What is the construction of a work called: arrangement and relationship. Composition of a work of art as a stylistic dominant

COMPOSITION OF A LITERARY AND ARTISTIC WORK. TRADITIONAL COMPOSITION TECHNIQUES. DEFAULT/RECOGNITION, “MINUS”-RECEIPT, CO- AND CONTRASTINGS. INSTALLATION.

Composition literary work- this is the mutual correlation and arrangement of units of the depicted and artistic and speech means. Composition ensures the unity and integrity of artistic creations. The foundation of the composition is the orderliness of the fictional reality and the reality depicted by the writer.

Elements and levels of composition:

plot (in the understanding of formalists - artistically processed events);
system of characters (their relationship with each other);
narrative composition (change of narrators and point of view);
composition of parts (correlation of parts);
the relationship between narrative and description elements (portraits, landscapes, interior, etc.)

Traditional compositional techniques:

repetitions and variations. Serve to highlight and emphasize the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated historically early song lyrics, but also constituted its essence. The variations are modified repetitions (the description of the squirrel in Pushkin’s “The Tale of Tsar Saltan”). Increasing repetition is called gradation (the increasing claims of the old woman in Pushkin’s “The Tale of the Fisherman and the Fish”). Repetitions also include anaphors (single beginnings) and epiphoras (repeated endings of stanzas);
co- and oppositions. The origins of this technique are figurative parallelism developed by Veselovsky. Based on the combination of natural phenomena with human reality (“The silk grass spreads and curls / Across the meadow / Kisses, pardons / Mikhail his little wife”). For example, Chekhov's plays are based on comparisons of similarities, where the general life drama of the depicted environment takes precedence, where there are neither completely right nor completely guilty. Contrasts take place in fairy tales (the hero is a saboteur), in Griboyedov’s “Woe from Wit” between Chatsky and “25 Fools,” etc.;
“silence/recognition, minus reception. The defaults are beyond the scope of the detailed image. They make the text more compact, activate the imagination and increase the reader’s interest in what is depicted, sometimes intriguing him. In a number of cases, silences are followed by clarification and direct discovery of what was hitherto hidden from the reader and/or the hero himself - what Aristotle called recognition. Recognitions can complete a reconstructed series of events, as, for example, in Sophocles’ tragedy “Oedipus the King.” But silences may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant omissions - minus devices.
installation. In literary criticism, montage is the recording of co- and oppositions that are not dictated by the logic of what is depicted, but directly capture the author’s train of thought and associations. A composition with such an active aspect is called a montage. In this case, the spatio-temporal events and the characters themselves are weakly or illogically connected, but everything depicted as a whole expresses the energy of the author’s thought and his associations. The montage principle one way or another exists where there are inserted stories (“The Tale of Captain Kopeikin” in “Dead Souls”), lyrical digressions (“Eugene Onegin”), chronological rearrangements (“Hero of Our Time”). The montage structure corresponds to a vision of the world that is distinguished by its diversity and breadth.

THE ROLE AND SIGNIFICANCE OF ARTISTIC DETAIL IN A LITERARY WORK. RELATIONSHIP OF DETAILS AS A COMPOSITION DEVICE.

An artistic detail is an expressive detail in a work that carries a significant semantic, ideological and emotional load. The figurative form of a literary work contains three sides: a system of details of object representation, a system of compositional techniques and a speech structure. TO artistic detail usually include subject details - everyday life, landscape, portrait.

Detailing objective world in literature is inevitable, since only with the help of details can the author recreate an object in all its features, evoking the necessary associations in the reader with details. Detailing is not decoration, but the essence of the image. The addition by the reader of mentally missing elements is called concretization (for example, the imagination of a certain appearance of a person, an appearance that is not given by the author with exhaustive certainty).

According to Andrei Borisovich Yesin, there are three large groups details:

plot;
descriptive;
psychological.

The predominance of one type or another gives rise to the corresponding dominant property of the style: plot (“Taras and Bulba”), descriptive (“ Dead Souls"), psychologism ("Crime and Punishment").

Details can either “agree with each other” or be opposed to each other, “argue” with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the relationship between detail and detail as follows: detail gravitates toward singularity, detail affects multitudes.

Dobin believes that by repeating itself and acquiring additional meanings, a detail grows into a symbol, and a detail is closer to a sign.

DESCRIPTIVE ELEMENTS OF COMPOSITION. PORTRAIT. SCENERY. INTERIOR.

Descriptive elements of the composition usually include landscape, interior, portrait, as well as characteristics of the heroes, a story about their multiple, regularly repeated actions, habits (for example, a description of the usual daily routine of the heroes in “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” by Gogol ). The main criterion for a descriptive element of a composition is its static nature.

Portrait. Portrait of a character - a description of his appearance: physical, natural, and in particular age properties (facial features and figures, hair color), as well as everything in the appearance of a person that has been formed social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

Traditional high genres are characterized by idealizing portraits (for example, the Polish woman in Taras Bulba). Portraitures in works of a humorous, comedy-farcical nature had a completely different character, where the center of the portrait is the grotesque (transformative, leading to a certain ugliness, incongruity) presentation of the human body.

The role of a portrait in a work varies depending on the type and genre of literature. In drama, the author limits himself to indicating age and general characteristics, given in the remarks. The lyrics make maximum use of the technique of replacing the description of appearance with an impression of it. Such a replacement is often accompanied by the use of epithets “beautiful”, “charming”, “charming”, “captivating”, “incomparable”. Comparisons and metaphors based on the abundance of nature are very actively used here (a slender figure is a cypress tree, a girl is a birch tree, a timid doe). Gems and metals are used to convey the shine and color of eyes, lips, and hair. Comparisons with the sun, moon, and gods are typical. In the epic, a character's appearance and behavior are associated with his character. Early epic genres, for example, heroic tales, are full of exaggerated examples of character and appearance - ideal courage, extraordinary physical strength. The behavior is also appropriate - the majesty of poses and gestures, the solemnity of unhurried speech.

In creating a portrait right up to late XVIII V. the leading tendency remained its conditional form, the predominance of the general over the particular. IN XIX literature V. Two main types of portrait can be distinguished: exposure (gravitating towards static) and dynamic (transitioning into the entire narrative).

An exhibition portrait is based on a detailed listing of the details of the face, figure, clothing, individual gestures and other features of appearance. It is given on behalf of the narrator, interested in the character appearance representatives of some social community. A more complex modification of such a portrait is a psychological portrait, where appearance features predominate, indicating character traits and inner world(Pechorin’s non-laughing eyes).

A dynamic portrait, instead of a detailed listing of appearance features, presupposes a brief, expressive detail that arises during the course of the story (images of heroes in “The Queen of Spades”).

Scenery. Landscape is most correctly understood as a description of any open space in the outside world. Landscape is not a mandatory component art world, which emphasizes the conventionality of the latter, since landscapes are everywhere in the reality around us. The landscape carries several important functions:

designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, the landscape is not a dry indication of the spatio-temporal parameters of the work, but an artistic description using figurative, poetic language;
plot motivation. Natural, and, in particular, meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). Landscape also occupies a lot of space in animal literature (for example, the works of Bianchi);
a form of psychologism. The landscape creates a psychological mood for the perception of the text, helps to reveal the internal state of the characters (for example, the role of the landscape in the sentimental “Poor Lisa”);
form of the author's presence. The author can show his patriotic feelings by giving the landscape a national identity (for example, Yesenin’s poetry).

Landscape has its own characteristics in different types of literature. He is presented very sparingly in the drama. In his lyrics, he is emphatically expressive, often symbolic: personification, metaphors and other tropes are widely used. In epic there is much more scope for introducing landscape.

The literary landscape has a very ramified typology. There are rural and urban, steppe, sea, forest, mountain, northern and southern, exotic - opposed to flora and fauna native land author.

Interior. The interior, unlike the landscape, is an image of the interior, a description of an enclosed space. Mainly used for social and psychological characteristics characters, demonstrates their living conditions (Raskolnikov’s room).

"NARRATORY" COMPOSITION. NARRATOR, STORYTELLER AND THEIR RELATIONSHIP WITH THE AUTHOR. “POINT OF VIEW” AS A CATEGORY OF NARRATORY COMPOSITION.

The narrator is the one who informs the reader about the events and actions of the characters, records the passage of time, depicts the appearance characters and the situation of the action, analyzes internal state the hero and the motives of his behavior characterize his human type, without being either a participant in events or an object of depiction for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann said, “the weightless, ethereal and omnipresent spirit of storytelling.” But the function of the narrator can be attached to the character, provided that the character as a narrator will completely differ from him as an actor. So, for example, the narrating Grinev in “ The captain's daughter"is by no means a definite personality, in contrast to Grinev - the character. Grinev's character's view of what is happening is limited by the conditions of place and time, including features of age and development; his point of view as a narrator is much deeper.

In contrast to the narrator, the narrator is entirely within the reality being depicted. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator certainly enters the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image, associated with a certain socio-cultural environment, from the position of which he portrays other characters. The narrator, on the contrary, is close in his outlook to the author-creator.

IN in a broad sense narration is a set of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of “mediation” between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

Narrower and more precise, as well as more traditional meaning, narration is the totality of all speech fragments of a work, containing various messages: about events and actions of characters; about the spatial and temporal conditions in which the plot unfolds; about the relationships between the characters and the motives of their behavior, etc.

Despite the popularity of the term “point of view,” its definition has raised and continues to raise many questions. Let's consider two approaches to the classification of this concept - by B. A. Uspensky and by B. O. Korman.

Uspensky says about:

ideological point of view, meaning by it the vision of the subject in the light of a certain worldview that is transmitted different ways, indicating his individual and social position;
phraseological point of view, meaning by it the author’s use to describe different heroes different languages or even elements of foreign or substituted speech when describing;
spatio-temporal point of view, meaning by it the place of the narrator, fixed and defined in spatio-temporal coordinates, which may coincide with the place of the character;
point of view in terms of psychology, understanding by it the difference between two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is psychological.

Corman is closest to Uspensky from a phraseological point of view, but he:

distinguishes between spatial (physical) and temporal (position in time) points of view;
divides the ideological-emotional point of view into a direct-evaluative one (an open relationship between the subject of consciousness and the object of consciousness lying on the surface of the text) and an indirect-evaluative one (the author’s assessment, not expressed in words that have an obvious evaluative meaning).

The disadvantage of Corman's approach is the absence of a “plane of psychology” in his system.

So, the point of view in a literary work is the position of the observer (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing what is perceived; on the other hand, it expresses the author’s assessment of this subject and his outlook.

Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel...), but also a literary cycle, that is, a group of poetic or prose works united common hero, general ideas, problems, etc., even commonplace actions (for example, the cycle of stories by N. Gogol “Evenings on a Farm near Dikanka”, “The Tale of Belkin” by A. Pushkin; the novel by M. Lermontov “A Hero of Our Time” is also a cycle of individual short stories united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their interrelation are called COMPOSITION:

COMPOSITION (from Latin Сompositio, composition, composition) - construction, structure work of art: selection and sequence of elements and visual techniques of a work that create an artistic whole in accordance with the author’s intention.

The elements of the composition of a literary work include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of “publishers” (created by the author’s imagination of extra-plot images), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (for example, Dream Oblomov in Goncharov's novel "Oblomov", a letter from Tatyana to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets..." in Gorky's drama "At the Lower Depths"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.

the action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; such a composition is called inverse(this technique was used by N. Chernyshevsky in the novel “What is to be done?”);

the author uses framing composition, or ring, in which the author uses, for example, repetition of stanzas (the last repeats the first), artistic descriptions(the work begins and ends with a landscape or interior), the events of the beginning and ending take place in the same place, the same characters participate in them, etc.; This technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in “Poems about a Beautiful Lady”) and in prose (“ Dark alleys"I. Bunin; "Song of the Falcon", "Old Woman Izergil" by M. Gorky);

the author uses the technique of retrospection, that is, returning an action to the past, when the reasons for what was happening in currently narratives (for example, the author’s story about Pavel Petrovich Kirsanov in Turgenev’s novel “Fathers and Sons”); Often, when using retrospection, an inserted story of the hero appears in the work, and this type of composition will be called “a story within a story” (Marmeladov’s confession and Pulcheria Alexandrovna’s letter in “Crime and Punishment”; Chapter 13 “The Appearance of the Hero” in “The Master and Margarita”; “ After the Ball" by Tolstoy, "Asya" by Turgenev, "Gooseberry" by Chekhov);

often the organizer of the composition is the artistic image, For example, the road in Gogol's poem "Dead Souls"; pay attention to the diagram author's narration: Chichikov’s arrival in the city of NN - road to Manilovka - Manilov’s estate - road - arrival at Korobochka - road - tavern, meeting with Nozdryov - road - arrival at Nozdryov - road - etc.; it is important that the first volume ends on the road; Thus, the image becomes the leading structure-forming element of the work;

the author can preface the main action with exposition, what, for example, will be the entire first chapter in the novel “Eugene Onegin”, or it can begin the action immediately, sharply, “without acceleration”, as Dostoevsky does in the novel “Crime and Punishment” or Bulgakov in “The Master and Margarita”;

the composition of the work can be based on symmetry words, images, episodes (or scenes, chapters, phenomena, etc.) and will be mirrored as, for example, in A. Blok’s poem “The Twelve”; a mirror composition is often combined with a frame(this principle of composition is characteristic of many poems by M. Tsvetaeva, V. Mayakovsky and others; read, for example, Mayakovsky’s poem “From Street to Street”);

the author often uses technique of compositional “break” of events: breaks the story completely interesting place at the end of the chapter, and new chapter begins with a story about another event; for example, it is used by Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita. This technique is very popular among the authors of adventure and detective works or works where the role of intrigue is very large.

Composition is an aspect of the form of a literary work, but its content is expressed through the features of the form. The composition of a work is an important way of embodying the author's idea. Read A. Blok’s poem “The Stranger” in full for yourself, otherwise our reasoning will be incomprehensible to you. Pay attention to the first and seventh stanzas, listening to their sound:

1st stanza
IN THE EVENING AT RESTAURANTS

The hot air is wild and deaf,

And rules the drunken shouts

Spring and decaying spirit.

7th stanza

And every evening, at the appointed hour

(Or am I just dreaming?),

The girl's figure, captured by silks,

The window moves in the fog.

The first stanza sounds sharp and disharmonious - due to the abundance of [r], which, like other disharmonious sounds, will be repeated in the following stanzas up to the sixth. It cannot be otherwise, because Blok here paints a picture of disgusting philistine vulgarity, " scary world", in which the soul of the Poet toils. This is how the first part of the poem is presented. The seventh stanza marks the transition to new world- Dreams and Harmonies, and the beginning of the second part of the poem. This transition is smooth, the accompanying sounds are pleasant and soft: [a:], [nn]. Thus, in the construction of the poem and with the help of the technique of so-called sound writing, Blok expressed his idea of the opposition of two worlds - harmony and disharmony.

The composition of the work can be thematic, in which the main thing is to identify the relationships between central images works. This type of composition is more characteristic of lyrics. There are three types of such composition:

consistent, representing logical reasoning, the transition from one thought to another and the subsequent conclusion at the end of the work (“Cicero”, “Silentium”, “Nature is a sphinx, and therefore it is truer...” by Tyutchev);

development and transformation of the central image: the central image is considered by the author with various sides, reveal it bright features and characteristics; such a composition assumes a gradual increase in emotional tension and a culmination of experiences, which often occurs at the end of the work (“Sea” Zhukovsky, “I came to you with greetings...” Fet);

comparison of 2 images, those who entered into artistic interaction ("The Stranger" by Blok); such a composition is built at the reception of antithesis, or opposition.

Composition is the arrangement of parts of a literary work in a certain order, a set of forms and methods artistic expression by the author depending on his intention. Translated from Latin language means “composition”, “construction”. Composition builds all parts of the work into a single, complete whole.

It helps the reader to better understand the content of the works, maintains interest in the book and helps to draw the necessary conclusions in the end. Sometimes the composition of a book intrigues the reader and he looks for a sequel to the book or other works by this writer.

Composition elements

Among such elements are narration, description, dialogue, monologue, inserted stories and lyrical digressions:

Narration- the main element of the composition, the author’s story, revealing the content of the work of art. Occupies most the volume of the entire work. Conveys the dynamics of events; it can be retold or illustrated with drawings.
Description. This is a static element. During the description, events do not occur; it serves as a picture, a background for the events of the work. The description is a portrait, an interior, a landscape. Landscape is not necessarily an image of nature, it can be a city landscape, lunar landscape, description of fantastic cities, planets, galaxies or description of fictional worlds.
Dialogue- conversation between two people. It helps to reveal the plot and deepen the characters of the characters. Through the dialogue between two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, and begins to better understand the characters’ characters.
Monologue- speech of one character. In the comedy by A. S. Griboedov, through Chatsky’s monologues, the author conveys thoughts advanced people his generation and the experiences of the hero himself, who learned about his beloved’s betrayal.
Image system. All images of a work that interact in connection with the author’s intention. These are images of people fairy tale characters, mythical, toponymic and subject. There are awkward images invented by the author, for example, “The Nose” from Gogol’s story of the same name. The authors simply invented many images, and their names became commonly used.
Insert stories, a story within a story. Many authors use this technique to create intrigue in a work or at the denouement. A work may contain several inserted stories, the events in which take place in different time. Bulgakov in “The Master and Margarita” used the device of a novel within a novel.
Author's or lyrical digressions. Gogol has many lyrical digressions in his work “Dead Souls”. Because of them, the genre of the work has changed. It's big prose work called the poem “Dead Souls”. And “Eugene Onegin” is called a novel in verse because large quantity author's digressions, thanks to which readers are presented with an impressive picture Russian life early 19th century.
Author's description . In it, the author talks about the character of the hero and does not hide his positive or negative attitude towards him. Gogol in his works often gives ironic characteristics to his heroes - so precise and succinct that his heroes often become household names.
Plot of the story- this is a chain of events occurring in a work. The plot is the content literary text.
Fable- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
Scenery- description of nature, real and imaginary world, city, planet, galaxies, existing and fictional. Landscape is an artistic device, thanks to which the character of the characters is revealed more deeply and an assessment of events is given. You can remember how the seascape changes in Pushkin’s “The Tale of the Fisherman and the Fish,” when the old man comes to the Golden Fish again and again with another request.
Portrait- this description is not only appearance hero, but also his inner world. Thanks to the author’s talent, the portrait is so accurate that all readers have the same idea of the appearance of the hero of the book they read: what Natasha Rostova, Prince Andrei, Sherlock Holmes looks like. Sometimes the author draws the reader's attention to some characteristic feature hero, for example, Poirot’s mustache in Agatha Christie’s books.

Don't miss: in the literature, examples of use.

Compositional techniques

Subject composition

The development of the plot has its own stages of development. There is always a conflict at the center of the plot, but the reader does not immediately learn about it.

Subject composition depends on the genre of the work. For example, a fable necessarily ends with a moral. Dramatic works of classicism had their own laws of composition, for example, they had to have five acts.

The composition of the works is distinguished by its unshakable features folklore. Songs, fairy tales, and epics were created according to their own laws of construction.

The composition of the fairy tale begins with the saying: “Like on the sea-ocean, and on the island of Buyan...”. The saying was often composed in poetic form and was sometimes far from the content of the fairy tale. The storyteller attracted the attention of the listeners with a saying and waited for them to listen to him without being distracted. Then he said: “This is a saying, not a fairy tale. There will be a fairy tale ahead."

Then came the beginning. The most famous of them begins with the words: “Once upon a time” or “In a certain kingdom, in the thirtieth state...”. Then the storyteller moved on to the fairy tale itself, to its characters, to wonderful events.

Techniques of a fairy-tale composition, a threefold repetition of events: the hero fights three times with the Serpent Gorynych, three times the princess sits at the window of the tower, and Ivanushka on a horse flies to her and tears off the ring, three times the Tsar tests his daughter-in-law in the fairy tale “The Frog Princess”.

The ending of the fairy tale is also traditional; about the heroes of the fairy tale they say: “They live, live well and make good things.” Sometimes the ending hints at a treat: “A fairy tale for you, but a bagel for me.”

Literary composition- this is the arrangement of parts of a work in a certain sequence, this complete system forms artistic image. The means and techniques of composition deepen the meaning of what is depicted and reveal the characteristics of the characters. Each work of art has its own unique composition, but there are its traditional laws that are observed in some genres.

During the times of classicism, there was a system of rules that prescribed certain rules for writing texts to authors, and they could not be violated. This is the rule of three unities: time, place, plot. This is a five act structure. dramatic works. This speaking names and a clear division into negative and positive characters. The compositional features of classicism are a thing of the past.

Compositional techniques in literature depend on the genre of the work of art and on the talent of the author, who has available types, elements, techniques of composition, knows its features and knows how to use these artistic methods.

STYLE DOMINANTS

There are always some points in the text of a work at which the style “comes out.” Such points serve as a kind of stylistic “tuning fork”, tuning the reader to a certain “aesthetic wave”... Style is presented as “a certain surface on which a unique trace has been identified, a form that by its structure reveals the presence of one guiding force.” (P.V. Palievsky)

Here we're talking about about STYLE DOMINANTS, which play an organizing role in the work. That is, all techniques and elements must be subordinated to them, the dominants.

Style dominants- This:

Plot, descriptiveness and psychologism,

Conventionality and life-likeness,

Monologism and heteroglossia,

Verse and prose,

Nominativity and rhetoric,

- simple and complex types compositions.

COMPOSITION -(from Latin compositio - composition, binding)

The construction of a work of art, determined by its content, character, purpose and largely determining its perception.

Composition is the most important organizing element of an artistic form, giving the work unity and integrity, subordinating its components to each other and to the whole.

IN fiction composition is a motivated arrangement of components of a literary work.

A component (UNIT OF COMPOSITION) is considered to be a “segment” of a work in which one method of depiction (characterization, dialogue, etc.) or a single point of view (of the author, narrator, one of the characters) on what is depicted is preserved.

The relative position and interaction of these “segments” form the compositional unity of the work.

Composition is often identified with both the plot, the system of images, and the structure of a work of art.

In the very general view There are two types of composition - simple and complex.

SIMPLE (linear) composition comes down only to combining parts of a work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.

For a COMPLEX (transformational) composition the order of combination of parts reflects a special artistic meaning.

For example, the author begins not with exposition, but with some fragment of the climax or even the denouement. Or the narrative is conducted as if in two times - the hero “now” and the hero “in the past” (remembers some events that highlight what is happening now). Or a double hero is introduced - from a completely different galaxy - and the author plays on the comparison/contrast of episodes.

In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.

DIFFERENT ASPECTS OF THE COMPOSITION:

external composition

figurative system,

character system changing points of view,

parts system,

plot and plot

conflict artistic speech,

extra plot elements

COMPOSITION FORMS:

narration

description

characteristic.

COMPOSITE FORMS AND MEANS:

repetition, reinforcement, contrast, montage

comparison,

"close-up" plan, "general" plan,

point of view,

temporary organization of the text.

REFERENCE POINTS OF THE COMPOSITION:

climax, denouement,

strong text positions,

repetitions, contrasts,

twists and turns in the hero's fate,

spectacular artistic techniques and funds.

The points of greatest reader tension are called REFERENCE POINTS OF THE COMPOSITION. These are peculiar landmarks that guide the reader through the text, and it is in them that the ideological issues works.<…>they are the key to understanding the logic of composition and, accordingly, the entire internal logic of the work as a whole .

STRONG TEXT POSITIONS:

These include formally identified parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).

MAIN TYPES OF COMPOSITION:

ring, mirror, linear, default, flashback, free, open, etc.

PLOT ELEMENTS:

exposition, plot

action development

(vicissitudes)

climax, denouement, epilogue

EXTRA-PLOT ELEMENTS

description (landscape, portrait, interior),

insert episodes.

Ticket number 26

1.Poetic vocabulary

2. Epicness, drama and lyricism of a work of art.

3. The volume and content of the style of the work.

Poetic vocabulary

P.l.- one of the most important aspects of a literary text; subject of study in a special branch of literary criticism. The study of the lexical composition of a poetic (i.e., artistic) work involves correlating the vocabulary used in a separate example of artistic speech of a writer with the vocabulary in common use, that is, used by the writer’s contemporaries in various everyday situations. The speech of society that existed at that time historical period, to which the work of the author of the analyzed work belongs, is perceived as a certain norm, and therefore is recognized as “natural”. The purpose of the study is to describe the facts of deviation of individual author's speech from the norms of “natural” speech. The study of the lexical composition of a writer’s speech (the so-called “writer’s dictionary”) turns out to be a particular type of such stylistic analysis. When studying the “writer’s vocabulary,” attention is paid to two types of deviations from “natural” speech: the use of lexical elements that are rarely used in “natural” everyday circumstances, i.e., “passive” vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargons (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The author’s introduction of words from one and the other group into the text determines the imagery of the work, and therefore its artistry.

(everyday vocabulary, business vocabulary, poetic vocabulary and so on.)

Poetic vocabulary. The archaic vocabulary includes historicisms and archaisms. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussar, tax in kind, NEP, October child (younger child school age, preparing to join the pioneers), NKVD member (employee of the NKVD - People's Commissariat of Internal Affairs), commissar, etc.). Historicisms can be associated both with very distant eras and with events of relatively recent times, which, however, have already become facts of history (Soviet power, party activists, general secretary, Politburo). Historicisms do not have synonyms among active words vocabulary, being the only names of the corresponding concepts.

Archaisms are names of existing things and phenomena, for some reason supplanted by other words belonging to the active vocabulary (cf.: every day - always, comedian - actor, zlato - gold, know - know).

Obsolete words are heterogeneous in origin: among them there are original Russian (full, shelom), Old Slavonic (glad, kiss, shrine), borrowed from other languages (abshid - “retirement”, voyage - “travel”).

Of particular interest stylistically are words of Old Church Slavonic origin, or Slavicisms. A significant part of Slavicisms were assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also such Old Church Slavonic words, which in modern language are perceived as an echo of high style and retain its characteristic solemn, rhetorical coloring.

The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavicisms in Russian literature. Names of gods and heroes of Greek and Roman mythology, special poetic symbols (lyre, ellisium, Parnassus, laurels, myrtles), artistic images ancient literature in the first thirds of the XIX V. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavicisms, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already among the successors of A.S. Pushkin's poetisms are archaized. Writers often refer to outdated words as expressive means artistic speech. The history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and “sweet” sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily non-vocal ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the basis of “poetic license”: poets could choose from two words the one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp’s voice, will die quietly in the air. - Bat.). Over time, the tradition of “poetic license” is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.

Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. They were used in this function, for example, by A.N. Tolstoy:

“The land of Ottich and Dedich are those banks of deep rivers and forest glades where our ancestor came to live forever. (...) he fenced off his dwelling with a fence and looked along the path of the sun into the distance of centuries.

And he imagined many things - heavy and hard times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears mounted under the banners of Dmitry on the Kulikovo field, and the blood-drenched ice of Lake Peipus, and the Terrible Tsar, who pushed apart the united, henceforth indestructible, boundaries of the earth from Siberia to the Varangian Sea. .."

Archaisms, especially Slavicisms, give speech a sublime, solemn sound. Old Church Slavonic vocabulary played this role back in ancient Russian literature. IN poetic speech XIX century Old Russianisms, which also began to be used to create the pathos of artistic speech, became stylistically equal to the high Old Slavonic vocabulary. The high, solemn sound of outdated words is also appreciated by writers of the 20th century. During the Great Patriotic War I.G. Ehrenburg wrote: “By repelling the blows of predatory Germany, it (the Red Army) saved not only the freedom of our Motherland, it saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which goodness will shine. Our people showed their military virtues..."

Outdated vocabulary can take on an ironic connotation. For example: Which parent does not dream of an understanding, balanced child who grasps everything literally on the fly. But attempts to turn your child into a “miracle” tragically often end in failure (from the gas). The ironic rethinking of outdated words is often facilitated by the parodic use of elements of high style. In a parody-ironic function outdated words often appear in feuilletons, pamphlets, and humorous notes. Let us refer to an example from newspaper publication in preparation for the day the president took office (August 1996).

There are three levels of literary work:

Subject figurativeness is vital material

Composition – organization of this material

Artistic language is the speech structure of a literary work, at all four levels artistic language: phonics, vocabulary, semantics, syntax.

Each of these layers has its own complex hierarchy.

The apparent complexity of a literary work is created by the hard work of the writer at all three levels of the artistic whole.

Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to different characteristics and indicators.

A literary text represents a communicative, structural and semantic unity, which is manifested in its composition. That is, this is the unity of communication – structure – and meaning.

The composition of a literary text is a “mutual correlation And location units of depicted and artistic and speech means.” The units of what is depicted here mean: theme, problem, idea, characters, all aspects of the external and internal world depicted. Artistic speech means are the entire figurative system of language at the level of its 4 layers.

Composition is the construction of a work that determines its integrity, completeness and unity.

Composition - represents "system connections" all its elements. This system also has independent content, which should be revealed in the process philological analysis text.

Composition, either structure or architectonics is the construction of a work of art.

Composition is an element of the form of a work of art.

Composition contributes to the creation of a work as an artistic integrity.

The composition unites all components and subordinates them to the idea, the intention of the work. Moreover, this connection is so close that it is impossible to remove or rearrange a single component from the composition.

Types of compositional organization of a work:

Plot type - that is, plot (epic, lyric, drama)

Non-plot type - plotless (in lyric poetry, epic and drama created by the creative method of modernism and postmodernism)

The plot type of compositional organization of a work is of two types:

Event-based (in epic and drama)

Descriptive (lyrics)

Let's consider the first type of plot composition - event-based. It has three forms:

Chronological form - events develop along a straight line of time, the natural time sequence is not disrupted, there may be time intervals between events

Retrospective form - a deviation from the natural chronological sequence, a violation of the linear order of events in life, interruption with the memories of the heroes or the author, familiarizing the reader with the background of events and the lives of the characters (Bunin, “Easy Breathing”)

Free or montage form - a significant violation of spatio-temporal and cause-and-effect relationships between events; the connection between individual episodes is associative-emotional, and not logical-semantic (“Hero of Our Time”, “The Trial” by Kafka and other works of modernism and postmodernism)

Let's consider the second type of composition - descriptive:

It is present in lyrical works, they generally lack a clearly limited and coherently developed action, the experiences of the lyrical hero or character are brought to the fore, and the entire composition is subordinated to the goals of his depiction, this is a description of thoughts, impressions, feelings, pictures inspired by the experiences of the lyrical hero .

The composition can be external and internal

External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes; their arrangement may vary depending on the methods of creating the plot chosen by the author.

External composition- this is the division of a text characterized by continuity into discrete units. Composition, therefore, is the manifestation of a significant discontinuity in continuity.

External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in drama, etc.), this organizes and directs the reader’s perception. The architectonics of the text serves as a way of “portioning” meaning; with the help of... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of elements of the text (and therefore its content).

External composition: no less significant is the lack of division of the text or its expanded fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the undifferentiation, and fluidity of the narrator’s or character’s picture of the world (for example, in “stream of consciousness” literature).

Internal composition : this is a composition (construction, arrangement) of images - characters, events, setting, landscapes, interiors, etc.

Internal(meaningful) composition is determined by the system of images-characters, the features of the conflict and the originality of the plot.

Don't be confused: the plot has elements plot, composition has techniques(internal composition) and parts(external composition) composition.

The composition includes in its construction both all the elements of the plot - plot elements and extra-plot elements.

Internal composition techniques:

Prologue (often referred to as the plot)

Epilogue (often referred to as the plot)

Monologue

Character portraits

Interiors

Landscapes

Extra-plot elements in the composition

Classification of compositional techniques by highlighting individual elements:

Each compositional unit is characterized by promotion techniques that provide emphasis the most important meanings of the text and activate the reader's attention. This:

geography: various graphic highlights,

repetitions: repetitions of linguistic units of different levels,

strengthening: strong positions of the text or its compositional part - positions of advancement associated with establishing a hierarchy of meanings, focusing attention on the most important, enhancing emotionality and aesthetic effect, establishing meaningful connections between elements adjacent and distant, belonging to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningAndend works (parts, chapters, chapters). With their help, the author emphasizes the most significant structural elements for understanding the work and at the same time determines the main “semantic milestones” of a particular compositional part (the text as a whole).

Widespread in Russian literature of the late 20th century. the techniques of montage and collage, on the one hand, led to increased fragmentation of the text, on the other, it opened up the possibility of new combinations of “semantic plans.”

Composition in terms of its coherence

The architectural features of the text reveal its most important feature, such as coherence. The segments (parts) of the text selected as a result of division are correlated with each other, “linked” based on common elements. There are two types of connectivity: cohesion and coherence (terms proposed by W. Dressler)

Cohesion (from Latin - “to be connected”), or local connectivity, is linear type connectivity, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, correlation of grammatical forms, etc.

Coherence(from lat. - “cohesion”), or global coherence, is a coherence of a nonlinear type that combines elements of different levels of text (for example, title, epigraph, “text within text” and main text, etc.). The most important means of creating coherence are repetitions (primarily words with common semantic components) and parallelism.

In a literary text, semantic chains arise - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as “incremental meaning”.

Any literary text is permeated with semantic echoes, or repetitions. Words connected on this basis can occupy different positions: located at the beginning and at the end of the text (ring semantic composition), symmetrically, form a gradational series, etc.

Consideration of semantic composition is a necessary stage of philological analysis. It is especially important for the analysis of “plotless” texts, texts with weakened cause-and-effect relationships of components, texts rich in complex images. Identifying semantic chains in them and establishing their connections is the key to interpreting a work.

Extra-plot elements

Inserted episodes

Lyrical digressions,

Artistic advance

Artistic framing,

Dedication

Epigraph,

Heading

Inserted episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and remembered in connection with the current events of the work (“The Tale of Captain Kopeikin” in “Dead Souls”)

Lyrical digressions- can be lyrical, philosophical, journalistic, express the thoughts and feelings of the writer directly, in the direct author’s word, reflect the author’s position, the writer’s attitude towards the characters, some elements of the theme, problem, idea of the work (in “Dead Souls” - about youth and old age , about Rus' as a bird - troika)

Artistic advance - depiction of scenes that anticipate the further course of events (

Artistic framing – the scenes with which a work of art begins and ends are most often the same scene, given in development, and creating ring composition(“The Fate of Man” by M. Sholokhov)

Dedication – a short description or lyrical work that has a specific addressee to whom the work is addressed and dedicated

Epigraph – an aphorism or quotation from another famous work or folklore, located before the entire text or before its individual parts (proverb in “The Captain’s Daughter”)

Heading- the title of a work, which always contains the theme, problem or idea of the work, a very brief formulation that has deep expressiveness, imagery or symbolism.

The object of literary analysis in the study of composition different aspects of the composition may become:

1) architectonics, or external composition of the text - dividing it into certain parts (chapters, sub-chapters, paragraphs, stanzas, etc.), their sequence and interconnection;

2) a system of images of characters in a work of art;

3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of point of view that constitutes "the central problem of composition»; consideration in the structure of the text different points vision in relation to the architectonics of the work allows us to identify the dynamics of the development of artistic content;

4) a system of details presented in the text (composition of details); their analysis makes it possible to reveal ways to deepen what is depicted: as subtly noted by I.A. Goncharov, “details that appear fragmentarily and separately in the long view of the general plan”, in the context of the whole “merge in the general structure... as if thin invisible threads or, perhaps, magnetic currents were acting”;

5) correlation with each other and with the other components of the text of its extra-plot elements (inserted short stories, short stories, lyrical digressions, “scenes on stage” in drama).

Composition analysis thus takes into account different aspects of the text.

The term “composition” in modern philology turns out to be very ambiguous, which makes it difficult to use.

To analyze the composition of a literary text, you must be able to:

Identify in its structure repetitions that are significant for the interpretation of the work, serving as the basis for cohesion and coherence;

Identify semantic overlaps in parts of the text;

Highlight markers - separators of different compositional parts of the work;

Correlate the features of the division of the text with its content and determine the role of discrete (individual parts) compositional units within the whole;

Establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition.

Identify all the techniques of external and internal composition in F. Tyutchev’s poem “Silentium” (namely: parts of the composition, type of plot - non-plot, event - descriptive, vision of individual elements, type of their coherence, - NB