What is a literary process definition. What is a literary process
The term "literary process" in domestic literature arose at the end of the 1920s, although the concept itself was formed in criticism in the XIX century. Famous Reviews of Belinsky "A look at Russian literature of 1846" and others - one of the first attempts to present features and patterns literary development one or another domestic literature, i.e. features and patterns of the literary process.
The term "literary process" refers to the historical existence of literature, its functioning and evolution both in a certain era and throughout the entire history of the nation. "
The chronological framework of the modern literary process is determined by the end of the XX early XXI centuries.
· The literature of the end of centuries peculiarly summarizes the artistic and aesthetic search In total century;
· New literature It helps to understand the complexity and discussion of our reality. Literature as a whole helps a person to clarify the time of its existence.
· His experiments outlines the prospect of development.
· The uniqueness of the SLP is multi-levelness, polyphony. The hierarchy of the literary system is absent, as styles and genres exist at the same time. That is why, when considering modern literature, it is necessary to move away from the usual installations that were applied towards the Russian literature of past centuries. It is important to feel the shift of the literary code and submit a literary process in a continuing dialogue with previous literature. The space of modern literature is very faster. Literature Creative people of different generations: those who existed in the depths soviet literatureThose who worked in the underground literature, those who started writing quite recently. Representatives of these generations have a fundamentally different attitude to the Word, to its functioning in the text.
Writers-sixties (E. Evtushenko, A. V. Aksenov, V. Wornovich, V. Astafyev, etc.) broke into the literature during the thaw of the 1960s and, feeling short-term freedom of speech, became symbols of their time. Later, their fate developed in different ways, but the interest in their work was preserved constantly. Today is the recognized classics of modern literature, characterized by the intonation of ironic nostalgia and commitment to the memoir genre. The critic M. Remizova writes about this generation as follows: "The famous disgusts serve as a characteristic features of this generation and, oddly enough, some sluggish relaxation, which has more contemplation, rather than to actively act and even a minor act. Their rhythm is Moderato. Their thought is reflection. Their spirit is irony. Their cry - but they do not shout ... "
Generation Writers 70s - S. Dovlatov, I. Brodsky, V. Erofeev, A. Bitov, V. Makanin, L. Petrushevskaya. V. Tokareva, S. Sokolov, D. Prigov, etc. They worked in creative non-free conditions. A seventiary writer, unlike the Sixtiest, tied his ideas about personal freedom with independence from official creative and social structures. One of the notable generation representatives Viktor Erofeev was so wrote about the features of the handwriting of these writers: "From the mid-70s, the era of unprecedented doubts began not only in the new person, but also in man at all ... Literature was laid out in everything without exception: in love, children , faith, churches, culture, beauty, nobility, motherhood, folk wisdom ... ". It is this generation that begins to master postmodernism, the poem of Venedikt Yerofeev "Moscow - Petushki" appears in Samizdat, Sasha Sokolov's novels "School for Fools" and Andrei Bitova "Pushkin House", fantasy of the Strugatsky brothers and the prose of Russian abroad.
With "Perestroika" in the literature, another numerous and bright generation of writers broke - V. Pelievin, Top, L. Ulitskaya, V. Sorokin, A. Slapovsky, V. Tuchkov, O. Slavnikova, M. Paley, and others. They began to work already in a blessing space, were able to freely master the "diverse literary routes Experiment. " PROZA S. KALEDINA, O. Ermakova, L. Gabysheva, A. Terekhova, Yu. Mamleeva, V. Yerofeyev, Testa V. Astafieva and L. Petrushevskaya affected the previously forbidden topics of the Army "Deadovshchina", the horrors of prison, life of homeless, prostitution, Alcoholism, poverty, struggle for physical survival. "This prose revived interest in the" little man ", to the" humiliated and insulted "- the motives that go out in the XIX century the tradition of an exalted attitude towards the people and the people's suffering. However, unlike xIX literature century, "Chernukh" of the late 1980s showed the People's World as a concentration of social horror adopted for the household standard. This prose expressed the feeling of total disadvantage of modern life ... ", - Pishut N.L. Leiderman and M.N. Lipovetsky.
In the late 1990s, another generation of very young writers appears - A. Utkin, A. Goszov, P. Cruzanov, A. Gelasimov, E. Sadur, etc.), about which Viktor Erofeev says: "Young writers are the first in the history of Russia a generation of free people, without state and internal censorship, Having sowed under the nose casual advertising songs. New literature does not believe in "happy" social changes and moral pathos, in contrast to liberal literature of the 60s. She was tired of infinite disappointment in man and the world, the analysis of evil (Literature of the underground of the 70-80-k) ".
The first decade of the XXI century- So diverse, many-voiced, that the same writer you can hear extremely opposite opinions. So, for example, Alexey Ivanov - the author of the novels "Geographer Globe Propil", "Touchscreen-on-blood", "Heart of Parma", "Gold Bunth" - in "Book Foreign" named the brightest writer who appeared in russian literature XXI century. But what opinion about Ivanovo expresses the writer Anna Kozlov: "The picture of the world of Ivanova is a portion of the road that sees the chain dog from its booth. This is a world in which nothing can be changed and remains only to joke over a glass of vodka in full confidence that the meaning of life has opened in all unsightly details. In Ivanovo, I do not like his desire to be light and glossy ... although I can't help but admit that he is an extremely gifted author. And I found my reader. "
· Despite the flourishing of various styles and genres, society is no longer literarycentric. The literature of the end of the XX of the beginning of the XXI almost loses its educational function.
· Changed the role of the writer. "Now the readers fell off as leeches, from the writer and gave him the opportunity to be in a situation of complete freedom. And those who still attribute the writer the role of the prophet in Russia is the most extreme conservatives. In the new situation, the role of the writer has changed. Earlier, on this workhorse, we went all who could only now, now she must go and offer their working hands and legs. " Critics P. Wail and A. Genis accurately determined the transition from the traditional role of the "teacher" to the role of "indifferent chronicle" as "zero degree of letters." S. Kostrko believes that the writer was in the role unusual for the Russian literary tradition: "The current writers seem to be easier. No one demands ideological service from them. They are free to choose their own model of creative behavior. But, at the same time, this freedom has complicated their tasks, having deprived the obvious points of the application forces. Each of them remains one on one with existing problems - love, fear, death, time. And it is necessary to work at the level of this problem. "
· Search new hero. "We have to recognize that the face of the typical hero modern prose It is distorted by a grimace of skeptic attitude to the world, covered with a junior fly and his features are quite sluggish, sometimes even anemic. His actions are suffered, and he is in no hurry to decide any personality, nor with fate. He is a sullen and annoyed in advance to everyone in the world, for the most part it seems to be at all no need to live. " M. Remizova
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Continuous change of literature - obvious factBut significant changes occur far from every year, not even every decade. As a rule, they are associated with serious historical shifts (shift historical epochs Both periods, war, revolution associated with access to the historic arena of new public forces, etc.). It is possible to allocate the main stages of the development of European art, which determined the specifics of the historical and literary process: antiquity, the Middle Ages, the revival, education, the nineteenth and the twentieth century.
The development of the historical and literary process is due to a number of factors, among which the lreshe should be noted the historical situation (socio-political system, ideology l t.), The influence of previous literary traditions and artistic experience of other peoples. For example, the work of its predecessors was a serious impact on the work of Pushkin not only in Russian literature (Derzhavin, Batyushkov, Zhukovsky and others), but also European (Voltaire, Rousseau, Byron and others).
Literary process
- this is a complex system literary interactions. It is the formation, functioning and shift of various literary directions and flows.
Literary directions and currents:
classicism, sentimentalism, romanticism,
realism, modernism (symbolism, acmeism, futurism)
In modern literary studies, the terms "direction" and "current" can be interpreted in different ways. Sometimes they are used as synonyms (classicism, sentimentalism, romanticism, realism and modernism are called both currents and directions), and sometimes the current is identified with literary school or grouping, but direction with an artistic method or style (in this case, the direction absorbs two or more flows).
Usually, literary direction they call a group of writers similar to the type of artistic thinking. On the existence of a literary direction can be said if the writers are aware of theoretical basis his artistic activities, promote them in manifestations, program performances, articles. Thus, the first program articles of Russian futurists became the Manifesto "Society of Public Taste", in which the main aesthetic principles of the new direction were stated.
In certain circumstances, under the same literary direction, groups of writers, especially close to each other in their aesthetic views, may be formed. Such groups that are formed within any direction are customary to be called a literary flow. For example, within the framework of such a literary direction, as a symbolism, two currents can be distinguished: "Senior" symbolists and "junior" symbolists (on another classification - three: decadeles, "senior" symbolists, "younger" symbolists).
Classicism(from lat. classicus. - Exemplary) - artistic direction In European art of the turn of XVII-XVIII - early XIX. century, formed in France in late XVII century. Classicism argued the primacy of state interests over personal, the predominance of civil, patriotic motives, the cult of moral debt. For aesthetics of classicism, the severity of artistic forms is characterized: composite unity, regulatory style and plots. Representatives of Russian classicism: Kantemir, Tredyakovsky, Lomonosov, Sumarokov, Princess, Ozers and others.
One of the most important features of classicism is the perception of ancient art as a sample, aesthetic reference (hence the name of the direction). The goal is to create works of art in the image and similarity of ancient. In addition, the formation of classicism a huge impact The ideas of enlightenment and the cult of the mind (faith in the omnipotence of reason and that the world can be reroyed at a reasonable principle).
Classicists (representatives of classicism) perceived artistic creativity as strictly followed by reasonable rules, eternal laws created on the basis of studying the best samples of ancient literature. Based on these reasonable laws, they shared works on the "right" and "wrong". For example, the "wrong" believed even the best plays of Shakespeare. This was due to the fact that in Shakespeare's heroes, positive and negative traits. A creative method of classicism was based on rationalistic thinking. There was a strict system of characters and genres: all the characters and genres differed "purity" and unambiguable. So, in one hero, it was categorically forbidden not only to combine defects and virtues (that is, positive and negative features), but even several vices. The hero was to embody any one character line: either a meager, either Bounce, or a hunger, or a hypocrite, or kind or evil, etc.
The main conflict of classic works is the struggle of the hero between the mind and feeling. At the same time, the positive hero should always make a choice in favor of the mind (for example, choosing between love and the need to completely surrender to the state, he is obliged to choose the latter), and negative - in favor of feeling.
The same can be said about the genre system. All genres shared on high (soda, epic poem, tragedy) and low (comedy, fables, epigram, satire). At the same time, there was no touching episodes in the comedy, and in the tragedy - funny. In the high genres depicted "exemplary" heroes - monarchs, commander, which could serve as an example for imitation. In the low, the characters embraced by any "passion" were shown, that is, a strong sense.
Special rules existed for dramatic works. Three "unity" should be observed in them - places, time and action. Unity of the place: Classicist playwright did not allow the change of action, that is, throughout the play, the heroes had to be in the same place. Unity of time: the artistic time of the work should not exceed a few hours, as a last resort - one day. Unity of action implies the presence of only one storyline. All these requirements are connected with the fact that classicists wanted to create a kind of illusion of life on stage. Sumarokov: "Try me in the game hours for hours to measure, so that I forgetting, I could believe you". So, the characteristics of literary classicism:
- clean genre(In high genres, ridiculous or household situations and heroes could not be depicted, and in low - tragic and sublime);
- purity of language(in high genres - high vocabulary, low - spurant);
- strict division of heroes on positive and negative, wherein positive heroes, choosing between feeling and mind, give preference to the latter;
- compliance with the rules of "three unities";
- approval of positive values \u200b\u200band state ideal.
Sentimentalism(from English Sentimental - sensitive, from French Sentiment - feeling) - literary direction second halves XVIII century, who came to change classicism. Sentimentalists proclaimed the primacy of feelings, and not reason. The person was assessed by his ability to deep experience. From here - interest in inner world Hero, image of the shades of his feelings (the beginning of the psychologist).
Unlike classicists, sentimentalists consider not a state with higher value, but a person. The unfair orders of the feudal world they opposed the eternal and reasonable laws of nature. In this regard, nature for sentimentalists - measured all values, including the person himself. It is no coincidence that they approved the superiority of the "natural", "natural" person, that is, living in harmony with nature.
Sensitivity lies and at the heart of the creative method of sentimentalism. If classicists have created generalized characters (Khunzha, Busthan, Skury, fool), then sentimentalists are interested in specific people with individual destiny. Heroes in their works are clearly divided into positive and negative. Positive endowed with natural sensitivity (responsive, kind, compassionative, capable of self-sacrifice). Negative - calculating, selfish, arrogant, cruel. The sensitivity carriers tend to be peasants, artisans, differences, rural clergy. Brutal - representatives of power, nobles, higher spiritual ranks (as the despotic board kills sensitivity in people). Manifestations of sensitivity are often acquired in the works of sentimentalists too external, even hyperbulsed character (exclamation, tears, fainting, suicide).
One of the main discoveries of sentimentalism is the individualization of the hero and the image of the rich spiritual world of commoner (the image of Liza in the story of Karamzin "Poor Lisa"). The main character of the works became ordinary person. In this regard, the plot of works was often separate situations of everyday life, while the peasant life was often depicted in pastoral colors. The new content required a new form. The leading genres became a family romance, a diary, confession, a novel in letters, travel notes, Elegy, Message.
In Russia, sentimentalism originated in the 1760s (the best representatives of Radishchev and Karamzin). As a rule, in the works of Russian sentimentalism, the conflict is developing between a serf peasant and a serfshit, and the moral superiority of the first persistently emphasizes.
Romanticism - artistic direction in the European and american culture end of XVIII - The first half of the XIX century. Romanticism arose in the 1790s first in Germany, and then spread throughout Western Europe. The backgrounds of the emergence were the crisis of rationalism of enlightenment, the artistic searches of the predomantic trends (sentimentalism), the Great French revolution, German classic philosophy.
The emergence of this literary direction, as, however, and any other, inextricably linked with the socio-historical events of that time. Let's start with the background formation of romanticism in Western European literature. The Great French Revolution of 1789-1799 and the revaluation of educational ideology associated with it was provided to the decisive effect on the formation of romanticism in Western Europe. As you know, the XVIII century in France passed under the sign of the Enlightenment. For almost a whole century, French enlighteners led by Voltaire (Rousseau, Didro, Montesquieu) argued that the world can be reroyed at a reasonable principle and proclaimed the idea of \u200b\u200bnatural (natural) equality of all people. It is these educational ideas that inspired the French revolutionaries, whose slogan were words: "Freedom, equality and fraternity". The result of the revolution was the establishment of the bourgeois republic. As a result, a bourgeois minority was winning, which took power (it used to belong to the aristocracy, the Higher Nobility), the rest were "at the broken trough." Thus, the long-awaited "kingdom of mind" turned out to be an illusion, as the promised freedom, equality and fraternity. It appeared universal disappointment in the results and results of the revolution, deep dissatisfaction with the surrounding reality, which became a prerequisite for the occurrence of romanticism. Because the basis of romanticism is the principle of dissatisfaction with the existing order of things. Then followed the emergence of the theory of romanticism in Germany.
As known, western European cultureIn particular, French, provided a huge impact on Russian. This trend has been preserved in the XIX century, so the Great French Revolution shocked Russia. But, in addition, there are both Russian prerequisites for the emergence of Russian romanticism. First of all, it is the Patriotic War of 1812, it clearly showed the greatness and strength of the simple people. It was the people who was obliged to victory over Napoleon, the people were true hero wars. Meanwhile, both before the war, and after it the bulk of the people, the peasants, still remained serfs, in fact, slaves. What was previously perceived by the progressive people of the time as injustice, now it became like scinting injustice, contrary to any logic and morality. But after the end of the war, Alexander I not only did not cancel serfdomBut also began to spend much more rigid politics. As a result, a pronounced feeling of disappointedness and dissatisfaction arose in Russian society. So there was a soil for the appearance of romanticism.
The term "romanticism" in relation to the literary direction is random and inaccurate. In this regard, from the very beginning of its appearance, he understood in different ways: one believed that he was coming from the word "novel", others from Knight's poetry created in the countries speaking in Romanesque languages. For the first time, the word "romanticism" as the name of the literary direction began to be used in Germany, where the first rather thorough theory of romanticism was created.
Very important for understanding the essence of romanticism is the concept of romantic dvouliiria. As already mentioned, rejection, denial of reality is the main background of the occurrence of romanticism. All romance reject the world, From here, their romantic flight from the existing life and the search for the ideal outside it. This gave rise to the emergence of romantic doolmirine. The world for romantics shared into two parts: here and there. "There" and "here" is antithesis (opposition), these categories associate as an ideal and reality. The despised "here" is a modern reality, where evil and injustice triumphs. "There" - some poetic reality that romantics opposed real reality. Many romance believed that good, beauty and truths displaced from public Lifestill survived in the souls of people. Hence their attention to the inner world of man, in-depth psychologism. The souls of people are their "there." For example, Zhukovsky was looking for "there" in the other world; Pushkin and Lermontov, Fenimmore Cooper - in the free lives of uncivilized peoples (Pushkin's poems "Caucasian captive", "Roma", Cooper's novels about the life of the Indians).
Rejection, the denial of reality determined the specifics of the romantic hero. This is a fundamentally new hero, similar to him knew the former literature. It is in hostile relationship with the surrounding society, is opposed to him. This is an extraordinary person, restless, most often lonely and with tragic fate. Romantic hero - the embodiment of the romantic riot against reality.
Realism (from Latin realis - Real, valid) - Method (creative installation) or literary direction, embodied the principles of a vital attitude to reality, directed towards the artistic knowledge of the person and the world. Often, the term "realism" is used in two values:
- realism as a method;
- realism as a direction formed in the XIX century.
The beginning of the formation of realism is customary to communicate with the era of the Renaissance. For the realism of this time, the scale of images (Don Quixote, Hamlet) and the poetry of the human person, the perception of a person as the king of nature, the crown of creation. The next stage of educational realism. In the literature of Enlightenment, a democratic realistic hero, a man "from the bottom" (for example, Figaro in the plays of the BomArsche "Seville Berber" and "Figaro")). New types of romanticism appear in the XIX century: "fantastic" (Gogol, Dostoevsky), Grotesque (Gogol, Saltykov-Shchedrin) and the "critical" realism associated with the activities of the "Natural School".
Basic Requirements of Realism: Compliance with Principles
- nation
- historicism
- high artistic
- psychologist
- an image of life in its development.
Writers-Realists create new types of heroes: type " little man"(Vyrin, Bashmachkin, Marmaladov, Girls), the type of" excess person "(Chatsky, Onegin, Pechorin, Oblomov), the type of" new "hero (Nygin Bazarov in Turgenev," New People "Chernyshevsky).
Modernism (from French modern. - The newest, modern) philosophical and aesthetic movement in literature and art that emerged at the turn of the XIX-XX centuries.
This term has various interpretations:
- indicates a number of unrealistic directions in the art and literature of the turn of the XIHX centuries: symbolism, futurism, acmeism, expressionism, cubism, immoginism, surrealism, abstractionism, impressionism;
- it is used as a conditional designation of aesthetic searches for artists of unrealistic directions;
- indicates a complex complex of aesthetic and ideological phenomena, including not only the actual modernist directions, but also the work of artists, fully inscribed in the framework of any direction (D. Joyce, M. Prost, F. Kafka and others).
Symbolism - The unrealistic direction in the art and literature of the 1870-1920s, is focused mainly on artistic expression using the symbol of intuitive entrusted entities and ideas. Symbolism declared itself in France in the 1860-1870s in the poetic work of A. Rambo, P. Vellen, S. Mallarm. Then, through poetry, symbolism associated itself not only with prose and drama, but also with other types of art. By the source, founder, "father" symbolism considered french writer Sh. Bodler.
The worldview of the symbolist artists is the idea of \u200b\u200bthe unrecognizability of the world and its patterns. The only "gun" of the knowledge of the world, they considered the spiritual experience of man and creative intuition of the artist.
Symbolism The first put forward the idea of \u200b\u200bcreating art free from the task to portray reality. Symbolists argued that the goal of art is not in the image real Mirawhich they considered secondary, and in the transfer of "Higher Reality". They intended to achieve this with the symbol. The symbol is the expression of the superfluid intuition of the poet, which in minutes of illusion opens the true essence of things. Symbolists have developed a new poetic language that does not call a direct item, and hinting on its content through allegory, musicality, color gamut, free verse.
Symbolism is the first and most significant of the modernist flows that arose in Russia. The first manifesto of the Russian symbolism was the article D. S. Merezhkovsky "On the reasons for decline and new currents of modern Russian literature", published in 1893. It identified three main elements of "new art": mystical content, symbolization and "expansion of artistic impressionability".
Symbolists are customary to divide into two groups, or flows:
- "elder"symbolists (V. Bruce, K. Balmont, D. Merezhkovsky, 3. Hypius, F. Sologub and others), debuting in the 1890s;
- "Junior" The symbolists who started their creative activity in the 1900s and significantly updated the appearance of the flow (A. Block, A. White, V. Ivanov and others).
Symbolists believed that art is primarily "Failure to comprehend in other, not disappropriate ways"(Buses). After all, it is possible to rationally comprehend only the phenomena subordinate to the law of linear causality, and such causticity is valid only in the lower forms of life (empirical reality, life). Symbolists were also interested in the top sphere of life (the area of \u200b\u200b"absolute ideas" in the terms of Plato or the "World Soul", according to V. Solovyov), non-infertous rational knowledge. It is art that has a property to penetrate into these areas, and the images and symbols with their endless meaningful are able to reflect the complexity of the global department. The symbolists believed that the ability to comprehend the true, the highest reality was given only to the elected, which at the moments of inspired transparency are able to comprehend the "highest" truth, the absolute truth.
The character-symbol was considered by symbols as more effective than an artistic image, an instrument that helps "break through" through the intercourse of everyday life (lower life) to the highest reality. The symbol differs from the realistic image in that it transmits not an objective essence of the phenomenon, but its own, individual representation of the poet of the world. In addition, the symbolist symbolists understood him, - this is not allegory, but above all, a certain image that requires response from the reader creative work. The symbol as it may connect the author and the reader - in this and there is a coup produced by symbolism in art.
The symbol is fundamentally multigid and contains the prospect of the limitless deployment of meanings. This feature has repeatedly emphasized the symbolists themselves: "The symbol is only then the true symbol when it is inexhaustible in its meaning" (Vyach. Ivanov); "Symbol - window in infinity" (F. Sologub).
Axism (from Greek. aKME- higher degree something, blooming power, top) - a modernist literary flow in Russian poetry of the 1910s. Representatives: S. Gorodetsky, Early A. Akhmatova, L. Gumilev, O. Mandelstam. The term "acmeism" belongs to Gumilev. The aesthetic program was formulated in the articles of Gumileva "Heritage of Symbolism and Akmeism", Gorodetsky "Some currents in modern Russian poetry" and Mandelstam "Morning Akmeism".
Aqmeeism stood out of the symbolism, having criticized his mystical aspirations to "unrecognizable": "At Ambheyists Rose again became good in itself, with its petals, smell and color, and not their imaginary similarities with mystical love or something else." (Gorodetsky) . Aqmeists proclaimed the liberation of poetry from the symbolistic impulses to the ideal, from the meaningfulness and turnover of images, complicated metaphoricity; talked about the need to return to the material world, subject, accurate value the words. Symbolism is based on the rejection of reality, and the ameists believed that one should not refuse this world, you need to look for some values \u200b\u200bin it and imprinted them in our works, and this is done with the help of accurate and understandable images, and not blurry characters.
Actually, the anxistic flow was small, existed for a long time - about two years (1913-1914) - and was associated with the "poet shop". "The shop of poets" It was created in 1911 and first combined a fairly large number of people (not all of them were still involved in the aqmeism). This organization was much more soldered than scattered symbolistic groups. Poems were analyzed at the "workshops" meetings, the problems of poetic skills were solved, methods for analyzing works were substantiated. The idea of \u200b\u200ba new direction in poetry was first expressed by Kuzmin, although he himself did not enter the "workshop". In his article "On beautiful clarity" Kuzmin anticipated many declarations of aqmeism. In January 1913, the first aqmeism manifesms appeared. From now on, the existence of a new direction begins.
The task of literature acmeism proclaimed "Beautiful Clarity", or clarism(from lat. cLARIS. - Clear). Acmeyers called their current adamismBy tying with the biblical adam an idea of \u200b\u200ba clear and direct look at the world. Aqmeism preached a clear, "simple" poetic language, where words would directly called items, declared their love for substitution. So, Gumilev urged to seek not "unsubstate words", and the words "with a more sustainable content". This principle was most consistently implemented in the lyrics of Akhmatova.
Futurism - One of the main avant-garde directions (avant-garde is the extreme manifestation of modernism) in the European arts of the beginning of the 20th century, which has become the greatest development in Italy and Russia.
In 1909, in Italy, the poet F. Marinetti published "Manifesto Futurism." The main provisions of this manifesto: the refusal of traditional aesthetic values \u200b\u200band experience of the entire previous literature, bold experiments in the field of literature and art. As the main elements of futuristic poetry, Marinetti calls "courage, audacity, riot". In 1912, Russian futurists V. Mayakovsky, A. Klychykh, V. Khlebnikov, created his manifesto "Social Society". They also sought to break with traditional culture, the literary experiments were welcomed, they sought to find new means of speech expressiveness (proclaiming a new free rhythm, loosening the syntax, the destruction of punctuation marks). At the same time, Russian futurists rejected fascism and anarchism, which was declared in their manifestes of Marinetti, and turned, mainly to aesthetic problems. They proclaimed the revolution of the form, its independence from the content ("It is not important that, but as") and the absolute freedom of the poetic word.
Futurism was an inhomogeneous direction. In its framework, four main groups or flows can be distinguished:
- "Giley"which united the cubal feasts (V. Khlebnikov, V. Mayakovsky, A. Klychey and others);
- "Association of Ego Phuchurists" (I. Northernik, I. Ignatiev and others);
- "Mezzanine Poetry" (V. Sherenevich, R. Ivnev);
- "Centrifuge" (S. Bobrov, N. Aseev, B. Pasternak).
Futurists wrote on behalf of a crowd man. The basis of this movement was the feeling of the "inevitability of the crash of the older" (Mayakovsky), awareness of the birth of "new humanity". Artistic creativity, according to futurists, should have become not imitation, but by the continuation of nature, which through the creative will of a person creates " new world, today's, iron ... "(Malevich). This is due to the desire to destroy the "old" form, the desire for contrasts, a colloquial speech. Based on a lively spoken language, futurists were engaged in "worship" (created neologisms). Their works were distinguished by complex semantic and composite shifts - the contrast of comic and tragic, fiction and lyrics.
Futurism began to break down in 1915-1916.
Fundamentals of the theory of literature
Literary process and its category. (Seminar 7)
Question 1: The literary process as an integral part of the sociocultural process.
Question 2: Stages of development of the literary process, periodization.
In literary criticism, it is rooted and the idea of \u200b\u200bthe presence of moments of generality (repeatability) in the development of literature different countries and peoples, about the united "progressive" movement in a large historical time. In the article "Future of literature as a subject of study" D.S. Likhachev talks about the steady increase in the personal beginning in literary creativity) on the strengthening of his humanistic nature, about the growing of realistic trends and increasingly freedom of choice writers, as well as about the deepening historicism artistic consciousness. "The historicity of consciousness, the scholar, is making the awareness of the historical relativity of his own consciousness from a person. Histority is associated with "self-denial", with the ability of the mind to understand its own limitations. "
The stages of the literary process are familiar to thinking as corresponding to those stages of the history of mankind, which, with the greatest discrimination and completeness, appeared in Western European countries and especially brightly in Romanesque. In this regard, literature is distinguished the ancient, medieval and -literatures of the new time with their own stages (following the revival - Baroque, classicism, enlightenment with his sentimentalist branch, romanticism, finally, the realism with which in the XX century coexists and successfully competes modernism) .
Scientists mostly understood the stadial differences between the literature of the new time and the writing preceding them. The ancient and medieval literature was characterized by the prevalence of works with extremistical functions (religious and ritual, informative and business, etc.); extensive existence of anonymity; The predominance of oral verbal creativity Above writing, which resorted more than the records of oral legends and previously created texts than to "writing." An important feature of the ancient and medieval literature was also instability of texts, the presence of bizarre alloys of "their" and "alien", and as a result of this, the "blurring" of the boundaries between the original and transferable writing. In the new time, the literature emancipates as a phenomenon itself (358) of artistic; writing becomes the dominant form of verbal art; An open individual authorship is activated; Literary development acquires much greater dynamism. All this seems indisputable.
It is more difficult to deal with the distinction of the literatures of ancient and medieval. It does not constitute problems in relation to Western Europe (the ancient Greek and ancient Roman antiquity fundamentally different from the medieval culture of more "northern" countries), but there is doubts and disputes when contacting the literature of other, primarily eastern, regions. Yes, and the so-called old Russian literature It was essentially a medieval type written.
Discussion key question of the history of the World Literature: What are the geographical boundaries of the Renaissance with his artistic culture and, in particular, verbost? If N.I. Conrad and his school scientists consider the revival with global, repeating and varying, not only in the West countries, but also in the eastern regions, then both specialists, also authoritative, consider Renaissance as a specific and unique phenomenon of Western European (mainly Italian) culture: "Worldwide The meaning of the Italian Renaissance acquired not because it was the most typical and best among all the happening renaissance, but because there were no other renaissance. This was the only one. "
At the same time, modern scientists depart from the usual apologetic assessment of the Western European Renaissance, reveal its duality. On the one hand, Renaissance enriched the culture with the concept of complete freedom and independence of the person, the idea of \u200b\u200bunconditional confidence in the creative possibilities of man, on the other side - the revived "philosophy of good luck<...> Spirit of adventurism and amoralism. "
Discussion of the problem of the geographical boundaries of the Renaissance found the insufficiency of the traditional scheme of the world literary process, which is focused mainly on Western European cultural and historical experience and noted by limited, which is customary to refer to "Eurocentrism". And scientists for two or three recent decades (Palm Championship here (359) Life S.S. Averintsev) put forward and substantiated the concept that complements and to some extent revising the usual ideas about the stages of literary development. Here, more than before, taken into account, firstly, the specifics of verbal art and, secondly, the experience of non-European regions and countries. In the final character of the 1994 collective article, the category of poetics in the change of literary eras "were allocated and three stages of world literature were allocated.
The first stage - This is the archaic period, where it is certainly influential folklore tradition. Mythopoetical artistic consciousness prevails here and there is still no reflection on verbal art, and therefore there are neither literary criticism, nor theoretical studies or artistic and creative programs. All this appears only on second Stage The literary process, the beginning of which laid the literary life of the ancient Greece of the middle of 1 millennium BC and which continued to mid XVIII in. This is very a long period Marked predominance traditionalism Artistic consciousness and "poetics of style and genre": Writers focused on pre-ready forms of speech, which responded to the requirements of rhetoric (for her, see. 228-229), and were dependent on genre canons. Within the framework of this second stage, in turn, two stages are distinguished, the frontier between which was rebirth (here, we note, it will be aware of the advantage of European artistic culture). At the second of these stages, which came to the change of Middle Ages, the literary consciousness takes a step from an impersonal beginning to personal (although in traditionalism); Literature is more becoming secular.
And finally, on third Stage, which began with the era of enlightenment and romanticism, "Individual Creative Art Consciousness" is put forward on the foressen. From now on, the "Poetics of the Author", freed from the All-Russian Rhetoric Genvoral Relations, is dominated. Here, the literature, more than ever, "is extremely brought together with the direct and concrete human being, he penetrates his concerns, thoughts, feelings, created by his measurement"; the era of individual-copyright styles comes; The literary process is closely conjured "simultaneously with the identity of the writer and the reality surrounding it." All this takes place in romanticism and in realism XIX. century, and though in the modernism of our century. We turn to these phenomena of the literary process. (360)
Literary process is A combination of non-profitable changes in literary life (both in the work of writers and in the literary consciousness of society), i.e. Dynamics of literature in great historical time. Forms (types) of the flow of literature in time are very heterogeneous. The literary process is inherent in both translational movement (steady increase in the personal start in literary creativity, the weakening of the canonical began the genre formation, expanding the selection range by the writer forms) and cyclic changes: the rhythmic alternation of primary and secondary styles recorded by the theory (DMChevsky, DS Likhachev ). The literary process (like the artistic life as a whole) depends on social and historical phenomena; At the same time, it has relative independence, its composition is essential, immanent principles. The literary process is not free from contradictions, including not only peaceful-evolutionary, but also revolutionary (explosive) beginnings. The main thing, it is marked by periods of both lifting and heyday ("classic" stages of national literature) and crises, times of stagnation and decline.
In the composition of the literary life, the phenomena is distinguished by local and temporary - on the one hand, on the other hand, the structures are long and static (constants), often referred to as the top. "There is a margin of stable forms that are relevant throughout its length", and therefore it is legitimate and look at it "like an evolving topic" (Panchenko A.M. Topic and cultural distance. Historic poetics: results and prospects for study). The topic constitutes a foundation foundation that goes with its roots in archaic and from the era to the epoch is replenished. In its composition - both arsenal of universally significant artistic forms (style and genre) and phenomena actually meaningful: mythopoietic meanings, the types of emotional mood (sublime, tragic, laughter), moral phenomena and philosophical situations. The sphere of literary topics also includes the stability of the motives and the so-called "eternal images".
National and regional literature of certain periods use the continuity fund in different ways, selectively, expressing their accents and complementing the present to the topics. Each of the literary epochs is a special, uniquely individual compatibility of art phenomena who came from the past and in something substantially replenished by her itself. The literary process is a combination of various states of literature that replace each other, and at the same time they have features of kinship. One state of literature either "blows" to another smoothly and gradually (for example, the formation of 13-15 centuries in Italian literature. renaissance started), or (in some cases) replaces sharply and rapidly ("layer" of the art life in Russia of the first post-revolutionary decades). Periods and stages of literary development (with all the specificity of each of them) are not polar to each other. Each subsequent state of literary life does not cancel the previous one, although very much of the artistic experience of the past epochs can be strongly mixed. The state of literary life replacing each other is marked by both its update and varying its constants (topics). The more closely connected in a certain artistic and literary community, the inheritance of traditions and the energy of updating of verbal art, it is richer and fruitful (such, for example, the Renaissance).
On the contrary literary movementswho perceived itself exclusively as the keepers of the past (for example, the Museum-philological culture of Alexandria in the Ellinism Epoch) or as "clean innovators", neglecting the previous experience, did not play a significant role in the world literary process. The chronological boundaries between the stages of literary development are invariably turn out to be uncertain and blurred. At the same time, the stagnation of literary development is some kind of deep reality of the literary process. Following J. Viko and I.G. Merder, attempts were made to comprehend the historical process as a whole. These are the treatise F.shiller "On Naive and Sentimental Poetry" (1795-96) and article V.A. Zhukovsky "On the poetry of ancient and new" (1811), the second volume of "aesthetics" of Hegel (the doctrine of the symbolic, classical , romantic forms of art), correlation of stages artistic creativity with socio-economic formations in Marxist literary criticism. In the 1970s, the concept of the stagnation of literary development, proposed by N.I. Kontrada, has gained influence, proposed by N.I. Kontrada: the ancient (antique) literature is replaced by medieval and - through globally intercourse revival - the literature of the new time. As part of the latest modern scientists (mainly in relation to the European Region), such international phenomena, such as Baroque, classicism, education, romanticism, realism, modernism are allocated. Comparing the literary epochs of different regions, some scientists state the community of the stages of literary development in the West and the East and believe that revealed initially in Western European literature, Baroque, enlightenment also took place in eastern countries (Conrad). This hypothesis, artificially "straightening" world Literature, caused objections to other scientists, focusing the differences in the cultures and literature of the West and the East. Recently, the originality of the Eastern European and, in particular, Russian cultural and artistic development is emphasized, in many respects predetermined by the influence of Ikshasm in 14-15 centuries (originally Byzantine); In this regard, the prevention is said not so much as the universal stage of culture, as about the powerful and influential Eastern European movement (Likhachev, I. Meyendorf, G.M.Prohorov).
Stages of literary development
Modern literary critons (following M.M. Bakhtin, who considered the "main characters" of the literary process of genres and the substantiated concept of the romanization of literature) allocate three historically replacing the type of literary creativity: dopheric traditionalism (folk-mythological archaic), reflective traditionalism (from ancient Greek classics 5th century BC until the mid-18th century), "post-satellite" era, characterized by non-canonicity genre poetics (S.S.Averintsev); or (in several other terminology) the following stages of literary development are distinguished:
- Archaic, mythopoietic;
- Traditionalist regulatory;
- Individually creative, based on the principle of historicism (P.A. Grinzer).
No less complex than the links of literary eras, the relationship between literature of different countries, Peoples, states, each of which are specific and distinctive. Here, also there is a dialectic of similarities and differences, to the understanding of which literary studies are approaching, overcoming stereotypes of europecentrism. Literature of different countries and peoples, as well as the paths of their historical formation and development of different-quality, which is the highest value of world culture. This varying quality of literatures does not exclude the moments of commonality between them. The literature of individual peoples owns the role of indispensable tools in the orchestra of world culture. This shared life literature of different countries, regions, peoples and gives reason to talk about literary processes on the scale of world-historical: the original literature of individual peoples, countries, regions are moving in historical time on different roads, at various pace, but in one, in general, for all direction, And at the same time they retain their common quality. The literary life of mankind, speaking otherwise, was noted by its deep unity, both in historical time and in geographical space. The convergence of literatures of different countries and peoples, the beginning of the community between them has a dual nature. First, socio-cultural education (including literary and artistic phenomena) possess the typological similarity caused by the unified nature of man and society. Secondly, international cultural ties are essentially a significant aspect of human history, which are always present in literary life. It is hardly a largest phenomenon in the field of international literary ties of the new time - the intensive impact of Western European experience in other regions (Eastern Europe and non-European countries and peoples). This world-wide significant cultural phenomenon, referred to as Europeanization (or westernization and modernization), is interpreted and evaluated in different ways: in some cases - by the advantage of negatively, as a unifying and distorting national life (N.S. Trubetskaya), in other - apologetically, as Meaning the good shift in the history of mankind (L.M. Batkin). In the history of non-impaired literatures, according to the thought of G.D. Gachev, tightening literary and artistic life under the Western European sample, sometimes attracted to its denationalization and impoverished, but over time, the culture that has experienced a strong foreign influence, detecting national elasticity and durability, carried out the critical selection of alien material and Thereby enriched.
The system of concepts focused on the study of literary processes is not fairly stable and sustainable. When considering alternating one other literary and artistic communities, scientists use terms: the international literary flow (V.M.Zhirmunnun), the course and direction (G.N.PosPrelov), style (DS Lihachev), artistic system and creative method ( I.F. Volkov), the types of literary consciousness (literary critics were). Literary processes within a certain country and the Epoch includes as newly created verbal works of art, socially and aesthetically dislaried (from high samples to epigone and mass literature) and forms of existence of literature (modern and past): publications, publications, literary criticism Both literary criticism, as well as reader responses in the manifolds of their forms. Sometimes significant works becoming the property of literary processes much later than their writing (Poetry F. Gölderlin, many verses of F.I. Tyutchev, a number of works A.A.Akhmatova, V.V. Rosanova, M.L. Bulgakova, A.P.Platonova ). On the other hand, an important link of literary processes of individual epochs are facts, insignificant on the scale of the history of national literature. These are the passion for melodrama in France of the 19th century, in Russia - S.Ya. Nadsson in the 1880s, I.Severyanin in the 1910s. Initially, the facts of literary processes are recognized as criticism, first of all, in the views of the current literature, which in Russia of the 1820-30s had the fullness almost an encyclopedic. In the 20th century, the form of understanding the current literary process and at the same time act of exposure to it was the discussion in the press, as well as on writing conferences, symposia, congresses. Experiments of the study of literary processes of individual eras were intensified, starting in 1920, when the interest in the writers of the second row, to the mass literature and was drawn to the movement of the peripheral phenomena of literature in its center and back (Yu.N. Tynanov).
General view of the literary process. Traditions and innovation
The final chapter of our book dedicated to the literary process, in a methodological respect, perhaps the most difficult. The fact is that for an adequate understanding of the laws of the literary process, at least in general, to represent the corps of literary works of different eras and cultures. Then the logic of the formation of genres, and the projection of some crops on other epochs, and the patterns of style development are also beginning to be paid out. But a novice philologist, of course, almost never possesses such a historical and literary base, so there is always a danger to turn the conversation into clean scholasticism: a student can honestly "serve" some information, but the real, lively filling of theoretical provisions for him is not yet available. It is difficult, for example, to talk about the characteristics of the Baroque style, if the majority of readers do not know any poet of this era.
On the other hand, it is immersing in detail every position in detail, every time plunging into the history of literature, too, it is also unrealistic - it would require the attraction of a huge material that goes beyond the tasks of our benefit and with which the student is physically able to cope. Therefore, it is very difficult to find the balance of the necessary and sufficient.
Understanding all these objective difficulties, we will be forced to schematize the presentation, stopping only on the most important aspects. There is simply no other way, in any case, no allowance is not known to the author, where different verges of literary the process would be covered quite fully and available for a novice philologist. There are many excellent studies dedicated to different sides of the literary process, but to reduce Together, a huge and disgraced material, to make it an affordable student of junior courses, and also within the same chapter - the task is completely unreal.
Therefore, the proposed chapter is only an introduction to the problem, where the main issues related to the study of the literary process are briefly applied.
The literary process is a complex concept. The term itself appeared relatively recently, already in the 20th century, and popularity gained even later, just starting from the 50s - 60s. Prior to that, attention was paid to some individual aspects of literary relationships, but in its integrity, the literary process was not comprehended. In the full sense of the word, it is not comprehended today, only the main components of the literary process are identified, possible research methodologies are planned. Summarizing various views, it can be said that the understanding of the literary process involves the solution of several scientific tasks:
1. It is necessary to establish links between the literature and the socio-historical process. Literature, of course, is associated with history, with the life of society, it reflects it to some extent, but is neither a copy or a mirror. At some moments at the level of images and subjects, rapprochement with historical reality, in some, on the contrary, literature is distinguished from it. Understand the logic of this "attraction-repulsion" and find transitional links connecting historical and literary processes - the task is extremely complex and hardly having final decision. As such a transitional link "From life to literature", the religious and symbolic forms were considered, then public stereotypes (or in the terminology A. A. Shakhov, " public types"), Which are formed in society during a certain period and are embodied in art; then the socio-psychological atmosphere in society (in the terminology of Yu. B. Kuzmenko - "Social emotions"); The structure of aesthetic ideal, reflecting and ideas about a person, and aesthetic traditions (for example, this approach is characteristic of N. A. Yastrebova), etc. Concepts were very much, but the transformation mechanism historical reality In the artworks and remains a mystery. At the same time attempts to find this transitional link stimulate the emergence of interesting research, unexpected and original concepts and in domestic, and in foreign aesthetics. Say, it is the search for these units, at the same time specifically historical and "transistoric" (in terminologyP. Bourdieu), then there are the same type for any moment of history, generates the concept of "new historicism" - one of the most sought-after methodologies in modern Western European science. According to the theory of Pierre Burdieu, the author of this concept is useless to "impose" some stories general lawsbased on today's coordinate system. You need to come from the "historicity of the object", that is, whenever you need to enter the historical contextthis work. And only comparing many such the data obtained, including the historicity of the researcher himself, we can notice the elements of generality, "overcome" the story. The concept of P. Bourdieu today is popular, but she is all questions, of course, does not remove. The search for adequate methodology continues, and the final answers here are hardly possible.
2. In addition to the "external" ties, that is, ties with history, psychology, etc., literature has a system of internal connections, that is, constantly relates yourself with his own history. No writer none epoch starts writing "with pure sheet"He always consciously or unconsciously takes into account the experience of its predecessors. He writes a certain genre in which the centuries-old is accumulated literary experience (It is not by chance that M. M. Bakhtin called the genre "Memory of Literature"), he is looking for the closest literature (Epos, Lyrics, Drama) and unwittingly takes into account the laws adopted for this kind. Finally, he absorbs many copyright traditions, correlating his creativity with someone from the predecessors. Of all this add up internal laws The development of the literary process, which directly with the socio-historical situation do not relate. Let's say, the genre of an elegic poem, penetrated by sadness, and sometimes tragedy, can exercise himself in a different socioistoric situation, but will always relate himself to the genre of Elegy - regardless of the desire and will of the author.
therefore the concept of "literary process" includes the formation of generic, genre and stylistic traditions.
3. Literary process can be considered from one point of view: how the process of formation, development and change of artistic styles. There is a number of questions: how and why styles arise, what influence they have on further development culture, as formed and how important for the development of the literary process is an individual style, what are style Dominanti a certain era, etc.
It is clear that how many voluminous ideas about the literary process are only in the event that we will take into account all these questions if these questions themselves will be understood as systemically, interconnected. In the early stages of the development of philological science, these relationships are not yet felt, so the conversation will be more in the analytical, than in the synthetic key, you must first figure out different components The literary process, and only later, having more experience, establish links between these components.
Tradition and innovation - the most important components of the literary process. There is not a single great work of literature that would not be associated with thousands of threads with the context of world culture, but it is also impossible to imagine a significant aesthetic phenomenon that has not enriches world literature Something my own. Therefore, the tradition and innovation is the rough sides of the same medal: a genuine tradition always implies innovation, and innovation is possible only against the background of the tradition.
One of the most famous philologists of the XX century M. M. Bakhtin, who constantly returned to this problem, wrote like this: "Every really a significant step forward is accompanied by a return to the beginning (" originalness "), more precisely, to updating the beginning. Only memory can go ahead, not oblivion. Memory returns to the beginning and updates it. Of course, the terms "forward" and "back" lose their closed absolute in this understanding, rather reveal by their interaction a living paradoxical nature of the movement. "
In another work, Bakhtin creates an excellent metaphor: "The great works of literature are prepared by centuries, only the mature fruits of a long and complex ripening process are removed in the era of their creation. Trying to understand and explain the work only from the conditions of his era, only from the conditions of the near future, we will never penetrate his semantic depths. " Developing this thought, the author continues: "The semantic treasures attached to Shakespeare in his works were created and gathered for centuries and even thousands of years: they were burned in the language, and not only in the literary, but also in such layers of the people's language, which the Shakespeare had not yet included In the literature, in the diverse genres and forms of speech communication, in the forms of mighty folk culture ».
Hence, one of the central ideas of Bakhtin, which is directly related to the problem of tradition and innovation, is the idea of \u200b\u200bworld culture as dialogic space, in which different works And even different epochs are constantly echoing, complement and reveal each other. Antique authors predetermine modern culture, but also modern era Allows you to discover in the brilliant creations of antiquity, those meaning, which in those days were not visible and did not confess. Thus, any new product depending on the tradition, but also paradoxically, the works of the departed eras depend on modern culture. The modern reader "Born" Shakespeare, but also Shakespeare opens such their semantic depths, which neither contemporaries of ingenious playwright, nor he could feel. Thus, time in the space of culture loses so familiar "linearity" (from the past to the future), it turns into a living movement in both directions.
With several other accents, the problem of tradition considered V. V. Musatov. In his opinion, any artist seeks to create a "individual hypothesis of being", so every time he relates to the experience of predecessors with his epoch and his fate. Therefore, the tradition is not just a "copying" of techniques, it is always the most difficult psychological act when someone else's world "is checked" by his own experience.
So, "tradition" is a very voluminous concept, fundamental for adequate perception of the literary process.
So far, we talked about the philosophical, the general -est meaning of the term "tradition". At a more specific level, several "problem points" can be distinguished, associated with tradition and innovation.
Firstlynot always easy to dilute concepts "Tradition", "Canon", "Imitation", "Stylization","imitation" etc. If we associate "empty imitation" today with "empty imitation" today, which does not enrich culture (this word itself has negative shade), then, for example, with imitation and a canon is more complicated. Not any imitation is epigal, an open orientation for some sample can lead to significant aesthetic results. For example, in the Russian lyrics, the word "imitation" is allowed as a kind of genre identifier: "In the imitation of the Quran," in the imitation of Byron ", etc. With the same we are faced in numerous poems beginning with" from ... ":" From Heine "," From Goethe ", etc. here is possible and at all interesting cases. For example, the famous software poem A. S. Pushkin "from Pindimony", at first glance, openly refers to the work of the Italian poet, but in reality it is a hoax, I have never had such a poem. The question arises: why Pushkin refers us to this name; Is this an accident, "trick" to deceive censorship or poet still felt some kind of internal roll call from his lines with the poetry of this author? Among scientists there are no unity of opinions on this issue. But in any case, it is in this poem Pushkin who formulates its poetic credo:
Other, best, I am expensive rights;
Other, the best, demand me freedom:
Depend on the king, depend on the people -
Is it all equal to us? God with them.
Nick
Report not to give ...
In other cases, direct orientation on the well-known text can lead to the creation of a genuine author's masterpiece. So, the "little tragedy" Pushkin "Pier during the plague" is, as you know, the author's translation of one act from the play by J. Wilson "City of Plagues" (1816). In general, Pushkin follows the text of Wilson, but two songs add "from themselves": the song Mary and the famous "Hymn of Chum":
All, all that death threatens,
For the heart of the mortal tart
Inexplicable enjoyment -
Immorted, maybe pledge!
And happy one who is the medium of a wave
They can comply and could.
So, - praise you, plague,
We are not afraid of the grave of darkness,
We will not confuse your calling!
Glasses make a friendly
And the Virgin Roses drink the breath, -
Perhaps ... Full plague!
These inserts radically change the whole picture, from not the most famous play John Wilson Pushkin gives rise to a masterpiece.
However, in many cases, the work written "in imitation" does not have a large artistic value, testifies to helplessness, insufficient validity of the author. Ultimately, as always in creativity, everything solves talent.
Even more difficult to "dilute" tradition and canon. Canon are adopted in this culture and strictly observed norms.. Canon imposes fairly tough restrictions on freedom of author's expression, being in this way "binding tradition." The archaic forms of culture, for example, many genres of folklore, were associated with the canon so much that they almost did not leave the place from the author's "liberties". In this sense, it is possible to talk about the "authorship" of folklore texts only metaphorically, the "collective author" operates in folklore. Ancient consciousness did not hold the borders between the "famous me" and "born me" (simply speaking, meanwhile know some text and what I am his created), so any text easily assigned to those who were familiar. Gradually, the borders of "his and alien" became stronger, and in many cultures, for example, in medieval eastern poetry or in Russian icon painting, canon began to be perceived as a mandatory condition for the author "external" condition. But inside the canon already manifested the author's vision of the world. That is why, for example, the Russian icon is so diverse with strict observance of the Orthodox canon.
In modern secular culture, the canon does not play such a role, although, naturally, any artist is experiencing some restrictions imposed by the formated tradition. However, these restrictions are no longer a rigid nature, and the traditions of culture are so diverse that they provide the author almost endless possibilities.
Secondlyspeaking about tradition, you need to remember that it is manifested at different levels. Let's focus on this a little more.
Tradition theme it assumes that the author, determining the thematic range of his work, constantly correlates its decision with those that have already been found by the culture. Let's say, the topic of the truth of Christ, approved by His suffering and death, finds thousands of art decisions that take into account each other and whimsizing with each other. It is enough to remember the novel M. Bulgakov "Master and Margarita" to feel that the author at the same time continues and violates (or develops) the established tradition. It is not by chance that many supporters of the Orthodox canon are not accepted by the Bulgakov Roman, considering it the "Gospel from Satan".
Tradition image (character). The tradition of the image or its option, the tradition of character, involves the accounting of the already accumulated culture of decisions regarding one or another nature. Sometimes it is manifested directly, most often in this case, some kind of well-known image becomes emblematic, the character of the hero shall. So, N. S. Leskov, determining his heroine Katerina Lvovna as "Lady Macbeth Mtsensky County," immediately creates a Shakespeare background, on which the heroine looks different: more tragic and larger.
In other cases, the roll call is visible at the level of the psychology of the heroes, their actions, relationships. At one time, A. D. Sinyavsky, a little coasting, so characterized the relationship between men and women in classical Russian literature: "The woman was in the literature a trial stone for a man. Through relations with her, he found his weakness and, compromised by its strength and beauty, got out of the stage, which was going to play something heroic, and left, bent, into non-existence with a shameful nickname of an unnecessary, worthless, excess person. "
Sinyavsky is too straightforward, but the structure of relations is captured quite accurately. And it is not difficult to see that this structure suggested Russian culture A. S. Pushkin in Evgenia Onegin, other authors (I. S. Turgenev, F. M. Dostoevsky, L. N.Tolstoy) anyway already followed the Pushkin tradition.
Tradition genre - One of the most powerful in world culture. The genre is found and learned by the literature forms of author's self-expression. The genre fixes both the characteristics of the narrative, and in many cases - themes, and types of pathos, and features of conflicts, etc. Therefore, the chosen genre is always to some extent obligatory. For example, the poet, writing OED, unwittingly turns out to be in the bowels of the thousand years of the tradition of this genre. Although between Odims M. V. Lomonosov and, for example, "Odo Revolution" V. Mayakovsky a huge distance, many common featuresDigitated by the tradition of the genre, rush.
National Tradition associated with a system of values \u200b\u200badopted in a particular culture: ethical, aesthetic, historical, etc. As a rule, the artist absorbs world culture through the national, the return path is practically it is impossible. The Russian writer is open to world cultural experience, but this experience is refracted through the cultural experience of the nation. It reflected M. Yu. Lermontov in the youthful poem:
No, I do not bayron, I am another
Still an unknown chosen one
How he is a persecuted world wanderer,
But only with the Russian soul.
The poet declares its openness to the world of Bairon, his proximity to ingenious English bard, but Bayron is refracted through the Russian Soul. As a result, we have not one of the countless imitators of Bairon, but the Great Russian poet that has discouraged world glory.
Growing from subsoil national Culture The poet can become a poet world. But, if you imagine a certain abstract "world poet", he will not be able to become a poet national. The popular expression "man of the world" is now not absoluting. People of the world are not born, but become.
Tradition of art techniques combines lexical, syntactic, rhythmic, plot-composite, etc. Techniques for building text. In many cases, the tradition of techniques is striking, for example, a poet, writing "Lestenka", will immediately be in line with the tradition of Mayakovsky. In other cases, it is less recognizable, but any work one way or another uses already found artistic techniques. Like any tradition, the tradition of techniques is enriched at the expense of new finds, becoming more and more complex and multifaceted.
Style tradition in some sense, all the above opportunities synthesize. Style just develops from the form-thematic, genre, etc. Unity. Here we can talk about the author's traditions (for example, about Pushkin or Nekrasovskaya) or about the tradition of certain directions or even epochs (for example, the traditions of antiquity in classicism culture, about the romantic tradition in modern poetry etc.). . 6, no. 16, Jun., 1927.
Sinyavsky A. (Abram Terz) What is Socialist Realism // http://antology.igrunov.ru/authors/synyavsky/1059651903.html