The meaning of FICTION in the Dictionary of Literary Terms
FICTION
Creation Tool artistic images: a form of recreation and display of life inherent only in art in plots and images that do not have a direct correlation with reality. Measure V. x. in a work can be different: there is an “attitude” towards fiction, but there are also documentary works (see documentary), where fiction is excluded.
Dictionary of literary terms. 2012
See also interpretations, synonyms, meanings of the word and what ARTISTIC FICTION is in Russian in dictionaries, encyclopedias and reference books:
- FICTION V Literary Encyclopedia:
see "Fantasy... - ART V Encyclopedic Dictionary:
, -th, -oe; -ven, -ve nna. 1. see art. 2. full f. Relating to art, to activities in the field of art. ... - FICTION in the Encyclopedic Dictionary:
, -ela, m. 1. That which is created by imagination, fantasy. Poetic in. 2. Fiction, lie. Don't believe... - ART
artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic feminine, artistically, artistically, artistically, artistically, artistically, artistically, artistically, artistically, artistically, … - FICTION in the Complete Accented Paradigm according to Zaliznyak:
you"thoughts, you"thoughts, you"thoughts, you"thoughts, you"thoughts, you"thoughts, you"thoughts, you"thoughts, you"thoughts, you"thoughts, you"thoughts, ... - ART
-aya, -oe; artistic, -enna 1) full f. Depicting reality in images. Artistic creativity. Fiction. Feature film. A work of art. IN … - FICTION in the Popular Explanatory Encyclopedic Dictionary of the Russian Language:
-sla, m. 1) only units. In artistic creativity: a figment of the writer’s imagination, something created by his imagination. It is impossible to write without fiction... ... - FICTION in the Thesaurus of Russian Business Vocabulary:
Syn: see speculation, see... - FICTION in the Russian Language Thesaurus:
Syn: see speculation, see... - ART
cm. … - FICTION in Abramov's Dictionary of Synonyms:
see anecdote, fiction, deception, ... - ART
highly artistic, picturesque, beautiful, imaginative, poetic, ... - FICTION in the Russian Synonyms dictionary:
fable, invention, conjecture, fabrication, slander, legend, lie, myth, tall tale, fable, fable, untruth, deception, fable, ghost, tales, fairy tale, essay, fantasy, phantom, ... - ART
adj. 1) Correlative in meaning. with noun: art associated with it. 2) a) Related to activities in the field of art. b) ... - FICTION in the New Explanatory Dictionary of the Russian Language by Efremova:
m. 1) a) What is created is created by imagination, fantasy. b) Plot work of art(in the speech of writers, literary scholars, etc.); plot. ... - FICTION in Lopatin's Dictionary of the Russian Language:
in fiction... - FICTION in the Complete Spelling Dictionary of the Russian Language:
fiction... - ART in the Spelling Dictionary:
artistic; cr. f. -ven and -venen, ... - FICTION in the Spelling Dictionary:
in fiction... - ART
related to art, to activities in the field of art Art school. H. theater director. Rhythmic gymnastics. Amateur artistic activity. Artistic construction (design). ... - FICTION in Ozhegov’s Dictionary of the Russian Language:
fiction, lie Do not believe fiction. fiction is something that is created by imagination, phantasy Poetic... - FICTION in Dahl's Dictionary:
invent, etc. see invent... - ART
artistic, artistic; artistic and (rarely) artistic, artistic, artistic. 1. only full. forms. Adj., by meaning related to art, activities... - FICTION in Ushakov’s Explanatory Dictionary of the Russian Language:
fiction, m. Fantasy, smb. created by the imagination (book poet). Sometimes I will again become drunk with harmony, and shed tears over fiction. Pushkin. || Fiction, smth.,... - ART
artistic adj. 1) Correlative in meaning. with noun: art associated with it. 2) a) Related to activities in the field of art. ... - FICTION in Ephraim's Explanatory Dictionary:
fiction m. 1) a) What is created is created by imagination, fantasy. b) The plot of a work of art (in the speech of writers, literary scholars, etc.); ... - ART
adj. 1. ratio with noun art related to it 2. Related to activities in the field of art. Ott. Typical of people of art,... - FICTION in the New Dictionary of the Russian Language by Efremova:
m. 1. What is created is created by imagination, fantasy. Ott. The plot of a work of art (in the speech of writers, literary scholars, etc.); plot. 2. ... - ART
adj. 1. ratio with noun art related to it 2. Related to activities in the field of art. Ott. Peculiar to people... - FICTION in the Bolshoi Modern explanatory dictionary Russian language:
I m. What is created is created by imagination, fantasy. II m. Plot outline events, actions of heroes, etc. in a work of art; ... - IMAGE. in the Literary Encyclopedia:
1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. . 4. Typification of reality... - TALLINN ART MUSEUM
art museum, Art Museum of the Estonian SSR (since 1970), the largest art museum Estonia. The predecessor of T. x. m. there was a Tallinn branch of the Estonian... - MOSCOW ART ACADEMIC THEATER in Bolshoi Soviet encyclopedia, TSB:
Art academic theater them. M. Gorky (Moscow Art Theater), Soviet theater, who made a great contribution to the development of the national Russian and world theater. Founders... - ARTISTIC METHOD in the Great Soviet Encyclopedia, TSB:
artistic, a system of principles that govern the process of creating works of literature and art. Category M. x. was introduced into aesthetic thought at the end... - ARTISTIC CONFLICT in the Great Soviet Encyclopedia, TSB:
artistic, artistic collision, confrontation, contradiction between those depicted in the work active forces- character and circumstances, several characters or different sides... - ART in the Newest Philosophical Dictionary:
a term used in two meanings: 1) skill, skill, dexterity, dexterity, developed by knowledge of the matter; 2) creative activity aimed at creating artistic... - CORTAZAR in the Dictionary of Postmodernism:
(Cortazar) Julio (1914-1984) - Argentine writer, poet, playwright and publicist. He taught literature at the University of Mendoza, worked as a translator, participated in ... - SYMBOLISM in the Lexicon of non-classics, artistic and aesthetic culture of the 20th century, Bychkova:
(French symbolisme) Literary, artistic and ideological direction in the culture of the last quarter. XIX - first third of the 20th century S. arose as a reaction... - TREDYAKOVSKY VASILY KIRILLOVICH in the Brief Biographical Encyclopedia:
Tredyakovsky (Vasily Kirillovich) - an outstanding Russian scientist of the 18th century. and an unsuccessful poet, whose name has become a household word for untalented poets. ... - FANTASTIC in the Dictionary of Literary Terms:
- (from the Greek phantastike - the art of imagining) - view fiction, based on a special fantastic type of imagery, which is characterized by: ... - REALISM in the Literary Encyclopedia:
" id=Realism.Contents> I. General character realism II. Stages of realism A. Realism in the literature of pre-capitalist society B. Bourgeois realism ... - MYTHOLOGY. in the Literary Encyclopedia:
" id=Contents> Contents of the concept. Origin of M. Specificity of M. History of the science of myths. Bibliography. CONTENTS OF THE CONCEPT. ... - PROMOTIONAL LITERATURE in the Literary Encyclopedia:
a set of artistic and non-artistic works, which, influencing the feelings, imagination and will of people, encourage them to certain actions and actions. Term... - YAROSLAV REGION in the Great Soviet Encyclopedia, TSB:
region, part of the RSFSR. Formed on March 11, 1936. Area 36.4 thousand km2. Population 1414 thousand people (as of January 1 ... - ESTONIAN SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB:
Soviet Socialist Republic, Estonia (Eesti NSV). I. General information The Estonian SSR was formed on July 21, 1940. From August 6, 1940 in ... - AESTHETICS in the Great Soviet Encyclopedia, TSB:
(from the Greek aisthetikos - feeling, sensual), philosophical science that studies two interconnected circles of phenomena: the sphere of the aesthetic as a specific manifestation of a value relationship... - ART HIGHER EDUCATION INSTITUTIONS in the Great Soviet Encyclopedia, TSB:
higher educational institutions, trains artists, architects, artists and art critics of the highest qualifications in the following specialties: painting, graphics, sculpture. arts and crafts, decoration...
Artistic fiction
Artistic fiction
Events, characters, circumstances depicted in fiction that do not exist in reality. Fiction does not pretend to be true, but it is not a lie either. It's a special kind artistic convention, both the author of the work and the readers understand that the events and characters described did not actually exist, but at the same time they perceive what is depicted as something that could happen in our everyday earthly life or in some other world.
IN folklore the role and place of fiction were strictly limited: fictional plots and heroes were allowed only in fairy tales. In world literature, fiction took root gradually, when works of literature began to be perceived as artistic writings designed to surprise, delight and entertain. Literatures Dr. The East, ancient Greek and Roman literature in the first centuries of their existence did not know fiction as a conscious technique. They narrated either about gods and mythological heroes and their deeds, or about historical events and their participants. All this was considered true, happening in reality. However, already in the 5th–6th centuries. BC e. ancient Greek writers cease to perceive mythological stories as narratives about real events. In the 4th century. philosopher Aristotle in his treatise “Poetics” he argued that the main difference literary works from historical works lies in the fact that historians write about events that happened in reality, and writers write about those that could have happened.
At the beginning of our era, a genre was formed in ancient Greek and Roman literature novel, in which fiction is the basis of the narrative. The most difficult things happen to the heroes of novels (usually a boy and a girl in love). incredible adventures, but in the end the lovers are happily united. In its origin, fiction in the novel is largely related to the plots of fairy tales. Since late antiquity, the novel has become the main literary genre in which fiction is required. Later, in the Middle Ages and during the era Renaissance, a small one joins them prose genre with an unexpected plot development - short story. In modern times, genres are formed stories And story, also inextricably linked with artistic fiction.
In Western European medieval literature, artistic fiction is characteristic primarily of poetic and prosaic works. chivalric romances. In the 17th–18th centuries. V European literature the genre was very popular adventure novel. The plots of adventure novels were built from unexpected and dangerous adventures in which the characters were participants.
Old Russian literature, which had a religious character and aimed at revealing the truths of the Christian faith, until the 17th century. I didn’t know fiction, which was considered unhealthy and sinful. Events that were incredible from the point of view of the physical and biological laws of life (for example, miracles in the lives of saints) were perceived as true.
Different literary trends did not treat fiction the same way. Classicism, realism And naturalism they demanded authenticity, verisimilitude and limited the writer’s imagination: the arbitrariness of the author’s imagination was not welcomed. Baroque, romanticism, modernism favorably regarded the author's right to depict events that are incredible from the point of view of ordinary consciousness or the laws of earthly life.
Fiction varied. He can not deviate from the verisimilitude of the image everyday life, as in realistic novels, but can also completely break with the requirements of compliance with reality, as in many modernist novels (for example, in the novel by the Russian symbolist writer A. White"Petersburg"), as in literary fairy tales(for example, in the tales of the German romantic E. T. A. Hoffman, in the tales of the Danish writer H.C. Andersen, in the fairy tales of M. E . Saltykova-Shchedrin) or in works related to fairy tales in the novel genre - fantasy(for example, in the novels of J. Tolkien and K. Lewis). Fiction is an integral feature of historical novels, even if all their heroes are real persons. In literature, the boundaries between artistic fiction and authenticity are very conditional and fluid: they are difficult to draw in the genre memoirs, artistic autobiographies, literary biographies, telling about the lives of famous people.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .
See what “artistic fiction” is in other dictionaries:
artistic fiction- see fiction... Terminological dictionary-thesaurus in literary studies
artistic fiction- a means of creating artistic images: a form of recreation and display of life inherent only in art in plots and images that do not have a direct correlation with reality. Measure V. x. in a work can be different: there is an attitude towards... ... Dictionary of literary terms
FICTION- ARTISTIC FICTION, the activity of the writer’s imagination, which acts as a formative force and leads to the creation of plots and images that have no direct correspondence in previous art and reality. Discovering creative energy... ... Literary encyclopedic dictionary
FICTION- specific act artistic creativity, contributing to the construction of conceivable and possible options being, the idea of what can and should be. The productive properties of V. are based on the work of the imagination (Artistic Imagination), ... ... Aesthetics: Vocabulary
If he stained his pants with different colors, he wouldn't lie to you about it, but he would still give the impression that he got dirty by rolling down the rainbow. Mark Twain poetic work the probable impossible is preferable to... ... Consolidated encyclopedia of aphorisms
General category of arts. creativity, a means and form of mastering life through art. An image is often understood as an element or part of a work that has a kind of self-worth. existence and meaning (for example, in literature, the image of a character, ... ... Philosophical Encyclopedia
fiction- sla, m. 1) only units. In artistic creativity: a figment of the writer’s imagination, something created by his imagination. It is impossible to write without fiction... (A.N. Tolstoy). Artistry without fiction is impossible and does not exist (Gorky). Synonyms: fanta/zia 2)… … Popular dictionary of the Russian language
The general category of artistic creativity: the form of reproduction, interpretation and mastery of life inherent in art (See Art) by creating aesthetically affecting objects. An image is often understood as an element or part... ... Great Soviet Encyclopedia
Sla; m. 1. That which is created by imagination, fantasy. Artistic, poetic, creative c. 2. Fiction, fabrication, lie. Idle fiction. Philistine fiction. Distinguish in. from the truth. Don't believe fiction... Encyclopedic Dictionary
fiction- sla; m. 1) That which is created by imagination, fantasy. Artistic, poetic, creative you/thought. 2) Fiction, fabrication, lie. Idle fiction. Philistine fiction. Distinguish you/thought from the truth. Don't believe fiction... Dictionary of many expressions
Books
- Code "Perfumer" Patrick Suskind. Truth and fiction in the text of the famous novel, Borzenko S.. In this small (pocket-sized) book you will find the answers that arise in the attentive reader famous novel Patrick Suskind "Perfumer. The Story of a Murderer". Did you have...
The writer's goal is to understand and reproduce reality in its intense conflicts. The idea is the prototype of the future work; it contains the origins of the main elements of content, conflict, and structure of the image. The birth of an idea is one of the mysteries of the writing craft. Some writers find the themes of their works in newspaper columns, others - in famous literary subjects, others turn to their own everyday experience. The impulse to create a work can be a feeling, an experience, an insignificant fact of reality, a story heard by chance, which in the process of writing the work grows to a generalization. An idea can linger for a long time notebook as a humble observation.
The individual, the particular, observed by the author in life, in a book, passing through comparison, analysis, abstraction, synthesis, becomes a generalization of reality. Movement from idea to artistic embodiment includes the pangs of creativity, doubt and contradiction. Many word artists have left eloquent testimonies about the secrets of creativity.
It is difficult to build a conventional scheme for creating a literary work, since each writer is unique, but in this case, indicative trends are revealed. At the beginning of the work, the writer faces the problem of choosing the form of the work, decides whether to write in the first person, that is, prefer a subjective manner of presentation, or in the third, maintaining the illusion of objectivity and letting the facts speak for themselves. The writer can turn to the present, to the past or the future. The forms of understanding conflicts are varied - satire, philosophical understanding, pathetic, description.
Then there is the problem of organizing the material. Literary tradition offers many options: you can follow the natural (plot) course of events in presenting the facts; sometimes it is advisable to start from the ending, with the death of the main character, and study his life until his birth.
The author is faced with the need to determine the optimal boundaries of aesthetic and philosophical proportionality, entertainment and persuasiveness, which cannot be crossed in the interpretation of events, so as not to destroy the illusion of “reality” of the artistic world. L.N. Tolstoy stated: “Everyone knows the feeling of mistrust and rebuff that is caused by the apparent intentionality of the author. If the narrator says ahead: get ready to cry or laugh, and you probably won’t cry or laugh.”
Then the problem of choosing a genre, style, repertoire is revealed artistic means. One must seek, as Guy de Maupassant demanded, “that one word that can breathe life into dead facts, that single verb that alone can describe them.”
Special Aspect creative activity- her goals. There are many motives that writers used to explain their work. A.P. Chekhov saw the writer’s task not in searching for radical recommendations, but in “ correct positioning» questions: “In “Anna Karenina” and “Onegin” not a single question is resolved, but they are completely satisfying, only because all the questions are posed in them correctly. The court is obliged to pose the right questions, and let the jury decide, each to their own taste.”
One way or another, literary work expresses the author's attitude to reality , which becomes, to a certain extent, the initial assessment for the reader, the “plan” for subsequent life and artistic creativity.
The author's position reveals a critical attitude towards the environment, activating people's desire for an ideal, which, like absolute truth, is unattainable, but which needs to be approached. “It is in vain that others think,” reflects I. S. Turgenev, “that in order to enjoy art, one innate sense of beauty is enough; without understanding there is no complete pleasure; and the sense of beauty itself is also capable of gradually becoming clearer and ripening under the influence of preliminary work, reflection and study of great examples.”
Fiction - a form of recreation and re-creation of life inherent only in art in plots and images that do not have a direct correlation with reality; a means of creating artistic images. Artistic fiction is a category important for differentiating the artistic itself (there is“attachment” to fiction) and documentary-informational (fiction is excluded) works. Measureartistic fiction in a work may be different, but it is a necessary component artistic image life.
Fantasy - this is one of the types of fiction in which ideas and images are based solely on a wonderful world fictional by the author, on the image of the strange and implausible. It is no coincidence that the poetics of the fantastic is associated with the doubling of the world, its division into the real and the imagined. Fantastic imagery is inherent in such folklore and literary genres, as a fairy tale, epic, allegory, legend, grotesque, utopia, satire.
It's fiction a figment of the author’s imagination (fantasy), the creation of plots and images that have no direct correspondence in previous art and reality. Through fiction, a writer embodies his view of the world and also demonstrates creative energy. The activity of a writer’s imagination, as S. Freud spoke about, is often generated by unsatisfied drives and suppressed desires driven into the subconscious. Along with relying on facts directly observed by the writer, the use of prototypes and mythological, historical, literary sources, fiction constitutes the most important and universally significant method of artistic generalization, without which art is unimaginable, because it is based on “the ability to endow productivity with the power of imagination” (Humboldt V. Language and philosophy of culture). Consistent and complete rejection of fiction puts creativity on the border with other forms literary activity(philosophical essays, documentary information, journalism), and even takes it beyond the limits of verbal art in the strict sense; artistry without the participation of fiction, according to M. Gorky, “is impossible, does not exist.” Fiction in literature is invaluable as a means of creating an organic, holistic imaginative world; with his constant participation, “labyrinths of connections” are created (L. Tolstoy), possessing semantic richness and aesthetic expressiveness. At the same time, fiction is not arbitrary fantasy: it has certain boundaries. Fiction appears in literature either as a conjecture (often inconspicuous) of mythological and historical sources(ancient drama, Old Russian story) or life prototypes ( autobiographical works; “War and Peace” by L.N. Tolstoy; many stories by N.S. Leskov), or in the form of active transformation of the material and demonstration of the flight of imagination with the help of conventional forms (works of Dante and J. Milton, J. Swift, N.V. Gogol).
The sphere of fiction is the individual components of the form of a work (coincidences of circumstances that make up the plot; unique individual traits of characters and their behavior; everyday details and their combinations), but not the initial principles of form-building. The latter are determined by extra-artistic reality and, above all, by the forms of nature and culture (in in a broad sense), acting as life analogues of imagery (for example, the comic in the “low” genres of ancient and medieval literature as a refraction of carnival laughter; an adventurous plot as a reflection of adventurous human behavior; artistic tropes as the embodiment of people’s associative ability; syntax artistic speech as the implementation of expression of colloquial and oratorical statements). Fiction is not included in the sphere of artistic content, which is predetermined by the spiritual world of the writer and primary reality (mainly ideological life and the psychology of society): the author, in the words of M.M. Bakhtin, “predestines” his hero, but cannot “invent” him ( Bakhtin M.M. Aesthetics of verbal creativity).
In the early stages of verbal art, still involved in the mythological worldview, the fiction was pronounced and acted as an unrestrained fantasy, but it was not recorded by consciousness. Life and artistic truth in folklore, literature of antiquity and the Middle Ages were usually not distinguished; the events of traditions, legends, epic poems, chronicles, and lives were thought of as having taken place; these genres constituted the realm of unconscious fiction. Significant milestone a fairy tale appeared from conscious fiction, which came into spontaneous contradiction with the mythologized consciousness and anticipated later genres in that it “is never presented as reality” (Propp V.Ya. Folklore and reality). The ever-living fairytale principle, the core of which is the most active fiction, artistically embodies the most cherished human aspirations. Subjects fairy tales distance and free people from a reality that does not satisfy them, encourage a person to hope (guess) that “he can really contribute to the decoration and multiplication of the riches of creation” (Tolkien).
Already the ancient Greek thinkers, who understood poetry primarily as imitation, also recognized the rights of fiction, which, according to Plato, is present in myth; according to Aristotle, the poet speaks not about the past, but about the possible; the role of artistic fantasy in the Hellenistic era. The historical formation of fiction took place mainly in the form of proactive conjecture of myths ( ancient tragedy) And historical legends(songs about exploits, sagas, epics). For the strengthening of individual fiction, the serious-comical genres of late antiquity ("") were especially favorable, where authors, having come into contact with reality close to them, were freed from the power of legend. Fiction is clearly recognized in courtly and animal epics, fabliau and other forms of short stories of the Western European Middle Ages, which in the main genres ancient Russian literature(military stories, lives of saints) did not exist until the 17th century: the authors thought of themselves as keepers of tradition, but not writers.
The increase in the activity of fiction in the literature of the New Age is preceded by “ Divine Comedy"(1307-21) Dante. Traditional images and plots are dramatically transformed in the works of G. Boccaccio and W. Shakespeare; unprecedentedly dared fiction in the stories of F. Rabelais. In the literature of pre-romanticism and especially romanticism, he showed himself with maximum completeness and brightness. Here fiction is recognized as the most important property of poetry, whereas earlier (especially in the aesthetics of classicism) verbal art was understood as a reliable recreation of nature; traditional orientation towards literary examples of the past as modern norm began to be opposed to “writing according to its own laws” (Kleist G. Selected). Relying on mythological, folklore and literary sources, writers of the first third of the 19th century updated and transformed their very meaning: I.V. Goethe turned to old plots and images in order to fill them with new content each time (“Faust”, 1808-31); A.S. Pushkin’s work is replete with borrowings, imitations, reminiscences, and quotations, while remaining deeply original. In the 20th century, the tendency to update and rethink traditional images and motifs was inherited in the dramaturgy of I.F.Annensky and Yu.O’Neill. Zh. "(1929-40) M.A. Bulgakova, historical novels T. Wilder. At the same time, invented images and plots widely exist in literature that have no direct analogues either in history or previous literature, or in the reality close to the writers (the plots of the stories of E.T.A. Hoffman, E.A. Poe, N.V., marked by fantasticality and exoticism). .Gogol, poems by J. Byron, A.S. Pushkin, M.Yu. The understanding of poetry as “writing” is associated with the authors’ focus on an original generalization, often with their claim to complete spiritual independence, and sometimes with elitist aspirations. In the era of romanticism, new boundaries of fiction also emerged: the author’s focus on mastering close reality and self-expression aroused the energy of direct observation of life and introspection, so that the characters of the work often imprinted the features of the author’s immediate environment (Byron’s poems).
IN realistic literature 19-20 centuries, which sharply reduced the distance between primary reality and artistic world, fiction often gives way to the reproduction of facts and people personally known to the author. Selectively including real persons and real events in their works, quietly speculating and “rearranging” them, writers of the 19th century (following the sentimentalists) often preferred real facts to fictional ones and sometimes emphasized the advantage of writing “from life” (S.T. Aksakov, N. S. Leskov). The late Tolstoy, doubting the possibilities of art, subjected fiction to harsh judgment: “It is shameful to write a lie, that something happened that did not happen. If you want to say something, say it directly" ( Complete collection essays). F.M. Dostoevsky also gave preference to “nature” over V., noting, however, that adequate reproduction of a single fact cannot exhaust its essence. “Trace another, even not so bright at first glance, fact of real life - and if only you are strong and have an eye, you will find in it a depth that Shakespeare does not have... But, of course, we will never exhaust the entire phenomenon, not get to the end and the beginning of it. We are familiar only with the vital, visible and current, and even then only visually, but the end and the beginning are still fantastic for a person” (Dostoevsky F.M. On Art). What is depicted by a realist writer is, as a rule, an organic fusion of the fictional and the non-fictional. Thus, A.P. Chekhov relied in his works on persons, events, everyday details drawn from the surrounding reality, and at the same time rearranged what he saw beyond recognition; T. Mann spoke about the “stimulating effect of facts” and “living details” on his work, in the fruits of which primary reality, however, is dramatically transformed (T. Mann. Letters).
In the 20th century, fiction was repeatedly criticized as a phenomenon that had exhausted itself and was forced to give way to the “literature of fact.” This look harkens back to the avant-garde aesthetic of the 1920s. In the literature of the 20th century, fiction is very clearly manifested (along with fairy tales) in works marked by the conventionality of images and catchy generalizations ( romantic works M. Gorky, “City of Grads”, 1928, A.P. Platonov). The currently predominant sphere of open active fiction is the genres of detective fiction, adventure literature, science fiction. The types and forms of use of fiction in literature, as can be seen, are very diverse: writers can talk about what really happened, and about the possible (Aristotle), and, on the contrary, about the impossible.