Components of the literary process: artistic (creative) method, literary direction, literary trend. literary process

The literary process is a set of generally significant changes in literary life (both in the work of writers and in the literary consciousness of society), i.e. dynamics of literature in a large historical time. Forms (types) of the movement of literature in time are very heterogeneous. The literary process is characterized by both a progressive movement (a steady increase in the personal principle in literary creativity, a weakening of the canonical principles of genre formation, an expansion of the writer's choice of forms) and cyclic changes: a rhythmic alternation of primary and secondary styles fixed by the theory (Dm. Chizhevsky, D.S. Likhachev ). The literary process (as well as artistic life in general) depends on socio-historical phenomena; at the same time, it possesses relative independence; specific, immanent principles are essential in its composition. The literary process is not free from contradictions, including not only peaceful-evolutionary, but also revolutionary (explosive) principles. Most importantly, it is marked by periods of both rise and prosperity (“classical” stages of national literatures), as well as crises, times of stagnation and decline.

In the composition of literary life, local and temporary phenomena are distinguishable - on the one hand, on the other hand, supratemporal and static structures (constants), often referred to as topics. “has a reserve of stable forms that are relevant throughout its entire length”, and therefore it is legitimate and urgent to look at it “as an evolving topic” (Panchenko A.M. Topeka and cultural distance. Historical poetics: results and perspectives of study). Topeka constitutes a fund of literary continuity, which has its roots in the archaic and is replenished from epoch to epoch. It includes both an arsenal of universally significant artistic forms (stylistic and genre) and phenomena that are actually meaningful: mythopoetic meanings, types of emotional mood (sublime, tragic, laughter), moral phenomena and philosophical situations. The scope of the literary topic also includes motifs that have stability and the so-called "eternal images".

National and regional literatures of certain periods use the fund of continuity in different ways, selectively, placing their accents and supplementing the existing topic. Each of the literary eras is a special, uniquely individual receptacle of artistic phenomena that came from the past and in some way significantly replenished by itself. The literary process is a combination of various states of literature that replace each other, and at the same time have features of kinship. One state of literature either “flows” into another smoothly and gradually (for example, the formation of Renaissance beginnings in Italian literature of the 13th-15th centuries), or (in some cases) is replaced abruptly and rapidly (the “scrapping” of artistic life in Russia in the first post-revolutionary decades) . Periods and stages of literary development (for all the specificity of each of them) are not polar to each other. Each subsequent state of literary life does not cancel the previous one, although very much of the artistic experience of past eras can be strongly suppressed. The successive states of literary life are marked by both its renewal and the variation of its constants (topics). The more closely the inheritance of traditions and the energy of the renewal of verbal art are connected in a certain artistic and literary community, the richer and more fruitful it is (such, for example, the Renaissance).

On the other hand, literary movements that saw themselves solely as guardians of the past(for example, the museum-philological culture of Alexandria in the Hellenistic era) or as "pure innovators" who neglect previous experience, did not play a significant role in the worldwide literary process. The chronological boundaries between the stages of literary development invariably turn out to be indefinite and blurred. At the same time, the stadial nature of literary development constitutes a certain deep reality of the literary process. Following J. Vico and J. G. Herder, attempts were made to comprehend the historical process as a whole. These are F. Schiller's treatise "On Naive and Sentimental Poetry" (1795-96) and V. A. Zhukovsky's article "On the Poetry of the Ancients and New" (1811), the second volume of Hegel's Aesthetics , romantic forms of art), the correlation of the stages of artistic creativity with socio-economic formations in Marxist literary criticism. In the 1970s, the concept of the staging of literary development, proposed by N.I. Konrad, gained influence: ancient (antique) literatures are replaced by medieval ones and, through the globally interpreted Renaissance, by the literature of the New Age. As part of the latter, modern scientists (mainly in relation to the European region) distinguish such international phenomena as baroque, classicism, Enlightenment, romanticism, realism, modernism. Comparing the literary eras of different regions, some scholars state the commonality of the stages of literary development in the West and East and believe that the Renaissance, Baroque, and Enlightenment, which were originally identified in Western European literatures, also took place in Eastern countries (Konrad). This hypothesis, which artificially "straightens" world literature, raised objections from other scholars who emphasize the diversity of cultures and literatures of the West and East. Recently, the originality of Eastern European and, in particular, Russian cultural and artistic development, largely predetermined by the influence of hesychasm in the 14-15 centuries (originally Byzantine), has been emphasized; in this regard, pre-revival is spoken of not so much as a universal stage of culture, but as a powerful and influential East European movement (Likhachev, I. Meyendorff, G. M. Prokhorov).

Stages of literary development

Modern literary scholars (following M.M. Bakhtin, who considered genres to be the “main characters” of the literary process and substantiated the concept of romanization of literature) distinguish three historically successive types of literary creativity: pre-reflective traditionalism (folklore-mythological archaism), reflective traditionalism (from ancient Greek classics 5th century BC to the middle of the 18th century), “post-traditionalist” era, characterized by non-canonical genre poetics (S.S. Averintsev); or (in somewhat different terminology) the following stages of literary development are distinguished:

Archaic, mythopoetic;
Traditionalist-normative;
Individually creative, based on the principle of historicism (P.A. Grintser).

No less complex than the connections of literary epochs are the relationships between the literatures of different countries, peoples, states, each of which is specific and original. Here, too, there is a dialectic of similarities and differences, which literary criticism is approaching to understand, overcoming the stereotypes of Eurocentrism. The literatures of different countries and peoples, as well as the ways of their historical formation and development, are of different quality, which is the highest value of world culture. This heterogeneous quality of literatures does not exclude moments of commonality between them. The literatures of individual peoples play the role of indispensable instruments in the orchestra of world culture. This common life of the literatures of different countries, regions, peoples gives grounds to talk about literary processes on a world-historical scale: the original literatures of individual peoples, countries, regions move in historical time along different roads, at different tempos, but - in one common for all directions, and at the same time retain the qualities common to all of them. The literary life of mankind, in other words, is marked by its deep unity, both in historical time and in geographical space. The convergence of the literatures of different countries and peoples, the beginnings of commonality between them, are of a twofold nature. First, socio-cultural formations (including literary and artistic phenomena) have a typological similarity due to the common nature of man and society. Secondly, an essential aspect of the history of mankind is international cultural ties, which are invariably present in literary life. Perhaps the most large-scale phenomenon in the field of international literary relations of modern times is the intense impact of Western European experience on other regions (Eastern Europe and non-European countries and peoples). This globally significant cultural phenomenon, called Europeanization (or Westernization and modernization), is interpreted and evaluated in different ways: in some cases - mostly negatively, as unifying and distorting national life (N.S. Trubetskoy), in others - apologetically, as signifying a good shift in the history of mankind (L.M. Batkin). In the history of non-Western European literatures, according to G.D. Gachev, the pulling up of literary and artistic life under the Western European model sometimes led to its denationalization and impoverished it, but over time, a culture that experienced strong foreign influence, revealing national elasticity and stamina, carried out a critical selection of foreign material and thus enriched.

The system of concepts focused on the study of literary processes is not sufficiently stable and sustainable. When considering literary and artistic communities replacing one another, scientists use the terms: international literary trend (V.M. Zhirmunsky), trend and direction (G.N. Pospelov), style (D.S. Likhachev), artistic system and creative method ( I.F.Volkov), types of literary consciousness (literary critics of IMLI). Literary processes within a certain country and era include both newly created verbal and artistic works, socially and aesthetically of different quality (from high examples to epigone and mass literature), and forms of existence of literature (modern and past): publications, editions, literary criticism and literary criticism, as well as readers' responses in a variety of their forms. Sometimes significant works become the property of literary processes much later than they were written (poetry by F. Hölderlin, many poems by F. I. Tyutchev, a number of works by A. A. Akhmatova, V. V. Rozanov, M. L. Bulgakov, A. P. Platonov ). On the other side, an important link in the literary processes of individual eras are the facts, insignificant in terms of the history of national literature. Such is the passion for melodrama in France in the 19th century, in Russia - by S.Ya. Nadson in the 1880s, by I. Severyanin in the 1910s. Initially, the facts of literary processes are recognized by criticism, primarily in reviews of current literature, which in Russia in the 1820s and 30s had almost encyclopedic completeness. In the 20th century, discussions in the press, as well as at writers' conferences, symposiums, and congresses, became a form of understanding the current literary process and at the same time an act of influencing it. Experiences in studying the literary processes of individual epochs have intensified since the 1920s, when interest in writers of the second row, mass literature increased and attention was paid to the movement of peripheral phenomena of literature to its center and back (Yu.N. Tynyanov).

What is the literary process?

This term, firstly, denotes the literary life of a certain country and era (in the totality of its phenomena and facts) and, secondly, the centuries-old development of literature on a global, worldwide scale.

literary process in the second meaning of the word is the subject of comparative historical literary criticism.

literary process- the historical movement of national and world literature, developing in complex connections and interactions. The literary process is at the same time the history of the accumulation of aesthetic, spiritual and moral values, the indirect, but steady expansion of humanistic concepts. Until a certain time, the literary process has a relatively closed, national character; in the bourgeois era, with the development of economic and cultural ties, "... out of a multitude of national and local literatures, one world literature is formed."

The study of the literary process involves the formulation and solution of many complex, complex problems, the main of which is to elucidate the patterns of transition of some poetic ideas and forms to others, old to new, entailing a change in styles, literary trends, trends, methods, schools, etc. What changes in meaningful form of literature, reflecting a life shift, a new historical situation?

Writers are included in the literary process with new artistic discoveries that change the principles of studying man and the world. These discoveries are not made in a vacuum. The writer certainly relies on the traditions of both immediate and distant predecessors, participants in the literary process of domestic and foreign literatures, in one form or another using all the experience accumulated in the artistic development of mankind. It can be said that the literary process is a struggle of artistic ideas, new with old, bearing in itself the memory of the old, defeated. Each literary trend (trend) puts forward its leaders and theorists, declaring new creative principles and refuting the old ones, as being exhausted by literary development.

So, in the XVII century. in France, the principles of classicism were proclaimed, strict rules of "poetic art" were established, as opposed to the willfulness of baroque poets and playwrights. But at the beginning of the XIX century. romantics sharply opposed all the norms and rules of classicism, declaring that the rules are crutches and genius does not need them (see Romanticism). Soon the realists rejected the subjectivism of the romantics, putting forward the demand for an objective, truthful depiction of life. But even within one school (direction, current) there is a change of stages. “So, for example, in Russian classicism, the role of the initiator was played by Kantemir, whose work ended in the very beginning of the 40s. 18th century In the works of M.V. Lomonosov, A.P. Sumarokov, V.K. at the beginning of the 19th century, classicism reaches its completion and ceases to exist as a certain literary trend. “The change in the stages of classicism was determined by the convergence of literature with reality” (L. I. Timofeev).

An even more complex picture is the evolution of critical realism in Russian literature of the 19th century: A. S. Pushkin, N. V. Gogol, I. A. Goncharov, I. S. Turgenev, F. M. Dostoevsky, A. P. Chekhov. It is not just about different artistic individuals: the nature of realism itself, the knowledge of man and the world, is changing and deepening. The “natural school”, which opposed romanticism and created masterpieces of realistic art, was already perceived in the second half of the century as a kind of canon that fettered literary development. The deepening of psychological analysis by L. N. Tolstoy and F. M. Dostoevsky marked a new stage of realism in comparison with the “natural school”. At the same time, it should be emphasized that, in contrast to the development of technology in the history of art and literature, new artistic discoveries do not cross out the old ones. Firstly, because the great works created on the basis of the "old" principles of human studies continue to live in new generations of readers. Secondly, because these "old" principles themselves find life in new epochs. For example, folklore in the "Quiet Don" by M. A. Sholokhov or the principles of the enlighteners of the 18th century. (see Enlightenment) in the dramaturgy of the German writer of socialist realism B. Brecht. And finally, thirdly: even when the experience of predecessors is rejected in a sharp controversy, the writer still absorbs some part of this experience. So, the conquests of psychological realism of the XIX century. (Stendhal, Dostoevsky, L. Tolstoy) were prepared by the romantics (see Romanticism), their close attention to the individual and her experiences. In new discoveries, the memory of the former ones lives, as it were.

An important role in understanding the literary process is played by the study of the influence of foreign literatures on literary process domestic (for example, the importance of J. G. Byron or I. F. Schiller for the development of literature in Russia) and domestic literature to foreign ones (Tolstoy, Dostoevsky, Chekhov, M. Gorky in the literatures of the world).

The literary process is revealed very clearly in the history of different genres. So, if we consider the development of the novel on a European scale, then we can trace the change in artistic methods and trends (trends). For example, the novel by M. Cervantes "Don Quixote" is characteristic of the Renaissance, "Robinson Crusoe" by D. Defoe - for the Age of Enlightenment, "Notre Dame Cathedral" by V. Hugo - for the era of romanticism, the novels of Stendhal, O. de Balzac, Ch. Dickens, I. S. Turgenev, L. N. Tolstoy, F. M. Dostoevsky, N. G. Chernyshevsky represent critical realism of the 19th century. And a completely new stage (and new types) of the novel is advanced by the literature of socialist realism: The Quiet Don by M. A. Sholokhov or The Seventh Cross by A. Zegers, The Communists by L. Aragon. It is essential to emphasize here that the literary process in different countries goes through similar stages and the development of genre, method, style reflects these stages.

The literary process is a historical movement of national and world literature, developing in complex connections and interactions. The literary process is at the same time the history of the accumulation of aesthetic, spiritual and moral values, a non-straight, but steady expansion of humanistic concepts. Until a certain time, the literary process has a relatively closed, national character; in the modern era, with the development of economic and cultural ties, "... from the multitude of national and local literatures, one world literature is formed."

Krylov, Pushkin, Zhukovsky and Gnedich in the Summer Garden. Artist G. Chernetsov.

So, in the XVII century. in France, the principles of classicism were proclaimed, strict rules of "poetic art" were established in opposition to the willfulness of baroque poets and playwrights. But at the beginning of the XIX century. romantics sharply opposed all the norms and rules of classicism, declaring that the rules are crutches and a genius does not need them (see Romanticism). Soon the realists rejected the subjectivism of the romantics, putting forward the demand for an objective, truthful depiction of life.

But even within one school (direction, current) there is a change of stages. “So, for example, in Russian classicism, the role of the initiator was played by Kantemir, whose work ended in the very beginning of the 40s. 18th century In the works of M.V. Lomonosov, A.P. Sumarokov, V.K. at the beginning of the 19th century, classicism reaches its completion and ceases to exist as a certain literary trend. “The change in the stages of classicism was determined by the convergence of literature with reality” (L. I. Timofeev).

At the same time, it should be emphasized that, in contrast to the development of technology in the history of art and literature, new artistic discoveries do not cross out the old ones. Firstly, because the great works created on the basis of the “old” principles of human studies continue to live in new generations of readers. Secondly, because these "old" principles themselves find life in new epochs. For example, folklore in the "Quiet Don" by M. A. Sholokhov or the principles of the enlighteners of the 18th century. (see Enlightenment) in the dramaturgy of the German writer of socialist realism B. Brecht.

And finally, thirdly: even when the experience of predecessors is rejected in a sharp controversy, the writer still absorbs some part of this experience. So, the conquests of psychological realism of the XIX century. (Stendhal, Dostoevsky, L. Tolstoy) were prepared by the romantics (see Romanticism), their close attention to the individual and her experiences. In new discoveries, the memory of the former ones lives, as it were.

An important role for understanding the literary process is played by the study of the influence of foreign literatures on the literary process of domestic (for example, the significance of J. G. Byron or I. F. Schiller for the development of literature in Russia) and domestic literature on foreign ones (Tolstoy, Dostoevsky, Chekhov, M. Gorky in the literatures of the world).

The literary process is revealed very clearly in the history of different genres. So, if we consider the development of the novel on a European scale, then we can trace the change in artistic methods and trends (trends). For example, the novel by M. Cervantes "Don Quixote" is characteristic of the Renaissance, "Robinson Crusoe" by D. Defoe - for the age of Enlightenment, "Notre Dame Cathedral" by V. Hugo - for the era of romanticism, the novels of Stendhal, O. de Balzac, Ch. Dickens, I. S. Turgenev, L. N. Tolstoy, F. M. Dostoevsky, N. G. Chernyshevsky represent critical realism of the 19th century. And a completely new stage (and new types) of the novel is advanced by the literature of socialist realism: The Quiet Don by M. A. Sholokhov or The Seventh Cross by A. Zegers, The Communists by L. Aragon. It is essential to emphasize here that the literary process in different countries goes through similar stages and the development of genre, method, style reflects these stages.

The term "literary process" in Russian literary criticism arose in the late 1920s, although the concept itself was formed in criticism as early as the 19th century. Belinsky's famous reviews "A Look at Russian Literature in 1846" and others are one of the first attempts to present the features and patterns of the literary development of a particular period of Russian literature, that is, the features and patterns of the literary process.

The term "literary process" denotes the historical existence of literature, its functioning and evolution both in a certain era and throughout the history of a nation.

The chronological framework of the modern literary process is determined by the end of the 20th and beginning of the 21st centuries.

· The literature of the end of the centuries sums up in a peculiar way the artistic and aesthetic quests of the whole century;

· New literature helps to understand the complexity and debatability of our reality. Literature as a whole helps a person to clarify the time of his existence.

· With his experiments outlines the prospect of development.

The uniqueness of the SLP lies in multi-level, polyphony. There is no hierarchy of the literary system, since styles and genres exist simultaneously. That is why, when considering modern literature, it is necessary to move away from the usual attitudes that were applied to Russian literature of past centuries. It is important to feel the change in the literary code and to present the literary process in an uninterrupted dialogue with previous literature. The space of modern literature is very colorful. Literature is created by people of different generations: those who existed in the depths of Soviet literature, those who worked in the literary underground, those who started writing quite recently. Representatives of these generations have a fundamentally different attitude to the word, to its functioning in the text.

Sixties writers(E. Evtushenko, A. Voznesensky, V. Aksyonov, V. Voinovich, V. Astafiev and others) broke into literature during the thaw of the 1960s and, having felt a short-term freedom of speech, became symbols of their time. Later, their fates turned out differently, but interest in their work remained constant. Today they are recognized classics of modern literature, distinguished by the intonation of ironic nostalgia and commitment to the memoir genre. Critic M. Remizova writes about this generation as follows: “The characteristic features of this generation are a certain gloom and, oddly enough, some kind of sluggish relaxation, conducive more to contemplation than to active action and even an insignificant act. Their rhythm is moderato. Their thought is reflection. Their spirit is irony. Their cry - but they do not cry ... ".

Writers of the 70s Generation- S. Dovlatov, I. Brodsky, V. Erofeev, A. Bitov, V. Makanin, L. Petrushevskaya. V. Tokareva, S. Sokolov, D. Prigov and others. They worked in conditions of creative lack of freedom. The writer of the seventies, in contrast to the sixties, connected his ideas about personal freedom with independence from official creative and social structures. One of the prominent representatives of the generation, Viktor Erofeev, wrote about the peculiarities of the handwriting of these writers: “From the mid-70s, an era of unprecedented doubts began not only in a new person, but in a person in general ... literature began to doubt everything without exception: in love, children , faith, church, culture, beauty, nobility, motherhood, folk wisdom ... ". It is this generation that begins to master postmodernism, the poem “Moscow-Petushki” by Venedikt Erofeev, the novels “School for Fools” by Sasha Sokolov and Andrei Bitov “Pushkin House”, the fiction of the Strugatsky brothers and the prose of the Russian Diaspora appear in samizdat.

With "perestroika" another large and bright generation of writers burst into literature- V. Pelevin, T. Tolstaya, L. Ulitskaya, V. Sorokin, A. Slapovsky, V. Tuchkov, O. Slavnikova, M. Paley and others. experiment." The prose of S. Kaledin, O. Ermakov, L. Gabyshev, A. Terekhov, Yu. Mamleev, V. Erofeev, the stories of V. Astafiev and L. Petrushevskaya touched on previously forbidden topics of army “hazing”, the horrors of prison, the life of the homeless, prostitution, alcoholism, poverty, the struggle for physical survival. “This prose revived interest in the “little man”, in the “humiliated and offended” - motives that form the tradition of an exalted attitude to the people and people's suffering that goes back to the 19th century. However, in contrast to the literature of the 19th century, the "chernukha" of the late 1980s showed the people's world as a concentration of social horror, taken for the everyday norm. This prose expressed a feeling of the total trouble of modern life ... ”, - write N.L. Leiderman and M.N. Lipovetsky.

In the late 1990s, another generation of very young writers appears- A. Utkin, A. Gosteva, P. Krusanov, A. Gelasimov, E. Sadur and others), about whom Viktor Erofeev says: “Young writers are the first generation of free people in the history of Russia, without state and internal censorship, singing random promotional songs under their breath. The new literature does not believe in "happy" social change and moral pathos, unlike the liberal literature of the 1960s. She was tired of endless disappointment in man and the world, the analysis of evil (underground literature of the 70s and 80s).”

First decade of the 21st century- so diverse, polyphonic, that one and the same writer can hear extremely opposite opinions. So, for example, Alexei Ivanov, the author of the novels The Geographer Drank His Globe Away, Dormitory-on-the-Blood, The Heart of Parma, and The Gold of Riot, was named the brightest writer who appeared in Russian literature of the 21st century in the Book Review. . And here is what the writer Anna Kozlova expresses about Ivanov: “Ivanov's picture of the world is a section of the road that a chained dog sees from his booth. This is a world in which nothing can be changed and all that remains is to joke about a glass of vodka in full confidence that the meaning of life has just been revealed to you in all the unsightly details. In Ivanov, I do not like his desire to be light and glossy ... Although I cannot but admit that he is an extremely gifted author. And I found my reader.

Despite the flourishing of various styles and genres, society is no longer literary-centric. The literature of the end of the 20th beginning of the 21st is almost losing its educational function.

· Changed the role of the writer.“Now readers have fallen off like leeches from the writer and have given him the opportunity to be in a situation of complete freedom. And those who still ascribe to the writer the role of a prophet in Russia are the most extreme conservatives. In the new situation, the role of the writer has changed. Previously, this workhorse was ridden by everyone who could, now she herself must go and offer her working hands and feet. Critics P. Weil and A. Genis accurately defined the transition from the traditional role of "teacher" to the role of "indifferent chronicler" as "zero degree of writing." S. Kostyrko believes that the writer found himself in an unusual role for the Russian literary tradition: “Today's writers seem to find it easier. Nobody demands ideological service from them. They are free to choose their own model of creative behavior. But, at the same time, this freedom also complicated their tasks, depriving them of obvious points of application of forces. Each of them is left face to face with existential issues - Love, Fear, Death, Time. And we need to work on the level of this problem.”

· Search new hero.“We have to admit that the face of a typical hero of modern prose is distorted by a grimace of a skeptical attitude towards the world, covered with youthful fluff and his features are rather lethargic, sometimes even anemic. His actions are frightening, and he is in no hurry to decide either on his own personality or on his fate. He is gloomy and irritated in advance by everything in the world, for the most part he seems to have absolutely nothing to live for. M. Remizova

Plus, talk about the works you've read, plus your presentations on contemporary writers, plus marginal notes. Wow!

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Plan

Lecture #1

Shale gas.

Coal methane.

The largest gas fields in the world:

North (Qatar) 10640 billion m3

Urengoy (Russia) 10200

Yamburgskoye (Russia) 5242

Bovanenkovo (Russia) 4385

Zapolyarnoye (Russia) 3532

South Pars (Iran) 2810

Shtokmanovskoye (Russia) 2762 (3800)

Arctic (R) 2762

Astrakhan (R) 2711

Groningen (Holland) 2680

Gas hydrates- substance CH 4 (H 2 O) n, in which methane molecules are introduced into the cavities of crystalline structures composed of water molecules. 164 molecules of CH 4 gas in 1 molecule of water.

Reserves 02800-25000 trillion m3, recoverable 10%. The reserves are located under a 100m water layer. In Russia, 1100 trillion m3.

Technology:

Absent. Messoyakha gas field containing gas hydrates.

Idea: convert hydrates into gas directly in the reservoir with subsequent recovery by traditional methods

Grade: 6 times more expensive than the exploitation of conventional gas fields.

prospects: mass adoption by 2030

Coal methane resources in the main coal-producing countries.

Canada 17-92 trillion m3

Russia 17-80

China 30-35

Indonesia 13-15

Australia 8-14

Technologies:

1.Technologies for removing methane from operating mines.

2. technology for extracting methane from intact coal seams outside the mine fields - pumping out formation water and hydraulic fracturing. (pumping out water takes up to 2 years, many wells are required)

Mining in 4 countries and reached 70 billion. m3 (USA - 57 billion m3, China - 6 billion m3, Canada - 5 billion m3, Australia - 2. Production started in India.

Cost price extraction of methane from coal seams - 115-305 USD thousand m3.

Stocks:

Potential -200 trillion m3

Technologically recoverable and commercially viable – 12 trillion m3

OSN. Places - USA, Canada, China, Poland France.

Technology:

It is based on a combination of new geophysical methods of shale gas exploration, horizontal and horizontal drilling and hydraulic fracturing.

Experience: industrial development 1981 Mr. Barnet in Texas.

Cost price-80-320 USD thousand m3. In the USA - 140-220.

Subject: History of domestic literature as a branch of the science of literature

1. History of Russian literature as a section of the science of literature. Literary theory, literary process, types and genres, artistic methods.

2. Goals, objectives and results of the study of the discipline and its development.

3. Topics of the course, main sections.

Main literature

Bakhtin M.M. Questions of literature and aesthetics. Studies of different years / M.M. Bakhtin. – M.: Hood. Literature, 1975. - 504 p.

Volkov I.F. Theory of Literature / I.F. Volkov. - M .: Education, Vlados, 1995. - 256 p.

Gukovsky G.A. The study of a literary work at school: methodological essays on the methodology. - Tula: Autograph, 2000. - 224 p.

Gulyaev N.A. Theory of Literature / N.A. Gulyaev. - M.: Higher school, 1975. - 271 p.

Esin A.B. Principles and methods of analysis of a literary work: a study guide. - M.: Flinta, Nauka, 1998. - 248 p.

Literary Encyclopedic Dictionary/ under the general editorship. V.M. Kozhevnikova, P.N. Nikolaev. – M.: Sov encyclopedia, 1987. – 752 p.

Mann Yu.V. Dialectics of the artistic image / Yu.V. Mann. - M.: Soviet writer, 1987. - 320 p.

Fundamentals of literary criticism: Textbook for philological faculties ped. high fur boots / Meshcheryakov V.P., Kozlov S.A., Kubareva N.P., Serbul M.N.; Under total ed. V.P. Meshcheryakova. - M .: Moscow Lyceum, 2000.

Tomashevsky B.V. Theory of Literature. Poetics / B.V. Tomashevsky. – M.: Aspect Press, 2003. – 334 p.

Tynyanov Yu.N. Poetics. History of literature. Cinema / Yu.N. Tynyanov. – M.: Nauka, 1977.

Fedotov O.I. Fundamentals of the theory of literature: a textbook for university students: in 2 parts. - M.: VLADOS, 2003. - Part 1: Literary creativity and literary work. – 272 p.

Khalizev V. E. Theory of Literature. Second edition. - M .: Higher School, 2000. - S. 294 - 344.

Uspensky B.A. Poetics of composition / B.A. Uspensky. - St. Petersburg: Azbuka, 2000.

additional literature

http://ruslang.spbstu.ru/subjects/istoriya_otechestvennoi_literatury

http://slovari.yandex.ru/~books/TSB/Literary Studies/

http://humanitar.ucoz.ru/load/2-1-0-47

History of domestic literature as a branch of the science of literature. Literary theory, literary process, types and genres, artistic methods

Literary criticism is the science of literature, which has basic and auxiliary literary disciplines. Its origin is associated with the beginning of the 19th century, although Aristotle's literary works appeared in antiquity, and he was the first to try to systematize them in his book, the first to give the theory of genres and the theory of genres of literature (epos, drama, lyrics). He owns the theory catharsis And mimesis(find definitions). Plato created a story about ideas (idea > material world > art). The history of the development of literary criticism from the 17th to the 19th century looks like this in general terms:

Literary criticism studies the fiction of various peoples of the world in order to understand the features and patterns of its own content and the forms that express them. The subject of literary criticism is not only fiction, but also the entire artistic literature of the world - written and oral. Modern literary criticism is a very complex and mobile system of disciplines.

There are three main branches of literary criticism: literary theory, literary history and literary criticism.

Literary theory	Literary history	Literary criticism
Target: study of the general laws of the literary process (the laws of the structure and development of literature); literature as a form of social consciousness; literary work as a whole; interacts with other literary disciplines, as well as history, philosophy, aesthetics, sociology, and linguistics; considers the specifics of the relationship between the author, the work and the reader; develops general concepts and terms	Studies the development of literature; divided by time, direction, place. The subject is the past of literature as a process or as one of the moments of this process.	Literary criticism is interested in the relatively one-time, last, "today's" state of literature; it is also characterized by the interpretation of the literature of the past from the point of view of modern social and artistic tasks; deals with the evaluation and analysis of literary works in terms of aesthetic value. The belonging of criticism to literary criticism as a science is not universally recognized.

The most important part of literature is poetics - the science of the structure of works and their complexes: the work of writers in general, the literary trend, the literary era, etc. Poetics correlates with the main branches of literary criticism: in the plane literary theory it gives general poetics, that is, the science of the structure of any work; in plane literary history there is historical poetics that studies the development of entire artistic structures and their individual elements (genres, plots, stylistic images, etc.); it is possible to apply the principles of poetics in criticism.

In many respects, the stylistics of artistic speech occupies a similar position in literary criticism: it can be included in the theory of literature, in general poetics (in this case it is a study of one of the levels of structure, namely, the stylistic and speech levels), in the history of literature (for example, language and the style of a given trend and trend), as well as in literary criticism (the stylistic studios of modern works have almost always been one of the favorite functions of criticism).

Literature as a system of disciplines is characterized not only by the close interdependence of all its branches (for example, criticism relies on data from the history and theory of literature, and the latter take into account and comprehend the experience of criticism), but also the emergence of second-tier disciplines. There is a theory of criticism, a history of criticism, a history of poetics (should be distinguished from historical poetics), a theory of the stylistics of artistic speech, etc. The movement of disciplines from one series to another is also characteristic: thus, criticism eventually becomes the material of the history of literature, historical poetics, etc. . Sciences. Along with the main disciplines of literature mentioned above, there are many auxiliary ones: literary archiving, bibliography, fiction and literary criticism, heuristics, paleography, textual criticism, text commenting, theory and practice of edition work, etc. In the middle of the 20th century. the role of mathematical methods, especially statistics, intensified in literary criticism, mainly in poetry, stylistics, textual criticism, folklore, where commensurable elementary segments of the structure are more easily distinguished.

Textology- a branch of philology that studies works of writing, literature and folklore in order to critically check, establish and organize their texts for further research, interpretation and publication. Studies the text as such: manuscripts, editions, revisions, time of writing, author, place, translation, and commentaries.

Poetics- one of the disciplines of literary criticism, including: the study of common stable elements, the relationship of which is composed of fiction, literary genera and genres, a separate work of verbal art; description and classification of historically stable literary and artistic forms and formations; studies the composition and structure of a literary work.

Paleography- a special historical and philological discipline that studies the history of writing, the patterns of development of its graphic forms, ancient carriers of the text (only manuscripts), as well as monuments of ancient writing in order to read them, determine the author, time and place of creation.

Literary aesthetics studying literature as an art form.

Bibliography- auxiliary discipline of any science, scientific literature on a particular subject

library science- the science of funds, repositories of not only fiction, but also scientific literature, summary catalogs.

Auxiliary disciplines - the necessary base of the main ones; at the same time, in the process of development and complication, they can reveal independent scientific tasks and acquire independent cultural functions.

The connections of literature with other humanities are diverse, some of which serve as its methodological base (philosophy, aesthetics), others are close to it in terms of tasks and subject of research (folklore, general art history), and others with a general humanitarian orientation (history, psychology, sociology). The links between literature and linguistics are multifaceted, based not only on the commonality of the material (language as a means of communication and as the building material of literature), but also on some contact between the epistemological functions of word and image and some similarity in their structures. The fusion of literature with other humanitarian disciplines was previously fixed by the concept of philology as a synthetic science that studies spiritual culture in all its linguistic and written manifestations, including literary manifestations (in the middle of the 20th century, this concept usually conveys the commonality of two sciences - literature and linguistics; in a narrow in the same sense, it denotes textual criticism and criticism of the text).

literary process

Literary development has its own patterns, which are reflected in the system of concepts grouped around the main concept - "literary process".

The literary process the historical existence, functioning and evolution of literature both in a certain era and throughout the history of a nation, country, region, world.

Shifts in the sphere of artistic consciousness occur, as a rule, with a change in socio-economic formations or during periods of revolutionary upheaval. The main milestones in the history of European art are antiquity, the Middle Ages, the Renaissance (Renaissance), Baroque, classicism, the Enlightenment, romanticism, realism. The economic and social structure influences the literary process through ideology.

The literary process in every historical era includes socially, ideologically and aesthetically heterogeneous (different quality) literary and artistic works - from high examples to epigone, tabloid or mass literature. In addition, it also includes forms of social existence of works of art of the word: publications, editions, literary criticism, epistolary literature and memoirs.

The most important regularity of the literary process is the emergence of new aesthetic ideas, new criteria of artistry, which testify to the establishment in the history of a new class with its own special aesthetic needs and ideals. However, art does not die along with the class that gave birth to it, because it contains the universal.

Artistic (creative) method - ideological and aesthetic community, characteristic of a number of writers and expressed in their work.

Artists of different eras can be close to each other in terms of worldview, the ideological orientation of creativity and the principles of depicting life.

The method determines both the content and the form in art. It is embodied both in the ideological structure of the work, and in the principle of constructing the image, plot, composition, language. The method is the artist's understanding and reproduction of reality in accordance with the peculiarities of his artistic thinking and aesthetic ideal.

The method is determined by three factors: reality, the worldview of the writer, the artistic thinking of the writer.

As an analogue of the structure of art itself, the structure of the creative method has four corresponding facets: knowledge of life, its assessment, the transformation of life given into the figurative fabric of art, the construction of its figurative language.

The socio-historical conditionality of art gives rise to a significant commonality of the basic creative attitudes of large groups of artists of the same era, one socio-economic formation, and the historical continuity of these attitudes. The creative method acts as a system of principles that form certain trends (trends) in art, artistic styles.

Concepts "literary trends" And "currents" designate a set of fundamental spiritually meaningful and aesthetic principles characteristic of the work of many writers, a number of groups and schools, as well as due to these most important principles of coincidence and correspondence of program and creative settings, themes, genres and style. The struggle and change of directions and currents is the most important regularity of the literary process.

The concept of " direction » characterized by the following features: commonality of deep spiritual and aesthetic foundations of artistic content, due to the unity of cultural and artistic traditions; the same type of worldview of writers and the life problems they face; similarity of the epochal socio-cultural-historical situation.

At the same time, the worldview of artists of the same direction, their attitude to the problems posed, the idea of ways and means of resolving them, ideological and artistic concepts, ideals can be different.

Literary currents, groupings suggest a direct ideological and artistic affinity and programmatic and aesthetic unity of their participants: for example, the “leukists” in English romanticism; “philosophical”, “psychological”, “civil” currents in Russian romanticism; “psychological” and “sociological” currents in Russian realism;. the Parnassus group in France, cubo-futurism in Russia, etc.

The literary current, which includes the closest creative followers of any outstanding writer, is called literary school ; for example, the “natural school” in Russian literature, which brought together supporters of the realistic trend, who developed the traditions of Gogol and fought for the critical orientation of literature, its democratization, and the image of a person in unity with the social environment.

Style in literature - a stable commonality of the figurative system, means of artistic expression, characterizing the originality of the writer's work, a separate work, literary movement, national literature.

The subject of literary criticism is only such literature, which belongs to the field of art, artistic creativity. By studying art literature, literary criticism thus becomes one of the art history sciences, such as art history, musicology, theater studies, etc. It cannot develop without connection with other art sciences, without taking into account their observations and generalizations about artistic creativity.