3. Fiction. Conventionality and life-likeness
Fiction in the early stages of the development of art, as a rule, was not realized: the archaic consciousness did not distinguish between historical and artistic truth. But already in folk tales, which never present themselves as a mirror of reality, conscious fiction is quite clearly expressed. We find judgments about artistic fiction in Aristotle’s “Poetics” (chapter 9—the historian talks about what happened, the poet talks about the possible, about what could happen), as well as in the works of philosophers of the Hellenistic era.
For a number of centuries, fiction has appeared in literary works as a common property, as inherited by writers from their predecessors. Most often, these were traditional characters and plots, which were somehow transformed each time (this was the case (92), in particular, in the drama of the Renaissance and classicism, which widely used ancient and medieval plots).
Much more than was the case before, fiction manifested itself as the individual property of the author in the era of romanticism, when imagination and fantasy were recognized as the most important facet of human existence. "Fantasy<...>- wrote Jean-Paul, - there is something higher, it is the world soul and the elemental spirit of the main forces (such as wit, insight, etc. - V.Kh.)<...>Fantasy is hieroglyphic alphabet nature" 1. The cult of imagination, characteristic of the beginning of the 19th century, marked the emancipation of the individual, and in this sense constituted a positively significant fact of culture, but at the same time it also had negative consequences (artistic evidence of this is the appearance of Gogol’s Manilov, the fate of the hero of Dostoevsky’s White Nights) .
In the post-romantic era, fiction somewhat narrowed its scope. Flights of imagination of writers of the 19th century. often preferred direct observation of life: characters and plots were close to their prototypes. According to N.S. Leskova, real writer- this is a “note-taker”, not an inventor: “Where a writer ceases to be a note-taker and becomes an inventor, all connection between him and society disappears” 2. Let us also recall Dostoevsky’s well-known judgment that a close eye is capable of detecting in the most ordinary fact “a depth that is not found in Shakespeare” 3 . Russian classical literature was more a literature of conjecture” than of fiction as such 4 . At the beginning of the 20th century. fiction was sometimes regarded as something outdated, rejected in the name of reconstruction real fact, documented. This extreme has been disputed 5 . The literature of our century - as before - relies widely on both fiction and non-fictional events and persons. At the same time, the rejection of fiction in the name of following the truth of the fact, in some cases justified and fruitful 6, can hardly become the main line of artistic creativity: without relying on fictional images, art and, in particular, literature are unrepresentable.
Through fiction, the author summarizes the facts of reality, embodies his view of the world, and demonstrates his creative energy. S. Freud argued that artistic fiction is associated with the unsatisfied drives and suppressed desires of the creator of the work and involuntarily expresses them 7 .
The concept of artistic fiction clarifies the boundaries (sometimes very vague) between works that claim to be art and documentary information. If documentary texts (verbal and visual) exclude the possibility of fiction from the outset, then works with the intention of perceiving them as fiction readily allow it (even in cases where the authors limit themselves to recreating actual facts, events, and persons). Messages in literary texts are, as it were, on the other side of truth and lies. At the same time, the phenomenon of artistry can also arise when perceiving a text created with a documentary mindset: “... for this it is enough to say that we are not interested in the truth of this story, that we read it “as if it were the fruit<...>writing" 1.
Forms of “primary” reality (which is again absent in “pure” documentary) are reproduced by the writer (and artist in general) selectively and in one way or another transformed, resulting in a phenomenon that D.S. Likhachev named internal the world of the work: “Every work of art reflects the world of reality in its creative perspectives<...>. The world of a work of art reproduces reality in a certain “abbreviated”, conditional version<...>. Literature takes only some phenomena of reality and then conventionally reduces or expands them” 2.
In this case, there are two trends in artistic imagery, which are designated by the terms convention(the author’s emphasis on non-identity, or even opposition, between what is depicted and the forms of reality) and lifelikeness(leveling such differences, creating the illusion of the identity of art and life). The distinction between convention and life-likeness is already present in the statements of Goethe (article “On truth and verisimilitude in art”) and Pushkin (notes on drama and its improbability). But the relationships between them were especially intensely discussed at the turn of the 19th – (94) 20th centuries. L.N. carefully rejected everything implausible and exaggerated. Tolstoy in his article “On Shakespeare and His Drama.” For K.S. Stanislavsky’s expression “conventionality” was almost synonymous with the words “falsehood” and “false pathos.” Such ideas are associated with an orientation towards the experience of Russian realistic literature of the 19th century, the imagery of which was more life-like than conventional. On the other hand, many artists of the early 20th century. (for example, V.E. Meyerhold) preferred conventional forms, sometimes absolutizing their significance and rejecting life-likeness as something routine. Thus, in the article P.O. Jacobson's “On Artistic Realism” (1921) emphasizes conventional, deforming, and difficult techniques for the reader (“to make it more difficult to guess”) and denies verisimilitude, which is identified with realism as the beginning of the inert and epigonic 3 . Subsequently, in the 1930s – 1950s, on the contrary, life-like forms were canonized. They were considered the only acceptable ones for the literature of socialist realism, and convention was suspected of being related to odious formalism (rejected as bourgeois aesthetics). In the l960s, the rights of artistic convention were again recognized. Nowadays, the view has been strengthened that life-likeness and conventionality are equal and fruitfully interacting tendencies of artistic imagery: “like two wings on which creative imagination rests in an indefatigable thirst to find out the truth of life” 4.
At the early historical stages in art, forms of representation prevailed, which are now perceived as conventional. This is, firstly, generated by a public and solemn ritual idealizing hyperbole traditional high genres(epic, tragedy), the heroes of which manifested themselves in pathetic, theatrically effective words, poses, gestures and had exceptional appearance features that embodied their strength and power, beauty and charm. (Remember the epic heroes or Gogol’s Taras Bulba). And secondly, this grotesque, which was formed and strengthened as part of carnival celebrations, acting as a parody, laughter “double” of the solemn-pathetic one, and later acquired programmatic significance for the romantics 1 . It is customary to call the artistic transformation of life forms, leading to some kind of ugly incongruity, to the combination of incompatible things, grotesque. Grotesque in art is akin to paradox in (95) logic. MM. Bakhtin, who studied traditional grotesque imagery, considered it the embodiment of a festive and cheerful free thought: “The grotesque frees us from all forms of inhuman necessity that permeate the prevailing ideas about the world<...>debunks this necessity as relative and limited; grotesque form helps liberation<...>from walking truths, allows you to look at the world in a new way, feel<...>the possibility of a completely different world order” 2. In the art of the last two centuries, the grotesque, however, often loses its cheerfulness and expresses a total rejection of the world as chaotic, frightening, hostile (Goya and Hoffmann, Kafka and the theater of the absurd, to a large extent Gogol and Saltykov-Shchedrin).
Art initially contains life-like principles, which made themselves felt in the Bible, classical epics of antiquity, and Plato’s dialogues. In the art of modern times, life-likeness almost dominates (the most striking evidence of this is the realistic narrative prose of the 19th century, especially L.N. Tolstoy and A.P. Chekhov). It is essential for authors who show man in his diversity, and most importantly, who strive to bring what is depicted closer to the reader, to minimize the distance between the characters and the perceiving consciousness. However, in art of the 19th century–XX centuries conditional forms were activated (and at the same time updated). Nowadays this is not only traditional hyperbole and grotesque, but also all kinds of fantastic assumptions (“Kholstomer” by L.N. Tolstoy, “Pilgrimage to the Land of the East” by G. Hesse), demonstrative schematization of the depicted (B. Brecht’s plays), exposure of the technique (“ Eugene Onegin” by A.S. Pushkin), effects of montage composition (unmotivated changes in place and time of action, sharp chronological “breaks”, etc.).
3. Fiction. Conventionality and life-likeness
Fiction in the early stages of the development of art, as a rule, was not realized: the archaic consciousness did not distinguish between historical and artistic truth. But already in folk tales, which never present themselves as a mirror of reality, conscious fiction is quite clearly expressed. We find judgments about artistic fiction in Aristotle’s “Poetics” (chapter 9—the historian talks about what happened, the poet talks about the possible, about what could happen), as well as in the works of philosophers of the Hellenistic era.
For a number of centuries, fiction has appeared in literary works as a common property, as inherited by writers from their predecessors. Most often, these were traditional characters and plots, which were somehow transformed each time (this was the case (92), in particular, in the drama of the Renaissance and classicism, which widely used ancient and medieval plots).
Much more than was the case before, fiction manifested itself as the individual property of the author in the era of romanticism, when imagination and fantasy were recognized as the most important facet of human existence. "Fantasy<...>- wrote Jean-Paul, - there is something higher, it is the world soul and the elemental spirit of the main forces (such as wit, insight, etc. - V.Kh.)<...>Fantasy is hieroglyphic alphabet nature" 1. The cult of imagination, characteristic of the beginning of the 19th century, marked the emancipation of the individual, and in this sense constituted a positively significant fact of culture, but at the same time it also had negative consequences (artistic evidence of this is the appearance of Gogol’s Manilov, the fate of the hero of Dostoevsky’s White Nights) .
In the post-romantic era, fiction somewhat narrowed its scope. Flights of imagination of writers of the 19th century. often preferred direct observation of life: characters and plots were close to their prototypes. According to N.S. Leskova, a real writer is a “note-taker,” and not an inventor: “Where a writer ceases to be a note-taker and becomes an inventor, all connection between him and society disappears” 2. Let us also recall Dostoevsky’s well-known judgment that a close eye is capable of detecting in the most ordinary fact “a depth that is not found in Shakespeare” 3 . Russian classical literature was more a literature of conjecture than of fiction as such 4 . At the beginning of the 20th century. fiction was sometimes regarded as something outdated and rejected in the name of recreating a real fact that was documented. This extreme has been disputed 5 . The literature of our century - as before - relies widely on both fiction and non-fictional events and persons. At the same time, the rejection of fiction in the name of following the truth of the fact, in some cases justified and fruitful 6, can hardly become the main line of artistic creativity: without relying on fictional images, art and, in particular, literature are unrepresentable.
Through fiction, the author summarizes the facts of reality, embodies his view of the world, and demonstrates his creative energy. S. Freud argued that artistic fiction is associated with the unsatisfied drives and suppressed desires of the creator of the work and involuntarily expresses them 7 .
The concept of artistic fiction clarifies the boundaries (sometimes very vague) between works that claim to be art and documentary information. If documentary texts (verbal and visual) exclude the possibility of fiction from the outset, then works with the intention of perceiving them as fiction readily allow it (even in cases where the authors limit themselves to recreating actual facts, events, and persons). Messages in literary texts are, as it were, on the other side of truth and lies. At the same time, the phenomenon of artistry can also arise when perceiving a text created with a documentary mindset: “... for this it is enough to say that we are not interested in the truth of this story, that we read it “as if it were the fruit<...>writing" 1.
Forms of “primary” reality (which is again absent in “pure” documentary) are reproduced by the writer (and artist in general) selectively and in one way or another transformed, resulting in a phenomenon that D.S. Likhachev named internal the world of the work: “Every work of art reflects the world of reality in its creative perspectives<...>. The world of a work of art reproduces reality in a certain “abbreviated”, conditional version<...>. Literature takes only some phenomena of reality and then conventionally reduces or expands them” 2.
In this case, there are two trends in artistic imagery, which are designated by the terms convention(the author’s emphasis on non-identity, or even opposition, between what is depicted and the forms of reality) and lifelikeness(leveling such differences, creating the illusion of the identity of art and life). The distinction between convention and life-likeness is already present in the statements of Goethe (article “On truth and verisimilitude in art”) and Pushkin (notes on drama and its improbability). But the relationships between them were especially intensely discussed at the turn of the 19th – (94) 20th centuries. L.N. carefully rejected everything implausible and exaggerated. Tolstoy in his article “On Shakespeare and His Drama.” For K.S. Stanislavsky’s expression “conventionality” was almost synonymous with the words “falsehood” and “false pathos.” Such ideas are associated with an orientation towards the experience of Russian realistic literature of the 19th century, the imagery of which was more life-like than conventional. On the other hand, many artists of the early 20th century. (for example, V.E. Meyerhold) preferred conventional forms, sometimes absolutizing their significance and rejecting life-likeness as something routine. Thus, in the article P.O. Jacobson's “On Artistic Realism” (1921) emphasizes conventional, deforming, and difficult techniques for the reader (“to make it more difficult to guess”) and denies verisimilitude, which is identified with realism as the beginning of the inert and epigonic 3 . Subsequently, in the 1930s – 1950s, on the contrary, life-like forms were canonized. They were considered the only acceptable ones for the literature of socialist realism, and convention was suspected of being related to odious formalism (rejected as bourgeois aesthetics). In the l960s, the rights of artistic convention were again recognized. Nowadays, the view has been strengthened that life-likeness and conventionality are equal and fruitfully interacting tendencies of artistic imagery: “like two wings on which creative imagination rests in an indefatigable thirst to find out the truth of life” 4.
At the early historical stages in art, forms of representation prevailed, which are now perceived as conventional. This is, firstly, generated by a public and solemn ritual idealizing hyperbole traditional high genres (epic, tragedy), the heroes of which manifested themselves in pathetic, theatrically effective words, poses, gestures and had exceptional appearance features that embodied their strength and power, beauty and charm. (Remember the epic heroes or Gogol’s Taras Bulba). And secondly, this grotesque, which was formed and strengthened as part of carnival celebrations, acting as a parody, laughter “double” of the solemn-pathetic one, and later acquired programmatic significance for the romantics 1 . It is customary to call the artistic transformation of life forms, leading to some kind of ugly incongruity, to the combination of incompatible things, grotesque. Grotesque in art is akin to paradox in (95) logic. MM. Bakhtin, who studied traditional grotesque imagery, considered it the embodiment of a festive and cheerful free thought: “The grotesque frees us from all forms of inhuman necessity that permeate the prevailing ideas about the world<...>debunks this necessity as relative and limited; grotesque form helps liberation<...>from walking truths, allows you to look at the world in a new way, feel<...>the possibility of a completely different world order” 2. In the art of the last two centuries, the grotesque, however, often loses its cheerfulness and expresses a total rejection of the world as chaotic, frightening, hostile (Goya and Hoffmann, Kafka and the theater of the absurd, to a large extent Gogol and Saltykov-Shchedrin).
Art initially contains life-like principles, which made themselves felt in the Bible, classical epics of antiquity, and Plato’s dialogues. In the art of modern times, life-likeness almost dominates (the most striking evidence of this is the realistic narrative prose of the 19th century, especially L.N. Tolstoy and A.P. Chekhov). It is essential for authors who show man in his diversity, and most importantly, who strive to bring what is depicted closer to the reader, to minimize the distance between the characters and the perceiving consciousness. At the same time, in the art of the 19th – 20th centuries. conditional forms were activated (and at the same time updated). Nowadays this is not only traditional hyperbole and grotesque, but also all kinds of fantastic assumptions (“Kholstomer” by L.N. Tolstoy, “Pilgrimage to the Land of the East” by G. Hesse), demonstrative schematization of the depicted (B. Brecht’s plays), exposure of the technique (“ Eugene Onegin” by A.S. Pushkin), effects of montage composition (unmotivated changes in place and time of action, sharp chronological “breaks”, etc.).
depicted in fiction events, characters, circumstances that do not actually exist. Fiction does not pretend to be true, but it is not a lie either. This is a special kind of 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 device. 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. The philosopher Aristotle in his treatise “Poetics” 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, the genre of the novel was formed in ancient Greek and Roman literature, 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 the Renaissance, they were joined by small prose genre with an unexpected plot development - a short story. In modern times, the genres of novel and short story are formed, which are also inextricably linked with artistic fiction.
In Western European medieval literature, artistic fiction is characteristic primarily of poetic and prose novels of chivalry. In the 17th–18th centuries. V European literature The genre of adventure novel was very popular. 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 did not know fiction, which was considered unhelpful 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 demanded authenticity, verisimilitude and limited the writer’s imagination: the arbitrariness of the author’s imagination was not welcomed. Baroque, romanticism, and modernism favored the right of the writer to depict events that were incredible from the point of view of ordinary consciousness or the laws of earthly life.
Fiction is diverse. 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. Bely “Petersburg”), as in literary fairy tales(for example, in the fairy tales of the German romantic E. T. A. Hoffmann, in the fairy tales of the Danish writer H. C. Andersen, in the fairy tales of M. E. Saltykov-Shchedrin) or in works related to fairy tales in the genre of fantasy novels (for example, in the novels of J. Tolkien and C. Lewis). Artistic fiction is an integral feature historical novels, even if all their characters are real people. In literature, the boundaries between fiction and authenticity are very conditional and fluid: they are difficult to draw in the genre of memoirs, artistic autobiographies, literary biographies, telling about the lives of famous people.
Artistic fiction. Fantasy
Fiction - everything that is created by the writer’s imagination, his fantasy. Fiction is a means of creation artistic images. It is based on life experience writer. But at the same time in work of art the writer depicts not what actually happened, but what could have happened. Fiction, the creative fantasy of the artist, does not oppose reality, but is a special form of reflection of life, inherent only in art. Not all events are of any specific human life are important and non-random, and with the help of artistic fiction the writer highlights the most significant events, leaving less significant ones in the shadows. Thus, only the most basic and important from the writer’s point of view comes to the fore. Thanks to artistic fiction, the writer gets so accustomed to his characters that for him they begin to seem to really exist. For example, L. N. Tolstoy wrote about this process of “getting used to” his hero: “Until he becomes a good acquaintance for me, until I see him and hear his voice, I do not start writing.” The power of imagination and knowledge of life help the writer imagine what the character he created would act in each specific situation. The image begins to live independent life in accordance with the laws of artistic logic and even performs actions unexpected for the writer himself. Thus, Pushkin wrote about the main character of “Eugene Onegin”: “Imagine what kind of thing Tatyana ran away with me! She got married. I never expected this from her.” Turgenev also said something similar about his Bazarov, who “dr.came to life" under his pen and began to act at his own discretion. JI. N. Tolstoy allowed for the possibility of artistic fiction even when it came to specific historical material: “Are you asking whether it is possible to “invent” a biography of a historical person? It should. But to make it so that it was probable, to make it so that it (made up), if it did not happen, then it should have happened... there are random dates that have no significance in the development of historical events. They can be treated as the artist pleases.”
But at the same time, there are works where not so much is “invented” or invented. For example, Balzac wrote about one of his novels that any fact described there was taken from life, right down to the very romantic stories. Hemingway wrote “The Old Man and the Sea” based on the story of the old Cuban fisherman Miguel Ramirez, who became the prototype for the Old Man. Kaverin created “Two Captains” without deviating from the facts known to him.
The degree of fiction in a work of art may vary. It varies depending on the personality of the writer, his creative principles, design and many other factors. But fiction is always present in a work, since it allows us to select only the most significant and essential from a variety of real factors and translate it into an artistic image.
Fantasy - depiction of implausible objects and phenomena, the introduction of fictitious images that do not coincide with reality, the artist’s violation of natural forms, connections, and patterns. This term comes from the word "fantasy" (in Greek mythology Phantasm - a deity who caused illusions, apparent images, brother of the god of dreams Morpheus). Fantasy is a necessary condition for any type of art, regardless of its nature (idealistic, realistic, naturalistic) and even all creativity in general - scientific, technical, philosophical.
In art, two types of fiction can be distinguished:
1) obvious: the obvious fantastic nature of artistic images. For example, in Gogol’s “The Nose,” one of the main characters of the work is a clearly fantastic creature - the nose of the collegiate assessor Kovalev, who leads a completely independent lifestyle and even has a fairly high rank;
2) an unconsciously fantastic refraction of reality in people’s minds, which may be associated, for example, with religious thinking or superstitions. This type of fantasy is typical, for example, of myths. Unlike a fairy tale, which is perceived as fiction, a myth has an attitude of authenticity and is perceived as a reflection real world. For example, Dante in " Divine Comedy"depicts the afterlife (hell, purgatory and heaven) as something completely genuine and real.
In the first case, fantasy is art form, which can be compared with such poetic means, as hyperbole, metaphor, trope. In this case, the illusory nature, the conventionality of the fantastic image, and the attitude towards it as fiction are obvious. In the second case, we are talking about an unconscious distortion of reality.
Thus, fiction is one of the means artistic image, a method of artistic construction, which consists in depicting clearly implausible, incredible objects and phenomena.
In the early stages of human development, science fiction was embodied in different religions, in mythology, in the creation of pagan cults. Science fiction was actively used during creation.Fairy tales, both folk and literary: Baba Yaga, Koschey the Immortal, Aladdin's lamp, treasure sword, flying carpet, self-assembled tablecloth, mermaids, genies, trolls, elves, firebirds, etc. As science develops and science fiction techniques are used to look into the future (for example, Jules Verne’s novel “Twenty Thousand Leagues Under the Sea”, “The Time Machine” by H.G. Wells and others).
Science fiction is often used as a means of satirical illumination of reality. Thus, Swift in Gulliver's Travels uses fantastic images as a means of satire on contemporary society.
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. This is a special kind of 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 gradually took root when works of literature began to be perceived as artistic compositions 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 ceased 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 between literary works and historical works is 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 incredible adventures happen to the heroes of the novels (usually a young man and a girl in love), 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, they are joined by a small 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. the genre was very popular in European literature 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 did not know fiction, which was considered unhelpful 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 movements did not have the same attitude towards artistic fiction. 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 were incredible from the point of view of ordinary consciousness or the laws of earthly life.
Fiction is diverse. He may not deviate from verisimilitude in depicting everyday life, as in realistic novels, but he may also completely break with the requirements of conformity 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. Hoffmann, in the tales of the Danish writer H.C. Andersen, in the 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 inherent only to art of recreating and displaying life in plots and images that do not have a direct correlation with reality. Measure V. x. in a work may 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 make it look like 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, 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...