How an artistic image is created. Artistic image

The artistic image is one of the most important categories of aesthetics, defining the essence of art and its specificity. Art itself is often understood as thinking in images and is contrasted with conceptual thinking, which arose at a later stage human development. The idea that initially people thought in concrete images (otherwise they simply did not know how) and that abstract thinking arose much later was developed by G. Vico in his book “Foundations of a new science of the general nature of nations” (1725). “Poets,” wrote Vico, “earlier formed poetic (figurative) Ed.) speech, composing frequent ideas... and the peoples that appeared subsequently formed prosaic speech, combining in each individual word, as if in one generic concept, those parts that had already been composed poetic speech. For example, from the following poetic phrase: “The blood boils in my heart,” peoples have made a single word “anger.”

Archaic thinking, or more precisely, figurative reflection and modeling of reality has survived to the present day and is fundamental in artistic creativity. And not only in creativity. Imaginative “thinking” forms the basis of the human worldview, in which reality is reflected figuratively and fantastically. In other words, each of us brings a certain amount of his imagination to the picture of the world he presents. It is no coincidence that researchers of depth psychology from S. Freud to E. Fromm so often pointed to the closeness of dreams and works of art.

So, artistic image there is a concrete sensory form of reproduction and transformation of reality. The image conveys reality and at the same time creates a new fictional world, which we perceive as actually existing. “The image is many-sided and multi-component, including all the moments of organic mutual transformation of the real and the spiritual; through the image, connecting the subjective with the objective, the essential with the possible, the individual with the general, the ideal with the real, the agreement of all these opposing spheres of existence, their comprehensive harmony is developed.”

When talking about artistic images, we mean the images of heroes, characters in the work and, of course, above all, people. And it is right. However, the concept of “artistic image” often also includes various items or phenomena depicted in the work. Some scientists protest against such a broad understanding of the artistic image, considering it incorrect to use concepts like “the image of a tree” (foliage in “Farewell to Matera” by V. Rasputin or the oak in “War and Peace” by L. Tolstoy), “the image of the people” (including the same epic novel by Tolstoy). IN similar cases it is proposed to talk about a figurative detail, which could be a tree, and about an idea, theme or problem of the people. The situation is even more complicated with images of animals. In some famous works ("Kashtanka" and "White-fronted" by A. Chekhov, "Kholstomer" by L. Tolstoy) the animal appears as central character, whose psychology and worldview are reproduced in great detail. And yet, there is a fundamental difference between the image of a person and the image of an animal, which does not allow, in particular, to seriously analyze the latter, because in the artistic depiction itself there is deliberateness ( inner world animal is characterized through concepts related to human psychology).

Obviously, with good reason, only images of human characters can be included in the concept of “artistic image”. In other cases, the use of this term implies a certain degree of convention, although its “broad” use is quite acceptable.

For Russian literary criticism, “the approach to the image as living and whole organism, most capable of comprehending the complete truth of existence... In comparison with Western science, the concept of “image” in Russian and Soviet literary criticism is itself more “figurative”, polysemantic, having a less differentiated scope of use.<...>The full meaning of the Russian concept of “image” is shown only by a number of Anglo-American terms... – symbol, copy, fiction, figure, icon...".

By the nature of their generality, artistic images can be divided into individual, characteristic, typical, motif images, topoi and archetypes.

Individual images characterized by originality and uniqueness. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. These are, for example, Quasimodo in the "Cathedral" Notre Dame of Paris"V. Hugo, The Demon in poem of the same name M. Lermontov, Woland in “The Master and Margarita” by M. Bulgakov.

Characteristic image, unlike the individual, it is generalizing. It contains common features characters and morals inherent in many people of a certain era and its social spheres (characters from “The Brothers Karamazov” by F. Dostoevsky, plays by A. Ostrovsky, “The Forsyte Saga” by J. Galsworthy).

Typical image represents the highest level of characteristic image. Typical is the most probable, so to speak, exemplary for a certain era. The depiction of typical images was one of the main goals, as well as the achievements of realistic literature of the 19th century. Suffice it to recall Father Goriot and Gobsek O. Balzac, Anna Karenina and Platon Karataev L. Tolstoy, Madame Bovary G. Flaubert and others. Sometimes an artistic image can capture both the socio-historical signs of an era and the universal character traits of a particular hero (so-called eternal images) - Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe...

Images-motives And topoi go beyond individual hero images. An image-motive is a steadily recurring theme in the work of a writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “Beautiful Lady” by A. Blok).

Topos(Greek topos– place, terrain, letters, meaning – common place) denotes general and typical images created in literature an entire era, nation, and not in the work of an individual author. An example would be the image " little man"in the works of Russian writers - from A. Pushkin and N. Gogol to M. Zoshchenko and A. Platonov.

Recently, the concept of "archetype"(from Greek arc he– beginning and typos- image). This term was first found among German romantics in early XIX century, however, the work of the Swiss psychologist C. Jung (1875–1961) gave him real life in various fields of knowledge. Jung understood an archetype as a universal human image, unconsciously passed on from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, are literally “stuffed” with all of humanity, and archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes. “As a doctor,” Jung wrote, “I had to identify images Greek mythology in the delirium of purebred blacks."

Brilliant (“visionary”, in Jung’s terminology) writers not only carry these images within themselves, like all people, but are also able to reproduce them, and the reproduction is not a simple copy, but is filled with new, modern content. In this regard, K. Jung compares archetypes with the beds of dry rivers, which are always ready to be filled with new water.

To a large extent, the term widely used in literary criticism is close to the Jungian understanding of the archetype "mythologem"(in English literature - “mytheme”). The latter, like an archetype, includes both mythological images and mythological stories or parts thereof.

Much attention in literary criticism is paid to the problem of the relationship between image and symbol. This problem was posed back in the Middle Ages, in particular by Thomas Aquinas (XIII century). He believed that an artistic image should reflect not so much the visible world as express what cannot be perceived by the senses. Thus understood, the image actually turned into a symbol. In the understanding of Thomas Aquinas, this symbol was intended to express, first of all, the divine essence. Later, among the symbolist poets of the 19th and 20th centuries, symbolic images could also carry earthly content (“the eyes of the poor” by Charles Baudelaire, “yellow windows” by A. Blok). An artistic image does not have to be “dry” and divorced from objective, sensory reality, as Thomas Aquinas proclaimed. Blok’s Stranger is an example of a magnificent symbol and at the same time a full-blooded living image, perfectly integrated into the “objective”, earthly reality.

Philosophers and writers (Vico, Hegel, Belinsky, etc.), who defined art as “thinking in images,” somewhat simplified the essence and functions of the artistic image. A similar simplification is characteristic of some modern theorists, in best case scenario defining the image as a special “iconic” sign (semiotics, partly structuralism). It is obvious that through images they not only think (or primitive people thought, as J. Vico rightly noted), but also feel, not only “reflect” reality, but also create a special aesthetic world, thereby changing and ennobling the real world.

The functions performed by the artistic image are numerous and extremely important. They include aesthetic, cognitive, educational, communicative and other opportunities. Let's limit ourselves to just one example. Sometimes created a brilliant artist a literary image actively influences life itself. Thus, imitating Goethe's Werther ("The Sorrows of Young Werther", 1774), many young people, like the hero of the novel, committed suicide.

The structure of the artistic image is both conservative and changeable. Any artistic image includes both the real impressions of the author and fiction, however, as art develops, the relationship between these components changes. Thus, in the images of literature of the Renaissance, the titanic passions of the heroes come to the fore; in the Age of Enlightenment, the object of the image predominantly becomes “natural” man and rationalism; in the realistic literature of the 19th century, writers strive for a comprehensive coverage of reality, discovering the inconsistency human nature, etc.

If we talk about historical destinies image, then there is hardly any reason to separate ancient figurative thinking from modern one. At the same time, for each new era there is a need for a new reading of images created before. “Subject to numerous interpretations that project the image onto the plane of certain facts, trends, ideas, the image continues its work of displaying and transforming reality beyond the boundaries of the text - in the minds and lives of changing generations of readers.”

The artistic image is one of the most multifaceted and complex literary and philosophical categories. And it is not surprising that dedicated to him scientific literature extremely large. The image is studied not only by writers and philosophers, but also by mythologists, anthropologists, linguists, historians and psychologists.

Literary encyclopedic Dictionary. M., 1987. P. 252.
Literary encyclopedic dictionary. P. 256.
Literary encyclopedic dictionary. P. 255.

Artistic image

Typical image
Image-motive
Topos
Archetype.

Artistic image. The concept of artistic image. Functions and structure of the artistic image.

Artistic image– one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in work of art.
An artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of the artist’s feelings, thoughts, aspirations, and aesthetic emotions.
Its main functions: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal specific features image, each of them separately characterizes only one side of it; isolated consideration of individual functions not only impoverishes the idea of the image, but also leads to the loss of its specificity as a special form public consciousness.
In the structure of an artistic image, the main role is played by the mechanisms of identification and transference.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, and characteristics are combined into one whole; however, identification is only partial, in highest degree limited: it borrows only one feature or a limited number of features of the object person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes- transfer.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed by associative paths to ever new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating the so-called in dreams and neuroses. thickening.

Conflict as the basis of the plot of the work. The concept of “motive” in Russian literary criticism.

The most important function of the plot is to reveal life’s contradictions, that is, conflicts (in Hegel’s terminology, collisions).

Conflict- a confrontation of contradiction either between characters, or between characters and circumstances, or within character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of one single conflict. In works of large volume, the number of conflicts increases.

Conflict- the core around which everything revolves. The plot least of all resembles a continuous one, continuous line, connecting the beginning and end of an event series.

Stages of conflict development- basic plot elements:

Lyric-epic genres and their specificity.

Lyric-epic genres reveal connections within literature: from lyricism - theme, from epic - plot.

Combining an epic narrative with a lyrical beginning - a direct expression of the author’s experiences and thoughts

1. poem. – genre content can be either epic dominant or lyrical. (in this regard, the plot is either enhanced or reduced). In antiquity, and then in the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method; it is equally represented in romanticism (“Mtsyri”) and in realism (“ Bronze Horseman), in symbolism (“12”)…

2. ballad. - (French “dance song”) and in this sense it is a specifically romantic poetic work with a plot. In the second meaning of the word, ballad is folk genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.

3. fable- one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) peculiarity genre form yavl. Inclusion in the text (at the beginning or at the end) of a special short stanza - morality. A fable is connected with a parable; in addition, a fable is genetically connected with a fairy tale, an anecdote, and later a short story. rare fable talents: Aesop, Lafontaine, I.A. Krylov.

4. lyrical cycle is a unique genre phenomenon belonging to the field of lyric epic, each work of which was and remains a lyrical work. All together, these lyrical works create a “circle”: the unifying principle of the phenomenon. theme and lyrical hero. Cycles are created “at once” and there may be cycles that the author forms over many years.

Basic concepts of poetic language and their place in the school literature curriculum.

POETIC LANGUAGE, artistic speech, language poetic (verse) and prosaic literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike ordinary (practical) language, whose main function is communicative (see Functions of language), in P. i. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression. General imagery and artistic uniqueness of literature. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, i.e. the actual communicative and poetic functions of language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. I., in their opinion, differs from the usual one in the perceptibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; the main thing in it is to “experience the making of a thing” (V.B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in understanding P. Ya., poetry itself is nothing more than “as a statement with an attitude toward expression (...). Poetry is language in its aesthetic function."
P. I. is closely related, on the one hand, to literary language(see), which is its normative basis, and on the other hand, with the national language, from which it draws a variety of characterological language means, eg. dialectisms when conveying the speech of characters or to create local coloring of the depicted. The poetic word grows from the real word and in it, becoming motivated in the text and fulfilling a certain artistic function. Therefore, any sign of language can, in principle, be aesthetic.

19. The concept of artistic method. The history of world literature as the history of changes in artistic methods.

The artistic method (creative) method is a set of the most general principles of the aesthetic development of reality, which is consistently repeated in the work of one or another group of writers who form a direction, movement or school.

O.I. Fedotov notes that “the concept of “creative method” differs little from the concept of “artistic method” that gave birth to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire movements.”

The concept of artistic method appeared in the 1920s, when critics of the Russian Association proletarian writers"(RAPP) borrow this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of “proletarian” writers.

The artistic method has aesthetic nature, it represents historically determined general forms emotionally charged imaginative thinking.

Objects of art are the aesthetic qualities of reality, that is, “the broad social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changing phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through historical changes in the subject of art, but also through historical changes in the aesthetic qualities of reality. The object of art contains life basis artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the artist’s general philosophical and political worldview. “The method always appears to us only in its specific artistic embodiment - in the living matter of the image. This matter of the image arises as a result of the artist’s personal, intimate interaction with the concrete world around him, which determines the entire artistic and mental process necessary to create a work of art” (L.I. Timofeev)

The creative method is nothing more than a projection of imagery into a specific historical setting. Only in it does the figurative perception of life receive its concrete implementation, i.e. is transformed into a specific, organically emerged system of characters, conflicts, and storylines.

The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically determined understanding of it in the light of those basic questions that life poses to art at each new stage of its development.

The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of an artistic method. In each period of development of art, the simultaneous emergence of various artistic methods is observed, depending on social situation, since the era will be viewed and perceived by artists in different ways. The similarity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, similarity of characters, homogeneity of conflicts and plots, and manner of writing. For example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.

The artist's method is felt through style his works, i.e. through individual manifestation of the method. Since the method is a way of artistic thinking, the method represents the subjective side of the style, because This method of figurative thinking gives rise to certain ideological and artistic features of art. The concept of method and the individual style of the writer are related to each other as the concept of genus and species.

Interaction method and style:

§ variety of styles within one creative method. This is confirmed by the fact that representatives of one or another method do not adhere to any one style;

§ stylistic unity is possible only within one method, since even external resemblance works of authors adjoining one method does not provide grounds for classifying them as unified style;

§ reverse influence of style on method.

Full use of the stylistic techniques of artists who adhere to one method is incompatible with consistent adherence to the principles of the new method.

Along with the concept of the creative method, the concept also arises direction or type of creativity, which in a wide variety of forms and relationships will manifest themselves in any method that arises in the process of development of the history of literature, since they express general properties figurative reflection of life. Taken together, the methods form literary movements(or directions: romanticism, realism, symbolism, etc.).

The method determines only the direction creative work the artist, and not her individual properties. The artistic method interacts with the creative personality of the writer

The concept of “style” is not identical to the concept « creative individuality writer". The concept of “creative individuality” is broader than what is expressed by the narrow concept of “style”. A number of properties are manifested in the style of writers, which in their totality characterize the creative individuality of writers. The concrete and real result of these properties in literature is style. A writer develops his own individual style based on one or another artistic method. We can say that the creative individuality of the writer is a necessary condition for the further development of each artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individuals of writers become common and represent a new quality in their totality.

The artistic method and creative individuality of the writer are manifested in literature through the creation of literary images and the construction of motifs.

Mythological school

The emergence of a mythological school at the turn of the 19th–19th centuries. The influence of the Brothers Grimm’s “German Mythology” on the formation of the mythological school.

Mythological school in Russian literary criticism: A.N.Afanasyev, F.I.Buslaev.

Traditions of the mythological school in the works of K. Nasyiri, Sh. Mardzhani, V.V. Radlov and others.

Biographical method

Theoretical and methodological foundations biographical method. The life and work of S.O. Saint-Beuve. Biographical method in Russian literary criticism of the 19th century. ( scientific activity N.A. Kotlyarevsky).

Transformation of the biographical method in the second half of the twentieth century: impressionistic criticism, essayism.

A biographical approach to studying the heritage of major literary artists (G. Tukay, S. Ramiev, Sh. Babich, etc.) in the works of Tatar scientists of the 20th century. Using a biographical approach in studying the works of M. Jalil, H. Tufan and others. Essays at the turn of the 20th-21st centuries.

Psychological direction

Spiritual and historical school in Germany (W. Dilthey, W. Wundt), psychological school in France (G. Tarde, E. Hennequin). Reasons and conditions for the emergence of a psychological trend in Russian literary criticism. Concepts by A.A. Potebnya, D.N. Ovsyaniko-Kulikovsky.

Psychological approach in Tatar literary criticism at the beginning of the twentieth century. Views of M. Marjani, J. Validi, G. Ibragimov, G. Gubaidullin, A. Mukhetdiniya and others. Work of G. Battala “Theory of Literature”.

Concept psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.

Psychoanalysis

Theoretical foundations of psychoanalytic criticism. Life and work of S. Freud. Psychoanalytic works of Freud. Psychoanalysis by C. G. Jung. Individual and collective unconscious. Archetype theory. Humanistic psychoanalysis by Erich Fromm. The concept of the social unconscious. Research by J. Lacan.

Psychoanalytic theories in Russia in the 20s. XX century (I.D. Ermakov). Psychoanalysis in modern literary criticism.

Sociology

The emergence of sociology. Difference between sociological and cultural-historical methods. Features of the application of the sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Works of G. Nigmati, F. Burnash.

Vulgar sociologism: genesis and essence (V.M. Friche, late works of V.F. Pereverzev). F.G. Galimullin about vulgar sociologism in Tatar literary criticism.

Sociologism as an element in literary concepts of the second half of the twentieth century (V.N. Voloshinov, G.A. Gukovsky).

The emergence of new concepts and trends that managed to overcome reductionism sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the capabilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.

Sociologism on a global scale: in Germany (B. Brecht, G. Lukács), in Italy (G. Volpe), in France, the desire for a synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.

Formal school.

Scientific methodology formal school. Works of V. Shklovsky, B. Eikhenbaum, B. Tomashevsky. The concepts of “technique/material”, “motivation”, “defamiliarization”, etc. Formal school and literary methodologies of the 20th century.

The influence of the formal school on the views of Tatar literary scholars. Articles by H. Taktash, H. Tufan on versification. Works of H. Vali. T.N. Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague linguistic circle and the Geneva linguistic school in the formation of structuralism. Concepts of structure, function, element, level, opposition, etc. Views of J. Mukarzhovsky: structural dominant and norm.

Activities of the Parisian semiotic schools (early R. Barthes, C. Levi-Strauss, A. J. Greimas, C. Bremont, J. Genette, U. Todorov), the Belgian school of sociology of literature (L. Goldman and others).

Structuralism in Russia. Application attempts structural method in studying Tatar folklore(works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis (A.G. Yakhin), in the study of the history of Tatar literature (D.F. Zagidullina and others).

Emergence narratology - theories of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.

B.S.Meilakh about complex method in literary criticism. Kazan base group of Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Works of Yu.G. Nigmatullina.

A complex method in the research of Tatar literary scholars T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.

Hermeneutics

The first information about the problem of interpretation in Ancient Greece and in the East. Views of representatives of the German “spiritual-historical” school (F. Schleiermacher, W. Dilthey). Concept of H. G. Gadamer. The concept of the “hermeneutic circle”. Hermeneutical theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).

Artistic image. The concept of artistic image. Classification of artistic images according to the nature of their generality.

Artistic image- a method of mastering and transforming reality inherent only in art. An image is any phenomenon creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
By the nature of their generality, artistic images can be divided into individual, characteristic, typical, image-motifs, topoi and archetypes (mythologems).
Individual images are characterized by originality and uniqueness. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in “Notre Dame Cathedral” by V. Hugo, the Demon in the poem of the same name by M. Lermontov, Woland in “The Master and Margarita” by A. Bulgakov.
The characteristic image is generalizing. It contains common traits of character and morals inherent in many people of a certain era and its social spheres (characters of “The Brothers Karamazov” by F. Dostoevsky, plays by A. Ostrovsky).
Typical image represents the highest level of characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of realistic literature of the 19th century. It is enough to recall Father Goriot and Gobsek Balzac, Anna Sometimes both the socio-historical signs of an era and the universal character traits of a particular hero can be captured in an artistic image.
Image-motive- this is a steadily recurring theme in the work of any writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “Beautiful Lady” by A. Blok).
Topos(Greek topos - place, locality) denotes general and typical images created in the literature of an entire era, nation, and not in the work of an individual author. An example is the image of the “little man” in the works of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term was first encountered among German romantics at the beginning of the 19th century, but the works of the Swiss psychologist C. Jung (1875–1961) gave it real life in various fields of knowledge. Jung understood an “archetype” as a universal human image, unconsciously passed on from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, are literally “stuffed” with all of humanity, and archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.

Artistic image: definitions, structure, typology of artistic images. Dependence of images on the type of literature.

Image: sign – allegory – symbol – archetype – myth. Stages of generalization of images.

The concept of typical.

Peculiarity literary form, its figurativeness and expressiveness.

Literature and folklore.

Literary work: artistic unity of the figurative system.

The concept of form and content in philosophy and literature.

Unity of form and content in a literary work.

Artistic technique and life principle the author in the form and content of a literary work.

Question 1. Artistic image: definitions, structure, typology of artistic images. Dependence of images on the type of literature

Image as a method of artistic knowledge of the world

In art, the leading image is the image. In literature it is a WORD image.

Various sciences explore the world. Scientists depict the world using different means of their sciences: formulas (bridge formula), numbers (g = 9.8), theorems (Pythagorean Theorem), axioms, laws (Newton’s three laws, three laws of dialectics), tables (Mendeleev’s), theories (Theory relativity), etc.

Art also understands the world - external and internal. Remember what Kant said about man’s eternal interest in the world: “Two things will never cease to amaze humanity: the starry sky above and the moral law within me”).

Artist depicts the world that he cognizes (both external and internal) with the help of images. Moreover, the artist expresses your relationship to this world with the help of images. Consequently, in the art of literature, the peculiarity of understanding the world with the help of images is expressed both in its figurativeness, and in her expressiveness.

In the humanities and economics, scientists prove that people's conditions have improved or worsened. Artists show how people live, and express your attitude towards people's lives.

But both - the scientist and the artist - are in some way CONVINCE!

Scientists show what was, what is, and what may be.

The artist shows what always HAPPENS, what was, is and will always be.

Our sensations and consciousness are just an image of the external world. According to the laws of materialism, the displayed cannot exist without the displayed, but the second exists independently of the first and from the displaying one (that is, in literature the displayed exists regardless of the author).

Remember in more detail: the three stages of cognition (perception - thinking - practice) and the three laws of dialectics (negation - transition - opposites) - NB: write, what is the essence?

Image = combination of object and subject. The subject in literature = both the author and the reader.

Many definitions of ARTISTIC IMAGE:

An image is a VISION of an OBJECT

An image is the result not of sensory perception (1st stage of cognition), and not of abstract thinking (2nd stage of cognition), but of both together, and even + practice

The image is always specific and singular. In art - in an image - an image, it is impossible, as in science, to convey the general in a general form.

The image is living picture life, conveying the general in the concrete and individual.

In art - in an image - there cannot be a person AT ALL (as, for example, in anatomy), each image of a person will be unique.

Image is a product of the relationship between object and subject

An image is something in the form of which an artist in any form of art conveys his knowledge of the world.

Image is a way of reflecting and understanding reality

An image is always a translation of meaning

Characteristic features of artistic images:

The image is formed on the deep soil of reality, the historically formed life of the people

The idea cannot be outside the artistic image

Artistic language is built on a foundation consisting of images

The image connects two antagonistic worlds through a horse race of imagination

An image is an exchange of form and purpose between objects and ideas of nature

Inspiration is given by the image, but it is dressed by observation of the word.

Imagination gives birth to images evoked by real objects.

The image is a plastic analogy of real visible objects and sensory sensations, this is inspiration, love, faith.

Literary artistic image – it is an image created by a word. Literary material is language.

Ways to create images - characters:

Historical prototype (Gorky's essay "Lenin")

Synthesis of real prototypes, when one trait is taken from many people of the same type (“Marriage” by Gogol)

- “the first person you meet” as a prototype (Turgenev saw his images of people, but without faces, until he “met a face”)

Typology of images

I. Types of imagesaccording to layers of artistic language

1) Figurative word (poetic or artistic vocabulary)

2) Image - trope (poetic semantics)

3) Image - figure (poetic syntax)

4) Image - sound (poetic phonics)

І І . Types of images by form - in order of increasing semantic load:

Image - detail

The image is a thing

Image - landscape

Image - interior

Image - painting

Animal image

The image of a literary work

Image - symbol

Image - archetype

Image - idea

Image - experience

ІІ І . Types of images by content- these are only images of people, arranged in increasing generality of images, while each of them retains specificity and individuality, individuality:

Image - character actor- these images are neutral, equal, they are like everyone else, like any of us

Literary character is the totality of mental, emotional, effective-practical and physical qualities of a person

Type = typical character is an image in individual form which reveals the essence or essential features of any phenomenon, time, social group, people, etc.

The hero is a positive typical character (or, according to another school of literary criticism, a negative one too).

І V. Types of images by type of literature:

Epic

Lyrical

Dramatic

V. Classification of images by generality

Image (in the narrow sense of the word)

Allegory

The interpretation of the image (by readers, critics, literary scholars) will always lag behind its real artistic content, artistic meaning, artistic significance.

Give examples from the literature of one type of each image from all these classifications (types of images by language, form, content, generality) - NB

Any phenomenon that has been creatively recreated by the author in an object of art can be called an artistic image. If we mean a literary image, then this phenomenon is reflected in a work of art. The peculiarity of imagery is that it not only reflects reality, but also generalizes it, at the same time revealing it in something singular and specific.

An artistic image not only comprehends reality, but also creates a different world, fictional and transformed. Artistic fiction in this case is necessary to enhance the generalized meaning of the image. You cannot talk about an image in literature only as an image of a person.

Vivid examples here are the image of Andrei Bolkonsky, Raskolnikov, Tatyana Larina and Evgeny Onegin. In this case, the artistic image is single picture human life, the center of which is the person’s personality, and the main elements are all the events and circumstances of his existence. When a hero enters into relationships with other heroes, a variety of images arise.

Figurative reflection of life in art

The nature of an artistic image, regardless of its purpose and scope of application, is multifaceted and unique. An image can be called an entire inner world, full of many processes and facets, which has come into the focus of cognition. This is the basis of any kind of creativity, the basis of any knowledge and imagination.

The nature of the image is truly extensive - it can be rational and sensual, it can be based on a person’s personal experiences, on his imagination, and it can also be factual. And the main purpose of the image is reflection of life. No matter how it appears to a person, and no matter what it is, a person always perceives its content through a system of images.

This is the main component of any creative process, because the author simultaneously answers many questions of existence and creates new, higher and more important ones for him. That is why they talk about the image as a reflection of life, because it includes the characteristic and typical, general and individual, objective and subjective.

The artistic image is the soil from which any type of art grows, including literature. At the same time, it remains a complex and sometimes incomprehensible phenomenon, because an artistic image in a literary work can be unfinished, presented to the reader only as a sketch - and at the same time fulfill its purpose and remain holistic, as a reflection of a certain phenomenon.

The connection between the artistic image and the development of the literary process

Literature, as a cultural phenomenon, has existed for a very long time. And it is quite obvious that its main components have not yet changed. This also applies to the artistic image.

But life itself changes, literature is constantly transformed and transformed, as are its enduring images. After all, an artistic image reflects reality, and the system of images for the literary process is constantly changing.

Essay

Performed

student 36 IP group

Mayshutovich Veronika Vladimirovna

Head Teran L.D.

1. Introduction.

2. The concept of Artistic Image.

3. Basic information about the artistic image.

4. The main features of the artistic image.

5. Types of artistic images.

6. Artistic means of creating images.

7. Conclusion.

Introduction

An image is a method and form of mastering reality; it is characterized by a unity of feelings, a commonality of semantic moments and belongs to historically changeable categories, showing its beauty in different literary genres.

In the history of literary criticism, there have been attempts to study the image in the aspect of its pragmatic meaning. Proponents of this approach considered this category as a thing, being, pinning their hope on the fact that the image can be understood and studied to the end. If such problems could be solved, then there would be no secret left from Hamlet, Don Quixote, Oedipus, the Stone Lady... Supporters of the pragmatic method make claims to the heroes: what useful things did they do for the family, what contribution did they make to the economy and science . Due to this analysis methodology fiction Suffice it to recall the famous “boots” and “Sistine Madonna” by Raphael. Famous critic XIX centuries, he preferred boots that turned out to be taller than Raphael. However, the critic did not think of “selling” the painting Italian artist and buy a lot of shoes. The artistic image is studied according to aesthetic laws, according to the laws of beauty. On different stages development of humanity, the artistic image takes various shapes. This happens for two reasons: the subject of the image itself—the person—changes, and the forms of its reflection in art also change.

What is an artistic image?

To answer this question, I turned to several sources.

Artistic image- any phenomenon creatively recreated by the author in a work of art. It is the result of the artist’s understanding of some phenomenon or process. At the same time, the artistic image not only reflects, but, above all, generalizes reality, reveals it in the individual, passing into the eternal. The specificity of an artistic image is determined not only by the fact that it comprehends reality, but also by the fact that it creates a new, fictional world. The artist strives to select such phenomena and depict them in such a way as to express his idea of life, his understanding of its trends and patterns.

« Artistic image“is a specific and at the same time generalized picture of human life, created with the help of fiction and having aesthetic significance” (L. I. Timofeev).

Under way often understood as an element or part of an artistic whole, as a rule, a fragment that seems to have independent life and content (for example, character in literature, symbolic images, like a “sail” by M. Yu. Lermontov).

Artistic image - a form of reflection (reproduction) of objective reality in art from the standpoint of a certain aesthetic ideal.

Artistic image– one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art.

Basic information about the artistic image.

An artistic image is not only an image of a person (the image of Tatyana Larina, Andrei Bolkonsky, Raskolnikov, etc.) - it is a picture of human life, in the center of which stands a specific person, but which also includes everything that is in his life surrounds. Thus, in a work of art a person is depicted in relationships with other people. Therefore, here we can talk not about one image, but about many images.

Any image is an inner world that has come into the focus of consciousness. Outside of images there is no reflection of reality, no imagination, no knowledge, no creativity. The image can take sensual and rational forms. The image can be based on a person’s fiction, or it can be factual. The artistic image is objectified in the form of both the whole and its individual parts.

An artistic image can have an expressive impact on the senses and mind.

An artistic image, on the one hand, is the artist’s answer to questions that interest him, on the other hand, it gives rise to new questions, gives rise to the understatement of the image by its subjective nature.

It provides the maximum capacity of content, is capable of expressing the infinite through the finite, it is reproduced and evaluated as a kind of whole, even if created with the help of several details. The image may be sketchy, unspoken.

An artistic image is a complex phenomenon that includes the individual and the general, the characteristic and the typical.

As an example of an artistic image, one can cite the image of the landowner Korobochka from Gogol’s novel “Dead Souls”. She was an elderly woman, thrifty, collecting all sorts of rubbish. The box is extremely stupid and slow to think. However, she knows how to trade and is afraid to sell things short. This petty thrift and commercial efficiency puts Nastasya Petrovna above Manilov, who has no enthusiasm and who knows neither good nor evil.

The landowner is very kind and caring. When Chichikov visited her, she treated him to pancakes, unleavened pie with eggs, mushrooms, and flatbreads. She even offered to scratch her guest's heels at night.

Artistic image and imagery in literature

Any phenomenon that has been creatively recreated by the author in an object of art can be called an artistic image. If we mean a literary image, then this phenomenon is reflected in a work of art. The peculiarity of imagery is that it not only reflects reality, but also generalizes it, at the same time revealing something singular and specific.

Vivid examples here are the image of Andrei Bolkonsky, Raskolnikov, Tatyana Larina and Evgeny Onegin. In this case, the artistic image is a single picture of human life, the center of which is the person’s personality, and the main elements are all the events and circumstances of his existence. When a hero enters into relationships with other heroes, a variety of images arise.

Figurative reflection of life in art

The nature of the image is truly extensive - it can be rational and sensual, it can be based on a person’s personal experiences, on his imagination, and it can also be factual. And the main purpose of the image is to reflect life. No matter how it appears to a person, and no matter what it is, a person always perceives its content through a system of images.

The connection between the artistic image and the development of the literary process

Literature, as a cultural phenomenon, has existed for a very long time. And it is quite obvious that its main components have not yet changed. This also applies to the artistic image.

Main 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, character traits, in a landscape - some bright, unique features of nature.

2. Generality - reflection in people, objects and phenomena of traits inherent in many. In other words, the image must be typical, that is, reflect not only individual, but also general features. It is important to note that typification is inseparable from individualization. Unity in the form of the general and the specific is the law of art. Thus, concreteness in the image of Sobakevich is manifested in his appearance, character traits, speech, and generality is manifested in the expression of the social essence of people like him - feudal landowners.

3. Fiction. The image is created using creative imagination writer. Fiction organic feature artistic reflection life. Play specific life situation, the writer can only create the inner state of a character with the help of creative imagination. Documentary biographical works are no exception.

4. The aesthetic significance of the image lies in the fact that it affects the reader’s aesthetic sense, giving him aesthetic joy. What we said about the aesthetic significance of literature also applies to the artistic image.

5. The artistic image is expressive, i.e. expresses the author’s ideological and emotional attitude to the subject. In terms of the power of emotional impact, the image usually surpasses reasoning, even the pathetic speeches of speakers. Comparing Cicero's speeches on patriotism with the Odyssey, the English poet of the 16th century. F. Sidney gives preference to Homer: his main character, “enjoying all earthly blessings with Calypso, mourns his separation from barren and impoverished Ithaca.”

6. The artistic image is self-sufficient; it is the main form of expression of content in art. This is especially obvious against the background of images in the structure of scientific work, illustrating certain provisions, as well as factual images of journalism, documentary genres, where the author’s reasoning, often very emotional, forms a series parallel to the phenomena under consideration.

The self-sufficiency of the artistic image explains the possibility of its different understandings. The image is polysemantic, its meaning cannot be reduced to maxims, even if they are “formulated” by the author, as is customary in some didactic genres (“moral” in a fable, the final line of a character in classicist comedies). A.A. Potebnya emphasized the possibility of deducing various moral teachings from fables and parables; as an example, he, in particular, pointed to different interpretations by Pugachev and Grinev in " The captain's daughter"Pushkin Kalmyk fairy tale about the eagle and the raven. In most genres, especially since the era of romanticism, when, in the ironic words of Pushkin, “vice is dear to readers” (Eugene Onegin, Chapter 3, stanza XII), authors shy away from explaining their creations in the artistic text itself .

Types of artistic images

How are artistic images classified?

· In fables, parables, proverbs, sayings, riddles there are allegorical images: The wolf personifies greed and stupidity, the fox - cunning, the donkey - stubbornness.

· By their nature, images can be tragic (Hamlet, Romeo and Juliet, King Lear by Shakespeare), comic (Korobochka, Sobakevich by M Gogol).

· Depending on their place in the work, the images can be main, secondary, episodic: Onegin and Tatyana in the novel about Pushkin "Eugene Onegin" are the main ones, Lensky and Olga are secondary

· According to the method of creation (type of association), images are divided into visual, auditory, tactile, gustatory, olfactory. We perceive the world with our senses, through them the writer conveys his art world

· According to the level of artistic generalization, micro-images (tropes, figures, phonics), macro-images (characters, symbols, paintings), mega-images (Universe, nature, being, man) are divided.

· Image - emblem. G. N. Pospelov identifies an evaluative feature in the emblem content, characteristic of fine arts - painting, sculpture, architecture, embossing. The emblem (gr. - relief decoration) image is static; classic example It is generally accepted that the image of the shield of Achilles is depicted, however, the design of this cover was developed during the process of its creation. The verbal and objective imagery of the emblem enhances the mystery of the idea of the work.

· Image is a symbol. Its main difference is its metaphorical nature. Every symbol is an image, and when it turns into a symbol, it becomes transparent and acquires a semantic depth that is difficult to decipher. Objects, animals, cosmic phenomena. Thus, among the Hindus, the “lotus” personifies deity and the universe; among Christians, the serpent appears as a symbol of wisdom and temptation; Among the Arabs (Iranians), wine means wisdom and knowledge. Dances, tools, and topography are shrouded in symbolism. The image-symbol is noticeably different in its dynamic tendency: it is not given, but given, it can only be explained. The difference between a symbol and simple objects is that “things” allow you to look at themselves, they must be considered; the symbol, on the contrary, “works”; it itself “looks” at people. Compare; when you look into the abyss for a long time, someday the abyss will look at you (Nietzsche). Literary image- the symbol of a talented writer always has figurative meaning, it is created using a latent comparison model.

· The image is a myth. The characteristics of this category focus on irrationality, intuition, and philosophy. Where the author's myth-image comes from and where it goes is explained by the picture of the world, which almost always points to the tragic fate of humanity.

So, the image is a picture of human life, which is thought of very broadly: it is both a person and everything that surrounds him. There are the following types of images: image-character, image-landscape, image-interior, image-symbol.

· The character image is the main and most common image in literature, since a person is the main subject of artistic depiction. It has a number of varieties.

1) Hero (character, character, type) - the main type of image-character. It should be borne in mind that the concepts of character, hero, character, type are not unambiguous. They reflect different levels of generalization and typification. So, let’s say, in D. Fonvizin’s “The Minor,” Prostakov is a type, a character, and teachers Tsyfirkin and Vralman are characters.

2) The lyrical hero is the bearer of thoughts and feelings expressed in lyrical work. Very often in scientific research and pedagogical practice, instead of this concept, the term “author” is used, but they are not always identical. Thus, in Pushkin’s poem “To Chaadaev,” the author may well be called the bearer of the expressed feelings, since they correspond to the worldview of the poet in his youth. Often the poet speaks as if on behalf of someone else: an astronaut, a border guard, a woman, etc. For example:

The river runs, melting in the fog,

She runs, beckoning me.

Ah, I have enough gentlemen,

But I have no good love.

(E. Yevtushenko)

It is quite obvious that the lyrical hero and the author are different people.

“We find (perceive, understand, feel) the author,” writes M. Bakhtin, “in every work of art. For example, in painting we always feel the author (the artist), but we never see him the way we see the images he depicts. We feel it in everything, as a pure depicting principle (depicting subject), and not as depicted (visible image).” Sometimes the author is defined as the bearer of the author's consciousness or author's speech. The identified author's person in a first-person story is called the narrator, and the person named by name is called a mask (Belkin in Pushkin, beekeeper Rudy Panko in Gogol). The image of the author should be distinguished from the biographical author.

4) The image of the reader. In every literary work there is a reader as a predictable interlocutor of the author. Artistic text is a dialogical form of speech in which the author addresses his modeled interlocutor. “Literature also needs talented readers,” wrote S. Marshak, “as well as talented writers. It is on them, on these talented, sensitive, creatively imaginative readers, that the author counts when he strains his mental strength in search of the right image, the right turn of action, the right word. The artist-author takes on only part of the work; the rest must be completed by the artist-reader with his imagination.”

5) Collective hero– collective image, embodying a certain community of people united by a common action and mood. For example, in “The Tale of Igor’s Campaign” the “Russians” act as a single community, in A. Serafimovich’s story “The Iron Stream” - Kozhukh’s army, in L. Makarenko’s “Pedagogical Poem” - “Gorkyites”.

6) Landscape image - a picture of nature. Functions of landscape: 1) place and time of action; 2) a means of psychological characterization of the hero according to the principle of parallelism (“The Thunderstorm” by A. Ostrovsky) or the principle of contrast (the picture of spring at the end of M. Sholokhov’s novel “ Quiet Don", emphasizing the tragedy of the fate of Grigory Melekhov); a means of social characterization (“Uncompressed Strip” by N. Nekrasov); plot motivation (in “The Captain’s Daughter” by A.S. Pushkin, a snowstorm in the steppe is the motivation for the meeting of Grinev and Pugachev).

7) Interior image - a picture of the world of things surrounding the hero. People live not only among nature, but also among things, so things are an important means of characterizing heroes. This is one of the most important functions of the interior image. A typical example is the situation in the houses of Manilov and Sobakevich (“Dead Souls” by N. Gogol). Just like the landscape, the interior can be the background of action, a means of social characterization. This is how S. Yesenin describes the Ryazan village during the years of the revolution:

You can't hear the dog barking.

There's nothing to guard here, apparently.

Everyone's house is rotten,

And in the house there are grips and a stove.

8) An image-symbol is an image of an object or phenomenon that embodies a certain idea. For example: bird-three in “Dead Souls” by N. Gogol, The Cherry Orchard in the play by A. Chekhov. Rus' in the poem by N. Nekrasov.

· Eternal images. These include characters from world literature: Prometheus, Oedipus, Cassandra, Hamlet, Don Juan, Faust, Don Quixote, Leili and Majnun, Iskander... These images are unfading as a tax on land throughout the world. They combine the features not of a specific hero, but the unity of historical and universal principles. World-class household names eternal images Moscow-St. Petersburg literature did not create, it, like other Slavic literatures, I think, and will not create, no matter how it calls itself.

IN typological system artistic images, the theory of the Ukrainian scientists I. Kovalik - M. Kotsyubinskaya about the mega-image, macro-image and micro-image stands out.

· Mega-image (gr. megas - huge) is directly related to a literary work, the text of which is perceived as a mega-image. It is distinguished by its independent aesthetic value and literary theorists endow it with the highest generic and indivisible value.

· Macro-image (gr. macros - wide, long) organizes a system of artistic reflection of life in its narrow specific or large generic segments (segments, parts, paintings). The structure of the macro-image is organized by interconnected homogeneous micro-images.

· Micro-image (gr. micros - small) is distinguished by its smallest textual size: it is a unit of measurement of imaginative thinking, in which a small segment of objective (external or internal) reality is artistically reproduced. A micro-image can be formed by one phrasal word (Night. Rain. Morning) or a sentence, paragraph, or supra-phrase integrity.

Epic work(mega image) consists of several macro images. There are examples when in a lapidary poetic text a macro-image includes a significant number of micro-images and, on the contrary, one micro-image can be equal to a mega-image. Among verbal and artistic images, according to the concept of I. Kovalik - M. Kotsyubynskaya, there are simple (unexpanded, single-phrase) and complex (expanded) micro-images.

Artistic means of creating images

1. Speech characteristics hero:

Dialogue is a conversation between two, sometimes more, persons;

Monologue is the speech of one person;

Internal monologue is the utterances of one person taking the form of internal speech.

3. Subtext – the author’s unexpressed, but guessable attitude towards what is being depicted, an implicit, hidden meaning.

4. Portrait – an image of the hero’s appearance as a means of characterizing him.

5. Detail – an expressive detail in a work that carries a significant semantic and emotional load.

6. Symbol is an image that expresses the meaning of a phenomenon in objective form.

7. Interior - the interior design of the room, the living environment of people.

Conclusion

An artistic image becomes artistic not because it is copied from life and resembles a real object or phenomenon, but because, with the help of the author’s imagination, it transforms reality. An artistic image not only and not so much copies reality, but rather strives to convey the most important and essential. Thus, one of the heroes of Dostoevsky’s novel “The Teenager” said that photographs can very rarely give a correct idea of a person, because the human face does not always express the main character traits. Therefore, for example, Napoleon, photographed at a certain moment, might seem stupid. The artist must find the main, characteristic thing in the face. In L. N. Tolstoy’s novel “Anna Karenina,” the amateur Vronsky and the artist Mikhailov painted a portrait of Anna. It seems that Vronsky knows Anna better, understands her more and more deeply. But Mikhailov’s portrait was distinguished not only by its similarity, but also by that special beauty that only Mikhailov could discover and which Vronsky did not notice. “You had to know and love her, as I loved, in order to find this sweetest expression of her soul,” thought Vronsky, although from this portrait he only recognized “this sweetest expression of her soul.”

There are specific features in the reflection of the world (and therefore in the creation of artistic images) by realist artists, sentimentalists, romanticists, modernists, etc. As art develops, the relationship between reality and fiction, reality and ideal, general and individual, rational and emotional changes. etc.

In the images of classical literature, for example, the struggle between feeling and duty comes to the fore, and positive heroes invariably make a choice in favor of the latter, sacrificing personal happiness in the name of state interests. Romantic artists, on the contrary, exalt the rebel hero, the loner who rejected society or was rejected by it. Realists strove for rational knowledge of the world, identifying cause-and-effect relationships between objects and phenomena. And the modernists declared that it is possible to know the world and man only through irrational means (intuition, insight, inspiration, etc.). In the center realistic works there is a person and his relationship with the outside world, while the romantics, and then the modernists, are primarily interested in the inner world of their heroes.

Although the creators of artistic images are artists (poets, writers, painters, sculptors, architects, etc.), in a sense, their co-creators are those who perceive these images, that is, readers, viewers, listeners, etc. . So, ideal reader not only passively perceives the artistic image, but also fills it with his own thoughts, sensations and emotions. Different people and different eras reveal different sides of it. In this sense, the artistic image is inexhaustible, like life itself.