Chapter IV. The theme and idea of \u200b\u200bthe artistic work. Artwork art
Two most important features are enshrined in this definition. artistic work: Product of creative activity in the field of art and characteristics of the level of ideological and aesthetic perfection.
Works of art exist in the form of static or dynamic things and processes: music - in songs, romances, operations, concerts, symphony; architecture - in buildings and structures; Fine art - in paintings, statues, graphics. Artwork works - Material products of artistic creativity. The process of working on them is associated with emotions, tastes, imagination, fantasy of the artist. During the birth of creativity, the work of art is associated with the artistic consciousness of the Creator. Completed works can exist independently of the consciousness of people, i.e. objectively. Consequently, according to the method of existence, artworks are material products of artistic creativity and consciousness.
However, this position is associated with materialistic interpretation and analysis of works of art. Polish Aesthetics R. Ingarden, the student of the founder of the phenomenology of E. Gusserly, declares an artistic work only by the property of consciousness, or an intentional subject. The source of life of the artistic work he sees in acts of consciousness. According to the phenomenological aesthetics, the musical work can not exist as the subject of the real world. It is considered as a pure act of consciousness, deprived of attributes and status of substitution, real existence.
However, with all the differences in the individual consciousness of people, the peculiarities of creativity, perception, interpretations of artwork exist objectively. Any work of art, being the result of intense physical labor, materializes in specific material forms. It would not be possible to imagine the aesthetic meaning and the values \u200b\u200bof the artwork, if it were not fixed with certain assessments in a particular material. From here their materialization, separation in the artistic work.
The artwork is an internal unity of content and form. Content and form are inextricably linked with each other. The harder the content, the richer should be a form. On artistic form, you can judge the diversity of content.
Categories "Content" and "Form" were developed in German classical aesthetics. Hegel argued that "the content of art is the ideal, and its form is a sensual figurative embodiment" 61. In the interpenetration of "ideal" and "image"
Hegel saw creative specifics of art. The leading pathos of his teaching is the subordination of all the details of the image, and above all the subject defined spiritual content. The integrity of the work arises from the creative concept. The unity of the work is understood as the subordination of all its parts, the details of the idea: it is internal, and not external.
The form and content of the literature is "the fundamental literary criticism that summarizes the ideas about the external and internal parties of the literary work and based on the philosophical categories of forms and content" 62. It is impossible to divide the form and content to be divided, for the form is nothing but the content in it directly perceived by being, and the content is nothing but the inner meaning of this form. In the process of analyzing the content and forms of literary works, its external and internal parties are allocated, which are in organic unity. The content and form are inherent in any phenomenon of nature and society: in each of them there are external, formal elements and internal, meaningful.
Content and form have a complex multi-stage structure. For example, the external speech organization (style, genre, composition, meter, rhythm, intonation, rhyme) acts as a form relative to the inner artistic meaning. In turn, the meaning of speech is the form of the plot, and the plot is a form that embodies characters and circumstances, and they appear as a form of manifestation of an artistic idea, a deep integer meaning of the work. The form is a living flesh of content.
The conceptual pair "Content and Form" firmly settled in the theoretical poetics. An Aristotle also allocated in his "poetics" "that" (subject of the image) and "how" (image tools). Form and content - philosophical categories. "Form I call the essence of being every thing," wrote Aristotel63.
Artistic literature is a lot of literary works, each of which is independently integer.
What is the unity of the literary work? The work exists like a separate text having boundaries, as if enclosed in the frame: the beginning (this is usually titled) and the end. Artwork has another framework, as it functions as an aesthetic object as "one" fiction. The reading of the text creates in the minds of the reader's images, ideas about the subjects in their integrity.
The work is concluded as if in a double frame: as a conditional world, the author, separated from the primary reality, and as a text associated with other texts. We must not forget about the gaming nature of art, because in the same framework the writer creates and the reader perceives the work. Such is the ontology of the artistic work.
There is another approach to the unity of the work - axiological, in which questions are issued on whether it was possible to agree on parts and integers, to motivate one or another detail, for the more complex the composition of the artistic whole (the multi-line of the plot, the branched character system, shift Time and place of action), the more difficult it is the task before the writer64.
The unity of the work is one of the end-to-end problems in the history of aesthetic thought. Also in antique literature Requirements for various art genres, the standard was aesthetics of classicism. Interesting (and natural) Ring of texts "poetry" Horace and Boulevon, to which L.V. draws attention in his article. Chernets.
itterary work is a holistic picture of life (in epic and dramatic works) or any holistic experience (in lyrical works). Each artwork, according to V.G. Belinsky, "This is a holistic, closed world." D.S. Merezhkovsky gave a high assessment to the Tolstsky novel "Anna Karenina", arguing that "Anna Karenina" as a complete artistic whole - the most perfect of L. Tolstoy's works. In "War and Mireg" he wanted, maybe more, but did not reach: and we saw that one of the main acting persons, Napoleon, failed at all. In Anna Karenina, everything, or almost everything, succeeded; Here and only here, the artistic genius L. Tolstoy reached his highest point, to full self-control, until the final equilibrium between the intent and execution. If someday he was stronger, then, in any case, he was never perfect, no earlier, no after "69.
The holistic unity of the artwork is determined by a single copyright and acts in the complexity of the events depicted, characters, thoughts. A genuine work of art is a unique feature world with its content and with the form expressing this content. Fitted in the text artistic reality is a form.
The inextricable connection between the content and artistic form is a criterion (Dru. Greek. KGKEJUP - a sign, indicator) artistic work. This unity is determined by the socio-aesthetic integrity of the literary work.
Hegel wrote about the unity of the content and forms: "The work of art that lacks the appropriate form is that therefore genuine, i.e. the true work of art, and for the artist, as such, serves as a bad justification, if they say that in its content it Works are good (or even exceed), but they lack proper form. Only those artworks in which the content and form are identical are true works of art "70.
The only possible form of incarnation of life content is a word, and any word turns out to be artistically significant when it begins to transmit not only the factual, but also conceptual, inclusive information. All these three types of information are complicated by Aesthetic information71.
The concept of artistic form should not be identified with the concept of the technique of the letter. "What such to separate a lyrical poem,<...> To bring the form to a possible grace for it? This, probably, nothing else to finish and bring to the most powerful in the human nature of the grace, one or another feeling ... to work on verse for the poet the same thing to work on my soul, "I wrote. Polonsky. An opposition is traced in the artwork: Organizations ("Making") and organic ("Birth"). Recall the V. Mayakovskaya article "How to make poems?" And the lines of A. Akhmatova "When you know, the poems grow from which sector ...".
Differentiation of content and form is necessary on initial stage Studying works, at the analysis stage.
Analysis (Greek. Analysis - decomposition, dismemberment) literary - study of parts and elements of the work, as well as connections between them.
There are many methods for analyzing the work. The most theoretically substantiated and universal analysis emanating from the category "meaningful shape" and detecting the functionality of the form with respect to the content.
Synthesis is built on the results of the analysis, i.e. the most complete and correct understanding of both meaningful and formal artistic originality and their unity. Literary synthesis in the content of the content is described by the term "interpretation", in the form of the form - the term "style". Their interaction makes it possible to comprehend the work as aesthetic phenomenon72.
Each element of the form has its own "meaning". Formance is something independent; The form is, in fact, and there is a content. Perceiving shape, we comprehend content. A. Bushmin wrote about the difficulty of scientific analysis of the artistic image in the unity of content and forms: "There are no other exit, how to deal with the analysis," splitting "of unity in the name of its subsequent synthesis" 73.
Analyzing the artistic work, it is necessary to not ignore both categories, but to catch their transition to each other, understand the content and shape as the rolling interaction of the opposites of that diverging, then converge, right up to the identity.
Even at first glance it is clear that the artwork consists of some parties, elements, aspects, etc. In other words, it has a complex interior composition. At the same time, individual parts of the work are connected and merged with each other as closely that it gives the grounds of metaphorically like the work of the living organism. The composition of the work is characterized, therefore, not only complexity, but also by orderly. Artwork - a complex integer; From the awareness of this obvious fact, it is necessary to know the internal structure of the work, that is, to allocate its components and realize the relationship between them. The refusal of such an installation inevitably leads to empiricalism and the smokelessness of judgments about the work, to complete arbitrariness in its consideration and ultimately depletes our understanding of the artistic whole, leaving it at the level of primary reading perception.
In modern literse, there are two main trends in establishing the structure of the work. The first comes from the selection of a series of layers, or levels, just as in linguistics in a separate statement it is possible to distinguish the level of phonetic, morphological, lexical, syntax. At the same time, different researchers are irrevocated to themselves as a set of levels and the nature of their ratios. So, M.M. Bakhtin sees in the work first two levels - "Fabul" and "plot", the world and the world of the image itself, the reality of the author and the reality of the hero *. MM Girschman offers a more complex, mostly three-level structure: rhythm, plot, hero; In addition, the "vertical" these levels permeates the subject-object organization of the work, which creates an ultimately not a linear structure, but rather a grid that is superimposed on a artwork **. There are other models of artwork, representing it in the form of a number of levels, cuts.
___________________
* Bakhtin M.M. Aesthetics of verbal creativity. M., 1979. P. 7-181.
** Girschman M.M. Literary work style // Theory of literary styles. Modern aspects of study. M., 1982. P. 257-300.
The general disadvantage of these concepts can obviously consider subjectivity and arbitrariness of levels of levels. In addition, any attempt has yet been made by anyone justify Decision at the levels with some common considerations and principles. The second weakness follows from the first and is that no separation over the levels does not cover the entire wealth of the elements of the work, does not allow an exhaustive idea of \u200b\u200beven its composition. Finally, the levels should mention as fundamentally equal - otherwise it loses the meaning of the structuring principle itself - and this easily leads to the loss of the idea of \u200b\u200ba certain core of the artistic work, which binds its elements in valid integrity; The links between levels and elements are weaker than it really is. Here it is also necessary to note the fact that the "level" approach is very poorly takes into account the principal differences of a number of components of the work: so it is clear that the artistic idea and artistic detail - phenomena of fundamentally different nature.
The second approach to the structure of the artwork as the primary separation takes such general categories as content and form. In the most complete and argued form, this approach is presented in the works of G.N. Pospelova *. This methodological trend has much less minuses than the above, it is much more responding to the real structure of the work and is much more substantiated in terms of philosophy and methodology.
___________________
* See, eg: Pospelov G.N. Problems of literary style. M., 1970. P. 31-90.
From the philosophical substantiation of the allocation in artistic whole content and form, we will begin. Categories of content and forms, perfectly designed in Hegel's system, have become important categories of dialectics and have repeatedly successfully applied to the analysis of various complex objects. The long and fruitful tradition forms the use of these categories in aesthetics and literary criticism. Nothing prevents us in this way, to apply such well-proven philosophical concepts and to the analysis of the literary work, moreover, from the point of view of the methodology it will be only logical and naturally. But there are also special foundations to begin the dismemberment of the artwork with the allocation of content and forms in it. The work of art is not a natural phenomenon, but cultural, which means that it is based on the spiritual principle, which, in order to exist and perceive, must necessarily find some material embodiment, the method of existence in the system of material signs. Hence the naturalness of determining the boundaries of the form and content in the work: the spiritual principle is the content, and its material embodiment is a form.
The content of the literary work we can determine as its essence, a spiritual creature, and the form - as a way of the existence of this content. The content, in other words, is the "statement" of the writer about the world, a certain emotional and mental response to certain phenomena of reality. The form is the system of means and techniques in which this reaction finds an expression, embodiment. Somewhat simplifying, it can be said that the content is that what Said the writer with his work, and the form - as He did it.
The form of the artwork has two main functions. The first is carried out inside the artistic whole, so it can be called internal: this is the function of expression. The second function is detected in the effects of the work on the reader, so it can be called external (with respect to the work). It is that the form has a reader aesthetic impactbecause it is the form that acts as a carrier of the aesthetic qualities of the artistic work. The content in itself cannot be in a strict, aesthetic sense is excellent or ugly - these are properties that occur exclusively at the form level.
From the above, the form of form it is clear that the question of the conventionality is so important for the artistic work, is solved in different ways in relation to content and form. If in the first section we said that the artwork generally there is a conventionality compared with the primary reality, then the measure of this convention in the form and content is different. Within the artwork The content has unconditionally, in relation to it, it is impossible to put a question "Why does it exist?" Like the phenomena of the primary reality, in the artistic world, the content exists without any conditions as immutable data. It cannot be a conditional fantasy, an arbitrary sign, under which nothing is meant; In a strict sense, the content cannot be invented - it immediately comes into a work from the primary reality (from the public being of people or from the consciousness of the author). On the contrary, the form can be arbitrarily fantastic and conditionally implausible, because under the conventional form it means something; It exists "for something" - for the incarnation of content. So, the Shchedrian city of stupid is the creation of a clean imagination of the author, he is conditional because he never existed in reality, but not convention and not fiction of autocratic Russia, which has become the theme of the "stories of one city" and embodied in the image of the city of Silver.
We note that the difference in the means of conventions between the content and the form gives clear criteria to assign one or another specific element of the work to form or content - this remark more times will be useful.
Modern science comes from the primacy of the content in relation to the form. With regard to the artistic work, this is true as for the creative process (the writer is looking for the appropriate form; even if it is for a vague, but already existing content, but in no case, on the contrary, it does not create a "finished form" first, and then some content already pours into it) And for the work as such (the features of the content are determined and explained to us the specifics of the form, but not vice versa). However, in a certain sense, namely, in relation to perceiving consciousness, it is the form that acts primary, and the content is secondary. Since sensual perception is always ahead of an emotional reaction and the more rational understanding of the subject, moreover, it serves as a base and the basis, 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 work of the work is from the content to form or vice versa - does not matter. Any approach has its excuses: the first - in the defining character of the content in relation to the form, the second - in the patterns of reader perception. Well said about this A.S. Bushmin: "It is not at all necessary ... to start a study with the content, guided only by that one thought that the content determines the form, and without having other, more specific reasons. Meanwhile, therefore, such a sequence of consideration of the artistic work turned into a forced, beaten, all the annoying scheme, having gained widespread in school teaching, and in teaching aids, and in scientific literary work. Dogmatic transfer is right general The literary theory on the method of concrete study of works generates a dull pattern "*. Add to this that, of course, no better would be the opposite pattern - always in obligatory Start an analysis from the form. It all depends on specific situation and specific tasks.
___________________
* Bushmin A.S. Science of literature. M., 1980. P. 123-124.
Of all the above, it is suggested by a clear conclusion that the form and content are equally important in the artwork. The experience of the development of literature and literary studies also proves this position. Using the value of the content or at all it is ignoring leads in literary criticism to formalism, to the emaciated abstract construction, leads to the oblivion of the social nature of art, and in artistic practice that focuses on such a kind of concept, turns into aesthetics and elitism. However, no less negative consequences have the disregard of the artistic form as something secondary and, in essence, optional. This approach actually destroys the work as a phenomenon of art, makes it seems to see in it only one or another ideological, and not ideological and aesthetic phenomenon. In creative practice, not wanting to reckon with the great importance of the form in art, flat illustrative, primitiveness, the creation of "correct", but not experienced by emotionally declarations on the "relevant", but artistic non-mastered theme appears inevitably.
Selecting the form and content in the work, we thus like it to any other complex integration. However, the ratio of form and content in the work of art has its own specificity. Let's see what it consists.
First of all, it is necessary to firmly understand that the ratio of content and forms is not a spatial ratio, but a structural one. The form is not a shell, which can be removed to open a nut kernel - content. If we take an artistic work, we will be powerless "pointing with your finger": here is the form, but the content. They are spatially merged and indistinguishable; This fusion can be felt and showing in any "point" artistic text. Take, for example, that episode from the novel of Dostoevsky "Brothers of the Karamazov", where Alyosha to the question of Ivan, what to do with the landowner who held the child with psami, answers: "Shoot!". What represents it "shoot!" - Content or form? Of course, both in unity, in the bullion. On the one hand, this is part of the speech, verbal form of the work; Replica Aleshi occupies a certain place in the composition of the work. These are formal moments. On the other hand, it is "shooting" there 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 has a significant aspect of the ideological and emotional world of works - these are meaningful moments. So in one word, fundamentally indivisible on the spatial components, we saw the content and form in their unity. The situation is similar and with the artistic work in its integrity.
The second one should be noted, this is the special boundness of the form and content in the artistic whole. By expression Yu.N. Tynyanova, between the artistic form and artistic content, relations are established, unlike the relationship "Wine and a glass" (a glass as a form, wine as a content), that is, the relationship of free compatibility and as free separation. In the artwork, the content is not indifferent to what specifically, it is embodied, and vice versa. Wine will remain wine, Will we put it into a glass, a cup, plate, etc.; The content is indifferent in relation to the form. It is equally in a glass where wine was, you can pour milk, water, kerosene - the form "indifferent" to the content filling it. Not so in the artistic work. There, the association of formal and meaningful began to achieve the highest degree. It is best that it may be manifested in such a pattern: any change in shape, even seemingly small and private, inevitably and immediately leads to a change in content. Trying to find out, for example, the content of such a formal element, like a poetic size, Necchyheda conducted an experiment: "turned" the first lines of the first chapter "Eugene Onegin" from Yambic to Khoneic. It turned out that's what:
Uncle of the most honest rules
He is not a joke,
Respect yourself forced
It was better to invent could not.
Semantic meaning, as we see, remained almost the same, the changes concerned as if only forms. But the naked eye shows that one of of the most important components Contents - emotional tone, mood passing. From the epic-narrative, he turned into a playful surface. And if you imagine that the whole "Eugene Onegin" is written by Kharet? But this and imagine it is impossible, because in this case the work is simply destroyed.
Of course, a similar experiment on the form - the case is unique. However, in the study of the work, we often, without unaware of this, we do similar "experiments" - without changing the influence structure of the form, but only without taking into account those or other of its features. So, studying in Gogol's "dead souls" predominantly Chichikov, landowners, and "individual representatives" of officials and peasants, we study hardly the tenth of the "population" of the poem, ignoring the mass of those "secondary" heroes, which Gogol is just secondary , and they are interested in him by itself to the same extent as chikchiki or manilov. As a result of such an "experiment on the form", our understanding of the work is significantly distorted, that is, its content: Gogol was not interested in the history of individuals, but the labeling of the national life, he did not create a "gallery of images", and the image of the world, "lifestyle".
Another example of the same kind. In the study of the Chekhov story "Bride" there was a rather robust tradition to consider this story as unconditionally optimistic, even "spring and bribal" *. VB Kataev, analyzing this interpretation, notes that it is based on "reading not to the end" - do not teach the last phrase of the story in all its volume: "Nadia ... Merry, happy, left the city, as she believed forever." "The interpretation of this" as believed, "writes VB. Kataev, - very clearly detects the difference in research approaches to the work of Chekhov. Some researchers prefer interpreting the meaning of the "bride", consider this introductory offer as if non-existent "**.
___________________
* Yermilov V.A. A.P. Chekhov. M., 1959. P. 395.
** Kataev V.B. Proza Chekhov: interpretation problems. M, 1979. P. 310.
This is the "unconscious experiment," about which it was above. "A little bit" distorts the structure of the form - and the consequences in the field of content do not make themselves waiting. There is a "concept of unconditional optimism," charming "Czech of the last years", whereas in fact it is "a subtle balance between truly optimistic hopes and restrained sobrility regarding the gusts of those most people about which Chekhov knew and told so much bitter truths about .
In the ratio of content and form, in the structure of the form and content in the artistic work, a certain principle is found, pattern. We will talk about the specific nature of this pattern in detail in the section "Holistic Consideration of Artwork".
In the meantime, we note only one methodological rule: for accurate and complete understanding of the content of the work, it is absolutely necessary as close attention to its form, right up to the smallest features. In the form of an artistic work there are no "trifles", indifferent to the content; According to the famous expression, "Art begins where the" slightly "begins.
The specifics of the relationship between the content and form in the work of art spawned a special term, specifically designed to reflect the continuity, the fusion of these sides of the unified artistic integer "meaningful form". This concept has at least two aspects. Ontological aspect approves the impossibility of the existence of a non-delayed form or unformed content; In logic, such concepts are called correlated: we cannot think one of them, not at the same time at the same time. A somewhat simplified analogy can be the ratio of the concepts of "right" and "left" - if there is one, then inevitably there is another. However, for works of art, another, axiological (estimated) aspect of the concept "meaningful form" is more important: in this case, it is meant in view of a regular compliance of the form of content.
Very deep and largely fruitful concept of substantive form has been developed in the work of GD. Gacheva and V.V. Kozhinov "meaning literary forms" According to the authors, "any art form is<…> nothing but hard, creative artistic content. Any property, any element of the literary work, which we perceive now as "purely formal," was sometime directly meaningful. " This definition of the form never disappears, it is actually perceived by the reader: "Turning to the work, we somehow absorb the meaningality of formal elements, so to speak," Prashodding ". "The case goes precisely about meaningfulness, about a certain sense And not at all about meaningless, nothing significant object objectivity. The most superficial properties of the form are nothing more than a special kind of content that turned into shape "*.
___________________
* Gachev GD, Kozhinov V.V. Constability of literary forms // Theory of literature. Major problems in historical lighting. M., 1964. KN. 2. P. 18-19.
However, there would be some kind of formal element in no matter how closely neither the relationship between the content and the form, this connection does not go into identity. The content and form are not the same, these are different, the part of the artistic integrated in the process of abstraction and analysis. They have different tasks, different functions, different, as we have seen, a measure of convention; There are certain relationships 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 formal and meaningful elements into one pile. On the contrary, the true meaning of the form opens to us only when sufficiently conscious of the fundamental differences of these two sides of the artwork, when, therefore, it is possible to establish certain relations and regular interactions between them.
Speaking about the problem of form and content in the artistic work, it is impossible to not touch at least in general terms of another concept that is actively growing in modern science on literature. We are talking about the concept of "inner form." This term really suggests the presence of "between" the content and form of such elements of the artistic work, which are "a form in relation to elements high level (Image as a form expressing ideological content) and content - in relation to the standing levels of the structure (the image as the content of the composite and speech form) "*. A similar approach to the structure of the artistic whole looks doubtful, primarily because it disrupts the clarity and severity of the initial division on the form and content as, accordingly, the material and spiritual principle in the work. If some element of the artistic integer can be simultaneously both meaningful and formal, then this deprives the meaning of the dichotomy of the content and forms and - which is important - creates significant difficulties in further analysis and comprehension of structural links between the elements of the artistic integer. It should be undoubtedly listening to the objections of A.S. Bushmina against the category of "inner form"; "Form and content are extremely general correlative categories. Therefore, the introduction of two concepts of form would require two concepts of content, respectively. The presence of two pairs of similar categories, in turn, would lead to the need, according to the law of the subordination of categories in materialistic dialectics, establish a unifying, third, generic concept of form and content. In a word, the terminological duplication in the designation of categories nothing but the logical confusion does not give. And in general, definition outdoor and internal Allowing the possibility of spatial demarcation of the form, vulgarize the idea of \u200b\u200bthe latter "**.
___________________
* Sokolov A.N. Style theory. M., 1968. P. 67.
** Bushmin A.S. Science of literature. P. 108.
So, fruitful, in our opinion, is a clear opposition of the form and content in the structure of an artistic whole. Another thing is that it is immediately necessary to warn against the danger to dismember these parties mechanically, roughly. There are such artistic elements in which the form and content seems to come into contact, and very thin methods are needed and very close observation in order to understand both fundamental non-primacy and the close relationship of formal and meaningful began. An analysis of such "points" in an artistic whole is undoubtedly the greatest complexity, but at the same time - and the greatest interest both in the aspect of theory and in the practical study of a particular work.
? CONTROL QUESTIONS:
1. Why is the knowledge of the structure of the work?
2. What is the form and content of the artwork (give definitions)?
3. How are the content and form are interconnected?
4. "The ratio of content and form is not spatial, and the structural" - how do you understand that?
5. What is the interconnection of form and content? What is "meaningful form"?
The general concept of the topic of the literary work
The concept of the topic, as well as many other terms of literary criticism, concludes a paradox: an intuitive person, even distant from philology, understands what it is about; But as soon as we try to determine this concept, consolidate some more or less rigorous system of values, we turn out to be a very difficult problem.
This is due to the fact that the topic is a multidimensional concept. In the literal translation of "theme" - this is what is found in the base, which is the support of the work. But this is the complexity. Try unambiguously answer the question: "What is the basis of the literary work?" It is worth asking such a question as it becomes clear why the term "theme" opposes clear definitions. For some, the most important is the life material - that what is depicted. In this sense, you can talk, for example, about the theme of war, about the topic of family relations, about love adventures, about battles with aliens, etc. And every time we will go to the level of the topic.
But we can say that the most important thing in the work is what the most important problems of human existence the author puts and decides. For example, the struggle of good and evil, the formation of a person, the loneliness of man and so indefinitely. And this will also be the topic.
Other answers are possible. For example, we can say that the most important thing in the work is language. It is the language, words and are the most important topic of the work. This thesis usually causes greater difficulties for students. After all, it is extremely rare or another work written directly about words. It happens, of course, it is enough, to remember, for example, the well-known poem in Prose I. S. Turgenev "Russian language" or - with completely other accents - the poem V. Klebnikov "Transverse", which is based on a clear language game, When the string is read equally left to right and right left:
Horses, Topot, Ink,
But not speech, and he is black.
We go, young, by a share of copper.
Chin name is sword.
Hunger than a sword's sword?
In this case, the language component of the theme clearly dominates, and if you ask the reader, what is the poem, I will hear a completely natural answer that the main thing here is the language game.
However, when we say that the language is the topic, there is something much more complicated than just the above examples. The main difficulty is that the phrase said in other things changes and that "a piece of life", which she expresses. In any case, in the consciousness of the speaker and listening. Therefore, if we take these "rules of expression", then automatically change the fact that we want to express. To understand what is being discussed, it is enough to remember the joke known among philologists: what is the difference in the phrases "Young Virgo trembles" and "Young girl trembling"? You can answer that they are distinguished by the expression style, and this is true. But for our part, we will raise a question differently: these phrases about the same or "Young Virgo" and "Young Girl" live in different worlds? Agree, intuition will tell me that in different. These are different people, they have different faces, they speak differently, they have a different circle of communication. All this difference suggested only the language.
More recently, these differences can be felt if you compare, for example, the world of "adult" poetry with the world of poetry for children. In children's poetry, they do not "live" horses and dogs, horses and dogs live there, there are no sun and rains there, there is a sun and rains. In this world, there are completely different relationships between the heroes, there everything always ends well. And it is absolutely impossible to portray this world of adults. Therefore, we cannot bear the topic of children's poetry for parentheses.
Actually, the various positions of scientists, in different ways understanding the term "theme", are related to this multi-term. Researchers highlights as a defining one, then another factor. It was reflected in the teaching aids, which creates an unnecessary confusion. Thus, in the most popular textbook on the literary criticism of the Soviet period - in the textbook G. L. Abramovich is understood as almost exclusively as a problem. This approach, of course, vulnerable. There is a huge number of works where the basis is not at all problems. Therefore, the thesis of G. L. Abramovich is fairly criticized.
On the other hand, it is hardly correct and breed the topic and problem, limiting the topic of the topic exclusively "circle of vital phenomena." Such an approach was also characteristic of the Soviet literature in the middle of the twentieth century, but today it is an explicit anachronism, although the extensions of this tradition are sometimes tangible in Central and Higher School.
A modern philologist should clearly realize that any infringement of the concept of "theme" makes this term non-functional for analyzing a huge number of works of art. Let's say if we understand the topic solely as a circle of life phenomena, as a fragment of reality, then the term retains meaning when analyzing realistic works (for example, L. N. Tolstoy Romanov), but it becomes completely unsuitable for analyzing the references of modernism, where the usual reality is deliberately distorted, And it will dissolve in the language game at all (remember the poem V. Klebnikov).
Therefore, if we want to understand the universal meaning of the term "theme", the conversation about it should be carried out in a different plane. It is not by chance in recent years, the term "theme" is increasingly interpreted in line with structuralist traditions, when the artwork is considered as a holistic structure. Then the "topic" becomes the support links of this structure. For example, the topic of blizzard in the work of the block, the topic of crime and punishment from Dostoevsky, etc. The importance of the term "the topic" largely coincides with the value of another reference term of literary criticism - "Motive".
The theory of the motive, developed in the nineteenth century by an outstanding philologist A. N. Veselovsky, had a huge impact on the subsequent development of science on literature. In more detail on this theory, we will focus in the next chapter, now we note only that the motives are the most important elements of the whole artistic design, its "carrier supports". And just like the supporting supports of the building can be made of different materials (concrete, metal, wood, etc.), the support of text supports can also be different. In some cases, these are life facts (without them is fundamentally impossible, for example, no documentary), in others - problems, in the third - author's experiences, in the fourth - language, etc. In real text, as in real construction, possible And most often there are combinations of different materials.
Such an understanding of the topic as verbal and subject supports of the work removes many misunderstandings associated with the meaning of the term. This point of view was very popular in Russian science of the first third of the twentieth century, then she was sharply criticized, which carried more ideological than philological character. In recent years, such an understanding of the topic is again finding an increasing number of supporters.
So, the topic can be correctly understood if you return to the literal value of this word: what is laid in the base. The topic is a peculiar support of the entire text (event, problematic, language, etc.). At the same time, it is important to understand that different components of the concept of "theme" are not isolated from each other, they are unified system. Roughly speaking, the work of literature cannot be "disassembled" to life material, problems and language. This is possible only for training purposes or as auxiliary reception. Just as in the living organism, the skeleton, muscles and organs form unity, in the works of literature different components of the concept "theme" are also one. In this sense, B. V. Tomashevsky was completely right, when he wrote that "Theme<...> It is the unity of the values \u200b\u200bof individual elements of the work. " In reality, this means that when we say, for example, about the topic of human loneliness in the "Hero of our time" M. Yu. Lermontov, we already have in mind the event series, and the problem, and the construction of the work, and the linguistic features of the novel.
If you try to somehow streamline and systematize all the almost infinite thematic wealth of world literature, then several thematic levels can be distinguished.
See: Abramovich G. L. Introduction to literary criticism. M., 1970. P. 122-124.
See, For example: Revyakin A.I. Problems of studying and teaching literature. M., 1972. S. 101-102; Fedotov O. I. Basics of the theory of literature: at 2 pp. 1. M., 2003. P. 42-43; Without a straight reference to the name Abramovich, a similar approach criticizes and V. E. Khalizhev, see: Khalizhev V. E. Theory of literature. M., 1999. P. 41.
See: Schepilova L. V. Introduction to literary studies. M., 1956. P. 66-67.
This tendency manifested itself from researchers, directly or indirectly related to the traditions of formalism and - later - structuralism (V. Shklovsky, R. Jacobson, B. Eikenbaum, A. Evlakhov, V. Fisher, etc.).
For details, see, for example: Revyakin A.I. Problems of studying and teaching literature. M., 1972 .. P. 108-113.
Tomashevsky B.V. Theory of literature. Poetics. M., 2002. P. 176.
Themed levels
First, these are those topics that affect the fundamental problems of human existence. This, for example, the theme of life and death, the struggle with the elements, man and God, etc. Such topics are customary called ontological(from Greek. ONTOS-ESTING + LOGOS-IMAGE). Ontological issues dominates, for example, in most works of F. M. Dostoevsky. In any particular event, the writer strives to see the "default eternal", the projection of the most important issues of human being. Any artist, which makes and decisive such problems, turns out to be the most powerful traditions that influence the decision of the topic anyway. Try, for example, to portray a feat of a person who has lived for other people, ironic or vulgar style, and you will feel how the text begins to resist, the topic will begin to require another language.
The next level can be formulated in the most general form: "Man in certain circumstances". This level is more concreteen, ontological problems can not be addressed. For example, production topics or private family conflict may be completely self-sufficient in terms of theme and not claim to solve the "eternal" issues of human existence. On the other hand, through this thematic level may well "shine" ontological foundation. It is enough to remember, for example, the famous Roman L. N. Tolstoy "Anna Karenina", where the family drama is comprehended in the system of eternal values \u200b\u200bof man.
Next can be highlighted item. In this case, ontological problems can be dismissed to the background or not to actualize, but the language component of the topic is clearly manifested. The dominance of this level can easily feel, for example, in a literary still life or in humorous verses. That is how usually poetry has been built for children, charming in its simplicity and visibility. It is pointless to look in verses of Agnia Barto or the root of Chukovsky ontological depths, often the charm of the work is explained by the liveliness and visibility of the thematic sketch. Recall, for example, known to all since childhood, the cycle of poems Agnia Barto "Toys":
A bunny threw the mistress -
Under the rain there was a bunny.
I could not get a clutch from the bench
All before turning the wet.
The said, of course, does not indicate that the objective-planning level is always self-sufficient that there are no deeper themed formations behind him. Moreover, the art of the new time is generally to ensure that the ontological level "shifted" through the subject-challenge. It is enough to remember the famous Roman M. Bulgakov "Master and Margarita" to understand what we are talking about. Let's say, the famous Ball of Voland, on the one hand, is interesting exactly to his painting, on the other - almost every scene affects the eternal problems of a person: it is love, and mercy, and a human mission ETC. If we compare the images of Yeshua and hippopotamus, it is easy to feel that in the first case the ontological themed level dominates, in the second - the subject-challenge. That is, even inside one work you can feel different thematic dominants. So, in the famous novel M. Sholokhov "Raised virgin" one of the most bright images - The image of Sucker's grandfather is mainly associated with an informative thematic level, while the novel as a whole has a much more complex thematic structure.
Thus, the concept of "theme" can be considered from different sides and have different shades of value.
Thematic analysis allows the philologist, among other things, to see some patterns of development of the literary process. The fact is that each era actualizes its range of topics, the "resurrect" one and as if not noticing others. At one time, V. Shklovsky noticed: "Each era has its own index, its list of prohibited for the obsoleteness of those". Although the Shklovsky first meant the linguistic and structural "supports" of topics, not too updateing the life realities, his remark is very angry. Indeed, the philologist is important and interesting to understand why in one or another historical situation, those or other topics and thematic levels are relevant. "Thematic index" of classicism is not the fact that in romanticism; Russian futurism (breadmen, twisted, etc.) updated completely different thematic levels than symbolism (block, white, etc.). Understanding the reasons for such a change of indexes, the philologist can say a lot about the peculiarities of one or another stage of the development of literature.
Shklovsky V. B. On the theory of prose. M., 1929. P. 236.
External and inner theme. Intermediary Marks System
The next step in the development of the concept "theme" for a beginner philologist is the distinction of the so-called "External"and "Internal"threads of work. This division is conditionally and accepted only for the convenience of analysis. Of course, in real work there is no "separately external" and "separate internal" theme. But in the practice of analysis, this separation is very useful, as it allows you to make the analysis concrete and evidence.
Under "External" topicusually understand the case of thematic supports, directly represented in the text. This is the life material and the associated plot level, the author's commentary, in some cases - title. In modern literature, the title is not always associated with an external level of the topic, but, let's say, in the XVII - XVIII centuries. Tradition was different. There in the title was often made a summary of the plot. In some cases, such "transparency" title causes a smile from the modern reader. Say, the famous English writer D. Defo, the creator of the "life and amazing adventures of Robinson Cruzo", in the following his works used where as the most extensive title. The third volume of "Robinson Cruzo" is called this: "Serious reflections of Robinson Cruise throughout his life and amazing adventures; With the addition of his visions of the Angelic World. " And the full name of the novel "the joy and sorrow of the famous mole of Flenders" and takes almost half of the page at all, as actually lists all the adventures of the heroine.
In lyrical works, in which the plot plays a much smaller role, and often absent at all, the "direct" expressions of copyright and feelings devoid of metaphorical veils can be attributed to the field of external topics. Let us recall, for example, the Krestomatyo-known lines of F. I. Tyutchev:
I do not understand Russia with mind
Arched is generally not measured.
It has a special one.
You can only believe in Russia.
There is no discrepancy between about whatsays and so whatthe saying is not felt. Compare the block:
I do not know how to regret
And the cross is carefully carried.
What do you want a sorcerer
Give the robbery.
These words can not be perceived as a direct declaration, the gap arises between about whatsays and so whatsaid.
To the external level of the topic in the lyrics correctly attributed and the so-called "Thematic Image". The researcher who suggested this term, V. E. Horspotnikov, commented on his quotation from V. Mayakovsky - "Feelable thought." It is in mind that a subject or situation in lyrics serve as a support for the development of author's emotions and thought. Recall the housingly well-known poem M. Yu. Lermontov "Sail", and we will easily understand what we are talking about. At the "external" level, this is a poem of the sail, however the sail here is the thematic image that allows the author to show the depth of human loneliness and the eternal throwing of a restless soul.
Let's summarize the result. The outer theme is the most noticeable, directly represented in the text themed level.With a known proportion of convention, it can be said that the external theme includes that about whatthe text says.
Other thing - internalsubject. This is a much less obvious thematic level. In order to understand internalthe topic, you should always be abstract from directly said, catch and explain the internal connection of the elements. In some cases, this is not so difficult to do, especially if the habit of similar transcoding has been developed. Let's say, for external topic Basni I. A. Krylova "Voron and Lisitsa" we would have felt the inner theme - the dangerous weakness of a person in relation to the bowl in their address, even if the text of Krylov did not begin with open morality:
How many times did the world told
That flattery is harmful; But only everything is not
And in the heart of the smoke always deducts the corner.
The bass is generally such a genre in which the external and internal thematic levels are most often transparent, and morality connecting these two levels, and alleviates the task of interpretation.
But in most cases, everything is not so simple. The inner theme loses its obviousness, and the correct interpretation requires special knowledge, and intellectual efforts. For example, if we think about the lines of the Lermontov poem "in the north of the wilderness is lonely ...", I will easily feel that the inner theme is no longer amenable to the unambiguous interpretation:
In the north, the wilder is lonely
On bare top of pine
And sleeping, swinging and snowy bulk
Dressed as risa, she.
And it dreams everything in the desert is distant,
In that region, where the sun is sunrise,
One and sad on the rock stainch
Beautiful palm tree grows.
We will see the deployment of the thematic image without difficulty, but what is hidden in the depths of the text? Simply put, what are you talking about, what problems do the author worry? Different readers may have different associations, sometimes very far away from what is really in the text. But if we know that this is a poem - free translation of the poem of Gaine, and compare Lermontov text with other transfer options, for example, with a poem A. A. Feta, then we will get much more significant reasons for the answer. Compare Feta:
In the north oak lonely
Standing on the hillock steep;
He sleeps harshly covered
And snowy and leaned carpet.
In a dream he sees Palma,
In a distant eastern country
In silent, deep sadness,
One, on a hot rock.
Both poems were written in 1841, but what a difference between them! In the poem of Feta - "He" and "She", growing about each other. Stressing this, Fet translates "Pine" "oak" - in the name of preserving the love topics. The fact is that in the German language "Pine" (more precisely, larch) is the word of male genus, and the language itself dictates the reading of the poem in this vein. However, Lermontov not only "crosses" a love topics, but in the second edition in every way the feeling of endless loneliness is in every way. Instead of "cold and bare vertices", "North Wild" appears, instead of the "distant Eastern Eastern Earth" (cf. Feta), Lermontov writes: "In the desert is distant," instead of the "hot rock" - "Rock fuel". To summarize all these observations, it can be concluded that the inner theme of this poem is not long-term people who loving each other, like Heine and Feta, not even a dream about another beautiful life - Lermontov dominates the topic of "tragic overwhelm of loneliness with common The relatives of fate ", as this poem commented on the poem R. Yu. Danilevsky.
In other cases, the situation may be even more complex. Let's say, the story I. A. Bunin "Mr. from San Francisco" is usually interpreted by an inexperienced reader as the story of a ridiculous death of a rich American, whom no one sorry. But the simple question is: "And what was the bad thing made by this Mr. Capri Isle and why only after his death, as Bunin writes," on the island revealed the world and peace again ""? - puts students in a dead end. There is a lack of an analysis skill, the inability to "associate" various fragments of the text into a single one-piece picture. At the same time, the name of the ship is overlooked - "Atlantis", the image of the devil, the nuances of the plot, etc. If you associate all these fragments together, it turns out that the inner theme will tell the eternal struggle of two worlds - life and death. Mr. San Francisco is terrible to their presence in the world of living, he is foreign and dangerous. That is why the living world calms down only when he disappears; Then the sun comes out and illuminates the "unsubstantial arrays of Italy, her close and distant mountains, whose beauty is powerless to express the human word."
It is even more difficult to talk about the inner theme in relation to the works of a large volume that raise a whole complex of problems. For example, to detect these internal thematic springs in the Roman L. N. Tolstoy "War and Peace" or in the novel M. A. Sholokhov "Silent Don" is capable of only a qualified philologist with sufficient knowledge and ability to abstract from specific plot peripetias. Therefore, it is better to learn independent thematic analysis on the works of relatively small volume - there, as a rule, it is easier to feel the logic of the relationships of thematic elements.
So, we conclude: inner theme- This is a complex complex consisting of issues, internal connections of scene and linguistic components. Properly understood inner theme allows you to feel the inconsection and deep connections of the most heterogeneous elements.
As already mentioned, the division of thematic unity on the external and internal levels is very conditional, because in the real text they are merged. It is rather an analysis tool than the actual structure of the text as such. However, this does not mean that such a technique is any violence over the living organic matter literary work. Any technology of knowledge is based on some assumptions and conventions, but it helps to understand the subject studied deeper. Let's say the X-ray picture is also a very conditional copy of the human body, but this technique will allow to see what is almost impossible to see the naked eye.
In recent years, after the emergence of a well-known survey among specialists, A. K. Zholkovsky and Yu. K. Shcheglov, the opposition of external and internal thematic levels received another meaning nuance. The researchers proposed to distinguish the so-called "declared" and "elusive" topics. The "elusive" topics are affected in the work most often independently of the author's plan. Such, for example, the mythopoietic foundations of Russian classical literature: the struggle of space and chaos, the motives of initiation, etc. In fact, we are talking about the most abstract, reference levels of the inner theme.
In addition, the same study raises the question of intracreterarytopics. In these cases, thematic supports do not go beyond the literary tradition. The easiest example is a parody whose theme is, as a rule, another literary work.
Thematic analysis implies the understanding of various elements of the text in their relations in the external and internal levels of the topic. In other words, the philologist must understand why the appearance is an expression that is whatinternal. Why, reading poems about pine and palm, we sympathize human alone? So, there are some elements in the text that ensure the "translation" of the external plan in the internal one. These elements can be called intermediaries. If we are able to understand and explain these intermediary signs, the conversation about thematic levels will become subject and interesting.
In the strict sense of the word intermediaryis the whole text. In fact, such a response is impeccable, but it is hardly correct, because for an inexperienced philologist phrase "everything in the text" is almost equal to "nothing." Therefore, it makes sense to specify this thesis. So, on what elements of the text you can first pay attention, conducting thematic analysis?
FirstlyIt is always worth remembering that no text exists in airless space. It is always surrounded by other texts, it is always addressed to a specific reader, and so on. Therefore, often the "mediator" can be not only in the text itself, but also beyond. We give a simple example. There is a famous French poet Pierre Jean Berance, a funny song, which is called a "noble buddy." It is a monologue of commoner, whose wife is clearly not indifferent to a rich and noble graph. As a result, some grace falls in the hero. How does the hero perceive the situation:
Last, for example, in winter
Appointed Minister Ball:
The graph comes for his wife, -
Like a husband, and I got there.
There, I have a hand with all squeezing,
Called his friend her! ..
What happiness! What an honor is!
After all, I am a worm in comparison with him!
In comparison with him
With face like -
With his shiny himself!
It is easy to feel that behind the external theme - an enthusiastic story of a small person about his "benefactor" - is hiding completely different. All Beranta poem is a protest against slave psychology. But why do we understand this way, because in the text itself - not a word of condemnation? The fact of the matter is that in this case, as an intermediary there is some norm of human behavior that turns out to be disturbed. The elements of the text (style, plot fragments, the ocual self-consumption of the hero, etc.) expose this unacceptable retreat from the idea of \u200b\u200ba worthy person who has a reader. Therefore, all elements of the text change polarity: the fact that the hero considers a plus is minus.
Secondly, as an intermediary can protrude. This happens not always, but in many cases the title turns out to be involved in all levels of the topic. Recall, for example, the "dead souls" of Gogol, where the appearance (buying chikchiki dead shower) and the inner theme (the theme of spiritual dying) is connected by the title.
In some cases, misunderstanding of the title connection with the inner theme leads to curiosities of reading. For example, a modern reader quite often perceives the meaning of the title of Roman L. N. Tolstoy "War and Peace" as "Military and Peace Time", seeing the reception of antithesis. However, in the manuscript of Tolstoy, there is no "war and peace", but "War and Mir". In the XIH century, these words were perceived as different. "Peace" - "The absence of a quarrel, hostility, disagreement, war" (according to Dalya's dictionary), "Mir" - "The substance in the universe and the strength in time // All people, all the world, human genus" (by Gal). Therefore, Tolstoy meant not an antithesis of the war, but something completely different: "War and the genus", "war and the movement of time", and the like. All this is directly related to the problem of the masterpiece of Tolstoy.
ThirdlyA fundamentally important mediator is an epigraph. The epigraph is usually selected very carefully, often the author refuses the initial epigraph in favor of the other, or at all the epigraph appears not from the first edition. For philologist, it is always "information to think." For example, we know that L. N. Tolstoy initially wanted to prevent his novel "Anna Karenina" quite a "transparent" epigraph, condemning married treason. But then he refused this design by choosing an epigraph with a much more voluminous and complicated sense: "I will remove and az weaver." This nuance is already enough to understand that the problem of the novel is much wider and deeper than the family drama. The sin of Anna Karenina is just one of the signs of the tremendous "wrongness" in which people live. This change of accents actually changed the original intention of the whole novel, including the image of the main heroine. In the first embodiments, we meet with a woman repulsive appearance, in the final version it is a beautiful, intelligent, sinful and suffering woman. The change of epigraphs was a reflection of the revision of the entire thematic structure.
If we remember the comedy N. V. Gogol "Auditor", then to smile her epigraph: "Necha on the mirror of the mirror, Kohr Kriva. It seems that this epigraph always existed and is genre remarkomedia. But in the first edition of the "auditor" there was no epigraph, Gogol introduces it later, surprised by the wrong interpretation of the play. The fact is that the comedy of Gogol was originally perceived as a parody of someofficials, on somevices. But the future author of the "dead souls" meant the other: he put a terrible diagnosis of Russian spirituality. And such a "private" reading it completely did not satisfy, from here and a kind of polemical epigraph, strangely echoing with the famous words of Governing: "Over whom you laugh! Laughing! " If you carefully read the comedy, you can see how at all levels of the text Gogol emphasizes this idea universalcheerfulness, but not at all of some officials. And the story with the epigraph that appeared is very significant.
FourthIt is always necessary to pay attention to the names of your own: names and nicknames of heroes, place of action, object names. Sometimes the thematic tip is obvious. For example, Essay N. S. Ledkova "Lady Macbeth Mtsensky County" already in the title itself contains a hint of such a close heart of the writer the topic of Shakespearean passions raging in the hearts seemingly ordinary people Russian depths. "Talking" names here will be not only "Lady Macbeth", but also "Mtsensky County." "Direct" thematic projections have many names of heroes in classicism dramas. We feel this tradition well in Comedy A. S. Griboedov "Mount from Wit".
In other cases, the name of the name of the hero with the inner theme is more associative, is less obvious. Let's say, Lermontov Pechistan is already surning to Onegin, emphasizing not only the similarity, but also the difference (Onega and Pechora - Northern Rivers, who have given the name to whole regions). This similarity-distinction immediately noted the insightful V. G. Belinsky.
It may be so that the name of the hero is not meaningful, but its absence. Remember the story mentioned by I. A. Bunin "Mr. from San Francisco." The story begins with a paradoxical phrase: "Mr. from San Francisco - his name in Naples, none of the Capri remember ..." From the point of view of reality, it is absolutely impossible: the scandalous death of Supermillioner would have retained his name for a long time. But Bunin has another logic. Not only Mr. San Francisco, none of the passengers of Atlantis never named after. At the same time, an epizodically appeared at the end of the story of the older-boat a name has. His name is Lorenzo. This, of course, is not by chance. After all, the name is given to man at birth, it is a kind of life sign. And the passengers of Atlantis (think about the ship's name - "non-existent earth") belong to another world, where the other way around and where the names should not be. Thus, the lack of a name can be quite indicative.
FifthIt is important to pay attention to the style drawing of the text, especially if we are talking about quite large and diverse works. Style Analysis is a self-sufficient subject of research, but now it's not about this. We are talking about the thematic analysis, for which it is more important than a scrupulous study of all the nuances, namely "change of timbres". It is enough to remember the novel M. A. Bulgakov "Master and Margarita" to understand what we are talking about. The life of the literary Moscow and the history of Pontia Pilate is written in a completely different way. In the first case, we feel the feather of a fechenist, in the second the author, immaculately accurate in psychological details. From irony and ridicule there is no trace.
Or another example. The story A. S. Pushkin "Blizzard" is the story of two heroine novels, Marya Gavrilovna. But the inner theme of this work is much deeper by the plot intrigue. If you carefully read the text, then we will feel that the point is not that Marya Gavrilovna "by chance" loved the person with whom "by chance" and mistakenly was married. The fact is that the first her love is completely different in the second. In the first case, we clearly feel a soft author's irony, the heroine is naive and romantic. Then the stylist figure is changing. We have an adult, an interesting woman, a very well distinguished "book" love from the present. And Pushkin very accurately holds the border, dividing these two worlds: "It was in 1812." If we compare all these facts, we will understand that Pushkin worried a not funny case, not the irony of fate, although it is also important. But the main thing for the mature Pushkin was the analysis of "growing", the fate of the romantic consciousness. Not accidental such accurate dating. 1812 - War with Napoleon - dispelled many romantic illusions. The private fate of the heroine turns out to be a sign for Russia as a whole. This is exactly the most important inner theme of the "blizzard".
At sixthWith thematic analysis, it is fundamentally important to pay attention to how different motives relate to each other. Recall, for example, the poem A. S. Pushkin "Anchar". Three fragments are clearly visible in this poem: two approximately equal in volume, one is much smaller. The first fragment is a description of the terrible tree of death; The second is a small plot, a story about how Vladyka sent a slave for poison to the right death. This story actually exhausted with the words "And poor slave died at the foot / invincible lord." But this poem does not end. Last storm:
And the prince of the poison drinks
His obedient arrows
And with them death sent
To neighbors in alien limits -
this is a new fragment. Inner theme - the verdict of tyranny - receives a new round of development here. Tyrant kills one to kill many. Like Anchar, he is doomed to carry death. Thematic fragments are not chosen by chance, the last structure confirms the legitimacy of the interface of two main thematic fragments. Analysis of options shows that the word carefully picked up the words on bordersfragments. They were not immediately found the words "but a person / sent to Anchar a powerful look." This is not by chance, since it is here - the thematic support of the text.
Among other things, the thematic analysis involves the study of the logic of the plot, the correlation of different elements of the text, and so on. In general, we will repeat, the whole text is the unity of the external and internal theme. We only drew attention to some components that an inexperienced philologist often does not actualize.
Analysis of the title of literary works See, for example. Q: Lamzina A. V. Zaglavia // Introduction to literary criticism "/ Ed. L. V. Chernets. M., 2000.
Highspots V. E. Analysis of the composition of lyrical poem // Analysis of one poem. L., 1985. P. 8-10.
Lermontov encyclopedia. M., 1981. P. 330.
Jolkovsky A. K., Scheglov Yu. K. To the concepts of "Theme" and "Poetic World" // Scientists of the Tartu State. un-ta. Vol. 365. Tartu, 1975.
See, For example: Timofeev L. I. Fundamentals of the theory of literature. M., 1963. P. 343-346.
The concept of the idea of \u200b\u200bartistic text
Another reference concept of literary studies is ideaartistic text. The delimitation of the topic of ideas is very conditional. For example, L. I. Timofeev preferred to talk about the ideological and thematic basis of the work, not too updating the differences. In the Tutorial O. I. Fedotov, the idea is understood as an expression of the author's trend, in fact we are talking about copyright to the heroes and to the world. "Art idea," the scientist writes, is subjective by definition. " In an authoritative literary manual, edited by L. V. Chernets, built according to the dictionary principle, the term "idea" and there was no place at all. This term is not updated and in bulk readstatology, compiled by N. D. Tamarchhenko. The attitude towards the term "art idea" in the western criticism of the second half of the twentieth century is even more wary. The tradition of a very authoritative school "New Criticism" (T. Eliot, K. Brooks, R. Warren, K. Brooks, R. Warren, etc.), whose representatives acted sharply against any idea analysis, considering it one of the most dangerous "heresies" of literary studies . They were even introduced the term "heresy of communication" (HERESY OF COMMUNICATION), which implies the search for any social or ethical ideas in the text.
Thus, the relationship to the term "idea", as we see, ambiguous. At the same time, attempts to "remove" this term from the lexicon of literary criticism seems not only incorrect, but also naive. The conversation about the idea implies interpretation figurative meaningworks, and the overwhelming part of literary masterpieces permeated with meanings. That is why works of art and continue to worry the viewer and reader. And no loud statements by part of scientists here will not change anything here.
Another thing is that one should not and absolutize the analysis of an artistic idea. Here there is always a danger of "breaking away" from the text, to lead the conversation in the channel of pure sociology or morality.
This was just sinned by the literary criticism of the Soviet period, from here there were gross mistakes in estimates of a artist, since the meaning of the work was constantly "curled" with the norms of Soviet ideology. From here and reproaches in the excitation, addressed to the outstanding figures of Russian culture (Akhmatova, Tsvetaeva, Shostakovich, etc.), from here and naive from a modern point of view Attempts to classify the types of artistic ideas ("Idea - Question", "Idea - Answer", "False Idea ", etc.). This is reflected in the teaching aids. In particular, L. I. Timofeev, although he speaks about the convention of the classification, still specifically distinguishes even the "idea - a mistake", which is completely unacceptable in terms of literary ethics. The idea, repeat, is the figurative meaning of the work, and as such it cannot be "correct" or "erroneous". Another thing is that this may not arrange the interpreter, but the personal assessment cannot be transferred to the meaning of the work. The story teaches us that the estimates of the interpreters are very mobile: if, say, it is estimated to be estimated that many first critics "Hero of our time" M. Yu. Lermontova (S. A. Buracchka, S. P. Shevyrev, N. A. Field and others. ), then their interpretations of the ideas of the Lermontov masterpiece will seem to mildly, strange. However, now only a narrow circle of specialists remembers such estimates, while the meaning depth of Roman Lermontov does not cause doubt.
Something similar can be said about the famous novel L. N. Tolstoy "Anna Karenina", from which many critics hurried to disengage from both "ideologically alien" or not enough deep. Today it is obvious that there were not enough critics in deeply, and with the novel of Tolstoy everything is in order.
Such examples can be continued and continued. Analyzing this paradox of misunderstanding with contemporaries of the semantic depth of many masterpieces, the well-known literary critic L. Ya. Ginzburg dismissed that the meanings of the masterpiece correlate with the "contemporary of another scale", which the critic that did not endowed with ingenious thinking cannot accommodate. That is why the evaluation criteria of ideas are not only incorrect, but also dangerous.
However, all this, repeat, should not discredit the most concept of the idea of \u200b\u200bthe work and interest in this side of the literature.
It should be remembered that the artistic idea is the concept of very voluminous and can be spent in any case about several of its faces.
First, it is author's idea, that is, the meanings who more or less consciously assumed the author himself. Not always the idea is expressed by a writer or poet logicallyThe author embodies it otherwise - in the language of artwork. Moreover, often writers protest (I. Goethe, L. N. Tolstoy, O. Wilde, M. Tsvetaeva - only some names), when they are asked to formulate the idea of \u200b\u200bthe created work. This is understandable, because, we repeat the remark about O. Wilde, "the sculptor thinks marble," that is, he does not have a "torn" from the stone of ideas. Like this, the composer thinks the sounds, poet - verses, and so on.
This thesis is very popular with artists, and specialists, but at the same time there is an element of unconscious sunburn. The fact is that the artist is almost always somehow reflexive and about the design of the work, and about the already written text. The same I. Guete repeatedly commented on his "Faust", and L. N. Tolstoy and was inclined to "clarify" the meanings of their own works. It is enough to recall the second part of the epilogue and afterword to the "war and the world", afterword to the Crazecerne Sonate, etc. Also, there are diaries, letters, memories of contemporaries, drafts - that is, the literary critic is quite extensive material, directly or indirectly affecting The problem of the author's idea.
Confirm the author's idea with the analysis of the artistic text (with the exception of the comparison of options) - the task is much more complicated. The fact is that, firstly, in the text it is difficult to degrade the position of the real author from the image that is created in this work (according to modern terminology, it is often called implicit author). But even direct assessments of the real and implicit author may not coincide. Secondly, in general, the idea of \u200b\u200btext, as will be shown below, does not copy the author's idea - in the text "It is pronounced" something that the author could and do not keep in mind. Thirdly, the text is a complex formation that allows various interpretations. This volume of meaning is laid in the very nature of an artistic image (remember: an artistic image - a sign with an increed value, it is paradoxal and opposed to a clear understanding). Therefore, whenever it is necessary to keep in mind that the author, creating a certain image, could not invest at all the meanings that the interpreter saw.
This does not mean that it is impossible to talk about the author's idea with regard to the text itself or incorrectly. It all depends on the subtleties of the analysis and tact of the researcher. Convincing turns out to be parallels with other works of this author, a subtle-selected system of indirect evidence, determining the context system, etc. In addition, it is important to take into account what the facts of real life chooses the author to create his work. Often this choice of facts can become a weighty argument in a conversation about the author's idea. It is clear, for example, that from countless civil war facts, writers, sympathetic to red, will choose one, and sympathetic white is another. Here, however, it should be remembered that a major writer, as a rule, avoids one-dimensional and linear actual series, that is, the facts of life are not "illustration" of his ideas. For example, in the novel M. A. Sholokhov "Quiet Don" there are scenes that the writer sympathizer and the Communists seemed to be lowering. Let's say one of the favorite Sholokhov heroes communist of the subtilities in one of the scenes chopped off prisoners than shocking even the views of Grigoria Melekhov. At one time, critics strongly advised Sholokhov to remove this scene, so it did not fit into linelocut idea. Sholokhov, at one point, listened to these advice, but then, contrary to everything, again introduced it into the text of the novel, since volumethe author's idea without it would be flawed. The writer's talent resisted similar bills.
But in general, the analysis of the logic of facts is a very effective argument in a conversation about the author's idea.
The second face of the meaning of the term "art idea" - idea of \u200b\u200btext. This is one of the most mysterious categories of literary studies. The problem is that the idea of \u200b\u200btext almost never completely coincides with the author. In some cases, these coincidences are stripped. The famous "Marselyza", who became a hymn of France, wrote as a walking song of the regiment by an officer Ruhju de Lillem without any complaints about art depth. Neither before nor after his masterpiece Ruhu de Lill did not create anything like that.
Lion Tolstoy, creating "Anna Karenina," thought one thing, and turned out to be different.
This difference will be visible more visible if we imagine that some mediocre Graphoman will try to write a novel saturated with deep meanings. In the real text from the author's idea there will be no trace, the idea of \u200b\u200btext will be primitive and flat, no matter how the author of the opposite is.
This is a discrepancy, although with other signs, we see geniuses. Another thing is that in this case the idea of \u200b\u200bthe text will be incommensurable by the richer author. This is the mystery of talent. Many meanings, important for the author, will be lost, but the depth of the work does not suffer from this. Shakespires, for example, teach us that the brilliant playwright often wrote "on the evil of the day", his works are full of hints on the real political events of England XVI - XVII centuries. All this sense "TYNOPECA" was important for Shakespeare, it was even possible that these ideas provoked it to create some tragedies (most often in connection with this "Richard III" recall). However, all the nuances are known only to Shakespires, and even then with great reservations. But the idea of \u200b\u200btext does not suffer from this. In the semantic palette of the text there is always something that does not obey the author, which he did not mean and did not think.
That is why it is an incorrect point of view that we already spoke- what is the idea of \u200b\u200btext exclusivelysubjective, that is, always connected with the author.
In addition, the idea of \u200b\u200btext associated with the reader. She may feel and detect only perceiving consciousness. And life shows that readers often actualize different meanings, see different things in the same text. As they say, how many readers, so many hamets. It turns out, it is impossible to fully trust either the copyright plan (I wanted to say), nor the reader (that they felt and understood). Then, is there any sense to talk about the idea of \u200b\u200bthe text?
Many modern literary criteria (J. Derrida, Yu. Kristev, P. De Mann, J. Miller, etc.) insist on the mistakes of the thesis of any kind of sense unity of the text. In their opinion, the meanings will diskwear every time when a new reader is facing text. All this resembles a children's kaleidoscope with an infinite number of patterns: everyone will see their own, and it is meaningless to say which of the meanings is actuallyand what perception is more accurate.
Such an approach would be convincing if it were not for one "but". After all, if there is no objectivethe semantic depth of the text, then all the texts will be fundamentally equal: helpless rhythmoplet and a brilliant block, the naive text of the schoolgirl and the masterpiece of Akhmatova - all this is absolutely the same thing as they say, who likes what. The most consistent scientists of this direction (J. Derrida) are made to conclusion about the principal equality of all written texts.
In fact, it levels talent and crosses the entire world culture, because it is built by masters and geniuses. Therefore, this approach with seeming logicality is fraught with serious hazards.
Obviously, it is more correct to assume that the idea of \u200b\u200bthe text is not a fiction that it exists, but there is no time and forever frozen form, but in the form of a deadly matrix: the meanings are born whenever the reader faces the text, but this is not a kaleidoscope, here There are borders, their understanding vectors. The question of what is constant, and that variables in this process are still very far from its decision.
It is clear that the idea perceived by the reader is most often not identical to the author. In the strict sense, the words of complete coincidence never happens, we can only talk about the depth of the discrepancies. The history of literature knows many examples when reading even a qualified reader turns out to be a complete surprise for the author. It is enough to recall the violent reaction I. S. Turgenev on article N. A. Dobrolyubova "When will the real day come?" The critic saw in the novel Turgenev "On the eve" call for the liberation of Russia "from the inner enemy", while I. S. Turgenev conceived the novel about the friend. The case, as you know, ended the scandal and rupture of Turgenev with the editors of the "contemporary", where the article was printed. Note that N. A. Dobrolyubov estimated the novel very high, that is, we can not go about personal resentment. Turgenev outrageed the inadequacy of reading. In general, as studies of the last decades show, any artistic text contains not only the hidden copyright position, but also the hidden alleged reader (in literary terminology it is called implicit, or abstract, reader). This is a certain ideal reader under which the text is built. In the case of Turgenev and Dwarmube discrepancies between the implicit and real reader were colossal.
In connection with all the above, you can finally put a question about objective ideaworks. The legality of such a question was already justified when we talked about the idea of \u200b\u200bthe text. The problem is, whatconsider an objective idea. Apparently, we have no other exit, except to recognize the objective idea some conditioned vector magnitude that develops from the analysis of the author's idea and many perceived. Simply put, we need to know the author's plan, the history of interpretations, part of which is also our own, and on this basis find some of the most important intersection points that guarantee from arbitrariness.
Ibid. Pp. 135-136.
Fedotov O. I. Basics of the theory of literature. Part 1, M., 2003. P. 47.
Timofeev L. I. Decree. op. P. 139.
See: Ginzburg L. Ya. Literature in search of reality. L., 1987.
This thesis is particularly popular with representatives of the scientific school, called "Receive Aesthetics" (F. Vodichka, Ya. Makarzhovsky, R. Ingard, especially H. R. Yauss and V. Isor). These authors proceed from the fact that the final being of the literary work receives only in the reading consciousness, so you can not make the reader "for brackets" when analyzing the text. One of the supporting terms of recipe aesthetics - "Horizon of waiting" - Just designed to struduce these relationships.
Introduction to literary studies / ed. G. N. Pospelova. M., 1976. P. 7-117.
Volkov I. F. Theory of literature. M., 1995. P. 60-66.
Zhirmunsky V. M. Theory of literature. Poetics. Stylistics. L., 1977. P. 27, 30-31.
Jolkovsky A. K., Scheglov Yu. K. To the concepts of "Theme" and "Poetic World" // Scientists of the Tartu State. un-ta. Vol. 365. Tartu, 1975.
Lamzina A. V. Zaglavie // Introduction to literary criticism. Literary work / ed. L. V. Chernets. M., 2000.
Maslovsky V. I. Topic // Brief literary encyclopedia: at 9 tt. T. 7, M., 1972. P. 460-461.
Maslovsky V.I. Topic // Literary Encyclopedic Dictionary. M., 1987. P. 437.
Pospelov G. N. Art idea // Literary Encyclopedic Dictionary. M., 1987. P. 114.
Revyakin A. I. Problems of studying and teaching literature. M., 1972. P. 100-118.
Theoretical poetics: concepts and definitions. Reader for students of philological faculties / Author-compiler N. D. Tamarchhenko. M., 1999. (Topics 5, 15.)
Timofeev L. I. Fundamentals of the theory of literature. M., 1963. P. 135-141.
Tomashevsky B.V. Theory of literature. Poetics. M., 2002. P. 176-179.
Fedotov O. I. Basics of the theory of literature. M., 2003. P. 41-56.
Khalizhev V. E. Theory of literature. M., 1999. P. 40-53.
Artwork works - product art. creativity, in the K-ROM in sensitly material form, the spiritual and meaningative of his creator is embodied - the artist and K-ry meets certain criteria for aesthetic value; OSN. Keeper and source of information in the field of artistic culture. P. x. It may be a single and ensemble, deployed in space and developing in time, self-sufficient or demanding performing arts. In the cultural system, it functions due to its believable carrier: the printing text of the book, a picturesque canvas with its physico-chemical and geometric properties, cinematic tape; in the performing jews - the orchestra, the actor, etc. Actually P. X. Designed on the basis of the primary fine series: sounding or imaginary speech, combinations of forms and color planes in fine artmoving the image projected at the film and tele-screen, organized system of musical sounding, etc. Although, in contrast to the natural object, the creation of P. X. The purpose of a person is determined, it happens on the border with nature, since it is used natural materials (Art material), and in some kind of art of P. arises in the process of reconnecting and emphasising natural objects (garden-park) or in the ensemble with them (, memorial-monumental and garden-park). Being a product of specific creative activity, P. x. It borders at the same time with the world of utilitarian practical things (decorative and applied arts), documentary and scientific sources, etc. Monuments of culture, for example. "The historical novel is like a point in which history as science merges with art" (Belinsky). P. x. It borders, however, not only "with almost useful", but also "with unsuccessful attempts of art" (Tolstoy). It should satisfy at least minimal artistic requirements, i.e., stand on the step approaching perfection. Tolstoy divided P. x. In three kinds of P. Outstanding: 1) "By significance of its content", 2) "According to the beauty of the form", 3) "In sincereness and truthfulness". The coincidence of these three moments creates. Art. The advantages of P. Pros-Ba are determined by the gifting of their creator, originality and sincerity of the plan (in the artist of constantly updating cultures), the most complete embodiment of the canon capabilities, (in the artist of traditional cultures), a high degree of skill. The artisticness of P.Stov is manifested in the completeness of the implementation of the plan, crystallization of its aesthetic expressiveness, in the content of the form, adequately authorized artistic concept and individual nuances of the figurative thought (the concept of artistic), in integrity, K-paradium is expressed in proportionality that meets the principle of unity in the manifold or in focusing towards or unity, or manifold. The organic, apparent unintentionalness of the present P. x. Provered Kant and Goette to compare it with the product of nature, romantics - with a universal service, Hegel - with a man, elegant - with the word. Art. The integrity of P. Pros-Ba, its completion is not always adequate to the technical, quantitatively calculated side of the components, its external completeness. And then the sketch is in meaningfully-hu-no. The attitude is so accurate that it outweighs the expressive strength of detailed and externally large-scale P. x. (eg, at V. Serov, A. Scriabin, P. Picasso, A. Matisse). In the Soviet visual statement, there are and detailed, externally completed by P. and those in which the expressiveness of the fragment is found to the status of the art. integrity. However, in all cases, genuine P. x. There are certain organized, orderliness, interface to interstic ideas. In the process of developing this or that type, the artist, the function can also be acquired by technical means using K-ry P. x. Delivered is transmitted by perceiving statement in public (eg, in cinema). In addition to the materially fixed plan of P. x. It carries the encoded information of the ideological, ethical, socio-psychological order, K-paradium in its structure acquires the art. value. Despite the relative stability, the content of P. x. Updated under the influence of social development, changes in the art. tastes, directions and styles. Communications in the field of art. The content is not fixed with the unequivocal definality, as is the case in the scientific text, they are relatively movable, thereby P. x. It is not closed in the system once and forever these values \u200b\u200band meanings, but allowing different readings. P. X., Intended for execution, already in its textual structure implies the many-sidedness of art-semantic shades, the possibility of different arts. interpretation. This construction and creation in the process of cultural inheritance of the new art is being built. Integrity by creative borrowing from the treasury of the aesthetic discoveries of past epochs, transfiguration and existence of civilian pathos and the talent of new generations. Artists. The fruits of such creative borrowing are important, however, to distinguish from epigonian crafts, where only external features of one or another manner captured in P. X are most often reproduced. Dr. Masters, but lost emotional and figurative content of the original. Formal and poorly reproduction of plots and art. Takes gives rise to a new organic and creatively stoned art. Integrity, and an eclectic similarity of it. As a phenomenon of culture, P. x. It is usually considered aesthetic theory as part of a specific system: for example, in the complex, the art. Values \u200b\u200bof one or more species of claim, combined with typological community (genre, style,), or within the framework of the social and aesthetic process including three links: - P. Kh.-. Features of the psycho-physiological perception of P. X. The psychology of art is investigated, and its existence in the composition of the sociology of the claim.
Aesthetics: dictionary. - M.: Politicize. Under total. ed. A. A. Belyaev. 1989 .
Watch what is a "artistic work" in other dictionaries:
Work of fiction - WORK OF FICTION. To determine the artwork, it is necessary to figure it out in all the main signs. Let's try to do this, bearing in mind the work of our great writers, for example, "Brothers Karamazov" Dostoevsky ... Literary encyclopedia
Work of fiction - Product of artistic creativity: in which his creator of the artist is embodied in sensually material form; and which meets certain categories of aesthetic value. See also: Artwork Works ... ... Financial vocabulary
Piece of art - This term has other meanings, see the work ... Wikipedia
Work of fiction - WORK OF FICTION. To determine the artwork, it is necessary to figure it out in all the main signs. Let's try to do this, bearing in mind the work of our great writers, for example, the "Brothers Karamazov" ... ... Dictionary of literary terms
Artistic space - The space of the work of art, a combination of its properties that give him an internal unity and completion and give it the character of aesthetic. The concept of "H.P.", which plays a central role in modern aesthetics, was only ... Philosophical encyclopedia
Work of art in the era of its technical reproducibility - "The work of art in the era of its technical reproducibility" (Das Kunstwerk Im Zeitalter Seiner Technischenproduzierbarkeit) essay, writing in 1936, the author Walter Benjamin. In his work, Benjamin analyzes the transformation ... ... Wikipedia
Artistic knowledge - 1) the knowledge of the objective and subjective reality by a person (not an artist), which has a congenital ability to shaped the world's vision and perceiving the world in a "beautiful shell", as a subjectively expressively painted (an example of such ... ... Philosophical encyclopedia
work of fiction - ▲ Artwork in the form, literary work Action (# novel is where). plot course of events in literary work. Scene stroke. Intrigue (spinning #). | episode. Exode Remark. | retardation. Tie. Sevets. stained | ... ... The ideographic dictionary of the Russian language
Artistic time and artistic space - Artistic time and artistic space, essential characteristics The image of the artistic, providing the holistic perception of artistic reality and the organizing composition of the work. The art of the word belongs to the group ... ... Literary Encyclopedic Dictionary
Piece of art - Spiritually material reality that corresponds to artistically aesthetic criteria, which arose as a result of the creative efforts of the artist, sculptor, poet, composer, etc. And representing the value in the eyes of certain communities. ... ... Aesthetics. encyclopedic Dictionary
How to return the love of her husband to his wife - Tips of the psychologist
Why you can not give icons