Literature is our heritage. It is she who we must thank for the fact that from childhood we are instilled with the norms of culture and etiquette. But studying this subject for schoolchildren causes a lot of problems, especially when it comes to composition. Surely everyone has had to write an analysis of the character after reading a literary work. How to do it? Where to begin? Just a lot of questions in my head. That is why we invite you to analyze the specification plan. We will do this using specific examples. We will definitely consider this type as literary heroes. We will definitely provide a plan and examples below.
Where to begin
Before proceeding directly to writing an essay, you need to develop a plan for characterizing a literary hero. If we don’t need to compare it with anyone, then it will look something like this:
- Introduction.
- A few words about the author and the work.
- The role of the hero in the proposed work and his general description.
- His views on specific problems of the work.
- Relationships with other characters.
- Conclusion.
Let us immediately note that the first two points can be combined. It is a common practice for the introduction to be dedicated to the work and its author. There is no need to add anything more. Be sure to divide the entire text into meaningful paragraphs. This way it is easier to perceive. Pay attention to such a technique as quoting, it is very important. We have looked at an approximate plan for characterizing a literary hero, but how to apply the acquired knowledge in practice? We suggest applying the above with an example.
Example
To begin with, let's take a simpler hero and a work in which all the problems are clearly defined. We offer the famous story “Mumu”, written by the greatest author Ivan Sergeevich Turgenev. Of course, let's take the main character. The plan for characterizing the hero of a literary work, in our case Gerasim from the story “Mumu,” will look like this:
- Introduction.
- The appearance of the hero.
- Personality and character.
- Conclusion.
You can add more points at your discretion, but we will stop there. Carefully consider all the parts when you have drawn up a plan for characterizing a literary hero; it is better not to deviate from it, but strictly follow it in order. Here we will write briefly, to the bare minimum.
Introduction
The story “Mumu” by Ivan Sergeevich is not entirely fiction; the heroes Gerasim, Kapiton, and the lady are all real people living on the Lutovinsky estate.
Turgenev not only retold the story with the janitor and his dog, but also endowed it with even greater meaning. The story was immediately perceived as anti-serfdom and caused a stunning impression.
Appearance
If we look at the plan for compiling the characteristics of a literary hero, we can notice the following point, dedicated to the external appearance of a person. The most interesting and time-consuming part of the work. We suggest that you refer to the text more and insert as many quotes as possible.
As the author shows us Gerasima: he is a serious and strict mute janitor who belongs to a lady who is a tyrant by nature. Ivan Sergeevich calls him a real Russian hero, because he is incredibly strong and less than five centimeters two meters tall.
Personality
From the lines of the work it becomes clear that Gerasim is a hardworking and responsible person with a strong physical body. He is unusual, which is confirmed by the lines: “... Of all her servants, the most remarkable person was the janitor Gerasim...”.
Another distinctive feature of our hero is solitude, since he was lonely all his life, did not like people to come to him, and lived separately from his brothers. He loves the countryside very much, prefers it to the city. So he grew up alienated all his life because of his illness (Gerasim was mute from birth) and grew into a strong and resilient hero, like a mighty tree.
He is a very respected person, worthy, knows his rights and responsibilities.
Conclusion
At this point it is necessary to summarize the essay.
The act of the janitor is very interesting; why did he drown the puppy he loved so much? He was the only living creature who reciprocated his feelings. This act can be interpreted as a protest against serfdom. I.S. Aksakov interpreted it as follows: “Gerasim is the personification of the entire Russian people, strong in spirit and physically, distinguished by incomprehensible meekness.”
When reading works of fiction, we first of all pay attention to its main characters. All of them have clear characteristics in literary theory. We will find out which ones exactly from this article.
The word "image" in Russian literary criticism has several meanings.
Firstly, all art is figurative, i.e. reality is recreated by the artist with the help of images. In the image, the general, the generic is revealed through the individual and transformed. In this sense, we can say: the image of the Motherland, the image of nature, the image of man, i.e. depiction in artistic form of the Motherland, nature, man.
Secondly, at the linguistic level of the work, the image is identical to the concept of “trope”. In this case, we are talking about metaphor, comparison, hyperbole, etc., i.e. about figurative means of poetic language. If you imagine the figurative structure of the work, then the first figurative layer is the image-details. From them grows a second figurative layer, consisting of actions, events, moods, i.e. everything that unfolds dynamically in time. The third layer is images of characters and circumstances, heroes who find themselves in conflicts. From the images of the third layer a holistic image of fate and the world is formed, i.e. concept of being.
The image of a hero is an artistic generalization of human properties, character traits in the individual appearance of the hero. A hero can inspire admiration or repel, commit actions, act. An image is an artistic category. You cannot, for example, say: “I despise the image of Molchalin.” One can despise the silent type, but his image as an artistic phenomenon evokes admiration for the skill of Griboyedov. Sometimes, instead of the concept of “image,” the concept of “character” is used.
The concept of "character" is broader than the concept of "image". A character is any character in a work. You cannot say “lyrical character” instead of “lyrical hero”. A lyrical hero is an image of a hero in a lyrical work, whose experiences, feelings, thoughts reflect the author’s worldview. This is the artistic “double” of the author-poet, who has his own inner world, his own destiny. The lyrical hero is not an autobiographical image, although he reflects personal experiences, attitudes towards different aspects of the life of the author himself. The lyrical hero embodies the spiritual world of the author and his contemporaries. The lyrical hero of A. S. Pushkin is a harmonious, spiritually rich personality who believes in love and friendship , optimistic in her outlook on life. Another lyrical hero of M. Yu. Lermontov. This is the “son of suffering”, disappointed in reality, lonely, romantically yearning for will and freedom and tragically not finding them. Characters, like heroes, can be the main and minor ones, but when applied to episodic characters, only the term “character” is used.
Often a character is understood as a minor person who does not influence events, while a literary hero is a multi-faceted character who is important for expressing the idea of a work. You can come across the judgment that a hero is only that character who carries positive principles and is an exponent of the author’s ideal (Chatsky, Tatyana Larina, Bolkonsky, Katerina). The statement that negative satirical characters (Plyushkin, Judushka Golovlev, Kabanikha) are not heroes is incorrect. Here two concepts are mixed - the hero as a character and the heroic as a way of human behavior.
The satirical hero of a work is a character, a character against whom the edge of satire is directed. Naturally, such a hero is unlikely to be capable of heroic deeds, i.e. is not a hero in the behavioral sense of the word. In the creative process of creating images of heroes, some of them embody the most characteristic features of a given time and environment. Such an image is called a literary type.
A literary type is a generalized image of human individuality, the most possible, characteristic of a certain social environment at a certain time. The literary type reflects the laws of social development. It combines two sides: the individual (single) and the general. Typical (and this is important to remember) does not mean average; a type always concentrates in itself everything that is most striking, characteristic of an entire group of people - social, national, age, etc. In literature, types of positive heroes (Tatiana Larina, Chatsky), “superfluous people” (Eugene Onegin, Pechorin), Turgenev girls have been created. In aesthetically perfect works, each type is a character.
Character is human individuality, consisting of certain spiritual, moral, mental traits. This is the unity of an emotional reaction, temperament, will and a type of behavior determined by the socio-historical situation and time (era). Character consists of diverse traits and qualities, but this is not a random combination of them. Each character has a main, dominant feature, which gives living unity to the entire variety of qualities and properties. The character in a work can be static, already formed and manifested in actions. But most often character is presented in change, in development, in evolution. A pattern emerges in the development of character. The logic of character development sometimes conflicts with the author’s intention (even A.S. Pushkin complained to Pushchin that Tatyana got married without his “knowledge”). Obeying this logic, the author cannot always turn the hero’s fate the way he wants.
Character (actor)– in a prose or dramatic work, an artistic image of a person (sometimes fantastic creatures, animals or objects), which is both the subject of the action and the object of the author’s research.
In a literary work there are usually characters of different levels and varying degrees of participation in the development of events.
Hero. The central character, the main one for the development of the action, is called hero literary work. Characters who enter into ideological or everyday conflict with each other are the most important in character system. In a literary work, the relationship and role of the main, secondary, episodic characters (as well as off-stage characters in a dramatic work) are determined by the author's intention.
The role that authors assign to their hero is evidenced by the so-called “character” titles of literary works (for example, “Taras Bulba” by N.V. Gogol, “Heinrich von Oftendinger” by Novalis) . This, however, does not mean that in works entitled with the name of one character, there is necessarily one main character. Thus, V.G. Belinsky considered Tatyana an equal main character in A.S. Pushkin’s novel “Eugene Onegin,” and F.M. Dostoevsky considered her image even more significant than the image of Onegin. The title can introduce not one, but several characters, which, as a rule, emphasizes their equal importance for the author.
Character- a personality type formed by individual traits. The set of psychological properties that make up the image of a literary character is called character. Incarnation in a hero, a character of a certain life character.
Literary type – a character that carries a broad generalization. In other words, a literary type is a character in whose character the universal human traits inherent in many people prevail over personal, individual traits.
Sometimes the writer’s focus is on a whole group of characters, as, for example, in “family” epic novels: “The Forsyte Saga” by J. Galsworthy, “Buddenbrooks” by T. Mann. In the 19th–20th centuries. begins to be of particular interest to writers collective character as a certain psychological type, which sometimes also manifests itself in the titles of works (“Pompadours and Pompadours” by M.E. Saltykov-Shchedrin, “The Humiliated and Insulted” by F.M. Dostoevsky). Typification is a means of artistic generalization.
Prototype- a specific person who served the writer as the basis for creating a generalized image-character in a work of art.
Portrait as an integral part of the character structure, one of the important components of the work, organically fused with the composition of the text and the author’s idea. Types of portrait (detailed, psychological, satirical, ironic, etc.).
Portrait– one of the means of creating an image: depicting the appearance of the hero of a literary work as a way of characterizing him. A portrait may include a description of the appearance (face, eyes, human figure), actions and states of the hero (the so-called dynamic portrait, which depicts facial expressions, eyes, facial expressions, gestures, posture), as well as features formed by the environment or that are a reflection of the character’s individuality: clothing , manners, hairstyles, etc. A special type of description - a psychological portrait - allows the author to reveal the character, inner world and emotional experiences of the hero. For example, the portrait of Pechorin in the novel “Hero of Our Time” by M.Yu. Lermontov, portraits of heroes of novels and stories by F.M. Dostoevsky are psychological.
An artistic image is a specificity of art, which is created through typification and individualization.
Typification is the knowledge of reality and its analysis, as a result of which the selection and generalization of life material is carried out, its systematization, the identification of what is significant, the discovery of essential tendencies of the universe and folk-national forms of life.
Individualization is the embodiment of human characters and their unique identity, the artist’s personal vision of public and private existence, contradictions and conflicts of time, concrete sensory exploration of the non-human world and the objective world through artistic means. words.
The character is all the figures in the work, but excluding the lyrics.
Type (imprint, form, sample) is the highest manifestation of character, and character (imprint, distinctive feature) is the universal presence of a person in complex works. Character can grow from type, but type cannot grow from character.
The hero is a complex, multifaceted person. He is an exponent of plot action that reveals the content of works of literature, cinema, and theater. The author, who is directly present as a hero, is called a lyrical hero (epic, lyric). The literary hero opposes the literary character, who acts as a contrast to the hero, and is a participant in the plot
A prototype is a specific historical or contemporary personality of the author, who served as the starting point for creating the image. The prototype replaced the problem of the relationship between art and a real analysis of the writer’s personal likes and dislikes. The value of researching a prototype depends on the nature of the prototype itself.
- - a generalized artistic image, the most possible, characteristic of a certain social environment. A type is a character that contains a social generalization. For example, the type of “superfluous person” in Russian literature, with all its diversity (Chatsky, Onegin, Pechorin, Oblomov), had common features: education, dissatisfaction with real life, the desire for justice, the inability to realize oneself in society, the ability to have strong feelings, etc. d. Every time gives birth to its own types of heroes. The “superfluous person” has been replaced by the type of “new people”. This, for example, is the nihilist Bazarov.
Prototype- a prototype, a specific historical or contemporary personality of the author, who served as the starting point for creating the image.
Character - the image of a person in a literary work, which combines the general, repetitive and individual, unique. The author's view of the world and man is revealed through character. The principles and techniques for creating character differ depending on tragic, satirical and other ways of depicting life, on the literary type of work and genre. Literary character should be distinguished from character in life. When creating a character, a writer can also reflect the traits of a real, historical person. But he inevitably uses fiction, “invents” the prototype, even if his hero is a historical figure. "Character" and "character" - concepts are not identical. Literature is focused on creating characters, which often cause controversy and are perceived ambiguously by critics and readers. Therefore, in the same character you can see different characters (the image of Bazarov from Turgenev’s novel “Fathers and Sons”). In addition, in the system of images of a literary work, there are, as a rule, much more characters than characters. Not every character is a character; some characters only serve a plot role. As a rule, the secondary characters of the work are not characters.
Literary hero is an image of a person in literature. Also in this sense, the concepts “actor” and “character” are used. Often, only the more important characters (characters) are called literary heroes.
Literary heroes are usually divided into positive and negative, but this division is very arbitrary.
Often in literature there was a process of formalization of the character of heroes, when they turned into a “type” of some vice, passion, etc. The creation of such “types” was especially characteristic of classicism, with the image of a person playing a auxiliary role in relation to a certain advantage, disadvantage, or inclination.
A special place among literary heroes is occupied by genuine persons introduced into a fictional context - for example, historical characters in novels.
Lyrical hero - the image of the poet, the lyrical “I”. The inner world of the lyrical hero is revealed not through actions and events, but through a specific state of mind, through the experience of a certain life situation. A lyric poem is a specific and individual manifestation of the character of the lyrical hero. The image of the lyrical hero is revealed most fully throughout the poet’s work. Thus, in individual lyrical works of Pushkin (“In the depths of the Siberian ores...”, “Anchar”, “Prophet”, “Desire for Glory”, “I Love You...” and others) various states of the lyrical hero are expressed, but, taken together, they give us a fairly holistic picture of him.
The image of the lyrical hero should not be identified with the personality of the poet, just as the experiences of the lyrical hero should not be perceived as the thoughts and feelings of the author himself. The image of a lyrical hero is created by the poet in the same way as an artistic image in works of other genres, through the selection of life material, typification, and artistic invention.
Character - protagonist of a work of art. As a rule, the character takes an active part in the development of the action, but the author or one of the literary heroes can also talk about him. There are main and secondary characters. In some works the focus is on one character (for example, in Lermontov’s “Hero of Our Time”), in others the writer’s attention is drawn to a whole series of characters (“War and Peace” by L. Tolstoy).
Artistic image- a universal category of artistic creativity, a form of interpretation and exploration of the world from the position of a certain aesthetic ideal, through the creation of aesthetically affecting objects. Any phenomenon creatively recreated in a work of art is also called an artistic image. An artistic image is an image of art that is created by the author of a work of art in order to most fully reveal the described phenomenon of reality. At the same time, the meaning of an artistic image is revealed only in a certain communicative situation, and the final result of such communication depends on the personality, goals and even the mood of the person encountering it, as well as on the specific
Character(from French personage - personality, person) - the protagonist of a work of art. As a rule, the character takes an active part in the development of the action, but the author or one of the literary heroes can also talk about him. There are main and secondary characters. In some works the focus is on one character (for example, in Lermontov’s “Hero of Our Time”), in others the writer’s attention is drawn to a whole series of characters (“War and Peace” by L. Tolstoy).
Character(from Greek character - trait, peculiarity) - an image of a person in a literary work, which combines the general, repetitive and individual, unique. The author's view of the world and man is revealed through character. The principles and techniques for creating character differ depending on tragic, satirical and other ways of depicting life, on the literary type of work and genre.
It is necessary to distinguish literary character from character in life. When creating a character, a writer can also reflect the traits of a real, historical person. But he inevitably uses fiction, “invents” the prototype, even if his hero is a historical figure.
“Character” and “character” are not identical concepts. Literature is focused on creating characters, which often cause controversy and are perceived ambiguously by critics and readers. Therefore, in the same character you can see different characters (the image of Bazarov from Turgenev’s novel “Fathers and Sons”). In addition, in the system of images of a literary work, there are, as a rule, much more characters than characters. Not every character is a character; some characters only serve a plot role. As a rule, the secondary characters of the work are not characters.
Type- a generalized artistic image, the most possible, characteristic of a certain social environment. A type is a character that contains a social generalization. For example, the type of “superfluous person” in Russian literature, with all its diversity (Chatsky, Onegin, Pechorin, Oblomov), had common features: education, dissatisfaction with real life, the desire for justice, the inability to realize oneself in society, the ability to have strong feelings, etc. d. Every time gives birth to its own types of heroes. The “superfluous person” has been replaced by the type of “new people”. This, for example, is the nihilist Bazarov.
Lyrical hero - the image of the poet, the lyrical “I”. The inner world of the lyrical hero is revealed not through actions and events, but through a specific state of mind, through the experience of a certain life situation. A lyric poem is a specific and individual manifestation of the character of the lyrical hero. The image of the lyrical hero is revealed most fully throughout the poet’s work. Thus, in individual lyrical works of Pushkin (“In the depths of the Siberian ores...”, “Anchar”, “Prophet”, “Desire for Glory”, “I Love You...” and others) various states of the lyrical hero are expressed, but, taken together, they give us a fairly holistic picture of him.
The image of the lyrical hero should not be identified with the personality of the poet, just as the experiences of the lyrical hero should not be perceived as the thoughts and feelings of the author himself. The image of a lyrical hero is created by the poet in the same way as an artistic image in works of other genres, through the selection of life material, typification, and artistic invention.
Image system- a set of artistic images of a literary work. The system of images includes not only images of characters, but also images-details, images-symbols, etc.
When creating images, the following artistic means are used:
1. Speech characteristics of the hero, which includes monologue and dialogue. Monologue is the speech of a character addressed to another character or to the reader without expectation of a response. Monologues are especially characteristic of dramatic works (one of the most famous is Chatsky’s monologue from Griboyedov’s “Woe from Wit”). Dialogue is verbal communication between characters, which, in turn, serves as a way to characterize the character and motivate the development of the plot.
In some works, the character himself talks about himself in the form of an oral story, notes, diaries, letters. This technique, for example, is used in Tolstoy’s story “After the Ball.”
2. Mutual characterization, when one character talks about another (mutual characteristics of officials in Gogol’s “The Inspector General”).
3. Author's description, when the author talks about his hero. So, reading “War and Peace”, we always feel the author’s attitude towards people and events. It is revealed both in the portraits of the characters, and in direct assessments and characteristics, and in the author’s intonation.
Portrait- depiction in a literary work of the hero’s appearance: facial features, figures, clothing, posture, facial expressions, gestures, demeanor. In literature, a psychological portrait is often found in which, through the appearance of the hero, the writer seeks to reveal his inner world (the portrait of Pechorin in Lermontov’s “Hero of Our Time”).
Scenery- depiction of pictures of nature in a literary work. The landscape also often served as a means of characterizing the hero and his mood at a certain moment (for example, the landscape as perceived by Grinev in Pushkin’s “The Captain’s Daughter” before visiting the robber “military council” is fundamentally different from the landscape after this visit, when it became clear that the Pugachevites would not execute Grinev ).
1. Portrait- image of the hero’s appearance. As noted, this is one of the techniques for character individualization. Through a portrait, the writer often reveals the inner world of the hero, the features of his character. In literature, there are two types of portraits - unfolded and torn. The first is a detailed description of the hero’s appearance (Gogol, Turgenev, Goncharov, etc.), the second is that as the character develops, characteristic details of the portrait are highlighted (L. Tolstoy, etc.). L. Tolstoy categorically objected to a detailed description, considering it static and unmemorable. Meanwhile, creative practice confirms the effectiveness of this form of portraiture. Sometimes an idea of the hero’s external appearance is created without portrait sketches, but with the help of a deep disclosure of the hero’s inner world, when the reader, as it were, completes the picture himself. “So, in Pushkin’s romance “Eugene Onegin” nothing is said about the color of the eyes or stripes of Onegin and Tatiana, but the reader imagines them as alive.
2. Actions. As in life, the character of a hero is revealed primarily in what he does, in his actions. The plot of the work is a chain of events in which the characters' characters are revealed. A person is not judged by by what he says about himself, but by his behavior.
3. Individualization of speech. This is also one of the most important means of revealing the character of the hero, since in speech a person fully reveals himself. In ancient times there was an aphorism: “Speak so that I can see you.” The speech gives an idea of the hero’s social status, his character, education, profession, temperament and much more. The talent of a prose writer is determined by the ability to reveal the hero through his speech. All Russian classic writers are distinguished by the art of individualizing the speech of characters.
4. Biography of the hero. In a work of fiction, the hero’s life is depicted, as a rule, over a certain period. In order to reveal the origins of certain character traits, the writer often provides biographical information related to his past. Thus, in I. Goncharov’s novel “Oblomov” there is a chapter “Oblomov’s Dream,” which tells about the hero’s childhood, and it becomes clear to the reader why Ilya Ilyich grew up lazy and completely unadapted to life. Biographical information important for understanding Chichikov’s character is given by N. Gogol in the novel “Dead Souls”.
5. Author's description. The author of the work acts as an omniscient commentator. He comments not only on events, but also on what is happening in the spiritual world of the heroes. The author of a dramatic work cannot use this means, since his direct presence does not correspond to the peculiarities of dramaturgy (his stage directions are partially fulfilled).
6. Characteristics of the hero by other characters. This tool is widely used by writers.
7. Hero's worldview. Each person has his own view of the world, his own attitude towards life and people, so the writer, to complete the characterization of the hero, illuminates his worldview. A typical example is Bazarov in I. Turgenev’s novel “Fathers and Sons,” expressing his nihilistic views.
8. Habits, manners. Each person has his own habits and manners that shed light on his personal qualities. The habit of teacher Belikov from A. Chekhov’s story “The Man in a Case” to carry an umbrella and galoshes in any weather, guided by the principle “no matter what happens,” characterizes him as a hardened conservative.
9. The hero's attitude towards nature. By how a person relates to nature, to “our smaller brothers” animals, one can judge his character, his humanistic essence. For Bazarov, nature is “not a temple, but a workshop, and a person is a worker.” The peasant Kalinich has a different attitude towards nature (“Khor and Kalinich” by I. Turgenev).
10. Property characteristics. The caves surrounding a person give an idea of his material wealth, profession, aesthetic taste and much more. Therefore, writers widely use this tool, attaching great importance to the so-called artistic details. So, in the living room of landowner Manilov (“Dead Souls” by N. Gogol), the furniture has been standing unpacked for several years, and on the table there is a book, open for the same number of years on page 14.
11.Psychological analysis tools: dreams, letters, diaries, revealing the hero’s inner world. Tatyana's dream, letters from Tatyana and Onegin in A.S. Pushkin's novel “Eugene Onegin” help the reader understand the inner state of the characters.
12. Meaningful (creative) surname. Often, to characterize characters, writers use surnames or given names that correspond to the essence of their characters. Great masters of creating such surnames in Russian literature were N. Gogol, M. Saltykov-Shchedrin, A. Chekhov. Many of these surnames became household names: Derzhimorda, Prishibeev, Derunov, etc.
End of work -
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THE SCIENCE OF LITERATURE AND ITS COMPONENTS
INTRODUCTION... THE SCIENCE OF LITERATURE AND ITS COMPONENTS... Introduction to literary criticism...
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All topics in this section:
Features of the subject of literature
1. Living integrity. A scientist splits a subject, studies a person in parts: an anatomist - the structure of the body, a psychologist - mental activity, etc. In literature, man appears alive and whole.
Features of the artistic image
1. Concreteness - a reflection of the individual qualities of objects and phenomena. Specificity makes the image recognizable and different from others. In the image of a person, this is appearance, originality of speech
Literary genera and genres
We should talk about the difference between the three types of literature in terms of content, namely, in terms of the aspect of cognition and reproduction of life. Because of this, the general principles of creative typification of life in each genus manifest
Genres of epic works
Myth (from the Greek mythos - word, speech) is one of the oldest types of folklore, a fantastic story that explains in figurative form the phenomena of the surrounding world. Legend
Genres of lyrical works
A song is a short lyric poem intended to be sung. The song genre has its roots in ancient times. There are folklore and literary songs.
Genres of dramatic works
Tragedy (from gr. Tragos - goat and ode - song) is one of the types of drama, which is based on the irreconcilable conflict of an unusual personality with insurmountable external circumstances. About
Genre and style of literary work
The question of the genre of a work is one of the most difficult in the course; it is covered differently in textbooks, since in modern science there is no unity in the understanding of this category. Meanwhile, this is one of the
LITERARY WORK
Fiction exists in the form of literary works. The basic properties of literature, which were discussed in the first section, are manifested in each individual work. Artist
Theme Features
1. Socio-historical conditioning. The writer does not invent themes, but takes them from life itself, or rather, life itself suggests themes to him. Thus, in the 19th century, the topic of cre
Features of the idea
1. We said that the idea is the main idea of the work. This definition is correct, but it needs clarification. It must be borne in mind that the idea in a work of art is expressed very differently.
COMPOSITION AND STORY
The integrity of a work of art is achieved through various means. Among these means, composition and plot play an important role. Composition (from Latin componere -
Artistic speech
Philologists distinguish between language and speech. Language is a stock of words and grammatical principles of their combination, which change historically. Speech is language in action, it is a statement, an expression of thoughts and feelings in a
FEATURES OF LITERARY SPEECH
1. Imagery. A word in artistic speech contains not only meaning, but in combination with other words it will create an image of an object or phenomenon. The generally accepted meaning of the subject acquired
Lexical resources of the literary language
As noted, the basis of the language of fiction is literary language. Literary language has rich lexical resources that allow the writer to express the subtlest meanings.
METAPHOR
The most common trope, based on the principle of similarity, less often - contrast of phenomena; often used in everyday speech. The art of words to revitalize style and activate perception using
Types of metaphor
Personification is the likening of an inanimate object to a living being. A golden cloud spent the night on the chest of a giant cliff (M. Lermontov)
Types of metonymy
1) Replacing the title of a work with the name of its author. Read Pushkin, study Belinsky. 2) Replacing the name of people with the name of a country, city, or specific place. Ukraine
Main types of figures
1. Repetition - repetition of a word or group of words in order to give them a special meaning. I love you, life, which in itself is not new. I love
Rhythm of artistic speech
The textbooks guide the student well in complex issues of the rhythmic ordering of artistic speech - prosaic and poetic. As in previous sections of the course, it is important to consider the general
Features of poetic speech
1. Particular emotional expressiveness. Poetic speech is effective in its essence. Poems are created in a state of emotional excitement and convey emotional excitement. L. Timofeev in his book “Essays on those
VERSE SYSTEMS
In world poetry, there are four systems of versification: metric, tonic, syllabic and syllabic-tonic. They differ in the way they create rhythm within a line, and these methods depend on
Free verse
At the end of the 19th century, the so-called free verse or free verse (from the French Vers - verse, libre - free) was established in Russian poetry, in which there is no internal symmetry of lines, as in syllabic-tonic si
REGULARITIES OF HISTORICAL DEVELOPMENT OF LITERATURE
This topic is very extensive. But in this section we will limit ourselves to only the most necessary. Literary development is usually referred to as the literary process. So, the literary process is
XIX-XX centuries.
In the 19th century (especially in its first third) the development of literature went under the sign of romanticism, which opposed classicist and enlightenment rationalism. Originally Romanticism
THEORETICAL SCHOOLS AND DIRECTIONS
Literary theory is not a collection of disparate ideas, but an organized force. Theory exists in communities of readers and writers as a discursive practice inextricably linked with education.
New criticism
The phenomenon called “new criticism” arose in the United States in the 1930s and 1940s (the works of I. A. Richards and William Empson appeared in England at the same time). "New Cree
Phenomenology
We find the origins of phenomenology in the works of the early 20th century philosopher Edmund Husserl. This direction tries to circumvent the problem of separation of subject and object, consciousness and the surrounding world by focusing
Structuralism
Reader-centered literary criticism is somewhat akin to structuralism, which also focuses on questions of meaning-making. But structuralism originated as an opposition to phenomenology
Poststructuralism
When structuralism became a movement or “school,” structuralist theorists distanced themselves from it. It became clear that the work of the supposed structuralists did not correspond to the idea of structuralism as an attempt
Deconstructivism
The term "poststructuralism" is applied to a wide range of theoretical discourses that contain criticism of the concepts of objective knowledge and the subject capable of self-knowledge. Thus, owls
Feminist theory
Since feminism considers it its duty to destroy the opposition “man - woman” and other oppositions associated with it throughout the existence of Western culture, this direction
Psychoanalysis
Psychoanalytic theory has influenced literary studies both as a mode of interpretation and as a theory of language, identity, and the subject. On the one hand, psychoanalysis, along with Marxism, has become the most influential
Marxism
Unlike the United States, poststructuralism came to Britain not through the work of Derrida and then Lacan and Foucault, but through the Marxist theorist Louis Althusser. Taken into con
New historicism/cultural materialism
In Britain and the United States, the 1980s and 1990s were marked by the emergence of powerful, theoretically informed historical criticism. On the one hand, a British cultural swear word appeared
Postcolonial theory
A similar set of issues is addressed by postcolonial theory, which is an attempt to understand the problems generated by European colonial policy and the subsequent period. Pos
Minority theory
One of the policy changes that has occurred within academic institutions in the United States has been the rise in the study of ethnic minority literature. Major efforts and
TEXTOLOGY
Textual criticism (from Latin textus - fabric, plexus; gr. logos - word, concept) is a philological discipline that studies handwritten and printed texts of artistic, literary-critical, public
Plot and composition
ANTITHESIS - opposition of characters, events, actions, words. Can be used at the level of details, particulars (“Black evening, white snow” - A. Blok), or can serve as
Language of fiction
ALLEGORY is an allegory, a type of metaphor. The allegory captures a conventional image: in fables the fox is cunning, the donkey is stupidity, etc. Allegory is also used in fairy tales, parables, and satire.
Basics of poetry
ACROSTIC - a poem in which the initial letters of each verse form a word or phrase vertically: An angel lay down at the edge of the sky, bending down,
Literary process
AVANT-GARDISM is the general name for a number of movements in the art of the 20th century, which are united by a rejection of the traditions of their predecessors, primarily the realists. The principles of avant-gardeism as a literary and artistic
General literary concepts and terms
AUTONIM - the real name of the author writing under a pseudonym. Alexey Maksimovich Peshkov (pseudonym Maxim Gorky). AUTHOR – 1. Writer, poet – creator of a literary work; 2. Narrative
BASIC RESEARCH ON THE THEORY OF LITERATURE
Abramovich G. L Introduction to literary criticism. M, 1975. Aristotle. Rhetoric // Aristotle and ancient literature. M., 1978. 3. Arnheim R. Language, image and concrete poetry