Each writer has specific creative features (in the choice of topics, the depiction of individuals, individual social groups, in the originality of artistic techniques and the language of the work). For example, the manner of expressing thoughts of A.S. Pushkin and L.N. Tolstoy is hard to confuse. This is where the concept came from author's style(the style is a pointed stick and a spatula at the other end for writing on a waxed tablet).
Style is called the ideological and artistic originality of the writer’s work, which is manifested in the peculiarities of the themes, ideological meaning, system of images, methods of their construction, in the composition and language of the work. This is the unity of the main ideological and artistic features (themes, ideas, characters, plot, language), which is revealed throughout the entire creative work writer, is determined by the era, life experience, the views of the artist and the characteristics of his talent. The style of one and the same author can develop and change over time (A.S. Pushkin’s early and late years differ significantly from each other both in their creative method - a romantic and a realist, and in the form of their works - a poet and a prose writer).
In the style of a number of writers one can find the same features - general topics, close in social status and the views of the heroes (for example, the theme of “superfluous” people in the first half of the 19th century in Russia, about tragic fate young nobles misunderstood by society).
This way it is formed literary school, direction, group, current- unity of form and content, unity of method, bringing writers closer to each other. Depending on the characteristics of the historical situation, it receives a certain political coloring and political purposefulness (for example, natural school followers of N.V. Gogol in Russia).
A higher level of generality is creative artistic method. Artistic method is the principles common to writers for selecting life phenomena and depicting them. It depends primarily on changes in social life (realism, classicism, sentimentalism, romanticism, modernism, postmodernism).
Literary process - the process of interaction of styles, trends, methods, directions of fiction into one and the same historical period. The oldest and most famous method of depicting reality in fiction is realism. It was with him that the literary process began in Ancient Greece and Ancient Rome, from the formation of the so-called ancient realism, then in the Middle Ages we can talk about medieval realism, the Renaissance gives impetus to the development of revival ideas in the realistic work of that period. The Age of Enlightenment, for the first time, allows us to talk about the emergence of a mature literary movement with clearly formulated laws of creativity - classicism.
Classicism(from Latin classicus - first-class) - a movement in the literature of Western Europe and Russia (17-18 centuries) after the end of the religious wars. Classicism arose as an imitation of examples of ancient (classical) art. Its representatives are Racine, Corneille, Boileau, Moliere, Sumarokov, Kheraskov, Kantemir, Lomonosov, Trediakovsky, Derzhavin. They tried to draw attention to the sense of duty and patriotism of the heroes in depicting life conflicts.
Classicism is an example of literature created according to normative principles. Basic ideas classicism is associated with the idea of progressive absolutist royal power, which expressed in France, where classicism originated, civil, national ideals, the idea of civil reason, which the hero should prefer to other human feelings. The rational-civil thinking of classicism was associated with journalisticism, didacticism, and journalistic sentiments expressed in the works.
Classicism was associated with noble, aristocratic, court culture. This led to a certain class limitation - depictions of the people were not allowed, folk life, nature, subjects were taken mainly from ancient Greek or Roman history.
All works were clearly divided into high and low, just like genres, the rule of “three unities” was introduced - the unity of time (the entire conflict must be resolved within 24 hours), place (the action took place in one place), action (one plot , heroes are carriers of one quality, the role of actors). All this led to a violation of the truth of life, the creation of conventional, far-fetched images, schematic characters, and complex language.
Russian classicism fought for the originality of Russian culture, the purity of the Russian language, and reflected significant moments in the development of Russia.
Sentimentalism(from the French sentimental - sensitive) - a literary movement in Russian and Western literature of the late 18th - early 19th centuries, which initially arose in England and reflected the struggle of the bourgeoisie with the feudal lords. Sentimentalism contained a protest against the corrupt morals of the noble aristocracy; it was opposed to the life of artisans, merchants, peasants, and sympathy for people oppressed by feudal lords.
As a direction, it was completely opposed to the rationality of the works of classicism, contained a protest against the abstract ideals of reason, opposing them sincere feelings, seeking to depict the peculiarities of human psychology.
The glorification of patriarchal principles and feelings led to the idea that people can only be natural in nature. The city and urban culture were opposed to nature, the countryside and were endowed with all negative traits(debauchery, greed, lack of moral principles). In turn, the village, depicted idyllically and patriarchally, was presented only from the positive side without any criticism.
Sentimentalism was also characterized by other features. For example, the desire for historicism, the glorification of the past of one’s country, the characters of the heroes were portrayed mainly through emotional and psychological characteristics with the elimination of any real situation, outside of real events.
A special style of sentimentalism has developed in the language system - a style of intonation-sensitive nature (with an abundance of appeals and exclamations); the authors completely abandon the “high calm” of classicism, but create their own artificially sensitive language.
In Russian literature, sentimentalism had a different social basis at the end of the 18th century (Karamzin, Bogdanovich, Dmitriev, Shalkov, early Zhukovsky) - expressed the sentiments of the nobility in the era of the increasing bourgeois development of Russia and the intensifying liberation peasant movement. The characteristic features of this Russian trend are a false image of the peasantry, villages, idealization serfdom. The desire to silence the fact of the exploitation of serfs, the conventional image of the Russian village as a place of play for happy villagers, the image of a father-patron and benefactor - a landowner, filled with concern for his serfs ("You will be my child forever, I will be your father forever") - all these are characteristic features Russian sentimentalism.
There were also positive moments. For the first time, serfs and their feelings were depicted along with the feelings of landowners (“And peasant women know how to love” - N.M. Karamzin). This had a huge impact on the development of Russian literature, as attention was paid to feelings ordinary people, a depiction of human psychology.
Romanticism- a creative method that appeared in Western Europe at the end of the 18th - beginning of the 19th centuries - is usually considered as a reaction to bourgeois revolutions in England and France, as he expressed the dissatisfaction of wide public circles with the new bourgeois reality. Instead of the kingdom of freedom, equality and brotherhood, for which enormous sacrifices were made, the spirit of profit, the power of money, and new oppression of the individual begin to dominate in bourgeois society. Therefore, the main principle of this movement is opposition real life another world created by the creative imagination of the writer. A romantic work is characterized by: an extraordinary hero, overwhelmed by violent passions, extraordinary circumstances in which the action takes place, a veil of understatement and mystery that entangles the hero’s past.
There are two main directions of romanticism: passive (conservative) and revolutionary (progressive).
Conservative romanticism(Novalis, Uhland, Chateaubriand, Vigny, Wordsworth, Heine, Schiller, Zhukovsky, Batyushkov, Delvig) sought to take the reader into the world of dreams, fantasy, mysticism or the historical past (the Middle Ages). In the works of these romantics, there were two types of heroes: dreamers, living only in the world of their personal feelings and souls, and active natures, striving to revive knightly feelings and noble principles of life.
Revolutionary romanticism(Byron, Hugo, Pushkin, Lermontov, Ryleev, Odoevsky)) depicted the protest, the passions of an exceptional person who does not resign himself to the circumstances of the surrounding reality, struggling, striving for freedom, action, and a future free life.
In Russian literature, which arose at the very beginning of the 19th century (especially widespread after Patriotic War 1812) romanticism reflected the dissatisfaction of the Russian nobility with two main troubles of that time: autocracy and serfdom.
Realism- involves showing reality, the real life of a person, a truthful historically specific image of a person and society, an image of connections and interactions between a person and society (“the truthfulness of the image of typical characters in typical circumstances” - F. Engels).
Typical heroes reflect the characters and collective features of many people, social groups (or heroes and images reflecting typical trends in the development of society). Typical circumstances- description of the peculiarities of life, customs of that society and in that historical moment when heroes were formed.
This is the oldest and most powerful creative method of depicting reality known in the history of literature. Selected elements of realism already met in ancient literature 5th-3rd centuries BC Despite the fact that her hero has not yet stood out from the crowd, he thinks like the whole society (Achilles in Homer).
Next, in Renaissance(13-16 centuries), during the growth of public self-awareness, the hero has already stood out from society, he has a sense of justice and responsibility (Hamlet, Don Quixote), although he is still guided not by class, but by moral criteria (defenders of humanity from imperfections).
In the era Enlightenment(18th century) the critical principle of realism was strengthened. The young revolutionary bourgeoisie opposes feudalism and church ideology with criticism of law, morality, and religion (Voltaire, Diderot, D.I. Fonvizin). The shortcomings of society were explained by the shortcomings of the system of political mores and moral views.
Critical realism began to take shape in the works of Balzac and Pushkin due to the dissatisfaction of romantic ideas about ways to change life and disappointment with bourgeois reality. Analytical aspiration and strengthening of the critical principle were associated with the exposure and denial of the foundations of feudal and bourgeois society through the depiction of man in his various connections with society. A person was portrayed in this way as a part and product of the environment (character, views, behavior, lifestyle are formed by society), but at the same time they strived for the future, for the ideal.
In the history of realism, it happened that, along with a historically incorrect, abstract understanding of the characters’ characters, a correct, concrete, realistic reproduction of them was carried out (N.V. Gogol’s “Dead Souls”) - it is necessary to distinguish between the artist’s worldview and his theoretical views.
Modernism(from the French moderne - new, modern) - various trends in modern literature 20th century ( symbolism, acmeism, futurism, imagism), opposing themselves to realism. They are not satisfied with the basic principle of realism - a reflection of objective reality; they consider it a naturalistic copying of life.
The basis of art should be the production of the hero’s inner self, his inner world, to the outside. Features of modernism- the most open and free self-disclosure of authors, their persistent desire to update artistic language, a focus more on the universal and culturally and historically distant, rather than on the close reality.
Postmodernism as a literary movement formed in the second half of the 20th century and represents an attempt by modern authors, led by J. Derrida, to philosophically comprehend the history of literature and culture in general from the position deconstruction(that is, rejection) of everything stable, stable, unconditional that is in it. Concept simulacrum and the postmodern concept of the total disorder of the world sometimes finds forms of expression akin to the mythological archaic, which makes it possible to transform plots, images, circumstances into new works, using them in accordance with modern conditions.
Artistic method - this is the principle (method) of selecting the phenomena of reality, the features of their assessment and the originality of their artistic embodiment; that is, method is a category related to both content and artistic form. It is possible to determine the originality of one or another method only by considering the general historical trends in the development of art. In various periods of literary development, we can observe that different writers or poets are guided by the same principles of understanding and depicting reality. In other words, the method is universal and is not directly related to specific historical conditions: we are talking about the realistic method and in connection with the comedy of A.S. Griboyedov, and in connection with the work of F.M. Dostoevsky, and in connection with the prose of M.A. Sholokhov. And the features of the romantic method are revealed both in the poetry of V.A. Zhukovsky, and in the stories of A.S. Greena. However, there are periods in the history of literature when one or another method becomes dominant and acquires more specific features associated with the characteristics of the era and trends in culture. And in this case we are already talking about literary direction . Directions in a wide variety of forms and relationships can appear in any method. For example, L.N. Tolstoy and M. Gorky are realists. But only by determining to which direction the work of one or another writer belongs, we will be able to understand the differences and features of their artistic systems.
Literary movement - manifestation of ideological and thematic unity, homogeneity of plots, characters, language in the works of several writers of the same era. Often writers themselves are aware of this affinity and express it in so-called “literary manifestos”, declaring themselves a literary group or school and giving themselves a certain name.
Classicism (from Latin classicus - sample) - a direction that arose in European art And literature XVII century, based on the cult of reason and the idea of the absolute (independent of time and nationality) nature of the aesthetic ideal. Hence, the main task of art becomes the closest possible approximation to this ideal, which received its most complete expression in antiquity. Therefore, the principle of “working according to a model” is one of the fundamental principles in the aesthetics of classicism.
The aesthetics of classicism is normative; “disorganized and willful” inspiration was contrasted with discipline, strict adherence to once and for all established rules. For example, the rule of “three unities” in drama: unity of action, unity of time and unity of place. Or the rule of “genre purity”: whether a work belongs to a “high” (tragedy, ode, etc.) or “low” (comedy, fable, etc.) genre determined its subject matter, the types of characters, and even the development of the plot and style. The opposition of duty to feeling, rational to emotional, the requirement to always sacrifice personal desires for the sake of the public good is largely explained by the enormous educational role, which the classicists assigned to art.
Classicism received its most complete form in France (the comedies of Moliere, the fables of La Fontaine, the tragedies of Corneille and Racine).
Russian classicism arose in the 2nd quarter of the 18th century and was associated with educational ideology (for example, the idea of the value of a person beyond the class), characteristic of the successors of the reforms of Peter I. Russian classicism, already at its very beginning, was characterized by a satirical, accusatory orientation. For Russian classicists, a literary work is not an end in itself: it is only a path to improvement human nature. In addition, it was Russian classicism that paid more attention to national characteristics and folk art, without focusing exclusively on foreign samples.
A large place in the literature of Russian classicism is occupied by poetic genres: odes, fables, satires. Various aspects of Russian classicism were reflected in the odes of M.V. Lomonosov (high civic pathos, scientific and philosophical themes, patriotic orientation), in the poetry of G.R. Derzhavin, in the fables of I.A. Krylov and in the comedies of D.I. Fonvizina.
Sentimentalism (from santimentas - feeling) - a literary movement in Western Europe and Russia at the end of the 18th - beginning of the 19th century, characterized by the elevation of feeling to the main aesthetic category. Sentimentalism became a kind of reaction to the rationality of classicism. The cult of feeling led to a more complete disclosure of the inner world of man, to the individualization of the images of heroes. It also gave rise to a new attitude towards nature: the landscape became not just a backdrop for the development of action, it turned out to be in tune with the personal experiences of the author or characters. Emotional Vision the world demanded other poetic genres (elegy, pastoral, epistle), and other vocabulary - figurative words, colored with feeling. In this regard, the author-narrator begins to play a large role in the work, freely expressing his “sensitive” attitude towards the characters and their actions, as if inviting the reader to share these emotions (as a rule, the main one is “touchedness,” that is, pity, compassion ).
The aesthetic program of Russian sentimentalism is most fully reflected in the works of N.M. Karamzin (story " Poor Lisa"). The connection between Russian sentimentalism and educational ideas can be seen in the works of A.N. Radishchev (“Journey from St. Petersburg to Moscow”).
Romanticism - creative method and artistic direction in Russian and European (as well as American) literature of the late 18th - first half of the 19th centuries. The main subject of the image in romanticism is the person, the individual. A romantic hero is, first of all, a strong, extraordinary nature, a person overwhelmed by passions and capable of creatively perceiving (sometimes transforming) the world around him. The romantic hero, due to his exclusivity and unusualness, is incompatible with society: he is lonely and most often in conflict with everyday life. From this conflict a kind of romantic dual world is born: the confrontation between the sublime world of dreams and dull, “wingless” reality. The romantic hero is located at the “intersection point” of these spaces. Such an exceptional character can only act in exceptional circumstances, therefore the events of romantic works unfold in an exotic, unusual setting: in countries unknown to readers, in distant historical eras, in other worlds...
Unlike classicism, romanticism turns to folk-poetic antiquity not only for ethnographic, but also for aesthetic purposes, finding a source of inspiration in national folklore. In a romantic work, the historical and national coloring, historical details, and background of the era are reproduced in detail, but all this becomes only a kind of decoration for recreating the inner world of a person, his experiences, and aspirations. In order to more accurately convey the experiences of an extraordinary personality, romantic writers depicted them against the backdrop of nature, which uniquely “refracted” and reflected the characteristics of the hero’s character. Stormy elements - the sea, a blizzard, a thunderstorm - were especially attractive to romantics. The hero has nature difficult relationships: on the one hand, the natural elements are akin to his passionate character, on the other hand, the romantic hero struggles with the elements, not wanting to recognize any restrictions on his own freedom. The passionate desire for freedom as an end in itself becomes one of the main things for the romantic hero and often leads him to tragic death.
V.A. is traditionally considered the founder of Russian romanticism. Zhukovsky; Romanticism manifested itself most clearly in the poetry of M.Yu. Lermontov, in the works of A.A. Fet and A.K. Tolstoy; at a certain period of his work, A.S. paid tribute to romanticism. Pushkin, N.V. Gogol, F.I. Tyutchev.
Realism (from realis - real) - creative method and literary direction in Russian and world literature of the 19th and 20th centuries. The word "realism" is often used to describe different concepts (critical realism, socialist realism; there is even a term " magical realism"). Let's try to highlight the main features of Russian realism XIX-XX centuries.
Realism is built on the principles of artistic historicism, i.e. he recognizes the existence of objective reasons, social and historical patterns that influence the personality of the hero and help explain his character and actions. This means that the hero may have different motivations for his actions and experiences. The pattern of actions and the cause-and-effect relationship between personality and circumstances is one of the principles of realistic psychologism. Instead of an exceptional, extraordinary romantic personality, realists place at the center of the narrative a typical character - a hero, whose features (for all the individual uniqueness of his character) reflect certain general characteristics of either a certain generation or a certain social group. Realist authors avoid an unambiguous assessment of heroes and do not divide them into positive and negative, as is often the case in classic works. The characters’ characters are given in development; under the influence of objective circumstances, the heroes’ views evolve (for example, the path of Andrei Bolkonsky’s quest in L.N. Tolstoy’s novel “War and Peace”). Instead of unusual, exceptional circumstances, so beloved by romantics, realism chooses ordinary, everyday living conditions as the setting for the development of events in a work of art. Realistic works strive to most fully depict the causes of conflicts, the imperfection of man and society, and the dynamics of their development.
The most prominent representatives of realism in Russian literature: A.N. Ostrovsky, I.S. Turgenev, I.A. Goncharov, M.E. Saltykov-Shchedrin, L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov.
Realism and Romanticism- two different ways visions of reality, they are based on different concepts of the world and man. But these methods are not mutually exclusive: many achievements of realism became possible only through the creative development and rethinking of the romantic principles of depicting the individual and the Universe. In Russian literature, many works combine both methods of depiction, for example, the poem by N.V. Gogol’s “Dead Souls” or the novel by M.A. Bulgakov "The Master and Margarita".
Modernism (from French moderne - newest, modern) - common name new (non-realistic) phenomena in the literature of the first half of the 20th century. The era of the emergence of modernism was a crisis, a turning point, marked by the events of the First World War, the rise of revolutionary sentiments in different European countries. In the conditions of the collapse of one world order and the emergence of another, during the period of intensifying ideological struggle, philosophy and literature acquired particular importance. This historical and literary period (in particular, poetry created between 1890 and 1917) was called the Silver Age in the history of Russian literature.
Russian modernism, despite the diversity of aesthetic programs, was united common task: search for new artistic means images of the new reality. This desire was most consistently and definitely realized in four literary movements: symbolism, futurism, acmeism and imagism.
Symbolism - a literary movement that emerged in Russia in the early 90s of the 19th century. It is based on the philosophical ideas of Nietzsche and Schopenhauer, as well as the teachings of B.C. Solovyov about “The Soul of the World”. The symbolists contrasted the traditional way of understanding reality with the idea of creating worlds in the process of creativity. It is art, in their opinion, that is capable of recording ultimate reality, appearing to the artist at the moment of inspiration. Therefore, creativity in the understanding of the symbolists - the contemplation of “secret meanings” - is accessible only to the poet-creator. The value of poetic speech lies in understatement, in concealing the meaning of what is said. As can be seen from the very name of the direction, the main role in it is given to the symbol - the main means capable of conveying the seen, “caught” secret meaning of what is happening. The symbol becomes the central aesthetic category of the new literary movement.
Among Symbolists, it is traditional to distinguish between “senior” Symbolists and “junior” Symbolists. Among the “senior” symbolists, the most famous are K.D. Balmont, V.Ya. Bryusov, F.K. Sologub. These poets declared themselves and a new literary direction in the 90s of the 19th century. “Younger” Symbolists Vyach. Ivanov, A. Bely, A.A. Blok came to literature in the early 1900s. The “older” symbolists denied the surrounding reality, contrasted reality with dreams and creativity (often to define such emotional and ideological position use the word "decadence"). The “younger” believed that in reality “ old world", the one who has outlived his usefulness will perish, and the one who is to come " new world"will be built on the basis of high spirituality and culture.
Acmeism (from Greek akme - blooming power, highest degree anything) - a literary movement in the poetry of Russian modernism, which contrasted the aesthetics of symbolism with a “clear view” of life. It is not without reason that other names for Acmeism are clarism (from the Latin clarus - clear) and “Adamism” after the biblical forefather of all people Adam, who gave names to everything around him. Supporters of Acmeism tried to reform the aesthetics and poetics of Russian symbolism; they abandoned excessive metaphoricality, complexity, one-sided passion for symbolism and called for a “return” to exact value words, "to the ground." Only material nature was recognized as real. But the “earthly” worldview of the Acmeists was exclusively aesthetic in nature. Acmeist poets tend to turn to a single everyday object or natural phenomenon, poeticize individual “things,” and abandon socio-political themes. “Longing for world culture” - this is how O.E. defined Acmeism. Mandelstam.
Representatives of Acmeism were N.S. Gumilev, A.A. Akhmatova, O.E. Mandelstam and others, who united in the “Workshop of Poets” circle and grouped around the Apollo magazine.
Futurism (from Latin futurum - future) - a literary movement of an avant-garde nature. In the first manifesto of Russian futurists (they often called themselves “Budetlyans”) there was a call to break with traditional culture, to reconsider the significance of classical artistic heritage: “Dump Pushkin, Dostoevsky, Tolstoy, etc. and so on. from the Steamboat of Modernity." The futurists declared themselves opponents of the existing bourgeois society and sought to recognize and anticipate in their art the coming world revolution. Futurists advocated the destruction of established literary genres, deliberately turned to “reduced, area” vocabulary, and called for the creation new language, which does not limit word creation. Futurist art brought to the fore the improvement and renewal of the form of the work, while the content either faded into the background or was considered insignificant.
Russian futurism became a distinctive artistic movement and was associated with four main groups: “Gilea” (cubo-futurists V.V. Khlebnikov, V.V. Mayakovsky, D.D. Burlyuk, etc.), “Centrifuge” (N.N. Aseev , B.L. Pasternak and others), “Association of Ego-Futurists” (I. Severyanin and others), “Mezzanine of Poetry” (R. Ivnev, V.G. Shershenevich and others).
Imagism (from English or French image - image) - a literary movement that arose in Russian literature in the first years after October Revolution. The most “left-wing” imagists proclaimed the main task of poetry to be “eating meaning by an image,” and followed the path of the intrinsic value of the image and weaving a chain of metaphors. “A poem is... a wave of images,” wrote one of the theorists of imagism. In practice, many imagists gravitated towards an organic image, fused in mood and thought with the holistic perception of the poem. Representatives of Russian imagism were A.B. Mariengof, V.G. Shershenevich. The most talented poet, who theoretically and practically went far beyond the scope of the manifestos of imagism, was S.A. Yesenin.
What creative method, based on the principles of artistic historicism, is leading in the work of M.E. Saltykov-Shchedrin?
Answer: realism.
Indicate the name of the literary movement that arose in Russia in the 2nd quarter of the 18th century, to which the work of M.V. is traditionally attributed. Lomonosov, D.I. Fonvizin and G.R. Derzhavina.
Answer: classicism.
Which of the named poetic genres is a genre of sentimentalist poetry?
2) ballad
3) elegy
4) fable
Answer: 3.
V.A. is called the founder of which literary movement in Russian literature? Zhukovsky?
Answer: romanticism.
Which literary movement, recognizing the existence of objective socio-historical patterns, is leading in the work of L.N. Tolstoy?
Answer: realism.
Indicate the name of the literary movement that arose in Russian literature in the 30-40s of the 19th century and sought to objectively depict the reasons for the imperfection of socio-political relations; direction to which the work of M.E. belongs. Saltykov-Shchedrin.
Answer: realism/critical realism.
In the manifesto of which literary movement at the beginning of the 20th century it was stated: “Only we are the face of our Time” and proposed to “throw Pushkin, Dostoevsky, Tolstoy and others off the Steamboat of Modernity”?
1) symbolism
2) acmeism
3) futurism
4) imagism
At an early stage of his work, A.A. Akhmatova acted as one of the representatives of the literary movement
1) acmeism 2) symbolism 3) futurism 4) realism
The Silver Age in Russian literature is the period of development of literature, in particular poetry.
1) after 1917
2) from 1905 to 1917
3) late XIX century
4) between 1890 and 1917
Starting his poetic career, V.V. Mayakovsky acted as one of the active representatives
1) acmeism
2) symbolism
3) futurism
4) realism
At one of the stages creative path S.A. Yesenin joined the group of poets 1) Acmeists
2) symbolists
3) futurists
4) imagists
In Russian poetry K.D. Balmont acted as one of the representatives
1) acmeism
2) symbolism
Artistic method- is a way of mastering and displaying the world, a set of basic creative principles figurative reflection life. The method can be spoken of as the structure of the writer’s artistic thinking, which determines his approach to reality and its reconstruction in the light of a certain aesthetic ideal. Through method we comprehend those creative principles, thanks to which the writer reproduces reality: selection, evaluation, typification (generalization), artistic embodiment characters, life phenomena in historical refraction. The method is manifested in the structure of thoughts and feelings of the characters literary work, in the motivations of their behavior, actions, in the relationship of characters and events, in accordance life path, the fate of the characters and the socio-historical circumstances of the era.
Artistic method is a system of principles for selecting life material, its evaluation, principles and prevailing forms of artistic generalization and rethinking. It characterizes a complex of factors: holistic ideological, evaluative, individually unique, social attitude artist to reality, to consciously or spontaneously reflected needs, ideological and artistic traditions. The artistic method largely determines the specificity of the artistic image.
Artistic style- A system of linguistic means and ideas characteristic of a particular literary work, genre, author or literary movement (Gogol’s style. Romantic style). In this style, it affects the imagination and feelings of the reader, conveys the thoughts and feelings of the author, uses all the wealth of vocabulary, possibilities different styles, characterized by imagery and emotionality of speech. work of art the word not only carries certain information, but also serves to have an aesthetic impact on the reader with the help of artistic images. The brighter and more truthful the image, the stronger its impact on the reader. In their works, writers use, when necessary, not only words and forms of the literary language, but also outdated dialect and vernacular words. The means of artistic expression are varied and numerous. These are tropes: comparisons, personification, allegory, metaphor, metonymy, synecdoche, etc. And stylistic figures: epithet, hyperbole, litotes, anaphora, epiphora, gradation, parallelism, rhetorical question, silence, etc. Trope(from ancient Greek τρόπος - turnover) - in a work of art, words and expressions used in a figurative meaning in order to enhance the imagery of the language, the artistic expressiveness of speech.
Literary direction is a set of fundamental spiritual and aesthetic principles of many writers, as well as a number of groups and schools. There are the following literary trends:
1. Baroque(port. perola barrocco - an irregularly shaped pearl).
Appears with gray 16th - 17th centuries in the art of many European countries(especially in Italy and Spain). Most of all it manifests itself in the manner of writing or a pictorial image. The following important features of the Baroque are highlighted:
ornateness,
Pomposity,
Decorative,
Tendency to allegory, allegorism,
Complex metaphors
A combination of comic and tragic
An abundance of stylistic decorations in artistic speech.
A prominent representative of the Baroque was P. Calderon. In Russia, the features of this style appeared in the poetry of S. Polotsky, S. Medvedev, K. Istomin. The main works of the Baroque: E. Tesauro “Aristotle’s Spyglass”, B. Gracian “Wit, or the Art of a Sophisticated Mind”.
2.Classicism- (Latin classicus - exemplary) literary movement that developed in European literature of the 17th century, based on (according to S.P. Belokurova (3)):
1. Recognition of ancient art as the highest example, ideal, and works of antiquity as the artistic norm.
2. The principle of rationalism and “imitation of nature.”
3. Cult of reason.
4. Active appeal to social and civil issues.
5. Emphasized objectivity of the narrative.
6. Strict hierarchy of genres
3.Sentimentalism- (from French sentiment - feeling, sensitivity) - literary direction of the second half of the XVIII V. - beginning XIX century (3). The main genres are sentimental novel, story, diary, travel, letter, elegy, message.
In the works of this direction, the human personality was interpreted as responsive, capable of compassion, humane, kind, and possessing high moral principles. Largest representatives in European literature - L. Stern ("Sentimental Journey through France and Italy"), J.-J. Rousseau ("Julia, or the New Heloise"), S. Richardson ("Ppamela, or Virtue Rewarded", "Clarissa, or the Story of a Young Lady"), I.-V. Goethe (“The Sorrows of Young Werther”) and others; in Russian literature of the second half of the 18th century. - M.N. Muravyov, N.M. Karamzin, V.V. Kapnist, N.A. Lvov, A.N. Radishchev, early V.A. Zhukovsky.
With his own syllable in an important mood, it used to be that a fiery creator showed us his hero as a model of perfection.
("Eugene Onegin" Chapter 3 Stanza 11)
4. Romanticism(from the French roman - a work in Romance languages). Romanticism dates back to the first third of the 19th century. Germany became the birthplace of romanticism (brothers F. and A. Schlegel, L. Tieck, Novalis). Romanticism is characterized by "attention to the individual as a spiritual being with a sovereign inner world, independent of the conditions of existence and historical circumstances" (1).
5. Realism- "(from Latin realis - material) - an artistic method in literature and art, following which the writer depicts life in accordance with objective reality"(3). The focus of realism is facts, events, people and things, patterns that operate in life, the relationship between man and the environment, the hero and the time in which he lives. The writer does not break away from reality, selects the inherent life traits and thereby enriches the reader with knowledge of life.
6. Symbolism"- (fr. symbolisme< от греч. symbolon - знак, опознавательная примета) - явление artistic culture last thirds of the XIX- beginning twentieth centuries, which opposed itself to realism and made its basis artistic system philosophical concept of the fundamental unknowability of the world and man by means scientific experience, logical analysis and realistic depiction" (3). As D.S. Merezhkovsky noted, the three main elements of symbolism are mystical content, symbols, and the expansion of artistic impressionability.
7. Modernism- (from the French moderne - modern, newest). Modernism is characterized by “anti-historicism of thinking (history is replaced by a certain model of the world in which nothing changes, the mythologization of the past, present and future), interest in man in general, and not in man as a product of his era (the specific historical situation in the works of modernism does not have meaning, for “a person, like a horse, always walks with his eyes closed in the same circles” (D. Joyce)), lack of social typification.”
8. Postmodernism(from the French post - after and moderne - modern, newest) - a direction in the literature of the 20th century. For this direction Characterized by the perception of the world as chaos, the reflection of the unconscious, random in the behavior of the characters, an abundance of irony (Irony) and parody. A feature of postmodernism works is that they often consist of words and situations that the author presents to the reader in a parody. For example, these include the works of V. Pelevin and D. Prigov.
A literary movement is a collection creative personalities, which are characterized by ideological and artistic closeness and programmatic and aesthetic unity. Simply put, a literary movement is a type of literary movement. For example, in Russian romanticism there are such movements as “philosophical”, “psychological” and “civil”, and in Russian realism some distinguish “psychological” and “sociological” movements, etc. etc...
From the point of view of literary understanding“Style is an individually outlined and closed, purposeful system of means of verbal and aesthetic expression and embodiment artistic reality. A broad literary definition of an artist’s style as “the main ideological and artistic features inherent in his work (ideological positions, range of characters and plots, originality of language). According to the views of G.N. Pospelov, style includes three main elements: language, composition, details of the subject figurativeness. Language is the most obvious, tangible element of style. This includes rhythm, intonation, vocabulary and tropes. . From the point of view of linguistic understanding: Style is a type of language, assigned in a given society by tradition to one of the most general areas social life and partially different from other varieties of the same language in all basic parameters - vocabulary, grammar, phonetics;
Related information.
Complex goal
know
- the concept of artistic method as a set of principles of artistic representation;
- the category of literary movement as the leading ideological and aesthetic tendency of creativity;
- literary movements and schools;
- information about artistic style as a set of stable elements of artistic form and the content of creativity, style-forming factors, stylistics of language and speech, historical development of the theory of style;
be able to
Analyze literature both at the level of the writer’s work as a whole and individual works;
own
- terminology and conceptual apparatus of this issue;
- skills in determining the stylistic, figurative and methodological specifics of an individual author’s work.
Artistic method
It is necessary to clearly understand the relationships and interrelations of such categories. literary process, as an artistic method, literary direction and movement, artistic style.
The concept of the literary process is the most general, the starting point for defining all the categories that characterize different aspects of literature, relating to its different aspects.
Artistic method is a way of mastering and displaying the world, a set of basic creative principles for the figurative reflection of life. The method can be spoken of as the structure of the writer’s artistic thinking, which determines his approach to reality and its reconstruction in the light of a certain aesthetic ideal.
The method is embodied in the content of the literary work. Through the method, we comprehend those creative principles thanks to which the writer reproduces reality: selection, evaluation, typification (generalization), artistic embodiment of characters, life phenomena in historical refraction.
The method is manifested in the structure of thoughts and feelings of the heroes of a literary work, in the motivations for their behavior and actions, in the relationship of characters and events, in the correspondence of the life path and destinies of the characters to the socio-historical circumstances of the era.
Artistic method is a system of principles for selecting life material, its evaluation, principles and prevailing forms of artistic generalization and rethinking. It characterizes a complex of factors: a holistic ideological, evaluative, individually unique, social attitude of the artist to reality, to consciously or spontaneously reflected needs, ideological and artistic traditions. The artistic method largely determines the specificity of the artistic image.
The concept of “artistic style” is closely related to the concept of “artistic method”. The method is implemented in a style, i.e. the general properties of the method receive their national-historical specificity in the style of the writer.
The concept of "method" (from the Greek - path of research) means " general principle the artist’s creative attitude to knowable reality, i.e. its re-creation." These are a kind of ways of understanding life that changed in different historical and literary eras. According to some scientists, the method lies at the basis of trends and directions, it represents the method of aesthetic exploration of reality that is inherent in the works of a certain direction. Method is an aesthetic category and deeply meaningful. “It is embodied both in the ideological structure of the work and in the principle of constructing the image, plot, composition, and language. The method is the understanding and reproduction of reality in accordance with the characteristics of artistic thinking and the aesthetic ideal."
The problem of the method of depicting reality was first recognized in antiquity and was fully embodied in Aristotle’s work “Poetics” under the name “theory of imitation.” Imitation, but of Aristotle, is the basis of poetry and its goal is to recreate the world as similar to the real one, or, more precisely, as it could be. The authority of this theory remained until the end of the 18th century, when the romantics proposed a different approach (also having its roots in antiquity, more precisely in Hellenism) - the re-creation of reality in accordance with the will of the author, and not with the laws of the “universe”. These two concepts, according to domestic literary criticism of the middle of the last century, underlie two “types of creativity” - “realistic” and “romantic”, within the framework of which the “methods” of classicism, romanticism, various types of realism, and modernism fit. It should be said that the concept of “method” was used by many literary theorists and writers: A. Watteau, D. Diderot, G. E. Lessing, I. V. Goethe, S. T. Coleridge, who wrote the treatise “On Method” (1818) .
The theory of imitation served as the basis for the development of naturalism. “Working on “Thérèse Raquin,” wrote E. Zola, “I forgot about everything in the world, I delved into the painstaking copying of life, devoting myself entirely to the study of the human body...”. Often a feature of this method of reflecting reality is the complete dependence of the creator of the work on the subject of the image, artistic knowledge turns into copying. Another model can lead to arbitrariness of subjectivity. For example, F. Schiller argued that the artist, re-creating reality (“material”), “... stops little before violence against him... The material that he processes, he respects as little as the mechanic; he only will try to deceive with the apparent pliability of the eye, which protects the freedom of this material." In a number of works, scientists propose to supplement the concept of method with the concept of a type of creativity, a type of artistic thinking. At the same time, two types of creativity - re-creating and recreating - cover the entire wealth of the principles of artistic reflection.
Regarding the problem of the relationship between method and direction, it is necessary to take into account that method as a general principle of figurative reflection of life differs from direction as a historically specific phenomenon. Consequently, if this or that direction is historically unique, then the same method, as a broad category of the literary process, can be repeated in the works of writers of different times and peoples, and therefore of different directions and trends. For example, we find elements of the realistic principle of reflecting reality already in the directions of classicism, sentimentalism, i.e. even before the emergence of the realistic method itself, just as established realism later penetrates into the works of modernism.
- Gulyaev N. A. Theory of literature. M., 1985. P. 174.
- Literary manifestos of French realists. L., 1935. P. 98.
- Schiller F. Collected works: at 8 τ. T. 6. M.; L., 1950. P. 296.