Types and types of art conflicts in literary works. Art conflict in literature

conflict artistic

The conflict artistic (artistic collision) confrontation, a contradiction between the current forces depicted in the work: the characters, character and circumstances, various sides of the character. Directly disclosed in the plot, as well as in the composition. It is usually the core of themes and issues, and the character of its permission is one of the defining factors of an artistic idea. Being the basis (and "energy") of a developing action, the conflict artistic in its move is transformed towards the climax and junction and, as a rule, finds its story resolution.

Conflict artistic

Conflict Artistic, collision, artistic, confrontation, a contradiction between the existing forces depicted in the work, the character and circumstances, several characters or different parties of the same nature; In the structure of the artwork, it acts as ideologically significant opposition (opposition) of the respective images. The term "K." (or collision) traditionally applied to temporary image-dynamic types and genres of art: literature (drama, many epic genres, sometimes ≈ lyrics), theater, cinema. Being the basis (and "energy") of a developing action, K. in its move is continuously transformed towards the climax and junction; t. o. The product provides internal dialectical unity and integrity. K. directly disclosed in the plot (which is often called "moving K."), as well as subject details, composition and product language. In Epopea, Drama, Roman, Novella, K. K., the core of themes and the problematics, and the character of its permission appears as a defining moment of an artistic idea. The aesthetic specificity of the artistic K. acts in such categories as tragic, comic, idyllic (absence of K.), etc., generalizing the typologically world properties of artistic K.

The most common source of the content of art K. is spiritual and socio-historical contradictions real Mira. However, in contrast to social sciences and journalists, art is mastered by social k. mediated, ≈ reflecting those diverse contradictions that it generates in human relationships taken in their fullness and integrity, in their spiritual, spiritual, intellectual, physical originality. For example, in the novel by A. S. Pushkin "Eugene Onegin", the disorder of the advanced noble intelligentsia with an autocably-serf system and the Russian "world" is generally revealed mainly in the personal drama of the hero who endure collapse in friendship and love; At the same time, the discrepancy between the public education of the hero and genuine humanity is detected, which determines the inner K. it with himself. It is obvious that the definition of an objective social contradiction that feeds the artistic K., does not yet describe an inexhaustible and new for each subsequent generation, the ideological depth of the work. After all, the same objective contradiction was reflected in many other novels of that period ("Hero of our time" M. Yu. Lermontov, "Who is to blame?" A. I. Herzen, "Rudin" I. S. Turgenev, etc.), According to its content, however, deeply different from Evgenia Onegin. Artistic K. is valuable by its individual, unique meaning. However, K. in the works of a certain historical era They have some generality: they reflect one historical stage of the development of public relations and personal self-consciousness.

For antique art One of the central is K. Limited in the fores of the person and the rock over him; for late Revival ≈ a heroically amateur person and egoistic individualism, antihuman circumstances; For Baroque ≈ K. Beautiful and ugly in nature, sensual nature and spiritual asceticism; for classicism ≈ personal passions and civil Discussion; For romanticism ≈ "ingenious" personality and prosperity of the medium. Realism, approaching the artistic K. to its socio-historical basis, ≈ a contradiction between the essence, human capabilities and its specific social being, the inner world of the personality in the social and historical flesh (a person in the novel, according to M. M. Bakhtina, or more His fate, or less than its humanity) ≈ Developed an unprecedented variety K. In the literature of modernism, K. Individual with an alienated reality, consciousness and subconscious, biological and social in human nature is prevalent.

Socialist realism, inheriting the wealth of classical K., reveals their public determination and puts forward both the main to.: The confrontation and meeting of man and history, social-class antagonism and their revolutionary permit, the formation of a new collectivist consciousness in the fight against individual morality.

For the first time, the theory of K. was developed by G. Hegel. According to Hegel, "the opposite contained in the situation" forms the possibility and the need for action consisting in confrontation, "shares and reactions" of the current forces ≈ certainly "substantial", universal positive forces; Having exhausted the mutual requirements, the opposites merge in a harmonious ideal.

Marxist aesthetics emphasizes the objective social and historical nature of K. and insists on its resolution according to the meaning of historical progress. At the same time, it fundamentally admits an insoluability of artistic K. within individual works. F. Engels specifically stipulated that "... the writer is not obliged to present the reader in the ready-made future of the historical resolution of the pictured public conflicts"(Marx K. and Engels F., Op., 2 ed., Vol. 36, p. 333). The problem of artistic K. remains relevant in Soviet aesthetics.

Lit.: Marx K., Engels F., about art, vol. 1≈2, M., 1967; Gegel G. V. F., Aesthetics, 4 tt., Vol. 1≈3, M., 1968≈71; Kolinov V. V., Plot, Fabul, Composition, in the book: Theory of Literature. Major problems in historical lighting, kN. 2, M., 1964; Bocharov S. G., characters and circumstances, in the same place, [kN. 1], M., 1962.

Lecture, read by the author at the School of Stylistics and Mastery of Prosaika, etc. Davydova, V.A. Pronin "Theory of Literature", O.I. Fedotova "Theory of Literature", N.V. Basova "Creative self-development, or how to write a novel."

The world of an artistic work in its entirety: with spatial-temporal parameters, population, natural elements and public phenomena, actions, statements and experiences of heroes, author's consciousness, there is not as an indiscriminate journey of the components of the elements, but as a slender artistically expedient space. In this space, it is necessary to allocate a certain organizing rod. Such a versatile rod is conflict.

This word comes from the Latin "Confliktus" - a collision, contradiction.

The conflict has conflict, contradiction either between characters, or between character and circumstances, or inside the character - a contradiction underlying the action. So conflict - driving force novel. He speaks like the motivating cause of all actions of the hero.

In a generalized, broad sense, the conflict will always be in the work, although it exhibits itself in different ways, depending on the kind, species, the genre of the work, ideological, artistic installations of the writer. Such a poetic genre like idyll, conflict, as many people think, is not peculiar at all. But here the lack of conflict is emphasized, it is artistically significant and is genre dominant. This is a minus reception: there is no, without which the work does not happen. It is like a man without shade. Or without nose, like Gogol in the story "Nose."

If there is no conflict, it is replaced situation.It implies a "peaceful coexistence", "symbiosis" of people who do not detect multidirectional interests and aspirations. Such, for example, the exposition "quiet dona". Here in the peaceful scenes of home houses, fishing, the life of the village, the wires of the Cossacks in the military camps - gradually, gradually accumulates the explosive energy of the love passion of Gregory to Aksini. In the end, it will develop into a tragically unresolved conflict. But at the beginning of the novel, only the situation is drawn, there is no conflict.

The conflict in his classic, hegelev, interpretation is interpreted as "the opposite contained in the situation" as "a violation that cannot be maintained as a violation, but should be eliminated" in the process of action, in "shares and reactions" of the opposing forces. As a rule, in the work, it requires its full permission. Therefore, it is long-term. In other texts, it is eliminated only on last pages. But so, probably, it should be: in the opposite case, the end of the book will be not interested.

The conflict must be discussed very clearly. It can not be indescribable to the end. Otherwise, such huge defects are engaged in the text, as the ambiguity of the intelligence of the hero, the ambiguity of the bets, which the game itself went, the insignificant of the primary assessments of the game itself and so on.

And here, before talking about what conflicts are how the authors are organized, let's - in order to avoid confusion in the future - we introduce such a thing as "problem". So, the conflict is a motivation to action. Romantic problem There is a deeper value. It does not draw the character of contradiction, does not determine the actions of the heroes, their reaction and behavior. It determines the cause of the conflict. Once again: the conflict is the cause of the actions of heroes, the problem is the cause of the conflict.The problem is what is subject to change, eliminate or some change. If, figuratively speaking, the conflict is a motley packaging, wrap, rustling paper, then the problem is a filling, the essence of the game, it defines the rates of this game and the rules of the actions of heroes. Therefore, if the conflict in the novel lasts for quite a long time, then the problem lasts all the text, and sometimes it is not allowed, does not end with the formal completion of the plot.

Perhaps you can still add that, as a rule, the description, identification of the problem must follow or the problem should be permitted for the conflict, after it, otherwise it will not be convincing, text vitality.

What conflicts developed and permitted in world literature?

Antique poetryapproached to the confrontation of a powerful human nature with an inexorable and inevitable force of rock, the fate, which is subject not only to people, but also the gods ("Iliad" and "Odyssey" of Homer).

In medieval literatureconflict mostly divine and devilish principles, sky and underworld, elevated spirituality and low-lying material ("Daniel Charging", "Word about the regiment of Igor").

In the Renaissance Epochdepicted in literary works Contradictions moved to the sinful land: Usurped divine functions, a person opposes the remnants of the medieval world ("Romeo and Juliet", "Hamlet", "Macbeth" Shakespeare, "Don Quixote" of Cervantes).

Classic conflict schemes classicismXVII-XVIII V.V. They were based on the contradictions between the person and the state, private and public, sense and duty, passion and mind ("Don Juan" Moliere, "inexpensive" phonvizin).

Enlightenment(which used for his artistic embodiment of genre and stylistic forms of classicism, natural realism, as well as a certain synthesis of journalism, philosophy and pedagogy with fiction) updated the same conflict schemes, but solved them with a diametrically opposite way ("Robinson Cruzo" DEFO, "Gullyer's journey "Swift," Travel from St. Petersburg to Moscow "Radishchev," Mount Mind "Griboyedov).

In some works sentimentalismthe thinning of the sensitive heart and idealization of the "simple" person was characteristic of the "simple" idealization against the background of conflictless nature or poor public relations ("Letters of the Russian Traveler" and "Poor Lisa" Karamzin).

Reference set romanticismit is considered to be the opposition of an exclusive creative personality (genius) and not understanding his crowd, idealized past and prosaic present, fantastic world Dream and vulgar daily reality ("Cathedral of the Paris Mother of God" Hugo, "Caucasian Captive" and "Gypsy" Pushkin, "MTSY" and "Demon" Lermontov).

Realismno longer has visible preferences in choosing dominant conflicts.

These are conflict schemes and their preferences exist in world literature.

Does the work of one and the only equal to yourself in the entrance and exit conflict? It all depends on the scale of the work, from its genre and stylistic characteristics. If we are dealing with a small epic shape, story or novella, his action, as a rule, is developing on the basis single and permanent conflict.In epic and dramaturgical works of large format(epic, novel, play), in which several storylines take place in parallel, and even a very significant temporary interval, respectively, the number of conflicts are multiplied, each of which may vary from the beginning to the end of the action. In this case, we must allocate main conflictand subordinates to him are secondary.

The novels of Chekhov "Death of an official", "thick and thin", "chameleon" develop on various vital material, in essence, the same conflict - a contradiction between the power of the people by the official officials and their subordinates. This conflict is allowed tragically, comically or tragicomically. But in the novel of Tolstoy "Anna Karenina", which is a whole system of interrelated storylines (Anna - Karenin, Anna - Vronsky, Kitty - Vronsky, Kitty - Levin, Dolly - Oblonsky), you can select exactly the same "single", but non-identical conflicts. These conflicts are combined by the general or main contradiction of the work - between freedom and the need for family relations. From one storyline to another common conflict complicates, it is clarified, becomes more and more fatal.

So, how it became clear to us, the conflict is a universal lever in the deployment of artistic text. But still the main calling of the conflict - structuring the ploteliminate its elements, i.e. Ultimately, anyway adjust the event plan.

Where do writers take themes, conflict schemes and plots?

From everywhere. But list some of the sources.

Autobiography (Taman Lermontov, "Wounds" and "First Love" Turgenev, "Crazerova Sonata" and "The Devil" of Tolstoy).

Jokes and household stories. So, formerly hearing at all "the stationery anecdote about the poor official" provoked Gogol "Shinel". Pushkin Gogol was obliged to the unique plot of the "dead souls": told by somehow the poet anecdote about an enterprising landowner reminded him of a long-on forgotten story about his own intense relative, laying dead serfs.

Newspaper judicial chronicles and reports. Daniel Dafo, as you know, used in my "Robinson Cruzo" a sensational newspaper essay about the four years of life on the uninhabited island of the English Sailor Alexander Selkirk, dramatically, at the same time, actual accents: if the prototype of the literary hero by the end of his "Robinsonads" was a little reminded of a civilized person, Almost ever to speak in English, the character of the defense, living on the island seven times longer, in complete agreement with the educational doctrine of its creator, is all stages of human development and together with Friday creates a civilized society in miniature. Scenes famous novels Standal "Red and Black" and "Karamazov Brothers" F.Dostoevsky became a fiction reflection of the sensational court cases, which illuminated in the newspapers in detail. The prototype Julien Sailor, thus, became a certain Antoine Berta, and the Inrigue "Brothers Karamazov" largely repeats the proceeding of the circumstances of the crime of Lieutenant Ilinsky, which was incriminated to the otceubinity.

Artistic literature, folklore. These are well forgotten plots of secondary writers. To these plots, as their own, sometimes treated genius. They built a significant part of the works of Shakespeare. "Faust" Goethe based on folk legend About the soul of the Devil of the Warlock, was most likely taken by a writer from anonymous " folk book"1587 year of release or from Christopher Marlo tragedy" Tragic story Dr. Faust. "

Myths and biblical plots.

Past of mankind ("Death of Ivan Grozny", "Peter I" AK Tolstoy, "Song about things Oleg"And" Boris Godunov "Pushkin," The history of the state of the Russian "Karamzin), travel, science and a lot more.

In literature? How does it manifest? Is it always possible to notice him even inexperienced reader? Conflicts in the works of literature - phenomenon mandatory and necessary for development scene line. Without it, no qualitative book is not necessary, able to qualify for the title of eternal classics. Another thing is that we are not always able to see an explicit contradiction in the views of the character described, deeply consider the system of its values \u200b\u200band internal beliefs.

Sometimes the true literary masterpieces are difficult. This occupation requires a colossal mental stress, as well as the desire to understand the characters built by the author of the image system. So, what is the conflict in the literature? Let's try to figure out.

Definition of concept

In most cases, people are intuitive about what this is speechWhen a conversation comes to a certain ideological collision in a particular book. The conflict in the literature is the opposition of the characters of heroes with external reality. The struggle in the fictional world can continue for a long time And necessarily leads to a change in the method of the hero to look at the surrounding reality. Such tension can be formed within the character itself and be directed to your own personality. The development of such a move occurs very often. And then they talk about the internal conflict, that is, the fight against themselves.

Conflicts in Russian literature

Domestic classic deserves separate attention. Below are examples of conflicts in the literature taken from Russian works. Many will be familiar with the times school program. What books should pay attention to?

"Anna Karenina"

The greatest monument to Russian literature, which does not lose its relevance and now. The plot of "Anna Karenina" know almost everything. But not every person can determine from the go, in which the main experiences of the heroine are concluded. Thinking over what such a conflict in the literature can be remembered by this wonderful work.

In Anna Karenina, a two-way conflict is shown. It is he who does not give the main heroine to come to himself and take a look otherwise on the circumstances. own Life. In the foreground, the conflict is an external: rejection by society of relations on the side. It is he who gives the heroine from people (friends and acquaintances), with whom it was so easy to interact before. But besides him there is still internal conflict: Anna literally crushed this unbearable burden, which she has to bear. She suffers from separation from the son of the son, he has no right to pick up a child with him in new life with Vronsky. All these experiences create a strong voltage in the soul, from which it cannot be free.

"Oblomov"

Another unforgettable product of Russian classical literaturethat is worthy of talking about him. In the "Oblomov" shows a secluded life of one landowner, who at one time decided to refuse the service in the Department and devote his life to solitude. The character itself is interesting enough. He does not want to live on a template imposed by society, and at the same time does not find strength in order to fight. Stay in idle and apathy is even more pushing it from the inside. The hero conflict with the outside world is manifested in the fact that he does not see the point of living like most people: to drive daily to the service, to perform senseless action in his opinion.

Passive lifestyle is its protective reaction against the incomprehensible surrounding world. The book shows the conflict of the ideological plan, since it is based on the understanding of the essence and meaning of human existence. Ilya Ilyich does not feel the strength in order to change his life.

"Moron"

This work is one of the most famous for F. M. Dostoevsky. The Idiot depicts ideological conflict. Prince Myshkin is very different from society, in which he has to be. He is a few, has extreme sensitivity, which is why any events are sharply experiencing.

The remaining characters are opposed to him by their behavior and looks for life. Prince Myshkin's Values \u200b\u200bbased on christian understanding Good and evil, on his desire to help people.

Conflicts in overseas literature

Foreign classic is no less entertaining than domestic. Conflicts B. foreign literature Sometimes are so widely presented that it remains only to admire these masterfully written works. What examples here can be brought?

"Romeo and Juliet"

The unique play of William Shakespeare, with which every self-respecting person was acquainted at one time. In the book is shown love conflict, gradually passes into the tragedy. Two families - montextures and cabbage - fight with each other over the years.

Romeo and Juliet oppose the pressure of parents, trying to defend their right to love and happiness.

"Steppe Wolf"

This is the same memorable novels by Herman Hesse. The main character - Harry Galler - cut off the society. He chose the life of an impregnable and proud longeon, because it cannot find a suitable place in it. The character himself calls himself a "steppe wolf", which accidentally wandered into the city to people. Haller's conflict of the ideological plan and is imprisoned in the impossibility of adopting the rules and installations of society. The surrounding reality seems to him a picture devoid of meaning.

Thus, answering the question of what conflict in the literature should be taken into account inner world Main character. The world population of one character is very often opposed to the surrounding society.

With a phenomenon called conflict (from Lat. Conflictus - a collision), i.e., the sharp contradiction, which is their way out and permission in action, fight, we are everyday life We meet constantly. Political, industrial, family and other species social conflicts of different scales and levels that are sometimes in humans great amount Physical, moral and emotional forces, overwhelm our spiritual and practical world - we want it or not want.

It is often happening so: we strive to avoid certain conflicts, remove them, "discharge" or at least soften their action - but in vain! Not only from us depends on the occurrence, development and resolution of conflicts: in each collision of the opposites, they are involved, they are fighting at least two sides expressing various, and even mutually exclusive interests, who pursue the goals switched to each other performing the integrated, and sometimes hostile actions. The conflict finds its expression to the struggle of the new and old, progressive and reactionary, social and antisocial; Contradiction life principles and positions of people, social and individual consciousness, morality, etc.

This happens in the literature. The development of the plot, the collision and interaction of characters, which is happening in continuously changing circumstances committed by the characters actions, i.e., in other words, all the dynamics of the content of the literary work is based on artistic conflicts, which are ultimately reflected and summarizing the social conflicts of reality. Without understanding, the artist's actual, burning, socially significant conflicts of genuine art words do not exist.

Artistic conflict, or artistic collision (from Lat. Collisio - a clash), is called the confrontation in the literary work of multidirectional forces - social, natural, political, moral, philosophical, - receiving ideological and aesthetic embodiment in artistic structure Works as opposition (opposition) of characteristics, individual characters - or various sides of the same character - to each other, artistic ideas Works (if they carry ideologically polar principles).

The artistic tissue of the literary work at all its levels is permeated by conflict: speech characteristics, actions of characters, the ratio of their characters, art time and space, plot-composite narrative construction contain conflict Couples Images associated with each other and constituting a peculiar "grid" of attractions and repulsions - structural backbone of the work.

In the Roman-Epopea "War and Peace" family of Kuraginia (together with Shero, Drubets, etc.) - embodiment higher Light - Peace, organically alien and bellows, and Bologkoe, and Rostov. With all the difference in representatives of these three favorite author noble childbirth They are equally hostile to the official formation, court intrigues, hypocrisy, false, sophistication, spiritual emptiness, etc., thriving at the imperial courtyard. Therefore, so dramatic, fraught with insoluble conflicts of Pierre and Helen, Natasha and Anatol, Prince Andrei and Ippolit Kuragin, etc.

In another semantic plane, the hidden conflict between the wise national commander Kutuzov and vain Alexander I, who took the war per parade of a special kind, unfolds in the novel. However, it is not by chance that Kutuzov loves and allocates Andrei Bolkonsky among the officers subordinates, and Emperor Alexander does not hide his antipathy to him. At the same time, Alexander (as well as at the time of Napoleon) does not accidentally "notices" Elene Bezuhov, who pays her dance on the ball on the day of the invasion of Napoleonic troops to Russia. Thus, tracing the chains of connections, "clutches" between the characters of the Tolstsky work, we see how they are all - with various degrees Obviously, they are grouped around two semantic "poles" of epic that form the main conflict of the work, - the people, engine of history, and the king, "slave history". In copyright philosophical and journalistic retreats, this highest conflict of works is formulated with a purely fat categoricality and directness. Obviously, in degree ideological significance and versatility, in its place in the artistic and aesthetic whole of Roman-epic, this conflict compare only with the military conflict depicted in the work that the core of all events Patriotic War 1812, yet the rest, private conflicts that find the plot and Stabul Roman (Pierre - Doolokhov, Prince Andrei - Natasha, Kutuzov - Napoleon, Russian speech - French, etc.), are subordinated to the main conflict of the work and constitute a certain hierarchy of artistic conflicts .

In each literary work it makes its own, special multi-level system Artistic conflicts, ultimately expressing the author's ideological and aesthetic concept. In this sense, the artistic interpretation of social conflicts is more capacious and multigid, rather than their scientific or journalistic reflection.

IN " Captain's daughter"Pushkin conflict Greeneva and Swabrin because of love for Mausha Mironova, constituting the visible foundation of a novelnamental fabul acting to the background before the socio-historical conflict - Pugachev's uprising. The main problem pushkin novelIn which both conflicts are peculiarly refracted - this is a dilemma of two ideas about honor (the epigraph of the work - "take care of honor"): on the one hand, the narrow framework of class-class honor (for example, the noble, officer's oath of loyalty); On the other hand, the universal values \u200b\u200bof decency, kindness, humanism (loyalty to the Word, the confidence of man, thanks for the good, desire to help in trouble, etc.). Schvabrin is dishonest even from the point of view of the Noble Code; Grinevo rushes between two notions of honor, one of which is imputed to his debt, the other is dictated natural feeling; Pugachev turns out to be higher than the sense of class hatred for the nobleman, it would seem completely natural, and meets the highest requirements of human honesty and nobility, surpassing in this respect of the narrator itself - Peter Andreevich Grneeva.

The writer is not obliged to present the reader in the finished form of the future of the historical resolution of the public conflicts depicted by him. Often such a resolution of socio-historical conflicts, reflected in the literary work, see the reader in an unexpected sense context for the writer. If the reader acts as literary critic, It can determine the conflict, and the method of its permission is much more accurately and far from the artist. So, N. A. Dobrolyubov, analyzing the drama A.N. Ostrovsky "Thunderstorm", managed for the socio-psychological collision of the patriarchal coupe-meshmansky life to consider the acute social contradiction of all Russia - the "Dark Kingdom", where among the general submissions, hypocrisy and fragrance "Samoramia" reigns, the sinister apotheosis of which is autocracy, and where even the slightest protest is "a ray of light."

Conflict artistic (Lat. Conflictus - a collision, disagreement, dispute) - an image and an embodiment in the art of acute struggle, clashes, opposite interests, passions, aspirations, ideas, actions, characters. In art conflict, they find a specific reflection of economic, political, philosophical, moral and other essential contradictions of the era. Art conflict It is an essential moment of ideological and aesthetic content of art. The philosophical depth of the work of art is determined largely to the reflection of the contradiction of time.

The concept of conflict is close to the collision, but has an independent value, since the conflict is an acute and explicit conflict.

The aesthetic aspect of the artistic conflict was most thoroughly explored by Hegel, which, however, uses the term "collision". Then this category was analyzed by Russian revolutionary democrats V. G. Belinsky, N. G. Chernyshevsky and N. A. Dobrolyubov.

Art conflict does not boil simple image Real contradictions reality.

Conflict in art is an artistic and figurative reflection of difficult solvable or intractable contradictions in the public being and psychology of people deepening dialectics human life, class antagonisms, the struggle of the new with the old, etc.

The conflict in art always has aesthetic color, for it is a struggle forces of good and evil, light and darkness, humanism and reaction, i.e., the collision of the beautiful and ugly, elevated and lowlands. The conflict is a means of deep and large-scale artistic reproduction of life, dynamic development of the plot, multilateral and bright disclosure. human characters. Depending on the specifics of each of the arts, the conflict takes the form of collision of characters (Balzac and Standal novels), the struggle of passions ( classic symphonies), ideological confrontation (Poetry Mayakovsky), tragic states ("Citizens Kale" Rodin), etc.

Conflicts are manifested in various aesthetic modifications: actually dramatic, which are permitted by the social or moral victory by one and defeat the other struggling side ("M. Gorky", " Brutal games»Arbuzova), tragic (" optimistic tragedy "of Vishnevsky), satirical (" twelve chairs "Ilf and Petrov), tragicomic (" Don Quixote "of Servantes), etc.

Conflicts take place in the works of different creative methods World art - classicism (Pieces of Cornel, Rasina, Sumarov), romanticism (Hugo and Bairon poetry), naturalism (Zola's novels), surrealism (painting " Mystery evening»Dali). In bourgeois art - in horror films, sex and violence the true nature of the dramatic conflict is perverted, changes with imaginary. Only in realistic art, the conflict receives a full-blooded ideological and historical content, a vital truthful sound and an artistic expression, since he is a clash of typical characters in typical circumstances, i.e., based on deep Knowledge reality.

The "theory of conflicties" in art and aesthetics, which denied the presence of conflicts during socialism, was deeply erroneous. She oriented soviet art On the superficial desire and the embellishment of life. Overcoming class antagonisms does not mean the elimination of all conflicts.

The ideological depth and psychological acuity of the artistic conflict, largely determine the strength of aesthetic impact on people of works of art.