STYLE DOMINANTS
There are always some points in the text of a work at which the style “comes out.” Such points serve as a kind of stylistic “tuning fork”, tuning the reader to a certain “aesthetic wave”... Style is presented as “a certain surface on which a unique trace has been identified, a form that by its structure reveals the presence of one guiding force.” (P.V. Palievsky)
Here we are talking about STYLE DOMINANTS, which play an organizing role in the work. That is, all techniques and elements must be subordinated to them, the dominants.
Style dominants - This:
Plot, descriptiveness and psychologism,
Conventionality and life-likeness,
Monologism and heteroglossia,
Verse and prose,
Nominativity and rhetoric,
- simple and complex types of composition.
COMPOSITION -(from Latin compositio - composition, binding)
The construction of a work of art, determined by its content, character, purpose and largely determining its perception.
Composition is the most important organizing element artistic form, giving the work unity and integrity, subordinating its components to each other and the whole.
In fiction, composition is a motivated arrangement of components literary work.
A component (UNIT OF COMPOSITION) is considered to be a “segment” of a work in which one method of depiction (characterization, dialogue, etc.) or a single point of view(author, narrator, one of the characters) to what is depicted.
The relative position and interaction of these “segments” form the compositional unity of the work.
Composition is often identified with both the plot, the system of images, and the structure of a work of art.
In the most general form, there are two types of composition - simple and complex.
SIMPLE (linear) composition comes down only to combining parts of a work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.
For a COMPLEX (transformational) composition the order of combination of parts reflects a special artistic meaning.
For example, the author begins not with exposition, but with some fragment of the climax or even the denouement. Or the narrative is conducted as if in two times - the hero “now” and the hero “in the past” (remembers some events that highlight what is happening now). Or a double hero is introduced - from a completely different galaxy - and the author plays on the comparison/contrast of episodes.
In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.
DIFFERENT ASPECTS OF THE COMPOSITION:
external composition
figurative system,
character system changing points of view,
parts system,
plot and plot
conflict artistic speech,
extra plot elements
COMPOSITION FORMS:
narration
description
characteristic.
COMPOSITE FORMS AND MEANS:
repetition, reinforcement, contrast, montage
comparison,
"close-up" plan, "general" plan,
point of view,
temporary organization of the text.
REFERENCE POINTS OF THE COMPOSITION:
climax, denouement,
strong positions of the text,
repetitions, contrasts,
twists and turns in the hero's fate,
spectacular artistic techniques and funds.
The points of greatest reader tension are called REFERENCE POINTS OF THE COMPOSITION. These are peculiar landmarks that guide the reader through the text, and it is in them that the ideological issues works.<…>they are the key to understanding the logic of composition and, accordingly, the entire internal logic of the work as a whole .
STRONG TEXT POSITIONS:
These include formally identified parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).
MAIN TYPES OF COMPOSITION:
ring, mirror, linear, default, flashback, free, open, etc.
PLOT ELEMENTS:
exposition, plot
action development
(vicissitudes)
climax, denouement, epilogue
EXTRA-PLOT ELEMENTS
description (landscape, portrait, interior),
insert episodes.
Ticket number 26
1.Poetic vocabulary
2. Epicness, drama and lyricism of a work of art.
3. The volume and content of the style of the work.
Poetic vocabulary
P.l.- one of the most important aspects of a literary text; subject of study in a special branch of literary criticism. The study of the lexical composition of a poetic (i.e., artistic) work involves correlating the vocabulary used in a separate example of artistic speech of a writer with the vocabulary in common use, that is, used by the writer’s contemporaries in various everyday situations. The speech of society that existed in the historical period to which the work of the author of the analyzed work belongs is perceived as a certain norm, and therefore is recognized as “natural”. The purpose of the study is to describe the facts of deviation of individual author's speech from the norms of “natural” speech. The study of the lexical composition of the writer’s speech (the so-called “writer’s dictionary”) turns out to be a special type of such stylistic analysis. When studying the “writer’s dictionary”, attention is paid to two types of deviations from “natural” speech: the use of lexical elements that are rarely used in “natural” everyday circumstances, i.e. “passive” vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargons (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The author’s introduction of words from one and the other group into the text determines the imagery of the work, and therefore its artistry.
(everyday vocabulary, business vocabulary, poetic vocabulary and so on.)
Poetic vocabulary. The archaic vocabulary includes historicisms and archaisms. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussar, tax in kind, NEP, October child (younger child school age, preparing to join the pioneers), NKVD member (employee of the NKVD - People's Commissariat of Internal Affairs), commissar, etc.). Historicisms can be associated both with very distant eras and with events of relatively recent times, which, however, have already become facts of history (Soviet power, party activists, general secretary, Politburo). Historicisms do not have synonyms among active words vocabulary, being the only names of the corresponding concepts.
Archaisms are names of existing things and phenomena, for some reason supplanted by other words belonging to the active vocabulary (cf.: every day - always, comedian - actor, zlato - gold, know - know).
Obsolete words are heterogeneous in origin: among them there are original Russian (full, shelom), Old Slavonic (glad, kiss, shrine), borrowed from other languages (abshid - “retirement”, voyage - “travel”).
Of particular interest stylistically are words of Old Church Slavonic origin, or Slavicisms. A significant part of Slavicisms were assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also Old Church Slavonic words that modern language are perceived as an echo of high style and retain its characteristic solemn, rhetorical coloring.
The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavicisms in Russian literature. Names of gods and heroes of Greek and Roman mythology, special poetic symbols (lyre, ellisium, Parnassus, laurels, myrtles), artistic images ancient literature in the first third of the 19th century. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavicisms, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already among the successors of A.S. Pushkin's poetisms are archaized. Writers often refer to outdated words as expressive means artistic speech. The history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and “sweet” sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily non-vocal ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the basis of “poetic license”: poets could choose from two words the one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp’s voice, will die quietly in the air. - Bat.). Over time, the tradition of “poetic license” is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.
Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. They were used in this function, for example, by A.N. Tolstoy:
“The land of Ottich and Dedich are those banks of deep rivers and forest glades where our ancestor came to live forever. (...) he fenced off his dwelling with a fence and looked along the path of the sun into the distance of centuries.
And he imagined many things - difficult and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears mounted under the banners of Dmitry on the Kulikovo field, and the blood-drenched ice of Lake Peipus, and the Terrible Tsar, who pushed apart the united, henceforth indestructible , the limits of the earth from Siberia to the Varangian Sea...".
Archaisms, especially Slavicisms, give speech a sublime, solemn sound. Old Church Slavonic vocabulary played this role back in ancient Russian literature. In poetic speech of the 19th century. Old Russianisms, which also began to be used to create the pathos of artistic speech, became stylistically equal to the high Old Slavonic vocabulary. The high, solemn sound of outdated words is also appreciated by writers of the 20th century. During the Great Patriotic War I.G. Ehrenburg wrote: “By repelling the blows of predatory Germany, it (the Red Army) saved not only the freedom of our Motherland, it saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which goodness will shine. Our people showed their military virtues..."
Outdated vocabulary can take on an ironic connotation. For example: Which parent does not dream of an understanding, balanced child who grasps everything literally on the fly. But attempts to turn your child into a “miracle” tragically often end in failure (from the gas). The ironic rethinking of outdated words is often facilitated by the parodic use of elements of high style. In a parody-ironic function outdated words often appear in feuilletons, pamphlets, and humorous notes. Let us cite an example from a newspaper publication during the preparation for the day the president took office (August 1996).
22.11.2018Composition is the construction of a work of art. The effect that the text produces on the reader depends on the composition, since the doctrine of composition says: it is important not only to be able to tell entertaining stories, but also to present them competently.
Literary theory gives different definitions of composition, one of them is this: composition is the construction of a work of art, the arrangement of its parts in a certain sequence.
Composition is internal organization text. Composition is about how the elements of the text are arranged, reflecting different stages of development of the action. The composition depends on the content of the work and the author’s goals.
Stages of action development (composition elements):
Composition elements– reflect the stages of development of the conflict in the work:
Prologue – introductory text that opens the work, preceding the main story. As a rule, thematically related to the subsequent action. It is often the “gateway” of a work, that is, it helps to penetrate the meaning of the subsequent narrative.
Exposition– the background of the events underlying the work of art. As a rule, the exposition provides characteristics of the main characters, their arrangement before the start of the action, before the plot. The exposition explains to the reader why the hero behaves this way. Exposure can be direct or delayed. Direct exposure is located at the very beginning of the work: an example is the novel “The Three Musketeers” by Dumas, which begins with the history of the D’Artagnan family and the characteristics of the young Gascon. Delayed exposure placed in the middle (in I.A. Goncharov’s novel “Oblomov,” the story of Ilya Ilyich is told in “Oblomov’s Dream,” that is, almost in the middle of the work) or even at the end of the text (a textbook example “ Dead Souls» Gogol: information about Chichikov’s life before arriving in provincial town given in the last chapter of the first volume). The delayed exposure gives the work a mysterious quality.
The beginning of the action is an event that becomes the beginning of an action. The beginning either reveals an existing contradiction, or creates, “knots” conflicts. The plot of “Eugene Onegin” is the death of the protagonist’s uncle, which forces him to go to the village and take over his inheritance. In the story about Harry Potter, the plot is an invitation letter from Hogwart, which the hero receives and thanks to which he learns that he is a wizard.
Main action, development of actions - events committed by the characters after the beginning and preceding the climax.
Climax(from the Latin culmen - peak) - the highest point of tension in the development of action. This is the highest point of the conflict, when the contradiction reaches its greatest limit and is expressed in a particularly acute form. The climax in "The Three Musketeers" is the scene of the death of Constance Bonacieux, in "Eugene Onegin" - the scene of Onegin and Tatiana's explanation, in the first story about "Harry Potter" - the scene of the fight over Voldemort. The more conflicts there are in a work, the more difficult it is to reduce all the actions to just one climax, so there may be several climaxes. The climax is the most acute manifestation of the conflict and at the same time it prepares the denouement of the action, therefore it can sometimes be foreshadowed. In such works it can be difficult to separate the climax from the denouement.
Denouement- the outcome of the conflict. This is the final moment in creation artistic conflict. The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. The denouement can resolve the conflict: for example, in “The Three Musketeers” it is the execution of Milady. The final outcome in Harry Potter is the final victory over Voldemort. However, the denouement may not eliminate the contradiction; for example, in “Eugene Onegin” and “Woe from Wit” the heroes remain in difficult situations.
Epilogue (from Greekepilogos - afterword)- always concludes, closes the work. The epilogue talks about future fate heroes. For example, Dostoevsky in the epilogue of Crime and Punishment talks about how Raskolnikov changed in hard labor. And in the epilogue of War and Peace, Tolstoy talks about the lives of all the main characters of the novel, as well as how their characters and behavior have changed.
Lyrical digression– the author’s deviation from the plot, the author’s lyrical insertions that have little or nothing to do with the theme of the work. A lyrical digression, on the one hand, slows down the development of the action, on the other hand, it allows the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme. Such, for example, are the famous lyrical
Types of composition
TRADITIONAL CLASSIFICATION:
Direct (linear, sequential)– the events in the work are depicted in chronological order. “Woe from Wit” by A.S. Griboedov, “War and Peace” by L.N. Tolstoy.
Ring – the beginning and end of the work echo each other, often completely coinciding. In “Eugene Onegin”: Onegin rejects Tatiana, and at the end of the novel, Tatiana rejects Onegin.
Mirror - a combination of repetition and contrast techniques, as a result of which the initial and final images are repeated exactly the opposite. One of the first scenes of L. Tolstoy’s “Anna Karenina” depicts the death of a man under the wheels of a train. This is how one commits suicide main character novel.
A story within a story - The main story is told by one of the characters in the work. M. Gorky’s story “The Old Woman Izergil” is constructed according to this scheme.
CLASSIFICATION OF A. BESINA(based on the monograph “Principles and Techniques of Analysis of a Literary Work”):
Linear – the events in the work are depicted in chronological order.
Mirror – the initial and final images and actions are repeated exactly the opposite way, opposing each other.
Ring – the beginning and ending of the work echo each other and have a number of similar images, motifs, and events.
Retrospection – During the narration, the author makes “digressions into the past.” V. Nabokov’s story “Mashenka” is built on this technique: the hero, having learned that he ex-lover comes to the city where he now lives, looks forward to meeting her and remembers their epistolary romance, reading their correspondence.
Default – the reader learns about the event that happened earlier than the others at the end of the work. So, in “The Snowstorm” by A.S. Pushkin, the reader learns about what happened to the heroine during her flight from home only during the denouement.
Free – mixed actions. In such a work one can find elements of a mirror composition, techniques of omission, retrospection and many other compositional techniques aimed at retaining the reader’s attention and enhancing artistic expressiveness.
Composition
Composition
COMPOSITION (from the Latin “componere” - to fold, to build) is a term used in art criticism. In music, K. is called the creation of a musical work, hence: composer - author of musical works. In literary studies, the concept of K. passed from painting and architecture, where it denotes the combination individual parts works into an artistic whole. K. is a branch of literary criticism that studies the construction of a literary work as a whole. Sometimes the term K. is replaced by the term “architectonics”. Each theory of poetry has a corresponding doctrine about K., even if this term is not used.
The dialectical materialist theory of calculus in its developed form does not yet exist. However, the main provisions of the Marxist science of literature and individual excursions of Marxist literary scholars in the field of composition study allow us to outline correct solution problems K. G. V. Plekhanov wrote: “The form of an object is identical with its appearance only in a certain and, moreover, superficial sense: in the sense of external form. A deeper analysis leads us to an understanding of form as the law of an object, or, better, its structure” (“Letters without an address”).
In your worldview social class expresses his understanding of the connections and processes in nature and society. This understanding of connections and processes, becoming the content of a poetic work, determines the principles of arrangement and deployment of material - the law of construction; First of all, one should proceed from the concept of characters and motives and through it move on to the composition of verbal material. Each style expressing the psychoideology of a particular class corresponds to its own type K. V various genres of one style, this type sometimes varies greatly, while at the same time maintaining its basic characteristics.
For more information about K.'s problems, see the articles Style, Poetics, Plot, Versification, Theme, Image.
Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .
Composition
(from Latin composito - composition, linking), construction of a work of art, organization, structure of the form of the work. The concept of “composition” is close in meaning to the concept of “structure of a work of art,” but the structure of a work means all its elements in their interrelation, including those related to the content (the plot roles of the characters, the relationship of the heroes to each other, author's position, a system of motives, an image of the movement of time, etc.). You can talk about the ideological or motivic structure of a work, but not about the ideological or motivic composition. In lyrical works, the composition includes the sequence lines And stanzas, the principle of rhyming (rhyme composition, stanza), sound repetitions and repetitions of expressions, lines or stanzas, contrasts ( antitheses) between different verses or stanzas. In dramaturgy, the composition of a work consists of a sequence scenes And acts contained in them replicas And monologues characters and author's explanations ( remarks). In narrative genres, composition is a depiction of events ( plot) and extra-plot elements: descriptions of the setting of the action (landscape - descriptions of nature, interior - description of the decoration of the room); descriptions of the characters’ appearance (portrait), their inner world ( internal monologues, improperly direct speech, generalized reproduction of thoughts, etc.), deviations from the plot narrative, which express the author’s thoughts and feelings about what is happening (the so-called author’s digressions).
The plot, characteristic of dramatic and narrative genres, also has its own composition. Elements of plot composition: exposition (depiction of the situation in which the conflict arises, presentation of characters); the beginning (the origin of the conflict, the starting point of the plot), the development of the action, the climax (the moment of the highest aggravation of the conflict, the plot peak) and the denouement (the exhaustion of the conflict, the “end” of the plot). Some works also have an epilogue (a story about the subsequent fate of the heroes). Certain elements of the plot composition may be repeated. So, in the novel by A.S. Pushkin « Captain's daughter" three climax of the episode(the capture of the Belogorsk fortress, Grinev at Pugachev’s headquarters in Berdskaya Sloboda, the meeting of Masha Mironova with Catherine II), and in the comedy N.V. Gogol"The Inspector General" has three endings (a false ending - Khlestakov's engagement to the mayor's daughter, the second ending - the arrival of the postmaster with the news of who Khlestakov really is, the third ending - the arrival of the gendarme with the news of the arrival of the true auditor).
The composition of the work also includes the structure of the narrative: changing narrators, changing narrative points of view.
There are certain repeating types of composition: ring composition (repetition of the initial fragment at the end of the text); concentric composition (plot spiral, repetition of similar events as the action progresses), mirror symmetry (repetition, in which for the first time one character performs a certain action in relation to another, and then he performs the same action in relation to the first character). An example of mirror symmetry is the novel in verse by A. S. Pushkin “Eugene Onegin”: first Tatyana Larina sends a letter to Onegin with a declaration of love, and he rejects her; Then Onegin, having fallen in love with Tatyana, writes to her, but she rejects him.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .
Composition
COMPOSITION. The composition of a work in the broad sense of the word should be understood as a set of techniques used by the author to “arrange” his work, techniques that create the overall design of this latter, the order of its individual parts, transitions between them, etc. The essence of compositional techniques is thus reduced to the creation of some complex unity, a complex whole, and their meaning is determined by the role they play against the background of this whole in the subordination of its parts. Being, therefore, one of the most important moments embodiment of poetic intent, composition of this work is determined by this plan, but it differs from other of these moments by the immediacy of its connection with the general spiritual mood of the poet. Indeed, if, for example, the poet’s metaphors (see this word) reveal the holistic image in which the world confronts him, if the rhythm (see this word) reveals the “natural melodiousness” of the poet’s soul, then it is the nature of the arrangement of metaphors that determines their significance in recreating the image of the whole, and the compositional features of rhythmic units are their very sound (see “Enjambement” and “Strophe”). A clear proof of the noted fact that well-known compositional techniques are directly determined by the poet’s general spiritual mood can, for example, be Gogol’s frequent lyrical digressions, which undoubtedly reflect his preaching and teaching aspirations or the compositional moves of Victor Hugo, as noted by Emile Fage. Thus, one of Hugo’s favorite moves is the gradual development of mood, or, in musical terms, a sort of gradual transition from pianissimo to piano, etc. As Fage correctly emphasizes, such a move in itself speaks for the fact that Hugo’s genius is the genius is “sophisticated”, and such a conclusion is really justified general idea about Hugo (the purely oratorical in the sense of emotionality, the effectiveness of this move is clearly manifested when Hugo omits some member of the gradation and abruptly moves from one level to another). Also interesting from the aspect under consideration is another technique of Hugo’s composition noted by Fage - to develop his thought in a way that is widespread in everyday life, namely, to pile up repetitions instead of proofs. Such repetition, leading to an abundance of “commonplaces” and itself being one of the forms of the latter, undoubtedly indicates, as Fage notes, the limitations of Hugo’s “ideas”, and at the same time again confirms the “floridity” (the bias in influencing the will of the reader) his genius. Already from the examples given, which show that compositional techniques are generally determined by the poet’s general spiritual mood, it simultaneously follows that certain special tasks require certain techniques. Of the main types of composition, along with the named oratorical, we can name narrative, descriptive, explanatory composition (see, for example, “A guide to the English language”, edited by H. C. O. Neill, London, 1915) Of course, individual techniques in each of these species are determined both by the poet’s holistic “I” and by the specificity of a separate plan (see, “Strophe” - about the construction of Pushkin’s “I remember wonderful moment"), but we can outline some general sticky, characteristic of each of the compositional types. So, the narrative can develop in one direction and events follow in a natural way. chronological order or, conversely, the time sequence may not be observed in the story, and events may develop in different directions, arranged according to the degree of increase in action. There is also (in Gogol), for example, a compositional technique of narration, consisting in the branching of separate streams from the general narrative flow, which do not merge with each other, but flow into the general flow at certain intervals. Among the characteristic techniques of descriptive compositions, one can, for example, indicate the composition of the description based on the principle of a general impression, or the reverse, when one proceeds from a clear fixation of individual particulars. Gogol, for example, often uses a combination of these techniques in his portraits. Having illuminated some image with hyperbolic light (see Hyperbole) in order to sharply outline it as a whole, Gogol then writes out individual particulars, sometimes completely insignificant, but acquiring special significance against the background of the hyperbole, which deepens the usual perspective. As for the fourth of the named types of composition - explanatory, then first of all it is necessary to stipulate the convention of this term in applying it to poetic works. Having a very definite meaning as a method of embodying thoughts in general (this can include, for example, the method of classification, illustration, etc.), explanatory composition in work of art may manifest itself in the parallelism of the arrangement of individual moments (see, for example, the parallel arrangement of the characteristics of Ivan Ivanovich and Ivan Nikiforovich in Gogol’s story) or, conversely, in their contrasting opposition (for example, delaying the action by describing the characters), etc. If you approach to works of art from the point of view of their traditional belonging to epic, lyrical and dramatic, then here too one can find the specific features of each group, as well as within their smaller divisions (composition of a novel, poem, etc.). In Russian literature, something has been done in this regard only at the very beginning. Lately. See, for example, the collections “Poetics”, books - Zhirmunsky - “Composition of Lyric Poems”, Shklovsky “Tristan Shandy”, “Rozanov”, etc., Eikhenbaum “Young Tolstoy”, etc. It should be said, however, that the approach of the named authors to art only as a set of techniques forces them to move away from the most essential thing in working on a literary text - from establishing the definability of certain techniques creative theme. This approach turns these works into a collection dead materials and raw observations, very valuable, but awaiting their animation (see Reception).
Ya. Zundelovich. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
Synonyms:
Composition (from Latin compositio - composition, connection) - compound parts, or components, into a whole; structure of literary and artistic form. Composition - compound parts, but not these parts themselves; Depending on what level (layer) of the artistic form we are talking about, aspects of the composition are distinguished. This includes the arrangement of characters, the event (plot) connections of the work, the montage of details (psychological, portrait, landscape, etc.), and repetitions of symbolic details (forming motifs and leitmotifs), and the change in the flow of speech such forms as narration, description, dialogue, reasoning, as well as a change of subjects of speech, and division of the text into parts (including frame and main text), and the discrepancy between poetic rhythm and meter, and the dynamics of speech style, and much more. Aspects of composition are diverse. At the same time, the approach to the work as aesthetic object reveals in the composition of his artistic form at least two layers and, accordingly, two compositions that combine components that are different in nature.
A literary work appears to the reader as verbal text, perceived in time, having linear extension. However, behind the verbal fabric there is a correlation of images. Words are signs of objects (in broad meaning), which are collectively structured into world (objective world) works.
Composition of a literary work. This is the relationship and arrangement of parts, elements within a work.
Composition of plot, scenes, episodes. The relationship between plot elements: retardation, inversion, etc.
Retardation(from lat. retardatio- slowdown) - literary and artistic device: delay in the development of action by including extra-plot elements in the text - lyrical digressions, different descriptions(landscape, interior, characteristics).
Inversion in literature- violation of the usual word order in a sentence. In analytical languages (for example, English, French), where word order is strictly fixed, stylistic inversion is relatively rare; in inflectional languages, including Russian, with a fairly free word order - very significantly.
Gusev “The Art of Prose”: reverse time composition (« Easy breath"Bunin). Composition of direct time. Retrospective(“Ulysses” by Joyce, “The Master and Margarita” by Bulgakov) – different eras become independent objects of the image. Intensification of phenomena– often in lyrical texts – Lermontov.
Compositional contrast(“War and Peace”) is an antithesis. Plot-compositional inversion(“Onegin”, “Dead Souls”). Parallelism principle- in the lyrics, “The Thunderstorm” by Ostrovsky. Composition rings o – “Inspector”.
Composition of figurative structure. The character is in interaction. There are main, secondary, off-stage, real and historical characters. Catherine - Pugachev are bound together through an act of mercy.
Composition. This is the composition and specific position of parts of elements and images of works in time sequence. Carries a meaningful and semantic load. External composition - dividing the work into books, volumes / is of an auxiliary nature and serves for reading. More meaningful elements: prefaces, epigraphs, prologues, / they help to reveal the main idea of the work or identify the main problem of the work. Internal - includes various types of descriptions (portraits, landscapes, interiors), non-plot elements, staged episodes, all kinds of digressions, various forms of speech of characters and points of view. The main task of the composition is the decency of the image of the artistic world. This decency is achieved with the help of a kind of compositional techniques - repeat- one of the simplest and most effective, it allows you to easily round out the work, especially the ring composition, when a roll call is established between the beginning and the end of the work, carries a special artistic meaning. Composition of motives: 1. motives (in music), 2. opposition (combining repetition, opposition is given by mirror compositions), 3. details, installation. 4. silence, 5. point of view - the position from which stories are told or from which the events of the characters or the narrative are perceived. Types of points of view: ideological-holistic, linguistic, spatial-temporal, psychological, external and internal. Types of compositions: simple and complex.
Plot and plot. Categories of material and technique (material and form) in the concept of V.B. Shklovsky and their modern understanding. Automation and disengagement. The relationship between the concepts of “plot” and “plot” in the structure of the artistic world. The importance of distinguishing these concepts for the interpretation of the work. Stages in plot development.
The composition of a work is its construction, the organization of its figurative system in accordance with the author’s concept. Subordination of the composition to the author's intention. Reflection of the tension of the conflict in the composition. The art of composition, compositional center. The criterion of artistry is the correspondence of the form to the concept.
Architectonics is the construction of a work of art. The term “composition” is more often used in the same meaning, and applied not only to the work as a whole, but also to its individual elements: composition of image, plot, stanza, etc.
The concept of architectonics combines the relationship of parts of a work, the arrangement and mutual connection of its components (components), which together form some artistic unity. The concept of architectonics includes both the external structure of the work and the construction of the plot: the division of the work into parts, the type of narration (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporal or in violation of the chronological principle), an introduction to the narrative fabric of various descriptions, author's reasoning and lyrical digressions, grouping of characters, etc. Architectural techniques constitute one of the essential elements of style (in the broad sense of the word) and along with it are socially conditioned. Therefore, they change in connection with the socio-economic life of a given society, with the emergence of new classes and groups on the historical stage. If we take, for example, Turgenev’s novels, we will find in them consistency in the presentation of events, smoothness in the course of the narrative, an emphasis on the harmonious harmony of the whole, and the important compositional role of the landscape. These features are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are constructed according to completely different laws: the action begins in the middle, the narrative flows quickly, in leaps and bounds, and the external disproportion of the parts is also noticeable. These properties of architectonics are in the same way determined by the characteristics of the depicted environment - the metropolitan philistinism. Within the same literary style, architectural techniques vary depending on artistic genre(novel, story, short story, poem, dramatic work, lyric poem). Each genre is characterized by a number of specific features that require a unique composition.
27.Language is the fundamental basis of literature. The language is spoken, literary and poetic.
Artistic speech absorbs a variety of forms of speech activity. For many centuries, the language of fiction was determined by the rules of rhetoric and oratory. Speech (including written) had to be convincing and impressive; hence the characteristic speech techniques - numerous repetitions, “embellishments”, emotionally charged words, rhetorical(!) questions, etc. Authors competed in eloquence, stylistics were determined by increasingly strict rules, and the literary works themselves were often filled with sacred meaning(especially in the Middle Ages). As a result, by the 17th century (the era of classicism), literature turned out to be accessible and understandable to a rather narrow circle of educated people. Therefore, since the 17th century, all European culture evolves from complexity to simplicity. V.G. Belinsky calls rhetoric “false idealization of life.” Elements penetrate into the language of literature colloquial speech. Creativity A.S. Pushkin in this regard is, as it were, at the borderline of two traditions of speech culture. His works are often a fusion of rhetorical and colloquial speech (a classic example is the introduction to “ To the stationmaster"is written in an oratorical style, and the story itself is stylistically quite simple).
Colloquial speech It is connected, first of all, with the communication of people in their private lives, therefore it is simple and free from regulation. In the XIX – XX centuries. Literature in general is perceived by writers and scientists as a unique form of conversation between the author and the reader; it is not without reason that the address “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-fiction speech (for example, diaries or memoirs); it easily allows deviations from language norm and carries out innovations in the sphere of speech activity (let us recall, for example, the word creation of Russian futurists).
Today in works of art you can find the most modern forms speech activity - SMS quotes, excerpts from emails and much more. Moreover, they are often mixed different types arts: literature and painting/architecture (for example, the text itself fits into a certain geometric figure), literature and music (a soundtrack is indicated for the work - a phenomenon undoubtedly borrowed from the live journal culture), etc.
Features of the language of fiction.
Language, naturally, is inherent not only in literary creativity, it covers all aspects surrounding reality Therefore, we will try to determine those specific features of language that make it a means of artistic reflection of reality.
Cognition function and communication function- two main, closely related aspects of language. In the process of historical development, a word can change its original meaning, so much so that we begin to use some words in meanings that contradict them: for example, red ink (from the word black, blacken) or a cut piece (break off), etc. These examples suggest that the creation of a word is the knowledge of a phenomenon; language reflects the work of human thought, various aspects of life, and historical phenomena. It is estimated that there are about 90 thousand words in modern usage. Each word has its own stylistic coloring (for example: neutral, colloquial, colloquial) and history, and, in addition, the word acquires additional meaning from the words surrounding it (context). An unfortunate example in this sense was given by Admiral Shishkov: “Carried by fast horses, the knight suddenly fell from his chariot and left his face bloody.” The phrase is funny because words of different emotional connotations are combined.
The task of selecting certain speech means for a work is quite complex. This selection is usually motivated figurative system underlying the work. Speech is one of the important characteristics of the characters and the author himself.
The language of fiction contains a huge aesthetic principle, therefore the author of a work of fiction not only generalizes linguistic experience, but also to some extent determines the speech norm and is the creator of language.
The language of a work of art. Fiction is a set of literary works, each of which represents an independent whole. A literary work that exists as a completed text, written in one language or another (Russian, French) is the result of the writer’s creativity. Usually the work has a title; in lyric poems, its functions are often performed by the first line. The centuries-old tradition of the external design of the text emphasizes the special significance of the title of the work: during manuscript writing, and after the invention of printing. Diverse works: typological properties on the basis of which a work is classified as a specific one literary family(epic, lyric, drama, etc.); genre (story, short story, comedy, tragedy, poem); aesthetic category or mode of art (sublime, romantic); rhythmic organization of speech (verse, prose); stylistic dominance (life-likeness, conventionality, plot); literary movements (symbolism and acmeism).
Composition(from Lat. soshro - fold, build) - this is the construction of a work of art.
The multi-story and multi-faceted nature of Dostoevsky's novels amazed his contemporaries, but the new compositional form that emerged as a result of this was not always understood by them and was characterized as chaotic and inept. Famous critic Nikolai Strakhov accused the writer of not being able to cope with a large amount of plot material and not knowing how to arrange it properly. In a reply letter to Strakhov, Dostoevsky agreed with him: “You pointed out the main drawback terribly accurately,” he wrote. - Yes, I suffered from this and continue to suffer: I am completely incapable of, and still have not learned to cope with, my means. A bunch of individual novels and the stories next to each other fit into one, so there is no measure, no harmony.”
“To build a novel,” Anton Pavlovich Chekhov later wrote, “you need to know well the law of symmetry and balance of masses. A novel is a whole palace, and the reader needs to feel free in it, not be surprised and not bored, as in a museum. Sometimes you need to give the reader a break from both the hero and the author. A landscape, something funny, a new plot, new faces are good for this...”
There can be a lot of ways to convey the same event, and they, these events, can exist for the reader in the form of an author’s narration or memories of one of the characters, or in the form of a dialogue, monologue, a crowded scene, etc.
The use of various compositional components and their role in creating the overall composition for each author has a certain originality. But for narrative compositions It is important not only how the compositional components are combined, but also what, how, when and in what way is highlighted and emphasized in the overall construction of the narrative. If, say, a writer uses the form of dialogue or static description, each of them can shock the reader or go unnoticed, appearing as a “rest,” as Chekhov noted. The final monologue, for example, or a crowded scene where almost all the heroes of the work are gathered, can grow unusually above the work and be its central, key moment. So, for example, the “trial” scene or the “In Mokroe” scene in the novel “The Brothers Karamazov” are climactic, that is, they contain the highest points of plot tension.
Compositional emphasis in the narrative, the most striking, highlighted or intense plot point should be considered. Usually this is a moment in plot development that, together with other accentuating moments, prepares the most intense point in the narrative - the climax of the conflict. Each such “emphasis” must relate to previous and subsequent ones in the same way as narrative components (dialogues, monologues, descriptions, etc.) relate to each other. A certain systemic arrangement of such emphasis points - the most important task narrative compositions. It is this that creates “harmony and balance of the masses” in the composition.
The hierarchy of narrative components, some of which are highlighted more brightly or muted, strongly accentuated or have a auxiliary, passing meaning, is the basis of the composition of the narrative. It includes the narrative balance of plot episodes, their proportionality (in each case its own), and the creation of a special system of accents.
While creating compositional solution The main thing of an epic work is the movement towards the climax of each scene, each episode, as well as the creation of the desired effect by combining narrative components: dialogue and a crowded scene, landscape and dynamic action, monologue and static description. Therefore, the composition of the narrative can be defined as a combination within the epic work of narrative forms of image of different duration, having different strengths of tension (or emphasis) and constituting a special hierarchy in their sequence.
When deciphering the concept of “plot composition,” we must proceed from the fact that at the level of objective representation, the plot has its original composition. In other words, the plot of a separate epic work is compositional even before its narrative design, for it consists of an individual sequence of episodes chosen by the author. These episodes constitute a chain of events from the lives of the characters, events taking place in a certain time and located in a certain space. Composition These plot episodes, not yet connected with the general narrative flow, that is, with the sequence of means of representation, can be considered on their own.
At the level of plot composition, it is possible to divide episodes into “on-stage” and “off-stage”: the first tell about events that are directly occurring, the second about events that happen somewhere “behind the scenes” or happened in the distant past. This division is the most general at the level of plot composition, but it necessarily leads to a further classification of all possible plot episodes.
The composition of literary works is closely related to their genre. The most complex are epic works, the defining features of which are many plot lines, a diverse coverage of life phenomena, broad descriptions, a large number of characters, the presence of an image of a narrator, the constant intervention of the author in the development of the action, etc. Features of the composition of dramatic works - limited quantity“interventions” of the author (during the course of the action the author inserts only stage directions), the presence of “off-stage” characters, allowing for a broader coverage of life material, etc. The basis lyrical work It is not the system of events occurring in the lives of the heroes, not the arrangement (grouping) of characters, but the sequence of presentation of thoughts and moods, expressions of emotions and impressions, the order of transition from one image-impression to another. It is possible to fully understand the composition of a lyrical work only by finding out the main thought and feeling expressed in it.
The most common three types of composition: simple, complicated, complex.
A simple composition is based, as they sometimes say, on the principle of a “string with beads”, that is, on “layering”, connecting individual episodes around one character, event or object. This method was developed back in folk tales. At the center of the story is one hero (Ivanushka the Fool). You need to catch the Firebird or win a beautiful maiden. Ivan hits the road. And all events are “layered” around the hero. This is the composition, for example, of N. A. Nekrasov’s poem “Who Lives Well in Rus'.” The search for truth-seekers for the “happy” gives the poet the opportunity to show Rus' from different sides: both in breadth and depth, and at different times.
A complex composition also has a main character at the center of events, who develops relationships with other characters, various conflicts arise, and side storylines are formed. Connecting these storylines and forms the compositional basis of the work. This is the composition of “Eugene Onegin”, “Hero of Our Time”, “Fathers and Sons”, “The Golovlev Lords”. A complex composition is the most common type of composition of a work.
A complex composition is inherent in an epic novel (“War and Peace”, “Quiet Don”), and in a work such as “Crime and Punishment”. Many storylines, events, phenomena, paintings - all this is connected into one whole. There are several main storylines here, which either develop in parallel, then intersect in their development, or merge. The complex composition includes both “layering” and retreats into the past - retrospection.
All three types of composition have a common element - the development of events, the actions of the characters in time. Thus, composition is the most important element of a work of art.
Often the main compositional device in a literary work is contrast, which allows the author’s intention to be realized. For example, L. N. Tolstoy’s story “After the Ball” is based on this compositional principle. The ball scenes are contrasting (positive definitions predominate) emotional coloring) and execution (the opposite stylistic coloring and verbs expressing action dominate). Tolstoy's contrasting technique is structural and ideologically and artistically decisive. The principle of opposition in the composition of M. Gorky’s story “Old Woman Izergil” (the individualist Larra and the humanist Danko) helps the author to embody his aesthetic ideal in the text of the work. The technique of contrast underlies the composition of M. Yu. Lermontov’s poem “How often, surrounded by a motley crowd...”. The poet’s pure and bright dream is contrasted with a deceitful society and images of soulless people.
Unique compositional techniques also include narration, which can be conducted on behalf of the author (“The Man in a Case” by A. P. Chekhov), on behalf of the hero, that is, in the first person (“The Enchanted Wanderer” by N. S. Leskov), on behalf of “folk storyteller” (“Who lives well in Rus'” by N. A. Nekrasov), on behalf of the lyrical hero (“I am the last poet of the village...” by S. A. Yesenin), and all these features also have their own author’s motivation.
The work may include various digressions, inserted episodes, detailed descriptions. Although these elements delay the development of the action, they allow us to draw the characters in a more multifaceted way, to more fully reveal the author’s intentions, and to express the idea more convincingly.
The narrative in a literary work can be constructed in chronological sequence (“Eugene Onegin” by A. S. Pushkin, “Fathers and Sons” by I. S. Turgenev, autobiographical trilogies of L. N. Tolstoy and M. Gorky, “Peter the Great” by A. N. . Tolstoy, etc.).
However, the composition of a work can be determined not by the sequence of events, not by biographical facts, but by the logical requirements of the ideological and psychological characteristics of the hero, thanks to which he appears to us with various facets of his worldview, character, and behavior. Violating the chronology of events has the goal of objectively, deeply, comprehensively and convincingly revealing the character and inner world of the hero (“Hero of Our Time” by M. Yu. Lermontov).
Of particular interest is such a compositional feature of a literary work as lyrical digressions, which reflect the writer’s thoughts about life, his moral position, his ideals. In digressions, the artist addresses topical social and literary issues, they often contain characteristics of the characters, their actions and behavior, and assessments of the plot situations of the work. Lyrical digressions allow us to understand the image of the author himself, his spiritual world, dreams, his memories of the past and hopes for the future.
At the same time, they are closely connected with the entire content of the work and expand the scope of the depicted reality.
The digressions that make up the unique ideological and artistic originality of the work and reveal the features of the writer’s creative method are varied in form: from a brief passing comment to a detailed argument. By their nature, these are theoretical generalizations, social and philosophical reflections, assessments of heroes, lyrical appeals, polemics with critics, fellow writers, appeals to their characters, to the reader, etc.
The themes of lyrical digressions in A. S. Pushkin’s novel “Eugene Onegin” are varied. The leading place among them is occupied by the patriotic theme - for example, in the stanzas about Moscow and the Russian people (“Moscow... How much has merged in this sound for the Russian heart! How much has echoed in it!”), about the future of Russia, which the poet saw to a patriot in the din of transformation and rapid movement forward:
The Russian highway is here and here,
Having connected, they will cross,
Cast iron bridges over water
They step in a wide arc,
Let's move mountains, underwater
Let's dig through the daring vaults...
In the lyrical digressions of the novel there is also philosophical theme. The author reflects on good and evil, eternity and transience human life, about the transition of a person from one phase of development to another, higher one, about the egoism of historical figures (“We all look to Napoleons...”) and the general historical destinies of humanity, about the law of natural generational change on earth:
Alas! on the reins of life
Instant generational harvest
By the secret will of providence,
They rise, mature and fall;
Others are following them...
The author also speaks about the meaning of life, about wasted youth, when it passed “without a goal, without work”: the poet teaches youth a serious attitude towards life, evokes contempt for existence “in the inaction of leisure”, strives to infect with his tireless thirst for work, creativity, inspired labor that gives the right and hope for the grateful memory of descendants.
The artist’s literary and critical views were clearly and fully reflected in the lyrical digressions. Pushkin recalls ancient writers: Cicero, Apuleius, Ovid Naso. The author writes about Fonvizin, who satirically depicted the nobility of the 18th century, calls the playwright “a brave ruler of satire” and “a friend of freedom”, mentions Katenin, Shakhovsky, Baratynsky. A picture is given in the digressions literary life Russia at the beginning of the 19th century, the struggle of literary tastes is shown: the poet sneers at Kuchelbecker, who opposed elegies (“...everything in an elegy is insignificant; // Its empty purpose is pitiful...”) and called for writing odes (“Write odes, gentlemen” , “...the purpose of the ode is high // And noble...”). The third chapter contains an excellent description of the “moral” novel:
Your own syllable in an important mood,
Used to be a fiery creator
He showed us his hero
Like a sample of perfection.
Noting the significant influence that Byron had on him (“...By the proud lyre of Albion // he is familiar to me, he is dear to me”), the poet ironically remarks about romanticism:
Lord Byron by a lucky whim
Cloaked in sad romanticism
And hopeless selfishness.
The author reflects on the realistic method of artistic creativity (in “Excerpts from Onegin’s Travels”), defends a realistically accurate language of poetry, advocates the liberation of language from superficial influences and trends, against the abuse of Slavicisms and in foreign words, as well as against excessive correctness and dryness of speech:
Like rosy lips without a smile,
No grammatical error
I don't like Russian speech.
The lyrical digressions also express the author’s attitude towards characters and events: more than once he speaks with sympathy or irony about Onegin, calls Tatyana a “sweet ideal”, speaks with love and regret about Lensky, condemns such a barbaric custom as a duel, etc. The digressions (mainly in chapter one) also reflected the author’s memories of his past youth: about theatrical meetings and impressions, about balls, the women he loved. The lines dedicated to Russian nature are imbued with a deep feeling of love for the Motherland.