E. n. Kovtun fiction in the literature of the 20th century study guide the study guide examines the fantastic literature of the 20th century. in the context of the development of other types. Fiction in the image

23.04.2019

Artistic fiction

Events, characters, circumstances depicted in fiction that do not exist in reality. Fiction does not pretend to be true, but it is not a lie either. This is a special kind of artistic convention, both the author of the work and the readers understand that the events and characters described did not actually exist, but at the same time they perceive what is depicted as something that could have happened in our everyday earthly life or in some other world.
IN folklore the role and place of fiction were strictly limited: fictional plots and heroes were allowed only in fairy tales. In world literature, fiction took root gradually, when works of literature began to be perceived as artistic writings designed to surprise, delight and entertain. Literatures Dr. The East, ancient Greek and Roman literature in the first centuries of their existence did not know fiction as a conscious technique. They narrated either about gods and mythological heroes and their deeds, or about historical events and their participants. All this was considered true, happening in reality. However, already in the 5th–6th centuries. BC e. ancient Greek writers cease to perceive mythological stories as narratives about real events. In the 4th century. philosopher Aristotle in his treatise “Poetics” he argued that the main difference literary works from historical works lies in the fact that historians write about events that happened in reality, and writers write about those that could have happened.
At the beginning of our era, a genre was formed in ancient Greek and Roman literature novel, in which fiction is the basis of the narrative. The most difficult things happen to the heroes of novels (usually a boy and a girl in love). incredible adventures, but in the end the lovers are happily united. In its origin, fiction in the novel is largely related to the plots of fairy tales. Since late antiquity, the novel has become the main literary genre, in which fiction is required. Later, in the Middle Ages and during the era Renaissance, a small one joins them prose genre with an unexpected plot development - short story. In modern times, genres are formed stories And story, also inextricably linked with artistic fiction.
In Western European medieval literature, artistic fiction is characteristic primarily of poetic and prosaic works. chivalric romances. In the 17th–18th centuries. V European literature the genre was very popular adventure novel. The plots of adventure novels were built from unexpected and dangerous adventures in which the characters were participants.
Old Russian literature, which had a religious character and aimed at revealing the truths of the Christian faith, until the 17th century. I did not know fiction, which was considered unhelpful and sinful. Events that were incredible from the point of view of the physical and biological laws of life (for example, miracles in the lives of saints) were perceived as true.
Different literary trends did not treat fiction the same way. Classicism, realism And naturalism they demanded authenticity, verisimilitude and limited the writer’s imagination: the arbitrariness of the author’s imagination was not welcomed. Baroque, romanticism, modernism favorably regarded the author's right to depict events that are incredible from the point of view of ordinary consciousness or the laws of earthly life.
Fiction varied. He can not deviate from the verisimilitude of the image Everyday life, as in realistic novels, but can also completely break with the requirements of compliance with reality, as in many modernist novels (for example, in the novel by the Russian symbolist writer A. White"Petersburg"), as in literary fairy tales(for example, in the tales of the German romantic E. T. A. Hoffman, in the tales of the Danish writer H.C. Andersen, in the tales of M. E . Saltykova-Shchedrin) or in works related to fairy tales in the novel genre - fantasy(for example, in the novels of J. Tolkien and K. Lewis). Artistic fiction is an integral feature historical novels, even if all their characters are real people. In literature, the boundaries between artistic fiction and authenticity are very conditional and fluid: they are difficult to draw in the genre memoirs, artistic autobiographies, literary biographies, telling about the lives of famous people.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

See what “artistic fiction” is in other dictionaries:

artistic fiction- see fiction... Terminological dictionary-thesaurus in literary studies

artistic fiction- creation tool artistic images: a form of recreation and display of life inherent only in art in plots and images that do not have a direct correlation with reality. Measure V. x. in a work may be different: there is an attitude towards... ... Dictionary of literary terms

FICTION- ARTISTIC FICTION, the activity of the writer’s imagination, which acts as a formative force and leads to the creation of plots and images that have no direct correspondence in previous art and reality. Discovering creative energy... ... Literary encyclopedic dictionary

FICTION- a specific act of artistic creativity that contributes to the construction of conceivable and possible options being, the idea of what can and should be. The productive properties of V. are based on the work of the imagination (Artistic Imagination), ... ... Aesthetics: Vocabulary

If he stained his pants with different colors, he wouldn't lie to you about it, but he would still make it look like he got dirty by rolling down the rainbow. Mark Twain poetic work the probable impossible is preferable to... ... Consolidated encyclopedia of aphorisms

General category of arts. creativity, a means and form of mastering life through art. An image is often understood as an element or part of a work that has a kind of self-worth. existence and meaning (for example, in literature, the image of a character, ... ... Philosophical Encyclopedia

fiction- sla, m. 1) only units. IN artistic creativity: a figment of the writer’s imagination, something created by his imagination. It is impossible to write without fiction... (A.N. Tolstoy). Artistry without fiction is impossible, does not exist (Gorky). Synonyms: fanta/zia 2)… … Popular dictionary of the Russian language

The general category of artistic creativity: the form of reproduction, interpretation and mastery of life inherent in art (See Art) by creating aesthetically affecting objects. An image is often understood as an element or part... ... Great Soviet Encyclopedia

Sla; m. 1. That which is created by imagination, fantasy. Artistic, poetic, creative c. 2. Fiction, fabrication, lie. Idle fiction. Philistine fiction. Distinguish in. from the truth. Don't believe fiction... encyclopedic Dictionary

fiction- sla; m. 1) That which is created by imagination, fantasy. Artistic, poetic, creative you/thought. 2) Fiction, fabrication, lie. Idle fiction. Philistine fiction. Distinguish you/thought from the truth. Don't believe fiction... Dictionary of many expressions

Books

Code "Perfumer" Patrick Suskind. Truth and fiction in the text of the famous novel, Borzenko S.. In this small (pocket-sized) book you will find the answers that arise in the attentive reader famous novel Patrick Suskind "Perfumer. The Story of a Murderer". Did you have...

Art. Rassadin, B. Sarnov

Does he do what he wants?

Two writers can take the same historical hero, even one about whom we know exactly what he really was, and portray him in completely different ways. One will portray him as noble and brave, while the other will portray him as nasty and funny. The writer has the right to this, because the main thing for him is to express himself, his thoughts and feelings in his work.
But what happens then? So the writer does what he wants? It turns out that the writer is not interested in truth at all?
This is one of the most complex issues artistic creativity. People have argued about this for centuries, expressing very different, very opposing views.
There were artists who directly said:
- Yes, we are not interested in the truth. We are not interested in reality. The goal of creativity is the free flight of imagination. Unfettered, unrestricted fiction.
Not only in ancient times, but also in our time, many writers and poets openly and even proudly expressed similar views.
“I take a piece of life, rough and poor, and create a sweet legend from it, for I am a poet...” - one said.
Another stated even more frankly:

I don't care if a person is good or bad,
I don't care if he's telling the truth or a lie...

And the third explained why “it doesn’t matter”:

Perhaps everything in life is just a means
For brightly melodious verses,
And you from a carefree childhood
Look for combinations of words.

Literature, poetry, and art, it turns out, do not exist at all to express the truth of life. It turns out that it’s quite the opposite: life itself is just a “vehicle for brightly melodious poetry.” And the only goal of creativity is to look for combinations of words, sounds, images...
And all this was asserted not by some weak poets who left no trace in literature, but by talented people, even unusually talented ones.
They were sharply objected to by supporters of the so-called “literature of fact”:
“No,” they said. – We are not interested in fiction! We are categorically against free flight of fancy. Not novels and poems, but essays about real people, about non-fictional facts - that’s what we need!
Some of them even believed that art should die out altogether.
You remember, of course, how N. A. Nekrasov dreamed of the time when the Russian peasant “would carry Belinsky and Gogol from the market...” So, there were people to whom this Nekrasov dream seemed simply a whim:
“It’s not Belinsky and Gogol that a man should carry from the market, but a popular guide to grass sowing. Not theater studios need to open in the village, and livestock breeding studios..."
So, on the one hand: “Everything in life is just a means for brightly melodious poetry.”
On the other hand: "Grass Sowing Guide" instead of " Dead souls" and "Inspector".
It would seem that even on purpose you cannot come up with two views that would be so irreconcilably hostile to each other.
In fact, they are not that different.
In essence, both of these views stem from the belief that fact and fiction are completely mutually exclusive. Or the truth - and no fiction. Or a fiction - and then there can be no question of the truth.
Both of these points of view - so different - proceed from the fact that the concept of “truth” is entirely reduced to the formula: “This is how it really happened.”
Meanwhile, truth in general, and artistic truth in particular, is an immeasurably more complex concept.

So which one is real?

So which Napoleon is the real one? In other words, who wrote the truth: Lermontov or Tolstoy?
It would seem that there is not even anything to argue about. It is clear from history that Napoleon was a man of bright and extraordinary talent: a great commander, a powerful statesman. Even Napoleon's enemies could not deny this.
But Tolstoy is an insignificant, vain, empty little man. Vulgarity personified. Zero.
Everything seems to be clear. Lermontov wrote the truth, Tolstoy wrote a lie.
And yet, the first thing I want to say when reading the pages about Napoleon in “War and Peace” is: what a truth!
Maybe it's all about Tolstoy's enormous artistic gift? Perhaps the charm of his talent helped him make even untruths credible and convincing, downright indistinguishable from the truth?
No. Even Tolstoy would not have been able to do this.
However, why “even Tolstoy”? It was Tolstoy who could not pass off lies as truth. Because the bigger the artist, the more difficult it is for him to be at odds with the truth.
One Russian poet said this very accurately:
– The inability to find and tell the truth is a shortcoming that cannot be covered by any ability to tell a lie.
By portraying Napoleon, Tolstoy sought to express the truth that was hidden from view, lying deep under the surface of well-known facts.
Tolstoy shows courtiers, marshals, chamberlains, servilely groveling before the emperor:
“One gesture from him - and everyone tiptoed out, leaving the great man to himself and his feelings.”
Next to the description of Napoleon's insignificant, petty, ostentatious feelings, the words " great person“They sound, of course, ironically. Even mockingly.
Tolstoy peers into the behavior of Napoleon's servants, analyzes and studies the nature of this creepiness. He clearly understands that all these titled lackeys look at their master with humiliation and servility only because he is their master. It no longer matters whether he is great or insignificant, talented or untalented.
Reading these Tolstoy pages, we understand: even if Napoleon were a complete nonentity, everything would be exactly the same. Marshals and footmen would look at their master in the same obsequious way. They would also sincerely consider him a great man.
This is the truth Tolstoy wanted to express and expressed. And this truth has the most direct relation to Napoleon and his entourage, to the nature of individual despotic power. And because Tolstoy deliberately exaggerated the colors, drawing an evil caricature of him instead of the real Napoleon, this truth only became more obvious.
By the way, Tolstoy’s truth does not at all contradict the picture that Lermontov created in the poem “Airship”.
Furthermore. Since both are true, they cannot resist each other. They are even united in some ways.
Lermontov portrayed Napoleon defeated and lonely. He sympathizes with him because this Napoleon has ceased to be a powerful ruler. And a ruler who has lost power is not afraid of anyone and is of no use to anyone: He is buried without honors by his enemies in shifting sand...
And those same marshals, about whose servility Tolstoy wrote with contempt, remained true to themselves: they serve the new rulers with the same servility. They do not hear and do not want to hear the call of their former idol:

And the marshals do not hear the call:
Others died in battle.
Others cheated on him
And they sold their sword.

So, both Napoleons are “real”, although different.
This is what usually happens in art. Two photographs of the same person, taken by different photographers, will certainly be similar to each other. And two of his portraits, painted by different artists, can be very, very different from each other, at the same time without losing their resemblance to the original.
Why, by different artists! Even the same artist, depicting the same person, can paint two completely different portraits.
This is the essence of art.
Everyone remembers Pushkin’s “Poltava”:

Peter comes out. His eyes
They shine. His face is terrible.
The movements are fast. He is beautiful,
He's like God's thunderstorm.

Peter in “Poltava” is not only majestic and humanly beautiful. He is the embodiment of courage, nobility, justice. He gives honor even to defeated enemies: “And he raises a healthy cup for his teachers.”
But here is another poem by the same Pushkin - " Bronze Horseman". Once again Peter is before us. However, how little similar to the hero of "Poltava" this "idol on a bronze horse" is. He did not flinch in the face of enemy bullets and cannonballs - this one sees danger for himself even in Evgeniy's timid and inarticulate threat. He generously drank to the health of his recent enemies - this one vindictively pursues a pathetic, unfortunate, powerless person.
Is there a difference between these two Peters?
Even some!
Does this mean that only one of them is "real"?
In no case!
When we say that we want to know the truth about a historical figure, we mean not only his personal qualities. We want to understand and appreciate his work, to see the result of his efforts, their historical meaning.
Both in "Poltava" and in "The Bronze Horseman" Pushkin depicts the case of Peter. But in one case, Peter is in battle, in work, in burning, in creation. In another case, we already see the result of battle and work, which is why it is not Peter himself who is acting here, but his bronze monument, a symbol of his era and his cause. And so it turned out that among the results of the life of the great king there was the victoriously completed construction of a mighty empire and, on the other hand, an oppressed and oppressed little man.
So soberly and wisely Pushkin saw the complex inconsistency of Peter’s case.
When a person climbs a mountain peak, he can no longer see in detail what remains below, but the entire terrain is in front of him in full view.
The more time passes since the time of Peter, Napoleon or any other historical figure, the more their features become clouded. But the meaning of everything they did, good and bad, becomes clearer. And the more fully the truth emerges.

Ivan the Terrible and Ivan Vasilievich

In Poltava, Pushkin spoke about what really happened. The Bronze Horseman talks about events that not only did not happen in reality, but also could not happen. As you know, bronze horsemen do not gallop along the pavement, but calmly stand in place.
We have already said that the artist invents things in order to better understand and express the truth.
But is it really necessary to invent something that did not exist? And even more so, inventing something that could not have happened?
Let's say Pushkin could not express his complex thought any other way. But “The Bronze Horseman” is not an ordinary work. Still, it does not depict a living Peter. But much more often in works of art it is not symbols that act, but living people.
But it turns out that a living, real, completely concrete person can be placed by a writer in invented and even the most implausible circumstances.
The writer Mikhail Bulgakov has a comedy "Ivan Vasilyevich".
Its hero, engineer Timofeev, invented a time machine, with the help of which he found himself in the era of Ivan the Terrible. A small accident happened, and Timofeev, together with Tsar Ivan, found himself in modern Moscow, in a communal apartment.
"John. Oh my God, Lord Almighty!
Timofeev. Shhh... hush, hush! Just don't scream, I beg you! We will cause terrible trouble and, in any case, a scandal. I'm going crazy myself, but I'm trying to control myself.
John. Oh, it's hard for me! Tell me again, are you not a demon?
Timofeev. Oh, have mercy, I explained to you that I am not a demon.
John. Oh, don't lie! You are lying to the king! Not by human will, but by God's will, I am a king!
Timofeev. Very good. I understand that you are a king, but I ask you to forget about it for a while. I will not call you Tsar, but simply Ivan Vasilyevich. Believe me, it's for your own good.
John. Alas for me, Ivan Vasilyevich, alas!..”
How unlike this timid, frightened old man is from the mighty and imperious Tsar depicted in Lermontov’s “Song about the Merchant Kalashnikov”...
Remember how he doomed Stepan Kalashnikov to execution: It’s good for you, child, A daring fighter, a merchant’s son, That you answered according to your conscience. I will reward your young wife and your orphans from my treasury, I command your brothers from this very day throughout the wide Russian kingdom to trade freely, duty-free. And you yourself, little child, go to the high place of the forehead, lay down your wild little head...
This Ivan is cruel and terrible, he uses his right to send an innocent person to death with voluptuous pleasure, and at the same time he is majestic in his own way and, in any case, is not devoid of a piercing mind and a kind of dark irony.
The king does not want to tolerate a man who dared to speak boldly and directly in front of him, accustomed to servile obedience, without bowing his head, and executes him. But in him - in the way the poet intended to portray him - the consciousness is still alive that the deed he is doing is not very noble. And so he wants to drown out his conscience, generously giving gifts to his wife and Kalashnikov’s brothers, he wants to amaze those around him with the greatness of his royal mercy.
In the final lines of the monologue, all this merged together: cruelty, irony, muffled conscience, and, as we would now say, “playing for the audience”:

I order the ax to be sharpened and sharpened,
I'll order the executioner to dress up,
I'll order you to ring the big bell,
So that all the people of Moscow know,
That you too are not abandoned by my mercy...

Such is the terrible mercy of the king.
Yes, Lermontov’s Ivan the Terrible is cruel, treacherous, even vile. But it is impossible to imagine circumstances in which he would look pitiful and funny.
Impossible?
But Mikhail Bulgakov created precisely such circumstances.
In his comedy, engineer Timofeev talks to the tsar as an elder talks to a younger one. Would someone try to talk like that with Lermontov’s Grozny!..
And events happen to this Bulgakovsky, Ivan Vasilyevich, that paint him in the most pitiful light. Then he will be scared to death by the voice coming from the telephone receiver and ask in horror: “Where are you sitting?” Then he will be mistaken for an artist in the makeup and costume of Tsar Ivan. His very attempt to show royal favor, so terribly majestic in Lermontov, here turns out to be absurd, pathetic and funny.
Here Ivan, with a broad gesture, gives one of the characters in the play a hryvnia:
- Take it, slave, and glorify the Tsar and Grand Duke Ivan Vasilyevich!..
And he disdainfully refuses the royal gift, and is even offended by the word “serf”:
– For such things you can get into a people’s court. I don’t need your coin, it’s not real.
It may seem that all this was invented by the writer solely for the sake of laughter. That the character of Ivan Vasilyevich, a character in Bulgakov’s comedy, has nothing in common with the character of Tsar Ivan, who was not called the Terrible for nothing.
But no. Not only for fun did Bulgakov transfer the formidable tsar to ours modern life and made him tremble in front of the telephone set so familiar to us.
Why is Ivan the Terrible so majestic in Lermontov’s song? Why is even the gesture with which he sends Kalashnikov to the chopping block not without a certain eerie charm?
Because Ivan is surrounded by fear and admiration, because his every desire is law and every act, even the most vile, is met with flattery and enthusiasm. It may seem that this is the charm of the powerful personality of the king. In fact, this charm does not belong to a person, but to the Monomakh’s cap, a symbol of royal power.
Having placed Ivan the Terrible in unusual, alien conditions, depriving him of all the advantages associated with the royal title, the writer immediately exposed his human essence, exposed the truth hidden under the luxurious royal vestments.
This always happens in real art.
No matter how a writer fantasizes, no matter how far he flies on the wings of his imagination, no matter how bizarre and even implausible his invention may seem, he always has one goal: to tell people the truth.

Drawings by N. Dobrokhotova.

The writer's goal is to understand and reproduce reality in its intense conflicts. The idea is the prototype of the future work; it contains the origins of the main elements of content, conflict, and structure of the image. The birth of an idea is one of the mysteries of the writing craft. Some writers find the themes of their works in newspaper columns, others - in famous literary subjects, others turn to their own everyday experience. The impulse to create a work can be a feeling, an experience, an insignificant fact of reality, a story heard by chance, which in the process of writing the work grows to a generalization. An idea can linger for a long time notebook as a humble observation.

The individual, the particular, observed by the author in life, in a book, passing through comparison, analysis, abstraction, synthesis, becomes a generalization of reality. Movement from idea to artistic embodiment includes the pangs of creativity, doubt and contradiction. Many word artists have left eloquent testimonies about the secrets of creativity.

It is difficult to build a conventional scheme for creating a literary work, since each writer is unique, but in this case, indicative trends are revealed. At the beginning of the work, the writer faces the problem of choosing the form of the work, decides whether to write in the first person, that is, prefer a subjective manner of presentation, or in the third, maintaining the illusion of objectivity and letting the facts speak for themselves. The writer can turn to the present, to the past or the future. The forms of understanding conflicts are varied - satire, philosophical understanding, pathetic, description.

Then there is the problem of organizing the material. Literary tradition offers many options: you can follow the natural (plot) course of events in presenting the facts; sometimes it is advisable to start from the ending, with the death of the main character, and study his life until his birth.

The author is faced with the need to determine the optimal boundaries of aesthetic and philosophical proportionality, entertainment and persuasiveness, which cannot be crossed in the interpretation of events, so as not to destroy the illusion of “reality” art world. L.N. Tolstoy stated: “Everyone knows the feeling of mistrust and rebuff that is caused by the apparent intentionality of the author. If the narrator says ahead: get ready to cry or laugh, and you probably won’t cry or laugh.”

Then the problem of choosing a genre, style, repertoire is revealed artistic means. One must seek, as Guy de Maupassant demanded, “that one word that can breathe life into dead facts, that single verb that alone can describe them.”

A special aspect of creative activity is its goals. There are many motives that writers used to explain their work. A.P. Chekhov saw the writer’s task not in searching for radical recommendations, but in “ correct positioning» questions: “In “Anna Karenina” and “Onegin” not a single question is resolved, but they are completely satisfying, only because all the questions are posed in them correctly. The court is obliged to pose the right questions, and let the jury decide, each to their own taste.”

Anyway, literary work expresses the author's attitude to reality , which becomes, to a certain extent, the initial assessment for the reader, the “plan” for subsequent life and artistic creativity.

The author's position reveals a critical attitude towards the environment, activating people's desire for an ideal, which, like absolute truth, is unattainable, but which needs to be approached. “It is in vain that others think,” reflects I. S. Turgenev, “that in order to enjoy art, one innate sense of beauty is enough; without understanding there is no complete pleasure; and the sense of beauty itself is also capable of gradually becoming clearer and ripening under the influence of preliminary work, reflection and study of great examples.”

Fiction - a form of recreation and re-creation of life inherent only in art in plots and images that do not have a direct correlation with reality; a means of creating artistic images. Artistic fiction is a category important for differentiating the artistic itself (there is“attachment” to fiction) and documentary-informational (fiction is excluded) works. Measureartistic fiction in a work may be different, but it is a necessary component artistic image life.

Fantastic - this is one of the varieties fiction, in which ideas and images are based solely on the wonderful world imagined by the author, on the depiction of the strange and implausible. It is no coincidence that the poetics of the fantastic is associated with the doubling of the world, its division into the real and the imagined. Fantastic imagery is inherent in such folklore and literary genres as fairy tale, epic, allegory, legend, grotesque, utopia, satire.

events, characters, circumstances depicted in fiction that do not exist in reality. Fiction does not pretend to be true, but it is not a lie either. This is a special kind of artistic convention, both the author of the work and the readers understand that the events and characters described did not actually exist, but at the same time they perceive what is depicted as something that could have happened in our everyday earthly life or in some other world.

In folklore, the role and place of fiction were strictly limited: fictional plots and heroes were allowed only in fairy tales. In world literature, fiction gradually took root when works of literature began to be perceived as artistic compositions designed to surprise, delight and entertain. Literatures Dr. The East, ancient Greek and Roman literature in the first centuries of their existence did not know fiction as a conscious device. They narrated either about gods and mythological heroes and their deeds, or about historical events and their participants. All this was considered true, happening in reality. However, already in the 5th–6th centuries. BC e. Ancient Greek writers ceased to perceive mythological stories as narratives about real events. In the 4th century. The philosopher Aristotle in his treatise “Poetics” argued that the main difference between literary works and historical works is that historians write about events that happened in reality, and writers write about those that could have happened.

At the beginning of our era, the genre of the novel was formed in ancient Greek and Roman literature, in which fiction is the basis of the narrative. The most incredible adventures happen to the heroes of the novels (usually a boy and a girl in love), but in the end the lovers are happily united. In its origin, fiction in the novel is largely related to the plots of fairy tales. Since late antiquity, the novel has become the main literary genre in which fiction is obligatory. Later, in the Middle Ages and the Renaissance, they were joined by a small prose genre with an unexpected development of the plot - the short story. In modern times, the genres of novel and short story are formed, which are also inextricably linked with artistic fiction.

In Western European medieval literature, artistic fiction is characteristic primarily of poetic and prose novels of chivalry. In the 17th–18th centuries. The genre of adventure novel was very popular in European literature. The plots of adventure novels were built from unexpected and dangerous adventures in which the characters were participants.

Old Russian literature, which had a religious character and aimed at revealing the truths of the Christian faith, until the 17th century. I did not know fiction, which was considered unhelpful and sinful. Events that were incredible from the point of view of the physical and biological laws of life (for example, miracles in the lives of saints) were perceived as true.

Different literary movements did not have the same attitude towards artistic fiction. Classicism, realism and naturalism demanded authenticity, verisimilitude and limited the writer’s imagination: the arbitrariness of the author’s imagination was not welcomed. Baroque, romanticism, and modernism favored the right of the writer to depict events that were incredible from the point of view of ordinary consciousness or the laws of earthly life.

Fiction is diverse. He may not deviate from verisimilitude in depicting everyday life, as in realistic novels, but he may also completely break with the requirements of correspondence to reality, as in many modernist novels (for example, in the novel “Petersburg” by the Russian symbolist writer A. Bely), as in literary fairy tales (for example, in the fairy tales of the German romantic E. T. A. Hoffmann, in the fairy tales of the Danish writer H. C. Andersen, in the fairy tales of M. E. Saltykov-Shchedrin) or in works related to fairy tales in the genre of fantasy novels (for example, in the novels of J. Tolkien and C. Lewis). Fiction is an integral feature of historical novels, even if all their heroes are real persons. In literature, the boundaries between fiction and authenticity are very conditional and fluid: they are difficult to draw in the genre of memoirs, artistic autobiographies, literary biographies, telling about the lives of famous people.

The meaning of FICTION in the Dictionary of Literary Terms

FICTION

A means of creating artistic images: a form inherent only to art of recreating and displaying life in plots and images that do not have a direct correlation with reality. Measure V. x. in a work can be different: there is an “attitude” towards fiction, but there are also documentary works (see documentary), where fiction is excluded.

Dictionary of literary terms. 2012

E. n. Kovtun fiction in the literature of the 20th century study guide the study guide examines the fantastic literature of the 20th century. in the context of the development of other types. Fiction in the image

See what “artistic fiction” is in other dictionaries:

Books

The meaning of FICTION in the Dictionary of Literary Terms

See also interpretations, synonyms, meanings of the word and what ARTISTIC FICTION is in Russian in dictionaries, encyclopedias and reference books: