Literary and artwork as a process, task and role editor in its publication. Accounting in the work of the editor of the specifics of the perception of the literary and artistic work and its influence on the identity

artwork literature plot

Perception and understanding of the work of art as integrity in our time has become particularly significant. Attitude modern man To the world as integrity is value, life sense. For people in our XXI century, it is important to realize the relationship and interdependence of the phenomena of reality because people acutely felt their own dependence on the integrity of the world. It turned out that there are much effort from people to preserve the unity as a source and condition for the existence of humanity.

Art from its very beginning was directed to the emotional feeling and reproduction of life integrity. Therefore, "... It is in the work that a universal principle of art is clearly implemented: reconstructing the integrity of the world of human livelihoods as an infinite and unfinished" social organism "in the final and completed aesthetic unity of the artistic whole."

Literature in its development, temporary movement, i.e., the literary process, reflected the progressive course of the artistic consciousness seeking to reflect the mastery of people's integrity and concomitant the destruction of the integrity of peace and humans.

Literature belongs to a special place in preserving the image of reality. This image makes it possible to replace each other to present the continuous history of mankind. The art of the Word turns out to be "resistant" in time, the most firmly communicating the time due to the special specifics of the material - words - and the works of the word.

If meaning world History - "Development of the concept of freedom" (Hegel), then literary process (as a peculiar integrity of a moving artistic consciousness) reflected the human content of the concept of freedom in its continuous historical development.

Therefore, it is so important that those who perceive the phenomena of art aware of the meaning of integrity corrected it with specific works, so that in the perception of art, and in its understanding was formed "sense of integrity" as one of the highest criteria for artistry.

The theory of art, literature helps in this complex process. The concept of the integrity of the artistic work, one can say, develops throughout the history of aesthetic thought. Especially active, effective, i.e., directed towards perceiving and creating art, it became in historical criticism.

Aesthetic thought, literary science in the XIX century and the first half of the 20th century were a complex, extremely contradictory path of development ( schools XIX. century, directions in art, again schools and flows in the art and literary criticism of the 20th century). Different approaches to content, to the form of works, "fragmented" the integrity of art phenomena, then "recreated" it. This was serious reasons for the development of artistic consciousness, aesthetic thought.

And here the second half of the 20th century again sharply nominated the question of artistic integrity. The reason for this, as stated at the beginning of the section, lies in the very reality of the modern world.

We, who are engaged in the study of art and teaching his understanding, understand the problem of the integrity of the work - it means to comprehend the deepest nature of the art.

Source independent activity There may be the works of modern literary criticism involved in the problems of integrity: B. O. Korman, L. I. Timofeyev, M. M. Girschman, and others.

To successfully explore the theory of the integrity of the work, it is necessary to represent the content of the system of categories of carriers of integrity problems.

First of all, the concept of artistic text and context should be assigned.

The definition and description of the text to a greater extent than literary studies, from the 40s linguistic science was engaged. Perhaps for this reason in the dictionary literary terms"(M., 1974) There is no term" text "at all. He appeared in the literary encyclopedic dictionary (M., 1987).

The overall concept of text in modern linguistics (from Latin - fabric, the connection of words) has such a definition: "... some complete sequence of proposals related to the meaning with each other within general design author. " (

Work of fiction As the author's unity, everything can be called text and comprehends as text. Although it may be far from homogeneous according to the method of statements, on elements, receptions of the organization, it nevertheless is a monolithic unity, carried out as a moving thought of the author.

The artistic text differs from other types of text primarily by what aesthetic meaning has aesthetic information. Artistic text contains an emotional charge that affects readers.

Linguists note this property of artistic text as a unit of information: its "absolute anthropocentricity", i.e. concentration in the image and expression of man. The word in the artistic text is abstract (multival about), which is a source of ambiguous understanding.

Together with the understanding of the artistic text for analysis, the understanding of the integrity of the work is obligatory is the idea of \u200b\u200bthe context (from Latin - close relationship, compound). In dictionary literary terms"(M, 1974) The context is defined as" a relatively complete part (phrase, period, storage, etc.) of the text, in which a separate word receives the exact meaning and expression that is responsible for this text as a whole. The context gives speech complete semantic color, defines the artistic unity of the text. Therefore, it is possible to estimate the phrase or the word in context. In more wide sense The context can be considered a product as a whole. "

In addition to these context values, its most wide meaning is and characteristics, properties, features, phenomenon content. So, we say: the context of creativity, the context of time.

For analysis, text awareness is used by the concept of a component (Latin-store) - component, element, a unit of composition, a segment of the work, in which one image method is saved (for example, a dialogue, description, etc.) or a single point of view (author, narrator, hero) on what is depicted.

The interconnection, the interaction of these text units forms a composite unity, the integrity of the work in its components.

In the theoretical development of the work, in literary analyze Often and naturally used the concept of "system". The work is considered as systemic unity. The system in aesthetics and literary science is understood as an internally organized set of interrelated and interdependent components, that is, a certain set in their relations and relationships.

Along with the concept of the system, the concept of a structure is often used, which is defined as the relationship between the elements of the system or as a stable repeating unity of relations, the relationships of the elements.

The artwork of literature is a complex structural education. The number of elements of the structure in today's science is not defined. Essential are four major structural element: ideological (or ideological-thematic) content, system, composition, language [see "Interpretation of art text", p. 27-34]. Often these elements include the type, view (genre) of the work and the artistic method.

The work is the unity of the form and content (by hegel: the content is formally, the form is meaningful).

The expression of full completion, the integrity of the decorated content is the composition of the work (from Latin - drawing up, connection, connection, location). According to research, for example, E. V. Volkova ("Work of art - subject aesthetic analysis", Moscow State University, 1976"), the concept of composition came to literary science from the theory of visual arts and architecture. The composition is a general -est source category, since it reflects the essential features of the structure of the artwork in all kinds of art.

The composition is not only an order of form, but, above all-order content. Composition B. different time Detected differently.

Artistic integrity is organic unity, interpenetration, interaction of all substantive-formal elements of the work. Conditionally, for the convenience of reflection of works, the levels of content and shape can be distinguished. But it will not mean that they exist in their own. No level, like an item, is impossible outside the system.

Theme is themes, thematic unity, themed meaningfulness, thematic originality, manifold, etc.

Idea - Idea, ideological content, ideological peculiarity, ideological unity, etc.

The problem is the problem, problemability, problem content, unity, etc.

Derivative concepts, as we see, detect and expose non-delicacy content and forms. If you keep in mind how I changed, for example, the concept of Fabuil (as an equal plot, then as the immediate event of reality, reflected in the work - to compare, for example, Plumbul in understanding V. Shklovsky and V. Kozhinov), it will become obvious: in The work each level is precisely due to the fact that it is designed, designed, decorated, and the design, design - there is a shape in a broad sense: the content carried out in the material this artwhich is "overcome" through certain techniques Construction of the work. The same contradiction is also found in the isolating levels of form: rhythmic, soundorganization, morphological, lexical, syntactic, scene, genre, again - system-shaped, composite, fine-expressive means of the language.

Already in understanding and determining each of the central understanding of this series, an inextricable connection of content and form is detected. For example, the rhythmic movement of the painting of life in the work is created by the author, based on the rhythm as the properties of life, all its forms. Rhythm in the artistic phenomenon acts as a universal artistic pattern.

The general -est understanding of the rhythm is derived from the fact that rhythm is the periodic repeatability of small and more significant parts of the object. Rhythm can be detected at all levels: inthanate-syntactic, plot-shaped, composite, etc.

IN modern science There is an assertion that rhythm is a phenomenon and the concept of wider and more ancient than poetry and music.

Based on the understanding of the integrity of the work as a structured by the author, expressing the thought of the artist about human reality, M. M. Grisman distinguishes three steps of a system of relations of artistic creativity processes:

• 1. The occurrence of integrity as a primary element, the original point and at the same time organizing the principle of the work, the source of the subsequent deployment of it.
• 2. The formation of integrity in the system of relations and interacting with each other components of the work.
• 3. Completion of integrity in the completed and solid unity of the work

The formation and deployment of the work is "self-development created artistic Mira"(M. Girschman).

It is very important to note that the integrity of the work, although it is designed, as it seems, from elements known from the practice of art, i.e. as if "ready-made" details, but these elements in this work are so updated in their content and functions that every time They are new, unique moments of the unique artistic world. The context of the work, the moving artistic idea fills the means, the signability of only this organic integrity.

Perceiving, aware of a specific artwork, it is important to feel it as a creative system, "in every moment of which the presence of the Creator, creating the world of the subject, is found" (M. Girschman).

This allows you to make a holistic analysis of the work. Special attention should be paid to "Caution" M. Girschman: a holistic analysis is not a way of studying (in the course of whether the deployment of activities or "Following the author", in the course of the reader's perception, etc.). We are talking On the methodological principle of analysis, which suggests that each dedicated element of the literary work is considered as certain moment formation and deployment of artistic as an expression internal unity, general ideas and organizing the principles of the work. Holistic analysis is the unity of analysis and synthesis. It overcomes the mechanical selection and summing up elements under total meaning, separate consideration of various elements of the whole.

Principles holistic analysis differ from the mechanical analytical approach to the work. Understanding the integrity makes those who interpret the literature be careful, it is thinner to approach the works, feel deeper and more "tangible" the "fabric" of the work, "verbal literature", to allocate the "knots" of this elite, feel the style of the work as a common speech system and strive to consonant with the work To interpret his idea moving in each element of the structure.

Holistic analysis can be carried out at any level of content and form, since penetration into one of the levels allows you to identify it, interaction with others. No wonder with humor (but seriously) they say that the integrity of the work can be opened, to realize at the level of the character of punctuation characteristic.

The integrity of the literary work as the ideological and artistic system. His conceptuality and specific artistic completion.

Organic unity of figurative shape and emotional-generalizing content. The problem of their analytical distinction, which emerged in the European aesthetics of the end of the XVIII - early XIX centuries (F. Schiller, Hegel, Goethe). The scientific significance of such a distinction and its discussion in modern literature (replacement of traditional concepts for "meaning", "art semantics", "literal content", "text", "discourse", etc.). The concepts of the "aesthetic idea" (I. Kant), the "poetic idea" (F. Schiller), the "idea of \u200b\u200bthe beautiful" (Hegel): the semantic nuances of these terms that reveal the way of existence and the formative potential of an artistic thought (creative concept). "Concreteness" as the overall property of the idea and image, content and forms in the literary work. The creative nature of artistic content and form, the formation of their unity in the process of creating a work, "transition" of content in the form and forms into content.

The relative independence of the figurative form combining aesthetic feasibility with the "visible accident". Artistic form as an embodiment and deployment of content, its "symbolic" ("metaphorical") value and a streamline role. Completion of the form and its "emotional-volitional tension" (M. Bakhtin).

The composition of the artistic form as a scientific problem; "Internal" and "external" form (A. Phebenza). Aesthetic organization (composition) of the "artistic world" (depicted fictional reality) and verbal text. The principle of functional consideration of the elements of the form in their meaningful and structural role. Concept artistic reception and its functions. Formalistic interpretation of this concept, isolating artistic form from the content. Sports of formal elements of the creative concept of the author. The concept of structure as a correlation of elements of the whole. The meaning of the terms "Information", "Text", "Context" in a semiotic interpretation of fiction.

2. Content of the artwork

Poetic idea (generalizing emotional-figurative thought) as the basis of artistic content. The difference between the poetic idea of \u200b\u200banalytical judgment; organic unity of objective (subject-thematic) and subjective (ideological-emotional) parties; The conventionality of such a distinction inside the artistic whole. The specificity of poetic thought overcoming one-sidedness of distracted thinking, its shaped multi-consciousness, "openness".

Category of the artistic topic, which allows you to relate a poetic idea with its subject, with an extraordinary reality. Author's activity in choosing the topic. Communication between the subject of the image and the subject of knowledge; Differences between them. Conjugation of specific historical and traditional, "eternal" in the literature. Author's interpretation of the topic: identification and understanding of vital contradictions under certain angle vision. Continuity of problems in literature, their artistic peculiarity. The value aspect and the emotional orientation of the poetic idea due to the author's ideological-moral attitude to the contradictions depicted human life, "Court" and "sentence" of the artist. Different degree of severity of an emotional assessment in the integrity of the artwork (depending on the program and creative installation of the author, genre and style tradition). Art tendency and tendentiousness.

Category Paphos. The ambiguous use of the term "pathos" in the science of the literature: 1) "Poet's love for the idea" (V. Belinsky), inspiring his creative intent; 2) the passionate aspiration of the character to a significant goal, which encourages it to act; 3) the sublime emotional orientation of the poetic idea of \u200b\u200bthe work due to passionate and "serious" (Hegel) attitude of the poet to the subject of creativity. Pafos connection with the sublime category. True and false pathos. " Pathos"And" mood "- a variety of poetic ideas.

Typology of poetic ideas as a literary problem: thematic principle (Social, political, religious, etc. ideas) and aesthetic principle (figuratively embodied "Sense", according to F. Schiller, due to the ratio of the ideal of the artist and the reality depicted).

Heroic in the literature: Image and admiring the feat of a separate person or a team in their fight against natural elements, with an external or inner enemy. The development of artistic heroes from the normative chant of the hero to its historical concretization. The combination of heroes with drama and tragedy.

Tragic in the literature. The meaning of the ancient myths and Christian legends to understand the essence of tragic conflicts (external and internal) and recreating them in the literature. Moral significance of a tragic character and his pathos, which encourages action. A variety of situations reflecting the tragic conflicts of life. Tragic mood.

Idyllic - art idealization of "natural", close to the nature of the lifestyle of "innocent and happy humanity" (F. Schiller), not affected by civilization.

Sentimental and romantic interest in the inner world of the person in the literature of the new time. V. Belinsky on the meaning of sentimental sensitivity and romantic aspiration to the ideal in the literature. The difference between the typological concepts of "sentimentality" and "romance" from the specific historical concepts of "sentimentalism" and "romanticism". Sentimentality and romance in realism. Their connection with humor, irony, satire.

Critical direction of literature. Comic contradictions are the basis of humor and satire, determining the domination of the launching principles. N. Gogol on the cognitive meaning of laughter. Humor - "Laugh through tears" in connection with the moral and philosophical understanding of the comic behavior of people. Using the term "humor" in the meaning of lung, entertainment laughter. The civil orientation of satirical pathos as an angry dressing laugh. Communication of satire with tragedy. Irony and sarcasm. Traditions of carnival laughter in the literature. Tragicomic.

Combatibility and interlocks of species of poetic ideas and moods. Unity of approval and denial. The uniqueness of the idea of \u200b\u200ba separate work and the latitude of its artistic content.

Epic, lyricism, drama - typological properties of artistic content. Lyricism As an elevated-emotional mood, approved by the value of the inner world of the person. Dramatic (dramatic) As a mindset, transmitting the tense experience of acute contradictions of social, moral, household relations between people.

Epic As an elevated and contemplative view of the world, the enzyme of the world in its latitude, complexity and integrity.

Interpretation The content of the artwork (creative, critical, literary, reader) and the problem of the boundary between the reasonable and arbitrary interpretation. The context of the writer's creativity, the design and creative history of the work as benchmarks for interpretation.

Art is such a sphere of human activity, which is addressed to his emotional, aesthetic side of the person. Through auditory I. spectatical imagesThrough and tense mental and mental work occurs a kind of communication with the Creator and for whom it is created: a listener, reader, viewer.

The value of the term

The artwork is a concept associated primarily with literature. Under this term is understood not just any connected text, but carrying a certain aesthetic load. It is this nuance that distinguishes such a product from, for example, a scientific treatise or a business document.

The artwork is characterized by image. At the same time it does not matter whether it is a multi-volume novel or just a quatrain. The image is understood as the saturation of the text expressive-visual at the level of the vocabulary, this is expressed in using the author of such paths like epithets, metaphors, hyperboles, personification, etc. At the syntax level, the artwork can be rich in inversions, rhetorical figures, syntactic repetitions or joints, etc.

For characteristic of the second, extra, deep meaning. Subtext is guessed over a number of signs. A similar phenomenon is not peculiar to business and scientific textswhose task is to inform any reliable information.

The artwork is associated with such concepts as the topic and idea, the position of the author. The topic is what this text: what events are described in it, which era is illuminated, which subject is considered. So, the subject of the image in landscape lyrics - Nature, her states, complex manifestations of life, reflection spiritual states man through nature. The idea of \u200b\u200ba artistic work is thoughts, ideals, views that are expressed in the work. So, the main idea of \u200b\u200bthe famous Pushkinsky "I remember a wonderful moment ..." is the show of the unity of love and creativity, an understanding of love as the main driving, reviving and inspiring start. And the position or point of view of the author is the attitude of the poet, the writer to those ideas, the heroes that are depicted in his creation. It can be controversial, may not coincide with the main line of criticism, but it is she who is the main criterion in assessing the text, identifying its ideological and semantic side.

Artwork is the unity of form and content. Each text is based on its laws and must answer them. Thus, in the novel, the problems of a social character traditionally rise, the life of any class or social system is depicted, through which, as in the prism, the problems and spheres of society in general are reflected. In the lyrical poem reflected stress life Souls, transferred emotional experiences. By definition of critics, it is impossible to subscribe to this artistic work or add: there is everything to the place, as needed.

Aesthetic function is implemented in literary text Through the language of the artwork. In this regard, these texts can serve as textbooks, because Give unsurpassed beauty and charm samples of great prose. It is not by chance that foreigners wishing to learn how to learn the language of someone else's country, they advise reading the classics above all proven time. For example, the prose of Turgenev, Bunin - remarkable samples of possession of all richness of the Russian word and the ability to transfer its beauty.

What is an artistic work

Before switching to the practice of analysis, it is necessary to understand several theoretical moments.

First. On the one hand, any artwork is a complex statement, financially pronounced (fixed) in some text. This statement is directed from the author to the reader; Accordingly, it has two sides: the side of the author and side of the reader. The term "reader" we use in the broadest sense of the word, that is, the viewer in the theater or on art Exhibition, and listener musical Work, and actually reader of literary text.

On the other hand, any artistic work is a text that is built in a certain sign system, which is more convenient to call the "language of art).

Language of art

There is one subtlety for understanding. We easily perceive the figurative, metaphorical meaning of the "language of music" or "language of painting", but when it comes to the "language of literature", then often fall into the vocabulary confusion, because the literature is created, apparently on the usual human, "conversational" Language. In fact, it is necessary to strictly differentiate values. An ordinary human language is only one of the many elements of the "language of literature" as a sign system, moreover, also by the transfiguration element, "rearranged" creative efforts of a writer or poet.

Even on the "lower floor" of the literary work, that is, in the speech of the heroes, the characters often speak as the real people never say. The language seems to be the same, but in fact he is different. When analyzing, we should not forget for a minute that the words of the heroes of the artwork are just a "mirror" reflection of the real speeches of some real people, conventionally speaking prototypes.

The general rule is such: any word in the artistic work is just "similar" to the same word of the human (uneximiced) language. It is a "transformed" word - inside, because it fell into the tissue of an artistic work.

What do I want to say so persistent emphasizing this thought? I want to focus on the fact that the sign system of verbal (that is, the literary) works are not limited only by its language. Language, in fact, is just one of the elements of such a system. Moreover, the element is quite "artificial", for he "made" by the author (by the artist), and did not originate in itself.

In art, everything is artificial, because it is done that is why it is art.

About signs

What is a sign? The sign is an external (visible, sensually perceived) beating of some entity that I prefer to call the meaning.

Figuratively expressing, the sign itself is dead, if it is not connected with the meaning.

As an example. Take the book on a stranger to you. She can be a talented or talentless - you will not be able to appreciate it, because it is not available to you. Not as a material body, but as text, that is, a product created in a certain iconic system.

Expanding the analogy, we will conclude that many texts remain in total inaccessible, since this sign system is not at all familiar to the reader or mastered it is not fully fully.

When we, then, speak about, say, poetry, understandable in a wide circle readers (publicly accessible, or "folk", poetry), then from a theoretical point of view, this means only that data poetic texts Created in the iconic systems that for any reason are available to the majority or a huge number of poetry readers. First of all, of course, thanks to school education.

By the way, the availability of text does not characterize his artistic advantages. That is, the degree of accessibility does not tell us about the degree of talentedness or the neutaland of his author.

Thus, as an interim total, literary education At school or outside of its limits, it implies the acquaintance of potential readers with already existing iconic systems, as well as with those systems that are in the process of occurrence and formation, and on this basis - the production of the ability to intuitively perceive the iconic systems of the future, which this moment There is still no (or are in the formation stage).

Conditionally (but rather accurately) speaking, literary and art education is the maximum expansion of an artistic horizon of future readers. It is clear that such an extension can occur not only as part of any educational institution, but also - even more often - with some other ways and ways, including by self-education.

Along the way, I note that this approach allows us to strictly solve the question of the inclusion or non-inclusive of a writer in school Program on literature. Include in the program, it should be, first of all, of course, those writers and poets that expand our horizons in the field of literary and artistic iconic systems.

Why is the concept of text

So, any artwork is the text created in a specific iconic system. As such, it can be separated from the author and "assigned" to the reader.

This is probably the analogy with the sacrament of birth. You gave birth to a child - that is, "separated" him from herself. He is your child, your fruit, but at the same time, he is - and a separate entity from you, and your rights are limited to a number of rules and settings.

Also with the work: separating it from myself (in the form of an act of publication, publishing), the author loses some rights on him, namely: the right to explain it. From this point on, the work falls into the reader's rights, the main of which is the right to understand, to the interpretation of this work. No one can deprive the reader to the interpretation right to the interpretation until there is art, that is, creativity for the public, creativity addressed to the "other", and not to itself.

I want to clarify here that the author, of course, is also entitled to the interpretation of his work, but no longer as an author, but as an ordinary (albeit a qualified) reader. In rare cases, the author can even act as a criticism of his works, but, firstly, in this case he does not have any special prerogatives in relation to other readers, and secondly, such cases are rather rare, if not exceptional .

Accordingly, the statements of the author of the type "Actually I wanted to say that something and that", of course, should not be ignored, but also to give them an excessive value is also not worth it. In the end, the reader did not subscribe to understand the author thoroughly. If the text, and with it - the author, remained incomprehensible, then this is also a special case with whom it is worth understanding.

In briefly, I will say that the text may not be understood as a result of the following reasons: 1) the novelty of the author's sign system; 2) lack of qualification of the reader; 3) the insufficient talent of the author.

Elements of text

As the text there is a difficult constructed statement, then it necessaries the following elements: theme, idea, form.

The topic is what is said in the work.
The idea is what the reader author reports.
The form is how this statement is built.

The topic and idea usually refer to the content side of the work. I plan to speak in another article about the dialectics of the form and content in the artistic work. Here will be enough to notice the following. We are accustomed to postulate that the form is substantial, and the content is decorated, but rarely accept this statement is quite serious. Meanwhile, it should always be remembered that in the work there is no content in addition to the form, and the analysis of the work is essentially an analysis of its form.

Another fundamental note regarding the content and form of text. It is clear that the artwork is created for his idea, as the text is a statement. For the author, it is important to say something, to inform your work, and for the reader it is important to read something "read", that is, to perceive. Less likely forms. This is when the form itself becomes content. Probably more often such cases are found in experimental art, as well as in children and adult folklore or imitation. And probably extremely rare - for the sake of theme. I think that such cases, although they relate to cultural phenomena (for example, when a public taboo should be removed from some topic), they can hardly be attributed to the art with full right.

Message or statement?

IN english language The idea of \u200b\u200bthe work is customary called the term "Message" - a message, a message. So, say: "What Is the Message of the Story?" That is: What is the idea of \u200b\u200ba story? It seems to me that the English term is more accurate. Therefore, sometimes in your analyzes I call artistic text message. It is important to note such a moment here. Message I controvers communication. For communication is a bilateral process: I was told - I answered; I said - I was answered. Unlike communication, the message is a one-way process: the writer said - readers read. The exchange of views will certainly say, but it is beyond the actual artistic creative act.

Considering the foregoing, it is possible to formulate the case in this way: the artistic text is a complex constructed statement, which carries a completely definite message. The task of analysis, it became, is the most adequate reading (perception) of this message (or the ideas of text). The analysis is made as an analysis of the form, or a sign system that the author accepted for this work.

Fiction is one of the types of art, along with music, painting, sculpture, etc. Artistic literature - Product creative activity A writer or poet, and, like any art, it has aesthetic, cognitive and world-coal (related author's subjectivity) aspects. This combines literature with other art types. The distinctive feature is that material carrier The figures of literary works acts as a word in his written embodiment. At the same time, the word is always of the pictorial character, forms a certain image, which allows, according to V.B. Halizheva, attribute literature to fine species art.

Images, formed literary works, Find your embodiment in the texts. The text, especially artistic, is a complex phenomenon characterized by a variety of properties. Artistic text is the most difficult of all kinds of text, in fact it is completely special view text. The text of the artwork is not the same message as, for example, documentary text, since it does not describe real specific facts, although it calls phenomena and objects with the same language means. According to Z.Y. Turaev, natural language is construction material For artistic text. In general, the definition of artistic text differs from the definition of text in general by an indication of its aesthetic and fine-expressive aspects.

By definition, I.Ya. Chernukhina, artistic text represents "... aesthetic agent of mediated communication, the purpose of which is a fine-expressive disclosure of the topic, presented in the unity of form and content and consisting of speech units performing communicative function" According to the researcher, for artistic texts, absolute anthropocentrism is characterized, artistic texts of anthropocentric not only in the form of an expression, like any texts, but also in content, by focus on the disclosure of a person's image.

I.V. Arnold notes that "literary and artistic text is an internally related, complete whole, possessing ideological-artistic unity." The main specific feature of the artistic text that distinguishes it from other texts is the performance of aesthetic function. At the same time, the organizing center of the artistic text, as indicated by L.G. Babenko and Yu.V. Kazarina, is his emotional-sense dominant, which organizes semantics, morphology, syntax and artistic text style.

The main function of fiction - through the use of language and specific stylistic means Contribute to the disclosure of the author's plan.

One of the most striking features of fiction is imagery. The image that is created by various language means causes the reader a sensual perception of reality and, thus, contributes to the creation of the desired effect and reaction to the written. For artistic text, the variety of forms and images is characterized. The creation of generalized images in artwork allows them to authors not only to determine the state, actions, the quality of one or another character through comparison with an artistic symbol, but also makes it possible to characterize the hero, determine the attitude to it is not directly, and indirectly, for example, through an artistic comparison .

The most common leading line of style artistic speechClosely related and interconnected with imagery is the emotional coloring of statements. The property of this style is the selection of synonyms for the purpose of emotional impact on the reader, a variety and abundance of epithets, various forms of emotional syntax. In fiction, these funds receive their most complete and motivated expression.

The main category with linguistic learning of fiction, including prosaic, is the concept individual style Writer. Academician V.V. Vinogradov formulates the concept of individual style of the writer as follows: "The system of individual-aesthetic use of the artistic and verbal expression characteristic of the artistic literature, as well as a system of aesthetically creative selection, comprehension and location of various speech elements."

Literary artistic text, as any other work of art, is aimed primarily to perception. Without informing the reader of literal information, artistic text causes a complex complex of experiences in humans, and thus it meets the definite domestic need of the reader. Specific text corresponds to a specific psychological response, the order of reading is the specific dynamics of shift and interaction of experiences. In the artistic text behind the pictures of real or fictional life An impact, interpretational functional plan, secondary reality is always present.

The artistic text is based on the use of figurative-associative qualities of speech. The image in it acts as the ultimate goal of creativity, in contrast to the uneximiced text, where the verbal imagery is not fundamentally necessary, and if there is only a means of transmitting information. In the artistic text, the drawing means are subordinated to the aesthetic ideal of the writer, since fiction - This is a kind of art.

The artwork embodies the individual and author's way of perception of the world. Representations of the author about the world expressed in literary and artistic form become the system of representations sent to the reader. In this complex system Along with universal universal knowledge, there are also unique, original, even paradoxical representations of the author. The author comes to the reader the idea of \u200b\u200bhis work by expressing his attitude to those or other people's phenomena, with the help of the statement of its assessment, creating a system of artistic images.

Pictures and emotionality are the main features that distinguish the artistic text from the uneasyless. One more feature Artistic text is personification. In artwork characters, everything is compressed before the image, to type, although it can be shown quite specifically and individually. Many characters of artistic literature are perceived as certain symbols (Hamlet, Macbeth, Don Quixote, Don Juan, Faust, D "Artagnan, etc.), behind their names are defined traits of character, behavior, relationships to life.

In the texts of the fiction, the description of the person can be given both in the artistic register and in an informative-descriptive. The author has complete freedom of choice and the use of various stylistic techniques and means that allow you to create a clear-shaped idea of \u200b\u200ba person and express your assessment of its external and internal qualities.

In describing and characterizing the characters of the artwork, the authors use various means of emotional assessment and from the standpoint of the author, and from the standpoint of other characters. The assessment by the author of the heroes of its works can be expressed as clearly and implicitly, it is usually transmitted through the use of a complex of speech and stylistic drugs: lexical units with evaluation semantics, epithets, metaphorical nominations.

Stylistic means of expressive expression of emotionality, author's assessment, creating images are various stylistic techniques, including trails, as well as a variety artistic detailsused in artistic prose texts.

Thus, according to the results of the study literary sources We can conclude that fiction is a special kind of art, and artistic text is one of the most complex species Text in terms of structure and stylistics.