ulan-Ude, 1974, p. 75.

7 Andronnikova M.I. From the prototype to the image (to the problem of the portrait in literature and cinema). M., 1974. S. 4.

8 Dreiser Th. An American Tragedy. Moscow, 1949. Vol. 1. P 214.

9 Ibid. S. 256.

10 Ibid. S. 255.

Portrait(French portrait, from Old French portraire; Italian ritratto; there is, including in the Russian tradition, a term for P. - parsuna - from Latin persona - "personality; person", which is usually used for those types and types of portrait and in those epochs of the development of fine arts, when all its formal and figurative features) - an individualized image (fine art) or description (literature) of a group of people (group P.) or an individual (individual P.).

P. - one of the leading genres of the Renaissance fine arts and literature, the purpose of which is a detailed and thorough or idealized and generalized interpretation of the visual features of the model. P. are found in painting, graphics, engraving, miniature, sculpture, as well as in the literature of the era of V. At the heart of portrait genre there is always a memorial beginning, which can have a different interpretation and purpose. But in all cases, the main task of Renaissance P. is to perpetuate the appearance of a particular person and, in part, to glorify and glorify him.

The problem of similarity in the Renaissance portrait

One of the main problems of P.'s art, including Renaissance art, is the problem of the similarity between the image and the hero himself portrayed (character, model, original). Therefore, the most important criterion for portraiture is the identity of the formal artistic image, created by the artist, with the original itself. The similarity in the art of P. appears not only as a consequence of the correct transfer of the external appearance of the model, but also as the result of an adequate disclosure of its spiritual essence, character, individual traits personality. The artist equally reveals the individuality of the model and points to its role and place in the social structure of society and the historical era. And here both typical and ideal, and its specific, individual features are equally important. No less important for painting in the epoch of Renaissance will be the problem of the customer, where the latter, along with the artist, exerts a certain, and often very significant, influence on the formation and features of the artistic image.

In the Renaissance, P. in the first place can depict a real-life contemporary, and he is created with the help of natural impressions. P. can also show a certain, as a rule, historical character (historical P.) who ever existed in reality, observing his specific portrait features, recreated on the basis of the personal memoirs of the master or the opinions and assessments of his contemporaries. And also on the basis of auxiliary (literary, memorial, visual, documentary, etc.) material. P. of a historical character can be created and only thanks to the imagination of the artist, and then fictitious physiognomic features are realized in him (imaginary P.). A vivid example of historical or imaginary P. will, as a rule, be monumental and decorative ensembles dedicated to the cycles “uomini famosi” or “uomini illustri”.

The painting of the epoch of V. is distinguished not only by a consistent desire for a reliable (“realistic” in the Renaissance sense of this term) depiction of the external appearance of the model, but also by the desire to show its inner world, the meaning and dignity of the human person. P. is recreated artistic means an image of human individuality, and not a literal copy of the human face (figure), which are also found in the Renaissance ("portrait mask"). Renaissance P. - one of the means artistic characteristics individual personality of the era, repetition in plastic forms, lines and colors of a living face, showing through the composition, color scheme, details and attributes, through the character of the main character's attire and interpretation of the space surrounding him (landscape, architectural view, interior), the place of the depicted personality in the World and Society, the artist's attitude towards it and the surrounding social environment.

Elements of the composition of the portrait

Diverse details and attributes play a huge role in creating a portrait image. It is they who refine, develop and enrich the portrait characteristics of the model, making it more convex and visual. They help to understand, often quite complex and multifaceted, the individuality of the portrait image, to take into account the requirements of the time and the will of the customer, to fully characterize the personality of the model. These details and attributes include V. surrounding a person the world of things and particular features of the compositional construction of the portrait image, enhancing its unique individuality. Among them, relying on the abundant pictorial material of the Renaissance P., we note the following significant details and attributes: a window, a mirror, a portrait or portrait miniature depicted on the wall or in the hands of a character, details of architecture (column), sculptures or monuments of classical antiquity introduced into the artistic space P., border in the foreground, draperies, knightly vestments, items of military equipment, items of religious worship, items that speak of the social status of the model, coats of arms, heraldic signs, initials, inscriptions, letters, notes, books, notes, animals, flowers and plants, jewels, minerals, scattered coins, watches, vanitas paraphernalia, etc.

Principles of interpretation of the portrait image

In Renaissance painting, the objective depiction of a character is invariably accompanied by the artist’s own and personal attitude to the model, which reflects the worldview, aesthetic views of the artist himself and his era, which inevitably gives the portrait image not only recognizable signs of the time, but also subjective authorial coloring. Renaissance portraiture is necessarily an ideological and figurative interpretation of the personality through the depiction of the hero’s appearance and the formal structure of the work of art itself, which seemed extremely important for the anthropomorphic and individualistic conceptual world and culture of the Renaissance era. to the most open and "realistic" interpretation of the model, carefully conveying all the details and nuances of its appearance and environment. At the same time, especially at certain stages in the development of the art of V. (High Renaissance), Renaissance P. is distinguished by an idealized approach in depicting the main character. But in all cases, the artist was certainly faced with the task of reflecting the essence of the personality of the person being portrayed, showing it individual character and understand its nature.

Portrait typology

In the epoch of V., a diverse typology of P. takes shape, which depends on its purpose and utilitarian function, the features of the formal-figurative solution, and the nature (material) of execution. Therefore, in the Renaissance P., the following types and types can be distinguished. First of all, this is a division into monumental P.: sculptural monuments, including equestrian monuments with their emphasized classicism of figurative structure ( Donatello, Verrocchio, Leonardo da Vinci, Giambologna), P. in tombstones, which has its own typological feature ( Arnolfo di Cambio, Tino da Camaino, Jacopo della Quercia, Bernardo Rossellino, Antonio Rossellino, Antonio Pollaiolo, Pietro Lombardo, Guglielmo della Porta, Giovanni Montorsoli, Pierre Bontan, Germaine Pilon, Leone Leoni, Pompeo Leoni), P. in monumental painting- fresco, where you can highlight the so-called "hidden portraits" ( Francesco del Cossa, Filippino Lippi, Domenico Ghirlandaio, Rafael), mosaic. And the second large group of Renaissance painting is easel painting: paintings, as well as reliefs and busts, where the classicized component of Renaissance painting is most clearly seen ( Mino da Fiesole, Antonio Rossellino, Francesco Laurana, Domenico Gagini, Verrocchio, Benvenuto Cellini), graphic sheets, often conveying the immediate and impulsive appearance of the model ( Albrecht Dürer, Hans Holbein the Younger, French pencil portrait of the 16th century), engravings ( Albrecht Dürer), portrait miniatures with their exquisite delicacy of portraiture (Nicholas Hilliard). One should also highlight such a type of sculptural P. as P. on medals ( Pisanello, Guarino da Verona, Sperandio, Vittore Gambello) and coins ( medal art), full, despite the size of the monuments, of genuine greatness and heroism in the interpretation of the depicted character, P. on gems (glyptics).

In turn, monumental and easel painting can be donor painting ( Masaccio, Jan van Eyck, Hans Memling), front ( Piero della Francesca, Bronzino, Giorgio Vasari, Titian, Alonso Sanchez Coelho), mounted ( Titian), heroic ( Andrea del Castagno), chamber, intimate, characteristic, caricature (P. jesters and dwarfs); historical ( Andrea del Castagno), imaginary, mythological ( Bronzino), theatrical, family ( Titian, Lorenzo Lotto, Hans Holbein the Younger, Franz Pourbus the Elder), children's (Girolamo Bedoli, Bronzino, Titian, Hans Holbein the Younger, Jan Gossaert); P. in full growth ( Titian, Parmigianino, Lucas Cranach the Elder, Hans Holbein the Younger), generational ( Giulio Romano, Pontormo, Bronzino, Titian, Lorenzo Lotto, Giovanni Battista Moroni, Lucas Cranach the Elder, Hans Holbein the Younger, Franz Floris), belt ( Leonardo da Vinci, Andrea del Sarto), chest ( Antonello da Messina, Giovanni Bellini, Giorgione, Jan van Eyck, Master of Flemal, Rogier van der Weyden, Hans Memling, Hans Holbein the Younger, Jean Fouquet, Francois Clouet); profile ( Pisanello, Piero della Francesca, Fra Filippo Lippi, Botticelli, Piero Pollaiolo, Leonardo da Vinci), three-quarter ( Antonello da Messina, Botticelli, Giovanni Bellini, Giorgione, Titian, Jan van Eyck, Master of Flemal, Rogier van der Weyden, Albrecht Dürer, Lucas Cranach the Elder, Jean Fouquet), en face (full face) ( Botticelli, Bronzino, Hans Holbein the Younger), from different points of view ( Lorenzo Lotto), sitting ( Rafael, Bronzino), standing ( Titian, Hans Holbein the Younger) and so on. According to the number of characters depicted on one P., and according to the number of portrait images included in one portrait ensemble, P. is divided into individual ( Sandro Botticelli, Domenico Ghirlandaio, Leonardo da Vinci, Raphael, Bronzino, Giorgione, Titian, Tintoretto, Jan van Eyck, Rogier van der Weyden, Petrus Christus, Hans Memling, Albrecht Dürer, Lucas Cranach the Elder), double ( Piero della Francesca, Hans Memling), double ( Jan van Eyck Frankfurt master), and group, not only in easel, but also in monumental painting ( Francesco del Cossa, Andrea Mantegna, Melozzo da Forli, Domenico Ghirlandaio, Raphael, Giorgio Vasari, Francesco Salviati, Titian, Dirk Jacobs). A specific type of portraiture, very characteristic of the Renaissance era, which is distinguished by the emergence of the artist’s self-consciousness, is a self-portrait, which can exist both independently ( Lorenzo Ghiberti, Leonardo da Vinci, Raphael, Titian, Tintoretto, Parmigianino, Francesco Salviati, Albrecht Dürer), and enter the group P. ( Sandro Botticelli, Raphael).

Stages of portrait development

The boundaries of the Renaissance portrait genre do not have a clear fixation and are very mobile, and often painting itself can be combined in one work with elements of other genres - religious, historical, mythological, landscape, still life, everyday genre.

The individual features of the Renaissance P. were partly outlined already in the art of the Proto-Renaissance ( Giotto, Simone Martini). But firmly in all the variety of types, forms, images, local art schools and national specifics, they established themselves in the 15th century. Now happening final formation independent P., which is undergoing a characteristic evolution from profile to three-quarter, which significantly enriches the possibilities of creating a more developed portrait characteristic. The latter is distinguished by the glorification of the image, a bright and strong individuality in the interpretation of the model, the passion of nature and strength of character - the paired profile of P. Federico II da Montefeltro and his wife Battista Sforza of the work Piero della Francesca(c. 1465; Uffizi, Florence); three-quarter chest P. cardinal Ludovico Trevisan work Andrea Mantegna(1459 - 1460; State Museums of the Prussian Cultural Heritage, Berlin); the so-called P. "Condottiere" work Antonello da Messina(1475; Louvre, Paris). Additional examples can be found in the monuments of monumental and easel painting ( Masaccio, Pisanello, Andrea del Castagno, Domenico Veneziano, Domenico Ghirlandaio, Sandro Botticelli, Piero della Francesca, Pinturicchio, Andrea Mantegna, Antonello da Messina, Gentile and Giovanni Bellini), in statuary plastic ( Donatello and Verrocchio), V sculptural portraits (Antonio Rossellino, Desiderio da Settignano, Mino da Fiesole, Francesco Laurana, Benedetto da Maiano), V medal art(Pisanello).

Renaissance anthropocentrism, a synthetic approach to the interpretation of the model, the ideal characteristics of the model, the creation of a world of images full of peace, harmony and clarity come through especially brightly in the portrait work of the High Renaissance masters. Here, in the first place, portrait art should be mentioned. Leonardo da Vinci, Raphael, partly Andrea del Sarto, Giorgione, early Titian. These masters further deepen the content of portrait images, making them extremely complex, deep, and multifaceted. The characters of their P. have a balanced and balanced view of the world, they are distinguished by faith in the power of the intellect, a sense of personal freedom and dignity, they are in spiritual harmony with themselves and the world around them - P. Baldassare Castiglione works Raphael(1514 - 1515; Louvre, Paris). At this time, there was a complication and renewal of the means of artistic expression, which also affected portraiture, which helped to enrich the figurative possibilities of Renaissance painting - this is the famous sfumato Leonardo da Vinci and coloristic searches, still very harmonious and major, in Titian.

A special stage in the development of the Renaissance portrait is associated with the era Late Renaissance and with Mannerism ( late Titian, Paolo Veronese, Tintoretto, Lorenzo Lotto, Savoldo, Alessandro Moretto, Moroni, Parmigianino, Andrea del Sarto, Sebastiano del Piombo, Pontormo, Bronzino, El Greco). The political situation is changing, ideas about the World and Society, the view of the role and place of man in the World. The self-consciousness of the artist also becomes different, which affects the abundance of surprisingly fascinating in its content, passionate, but also extremely sad in essence, autobiographical prose ( Pontormo, Benvenuto Cellini) and on the interest in the pictorial self-portrait ( Michelangelo, Titian, Tintoretto, Parmigianino, Francesco Salviati). Hamlet's expression "the connection of times has broken up" fully reflects that tragic, full of drama and passion perception of the world and the human person, characteristic of this time and immeasurably far from clarity and harmony, with all the conventionality of these definitions, the previous Renaissance attitude to the World, Man and transparent the power of portraiture.

Full text of the dissertation abstract on the topic "Typology and Poetics of the Portrait in Russian Lyric Poetry"

As a manuscript

Kolosova Svetlana Nikolaevna

TYPOLOGY AND POETICS OF THE PORTRAIT IN RUSSIAN LYRICAL POETRY

Specialty 10.01.01 - Russian literature

dissertations for competition degree the doctors philological sciences

Moscow, 2012

The work was done at the Department of Russian Classical Literature and Slavic Studies Literary Institute them. A.M. Gorky

Scientific consultant:

MINERALOV Yuri Ivanovich

Official opponents:

Dvoryashin Yuri Alexandrovich,

Doctor of Philology, Professor, Honored Worker of Science of the Russian Federation

Dolzhenko Ludmila Vasilievna,

Doctor of Philology, Professor

Zavgorodnyaya Galina Yurievna,

Doctor of Philology, Associate Professor

Lead organization:

Yeletsky State University them. I.A. Bunin

The defense will take place on April 25, 2012 at 15:00 at a meeting of the Dissertation Council D 212.109.01 in Philology at the Literary Institute. A.M. Gorky at the address: 123104, Moscow, Tverskoy Boulevard, 25.

The dissertation can be found in the library of the Literary Institute. A.M. Gorky.

Scientific Secretary of the Dissertation Council

Candidate of Philology, Professor ¿^^/¿^^¿_^M!Yu:Stoyanovskiy

GENERAL DESCRIPTION OF WORK

The portrait as a cultural phenomenon and aesthetic object reveals itself initially in the fine arts. A priori, a portrait is understood as the transfer of a person’s appearance “on to the canvas”. As B.V. Shaposhnikov wrote, “we call a portrait an image of a certain person, when only he is the only topic paintings" 1. The artist, creating a portrait, seeks to portray, capture an individual person, his inner world, thoughts and feelings at a certain moment, which especially struck the creator, and refract his own attitude to the subject of the image. It is no coincidence that a pictorial portrait is said to be “the product of a lyrical attitude to the world”2.

A portrait in literature is one of the components of the so-called "text canvas" - a concept no less common and relevant. By "portrait in literature" is meant the characterization of the hero, his description, the verbal reproduction of the depicted character, and the very phenomenon of the portrait is often correlated precisely with the components of descriptions in prose work. The image of a person's appearance, which is the basis of any portrait, manifests itself in different ways in various types of art (fine arts, literature, music, photography, etc.). In each of the art forms, the portrait will have its own form of presentation. For literature, the most relevant concepts are: "literary portrait", "portrait in prose" and "portrait in lyrics". All these phenomena are associated with the depiction of a person in a literary work of art and basically have a relationship with a pictorial portrait, however, the concepts have fundamental differences, and the degree and properties of kinship with painting also differ.

By "literary portrait" is traditionally understood:

1. "The depiction of human appearance"3 in a literary work in general, i.e. artistic technique, and then this concept coincides with the concept that is given in literary reference books as a "portrait in literature." In the book by A.I. Beletsky “Selected Works on the Theory of Literature”, in the chapter “Depiction of the Appearance of Faces”, written by M.O. Gabel, the question of what kind of portraits are in works of art is considered. different eras and directions. The author singles out, in particular, a portrait of passport signs, an abstract portrait, a portrait of a transitional style, a picturesque portrait, a portrait with a changing expression, plastic, architectural portraits. Note that in this work, the portrait is considered solely as a device and demarcation

1 Shaposhnikov B.V. Portrait and its original.// Art of the portrait. Sat. articles ed. A.G. Gabrichevsky. Moscow, 1928, p.78.

2 Tarabukin N.M. Portrait as a problem of style.// Art of a portrait. Decree. ed. S. 173.

3 Gabel M.O. Image of the appearance of persons. / / AI Beletsky Selected works on the theory of literature. - M., 1964. P. 149.

the concepts of "portrait in lyrics" and "portrait in prose" do not exist, although examples of portraits in lyrics are given.

2. "Literary portrait" is a literary genre, close to the memoir, which is characterized by documentary, the desire for accurate, reliable reproduction of the chosen object, which is superimposed by the author's personal perception. “First of all, this is a story about the character and fate of a certain person, the interest in which forms the content of the new genre. Documentary and biographical material, which is the basis of a literary portrait as a genre, required from the author and special methods of his artistic processing. The process of creating the image of a hero in a literary portrait, on the one hand, is "limited" by the facts of the biography of a particular person, but on the other hand, the law of the genre does not constrain the author in choosing the forms of the author's commentary, explaining the nature of the hero of the story"1. Barakhov B.C.2, Trykov V.P.3, Urtmintseva M.G. convincingly wrote about the genre of literary portrait.

The "portrait in prose" is often defined as an artistic device used as a means of creating the image of a hero4. The most accurate definition of a portrait, characteristic of a prose work, is given in the monograph by L.N. Dmitrievskaya “Landscape and portrait: the problem of defining and literary analysis(landscape and portrait in the work of Z.N. Gippius))”. The author writes: “A portrait in a literary work is one of the means of creating the image of a hero, with a reflection of his personality, inner essence, soul through the image (portrait) of the external appearance, which is a special form of comprehension of reality and feature individual style of the writer. However, the above definition is quite fair for a portrait in a prose work, but it does not take into account all the features of a portrait in lyrics.

A.GGabrichevsky in the article “Portrait as a Problem of Image” wrote: “The problem of the portrait becomes a problem of style, the presence or absence of a portrait, its character, choice and interpretation of the model turn out to be a consequence or, at best, an expression of one or another worldview”6. The philosophy of the pictorial portrait most harmoniously reveals the philosophy of the portrait in lyrics, because, unlike prose, where the portrait often acts as a tool, as one of the means of creating the image of a hero, in

1 Urtmintseva M.G. Talking painting (Essays on the history of a literary portrait). -Nizhny Novgorod. 2000. P.11.

2 Barakhov B.C. Literary portrait. Origins, poetics, genre. - L., 1985. Trykov V.P. French literary portrait XIX century. - M. 1999.

Portrait in fiction. Interuniversity collection of scientific papers. - Syktyvkar, 1987; Kashina N.V. Man in the work of F.M. Dostoevsky. - M., 1989; Monograph. - M.,

2005; Wu Chunmei Portrait in stories and short stories by LN Andreev. - M., 2006, etc.

Dmitrievskaya L.N. Landscape and portrait: the problem of definition and literary analysis

^ landscape and portrait in the work of Z.N. Gippius)). Monograph. - M., 2005. P. 90. Gabrichevsky A.G. Portrait as a problem of the image.//The art of the portrait. Spec.ed.

In lyrical poetry, a portrait (as in painting) is both the subject and the purpose of the image, and at the same time an expression of the author's worldview. Therefore, when defining a portrait in lyrics, it is necessary to take into account the definition of a pictorial portrait. “A portrait is first of all an image, but not of any object, but of a person<...>not images of a person in general, but an individual one, or better - a single one, but not only an individual one, but one who is in a calm state, i.e. not involved in the action." So, fundamental for a portrait canvas is 1) the image of a hero; 2) his appearance is the only subject of the painting; 3) the means by which the artist operates reflect his vision and attitude towards the hero. When a portrait is created in lyric poetry, the artistic content of the work is focused exclusively on the description of the hero (albeit fragmentary), and through this description the individual author's style is expressed, which, according to P.N. .N.Sakulin).

Of course, over time (and by the end of the 19th century in particular) literary process the portrait in lyrics (and not only in lyrics) is gaining more and more importance, greater semantic load and philosophical content. This is largely due to the fact that the word is gaining more and more associative breadth, "the word is art"3, according to A.A. Potebnya. In this regard, the portrait gradually becomes a kind of visual analogue of the word. A lyrical portrait is not only an image of an object, an image, but, first of all, a reflection of the complex mental processes of the poet himself.

The portrait is the most interesting phenomenon in art, connecting the inner essence and the outer embodiment, the resemblance to the original and the author's vision of the object. "<...>portrait by its nature is the most philosophical genre of painting. It is basically based on a comparison of what a person is and what a person should be>>\ A number of works are devoted to the study of the concept of a portrait, in particular: M. Alpatova “Essays on the history of a portrait”5, Yu.M. Lotman “ Portrait” 6, N. Dmitrieva “Image and Word” 7, B. Galanova “The Art of the Portrait”, “Painting with Words. Human. Scenery. Thing"8, L.S. Singer "Essays on the theory and history of the portrait"9, V. Friche

1 Zhinkin N.I. Portrait Forms.// The Art of the Portrait. Decree. ed. pp. 12-13.

3 Potebnya A.A. Theoretical poetics. - SPb., 2003. P.38.

4 Ibid. P.510.

5 Alpatov M. Essays on the history of the portrait. - M.-JL, 1937.

6 Lotman Yu.M. Portrait.// Lotman Yu.M. About art. - M., 1998. S.500-518.

7 Dmitrieva N. Image and word. - M., 1962.

8 Galanov B. The Art of the Portrait. - M., 1967; Galanov B. Painting with a word. Human. Scenery. Thing. - M., 1972.

9 Singer L.S. Essays on the theory and history of the portrait. - M., 1989.

“Sociology of Art”1, etc. Today, there are enough works on the portrait in prose works in which the role of the portrait is empirically determined2.

One of the expressive studies in the field of lyrical portrait is the work of Bashkeeva V.V. "Russian verbal portrait: Lyrics and prose of the late XVIII - first half of XIX century." The author considers a portrait in the poetry of G.R. Derzhavin, K.N. Batyushkov, V.A. Zhukovsky, a portrait in prose by N.M. . Note that V.V. Bashkeeva sets herself the task of considering “the originality of portrait forms in their historical development in Russian poetry (lyricism) and prose of the period of the formation of the proper literary verbal portrait in the 1780s-1830s”3, however, the author does not give a theoretical justification for the concept of a portrait in lyrics, its functional differences. The corresponding typology is not presented either.

The portrait in poetic creativity is a capacious and multifunctional phenomenon, its functioning in the text goes far beyond the artistic device. It is not just a means of creating a character (as in a prose work), compositional technique or even a genre, it is often the creation of an image of the idea of a work4, a reflection of the author's understanding of the world as a whole.

In dictionaries and reference books, the concept of “portrait in a lyrical work” is not indicated, only in the Literary Encyclopedia of Terms and Concepts, ed. A.N. Nikolyukin mentions that “in lyrics and especially in drama, verbal portrayal is more or less difficult and limited”5. However, the portrait in the lyrics is not without attention in modern science. On the contrary, there are enough separate articles, analytical materials, affecting this problem, which testifies to the undoubted interest in it both in theoretical and historical

1 Friche V. Sociology of art. - M.-L., State Publishing House. 1930, 205s.

Abelyasheva G.E. Problems of the poetics of the portrait: (Based on the novel by M. Yu. Lermontov "A Hero of Our Time"), - Simferopol, 1997; Portrait in fiction. Interuniversity collection of scientific papers. Syktyvkar, 1987 and others.

Bashkeeva V.V. Russian verbal portrait: Lyrics and prose of the late 18th - first half of the 19th century. Dr. diss. - M., 2000. S.22-23.

Mineralov Yu.I. Theory of artistic literature. Poetics and individuality. M., 1997. S.208.

5 Literary encyclopedia of terms and concepts, ed. A.N. Nikolyukin. M., 2001 C 762.

Vasiliev S.A. Portrait in the post-October lyrics of V. Khlebnikov // Philological traditions and modern literary and linguistic education. Issue 3: In 2 v. V.1. - M., 2004. S. 152-158; Vasiliev S.A. Picturesque images of V.M.Vasnetsov in the lyrics of A.A.Blok// Synthesis in Russian and world artistic culture. Materials of the Fourth scientific and practical conference dedicated to the memory of A.F. Losev. - M., 2004. S. 46-50; Secrier A.E. Sketch, sketch, study as dynamic phenomena individual style of Igor Severyanin. // Synthesis in Russian and world artistic culture. Materials of the Third scientific-practical conference dedicated to the memory of A.F. Losev. - M „2005 and others.

literary attitude. In the presence of fragmentary, episodic approaches to the phenomenon presented in the title of the dissertation, the need has matured for a study in which both theoretical and historical-literary features of the named phenomenon in Russian poetry would be determined. The relevance of the study is determined by the need to identify the typological features of the lyrical portrait, as well as the urgent requirement of the modern history of literature to determine the specifics of the complex of artistic techniques and forms of creating a portrait in the history of Russian lyrics.

The object of this study is mainly the style of poetic works, indicative from the point of view of studying the artistic phenomenon chosen for historical and literary comprehension - I.A. Bunin, V.Ya. Bryusov, M.A. Voloshin, N.S. other poets of the turn of the 19th - 20th centuries, considered in the context of the Russian poetic tradition that has developed in the work of A. Slushkin, E.A. Baratynsky, M.Yu. Lermontov, A.A. Grigoriev, A.N. Apukhtin, A.A. .Fet, F.I. Tyutcheva; Also, individual poetic works by V.V. Mayakovsky, M.I. Tsvetaeva, A. ALkhmatova, SL. is the focus of the author's attention. We do not consider satirical poetry, since it is correlated with special "comic" and satirical forms of fine art, and therefore is a topic for a separate work.

The subject of the study is the techniques, methods of creation, the functioning of portrait images in lyrical poetry, as well as the role of the portrait in the formation artistic world the poet as a whole.

The purpose of the work is to define, characterize and differentiate such a significant, multifaceted phenomenon in Russian lyrics as a portrait. Accordingly, the objectives of the study are determined by the goal and are as follows:

> reveal and theoretically substantiate the concept of “portrait in lyrics”, which is not indicated in literary reference books and dictionaries as a special phenomenon that has significant differences from terms that are similar in name (“literary portrait” and “portrait in prose”);

> show the fundamental differences between the devoid of a detailed description, often fragmentary (but retaining the integrity of the portrait image in fragments) metonymic "portrait in lyrics" and epicly expanded, repeatedly "scattered" in the text, often with author's commentary, apolitical "portrait in prose";

> to determine the functional manifestations of a portrait in a poetic text, which has more analogies with the art of painting, a more detailed field of interaction with the general content aspect of the work than

a portrait in prose, and also allows in a "condensed" form to present the author's philosophical picture of the world;

> to substantiate the rationale behind the consistent appeal to the portrait in Russian literature, especially at the end of the 19th century, when a rigorous study of the microcosm of Man and his place in the overall picture of the universe leads to the development of new portrait forms, including in poetry, and therefore the significance of this phenomenon for culture that time increases significantly;

> characterize the main means of creating a portrait in a lyrical work, the range of which is significantly expanded compared to a portrait in prose, which is due to the general design features of poetic works, which make it possible to contain the descriptive texture of a portrait in a folded form, while maintaining the necessary dynamics;

> based on analysis literary texts of the period under study (since it was during this era that the portrait in lyrics became most widespread and became a landmark phenomenon of the era) to identify, systematize and substantiate the typology of the portrait in lyric poetry;

> show the features of portrait "painting" in individual style Russian poets.

Methodology. The study used comparative-comparative, comparative-historical, cultural-historical, structural-typological, historical-functional methods. The methodological basis of the work was the works of F.I. Buslaev, A.A. Potebnya, A. FLosev, P.N. The methods of analysis and approaches to the study of the text developed by A. Alotebney, V. V. Vinogradov, A. N. Veselovsky, V. M. Zhirmunsky, Yu. M. Lotman and others were used. and the work as the main semantic center that forms the content of the artistic image and the corresponding associative links that allow revealing the content of the work as a multidimensional system.

The doctrine of A. FLOSEV about the dialectic of art form ("art form<...>there is a person as a symbol or a trunk as a person" (italics by A.F. Losev)) was the basis for considering the concept of "portrait", in which the problem of the relationship between form and content was refracted: the appearance of a person (hero) is a reflection of the deep content of not only the image of the hero , but the works and worldview of the author as a whole. Therefore, one of the main concepts in the dissertation was the concept of individual style, developed in the works of A.F. Losev, P.N. Sakulin, P. Nikolaev, Yu. I. Mineralov. So, P.N. Sakulin believed that “every great style is a formal expression of a certain worldview”1, and

1 Sakulin P.N. Philology and cultural studies. - M., 1990. P. 141.

A.F. Losev called style “the true face of a work of art”1.

The development of the typology of portraits in lyrics was based on the works of M. M. Bakhtin about the author and the hero, Yu. M. Lotman about the portrait. In the study of analogies in fine arts, painting (icon painting) and lyrical poetry, the works of M.V. Alpatov, F.I. Buslaev, B. Galanov, N. Dmitrieva, M.O. Gabel, N.M. Tarabukin, E. Trubetskoy and etc.

Provisions for defense:

4. In the lyrics of the first third of the 20th century, which adopted the tradition of romantic poets of the second half of the 19th century, A.A. Fet, F.I. Tyutchev, as well as philosophy contemporary time of fine arts, in particular, impressionistic painting, aimed at conveying movement in the space of the picture, the portrait of the hero becomes the embodiment of the emerging and transforming author's impression of the hero, his inner world and interaction with him.

1 Losev A.F. The dialectic of art form. -M., 2010. S.207.

literature (in prose, poetry and even drama) at the turn of the 19th-20th centuries becomes a landmark phenomenon of the era, one of its main features.

6. Based on the teachings of M.M. Bakhtin on the relationship between the author and the hero, a portrait of the hero of the work is distinguished (if the hero is objectified, "removed" from the author in accordance with the plan) and a portrait of the lyrical hero, or a self-portrait, if the lyrical hero and the author are as close as possible .

7. In accordance with the nature of the manifestation of the lyrical "I" of the author, three main groups of portraits can be distinguished: 1) a portrait of the hero of a lyrical work, expressing the lyrical "I" of the author; 2) a portrait of the hero-addressee in a lyrical work; 3) self-portrait.

8. In a lyrical work as a small art form the descriptive series is often elliptical, leaving the reader's attention to the most significant details(faces, figures, costumes, details accompanying the hero, etc.), which are taught by the author in such a way that both a portrait image appears and the author's position is revealed. The detail in the lyrics to a greater extent loses the function of descriptiveness, becomes more metaphorical, often represents a “folded” 1 plot, which, opening up, fills the portrait of the hero, often supplemented by a sound component.

The philosophy of the portrait is directly related to the expression of personality through a particular image. The portrait as a cultural phenomenon has manifested itself in various fields of art. In literature, in particular, in prose, the portrait has become almost obligatory, although an optional or peripheral component in its purpose. In lyrics, a portrait image is not so necessary. However, in the case when it becomes the subject of the poet's attention, its role significantly exceeds its performance in the prose text, since the portrait in this case not only turns out to be a content center that organizes lyrical plot, but visualizes the metaphorically expressed idea of this text and the author's picture of the world as a whole. The portrait in lyrics has a much greater degree of generalization than in prose, in which the plot and a much more branched system of images play an essential role in expressing the artistic content. The detailed descriptive texture of the portrait, characteristic of prose, is elliptical in the lyrical work due to its small volume, while maintaining a holistic view of the depicted object. The ways of expressing portrait integrity and completeness in poetry are very diverse (from color dynamics to sound painting and rhythmic drawing), and the complex of these means allows one to form a single idea of the poet's individual style, manner and nature of his "painting". In lyric poetry, the phenomenon of the portrait is gradually becoming a subject, not just more in demand

1 See for more details: Mineralov Yu.I. Theory of artistic literature. Poetics and style - M., 1997. S. 217-248.

in the practice of artists of the word, but reveals the global nature of this phenomenon in the literary process as a whole.

Thus, the novelty of the dissertation is determined by the fact that it contains

1) the concept of “portrait in lyrics”, which is not specifically declared in modern science, is designated and disclosed, which in form, meaning and purpose differs significantly from the concept of “portrait in prose”;

2) collected, systematized and theoretically substantiated historical and literary material related to the study of the portrait in a lyrical work;

3) on the basis of a comprehensive, comparative, cultural and historical analysis of works of art, the specifics of a lyrical portrait are revealed;

4) its typology has been developed, and 5) the refraction of this phenomenon in the work of a number of poets has been demonstrated.

The practical significance of the work lies in the fact that its results can be used and are already being used in reading university basic courses history of Russian literature, elective courses, electives, dedicated to history and theory of style, as well as in covering issues related to the development of problems of genres of poetry, the image of the hero and the lyrical hero.

Approbation. The research materials have been tested for a number of years at lectures, special courses and electives on the history of Russian literature at the Department of Philological Education of the Moscow Institute open education. The main provisions of the dissertation were reported at interuniversity scientific, scientific and practical conferences, at All-Russian conferences in Moscow, Stavropol, Arzamas, Yelets, Nizhny Novgorod, Yaroslavl, in particular: "World literature for children and about children" (1996-2000, 2003, Moscow State Pedagogical University), “Problems of the evolution of Russian literature of the 20th century. Third Sheshukov Readings” (1998, Moscow State Pedagogical University), “IX Purishev Readings. World Literature in the Context of Culture" (1998, Moscow State Pedagogical University), "Synthesis in World Artistic Culture" (2002-2010, Moscow State Pedagogical University), "Humanities and Orthodox Culture (Easter Readings)" (20032009, Moscow State Pedagogical University), "Philological Traditions and Modern Literary and Linguistic Education” (2005, Moscow State Pedagogical Institute) and others. On the topic of the dissertation, 2 monographs, 41 articles were published, including in publications recommended by the Higher Attestation Commission of the Russian Federation - 8.

Work structure. The thesis consists of an introduction, four chapters, a conclusion, a bibliography and an appendix. The total volume is 385 pages. The bibliography includes 311 titles.

The first chapter "Portrait as a Phenomenon of Culture and Literature" examines the main manifestations of the portrait as an image of the external and internal world of a person, his place in

in a literary work of art, functional differences between a portrait in prose and a portrait in lyrics are revealed, related to the degree of manifestation of the epic principle in such works, and the problem of dynamics in a lyrical portrait is also considered.

The portrait is a unique phenomenon. In the obvious image of a person, many connections are read: the artist and the subject chosen by him, the external embodiment of the image and the internal state of the hero, his character, the artist’s feelings for the hero and his feelings, individual characteristics the style of the artist and the originality of the era, the reflection in the hero of the individual features and traits that make up the portrait of the era, etc. The very inner form of the word "portrait"1 indicates that the creation of a portrait is a process of accumulation of qualities that create not just an object, but a certain impression about it and the artist who created it. The process of “reading” a portrait forces the researcher to move simultaneously in several directions: to study the era when the portrait was created, the artist’s attitude, his manner of painting, as well as the depicted object as a kind of system that not only reflected both the era and the artist’s vision of this era, and his own views on the relationship between man and the world in general, but which itself is a spiritualized embodied life. Yu.M. Lotman wrote: “<... Моделирование живописца и встречное истолкование его произведения зрителем создают исключительно многофакторное смысловое пространство, в котором реализуется жизнь портрета»2.

Acquaintance with any person begins with his appearance, in which an attentive viewer reads his character, feelings, and even fate. Any spiritual movement, be it a feeling, an attitude, a state, finds expression outside, and only a true artist can see this process of transformation and convey it. One of the most important tasks of art is the study of a person, his inner world, his actions, his ability or inability to experience and show feelings, to strive or not to strive to comprehend the higher law of being. F. W. Schelling argued that the true art of the portrait is “to focus in

1 “The term “portrait” itself in its direct meaning is borrowed from a form of art close to literature - painting. In Old French, there was an expression pour-trait, which meant the image of the original trait pour trait - “hell to hell”. The roots of the word go back to the Latin verb "protrahere", which means "to extract the nuruzhu", "to discover". Later, the meaning of the word expanded and another meaning appeared - “depict”, “portrait”. Since ancient times, one of the most important problems has been defined in the art of painting - the problem of creating the image of a person ”// M.G.Urtmintseva. Talking Painting (Essays on the History of a Literary Portrait). Nizhny Novgorod. 2000. P.4.; see also: Bashkeeva V.V. Russian verbal portrait: Lyrics and prose of the late 18th - first half of the 19th century. Dr. diss. - M., 2000. S.12-14; Avdronnikova M.I. Portrait. From rock paintings to sound film. - M., 1980. S. 397 and others.

2 Lotman Yu.M. Portrait.// Lotman Yu.M. About art. - M., 1998. S.515.

one moment, the idea of a person, scattered over individual movements and moments of life ”(emphasis added by me - S.K.)

The portrait, as a phenomenon that conveys the appearance of a person, penetrates into various types of art (painting, sculpture, literature, music, etc.). one of the main tasks of any artist is the study of the nature of man, his cosmos, the dynamics of his feelings, his relationship with the world, revealed through an external incarnation. It is no coincidence that M.YuLotman wrote about “the nature of the artistic polyphony of the portrait”2, and L.S.

A portrait penetrates into literature from the moment when it becomes necessary to create an image of a person. Already in ancient Russian literature there are many examples of portraits of characters4. The problems of the portrait become more obvious in the last quarter of the 18th - the first third of the 19th century - in the "epoch of transition from the traditionalist artistic paradigm to the individual author's"5. Significantly, the functions of the portrait are expanded and deepened in realistic works. “A portrait in literature becomes one of the ways to create a character, a means of revealing his individual psychological characteristics.”6

At the turn of the 19th-20th centuries, the role of the portrait in literature (in prose, poetry, and even drama) increased significantly. This is due to a number of reasons. The trend towards the active development of the portrait in literature in this period is due to the peculiarities of the cultural era, in particular, the phenomenon of the synthesis of arts, when the introduction of forms of non-verbal art forms into literature was especially important. Vyach. Ivanov declared: “If a poet, I can paint with a word<...>paint in such a way that the listener's imagination reproduces what I have depicted with a clear clarity of what I have seen, and the things I have named appear to his soul as tangibly convex and vitally colorful, shaded or illuminated, moving or frozen, in accordance with the nature of their visual phenomenon.

The apocalyptic sentiments that characterize the culture of that time largely influenced the ideas about man. Mankind, experiencing the eve of a global catastrophe, begins to treat the individual as a special self-valuable world, the Nietzsche idea of

1 Schelling F.V. Philosophy of art. - SPb., 1996. P.252.

2 Lotman Yu.M. Portrait.// Lotman Yu.M. About art. - M., 1998. S.504.

3 Zinger L.S. Essays on the theory and history of the portrait. M., 1989. P.22.

4 See for more details: Likhachev D.S. Man in the Literature of Ancient Rus'. - M., 1970; Curd O.V. From the history of a verbal portrait in Russian literature of the 16th century / / Cultural Heritage of Ancient Russia. - M „ 1976. P. 123-127.

5 Bashkeeva V.V. Russian verbal portrait: Lyrics and prose of the late 18th - first half of the 19th century. Dr. diss. -M., 2000. P.12.

6 For more on the history of the portrait in literature, see Urtmintseva M.G. Talking Painting (Essays on the History of a Literary Portrait). Nizhny Novgorod. 2000. P.3-19.

7 Ivanov Vyach..I. native and universal. - M., 1994. P. 191.

superman, the desire for new art, which creates a human creator, led to an increased interest in portraiture as a visual expression of the most complex cosmic processes occurring in a person and in his relationship with the world.

In addition, the era of the beginning of the 20th century can be characterized as a period of great experiment on the word, image, its external and internal form, which acquired new features. There is not only an active interaction of various types of art, but also the interpenetration of prose, poetry and dramaturgy, which entails the mutual borrowing of various components previously traditionally used within the framework of the corresponding kind of literature1. A.N. Veselovsky wrote: “The language of poetry infiltrates into the language of prose; on the contrary, works begin to be written in prose, the content of which was once clothed, or, it seemed, would naturally be clothed in a poetic form. So, for example, the interaction of prose and poetry leads to the fact that in poetic texts the plot, an indicator of the epic beginning in a work, begins to manifest itself more actively, while in prose, on the contrary, there is a weakening of the event outline and an increase in the lyrical plan, which occurs mainly due to widely used descriptive texture, in particular, a portrait image. That is, the portrait becomes a manifestation of the lyrical principle in a prose text.

The active functioning of the portrait in the prose text, its dominance is one of the indicators of the weakened epic beginning in the work and the priority of the lyrical. The presence or absence of a plot in a work (along with external design features) gives reason to point out the prevalence of “prose” or “poetry” in its content. In a prose text, it is the plot that forms the artistic whole, the subject of the image in it is events connected by a cause-and-effect relationship, and the author's position can be directly expressed in the text in the form of the author's own statement or the hero's remark. In a poetic work, the plot is either absent or peripheral, the dominant in it are the experiences of the lyrical hero, his feelings, transmitted through subject details, symbolic images, a landscape, a portrait image, which make it possible to introduce artistically voluminous content into a (usually) small form. It turns out that in a prose work (with a dominant plot), the portrait plays a secondary role as a tool for creating the image of the hero, inscribed in a single system of images, while in

“Poetry and prose in the literature of the late 19th and early 20th centuries borrow from each other, alter in their own way, in accordance with their specific artistic tasks, not only certain formal features, but also what should be called the principles of content deployment, the principles meaning transfer". P.150. // See for more details: Mineralova I.G. Russian Literature of the Silver Age (Poetics of Symbolism). - M., 1999. S.147-208.

2 Veselovsky A.N. Historical poetics. - M., 2008. P.380.

in a poetic work, for which neither the event plan nor the branched system of images are relevant, the portrait image of the lyrical hero or hero-addressee (if it is included in the text) is the content center of the work, reflecting both the main subject of illumination, and the lyrical plot, and the author's position, and idea.

The substitution or suspension of the main plot movement through the active involvement of portrait descriptions leads to a shift in priority semantic accents. The plot is given a secondary role (“Living relics” by I.S. Turgenev, for example), and at the turn of the 19th-20th centuries this becomes a characteristic phenomenon in the small prose of I.A. Bunin, L.N. Andreev, etc.), in the center the narrative turns out to be the image of the protagonist, his feelings, experiences (by analogy with the lyrical hero of poems), and the image of the hero, his inner world is revealed mainly through a portrait description and landscape. Thus, assimilating the experience of predecessors, the portrait in the prose of the early 20th century becomes more important for revealing the artistic content of the text and the author's picture of the world, becomes a manifestation of poetic content, it retards (slows down) the movement of the plot as a chain of events, focusing the reader's attention not on intrigue, but on the descriptive component, but on the other hand, the portrait itself becomes a plot that conveys, as F.W. Schelling wrote, “the idea of a person.”

In a poetic work, where the event plan is "weakened" (if the portrait is introduced into the text), it organizes the lyrical plot, is an expression of the central image of the poem (sometimes completely identified with the hero), and also reflects the author's worldview. However, in the poetry of the late 19th century, due to the tendency towards the development of the lyrical epic tradition in works of a small poetic form, manifesting itself to one degree or another, the plot becomes a phenomenon, if not natural, then quite natural, while the general lyrical dominant of the poem is not violated. The era at the turn of the 19th-20th centuries, filled with various kinds of conflicts, is also paradoxical in that, on the one hand, it is characterized by a special attraction to the portrait image as a reflection of the personal principle, the study of the world through the knowledge of the individual, and artistic synthesis, a characteristic feature of the cultural era, opens up opportunities to create an image of a person in literature more actively, using the resources of the artistic word in a new way. But on the other hand, the desire for literary synthesis, when the techniques of various types of literature can be combined in a work of art, leads to the fact that in poetic texts the degree of influence of the portrait on the artistic whole is determined by the presence and degree of activity of epic components.

In determining the role of a portrait in a work (both poetic and prose), one should take into account the degree of significance of the event outline. The strengthening or weakening of the role of the portrait in the work is determined by the presence or absence of the plot, the degree of its manifestation in the text, that is, the epic or lyrical dominant. Portrait in prose

the work is a tool for building the image of the hero. As a descriptive texture, the portrait slows down the movement of the plot, transfers the reader's attention from the event component to the philosophical and contemplative one, and is a manifestation of the lyrical beginning in the work.

In the lyrical portrait, the following features can be distinguished:

1. A portrait in lyrics often becomes the main or even the only subject of the image (which brings it closer to a portrait in painting), i.e. is the essence of the lyrical plot.

2. A portrait in lyrics is a way for the author to express the idea of a work.

3. A lyrical portrait often minimizes descriptiveness, which is so common in prose works, it concentrates the philosophy of the poet's life in sensual space, indicated on the one hand by specific, but at the same time conditional features and details. This is the philosopheme of the poet's work, the expression of the author's worldview.

The uniqueness of the portrait in the lyrics is that the poet, creating an image of a person endowed with specific details, seeks, on the one hand, to convey the individuality of this artistic image, and, on the other hand, to embody in this image his generalized philosophical and aesthetic ideas about the relationship between man and the world. , figuratively-metaphorically convey the author's picture of the world through a specific portrait. The portrait in lyrics, being the main subject of the image, visualizes the author's position, becomes a direct way (form) of its expression, embodies not only the idea of the chosen image, but the whole idea of the text, that is, it creates the image of the idea of the work. In “Philosophical Anthropology” P.A. Florensky wrote: “The problem of the portrait is the problem of antinomy: passivity - activity, objectivity - subjectivity, givenness - givenness<...>»1 (highlighted by us - S.K.) Indeed, the appeal to the portrait in the lyrics allows the artist to show the universal through an individual, through a static description - the movement of the soul, feelings, not to talk about the microcosm of a person, but to show the microcosm of the lyrical hero as a macrocosm.

In painting, one of the main problems is the problem of dynamics. The picture itself is static, and one of the main tasks of the artist is to overcome static, the need to "revive" the image, to convey spiritual movement. It is this overcoming that creates artistic content, introducing into the picture that very “slightly”, which, according to K.P. Bryullov, turns a painting into a work of art. In other words, the achievement of dynamics in the visual arts becomes an indicator of artistry. Yu.MLotman wrote: “<...>a portrait is a subject of mythogenic nature. Mobility

1 Florensky P.A. At the watersheds of thought. - Library "Milestones" 2000.<7Поге115к:у/ух^ога2с1Д1ц1ех.Ь(т

immovable creates a much greater tension of meaning than its natural immobility ^.> Overcoming the material is at the same time one of the main laws of art and a means of saturating it with meaning "1.

To achieve dynamism in painting, the artist pays special attention to the image of the eyes, hands, conveying the movement of feeling. G.E. Lessing argued that “nothing gives more expressiveness and life than the movement of the hands, especially in strong affect; the most expressive face seems insignificant without the movement of the hands. Nevertheless, a variety of means of achieving dynamics are also used in the visual arts: the introduction of several figures (in a collective portrait), the introduction of an antithetical figure (a paired portrait), the image of an animal, etc. But still, talent remains the main guarantor of dynamism in painting. artist.

In fiction, the problem of dynamics looks somewhat different. The very fact that the portrait is included in the fabric of the narrative as a whole affects the dynamics of the plot. The portrait image in a prose work switches the reader's attention from the event plan (providing dynamics) to the descriptive plan, which is more static in relation to the events depicted, although the portrait of the hero can also be dynamic. In a work of art, the dynamics of a portrait demonstrates some change in feelings, character, state, and is always a reflection of internal dynamics, while the development of plot conflicts is external dynamics. Depending on the artistic task, the author focuses on the dynamics of the external (plot) or internal dynamics (changes taking place in the hero, transmitted including through the portrait).

The portrait in lyrics as a whole is distinguished by a tendency towards a dynamic image, which is paramount for the classification of a portrait, the dynamics becomes an indicator of artistry in a lyrical portrait as the basis of a lyrical plot. The poet's desire for dynamics in the image of appearance and, at the same time, a small volume of a lyrical work, leads to the search for special artistic resources to create a portrait. This largely explains the significant differences between portrait forms in prose and lyrics. The portrait in the lyrics is often metonymic, devoid of a detailed description. (And in lyrical portraits dedicated to real historical figures, whose appearance is well known, descriptiveness may be completely absent as such, a reference to the object is sufficient to create a portrait. As, for example, in A.S. Pushkin’s poem “To the Portrait of Zhukovsky” (1818 ), the reason for writing which was the painting by O.A. Kiprensky "Portrait of V.A. Zhukovsky" in 1815; or quatrain

1 Lotman Yu.M. Portrait.// Lotman Yu.M. About art. - M., 1998. S.509.

2 Lessiig G.E. Laocoön, or on the limits of painting and poetry. -M., 1957. S.120-121.

3 See for more details: Lotman Yu.M. Portrait.// Lotman Yu.M. About art. - M., 1998. S.502-509.

I. Annensky "To the portrait of Dostoevsky", in which the poet appeals to the famous painting by V. G. Perov "Portrait of F. M. Dostoevsky"). The elliptical picture of the hero's appearance in the lyrical work is "restored" in full due to metaphorical details, color accents, expressive sound component, which not only creates the general melody of the work, but also fills it with sound images. This is how the image of the appearance is reproduced, and the impression from this image is transmitted, the presentation of the dynamics of the lyrical feeling is achieved. In this case, it is impossible not to see an analogy with paintings, in which, according to a fragment that preserves the integrity of the portrait image, a deeper study of the hero’s spiritual movements takes place (as in the image of a hand, gesture, for example, the portrait is sometimes “read” more deeply than in the face) .

In the second chapter "Portrait of a hero in a lyrical work"

lyrical portraits in the works of I.A. Bunin, N.S. Gumilyov, V.Ya. Bryusov, I. Severyanin and other poets were analyzed in the context of the tradition of Russian classical literature of the 19th century.

The variety of portrait forms in the lyrics of the early 20th century also arises due to the assimilation and development of the traditions of verbal portraiture in poetic art that developed in the 19th century1. And, of course, Pushkin's poetic tradition deserves special attention,2 which breaks the notion of a verbal portrait as exclusively descriptive, prone to static.

In the lyrics of the late 19th century, when creating portraits, poets actively use Pushkin's methods of painting: both the stylization of pictorial images (stylization in general becomes one of the main features of the era), and the desire for maximum sensual dynamics in the movement of the lyrical plot, and the deep interconnection of the portrait-landscape image as a harmonious the union of the external and internal nature of the world and man.

Of course, the relationship between the world of man and the world of nature and the reflection of these two principles outside was first transformed in the lyrics of the poets of the second half of the 19th century, in particular, F.I. Tyutchev, A.A. Fet, and already through their influence entered the practice of word artists in the beginning of the 20th century. As you know, A.A. Fet argued that “only one side of objects is dear to an artist:

See more details: Urtmintseva M.G. Talking Painting (Essays on the History of a Literary Portrait). - Nizhny Novgorod. 2000; and also about the Derzhavin tradition in Russian literature of the 19th-20th centuries, see: Vasiliev S.A. Derzhavin tradition in Russian literature

XIX century. Dr. diss. - M., 2008.

See more: Musatov V.V. Pushkin tradition in Russian poetry of the first half

XX century. -M 1998.

3 See for more details: Eikhenbaum BM On Poetry. L., 1969; Mineralova I.G. Russian Literature of the Silver Age. Poetics of symbolism. - M 1999; Zavgorodnyaya G.Yu. Stylization and style in Russian classical prose. - M., 2010, etc.

their beauty<...>Beauty is spilled throughout the universe<...>where the ordinary eye does not even imply beauty, the artist sees it, distracts it from all other qualities of the object, puts a purely human brand on it and exposes it to the general understanding. As a landscape reflects the inner essence, the soul of the universe, manifested in the pictures of nature, so the portrait is a reflection of the soul of both the artist and the depicted object. A portrait is a kind of landscape of a person's soul. (And this position was fully assimilated by the poets of the first third of the 20th century. Let us recall: “The landscape of her face, executed so vividly<...>"I. Severyanin or" You seemed like that birch<...>» from S. Yesenin). The combination of the concepts of portrait and landscape is quite understandable: the lyric poets of the 19th century saw harmony precisely as the interaction and interpenetration of the nature of the world and the nature of man, which are in consonant motion (suffice it to recall: “Light of the night, night shadows, / Shadows without end, / A series of magical changes / cute face<...>" A.A. Fet in the poem "Whisper, timid breathing" (1850)).

In lyrical poetry of the first third of the 20th century, in particular, in portrait images, impressionistic features, the origin of which was seen in the poetry of A.A. they are seen through”), F.I. Tyutcheva (“I knew the eyes - oh, these eyes!”), manifested themselves in different ways in the work of poets of various literary movements. The impressionistic beginning, characteristic in general for the era of the turn of the 19th-20th centuries, was refracted in poetry in accordance with the individual style of each artist individually. So, for example, in female lyrical portraits created by V.Ya. Bryusov (“Portrait” 1905 (collection “Stephanos”), “Portrait” 1910 (collection “Mirror of Shadows”), “Girl with Flowers” 1913, “Portrait of a Woman” 1913 (collection "Seven Colors of the Rainbow"), etc.), impressionism, manifested in the desire to convey the elusive transformation, the unpredictability of the image, which remains an unsolvable mystery for the author, is largely dictated by the poetics of symbolism.

I. Severyanin, referring to the portrait as the subject of the image ("Sonnet" (1908), "To hell with the devil" (1914), "The Poetry of the Forest Edge" (1915), "The Poetry of Shades" (1915), "The Singing Eyes" (1927 ), “Portrait of Darinka” (1931)), strives not for descriptiveness, but in accordance with the tradition of impressionistic painting, creating the illusion of a changing space, conveys the impression of movement of an image that does not have outlined forms (“With what inexplicable tenderness, what cordiality / Illuminated and your face is glazed" - the poem "To hell with the devil" (1914)). A special role in the creation of this kind of portraits belongs to the play of colors and light. In the poetic text, I. Severyanin imitates in a word the pictorial technique of the plein air, characteristic of the Impressionists.

The impressionism of M.A. Voloshin’s poetry arises due to the “watercolor technique” (for example, the poem “Portrait” (1903): “I am all -

1 Fet A.A. Works in 2 volumes. T.II.-M., 1982. S.146-147.

tones of pearl watercolor"), which allows you to convey a portrait through the play of light and color shades, combine the word, colors, sounds into a single artistic image.

The portrait in the work of I.A. Bunin, “an artist of unusual sincerity”1, is a lyrical portrait, whether it be poetry or prose, and its creator is a true virtuoso in this art form. The attitude of I.A. Bunin to the portrait is not only the attitude of the poet and writer to the subject of the image, it is the philosopher's approach to the study of the nature of human life, the human soul. “Man in his fullness is the cosmos and personality”2, wrote N.A. Berdyaev. For I.A. Bunin, a portrait is not what the acquaintance with the hero begins with, it is a life outcome, the result of a deep spiritual evolution, it is an indicator of an attitude to life. The whole path of the hero is the creation of his portrait, his "I" ("Child, I thought about God, / But I saw only curls to the shoulders, / Yes, large brown legs, / Yes, Roman armor and a sword ..." - the poem "Mikhail "(1919)).

Thus, the portrait of the hero in a lyrical work, often devoid of descriptiveness, arises due to a capacious metaphorical detail, color dominant, as well as sound-painting dynamics, which allows poetically conveying the author's impression of the depicted object. A portrait in a lyrical work may not be fully indicated, but the reference to a classical example of sculpture, painting, icon painting allows not only to “see” it in a poetic work, but also to “read” the author’s worldview through the lyrical interpretation given. The appeal to the lyrical portrait, which allows more capaciously presenting not only the hero, but also the author's picture of the world, reflecting general philosophical issues, in the era of the first third of the 20th century goes far beyond the scope of an artistic device, becomes a landmark phenomenon that characterizes the originality of the literary process of that time.

The third chapter "Self-portrait in Russian lyrics" considers the concept of self-portrait in poetry and its refraction in the lyrical works of V.V. Mayakovsky, A.A. Akhmatova, M.I. Tsvetaeva, S.A. Yesenin.

The question is natural: what is the difference between the portrait of the hero and the self-portrait in lyric poetry. The distinction between these concepts is determined by the object of the image, just as a portrait and a self-portrait are distinguished in fine art. Indeed, in poetry, as in painting, the worldview of the author, his attitude to the world is expressed both through a portrait and through a self-portrait. In painting, the genre form of the canvas is determined by the depicted object. In poetry, a portrait of a lyrical hero and a self-portrait also differ in the dominant subject of the image. Through the portrait, the author conveys his vision of the image that is depicted, and through him

1 Mikhailov O.N. Rigid talent. Ivan Bunin. Life. Fate. Creation. -M., 1976. S.58.

2 Berdyaev H.A. Self-knowledge. Experience of philosophical autobiography. - L., 1991. P.88.

the author's position is manifested, i.e. the poet's worldview is revealed more indirectly (for example, the clown in M. Voloshin's poem "At the Circus" (1903)). In a self-portrait, there is an underlined subjective principle, the artist's view of his world, reflected in the external appearance, therefore, the idea of the world is transmitted not through the image-addressee of the author's feeling, but directly through the vision of himself.

Self-portrait in poetry did not become the discovery of the artists of the word at the turn of the 19th-20th centuries. Even in the poem “My Portrait” (1814), written in French during the lyceum years, A.S. Pushkin conveyed not only the appearance by poetic means, but also presented the world of personal hobbies with his characteristic irony and mockery. However, in Pushkin's work there is initially a parodic element, which determines the specifics of the poem.

And later poets turned to work with their own appearance. So, at the end of his life, in the poem "Inscription on his portrait" (1884), A.N. Apukhtin also creates a parody of his appearance. However, as in the work of A.S. Pushkin, the reason for referring to a self-portrait in this quatrain is not the desire for an in-depth study of the lyrical “I”, but the ability to laugh at oneself. Self-portraits of this kind can rather be attributed to poetic caricatures, in which the dominant is not so much the accuracy of the transfer of the author's picture of the world, reflected in appearance, but the freedom to deal with autobiographical material.

In the era of the beginning of the 20th century, self-portrait penetrates into lyric poetry, when the artists of the word more consistently turn to self-portrait precisely as a method of scrupulous study of the lyrical experience transmitted through the portrait image. Moreover, during this period of time, a self-portrait becomes one of the characteristic features of the individual style of a number of poets (V.V. Mayakovsky, A.A. Akhmatova, M.I. Tsvetaeva, S.A. Yesenin, etc.).

The appeal to a self-portrait in the work of V.V. Mayakovsky, for example, is associated with the desire for visual expression of one's external, pictorial, and inner "I". R.S. Spivak notes that “the author as a carrier of extra-personal consciousness (the poetic world of the author) in Mayakovsky’s pre-October lyrics is the subject of most of the poems.” Moreover, KHI.Mineralov, explaining the autobiographical nature of V.V. Mayakovsky’s lyrics, writes:<«...>often a lyrical hero is a direct reflection of the personality and biography of the author. What is happening in the verses corresponds to what happened in life” (highlighted by us - S.K.)2.

1 Spivak R.C. Russian philosophical lyrics, 1910s. I. Bunin, A. Blok, V. Mayakovsky. -M., 2005.-S.360-361.

2 Mineralov Yu.I. Lyric poet Vladimir Mayakovsky.// Vladimir Mayakovsky and his tradition in poetry. Research. -M., 2005. P.15.

Turning to the image of “himself” in poetic works, V.V. Mayakovsky, it seems, strives, first of all, to create a portrait of his world in all its versatility (“I have not a single gray hair in my soul, / and there is no senile tenderness in it! / Having thundered the world with the power of my voice, / I’m walking - beautiful, / twenty-two years old ”- the poem“ A Cloud in Pants ”(1914-1915)). It should be determined how the image of the lyrical hero and the self-portrait itself are related. The place and role of a self-portrait (as well as a portrait, by the way) in a poetic work is determined by the nature and degree of "prescription" of the plot or lyrical plot, which, as a rule, is dominant in Mayakovsky's poetry. In poetic works, where a dynamic portrait of a lyrical hero constitutes a lyrical plot, the concepts of a portrait and a lyrical hero will coincide. The presence of epic components in the poetic text “displaces”, replaces the portrait image in the lyrical plot. Thus, the attraction to the lyrical epic tradition (and this is another important feature of the individual style of V.V. Mayakovsky) significantly affects the functional purpose of the portrait in a poetic work and its relationship with the image of the lyrical hero. The portrait (self-portrait) remains a descriptive part of the image of the lyrical hero, but takes on an additional significant role both in the compositional solution and in revealing the artistic content of the work and the author's position.

V.V. Mayakovsky uses a portrait detail (which serves to create a self-portrait) as a visual core of a lyrical plot (“I squeezed a smile into their eyes; frightening<...»>- the poem "Night" (1912)). In general, the artistic space of Mayakovsky's poetic work (as often dominantly lyrical) combines self-portrait sketch, sketch, urban landscape and dramatic action.

As a representative of the era of the Silver Age, V.V. Mayakovsky in his work sought to realize the synthesis of poetry and painting. The emergence of a self-portrait in the poetry of V.V. Mayakovsky is quite natural and is determined by the combination of three components:

1) an active pictorial beginning in creativity;

2) the desire to "portrait" emotion, feeling;

3) the need to visually emphasize the protest of the lyrical hero against the urban world.

Mayakovsky not only embodies pictorial techniques in poetry, he strives through them for the visual embodiment of feelings, for an accurate expressive picture that reflects outside the interaction of the personal "I" with the outside world.

At the heart of A. Akhmatova's appeal to a self-portrait in lyrical poetry lies the image of deeply personal experiences, confession,

autobiography, which has been repeatedly noted by researchers1. According to B.M. Eikhenbaum, “<...>before us is like a solid autobiography, a continuous diary. A self-portrait allows the poet to visually convey the process of external transformation under the influence of feelings (“Like sunken cheeks, bloodless lips, / You don’t recognize my face” - the poem “The Angel Who Kept Me for Three Years” 1921, cycle “Anno Domini”). At the heart of the constantly changing portrait image are deep psychological processes. Most often, a self-portrait image in the work of A. Akhmatova arises due to three main details: eyes, lips (mouth), hands. And this is quite understandable, because. it is these details that most accurately convey the deepest manifestations of the soul: the eyes are a reflection of feelings, the lips are directly related to the possibility or impossibility of singing, i.e. the voice of the soul (and this motif, as we know, is one of the leading ones in the work of A. Akhmatova)3, and the hands are the wings of the soul (“The broken hands of the sick<.. .>"- the poem "Inscription on an unfinished portrait" 1912 cycle "Evening").

The originality of A. Akhmatova's self-portrait is also in the fact that in referring to this phenomenon she aims to convey not the accuracy of the external correspondence to the original, but the accuracy of the external correspondence to internal experiences. In other words, A. Akhmatova creates not just an "intimate diary", but a kind of artistic "album" of self-portrait images that reflect the sensual space. It is important for her to show how a deep experience changes the inner world, and, consequently, the appearance. Therefore, it is worth talking not about the external resemblance to the original, but about the accuracy of the embodiment of the inner feeling in the external image.

The portrait image in A. Akhmatova’s lyrics is determined by the author’s desire to convey as authentically as possible the lyrical feeling of the heroine reflected outside (“And the face seems paler / From purple silk, / Almost reaches the eyebrows / My uncurled bangs. / And unlike the flight / This slow gait<...>”- the poem “A row of small rosaries on the neck” (1913) cycle “Plantain”),

Self-portrait is a more sought-after form of "portraiture", since fits more harmoniously into the stylistic dominant of the lyrical diary, because A. Akhmatova strives to create a self-portrait of the soul, visible to the eye. For her day, it is important, first of all, not so much external correspondence to the original as

1 Zhirmunsky V.M. The work of Anna Akhmatova. - JL, 1973. S. 91-92; Pavlovsky A.I. Anna Akhmatova: Essay on creativity. - L., 1982. S.19-20; Nevinskaya I.N. “At that time I was visiting the earth ...” (Akhmatova's poetry). - M., 1999; Goncharova N.G. Libel veils by Anna Akhmatova. - M.-SPb., - 2000. P.19.

2 Eikhenbaum B.M. Anna Akhmatova. Analysis experience. Petersburg. - 1923. "Im Werden Verlag". Non-commercial electronic edition. 2006. P.11.

See more: VV Vinogradov. On the symbolism of A. Akhmatova. (Excerpts from the work on the symbolism of poetic speech) / / Literary thought. Almanac. Petrograd. - 1922. S.91-106. http://imwerden.de/pdf/vinoenidov about svmvolike akhmatovoj 1922.pdf

4 Eikhenbaum B.M. Anna Akhmatova. Analysis experience. Petersburg. -1923. "Im Werden Verlag". Non-commercial electronic edition. 2006. P.10.

the accuracy of conveying feelings expressed through appearance. Therefore, ALkhmatova's self-portrait is always brightly emotionally colored (even if the emotion is not naked), given in motion, through a fragmentary written dramatic plot. If in the lyrics of V.V. Mayakovsky the self-portrait reflects the protest of the lyrical hero against the urban world and the assertion of the lyrical "I" as a prophet of the new time, then in A. Akhmatova's self-portrait is a psychologically accurate illustration of the inner drama of the heroine.

In the fourth chapter "Typology of a lyrical portrait"

the analytical material is systematized and a typology is proposed.

The typology of the portrait in lyrics, in our opinion, should take into account the characteristic features of the cultural era, the poetics of the dominant literary movements of the first third of the 20th century, the features of the individual style of the poet, who refers to the portrait in lyrical work, as well as pictorial analogies associated with the method of creating a portrait and to a large extent degrees that help not only to reveal the ideological content of the work, but also generally reflect the process of interaction between the arts. The analysis of works of art has shown that portraits in lyric poetry are best classified based on the figurative system of the poem, taking into account the object being portrayed. In a prose work, in which the portrait of the hero is determined by the plot and a more extensive system of images, such a systematization is impossible and inappropriate. In lyrical poetry, according to the type of the portrayed object, in accordance with the nature of the manifestation of the lyrical "I" of the author, three main groups of portraits can be distinguished:

1. Portrait of the hero of a lyrical work, expressing the lyrical "I" of the author. These are portraits depicting heroes that express the lyrical "I" of the author, but they are not lyrical heroes, since they are objectified from the author by the very design. The author's position in such a work is transmitted not through the image and experiences of the lyrical hero, but as if detached, through an arbitrary choice of the object of the image.

In the literature of the first third of the 20th century, poets of various trends in their poems turned to biblical images, images of mythological heroes, heroes of antiquity, the Middle Ages, and the Renaissance. In addition, images of conditional heroes, personified objects were used (as, for example, in the poem by M.A. Voloshin "Mirror" (July 1, 1905):<...»>).

2. Portrait of the hero-addressee in a lyrical work. In this type of portraits, the lyrical hero in the poem is not only manifested, but it is through his vision that a portrait of another person is created. This may be a paired portrait, in which a poetic image of the addressee is given, and through

the impression from him, indirectly, creates the image of the lyrical hero himself.

Portraits of this type most often appear in love lyrics and are more associated with the image of the beloved, so the gallery of female portraits in lyric poetry is especially widely represented. Such portraits can be directly related to the genre nature of the work. For example, messages, sonnets, canzones, etc., are initially focused on the image of an object, even a conditional one, to which the work is addressed or addressed. This does not mean that the portrait is an obligatory structural element of these genres, however, the appeal to the image of the beloved also predisposes to its poetic visualization.

3. Self-portrait. This is a portrait of the lyrical hero of the work, when the line between the author and the lyrical hero is extremely thin. Of course, there can be no complete fusion of the hero and the author (remember, M.M. Bakhtin wrote: “Of course, the author, as a moment of a work of art, never coincides with the hero, there are two of them, but there is no fundamental opposition between them, their value contexts are homogeneous, the carrier unity of life - the hero and the bearer of the unity of form - the author belong to the same world of values"1). However, a high degree of autobiography and the introduction of recognizable author's features of appearance into the work allow us to speak of a self-portrait. This is all the more true since a self-portrait is not just an exact match of the image to the original, the transfer of appearance features, it is the result of self-observation, the author's vision of himself at a certain point in time in a certain state and image, expressed through appearance. “The first task of the artist working on a self-portrait is to purify the expression of the reflected face, and this is achieved only by the fact that the artist takes a firm position outside himself, finds an authoritative and principled author, this is the author-artist as such, defeating the human artist”2 .

The priority of a lyrical self-portrait over a portrait in the works of a number of poets is due to the fact that the study of lyrical experience, transmitted through a change in the portrait image, is dominant in their works, and the line between the lyrical hero and the author is very thin. A high degree of sincerity, autobiography, intimacy in conveying the feelings of a lyrical hero, passing from poem to poem, also determines the constant appearance. “A self-portrait reveals the inner content of the life of its creator”3.

In the poetry of A.A. Akhmatova, for example, the intimate experience of the lyrical heroine is in the center of the author's attention (recall that even

1 Bakhtin M.M. The semantic whole of the hero // Works by M. M. Bakhtin. Author and hero in aesthetic activity. - hftpà "mmbakhtin. narod ru-" smvsl. html.

2 Bakhtin M.M. Aesthetics of verbal creativity. - M., 1979. P.32.

Yudenkova T.V. Spiritual self-portrait of society in Russian painting of the 1870-1880s (I.N. Kramskoy "Christ in the Desert", I.E. Repin "They Did Not Expect"). Abstract of the dissertation for the degree of candidate of art criticism. - M., 1998. S.Z.

B.M. Eikhenbaum, wrote about A. Akhmatova’s poetry that she “<...>like a continuous autobiography, a continuous diary "1), transmitted through the features of appearance.

So, the originality of the lyrical portrait is determined by many factors, including brevity, due to the small form of the poetic text. However, this circumstance not only does not detract from the significance of the portrait, but rather, on the contrary, in a lyrical work its role increases significantly, because the portrait becomes not only a means of creating the image of the hero, but can be identified with him, often becoming the semantic center of the work, organizing a lyrical plot. This destroys the stereotype about the detailed descriptive texture of the portrait, which is typical for prose. The portrait in the lyrics often acts as a convoluted plot, which, revealed in the context of the work, turns into a poetic picture of the human soul.

Literature gave a great variety of portraits, including lyrical portraits. Considering the portrait as the semantic center of the poetic text, we proceeded from the fact that "a work of art is a synthesis of three moments (external form, internal form and content)"2. The typology of a portrait in a lyrical work, in our opinion, is dictated by the object of portraiture, since it is he who is the core of the lyrical plot, determines the figurative system, and is also associated with the genre nature of the text.

In the Conclusion, it is emphasized that in lyrical poetry, a portrait is a particularly remarkable and significant phenomenon, since, due to the small volume of the work, in a “condensed”, concentrated form, they present not only and not so much the appearance of the hero, but a sensual visualized picture of the human microworld, inscribed in the macrocosm of the universe. "<...>The portrait is by no means reduced to depicting the face and figure of a person, but implies the depiction of the whole world through the human personality, individuality, transformed by art.

Traditionally, in literature, the portrait is considered as a significant, but optional component of the work, most often associated with the designation of certain traits of the hero, reflected in appearance. However, in a lyrical work, the portrait is most often not limited to the function of an artistic device. The inclusion in the poetic text of a description or reference to the appearance of the hero of the work or a painting transfers semantic accents to it, and then the portrait turns out to be not just a device (although this function is actively manifested in works with a dominant epic beginning), but becomes the content and structural center of the work, organizes lyrical plot becomes clear

1 Eikhenbaum B.M. Anna Akhmatova. Analysis experience. Petersburg. - 1923. "Im Werden Verlag". Non-commercial electronic edition. 2006. P.11.

2 Potebnya A.A. Aesthetics and poetics. -M., 1976. S.190.

3 Andronnikova M.I. Portrait. From rock paintings to sound film. - M., 1980. S.398.

metaphorical reflection of the philosophical views of the poet. Thus, being not only a means of creating an image, but reflecting the ideological picture of the artist's world, a portrait in a lyrical work acquires a categorical meaning.

Mastering the traditions of the lyrical depiction of appearance as a dynamic metonymic, transmitted color, sound writing, allusive connections, etc., pictures of the world, poets of the subsequent era not only create a variety of examples in this area, but consistently use the portrait as one of the main objects of poetic creativity. We can say that the most active development of portrait forms, in particular, a lyrical portrait, in Russian literature becomes one of the characteristic signs of the time at the end of the 19th - beginning of the 20th century. (“A portrait is a chronicle of an epoch through a gallery of those portrayed”1.) The study of Man marks the study of his place and role in the Universal picture of the universe, and the portrait (especially in lyrics, given its concentrated metaphorical, symbolic nature) makes it possible to discover and visualize the result of this study. A portrait in lyrics (even if it is given fragmentarily, metonymically) allows recreating a single image of the hero of the work, which is a symbolic expression of an individual philosophical model of the world, by detail, epithet, name, etc. (Recall that in painting, special attention is paid to a fragment of a picture, which allows you to see the nuances of a single image and more subtly feel their psychological, dynamic, color purpose). The small becomes a reflection of the Universal: the portrait is restored in detail, which in turn is an expression of the microcosm of the hero and the author in a single picture of the world.

We note, however, that if in the 19th century in poetry the portrait of the hero-addressee, created, as a rule, within the genre of the message, sonnet, etc., a priori predisposing to the poetic image of the image of the hero, became most widespread in poetry, in the era of the beginning of the 20th century in poetic creativity there is an increased interest in the portrait, and in the form as a descriptive texture, and in the very idea of \u200b\u200bthe portrait as a philosophical concept (and this trend is explained by the characteristics of the era), then over time, interest in the portrait (especially in poetry) fades. And this is also quite understandable. The change of times entails a change in aesthetic and philosophical views. So, in the next era, the relationship between the concepts of the World and Man underwent a significant change. The problems of the social structure come to the fore, ideas about Man as a reflection of the model of the Universe are destroyed.

The portrait in lyrics, in which the initially chosen subject is explored as the focus of internal dynamics reflected outwards, loses

its relevance. With the onset of a different era, wars, world upheavals, social transformations, a person as a microcosm is lost in the all-encompassing flow of history. The tragic destruction of Man as an inherently valuable world, the “dissolution” of the acutely individual in the universal led to the “cooling off” of interest in a lyrical portrait, in which personal uniqueness would be visualized. Man turned out to be lost, dissolved in a new world, in the universe. The priorities of the personal are replaced by the priorities of the social.

In the portrait art of S. Dali, perhaps, this trend is especially expressively reflected. In the portraits "The Big Paranoid" (1936), "Spain" (1938), "The Face of War" (1940), "Exploding Raphael's Head" (1951), the central image either breaks up into component parts, or, on the contrary, the figures of warring or distressed people make up a single image, symbolizing the portrait of the era. In poetry, a vivid example of such a process is the lyrics of Georgy Ivanov of the emigrant period, in which destruction became the leading motive ("Let's say, as a poet, I will not die / But as a person, I die"1), the motive of "Decomposition of the atom" ("No longer belonging to life, yet not caught by emptiness... On the very edge...»2). The title of one of the collections, "Portrait without resemblance", eloquently declares the distorted, destroyed image of the hero, and hence his world.

Nevertheless, the portrait in lyrics, and especially in the era of the turn of the 19th-20th centuries, is a poetic-philosophical category that allows the means of artistic expression to "delineate" the author's model of the relationship between the world and man in their dynamics and visibility. Undoubtedly, the phenomenon of “portrait in lyrics” should be singled out as an autonomous phenomenon, different from “portrait in prose”, since it is conceptually different in terms of functional content, a higher level of aesthetic (artistic) generalization, and a place and significance in the structural-semantic canvas. works in general.

A number of features of the portrait in lyric poetry should be singled out: ^ it is less specific, less “detailed” than a portrait in prose

work, it is characterized by less descriptiveness; ^ it is often metonymic;

^ has a greater conventionality, sometimes implying a minimum

portrait details, but the greater metaphorical nature of their use; ^ a portrait in lyrics is often not a means of creating a hero, but a way of conveying

ideas of a poetic work; ^ a portrait in lyrics has a greater degree of generalization, most often

is a philosopheme reflecting the worldview of the author; ^ a portrait in lyrics is created not so much by listing the actual portrait details as by emphasizing peripheral details

1 Ivanov G.V. Sobr. op. in 3 volumes. - T.1., - M., 1994. S.321.

2 Ivanov G.V. "The decay of the atom" // Sob. Op. in 3 volumes. - T.P., - M., 1994. P.33.

lyrical plot, color content of the text, verse organization;

^ a special place in the creation of a lyrical portrait is occupied by the verse organization, the sound-painting component, because the rhythmic-intonational pattern and sound associations that unite the main details of the portrait into a system make it possible to convey a single pictorial and musical picture of the human soul, realized in the portrait. ^ a lyrical portrait can be a component of a genre, but it is difficult to single it out as an independent genre, because in lyrics, he does not have characteristic genre features (such as a literary portrait).

The analyzed material reveals that the portrait in a lyrical work metaphorically visualizes the system of the author's relationship with reality, his philosophical model of the world, recreated in accordance with the poetics of his individual style. In the context of a poetic work, a portrait is considered by poets as a philosopheme, as a picture of the inner content of a person reflected outside, a visual symbolic image of the dynamic world of his experiences. For I.A. Bunin, say, a portrait is the result of a person’s spiritual dynamics, his inner growth, therefore, the portrait-movement, which captures the poetry of gesture, becomes dominant in his work. He creates a whole gallery of specific, tangible, sensual, earthly images, for him the very idea of a portrait is a reflection of human life in all its versatility, the unity of the divine soul and sensual objectivity.

Thus, the analysis of a significant corpus of works of art in the history of Russian poetry allows us to assert that the portrait in lyrics is a special phenomenon that has not an optional meaning in a work (as in prose), but a categorical one. The portrait acts as a component of genre formation, plot formation, largely determines the ideological and philosophical content of the text, that is, it not only largely reveals the artistic content of each individual work, but, most importantly, is a reflection of the author’s aesthetic, philosophical vision, his inner world, interactions and relationships with the universe.

Monographs:

1. Kolosova S.N. "Both a warrior and a rider" (Nikolai Gumilyov). Monograph. - Moscow-Yaroslavl, 2004. 243 p. 16 p.l.

2. Kolosova S.N. Portrait in Russian lyric poetry. Monograph. - M., 2011. 293 p. 18 sq.

3. Kolosova S.N. Bunin is a portrait painter. Verbal painting and synthesis of arts in the poems "Portrait", "Circe" / / Art at school. No. 2. 2009. P.38-41. 0.3 sq.

4. Kolosova S.N. Portrait of a woman in the poetry of Igor Severyanin.// Art at school. No. 3, 2010. pp.15-17. 0.2 sq.

5. Kolosova S.N. The image of the Mother of God by I.A. Bunin (the story "Transfiguration", the poem "Mother") // Lecturer XXI century. No. 2.2010. S.336-342.0.4 sq.

6. Kolosova S.N. Features of a self-portrait in the formation of the image of a lyrical hero in Vladimir Mayakovsky's poem "Night".// Humanitarian studies of ASU. No. 3 (35). 2010. P.134-140. 0.4 sq.

7. Kolosova S.N. Portrait of the era and its heroes in the poem by VL. Bryusov "The Coming Huns" // Vestnik MGOU. No. 5.2010. S.71-75.0.3 sq.

8. Kolosova S.N. Features of the lyrical portrait in the stories of I.A. Bunin "Night of the renunciation", "Prelate".// Proceedings of the Volgograd Pedagogical State University. 2010. No. 10(54). pp. 130-134. 0.3 p.l.

9. Kolosova S.N. V.Ya.Bryusov is a portrait painter. Impressionistic features in the poetry of V.Ya. Bryusov (poems "Portrait of a Woman", "Lady of Clubs"). // Art and Education. No. 5,2010. pp.38-44. 0.4 sq.

10. Kolosova S.N. The game of Georgy Ivanov in the poem “Mirrors distort each other ...”.//Russian speech. No. 6.2010. pp.17-20. 0.3 sq.

Other publications on the topic of the dissertation:

11. Kolosova S.N. A legend in the work of Nikolai Gumilyov and a literary fairy tale. History, theory, poetics. Collection of articles and materials. - M., 1996. - S. 25-28. 0.2 p.l.

12. Kolosova S.N. Prose ballad in the work of N.S. Gumilyov // Literary tale. Story. Poetics. Method of teaching. Collection of articles and materials. - M., 1997.-S. 41-44. 0.2 p.l.

13. Kolosova S.N. The semantics of color in the work of N.S. Gumilyov // IX Purishev Readings. World literature in the context of culture. Materials of scientific conference. - M., 1997.-S. 32-33. 0.1 p.l.

14. Kolosova S.N. Gumilyov Nikolai Stepanovich // Russian children's writers. Biobibliographic dictionary. - M., 1997. - S. 144-146. 0.2 sq.

15. Kolosova S.N. Folklore and Christian in I.A. Bunin's short story "Ballad" // World literature for children and about children. Collection of articles and materials. Issue 3. -M „ 1998.-S. 11-14. 0.2 p.l.

16. Kolosova S.N. Liturgical beginning in I.A. Bunin's short story "The most beautiful of the sun" // Problems of the evolution of Russian literature of the XX century. Issue 5. Third Sheshukov Readings. Materials of interuniversity scientific conference. - M., 1998. S.132-134. 0.2 sq.

17. Kolosova S.N. The theme of Faust in the novel by N.S. Gumilyov "The Violin of Stradivarius" // World literature for children and about children. Collection of articles and materials. Issue 4. -M., 1999.-S.41-45. 0.3 p.l.

18. Kolosova S.N. Problems of studying the work of Nikolai Gumilyov at school // Humanitarian education at school: state, problems of renewal. Abstracts of the All-Russian Scientific and Practical Conference. M., 1999. S. 186-188. 0.1 p.l.

19. Kolosova S.N. Nikolai Gumilyov and the Renaissance (XI class) // I.P. Karpov, N.N. Starygina. Open lesson in literature. Russian literature of the XX century (plans, abstracts, materials). A guide for teachers. - "Moscow Lyceum", 1999. P.71-83 0.8 p.l.

20. Kolosova S.N. The motive of the “descent” of a creative person in the story of I.A. Bunin “The Mad Artist” // Man in the context of culture. Collection of scientific articles. Issue 2. - M., Stavropol, 1999. S.33-34. 0.1 p.l.

21. Kolosova S.N. Magic in the "Tales of the Blue Fairy" by L. Charskaya (on the example of the fairy tale "The Magic Ob") // World literature for children and about children. Collection of articles and materials. Issue 5. -M., 2000. - S.124-126. 0.2 p.l.

22. Kolosova S.N. Poetics of "The Tales of the Blue Fairy" by L.A. Charskoy // Arkady Gaidar and the Circle of Children's and Youth Reading. Digest of articles. - Arzamas, 2001. S.82-86. 0.2 p.l.

23. Kolosova S.N. The problem of the revival of a creative personality in the literature of the Silver Age (on the example of N.S. Gumilyov's short story "The Last Court Poet") // Personality on the threshold of the XXI century. Abstracts of the international conference of psychologists, teachers, historians, philosophers, philologists, culturologists. - M., 2001. S. 114-117. 0.2 p.l.

24. Kolosova S.N. Small prose by I.A. Bunin and N.S. Gumilyov. Style features. // Legacy of I.A. Bunin in the context of Russian culture. Digest of articles. - Yelets, 2001. S.89-92. 0.2 p.l.

25. Kolosova S.N. Igor Severyanin and Nikolai Gumilyov: the originality of the plot of a poetic work.//Synthesis in Russian and world artistic culture. Proceedings of the II scientific-practical conference dedicated to the memory of A.F. Losev. - M., 2002 S.214-218. 0.2 sq.

26. Kolosova S.N. World of childhood in the work of Nikolai Gumilyov // World literature for children and about children. Collection of articles and materials. Issue 8. -M., 2003. S. 150-154. 0.2 sq.

27. Kolosova S.N. Biblical motifs in the work of Nikolai Gumilyov (on the example of the "Poem of the Beginning") // Orthodox Tradition in Russian Literature. Easter Readings. M., 2003. S. 177-180. 0.3 p.l.

28. Kolosova S.N. Motif of reflection in the poetry of Georgy Ivanov (on the material of the collection "Portrait without resemblance").// Synthesis in Russian and world artistic culture. Materials of the 1st scientific and practical conference dedicated to the memory of A.F. Losev. - M., 2004. S.139-141. 0.2 sq.

29. Kolosova S.N. Genre of the portrait in the poetry of Georgy Ivanov.//Synthesis in Russian and world artistic culture. Materials of the 1st scientific and practical conference dedicated to the memory of A.F. Losev. -M., 2004. S.141-144. 0.2 p.l.

30. Kolosova S.N. "Night of the Renunciation", "Prelate" by I.A. Bunin: the image of the protagonist and features of the plot.// II Easter Readings. Humanities and Orthodox culture. - M., 2004. S.155-164. 0.6 sq.

31. Kolosova S.N. Mariniana for children. Stories by K.M. Stanyukovich and "Captains" by N.S. Gumilyov. // Children's literature and children's book: actual problems of studying, teaching and interpretation. Materials of the 2nd interuniversity scientific and methodological conference - Yaroslavl, 2004. pp.73-79. 0.4pl.

32. Kolosova S.N. Portrait of a woman in the poetry of V.Ya. Bryusova (On the example of the poem "Portrait of a Woman") // Synthesis in Russian and world artistic culture. Materials of the U-th scientific and practical conference dedicated to the memory of A.F. Losev - M „2005. P.255-258. 0.2 sq.

33. Kolosova S.N. Portrait in a poem by V.Ya. Bryusov "The Lady of Clubs" // Philological Traditions in Modern Literary and Linguistic Education. Issue 4. -M 2005. S.158-161. 0.2 p.l.

34. Kolosova S.N. Artistic originality of the story of I.A. Bunin "Transfiguration" / / Ш Easter readings. Humanities and Orthodox culture. - M „ 2005. P.236-241.0.3 p.l.

35. Kolosova S.N. Female portrait in the poetry of I.A. Bunin (on the example of the poem "Circe") / / Synthesis in Russian and world artistic culture. Materials of the 1st scientific and practical conference dedicated to the memory of A.F. Losev. - M., 2006. S.211-216. 0.3 p.l.

36. Kolosova S.N. The idea of a portrait in the poem of the same name by I.A. Bunin / / Il. Bunin's work and philosophical and artistic searches at the turn of the XX-XXI centuries. Proceedings of the International scientific conference dedicated to the 135th anniversary of the birth of the writer. - Yelets, 2006. S.70-74. 0.2 sq.

37. Kolosova S.N. Portrait in a lyrical work as a reflection of the author's picture of the world (on the example of poems by V.Ya. Bryusov, I.A. Bunin, G.V. Ivanov).//Academic Philology. Literary criticism. Linguistics. The best university lecture.-M., 2006. S.61-75. 0.9 sq.

38. Kolosova S.N. The image of the Virgin in the poem by I.A. Bunin "Mother" // IV Easter Readings. Humanities and Orthodox culture. - M., 2007. S. 0.2 square.

39. Kolosova S.N. Portrait of the hero of our time in the early lyrics of M. Voloshin (poems "In the circus", "Mirror") / / Philological traditions in modern literary and linguistic education. Collection of materials of the 4th interuniversity scientific and methodological conference. Issue 6. - M.: MGPI. 2007. S. 0.3 pp.

40. Kolosova S.N. Folk legend and a portrait of the hero of the time in the poetry of the XX century// Karpovskie readings. Digest of articles. - Arzamas. AGPI., 2007. S.262-266. 0.3 p.l.

41. Kolosova S.N. Analysis of the poetic text in the 11th grade (based on the poems of I.A. Bunin) / / "Teacher of Russian Literature". Collection of abstracts of lessons and methodological justifications for them. -M., 2008. S.44-50. 0.4 p.l.

42. Kolosova S.N. Female portrait in the poetry of N.S. Gumilyov.// Synthesis in Russian and world artistic culture. Materials of the 1st Scientific and Practical Conference dedicated to the memory of A.F. Losev. - M., 2008. S. 0.3 square.

43. Kolosova S.N. Lyrical portrait in the poetry of Pavel Vasiliev. // Bulletin of the Literary Institute. A.M. Gorky. No. 1. 2010. P. 110-113.0.2 p.s.

Notes:

Volume 2 p.l. Circulation 100 copies.

CHAPTER I: THE PORTRAIT AS A PHENOMENON OF CULTURE AND ART

§ 1. Portrait in literature and fine arts.

§ 2. The problem of dynamism and static in a lyrical portrait as an analogue of a pictorial one.

CHAPTER II: PORTRAIT OF A HERO IN A LYRICAL WORK

§ 1. Female portrait in Russian lyric poetry.

§ 2. Impressionistic features in a lyrical portrait

§ 3. Romantic tradition in the portraits of heroes in lyric poetry.

§ 4. Personified portrait of the era in lyric poetry.

§ 5. Lyrical portrait in prose.

CHAPTER III: SELF-PORTRAIT IN RUSSIAN LYRICS.

§ 1. Self-portrait in the poetry of VV Mayakovsky of the pre-October period of creativity.

§ 2. Portrait of feelings: psychological lyrical in the portraits of the heroine A. A. Akhmatova.

§ 3. Impressionistic features in portraits and self-portraits by M.I. Tsvetaeva.

§ 4. Self-portrait in the individual style of S.A. Yesenin.

CHAPTER IV: TYPOLOGY OF THE LYRICAL PORTRAIT

§ 1. Principles of portrait typology in lyric poetry.

Dissertation Introduction 2012, abstract on philology, Kolosova, Svetlana Nikolaevna

The portrait as a cultural phenomenon, an aesthetic object reveals itself initially in the fine arts. A priori, a portrait is understood as the transfer of a person’s appearance “on to the canvas”. As B.V. Shaposhnikov wrote, “we call the image of a certain person a portrait, when only he is the only theme of the picture”1. And N.I. Zhinkin in the article “Portrait Forms” defines a pictorial portrait, more specifically outlining its features and emphasizing the external static nature of the recreated object: “A portrait is an image on a plane of an individual person who is not involved in the action”2. The artist, creating a portrait, seeks to reflect not only the appearance of an individual person, but also his inner world, thoughts and feelings at a certain moment, which especially struck the creator, and to refract his own attitude to the subject of the image in this work. It is no coincidence that they say about a picturesque portrait that it is “the product of a lyrical 3 attitude to the world”.

Note, however, that a portrait in literature is one of the components of the “text canvas” - a concept no less common and relevant. Under the "portrait in literature" they mean a means of characterizing the hero, a description of his appearance, reflecting the inner world, the nature of interaction with the outside world, and correlate this concept ("portrait in literature") with a prose work. Thus, in the Dictionary of Literary Terms edited by L.I. Timofeev and S.V. Turaev, a portrait in literature is defined as “an image of the hero’s appearance: his face, figure, clothes, manners.<.>The character may not be described externally, and the portrait is given through the impression that the hero

1 Shaposhnikov B.V. Portrait and its original.// Art of the portrait. Sat. articles ed. A.G. Gabrichevsky. M., 1928. P.78.

Zhinkin N.I. Portrait forms.// Ibid. pp. 12-13.

3 Tarabukin N.M. Portrait as a problem of style.// Ibid. P. 173. 3 produces on others”1. In the Literary Encyclopedic Dictionary, edited by V.M. Kozhevnikov and P.A. Nikolaev, it is emphasized that a portrait is “a kind of description”2. And in other dictionaries, reference books, special literature on the theory of fiction3, a portrait is defined as a description of the appearance of characters, and it refers mainly to prose works, in which the portrait acts as one of the main means of creating an image in a work, as an artistic device.

The image of a person's appearance, which is the basis of any portrait, has various ways and forms of implementation in various types of art (fine arts, literature, music, photography, etc.). Accordingly, verbal portraits appear in literature, and depending on the genre and specific features of the work, it is advisable to single out the terms: “literary portrait”, “portrait in prose” and “portrait in lyrics”. Of course, all these concepts are associated with the depiction of a person in a literary work of art and basically have a relationship with a pictorial portrait, but they also have fundamental differences, and the degree and properties of kinship with painting also differ.

The term "literary portrait" is considered in the scientific literature in two meanings:

1 Dictionary of literary terms, ed. L.I. Timofeeva and S.V. Turaeva. M., 1974. S.275-276. (References to literary dictionaries and encyclopedias are important for us, since they show established terminological positions in the analysis of artistic phenomena of literature),

2 “Portrait in literature (French portrait, from portraire - to portray), the image of the hero's appearance (facial features, figure, posture, facial expressions, gesture, clothing) as one of the means of characterizing him; kind of description" - Literary Encyclopedic Dictionary. Ed. V.M. Kozhevnikov and P.A. Nikolaev M., 1987.

3 Brief literary encyclopedia, ed. A.A. Surkov. T.V. M., 1968. S. 894-895; Encyclopedic dictionary for youth. Literary criticism from A to Y. M., 2001.S.264-267; Literary encyclopedia of terms and concepts, ed. A.N. Nikolyukin. M., 2001. P.162.

1. Literary genre, close to the memoir, which is characterized by documentary, the desire for accurate, reliable reproduction of the chosen object, which is superimposed on the personal perception of the author. “First of all, this is a story about the character and fate of a certain person, the interest in which forms the content of the new genre. Documentary and biographical material, which is the basis of a literary portrait as a genre, required from the author and special ways of artistic processing. The process of creating the image of a hero in a literary portrait, on the one hand, is "limited" by the facts of the biography of a particular person, but on the other hand, the law of the genre does not constrain the author in choosing the forms of the author's commentary, explaining the nature of the hero of the story"1. Barakhov V.S. convincingly wrote about the genre of the literary part of the portrait. , Trykov V.P. , Urtmintseva M.G.

2. Another meaning of the term “literary portrait” is used in scientific research, for example, Gabel M.O., as “image of human appearance”4 in a literary work, i.e. is considered as an artistic technique, and then this concept coincides with the concept that is given in literary reference books as a “portrait in literature”. In the book by A.I. Beletsky “Selected Works on the Theory of Literature”, in the chapter “Depiction of the Appearance of Faces”, written by M.O. Gabel, the question of what kind of portraits are in works of art of various eras and trends is considered. The author singles out, in particular, a portrait of passport signs, an abstract portrait, a portrait of a transitional style, a picturesque portrait, a portrait with a changing expression, plastic, architectural portraits5. Note that in this work, the portrait is considered solely as a technique and

1 Urtmintseva M.G. Talking Painting (Essays on the History of a Literary Portrait). - Nizhny Novgorod. 2000. P.11.

2 Barakhov B.C. Literary portrait. Origins, poetics, genre. L., 1985.

3 Trykov V.P. French literary portrait of the 19th century. - M. 1999.

4 Gabel M.O. Image of the appearance of persons. / / AI Beletsky Selected works on the theory of literature. - M., 1964. S. 149.

5 See ibid. for details. pp. 149-169. there is no demarcation between the concepts of “portrait in lyrics” and “portrait in prose”, although examples of portraits in lyrics are given.

The term "portrait in prose" in this consideration will coincide with the concept of "literary portrait" in the second sense, and then this is an artistic device used as a means of creating the image of a hero1. Perhaps the most accurate definition of a portrait, characteristic of a prose work, is given in the monograph by L.N. The author writes: “A portrait in a literary work is one of the means of creating the image of a hero, with a reflection of his personality, inner essence, soul through the image (portrait) of the external appearance, which is a special form of comprehension of reality and a characteristic feature of the individual style of the writer”2. However, the above definition is quite fair for a portrait in a prose work, but does not take into account the peculiarities of a portrait in lyrics.

A.G. Gabrichevsky in the article “Portrait as a Problem of Image” wrote: “The problem of the portrait becomes a problem of style, the presence or absence of a portrait, its character, choice and interpretation of the model turn out to be a consequence or, at best, an expression of one or another worldview”3. In our opinion, the philosophy of a pictorial portrait most harmoniously reveals the philosophy of a portrait in lyrics, because, unlike prose, where the portrait often acts as a tool, as one of the means of creating a character, in lyrical poetry a portrait (as in

1 Portrait in fiction. Interuniversity collection of scientific papers. -Syktyvkar, 1987; Kashina N.V. Man in the work of F.M. Dostoevsky. - M., 1989; Dmitrievskaya JI.H. Landscape and portrait: the problem of definition and literary analysis (landscape and portrait in the work of ZN Gippius)). Monograph. - M., 2005; Wu Chunmei Portrait in stories and short stories by LN Andreev. - M., 2006, etc.

Dmitrievskaya L.N. Landscape and portrait: the problem of definition and literary analysis (landscape and portrait in the work of ZN Gippius)). - M., 2005. P. 90. 3 Gabrichevsky A.G. Portrait as a Problem of Image.//The Art of the Portrait. Sat. articles ed. A.G. Gabrichevsky. M., 1928.S.55. 6 of painting) is both the subject and the purpose of the image, and at the same time the expression of the author's worldview. Therefore, when defining a portrait in lyrics, it is necessary to take into account the definition of a pictorial portrait. “A portrait is, first of all, an image, but not of any object, but of a person<.>not images of a person in general, but an individual one, or better - a single one, but not only an individual one, but one who is in a calm state, i.e. not involved in the action." So, fundamental for a portrait canvas is 1) the image of a hero; 2) his appearance is the only subject of the painting; 3) the means by which the artist operates reflect his vision and attitude towards the hero. When a portrait is created in lyric poetry, the artistic content of the work is focused exclusively on the description of the hero (albeit fragmentary), and it is through this description that the individual author's style is expressed, which, according to P.N. P.N. Sakulin).

Of course, with the passage of time in the literary process, the portrait in lyrics (and not only in lyrics) acquires more and more significance, greater semantic load and philosophical content. This is largely due to the fact that the word is gaining more and more associative breadth, "the word is art"3, according to A.A. Potebnya. In this regard, the portrait gradually becomes a kind of visual analogue of the word. A lyrical portrait is not only an image of an object, an image, but, first of all, a reflection of the complex mental processes of the poet himself. As B.V. Shaposhnikov wrote, speaking about the philosophy of the portrait as a whole: “The individuality of the artist himself colors all the“ ideas ”,

1 Zhinkin N.I. Portrait forms.// Ibid. pp. 12-13.

2 Sakulin P.N. Philology and cultural studies. - M., 1990. P. 141.

3 Potebnya A.A. theoretical poetics. - SPb., 2003. P.38. 7 which he puts into all his works, including portraits. In this sense, all the artist's work is self-portrait"1.

Exploring the nature of the portrait, Yu.M. Lotman noticed that no matter how the portrait may seem to be “the most “natural” genre of painting that does not need theoretical substantiation,” in reality, “the portrait fully confirms the general truth: the more understandable, the more incomprehensible”2. Undoubtedly, a portrait is the most interesting phenomenon in art, connecting the inner essence and the outer embodiment, the resemblance to the original and the author's vision of the object. "<. .>portrait by its nature is the most philosophical genre of painting. It is basically built on a comparison of what a person is and what a person should be. A number of works are devoted to the study of the concept of a portrait, in particular: M. Alpatov “Essays on the history of a portrait”4, Yu.M. Painting with a word. Human. Scenery. The Thing”7, L.S. Singer “Essays on the Theory and History of the Portrait”8, V. Friche “The Sociology of Art”9 and others. Today, there are enough works on the portrait in prose works in which the role of the portrait is empirically determined10.

1 Shaposhnikov B.V. Portrait and its original.// Art of the portrait. Sat. articles ed. A.G. Gabrichevsky. M., 1928.S.82 4 Lotman Yu.M. About art. - M., 1998. S.500.

3 Ibid. P.510.

4 Alpatov M. Essays on the history of the portrait. - M.-L., 1937.

5 Lotman Yu.M. Portrait.// Lotman Yu.M. About art. - M., 1998. S.500-518.

6 Dmitrieva N. Image and word. - M., 1962.

7 Galanov B, The Art of the Portrait. - M., 1967; Galanov B. Painting with a word. Human. Scenery. Thing. - M., 1972.

8 Zinger L.S. Essays on the theory and history of the portrait. M., 1989.

9 Fritsche V. Sociology of art. - M.-L., State Publishing House. 1930, 205s.

10 Abelyasheva G.E. Problems of the poetics of the portrait: (Based on the novel by M. Yu. Lermontov "A Hero of Our Time"). - Simferopol, 1997; Portrait in fiction. Interuniversity collection of scientific papers. Syktyvkar, 1987 and others.

One of the most thorough studies in the field of lyrical portrait is the work of Bashkeeva V.V. "Russian verbal portrait: Lyrics and prose of the late 18th - first half of the 19th century", made as part of a doctoral dissertation. The author considers in the work a portrait in the poetry of G.R. Derzhavin, K.N. Batyushkov, V.A. Zhukovsky, a portrait in prose by N.M. Karamzin and A.A. .Pushkin. It should be noted that V.V. Bashkeeva sets herself the task of considering “the originality of portrait forms in their historical development in Russian poetry (lyrics) and prose of the period of the formation of a literary verbal portrait in the 1780-1830s”1, however, the theoretical justification the concept of a portrait in the lyrics, the author does not give its functional differences. The corresponding typology is not presented either.

The portrait in poetic creativity is a capacious and multifunctional phenomenon, its functioning in the text goes far beyond the artistic device. This is not just a means of creating a character (as in a prose work), a compositional device or even a genre, it is often the creation of an image of the idea of a work, a reflection of the author's understanding of the world as a whole.

Dictionaries and reference books3 do not single out a portrait in a lyrical work, only in the Literary Encyclopedia of Terms and Concepts, ed. A.N. Nikolyukin mentions that “in lyrics and especially in drama

1 Bashkeeva V.V. Russian verbal portrait: Lyrics and prose of the late 18th - first half of the 19th century. Dr. diss. -M., 2000. S.22-23.

2 Mineralov Yu.I. Theory of artistic literature. Poetics and individuality. M., 1997. S.208.

3 Dictionary of literary terms, ed. L.I. Timofeeva and S.V. Turaeva. M., 1974; Brief literary encyclopedia, ed. A.A.Surkova. - M., 1968; Literary encyclopedic dictionary. Under total ed. V.M. Kozhevnikov and P. Nikolaev. M., 1987; Encyclopedic dictionary for youth. Literary criticism from A to Z. - M., 2001. verbal portrayal is more or less difficult and limited”1. But it is not without attention in modern science. On the contrary, there are quite a few separate articles, analytical materials2 that touch upon this problem, which indicates an undoubted interest in it both in theoretical and historical-literary terms. In the presence of fragmentary, episodic approaches to the phenomenon presented in the title of the dissertation, the need has matured for a study in which both theoretical and historical-literary features of the named phenomenon in Russian poetry would be determined. The relevance of the study is determined by the need to identify the typological features of a lyrical portrait, as well as the urgent requirement of the modern history of literature, to determine the specifics of a complex of artistic techniques and forms of creating a lyrical portrait.

The object of this study is predominantly poetic works, indicative from the point of view of studying the historical and literary artistic phenomenon chosen for it, - I.A. Bunin, VL. Bryusov, M.A. Voloshin, N.S. poets of the turn of the 19th - 20th centuries, considered in the context of the Russian poetic tradition that has developed in the work of K.N. Batyushkov, A.S. Pushkin, M.Yu. Lermontov, E.A. Baratynsky, A.A. .Apukhtin, A.A. Fet, F.I. Tyutchev; as well as separate poetic works of V.V. Mayakovsky,

1 Literary encyclopedia of terms and concepts, ed. A.N. Nikolyukin. M., 2001. S. 762.

2 Vasiliev S. A. Portrait in the post-October lyrics of V. Khlebnikov / / Philological traditions and modern literary and linguistic education. Issue 3: In 2 v. V.1. - M., 2004. S. 152-158; Vasiliev S.A. Picturesque images of V.M.Vasnetsov in the lyrics of A.A.Blok// Synthesis in Russian and world artistic culture. Materials of the Fourth scientific and practical conference dedicated to the memory of A.F. Losev. - M., 2004. S. 46-50; Secrier A.E. Sketch, sketch, study as dynamic phenomena of Igor Severyanin's individual style. // Synthesis in Russian and world artistic culture. Materials of the Third scientific-practical conference dedicated to the memory of A.F. Losev. -M., 2005 and others.

M.I. Tsvetaeva, A.A. Akhmatova, S.A. Yesenina, G. Ivanov and others. The paper analyzes lyrical poetic works in which the portrait image is the focus of the author. We do not consider satirical poetry, since it is correlated with special "comic" and satirical forms of fine art, and therefore is a topic for a separate work.

The subject of the study is the techniques, methods of creation, the functioning of portrait images in Russian lyrical poetry, as well as the role of the portrait in shaping the artistic world of the poet as a whole.

In our work, we aim to define, designate, characterize and differentiate such a significant, multifaceted phenomenon in Russian lyrics as a portrait. Accordingly, the objectives of the study are determined by the goal and are as follows:

To reveal and theoretically substantiate the concept of "portrait in lyrics", which is not indicated in literary reference books and dictionaries as a special phenomenon that has significant differences from terms that are similar in name ("literary portrait" and "portrait in prose");

Show the fundamental differences between the metonymic “portrait in lyrics” devoid of a detailed description, often fragmentary (but preserving the integrity of the portrait image) and epicly expanded, repeatedly “scattered” in the text, often having author’s commentary, analytical “portrait in prose”;

Determine the functional manifestations of a portrait in a poetic text, which has more analogies with the art of painting, a more detailed field of interaction with the general content aspect of the work than a portrait in prose, and also allows you to present the author's philosophical picture of the world in a "condensed" form;

To substantiate the rationale behind the consistent appeal to the portrait in Russian literature, especially at the end of the 19th century, when a scrupulous study of the microcosm of Man and his place in the general

11 picture of the universe leads to the development of new portrait forms, including in poetry;

To characterize the main means of creating a portrait in a lyrical work, the range of which is significantly expanded compared to a portrait in prose, which is due to the general design features of poetic works, which make it possible to contain the descriptive texture of a portrait in a folded form, while maintaining the necessary dynamics; based on the analysis of literary texts, to identify, systematize and substantiate the typology of the portrait in lyric poetry;

Show the features of portrait "painting" in the individual style of Russian poets.

Methodology. Comparative-comparative, cultural-historical, structural-typological, historical-functional methods were used in the study. The methodological basis of the work was the works of F.I. Buslaev, A.A. Potebnya, A.F. Losev, P.N. Sakulin, M.M. Bakhtin, A.N. .Zhirmunsky. The methods of analysis and approaches to the study of the text developed by A.A. Potebnya, V.V. Vinogradov, A.N. Veselovsky, V.M. Zhirmunsky, Yu.M. the form of the word and the work as the main semantic center that forms the content of the artistic image and the corresponding associative links that allow revealing the content of the work as a multidimensional system.

The doctrine of A.F. Losev about the dialectic of art form art form<.>there is a person as a symbol or a symbol as a person" (italics by A.F. Losev)) was the basis for considering the concept of "portrait", in which the problem of the relationship between form and content was refracted: the appearance of a person (hero) is a reflection of the deep content of not only the image of the hero , but the works and worldviews of the author

12 overall. Therefore, one of the main concepts in the dissertation was the concept of individual style, developed in the works of A.F. Losev, P.N. Sakulin, P.A. Nikolaev, Yu.I. Mineralov. So, P.N. Sakulin believed that “every great style is a formal expression of a certain worldview”1, and A.F. Losev called style “the true face of a work of art”2.

The development of the typology of portraits in lyrics was based on the works of M. M. Bakhtin about the author and the hero, Yu. M. Lotman about the portrait. In the study of analogies to fine arts, painting (icon painting) and lyrical poetry, the works of M.V. Alpatov, F.I. Buslaev, B. Galanov, N. Dmitrieva, M.O. for defense:

1. The concept of “portrait in lyrics” differs significantly from the concept of “portrait in prose” both in form and in the way of manifestation in a work, and in functional content. A portrait in prose is determined by a descriptive series of details, accompanied by an author's commentary, it is an artistic device, one of the means of creating the image of a hero, while a portrait in lyrics (if it becomes the object of the author's attention) is the main or one of the main subjects of the image in the work, metonymic, often devoid of descriptiveness and is the essence of the lyrical plot.

2. By “portrait in lyrics” one should understand such a metaphorically capacious poetic image of the hero’s appearance, in which, through the details of the appearance or the impression from them, not only his image is recreated, but the manifested, poetically visualized author’s picture of the world.

1 Sakulin P.N. Philology and cultural studies. - M., 1990. S. 141.

2 Losev A.F. The dialectic of art form. - M., 2010. S.207.

3. The interpenetration of prose and poetry, which led to the mutual borrowing of techniques for constructing works, leads to the fact that in poems plot elements are more active, and in prose there is a weakening of the plot outline and an increase in the lyrical plan, which occurs mainly due to the widely used descriptiveness, in in particular, a portrait image, that is, a portrait becomes a manifestation of the lyrical in a prose work.

4. He mastered the tradition of the romantic poets of the second half of the 19th century, A.A. Fet, F.I. Tyutchev, as well as the philosophy of contemporary fine arts at that time, in particular, impressionistic painting, aimed at conveying movement in the space of the picture, a portrait of the hero in lyrics of the beginning of the 20th century gradually becomes the embodiment of the emerging and changing author's impression of the hero, his inner world and interaction with him.

5. Due to the cultural and historical development associated with the idea of anthropocentrism, with an increased interest in the study of the microcosm of the individual as a macrocosm (in accordance with the neo-romantic tradition), the active development of portrait forms in literature (in prose, poetry and even drama1) at the turn of the 19th-20th centuries becomes a landmark phenomenon of the era, one of its main features.

6. Based on the teachings of M.M. Bakhtin on the relationship between the author and the hero, a portrait of the hero of the work is distinguished (if the hero is objectified in accordance with the plan, “removed” from the author) and a portrait

1 Jezuitov S.A. On the portrait in drama (Analysis of M. Gorky's plays of the 1930s) // Portrait in artistic prose. Interuniversity collection of scientific papers. - Syktyvkar, 1987. S.81-101. a lyrical hero, or a self-portrait, if the lyrical hero and the author are as close as possible.

8. In a lyrical work as a small art form, the descriptive row is often elliptical, leaving the reader's attention with the most significant details (faces, figures, costumes, details accompanying the hero, etc.), which are taught by the author in such a way that both a portrait image and the author's position is revealed. The detail in the lyrics to a greater extent loses the function of descriptiveness, becomes more metaphorical, often represents a “folded”1 plot, which, opening up, fills the portrait of the hero, often supplemented by a sound component.

1 See for more details: Mineralov Yu.I. Theory of artistic literature. Poetics and style. - M., 1997. S. 217-248 The plot and a much more extensive system of images play a significant role in artistic content. The detailed descriptive texture of the portrait, characteristic of prose, is elliptical in the lyrical work due to its small volume, while maintaining a holistic view of the depicted object. The ways of expressing portrait integrity and completeness in poetry are very diverse (from color dynamics to sound painting and rhythmic drawing), and the complex of these means allows one to form a single idea of the poet's individual style, manner and nature of his "painting". In lyrical poetry, the portrait phenomenon is gradually becoming a subject that is not only more in demand in the practice of word artists, but reveals the global nature of this phenomenon in the literary process as a whole.

Thus, the novelty of the dissertation is determined by the fact that it 1) identifies and discloses the concept of “portrait in lyrics”, which is not specifically declared in modern science, which in form, meaning and purpose differs significantly from the concept of “portrait in prose”; 2) collected and systematized and theoretically substantiated historical and literary material related to the study of the portrait in a lyrical work; 3) on the basis of a comprehensive, comparative cultural and historical analysis of works of art, the specifics of a lyrical portrait are revealed; 4) its typology has been developed, and 5) the refraction of this phenomenon in the work of a number of poets has been demonstrated.

The practical significance of the work lies in the fact that the results can be used and are already being used in reading university basic courses on the history of Russian literature, elective courses, electives on the history and theory of style, as well as issues related to the development of problems of lyrics, genres of poetry, the image of a hero and a lyrical hero, when choosing topics for term papers and theses of students, as well as in advanced training courses for teachers.

Approbation. The research materials have been tested for a number of years at lectures, special courses and electives on the history of Russian literature at the Department of Philological Education of the Moscow Institute of Open Education. The main provisions of the dissertation were reported at interuniversity scientific, scientific and practical conferences, at All-Russian conferences in Moscow, Lipetsk, Yelets, Nizhny Novgorod, Yaroslavl, in particular: “World literature for children and about children” (19962000, 2003, MSGU), “ Problems of the evolution of Russian literature of the XX century. Third Sheshukov Readings” (1998, Moscow State Pedagogical University), “IX Purishev Readings. World Literature in the Context of Culture" (1998, Moscow State Pedagogical University), "Synthesis in World Artistic Culture" (2002-2006, Moscow State Pedagogical University), "Humanities and Orthodox Culture (Easter Readings)" (2003-2005, Moscow State Pedagogical University), "Philological Traditions and modern literary and linguistic education” (2005, Moscow State Pedagogical Institute) and others. On the topic of the dissertation, 2 monographs, 41 articles were published, including in publications recommended by the Higher Attestation Commission of the Russian Federation - 8.

Work structure. The thesis consists of an introduction, four chapters, a conclusion, a bibliography and an appendix. The total volume is 384 pages. The bibliography includes 311 titles.

Conclusion of scientific work thesis on "Typology and Poetics of the Portrait in Russian Lyric Poetry"

CONCLUSION

F.W. Schelling wrote: “<.>the human figure is the last and perfect subject of the pictorial representation; here art enters a sphere where, in fact, its absolute creations only begin and its true world is revealed. In lyrical poetry, a portrait is a particularly remarkable and significant phenomenon, because, due to the small volume of the work, in a “condensed”, concentrated form, they present not only and not so much the appearance of the hero, but a sensual visualized picture of the human microworld, inscribed in the macrocosm of the universe. "<.>The portrait is by no means reduced to depicting the face and figure of a person, but implies the depiction of the whole world through the human personality, individuality, transformed by art.

1 Schelling F.V. Philosophy of art. - SPb., 1996. S.251.

2 Andronnikova M.I. Portrait. From rock paintings to sound film. -M., 1980. S.398.

Mastering the traditions of the lyrical depiction of appearance as a dynamic metonymic, transmitted color, sound writing, allusive connections, etc. pictures of the world, the poets of the subsequent era not only create a wide variety of samples in this area, but consistently use the portrait as one of the main objects of poetic creativity. It can be said that the most active development of portrait forms, in particular, the lyrical portrait, occurs in Russian literature at the turn of the 19th-20th centuries and becomes one of the characteristic signs of the times. (“A portrait is a chronicle of an epoch through a gallery of those portrayed”1.) The study of Man marks the study of his place and role in the Universal picture of the universe, and the portrait (especially in lyrics, given its concentrated metaphorical, symbolic nature) makes it possible to discover and visualize the result of this study. A portrait in lyrics (even if it is given fragmentarily, metonymically) allows recreating a single image of the hero of the work, which is a symbolic expression of an individual philosophical model of the world, by detail, epithet, name, etc. (Recall that in painting, special attention is paid to a fragment of a picture, which allows you to see the nuances of a single image and more subtly feel their psychological, dynamic, color purpose). The small becomes a reflection of the Universal: the portrait is restored in detail, which in turn is an expression of the microcosm of the hero and the author in a single picture of the world.

Note, however, that if in the 19th century in poetry the portrait of the hero-addressee, created as a rule within the genre of the message, sonnet, etc., a priori predisposing to the poetic image of the image of the hero, became most widespread in poetry, in the era of the turn of the 19th-20th centuries in

1 Lushnikov B.V. Drawing. Portrait. - M., 2004. P.5.

337 poetic creativity, there is an increased interest in the portrait, and in the form as a descriptive texture, and in the very idea of \u200b\u200bportrait as a philosophical concept (and this trend is explained by the characteristics of the era), then in the second third of the 20th century, interest in the portrait (especially in poetic creativity) fades. And this is also quite understandable. The change of times entails a change in aesthetic and philosophical views. Thus, in subsequent epochs, the relationship between the concepts of the World and Man has undergone a significant change. The problems of the social structure come to the fore, ideas about Man as a reflection of the model of the Universe are destroyed.

The portrait in lyrics, in which the initially chosen subject is explored as the focus of internal dynamics reflected outside, loses its relevance. With the onset of a different era, wars, world upheavals, social transformations, a person as a microcosm is lost in the all-encompassing flow of history. The tragic destruction of Man as an inherently valuable world, the “dissolution” of the acutely individual in the universal led to the “cooling off” of interest in a lyrical portrait, in which personal uniqueness would be visualized. Man turned out to be lost, dissolved in a new world, in the universe. The priorities of the personal are replaced by the priorities of the social.

In poetry, a vivid example of such a process is the lyrics of Georgy Ivanov of the emigrant period, in which destruction became the leading motive ("Let's say, as a poet, I will not die / But as a person, I die"1), the motive of "Decomposition of the atom" ("No longer belonging to life, yet not caught by the void. On the very edge."). The title of one of the collections, "Portrait without resemblance", eloquently declares the distorted, destroyed image of the hero, and hence his world.

Nevertheless, the portrait in the lyrics of the late 19th - early 20th centuries, having absorbed the tradition of the previous era, is a poetic and philosophical category that allows the means of artistic expression to “outline” the author's model of the relationship between the world and man in their dynamics and clarity. It is fair to say that the concept of "portrait in lyrics" should be singled out as an autonomous one, different from "portrait in prose", since it is conceptually different in terms of functional content, a higher level of philosophical generalization, and a place and significance in the structural and semantic outline of a work. generally.

A number of features of a portrait in lyrical poetry should be singled out: it is less specific, less “detailed” than a portrait in a prose work, it is less descriptive; often it is metonymic; ^ a portrait in lyrics is often not a means of creating a hero, but a way of conveying the idea of a poetic work; ^ a portrait in lyrics has a greater degree of generalization, most often it is a philosopheme that reflects the author's worldview; ^ a portrait in lyrics is created not so much by listing the actual portrait details, but by emphasizing the peripheral details of the lyrical plot, color content of the text, and verse organization;

1 Ivanov G.V. Inc. Op. in 3 volumes. T.1., M., 1994. S.321.

2 Ivanov G.V. "The decay of the atom" // Sob. op. in 3 volumes. T.P., M., 1994. S.ZZ.

339 A special place in the creation of a lyrical portrait is occupied by a poetic organization, a sound component, because the rhythmic pattern and sound associations that unite the main details of the portrait into a system make it possible to convey a single pictorial and musical picture of the human soul, realized in the portrait. ^ a lyrical portrait can be a component of a genre, but it is difficult to single it out as an independent genre, because in lyrics, he does not have characteristic genre features (such as a literary portrait).

The analyzed material reveals that the portrait in a lyrical work metaphorically visualizes the system of the author's relationship with reality, his philosophical model of the world, recreated in accordance with the poetics of his individual style in the guise of a hero. In the context of a poetic work, a portrait is considered by poets as a philosopheme, as a picture of the inner content of a person reflected outside, a visual symbolic image of the dynamic world of his experiences. For I.A. Bunin, let's say, a portrait is the result of a person's spiritual dynamics, his inner growth, therefore the portrait-movement, which captures the poetry of gesture, becomes dominant in his work. He creates a whole gallery of specific, tangible, sensual, earthly images, for him the very idea of a portrait is a reflection of human life in all its versatility, the unity of the divine soul and sensual body.

For Georgy Ivanov, who was formed in the era of the Silver Age, on the contrary, the portrait is a destructive principle, in which the conflict of the true and the false, the truth and its distortion is obviously embedded. For the poet, the portrait is also connected with the concept of time, but this is not a desire to catch a moment of a person’s spiritual transformation, as in I.A. Bunin, but, on the contrary, a descriptive portrait, prone to static, reproducing a pictorial plot, is a mystical facet that opens a temporary corridor, in

340 which is endless despair, a tragic trial, untimely suffering that destroys the human soul. The portrait, like a mirror, reflects the image, thereby, as it were, increasing and perpetuating the lingering melancholy of the lyrical hero. Time stopped in the portrait and in life at a desperate moment, and this is the main pathos of the poet's work. So the portrait becomes for Georgy Ivanov a symbol of the eternally suffering human soul.

In the poetry of V.Ya. Bryusov, the portrait has impressionistic features, it is a “dissolving” portrait, in which there is not and cannot be the slightest obviousness and certainty, because the essence of the poet’s worldview is an eternal search, the desire to comprehend an unattainable secret, which a priori cannot have specific images. And even visible and seemingly very real features dissolve under the gaze of the symbolist poet. Impressionism in the portraits created by I. Severyanin is of a different kind. If in the poetry of V.Ya. called. In the work of A.A. Akhmatova, the “understatement” characteristic of her work is also manifested in portrait sketches demonstrating the movement of the heroine’s lyrical feeling.

The degree of "openness" of the author to the reader, the choice of the hero, arising from the characteristics of the individual style, determine the type of portrait used by the poet in the work. In a poem, a portrait of a hero can be created, maximally objectified, "remote" from the author by time, space, plot (as, for example, this often happens in the work of N.S. Gumilyov), but at the same time he expresses the author's position. The author remains more of an observer. However, in poetry, the presence of a lyrical hero determines the creation by him of portraits of heroes, to whom he expresses his attitude in one way or another.

If, when creating a portrait in a work, the author emphasizes autobiographical features in a lyrical hero (as, for example, in the poetry of S.A. Yesenin), actively uses confessional motives (as, for example, A.A. Akhmatova), then it is advisable to talk about a self-portrait in lyrical work.

Thus, the analysis of works of art allows us to assert that the portrait in lyrics is a special phenomenon, which has not an optional meaning in a work (as in prose), but a categorical one; the portrait as one of the dominant subjects of lyric poetry becomes a special symbolic phenomenon in the era of the turn of the 19th-20th centuries. The versatility, multifunctionality of the portrait in a poetic work is obvious. The portrait acts as a component of genre formation, plot formation, largely determines the ideological and philosophical content of the text, that is, it not only largely reveals the artistic content of each individual work, but, most importantly, is a reflection of the author’s aesthetic, philosophical vision, his inner world, interactions and relationships with the universe.

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