Even at first glance it is clear that the artwork consists of some parties, elements, aspects, etc. In other words, it has a complex internal 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.

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* 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. It also should also be noted that the fact that the "level" approach is very poorly takes into account the fundamental differences of a number of components of the work: so it is clear that the artistic idea and artistic detail - the 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.

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* 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 an aesthetic effect on the reader, because 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. The dogmatic transfer of the correct overall position of the literary theory on the method of a specific study of works generates a dull pattern "*. We will add to this that, of course, it would be no better than the opposite template - always in mandatory to begin analysis from the form. It all depends on the specific situation and specific tasks.

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* 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 It has the neglect 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" of 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 "**.

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* 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 absolutely necessary as possible close attention To his shape, 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". W. this concept There are 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. Kozhinova "The content of 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 "*.

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* 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 On the concept of "inner form". This term actually assumes the presence of "between" the content and form of such elements of the artwork, which are "a form for elements of a higher level (the image as a form expressing ideological content) and content - in relation to the standing levels of the structure (image as a composite content 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 "**.

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* 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"?

Plan

1. Source literary and psychological provisions that determine the reading methodology in elementary classes.

2. Literary Fundamentals Analysis of Artwork

3. Psychological features of the perception of artwork with junior schoolchildren

4. Methodological patterns of working with artistic text in primary classes

Literature

1. Lviv M.R., Ramzaeva T.G., Svetlovskaya N.N. Methods of learning Russian language in elementary school. M.: Enlightenment, -1987. -C.106-112

2. Lviv M.R., Goretsky V.G., Sosnovskaya O.V. Methods of teaching Russian language in primary grades. M.: Publishing House "Academy", 2000 - 472c

3. Russian language in primary grades: theory and practice of learning. / Ms.Solovichik, P.S.Zhedk, N.N. Svetlovskaya et al. - M.: 1993. - 383c

4. Relovina L.N. Psychology of perception of the literary hero of schoolchildren. M., 1977. - p.48

1. Source literary and psychological provisions that determine the reading methodology in elementary classes.

In the methodological science of the 30-50s, a certain approach to the analysis of the artistic work in elementary school, which was based on the originality of the artistic work compared to the scientific and business article, was assumed by the preparation of work on the work, to work out the reading skill, analysis of the work in parts followed Generalization, systematic work on speech development. E.A. Aadamovich, N.P. Kanonkin, S.P. Hyodozubov, N.Rabornovsky, and others made a great contribution to the development of the methodology of explanatory reading.

In the 1960s, changes were made to the content and methods of class reading. This led to the improvement of the methodology for analyzing the artwork: there was more creative exercises, work on the work was carried out in general, and not over the individual small parts, were used diverse species Tasks in working with text. Methodists took part in the development of a class reading technique: V.G. Goretsky, K.T.Golenkina, L.A. Gorbushina, M.I.omorokova, etc.

In the 80s, reading programs for a three-year school were improved and programs for training in a four-year-old elementary school were created. The authors of the programs and books for reading: V.G. Goretsky, L.F. Climanova, etc., focusing on the implementation of educational, educational and educational functions of training, conducted the selection of works, taking into account their cognitive value, social and ideological-moral orientation, educational Significance, compliance with the age characteristics of younger students.

The modern method of reading a artistic work implies a mandatory analysis of text in the classroom under the guidance of the teacher. This principle of work, firstly, has historical roots, secondly, due to the features of fiction as a type of art, thirdly, is dictated by the psychology of the perception of artwork with younger students.

The previously existing method of explanatory reading demanded that the teacher setting issues to readable text. The questions were stating in nature and helped not so much a student to understand the work as a teacher make sure that the main facts of the work were learned by children. In the subsequent generalization, the educational potential of the work was revealed at the lesson.

In modern learning to read general principle Work with the work has been preserved, but the nature of the issues has changed significantly. Now the task of the teacher does not explain the facts of the work, but to teach the child to reflect on them. With this approach, the literary framework for analyzing the artwork becomes principled.

Maintenance methodical provisionsThe defining approach to the analysis of the artwork is reduced to the following:

Finding out the ideological and thematic basis of the work, its images, the storyline, compositions and visual means serves the general development of students as a person, and also ensures the development of students' speech;

The support on the life experience of students is the basis of a conscious perception of the content of the work and a prerequisite for its proper analysis;

Reading is considered as a means of enhancing the cognitive activity of students and expand their knowledge of the surrounding reality;

Text Analysis should wake thought, feelings, to initiate the need to speak, relate their life experience with those facts that the author presented.

The modern technique is based on theoretical provisions developed by such sciences such as literary criticism, psychology, pedagogy. For the right organization of reading and literature lessons, the teacher must take into account the specifics of the artistic work, the psychological foundations of the reading process at different stages of training, the peculiarities of the perception and learning of the text of schoolchildren, etc.

2. Literary Fundamentals Analysis of Artwork

In reading books, both artworks of various genres and popular science articles are presented. An objective content of any work is reality. In artistic work, life is presented in images. The figurative form of reflection is the essential difference between the artwork from scientific. Under way It is understood by the "generalized reflection of reality in the form of a single, individual" (L.I.Timofiev). Thus, for the figurative reflection of reality is characterized by two damn: Generalization and individuality.

In the center of the artistic work, there is most often a person in all the complexity of his relationship with society and nature.

In the literary work, along with objective content, there is a subjective assessment by the author of events, facts, human relations. This subjective assessment is transmitted through the image. The selection itself of life situations in which the acting person, his actions, relations with people and nature are carrying out the author's assessment. These provisions have theoretical and practical importance for the technique. First, when analyzing the artwork, the teacher is central to the disclosure of motives of behavior acting persons And the author's attitude to the depicted. Secondly, the correct reading of the text, the correct understanding of the motives of the acting persons, a reliable assessment of the facts described in the work and events are possible, subject to the historical approach to the shown in the work. This suggests the need for a brief study of students with time, which is reflected in the work and development of an appraisal approach to acts of existing individuals, taking into account temporary and social factors. Thirdly, it is advisable to acquaint children with the life of a writer, his views, since in the work the author seeks to convey its attitude to depicted facts, phenomena, specific ideas of certain layers of society. Assessment of the vital material writer is an idea of \u200b\u200ba artistic work. When analyzing the artistic work, it is important to teach schoolchildren to understand the ideological direction of the work necessary for the right perception of the work for the formation of ideological views of students, their civilian feelings.

For the right organization of work on the artistic work, it is necessary to proceed from the situation on the interaction of form and content. This interaction permeates all components of the work, including images, composition, plot, visual means. The content is manifested in the form, the form interacts with the content. One without another does not exist. Therefore, when analyzing the work, its specific content, images, artistic agents are considered in the complex.

All of the above allows you to make methodical conclusions:

1) Analyzing the artistic work in the field of view you need to keep images created by the author. In literature distinguished landscape Landscape, Product Image and Character;

2) In elementary school, when analyzing epic works, the reader's attention focuses on the character. The term image is not used, words are used. hero of work, acting person, character;

3) In elementary school, works of landscape lyrics are offered, i.e. Such in which the lyrical hero is concentrated on experiences caused by external paintings. Therefore, it is very important to bring the designated picturesque look-landscape to the child, to help him see those realities who made an impression on the poet. To do this, it is useful to carry out parallels between the arising imaginary representations (images) and the verbal fabric (dictionary) of the work;

5) when analyzing it is important to pay attention to form Works and teach to comprehend formal components.

3. Psychological features of the perception of artwork with junior schoolchildren

Literature is a special kind of art, since the act of perception of images facing in the center of the work is a complex process. The artist displays the world with the help of paints, composer - sounds, the architect uses spatial forms, and the writer, the poet - the word. Works of visual arts, music, architecture viewers, listeners are perceived directly by the senses, i.e. Perceive the material from which the work "Made". And the reader perceives graphic signs printed on paper, and only by incorporating mental brain mechanisms, these graphic signs are transformed into words. Due to the words and recreation imagination, images are built, and these images already cause the emotional reaction of the reader, give rise to empathy with the heroes and the author, and from here there is an understanding of the work and understanding of their attitude to the read.

Psychologists allocate several levels of understanding of text. First, the most superficial is an understanding of what is said about. Next ( second) The level is characterized by understanding "Not only what is said about, but also what is said in the statement" (I.A.zimna)

The perfect reading skill involves the full automation of the first steps of perception. The decoding of graphic signs does not cause difficulties from a qualified reader, all efforts he spends awareness figurative system Works, to recreate in the imagination of the works of the world, to clarify his ideas and their own attitude towards it. However, the youngest schoolboy does not yet own the skill of reading sufficiently, so for him the transformation of graphic signs in words, clarifying the meaning of words and their connections - quite labor-intensive operations that often overshadow all other actions, and reading, thus turns into a simple voicing, And does not become a common with the author of the work. The need to read the text independently often leads to the meaning of the work remains an unclear novice reader. That is why, according to M.R. Lvov, the primary reading of the work should be carried out by the teacher. It is important to carry out thorough vocabulary work: to explain, clarify the meaning of words, to ensure the preliminary reading of difficult words and phrases, emotionally prepare children to perceive the work. It should be remembered that at this stage the child is still listener, but not reader. Perceiving the work on the rumor, it faces voiced content and voiced form. Through the form presented by the teacher, focusing on the intonation, gestures, facial expressions, the child penetrates the content.

A qualified reader perceives the artwork at the same time with two points of view: firstlyas a special world, within which the events described occur; secondlyAs a reality, designed with special objectives and for special laws, which obeys the will of the author, corresponds to its plan. The harmonious combination of these two points of view in readership and makes an individual who knows how to voice graphic signs, reader.

Unqualified, untrained reader, respectively, can be two types:

1) The one who stands only on the "inner" point of view does not separate himself from the text, perceives written, based only on its everyday experience. Such readers are called " naive realista" They perceive the artistic world of the work as real reality and are experiencing not aesthetic when reading, but everyday emotions. A long stay in the "Naive Realist" stage prevents the reader to enjoy the harmonious unity of the shape and content of the artistic work, it deprives pleasure to adequately understand the author's idea, as well as relate its subjective reading experiences with the objective interpretation of the work in literary science;

2) The one who stands only on the "external" point of view and perceives the world of work as fiction, artificial design, deprived of life truth. Such individuals do not correlate their personal attitudes with copyright values, do not know how to understand the position of the author, so emotionally do not respond and the aesthetically react to the work.

Junior Schoolboy - "Naive realist" At this age, he does not recognize the special laws of building artistic text and does not notice the form of the work. His thinking still remains operational. The child does not breed the subject, a word denoting this subject, and the action that is performed with this subject, so in the mind of the child, the form is not separated from the content, but merges with it. Often the complex form becomes an obstacle to the understanding of the content. Therefore, one of the tasks of the teacher is the training of children of the "external" point of view, i.e. the ability to understand the structure of the work and assimilate the patterns of building the artistic world.

For the correct organization of the analysis of the work, it is necessary to take into account the peculiarities of the perception of the artistic work by children of younger school age. In research O.I.Nikhformova, L.N.Rorina et al. Studied psychological peculiarities Perceptions and evaluation by the younger students of literary heroes. Two types of relationships to literary heroes were established:

Emotional, which consists on the basis of a specific operating with shaped generalizations;

Intellectual-estimated, in which students use moral concepts at the level of elemental analysis. These two types of relationships are depending on the characteristics of the analysis and generalization by children of their everyday and reader experience.

According to O.I.Nikformova, younger students in analyzing their own life experience are on two levels: a) emotional-shaped generalization, b) elementary analysis. When evaluating the acting persons, the work of students will operate with such moral concepts that were in their personal experience. Most often they call such moral qualities as courage, honesty, diligence, kindness. Significant difficulties are tested by the characteristics of heroes because they do not own the corresponding terminology. The task of the teacher is that, when analyzing the work, to enter into speech the words that are characterized by moral, intellectual, emotional qualities of the actors.

It is known that an understanding of the reader of the actors of the work occurs on the basis of awareness of the motives of their behavior, so targeted work with students over the motives of the hero behavior is necessary.

Special studies have established the dependence of the awareness of the younger students of the qualities of the acting persons from the methods (conditions) of the manifestation of these qualities. In particular, L.N.Rezhina notes that students least have difficulties when the author describes the act (quality manifests itself in a act). The most difficult to understand the children who are manifested in the experiences and thoughts of actors. Such a fact: "If the qualities are not named by the author, but the works of the work, then they are more often allocated by children, but under one condition - if, following the indication, it is described, what it manifested itself, and if the Heroes appear in the statements These qualities "(RO ZHIN L.N.). In order to properly organize the process of analyzing the artwork, the teacher should know what conditions the work affect the perception of the work and, in particular, its acting persons.

Thus, the age dynamics of understanding the artistic work in general and acting persons in particular may be represented as a path from empathizing a particular hero, sympathizing with him to understand the author's position and further to the generalized perception of the artistic world and the realization of his relationship to him, to understanding the impact of the work on Your personalities. However, to go through this way with younger schoolchildren only with the help of an adult, teacher. Concerning teacher's tasksit is possible to determine as a necessity: 1) To clarify and consolidate their primary reader's impressions. 2) help clarify and realize the subjective perception of the work, comparing it with objective logic and structure of the work.

At the same time, the teacher should be remembered that the levels of reader's maturity of students of grades 1-11 and 111-1h classes differ significantly.

Pupils1-11 classes cannot independently, without the help of an adult to realize the ideological content of the work; Children of this age cannot, as described, to recreate the image of a previously unknown subject, and perceive it only at the emotional level: "scary", "funny"; The reader of 6-8 years old is not aware that in the artistic work it is not realistic reality, but the attitude of the author to real reality, so they do not feel the copyright position, which means that the form of the work is not observed. The reader of this level of preparation cannot assess the compliance of the content and form.

Students 111-1U classes have already acquired some reader experience, their life baggage has become more significant, and some literary and everyday material has already been accumulated, which can be consciously generalized. At this age, the child, on the one hand, begins to sense himself with a separate person, on the other, breaks up with children's egocentrism. It is open to communicate, ready to "hear" the interlocutor, sympathize with him. As the reader, he exists at a higher level:

Able to independently understand the idea of \u200b\u200bthe work, if the composition is not complicated, and the product of a similar structure was previously discussed;

The imagination is sufficiently developed in order to recreate the object not previously visible, if the mastered language means are used to describe it;

Without extraneous assistance, the formal signs of the work may understand, if there were already similar image-expressive techniques in their reader activities;

Thus, he may experience the pleasure of perception of the form, notice and evaluate cases of compliance of content and form.

At this age, a new trend appears in readers: the child is not satisfied only by the sensual, emotional reaction to the read, he seeks to logically explain the readable; Everything that is read should be necessarily clear to him. However, this trend along with a positive side has a negative: everything that is incomprehensible is simply not read in the text. The untrained reader is difficult to make efforts to disclose the "Code of Work", and gradually for this reason the reader emotional deaf is developing, when the word does not occur, submission or mood. It becomes uninteresting and boring, readership will fade, the person matures, but does not become the reader.

4. Methodological patterns of working with artistic text in primary classes

Methodical conclusions Of all the things you may have such:

When analyzing the work you need to breed an understanding of about what Work I. as This is stated in the work, thus helping to realize the form of the work;

Language tools must be dealt with, due to which the images are created;

When analyzing the work, the attention of children should be attracted to the structure of the work;

It is necessary to intensify in the speech of children's words denoting emotional and moral qualities;

When analyzing the work, these methodological science should also be taken into account. In particular, the teacher should keep in mind the doctrine of the type of proper readers, the dictator of the need to think about the work before reading, during reading and after reading, as well as not to forget about the principle of productive agencies, which involves the appeal to reread the fragments of the text, important to clarify the idea of \u200b\u200bthe work.

Task for independent work

1. What do you think, which of the three types of relations to the literature, named below, is inherent in primary school students? What is the relationship to literature more productive for the development of the reader's personality?

1. Denere the literature with the most reality, i.e., a specific, unnecessary attitude to the facts described in the work.

2. Understanding the literature as fiction, in no way connected with real life.

3. The attitude to the literature as a generalized image of reality (classification is borrowed from the book of O.Informova).

11. Is it necessary for a full perception and understanding of the fiction imagination? What for? (see Marshak S.Ya. about the talented reader // Sovar. Operation: in 8t. - M., 1972 - p.87)

111. Based on read, characterize the following, higher level of artistic perception - "thinking" perception. How can the teacher organize such reading so that communication with the literature included and "immediate" and "thinking" perception so that it becomes read-reflection, reading-opening?

The key to the task for independent work

1. Junior schoolchildren Inherent, the first type of attitude to literature is a naive-realistic perception.

Naive realism is characterized by the misunderstanding of the fact that the work of art of someone for something is created, insufficient attention to the artistic form of the work.

Naive realists perceive only the event, the plot canvas of the work, without catching the meaning, for which the literary creation was created. Under the influence of the read job, such readers appears a desire to reproduce in the game or in the life circumstances of the actions of the heroes likers, and avoid repetition of negative characters. The impact of literature on such readers is primitive due to the imperfection of their perception.

The task of the teacher is to help children preserve the immediacy, emotionality, the brightness of the perception of a particular content and at the same time learning to understand the deeper meaning of the work embodied by the author with the help of artistic literature. According to Kachurina A., second-graders are capable of not only "naive-realistic reading", but also to understanding the inner meaning of the text

11. "Literature also need talented readers, like talented writers. It is on them, on these talented, sensitive, who possess the creative imagination of readers, and the author expects, when it strains all his mental strength in search of a faithful image, the right turn of the action, a faithful word. The artist-author takes on only part of the work. The rest should add artist reader with its imagination "(Marshak S.Ya.)

There are two types of imagination - recreation and creative. The essence of the recreation imagination is to present a picture of life (portrait, landscape ...) according to the author's verbal description

Creative imagination is in the ability to present in detail the picture, the scoop presented in the verbal design.

The ability to see and feel what is reflected by the author in the text, is characterized by the first of the steps of the full comprehension of the literary work - the level of "direct" perception.

111. Print the defective mechanism of perception readers assimilate only the plot scheme of the work and abstract, schematic ideas about its images. That is why it is necessary to teach children to "thinking" perception, the ability to reflect on the book, which means about a person and about life in general. The analysis of the work should be joint (teachers and student) think aloud that over time will allow to develop the need to figure out the read.

Tests and tasks for lecture №5

Scientific Basics Analysis of Artwork

1. What are the methodologists who have made a great contribution to the development of the methodology of explanatory reading: a) E.A.Adamovich, b) Ramzaeva T.G., B) N.P. Kanonkin, D) S.P.Rodozubov, D) N. S. Rodozynsky

11. Name Methodists who have made a great contribution to the class of reading method: a) D.B. Elkonin, B) Lviv M.R., B) V.G. Goretsky, d) K.T.GOLENKINA, D) L.A . Gorbushina, E) M.I.omorokova.

111. What is the essential distinction of an artistic work from scientific: a) artistic means of image, b) specific content, c) a figurative form of reality reflection?

1U. High-level reader forget formation criteria: a) Ability to retell the work, b) the ability to understand the idea of \u200b\u200bthe work; C) the ability to describe the object not visible earlier; D) the formation of the ability to "breed" its own reader's position and the position of the author; E) knowledge of formal signs of the work; E) the ability to notice and evaluate cases of compliance and form.

List a high-level reader for formation criteria

U1 When analyzing the work, it is necessary: \u200b\u200ba) to form the ability to find a major thought, b) to breed an understanding of about what Work I. as This is stated in the work; C) should be dealt with language tools, thanks to which images are created; D) when analyzing the work, the attention of children should be attracted to the structure of the work; E) need to intensify in the speech of children's words denoting emotional and moral qualities; E) When analyzing the work, these methodological science should also be taken into account.

Lecture number 6.

Similar information.

Fiction is one of the types of art, along with music, painting, sculpture, etc. Artistic literature - a product of the creative activity of a writer or poet, and, like any art, it has aesthetic, cognitive and world-seated (associated with author's subjectivity) aspects. This combines literature with other art types. A distinctive feature is that the material carrier of the image of literary works is the word in his written incarnation. At the same time, the word is always of the pictorial character, forms a certain image, which allows, according to V.B. Halizheva, attribute literature to fine art.

Images formed by literary works, find their embodiment in the texts. The text, especially artistic, is a complex phenomenon characterized by a variety of properties. Artistic text is the most difficult of all kinds of text, in fact, this is a completely special type of text. The text of the artwork is not the same message as, for example, documentary text, since it does not describe real specific facts, although it calls phenomena and objects with the same language means. According to Z.Y. Turaev, natural language is construction material For artistic text. In general, the definition of artistic text differs from the definition of text in general by an indication of its aesthetic and fine-expressive aspects.

By definition, I.Ya. Chernukhina, artistic text represents "... an aesthetic means of mediated communication, the purpose of which is the fine-expressive disclosure of the topic presented in the unity of the form and content and consisting of speech units performing a communicative function." According to the researcher, for artistic texts, absolute anthropocentrism is characterized, artistic texts of anthropocentric not only in the form of an expression, like any texts, but also in content, by focus on the disclosure of a person's image.

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

The main function of fiction - through the use of language and specific stylistic means to contribute to the disclosure of the author's plan.

One of the most striking features of fiction is imagery. The image that is created by various language means causes the reader a sensual perception of reality and, thus, contributes to the creation of the desired effect and reaction to the written. For artistic text, the variety of forms and images is characterized. The creation of generalized images in artwork allows them to authors not only to determine the state, actions, the quality of one or another character through comparison with an artistic symbol, but also makes it possible to characterize the hero, determine the attitude to it is not directly, and indirectly, for example, through an artistic comparison .

The most general leading feature of the style of artistic speech, closely related and interdependent with imagery is the emotional coloring of statements. The property of this style is the selection of synonyms for the purpose of emotional impact on the reader, a variety and abundance of epithets, various forms of emotional syntax. In fiction, these funds receive their most complete and motivated expression.

The main category with a linguistic study of fiction, including prosaic, is the concept of the individual style of the writer. Academician V.V. Vinogradov formulates the concept of individual style of the writer as follows: "The system of individual-aesthetic use of the artistic and verbal expression characteristic of the artistic literature, as well as a system of aesthetically creative selection, comprehension and location of various speech elements."

Literary artistic text, as any other work of art, is aimed primarily to perception. Without informing the reader of literal information, artistic text causes a complex complex of experiences in humans, and thus it meets the definite domestic need of the reader. Specific text corresponds to a specific psychological response, the order of reading is the specific dynamics of shift and interaction of experiences. In the artistic text behind the pictures of real or fictional life, an impact, interpretational functional plan, secondary reality is always present.

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

The artwork embodies the individual and author's way of perception of the world. Representations of the author about the world expressed in literary and artistic form become the system of representations sent to the reader. In this complex system, along with universal universal knowledge, there are also unique, original, even paradoxical representations of the author. The author comes to the reader the idea of \u200b\u200bhis work by expressing his attitude to those or other people's phenomena, with the help of the statement of its assessment, creating a system of artistic images.

Pictures and emotionality are the main features that distinguish the artistic text from the uneasyless. One more feature Artistic text is personification. In artwork characters, everything is compressed before the image, to type, although it can be shown quite specifically and individually. Many characters of artistic literature are perceived as certain symbols (Hamlet, Macbeth, Don Quixote, Don Juan, Faust, D "Artagnan, etc.), behind their names are defined traits of character, behavior, relationships to life.

In the texts of the fiction, the description of the person can be given both in the artistic register and in an informative-descriptive. The author has complete freedom of choice and the use of various stylistic techniques and means that allow you to create a clear-shaped idea of \u200b\u200ba person and express your assessment of its external and internal qualities.

In describing and characterizing the characters of the artwork, the authors use various means of emotional assessment and from the standpoint of the author, and from the standpoint of other characters. The assessment by the author of the heroes of its works can be expressed as clearly and implicitly, it is usually transmitted through the use of a complex of speech and stylistic drugs: lexical units with evaluation semantics, epithets, metaphorical nominations.

Stylistic means of expressing expressiveness of emotionality, author's assessment, creating images are various stylistic techniques, including trails, as well as a variety of artistic parts used in artistic prose texts.

Thus, according to the results of the study of literary sources, we can conclude that fiction is a special kind of art, and artistic text is one of the most complex species Text in terms of structure and stylistics.

The form of the existence of art is an artistic work (work of art) as a system of artistic images forming a single whole. It is a spiritual and material reality that has arisen as a result of creative human efforts, aesthetic value that meets art criteria. In the work of art in a figurative, sign form is reflected both objective reality, as well as the subjective world of the artist, its world-thundering, experiences, feelings, ideas. The means of expression of all this manifold is a kind of art language. "The work of art is complete, in itself resting and for themselves the whole impact and contrasts the latter as an independent reality, nature. In the artwork, the form of being exists only as the reality of impact. An artistic work, perceiving nature as a relationship between motor directions and visual impressions, is freed from all volatile and random. "
One of the most important principles of artistic creativity and the existence of the work of art is the principle of unity of form and content. The essence of this principle is that the form of the artwork is organically related to the content and is determined by it, and the content is manifested only in a certain form.
Artistic form (from Lat. Forma - appearance) - the structure of the artwork, its internal organization, the whole complex of expressive means. Created with the help of fine-expressive means of a certain type of art to express art content, the form always indicates what means is transmitted in the artwork content. The content of the same, according to L.S. Vigotsky, is all that the author took as ready, which existed before the story and can exist outside and regardless of him. The content is the necessary constitutive moment of aesthetic object. M.M. Bakhtin wrote in the work "The problem of content, material and forms in verbal artistic creativity": "The reality of the knowledge and aesthetic act, which is part of its identification and appreciation to aesthetic object and exposed to a specific intuitive association, individual, concretization, isolation and Completion, i.e. Comprehensive decoration with material, call the content of aesthetic object. " In other words, content is all artistically reflected phenomena of reality in their estimated understanding.
The dependence of the form on the content of the work is expressed in the fact that the first without a second does not exist. The content is the inner meaning of a certain form, and the form is the content in its direct ex.
Contracting content and forms are characteristic primarily for the stage of creativity, i.e. For their mutual, mutual formation, when the artist comprehends what he wants to express in the artwork and is looking for adequate tools. In the finished artwork, the form and content must certainly be the inseparable, unity in harmony.
Speaking about the unity of content and form, the values \u200b\u200bof the artistic form should not be understood as an expressive force. It is not by chance in the European philosophical tradition since the time of Aristotle, a form is understood as a specific principle of things, its essence and driving force. The content of the artwork becomes emotionally perceived, acquires aesthetic significance due to its realization in artistic form, which in this way actively affects the content. It can contribute to the most complete and convincing disclosure of the content, but may also interfere with its expression, weaken the power of its impact and, accordingly, perceptions.
If you carefully analyze the artwork, it is easy to find that all its elements can be divided into formal and meaningful. Content elements of the artwork include the topic, conflict, idea, characters, plot, plot. Formal elements of the artwork include composition, genre, speech, rhythm. The specifics of the artistic language of various types of art determines crucial For them, individual formal elements: in music - melodies, in painting - colors, in graphics - drawing, etc. The form of the work should have internal unity. Harmonicity, proportionality of its elements - a necessary condition for the completion, perfection, beauty of artwork.
The content is always structured and expressed only in characteristic of art in ways, i.e. Especially inseparable from the form. It is multi-level and multifaceted. Higher Levels Contents are an idea and theme that determine the entire content structure of the work.
The idea is the main form-aesthetic meaning. An artistic idea is always original and unique. It may include philosophical, political, scientific and other ideas, but does not completely reduce them. The structure of the work is very rich, combining in itself and these ideas, and all the wealth of aesthetic vision of the world. Art is interested in not only politics, philosophy, science, but also the entire human relationship system to the world, to other people, to themselves. These relationships, reflected by art, are more difficult and richer system of the deepest ideas. We will reveal the amazing philosophical fairy tale of Richard Bach "Seagull Jonathan Livingston" and we will find in it a huge number of philosophical ideas: moral and physical improvement, finding the meaning of life and mentoring, loneliness and expulsion, death and resurrection. But the meaning of this small work is wider than any of these ideas: in it in the form of the seagull, the essence of irrigible and the abdicated human soul is revealed, the eternal aspiration of a person for knowledge, to excellence, to the acquisition of the true meaning of life:
"And the deeper Jonathan fasted the lessons of kindness, the more clearer I saw the nature of love, the more he wanted to return to Earth. For, despite the living alone, the seagull Jonathan was born in order to be a teacher. He saw what was for him the truth, and he could realize love, only revealing his knowledge of the truth in front of someone else - before who was looking for and who needed only a chance to open the truth for himself. "
The idea of \u200b\u200b"Seagulls.", Published by a separate edition at the end of 1970, involves the allegor of the allegor to the energity of the readers. So, Ray Bradbury said somehow that this book tells him a sense of flight and returns youth.
The theme of the artwork (Greek. Thema - letters. What is laid [to the foundation]) is an object of an artistic image, a circle of life phenomena, imprinted in the work and fastened together with copyright ideas. The topic is one of the most important elements of the content of the artistic work. It indicates a circle of phenomena, serving the starting point for creating an artistic work. For example, the theme of the novel of L. Tolstoy "Anna Karenina" is the tragic fate of Anna and Vronsky relations.
In addition to the main topic, there may be side topics in the work, which are closely related to the main one are subordinate to it. For example, along with the main theme relations of Onegin and Tatiana, in the poem "Eugene Onegin" A.S. Pushkin there is a lot of shortcoming topics: the topic of the relationship of Lensky and Olga, the topic of parental relations, etc.
The topic is closely related to the idea of \u200b\u200bthe work. Together they form a unified ideological and thematic basis of the work. The topic finds its further expression through characters, conflicts, plots. This is the next, lower meaningful level of artwork.
Character is an artistic embodiment of a system of distinctive properties of a person who are manifested in its self-assessment, relations with the outside world and other people, in complex and everyday life circumstances. Depending on the directions of art, the characters can be depicted in different ways. They can be shown due circumstances. That is how they draw realism, demonstrating how conditions, events, the reality phenomena affect the formation of the nature and its manifestation. Such are the heroes of O. De Balzak, Ch.Dikkens, J. Golsuorci. Characters can be considered as derivatives from heredity and physiological features, as is done in naturalism (E.Zol, E. and J. Barcury). They can be depicted idealized and opposed to everything surrounding, often hostile, peace. So draw characters many romance. This is how M.Yu.Lermonts reports the character of the hero in the Korsar poem:
Since the deceived soul
To all I became an incredulous.
Oh! Not under roofing native
I was then - and faded.
Could not with smile smir
Since then, I have to transfer everything:
Mockery, pride of contempt ...
I could only love fiery.
Ourselves are dissatisfied with themselves
Wanting to be calm, wave,
I often roamed the forests
And only there lived ...
However, every true artist, regardless of the direction of art, seeks to the image of typical characters in their individual peculiarities, to show the complexity of their development, contradictory of inner life, moral searches.
The conflict is a artistic contradiction in a person's life, a clash of various characters, views, ideas, interests, etc. The role of conflict and its originality directly depend not only on the reflected parties of reality, but also from specific features and funds of typification, species and genres of art. For example, in the tragedy or in monumental painting, the conflict is manifested as a direct image of the opposite character, and in lyrics - as an emotional expression of a collision of various people and feelings. The depth of the conflict, its sharpness and completeness in artistic form largely determine the depth of the emotional effects of the artistic work on the perceiving entity. As a result, artistic works of those species and genres of art have the strongest impact on a person who are most deeply embodying the dramatic conflict.
The plot (Franz. Sujet - letters. The subject) is a reproduced effect in its entirety. The plot is the spatial-temporal dynamics of the depicted, the course of events in the literary work. This is a combination of events expressed in artistic form. The plot expresses the narrative side of the artwork, and individual episodes, characters, actions of heroes organically combine.
The plot is peculiar to various types and genre of art. It can be deployed (in historical novels, in cellopopes, etc.), simple (in painting, graphics, etc.). In the literary lyrics, visual arts, music can meet with unustryless or practically incubatory works (for example, in abstractionism, in instrumental non-program music, architecture). The most visually plot in painting. The plot involves the action, movement, therefore in those artworks where there is a plot, it develops from tied through climax to the final. The plot is closely connected with Fabuli, but does not always coincide with it.
Fabul (from Lat. Fabula - Bass, story) is a cultural and typological scheme of the main events set forth in their chronological sequence. This is a chain or scheme of events that are narrated in detail in the plot. For example, Plot Roman N.G. Chernyshevsky "What to do?" It begins with the description of the mysterious disappearance of one of the heroes, while the Fabulus of this novel (the unfolding of events in the space-time sequence) begins with the description of the life of Faith Pavlovna in the parent house. Fabul serves as an auxiliary means to disclose the plot that helps to establish a sequence of deploying events and understand those goals that the artist pursued a peculiar construction of the plot. The plot is more general than Fabul.
If you go back to the plot again, it should be noted that in large epic works the plot, as a rule, is crushed into a number of scene lines. So, in the novel M.Yu.Lermontov "Hero of our time" there are a number of independent storylines (Bals, smugglers, etc.), which are grouped around the storyrine's storyline.
As mentioned above, the means of expression and existence is the form. The forming process affects the content through the composition, rhythm, opposition.
Composition (from lat. Compositio - addition, compilation) - construction of a artistic work, systemic and consistent arrangement of its elements and parts, methods of connecting images and a set of all means of their disclosure. The composition is the most important organizing element of the artistic form, which gives the work of unity and integrity, which coented its components to each other and the whole. This is a conscious-sense ordering of the work. The task of the composition is the organization of individual scattered elements into integrity. All composite techniques are determined by the ideological idea of \u200b\u200bthe author, his creative task. Let's look carefully on the picture of P.A. Fedotova "Morning after a pirushka, or
Fresh cavalier. Fabul paintings are taken from life: a small official received the first order and arranged in his room when on this occasion. In the morning after the breakdown "Fresh Cavalier", barely thumping a bathrobe on the shoulders, already pressed the Order and points it to him with his cooking. The cook, without sharing the poor mood of the owner, points to him on the holey boots. The idea of \u200b\u200ba picture of a wide range: the poverty of the official spirit that is not able to rise above the careeristic aspirations, common sense of servants, aware of the comic of the owner's claims. The ideological canva of the work helps to reveal the composition. The picture is built on two opposed to each other's figures: frozen in the predominal pose of an official and a cook expressing natural sanity simple man. P.A. Fedotov fills the room in the picture large number Things that explain to us Podabul and the plot: the remnants of yesterday's pyrush, litter on the floor, thrown on the floor book, guitar with burst strings, leaning to the chair on which the Barsky coat and suspenders hang. A cell is visible under the ceiling, the awaiting cat is being pulled. All these parts are designed to create a brighter picture of the room, where everything is thrown without any attention to decency. This is the world of a minor official, devoid of high thoughts and feelings of the beautiful, but seeking to achieve success.
The next element of the form - rhythm. Rhythm (Greek. Rhythmos, from rheo - flow) - alternation of various commensurate elements (sound, speech, etc.), which is happening with a certain sequence, frequency. Rhythm as a means of forming in art is based on natural repeatability in space or in time of similar elements through commercial intervals. The rhythm function is the simultaneous separation and integration of aesthetic impression. Thanks to the rhythm, the impression is shaped at similar intervals, but at the same time integrated into a set of interrelated elements and intervals, i.e. in artistic integrity. A steady repetitive rhythm causes a perceived subject to expect it to repetition and the specific experience of its "failure". Hence another rhythm function - the dynamics of the effects of waiting and surprise. Rhythm, in addition, reflects the dynamics, in contrast to the symmetry reflecting the statics. The dynamics of the rhythm contributes to the creation of an artistic structure, the most adequate psychophysical structure of a person, which is also dynamic, movable.
The most important value of rhythm has in music, where it is manifested as a temporary organization of musical intervals and consonance. According to Aristotle, rhythm in music is similar to the emotional states of a person and displays such feelings and properties as anger, meekness, courage, moderation. Starting from the XVII century. The music established a clock, accent rhythm, based on alternating strengths and weak stresses. The rhythm poem indicates the overall order of the sound structure of the poetic speech, as well as the real sound structure of a particular poems. In the visual arts (painting, graph, etc.) and rhythm architecture manifests itself in various combination of patterns, colors, arrangement of columns, etc. In choreography, rhythm is a combination of a sequence of body movements.
A special place in the formation takes the style. However, it must be remembered that the style is not in its pure form neither by the form, nor content, nor even their unity. "The style also refers to the form, content and their unity, as in the living organism its" form "and" content "refer to the gene set in the cell. The style is a "gene set" of culture caused by the type of cultural integrity. " Style (from Greek. Stylos is a pointed wand for letters on wax, the manner of the letter) is the community of the figurative system, the means of artistic expressiveness, creative techniques caused by the unity of ideologically-artistic content. You can talk about the style of a separate work or genre (for example, about the style of the Russian novel of the middle of the XIX century.), On the individual style or creative manner of a specific author (for example, about the style of P. Pikasso), as well as about the style of whole artistic eras or large artistic artistic Directions (Gothic or Romance Style, Baroque Styles, Romanticism, Classicism).
In the aesthetics of formalism under the style, the community of technical techniques is often understood with the content of works. So, the German art critic Heinrich Völflin (1864-1945) in the work "The basic concepts of the history of art" divides the entire history of the visual art for two styles: linear and picturesque.
Similar formalistic understanding of the style leads to a mechanical transfer of the general features of architectural and decorative and applied styles to all other types of art, which have much more wealth and a variety of content, and therefore, much more variety of styles.
Style is not a formal unity of fine-expressive means and technical techniques, but a stable generality, determined by ideological content. The style of artwork is not just his external form, but, first of all, the nature of its material and spiritual existence within a certain culture. This is evidence of the belonging of aesthetic object to a certain culture. Thus, a used style should not be confused with stylization. Stylization is an intentional imitation artistic style Any author, genre, flow, era, people. Stylization is often associated with the rethinking of the artistic content, which constituted the basis of the imitated style. The style performs many functions in the process of creating and perceiving a artistic work. In artistic work, he directs the creative process into a certain direction, ensures the processing of disparate impressions into a single system, contributes to the preservation of continuity in the artistic tradition. In the process of artistic perception of the work, the style determines the nature of the impact of the work per person, orients the public to a certain type of artistic value.
Style has an important informative meaning. He reports the holistic quality of the work. The author, creating an artistic work, always focuses on the viewer, reader, listener who is invisibly present in artistic work as a goal, in the name of which the artist creates. The perceiving subject also has in his author's consciousness: he knows his name, familiar with his former works, understands his artwork and taste. All this is a psychological background and the motive of the perception of the artistic work. The point of meeting the author and the perceive subject is the style that acts as evidenced by the authorship, belonging to the era, nationality, culture, type of art. Style is a kind of rod of the artistic process as a whole. The organicity of the style, its immutable unity with all the formal and meaningful build works are distinguished by truly great works of art.
Thus, any work of art can be represented as an objectively existing reality, which has an appropriate material shell and structure.

Scene as a form of artwork 1 page

After the subject detail, the logical to continue the conversation about the form, bearing in mind its essential element is the plot. According to common ideas in science, the plot is formed by the characters and their interactions organized by their interactions. The classical formula in this regard is the position of M. Gorky about the plot: "... communication, contradictions, sympathy, antipathy and generally relationships of people are the history of growth and organization of one or another nature, such as". In the regulatory theory of literature, this position is in every possible way. It says that the plot is the development of actions in an epic work, where art types are certainly present and where there are such elements of action as intrigue and collision. The plot here acts as central element Compositions with its string, with culmination, junction. This whole composition is motivated with the logic of characters with their prehistory (prologue of the work) and the completion (epilogue). Only in this way by installing genuine internal connections Between the plot and character, you can determine the aesthetic quality of the text and the degree of its artistic truthfulness. To do this, closely look at the logic of the author's thought. Unfortunately, this is not always done. But then consider the school example. In the novel Chernyshevsky "What to do?" There is one of the plot climax: Lopukhov performs imaginary suicide. He motivates this by the fact that he does not want to interfere with the happiness of his wife of Faith Pavlovna and a friend Kirsanov. It follows such an explanation from the utopian idea of \u200b\u200b"intelligent egoism", put forward by a writer and philosopher: it is impossible to build its happiness on the misfortune of others. But why is this method of resolving the "love triangle" choose the hero of the novel? Fear of public opinion, which may condemn the disintegration of the family? Strange: After all, the book is devoted to "new people", which should, on the logic of their internal state, do not reckon with this opinion. But the writer and thinker in this case it was more important to show the extraction of his theory, to present it as a panacea from all difficulties. And it turned out not a nomanic, but an illustrative resolution of the conflict - in the spirit of romantic utopia. And because "what to do?" - far from a realistic work.

But back to the question about the connection of subject and plot parts, that is, the details of the action. The theorists of the plot presented the abundance of examples of such a connection. So, the character from the story of Gogol "Sinel" tailor Petrovich is a tobackerka, on the cover of which Namalevan General, and there is no faces - it is sticking with the finger and is stuck with a piece of paper (as if the bureaucracy personification). Anna Akhmatova speaks of a "significant person" in the same "overcoat": this chief gendarm Benkendorf, after a conversation with whom a friend of Pushkin poet A. Kaddvig, editor of the Literary newspaper (the conversation conversation was concerned about the verse of the 1830 revolution). In the Gogol Tale, as you know, Akaki Akakievich Bashmachkin dies after a conversation with the general. Ahmatova read in the lifetime publication: "The significant person became in Sani" (Benkendorf traveled standing). Among other things, these examples suggest that the plots are usually taken from life. Art historian N.Dmitriev criticizes L. Vygotsky, a well-known psychologist, referring to the words of Grilling, who speaks of a miracle of art that turns grapes into wine. Vygotsky speaks of turning the water of life into wine art, but the water can not be turned into wine, and the grapes can be. This is the identification of real, knowledge of life. E. Dobin and other scene theorists lead numerous examples of transformation of real events in artistic stories. At the heart of the plot, all the same "overcoats" lies with the writer who heard the story of the official who served a lepazhevian rifle. Floating on the boat, he did not notice how it hooked behind the reeds and sank. The official died of disorder. All those who have listened to this story laughed, and Gogol was sitting, sadly conceived - probably in his mind and there was a plot about the official who died due to the loss of not the object of luxury, and the robes needed in the winter St. Petersburg - Shinels.

Very often it is in the plot that the psychological evolution of the character is most fully represented. "War and Peace" Tolstoy, as is known - an epic story about collective, "ROOH", and individualistic, "Napoleonic" consciousness. It is in this that the essence of the artistic characterology of Tolstoy in relation to the images of Andrei Bolkonsky and Pierre Baudsova. Prince Andrei in the early youth dreamed of his toulon (about the place where Bonaparte started his career). And the prince Andrei lies, wounded on the Austerlitz field. He sees and hears how Napoleon walks on the field between the corpses and, stopping around one, says: "What a beautiful death." It seems like Blocks fake, art, and here it begins to gradually disappointing our hero in Napoleonism. Further development of its inner world, full exemption from illusions and selfish needs. And his evolution ends with the words that he is the road true Timokhin and soldiers.

Attentive consideration of the relationship between subject details and the plot helps to open the authentic meaning of artistic creation, its versatility, meaningful multi-layeredness. In turgenevation, for example, a point of view was developed, according to which the famous cycle of the writer "Notes of the Hunter" is artistic essays, poetic peasant types and critically evaluating the social life of peasant families sympathizing with children. However, it is worth viewing one of the most popular stories of this series "Bezhin Mead", as it becomes an obvious incompleteness of such a look at the artistic world of the writer. It seems the mysterious sharp metamorphosis in the impressions of the Barin, returning from the hens at dusk, about changing the state in nature, which appears to the eye: Clear, calm, suddenly becomes foggy and frightening. Obvious, there is no everyday motivation. In the same way, such sharp changes are presented in the reaction of children sitting by the fire, on what is happening in the night: easily known, calmly perceived, sharply turns into unclear, even in some kind of damn. Of course, the story presents all the above motifs of the "Hunter's Notes". But it is no doubt that we must remember the German philosophy, which Turgenev studied, being in German universities. He returned to Russia, being under the authority of materialistic, feuerbahian, and idealistic, cantian, ideas with their "thing in themselves." And this mixture of the writer is known and unrecognizable in the philosophical thinking is illustrated in its fictionalinist plots.

The connection of the plot with his real source is an obvious thing. The theoretors of the plot are more interested in the actual artistic "prototypes" of plots. All world literature is mainly based on such continuity between artistic plots. It is known that Dostoevsky drew attention to the picture of the Kramsky "Contemporance": a winter forest, stands a man in the laptops, something "contemplates"; He will quit everything, will go to Jerusalem, the native village is pre-smeared. That is exactly what Yakov Smerdhakov at Dostoevsky in the "Brothers of Karamazov"; He will also make something like that, but somehow a lacquer. Lacrence is predetermined by large historical circumstances. In the same novel, the Dostoevsky Inquisitor suggests people: there will be timid and pressing us as "chicks to the zeal" (Mechnyakov cuddled to Fedor Pavlovich Karamazov). Chekhov talked about the plot: "I need my memory to be crowded the plot and that in it, as in the filter, there is only what is important or typical." What is so important in the plot? The process of influencing the plot, characterized by Czech, allows you to say that its basis is the conflict and through action in it. It is a cross-cutting effect, there is an artistic reflection of the philosophical law, according to which the struggle of contradictions not only underlies the process of the development of all phenomena, but it is necessary to permeate each process from its beginning to its end. M.Gorky said: "The drama should be strictly and effortless." Through action - the main operating spring product. It is directed towards the general, central idea, to the "supercount" of the work (Stanislavsky). If there is no pass-through action, all pieces of the play exist to bring apart from each other, without any hope of rising (Stanislavsky). Hegel said: "Since the collapsed action violates some opposing side, then it causes against itself the opposite force on which it attacks and the reaction is directly related to the action. Only with this action and opposition, the ideal first became completely defined and movable. "In the artwork. Stanislavsky believed that countertility should also be through. Without all this, the work is boring and gray. Hegel, however, was mistaken in determining the tasks of art, where there is a conflict. He wrote that the task of art is that it "holds a split in front of our gaze and the struggle associated with it is only temporarily in order to be separated by the resolution of conflicts from this split as the result of harmony." It is incorrect because, say, the struggle of a new one with an old in the field of history and psychology is uncompromising. In our history of culture, there were cases of following this hegel concept, often naive and false. In the movie "Star" on the story of E. Kazakevich suddenly the dead intelligence officers with Lieutenant Herbin headed, to the amazement of the audience, "come to life." Instead of an optimistic tragedy, a sentimental drama turned out. In this regard, I want to remember the words of two famous cultural figures of the middle of the XX century. Famous German writer I. Bhecher said: "What gives the work the necessary voltage? Conflict. What is the interest of interest? Conflict. What moves us forward - in life, in literature, in all areas of knowledge? Conflict. The deeper, the more significant conflict, the deeper The more significant it is the resolution, the deeper, the poet is more significant. When the sky is brighter than the sky of poetry? After a thunderstorm. After conflict. " An outstanding film director A.Duzhenko said: "We have led by false increments, we seized the suffering from our creative palette, forgetting that it is as the greatest accuracy of being, like happiness and joy. We replaced him with something like overcoming difficulties ... we are so I want beautiful, bright life that passionately desired and expected we thought as it were, forgetting, at the same time, that suffering will always be with us, while there is a man on earth, while he will love, rejoice, create only the social causes of suffering will disappear. . The power of suffering will be determined not so much in the oppression of any external circumstances, how much depth of shocks. "

The plot occurs, naturally, from the idea of \u200b\u200bthe author. Where there is a link logic between ideas and plot and detail, there is genuine art. If Dostoevsky sees the world the monstrous and crime in it, according to the general presentation, there is a retreat from the norm - for the writer constitutes the norm itself. That is why criminal acts are so frequent in his artistic plots. It is precisely that for Turgenev, the moral resolution of all clashes may be an appeal to some moderate golden middle - Turgenev does not cause sympathy for neither the extremistism of Pavel Petrovich Kirsanov or the radicalism of Bazarov. That is why the final resolution of all conflicts does not occur in the collision (ideological and public collision), but in intrigue (private, intimate situation). In Tolstoy, the social and moral evaluations criteria are neighboring, so he has an unrighteous court over Katyusha Maslova in the "Resurrection" motivated by the moral qualities of the judges, they condemn Katyusha, because they are egoously thinking about themselves (about their mistresses and wives). On the other hand, this court is disgusting to the Tolstoy, because the well-filled is judged by the poor (the boy who stole the rugs).

Sometimes instead of the concept of the plot consumes the concept of Fabul. Some scientists challenge the need for the existence of the last term, but since there exists in artistic texts the mismatch of plot actions with their chronological sequence (as, for example, in the Lermontov Hero's "Hero of Our Time", where the beginning of the main plot was delivered in the middle of the whole composition of the novel), there is a necessity Save this term and say: if the plot is the details of the action, then Fabul is the order of the plot episodes during the narration.

Artistic speech

There are two approaches to the study of the language of artistic works: linguistic and literary. There is a scientific controversial between representatives of these philological disciplines for a long time. An outstanding philologist of the XX century Academician V.V. Vinogradov laid the study of the linguistic artistic speech. He confronts the development of various stylistic features with the development of a national literary language and the development of a creative method as a meaningful category, giving priority to the literary language in its national value. He objected some literary critics and among them most convincingly - Professor G.N.Pozosrelov. The latter believed: the national literary language in the 30s - 40s of the XIX century, for example, was one, and the use of rich stylistic funds was diverse (Pushkin, Gogol, Dostoevsky), although all these writers were realistic. Where did this difference come from? From the specifics of the content of their literary texts, from creative typing, on the characteristics of emotional-evaluating consciousness. The speech of the artistic work is always specifically expressive and ultimately due to the peculiarities of the content of the work. Literary language (like extractive dialects) - this is a living source of possible stylistic paints, where every writer takes the necessary to him. There is no stylistic norm here. Therefore, Vinogradov is not completely right, speaking. that "peak lady" and " Captain's daughter"Above the realism of" Eugene Onegin ", because they are less" exotic and national regional expressions. "It is not entirely accurate, stating that the works of Writers of" Natural School "40-50s (Dostoevsky, Plescheev, Palm, Nekrasov) created Actually realistic styles, as they began to apply sharp techniques of socio-speech, professional typing. Writers of "Natural School" reflected in their work democratic time trends (and in language), but they were not deeper realists than their predecessors. They were interested Social noses and presented their speech features, but by virtue of their less talentedness, some of them have not reached the typification, which was characteristic of their predecessors.

The literary principle that implies the conditionedness of one or another artistic style of specific semantic tasks, explains why the authors tend to carefully choose words that make up the speech structure of the character. Most often in the characterology, speech feature even in small details helps to understand the character. Moreover, the speech features of the acting persons "suggest" the genre definition of the text. So, in the play of A.N. Oostrovsky "his people - the heroine of the Samsonovna Olympiad, or just a sticky, appears to be in a strange mixture of the most incomparable elements of its language: the usual, reduced to the domestic swing form, the language claiming to evidence Heroine. Here is the source and motive of the genre definition of the play: comedy. The latter, as is known, is a contradiction between the inner and external in man. The opposite example is the speech of another heroine in the work of Ostrovsky - Katerina from the play "Thunderstorm". Here the character is sublighted, the image of a woman, which is romantic to the inner freedom, and therefore its tongue is full of folk aesthetics elements. Therefore, she is their apparent moral drop and perceives how to grant God and as a whole person execute himself for it, voluntarily leaving about life. Therefore, the play can be called the tragedy.

Literary critic G. Bukovsky believed that the "morphology" of the artwork should not include the so-called "extra" words: every verbal detail, each line of style should "work" on the idea of \u200b\u200bthe work. This is how consistent with the famous thesis of Chekhov "brevity - sister of talent" and generally adopted in criticism and literary science by the cult of laconism. However, the thesis of "extra" words cannot be understood simplified. Countless examples of "Ezopova Speech" and all kinds of lengths, dictated or censored considerations, or speech decency rules. Paradoxically, this thought expressed in the hail-rich verses E.Evtushenko:

"Hide unnecessary words

The essence of a secret nature -

Queen thread in yarn.

And disgusts to us for a long time

Said that too much - it

It is necessary even.

Imagine if I am straight,

It will come out indecently

When, man, not a weak,

Everyone immediately in the Russian three words

I will say concisely. "

The general rule when considering the word in the artistic work is an understanding of the context of the speech element. The famous theoretical literature L.I.Timofiev led an example of a variety of contexts from one word in Pushkin texts. "Wait," says Salieri Mozart, drinking wine with poison. "Wait," - whispering young Tsygan Zemfire. "Wait," - shouts the young man Aleco, hitting him by the dagger. Every time the word is heard in different ways; It is necessary to find his system connections with all what is happening in the work.

How to start the systematization of verbal forms in art? It would seem from the dictionary, with vocabulary. However, remembering that the literature is the highest form of the beautiful, there is an aesthetic quality of human thinking, more convincingly to start the specified systematization with semantics or stylistic picture, because the imagery has a specific quality of art. It is known that the meaning of words in history is often changing. "Table" in ancient Russian language is not at all what in modern; Compare: "Stall city", "captured a Kiev table." Part of the linguistics learning the meaning of the words and the evolution of these values \u200b\u200band is called semantics. In the poetic product change, constantly occur, and this allows us to talk about poetic semantics. Words used in the figurative sense - trails. What exactly is the phrase - you can find out in context: "Eugean porridge", "the speech presented porridge", "the car in the fall turned into a porridge" - it is clear that in the second and third case, the word "porridge" exists in a figurative value. In the poem of Feta: "Fir sleeve was drowning to me" - no one would understand the sleeve literally. The trail is in the household speech: Ivan Petrovich is a smart head, golden hands, the mountain stream runs. But there are trails natural in literary speech. They are differentiated: sustainable, entered into common use and constantly used by writers, and unstable, newly educated, not yet included in the nationwide use, but quite motivated.

One of the most common paths is considered a metaphor based on the similarity of two objects or concepts, where, in contrast to the usual twingement comparison, only one member is given - the result of the comparison, which is compared with: "burns the east of the new". In this case, the comparison that has become the basis of the replacement is implied and can be easily substituted (for example, "the bright light of the morning dawn produces the impression that the east burns"). This method of expressing familiar phenomena strengthens their artistic effect, makes you perceive their sharper than in practical speech. For a writer resorting to metaphors, phraseological connections are of great importance, which the author includes words. For example, Mayakovsky: "Cavalry frozen sharp, raising the reef peaks." "Cavalry", of course, here is not used in a literal terminological sense.

Metaphors are amenable to classification. There are metaphors personifying: bad weather spiked, the happy number of bonds, the sky frowns - that is, the processes in nature are like to state, the actions and properties of people or animals. Another species is extracting metaphors: a dream was born, burned out of shame - that is, human properties are likened to the properties of material phenomena. You can add: Iron Will, empty man. There are concrete metaphors, when the pieces of different items are likened: the wings of the mill, the hat of the mountain, the hat in the newspaper. Metaphors are abstract - these are expressions denoting distracted views: a field of public activity, the grain of reasoning, a chain of crime. All of these four species belong to the class of single metaphors. There are bounced ones: led behind the nose, began to work after the sleeves. Such a picture is firmly entered into a domestic speech. As for itself, poetic metaphors can be noted the following feature. The poet uses ordinary metaphors without introducing a new meaning. For example, Nekrasov: "Heart will be squeezed with a painful spirit." Tvardovsky:

"I am full of faith of the undoubted

That life - how fast neither runs

She is not so instant

And it is quite belonging. "

The second feature is the process of updating the writer of conventional metaphors in order to strengthen their imagery. Lermontov: "Rocked faster, flying time." Finally. Writers and poets create new metaphors. Gorky: "Sea laughed." Mayakovsky: "Fasting and Rzut Kandelabra." Pushkin: "Neva rushed like a patient in his bed restless." Herzen: "Winter Eyes" Nicholas I. Each time the author resorts to the metaphor, meaning his goals: elevation or decline. Sometimes the author combines metaphoricity with a literal meaning, and it has its own emotional effect. Stepan Trofimovich Verkhovensky (in the novel of the Dostoevsky "demons") came the edit: "For twenty years, as I behaved in Nabath and call for work. I gave life to this call and, madman, believed. Now I'm not sure, but I call and call I will call to the end, I will pull the rope to the grave until they spawn to my memo. " The poet creates new metaphors with new semantic shades, which later begin to be widely used as figurative means. For example, the tale of Turgenev about love, youth and rapidly merged happy days - "hanging waters." Here - a figurative metaphorical meaning in the title itself. Turgenev reveals it in the epigraph (from an old romance): "Female years, happy Days. As sighted waters, they were rushed. "And finally, from the same row. Twardovsky (" Mother "):

"And the first foliage noise is still incomplete,

And the trace of green for dew grainy

And the lonely knock of the roller on the river,

And sad smell of a young hay

And just the sky, blue sky

Every time you remind you. "

Another essential view of a pathway path is metonymy. She, like a metaphor, makes up the likelihood of the parties and phenomena of life. But in the metaphor, the facts similar to each other are likened. Metonimia is a word that, in combination with others, expresses the approach of adjacent phenomena, that is, those who are in any connection with each other. "I did not wash the eyes all night," that is, did not sleep. Eye closure - Outwardly, the expression of peace, there is an obvious connection of phenomena. Like a metaphor, this trail is classified. Metonimia species a lot. For example, there is a likelihood of external expression internal state: sit back; as well as the above example. There is a metonymy space, that is, the likelihood of what is placed somewhere, with the fact that it accommodates: the audience behaves well, the hall is boiling, the fireplace is burning. In the last two cases there are the unity of metaphors and metonymia. Metonimia accessories, that is, the approach of the subject to the one who belongs to: read the paustovsky (that is, of course, his books), go on the cab. Metonimia as an approach to the action of his instrument: to betray the fire and sword, that is, to destroy; Big feather, that is, a brisk syllable. Maybe the most common view of the metonymy trail is synecko, when an integer is called instead of a part, and instead of a whole - its part: "All flags will be visible to us." We understand that visit us new town - The port on the Baltic Sea - will not flags as such, but maritime ships of different countries. This stylistic technique contributes to LAKONIS and expressive artistic speech. In the application of Syneko, one of the features of the art of the word, requiring the presence of imagination, with which the phenomenon characterizes the reader and the writer. Strictly speaking, Synekdoha in the broad sense of this word underlies any artistic reproduction of reality associated with tough, strict selection, even in the novel. In everyday speech, there are very often such elements of imagery as Metonimia, but we often do not notice them: a fur coat from the Barsky shoulder, the student today went conscious (or unconscious), hey, glasses! Poets or repeat ordinary metonymy: "French-child, he is joking" (A. Polyzheev), "Moscow, a breakdown by fire, the Frenchman is given" (M. Fermonts). It is clear that it is not about one Frenchman. But most interesting, of course, find new metonimical education in artistic texts. Lermontov: "Goodbye, unwashed Russia and you, blue uniforms." There are in art and deployed metonymy. They are usually called metonimic periphyra, this is a whole allegorical turnover of speech, which is based on metonimia. Here classic example - From "Eugene Onegin":

"He did not have a hunt

In chronological dust

Land of Earth

(That is, I did not want to study the story). It is possible to happen another terminological definition of such a turnover. The fact is that there is a generic phenomenon in the literature, which needs to be determined by his word "periphas". This phenomenon is usually mistakenly called a parody. In fact, such periprase is not just a metonymy trail, but the type of satire. Unfortunately, none of the textbook does not have such differentiation. In contrast to the parody, satire object in peripheral is a phenomenon that has no direct connection with the content of which is borrowed by satyric. In such a periphyra, the poet usually uses the form of the best, popular works, without intention to discredit them: this form is needed satirca in order to enhance the satirical sound of its work unusual use. Nekrasov in verses "and boring, and sad, and some kind of cards to inflate in minutes of pocket adversity" does not intend to make fun of Lermontov at all. In the poem, N. Dobrobrovubova "I go out thoughtfully from class" either Lermontov is also ridicule: Here we are talking about the reactionary school reform, which the trustee of the Kiev educational district N.Ipirogov began.

Often the metonimical periphydrated is adjacent in parallel with the main names in the form of applications that give a figurative characteristic of the described description. Here the poet worries about whether his reader understands this kind of imagery, and "accompanies" by its usual words. Pushkin:

"And here from the near Posada

Ripened laryrshen idol,

County Matus Otrada,

Cartive commander arrived.

And again Pushkin:

"But you scattered languages

From the library devils,

Magnificent albums

Fashion of fashion rhymes. "

But, of course, it is more interesting that periphrase, where there is no parallel basic name, the everyday-prose speech. The same Pushkin:

"I heard you for a grove voice night

Singer of love, singer his sadness. "

These examples suggest that the trails in artistic speech are very often or prepared by broad artistic images that go beyond the limits of semantic or stylistic structures. Here, for example, the type of allegorical picture, when a whole work or a separate episode is built on the principles of metaphor. We are talking about the symbol - the image in which the comparison with human life is not expressed directly, but is meant. Here is one of the famous examples - the image of the horses beaten in the novel "Crime and Punishment" of Dostoevsky, the symbol of suffering at all. The same symbols seem lyric heroes in the poems of "Parus" and "Pine" Lermontov, a demon in his poem "Demon", Falcon, and the Petrel at Gorky. How did the characters arise? From direct parallelism in a folk song. Birch is cloning - the girl is crying. But then the girl disappeared, and the bowl birch began to be perceived as a symbol of a girl. Symbols are not specific faces, they are generalizations. The symbol has an independent value. And the falcon can stay just a falcon and already, but if they lose an independent function, they will become an allegory. This is an image that serves only a means of allegory, it acts more on the mind than on the imagination. Allegoria arose in fairy tales of animals - from parallelism. Donkey began to denote stupid people (which, in general, unfairly), Lisa - Cherry. So there were fables with the "Ezopov" language. It is clear to everyone that the beasts are depicted only for the transfer of human relationships. Allegoria exist, of course, not only in fairy tales, like Saltykov-Shchedrin ("Eagle-Macenate", " Promotud Piskary", Suspended hare), and fables, but also in novels and the ones. You can recall the first three" sleep "faith of Pavlovna from the Roman Chernyshevsky" What to do? ". Dickens in" Krogrit "says that a carefree young Polyp has been said. In the "Ministry of Occasions" to be closer to the Pie, and it is very good that the goal and the appointment of the ministry is to "protect the pie from unrecognized."