1. Develop aesthetic and emotional responsiveness to works of fine art, understand their artistic image.
2. Use expressive means in your work (lighting effects, composition, color).
3. Cultivate a caring, kind attitude towards people.
Equipment
1. visual range: Icon "Our Lady of Vladimir"
2. musical series: songs about women, mother.
Lesson progress
I Organizational moment.
Checking preparation for the lesson.
Organizing students' attention.
II. Setting goals and objectives for the lesson.
1. Report the topic of the lesson.
2. Setting goals and objectives for the lesson.
Acquaintance with the work of painters who depicted and glorified the image of a woman in their works. Perform the composition “Mother and Child”.
III. Work on the topic of the lesson.
Here are reproductions of paintings by very famous artists who captured the image of a woman on their canvases.
The secrets of female beauty have troubled humanity throughout the history of its existence. There is hardly an artist who would not try to comprehend this secret, but everyone discovered it in their own way.
The main and unchanged thing in this comprehension remained the ideal of motherhood, the sacred bonds between mother and child. From the Madonnas of the Titans of the Renaissance, the iconographic faces of the Virgin Mary to the works contemporary artists- this is the way to comprehend the ideal of female beauty and charm.
Icon “Our Lady of Vladimir”
Guys, pay attention to the image of the “Our Lady of Vladimir” icon.
It is impossible to imagine medieval art of European countries without the widely depicted image of the Mother of God. In Western Europe, it was associated with the cult of the Madonna, and in Rus' - with the Mother of God, who was perceived as the protector and patroness of her native land, the intercessor of people before God.
One of best images Byzantine painting was this icon, painted in Constantinople in the 12th century. Then it was brought to Rus'.
The eyes of the Mother of God are full of feeling, which in the Middle Ages was defined as “the joy of holy sorrow.” These words accurately convey the main meaning. What is destined from above will come true.
The baby gently presses his face to his mother's cheek and wraps his arm around her neck.
Children's eyes are directed to the Mother, as if they are looking for her protection. There was anxiety and sadness hidden on her stern face. With all the maternal tenderness in her appearance, one can feel the consciousness of inevitable sacrifice.
The artist Grabar called this icon “an incomparable, wonderful, eternal song of motherhood.”
In ancient Russian art, the image of the Mother of God was associated with the cult of Mother Earth; both had common principles of holiness and motherhood:
"First mother - Holy Mother of God, the second mother is the damp earth,” says popular wisdom.
The sparing color scheme, in which soft, dark tones predominate, still creates a feeling of calm, quiet and bright joy.
Years go by, centuries pass, but the theme of “Woman-Mother” in painting does not disappear.
The art of the Renaissance (xv century) will bring a different understanding of female beauty than that of previous artists. Leonardo da Vinci, Michelangelo, Raphael - strive to create a generalized image of a perfect person, beautiful both physically and spiritually. The embodiment of such an ideal is the Madonna, the Virgin Mary with the baby Jesus Christ - a sublime symbol of motherhood and sacrificial love for people.
One of the best works on this topic will be “Madonna Lita”. Leonardo da Vinci.
On the board “Madonna Litta” by Leonardo da Vinci.
Student performance
The painting depicts young Mary carefully holding a baby in her arms. Her bowed profile is full of exceptional beauty and nobility. Downcast eyes and a barely noticeable smile give the Madonna’s appearance extraordinary expressiveness and warmth, illuminating her with a bright maternal feeling. In this wonderful painting, the artist managed to convey his idea of happiness, the pure earthly joy of being and the holiness of the best human feelings.
Student performance
One of the greatest creations of world art was Raphael’s painting “The Sistine Madonna,” which brilliantly embodies the idea of motherhood. An earthly, realistic image of a woman-mother. She has just taken a barely noticeable step towards people. Her movement is calm and majestic. It seems that she She doesn’t walk, but hovers in the clouds. She slightly attracts the baby, as if she is afraid to part with him, and at the same time extends him to people. In this contradictory gesture of the mother, the deep tragedy of what is happening is felt. The eyes of the Madonna look trustingly and openly. Raphael lies in the natural combination of simplicity, gentle femininity and royal grandeur. In it, the human rises to the divine, and the divine becomes earthly.
Student performance
Guys, we got acquainted with the work of Renaissance artists, but Russian artists in their work did not ignore the image of a woman - a mother. The recognized portrait painter, academician of painting A.G. Venetsianov, painted simple Russian women - peasant women engaged in difficult work.
On the board “On arable land. Spring"
"On the arable land. Spring" - this painting depicts a peasant woman in a long pink sundress and a scarlet kokoshnik. She leads the horses harnessed to the harrow. And to the side sits a playing child, whom the young mother looks at with love and tenderness. Behind the woman is the boundless Russian distance.
And here is another canvas by Venetsianov, “At the Harvest. In Summer.” The sun is mercilessly scorching, the sheaves are standing in rows, the hills are turning green. In the center of the picture is a woman reaper with a child in her arms, she tenderly hugs him, forgetting about fatigue. You look at this picture and remember the lines of N.A.’s poem. Nekrasova:
The village suffering is in full swing,
Share you! - Russian female share!
Hardly any more difficult to find....
The heat is intolerable: the plain is treeless.
Fields, mowing and the expanse of heaven.
The sun is beating down mercilessly...
On the board “Petrograd Madonna”
The 20th century has arrived.
In the art of the 20th century, the eternal theme of motherhood sounded in a completely new way, glorifying the deepest and most sincere human feelings.
It found its most vivid artistic embodiment in the work of the artist K.S. Petrova-Vodkina (1878-1939). After the October Revolution, Petrov-Vodkin strives to understand the new relationship between man and the world. Your understanding of what is happening historical events embodied in the famous “Petrograd Madonna”.
A young woman with a child in her hands is depicted against the backdrop of revolutionary Petrograd, where a new era of human history began. Passers-by are rushing somewhere, some are stopping at the walls of buildings. But all this is just a temporary background to the main image of a woman-mother.
It is no coincidence that she turned her back to the city. Her main concern is taking care of the child, his present and future.
On the board“Motherland is calling”
“Mother” This theme is interestingly embodied in the painting “Mother” by the artist A.A. Deineka (1899-1969).
Its composition is surprisingly simple: against a smooth background, a close-up image of a woman holding a sleeping child in her arms is depicted. The mother’s appearance conveys the majestic posture of Venetian peasant women and the tender, tremulous feelings for the baby clinging to her shoulder.
Contrasting the fragile, sleep-worn body of the boy with the strong and strong figure of the mother, the artist seeks to emphasize the inextricable spiritual connection that exists between them, the mother’s readiness to protect the child.
This theme will be heard in a new way in works created during the Great Patriotic War.
Everyone knows Toidze’s poster “The Motherland Calls.” During the harsh years of military trials, a maternal call was made to defend the Motherland. It is impossible to escape the direct, open gaze of a woman-mother.
The gesture of a raised hand reminds many of the famous image of Our Lady of Organa praying for the salvation of humanity.
Conclusion: At all times, artists have glorified the beauty of women. But it was the image of a woman-mother that was the ideal of female beauty.
IV. Generalization and consolidation of knowledge
Now let's move on to the practical part of the lesson.
V. Independent work
Task: Find your ideal woman-mother, think over the composition and complete the portrait “Mother and Child”
Stages of work.
1. Selecting the position of the sheet.
2. Layout of the drawing.
3. Pencil sketch.
4. Drawing details.
5. Human proportions.
6. Work in color.
VI. Lesson summary.
1. Today in class we got acquainted with the work of artists who glorified the beauty of a woman. What was and is the main ideal in the beauty of a woman in the work of these artists? Yes, the ideal, the main and unchangeable one, is the ideal of motherhood. The beauty of a woman is the beauty of motherhood
What embodiment does the image of a woman's mother find in medieval art?
What ideal did artists of all times and peoples strive for?
What is the peculiarity of the embodiment of the image of a woman - mother in works of art in the 20th century. ?
Exhibition and analysis of the best works.
VI. Homework.
Homework instructions.
How similar and different the heroine of the picture is from the usual images of the Madonna.
Shemyakina Maria Konstantinovna
Belgorod State Institute of Culture and Arts
FEATURES OF THE IMPLEMENTATION OF THE CONCEPT OF “RENAISSANCE” IN THE CULTURAL TRADITION (theoretical analysis)
The term “revival” in cultural ambiguity can be considered as a model of the historical dynamics of the existence of culture. In this understanding, the concept of “revival” should be understood as a natural mechanism of cultural change, based on the repeatability of plots of development of cultural elements, which lay the basis for its stability and the energetic force of restoration.
Keywords: the concept of “revival”, the historical dynamics of the existence of culture, the mechanism of cultural change.
In modern cultural studies, perhaps, there is no more complex definition than the definition of culture itself. As a number of researchers note, on modern stage development of cultural science, the overall understanding of culture can be reduced to the terminological use of the concept “culture” in two meanings - “broad” and “narrow”. ""IN in a broad sense”, writes E.V. Sokolov, culture includes all social forms of life established in society - customs, norms, institutions, including the state and the economy. In the “narrow sense” the boundaries of culture coincide with the boundaries of the sphere spiritual creativity, with art, morality, intellectual activity."
The term “revival”, with the same cultural ambiguity, can be considered in several senses.
The Renaissance as an era and culture arose in Italy in the 16th century. as a result of understanding the cultural innovation of the historical interval between the Middle Ages and the New Age. This concept denoted the first brilliant flowering of culture, humanities, and art since antiquity, which began after a long, almost thousand-year decline.
The term Rinasdta (Renaissance) was proposed by the Italian painter and art historian Giorgio Vasari in the 16th century in his work Lives of the Most Famous Painters, Sculptors and Architects. Having defined the main characteristics of the era, the thinker designated this time as a period of comprehensive development of new art, predetermined by worldviews that were different from before, combining secular character and humanitarianism.
manistic orientation of all spheres of life with an appeal to the ancient heritage, as if reviving past models.
In the 19th century in relation to the Renaissance, the French term “Renaissance” was established and firmly entered into Russian speech. The motto and main idea of Renaissance culture was the appeal to the “primary sources of knowledge”, the restoration of connections with the cultural traditions of antiquity that were largely lost in the Middle Ages. As noted by A.I. Chernokozov, this combination of often antagonistic opposites gave the very concept of “meaningful life” in its integrity and inseparability, when “material and spiritual, earthly and divine, Christian and pagan sound in a single harmonic polyphony.” The art of the Renaissance will confirm the same thought of A.A. Radugin, was “a kind of synthesis of ancient physical beauty and Christian spirituality.”
The Renaissance, as a historical era and phenomenon in the development of not only Italy, but also many European states, was determined by the presence of a number of characteristics that should be in manifestation. They could be listed as follows:
1) the emergence of a new type of culture, distinguished by its creative character and dynamic structure;
2) enrichment of culture by exerting a significant influence on the worldview of its carriers (as an example, we can consider the abundance of scientific discoveries and technical inventions that enter everyday life and change it forever);
3) the transition from a medieval way of life to a technological one (and if we consider
© Shemyakina M.K., 2011
more broadly, a change in economic formations, which, of course, was associated with the categories of state reorganization);
4) a change in the management mechanism, which naturally entails the emergence of new social realities, antagonistic contradictions, expressed in irreconcilable opposition between classes (and possibly even religious contradictions: a change social role churches and religions in general), and, as a consequence, external and internal imbalance with a tendency towards consolidation, attempts to find common centralizing foundations that can unite carriers of culture on the basis of traditions, language, common roots;
5) developing the idea of national unity based on socio-political unity and cultural factors;
6) the struggle between materialistic rationalism and sensual-religious experience, when the attraction to a mystical comprehension of meaning or religious revelation provides the foundations for a worldview. “The secret of the Renaissance... - V.V. will say. Rozanov, lies in the treasures themselves, in the fact that, under the influence of the harsh ascetic ideal of mortifying the flesh within oneself and limiting the impulses of one’s spirit, man only saved and did not know how to spend anything. In this great thousand-year silence. in this forced closing of eyes to the world... in thousand-year prayers. images of Madonnas emerged.” ;
7) affirmation of the humanistic principle as the axial direction in the development of culture: the spiritual self-affirmation of man in the world, recognition of the greatness of his natural beauty and the possibility of creative transformation of the world around him; harmonious interpenetration of secular, church and folklore principles, inclusion of ancient heritage in art (painting, literature, theater, architecture, music).
Reflections on the origins of humanistic culture will lead A.N. Veselovsky to the idea, on the one hand, about the inscription of the history of the Renaissance into the “history of thought” as a special formative stage of Western civilization, and, on the other hand, about the extension of the anthropological principle of structuring society to individual stages of development human culture.
This is how the concept of “rebirth” is born, which should be considered not
so much as a historical era, but as a model of the historical dynamics of the existence of culture.
Every nation, A.I. will emphasize. Chernokozov, “in its historical development, is experiencing an era when, after a long decline, its economy and culture are flourishing. The phenomenon of the transitional era as an independent phase cultural process- this is a general historical pattern that many peoples experience in different historical periods". The pattern that determines the development of culture is perceived by culture itself as a natural mechanism for its change.
This has happened more than once in world history. An example of this is the historical era that ushered in a cultural upsurge in France and Germany until the 14th century. The cultural upsurge in the empire of Charlemagne and in the kingdoms of the Carolingian dynasty in the 8th-19th centuries is usually called the “Carolingian revival” (the ideologist of the cultural upsurge was Flaccus Albin Alcuin, an Anglo-Saxon scientist from the Tours monastery).
It is precisely this feature of cultural development that M.S. will notice. Kagan, discussing three possible paths for the movement of culture from the old to the new: “.In the sphere of secular consciousness (scientific, artistic, philosophical) - along the path of the Renaissance, relying on partly preserved, partly ancient heritage; in the sphere of still quite strong religious consciousness - along the path of the Reformation, in its various modifications; in the sphere of political consciousness - along the path of theoretical and practical republicanism, ideas of democracy and utopian socialism» .
Thus, as culturally determined ideas about culture, the concept of “renaissance” will always mark a “milestone”, a “crisis”, which is necessarily followed by either its overcoming, or the complete and unconditional overthrow of previous cultural attitudes.
That is why the system of values formed by the concept of “rebirth” can rightly be attributed to the final, final values human existence. As noted by Yu.N. Solonin, M.S. Kagan, such values are considered the highest ideals of human existence. “They,” notes M.K. Mamardashvili, -are the ultimate goals of human lips-
main life guidelines. human life, freedom, justice, beauty, honor and dignity of the individual, legality, humanism. “These are things that produce themselves.”
The system of values will consist not only of the way of relating to the world, but also of the ways of transmission - the transfer of these achievements to subsequent generations. And, probably, the latter will turn out to be more significant and fundamental for the preservation of culture itself, since only in the transmission of the axiology of the “axial time” is its preservation and development seen. “For many cultures,” A.I. will determine. Chernokozov, - in certain periods of their existence, what is relevant is not even the classical and consistent progress of creative possibilities, but, at a minimum, the preservation, or, in case of loss, restoration, revival of the natural and original ability for true subjectivity. The Renaissance became a historical era in which both the energy of a natural primitive society and the possibilities of a new social integrity associated with the emancipation and stimulation of human creative abilities were embodied in a harmonious form, not burdened by a dominant civilization.”
The study of culture in this aspect is an unconditional form of comprehending culture in its dynamic aspect, “recreating a kind of “sample” of culture of each historical era as a single whole, in which a new, higher stage of development of human creative powers is concentrated, matured and realized, its enrichment as personalities." In this case, the type of culture will reflect the uniqueness of the method of renewal and accumulation of experience adopted in a given society.
In this understanding, the concept of “revival” should be understood as a natural mechanism of cultural change. And observations in the field of cultural development will lead to the study of the vertical of its changes, when the vertical will be understood as “the discovery of new forms of culture”, “the quintessence of the creative and productive principle”, “the process of temporary development of culture, its historical character, the principle of continuity, the transition of previous cultural forms or elements into new cultural formations".
Distinguishing the types of cultures according to the criterion of a dominant orientation toward preservation or change will determine two existing models: cultures oriented toward preservation, which include ancient and modern “primitive” cultures, and cultures in which the vector of change predominates (other cultures). Naturally, the mechanism of action of the concept “revival” will be characteristic of the latter - cultures whose development is based on the idea of the collapse and revival of cultural traditions (Russian ternary type, as defined by Yu.M. Lotman). At the same time, cultural universals will be central in preserving the axis of culture and reviving the axiological periphery.
But whatever the vector of cultural change turns out to be, it is based on the repeatability of the plots of its development, and in this repeatability of certain elements lies the basis for its stability and energetic power of restoration. In culture, nothing dies, but, receding into the background, is restored under favorable conditions - in fact, this serves as both the essence and the condition for the action of the concept of “rebirth”.
It was this idea that Yu.M. tried to express. Lotman, emphasizing that “culture always implies the preservation of previous experience. Moreover, one of the most important definitions of culture characterizes it as the “non-genetic” memory of the collective. Culture is memory. Therefore, it is always connected with history and always implies the continuity of the moral, intellectual, spiritual life of a person, society and humanity. Therefore, when we talk about our modern culture, we, perhaps, without knowing it, are talking about the enormous path that this culture has traveled. This path goes back thousands of years, crosses borders historical eras, national cultures and immerses us in one culture - the culture of humanity."
A similar thought, couched in the idea of an “ascending ladder” or “schematism” dramatic work”, at one time voiced by V.S. Bibler. The researcher drew attention to the fact that in the history of human existence two forms of “historical inheritance” can be identified. And if one form - the “ascending ladder” - represents a progressive
Bulletin of KSU named after. N.A. Nekrasova ♦ No. 3, 2011
development, then the second, explaining the schematism of the “dramatic work,” will be based not on primary knowledge, but on repetition as the sum of knowledge included in a single layer of culture.
Just as in a drama, the scientist argues, “with the appearance of a new character (a new work of art, a new author, a new artistic era) old “characters” - Aeschylus, Sophocles, Shakespeare, Phidias, Rembrant, Van Gogh, Picasso. do not leave the stage, are not “removed” and do not disappear into a new character, into a new acting person. Each new character reveals, actualizes, and even for the first time forms new properties and aspirations in the characters who previously appeared on the stage. Even if some hero leaves the stage forever, or - in the history of art - some author falls out of cultural circulation, his active core still continues to become denser, the lacuna itself, the gap, acquires increasing dramatic significance."
A single thought regarding the development of culture in the context of understanding the mechanism of the concept of “revival” will thus be equally ambiguous: the development of culture cannot be outlined in clear and clearly understandable outlines. Let us agree in this observation with P. Florensky, who tried to express his idea of culture as an extremely heterogeneous substance, consisting of various layers, strata, and levels. These are the levels of symbolism and its perception, that is, the ability to understand symbolism, to see through it the mystery of the universe and its meaning.
The designated levels can be conceptualized as levels of special practice - symbolization of the world, description and typology of symbols, creation and recreation of conditions in which symbols function precisely as symbols, and not as empty or incomprehensible signs. Being at a low level of cultural symbolism, a person does not have access to higher symbolism, closer to a cult. But with a decrease in the general cultural level (primitivization of symbolic practice), a cultural layer is still preserved in which the practice of symbolism is maintained at a very high, esoteric level. Those who belong to this layer are the guardians and creators of “high” culture, priests of the cult, who own
"secret knowledge". These subjects of culture, new people, are destined to overcome the crisis and lead culture out of disaster. And in the revival of culture we will see its new beginning.
The concept of “revival” in the features of comprehension cultural development involves taking into account changes in the culture itself. The substantive content of the concept focuses not only on preserving previous experience, but on restoring, returning to life certain patterns. And this scheme of action of the concept of “revival” in various cultural paradigms is universal. It is no coincidence that cultural theorists are unanimous in the opinion that the specificity of expressing the substantive beginning of the concept is not a characteristic of only a European phenomenon, but a feature of the development of Russian culture. It is obvious that the concept of “rebirth” can be read in the features of the semiotic development of its domestic analogue.
Bibliography
1. Bibler V. S. From scientific teaching to the logic of culture. - M., 1991. - 154 p.
2. Veselovsky A.N. Boccaccio // Collection. op. -T. 5. - L., 1956. - 425 p.
3. Drach G.V. Culturology: Textbook. manual for higher education students educational institutions. - Rostov-on-Don: Phoenix, 2000. - 608 p.
4. Kagan M.S. Philosophy of culture. - St. Petersburg: Petropolis, 1996. - 491 p.
5. Culturology / comp. and resp. ed. A.A. Radu-gin. - M.: Center, 1997. - 304 p.
6. Culturology: textbook / pod. ed. Yu.N. Solonina, M.S. Kagan. - M.: Higher education, 2008. - 566 p.
7. Lotman Yu.M. Conversations about Russian culture. -SPb., 1994. - 478 p.
8. Oganov A.A., Khangeldieva I.G. Theory of culture: Textbook. manual for universities. - M.: FAIR PRESS, 2003. - 416 p.
9. Rozanov V.V. Religion, philosophy, culture. - M., 1992. - 312 p.
10. Sokolov E.V. Culturology. Essays on the theory of culture: A manual for high school students. -M., 1994. - 269 p.
11. Chernokozov A.I. History of world culture (Short course). - Rostov-on-Don: Phoenix, 1997. - 480 p.
It seems to me that there are not and cannot be people who are indifferent to poetry. When we read poems in which poets share their thoughts and feelings with us, talk about joy and sadness, delight and sorrow, we suffer, worry, dream and rejoice with them. I think that such a strong response feeling awakens in people when reading poems because it is the poetic word that embodies the deepest meaning, largest capacity, maximum expressiveness and extraordinary emotional coloring.
Also V.G. Belinsky noted that a lyrical work can neither be retold nor interpreted. Reading poetry, we can only dissolve in the feelings and experiences of the author, enjoy the beauty of the poetic images he creates and listen with rapture to the unique musicality of beautiful poetic lines!
Thanks to the lyrics, we can understand, feel and recognize the personality of the poet himself, his spiritual mood, his worldview.
Here, for example, is Mayakovsky’s poem “Good Treatment of Horses,” written in 1918. The works of this period are rebellious in nature: mocking and disdainful intonations are heard in them, the poet’s desire to be a “stranger” in a world alien to him is felt, but it seems to me that behind all this lies the vulnerable and lonely soul of a romantic and maximalist.
Passionate aspiration for the future, the dream of transforming the world is the main motive of all Mayakovsky’s poetry. Having first appeared in his early poems, changing and developing, it passes through all of his work. The poet is desperately trying to draw the attention of all people living on Earth to the problems that concern him, to awaken ordinary people who do not have high spiritual ideals. The poet calls on people to have compassion, empathy, and sympathy for those who are nearby. It is precisely indifference, inability and unwillingness to understand and regret that he exposes in the poem “A Good Treatment for Horses.”
In my opinion, no one can describe the ordinary phenomena of life as expressively as Mayakovsky in just a few words. Here, for example, is a street. The poet uses only six words, but what an expressive picture they paint:
Experienced by the wind,
shod with ice,
the street was slipping.
Reading these lines, in reality I see a winter, windswept street, an icy road along which a horse gallops, confidently clattering its hooves. Everything moves, everything lives, nothing is at rest.
And suddenly... the horse fell. It seems to me that everyone who is next to her should freeze for a moment, and then immediately rush to help. I want to shout: “People! Stop, because someone next to you is unhappy!” But no, the indifferent street continues to move, and only
behind the onlooker there is an onlooker,
Kuznetsky came to flare his pants,
huddled together
laughter rang and tinkled:
- The horse fell! -
- The horse fell!
Together with the poet, I am ashamed of these people who are indifferent to the grief of others; I understand his disdainful attitude towards them, which he expresses with his main weapon - in a word: their laughter “rings” unpleasantly, and the hum of their voices is like a “howl”. Mayakovsky opposes himself to this indifferent crowd; he does not want to be part of it:
Kuznetsky laughed.
There's only one me
did not interfere with his howl.
Came up
and I see
horse eyes...
Even if the poet ended his poem with this last line, he, in my opinion, would have already said a lot. His words are so expressive and weighty that anyone would see bewilderment, pain and fear in the “horse eyes”. I would have seen and helped, because it is impossible to pass by when a horse has
behind the chapels chapels
rolls down the face,
hiding in the fur...
Mayakovsky addresses the horse, comforting it as he would console a friend:
Horse, don't.
Horse, listen -
Why do you think that you are worse than them?
The poet affectionately calls her “baby” and speaks piercingly beautiful, filled philosophical meaning words:
we are all a little bit of a horse
Each of us is a horse in our own way.
And the animal, encouraged and believing in its own strength, gains a second wind:
horse
rushed
got to her feet,
neighed
and went.
At the end of the poem, Mayakovsky no longer denounces indifference and selfishness, he ends it life-affirmingly. The poet seems to be saying: “Don’t give in to difficulties, learn to overcome them, believe in your strength, and everything will be fine!” And it seems to me that the horse hears him:
She wagged her tail.
Red-haired child.
The cheerful one came,
stood in the stall.
And everything seemed to her -
she's a foal
and it was worth living,
and it was worth the work.
I was very moved by this poem. It seems to me that it cannot leave anyone indifferent! I think that everyone should read it thoughtfully, because if they do this, then there will be much fewer selfish, evil people on Earth who are indifferent to the misfortune of others!
EMBODIMENT
EMBODIMENT
EMBODIMENT, incarnations, cf. (book).
1. Taking on a body image; in religious teachings - the adoption by God of a human image (rel.).
2. Transition into reality, implementation in a concrete form. This poem is a poetic embodiment of social ideals.
3. The most perfect implementation of any quality. This girl is the epitome of modesty.
Ushakov's Explanatory Dictionary. D.N. Ushakov. 1935-1940.
Synonyms:
See what “EMBODIMENT” is in other dictionaries:
Juggernaut, objectification, avatar, expression, personification, incarnation, incarnation, sample, reincarnation, materialization, ideal, implementation, execution, imprinting, fulfillment, objectification, sample, transformation Dictionary of Russian... ... Dictionary of synonyms
Literary encyclopedia
INcarnation, I, cf. 1. see embody, xia. 2. what. The one (that) in whom (what) some n.s. characteristic features, properties, personification (2 meanings). This man in. kindness. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary
Embodiment- INcarnation. The poet’s artistic intention, in order to realize itself, must take on a concrete form: this act of formalizing a poetic idea and its emergence from an ugly, chaotic state is an act of embodiment. IN creative process He… … Dictionary of literary terms
embodiment- - Topics oil and gas industry EN illustration ... Technical Translator's Guide
EMBODIMENT- [Greek ἐνσάρκωσις, lat. incarnatio], the key event in the history of salvation, consisting in the fact that the eternal Word (Logos), the Son of God, the Second Person of the Most Holy. Trinity, took on human nature. Belief in the fact of V. serves as the basis of Christ. confessions... ... Orthodox Encyclopedia
Christianity Portal:Christianity Bible Old Testament · New Testament... Wikipedia
embodiment- ▲ focus property embodiment of what possession of what l. property as the main one, in high degree; absolute expression of what l. ideas; the center of what l. properties; embody. in the flesh (angel #). personification of endowment... ... Ideographic Dictionary of the Russian Language
The Son of God, the Savior of the world, Jesus Christ had a real human nature, received from His Mother, Holy Virgin Mary, and was on earth in a body similar to ours. In this sense, the incarnation is the main church dogma. He's clear... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
embodiment- a vivid embodiment... Dictionary of Russian Idioms
Books
- Embodiment. Book 7, Tim LaHaye, Jerry B. Jenkins. In the seventh book of the Left Behind series - Incarnation - into the war for human souls new forces are coming. Dr. Zion Ben-Yehuda, former rabbi and now spiritual leader of millions of believers, meets...
The attitude and understanding of the world of the lyrical heroine acquires a certain form of artistic realization in the work of the poetess: “lyrical genres organize the inner world of the individual, give structure to mental life - it acquires meaning, awareness.” Peculiarities artistic embodiment the worldview of the lyrical heroine, the originality of the emotional background of her lyrical “I” and the means of its poetic embodiment reveal the individual authorial features of the poetics of each poetess’s work.
The attitude of the heroine A. Eltsova is characterized by a feeling of special involvement in the world around her, and therefore a generalized collective type of consciousness, expressed by the personal pronoun “we,” becomes a frequent form of self-expression. Through “...the pronoun I expresses the more personal side, and through We the collective, universal human side is expressed.”<…>when a person talks about his shortcomings, he tends to express them through the pronoun We, and only this allows him to overcome the egocentrism of the Ego, which does not want to notice anything unworthy in itself, unless it is shared with others<...>Thus, We often appears in speech as a negative character." Thus, expressing her understanding of the world through this pronominal form, the heroine gives her own mistakes and misconceptions the property of regularity, inevitability, repeatability, characteristic of many: “Og kuzhoy donyavny as kado / Mi olöm, vezhörnym kortom” - “We don’t know how to evaluate in time / We are life when Our mind is young” (“Kad” - “Time”, 1997); “Yörmöm tölys lek koin moz omlyalö...” – “In difficulty, the wind howls like an angry wolf...”, 1997; “Mi tekod - kyk yu” - “You and I are two rivers”, 1997; “Tekod mi...” - “We are with you...”, 1997; “Yu Sayyn” - “Beyond the River”, 1997; “Edzhyd Vichko” - “White Church”, 1997; “Kytchö usyam mi stavnym kotyron, / Kytys petnyso oz nin poz” - “Where we all fall together, / From where we can no longer get out” (“Potom öshin” - “Cracked Window”, 1997); “Ovtöm kerka – taiö miyan olöm” – “An uninhabited house is our life”, 1997. In addition, in our opinion, this form of self-realization also expresses a subconscious desire for unity with the world (“Öti yukmösys vasö yulim” – “They drank from the same well water"), because The revealed remoteness and isolation of the heroine from the world, rather, becomes a source of mental discomfort rather than a conscious act of hers (“Me karys chuzhan sikto koloti…” – “I came to my native village from the city...”, 1997):
Gashko, tenad, and gashko-y, menam
Kodzuw enežas öti-y em...
Vidzo tensyid li mensyum nem.
(“Tavoy enejas öti kodzuv...”, 1997)
Maybe yours, maybe mine too
There is only one star in the sky...
Protects your or my century.
(“On this night there is one star in the sky...”, 1997).
Fatalism, imbued with a sense of pessimism (perception and acceptance of what happened as inevitable, as it should be), the philosophy of life in its fluidity, variability, in the irreversibility of its forward movement finds expression in the end-to-end image of an endless road, as well as in the predominance of verbal forms that form a feeling of speed that permeates both physical and mental activity of the heroine (the path to her father’s house “Me muni gorto” - “I was on my way home”, 1997; “Me karys chuzhan sikto elokti...” - “I came to my native village from the city...”, 1997; “Tenad sölömö tui..." – “The path to your heart...", 1997: “But menym shuloma Enmys: mun!” – “But God told me: go!”, “A pyr tai muna and eg na zhuy” – “And I’m still I’m walking and I’m still barely trudged from fatigue”; “And tuyys kotorto pyr suvtlytög...” - “And the road keeps running non-stop...”, 1997; there is no end in sight...", 1997; "Bara muna, chuzhan siktoy, muna" - "I'm leaving again, my native village, I'm leaving", 1997, etc.). The dynamic features of consciousness are also expressed by the fact that the heroine often finds self-expression in the image of a river, which itself personifies continuous movement (“Korkö” - “Once Upon a Time”, 1997; “Mi tekod - kyk yu” - “You and I are two rivers", 1997). The movement forms the internal organization of the verse: one action is instantly replaced by another: “Kusöm sisso vezhas korko möd → Chuzhas sidz zhö – tödlytög da gusön.” Sömyn, nimkodyasig, oz na töd, → Myi i siiö tadz zhö sylö-usö” – “An extinguished candle will someday be replaced by another → It will be born just as unexpectedly and imperceptibly. → Only, rejoicing, she still doesn’t know, → That she too will melt and fall” (“Usis Kodzuv” - “A Star Has Fell”, 1997).
The uncertainty and chaotic thinking inherent in female thinking acquires masculinity features in the poetry of A. Eltsova: from those highlighted by T.B. Ryabova’s “masculine” qualities we observe are the following: determination, perseverance, authority, non-formism, logic, the predominance of rationality over emotionality, directness (straightforwardness). Thus, the heroine’s worldview is characterized by the special power of a phrase-statement of a thought prevailing over emotion, which expresses her impartiality, confidence and emphasis on her own life position, persistence and inflexibility in its approval. The heroine’s speech style is formed by a statement of fact, which expresses the desire to inspire the interlocutor and the reluctance to accept a different point of view: “Me gortyn i og bergödchy nin bör” - “I’m home and won’t go back” (“Me muni gorto..." - “I was going home ...”, 1997), “But tenö nekodly me og set” - “But I won’t give you to anyone” (“Tenad sölömö tui” - “The path to your heart”, 1997), “Sömyn tai nekor oz mychchys / Shondiköd voyyslön pi . / Nemto köt siyos te vicchys – / Shudys oz mychchyvly ki” – “Only the son of the night will never appear / Together with the sun. / Even though you wait for it for a whole century - / Happiness will not extend its hand” (“Tekod mi...” - “We are with you...”, 1997), “Shudys abu, and chaitlim - em” - “There is no happiness, but we thought there is” (“Korkö” - “Once upon a time”, 1997), “Stav olömys abu na oloma” - “The whole life has not yet been lived” (“Stavys na vodzyn” - “Still ahead”, 1997). Art space heroine A. Eltsova - a clearly defined world, which is characterized by logic, hierarchy, interflow, consistency. The heroine’s speech style tends towards a statement, reinforced by the use of repetitions, towards a directly evaluative characterization of reality, factuality and information content: A. Eltsova’s lyrics do not represent a search for truth, but an affirmation of the heroine’s ready-made formulas-values. If the heroine of other authors is in search of harmony, then the heroine A. Eltsova denies the existence of harmony, and thinking is characterized by an already established unchanging outlook on life. The heroine always has a ready answer to the questions posed, and often the very design of the question already implies an answer: “Myila shondiys ez kyv dolömös, / Tövru pydys – Voipel skör? / Gashko, sy vesna, myila kolyomys / Oz nin bergödchy nekor bor?” – “Why didn’t the sun hear what was being repeated, / And instead of the breeze - an evil Voipel? / Probably because what has gone (remained) / will never come back?” (“Kaztylömyas” - “Memories”, 1997); “Ez-ö olömöy menam / Öni sin vodzti lab?” - “My life / Didn’t it just fly by before my eyes?” (“Olöm” - “Life”, 1997); “Siyo sisyasys abu-ö mi?” - “These candles are not us?” (“Edzhyd Vichko” - “White Church”, 1997). The heroine’s statements are always causally motivated and justified (“Tenö achymös voshtymön korsi me, / Yöimöm turöblys myrddyny honey” – “Having lost you, I was looking for, / To snatch you from a mad blizzard” (“Tenö achymös voshtymön korsi me..." – “You having lost myself, I was looking for...", 1997). Emotion in the poetry of A. Eltsova is replaced by a rational view of the world: any experience is rejected by a ready-made, clearly formulated reasonable conclusion ("Stavys vezhsyas" - "Everything will change", 1997: "Buröd astö, sölömtö en pes... / Aski asyv stavys loö möd, / Sömyn kolö ovny tayö voyö" - “Calm yourself, don’t bother your heart... / Tomorrow morning everything will be different, / You just need to live this night"), and melancholy - rather, a stable, constant, natural, natural property of the heroine’s perception of the world, rather than a deviation from the norm. imperative mood(imperative) in the poetry of A. Eltsova, the emphasis on the repetition of the personal pronoun “I” (the dominant form of self-expression of the heroine) also creates a feeling of some authority and logic in the heroine’s thinking: in her mind there is no place for fantasy, her consciousness is crushed by the earthly, the real. It is common for the heroine to endow a specific event or object with a specific meaning: “Tayö lymyys - menam kyvbur ted” - “This snow is my poem for you” (“Lebö lym. And menym siyös it’s a pity...” - “The snow is flying. And I feel sorry for it...” , 1997). So, if the heroine of N. Pavlova strives to fill the falling star with fantasy, to creatively approach the solution to the metaphysics of the sky (“Me vidzöda chuimömön...” - “I look with surprise...”, 2006), then the heroine of A. Eltsova connects a specific fact with the fallen star: for What is more important is the process itself, the event itself, which has a certain meaning at its core: “Usis kodzuv - voily vois pom... / As pydys koli sa da shom” - “A star fell - the night came to an end... / Left behind soot and coal,” “Usyas – sölömö doyys inmas, / Sylas – kodlönkö kusas moyd” – “If it falls, pain will penetrate the heart, / If it melts, a fairy tale will go out for someone” (“Usis Kodzuv” - “A Star Has Fell,” 1997). The earthly beginning of the heroine’s thinking is also reflected in the strict, clear poetic composition: the heroine’s speech implements direct nominations, full-structure sentences - it activates all members of the sentence (nominative, predicative, adverbial, definition, addition). Similar speech organization, as well as the lack of fantasy and passion for dreams characteristic of the heroines of other poetesses, enhances the feeling of hopelessness, hopelessness, reluctance to even give hope for the existence of the possibility of change and transformation. Hopelessness is also formed by the lack of response to the desires and requests of the lyrical heroine (“Shuda Kolyan, stranger!” - “Goodbye, my homeland!”, 1997) and the use of double negation: conjunctions “no”, “not”, the pronoun “nobody”, adverb “never” is often used by the heroine: “Kolis pomödzys yutömön tov, / Kodos nekodi sidz ez and rammöd” - “The wind remained unsatiated, / Which no one pacified” (“Glass of pydösyn - ködzalöm tea” - “At the bottom of the glass - cooled tea", 1997); “Ninom, dzik ninom, my lov vylad voloma, / Nekor oz vun” - “Nothing, absolutely nothing that was in the soul / Will never be forgotten” (“Onishmom tövruys koryassö legödö...” - “The cold wind stirs the leaves...”, 1997); “And öni ninöm nin he vezh” – “And now you can’t change anything” (“Here is adzan...” – “You see...”, 1997).
The philosophy of life thus acquires a steadily formed character, and the image of the young heroine in her worldview takes on the appearance of a mature person, wise with life experience: a sense of immediacy life path and elusive youth, the feeling of completion of one’s life cycle, the lack of hope for change, the fear of disrupting, disturbing the harmony and beauty in the world around us determine the worldview of the heroine A. Yeltsova. Therefore, the poetess is characterized by a tendency, different from the manner of N. Obrezkova, to express the universal: the desire for “theorization”, for identifying and formulating universal laws in their own life experience doesn't get perfect artistic form, expressing the depth of thought only at the semantic level (“Öti zduk. Taiö olömys – zduk...” - “One moment. This life is an instant...”, 1997; “Vichchysigad kadyd kyk pov kuz...” - “Waiting, the time is twice as long...” , 1997; “Kad” - “Time”, 1997; “Stavys na vodzyn” - “Still ahead”, 1997; “Koktömys po medsya ödyo munö...” - “Legless, they say, goes faster than everyone...”, 1997; Usis Kodzuv" - "A Star Has Fell", 1997).
Yes, and Olomas Pyrjik Tadzi:
Bordnad övtchan yes he is on the tie lab.
Sidz and shiblasyam setcho-tatcho,
Kot and kosyomnym abu zev zheb.
(“Gytsan”, 1997)
And in life, as a rule, it’s the same:
You flap your wing, but you won’t fly.
So we rush here and there,
Although our desires are not so weak.
(“Swing”, 1997)
The desire for an intellectual comprehension of reality is also traditionally perceived as the prerogative of male thinking.
"IN social behavior men are characterized by more high level development of such traits as aggressiveness and dominance”: the dominance of the heroine’s “I” over the world, her power are also expressed in the special one-sided dependence of the state of the surrounding nature on her mental mood: the wind is crying, howling, crying clouds, the shrunken sun, gloomy autumn, and also in the repetition of the personal pronoun “I”: “Me gizhny kyvburos eg vermy, / Me gizhny kyvburos eg kuzh. / Me nöti ovnysö eg termas..." - “I couldn’t write a poem, / I didn’t know how to write a poem. / I was in no hurry to live…” (“Me gizhny kyvburos eg vermy...”, 1997). The imperative in A. Eltsova’s lyrics is also a way of dominating her lyrical consciousness over the surrounding world, a means of actively influencing it: the heroine sets a plan of action, gives instructions (“A yli tuyas pettödz pukalyshtam siji / Honey lönö torkas somyn shy ni tov” - “A before a long journey, let’s sit for a while / So that the silence is broken only by complete silence”; in, and me vuna” - “Give me my hand, I’ll give you my warmth, / And you, too, give me your heart... / And you, too, follow your path to the end / But don’t remember, and I will forget”; , en tal” – “Don’t trample this last snow” (“Lebö lym. And menym siyös it’s a pity...” – “The snow is flying. And I feel so sorry for it...”, 1997); leave me, starry night” (“Köt te...” – “Even though you...”, 1997). “- “May you walk forever, and there will be no end, / May you have no wings, but you will fly” (“Pyr munan, munan, and thought abu” - “You keep going, going, no end in sight,” 1997).
The clarity and hierarchy of the heroine’s worldview is also represented in the antinomy of her worldview. As noted by T.L. Kuznetsov, the collision of the heroine’s romantic desire for the ideal with a harsher reality finds expression in the poetess’s lyrics in the form of antithesis. V.A. Latysheva described the state of the lyrical heroine A. Eltsova as “full of frozen desires.” The following forms of manifestation of the observed antinomy can be noted. Thus, at the semantic level, the heroine gravitates towards a clear separation of the past from the present, and therefore the longing for the past and lost suddenly turns into a rejection of memories, nostalgia, into a reluctance to return to the past and the fear of losing forward movement. The perception of the world by the heroine A. Eltsova is polar: she is characterized by a clear and justified division of events and phenomena of the world into existing (“nominative + predicate”) and non-existent (use of a negative conjunction or pronoun), dividing the world into alien space (other lands) and small homeland; the confrontation between the city and the native village, the distinction between events and actions into positive and negative (“But medsya lek, kodyr kulas bipur, / I börlan pemydö tuvchchas kok, / Kor kyskas as doras lovto pipu – / Kor astö vuzalan – medsya lek” – “But the worst thing is when the fire goes out, / And the foot steps back into the darkness, / When the aspen tree attracts the soul to itself - / When you betray yourself - the worst thing is.” (“Pyr munan, munan, and thought abu...” - “You go, you go, and the end is not in sight,” 1997) – as a rule, there is no third option for the heroine: “A tuyys – abu libö em” (“A tuyys kotörto pyr suvtlytög...”) The antinomy of thinking is also expressed by the frequent use of adversative conjunctions “sömyn”). , “but”, “a”, which not only make it possible to convey the fluidity and continuity of the development of life, but also the opposite of the replaced and the replacing: “Shudys abu, and chaitlim - em” - “There is no happiness, but we thought there is” (“Korkö " - “Once upon a time,” 1997); “My shulin te, og vermy öni kaztyvny, / A chaitsis sek, my teyn somyn bur” - “What you told me, I can’t remember now, / But then it seemed that there is only meaning in you” (“My shulin te...” - “What did you tell me...”, 1997); “Becoming kyvburso abu na techoma<…>/ Somyn tai stavys vunoma” – “All the poems have not yet been composed<…>/ Only now everything has been forgotten” (“Stavys na vodzyn” - “Still to come”, 1997). Contrast in comparing oneself with another often becomes a means of self-expression for the heroine: “Te uvgan, gym-chardyslön pi - / Me lönya nua assym vaos.” / Te skora zhuglan pödtys yi, / A me so nözhyö lyuvga ma moz” - “You make noise, son of thunder and lightning - / And I sedately carry my waters. / You angrily break the sinking ice, / And I quietly flow down with honey” (“Mi tekod – kyk yu” - “You and I are two rivers”, 1997); “Tekod mi - shondi yes tolys. / Tekod mi – moon shor da howl” – “With you we are the sun and the moon. / With you we are day and night” (“Tekod mi” - “With you we ...”, 1997). An expression of the antinomy of the heroine’s thinking and philosophy of life also becomes the reception of a novelistic - unexpected and unpredictable, contrary to the heroine’s expectations - turn of events: “And te loktin - abu En ni zarni, / And te loktin, shudyaoy, dzik mod” - “And you came - not God and not gold, / But you came, my happiness, is completely different” (“Tenö ömöy” - “Is it you ...”, 1997); “Tadz on and tödly, gozhom shöryn / Friend adzan: gogör ejid lym<…>/ Zduk sayyn voli shud da radlem / And so nin kypydlunly pom” – “You won’t even notice, in the middle of summer / Suddenly you see: there is only white snow all around<…>/ A moment ago there was happiness and joy / And now the inspiration is over” (“Kad” - “Joy”, 1997), “Heat bipurysly lolös assym kösyi setny, / Yes bipurys tai völoma nin kyn...” - “I wanted to give my soul, / And the fire turns out to have already cooled down” (“Vai olyshtamöy chöv” - “Let’s stay in silence”, 1997), as well as a statement to the contrary (“Koktömys pö medsya ödyö munö...”, 1997). The antithesis completely forms the composition of the poem “Tenö achymös voshtymön korsi me...” (“Having lost you, I was looking for...”, 1997) and becomes a means of creating a special tragedy in the unrealized desire of the heroine: “Me pyr vicchysi. Vicchysi. Vichysi. / A te donanad sidz en i shu” – “I kept waiting. I was waiting. I was waiting. / But you didn’t call it dear.” A. Eltsova’s artistic thinking implements the philosophical law of unity and struggle of the opposite, the coexistence and interchangeability of heterogeneous things. Thus, in the poem “Mi teköd - kyk yu” the feeling of unity formed by the use of the personal pronoun “we” is destroyed by the comparative series: “and öttshötsh ötkodös and abu” (“simultaneously the same and different”), which reflects the heroine’s feeling of her own relationship with the environment the world and at the same time the individuality of one’s own destiny, the existential feeling of loneliness, revealed in the antithesis comparison. The technique of opposition becomes one of the means of forming the character of the heroine: the expression of her perseverance, mental strength, and some stubbornness becomes the phrase “Menim nekor siyos ne suny, / And me kotörta myrdön sy bosya” - “I will never achieve it, / But I run through force behind him” (“Todtom alien, dzormom sinyas...” - “Unfamiliar faces, gray eyes...”, 1997).
Thus, in A. Eltsova’s lyrics we observe the presence of features of romanticism and realism. Romanticism often represents a dramatic collision of dreams and reality, which is expressed in the predominant use of the device of antithesis, which realizes the novelistic (unexpected) collision of what was expected and what happened. The rational in the poetess’s lyrics finds expression in the predominance of thought over emotion, the feeling of the earth over fantasy: this is a tendency to rationalize emotional experience (the main way to overcome mental discomfort), to identify patterns as human actions (self-expression through a generalized type of consciousness, expressed by the personal pronoun “we” "), and the phenomena of life (the desire for artistic "theorization", universalization of life).
Bibliography:
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2. Kletsina I. S. Psychology of sexual differences in the context of gender studies. URL: http://giacgender.narod.ru/n2t2.htm (Access date: 10/01/2011).
3. Kuznetsova T. L. As vizön munny-voslavny... (A. Eltsovalon kyvburyas yylys) // T. L. Kuznetsova Literature sovman tuiyas: gizhys yes kad (Article chukor). Syktyvkar: “Eskom”, 2003. pp. 110-114.
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Notes
T.B. Ryabova Stereotypes and stereotyping as a problem in gender studies. Published in: Personality. Culture. Society. T.V. Issue 1-2 (15-16). pp. 120-139.