Artistic image and historical reality. Artistic image in literature and art

1. Artistic image: The value of the term

2. Properties of the artistic image

3. Typology (varieties) of artistic images

4. Art trails

5. Art Image Symbols

1. Artistic image: the value of the term

In very the general sense The image is a sensual representation of a certain idea. Images are referred to as empirical perceived and truly sensual objects in the literary work. These are visual images (paintings of nature) and auditory (wind noise, rustling of the reel). Olfactory (smells of perfumes, herbs aroma) and taste (taste of milk, cookies). Images tactile (touches) and kinetic (related to movement). Using images, writers designate the picture of the world and man in the works; Detect movement, dynamics of action. The way is also a kind of holistic education; Improved in the subject, phenomenon or person thought.

Artistic becomes not every image. The artisticity of the image lies in its special - aesthetic - purpose. He captures the beauty of nature, animal peace, man, interpersonal relationship; Opens the secret perfection of being. Artistic image is urged to testify to the beautiful, which serves as a general good and approves world harmony.

In the aspect of the structure of the literary creation, an artistic image is the most important component of his form. The pattern is referred to in the "body" of aesthetic object; The main "transmitting" gear of the artistic mechanism, without which the development of action is impossible, understanding the meaning. If the artwork is a major unit of literature, then an artistic image is the main unit of literary creation. With the help of artistic images, the reflection object is simulated. The objects of the landscape and interior, events and actions of heroes are expressed. In the images, the idea of \u200b\u200bthe author appears; The main, generalizing idea is embodied.

So, in the Eating A. Green "Scarlet Sails" the main the topic of love is reflected in the central artistic formation - scarlet sails, meaning an elevated romantic feeling. Artistic is the sea in which the Assol is peering, waiting for a white ship; Launched, uncomfortable mennel traaster; Green bug crawling on line with the word "look." As an artistic image (disruption image), the first meeting of Greasol Assol, when a young captain puts on his finger his challenged; Equipping the ship Gray by Alami sails; Drinking wine whom no one had to drink and others.

Artistic images allocated by us: Sea, ship, scarlet sails, tavern, bug, wine - this is the most important details of the form of extravagania. Thanks to these details, the work of A. Green begins to "live". It receives the main actors (Assol and Gray), the place of their meeting (sea), as well as its condition (ship with almy sails), means (view with the help of a bug), result (engagement, wedding).

Using images, the writer approves one simple truth. She is, "to make the so-called miracles with their own hands."

In the aspect of literature, as a type of art, an artistic image is a central category (as well as a symbol) of literary creativity. He acts as a universal form of life development and at the same time using it to comprehend. In artistic images, social activities are comprehended, specific historical cataclysms, human feelings and characters, spiritual aspirations. In this aspect, an artistic image does not simply replace the indentible phenomenon or summarizes its characteristic features. He tells about the real facts of being; knows them in the whole manifold; Shows their essence. Artistic models of being, unrecognized intuitions and insights are recalled. It becomes gnostological; Putting the road to the truth, the primolution (in this sense we are talking about the image of something: peace, sun, soul, God).

Thus, the function of the "conductor" to the primitive image of the whole system (the divine image of Jesus Christ) acquires a whole system of artistic images in the story of I. A. Bunin "Dark Alleys", which speaks of an unexpected meeting of the main characters: Nicholas and Hope, once bound by the Uzami Sin love and wandering in the sensuality labyrinth (in the "Dark Alleys", by the author).

The figurative system of the work is built on a sharp opposition of Nicholas (aristocrat and general who seduced and threw her beloved) and hopes (peasants, the hostess of the inn, which never forgot, did not forgive her love).

Nicholas appearance, despite his old age, almost flawless. It is still beautiful, Elegance and tighten. In his face, the devotion is apparently read by its business and loyalty. However, all this is only a non-resistant shell; Empty cocoon. In the shower of a brilliant general - only dirt and "neglence". The hero appears to a person selfish, cold, worm and not capable of acting even to achieve his personal happiness. He has no sublime goal, no spiritual moral aspirations. He sails by the waves, he died soul. In the literal and figurative sense, Nikolai travels along the "dirty road" and therefore heavily reminds of the writer's own "tarty tarantas" with a robber-like Kucher.

Exterior of hope former beloved Nicholas, on the contrary, is little attractive. The woman retained the traces of the former beauty, but ceased to follow himself: fused, immediately, "Obaw". However, in the soul, hope saved hope for the best and even love. In the house of the heroine purely, warm and cozy, which indicates not about simple diligence or care, but also about the purity of feelings and mental. A "New Golden Image (Icon - P. K.) in the corner" distinctly denotes the religiousness of the hostess, her faith in God and in his fishery. According to this image, the reader realizes that hope finds a genuine source of good and all of the good; that she does not die in sin, but reborn eternal; What is given to her by the price of severe mental suffering, the price of refusing itself.

The need to oppose the two main characters of the story stems, according to the author, not only because of their social inequality. Contrast emphasizes the different value orientation of these people. It shows the fear of the indifference preached by the hero. And at the same time approves the great power of the manic heroine of love.

With the help of contrast, bunin reaches another, global goal. The author emphasizes the central artistic image - the icon. The icon depicting Christ becomes a writer with a universal means of spiritual and moral transformation of characters. Thanks to this image, the hope is saved, gradually forgetting about nightmarish "dark heralds". Thanks to this image, it becomes on the path of salvation and Nikolai, kissing his hand with a lover and thereby receiving forgiveness. Thanks to this image in which the heroes find complete calmness, the reader himself is thinking about their lives. The image of Christ takes it out of the labyrinth of sensuality to the idea of \u200b\u200beternity.

In other words, an artistic image is a generalized picture of human life, transformed in the light of the aesthetic ideal of the artist; Quintessence of creatively learned reality. In the artistic form there is an installation on the unity of objective and subjective, individual and typical. He is an embodiment of public or personal being. Artistic is also referred to as any image that has visuality (sensual appearance), internal essence (meaning, destination) and a clear logic of self-discharge.

2. Properties of an artistic image

The artistic image has a special characteristic features (properties) inherent only to him alone. It:

1) Typicity,

2) organic (liveliness),

3) value orientation,

4) inexpensive.

Typlicity arises on the basis of the close connection of the artistic image of life and implies the adequacy of the reflection of being. The artistic image becomes type in the event that it summarizes characteristic, and not random features; If modeling genuine, and not a controvered impression of real reality.

So, for example, it happens with an artistic manner of Zosima from Roman F.M. Dostoevsky "Brothers Karamazov". The named hero is the brightest typical (collective) image. The writer crystallizes this image after a thorough study of monastics as a lifestyle. In this case, it is not focused on one prototype. Figure, the age and soul of Zosima, the author borrows an elder of Amvrosia (Grenkov), with whom she personally met and talked in Optina. The appearance of Zosima Dostoevsky takes from the portrait of Elder Makaria (Ivanova), who was a mentor of the Amvrosia itself. The mind and spirit "get" Zosima from Saint Tikhon Zadonsky.

Thanks to the typical of literary images, artists make not only deep generalizations, but also far-reaching conclusions; soberly assesses the historical situation; Even look into the future.

So, for example, M.Yu is coming. Lermontov in the poem "Prediction", where it clearly foresides the fall of the house of Romanov:

It comes to the year, Russia is black year,

When the kings of the crown falls;

Forget the mobile to them for the same love,

And the food of many will be death and blood ...

The nature of the image is determined by the naturalness of its embodiment, the simplicity of expression and the need to include in the overall figurative system. The image then becomes organic when it is in its place and is used for its intended purpose; when flickering senses given to it; When with its help, the most complex organism of literary creation begins to function. An organicist of the image lies in his lively, emotionality, feeling, intimacy; In what makes poetry poetry.

Take, for example, two images of the autumn in such little-known Christian poets as Rev. Wronsonophia (Plikhankov) and L.V. Sidorov. Both artists have one piece of narration (autumn), but live and paint it differently.

Introduction

Artistic image is an universal category of artistic creativity: inherent in the art, the form of reproduction, interpretation and development of life by creating aesthetically affecting objects. Considate the element or part of the artistic whole, usually such a fragment, which has an independent life and content (for example, character in literature, symbolic images). But in a more general sense, an artistic image is a way of the existence of a work taken from its expressiveness, impressive energy and significance.

In a number of other aesthetic categories, this is a relatively late origin, although the origins of the theory of artistic image can be found in the teaching of Aristotle about Momisis - about the free imitation of the artist of life in its ability to produce whole, internally arranged objects and about the associated aesthetic pleasure. While art in their self-consciousness (coming from ancient tradition) climbed rather with craft, skill, skill and, accordingly, in the host of the arts, the leading place belonged to the arts of plastic, aesthetic thought was content with the concepts of canon, then the style and shape, through which the artist's transcribing attitude towards the material was covered. The fact that the artistic reformable material captures, carrying a certain ideal education, in something like this thought, began to be realized only with the extension on the first place of arts more "spiritual" - literature and music. Gegelian and posthegnovskaya aesthetics (including V.G. Belinsky) widely used the category of an artistic image, respectively, opposing the image as a product artistic thinking The results of the thinking of abstract, scientific and conceptual - syllogism, conclusion, proof, formula.

The universality of the artistic image category has since repeatedly challenged, since the semantic shade of substitution and visibility, which is part of the semantic of the term, seemed to make it unpaulled to "unprecedented", intense arts. And, however, modern aesthetics, mainly domestic, is currently widely resorted to the theory of an artistic image as the most promising, helping to reveal the original nature of the facts of art.

Objective: Analyze the concept of an artistic image and identify the fixed assets of its creation.

Disclose the concept of an artistic image.

Consider the means of creating an artistic image

Analyze the characteristics of artistic images on the example of works of W. Shakespeare.

The subject of the study is the psychology of the artistic image on the example of the works of Shakespeare.

The research method is a theoretical analysis of literature on the topic.

1. Psychology of the artistic image

1 Concept of artistic image

In gnoseology, the concept of "image" is used in a wide meaning: an image is a subjective form of reflection of objective reality in human consciousness. On the empirical stage of reflection, human consciousness is inherent in impressions, images, images, imaging and memory images. Only on this basis, by means of synthesis and abstraction, images and concepts, asylum, judgments occur. They can be illustrative - illustrative paintings, diagrams, models - and not visual - abstract.

Along with a wide gnoseological value, the concept of "image" has a narrower meaning. The image is a specific appearance of a holistic subject, phenomena, a person, his "LIK".

Human consciousness recreates images of objectivity, systematizing the diversity of movement and the relationships of the surrounding world. The knowledge and practice of a person lead entropy, at first glance, the diversity of phenomena to an ordered or expedient correlation of relationships and thereby form images human World, so-called, environment, residential complex, public ceremonies, sports ritual, etc. Synthesis of disparate impressions in holistic images relieves uncertainty, denotes one or another sphere, refers to this or that degraded content.

The ideal image of an object arising in the human head is some system. However, as opposed to GestaltFilosophy, which introduced these terms into science, it must be emphasized that the image of consciousness is substantially secondary, it is such a product of thinking, which reflects the patterns of objective phenomena, is a subjective form of reflection of objectivity, and not a purely spiritual design within the stream of consciousness.

Artistic image is not only a special form of thought, it is an image of reality that occurs when thinking. The main value, the function and content of the art of art are that the image represents the reality in a particular face, its subject, real world, humans and its environment depicts events of the public and personal life of people, their relationship, their external and spiritual and psychological features.

In aesthetics, many centuries exists a discussion question about whether the artistic image of the right impressions of reality or it is mediated in the process of occurrence of abstract thinking and associated with these processes of distraction from a particular analysis, synthesis, conclusion, output, that is, the processing of sensually data of impressions. Researchers of the genesis of art and primitive cultures Allocate the period of "criminal thinking", but even the concept of "thinking" is uncomplicated by the later stages of the art of the art of this time. The sensual-emotional, intuitive nature of the ancient violent art gave K. Marx a reason to talk about the early stages of the development of human culture was inherent in the unconscious and artistic processing of natural material.

In the process of man's work practice, there was not only the development of the motility of the functions of the hand and other parts of the human body, but also, accordingly, this, the process of the development of human sensuality, thinking and speech.

Modern science is argued by the fact that the language of gestures, signals, signs of an ancient man were only the language of sensations and emotions and only later than the language of elementary thoughts.

Primefactive thinking was distinguished by primary directness and elementality, as thinking about the cash situation, about the place, volume, quantity, the immediate benefits of a particular phenomenon.

Only with the emergence sound speech and the second signal system begins to develop a discursive and logical thinking.

By virtue of this, we can talk about the difference in some phases or levels of human thinking. First, the phase of a visual, specific, first-hand thinking, directly reflecting the moment-experienced situation. Secondly, it is the phase of the figurative thinking coming beyond the limits of directly experienced by imagination and elementary representations, as well as an external image of some specific things, and their further perception and understanding through this image (communication form).

Thinking, like other spiritual psychic phenomena, develops in the history of anthropogenesis from the lower to the highest. The detection of a multitude of facts indicating the criminal, pre kind of primitive thinking, gave rise to many interpretation options. The famous researcher of ancient culture K. Levi-Brul noted that primitive thinking is otherwise oriented than modern, in particular, it is "preamient", in the sense that it "reconciles" with contradiction.

In Western aesthetics of the middle of the last century, the conclusion is designed that the fact that the existence of a criminal thinking provides grounds for the conclusion about the identity of the nature of art unconsciously mythologizing consciousness. There is a whole Pleiad theories, which seek to identify artistic thinking with elementary-shaped mythologism of the crimsal forms of the spiritual process. This applies to the ideas of E. Cassirera, who subdivided the history of culture into two epochs: the era of the symbolic language, myth and poetry, firstly, the era of abstract thinking and rational language, secondly, striving at the same time to absolute mythology as an ideal praosnovna in history artistic thinking.

However, the cassier only attracted attention to mythological thinking as a prehistory of symbolic forms, but after him A.-N. Whitehead, Rid, S. Langer tried to absolutize outrudy thinking as the essence of poetic consciousness in general.

Domestic psychologists, on the contrary, believe that the consciousness of a modern person is a multilateral psychological unity, where the stages of the development of sensual and reasonable sides are interconnected, interdependent. Measure the development of sensual aspects of consciousness historical man In the process of its existence, the meaning of the evolution of the mind.

Arguments in favor of the sensual empirical nature of the artistic image as its main feature there is a lot.

As an example, let's stop at the book A.K. Voronsky "Art to see the world." It appeared in the 20s, had sufficient popularity. The motive of writing this work was a protest against a craft, poster, didactic, manifesting, "new" art.

Pafos of the Voronsky focuses on the "secret" of the art, which he saw in the ability of the artist to catch the immediate impression, "primary" emotion to the perception of the subject: "Art only comes into contact with life. Only at the viewer, the reader starts working the mind, all charm, the whole strength of aesthetic feeling disappears. "

Voronsky developed his point of view, relying on a considerable experience, for sensitive understanding and deep knowledge of art. He made an act of aesthetic perception from everyday life and everyday life, considering that seeing the world "directly", that is, without the mediation of biased thoughts and ideas, it is possible only in the lucky moments of true inspiration. Freshness and purity of perception - a rarity, but it is such a direct feeling that is a source of artistic image.

Such a perception of Voronsky called "irrelevant" and opposed it to the arts of the arts: interpretation and "interpretation".

The problem of the artistic discovery of the world receives from the Voronsky definition of "complex creative feeling" when the reality of the primary impression opens, no matter what a person knows about her.

The art "makes silence the mind, it seeks the fact that a person believes the strength of the most primitive, most direct impressions" 6.

Written in the 20s of the 20th century, the work of the Voronsky is focused on the search for the mystery of art in the naive pure anthropologism, "irrelevant", which does not appeal to the mind.

Impressions are immediate, emotional, intuitive will never lose values \u200b\u200bin art, but are they enough for the artistic art, is it no more difficult if the criteria of art believes that the aesthetics of direct feelings believes?

Creating an artistic image of art, if we are not talking about an etude or preliminary sketch, etc., but about the completed artistic image, it is impossible only by fixing the beautiful, immediate, intuitive impression. The image of this impression will be insignificant in art, if he is not angry with thought. The artistic image of art is the result of the impression and the product of thought.

V.S. Solovyov attempted to "call" what is beautiful in nature, give the name of beauty. He said that beautiful in nature is the light of sunny, lunar, astral, changes in light during the day and night, reflection of light on water, trees, grass and objects, game lightning light, sun, moon.

Nature phenomena called aesthetic feelings, aesthetic pleasure. And although these feelings are connected with the concept of things, for example, about the thunderstorm, about the universe, it is still possible to imagine that the images of nature in art are images of sensual impressions.

Sensual impression, mindless pleasure beauty, including the light of the moon, stars - are possible, and such feelings are capable of opening something unusual again and again, but the artistic image of art absorbs a wide range of spiritual phenomena as sensual and intellectual. Consequently, the theory of art has no reason to absolutize certain phenomena.

The artwork of the art is formed simultaneously on the set of different levels of consciousness: feelings, intuition, imagination, logic, fantasy, thoughts. Visual, verbal or sound image of a artistic work is not a copying of the act of reality, even if it is optimally life-like. Artistic pictusivity clearly discovers its secondary, mediated nature with the thinking due to the participation of thinking in the process of creating a fiction reality.

Artistic image is the center of gravity, synthesis of feelings and thoughts, intuition and imagination; The artistic art of art is inherent spontaneous self-development, having several conditioned vectors: "pressure" of the life itself, "flight" of fantasy, the logic of thinking, the mutual influence of intrastructural links of the work, ideological trends and the direction of the artist's thinking.

The thinking function is also manifested in the holding of equilibrium and the harmonization of all these contradictory factors. The artist's thinking is working on the integrity of the image and work. The image is the result of impressions, the image is the fruit of the imagination and fantasy of the artist and at the same time the product of his thoughts. Only in unity and interaction of all these sides there is a specific phenomenon of artisticity.

By virtue of what was said, it is clear that the image is relevant, and not identical to life. And there may be countless artistic images of the same area of \u200b\u200bobjectivity.

Being a product of thinking, an artistic image is also the focus of ideological expression.

The artistic image makes sense as a "representative" of those or other parties to reality, and in this respect it is more difficult and a multilateral concept as a form of thought, in the content of the image you need to distinguish various ingredients of meaning. The meaning of the weighty artistic work is difficult - the "composite" phenomenon, the result of artistic development, that is, knowledge, aesthetic experience and thinking of the material of reality. The meaning does not exist in the work as something separate, described or pronounced. He "follows" from the images and works in general. However, the meaning of the work is a product of thinking and, therefore, its special criterion.

The artistic meaning of the work is the final product of the artist's creative thoughts. The meaning belongs to the image, therefore the semantic content of the work has a specific, identical images of it.

If we talk about the informativeness of an artistic image, then this is not only the meaning that states certainness and its meaning, but also the meaning of aesthetic, emotional, intonational. All this is customary to call redundant information.

Artistic image is the multilateral idealization of the object of material or spiritual, cash or imaginary, it is not known for semantic unambiguity, not identical information.

The image includes objective inconsistency of information elements, opposition and alternatives to the meaning specific to the nature of the image, since it represents the unity of the total and one. Meaning and meaning, that is, the sign of the situation can only be an element of an image or image (variety of image).

Since the concept of information has acquired not only technical and semantic significance, but also a wider philosophical value, the work of art should be interpreted as a specific phenomenon of information. This specificity manifests itself, in particular, in the fact that fine-descriptive, the figurative content of the artistic work as art is informative in itself and as a container of ideas.

Thus, the image of life and how it is depicted, it makes sense in itself. And the fact that the artist chose some kind of images, and what the expressive elements have attached to them by the power of imagination and fantasy, "all this speaks for itself, because it is not only a product of fantasy and skill, but also the product of the artist's thinking.

The work of art makes sense to the insight, since it reflects reality and since reflected is the result of thinking about reality.

Artistic thinking in art has a variety of spheres and the need to express their ideas directly, producing a special poetic language of such an expression.

2 Facilities for creating an artistic image

Artistic image, having sensual concreteness, personified as a separate, unique, in contrast to a milk-artistic image, in which personification has a diffuse, artistic and non-varying character and therefore devoid of uniqueness. Personification in the developed artistic and figurative thinking is fundamental.

However, the artistic and figurative interaction of production and consumption is of particular nature, since artistic creativity is in a certain sense also in itself, that is, a relatively independent spiritual and practical need. It is not by chance that the idea that the audience, a listener, the reader is as if accomplices of the artist's creative process, often expressed the theorists, and art practitioners.

In the specifics of subject-object relations, at least three essential features can be distinguished in artistic and figurative perception.

The first is that the artistic image, born as a response of an artist for certain social needs, as a dialogue with the audience, in the process of education acquires its lives in artistic culture, independent of this dialogue, because all new and new dialogues enters into the possibilities of which The author could not suspect in the process of creativity. Great artistic images continue to live as subject spiritual value not only in the artistic memory of the descendants (for example, as a carrier of spiritual traditions), but also as real, modernly the consistent force, which encourages a person to social activity.

The second essential feature of subject-object relations inherent in the artistic image and expressed in his perception is that the "split" on the creation and consumption in art is excellent on the fact that there is a place in the field of material production. If in the field of material production consumer deals only with the product of production, and not with the process of creating this product, then in artistic work, in the act of perception of artistic images, the impact of the creative process is actively involved. How the result is achieved in material production products for the consumer relatively insignificant, while in the artistic and figurative perception it is extremely significant and is one of the main points artistic process.

If in the field of material production, the creation and consumption processes have relative independence as a certain form of life of people, then artistic and figurative production and consumption is absolutely imputitially impossible without prejudice to the understanding of the very specific of the art. Speaking about it, it should be borne in mind that unlimited artistic and figurative potential is revealed only in the historical consumption process. It can not be exhausted only in the act of direct perception of "one-time use".

There is a third specific feature of subject-object relations inherent in the perception of an artistic image. Its essence comes down to the following: if in the process of consumption of material production products, the perception of the processes of this production is not necessarily and does not define the act of consumption, then in art the process of creating artistic images, as it would come to life in the process of consumption. This is most obvious in those types of artistic creativity that are associated with the execution. We are talking about music, the theater, that is, those types of art in which policies to a certain extent witness a creative act. Actually B. different forms It is present in all kinds of art, in one more, and in other less obvious and is expressed in the unity of what and how the artwork is comprehended. Through this unity, the public perceives not only the skill of the artist, but also the immediate force of the artistic and shaped effect in its meaningful meaning.

Artistic image - a generalization, disclosed in a specific sensual form, a significant for a number of phenomena. The dialectic of universal (typical) and unit (individual) in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is not expressed in its generalness, but in its unity: the general manifests itself individually and through the individual. The poetic representation is figuratively and is not an abstract essence, not accidental existence, but a phenomenon in which through its appearance, his individuality is learned by substantial. In one of the scenes of the novel of Tolstoy "Anna Karenina", Karenin wants to divorce his wife and comes to a lawyer. The confidence conversation takes place in the cozy office, eliminated carpets. Suddenly the room flies mole. And although the Karenina story concerns the dramatic circumstances of his life, the lawyer is no longer listening, it is important for him to catch a moth threatening his carpets. A small detail carries a great semantic load: most people are indifferent to each other, and things for them have greater value than the person and her fate.

The art of classicism is inherent in generalization - artistic generalization by allocating and absoluting the specific feature of the hero. The idealization is peculiar to romanticism - a generalization by directly embodying ideals, imposing them on real material. The realistic art of the inherent typification is an artistic generalization through individualization by selecting essential personality traits. In realistic art, every pictured person - type, but at the same time a completely definite person - "familiar stranger".

The concept of typing attributes Marxism. For the first time, this problem was set by K. Marx and F. Engels in the correspondence with F. Lassalem about his drama "Franz von Zikkingen".

In the 20th century, old ideas about art and artistic image are disappeared, the content of the concept of "typification" changes.

Two interrelated approaches to this manifestation of artistic and figurative consciousness are distinguished.

First, the maximum approach to reality. It is necessary to emphasize that documentaryism, as the desire for a detailed, realistic, reliable reflection of life, was not just the leading trend of the artistic culture of the 20th century. Modern Art Improved this phenomenon, filled it with an unknown earlier intellectual and moral content, in many respects by defining the artistic and-shaped atmosphere of the era. It should be noted that interest in this type of shaped convention does not subsigh down today. This is due to the stunning successes of journalism, non-chamber movies, art photography, with the publication of letters, diaries, memories of participants in various historical events.

Secondly, the maximum strengthening of the convention, and with a very noticeable connection with reality. This system The conventions of the artistic image involves nomination on foreground integrative sides of the creative process, namely: selection, comparisons, analysis, which act in organic communication with individual characteristic phenomena. As a rule, typing suggests the minimum aesthetic deformation of reality, which is why the name of the life-like, recreating world "in the forms of life" was established in artistic recognition of this principle.

The ancient Indian parable tells about the blinders who wanted to learn what an elephant represents, and began to feel it. One of them embraced the leg of the elephant and said: "Elephant looks like a pillar"; Another talked Belube Giant and decided that the elephant is a janger; The third touched the tail and understood: "Elephant - ship rope"; The fourth took a trunk and stated that the elephant is a snake. Their attempts to understand that such an elephant was unsuccessful, because they did not know the phenomenon in general and its essence, but its constituent parts and random properties. The artist, elevating the typical random features of reality, goes like a blinder, accepting an elephant for a rope only because he could not grasp anything other than the tail. The true artist seizes the characteristic, substantial in phenomena. Art is capable, without taking off from the specific nature of the phenomena, make broad generalizations and create the concept of the world.

Typification is one of the main laws of the artistic development of the world. In many ways, due to the artistic generalization of reality, the identification of the characteristic, essential art and becomes a powerful means of knowledge and transformation of the world. artistic image of Shakespeare

Artistic image - the unity of rational and emotional. Emotionality - historically early primary artistic image. Ancient Indians believed that art was born when a person could not hold back his feelings. In the legend about the creator of "Ramayana", it is said about how the sage Valmiki walked the forest path. In the grass, he saw two gently echoes. Suddenly, the hunter appeared and the arrow pierced one of the birds. Effective by anger, sorrow and compassion, Valmiki cursed the hunter, and the words escaped from his heart-overwhelmed hearts themselves were in the poetic structure with from now on with the canonical size of "shlok". It was exactly such a verse, God Brahma subsequently commanded the Walrmicks to pick up the feats of the frame. This legend explains the origin of poetry from the emotionally saturated, agitated, richly intonated speech.

Not only the wide coverage of reality is important to create an overwhelming work, but also mentally-emotional temperature sufficient to smear the impressions of being. Once, casting from silver a video figure, the Italian sculptor Benvenuto Chellin faced with an unexpected obstacle: when the metal was chosen into the form, it turned out that he was not enough. The artist appealed to his fellow citizens, and they suffered to him in the workshop of silver spoons, forks, knives, trays. Chellin began to throw this utensil to molten metal. When the work was finished, a beautiful statue appeared to the sights of the audience, but from the ear of the rider, the cuttings of the fork, and from the horse's cereals - a piece of a spoon. While the townspeople carried the utensils, the temperature of the metal, poured into the shape, fell ... if the mentally emotional temperature lacks for the mirror of the vital material into a single whole (artistic reality), then the "forks" stick out of the art of the person.

The main thing in the worldview is the attitude of a person to the world and therefore it is clear that not just a system of views and ideas, but a state of society (class, social Group, nation). The worldview as a special horizon of public reflection by a man of the world belongs to public consciousness as a public to general.

The creative activity of any artist is experiencing dependence on its worldview, that is, the conceptually decorated its attitude towards various phenomena of reality, including the scope of the relationship of various social groups. But this takes place only in a proportionate degree of participation of consciousness in the creative process as such. At the same time, a significant role belongs here and the unconscious region of the artist's psyche. Unconscious intuitive processes, of course, play a significant role in the artistic artist's artistic consciousness. This connection was emphasized by G. Shelling: "Art ... is based on the identity of conscious and unconscious activities."

The worldview of the artist as an expulsive link between each other and the social consciousness of the social group contains an ideological moment. And within the most individual consciousness, the worldview is as it rummaged by some emotional psychological levels: the worldview, worldview, and bypassing. The worldview is more important to the phenomenon of the ideological plan, while the worldview has a socio-psychological nature containing both universal and specific historical aspects. The worldview enters the region of an ordinary consciousness and includes mentality, sympathy and antipathy, interests and ideals of a person (including the artist). It plays a special role in creative work, as only in it with its help produces the author's implementation of its worldview, projecting it on the artistic and shaped material of its works.

The nature of certain types of art necessitates the fact that in some of them the author manages to capture its worldview only through a worldview, whereas in other of them, the worldview directly enters the fabric of the artworks created by them. So, musical creativity It is possible to express the worldview of the subject of productive activity only indirectly, through the system of musical images created by them. In the literature, the author - the artist has the opportunity with the help of the word endowed with its very nature with the ability to generalize, more directly express its ideas and views on various aspects of the reality phenomena.

For many of the artists of the past, the contradiction between the worldview and nature of their talent was characteristic. So mf Dostoevsky in his views was a liberal monarchist, besides, clearly by the resolution of all the ulcers of the modern society through his spiritual healing with religion and art. But at the same time, the writer turned out to be the owner of the rarest realistic artistic dating. And this allowed him to create unsurpassed samples of the truthful paintings of the most dramatic contradictions of their era.

But in the transitional epochs internally contradictory, the worldview itself also includes the most talented artists. For example, the socio-political views of L.N. Tolstoy bizarrely combined the ideas of utopian socialism, concluded the criticism of the bourgeois society and theological searches and slogans. In addition, the worldview of a number of large artists under the influence of the change in the socio-political situation in their countries is able to undergo, sometimes, very complex development. So, very difficult and difficult was the path of spiritual evolution from Dostoevsky: from the utopian socialism of the 40s to the Liberal Monarchism of the 60s and 1980s of the XIX century.

The causes of the internal contradictions of the artist's worldview lies in the heterogeneity of its components, in their relative autonomy and in the difference in their significance for the creative process. If for a scientist-naturalist, due to the characteristics of its activities, his worldview belongs to the natural components, then for the artist in the first place it turns out aesthetic views and beliefs. Moreover, the graduate of the artist is directly related to his conviction, that is, with "intellectual emotions", which are motifs for creating irregular artistic images.

Modern artistic and figurative consciousness should be antidogmatic, that is, it is characterized by a decisive refusal of any absolutization of one single principle, installation, formulation, assessment. No authoritative opinions and statements should be deified, becoming the truth in the last instance, turn into artistic and shaped standards and stereotypes. The construction of a dogmatic approach to the "categorical imperative" of artistic creativity with inevitability absolutes the class confrontation, which in a specific historical context is ultimately poured into justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. The dogmatization of the creative process manifests itself and then when those or other techniques and installations acquire the nature of the only possible possible artistic truth.

The epigionism is needed to be aware of the modern domestic aesthetics for many decades. Free from taking endless quoting of classics on artistic and figurative specifics, from non-critical perception of other people, even the most tempting of convincing points of view, judgments and conclusions and strive for the statement of their own, personal views and beliefs - it is necessary to anyone and every modern researcher if he Wants to be a real scientist, and not the functioning person in the scientific department, not an official in serving someone or something. In the creation of artistic works, epigionism manifests itself in mechanical following the principles and methods of any art school, directions, excluding the changed historical situation. Meanwhile, epigionism has nothing to do with a truly creative development of a classic artistic heritage and traditions.

Thus, the world aesthetic thought formulated various shades of the concept of "artistic image". In the scientific literature, you can meet such characteristics of this phenomenon, as the "mystery of art", "art cell", "Unit of art", "image-education", etc. However, no matter how the epithets did not receive this category, it is necessary to remember that the artistic image is the essence of art, meaningful form that is inherent to all its species and genres.

Artistic image - the unity of objective and subjective. The image includes the material of reality, recycled by the artist's creative fantasy, its attitude to the depicted, as well as all the wealth of the person and the Creator.

In the process of creating a work of art, the artist as a person acts as a subject of artistic creativity. If we talk about the artistic and figurative perception, the artistic image created by the Creator acts as an object, and the audience, a listener, the reader is a subject of this relationship.

The artist is thinking by images, the nature of which is concrete-sensual. This is a relative image of art with the forms of life itself, although it is impossible to understand this relativeness literally. Such forms like an artistic word musical sound Or an architectural ensemble, in the lifetime there is no and can not.

An important structure-forming component of the artistic image is the worldview of the subject of creativity and its role in artistic practice. The worldview is the system of views on the objective world and the person's place in it, on the attitude of a person to his surrounding reality and itself, as well as the main views of these views life positions People, their beliefs, ideals, principles of knowledge and activities, value orientations. At the same time, it is most often believed that the worldview of different layers of society is formed as a result of the dissemination of ideology, in the process of becoming knowledge of representatives of one or another social layer in conviction. The worldview should be considered as the result of the interaction of ideology, religion, sciences and social psychology.

A very significant and important feature of the modern artistic-shaped consciousness should be a dialogism, that is, the focus on a continuous dialogue, which is the character of constructive controversy, creative discussion with representatives of any art schools, traditions, methods. The constructiveness of the dialogue should consist in continuous spiritual mutual enrichment of the discusing parties, wearing a creative, genuinely dialogic. The very existence of art is due to the eternal dialogue of the artist and recipient (viewer, listener, reader). Agreement, binding them, undivorid. The newly born artistic image is a new edition, a new form of dialogue. The artist in full understanding his debt to the recipient when he gives him something new. Today, as never before, the artist has the opportunity to speak new and in a new way.

All listed areas in the development of artistic and figurative thinking should lead to approval of the principle of pluralism in art, that is, the assertion of the principle of coexistence and complementary diverse and the most diverse, including contradictory points of view and positions, views and beliefs, areas and schools, movements and exercises. .

2. Feature of artistic images on the example of works of W. Shakespeare

2.1 Characteristics of artistic images W. Shakespeare

Works of W. Shakespeare are studied in literature lessons in 8 and 9 grade of high school. In the 8th grade, students study "Romeo and Juliet", in 9 - "Hamlet" and Sonnet Shakespeare.

Shakespeare tragedies - an example of the "classical resolution of collisions in romantic form Arts "between medieval and new time, between the feudal past and the folding bourgeois world. Shakespeare's characters "are internally consistent, true to themselves and their passion, and in everything that happens to them, they behave according to their solid definiteness."

The heroes of Shakespeare - "counting only on themselves, individuals", put on behalf of themselves, which "dictates" only "their own individuality", and they carry out it "with the unshakable consistency of passion, without side reflexes." In the center of each tragedy there is such a nature, and around it is less outstanding and energetic.

In modern plays, the soft-hearted character quickly flows into despair, but the drama does not entail him to death even with danger, which remains very pleased with the public. When virtues and vice are configured on the stage, it should be tried, and he can be punished. Shakespeare, the hero dies "precisely due to the decisive loyalty to itself and its goals", which is called "tragic junction."

The language of Shakespeare Metaphoric, and his hero is standing above his "grief", or "bad passion", even "funny vulgarity". Whatever Shakespeare's images, they are the "free power of representation and the genius spirit ... Their thinking is worth and puts them higher than what they are in their position and their definite goals." But, looking for an "analogue of an inner experience", this hero is not always free from the excesses, at times clumsy. "

Humor Shakespeare is remarkable. Although his comic images are "immersed in his vulgarity" and "they do not have a shortage of flat jokes," they show the mind at the same time. Their "genius" could make them "great people."

The essential paragraph of Shakespeare Humanism is the comprehension of a person in motion, in development, in becoming. This determines the method art characteristics Hero. The latter of Shakespeare is always shown not in a frozen immobably state, not in the statue of the instant image, but in motion, in the history of personality. Deep dynamism is distinguished by the ideological and artistic concept of a man at Shakespeare and a method of an artistic image of a person. Usually hero u english playwright other on different phases dramatic action, in different acts and scenes.

A person at Shakespeare is shown in the completeness of its capabilities, in the full creative perspective of his story, his fate. Shakespeare is essential not only a person's show in his inner creative movement, but also show the direction itself. This direction is the highest and the most complete disclosure of all human potentials, all its internal forces. This direction - in some cases there is a revival of a person, his inner spiritual growth, the ascent of the hero on some kind of the highest stage of his being (Prince Henry, King Lir, Prospero, etc.). ("King Lire" Shakespeare is studied by students of grade 9 on extracurricular activities).

"There is no guilty in the world," the Lir king proclaims after the stormy shocks of his life. Shakespeare this phrase means a deep awareness of social injustice, the responsibility of the whole social system For countless suffering of poor volumes. Shakespeare is a sense of social responsibility, in the context of the experiencing hero, opens up a broad prospect of creative growth of the person, its final moral revival. He has this thought serves as a platform to approve the best qualities of his hero, to approve his heroically personal substance. With all rich multi-time changes and the transformation of the personality, Shakespeare is unshakable is the heroic core of this person. The tragic dialectic of personality and fate of Shakespeare leads to the definition and clarity of his positive idea. At Shakespeare in the "King Lira" the world collapses, but the person himself lives and changes himself, and with him the whole world. Development, a qualitative change in Shakespeare is distinguished by completeness and variety.

Shakespeare belongs to the cycle of 154 sonnets, published (without the knowledge and agreement of the author) in 1609, but written, apparently, in the 1590s and was one of the most brilliant samples of the Western European Lyrics of the Renaissance. The form under the penis of Shakespeare has managed to become popular among English poets, encroaching the vast gamut of feelings and thoughts - from intimate experiences to deep philosophical pondays and generalizations.

Researchers have long paid attention to the close connection of sonnets and Shakespeare's drama. This connection is manifested not only in the organic alloy of the lyrical element with tragic, but also that the ideas of passion, spiritualizing Shakespeare's tragedies, live in his sonnets. Just like in tragedies, Shakespeare affects the sinks of the problem of being, which has worried humanity, is talking about the happiness and sense of life, about the ratio of time and eternity, about the strugnure of human beauty and its greatness, about art capable of overcome the inexorable time , about the high poet mission.

The eternal inexhaustible theme of love, one of the central in the sonnets, is closely intertwined with the theme of friendship. In love and friendship, the poet acquires a genuine source of creative inspiration, regardless of whether they bring him joy and bliss or the flour of jealousy, sadness, mental torments.

In the Review Literature, the topic of friendship, especially male, occupies an important place: it is considered as the highest manifestation of humanity. In such a friendship, it is harmoniously combined by the rally of the mind with a mental tendency free from the sensual beginning.

The image of the beloved at Shakespeare is emphasized non-traditional. If in the sonnets of Petrarch and his English followers, the chille-like angel-like beauty was usually chased, proud and inaccessible, then Shakespeare, on the contrary, devotes the jealous reproaches of the dark brunette - inconsistent, who obeying only the voice of passion.

Litting of grief about the strugnure of all the earth, passing through the whole cycle, the imperfection of the world is distinguished by the poet, does not violate the harmony of his minority. The illusion of the afterlife of foreign bliss by him - he sees human immortality in glory and offspring, advising his friend to see his youth revived in children.

Conclusion

So, an artistic image is a generalized artistic reflection of reality, clothed in the form of a particular individual phenomenon. Artistic image is different: accessibility for direct perception and direct influence on human senses.

Any artistic image is not fully concrete, clearly fixed installation moments are clothed in it by the elements of incomplete definition, half-time. This is a certain "insufficiency" of the artistic image compared with the reality of a life fact (art seeks to become reality, but is divided into eigen-willed borders), but also an advantage that ensures its multi-consciousness in a set of replenishment interpretations, the limit of which puts an accentuation limit on the artist.

The inner form of the artistic image is personal, it carries an indelible trace of author's ideologicalness, its existing and implementing initiative, due to which the image appears to be estimated by human reality, cultural value In a number of other values, the expression of historically relative trends and ideals. But as a "body", formed on the principle of visible to revitalize the material, on the part of the artisticity, an artistic image is an isna of the limit action of aesthetically harmonizing laws of being, where there is no "bad infinity" and an unjustified end, where the space is favorable, and the time is reversible where the accident is not Velip, and the need is not painful, where the clarification is triumphant over the osnosis. And in this nature artistic value belongs not only to the world of relative social and cultural values, but also to the world life valuesMoved in the light of incredit meaning, to the world of the ideal vitality of our human universe. Therefore, an artistic assumption, unlike scientific hypotheses, cannot be discarded as unnecessary and displaced by others, even if the historical limitations of his creator seems obvious.

In view of the inspiring forces of artistic assumption, both creativity and the perception of art always conjugate with cognitive and ethical risk, and in assessing the artwork is equally important: conquering the author's intent, to recreate the aesthetic object in its organic integrity and self-expladation and, without conquering this intention, quite, Save the freedom of your own point of view, secured by real life and spiritual experience.

Studying separate works Shakespeare, the teacher should pay the attention of students to the images created by him, bring quotes from texts, draw conclusions about the effect of such literature on the feelings and deeds of readers.

In conclusion, we want to emphasize once again that the artistic images of Shakespeare have eternal value And always will always be relevant, regardless of time and place, since in their works he puts eternal questions, always worried and exciting all of humanity: how to deal with evil, what means and is it possible to defeat it? Is it worth living at all if life is full of evil and to defeat it is impossible? What is true in life, what is a lie? how true feelings distinguish from false? Can love be eternal? What is the meaning of human life?

We spent the study confirms the relevance of the chosen topic, has practical orientation and can be recommended to students of pedagogical educational institutions As part of the subject "Teaching literature in school."

Bibliography

1. Hegel. Lectures on aesthetics. - cit., T. XIII. P. 392.

Monroxy L.A. Renaissance Study: Poetics and Cultural Policy // New Literary Review. - №42. - 2000.

Rank O. Aesthetics and psychology of artistic creativity // Other shores. - №7. - 2004. P. 25.

Hegel. Lectures on aesthetics. - cit., T. XIII. P. 393.

Caganovich S. New approaches to school analysis poetic text // Teaching literature. - March 2003. P. 11.

Kirilova A.V. Culturalology. Toolkit For students of the specialty "Social and cultural service and tourism" correspondence form of training. - Novosibirsk: NSTU, 2010. - 40 s.

Zharkov A.D. Theory and technology of cultural and leisure activities: Tutorial / A.D. Frying. - M.: Publishing House Mguyuk, 2007. - 480 p.

Tikhonovskaya G.S. Scenic and directorial technologies for creating cultural and leisure programs: monograph. - M.: Publishing House Mguyuk, 2010 - 352 p.

Kutuzov A.V. Culturalology: studies. benefit. Part 1 / A.V. Kutuzov; GOU VPO RPA Ministry of Justice of Russia, North-West (St. Petersburg) branch. - m.; SPB: GOU VPO RPA Ministry of Justice of Russia, 2008. - 56 p.

Stylistics of the Russian language. Kozhin M.N., Dususayeva L.R., Salimovsky V.A. (2008, 464С.)

Belyaeva N. Shakespeare. "Hamlet": the problems of the hero and genre // Teaching literature. - March 2002. P. 14.

Ivanova S. On an activity approach in the study of the tragedy of Shakespeare "Hamlet" // I go to the lesson of literature. - August 2001. P. 10.

Kireev R. around Shakespeare // Teaching literature. - March 2002. S. 7.

Kuzmina N. "I love you, the finish of the sonnet! ..." // I go to the lesson of literature. - November 2001. S. 19.

Shakespeare Encyclopedia / Ed. S. Wells. - M.: Rainbow, 2002. - 528 p.

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Image artistic - aesthetic category characterizing a special way inherent in the art of the method and form of development and transformation of reality. In a narrow and more concrete sense, the concept of "artistic image" means an element, a part of the artwork (character or object of the image), wide and more general - the way of being and reproducing special, artistic, reality, "kingdom of visibility" (F. Shiller). The artistic image in a broad sense acts as a "cell", "initial" art that has entered and crystallizing all the main components and features of artistic creativity as a whole.

The term "artistic image" in its modern interpretation and the meaning was determined in the aesthetics of Hegel: "Art depicts a truly universal, or idea, in the form of sensual existence, image" ("Aesthetics", t. 42, 1973, p. 412 ). However, whether he dates back to the dictionary of an ancient aesthetics, where there were words-concepts (eg., Eidos), distinguishing the outdoor "appearance, appearance" of the subject and the wrong "essence, idea" luminous, and more specific, unambiguous definitions from the plastic region Arts - "Statue", "Image", etc. Revealing concept monezisa , Plato and Aristotle considered the question of the figurative nature of the art in the plane of the relationship of real objects, phenomena and their ideal "copies", "Sleeps", and the dam focused on the substantiation of the concept of "inner Eidos," an image of the attitude of the essence of objects. Neo-European, first of all, German classical aesthetics nominates not a mimetic aspect to the fore, and productive, expressive-creative, associated with the creative activity of the artist. The concept of artistic image is fixed as a certain unique way and the result of interaction and resolution of the contradictions between spiritual and sensual, ideal and real principles.

Over time, the formula of art as "thinking in images" has become synonymous with the realistic method, focusing on the cognitive function and the public destination of artistic creativity. The ability to create images, to show, and not prove is considered a condition and main sign of the talent and the fullness of the artist's creativity. "Who is not gifted to creative fantasy, able to turn ideas into images, think, to reason and feel the images, this will not help the poet, nor the feeling, nor the power of beliefs and beliefs, nor the wealth of wisely historical and modern content» ( Belinsky V.G. Full Cathedral cit., t. 6. M., 1956, p. 591-92). In con. 19 - Nach. 20 V. There are various "anti-shaped" concepts of art, questioning or rejecting the category of an artistic image as allegedly an apology of the "copyist" relationship to reality, the "fictitious" truth carrier and naked "rationality" (symbolism, immoginism, futurism, lepha, etc.) . However, in foreign and Russian aesthetics, this concept preserves, up to the present day, the status of a universal aesthetic category. Many components of the process of artistic development of reality are associated with it even purely lexically ("is-appeal", "because of the appeal", "pre-appeal", "pro-image", "without-shaped", etc.).

The semantics of the Russian word "image" (unlike English. "Image") successfully indicates: a) the imaginary being of an artistic fact, b) its subject being, the fact that it exists as some holistic education, c) his meaningfulness ("image "What?) - The image implies its meaningful prototype (I.odnyanskaya). The content and specificity of the artistic image can be represented by the following characteristics.

The image of art is reflection primary, empirical reality. However, regardless of the degree of similarity ("similar") of the artistic image depicted with the displayed displayed, the "copy" (character, events, phenomena) served to him. He is conditional, "illusory" belongs not to an empirical reality, but internal, "imaginary" the world created by the work.

The image is not just a reflection of reality, and its artistic generalization, it is created, "man-made", product of idealization or typing valid facts, events or characters (see Typical ). "Imaginary Being" and "possible reality" turn out to be at least, but, on the contrary, are often more valid than the real objects, phenomena, events that served as the original "material". The degree and completeness of the semantic saturation, the generalization of the artistic image, together with the skill of the embodiment of the creative plan, make it possible to distinguish (even within the framework of one work) the images are individual, characteristic and typical. In the system of artistic whole there is a hierarchy of the semantic level - individual, as its semantic "load" is deepened, goes into the category of characteristic, and characteristic - to the typical, right up to the creation of images of universal importance and value (eg, Hamlet in this regard is not allowed with Rostereman , Don Quixote - with Sancho Pansoy, and xles - with pancake or leapkin).

Artistic image is an act and result of creative implementation, the transformation of reality, when the sensual artistic work is being built by contemplation into clean visibility, so it turns out to be "in the midst of direct sensuality and the ideal idea" ( Hegel. Aesthetics, t. 1. M., 1968, p. 44). This is not a thought and not a feeling taken separately and by themselves, but "a sensible thought" (A.S. Pushkin), "direct thinking" (V.G. Belinsky), containing both the moment of understanding and the moment of assessment, and moment of activity. Since the image of art is initially and fundamentally defective, it is not "theoretical", it can be defined as artistic idea, Claimed in the form of an artistic view, and, to be, as an embodiment of aesthetic experience, in the process of which human sensuality raises himself on their own creations. The imaging acts in art as a sensecology, the name and renaming of everything and everything that a person finds around and inside himself. Art images are endowed with independent and self-sufficient life and therefore are often perceived as actually existing objects and subjects, moreover, become samples for empathy and imitation.

The variety of types of artistic images is due to their species, internal laws of development and used by the "material" of each art. Verbal, musical, plastic, architectural, etc. Images differ from each other, for example, a measure of the ratio of sensory and perfect (rational) moments. In the "portrait" image prevails (or at least goes to the fore) Sensual concreteness, the ideal (thought) beginning dominates the symbolic image, and in a typical (realistic) image, the desire for their harmonic combination is obvious. Species differences, the originality of art images are subject to it (and in many respects and turn out to be given) the nature of the "material" and "language", through which they are created, are embodied. In the hands of a talented artist "Material" not just "comes to life," but detects truly magical fine-expressive power in the transfer of the most subtle and deep thoughts and feelings. As from which "Sora" (A.A.ahmatov) words, sounds, paints, volumes there are poems, melodies, paintings, architectural ensembles - this is the secret of art that does not succumb to full rays.

Literature:

1. Aristotle. On the art of poetry. M., 1957;

2. Lesing Laocoon, or on the borders of painting and poetry. M., 1957;

3. Hegel G.V.F. Aesthetics, t. 1, 4. M., 1968;

4. Götte I.V.About art. M., 1975;

5. Belinsky V.G. An idea of \u200b\u200bart. - full. Cathedral cit., t. 4. M., 1954;

6. Losev A.F. Dialectics of artistic form. M., 1927;

7. Dmitrieva N. Image and word. M., 1962;

8. I. intonation musical image. Digest of articles. M., 1965;

9. Gachev GD Life of artistic consciousness. Essays on the history of the image. M., 1972;

10. He is The image in Russian artistic culture. M., 1981;

11. Bakhtin M.M. Questions of literature and aesthetics. M., 1975;

12. Timofeev L.I. On imagery. - It same Basics of literature theory, 5th ed. M., 1975;

13. Semiotics and artistic creativity. M., 1977;

14. Shklovsky V. Art as a reception. - From the history of Soviet aesthetic thought. 1917-1932. M., 1980;

15. Tomashevsky B.V. Theory of literature. Poetics. M., 1996;

16. Akopova A.A. Aesthetic ideal and nature of the image. Yerevan, 1994;

17. Grekin V.A. Sensual image and literary work. N.Novgorod, 1997.

Artistic image

Typical image
Image-motive
Topos
Archetype.

Artistic image. Concept of artistic image. Functions and structure of an artistic image.

Artistic image - One of the main categories of aesthetics, which characterizes the method of display and transforming validity only inherent in art. The way is also called any phenomenon, creatively recreated by the author in the artistic work.
Artistic image is one of the means of knowledge and changes in the world, a synthetic form of reflection and expressing feelings, thoughts, aspirations, aesthetic emotions of the artist.
Its main functions: cognitive, communicative, aesthetic, educational. Only in their totality, they reveal the specific features of the image, each of them individually characterizes only some one side of it; An isolated consideration of individual functions is not only impoverished an idea of \u200b\u200bthe image, but also leads to the loss of its specifics as a special form. public consciousness.
In the structure of the artistic image, the main role is played by the mechanisms of identification and transfer.
The identification mechanism performs the identification of the subject and the object, in which their individual properties, qualities, signs are connected into one individual; In this case, identification is only partial, highly limited: it bodies only one line or a limited number of objects of the object.
In the structure of an artistic image, identification acts in unity with the other most important mechanism of primary mental processes - transfer.
The transfer is caused by the inclination of unconscious deposits in search of ways to satisfy the associative way to all new objects. Due to the transfer, one representation is replaced by another along the association series and the merger of transfer objects, creating in dreams and neurosis. thickening.

Conflict as the basis of the scene side of the work. The concept of "motif" in domestic literse.

The most important feature of the plot is the detection of life contradictions, i.e. conflicts (in Hegel's terminology - conflicts).

Conflict - confrontation of contradictions either between characters or between characters and circumstances or within the nature underlying the action. If we are dealing with a small epic shapeThe action is developing on the basis of one single conflict. The number of conflicts increases in the works of large volume.

Conflict - The rod, around which everything spins. The plot is least reminiscent of a solid, continuous line that connects the beginning and end of the event.

Stages of conflict development - Basic story elements:

Laro-epic genres and their specificity.

Laroepic genres detect connections within the literature.: From lyrics - the topic, from the epic - the plot.

Combining an epic narration with lyrical start - direct expression of experiences, the thoughts of the author

1. poem. - genre content can be either with an epic dominant or in lyrical. (In this regard, the story is either strengthened or reduced). In antiquity, and then in the era of the Middle Ages, the revival and classicism of the poem, as a rule, was perceived and was created synonymously the epic genre. In other words, these were literary epic or epic (heroic) poems. The poem does not have a direct dependence on the method, it is equally represented in romanticism ("MTSIRY"), in realism (" Bronze Horseman), in symbolism ("12") ...

2. ballad. - (Fr. "Dance Song") and in this meaning this is a specific romantic storylock verse. In the second value of the word ballad - this folklore genre; This genre characterizes the Anglo-Scottish culture of 14-16 centuries.

3. fable - One of the oldest genres. Poetics Basni: 1) Satyrian orientation, 2) Didactism, 3) Allegorical form, 4) feature genre form Yawl. The inclusion in the text (at the beginning or at the end) is a special brief stanza - morality. The bass is associated with the parable, in addition, the fables are genetically connected with a fairy tale, anecdote, later - novel. Based talents Rare: Esop, Lafonten, I.A. Krylov.

4. lyrical cycle - This is a kind of genre phenomenon related to the field of limit, each product of which was and remains a lyrical work. All together, these lyrical works create a "circle": unifying the beginning of the Yavl. Theme and lyrical hero. Cycles are created as "simultaneously" and can be cycles that the author forms for many years.

The basic concepts of the poetic language and their place in school Program on literature.

Poetic language art speech - language Poetic (poems) and prosaic literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, the main basic function is a communicative function (see the language functions), in P. I. The aesthetic (poetic) function dominates, the implementation of the K-Roy focuses more attention to the linguistic representations (phonic, rhythmic, structural, shaped-semantic, etc.), so that they become self-concrete means of expression. Overall imagery and artistic uniqueness of lit. Works are perceived through the prism of P. I.
The distinction of ordinary (practical) and poetic languages, i.e., actually communicative and poetic functions of the language was proposed in the first decades of the 20th century. Representatives of Obayiaz (see). P. I., By their conviction, differs from the usual performance of its construction: he draws attention to himself, in a certain sense, slows down reading, destroying the usual automation of the perception of the text; The main thing in it is "to survive the dellary things" (V. B. Shklovsky).
According to R. O. Jacobson, close to Obeya in the understanding of P. I., The poetry itself is nothing, "as a statement with the installation on the expression (...). Poetry is a language in its aesthetic function. "
P. me. closely connected, on the one hand, with a literary language (see), which is its regulatory framework, and on the other hand, with a national language, from where it draws a variety of characterological language products, for example. dialectisms when transferring speech characters or to create a local flavor of the depicted. Poetic word It grows out of a real word and in it, becoming motivated in the text and performing a certain artistic function. Therefore, any sign language in principle can be aesthetic.

19. The concept of the art method. The history of world literature as a story of the change of artistic methods.

The artistic method (creative) method is the totality of the most general principles Aesthetic development of reality, which is steadily repeated in the work of a particular group of writers, forming the direction, course or school.

O.I. Fedotov notes that "the concept of" creative method "is not enough than the" artistic method generated by the concept of it, although it was tried to adapt to an expression of a larger value - as a study path of socially existence or as the basic principles (styles) of entire areas. "

The concept of the artistic method appears in 1920, when the critics of the "Russian Association of Proletarian Writers" (PAPP) borrow a given category from philosophy, thereby striving to theoretically substantiate the development of its literary flow and depth creative thinking "Proletarian" writers.

The art method has aesthetic nature, he represents the historically determined general forms Emotional painted figurative thinking.

Art objects are the aesthetic qualities of reality, i.e. "The wide public significance of the phenomena of reality, drawn into public practice and carrying the stifle of the essential forces" (Y. Borev). The subject of art is understood as a historically volatile phenomenon, and the changes will depend on the nature of social practice and the development of the reality itself. The artistic method is an analogue of the object of art. Thus, historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through historical changes in the object of art, but also through the historical change in the aesthetic qualities of reality. In the subject of art, the life of the artistic method is concluded. The artistic method is the result of creative reflection of the object of art, which will be perceived through the prism of the general philosophical and political worldview of the artist. "The method always advocates us only in its particular artistic embodiment - in the living matter of the image. This image of the image arises as a result of the personal, intimate interaction of the artist with its surrounding concrete world, determining the entire artistic and thought process necessary for creating an artistic work "(L.I. Timofeev)

The creative method is nothing more than the projection of the image in a certain specifically - historical atmosphere. Only in Ne. fashionable perception life and gets its specific implementation, i.e. Promed to a certain, organically arising system of characters, conflicts, plot lines.

The artistic method is not a distracted principle of selection and generalization of reality phenomena, but historically due to understanding it in the light of the major issues that life puts before the art at every new stage of its development.

The variety of artistic methods in the same era is explained by the role of the worldview, which acts as a significant factor in the formation of the artistic method. In each period of art development, the simultaneous occurrence of various artistic methods is observed, depending on the social situation, since the era of Buda is considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the community of aesthetic ideals, kinship of characters, uniformity of conflicts and plots, manner of the letter. For example, K. Balmont, V. Bryusov, A. Block is associated with symbolism.

The artist's method is felt through style His works, i.e. Through the individual manifestation of the method. Since the method is a way of artistic thinking, the method is a subjective side of the style, because This method of figurative thinking generates certain ideologically - artistic features of art. The concept of the method and individually style of the writer correlated between themselves as the concept of the genus and species.

Interaction Methods and style:

§ Style manifold within one creative method. This is confirmed by the fact that representatives of one or another method are not adjacent to some one style;

§ Style unity is possible only within the same method, since even the external similarity of the works of authors adjacent to one method does not give grounds to assign them to a single style;

§ Reverse influence of style on the method.

The complete use of stylistic techniques of artists, which adjoin one method, is incompatible with the consistent observance of the principles of the new method.

Along with the concept of creative method, the concept arises directions or type of creativitywho are in the most a variety of forms and relations will manifest themselves in any method that occurs in the process of developing the history of literature, since they expressed the general properties of the figurative reflection of life. In their totality, the methods form literary flows (or directions: romanticism, realism, symbolism, etc.).

The method determines only the direction of the artist's creative work, and not its individual properties. The artistic method interacts with the creative personality of the writer

The concept of "style" is not identical to the concept "Creative Individuality of the Writer". The concept of "creative individuality" is wider than what is expressed by the narrow concept of "style". A number of properties are manifested in the style of writers, which in their aggregate characterize the creative individuality of writers. Specific I. real result These properties in the literature is style. The writer produces its individual style on the basis of a particular art method. It can be said that the creative personality of the writer is prerequisite further development of each artistic method. The new artistic method can be said when new unit phenomena created by the creative individuals of writers become common and represent new quality in their aggregate.

The artistic method and creative individuality of the writer are manifested in the literature through the creation of literary images, building motifs.

Mythological School

The emergence of mythological school at the turn of the HYSH-X1X centuries. The influence of the "German mythology" of Brothers Grimm on the formation of mythological school.

Mythological school in Russian literary criticism: A.N. Afanasyev, F.I. Buslaev.

Traditions of mythological school in the works of K.Nasyri, Sh. Mordzhani, V.V.Dlova, etc.

Biographical method

Theoretical and methodological foundations of the biographical method. Life and creativity Sh.O. Sent-Beva. Biographical method in Russian literary studies x1x in. ( scientific activity N.A. Kotleyevsky).

Transformation of the biographical method in the second half of the twentieth century: Impressionistic criticism, essism.

Biographic approach when studying the heritage of large artists of the word (Tukic, S. Majeva, Sh. Babich, etc.) in the writings of the Tatar scientists of the 20th century. The use of a biographical approach when studying creativity M. Plyalil, H.Tufan and others. Essaismatics at the turn of the XX-XX1 centuries.

Psychological direction

Spiritual and historical school in Germany (V.Diltte, V.Vundt), psychological school in France (Dard, E. Enneken). Causes and conditions for the occurrence of the psychological direction in Russian literary criticism. Concepts A.A.Potebni, D.N.Ovsyaniko-Kulikovsky.

Psychological approach in the Tatar literary critic of the beginning of the twentieth century. The views of M. Mordzhani, J. Willi, Ibrahimova, G. Babbaidullina, A.Mukhetdinia and others. The work of Battal "Theory of Literature".

The concept of psychological analysis of the literary work in the 1920-30s. (L.S.Vugotsky). Research K. Lyongard, Muller Freintels, etc.

Psychoanalysis

Theoretical basis psychoanalytic criticism. Life and activity Z. Freud. Freud's psychoanalytic works. Psychoanalysis K.G.jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis Erich Fromma. The concept of social unconscious. Research J. Lakana.

Psychoanalytic theories in Russia in the 20s. Xx in. (I.Drmakov). Psychoanalysis in modern literary studies.

Sociologist

The emergence of sociologist. The difference between sociological and cultural and historical methods. Features of the application of the sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulina. Proceedings of Nigmati, F. Bernash.

Vulgar sociologist: Genesis and the essence (V.M.Frica, Late works V.F. Pereverezov). F.G. Galimullin about vulgar sociology in Tatar literary criticism.

Sociologist as an element in the literary concepts of the second half of the twentieth century (V.N.Voloshinov, G.A. Bukovsky).

The emergence of new concepts, directions who managed to overcome the reductionism of a sociological approach. Life and activity M.M.Bakhtin, concept of dialogue. An attempt to expand the capabilities of a sociological method in the works of M.Gainullin, Khalita, I.Nurullina.

Sociologist on a global scale: in Germany (B.Brcht, Lukach), in Italy (G.Volpe), in France, the desire for synthesis of sociologist and structuralism (L.Goldman), sociology and semisiology.

Formal school.

Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Seyhenbaum, B.Tomashevsky. The concepts of "reception / material", "Motivation", "Response" and others. Formal school and literary criticism of the XX century.

Influence of a formal school on the views of Tatar literary critics. Articles H.Tactshash, H.Tufan on the renovation. Proceedings H. Wait. T.N. Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague linguistic mug and the Geneva linguistic school in the formation of structuralism. The concepts of structure, functions, element, level, opposition, etc. The views of I.Makazhovsky: structural dominant and norm.

Activity Parisian semiotic Schools (Early R. Bart, K. Law-Strauss, A.j.Greimas, K. Bremon, J. Shherett, U.Todorov), Belgian School of Sociology of Literature (L.Goldman, etc.).

Structuralism in Russia. Attempts to apply the structural method in the study tatar folklore (works M.S. Magdeeva, M.Kh. Bakirova, A.G.Yakhina), in school Analysis (A.G.Yyin), when studying the history of Tatar literature (D.F. Zagidullina, etc.).

Appearance narratology -theories of narrative texts within the framework of structuralism: P. Belakok, N.Fridman, A.-J.Greimas, J. Zherett, V. Shmid. The terminological apparatus of narratology.

B.S. Maleh O. comprehensive method in literary criticism. Kazan basic group Yu.G.Nigmatullina. Problems of predicting the development of literature and art. Proceedings Yu.G.Nigmatullina.

Integrated method in studies of Tatar literature T.N. Galiullina, A.G.Ahmadullina, R.K. Ganiyeva, etc.

Hermenevics

The first information about the problem of interpretation in Ancient Greece And in the East. The representatives of the German "spiritual and historical" school (F. Shleermar, V.Diltte). Concept H.G.Gadamera. The concept of "hermeneutic circle". Hermeneutic theory in modern Russian literary criticism (Y. Borev, G.I. Bogin).

Artistic image. Concept of artistic image. Classification of artistic images by the nature of the generalization.

Artistic image - Inherent in the art of the art of mastering and transforming reality. The way is called any phenomenon, creatively recreated in a works of art, for example, the image of a warrior, the image of the people.).
According to the nature of the generalization, artistic images can be divided into individual, characteristic, typical, modifications, topos and archetypes (myths).
Individual images are characterized by identity, uniqueness. They are usually the fruit of the imagination of the writer. Individual images are most often found in romantics and science fiction writers. Such, for example, quasimodo in "Cathedral Parisian Mother of God"V.Guhugo, a demon in the poem of M. Lermontov, Woland in the" Master and Margarita "A. Bulgakov.
The characteristic image is generalizing. It contains common features Characters and morals inherent in many people of a certain era and its public areas (Characters of the Karamazovy Brothers F. Dostoevsky, Pieces A. Ostrovsky).
Typical image It is the highest stage of the image of characteristic. Typical is an exemplary, indicative for a particular era. The image of typical images was one of the achievements. realistic literature XIX century. It is enough to remember the father of Gorio and Gobsek Balzac, Anna sometimes in the artistic form can be captured both the socio-historical signs of the era and the universal features of the character of one or another hero.
Image-motive - this is steadily repeated in the work of any writer the topic expressed in various aspects With the help of varying the most significant elements ("Rustic Rus" at S.Senin, "Beautiful lady" by A. Blok).
Topos (Greek Topos - place, terrain) means general and typical images created in the literature of the whole era, nation, and not in the work of a separate author. An example is the image of a "little man" in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonova.
Archetype. For the first time, this term is found in German romantics in early XIX. century, but genuine life in different areas Knowledge gave him the work of the Swiss psychologist K. Jung (1875-1961). Jung understood the "archetype" as a universal image, unconsciously transmitted from generation to generation. Most often, archetypes are mythological images. The latter, in jungle, literally "stupid" all of humanity, and the archetypes nest in the subconscious of a person, regardless of its nationality, education or tastes.