Everyone knows well that art is the self-expression of an individual, and literature, therefore, is the self-expression of the writer’s personality. The “baggage” of a writer consists of vocabulary, speech techniques, and skills in using these techniques. The richer the artist’s palette, the greater the possibilities he has when creating a canvas. It’s the same with a writer: the more expressive his speech, the brighter his images, the deeper and more interesting his statements, the stronger the emotional impact his works can have on the reader.

Among the means of verbal expressiveness, more often called “artistic devices” (or otherwise figures, tropes), in literary creativity metaphor is in first place in terms of frequency of use.

Metaphor is used when we use a word or expression in a figurative sense. This transfer is carried out by the similarity of individual features of a phenomenon or object. Most often, it is metaphor that creates an artistic image.

There are quite a few varieties of metaphor, among them:

metonymy - a trope that mixes meanings by contiguity, sometimes suggesting the imposition of one meaning on another

(examples: “Let me eat another plate!”; “Van Gogh is hanging on the third floor”);

(examples: “nice guy”; “pathetic little man”; “bitter bread”);

comparison is a figure of speech that characterizes an object by comparing one thing with another

(examples: “like the flesh of a child is fresh, like the call of a pipe is tender”);

personification - “revival” of objects or phenomena of inanimate nature

(examples: “ominous darkness”; “autumn cried”; “blizzard howled”);

hyperbole and litotes - a figure in the meaning of exaggeration or understatement of the described object

(examples: “he always argues”; “a sea of ​​tears”; “there wasn’t a drop of poppy dew in his mouth”);

sarcasm - evil, caustic mockery, sometimes outright verbal mockery (for example, in rap battles that have become widespread recently);

irony - a mocking statement when the speaker means something completely different (for example, the works of I. Ilf and E. Petrov);

humor is a trope that expresses a cheerful and most often good-natured mood (for example, the fables of I.A. Krylov are written in this vein);

grotesque is a figure of speech that deliberately violates the proportions and true dimensions of objects and phenomena (often used in fairy tales, another example is “Gulliver’s Travels” by J. Swift, the work of N.V. Gogol);

pun - deliberate ambiguity, a play on words based on their polysemy

(examples can be found in jokes, as well as in the works of V. Mayakovsky, O. Khayyam, K. Prutkov, etc.);

oxymoron - a combination in one expression of the incongruous, two contradictory concepts

(examples: “terribly handsome”, “original copy”, “pack of comrades”).

However, verbal expressiveness is not limited to stylistic figures. In particular, we can also mention sound painting, which is an artistic technique that implies a certain order in the construction of sounds, syllables, words to create some kind of image or mood, imitating the sounds of the real world. The reader will more often encounter sound writing in poetic works, but this technique is also found in prose.

If you look at the sky, you will see the sun. Without the sun, life on Earth is impossible. The sun has attracted people's attention for thousands of years. In ancient times they worshiped him and made sacrifices.

• Red wolf - message about a rare animal

  Among the known species of animals in the fauna world, those that have features due to which they can be classified as rare are distinguished. It could be an unusual appearance, a warm skin, or nutritious meat from an animal.

• Soap - message on chemistry grade 10

  Any self-respecting person cannot live without soap. It symbolizes cleanliness and personal hygiene. From a scientific point of view, soap is a solid or liquid substance.

• Laws of Hammurabi - report message

  The code of laws of Hammurabi is the oldest monument of written laws. It was created by one of the rulers of Babylon of the Hammurabi dynasty. The text of the laws was carved on basalt tablets. Subsequently, at the beginning of the twentieth

• How to teach a child to work and work?

  Today, the younger generation often, instead of doing housework or helping relatives in some other area of ​​activity, simply choose to walk down the street or play computer games.

Antithesis is a means of expression that is often used in the Russian language and in Russian literature because of its powerful expressive capabilities. So, antithesis definition is a technique in artistic language when one phenomenon is contrasted with another. Those who want to read about the antithesis on Wikipedia will certainly find various examples from poems there.

I would like to define the concept of “antithesis” and its meaning. It is of great importance in language because it is a technique that allows compare two opposites, for example, “black” and “white”, “good” and “evil”. The concept of this technique is defined as a means of expressiveness, which allows you to very vividly describe an object or phenomenon in poetry.

What is antithesis in literature

Antithesis is an artistic figurative and expressive means that allows you to compare one object with another based on oppositions. Usually, as an artistic medium, it is very popular among many modern writers and poets. But you can also find a huge number of examples in the classics. Within the antithesis can be opposed in meaning or in their properties:

• Two characters. This most often happens in cases where a positive character is contrasted with a negative one;
• Two phenomena or objects;
• Different qualities of the same object (looking at the object from several aspects);
• The qualities of one object are contrasted with the qualities of another object.

Lexical meaning of trope

The technique is very popular in literature because it allows you to most clearly express the essence of a particular subject through opposition. Typically, such oppositions always look lively and imaginative, so poetry and prose that use antithesis are quite interesting to read. She happens to be one of the most popular and known means of artistic expression of a literary text, be it poetry or prose.

The technique was actively used by the classics of Russian literature, and modern poets and prose writers use it no less actively. Most often, the antithesis underlies contrast between two characters in a work of art when a positive hero is opposed to a negative one. At the same time, their qualities are deliberately demonstrated in an exaggerated, sometimes grotesque form.

Skillful use of this artistic technique allows you to create a lively, imaginative description of characters, objects or phenomena found in a particular work of art (novel, story, story, poem or fairy tale). It is often used in folklore works (fairy tales, epics, songs and other genres of oral folk art). When performing a literary analysis of a text, it is imperative to pay attention to the presence or absence of this technique in the work.

Where can you find examples of antithesis?

Antithesis examples from literature can be found almost everywhere, in a variety of genres of fiction, ranging from folk art (fairy tales, epics, tales, legends and other oral folklore) to the works of modern poets and writers of the twenty-first century. Due to its characteristics of artistic expression, the technique is most often found in the following genres of fiction:

• Poems;
• Stories:
• Fairy tales and legends (folk and author's);
• Novels and stories. In which there are lengthy descriptions of objects, phenomena or characters.

Antithesis as an artistic device

As a means of artistic expression, it is built on the opposition of one phenomenon to another. A writer who uses antithesis in his work selects the most characteristic features of two characters (objects, phenomena) and tries to reveal them most fully by contrasting each other. The word itself, translated from ancient Greek, also means nothing more than “opposition.”

Active and appropriate use makes the literary text more expressive, lively, interesting, helps to most fully reveal the characters of the characters, the essence of specific phenomena or objects. This is what determines the popularity of the antithesis in the Russian language and in Russian literature. However, in other European languages ​​this means of artistic imagery is also used very actively, especially in classical literature.

In order to find examples of antithesis during the analysis of a literary text, you must first examine those fragments of the text where two characters (phenomena, objects) are not considered in isolation, but are opposed to each other from different points of view. And then finding a reception will be quite easy. Sometimes the whole meaning of a work is built on this artistic device. It should also be borne in mind that the antithesis can be explicit, but maybe hidden, veiled.

Finding a hidden antithesis in an artistic literary text is quite simple if you read and analyze the text thoughtfully and carefully. In order to teach how to correctly use a technique in your own literary text, you need to familiarize yourself with the most striking examples from Russian classical literature. However, it is not recommended to overuse it so that it does not lose its expressiveness.

Antithesis is one of the main means of artistic expression, widely used in the Russian language and in Russian literature. The technique can easily be found in many works of Russian classics. Modern writers also actively use it. Antithesis enjoys well-deserved popularity because it helps to most clearly express the essence of individual heroes, objects or phenomena by contrasting one hero (object, phenomenon) with another. Russian literature without this artistic device is practically unthinkable.

for copywriter texts

The arsenal of techniques is quite large: metaphor, oxymoron, metonymy, synecdoche, hyperbole, litotes, allegory, comparison, epithet, allusion, paraphrase, anaphora, epiphora, anticipation, antithesis, paronym, permutation, gradation, etc.

Metaphor is the transfer of the properties of one object (phenomenon) to another based on a feature common to both compared members (“speaking waves”, “bronze of muscles”, “Keeping money at home means freezing it!”, etc.)

Personification is a type of metaphor, transferring the properties of animate objects to inanimate ones (“her nurse is silence”).

Oxymoron (oxymoron) - a relationship by contrast, a combination of words with opposite meanings, a connection of concepts that is logically excluded (“living corpse”, “avant-garde tradition”, “small big machine”, etc.).

Metonymy is the replacement of one word with another based on the connection of their meanings by contiguity (“the theater applauded” - instead of “the audience applauded”).

Synecdoche is a type of metonymy, the name of a part (smaller) instead of the whole (larger) or vice versa (“my little head is missing” - instead of “I’m missing”).

Hyperbole is a deliberate exaggeration (“rivers of blood”, “mountains of money”, “ocean of love”, etc.).

Litota is a deliberate understatement (“a small man”).

Allegory is the depiction of an abstract idea (concept) through an image. In this case, the connection between meaning and image is established by analogy or contiguity (“love is the heart,” “justice is a woman with scales,” etc.).

Comparison is the likening of one object to another (“huge, like an elephant”). When comparing objects, the stronger one (explaining) transfers part of its positive and already known characteristics to an unknown object (explaining). In this way, it is easier to explain the unfamiliar through the familiar, the complex through the simple. With the help of comparisons, you can achieve greater clarity and originality.

However, comparisons often fall short and can be misinterpreted. A person will begin to think about the explanatory subject and will be distracted from the main idea.

It would be useful to evaluate whether the object is being compared with an object worse than itself, and whether the comparison will bring negative results. If in doubt, it is better not to use comparison.

An epithet is a figurative definition that gives an additional artistic characteristic of an object (phenomenon) in the form of a hidden comparison (“open field”, “lonely sail”, etc.) It should be borne in mind that small epithets weaken the text (“very”, “ too”, “a little”, “enough”, etc.).

Allusion is a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work, etc. (“Secrets of the Madrid Court”).

Paraphrase is an abbreviated statement, a descriptive conveyance of the meaning of another expression or word (“The writer of these lines” - instead of “I”).

Anaphora is the repetition of identical letters, identical parts of a word, whole words or phrases at the beginning of a sentence (“Outside of politics! Out of competition!”).

Epiphora is the repetition of identical words or phrases at the end of a sentence.

Anticipation is a deviation from the usual linear sequence of elements in which the sign necessary to understand another precedes it instead of following it, resulting in the effect of anticipation (“It’s not so new, this phenomenon called patriotism” or “ And what conversations these were – historical!”)

Antithesis is opposition in meaning, contrast. (“Small computers for big people” White Wind Company). For example, I. Ehrenburg often resorted to the antithesis: “The workers continue to stand at the levers: cold, heat, screeching, darkness. Mr. Eastman, far from the bustle of the world, eats an ostrich egg.”

Paronyms are words that are similar in sound, but different in meaning (“base” and “basis”, “hot” and “fiery.” V. Vysotsky: “And whoever does not honor quotations is a renegade and a bastard”).

Permutation is a change in the places occupied by words. (“The heart of the Mediterranean. The Mediterranean is in the heart”).

Gradation is a consistent intensification or weakening of the power of homogeneous expressive means of artistic speech (“I don’t regret, I don’t call, I don’t cry...”).

A rhetorical question is a question that does not require an answer, a question to which the answer is known in advance, or a question to which the person asking himself gives the answer (“Who are the judges?”)

Often, phraseological units (idioms) are effectively used in the text - stable combinations of words that are metaphors, figurative expressions of a certain concept or phenomenon (“A mosquito will not undermine your nose,” “Seven troubles - one answer,” etc.)

Phraseologisms are easily recognized by the reader. With their help, the memorability of individual phrases and the perception of the entire text are improved.

Proverbs and sayings also “work” on the imagery and conciseness of the text. M. Gorky spoke about them:

“It is proverbs and sayings that express the thinking of the masses in a particularly instructive completeness, and it is extremely useful for beginning writers to become acquainted with this material, not only because it excellently teaches economy of words, speech conciseness and imagery, but here’s why: the quantitatively predominant population of the Land of Soviets is the peasantry , the clay from which history created workers, townspeople, merchants, priests, officials, nobles, scientists and artists...

I learned a lot from proverbs, otherwise, from thinking in aphorisms.”

Catch words are also effective. These are apt expressions, quotes, aphorisms that have become widespread in living speech as proverbs and sayings (“To be or not to be!”, “The ears of a dead donkey,” “And finally I will say,” etc.).

The use of phraseological units, proverbs, sayings and catchwords in texts of various types of copywriting is based on the preservation of semantic and evaluative associations evoked in a stable way. This image is not destroyed even when freely arranged by the author. At the same time, a formal, superficial use of phraseological units and catchwords is often observed. In such cases, either the meaning is completely distorted or semantic contradictions arise.

Often authors resort to reminiscence - a reference to well-known literary facts or works.

Reminiscence can be in the form of an exact or inaccurate quotation, “quoted” or remaining implicit, subtextual. Reminiscences link the text with a general cultural and social context and also allow authors not to repeat themselves, but to make do with a more laconic description of events or facts. One of the most frequently used reminiscences is a reference to a particular fragment of the Bible text. Reminiscence is one of the favorite techniques of postmodernists.

Unfinished sentences, indicated in the text by ellipsis, are successfully used. Humans have an inherent desire for completion. In this regard, he tries to finish the sentence and is thus drawn into actively reading the text.

Very often, well-known sayings, popular expressions, quotes from literary works are taken as the basis for unfinished sentences (“Fisherman of fishermen...”, “Without labor...”, “I gave birth to you...”, etc.) Naturally that the reader must complete the sentence exclusively with the words provided by the copywriter.

One of the frequently used techniques is repetition (complementary and clarifying reminders of what has already been said). With the help of repetitions, the most important, especially significant points of the text are highlighted and emphasized.

Puns are also used in various texts - a play on words based on the sound similarity of different sounding words or phrases (“Osip is hoarse, and Arkhip is hoarse”).

A play on words can be based not only on the sound content, but also on the spelling.

Examples of using written puns in advertising:

AT LEAST COUTURE

(Sign on the store)

THAT'S what HE is!

(Trading house "Oton")

Connotation is an additional, accompanying meaning that can inspire the desired attitude towards an object. For example, Putinka vodka, President vodka, Kremlin vodka.

The additional value may change in strength over time. For example, in Soviet times the word “imported” gave the product additional attractiveness, but over time it lost it.

Often, striving for novelty and originality, copywriters create neologisms - their own words and expressions, the unusualness of which is clearly felt by native speakers. So, for example, the words “substance” and “thermometer” were invented by M. Lomonosov, “industry” - N. Karamzin, “bungling” - M. Saltykov-Shchedrin, “to shy away” - F. Dostoevsky, “mediocrity” - I. Severyanin , “exhausted” - V. Khlebnikov, “hulk” - V. Mayakovsky, etc.

It is curious that the first person in history to use the word “gay” in literature was Gertrude Stein. She gave the world the definition of “lost generation.” This lesbian writer hated punctuation. Her most famous quote is “A rose is a rose is a rose is a rose.”

Sometimes, in the pursuit of originality, words are created that, without special explanation, are not understood by a significant part of the audience or no one at all.

In cases where it is necessary to replace a rude, aggressive or too direct expression with a softer one, a euphemism is used. It is necessary to ensure that the technique does not complicate perception or lead to misunderstanding. After all, one word can mean different things to different people.

Such a “tool” as cacofemism is also used in copywriting - reduced, replacing the normative, decent. For example, instead of “die,” in some cases you can write “glue your fins,” “throw away your skates,” “play the box,” etc.

A very interesting technique is defamiliarization (from the word “strange”). This term was introduced by V. Shklovsky:

“Distamiliarization is seeing the world through different eyes.

Jean-Jacques Rousseau defamiliarized the world in his own way; he seemed to live outside the state.

The world of poetry includes the world of defamiliarization.

Gogol's troika, which rushes over Russia, is a Russian troika, because it is sudden. But at the same time, it is a global troika, it rushes over Russia, and over Italy, and over Spain.

This is a movement of new, self-affirming literature.

A new vision of the world.

Defamiliarization is a matter of time.

Defamiliarization is not only a new vision, it is a dream of a new and only therefore sunny world. And Mayakovsky’s colored shirt without a belt is the festive clothing of a man who firmly believes in tomorrow.”

Striving for originality and defamiliarization, copywriters sometimes use techniques that are more like tricks. For example, the writer Ernest Vincent Wright has a novel called Gadsby, which consists of more than 50,000 words. In the entire novel there is not a single letter E, the most common letter in the English language.

More detailed information on this topic can be found in the books of A. Nazaikin

ARTISTIC TALENT the ability of a person, manifested in artistic creativity, the socially determined unique unity of the emotional and intellectual characteristics of the artist; artistic talent differs from genius (see Artistic genius), which opens up new directions in art. Artistic talent determines the nature and possibilities of creativity, the type of art (or several types of art) chosen by the artist, the range of interests and aspects of the artist’s relationship to reality. At the same time, the artistic talent of an artist is unthinkable without an individual method and style as stable principles for the artistic embodiment of ideas and plans. The individuality of the artist is manifested not only in the work itself, but also exists as a prerequisite for the creation of this work. The artistic talent of an artist can be realized in specific socio-economic and political conditions. Certain eras in the history of human society create the most favorable conditions for the development and realization of artistic talent (classical antiquity, the Renaissance, the Muslim Renaissance in the East).

Recognition of the determining importance of socio-economic and political conditions, as well as the spiritual atmosphere in the realization of artistic talent, does not at all mean their absolutization. The artist is not only a product of the era, but also its creator. An essential property of consciousness is not only reflection, but also transformation of reality. For the realization of artistic talent, the subjective aspects of ability to work, the artist’s ability to mobilize all his emotional, intellectual and volitional forces are of great importance.

PLOT(French sujet subject) a way of artistic comprehension, organization of events (i.e. artistic transformation of the plot). The specificity of a particular plot clearly manifests itself not only when comparing it with the real life story that served as its basis, but also when comparing descriptions of human life in documentary and fiction literature, memoirs and novels. The distinction between the event basis and its artistic reproduction dates back to Aristotle, but a conceptual distinction between the terms was undertaken only in the 20th century. In Russia, the word “plot” has long been synonymous with the word “theme” (in the theory of painting and sculpture, it is still often used in this meaning).

In relation to literature at the end of the last century, it began to mean a system of events, or, according to the definition of A. N. Veselovsky, a sum of motives (i.e., what in another terminological tradition is usually called a plot). Scientists of the Russian “formal school” proposed to consider the plot as a processing, giving form to the primary material - the plot (or, as it was formulated in the later works of V. B. Shklovsky, the plot is a way of artistic comprehension of reality).

The most common way to transform the plot is to destroy the inviolability of the time series, rearrange events, and parallel development of action. A more complex technique is the use of nonlinear connections between episodes. This is a “rhyme”, an associative roll call of situations, characters, sequence of episodes. The text can be based on a collision of different points of view, a comparison of mutually exclusive options for the development of the narrative (A. Murdoch’s novel “The Black Prince”, A. Kayat’s film “Married Life”, etc.). The central theme can develop simultaneously on several levels (social, family, religious, artistic) in the visual, color, and sound ranges.

Some researchers believe that the motivations, the system of internal connections of the work, and methods of narration do not belong to the area of ​​plot, but to composition in the strict sense of the word. The plot is considered as a chain of depicted movements, gestures of spiritual impulses, spoken or “thought” words. In unity with the plot, it formalizes the relationships and contradictions of the characters between themselves and the circumstances, that is, the conflict of the work. In modernist art there is a tendency towards plotlessness (abstract art in painting, plotless ballet, atonal music, etc.).

Plot is important in literature and art. The system of plot connections reveals conflicts and characters of action, which reflect the great problems of the era.

METHODS OF AESTHETIC ANALYSIS (from the Greek methodos - path of research, theory, teaching) - concretization of the basic principles of materialist dialectics in relation to the study of the nature of artistic creativity, aesthetic and artistic culture, various forms of aesthetic development of reality.

The leading principle for the analysis of various spheres of aesthetic exploration of reality is the principle of historicism, most fully developed in the field of the study of arts. It involves both the study of art in connection with its conditioning by reality itself, the comparison of artistic phenomena with extra-artistic ones, the identification of social characteristics that determine the development of art, and the disclosure of system-structural formations within art itself, regarding the independent logic of artistic creativity.

Along with philosophical and aesthetic methodology, which has a certain categorical apparatus, modern aesthetics also uses a variety of techniques, analytical approaches of special sciences, which have an auxiliary value mainly in the study of formalized levels of artistic creativity. Appeal to particular methods and tools of particular sciences (semiotics, structural-functional analysis, sociological, psychological, information approaches, mathematical modeling, etc.) corresponds to the nature of modern scientific knowledge, but these methods are not identical to the scientific methodology of art research, they are not “ analogue of the object” (F. Engels) and cannot claim to be a philosophical and aesthetic method adequate to the nature of the aesthetic development of reality.

CONCEPTUAL ART one of the types of artistic avant-gardeism of the 70s. It is associated with the third stage in the development of avant-gardeism, the so-called. neo-avant-gardeism.

Supporters of conceptual art deny the need to create artistic images (for example, in painting they should be replaced by inscriptions of uncertain content), and see the functions of art in using concepts to activate the process of purely intellectual co-creation.

Products of conceptual art are thought of as absolutely devoid of representation; they do not reproduce s.-l. properties of real objects, being the results of mental interpretation. For the philosophical justification of conceptual art, an eclectic mixture of ideas borrowed from the philosophy of Kant, Wittgenstein, the sociology of knowledge, etc. is used. As a phenomenon of a crisis socio-cultural situation, the new movement is associated with petty-bourgeois anarchism and individualism in the sphere of the spiritual life of society.

CONSTRUCTIVISM (from Latin constructio - construction, construction) - a formalist trend in Soviet art of the 20s, which put forward a program for restructuring the entire artistic culture of society and art, focusing not on imagery, but on the functional, constructive expediency of forms.

Constructivism became widespread in Soviet architecture of the 20-30s, as well as in other forms of art (cinema, theater, literature). Almost simultaneously with Soviet constructivism, the constructivist movement called. Neoplasticism arose in Holland, and similar trends took place in the German Bauhaus. For many artists, constructivism was just a stage in their creativity.

Constructivism is characterized by the absolutization of the role of science and the aestheticization of technology, the belief that science and technology are the only means of solving social and cultural problems.

The constructivist concept went through a number of stages in its development. What the constructivists had in common was: an understanding of a work of art as a material construction created by the artist; the struggle for new forms of artistic labor and the desire to master the aesthetic possibilities of design. At the final stage of its existence, constructivism entered the period of canonization of its characteristic formal-aesthetic techniques. As a result, the aesthetic possibilities of technical structures, the discovery of which was the undoubted merit of the “pioneers of design,” were absolutized. Constructivists did not take into account the fact that the dependence of form on design is mediated by a set of cultural and historical facts. Their program of “The Social Utility of Art” as a result became a program for its destruction, the reduction of an aesthetic object to a material-physical basis, to pure form-creativity. The cognitive, ideological and aesthetic side of art, its national specificity and imagery as a whole disappeared, which led to pointlessness in art.

At the same time, attempts to identify the laws governing the form of the material and analysis of its combinatorial features (V. Tatlin, K. Malevich) contributed to the development of new approaches to the material and technological side of creativity.

COMPOSITION(lat. compositio arrangement, composition, addition) - a method of constructing a work of art, the principle of connecting similar and heterogeneous components and parts, consistent with each other and with the whole. The composition is determined by the methods of formation and the peculiarities of perception characteristic of a certain type and genre of art, the laws of constructing an artistic model (see) in canonized types of culture (for example, folklore, ancient Egyptian art, Eastern, Western European Middle Ages, etc.), as well as individual originality the artist, the unique content of a work of art in non-canonized types of culture (European art of New and Contemporary times, Baroque, Romanticism, Realism, etc.).

The composition of the work finds its embodiment and is determined by the artistic development of the theme, the moral and aesthetic assessment of the author. It, according to S. Eisenstein, is the naked nerve of the author's intention, thinking and ideology. Indirectly (in music) or more directly (in the visual arts), composition correlates with the laws of the life process, with the objective and spiritual world reflected in a work of art. In it, the transition of artistic content and its internal relations into the relation of form takes place, and the orderliness of form into the orderliness of content. To distinguish between the laws of construction of these spheres of art, two terms are sometimes used: architectonics (the relationship of the components of content) and composition (the principles of constructing form). There is also another type of differentiation: the general form of the structure and the relationship of large parts of the work is called architectonics (for example, stanza in a poetic text), and the relationship of more fractional components is called composition (for example, the arrangement of poetic lines and the speech material itself). It should be taken into account that in the theory of architecture and organization of the subject environment, another pair of correlated concepts is used: design (the unity of the material components of the form, achieved by identifying their functions) and composition (artistic completion and emphasis on constructive and functional aspirations, taking into account the peculiarities of visual perception and artistic expressiveness, decorativeness and integrity of form).

The concept of composition should be distinguished from that which became widespread in the 60s and 70s. the concept of the structure of a work of art as a stable, repeating principle, a compositional norm of a certain type, kind, genre, style and movement in art. In contrast to structure, composition is the unity, fusion and struggle of normative-typological and individually unique tendencies in the construction of a work of art. The degree of normativity and individual originality, the uniqueness of the composition is different in different types of art (cf. European classicism and “uninhibited” romanticism), in certain genres of the same type of art (compositional normativity in tragedy is expressed more clearly than in drama, and in the sonnet is immeasurably higher than in the lyrical message). Compositional means in individual types and genres of art are specific, but at the same time, there is undoubtedly their mutual influence: the theater has mastered the pyramidal and diagonal composition of the plastic arts, and subject-thematic painting has mastered the backstage construction of the stage. Various types of art, directly and indirectly, consciously and unconsciously, have absorbed the compositional principles of musical structures (for example, sonata form) and plastic relationships (see).

In the art of the 20th century. there is a complication of compositional structures due to the increased inclusion of associative links, memories, dreams, through time changes and spatial shifts. The composition also becomes more complex in the process of convergence of traditional and “technical” arts. Extreme forms of modernism absolutize this tendency and give it an irrational-absurd meaning (“new novel”, theaters of the absurd, surrealism, etc.).

In general, composition in art expresses an artistic idea and organizes aesthetic perception in such a way that it moves from one component of the work to another, from part to whole.

INTUITION artistic (from Latin intuitio - contemplation) - the most important element of creative thinking, affecting such aspects of artistic

activity and artistic consciousness, such as creativity, perception, truth. In the most general form, when intuition is recognized as equally important in both art and science, it is nothing more than a special insight into truth, which dispenses with reliance on rational forms of knowledge associated with one or another type of logical proof.

The most important thing is artistic intuition in creativity. This is especially evident at the initial stage of the creative process, the so-called. "problem situation" The fact that the result of creativity must be original forces the creative person, already at the very early stage of creativity, to look for a solution that has not been encountered before. It involves a radical revision of established concepts, mental patterns, ideas about man, space and time. Intuitive knowledge, as new knowledge, usually exists in the form of an unexpected guess, a symbolic diagram, in which the contours of a future work are only guessed. However, as many artists admit, this kind of insight forms the basis of the entire creative process.

Aesthetic and especially artistic perception also include elements of artistic intuition. Not only the creation of an artistic image by the creator of art, but also the perception of artistic imagery by the reader, viewer, listener is associated with a certain mood for the perception of artistic value, which is hidden from superficial observation. In this case, artistic intuition becomes the means by which the perceiver penetrates into the area of ​​artistic significance. In addition, artistic intuition ensures the act of co-creation of the perceiving work of art and its creator.

Until now, much in the operation of the intuitive mechanism seems mysterious and causes great difficulties in its study. Sometimes, on this basis, artistic intuition is attributed to the realm of mysticism and identified with one of the forms of irrationalism in aesthetics. However, the experience of many brilliant artists testifies that thanks to artistic intuition it is possible to create works that deeply and truthfully reflect reality. If the artist does not deviate from the principles of realism in his work, then artistic intuition, which he actively uses, can be considered as a special effective means of cognition that does not contradict the criteria of truth and objectivity.

INTRIGUE(from Lat. intricare - to confuse) - an artistic technique used to construct a plot and plot in various genres of fiction, cinema, theatrical art (confusing and unexpected turns of action, intertwining and clashing interests of the characters depicted). The idea of ​​​​the importance of introducing intrigue into the unfolding of the action depicted in a dramatic work was first expressed by Aristotle: “The most important way in which tragedy captivates the soul is the essence of the plot - vicissitudes and recognition.

Intrigue gives the unfolding action a tense and exciting character. With its help, the transfer of complex and conflicting (see) relationships between people in their private and social lives is achieved. The technique of intrigue is usually widely used in works of the adventure genre. However, classic writers also use this in other genres, which is clear from the creative heritage of the great realist writers - Pushkin, Lermontov, Dostoevsky, L. Tolstoy, etc. Often intrigue is only a means of external entertainment. This is typical for bourgeois, purely commercial art, designed for bad philistine taste. The opposite tendency of bourgeois art is the desire for plotlessness, when intrigue disappears as an artistic device.

ANTITHESIS(Greek antithesis - opposition) - a stylistic figure of contrast, a way of organizing both artistic and non-artistic speech, which is based on the use of words with opposite meanings (antonyms).
Antithesis as a figure of opposition in the system of rhetorical figures has been known since antiquity. Thus, for Aristotle, antithesis is a certain “way of presenting” thought, a means of creating a special - “opposite” - period.

In artistic speech, antithesis has special properties: it becomes an element of the artistic system and serves as a means of creating an artistic image. Therefore, antithesis is called the opposite of not only words, but also images of a work of art.

As a figure of opposition, antithesis can be expressed by both absolute and contextual antonyms.

And the bright house is alarming
I was left alone with the darkness,
The impossible was possible
But the possible was a dream.
(A. Blok)

ALLEGORY(Greek allegoria - allegory) one of the allegorical artistic techniques, the meaning of which is that an abstract thought or phenomenon of reality appears in a work of art in the form of a concrete image.

By its nature, an allegory is two-part.

On the one hand, this is a concept or phenomenon (cunning, wisdom, good, nature, summer, etc.), on the other, a concrete object, a picture of life, illustrating an abstract thought, making it visual. However, in itself, this picture of life plays only a service role - it illustrates, decorates the idea, and therefore is devoid of “any definite individuality” (Hegel), as a result of which the idea can be expressed by a whole series of “picture illustrations” (A.F. Losev).

However, the connection between the two plans of the allegory is not arbitrary; it is based on the fact that the general exists and manifests itself only in a specific individual object, the properties and functions of which serve as the means of creating the allegory. One can cite as an example the allegories “Fertility” by V. Mukhina or “Dove” by Picasso - an allegory of the world.

Sometimes an idea exists not only as an allegorical plan of an allegory, but is expressed directly (for example, in the form of a fable “moral”). In this form, allegory is especially characteristic of works of art that pursue moral and didactic goals.

Artistic devices in literature and poetry are called tropes. They are present in any work of a poet or prose writer. Without them, the text could not be called artistic. In art, words are an essential element.

Artistic techniques in literature, why are tropes needed?

Fiction is a reflection of reality, passed through the inner world of the author. A poet or prose writer does not simply describe what he sees around him, in himself, in people. He conveys his individual perception. Each writer will describe the same phenomenon, for example, a thunderstorm or tree blossoms in spring, love or grief, in his own way. Artistic techniques help him with this.

Tropes are usually understood as words or phrases that are used figuratively. With their help, the author creates a special atmosphere, vivid images, and achieves expressiveness in his work. They highlight important details in the text, helping the reader pay attention to them. Without this, it is impossible to convey the ideological meaning of the work.

Tropes are seemingly ordinary words consisting of letters used in a scientific article or simply in colloquial speech. However, in a work of art they become magical. For example, the word “wooden” becomes not an adjective characterizing the material, but an epithet revealing the image of the character. Otherwise - impenetrable, indifferent, indifferent.

Such a change becomes possible thanks to the author’s ability to select meaningful associations, to find the exact words to convey his thoughts, emotions, and sensations. It takes a special talent to cope with such a task and create a work of art. Just cramming the text with tropes is not enough. It is necessary to be able to use them so that each carries a special meaning and plays a unique and inimitable role in the test.

Artistic techniques in the poem

The use of artistic techniques in poems is especially relevant. After all, a poet, unlike a prose writer, does not have the opportunity to devote, say, entire pages to describing the image of a hero.

Its “spread” is often limited to a few stanzas. At the same time, it is necessary to convey the immensity. In the poem, literally every word is worth its weight in gold. It shouldn't be redundant. The most common poetic devices:

1. Epithets - they can be parts of speech such as adjectives, participles and sometimes phrases consisting of nouns used in a figurative sense. Examples of such artistic techniques are “golden autumn”, “extinguished feelings”, “king without retinue”, etc. Epithets do not express an objective, but rather an author’s characteristic of something: an object, a character, an action or a phenomenon. Some of them become persistent over time. They are most often found in folklore works. For example, “clear sun”, “red spring”, “good fellow”.

2. A metaphor is a word or phrase whose figurative meaning allows two objects to be compared to each other based on a common feature. Reception is considered a complex trope. Examples include the following constructions: “a mop of hair” (a hidden comparison of a hairstyle with a mop of hay), “a lake of the soul” (a comparison of a person’s soul with a lake based on a common feature - depth).

3. Personification is an artistic technique that allows you to “revive” inanimate objects. In poetry it is used mainly in relation to nature. For example, “the wind speaks with a cloud,” “the sun gives its warmth,” “winter looked at me harshly with its white eyes.”

4. Comparison has much in common with metaphor, but is not stable and hidden. The phrase usually contains the words “as”, “as if”, “like”. For example - “And like the Lord God, I love everyone in the world,” “Her hair is like a cloud.”

5. Hyperbole is an artistic exaggeration. Allows you to draw attention to certain features that the author wants to highlight and considers them characteristic of something. And therefore he deliberately exaggerates. For example, “a man of giant stature”, “she cried an ocean of tears.”

6. Litotes is the antonym of hyperbole. Its purpose is to downplay, soften something. For example, “an elephant is the size of a dog,” “our life is just a moment.”

7. Metonymy is a trope that is used to create an image based on one of its characteristics or elements. For example, “hundreds of legs ran along the pavement, and hooves hurried nearby,” “the city smokes under the autumn sky.” Metonymy is considered one of the varieties of metaphor, and, in turn, has its own subtype - synecdoche.