What is an image in fine arts. What is an artistic image in literature

a way and form of mastering reality in art, a general category of arts. creativity. Among other aesthetic. categories category X. o. are of comparatively late origin. In ancient and middle-century. aesthetics, which did not single out the artistic in a special sphere (the whole world, space - an artistic work of the highest order), art was characterized by predominantly. canon - a set of technological. recommendations that provide imitation (mimesis) of art. the beginning of life itself. To the anthropocentric The aesthetics of the Renaissance goes back (but terminologically fixed later - in classicism) the category of style associated with the idea of ​​the active side of the art, the right of the artist to form a work in accordance with his creative work. initiative and immanent laws of a particular type of art or genre. When, following the de-aestheticization of being, the de-aestheticization of practical activity, a natural reaction to utilitarianism gave a specific. understanding of the arts. forms as organization according to the principle of internal. purpose, not external use (beautiful, according to Kant). Finally, in connection with the process of "theorizing" the claims, they will finish. separating it from the dying arts. crafts, pushing architecture and sculpture to the periphery of the system of arts and pushing to the center of more "spiritual" arts in painting, literature, music ("romantic forms", according to Hegel), it became necessary to compare the arts. creativity with the sphere of scientific and conceptual thinking to understand the specifics of both. Category X. o. took shape in Hegel's aesthetics precisely as an answer to this question: the image "... puts before our eyes, instead of an abstract essence, its concrete reality ..." (Soch., vol. 14, M., 1958, p. 194). In the doctrine of forms (symbolic, classical, romantic) and types of art, Hegel outlined various principles for constructing X. o. how different types relationship "between image and idea" in their historical. and logical. sequences. Going back to Hegelian aesthetics, the definition of art as "thinking in images" was subsequently subjected to vulgarization in a one-sided intellectualistic. and positivist-psychological. concepts of X. o. late 19th - early 20th century In Hegel, who interpreted the entire evolution of being as a process of self-knowledge, self-thinking abs. spirit, just when understanding the specifics of the claim, the emphasis was not on "thinking", but on the "image". In the vulgarized understanding of X. o. was reduced to a visual representation of the general idea, to a special cognition. a technique based on demonstration, demonstration (instead of scientific evidence): an example image leads from the particulars of one circle to the particulars of another circle (to its "applications"), bypassing an abstract generalization. From this perspective, art. the idea (or rather, the plurality of ideas) lives separately from the image - in the head of the artist and in the head of the consumer, who finds one of the possible uses for the image. Hegel saw the knower. side X. about. in his ability to be the bearer of a particular art. ideas, the positivists - in the explanatory power of its depiction. At the same time, the aesthetic pleasure was characterized as a kind of intellectual satisfaction, and the whole sphere is not depicted. claim-in was automatically excluded from consideration, which called into question the universality of the category "X. o." (for example, Ovsyaniko-Kulikovsky divided suits into "figurative" and "emotional", i.e., ugly ones). As a protest against intellectualism in the beginning. 20th century shameless theories of art arose (B. Christiansen, Wölfflin, Russian formalists, and partly L. Vygotsky). If already positivism is intellectualistic. sense, putting the idea, meaning out of the brackets X. o. - in psychology. the area of ​​"applications" and interpretations, identified the content of the image with its thematic. filling (despite the promising doctrine of the internal form developed by Potebnya in line with the ideas of W. Humboldt), the formalists and "emotionalists" actually took a further step in the same direction: they identified the content with the "material", and the concept of the image was dissolved in the concept form (or design, reception). In order to answer the question for what purpose the material is processed by the form, it was necessary - in a hidden or open form - to ascribe to the work of art an external, in relation to its integral structure, purpose: art began to be considered in some cases as hedonistically individual, in others - as a social "technique of feelings." Cognitive. utilitarianism was replaced by educational-"emotional" utilitarianism. Modern aesthetics (Soviet and partly foreign) returned to the figurative concept of art. creativity, extending it to non-depicts. lawsuit-va and thereby overcoming the original. intuition "visibility", "seeing" in letters. sense of these words, to-heaven was included in the concept of "X. o." under the influence of antiquity. aesthetics with its experience of plasticity. claim-in (Greek ????? - image, image, statue). Semantics of Russian. the word "image" successfully points to a) the imaginary existence of art. fact, b) its objective existence, the fact that it exists as a certain integral formation, c) its meaningfulness (the "image" of what?, i.e. the image presupposes its semantic prototype). X. o. as a fact of imaginary being. Each work of art-va has its own material and physical. the basis, which is, however, immediate. bearer of non-arts. meaning, but only the image of this meaning. Potebnya with his characteristic psychologism in the understanding of X. o. proceeds from the fact that X. o. there is a process (energy), a crossing of creative and co-creative (perceiving) imagination. The image exists in the soul of the creator and in the soul of the perceiver, but the objectively existing art. the object is only a material means of arousing fantasy. In contrast, objectivist formalism considers art. a work as a made thing, which has an existence independent of the creator's intentions and the perceptions of the perceiver. Having studied the objective-analytical through material senses. the elements of which this thing consists, and their relationships, one can exhaust its construction, explain how it is made. The difficulty, however, lies in the fact that art. the work as an image is both a given and a process, it both abides and lasts, it is both an objective fact and an intersubjective procedural connection between the creator and the perceiver. Classic German. aesthetics considered art as a kind of middle sphere between the sensual and the spiritual. "In contrast to the immediate existence of objects of nature, the sensuous in work of art is elevated by contemplation into pure visibility, and a work of art is in the middle between direct sensibility and thought belonging to the realm of the ideal "(Hegel V. F., Aesthetics, vol. 1, M., 1968, p. 44) The very material of a X. o. is already to a certain degree subdivided, ideal (see Ideal), and natural material here plays the role of material for the material. For example, the white color of a marble statue does not appear in itself, but as a sign quality; we must see in the statue not a "white" man, but an image of a man in his abstract corporeality.The image is both embodied in the material, and, as it were, not embodied in it, because it is indifferent to the properties of its material basis as such and uses them only Therefore, the being of an image, fixed in its material basis, is always carried out in perception, addressed to it: until a person is seen in a statue, it remains a piece of stone, until a melody or harmony is heard in a combination of sounds, it does not realize its figurative quality. The image is imposed on consciousness as an object given outside of it, and at the same time it is given freely, non-violently, because a certain initiative of the subject is required for this object to become precisely an image. (The more idealized the material of the image, the less unique and easier it is to copy its physical basis - the material of the material. Printing and sound recording cope with this task almost without loss for literature and music, copying works of painting and sculpture already encounters serious difficulties, and an architectural structure is hardly suitable for copying, because the image here is so closely fused with its material basis that the very natural environment of the latter becomes a unique figurative quality.) This appeal X. o. to the perceiving consciousness is an important condition for its historical. life, its potential infinity. In X. o. there is always an area of ​​the unspoken, and understanding-interpretation is therefore preceded by understanding-reproduction, some free imitation of the inner. the artist's facial expressions, creatively voluntary following it along the "grooves" of the figurative scheme (to this, in the most general terms, the doctrine of the internal form as an "algorithm" of the image, developed by the Humboldt-Potebnian school, is reduced). Consequently, the image is revealed in each understanding-reproduction, but at the same time remains itself, because. all implemented and many unrealized interpretations are contained as a provided creative. an act of possibility, in the very structure of X. O. X. o. as an individual wholeness. Artistic likeness. A work of art for a living organism was outlined by Aristotle, according to whom poetry should "... produce its inherent pleasure, like a single and whole living being" ("On the art of poetry", M., 1957, p. 118). It is noteworthy that the aesthetic pleasure ("pleasure") is considered here as a consequence of the organic nature of the arts. works. Representation of X. about. as an organic whole played a prominent role in later aesthetic. concepts (especially in German romanticism, Schelling, in Russia - A. Grigoriev). With this approach, the expediency of X. o. acts as its wholeness: each detail lives thanks to its connection with the whole. However, any other integral structure (for example, a machine) determines the function of each of its parts, thereby bringing them to a whole-created unity. Hegel, as if anticipating the criticism of later primitive functionalism, sees the difference. traits of living integrity, animated beauty in that unity does not manifest itself here as abstract expediency: "... members of a living organism receive ... visibility by chance, that is, together with one member is not given also the certainty of the other" ("Aesthetics", vol. 1, M., 1968, p. 135). Like this, art. the work is organic and individual, i.e. all its parts are individualities, combining dependence on the whole with self-sufficiency, for the whole does not simply subjugate the parts to itself, but endows each of them with a modification of its fullness. The hand on the portrait, a fragment of the statue produce independent art. impression precisely because of this presence in them of the whole. This is especially clear in the case of lit. characters who have the ability to live outside of their art. context. "Formalists" rightly pointed out that lit. the hero acts as a sign of plot unity. However, this does not prevent him from maintaining his individual independence from the plot and other components of the work. On the inadmissibility of decomposing the works of the claim into technical service and independent. moments spoke many. Russian critics. formalism (P. Medvedev, M. Grigoriev). In arts. the work has a constructive frame: modulations, symmetry, repetitions, contrasts, carried out differently at each of its levels. But this framework is, as it were, dissolved and overcome in the dialogically free, ambiguous communication of the parts of X. o. the life of figurative unity, its animation and actual infinity. In X. o. there is nothing accidental (i.e., extraneous to its integrity), but there is nothing uniquely necessary either; the antithesis of freedom and necessity is "removed" here in the harmony inherent in X. o. even when he reproduces the tragic, the cruel, the terrible, the absurd. And since the image is ultimately fixed in the "dead", inorganic. material, there is a visible revitalization of inanimate matter (the exception is the theater, which deals with living "material" and all the time strives, as it were, to go beyond the scope of art and become a vital "act"). The effect of the "transformation" of the inanimate into the animate, the mechanical into the organic - ch. source of aesthetic pleasure delivered by the claim, and the premise of its humanity. Some thinkers believed that the essence of creativity lies in the destruction, overcoming the material by form (F. Schiller), in the violence of the artist over the material (Ortega y Gaset). L. Vygotsky in the spirit of the influential in the 1920s. constructivism compares the work of art with flying. with an apparatus heavier than air (see "Psychology of Art", M., 1968, p. 288): the artist conveys the moving through the resting, the airy through the heavy, the visible through the audible, or the beautiful through the terrible, the high through the low, etc. Meanwhile, the "violence" of the artist over his material consists in the release of this material from mechanical external bonds and clutches. The freedom of the artist is in harmony with the nature of the material, so that the nature of the material becomes free and the freedom of the artist involuntary. As has been repeatedly noted, in perfect poetic works, the verse reveals in the alternation of vowels such an immutable inner. coercion, which makes it look like natural phenomena. those. in the general language phonetic. In the material, the poet releases such an opportunity, forcing him to follow him. According to Aristotle, the realm of claims is not the realm of the actual and not the realm of the regular, but the realm of the possible. Art cognizes the world in its semantic perspective, recreating it through the prism of the arts embedded in it. opportunities. It gives a specific arts. reality. Time and space in art-ve, in contrast to empirical. time and space are not clippings from homogeneous time or space. continuum. Arts. time slows down or speeds up depending on its content, each temporal moment of the work has a special significance depending on its correlation with the "beginning", "middle" and "end", so that it is evaluated both retrospectively and prospectively. Thus art. time is experienced not only as fluid, but also as spatially closed, visible in its completeness. Arts. space (in space arts) is also formed, regrouped (condensed in some parts, rarefied in others) by its content and therefore coordinated within itself. The frame of the picture, the pedestal of the statue do not create, but only emphasize the autonomy of the artistic architectonic. space, being auxiliary. means of perception. Arts. space, as it were, harbors temporal dynamics: its pulsation can be revealed only by moving from a general view to a gradual multi-phase consideration in order to then return to a holistic coverage. In arts. phenomenon, the characteristics of real life (time and space, rest and movement, object and event) form such a mutually justified synthesis that they do not need any motivations and additions from outside. Arts. idea (meaning X. o.). Analogy between X. o. and a living organism has its limit: X. o. as an organic integrity is, first of all, something significant, formed by its own meaning. Art, being image-creation, necessarily acts as meaning-creation, as the incessant naming and renaming of everything that a person finds around and within himself. In art, the artist always deals with expressive, intelligible being and is in a state of dialogue with it; "For a still life to be created, the painter and the apple must collide and correct each other." But for this, the apple must become a "talking" apple for the painter: many threads must extend from it, weaving it into an integral world. Any work of art is allegorical, since it speaks of the world as a whole; it does not "explore" c.-l. one aspect of reality, and concretely represents on its behalf in its universality. In this it is close to philosophy, also, unlike science, it is not of a sectoral nature. But, unlike philosophy, art is not systemic either; in private and specific. material, it gives the personified Universe, while at the same time there is a personal Universe of the artist. It cannot be said that the artist depicts the world and, "besides," expresses his attitude towards it. In such a case, one would be an annoying hindrance to the other; we would be interested either in the fidelity of the image (the naturalistic concept of art), or the meaning of the individual (psychological approach) or ideological (vulgar sociological approach) "gesture" of the author. Rather, the opposite is true: the artist (in sounds, movements, object forms) gives expression. being, on which was inscribed, depicted his personality. How does the expression express. being X. o. There is allegory and knowledge through allegory. But as an image of the personal "handwriting" of the artist X. o. there is a tautology, a complete and only possible correspondence with the unique experience of the world that gave rise to this image. As the personified Universe, the image is ambiguous, because it is the living center of many positions, both one and the other, and the third at once. As a personal universe, the image has a strictly defined evaluative meaning. X. o. - the identity of allegory and tautology, ambiguity and certainty, knowledge and evaluation. The meaning of the image, art. an idea is not an abstract position, which has become concrete, embodied in an organized feeling. material. On the way from conception to the embodiment of art. an idea never passes the stage of abstraction: as an idea, it is a concrete point in a dialogic the artist's encounter with being, i.e. prototype (sometimes a visible imprint of this original image is preserved in the finished work, for example, the prototype of the "Cherry Orchard", which remained in the title of Chekhov's play; sometimes the prototype-intent is dissolved in the completed creation and we catch it only indirectly). In arts. thought loses its abstractness, and reality loses its silent indifference to human beings. "opinion" about her. This grain of the image from the very beginning is not only subjective, but subjective-objective and vital-structural, and therefore has the ability to spontaneous development, to self-clarification (as evidenced by numerous recognitions of people of art). The prototype as a "formative form" draws into its orbit all new layers of material and shapes them through the style it sets. The conscious and volitional control of the author is to protect this process from accidental and incidental moments. The author, as it were, compares the created work with a certain standard and removes the excess, fills in the voids, eliminates the gaps. The presence of such a "standard" we usually acutely feel "on the contrary" when we assert that in such and such a place or in such and such a detail the artist did not remain faithful to his plan. But at the same time, as a result of creativity, something truly new arises, something that has never been before, and, therefore, there is essentially no "standard" for the work being created. Contrary to the Platonic view, sometimes popular even among the artists themselves ("In vain, artist, you think that you are the creator of your creations ..." - A. K. Tolstoy), the author does not just reveal art in the image. idea, but creates it. The prototype-design is not a formalized given that builds up material shells on itself, but rather a channel of imagination, a "magic crystal", through which the distance of future creation is "indistinctly" discerned. Only upon completion of art. work, the indefiniteness of the idea turns into a multi-valued certainty of meaning. Thus, at the stage of conception of art. the idea acts as a certain concrete impulse that arose from the "collision" of the artist with the world, at the stage of incarnation - as a regulative principle, at the stage of completion - as a semantic "facial expression" of the microcosm created by the artist, his living face, which at the same time is a face the artist himself. Various degrees of regulatory power of the arts. ideas combined with different material gives different types of X. o. A particularly energetic idea can, as it were, subdue its art. realization, to "acquaint" it to such an extent that the objective forms will be barely outlined, as is inherent in certain varieties of symbolism. A meaning that is too abstract or indefinite can only conditionally come into contact with objective forms, without transforming them, as is the case in naturalistic. allegories, or mechanically connecting them, as is typical of allegorical magic. fantasy of ancient mythologies. The meaning is typical. the image is concrete, but limited by specificity; the characteristic feature of an object or person here becomes a regulative principle for constructing an image that fully contains its meaning and exhausts it (the meaning of Oblomov's image is in "Oblomovism"). At the same time, a characteristic feature can subjugate and "signify" all the others to such an extent that the type develops into a fantastic one. grotesque. On the whole, the diverse types of X. o. art dependent. self-awareness of the era and are modified internally. the laws of each claim. Lit.: Schiller F., Articles on aesthetics, trans. [from German], [M.–L.], 1935; Goethe V., Articles and thoughts about the art, [M.–L.], 1936; Belinsky V. G., The idea of ​​art, Poln. coll. soch., vol. 4, M., 1954; Lessing G. E., Laokoon ..., M., 1957; Herder I. G., Izbr. cit., [trans. from German.], M.–L., 1959, p. 157–90; Schelling F.V., Philosophy of art, [transl. from German.], M., 1966; Ovsyaniko-Kulikovsky D., Language and Art, St. Petersburg, 1895; ?fuck off?. ?., From notes on the theory of literature, X., 1905; his own, Thought and Language, 3rd ed., X., 1913; his, From lectures on the theory of literature, 3rd ed., X., 1930; Grigoriev M.S., Form and content of the literary art. Prod., M., 1929; Medvedev P. N., Formalism and Formalists, [L., 1934]; Dmitrieva N., Image and word, [M., 1962]; Ingarden R., Studies in Aesthetics, trans. from Polish., M., 1962; Theory of literature. Main problems in history. lighting, book 1, M., 1962; ? Alievsky P. V., Khudozhestv. Prod., ibid., book. 3, M., 1965; Zaretsky V., Image as information, "Questions of Literature", 1963, No 2; Ilyenkov E., About aesthetic. the nature of fantasy, in Sat: Vopr. aesthetics, vol. 6, M., 1964; Losev?., Artistic Canons as a Problem of Style, ibid.; Word and image. Sat. Art., M., 1964; intonation and music. image. Sat. Art., M., 1965; Gachev G. D., The content of the artist. forms. Epos. Lyrics. Theatre, M., 1968; Panofsky E., "Idea". Ein Beitrag zur Begriffsgeschichte der ?lteren Kunsttheorie, Lpz.–B., 1924; his own, Meaning in the visual arts, . Garden City (N.Y.), 1957; Richards?. ?., Science and poetry, N. Y., ; Pongs H., Das Bild in der Dichtung, Bd 1–2, Marburg, 1927–39; Jonas O., Das Wesen des musikalischen Kunstwerks, W., 1934; Souriau E., La correspondance des arts, P., ; Staiger E., Grundbegriffe der Poetik, ; his own, Die Kunst der Interpretation, ; Heidegger M., Der Ursprung des Kunstwerkes, in his book: Holzwege, Fr./M., ; Langer S.K. Feeling and form. A theory of art developed from philosophy in a new key, ?. Y., 1953; her own, Problems of art, ?. Y., ; Hamburger K., Die Logik der Dichtung, Stuttg., ; Empson W., Seven types of ambiguity, 3 ed., N. Y., ; Kuhn H., Wesen und Wirken des Kunstwerks, M?nch., ; Sedlmayr H., Kunst und Wahrheit, 1961; Lewis C. D., The poetic image, L., 1965; Dittmann L. Stil. symbol. Struktur, Mönch., 1967. I. Rodnyanskaya. Moscow.

ARTISTIC IMAGE - one of the most important terms of aesthetics and art history, which serves to indicate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, a feature of which is the expression of an abstract idea in a specific sensual form. Such a definition makes it possible to single out the specifics of artistic and figurative thinking in comparison with other main forms of mental activity.

A truly artistic work is always distinguished by great depth of thought, the significance of the problems posed. In the artistic image, as the most important means of reflecting reality, the criteria for the truthfulness and realism of art are concentrated. By connecting the real world and the world of art, the artistic image, on the one hand, gives us the reproduction of real thoughts, feelings, experiences, and on the other hand, it does this with the help of conventional means. Truthfulness and conventionality exist together in the image. Therefore, not only the works of great realist artists are distinguished by vivid artistic imagery, but also those that are entirely built on fiction ( folk tale, fantasy story, etc.). Imagery collapses and disappears when the artist slavishly copies the facts of reality, or when he completely evades the depiction of facts and thereby breaks the connection with reality, concentrating on the reproduction of his various subjective states.

Thus, as a result of the reflection of reality in art, the artistic image is a product of the artist's thought, but the thought or idea contained in the image always has a concrete sensory expression. Images are called both separate expressive devices, metaphors, comparisons, and integral structures (characters, characters, the work as a whole, etc.). But beyond this, there is also a figurative system of directions, styles, manners, etc. (images of medieval art, the Renaissance, the Baroque). Artistic image may be part of a work of art, but may be equal to it and even surpass it.

It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derived from a work of art. If a work of art is a unity of material, form, content, i.e., everything with which the artist works to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed result. creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original idea and sometimes the material, i.e. practice creative process makes its own corrections to the very core of the artistic image. The art of the master here is organically merged with the worldview, the aesthetic ideal, which are the basis of the artistic image.

The main stages, or levels, of the formation of an artistic image are:

Image-intention

Piece of art

Image-perception.

Each of them testifies to a certain qualitative state in development. artistic thought. So, the further course of the creative process largely depends on the idea. It is here that the artist’s “illumination” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-design plays an equally important and necessary role in the creative process of both the artist and the scientist.

The next stage is connected with the concretization of the image-concept in the material. Conventionally, it is called an image-work. This is as important a level of the creative process as the idea. Here the regularities associated with the nature of the material begin to operate, and only here the work receives a real existence.

The last stage at which their own laws operate is the stage of perception of a work of art. Here imagery is nothing but the ability to recreate, to see in the material (in color, sound, word) the ideological content of a work of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time have a huge educational impact on him.

Artistic image

Image in general, it is a kind of subjective spiritual and psychic reality that arises during inner world a person in the act of perceiving any reality, in the process of contact with the outside world - in the first place, although there are, of course, images of fantasy, imagination, dreams, hallucinations, etc., reflecting some subjective (internal) realities. In the broadest general philosophical terms, the image is a subjective copy of objective reality. Artistic image- this is an image of art, i.e. specially created in the process of special creative activity according to specific (although, as a rule, unwritten) laws by the subject of art - the artist - is a phenomenon. In the future, we will only talk about the artistic image, so for brevity I call it simply way.

In the history of aesthetics, the first modern form posed an image problem Hegel in the analysis of poetic art and outlined the main direction of its understanding and study. In the image and figurativeness, Hegel saw the specifics of art in general, and poetic art in particular. "On the whole," he writes, "we may designate a poetic performance as a performance figurative, since it presents to our gaze not an abstract essence, but its concrete reality, not an accidental existence, but such a phenomenon in which directly through the external itself and its individuality we, in inseparable unity with it, cognize the substantial, and thus we find ourselves in the inner world of representation as one and the same integrity both the concept of an object and its external being. In this respect there is a great difference between what gives us a figurative representation and what becomes clear to us through other modes of expression.

The specificity and advantage of the image, according to Hegel, lies in the fact that, unlike the abstract verbal designation of an object or event that appeals to the rational consciousness, it represents an object to our inner vision and vision in the fullness of its real appearance and essential substantiality. Hegel explains this simple example. When we say or read the words "sun" and "morning", it is clear to us what in question, but neither the sun nor the morning appear before our eyes in their real form. And if, in fact, the poet (Homer) expresses the same thing with the words: “A young woman arose from darkness, with purple fingers Eos,” then we are given something more than a simple understanding of the sunrise. The place of abstract understanding is replaced by “real certainty”, and our inner gaze sees the whole picture dawn in the unity of its rational (conceptual) content and concrete visual appearance. Therefore, in the image of Hegel, the poet's interest in the external side of the object from the point of view of the illumination of its "essence" in it is essential. In this regard, he distinguishes between images "in the proper sense" and images "in the improper" sense. The German philosopher refers to the first more or less direct, immediate, we would now say isomorphic, image (literal description) of the appearance of an object, and to the second - a mediated, figurative image of one object through another. Metaphors, comparisons, all kinds of figures of speech fall into this category of images. Hegel pays special attention to fantasy in the creation poetic images. These ideas of the author of the monumental "Aesthetics" formed the foundation of the aesthetic understanding of the image in art, undergoing certain transformations, additions, changes, and sometimes complete denial at various stages in the development of aesthetic thought.

As a result of a relatively long historical development, a fairly complete and multi-level idea of ​​the image and figurative nature of art has developed in classical aesthetics today. In general, under in an artistic way, an organic spiritual-eidetic integrity is understood, expressing, presenting a certain reality in the mode of greater or lesser isomorphism (likeness of form) and realized (having existence) in its entirety only in the process of perception specific work art by a specific recipient. It is then that the unique art world, folded by the artist in the act of creating a work of art into its objective (pictorial, musical, poetic, etc.) reality and unfolding already in some other concreteness (another hypostasis) in the inner world of the subject of perception. The image in its entirety is complex process artistic exploration of the world. It presupposes the existence of an objective or subjective reality, that gave impetus to the process of artistic display. It is more or less essentially subjectively transformed in the act of creating a work of art into a certain reality of the works. Then, in the act of perceiving this work, another process of transformation of features, form, even the essence of the original reality (the prototype, as they sometimes say in aesthetics) and the reality of the work of art (the "secondary" image) takes place. A final (already third) image appears, often very far from the first two, but nevertheless retaining something (this is the essence of isomorphism and the very principle of mapping) inherent in them and uniting them in a single system figurative expression, or artistic display.

From this it is obvious that, along with the final, most general and in full arising from perception, aesthetics distinguishes a number of more particular understandings of the image, on which it makes sense to dwell at least briefly here. A work of art begins with the artist, more precisely, with a certain idea that he has before starting work on the work and is realized and concretized in the process of creativity as he works on the work. This initial, as a rule, still quite vague, idea is often already called an image, which is not entirely accurate, but can be understood as a kind of spiritual and emotional sketch of the future image. In the process of creating a work in which, on the one hand, all the spiritual and spiritual forces of the artist participate, and on the other hand, technical system his skills of handling (processing) with a specific material from which, on the basis of which a work is created (stone, clay, paints, pencil and paper, sounds, words, theater actors, etc., in short - the entire arsenal of visual and expressive means of this type or genre of art), the original image (= idea), as a rule, changes significantly. Often nothing remains of the original figurative-semantic sketch. It performs only the role of the first stimulus for a fairly spontaneous creative process.

The resulting work of art is also and with great reason called an image, which, in turn, has a number of figurative levels, or sub-images - images of a more local nature. The work as a whole is concretely sensual embodied in the material of this art form. way spiritual objective-subjective unique world in which the artist lived in the process of creating this work. This image is a set of visual and expressive units of this type of art, which is a structural, compositional, semantic integrity. This is an objectively existing work of art (a painting, an architectural structure, a novel, a poem, a symphony, a movie, etc.).

Inside this folded image-work, we also find a number of smaller images determined by the pictorial and expressive structure of this type of art. For the classification of images of this level, in particular, the degree of isomorphism (the external similarity of the image to the depicted object or phenomenon) is essential. The higher the level of isomorphism, the closer the image of the figurative-expressive level is to the external form of the depicted fragment of reality, the more “literary” it is, i.e. lends itself verbal description and causes the corresponding "picture" representations in the recipient. For example, a picture historical genre, classical landscape, realistic story, etc. At the same time, it is not so important whether we are talking about the visual arts proper (painting, theater, cinema) or about music and literature. With a high degree of isomorphism, "picture" images or representations arise on any basis. And they do not always contribute to the organic development of the actual artistic image of the whole work. Quite often, it is this level of figurativeness that turns out to be oriented towards non-aesthetic goals (social, political, etc.).

However, ideally, all these images are included in the structure of the general artistic image. For example, for literature, one speaks of a plot as a image some life (real, probabilistic, fantastic, etc.) situation, about images specific heroes of this work (images of Pechorin, Faust, Raskolnikov, etc.), about image nature in specific descriptions, etc. The same applies to painting, theater, cinema. More abstract (with a lesser degree of isomorphism) and less amenable to concrete verbalization are images in works of architecture, music or abstract art, but even there one can speak of expressive figurative structures. For example, in connection with some completely abstract "Composition" by V. Kandinsky, where visual-subject isomorphism is completely absent, we can talk about compositional way, based on the structural organization of color forms, color relationships, balance or dissonance of color masses, etc.

Finally, in the act of perception (which, by the way, begins to be realized already in the process of creativity, when the artist acts as the first and extremely active recipient of his emerging work, correcting the image as it develops), the work of art is realized, as already mentioned, main image of the given work, for the sake of which it was actually brought into existence. In the spiritual and mental world of the subject of perception, a certain ideal reality, in which everything is connected, fused into an organic integrity, there is nothing superfluous and no flaw or lack is felt. She belongs at the same time this subject(and only to him, because another subject will have a different reality, a different image based on the same work of art), a work of art(occurs only on the basis of this particular work) and the universe as a whole, for really attaches the recipient in the process of perception (i.e. the existence of a given reality, this image) To universal plerome of being. Traditional aesthetics describes it supreme art event differently, but the meaning remains the same: comprehension of the truth of being, the essence of a given work, the essence of the depicted phenomenon or object; the manifestation of truth, the formation of truth, the comprehension of an idea, an eidos; contemplation of the beauty of being, familiarization with ideal beauty; catharsis, ecstasy, insight, etc. etc. The final stage of perception of a work of art is experienced and realized as a kind of breakthrough of the subject of perception to some levels of reality unknown to him, accompanied by a feeling of fullness of being, unusual lightness, exaltation, spiritual joy.

At the same time, it does not matter at all what the specific, intellectually perceived content of the work (its superficial literary-utilitarian level), or more or less specific visual, auditory images of the psyche (emotional-mental level), arising on its basis. For the complete and essential realization of the artistic image, it is important and significant that the work be organized according to artistic and aesthetic laws, i.e. necessarily caused in the end aesthetic pleasure in the recipient, which is an indicator reality of contact– the entry of the subject of perception with the help of the actualized image to the level of the true being of the Universe.

Take, for example, the famous painting "Sunflowers" by Van Gogh (1888, Munich, Neue Pinakothek), depicting a bouquet of sunflowers in a jug. On the “literary”-subject pictorial level, we see on the canvas only a bouquet of sunflowers in a ceramic jug standing on a table against a greenish wall. There is a visual image of a jar, and an image of a bouquet of sunflowers, and very different images of each of the 12 flowers, which can all be described in sufficient detail in words (their position, shape, colors, degree of maturity, some even have the number of petals). However, these descriptions will still have only an indirect relation to the integral artistic image of each depicted object (one can also talk about this), and even more so to the artistic image of the entire work. The latter is formed in the psyche of the viewer on the basis of such a multitude of visual elements of the picture that make up the organic (one might say, harmonic) integrity, and the mass of all kinds of subjective impulses (associative, memory, artistic experience of the viewer, his knowledge, his mood at the time of perception, etc. .), that all this defies any intellectual accounting or description. However, if we really have a real work of art before us, like these “Sunflowers”, then all this mass of objective (coming from the picture) and subjective impulses that arose in connection with them and on their basis forms such an integral reality in the soul of each viewer, such a visual and spiritual an image that arouses in us a powerful explosion of feelings, delivers indescribable joy, elevates us to the level of such a really felt and experienced fullness of being that we never achieve in ordinary (outside of aesthetic experience) life.

This is the reality, the fact of true being artistic image, as the essential basis of art. Any art, if it organizes its works according to unwritten, infinitely diverse, but really existing artistic laws.

in an artistic way name any phenomenon creatively recreated in a work of art. An artistic image is an image created by the author in order to fully reveal the described phenomenon of reality. Unlike literature and cinema, fine art cannot convey movement and development over time, but this has its own strength. In the immobility of the pictorial image is hidden great power, which allows us to see, experience and understand exactly what in life rushes by without stopping, only fleetingly and fragmentarily touching our consciousness. An artistic image is created on the basis of means: image, sound, language environment, or a combination of several. In x. O. a specific subject of art is mastered and processed by the creative imagination, imagination, talent and skill of the artist - life in all its aesthetic diversity and richness, in its harmonic integrity and dramatic collisions. X. o. is an inseparable, interpenetrating unity of objective and subjective, logical and sensual, rational and emotional, mediated and immediate, abstract and concrete, general and individual, necessary and accidental, internal (regular) and external, whole and part, essence and phenomenon, content and forms. Thanks to the fusion of these opposite sides in the course of the creative process into a single, integral, living image of art, the artist gets the opportunity to achieve a bright, emotionally rich, poetically penetrating and at the same time deeply spiritualized, dramatically intense reproduction of a person’s life, his activity and struggle, joys and defeats. , searches and hopes. Based on this fusion, embodied with the help of material means specific to each type of art (word, rhythm, sound intonation, drawing, color, light and shadow, linear relationships, plasticity, proportionality, scale, mise-en-scene, facial expressions, film editing, close-up, angle and etc.), images-characters, images-events, images-circumstances, images-conflicts, images-details are created, expressing certain aesthetic ideas and feelings. It is about the system X. o. related is the ability of art to fulfill its specific function - to deliver to a person (reader, viewer, listener) deep aesthetic pleasure, to awaken in him an artist who is able to create according to the laws of beauty and bring beauty to life. Through this single aesthetic function of art, through the X. o. its cognitive significance, powerful ideological and educational, political, moral impact on people are manifested

2)Buffoons are walking across Russia.

In 1068, buffoons were first mentioned in the annals. The image that comes to mind is a brightly painted face, funny disproportionate clothes and the obligatory cap with bells. If you think about it, you can imagine some musical instrument next to the buffoon, like a balalaika or harp, there is still not enough bear on the chain. However, such an idea is quite justified, because back in the fourteenth century, a monk-scribe from Novgorod depicted buffoons in the margins of his manuscript. True buffoons in Russia were known and loved in many cities - Suzdal, Vladimir, the Moscow principality, throughout Kievan Rus. The buffoons danced beautifully, provoking the people, excellently played the bagpipes, psaltery, pounded wooden spoons and tambourines, blew horns. The people called buffoons "merry fellows", composed stories, proverbs and fairy tales about them. However, despite the fact that the people were friendly towards buffoons, the more noble strata of the population - princes, clergy and boyars, did not tolerate cheerful scoffers. This was due precisely to the fact that the buffoons ridiculed them with pleasure, translating the most unseemly deeds of the nobility into songs and jokes and exposing the common people to ridicule. Buffoon art developed rapidly and soon buffoons not only danced and sang, but also became actors, acrobats, jugglers. Buffoons began to perform with trained animals, arrange puppet shows. However, the more the buffoons ridiculed the princes and deacons, the more the persecution of this art intensified. Novgorod buffoons began to be oppressed throughout the country, some of them were buried in remote places near Novgorod, someone left for Siberia. A buffoon is not just a buffoon or a clown, he is a person who understood social problems and ridiculed human vices in his songs and jokes. For this, by the way, the persecution of buffoons began in the era of the late Middle Ages. The laws of that time prescribed buffoons to be beaten to death immediately upon meeting, and they could not pay off the execution. Gradually, all the buffoons in Russia bred out, and instead of them, wandering jesters from other countries appeared. English buffoons were called vagants, German buffoons were called shpilmans, and French buffoons were called jongers. The art of wandering musicians in Russia has changed a lot, but inventions such as puppet theater, jugglers and trained animals have remained. In the same way as immortal ditties and epic tales remained, which were composed by buffoons

Artistic image

typical image
Image-motive
topos
Archetype.

Artistic image. The concept of the artistic image. Functions and structure of the artistic image.

Artistic image- one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
The artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of feelings, thoughts, aspirations, aesthetic emotions of the artist.
Its main functions are: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal the specific features of the image, each of them individually characterizes only one side of it; an isolated consideration of individual functions not only impoverishes the idea of ​​the image, but also leads to the loss of its specificity as a special form public consciousness.
In the structure of the artistic image, the main role is played by the mechanisms of identification and transfer.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, signs are combined into a single whole; moreover, the identification is only partial, highly limited: it borrows only one feature or a limited number of features of the objective person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes - transference.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed in an associative way to all new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating in dreams and neuroses the so-called. thickening.

Conflict as the basis of the plot side of the work. The concept of "motive" in Russian literary criticism.

The most important function of the plot is the discovery of life's contradictions, i.e. conflicts (in Hegel's terminology - collisions).

Conflict- confrontation of a contradiction either between characters, or between characters and circumstances, or within a character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of a single conflict. In works of large volume, the number of conflicts increases.

Conflict- the core around which everything revolves. The plot least of all resembles a solid, continuous line connecting the beginning and end of the series of events.

Stages of conflict development- main plot elements:

Lyric-epic genres and their specificity.

Lyric epic genres reveal connections within literature: from lyrics - a theme, from epic - a plot.

Combining an epic narrative with a lyrical beginning - a direct expression of the experiences, thoughts of the author

1. poem. – genre content can be either epic or lyrical. (In this regard, the plot is either enhanced or reduced). In antiquity, and then in the era of the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method, it is equally represented in romanticism ("Mtsyri"), in realism ("The Bronze Horseman"), in symbolism ("12")...

2. ballad. - (French "dance song") and in this sense it is a specifically romantic narrative poetic work. In the second meaning of the word, the ballad is a folklore genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.

3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) a feature of the genre form yavl. The inclusion in the text (at the beginning or at the end) of a special short stanza - morality. The fable is connected with the parable, besides, the fable is genetically connected with the fairy tale, the anecdote, and later the short story. fable talents are rare: Aesop, Lafontaine, I.A. Krylov.

4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together these lyrical works create a "circle": a unifying principle yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.

Basic concepts of poetic language and their place in the school curriculum in literature.

POETIC LANGUAGE, fiction speech, language poetic (poetic) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, in which the main language is communicative function(see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, that is, the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. Ya., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is language in its aesthetic function.
P. i. closely related, on the one hand, to literary language(see), which is its normative basis, and on the other hand, with the national language, from where it draws a variety of characterological linguistic means, for example. dialectisms when transmitting the speech of characters or to create a local color of the depicted. The poetic word grows out of real word and in it, becoming motivated in the text and performing a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.

19. The concept of the artistic method. The history of world literature as a history of changing artistic methods.

artistic method(creative) method is a set of the most general principles aesthetic assimilation of reality, which is consistently repeated in the work of one or another group of writers that form a direction, trend or school.

O.I. Fedotov notes that “the concept of “creative method” is not much different from the concept of “artistic method” that gave rise to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire trends.

The concept of the artistic method appears in the 1920s, when critics of the Russian Association of Proletarian Writers (RAPP) borrow this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of "proletarian" writers.

The artistic method has an aesthetic nature, it represents historically determined general forms emotionally colored figurative thinking.

Art objects are the aesthetic qualities of reality, i.e. “the wide social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changeable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, the historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through the historical changes in the object of art, but also through the historical change in the aesthetic qualities of reality. The subject of art contains the lifeblood of the artistic method. The artistic method is the result of a creative reflection of an art object, which is perceived through the prism of the general philosophical and political worldview of the artist. “The method always appears before us only in its concrete artistic embodiment – ​​in the living matter of the image. This matter of the image arises as a result of the artist’s personal, most intimate interaction with the concrete world around him, which determines the entire artistic and thought process necessary to create a work of art” (L.I. Timofeev)

The creative method is nothing more than a projection of imagery into a certain concrete historical setting. Only in it does the figurative perception of life receive its concrete realization, i.e. is transformed into a certain, organically arisen system of characters, conflicts, storylines.

The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically conditioned understanding of it in the light of the main questions that life poses to art at each new stage of its development.

The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of the artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, the relationship of characters, the homogeneity of conflicts and plots, and the manner of writing. So, for example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.

The artist's method is felt through style his works, i.e. through the individual manifestation of the method. Since the method is a way of artistic thinking, the method is the subjective side of the style, because. this way of figurative thinking gives rise to certain ideological and artistic features of art. The concept of method and individual style of the writer correlate with each other as the concept of genus and species.

Interaction method and style:

§ variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;

§ stylistic unity is possible only within one method, since even the outward similarity of the works of authors adhering to the same method does not give grounds for classifying them as a single style;

§ Reverse influence of style on method.

The full use of the style techniques of artists who are adjacent to one method is incompatible with the consistent observance of the principles of the new method.

Along with the concept of creative method, the concept direction or type of creativity, which in the most diverse forms and relationships will be manifested in any method that arises in the process of development of the history of literature, since they express the general properties of the figurative reflection of life. In their totality, the methods form literary currents (or trends: romanticism, realism, symbolism, etc.).

The method determines only the direction creative work the artist, not her individual properties. The artistic method interacts with the creative individuality of the writer

The concept of "style" is not identical with the concept "creative individuality of the writer". The concept of "creative individuality" is broader than what is expressed by the narrow concept of "style". In the style of writers, a number of properties are manifested, which in their totality characterize the creative individuality of writers. The concrete and real result of these properties in literature is style. The writer develops his own individual style on the basis of this or that artistic method. We can say that the creative individuality of the writer is a necessary condition for the further development of each artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individualities of writers become general and represent a new quality in their totality.

The artistic method and creative individuality of the writer are manifested in literature through the creation of literary images, the construction of motives.

mythological school

The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.

Mythological school in Russian literary criticism: A.N. Afanasiev, F.I. Buslaev.

Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.

biographical method

Theoretical and methodological foundations biographical method. Life and work of Sh.O. Saint-Bev. Biographical method in Russian literary criticism of the 19th century. (scientific activity of N.A. Kotlyarevsky).

Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.

Biographical approach in the study of heritage major artists words (G.Tukaya, S.Ramieva, Sh.Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.

Psychological direction

Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.

Psychological approach in Tatar literary criticism of the early twentieth century. Views of M.Marjani, J.Validi, G.Ibragimov, G.Gubaydullin, A.Mukhetdiniya and others. The work of G.Battala "Theory of Literature".

The concept of psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.

Psychoanalysis

Theoretical Foundations of Psychoanalytic Criticism. Life and work of Z. Freud. Psychoanalytic writings of Freud. Psychoanalysis of C.G. Jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis of Erich Fromm. The concept of the social unconscious. J. Lacan's research.

Psychoanalytic theories in Russia in the 20s. 20th century (I.D. Ermakov). Psychoanalysis in modern literary criticism.

Sociologism

The emergence of sociology. The difference between sociological and cultural-historical methods. Features of the application of the sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Proceedings of G. Nigmati, F. Burnash.

Vulgar sociologism: genesis and essence (V.M. Friche, later works of V.F. Pereverzev). FG Galimullin about vulgar sociologism in Tatar literary criticism.

Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).

The emergence of new concepts, directions that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the possibilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.

Sociologism on a global scale: in Germany (B. Brecht, G. Lukacs), in Italy (G. Wolpe), in France, striving for the synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.

formal school.

Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.

Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague linguistic circle and the Genevan linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.

Activities of the Parisian semiotic schools (early R. Barthes, K. Levy-Strauss, A. J. Greimas, K. Bremont, J. Genette, W. Todorov), the Belgian school of the sociology of literature (L. Goldman and others).

Structuralism in Russia. Attempts to apply the structural method in the study of Tatar folklore (works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis(A.G. Yakhin), while studying the history of Tatar literature (D.F. Zagidullina and others).

emergence narratology - the theory of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.

B.S.Meilakh about complex method in literary criticism. Kazan base group Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Proceedings of Yu.G. Nigmatullina.

An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.

hermeneutics

The first information about the problem of interpretation in ancient Greece and the East. Views of representatives of the German "spiritual-historical" school (F. Schleiermacher, W. Dilthey). The concept of H. G. Gadamer. The concept of "hermeneutic circle". Hermeneutic theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).

Artistic image. The concept of the artistic image. Classification of artistic images according to the nature of generalization.

Artistic image- a way of mastering and transforming reality, inherent only in art. An image is any phenomenon that is creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, images-motives, topoi and archetypes (mythologems).
Individual images are characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in the "Notre Dame Cathedral" by V. Hugo, the Demon in poem of the same name M. Lermontov, Woland in "The Master and Margarita" by A. Bulgakov.
Characteristic image, is generalizing. It contains common features of characters and mores inherent in many people of a certain era and its public spheres(characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky).
typical image represents the highest level of the characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of the realistic literature XIX century. Suffice it to recall the father of Goriot and Gobsek Balzac, Anna Sometimes in the artistic image can be captured both the socio-historical signs of the era, and the universal character traits of a particular hero.
Image-motive- this is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements (“village Russia” by S. Yesenin, “Beautiful Lady” by A. Blok).
topos(Greek topos - place, area) denotes general and typical images created in the literature of an entire era, a nation, and not in the work of an individual author. An example is the image of the "little man" in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term is first encountered in German romantics v early XIX century, however real life in various fields of knowledge gave him the work of the Swiss psychologist C. Jung (1875-1961). Jung understood the "archetype" as a universal image, unconsciously transmitted from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, literally “stuffed” all of humanity, and the archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.