Philological analysis of text. Tutorial

1. In each piece of literature, when the external form (text, speech level) creates the inner form of the literary work - the existing author in the consciousness of the author and reader artistic world, reflecting through the prism of creative design real reality (but not identical to it). The most important parameters of the inner world of the work is an artistic space and time. The fundamental ideas in the study of this problem of the literary work were developed by M. M. Bakhtin. He also introduced the term "Chronotope", denoting the relationship between the artistic space and time, their "fighting", mutual conditionality in the literary work.

2. Chronotope Performs a number of important feature functions. So, it is through the image in the work of space and time becomes visively deputy visible The epoch, which the artist is aesthetically comprehended, in which his heroes live. At the same time, the chronotope is not focused on adequate imprint of the physical image of the world, it is focused on a person surrounding a person, captures his connection with the world, often refracting in itself the spiritual movements of the character, becoming an indirect assessment of the rightness or wrong The choice taken by the hero, solvability or insoluability of its litigation with the reality, achievability or unattainability of harmony between the person I am the world. Therefore, individual space-time images and chronotope works in general always carry value meaning.

Each culture understood the time and space in his own way. The nature of the art time and space reflects those ideas about the time and space that have developed in everyday life, in religion, in philosophy, in science of a certain era. M. Bakhtin explored typological spatial-temporal models (chronotop chronicle, adventurous, biographical). In the character of chronotop, he saw the embodiment of types of artistic thinking. So, in traditionalist (regulatory) cultures prevail epic chronotope, transformed the image in the completed and distanced legend from modernity, and in the cultures of innovative creative (abnormative) dominates roman Chronotop.Live-oriented contact with unfinished, reality. (See this work M. Bakhtina "Epos and Roman".)

M. Bakhtin allocated and analyzed some of the most characteristic types of chronotopes: a meeting of the meeting, roads, provincial town, castle, square. Currently, the mythopoietic aspects of artistic space and time, semantics and structural possibilities of archetypal models ("Mirror", "Sleep", "Game", "Path", "Territory"), the cultural meaning of the concept of time (time pulsating, cyclical, Linear, entropy, semiotic, etc.).

3. In the arsenal of literature there are such artistic forms that are specifically designed to create a spatial-temporal image of the world. Each of these forms can capture the essential side of the "Human World":

plot - the course of events

system of characters - Social ties of man,

scenery - the person surrounding the physical world,

portrait - the appearance of a person,

introductory episodes - Events that are remembered in connection with events currently.

At the same time, each space-time forms are not a copy of reality, but an image that carries copyright understanding and evaluation. For example, in the plot, such a chain of actions and actions, which "solves the internal logic of being, is hidden, which" is solved by the internal logic of being, relationships "(A. V. Chicherin).

The above-mentioned form capture a clear-visual picture of the artistic world, but do not always exhaust all its fullness. In the creation of a holistic image of the world, such forms are often involved as a subtext and a supertext.

There are several definitions subtext who mutually complement each other. "The subtext is the hidden meaning of the statement that does not match the direct meaning of the text" (LES), the subtext is the "hidden semantics" (V. V. Vinogradov) of the text. " Subtext - This is an implicit dialogue of the author with the reader, manifested in the work in the form of non-phase, implies, distant episodes, painsels, images, the replicas of characters, details "(A. V. Kubasov. Stories A. P. Chekhov: Poetics of the genre. Sverdlovsk, 1990. With . 56). In most cases, the subtext "is created by dispersed, distanted repetition, all the links of which enter each other into complex relationships, from which their new and deeper meaning is born "(T. I. Silman. The subtext is the depth of text // Questions of Literature. 1969. No. 1. P. 94). These distanted reversals of images, motifs, speech revolutions, etc. Installed not only on the principle of similarities, but also in contrast or controym. The subtext establishes hidden links between phenomena captured in the inner world of the work, determining its multi-layeredness and enriching its semantic capacity.

Superpower - It is also an implicit author's dialogue with the reader, but it consists of such figurative "signals" (epigraphs, explicit and hidden quotes, reminiscence, titles, etc.), which cause a variety of historical and cultural associations from the reader, connecting them outside To the artistic reality directly depicted in the work. Thus, the supertext spreads the horizons of the artistic world, also contributing to the enrichment of its semantic tank. (It is logical to consider one of the species "Intertextuality", Peemable as explicit or implicit signals that focus the reader of this work on associations with previously created artistic texts. For example, when analyzing the poem of Pushkin "Monument", it is necessary to take into account the semantic halo, which arises due to the intertextual relations established by the author with the works of the same name Horace and Derzhavin.)

The location and ratio of space-time images in the work of internally motivated - there are both "life" motivation in their genre conditionality, there are also motivation conceptual. A spatial-temporary organization is systemic in nature, forming the "inner world of the literary work" (D. S. Likhachev) as a clear-visible embodiment of a certain aesthetic concept of reality. In the chronotope, the truth of the aesthetic concept seems to be tested by the organity and internal logic of artistic reality.

When analyzing space and time in the artistic work, all the circumferential elements in it should be taken into account and pay attention to the originality of each of them: in the system of characters (contrast, mirror, etc.), in the structure of the plot (linear, unidirectional with returns, runways forward, spiral, etc.), compare the proportion of individual elements of the plot; and also identify the character of the landscape and portrait; The presence and role of the subtext and the supertext. It is equally important to analyze the placement of all the structural elements, search for the motivation of their articulation and, ultimately, try to comprehend the ideological and aesthetic semantics of that space-time image, which occurs in the work.

Literature

Bakhtin M. M. Time forms and chronotop in the novel // Bakhtin M. M. Questions of literature and aesthetics. - M., 1975. P. 234-236, 391-408.

Likhachev D. S. Inner world of literary work // Questions of literature. 1968. number 8.

Rodnyanskaya I. B. Artistic time and artistic space // CLE. T. 9. P. 772-779.

Silman T. I.Subtext - the depth of text // Questions of literature. 1969. No. 1.

additional literature

Barkovskaya N. V.Analysis of the literary work at school. - Ekaterinburg, 2004. P. 5-38.

Beletsky A. I.Image of living and dead nature // Belletsky A.I. Selected works on the theory of literature. - M., 1964.

Galanov B.Painting word. (Portrait. Landscape. The thing.) - M., 1974.

Kohn E. Plot and reality. - L., 1981. (plot and idea. Art of the Details). P. 168-199, 300-311.

Levitan L. S., Tsilevich L. M.Basics of studying the plot. - Riga, 1990.

Kolinov B. B. Plot, Fabul, Composition // Theory of Literature. Major problems in historical lighting. - M., 1964. P. 408-434.

Samples of studying the text of the artwork in the works of domestic literary criticism / Sost. B. O. Kormman. Vol. I. Ed. 2nd, extra. - Izhevsk. 1995. Section IV. Time and space in an epic work. P. 170-221.

Stepanov Yu. S. Constants: Dictionary of Russian Culture. Ed. 2nd. - M., 2001. P. 248-268 ("Time").

TUAD V. I.Analytics of art (introduction into a literary analysis). - M., 2001. P. 42-56.

Toporov V.N.The thing in the anthropological perspective // \u200b\u200bToporov V.N. Myth. Ritual. Symbol. Form. - M., 1995. P. 7-30.

Theory of literature: in 2 tons. T.1 / Ed. N. D. Tamarchhenko. - M., 2004. P. 185-205.

Farino E.Introduction to literary studies. - St. Petersburg., 2004. P. 279-300.

The concept of spatial-temporal continuum is significantly significantly for the philological analysis of artistic text, since time, and space serve as constructive principles of the organization of a literary work. Artistic time - the form of being aesthetic reality, a special way of knowledge of the world.

Features of modeling time in the literature are determined by the specifics of this type of art: the literature is traditionally considered as art. temporary;unlike painting, it recreates the concreteness of the flow of time. This feature of the literary work is determined by the properties of the language means that form its shaped system: "Grammar determines the order for each language that distributes ... spatost in time," converts spatial characteristics to temporary.

The problem of art time has long been occupied theoretics of literature, art historians, linguists. So, A.A. Fleebe, emphasizing that the art of the word is dynamic, showed the limitless opportunities for organizing the artistic time in the text. The text was considered as a dialectical unity of two composite-speech forms: descriptions ("Damn image, at the same timeexisting in space ") and the narrative (" the narrative turns a number of simultaneous signs into a number of consecutive perceptions, in the image of the movement of the gaze and thoughts from the subject to the subject "). A.A. Pottnya delimited time real and time artistic; Having considered the ratio of these categories in the works of Folklore, he noted the historical variability of artistic time. Ideas A.A. Plebitsy received further development in the works of philologists of the end of the XIX - - la XX century However, interest in the problems of art time was especially revived in recent decades of the XX century, which was associated with the rapid development of science, the evolution of views on space and time, with a lifting of the pace of social life, with the exacerbated in connection with this attention to the problems of memory, origins, traditions , one side; and the future, on the other hand; Finally, with the emergence of new forms in art.

"Work, - noted by P.A. Florensky - aesthetically enforced ... in a certain sequence. " Time in the artistic work - the duration, sequence and correlation of its events based on their causal, linear or associative communications.

Time in the text has clearly defined or sufficiently blurred boundaries (events, for example, can cover dozens of years, a year, a few days, day, hour, etc.), which may be marked or, on the contrary, not refer to the work relative to the historical The time or time installed by the author conditionally (see, for example, Roman E. Zamyatina "We").

Artistic time west systemiccharacter. This is a way of organizing the aesthetic reality of the work, its inner world and at the same time the image associated with the embodiment of the author's concept, with the reflection of his paintings of the world (remember, for example, Roman M. Bulgakov "White Guard"). On the time of the immanent properties of the work it is advisable to distinguish the time of the text of the text, which can be viewed as the reader's time; Thus, considering the artistic text, we are dealing with the Antinomy "The time of the work is the reader's time." This antinomy in the process of perception of the work can be resolved in different ways. At the same time, the time of the work is inhomogeneous: so, as a result of temporary, displacements, "skips", the selection of the central events, the depicted time is shrinking, is reduced, when applied and describing simultaneous events, it is, on the contrary, stretched.

The comparison of real time and time of artistic reveals their differences. Topological properties of real-time in macromir are one-dimensional, continuity, irreversibility, orderliness. In artistic time, all these properties are converted. It can be multidimensional.This is due to the nature of the literary work that has, firstly, the author and the presence of a reader, secondly, borders: the beginning and end. In the text there are two time axes - the "axis of telling" and "axis of the events described": "The axis of telling one-dimensional one, while the axis of the described events is multidimensional." Their relationships the multidimensionality of art time, makes time offsets possible, determines the multiplicity of time points of view in the text structure. Thus, the prosecical product usually establishes a conditional real time of the narrator, which correlates with the story of the past or future characters, with the characteristic of situations in various time dimensions. In different time planes, the action of the work ("Double" A. Pogorelsky, Russian Nights, V.F. Odoevsky, "Master and Margarita" M. Bulgakov, etc.) can unfold.

It is not typical for artistic time and irreversibility (single-procurement): the actual event sequence is often disturbed in the text. According to the law of irreversibility, only folk time is moving. In the literature of the New Time, temporary displacements, violation of the time sequence, switching temporal registers play a major role. Retrospection as a manifestation of action of artistic time - the principle of organizing a number of thematic genres (memoir and autobiographical works, a detective novel). The retrospective in the artistic text can also act as a means of disclosing its implicit content - subtext.

The multidirectionality, the reversibility of artistic time is especially pronounced in the literature of the XX century. If Stern, according to E.M. Fuster, "turned the clock upside down", "Marseille Prost, even more inventive, changed the arrow places ... Gertruda Stein, who tried to drive out the time from the novel, broke his clock to smithereens and shed their fragments in light ... ". It is in the XX century. The novel "Flood of Consciousness" arises, the novel "one day", a consistent time series, in which it is destroyed, and time acts only as a component of the psychological being of a person.

Artistic time is characterized as continuityso I. discreteness."Staying essentially continuous in a consistent change of temporary and spatial facts, the continuum in text reproduction is simultaneously divided into separate episodes." The selection of these episodes is determined by the aesthetic intentions of the author, hence the possibility of temporary lacuna, "compression" or, on the contrary, expansion of the story - for no, see, for example, a remark of T. Manna: "At the excellent holiday of narration and playback, the skips play an important, and indispensable role."

The ability to expand or compress time is widely used by writers. So, for example, in the story I.S. Turgenev "Wound Waters" highlights the history of Love Sanina to Jamme - the most vivid event in the Hero's life, its emotional vertex; At the same time, the artistic time slows down, "stretched", the course of the subsequent life of the hero is transmitted generalizable, the total: And there - living in Paris and all humiliation, all the garde flour slave ... then- return to the homeland, poisoned, devastated life, petty, small troubles ...

Artistic time in the text acts as a dialectical unity finiteand infinite.In an endless stream of time, one event or their chain is allocated, the beginning and end of them are usually fixed. The final of the same works is the signal that the time cut, submitted to the reader, ended, but time lasts and beyond. Converted to the artistic text and such a property of real-time works as an orderly. This may be due to the subjective determination of the reference point or measure of the time: so, for example, in the autobiographical story of S. Bobrov "Boy" time for a time for a hero is a holiday:

For a long time, I tried to imagine what year ... And suddenly, it was suddenly a rather long ribbon of a grayish-pearl fog, lying in front of me horizontally, like a towel, abandoned on the floor.<...> Did it share the towel for months? .. No, it was unnoticed. On the seasons? .. Also, somehow not very clear ... It was clear more clear. These were patterns of holidays, which weathered the year.

Artistic time is unity privateand general."As a manifestation of private, it has feature traits and is characterized by the beginning and end. As a reflection of the limitless world, it is characterized by infinity; temporary stream. " As the unity of discrete and continuous, finite and endless can act. Separately taken temporary situation of artistic text: "There are seconds, only a few times there are five or six, and you suddenly feel the presence of eternal harmony, completely achieved ... as if you suddenly feel the whole nature and suddenly say: yes, this is true." The plan of timeless in the artistic text is created by - use of repetition, maxims and aphorisms, various kinds of reminiscence, symbols and other trails. Artistic time in this regard can be considered as the phenomenon of complementary, to which the principle of complementary N. Bora is applied to the analysis (the opposite means it is not possible to synchronously combine, two "experiences spread over time) are needed to obtain a holistic presentation). Antinomy "Finite - infinite" is allowed in the artistic text as a result of using conjugate, but spread over time and therefore multivalued means, such as characters.

Fundamentally significant to organize an artistic work such characteristics of artistic time as duration / shortthe event depicted uniformity / heterogeneitysituations, time communication with object and event filling (its fullness / openness,"emptiness"). According to these parameters, it can be opposed to both works and fragments of text in them forming certain temporary blocks.

Artistic time relies on a certain language fund system.This is primarily a system of viewed forms of verb, their sequence and opposition, transposition (portable use) of the forms of time, lexical units with temporal semantics, cable forms with a time value, chronological litter, syntactic structures that create a specific time plan (for example, nominative proposals represent In the text of the Plan of this), the names of historical figures, mythological heroes, nominations of historical events.

A special meaning for artistic time has the functioning of verb forms, the predominance of statics or dynamics in the text, lifting or slowing down, their sequence depends on the transition from one situation to the other. And, therefore, the movement of time. Wed., for example, the following fragments of the story E. Ramyatina "Mamay": According to an unfamiliar country, Mamay wandered lost. Penguins wings prevented; The head hung like a crane at the squeezed samovar ...

And suddenly head swept, the legs tarten twenty-five-year-old ...

Time forms act as signals of various subjects in the structure of the narration, cf., for example:

Gleb lyingon the sand, put her head with his hands, was quiet, sunny morning. Now he did not work in his mezzanine. Everything ended. Tomorrow leavingEllie stackedeverything has been rowed. Again Helsingfors ...

(B. Zaitsev. Travel Gleb )

The functions of the species forms in the artistic text are largely typed. As V.V. notes Vinogradov, narrative ("event") time is determined primarily by the ratio of dynamic forms of the past time of the perfect species and the forms of the past, protruding in the procedural and long or qualitative characterizing value. Recent forms are assigned to descriptions.

Text time as a whole is due to the interaction of three temporal "axes":

1) calendartime displayed mainly by lexical units with seed "time" and dates;

2) eventtime organized by the link of all predicates of the text (primarily verb forms);

3) perceptivethe time expressing the position of the narrator and the character (this uses different lexico-grammatics and temporary displacements).

Time is artistic and grammatical are closely connected, but the sign of equality should not be put between them. "The grammatical time and time of the verbal work can escape. Time actions and time Copyright and readers are created by a combination of many factors: among them - the grammatical time is only partly ... ".

Artistic time is created by all elements of text, with funds expressing temporary relations interact with the means expressing spatial relations. We restrict ourselves to one example: so, the change of structures with; predicates of movement (drove out of the city, drove into the forest, arrived at the lower molding, drove up to the riveretc.) in the story of A.P. Chekhov ) "ON SUPPORT", on the one hand, determines the temporary sequence of situations and forms the storytime text, on the other hand, reflects the movement of the character in space and participates in the creation of an artistic space. Spatial metaphors are regularly used to create a time of time in art texts.

The oldest works are characterized mythological timethe sign of which is the idea of \u200b\u200bcyclical reincarnations, "world periods". Mythological time, not the opinion of K. Levi-Strauss, can be defined as the unity of its characteristics such as reversible irreversibility, synchronicity-diachry. The present and future in mythological time acts only as various temporal Ipostasis of the past, which is an invariant structure. The cyclic structure of mythological time was significantly significant for the development of art in different epochs. "Exceptionally powerful orientation of mythological thinking on the establishment of homo- and isomorphisms, on the one hand, made it scientifically fruitful, and on the other hand she led to a periodic revival of it in various historical epochs." The idea of \u200b\u200btime as a change of cycles, "eternal repetition," is present in a number of neomophological works of XX century. So, according to V.V. Ivanova, this concept is close to the image of the time in the poetry V. Klebnikov, "Deeply felt the path of science of its time."

In medieval culture, the time was considered primarily as a reflection of eternity, while the idea of \u200b\u200bit was predominantly eshatological character: time begins with the act of creation and ends with the "Second Coming". The main direction of time is the orientation for the future - the coming outcome from time to eternity, while the metrization of time changes and significantly increases the role of the present, the dimension of which is associated with the spiritual life of a person: "... For the present undergoing items we have memory or memories; For these real objects we have a view, the view, contemplation; For real future items we have aspirations, hope, hope, "said Augustine. So, in the ancient Russian literature, time, as D.S. notes Likhachev, not so egocentrically as in the literature of the new time. It is characterized by a closure, unidirectionality, strict observance of the real sequence of events, a constant appeal to the eternal: "Medieval literature strives for a timeless, to overcome the time in the image of the highest manifestations of the existence of the universe." Achievements of the Old Russian literature in the recreation of events "at an angle of view of eternity" in the transformed form were used by the writers of subsequent generations, in particular F.M. Dostoevsky, for whom "Temporary was ... The form of the eternal". We restrict ourselves to one example - the dialogue of Stavrogina and Kirillov in the "Demons" novel:

There are minutes, you come up to minutes, and the time suddenly stops and will be forever.

Do you hope to get to this minute?

It is unlikely that in our time it is possible - Nikolai Vsevolodovich, who, too, was responding without any irony, slowly and as if thoughtfully. - In the apocalypse, the angel swars like that there will be no more time.

I know. It is very true there; Clearly and accurately. When the whole person of happiness reaches, it will no longer be more, because it is not necessary.

Starting from the Renaissance, the evolutionary theory of time is approved in culture and science: spatial events are becoming the basis of time. Time, therefore, it is understood as eternity, not opposing time, but moving and implemented in every instant situation. This is reflected in the literature of the new time, boldly violating the principle of irreversibility of real-time. Finally, the XX century is a period of particularly bold experimentation with artistic times. Equally ironic judgment J.P. Sartre: "... Most of the largest modern writers - Proust, Joyce ... Falkner, Julf, Vulf - everyone in his own way tried to cripple the time. Some of them were deprived of his past and the future, to reduce the moment with clean intuition ... Proust and Falkner simply "beheaded" him, having deprived the future, that is, measuring actions and freedom. "

The consideration of the art time in its development shows that its evolution (reversibility → irreversibility → reversibility) is a translational movement in which each highest level denies, removes its lowest (pre! Summer), contains its wealth and again removes himself in the next , third, steps.

Features of modeling artistic time are taken into account when determining constitutive signs of the genus, genre, directions in the literature. So, according to A.A. Pottny, "Lyrics - Praesens ","Epos - perfectum ";the principle of recreation of times - can distinguish genres: for aphorisms and maxims, for example, the real constant is characterized; Reversible artistic time is inherent to memoirs, autobiographical works. The literary direction is also associated with a definitely "concept of developing time and the principles of its transfer, while differently happens, for example, a measure of adequacy of real time. So, for symbolism, the implementation of the idea of \u200b\u200bever movement-formation is characteristic: the world develops under the laws" Triads (the unity of the world spirit With the soul of the world - rejection of the soul of the world from alliance - the defeat of chaos).

At the same time, the principles of the development of art time are individual, this is the feature of the artist's idiosity (so, artistic time in Romanov L.N. Tolstoy, for example, differs significantly from the model of time in the works of F.M. Dostoevsky).

Accounting for the features of the implementation of time in the artistic text, consideration of the concept of time in it and, wider, in the work of the writer - the necessary component of the analysis of the work; The underestimation of this aspect, the absolutization of one of the private manifestations of artistic time, identifying its properties without taking into account both objective real-time, and subjective time can lead to erroneous interpretations of artistic text, make the analysis incomplete, schematic.

Analysis of artistic time includes the following highlights:

1) Determination of features of art time in the work under consideration:

One-dimensional or multidimensionality;

Reversibility or irreversibility;

Linearity or violation of the time sequence;

2) the selection in the temporal structure of the temporary plans (planes) presented in the work and the consideration of their interaction;

4) identifying signals that allocate these forms;

5) consideration of the entire system of temporary indicators in the text, detection of not only direct, but also portable values;

6) determining the ratio of the time of historical and domestic, biographical and historical;

7) Establishing an artistic time and space.

Let us turn to the consideration of the individual aspects of the artistic time of the text on the material of specific works ("Purchase and Duma" A. I. Herzen and the story I. A. Bunin "Cold Autumn").

"Poison and Duma" A. I. Herzen: Features of a temporary organization

In the artistic text there is a mobile, often changeable and multidimensional temporal perspective, the sequence of events in it may not correspond to their real chronology. The author of the work in accordance with his aesthetic intentions is expanding, then "thickens" time, then slows it; It speeds up.

In the artistic work they relate different aspect of art time:scene time (temporary length of depicted actions and their reflection in the composition of the work) and the time of the head (their real sequence), copyright and subjective time of characters. It is presented different manifestations(forms) of time (domestic historical time, personal time and social time). The focus of the writer or poet may be image imageassociated with the motive motion, development, formation, with opposition of transient and eternal.

Of particular interest is the analysis of the temporary organization of works, in which different temporary plans consistently relate, a wide panorama of the epoch is given, embody a certain philosophy of history. Such works refers to the memoir and autobiographical epic "Purchase and Duma" (1852 - 1868). This is not only the top of creativity A.I. Herzen, but also the work of the "new form" (by definition of L.N. Tolstoy) in it, elements of different genres (autobiography "of confession, notes, historical chronicles are combined, various forms of presentation and composite-semantic types of speech are combined," a tombstone monument and Confessions, former and Duma, biography, creating, events and thoughts, heard and seen, memories and ... more memories "(A.I. Herzen). "The best ... from books dedicated to the review of his own life" (Yu.K. Olesha), "Purchase and Duma" - the history of the formation of the Russian revolutionary and one temporarily history of public thought of the 30-60s of the XIX century. "Hardly there is still a memoir work, so imbued with conscious historicism."

This is a product for which a complex and dynamic temporary organization is characterized, which involves the interaction of various temporary plans. The principles of it are determined by the author himself, which noted that his work - "and with p about in the e d, about which, about which there was a sealing memories of the Bi L about G Oh, there were stopped thoughts and d M "(Highlighting A.I. Herzen. - N. N.). In this author's characteristic, which opens the work, contains the indication of the basic principles of the temporal organization of the text: this is an installation on the subjective segmentation of its past, freely adoption of different temporal plans, constant switching of temporary registers; The author's "Duma" are combined with a retrospective, but devoid of strict chronological sequence - the story about the events of the past, includes the characteristics of persons, events and facts of different historical eras. The narration of the past is complemented by the stage reproduction of individual situations; The story about "was" is interrupted by fragments of the text, which reflects the immediate position of the narrator at the time of speech or recreated period of time.

In such a construction, the work "was clearly affected by the methodological principle of" the former and DUM ": the ultimate interaction of the common and private, transitions from direct copyright reflections to their subject illustration and back."

Artistic time in "I was ..." reversible(the author resurrects the events of the past), multidimo(the action is deployed in different time planes) and nelineino(The story about the events of the past is broken by self-driving, reasoning, comments, ratings). The reference point defining in the text change of temporary plans is mobile and constantly moved.

Scene time work - time first biographical"Poison", recreated inconsistently, reflects the main stages of the formation of the author's personality.

The biographical time is based on a cross-cutting image of the path (roads), in symbolic form embodying the vital path of the narrator, seeking true knowledge and a passing series of tests. This traditional spatial image is implemented in the system of deployed metaphor and comparisons, regularly repeated in the text and forming through the motive motive, overcoming themselves, passing through a number of steps: The path, we were elected, was not easy, we did not leave him again; The wounded, broken, we walked, and no one overtook us. I reached ... not before the goal, but before the place where the road goes under the mountain ...; ... June of the majority, with his suffer work, with his rubble on the road, takes a person by surprise.; Exactly lost knights in fairy tales, we waited at a crossroads. Go to the right- you will lose a horse, but you will be for intact; Will you go to the left - the horse will be intact, but you will die yourself; Go ahead - everyone will leave you; You will go back - this can not, there for us the road of grass thicket.

These tropeic series developing in the text act as a constructive component of the biographical time of the work and make it a figurative basis.

Reproducing the events of the past, assessing them ("Past- not a correction list ... not everything can be corrected. It remainsas cast in metal, detailed, unchanged, dark, like bronze. People generally forget only what you should not remember or what they do not understand ")and refracting through its subsequent experience, A.I. Herzen as much as possible uses the expressive possibilities of viewing verb forms.

The situation depicted in the past and the facts are estimated in different ways: some of them are described extremely briefly, others (most important for the author in emotionally aesthetic or ideological terms), on the contrary, stand out by "close-up", while the time "stops" slows down. To achieve this aesthetic effect, the forms of the last time of the imperfect view of the form of the present time are used. If the forms of the past perfect express the circuit of consistently replacing actions, the shape of the imperfect species transmits not the dynamics of the event, the dynamics of the action itself, representing it as a deployment process. Performing in the artistic text is not only "reproducing", but also "finely pictorial", "descriptive" function, the form of the last imperfect time stops. In the text "The Were and Dum", they are used as a means of allocating a "close-up" situations or events, especially significant for the author (an oath on the Sparrow Mountain Death of Father, a date from Natalie, departure from Russia, meeting in Turin, the death of his wife). The choice of forms of past imperfect as a sign of a certain copyright attitudes to the depicted performs in this case and emotional expressive function. Wed, for example: Kormilitsa in Sarafan and Showling Still watched us after I. platlay; Sonnenberg, this fun figure from children's years, mahal Fulyar- around the endless steppe snow.

This feature of the forms of past imperfect is typical for artistic speech; It is associated with the special value of an imperfect species involving the mandatory presence of the point of observation, the retrospective point of reference. A.I. Herzen also uses the expressive possibilities of the form of past imperfect with the value of repeated or dumping actions: they serve for typivation, generalization of empirical parts and situations. So, for the characteristics of the life in the house of the father, Herzen uses the reception of the description of one day - descriptions based on the sequential use of the forms of the imperfect species. For the "former and DUM", it is thus characteristic of the permanent change of the perspective of the image: single facts and situations allocated close-ups are combined with reproduction of long processes, periodically repetitive phenomena. Interested in this regard, the portrait of Chaadaev built on the transition from the author's specific observations to the typical characteristic:

I loved to look at him a heart of this tinsel, windy senators, gray hanging and honorable insignificance. No matter how the thick crowd, the eye found him immediately; Summer did not distort the slim mill, he dressed very carefully, the pale, her tender face was completely motionless when he was silent, as if he was from wax or from marble, "Man, like a skull naked" ... he was standing for ten years old , somewhere at the column, at the tree on the boulevard, in the halls and theaters, in the club and - embodied Veto, the lively protest looked at the whirlwind of people, meaninglessly thrown around him ...

Forms of the present time Against the background of the forms of the past also can perform the function of slowing the time, the function of allocating events and phenomena of the past close-up, but they, unlike the forms of the function that has been imperfect in "finely pictorial" recreation, primarily the direct time of the author's experience associated with the moment of lyric Concentration, or (less often) transmit mainly situations typical, repeatedly repeatedly repeated in the past and now reconstructed memory as imaginary:

Oakful peace and oak noise, continuous buzz of flies, bees, bumblebees ... and smell ... This herbian-forest smell ... which I searched so much in Italy, and in England, and in the spring, and hot summer and almost Never found. Sometimes it smells like them, after the beveled hay, with wide, in front of a thunderstorm ... and remember a small place in front of the house ... On the grass, a three-year-old boy, lying in clover and dandelions, between grasshoppers, all sorts of beetles and ladybugs, and we ourselves And youth, and friends! The sun village is still very warm, I don't want to go home, we sit on the grass. Ketcher disassembles mushrooms and marries with me for no reason. What is it like a bell? To us, what? Today Saturday - maybe ... Troika rolls Selo, knocks on the bridge.

The forms of the present time in "was ..." are primarily associated with the author's subjective psychological time, its emotional sphere, their use complicates the image of the time. Recreation of events and facts of the past, newly experienced by the author, is connected with the use of nominative proposals, and in some cases using the forms of the past perfect in perfect value. The chain of the forms of real historical and nominatives will not only close the events of the past, but also transfers the subjective feeling of time, recreates its rhythm:

The heart beat the heart when I saw the familiar, my native streets, places, houses that I did not see for about four years ... Kuznetsky Bridge, Tver Boulevard ... Here's the house of Ogarev, he was fallen some huge coat of arms, he was stranger ... here is the Pow - the Spirit is engaged in the meso - nina, in the corner window, the candle is burning, it is her room, she writes to me, she thinks about me, the candle is so fun burns so to melit.

Thus, the biographical plot time of the work is uneven and intermittent, it is characterized by a deep but moving perspective; Recreation of real biographical facts is combined with the transfer of various aspects of subjective awareness and time measurement by the author.

Time is artistic and grammatical, as already noted, closely related, however, "grammatics acts - as a piece of smalt in the general mosaic picture of the verbal work." Artistic time is created by all elements of text.

Lyrical expression, attention to "Miga" is combined in prose A.I. Herzen with constant typisation, with a socio-analytical approach to the depicted. Considering that "we have the necessary thing, than somewhere, shoot masks and portraits," since "we are terrible to fall apart with just past," the author combines; "Duma" in the present and the story about "was" with portraits of contemporaries, while restoring the missing links in the image of the era: "Universal without personality is an empty distraction; But the person only has a complete reality in the extent that it is in society. "

Portraits of contemporaries in "Were and Things" can be conditionally; Divide on static and dynamic. Thus, in chapter III of the first volume, the portrait of Nicholas I is presented, it is static and emphasizedly appreciated, speech funds involved in its creation contain a common semantic sign "Cold": outlined and swung jellyfish with a mustache; The beauty of him hung coldly ... But the main thing - the eyes, without any warmth, without any mercy, winter eyes.

Otherwise, the portrait characteristic of Ogarev is being built in chapter IV of the same volume. The description of its appearance is accompanied by the introduction; Elements of prospectation associated with the future Hero. "If a picturesque portrait is always as if stopped in time for a moment, then a solvent portrait characterizes a person in" actions and actions "belonging to different" moments of "his biographies". Creating a portrait of N. Ogarev in adolescence, A.I. Herzen, at the same time calls the character of the hero in maturity: Early seen in it, the anointing, which is not many,- on trouble, on the happiness of Lee ... But probably, to not be in the crowd ... Current sadness and extreme meekness were shone from gray big eyes, hinting for the future growth of the Great Spirit; So he grew up.

The combination of portraits of different time points in the description and characteristic of heroes deepens the moving time perspective of the work.

The multiplicity of the text of the temporary point of view presented in the text structure increases by incorporating the diary fragments, letters of other heroes, excerpts from literary works, in particular from N. Harev poems. These elements of the text correlate with the author's narrative or automatic descriptions and are often opposed to them as a genuine, objective - subjective, transformed time. See, for example: True of that time, as it was then understood, without an artificial perspective, which the distance gives, without cooling the time, without corrected lighting with rays passing through the ranks of other events, was preserved in the notebook of the time.

The author's biographical time is complemented in the elements of the biographic time of other heroes, while A.I. Herzen resorts to deployed comparisons and metaphors, recreation of time: The years later, the years of her passionate life, but walked and disappeared the flower behind the flower ... Exactly the tree is a warm winter, she retained the linear essay of their branches, the leaves had shielded, the bustling of naked bunches, but the more clearly the greatest growth, bold sizes.Repeatedly used in the "past ..." image of the clock, embodying the inexorable power of time: Large English table clocks with their dimensional *, loud spondy - Tik-so - Tick-like - Tick-so ... It seemed that I said to her last quarter of the hour of life ...; And Spontia of the English clock continued to measure days, hours, minutes ... and finally Domeril to the fateful second.

The image of the fleeting time in "Were and Things", as we see, is associated with the orientation to the traditional, often a general-language type of comparison and metaphor, which, repeating in the text, are subjected to transformations and affect the surrounding elements of the context, as a result, the stability of the tropeic characteristics is combined with their constant update.

Thus, the biographical time in the "waslar and thought" is made up of a plot time based on the sequence of the author's past, and elements of the biographical time of other heroes, while the subjective perception of time the narrator is constantly emphasized, its appraisal attitude towards recreated facts. "Author - as an editor in cinematography": He speeds up the time of the work, it stops him, it does not always relate the events of his life with chronology, it emphasizes, on the one hand, the flow of time, on the other hand, the duration of individual resurrected episodes.

Biographical time, despite the complex perspective, it is inherent in it, interpreted in the work of A. Herzen as time is the private, imposing the subjectivity of measurement, closed, having the beginning and end ("Everything personal crept quickly ... Let the" past and the Duma "enter into account with personal life and will be its table of contents").It turns on in a wide stream of time associated with the historical era reflected in the work. In this way, closed biographical timeopposed open historical time.This opposition is reflected in the peculiarities of the composition "of the former and Dom": "In the sixth-seventh parts there is no lyrical hero; In general, the author's personal, "private" fate remains outside the depicted ", the dominant element of the author's speech becomes" Duma "acting in monologic or dialogue form. One of the leading grammatical forms that organize these contexts serves this time. If, for the plot biographical time, "the past and dum" is characterized by the use of this current ("current copyright ... the result of the movement of the" observation point "into one of the moments of the past, scene action") or a real historical, then for the "DUM" and author's retreats, The components of the main layer of historical time are characterized by the present in the extended or constant values, acting in collaboration with the forms of the past time, as well as the real direct author's speech: Natility, as a banner, like a combat cry, only then surrounded by a revolutionary halo, when people are fighting for independence, when there is an ingenic yoke ... War of 1812 has greatly developed a sense of popular consciousness and love for his homeland, but the patriotism of 1812 did not have the old supplied Slavic character. We see him in Karamzin and Pushkin ...

"" Poison and Duma, "- wrote A.I. Herzen, - not a historical monograph, but reflection of history in man, accidentallywrong on her way. "

The life of the personality in the "russian and thinks" is perceived due to a certain historical situation and is motivated by it. The text occurs a metaphorical image of the background, which is then specified, gaining perspective and dynamics: I wanted to transfer a number of peculiar figures a thousand times, harsh portraits taken from nature ... There is nothing very old in them ... one general connection- em them or, better, one common misfortune;looking at the dark gray background, the soldiers are visible under the sticks, serfs under the rogue ... Chibutes, carrying in Siberia, Wells, swinging there, shaved foreheads, branded faces, helmets, epoles, sultans ... In short, St. Petersburg Russia .. . They want to run from the canvas and can not.

If a spatial image of the road is characterized for biographical time, then for the presentation of historical time, except the image of the background, the images of the sea (ocean) are regularly used: the elements:

Configured, sincerely young, we were easily picked up with a powerful wave ... and soon overwhelmed the line, on which the whole series of people stop, fold their hands, go back or looking around the brough - across the sea!

In history, he [man] is easier to affect the flow of events ... what to be peeled into the tides and flow of waves, his carriers. Man ... grows by the fact that he understood his position, in the steering, who proudly dishes the waves with his boat, forcing the bottomless abyss to serve himself by the message.

Describing the role of personality in the historical process, A.I. Herzen resorts to a number of metaphorical correspondences that are inextricably linked with each other: a person in history - "by a boat, wave and feeding", while everything is connected by the "ends and beginnings, reasons and actions." The desire of a person "is checked in a word, embodied into the image, remain in tradition and are transmitted from the century to the century." Such an understanding of a person's place in the historical process led to the author's appeal to the universal language of culture, the search for certain "formulas" to explain the problems of history and, wider, being, for the classification of private phenomena and situations. Such "formulas" in the text "of the former and Dum" is a special type of paths characteristic of A.I. style Herzen. These are metaphors, comparisons, periprases, which include the names of historical figures, literary heroes, mythological characters, the names of historical events, words denoting historical and cultural concepts. These "point quotes" act in the text as the metonymic substitution of holistic situations and plots. The trails, which they enter, serve for the figurative characteristics of phenomena, the contemporary of which was Herzen, persons and events of other historical eras. See, for example: Students Baryshni- jacobinians, Saint-Just in Amazon - everything is sharp, purely, mercilessly ...;[Moscow] with Ropot and contempt, she took a woman in his walls, the blood of her husband[Catherine II], this lady Macbeth without repentance, this Lucretia of Borgia without Italian blood ...

The phenomena of history and modernity are compared, empirical facts and myths, real faces and literary images, as a result, the situation described in the work is obtained by the second plan: through the private appears in common, through the unit - repeated, through the transient - eternal.

The ratio in the structure of the work of two temporal layers: the time of private, biographical and historical time - leads to the complication of the subject organization of the text. Copyright iconsistently alternate S. we,which in different contexts acquires different meaning: it indicates the author, then on the people close to him, then with the strengthening of the role of historical time serves as a means of instructions on all generation, a national team or even, wider, on the human genus in general:

Our historical calling, our act in the fact that we are our disappointment, we redeem our suffering to humility and humility before the truth and deliver the following generations from these sorrow ...

In the connection of generations, the unity of the human race is approved, the history of which is represented by the author with a tireless desire forward, by which does not have the end, but implied, however, the repetition of certain motives. The same repetitions of A.I. Herzen finds in human life, the flow of which, from his point of view, has a kind of rhythm:

Yes, in life there is addiction to the returning rhythm, to the repetition of the motive; Who does not know how olderity is close to childhood? Press, and you will see that on both sides of the full lifestyle, with her wreaths of flowers and thorn, with its cradle and coffins, often repeat the epochs in the main features.

It is the historical time that it is especially important for the narrative: in the formation of the hero of "the former and Dom", the formation of an era is reflected, the biographical time is not only opposed to historical, but also acts as one of its manifestations.

The dominant images that characterize the text and time of the biographical (image path), and the time of the historic (image of the sea, the elements), interact, their connection will generate the movement of private cross-cutting images related to the deployment of the dominant: I'm not going from London. Nowhere and there is no need ... here it nailed and threw the waves, so ruthlessly rushed, twisted me and everything is close to me.

Interaction in the text of different time plans, correlated in the work of the biographical and time historical time, "reflection of history in man" - distinctive features of the memoir autobiographical epic A.I. Herzen. These principles of a temporary organization determine the text shape and are reflected in the language of the work.

In the 70s of the 20th century. To date, researchers use this term in different values. In most works, the artistic space is studied in close connection with another component of the artistic world - time.

Artistic time and space

Artistic time and artistic space are the most important characteristics of the artistic image that ensure the holistic perception of artistic reality and the organizing composition of the work. The literary-poetic image, formally deploying in time (as a sequence of text), its content reproduces a spatial-temporal picture of the world, moreover, in its symbolic ideological, value aspect.

In its work, the writer creates a certain space in which the action takes place. This space can be large, cover a number of countries (in travel novel) or even go beyond the limits of the earth's planet (in the novels of fantastic and belonging to the romantic direction), but it can also narrow to close borders of the same room. The space created by the author in its work can have peculiar "geographic" properties: to be real (both in the chronicles or historical novel) or imaginary (as in a fairy tale). It may have those or other properties, one way or another "organize" the action of the work.

Spatial models

The artistic text you can select the following spatial models:

1. psychological
2. "Real"
3. space
4. mythological
5. fantastic
6. virtual
7. space of reminiscence

Psychological (closed in the subject) Space, when reconstructed it there is a immersion in the inner world of the subject, the point of view can be both tight, fixed, static and movable, transmitting the dynamics of the inner world of the subject. Localizers are usually the nominations of the senses: the heart, soul, eyes, and the like (for example, the psychological space is often implemented in the texts of L. Andreev, let's say "red laughter", as well as in the works of V. Mayakovsky).

"Real" - Geographical and social space, it can be a specific place, cured environment: urban, rustic, natural. The point of view can be both tough, enshrined and moving. This is a flat linear space, which can be directed and non-directional, horizontally limited and open, close and distant (for example, Moscow and St. Petersburg in Roman-Epopea L.N. Tolstoy "War and Peace").

Space, which is characterized by vertical orientation, is a distance for a person with space filled with free and independent by the human body (Sun, Moon, Stars and Other) (for example, I. Efremov "Andromeda Nebula").

Mythological space Corresponding, spiritualized and efficiently heterogeneous. It is not the perfect, abstract, empty, do not precede things, its filling, and the opposite is constituted by them. It is always filled and always beloved; Outside it does not exist. In the archaic model of the world, special attention is paid to the "bad" space (swamp, forest, gorge, a fork of roads, intersection). Often, special objects indicate the transition to these unfavorable places or neutralize them (for example, it was believed that unclean power cannot go to church). In the great works of art from the "Divine Comedy" of Dante to "Faust" I.V. Goethe, "Dead Souls" N.V. Gogol or "Crime and Punishment" F.M. Dostoevsky quite clearly detect traces of the mythopoietic concept of space. Moreover, genuine and self-sufficient space in the artistic work (especially in writers with a powerful archetypic basis) usually refers to the mythopoetical space with the members of the components characteristic of it and the semantics of its parts.

Fantastic space Filled unreal from a scientific point of view and from the point of view of ordinary consciousness creatures and events. It can have both horizontal and vertical linear organization, this is someone else's space for a person. This type of space is a genre-forming, as a result of which fantastic literature is distinguished into a separate genre, but this type of space is also found in literary and artistic works, which cannot be unequivocally attributed to fiction, since the diversity of the forms of manifestation of fantastic motivates and the diversity of his artistic understanding (for example, " Mediterranean "in the trilogy of J.R. R. Tolkina" The Lord of the Rings ").

Literary view virtual space It begins at the end of the twentieth century with the coming to the life of a computer of a computer and comes down to the description of the heroes, actions and virtual entourage of computer games. The text localizer of this type of space is the description of what is happening on the monitor screen. As a rule, in artworks, this type of space is combined with real or mythological. A vivid example of the significance of this type of space for the artistic text is the story of V. Pelevine "Prince of Mamurn", the aesthetic tasks in which are solved by describing the well-known computer game "Prince".

Space of reminiscence (from Lat. Reminiscentia - "The phenomenon that leads to comparison with anything", "Otzvuk of a different work in poetry, music and other things") suggests as heroes of the known persons or characters of classical works, and the place of action can be any, as The rule is contrasting in comparison with the alleged reader, on the other, with the "relying set" of associations, "pulling" behind these names. Such, for example, the poem of I. Brodsky "Presentation", in which a phantasmagoric series of famous persons marching the standard associations for a long time in the halo, and the space is a clutch ("reference") of Soviet times.

The "philological" space can be considered a "philological" space, when what is happening in the artistic work "refers" to metaphor or idiome, "raising" all its possible values, such as, for example, idiom "from dirt in the princes", implementing at the beginning of the novel of modern Prosaika M. Assumption "Where we are not," plays in the future not the last role in organizing an artistic space.

The dedicated models of literary and artistic spaces do not deny each other and most often in the holistic artistic text interact, interpenetrate, combine, complement each other.

Literature:

1. Prokofiev, V.Yu., Poytina, Yu.G. Analysis of the artistic text in the aspect of its spatial characteristics: workshop for students of the Institute of Arts in the specialty 052700 - Library-information / V.Yu. Prokofiev, Yu.G. Puffin. - Orenburg, 2006.
2. Rodnyanskaya, I.B. Artistic time and artistic space // Literary Encyclopedic Dictionary. - M., 1987. - P. 487-489.
3. Likhachev, D.S. Poetics of artistic space // D.S. Likhachev. The historical poems of Russian literature. - St. Petersburg: Publishing House "Aletia", 2001. - p. 129.

To establish deep (meaningful) differences between the artistic and non-educational text, you can refer to the presentation of such categories as time and space. The specificity here is obvious, no wonder in philology there are also the corresponding terms: artistic time and artistic space.

It is known that the feeling of time for a person in different periods of his life is subjective: it can stretch or shrink. Such a subjectivity of sensations is differently used by the authors of artistic texts: a moment can last long or stay at all, and high time periods - fade overnight. Artistic time is a sequence in the description of events, subjectively perceived. Such a perception of time becomes one of the form of the image of reality, when a temporary perspective changes by the ability of the author. Moreover, the temporary perspective can shift, who has passed to mention as a present, and the future to appear as the past, etc.

For example, in the poem of K. Simonov "Wait for me", subjective transfers are used in time: the sense of waiting is transferred to the plan of the past. The beginning of the poem is built as a repeated appeal to wait (wait for me, and I will return, just wait very much. Wait, when ...). This is "waiting, when" and just "wait" repeats ten times. So the prospect of the future is scheduled, not yet accomplished. However, at the end of the poem is a statement of events as accomplished:

Wait for me and I will come back
All deaths called.
Who did not wait for me, let him
Said: "lucky."
Not to understand did not wait for them
As among fire
His expectation
You saved me.
As I survived, we will know
Only we are with you -
Just you knew how to wait
Like no one else.

So the prospect of the future was abruptly cut off, and the topic "Wait, and I'll be back" turned out to be approved by the result of this expectation given in the forms of the past time: lucky, saved, survived, knew how to wait. The use of a category of time, thus, has become a certain compositional reception, and subjectivity in the submission of a temporary plan affected the fact that the wait has shifted into the past. Such a displacement makes it possible to feel confidence in the outcome of events, the future is predetermined, inevitably.

The category of time in the artistic text is also complicated by biblosity - this is the time of narration and event time. Therefore, temporal displacements are quite natural. Deleted events can be depicted as directly occurring, for example, in the recreation of the character. Temporary split - the usual taking of the story in which the stories of different persons are intersecting, including the actual author of the text.

But this split is possible without interfering with characters in the coverage of past and real events. For example, in the "Last Spring" I. Bunin is an episode-picture drawn by the author:

No, already spring.

Today we went again. And the whole road was silent - fog and spring dorm. There is no sun, but there are already many spring lights behind the fog, and the fields are so white, which is difficult to watch. Iniquited, curly lilac forests are barely drawn.

Near the village passed the road Small in a yellow calf jacket, with a gun. Very wild beasts. I looked at us, not bowing, and went straight on the snow, to the darker in the hollow fishing line. A rifle is short, with cropped trunks and homemade falter painted by Surik. Rear is indifferent to a big yard male.

Even wormwood sticking along the road, from the snow, in more than; But spring, spring. Franvently dorms, sit on snowy null piles, scattered over the field, haasting, gently merge with snow and fog, with all this thick, soft and light white, than full of happy forerunner world.

The narrator tells here about the past (albeit nearly dark - now) a trip. However, unnoticed, unobtrusive narration is translated into the plan of this. The picture-event of the past arises again before the eyes and, as if freezing in immobility. Time stopped.

The space is as well as time, by the will of the author, can shift. Artistic space is created by applying image angle; This happens as a result of a mental change in the place where the observation is being conducted: a common, small plan is replaced by large, and vice versa.

If, for example, take the poem M.Yu. Lermontov "Sail" and consider it from the point of view of spatial sensations, it turns out that far away and close in one point: first the sail is seen at a great distance, it is even weakly distinguishable due to the fog (near the fog would not hurt).

White Sail Lonely
In the fog of the sea blue! ..

(By the way, in the initial version of the remoteness of the observed item, it was directly said: Belleet Sail remote.)

Play waves - the wind is risening,
And the mast bends and hides ...

In the foggy distance it would be difficult to distinguish the details of the sailboat, and even more so see how the mast is broken, and hear how it creaks. And finally, at the end of the poem, together with the author, we moved to the sailboat itself, otherwise they could not see what was under him and above him:

Under it a jet of light lazuries,
Above him ray of the sun Golden ...

It is so noticeably enlarged by the image and is enhanced in connection with this image detail.

In the artistic text, spatial concepts can be converted generally in the concept of a different plan. According to M.Yu. Lotman, artistic space is the model of the world of this author, expressed in the language of its spatial representations.

Spatial concepts in a creative, artistic context can only be an external, verbally, but transmitting other content, not spatial. For example, for B. Pasternak "Horizon" - this is a temporary concept (future), and emotional-estimated (happiness), and mythological "path to the sky" (ie to creativity). The horizon is the place where the land converges with the sky, or the sky "comes out" to the ground, then the poet is inspired, he is experiencing a creative delight. It means that this is not a real horizon as a spatial concept, but something other related to the state of the lyrical hero, and in this case, it can shift and turn out very close:

In the thunderstorm of the lilac eyes and lawns
And smells the raw rescue horizon, -
smells, it means very close ...

Space and time are the main forms of being, life, precisely as such reality they are reconstructed in the texts of uneximiced, in particular, in scientific, and in artistic texts they can transform, move one to another.

A. Voznesensky wrote:
What an asymmetrical time!
Last minutes - shorter,
Last separation is longer.

The category of time has a peculiar form of expression not only in the artistic text. Eldly text is also noteworthy by "his attitude" by time. Texts such as legislative, instructive, reference, are focused on the "nearest" expression of thought. The verb forms of time used here do not mean what they are intended to mean, in particular, the forms of present transmit the value of the constancy of the feature, properties or constancy of the action. Such values \u200b\u200bare abstracted from specific verb forms. Time here is not at all. This is how, for example, a descriptive material is supplied in Encyclopedias:

Socya. Coyuka stands out in the "black family" of the vane beauty of a motley plumage. This is a very intelligent, movable and shocking forest bird. Having envying a person or a predatory beast, she always raises the noise, and her loud cries of "GEE-GEE-GEE" spread through the forest. On open spaces, Coyuka flies slowly and hard. In the forest, she deftly flies from a branch to a branch, from a tree on a tree, labby between them. On the ground moves jumps<...>.

Only during the nesting coil, no matter how you can hear their screams, not visible flying or climbing birds everywhere. Flying Coyki \u200b\u200bat this time silently, hiding behind the branches, and are unnoticed to the nest.

After the departure of chicks, at the end of May - in June, the jokes are going to small stakes and again roaming in the forest (encyclopedia for children. T. 2).

The instructive type of text (for example, the prescription, recommendation) is based entirely in the language stereotype, where the time values \u200b\u200bare completely eliminated: it should be processed from ...; It must be kept in mind ...; It is necessary to indicate ...; Recommended ...; etc.

It is peculiar to the use of verbal forms of time and in the scientific text, for example: "The event is determined by the place where it happened, and time when it happened. It is often useful for reasons of visibility to use an imaginary four-dimensional space ... In this space, the event is depicted by a point. These points are called worldwinds "(LD Landau, E.M. Lifshitz. Field theory). The verb forms of time indicate such a text to the value of constancy.

So, artistic and non-educated texts, although they are the sequences of statements united in interprase unity and fragments, in essence their fundamentally distinguishes - functionally, structurally, communicatively. Even the semantic "behavior" of words in an artistic and non-counseable context is different. In non-educated texts, the word is focused on the expression of nominative and subject value and for unambiguousness, while in the artistic text there is an actualization of the hidden meanings of the word creating a new vision of the world and its assessment, multi-facetedness, semantic increments. Eldly text is focused on the reflection of reality, strictly limited by the laws of logical causality, artistic text as belonging to art is free from these restrictions.

Artistic and uncomfortable text will be fundamentally different and their orientation on different director's personality, its emotional and intellectual structure. Artistic text is primarily affecting the emotional system (souls), is associated with personal sensations of the reader - hence the expressiveness, emotivity, mood to empathy; Eldly text appeals more to mind, the intellectual system of the personality is hence the neutrality of the expression and the detachment from the personality-emotional principle.

The writer "reflects the real spatial-temporal communication in the work created by them, building its own, perceptual, creation and new - conceptual - the space that becomes the form of the author's idea."

Artistic space is one of the forms of aesthetic reality, by the author. This is a dialectical unity of contradictions: based on objective the relationship of spatial characteristics (real or possible), it is subjective, it is infinitely and at the same time of course.

In the text, displaying, are transformed and the common nature is properties of real space: length, continuity-interruption, three-dimensional - and private properties of it: shape, location, distance, boundaries between different systems. In a concrete product, one of the properties of space can also be played and specifically played, see, for example, the geometrization of the urban space in the Roman A. Petersburg "and the use of images associated with the designation of discrete geometric objects (cube, square, parallelepiped , line, etc.): There, the houses merged with cubes into a planar, multi-storey row ...

The inspiration mastered the soul of the senator when the line of Nevsky cut the lacquered cube: the house numbering was visible there ...

The spatial characteristics of the events recreated in the text are refracted through the prism of the author's perception (narrator, character).

In the artistic text, the space of the narrator (narrator) and the space of characters differ accordingly. Their interaction makes the artistic space of the entire product with multidimensional, volumetric and deprived of uniformity, at the same time dominant in terms of creating the integrity of the text and its internal unity remains space of the narrator, the mobility of the point of view of which allows you to combine different viewing angles and images.

The image of an artistic space can wear a different character depending on which model of the world (time and space) exists with a writer or poet.

Artistic space is inextricably linked with artistic times.

The interrelation of time and space in the artistic text is expressed in the following main aspects:

two simultaneous situations are depicted in the work as spatially broken, associated (see, for example, "Haji Murat" L.N. Tolstoy, "White Guard" M. Bulgakov);

the spatial point of view of the observer (character or narrator) is simultaneously its time point of view, while the optical point of view can be both static and movable (dynamic): ... So I completely gotten into the will, the bridge moved, rose to the barrier- And the stone, deserted road looked into the eyes, vaguely whitizer and runaway and endless distance ...(I.A. Bunin. Sukhodol);

the time displacement is usually the spatial displacement (so, the transition to the present narrator in the "Life of Arsenyev" I.A. Bunin is accompanied by a sharp displacement of the spatial position: The whole life has passed since then. Russia, Eagle, Spring ... And here, France, South, Mediterranean Winter Days. We ... have long been in someone else's country) "

the time lift is accompanied by a compression of space (see, for example, novels F.M. Dostoevsky);

on the contrary, the slowdown in time may be accompanied by the expansion of space, from here, for example, detailed descriptions of spatial coordinates, locations, interior, etc.; The time of time is transmitted by changing spatial characteristics: "Timeths of time are revealed in space, and the space is comprehended and measured by time. So, in Tale A.M. Gorky "Childhood", in the text of which there are almost no specific temporal rates (dates, exact countdown, signs of historical time), the movement of time is reflected in the spatial movement of the hero, his milestones serve to move from Astrakhan to Nizhny, and then travel from one house to another , Wedway: By the spring, uncle was divided ... And the grandfather bought himself a big interesting house on the field; Grandfather unexpectedly sold the house to the buyer, bought another, along the cable street;

7) Some and the same speech tools can also express temporary, and spatial characteristics, see, for example: ... they promised to write, never wrote, Russia began forever, began Russia, links, water to the morning frozen in the bucket, children grew up healthy, steamer in Yenisei fled the bright June day, and then he was Peter, the apartment on ligreek, crowds of people in the courtyard of the Taurry Then the front was three years old, wagons, rallies, soldering of bread, Moscow, "Alpine goat", then Nestrovsky, Hunger, theaters, work in the book expedition ...(Y. Trifonov. There was a summer noon).

To implement the motive motion of time, metaphors and comparisons containing spatial images are regularly used, see, for example: Growing down a long ladder from the days, which cannot be said about: "Lived." They passed near, barely assured the shoulders, and at night ... it was clearly visible: Zigzag walked all the same, flat steps(S.N. Sergeev-Prices. Babayev)

The awareness of the interconnection of space-time allowed to highlight the category of chronotop, reflecting their unity. "The essential relationship of temporary and spatial relations, artistically mastered in the literature, wrote MM. Bakhtin, - we will call the chronotope (which means in the literal translation of "time - space") ". From the point of view of M.M. Bakhtina, Chronotope is a formal-meaningful category that has a "substantial genre value ... Chronotope as a formal-meaningful category determines (largely) and the image of a person in the literature." The chronotope has a specific structure: the plot-forming motifs are made on its basis - meeting, separation, etc. Appeal to the category of chronotope allows us to construct a certain typology of spatio-temporal characteristics inherent to thematic genres: differ, for example, an idyllic chronotope, which is characterized by the unity of the place, the rhythmic cyclicity of time, the attachment of life to the place - the native home, etc., and the adventurous chronotope, For which a wide spatial background and time "case" is characteristic. The artistic space, like artistic time, is historically changeable, which is reflected in the change of chronotopes and is associated with changing the concept of space-time.

For example, in the XX century. A relatively stable subject-spatial concept is replaced by unstable (see, for example, impressionistic fluidity of space in time). Complete experimentation over time is supplemented with as bold experimentation with space. So, the novels of the "one day" often correspond to the novels of "closed space". In the text, a spatial view of the view "from a bird's-flight" and a locus with a specific position can be combined at the same time. The interaction of temporal plans is combined with deliberate spatial uncertainty. Writers often turn to the deformation of the space, which is reflected in the special character of speech funds. For example, in the novel K. Simona "Flanders Roads", eliminating accurate temporal and spatial characteristics is associated with the refusal of personal forms of verb and the replacement for their shapes of the present time. The complication of the narrative structure determines the multiplicity of spatial points of view in one product and their interaction (see, for example, the works of M. Bulgakov, Yu. Dombrovsky et al.).

At the same time in the literature of the XX century. Interests interest in mythopoietic images and a mythopoietic model of space-time (see, for example, poetry A. Blok, poetry and prose A. White, works by V. Klebnikov). Thus, "changes in the concept of time-space in science and in human worldview are inextricably linked with the nature of the spatial-temporary continuum in the works of literature and the types of images that embody the time and space."

Reproduction of space in the text is also determined by the literary direction to which the author owns: for naturalism, for example, seeking to create an impression of genuine activities, are characterized by detailed descriptions of various locals: streets, squares, houses, etc.

Let us now dwell on the method of describing spatial relations in the artistic text.

A.F. Tapina proposes to take into account that the analysis of spatial relations in the artistic work implies:

identifying the nature of these positions (dynamic - static; on top-bottom, from "bird flight", etc.) in their connection with the time point of view;

determination of the main spatial characteristics of the work (place of action and its change, move the character, the type of space, etc.);

consideration of the main spatial images of the work;

characteristics of speech funds expressing spatial relationships. The latter, naturally, corresponds to all possible stages of the analysis, noted above, and makes them the basis.