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

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

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

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

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

Time Category B. art text Complicated also biscuits - this is the time of narration and time of events. Therefore, temporal displacements are quite natural. Deleted events can be depicted as directly occurring, for example, in the recreation of the character. Temporary split - the usual taking of the narrative in which the stories intersect different persons, including the author's actual text.

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

No, already spring.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The image of an art can be worn different nature Depending on which model of the world (time and space) exists with a writer or poet.

Artistic space is inextricably linked with artistic times.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

consideration of the main spatial images of the work;

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

Artistic time - reproduction of time in the artistic work, the most important composite component of the work. It is not identical to the time objective. Three types of art time are distinguished: "Idyllic time", in from the house, "Adventure time" tests on a foreign land, "Mystery Time" convergence to the underworld disasters. " "Adventurous" time is represented in the Roman Apulean "Golden Donkey", "Idyllic" time - in Roman I.A. Goncharov "Ordinary History", "Mystery" - in the novel "Master and Margarita" M.S. Bulgakov. Time in the artwork can be stretched (receiving a returation - the author uses landscapes, portraits, interiors, philosophical reasoning, lyrical deviations - Collection "Notes of the Hunter" I.S. Turgenev) or accelerated (the author all the events occurred for a long time denotes two-time phrases - the epilogue of the novel " Noble Nest»I.S. Turgenev ("So, eight years"))). The time of the plot action can be combined in the work with copyright. The emphasis on copyright, his differences from the time of events of the work is characteristic of the literature of sentimentalism (Stern, Fielding). Single and copyright combination is characteristic of Roman A.S. Pushkin "Eugene Onegin".

Different types of art time: Linear (corresponds to the past, real and future, events are continuous and irreversible - the poem "Winter. What to do in the village? I meet ..." A.S. Pushkin) and cyclic (events are repeated, occur during cycles - daily, annual, etc. - the poem "Proceedings and days" of the Gesiod); "Closed" (limited to the story frames - the story "Mummy" I.S. Turgenev) and "Open" (included in a specific historical era - Roman-epic "War and Peace" L.N. Tolstoy); Objective (not refracted through the perception of the author or heroes, is described in traditional time measurement units - days, weeks, months, etc. - the story "One day of Ivan Denisovich" A.I. Solzhenitsyn) and subjective (perceptual) (given through the prism The perception of the author or the hero is the perception of time by Raskolnikov in the Roman F.M. Dostoevsky "Crime and Punishment"); Mythological (poem E. Baratynsky "Last Poet", "Signs") and the historical (description of the past, historical events in the life of the state, human personality, etc. - Roman "Prince Silver" A.K. Tolstoy, Pugachev's poem S.A. Yesenin). In addition, M. Bakhtin also distinguishes the psychological time (a type of subjective time), crisis time (last moment of time before death or before contacting with mystical forces), Carnival time (fell out of real historical time and includes many metamorphosis and transformations).

It is also worth noting such artistic techniqueslike a retrospection (appeal to the past of the characters or the author), avenue (appeal to the future, author's hints, sometimes open instructions on the events that will occur in the future).

Introduction

Subject The graduation work "Features of the spatial-temporary organization of the Pieces of Boto Strauss".

Relevance and noveltyworks are that the German playwright, the novelist and Esseist Boto Strauss, a representative of the new drama, is practically unknown in Russia. One book was published with translations of 6 of his plays ("such a big one - and so small," "time and room", "Ithaca", "Hypochondriki", "Spectators", "Park") and the introductory word of Vladimir Kolyany. Also in the dissertation work I.S.roganova Strauss is referred to as the author from which the German postmodern drama begins. Holding his plays in Russia was carried out only once - Oleg Rybkina in 1995 in a red torch, the play "Time and Room". Interest in this author and began with a note about this play in one of the Novosibirsk newspapers.

purpose- identification and description of the features of the spatio-temporary organization of the writer's plays.

Tasks: Analysis of the spatial and temporary organization of each play; Detection of general traits, patterns in the organization.

Objectthe following strauss plays are: "Hypochondriki", "so big - and so small", "Park", "time and room".

Subjectthe features of the space-time organization of the plays are.

This work consists of administration, two chapters, conclusion and bibliographic list.

The introduction indicates the topic, relevance, object, object, goals and objectives of the work.

The first chapter consists of two paragraphs: the concept of art time and space, artistic time and artistic space in the drama, changes in the reflection of these categories arising in the twentieth century, as well as part of the second paragraph dedicated to the influence of movies to the composition and the spatial-temporal organization of the new drama .

The second chapter consists of two paragraphs: organization of space in plays, organization of time. In the first paragraph, such features of the organization are identified as the closeness of the space, the relevance of the boundaries of this closedness, the shift of the emphasis from the external space in domestic memory, associations, installation in the organization. In the second paragraph detected the following features Time Categories: Installation, Fragmentality related to the relevance of the motive of memories, retrospectivity. Thus, the installation becomes the main principle in the space-time organization of the studied plays.

In the study, we relied on the works of Yu.N. Tynyanova, O.V. Zhurcheva, V. Kolyany, Yu.M. Lotman, M.M. Bakhtina, P. Pavi.

Work volume - 60 pages. The list of sources used includes 54 names.

Categories of space and time in drama

Space and time in artwork

Space and time - categories that include submissions, knowledge of the world order, the place and role of the person in it, give grounds for describing and analyzing the methods of their speech expression and representation in the tissue of the artistic work. Thus, these categories may be considered as an interpretation of artistic text.

IN literary encyclopedia We will find the following definition for these categories, written by I.odnyanskaya: "Artistic time and artistic space are the most important characteristics of the artistic image, organizing the composition of the work and ensuring its perception as a holistic and original artistic reality.<…> Its its contents [literary and poetic image] by necessity reproduces the spatial-temporal picture of the world (transmitted by indirect means of telling) and moreover - in its symbolic-ideological aspect "[Rodnyanskaya I. Artistic time and artistic space. http://feb-web.ru/feb/kle/kle-bc/ke9/ke9-7721.htm].

In the space-time picture of the world, reproducible by art, including dramatic, intensity, painting images of biographical (childhood, youth), historical, cosmic (idea of \u200b\u200beternity and universal history), calendar, daily, as well as ideas about movement and immobility, On the correlation of the past, present and future. Spatial patterns are represented by images of a closed and open space, earthly and cosmic, really visible and imaginary, ideas about the objectivity are close and remote. At the same time, any, as a rule, an indicator, the marker of this picture of the worlds in the artwork acquires a symbolic, sign character. According to D.S. Likhacheva, from the era to the era, as wider and deeper, the understanding of the variableness of the world becomes more and deeper, is becoming increasingly important in literature: the writers are increasingly more and more intense aware of the "diversity of motion forms", "the peace of the world in its time dimensions."

The artistic space can be point, linear, plane or volumetric. The second and third may also have a horizontal or vertical orientation. Linear space may include or not include the concept of orientation. In the presence of this sign (as the linear directional space characterized by the relevance of a sign of length and irrelevance of a sign of width, in art is often the road) Linear space becomes convenient art language For modeling temporal categories (" life Path"," Road "as a means of deploying a character in time). To describe the point space, you have to turn to the concept of degradation. The artistic space in the literary work is a continuum in which the characters are placed and the action is performed. Naive perception constantly pushes the reader to identify the artistic and physical space.

However, the idea that the artistic space is always a model of some natural space, not always justified. The space in the artwork modelies different relationships of the picture of the world: temporary, social, ethical, etc. This may occur because in a particular model of the world, the category of space is difficult to merge with those or other concepts that exist in our picture of the world as separate or opposite. However, the reason may be in the other: in the art model of the world "Space" sometimes randomly assumes the expression of at all spatial relations in the modeling structure of the world.

Thus, the artistic space is a model of the world of this author, expressed in the language of its spatial representations. At the same time, as often on other issues, this language, taken by itself, is significantly less individual and to a greater degree of time, era, public and artistic groups than what the artist in this language speaks - what is his individual Model of the world.

In particular, the artistic space may be the basis for the interpretation of the artistic world, as spatial relations:

May determine the nature of the "Resistance of the Wednesday of the Internal World" (DS Lihachev);

Are one of the basic ways to implement the worldview of characters, their relationship, freedom / non-free degrees;

Serve one of the main ways to embody the author's point of view.

The space and its properties are inseparable from its filling things. Therefore, the analysis of the artistic space and the artistic world is closely related to the analysis of the peculiarities of the filling material world.

Time is introduced into a piece of cinematographic technique, that is, dismembering it into certain moments of rest. This is a general reception fine artsAnd without it can not do one of them. The reflection of time in the work is fragmentary due to the fact that continuously current homogeneous time is not able to give rhythm. The latter implies pulsation, thickening and vacuum, slowing down and acceleration, steps and stops. Consequently, the visual means giving rhythm should have some dismemberment in themselves, one of their elements delaying attention and eyes, the other, intermediate, promoting the other from the element to another. In other words, the lines forming the basic scheme of the visual work should be pierced or reduce alternating rest elements and scacchbook.

But it is not enough to decompose the time for the resting points: it is necessary to tie them into a single row, and this implies some inner unity of individual moments, which makes it possible and even the need to move from the element to the element and, with the transition to find out in a new element, something from the element just abandoned . Dismemberment is a condition of lightweight analysis; But the condition of lightweight synthesis is required.

It can be said otherwise: the organization of time is always inevitably achieved by dismembrance, that is, interrupt. In the activity and syntheticity of the mind, this interruption is clearly and determined. Then the most synthesis, unless it is forces to the viewer, will be extremely full and elevated, he will be able to cover large times and be filled with movement.

The simplest and together the most open intake of cinematic analysis is achieved by a simple sequence of images whose spaces physically do not have anything in common, are not coordinated with each other and are not even connected. In fact, this is the same cinematic tape, but not cut in many places and therefore it is not indulging in the passive binding of images between him.

An important characteristic of any artistic world is the Static / Dynamics. In its embodiment, the most important role belongs to space. Status involves the time stopped, frozen, not unfolding forward, but static past, that is, real life in the closed space can not be. Movement in the static world wears the nature of "moving immobility". The dynamics is accommodation, the absorption of the present time is the future. Continuing life is possible only outside the closure. And the character is perceived and is estimated in unity with its location, it seems to be merged with space in an indivisible whole, becomes part of it. The dynamics of the character depends on whether it has its own individual space, his way relative to the world around him or it remains, according to the lotman, the same type of its environment. Kruglikov V.A. It is even possible "as an analog of the space and time of a person to use the designations of individuality and personality." "Then the individuality is appropriate to imagine as the meaning of the sweep" I "in the human space. At the same time, individuality denotes and indicates the personality location in man. In turn, the personality can be represented as a senselessness of the scan of "I" in the time of a person, as the subjective time in which movements, move and change individuality are performed.<…> The absolute fullness of the individuality is tragic for a person, as well as the absolute fullness of the personality. "[Kruglikov V.A. The space and time of the "human culture" // Culture, man and picture of the world. Ed. Arnoldov A.I., Kruglikov V.A. M., 1987].

V. Rudnev allocates three key parameters of the characteristics of the artistic space: the closedness / openness, directness / curvature, the greatness / smallness. They are explained in psychoanalytic terms theory of the Birth Injury Theory of Otto Rank: At birth, a painful transition from a closed, small, curve of the material of the maternal womb in a huge straight and open space of the outside world is happening. In the pragmatatic space, the concepts "here" and "there" play the most important role: they simulate the position of the speaker and listening to each other and in relation to the outside world. Rudnev proposes to distinguish here, there is nowhere with a big and small letter:

"The word" here "with a small letter means space that is in relation to sensory achievability from the speaker, that is, the" here "it can see the items to hear or touch.

The word "there" with a small letter means space, "located abroad or on the border of sensory attaining from the speaker. The boundary can be considered such a state of affairs when the object can be perceived only by one of the senses, for example, it can be seen, but not hear (it is there, at the other end of the room) or, on the contrary, hear, but not to see (it is there, for partition).

The word "here" with large letters means the space that combines the speaker with the object in question. It can be really very far away. "He is here in America" \u200b\u200b(while talking can be in California, and he is talking about, in Florida or Wisconsin).

With the pragmatic space associated with an extremely interesting paradox. It is natural to assume that if the object is here, then it is not somewhere there (or anywhere). But if this logic is to make modal, that is, to attribute to both parts of the statement "Perhaps" operator, then the following will be.

It is possible that the object is here, but maybe not here. On this paradox, all the plots associated with space are built. For example, Hamlet in Shakespeare tragedy kills polonium by mistake. This error is lighted in the structure of pragmatic space. Hamlet thinks there, behind the curtain, the king is hidden, whom he was going to kill. The space there is a place of uncertainty. But here it can be a place of uncertainty, for example, when you are the double who you are waiting for you, and you think that someone is here, but in fact he is somewhere there or he was killed at all (nowhere) "[ Rudnev V.P. Dictionary of culture of the twentieth century. - M.: Agraf, 1997. - 384 p.].

The idea of \u200b\u200bthe unity of time and space arose in connection with the advent of Einstein's relativity. This thought is also confirmed by the fact that quite often words with spatial value are acquired by temporary semantics, or have syncretic semantics, denoting and time, and space. No object of real reality exists only in space out of time or only in time outside space. Time is understood as the fourth dimension, the main difference of which from the first three (space) is that time is irreversible (anisotropic). This is how this is a researcher of the time philosophy of the twentieth century Hans Reichenbach:

1. The past is not refundable;

2. The past cannot be changed, and the future can be;

3. You can not have a reliable protocol about the future [there].

The term chronotope introduced by Einstein in his relativity theory was applied by M.M. Bakhtin in the study of the novel [Bakhtin M.M. Epos and Roman. St. Petersburg, 2000]. Chronotope (literally - time-space) is a significant relationship between temporary and spatial relations, artistically mastered in the literature; Inspection of space and time when time acts as the fourth dimension of space. Time is compacted, becomes artistic; The space is drawn into the movement of time, the plot. Timeths of time are revealed in space, and the space is comprehended and measured by time. This intersection of the rows and merger will be characterized by an art chronotope.

Chronotope defines the artistic unity of the literary work in its attitude to real reality. All temporal-spatial definitions in art and literature are inseparable from each other and always emotionally validly painted.

Chronotope is the most important characteristic of the artistic image and at the same time the way to create artistic reality. MM Bakhtin writes that "every joining the scope of meanings is performed only through the gate of the chronotopes." Chronotope, on the one hand, reflects the worldview of his era, on the other, is the measure of the development of copyright identity, the process of appearance of points of view on space and time. As the most common, universal category of culture, artistic space-time is able to embody "the globility of the era, the behavior of people, their consciousness, rhythm of life, attitude to things" (Gurevich). The chronotopic beginning of literary works, "Khalisyev writes, is able to give them a philosophical character, to" output "the verbal fabric to the image of being as a whole, on the picture of the world [Khalizhev V.E. Theory of literature. M., 2005].

In the spatio-temporal organization of works of the twentieth century, as well as modern literature, adjacent (and struggling) a variety of, sometimes extreme, trends - emergency expansion or, on the contrary, the concentrated compression of the boundaries of the artistic reality, to increase the conventionality or, back, to the underlined documentary of chronological and topographic landmarks, closets and openness, deployment and illegality. Among these trends can be noted the following, most obvious:

The desire for unnamed or fictional topography: the city, instead of Kiev, at Bulgakov (it throws a legendary dancer on historically specific events); unmistakably recognizable, but never called Cologne in the prose of Böll; The story of Materno in the carnivalized National Epopea Garcia Marquez "One hundred years of solitude." Significantly, however, that artistic time-space Here requires real historical and geographical identification or at least rapprochement, without which the work can not be understood at all; A closed, turned off from the historical account artistic time of fairy tales or parables - "Process" of F. Kafki, "Plague" A. Kama, Watt S. Beckett. The fabulous and parable "once", "once", equal to "always" and "ever" corresponds to the eternal "conditions of human existence", and also applies to the purpose of the usage-modern flavor to the reader in search of historical correlations, did not excite Naive "question:" When did it happen? "; Topography eludes the identification, from localization in the actual world.

The presence of two different unsalted spaces in the same artistic world: real, that is, the physical, surrounding heroes, and the "romantic" created by the imagination of the hero himself, caused by the collision of the romantic ideal with the upcoming era of a taper, nominated by bourgeois development. And the emphasis from the space of the outside world moves to inner space Human consciousness. Under the internal space of event deployment, the character's memory is understood; Intermittent, reverse and direct stroke of the storytime is motivated not by the author's initiative, but the psychology of remember. Time is "stratified"; In limiting cases (for example, M. Prousta) for narrative "here and now" the role of a frame or a material reason for the initiation of memory, fluently flying through space and time in pursuit of the famous moment of experienced, is left. In connection with the opening of the composite capabilities of "remember", the original ratio is often changing in importance between moving and "attached to the place" by the characteristics: if earlier the leading heroes passing a serious spiritual path were, as a rule, mobile, and the stists merged with the household background in a fixed The whole, now, on the contrary, it often turns out to be "remembering" the hero, which belongs to the central characters, being endowed with its own subject in the area, the right to demonstrate its inner world (the position "by the window" of the Heroine Roman V. Wolfe "Trip to Lighthouse") . This position allows you to squeeze your own time to a few days and hours, while the time and space of the whole human life can be projected on the recording screen. The contents of the character's memory here play the same role as the collective knowledge of legends in relation to ancient Eposu.- It frees from exposure, epiloga and generally any explanatory moments provided by the initiative intervention of the author-narrator.

The character also begins to think as some space. Gachev writes that "space and time is not the objective categories of being, but the subjective forms of the human mind: a priori forms of our sensuality, that is, the orientations are outside, outside (space) and inside itself (time)" [Gachev GD. European images of space and time // Culture, man and picture of the world. Ed. Arnoldov A.I., Kruglikov V.A. M., 1987]. Yampolsky writes that "the body forms its space", which he calls "place" for indity. This is the collection of spaces to the whole, according to Heidegger, is the property of things. The thing embodies in itself a certain collective nature, collective energy, it creates a place. The collection of space introduces borders into it, the borders give the space being. The place becomes a cast with a person, his mask, the border, in which he himself finds being, moves and changing. "The human body is also a thing. It also deforms the space around him, giving it the individuality of the place. The human body needs localization in the place in which it can place and find the refuge in which it can stay. As Edward Casey noticed, "the body as such is an intermediary between my consciousness of the place and the place itself, moving me between the places and introducing me to the intimate cracks of each given place [Yampolsky M. Demon and Labyrinth].

By eliminating the author as a telling person, wide opportunities opened before mounting, a kind of spatial-temporal mosaic, when different "theaters of action", panoramic and large plans are approached without motivation and comments as a "documentary" of the act of reality.

In the twentieth century there were the concept of multidimensional time. They originated in line with absolute idealism, the British philosophy of the beginning of the twentieth century. The culture of the twentieth century was influenced by the serial concept of V. John Willma Danna ("Experiment with time"). Dann analyzed the well-known phenomenon of prophetic dreams, when at one end of the planet a person dreams an event, which in a year happens quite revealed at the other end of the planet. Explaining this mysterious phenomenon, Dann concluded that time has at least two dimensions for one person. In one dimension, a person lives, and in the other he watches. And this second dimension is a spatial-like, on it can be moved into the past and to the future. This measurement is manifested in the changed states of consciousness, when the intellect does not prescribe per person, that is, above all, in a dream.

The phenomenon of neomyphological consciousness at the beginning of the twentieth century actualized a mythological cyclic model of time, in which no postulate Reichenbach works. This is the cyclical time of the agricultural cult and everyone acquainted. After winter, spring comes, nature comes to life, and the cycle is repeated. The literature and philosophy of the twentieth century becomes a popular archaic myth about the eternal return.

In contrast to this person's consciousness of the late twentieth century, based on the idea of \u200b\u200ba linear time, which involves the presence of a certain end, just postulates the beginning of this end. And it turns out that time is no longer moving in the usual direction; To understand what is happening, the person appeals to the past. Bodrieyar is written about this as: "The concepts of the past, present and future, which are very conditional, we use, arguing about the initial and finite. However, today we turn out to be drawn in a kind of an indefinite process, which no longer have any finals.

The end is the ultimate goal, the goal that makes this or that movement is targeted. Our story from now on does not have a goal, no direction: she lost them, lost irretrievably. Staying on the other side of truth and error, on the other side of good and evil, it is no longer able to go back. Apparently, for every process there is a specific point of failure, passing which he forever loses its limb. If there is no completion, then everything exists only by dissolved in infinite history, an infinite crisis, an infinite series of processes.

Having lost sight of the end, we are desperately trying to fix the beginning, these are our desire to find the origins. But these efforts are in vain: both anthropologists, and paleontologists discover that all the origins are disappearing in the depths of time, they are lost in the past, as infinite, as well as the future.

We have already passed the point of failure and are fully involved in a non-stop process, in which everything is immersed in a boundless vacuum and has lost the human dimension and which deprives us and memory of the past, and a target of the future, and the opportunity to integrate this future to the present. From now on, our world is the universe of abstract, disembodied things that continue to live on the inertia, which became the simulators themselves, but not knowing death: infinite existence are guaranteed by him because they are only artificial formations.

And yet we are still in captivity of the illusion that certain processes will definitely detect its limb, and together with it and their focus will allow us to retrospectively establish their origins, and as a result we can comprehend the movement of our idea with the help of the concepts of the reason and consequences.

The absence of the end creates a situation in which it is difficult to get rid of the impression that all the information we receive does not contain anything new that everything is reported to, there was already. Since now there is no completion, nor the ultimate goal, since humanity has gained immortality, the subject stopped understanding what he represents. And this acquired immortality is the last fantasy, born by our technologies "[Bodrieryar Jean Passwords from a fragment to Fragment Yekaterinburg, 2006].

It should be added that the past is available only in the form of memories, dreams. This is an incessant attempt to embody once again that it has already been, which has already happened sometime and should no longer happen. In the center - the fate of a person who has produced "at the end of times." Often used in the artwork becomes the motive of waiting: hope for a miracle, or long life for a better life, or waiting for trouble, premonition of the catastrophe.

In the play of Dei Loire "Olga Room" there is a phrase, well illustrating this tendency to appeal to the past: "Only if I manage to reproduce the past with absolute accuracy, I can see the future."

With the same idea, the concept of reverse time runs. "Time makes a completely explained metaphysical blade: it appears with a person, but eternity precedes. Another ambiguity, no less important and no less expressive, does not allow us to determine the direction of time. They argue that it flows from the past to the future: but no less logical and the opposite, which is still writing the Spanish poet Miguel de Namuno "(Borges). Unmuno does not mean a simple countdown, time here is a human metaphor. Dying, a person begins to successively lose what he managed to do and survive, all his experience, it is unwound like a tangle to the state of non-existence.

Art time

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

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

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

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

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

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

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

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

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

Artistic time is characterized by both continuity and discreteness. "Staying essentially continuous in a consistent change of temporary and spatial facts, the continuum in text reproduction is simultaneously divided into separate episodes." The selection of these episodes is determined by the aesthetic intentions of the author, hence the possibility of temporary lacuna, "compression" or, on the contrary, the expansion of the storytime, see, for example, the remark of T. Mann: "At the excellent holiday of narration and playback, the skips play an important, and indispensable role."

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

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

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

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

It is fundamentally significant for organizing an artistic work. Such characteristics of artistic time, as the duration / brevity of the event depicted, uniformity / heterogeneity of situations, time communication with objective and eventful filling (its fullness / emptiness, "emptiness"). According to these parameters, it can be opposed to both works and fragments of text in them forming certain temporary blocks.

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

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

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

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

Gleb lay on the sand, drove his head with his hands, was quiet, sunny morning. Now he did not work in his mezzanine. Everything ended. Tomorrow you are leaving, Ellie stacked, all rowed. Again Helsingfors ...

(B. Zaitsev. Travel Gleb)

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

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

1) calendar time displayed by preferentially associated units with seed "time" and dates;

2) event time organized by the connection of all text predicates (primarily verb forms);

3) perceptual time expressing the position of the narrator and the character (at the same time various lexico-grammatical means and temporary displacements are used).

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

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

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

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

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

Do you hope to get to this minute?

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

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

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

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

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

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

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

Analysis of artistic time includes the following highlights:

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

One-dimensional or multidimensionality;

Reversibility or irreversibility;

Linearity or violation of the time sequence;

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

4) identifying signals that allocate these forms;

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

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

7) Establishing an artistic time and space.

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

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

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

In the artistic work correlated different aspect Artistic Time: Scene Time (temporary length of depicted actions and their reflection in the composition of the work) and the time of the head (their real sequence), copyright and subjective time of characters. It presents different manifestations (forms) of time (domestic historical time, personal and social time). The focus of the writer or poet may be the way of time associated with the motive motion, development, formation, with opposition to transient and eternal.

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

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

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

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

The plot time of the work is the time first of all the biographical, "past", recreated inconsistently, reflects the main stages of the formation of the author.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The author's biographical time is complemented in the elements of the biographic time of other heroes, while A.I. Herzen resortes to unfolded comparisons and metaphors, recreation of time: lifestyle and noisily passed years of her passionate life, but they walked and disappeared the flower behind the flower ... Exactly the Winter Serious Wood, she retained the linear essay on their branches, the leaves had shouted But the more clearer I saw the greatest growth, bold sizes. Repeatedly used in the "past ..." image of the clock, embodying the inexorable power of time: Large English table clock with their dimensional *, loud spongowdes - Tik-like - Tik-so - Tick-like ... It seemed to the last quarter of the hour of life ...; And Spontia of the English clock continued to measure days, hours, minutes ... and finally Domeril to the fateful second.

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

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

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

"" Poison and Duma, "- wrote A.I. Herzen, - not a historical monograph, but reflection of history in a person, accidentally falling on her road. "

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

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

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

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

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

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

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

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

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

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

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

Dominant images, which characterize in the text and time biographic (image path), and time historical (image of the sea, elements), interact, their connection creates the movement of private cross-cutting images related to the deployment of the dominant: I do not eat from London. Nowhere and there is no need ... here it nailed and threw the waves, so ruthlessly rushed, twisted me and everything is close to me.

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

Questions and tasks

1. Read the story of A. P. Chekhov "Student".

2. What time plans are compared in this text?

3. Consider speech tools for expressing temporary relations. What role do they play in creating artistic time text?

4. What manifestations (forms) of time are presented in the text of the story "Student"?

5. How are the time and space in this text? What chronotope, from your point of view, underlies the story?

Story I.A. Bunina "Cold Autumn": Time Conceptualization

In the artistic text, the time is not only an event, but also conceptually: the temporary flow as a whole and its separate segments of the members are estimated, are comprehended by the author, narrator or heroes of the work. Conceptualization of time is a special representation of it in an individual or folk picture of the world, the interpretation of the meaning of its forms, phenomena and signs is manifested:

1) In the assessments and comments of the narrator or character included in the text: And much, a lot has experienced for these two years, seemingly such long, when you think carefully about them, I move into my memory all the magic, incomprehensible, incomprehensible, neither mind or heart what is called past (I. Bunin. Cold Autumn);

2) In the use of trails, characterizing different signs of time: Time, timid chrysalide, sprinkled by the flour of cabbage, a young Jew, who has adopted to the watchmaker's window - it would be better if you didn't look! (O. Madelshtam. Egyptian brand);

3) in the subjective perception and membership of the temporary flow in accordance with the point of reference adopted in the narrative;

4) In contrasting different temporal plans and aspects of time in the text structure.

For the temporal (temporary) organization, the work and its composition is usually significant, firstly, comparison or opposition to the past and present, present and future, past and future, past, present and future, secondly, the opposition of such aspects of artistic time as duration - Singleness (Eventivity), Figure - Durability, repeatability - singleness of a single moment, temporarys - eternity, cyclicity - irreversibility of time. And in lyrical, and in prosaic work the flow of time and its subjective perception can serve as the subject of the text, in which case its temporary organization, as a rule, correlates with its composition, and the concept of time reflected in the text and embodied in its temporal images and the nature of membership The time series, serves as a key to its interpretation.

Consider in this aspect the story of I.A. Bunin "Cold Autumn" (1944), which is included in the cycle "Dark Alleys". Text construction as a first-person narrative and is characterized by a retrospective composition: the basis of it - the memories of the heroine. "The story story turns out to be built into the situation of the memories of the memories (allocated by M.Ya. Dymarsky. - N.N.) .. The situation of memories becomes the only main plot of the work." Before us, thus the subjective time of the character of the story.

Compositionally text consists of three unequal parts: the first, component of the basis of the narrative, is built as a description of the engagement of the heroine and its farewell with the fiance of the Cold September evening 1914; The second - contains generalized information about the thirty years of the subsequent life of the heroine; In the third, extremely short, part of the part of the evening is estimated - a miga of farewell - and the entire life of life: But, remembering everything that I experienced since then, I always ask myself: what was still in my life? And I answer myself: only that cold autumn evening. Was he ever? Still was. And that's all that was in my life - the rest of the unnecessary sleep.

The uneven composition of the compositional parts of the text is the method of organizing his artistic time: it serves a means of subjective temporary flow segmentation and reflects the features of his perception of the heroine of the story, expresses its temporal evaluations. The uneven parts determines the special temporary rhythm of the work, which is based on the predominance of one hundred ticks over the dynamics.

A close-up in the text highlights the scene of the last date of the heroes, in which each of their own or replica is significant, Wed:

Outstanding alone, we traveled a little more in the dining room, - I decided to spread the solitaire, - he silently walked from the corner in the corner, then demand]

Want to go a little? I had everything heavier on my soul, I repulsed indifferently:

Well ... Dressed in the hallway, he continued to think something, with a cute grin remembered the poems of Feta: what cold autumn! Put on his shawl and hood ...

The movement of the objective time in the text slows down, and then stops: "MiG" in the memories of the heroine acquires duration, and "the physical space is only a symbol, a sign of a certain element of experience, exciting heroes, mastering them":

First it was so dark that I kept behind his sleeve. Then they began to designate in the brightening sky of black bruises, copied by minerally shiny stars. He, suspended, turned to the house:

Look at how much especially, the windows of the house are shined in autumn ...

At the same time, the description of the Forgible Evening includes figurative means, which clearly have prospectivity: related to the implemented realities, they associatively indicate the future (with respect to the described) tragic shocks. So, the epithets are cold, ice, black (cold autumn, ice stars, black sky) Are associated with the image of death, and in the epitiet of the autumn, semen "outgoing", "farewell" (see, for example: somehow the windows of the house are especially autumn. Or the windows of the house. Or: there is some kind of rustic autumn charm in these verses) . Cold autumn 1914 is drawn as the eve of the fatal "winter" (the air is completely winter) with its cold, darkness and cruelty. The metaphor of the poem of A.Feta: ... as if the fire rebels - in the context of the whole expands its importance and serves as a sign of future cataclysms, which heroine does not recognize and who foresees her fiance:

What is the fire?

The sunrise of the moon, of course ... ah, my God, my God!

Nothing, dear friend. Still sad. Sad and good.

The duration of a "forgiven evening" is contrasted in the second part of the story. The total characteristic of the next thirty years of the story of the narrator, and the specificity and "home" of spatial images of the first part (estate, house, office, dining room, garden) are replaced by a list of names of other people's cities and countries: in winter, in Hurricane, sailed with a reasonable crowd of other refugees from Novorossiysk to Turkey ... Bulgaria, Serbia, Czech Republic, Belgium, Paris, Nice ...

The associated time segments are associated, as we see, with different spatial images: a farewell evening - first of all with the way at home, the duration of life - with many loci, the naming of which form a disordered, open chain. The idyll chronotope is transformed into the chronotop threshold, and then replaces the chronotope of the road.

The unevenness of the temporary flow membership corresponds to the composition-syntactic partition of the text - its paragraph structure, which also serves as a way of conceptualization of time.

The first composite part of the story is characterized by the fragility of paragraphic membership: in the description of the "Forgive evening", each other is replaced by different microthelers - the designations of individual events with particular importance for heroine and stand out, as already noted, close-up.

The second part of the story is one paragraph, although it is narrated about events, it would seem more significant for both personal biographical time of heroine, and for historical time (the death of parents, trade in the market in 1918, marriage, flight to the south , Civil War, Emigration, Death of Husband). "The separateness of these events is removed by the fact that the importance of each of them turns out to be a narrator with no difference from the significance of the previous or subsequent. In a certain sense, all of them are so the same as they merge into the consciousness of the storytellers in one solid flow: the narrative of it is devoid of internal pulsation of estimates (the monotony of the rhythmic organization), deprived of pronounced compositional membership on microells (microscopisis) and concluded therefore in one "solid" paragraph " It is characteristic that in its framework, many events in the life of the heroine or do not stand out at all, or are not motivated, they are not restored and preceding them facts, Wed: in the spring of the eighteenth year, when neither father nor the mother was already alive, I lived in Moscow , in the basement at the merchant on the Smolensk market ... Neither the cause of death (perhaps the death) of parents nor the events in the life of the heroine from 1914 to 1918 are not called the story.

Thus, the "farewell evening" is the plot of the first part of the story - and thirty years of the subsequent life of the heroine are opposed not only on the basis of "moment / duration", but also on the basis of "significance / insignificance." Skipping the time of temporary segments give narration tragic tensions and emphasize the powerlessness of a person before destiny.

The value attitude of the heroine to different events and, respectively, the time segments of the past manifests itself in their direct estimates in the text of the story: the main biographical time is determined by the heroine as a "sleep", and the sleep "unnecessary", he is opposed to only one "cold autumn evening", which became the only content of the last Life and its excuse. It is characteristic that that and the present heroine (I lived and still live in Nice than God will send ...) It is interpreted by it as an integral part of "sleep" and thereby acquires a sign of irradiance. "Sleep" -zhizn and opposed one evening, thus differ in modal characteristics: only one "MiG" of life, resurrected by the heroine in memories, is estimated as a real, as a result, the opposition of the past and present for artistic speech is removed. In the text of the story "Cold Autumn" described by the September evening loses time localization in the past, moreover, he opposes him as the only real point during the life - the present heroine merges with the past and acquires signs of ghost, illusory. In the last compositional part of the story, there is still temporary with eternal: and I believe, I believe: somewhere there he is waiting for me - with the same love and youth, like that evening. "You'll be, rejoice in the world, then come to me ..." I lived, pleased, now I will come soon.

It turns out to be involved in eternity, as we see, the memory of the personality, which establishes the relationship between the only evening in the past and timestness. The memory lives with love, which allows you to "get out of individuality into unity and from earthly being in metaphysical genuine being."

Interestingly, in this regard, contact the plan of the future in the story. Against the background of the prevailing forms of the past time, a few forms of the future are distinguished by the form of "unity" and "openness" (V.N. Toporov), designed, as a rule, estimated neutrality. All of them are combined semanthically: these are or verbs with semantics of memory / oblivion, or verbs, developing waiting motive and future meeting In another world, Wed: I will be alive, I will always remember this day; If you are killed, you still don't immediately forget me? .. - Is it really I forget him in some short term? .. Well, if you kill, I will wait for you there. You will give up, please in the world, then come to me. "I lived, I was glad, now I'll come soon."

It is characteristic that the statements containing forms of the future time distant in the text relate to each other as a replica of lyrical dialogue. This dialogue continues in thirty years after it started and overcomes the power of real-time. The future for the heroes of the Bunin is not related not to the Earth Being, not with objective times with its linearity and irreversibility, but with memory and eternity. It is the duration and the power of the memories of the heroine serve as an answer to her youthful question, reasoning: and really I'll forget him at some short term - after all, everything is in the end forgotten? In memoirs, the heroine continues to live and turn out to be more real than its present, and the late father and mother, and the fiance in Galicia, and clean stars over the autumn garden, and samovar after a farewell dinner, and the rows of Feta, read by the bride and, in turn Also preserving the memory of those who have left (there is some rustic autumn charm in these verses: "put on his shawl and hood ..." The times of our grandparents ...).

Energy and creative power of memory release certain moments of existence from fluidity, fragmentation, insignificance, enlarge them, open in them "secret patterns" of fate or the highest meaning, as a result, a true time is established - the consciousness time of the narrator or hero, which opposes the "unnecessary sleep" of being Unique moments, captured forever in memory. The measure of human life thereby recognizes the presence of moments involved in eternity and liberated from the power of irreversible physical time.

Questions and tasks

1. 1. Re-read the story I. A. Bunin "In one familiar street."

2. What kind of composite parts of the members of the text repeated in it are quotes from the poem Ya. P. Polonsky?

3. What time segments are displayed in the text? How do they relate to each other?

4. What aspects of time are especially significant to build this text? Name speech tools that allocate them.

5. How do the status of the past, present and future plans relate in the text of the story?

6. What is the originality of the ending of the story and the surprise of it for the reader? Compare the finals of the stories "Cold Autumn" and "In one familiar street". What is their similarity and difference?

7. What concept of time is reflected in the story "In one familiar street"?

II. Analyze the temporary organization of the story of V.Nabokova "Spring in Philte". Prepare the message "Artistic time story V.Nabokova" Spring in "Philte".

Artistic space

Text spatial, i.e. Text elements have a specific spatial configuration. Hence the theoretical and practical possibility of spatial interpretation of trails and figures, the structure of the narration. So, C. Todorov notes: "The most systematic study of the spatial organization in the artistic literature was held by Roman Jacobson. In his analyzes of poetry, he showed that all the layers of statements ... form a current construction based on symmetries, increments, opposition, parallelizams, and the like, which together add up to a real spatial structure. " A similar spatial structure takes place in prosaic texts, see, for example, repeats of different types and the system of opposition in the Roman A.M. Remizova "Pond". Repeats in it - elements of the spatial organization of chapters, parts and text as a whole. So, in the chapter "One hundred mustes - a hundred noses", the phrase of white-white walls is repeated, from the lamp shine, as if grated glass was covered, and the leitmotif of the whole novel serves the proposal of a stone frog (AM Remizov. - N.N. ) She moved with ugly mudflower paws, which is usually included in the complex syntax design with varying lexical composition.

The study of text as a certain spatial organization suggests, thus, considering its volume, configuration, repetition systems and opposition, analysis of such topological properties of space transformed in the text, as symmetry and connectedness. Accounting for graphic form of text is important (see, for example, palindromes, curly verses, the use of brackets, paragraphs, gaps, the special nature of the distribution of words in the verse, line, proposal), and so on. "It often indicates," only What poetic texts are printed differently than other texts. However, in a certain extent, all texts are printed differently than the others: while the graphic appearance of the text "signals" about its genre affiliation, about its assignment for one or another type of speech activity and forces to a certain image of perception ... So - "spatial architectonics" Text acquires a kind of regulatory status. This norm may violate the unusual structural placement of graphic signs, which causes the stylistic effect. "

In the narrow sense, the space in relation to the artistic text is the spatial organization of its events that is inextricably connected with the temporary organization of the work and the system of spatial image images. By definition of the Kestener, "the space in this case functions in the text as an operational secondary illusion, then, whereby spatial properties are implemented in temporal art."

Thus, there are thus wider and narrow understanding of space. This is due to the delimitation of an external point of view on text as a certain spatial organization that is perceived by the reader, and the inner point of view considering the spatial characteristics of the tech itself as a relatively closed inner world, which has self-sufficiency. These points of view are not excluded, and complement each other. When analyzing the art text, it is important to take into account both of these aspects of space: the first is the "spatial architectonics" of the text, the second - "artistic space". In the future, the main object of consideration is the artistic space of the work.

The writer reflects in the work created by them are real spatially temporary links, building its own, perceptual, creation and new - conceptual - the space that becomes the form of the author's idea. Artist, wrote M.M. Bakhtin, it is characteristic but "the ability to see time, read time in a spatial whole world and ... perceive the content of space is not as not; Movable background ... and as becoming an integer as an event. "

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

In the text, displayed, the general properties of real space are transformed and are transformed: the length, continuity is interrupted, three-dimension and private properties of it: the form, location, distance, boundaries between different systems. In a concrete product, one of the properties of space can also be played on the fore, see, for example, the geometrization of the urban space of the Roman A. Petersburg "Petersburg" and the use of images associated with the designation of discrete geometric objects (cube; square, parallelepiped, Line et al.): There the houses were merged by Cuba in a planar, multi-storey row ...

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

The spatial characteristics of the events recreated in the text of the event are refracted through the prism of the author's perception (there will be a personnel, character), see, for example:

The feeling of the city never answered the place where my life proceeded. The mental head always discarded it in the depth of the described perspective. There, fading, trembled clouds, and, sweeping them the crowd, hung across the sky that wondered with smoke of the irrelevant stoves. There are lines, accurately along the embankments, plunged into the snow in the snow.

(B. Pasternak. Security grar)

In the artistic text, the space of the narrator (narrator) and the space of characters differ accordingly. Their interaction makes the artistic space of the entire product with multidimensional, volumetric and deprived of uniformity, at the same time dominant in terms of creating the integrity of the text and its internal unity remains space of the narrator, the mobility of the point of view of which allows you to combine different viewing angles and images. The means of expressing spatial relations in the text and instructions on various spatial characteristics are the language tools: syntactic structures with location, existing suggestions, proposed-case forms with a local value, movement verbs, verbs with a sign of a sign in space, adverbs, toponyms, etc. ., See, for example: Crossing through Irtysh. The steamer stopped the ferry ... On the other side of the steppe: yurts, similar to kerosene tanks, house, cattle ... From the other side, Kyrgyz ... (M. Pryshvin); A minute later, they passed a carotid office, reached a deep, on the hub, sand and silently sat down in a swindle dusty. The sloping lift to the mountain among rare curves of the lanterns ... It seemed an infinite ... (I.A. Bunin).

"Playback (image) of space and an indication on it is included in the work as pieces of mosaic. Associate, they form a common panorama of space, the image of which can grow into an image of space. " The image of an artistic space can wear a different character depending on which model of the world (time and space) exists at the writer or poet (whether space is understood, for example, "in Newtonian" or mythopoetically).

In the archaic model of the world, the space is not opposed to time, time is thickened and becomes a form of space that "draws" in the movement of time. "Mythopoietic space is always filled and always substantially, except for space, there is still uneasured, the embodiment of which is chaos ..." Mythopoietic ideas about space, such essential for writers, embodied in a number of mythologies that are consistently used in the literature in a number of sustainable images. This is primarily the way of the path (roads), which can assume movement both horizontally and vertically (see the works of folklore) and is characterized by the allocation of a number of equally significant spatial: points, topographic objects - threshold, door, staircase, bridge, etc. . These images associated with membership as time, that and space, metaphorically represent the life of a person, its certain crisis moments, its search on the verge of "their" and "alien" worlds, embody movement, indicate its limit and symbolize the choice of choice; They are widely used in poetry and in prose, see, for example: not the joy of the message knocking the sobility ... / o! Wait for this Prague. While you are here - nothing died, / crossing - and sweetly gone (V.A. Zhukovsky); I pretended to death in the winter / and eternal forever closed the doors, / after all, my voice is recognized, / and still it will turn again (A. Akhmatova).

The space that is modeled in the text may be open idol (closed), see, for example, the opposition of these two types of space in "Notes from Dead House"F.M. Dostoevsky: Our Orthod was standing on the edge of the fortress, at the most fortified shaft. It happened, look through the grooves of the fence of God: will you see anything at least? - And only you will see that the sky of the sky is yes a high ground shaft, swirling, and back and forth on the shaft, day and night, clocks are packed ... In one of the sides, the fence is revealed by a strong gate, always locked, always day guarded wounds ; They were unscrewed on demand, for the issue of work. Behind these gates was light, free world ...

Sustainably associated with closed, limited "space, serves in prose and poetry image of the wall, see, for example, the story of L. Andreeva" Wall "or the repeated images of a stone wall (stone hole) in the autobiographical entrepreneur A.M. Remizova "In captivity", opposed by reversible in the text and the multidimensional image of the bird as a symbol of the will.

The space can be represented in the text as expanding or tapering with respect to the character or a specific object described. So, in the story F.M. Dostoevsky "Dream of a Funny Man" Transition from Javi to sleep Hero, and then again to Javi is based on the reception of the spatial characteristics: the closed space of the "small room" of the hero is replaced by an even narrower space of the grave, and then the narrator turns out to be in another, all expanding space, In the final of the story, the space is again narrowed, Wed: We rushed in the dark and unknown spaces. I have long ceased to see the familiar state of constellation. It was already morning ... I woke up in the same chairs, my candle was doing everything, I slept at Chestnut, and silence was rare in our apartment.

The expansion of space can be motivated by the gradual expansion of the hero's experience, knowing the external world, see, for example, Roman I. Bunina "Life Arsenyev": and then ... we learned barnyard, stable, carriage barn, gum, failure, racing. The world has expanded everything in front of us ... the garden is cheerful, green, but already known to us ... And here is the barnyard, a stable, a carriage barn, Riga on the gum, a failure ...

According to the degree of generalization of spatial characteristics, a particular space and space is abstract (not related to specific local indicators), Wed: smelled with coal, magnificent oil and the smell of anxiety and mysterious space, which is always at the station (A. Platonov). - Despite the infinite space, in the world it was cozy at this early hour (A. Platonov).

A really visible character or narrator space is complemented by the space imaginary. The space given in the perception of the character can be characterized by deformation associated with the reversibility of its elements and a special point of view on it: the shadows of the trees and bushes, as comets, sharp clicks fell on the head of the plain ... He lowered his head down and saw that herb ... it seemed to grow deep and far and that over it was transparent, like a mountain wrench, water, and grass seemed the bottom of some light, transparent until the very depths of the sea ... (N.V. Gogol. See).

Significant for the artwork of the work and the degree of exposure to space. So, in the story of A.M. Gorky "Childhood" with the help of repeated lexical means (first of all, the words are close and derived from it) is emphasized by the "Tesne" of the surrounding hero of the space. The sign of grindiness applies both to the outside world and on the inner world of the character and interacts with a cross-cutting text repetition - repeating words of longing, boredom: boring, boring somehow especially, almost unbearably; The chest is poured with liquid, warm lead, he presses from the inside, cuts the chest, ribs; It seems to me that I swear like a bubble, and I closely in a small room, under the mung-shaped ceiling.

The image of the closeness of space is correlated in a pass-cutting "close, stuffy circle terrible impressionswhere there lived - yes to this day lives - a simple Russian man. "

The elements of the converted artistic space can communicate in the work with the theme of historical memory, thereby interacting with certain spatial images, which are usually intertwined, see, for example, Roman I. Bunin "The Life of Arsenyev": And soon I started again in the wanderings. Was on the most shores of the Donets, where she once rushed from captivity the prince "Morning to the cane, White Gogol on the Water" ... And I went to Kursk from Kiev to Putivl. "Sedlai, brother, his greyhound komoni, and my tee are ready, Courish stand up odded ..."

Artistic space is inextricably linked with artistic times.

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

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

2) the spatial point of view of the observer (character or ip-supervisor) is simultaneously its time point of view, while the optical point of view can be both static and movable (dynamic): ... so they got up to the will, moved the bridge, rose To the barrier - and looked into the eyes of a stone, deserted road, vaguely whitizer and runaway and endless distance ... (I.A. Bunin. Sukhodol);

3) A common displacement is usually the spatial displacement (so, the transition to the real narrator in the "life of Arsenyev" I.A. Bunin is accompanied by a sharp displacement of spatial position: the whole life has passed since. Russia, eagle, spring ... and here, France , South, Mediterranean winter days. We ... have long been in someone else's country);

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

5) on the contrary, the slowing down of time may be accompanied by expansion of space, from here, for example, detailed descriptions of spatial coordinates, locations, interior, etc.;

6) The flow of time is transmitted by changing the spatial characteristics: "Timeths of time are revealed in space, and the space is comprehended and measured by time." So, in the story of A.M. Gorky "Childhood", in the text of which there are almost no specific temporal rates (dates, exact countdown, signs of historical time), the movement of time is reflected in the spatial movement of the hero, his milestones serve to move from Astrakhan to Nizhny, and then travel from one house to another , Wed: By the spring of uncle were divided ... And the grandfather bought himself a big interesting house on the field; Grandfather unexpectedly sold the house to the buyer, bought another, along the cable street;

7) Some and the same speech tools can also express temporary, and spatial characteristics, see, for example: ... We were promised to write, never wrote, everything broke out forever, began Russia, links, water to the morning frozen in the bucket, children grew up Healthy, steamer on Yenisei fled the bright June day, and then there was Peter, an apartment on ligkey, crowds of people in the courtyard of the Tauride, then the front was three years old, wagons, rallies, soldering of bread, Moscow, "Alpine goat", then Nestrovsky, hunger, Theaters, work in the book expedition ... (Y.Trifonov. There was a summer noon).

For the embodiment of the motion motion of time, metaphors and comparisons containing spatial images are regularly used, see, for example: Growing down a long staircase out of days, which cannot be said about: "live". They passed near, slightly assisted by the shoulders, and at night ... it was clearly seen: Zigzag was all the same, flat steps (S.N. Sergeev-Visk. Babayev).

The awareness of the interconnection of space-time allowed to highlight the category of chronotop, reflecting their unity. "The essential relationship between temporary and spatial relations, artistically mastered in the literature," wrote M. M. Bakhtin, "we will call the chronotope (which means in the literal translation of the" time-space ")". From the point of view of M.M. Bakhtina, Chronotope is a formal-meaningful category that has a "substantial genre value ... Chronotope as a formal-meaningful category determines (largely) and the image of a person in the literature. The chronotope has a specific structure: the plot-forming motifs are made on its basis - meeting, separation, etc. Appeal to the category of chronotope allows us to construct a certain typology of spatio-temporal characteristics inherent to thematic genres: differ, for example, an idyllic chronotope, which is characterized by the unity of the place, the rhythmic cyclicity of time, the attachment of life to the place - the native home, etc., and the adventurous chronotope, For which a wide spatial background and time "case" is characteristic. On the basis of chronotope, "locality" (in the terminology of M.M. Bakhtin) are stable - sustainable images based on intersection of temporary and spatial "rows" (castle, living room, salon, provincial town, etc.).

Artistic space, like the artistic time historically changeable, which is reflected in the change of chronotopes and is associated with changing the concept of space-time. As an example, we will stop on the peculiarities of the artistic space in the Middle Ages, revival and in a new time.

"The space of the medieval world is a closed system with sacred centers and a worldly periphery. Cosmos of neoplatonic Christianity graded and hierarchized. The experience of space painted with religious moral tones. " The perception of space in the Middle Ages usually does not imply an individual point of view on the subject or; Series of objects. As noted by D.S. Likhachev, "Events in the chronicle, in the lives of saints, in historical standards - this is the main one, by the way of moving in space: hiking and moving, covering huge geographical spaces ... Life is; Manifest itself in space. This is a journey on the ship among the sea of \u200b\u200blife. " Spatial characteristics are sequentially symbolic (top - bottom, west - east, circle, etc.). "The symbolic approach gives that the thought of thought, the deraitationalistic vagueness of the boundaries of the identification, then the content of the rational thinking, which build an understanding of life to its highest level." At the same time, a medieval person is aware of himself in many respects as the organic part of nature, so a look at the nature of him alien. The characteristic feature of the People's Medieval Culture is awareness of an inseparable connection with nature, the lack of tough borders between the body and the world.

In the Renaissance, the concept of perspective is approved ("viewing", by definition of A. Durera). Renaissance managed to completely rationalize the space. It was during this period that the concept of a closed cosmos is replaced by the concept of infinity, which exists not only as a divine period, but also empirically as a natural reality. The image of the universe of the mixture. The theocentric time of the medieval culture is replaced by three-dimensional space with the fourth dimension - time. This is due, on the one hand, with the development of an objective attitude to reality; On the other hand, with the expansion of the sphere "I" and the subjective beginning in) art. In the works of literature, spatial characteristics are consistently associated with a point of view of a narrator or character (cf. with a direct perspective in picturesque), and the significance of the position of the latter gradually increases in the literature. There is a certain system of speech funds reflecting both the static and dynamic point of view of the character.

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

At the same time in the literature of the XX century. Increased interest in the myth and poetic images and mythopoietic model of space-time (see, for example, poetry A. Blok, poetry and prose A. White, works by V. Klebnikov). Thus, changes in the concept of time-space in science and in human worldview are inextricably linked with the nature of the space-time continuum in the works of literature and the types of images that embody the time and space. Reproduction of space in the text is also determined by the literary direction to which the author owns: for naturalism, for example, seeking to create an impression of genuine activities, are characterized by detailed descriptions of various locals: streets, squares, houses, etc.

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

Analysis of spatial relations in the artistic work implies:

2) identifying the nature of these positions (dynamic - static; from above-below, with avian flight, etc.) in their connection with the time point of view;

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

4) consideration of the main spatial images of the work;

5) Characteristics of speech funds expressing spatial relationships. The latter, naturally, corresponds to all kinds of analysis stages, noted above, and is the basis.

Consider ways of expressing spatial relations in the story I.A. Bunin "Light breath".

The temporary organization of this text has repeatedly attracted researchers. Describing the differences between the "disposition" and "composition", hp Vygotsky noted: "... Events are connected and linked so that they lose their everyday burden and opaque torment; they are melted with each other, and in their increments, permits and transitions, as it were, I unleasify the thyaging threads; They are released from those ordinary connections in which they are given to us in life and in the impression of life; He will be rewned from reality ... "The complex temporary organization of the text corresponds to its spatial organization.

In the structure structure, three main spatial points of view are distinguished (narrator, Oli Meshchersk and class). Speech means of their expression are the nominations of spatial realities, proposed-cased forms: a local meaning, adverbs, verbs with a value of moving in space, verbs with a value of a necrosis color feature localized in a particular situation (further, between the male monastery and an uncertainty, whites cloud slope Sky and seinerate spring field); Finally, the procedure for following components in the composition of the series, reflecting on, the board of an optical point of view: she [Olya] looked at the young king, to the whole growth of written among some brilliant hall, on a smooth sample in dairy, neatly corrugated hair, the boss and Carefully silent.

All three points of view in the text are brought together with each other with a repetition of cold, fresh and derivatives from them. The correlation of them creates an oxymiform image of life-death. Interaction different points Vision determines the heterogeneity of the artistic space of the text.

The alternation of heterogeneous temporary segments is reflected in the change in the spatial characteristics and shifts of thections; Cemetery - Gymnasium Garden - Cathedral Street - Cabinet Chosen - Station - Garden - Glass Veranda - Cathedral Street - (Peace) - Cemetery - Gymnasium garden. In a number of spatial characteristics, as we see, repeats are found, the rhythmic rapprochement of which organizes the beginning and end of the work characterized by the elements of the annular composition. At the same time, members of this series come into opposition: primarily "open space - closed space", Wed, for example: a spacious county cemetery - the boss office or a glass veranda. Friend and spatial images that are repeated in the text are opposed to: On the one hand, the grave, cross on it, a cemetery, developing the motive of death (death), on the other - the spring wind, the image traditionally connected with the motives of the will, life, open space. Bunin uses the method of comparing a narrowing and expanding spaces. Tragic events in the life of the heroine are associated with the space toured around it; See, for example: ... Cossack officer, an ugly and plebeian species ... shot it on the station platform, among the big crowd of the people ... through the same images of the story dominant in the text - winds of wind and light breathing - are related to expanding (in the finals to infinity) by space: now it is light breathing again scattered in the world, in this cloud world, in this cold spring wind. Thus, consideration of the spatial organization " Light breathing"Confirms the findings of HP Vygotsky on the originality of the ideological and aesthetic content of the story, reflected in its construction.

So, accounting for the spatial characteristics and consideration of the artistic space is an important part of the philological analysis of the text.

Questions and tasks

1. Read the story of I.A. Bunina "In one familiar street."

2. Highlight a leading spatial point of view in the structure of the narration.

3. Determine the main spatial characteristics of the text. How are the locations allocated in it relate to the two main temporary text plans (past and present)?

4. What role in the organization of the text of the story play his intertextual relations - the quotes repeated in it from the poem Ya. P. Polonsky? What spatial images are allocated in the Polyonsky poem and in the text of the story?

5. Specify speech tools expressing spatial relationships in the text. What are their originality?

6. Determine the type of artistic space in the text under consideration and show its dynamics.

7. Do you agree with the opinion of MM Bakhtin that "all the entry into the scope of meanings is happening only through the gate of the chronotop"? What chronotopes can you note in the story of the Bunin? Show the plot-forming role of chronotope.

Artistic Area Drama: A. Vampilov "Last Summer in Chulimsk"

The artistic space of drama is characterized by a special complexity. The space of dramatic text must necessarily take into account the space scenic, to determine the forms of it possible organization. Under the scenic space is understood as the "space specifically perceived by the audience by the public ... or on fragments of the scenes of all kinds of scenography."

The dramaturgical text, thus, always relates the system of events presented in it with the conditions of the theater and the possibilities of incarnation on the stage with the borders inherent in it. "It is at the level of space ... and the articulation of the TEK T - S P E K T A K L I". The shape of the scenic space is determined by the author's remarks and the spatial but-temporal characteristics contained in the replica: characters. In addition, in the dramaturgical text, indications of the extraimatic space are always presented, not limited to the conditions of the theater. What is not shown in drama nevertheless plays an important role in its interpretation. Thus, the extraordinary space "is sometimes freely used for a certain kind of absence ... to denote the fact that" there is "... an imaging outline space" (highlighted S.Live. - N.N.) can be represented as a black aura scene or A special type of void, which vitates above the scene, sometimes becoming something like a padding material between reality as such and intra-matral reality ... "in drama, finally, by virtue of the specifics of this kind of literature special role Plays the symbolic aspect of the spatial picture of the world.

Let us turn to the play A. Vampilova "last summer in Chulimsk" (1972), which is distinguished by complex genome synthesis: it interacts the elements of the comedy, "drama of morals", parables and tragedies. The drama "Last summer in Chulimsk" is characterized by the unity of the site. It determines the first ("setting") remark operating a play and represents a detailed descriptive text:

Summer morning in Taiga district center. Old wooden house with high eaves, veranda and mezzanine. A lonely birch rises behind the house, then the hill is visible, below the fir-covered fir, above - pine and larch. Three windows and the door on the veranda of the house, which is nailed by the sign "Tea" ... on the eaves, window trimming, shutters, gates - everywhere openwork carving. Half upholstered, shabby, black from time, this carving still gives the house elegant look ...

Already in the first part of the remarks, as we see, through the semantic oppositions are formed, meaningful for the text as a whole: "Old - new", "Beauty - destruction". This opposition is preserved in the next part of the remarks, the volume of which indicates its particular significance to interpret the drama:

In front of the house - a wooden pavement and the same old as the house (the fence is also finished with a carvings), a parisader with currant bushes on the edges, with grass and flowers in the middle.

Simple white-pink flowers grow straight in the grass, rarely and randomly, as in the forest ... On the one hand, two boards are knocked out from the fence, the currant bushes are broken, grass and flowers are distressed ...

In the description of the house, the signs of beauty and decline are again emphasized, and the signs of destruction dominate. In the remark - the only direct manifestation of the copyright position in the drama - speech funds are distinguished, which not only designate the realities of the space recreated on the scene, but in portable use indicate the heroes of the play, the features of their life, relationships (simple flowers growing on the scene randomly; remembered flowers and grass). The remark reflects the spatial point of view of a particular observer, at the same time it is built as if the author tries to revive the picture of the past.

Remarkets determine the character of the stage space, which makes up a platform in front of the house, a veranda (tea), a small balcony in front of the mezzanine, a staircase leading to it, a parisader. Also mention is also mentioned, see one of the following remarks: Round the Casov, the gate opens, and there appears to come, the father of Valentina ... In the open gate, part of the yard, canopy, pioneer under a canopy, tyn and wicket in the garden ... Details allow you to organize stage action and allocate a number of key spatial images that are clearly used axiological (estimated) character. Such, for example, the movement up and down the stairs leading to mezzanine, the closed gate of Valentine's house, separating it from the surrounding world, the window of the old house, turned into a buffet display case, broken the fence of the palication. Unfortunately, directors and theater artists Not always take into account the richest opportunities opened by copyright remarks. "Scenographic appearance" Chulimsk "is usually monotonous ... From artists-sceners ... a tendency has emerged not only to simplify the scenery, but to separate the parisader from the house with mezzanine. "Meanwhile, this" insignificant "part, the disassemble of the house and its uncertainty suddenly turn out to be one of those underwater reefs that do not allow to get closer to the symbolism of the play, a deeper scenic embodiment."

The drama space is both open and closed. On the one hand, the Taiga and the city remaining unnamed, with the other, the act of drama is repeatedly mentioned in the text of the play, while the drama is limited to one "locus" - the old house with a parisader, from which two roads are diverted in the village with symbolic names - the loss and keys. The spatial image of the confusion enters the text of the motive of choice, which are heroes in front of the heroes. This motive associated with the ancient type of value situation "road searches" is most pronounced in the final phenomenon of the first stage of the second act, while the topic of danger and the "fall", and the hero (shamans) on the "Crossroads", is associated with a dear Roads "is mistaken in choosing a way.

The image of the house (at the crossroads) has a traditional symbolism. In the Slavic folk culture, the house is always opposed to an external ("alien") world and serves as a stable symbol of the contested and ordered space protected from chaos. The house embodies the idea of \u200b\u200bspiritual Lada and requires protection. Actions performed around it are usually a security character, it is in this regard actions may be considered. main heroine Drama - Valentina, who, despite the misunderstanding of others, constantly reinforces the fence and, as noted in the remark, is setting up a gate. It is indicative of the choice of the playwright of this verb: repeated in the text of the root of the floor actualizes such important meanings as "harmony" and "world comfort" for the Russian language picture.

The image of the house expresses in the play and other sustainable symbolic meanings. This is a microworld of the world, and the garden surrounded by the fence symbolizes in the world culture the female start of the universe, the house finally causes the richest associations with a person, and not only with his body, but also with the soul, with his internal life in all its complexity.

The image of an old house, as you can see, reveals mythopoetic subtext, it would seem that household drama from provincial life.

In addition, this spatial image has a temporary measurement: it binds the past and present and embodies the connection of times, which is no longer felt by most characters and is supported only by Valentina. "The old house is a mute the witness of the irreversible processes of life, the inevitability of the care, accumulation of errors and the gains of those who live here. He is eternal. They are fleeting. "

At the same time, the old house with openwork threads is only "point" in the space is recreated in the drama. He is part of Chulimsk, which, on the one hand, is opposed to the taiga (open space), on the other, the Unnamed city with which part of the drama characters is connected. "... Syon Chulimsk, in which the work day begins by mutual agreement, an old good village, where you can throw an unlocked cashier ... Prosecical and implausible world, where a real revolver is adjacent to no less susceptible chubs and cables, - this Chulimsk lives special passions, "primarily love and jealousy. Time in the village as if stopped. The social space of the play is determined, firstly, telephone conversations with the invisible bosses (at the same time he acts as an intermediary between different worlds), secondly, individual references to the city and structures for which the most important "Documents", Wedway:

E R E M E E B. I worked forty years old ...

D E R G A C E B. There are no documents, and there is no conversation ... you have a pension from there (I showed my finger into the sky) due, and here, brother, you do not expect. Here you will not break away.

Astable space in the Vampilov drama, therefore, the unnamed city, from which the shamans arrived and Pasha, and most of Chulimsk, while the realities and "loci" of the district center are introduced into the "one-sided" telephone conversations. In general, the social space of the drama is sufficiently conditionally, it is separate from the world recreated in the play.

The only character of the play, externally directly associated with the social start, is the "Seventh Secretary" Middlecin. This is a comic hero of drama. It is indicative of its "meaningful" surname, which is clearly from a contaminated nature (it may go risks to a combination of verb milders with the word ratchet). The comic effect is created by the author's remarks, characterizing the hero: he keeps up to strange intensively, obviously intimidating the entry rigor, leading concern; Without noticing ridicule, swells. Against the background of the speech characteristics of other characters, the replica of Moshadekin is distinguished by bright characteristics: abundance of stamps, words, "labels", elements of the "office"; Wed: on you and so signals come; Worth it, you see, on the road, interferes with rational movement; The question is rather double-edged; The question rests on the personal initiative.

Only for speech characteristics Moshadekina The playwright uses the reception of the language mask: the speech of the hero is endowed with the properties, "in one way or another dismantling it with the rest of the characters, with him belonging to him as something constant and indispensable, accompanying him in any act or gesture." Meswordkin Thereby separated from other characters play: in the world of Chulimsk, in space surrounding the old house with a carvings, he is someone else, a fool, a chill, puffy (according to the remaining heroes belonging to him with a mockery).

Old house at a crossroads - the central image of the drama, however, its characters unites the decay motive relatives, loneliness and loss of a genuine home. This motive consistently develops in the replicas of heroes: Shamanov "left his wife", Sister Valentina "Father of his native forgot". Pasha does not find in Chulm-Ske (and they say, at home is better ... It does not match ...), Single Cashkin, there is no family from the "Doodle" Middlekina, one stayed in Taiga Ilya.

In the replicas of characters Chulimsk appears gradually with the empty space: he left the youth, again in Taiga, where the "deer no, the beast ... there was little," the old Evenk Ememeev leaves. The heroes that have lost the real house temporarily connects the "repaired" tea - the main place of the drama, places of random meetings, sudden recognition and everyday communication of the characters. The tragic situations recreated in the play are combined with household scenes, in which the names of the ordered dishes and drinks are regularly repeated. "People have dinner, only dinner, and at this time their happiness is being made and they are smashed by their lives ..." Following Czech Vampilov in a stream of everyday life, the essential foundations of being. It is not by chance that there are almost no lexical signals in the text of the drama, and the speech of most characters is almost deprived of vivid characteristic (in their replicas, only individual spaticrous words and Siberian regionalism of Che is, however). For the disclosure of the characters of the heroes of the play, spatial characteristics are significant, first of all, the way they are moved in space - the movement "right through the panels" or bypassing the fence.

Another, no less important, spatial characteristics of characters - static or dynamics. It is revealed in two main aspects: as the sustainability of communication with the "point" space of Chulimsk and as an activity / passivity of one or another hero. So, in the author's remark representing Shamanov in the first stage, its apathy, "immutortless carelessness and scattered", is used, while the first act is used, in which the hero acts, the word sleep: he, as if suddenly diving into sleep, lowers Head. In the replicas of the same Shamanov in the first act, speech funds with seeds "indifference" and "peace" are repeated. "Sleep", in which the hero is immersed, it turns out to be a "sleep" of the soul, which is synonymous with the inner "blindness" of the character. In the second act, these speech funds are replaced by lexical units expressing opposite meanings. So, in the remark pointing to the appearance of Shamanov, there is already a dynamics contrasting with its former state: it goes quickly, almost rapidly. Skeys on the veranda.

The transition from statics to the dynamics is a sign of the revival of the hero. As for the connection of the characters with the space of Chulimsk, its stability is characteristic only for Anna good and Valentina, which even "and never was in the city." Exactly female characters Speakers in the drama as the keepers of the "their" space (both external and internal): Anna is engaged in the repair of tea and trying to keep his home (family), Valentina "sells" the fence.

Features of character characters are determined by their attitude to key image Dramas - a barisader with a broken gate: Most of the heroes go "straight", "d'", bypassing the village of Shamans Citizen, is trying to help repair his only Old Evermeyev Evenk, associated with the open space of the taiga. In this context, the repetitive actions of Valentines acquire a symbolic meaning: it restores the destroyed, establishes the connection of times, trying to overcome the disunity. It is indicative of its dialogue with Shamanov:

Sh and m and n about in. ... So I want to ask you ... Why do you do it?

In a l e n t and n and (not immediately). Are you talking about a parisader? .. Why am I Chinu?

Sh and m and n about in. What for?

In a l e n t and n and. But ... Is it unclear?

Shamans shakes head: it is not clear ...

In a l e n t and n and (fun). Well, then I will explain to you ... I want a landing room to be a whole.

W and M and N about in (grinned). Yes? And it seems to me that you give up the parisader in order to break it.

In A L E N T and N A (putting serious). I choose him to be a whole.

"The general and permanent sign of the drama language must be recognized ... symbolism, bisclaimer (allocated by B.A. Larin. - N.N.), and dual significance of speeches. In drama there are always penetrating themes - ideas, moods, suggestions perceived by adding to the main, direct value of speeches. "

Similar "bisclaimer" is inherent in the above dialogue. On the one hand, Valentina's words are addressed to Shamanov and the adjective whole acts in their direct value, on the other hand, they are addressed to the viewer (reader) and in the context of all the works acquire "dual significance". The word whole in this case is characterized by semantic diffuseness and at the same time sells a few values \u200b\u200binherent in it: "Such from which nothing has been unbalanced is not separated"; "Non-destructive", "whole", "one", "preserved", finally, "healthy". Integrity is opposed to the destruction, disintegration of human relations, disunity and "rawness" (remember the first remark of drama), communicates with the state of internal health and good. It is characteristic that the name of the heroine is Valentina, who served as the initial name of the play, has the etymological importance "Healthy, Strong". At the same time, Valentina's actions cause a misunderstanding of other drama characters, the similarities of their assessments emphasizes the tragic loneliness of the heroine in the surrounding space. Its image causes an association with a lonely birch image in the first remark of drama - the traditional symbol of the girl in Russian folklore.

The play of the play is built in such a way that it requires a constant reference to the "spatial" remark, which, from auxiliary (service) element of the drama, is transformed by the configuration element of the text: the handmakers system and the character images system form explicit parallelism, are interconnected. So, as already mentioned, the image of Birch agrees with the image of Valentines, with its own way (as well as with the images of Anna, Dergachev, Yeremeyev) is associated with the image of the "rummy" grass.

The world in which the heroes of the drama are stressed disharmonious. First of all, this is manifested in the organization of the dialogues of the Pieces, for which a frequent "inconsistency" of replicas, violations of meaning and structural connectedness in dialogic unities are characterized. Drama characters or do not hear each other, or do not always understand the meaning of a replica addressed them. The disconnection of the characters is reflected in the transformation of a number, dialogues in monologues (see, for example, a monologue of Kashkin in the first action).

The text of the drama is dominated by the dialogues reflecting the conflict attitudes of the characters (dialogues-disputes, quarrels, moves, etc.), and dialogues of a policy character (such, for example, Valentina's dialogue with his father).

The disharmonicity of the world depicted manifests itself in the names of the sounds characteristic of it. Copyright remarks consistently fix the sounds that fill the scenic space. As a rule, there are sounds sharp, annoying, "unknown": in the first act, the scandalous gomon is replaced by the noise of the machine brake, in the second - the squealing of the hacksaws, knock of the hammer, the crash of the motorcycle, crackling of diesel engines. "Noise" is opposed to the only melody in the play - Der-Gacheva's song, which serves as one of the leitmotifs of drama, but remaining unfinished.

In the first action, the voice of Dergachev sounds three times: the repeated start of the song "It was a long time ago, fifteen years ago ..." interrupts the Dialogue of Shamanov and Cashkin and at the same time turns on in it as one of his replicas. This "replica", on the one hand, forms the temporal (temporary) refrain scene and refers to the previous hero, on the other hand, it serves as a peculiar answer to Qaskashka's questions and comments and replaces Shamanov's replicas. Wed:

K A W K and N A. I just don't understand: how did you come to such a lifetime ... I would finally explain.

"It was a long time ago,

Fifteen years ago ... "

In the second act, this song opens the action of each of the scenes, framing it. So, at the beginning of the second scene ("Night") she sounds four times, while the text of it becomes all shorter. In this act, the song has been correlated with the fate of Valentina: the tragic situation of folk ballad precedes what happened to the heroine. At the same time, the leitmotif song expands the stage space, deepens the temporary perspective of the drama as a whole and reflects the memories of Dergachev himself, and its incomplete correlates with open Final Pieces.

Thus, in the drama space contrast the sounds-dissonances and sounds of a tragic song, and it is the first to win. On their background, the rare "zones of silence" is especially expressive. Silence, opposed by "scandalous gomon" and noise, is installed only in the final. It is characteristic that in the final phenomenon of the drama of the word silence and silence (as well as silence with them) repeated in remarks five times, and the word silence was made by the playwright in the strong position of the text - his last paragraph. Silence, in which heroes are first shipped, serves as a sign of their inner concentration, the desire to peel and listen to others and accompanies the actions of the heroine and the end of the drama.

The last play of Vampilova is called the "last summer Chulimsk". Such a title on which, as already noted, the playwright did not stop immediately, implies a retrospection or gives the point of view of the observer or the event member! That once happened in Chulimsk. Indicatively, the answer researcher Creativity Vampilov to the question: "What happened in Chulimsk?" - "Last summer, a miracle happened in Chulimsk."

"Miracle", which happened in Chulimsk, is the awakening of the soul of the hero, the epipment of Shamanov. This was helped by "horror", experienced by him (shot of Pasha), and love Valentina, the "drop" of which serves as a kind of atoning victim and at the same time determines the tragic guilt of the hero.

For the Spatio-temporal organization of the drama Vampilov, a chronotop threshold is characterized, "the most significant replenishment is a chronotope of crisis and life fracture", the play time is the decisive moments of falls and updates. With the internal crisis, making decisions that determine the life of a person are connected in drama and its other characters, primarily Valentine.

If the evolution of the image of Shamanov is mainly reflected in the contrast of speech funds in the main composite parts of the drama, the development of Valentine's nature is manifested in relation to the spatial dominance of this image - the actions of the heroine associated with the "setting" of the wicket. In the second act, Vadtin first tries to act like everything: passes straight! Through the parisader - at the same time, for the construction of its replica, the reception is used, which can be called the reception of the "semantic echo" Valentine, first, repeats the replica of Shamanov (from the act i): in vain work ...; Secondly, in its subsequent statements "condensed", meanings are explicated, which were previously regularly expressed by the spellings of the hero in the first action: it's all the same; Tired. The movement "Directly", the temporary transition to the position of Shamanov leads to a catastrophe. In the final, after the valentine tragedy experienced, we again see the return to the dominant of this image: strict, calm, it rises to the veranda. Suddenly stopped. Turned her head to the parisader. Not in a hurry, but resolutely descends into the paralisian. Suitable for a fence, strengthens the boards ... Welcomes the wicket ... silence. Valentina and Eremeev restore the parisade.

The motives of the update, overcoming chaos and destruction ends the play. "... In the final, Vampilov connects the young Valentine and the old man Yeremeyev - harmony of eternity, the beginning and end of life, without natural light of purity and faith unthinkable." The final precedes outwardly, it would seem, not a motivated story of Middlekina about the history of the old house, Wed:

Middlecin (turning not to Shamanov, not that Kashkin). This home ... built a merchant black. And, by the way, this merchant was stored (chews), they stored that he would live until it wins this house ... when he completed the house, he began to rebuild him. And the whole life rebuilt ...

This story returns the reader (viewer) to the through spatial image of the drama. In the deployed replica of Moshadekina, the figurative parallel "Life is a rebuilt house" is updated, which, taking into account the symbolic meanings inherent in the key spatial image of the play, can be interpreted as "life-update", "Life is the permanent work of the soul", finally, as "Life - Reconstruction of the world and himself in it. "

It is characteristic that the words are repaired, repairing regularly repeated in the first act, disappear in the second: the focus is already "reorganization" of the soul of characters. Interestingly, the story of the old house tells exactly the "Chewing" Middlecin: the vanity of the comic character emphasizes the generalizing sense of parables.

In the final of the drama, the space of most of her heroes is converted: it is preparing to leave Chulimsk Pasha, goes to Taiga an old man Yeremeyev, but it opens his house Dergachev (there is always enough places for you), the Schmanova space is expanding, which makes the decision to go to the city and speak at the trial. Valentina may be waiting for the house of Middlekin, but its actions are unchanged. Vampilov drama is built as a play, in which the internal space of characters changes, but retains its stability space external.

"The task of the artist," the playwright noted, - knock out people from the car. " This task is solved in the play "last summer in Chulimsk", which, as reading it ceases to be perceived as a household and appears to the philosophical drama. This largely contributes to the spatial pattern of the play.

Questions and tasks

1. Read the play L. Petrushevskaya "Three Girls in Blue".

2. Highlight the main spatial images of the drama, determine their links in the text.

3. Specify the language remedies that express spatial relationships in the text of the play. Which of these funds, from your point of view, are especially significant to create an artistic space of Drama L. Petrushevskaya?

4. Determine the role of the image of the house in the diamond drama system. What are the meanings he expresses? What is the dynamics of this image manifest?

5. Give a generalizing characteristic of the drama space. How does the space model in the text of this play?