Interpretations of motive in modern literary review. Motive literary work
Introduction
Another state of the motive
A variety of motifs
Lead motif
The different meaning of "Motive"
Conclusion
Bibliography
Introduction
"Motive," everyone met this term in his life, many know its importance due to learning in music schools, but also this term is widely used in literary criticism. The motive varies in its definition, but what value he has in literary works. For people relevant to the study and analysis of literary works, it is necessary to know the value of the motive.
Motif (Fr. Motif, it. Motiv from Lat. Moveo - Motion) - term moving into literary studies from musicology. It is "the smallest independent unit of form of musical<…> Development is carried out by means of diverse repetitions of motive, as well as its transformations, the introduction of contrast motives<…> The motive structure embodies a logical connection in the structure of the work " 1. For the first time, the term was recorded in the "Music dictionary" S. De Chusar (1703). Analogies with music where this term is key when analyzing compositionworks help to understand the properties of the motive in the literary work: His definitionfrom the whole I. repeatabilityin the variety of variations.
The motive was the term for a number of scientific disciplines (psychology, lingopology, etc.), in particular literary studies, where it has a fairly wide range of meanings: there are a number of the theories of the motive, there are far from always consistent 2. The motive as a phenomenon of artistic literature is closely in contact and intersects with repetitions and their similarities, but they are far from being identical.
In literature, the concept of "motif" was used to characterize the compound parts of the plot, I.V. Goette and F. Schiller. The article "On Epic and Dramatic Poetry" (1797) was allocated motifs of five species: "Aspiring forward, which accelerate the action"; "The retreating, such that give the action from its purpose"; "Slowing, which delay the course of action"; "Addressed to the past"; "Failing to the future, anticipating what will happen in the following epochs" 3 .
The initial leading, the main importance of this literary term is amenable to definition with difficulty. Motive is component of works with increased significance(semantic saturation). A.A. The block wrote: "Any poem is a bedspread, stretched on the rally of several words. These words are glowing like stars. Because of them there is a work " 4. The same is legitimate to say about some words and items designated with them in novels, novels, dramas. They are motifs.
The motives are actively involved the topic and concepts (idea) of the work, but they are not exhausted. Being, according to B.N. Putylov, "Sustainable units", they are "characterized by increased, one can say, an exceptional degree of semiotic. Each motive has a steady set of values. " 5. The motive is somehow localized in the work, but at the same time is present in the forms of various. It can be a separate word or phrase, repeated and varying, or appear as something indicated by various lexical units, or perform in the form of a title or epigraph, or remain only guessing who went into the subtext. After resorting to allegory, let's say that the sphere of motifs make up the links of the work marked by internal, invisible italic, which is appropriate to feel and recognize the reader and literary analyst. The most important trait of the motive - his ability to be half-galized in the text, manifested in it incompletely and sometimes remain mysterious.
The concept of motive as the simplest narrative unit was first theoretically substantiated in the "Poets of Scevets" A.N. Veselovsky. He was interested in the advantage of repeatability of motives in narrative genres of different peoples. The motive performed as the basis of "legends", the "poetic language" inherited from the past: "under motivei understand the simplest narrative unit, figuratively responded to different requests of the primitive mind or domestic observation. With the similarity or unity of household and psychological conditionsat the first stages of human development, such motifs could be created independently and at the same time representing similar features " 6. Veselovsky considered the motifs the simplest formulas that could be born from different tribes independently of each other. "The sign of the motive is its shaped single schematism ..." (p. 301).
For example, an eclipse ("Sun kidnaps the sun"), the struggle of the inheritance brothers, the fight for the bride. The scientist tried to find out what motives could be born in the consciousness of primitive people based on the reflection of the conditions of their lives. He studied the prehistoric life of various tribes, their lives in poetic monuments. Acquaintance with the inchasual formulas led him to the thought that the motives themselves are not an act of creativity, they cannot be borrowed, the borrowed motives are difficult to distinguish from self-relieving.
Creativity, according to Veselovsky, was manifested primarily in the "Combinations of the motives", which gives one or another individual plot. To analyze the motive, the scientist used the formula: a + b. For example, "the evil old woman does not like beauty - and asks her a life-threatening task. Each part of the formula is capable of modifying, it is especially subject to increment B "(p. 301). So, the pursuit of the old woman is expressed in the tasks that she asks beauty. These tasks can be two, three and more. Therefore, the formula A + B may complicate: A + B + B 1 + b. 2. In the future, the combinations of motives were transformed into numerous compositions and became the basis of such narratives as tale, novel, poem.
The motive itself, according to Veselovsky, remained sustainable and indecomposable; various combinations of motifs make up plot. Unlike the motive, the plot could borrowgo from the people to the people to become stray. In the plot, each motive plays a certain role: it can be a major, secondary, episodic. Often the development of the same motive in different plots is repeated. Many traditional motifs can be deployed to entire plots, and traditional plots, on the contrary, "rolled" into one motive. Veselovsky noted the tendency of great poets with the help of "ingenious poetic instinct" to use plots and motives that have already been subjected to poetic processing. "They are somewhere in the deaf dark area of \u200b\u200bour consciousness, as much experienced and experienced, apparently, forgotten and suddenly striking us, as an incomprehensible revelation, as novelty and together an older in which we do not give yourself a report, because it is often not able to Determine the essences of that mental act that the old memories have been negatively updated in us "(p. 70).
Motives can act either as an aspect of individual works and their cycles, as a link to their construction, or as the property of the entire creativity of the writer and even whole genres, directions, literary epos, worldwide literature as such. In this nadindividual side, they constitute one of the most important objects of historical poetics5 .
Over the past decades, the motives have become actively agreed with individual creative experience, regarded as the property of individual writers and works. This, in particular, is evidenced by the experience of studying poetry M.Yu. Lermontov7 .
In the understanding of Veselovsky, the creative activity of the writer's fantasy is not an arbitrary game "Live paintings" of a real or fictional life. The writer thinks motives, and each motive has a steady set of values, partly embedded in it genetically, in part that were in the course of a long historical life.
Another state of the motive
The position of Veselovsky about the motive as an indecomposable and sustainable unit of narration was revised in the 1920s. "A specific dislaring of the Veselovsky term" motif "is currently no longer applied, - W. Pripppe wrote. - According to the Veselovsky motive, there is an undetended unit of narration.<…> However, the motives that he leads as examples are laid out. " 8. Prippet demonstrates the expansion of the motive "Snake kidnits the daughter of the king." "This motive decomposes on 4 elements, of which each can vary separately. Snakes can be replaced by blazing, swirl, feature, falcon, sorcerer. The abduction can be replaced by vampirism and various actions that disappear is achieved in the fairy tale. Daughter can be replaced by sister, bride, wife, mother. The king can be replaced by the royal son, a peasant, pop. Thus, in spite of Veselovsky, we must argue that the motive is not universal, not indecomposable. The last decomposable unit as such is not a logical whole (and according to the Veselovsky motive and on the origin of the primary plot), we will subsequently have to solve the task of allocating some primary elements otherwise than Melovsky does this (p. 22).
These "primary elements" propppe considers functions of acting persons. "Under the function is understood as the act of an existing person, determined from the point of view of its significance for the action of action"(p. 30-31). Functions are repeated, they can be counted; All functions are distributed on acting persons so that seven "circles of action" can be distinguished and, respectively, seven characters type: pest, donator, assistant, desired character, sender, hero, false hero (p. 88-89).
On the analysis of the analysis of 100 magic fairy tales from the collection of A.N. Afanasyev "Russian folk fairy tales" V. propppe allocated 31 function, within which the action develops. Such, in particular: absence ("One of the family members is offended from the house"), locked("To the hero is treated with the ban"), his violationetc. A detailed analysis of a hundred fairy tales with different plots shows that "the sequence of functions is always the same" and that "all the magic fairy tales of the same type in its structure" (p. 31, 33) at the apparent diversity.
The point of view of Veselovsky challenged other scientists. After all, the motives were born not only in the primitive era, but later. "It is important to find such a definition of this term," A. Bem wrote, "which would have given the opportunity to allocate in any product, both deep antiquity and modern." According to A. Bem, "the motive is the limit stage of the artistic distraction from the specific content of the work, fixed in the simplest verbal formula" 9. As an example, the scientist leads a motive that combines three works: the poems "Caucasian captive" Pushkin, "Caucasian captive" Lermontov and the story "Atala" Shatubrian, is the love of alien to the prisoner; Proving motif: the liberation of the captive is alien, or a good or unsuccessful. And as the development of the initial motive - the death of the heroine.
Of particular difficulty is the allocation of motifs in the literature of the last centuries. A variety of motifs, a complex functional load requires special scrupulsity when studying them.
The motive is often considered as a category. comparative historical literary studies. Revealed motifs that have very ancient origins leading to primitive consciousness and at the same time have developed in the conditions of high civilization of different countries. These are the motives of the prodigal son, the proud king, a contract with the devil, etc.
A variety of motifs
motive narrative literature
In the literature of different eras, there are many functions mythologicalmotifs. Constantly updating in different historical and literary contexts, at the same time retain their semantic essence. For example, the motive of the conscious death of the hero because of a woman passes through many works of the XIX-XX centuries. Weer suicide in the novel of the "suffering of a young verte" Goethe, the death of Vladimir Lensky in the novel by Pushkin "Evgeny Onegin", the death of Romashov in the novel of the Kukrin "Duel". Apparently, this motive can be viewed as a transformation of a deep antiquity of the Motiva allocated in the poetic creativity: "Fight for the bride."
Motives can not only Scene, but also descriptive, lyricalnot only intertectual(Veselovsky has in mind just such), but also internally. You can talk about badgemotive - both in his repeatability from text to text and inside one text. In modern literature, the term "motif" is used in different methodological contexts and with different purposes, which largely explains the discrepancy in the interpretation of the concept, its most important properties.
The generally accepted indicator of the motive is its repeatability. "... in the role of motive in the work can act," said B. Gasparov, - any phenomenon, any semantic "spot" - an event, character trait, element of the landscape, any item, uttered word, paint, sound, etc.; The only thing that determines the motive is its reproduction in the text, so in contrast to the traditional storytelling, where more or less or less determined, which can be considered discrete components ("characters" or "events"), there is no specified "alphabet "- It is formed directly in the deployment of the structure and through the structure" 10 .
For example, in the novel V. Nabokova "feat" you can select the motifs of the sea, flashering lights, paths leaving in the forest.
In the same novel, another motive - the alien of the hero of the world around the world - determines the development of the plot, contributes to the clarification of the main idea. And if in the "feat" the motive of alienity is limited to extension ("the choice is not free<…> There is one thing that he is obliged, he is the exile, doomed to live outside the native home "), then in other works of Nabokov, it is gaining more widespread value and can be determined as a motive of alien hero of the hero of the vulgarity and the order of the surrounding world (" Dar "," Protect , "True life of Sebastian Knight" and others).
One of the motifs of the Tolstsky novel-epic "War and Peace" - spiritual softenness, often conjugate with the feelings of gratitude and humility of fate, with mongings and tears, the main thing - the margin of some higher, entangle the moments of the life of heroes. Recall the episodes when the old prince Bolkonsky finds out about the death of daughter-in-law; The wounded prince Andrei in Mytishchi. Pierre after a conversation with Natasha, who feels irreparably guilty of the prince Andrey, experiencing some kind of special mental lift: he says about him, Pierre, "bloomed to a new life, softened and encouraged." And after the captivity of the little days, Natasha about the last days of Andrei Bolkonsky: "So he calmed down? Softened? "
Almost the central motive of "Master and Margarita" MA Bulgakova - light coming from the full moon, disturbing, exciting, painful. This light is somehow "hurts" a number of characters of the novel. It is primarily connected with the idea of \u200b\u200bthe torment of conscience - with the appearance and fate once scared for his "career" Pontius Pilate.
In the block cycle "Carmen", the Motive function performs the word "treason". It captures poetic and at the same time tragic spiritual element. The world of progress is associated with the "buzz of the Gypsy Passions" and the departure from the debris, conjugates with an inexplicable feeling of sadness, with the "black and wild fate" of the poet, and at the same time - with a child of limitless freedom, free flight "without orbits": "This is Music Mystery Change? / This is a heart in captivity of Carmen? "
One of the most important motives of creativity B.L. Pasternak - face,which the poet saw not only in the preserved loyalty to themselves, but also in nature and the highest strength of being 11. This motive became the leading theme of the poet and the expression of his moral Credo. Recall the latest storm of the poem "Being famous ugly ...":
And must not a single slicker
Do not back out
But be alive, alive and only
Alive and only - to the end.
Lead motif
The leading motive in one or in many works of the writer can be determined as leitmotif. Sometimes they say about the leitmotif of any creative direction (Leitmotiv; the term was introduced into use by musicians, researchers of creativity R. Wagner). It usually becomes an expressive-emotional basis for embodiment of the idea of \u200b\u200bthe work. Leitmotive can be considered at the level of the topic, figurative structure and intonational-sound design of the work. For example, through the entire Piese A.P. Chekhov "Cherry Garden" passes the motive of a cherry garden as a symbol of home, beauty, and stability of life. This leitmotif sounds in the dialogues, and in the memories of heroes, and in the author's remarks: "Already May, cherry trees bloom, but in the garden it is cold, the matinee" (d. 1): "Look, the late mom goes in the garden ... in a white dress ! " (1, Ranevskaya); "Come to watch everything like Yermolai Lopakhin is enough for an ax on the Cherry Garden, how trees will fall on Earth!" (3, Lopahin).
You can talk about a special role as a leitmotif, and the motive in organizing the second, secret point of the work, in other words - subtext, underwater flow. The leitmotif of many dramatic and epic works of Chekhov is phrase: "Life disappeared!" ("Uncle Vanya", d. 3, Vozyitsky).
Special "relationships" associate the motive and leitmotif with topic Works. In the 20s, the thematic approach to the study of the motive was established. "Episodes are disintegrated into even smaller parts describing individual actions, events or things. Themes of such small parts of the work that can no longer be crushed, called motis"," Wrote B. Tomashevsky 12. The motive can be viewed as the development, expansion and deepening of the main topic. For example, the topic of the story F.M. Dostoevsky "Double" is the split personality of the poor official of Golyadkin, trying to establish in his rejected society with the help of his confident and arrogant "twin". As the main topic is deployed, the motives of loneliness, non-accuracy, hopeless love, "misconceptions" of the hero with the surrounding life are arisen. The leitmotif of the whole of the story can be considered the motive of the fatal doomes of the hero, despite its desperate resistance to circumstances.
In modern literature, there is a tendency to consider the artistic system of work in terms of leitmotive construction: "The main technique that determines the entire semantic structure of the" Master and Margarita "and at the same time having a broader general value, it seems to us the principle leitmotive construction narration. This is meant by such a principle in which some motive, once occurring, is repeated then many times, acting every time in a new version, new outlines and in all new combinations with other motifs »13 .
IN lyricalthe work of the motive is primarily a repeating complex of senses and ideas. But individual motifs in the lyrics are much more independent than in the epic and drama, where they are subordinate to the development of action. "The task of a lyric work is a comparison of individual motives and verbal images that makes the impression of artistic constructing of thought" 14. Brighter in the motive, the repeatability of psychological experiences is put forward:
For the year, day, number.
Make a lonely with a sheet of paper I,
Create enlightened by the suffering of words
Inhabitant magic!
Heart robbed,
All his deprivation
Intrusted my soul in my nonsense,
Accept my gift, dear,
More I may not come up with anything.
(V. Mayakovsky. "Flute-Spine")
So the motive of hopeless suffering is developing due to unrequited love, permitted in creativity.
Sometimes the creativity of the poet as a whole can be considered as interaction, the ratio of motives. For example, in Poetry, Lermontov allocate the motives of freedom, will, actions and the feat, extension, memory and oblivion, time and eternity, love, death, fate, etc. "Loneliness is a motive that permeates almost all creativity and expressing the mind of the poet. It is at the same time the motive, and through, the central theme of its poetry, starting with youthful poems and ending with the subsequent<…> No one of the Russian poets did not grow this motive into such a comprehensive image as Lermontov "15 .
The same motive to get different symbolic Values \u200b\u200bin lyrical works of different eras, emphasizing the proximity and at the same time originality of poets: cf. The motive of the road in the lyrical deviations of Gogol in the poem "Dead Souls" and in the poem "demons" of Pushkin, "Rodina" Lermontov and Troika Nekrasov, "Rus" Yesenin and "Russia" of the block, etc.
The different meaning of "Motive"
Note that the term "motif" is used in a somewhat different meaning than what we rely. So, the motives often call the themes and problems of the writer's creativity (for example, the moral revival of a person; the alogyrism of the existence of people). In modern literary criticism there is also an idea of \u200b\u200bthe motive as a "extrastructural" beginning - as about the property of not the text and its creator, and no limited thought of the interpreter of the work. The properties of the motive, claims B.M. Gasparov, "Grow every time re-in the process of the analysis" - depending on which contexts of the writer's creativity drawn a scientist. So understandable, the motive is comprehended as a "main analysis unit", - analysis, which "fundamentally refuses the concepts of fixed blocks of a structure that has an objectively specified function in building text" 16 .
Conclusion
But whatever semantic tones are given in literary criticism to the word "motive", remain self-evident insecificant significance and the true relevance of this term, which fixes first of all the actual face of literary works.
bibliography
1.Music encyclopedic dictionary. M., 1990. P. 357.
2.See: Silantyev I.V. Motive theory in domestic literary studies and folklore. Essay of historiography. Novosibirsk, 1999; He is Motive in the system of artistic narration. Problems of theory and analysis. Novosibirsk, 2001.
.Götte I.V. About art. M., 1957. P. 351.
.Block A.A. Notebooks. 1901-1920. P. 84.
.Putilov B.N. Veselovsky and problems of folk motif // Legacy of Alexander Veselovsky: research and materials. St. Petersburg., 1992. P. 84, 382-383.
.Veselovsky A.N. Historical poetics. M., 1989. P. 305. (Next, when quoting this edition, Pages are specified in the text.)
.See articles under the heading "Motive" in: Lermontovskaya Encyclopedia. M., 1981. We note that the topics that were embodied in them were considerable attention to the lectures M.M. Bakhtina (1922-1927), especially when contacting the poetry of the Silver Age. See: Lecture records M.M. Bakhtin on the history of Russian literature. Records R.M. Mirkina // Bakhtin M.M. Cathedral So.: at 7 t. M., 2000. T. 2. P. 213-427.
.Propp V.Ya. Morphology fairy tale. L., 1928. P. 21-22. (Next, when quoting this edition, pages are specified in the text.).
.BEM A. To understanding historical and literary concepts // Izvestia / Oysh Aclaught. 1918. T. 23. KN. 1. P. 231.
10.Gasparov B.M. Literature leitmotifs: Essays of Russian literature of the twentieth century. M., 1994. P. 30-31.
11.See: Priyayar J. "Face" and "Personality" in the works of Boris Pasternak (per. With fr.) // Pasternak readings. Vol. 2. M., 1998.
.Tomashevsky B. Poetics: short course. M., 1996. P. 71.
.Gasparov B.M. Literature leitmotifs. P. 30.
.Tomashevsky B. Poetics. P. 108.
.Schemuelieva L.M., Korovin V.I., Peskov A.M, Turbin V.N. Motifs of Poetry Lermontov // Lermontovsky Encyclopedia. M., 1981. (P. 290-312)
.Gasparov B.M. Literature leitmotifs. M., 1994. P. 301.
.Introduction to literary studies. Literary Work: Basic Concepts and Terms: Uch. Manual / Ed. L.V. Chernets. - M.: Higher School; "Academy", 1999. - 556 p.
.Khalizhev V.E. Theory of literature. M., 2007. - 405 p.
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Belongs to the responsible place and in science of literature. It is rooted hardly in all new European languages, goes back to the Latin verb MOVEO (moving) and now has a very wide range of meanings.
The initial leading, the main importance of this literary term is amenable to definition with difficulty. Motive is component of works with increased significance (semantic saturation). He is actively involved in the topic and concept (idea) of the work, but they are not identical. Being, according to B.N. Putylov, "Sustainable semantic units", motifs "are characterized by increased, one can be said by an exceptional degree of semioticity. Each motive has a steady set of values. " The motive is somehow localized in the work, but at the same time is present in the forms of various. It can be a separate word or phrase, repeated and varying, or appear as something indicated by various lexical units, or perform in the form of a title or epigraph, or remain only guessing who went into the subtext. Resorting to allegory, it is legitimate to argue that the sphere of motifs make up the links of the work marked by internal, invisible italic, which is appropriate to feel and recognize the reader and literary analyst. The most important trait of the motive is its ability to be half-galized in the text, manifested in it incompletely, mysterious.
The motives can act either as an aspect of individual works and their cycles, as the link of their construction, or as the property of the entire creativity of the writer and even whole genres, directions, literary eras, worldwide literature as such. In this nadaindividual side, they constitute one of the most important items of historical poetics (see p. 372-373).
Starting from the turn of the XIX-XX centuries., The term "motif" is widely used in the study of plots, especially historically early, folklore. So, A.N. Veselovsky in his unfinished "Point Pointers" spoke about the motive as the simplest, indivisible unit of narration, as a repeating schematic formula, which is based on the basis of plots (original - myth and fairy tales). Such, the examples of the motifs scientist, the abduction of the sun or beauty, is withered in the source water, etc. The motives are not so much correlated here with individual works, as we consider as the general property of verbal art. The motives, in Veselovsky, are historically stable and infinitely repeatable. In cautious, presumptive form, the scientist claimed: "... Whether the poetic creativity is not limited to certain certain formulas, sustainable motives, which one generation took from the previous one, and this is from the third<...>? Each new poetic era does not work over the insxt to the visissants, be sure to rotate in their borders, allowing himself only new combinations of old and only filling them<...> new understanding of life<...>? " Based on the reason for the motive as the primary element of the plot, ascending to Veselovsky, scientists of the Siberian branch of the Russian Academy of Sciences are currently working on the compilation of the dictionary of the plots and the motives of Russian literature.
Over the past decades, the motives began to actively relate to individual creative experience,
as the heritage of individual writers and works. This, in particular, is evidenced by the experience of studying poetry M.Yu. Lermontov.
Attention to the reasons, melting in literary works, makes it possible to understand more and deeper. So, some "peak" moments of incarnation of the author's concept in the famous story I.A. Bunin on a suddenly broken lifestyle of a charming girl is "light breathing" (the phrase, which has become titled), ease as such, as well as repeatedly mentioned cold. These deeply interconnected motifs are hardly the most important compositional "scrapers" of the Buninskaya masterpiece and at the same time - the expression of the philosophical presentation of the writer about being and the place in it in it. The cold accompanies Oly Meshcherskaya not only in winter, but in the summer; He reigns in the episodes deploying the plot depicting the graveyard in early spring. These motives are connected in the last phrase of the story: "Now it is light breathing again scattered in the world, in this cloudy sky, in this cold spring wind."
One of the motifs of the Tolstsky novel-epic "War and Peace" - spiritual softenness, often conjugate with the feelings of gratitude and humility of fate, with mongings and tears, the main thing - the margin of some higher, entangle the moments of the life of heroes. Recall the episodes when the old prince Volkonsky learns about the death of daughter-in-law; The wounded prince Andrei in Mytishchi. Pierre after a conversation with Natasha, who feels irreparably guilty to Prince Andrey, experiencing some kind of special mental lift. And here it is said about him, Pierre, "blossomed to a new life, softened and encouraged soul." And after the captivity of the little days, Natasha about the last days of Andrei Bolkonsky: "So he calmed down? Softened? "
Almost the central motive of "Master and Margarita" MA Bulgakova - light coming from the full moon, disturbing, exciting, painful. This light is somehow "hurts" a number of characters of the novel. It is connected primarily with the idea of \u200b\u200bthe torment of conscience - with the appearance and fate of Pitti Pilate who was frightened for his "career".
For lyrical poetry characteristic wonderful motives. A.A. The block wrote: "Any poem is a bedspread, stretched on the rally of several words. These words are glowing like stars. Because of them there is a poem. " So, in the block poem "Worlds fly" (1912) support (key) turns out to be flight, colorless and crazy; accompanying his ringing, annoying and buzzing; tiredimmersed in the darkness of the soul; and (in contrast with all this) unattainable, in vain happiness.
In the CARMAR block cycle, the Motive function performs the word "treason". This word captures the poetic and at the same time the tragic spiritual element. The Most of Treasure is associated with the "buzz of the Gypsy Passions" and the departure from the debris, conjugates with an inexplicable feeling of sadness, the "black and wild fate" of the poet, and instead of the "without orbit" with a frequency freedom, free flight: "This is music Secrets added? / Is it a heart in captivity of Carmen? "
Note that the term "motif" is used in another meaning than what we rely on. So, the motives often call the themes and problems of the writer's creativity (for example, the moral revival of a person; the alogyrism of the existence of people). In modern literary criticism there is also an idea of \u200b\u200bthe motive as a "extrastructural" beginning - as about the property of not the text and its creator, and no limited thought of the interpreter of the work. The properties of the motive, claims B.M. Gasparov, "Grow every time re-in the process of the analysis" - depending on which contexts of the writer's creativity drawn a scientist. So understandable the motive is comprehended as a "main analysis unit", - analysis, which "fundamentally refuses the concept of fixed structural blocks that have an objectively specified function in building text." This approach to literature, as ML noted. Gasparov, allowed A. K. Zholkovsky in the book "Wandering Dreams" to offer readers a number of "brilliant and paradoxical interpretations of Pushkin through Brodsky and Gogol through Sokolov".
But whatever semantic tones are attached to the word "motive" in the literary criticism, they remain self-evident in the urgent importance and the true relevance of this term, which fixes actually (objectively) an existing facet of literary works.
Cm.: HOLOPOVA V. A.. Music themed. M., 1983.
Putilov B.N. Veselovsky and problems of folk motif // Legacy of Alexander Veselovsky: research and materials. St. Petersburg., 1992. P. 84.
Cm.: Veselovsky A.N.. Historical poetics. P. 301.
Veselovsky A.N.. Historical poetics. P. 40.
See: From the plot to the motive. Novosibirsk, 1996; The plot and motive in the context of tradition. Novosibirsk, 1998; Tyu V.I.. Abstracts to the dictionary of the dictionary of the motifs // discourse. № 2. Novosibirsk, 1996.
See articles under the heading "Motive" in: Lermontovskaya Encyclopedia. M., 1981.
Block A.A. Notebooks. 1901-1920. P. 84.
Gasparov B.M.. Literature leitmotifs. M., 1994. P. 301.
Gasparov M.L.. Preface // Jolkovsky A.K., Scheglov Yu.K. Works on the poetics of expressiveness. P. 5.
I. Claw
Subject
1) Sierotwiński S.
“Subject. The subject of processing, the main idea, developed in the literary work or scientific discussion.
The main theme of the work. The main substantive moment in the work, which is the basis of the design of the image of the world (eg, the interpretation of the most common foundations of the ideological meaning of the work, in the head of the work - the fate of the hero, in the dramatic - the essence of the conflict, in lyric-dominant motives, etc.).
Minor theme of the work. The topic of the part of the work subordinate to the main topic. The theme of the smallest meaningable integrity, which was able to divide the work, is called the motive "(S. 278).
2) Wilpert G. von.
“Subject (Greek - alleged), the main leading thought of the work; In a certain development of the subject discussed. Generally accepted in special. Literature concept in German terminology stories of material(Stoffgeschichte), which distinguishes only the material (STOFF) and the motive, unlike the English. And Franz., Not yet entered. It is proposed for the motives of such an extent of the abstractness that they do not make in themselves grain actions: tolerance, humanity, honor, wine, freedom, identity, mercy, etc. " (S. 942-943).
3) Dictionary of literary terms.
but) Zundelovich I. Subject. Stlb. 927-929.
“Subject - The main idea, the main sound of the work. Introducing the indecomposable emotional-intellectual kernel, which the poet everybody seems to be trying to decompose, the concept of the topic is not covered by the T. N. content. The theme in the broad sense of the word is the holistic image of the world, which determines the poetic world of the artist.<...> But depending on the material through which this image is refracted, we have that other reflection, that is, one or another idea (a specific topic), which is determined by this work. "
b) Eyhengolts M. Topics. Stlb. 929-937.
“Topic - A combination of literary phenomena constituting the subject-sessional moment of the poetic work. The definition is subject to the following associated with the concept of the subject, the terms, theme, motive, plot, the Fabul artistic and literary work. "
4) Abramovich G.. Topic // Dictionary of Literary Terms. P. 405-406.
“Subject<...> what is based on the main idea of \u200b\u200bthe literary work, the main problem set in it by the writer. "
5) Maslovsky V.I.Theme // LES. P. 437.
“Subject<...>, Circle of events forming the life foundation of epich. Or dramatically. . And at the same time employees for the formulation of philos., social, ethic. and others. ideological. problems. "
Motive
1) Sierotwiński S. Słownik Terminów Literackich. S. 161.
“Motive. The theme of one of the smallest meaningful integers, distinguished when analyzing the work. "
“Motive dynamic.The motive accompanying the change in the situation (part of the action), the opposite of static motif ".
“The motive is free.The motive not included in the system of causal fabul, the opposite of the motive associated. "
2) Wilpert G. von. Sachwörterbuch der Literatur.
“Motive(LAT. .
motivus -prompting)<...> 3. Content-structural unity as typical., Performed the value situation that covers common thematic representations (in anti-defined and decorated through concrete features material
3) Mölk U. Motiv, Stoff, Thema // Das Fischer Lexicon. Literatur. B. 2.
"The name that the interpreter gives it to the motive identifiable to them affects his work, indifferently wants to make an inventory of the motives of a certain body of texts or plans an analytical study of the motives of a separate text, comparative or historical study. Sometimes the motive formulas widespread in a certain era hide the fact that they bring completely different phenomena: "ange-femme" (Woman Angel) means, for example, in the French romance, both a beloved beloved angel and an angel of female; Only if you identify both phenomena as two different motifs, get the premise for further understanding. How significant the consequences can have their own name when identifying motive, shows an example of a question, whether the "simple heart" of Flaubert talk about "woman and parrot" or about "woman and bird"; Here, only a wider designation opens the interpreter of the eye to certain values \u200b\u200band their options, but not more narrow "(S. 1328).
4) Barnet S., Berman M., Burto W. Dictionary of Literary, Dramanatic and Cinematic Terms. Boston, 1971.
“Motive - Repeated word, phrase, situation, subject or idea. Most often, the term "motif" is used to designate the situation, which is repeated in various literary works, for example, the motive of rapidly enrichment of the poor man. However, the motive (in the value of "leitmotif" from the German "leading motif") may occur inside a separate work: it can be any repetition that contributes to the integrity of the work, causing the previous mention of this element and everything that has been connected with it "(P . 71).
5) Dictionary of World Literary Terms / by J. Shipley.
“Motive. Word or thought model, repeated in the same situations or in order to cause a certain mood within one product, or in various works of one genre "(p. 204).
6) The Longman Dictionary of Poetic Terms / by J. Myers, M. SIMMS.
“Motive (From the Latin "move"; it can also be denoted as "TOPOS") - the topic, an image or a character that develops with various nuances and repetitions "(p. 198).
7) Dictionary of Literary Terms / by H. Shaw.
“Leitmotif. The German term, literally meaning the "leading motive". It means or motive, associated with a certain situation, acting or idea, associated with a musical drama. The term is often used to designate the main impression, the central image or a repeating topic in the artistic work, such as "practicing" in the "autobiography" of Franklin or the "revolutionary spirit" of Thomas Paene "(p. 218-219).
8) Good by D. Motive // \u200b\u200bDictionary of Literary Terms. T. 1. Stlb. 466 - 467.
“M. (From MOVEO - moving, bring in motion), in the broad sense of the word, is the main psychological or figurative grain, which underlies each artistic work. " "... C Theme coincides the main from the motives. So, for example, the theme of the "War and Peace" of Lev Tolstoy is the motive of historical rock, which does not interfere with the parallel development in the novel of a number of others, often only remotely conjugates with the theme of side motives (for example. The motive of the truth of the collective consciousness is Pierre and Karataev. ..) ". "The whole totality of motives that are part of this artwork forms what is called plot his".
9) Zakharkin A. Motive // \u200b\u200bDictionary of Literary Terms. P.226-227.
“M.. (from Franz. Motif - melody, entanglement) - emerging the term denoting the minimum significant component of the narrative, the simplest component of the plot of the artistic work. "
10) Chudakov A.P. Motive. CLE. T. 4. Stlb. 995.
“M.. (Franz. Motif, from Lat. Motivus - mobile) - the simplest meaningful (meaningful) unit of art. Text B. myfe and fairy tale; The basis on which by the development of one of the members of M. (A + B turns into A + B1 + B2 + B3) or a combination of several. Motifs grow plot (Fabul), representing a greater step of generalization. " "In applied to art. Lit-re new time M. Most often is called distracted from specific parts and schematically expressed in the simplest verbal formula. The presentation of the content of the work of the work involved in the creation of the Faba (plot). The content of M. itself, for example, the death of the hero or a walk, buying a gun or buy a pencil, does not speak of its significance. The scale of M. depends on his role in the Fabule (OWN and secondary M.). OSN. M. Relatively stable (love triangle, treason - revenge), but the similarity or borrowing of M. can only be spoken only at the plot level - with the coincidence of the combination of many secondary M. and the methods of their development. "
11) Unnubkin L.K., Schemuelieva L.M.Motive // \u200b\u200bLES. P. 230:
“M.. (it. Motive, Franz. Motif, from Lat. Moveo - MOVE), Sustainable formal-contain. Component lit. text; M. Can be allocated as within one or several. . writer (eg, a certain cycle) and in the complex of all its creativity, as well as K.L. Lit. Directions or the whole era. "
"Strict value The term" M. " Gets when it contains elements of symbolization (road N.V. Gogol, Garden in Chekhov, Desert at M.Yu. Lermmon-Good<...>). The motive, since., Unlike the topic, has a direct verbal (and subject) consolidation in the text itself; In poetry, its criterion in most cases is the presence of a key, supporting word carrying a special semantic load (smoke in Tyutchev, expanding - from Lermontov). In lyrics<...> The circle of M. is most clearly expressed and determined, so the study of M. in poetry can be especially fruitful.
For narutter. and dramatic. works, more saturated with action, are characterized by scene m.; Many of them have a historic. Universality and repeatability: recognition and insight, testing and retribution (punishment). "
II. Tutorials, Tutorials
1) Tomashevsky B.V.Theory of literature. Poetics. (Topic).
"The topic (as stated) is the unity of the values \u200b\u200bof individual elements of works. You can say both about the topic of the whole work and about the themes of individual parts. The topic has every work written by a language with a value.<...> In order for the verbal design to represent a single work, it should have a unifying the theme dropping throughout the work. " "... the theme of the artwork is usually emotionally painted, i.e. it causes a sense of indignation or sympathy, and is being developed in the estimated plan" (p. 176-178).
"The concept of the topic is a concept summating, uniting verbal material of the work.<...> The discharge from the work of parts uniting each part is particularly thematic unity, is called the decomposition of the work.<...> By such decomposition of the work on thematic parts, we finally redeem independent, To the smallest frains of thematic material.<...> The topic of an indecomposable part of the work is called motive <...> From this point of view, Fabuli is a totality of motives in their logical causal communication, the plot is a combination of the same motives in the same sequence and communications in which they are given in the work.<...> With a simple retelling of the fabul of the work, we immediately discover that you can lower <...> Disconnected motifs are called connected; motives that can be eliminated without disturbing the integrity of the causal time of events are free ". "Motives that change the situation are dynamic motivesthe motives that do not change situations - static motifs"(P. 182-184).
2) Introduction to literary studies / ed. G.N. Pospelova. GL IX. General properties of the form of epic and dramatic works.<Пункт> Scenes are chronic and concentric (author - V.E. Khalizhev).
"The events constituting the plot can relate to each other. In some cases, they are with each other only in the time of communication (b happened after a). In other cases, between events, in addition to temporary, there are also causal relationships (b due to a). So, in the phrase The king died, and the queen diedrestal communication of the first type. In the same phrase The king died and the queen died from griefbefore us is the connection of the second type.
Accordingly, there are two varieties of plots. Plots with a predominance of pure temporal connections between events are cHRONIC.Plots with the predominance of causal relationships between events are called plots of unified action, or concentric"(P. 171-172).
3) Grekin V.A.Sensual image and literary work.
"The topic is usually referred to as a circle of reality phenomena incarnated by the writer. This is the simplest, but also a comma defiance as it will push us to think that the theme is entirely located behind the drawing of artistic creation, staying in the reality itself. If this is true, then only partly. The most significant is that this is a circle of phenomena, which has already touched an artistic thought. They became the subject of choice. And this is the most important thing, even if this choice is still, perhaps, and is not associated with the idea of \u200b\u200ba particular work "(p. 103-104).
"The focus of the selection of the topic is determined not only by the individual preferences of the artist and its life experience, but also the total atmosphere of the literary era, the aesthetic addictions of literary areas and schools<...> Finally, the choice of the topic is due to horizons of the genre, if not in all kinds of literature, then in any case in the lyrics "(p. 107-109).
III. Special studies
Motive , tepesMature
1) Veselovsky A.N.Poetics of plots // Veselovsky A.N.Historical poetics.
"The word" storystone "requires the nearest definition<...> It is necessary to grow in advance what to say under the plot, to distinguish the motive from the plot as a complex of motifs. "
"Under motive I understand the formula that answered at the first time of the public to questions that Nature set a person everywhere, or fixed especially bright seemed especially important or repeatedly impressed with reality. Sign of motive - its shaped single schematism; Such are the increasing further elements of the lower mythology and fairy tales: someone abducts the sun<...> Marriages with beasts, transformations, the evil old woman nominates beauty, or someone abducts it and it has to be mined by force and dexterity, etc. "(p. 301).
2) Propp V.Ya. Morphology fairy tale.
"Frost acts otherwise than Baba Yaga. But the function as such, there is a permanent value. To study the fairy tale is important whatdo fabulous characters, and the question whodoes I. asmakes - these are the questions just bringing learning. The functions of the acting persons are those components that can be replaced by the "motifs" of Veselovsky ... "(p. 29).
3) Freudenberg O.M.Poetics plot and genre. M., 1997.
"The plot is the system of deployed metaphor to the verbal action; The whole point is that these metaphors are a main image allegory system "(p. 223).
"After all, the point of view nominated by me no longer requires any accounting or comparison of the motives; It says in advance, based on the nature of the plot, that under all the motives of this plot always lies a single image - therefore they are all tautologies in the potential form of their existence; And that in the design one motive will always be different from the other, no matter how many of them are neglected ... "(224-225).
4) Cavely J.G.Study of literary formulas. P. 34-64.
"The literary formula is a structure of narrative or dramaturgical conventions used in a very large number of works. This term is used in two values, which we get the adequate definition of the literary formula. First, it is a traditional way to describe some specific items or people. In this sense, some Homeric epithets can be considered formulas: "Achilles Funny", Zeus-Rublzzz, as well as a number of comparisons and metaphor and metaphor (for example, "the speaker head falls on Earth"), which are perceived as traditional strugging singers, Easy to go to dactilic hexameter. With an expansion approach, any culturally determined stereotype, often found in the literature, - red-tempered Irish, eccentric detectives with short-sighted analytical abilities, chaste blondes, passionate brunettes - can be considered a formula. It is only important to note that in this case we are talking about traditional constructs due to a specific culture of a certain time, which outside this specific context may have another meaning<...>.
Secondly, the term "formula" is often attributed to the types of plots. It is his interpretation that we will meet in the benefits for beginner writers. Where you can find clear instructions, how to beat twenty-one win-win plot: young man meets a girl, they do not understand each other, the young man gets a girl. Such general schemes are not necessarily tied to a specific culture and a certain period of time.<...> Essentially, they can be viewed as an example of the fact that some researchers are called archetypes, or samples (Patterns) common in various cultures.
<...> To create a western, not only a certain idea of \u200b\u200bhow to build a fascinating adventure plot. But the ability to use certain images and symbols inherent in the XIX and XX centuries, such as cowboys, pioneers, robbers, border forts and salons, along with the relevant cultural themes and mythology: contrasting nature and civilization, the moral code of the American West or Law - Lawlessness and arbitrariness, etc. All this allows you to justify or comprehend action. Thus, formulas are methods. With the help of which specific cultural topics and stereotypes are embodied in more versatile narrative archetypes "(p. 34-35).
5) Jolkovsky A.K., Scheglov Yu.K.Works on the poetics of expressiveness. (Appendix. The basic concepts of the model "Theme - PV - Text").
“1.2. Subject. Speaking formally, the topic is called the original output element. Constive, this is some value installation, using PV ("Expressive techniques" - N. T.) "Dissolved" in the text, the semantic invariant of the entire totality of its levels, fragments and other components. Examples of those can serve: the topic of the ancient-level "dialogue of Mr. and a slave about the meaning of life": (1) the vanity of all terrestrial desires; The topic of "War and Peace": (2) undoubtedly in human life, simple, real, and not artificial, contrived, values, whose importance is clarified in crisis situations ...
<...> All these topics are certain statements about (\u003d situations from) life. Let's call them themes of I kind. But the themes may also be the value attitudes not about the "life", but about the instruments of artistic creativity themselves, - a kind of statements about the language of literature, about genres, plot structures, styles, etc. We call them - themes of the II of the genus.<...> Typically, the theme of the artistic text is made up of a particular combination of those I and II of the genus. In particular, this is true about works that are not only reflecting "life", but also echoing with other methods of its reflection. Evgeny Onegin is an encyclopedia at the same time Russian life, the styles of Russian speech and artistic thinking styles. So, the topic is penetrating the entire text of the thought of life and / or the language of art, the wording of which servesthe initial item of the output description. In this formulation, all semantic invariants of text are recorded explicitly, that is, all that the researcher considers meaningful values \u200b\u200bpresent in the text and moreover not derived by PV from other values \u200b\u200balready included in the topic "(p. 292) .
6) Tamarchko N.D. The motives of crime and punishment in Russian literature (introduction into the problem).
"The term" motif "in research literature is correlated with two different aspects of a verbal-artistic work. On the one hand, with such element plot(event or position), which repeated in its composition and (or) is known from the tradition. On the other hand, - Favorites in this case verbal designationthis kind of events and provisions that enters as element no longer in the plot, but in the composition of the text. The need to distinguish these aspects in the study of the plot for the first time, as far as is known, V.Ya. Proppage. It was their inconsistency that made the scientist introduce the concept of "function". In his opinion, the actions of the characters of the magic fairy tale, the same in terms of their role for the action, may have a variety of verbal designations.<...>
Thus, an inner layer is found under the outer layer of a particular plot. Functions in their necessary and always the same, according to V.Ya. Propput, the sequences form nothing but a single storyline. Varisate the same verbal designations of the components of its "nodes" (such as sending, crossing, difficult tasks etc.); A particular version of the narrator (narrator) elects from the general arsenal of traditional formulas. "
"Basic situation Directly expressed in the type of scene scheme. As the complexes of the most important motives characteristic of various genres correspond to this scheme: for example, for a magical fairy tale (shortage and dispatch - crossing and the main test - the refund and liquidation of the shortage) or for epic (disappearance - search - finding)?
This problem in our science was in a very clear form set and solved O.M. Freudenberg. In her opinion, "The plot is the system of deployed metaphor<...> When the image is deployed or verbally, it is thus already susceptible to the known interpretation; The expression is investment in the form, transmission, transcription, therefore, already known allegoric. " Interpretation of what kind of "main image" is recognized here a plot? The following is said that it is "image circulation of life-death-life": It is clear that we are talking about the content of the cyclic storyline. But this scheme can have different variations, and the differences in its realizing the motives do not cancel the fact that "all these motifs are tautologically in the potential form of their existence." The difference is "the result of the distinction of metaphorical terminology", so that "the composition of the plot depends entirely on the metaphor language."
Comparing the outlined, apparently complementary ideas V.Ya. Proppap and o.m. Freudenberg, you can see the "three-layer" or "three-level" structure: (1) "main image" (i.e., generating the plot situation in its content); (2) Interpretation of this image in a particular embodiment of a complex of circuit-forming motifs and, finally, (3) the interpretation of this variant of the storyline in multiple verbal notation, characteristic of a "metaphor" system ". Such an approach to the problem of the motive, the plot and its foundations (situations) can be compared with the degradation of the concepts of "Motiv", "Stoff" (Fabul) and "Thema" on the increasing degree of abstraction (p. 41-44).
motive
Motive (from Latin MOVEO "MOVE") The term transferred to from music, where it denotes a group of several notes, rhythmically decorated. Analogies with this in literary critic The term "M." It begins to apply to designate the minimum component of the artwork of an indecomposable further element of the content (Sherler). In this meaning, the concept of M. plays a particularly large, perhaps a central role in a comparative study of the plots of predominantly oral literature (see, Folklore); Here, a comparison of similar M.Used and as a method for reconstructing the initial form of the plot and as a method for tracking his migration, it becomes almost the only reception of the study in all Domarxist schools from the Aryan Grimmov and the comparative mythological M. Muller to the anthropological, eastern and comparative historical inclusive.
The definition of the concept of M. Outside the folklore, especially popularized by the formalists in their controversy with a cultural and historical school in the mechanistic concept of the artistic method as the combination technique of a certain number of qualitatively unchanged elements; This concept involves a gap (techniques) of artwork from its content, t.
E. In the final score, the separation of the form from the content. Therefore, in the specific historical analysis of the literary work, the concept of M. As the concept of formalistic is subject to essential criticism (see, plot, theme). Other value The term "M." It has representatives of Western European subjective idealistic literary criticism defining it as "the experience of the poet taken in its significance" (dilites).
M. In this sense, the initial moment of artistic creativity, a set of ideas and feelings of the poet, seeking accessible to the formation of registration, which determine the choice of the material of the poetic work, and thanks to the unity of the individual or national spirit who expressed in them, one era, one nation and Thus, available isolation and analysis.
By opposing the creative consciousness of matter, it is issued, this understanding of the motive is based on the opposition of the subject of the object, so typical of subjective-idealistic systems, and is subject to exposure in Marxist literary. Bibliography:
The concept of motive in comparative literary critic Veselovsky A.
N., Plots, Coll. Sochik., Vol. II, no I, St. Petersburg, 1913; Leyen G. D., Das Marchen ,; R. M., Tale. Discussion on the plot of the folk fairy tale. T. I. Fairy Tale Great Russian, Ukrainian and Belarusian, Gui, Odessa, 1924; Aarne A.
Vergleichende Marchenforschung (Russian Trans. A. Andreeva, 1930); Krohn K., Die Folkloristische Arbeitsmethode. See also "Fairy Tale", "Folklore". The concept of motive in the formalists Shklovsky V., On the theory of prose, ed. "Circle", M., 1925; Fleschenberg, Rhetorische Forschungen, Dibelius-English Romankunst (Preface). See also "Methods of Domarxist Literary Science." The concept of motive at the School of Diltea Dilthey W., Die Einbildungskraft Des Dichters, "GES.
Schriften », VI, 1924; Its, Das Erlebnis und Die Dichtung, 1922; Korner J., Motiv; Reallexikon der Deutschen Literaturgeschichte, HRSG. v. Merker U. Stammler. .
Laboratory lesson number 4
Laboratory workshop
Humor
Caesura
Development, Joint, Story, "Story", Realism, Remark, Reminiscence, Retreatation, Retrospection, Rhythm, Rhyme, Rhythm Rich, Rhyme Hyperdactyl, Rhyme Dactylic, Rhyme Women, Rhyme Rhythm, Rhyme Men's, Rhyme Incade, Rhyme Cross , rhyme adjacent, rhyme accurate, rod literary, novel, romanticism
FROMarkasm, Satire, Sextin, semiotics, seven sentimentalism, symbolism, synekdoha, synonyms, copyright system, content of literary work, sonnet, spondy, comparison, style, stylist dominant, stylization, verse, poem, poetting stop, poetic size, string extensive, truncated string, "Starfish Onegin", stanza poems, plot, plot, plot elements
T.eMA, themes, textology, theory of literature, tercins, type literary, typification, tragedy, tribrahius, trails
W.single, default
F.abula, Fantasy, Faken, Art Form
Character, chronotope, artistry
Exposition, Elegy, Epigram, Epilogue, Epitaph, Epithette, Epteat Ozkazional, Metaphoric Epteat, Epic, Epos,
Note: Selected terms are not included in the "Dictionary" section to the plans of practical classes, but their introduction to individual dictionaries as the course and knowledge is important.
1. The problem of motive in literary criticism.
2. Classification of motifs.
3. Folklore motifs in the literature.
Tasks
1. Examine the work of A.N. Veselovsky "Poetics of Scenes", M.M. Bakhtina "Time and Chronotop Forms in Roman" (1937-1938), research literature on the topic. Find out the following questions:
- What invests scientists in the content of the concept motive;
- As related concepts motiveand plot in the works of scientists;
- Which of the proposed definitions of the motive is faithful (the answer is illustrated by examples); Explain if not one option is selected:
the motive is 1) the topic of the work or statement of the hero;
2) a repeating word or a combination of words;
3) Repeating event or phenomenon.
2. Make a support abstract disclosing concept motive, Including the typology of the motives allocated by literary criticism. Complete its classification presented in Western European literary criticism (see below). Give examples of different kinds of motifs in folklore and literature.
"Motive (lat. Motivus - prompting)<…> 3. Content-structural unity as typical., Performed the value situation that covers common thematic representations (in anti-defined and decorated through concrete features material
3. Determine the motives that unite the works of I.A. Bunin:
- "For all of you, Lord, thank you! .." (1901), "loneliness" (1903);
- "Portrait" (1903), "The day will come - I will disappear ..." (1916), "Unkone-free" (1917).
Individual task
Prepare a message on the topic: "Through motifs in Russian literature."
Vocabulary:motive.
Text for audited work: the texts of the classic literature (by the selection of a student)
Literature
1. Bakhtin M.M. Forms of time and chronotope in the novel. Essays on historical poetics // Bakhtin M.M. Literary and critical articles. - M.: Hood. Lit., 1986. - P. 121-290.
2. Veselovsky A.N. Poetics of plots // // Introduction to literary studies: Readings: studies. Location. / Ed. P.A. Nikolaev. - M., 1988. - P. 285-288 (// Oshmakova L.N. Kresttomatia on the theory of literature. - M., 1982. - P. 361-369).
3. Propp V.Ya. Historic roots of a magical fairy tale. - L.: Publishing house LSU, 1986.
4. Tomashevsky B.V. Theory of literature. Poetics: studies. benefit. - M., 1999. - P. 182-186-199, 230-240, 323-324.
5. Khalizhev V.E. Theory of literature. - M., 1999. - P. 266-269.
6. Kears L.N. Motive // \u200b\u200bIntroduction to literary criticism. Literary work: Basic concepts and terms: studies. Manual / Ed. L.V. Chernets. - M.: Higher School, 1999. - P. 202-209.