The term image in literary criticism. The meaning of artistic image in the dictionary of literary terms

The word "image" has several meanings. In the "Dictionary of the Russian Language" S.I. Ozhegov gives him the following interpretations: “1. Appearance, appearance; 2. A living, visual idea of ​​​​something; 3. In literature, art: generalized artistic reflection reality, clothed in the form of a specific, individual phenomenon; 4. In a work of art: type, character; 5. Order, direction of something, method" [Ozhegov 1986: 372].

Availability different meanings The word contributes to the fact that it is used in everyday life and at the same time acts as a term in various sciences. In philosophy, “image” refers to the reflection of life phenomena in people’s minds, any “reflection” of real reality (both conceptual and sensory). In psychology, “image” means representation, that is, mental contemplation of an object in its entirety.

Scientists emphasize that outside of images there is no reflection of reality, no knowledge, no imagination, no creativity. The image can take various shapes, both sensory (sensations, perceptions, ideas) and rational (judgments, conclusions, theories). At the same time, images can be some kind of idealized constructions that are not directly related to really existing objects and phenomena ( fantastic images The snake of Gorynych or Baba Yaga in fairy tales, mythological images of centaurs or sirens).

Images surround people in their Everyday life. They are found in photo albums, in private correspondence, in diaries, etc. Scientists often use images as an aid when presenting their theories. Images are used in science to make reasoning and conclusions expressed using abstract concepts more accessible and visual. Along with this, images can be found in newspaper essays and journalistic writings. Such images are called factographic, scientific-illustrative, journalistic-illustrative [Introduction to literary criticism 1976: 35 - 37]. Their main feature is that they show phenomena as they appear in reality, without making any additions or adjustments to this image.

An artistic image is a type of image in general, which is understood as the result of a person’s awareness of the phenomena of the surrounding world. In art criticism, the term “artistic image” is used to designate a special, inherent only to art, way of mastering real reality and transforming it into artistic reality. “For art critics, an “image” is not just a reflection of a separate phenomenon of life in the human mind, but it is a reproduction of a phenomenon already reflected and realized by the artist using certain material means - with the help of speech, facial expressions and gestures, outlines and colors, a system of sounds, etc. .d." [Introduction to Literary Studies 1976: 34].

Modern literary scholars call an image any phenomenon creatively recreated in a work of art (especially often a character or literary hero). The very terminological phrase “image of something” or “image of someone” indicates the stable ability of an artistic image to relate to extra-artistic phenomena, to “absorb” real reality. This is where the dominant position of the category “image” in aesthetic systems, establishing a specific connection between art and non-art - life, consciousness, etc.

The origins of the image theory go back to ancient times. This theory began to be developed by the ancient philosophers Plato and Aristotle (IV century BC), who pointed out that art is an “imitation of nature.” They used the word "nature" to describe everything real life- both natural and social, - consisting of individual phenomena.

In antiquity, the word “eidos” was used to denote an image, which was simultaneously used in two meanings. "Eidos" was also called appearance an object, its appearance, and its essence, idea. According to ancient philosophers, art is connected with eidos not directly, but through “mimesis,” that is, through imitation. Ancient Greek thinkers called “imitation” the ability of art to recreate individual phenomena of life in sculptures and paintings, in works of art and stage performances. Thus, “mimesis” is the imitation and at the same time the transformation of an object that exists in reality into an image. In general, the statements of ancient thinkers indicate that they noted the dependence of “eidos” on reality.

The definition of art as “imitation of nature” is found in many works of a theoretical and literary nature until the 18th century. The German philosopher G.W.F. refused to consider artistic creativity from such positions. Hegel, who in his “Aesthetics” gave an interpretation of the concept of “image” close to modern ones.

Hegel drew the main attention to the fact that works of art are not a simple “imitation of nature.” They recreate the phenomena of reality. According to the philosopher, “from the theoretical, scientific study artistic comprehension differs in that it is interested in the subject in its individual existence and does not seek to transform it into a universal thought and concept" [quoted in Introduction to Literary Studies 2004: 24]. At the same time, Hegel emphasized that the singular, individual in art is capable of bright, tangibly, visibly convey the general.

It should be noted that when Hegel used the word “image,” he did not attach any special meaning to it. This was later done by art theorists; Hegel's ideas turned out to be more durable than their methodological context and entered - in a transformed form - into modern literary criticism.

Currently, the artistic image is interpreted as “a category of aesthetics that characterizes the result of an author’s (artist’s) understanding of a phenomenon or process in ways characteristic of a particular type of art, objectified in the form of a work as a whole or its individual fragments or parts” [Introduction to Literary Studies 2004 : 23]. In particular, a literary work as an artistic whole is an image. It may include a system of images-characters, which, in turn, are created using visual and expressive means of poetic imagery.

Images sometimes include tropes (metaphor, metonymy, periphrasis, etc.). At the same time, literary scholars point out that speech (verbal structure) and the objective world of a work are different levels of the artistic whole. Any image in the broad sense of the word is allegorical and polysemantic. The imagery of individual speech units and the imagery of texts are not identical; the world of literary works retains its imagery even if it is created with the help of ugly words.

Paths allow you to depict the image of a particular hero or phenomenon more vividly and colorfully, and contribute to the emergence of additional associations in the minds of readers. “But these are not independent images: they do not change the theme of the statement, remaining outside the world of the work (as the object of the image)” [Introduction to Literary Studies 2004: 40].

Scientists emphasize that in an artistic image the objective-cognitive and subjective-creative principles are inextricably fused. Identifying the specific features of artistic images, literary scholars traditionally consider them in relation to two spheres: reality and the process of thinking.

As a reflection of reality, the image is, to one degree or another, endowed with sensory authenticity, spatio-temporal extension, objective completeness, self-sufficiency and other properties of a single, really existing object. At the same time, the image is not a real object, since it is delimited by a conventional framework from the entire surrounding reality and belongs to the internal, “illusory” world of the work.

Being not a real, but an “ideal” object, an image has some properties of concepts, ideas, hypotheses and other mental constructs. The image not only reflects reality, it generalizes, reveals in the individual and random - the essential, the most characteristic, the typical. At the same time, unlike abstract concept, the image is clear; it does not decompose the phenomenon into abstract rational components, but preserves sensory integrity and uniqueness. In other words, the image represents in “the same integrity both the concept of an object and its external existence” [Literary Encyclopedic Dictionary 1987: 252].

The creative nature of images, like the cognitive nature, manifests itself in two ways. On the one hand, an artistic image is the result of the activity of the imagination, which recreates the world in accordance with the spiritual needs and aspirations of man, his purposeful activity and holistic ideals. Therefore, in the image, along with the objectively existing and essential, the possible, desired, assumed, that is, everything that relates to the subjective, emotional-volitional sphere of existence is imprinted. On the other hand, in contrast to purely mental images of fantasy, in an artistic image a creative transformation of real material is achieved: sounds, colors, words, etc. As a result of this, a single “thing” (text, painting, sculpture) is created, occupying its own special place among objects of the real world. Having become objectified, the image returns to the reality that it depicted, but no longer as a passive reproduction of it, but as an active transformation.

“The transition of sensory reflection into mental generalization and further into fictional reality and its sensory embodiment - such is the internally mobile essence of the image in its two-way appeal from the real to the ideal (in the process of cognition) and from the ideal to the real (in the process of creativity) [Literary Encyclopedic Dictionary 1987 : 252] As a result, the image is always a combination of objective and subjective principles. The objective “component” of an artistic image is those phenomena and objects that were captured by the writer in the work, the subjective one is the position of the author, who acted as the creator of artistic reality.

By comparing images as such and artistic images, art critics emphasize that there is much in common between them. At the same time, there are significant differences. Unlike scientific-illustrative, journalistic-illustrative or factual images, images of art are the creation of the creative thought and imagination of an artist, sculptor or writer. They do not appear to illustrate general observations and conclusions, or to provide information about any events, phenomena, etc. Artistic images have their own special purpose, which determines a number of features characteristic of such images.

Firstly, artistic consciousness, combining rational and intuitive approaches, captures the indivisibility, integrity, completeness of the real existence of the phenomena of reality and reflects it in a sensory-visual form. In this regard, any image is perceived as a certain integrity, even if it was created by the writer with the help of one or two details. Readers must fill in what is missing in their imagination.

Secondly, an artistic image is always a generalization. If in reality the relationship between the individual and the general can be different (in particular, the individual can obscure the general), then the images of art are concentrated embodiments of the general, essential in the individual.

Artistic generalization in creative practice takes various forms, colored by the author's emotions and assessments. For example, an image can have a representative character, when some features of a real object stand out, “sharpen”, or be a symbol.

Often proper names literary characters are beginning to be perceived by readers as household names (Mitrofanushka ("The Minor" by D.I. Fonvizin), Khlestakov ("The Inspector General" by N.V. Gogol), etc.). This serves as a clear indicator of the general meaning of artistic images.

Typification does not necessarily imply the creation of life-like images. To focus attention on any common features of the displayed phenomena, to more fully reflect the essence of what is being typified, writers can resort to the grotesque, fantasy, hyperbole ("The Nose" by N.V. Gogol, "The History of a City" by M.E. Saltykov-Shchedrin, etc. .). These conventional forms are characterized by a deformation of reality, a deliberate deviation from external plausibility. Writers depict people, objects and phenomena that have no analogues in reality. In this case, the deliberate conventionality of the images often serves to reveal the true essence of the depicted phenomena in a significantly to a greater extent than when the writer does not subject life forms to artistic transformation.

Thirdly, a characteristic feature of an artistic image is its expressiveness. The image always reflects the ideological and emotional attitude of the author of the work to the phenomenon or object he depicts, therefore it is addressed not only to the rational sphere, but also to the feelings of listeners or readers.

The ideological and emotional assessment by writers of the characters they portray is evidenced by the firmly rooted tradition of dividing heroes into “positive,” “negative,” and “contradictory” (with all the reservations of critics about the inaccuracy of such “classifications”).

The forms of expression of the author's assessment are inexhaustible; in the very general view they can be divided into explicit (direct statements of the writer) and implicit. Close to evaluative vocabulary are tropes, as explicit ways of modeling the world at the stylistic level. The attitude of the author (subject of speech) to the subject is often clarified with the help of associations that arise thanks to tropes (metaphors, metonymies, periphrases, etc.).

At the subject level, the writer’s possibilities for expressing assessment are much wider: he can not only resort to compositional or stylistic techniques, but also create his own artistic world, with its time and space, characters and plot, and descriptive details that are distinguished by emotional expressiveness.

Fourthly, the artistic image is always self-sufficient. It is the main and self-sufficient means of expressing the content of literary works and, in principle, does not need any explanations or comments.

As already noted, in science, in addition to image-concepts, images-symbols, images-comparisons are often used, which perform unique functions: they illustrate the points being proven, make phenomena that are inaccessible to the human eye more visual, etc. In particular, the image (symbol) of an atom can be represented in the form of a ball and points rotating around it in orbits - electrons. Artistic images do not complement pre-existing data or expected conclusions, and do not serve to demonstrate any phenomena as illustrative examples, but contain generalizations within themselves, expressing them in their own “language”.

The “idea” that an artistic image carries is usually not formulated directly by the author. Even if the writer acts as an autocritic, explaining his intention in the work itself or in a separate article, his explanations cannot exhaust the entirety of the image he has drawn.

The imagery of art creates objective prerequisites for disputes about the meaning of a work, for its various interpretations, both close to the author’s concept and polemical in relation to it. An artistic image can give rise to various interpretations and interpretations, including those that the author did not even think about. This feature of it follows from the nature of art as a form of reflection of the world through the prism of individual consciousness.

As already indicated, the concept of “image” covers heterogeneous concepts in literary texts. An image is the reproduction of any object or phenomenon in its entirety. Therefore, the question of the typology of images is resolved ambiguously by various scientists.

The "Literary Encyclopedic Dictionary" proposes a classification of artistic images, which is defined by scientists as subject-specific [Literary Encyclopedic Dictionary 1987: 252].

According to this classification, images can be divided into a number of groups or “layers” that are closely related to each other. The first of these groups will consist of images - details that have different scales (they can be created in one word and represent detailed descriptions consisting of many details (landscapes, interiors, portraits)). Distinctive feature All images-details are static and descriptive. The next “layer” of the work is the plot, associated with the action that brings together all the substantive details. It consists of images of external and internal movements: actions, events, moods, motivations - in other words, of all the dynamic moments unfolding in the plot of the work. The third group is formed by the impulses behind actions and determining them - images of characters and circumstances. At the last level, “from the images of characters and circumstances, as a result of their interaction, integral images of fate and the world are formed; this is being in general, as the artist sees and understands it - and behind this global image there are already non-subjective, conceptual layers of the work” [Literary Encyclopedic Dictionary 1987 : 252].

In the manual edited by L.V. Chernets distinguishes such types of images as image-representation, character (image-character), voice (primary subject of speech) [Introduction to literary criticism. 2004: 43]. The manual "Fundamentals of Literary Theory" states that in literary texts“the main subject of image and expression is a person standing ... at the very center of the poetic universe.” “He can be a character, an image of the author and an image of the reader” [Fedorov 2003: 113].

It is obvious that in the three classifications given above, a significant place is given to character images. In different literary works this term is interpreted almost identically. "A character (from the French personnage; from persona - face, mask) in the strict sense of this term should be understood as a type of artistic image of a character endowed with external and internal individuality. The general synonymous series: character and character complements the no less popular phrase literary hero" [Fedorov 2003: 113]. “A character (from Latin persona - person, face, mask) is a type of artistic image, a subject of action, statement, experience in a work” [Introduction to Literary Studies 2004: 197].

Distinguishing characters in relation to the conflict and the main action, they are divided into main, secondary, episodic and off-stage.

The character sphere of a work may not include all the people depicted in the text; episodic and off-stage characters usually act as representational images. On the other hand, the character in literary text Not only a person can act, but also some fantastic creature, animal, tree, etc., fictional by the author. Becoming a character, any object acquires human (anthropomorphic) features.

In epic and drama, the story being told (plot) necessarily presupposes the presence of a system of characters or characters. In lyric poetry, characters, as a rule, are absent; lyrical subjects traditionally appear in the foreground in poems.

The primary subject of speech is usually present in epic works - this is the narrator, on whose behalf the story is told. The choice of one or another subject of speech is extremely important: since he acts as a bearer of a certain “point of view”, going back to the author or, conversely, far from him (this is typical for role-playing lyrics or epic works, where there is a narrator who is not identical to the writer).

The primary subjects of speech can simultaneously be characters (heroes, actors) of the work. Such, in particular, are the lyrical hero in A. Blok’s poem “The Stranger”, the narrator in “The Man in a Case” by A.P. Chekhov, narrator in the series “Notes of a Hunter” by I.S. Turgenev. Along with this, the primary subjects of speech may not be characters and be present in the text only as voices.

The selected types of images have different structure. An image-representation is most often a description. The image-character has a more detailed, multi-component structure: in this case, the “polar” components can be, on the one hand, a pictorial portrait (that is, an image-representation), on the other hand, reasoning (that is, a form of speech in which logical constructions predominate ). Non-fictional statements of the author: digressions into philosophical, historical, etc. should be distinguished from reasoning as a component of the image-character. topics, prefaces, etc.

As already noted, in works of art natural phenomena and objects, animals and insects, creatures created by the writer’s imagination can act and talk like people. In a number of literary genres (fable, Science fiction, fairy tale, etc.) such characters are extremely common.

Despite the variety of types of characters, the image of any of them is associated with the main subject of fiction, which is man. No matter how broadly the subject of knowledge is interpreted in artistic creativity, its center is always human beings endowed with certain characters. "The means of revealing character are various components and details in the work objective world: plot, speech characteristics, portrait, costume, interior, etc." [Introduction to Literary Studies 2004: 201]. In other words, "the image of a character... combines private figurative units", "consists of external and internal characteristics" [Fedorov 2003 : 113] That is, by drawing a specific literary character, the authors strive for readers to “see” this image and at the same time realize that a specific character “lives” in the artistic world in his actions, words, thoughts and feelings, the essence of the character is revealed. due to the attitude of other characters towards him, and, most importantly, the writer himself, who thus embodies in the work his concept of personality and a system of moral assessments of human qualities.

In general, it should be noted that the literary concept of “image” is ambiguous. Scientists liken works of art to the universe, which is formed by combining particles of different levels (from micro-images-details to a holistic image of the world).

Scientists have most clearly defined the main features of image-characters, the roles of which can be played not only by people, but also by objects, natural phenomena, animals and plants, invented by the writers themselves. fantastic creatures. Character images have a complex, multi-component structure. In epic and dramatic works, the essence of the literary characters depicted by the author is, first of all, revealed through the plot, that is, the totality of their actions and deeds, relationships with other characters and speech characteristics (including those remarks that contain their assessment of each other) . In addition, character images are created using such a visual technique as a portrait, which involves outlining a face, figure, demeanor, clothing, etc. The writer can draw a portrait in sufficient detail or limit himself to only individual details; in any case, such an external characteristic will serve as a kind of key to the character being depicted. Often a significant semantic load is also carried in the work by descriptions of pictures of nature, against which the hero appears, and the world of things surrounding him. Along with this, an important means of depicting a character are the statements of the author himself or the narrator, who acts as a narrator.

The artistic image is the central concept of aesthetics, so this problem is the object of study by a number of scientists. Among them, the works of N. L. Leizerov “Imagery in Art” (M., 1974), D. Likhachev’s “Man in the Literature of Ancient Rus'” (M.-L., 1958, etc.) are of considerable interest.

The artistic image is a method of mastering and transforming reality inherent only in art. An image is any phenomenon creatively recreated in a work of art, for example, the image of a warrior, the image of a people.). The phrase is an image of something (war), someone (the image of Natalia), etc. indicates the stable ability of an artistic image to relate to extra-artistic phenomena, therefore the image is a category that occupies a dominant place in aesthetics. The image combines the objective-cognitive, subjective-creative principles. Traditional specificity image is determined in relation to two spheres: reality and the process of thinking. The image not only reflects reality, but generalizes it. From here it is correctly emphasized that the image is a concretely generalized picture of life, which has found expression in a verbal image. According to Hegel, “the image stands in the middle between immediate sensitivity and the ideal thought belonging to the region and represents” in the same integrity both the concept of the object and its external existence.” The image represents the unity of sensitive and generalizing thinking.

The artistic specificity of the image is represented not only by the fact that it meaningfully reflects reality, but also by the fact that it creates a new, fictional world. The creative and cognitive nature of the image is manifested in two ways: 1) the artistic image is the result of the activity of the imagination, along with the objective, it embodies the individual, the subjective; 2) the image is the result not only of a creative reproduction of reality, but of its active transformation. The transition of a sensory reflection into a mental generalization and further into a fictional reality and its sensory embodiment - this is the internal moving essence of the image. An image is the suppression of the objective and semantic series of the verbally designated and implied. Lermontov’s poetry is “a bell on a towline tower” (“Poet”), F. Tyutchev’s lightning is “deaf-mute demons,” “the night sky is so gloomy.” The purpose of the image is to transform a thing, to reveal the interpenetration of the most diverse aspects of existence.

One of the most important functions of a literary image is to give words the fullness, integrity and self-significance that things have. “Poetry,” wrote G. E. Lessing, “has the means to elevate its arbitrary signs to the degree and strength of natural ones, “since it compensates for the dissimilarity of its signs with things” by the similarity of the designated thing with some other thing” (Laocoon. - M., 1957, p.437, p.440.)

The specificity of the verbal image is also manifested in its temporal organization. Artistic time and art space constitutes the main specificity of the literary image. Since two components are isolated in the image - objective and semantic, the following classification of images is possible: objective, generalized semantic and structural.

Objectivity is divided into a number of layers. The first includes: images - details, landscape, portrait, interior. Their distinctive properties are static, descriptive, fragmentary. From them grows a 2-shaped layer - the plot, thoroughly imbued with purposeful action, linking together all the objective details - actions, moods, aspirations - all the dynamic moments unfolding in the time of the work of art. The third layer is the impulses behind the action and determining it - images of characters and circumstances, individual and collective. Finally, from characters and circumstances, as a result of their interaction, holistic images are formed. The image of fate and the world is existence in general.

According to their semantic generality, images are divided into individual, characteristic, typical, images, motives, topoi, archetypes. Individual images are created by the original, sometimes bizarre imagination of the artist. Typicality is the highest degree of specificity. A typical image, absorbing the essential features of the concrete historical, socially characteristic, at the same time outgrows the boundaries of its era and acquires universal human features, revealing stable eternal properties human nature. These are eternal image Don Quixote,

Hamlet, Oblomov (these images are individual, characteristic, typical - isolated in the sphere of existence). The following three varieties: motive, topos, archetype. A motif is an image repeated in several works by one or many authors. These are the images of blizzards and wind in Blok, and the sea in Pushkin. Topos (“common place”) is an image characteristic of an entire culture of a given period, of a given science. Topos of “road” or “winter” by Pushkin and Gogol. Nekrasova. The image of the “archetype” contains the most stable and ubiquitous patterns or formulas of the human imagination, manifested both in mythology and in art at all stages of its historical development (a fund of plots and situations passed on from writer to writer).

Along with the isolation of the artistic image from the syncretic integrity of the world, the process of its theoretical understanding also begins. The ancient term is equivalent to the concept - the image of "Eidos". Eidos is both the external appearance, the appearance of an object and its pure extracorporeal and timeless essence, ideas that share new European theories, emphasizing the inseparability of appearance and idea in its essence.

IN Lately in criticism there has been a widespread desire to give the concept of image a collective meaning and to speak in this sense about the “image of a collective”, “the image of the people”. We find a typical example in the article by B. Bursov “The structure of character in Tolstoy’s “War and Peace”. It talks about the images of Bolkonsky and Bezukhov, putting forward the concept of “democratic Russia”. Then the image of the people is formulated, as the image of the masses. At the same time, the “image of the people” also includes images of representatives of the nobility; the image of the masses is included in the image of the nation. It is necessary to streamline the understanding of the categories of character, character, character, hero, type. Character and character are concepts with which we designate the person shown in the work without regard to the extent to which they are deeply and correctly depicted by the writer.

Character is a more specific concept: we talk about character if the person depicted in the work is depicted with sufficient completeness and certainty. The figurative reflection of life depends, first of all, on how the artist understands life in general, and this, in turn, depends on historical conditions, in which it is located. While essentially retaining its general functional properties, the figurative reflection of reality practically depends on the originality historical situation. Character is a type of human social behavior created by certain social conditions.

The composition of a literary work, like images and language, plays a big role in expressing ideological meaning. The writer, focusing on those phenomena of life that attract him at the moment, embodying them in artistic images of characters, landscape, thoughts, mood, strives to combine them in a work of art so that they sound with the greatest conviction: they more clearly reveal the essential aspects of reality , called deep work the reader's thoughts.

Belinsky repeatedly emphasized in his critical articles the importance of composition in revealing the ideological meaning in a literary work of art: strictly proportionate distribution of roles for all persons... completeness, completeness and isolation of the whole, he believed that these criteria should naturally follow from the unity of thought.

In literary criticism, different points of view have developed on the problem of composition of a work of art. To this day there is no generally accepted definition of the concept of composition. The most commonly used definition is the following:

“Composition is the construction of a work of art, the correlation of all parts of the work into a single whole. To depict a picture of life, writers use various elements of composition: titles, epigraphs, lyrical digressions, introductory, inserted episodes, plot, portrait, landscape, environment.

Titles and epigraphs play a significant role in a work of art.

Titles - can be associated with different aspects of a work of art. Most often with themes (“Autumn” by Pushkin, “Motherland” by Lermontov, “Nanny” by Pushkin and many others) with images (“Eugene Onegin” by Pushkin, “Oblomov” by Goncharov, “Rudin” by Turgenev and others): with issues (“Who guilty?” Herzen, “What to do?” Chernyshevsky, “How the steel was tempered” by Ostrovsky and others.)

Epigraphs, as is known, represent the second title. Most often they are associated with the ideological meaning, with the ideological content of the works, with the characteristic feature of a particular hero. (“Take care of your honor from a young age,” “ Captain's daughter"Pushkin, "Vengeance is mine and I will repay." “Anna Karenina” by Tolstoy, etc.)

Lyrical digressions constitute extra-plot lines in which the author expresses personal attitude to the depicted events, images, phenomena. Thus, N. Gogol, depicting Plyushkin, exclaimed sadly, trying to turn readers away from Plyushkin’s type of human behavior:

“And to what insignificance, pettiness, disgusting man could stoop! Could change! And does this seem true? “Everything seems to be true, everything can happen to a person, but today’s fiery young man would recoil in horror if they showed him his own portrait in old age.” Take it with you on the journey, emerging from the soft years of youth into harsh, bitter courage - take with you all human movements, do not leave them on the road...”

Sometimes a lyrical digression dedicated to a character merges with the thoughts and experiences of another character, but nevertheless is given in such a way that the reader perceives it as a direct expression of the author’s thoughts and feelings. This is the lyrical digression in “The Young Guard” by A. Fadeev, dedicated to the working mother.

"Mom mom! I remember your hands from the moment I became aware of myself in the world. Over the summer they were always covered in tan, it didn’t go away even in winter, it was so gentle, even, only a little darker on the veins. Or maybe they were rougher than your hands, because they had so much work to do in life, but they always seemed so tender to me and I loved kissing their dark veins.”

This retreat sounds like a hymn to the mother, her great maternal love, her labor exploits. It helps to more fully and vividly imagine the meaning of a mother’s woman in our life.

Sometimes a writer resorts to lyrical digressions to communicate the nature and objectives of his work. Classic example This type of lyrical digression is Gogol’s famous argument in “ Dead souls"about two types of writers. It was important for the writer to explain to readers the social significance and patriotic meaning of his satire, which met the interests of democratic circles in Russia and seemed unacceptable to the guardians of the autocratic-serf system.

Along with lyrical digressions, introductory episodes are of significant importance.

Introductory episodes are those that are directly related to the plot line of the story. This compositional device is used by writers either to expand and deepen the content of the work, or to indicate its ideological meaning. Chekhov's story “Gooseberry” tells about a certain Nikolai Ivanovich Chimshe-Himalayan with episodes that are not directly related to the main narrative.

Just like lyrical digressions, introductory episodes are also used to reveal the idea and pathos of the work.

Elements of the composition also include landscape and portrait. Masters of landscape and portrait sketches are Lermontov, Sholokhov, Turgenev, Dostoevsky, Tolstoy, etc. In many works, landscape plays an important ideological and compositional role. We are, of course, not talking about those works where nature is the direct subject of the image, but about those where the landscape plays an ideological, compositional, psychological role. A successful example in this regard was given by literary critic L.A. Abramovich to the story “Lucerne” by L. Tolstoy.

In the center of the story is an episode with a beggar tramp - a crippled singer, who sang and played the guitar for about half an hour for the rich who had gathered in Lucerne and settled in the most fashionable hotel in the city, who, standing on the balconies and at the windows, in “respectful silence” listened to the wonderful singing. However, when this singer then turned to the listeners three times with a request to give him something, no one gave anything, and many laughed at him. In this episode the writer shows true face contemporary bourgeois civilization, moreover, “where - as Tolstoy angrily writes” civilization, freedom and equality are brought to the highest degree, where travelers, the most civilized people, of the most civilized nations gather.

In fact, as described in “Lucerne,” there could be no talk of any true freedom and true equality: the benefits of civilization belonged only to exclusively rich people who were accustomed to living for themselves, protecting their peace, caring about their comfort. life, remaining deaf and indifferent to the fate of the people of the poor, without calling on their right to human dignity and happiness.

In order for such an inhuman life to appear in all its ugly unnaturalness, offending the feelings of beauty and goodness inherent in the masses of people, the great artist introduces the magnificent nature of Lucerne into the world he depicts.

In order to make the meaning of certain phenomena and characters depicted especially clear, writers sometimes resort to artistic framing, i.e. to create paintings and scenes that are close in essence to the phenomena and characters depicted. For example: in the story “Hadji Murat” L.N. Tolstoy creates a more complete idea of ​​the fate of the hero of the story by introducing a scene with a burdock.

In some works, the artistic frame directly leads to the main essence of the type of person depicted. For example: in Chekhov’s “The Man in a Case,” the description of Belikov surrounding himself with some kind of shell that separates him from people prepares the formulation of the problem of the formation of “case” characters in the then “official” Russia, as Chekhov called it.

Big ideologically - compositional meaning has and depicted in the works environment. Its image, as well as pictures of nature, can also be correlated with the general meaning of the work, its individual aspects.

Gogol in “Old World Landowners” showed the “extraordinary solitary life” of his heroes. Everything in this life is closed inside their home and its immediate surroundings.

Often the depiction of the situation also has a more local meaning: it is the key to recreating the characters depicted by the author.

The composition of a literary work of art is not a phenomenon of form alone. In a truly artistic work, it is closely connected with the theme and idea, it follows from the vital material with which the artist operates: just like images and language, it is a means (form) of revealing the ideological and thematic content of a literary work and is subordinate to its main idea.

Belinsky considered the indispensable features of an artistically perfect work to be: “a strictly proportionate distribution of roles for all persons... completeness, completeness and isolation of the whole,” which should naturally flow from the “unity of thoughts.”

language of a literary work

In numerous works on the language of works of art, one can find mainly two approaches to the problem: linguistic and literary.

The first is to determine the features of artistic speech of this work in connection with the norms of the national literary language, as they had developed at the time of the appearance of this work.

The literary approach is based on the thesis of the unity of content and form, on the position of the primacy of content.

Artistic speech is one of the aspects of form and therefore it is determined by the content of the work.

Artistic stylistic originality ultimately follows from the originality of the ideological artistic problem and the tasks that the writer sets for himself. At the same time, he, of course, takes into account the general norms of the literary language, starts from them but is not limited to them, takes extra-literary dialects, and most importantly, from the wealth of the literary language he extracts only that which can serve as a means of expressing the ideological content of a particular work of art.

To create an artistic image, it is necessary to use various language resources. But it is not always the case. Creating living pictures is possible only if the writer masters the entire wealth of his national language. However, their use is not very large. It is important here, as N.G. said. Chernyshevsky “so that every word is not only in place, but so that it is inevitably necessary and so that there are as few words as possible.”

We find a similar statement in V.G. Belinsky: “The artistry of the language of the work lies in the fact that with one line, one word, it vividly and fully represents what without it could never be expressed in 10 volumes,” the critic wrote.

The language of any person characterizes the characteristics of his culture, life experience, mind, and psychology. Often a literary hero with just one phrase can reveal his cultural level. In the speech of nanny Tatyana Larina there are vernaculars that characterize her as a peasant.

Individualization of the speech of characters is not always created by means that are noticeable to readers. It is more noticeable when the writer wants to emphasize the most characteristic features in faces. Thus, with an abundance of metaphors, in comparisons such as “a fire of red rowan,” “fragrant silence,” “icy maple” and many others, Yesenina gravitates towards the complex style of the language of Russian poetry of the 20s of the twentieth century.

Bulletin of Chelyabinsk State University. 2009. No. 35 (173).

Philology. Art history. Vol. 37. pp. 20-26.

E. B. Borisova

AND ‘IMAGATIONALITY’ IN LITERARY STUDIES AND LINGUISTICS

The article examines the content of the concepts 'image' and 'imagery' in various interpretations accepted in Russian literary criticism and linguistics. Various criteria for the interpretation of these terms are given and our own definition of the artistic image is proposed, which is derived taking into account two approaches.

Key words: artistic image, imagery, literary criticism, linguistics, fiction, character image, image of nature and the material world.

It is known that art has its own special, specific artistic content. It is the result of an expanded creative mastery of the characteristic content of life and appears in the form of an artistically typified or artistically mastered characteristic, that is, such a characteristic in which the artist has creatively mastered the connection of a person’s individual existence with society or with the world as a whole. This artistically mastered characteristic is the basic unit of artistic content. It can appear in a work of art as the integral character of an individual, as a characteristic life-like situation, or as a characteristic mood.

If the basic unit of artistic content is the artistically mastered characteristic of life, then the basic unit of artistic form is the image. An image is, first of all, a category of aesthetics that characterizes a special way of mastering and transforming reality, inherent only in art. Image and imagery are key concepts for the language of art and the language of fiction in particular, but there is still no clear definition of these terms. There is often a confusion between the concepts of ‘verbal’, ‘linguistic’, ‘speech’ and ‘artistic image’. It is noteworthy that even the compilers of the linguistic encyclopedia “Linguistics” do not consider the artistic image as a linguistic concept. This indicates that the artistic image, despite numerous studies, is not included in the terminological apparatus of the science of language. We will talk about the content of the concept of ‘image’ in fiction, which clarifies the qualitative originality

of this type of image in comparison with other possible ones, for example, logical, mental, etc.

Image and figurativeness are key concepts of literary language. The complexity of the problem of studying imagery is largely explained by the complexity and ambiguity of this concept, which is the subject of study in various scientific fields. The concepts of ‘image’ and ‘imagery’ are used, in accordance with their specificity, by philosophy, psychology, aesthetics, art criticism, literary criticism, linguistic stylistics, didactics and other sciences.

Particularly characteristic of modern Russian works on literary criticism is the approach to the image as a living and integral organism, most capable of comprehending the complete truth of existence, since it not only exists (as an object) and not only means (as a sign), but is what Means. In comparison with Western science, the concept of ‘image’ in Russian literary criticism is itself more “figurative” and polysemantic. I. F. Volkov comes to the following definition of the image: “An artistic image is a system of concrete sensory means that embodies the actual artistic content, that is, the artistically mastered characteristic of real reality”1. The specificity of the figurative principle in literature is largely predetermined by the fact that imagery in in this case framed in words. A word can mean everything. what is in a person's horizons. With the help of the word, literature masters the intelligible integrity of objects and phenomena. The word is a conventional sign, that is, it does not resemble the object it denotes. Word pictures are unknown

significant, through them the author addresses the reader’s imagination. That is, in literature there is figurativeness (subjectivity), but there is no direct visibility of images. Being insubstantial and lacking clarity, verbal and artistic images at the same time depict a fictional reality and appeal to the reader’s vision. This side of literary works is called verbal plasticity. Verbal works capture subjective reactions to the objective world to a greater extent than the objects themselves as directly visible. There are also “non-plastic” beginnings of imagery: sphere

psychology and thoughts of narrators, lyrical

ical heroes, characters2.

The image has a duality that allows disparate phenomena to be pulled together into one whole. An image is the intersection of the objective and semantic series, the verbally designated and the implied. In the image, one object is revealed through another, and their mutual transformation occurs. At the same time, the image can both facilitate and complicate the perception of an object, explain the unknown to the known or the known to the unknown. The purpose of an image is to transform a thing, to turn it into something else.

Complex into simple, simple into complex, but in any case to achieve the highest semantic tension between the two poles, to reveal the interpenetration of the most diverse planes of existence.

A deeper understanding of the image in fiction can be obtained by considering a literary work as a kind of structural model, presented in the form of a core surrounded by several shells. The outer shell contains the verbal material from which the work itself consists. The material considered in itself is a kind of text that artistic sense doesn't have it yet. The structural “shell” of a work becomes artistically significant only when it acquires a symbolic character, that is, it expresses the spiritual information contained in it. The core itself, which includes the theme and idea of ​​the work, that is, what the writer depicts and what he wants to say about what is depicted, has, in contrast to the content of everyday, business, scientific and other texts, a two-sided structure, since art understands life And

simultaneously evaluates it. The need to organically connect the verbal shell with the spiritual core, making it extremely expressive and poetically meaningful, leads to the appearance in the structure of two intermediate shells, usually called the internal and external form. The internal form is a system of images, and the external form is the organization of linguistic fabric, which makes it possible to achieve activation of the sound side of the text, which makes the text a carrier of new, artistic information located in the subtext of the work.

Thus, subtext plays an important role in creating an image. Subtext is the hidden meaning of a statement, resulting from the relationship of verbal meanings with context. Usually subtext is a means of psychological characterization, but it can also evoke visual images. We can say that subtext is something that is beyond both the literal and figurative meaning of a word.

In an artistic image, real life characteristic no longer appears on its own, not just as an object of evaluation, but in a creative synthesis with the author’s attitude towards it, that is, as a creatively transformed characteristic and, therefore, as part of a special, second, artistic reality.

It should be noted that in domestic literary criticism from the 20s of the last century to the present day there are two different approaches to the study of the nature of the artistic image. Some scientists interpret the artistic image in literature as a purely speech phenomenon, as a property of the language of works of art. Others see a more complex phenomenon in the artistic image

A system of concrete sensory details that embody the content of a work of art, and not only details of the external, speech form, but also internal, object-figurative and rhythmically expressive.

So, for example, A.I. Efimov in his article “Figurative speech of a work of art” writes about two types of images. He calls one type literary images, by which he means images of characters in literary works, for example, the image of Tatyana, the image of Onegin.

Another type, from his point of view, consists of speech images, that is

figurative and expressive properties of the national language: colorful expressions, comparisons, tropes and more. Wherein

A. I. Efimov claims that, in fact, artistic value literary work is achieved, first of all, thanks to speech imagery3.

However, this researcher does not take into account that speech images in themselves are not a sign of a literary text. In addition, literary text is not always replete with speech images. Speech images, like speech in general, acquire artistic significance only when they become a means of embodying the artistic content itself, in particular the characters of the heroes of epic works as a result of the artistic and creative development of the real characteristics of life.

A. I. Efimov’s article aroused fundamental objections from many well-known literary scholars, in particular P. V. Palievsky. According to P.V. Palievsky, the artistic image is not reduced to the figurativeness of language, it is a more complex and more capacious phenomenon, which includes, along with language, other means and performs a special, strictly artistic function. Thus, P. V. Palievsky considers an artistic image as a complex interconnection of details of a concrete sensual form, as a system of figurative details that are in complex mutual reflection, due to which something essentially new is created, possessing a colossal content capacity4.

Specifics artistic imagery ultimately determined by the specifics of artistic content. Therefore, the artistic image is often determined, first of all, by the general features of artistic content. For example, in the book by M. B. Khrapchenko “Horizons of the Artistic Image” the following definition is given: “an artistic image is a creative synthesis of universally significant, characteristic properties of life, the spiritual “I” of a person, a generalization of his ideas about what is essential, important in the world, the embodiment of a perfect ideal beauty. In the structure of the image, in close unity there is a synthetic development of the surrounding world, an emotional attitude towards the object of creativity, an orientation toward the internal perfection of artistic generalization, and its potential impressive power”5.

The creatively mastered characteristic of real reality, which I. F. Volkov writes about, appears in a work of art as something concrete, first of all, as the character of a human individual. The artistic form, in turn, acquires certainty in the fact that the system of concrete sensory forms (speech and imaginary) forms something individual, in this case the image of a hero epic work. So, in the center literary image stands a person in the life process, shown in the complexity and multidimensionality of his relationship to reality.

We find a similar point of view on image and figurativeness in the work of L. I. Timofeev “Fundamentals of the Theory of Literature.” According to the researcher, “an image is a specific and at the same time generalized picture human life created through fiction and having aesthetic significance"6. This scientist draws attention to two essential features of the figurative reflection of life: to the fact that, on the one hand, it contains, as in science, a well-known generalization that establishes character traits life phenomena, and, on the other hand, that these phenomena are depicted specifically, preserving their individual characteristics, that is, as we see them in life. The subject of artistic depiction, according to L.I. Timofeev, is a person in all the complexity of his relationships with society and nature. The writer reflects in his work all reality, all the complexity of life's relationships, but shows them in a certain refraction, the way they manifest themselves in a specific human life. The subject of his knowledge is reality, the subject of the image is man in his complex and multifaceted relationship to reality, man as a person.

Depicting a person as a unique personality in all the richness and diversity of his psychological and physical characteristics, speech characteristics, social, everyday, intimate and natural settings, literature depicts him in the entire integrity of the life process that determines the formation and development of his character.

An image is a picture of human life. To reflect life with the help of images means to draw pictures of human life, that is, the actions and experiences of people, the characteristics

thorny for a given area of ​​life, allowing one to judge it. An image as a picture of human life presupposes the artist’s use of everything that is connected with a person in life, but it is in the refraction of all this material through human perception that the originality of literature lies.

L.I. Timofeev notes that the concept of image is broader than the concept of character, since it presupposes the image of the entire material, animal and generally objective world in which a person is and outside of which he is unthinkable, but, at the same time, without an image of character one cannot an image may also arise7.

However, some researchers consider artistic images only as images of characters. For example, V.P. Meshcheryakov notes that “with good reason, only images of human characters can be included in the concept of “artistic image”. In other cases, the use of this term presupposes a certain degree of convention, although its “broad” use is quite acceptable.”8

In our opinion, this understanding of the artistic image is somewhat narrow and does not reflect all the specifics of literature as a form of reflecting life in images.

IN linguistic literature image and figurativeness are considered inextricably from each other and, moreover, these concepts are defined one through the other.

In the “Dictionary of Linguistic Terms” by O. S. Akhmanova we find the concept of “figurative meaning”, i.e. “the meaning of a word that functions as a trope”9, therefore, the linguistic definition of image can be given through the understanding of figurativeness as a linguistic category that interpreted as semantic biplane, that is, the transfer of a name from one object to another.

Speaking about imagery from the point of view of linguistics, we cannot help but turn to such a concept as internal form, which was introduced into linguistic use in the 19th century. The first to talk about the internal form

V. Humboldt. He was interested in the internal form of language, by which he understood a system of concepts reflecting the features of the worldview, fixed by the external form of language. That is, in this case we are talking about the peculiarity of the worldview of a particular nation: the internal form of language as a worldview10.

Developing the theory of V. Humboldt, A. A. Potebnya distinguishes between the external (articulate sound) and internal form of the word (content objectified through sound). A. A. Potebnya writes: “The internal form of a word is the relation of the content of thought to consciousness; it shows how a person’s own thought appears to him. This alone can explain why in the same language there can be many words to denote the same object, and vice versa, one word, completely in accordance with the requirements of the language, can denote dissimilar objects.”11

Continuing the research direction of A. A. Potebnya on the internal form of the word, G. O. Vinokur sees the essence of the artistic word in the fact that “one content, expressed in a special sound form, serves as the form of another content that does not have a special sound expression”12.

Reality is embodied in the word, and the artist (poet, prose writer) performs its secondary transformation. In the context of a literary work, a word can acquire artistic ambiguity that is not recorded in dictionaries. The imagery of artistic speech lies not in the use of speech phenomena in themselves (expressiveness, individualization, tropes, etc.), but in the nature, in the principle of their use. For any verbally stands the person who created it.

Having examined the existing points of view in literary criticism and linguistics on the concept of 'image' and using as a basis the definition proposed by I. F. Volkov, we propose the following general definition of the concept of 'artistic image': “An artistic image is the basic unit of an artistic form, a system of concrete sensory means, embodying a special, strictly artistic content, that is, an artistically mastered characteristic of real reality, which appears in a work of art as something concrete and is created with the help of verbal and artistic compositional techniques.”

Despite the fact that in fiction the concept of “image” is associated primarily with the character of the human individual, we will try to expand the boundaries of this concept.

In this regard, we note that the authors of the Literary Encyclopedic Dictionary delimited and classified artistic images. Since in the image two main components are isolated - the objective and the semantic, the said and the implied and their relationship. Thus, the following threefold classification of images is possible: objective, generalized semantic and structural13.

The objectivity of the image is divided into a number of layers, appearing one within the other, like the big through the small. The first includes images-details, the smallest units of aesthetic vision. Images-details themselves can vary in scale: from details, often denoted by one word, to detailed descriptions consisting of many details, for example, landscape, portrait, interior; but at the same time their distinctive property is static, descriptive, fragmentary. From them grows the second figurative layer of the works - the plot, imbued with purposeful action, linking together all the substantive details. It consists of images of external and internal movements: events, actions, moods, aspirations - all dynamic moments unfolding in the time of a work of art. The third layer is the impulses behind the action and determining it - images of characters and circumstances, individual and collective heroes of works, possessing the energy of self-development and revealing themselves in the entire set of plot actions: collisions, various kinds of collisions and conflicts. Finally, from the images of characters and circumstances as a result of their interaction, holistic images of fate and the world are formed; this is being in general, as the artist sees and understands it - and behind this global image there are already non-objective, conceptual layers of the work.

According to their semantic generality, images are divided into individual, characteristic, typical, image-motifs, topoi, and archetypes.

Individual and individualized images are created by the original, often whimsical imagination of the artist and express the measure of his originality and uniqueness.

Characteristic images reveal the patterns of socio-historical life, capture the morals and customs common in a given era and in a given environment.

Typicality is the highest degree of specificity, thanks to which a typical (typical) image, absorbing the essential features of the concrete historical, socially characteristic, at the same time outgrows the boundaries of its era and acquires universal human features, revealing the stable, eternal properties of human nature.

The indicated varieties of images (individual, characteristic, typical) are unique in the sphere of their existence, that is, they are, as a rule, the creative creation of one author within the limits of one specific work.

The next three varieties (motive, topos, archetype) are generalized not according to the “reflected”, real-historical content, but according to the conditional, culturally developed and fixed form; therefore, they are characterized by the stability of their own use, going beyond the scope of one specific work.

A motif is an image that is repeated in several works of one or many authors and reveals the creative passions of the writer or an entire artistic movement. Such, for example, are the images-motifs of a snowstorm and wind by A. A. Blok, rain and a garden by B. L. Pasternak.

Topos (“common place”) is an image that is already characteristic of an entire culture of a given period or a given nation. Such are the topoi of “the world as a book”, “the world as a theater” for the European artistic culture of the Middle Ages and the Renaissance, the topoi of the road or winter for Russian literature.

The archetype image contains the most stable and omnipresent “schemes” or “formulas” of human imagination, manifested both in mythology and in art at all stages of its historical development. Permeating everything fiction from its mythological origins to the present, archetypes form a constant fund of plots and situations, passed on from writer to writer.

According to their structure, that is, the relationship between their two planes, the objective and the semantic, the revealed and the implied, images are divided into autological, “self-significant” ones, in which both planes coincide; metalogical, in which the revealed differs from the implied, as a part from the whole, the material from the spiritual, the greater from the lesser; here from-

all the image-tropes are worn; allegorical and symbolic, in which the implied is not fundamentally different from the revealed, but surpasses it in the degree of its universality and abstraction.

It should be noted that the study of the image was carried out in many other directions, correlating with different traditions and problems of aesthetic thought: the connection of the image with myth and ritual (O. M. Freidenberg, A. F. Losev), image and artistic speech (G. O. Vinokur, A. V. Chicherin, V. V. Kozhinov), historical development And national specifics images (G. D. Gachev, P. V. Palievsky), image as a special model of mastering reality (M. B. Khrapchenko), conventionality and iconicity of the image (Yu. M. Lotman, B. A. Uspensky), spatial -temporal form of images (M. M. Bakhtin), the image of the author and hero (V. V. Vinogradov, L. Ya. Ginzburg). Particularly characteristic of modern aesthetics is the approach to the image as a living and integral organism, most capable of comprehending the complete truth of existence. In comparison with Western science, the concept of ‘image’ in Russian and Soviet literary criticism is itself more “figurative”, polysemantic, having a less differentiated sphere of use.

Images of the objective world constitute special item philological research. As E. R. Kotochigova notes in the article “The Thing in Artistic Representation”, there is no single term to designate these images: they are called “things”, “details of everyday life”, “interior”14. Speaking about the concept of ‘image’, we, to a certain extent, abstract it from the specific fabric of a work of art. It is indisputable that the most insignificant and most random details, things, phenomena in the artistic world are subordinated to the main idea of ​​the work, the image of a person in all his forms. The anthropocentricity of any artistic image is irrefutable. But we should not underestimate the importance of the objective world. The most insignificant and random details, things, phenomena in the artistic world are a way of characterizing a person, an expression of his individuality.

In this regard, A. B. Esin calls the world depicted in a work of art an image, that is, “that conditionally similar to the real world picture of reality,

which the writer draws: people, things, nature, actions, experiences, etc.” This scientist introduces the concept of “the world of things” and identifies such types of images as portraits, landscapes, and the world of things. The author unites all these images with one name - artistic detail. A. B. Esin also writes that these images are of a subordinate nature, since an artistic detail is the smallest pictorial and expressive detail that forms a “block” of a larger image, which in turn flows into an even larger image - holistic image of a person15. So we once again confirm the anthropocentricity of artistic imagery.

So, material concreteness constitutes an integral and very significant facet of artistic subject imagery. Images of things “enter” literary texts in different ways. Most often, they are episodic, present in very few episodes of the text, and are often given in passing, as if between times. But sometimes images of things come to the fore and become the central link of the narrative.

Sharing the opinion about the absolute anthropocentricity of the artistic image, we emphasize that in a work of literary art it is advisable to distinguish both personified and non-personified images, i.e. images of people, animals, nature, images of things (images of the material / objective world), images feelings, verbal and speech images, images-details, etc.

Having examined the content of the concepts of 'artistic image' and 'artistry', as interpreted by literary scholars and linguists, it becomes clear to us that an image is a specific and at the same time generalized picture of existence, created with the help of verbal means and artistic and compositional techniques, and having an aesthetic meaning. The main types of classifications of images can be considered subject (images-details, external and internal images, images of characters and circumstances, individual and collective heroes of works); generalized semantic (individual, characteristic, typical, image-motives, topoi, archetypes) and structural (autological and metalogical).

From the above it follows that by artistic image we will understand

an element or part of an artistic whole, that is, a fragment that has independent life and content and is created by the author through the creative use of the wealth of literary language. At the same time, in an artistic text, linguistic units of all levels (word - phrase - sentence) realize the duality of their nature and appear in a transformed form, being a means of expressing not only the main content (plot), but also meta-content (creating an artistic image and providing an emotional and aesthetic impact per reader).

Notes

1 Volkov, I. F. Theory of Literature. M., 1995. P. 75.

2 Khalizev, V. E. Theory of Literature. M., 2007.

3 Efimov, A. I. Stylistics of artistic speech. M., 1959. P. 93.

4 See: Palievsky, P.V. Literature and theory. M., 1979.

5 Khrapchenko, M. B. Horizons of the artistic image. M., 1982. P. 79.

6 Timofeev, L. I. Fundamentals of the theory of literature. M., 1976. P. 60.

7 Ibid. P. 38.

8 Meshcheryakov, V. P. Dictionary of literary characters. M., 2000. P. 18.

9 Akhmanova, O. S. Dictionary of linguistic terms. M., 1996. P. 163.

10 See: Humboldt, V. Language and Philosophy of Culture. M., 1985.

11 Potebnya, A. A. Aesthetics and poetics. M., 1976.S. 114.

12 Vinokur, G. O. Philological studies. M., 1990. P. 390.

13 Literary Encyclopedic Dictionary (LES). M., 1987. pp. 253-254.

14 Kotochigova, E. R. Thing in artistic representation // Introduction to literary studies. M., 1999. P. 45.

15 Esin, A. B. Principles of analysis of a literary work. M., 1998. P. 75.