LITERARY STUDIES - the science of artistic li-te-ra-tu-re.

Includes a number of dis-ts-p-lin, the main ones of which are the theory of literature and the history of literature. The theory of literature (ascending to the normative in ethics and not-rarely-named by this term) studies the existence of ness of literature as a kind of art, specialty-fi-ku of literary forms, genres, styles, directions. Ig-no-ri-ruya cha-st-no and specific, she con-cen-tri-ru-e-Xia on the general st-va literary pro-iz-ve-de-niya and constants of the literary process. Is-to-riya of literature, on-against, co-wed-up-to-that-che-on pre-w-de everything on cha-st-nom, revealing in-di-v- du-al-nye, not-in-the-second-traits, attributed to national literatures, creativity of individual pi-sa-te-lei or separate pro-of-ve- de-no-yam. So, the is-to-rik of literature, in contrast to theo-re-ti-ka, stre-mit-Xia us-ta-no-vit is not a hundred-yang-nye, not-change -signatures of ba-rock-ko or ro-man-tiz-ma, but, for example, its own image of the Russian or German ba-rock-ko of the 17th century, the development of ro- man-tiz-ma or individual romance genres in French, Russian or English lit-te-ra-tu-re, etc. Pro-between-zhu-exact-place-one-hundred between-zh-du theo-ri-her and the is-to-ri-her literature za-ni-ma-et is-to-ri-che-sky in-these -ka, studying literary forms in development (for example, following the evolution of ro-ma-na as a gen-ra). Sometimes, to the Literature, they attach a li-te-ra-round criticism, but s-u-sh-st-wu-u-u-ra-wen-naya ten-den-sion to their difference.

The complex structure of the literary story, which, on the one hand, is the most valuable layer - weight-but-language-k-vy-no-men, and on the other hand, co-ot-no-sit-Xia with various cultures -tya-mi (fi-lo-so-fi-ei, re-li-gi-her, is-cous-st-vom, public life, etc.), ob-words-li- there is a lot of composition of Literary Criticism as a science, the presence in it of wide-ro-ki inter-dis-ts-p-l-nar-s -but close ties of Literary criticism with language-knowledge, with which it composes a single gu-ma-ni-tar p-li-well - fi-lo-logic). The interaction of literary criticism with other gu-ma-ni-tar-ny-mi-ka-mi has come to the emergence of different directions in him le-niy and me-to-dov, accentuating this or that aspect of literature in its connection with other spheres of culture: so, co- logistic method trak-to-val literature as a factor of public life; du-hov-no-is-to-richeskaya school, applied to the literature me-to-dy ger-me-nev-ki, ras-smat-ri-va-la pro-iz-ve-de-nie as a kind of co-society about the inner world of the av-to-ra, well-g-giving in ras-ciphers -ke; ri-tu-al-no-mi-fo-lo-gi-che-criticism, based on the psycho-logical theories of K.G. Yong-ha, truck-to-wa-la literary text as opo-wed-up-to-van-nye vos-pro-from-ve-de-mi-fa or religious r-tua-la; psi-ho-ana-li-ti-ch-ch-ti-ti-ka, pe-re-but-sya-shy to the literature of me-to-dy and ideas of psi-ho-ana-li-za, inter -pre-ti-ru-et literary pro-of-ve-de-nes as expressions of under-so-on-tel-complex-complexes per-so-na-zha or sa- my-th av-to-ra.

Literary pro-of-ve-de-ni-em as so-st-ven-but layered-weight fe-no-men-za-ni-ma-et-sya, in cha-st-no-sti , stylistics, studying the language of hu-do-same-st-ven-noy li-te-ra-tu-ry: the functions of the words you-from-to-which and low-to-that-ley , in-ethiz-mov and simple-speech, especially the use of words in the trans-nos-noun meaning - met-ta-for, me-to-niy-mi and others. Spe-ci-fi-ku in ethical speech studies-cha-et-ho-ve-de-nie, for-no-may-cha-si -fi-ka-tsi-ei, op-re-de-le-ni-em its-ob-ra-ziya and is-to-ri-it of the main phenomena of the sti-ho-word : rit-mi-ki, met-ri-ki, stro-fi-ki, riff-we. Sty-ho-ve-de-nie not-rarely-used-use-e-ma-te-ma-matic count-you, com-p-y-ter-ny ob-work-bot-ku text-hundred; in its accuracy, it is closer to the es-te-st-ven-but-na-uch-ny, not-if-to-gu-ma-ni-tar-ny dis-ci-p -or-us. Ma-te-ri-al-naya sto-ro-na literary pro-iz-ve-de-niya as ru-ko-pi-si or co-vo-kup-no-sti ru-ko-pi-sei, who have their own history, is the subject of the study of the text-story and paleo-graphy. The need to study the literary process in the co-kup-no-sti of the fix-si-si-si-si-ti-ku-men-tov - both writing and typing -nyh - in-a-ka-et in the area of ​​li-te-ra-tu-ro-Vedic studies such related sciences as ar-khi-vo -ve-de-nie and bib-lio-gra-fiu.

Is-to-ric-sky sketch

In the is-to-kov of European Literary Criticism - su-j-de-nia of antich-cn-li-te-lei, in part in the tract-ta-te "Go-su-dar-st-vo" I have-me-til de-le-tion of literature on the kind of li-te-ra-round, pre-vos-hi-shchayu what is justified in the XVIII century trt tria-du ro-dov (epic, drama, li-ri-ka). Starting from the era of anti-tich-no-sti and until the end of the 18th century, the pro-ble-ma-ti-ka of the theory of literature was developed mainly in the ta-tah according to ri-to-ri-ke - dis-qi-p-li-no, teaching red-speech, and in-eth-ke - dis-qi-p-li-no, having taught them literary texts. Trak-ta-you on ri-to-ri-ke and in-eth-ke had a norm-ma-tive ha-rak-ter: they are pre-pi-sy-wa-li pra-vi-la creation of text-hundred, but not de-la-whether it is the subject of scientific analysis in the modern sense of the word. In addition, in rhe-to-ric ru-ko-vodstvah, there has not been art-literary literature in modern artistic co-chi-ne-niya (su-deb-nye speeches, letters, etc.). Nevertheless, the av-to-ra-mi of these trak-ta-tov were a number of ka-te-go-rii, who moved to modern literary criticism. Ri-to-ri-ka spo-sob-va-la raz-ra-bot-ke of the theory of pro-zy and sti-li-sti-ki; in-these-ka-no-ma-las in-structure-no-system-te-we of ro-dov and gen-dov, development of a-bot-ko doctrine about su-same, etc. . The first own poetry-logical path-that-volume became "Po-eth-ka" Ari-sto-te-la, which lil vy-ra-zitelnye media-st-va in ezia, co-pos-ta-vil tra-ge-diyu and epic, opi-sal ha-rak-ter tra-ge-diy-no-go kon-flick -that, special-ben-no-sti syu-same-ta tra-ge-diy, etc. Op-re-de-liv in eziyu as pod-ra-zha-nie, Ari-sto-tel in-hundred -wil about-ble-mu co-relation of literary thought-la and re-al-no-sti, which-that-paradise in the distance is a hundred-no one of the prices -tral in European ethics and li-te-ra-tu-ro-ve-de-nii.

For-ro-g-de-nie is-to-riy of literature is connected-for-but with alek-san-d-rii-phi-lo-lo-gi-she, pre-sta-vi-te-li ko -to-roy na-cha-li ra-bo-tu according to the co-bi-ra-tion of the text of pi-sa-te-lei and according to the us-ta-nov-le-ny of their ka-no-nic verses -siy, for-ni-mal-lis com-men-ti-ro-va-ni-em about-from-ve-de-niy, pre-w-de everything in-em Go-me-ra. In the era of Voz-ro-z-de-nia, when in-gob-no-vil-sya in-te-res to antique literature and to classical Latin and Greek languages-kam, work-bo-that on from-da-niyu and com-men-ti-ro-va-niyu anti-tich-nyh av-to-ditch in-go-but-saw, with-what in how-de it were you-ra-bo-ta-us li-te-ra-tu-ro-Vedic genres (note-cha-nia, enter-pit. article, etc.) that-rye keep the knowledge in the modern iz-da-tel and com-men-ta-tor-bo-te.

In the countries of the East, already in antiquity, there appeared their own logical traditions, in the Russian you-va-yut-sya and general problems in ethical language (the doctrine of dhva-ni in the tracts of the Indian theo-re-ti-kov Anan-da-ward- ha-ny, Ab-khi-na-va-gup-ty), and cha-st-nye in-pro-sy (doctrine about uk-ra-she-ni-yah, zhan-rah, form-max sti-ha - Arab arud, etc.).

Form-mi-ro-va-niyu Literary criticism as a self-standing science in the middle of the 19th century before-sh-st-in-va-lo arose-nik-no-ve-nie es-te-ty -ki, in a certain subject, ana-li-for a steel, in part-st-no-sti, literature as a manifestation of pre-red. In contrast to the norm-mativ-noy in-ethics, yes-vav-shey av-to-ru set-up specific pre-pi-sa-nii, es-te- ti-ka strived to reveal the general laws of literary creativity and literary process, ma-ti-ku of modern theory of literature. Within the framework of es-te-te-ki, for the first time, a question was posed about the specialty of literature as a type of art: G.E. Les-sing in the truck-ta-te "Lao-ko-on, or About the grani-tsah zhi-p-si and po-ezii" (1766) po-ka-hall prin-ts-pi-al -different variety of literature and fine arts. In "Lek-tsi-yakh on es-te-ti-ke" (volumes 1-2, 1835-1838) G.V.F. -the-ri-sti-ka of literary families, which-to-paradise was-la unas-le-do-va-na modern theo-ri-she li-te-ra-tu-ry.

In the 19th century, for-mi-ru-are-sya general-ev-ro-pei-li-te-ra-tu-ro-Vedic schools, different then-to-logic. One of the first words was the mi-fo-lo-gi-che-la school, which appeared on the wave of a ro-mantic in-te-re-sa to folk -lo-ru and to folk customs and mi-fam (brothers Ya. and V. Grimm, A. Kuhn in Germany; J. Cox in Ve-li-ko-bri-ta-nii ; M. Bre-al in France, etc.). Ro-man-tism, with its us-ta-new-coy for the acceptance of life and creativity of pi-sa-te-la as a single whole , in-influenced and on the establishment of bio-gra-phi-che-go me-to-da (Sh. O. Sainte-Beuve). Us-pe-khi es-te-st-in-knowledge in the middle of the 19th century, in the way las-tyah science, including in the sphere of Literary criticism, in many op-re-de-li-zi-ti-vi-st-skie meto-do-logical principles of culture-tur-no-is-to-ri-che-school (I. Teng, F. De Sank-tis, V. She-rer, G. Lan-son, etc.) : co-wed-up to-that-chiv-s on the study of literary evolution, she de-kla-ri-ro-va-la taught the words-laziness of the artistic pro-from-ve-de-nia of the fact-to-ra-mi of the nature-no-climatic and so-qi-al-noy environment. You-move-well-tai I.V. -go whole, in which-rum pre-odo-le-ny national frameworks and so-ver-sha-is-sya devil-pre-five-st-ven-ny exchange idea -mi, ob-ra-za-mi, artistic tricks-ma-mi, were-la-one of the main factors, which-rye pri-ve-whether to in-ten-siv -ne-th-development-tii-ni-tel-tel-is-to-ri-che-th-te-ra-tu-ro-ve-de-niya, co-wed-up then-chiv-she-go-Xia on the study of inter-national literary connections (T. Ben-Fei in Germany, G. M. Po-snett in We -li-co-bree-ta-nii, etc.). In the 2nd half of the 19th century, the principles of bio-graphic me-to-yes were-you-were-you in the rus-le psi-ho-lo-gi-ch-school (E En-ne-ken in France, J. Fol-kelt in Germany, etc.), studied the connection between sa-te-la and his creative work. In the middle of the 19th century, in the second half of the 19th century, the history of the national lit-te-ra-round is being created: -ethical na-tsio-nal-noy-te-ra-tu-ry germ-tsev "G.G. Ger-vi-nu-sa (volumes 1-5, 1835-1842), "Is-to-riya of the English li-te-ra-tu-ry" I. Te-na (volumes 1-4, 1863-1864), "Is-to-riya of the French-tsuz-li-te-ra-tu-ry" by G. Lan-so-na (1894) and others.

Under the influence of various es-thetic and philosophical themes (German romance es-tee-ka, phylo-s-phia of life ) and in a field-le-mi-ke with a po-zi-ti-vis-a and a cultural-tur-ist-ric school in Germany at the end of the 19th century -sia du-hov-no-is-to-ri-che-school (V. Dil-tei, R. Un-ger, F. Shtrikh, K. Fietor, Yu. Pe-ter-son , O. Wal-zal, etc.). With her purpose, she set the re-construction of the inner world of the av-to-ra in the middle of the "feeling-of-va-nia" ... The ideas of the school were found in Hungary (J. Hor-wat, A. Serb, T. Ti-ne-man) and Switzerland (E. Er-ma- ting-ger). On its basis lay the so-called seamstress school-la inter-pre-ta-tion (E. Shtai-ger, V. Kai-zer).

On the ru-be-same XIX-XX centuries in the western is-kus-st-in-knowledge ut-ver-waiting-for-a-mal-no-sti-li-sti-ch-method ; his li-te-ra-tu-ro-Vedic pre-break-le-no-it became, in part-st-no-sti, work-bo-you on the study of “mor-fo- logi-ro-ma-na ”(German scientist V. Di-be-li-us). Za-dan-naya in the for-mal-no-sti-listic studies-to-va-ni-yah (as well as in the es-te-te-ke B. Cro-che) us-ta -new on the study of the "vy-zi-tel-noy" side of the literary pro-from-ve-de-ny, there was a pre-creation in the so-called art -listic criticism (L. Shpit-tser in Germany, P. Guy-ro in France, B. Ter-ra-chi-ni in Italy, etc.) ...

Within the framework of psi-ho-ana-li-za as a new region-las-ty psi-ho-logic on the ru-be-same XIX-XX centuries for-ro-w-yes-it-Xia psi-ho-ana-ly-tic criticism, the first presenter of a certain swarm can be considered Z. Frey-da, for-me-niv- sixth, their representations about the devil-of-the-mind to the inter-pre-ta-tion of the literary class. The greatest development of psi-ho-ana-lytic criticism was in the USA (F. Pre-scot, K. Ey-ken, etc.). On the basis of rapprochement with an-tro-in-lo-gi and eth-no-lo-gi (J. Fre-zer and others) and ana-ly-tic psi -ho-lo-gi-ei K.G. Yung-ga in the 1950s in American Literary Criticism there is-ni-ka-et ri-tu-al-no-mi-fo-logical criticism (M. Bod-kin, N. Fry, etc.), -ve-de-nii mo-ti-you and sim-vocal images, which-rye ras-smat-ri-va-are-sya as in-realm ar-he -ty-pov kol-lek-tiv-no-go devil-so-na-tel-no-go.

In the 1920s-1950s, in-ten-siv-but-va-va-va-las com-pa-ra-ti-vi-sti-ka: in France - F. Bal-dan-sper-the same, P. Van Ti-gem ("Is-to-riya li-te-ra-tu-ry Ev-ro-py and Ameri-ki from Voz-ro-zh-de-niya to our days", 1946), M.F. in the USA - V. Fri-de-rih ("Os-but-you compare-no-t-th study of li-te-ra-tu-ry from Dan-te Alig-e-ri to Yud-zh-na O'Neill ", 1954).

Reception of a literary text as av-to-nom-no-go phenomenon, iso-li-ro-van-no-go from action, was ha-rak-ter-but for the American new-howl crit-ki, form-mi-ro-vav-she-Xia in the 1930s and for-ni-mav-shei do-mi-ni-ruu- widespread use in the United States in the 1940s-1950s. (A. Ree-chards, A. Tate, K. Brooks, K. Burke, J.C. Ransom, R.P. Blackmoore). Developing ideas of a number of literary critics (W. Emp-so-na, T.E. Hu-ma) and poets (T.S.Elio-ta, E. Pa-un -yes), the new criticism with-wed-up to-that-read on the principle-ti-pi-al-noy many-meaning of the literary pro-of-ve-de -niya, open-my-me-to-house "pri-steel-but-th reading."

In the study of general me-ha-niz-mov, teaching the wholeness of European literature in relation to the whole its evolution, an important role was played by the fundamental works of German scientists: E. Au-er-ba-ha, who in the book "Mi-me-sis "(1946) followed the stylistic evolution of European literature, united by a common problem" mi-me-si-sa "- from -bra-ze-niya dey-st-vi-tel-no-sti; and E.R. cut medieval Latin culture to New time in the book "Ev-ro-pei-skaya lit-tera-tu-ra and la-tinskoe Middle-not-ve-ko- vie "(1948).

At the end of the 1950s-1970s, the leading literary criticism became-but-vit-Xia im-port-ti-ro-van-ny from ling-gvis-ti-ki and se-myo-ti-ki structure-tu-ra-lizm, in the quality-of-st-ve li-te-ra-tu-ro-vedic me-to-da per-in-na-chal-but ra-ba-you-wae-my in France, as the French version of the new criticism (R. Barth, A. J. Gray-mas, K. Bre-mon, C. To- do-rov, Y. Kriste-va, etc.), and then races-pro-country-niv-shy in various countries of Ev-ro-py (in cha-st-no-sti , in Che-ho-slo-va-kii - J. Mu-kar-zhov-skiy) and Ameri-ki. If the structure-tu-ra-lism relied on the theory of the sign of F. de Sos-su-ra and considered the literary text and the literary process as a sign -vy systems-those-we, then on-next-to-your-neck to him a new-on-right-left post-structure-tu-ra-liz-ma, on-against, is-ho -di-lo from crit-ki (mainly by the French phi-lo-co-fom J. Der-ri-da) of the traditional theory of the sign as a single art-va oz-na-tea- shche and oz-na-chae-my re-al-no-sti. The literary text in post-structure-tu-ra-li-st-skom Literary criticism is related only with other texts, but not with re-al-no-stu; the main property of the text-hundred pro-who-sh-is-Xia his inter-tek-stu-al-ness, pre-po-la-gayu-no-bez-no qi -tat-ny ha-rak-ter of any literary pro-of-ve-de-nia. The main method of post-structure-tu-ra-liz-ma is de-con-st-ruk-tion by-lu-chi-la raz-ra-bot-ku in me-to-di-ke Yale schools (H. Bloom, P. M. de Man, J. Hartman, J. H. Miller, etc.) internal pro-ty-in-re-chi-in-st of text-hundred, about-on-ru-same-nii in it hidden "fi-gur", imaginary from-sy-barking to re -al-no-sti, but on the very de-le - to other texts of the literary tradition.

At that time, as the American and French post-structure-tu-ra-li-st-sky Literary criticism of the 1970-1980s ori-en-ti-ro-va-los on post-stmo-der-n-st -skuyu criticism of European classical philo-phia, German literary criticism pro-du-zha-lo to develop its me-to-do-logic on the ba-ze phi - philosophical traditions. Philosophy of the her-men-nev-ti-ka, at the end of the 19th century, already the ambassador-living of the os-new spirit-hov-no-is-to-richesky school, at the beginning of 1960 -x years gave an impulse to the development of re-chain criticism (H.R. Yauss, V. Iser, G. Bloomberg, G. Trimm and others. ), made an accent on the reception of a literary pro-of-ve-de-chi-ta-te-lem: a literary text po-no-ma-et-sya as “par-ti -tu-ra "for many-same-st-va chi-ta-tel-sky is-tol-ko-va-niy; chi-ta-tel for-mu-li-ru-et "not-na-pi-san-ny meaning of text-hundred."

Pro-inter-zhu-exact place between-zh-do structure-tu-ra-liz-m and re-chain-critical criticism za-nya-la in the 1970s nar -ra-to-logic, in the spirit of post-structure-tu-ra-liz-ma ana-li-ziruyu-kom-mu-ni-ka-tive-structure-tu-ru tek -sta (R. Barth, J. Je-nett, Dutch scientist J. Lin-twelt, etc.). In-te-res to the com-mu-ni-ka-tiv-noy pri-ro-de of literature, to the out-of-tech-in-stan-ts-yam av-to-ra and chi-ta-te - for he manifested himself in the activity of ge-ne-t-ch-c-ti-ki, for-ro-div-shey-Xia in the 1970s in France ( A. Gre-ziy-on, J. Bel-men-no-el, P. M. de Bia-zi and others): with the help of ana-li-for re-dac-tions and va- ri-an-tov tek-sta she strives to follow the di-na-mich-ny development of the author's idea, against post-tav-lae-mo-th stat-tich-no-mu "ka-no-no-che-mu-tek-stu".

Under the influence of psi-ho-ana-li-za, on the one hand, and structure-tu-ra-liz-ma and post-structure-tu-ra-liz-ma in his French version - with the other, in the 1970s, the warehouse-do-va-et-sya fe-mi-ni-st-skaya criticism (S. de Bo-vu-ar, E. Sik-su, L. Iri-ha-rai in France; E. Shaw-alter, B. Christi-an, S. Gu-bar in the USA, etc.), in the 1980s became Shaya one of the state-owned on-right-left on Za-pas-de, especially ben-but in America-ke: from-ver-gaya state-subordination in literature male "letter-ma", she refers to creativity pi-sa-te-lei-women and ana-li-zi-ru-et specific features of their style.

Vzaimo-dey-st-vie Literary criticism with psi-ho-lo-gi and gran-no-cha-shi-mi with med-di-chi-noy es-te-st-ven-ny-mi nau -ka-mi (ney-ro-bio-lo-gi-her and ney-ro-fi-zio-lo-gi-her) ha-rak-ter-no for sfor-mi-ro-vav-she-go - in the last decade of the XX century cognitive literary studies (M. Törner, A. Ri-chard-son, N. Holland, J. La-coff in the USA; J. Fo-co-nye in France; P. Stoquell, K. Em-mott in Ve-li-co-bri-ta-nii; R. Zur in Iz- rai-le, etc.), considers literature as one of the forms of mental activity and inter-pre-ti-ruyu- shche-go artistic image (me-ta-fo-ry, etc.) as a way of understanding the world.

Re-ak-ci-her on me-to-dy new criticism, track-to-vav-shei literary pro-from-ve-de-nie as a lock-well-ty, iso-li- ro-van-ny from re-al-no-sti "or-ga-nizm", which emerged in the 1980s. in the English-American Literary "New History" (S. Greenb-latte, L.A. Mon-Rose): he saw in literature one of the many socio-cultural round-the-clock practitioners, who are in the state of intercourse-mo-ob-me-na, -gias ". Among the most influential right-wingers in literary criticism at the end of the 20th century is multi-culture-tu-ra-lism, which is from-ka-zy-va-e - from the idea of ​​pro-of-ve-de-niy ("she-dev-ditch") and, by-flocking to the tour-no-go pro-country-st-va, pe-re-smat-ri-va-et is-to-riu national li-te-ra-tour (E. Sa-id, R. Brom-li in USA; L. Hat-chen in Ca-na-de, etc.).

Modern Literary Criticism, the main focus is on the achievable structured approach, the direction mit-sya consider-see-ri-vat your ma-te-ri-al in a wide-ro-com cultural-tur-is-is-to-ric context and with em me-to-dov of adjacent gu-ma-ni-tar-tary dis-qi-p-lin. On the one hand, it breaks the boundaries of "hu-do-same-st-ven-noy literature", attracting everything to ana-li-zu more wide-ro-cue circle ma-te-ria-lov and urav-no-vaya tek-sts hu-do-same-st-ven-nye and not-hu-do-same-st-ven-nye (for example, in "new is-to-riz-me"); with the other - it itself strives to come closer to literature, in this plan, not so much destroying the boundaries between uch-no-stu "and" hu-do-same-st-ven-no-stu ".

The is-to-kov of Literary Criticism in Russia - in ethics and ri-to-ri-ka XVII - early XVIII centuries (Metropolitan Ma-ka-riya, Feo-fa-na Pro-ko-po-vi-cha, etc.), Sty-ho-Vedic tracts of V.K. Tre-dia-kov-sko, phylo-logical works by M.V. Lo-mo-no-so-va, after the 1770-1790-ies according to the theory of ezia (A.D. Bai-bako-va, 1774) and pro-zy (I.S. Rizh-sko, V.S. Pod-shi-va-lo-va, both 1796). The first is-to-ri-ko-literary experiences but-si-whether com-men-ta-tor-sky ha-rak-ter: so-ko-you remarks A. D . Kan-te-mi-ra to you-full-n-n-n-n-n-pe-re-in-da-da collection-ni-ka ana-k-re-on-ti-ki (1736, published 1867) and by-sla -niy Go-ra-tion (1744); notes A.P. Su-ma-ro-ko-va to "Epi-sto-le o sti-ho-creat-st-ve" (1747), in some pro-com-men-ti-ro-va-ny all met in the text of the name pi-sa-te-lei, etc. The first major historical work -ry-che-sko-word about Russian pi-sa-te-lyah "N.I. No-vi-co-va (1772).

In the first ten-tenths-years of the XIX century, na-chi-na-et-sya departure of theo-re-ti-ko-li-te-ra-round-noy cape-li from a hundred- a swarm of ri-to-ric-che-tradition [her pri-ver-females-ts-mi was-ta-wa-were AS. Ni-Kol-sky ("Os-no-va-nia of the Russian layer-weight-ness", part 1-2, 1807), I.S. Riga ("Science of sti-kho-creative-st-va", 1811), N.F. Os-to-lo-pov ("Slovo-varied ancient and new in ezia", ​​part 1-3, 1821), as well as I. M. Born, A. F. Merz-la- kov, N.F. ti-ki: co-chi-ne-niya N.I. Yaz-wit-ko-go, P.E. Ge-or-gi-ev-sko, A.I. Ga-li-cha ("The experience of the science of graceful", 1825). A large-scale sti-ho-vedic tract of this time - "Experience about the Russian style-ho-word" A.Kh. Vos-to-ko-va (1812).

The impulse of the is-to-ri-ko-literary research-to-va-ni-yam was published-whether-ko-va-ni-em in 1800 “Words about the pol-ku Igo-re- ve ". In 1801-1802, the first (and only-st-ven-naya) part of "Pan-te-o-na Russian av-to-ditch" was published - so-b-ra- of gra-vi-ro-van-s port-re-tov with text-s, so-chi-nen-ny-mi N.M. Ka-ram-zin. Na-chi-na-et-sya active co-bi-ra-tion and study of the pro-from-ve-de-nii of ancient Russian literature. One of the first general courses on the history of Russian literature was "Krat-ko-ru-ko-vodstvo to the Russian-si-slovo-ves-no-sti" M. Bor-na (1808). Appeared "Slo-varied is-to-richesky about those who were in Russia pi-sa-te-lyah du-hov-no-go chi-na gre-co-rus-si-skoy church-vi "(part 1-2, 1818) and" Slovo-varied Russian secular pi-sa-te-lei, co-father-che-st-ven-nikov and chu-same-countries -tsev, pi-sav-shikh in Russia "(fully published in 1845) of Metropolitan Ev-genius (Bol-ho-vi-ti-no-va)," Experience of short coy history of Russian ly-te-ra-tu-ry "N.I. Gre-cha (1822), "Is-to-riya of the ancient Russian word-weight-no-sti" by M. A. Mak-si-mo-vi-cha (1839), "Experience of the is-to- rii of the Russian literary-te-ra-tu-ry "A.V. Ni-ki-ten-ko (1845), "Is-to-riya of the Russian layer-weight-no-sti, pre-imu-shchest-vene-no ancient" by S.P. She-vy-ryo-va (1846).

In the 1820-1840s, separate theo-rhe-tic and is-to-ri-co-literary problems (the main principles of the new literary directions - ro-man-tiz-ma, na-tu-ral-noy school, real-liz-ma) ra-ra-ba-you-wa-were mainly in the journalistic criticism (articles by P.A.Vya-zem-sko, A.A. second, V.G.Belinsky) and only occasionally - in the form of a scientific tract-ta-ta ("About the ro-man-ti-che ezii "OM So-mo-va, 1823; man-ti-che-skoy "NI Na-de-zh-di-na, 1830).

In the second half of the 19th century, in Russian Literary Criticism, there are three large-scale directions: mi-folo-gi-che-la school (F.I.Bus-la- Ev, O.F. Miller, A.A. Slavs' views on nature ", volumes 1-3, 1865-1869, as well as AA Po-teb-nya, who developed the theory of Bus- lae-va in his-their research-to-va-ni-yakh of thought, language and folk my-phology as inter-related nen-tov and the way-sob-st-in-vav-shy form-mi-ro-va-niyu psi-ho-logical direction in Literary Criticism), comparing-ni-tel-no- is-to-r-che-li-te-ra-tu-ro-ve-de-niye (Alek-sandr N. Ve-selov-skiy, developed-bo-tav-shy general the theory of development in ezia and for-lo-living os-but-you is-to-r-che-in-eth-ki), cultural-but-is-to- richesky school (A.N. Py-pin, creator of the fundamental "History of the Russian literature", volumes 1-4, 1898-99; N.S. Ti-ho-nra-vov, N.I.Sto-ro-zhen-ko, S.A.

A significant role in the development of literary theory and the development of is-to-ri-co-literary problems in this period of the rt literary criticism (N.G. Chern-shev-skiy, N.A. Dob-ro-lyubov, D.I. Nin, P.V. An-nen-kov, V.P. Bot-kin, A.A.Gri-gor-ev, N.N. Strakhov, and others).

On the ru-be-same XIX-XX centuries in the works of A.A. Shah-ma-to-va and V.N. Pe-re-ttsa folds-dy-va-Xia scientific tek-story-logic. Raz-vi-va-et-Xia psi-ho-lo-gi-che-school-la (D.N. - on-right-len-che-literary criticism (is-to-ri-co-literary works V.S.So-lov-yo-va, V.V. Ro-za-no-va, D.S.Me-rezh-kov-go, K.N.Le-on-t-e-va, I.F.An-nen-sko). At the beginning of the 20th century, the form-mi-ru-yut-sya new n-r-le-niya in Russian Literary Criticism. A huge influence on the domestic and foreign philosophy of the 20th century of the oka-za-la for-mal-naya school (Yu.N. Ty-nyanov , V. B. Shklovsky, B. M. Ey-hen-ba-um, R.O. certain positions of A.A. By-you-no and Alek-san-Dr. N. Ve-selov-sko, as well as the style-ho-vedic views of A. Be-lo. In the 1920s, the development of the psi-ho-ana-lytic literary criticism (I.D. Er-makov); the socio-logistic method in Literary Criticism is presented by P.N. Sa-ku-li-na, V.M. Fri-che, V.F. Pe-re-ver-ze-va.

In the 1920s-1950s, significant works were created on the theory of the ethical word re-niy "V.M. Zhir-mun-sko-go, 1921;" Pro-ble-ma sti-ho-creative-no-go language "Yu.N. Ty-nya-no-va, 1924 ; "The theory of li-te-ra-tu-ry. Po-eth-ka" by B.V. bo-you V.V. Vi-no-gra-do-va). Ty-in-the-logic of the ro-man-no-pro-za-ical word of the ra-ba-you-va-li B.A. Grif-tsov ("Theo-riya ro-ma-na", 1927) and M.M. Bakh-tin ("Pro-ble-we of the creativity of Dos-to-ev-sko", 1929, etc.); an analytic approach to the study of pro-of-ve-de-niyas as ideological ... Skaf-you-mov (works about L.N. Tolstoy, F.M.Dos-to-ev-skom, A.P. Che-ho-ve). Mi-pho-logical is-to-ki of the literary syu-that and the genre of you-revealed-la O.M. Frei den berg. Struct-tu-ra and ge-ne-zis in-do-ev-ro-pei-fairy tale of is-sled-do-va-ny in V.Ya. Prop-pa. Take in literary criticism "exact me-to-dov", based on ko-li-che-st-ven-ana-li-ze, za-ni-mal-sya B.I. Yar-ho. In-ten-siv-no development-wi-va-los push-ki-no-ve-de-nie (M.P. Alek-se-ev, D.D.Blagoy, S.M. Bon- Di, B.S.Mey-lakh, B.V. To-mashev -sky, M.A. fundamental works on the history of ancient Russian literature created by V.P. Ad-ria-no-voy-Perets, N.K. Good-ze-em. Significant contribution to the study of Russian Literature XVIII century was introduced by G.A. Gu-kov-sky; in the study of foreign-bezh-nyh and vos-exact-li-te-ra-round - E.E. Bertels, B. Ya. Vla-di-mir-tsov, A.K. Dzhi-ve-le-gov, V.F. Shish-ma-roar; in-pro-s sti-ho-ve-de-niya de-ra-ba-you-val A.P. Kvyatkovsky.

In Literary Criticism of the 2nd half of the 20th century, you de-la-yut-sya works about Russian literature of the Middle Ages and the Peter's era (D.S.Li-ha-chev, A A. Mo-rozov, A. M. Pan-chen-ko); history of the European litas-te-ra-round (L.G. An-d-re-ev, N.Ya.Berkovsky, Yu.B. Vip-per, I.N. Go-le-ni-shchev-Ku-tu-zov, A.V. Ka -rel -sky, A.V. Mi-khai-lov, D.D. ), work in the area of ​​sti-ho-ve-de-nia (M.L. Gas-para-rov, V.E. Khol-shev-nikov). In the USSR, a structured approach to literature has been developed since the early 1960s within the framework of se-myo-ti-ki. Os-no-va-te-la-mi of the domestic structure-tur-no-se-myo-tic school -or scientists from the university-vers-si-te-that city of Tartu (Es-to-nia) and from Moscow-sk-you: Yu.M. Lot-man, V.N. To-po-ditch, B.A. Us-penskiy and others logical cycles (E.M. Me-le-tinsky), antich-noy, Wi-zan-tian and medieval lit-te-ra-round (S.S. Averin -cev, M.L. Gas-para-rov, M.I.Steb-lin-Kamensky, A.A.Ta-ho-Go-di, V.N. XIX century (S.G. Bo-cha-rov, V.E. Vatsu-ro, L.Ya. Ginz-burg, V.V. Kozhinov, Yu.V. Mann, A.P. . Chu-da-cov) and modern period-da (M.O. Chu-da-co-va). The great influence on the domestic and foreign literary criticism of the eye of the concept of M.M. Bakh-ti-na, who began to actively enter the scientific obi-course in the last third of the XX century: the theory of ro-ma-na, ra-bo-tan-naya on the big is-to-ri-co-literary ma-te-ria-le; ideas about the meaning of car-na-val-no-go-sm-ha in literature, about two types of artistic thinking - dia-logical and mo- no-lo-gi-che-skom, etc. In the study of li-te-ra-round Vos-so-ka great contribution was made by V.М. Alek-se-ev, I. Yu. Krachkovsky, N.I. Kon-rad, I.S. Braginsky, P.A. Green-tser, B.L. Rif-tin, L.Z. Eid-ling.

Literary theory studies the general laws of the literary process, literature as a form of social consciousness, literary works as a whole, the specifics of the relationship between the author, the work and the reader. Develops general concepts and terms.

Literary theory interacts with other literary disciplines, as well as history, philosophy, aesthetics, sociology, linguistics.

Poetics - studies the composition and structure of a literary work.

The theory of the literary process - studies the patterns of development of genres and genres.

Literary aesthetics - studies literature as an art form.

Literary history studies the development of literature. Divided by time, by directions, by place.

Literary criticism evaluates and analyzes literary works... Critics evaluate the work from the point of view aesthetic value.

From the point of view of sociology, the structure of society is always reflected in the works, especially the ancient ones, so she also studies literature.

Auxiliary literary disciplines:

a) textual criticism - studies the text as such: manuscripts, editions, editions, time of writing, author, place, translation and comments

b) paleography - the study of ancient carriers of the text, only manuscripts

c) bibliography - auxiliary discipline any science, scientific literature on a particular subject

d) library science - the science of funds, repositories, not only artistic, but also scientific literature, consolidated catalogs.

Literature is now viewed as the above system, where everything is interconnected. The author always writes for the reader. There are different types of readers, as Chernyshevsky talks about. An example is Mayakovsky, who, through his contemporaries, addressed his descendants. The literary critic also addresses the personality of the author, his opinion, and biography. He is also interested in the reader's opinion.

Art and its types

Art is the main type of spiritual activity of people, serving to satisfy the aesthetic feelings of a person, his need for beauty.

An art form is a form of mastering the world according to the laws of beauty, when an artistic image is created, filled with a certain ideological and aesthetic content.

Functions of art:

Aesthetic - the ability to shape artistic tastes, moral values, awakens creative personality traits.

Educational - upbringing of the personality, impact on morality and worldview of a person.

Informational - carries certain information.

Cognitive - knowledge of the world with special depth and expressiveness.

Communicative - artistic communication between the author and the recipient; familiarization with that time and place.

Ethnogenetic - preservation of memory, embodies the image of the people.

Hedonistic - giving pleasure.

Transforming - stimulates the activity of the individual.

Compensatory - empathy for the hero.

Anticipations - the writer is ahead of his time.

Types of art: theater, music, painting, graphics, sculpture, literature, architecture, decor, cinema, photography, circus. About 400 types of activities.

The synthetic nature of art is the ability to holistically reflect life in the interconnection of all its aspects.

The ancients identified five types of arts, the classification is based on the material carrier. Music - the art of sounds, painting - paints, sculpture - stone, architecture - plastic forms, literature - the word.

However, already Lesin, in his article "Laocoon or the Borders of Painting", issued the first scientific classification: the division into spatial and temporal arts.

From Lesin's point of view, literature is a temporary art.

Expressive and visual arts (sign principle) are also singled out. Expressive expresses emotions, conveys mood, pictorial - embodies an idea.

Expressive art is music, architecture, abstract painting, lyrics.

Fine - painting, sculpture, drama and epic.

According to this classification, literature is an expressive and expressive art.

8. The origin of art. Totemism, magic, their connection with folklore and literature. Syncretism.

The word "art" is ambiguous; in this case, it refers to the actual artistic activity and what is its result (work). Art as artistic creation was delimited from art in a broader sense (as skills, crafts). So, Hegel noted the fundamental difference between "skillfully made things" and "works of art."

Syncretism - an indivisible unity of different types of creativity - existed at an early stage of human development. This is due to the ideas of primitive people about the world, with anthropomorphism in the mind natural phenomena- animating the forces of nature, likening them to man. This was expressed in primitive magic - the idea of ​​ways of influencing nature, so that it would be conducive to human life, his actions. One of the manifestations of magic is totemism - a complex of beliefs and rituals associated with ideas about the relationship between genera and certain species of animals and plants. Primitive people painted animals on the walls of caves, made them their protectors, and in order to appease them, they danced and sang to the sounds of the first musical instruments... This is how painting and sculpture, pantomime and music were born.

Folklore is an oral form of being an artistic word.

Gradually, the rituals became more diverse, people began to perform ritual actions not only in front of their totems, but also when they were going to hunt, before the arrival of spring. Not only ritual songs, but also ordinary lyric songs, as well as other genres - fairy tales, legends, appeared. This is how folklore began to develop - oral folk art.

The main features that distinguish folklore from fiction are: being orally, anonymity, variance, brevity.

9. Fiction as an art form. Subject and object of literary creativity.

The ancients identified five types of arts, the classification is based on the material carrier. Music - the art of sounds, painting - paints, sculpture - stone, architecture - plastic forms, literature - the word.

However, already Lesin, in his article "Laocoon or the Borders of Painting", issued the first scientific classification: the division into spatial and temporal arts.

From Lesin's point of view, literature is a temporary art.

Expressive and visual arts (sign principle) are also singled out. Expressive expresses emotions, conveys mood, pictorial - embodies an idea.

- Expressive art is music, architecture, abstract painting, lyrics.

- Fine - painting, sculpture, drama and epic.

According to this classification, literature is an expressive art.

Literature is the art of the word, which differs from other arts in its material.

The word in some way limits our perception, but painting, sculpture, music are universal. On the one hand, this is a lack of literature, but on the other hand, it is its merit. the word can convey both layer., and sound., and dynamic. image. A word can be used to describe both a portrait and a landscape (descriptive function).

The word can convey the sounding music, it can convey only the general impression of the music.

A word in literature can also convey dynamics, recreate some kind of dynamic series. Then the word appears in the narrative function.

The word is the most important element in the construction of an artistic image in literature, a complete semantic unit.

It is associated with the satisfaction of the aesthetic needs of a person, with his desire to create beauty, to enjoy it. These tasks are served by art, presented in various forms.

Fiction is divided into: 1. By content: historical, detective, humorous, journalistic, satirical. 2. By age categories: for preschoolers, junior schoolchildren, students, adults. 3. By implementation in specific forms: poetry, prose, drama, criticism, journalism.

The object of fiction is the whole world.

The subject of fiction is a person.

Literature and Society. Citizenship, nationality of literature.

As an integral part of the national culture, literature is the bearer of the traits that characterize the nation, the expression of common national properties.

Literature is the art of words, therefore, the peculiarities of the national language in which it is written are the direct expression of its national identity.

In the early stages of the development of society, certain natural conditions give rise to common tasks in the struggle between man and nature, a commonality of labor processes and skills, customs, everyday life, and world outlook. Impressions from the surrounding nature affect the properties of the story, the characteristics of metaphors, similes and other artistic means.

As a nation is formed from a nationality, national identity is manifested in the peculiarities of social life. The development of a class society, the transition from a slave system to a feudal one and from a feudal to a bourgeois one, takes place among different peoples at different times, in different conditions. The external and internal political activity of the state develops in different ways, which influences the emergence of certain moral norms, the formation of ideological ideas and traditions. All this leads to the emergence of a national characteristic of the life of society. People from childhood are brought up under the influence of a complex system of relationships and representations of the national society, and this leaves an imprint on their behavior. This is how the characters of people of different nations - national characters - are formed historically.

Literature has an important place in revealing the peculiarities of the national character. Fiction shows the diversity of national types, and their concrete class nature, and their historical development.

The characters of people in their national characteristics are not only the object of artistic knowledge, but are also portrayed from the point of view of a writer who also carries the spirit of his people, his nation.

The first profound spokesman for the national Russian character in literature is Pushkin. In it, Russian nature, Russian soul, Russian language, Russian character are reflected in the same purity, in such refined beauty, in which the landscape is reflected on the convex surface of optical glass.

Truly folk literature expresses the most fully national interests, therefore it also possesses a pronounced national identity. It is the creativity of such artists as Pushkin, Gogol, Dostoevsky, L. Tolstoy, Chekhov, Gorky, Sholokhov, Tvardovsky that determines our idea of ​​the nationality of art and its national identity.

Rhyme, its functions.

Rhyme is a repetition of more or less similar combinations of sounds connecting the endings of two or more lines or symmetrically located parts of poetic lines. In Russian classical versification, the main feature of rhyme is the coincidence of stressed vowels. The rhyme marks the end of the verse (clause) with a sound repetition, emphasizing the interlinear pause, and thus the rhythm of the verse.

Depending on the location of the stress in the rhyming words, the rhyme can be: masculine, feminine, dactylic, hyperdactylic, accurate and imprecise.

• Masculine - rhyme with an accent on the last syllable in a line.
• Feminine - with stress on the penultimate syllable in the line.
• Dactylic - with an emphasis on the third syllable from the end of the line, which repeats the dactyl scheme - -_ _ (stressed, unstressed, unstressed), which, in fact, is the name of this rhyme.
• Hyperdactylic - with stress on the fourth and subsequent syllables from the end of the line. This rhyme is very rare in practice. It appeared in the works of oral folklore, where the size as such is not always visible. The fourth syllable from the end of the verse is not a joke!

Main functions: verse-forming, phonic, semantic.

Classification of rhymes.

There are several important reasons for the classification of rhymes. First, the characteristics of clauses are transferred to rhymes: according to the syllable volume, rhymes can be masculine (last syllable), feminine (penultimate syllable), dactylic (third from the end), hyperdactylic (fourth from the end). In this case, rhymes ending in a vowel sound are called open (for example: spring - red), in a consonant - closed (hell - garden), on the sound "y" - iotated, or softened (spring - forest).

Second, rhymes vary in the degree of accuracy. In verses designed for auditory perception (and this is precisely the poetry of the 19th – 20th centuries), the exact rhyme presupposes the coincidence of sounds (not letters!), Starting from the last stressed vowel to the end of the verse: intolerable - hay; cold - hammer (the consonant "d" at the end of the word is stunned); fear - in horses (the letter "I" indicates the softness of the consonant "d"); glad - it is necessary (the percussive "a" and "o" are reduced, they sound the same), etc. In the poetry of the XIX century. precise rhymes prevail. Inaccurate rhymes have greatly supplanted the accurate in many poets of the twentieth century, especially those who write in accent verse.

The third criterion is wealth / poverty of consonances. A rhyme is considered rich if the supporting consonant is repeated in the clauses, i.e. consonant preceding the last stressed vowel: foreign land - mountain ash; grapes are glad. An exception is the masculine open rhyme (mountain - hole), since "in order for the rhyme to feel sufficient, at least two sounds must coincide." Therefore, the rhyme: mountain - hole should be considered sufficient. In other cases, the coincidence in the lines of the supporting consonant, and even more so the sounds preceding it, "increases the sonority of the rhyme, enriches it<...>feels like an "unexpected gift".

By place in the verse:

End

Initial

Internal

By the location of the rhyme chains (types of rhymes):

· Adjacent - rhyming of adjacent verses: the first with the second, the third with the fourth (aabb) (the same letters denote the endings of the verses rhyming with each other).

Cross - rhyme of the first verse with the third, the second - with the fourth (abab)

Ring (belted, circumferential) - the first verse - with the fourth, and the second - with the third. (Abba)

Finally, intertwined rhyme has many patterns. This is a common name for complex types of rhyme, for example: abwabw, abwvba, etc.

Solid forms of verse.

SOLID forms are poetic forms that determine in advance the volume, meter, rhyme, stanza of a whole small poem (and partly the figurative structure, composition, etc.). In European poetry from the 13th to 15th centuries. mostly used are solid forms of French and Italian origin (sonnet, triolet, rondo, rondel, sextina), from the 19th century. also the eastern (gazelle, ruby, tanka).

Tercet - in versification, a stanza of 3 verses (lines). It can have 2 types: all 3 verses for one rhyme or 2 verses rhyme, the 3rd without rhyme. Has not received distribution. In the narrow sense of the word, tercet refers to the three-line parts of a sonnet.

Quatrain is a quatrain, a separate stanza of four lines. Quatrain rhyme system: abab (cross rhyme), aabb (paired), abba (encircling). Quatrain is used for inscriptions, epitaphs, epigrams, sayings. Quatrain also refers to the four-line stanzas of the sonnet.

Sonnet is a solid poetic form: a poem of 14 lines, divided into 2 quatrains (quatrain) and 2 three verses (tercets); in quatrains only 2 rhymes are repeated, in tercets - 2 or 3.

Some “rules” for the content of a sonnet were recommended, but did not become universal: stanzas should end with dots, words should not be repeated, the last word should be “key”, 4 stanzas are related as a thesis - development - antithesis - synthesis or as a tie-in - development - culmination - denouement. The most vivid, imaginative thought should be enclosed in the last two lines, the so-called sonnet castle.

Rondel is a solid poetic form (translated from French - a circle). Rondel appeared in the XIV-XV centuries in France. The rondel scheme can be represented as: ABba + abAB + abbaA, in which identical lines are designated in capital letters. Less common is a double rondel of 16 verses with the rhyme ABBA + abAB + abba + ABBA.

Rondo is a solid poetic form; evolved from a rondel in the 14th century by reducing the chorus to a semi-verse. It flourished in the 16th-17th centuries. Its scheme is: aavva + avvR + aavvaR, in which the capital letter P is a non-rhyming refrain repeating the initial words of the first line.

Triolet is a solid poetic form; a poem consisting of 8 lines for two rhymes. The first, fourth and seventh lines are identical (from the triple repetition of the first verse this name came about) The second and eighth are the same. Triolet scheme: ABaAavAB, in which repeated lines are indicated in capital letters. After the second and fourth verses, as a rule, there was a canonical pause (pointe). The verse is almost always tetrameter - trochee or iambic.

Sextina is a solid poetic form that developed from the canzona, gained popularity thanks to Dante and Petrarch. The classical sextine consists of 6 stanzas of six verses each, usually non-rhymed (in the Russian tradition, sextine is usually written in rhymed verse). Words ending lines in the first stanza also end lines in all the following stanzas, with each new stanza repeating the ending words of the previous stanza in the sequence: 6 - 1 - 5 - 2 - 4 - 3.

Octave - in versification, stanza of 8 verses with rhyme abababcc. It developed in Italian poetry in the 14th century and became a traditional stanza of the poetic epic of the Italian and Spanish Renaissance.

Tertsins - (Italian terzina, from terza rima - the third rhyme), the form of chain stanzas: a series of three verses linked by rhyming according to the scheme aba, bcb, cdc, ded ... yzy z. Thus, terzines provide a continuous rhyme chain of arbitrary length, convenient for large-scale works.

Haiku (hokku) is a three-line (three-line) lyric, usually a poem, which is the national Japanese form. Hokku usually depicts nature and man in their eternal inseparability. In each Hokku, a certain measure of verses is observed - in the first and third verses there are five syllables, in the second verse - seven, and in total there are 17 syllables in the Hokku.

Rubai - (Arabic, literally fourfold), in the poetry of the peoples of the East, an aphoristic quatrain with rhymes aaba, aaaa.

Genera, types, genres.

The genus of literature are large associations of literary and literary works according to the type of attitude of the speaker ("the carrier of speech") to the artistic whole. Three kinds are distinguished: drama, epic, lyric poetry.

DRAMA is one of the four kinds of literature. In the narrow sense of the word - a genre of a work depicting a conflict between characters, in a broad sense - all works without the author's speech. Types (genres) of dramatic works: tragedy, drama, comedy, vaudeville.

LYRICS is one of the four kinds of literature that reflects life through the personal experiences of a person, his feelings and thoughts. Types of lyrics: song, elegy, ode, thought, message, madrigal, stanzas, eclogue, epigram, epitaph.

LYROEPICS is one of the four types of literature, in the works of which the reader observes and evaluates the artistic world from the outside as a plot narration, but at the same time the events and characters receive a certain emotional assessment of the narrator.

EPOS is one of the four types of literature that reflects life through a story about a person and the events taking place with him. Main types (genres) epic literature: epic, novel, story, story, short story, fictional sketch.

TYPES (GENRE) OF EPIC WORKS:

(epic, novel, story, story, fairy tale, fable, legend.)

EPOPEIA is a major work of fiction that tells about significant historical events. In ancient times - a narrative poem of heroic content.

ROMAN is a large narrative work of fiction with a complex plot, in the center of which is the fate of an individual.

THE STORY is a work of fiction that occupies a middle position between the novel and the story in terms of the volume and complexity of the plot. In ancient times, any narrative work was called a story.

STORY is a small-scale work of fiction, based on an episode, an incident from the hero's life.

A FAIRY TALE is a work about fictional events and characters, usually with the participation of magical, fantastic forces.

BASNYA (from "bayat" - to tell) is a narrative work in poetic form, small in size, moralizing or satirical in nature.

TYPES (GENRE) OF LYRIC WORKS:

(ode, hymn, song, elegy, sonnet, epigram, message)

ODE (from the Greek "song") - a choral, solemn song.

ANTHEM (from the Greek "praise") - a solemn song on poems of a program nature.

EPIGRAM (from the Greek "inscription") - a short satirical poem of a mocking character, which arose in the 3rd century BC. NS.

ELEGY is a genre of lyrics dedicated to sad thoughts or a lyric poem imbued with sadness.

MESSAGE - a poetic letter, an appeal to a specific person, a request, a wish, a recognition.

SONNET (from the Provencal sonette - "song") is a 14-line poem with a certain rhyming system and strict stylistic laws.

Epic as a literary genus.

Epic - (gr. Story, narration) - one of three types of literature, a narrative genus. Genre varieties of the epic: fairy tale, short story, novella, story, essay, novel, etc. The epos as a kind of literature reproduces objective reality external to the author in its objective essence. The epic uses a variety of ways of presentation - narration, description, dialogue, monologue, author's digressions. Epic genres are enriched and improved. Methods of composition, means of depicting a person, the circumstances of his life, everyday life are developing, a multilateral image of the picture of the world and society is achieved.

A fictional text is like a kind of fusion of narrative speech and the statements of the characters.

Everything told is given only through the narration. The epic as a literary genus very freely assimilates reality in time and space. He knows no limits in the volume of the text. Epic also includes epic novels.

Epic works include Honoremp de Balzac's novel Father Goriot, Stendhal's novel Red and Black, and Leo Tolstoy's epic novel War and Peace.

Epic - the original form - a heroic poem. It occurs when a patriarchal society breaks down. In Russian literature, there are epics that form into cycles.

The epic reproduces life not as a personal, but as an objective reality - from the outside. The purpose of any epic is to tell about an event. The substantial dominant is the event. Earlier - wars, later - a private event, facts of inner life. The cognitive orientation of the epic is an objective beginning. Reporting events without evaluation. "The Tale of Bygone Years" - all the bloody events are told dispassionately and routinely. Epic distance.

The subject of the depiction in the epic is the world as an objective reality. Human life in its organic connection with the world, fate is also the subject of the image. Bunin's story. Sholokhov "The Fate of a Man". It is important to understand fate through the prism of culture.

Forms of verbal expression in the epic (type of speech organization) - narration. Functions of the word - the word depicts the objective world. Storytelling is a way / type of statement. Description in the epic. Speech of heroes, characters. The narration is the speech of the author's image. The speech of the heroes is polylogues, monologues, dialogues. In romantic works, the confession of the protagonist is required. Internal monologues are a direct inclusion of the words of the characters. Indirect forms - indirect speech, improper direct speech. Is not isolated from the speech of the author.

The important role of the system of reflections in the novel. The hero can be endowed with a quality that the author does not like. Example: Silvio. Favorite heroes of Pushkin are verbose. Very often it is not clear to us how the author relates to the hero.

A) Narrator

1) The character has his own destiny. "The Captain's Daughter", "Belkin's Tale".

2) Conditional narrator, speechless. Very often we are. Speech mask.

3) Tale. Speech flavor - says the society.

1) Objective. "History of the Russian State" Karamzin, "War and Peace".

2) Subjective - focus on the reader, appeal.

A tale is a special speech manner, it reproduces the speech of a person, as if literally not processed. Leskov "Levsha".

Descriptions and lists. Important for the epic. The epic is perhaps the most popular genus.

A novel and an epic.

The novel is a large form of the epic genre of literature, The most common features: the image of a person in complex forms of the life process, the multilinearity of the plot, covering the fate of a number of characters, polyphony, mainly a prose genre. Initially, in medieval Europe, the term meant narrative literature in Romance languages ​​(lat.); Retrospectively, some works of antique literature were also called this way.

In the history of the European novel, a number of historically formed types can be distinguished, successively replacing each other.

ROMAN (French roman), a literary genre, an epic work of a large form, in which the narrative is focused on the fate of an individual in his relation to the world around him, on the formation, development of his character and self-consciousness. The novel is an epic of modern times; in contrast to the folk epic, where the individual and people's soul inseparable, in the novel the life of the individual and social life appear as relatively independent; but the “private,” inner life of the individual is revealed in him “epic,” that is, with the revelation of its generally significant and social meaning. A typical novel situation is a clash in the hero of moral and human (personal) with natural and social necessity. Since the novel develops in modern times, where the nature of the relationship between a person and society is constantly changing, its form is essentially "open": the basic situation is each time filled with concrete historical content and is embodied in various genre modifications. Historically, the first form is considered a roguish romance. In the 18th century. two main varieties develop: the social novel (G. Fielding, T. Smollett) and the psychological novel (S. Richardson, J. J. Rousseau, L. Stern, I. V. Goethe). Romantics create historical novel(W. Scott). In the 1830s. begins the classical era of the socio-psychological novel of critical realism of the 19th century. (Stendhal, O. Balzac, C. Dickens, W. Thackeray, G. Flaubert, L. N. Tolstoy, F. M. Dostoevsky).

The epic is one of the oldest epic genres. An epic appeared in Greece. From the Greek, the epic is translated as I create, or created. Greek epics, like most of Greek literature were based on the ancient Greek mythology... The most outstanding epics from Greek literature are Homer's Odyssey and Hellas. The events of both of these works are so closely intertwined with myths (and many events that take place in them are simply a continuation) that the plot is complex and confusing. In general, thanks to the themes of Greek epics, it is generally accepted in literary criticism that the theme of an epic should be:

The basis is the celebration of a certain event

Military, conquest campaigns

The interests of the people, the nation (meaning that the epic cannot but capture the problems and issues that are not of interest to the bulk of the population).

In part, this is so due to the fact that, despite the presence of slavery in Greece, this social system was overcome by the Greeks and by common efforts, they came to feudal democracy. The main meaning of the Greek epics was that the opinion of the people (the majority) always triumphs over the opinion of the minority. So, judge for yourself what was missing in Greek prose was individualism. Maybe you remember the lively dialogue between Tristan and Odysseus himself? Tristan seems to be right, but he is in the minority, and therefore Odysseus wins.

Traditionally, the epic was written in verse, however, modern stylizations like epics are more and more often found in prose. In the era of classicism, the epic regains popularity, take, for example, Virgil and his "Aeneid". For the Slavs, this work is especially remarkable, since it was on their lands that many parodies of this classicist epic went.

Lyroepic works.

The lyric-epic genus of literature is works of art in poetic form, which combine epic and lyrical depictions of life.

In the works of the lyric-epic kind, life is reflected, on the one hand, in a poetic narration about the actions and experiences of a person or people, about the events in which they take part; on the other hand, in the experiences of the poet-narrator, caused by the pictures of life, the behavior of the characters in his poetic story. These experiences of the poet-narrator are usually expressed in works of the lyric-epic kind in the so-called lyrical digressions, sometimes not directly related to the course of events in the work; lyrical digressions are one of the types of the author's speech.

Such, for example, are the well-known lyrical digressions in the poetic novel by Alexander Pushkin "Eugene Onegin", in his poems; such are the chapters "From the Author", "About Me" and lyrical digressions in other chapters of the poem in AT Tvardovsky's poem "Vasily Tyorkin".

LYROEPIC TYPES (GENRE): poem, ballad.

POEMA (from the Greek poieio - "I do, I create") is a large poetic work with a narrative or lyrical plot, usually on a historical or legendary theme.

BALLADA - a plot song of dramatic content, a story in verse.

TYPES (GENRE) OF DRAMATIC WORKS:

tragedy, comedy, drama (in the narrow sense).

TRAGEDY (from the Greek tragos ode - "goat song") - a dramatic work depicting a tense struggle strong characters and passions, which usually ends with the death of the hero.

COMEDY (from the Greek komos ode - "funny song") is a dramatic work with a funny, funny plot, usually ridiculing social or everyday vices.

DRAMA ("action") is a literary work in the form of a dialogue with a serious plot, depicting a person in his dramatic relationship with society. The varieties of drama can be tragicomedy or melodrama.

VODEVIL is a genre kind of comedy, it is a light comedy with singing couplets and dancing.

Literary criticism.

Literary criticism - (Judgment, the art of understanding, judging) is one of the constituent parts of literary criticism. Closely connected with the history and theory of literature, predominantly engaged in defining the nature of verbal creativity, establishing the basic laws of aesthetic assimilation of reality, analyzing the classical literary heritage. Literary criticism primarily evaluates contemporary literary development, interprets works of art from the point of view of modernity.

Determining the ideological and aesthetic quality of the current book and magazine literary and artistic production, literary criticism proceeds, first of all, from the tasks facing society at this stage of its development.

A work of art that does not expand the reader's spiritual horizons, does not give a person aesthetic pleasure, that is, is emotionally poor and therefore does not affect the aesthetic feeling - such a work cannot be recognized as truly artistic.

The history of literary criticism is rooted in the distant past: critical judgments about literature were born simultaneously with the appearance of works of art. The first readers from among the thinking, wise with life experience and endowed with aesthetic flair were, in essence, the first literary critics. Already in the era of antiquity, literary criticism was formed as a relatively independent branch of creativity.

Criticism points out to the writer the merits and failures of his work, contributing to the expansion of his ideological horizons and the improvement of skill; addressing the reader, the critic not only explains the work to him, but involves him in a living process of joint comprehension of what he has read at a new level of understanding. An important advantage of criticism is the ability to view a work as an artistic whole and be aware of it in general process literary development.

Various genres are cultivated in modern literary criticism - article, review, review, essay, literary portrait, polemical remark, bibliographic note. But in any case, the critic, in a certain sense, must combine a politician, sociologist, psychologist with a literary historian and an esthetician. At the same time, a critic needs a talent akin to the talent of both an artist and a scientist, although not at all identical with them.

The structure of literary criticism. The main branches of the science of literature.

Literary theory studies the general laws of the literary process, literature as a form

Literary criticism as a science emerged in the early 19th century. Of course, literary works have existed since antiquity. Aristotle was the first who tried to systematize them in his book, the first gave the theory of genres and the theory of the genres of literature (epic, drama, lyrics). He also owns the theory of catharsis and mimesis. Plato created an article about ideas (idea → material world → art).

In the 17th century, N. Boileau created his treatise "Poetic Art", based on an earlier creation of Horace. Knowledge about literature is isolated in it, but this was not yet a science.

In the 18th century, German scientists tried to create educational treatises (Lessing "Laocoon. On the boundaries of painting and poetry", Gerber "Critical forests").

At the beginning of the 19th century, the era of the domination of romanticism began in ideology, philosophy, and art. At this time, the brothers Grimm created their theory.

Literature is an art form, it creates aesthetic values, and therefore is studied from the point of view of different sciences.

Literary criticism studies the fiction of various peoples of the world in order to understand the features and patterns of its own content and the forms that express them. The subject of literary criticism is not only fiction, but also the entire literary literature of the world - written and oral.

Contemporary literary criticism consists of:

literary theory

literary history

literary criticism

Literary theory studies the general laws of the literary process, literature as a form of social consciousness, literary works as a whole, the specifics of the relationship between the author, the work and the reader. Develops general concepts and terms.

Literary theory interacts with other literary disciplines, as well as history, philosophy, aesthetics, sociology, linguistics.

Poetics - studies the composition and structure of a literary work.

The theory of the literary process - studies the patterns of development of genres and genres.

Literary aesthetics - studies literature as an art form.

Literary history studies the development of literature. Divided by time, by directions, by place.

Literary criticism is concerned with evaluating and analyzing literary works. Critics evaluate the work in terms of aesthetic value.

From the point of view of sociology, the structure of society is always reflected in the works, especially the ancient ones, so she also studies literature.

Auxiliary literary disciplines:

textual criticism - studies the text as such: manuscripts, editions, editions, time of writing, author, place, translation and comments

paleography - the study of ancient text carriers, only manuscripts

bibliography - an auxiliary discipline of any science, scientific literature on a particular subject

librarianship is the science of funds, repositories of not only fiction, but also scientific literature, consolidated catalogs.

2. Poetics - a system of artistic means and techniques used to create the artistic world in a separate work or in the work of a writer. Teaching about the laws and principles of creating a literary work. NS... - “the science of the system of means of expression in lit. works In the extended sense of the word, P. coincides with theory of literature, in the narrowed - with one of the areas of theoretical. P. As an area of ​​the theory of literature, P. studies the specifics of literature. genres and genres, trends and trends, styles and methods, explores the laws of internal communication and the relationship of various levels of art. whole. - the science of art. using language means. Verbal (i.e. linguistic) text of the manuf. is unity. material form of existence of its content. P.'s goal is to highlight and systematize the elements of the text involved in the formation of aesthetics. impressions of the work. Typically, there are differences between the general (theoretical or systematic - "macropoetics"), particular (or actually descriptive - "micropoetics") and historical.

General P. is divided into three areas, studying respectively the sound, verbal and figurative structure of the text; the goal of general P. is to compile a complete systematizer. a repertoire of techniques (aesthetically effective elements) covering all three areas. Private P. deals with the description of lit. manuf. in all listed. above aspects, which allows you to create a "model" - an individual aesthetic system. the effective properties of the work.

I s t o r and h e poetics

If the general descriptive poetics covers a large number of productions

to reveal the fact of the historical changeability of individual properties of literary texts,

the fact of their uneven activity (significance) in certain epochs and the fact

the withering away of some properties and the appearance of others and in this regard to develop additional

additional research methods and additional description categories. By-

ethics focused on the historicity of the properties of literature and on the history of these

properties, history, understood not only as appearance and disappearance, but also

as a transformation of properties - such poetics took shape in European literature

rathurology as a relatively independent variety - as poetics

historical. “Historical poetics studies development as separate

artistic devices (epithets, metaphors, rhymes, etc.) and categories (xy-

divine time, space, main oppositions of signs),

and whole systems of such techniques and categories inherent in one or another epic

Poetics

The earliest type of European poetics, which emerged in ancient times, is of a normative nature. In the history of literary criticism, it is usually defined as "classical poetics" (Aristotle, Horace), and its later variety - as the poetics of classicism (Boileau). Poetics of Aristotle. There are two interesting aspects to note in them. On the one hand, we will talk about the properties and patterns

artistic creation (understood both as a process and as its results - works) in general. This aspect is well known to us as a subject of modern theories of literature and poetics. On the other hand, it is about how to compose an artistic text and how to achieve the desired result. In modern theories of literature and poetics, this aspect is absent. Today's address poetics

Vans are mainly to the reader of literature, not to the writers. They teach to understand and interpret a literary text, but they are not interested in how to compose it. For this very reason, poetics, in which the second of the noted aspects is present - being addressed to the writer, received the definition of normative. Normative poetics were especially widespread in the era of classicism, but they did not always have the form of textbooks (treatises). The normative poet also has one more, less noticeable, property. Often they were used for evaluations and emerging works, and any deviation from their prescriptions was especially condemned.

№3 Literature as an art form, its specificity and functions:

The ancients identified five types of arts, the classification is based on the material carrier. Music - the art of sounds, painting - paints, sculpture - stone, architecture - plastic forms, literature - the word.

However, already in his article "Laocoon or the Borders of Painting", Lesin issued the first scientific classification: the division into spatial and temporal arts.

From Lesin's point of view, literature is a temporary art.

Expressive and visual arts (sign principle) are also singled out. Expressive expresses emotions, conveys mood, pictorial - embodies an idea.

Expressive art is music, architecture, abstract painting, lyrics.

Fine - painting, sculpture, drama and epic.

According to this classification, literature is an expressive art.

After the emergence of complex arts (theater, cinema), which are a symbiosis, syncretic arts, they begin to distinguish simple and complex arts.

Thus, literature is simple.

Classifying arts according to the number of functions (into monofunctional - performing an aesthetic function and bifunctional - performing aesthetic and pragmatic functions), literature is classified as monofunctional.

As a result, literature is a temporary, expressive-pictorial, simple and monofunctional art.

Functions of literature:

Transformative

Educational

Socio-aesthetic (impact on society)

Cognitive

Linguistic.

B.O. classification Corman:

-3 face

-1 person (plural). "We" is a generalized carrier of consciousness. In such texts, form is observation or reflection.

In modern classification, these 2 forms combine and speak of a lyrical narrator.

3. The lyrical hero is the subject of speech through which the author's biographical and emotional-psychological traits are expressed.

The lyrical hero is a monologue form of the author's expression in the text.

4. Role hero - an indirect expression of the author in the text through the socio-cultural type of the past or present. The role-playing hero is a dialogical form.

6. Interpersonal subject - the form realizes different points of view on the world..

5. Artistic time and space. The concept of a chronotope The concept of spatio-temporal organization. Types of artistic time and space. The concept of a chronotope (M.M.Bakhtin). Functions. Types of chronotopes:

The spatio-temporal organization of a literary work is a chronotope.

Under the chronotope M.M. Bakhtin understands "the essential interconnection of temporal and spatial relations."

In literary works, images of time and space are separately distinguished:

Daily

Calendar

Biographical

Historical

Cosmic

Space:

Closed

Open

Remote

Detailed (subject-rich)

Really visible

Submitted

Cosmic

In addition, both time and space distinguish between the concrete and the abstract. If time is abstract, then space is abstract, and vice versa.

According to Bakhtin, the chronotope is, first and foremost, an accessory to the novel. It has a plot meaning. The chronotope is the structural pillar of the genre.

Types of private chronotopes according to Bakhtin:

Chronotope of the road - based on the motive of a chance meeting. The appearance of this motive in the text can cause a tie. Open space.

The chronotope of a private salon is not an accidental meeting. Closed space.

Chronotope of the castle (it is not in Russian literature). Dominance of the historical, ancestral past. Limited space.

The chronotope of the estate (not Bakhtin) is a concentric, unprincipledly enclosed space.

The chronotope of a provincial town is eventless time, a closed space, self-sufficient, living its own life. Time is cyclical, but not sacral.

Chronotype of the threshold (crisis consciousness, fracture). There is no biography as such, only moments.

Large chronotope:

Folkloric (idyllic). Based on the law of inversion.

Modern chronotope trends:

Mythologization and symbolization

Doubling

Accessing the character's memory

Amplification of the installation value

Time itself becomes the hero of the story

Time and space are the integral coordinates of the world.

The chronotope determines the artistic unity of a literary work in its relation to reality

Organizes the space of the work, leads readers into it

Can correlate different space and time

It can build a chain of associations in the mind of the reader and, on this basis, link works with the idea of ​​the world and expand these ideas.

№ 6. Form and content. The problem of F. and S. is among the leading questions in the history of aesthetic doctrines, the struggle between materialism and idealism, the struggle between the realistic and idealist trends in art. The problem of F. and S. is organically linked with the main question of aesthetics - the question of the relationship of artistic creativity, or, more broadly, artistic consciousness, to objective reality.

Aesthetics Hegel, built on the basis of his idealistic dialectics, puts the problem of F. and S. in the focus of his attention. In contrast to Kant's formalism, Hegel teaches about art as a form of content, namely, as one of the forms of manifestation of the absolute spirit (along with religion and philosophy). The content of art, according to Hegel, is inconceivable in isolation from its form, and vice versa: the form (phenomenon, expression, identification) is inseparable from the entire wealth of the content of the absolute spirit, which in art receives its sensory-contemplative design. The opposites of F. and S., external and internal in art interpenetrate each other, therefore Hegel calls the relationship between them essential. The absolute idea is realized as beautiful precisely due to the dialectical interpenetration of the categories F. and S. In the dialectic of the beautiful, Hegel establishes three stages: the beautiful in general, the beautiful in nature, and the beautiful in art; harmonious perfection as a unity of F. and S., according to Hegel, is possible only at the stage of beauty in art, while beauty in nature plays the role of only preparation for the highest stage. In the history of art, Hegel distinguishes three successive stages, at each of which the relationship between F. and S. is revealed in different ways. Symbolic art has not yet reached the unity of F. and S.: here the form still remains external in relation to the content. Classical art is distinguished by the unity of form and content, their harmonious interpenetration. Romantic art reveals the predominance of content over form. Hegel examines in detail the relationship between F. and S. in various forms of art. At the same time, Hegel's types of art correspond to the phases of development: architecture - symbolic, sculpture - classical, painting, music and poetry - romantic. The subjectivity of music is overcome, according to Hegel, in poetry, which stands at the pinnacle of art precisely because it most completely expresses the spiritual essence in (verbal) form as its content.

Question number 7. Imagery- the main fundamental property. An image is a living picture that we must perceive through the senses (sensory, not intellectual

perception). The image is created in the literature thanks to the word, therefore the word is the figurative material of the literature.

By its own means (word), literature also transfers other art. Therefore, literature occupies a central position among other arts.

The image is always concrete, detailed, individualized, but nevertheless it is some generalization. The image always reflects some part of reality.

Artistic image - one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality, inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art. Literary type - (type of hero) - a set of characters that are close in their social status or nature of occupation, worldview and spiritual appearance. Such characters can be represented in different works of the same or several writers. Literary types are a reflection of the trends in the spiritual development of society, worldview, philosophical, moral and aesthetic views of the writers themselves. Character - repetitive, stable internal properties of a person: worldview, moral principles, life values, habits - everything that allows you to characterize him as a person. The characters of people are manifested in their actions and behavior, in relations with other people. Character and type. This is what has to do with life

The type primarily expresses the generic mass principle. In character, on the contrary, the emphasis is on individuality. The type expresses one quality or property, it is psychologically one-lined. The character is dialectical, contradictory, psychologically complex, multifaceted. The type is always static, devoid of mobility does not change. The character is dynamic, it changes. The character is capable of self-development. For example, Tatiana Larina and Anna Karenina that do not behave as intended by the author. The type exists outside of time. The character is considered against the background of a historical era, they interact together, but the character always contains a typical representative. Typical and typical are different things. The character has a core that characterizes the era, generation. Example: "Fathers and Sons" - Bazarov and Pavel Petrovich. Therefore, very often books quickly become irrelevant.

In fairy tales and folklore, types are commonly used. Sometimes, however, there is a reincarnation of the hero. But this is not yet character. Often heroes are carriers of one particular quality. For this reason, speaking surnames are often encountered in plays. Classicism is built on carriers of one quality, for example, Fonvizin. For realism, it is always important to understand the reasons - there are almost always characters. The exception is Dead Souls, where in the heroes one, in principle, not bad feature is brought to the point of absurdity. Conventional images include: hyperbolic idealization, grotesque, allegory and symbol. Hyperbolic idealization is found in epics, where the real and the fantastic are combined, there are no realistic motivations for actions. The shape of the grotesque: a shift in proportions - Nevsky Prospect, a violation of scale, the inanimate displaces the living. The grotesque is often used for satire or tragic beginnings. Grotesque is a symbol of disharmony. The grotesque style is characterized by an abundance of alogisms, a combination of different voices. Allegory and symbol are two planes: depicted and implied. The allegory is unambiguous - there are instructions and decoding. The symbol is polysemantic, inexhaustible. In the symbol, both the depicted and the implied are equally important. There is no indication in the symbol

Types of imagery: Allegory - type of imagery, the basis of which is allegory: the imprinting of a speculative idea in an objective image. The role of allegory can be both abstract concepts (virtue, conscience, truth, etc.), and typical phenomena, characters, mythological characters, even individuals. Symbol Is a universal aesthetic category. A symbol is an image endowed with organicity and inexhaustible polysemy, an image that goes beyond its own limits, indicates the presence of a certain meaning, inseparably fused with it, but not identical to it. The symbol is characterized by semantic depth, semantic perspective. Grotesque - a type of artistic imagery based on fantasy, laughter, hyperbole, a bizarre combination and contrast of the fantastic and the real, the beautiful and the ugly, tragic and comic, believability and caricature. The grotesque creates a special grotesque world - an abnormal, unnatural, strange, illogical world.

№ 8. The picture of the depicted world, the image of the hero of a work of literature in a unique individuality is made up of separate artistic details . Artistic detail Is a pictorial or expressive artistic detail: an element of a landscape, portrait, speech, psychologism, plot.

As an element of the artistic whole, the detail itself is the smallest image, the microimage. At the same time, the detail is almost always part of a larger look. An individual detail, attaching itself to a character, can become his permanent feature, a sign by which it is recognized this character; such are, for example, Helen's shiny shoulders, Princess Marya's radiant eyes in War and Peace, Oblomov's robe “made of real Persian matter”, Pechorin’s eyes that “did not laugh when he laughed” ...

№ 9 Lifelike - "direct", direct reflection of reality: the creation of the illusion of complete similarity (identity) of life and its artistic reflection. something created by the creative will of the author. Any art conditionally reproduces life, but the measure of this U. x. may be different. Depending on the ratio of likelihood and fictional fiction distinguish between primary and secondary U. x .. For primary U. x. a high degree of likelihood is characteristic when the fiction of the depicted is not declared and is not emphasized by the author. Secondary W. x. - this is a demonstrative violation by the artist of believability in the depiction of objects or phenomena, a conscious appeal to fiction, the use of grotesque, symbols, etc., in order to give certain life phenomena a special acuteness and convexity.

Convention - non-identity of the world thin. works to the real world.

There is a primary convention and a secondary convention (accented). Secondary convention is complete isolation from reality. Its extreme forms are grotesque and fantasy. There is also an intermediate convention (transition to the grotesque, etc.): Raskolnikov's dream about how an old woman laughing at him appears.

The more the author brings in his invention, the higher the degree of convention. Literature as a phenomenon arises when the author is aware of convention, when, for example, he ceases to believe in mythological beings, realizes that this is fiction, convention. In the meantime, he believes in what he invented, this is a myth (understanding the world, the laws by which a person lives). As soon as the need arises to link this with sensory cognition, aesthetics, literature appears.

№ 10. Theme, problem and idea of ​​the work. Topic - basic circle of those life questions, the writer focused on the cat in his work. Sometimes the theme is even identified with the idea of ​​the work. Themes are the most essential components of the artistic structure, aspects of form, supporting techniques. In the literature, these are the meanings of keywords, what is fixed by them. Another meaning of the term "theme" is essential for understanding the cognitive aspect of art: it goes back to the theoretical experiments of the last century and is associated not with the elements of structure, but directly with the essence of the work as a whole. The theme as the foundation of an artistic creation is everything that has become the subject of the author's interest, comprehension and evaluation.

Problems are the area of ​​comprehension, understanding by the writer of the reflected reality. Problems can be called the central part of the artistic content, because, as a rule, it contains what we turn to the work for - the author's unique view of the world. In contrast to the subject matter, the problematics is the subjective side of the artistic content, therefore, the author's individuality, the original author's view of the world is manifested in it as much as possible Another component of the ideological world is the main generalizing thought or a system of such thoughts. by the author himself in the text of the work. The most frequent case is when an idea is not formulated in the text of a work, but as if pervades its entire structure. In this case, the idea requires analytical work for its identification, sometimes very painstaking and complex and not always ending in an unambiguous result. For a correct understanding of the artistic idea and its meaning in the ideological world of the work, the analysis of this aspect of the artistic content must be carried out in close connection with the analysis of other components of the ideological world of the work. ideas. There is still no problematic and evaluative in the topic, the topic is a kind of statement: "the author reflected such and such characters in such and such situations." The level of problematics is the level of discussion of a particular system of values, the establishment of significant connections between the phenomena of reality, this is the aspect of artistic content where the reader is invited by the author to an active conversation. Finally, the area of ​​ideas is the area of ​​decisions and conclusions, an idea always denies or affirms something.

№ 11. Definition of the pathos of thin productions and its varieties. The last element entering the ideological world of the work is pathos, which can be defined as the leading emotional tone of the work, its emotional mood. A synonym for the term "pathos" is the expression "emotional-value orientation." To analyze the pathos in a work of art means to establish its typological variety, the type of emotional-value orientation, attitude towards the world and the person in the world. Epic-dramatic pathos is a deep and undeniable acceptance of the world as a whole and of oneself in it, which is the essence of the epic worldview. Epic-dramatic pathos is the maximum trust in the objective world in all its real versatility and contradictions. Note that this type of pathos is rarely presented in literature, even less often it appears in its pure form. The Iliad and Odyssey of Homer can be named as works based on the whole on the epic-dramatic pathos. The objective basis of the pathos of heroism is the struggle of individuals or collectives for the implementation and protection of ideals, which are necessarily recognized as lofty. Another condition for the manifestation of the heroic in reality is the free will and initiative of a person: forced actions, as Hegel pointed out, cannot be heroic. With heroism as pathos based on the sublime, others come into contact types of pathos, having a sublime character - first of all, it is tragedy and romance. Romance is related to heroism by striving for a lofty ideal.

But if heroics is a sphere of active action, then romance is an area of ​​emotional experience and aspiration that does not turn into action. The pathos of tragedy is the awareness of the loss, and the loss of an irreparable, some important life values- human life, social, national or personal freedom, the possibility of personal happiness, cultural values, etc. Literary critics and aesthetics have long considered the insoluble nature of this or that life conflict to be the objective basis of the tragic. In sentimentality - another type of pathos - we, as in romance, observe the predominance of the subjective over the objective. The pathos of sentimentality often played a dominant role in the works of Richardson, Russo, Karamzin. Moving on to the consideration of the following typological varieties of pathos - humor and satire - we note that they are based on the common basis of the comic. In addition to the subjective, irony as pathos also has an objective specificity. Unlike all other types of pathos, it is aimed not at objects and phenomena of reality as such, but at their ideological or emotional comprehension in one or another philosophical, ethical, thin system.

№ 12. The concept of a plot and storyline. Plot components . The word "plot" denotes a chain of events recreated in a literary work, ie. the life of the characters in its spatio-temporal changes, in changing positions and circumstances. The events depicted by the writers form the basis of the objective world of the work. The plot is the organizing beginning genres of drama, epic and lyric-epic. The events that make up the plot are in different ways correlated with the facts of reality preceding the appearance of the work. Components of the plot: motive (connected motives, free motives, repetitive or leymotifs), exposition, setting, development of action, culmination, denouement. In the epic and lyric, the ethical components can be located in any sequence, and in the dramatic, they follow strictly in turn. With all the variety of plots, their varieties can be attributed to 2 main types: chronicle, i.e. events follow one after another; and concentric, i.e. events are connected not by chronotopic connection, but by cause-and-effect associative, i.e. every previous event was the cause of the subsequent one. The fabula is a set of events in their mutual internal connection. Plots in different works can be very similar to each other, the plot is always uniquely individual. The plot is always richer than the plot, because the plot represents only factual information, and the plot implements the subtext. The plot focuses only on the external events of the hero's life. The plot, in addition to external events, includes the psychological state of the hero, his thoughts, subconscious impulses, i.e. any smallest changes in the hero himself and the environment. Plot components can be considered as bad events or motives.

№ 13 The concept of conflict as a plot engine. Types of conflicts ... Ways to implement the conflict in various kinds of literary works:

The plot is based on conflict. The most important function of the plot is the detection of life contradictions, i.e. conflicts.

Conflict is a contradiction, collision, struggle, inconsistency.

The stages of the development of the conflict are the main plot elements:

Exposition-setting-development of action-climax-denouement

Conflict classification:

Solvable (limited works)

Unsolvable (eternal, universal contradictions)

Types of conflicts:

Human and nature

Man and society

Man and culture

Ways to implement the conflict in various kinds of literary works:

In drama, conflict is often fully embodied and exhausts itself in the course of the events depicted. It arises against the background of a conflict-free situation, becomes aggravated and resolved before the eyes of the reader (Ostrovsky's "Thunderstorm").

In epic and dramatic works, events unfold against a constant background of conflict. Contradictions exist already before the start of events, in the course of their course and after the end. These can be both resolvable and insoluble conflicts (Dostoevsky's "The Idiot", Chekhov's "The Cherry Orchard").

№ 14. Composition Composition is a composition, a certain correlation and arrangement of parts, that is, units of the depicted and artistic and expressive means in a certain significant time sequence. Compositional unity and completeness of a work of art, the consistency of all its parts with each other and with the general intention of the writer is a very important condition for achieving artistry ... The work on the composition involves: the construction of images of characters, as well as other images of the work and their grouping; plot construction (if it is an epic or drama production), the choice of the narrative form (in the form of a diary, from the author, from the hero, oral narration), the general composition, that is, the information of all the components into a single whole.

Compositional techniques:

The degree of repetition of any elements in the text determines the nature of the text.

Repetition is an essential property of the motive. With the help of repetition, a "circular" composition is organized.

Repeat in time types:

There is linear time, there is cyclical time. In cyclic repetition has a positive meaning, sacral, it forms religious consciousness. In linear time, repetition has a negative meaning. Our civilization maintains linear time.

Gain:

Amplification is a technique accompanying repetition. Descriptions are often based on a number of similar elements.

Contrast:

When repetition and opposition are combined, a mirror composition arises (the beginning mirrors the end or situations within the text reflect each other)

Literature is impossible without montage, it has always existed, but the concept itself is acceptable only in cinematography. In the literature there are 2 concepts of "montage": the concatenation of 2 images, due to which the third meaning appears; comparison and opposition that does not obey the logic of cause and effect, reflecting the author's associative train of thought.

In all cases of joining plot and non-plot elements (description, author's digressions), montage is used. If editing seems to be the leading technique, then such a composition is editing. If a technique functions throughout the entire text, then such a technique is called the compositional principle.

Types of compositions:

Composition of images

Speech organization

Main components

Optional - ZPC (title + epigraphs).

№ 15. Motive, in the broadest sense of the word, is the main psychological or figurative seed that lies at the heart of every work of art (so they say, for example, about the "love motives" of Tyutchev's lyrics, "star motives" of Fet's poetry, etc.).

at more advanced stages of literary development, a poetic work is formed by the accretion of a very large number of individual motives. In this case, the main motive coincides with the theme. So. for example, the theme of "War and Peace" by Leo Tolstoy is the motive of historical fate, which does not interfere with the parallel development in the novel of a whole series of other, often only remotely related to the theme, secondary motives (for example, the motive of the truth of collective consciousness - Pierre and Karataev; everyday motive - the ruin of a wealthy noble family of counts Rostov: numerous love motives: Nikolai Rostov and Sophie, he is also Princess Maria, Pierre Bezukhov and Ellen, Prince Andrei and Natasha, etc., etc., mystical and so characteristic in the future In Tolstoy's work, the motive of regenerating death is the dying insights of Prince Andrei Bolkonsky, etc., etc.). The entire set of motives that make up a given work of art forms what is called plot

a term transferred to literary criticism from music, where it denotes a group of several notes, rhythmically formed. By analogy with this in literary studies, the term "M." begins to be used to denote the minimum component of a work of art - indecomposable next content item(Scherer). In this sense, the concept of M. plays a particularly large, perhaps central role in the comparative study of plots of predominantly oral literature.

“Lecture course I. Introduction. Literary criticism as a science. Literary criticism is a philological science about the essence, origin and development of literary literature as an art form. ... "

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Lecture course

I. Introduction. Literary criticism as a science.

Literary criticism is a philological science about the essence, origin and

development of literary literature as an art form. Place of literary studies in

the system of humanitarian knowledge. His interaction with linguistics, rhetoric,

art history, aesthetics, cultural studies, social history, philosophy,

sociology, psychology, religious studies, semiotics and other sciences.

The structure of modern literary criticism. Core disciplines: history national literatures, literary and artistic criticism, theory of literature and methodology of literary studies. Subsidiary disciplines:

historiography, paleography, textual criticism, bibliography.

Literary theory is a section of literary criticism that studies the general laws of artistic development, a literary work in its entirety, a system of pictorial and expressive means of language and style.

Consistency and historicism as fundamental methodological principles of literary criticism. Historical movement of basic literary concepts.

II. General properties of fiction.

Topic: Literature as an art form. The aesthetic essence of literature.

Fine arts like special form spiritual culture, a specific form of self-awareness of mankind and artistic development of reality.

The origin of art from primitive syncretic creativity. Its connection with ritual, magic, mythology. Art and border spheres of spiritual culture, their mutual influence.

Literature as a reflection (reproduction) of reality, a form of its artistic cognition, comprehension, evaluation, transformation. Mimeziz theory, reflection theory. Religious art concept.

Literature and other forms of social consciousness. The difference between artistic comprehension and scientific knowledge. Subjective nature of creativity, anthropocentrism of literature, its value orientations. Reflection in the work of the writer of the characteristics of his personality, talent and outlook. Aesthetic, sociological, philosophical views of the writer as a source of the work. Creative reflection. Integrity of the creative process.

Literature in the system of spatial and temporal types of art. The meaning of Lessing's treatise Laocoon, or on the boundaries of painting and poetry (1766). Literature as a temporary art that reproduces the phenomena of life in their development. Fine-expressive and cognitive possibilities of artistic speech.

III. Literary and artistic work.

Topic: Literary work as a unity of form and content.

The integrity of a literary work as an ideological and artistic system.

The organic unity of the objective and subjective sides of the text. The concepts of "artistic semantics", "meaning", "literal content", "discourse" as referring to the content sphere of the work.

The concreteness of the form, its relative independence. Artistic form as the embodiment of figurative content. Functional consideration of form elements in their meaningful role. Form as “hardened” content. Mutual transition of content and form.

Topic: The main components of the content and form of a literary work.

Ideological and thematic basis works. Theme, subject, problematics. Types of problems: mythological, national-historical, social, philosophical, their relationship. Author's activity in choosing a topic. The connection between the subject of the image and the subject of cognition. Author's interpretation of the theme, artistic idea. The value aspect and emotional orientation of the idea. Artistic tendency and tendentiousness.

Artistic image, its structure. Literary hero, character. External and internal appearance, artistic detail... Means of psychological characterization of heroes. The character's speech as a subject of artistic depiction. Verbal behavior.

The system of characters in the work: main, secondary, episodic. Their comparability. Typification, typical image.

The plot as a form of reproduction of the conflict. Event and action. Aristotle on the unity of plot action. Situation, conflict, collision, intrigue - the relationship of concepts. Components of the plot. Plot and non-plot episodes. Prologue and epilogue.

Spatio-temporal organization of plot action. The concept of a chronotope.

The composition of the work. Narrative structure. Subjective forms of narration on behalf of the hero, minor character, observer, chronicler.

The concept of a storyline. The problem of "redundancy" of the term.

Topic: Literary genres and genres.

The historical nature of the concept of "literary genus". System literary genera in Aristotle's aesthetics, connection with the theory of mimesis. Generic and genre-specific division of literature in classicism (N. Boileau). The meaningful principle of generic articulation in Hegel. "The division of poetry into genera and types" by VG Belinsky. Synthetic interrod formations.

Genres and types of epic. Unlimited volume, arbitrary speech structure.

Main genres and types: fairy tale, legend, heroic epic, epic, novel, story, short story, story, sketch. Universal forms of narrative.

Genres and types of lyric works. The concept of a lyric hero. Combining object and subject in one person. The originality of the lyrical situation. Lyric meditation. Role-playing lyrics. Lyrical plot. Features of the composition.

Expressiveness of lyric speech. Intensity of associative links, thickening of semantics. The melody of a lyric verse.

Drama and dramatic genres. Tragedy, comedy, drama itself. The principle of self-expression of heroes, its forms. Space and time in drama. Correlation of plot and stage time. The severity of the conflict. Sub-plot and non-plot characters. Hero and

Historical change of genre canons of drama.

Topic: Rhythmic organization of artistic speech. Fundamentals of poetry.

The concept of verbal rhythm. The origin of rhythm in poetry and prose. The concept of a poetic system. The connection of the versification system with the peculiarities of the national language. Tonic and syllabic systems. Verse reform in the 18th century. Syllabotonic system. Basic poetic dimensions. Accent verse. Free verse.

The stanza as a form of organization of poetic speech. Types of stanzas. Rhyme and its role in poetry. Varieties of rhyme. Blank verse. Types of stanzas and methods of rhyming.

Classification of sound repetitions. Phonics.

Poetry: rhythmic prose, prose poems.

Topic: Language and style of fiction.

Language as the “primary element” of literature. Language and speech. Literary language, fiction, artistic speech. Figurative and expressive functions of the language. Types of linguistic depiction: nominative, verbal-subject, allegorical, intonational-syntactic.

Language and style. Style as an aesthetic unity and interaction of all sides, components and details of the expressive-figurative form of a work of art.

Style-forming factors, their interaction. The use of the term "style" in relation to a work, the work of a writer, a group of writers. Enduring signs of style.

IV Laws of the historical development of literature.

Topic: Literary process. Artistic method The concept of the literary process. Literary process in the context of cultural and historical development and the problem of its periodization. National identity literature. International relations and influence. Literary tradition and innovation.

The concept of an artistic method, literary direction and trend.

Different interpretation of these categories in science. Classicism, sentimentalism, romanticism are the leading trends in European literatures of the 17th - first decades of the 19th century.

The main stages in the development of realism. Classical realism XIX century and creative personality writer. Literary trends and trends in the twentieth century: realism, modernism, literary avant-garde.

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2. Fiction as the art of words. The originality of her “material”.

The aesthetic essence of literature: artistic and scientific knowledge, community and differences.

3. Literature and reality. Theories of mimesis (imitation) and reflection.

Religious art concept.

4. Literature in the system of spatial and temporal types of art. Lessing's treatise "Laocoon, or on the boundaries of painting and poetry."

Individual student work Study fragments of works by V.G.

Belinsky "A Look at Russian Literature of 1847" (on the difference between art and science); A.

I. Bugrov “Aesthetic and Artistic”; G.O. Lessing “Laocoon, or on the boundaries of painting and poetry”. Additionally: GVF Hegel "Lectures on aesthetics" (about poetry).

Make a diagram showing the main differences between literature and science. Give scientific explanation combinations, such as: "poetry - talking painting", "architecture - frozen music."

No. 2. Literary work as an artistic whole

1. Literary work as a systemic unity of elements of content and form;

their interrelation and interdependence, conventionality of differentiation.

2. The ideological and thematic basis of the work: the theme is the subject of the artistic image, the idea is the expression of the author's position. Theme, subject, problematics.

3. Artistic image. Its functions. Typology.

4. Plot, composition, plot. Correlation of concepts.

5. Answer the questions, giving a theoretical basis for your answers: 1) What is the ideological and thematic originality of the story "The Captain's Daughter" by Alexander Pushkin? 2) Describe the typology of artistic images in Nikolai Gogol's poem "Dead Souls". 3) How is the plot, plot, composition related in the novel by M. Yu. Lermontov "A Hero of Our Time"?

Individual student work Study fragments of works by the reader “Introduction to Literary Criticism”: G.V.

F. Hegel “Lectures on Aesthetics” (on the unity of form and content in art); L. N.

Tolstoy “Letters to N. N. Strakhov, 23 and 26 April. 1876 ​​"; AA Potebnya “From Notes on the Theory of Literature”, AN Veselovsky “Poetics of a Plot”. Using specific examples, prove the thesis: “Content is nothing more than the transition of form into content, and form is nothing more than the transition of content into form” (Hegel).

№ 3. Literary genres and genres

1. The principle of dividing literature into genera as a theoretical problem. Aristotle, Boileau, Hegel, Belinsky on the difference between literary clans in terms of content and formal characteristics.

2. A. N. Veselovsky on genre-generic syncretism. The controversial nature of the concept of "literary genus" in modern literary criticism. Genre as “memory of art” (M. Bakhtin).

3. Epic and epic genres. Genesis and Evolution.

4. Lyrics and lyric genres. Genesis and Evolution.

5. Drama and dramatic genres. Genesis and Evolution.

6. Borderline and individual genre-clan formations. Stability and historical variability category "genre".

7. Is satire the fourth kind of literature? Substantiate your point of view.

Individual student work

Study the fragments of the works according to the anthology "Introduction to Literary Criticism":

Aristotle “On the Art of Poetry”, N. Boileau “Poetic Art”, GVF Hegel “Lectures on Aesthetics”, VG Belinsky “On the Russian Story and Stories of Gogol”, V.V.

Kozhinov "On the principles of dividing literature into genders", on the basis of them, give a theoretical basis for the categories "literary genus", "genre (type)".

Describe the genre-generic originality of the works of Alexander Pushkin "Eugene Onegin" and "The Captain's Daughter", NV Gogol "Dead Souls", LN Tolstoy "War and Peace".

№ 4. Analysis of the epic work

I. Generic and specific properties of the epic genre:

1. Subject-event basis, volume and principles of selection of vital material, time frame of the work.

2. Epic in revealing human character:

a) the image of the hero in the variety of his connections with the outside world. Man and environment.

Akaki Akakievich Bashmachkin - a petty St. Petersburg official, a typical representative of the “humiliated and insulted”;

b) showing inner peace hero through deeds, actions, in comparison with other characters;

The variety of emotional and semantic shades of the Gogol word (irony, humor, satirical and accusatory tone, elements of sympathy and compassion).

3. The meaning of off-story elements in the story. Lyric and dramatic beginning in epic works.

II. Features of Gogol's narration (individual features of the writer's style) 1. “Simplicity of fiction” and “perfect truth of life” (VG Belinsky);

2. “Comic animation, always conquered by a deep feeling of sadness and despondency” (VG Belinsky), “laughter through tears”.

3. Gogol lyricism.

4. The role of the fantastic in storytelling.

III. Non-standard interpretations of the story by C. Lotto. (Individual task).

Individual student work Read the story of N. V. Gogol "The Overcoat" and prepare its analysis, highlighting the generic (epic), specific (related to the genre of the story itself) and individual (characteristic of Gogol) elements of the narrative. Show their combination and interaction.

Option II.

The story of AP Chekhov “Vanka” as an epic work.

1. Subject-event basis, volume and principles of selection of life material.

2. Epic in the disclosure of human character; his attitude to life:

a) the versatility of the external world in the perception of Vanka (workshop, city, village);

b) the typicality of the image of the protagonist, the disclosure of his tragedy in the pattern of cause-and-effect relationships;

c) a variety of forms of showing Vanka's inner world: speech, actions, attitude towards others.

3. The combination in the story of various temporal (present - past) and spatial (city - village) layers as a property of the epic kind.

5. Chekhov's detail.

Compare:

L. N. Tolstoy. Childhood.

“August 12, 18 ..., exactly on the third day after my birthday, on which I turned ten years old and on which I received such wonderful gifts, at seven o'clock in the morning Karl Ivanovich woke me up by hitting a clapperboard over my very head - made of sugar paper on stick - a fly ... ”M. Gorky. Childhood.

“In a semi-dark, cramped room, on the floor, under the window, lies my father, dressed in white and unusually long; the toes of his bare feet are strangely spread out, the fingers of his gentle hands, quietly placed on his chest, are also crooked; his cheerful eyes are tightly covered with black circles of copper coins, his kind face is dark and frightens me with badly bared teeth ... " story) and individual (characteristic of A.P. Chekhov) elements of the story. Show their combination and interaction. Compare Chekhov's principles of the embodiment of children's perception with the principles of other authors - L. N. Tolstoy and M. Gorky. Prepare a message “Genre of Storytelling Today” (individual assignment).

№ 5. Basics of versification. Russian verse.

1. The difference between poetic speech and prosaic speech. Its specific features. The concept of verbal rhythm.

2. The concept of a poetic system. The connection of versification systems with the peculiarities of the national language. Tonic, syllabo-tonic and syllabic systems in the historical aspect (based on the material of Russian poetry).

3. Rhyme in poetry. Its main functions. Types of rhymes. Rhyming methods. Blank verse.

4. Stanza and its types. Superstrophes. Sonnet and wreath of sonnets. Onegin stanza: structure, genesis, artistic functions.

Individual student work Study the fundamental features of tonic, syllabic and syllabotonic versification systems. Practice identifying the meter by chanting. Give an analysis of the poetic text (optional), taking into account the peculiarities of rhythm, rhyme, stanza. Comment on the statements: “I think that in time we will turn to the white verse. There are too few rhymes in the Russian language ”(A.S.

Pushkin); “... For heroic or majestic programs, you need to take long sizes with a large number of syllables, and for fun ones - short ones” (V.V. Mayakovsky).

№ 6. Analysis of the lyric work

1. Dialectics of the objective and the subjective in the lyrics. The value of "external" factors (biographical, historical, social, literary, etc.) in the creation of this poem.

2. Principles of genre systematization of lyric texts. Poem genre.

3. Theme and idea of ​​the lyric work. Features of their expression.

4. The lyrical image as an image-experience. The ratio of the author's self (narrator) and the lyrical hero (character) in a poetic text.

5. The compositional and plot organization of the poem: the presence of a temporal outline, parallelisms, repetitions, comparisons, contrasts, etc. as plot-forming factors.

6. The problem of the poetic word. Verbal leitmotifs.

7. Rhythmic-intonation structure. Stropics, meter and rhythms, rhyme and meaning. Sound writing.

8. This poem in a comparative aspect (traditional and innovative in the lyrics).

Individual student work Outline the section “Lyric poetry” from VG Belinsky's article “The division of poetry into genera and types”. Study the fragments of works on the specificity of the lyrics according to the reader: A. N. Veselovsky “From the history of the epithet”, “Psychological parallelism and its forms in the reflection of poetic style”; L. Ya. Ginzburg "On the lyrics". Give a holistic analysis of one or two (as instructed by the teacher) of the following poems according to the proposed plan.

Texts Pushkin A.S. To the sea. K *** (I remember a wonderful moment ...). Winter morning. Prophet. Anchar.

Am I wandering through the noisy streets. Again I visited ... Lermontov M.Yu. Sail. Borodino.

Clouds. Homeland. I go out alone on the road ... N.A. Nekrasov. Troika. Homeland. In memory of Dobrolyubov. Uncompressed stripe. Tyutchev F.I. Spring thunderstorm. Insomnia. Fet A.A. I came to you with greetings. I won't tell you anything. Blok A.A. Stranger. On railroad... Esenin S.A. the golden grove dissuaded ... I do not regret, I do not call, I do not cry ... Mayakovsky V.V. Listen, if the stars light up ... as well as poems by AA Akhmatova, MI Tsvetaeva, BL Pasternak. and others (optional).

№ 7. Analysis of a dramatic work

1. Genre and generic signs of comedy. The moral and social content of the conflict in the comedy "Woe from Wit".

2. The arrangement of the characters in the dramatic work. The principle of ideological polarization of characters in Griboyedov's play.

3. Features of the disclosure of the human character in the drama. The main means of his “self-expression” (M. Gorky): remark, verbal gesture, dialogue, monologue, deed, system of actions, self-characterization, opinion and attitude of other characters towards him.

5. The function of off-stage and off-plot characters. Out-of-stage characters in the comedy "Woe from Wit".

6. Subject-compositional structure of a dramatic work. The ratio of personal and social drama Chatsky. The main stages of the development of the plot.

7. Elements of the epic and lyrics in the drama. Lyric and psychological plan of the play by Griboyedov.

8. Is this a comedy? Disputes about the genre nature of Woe from Wit.

9. The play and the scene. Features of the stage embodiment of the comedy "Woe from Wit" by A. Griboyedov.

Individual student work Expand the specifics of the dramatic genre in the analysis of the comedy A.S.

Griboyedov "Woe from Wit". Pay attention to the essence of the dramatic conflict in the play, the originality of its development, the principles of building a dramatic character, to the author's methods of “interference” in the course of events. Prepare an abstract message on the topic: “Features of the stage embodiment of the comedy by A. Griboyedov“ Woe from Wit ”(individual task).

№ 8. Classicism and its fate in Russian literature

1. The general concept of the creative method. Its relationship with the concepts of "literary movement (direction)", "school", "style of the writer".

2. Socio-historical conditions for the emergence and formation of classicism in Russia.

3. Genres of Russian classicism, their specificity. Principles of depicting characters.

The theory of "three styles".

4. Normativeness of theory and literary criticism: deviations from the canons of classicism in the work of Russian writers.

5. Traits of classicism in the method of educational realism. The controversial nature of the concept of "educational realism".

A.P. Sumarokov. An epistle about poetry.

Writing poetry is not as easy as many think.

Unaware of one and rhyme will tire.

It shouldn't be that she took our thought captive, But that she was our slave ... Know in the poem the difference of genders And that you start, look for decent words for that,

Without annoying the muses with their poor success:

With tears to Thalia, and to Melpomene with laughter ...

Consider the property we and the power of epigrams:

They then live, rich in their beauty, When they are composed, sharp and knotty;

They must be short, and their strength lies in the fact To utter something with a mockery of whom.

The warehouse of fables should be humorous, but noble, simple words fit, Somehow de La Fontaine reasonably showed And became glorified in fable verse, He filled all the parables with a joke from head to toe And, singing fairy tales, played all the same tune ... Sonnet, rondo, ballads - playing verse, But they should be played intelligent and agile.

The sonnet demands that the warehouse be very clean ... Kohl lines with rhymes - the name is poetry.

Poems float according to the rules of wise muses.

The syllable of the songs should be pleasant, simple and clear.

There is no need for whims, - it is beautiful by itself ... Try to measure my clock for hours in the game, So that I, forgotten, could believe you, That if it was not a game that action is yours, But then the very thing that happened ... The property of comedy is to rule the temper with a mockery;

To mix and use is her direct charter.

Imagine a soulless clerk in the order, the Judge, that he does not understand what is written in the decree.

Imagine to me a dandy who lifts his nose to those, That a whole century has been thinking about the beauty of hair, Who was born, as he thinks, for cupid, To bend such a fool somewhere to himself.

Imagine a Latinist at his dispute, Who will not lie without "yergo" nothing.

Imagine to me a proud, bloated, like a frog, Miser, who is ready to wear a stranglehold for a half.

Imagine a gambler who, having removed the cross, Shouts from behind his hand, with a seated figure: "Rest!" Follow Boal and correct people.

Laughing, passions are in vain, present them to me as an example And, presenting them, follow Molière.

When you have a proud spirit, your mind is flying And suddenly from thought to thought it runs swiftly, Leave the idyll, elegy, satire And dramas for others: take the thundering lyre And with a magnificent Pindar fly up to heaven Il with Lomonosov lift a loud voice ... Everything is praiseworthy: is it a drama , eclogue or ode - Make up what your nature attracts you to;

Just enlightenment, writer, give the mind:

Our beautiful language is capable of anything (1747).

V.K.Trediakovsky. The Raven and the Fox.

Nowhere for the Crow to take away the cheese part of it happened:

So I flew up a tree, something I fell in love with.

This Fox wanted to eat;

In order to get home, I thought of such flattery:

Raven beauty, feathers cleaned the color, And his thing also praised, Directly, said: "Bird mail you Zeus from now on, if your voice for myself, And I will hear the song of all your kindness worthy."

The raven is haughty with praise, thinking I’m decent, He began to croak and shout as loud as possible, So that the last praise would receive a seal for himself.

But by the same token from his nose that cheese fell to the ground. Lisk, emboldened

With this self-interest, he says to him for a laugh:

“You are all kind, my Raven; only you are fur without a heart ”.

I. A. Krylov. A Crow and a fox.

How many times have they told the world that flattery is disgusting, harmful; but everything is not for the future, And in the heart of the flatterer will always find a corner.

To a crow somewhere God sent a piece of cheese;

Crow perched on a fir-tree, I was already getting ready for breakfast, Yes, I was thoughtful, and kept cheese in my mouth.

To that misfortune, Fox ran close by;

Suddenly the cheesy spirit stopped Lisa:

The fox sees the cheese, the fox is captivated by the cheese.

The cheat approaches the tree on tiptoe, twirls his tail, does not take his eyes off the Crow

And he speaks so sweetly, barely breathing:

“My dear, how lovely!

What a neck, what eyes!

Tell, really, fairy tales!

What feathers! what a sock!

Sing, light, do not be ashamed! What if, sister, With such beauty and you are a craftswoman to sing, After all, you would have had a bird king! " Veshchunina's head was dizzy with praise, With joy in her goiter her breath stole, And Lisitsyna's friendly words

The crow croaked into the crow's throat:

The cheese fell out - there was a cheat with it.

№ 9. Romanticism and realism in Russian literature

1. Historical and typological features of romanticism: philosophical and aesthetic subjectivism, romantic duality, antagonism between ideal and reality, romantic maximalism. The closeness of the author to the hero, the lyrical coloring of the author's speech.

2. The essence of the realistic method: the recreation of reality in its objective laws, historicism, the depiction of typical characters in typical circumstances. A variety of means of the author's characterization of the hero.

3. Aesthetic criticism of romantic individualism by Russian realist writers.

Individual student work Formulate the main features of classicism as an artistic method, based on the recommendations of A. P. Sumarokov ("Epistle about poetry"). Summarize the material, give examples from Russian and foreign literature. Compare the fable of V.K.

Trediakovsky "The Crow and the Fox" with the fable by IA Krylov "The Crow and the Fox". Find common and different. Consider how the principles of classicism are implemented in Trediakovsky's work and how they are either transformed (or destroyed) in Krylov's text.

“A Hero of Our Time” by M. Yu. Lermontov as Interpreted by Modern Researchers (the Problem of the Creative Method) KN Grigoryan: “... N. About modern tendencies in the study of the “Hero of our time.” To the problem of romanticism // Russian Literature. - 1973. - No. 1. P. 59).

V. M. Markovich: in Lermontov's novel “ critical realism the middle of the century in its classically pure and complete form "(Markovich VM" Hero of Our Time "and the formation of realism in the Russian novel // Russian Literature. - 1967. - No. 4. P. 56).

KN Grigoryan: “As for the novel“ A Hero of Our Time ”, realistic tendencies were reflected in the outlining of the pictures of the daily life of highlanders, Russian soldiers,“ water ”society, in subtle, well-aimed observations ... but the point is that they did not result into the aesthetic system "(Grigorian KN About modern trends in the study of" Hero of our time. "To the problem of romanticism // Russian Literature. - 1973.

- No. 1. P. 78).

DD Blagoi: “... by the method of typification, by the vision and recreation of objective reality, and finally, by its own style ...“ Hero of Our Time ”… continues, develops, deepens and strengthens the traditions of Pushkin’s“ Eugene Onegin ”to“ Hero of Our Time ” (Problems of romanticism. Collection of articles. - M., 1967. S. 315).

KN Grigoryan: “The images, the general color, the way of expression - everything is borrowed from the poetics of romanticism, the language of early Pushkin, even more so from Zhukovsky” (Grigoryan KN On modern trends in the study of the “Hero of Our Time.” To the problem romanticism // Russian Literature. - 1973. - No. 1. P. 60).

KN Grigoryan: “Pechorin all, by the nature of the world outlook and life position, in romanticism. His individualism, sharply emphasized proud independence is a means of asserting personality, self-defense, marking a clear line between oneself and a hostile environment. It is absurd to demand clarity of the ideal from Pechorin; the author of the novel did not have this clarity either. Therefore, the ideal is romantic ”(Grigorian KN On modern trends in the study of“ Hero of our time. ”To the problem of romanticism // Russian literature. - 1973. - No. 1. P. 68).

D. D. Blagoy: “... To separate oneself from such a hero in the creative act of creating a novel, to put oneself next to him and, in fact, above him, was the most important moment in the formation of the method of realistic typification in Lermontov's work, the greatest triumph of Lermontov as a realist artist” ( The problems of romanticism.

Sat. articles. - M., 1967.S. 312).

KN Grigoryan: “Yes, the critical beginning in A Hero of Our Time is very important, but what kind of criticism is this? What is author's attitude to Pechorin's “self-disclosures”? One thing, in any case, is clear - the author does not judge him from the outside, he is vitally interested in the fate of the hero, and if he mends a trial over Pechorin, then he mends a trial over himself. The point is not in realism, but in the personality of Lermontov "(Grigorian KN On modern trends in the study of" Hero of our time. "To the problem of romanticism // Russian Literature. - 1973. - No. 1. P. 61).

B. I. Bursov: Lermontov "is both a romantic and a realist ... His largest work in prose - the novel" A Hero of Our Time "- is mostly realistic" (B. I. Bursov, National Uniqueness of Russian Literature. - L., 1967, p. 175).

DE Maksimov: “A Hero of Our Time” stands on the verge of a romantic and realistic period in the history of Russian literature and combines the characteristic features of both these periods ”(Maksimov DE Lermontov's Poetry. - M .; L., 1964. P. 107).

BT Udodov: “Lermontov's creative method opened up new perspectives for literature in the artistic development of complex human nature in several dimensions at once. This is a kind of "realism in the highest sense" (Dostoevsky's expression), going beyond the usual definitions, synthesized the achievements of realism and romanticism of his time "(Lermontov Encyclopedia. - M., 1981, p. 108).

№ 10. Techniques and skills of literary work.

Synopsis and rules of note-taking.

Abstract and rules for summarizing.

Annotation and rules for its writing.

Review and rules for its creation.

The main stages of work with critical literature.

Rules of conduct reader's diary.

Individual student work Write out 3-4 annotations from books; familiarize yourself with the order of registration of the output of the book; give an example of a reader's diary; make a plan for an essay on the topic: "Reading activity of a younger student."

№ 11. Reading activity of a younger student

1. Children's book and its specificity.

2. Reading circle of a modern junior schoolchild. Parameters for systematizing the reading circle of a younger student.

3. Fiction for younger students. Criteria for the selection of educational material for reading and literary education of children of this age category.

4. The principles of organizing the reading activity of primary school students.

Individual student work Pick up 3-4 books addressed to junior schoolchildren that are of the greatest interest, from your point of view, and check how strictly they comply with the sanitary and hygienic requirements for the printing edition; what is such a "golden fund" of literature for children and how it can be imagined; simulate a fragment of the organization of the reading activity of younger schoolchildren.

Organizational recommendations: the student needs to know the full name of the discipline, get acquainted with the place of the discipline in the schedule grid, determine the reporting of the discipline: test or exam, get acquainted with the rating scale and the course program.

Recommendations for mastering the content of the discipline. In the process of studying the discipline, it is important for the student to form an idea of ​​the methodological foundations of literary criticism, to get acquainted with the scientific concepts of scientists, to highlight the subject, object, to realize the main scientific concepts this discipline.

The student should understand that this discipline illuminates the problems of interpreting a literary text in the unity of theory and practice. Classroom lessons are held in the form of lectures and practical exercises. The task of students at lectures is to work on mastering new material (listening, understanding, recording, analyzing, comparing with previously studied material). On practical exercises the student must demonstrate the knowledge gained on the selected topic, for this he must familiarize himself with the questions raised for discussion, read the recorded lecture, and then, in the process of reading the recommended literature on his own, supplement the missing material, formulate differences in the concepts and views of the authors of textbooks, master the terminology and be sure to prepare for a free, confident answer in class. The answer to any question must be accompanied by examples from literary texts, which the student must find on his own.

After each lesson, it is necessary to additionally collect information on the topic covered from various sources: additional literature offered by the teacher, Internet sites, dissertations, abstracts, articles from journals, and compile a personal card index for this discipline, monthly track articles in journals in which new scientific , practical development, and also carry out different kinds independent work, which are included in the rating criteria.

An important component of a student's education in a higher education institution is independent work (IWS). It includes both preparation for classes and exams, and work on the creation of educational products in the form of an essay, presentation, reports, abstracts, essays, the development and solution of pedagogical problems related to the organization of children's reading. Most of these tasks are aimed at the development of creative thinking, as well as the formation of skills to create and implement educational and scientific student projects, design the educational process and analyze the results of their activities.

Highlighting the most difficult issues requiring in-depth study, making presentations on them in the POWER POINT program and systematic presentations to colleagues with reports will help a deeper understanding of the material and will become a factor in increasing the effectiveness of the student's educational and professional activities.

Based on the results of processing, interpretation of scientific data, it is advisable for a student to issue a scientific article or include the processed material in his educational research or research work. Active involvement in research work and the acquired material of this subject will help in future professional activities.

As a result of mastering the course, the student must first of all learn to analyze literary texts according to the following approximate plan for the analysis of a literary work.

1. The history of the creation of the work:

time of creation, life circumstances directly related to its creation.

2. Rodo-genre features.

3. Topics, problems. Idea. Features of their expression.

4. The plot and its features.

5. Composition and its features.

6. The system of character images. The image of a lyrical hero.

7. Ways to characterize the characters or the lyrical hero.

8. Features of the speech organization of the work:

narrator's speech, characters' speech, lexical composition, syntax features, means of expressiveness.

9. Rhythmic-intonation system:

meter and size, rhymes, stanza.

10. The meaning of the name, its connection with all elements of the literary text.

Algorithm of work: prepare answers to each of the proposed points and emphasize the interdependence of all elements and aspects of the analyzed work of art.

- & nbsp– & nbsp–

terms / Ed. L.V. Chernets. M., 1999 and later editions.

Introduction to Literary Studies / Ed. G.N. Pospelova. Moscow: Ed. Moscow State University, 1992.

Volkov I.F. Literature theory: A textbook for students and teachers. M., 1995.

Zhirmunsky V.M. Literature theory. Poetics. Stylistics, Leningrad, 1977.

Kvyatkovsky A. Poetic Dictionary. M., 1966.

S.I. Kormilov Basic concepts of the theory of literature. Literary work.

Prose and verse: To help teachers, high school students and applicants. Moscow: Ed.

Literary encyclopedic dictionary / Ed. V.M. Kozhevnikov and P.A.

Nikolaev. Moscow: Soviet Encyclopedia, 1987.

Fundamentals of literary criticism: a textbook for philological faculties ped. un-tov / Meshcheryakov V.P., Kozlov A.S., Kubareva N.P., Serbul M.N .; Under total. ed.

V.P. Meshcheryakova - M .: Moscow Lyceum, 2000.

Dictionary of literary terms. - M., 1974.

Encyclopedic Dictionary of a Young Literary Critic. M., 1988.

Section 2. Literary work as an integral structure.

Topic 2.1.

The image as the main unit of the art form.

1. Give a definition of an artistic image.

2. The difference between an artistic image and specific sensory images (illustrative, factual, informational and journalistic).

3. Comment on the features of the artistic image: a combination of general and special, emotionality, expressiveness (expression of the author's ideological and emotional attitude to the subject), self-sufficiency, associativity, polysemy, careful selection of details.

4. Typology of artistic images.

5. The image of a person is the main image of fiction. Image-character, protagonist, -hero, -character, -type.

6. Typification and its forms (methods).

7. Means and techniques for creating images. Image and figurative details.

9. Distinctive features of epic, lyrical and dramatic images and ways of creating them.

Literature:

1. Introduction to literary criticism. Literary work: Basic concepts and terms / Ed. L.V. Chernets. M., 1999.S. 209-220.

2. Vinogradov I.A. Image and means of image // Vinogradov I.A. Questions of Marxist poetics. Selected works. M., 1972.

3. Volkov I.F. Literature theory. M., 1995.S. 68-76.

4. Khrapchenko M.B. The horizons of the artistic image. M., 1982.

5. Epshtein M.N. Artistic image // LES. M., 1987.

Topic 2.2.

The theme and idea of ​​a literary work.

1. The theme of a literary work. The difference between life material and the theme of a work of art.

2. Aesthetic credo, aesthetic ideal and aesthetic intentions of the author.

3. Main topic and private topics. Subject. Thematic integrity of a work of art.

4. Idea, ideological content of a work of art.

4. Theme and idea, their relationship in the work.

5. Ambiguity in the interpretation of the idea of ​​a work of art (objective and subjective idea).

Literature:

1. Introduction to literary criticism: Reader, M., 1988.

2. Soviet literature for children / Ed. V.D. One-time. M., 1978.S. 7-25.

3. Literary encyclopedic dictionary / Ed. V.M. Kozhevnikov and P.A.

Nikolaev. M., 1987.

4. Relevant chapters in textbooks on literary criticism and literary theory.

Topic 2.3.

Plot and composition.

Lesson number 1. The plot of a literary work.

1. The concept of the plot. The plots are chronicle, concentric, multi-line.

Wandering plots.

2. Extra-plot elements.

3. The ratio of plot and storyline.

4. The concept of motive.

5. Connection of the plot with the theme and idea of ​​a work of art.

6. Conflict, its originality in the epic, lyrics and drama.

7. Exposition, its role and place in the work.

8. The plot, its role and place in the work.

9. Development of action. Peripeteia.

10. Climax, its meaning.

11. Denouement, its role and place in the work.

12. Prologue and epilogue.

13. The plot in epic and dramatic works. Features of the plot in a lyric work. Show on the example of the comedy A.S. Griboyedov "Woe from Wit", one of the stories of I.S. Turgenev, poems by A.A. Feta "Butterfly".

14. The dynamism of the plot is a distinctive feature of works for children.

Literature:

1. Introduction to literary criticism / Ed. G.N. Pospelova. M., 1988.S. 197-215.

2. Introduction to literary criticism. Literary work: Basic concepts and terms / Ed. L.V. Chernets. M., 1999.S. 202-209 (motive); 381-393 (plot).

4. Kozhinov V.V. Plot, plot, composition // Theory of Literature. Major problems in historical coverage. Issue 2.M., 1964.

6. Lotman Yu.M. The structure of the literary text. M., 1970.S. 282-288.

7. Tomashevsky B.V. Literature theory. Poetics. M., 1996.S. 176-209 (plot construction); with. 230-243 (about the lyrical plot).

8. Epshtein M.N. The story // Brief literary encyclopedia. T.7. M., 1972.

Lesson number 2. Composition of a literary work.

1. The concept of the composition of a literary work. Composition types: simple and complex. Conditionality of the composition by the ideological concept.

2. External composition (architectonics): the ratio of the whole and its constituent elements: chapters, parts, stanzas.

3. Composition and plot. Off-plot elements.

4. Various ways of plotting (editing, inversions, default, inserted novellas, plot framing, etc.).

5. Composition of individual images. The role of a portrait, interior, speech characteristics, internal monologue, dialogue, mutual characteristics of characters, diaries, letters and other means.

6. Composition of non-plot works. The role in it of poetic dimensions and rhythm, pictorial and expressive means of language, etc.

Literature:

1. Introduction to literary criticism / Ed. G.N. Pospelova. M., 1988. S. 188-215.

2. Introduction to literary criticism. Literary work: basic concepts and terms / Ed. L.V. Chernets; M., 1999 (See the corresponding concepts in the Consolidated Index of Terms).

3. Zhirmunsky V.М. Composition of lyric poems // V.M. Zhirmunsky Theory of verse. L., 1975.

4. Kozhinov V.V. Plot, plot, composition // Theory of Literature. Major problems in historical coverage. Book. 2.M., 1964.

7. Tomashevsky B.V. Literature theory. Poetics. M., 1996.

8. Khalizev V.E. Composition // Literary encyclopedic dictionary. M.,

Topic 2.4.

Genera and types of literature.

1. Primitive syncretic creativity as the source of the origin of literary families.

2. Signs of the generic division of literature: the subject of the image, speech structure, ways of organizing artistic time and space.

3. Specific features of lyrics as a kind of literature. The ratio of the objective and the subjective in a lyric work. The image of a lyrical hero.

Division of lyrics as a genus into types (genres). The main lyric genres: ode, message, elegy, lyric poem, etc.

4. Specific features of the epic as a kind of literature. The predominance of the objective principle in the story. Narrator's image. Major Epic Genres:

novel, story, story, poem, epic, fairy tale, fable, etc.

5. Specific features of drama as a kind of literature. Drama and theater.

The main genres of drama: tragedy, drama, comedy, vaudeville, melodrama, etc.

6. Intergenre and intergeneric education. Possibilities of synthesis of elements of lyrics, epic and drama within the framework of one piece of art.

Give a characteristic of genera and genres on the basis of works of children's literature. Make a diagram of literary genera and genres. Indicate 4-5 works of fiction for children and adults, belonging to a particular genre.

Literature:

1. Belinsky V.G. The division of poetry into genera and types // Belinsky V.G. Full sob.

Op. T.5. M., 1954. (Make short synopsis articles).

2. Veselovsky A.N. Three chapters from historical poetics (1899) (Syncretism of ancient poetry and the beginning of the differentiation of poetic genders) // Introduction to literary criticism. Reader / Ed. P. Nikolaeva. M., 1997.S. 296-297. (You can use other anthologies where there are fragments from the work of A.N.

Veselovsky "Historical Poetics").

3. Volkov I.F. Literature theory. M., 1995.

4. Timofeev L.I. Foundations of the theory of literature. M., 1976.

5. Tomashevsky B.V. Literature theory. Poetics. M., 1996.

6. Kozhinov V.V. On the problem of literary genres and genres // Theory of Literature.

Major problems in historical coverage. Book. 2.M., 1964.

7. Chernetz L.V. Literary genres: Problems of typology and poetics. M., 1982.

Relevant articles of dictionaries and reference books.

Topic 2.5. Poetic language.

1. Literary language and the language of a literary work, their features, relationship and interdependence.

2. Language as the "primary element of literature" (M. Gorky). Language and style.

4. Common words as the basis of poetic vocabulary.

5. Archaisms, their role in a children's book. Show on the example of the poem by S.Ya.

Marshak "Fairy tale".

6. Neologisms, their role in a children's book. Show on the example of the works of K.I.

Chukovsky and V.V. Mayakovsky.

7. Dialectisms, their role in the children's book. Show on the example of the story of M.A.

Sholokhov's "Nakhalenok", skazov P.P. Bazhova.

8. Vulgarisms, their role in a children's book. Show on the example of the story of A.P.

Gaidar "Timur and his team".

9. Artistic functions of homonyms, synonyms and antonyms.

Paths and their role in literary text.

1. The ambiguity of a word in an artistic context. Trail concept.

2. Epithets, their types, ideological and artistic role. Give examples.

3. Comparisons, their types, ideological and artistic role. Give examples.

4. Metaphors and their meaning in a work of fiction. Deployment and implementation of the metaphor. Give examples.

5. Impersonation. Give examples.

6. Allegory. Give examples.

7. Metonymy, its types, ideological and artistic role. Synecdoche. Give examples.

8. Periphrase and its functions, ideological and artistic role. Give examples.

9. Functions of hyperbole and litota in a literary text. Examples.

10. Irony, its meaning.

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“Language, Consciousness, Communication: Sat. articles / Ed. N.V. Ufimtseva, V.V. Krasnykh, A.I. Izotova. - M .: MAKS Press, 2010. - Issue. 40 .-- 156 p. ISBN 978-5-317-03524-2 Personal meaning: the result of cognition or external influence? © Doctor of Philology I.A. Bubnova, 2010 The problem of understanding is one of those problems, the discussion of which has not stopped for millennia. Moreover, unlike many other questions that are of interest exclusively to representatives of one branch of science, oh ... "

“Smirnov Mark. The last Soloviev. 83 MONOGRAPH IN THE JOURNAL Mark Smirnov THE LAST NIGHT TIMES * The life and work of the poet and priest Sergei Solovyov (1885-1942) BY THE AUTHOR "Books have their own destiny" - reads latin dictum... The fate of the hero of this book - the poet and priest Sergei Solovyov - the reader will learn from the further narration. About the fate of the book itself, more precisely, about how and why it was written, I would like to tell in this preface. In the 1970s, when I was studying at Leningradskaya ... "

“Abstract The article examines the Nakhchivan toponyms in historical sources. The materials of these sources are clear, accurate and systematic, they reflect the historicity and modernity. From these sources it becomes clear that life in Nakhchivan existed from the period when the first people settled here ... "

“B. V. Varneke OLD PHILOLOGISTS1 I live anew in old age. The past passes before me - How long has it rushed? Pushkin's Pimen2 and in his seventh decade3 the most appropriate occupation is to take stock of the outgoing life. Doing this both on sleepless nights and during the day, basking in the sun, I constantly come to the conclusion that I should consider myself a very happy person: not because fate would save me from blows and trials - on the contrary, I suffered a lot of them, but because, that a great and rare happiness fell to me ... "

“OUR AUTHORS Natalia Nechaeva. - Natalia V. Nechaeva. Russian State Pedagogical University. A. I. Herzen, St. Petersburg, Russia. The Herzen State Pedagogical University, Saint Petersburg, Russia. Email: [email protected] Candidate of Philology, Associate Professor of the Department of Translation of the Institute foreign languages... The main areas of research: cultural linguistics, lexicology German language, translation and translation studies. Key publications: ORDNUNG concept ... "

Literary criticism as a science emerged at the beginning of the 19th century. Of course, literary works have existed since antiquity. Aristotle was the first who tried to systematize them in his book, the first gave the theory of genres and the theory of the genres of literature (epic, drama, lyrics). Plato created a story about ideas (idea → material world → art). Literature is an art form, it creates aesthetic values, and therefore is studied from the point of view of different sciences.

Literary criticism studies fiction of various peoples of the world in order to understand the features and patterns of its own content and the forms that express them. The subject of literary criticism is not only fiction, but all fiction peace - written and oral. Contemporary literary criticism consists of:

o literary theory

o history of literature

o literary criticism.

The subject of literary criticism is not only fiction, but also the entire literary literature of the world - written and oral.

Literary theory studies the general laws of the literary process, literature as a form of social consciousness, literary works as a whole, the specifics of the relationship between the author, the work and the reader. Develops general concepts and terms. Literary theory interacts with other literary disciplines, as well as history, philosophy, aesthetics, sociology, linguistics.

Poetics - studies the composition and structure of a literary work. The theory of the literary process studies the patterns of development of clans and genres. Literary aesthetics studies literature as an art form. Literary history studies the development of literature. Divided by time, by directions, by place. Literary criticism is concerned with evaluating and analyzing literary works. Critics evaluate the work in terms of aesthetic value. From the point of view of sociology, the structure of society is always reflected in the works, especially the ancient ones, so she also studies literature.

Literary studies include 3 cycles of disciplines:

The history of national literatures (this is the study of issues of the creative evolution of the writer, as well as spiritual and historical issues of the literary process)

Literature theory (study of general laws of literature):

A) studying the features of the image

B) the study of the artistic whole from the point of view of the thin Content and thin. forms.

C) study of the nature, structure of f-ii

D) the study of trends and patterns of lit. ist. process.

D) study of objects. Sci. Methodologies.

· Literary criticism.

Auxiliary literary disciplines:

1.textology - studies the text as such: manuscripts, editions, editions, time of writing, author, place, translation and comments

2.paleography - the study of ancient carriers of the text, only manuscripts

3.bibliography - an auxiliary discipline of any science, scientific literature on a particular subject

4. library science - the science of funds, repositories of not only fiction, but also scientific literature, consolidated catalogs.