What is an action in the literature is briefly defined. Development of action. Economic development. Social status. The origin and development of feudal relations

03.03.2020

One of the trends in neo-romanticism k.19-n. 20 centuries. The focus of literature on “action” is actively active hero. The hero's activity is realized primarily in an action that has a tangible, effective, cultural and historical character. The hero’s act is nothing more than the “objectification” of his will (see: “Will”) into the flesh of national-historical existence. The hero, as it were, establishes, as a result of the manifestation of his will, a certain new law and thanks to this he acquires the status of a cultural hero in national legend. It is very significant that a hero of this type is not a thinking hero, an intellectual hero, whose superhuman activity is concentrated in analytical abilities, in thought (Sherlock Holmes by K. Doyle, Pastor Brown by G. K. Chesterton and other so-called characters . analytical genres in neo-romanticism), on the contrary, the hero’s inability to perform complex mental operations is often emphasized (the hero of R. Kipling’s “barracks” ballads, Tommy Atkins, or Captain McWhirr from D. Conrad’s story “Typhoon”). The low intelligence of the heroes, and sometimes even the absence thereof, is not negative characteristic for a character in “action” literature, on the contrary, this limitation helps the hero concentrate on a specific goal and convincingly achieve it. Thought, the ability to reason, to surrender to the flow of speculative-logical operations would look like obstacles that hinder the hero, inhibiting the process of the character’s volitional activity. Until recently, it was customary to link the literature of “action” with the so-called. “imperialist” ideology (the work of the “colonization ideologist” R. Kipling was often cited as an example), which, of course, does not stand up to criticism: Joseph Conrad, who, like R. Kipling and G. R. Haggard, pays tribute to this literature, cannot to be called "the ideologist of English colonization" and the "singer of imperialism" because of his democratic leanings. Literary: Yu. I. Kagarlitsky. Rudyard Kipling. // Rudyard Kipling. Stories. Poetry. Fairy tales. – M., 1989.

Offers several definitions of the concept “plot”. According to Ozhegov, plot in literature is the order and connection of events. Ushakov's dictionary suggests that they be considered a set of actions, the sequence and motivation for the unfolding of what is happening in a work.

Relationship with plot

In modern Russian criticism, plot has a completely different definition. The plot in literature is understood as the course of events against the background of which the confrontation is revealed. The plot is the main artistic conflict.

However, other points of view on this issue have existed in the past and continue to exist. Russian critics mid-19th centuries, supported by Veselovsky and Gorky, considered the compositional aspect of the plot, that is, how exactly the author communicates the content of his work. And the plot in literature is, in their opinion, the actions and relationships of the characters.

This interpretation is directly opposite to that in Ushakov’s dictionary, in which the plot is the content of events in their sequential connection.

Finally, there is a third point of view. Those who adhere to it believe that the concept of “plot” independent meaning does not, and when analyzing it is quite enough to use the terms “plot”, “composition” and “plot diagram”.

Types and variants of product schemes

Modern analysts distinguish two main types of plot: chronicle and concentric. They differ from each other in the nature of the connections between events. Main factor, so to speak, is time. The chronic type reproduces its natural course. Concentric - focuses no longer on the physical, but on the mental.

Concentric plots in literature are detective stories, thrillers, social and psychological novels, dramas. Chronicle is more common in memoirs, sagas, and adventure works.

Concentric plot and its features

In the case of this type of course of events, a clear cause-and-effect relationship between the episodes can be traced. Plot development in literature of this type proceeds consistently and logically. It is easy to highlight the beginning and end here. Previous actions are the causes of subsequent ones, all events seem to be pulled together into one node. The writer explores one conflict.

Moreover, the work can be either linear or multilinear - the cause-and-effect relationship is preserved just as clearly, moreover, any new storylines appear as a result of events that have already happened. All parts of a detective story, thriller or story are built on a clearly expressed conflict.

Chronicle story

It can be contrasted with concentric, although in fact there is not an opposite here, but a completely different principle of construction. These types of plots in literature can interpenetrate each other, but most often either one or the other is decisive.

The change of events in a work built on a chronicle principle is tied to time. There may be no clear connection, no strict logical cause-and-effect relationship (or at least this connection is not obvious).

In such a work we can talk about many episodes, the only thing they have in common is that they happen in chronological sequence. A chronicle plot in literature is a multi-conflict and multi-component canvas, where contradictions arise and fade, and one is replaced by another.

Commencement, climax, denouement

In works whose plot is based on conflict, it is essentially a scheme, a formula. It can be divided into its constituent parts. The elements of plot in literature include exposition, setup, conflict, rising action, crisis, climax, falling action, and resolution.

Of course, not all of the above elements are present in every work. More often you can find several of them, for example, plot, conflict, development of action, crisis, climax and denouement. On the other hand, it matters how exactly the work is analyzed.

The exhibition in this regard is the most static part. Its task is to introduce some of the characters and the setting of the action.

The plot describes one or more events that give rise to the main action. The development of the plot in literature goes through conflict, rising action, crisis to climax. She is the peak of the work, playing significant role in revealing the characters' characters and in developing the conflict. The denouement adds the final touches to the story being told and to the characters.

In literature, a certain plot structure has developed, which is psychologically justified from the point of view of its influence on the reader. Each element described has its place and meaning.

If a story does not fit into the scheme, it seems sluggish, incomprehensible, and illogical. For a work to be interesting, for readers to empathize with the characters and delve into what is happening to them, everything in it must have its place and develop in accordance with these psychological laws.

Plots of ancient Russian literature

Ancient Russian literature, according to D. S. Likhachev, is “literature of one theme and one plot.” World history and meaning human life- these are the main, deep motives and themes of the writers of those times.

Subjects ancient Russian literature are revealed to us in lives, epistles, walks (descriptions of travel), chronicles. The names of the authors of most of them are unknown. According to the time interval, the Old Russian group includes works written in the 11th-17th centuries.

The diversity of modern literature

Attempts to classify and describe the plots used have been made more than once. In his book The Four Cycles, Jorge Luis Borges suggested that in world literature there are only four types:

about search;
about the suicide of God;
about the long return;
about the assault and defense of a fortified city.

Christopher Booker identified seven: rags to riches (or vice versa), adventure, there and back again (Tolkien's The Hobbit comes to mind), comedy, tragedy, resurrection and defeating the monster. Georges Polti reduced the entire experience of world literature to 36 plot collisions, and Kipling identified 69 of their variants.

Even specialists of other profiles were not left indifferent by this question. According to Jung, the famous Swiss psychiatrist and founder of analytical psychology, the main subjects of literature are archetypal, and there are only six of them - the shadow, anima, animus, mother, old man and child.

Index to folk tales

Perhaps most of all, the Aarne-Thompson-Uther system “highlighted” the possibilities for writers - it recognizes the existence of approximately 2500 options.

We are, however, talking about folklore here. This system is a directory, an index fairy tales, known to science at the time of compilation of this monumental work.

There is only one definition for the course of events here. The plot in literature of this kind looks like this: “The persecuted stepdaughter is taken into the forest and abandoned there. Baba Yaga, or Morozko, or Leshy, or 12 months, or Winter, test her and reward her. Native daughter The stepmother also wants to receive a gift, but does not pass the test and dies.”

In fact, Aarne himself established no more than a thousand options for the development of events in the fairy tale, but he allowed for the possibility of new ones and left a place for them in his original classification. This was the first index that came into scientific use and was recognized by the majority. Subsequently, scientists from many countries made their additions to it.

In 2004, an edition of the directory appeared, in which descriptions fairy tale types have been updated and made more accurate. This version of the index contained 250 new types.

THE ACTION IS DRAMATIC, the term has several meanings.

1. In performing arts - the most important means of expression acting. In fact, it is a means of embodying a stage image or role. It includes a complex complex of both physical (plasticity, facial expressions, speech, gestures, etc.) and psychological processes (experience, perception, evaluation, etc.).

The concept of stage action formed the basis of the “Stanislavsky system” - the theory and method of acting developed by K.S. Stanislavsky. In particular, K.S. Stanislavsky introduced the concepts of “effective analysis of the play” (analysis of the psychophysical actions of each character); “end-to-end action” (logical chain, continuous action of the role), “super-task” (goal to which the entire complex of acting action leads).

An actor on stage without action is impossible, regardless of genre, style or creative method stage work. Action is fundamental species feature acting creativity. It brings into view the character’s character, the logic and process of his development, conflicting relationships, etc. – that is, everything that makes up the essence of a stage work.

Depending on the type of stage art, the ratio of physical and psychological actions in the work of an actor changes. Say, in a ballet or opera performance highest value acquire dance or vocal techniques. However, even in this case, without filling the image with psychological action, the role remains formal, turning from a work of art into a technical exercise.

2. In dramaturgy, action is considered as a development of events; here the term is closely related to the concepts of “plot” and “plot”. In accordance with this, it is possible to classify actions according to external and internal parameters. The set of actual events leading to changes in the current situation, the emergence of new characters and new circumstances - that is, everything that relates to the plot of the play - refers to external action. Especially often the action along the external line develops in vaudeville, detective stories, and sitcoms. If in dramatic work behind simple or ordinary situations, serious problems arise if changes occur not so much in the situational position of the characters, but in their psychology, characters and worldview - which is included in the concept of the plot of the play; the action can be classified as internal. The clearest example internal action are represented by plays by A.P. Chekhov, where behind everyday life grandiose tragicomic problems of the characters arise. However, the division into external and internal actions is quite arbitrary; These are two sides of the same coin, and they cannot exist in isolation. So, say, in Shakespeare’s plays, an extremely dynamic series of events leads to an equally dynamic change and development of the characters’ characters.

3. Both in dramaturgy and in its stage embodiment the term “action” is often used as a synonym for the term “act,” which denotes a completed part of a play or performance, usually separated from others by intermission.

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Stages of action development: exposition, plot, climax, denouement, epilogue, lyrical digression

The development of action in a work of fiction includes several stages: exposition, plot, climax, denouement, epilogue.

Exposition (from Latin expositio - presentation, explanation) - the background to the events underlying work of art. Usually it describes the main characters, their arrangement before the start of the action, before the plot. Exposition motivates characters' behavior. The exposition can be direct, that is, at the beginning of the work, or delayed, that is, located in the middle or end of the work. For example, information about Chichikov’s life before his arrival in provincial town given in last chapter the first volume of Gogol's Dead Souls. Delayed exposure usually gives the work a mysterious, unclear quality.

The plot is the event that is the beginning of the action. The plot either reveals existing contradictions, or itself creates (“knots”) conflicts. For example, the plot of Gogol’s comedy “The Inspector General” is the mayor’s receipt of a letter informing him of the arrival of the inspector.

Climax (from Latin сulmen - peak) - the highest highest point tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly acute form. Thus, in Ostrovsky’s drama “The Thunderstorm,” the climax is Katerina’s confession. The more conflicts there are in a work, the more difficult it is to reduce the tension of the action to just one climax. The climax is the most acute manifestation of the conflict and at the same time prepares the denouement of the action.

The denouement is the outcome of events. This is the final moment in creation artistic conflict. The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. Such, for example, is the so-called silent scene in N. Gogol’s “The Government Inspector”, where all the plot knots of the comedy are “untied” and the final assessment of the characters’ characters is given. The denouement can resolve the conflict (Fonvizin's "The Minor"), but it may not eliminate conflict situations (in "Woe from Wit" by Griboedov, in "Eugene Onegin" by Pushkin, the main characters remain in difficult situations).

An epilogue (from the Greek epilogos - afterword) always concludes a work. The epilogue talks about future fate heroes. For example, Dostoevsky in the epilogue of “Crime and Punishment” reports how Raskolnikov changed in hard labor.

Lyrical digression - the author’s deviation from the plot, the author’s lyrical insertions on topics that have little or nothing to do with main theme works. They, on the one hand, inhibit the plot development of the work, and on the other, allow the writer to openly express his subjective opinion on various issues that are directly or indirectly related to central theme. These are, for example, lyrical digressions in Pushkin’s novel “Eugene Onegin”, in “ Dead souls» Gogol.

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What is plot in literature? Development and elements of plot in literature

Modern literary theory offers several definitions of the concept of “plot”. According to Ozhegov, plot in literature is the order and connection of events. Ushakov's dictionary suggests that they be considered a set of actions, the sequence and motivation for the unfolding of what is happening in a work.

Relationship with plot

However, other points of view on this issue have existed in the past and continue to exist. Russian critics of the mid-19th century, supported by Veselovsky and Gorky, considered the compositional side of the plot, that is, how exactly the author communicates the content of his work. And the plot in literature is, in their opinion, the very development of the action and relationships of the characters.

This interpretation is directly opposite to that in Ushakov’s dictionary, in which the plot is the content of events in their sequential connection.

Finally, there is a third point of view. Those who adhere to it believe that the concept of “plot” has no independent meaning, and when analyzing it is quite enough to use the terms “plot”, “composition” and “plot diagram”.

Types and variants of product schemes

Modern analysts distinguish two main types of plot: chronicle and concentric. They differ from each other in the nature of the connections between events. The main factor, so to speak, is time. The chronic type reproduces its natural course. Concentric - focuses no longer on the physical, but on the mental.

Concentric plots in literature include detective stories, thrillers, social and psychological novels, and dramas. Chronicle is more common in memoirs, sagas, and adventure works.

Concentric plot and its features

In the case of this type of course of events, a clear cause-and-effect relationship between the episodes can be traced. The development of the plot in literature of this type is consistent and logical. It is easy to highlight the beginning and end here. Previous actions are the causes of subsequent ones, all events seem to be pulled together into one node. The writer explores one conflict.

Chronicle story

In such a work we can talk about many episodes, the only thing they have in common is that they happen in chronological order. A chronicle plot in literature is a multi-conflict and multi-component canvas, where contradictions arise and fade, and one is replaced by another.

Commencement, climax, denouement

The exhibition in this regard is the most static part. Its task is to introduce some of the characters and the setting of the action.

The plot describes one or more events that give rise to the main action. The development of the plot in literature goes through conflict, rising action, crisis to climax. She is also the peak of the work, playing a significant role in revealing the characters’ characters and in the unfolding of the conflict. The denouement adds the final touches to the story being told and to the characters.

In literature, a certain plot structure has developed, which is psychologically justified from the point of view of its influence on the reader. Each element described has its place and meaning.

Plots of ancient Russian literature

Ancient Russian literature, according to D. S. Likhachev, is “literature of one theme and one plot.” World history and the meaning of human life are the main, deep motives and themes of the writers of those times.

The plots of ancient Russian literature are revealed to us in lives, epistles, walks (descriptions of travel), chronicles. The names of the authors of most of them are unknown. According to the time interval, the Old Russian group includes works written in the 11th-17th centuries.

The diversity of modern literature

Attempts to classify and describe the plots used have been made more than once. In his book The Four Cycles, Jorge Luis Borges suggested that in world literature there are only four types:

about search;
about the suicide of God;
about the long return;
about the assault and defense of a fortified city.

Even specialists of other profiles were not left indifferent by this question. According to Carl Gustav Jung, the famous Swiss psychiatrist and founder of analytical psychology, the main plots of literature are archetypal, and there are only six of them - the shadow, anima, animus, mother, old man and child.

Index to folk tales

Perhaps most of all, the Aarne-Thompson-Uther system “highlighted” the possibilities for writers - it recognizes the existence of approximately 2,500 options.

We are, however, talking about folklore here. This system is a catalog, an index of fairy-tale plots known to science at the time of compilation of this monumental work.

There is only one definition for the course of events here. The plot in literature of this kind looks like this: “The persecuted stepdaughter is taken into the forest and abandoned there. Baba Yaga, or Morozko, or Leshy, or 12 months, or Winter, test her and reward her. The stepmother’s own daughter also wants to receive a gift, but does not pass the test and dies.”

In 2004, an edition of the directory appeared, in which the descriptions of fairy-tale types were updated and made more accurate. This version of the index contained 250 new types.

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Exposition, plot, development of action

Lesson three. The intricacies of the plot.

It is more difficult for a writer to describe everyday life than an exclusive situation. Ilya Shevelev

3. Rules for plotting.

According to the laws of literature, the plot of any work must be complete

IN classic version a plot is considered such if it contains five components: exposition (and plot), development of action, climax, winding down of action and denouement. Subjects modern works are often built according to a simplified scheme: plot - development of action - climax - denouement, or according to an even more simplified plot - action - climax (also known as denouement).

The classical scheme is more suitable for solid, slowly developing plots; it is used when writing thick books, scripts for plays, and thoughtful films. The lightweight scheme is better suited to our high-speed world; it is used to write scripts for cartoons and action films, as well as for all kinds of comics and other graphic works where the quality of the plot, such as its rapid development, is important.

Which scheme you prefer is up to you to decide. Below I will show you different variants development of the action and give you a couple of tips on how to build a plot depending on the genre of the work. But first, first things first.

1.Exposition.

First of all, we inform the reader about where and at what time the action takes place, introduce the characters, briefly tell their story, and introduce the reader to them. There is no conflict here yet, as such, but the prerequisites for it can be identified. Lorraine moves to new apartment, meets neighbors, calls a friend - this is our exposition: we introduced the reader to the main character, indicated the time and place of action, and indirectly talked about the other characters. The beginnings of the conflict here can be shown through the peculiar relationships of the girls, on the basis of which the shoots of misunderstanding and jealousy will soon arise. How long the exposition will be depends entirely on the author and his plan. For works with a fast-paced plot, a couple of lines are enough to introduce the reader to the essence of the matter; for works with a protracted plot, the introduction is usually made larger. Try not to overdo it, not to stretch the tie and at the same time not to crumple it too much.

2. The beginning.

Not to be confused with exposure! Actually, the beginning is the event from which everything begins. We can say this: if a conflict is the cause of a war, then the plot is a reason for it, like a violation of a peace treaty. And in our story, what will serve as a “trigger” for the development of the plot, what event? I think that the action will begin with the acquaintance of our heroines with the handsome Dave, because it is after this that everything will start spinning and spinning. This means that in our case, the beginning of the plot can be considered the introduction scene. Usually the beginning is the moment when the hero is confronted with important task, which he must fulfill, or he, the hero, must make his choice. The author usually uses this situation, to define the conflict, show exactly where the hero and villain are at odds, describe exactly how each of them perceives the problem facing them, and subtly hint at what each of them intends to do next.

Now, a young man appeared in the girls’ field of vision, whom they both liked, but he liked Lorraine more, and Inga was infuriated by this. Lorraine is embarrassed that this happened, but she likes the guy and intends to continue their acquaintance. Inga is annoyed, but is not going to do anything yet; she chose to step aside and let her friend do whatever she sees fit.

At the same time, the writer, having ensured that the reader is clearly interested in his story, slowly begins to unwind his intrigue (who will win and who will be left with nothing? How will it end?) and at the same time, gradually presenting to us the main idea of the work (“friendship and love will win all" or, conversely, "no friendship, even the strongest, can withstand betrayal"). The plot does not have to be one; In serious works, authors usually invest a lot at once storylines – love line, family, detective, political and other, other. The authors of series usually limit themselves to one single line, but no one is stopping you from making several of them. So, as many storylines as there will be, there will be as many ties; they can be scattered throughout the text, but don’t forget: every situation must have a logical conclusion, which means that every tying will have a continuation and denouement. There should be no storylines started but not completed.

3. Development of action in an ascending manner.

This is where the unlimited flight of fantasy begins! The author invents the most incredible plot moves, places the characters in different difficult situations, describes their experiences on this matter and tells us how trials strengthen the characters’ characters, what lessons they learn for themselves.

Heroes must change, this is very important! If the character has not changed at all from the first to the last episode, if he is still the same and perceives the world the same way as before, if he has not learned any valuable lessons for himself, then you have not fulfilled your task as a writer. Why did this story need to be told? What was its deep meaning? What did the author want to tell us? It turns out that there was no point, I didn’t want to say anything, and, in general, there was nothing to talk about.

The action should not be incoherent: here our heroes were caught by a maniac, but they, incomprehensibly escaping from the tormentor, find themselves at an abandoned nuclear station for no reason. Plot moves should “cling” to each other, like loops in knitting, then you will get a solid sock, that is, excuse me, a story. It would be best if, before describing any move, you slightly “reveal your cards” in advance and give a modest, imperceptible hint that, very possibly, such and such will happen soon. Just a hint, nothing more. For example, if you planned that in an episode or two your hero will threaten someone with a gun, it would be nice to announce now that this cute young man is the proud owner firearms or has the habit of going to the shooting range, where he was noticed as a good shooter. At least, when the reader sees that your Cool Walker is taking aim at his opponent and threatening to shoot off an important part of the poor fellow’s body, he will not have the feeling that he, the reader, was hit in the head with a log. On the contrary, he will be pleased with himself: wow, I’m still in last episode I guessed what to expect from this ranger!

Everything you hinted at in the opening should be developed and fleshed out. The conflict must grow steadily. Let the characters show themselves from different sides, let new participants be involved in the conflict, let those who initially remained silent speak out.

Take, for example, our conflict, which we have already outlined. Two friends quarreled over a guy and are trying to share him, and at the same time maintain friendly relations. And the guy? How does he feel in such a situation? What does he want? What are his intentions regarding each of the girls? Or maybe he doesn't care?

Steadily develop the storyline from episode to episode. If there are several storylines, it is even more interesting, let them intersect, intertwine, “push” each other. The heroine is more likely to commit suicide if her friend betrayed her, she ran out of money and had problems at work than if any of these troubles occurred. Thus, gradually increasing the tension, we step by step bring the heroes to the very important stage throughout history. This is the climax.

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The meaning of the phrase DEVELOPMENT OF ACTION. What is ACTION DEVELOPMENT?

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Sentences containing "action development":

A literary narrative text is built according to the following compositional scheme: exposition, plot, development of action, climax, denouement.
Proof of the above is also the fact that those who begin to create poetic works can achieve success in dialogues and depiction of morals earlier than in the development of action, as, for example, almost all ancient poets.
And he began to follow the development of the action even more critically than before.
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plot development is... What is plot development?

plot development

General subject: the development of the action, unravelling of the plot

Universal Russian-English dictionary. Akademik.ru. 2011.

development of strategic nuclear weapons
development of telerobots

See what “plot development” is in other dictionaries:

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development - noun, p., used. compare often Morphology: (no) what? development, what? development, (see) what? development of what? development, about what? about development 1. Development is the bringing of someone’s abilities, skills, knowledge into an active, active state.… … Dictionary Dmitrieva

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DEVELOPMENT is... What is DEVELOPMENT?

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development is... What is development?

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ACTION DEVELOPMENT

Structural element of the plot: a system of events arising from the plot. As the process progresses, the conflict intensifies, and the contradictions between the actors deepen and intensify.

Dictionary of literary terms. 2012

What is an action in the literature is briefly defined. Development of action. Economic development. Social status. The origin and development of feudal relations

Relationship with plot

Types and variants of product schemes

Concentric plot and its features

Chronicle story

Commencement, climax, denouement

Plots of ancient Russian literature

The diversity of modern literature

Index to folk tales

Preparing for the Unified State Exam - a universal reference book

What is plot in literature? Development and elements of plot in literature

Relationship with plot

Types and variants of product schemes

Concentric plot and its features

Chronicle story

Commencement, climax, denouement

Plots of ancient Russian literature

The diversity of modern literature

Index to folk tales

Exposition, plot, development of action

Lesson three. The intricacies of the plot.

The meaning of the phrase DEVELOPMENT OF ACTION. What is ACTION DEVELOPMENT?

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Sentences containing "action development":

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