Perhaps for any schoolchild, the most the hard part in the Unified State Examination in the Russian language, this is the essay of part C. And the paragraph, which, presumably, should contain arguments, can even lead to hysterics. What to write? How to write? And most importantly, which literary works to choose? It's not so scary! On our website you will find arguments for essay Part C on almost all topics! Moreover, this page is constantly updated as we post more and more new arguments! Visit us more often, and you will feel quite calm and confident at the Unified State Exam in Russian. For ease of perception, we group the arguments into tables by topic. Save the tables you need or just learn them, and then you won’t need to re-read a bunch literary works to write a good essay in Part C. So, the arguments!
THE PROBLEM OF THE EXTRA PERSON!
1) The problem of the “superfluous person” has been reflected more than once in Russian literature. “The extra person” is a special specific historical socio-psychological variety of more general type “strange man“. We can also call the main character of the work “an extra person.” Lermontov “Hero of Our Time” Pechorina. Pechorin's personality in the novel is broader than his time, environment, and specific circumstances offered to him by society social roles. Awareness of oneself as a spiritually free holistic personality, responsible not only for individual actions, but also for choice life position, for fulfilling his “high purpose,” and at the same time, a tragic misunderstanding of his purpose makes Pechorin “an extra person.”
2) Another hero who can easily be called “The Superfluous Man” is the hero of the same name novel in verse by Eugene Onegin. Onegin lives according to the principles of the surrounding society, but at the same time he is far from it. Belonging to the light, he despises it. Onegin does not find his true purpose and place in life; he is burdened by his loneliness. It is Evgeny Onegin who opens a whole “gallery extra people"in Russian literature.
THE PROBLEM OF A DIFFICULT CHILDHOOD!
1) We will find many works of Russian classical literature that reflect this problem. Let us remember, for example, little twelve-year-old Vaska from Kuprin’s works “In the Bowels of the Earth”, who is forced to work in a mine, which seems to him a strange and incomprehensible monster. Vaska is also a child with a stolen childhood. He is forced to go to work in the mine, although he does not understand the morals that reign among the workers, and the work itself is too hard for a twelve-year-old boy.
2) Not only literary works teach us to appreciate what we have. Real stories about children participating in the military battles of the Great Patriotic War, are known to almost every child. We remember the names of Leni Golikova, Valya Kotik, Zina Portnova, Nadya Bogdanova. All of them lost their childhood, and some even their lives, in the war.
THE PROBLEM OF BRIBERY AND OFFICIALS!
1) Let's remember the work N.V. Gogol “The Inspector General”. Having learned about the arrival of the auditor, officials are terribly frightened and try to “prepare” for his arrival. For example, the trustee of charitable institutions is advised to dress the sick in clean caps, and in general, to make sure that there are fewer sick people. As a result, all the officials decide to give Khlestakov, who is taken for an auditor, a bribe “supposedly as a loan.” All this shows that already in the time of Nikolai Vasilyevich, bribery and lawlessness among officials was quite a big problem.
2) B “Divine Comedy" Dante in one of the circles of hell, devils throw bribe-takers into a ditch filled with boiling tar. The devils also make sure that the bribe-takers do not stick their heads out of the boiling tar, and they beat those who stick out with hooks.
THE PROBLEM OF FATHERS AND CHILDREN!
1)“Fathers and Sons” by I. S. Turgenev. The main character of the novel, Evgeny Bazarov, denies all kinds of feelings, friendship, love. He never shows his warm attitude towards his parents, who madly love and admire their son. The hero communicates little with his parents, after a long separation he leaves, having stayed only a few days... Only before his death does Bazarov realize how much he really loves them.
2) “Stationmaster"A.S. Pushkin. The author tells us the story of a poor stationmaster, whose only joy was his beloved daughter. But the girl leaves her father. He tries to find her, even just to see her, but he is kicked out of his daughter’s house. And only after his death, when the girl comes to visit her father, she realizes what she has done.
THE PROBLEM OF DESTINY IN A PERSON'S LIFE!
1) Ballad of Zhukovsky “Lyudmila”. The main idea of Zhukovsky’s ballad, written in imitation of Burger’s “Lenora,” was the conviction that grumbling about fate is a sin. Lyudmila, who has lost her fiancé, grumbles at fate, so her prayer becomes heard by heaven. A dead groom comes for Lyudmila, who takes her to the grave.
2) “Hero of Our Time” by M. Yu. Lermontov. In the chapter “Fatalist” of the novel by M. Yu. Leromontov, we are also faced with questions of fate. The officers start a dispute about whether a person's fate is written in heaven. Lieutenant Vulich is called in to resolve the dispute, who randomly takes a weapon from the wall, decides to shoot himself in the head and... misfires! But Pechorin is sure that he saw the stamp of death on his face. And indeed, Vulich dies that same evening at the hands of a drunken Cossack.
THE PROBLEM OF THE “LITTLE MAN”, THE RELATIONSHIP OF A STRONG PERSON TO THE WEAK!
1) “The Overcoat” by N.V. Gogol. Problem " little man” has been reflected more than once in Russian literature. Let us remember the main character of the story “The Overcoat” by N.V. Gogol. Akaki Akakievich is a typical image of a “little man”: a humiliated and powerless official who has worked all his life in the department, copying papers. The theft of a new overcoat becomes a tragedy for this hero. Akaki Akakievich tries to seek help from his superiors, but does not find a response in society. And everyone he turns to considers his problem insignificant and not worth attention.
2) “Station Warden” by A. S. Pushkin. Another example of reflecting the problem of the “little man” is the work of A. S. Pushkin “The Station Warden”. In this work, the author tells us the story of Samson Vyrin, only daughter who leaves with the hussar and leaves his poor father. Vyrin can’t even see his daughter! He feels a huge gap between him, his life and his new position in the society of his Dunya. Having never come to terms with his daughter’s betrayal, he dies.
THE PROBLEM OF MORAL CHOICE!
1)“The Master and Margarita” by M.A. Bulgakov. This problem has been reflected more than once in Russian classical literature. Let us recall Mikhail Bulgakov’s novel “The Master and Margarita”, in which Woland and his retinue tempt Muscovites who, over and over again, do not right choice, for which they receive their punishment. Nikanor Ivanovich Bosoy takes a bribe, the barman cheats, Styopa Likhodeev is debauched... And, of course, speaking of moral choice, one cannot help but recall Pontius Pilate, who was never able to make the right choice. After all, he realizes too late that “this afternoon he irretrievably missed something.”
2) “Eugene Onegin” A.S. Pushkin. To others literary hero, who also could not make a choice according to his conscience, is Eugene Onegin. The hero understands that his duel with Lensky is absolutely pointless, but still accepts the challenge. Why? A.S. Pushkin gives a completely unambiguous answer: “And here is public opinion! Spring of honor, our idol! And this is what the world revolves on!” That is, for Onegin, public opinion was more important than the life of a friend. But if the hero tried to make a choice, relying on his conscience, then everything would end well.
THE PROBLEM IS THE INFLUENCE OF NATURE ON HUMANS AND THE CAREFUL ATTITUDE TO HER!
1)A word about Igor's regiment. Nature reflects state of mind heroes, indicates danger, warns princes.
2)“War and Peace” by L. N. Tolstoy. Natasha Rostova admires the beauty of the night landscape in Otradnoye, it inspires him. And the changes that occur in the soul of Andrei Bolkonsky are reflected in the appearance of the oak tree, which he sees when going to Otradnoye and back. The oak here is a symbol of change and a new, better life.
3) “Grandfather Mazai and the Hares” N. A. Nekrasov. The hero of the poem, during the spring flood, saves drowning hares, collecting them in a boat, and cures two sick animals. The forest is his native element, and he worries about all its inhabitants.
Discussion is closed.
Problematics (rp. problema - something thrown forward, that is, isolated from other aspects of life) is the writer’s ideological understanding of the social characters that he depicted in the work. This comprehension consists in the fact that the writer highlights and strengthens those properties, aspects, relationships of the characters depicted, which he, based on his ideological worldview, considers to be the most significant.
Defining the main tasks of art, Chernyshevsky emphasized that “in addition to the reproduction of life, art also has another meaning - an explanation of life” (99, 85). Agreeing in principle with this idea, it should be noted that the word “explanation” is not entirely suitable for works of art; it is more appropriate in science. Writers rarely and usually make little effort to “explain” their ideas; almost always they express their understanding of the characters in their depiction.
So in Pushkin’s poem “Gypsies” the characters of the “wild” gypsies wandering in the steppes of Bessarabia are depicted, and the character young man Aleko, who previously belonged to the educated and freedom-loving circles of metropolitan society, but fled from the “captivity of stuffy cities” (“he is persecuted by the law”) to the gypsies. This is the theme of the poem, unusual, until then unknown to Russian readers. This is a new theme of the poem was generated by a new, romantic problematic, the latter being that the poet in every possible way emphasizes in his depiction of gypsy life its complete freedom, the complete absence of any coercion in it (labor, civil, family), and in the character of Aleko - the desire to join. free life gypsies, to become “free like them,” and the failure of such aspirations, caused by an outbreak of selfish passions in his soul, brought up “by the captivity of stuffy cities.”
The problem is still to a greater extent than the subject depends on the worldview of the author. Therefore, the life of the same social environment can be perceived differently by writers who have different ideological worldviews. Gorky and Kuprin portrayed in their
based on the production of a factory working environment. However, in the awareness of her life they are far from each other. In his novel “Mother” and in his drama “Enemies,” Gorky is interested in people in this environment who are politically minded and morally strong. He notices in them those sprouts of socialist self-awareness, the development of which will soon make this class environment the most active and socially progressive force opposing the entire degrading bourgeois-noble system. Kuprin, in the story “Moloch,” sees in the workers a faceless mass of exhausted, suffering, people worthy of sympathy, unable to resist the capitalist Moloch, who devours their strength, mind, health and causes the most bitter thoughts among the humanistically minded democratic intelligentsia.
But the social characters themselves depicted in the work and their emotional understanding on the part of the author may be in different relationships. In many works of literature of antiquity, the Middle Ages and the beginning of modern times, the understanding of characters, the identification and strengthening of some of their most significant ones. properties were often more important for the authors and readers themselves than the depiction of these characters in all their integrity, in all their versatility and reality. At the same time, the character traits recognized by the author were so highlighted and intensified that they overshadowed and subordinated all others. As a result, the characters became, as it were, only carriers of these most essential properties - heroism, selflessness, wisdom or cruelty, flattery, greed, etc., and these properties themselves therefore received a broad generalizing meaning. The images of characters in works, based on such an understanding of their characters, easily acquired a nominal meaning.
This is how Shakespeare portrayed it Danish prince Hamlet, highlighting and sharply intensifying moral fluctuations in his character, severe internal struggle between a sense of duty to avenge the death of his father on his murderer, who had seized the throne, and a vague awareness of the impossibility of standing alone against the evil reigning around him; Therefore, this image received a common noun.
Moliere in the comedy "Tartuffe", bringing out in the person of the main character a swindler and a hypocrite who deceives the straightforward and honest people, depicted all his thoughts and actions
as manifestations of this basic negative trait character. Pushkin wrote about this: “In Moliere, the Hypocrite drags after the wife of his benefactor, a hypocrite; accepts the estate for safekeeping - hypocrite; asks for a glass of water - a hypocrite" (50, 322). The name Tartuffe became a common noun for hypocrites.
When analyzing such images and entire works, one must pay attention not only to their very pointed problematics, but also to the socio-historical essence of the characters depicted in them, which made it possible to comprehend them in such a way. U Moliere Tartuffe- this is not a random upstart who penetrated the noble environment. He hypocritically covers up his deceptions with the preaching of religious morality, which was characteristic of the reactionary churchmen of France in the era of Molière. In more later eras, especially to early XIX c., advanced writers of various European countries began to penetrate deeper into the essence of human relationships, to more clearly understand the connection of human characters with a certain environment, certain living conditions. Therefore, the awareness of the characters of the heroes they portrayed became more and more versatile and multifaceted. The problem with the works now lay in the fact that the most important properties of the characters’ characters stood out among many others associated with them, but sometimes contradicting them.
In realistic works, the issues can be especially difficult to analyze, since these works often contain a very wide range of ideas. versatile portrayal of characters; and in the versatility of their images, those essential features that are most important for the writer are revealed. An example of this is the depiction of some of the main characters in L. Tolstoy's War and Peace. Thus, Prince Andrei is shown by the writer in the most different connections and relationships with many characters, both in peaceful life, and in war. A variety of qualities are manifested in his personality - intelligence, education, ability for military and government activities, a critical attitude towards the world, sincere sympathy for his father and sister, love for his son and Natasha, friendly attitude towards Pierre, etc.
But this versatility of Andrei’s character still conceals a certain author’s understanding. Tolstoy focuses attention on those features that seem to him the most significant in moral and psychological
In a theoretical sense, this is an overly developed personal principle and a certain rationality, the predominance of the mental sphere of consciousness over the emotional and the ensuing skeptical attitude towards life. The presence of characters with integrity of behavior, worldview, and experiences is a necessary condition for the existence of full-fledged epic and dramatic works 1 .
When analyzing problems, one must keep in mind that writers very often resort to comparing characters and revealing traits that interest the writer through contrast. At the same time, it is precisely those facets of characters that seem to writers to be the most important, significant, and in which the ideological problem of the work lies, that stand out especially clearly. Yes, back in folk tales the good witch was opposed to the evil stepmother, the smart older brothers were opposed to the younger brother Ivanushka the Fool, who turned out to be smarter and luckier than them.
The antithetical nature of characters is usually sharply emphasized in the works of classicism. Antitheses constitute an essential aspect of the problem in realistic works. They reflect and refract the real contradictions of reality itself with even greater clarity. Thus, Lermontov’s story “Princess Mary” is built on the antithesis of the character of Pechorin, with his deep and hidden romantic aspirations, and the character of Grushnitsky, with his feigned and ostentatious romance; Chekhov's story "The Man in a Case" - in contrast to Belikov's political cowardice and Kovalenko's free-thinking; “Russian Forest” by Leonov - on the antithesis of citizens
" IN modernist literature There was a widespread misconception that the concept of "character" was outdated because modern man represents something unstable and chaotic. Similar thoughts, based on the experience of “stream of consciousness” literature (J. Joyce, M. Proust), are persistently expressed by representatives of the French “new novel” (A. Robbe-Grice, N. Sarraute). The subject of artistic depiction is proclaimed to be the “pure” consciousness of a person who has lost his personality under the pressure of impressions from the outside. The character is considered only as a “prop” (optional, ultimately even unnecessary) for the reproduction of this “pure” consciousness. Denial of character means at the same time denial of the entire system of artistic development of life, characteristic of epic and drama. Hence the slogans of “anti-novel”, “anti-theater”, etc., common in modernist aesthetics.
Vikhrov’s honesty and Gratsiansky’s careerism and corruption; “The Living and the Dead” by Simonov is based on the contrast of the deeply conscious patriotism of Serpilin, Sintsov and many other representatives of Soviet society with the cowardly egoism of people like Baranov.
The problems of literary works can reflect different aspects public life. It can be moral, philosophical, social, ideological-political, socio-political, etc. It depends on what aspects of the characters and what contradictions the writer focuses on.
Pushkin in the character of Onegin, Lermontov in Pechorin were mainly aware of ideological and political dissatisfaction with the reactionary way of Russian life. Turgenev in " Noble nest"reveals in Lavretsky, first of all, a sense of civic and moral duty to Russia and its people. In Turgenev's "Fathers and Sons" the main attention is focused on the philosophical positions of the heroes, especially on the materialistic views of Bazarov; that's why it's like this in the novel significant place are occupied by philosophical debates between
What is especially important is how deep and significant literary works are in their subject matter. The significance and depth of the problem depends on how serious and significant are the contradictions of reality itself, which writers can recognize thanks to the peculiarities of their worldview.
Such, for example, are the differences in the depiction of peasant life between Turgenev and Nekrasov. Turgenev, with his liberal-enlightenment views, sees in the life of the peasants their suffering under the yoke of the landowners and realizes that the misfortunes and sorrows of the people stem not so much from the cruelty and frivolity of individual nobles, but from the slavish position of the peasantry in general. But he is interested mainly in the moral dignity of individual peasants and shows that often peasants, to a much greater extent than landowners, can have not only kind hearted, but also with deep intelligence and aesthetic inclinations, and sometimes with the capacity for social discontent. The very revelation of the high moral qualities and human dignity of people from the people was an expression of the writer’s protest against serfdom.
Nekrasov, with his revolutionary democratic ideals, understands the life of the people much more deeply. In his portrayal, the peasant, oppressed by the landowners and officials, is, first of all, a worker, a “sower and guardian” of his native land, the creator of all material values on which the whole society lives. And at the same time, his peasantry is an independent social force that can resist its enslavers.
From the above, we can conclude that the problematic represents a more active side of the ideological content of the works than their themes, and that the themes are largely determined by the problematics.
A writer always chooses certain characters and relationships for his depiction precisely because he is especially interested in certain aspects and properties of these characters and relationships.
The term ʼʼ problemʼʼ (from other Greek problema - task, task) has a meaning in literary criticism similar to that in which it is used in various fields of science. A problem is a theoretical or practical issue that requires resolution and research.
The following definitions are found in literary works: ʼʼ Issues(other
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Greek problema – something thrown forward, ᴛ.ᴇ. isolated from other aspects of life) - the writer’s ideological understanding of the social characters that he depicted in the work. This understanding essentially consists in the fact that the writer highlights And enhances those properties of characters that he, based on his ideological worldview, considers the most significant” (Introduction to literary criticism. Ed. G.N. Pospelov - M., 1976, p. 77)
In other words, under problems work of art in literary criticism it is customary to understand area of comprehension, understanding by the writer of reflected reality. This is the sphere in which the author’s concept of the world and man is manifested, where the writer’s thoughts and experiences are captured, where the topic is viewed from a certain angle. At the level of issues, the reader is offered a dialogue, one or another system of values is discussed, questions are raised, artistic “arguments” are given for and against any life orientation.
The problematic can be called the central part of the artistic content, because it, as a rule, contains what readers turn to the work for - the author’s unique view of the world.
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Naturally, the issue requires increased activity from the reader: if he takes the topic for granted, then regarding the issue he can and should have his own thoughts, agreement or disagreement, reflections and experiences, guided by the reflections and experiences of the author, but not entirely identical. If we rely on the idea of M.M. Bakhtin about the specific knowledge of artistic content as a dialogue between the author and the reader, then we must admit that to the greatest extent this idea relates precisely to the problems of works.
In contrast to the subject matter, the problematic is the subjective side of the artistic content, in connection with this, the author’s individuality, the original author’s view of the world, or, as L.N. wrote, are maximally manifested in it. Tolstoy, “original” moral attitude author to the subject (Tolstoy L.N. Preface to the works of Guy de Maupassant // Complete collection.
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Op. In 90 vols. T.30 – M., 1951). The number of topics that objective reality provides a writer is inevitably limited; therefore, it is not uncommon for works by different authors to be written on the same or similar topic. But there are no two major writers whose works would completely coincide in their themes.
The uniqueness of the issue is a kind of business card author. Thus, there was practically no poet who would bypass the topic of poetry in his work. But the problems associated with this topic turn out to be different. “Pushkin considered poetry as the “service of the muses”, the poet as a divinely inspired prophet, emphasized the greatness of the poet and his role in business national culture. Lermontov emphasized the poet’s proud loneliness in the crowd, his incomprehensibility and tragic fate. Nekrasov raised the question of the citizenship of poetic creativity and the social usefulness of the poet’s activity in the “time of grief,” sharply opposing the theories of “ pure artʼʼ. For Blok, poetry was primarily an interpreter and expresser mystical secrets being. Mayakovsky was the first to consider poetry as a kind of “production,” raising the question “about the place of the poet in the working class.” As we see, with the unity of the topic, the problematic for each of the poets turns out to be very individual and subjective” (Esin A.B. Principles and techniques for analyzing a literary work - M., 1999, p. 45).
However, the problematic is the most important “link” of the content of a literary work. Central problem a work often turns out to be its organizing principle, permeating all elements artistic integrity. In many cases, works of verbal art become multi-problematic, and these problems are not always resolved within the work. A.P. Chekhov rightly wrote: “You are confusing two different phenomena: the solution of a question and the correct formulation of a question.” Only the second is mandatory for an artist. In “Eugene Onegin” or “Anna Karenina” not a single question is resolved, but they completely satisfy you, because all the questions are posed in them correctly (Letter to A.S. Suvorin dated October 27, 1888).
Literary scholars began to develop questions quite a long time ago artistic issues(to some extent they were touched upon by G.V.F. Hegel, V.G. Belinsky, N.G. Chernyshevsky and other aestheticians and literary critics of the XVIII - XIX centuries). However, this problem was subjected to systematic scientific development only in the 20th century. One of the first fruitful attempts to distinguish between types of artistic problems was the attempt of M.M. Bakhtin, who distinguished the novel and non-novel concepts of reality. In Bakhtin's typology, they differed primarily in how the author approached understanding and depicting a person. G.N. Pospelov in his book “Problems of the Historical Development of Literature” (Moscow, 1972) identified four types of problems: “mythological”, “national-historical”, “moral descriptive” (otherwise – “ethological”) and “novel” (in the terminology of the researcher - “ro” manic" This typology, however, is not free from significant shortcomings (inaccurate terminology, excessive sociologization, arbitrary and unlawful association of types of issues with literary genres), but it may well serve as a starting point when analyzing works.
In the work of modern researcher A.B. Yesin’s classification by Pospelov was clarified and supplemented, thanks to which the following types of issues were identified: “mythological”, “national”, “sociocultural”, “novel” (where “adventurous” and “ideological-moral” are distinguished as subtypes), ʼphilosophicalʼ.
Obviously, the identified types of issues cannot exhaust the variety of questions that authors of works pose to readers. The researchers themselves understand this well. It is no coincidence that in the classic textbook “Introduction to Literary Studies,” ed. G.N. Pospelova (M., 1976, p. 81) gives a slightly different list, indicating that the problems “can reflect different aspects of social life. It must be moral, philosophical, social, ideological-political, socio-political, etc. It depends on what aspects of the characters and what contradictions the writer focuses on.
It should be noted that the problematics of many specific works often appear in their typological pure form(fairy tales by Saltykov-Shchedrin – sociocultural, “Poltava” by A.S. Pushkin – national, etc.). That is, it is meant that other types of issues do not play a significant role in the content of these works. But there are also often works that combine two, less often three or four problem types. Thus, ideological, moral and sociocultural issues are combined in “Eugene Onegin” by A.S. Pushkin, in the dramas of A.N. Ostrovsky; a combination of national and ideological-moral issues is characteristic of the poem by A.S. Pushkin ʼʼ Bronze Horsemanʼʼ. There are even works in which there is a combination of three or four types of issues (War and Peace by L.N. Tolstoy, The Master and Margarita by M.A. Bulgakov, etc.)
The presence of different types of issues in the content of a work is one of the points artistic originality this work. At the same time, when analyzing, it should be borne in mind that it is not always different types problems exist in the work ʼʼon equal rightsʼʼ. So, for example, in the story by N.V. Gogol's Taras Bulba, along with the leading national type, there are also novel aspects of the problem associated with Andriy's love for a Polish woman. To a certain extent, they create the meaningful originality of the story and influence the patterns of style formation in it. But in the overall artistic structure of the work, these aspects undoubtedly occupy a subordinate position. With the help of the novel conflict, the severity of the national conflict is emphasized and the drama of this aspect of the content is enhanced. A similar supporting role is played by the sociocultural background in the ideological and moral novels of F.M. Dostoevsky, novelistic aspects in the sociocultural poem of the leading type by N.V. Gogol ʼʼ Dead Souls and so on. All this shows that the analysis of the problematic composition of a work, the interaction of types of problematics in the system of one artistic whole should be quite subtle and dialectical.
The problem of a literary work. - concept and types. Classification and features of the category "Problem of a literary work." 2017, 2018.
A problem is a QUESTION.
The problem poses a question to resolve the essence of the subject that has become the subject of research in a literary work. And the subject for research is suggested by the theme of the work. The question grows from the topic like a sprout from the soil. This links the problem to the topic.
If the theme is LIFE reflected in a literary work, then the problem is a QUESTION posed on the basis of this life reflected in a literary work.
The same topic can become the basis for raising different problems.
The problem is complex issue posed in a work, which is solved or remains unsolved, but the ways of searching for its solution are shown.
The question of the identity of the topic and the problem is controversial.
Issues: One literary work cannot have only one problem; it has many problems, main and secondary, auxiliary ones.
Typology of problems in literature:
Socio-political
Moral and ethical
National historical
Universal
Philosophical
Social
Psychological
Eternal problems:
Good and Evil
Body and soul
Time and eternity
Love and hate
Life and death
Death and immortality
The meaning of life
Person and society
Person and history, etc.
Question 4. The idea of a literary work as a search for an answer to a problem. The ideological content of a literary work. Typology of literary ideas
An idea is an answer to a question posed by a problem based on the part of life posed by the topic, reflected in a literary work.
An idea is an assessment of what is reflected in the theme of a work.
The idea is the main fundamental content of the work. Generalized thought. Which lies at the heart of the work and is expressed in its figurative form.
An idea is the author’s subjective assessment, but in addition to this, an objective idea also appears in the work, which can be broader than the author’s intention and opens up in a new way every time. new era, with each new generation of critics and readers.
The idea of a work and its design are two different things.
The plan may not include those ideas. Which contemporaries or descendants will find, see, and discover in a literary work.
General idea of the work = the main idea of the work, always answers or seeks an answer to main problem society. time, era, person, as the author understands them.
The idea may not be expressed directly and unambiguously in the work, as an answer to a question; it may be a search for an answer, intended ways of answering, answer options, directions for thinking about the answer...
The idea is not limited to the direct positive statements of the author.
Everyone has it actor, events, pictures in a literary work have their own ideological, meaningful function.
Each image of the poetics of a work (NB! see Classification of images - remember and write in your notebook for lectures in this place) has its own ideological = conceptual load.
The entire figurative system of the work is the bearer of the author’s concept – the author’s main idea of life.
The ideological meaning of the novel is determined not only by the author’s direct word and the author’s assessments, but, above all, by the ideological function of each element of the artistic form, the conceptuality of the style.
Understanding the general idea of a work comes from analyzing everything ideological meaning all elements of the content and form of a literary work.
Goethe: “It would be a good joke if I tried to string such a varied life of Faust onto a thin string of a single idea for the entire work” - !!!
Typology of ideas in literature.
Subjectivity of an artistic idea: it depends on the subjective opinion of the author.
The imagery of an artistic idea: it is expressed only in figurative form.
Eternal ideas: coincide with the formulations of eternal themes and problems, but each author tries to find his own way to resolve them...
Give an example of a timeless idea from any of your favorite books - NB.
Love to motherland
1) Ardent love for the Motherland, We feel pride in its beauty in the works of the classics.
The theme of heroic feat in the fight against the enemies of the Motherland is also heard in M. Yu. Lermontov’s poem “Borodino”, dedicated to one of the glorious pages of the historical past of our country.
2) The theme of the Motherland is raised in the works of S. Yesenin. Whatever Yesenin wrote about: about experiences, about historical turning points, about the fate of Russia in the “harsh, formidable years” - every Yesenin image and line is warmed by a feeling of boundless love for the homeland: But most of all. Love to native land
3) Famous writer told the story of the Decembrist Sukhinov, who, after the defeat of the uprising, was able to hide from police bloodhounds and, after painful wanderings, finally made it to the border. Another minute - and he will find freedom. But the fugitive looked at the field, the forest, the sky and realized that he could not live in a foreign land, far from his homeland. He surrendered to the police, he was shackled and sent to hard labor.
4) Outstanding Russian singer Fyodor Chaliapin, forced to leave Russia, always carried a box with him. No one had any idea what was in it. Only many years later did relatives learn that Chaliapin kept a handful of his native land in this box. No wonder they say: the native land is sweet in a handful. Obviously, the great singer, who passionately loved his homeland, needed to feel the closeness and warmth of his native land.
5) The Nazis, having occupied France, offered General Denikin, who fought against the Red Army during the Civil War, to cooperate with them in the fight against Soviet Union. But the general responded with a sharp refusal, because his homeland was more valuable to him than political differences.
6) African slaves, taken to America, yearned for native land. In despair, they killed themselves, hoping that the soul, having thrown off the body, could fly home like a bird.
7) The most terrible Punishment in ancient times was considered to be the expulsion of a person from a tribe, city or country. Outside your home there is a foreign land: a foreign land, a foreign sky, a foreign language... There you are completely alone, there you are nobody, a creature without rights and without a name. That is why leaving one’s homeland meant losing everything for a person.
8) To an outstanding Russian hockey player V. Tretyak was offered to move to Canada. They promised to buy him a house and pay him big salary. Tretyak pointed to the sky and earth and asked: “Will you buy this for me too?” Answer famous athlete led everyone into confusion, and no one ever returned to this proposal.
9) When in the middle In the 19th century, an English squadron besieged the capital of Turkey, Istanbul, and the entire population stood up to defend their city. Townspeople destroyed their own houses if they prevented Turkish cannons from conducting aimed fire at enemy ships.
10) One day the wind decided to fell the mighty oak tree that grew on the hill. But the oak only bent under the blows of the wind. Then the wind asked majestic oak: “Why can’t I defeat you?”
11) Oak answered that it’s not the trunk that’s holding him up. Its strength lies in the fact that it is rooted in the ground and clings to it with its roots. This simple story expresses the idea that love for the motherland, a deep connection with national history, with the cultural experience of their ancestors makes the people invincible.
12) When over England When the threat of a terrible and devastating war with Spain loomed, the entire population, hitherto torn apart by enmity, rallied around its queen. Merchants and nobles equipped the army with their own money, and people of ordinary rank enlisted in the militia. Even the pirates remembered their homeland and brought their ships to save it from the enemy. And the “invincible armada” of the Spaniards was defeated.
13) Turks during During their military campaigns they captured boys and young men. Children were forcibly converted to Islam and turned into warriors called Janissaries. The Turks hoped that the new warriors, deprived of spiritual roots, having forgotten their homeland, brought up in fear and obedience, would become a reliable stronghold of the state.