The meaning of the image of the narrator in the dictionary of literary terms. Questions and tasks for M’s early creativity
Retreat. Guys! Isn't Moscow behind us? Redoubt. Portrait of Misha. Pushkin's successor. Saber. Bivouac. Check yourself. View of Pyatigorsk. Damask steel sounded, buckshot screamed. Buckshot. Poem. Army French Emperor Napoleon. Rapid movement. Lermontov's artistic talent. Oil Paintings. Participation in hostilities. Start literary activity. What feeling is imbued with the poem “Borodino”.
“Comparison of the “Prophet” of Lermontov and Pushkin” - Three prophets. Chernyshevsky. Comparative analysis poems "Prophet". Book of the prophet Jeremiah. Kramskoy "Christ in the Desert". The formation of Nekrasov. Pushkin "Prophet". Nekrasov "Prophet". Fate. Lermontov "Prophet". The heart will not learn to love. The main themes of the lyrics. Comparative analysis of three poems. Themes of repentance.
“Song about the merchant Kalashnikov” - But after persuasion he returned to the kingdom, demanding special powers for himself. Why did the guardsman behave this way? Arbitrariness and lawlessness were " business card» guardsmen. The Zemets could not even complain about the oprichnik. My paternal grandmother, Sophia Paleologus, is from a family of Byzantine emperors[. Rootlessness Passion Unorthodox faith Unjust higher power. The merchant thinks about his family, not about himself. My legs gave way, I covered myself with a silk veil.
“M.Yu. Lermontov “Motherland”” - With the help of what paintings does Lermontov create the image peasant Rus'? V.G. Belinsky. M.Yu. Lermontov (1814-1841) “Motherland” (1841). Poem dictionary: Places that the poet selflessly loved. I love my fatherland, but my love is strange! “I love my fatherland...!” - exclaims the lyrical hero. The poem is written according to the principle from general to specific. Which homeland is being shown? keywords? Thesis of the poem-reflection:
“Lermontov's Poetry” - Sublime, solemn style. The poem by M.Yu. Lermontov is an imitation of A.S. Pushkin. Haven't you, poet, lost your purpose? Tasks for working with text. What problem is raised in the poem? A.S. Pushkin. Tasks for groups. How does the lyrical hero see his similarities? The main idea of the poem. What is the purpose of poetry according to M.Yu. Lermontov. He imitated Pushkin and Byron in poetry.
“Lermontov’s poem “Borodino”” - Mikhail Lermontov. Vocabulary work. Borodino. Dormant waters. School of Guards Junkers. Poem "Mtsyri". Kutuzov. Bogatyrs. History of the creation of the work. Russian soldiers. Author's biography. Russian losses.
Concept narration in a broad sense, it implies communication between a certain subject telling about events and the reader and is applied not only to literary texts (for example, a scientist-historian narrates about events). Obviously, one should first of all correlate the narrative with the structure of the literary work. In this case, it is necessary to distinguish between two aspects: “the event that is being told” and “the event of the telling itself.” The term "narrative" corresponds to in this case exclusively to the second “event”.
Two clarifications need to be made. Firstly, the narrating subject has direct contact with the addressee-reader, absent, for example, in cases of inserted stories addressed by some characters to others. Secondly, a clear distinction between the two named aspects of the work is possible, and their relative autonomy is characteristic mainly of epic works. Of course, the story of a character in a drama about events that are not shown on stage, or similar story about the past of the lyrical subject (not to mention the special lyrical genre of “story in verse ») represent phenomena close to epic storytelling. But these will already be transitional forms.
There is a distinction between a story about the events of one of the characters, addressed not to the reader, but to listeners-characters, and a story about the same events by a subject of image and speech who is intermediary between the world of the characters and the reality of the reader. Only the story in the second meaning should – with a more precise and responsible use of words – be called “narration”. For example, inserted stories in Pushkin’s “The Shot” (the stories of Silvio and Count B*) are considered as such precisely because they function within the depicted world and become known thanks to the main narrator, who conveys them to the reader, addressing him directly, and not to one or another event participants.
Thus, with an approach that differentiates “acts of storytelling” depending on their addressee, the category of narrator can be correlated with such different subjects of image and speech as narrator , narrator And "image of the author." What they have in common is mediation function, and on this basis distinctions can be made.
Narrator – That , who informs the reader about the events and actions of the characters, records the passage of time, depicts the appearance of the characters and the setting of the action, analyzes internal state the hero and the motives of his behavior, characterizes his human type (mental disposition, temperament, attitude to moral standards, etc.), without being either a participant in the events or, more importantly, an object of depiction for any of the characters. The specificity of the narrator is simultaneously in his comprehensive outlook (its boundaries coincide with the boundaries of the depicted world) and in the address of his speech primarily to the reader, i.e., its direction just beyond the boundaries of the depicted world. In other words, this specificity is determined by the position “on the border” of fictional reality.
Let us emphasize: the narrator is not a person, but function. Or, as I said German writer Thomas Mann (in The Chosen One), "the weightless, ethereal and omnipresent spirit of storytelling." But a function can be attached to a character (or a spirit can be embodied in him) - provided that the character as a narrator is completely different from himself as an actor.
This is the situation in Pushkin's The Captain's Daughter. At the end of this work, the original conditions of the story seem to change decisively: “I have not witnessed everything that remains for me to notify the reader; but I have heard stories about it so often that the slightest details are engraved in my memory and that it seems to me as if I were there, invisibly present.” Invisible presence is the traditional prerogative of the narrator, and not the storyteller. But is the way of covering events in this part of the work any different from everything that preceded it? Obviously, nothing. Not to mention the absence of purely verbal differences, in both cases the subject of the narrative equally easily brings his point of view closer to the point of view of the character. Masha, in the same way, does not know who the real lady is, whom she managed to “examine from head to toe,” just as the character Grinev, who “seemed remarkable” the appearance of his counselor, does not suspect who she actually accidentally introduced him to life. But the limited vision of the characters is accompanied by portraits of the interlocutors that, in their psychological insight and depth, go far beyond their capabilities. On the other hand, the narrating Grinev is by no means a definite personality, in contrast to Grinev, the protagonist. The second is the image object for the first; the same as all the other characters. At the same time, Pyotr 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. On the other hand, Grinev the character is perceived differently by other characters. But in the special function of the “I-narrator,” the subject, whom we call Grinev, is not the subject of the image for any of the characters. He is a subject of depiction only for the author-creator.
The “attachment” of the narrative function to the character is motivated in “The Captain’s Daughter” by the fact that Grinev is credited with the “authorship” of the notes. The character, as it were, turns into the author: hence the broadening of his horizons. The opposite course of artistic thought is also possible: the author turns into a special character, creating his own “double” within the depicted world. This is what happens in the novel “Eugene Onegin”. The one who addresses the reader with the words “Now we will fly to the garden, / Where Tatyana met him,” is, of course, the narrator. In the reader’s mind, he is easily identified, on the one hand, with the author-creator (the creator of the work as an artistic whole), on the other, with the character who, together with Onegin, remembers “the beginning of a young life” on the banks of the Neva. In fact, in the depicted world, as one of the heroes, there is, of course, not the author-creator (this is impossible), but the “image of the author”, the prototype of which for the creator of the work is himself as an “extra-artistic” person - as a private person with a special biography (“But the north is harmful to me”) and as a person of a certain profession (belonging to the “perky workshop”).
Concepts " narrator " And " author's image "Sometimes they are mixed up, but they can and should be distinguished. First of all, both of them should be distinguished – precisely as “images” – from the one who created them author-creator. That the narrator is “a fictitious figure, not identical with the author” is a generally accepted opinion. The relationship between the “image of the author” and the original or “primary” author is not so clear. According to M.M. Bakhtin, “the image of the author” is something “created, not created.”
The “image of the author” is created by the original author (the creator of the work) according to the same principle as a self-portrait in painting. This analogy makes it possible to quite clearly distinguish the creation from the creator. A self-portrait of an artist, from a theoretical point of view, can include not only himself with an easel, palette and brush, but also a painting standing on a stretcher, in which the viewer, after looking closely, recognizes the resemblance of the self-portrait he is contemplating. In other words, the artist can depict himself drawing this very self-portrait in front of the audience (cf.: “By now, in the place of my novel / I have finished the first chapter”). But he cannot show how this picture is created as a whole - with the perception of the viewer double perspective (with a self-portrait inside). To create an “image of the author,” like any other, a true author needs a fulcrum outside works, outside the “field of image” (M.M. Bakhtin).
The narrator, unlike the author-creator, is outside only that depicted time and space, under which the plot unfolds. Therefore, he can easily go back or run ahead, and also know the premises or results of the events of the present depicted. But its possibilities are at the same time determined from beyond the boundaries of the entire artistic whole, which includes the depicted “event of the storytelling itself.” The “omniscience” of the narrator (for example, in “War and Peace” by L.N. Tolstoy) is also included in the author’s plan, as in other cases - in “Crime and Punishment” by F.M. Dostoevsky or in the novels of I.S. Turgenev - the narrator, according to the author’s instructions, does not at all have complete knowledge about the causes of events or about inner life heroes.
In contrast to the narrator narrator is not on the border of the fictional world with the reality of the author and reader, but entirely inside depicted reality. All the main points of the “event of the story itself” in this case become the subject of the image, the “facts” of fictional reality: the “framing” situation of the story (in the short story tradition and oriented towards it prose XIX-XX centuries); the personality of the narrator: he is either biographically connected with the characters about whom he is telling the story (the writer in “The Humiliated and the Insulted,” the chronicler in F. M. Dostoevsky’s “Demons”), or in any case has a special, by no means comprehensive, outlook; a specific speech manner attached to a character or depicted on its own (“The Tale of How Ivan Ivanovich and Ivan Nikiforovich Quarreled” by N.V. Gogol). 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 horizon of either the narrator or the characters - the listeners (Ivan Vasilyevich in the story “After the Ball” by L.N. Tolstoy).
The image of the narrator- How character or as a “linguistic face” (M.M. Bakhtin) – necessary hallmark this type of depicting subject, the inclusion in the field of depiction of the circumstances of the story is optional. For example, in Pushkin’s “The Shot” there are three narrators, but only two storytelling situations are shown. If such a role is assigned to a character whose story bears no signs of either his outlook or his speech manner (the story of Pavel Petrovich Kirsanov in Fathers and Sons, attributed to Arkady), this is perceived as a conventional device. Its goal is to relieve the author of responsibility for the accuracy of what is told. In fact, the subject of the image in this part of Turgenev’s novel is the narrator.
So, the narrator is the subject of the image, quite objectified and associated with a certain socio-cultural and linguistic environment, from the perspective of which (as happens in the same “Shot”) he portrays other characters. The narrator, on the contrary, is close in his outlook to the author-creator. At the same time, compared to the heroes, he is a bearer of a more neutral speech element, generally accepted linguistic and stylistic norms. This is how, for example, the narrator’s speech differs from Marmeladov’s story in Crime and Punishment. The closer the hero is to the author, the fewer speech differences between the hero and the narrator. Therefore, the leading characters of a great epic, as a rule, are not the subjects of stylistically distinct stories.
The narrator’s “mediation” helps the reader, first of all, to obtain a more reliable and objective understanding of events and actions, as well as the inner life of the characters. The narrator's "mediation" allows entry inside depicted world and look at events through the eyes of the characters. The first is associated with certain advantages external points of view. Conversely, works that seek to directly involve the reader in the character’s perception of events do without a narrator at all or almost without, using the forms of diary, correspondence, and confession (“Poor People” by F.M. Dostoevsky, “Letters of Ernest and Doravra” by F. Emin). The third, intermediate option is when the author-creator seeks to balance the external and internal positions. In such cases, the image of the narrator and his story can turn out to be a “bridge” or a connecting link: this is the case in “A Hero of Our Time” by M.Yu. Lermontov, where the story of Maxim Maksimych connects the “travel notes” of the Author-character with the “magazine” of Pechorin.
So, in a broad sense (that is, without taking into account the differences between compositional forms of speech), a narrative 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 work statements.
The image of the narrator
a conventional image of a person on whose behalf the story is told literary work. Unlike the image of the narrator, the narrator in the proper sense is not always present in the epic - he is not present in the case of a “neutral”, “objective” narrative, in which the author himself seems to step aside.
Synonym: r a s k a z h i k
Example: Grinev (A. Pushkin. " Captain's daughter"), Rudy Panko (N. Gogol. "Evenings on a farm near Dikanka")
“The image of the narrator in a skaz leaves an imprint of its expressiveness, its style and on the forms of depiction of characters. The narrator is the speech creation of the author, and the image of the narrator in a skaz is a form of the author’s literary artistry” (V.V. Vinogradov).
"The concept of a narrator is very important when analyzing artistic content and forms... The problem of the narrator arises when analyzing epic works.
The narrator may be close to the author, related to him (as, for example, in Dostoevsky’s “Humiliated and Insulted”) and may, on the contrary, be very far from him in character and social status(for example, in “The Enchanted Wanderer” by Leskov). Further, the narrator can act both as just a narrator who knows this or that story (for example, Gogol’s Rudy Panko), and as an active hero (or even the main character) of the work (the narrator in Dostoevsky’s “The Teenager”). Finally, in a work there sometimes appears not one, but several narrators, covering the same events in different ways (for example, in Faulkner’s novels - “The Sound and the Fury”, etc.)” (V.V. Kozhinov).
Terminological dictionary-thesaurus on literary criticism. From allegory to iambic. - M.: Flinta, Science. N.Yu. Rusova. 2004.
See what the “image of a storyteller” is in other dictionaries:
narrator image- a conventional image of a person on whose behalf the narration in a literary work is conducted. O. r. there is, for example, in A.S. Captain’s Daughter. Pushkin, in The Enchanted Wanderer N.S. Leskova. Often (but not necessarily) acts as a participant in the plot... ... Dictionary literary terms
An image that is not personified in the guise of any of the characters is the bearer of the narrative in a work of art. Rubric: artistic image Antonym/correlative: image of the author, image of the narrator Other associative connections...
A concentrated embodiment of the essence of the work, uniting the entire system of speech structures of the characters in their relationship with the narrator, storyteller or storytellers. Rubric: artistic image Antonym/correlative: image of the narrator, image... ... Terminological dictionary-thesaurus on literary criticism
Author's image- – 1) one of the manifestations of the global category of subjectivity, expressing the creative, constructive principle in different types activities, including speech; 2) the main category of text formation, along with the image of the addressee, forming linguistic and... ... Stylistic encyclopedic dictionary of the Russian language
Russian literature- I. INTRODUCTION II. RUSSIAN ORAL POETRY A. Periodization of the history of oral poetry B. Development of ancient oral poetry 1. The most ancient origins of oral poetry. Oral poetic creativity of ancient Rus' from the 10th to the mid-16th century. 2.Oral poetry from the middle of the 16th century to the end... ... Literary encyclopedia
Maupassant, de- MAUPASSANT Guy de Maupassant (Henri Rene Albert Guy de Maupassant, 1850 1893) French writer. On his father's side he came from a noble family, and on his mother's side from the high Norman bourgeoisie. M. spent his childhood in a picturesque corner of Normandy on the seashore.… … Literary encyclopedia
The verbal shell of the narrator's image, which does not coincide with the author's image. Rubric: artistic image Whole: image of the narrator Other associative connections: tale2, stylization Example: Old woman Izergil from the story of the same name by M. Gorky, ... ... Terminological dictionary-thesaurus on literary criticism
Russian literature of the 19th century and Lermontov- RUSSIAN LITERATURE OF THE 19TH CENTURY and Lermontov. 1. Lermontov and Russian poetry of the 19th century. L. heir Pushkin era, which began directly from that milestone, which was designated in Russian. poetry by A. S. Pushkin. He expressed the new position of the letter, characteristic... ... Lermontov Encyclopedia
1) genre of folklore, a narrative about modern events or the recent past; unlike a legend, it usually does not contain a fantastic element. Rubric: genres and genres of literature Genus: genres of folklore Other associative connections: legend Tales and... ... Terminological dictionary-thesaurus on literary criticism
NARRATOR- NARRATOR, ah, husband. The one who tells what n. Good r. (a person who knows how to tell an interesting story). The image of the narrator (in a tale in 2 meanings, in an artistic narration from someone else’s person: the image of the one on whose behalf the story is told). | wives... ... Ozhegov's Explanatory Dictionary
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- Pushkin in the role of Pushkin, L. I. Volpert. The book is dedicated to Pushkin's creative connection with French literature. Play behavior reflecting literary life era, is considered as one of the forms of the poet’s assimilation of French...
During the internship, I became familiar with the operation of the sewerage pumping station, with the process of operation of the main and auxiliary equipment, while studying the following: technological scheme of the pumping station; individual elements of the pumping station (pumps, pipelines, shut-off valves, automation, ventilation); placement of main and auxiliary equipment; pump operation logs; distribution diagram of external sewer networks in the village of Matveykovo.
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Literature Part B Theory
o Kinds of literature
o Literary movements and currents
o Theme of lyrical works
o Structure of literary text
o Conflict in a work of art
o System of images in a work of art
o Artistic character
o Creation and disclosure tools literary hero
o The role of the writer in the work
o Satire and humor
o Title of the work of art
o The role of landscape in the work
o Artistic space and time
o Artistic detail
o Versification
1. Poetic dimensions
2. Rhyme, stanza
3. How to determine poetic size?
4. About male and female rhymes
o Trails and their functions
o Poetic syntax
o Poetic phonetics
o Lexical means of expression
Written Part Unified State Exam in Literature. Useful materials
o Report on the work of the Unified State Examination subject commission on literature ( typical mistakes)
o Scheme of analysis of a lyrical work
o A competent plan is the key to a successful essay
o Context
o Analysis literary image
o Line by line retelling of a lyrical work
o Stages of working on an essay
o A simple recipe: how to fit into the required volume (200 words)
o Characteristic features in the works of poets. Task 16
o Distribution of tasks for prose works (Tasks 8-15-17)
o Distribution of tasks for lyrical works (Tasks 9-16)
o Comparison of USE prose topics in literature. Task 9
o Comparison of themes in the lyrics of the Unified State Examination in literature. Task 16
o Detailed answer to problematic issue. Methodological comments
o General requirements to essays
o Quotes from books to prepare for the Unified State Exam
Writing Criteria: (updated according to 2015 codifier)
o Tasks 8.15
o Tasks 9.16
o Task 17
Literary theory
Types of literature
Literary gender - one of three groups of literary works - epic, lyric, drama, which are identified according to a number of common characteristics.
Picture subject:
Epic↔Drama
Events occurring in space and time; individual characters, their relationships, intentions and actions, experiences and statements.
Lyrics
The inner world of a person: his feelings, thoughts, experiences, impressions.
Relation to the subject of depicting speech structure:
Ways to organize artistic time and space:
| Epic ↔ Drama Events occurring in time and space | Lyrics Beyond time and space |
Epic- a narration about events that have passed and are remembered by the narrator.
Lyrics- transmission emotional state hero or author at a certain point in life.
Drama- narration in the form of a conversation between the characters, without the author’s speech.
Lyroepic is one of the four types of literature in the traditional classification. In lyric epic works art world the reader observes and evaluates it from the outside as a plot narrative, but at the same time the events and characters receive a certain emotional assessment from the narrator.
Genre(from the French genre - genus, type) - a historically developing and developing type of work of art.
| Genres of oral folk art(folklore) | ||
| Name | a brief description of | Example |
| Fairy tale | An epic narrative, predominantly of a prosaic nature, with a focus on fiction; reflects ancient ideas people about life and death, about good and evil; designed for oral transmission, so the same plot has several options | "Kolobok", "Linden Leg", "Vasilisa the Wise", "The Fox and the Crane", "Zayushkina's Hut" |
| Bylina | A narrative tale about heroes, folk heroes, written in a special epic verse, which is characterized by the absence of rhyme | "Three trips of Ilya Muromets", "Volga and Mikula Selyaninovich" |
| Song | Musical and poetic art form; expresses a certain ideological and emotional attitude towards human life | Songs about S. Razin, E. Pugachev |
| Small genres of folklore | ||
| Mystery | A poetic description of an object or phenomenon, based on similarity or contiguity with another object, characterized by brevity and compositional clarity | “The sieve hangs, not twisted with hands” (web) |
| Proverb | Brief figurative rhythmically organized popular expression, having the ability to be used in multiple meanings in speech according to the principle of analogy | "Seven do not wait for one" |
| Proverb | An expression that figuratively defines the essence of any life phenomenon and gives it an emotional assessment; does not contain a complete thought | "Easy in sight" |
| Patter | A humorous expression deliberately built on a combination of words that are difficult to pronounce together | “The Greek was driving across the river, he saw the Greek in the river with a crab, he put the Greek’s hand in the river: the crab grabbed the Greek’s hand.” |
| Ditty | Short, performed in fast pace rhymed song, a quick poetic response to an event of an everyday or social nature | “I’ll go dance, There’s nothing to bite at home, Rusks and crusts, And supports on my feet.” |
| Genres of Old Russian literature | ||
| Name | a brief description of | Example of a work of art |
| Life | Biography of secular and clergy, canonized by the Christian Church | "The Life of Alexander Nevsky" |
| Walking (both options are correct) | A genre of travel that tells about a trip to holy places or describes some kind of journey | "Walking across Three Seas" by Afanasy Nikitin |
| Teaching | Genre of an edifying nature, containing didactic instruction | "Teaching of Vladimir Monomakh" |
| Military story | Narrative of a military campaign | "The Tale of Mamaev's massacre" |
| Chronicle | Historical work, in which the story was told by year | "The Tale of Bygone Years" |
| Word | Artistic prose work spiritual literature of Ancient Rus' of an instructive nature | "The Sermon on Law and Grace" by Metropolitan Hilarion |
| Epic genres | |
| Novel | Definition of Variety |
| Tale | Epic prose genre; a work that is average in volume and scope of life. – average volume – one storyline – the fate of one hero, one family – the palpability of the narrator’s voice – the predominance of the chronicle element in the plot |
| Story | Small form of narrative literature; a small work of art depicting a specific event in a person’s life. Story = short story (broad understanding, short story as a type of story) – small volume – one episode – one event in the life of the hero |
| Novella | Small form epic literature; a small work of art depicting a separate event in a person’s life, with a dynamically developing plot; The ending of the story is unexpected and does not follow from the course of the story. A short story is not a story (narrow understanding, a short story as independent genre) |
| Feature article | Genre small form epic literature, the main features of which are documentation, authenticity, the absence of a single, rapidly developing conflict, and developed descriptiveness of the image. Addresses problems of the civil and moral state of the environment and has great cognitive diversity. |
| Fable | Epic genre; a short work of a narrative nature with moralizing, satirical or ironic content |
| Lyrical genres | |
| Poem | A lyrical work of relatively small size, expressing human experiences caused by certain life circumstances |
| Elegy | A genre of lyric poetry in which the poet’s sad thoughts, feelings and reflections are expressed in poetic form |
| Epigram | A short satirical poem |
| Sonnet | A lyric poem consisting of fourteen lines, divided into two quatrains and two tercets; in quatrains only two rhymes are repeated, in terzens - two or three |
| Epitaph | Gravestone inscription in poetic form; a short poem dedicated to the deceased |
| Song | A genre of written poetry that expresses a certain ideological and emotional attitude; basis for subsequent musical adaptations |
| Hymn | A solemn song adopted as a symbol of state or social unity. There are military, state, religious |
| Oh yeah | Genre of lyric poetry; solemn, pathetic, glorifying work. Types of ode: Praise, Festive, Lamentation |
| Message | A poetic work written in the form of a letter or address to a person |
| Romance | A little humming lyric poem, which reflects experiences, moods, feelings lyrical hero; can be set to music |
| Lyric-epic genres | |
| Ballad | A type of lyric-epic poetry; a small plot poem in which the poet conveys not only his feelings and thoughts, but also depicts what causes these experiences |
| Poem | Large form of lyric-epic poetry; a large poetic work with a narrative or lyrical plot, based on a combination of narrative characteristics of characters, events and their disclosure through the perception and assessment of the lyrical hero, narrator |
| Dramatic genres | |
| Tragedy | A type of drama based on acute, irreconcilable life conflicts; the character of the hero is revealed in an unequal, intense struggle that dooms him to death |
| Comedy | A type of drama in which characters and situations are presented in funny, comic forms; here exposing human vices and revealing negative sides life Varieties of comedy according to the nature of the content: - sitcom (the source of the funny is events, cunning intrigue); – comedy of characters (the source of the funny is the clearly typified characters of the heroes); – comedy of ideas (the source of the funny is the writer’s idea); – tragicomedy (laughter is permeated with the awareness of the imperfection of man and his life); – farce (Western European folk comedy of the 14th – 16th centuries, possessing the main features of folk ideas: mass appeal, satirical orientation, slapstick) |
| Drama | A literary work that depicts a serious conflict, a struggle between characters |
| Vaudeville | Type of drama, light play with couplet songs, entertaining intrigue, romances, dances |
| Sideshow | Small comic play or a scene played between the acts of the main play, and sometimes within the text of the play itself. There are several types of sideshows: 1) an independent genre of folk theater in Spain; 2) gallant-pastoral scenes in Italy; 3) inserted comic or musical scene in a play in Russia |
Artistic method = literary direction = literary movement
| Main features literary direction | Representatives literature |
| Classicism - XVIII - early XIX century | |
| 1) The theory of rationalism as philosophical basis classicism. The cult of reason in art. 2) Harmony of content and form. 3) The purpose of art is a moral influence on the education of noble feelings. 4) Simplicity, harmony, logic of presentation. 5) Compliance with the rule of “three unities” in a dramatic work: unity of place, time, action. 6) A clear focus on positive and negative character traits for certain characters. 7) Strict hierarchy of genres: “high” - epic poem, tragedy, ode; “middle” - didactic poetry, epistles, satire, love poem; "low" - fable, comedy, farce. | P. Corneille, J. Racine, J. B. Moliere, J. Lafontaine (France); M. V. Lomonosov, A. P. Sumarokov, Ya. B. Knyazhnin, G. R. Derzhavin, D. I. Fonvizin (Russia) |
| Sentimentalism - XVIII - early XIX centuries | |
| 1) Depiction of nature as the background of human experiences. 2) Attention to the inner world of a person (basics of psychologism). 3) The leading theme is the theme of death. 4) Ignoring environment(circumstances are given secondary importance); an image of the soul of a simple person, his inner world, feelings that are initially always beautiful. 5) Main genres: elegy, psychological drama, psychological novel, diary, travel, psychological story. | L. Stern, S. Richardson (England); J.-J. Rousseau (France); I.V. Goethe (Germany); N. M. Karamzin (Russia) |
| Romanticism - late XVIII- XIX century | |
| 1) “Cosmic pessimism” (hopelessness and despair, doubt about the truth and expediency of modern civilization). 2) Appeal to eternal ideals (love, beauty), discord with modern reality; the idea of "escapism" (escape romantic hero to an ideal world) 3) Romantic dual world(feelings, desires of a person and the surrounding reality are in deep contradiction). 4) Affirmation of the intrinsic value of an individual human personality with its special inner world, the wealth and uniqueness of the human soul. 5) Portrayal of an exceptional hero in special, exceptional circumstances. | Novalis, E.T.A. Hoffmann (Germany); D. G. Byron, W. Wordsworth, P. B. Shelley, D. Keats (England); V. Hugo (France); V. A. Zhukovsky, K. F. Ryleev, M. Yu. Lermontov (Russia) |
| Realism - XIX - XX centuries | |
| 1) The principle of historicism is the basis artistic image reality. 2) The spirit of the era is conveyed in a work of art by prototypes (image typical hero under typical circumstances). 3) Heroes are not only products of a certain time, but also universal human types. 4) The characters are developed, multifaceted and complex, socially and psychologically motivated. 5) Lively spoken language; colloquial vocabulary. | C. Dickens, W. Thackeray (England); Stendhal, O. Balzac (France); A. S. Pushkin, I. S. Turgenev, L. N. Tolstoy, F. M. Dostoevsky, A. P. Chekhov (Russia) |
| Naturalism- last third 19th century | |
| 1) The desire for an outwardly accurate depiction of reality. 2) An objective, accurate and dispassionate portrayal of reality and human character. 3) The subject of interest is everyday life, the physiological foundations of the human psyche; fate, will, spiritual world personality. 4) The idea of the absence of “bad” plots and unworthy themes for artistic depiction 5) The lack of plot of some works of art. | E. Zola, A. Holtz (France); N. A. Nekrasov “Petersburg Corners”, V. I. Dal “Ural Cossack”, moral descriptive essays by G. I. Uspensky, V. A. Sleptsov, A. I. Levitan, M. E. Saltykov-Shchedrin (Russia) |
| Modernism. Main directions: Symbolism Acmeism Imagism Avant-garde. Futurism | |
| Symbolism - 1870 - 1910 | |
| 1) A symbol is the main means of conveying contemplated secret meanings. 2) Orientation towards idealistic philosophy and mysticism. 3) Use of the associative possibilities of a word (multiple meanings). 4) Appeal to classical works antiquity and the Middle Ages. 5) Art as an intuitive comprehension of the world. 6) The musical element is the primordial basis of life and art; attention to the rhythm of the verse. 7) Attention to analogies and “correspondences” in the search for world unity 8) Preference for lyrical poetic genres. 9) The value of the free intuition of the creator; the idea of changing the world in the process of creativity (demiurgicity). 10) Own myth-making. | C. Baudelaire, A. Rimbaud (France); M. Maeterlinck (Belgium); D. S. Merezhkovsky, Z. N. Gippius, V. Ya. Bryusov, K. D. Balmont, A. A. Blok, A. Bely (Russia) |
| Acmeism - 1910s (1913 - 1914) in Russian poetry | |
| 1) The intrinsic value of an individual thing and each life phenomenon. 2) The purpose of art is to ennoble human nature. 3) The desire for artistic transformation of imperfect life phenomena. 4) Clarity and accuracy poetic word(“lyrics of impeccable words”), intimacy, aestheticism. 5) Idealization of the feelings of primordial man (Adam). 6) Distinctness, definiteness of images (as opposed to symbolism). 7) Image objective world, earthly beauty. | N. S. Gumilev, S. M. Gorodetsky, O. E. Mandelstam, A. A. Akhmatova (early TV), M. A. Kuzmin (Russia) |
| Futurism - 1909 (Italy), 1910 - 1912 (Russia) | |
| 1) A utopian dream about the birth of super art that can transform the world. 2) Reliance on the latest scientific and technological achievements. 3) The atmosphere of a literary scandal, shocking. 4) Installation for update poetic language; changing the relationship between the semantic supports of the text. 5) Treating the word as a constructive material, word creation. 6) Search for new rhythms and rhymes. 7) Installation on the spoken text (recitation) | I. Severyanin, V. Khlebnikov (early TV), D. Burlyuk, A. Kruchenykh, V. V. Mayakovsky (Russia) |
| Imagism - 1920s | |
| 1) The victory of the image over the meaning and idea. 2) Saturation of verbal images. 3) An imagist poem could have no content | At one time, S.A. belonged to the Imagists. Yesenin |
The table shows the main literary trends , which are most often found in the school course and on the Unified State Examination in literature.
Subjects of lyrical works
Subject- what it's about we're talking about in a work of art; subject of the image.
(Creativity, life and customs of Muscovites of the 30s, power, fate, death - the themes of the novel “The Master and Margarita” by M. A. Bulgakov)
Motive - smallest element a work of art; one of the images created by the author; the most significant and, as a rule, repeated in a given work “supporting” artistic techniques and means in their semantic content.
(A person’s departure from his usual way of life is a motif in the works of A.P. Chekhov; dressing up - in comedies and farces; the hero’s recognition of his noble origin - in the endings of novels, stories, comedies.)
Leitmotif- a leading motive, detail, specific image, repeated many times, passing through the work of a writer or a separate work.
(Thunderstorms, dreams, madness, suffering are the leitmotifs of M. A. Bulgakov’s novel “The Master and Margarita.”)
| Theme of the lyrical work | a brief description of | Example |
| Love theme (love lyrics) | Poetic works about the problem of love; about the relationship between a man and a woman, the presence of the image of a lyrical heroine. The poet’s desire to convey the depth, uniqueness, fleetingness, and beauty of a love feeling. | A.S. Pushkin "I remember a wonderful moment..." |
| Nature theme (landscape lyrics) | Poetic works that describe pictures of nature, images of animals, feelings of the lyrical hero caused by the contemplation of nature | S. A. Yesenin "Birch" |
| Theme of the purpose of the poet and poetry (civil lyrics) | Lyrical works that reveal the essence poetic creativity, the role of poetry, the purpose of the poet | M.Yu. Lermontov "Death of the Poet" |
| Theme of searching for life's meaning (philosophical lyrics) | Lyrical works about the meaning of human existence, about the problems of existence, about life and death | F. I. Tyutchev “It is not given to us to predict...” |
| Theme of freedom (freedom-loving lyrics) | Poetic works about will, spiritual freedom of the individual | A. N. Radishchev ode "Liberty" |
| Friendship theme | Lyrical works about friendship, creating the image of a poet’s friend; it is possible to contact him directly | A. S. Pushkin "To Chaadaev" |
| Theme of loneliness | Poetic works about the loneliness of the lyrical hero, his disconnection from the outside world, misunderstanding by other people | M. Yu. Lermontov "Sail" |
| Theme of the Motherland (patriotic lyrics) | Lyrical works about the Motherland, its fate, present and past, about the defenders of the fatherland | A. A. Blok "Russia" |
| The theme of the people | Lyrical works about the people's fate, about the life of people from the people | N. A. Nekrasov "Railway" |
The structure of a literary text
Composition- construction of a work of art, its location components.
Plot- the sequence of events in a work of art.
Fable- the chronological sequence of events in a work of art.
Plot Stages:
| Stages of plot development | ||
| Plot stage name | a brief description of | Example |
| Exposition (prologue) | A depiction of the arrangement of characters and circumstances in a literary work, immediately preceding the unfolding of the main plot action. The exposition does not affect the course of subsequent events in the work, but only motivates the action. Types of exposure(depending on the place in the work) - straight; - detained; - reverse. | In W. Shakespeare's tragedy "Romeo and Juliet" - the scene of Juliet the girl with the nanny, when Romeo, before his first meeting with Juliet, tells his friend Mercutio about his former love |
| The beginning | The beginning of the conflict that forms the basis of the plot, the initial moment that determines the subsequent unfolding of the action of a work of art. Types of ties: - motivated; - unmotivated (unexpected, adding spice). Tie location in a literary work: - at the beginning; - at the end. | An unmotivated, unexpected plot in the novel by N. G. Chernyshevsky “What is to be done?” The plot at the end is thin. works - poem by N.V. Gogol " Dead Souls" |
| Development of action | Events occurring in a work of art from beginning to climax, development storylines; gradual escalation of the conflict. | Skalozub's arrival, Molchalin's fall from his horse, Chatsky's conversation with Sophia, in which he calls himself crazy |
| Climax | Highest point tension in the development of the action of a work of art, when the plot conflict, the goals of the characters and their internal qualities are especially clearly manifested. The entire development of the conflict tends to culminate, after which comes the denouement; sometimes the denouement coincides with the climax. There are several possible climaxes in a work of art. | Scene of punishment of a Tatar for escaping in L. N. Tolstoy’s story “After the Ball” |
| Denouement | The position of the characters that developed in bad times. the work as a result of the development of the events depicted in it; the final scene that adds the finishing touches to the characters' characters. Types of interchange: - natural (logical expression of the beginning); - false. Types of interchange(depending on the development of the plot): - sudden; - logically resulting from the development of action. Types of interchange(depending on the artistic manner writer): - united with the climax; - separate from the climax | Natural outcome - " The Cherry Orchard"A. P. Chekhov. False denouement - "Resurrection" by L. N. Tolstoy. Sudden denouement - "Blizzard" by A. S. Pushkin. Denouement logically following from the development of the action - "Man in a Case" by A. P. Chekhov. Denouement one with the climax - "The Inspector General" by N.V. Gogol. A denouement separate from the climax - "Taras Bulba" by N.V. Gogol |
| Afterword (epilogue) | The final part of the work. Types of epilogues:- the writer’s direct appeal to the reader (the author expresses some generalizing judgments, thanks for their attention, asks for favor); - expanded “event” (provide information about future fate characters after the events depicted). | An expanded “event” epilogue in “War and Peace” by L. N. Tolstoy - a depiction of the life of the Bezukhovs and Rostovs eight years after the War of 1812. |
Conflict in a work of art
Conflict- clash, struggle, on which the development of the plot in a work of art is built; contradiction as a principle of interaction between the images of a literary (epic or dramatic) work. The conflict determines the ideological orientation and compositionally organizes the work of art at all levels, giving each image its qualitative certainty in contrast to other images.
| Nature of the conflict | a brief description of | Example |
| Love | Relationships between people built on love conflicts; characteristic of the traditional drama of classicism and love story. | W. Shakespeare "Romeo and Juliet" A.S. Pushkin "Dubrovsky" |
| Social and household (public) | Social relationships are characteristic of realistic works. | A. S. Pushkin "Eugene Onegin" |
| Philosophical | Statement and solution of philosophical problems: life and death, the cardinal foundations of existence, human destiny. | F. M. Dostoevsky "The Brothers Karamazov", "Idiot" |
| Ideological | Collision different ideas having the right to exist. | I. S. Turgenev "Fathers and Sons" |
| Psychological | Internal contradictions of personality; characteristic of romantic works. | D. G. Byron "Don Juan" |
| Symbolic | Confrontation, the collision of reality with its symbolic reincarnation; characteristic of works of symbolism. | M. Maeterlinck "Blue Bird" |
System of images in a work of art
Image system- a set of literary characters in a work of art, their interaction with each other, as well as their role in the plot of the work and the disclosure of the author’s intention.
| Name of the literary image | a brief description of |
| Artistic image ( general concept) | A form of reflection of reality in art (literature), specific and at the same time generalized, created with the help of creative imagination the author's picture of human life, transformed in the light of his aesthetic ideal |
| Literary character | Actor literary (epic or dramatic) work |
| Author's image | The bearer of the author’s speech in a work of art, endowed with the writer’s worldview, but at the same time conveying a share of the author’s fiction |
| The image of the narrator, the image of the narrator | A personified hero who narrates events |
| The image of a lyrical hero | An image in a lyrical work that conveys the thoughts, feelings, and emotions of the author, but is not identical to the poet himself, since through the personal, individual the artist strives to show what is typical, characteristic of the era as a whole. |
| Epic Hero | The hero of an epic work bearing features of national historical significance |
| Dramatic hero | Character in a dramatic work |
| Main character | The main character of the narrative, around which the central events of the work of fiction are built |
| Minor character | Hero who is not the main participant central conflict works |
| Off-stage character | A hero of a dramatic work who does not take part directly in the plot, but is mentioned in the speech of the characters |
The image of the narrator in a literary work
Narrator- a conventional image of a person on whose behalf the narration in a literary work is conducted; personalized narrator.
| Narrator type | a brief description of of this type | Example |
| "Framing" conventional narrator | The narrator leads the narrative, organizes the text into an artistic whole, but his function is conditional | I. S. Turgenev "Notes of a Hunter" |
| The dispassionate narrator | Depicts events as an outside observer | A. S. Pushkin "Belkin's Tales" |
| The main character of the work | The story is narrated from the perspective of the main character. | F. M. Dostoevsky "Teenager" |
| Narrator - verbal mask | The writer chooses the role of the narrator of a certain character, endowing him with a number of typical traits | Rudy Panko in “Evenings on a Farm near Dikanka” by N. V. Gogol |
| Narrator - participant in events | The narrator is a participant in the events, so he brings his own interpretation of what he saw into the story. | Chapter "Maksim Maksimych" from the novel "Hero of Our Time" by M. Yu. Lermontov |
| Storytelling system | A work of art has the form: - “a story within a story”, when an event is described on behalf of one of the interlocutors; - interconnected narratives of several narrators | L. N. Tolstoy "After the Ball" M. Yu. Lermontov "Hero of Our Time" |
Character in a work of fiction
Artistic character- an image of a person in a work of art, presented with sufficient completeness, in the unity of the general and individual, objective and subjective.
Means of creating a literary hero
| A tool for creating a literary character | a brief description of | Example |
| Title of the work | May indicate in the work the place occupied by the character in the system of images | "Hero of Our Time" by M. Yu. Lermontov |
| Epigraph to a literary work | May indicate the main character trait of the hero | "The Captain's Daughter", "Eugene Onegin" by A. S. Pushkin |
| Straight author's description | The writer consciously reveals his attitude towards the hero, characterizing his actions, giving them his assessment | “Onegin is my good friend...” (A.S. Pushkin) |
| Hero's Speech | Internal monologues, dialogues with other characters in the work characterize the character, reveal his inclinations and preferences | Monologues and dialogues of Chatsky in “Woe from Wit” by A. S. Griboedov |
| Actions, actions of the hero | The basis of the narrative of a work of art, which depicts the actions of the characters, through which the character of the hero is revealed | Onegin's letter from "Eugene Onegin" by A. S. Pushkin; Pechorin's rescue of Bela from "Hero of Our Time" by M. Yu. Lermontov |
| Psychological analysis | Detailed recreation of the character’s inner world (feelings, thoughts, emotions); special role changes in the hero's inner life play a role | "Crime and Punishment" by F. M. Dostoevsky |
| Other heroes of the work | The relationship of the character with other heroes of the work is shown by the author so that the reader sees the hero not in isolation, but in certain situations, in interaction with different people | Pechorin - Maxim Maksimych, Bela, Mary, Werner, Vera, Grushnitsky, smugglers in “A Hero of Our Time” by M. Yu. Lermontov |
| Portrait of a hero | Image appearance hero: his face, figure, clothes, behavior. Types of portrait: 1) naturalistic (portrait copied from a real person); 2) psychological (through the hero’s appearance, the hero’s inner world and his character are revealed); 3) idealizing or grotesque (spectacular and vivid, replete with metaphors, comparisons, epithets) | 1) The Master in “The Master and Margarita” by M. A. Bulgakov 2) Pechorin in “Hero of Our Time” by M. Yu. Lermontov 3) The Polish woman in the story “Taras Bulba” by N. V. Gogol |
| Social environment, society | Social conditions, in which the character lives and acts | "Garnet Bracelet" by A. I. Kuprin |
| Scenery | Reveals the hero's inner experiences | The description of southern nature conveys Pechorin’s experiences before and after the duel with Grushnitsky in “Hero of Our Time” by M. Yu. Lermontov |
| Artistic detail | An object with which the writer characterizes the hero. Bright artistic detail helps the reader identify the characteristics of the character's nature | Oblomov's robe in the novel "Oblomov" by I. A. Goncharov |
| Background of the hero's life (if any) | A description of childhood, youth, and the development of the hero as a person helps to further reveal the character’s inner world. | "Oblomov" I. A. Goncharov |
The role of the writer in a work of fiction
Satire and humor
Mockery social phenomena, which seem to the author to be vicious.
Ridiculing the private shortcomings of a life phenomenon, an individual person.
