Artistic detail and its types

Content

Introduction …………………………………………………………………..
Chapter 1. …………………………………………………………………….	5
1.1 Artistic detail and its functioning in the text ………….	5
1.2 Classification of artistic details …………………………..	9
1.3 Artistic detail and artistic symbol………………..	13
Chapter 2. …………………………………………………………………….	16
2.1 The innovative style of E. Hemingway……………………………………..	16
2.2 An artistic detail in E. Hemingway's story "The Old Man and the Sea" ...	19
2.3 Symbol as a kind of artistic detail in E. Hemingway's story "The Old Man and the Sea" …………………………………………….	27
Conclusion …………………………………………………………………	32
Bibliography ……………………………………………………….	35

Introduction
There are few phenomena in philological science that are so often and so ambiguously mentioned as a detail. Intuitively, the detail is perceived as "something small, insignificant, meaning something big, significant." In literary criticism and stylistics, the opinion has long and rightly been established that the widespread use of artistic detail can serve as an important indicator of individual style and characterizes, for example, different authors such as Chekhov, Hemingway, Mansfield. Discussing the prose of the 20th century, critics unanimously speak of its inclination to detail, which marks only an insignificant sign of a phenomenon or situation, leaving the reader to finish the picture himself.
At the present stage of development of text linguistics and stylistics, the analysis of a literary work cannot be considered complete without studying the functioning of an artistic detail in it. In this regard, the purpose of this study is to holistically study and analyze various types of artistic details, to determine their significance in the creation of E. Hemingway's parable "The Old Man and the Sea". This work was chosen due to the fact that the topics disclosed by E. Hemingway are eternal. These are problems of human dignity, morality, the development of the human personality through struggle. The parable "The Old Man and the Sea" contains a deep subtext, which will help to understand the analysis of artistic details, which allows expanding the possibilities of interpreting a literary work.
The purpose of the work determined the specific objectives of the study:

study of the main provisions of modern literary criticism regarding the role of artistic details in works;
analysis of varieties of parts;
identification of various types of artistic details in E. Hemingway's parable "The Old Man and the Sea";
disclosure of the main functions of artistic details in this work.

The object of this study is E. Hemingway's parable "The Old Man and the Sea".
The subject of the study is an artistic detail - the smallest unit of the objective world of the writer's work.
The structure of the work is determined by the goals and objectives of the study.
The introduction substantiates the relevance of the chosen topic, defines the main goal and specific tasks of the work.
In the theoretical part, the main provisions concerning the concept of "artistic detail" are explored, the classifications of details that exist in modern literary criticism are given, and their functions in a literary work are determined.
In the practical part, an analysis of the parable by E. Hemingway "The Old Man and the Sea" was carried out, highlighting the artistic details and determining their role in creating the subtext.
In conclusion, the theoretical and practical results of the study are summarized, the main provisions on the material of the work are given.

Chapter 1
1.1 Artistic detail and its functioning in the text
In literary criticism and stylistics, there are several different definitions of the concept of "artistic detail". One of the most complete and detailed definitions is given in this work.
Thus, an artistic detail (from French detail - part, detail) is a particularly significant, highlighted element of an artistic image, an expressive detail in a work that carries a significant semantic and ideological and emotional load. A detail is capable of conveying the maximum amount of information with the help of a small text volume, with the help of a detail in one or a few words you can get the most vivid idea of ​​the character (his appearance or psychology), interior, environment. Unlike a detail, which always works with other details, making up a complete and plausible picture of the world, a detail is always independent.
Artistic detail - one of the forms of depicting the world - is an integral part of the verbal and artistic image. Since the verbal-artistic image and the work as a whole are potentially ambiguous, their comparative value, the measure of adequacy or polemicalness in relation to the author's concept is also associated with the identification of the details of the depicted world of the author. The scientific study of the world of a work, taking into account subject representation, is recognized by many experts in the theory of literature as one of the main tasks of modern literary criticism.
A detail, as a rule, expresses an insignificant, purely external sign of a multilateral and complex phenomenon, for the most part it acts as a material representative of facts and processes that are not limited to the mentioned superficial sign. The very existence of the phenomenon of artistic detail is associated with the impossibility of capturing the phenomenon in its entirety and the resulting need to convey the perceived part to the addressee so that the latter gets an idea of ​​the phenomenon as a whole. The individuality of external manifestations of feelings, the individuality of the author's selective approach to these observed external manifestations gives rise to an infinite variety of details that represent human experiences.
When analyzing a text, an artistic detail is often identified with metonymy and, above all, with that variety of it, which is based on the relationship of part and whole - synecdoche. The reason for this is the presence of an external similarity between them: both the synecdoche and the detail represent the big through the small, the whole through the part. However, in their linguistic and functional nature, these are different phenomena. In synecdoche, there is a transfer of the name from the part to the whole. The details use the direct meaning of the word. To represent the whole in synecdoche, its catchy, attention-grabbing feature is used, and its main purpose is to create an image with a general economy of expressive means. In detail, on the contrary, an inconspicuous feature is used, rather emphasizing not the external, but the internal connection of phenomena. Therefore, attention is not focused on it, it is reported in passing, as if in passing, but the attentive reader should discern a picture of reality behind it. In the synecdoche, there is an unambiguous replacement of what is called with what is meant. When deciphering a synecdoche, those lexical units that expressed it do not leave the phrase, but remain in their direct meaning.
In detail, there is not a substitution, but a reversal, an opening. When deciphering the details, there is no unambiguity. Its true content can be perceived by different readers with varying degrees of depth, depending on their personal thesaurus, attentiveness, reading mood, other personal qualities of the recipient and the conditions of perception.
The detail functions in the whole text. Its full meaning is not realized by the lexical demonstrative minimum, but requires the participation of the entire artistic system, that is, it is directly included in the action of the category of systemicity. Thus, in terms of the level of actualization, the detail and metonymy do not coincide. An artistic detail is always qualified as a sign of a laconic economical style.
Here we must remember that we are not talking about a quantitative parameter, measured by the amount of word usage, but about a qualitative one - about influencing the reader in the most effective way. And the detail is just such a way, because it saves figurative means, creates an image of the whole at the expense of its insignificant feature. Moreover, it forces the reader to engage in co-creation with the author, complementing the picture that he has not drawn to the end. A short descriptive phrase really saves words, but they are all automated, and visible, sensual clarity is not born. The detail is a powerful signal of figurativeness, awakening in the reader not only empathy with the author, but also his own creative aspirations. It is no coincidence that the pictures recreated by different readers according to the same detail, without differing in the main direction and tone, differ markedly in detail and depth of drawing.
In addition to the creative impulse, the detail also gives the reader a sense of the independence of the created representation. Not taking into account the fact that the whole is created on the basis of a detail deliberately selected for it by the artist, the reader is confident in his independence from the author's opinion. This seeming independence of the development of the reader's thought and imagination gives the narrative a tone of disinterested objectivity. For all these reasons, the detail is an extremely essential component of the artistic system of the text, actualizing a number of textual categories, and all artists thoughtfully and carefully consider its selection.
The analysis of artistic details contributes to the understanding of the moral, psychological and cultural aspects of the text, which is an expression of the writer's thoughts, who, transforming reality through his creative imagination, creates a model - his concept, the point of view of human existence.
The popularity of an artistic detail among authors, therefore, stems from its potential power, which can activate the reader's perception, encourage him to co-create, and give scope to his associative imagination. In other words, the detail actualizes, first of all, the pragmatic orientation of the text and its modality. Among the writers who masterfully used the detail, one can name E. Hemingway.

1.2 Classification of artistic details
Identification of the details or system of details chosen by the writer is one of the urgent problems of modern literary criticism. An important step in its solution is the classification of artistic details.
Both in style and in literary criticism, a general classification of details has not developed.
V. E. Khalizev writes in the manual “Theory of Literature”: “In some cases, writers operate with detailed characteristics of a phenomenon, in others they combine heterogeneous objectivity in the same text episodes.”
L. V. Chernets proposes to group the types of details based on the style of the work, the principles for identifying which are determined by A. B. Esin.
A. B. Esin in the classification of details highlights the details of external and psychological. External details draw the external, objective existence of people, their appearance and habitat, and are divided into portrait, landscape and real; and psychological - depict the inner world of a person.
The scientist draws attention to the conditionality of such a division: an external detail becomes psychological if it conveys, expresses certain spiritual movements (in this case, it means a psychological portrait) or is included in the course of thoughts and experiences of the hero.
From the point of view of the image of dynamics and statics, external and internal, the scientist determines the property of the style of a particular writer according to the “set of style dominants”. If the writer pays primary attention to the static moments of being (the appearance of the characters, the landscape, city views, interiors, things), then this property of style can be called descriptive. Descriptive details correspond to this style.
The functional load of the part is very diverse. Depending on the functions performed, the following classification of types of artistic detail can be proposed: pictorial, clarifying, characterological, implicating.
The pictorial detail is designed to create a visual image of what is being described. Most often, it enters as an integral element in the image of nature and the image of appearance. Landscape and portrait work greatly benefit from the use of detail: it is this detail that gives individuality and concreteness to a given picture of nature or the appearance of a character. In the choice of a graphic detail, the author's point of view is clearly manifested, the category of modality, pragmatic orientation, and systemicity are actualized. In connection with the local-temporal nature of many pictorial details, we can talk about the periodic actualization of the local-temporal continuum through the pictorial detail.
The main function of a clarifying detail is to create an impression of its reliability by fixing minor details of a fact or phenomenon. A clarifying detail, as a rule, is used in a dialogical speech or a skaz, delegated narration. For Remarque and Hemingway, for example, a description of the movement of the hero is typical, indicating the smallest details of the route - the names of streets, bridges, alleys, etc. The reader does not get an idea about the street. If he has never been to Paris or Milan, he does not have vivid associations with the scene. But he gets a picture of movement - fast or leisurely, agitated or calm, directed or aimless. And this picture will reflect the state of mind of the hero. Since the whole process of movement is firmly tied to places that really exist, known by hearsay or even from personal experience, that is, completely reliable, the figure of the hero inscribed in this framework also acquires convincing truthfulness. Scrupulous attention to the minor details of everyday life is extremely characteristic of the prose of the middle of the 20th century. The process of morning washing, tea drinking, lunch, etc., dissected to the minimum links, is familiar to everyone (with the inevitable variability of some constituent elements). And the character, standing in the center of this activity, also acquires the features of authenticity. Moreover, since things characterize their owner, a clarifying thing detail is very essential for creating the image of a character. Consequently, without directly mentioning the person, the clarifying detail is involved in creating the anthropocentric orientation of the work.
The characterological detail is the main actualizer of anthropocentricity. But it performs its function not indirectly, as pictorial and clarifying, but directly, fixing the individual features of the depicted character. This type of artistic detail is dispersed throughout the text. The author does not give a detailed, locally concentrated characterization of the character, but places milestones - details in the text. They are usually served in passing, as something famous. The entire composition of characterological details, scattered throughout the text, can be directed either to a comprehensive description of the object, or to re-emphasizing its leading feature. In the first case, each individual detail marks a different side of the character, in the second, they are all subordinated to showing the main passion of the character and its gradual disclosure. For example, understanding the complex behind-the-scenes machinations in E. Hemingway's story "Fifty Thousand", ending with the words of the hero - boxer Jack "If funny how fast you can think when it means that much money", is prepared gradually, persistently returning to the same quality of the hero . Here is a boxer called his wife on a long-distance telephone. His staff notes that this is his first telephone conversation, he used to send letters: "a letter only costs two cents." So he leaves the training camp and gives the Negro massage therapist two dollars. At the bewildered look of his companion, he replies that he has already paid the entrepreneur the bill for the massage. Here, already in the city, having heard that a hotel room costs $ 10, he is indignant: "That" s too steep ". Here, having risen to the room, he is in no hurry to thank the battle that brought the suitcases:" Jack didn "t make any move, so I gave the boy a quarter". When playing cards, he is happy when he wins a penny: "Jack won two dollars and a half... was feeling pretty good", etc. , Hemingway makes it the leading characteristic of the passion for accumulation. The reader turns out to be internally prepared for the denouement: for a person whose goal is money, life itself is cheaper than capital. The author carefully and carefully prepares the reader's conclusion, guiding it along the milestones-details placed in the text. The pragmatic and conceptual orientation of the generalizing conclusion is thus hidden under the imaginary independence of the reader in determining his own opinion. The characterological detail creates the impression of eliminating the author's point of view and is therefore especially often used in emphatically objectified prose of the 20th century. precisely in this function.
The implicit detail marks the external characteristic of the phenomenon, by which its deep meaning is guessed. The main purpose of this detail, as can be seen from its designation, is the creation of implication, subtext. The main object of the image is the internal state of the character.
In a certain sense, all these types of details participate in the creation of subtext, because each implies a wider and deeper coverage of a fact or event than is shown in the text through a detail. However, each type has its own functional and distribution specifics, which, in fact, allows us to consider them separately. The pictorial detail creates an image of nature, an image of appearance, and is used mostly singly. Clarifying - creates a material image, an image of the situation and is distributed in a heap, 3-10 units in a descriptive passage. Characterological - participates in the formation of the image of the character and is dispersed throughout the text. Implicating - creates an image of the relationship between characters or between the hero and reality.

1.3 Artistic detail and artistic symbol
Under certain conditions, an artistic detail can become an artistic symbol. Much has been written about the symbolism of modern literature. Moreover, different critics often see different symbols in the same work. To some extent, this is due to the polysemy of the term itself. The symbol acts as a spokesman for the metonymic relationship between the concept and one of its specific representatives. The famous words "Let's beat swords into plowshares", "Sceptre and crown will tumble down" are examples of metonymic symbolism. Here the symbol has a permanent and important character for this phenomenon, the relationship between the symbol and the whole concept is real and stable, and does not require conjecture on the part of the recipient. Once discovered, they are often repeated in a variety of contexts and situations; unambiguous interpretation leads to stable interchangeability of the concept and symbol. This, in turn, determines the assignment to the symbol of the function of a stable nomination of the object, which is introduced into the semantic structure of the word, registered in the dictionary and eliminates the need for parallel mention of the symbol and symbolized in one text. The linguistic fixation of a metonymic symbol deprives it of novelty and originality, reduces its figurativeness.
The second meaning of the term "symbol" is associated with the likening of two or more heterogeneous phenomena in order to clarify the essence of one of them. There are no real connections between the like categories. They only resemble each other in appearance, size, function, etc. The associative nature of the connection between a symbol and a concept creates significant artistic possibilities for using a symbol-similarity to make the described concept concrete. The assimilation symbol during decoding can be reduced to the final transform "symbol (s) as the main concept (s)". Such a symbol often acts as the title of a work.
The dazzling and unattainable peak of Kilimanjaro is like the unfulfilled creative destiny of the hero of E. Hemingway's story "The Snows of Kilimanjaro". The Gatsby mansion from Fitzgerald's novel of the same name, at first foreign and abandoned, then flooded with the glitter of cold lights and again empty and resonant - like his fate with its unexpected rise and fall.
The symbol-similarity is often presented in the title. He always acts as an actualizer of the concept of the work, pragmatically directed, based on retrospection. Due to the actualization of the latter and the associated need to return to the beginning of the text, it enhances textual coherence and systemicity, i.e., the likeness symbol, in contrast to metonymy, is a phenomenon of the text level.
Finally, as already mentioned, a detail becomes a symbol under certain conditions. These conditions are the occasional connection between the detail and the concept it represents and the repeated repetition of the word expressing it within the given text. The variable, random nature of the relationship between the concept and its individual manifestation requires an explanation of their relationship.
The symbolizing detail is therefore always first used in the immediate vicinity of the concept, the symbol of which it will act in the future. Repetition, on the other hand, legitimizes, strengthens a random connection, the similarity of a number of situations assigns to the detail the role of a constant representative of the phenomenon, provides it with the possibility of independent functioning.
In the work of E. Hemingway, for example, a symbol of misfortune in the novel "Farewell to Arms!" it starts to rain, in "The Snows of Kilimanjaro" - a hyena; the symbol of courage and fearlessness is the lion in the story "The Short Happiness of Francis Macomber". The lion of flesh and blood is an important link in the development of the plot. The first repetition of the word "lion" is in close proximity to the qualification of the hero's courage. A further forty-fold repetition of the word, dispersed throughout the story, gradually weakens the meaning of correlation with a specific animal, highlighting the emerging meaning of "courage". And in the last, fortieth use, the word “lion” is the authoritative symbol of the concept: "Macomber felt unreasonable happiness that he had never known before... "You know, I"d like to try another lion," Macomber said". The last use of the word "lion" has nothing to do with the external development of the plot, for the hero says it while hunting a buffalo. It appears as a symbol, expressing the depth of the change that has taken place in Macomber. Having failed in the first test of courage, he wants to win in a similar situation, and this display of courage will be the final stage in the assertion of his newly acquired freedom and independence.
Thus, the detail-symbol requires an initial explication of its connection with the concept and is formed into a symbol as a result of repeated repetition in the text in similar situations. The symbol can be any type of part. For example, the pictorial detail of Galsworthy's landscape descriptions in The Forsyte Saga, related to the birth and development of love between Irene and Bosnia, is sunlight: "into the sun, in full sunlight, the long sunshine, in the sunlight, in the warm sun" . Conversely, there is no sun in any of the descriptions of the Forsytes' walk or business trip. The sun becomes a detail-symbol of love, illuminating the fate of the heroes.
The symbolic detail, therefore, is not yet another, fifth, type of detail that has its own structural and figurative specificity. It is, rather, a higher level of development of the detail, associated with the peculiarities of its inclusion in the whole text, it is a very strong and versatile text actualizer. It explicates and intensifies the concept, penetrating the text through repetition, significantly contributes to strengthening its coherence, integrity and consistency, and, finally, it is always anthropocentric.

Chapter 2
2.1 Innovative style of E. Hemingway
Around the American writer Ernest Hemingway (1899 - 1961), legends developed during his lifetime. Having made the leading theme of his books the courage, resilience and perseverance of a person in the fight against circumstances that doom him to almost certain defeat in advance, Hemingway strove to embody the type of his hero in life. A hunter, fisherman, traveler, war correspondent, and when the need arose, then a soldier, he chose the path of greatest resistance in everything, tested himself "for strength", sometimes risked his life not for the sake of thrills, but because a meaningful risk, like him thought it befits a real man.
Hemingway entered great literature in the second half of the 1920s, when, following the book of short stories In Our Time (1924), his first novels appeared - The Sun Also Rises, better known as Fiesta. (“The Sun Also Rises”, 1926) and “Farewell to Arms!” (“A Farewell to Arms”, 1929). These novels gave rise to the fact that Hemingway began to be considered one of the most prominent artists of the "lost generation" ("Lost Generation"). His largest books after 1929 are about bullfighting Death in the Afternoon (1932) and the safari Green Hills of Africa (1935). The second half of the 1930s - the novel To Have and Have Not (1937), stories about Spain, the play The Fifth Column (1938) and the famous novel For Whom the bell tolls" ("For Whom the Bell Tolls", 1940).
In the post-war years, Hemingway lived in his house near Havana. The first of the works of the 50s was the novel "Across the River and into the Trees", 1950. But the real creative triumph awaited Hemingway in 1952, when he published his story "The Old Man and the Sea" ("The Old Man and the Sea"). Two years after its appearance, Hemingway was awarded the Nobel Prize in Literature.
As a correspondent, Hemingway worked hard and hard on the style, manner of presentation, and form of his works. Journalism helped him develop a basic principle: never write about what you do not know. He did not tolerate chatter and preferred to describe simple physical actions, leaving room for feelings in the subtext. He believed that there was no need to talk about feelings, emotional states, it was enough to describe the actions in which they arose.
His prose is a canvas of the external life of people, a being that contains the greatness and insignificance of feelings, desires and motives. Hemingway strove to objectify the narrative as much as possible, to exclude from it direct author's assessments, elements of didactics, to replace, where possible, the dialogue with a monologue. In the mastery of the internal monologue, Hemingway reached great heights. The components of composition and style were subordinated in his works to the interests of the development of the action. Short words, simple sentence structures, vivid descriptions, and factual details combine to create realism in his stories. The skill of the writer is expressed in his subtle ability to use repetitive images, allusions, themes, sounds, rhythms, words, and sentence structures.
The “iceberg principle” put forward by Hemingway (a special creative technique when a writer, working on the text of a novel, reduces the original version by 3-5 times, believing that the discarded pieces do not disappear without a trace, but saturate the narrative text with additional hidden meaning) is combined with the so-called “ side view" - the ability to see thousands of the smallest details that seem to be not directly related to events, but in fact play a huge role in the text, recreating the flavor of time and place. Just as the visible part of an iceberg, rising above the water, is much smaller than its main mass hidden under the surface of the ocean, so the writer’s laconic, laconic narrative captures only those external data, starting from which the reader penetrates into the depths of the author’s thought and discovers the artistic the universe.
E. Hemingway created an original, innovative style. He developed a whole system of specific methods of artistic display: editing, playing with pauses, interrupting dialogue. Among these artistic means, an essential role is played by the talented use of artistic details. Already at the beginning of his writing career, E. Hemingway also found “his own dialogue” - his characters exchange insignificant phrases, cut off by chance, and the reader feels behind these words something significant and hidden in the mind, something that sometimes cannot be expressed directly.
Thus, the use by the writer of various techniques and means of artistic display, including Hemingway's famous short and precise phrase, became the basis for creating a deep subtext of his works, which will help to reveal the definition and analysis of five types of artistic detail (pictorial, clarifying, characterological, implicating, symbolic) taking into account the function they perform in E. Hemingway's parable "The Old Man and the Sea".

2.2 Artistic detail in E. Hemingway's story "The Old Man and the Sea"
The Old Man and the Sea is one of the last books by Ernest Hemingway, written in 1952. The plot of the story is typical of Hemingway's style. Old man Santiago struggles with adverse circumstances, fights desperately, to the end.
Outwardly concrete, objective narration has philosophical overtones: man and his relationship with Nature. The story about the fisherman Santiago, about his battle with a huge fish, turned under the pen of the master into a true masterpiece. This parable showed the magic of Hemingway's art, its ability to keep the reader's interest despite the outward simplicity of the plot. The story is extremely harmonious: the author himself called it "poetry translated into the language of prose." The protagonist is not just a fisherman, like many Cuban fishermen. He is a Man who fights destiny.
This small, but extremely capacious story stands apart in Hemingway's work. It can be defined as a philosophical parable, but at the same time, its images, rising to symbolic generalizations, have an emphatically concrete, almost tangible character.
It can be argued that here, for the first time in Hemingway's work, a hard worker, who sees his life calling in his work, became a hero.
The protagonist of the story, old man Santiago, is not typical of E. Hemingway. He will not yield to anyone in valor, in readiness to fulfill his duty. Like an athlete, he shows by his heroic struggle with the fish what a man is capable of and what he can endure; asserts in deed that “a man can be destroyed but not defeated.” Unlike the heroes of Hemingway's previous books, the old man has neither a sense of doom, nor the horror of "nada". He does not oppose himself to the world, but seeks to merge with it. The inhabitants of the sea are perfect and noble; the old man must not yield to them. If he "does what he was born to do" and does everything in his power, then he will be admitted to the great feast of life.
The whole story of how the old man manages to catch a huge fish, how he leads
etc.................

Each of us in childhood collected a mosaic consisting of several dozens, and maybe hundreds of puzzles. Like a play structure, a literary image is made up of many interconnected details. And only the keen eye of the reader is able to notice these microstructures. Before delving into literary criticism, you need to understand what an artistic detail is.

Definition

Few people thought about the fact that literature is the art of the real word. This implies a close connection between linguistics and literary criticism. When a person reads or listens to a poem, he imagines a picture. It becomes reliable only when he hears certain subtleties, thanks to which he can present the information received.

And we turn to the question: what is an artistic detail? This is an important and significant tool for building detail, which carries a huge ideological, emotional and semantic load.

Not all writers used these elements masterfully. They were actively used in their work by Nikolai Vasilievich Gogol, Anton Pavlovich Chekhov and other word artists.

Parts classification

What artistic details do you know? Difficult to answer? Then we carefully study the issue further. There are several classifications of this element.

We will consider the option proposed by the domestic literary critic and philologist - Esin Andrey Borisovich. In his book "Literary work" he defined a successful typology, in which he singled out three large groups of details:

• psychological;
• descriptive;
• plot.

But literary critics distinguish several more types:

• landscape;
• verbal;
• portrait.

For example, in Gogol's story "Taras Bulba" plot details dominated, in "Dead Souls" - descriptive ones. While in Dostoevsky's novel "Crime and Punishment" the emphasis is on the psychological factor. However, it is worth remembering that the named types of details can be combined within the framework of one work of art.

Functions of the artistic detail

Literary critics distinguish several functions of this tool:

1. Excretory. It is needed in order to highlight any event, image or phenomenon from its like.

2. Psychological. In this case, the detail, as a means of psychological portrait, helps to reveal the inner world of the character.

3. Factual. The tool characterizes a fact from the world of reality of the characters.

4. Naturalistic. The detail clearly, objectively and accurately conveys an object or any phenomenon.

5. Symbolic. The element is endowed with the role of a symbol, that is, it becomes a multi-valued and artistic image that has an allegorical meaning based on the similarities of phenomena from life.

Artistic detail and its role in creating an image

In a poem, such expressive details very often serve as a reference point for the image, pushing our imagination, prompting us to complete the lyrical situation.

An artistic image often has one bright individual detail. As a rule, the development of lyrical thought begins with it. Other elements of the image, including expression, are forced to adapt to this instrument. It happens that an artistic detail resembles an external touch of the image, but it carries a surprise that refreshes the reader's perception of the world.

This tool enters our consciousness and sense of life in such a way that a person no longer thinks of poetic discoveries without it. A lot of details are present in Tyutchev's lyrics. When reading his poems, a picture of green fields, blooming and fragrant roses opens before our eyes ...

Creativity N. V. Gogol

In the history of Russian literature, there are such writers whom nature endowed with special attention to life and things, in other words, to the surrounding human existence. Among them is Nikolai Vasilyevich Gogol, who managed to anticipate the problem of the reification of a person, where he is not the creator of things, but their thoughtless consumer. In his work, Gogol skillfully depicted a substantive or material detail that replaces the soul of the character without a trace.

This element performs the function of a mirror that reflects the character. Thus, we see that the details in Gogol's work are the most important tool for depicting not only a person, but also the world in which the hero lives. They leave little space for the characters themselves, which is why it seems that there is no room for life at all. But for his heroes this is not a problem, because the everyday world for them is in the foreground, in contrast to being.

Conclusion

The role of the artistic detail cannot be overestimated, without it it is impossible to create a full-fledged work. The poet, writer or composer uses this instrument in their own way in their creations. So, for example, Fyodor Mikhailovich Dostoevsky, with the help of details, depicts not only the images of heroes or St. Petersburg, but also reveals the boundless philosophical and psychological depths of his novels.

Skillfully and skillfully used such expressive details not only Gogol and Chekhov, but also Goncharov, Turgenev and other writers.

Word artists used detail extensively in their works. After all, its significance is enormous. Without this tool, it would be unrealistic to clearly and concisely give an individual characterization of the character. The author's attitude to the hero can also be determined using this tool. But, of course, the depicted world is also created and characterized with the help of a detail.

Artistic detail

Detail - (from French s1e1a) detail, particularity, trifle.

An artistic detail is one of the means of creating an image that helps to present an embodied character, picture, object, action, experience in their originality and originality. The detail fixes the reader's attention on what seems to the writer the most important, characteristic in nature, in man or in the objective world surrounding him. The detail is important and significant as part of the artistic whole. In other words, the meaning and power of the detail lies in the fact that the infinitesimal reveals the whole.

There are the following types of artistic details, each of which carries a certain semantic and emotional load:

a) a verbal detail. For example, by the expression “no matter how something happened,” we recognize Belikov, by the appeal “falcon” - Platon Karataev, by one word “fact” - Semyon Davydov;

b) portrait detail. The hero can be identified by a short upper lip with a mustache (Lisa Bolkonskaya) or a white small beautiful hand (Napoleon);

c) subject detail: Bazarov's hoodie with tassels, Nastya's book about love in the play "At the Bottom", Polovtsev's checker - a symbol of a Cossack officer;

d) a psychological detail, expressing an essential trait in the character, behavior, actions of the hero. Pechorin did not wave his arms when walking, which testified to the secrecy of his nature; the sound of billiard balls changes Gaev's mood;

e) a landscape detail, with the help of which the color of the situation is created; the gray, leaden sky over Golovlev, the “requiem” landscape in The Quiet Don, reinforcing the inconsolable grief of Grigory Melekhov, who buried Aksinya;

f) detail as a form of artistic generalization (the “casual” existence of philistines in the works of Chekhov, the “muzzle of a philistine” in Mayakovsky's poetry).

Special mention should be made of such a variety of artistic detail as everyday, which, in essence, is used by all writers. A prime example is Dead Souls. Heroes of Gogol cannot be torn off from their life, surrounding things.

A household detail indicates the situation, housing, things, furniture, clothes, gastronomic preferences, customs, habits, tastes, inclinations of the character. It is noteworthy that in Gogol the everyday detail never acts as an end in itself, is given not as a background and decoration, but as an integral part of the image. And this is understandable, because the interests of the heroes of the satirist writer do not go beyond the limits of vulgar materiality; the spiritual world of such heroes is so poor, insignificant, that the thing may well express their inner essence; things seem to grow together with their owners.

Everyday detail performs primarily a characterological function, that is, it allows you to get an idea of ​​the moral and psychological properties of the heroes of the poem. So, in the Manilov estate, we see the manor's house, standing “alone in the south, that is, on a hill open to all winds”, an arbor with a typically sentimental name “Temple of solitary reflection”, “a pond covered with greenery” ... These details indicate on the impracticality of the landowner, on the fact that mismanagement and disorder reign in his estate, and the owner himself is only capable of senseless projecting.

The character of Manilov can also be judged by the furnishings of the rooms. “Something was always missing in his house”: there was not enough silk fabric to upholster all the furniture, and two armchairs “stood just upholstered with matting”; next to a dapper, richly decorated bronze candlestick stood "some just a copper invalid, lame, curled up on the side." Such a combination of objects of the material world in a manor's estate is bizarre, absurd, and illogical. In all objects, things, some kind of disorder, inconsistency, fragmentation is felt. And the owner himself matches his things: Manilov’s soul is as flawed as the decoration of his home, and the claim to “education”, sophistication, grace, refinement of taste further enhances the inner emptiness of the hero.

Among other things, the author emphasizes one, singles it out. This thing carries an increased semantic load, growing into a symbol. In other words, a detail can take on the meaning of a multi-valued symbol that has a psychological, social and philosophical meaning. In Manilov's office, one can see such an expressive detail as mounds of ash, "arranged not without diligence in very beautiful rows", - a symbol of empty pastime, covered with a smile, sugary politeness, the embodiment of idleness, idleness of the hero, surrendering to fruitless dreams ...

Gogol's everyday detail is expressed primarily in action. So, in the image of things that belonged to Manilov, a certain movement is captured, in the process of which the essential properties of his character are revealed. For example, in response to Chichikov’s strange request to sell dead souls, “Manilov immediately dropped the pipe with the pipe on the floor and, as he opened his mouth, he remained with his mouth open for several minutes ... Finally, Manilov raised the pipe with the pipe and looked at him from below face ... but he could not think of anything else but to release the remaining smoke from his mouth in a very thin stream. In these comic poses of the landowner, his narrow-mindedness, mental limitations are perfectly manifested.

Artistic detail is a way of expressing the author's assessment. The district dreamer Manilov is incapable of any business; idleness became part of his nature; the habit of living at the expense of serfs developed traits of apathy and laziness in his character. The landowner's estate is ruined, decay and desolation are felt everywhere.

The artistic detail complements the inner appearance of the character, the integrity of the revealed picture. It gives the depicted ultimate concreteness and at the same time generalization, expressing the idea, the main meaning of the hero, the essence of his nature.

In the analysis of speech matter, not only words and sentences are relevant, but also building units of the language(phonemes, morphemes, etc.). Images are born only in text. The most important stylistic trend in art. liter-re - muting general concepts and the emergence in the mind of the reader representation.

The smallest unit of the objective world is called artistic detail. The detail belongs to metaverbal to the world of the work: “The figurative form of a cast work includes 3 sides: a system of details of subject figurativeness, a system of compositional techniques and a speech structure.” Usually details include details of everyday life, landscape, portrait, etc. detailing the objective world in literature is inevitable, this is not decoration, but the essence of the image. The writer is not able to recreate the subject in all its features, and it is the detail and their combination that “replace” the whole in the text, causing the reader to associate the author with the necessary associations. This "removal of places of incomplete certainty" Ingarden calls specification. Selecting certain details, the writer turns the objects with a certain side to the reader. The degree of detail in the image mb is motivated in the text by the spatial and/or temporal point of view of the narrator/narrator/character, etc. detail, like a "close-up" in a movie, needs a "long shot." In literary criticism, a brief message about events, the total designation of objects is often called generalization. The alternation of detailing and generalization is involved in the creation rhythm Images. Their contrast is one of the stylistic dominants.

The classification of details repeats the structure of the objective world, composed of events, actions, portraits, psychological and speech characteristics, landscape, interior, etc. A.B. Esin proposed to distinguish 3 types: details plot, descriptive and psychological. The predominance of one type or another generates a corresponding style property: plot"(" Taras Bulba ")," descriptiveness" ("Dead Souls"), " psychologism" ("Crime and Punishment"). In epic works, the narrator's commentary on the words of the characters often exceeds the volume of their replicas and leads to the image of the 2nd, non-verbal dialogue. Such a dialogue has its own sign system. It is kinesics(gestures, elements of facial expressions and pantomime) and paralinguistic elements(laughter, crying, pace of speech, pauses, etc.). The details of the mb are given in opposition, but can form an ensemble.

E. S. Dobin offered his own typology based on the criterion singleness/many, and used different terms for this: Detail affects a lot. Detail tends to be singular. The difference between them is not absolute, there are also transitional forms. " alienating"(according to Shklovsky) detail, i.e. introducing dissonance into the image, is of great cognitive importance. The visibility of a detail that contrasts with the general background is facilitated by compositional techniques: repetitions, “close-ups”, retardations, etc. Repeating and acquiring additional meanings, the detail becomes motive (keynote), often grows into symbol. At first, she may surprise, but then she explains the character. The symbolic detail mb is placed in the title of the work (“Gooseberry”, “Easy breathing”). The detail (in Dobin's understanding) is closer to sign, its appearance in the text evokes the joy of recognition, arousing a stable chain of associations. Details - signs are designed for a certain horizon of the reader's expectations, for his ability to decipher this or that cultural code. More than a classic, details - signs delivers fiction.

QUESTION 47. LANDSCAPE, ITS VIEWS. SEMIOTICS OF LANDSCAPE.

Landscape is one of the components of the world of a literary work, an image of any closed space of the outside world.

With the exception of the so-called wild landscape, the description of nature usually incorporates images of things created by man. In the literary analysis of a particular landscape, all elements of the description are considered together, otherwise the integrity of the subject and its aesthetic perception will be violated.

The landscape has its own characteristics in various kinds of literature. He is best represented in drama. Because of this "economy" the symbolic load of the landscape increases. There are much more opportunities for the introduction of a landscape that performs a variety of functions (designation of the place and time of action, plot motivation, a form of psychologism, landscape as a form of the author's presence) in epic works.

In the lyrics, the landscape is emphatically expressive, often symbolic: psychological parallelism, personifications, metaphors and other tropes are widely used.

Depending on the subject, or the texture of the description, landscapes are distinguished between rural and urban, or urban (“Notre Dame Cathedral” by V. Hugo), steppe (“Taras Bulba” by N.V. Gogol, “Steppe” by A.P. Chekhov), forest (“Notes of a hunter”, “Journey to Polissya” by I.S. Turgenev), sea (“Mirror of the Seas” by J. Conrad, “Moby Dick” by J. Meckville), mountain (its discovery is associated with the names of Dante and especially Zh .-J. Rousseau), northern and southern, exotic, the contrasting background for which is the flora and fauna of the native land of the author (this is typical for the genre of ancient Russian “walking”, in general, the literature of “travels”: “Frigate “Pallada”” by I.A. Goncharov), etc.

Depending on the literary direction, 3 types of landscape are distinguished: ideal, dull, stormy landscape.

Of all the varieties of landscape, in the first place in terms of its aesthetic value, the ideal landscape should be put, which was established in ancient literature - by Homer, Theocritus, Virgil, Ovid, and then developed over the centuries in the literature of the Middle Ages and the Renaissance.

The elements of an ideal landscape, as it was formed in ancient and medieval European literature, can be considered the following: 1) a soft breeze, blowing, not stinging, bringing pleasant smells; 2) an eternal source, a cool stream that quenches thirst; 3) flowers covering the ground with a wide carpet; 4) trees spread out in a wide tent, giving shade; 5) birds singing on the branches.

Perhaps the most concise list of idyllic landscape motifs in their parodic interpretation is given by Pushkin in his message To Delvig. The very writing of "rhymes" already presupposes the presence in them of an "ideal nature", as if inseparable from the essence of the poetic:

"Confess," we were told,

You write poetry;

Can't you see them?

You depicted in them

Of course, streams

Of course, cornflower,

Forest, breeze,

Lambs and flowers..."

Characterized by diminutive suffixes attached to each word of an ideal landscape - "idyllema". Pushkin lists all the main elements of the landscape in an extremely laconic manner: flowers, streams, a breeze, a forest, a herd - only birds are missing, but instead of them - lambs.

The most important and stable element of an ideal landscape is its reflection in the water. If all other features of the landscape are consistent with the needs of human feelings, then through the reflection in the water, nature is consistent with itself, acquires full value, self-sufficiency.

In the ideal landscapes of Zhukovsky, Pushkin, Baratynsky, we find this self-doubling as a sign of mature beauty:

And in the bosom of the waters, as through glass,

(V. Zhukovsky. "There is heaven

and the waters are clear!"

My Zakharovo; it

With fences in the wavy river,

With a bridge and a shady grove

The mirror of the waters is reflected.

(A. Pushkin. "Message to Yudin")

What a fresh dubrov

Looking from the shore

In her cheerful glass!

(E. Baratynsky. "Excerpt")

In the 18th century, the ideal landscape was significant in itself, as a poetic representation of nature, which had previously not been included at all in the system of aesthetic values ​​of Russian literature. Therefore, for Lomonosov, Derzhavin, Karamzin, this landscape had artistic value in itself, as a poetization of that part of reality that was not considered poetic in medieval literature before: as a sign of mastering the ancient, pan-European art of landscape. By the beginning of the 19th century, this general artistic task had already been completed, therefore, in Zhukovsky, Pushkin, Baratynsky, Tyutchev, Nekrasov, the ideal landscape conflicts with the real state of the world as something imaginary, incorporeal, distant, or even offensive in relation to the heavy, ugly, suffering human life.

The dull landscape came into poetry with the era of sentimentalism. Otherwise, this landscape can be called elegiac - it is closely connected with the complex of those sad and dreamy motifs that make up the genre feature of the elegy. A dull landscape occupies, as it were, an intermediate place between an ideal (light, peaceful) and a stormy landscape. There is no clear daylight here, green carpets full of flowers, on the contrary, everything is immersed in silence, resting in a dream. It is no coincidence that the cemetery theme runs through many dull landscapes: Zhukovsky's "Rural Cemetery", Batyushkov's "On the Ruins of a Castle in Sweden", Milonov's "Despondency", Pushkin's "Osgar". Sadness in the soul of the lyrical hero is transformed into a system of landscape details:

Special hour of the day: evening, night or special season - autumn, which is determined by the distance from the sun, the source of life.

Impenetrability to sight and hearing, a kind of veil covering perception: fog and silence.

Moonlight, bizarre, mysterious, eerie, pale luminary of the realm of the dead: "The moon looks thoughtfully through thin vapor", "only a month through the fog the crimson face will set", "a sad moon quietly ran through the pale clouds", "the moon makes its way through the wavy mists" - the reflected light, moreover, scattered by the fog, pours sadness on the soul.

A picture of dilapidation, withering, smoldering, ruins - whether it be the ruins of a castle near Batyushkov, a rural cemetery near Zhukovsky, a "row of graves overgrown" near Milonov, a decrepit skeleton of a bridge or a decayed arbor near Baratynsky ("Desolation").

Images of northern nature, where the Ossian tradition led Russian poets. The north is part of the world, corresponding to the night as part of the day or autumn, winter as the seasons, which is why the gloomy dull landscape includes details of northern nature, primarily such characteristic, easily recognizable ones as moss and rocks ("mossy strongholds with granite teeth", " on a rock overgrown with wet moss", "where there is only moss, gray on gravestones", "above a hard, mossy rock").

In contrast to the ideal landscape, the components of a formidable, or stormy, poetic landscape are shifted from their usual place. Rivers, clouds, trees - everything is torn beyond its limit with an obsessively violent, destructive force.

We find the brightest examples of a stormy landscape in Zhukovsky ("The Twelve Sleeping Maidens", "The Swimmer"), Batyushkov ("The Dream of the Warriors", "The Dream"), Pushkin ("Crash", "Demons").

Signs of a stormy landscape:

Sound sign: noise, roar, roar, whistle, thunder, howl, so different from the silence and soft rustle of an ideal landscape ("huge moans", "breathed with a whistle, howl, roar", "massive waves rushed with a roar", "Wind it makes noise and whistles in the grove", "the storm roared, the rain roared", "the eagles scream above me and the forest grumbles", "the forest roars", "and the sound of water, and the whirlwind howl", "where the wind is noisy, a thunderstorm roars").

Black haze, dusk - "everything is dressed in black haze", "the abyss in the darkness before me."

The wind is raging, gusty, sweeping away everything in its path: "and the winds raged in the wilds."

Waves, abysses - boiling, roaring - "swirl, foam and howl among the wilds of snow and hills."

Dense forest or piles of rocks. At the same time, the waves beat against the rocks (“crushing against the gloomy rocks, the shafts rustle and foam”), the wind breaks the trees (“cedars fell upside down”, “like a whirlwind digging fields, breaking forests”).

Trembling, trembling of the universe, unsteadiness, collapse of all supports: "the earth, like Pontus (sea), shakes", "oak forests and fields tremble", "flinty Lebanon crackled". The motif of "the abyss", failure is stable: "here the abyss boiled furiously", "and in the abyss of the storm there are piles of rocks."

It is in a stormy landscape that the sound palette of poetry reaches its greatest diversity:

A storm covers the sky with mist,

Whirlwinds of snow twisting;

Like a beast, she will howl

He will cry like a child...

(A. Pushkin. "Winter Evening")

Moreover, if through an ideal landscape the image of God is revealed to the lyrical subject (N. Karamzin, M. Lermontov), ​​then the stormy personifies demonic forces that cloud the air, blow up the snow with a whirlwind. A stormy landscape combined with a demonic theme is also found in Pushkin's Possessed.

Semiotics of the landscape. Various types of landscape are semiotized in the literary process. There is an accumulation of landscape codes, whole symbolic "funds" of descriptions of nature are created - the subject of study of historical poetics. Constituting the wealth of literature, they at the same time pose a danger to the writer who is looking for his own path, his own images and words.

When analyzing a landscape in a literary work, it is very important to be able to see the traces of one or another tradition, which the author follows consciously or unwittingly, in unconscious imitation of styles that were in use.

Let's start with the properties of the depicted world. The depicted world in a work of art means that conditionally similar to the real world picture of reality that the writer draws: people, things, nature, actions, experiences, etc.

In a work of art, a model of the real world is created, as it were. This model in the works of each writer is unique; the depicted worlds in different works of art are extremely diverse and can be more or less similar to the real world.

But in any case, it should be remembered that before us is an artistic reality created by the writer, which is not identical with the primary reality.

The picture of the depicted world is made up of individual artistic details. By artistic detail we will understand the smallest pictorial or expressive artistic detail: an element of a landscape or portrait, a separate thing, an act, a psychological movement, etc.

Being an element of the artistic whole, the detail itself is the smallest image, a micro-image. At the same time, the detail almost always forms part of a larger image; it is formed by details, folding into “blocks”: for example, the habit of not waving your arms when walking, dark eyebrows and mustaches with fair hair, eyes that did not laugh - all these micro-images add up to a “block” of a larger image - a portrait of Pechorin, which , in turn, merges into an even larger image - a holistic image of a person.

For ease of analysis, artistic details can be divided into several groups. First of all, external and psychological details stand out. External details, as it is easy to guess from their name, draw us the external, objective existence of people, their appearance and habitat.

External details, in turn, are divided into portrait, landscape and real. Psychological details depict the inner world of a person for us, these are separate mental movements: thoughts, feelings, experiences, desires, etc.

External and psychological details are not separated by an impenetrable boundary. So, an external detail becomes psychological if it conveys, expresses certain mental movements (in this case we are talking about a psychological portrait) or is included in the course of the hero’s thoughts and experiences (for example, a real ax and the image of this ax in Raskolnikov’s mental life).

By the nature of the artistic impact, details-details and details-symbols are distinguished. Details act in mass, describing an object or phenomenon from all conceivable sides, a symbolic detail is single, it tries to grasp the essence of the phenomenon at once, highlighting the main thing in it.

In this regard, the modern literary critic E. Dobin proposes to separate details and details, believing that the detail is artistically higher than the detail. However, this is hardly the case. Both the principle of using artistic details are equivalent, each of them is good in its place.

Here, for example, is the use of detail-detail in the description of the interior in Plyushkin's house: “At the bureau ... lay a lot of all sorts of things: a bunch of finely written pieces of paper, covered with a green marble press with an egg on top, some old book bound in leather with a red edge , a lemon, all dried up, not more than a hazelnut, a broken armchair, a glass with some liquid and three flies, covered with a letter, a piece of sealing wax, a piece of a rag raised somewhere, two feathers stained with ink, dried up, as in consumption , toothpick, completely yellowed.

Here Gogol needs just a lot of details in order to reinforce the impression of senseless stinginess, pettiness and wretchedness of the hero's life.

Detail-detail also creates a special persuasiveness in the descriptions of the objective world. With the help of details-details, complex psychological states are also transmitted, here this principle of using a detail is indispensable.

The symbolic detail has its advantages, it is convenient to express the general impression of an object or phenomenon in it, with its help the general psychological tone is well captured. The detail-symbol often conveys with great clarity the author's attitude to the depicted - such, for example, is Oblomov's dressing gown in Goncharov's novel.

Let us now turn to a concrete consideration of the varieties of artistic details.

Esin A.B. Principles and methods of analysis of a literary work. - M., 1998