Literature figurative art words description touch. Literature - the art of words
Abstract
Lesson 1: Fiction as the art of words
Today in the lesson you will study the topic: Fiction as the art of words
Lesson plan:
1. The meaning and origin of the concept of “literature”
2. Literature and other arts.
3. The concept of “artistic image”
4. Features work of art
5. The importance of Russian literature
For successful training and subsequent preparation for the final certification, it is necessary to master all elements of the content, as well as think and try to answer the question: why is fiction called one of the types of art?
In this lesson you
learn about the uniqueness of fiction as the art of words;
learn to think about the meaning of a book for a person’s spiritual life;
get acquainted with basic literary concepts;
Dictionary:
o Literature (lat. litteratura, literally - written, from littera - letter) - in in a broad sense This is a collection of any written texts.
o An artistic image is a form of reflection of reality, creatively rethought and recreated by the author in a work.
o Character (from Lat. persona – face, personality) – any actor in the work.
o A body of literary works created in a certain language or in certain state borders, constitutes the national literature.
Main content of the lesson
Literature, along with painting, music, theater, architecture, is one of the types of art.
Literature (lat. litteratura, literally - written, from littera - letter) - in a broad sense, this is the totality of any written texts.
The term "literature" (or, as they used to say, " belles lettres") arose relatively recently and began to be widely used only in the 18th century (displacing the terms "poetry", " poetic art”, which now denote only poetic works). It was brought to life by printing, which, having appeared in the middle of the 15th century, relatively quickly made the “literary” (i.e., intended for reading) form of existence of the art of words the main and dominant one; used to be art words existed primarily for hearing, for public performance B modern understanding The term “literature” is usually used to refer to any achievements of human thought recorded on paper. There is technical, scientific, journalistic, and reference literature.
But fiction occupies a special place. It is no coincidence that it is called the art of words, because with the help of the spoken or written word they create special world in which people live and act. These people, good or evil, who lived long ago or our contemporaries, evoke in us, readers, certain feelings. The writer depicts the appearance of the characters. He talks about their actions, talks about their feelings, experiences, draws the environment in which they live. But this is not a copy of reality. Any work of art is a reflection of the personality of the creator. It not only reproduces life reality, but also its creative transformation.
Let us recall the description of the steppe in “Taras Bulba” by N.V. Gogol
“The further the steppe went, the more beautiful it became. Then the entire south, all that space that makes up present-day Novorossiya, right up to the Black Sea, was a green, virgin desert. Never has a plow passed through immeasurable waves of wild plants. Only the horses, hiding in them, as in a forest, trampled them. Nothing in nature could be better. The entire surface of the earth seemed like a green-golden ocean, over which millions of different colors splashed. Blue, blue and purple hairs showed through the thin, tall stems of grass; the yellow firewood jumped up with its pyramidal top; white porridge dotted the surface with umbrella-shaped caps; the ear of wheat brought from God knows where was pouring into the thicket"
We perceive reality completely differently. Ordinary things acquire a magical appeal thanks to the author's gaze.
Thus, a work of art represents the unity of objective reality and the author’s subjective understanding of it. This feature of fiction gives the right to consider it the highest manifestation of art. It contains all the elements of other types of arts, because with the help of words you can describe sounds, movements, speech. Look at how Pushkin describes the dance performed by the famous ballerina Avdotya Istomina in the novel “Eugene Onegin”:
Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin; she,
One foot touching the floor,
The other slowly circles,
And suddenly he jumps, and suddenly he flies,
Flies like feathers from the lips of Aeolus;
Either the camp will sow, then it will develop
And with a quick foot he hits the leg. Ch. 1, XX
Unlike other types of art, which have a directly objective-sensory form created from any material object (paint, stone) or from action (body movement, sound of a string), literature creates its form from words, from language, which, when embodied in sounds and letters, is truly comprehended not in sensory perception, but in intellectual understanding. Spirituality, which permeates literature, allows it to develop its universal, in comparison with other types of art, possibilities.
Just like other forms of art, literature reflects life in the form of images. What does it mean? Specific, individual objects, phenomena, events are used that carry a certain generalization.
The image has greater “visibility” and emotional persuasiveness. So, an artistic image is a form of reflection of reality, creatively rethought and recreated by the author in a work. For example, Scarlet Sails in the story of the same name by A. Green.
A literary work as a work of art has a number of other features. The people depicted in it, although sometimes written with real people, cannot be perceived by the reader as living real people. The protagonist in the work becomes a character. Remember that along with people literary characters there may also be animals. For example, Kusaka in L. Andreev’s story or animals in Krylov’s fables.
Phenomena of nature, deities. Fantastic creatures and even objects. Parts human body can become heroes of fiction. You can remember Gogol’s Nose, wandering the streets of St. Petersburg, or the Collar from Teffy’s story “Life and Collar,” who pushed his mistress to commit unseemly acts.
The author's imagination, the author's perception of reality creates such images of heroes.
And who is the author of the work? Can we put an equal sign between a real person, with a certain destiny, a writer and the one on whose behalf the work was written. Of course not. The word “author” means not only a real biographical person, such as Pushkin, who lived in 1799-1837, and not only the person who created a literary work, but also the image of the author, which is created in many works of verbal art. He becomes a character, an actor. It was created, like other images, with the help of typification and fiction. It can be close or, conversely, distant from the real biographical person. The image of the author is not the personality of the author. This is how the author becomes in Pushkin’s “Eugene Onegin.” Or it could be a fictional author such as Ivan Petrovich Belkin.
Artistic convention, the non-identity of literature and life is manifested precisely in the image of the author. Only there, on the pages of works of art, can the author talk with his hero, be on friendly terms with him.
With the hero of my novel
Without preamble, right now
Let me introduce you:
Onegin, my good friend,
Born on the banks of the Neva,
Where might you have been born?
Or shone, my reader;
I once walked there too:
But the north is bad for me. Chapter 1, 11
The totality of literary works created in a certain language or within certain state borders constitutes one or another national literature; the commonality of the time of creation and the resulting artistic properties allows us to talk about the literature of a given era; taken together, in their increasing mutual influence, national literatures form world, or world literature. Fiction of any era has enormous diversity. First of all, literature is divided into two main types (forms) - poetry and prose, and also into three types - epic, lyric and drama.
Russian literature is truly the pearl of the world literary heritage. Its history goes back more than a thousand years. Russian literature is a reflection of our culture and history. The works of Pushkin, Lermontov, Gogol, Dostoevsky convey the uniqueness of culture and traditions. Works such as “Eugene Onegin” by Pushkin, “Hero of Our Time” by Lermontov, “Dead Souls” by Gogol, which you will become familiar with in this academic year, entered the treasury of world culture. School literature lessons help you discover the reader within you and teach you to understand artistic text, will help you find “your” author.
Main conclusions
1. A work of art represents the unity of objective reality and the author’s subjective understanding of it.
2. The image of the author in a work cannot be identified with a real writer, poet, or playwright.
3. The situations described in the work cannot be perceived as real; You cannot treat literary heroes as jealous people.
4. Russian literature is a treasury of world literature.
Literature:
1) Literature. 9th grade. Textbook for general education organizations. In 2 hours. Part 1 / V. Ya. Korovina, V. P. Zhuravlev, V. I. Korovin. - 6th ed., revised. - M.: Education, 2016.
2) N.V. Belyaeva. Literature lessons in 9th grade: a manual for teachers. - M.: Education, 2017
3) A.B.Esin. Principles and techniques of analyzing a literary work. - 11th ed. – M,: FLINTA, 2013.
Analysis of a typical training task
IT-7.Task 7.
View test task Inserting text
Text of the task Insert words that suit their meaning.
Artistic ____ is a form of reflection of ________, creatively _________ and ________by the author in a work.
Task execution strategy:
2. Remember the definition of an artistic image.
4. Then choose from the answer options the words that make sense and test yourself.
Analysis of a typical test task
IT-9.Task 1.
Type of test: Multiple choice
Text of the task: Mark the main types of arts
Answer options 1)Music. 2) Painting; 3) Technology; 4) Sculpture; 5) Jurisprudence: 6) Theater; 7) Literature; 8) Sociology
Task execution strategy:
1. Read the task carefully, evaluate its content, determine the logic and sequence of completing the task.
2. Remember that art is a reflection of reality in artistic images
3. Review all answer options first.
4. Then choose the correct answers and test yourself.
Literature!
Literature ( lat. lit(t)eratura, literally - written, from lit(t)era - letter) - in a broad sense, this is a collection of any written texts.
The material embodiment of literary works is a set of various images and concepts recorded by the author in words and phrases. Literature is one of the subject arts, in which the word is the main means of figurative reflection of life and fantasy. With the help of images, fiction recreates entire eras.
Such “participation” is necessary for a complete and deeper understanding of what is written: for example, the reader worries about Tatyana in “Eugene Onegin”, tries to understand the reasons for Katerina’s actions in “The Thunderstorm” and the complex spiritual world of Natasha Rostova in “War and Peace”, the tragedy of Grigory Melekhov in "Quiet Don".
It is our perception and experience of the destinies of the heroes that indicates that literature is an art, the art of words.
III. Updating knowledge. Sets the goal of the lesson for students. Organizes perception and comprehension new information.
Kinds of art:
Music choreography painting sculpture etc.
Questionsclass:
What kind of art, in your opinion, is the most perfect? Why?
Name the type of art from which you get the most pleasure and satisfaction? Motivate your own thoughts.
Continue the conversation on issues.
What is fiction? Why has it existed for many centuries? What does a person look for in fiction?
Why is literature called the art of words? Remember what you know about the origin of the word “literature”.
What is the characteristic feature of fiction?
Who is the creator of fiction? (With the help of literary words, writers depict important characteristic events, phenomena, character traits of people; talk about their life, work, struggle, feelings, inner world, beliefs; nature is described).
For free thinking, he invites students to create a “Cluster.”
Free microphone"
- “I made an impression...”;
- “It sunk into my soul...”;
- “I was amazed...”
Compiling the periodic table For all groups
Send your good work in the knowledge base is simple. Use the form below
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MINISTRY OF EDUCATION AND SCIENCE OF THE RK
KAZAKH UNIVERSITY OF INTERNATIONAL RELATIONS AND WORLD LANGUAGES NAMED AFTER ABYLAI KHAN
Individual project
Specialty: foreign philology (RHF)
Discipline: Introduction to literary criticism
Completed by: Kibler Victoria
Checked by: Lyudinina O.E.
Almaty 2014
Introduction
Literature as the art of words
Spatial and temporal arts
Homer's techniques for "translating" the "language" of spatial arts into the "language" of poetry"
The creative process of a writer
Semantics of terms denoting forms of human presence in a literary work
Introduction
literature spatial creative term
Literature works with words - its main difference from other arts. The meaning of the word was given back in the Gospel - a divine idea of the essence of the word. The word is the main element of literature, the connection between the material and the spiritual. A word is perceived as the sum of the meanings that culture has given it. Through the word it is carried out with the general in world culture. Visual culture is that which can be perceived visually. Verbal culture - more consistent with human needs - the word, the work of thought, the formation of personality (the world of spiritual entities). There are areas of culture that do not require serious consideration. There is literature at depth that requires a deep relationship and experience. Works of literature are a deep awakening internal forces person different ways, because literature has material.
Literature as the art of words
The language of fiction contains a huge aesthetic principle, therefore the author of a work of fiction determines the speech norm and is the creator of the language. Artistic speech absorbs the most different shapes speech activity. For many centuries, the language of fiction was determined by the rules of rhetoric and oratory. Speech (including written) had to be convincing and impressive; hence the characteristic speech techniques- numerous repetitions, “embellishments”, emotionally charged words, rhetorical(!) questions, etc. Authors competed in eloquence, stylistics were determined by increasingly strict rules, and the literary works themselves were often filled with sacred meaning(especially in the Middle Ages). As a result, to XVII century(the era of classicism) literature turned out to be accessible and understandable to a rather narrow circle educated people. Colloquial speech is associated with the communication of people in their privacy, therefore it is simple and free from regulation. In the XIX - XX centuries. Literature in general is perceived by writers and scientists as a unique form of conversation between the author and the reader; it is not for nothing that an address like “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-artistic speech (for example, diaries or memoirs); it easily allows deviations from the linguistic norm and carries out innovations in the field of speech activity (let us recall, for example, the word creation of Russian futurists). Today in works of art you can find the most modern forms speech activity - SMS quotes, excerpts from emails and much more. Moreover, different types of art are often mixed: literature and painting/architecture, literature and music, etc. Imagery of speech is very often achieved through the use of words in figurative meaning. For example: work is in full swing. The words that the writer uses figuratively are called tropes (this Greek word translated - “image, turn, turnover”). Among the tropes, the most often found and used are: Epitas, Similes, Metaphors. METAPHOR - the use of a word in a figurative meaning based on the similarity of two objects or phenomena (in other words - an unnamed comparison). A metaphor creates an image that is conveyed to the reader or listener. The term “literature” also refers to any works of human thought that are enshrined in the written word and have social significance. Literature is distinguished between technical, scientific, journalistic, reference, epistolary, etc. However, in the usual and more strict sense, literature refers to works of artistic writing.
Spatial and temporal arts
If you plunge headlong into modern art history literature and try to independently identify all the types of art that humanity has created over all the years of its development, you will very soon come to the conclusion that this is a very difficult and ambiguous question. You will be surprised to find out that in the modern art history literature of the world there is no description of a single and unquestionable, not to mention criticism, scheme or system for classifying types of art.
To address the issue of spatio-temporal forms of art, it is necessary to understand the classification of types of art. All types are different in specific ways display of the world and used for perception by the senses. It is by these characteristics that it is determined which of the three types of groups of the classical classification a particular species fits:
1) The group of spatial types of art - it is also static, perceived by sight, works from this group have a clear connection between the disclosure of the artistic image and the spatial construction. This group includes: architecture, photography, painting, sculpture. Spatial views They are called arts because for this group of arts, spatial construction is essential in the disclosure of various artistic images.
2) The group of temporary arts - it is also dynamic, perceived by the ear (not in all cases), they are called arts because in them the composition unfolding over time to reveal the image acquires key importance. This group includes: literature and music.
3) The group of spatio-temporal arts - it is also synthetic, perceived simultaneously by hearing and sight, they are called because they simultaneously profess both spatial and temporal priorities in revealing the image. Spatiotemporal forms of art are sometimes called spectacular or synthetic. These include: cinema, theater, choreography.
The significant difference between the types of arts and the need for their existence is due to the fact that not one of them, by its own means, can give an artistic, comprehensive picture of the world. Such a picture of the world can only be created by the entire art culture man as the creator of true art - art, which in turn consists of individual types of art.
Homer's techniques for "translating" the "language" of spatial arts into the "language" of poetry"
Without touching here on the question of how successful a poet can be in depicting bodily beauty, we can, however, consider the following proposition to be an indisputable truth. Since the entire boundless area of perfection is open to the poet for imitation, the outer, outer shell, in the presence of which perfection becomes beauty in sculpture, can only be for him one of the most insignificant means of awakening in us interest in his images.
In Homer there are two types of creatures and actions: visible and invisible. Painting cannot allow this difference: for it everything is visible, and visible in the same way.
If it is true that painting, in its imitations of reality, uses means and signs completely different from the means and signs of poetry, namely: painting - bodies and colors taken in space, poetry - articulate sounds perceived in time - if it is indisputable, that the means of expression must be in close connection with the expression, it follows that the signs of expression located next to each other should denote only such objects or such parts of them that in reality appear located next to each other; on the contrary, signs of expression following each other can only designate such objects or such parts of them as actually appear to us in a temporal sequence.
In works of painting, where everything is given only simultaneously, in coexistence, only one moment of action can be depicted, and therefore it is necessary to choose the most significant moment, from which both the previous and subsequent moments would become clear.
I find that Homer does not depict anything other than sequential actions, and he draws all individual objects only to the extent of their participation in the action, and usually no more than one line. Is it surprising if the painter sees little or no business for himself where Homer paints?
To characterize each thing, as I said, Homer uses only one trait. A ship for him is either a black ship, or a full ship, or a fast ship, or - at most - a well-equipped black ship. IN further description Homer does not enter the ship. If special circumstances sometimes force Homer to stop our attention longer on some material object, then this still does not result in a picture that a painter could reproduce with his brush; on the contrary, with the help of countless techniques, he knows how to break the image of this object into a whole series of moments, in each of which the object appears in a new form, while the painter must wait for the last of these moments in order to show in a finished form what we saw appearing from the poet. So, for example, if Homer wants to tell how Agamemnon was dressed, he makes him put on before our eyes one piece of clothing after another: a soft tunic, a wide cloak, beautiful sandals, a sword. Only after getting dressed, the king takes the scepter. Instead of a picture of the scepter, he tells us its history. We first see him in Vulcan's workshop; then it shines in the hands of Jupiter, then it is a sign of the dignity of Mercury; then it serves as a commanding staff in the hands of the warlike Pelops, a shepherd’s staff in Atreus, etc.
Thus, I finally become acquainted with this scepter better than if the poet had placed it before my eyes or Vulcan himself had handed it to me.
Since verbal designations are arbitrary designations, we can use them to list sequentially all the parts of an object that actually appear before us in space. But such a property is only one of the properties belonging to speech in general and the designations it uses, from which it does not yet follow that it is especially suitable for the needs of poetry. The poet cares not only about being understandable, his images must not only be clear and distinct - the prose writer is also satisfied with this. It is in this sense that we explained above the concept of a poetic picture. But a poet must paint constantly. Descriptions material items, excluded from the realm of poetry, are therefore quite appropriate where there is no question of poetic illusion, where the writer addresses only the minds of the readers and deals only with clear and, if possible, complete concepts.
The creative process of a writer
“The secret of writing lies in the eternal and involuntary music in the soul. If it is not there, a person can only “pretend to be a writer.”
Different people are predisposed to artistic creativity in varying degrees: ability - giftedness - talent - genius. An artist who is on a higher rung of this creative ladder retains those qualities that are inherent in those who are located on its lower steps, but must certainly have a number of additional high qualities.
Capabilities An artist, according to the American psychologist Guilford, involves six inclinations: fluency of thinking, associativity, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility, and the ability to give the artistic form the necessary outlines. Abilities ensure the creation of artistic values of public interest.
Giftedness presupposes acute attention to life, the ability to choose objects of attention, to consolidate in memory the theme of associations and connections dictated by the creative imagination. An artistically gifted person creates works that have lasting significance for of a given society for a significant period of its development. Giftedness is the ability to focus attention on objects worthy of selective attention, to extract impressions from memory and include them in a system of associations and connections dictated by the creative imagination.
Talent begets artistic values, having enduring national and sometimes universal significance. "Most people prefer the middle ground between mediocrity and genius - talent. Not everyone wants to exchange their whole life for art. And how many times does a genius, at the end of his career, repent of his choice! "It was better not to surprise the world and live in this world" - says Ibsen in his last drama." (Shestov. 1991).
Genius fully expressing the essence of its time, most often it does not seem to fit into its era. He, one might say, pulls the thread of tradition from the past to the future and therefore part of his work belongs to the past and part to the future. And only mediocre contemporaries see only what is in the genius of the present, and even then they see incompletely. Genius creates the highest human values, having significance for all time. The artist’s genius is manifested both in the power of perception of the world and in the depth of his impact on humanity. However, artistic genius is not a form of mental pathology and, according to Gogol’s fair judgment, “art is the introduction into the soul of harmony and order, and not confusion and disorder.” . This applies both to the impact of the work on the public and to the process artistic creativity.
2. Artistic creativity as a specific activity
Artistic creativity is a mysterious process. I. Kant said: “... Newton could imagine all his steps, which he had to take from the first principles of geometry to his great and deep discoveries, as completely clear not only to himself, but also to everyone else, and to designate them for succession; but no Homer or Wieland cannot show how complete fantasies and at the same time ideas rich in thoughts appear and combine in his head, because he himself does not know this and, therefore, cannot teach this to anyone else. scientific field greatest inventor differs from the miserable imitator and student only in degree, while from the one whom nature has endowed with the ability to fine arts, it differs specifically" (Kant. T. 5. pp. 324-325).
3. Creativity as the embodiment of a plan
The creative process begins with an idea. The latter is the result of the perception of life phenomena and their understanding by a person on the basis of his deep individual characteristics (degree of giftedness, experience, general cultural preparation). The paradox of artistic creativity: it begins with the end, or rather, its end is inextricably linked with the beginning. An artist “thinks” as a viewer, a writer as a reader. The plan contains not only the writer’s attitude and his vision of the world, but also the final link in the creative process - the reader. The writer at least intuitively “plans” artistic impact and post-reception activity of the reader. The purpose of artistic communication feedback affects its initial link - the idea.
1) The idea is characterized by lack of formality and, at the same time, semiotically unformed semantic certainty, outlining the outlines of the theme and idea of the work. In the plan “it is still unclear through the magic crystal” (Pushkin), the features of the future literary text are distinguished.
2) The idea is formed first in the form of intonational “noise”, embodying an emotional-value attitude towards the topic, and in the form of the outlines of the topic itself in a non-verbal (= intonational) form. 3) The idea has the potential for symbolic expression, fixation and embodiment in images. The factor that gives rise to an artistic concept in its unique originality is creativity (creative deep layer of personality), the center of creativity, a certain creative core of the personality that determines the invariant of all artistic solutions. Everything created by the artist is grouped around this center (See: Rozanov. 1990. P. 39). In the writer's work there are invariants determined by the deep generative layer of his spiritual world. The writer creates his own artistic world. Moreover, each poet is distinguished by his own vision of reality, manifested in every cell of his texts.
Creativity is the process of translating an idea into a sign system and a system of images growing on its basis, the process of objectifying a thought in a text, the process of alienating an idea from the artist and transmitting it through the work to the reader, viewer, listener.
4. Artisticcreativity - creation
unpredictable artistic reality
Art does not repeat life (as reflected in the theory of reflection), but creates a special reality. Artistic reality It may be parallel to history, but it is never its cast, its copy.
“Art differs from life in that it always runs through repetition. everyday life you can tell the same joke three times and three times, causing laughter, you will be the life of the party. In art, this form of behavior is called “cliché.” Art is a recoilless weapon, and its development is determined by the dynamics and logic of the material itself, the previous fate of the means that require finding (or prompting) each time a qualitatively new aesthetic solution
5. Psychological mechanisms artistic creativity
Jung believed that psychology could be connected with aesthetics. There is a border zone between these sciences - the psychology of art (the psychology of creativity and the psychology of perception).
Artistic creativity begins with keen attention to the life of the world and involves "rare impressions" (Goethe), the ability to retain them in memory and comprehend them.
Memory - psychological factor creativity. For the artist, it is not mirror-like, but selective and wears creative nature. The painter Falk ordered his students to memorize impressions of nature and then write sketches from memory. It is known what importance memory had in Proust’s work. Believing that reality is artistically formed precisely in memory, he resurrected the past and then captured the memories in the work.
Imagination combines and creatively reproduces blocks of ideas, impressions and images stored in memory, combines and draws living pictures in the artist’s mind, which he records in an artistic text. Thanks to imagination, living pictures appear in the artist’s mind. Imagination has many varieties: phantasmagoric - in Hoffman, philosophical-lyrical - in Tyutchev, romantically sublime - in Vrubel, painfully hypertrophied - in Dali, full of mystery - in Bergman, realistically strict and grotesque - in Fellini. Creative imagination fundamentally different from hallucination. According to Flaubert, when you hallucinate, you experience horror and feel that you are dying, but the fruits of the imagination bring joy and aesthetic pleasure.
Associations - thoughts or images that arise when seeing an object or when perceiving a statement; by establishing similarities, or by repulsion, through memory or finding analogies with the help of the subconscious; “roll calls” arising from contiguity, similarity and contrast between impressions of existence, leaps of imagination unpredictable by logic, comparing these impressions and unexpected combinations of phenomena far removed from each other. All stream of consciousness literature is based on associative thinking. Associations arise based on previous experience. The word by its nature is polysemantic, multivalent and provides the poet with the richest possibilities of associations. Not a single form of art can do without associations.
Inspiration - a specifically creative state of clarity of thought, the intensity of its work, the richness and speed of associations, deep penetration into the essence of life’s problems, a powerful “release” of life and artistic experience accumulated in the subconscious and its direct inclusion in creativity, heightened virtuosity in the sense of form. Inspiration gives rise to extraordinary creative energy; it is almost synonymous with creativity. The winged horse Pegasus has been a symbol of poetry and inspiration since ancient times. Inspiration makes the creative process especially fruitful.
6. Consciousness and subconsciousness
Consciousness and subconsciousness are components of the creative process of creating a work. Important role subconsciousness in artistic thinking already led Plato and other ancient Greek philosophers to the interpretation of creativity as an ecstatic, divinely inspired, bacchic state. For Homer, a rhapsode is a singer illuminated from above, and Pindar called the poet a prophet of the muses. The aesthetics of romanticism absolutized the role of the unconscious in creative process. Consciousness determines many essential aspects of creativity. It controls the goal, the ultimate task of creativity and the main contours of the artistic concept of the work, highlights the “bright spot” in creative thinking and organizes the artist's entire experience around this light. “Bright spot” provides introspection and self-control of the artist, helps him to self-critically analyze, evaluate the draft and bring it to perfection. Consciousness helps the artist to conduct a critical analysis of his entire work and draw conclusions that contribute to the further growth of skill.
Ideas that pass from the subconscious to consciousness are not always correct, since in the subconscious there are no logical criteria for truth. It is beauty that is the criterion for the transfer of images from the subconscious to consciousness, where a strict check of the material received from the subconscious is carried out. Born by the subconscious, selected by an aesthetic sense, the image enters consciousness. Here it is logically verified, enlightened by the mind, processed (conjectured, justified, connected With cultural fund and is enriched by it). Thus, first an aesthetic feeling (at the level of intuition), then strict logic (at the level of consciousness) produces " natural selection"from a multitude of ideas and images. Only the most beautiful and true ones “survive”. The transition from the subconscious to consciousness is associated with a huge creative increment. An idea or image logically verified by the mind deepens and receives its completeness.
Semantics of terms,denoting forms of human presence in a literary work
In literary works, images of people are invariably present and, as a rule, fall into the center of attention of readers, and in in some cases- their likenesses: humanized animals, plants and things ( fairytale hut on chicken legs). There are different forms of human presence in literary works. This is the narrator-storyteller, lyrical hero And character, capable of revealing a person with the utmost fullness and breadth. This term is taken from French and is of Latin origin. The ancient Romans used the word “persona” to designate the mask worn by an actor, and later the face depicted in a work of art. As synonymous this term Nowadays the phrases “literary hero” and “character” are common. However, these expressions also carry additional meanings: the word “hero” emphasizes the positive role, brightness, unusualness, and exclusivity of the person depicted, and the phrase “character” refers to the fact that the character manifests himself primarily in the performance of actions.
A character is either the fruit of the writer’s pure fiction (Gulliver and the Lilliputians in J. Swift; Major Kovalev, who lost his nose, in N.V. Gogol) or the result of conjecture on the appearance of a real person (be they historical figures or people biographically close to the writer, or even himself); or, finally, the result of processing and completing already known literary heroes, such as, say, Don Juan or Faust. Along with literary heroes as human individuals, sometimes group, collective characters turn out to be very significant (the crowd in the square in several scenes of “Boris Godunov” by A. S. Pushkin, testifying to and expressing the people’s opinion).
The character seems to have a dual nature. Firstly, he is the subject of the depicted action, the stimulus for the unfolding of events that make up the plot. Secondly, and this is perhaps the main thing, the character has an independent significance in the composition of the work, independent of the plot (event series): he acts as a bearer of stable and stable (sometimes, however, undergoing changes) properties, traits, qualities.
Characters are characterized by the actions they perform (almost primarily), as well as by forms of behavior and communication (for it is not only the What a person does, but also that How he behaves at the same time), appearance features and close circle(in particular - belonging to the hero things), thoughts, feelings, intentions. And all these manifestations of man in a literary work have a certain resultant - a kind of center, which M.M. Bakhtin called core personality, A.A. Ukhtomsky - dominant, determined starting intuitions person. The phrase is widely used to denote the stable core of people’s consciousness and behavior value orientation. Value orientations (they can also be called life positions) are very heterogeneous and multifaceted. The consciousness and behavior of people can be directed towards religious and moral, strictly moral, cognitive, and aesthetic values. They are also associated with the sphere of instincts, with bodily life and the satisfaction of physical needs, with the desire for fame, authority, and power.
Author invariably expresses his attitude towards the position, attitudes, and value orientation of his character. At the same time, the image of the character appears as the embodiment of the writer’s concept, idea, i.e. as something whole within the framework of another, broader, artistic integrity (work). He depends on this integrity; one might say, he serves it at the will of the author. With any serious development of the character sphere of the work, the reader inevitably penetrates into the spiritual world of the author: in the images of the heroes he sees the creative will of the writer. The author's attitude towards the hero can be predominantly either alienated or related, but not neutral. Writers have repeatedly spoken about the closeness or alienness of their characters. In literary works, one way or another there is a distance between the character and the author. It occurs even in autobiographical genre, where the writer, from some temporary distance, comprehends his own life experience. The author can look at his hero as if from the bottom up (the lives of the saints), or, on the contrary, from the top down (works of an accusatory and satirical nature). But the most deeply rooted in literature (especially of recent centuries) is the situation of essential equality between writer and character (but not identity).
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Thanks to the flexibility and limitless expressive possibilities of the word, literature is able to absorb elements artistic content any art. Images of other types of art can be translated into the language of literature. Leo Tolstoy in War and Peace, for example, describing the dance of Natasha Rostova, creates an almost visible choreographic image; Hugo in the Cathedral Notre Dame of Paris» reproduces the image architectural work; Pushkin in “The Bronze Horseman” sculptural image of Falconet.
In words, in the language of any people, their history, their character, the nature of the Motherland are captured, the wisdom of centuries is concentrated. Living word rich and generous. It has many shades. It can be menacing and gentle, instill horror and give hope. No wonder the poet Vadim Shefner said this about the word: With a word you can kill, with a word you can save, With a word you can lead regiments. A word can be sold and betrayed and bought, A word can be poured into crushing lead.
Genres of literature: Structural Novel Tale Poem Poem Tragedy Comedy Melodrama Vaudeville Thematic Historical novel Psychological novel Adventure novel Functional Ode Epigram
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Essay forms letter word open letter speech essay Addressees readers audience friend interlocutor person with whom they are arguing
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