Architectonics is a composition, only in a broader sense of the word.
Architectonics - 1) Design features, verse structure: poetic size, composite deployment, strategic membership, stubbic or non-conformal construction, rhythmic pattern, quantity of stop, poems. Several species of architectonics of the verse speech are distinguished: the verse is a staman, steam rhymes, free rhymes, solid trimmed, single stanza. In this sense, the term "architectonics" is sometimes synonymized by the term "stroke". 2) an idea of \u200b\u200bthe poem as integrity, including all the aesthetic components (structure, composition, fine remedies And others, on the one hand, and the person's personality, his self-treatment in art, on the other.
The first definition looks more specific, formal, second - more general, philosophical. At the same time, they do not contradict each other, but only show the direction of sight on the poetic phenomenon: as something "done", decomposed on the formal components or as an organic integer, inseparable with the personality of his author.
From the first point of view, I looked at the architectonics V. V. Mayakovsky, who wrote in the article "How to make poems?" On poetic work, creating a poem as a consistent conscious and rational selection of rhythmic, phonetic, lexical, syntactic and other units, formally relevant to each other. In his interpretation poetic creativity Reminds the design, in which the first quarters are first created, then, by its model, all the other, folding. Finally, together. Do not forget that such excessive attention to poetic art as "doing" is a tribute to futuristic aesthetics, which Mayakovsky adhered to.
The second approach involves the existential relationship of the author and its creation. Architectonics is a "body", the artisticity carrier, which disappears when the poem is destroyed, at least when quoting or retelling. In this sense, architectonics is not only a direct projection of the author's person in art, but also the act, the act of the author, its aesthetic individual action. Thus, it indicates that art is not just a description and perception (both receptive and perceptual) being, but also of its "puts" (term M. Hydegger) production.
Since the time of symbolists and their followers in art and science, the idea that art is not reflected in reality, but itself reality, and the works are the same facts of being as the phenomena of nature and civilization. In this sense, architectonics is the same as any fact of being taken in its separateness, on the one hand, and existence in the overall context of other phenomena and events, on the other. It makes up and thanks to the artistic truth allows you to perceive the implied value center - a person and his self-treatment in the universe. M. M. Bakhtin believed that the elements of the form and content of the work became the components of the architectonics only in the ratio with a person, with artistic times and space.
In a similar vein, I. A. Brodsky thought. The poet, developing, improves not only the possibility of his metric and rhythm (architectonics in the first meaning), but also the qualities of their own voice, asking in general. That is why in most cases the choice of metric verse structure has philosophical significance: "ideological" poetry of Demyan poor, the agitation verses of Mayakovsky or his own early poems. "Swan Stan" M. I. Tsvetaeva and others - all these examples of various architectonics arising from the unique self-sustaining of the poet in the language, cultural, social and other space in which it exists.
The unity of both approaches can be easily seen on the example of the sonnet architectonics. Being one of the "hard forms", which took on the functions of psychological, meditative, philosophical, intellectual lyrics, sonnet is characterized by steady structure. Fourteen lines, two cores and two tercets, an ordered rhyme system (its own for each national type of sonnet) are the features of its "stubbically-syntactic structure". There are also "high demands on the eufonic side of [verse], the quality of rhyme, vocabulary.
An example of the same kind - architectonics of the novel in verses "Eugene Onegin A. S. Pushkin. Here, the ratio of genre nature of the novel and poems, on the one hand, and the narrative (history of Onegin and Tatiana) and lyrical (lyrical retreats) began creating a complex structure of the author's "objective" presence. The author here is - and the narrator, that is, the hero, and the narrator, that is, an extraneous observer. Accordingly, between these two poles and the action unfolds, which is simultaneously the version of the author's inner biography, the life of the hero and the whole generation, the "panorama" and "encyclopedia" of Russian life.
Architectonics (from Dr.-Greek. ἀρχιτεκτονική - construction art) - Building artistic work. The term "composition" is often used in the same meaning, and in the application not only for the work as a whole, but also to separate items: the composition of the image, plot, stanza, etc. closely related, albeit a narrower concept in applying to art It is also a tectonics term.
Visible architectonics metro station Oriente, Lisbon
The term architectonics consists of two words greek origin: Dr. Greek. ἀρχι (Archi) is the main and other Greek. τεκτον (tektos) - build, erect that in direct translation means "main dispensation" (or the main structure). This word is absolutely single-sided with the words: Architect (in ancient-Russian, this word sounded as architecton, chief builder) and architecture (the basis of structure). In contrast to the two mentioned terms, architectonics - denotes the main (main) principle of construction and the overall system of relations between the individual parts of the composition of the artistic whole.
For example, in architecture (as the ancestor of this term) architectonics is the most important property The total composition of the structure, visible indicating specific gravity and the appointment of the main structural parts and individual materials, from which each specific building is built. The architectonics manifests itself primarily through a clearly pronounced membership and the ratio of parts of a whole work (or structure): both external and constructive.
It was the architectonik that forms the main impression of the perception of the object (which does not lose its importance even in the case of wildlife objects, which also have their own visible architectonics). Through wholeness exterior image Architectonics expresses the main compositional idea (or, in other words, constitutes the image of the object). This is what architectonics differs from the tectonics, which is only aesthetic embodiment of the carrying form of the structure and material.
Similar importance these concepts also have in painting, graphics, sculpture and literature.
In the application of K. literary creativity The concept of architectonics combines the ratio of parts of the work, the location and mutual relationship of its components (terms), forming some artistic unity together. The concept of architectonics includes both the external structure of the work and the construction of the plot: the division of the work on the part, the type of telling (from the author or on the person of a special narrator), the role of dialogue, one or another sequence of events (temporary or with a violation of chronological principle), introduction to narrative fabric of various descriptions, copyright arguments and lyrical deviations, grouping acting persons etc.
The arrivals of architectonics make up one of the essential elements of the style (in the broad sense of the word) and together with it are socially determined. Therefore, they change due to the socio-economic life of this society, with the advent of historical scene New classes and groups. If you take, for example, the novels of Turgenev, then we will find a sequence in them in the presentation of events, smooth during the narration, installation for harmonic harmony of a whole, important compositional role Landscape. These features are easily explained by both the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are built on completely different laws: the action begins with the middle, the narrative flows quickly, jumps, also notice the external disproportionality of parts. These properties of architectonics are also defined by the peculiarities of the image of the medium - the metropolitan meshness. Within the same literary style Acidectonic techniques vary depending on artistic genre (Roman, story, story, poem, dramatic work, lyrical poem). Each genre is characterized by a number of specific signs requiring a kind of composition.
The concept of architectonics is widely used in different types art. For example, in the literature and in music, this term denote the construction of the work as a whole, the relationship of the components of its parts and elements determined by the idea of \u200b\u200bthe work. In the same value, the term "composition" is used in the application not only for the work as a whole, as architectonics, but also to separate items: the composition of the image, plot, etc. Architectonics includes the ratio of parts of the work, the location and mutual relationship of its components that form artistic unity. The concept of architectonics includes both the external structure of the work and dividing it into parts, one or another sequence, grouping elements. The techniques of architectonics make up one of the essential elements of the style and together with it are socially determined. Within one style, the techniques of architectonics vary depending on the artistic genre; Each genre is characterized by a number of specific signs requiring a kind of composition. The concept of "composition" in art historian education, in painting and architecture means the connection of individual parts of the work into an artistic integer.
The condition for the existence of modern artistic works is a sensually perceived appearance, the presence of a mixerial and design features and features of the means of expression of the composition. It follows the division of arts into three large groups: spatial, temporary and space-temporary. The boundaries of these classification features are sufficiently conditional and can change with the appearance of new types of art.
Spatial arts master the world and transmit it in a material-shaped form, they are plastic, that is, with perceived vision, touch, such as sculpture, applied art. In the spatial art class, the image art language It is peculiar to painting, sculpture, graphics, photo art, which reproduces with different measure of reliability, the existing and visually perceived reality. An image of objects in artwork can be volumetric, three-dimensional (sculpture) or plane, two-dimensional (painting, graphics, photo art). A disassembled system is peculiar to architecture, applied art, industrial art, where visual-spatial forms do not imply analogies in real reality [PARMON, 1995]. A group of indifferent arts belongs to architectonic arts. This term identifies the forming principle, the structure of the artistic language, with which the artistic image is built, and also emphasizes the relationship of applied arts and design with architecture, in this group. In the group of architectonic arts there is a wide variety of materials used, and the scope of creativity is expanding due to technical progress. Large discoveries and scientific and technical achievements are reflected in new artistic forms and new formation technologies.
Interesting system Arts developed Bulat Mahmudovich Galeyev (1940), head of the Research Institute of Experimental Aesthetics "Prometheus" at the Academy of Sciences of Tatarstan and Technology
niche University. A.N. Tupolev. Picture modern artEspecially its experimental forms (light music, electronic and spatial music, light architecture, light design, abstract cinema, video art, laser and computer art, etc.), according to B. Galeev, it is necessary to consider with traditional art types. The author of the "Periodic Art System" divides all arts into four main groups that originate from syncretic art (Folklore): Fine, expressive, audible and visual arts. Architecture and ornament occupy an intermediate position between expressive arts (dance art) and spectacular art (Applied art and design).
All architectonic arts are bifunctional: perform utilitarian and artistic functions, and in assessing the aesthetic qualities of the works of applied and industrial art, their pronounced functionality is crucial. So, for example, in the middle of the XIX century in european countries There was a crisis situation in the field of aesthetics of formation item worldTo which the craft decline was affected, the gap between the meaning and form of objects, the inconsistency of the processes of the life of society and the products produced, the repetition of obsolete forms in new products [Mikhailov, 2002]. There was a need to search for a new form formation based on other aesthetic principles that meet the peculiarities of technology of developing machine production. Gottfried Zemper (1803-1879), the German theoretical architecture and industrial art, set the question of the principal unity and interrelation of architecture and applied arts. In the work "Style in technical and tectonic arts, or practical aesthetics" (1860-1863) Zemper conducted a study of historical laws of formation in art; The author argued the idea of \u200b\u200bthe dependence of the form from the function, material and technology to create a work.
The obligatory property of the architectonic products of a high aesthetic level is their originality. The form of a new product should have its own, individual unique appearance. The tasks of the composition should be solved every time, as many times have seen solutions are perceived as unsuccessful, outdated. On the other hand, the unusual solution should not move into uncertainty, in violation of informativeness, the truthfulness of the form. Composite decision It is developed taking into account the development of fashion and is somewhat ahead of fashion, thereby raising consumer tastes. The architecture, the visual and applied arts of the 20th century perceived all the greatness of the past and on the basis of its achievements created their traditions. At the heart of all projects XX - NCH. XXI centuries. One idea of \u200b\u200bform is laid - I look for dynamic overcoming the strength of the earthly attraction, the severity of the subject, staticness.
As already noted, the subject of the study is the architectonics of the on-screen adaptations of literary works. To begin with, it is necessary to decide on the terms - what do we mean by architectonics in this context?
The word "architectonics" came to us from architecture. "Architectonics" (Greek - ArchitektoKe) - construction art. According to Intellular dictionary Ushakov, "Architectonics:
- 1) organic combination of parts in one slender integer (architecture), location of parts, composition of some artistic whole (art.), Architectonics of the novel, story;
- 2) Department of Geology, studying the structure earth crust, Location of its elements (Geol.). "
Literary encyclopedic Dictionary tells us that architectonics is "the external construction of literary constructions as a whole, the relationship and the ratio of the main components of its parts and elements."
"The concept of A. is included as an external structure of the work, so building a plot: dividing the work on the part, the type of telling (from the author or on the person of a special narrator), the role of a dialogue, one or another sequence of events (temporary or with a violation of chronological principle), Introduction In the narrative tissue of various descriptions, copyright and lyrical deviations, grouping of actors, etc. ".
In a scientific environment, the concept of architectonics is opposed by the composition or is considered to be part of it. As noted by M.S. Kagan in the "MiFology of Art", "The advantages of this term are that he, firstly, reveals the underlying formative principle, structural dominant of the artistic language - aesthetically significant ratio of plastic elements, of which artistic image is built." Such a principle of organization of form as architectonics, has a greater versatility compared with the principle of composition, since "in addition to the composition, expresses a multidimensional structure of the work, emphasizes the complexity and multi-levelness of the structure of the form of the subject, whether it is flat or volumetric."
Thus, we deliberately divide the concept of composition and architectonics in the context of our research. While the composition is focused on the structure of the work itself and reveals the artistic function of the reception or element, the architectonics focuses on the relationships of the structural elements, is the formal-technical side of the multi-level work.
What structural elements can we allocate in the architectonics of the screen? Their set. These are types of conflicts between characters, timing and types of scenes and episodes (dialogue, action, exposition, landscape, etc.), mounting gluing and the presence of drama transitions between scenes ("Cliffhengers"), "Attraction" effects and emotional tensions of narration in Overall, the volume of the information coming to the viewer, all sorts of audiovisual and technical techniques, on which we will not stop in detail. In this study, we are going to focus our attention on two key elements of architectonics, which causes the power of the impact of the screen work on the audience is a dramativersity and installation. As the cornerstone of the dramatic construction of the work, we will consider conflicts between the main actors of the work and the so-called. "Attraction" effects that will be discussed below. The main components of the installation are the sequence of frames and scenes in the screen and connection between them, as well as their duration (timing).
All the masters of dramaturgy, as one, in their instructions and textbooks agree that the main driving power Any story is conflict. The author of the most famous work on the art of scenarios R. Makki in his "History for a million dollars" writes: "When the main character It goes beyond the encouraging incident, he comes into the world, where the law of the conflict rules. This law says: in history, the movement occurs only through the conflict. " Under the conflict of the maestro understands the fundamental difference between the actors in worldview, motivation, purposes and means of their achievement. This difference is so incompatible that they act as the mechanism of the whole story and push it forward, just as the steam drives part of the steam engine. Macca divides conflicts for three large subgroups: internal, interpersonal and external (extravalnutic). Such a division has long become classic. All three types of conflicts correspond to the main types of plot - archisticuum, mini-plot and antisheustea, affect the genre of the work and form the so-called triangle of history (Fig. 1).
Fig. one.
The extravaluity conflict arises when a hero encounters with phenomena that do not find incarnations in a particular person are large social shocks (war, revolution), natural disasters (fires, earthquakes), society, circumstances, fate, evil rock. IN pure form We see this type of conflict in epic works (for example, "Iliad" and "Odyssey" of Homer).
Interpersonal conflicts are massively found in the so-called. mini-plot. The interests of the hero are faced with the interests of other characters, personalities. It can be family quarrels, conflicts in love and friendly relations, conflicts between the boss and subordinates and so on. In its pure form, this type of conflict dictates a certain genre is a melodrama.
Finally, we have internal conflictWhen the hero joins the fight with its "internal demons" - it can be flavored, bad memories of childhood, complexes and weaknesses, etc. In one degree or another, the internal conflict can be traced in any serious work of art, but there are genres in which the internal conflict is nominated for the forefront, and all other conflicts remain in the shadows or are not at all. For example, when all the action takes place in the brain of the hero, even interpersonal conflicts Can be perceived as part of the internal. Most often, such techniques are used in the so-called author's cinema (or arthus).
It is worth noting that this is the most common classification of conflicts, but not the only one. Thus, the playwright and script doctor William Indik divides conflicts on the principle of belonging them to the main psychotherapeutic teachings of the last century, according to Freud, Yunga and other masters of psychoanalysis. It highlights the neurotic, regulatory, archetypacy, existential conflict and conflict based on the complex of inferiority. However, with certain reservations, this classification also fits into the theory of MSC.
Such division is characteristic of any type of art, which is based on the text - for literature and cinema, including. In this case, we can even argue about some continuity, because initially cinema has developed precisely on the basis of the accumulated literature of experience. Let's say historical novels Over time, turned into a skipopopic, and love novels - in melodrama. In his "movie theory" S.I. Freilich stops in detail about this and quotes the literary critic M. Bakhtin: "The genre is reborn and updated at each new stage of the development of literature and in every individual work this genre. In this life of the genre. Therefore, the archaic, persistent in the genre, is not dead, but always lively, that is, the archaic can be updated. The genre lives hereby, but always remembers his past, his beginning. Genre - Representative creative memory in the process literary development. That is why the genre is able to ensure the unity and continuity of this development. That is why for the proper understanding of the genre and it is necessary to rise to its origins. "
We will talk about this very lively archaic and origins of the genre in more detail below, disassembled specific examples of the shields of Russian classics. As the same Robert McKea noted, "the choice of genre establishes clear boundaries of the possible, since the structure of history should take into account the knowledge and expectations of the audience." And on the genre directly affects the type of conflict in the work.
Composition - sequential location of parts in the work.
Parts of the composition are highlighted on the basis of:
· Idean-thematic community
· Status completion
Types of compositions:
· Lyrian
· Narrative
· Dramatic
Structure of the composition:
· Blocking (consistent)
¾ Monoblock (Single Test)
¾ doubles
¾ Trisostavna
¾ Polysosta
¾ cyclic
¾ Mirror
· Centripetal
¾ story in the story
¾ novel in letters
¾ story story story
¾ assembly
Depending on the product genre, it is dominated by the specific methods of image. Each work has its own unique composition. Some traditional genres Inherent composition canons.
Types of composition:
· Free (no limited). common topic, you can insert or remove the cycles ( cyclic composition)
· Tough (block, centripetal)
Communication composition and content.
There are 2 main points of view:
· Composition and plot are not connected. The composition is a frozen structure, and any content may be invested in it (for example - ode, where the structure is fixed, and the content can be any)
· Composition and plot are closely connected. The structure itself is meaningful, carrying a certain plan of the author (for example - a hero of our time)
The compositions in different epochs were different:
· Antiquity, Middle Ages - the hard canon is important
· Baroque - free shape, broken composition
· Classicism, sentimentalism - strict form
· Modernism, symbolism, early 20th century - free shape, complex construction
Structure levels:
· Macrotructure- Hard parts (blocks)
· MediDructure - consideration of 1 blocks in detail
· Microstructure - specific components of individual parts
Types of composite ties:
1. Idean-thematic
2. Figure
3. Scene
4. Spatio-temporal
5. Stilia
Scene-composite ligaments:
· Motivated - plot detail mentioned in the previous part and helping the development of action in the next part
· Unmotivated (mechanical) - plot part, a little connected with content, formally serving for communication parts of the work.
· Ring
Additional composite components:
· Introductory episodes
Architectonics - This is the construction of a artistic work, its overall external form and the relationship of individual parts.
The concept of architectonics is close to the concept of composition in the literature, but there is a distinction between these concepts. "Composite" study of the work comes down to the study of individual parts to establish the nature of the whole and back.
Architectonics requires strictest attention, first of all, to the ratio of parts (even without reference to their inner value), because, otherwise, the construction will turn out to be unsubstantiated.
So, despite the seeming "bulky", the best creations of Dostoevsky by architectonics are flawless. Numerous characters of his novels are "installed" so hard that individual moments are firmly connected and mutually necessary.
One of the external manifestations of architectonics of the work can be considered a breakdown of the work on chapters, actions, etc. Architectonic connection between the chapters is usually established by the fact that the new chapter introduces some new member of the storyline.
But sometimes the breakdown on the head of the work discovers its architectonic meaning in a different way. So, for example, the "Sorochin Fair" of Gogol consists of 13 chapters; Of course, of course, that the strength of their coented and the architectonics of the work as a whole along with other points is due to the value of 13, as the "thistle number", that is. due to the overall installation of the work on the intervention of the imaginary trait.
Detail in literature
Material culture As a combination of objects created by a person, is part of the world of work. However, for the designation of objects depicted in the literature. Culture does not have a single term. By the creation of the "long-lasting days" you can reconstruct the mat. life.
Changes in human relationships and things in real life:
1. In the dawn of civilization thing - the crown of human creation, the testimony of wisdom and skill ("White Chambers" and their decoration; fabric, for the cat. "Pattern Chiter"; magnificent female bowls).
2. For the subjects of the mat. Cultures as the achievement of the human mind - the era of enlightenment ("Robinson Cruzo" - anthem labor and civilization).
3. LIT-RA 19-20VV - a) the man-master is still honored, the objects made by skillful hands are applied. b) mat. the value of things can obscure a person, he is assessed by society by how much expensive things possesses.
4. In 20V. - The struggle against the thing is the slave dependence of people from the surrounding things. With the development of technology, the range of things depicted in the literature (the giants plants, the hellish punishing machine - will fix the colony ").
The functions of things in lit-re:
1. Cultureological (Roman-journey; Historic Roman) - in a synchronous cut presented various worlds (National, Susor, Geographical, etc.).
2. Characterological function: in " Dead souls"The" intimate relationship of things "is shown with its own owners).
3. South-composite: handkerchief in the tragedy "Othello". The world has its own composition (active in detective genres).
Signs of this or that way of life, things protrude mainly in the world. works, in particular in "physiological essays", in science fiction.
Artistic detail - The smallest unit of the objective world of the work (FR. Detail - "Small Sost. part"). The artistic (subject, figurative) world of the work is a metaslovenic (abstrapy, generalized) measurement of the literary prn. The most important category Hood The world is an image (i.e., reproduce items in their integrity, individual). To Hood. Details include: life, landscape, portrait. Trails, techniques, speech figures to d. Do not belong. (Traditional)
The detailing of the objective world is inevitable (this is not decorated., And the essence of the image). The item, replaces the whole in the text, causes the reader the necessary associations (concretization of production by the reader). Selecting, inventing more, written. "Rotates" the provision. to cheat. Def. Side (in "Sl. about the regiment I." Nature - a participant of the campaign, patronage. Not Rusych). Taste to d. Comm. All art-in. Homer resorts to described. barely noticeable trifles. Deliberate delay of action. - Retardation.
The degree of image detail m. B. Motivated spaces. and / or temporal point. Zren. saying (A. Fet: "Only in the world and there is that shady / dormant maples tent. / Only in the world and there is that radiant / childish thoughtful eyes. / Only in the world and there is that fragrant / cute head of the junction. / Only in The world is this clean / left running sample. "Elevation. Women. Portrait of Creation. With Pom. D., to follow, Gradac. K-ryy hung. From aimed. View of Lyrich. Subject).
Classification. D. Repat. Structure subject. World: Event., Actions Character., Their portraits, psychological. and speech. Har-ki, landscape, interior, etc. Something like D. maybe there may be no absence. The convention of the world.
A. B. Esin allocated three groups d.: Scene., Descriptive, psychological. (typologist. By style). Pre-Balad. k-l type Porn. appropriate. Property, or Dominant: "Scene" ("Taras Bulba"), "Descriptive" (" Dead Souls"), Psychologist (" Crime and Punishment "). These sv-va may not say. friend dr. Detail vol. sv. Funkry Fully only in metaslis. Text (where a row, to last, Rolling D.). And / or opposition to the details. For example, the children's, the foolish smile of Pierre Probrova and a smart, observant look - for a thick. Pierre's smile ("Heart Mind") more important than his opinions ("mind mind"), which will change. Portrait dynamics: gestures, Mimica, change. Skin colors, shiver, etc. (which is not always suspended. Consciousness) - We can dramatically dispersed with letters. The meaning of the speeches of Ger. "Spore" plot. and psychologist. Detailed. - Affective novels. "Ensemble" of the details of the CRED. Natural. I was impressed. ("Cabinet / Philosopher in the Maskommnety Years" - "E. O.").
E.S. Kychov - typology. D. by Criter. Unity / Multiple: "Details" - impact. In a plurality, extensive, "details" - for one-tie, replace a number of details, intense (carnine ears, hair curls on the neck of Anna, a short upper lip with a little princess of Bolkonskaya, radiant eyes of the princess Mary, etc. ). Not easy specific traits, and what hints at a certain contradiction in the subject. And she is expressive, i.e., with the right reader, the reader is attached to the author's value system (for example, a short sponge with Washa Bolkonskaya uglies, first character. As "its special, their own. Her beauty" will soon cause themselves. (And a . Bolkonsky) Unprofitable Zoologiche's heroine. Assoc.: "... Sponge rose, giving the face is not joyful, but a brutal, Belich expression").
Detail:
but. contributing into the image of the dissonance. ("Accent" d. - Term. Shklovsky), im. Cognise. . (allowed. Carefully supervision. To the Item): Two armchairs Manilov, committed "just a root" and issuing. In it, non-showers - "Do not sit down<…>They are not ready yet. " When Such a d. - hyperbole: a bicycle from the "man in the case" (Czechs), the Volyaka frightened, frightened Belikov, frightened. Violation of the norm, element of unexpected, hyperbolization. Feeling "Intensity" of such D., rated "Loads" on it, about the foil writes kissing.
b. Signing d., contrasting. with common. Background, abilities. Compositions. Receptions: Reints, " close-up"," Installation ", retreet, etc. Repeating and envelope complement. The meaning, D. becomes the motive (leitmotif), often grows into a symbol. Explained. Har-Ra (in Idiota, the strange skill of Myshkina imitate the handwriting of the reproduce styles of the letter of the letter to the main talent of Myshkin: understanding of different Har-B, different. styles have been behavior.
in. Symbolism. D. m. B. made it. In the title Prom: "Gooseberry" Chekhov, " Easy breath»Bunin (the unity of artistic whole, the author's presence in the composition).
Details (by Konov) closer to the sign than to the symbol (call. Joy of recognition, excite. Chain Associate. - You can judge the fascinated. Onegin on the basis of it. The decoration of his cabinet, nes-to-to-margins of replacements. Les. Description: "... and Lorda Bairon portrait, / and a column with a cast iron doll / under a hat, with a cloudy man, / with hands, compressed cross."
Details help with reconstruction. Life, life, tastes common, distant from us.