Aesthetics as a philosophy of art. Artwork as structure

Literature and Library Science

The structure of a literary work is a certain structure of a work of verbal art, its internal and external organization, a way of connecting its constituent elements. The presence of a certain structure ensures the integrity of the work, its ability to embody and convey the content expressed in it. Basically structure artwork is this: The idea is the main idea works in which the attitude of the writer to the depicted phenomena is expressed.

The structure of a work of art.

A work of art is an object that has an aestheticvalue, a material product of artistic creativity, conscious human activity.

A work of art is a complexly organized whole. It is necessary to know its internal structure, that is, to highlight its individual components.

Structure of a literary product niya is a kind ofthe triening of a work of verbal art, its internal and external organization, a way of connecting its constituent elements. The presence of a certain structure ensures the integrity of the work, its ability to embody and convey the content expressed in it. That is, it is very important in the work.

Basically, the structure of a work of art is as follows:

Idea - this is the main idea of ​​the work, which expresses the attitude of the writer to the depicted phenomena.General, emotional, figurative thought underlying a work of art. Why is this work written.

Plot Is a set of events and relations between the characters of the work, developing in the work in time and space. Simply put, this is what the work is about.

Composition - the internal organization of a work of art, the construction of episodes, main parts, a system of events and images of characters.

The composition has its main components:

Exposition - information about the life of the characters before the development of events. This is an image of the circumstances that make up the background of the action.

Stitch - an event that exacerbates or creates contradictions leading to conflict.

Action development- this is the identification of relationships and contradictions between the characters, further deepening of the conflict.

Climax - the moment of maximum tension of action, aggravation of the conflict to the limit. In the climax, the goals and characters of the heroes are best manifested.

Interchange - the part in which the conflict comes to its logical resolution.

Epilogue - the image of events after a certain period of time after the decoupling.

Conclusion - the part that completes the work, providing additional information about the heroes of the work, painting a landscape.

In a normal reading of the work, this structure is not traced, and we do not notice any sequence, but with a detailed analysis of the text, it can be easily identified.

Thus, we can say that you cannot write a work and interest the reader in it without a certain structure. Although we do not notice any structure while reading it, nevertheless it plays a very important, if not one of the most important, roles in writing a work of fiction.

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Even at first glance, it is clear that a work of art consists of several sides, elements, aspects, etc. In other words, it has a complex internal composition. At the same time, the individual parts of the work are connected and united with each other so closely that this gives grounds to metaphorically liken the work to a living organism. Thus, the composition of the work is characterized not only by its complexity, but also by its orderliness. A work of art is a complexly organized whole; from the awareness of this obvious fact follows the need to know the internal structure of the work, that is, to single out its individual components and to realize the connections between them. Rejection of such an attitude inevitably leads to empiricism and unsubstantiated judgments about the work, to complete arbitrariness in its consideration and ultimately impoverishes our understanding of the artistic whole, leaving it at the level of primary reader's perception.

In modern literary criticism, there are two main trends in establishing the structure of a work. The first one proceeds from the selection in a work of a number of layers, or levels, just as in linguistics in a separate statement one can distinguish the phonetic, morphological, lexical, syntactic level. At the same time, different researchers have different ideas about both the set of levels and the nature of their relationships. So, M.M. Bakhtin sees in the work first of all two levels - "plot" and "plot", the depicted world and the world of the image itself, the reality of the author and the reality of the hero *. MM. Hirschman proposes a more complex, mainly three-level structure: rhythm, plot, hero; in addition, “vertically” these levels are permeated by the subject-object organization of the work, which ultimately creates not a linear structure, but rather a grid that is superimposed on the work of art **. There are other models of a work of art, representing it in the form of a series of levels, slices.

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* Bakhtin M.M. Aesthetics of verbal creativity. M., 1979. S. 7–181.

** Girshman M.M. The style of a literary work // Theory of literary styles. Modern aspects of learning. M., 1982.S. 257-300.

The common drawback of these concepts can obviously be considered the subjectivity and arbitrariness of the selection of levels. Also, no one has attempted to substantiate division into levels by some general considerations and principles. The second weakness arises from the first and consists in the fact that no division by levels covers the entire richness of the elements of the work, does not give an exhaustive idea even of its composition. Finally, the levels should be thought of as fundamentally equal - otherwise the very principle of structuring loses its meaning - and this easily leads to the loss of the idea of ​​a certain core of a work of art, linking its elements into a real integrity; the connections between levels and elements are weaker than they really are. Here it should also be noted that the “tiered” approach very little takes into account the fundamental difference in quality of a number of components of the work: so, it is clear that the artistic idea and artistic detail are phenomena of a fundamentally different nature.

The second approach to the structure of a work of art takes as a primary division such general categories as content and form. In the most complete and reasoned form, this approach is presented in the works of G.N. Pospelova *. This methodological tendency has much fewer drawbacks than the one discussed above, it is much more consistent with the real structure of the work and is much more substantiated from the point of view of philosophy and methodology.

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* See, for example: Pospelov G.N. Literary style problems. M., 1970. S. 31–90.

We will begin with a philosophical substantiation of the selection of content and form in the artistic whole. The categories of content and form, excellently developed in Hegel's system, became important categories of dialectics and were repeatedly successfully used in the analysis of a variety of complexly organized objects. The application of these categories in aesthetics and literary criticism also forms a long and fruitful tradition. Nothing prevents us, therefore, from applying such well-established philosophical concepts to the analysis of a literary work, moreover, from the point of view of methodology, this will only be logical and natural. But there are also special reasons to begin the dismemberment of a work of art with the isolation of content and form in it. A work of art is not a natural phenomenon, but a cultural one, which means that it is based on a spiritual principle, which, in order to exist and be perceived, must certainly acquire some material embodiment, a way of existence in the system of material signs. Hence the naturalness of determining the boundaries of form and content in a work: the spiritual principle is the content, and its material embodiment is the form.

We can define the content of a literary work as its essence, a spiritual being, and form as a way of existence of this content. The content, in other words, is the "statement" of the writer about the world, a definite emotional and mental reaction to certain phenomena of reality. Form is that system of means and methods in which this reaction finds expression, embodiment. Simplifying somewhat, we can say that content is what what said the writer with his work, and the form - how he did it.

The form of a work of art has two main functions. The first is carried out within the artistic whole, therefore it can be called internal: it is the function of expressing content. The second function is found in the influence of the work on the reader, therefore it can be called external (in relation to the work). It consists in the fact that the form has on the reader aesthetic impact, because it is the form that acts as the bearer of the aesthetic qualities of a work of art. The content itself cannot be beautiful or ugly in the strict, aesthetic sense - these are properties that arise exclusively at the level of form.

From what has been said about the functions of form, it is clear that the question of convention, which is so important for a work of art, is solved differently in relation to content and form. If in the first section we said that a work of art in general is a convention in comparison with primary reality, then the measure of this convention in form and content is different. Within a work of art the content is unconditional, in relation to it it is impossible to pose the question "why does it exist?" Like the phenomena of primary reality, in the artistic world, content exists without any conditions, as an immutable given. It cannot be a conditionally fantasy, arbitrary sign, by which nothing is meant; in the strict sense, the content cannot be invented - it directly comes into the work from the primary reality (from the social being of people or from the consciousness of the author). On the contrary, the form can be as fantastic and conditionally implausible as you like, because something is meant by the conditionality of the form; it exists “for something” - for the embodiment of the content. So, the Shchedrin city of Foolov is the creation of a pure fantasy of the author, it is conditional, since it never existed in reality, but autocratic Russia, which became the theme of the "History of one city" and embodied in the image of the city of Foolov, was not a convention and not a fiction.

Let us note that the difference in the degree of conventionality between content and form provides clear criteria for attributing a particular element of a work to form or content - this remark will be useful to us more than once.

Modern science proceeds from the primacy of content in relation to form. With regard to a work of art, this is true both for the creative process (a writer is looking for an appropriate form, albeit still for a vague, but already existing content, but by no means the other way around - he does not create a “ready-made form” first, and then pours some content into it) and for the work as such (the features of the content determine and explain to us the specifics of the form, but not vice versa). However, in a certain sense, namely in relation to the perceiving consciousness, it is the form that is primary, and the content is secondary. Since sensory perception always precedes the emotional reaction and even more rational comprehension of the object, moreover, it serves as a base and basis for them, we perceive in the work first its form, and only then and only through it - the corresponding artistic content.

From this, by the way, it follows that the movement of the analysis of a work - from content to form or vice versa - has no fundamental significance. Any approach has its justifications: the first - in the defining nature of the content in relation to the form, the second - in the laws of the reader's perception. A.S. said well about this. Bushmin: “It is not at all necessary ... to start research from the content, guided only by the idea that the content determines the form, and not having other, more concrete reasons for that. Meanwhile, it is precisely this sequence of consideration of a work of art that turned into a forced, hackneyed, boring scheme for everyone, having become widespread both in school teaching and in teaching aids, and in scientific literary works. Dogmatic transfer of the right general position literary theory on the method of concrete study of works generates a dull template "*. We add to this that, of course, the opposite pattern would be no better - always in mandatory start analysis from the form. It all depends on specific situation and specific tasks.

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* Bushmin A.S. Literature Science. M., 1980. S. 123-124.

From all that has been said, a clear conclusion suggests itself that both form and content are equally important in a work of art. The experience of the development of literature and literary criticism also proves this position. Diminishing the meaning of content or even ignoring it altogether leads in literary criticism to formalism, to empty abstract constructions, leads to oblivion of the social nature of art, and in artistic practice focused on this kind of concept, it turns into aesthetics and elitism. However, no less Negative consequences also has a disregard for the artistic form as something secondary and, in essence, optional. This approach actually destroys the work as a phenomenon of art, makes us see in it only one or another ideological, and not an ideological and aesthetic phenomenon. In creative practice, which does not want to reckon with the enormous importance of form in art, flat illustrativeness, primitiveness, the creation of “correct”, but not emotionally experienced declarations about an “actual” but not artistically mastered topic inevitably appears.

By isolating form and content in a work, we thereby liken it to any other complexly organized whole. However, the ratio of form and content in a work of art has its own specificity. Let's see what it consists of.

First of all, you need to firmly understand that the relationship between content and form is not a spatial relationship, but a structural one. The form is not a shell that can be removed to reveal the kernel of the nut - the content. If we take a work of art, then we will be powerless to “point the finger”: here is the form, but here is the content. Spatially they are fused and indistinguishable; this unity can be felt and shown at any "point" of the literary text. Take, for example, that episode from Dostoevsky's novel "The Brothers Karamazov", where Alyosha, when asked by Ivan what to do with a landowner who has persecuted a child with dogs, replies: "Shoot him!" What is this "shoot!" - content or form? Of course, both are in unity, in fusion. On the one hand, this is part of the speech, verbal form of the work; Alyosha's remark occupies a definite place in the compositional form of the work. These are formal moments. On the other hand, this “shoot” is a component of the character of the hero, that is, the thematic basis of the work; The replica expresses one of the turns of the moral and philosophical searches of the heroes and the author, and of course, it is an essential aspect of the ideological and emotional world of the work - these are meaningful moments. So in one word, fundamentally indivisible into spatial components, we saw the content and form in their unity. The situation is similar with a work of art in its entirety.

The second thing that should be noted is the special connection between form and content in the artistic whole. According to Yu.N. Tynyanov, a relationship is established between the artistic form and the artistic content that is unlike the relationship between "wine and glass" (glass as form, wine as content), that is, relations of free compatibility and equally free separation. In a work of art, the content is not indifferent to the specific form in which it is embodied, and vice versa. Wine remains wine, whether we pour it into a glass, cup, plate, etc .; content is indifferent to form. Likewise, milk, water, kerosene can be poured into a glass containing wine - the form is "indifferent" to the content filling it. Not so in a work of fiction. There, the coherence of formal and substantive principles reaches the highest degree. Perhaps best of all, this is manifested in such a pattern: any change in form, even seemingly small and particular, inevitably and immediately leads to a change in content. Trying to find out, for example, the meaningfulness of such a formal element as poetic meter, poetry experts conducted an experiment: they “turned” the first lines of the first chapter of “Eugene Onegin” from iambic to choreic. Here's what happened:

Uncle of the most honest rules

He was seriously ill,

I made myself respect

I could not have imagined it better.

The semantic meaning, as we can see, remained practically the same, the changes seemed to concern only the form. But with the naked eye it is clear that one of the most important components of the content has changed - the emotional tone, the mood of the passage. From epic-narrative it has become playfully superficial. And if you imagine that the entire "Eugene Onegin" was written by a choir? But this is impossible to imagine, because in this case the work is simply destroyed.

Of course, such an experiment on form is a unique case. However, in the study of a work, we often, completely unaware of this, do similar "experiments" - not directly changing the structure of the form, but only not taking into account certain of its features. So, studying in Gogol's " Dead souls"Predominantly Chichikov, landowners, and" individual representatives "of the bureaucracy and the peasantry, we study hardly a tenth of the" population "of the poem, ignoring the mass of those" secondary "heroes who, in Gogol's work, are not just secondary, but are interesting to him in themselves in to the same extent as Chichikov or Manilov. As a result of this "experiment on form", our understanding of the work, that is, its content, is significantly distorted: Gogol was not interested in the history of individual people, but in the way of national life, he created not a "gallery of images", but an image of the world, a "way of life."

Another example of the same kind. In the study of Chekhov's story "The Bride", a fairly strong tradition has developed to regard this story as unconditionally optimistic, even "spring and bravura" *. V.B. Kataev, analyzing this interpretation, notes that it is based on "not reading it to the end" - the last phrase of the story in its entirety is not taken into account: "Nadia ... cheerful, happy, left the city, as she believed, forever." “The interpretation of this“ as I thought ”, writes V.B. Kataev, - very clearly reveals the difference in research approaches to the work of Chekhov. Some researchers prefer, interpreting the meaning of “The Bride”, to consider this introductory sentence as if it doesn’t exist ”**.

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* Ermilov V.A. A.P. Chekhov. M., 1959.S. 395.

** V.B. Kataev Chekhov's Prose: Problems of Interpretation. M, 1979.S. 310.

This is the "unconscious experiment" that was discussed above. The structure of the form is "slightly" distorted - and the consequences in the field of content are not long in coming. There is a "concept of unconditional optimism," bravura "creativity Chekhov recent years", While in fact it represents" a delicate balance between truly optimistic hopes and restrained sobriety in relation to the impulses of the very people about whom Chekhov knew and told so many bitter truths. "

In the relationship between content and form, in the structure of form and content in a work of art, a certain principle, regularity is revealed. We will talk in detail about the specific nature of this pattern in the section "A holistic consideration of a work of art".

In the meantime, we will note only one methodological rule: For an accurate and complete understanding of the content of the work, it is absolutely necessary as much as possible close attention to its form, down to its smallest features. In the form of a work of art, there are no "little things" that are indifferent to the content; according to the well-known expression, “art begins where“ a little bit ”begins.

The specificity of the relationship between content and form in a work of art has given rise to a special term specifically designed to reflect the continuity, fusion of these aspects of a single artistic whole - the term "content form". Have of this concept there are at least two aspects. The ontological aspect asserts the impossibility of the existence of an empty form or unformed content; in logic, such concepts are called correlative: we cannot think of one of them without simultaneously thinking of the other. A somewhat simplified analogy can be the relationship between the concepts of "right" and "left" - if there is one, then inevitably there is another. However, for works of art, another, axiological (evaluative) aspect of the concept of "substantial form" seems to be more important: in this case, we mean the natural correspondence of the form to the content.

A very deep and in many respects fruitful concept of the meaningful form was developed in the work of G.D. Gachev and V.V. Kozhinova "The meaningfulness of literary forms." According to the authors, “any art form is<…>nothing else but a hardened, definite artistic content. Any property, any element of a literary work, which we now perceive as "purely formal", was once directly meaningful ". This content of the form never disappears, it is really perceived by the reader: “turning to the work, we somehow absorb into ourselves” the content of formal elements, their, so to speak, “content”. “It's about content, a certain sense, and not at all about the meaningless, meaningless objectivity of the form. The most superficial properties of form turn out to be nothing more than a special kind of content that has turned into form ”*.

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* Gachev G.D., Kozhinov V.V. The richness of literary forms // Theory of Literature. Major problems in historical coverage. M., 1964. Book. 2.P. 18–19.

However, no matter how meaningful this or that formal element is, no matter how close the connection between content and form, this connection does not turn into identity. Content and form are not the same thing, they are different sides of the artistic whole, distinguished in the process of abstraction and analysis. They have different tasks, different functions, different, as we have seen, the measure of convention; there is a certain relationship between them. Therefore, it is unacceptable to use the concept of meaningful form, as well as the thesis about the unity of form and content, in order to mix and lump formal and meaningful elements into one heap. On the contrary, the true meaningfulness of the form is revealed to us only when the fundamental differences between these two aspects of a work of art are sufficiently realized, when, therefore, it becomes possible to establish certain correlations and regular interactions between them.

Speaking about the problem of form and content in a work of art, one cannot but touch upon, at least in general terms, another concept that is actively used in modern science about literature. It is about the concept of "inner form". This term really assumes the presence "between" the content and the form of such elements of a work of art, which are "form in relation to elements of a higher level (image as a form expressing the ideological content), and content in relation to lower levels of structure (image as the content of a compositional and speech form) "*. Such an approach to the structure of the artistic whole looks doubtful primarily because it violates the clarity and severity of the initial division into form and content as, respectively, the material and spiritual principles in the work. If some element of an artistic whole can be both meaningful and formal, then this deprives of meaning the very dichotomy of content and form and - which is important - creates significant difficulties in further analysis and comprehension of structural connections between elements of the artistic whole. Undoubtedly, one should listen to the objections of A.S. Bushmina against the category of "internal form"; “Form and content are extremely general correlative categories. Therefore, the introduction of two concepts of form would require, respectively, two concepts of content. The presence of two pairs of similar categories, in turn, would entail the need, according to the law of the subordination of categories in materialist dialectics, to establish a unifying, third, generic concept of form and content. In a word, terminological duplication in the designation of categories gives nothing but logical confusion. And in general definitions external and internal, admitting the possibility of spatial delimitation of the form, vulgarize the idea of ​​the latter ”**.

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* Sokolov A.N. Style theory. M., 1968.S. 67.

** Bushmin A.S. Literature Science. P. 108.

So, fruitful, in our opinion, is a clear opposition of form and content in the structure of the artistic whole. Another thing is that it is immediately necessary to warn against the danger of dismembering these sides mechanically, roughly. There are artistic elements in which form and content seem to touch, and very subtle methods and very close observation are needed in order to understand both the fundamental non-identity and the closest interconnection of the formal and substantive principles. The analysis of such "points" in the artistic whole is undoubtedly the greatest difficulty, but at the same time it is of the greatest interest both in the aspect of theory and in the practical study of a particular work.

? CONTROL QUESTIONS:

1. Why is it necessary to know the structure of the work?

2. What is the form and content of a work of art (give definitions)?

3. How are content and form interconnected?

4. “The ratio of content and form is not spatial, but structural” - how do you understand this?

5. What is the relationship between form and content? What is "content form"?

Art is a sphere of human activity that is addressed to his emotional, aesthetic side of his personality. Through auditory and visual images, through intense mental and mental work, a kind of communication takes place with the creator and those for whom it was created: the listener, the reader, the viewer.

The meaning of the term

A work of art is a concept associated primarily with literature. This term is understood not just any coherent text, but bearing a certain aesthetic load. It is this nuance that distinguishes such a work from, for example, a scientific treatise or a business document.

The work of art is notable for its imagery. It doesn't matter if it's a multivolume novel or just a quatrain. By figurativeness we mean the richness of the text with expressive-pictorial ones. At the level of vocabulary, this is expressed in the author's use of such tropes as epithets, metaphors, hyperboles, personifications, etc. At the syntax level, a work of art can be saturated with inversions, rhetorical figures, syntactic repetitions or seams, etc.

It is characterized by a second, additional, deep meaning. The subtext is guessed by a number of signs. This phenomenon is not typical of business and scientific texts whose task is to provide any reliable information.

A work of art is associated with concepts such as theme and idea, the position of the author. The topic is what this text is about: what events are described in it, what era is covered, what subject is being considered. So, the subject of the image in landscape lyrics is nature, its states, complex manifestations of life, the reflection of the mental states of a person through the states of nature. The idea of ​​a work of art is the thoughts, ideals, views that are expressed in the work. So, the main idea of ​​the famous Pushkin's "I remember wonderful moment... "is a demonstration of the unity of love and creativity, the understanding of love as the main driving, reviving and inspiring principle. And the position or point of view of the author is the attitude of the poet, writer to those ideas, characters that are depicted in his creation. It may be controversial, it may not coincide with the main line of criticism, but it is this that is the main criterion in evaluating the text, identifying its ideological and semantic side.

A work of art is a unity of form and content. Each text is built according to its own laws and must comply with them. Thus, the novel traditionally raises problems of a social nature, depicts the life of a class or social system, through which, as in a prism, the problems and spheres of the life of society as a whole are reflected. The lyric poem reflects the tense life of the soul, emotional experiences are conveyed. By the definition of critics, nothing can be added or added in a real work of art: everything is in place, as needed.

The aesthetic function is realized in a literary text through the language of a work of art. In this regard, such texts can serve as textbooks, since give samples of magnificent prose unsurpassed in beauty and charm. It is no coincidence that foreigners who want to know the language of a foreign country as best as possible are advised to read, first of all, time-tested classics. For example, the prose of Turgenev and Bunin are wonderful examples of mastering all the wealth of the Russian word and the ability to convey its beauty.

Fiction is one of the types of art, along with music, painting, sculpture, etc. Fiction is a product of the creative activity of a writer or poet, and, like any art, it has aesthetic, cognitive and worldview (associated with the author's subjectivity) aspects. This unites literature with other arts. A distinctive feature is that the material carrier of the imagery of literary works is the word in its written embodiment. At the same time, the word always has a pictorial character, forms a certain image, which, according to V.B. Khalizeva, classify literature as a fine art.

Images formed by literary works are embodied in texts. Text, especially fiction, is a complex phenomenon characterized by various properties. Fiction text is the most complex of all types of text, in fact it is a very special type of text. The text of a work of fiction is not the same message as, for example, a documentary text, since it does not describe real concrete facts, although it calls phenomena and objects by the same linguistic means. According to Z.Ya. Turaeva, natural language is construction material for artistic text. In general, the definition of a literary text differs from the definition of a text in general by indicating its aesthetic and pictorial-expressive aspects.

By definition I. Ya. Chernukhina, a literary text is "... an aesthetic means of mediated communication, the purpose of which is a pictorial and expressive disclosure of a topic, presented in the unity of form and content and consisting of speech units that perform a communicative function." According to the researcher, literary texts are characterized by absolute anthropocentrism, literary texts are anthropocentric not only in the form of expression, like any texts, but also in content, in orientation towards disclosing the image of a person.

I.V. Arnold notes that "a literary and artistic text is an internally connected, complete whole, possessing ideological and artistic unity." The main specific feature artistic text that distinguishes it from other texts is the performance of an aesthetic function. At the same time, the organizing center of the literary text, as indicated by L.G. Babenko and Yu.V. Kazarin, is its emotional and semantic dominant, which organizes the semantics, morphology, syntax and style of the literary text.

The main function of fiction is to contribute to the disclosure of the author's intention through the use of linguistic and specific stylistic means.

One of the most striking features of fiction is imagery. The image, which is created by various linguistic means, evokes in the reader a sensory perception of reality and, thereby, contributes to the creation of the desired effect and reaction to what is written. The artistic text is characterized by a variety of forms and images. The creation of generalized images in works of art allows their authors not only to determine the state, actions, qualities of a particular character by comparing it with an artistic symbol, but also makes it possible to characterize the hero, to determine the attitude towards him not directly, but indirectly, for example, through artistic comparison ...

The most common leading feature of the style of artistic speech, closely related and interdependent with imagery, is the emotional coloring of statements. The property of this style is the selection of synonyms in order to emotionally influence the reader, the variety and abundance of epithets, various forms of emotional syntax. In fiction, these means get their most complete and motivated expression.

The main category in the linguistic study of fiction, including prose, is the concept of the individual style of the writer. Academician V.V. Vinogradov formulates the concept of the individual style of a writer as follows: "a system of individual aesthetic use of artistic and verbal expression inherent in a given period of development of fiction, as well as a system of aesthetic and creative selection, comprehension and arrangement of various speech elements."

A literary artistic text, like any other work of art, is aimed primarily at perception. Without informing the reader of literal information, a literary text evokes a complex set of experiences in a person, and thus it meets a certain internal need of the reader. A specific text corresponds to a specific psychological reaction, the order of reading corresponds to a specific dynamics of the change and interaction of experiences. In the literary text, behind the depicted pictures of real or fictional life, there is always a subtext, interpretive functional plan, a secondary reality.

A literary text is based on the use of figurative and associative qualities of speech. The image in it acts as the ultimate goal of creativity, in contrast to a non-fiction text, where verbal imagery is not fundamentally necessary, and if available, it becomes only a means of transmitting information. In the literary text, the means of imagery are subordinated to the aesthetic ideal of the writer, since fiction is a form of art.

A work of art embodies the author's individual way of perceiving the world. The author's ideas about the world, expressed in literary and artistic form, become a system of ideas directed to the reader. In this complex system, along with universal human knowledge, there are also unique, original, even paradoxical ideas of the author. The author conveys to the reader the idea of ​​his work by expressing his attitude to certain phenomena of the world, by expressing his assessment, creating a system artistic images.

Imagery and emotionality are the main features that distinguish a fictional text from a non-fictional one. One more characteristic literary text is personification. In the characters of works of art, everything is compressed to an image, to a type, although it can be shown quite concretely and individually. Many heroes-characters of fiction are perceived as certain symbols (Hamlet, Macbeth, Don Quixote, Don Juan, Faust, D "Artagnan, etc.), behind their names are certain traits of character, behavior, attitude to life.

In the texts of fiction, the description of a person can be given both in the pictorial-descriptive register and in the informative-descriptive one. The author has complete freedom of choice and use of various stylistic techniques and means that allow you to create a visual-figurative representation of a person and express his assessment of his external and internal qualities.

When describing and characterizing the characters of a work of art, authors use various means of emotional assessment both from the standpoint of the author and from the standpoint of other characters. The author's assessment of the heroes of his works can be expressed both explicitly and implicitly, it is usually conveyed through the use of a complex of speech and stylistic means: lexical units with evaluative semantics, epithets, metaphorical nominations.

Stylistic means of expressing the expressiveness of emotionality, the author's assessment, the creation of images are various stylistic devices, including tropes, as well as various artistic details used in the texts of fiction.

Thus, based on the results of studying literary sources, we can conclude that fiction is a special kind of art, and fiction text is one of the most complex species text in terms of structure and style.

The form of the existence of art is a work of art (work of art) as a system of artistic images that form a single whole. It represents a spiritual and material reality that arose as a result of human creative efforts, an aesthetic value that meets artistic criteria. In a work of art in a figurative, symbolic form, both objective reality and the subjective world of the artist, his worldview, experiences, feelings, ideas are reflected. The means of expressing all this diversity is a kind of language of art. “A work of art is a complete, resting in itself and existing for itself, a whole impact and opposes the latter, as an independent reality, to nature. In a work of art, the form of being exists only as a reality of impact. A work of art, perceiving nature as a relationship between motor directions and visual impressions, is freed from everything that is changeable and accidental. "
One of the most important principles of artistic creation and the existence of a work of art is the principle of the unity of form and content. The essence of this principle is that the form of a work of art is organically linked with the content and is determined by it, and the content is manifested only in a certain form.
Artistic form (from lat.forma - appearance) - the structure of a work of art, its internal organization, the whole complex of expressive means. Created with the help of pictorial and expressive means of a certain type of art to express artistic content, the form always indicates the means by which the content is conveyed in the work of art. The content, according to Vygotsky, is everything that the author took as ready-made, that existed before the story and can exist outside and independently of it. Content is a necessary constitutive moment of an aesthetic object. MM Bakhtin wrote in his work "The Problem of Content, Material and Form in Verbal Artistic Creativity": completion, i.e. comprehensive artistic design with the help of material, we call the content of the aesthetic object. " In other words, content is all artistically reflected phenomena of reality in their evaluative comprehension.
The dependence of the form on the content of the work is expressed in the fact that the first does not exist without the second. The content is the inner meaning of a certain form, and the form is the content in its immediate being.
The juxtaposition of content and form is characteristic, first of all, for the stage of creativity, i.e. for their mutual, mutual formation, when the artist comprehends what he wants to express in a work of art and is looking for adequate means for this. In a finished work of art, form and content must necessarily constitute an indissoluble unity that is in harmony.
Speaking about the unity of content and form, one should not underestimate the significance of the artistic form as an expressive force. It is no accident that in the European philosophical tradition since the time of Aristotle, form has been understood as a specific principle of a thing, its essence and driving force. The content of a work of art becomes emotionally perceived, acquires aesthetic significance due to its implementation in an artistic form, which thus actively influences the content. It can contribute to the most complete and convincing disclosure of the content, but it can also interfere with its expression, weaken the power of its impact and, accordingly, perception.
If you carefully analyze a work of art, it is easy enough to find that all of its elements can be divided into formal and substantive. Substantive elements of a work of art include theme, conflict, idea, characters, plot, plot. The formal elements of a work of art include composition, genre, speech, rhythm. The specificity of the artistic language of various types of art determines the decisive importance for them of individual formal elements: in music - melody, in painting - color, in graphics - drawing, etc. The form of the work must have internal unity. Harmony, proportionality of its elements is a necessary condition for completeness, perfection, beauty of a work of art.
The content is always structured and expressed only in the ways characteristic of art, i.e. is essentially inseparable from form. It is multi-level and multifaceted. Higher levels content - the idea and theme that determine the entire content structure of the work.
The idea represents the main figurative and aesthetic meaning. The artistic idea is always original and unique. It can include philosophical, political, scientific and other ideas, but it is not completely reduced to them. The structure of the work is very rich, combining both these ideas and all the richness of the aesthetic vision of the world. Art interests not only politics, philosophy, science, but also the whole system of man's relations to the world, to other people, to himself. These relationships, reflected by art, turn out to be more complex and richer than the system of the deepest ideas. We will reveal the amazing philosophical tale of Richard Bach "The Jonathan Livingston Seagull" and we will find in it a huge number of philosophical ideas: moral and physical improvement, the search for the meaning of life and mentorship, loneliness and exile, death and resurrection. But the meaning of this small work is broader than any of these ideas: in it, in the image of a seagull, the essence of the restless and restless human soul is revealed, the eternal aspiration of a person to knowledge, to perfection, to gaining the true meaning of life is shown:
“And the deeper Jonathan learned the lessons of kindness, the more clearly he saw the nature of love, the more he wanted to return to Earth. For, despite living alone life, Jonathan Seagull was born to be a teacher. He saw what was true for him, and he could realize love only by revealing his knowledge of the truth to someone else - to the one who was looking for and who needed only a chance to discover the truth for himself. "
The idea of ​​The Seagull, published as a separate edition at the end of 1970, draws more than one generation of readers into the eternal field of allegories. So, Ray Bradbury once said that this book gives him a sense of flight and returns youth.
The theme of a work of art (Greek thema - literally what is put [in the basis]) is an object of artistic depiction, a circle of life phenomena captured in the work and fastened together by the author's intention-problem. The theme is one of the most important elements of the content of a work of art. She points to the circle of phenomena that serve as the starting point for the creation of a work of art. For example, the theme of Tolstoy's novel "Anna Karenina" is the tragic fate of the relationship between Anna and Vronsky.
In addition to the main theme, the work may contain secondary themes that are closely related to the main theme, subordinate to it. For example, along with the main theme of the relationship between Onegin and Tatiana, in the poem "Eugene Onegin" by A.S. Pushkin there are many side themes: the theme of relations between Lensky and Olga, the theme of parental relations, etc.
The theme is closely related to the idea of ​​the work. Together they form a single ideological and thematic basis of the work. The theme finds its further expression through characters, conflicts, plots. This is the next, lower content level of a work of art.
Character is the artistic embodiment of a system of human distinctive properties, which are manifested in his self-esteem, relations with the world around him and other people, in difficult and everyday life circumstances. Characters can be portrayed in different ways depending on the art direction. They may appear due to circumstances. This is how realism draws them, demonstrating how conditions, events, phenomena of reality affect the formation of character and its manifestation. Such are the heroes of O. de Balzac, C. Dickens, J. Golsworthy. Characters can be considered as derivatives of heredity and physiological characteristics, as is done in naturalism (E. Zola, E. and J. Honcourt). They can be portrayed as idealized and opposed to the entire surrounding, often hostile, world. This is how many romantics draw characters. Here is how M.Yu. Lermontov conveys the character of the hero in the poem "Corsair":
Since then with a deceived soul
I have become distrustful of everyone.
Oh! Not under my own roof
I was then - and faded.
Couldn't with a smile of resignation
Since then I've been migrating everything:
Mockery, pride of contempt ...
I could only love more ardently.
I'm dissatisfied with myself
Wanting to be calm, free,
I often wandered through the woods
And only there he lived with his soul ...
However, every true artist, regardless of the direction of art, strives to depict typical characters in their individual originality, to show the complexity of their development, the inconsistency of inner life, moral searches.
Conflict is an artistically designed contradiction in a person's life, a clash of different characters, views, ideas, interests, etc. The role of the conflict and its originality directly depend not only on the reflected sides of reality, but also on specific features and means of typification, types and genres of art. For example, in tragedy or in monumental painting, conflict appears as a direct image of the struggle of opposing characters, and in lyrics - as an emotional expression of the collision of different people and feelings. The depth of the conflict, its acuteness and completeness in the artistic form largely determine the depth of the emotional impact of a work of art on the perceiving subject. As a result, works of art of those types and genres of art that most deeply embody dramatic conflict have the most powerful impact on a person.
A plot (French sujet - literally an object) is a reproduced action in its entirety. The plot represents the spatio-temporal dynamics of the depicted, the course of events in a literary work. It is a collection of events expressed in artistic form. The plot expresses the narrative side of a work of art, and it organically combines individual episodes, characters, and actions of the heroes.
The plot is peculiar different types and genres of art. It can be developed (in historical novels, in film epics, etc.), simple (in painting, graphics, etc.). In literary lyrics, visual arts, music, there can be found plotless or practically plotless works (for example, in abstractionism, in instrumental non-programmed music, architecture). The plot is most visible in painting. The plot presupposes action, movement, therefore, in those works of art where there is a plot, it develops from the plot through the culmination to the final. The plot is closely related to the plot, but does not always coincide with it.
Fable (from Lat. Fabula - fable, story) is a cultural-typological scheme of the main events set out in their chronological sequence. This is a chain or diagram of events, which is described in detail in the plot. For example, the plot novel by N. G. Chernyshevsky "What is to be done?" begins with a description of the mysterious disappearance of one of the heroes, while the plot of this novel (the unfolding of events in a spatio-temporal sequence) begins with a description of Vera Pavlovna's life in parental home... The plot serves as an auxiliary means for revealing the plot, helping to establish the sequence of unfolding events and to understand the goals that the artist pursued by a kind of plot construction. The plot is more general than the plot.
If we return to the plot again, then it should be noted that in large epic works the plot, as a rule, is split into a number of plot lines. So, in the novel by M.Yu. Lermontov "a hero of our time" there are a number of relatively independent storylines (Bela, smugglers, etc.), which are grouped around the storyline of Pechorin.
As mentioned above, form is the means of expression and existence of content. The process of shaping influences the content through composition, rhythm, opposition.
Composition (from Lat. Compositio - addition, composition) - the construction of a work of art, the systematic and sequential arrangement of its elements and parts, ways of connecting images and the totality of all means of their disclosure. Composition is the most important organizing element of an artistic form, giving a work of unity and integrity, subordinating its components to each other and to the whole. This is the consciously semantic ordering of the work. The task of composition is to organize separate disparate elements into integrity. All compositional techniques are determined ideological concept the author, his creative task. Let's take a close look at the painting by P.A. Fedotov "Morning after the feast, or
Fresh cavalier ". The plot of the picture is taken from life: a minor official received the first order and arranged it in his room for this occasion. On the morning after the drinking bout, the "fresh gentleman", having barely thrown a robe over his shoulders, has already put on the order and points at it to his cook. The cook, not sharing the good mood of the owner, points out to him the boots with holes. The idea of ​​the picture is broad: the poverty of the bureaucratic spirit, unable to rise above careerist aspirations, the common sense of the servant, aware of the comic claims of the owner. The composition helps to reveal the ideological outline of the work. The picture is built on two opposing figures: an official frozen in a proud pose and a cook, expressing the natural sanity of an ordinary person. P.A. Fedotov fills the room in the painting a large number things that explain to us the plot and the plot: the remnants of yesterday's revelry, dirty linen on the floor, a book thrown on the floor, a guitar with broken strings, leaning against a chair on which hang the master's coat and suspenders. A cage is visible under the ceiling, an awakened cat stretches itself. All of these details are calculated to create the most vivid picture of a room where everything is thrown without any regard for decency. This is the world of an insignificant official, devoid of lofty thoughts and a sense of beauty, but striving to achieve success.
The next element of the form is rhythm. Rhythm (Greek rhythmos, from rheo - teku) is the alternation of various commensurate elements (sound, speech, etc.), occurring with a certain sequence, frequency. Rhythm as a means of shaping in art is based on the regular repetition in space or time of similar elements at commensurate intervals. The function of rhythm is the simultaneous separation and integration of the aesthetic impression. Due to the rhythm, the impression is divided into similar intervals, but at the same time it is integrated into a set of interrelated elements and intervals, i.e. into artistic integrity. A stable repetitive rhythm evokes in the perceiving subject the expectation of its repetition and a specific experience of its "failure". Hence another function of rhythm - the dynamics of the effects of expectation and surprise. Rhythm also reflects dynamics, as opposed to symmetry, which reflects statics. The dynamics of rhythm contributes to the creation of an artistic structure that is most adequate to the psychophysical structure of a person, which is also dynamic and mobile.
Rhythm is of the utmost importance in music, where it manifests itself as a temporary organization of musical intervals and consonances. According to Aristotle, the rhythm in music is similar to the emotional states of a person and reflects such feelings and properties as anger, meekness, courage, moderation. Since the 17th century. in music, a bar, accent rhythm, based on the alternation of strong and weak stresses, has become established. In a poem, rhythm denotes the general ordering of the sound structure of poetic speech, as well as the real sound structure of a particular poetic line. In the visual arts (painting, graphics, etc.) and architecture, rhythm is manifested in a different combination of patterns, colors, the arrangement of columns, etc. In choreography, rhythm is a combination of a sequence of body movements.
Style occupies a special place in shaping. However, it must be remembered that the style is not in pure form neither form, nor content, nor even their unity. “Style also refers to form, content and their unity, just as in a living organism its“ form ”and“ content ”refer to the genetic set in the cell. Style is a "gene set" of culture, which determines the type of cultural integrity. " Style (from the Greek stylos - a pointed stick for writing on wax, the manner of writing) is a commonality figurative system, funds artistic expression, creative techniques, due to the unity of the ideological and artistic content. You can talk about the style of an individual work or genre (for example, about the style of a Russian novel of the mid-19th century), about the individual style or creative manner of a particular author (for example, about the style of P. Picasso), as well as about the style of entire artistic eras or major artistic directions (gothic or romanesque style, baroque, romanticism, classicism).
In the aesthetics of formalism, style is often understood as a generality of techniques that is not related to the content of works. Thus, the German art critic Heinrich Wölflin (1864-1945) in his work "Basic Concepts of the History of Art" divides the whole history visual arts into two styles: linear and pictorial.
Such a formalistic understanding of style leads to a mechanical transfer of the general features of architectural and decorative-applied styles to all other types of art, which have a much greater richness and variety of content, and therefore a much wider variety of styles.
Style is not a formal unity of pictorial and expressive means and techniques, but their stable commonality, determined by the ideological content. The style of a work of art is not just its external form, but, first of all, the nature of its material and spiritual existence within a certain culture. This is evidence of the belonging of an aesthetic object to a particular culture. Style understood in this way should not be confused with styling. Styling is intentional imitation artistic style any author, genre, trend, era, people. Stylization is often associated with a rethinking of the artistic content that formed the basis of the imitated style. Style performs many functions in the creation and perception of a work of art. In artistic creation, he directs the creative process in a certain direction, ensures the processing of disparate impressions into a single system, and contributes to the preservation of continuity in the artistic tradition. In the process of artistic perception of a work, the style determines the nature of the impact of the work on a person, orientates the public towards a certain type of artistic value.
Style is informative. It communicates the overall quality of the work. The author, creating a work of art, always focuses on the viewer, reader, listener, who is invisibly present in artistic creation as a goal for the sake of which the artist creates. The perceiving subject also has the author in his mind: he knows his name, is familiar with his previous works, understands his artistic skill and taste. All this is a psychological background and an incentive for the perception of a work of art. The point of meeting between the author and the perceiving subject is the style, which is evidence of authorship, belonging to the era, nationality, culture, type of art. Style is a kind of core of the artistic process as a whole. The harmony of style, its immutable unity with the entire formal and substantial structure of the work is distinguished by truly great works of art.
Thus, any work of art can be presented as an objectively existing reality with an appropriate material shell and structure.