The variety of forms of typification in literature. About the typical in realistic fiction. The artistic image, its connection with the human

29.06.2020

Creating an ideological and thematic basis, translating this basis into images and forms, is possible only with decisive role in this process of what is called in literary studies the concepts of “typification” and “individualization”. Therefore, these categories rightfully act as the most important laws of thinking in images. Typification and individualization refer to the process of artistic synthesis, the growth of a stage in the sphere of knowledge of literature with the help of abstract thinking. The result of typification and individualization are images - types.

The essence of typification and individualization. A significant definition of these categories is the established judgment about the nature of artistic generalization: the most characteristic is borrowed from the fund of similar realities. The fact of typification gives the work aesthetic perfection, since one phenomenon can reliably display a whole series of repeating pictures of life.

Specific connections between the individual and the typical distinguish the nature of each artistic method. One of the most important areas where differences constantly unfold is associated with romanticism and realism. The principles of artistic generalization become the keys with which you can enter the world of art. When the nature of the typical and individual is determined, it should be remembered that the ways and means of artistic generalization flow from the nature of the thoughts developed by the writer, from the ideological predetermination that this particular picture has.

Take, for example, the battle scenes from War and Peace. Each battle has its own internal logic, a special selection of those phenomena and processes that make up and which are determined by the course of development of the battle. And the writer’s choice falls on the epic depiction of the battle of armies through the prism of the finest details. The battles of Borodino and Shengraben can be correlated, and a sharply distinctive principle can be seen between them. The differences are observed in what the artist's attention is drawn to and what he recorded. On the pages of the novel there is an everyday battle; it depicts the way of life of the ordinary masses under Shengraben. The soldiers look at the kitchen with greedy eyes. They are interested in stomachs. When Borodino is depicted, there are no battles there, no army, the people are acting there: “The whole people want to attack.” All the soldiers refused the vodka they were given before the battle; this is a generalization of the event. Thus, detailing and generalization play their essential role in typification and individualization. The carriers of generalization are characters, images and details connecting them. It is necessary to analyze not only pictures and episodes, but also the totality of the smallest details. When we talk about one hero, we should think about the other, and what role he plays in the fate of the first. The typical and individual recreate the world according to the laws of beauty.

The image contains a picture, an image, a unity of generalization (typification) and specification (individualization). Thus, the image of a character necessarily represents a certain collectiveness and uniqueness of the personality in all its specificity, in all its unique features. When the images of Gobsek, Father Grande, Plyushkin, Bubble, Glytay, Kori Ishkamba are examined, they all come under one generalization - the tragic type of miser, as even their “speaking” names indicate (Gobsek - the live-swallower; Bubble - immeasurable stinginess; Glytay - swallows greedily and hastily; Ishkamba - stomach). Each of these images personifies its own unique distinctive features: appearance features, personal habits, character. Just as there are no two undoubtedly identical people, so there are no two completely similar, to the point of complete identicalness, images. For example, in many French novels of the 19th century, images of the so-called “Napoleonic warehouse” function; they are very similar and contain the same generalization. The researcher is presented with a type of Napoleon in peacetime, when he is replaced by a millionaire, Rothschild. And yet, these characters are different, they are distinguished by their unusualness. Individualization of artistic creativity comes as close as possible to reality itself, to life. In science, reality is reflected only in pure generalizations, abstractions, and abstractions.

So, the general definition of an image comes down to the following: an image that has the properties of generalization or typification, and on the other hand, the specificity (concretization) of a single, individual fact. Without the unity of concretization (individualization) and generalization (typization), the image itself does not become the essence of artistic creativity, a phenomenon of art. One-sided typification is called schematism; in art it is completely impossible and destructive for it; and limited specification is equally unacceptable and harmful. When literary scholars are faced with insignificant individualization or a very weak general conclusion, incommensurate with the real side of the image, they call it factography. Here the particulars are extremely declarative in nature. Real events, snatched from reality itself, will lead the author to artistic failure. Let's remember the classic's instruction: I look at the fence - I write a fence, I see a crow on the fence - I write a crow on the fence.

In such cases, literary critics speak not just about the schematism of recreating paintings, but note the flaw, the vulnerable side of factualization. In other words, this is an extreme flaw, deforming the image and artistry. In truly artistic depiction there should be no one-sidedness of generalization and specification. Typical moments must be in balance with specific, factual aspects; only then does the image, a full-fledged artistic depiction, appear.

Question 30. Style as a category of form. The relationship between the concepts of “method” and “style”. In a holistic analysis of form in its content-based conditioning, the category that reflects this integrity—style—comes to the fore. Style in literary criticism is understood as the aesthetic unity of all elements of an artistic form, possessing a certain originality and expressing a certain content. In this sense, style is an aesthetic, and therefore an evaluative category. When we say that a work has a style, we mean that in it the artistic form has reached a certain aesthetic perfection and has acquired the ability to aesthetically influence the perceiving consciousness. In this sense, style is opposed, on the one hand, to stylelessness (the absence of any aesthetic meaning, aesthetic inexpressiveness of the artistic form), and on the other, to epigonic stylization (negative aesthetic meaning, simple repetition of already found artistic effects).

Aesthetic impact work of art on the reader is due precisely to the presence of style. Like any aesthetically significant phenomenon, style can cause aesthetic controversy; To put it simply, you can like or dislike a style. This process occurs at the level of primary reader perception. Naturally, aesthetic evaluation is determined both by the objective properties of the style itself and by the characteristics of the perceiving consciousness, which, in turn, are determined by a variety of factors: psychological and even biological properties of the individual, upbringing, previous aesthetic experience, etc. As a result, various properties of the style arouse either a positive or negative aesthetic emotion in the reader: someone likes a harmonious style and does not like disharmony, someone prefers brightness and colorfulness, and someone prefers calm restraint, someone likes simplicity in the style and transparency, for some, on the contrary, complexity and even confusion. Such aesthetic assessments at the level of primary perception are natural and legitimate, but they are not sufficient to comprehend style. We must take into account that any style, regardless of whether we like it or not, has objective aesthetic significance. Scientific comprehension of style is intended, first of all, to reveal and reveal this significance; show unique beauty a variety of styles. A developed aesthetic consciousness differs from an undeveloped one primarily in that it is able to appreciate the beauty and charm of as many aesthetic phenomena as possible (which, of course, does not exclude the presence of individual style preferences). Work on style in teaching literature should develop in this direction: its task is to expand the aesthetic range of students, to teach them to aesthetically perceive the harmony of Pushkin’s style and the disharmony of Blok’s style, the romantic brightness of Lermontov’s style and the restrained simplicity of Tvardovsky’s style, etc.

Style is a paired category, dialectically connected with the category of “creative method,” because the set of ideological and aesthetic principles that style expresses is the basis of the creative method. If the constructive-sign activity of the artist is carried out through style, then the method embodies the cognitive-value relationship of art to reality. Both sides are inextricably linked. Ideological and aesthetic principles in a work can only be realized through a certain figurative system, a system of visual and expressive means, that is, style, while style, like the entire expressive system, is not an end in itself, but a means by which the artist expresses his attitude towards comprehended reality... Translated from Greek, “method” (Method) literally means “the path to something” - a way to achieve a goal, a certain way of ordering activity. In special philosophical sciences, method is interpreted as a means of cognition, a way of reproducing the subject being studied in thinking. All methods of cognition are based on one reality or another. In art we deal with the creative method. In our aesthetic literature, we sometimes come across the opinion that the concept of “method” does not have much history, but the category arose in the early stages of the development of aesthetic thought. If ancient philosophers had not yet used the term “method,” they nevertheless actively sought solutions to methodological problems. Aristotle, for example, puts forward the idea of different modes of imitation depending on different objects; each of the imitations will have differences corresponding to the object of imitation: “Since the poet is an imitator, like a painter or some other artist, he must certainly imitate one of three things: either he must depict things as they were or are, or how they are spoken and thought about, or what they should be." Of course, these considerations are not yet a doctrine of method, but in them one can find the logic of the method, understood as an effective mechanism of creativity. Hegel's concept of artistic method requires special study. Unlike Kant, who did not accept the artistic method at all, opposing art to science, Hegel spoke of two methods of artistic representation - subjective and objective.

Typing

the embodiment of the typical in literature, the generalization underlying the creation of an artistic image, the process of creating the typical. T. is also understood as the synthesis in one human image of a whole series typical features, which the artist found in various real people, as well as the development, completion of those possibilities that the author saw in those known to him real people. The author's worldview is embodied in typical characters, in their interaction, in their connection with circumstances.

Typification is a method of artistic generalization of reality, which presupposes individualization, originality and uniqueness of aesthetic values created by the artist.

Typing is:

1. Image of the general through the individual, i.e. a combination of the characteristic and the individual in a single artistic image.
2. A situation that is frequently repeated or widespread.
3. Literary experience in creating an artistic world, accumulated by many generations of authors.

Concept of the topic

The theme is the subject of the image, in other words, the material taken for display in the work. In fact, the theme is the starting point for the creation of any work. As a rule, there are several themes in a work, but one is dominant. The topics are historically determined, because change over time, but there are also “eternal” themes that remain relevant at any time - themes of fathers and sons, good and evil, betrayal, love, etc.

Theme is a circle of phenomena and events that form the basis of the work; object of artistic depiction; what the author is talking about and what he wants to attract the attention of readers to.

basis inner world the work is its theme. This word goes back to the ancient Greek thema - that which is the basis.

Three main levels of artistic themes can be distinguished. Firstly, a work of art necessarily raises eternal themes- those that worried various authors at all times: from antiquity to the present day. They can be divided into two groups: ontological ones are related to being, anthropological ones are related to man. Ontological themes include life and death, movement and stillness, light and darkness, chaos and space. These are the themes that underlie philosophical lyrics Tyutchev, in which the picture unfolds eternal struggle two opposite principles - chaos and space, day and night, light and darkness.

On the contrary, at the center of Pushkin's philosophical lyrics are anthropological problems such as love and hatred, good and evil, youth and old age, sin and forgiveness, the purpose and meaning of life.

The second level of artistic subject matter is its cultural and historical aspect. It is due to the fact that the action of each work involves the depiction of a specific country and era. Literature is inextricably linked with history: the character of the hero and the conflict is largely determined by the historical situation that is reflected in the work. So, F.M. Dostoevsky wrote that the plot of his novel “Crime and Punishment” “partly justifies modernity” (letter to M.N. Katkov), and I.S. Turgenev accurately dated the events described in Fathers and Sons (the novel, written in 1861, begins on May 20, 1859). The task of both authors was not only to pose the most important universal human problems in their works and to propose ways to solve them, but also to create the image of a contemporary - a man of the sixties of the 19th century, a commoner, a nihilist, an experimenter who strives to fit the entire complexity of life phenomena into the framework of his theory.

The third thematic level is associated with the depiction of the lives of individual characters. Often (especially in lyrics, in autobiographical works) it is directly related to the life of the author, his worldview, experiences, personal experience. Thus, in the novel “A Hero of Our Time,” Pechorin largely bears the imprint of both Lermontov’s thoughts and Lermontov’s life experience. Some fragments of Lermontov’s diary entries are close to Pechorin’s “Journal”. The works of Marina Tsvetaeva, Vladimir Mayakovsky, Sergei Yesenin, Vladimir Vysotsky are of a confessional nature.

Collection output:

ON THE PROBLEM OF “TYPOLOGY” AND “TYPIZATION” IN RUSSIAN LITERATURE

Bulycheva Vera Pavlovna

Lecturer at the Department of English for Economic Specialties, Astrakhan State University, Astrakhan

For linguistics, the problem of typology is not new. The term " typology"was considered in the works of ancient rhetoricians, and the list of works devoted to the study typologies, has hundreds of titles. Like some other fundamental concepts, the term typology broad and multifaceted, within different sciences it is understood differently, which makes it extremely difficult task its definitions. For example, in philosophy typology(from Greek - imprint, form, sample and - word, teaching) - this is the “method scientific knowledge, which is based on the division of systems of objects and their grouping using a generalized, idealized model or type”, in the Bolshoi Encyclopedic Dictionary- this is “a scientific method, the basis of which is the dissection of systems of objects and their grouping using a generalized model or type; used for the purpose of comparative study of essential features, connections, functions, relationships, levels of organization of objects.

Only in the Big Encyclopedic Dictionary do we find information about linguistic typology - this is “a comparative study of the structural and functional properties of languages, regardless of the nature of the genetic relationships between them”

Perhaps it is precisely because of the complexity of the concept itself that the term “typology” is absent in a number of specialized terminological dictionaries. Therefore, we believe that the term “typology” is primarily a general scientific term, and not a literary one.

Much more often in literary studies we come across the term “typification”, although this term is also absent in terminological dictionaries in philology. Typification is “the development of standard designs or technological processes based on technical characteristics common to a number of products (processes). One of the methods of standardization".

Character images, like all other types of imagery, are, as it were, a cluster of what the writer sees around him. Such a condensation of essential phenomena in an image is typification, and an image-character that reflects the leading features of an era, group, social class, etc. is usually called a literary type.

There are three types of literary types: epochal, social, universal.

Epochal types condense the properties of people of a certain historical period of time. It is no coincidence that the expression “children of their time” exists. Thus, the literature of the 19th century developed in detail and showed the type extra person, which manifested itself in such different images: Onegin, Pechorin, Oblomov - they all belong to different generations of people, but unites them in general type dissatisfaction with oneself and life, the inability to realize oneself, to find an application for one’s abilities, but this manifests itself every time in accordance with the requirements of the time and individuality: Onegin is bored, Pechorin is chasing life, Oblomov is lying on the sofa. Epochal types most clearly express temporary characteristics in people.

Social types concentrate the traits and qualities of people of certain social groups. It is by these indicators that we can determine in what environment this type arose. Thus, Gogol in “Dead Souls” very convincingly showed the type of landowners. Each of them, according to the author’s plan, is characterized by a unique enlarged character trait: Manilov is a dreamer, Korobochka is a clubhead, Nozdre is historical person, Sobakevich is a fist, Plyushkin is a hole in humanity. Taken together, all these qualities recreate the general type of landowner.

Social types allow us to recreate the vivid typical properties of people of a certain social group, emphasizing its most natural qualities, indicators by which we can judge the state of society, its hierarchical structure and draw appropriate conclusions about the relations between social groups of a particular period.

Universal human types concentrate in themselves the properties of people of all times and peoples. This type is synthetic because it manifests itself in both epochal and social types. This concept is multidimensional, independent of temporary or social connections and relationships. Such qualities as, for example, love and hatred, generosity and greed, characterize people from the moment they became self-aware until our times, that is, these categories are constant, but filled with unique content in the process of historical development. More precisely, these universal human categories manifest themselves individually each time, so Pushkin in the Stingy Knight, Gogol in Plyushkin, Moliere in Tartuffe depicted the type of stingy person, but in each writer it found its own embodiment.

By creating typical characters, the writer each time makes his own judgment on the person depicted. His sentence may sound various forms ah, for example, in the form of satire - direct ridicule, which we hear already in the title of Saltykov-Shchedrin’s fairy tale “ Wild landowner"; irony - hidden ridicule, when the direct content of a statement contradicts its internal meaning, for example, in Krylov’s fable “The Fox and the Donkey” the fox says: “Okol smart your head is delirious.” The writer’s verdict can also be expressed in the form of pathos, that is, an enthusiastic depiction of positive phenomena, for example, the beginning of Mayakovsky’s poem “Good”:

I am the globe

I almost walked around everything!

And life is good!

The nature of the author's assessment depends on the artist's worldview and in some cases may be erroneous, which leads to errors in typification, as a result of which atypical characters appear. Their main reasons: the writer’s shallow understanding of the problem and a crisis of worldview, for example, in the 20s of the twentieth century, many writers depicted the participation of children and teenagers in terrible events civil war in a heroic-adventure, romantic sense, and readers were given the impression of war as a chain of exploits, beautiful deeds, and victories. For example, in “The Little Red Devils” by Pyotr Blyakhin, teenagers commit actions that are atypical for their age and life experience, that is, the characters were created by the writer, but they are not typical. An important factor in the emergence of such characters is a crisis of worldview. Sometimes a writer lacks artistic skill, usually this happens with young, aspiring writers, whose first works remain in the category of student works, for example, A.P. Gaidar wrote his first story, “Days of Defeats and Victories,” for which he received serious criticism from the editor: vagueness, unconvincing images. It was never published, but the next story brought fame to the author.

It happens that the author has not found a full-fledged artistic form to express his life impressions and observations, for example, A.I. Kuprin planned to write a big novel about the life of the military, for which he collected a lot of autobiographical material, but while working on it he felt that he was drowning in this volume and his plan was not being realized in the intended form of the novel. Kuprin turned to Gorky, who recommended the story to him. The required form was found and “Duel” appeared.

Sometimes the writer simply did not work hard enough to perfect the image he was creating.

In all these cases, the image contains either much less, or not at all, what the author wanted to say. From the above it follows that the image and the type are in the following relationship: a type is always an image, but an image is not always a type.

Working on the image, trying to embody in it the essential laws of time, society and all people, the writer typifies in it a wide variety of phenomena:

· massive. The fact that a particular phenomenon is widespread indicates its typicality for a certain group of people or society as a whole, therefore literary types are most often created by a writer using mass generalizations, for example, type little man V XIX literature century;

Rare isolated phenomena can also be classified. Any new phenomenon at the moment of its inception is few in number, but if it contains the prospect of further spread, then such a phenomenon is typical, and by drawing it, the writer predicts social development, for example, Gorky’s songs about the falcon and the petrel were written before 1905, but they became symbols of approaching events, which soon acquired a wide scope;

· an artist can even depict a typical character by generalizing its exceptional features, for example, A. Tolstoy, in the image of Peter the Great in his novel of the same name, recreated the typical properties of a sovereign and a person, despite the fact that the personality of Peter I is an exceptional phenomenon in history. In recreating this image, Tolstoy follows the Pushkin tradition, according to which Peter was endowed with the best qualities of his people. What is exceptional about him is not his qualities, but their depth and concentration in one person, which makes him an exception to the rule. So, the typification of the exceptional is a condensation in one image large quantity positive and negative qualities that make him stand out from everyone. These qualities, as a rule, are possessed by prominent historical figures, men of genius in various fields of science and art, and political criminals;

· phenomena of a negative order are also typified in the image, thanks to which a person masters the concept of the negative. Examples include various negative actions of children in Mayakovsky’s poem “What is good...”;

· typification of the positive occurs when the ideal is directly realized and ideal characters are created.

So, typification is the law of art, and literary type is the ultimate goal to which every artist strives. It is no coincidence that the literary type is called the highest form of image.

When working on a text, creating their artistic paintings, writers take material from life, but process it differently. In accordance with this, in the science of literature, two ways of creating a literary type are distinguished.

1. Collective, when the writer is observing different tempers people and noticing them common features, reflects them in the image (Don Quixote, Pechorin, Sherlock Holmes).

2. Prototype. A method of typification in which the writer takes as a basis a really existing or existing person, in whom the properties and qualities inherent in a certain group of people manifested themselves especially clearly, and on his basis creates his own image. Nikolenka Irtemyev, A. Peshkov, Alexey Meresyev are depicted in this way. Using direct material to create an image, the artist not only copies it, but also, as in the first case, processes it, that is, discards the unimportant and emphasizes the most characteristic or important. If in case collective image the path from the general to the specific, then in the case of a prototype - from the specific to the general.

The difference in these two methods is that in the second case the artist invents less, but the creative processing of life material occurs here too, so the image is always richer than the prototype, that is, the writer condenses the raw life material and brings his own assessment to the image.

Along with typing methods, to create an image, artists use typing techniques or means of creating an image. There are 12 basic techniques.

Of course, this number does not exhaust all the richness and diversity of the poetics of a literary text. Let us dwell on the characteristics of fixed assets:

1. portrait characteristic- a typing technique in which a person’s appearance is described, for example, “Lensky is rich and handsome”;

2. object-life characteristics - a typification technique consisting in depicting the environment with which a person surrounded himself, for example, Onegin’s office;

3. biography - a typing technique that reveals the history of a person’s life, its individual stages. As a rule, biography is introduced by writers in order to show exactly how a given human type, for example, the biography of Chichikov in the first volume of “Dead Souls” is placed at the end, and it is from it that the reader draws a conclusion about how the type of entrepreneur was formed in Rus';

4. manners and habits - a typing technique with the help of which stereotypical forms of human behavior are revealed, which were formed on the basis general rules(manners) and unique personality traits (habits), for example Gogol in “ Dead souls"emphasizes the desire of provincial ladies to be like the women of secular Moscow and St. Petersburg: "No lady will say that this glass or this plate stinks, but they said “she behaves badly.” We can give an example of a habit by remembering favorite hobby Manilov smoke a pipe and put the ashes on the windowsill;

5. behavior - a typification technique through which the artist shows the actions of a person.

Arranging a shelf with a group of books,

I read and read - and all to no avail;

6. depiction of emotional experiences - a typification technique through which the writer shows what a person thinks and feels at different moments: “Oh, I, like a brother, would be glad to embrace the storm”;

7. attitude towards nature - a method of typification, with the help of which a person gives a direct assessment of this or that natural phenomenon, For example:

I don't like spring

In the spring I am sick;

8. worldview - a typification technique with the help of which a person’s system of views on nature, society and himself is revealed, for example, representatives of different beliefs - the nihilist Bazarov and the liberal Kirsanov;

Forgive me, I love you so much

My dear Tatiana;

10. characterizing surname - a typing technique when a person is endowed with a surname that indicates the most important, dominant feature of a person, speaks for itself, for example, Prostakova, Skotinin;

11.speech characteristic- a typing technique that contains a set of lexical-phraseological, figurative, intonation properties of a person, for example, in Krylov’s fable the monkey says to the bear: “Look, my dear godfather, what kind of face is that there” - this speech characteristic is clear evidence the ignorance of the monkey;

12. mutual characterization - a typing technique in which the participants in the action evaluate each other, for example, Famusov says about Liza: “Oh, the potion is a spoiled one,” and Liza about Famusov: “Like all the Moscow people, your father is like this: I would like a son-in-law with stars and with rank."

Methods and techniques of typification make up the form or composition of the image. In order to analyze the content of an image, the writer puts it into a certain form, that is, builds the image using methods and techniques for characterizing it. Since content and form cannot be separated from each other, and the image is the main significant category of an artistic text, the law of the unity of content and form applies to the entire work.

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Chernaya N.I. Realistic convention in modern Soviet prose. Kyiv: Nauk Dumka, 1979. - 192 p.

The analytical article examines the forms of artistic typification in modern Ossetian prose. The main attention is paid to the movement of characters, which takes place in different time plans, where the connection of times becomes an important plot-compositional element and a means of artistic depiction. The intersection of different time plans (modernity and the past, distant and recent) becomes vitally necessary to more clearly highlight the main links in the development of society, which occurs along an ascending line. The forms of artistic typification when recreating life and characters directly depend on the worldview and creative position of the author. The ideological and artistic commonality of many works about modernity is undeniable. One can distinguish the authenticity and accuracy of the depiction of everyday relationships, work life, the art of psychological analysis, the ability to recognize the good and the beautiful in ordinary life. modern life, in the characters' characters, etc. These qualities of realism and artistic typification are inherent in the works of Nafi Dzhusoity, Grisha Bitsoev, Ruslan Totrov, Vaso Maliev, Georgy Tedeev, Gastan Agnaev, Meliton Kaziev, Yuri Gabaraev and other prose writers. Their work convinces us that artistic psychologism as the art of analytical depiction of character is gaining more and more weight in the poetics of realism.

concept of man and society

artistic typification

personality history

typical character

psychological plan

specific analysis

mindflow

elements of epic and lyric poetry

poetics of realism

aesthetic ideal

1. Agnaev G. Temyr’s youngest daughter: novel, elegy, stories. – Vladikavkaz: Ir, 2013. – P. 6-222.

2. Bitsoev G. Evening Star: A Novel. Tale. – Vladikavkaz: Ir, 2003. – 336 p.

3. Guchmazty A. The grace of your soul // Sing in Ossetian, guys: novel, stories. – Vladikavkaz: Ir, 1993. – 424 p.

4. Maliev V.G. House of Surme: novel / translation from Ossetian. - Ordzhonikidze: Ir, 1986. – 288 p.

7. Mamsurov D. Akhsarbek: a novel. – Ordzhonikidze: Ir, 1974; Mamsurov D. Poem about heroes: a novel. – M.: Soviet writer, 1981.

8. Marzoev S.T. Fate // Herald: essays. – Ordzhonikidze: Ir, 1986. – P. 363-432.

9. Tedeev G. Difficult road of ascent // Literary Ossetia. – 1987. – No. 69. – P. 69-70.

In modern Ossetian prose, those forms of generalization are affirmed that are based on historicism of thinking, research, and analysis of reality. Fiction is being created in national literature concept of man and society. The most important aspect her - personality history, character, through which we recognize our time, people, their spiritual and moral ideals.

However, has the current Ossetian literature retained the function of artistic typification and generalization? Does it explain to us the patterns of historical development or, on the contrary, does it record violent breaks in the natural course of events? What ideals does it preach, and does it correspond to the ideals that grow from the very reality in which we all live and survive? These difficult questions entail others: does modern literature still remain the ruler of thoughts, does the Ossetian writer claim to be a teacher of life? To answer, you should present a picture of modern literary process in its main tendencies.

The typical character is rooted in real life or in the past, because Ossetian literature is firmly connected with reality: from "Janaspi" Arsena Kotsoeva, "Honor of Ancestors" Tsomaka Gadieva, "Broken Chain" Baron Botsiev, "Noise of the Storm" Kosta Farnieva for the novel "A Poet about Heroes" Dabe Mamsurova, "Forward" Tatari Epkhiev, other modern novels and stories about Ossetian life. The conditions of existence of the character are specific, depicted accurately and reliably: this is the situation on the battlefield, collectivization Agriculture, the industrialization of the country, the everyday environment of a person - i.e. the world shown in time and space. If we remember the books of Kudzag Dzesov, Maxim Tsagaraev, Alyksi Bukulov, Nafi Dzhusoity, Sergei Marzoev and Vladimir Gagloev, we can easily be convinced of this.

The movement of characters flows in different time plans: the connection of times becomes an important plot-compositional element and a means of artistic depiction. The existence of characters is understood as multidimensional with past and present. We find a similar principle of depiction in the military prose of Totyrbek Dzhatiev ( "Saber Ring", "Dika"), Sergei Kaytov ( "That Was My Son", "Second Father"), Georgy Dzugaev ( "On the edge of a knife"), Michala Basieva ( "Pedigree), Akhsarbek Aguzarova ( "The Blacksmith's Son"), David Darchieva ( "Duty"), Vasily Tsagolov ( "And the Dead Arose"). However, this principle should not be absolutized as valuable and universal. Undoubtedly, in the future there will be new forms and means of representation. Sergei Morzoev, for example, prefers the sequence of character development over time, occasionally using backstory as an aside (“ Kakhtisar", "The Hammer and the Anvil"). It is more important for the author to provide the greatest freedom of action to his heroes in those conditions, twists of fate, dramatic situations from which an entire era of military and post-war years. These are the organically developing characters of Akhsar Tokhov, Ivan Bogucharov, Sakhandzheri Mamsurov, Andrei Gromov, Tsyppu Baimatov, and foreign specialist Scholz.

Dabe Mamsurov in his novels depicts characters formed in the pre-war years (for example, Gappo, Khariton, Batyrbek, Goska and others); Finding themselves in conditions of breaking down old foundations, unprecedentedly difficult and tragic, these characters are tested for strength. And it is those who have deeper ideological conviction who withstand these tests. IN in this case the principle is followed identification, recognizing the essence of character in unusual conditions. “Vasily Tsagolov in his works depicts the tragic clash of youth, youth with war and death. In this confrontation, the humanity of the heroes, armed with conviction, high concepts of their duty and a deep patriotic feeling, wins.”

Attention should also be paid to the artistic and philosophical interpretation of the concept of fate in Ossetian prose, which is often included in the title of a work of art. For example, in the story by Sergei Morzoity "Fate" and from Gastan Agnaev, who continued his tradition "Ghost" the fate of a person becomes a comprehensive symbol of the history of a people who freely express their will and act consciously. The fate of a person and character in these works are inseparable concepts. The significance of a single human life is recognized in historical situations in "fatal moments" inevitability, the predetermination of which, however, is removed by the activity of the hero who overcomes tragic circumstances national and personal misfortune. On the broad canvas of Elioz Bekoev's trilogy "Fatimat" in the novels of Hafez "Good afternoon, people" and “The Hermit” by Meliton Gabulov convincingly shows the growth of the plot and conflict situations. In all cases, individual fate is interpreted as a kind of historical unity of personality and event, as life created by a hero.

Psychological analysis becomes dominant in the system of visual means, as the most flexible means of multi-linear, three-dimensional depiction of the spiritual world, internal motivations, dialectics of the soul and the life of the heart. Carefully preserving the individuality and uniqueness of spiritual life, the writer reveals its complexity among people of different social groups and classes - collective farmer, worker, military man, scientist, doctor, intellectual. These are the results of those dramatic historical changes that transformed spiritual world of people. There is no need to list the new qualities of psychologism of the hero’s personality. A specific analysis will lead to an understanding of the essence of the issue. Here it is necessary to highlight the general trends in the development of psychologism in Ossetian prose. First of all, this is a strengthening of the role narrator, acting as a hero or author. Sometimes, already in one work, there is a migration of two narrative planes: personal-individual and objective.

In accordance with this, there is an interaction between different psychological plans or even systems, each of which differs internally (perception, point of view, type of thinking, change of moods and feelings) and external speech structure. Democratization is taking place narrative style, wide penetration into the author’s narrative of various forms of colloquial speech, conditioned by a certain socio-psychological make-up and moral state actor. We find similar forms of psychologism in the works of Nafi Dzhusoity, Sergei Marzoity, Ruslan Totrov, Grisha Bitsoev, Gastan Agnaev. In the novels of Nafi Jusoity, the author's narrative speech in many cases is as close as possible to folk colloquial speech, sometimes merging with it, however, preserving the author's stylistic originality. Specific analysis of his novels "Tears of Syrdon" and "Snowfall" we are deeply convinced of this.

In memoir works, the objective principle is strengthened, since the authors strive to embody what is universally significant and experienced by many. In works of the memoir-biographical genre, on the contrary, the personal point of view, the pathos of private existence predominates, introspection, self-knowledge, and at times the stream of consciousness prevail. Lyricism acquires the qualities and form of artistic psychologism when it expresses the peculiarities of perception of reality, tension of emotions, a romantic-elevated mood, and a special character. However, the origins of lyricism are explored in concrete terms: it can be the writer’s public interest and his patriotic feeling, a sense of involvement in high experiences. Horizons of vision, the strength and significance of emotional experiences, the significance of moral experience - all this can explain the origin of lyricism and its qualities (See: "Scars on the Heart" Kudzaga Dzesova, "My memories" Andrey Guluev, "Yesterday and today" Dabe Mamsurova, "Memories" Alexandra Tsarukaeva, "From the memories of youth" Izmail Aylarova, " First days on native land" Gogi Bekoeva, "Roots and Branches" Zaura Kabisova, "My heart was bleeding" Gersan Kodalaev).

Lyricism as a certain emotional and psychological state and quality of perception, attitude to reality, is characteristic of epic and lyrical works(diary, travel notes, notebooks), is embodied in a certain style and stylistic manner (pathetic, attention to the state of the narrative, etc.). The story of Gastan Agnaev "Long Autumn Roads"- synthesizes elements of epic and lyric poetry. Cognizing the beauty in a person, comprehending bitterness, introducing him to moral and creative principles folk life- this is the direction of psychological analysis in "Long Autumn Roads" where lyricism is determined by various circumstances, but invariably becomes an expression of the moods, mental states, and heartfelt emotions of the hero. These problems are being actively developed by us in the works of I.V. Mamieva. In her research she also touches on issues of artistic typification and typology.

Of course, in epic works (stories, novels about war, city, village) other principles of psychologism are used, since the pathos of objectivity dominates in them. You need to pay attention to the artistic synthesis of events and characters, direction giver psychological analysis and determining its specificity in this case. For example, the psychologism of Vaso Maliev in the novel "House of Surme" is based on a deep understanding of the drama of reality, complicated by the conditions of war and post-war difficulties, so severe and unprecedented, modern realities, complicated by the problems of the individual and society, that extraordinary, strong characters, only involved in a common cause and living with one goal, could survive in them. Drama common life is reproduced in clashes of opinions and points of view that reveal common experiences. Against this background, the complex and contradictory world of feelings and experiences of Surme, Tsaray, Aslanbek, Saban, Zalina, Olympics, etc. clearly emerges.

IN last years the tendency towards a socio-philosophical understanding of the fate of Ossetian society at the turn of the 20th-21st centuries, in its present, past and future, has become more pronounced; novels are about this "Grace to Your Soul"- Alyosha Guchmazty, "Faded Dreams" - Izatbega Tsomartova, "Evening Star"- Grisha Bitsoeva and "Temyr's youngest daughter"- Gastana Agnaev, where a turning point in the lives and worldview of the heroes occurs on the eve of collapse great country. The former confusion of our literature before this fateful event, the state of inarticulateness and silence, passed over time. The clarity of what is manifest has arrived (through artistic consciousness) historical fact. However, we admit that, despite all the ideological and artistic changes, current Ossetian literature has lost its status of reverence in the reader’s consciousness. The years of the “great turning point” also affected literary consciousness people. Given the current complexity of life, which is sometimes strained to the point of strain, the desire of the national reader to withdraw into himself is quite understandable.

On the other hand, let us ask ourselves the question of what the displaced person is capable of. social life a creative worker who is supposed to display, strengthen, glorify? Needless to say, a socially unprotected writer inevitably turns into a protest writer. And instead of works that give aesthetic pleasure, our literature is increasingly filled with protest texts that negatively illuminate the existing state of affairs in society and the country. What are the possible points of contact between literature and power - those communication paths, the need for which is now really ripe? It's no secret that we live in difficult times of change. Authentic paths national identity- and this is the only condition to avoid unnecessary moves! - inevitably run through our serious, honest literature, requiring in-depth analytical reading.

The experience of Ossetian prose, represented by the works of Kudzag Dzesov, Dabe Mamsurov, Elioz Bekoev, Gafez, Georgy Dzugaev, Maxim Tsagaraev, Sergei Kaytov, Nafi Dzhusoity, Sergei Marzoity, Grisha Bitsoev, Ruslan Totrov, Vaso Maliev, Georgy Tedeev, Gastan Agnaev and other prose writers convinces Our point is that artistic psychologism as the art of analytical depiction of character is gaining more and more weight in the poetics of realism. Of course, in the future it will be necessary to pay attention to other forms of artistic typification. In particular, on the stylistic qualities of works that actively contribute to identifying the essence of character, convincing the position of the author and his aesthetic ideal (composition, visual arts, detail, objectivity, etc.).

Reviewers:

Fidarova R.Ya., Doctor of Philology, Chief Researcher Department of Literature and Folklore of the Federal State Budgetary Institution "SOIGSI named after. IN AND. Abaev All-Russian Scientific Center of the Russian Academy of Sciences and the Government of the Republic of North Ossetia-Asia", Vladikavkaz;

Bekoev V.I., Doctor of Philology, Professor of the Department of Russian and foreign literature FSBEI HPE "North Ossetian State University named after K.L. Khetagurova", Vladikavkaz.

Bibliographic link

Khozieva I.Kh., Gazdarova A.Kh. FORMS OF LITERARY TYPICATION IN MODERN OSSETIAN PROSE // Modern problems of science and education. – 2015. – No. 1-1.;
URL: http://science-education.ru/ru/article/view?id=17741 (access date: 02/01/2020). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"

The essence of typification and individualization . Meaningful definition These categories are considered to be a well-established judgment about the nature of artistic generalization: the most characteristic is borrowed from the fund of similar realities. The fact of typification gives the work aesthetic perfection, since one phenomenon can reliably reflect whole line repeating pictures of life.

Take, for example, the battle scenes from War and Peace. Each battle has its own internal logic, a special selection of those phenomena and processes that make up and which are determined by the course of development of the battle. And the writer’s choice falls on the epic depiction of the battle of armies through the prism of the finest details. The battles of Borodino and Shengraben can be correlated, and a sharply distinctive principle can be seen between them. The differences are observed in what the artist's attention is drawn to and what he recorded. On the pages of the novel there is household batalization, here the way of life of the ordinary masses under Shengraben is depicted. The soldiers look at the kitchen with greedy eyes. They are interested in stomachs. When Borodino is depicted, there are no battles there, no army, the people are acting there: “The whole people want to attack.” All the soldiers refused the vodka they were given before the battle; this is a generalization of the event. This is how detailing and generalization play their role significant role in typification and individualization. The carriers of generalization are characters, images and details connecting them. It is necessary to analyze not only pictures and episodes, but also the totality of the smallest details. When we talk about one hero, we should think about the other, and what role he plays in the fate of the first. The typical and individual recreate the world according to the laws of beauty.

The image contains a picture, an image, a unity of generalization ( typing) and specification ( individualization). Thus, the image of a character necessarily represents a certain collectiveness and uniqueness of the personality in all its specificity, in all its unique features. When the images of Gobsek, Father Grande, Plyushkin, Bubble, Glytay, Kori Ishkamba are examined, they all come under one generalization - the tragic type of miser, as even their “speaking” names indicate (Gobsek - the live-swallower; Bubble - immeasurable stinginess; Glytay - swallows greedily and hastily; Ishkamba - stomach). Each of these images personifies its own unique distinctive features: appearance features, personal habits, character. Just as there are no two undoubtedly identical people, so there are no two completely similar, to the point of complete identicalness, images. For example, in many French novels XIX centuries, images of the so-called “Napoleonic warehouse” have been functioning; they are very similar, containing the same generalization. The researcher is presented with a type of Napoleon in peacetime, when he is replaced by a millionaire, Rothschild. And yet, these characters are different, they are distinguished by their unusualness. Individualization of artistic creativity comes as close as possible to reality itself, to life. In science, reality is reflected only in pure generalizations, abstractions, and abstractions.

So, the general definition of an image comes down to the following: an image that has the properties of generalization or typification, and on the other hand, specificity(specification) of a single, individual fact.Without the unity of concretization (individualization) and generalization (typization), the image itself does not become the essence of artistic creativity, a phenomenon of art. One-way typing is called schematism, in art it is completely impossible, destructive for it; and limited specification is equally unacceptable and harmful. When literary scholars come across slight individualization or a very weak general conclusion that is incommensurate with the real side of the image, they call it factography. Here the particulars are extremely declarative in nature. Real events, snatched from reality itself, will lead the author to artistic failure. Let's remember the classic's instruction: I look at the fence - I write a fence, I see a crow on the fence - I write a crow on the fence.

It should be noted again that in the exact sciences and journalism, schematism, abstraction, and naked generalization of thought are appropriate and even necessary, but in artistic creativity they are contraindicated. All art, including literature, reflects reality as close as possible to it; literature reproduces reality in the forms of life itself. In the language of literary theory, a form of life is called individualization and typification, brought to aesthetic perfection. There is no life itself in the exact sciences (mathematics, physics, chemistry...) and journalism. It occurs only in artistic creativity.

It so happened that in the science of literature the concept of typification is used in relation to realistic art. There are discussions around this principle. Along with the word “typification,” some critics proposed other terms, believing that if realism is associated with the concept of “typification,” then in romanticism it would be “idealization.” It is clear that the term " idealization"is unsuccessful, it has to do with some operation of distortion, embellishment, leafing and varnishing. However, in the main direction of studying these categories, a step has been taken, the word has been spoken, and this should be welcomed, because it is impossible to designate with the same concept an artistic generalization inherent in different artistic methods, directions, currents. If there is “typification” in realism, then in romanticism there will be something else, and what it will be called is unknown. In any case, artistic generalizations in the art of the Middle Ages, Renaissance, and Enlightenment require clarification. Most of all has been done to reveal the nature of realistic generalization, while in other areas much and much remains to be improved.

Fiction as a way of typification and individualization in literature . Artistic creativity without fiction it is impossible, it cannot exist. Scientists are also distinguished by the ability to fantasize; “exact” science without creative imagination is unthinkable.

A sure sign of artistic talent is the ability to speculate, invent, and imagine. This process follows from the nature of thinking in images. And its most important law is typification. Art does not copy, but recreates life, displays it in such a way that it appears clearer and more beautiful. There is an opposite relationship between image and real matter. On the one hand, they correspond to each other, on the other, they differ from each other, for every image is not a copy, not reality, but a fact elevated to the pearl of creation, more similar to itself than life.

At the core fiction lies not law of dissimilarity, A law of truth, which makes itself felt through dissimilarity. So, Shchedrin's mayor has an organ instead of a head, but this grotesque generalization is true. The essence of typification is that the typical image contains a unique and holistic alloy through which the essence is revealed. These relationships, which do not replicate reality, are established only on the basis of creative imagination.

What is the function of artistic fiction? Art does not repeat reality, but reflects the most essential things in it; it tells not about what was or is, but how it happens in the world. It “happens” and creates familiar strangers. Model artistic fantasy expresses contradictory connections: on the one hand, similar, on the other, distinctive. A writer does not copy or repeat life, but explores her. He sometimes tramples the truth of fact in the name of the truth of life, he must break with the small truth in the name of the big truth. The basis of fiction is always something that is associated with the human ability to extract essential meaning from the real data.

Fiction is the special way in which an illogical, non-artistic abstraction is created, which is usually called the “image of types.” This is an internal feature" departure"into the sphere of art from reality. The ability to invent is a specific gift; it reveals in the writer a natural inclination to abstraction, to anticipate reality. What is characteristic of artistic fiction is precisely what could be called the gift of transformation, reincarnation, to be in the dimension of someone else’s life, to comprehend it, evaluate it and recreate it in forms inherent in reality itself. Hence, writers quite often exhibit artistic and creative hallucinations. Many authors say that they hear the voices of their heroes, even feel their will, which seems to guide their pen. Let us remember Vronsky, who, contrary to the original plan, shoots himself; Tatyana “upped the thing” - she got married; Balzac fainted, and when asked about the reason, he replied: Father Goriot had just died; Flaubert could taste arsenic in his mouth. This does not mean that all writers should experience hallucinations, but one should always write in such a way that “there is a piece of meat left on the tip of the pen.” If this is not the case, it will be cold and unconvincing.

This quality should distinguish not only classics, but also less gifted artists. Each writer reveals a fiction of his own character and his own special measure. Some authors create by imagining according to a factual outline, others rise too far from the ground in their imagination. And this is not only about the creative personality and talent of the artist. Both the memory of the genre and the manner play a role here. creative development author. However, even in those cases when the “departure” from reality is very high, for a real artist it never turns into a complete departure from the law of artistic invention. What remains is only what constitutes the essence of knowledge and penetration into life, into its interior.