Modern concepts of composition in literature. CHAPTER VI

26.04.2019

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Composition is building artwork... The effect that the text produces on the reader depends on the composition, since the teaching about composition says: it is important not only to be able to tell amusing stories, but also to present them correctly.

Literary theory gives different definitions composition, one of them is this: composition - the construction of a work of art, the arrangement of its parts in a certain sequence.

Composition is the internal organization of a text. Composition is about how the elements of the text are located, reflecting the different stages of the development of the action. The composition depends on the content of the work and the goals of the author.

Stages of action development (composition elements):

Composition elements- reflect the stages of development of the conflict in the work:

Prologue - introductory text that opens the work, precedes the main story. Typically, thematically related to a follow-up action. Often it is the "gateway" of the work, that is, it helps to penetrate into the meaning of further narration.

Exposition- the prehistory of the events underlying the work of art. As a rule, the exposition contains the characteristics of the main characters, their arrangement before the beginning of the action, before the set. The exposition explains to the reader why the hero behaves in this way. The exposure can be direct and delayed. Direct exposure is located at the very beginning of the work: an example is the novel "The Three Musketeers" by Dumas, which begins with the history of the D'Artagnan family and the characteristics of a young Gascon. Delayed exposure placed in the middle (in the novel by I.A. Goncharov "Oblomov" Dead Souls"Gogol: information about the life of Chichikov before arriving in provincial town are given in the last chapter of the first volume). The delayed exposure lends mystery to the piece.

Action binding Is an event that becomes the beginning of an action. The tie either reveals an already existing contradiction, or creates, "ties up" conflicts. The plot in "Eugene Onegin" becomes the death of the protagonist's uncle, which forces him to go to the village and enter into an inheritance. In the story about Harry Potter, the plot is an invitation letter from Hogward, which the hero receives and thanks to which he learns that he is a wizard.

The main action, the development of actions - the events committed by the heroes after the set and preceding the climax.

Climax(from Latin culmen - top) - nai highest point tension in the development of action. This is the highest point of the conflict, when the contradiction reaches its greatest limit and is expressed in a particularly acute form. The climax in "The Three Musketeers" is the scene of the death of Constance Bonacieux, in "Eugene Onegin" - the scene of Onegin and Tatiana's explanation, in the first story about "Harry Potter" - the scene of a poebda over Voldemort. The more conflicts in a work, the more difficult it is to reduce all actions to only one climax, so there can be several climaxes. The climax is the most acute manifestation of the conflict and at the same time it prepares the denouement of the action, therefore it can sometimes be anticipated. In such works, it can be difficult to separate the climax from the denouement.

Interchange- the outcome of the conflict. This is the final moment in creation artistic conflict... The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. The denouement can resolve the conflict: for example, in The Three Musketeers it is the execution of Milady. The final outcome in Harry Potter is the final victory over Voldemort. However, the denouement may not eliminate the contradiction, for example, in Eugene Onegin and Woe from Wit, the heroes remain in difficult situations.

Epilogue (from Greekepilogos - afterword)- always concludes, closes the work. The epilogue tells about further destiny heroes. For example, Dostoevsky, in the epilogue "Crime and Punishment", talks about how Raskolnikov changed in hard labor. And in the epilogue of War and Peace, Tolstoy tells about the life of all the main characters of the novel, as well as how their characters and behavior have changed.

Lyrical digression- deviation of the author from the plot, author's lyrical inserts, little or no connection with the theme of the work. Lyrical digression, on the one hand, slows down the development of the action, on the other hand, it allows the writer to open form express a subjective opinion on various issues that are directly or indirectly related to the central topics. Such, for example, are famous lyric

Types of composition

TRADITIONAL CLASSIFICATION:

Direct (linear, sequential)- the events in the work are shown in chronological order. "Woe from Wit" by AS Griboyedov, "War and Peace" by Leo Tolstoy.

Annular - the beginning and end of the work overlap with each other, often completely coincide. In Eugene Onegin: Onegin rejects Tatiana, and in the novel's finale Tatiana rejects Onegin.

Mirror - combining the techniques of repetition and opposition, as a result of which the initial and end images are repeated exactly the opposite. One of the first scenes in "Anna Karenina" by L. Tolstoy depicts the death of a man under the wheels of a train. This is how he takes his own life main character novel.

Story in story - the main story is told by one of the characters in the work. The story of M. Gorky "The Old Woman Izergil" is based on this scheme.

CLASSIFICATION A. BESIN(based on the monograph "Principles and Techniques of Analysis literary work»):

Linear - the events in the work are shown in chronological order.

Mirror - the initial and final images and actions are repeated exactly the opposite, opposing each other.

Annular - the beginning and end of the work echo each other, have a number of similar images, motives, events.

Retrospection - in the process of narration, the author makes "retreats into the past." V. Nabokov's story "Mashenka" is built on this technique: the hero, having learned that his ex-lover arrives in the city where he now lives, looks forward to meeting her and recalls their epistolary novel, reading their correspondence.

Silence - about the event that happened before the rest, the reader learns at the end of the work. So, in "Blizzard" by A.S. Pushkin, the reader learns about what happened to the heroine during her escape from home, only during the denouement.

Free - mixed actions. In such a work, you can find elements of a mirror composition, and methods of silence, and restrospection and many other compositional methods aimed at retaining the reader's attention and enhancing artistic expression.

Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel ...), but also a literary cycle, that is, a group of poetic or prose works united common hero, common ideas, problems, etc., even a common place of action (for example, the cycle of stories by N. Gogol "Evenings on a Farm near Dikanka", "Tale of Belkin" by A. Pushkin; M. Lermontov's novel "A Hero of Our Time" - also a cycle of separate short stories, united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism with its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their interconnection are called COMPOSITION:

COMPOSITION(from Lat. Сompositio, composition, composition) - construction, structure of a work of art: selection and sequence of elements and visual techniques works that create an artistic whole in accordance with the author's intention.

TO elements of the composition literary works include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (created by the author's imagination of extra-plot images), dialogues, monologues, episodes, inserted stories and episodes, letters, songs ( for example, Oblomov's Dream in Goncharov's novel Oblomov, Tatyana's letter to Onegin and Onegin to Tatyana in Pushkin's novel Eugene Onegin, the song The Sun Rises and Sets ... in Gorky's drama At the Bottom); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.

When creating a work, the author himself chooses layout principles, "assemblies" of these elements, their sequences and interactions, using special compositional techniques ... Let's take a look at some of the principles and techniques:

the action of the work can begin from the end of events, and subsequent episodes will restore the temporal course of the action and explain the reasons for what is happening; such a composition is called reverse(this technique was applied by N. Chernyshevsky in the novel "What is to be done?");
author uses composition framing, or circular, in which the author uses, for example, the repetition of stanzas (the last repeats the first), artistic descriptions (the work begins and ends with a landscape or interior), the events of the beginning and the end take place in the same place, the same characters participate in them, etc. .d .; such a technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in "Poems about To a lovely lady"), and in prose (" Dark alleys"I. Bunina;" Song of the Falcon "," Old Woman Izergil "by M. Gorky);
the author uses the trick flashbacks, that is, the return of the action to the past, when the reasons for what was happening in currently narratives (for example, the author's story about Pavel Petrovich Kirsanov in Turgenev's novel "Fathers and Sons"); quite often, when using retrospection, an inserted story of the hero appears in the work, and this type of composition will be called "story within a story"(Confession of Marmeladov and a letter from Pulcheria Alexandrovna in Crime and Punishment; Chapter 13 The Appearance of a Hero in The Master and Margarita; After the Ball of Tolstoy, Asya Turgenev, Kryzhovnik Chekhov);
not infrequently the organizer of the composition is artistic image , for example, the road in Gogol's poem "Dead Souls"; pay attention to the scheme of the author's narration: Chichikov's arrival in town NN - road to Manilovka - Manilov's estate - road - arrival to Korobochka - road - tavern, meeting with Nozdrev - road - arrival to Nozdrev - road - etc .; it is important that the first volume ends with a road; so the image becomes the leading structure-forming element of the work;
the author can preface the main action with an exposition, which will be, for example, the entire first chapter in the novel "Eugene Onegin", or he can start the action immediately, abruptly, "without acceleration", as Dostoevsky does in the novel "Crime and Punishment" or Bulgakov in " The Master and Margarita ";
composition of the work can be based on symmetry of words, images, episodes(or scenes, chapters, phenomena, etc.) and will be mirror, as, for example, in A. Blok's poem "The Twelve"; mirror composition is often combined with framing (this principle of composition is typical for many poems by M. Tsvetaeva, V. Mayakovsky and others; read, for example, Mayakovsky's poem "From street to street");
often the author uses the technique compositional "break" of events: breaks off the narrative at the very interesting place at the end of the chapter, and the new chapter begins with a story about another event; for example, it is used by Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita. This technique is very fond of the authors of adventurous and detective works or works where the role of intrigue is very great.

Composition is aspect of form literary work, but through the features of the form its content is expressed. The composition of a work is an important way to embody the author's idea.... Read independently A. Blok's poem "Stranger" in full, otherwise our reasoning will be incomprehensible to you. Pay attention to the first and seventh stanzas as you listen attentively to their sound:

The first stanza sounds sharp and disharmonious - because of the abundance of [p], which, like other disharmonious sounds, will be repeated in the following stanzas up to the sixth. It cannot be otherwise, because Blok here paints a picture of disgusting philistine vulgarity, " scary world", in which the poet's soul toils. This is how the first part of the poem is presented. The seventh stanza marks the transition to new world- Dreams and Harmony, and the beginning of the second part of the poem. This transition is smooth, the accompanying sounds are pleasant and soft: [a:], [nn]. So in the construction of a poem and using the technique of the so-called sound writing Blok expressed his idea of the opposition of two worlds - harmony and disharmony.

The composition of the work can be thematic, in which the main thing becomes to identify the relationship between the central images of the work. This type of composition is more characteristic of the lyrics. There are three types of such a composition:

consistent representing logical reasoning, the transition from one thought to another and the subsequent conclusion in the finale of the work ("Cicero", "Silentium", "Nature is a sphinx, and so it is more true ..." Tyutchev);
development and transformation of the central image: the author considers the central image from various angles, reveals its vivid features and characteristics; such a composition presupposes a gradual increase in emotional tension and the culmination of experiences, which often falls on the finale of the work ("The Sea" by Zhukovsky, "I came to you with greetings ..." Feta);
comparison of 2 images entered into artistic interaction (Blok's "Stranger"); such a composition is based on the reception antitheses, or opposites.

COMPOSITION OF LITERARY AND ARTISTIC WORKS. TRADITIONAL COMPOSITIONAL TECHNIQUES. DEFAULT / RECOGNITION, "MINUS" - RECEPTION, CO- AND CONTRADICTIONS. MOUNTING.

The composition of a literary work is the mutual correlation and arrangement of units of the depicted and artistic speech means. The composition realizes the unity and integrity of artistic creations. The foundation of the composition is the orderliness of the fictional reality depicted by the writer.

Elements and levels of composition:

plot (in the understanding of the formalists - artistically processed events);
system of characters (their relationship to each other);
narrative composition (change of narrators and point of view);
composition of details (correlation of details);
the ratio of narrative and description elements (portraits, landscapes, interiors, etc.)

Traditional compositional techniques:

repetitions and variations. They serve to highlight and accentuate the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated the historically early song lyrics, but also constituted its essence. Variations are altered repetitions (description of the squirrel in Pushkin's "The Tale of Tsar Saltan"). Strengthening the repetition is called gradation (the increasing claims of the old woman in Pushkin's "The Tale of the Fisherman and the Fish"). Repetitions also include anaphoras (monotony) and epiphores (repeating endings of stanzas);
co- and opposition. At the origins of this technique is figurative parallelism developed by Veselovsky. It is based on the conjugation of natural phenomena with human reality ("Creeps and winds / Silk grass in the meadow / Kisses, has mercy / Michael his wife"). For example, Chekhov's plays are based on comparisons of similarities, where the general life drama of the depicted environment prevails, where there are neither completely right nor completely guilty. Contrasts take place in fairy tales (the hero is a pest), in Griboyedov's Woe from Wit between Chatsky and 25 Fools, etc .;
“Silence / recognition, minus trick. The defaults are outside the detailed image. They make the text more compact, activate the imagination and increase the reader's interest in the depicted, sometimes intriguing him. In a number of cases, omissions are followed by clarification and direct detection of the hitherto hidden from the reader and / or the hero himself - what Aristotle calls recognition. Recognitions can complete a re-created series of events, as, for example, in the tragedy of Sophocles "Oedipus the king." But omissions may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant misunderstandings - minus devices.
mounting. In literary criticism, montage is the fixation of juxtapositions and contrasts that are not dictated by the logic of the depicted, but directly capture the author's train of thought and associations. A composition with such an active aspect is called editing. Spatio-temporal events and the characters themselves in this case are weakly or illogically connected, but everything depicted as a whole expresses the energy of the author's thought, his association. Editing beginning one way or another exists where there are inserted stories ("The Tale of Captain Kopeikin" in " Dead souls»), lyrical digressions("Eugene Onegin"), chronological rearrangements ("A Hero of Our Time"). The assembly structure corresponds to the vision of the world, which is versatile and wide.

ROLE AND SIGNIFICANCE OF ARTISTIC DETAILS IN A LITERARY WORK. RELATIONSHIP OF PARTS AS A COMPOSITIONAL RECEPTION.

An artistic detail is an expressive detail in a work that carries a significant semantic, ideological and emotional load. The figurative form of a literary work contains three sides: a system of details of subject depiction, a system of compositional techniques and a speech system. TO artistic detail usually include subject details - life, landscape, portrait.

Detailing objective world in literature is inevitable, since only with the help of details the author can recreate an object in all its features, evoking the necessary associations in the reader with details. Detailing is not decoration, but the essence of the image. The addition of mentally missing elements by the reader is called concretization (for example, the imagination of a certain human image, an image that is not given by the author with exhaustive certainty).

According to Andrey Borisovich Esin, there are three large groups of parts:

plot;
descriptive;
psychological.

The predominance of one type or another gives rise to the corresponding dominant property of the style: plot ("Taras and Bulba"), descriptiveness ("Dead Souls"), psychologism ("Crime and Punishment).

Details can both "agree with each other" and oppose each other, "argue" with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the ratio of detail and detail as follows: detail tends to singularity, detail acts in a multitude.

Dobin believes that by repeating and acquiring additional meanings, the detail grows into a symbol, and the detail is closer to the sign.

DESCRIPTIVE ELEMENTS OF THE COMPOSITION. PORTRAIT. LANDSCAPE. INTERIOR.

It is customary to refer to the descriptive elements of the composition as a landscape, an interior, a portrait, as well as characteristics of heroes, a story about their repeated, regularly repeated actions, habits (for example, a description of the usual daily routine of heroes in Gogol's "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich" ). The main criterion for a descriptive element of a composition is its static character.

Portrait. A portrait of a character is a description of his appearance: bodily, natural, and in particular age-related properties (facial and figure features, hair color), as well as everything in the appearance of a person that is formed by the social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

For traditional high genres, idealizing portraits are characteristic (for example, the Pole in Taras Bulba). The portraits in works of a comical, comedy-farcical nature had a completely different character, where the center of the portrait is the grotesque (transforming, leading to some ugliness, incongruity) presentation of the human body.

The role of a portrait in a work differs depending on the type and genre of literature. In the drama, the author is limited to indicating the age and general characteristics given in the remarks. In the lyrics, the technique of replacing the description of the appearance with an impression from it is used as much as possible. Such a replacement is often accompanied by the use of the epithets "beautiful", "adorable", "charming", "captivating", "incomparable". Comparisons and metaphors based on the abundance of nature are very actively used here (a slender camp - a cypress, a girl - a birch, a timid doe). Gems and metals are used to convey the shine and color of eyes, lips, hair. Comparisons with the sun, moon, gods are characteristic. In the epic, the appearance and behavior of the character are associated with his character. Early epic genres, for example heroic tales, are full of exaggerated examples of character and appearance - ideal courage, extraordinary physical strength. The behavior is also appropriate - the majesty of postures and gestures, the solemnity of unhurried speech.

In creating a portrait up to late XVIII v. the leading trend remained its conventional form, the prevalence of the general over the particular. V literature XIX v. two main types of portrait can be distinguished: expositional (tending to static) and dynamic (passing into the whole narrative).

The exposition portrait is based on a detailed listing of details of the face, figure, clothing, individual gestures and other features of appearance. It is given from the perspective of a narrator interested in specificity. external appearance representatives of any social community... A more complex modification of such a portrait is psychological picture, where features of appearance prevail, testifying to the properties of character and inner peace(not laughing eyes of Pechorin).

A dynamic portrait, instead of a detailed listing of outward features, presupposes a short, expressive detail that arises in the course of the narrative (the images of the heroes in The Queen of Spades).

Landscape. The landscape is most correct to understand the description of any open space. outside world... Landscape is optional artistic world, which emphasizes the conventionality of the latter, since landscapes are everywhere in the reality that surrounds us. The landscape carries several essential functions:

designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, the landscape is not a dry indication of the space-time parameters of the work, but artistic description using figurative, poetic language;
plot motivation. Natural, and, in particular, meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). Landscape also occupies a lot of place in animalistic literature (for example, the works of Bianchi);
form of psychologism. The landscape creates a psychological mood for the perception of the text, helps to reveal the inner state of the characters (for example, the role of the landscape in the sentimental "Poor Liza");
form of presence of the author. The author can show his patriotic feelings by giving the landscape national identity(for example, Yesenin's poetry).

The landscape has its own characteristics in different types of literature. In the drama, he is presented very sparingly. In the lyrics, he is emphatically expressive, often symbolic: personifications, metaphors and other tropes are widely used. In the epic, there are many more possibilities for introducing the landscape.

The literary landscape has a very ramified typology. Distinguish between rural and urban, steppe, marine, forest, mountainous, northern and southern, exotic - opposed to flora and fauna native land the author.

Interior. The interior, in contrast to the landscape, is an image of the interior, a description of a closed space. Used mainly for social and psychological characteristics characters, demonstrates the conditions of their life (Raskolnikov's room).

"NARRATIVE" COMPOSITION. NARRATOR, NARRATOR AND THEIR RELATIONSHIP WITH THE AUTHOR. "POINT OF VIEW" AS A CATEGORY OF NARRATIVE COMPOSITION.

The narrator is the one who informs the reader about the events and actions of the characters, fixes the course of time, depicts the appearance actors and the setting of the action, analyzes the inner state of the hero and the motives of his behavior, characterizes him human type, while not being either a participant in the events, or an object of the image for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann put it, "the weightless, disembodied and omnipresent spirit of storytelling." But the function of the narrator can be attached to the character, provided that the character as a narrator does not coincide at all with him as with the protagonist. So, for example, the narrator Grinev in “ Captain's daughter"- by no means a definite personality, in contrast to Grinev - the actor. Grinev's character's outlook on what is happening is limited by the conditions of place and time, including the characteristics of age and development; much deeper is his point of view as a narrator.

In contrast to the narrator, the narrator is entirely within the depicted reality. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator will certainly enter the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image associated with a certain socio-cultural environment, from the position of which he depicts other characters. The narrator, on the other hand, is close in his outlook to the author-creator.

V broad sense narration - the totality of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of "mediation" between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

In narrower and more precise, and also more traditional meaning, narration - a set of all speech fragments of a work containing a variety of messages: about the events and actions of the characters; about the spatial and temporal conditions in which the plot unfolds; about the relationship between the actors and the motives of their behavior, etc.

Despite the popularity of the term "point of view", its definition has raised and raises many questions. Let us consider two approaches to the classification of this concept - by B. A. Uspensky and by B. O. Korman.

Ouspensky talks about:

ideological point of view, understanding by it the vision of an object in the light of a certain perception of the world, which is transmitted different ways testifying to his individual and social position;
phraseological point of view, understanding by it the use of the author to describe different heroes a different language or, in general, elements of someone else's or substituted speech when describing;
to the spatio-temporal point of view, meaning by it the place of the narrator, which is fixed and determined in spatio-temporal coordinates, which may coincide with the place of the character;
point of view in terms of psychology, understanding by it the difference between two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is the psychological one.

Korman is closest to Ouspensky regarding a phraseological point of view, but he:

delimits the spatial (physical) and temporal (position in time) points of view;
divides the ideological and emotional point of view into direct-evaluative (open, lying on the surface of the text, the ratio of the subject of consciousness and the object of consciousness) and indirectly evaluative (the author's assessment, not expressed in words that have obvious evaluative meaning).

The disadvantage of Corman's approach is the absence of a "plan of psychology" in his system.

So, the point of view in a literary work is the position of the observer (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his outlook - both in terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing the perceived; on the other hand, it expresses the author's assessment of this subject and his horizons.

COMPOSITION OF LITERARY AND ARTISTIC WORKS. TRADITIONAL COMPOSITIONAL TECHNIQUES. DEFAULT / RECOGNITION, "MINUS" - RECEPTION, CO- AND CONTRADICTIONS. MOUNTING.

Elements and levels of composition:

plot (in the understanding of the formalists - artistically processed events);
system of characters (their relationship to each other);
narrative composition (change of narrators and point of view);
composition of details (correlation of details);
the ratio of narrative and description elements (portraits, landscapes, interiors, etc.)

Traditional compositional techniques:

repetitions and variations. They serve to highlight and accentuate the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated the historically early song lyrics, but also constituted its essence. Variations are altered repetitions (description of the squirrel in Pushkin's "The Tale of Tsar Saltan"). Strengthening the repetition is called gradation (the increasing claims of the old woman in Pushkin's "The Tale of the Fisherman and the Fish"). Repetitions also include anaphoras (monotony) and epiphores (repeating endings of stanzas);
co- and opposition. At the origins of this technique is figurative parallelism developed by Veselovsky. It is based on the conjugation of natural phenomena with human reality ("Creeps and winds / Silk grass in the meadow / Kisses, has mercy / Michael his wife"). For example, Chekhov's plays are based on comparisons of similarities, where the general life drama of the depicted environment prevails, where there are neither completely right nor completely guilty. Contrasts take place in fairy tales (the hero is a pest), in Griboyedov's Woe from Wit between Chatsky and 25 Fools, etc .;
“Silence / recognition, minus trick. The defaults are outside the detailed image. They make the text more compact, activate the imagination and increase the reader's interest in the depicted, sometimes intriguing him. In a number of cases, omissions are followed by clarification and direct detection of the hitherto hidden from the reader and / or the hero himself - what Aristotle calls recognition. Recognitions can complete a re-created series of events, as, for example, in the tragedy of Sophocles "Oedipus the king." But omissions may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant misunderstandings - minus devices.
mounting. In literary criticism, montage is the fixation of juxtapositions and contrasts that are not dictated by the logic of the depicted, but directly capture the author's train of thought and associations. A composition with such an active aspect is called editing. Spatio-temporal events and the characters themselves in this case are weakly or illogically connected, but everything depicted as a whole expresses the energy of the author's thought, his association. Editing beginning somehow exists where there are inserted stories ("The Tale of Captain Kopeikin" in "Dead Souls"), lyrical digressions ("Eugene Onegin"), chronological rearrangements ("A Hero of Our Time"). The assembly structure corresponds to the vision of the world, which is versatile and wide.

ROLE AND SIGNIFICANCE OF ARTISTIC DETAILS IN A LITERARY WORK. RELATIONSHIP OF PARTS AS A COMPOSITIONAL RECEPTION.

An artistic detail is an expressive detail in a work that carries a significant semantic, ideological and emotional load. The figurative form of a literary work contains three sides: a system of details of subject depiction, a system of compositional techniques and a speech system. Artistic details usually include subject details - everyday life, landscape, portrait.

The detailing of the objective world in literature is inevitable, since only with the help of details can the author recreate an object in all its features, evoking the necessary associations in the reader with details. Detailing is not decoration, but the essence of the image. The addition of mentally missing elements by the reader is called concretization (for example, the imagination of a certain human image, an image that is not given by the author with exhaustive certainty).

According to Andrey Borisovich Esin, there are three large groups of parts:

plot;
descriptive;
psychological.

The predominance of one type or another gives rise to the corresponding dominant property of the style: plot ("Taras and Bulba"), descriptiveness ("Dead Souls"), psychologism ("Crime and Punishment).

Dobin believes that by repeating and acquiring additional meanings, the detail grows into a symbol, and the detail is closer to the sign.

DESCRIPTIVE ELEMENTS OF THE COMPOSITION. PORTRAIT. LANDSCAPE. INTERIOR.

Portrait. A portrait of a character is a description of his appearance: bodily, natural, and in particular age-related properties (facial and figure features, hair color), as well as everything in a person's appearance that is formed by the social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

The role of a portrait in a work differs depending on the type and genre of literature. In the drama, the author confines himself to indicating the age and general characteristics given in the directions. In the lyrics, the technique of replacing the description of the appearance with an impression from it is used as much as possible. Such a replacement is often accompanied by the use of the epithets "beautiful", "adorable", "charming", "captivating", "incomparable". Comparisons and metaphors based on the abundance of nature are very actively used here (a slender camp - a cypress, a girl - a birch, a timid doe). Precious stones and metals are used to convey the shine and color of eyes, lips, hair. Comparisons with the sun, moon, gods are characteristic. In the epic, the appearance and behavior of the character are associated with his character. Early epic genres, such as heroic tales, are replete with exaggerated examples of character and appearance - perfect courage, extraordinary physical strength. The behavior is also appropriate - the majesty of postures and gestures, the solemnity of unhurried speech.

In the creation of a portrait until the end of the 18th century. the leading trend remained its conventional form, the prevalence of the general over the particular. In the literature of the XIX century. two main types of portrait can be distinguished: expositional (tending to static) and dynamic (passing into the whole narrative).

The exposition portrait is based on a detailed listing of details of the face, figure, clothing, individual gestures and other features of appearance. It is given on behalf of the narrator, who is interested in the specificity of the external appearance of representatives of some social community. A more complex modification of such a portrait is a psychological portrait, where external features prevail, indicating the properties of character and inner world (Pechorin's not laughing eyes).

Landscape. By landscape it is most correct to understand the description of any open space of the external world. Landscape is not an obligatory component of the artistic world, which emphasizes the conventionality of the latter, since landscapes are everywhere in the reality that surrounds us. The landscape carries several essential functions:

designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, a landscape is not a dry indication of the space-time parameters of a work, but an artistic description using a figurative, poetic language;
plot motivation. Natural, and, in particular, meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). Landscape also occupies a lot of place in animalistic literature (for example, the works of Bianchi);
form of psychologism. The landscape creates a psychological mood for the perception of the text, helps to reveal the inner state of the characters (for example, the role of the landscape in the sentimental "Poor Liza");
form of presence of the author. The author can show his patriotic feelings, giving the landscape a national identity (for example, Yesenin's poetry).

The literary landscape has a very ramified typology. Distinguish between rural and urban, steppe, marine, forest, mountainous, northern and southern, exotic - opposed to the flora and fauna of the author's native land.

Interior. The interior, in contrast to the landscape, is an image of the interior, a description of a closed space. It is used mainly for the social and psychological characteristics of the characters, demonstrates the conditions of their life (Raskolnikov's room).

"NARRATIVE" COMPOSITION. NARRATOR, NARRATOR AND THEIR RELATIONSHIP WITH THE AUTHOR. "POINT OF VIEW" AS A CATEGORY OF NARRATIVE COMPOSITION.

The narrator is the one that informs the reader about the events and actions of the characters, fixes the course of time, depicts the appearance of the characters and the setting of the action, analyzes the inner state of the hero and the motives of his behavior, characterizes his human type, without being either a participant in the events or the object of the image for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann put it, "the weightless, disembodied and omnipresent spirit of storytelling." But the function of the narrator can be attached to the character, provided that the character as a narrator does not coincide at all with him as with the protagonist. So, for example, the narrator Grinev in "The Captain's Daughter" is by no means a definite person, in contrast to Grinev - the character. Grinev's character's outlook on what is happening is limited by the conditions of place and time, including the characteristics of age and development; much deeper is his point of view as a narrator.

In a broad sense, narration is a set of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of "mediation" between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

In a narrower and more precise, as well as a more traditional sense, narration is the totality of all speech fragments of a work containing various messages: about the events and actions of the characters; about the spatial and temporal conditions in which the plot unfolds; about the relationship between the actors and the motives of their behavior, etc.

Ouspensky talks about:

an ideological point of view, understanding by it a vision of an object in the light of a certain worldview, which is conveyed in different ways, testifying to its individual and social position;
a phraseological point of view, understanding by it the use by the author to describe different characters of a different language or, in general, elements of someone else's or substituted speech in the description;
to the spatio-temporal point of view, meaning by it the place of the narrator, which is fixed and determined in spatio-temporal coordinates, which may coincide with the place of the character;
point of view in terms of psychology, understanding by it the difference between two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is the psychological one.

Korman is closest to Ouspensky regarding a phraseological point of view, but he:

delimits the spatial (physical) and temporal (position in time) points of view;
divides the ideological and emotional point of view into direct-evaluative (open, lying on the surface of the text, the ratio of the subject of consciousness and the object of consciousness) and indirectly evaluative (the author's assessment, not expressed in words that have obvious evaluative meaning).

The disadvantage of Corman's approach is the absence of a "plan of psychology" in his system.

Composition is an important component of organization art form, literary, visual, volumetric. The composition gives the work of integrity and unity, subordinates its elements to each other and correlates with overall design artist. More precise definition what a composition is depends on the sphere to which a particular work of art belongs. This can be the distribution of objects in space, the structure of the text, the ratio of volumes, colors, light and shadow.

What is composition in literature

In literature, the concept of composition means the construction of a literary work, the structure of its constituent parts, their sequence and system. But composition in literature is not just a sequence of scenes, chapters, sections, acts. This is a work system that includes all forms. artistic image used by the writer.

Parts of the composition in literature are: portraits, monologues and dialogues of heroes, author's and lyrical digressions, landscapes, descriptions, systems of images, plots and plots of works. Often, authors choose a cyclical structure or a spiral development of the plot for their works, and these are also constituent parts of the composition. For example, the composition "The Master and Margarita" by Mikhail Bulgakov is a novel in a novel. The main plot, which tells the reader about the story of the Master and his girlfriend, contains another story - the story of Yeshua Ha-Nozri and the procurator Pontius Pilate.

What is the composition of a work of fine art

Composition in fine arts- the most important organizing factor. The composition of a painting, sculpture, architectural creation gives it integrity, unity, unites all its elements in harmony, gives it content and character.

The composition creates a perfect form that brings harmony to the whole piece. For example, Leonardo da Vinci's work is unusually symmetrical “ The last supper". Moreover, the image on famous fresco balanced not only visually, but also in the plot itself, the images of the picture.

What is composition in photography

Composition for photography is a harmonious, balanced placement of objects in the frame. How often does a situation arise that the pictures of one photographer seem to us almost brilliant, and the pictures of the second evoke the feeling of hack-work or amateur work, although they depict the same cats and trees. More often than not, in this case, it’s all about a well or poorly chosen composition. There are the following compositional techniques for constructing the most successful photograph:

Conciseness

You should not throw all the most beautiful and interesting little things into the frame - the viewer's eye will get tired instantly. Pick one that is most important and impressive. In a photo in a gray boring building, such a detail can be a girl's red fluttering dress.

Golden ratio rule

The face and body of a person obeys the rule of da Vinci's "golden section", the same rule obeys all nature and a successful photograph of a photographer.

Guiding lines

Leading lines also matter a lot in the frame. Alternating similar sections will help add dynamics to the shot and direct the viewer's eye from one edge of the photo to another, more important one. For example, a frame from a combination of vertical stripes of massive columns and horizontal stripes of stair steps outlined by the sun will look good.

Equilibrium of elements

A person is used to feeling support under his feet and the absence of it, even in a photograph, will create an extremely uncomfortable feeling for him. The balance of light and shadow, color elements, objects in the photo - all this is important for the balance of the frame. A bad example of poise is a girl in the lower left corner facing the photographer. A good example there will be the same girl in the same corner, but with her face directed to the sky, where she soars balloon(top right corner of frame) is the same color as her dress.

Rhythm

Rhythm is also good for creating a dynamic frame. The alternation of light and shadow, colors, repeating elements - it can be anything for which your imagination is rich.