What component of the composition of a work of art. Encyclopedia

STYLE DOMINANTS

There are always some points in the text of a work at which the style “comes out.” Such points serve as a kind of stylistic “tuning fork”, tuning the reader to a certain “aesthetic wave”... Style is presented as “a certain surface on which a unique trace has been identified, a form that by its structure reveals the presence of one guiding force.” (P.V. Palievsky)

Here we are talking about STYLE DOMINANTS, which play an organizing role in the work. That is, all techniques and elements must be subordinated to them, the dominants.

Style dominants - This:

Plot, descriptiveness and psychologism,

Conventionality and life-likeness,

Monologism and heteroglossia,

Verse and prose

Nominativity and rhetoric,

- simple and complex types of composition.

COMPOSITION -(from Latin compositio - composition, binding)

Construction work of art, determined by its content, character, purpose and largely determining its perception.

Composition is the most important organizing element artistic form, giving the work unity and integrity, subordinating its components to each other and the whole.

IN fiction composition - motivated arrangement of components literary work.

A component (UNIT OF COMPOSITION) is considered to be a “segment” of a work in which one method of depiction (characterization, dialogue, etc.) or a single point of view(author, narrator, one of the characters) to what is depicted.

The relative position and interaction of these “segments” form the compositional unity of the work.

Composition is often identified with both the plot, the system of images, and the structure of a work of art.

In the most general form, there are two types of composition - simple and complex.

SIMPLE (linear) composition comes down only to combining parts of a work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.

For a COMPLEX (transformational) composition the order of combination of parts reflects a special artistic meaning.

For example, the author begins not with exposition, but with some fragment of the climax or even the denouement. Or the narrative is conducted as if in two times - the hero “now” and the hero “in the past” (remembers some events that highlight what is happening now). Or a double hero is introduced - from a completely different galaxy - and the author plays on the comparison/contrast of episodes.

In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.

DIFFERENT ASPECTS OF THE COMPOSITION:

external composition

figurative system,

character system changing points of view,

parts system,

plot and plot

conflict artistic speech,

extra-plot elements

COMPOSITION FORMS:

narration

description

characteristic.

COMPOSITE FORMS AND MEANS:

repetition, reinforcement, contrast, montage

comparison,

"close-up" plan, "general" plan,

point of view,

temporary organization of the text.

REFERENCE POINTS OF THE COMPOSITION:

climax, denouement,

strong positions text,

repetitions, contrasts,

twists and turns in the hero's fate,

spectacular artistic techniques and means.

The points of greatest reader tension are called REFERENCE POINTS OF THE COMPOSITION. These are peculiar landmarks that guide the reader through the text, and it is in them that the ideological issues works.<…>they are the key to understanding the logic of composition and, accordingly, the entire internal logic of the work as a whole .

STRONG TEXT POSITIONS:

These include formally identified parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).

MAIN TYPES OF COMPOSITION:

ring, mirror, linear, default, flashback, free, open, etc.

PLOT ELEMENTS:

exposition, plot

action development

(vicissitudes)

climax, denouement, epilogue

EXTRA-PLOT ELEMENTS

description (landscape, portrait, interior),

insert episodes.

Ticket number 26

1.Poetic vocabulary

2. Epicness, drama and lyricism of a work of art.

3. The volume and content of the style of the work.

Poetic vocabulary

P.l.- one of the most important aspects literary text; subject of study of a special section of literary criticism. Study lexical composition poetic (i.e. artistic) work involves correlating the vocabulary used in a particular sample artistic speech any writer, with commonly used vocabulary, that is, used by the writer’s contemporaries in various everyday situations. The speech of society that existed at that time historical period, to which the work of the author of the analyzed work belongs, is perceived as a certain norm, and therefore is recognized as “natural”. The purpose of the study is to describe the facts of deviation of individual author's speech from the norms of “natural” speech. The study of the lexical composition of a writer’s speech (the so-called “writer’s dictionary”) turns out to be a particular type of such stylistic analysis. When studying the “writer’s dictionary”, attention is paid to two types of deviations from “natural” speech: the use of lexical elements that are rarely used in “natural” everyday circumstances, i.e. “passive” vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargons (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The author’s introduction of words from one and the other group into the text determines the imagery of the work, and therefore its artistry.

(everyday vocabulary, business vocabulary, poetic vocabulary and so on.)

Poetic vocabulary. The archaic vocabulary includes historicisms and archaisms. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussar, tax in kind, NEP, October child (younger child school age, preparing to join the pioneers), NKVD member (employee of the NKVD - People's Commissariat of Internal Affairs), commissar, etc.). Historicisms can be associated both with very distant eras and with events of relatively recent times, which, however, have already become facts of history ( Soviet authority, party activist, secretary general, politburo). Historicisms do not have synonyms among the words of the active vocabulary, being the only names of the corresponding concepts.

Archaisms are names of existing things and phenomena, for some reason supplanted by other words belonging to the active vocabulary (cf.: every day - always, comedian - actor, zlato - gold, know - know).

Obsolete words are heterogeneous in origin: among them there are original Russian (full, shelom), Old Slavonic (glad, kiss, shrine), borrowed from other languages (abshid - “retirement”, voyage - “travel”).

Of particular interest stylistically are words of Old Church Slavonic origin, or Slavicisms. A significant part of Slavicisms were assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also Old Church Slavonic words that modern language are perceived as an echo high style and retain its characteristic solemn, rhetorical coloring.

The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavicisms in Russian literature. Names of gods and heroes of Greek and Roman mythology, special poetic symbols(lyre, ellisium, Parnassus, laurels, myrtles), artistic images ancient literature in the first thirds of the XIX V. were integral part poetic dictionary. Poetic vocabulary, like Slavicisms, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already among the successors of A.S. Pushkin's poetisms are archaized. Writers often refer to outdated words as expressive means artistic speech. The history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and “sweet” sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily incomplete vowels, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the basis of “poetic license”: poets could choose from two words the one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp’s voice, will die quietly in the air. - Bat.). Over time, the tradition of “poetic license” is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.

Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. They were used in this function, for example, by A.N. Tolstoy:

“The land of Ottich and Dedich are those banks of deep rivers and forest glades where our ancestor came to live forever. (...) he fenced off his dwelling with a fence and looked along the path of the sun into the distance of centuries.

And he imagined many things - difficult and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears mounted under the banners of Dmitry on the Kulikovo field, and the ice drenched in blood Lake Peipsi, and the Terrible Tsar, who expanded the united, henceforth indestructible, boundaries of the earth from Siberia to the Varangian Sea...”

Archaisms, especially Slavicisms, give speech a sublime, solemn sound. Old Church Slavonic vocabulary performed this function even in ancient Russian literature. In poetic speech of the 19th century. Old Russianisms, which also began to be used to create the pathos of artistic speech, became stylistically equal with the high Old Slavonic vocabulary. The high, solemn sound of outdated words is also appreciated by writers of the 20th century. During the Great Patriotic War I.G. Ehrenburg wrote: “By repelling the blows of predatory Germany, it (the Red Army) saved not only the freedom of our Motherland, it saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which goodness will shine. Our people showed their military virtues..."

Outdated vocabulary can take on an ironic connotation. For example: Which parent does not dream of an understanding, balanced child who grasps everything literally on the fly. But attempts to turn your child into a “miracle” tragically often end in failure (from the gas). The ironic rethinking of outdated words is often facilitated by the parodic use of elements of high style. In a parody-ironic function outdated words often appear in feuilletons, pamphlets, and humorous notes. Let's take an example from newspaper publication in preparation for the day the president took office (August 1996).

Today we are talking on the topic: “Traditional elements of composition.” But first, we should remember what “composition” is. We first encounter this term in school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, rummage through the old, and fill in the missing gaps.

Composition in literature

What is composition? First of all, we turn to you for help explanatory dictionary and find out that in literal translation from Latin, this term means “composition, composition.” Needless to say, without “composition”, that is, without “composition”, no work of art is possible (examples follow) and no text as a whole. It follows that composition in literature is a certain order of arrangement of parts of a work of art. In addition, these are certain forms and methods artistic image, which have a direct connection with the content of the text.

Basic elements of composition

When we open a book, the first thing we hope for and look forward to is a beautiful, entertaining narrative that will surprise or keep us in suspense, and then not let go for a long time, forcing us to mentally return to what we read again and again. In this sense, a writer is a true artist who primarily shows and does not tell. He avoids direct text like: “Now I’ll tell you.” On the contrary, his presence is invisible, unobtrusive. But what do you need to know and be able to do for such mastery?

Compositional elements are the palette in which the artist, a master of words, mixes his colors to later create a bright, colorful plot. These include: monologue, dialogue, description, narration, system of images, author's digression, plug-in genres, plot, plot. Below - about each of them in more detail.

Monologue speech

Depending on how many people or characters in a work of art participate in speech - one, two or more - monologue, dialogue and polylogue are distinguished. The latter is a type of dialogue, so we will not dwell on it. Let's consider only the first two.

A monologue is an element of composition that consists in the author's use of one character's speech, which does not expect or receive an answer. As a rule, it is addressed to listeners in dramatic work or to yourself.

Depending on the function in the text, there are such types of monologue as: technical - the hero’s description of events that have happened or are currently occurring; lyrical - the hero conveys his strong emotional experiences; monologue-acceptance - the internal reflections of a character who is faced with a difficult choice.

The following types are distinguished by form: the author's word - the author's address to the readers, most often through one or another character; stream of consciousness - the free flow of the hero’s thoughts as they are, without obvious logic and not adhering to the rules of literary construction of speech; dialectics of reasoning - the hero’s presentation of all the pros and cons; dialogue alone - a character’s mental address to another character; apart - in dramaturgy, a few words to the side that characterize the current state of the hero; stanzas - also in dramaturgy, lyrical reflections of a character.

Dialogue speech

Dialogue is another element of composition, a conversation between two or more characters. Usually dialogic speech is an ideal means of conveying the collision of two opposing points of view. It also helps create an image, reveal personality and character.

Here I would like to talk about the so-called dialogue of questions, which involves a conversation consisting exclusively of questions, and the response of one of the characters is both a question and an answer to the previous remark at the same time. (examples follow) Khanmagomedov Aidyn Asadullaevich “Mountain Woman” - bright that confirmation.

Description

What is a person? This is a special character, and individuality, and a unique appearance, and the environment in which he was born, brought up and exists at this moment in life, and his home, and the things with which he surrounds himself, and people, distant and close, and the surrounding its nature... The list goes on and on. Therefore, when creating an image in a literary work, a writer must look at his hero from all possible angles and describe without missing a single detail, even more - create new “shades” that cannot even be imagined. The following types are distinguished in the literature artistic descriptions: portrait, interior, landscape.

Portrait

It is one of the most important compositional elements in literature. He describes not only the external appearance of the hero, but also his inner world - the so-called psychological portrait. The place of a portrait in a work of art also varies. A book can begin with him or, conversely, end with him (A.P. Chekhov, “Ionych”). maybe immediately after the character commits some act (Lermontov, “Hero of Our Time”). In addition, the author can draw a character in one fell swoop, monolithically (Raskolnikov in Crime and Punishment, Prince Andrei in War and Peace), and another time scatter the features throughout the text (War and Peace, Natasha Rostova). Basically, the writer himself takes up the brush, but sometimes he gives this right to one of the characters, for example, Maxim Maksimych in the novel “A Hero of Our Time”, so that he can describe Pechorin as accurately as possible. The portrait can be painted ironically, satirically (Napoleon in War and Peace) and “ceremoniously”. Sometimes only the face, a certain detail, or the entire body - figure, manners, gestures, clothing (Oblomov) - comes under the author’s “magnifying glass”.

Interior description

The interior is an element of the composition of the novel, allowing the author to create a description of the hero’s home. It is no less valuable than a portrait, since the description of the type of room, furnishings, atmosphere in the house - all this plays an invaluable role in conveying the characteristics of the character, in understanding the full depth of the created image. The interior reveals both a close connection with which is the part through which the whole is known, and the individual through which the plural is seen. So, for example, Dostoevsky in the novel “The Idiot” “hung” Holbein’s painting “Dead Christ” in Rogozhin’s gloomy house in order to once again draw attention to the irreconcilable struggle of true faith with passions, with unbelief in Rogozhin’s soul.

Landscape - description of nature

As Fyodor Tyutchev wrote, nature is not what we imagine, it is not soulless. On the contrary, there is a lot hidden in it: soul, freedom, love, and language. The same can be said about the landscape in a literary work. The author, with the help of such an element of composition as landscape, depicts not only nature, terrain, city, architecture, but thereby reveals the state of the character, and contrasts the naturalness of nature with conventional human beliefs, acting as a kind of symbol.

Remember the description of the oak tree during Prince Andrei’s trip to the Rostovs’ house in the novel War and Peace. What it (the oak) was like at the very beginning of its journey - an old, gloomy, “disdainful freak” among the birches smiling at the world and spring. But at the second meeting, it unexpectedly blossomed and was renewed, despite the hundred-year-old hard bark. He still submitted to spring and life. The oak in this episode is not only a landscape, a description of nature coming to life after a long winter, but also a symbol of the changes that have taken place in the prince’s soul, a new stage in his life, which managed to “break” the desire that was almost ingrained in him to be an outcast from life until the end of his days .

Narration

Unlike a description, which is static, nothing happens in it, nothing changes, and in general it answers the question “what?”, a narration includes action, conveys the “sequence of events that occur” and the key question for it is “what happened ?. Speaking figuratively, narration as an element of the composition of a work of art can be presented in the form of a slide show - a quick change of pictures illustrating a plot.

Image system

Just as each person has his own network of lines on his fingertips, forming a unique pattern, so each work has its own unique system images This may include the image of the author, if there is one, the image of the narrator, the main characters, antipodean heroes, minor characters and so on. Their relationships are built depending on the ideas and goals of the author.

Author's digression

Or a lyrical digression is a so-called extra-plot element of the composition, with the help of which the author’s personality seems to burst into the plot, thereby interrupting immediate move plot narration. What is it for? First of all, to establish a special emotional contact between the author and the reader. Here the writer no longer acts as a storyteller, but opens his soul, raises deeply personal questions, discusses moral, aesthetic, philosophical topics, shares memories from own life. Thus, the reader manages to take a breath before the stream of subsequent events, stop and delve more deeply into the idea of the work, and think about the questions posed to him.

Plug-in genres

This is another important compositional element, which is not only a necessary part of the plot, but also serves to provide a more voluminous, deeper revelation of the hero’s personality, helps to understand the reason for his particular life choice, his inner world, and so on. Any genre of literature can be inserted. For example, stories are the so-called story within a story (the novel “Hero of Our Time”), poems, stories, verses, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be either your own composition or someone else’s.

Plot and plot

These two concepts are often either confused with each other or mistakenly believed to be the same thing. But they should be distinguished. The plot is, one might say, the skeleton, the basis of the book, in which all parts are interconnected and follow one after another in the order necessary for full implementation author's intention, revealing the idea. In other words, events in the plot can take place in different time periods. The plot is the basis, but in a more condensed form, and plus is the sequence of events in their strictly chronological order. For example, birth, maturity, old age, death - this is the plot, then the plot is maturity, memories from childhood, adolescence, youth, lyrical digressions, old age and death.

Subject composition

The plot, just like the literary work itself, has its own stages of development. At the center of any plot there is always a conflict around which the main events develop.

The book begins with an exposition or prologue, that is, with an “explanation”, a description of the situation, the starting point from which it all began. What follows is the plot, one might say, a foreshadowing of future events. At this stage, the reader begins to realize that future conflict is just around the corner. As a rule, it is in this part that the main characters meet, who are destined to go through the upcoming trials together, side by side.

We continue to list the elements plot composition. The next stage is the development of action. This is usually the most significant piece of text. Here the reader already becomes an invisible participant in the events, he knows everyone, he feels what is happening, but is still intrigued. Gradually, the centrifugal force sucks him in, and slowly, unexpectedly for himself, he finds himself in the very center of the whirlpool. The climax comes - the very peak, when a real storm of feelings and a sea of emotions falls on both the main characters and the reader himself. And then, when it is already clear that the worst is over and you can breathe, the denouement quietly knocks on the door. She chews everything over, explains every detail, puts all things on shelves - each in its place, and the tension slowly subsides. The epilogue brings the final line and briefly outlines later life main and secondary characters. However, not all plots have the same structure. The traditional elements of a fairy tale composition are completely different.

Fairy tale

A fairy tale is a lie, but there is a hint in it. Which? The elements of the fairy tale’s composition are radically different from their “brothers,” although when reading, easy and relaxed, you don’t notice this. This is the talent of a writer or even an entire people. As Alexander Sergeevich instructed, it is simply necessary to read fairy tales, especially common folk ones, because they contain all the properties of the Russian language.

So, what are they - traditional elements fairytale composition? The first words are a saying that puts you in a fairy-tale mood and promises a lot of miracles. For example: “This fairy tale will be told from the morning until lunch, after eating soft bread...” When the listeners relax, sit more comfortably and are ready to listen further, the time has come for the beginning - the beginning. The main characters, place and time of action are introduced, and another line is drawn that divides the world into two parts - real and magical.

Next comes the fairy tale itself, in which there are often repetitions to enhance the impression and gradually approach the denouement. In addition, poems, songs, onomatopoeia of animals, dialogues - all these are also integral elements of the composition of a fairy tale. The fairy tale also has its own ending, which seems to sum up all the miracles, but at the same time hints at infinity magical world: “They live, get along and make good things.”

Composition (from Latin compositio ≈ compilation, writing), ═ 1) the construction of a work of art, determined by its content, character and purpose and largely determining its perception. K. is the most important organizing component... ...

Dramaturgy of a television work- – construction of a film, program, program that corresponds to the four-part division of the described action, regardless of the nature of the television work (documentary, fiction), and also regardless of its timing. Drama... ...

Construction (from Latin constructio composition, construction), 1) structure, device, construction, construction. 2) In engineering, a diagram of the structure and operation of a machine, structure or unit, as well as the machines, structures, units and their parts themselves. K. provides... ... Great Soviet Encyclopedia

Construction of a work of art. The term “composition” is more often used in the same meaning, and in application not only to the work as a whole (as A.), but also to individual elements it: composition of image, plot, stanza, etc. Concept A ... Literary encyclopedia

1. The concept of style. S. historically determined aesthetic unity of content and diverse aspects of the artistic form, revealing the content of the work. S. arises as a result of the “artistic development” of certain aspects of social... Literary encyclopedia

I Composition (from Latin compositio compilation, composition) 1) the construction of a work of art, determined by its content, character and purpose and largely determining its perception. K. the most important organizing component... ... Great Soviet Encyclopedia

Composition- – (from Latin compositio – composition, composition). 1). A certain construction of a work of art, which is determined by its content, character and purpose and largely determines perception. Composition is the most important organizing... ... encyclopedic Dictionary mass media

Architectonics- ARCHITECTONICS (in literature) general construction works. The concept of architectonics is close to the concept of composition in literature (see “composition”), but the difference between these concepts is easily established due to the nature that they... ... Dictionary literary terms

- (from Latin compositio composition, composition), 1) the construction of a work of art, determined by its content, nature and purpose and largely determining its perception. Composition is the most important organizing component... ... Art encyclopedia

composition- and, f. 1) (what) The structure of a work of literature and art, the location and relationship of its parts. Composition: Words about Igor's Campaign. Composition of the painting. Synonyms: architect, construction, structure 2) Work (of music, painting, etc.... Popular dictionary of the Russian language

- (lat., this. see previous word). 1) combining individual objects into one whole. 2) the composition from which fake precious stones are prepared. 3) musical composition. 4) technical expression for various metal alloys. Dictionary… … Dictionary of foreign words of the Russian language

Books

Drive (ed. 2014), Aglaida Loy. The novel is dedicated to the existential problems of man in modern world- self-identification, spiritual quest, moral choice. Constructing a work on a symphonic principle allows...

COMPOSITION OF A LITERARY AND ARTISTIC WORK. TRADITIONAL COMPOSITION TECHNIQUES. DEFAULT/RECOGNITION, “MINUS”-RECEIPT, CO- AND CONTRASTINGS. INSTALLATION.

The composition of a literary work is the mutual correlation and arrangement of units of the depicted and artistic and speech means. Composition ensures the unity and integrity of artistic creations. The foundation of the composition is the orderliness of the fictional reality and the reality depicted by the writer.

Elements and levels of composition:

plot (in the understanding of formalists - artistically processed events);
system of characters (their relationship with each other);
narrative composition (change of narrators and point of view);
composition of parts (correlation of parts);
the relationship between narrative and description elements (portraits, landscapes, interior, etc.)

Traditional compositional techniques:

repetitions and variations. They serve to highlight and emphasize the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated historically early song lyrics, but also constituted its essence. The variations are modified repetitions (the description of the squirrel in Pushkin’s “The Tale of Tsar Saltan”). Increasing repetition is called gradation (the increasing claims of the old woman in Pushkin’s “The Tale of the Fisherman and the Fish”). Repetitions also include anaphors (single beginnings) and epiphoras (repeated endings of stanzas);
co- and oppositions. The origins of this technique are figurative parallelism developed by Veselovsky. Based on the combination of natural phenomena with human reality (“The silk grass spreads and curls / Across the meadow / Kisses, pardons / Mikhail his little wife”). For example, Chekhov's plays are based on comparisons of similarities, where the general life drama of the depicted environment takes precedence, where there are neither completely right nor completely guilty. Contrasts take place in fairy tales (the hero is a saboteur), in Griboyedov’s “Woe from Wit” between Chatsky and “25 Fools,” etc.;
“silence/recognition, minus reception. The defaults are beyond the scope of the detailed image. They make the text more compact, activate the imagination and increase the reader’s interest in what is depicted, sometimes intriguing him. In a number of cases, silences are followed by clarification and direct discovery of what was hitherto hidden from the reader and/or the hero himself - what Aristotle called recognition. Recognitions can complete a reconstructed series of events, as, for example, in Sophocles’ tragedy “Oedipus the King.” But silences may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant omissions - minus devices.
installation. In literary criticism, montage is the recording of co- and oppositions that are not dictated by the logic of what is depicted, but directly capture the author’s train of thought and associations. A composition with such an active aspect is called a montage. In this case, the spatio-temporal events and the characters themselves are weakly or illogically connected, but everything depicted as a whole expresses the energy of the author’s thought and his associations. The montage principle one way or another exists where there are inserted stories (“The Tale of Captain Kopeikin” in “Dead Souls”), lyrical digressions (“Eugene Onegin”), chronological rearrangements (“Hero of Our Time”). The montage structure corresponds to a vision of the world that is distinguished by its diversity and breadth.

THE ROLE AND SIGNIFICANCE OF ARTISTIC DETAIL IN A LITERARY WORK. RELATIONSHIP OF DETAILS AS A COMPOSITION DEVICE.

An artistic detail is an expressive detail in a work that carries a significant semantic, ideological and emotional load. The figurative form of a literary work contains three aspects: a system of details of object representation, a system of compositional techniques and a speech structure. Artistic detail usually includes subject details - everyday life, landscape, portrait.

Detailing objective world in literature is inevitable, since only with the help of details can the author recreate an object in all its features, evoking the necessary associations in the reader with details. Detailing is not decoration, but the essence of the image. The addition by the reader of mentally missing elements is called concretization (for example, the imagination of a certain appearance of a person, an appearance that is not given by the author with exhaustive certainty).

According to Andrei Borisovich Yesin, there are three large groups details:

plot;
descriptive;
psychological.

The predominance of one type or another gives rise to the corresponding dominant property of the style: plot (“Taras and Bulba”), descriptive (“ Dead Souls"), psychologism ("Crime and Punishment").

Details can either “agree with each other” or be opposed to each other, “argue” with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the relationship between detail and detail as follows: detail gravitates towards singularity, detail affects multiplicity.

Dobin believes that by repeating itself and acquiring additional meanings, a detail grows into a symbol, and a detail is closer to a sign.

DESCRIPTIVE ELEMENTS OF COMPOSITION. PORTRAIT. SCENERY. INTERIOR.

Descriptive elements of the composition usually include landscape, interior, portrait, as well as characteristics of the heroes, a story about their multiple, regularly repeated actions, habits (for example, a description of the usual daily routine of the heroes in “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” by Gogol ). The main criterion for a descriptive element of a composition is its static nature.

Portrait. Portrait of a character - a description of his appearance: physical, natural, and in particular age properties (facial features and figures, hair color), as well as everything in the appearance of a person that has been formed social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

Traditional high genres are characterized by idealizing portraits (for example, the Polish woman in Taras Bulba). Portraitures in works of a humorous, comedy-farcical nature had a completely different character, where the center of the portrait is the grotesque (transformative, leading to a certain ugliness, incongruity) presentation of the human body.

The role of a portrait in a work varies depending on the type and genre of literature. In drama, the author limits himself to indicating age and general characteristics given in the stage directions. The lyrics make maximum use of the technique of replacing the description of appearance with an impression of it. Such a replacement is often accompanied by the use of epithets “beautiful”, “charming”, “charming”, “captivating”, “incomparable”. Comparisons and metaphors based on the abundance of nature are very actively used here (a slender figure is a cypress tree, a girl is a birch tree, a timid doe). Gems and metals are used to convey the shine and color of eyes, lips, and hair. Comparisons with the sun, moon, and gods are typical. In the epic, a character's appearance and behavior are associated with his character. Early epic genres, such as heroic tales, are replete with exaggerated examples of character and appearance - ideal courage, extraordinary physical strength. The behavior is also appropriate - the majesty of poses and gestures, the solemnity of unhurried speech.

In the creation of portraits until the end of the 18th century. the leading tendency remained its conditional form, the predominance of the general over the particular. In the literature of the 19th century. Two main types of portrait can be distinguished: exposure (gravitating towards static) and dynamic (transitioning into the entire narrative).

An exhibition portrait is based on a detailed listing of the details of the face, figure, clothing, individual gestures and other features of appearance. It is given on behalf of the narrator, interested in the character appearance representatives of some social community. A more complex modification of such a portrait is a psychological portrait, where appearance features predominate, indicating character traits and inner world(Pechorin’s non-laughing eyes).

A dynamic portrait, instead of a detailed listing of appearance features, presupposes a brief, expressive detail that arises during the course of the story (images of heroes in “The Queen of Spades”).

Scenery. Landscape is most correctly understood as a description of any open space in the outside world. Landscape is not a mandatory component art world, which emphasizes the conventionality of the latter, since landscapes are everywhere in the reality around us. The landscape carries several important functions:

designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, the landscape is not a dry indication of the spatio-temporal parameters of the work, but an artistic description using figurative, poetic language;
plot motivation. Natural, and, in particular, meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). Landscape also occupies a lot of space in animal literature (for example, the works of Bianchi);
a form of psychologism. The landscape creates a psychological mood for the perception of the text, helps to reveal the internal state of the characters (for example, the role of the landscape in the sentimental “Poor Lisa”);
form of the author's presence. The author can show his patriotic feelings by giving the landscape national identity(for example, Yesenin’s poetry).

The landscape has its own characteristics different kinds literature. He is presented very sparingly in the drama. In his lyrics, he is emphatically expressive, often symbolic: personification, metaphors and other tropes are widely used. In epic there is much more scope for introducing landscape.

The literary landscape has a very ramified typology. There are rural and urban, steppe, sea, forest, mountain, northern and southern, exotic - opposed to flora and fauna native land author.

Interior. The interior, unlike the landscape, is an image of the interior, a description of an enclosed space. Mainly used for social and psychological characteristics characters, demonstrates their living conditions (Raskolnikov’s room).

"NARRATORY" COMPOSITION. NARRATOR, STORYTELLER AND THEIR RELATIONSHIP WITH THE AUTHOR. “POINT OF VIEW” AS A CATEGORY OF NARRATORY COMPOSITION.

The narrator is the one who informs the reader about the events and actions of the characters, records the passage of time, depicts the appearance of the characters and the setting of the action, analyzes internal state the hero and the motives of his behavior characterize his human type, without being either a participant in events or an object of depiction for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann said, “the weightless, ethereal and omnipresent spirit of storytelling.” But the function of the narrator can be attached to the character, provided that the character as a narrator will completely differ from him as an actor. So, for example, the narrating Grinev in “ The captain's daughter"is by no means a definite personality, in contrast to Grinev - the character. Grinev's character's view of what is happening is limited by the conditions of place and time, including features of age and development; his point of view as a narrator is much deeper.

In contrast to the narrator, the narrator is entirely within the reality being depicted. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator certainly enters the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image, associated with a certain socio-cultural environment, from the position of which he portrays other characters. The narrator, on the contrary, is close in his outlook to the author-creator.

In a broad sense, a narrative is a set of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of “mediation” between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

Narrower and more precise, as well as more traditional meaning, narration is the totality of all speech fragments of a work, containing various messages: about events and actions of characters; about the spatial and temporal conditions in which the plot unfolds; about the relationships between the characters and the motives of their behavior, etc.

Despite the popularity of the term “point of view,” its definition has raised and continues to raise many questions. Let's consider two approaches to the classification of this concept - by B. A. Uspensky and by B. O. Korman.

Uspensky says about:

ideological point of view, meaning by it the vision of the subject in the light of a certain worldview that is transmitted different ways, indicating his individual and social position;
phraseological point of view, meaning by it the author’s use to describe different characters different language or in general elements of foreign or substituted speech when describing;
spatio-temporal point of view, meaning by it a fixed and defined in spatio-temporal coordinates place of the narrator, which may coincide with the place of the character;
point of view in terms of psychology, understanding by it the difference between two possibilities for the author: to refer to this or that individual perception or strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is psychological.

Corman is closest to Uspensky from a phraseological point of view, but he:

distinguishes between spatial (physical) and temporal (position in time) points of view;
divides the ideological-emotional point of view into a direct-evaluative one (an open relationship between the subject of consciousness and the object of consciousness lying on the surface of the text) and an indirect-evaluative one (the author’s assessment, not expressed in words that have an obvious evaluative meaning).

The disadvantage of Corman's approach is the absence of a “plane of psychology” in his system.

So, the point of view in a literary work is the position of the observer (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing what is perceived; on the other hand, it expresses author's assessment this subject and his horizons.

Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel...), but also a literary cycle, that is, a group of poetic or prose works, united common hero, general ideas, problems, etc., even the general setting of action (for example, the cycle of stories by N. Gogol “Evenings on a Farm near Dikanka”, “Belkin’s Tales” by A. Pushkin; the novel by M. Lermontov “A Hero of Our Time” is also a cycle of individual short stories , united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their interrelation are called COMPOSITION:

COMPOSITION(from Lat. Сompositio, composition, composition) - construction, structure of a work of art: selection and sequence of elements and visual techniques of the work, creating an artistic whole in accordance with the author's intention.

TO composition elements A literary work includes epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of “publishers” (extra-plot images created by the author’s imagination), dialogues, monologues, episodes, inserted stories and episodes, letters, songs ( for example, Oblomov's Dream in Goncharov's novel "Oblomov", a letter from Tatyana to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets..." in Gorky's drama "At the Lower Depths"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.

When creating a work, the author himself chooses layout principles, “assemblies” of these elements, their sequences and interactions, using special compositional techniques. Let's look at some principles and techniques:

the action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; this composition is called reverse(this technique was used by N. Chernyshevsky in the novel “What is to be done?”);
the author uses composition framing, or ring, in which the author uses, for example, repetition of stanzas (the last repeats the first), artistic descriptions (the work begins and ends with a landscape or interior), the events of the beginning and ending take place in the same place, the same characters participate in them, etc. .d.; This technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in “Poems about To a beautiful lady"), and in prose (" Dark alleys"I. Bunin; "Song of the Falcon", "Old Woman Izergil" by M. Gorky);
the author uses the technique retrospections, that is, the return of action to the past, when the reasons for what was happening in currently narratives (for example, the author’s story about Pavel Petrovich Kirsanov in Turgenev’s novel “Fathers and Sons”); Often, when using flashback, an inserted story of the hero appears in a work, and this type of composition will be called "a story within a story"(Marmeladov’s confession and Pulcheria Alexandrovna’s letter in “Crime and Punishment”; chapter 13 “The Appearance of the Hero” in “The Master and Margarita”; “After the Ball” by Tolstoy, “Asya” by Turgenev, “Gooseberry” by Chekhov);
often the organizer of the composition is artistic image , for example, the road in Gogol’s poem “Dead Souls”; pay attention to the scheme of the author's narration: Chichikov's arrival in the city of NN - the road to Manilovka - Manilov's estate - the road - arrival at Korobochka - the road - a tavern, meeting with Nozdryov - the road - arrival at Nozdryov - the road - etc.; it is important that the first volume ends on the road; Thus, the image becomes the leading structure-forming element of the work;
the author can preface the main action with exposition, which will be, for example, the entire first chapter in the novel “Eugene Onegin,” or he can begin the action immediately, sharply, “without acceleration,” as Dostoevsky does in the novel “Crime and Punishment” or Bulgakov in “ The Master and Margarita";
the composition of the work may be based on symmetry of words, images, episodes(or scenes, chapters, phenomena, etc.) and will appear mirror, as, for example, in A. Blok’s poem “The Twelve”; a mirror composition is often combined with a frame (this principle of composition is characteristic of many poems by M. Tsvetaeva, V. Mayakovsky, etc.; read, for example, Mayakovsky’s poem “From Street to Street”);
the author often uses the technique compositional "gap" of events: interrupts the story itself interesting place at the end of a chapter, and a new chapter begins with a story about another event; for example, it is used by Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita. This technique is very popular among the authors of adventurous and detective works or works where the role of intrigue is very large.

Composition is form aspect literary work, but its content is expressed through the features of the form. The composition of a work is an important way to embody the author's idea. Read A. Blok’s poem “The Stranger” in full for yourself, otherwise our reasoning will be incomprehensible to you. Pay attention to the first and seventh stanzas, listening to their sound:

The first stanza sounds sharp and disharmonious - due to the abundance of [r], which, like other disharmonious sounds, will be repeated in the following stanzas up to the sixth. It cannot be otherwise, because Blok here paints a picture of disgusting philistine vulgarity, " scary world", in which the soul of the Poet toils. This is how the first part of the poem is presented. The seventh stanza marks the transition to a new world - Dreams and Harmony, and the beginning of the second part of the poem. This transition is smooth, the sounds accompanying it are pleasant and soft: [a:], [nn ] So in the construction of the poem and with the help of the so-called technique. sound recording Blok expressed his idea of the opposition of two worlds - harmony and disharmony.

The composition of the work can be thematic, in which the main thing is to identify the relationships between the central images of the work. This type of composition is more characteristic of lyrics. There are three types of such composition:

sequential, which is a logical reasoning, a transition from one thought to another and a subsequent conclusion at the end of the work (“Cicero”, “Silentium”, “Nature is a sphinx, and therefore it is truer...” by Tyutchev);
development and transformation of the central image: central image reviewed by the author with various sides, reveal it bright features and characteristics; such a composition assumes a gradual increase in emotional tension and a culmination of experiences, which often occurs at the end of the work (“The Sea” by Zhukovsky, “I came to you with greetings...” by Fet);
comparison of 2 images that entered into artistic interaction(“Stranger” by Blok); such a composition is based on the reception antitheses, or oppositions.