What is a story definition. Genre Story: Features, Development History, Examples

The genre of the story is one of the most popular in the literature. Many writers appealed to him. After reading this article, you will learn what features of the genre of the story, examples of the most famous works, as well as popular mistakes that the authors perform.

The story is one of the small literary forms. It represents a small narrative product with a small number of heroes. At the same time, short-term events are depicted.

Brief history of the genre story

V. G. Belinsky (the portrait of it is presented above) in 1840 distinguished the essay and the story as small prosaic genres from the story and the novel as larger. Already at this time in Russian literature, the prevalence of prose above verses was performed.

A little later, in the 2nd half of the 19th century, the essay received the widest development in the democratic literature of our country. At this time, it was the view that the documentality distinguishes this genre. The story, as it was thought then, is created using creative imagination. According to another opinion, the genre of interest to us differs from the scene conflict. After all, the essay is characterized by the fact that it is basically a descriptive work.

Unity of Time

In order to more fully describe the genre of the story, it is necessary to allocate regularities inherent in it. The first one is the unity of time. In the story, the time of action is always limited. However, not necessarily only one day, as in the works of classicists. Although this rule does not always comply, there are rarely stories in which the plot covers the whole life of the main character. Even less often, works in this genre are created, the action of which lasts for centuries. Usually the author depicts some episode from the life of his hero. Among the stories in which the entire fate of the character is revealed, "Death of Ivan Ilyich" can be noted (the author - Lev Tolstoy) and it happens so that it is not all life, but a long period. For example, in Chekhov's "jump", a number of significant events are depicted in the fate of heroes surrounding their environment, the difficult development of the relationship between them. However, this is given extremely compacted, compressed. It is the compression of the content, large than the story, is a general sign of the story and, perhaps, the only one.

Unity of action and place

There are other features of the title genre that need to be noted. The unity of time is closely related and due to other unity - actions. The story is a genre of literature, which should be limited to a description of a single event. Sometimes the main, sense-forming, the culmination in it becomes one or two events. Hence the unity of the place. Usually the action takes place in one place. They may be not one, but several, but their number is strictly limited. For example, there may be 2-3 places, but 5 are rarely found (they can only be mentioned).

Unity character

Another feature of the story is the unity of the character. As a rule, in the space of the work of this genre there is one main character. Occasionally there may be two, and quite rarely - several. As for the secondary characters, there may be quite a lot of them, but they are purely functional. The story is a genre of literature, in which the task of secondary heroes is limited to the creation of the background. They can interfere with or help the chief hero, but not more. In the story of "Chelkash" Gorky, for example, only two characters. And in Chekhovsky "I want to sleep" and alone, which is impossible in any story or in the novel.

Unity of the center

As the genre listed above, one way or another is reduced to the unity of the center. Indeed, the story is impossible to imagine without a certain defining, central sign, "tightening" all others. It does not matter at all, whether this center will be some static descriptive image, a culmination event, the very development of action or a significant character gesture. The main image should be in any story. It is at the expense of it that the whole composition is holding. He sets the topic of the work, determines the meaning of the story told.

The basic principle of building a story

The conclusion from thinking about "unity" is not difficult. Itself suggests the idea that the main principle of building the composition of the story is the feasibility and saving of motives. Tomashevsky called the most small element with the motive, this may be an action, a character or event. This structure is no longer possible to decompose on the components. So, the largest sin of the author is excessive detail, the abrasion of the text, the journey of the details that can be omitted by working out this genre of the work. The story should not stop on details.

It is necessary to describe only the most significant to avoid a common error. It is very characteristic, oddly enough, for people who are very conscientious about their works. They have a desire to speak at the maximum in each text. Also often come young directors when they put the graduate films and performances. In particular, this applies to films, since the author's fantasy in this case is not limited to the text of the play.

The authors who have developed imagines, love to fill the story with descriptive motives. For example, they are depicted as the main hero of the work chasing the coat of cannibals. However, if the dawn begins, they definitely stop on the description of long shadows, clouded stars, blushing clouds. The author as if loved by nature and only then decided to continue the pursuit. The genre fantastic story gives the maximum expanse of imagination, so it is not easy to avoid this error.

The role of motives in the story

It must be emphasized that in the genre that interests us, all the motives must disclose the topic, work in meaning. For example, a rifle described at the beginning of the work should certainly be shot in the final. The motives that lead to the side should not be included in the story. Or you need to search images outlining the situation, but excessively not detailed by it.

Features composition

It should be noted that it is not necessary to adhere to traditional techniques for building artistic text. Their violation may be spectacular. The story can be created almost on some descriptions. But it is impossible to do without action. The hero is simply required to at least raise the hand, take a step (in other words, make a significant gesture). Otherwise, it will not be a story, but a miniature, sketch, poem in prose. Another important feature of the genre of interest to us is a significant ending. For example, a novel can last forever, but the story is built differently.

Very often the ending of his paradoxical and unexpected. It was with this that the appearance of catharsis from the reader was associated. Modern researchers (in particular, Patrice Pavi) consider catharsis as an emotional ripple, which appears as reading. Nevertheless, the significance of the ending is unchanged. The ending can radically change the meaning of the story, push to the rethink of the one in it. It must be remembered.

Place of story in world literature

The story - which occupies an important place in world literature. Gorky and Tolstoy treated him both in the early and mature period of creativity. The story of Chekhov is the main and favorite genre. Many stories have become classic and along with major epic works (by the leaders and novels) entered the treasury of literature. Such, for example, the stories of Tolstoy "Three Death" and "Death of Ivan Ilich", Turgenev "Notes of the Hunter", works of Chekhov "Dreshek" and "Man in the case", the stories of Gorky "Staruha Ishergil", "Chelkash", etc.

Benefits of the story before other genres

The genre of interest to us allows you to single out a particularly convex of a typical case, one or another side of our life. It makes it possible to portray them so that the reader's attention is completely focused on them. For example, Chekhov, describing the Vanka Zhukov with a letter "On the Grandfather's village", full of child despair, stops in detail on the content of this letter. It will not reach the appointment and because of this it becomes especially strong in terms of accusability. In the story of the "Birth of a Man" M. Gorky episode with the birth of a child, which occurs on the road, helps the author in disclosing the basic idea - approval of life value.

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small shape of the epic kind of literature; A small prosaic work. Unlike the essay, the story has a plot and conflict and is less documentary, i.e. it contains artistic fiction. The novel differs from the story of the construction dynamicity and, as a rule, an unexpected junction of the plot. Depending on the content, the stories of two species are distinguished: the novelist and essay type. The story of the novelist type is based on a certain case revealing the formation of the character of the main character. Such stories fix either the moment that changed the worldview of the hero, or several events that led to this point: "Belkin's story" A. S. Pushkin, "Bride" and "Ionch" A. P. Chekhov, "Bosyatsky" stories M. Gorky. The story of this type goes back to the literature of the Renaissance, where many stories of the Novelistic type were combined into a larger product: "DON-KIKHOT" M. Servants, "Gilles Blaz" A. R. Lesaja, "Til Ulynspigel" Sh. De Koster. The story of an essay type fixes a certain state of the world or society, its task is to show no key point, but by the usual, normal life of any group of people or one person, choosing the most typical moment for this: "Hunter's notes" I. S. Turgenev, " Antonovskiy apples "I. A. Bunin," Konarmy "I. E. Babel. Such stories are often part of a larger product, unfolding a philanthropic picture, often with satirical pathos; For example, J. Swift, M. E. Saltykov-Shchedrin. The story can combine both trends: the author uses a nominal form for moralizing content; For example, "Mumu" I. S. Turgenev, "Death of the official" A. P. Chekhov, etc.

Among the stories are detective and fantastic. Detective stories describe a criminal incident, their plot is based on the search for a criminal. Often writers create cycles of detective stories, combined through hero: for example, Sherlock Holmes at A. K. Doyla or Erkul Poirot and Miss Marple at A. Christie. Fantastic stories place an action in the fictional world (future or other planet), showing the life of heroes among technical innovations in the context of almost unlimited possibilities, for example. Fantastic stories R. Bradbury.

In Russian literature, the story is one of the most common genres of 19-20 centuries. In the 20th century There was a genre t. n. "Women's" story (V. S. Tokarev, D. Rubin), which is an episode from the life of the hero, revealing his psychology, and through it - the psychology of all modern people. According to the content, it is to the novel, but in volume and form remains a story.

Story

Story

STORY. - term "R." In its genre value, it is usually applied to any small narrative prose. The literary work with a realistic color, which contains a detailed and completed narrative of any particular event, the case, everyday episode, etc. so. arr. This term (as well as any other genre terms) is actually not one genre of any particular style, but a whole group of close, similar, but non-identical genres that occur in the literature of various styles. In this case, naturally, on the periphery of this group, we find a number of transient, adjacent forms, which do not make it possible to sharply degrade the corresponding material from the material of other close genres. This, however, cannot prevent R. from other literary species, setting its typical signs and the pattern of its addition in its classical form under certain historical conditions and in certain styles, on the one hand, and the pattern of its use and the emergence of modification of the forms R. in other styles - on the other.
In the Zap.-European literature, the corresponding genre group is indicated by the term "novel" (see), which is essentially synonymous with the term "R.". True, we have the presence of these synonymic terms (in the formalists especially) the desire to differentiate them. So, often the novel was determined as a kind of R., which is characterized by a special pointerness of tie and union and tensions in the development of the plot. However, this kind of terminological distinctions are no more than conditional, since, in its historical occurrence and further development of Russian R. is quite similar to the Zap.-European Novel. As there is a novel, so we have allocated from all the narrative literature in general in similar historical moments, determined primarily by the character of the content aimed at real reality. We had this in the XVII-XVIII centuries. Due to the growth of opposition to the old feudal procedure. The most intense during this period R. developed in the styles of the "third class". The exacerbation of social contradictions and the cultural and ideological growth of creating classes literature and determine at this stage the design of the genre R. in contrast to the general nature of the written writing (church, religious) merchant or petty-bourgeoisy R. XVII-XVIII centuries. carried in the literature Real, domestic, everyday content concluded in clear composite forms, which are distinguished by the structural completeness, the intense dynamic of the plot, the simplicity of the language. In contrast to the genre amorphousity of the medieval story, the plot structure of the to-poake basically follows the natural course of events and is limited to the natural boundaries of the latter (biography of the hero, the history of the military campaign, etc.), R. is a form showing the ability of the author to allocate from the general Flow of reality Moments, the most significant, situations, the most conflict, in which social contradictions are most comprehensive and pointed in one event, consistent in one event, serving Stabula R. However, the connection of the story of the XVII-XVIII centuries. In the styles of the "third class" with more traditional genres, it was expressed in the stubborn preservation of old terms - the "story", the "fairy tale" - in the application to Early R. ("Tale" about Karp Sutulov, about Shemyakin Court, etc., "Fairy Tale »Chulkov" Annoy Awakening ", etc.). As a certain literary term "R." It begins to be used at the beginning of the XIX century, but still Pushkin and Gogol, the term "story" combines works, part of the to-ry, we would definitely attributed to R. or Novella ("Shot", "Coffin", "Stroller", etc.).
So. arr. R. formed as a genre nominated in the literature of bourgeois trends, bourgeois styles. Next, R. wins its place in a variety of styles, in each of them is modifier and for ideological significance and formally. In-depth psychological story Chekhov, "Personal", "People's" story L. Tolstoy, mystical-symbolistic story F. Sologuba, socially pointed realistic story M. Gorky - all these are different and in content and in artistic means R.
The genre forms of R., in the styles of the "third class" that the needs of the progressive and realistic reflection of reality are also used in the future, as opposite to purposes, in order to mystical refraction of real life, the writers of reaction classes. F. Sologub for example, referring to the reflection of his household reality, along with a large epic form - Roman - gives R., in which there are a number of characteristic signs of this narrative type: a small size, a restriction of the fabul with one event flowing in the setting normal reality, prosaic shape, etc. However, due to the fact that this author refracts the reality of mystically, irregularly, his stories are closely bordered with other genre groups of small epic form - a religious legend, a fairy tale, - choosing signs of these latter (for example . Making elements of wonderful to outlines of characters, in the development of the plot), which, however, does not reason identify all these various narrative types.
From here - the deepest difference in R. in different styles in the presence of some structural homogeneity of R. as a certain type of small epic shape (a limited number of characters shown around one central event, the lack of the lack of life history of characters, limited size, etc.).
So. arr. The content of the term "R." Even in its widest use - not only in applied to its typical, so to speak classical form, but also in its further transformations, it preserves the specified signs of the above. They ch. arr. Determined by social conditions that put forward realism as an artistic method. These few signs, however, are enough to understand the ratio of R. with other close genre forms. Tale for example In contrast to R. outlines not only a case, but deploys a number of events that make up a single line of fate of a particular character or the development of a more or less long process. In accordance with this, if in R. we have intensive construction of the plot, with a rum of the thread of life fate of the acting persons, they are tightened into one node of this event (so-called "Totality" of the novelist plot), then in the story we see extensive deployment, With a rum, the narrative stress is evenly distributed in a number of moments (events). Thus, the story represents a wider coverage of material and usually (but not always) in size, than R. Wed. As samples R. "Blyer" Pushkin and the story "Notes of Marker" L. Tolstoy, the story of Chekhov "Steppe", "men" and others with his own stories, etc. On the other hand, in the same plane we delivered R., tapering, although one case, but in a number of situations, indicating the circumstances of the case, the description of the situation, etc., from the joke as the smallest (infardant) narrative form, which gives only one acute, comic situation, the essence of K-Roy is concluded often in one label phrase. It is clear that between R. and the story, R. and the anecdote is easy to find intermediate forms. So, in the transfer Facki we find samples of short anecdotic storyors. Accession to such a brief anecdot - the story of the moralistic generalizing output turns it into the fastener, which acquires more or less allegorical character due to this, which we see in a number of the same Facki. In another plane, there is a criterion for distinguishing R. from the fairy tale and legend and R. from the essay: in terms of volume, according to the plot dynamics of R., a fairy tale, legend seems close to form. But the first is different from the last two of its realism (in typical forms) or at least the point of the subject of real reality (although fantastically refractive). However, in this regard, R. is opposed only by the lit-oh fairy tale, but not folklore, since the latter adopted by traditional terminology hugs works not only by a mythical and fantastic nature, but also a realistic and historical. The term "R." It applies only to literary works, although among oral fairy tales it is easy to find typical samples of realistic novels. As already mentioned, transitional forms can be found for all these ratios. Even such a seemingly permanent sign of the story, as a prose form, relatively, - we know the samples of R. in verses (Nekrasov - "Philanthrop", Mikov - "Masha", etc.). However, in all such cases, in the absence of any characteristic of R., obviously, others are obvious, otherwise they would not be applicable to this work the term "R." would be to this work. With all that it is necessary to emphasize that the indicated signs of R. by no means represent something still, immutable, on the contrary, their specific implementation in different styles is extremely diverse and significantly different. So, in some styles "Totality" Fabuli R. manifests itself in the extraordinary events, unexpectedly defining the fate of heroes ("shot" of Pushkin), in others, on the contrary, in his household ordinary (Chekhov's stories), thirdly - in his broad social generalization (Bitter stories). In accordance with this, other parties poetic structure p.: Always finished, a holistic plot R. In some styles moves by the force of individual psychological impulses more or less exceptional ("Shot") or ordinary (Chekhov's stories), in others - social contradictions (Bitter stories). The function of the background, settings, actions, etc. (small share of the household background in the "Shot" and Big - in the stories of Chekhov, a wide social background of Gorky, etc.). From here - a variety of varieties of the story: R. household, satirical, adventure, psychological, fantastic, etc. The story in general we find in many styles. But each of them is to a certain type (or row of species) R., giving a peculiar form of this species again. It is not difficult to understand why for example. Saltykov-Shchedrin, a representative of the revolutionary peasant democracy, nominates the genre of satirical R. - Fairy tales with the "Ezopov" language, Narlat-Liberal Korolenko - Household R., writer F. Sologub - mystico-fantastic and so on. In our Soviet The literature prevails R. with a broad social topics. This topic is not always given in a truly realistic interpretation: often examples of superficial domesticism (for example, in the stories of the pyutachev), one-sided "biological" psychologism ("secret secret" Sun. Ivanova), etc. And although Soviet literature has already nominated a number of sufficiently large masters R. (Babel, Tikhonov, Sun. Ivanov, Zoshchenko, Erdberg, Gablovich, etc.), yet R. style of socialist realism is in the process of its formation. Meanwhile, specific artistic agents R. - compression, laconism, dynamism, the tension of perception, relative simplicity and accessibility, etc. - determine its particular effectiveness. And if a large novel web reflects the wide lines of the social process of modernity in a single composite coverage, then in R. The artist focuses on certain points, episodes, the sides of this process, which also conclude essential features of changing reality. Therefore, the literature of socialist realism, as the genre of the richest and diverse, in the overall system of its genres takes the proper place and R., critically mastered the huge new enerstic inheritance of the past. Bibliography:
Novel.

Literary encyclopedia. - at 11 tons; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friece, A. V. Lunacharsky. 1929-1939 .

Story

Small shape of the epic kind of literature; A small prosaic work. Unlike essay Story has plot and conflict And less documentary, i.e. it contains artistic fiction. Novella It differs from the story of the dynamic constructions and, as a rule, unexpected magazine plot. Depending on the content, the stories of two species are distinguished: the novelist and essay type. The story of the novelist type is based on a certain case revealing the formation of the character of the main character. Such stories fix either the moment that changed the hero's worldview, or several events that led to this point: "Belkin's story" A. S. Pushkin, "Bride" and "Ionch" A. P. Chekhov, "Bosyatsky" stories M. Gorky. The story of this type goes back to the literature Revivalwhere many stories of the nominist type combined into a larger work: so built "Don Quixote" M. Survantes., "Gilles Blaz" A. R. Lesaja, "Til Ulenenspigel" Sh. de Kostera. The story of an essay type fixes a certain state of the world or society, its task is to show no key point, but the usual, normal life of any group of people or one person, choosing for this the most typical moment: "Hunter's Notes" I. S. Turgenev, "Antonovsky apples" I. A. Bunin, "Konarmy" I. E. Babel. Such stories are often part of a larger product, unfolding a philanthropic picture, often with satirical pathos; For example, J. Swift, M.E. Saltykova-Shchedrin. The story can combine both trends: the author uses a nominal form for moralizing content; For example, "Mumu" I. S. Turgenev, "Death of the official" A. P. Chekhov, etc.
Among the stories are detective and fantastic. Detective stories describe a criminal incident, their plot is based on the search for a criminal. Often writers create cycles of detective stories, combined through hero: eg, Sherlock Holmes at A. K. Doyla or Erkul Poiro and Miss Marple at A. Christie. Fantastic stories place an action in the fictional world (future or other planet), showing the life of heroes among technical innovations in the context of almost unlimited possibilities, for example. Fantastic stories R. Bradbury.
In Russian literature, a story is one of the most common genres of 19-20 centuries. In the 20th century There was a genre t. n. "Female" story (V. S. Tokarev, D. Rubin), which is an episode from the Hero's life, revealing his psychology, and through it - the psychology of all modern people. According to the content, he is to the novel, but in volume and form remains a story.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Story

STORY. In Russian literature, the designation of a more or less than a certain narrative genre by the subtitle "Story" is approved relatively late. N. Gogol, and Pushkin prefer the name "Tale", where we could say a "story", and only from the 50s more distinct demarcation begins. The smallest oscillations and the greatest accuracy are felt in thick in its subtitles of the 50s, which can be studied as an example of sensitivity to literary terminology. (So, the "blizzard" is called the "story", "Notes of Marker" "Tale" - both, and the other to the highest degree exactly).

Of course, the main oscillations can only be between the two genres: the story and the story, sometimes in contact with its tasks and very uncertain on its terminological meaning. In fact, while the Italian era of the Renaissance - the concept is quite concrete, which in its concreteness is historical and the resulting solid literary genre (hence the ease and explanation of the stylization is precisely under the Italian novel) - this cannot be said at all about the "story". A variety of techniques of composition, motifs, interests, the very manner of the presentation (Turgenev, for example, there is a story in 9 letters - "Faust") - is associated with the story of the XIX century. It belongs to it and honed in the spirit of Italian novels, the works of E. software (one of the greatest masters of the story) and developed from the techniques of the so-called "scenes" of "stories" of early Chekhov. All these considerations are forced to start the definition of the term "story" not with its theoretically and abstractly installed type, but rather with the general manner that we denote how special tonality of narration, giving him the features of the "story." This tonality is quite difficult to determine in the abstract concepts, sometimes immediately in the details of the started message, in the fact that the story is very often conducted from the first person, in the fact that he is attached to the features of something really former (hence the technique characteristic of the story - the creation A special illusion of the case, for example, a manuscript found, meeting, episodes during the journey, etc.). So, the tone of the story is immediately caught in the samples on the construction of the "host and employee" of Tolstoy: "It was in the 70s, the next day after the winter Nikola. In the arrival there was a holiday, and the village janitor, the merchant of the Second Guild Vasily Andreevich Brehunov, it was impossible to be removed. " This actuality and business attitude of the message starts immediately configures status About some event ("it was"), emphasized by a detailed mention of time (70s). Further, respectively, the beginning, quite retained tone Specific story. Not too much to add that all creativity of Tolstoy is permeated with elements of the story: those or other parts of its novels with the corresponding rounding can be allocated as separate stories). The very different tonality of the beginning of the "Faust". The first letters create a feeling of narrative lyrics, with a very detailed transmission of feelings and various, rather vague, memories. Tone telling assumes something else - strict actuality, savings (sometimes consciously calculated) of fine funds, immediate preparation of the main essence of the told.

The story, on the contrary, uses the means of a slowdown tonality - it is all filled with detailed motivation, side accessories, and its essence can be distributed across all the points of the narrative itself with almost uniform tension. So done in the "Notes of the Marker", where the tragic end of the KN. Nehludova is not perceived tragically, thanks to even voltage and uniform distribution. Thus, the special specific tonality of the story is created by well-defined means. A good narrator knows that he must focus on a relatively easy to the foreseeable case or event, quickly, that is. Immediately, explain all its motives and give the appropriate permission (end). The focus of attention nominated by tension center and the connected to the motives of this center is distinctive signs of the story. Its relatively small volume, which tried to legalize as one of the signs, was entirely explained by these basic properties.

K. Loks. Literary encyclopedia: Dictionary of literary terms: in 2 tons / edited by N. Brodsky, A. Lavretsky, E. Lunina, V. Lviv-Rogachevsky, M. Rosanova, V. Cheshikhina-Windrinsky. - m.; L.: Publishing house L. D. Frenkel, 1925

Watch what is a "story" in other dictionaries:

Story - Story. In Russian literature, the designation of a more or less than a certain narrative genre by the subtitle "Story" is approved relatively late. N. Gogol, and Pushkin prefer the name "Tale", where we could say ... ... Dictionary of literary terms

See anecdote, book, tale by stories ... Dictionary of Russian Synonyms and similar expressions in the meaning of expressions. under. ed. N. Abramova, M.: Russian dictionaries, 1999. Story anecdote, book, fairy tale; narration, description, history, epic, tale, essay; Parable ... Synonym dictionary

STORY. Term "R." In its genre value, it is usually applied to any small narrative prose. The literary work with a realistic color, which contains a detailed and completed narration about any separate ... ... Literary encyclopedia

Story - Story. In Russian literature, the designation of a more or less than a certain narrative genre by the subtitle "Story" is approved relatively late. N. Gogol, and Pushkin prefer the name "Tale", where we could say ... ... Dictionary of literary terms

See anecdote, book, tale by stories ... Dictionary of Russian Synonyms and similar expressions in the meaning of expressions. under. ed. N. Abramova, M.: Russian dictionaries, 1999. Story anecdote, book, fairy tale; narration, description, history, epic, tale, essay; Parable ... Synonym dictionary

- [ASK], story, husband. 1. Action on ch. Tell talk (rare). "There is a tea party, conversations, the stories of the provincial news." Leskov. 2. A verbal description, a presentation of any events. Eyewitness story. "Peacon will be my story." ... ... Explanatory Dictionary Ushakov

story - A, m. Rasscasse f. Scorena. Poppy. 1908. I got a familiar fisherman from half arab of red fish, a local story is called, marine paughes of Yershi, in addition I took a marine fatty eel, and the heels of living Langust. S. Black Real Buyabes. // Ch. ... ... Historical Dictionary of Gallicalism Russian Language

The story, a small form of epic prose, correlated with the story as a more detailed form of the narration. Goes back to folk genres (fairy tale, parable); How the genre was alone in written literature; Often indistinguishable from the novel, and from the 18th century. And essay. ... ... Modern encyclopedia

The low shape of the epic prose, correlated with the story as a more unfolded form of the narration. Goes back to folk genres (fairy tale, parable); How the genre was alone in written literature; Often indistinguishable from the novel, and from the 18th century. and essay. Sometimes ... ... Big Encyclopedic Dictionary

Story, a, husband. 1. Small form of epic prose, narrative product of small size. Storybook. 2. The verbal statement of what n. events. R. Obfore. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Swedov. 1949 1992 ... Explanatory dictionary of Ozhegov

The low shape of the epic prose, correlated with the story as a more unfolded form of the narrative. Goes back to folk genres (fairy tale, parable); How the genre was alone in written literature; Often indistinguished from the novel. Large explanatory dictionary of ... ... Encyclopedia of cultural studies

Number times. Jarg. Like. Jelly About an implausible message. Smirnov 2002, 184. To stay in the stories. Novg. Iron. Do not achieve the desired. Nose 7, 29. To tell the stories. Car. To lie, telling noby. SRGK 5, 467 ... Large dictionary of Russian sayings

STORY - Story. 1. Type of monologic speech, verbal presentation of which l. Events, narration about visible, hearing or experienced speaking. Cf. Lecture, report, speech, performance. 2. One of the verbal teaching methods (priority), ... ... New dictionary of methodical terms and concepts (theory and practice of learning languages)

Books

• Story - 86, the collection includes the stories of Soviet writers, published in the periodical periodics in 1986 ... Category: Propes Collections Publisher: Contemporary,
• Story - 85, the collection includes the stories of Russian Soviet writers, published in the periodicals of the Russian Federation in 1985 ... Category: Propes Collections Publisher: