To the question what is the artistic world? Posted by the author Neuropathologist The best answer is " Artistic world "It is one of the central categories of literary studies. This phenomenon was considered in detail D. S. Likhachev, F. P. Fedorov and other literary critic. So, for example, F. Fedorov gives next definition this term: "The artistic world is a system of universal spiritual relations concluded in the text having aesthetic value, the" inner form ", which is built by the" external form "- a speech system if we are talking On literature. The artistic world, as was also indicated by Aristotle, there is a "imitation" (editions of the epic, tragedies, as well as comedies and diffirabs .. - This is generally nothing more than imitation), there is a reflection of the objective world, reflected indirect if Foundation artistic task A regulatory function was laid (the design of the norm implies knowledge of the reality, which one or another norm will push), or the reflection immediately, if the cognitive function is based on the artistic task (the study of reality in all its forms and patterns). "" However, Fedorov notes, - the artistic world is not only the reflection, but also the concept of an objective world, its estimate of its version; The reflection of reality in art is impossible without its assessment, without taking into account the system of prevailing ideas; The artistic world is a picture of the world that pretended in the artist's consciousness ... "" The artistic world of the work reflects not an objective world as a whole, but only its local, "chosen" part, this is a "abbreviated" world; But being "abbreviated", the artistic world is a model of the world as a whole, where a part is isomorphic to whole: "Each individual text simultaneously simultaneously and some private and universal object." It follows that the artistic world, being a kind of "second reality", on the structure of its integral from reality objective, is a certain system; All of its components are interrelated, interact, perform strictly defined functions. "" The fact that the artistic world is characterized by the systemality, testifies to him as unity as an artistic whole, as about the world. "And then the author writes:" The artistic world, being a "infinite clutch labyrinth", existing as a system like " Integrity, "not there is a fixed, static; this is dynamic systemwhich is committed continuous change, the purpose of its having construction "integrity". In a sense, the artistic world is a system of a growing organism. And finally, last: the artistic world, like the world is objective, inexhaustible; The recipient, perceiving the world created by the artist, at the same time creates this world; The artistic world as a system of spiritual relationship is created not only by the author, but also by the reader, the audience, the listener. I understand the history of the perception of space and time in the European Consciousness, Fedorov writes: "From the point of view, ascending to Platon and Democritus and the concentrated expression received by Newton, space is emptiness accompanying matter, and time there is something that "proceeds evenly", "without any relation to something external", that is, as something that does not depend on any space, nor from matter. Not only in science, but And in the European consciousness as a whole, until the twentieth century, the Newtonian position was dominant that in relation to the artistic world was manifested in the understanding of space only as actions, and time - as duration of action. Such an understanding did not led to the understanding of the essence and functions of space and time in artistic The world, practically excluded them from the register of literary critual categories. "The subjective space-time of the artist, embodying The artistic world created by him becomes the form of the existence of this artistic world, determines its structure.

Ticket. Specificity fiction as a type of art. Word and image.

As part of works of art, two aspects are elected. This is the "external material work" (M.M. Bakhtin), often referred to as the artifact (material object), i.e. Something consisting of paints and lines, or from sounds and words (pronounced, written or stored in someone's memory). And the aesthetic object is a set of what is fixed materially and has the potential of an artistic impact on the viewer, the reader. In some of its qualities, an external material product is neutral to aesthetic object. But the artifact partially enters the aesthetic object and becomes an active factor of artistic impression.

Peace artistic creativity It is not solid: it is intermittent, discretened. Art, according to M.M. Bakhtina, with the need to disintegrate "into separate, self-sufficient, individual integers - works", each of which "takes an independent position in relation to reality."

The most important form Blurring borders between literary works is their cyclization. The poet of his poems in the cycles (widely extensive in the XIX-XX centuries) is often becoming the creation of a new product that combines the created previously. Speaking otherwise, poems cycles become like independent works (Block - "Poems about beautiful lady", In prose -" Notes of the Hunter "I.S. Turgenev.)

Artworks (in particular, literary) are created on the basis of a single creative design (individual or collective) and appeal to their comprehension as some unity (semantic and aesthetic), and therefore possess completeness. They are some ultimate reference: no "postavatorial" transformations, finishes and remakes are not subject to. But the author may again and again contact the already published text, refine it and process it.

IN theoretical literary studies With the allocation of two fundamental aspects of the work (a dichotomic approach where the form and content is distinguished) and other logical constructions are widely. So, A.A. Slebnays and his followers characterized three aspects of art creations, what are the external form, the inner form, the content (in the application to the literature: the word, image, idea).

An important principle artistic activities: Installation on the unity of content and form in the works created. Completely implemented unity of form and content makes the product organically holistic, and not dissolute (mechanical) designed.

In the artistic work, the formal-meaningful and meaningful and meaningful are distinguished. As part of the form carrying the content, three sides are traditionally allocated.

1. Proposal (objective and fine) beginning ", all those single phenomena and facts that are denoted by the help of words and in their totality make up the world artistic work

2. Due to the verbal fabric of the work: artistic speech, often fixed by the terms "Poetic Language", "Stylistics", "Text".

3.Ceatibility and location in the work of the units of the subject and verbal "rows", i.e. Composition \u003d Structure (the ratio of elements of a complex organized subject).

A special place in the literary work belongs to a substantive reservoir. It is legitimately characterized not as one more (fourth) side of the work, but as its substance. Artistic content It is the unity of objective and subjective began. This is a combination of what came to the author from the outside and it is drawn up, and what is pronounced and comes from his views, intuition, the features of individuality

ticket. Inner world literary work.

World of literary work - This is recreated in it by speech and with the participation of fiction object. It includes not only material data, but also the psyche, the consciousness of man, the main thing - its own as spiritual and bodily unity. The world of the work is reality as "real" and "personal". In literary works, these two started at night: in the center there is not "dead nature", but a reality is lively, human, personal

The world of the work is an integral face of its shape (meaningful). It is located between the actual content (meaning) and the verbal cloth (text).

Essential properties The world of the work is his non-primary reality, the participation of fiction in its creation, the use of writers not only by life-like, but also conditional images of the image. In the literary work, they reign special, actually art laws.

The world of the work is artistically mastered and transformed reality. It is multifaceted. The largest units of verbal and artistic world characters that make up the system, and events from which plots are composed. The world includes, further, what is legitimate to name the components of the image (artistic subject): acts of behavior of characters, the features of their outfit (portraits), phenomena of the psyche, as well as the facts of the people around the people (things submitted within the interiors; pictures of nature - Landscapes). The small and indivisible link of the artistic subject is the unit details (details) of the depicted, sometimes clearly and actively allocated by writers and observing relatively independent significance.

1.The character - either the fruit of a pure fiction of the writer (Gulliver and Liliputa at J. Swift; Major Kovalev's nose lost by N. Gogol) ", the result of the appearance of the appearance of a really existing person (be it historical Persons or people, biographical to the writer, and then he himself); The result of processing and completion of already known literary heroes (Faust, Don Quixote). It is a subject of depicted action, an incentive of deploying events constituting the plot and, at the same time, has a significance independent, independent of the plot (event series): it acts as a carrier of stable and stable properties, features, qualities.

Several types of characters stand out:

1. Adventurous heroic super thump ( heroic Epos.) - tend to actively participate in the change of life provisions, fight, achieve, win, kinda chosen one or the impostor, the energy and strength of which are implemented in the desire to achieve some external goals. (ENEY)

2. Liode-idyllic (medieval lives) - are not involved in any struggle for success. They are in reality, free from the polarization of good luck and failures, victories and defeats, and at the time of the tests are able to show resistance, leaving the arts and impasses of despair. (Peter and Fevronia, Prince Myshkin).

3. Negative super thump and incarnations of certainly negative traits either the focus of the meal, depressed, failed humanity.

There is a distance between the character and the author. She takes place even in autobiographical genrewhere the writer since some time distillation is comprehended life experience. The author can look at his hero as if from the bottom up (the lives of saints), or, on the contrary, from top to bottom (works of an indifferent-satirical nature). But the situation of the essential equality of the writer and the character (Evgeny Onegin) is most deeply rooted in the literature.

3. Portrait - This is a description of the outside: bodily, natural and, in particular, age properties (features of the face and figure, hair color), as well as all that in the guise of a person, which is formed by the social environment, cultural tradition, individual initiative (clothes and decorations, hairstyle and cosmetics). The portrait can also be recorded also characteristic of the character of the television and poses, gesture and facial expression, the expression of the face and eyes. The portrait thus creates a steady, stable complex of the "external person".

The portrait of the hero is localized in some one place of the work. It is often given at the time of the first appearance of the character, i.e. Exposure. But the literature knows a different way of administration portrait characteristics into text. It can be called leitmotable.

4. Forms of behavior - A set of movements and poses, gestures and facial expressions, pronounced words with their intonation. They are in nature dynamic and undergo endless changes depending on situations this moment. However, the basis of these fluid forms is "stable, stable, which is legally called behavioral installation or orientation.

Make up one of the necessary conditions for interpersonal communication. They are very heterogeneous. In some cases, the behavior is destined to tradition, custom, ritual, in other, on the contrary, clearly discovers the features of this person And his free initiative in the field of intonation and gesticulation.

The forms of the behavior of the characters are able to acquire a semiotic character. They often appear as conditional signs, the meaningful content of which depends on the agreement of people belonging to one or another socio-cultural community.

The meaning of the term "literary work", central in science on literature, is self-evident. However, it is not easy to give him a clear definition.

Russian dictionaries5a characterize a number of meanings of the word "work". For us, one of them is important: a product as a product of non-mechanical human activity, as an object created with the participation of creative efforts (whether it is fixation scientific opening, the fruit of the craft or the statement of a philosophical or journalistic nature, or, finally, artistic creation).

As part of works of art, two aspects are elected. This, firstly, the "external material work" (M.M. Bakhtin), often referred to as artifact (material object; Lat. ARTEFACTUM - artificially made), i.e. Something consisting of paints and lines or from sounds and words (pronounced, written or stored in someone's memory). And this, secondly, aesthetic object is a set of what is fixed materially and has the potential of an artistic impact on the viewer, a listener, reader. Artifact, according to Ya. Makarzhovsky, is an external symbol (sign) of aesthetic object. The work of art is a non-historical unity of aesthetic object and artifact. Aesthetic object focuses on the essence of artistic creation, and the artifact makes it accessible to perception.

The aesthetic object is correlated with the artifact in different ways. In painting, sculpture, architecture, artistic literature and cinema, the external material work is always equal to itself. It is fully stable and does not tolerate the transformations, they exclude them from the threshold. Otherwise it is the case in the so-called performing arts, in folk synthesis, theater, music, where the aesthetic object is fixed (only with relative fullness) in scenarios, libretto, music records, as well as in the memory of the performers and each time it is embodied (materializes) somehow A new way: uncommunically, initiative, creative. Speaking otherwise, the artifact in such a "kind of works is not equal to itself, subject to endless changes, variatives. In the XX century Creations of performing arts are often fixed in audio and video recordings. Thus, their artifacts acquire stability and complete preservation, which are characteristic of movies, picturesque canvas, literary works. But in situations of direct contact of the artist artist (be it a pianist or conductor, dancer or artist dramatic Theater.) With the public, the external material product is modified, and in optimal versions is updated. And outside this dynamics, the existence of performing arts is unpredictable.

Creations of art, further, are linked both from each other and from the extraordinary reality (in the theater, for example, the ramp effect is clearly indicated, as well as a clear fixation of the moments of the beginning and the end of the performance). Speaking by the language of philosophy, the world of artistic creativity is not continuous, it is not solid: it is intermittent, discretened. Art, according to M.M. Bakhtina, with the need disintegrates "into individual, self-sufficient, individual whole - works", each of which "occupies an independent position in relation to reality." The boundaries between the works at the same time do not always have completeness of certainty. Sometimes they turn out to be movable, to some extent even blurred.

The most important form of erosion of the boundaries between literary works is their cyclization. The poet of his poems in the cycles (widely extensive in the XIX-XX centuries) is often becoming the creation of a new product that combines the created previously. Speaking otherwise, poems cycles become like independent works. These are the "poems about the beautiful lady" by A. Blok, "ash" A. White, "by grain" ll. Khodasevich, "Second Birth" B. Pasternak, "Northern Elegia" A. Akhmatova. Cycles also have prose. Recall "Evenings on the farm near Dikanka" N.V. Gogol or "Hunter's Notes" I.S. Turgenev. The cyclization of stories and stories may be associated with a double authorship, a vivid example of this - Pushkin "Tale of Belkin". What is the "stationeer" in the composition of Pushkin's creativity? Independent work? Or is part of the work called "the story of the late Ivan Petrovich Belkin"? Apparently, legitimate (though incomplete) would be positive answers to both questions. The story of Vyrina, Duna and Minsk is at the same time a complete work and part of the more tank of the artistic integrity of the -Pushkin cycle of five stakeholders plus the preface of the publisher. Part of the artistic creation, on the other hand, can be separated from the whole and gain some independence: the fragment is able to receive the features of the work itself. Such is the verbal romance fabric P.I. Tchaikovsky "I bless you, forests" - one of the episodes of the poem A. K. Tolstoy "John Damaskin". A kind of artistic independence gained a lyrical retreat of bird-triple (from Gogol's "dead souls"). It is not necessary in the literature of the work in works, which also receive independence in the consciousness of the reading public. Such is the famous "Anthem of the plague" in the last of the small tragedies of Pushkin-Fishing, composed in a short-term rustling of Wallsing and sometimes incorrectly considered as a direct expression of Pushkin feelings and thoughts. A similar role in criticism, literary criticism and consciousness of the reading public found ("With a light hand" V.V. Rozanova), a poem "Great Inquisitor" poem, one of the episodes of the last novel F.M. Dostoevsky. Artwork works (in particular, literary) are created on the basis of a single creative design (individual or collective) and appeal to their comprehension as some unity (semantic and aesthetic), and therefore they have completeness (or at least it is directed to it). They are some ultimate reference: no "post-authorous" transformations, finishes and remakes are not subject to. But the author, while he is alive, can again and again contact the already published text, refine it and process it. So, L.N. Tolstoy In the 1870s intended to return to work on the "war and the world" and eliminate some philosophical and historical arguments from the text, but did not carry out his intention. It happens, then that the author publishes text that does not fully respond to his creative intent, his artistic will. So, A. S. Pushkin noted that he "decided to release" from his novel "Excerpts from Onegin Travel" "for reasons important to him, and not for the public." In this regard, the literary critic about the text of the text of the Great Pushkin Creation and the Principles of His Publications is not easy: there are "excerpts" (as well as the "Tenth Chapter", which has survived in sketches, moreover, encrypted) inherent in the romance in verses or it is its "side A branches ", which please publish only in scientific publications as publishing notes? And finally, some works have copyrights: (148) Publications different yearsExercised by the writers themselves, sometimes they differ sharply from each other. Bright example Tom - Roman Andrei White Peterburg, existing as the fact of the history of Russian literature XX century. In two different author's editors. Several options have the Lermontov poem "Demon", during the lifetime of the poet not published.

It happens that the writer continues to bring to the end of his life until the completion is mainly written by the work, polishing him and improves ("Master and Margarita" MA Bulgakov). A number of illustrious creations will be not fully implemented creative ideas (" Dead Souls»N.V. Gogol, in the XX V.- Roman "Man without Property", the main life of R. Muzil). Literary work (with all that it is uniform and solo) is not homogeneous monolith. This is the subject of multi-faceted, having various faces (parties, perspectives, levels, aspects). Its composition and structure, often very complex, are characterized by literary criticized by a number of concepts and terms to which we turn.

Reality, created by the artistIt is sometimes so thin and elusive that it is not so easy to give it an adequate definition. However, every little bit thinking reader, and it is here, first of all, about literary ways to create worlds, faced with her. Moreover, it does not matter, the base has a focus, or a high-quality product. In both cases, we turned out to be loaded into the artistic world of the work, which will be discussed in a small material on an accelerate theme. Yes, do not explore the Vedo Professional.

Artistic world

Let us try to define this elusive substance, followed by dear writers and all overwhelmingly on the Niva. Russian literary critics refer to a wonderful philologist, who has substantiated this concept at one time. Talk about Likhachev Dmitry Sergeevich. Introduced by B. russian term Indicates reality, or objectivity, as noted by the author itself, created by speech and a certain fraction of fiction.

So, the artistic world is something created on the verge of content (the meaning of the work) and its verbal fabric. There is necessarily the presence of active and passive started. For the first one is answered, for the second is the rest of the universe in all its diverse manifestations. The world of the work is artistically treated with the help of fine reality, subject to the laws of verbal art.

Compound

The inner world of the work includes several of the most important components. We list the main:

• characters combined by the author to a certain system;
• their behavior;
• mental activity;
• external data;
• event series forming a storyline;
• characterization, including landscapes, interiors, etc.;
• the diverse details of the depicted: the author's accents, metaphorical language, multi-level subtexts, etc.

Not so much, at first glance. However, the simplest analysis only emphasizes how deep the world of the work can be.

Conclusion

The ability of the author by several strokes to convey an incredible depth fascinating. Especially the sophisticated reader. Artistic World in Literature - Infinity, created Multiple, small portions, details that build a real, fictional, but incredibly real universe. This is the true talent of the creator. This is an art.

Literature Grade 6. Textbook - Reader for schools with in-depth study of literature. Part 1 Collective of authors

What is the artistic world

What happens to man when he opens a book to read a fairy tale? He immediately falls into a completely different country, to other times, inhabited by other people and animals. I think you would be a lot of surprise, seeing the snake Gorynych even not on the street of your city, but in the zoo cage. I imagine what it would be with you, if during a walk in the forest in front of you appeared jumped from the swamp frog and turned to you with a question: "What time is it?" But in the fairy tale, the appearance of dragons and speaking amphibians do not bother you at all. "Of course," you say, "this is a fairy tale." Yes, you are right, in a fairy tale, anything can happen. But did you think about the question why the storyteps are available to such a liberty, and a writer telling, for example, about schoolchildren's life, seeks to build a narrative, so that much is recognizable? Are there any rules on which the possibility of use by the writer's life-like and fiction depends (I hope you remember what these words mean, because I introduced you to them back in the fifth grade)?

Before answering this question, I will offer you a simple task. Tell me, please, will you come into mind loudly stuff in mathematics lesson? Stay the game in Zhmurki at the metro station? Arrange soccer game in class? Of course not. And why? Causes, if you think, completely different. It is impossible to sing because you interfere with working others. Playing in the bricks in the subway or at the railway station is dangerous. And in football in the class, it is simply inconvenient to play. In the same way in the literary work, there are its own rules: its space, its time? E borders and much more inherent in this work.

Opening the book, you get in the artistic world of the work. This world is subject to the will of his creator - the author who creates him, giving the will of his fantasy, but observing the laws of verbal art. The author is subject to much. He creates special artistic space, which limits the work. Remember, in the "Mechanics Salerno" B. Zhitkov artistic space is one steamer. This space can be very similar to some particular geographical location, or have the most common signs of some place (such a forest, as in " Forest king"V. Zhukovsky, maybe in Germany and in Russia, in America), or to represent a fully fictional city in a fictional country (" City of Masters "T. Gabbe).

The artistic world of the work and is similar, and does not look like real. It has its own, special time. For example, blasting in fairy tales may be immortal. Time in the artistic world, it flies with amazing speed, then as if it stops and freezes. The heroine of the fairy tale about the formation - the seven pairs of iron shoes during their wanderings, while reading one page of this work. And all the contents of the familiar novels "Flagschonok" E. software is placed in several hours. This is because in the invented world there are very special hours, whose arrows can, for example, start rotating in reverse sideWhen the hero or author remembers what was before. The time of the artwork is subordinate not to the laws of nature, but by the author's plan.

The fact is that when reading the work, a person becomes a member of the described events, so he perceives them as if they concern him personally.

The writer helps the reader to penetrate the art world, creating artistic images which are not affected by the mind, but on the reader's feelings, the imagination is activated. In order for reading the visible paintings of the art world, used fine remedies literature, and so that the reader felt like a member of the events occurring, used expressive means, Awakening personal relationship reading to what is happening.

The writer has many fine-expressive means, with some of them I will introduce you to this book. Funds these author draws from native language, and the Russian language has rare poetic capabilities.

The lexical capabilities of the language allow the author and draw bright picture, and pass the character of the character, and express your attitude to this character. Think myself, an ordinary horse can be called the "hill", "horse" or "klyach". Hearing each of these values, you will imagine different animals, although they will all be horses. If the character is called "hero" - this is one, and if "not like" is quite another. It is clear now that I meant when I said that the word in the literature not only calls a thing, but also characterizes it, expresses the author's attitude towards him?

Sometimes the author is not satisfied with the name of the subject or character, but gives it a definition. The definition may be logical, that is, simply indicate some sign of the subject or phenomenon. For example, when a horse is called "chrome", then simply indicate its physical disadvantage, but if the horse is called "Bogatyrsky", then it is not only about his strength and endurance. You imagine a beautiful animal, although you did not give it descriptions. That artistic definition called epteatom - This is a very common fine-expressive agent. Often in verbal art uses the multivalousness of words. All words used in portable meaningCalled trails. You often use the trails in your speech, although you do not think about it. Do you know that artistic comparison - One of the most common paths? Remember, in the Ballade M. Yu. Lermontov there are words: "The French moved like clouds." Did you pay attention to how accurately and figuratively reports the poet the perception of rolling enemy troops?

Another equally common trail is called a metaphor. Metaphor - This is a hidden comparison. Look at the first line already familiar to you poem A. A. Feta:

Cloud wavy

Dust rises away ...

Here, the dust is compared with the cloud floating across the sky, but the word indicating comparison is omitted. In the Borodino ballad, it is written: "We will go cling to the wall." Now you understand that this is also a metaphor.

Wind, wind! You mighty

You chase flocks clouds ...

Al will refuse me in response? ..

Elimination is very often used in fairy tales. In fairy tales you can meet the hyperbola. Hyperbola - It is an artistic exaggeration. So, the Bogatyr horse often flies "above the forest of standing, below the cloud of walking." And Gwidon from the "Tales of Tsar Saltan" A. S. Pushkin Ros "not by day, but by the hour."

There are other trails with which you will also get acquainted with time, but for now I just want to ask you: reading books, listen carefully at the speech of the narrator, try to feel the meaning of every word.

To the next lesson, try to independently choose examples of using epithets and trails in the literary works you read.