Artistic image

typical image
Image-motive
topos
Archetype.

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

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

Conflict as the basis of the plot side of the work. The concept of "motive" in Russian literary criticism.

The most important function of the plot is the detection of life's contradictions, i.e. conflicts (in Hegel's terminology - collisions).

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

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

Stages of conflict development- main plot elements:

Lyric-epic genres and their specificity.

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

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

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

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

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

4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together, these lyrical works create a "circle": the unifying principle is yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.

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

POETIC LANGUAGE, artistic speech, is the language of poetic (poetic) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, in which the communicative function is the main one (see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, that is, the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. Ya., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is language in its aesthetic function.
P. i. closely connected, on the one hand, with the literary language (see), which is its normative basis, and on the other hand, with the national language, from which it draws various characterological linguistic means, for example. dialectisms when transmitting the speech of characters or to create a local color of the depicted. The poetic word grows out of the real word and in it, becoming motivated in the text and performing a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.

19. The concept of the artistic method. The history of world literature as a history of changing artistic methods.

The artistic method (creative) method is a set of the most general principles of the aesthetic assimilation of reality, which is consistently repeated in the work of a particular group of writers that form a direction, trend or school.

O.I. Fedotov notes that “the concept of “creative method” is not much different from the concept of “artistic method” that gave rise to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire trends.

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

The artistic method has an aesthetic nature, it represents the historically conditioned general forms of emotionally colored figurative thinking.

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

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

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

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

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

Interaction method and style:

§ Variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;

§ stylistic unity is possible only within one method, since even the outward similarity of the works of authors adhering to the same method does not give grounds for classifying them as a single style;

§ Reverse influence of style on method.

The full use of the style techniques of artists who are adjacent to one method is incompatible with the consistent observance of the principles of the new method.

Along with the concept of creative method, the concept direction or type of creativity, which in the most diverse forms and relationships will be manifested in any method that arises in the process of development of the history of literature, since they express the general properties of the figurative reflection of life. In their totality, the methods form literary currents (or trends: romanticism, realism, symbolism, etc.).

The method determines only the direction of the artist's creative work, and not its individual properties. The artistic method interacts with the creative individuality of the writer

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

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

mythological school

The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.

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

Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.

biographical method

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

Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.

Biographical approach to the study of the heritage of major artists of the word (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.

Psychological direction

Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.

Psychological approach in Tatar literary criticism of the early twentieth century. Views of M.Marjani, J.Validi, G.Ibragimov, G.Gubaydullin, A.Mukhetdiniya and others. The work of G.Battala "Theory of Literature".

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

Psychoanalysis

Theoretical Foundations of Psychoanalytic Criticism. Life and work of Z. Freud. Psychoanalytic writings of Freud. Psychoanalysis of C.G. Jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis of Erich Fromm. The concept of the social unconscious. J. Lacan's research.

Psychoanalytic theories in Russia in the 1920s. 20th century (I.D. Ermakov). Psychoanalysis in modern literary criticism.

Sociologism

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

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

Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).

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

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

formal school.

Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.

Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague linguistic circle and the Genevan linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.

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

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

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

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

An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.

hermeneutics

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

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

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

Artistic image

Artistic image is a generalized expression of reality, an essential property of art. It is the result of the artist's understanding of a phenomenon or process. At the same time, the artistic image not only reflects, but, above all, generalizes reality, reveals the eternal in the individual, transient. An artistic image is inseparable from its objectively existing material prototype. However, it must be remembered that an artistic image is, first of all, an image, a picture of life, and not life itself. The artist strives to select such phenomena and depict them in such a way as to express his idea of ​​life, his understanding of its tendencies and patterns.
So, “an artistic image is a concrete and at the same time a generalized picture of human life, created with the help of fiction and having aesthetic value” (L. I. Timofeev).
An image is often understood as an element or part of an artistic whole, as a rule, such a fragment that seems to have an independent life and content (for example, a character in literature, symbolic images, like a “sail” or “clouds” by M. Yu. Lermontov):

White sail lonely In the blue mist of the sea!.. What is he looking for in a distant country? What did he throw in his native land?.. or

Heavenly clouds, eternal wanderers! Steppe azure, pearl chain You rush as if like me, exiles From the sweet north to the south.

An artistic image becomes artistic not because it is written off from nature and looks like a real object or phenomenon, but because it transforms reality with the help of the author's imagination. The artistic image does not so much copy reality as it seeks to convey the most important and essential. Thus, one of the heroes of Dostoevsky's novel "The Teenager" said that photographs can very rarely give a correct idea of ​​a person, because the human face does not always express the main character traits. Therefore, for example, Napoleon, photographed at a certain moment, might seem stupid. The artist, on the other hand, must find in the face the main thing, the characteristic. In Leo Tolstoy's novel "Anna Karenina", the amateur Vronsky and the artist Mikhailov painted a portrait of Anna. It seems that Vronsky knows Anna better, understands her more and more deeply. But Mikhailov's portrait was distinguished not only by similarity, but also by that special beauty that only Mikhailov could detect and that Vronsky did not notice. "You should have known and loved her, as I loved her, in order to find this sweetest expression of her soul," thought Vronsky, although he only recognized from this portrait "this is her sweetest spiritual expression."

At different stages of human development, the artistic image takes on various forms.

This happens for two reasons:

the subject of the image changes - a person,
the forms of its reflection in art also change.
There are peculiarities in the reflection of the world (and hence in the creation of artistic images) by realist artists, sentimentalists, romantics, modernists, etc. As art develops, the ratio of reality and fiction, reality and ideal, general and individual, rational and emotional, etc.
In the images of classic literature, for example, there is very little individuality. Heroes are typified, template. It does not change throughout the work. As a rule, the hero of classicism is the bearer of one virtue and one vice. As a rule, all images of the heroes of a work of classicism can be divided into positive and negative (Romeo and Juliet, Shakespeare's Hamlet, Mitrofanushka and Mrs. Prostakova at Fonvizin). And romantic artists, on the contrary, pay attention to the individual in a person, depict a rebel hero, a loner who rejected society or was rejected by it. The image of the hero of a romantic work is always two-faced, we are tormented by contradictions that occur due to the difference between the real world in which we all live and the ideal world, the way the world should be (Quasimodo and Esmeralda Hugo, Don Quixote of Cervantes, Mtsyri and partially Pechorin Lermontov) . Realists strove for a rational knowledge of the world, the identification of causal relationships between objects and phenomena. Their images are the most realistic, they have very little artistic fiction (Gogol's Chichikov, Dostoyevsky's Raskolnikov). And the modernists announced that it is possible to know the world and man only with the help of irrational means (intuition, insight, inspiration, etc.). At the center of realistic works is a person and his relationship with the outside world, while romantics, and then modernists, are primarily interested in the inner world of their heroes.
Although the creators of artistic images are artists (poets, writers, painters, sculptors, architects, etc.), in a sense, those who perceive these images, that is, readers, viewers, listeners, etc., also turn out to be their co-creators. So, the ideal reader not only passively perceives the artistic image, but also fills it with his own thoughts, feelings and emotions. Different people and different eras reveal different sides of it. In this sense, the artistic image is inexhaustible and multifaceted, like life itself.

Poetic art is thinking in images. The image is the most important and directly perceived element of a literary work. The image is the focus of the ideological and aesthetic content and the verbal form of its embodiment.

The term "artistic image" is of relatively recent origin. It was first used by J. W. Goethe. However, the problem of the image itself is one of the ancient ones. The beginning of the theory of the artistic image is found in Aristotle's doctrine of "mimesis". The term “image” was widely used in literary criticism after the publication of the works of G. W. F. Hegel. The philosopher wrote: “We can designate a poetic representation as figurative, since it puts before our eyes, instead of an abstract essence, its concrete reality.”

G. W. F. Hegel, reflecting on the relationship of art with the ideal, decided the question of the transformative impact of artistic creativity on the life of society. The "Lectures on Aesthetics" contains a detailed theory of the artistic image: aesthetic reality, artistic measure, ideological content, originality, uniqueness, general validity, dialectics of content and form.

In modern literary criticism, the artistic image is understood as the reproduction of the phenomena of life in a concrete, individual form. The purpose and purpose of the image is to convey the general through the individual, not imitating reality, but reproducing it.

The word is the main means of creating a poetic image in literature. The artistic image reveals the visibility of an object or phenomenon.

The image has the following parameters: objectivity, semantic generalization, structure. Object images are static and descriptive. These include images of details, circumstances. Semantic images are divided into two groups: individual - created by the talent and imagination of the author, reflect the patterns of life in a certain era and in a certain environment; and images that outgrow the boundaries of their era and acquire universal human significance.

Images that go beyond the scope of the work and often beyond the limits of the work of one writer include images that are repeated in a number of works by one or more authors. Images characteristic of an entire era or nation, and archetype images, contain the most stable "formulas" of human imagination and self-knowledge.

The artistic image is connected with the problem of artistic consciousness. When analyzing an artistic image, it should be taken into account that literature is one of the forms of social consciousness and a kind of practical-spiritual human activity.

The artistic image is not something static, it is distinguished by a procedural character. In different eras, the image is subject to certain specific and genre requirements that develop artistic traditions. At the same time, the image is a sign of a unique creative individuality.

An artistic image is a generalization of the elements of reality, objectified in sensually perceived forms, which are created according to the laws of the type and genre of this art, in a certain individual creative manner.

Subjective, individual and objective are present in the image in an inseparable unity. Reality is the material to be known, the source of facts and sensations, exploring which the creative person studies himself and the world, embodies his ideological, moral ideas about the real and the proper in the work.

The artistic image, reflecting life trends, at the same time is an original discovery and the creation of new meanings that did not exist before. The literary image correlates with life phenomena, and the generalization contained in it becomes a kind of model for the reader's understanding of his own problems and conflicts of reality.

A holistic artistic image also determines the originality of the work. Characters, events, actions, metaphors are subordinated in accordance with the original intention of the author and in the plot, composition, main conflicts, theme, idea of ​​the work express the nature of the artist's aesthetic attitude to reality.

The process of creating an artistic image, first of all, is a strict selection of material: the artist takes the most characteristic features of the depicted, discards everything random, giving development, enlarging and sharpening certain features to complete clarity.

V. G. Belinsky wrote in the article “Russian Literature in 1842”: “Now the “ideal” is understood not as an exaggeration, not a lie, not a childish fantasy, but a fact of reality, such as it is; but a fact not written off from reality, but carried through the poet's fantasy, illumined by the light of a general (and not exceptional, particular and accidental) meaning, erected into a pearl of consciousness and therefore more similar to itself, more true to itself than the most slavish copy with true to its original. So, in a portrait made by a great painter, a person is more like himself than even his reflection in a daguerreotype, because the great painter with sharp features brought out everything that lurks inside such a person and which, perhaps, is a secret for this person himself. ".

The persuasiveness of a literary work is not reduced and is not limited to the fidelity of the reproduction of reality and the so-called "truth of life". It is determined by the originality of creative interpretation, the modeling of the world in forms, the perception of which creates the illusion of understanding the phenomenon of man.

The artistic images created by D. Joyce and I. Kafka are not identical to the reader's life experience, it is difficult to read them as a complete coincidence with the phenomena of reality. This "non-identity" does not mean a lack of correspondence between the content and structure of the writers' works and allows us to say that the artistic image is not a living original of reality, but is a philosophical and aesthetic model of the world and man.

In the characterization of the elements of the image, their expressive and pictorial possibilities are essential. By “expressiveness” one should mean the ideological and emotional orientation of the image, and by “pictoriality” - its sensual being, which turns the subjective state and assessment of the artist into artistic reality. The expressiveness of the artistic image is irreducible to the transfer of the subjective experiences of the artist or the hero. It expresses the meaning of certain psychological states or relationships. The figurativeness of the artistic image allows you to recreate objects or events in visual clarity. Expressiveness and figurativeness of an artistic image are inseparable at all stages of its existence - from the initial idea to the perception of the completed work. The organic unity of figurativeness and expressiveness is fully related to the integral image-system; separate images-elements are not always carriers of such unity.

It should be noted socio-genetic and epistemological approaches to the study of the image. The first establishes social needs and reasons that give rise to a certain content and functions of the image, and the second analyzes the correspondence of the image to reality and is associated with the criteria of truth and veracity.

In a literary text, the concept of "author" is expressed in three main aspects: a biographical author, whom the reader knows about as a writer and a person; the author "as the embodiment of the essence of the work"; the image of the author, similar to other images-characters of the work, is the subject of personal generalization for each reader.

The definition of the artistic function of the image of the author was given by V. V. Vinogradov: “The image of the author is not just a subject of speech, most often it is not even named in the structure of the work. This is a concentrated embodiment of the essence of the work, uniting the entire system of speech structures of characters in their relationship with the narrator, narrator or narrators and through them being the ideological and stylistic focus, the focus of the whole.

It is necessary to distinguish between the image of the author and the narrator. The narrator is a special artistic image invented by the author, like everyone else. It has the same degree of artistic conventionality, which is why the identification of the narrator with the author is unacceptable. There can be several narrators in a work, and this once again proves that the author is free to hide "under the mask" of one or another narrator (for example, several narrators in "Belkin's Tales", in "A Hero of Our Time"). The image of the narrator in the novel by F. M. Dostoevsky "Demons" is complex and multifaceted.

The narrative style and specificity of the genre determines the image of the author in the work. As Yu. V. Mann writes, "each author appears in the rays of his genre." In classicism, the author of a satirical ode is an accuser, and in an elegy, a sad singer, in the life of a saint, a hagiographer. When the so-called period of “poetics of the genre” ends, the image of the author acquires realistic features, acquires an expanded emotional and semantic meaning. “Instead of one, two, several colors, there is their motley multicolor, and iridescent,” says Yu. Mann. Authorial digressions appear - this is how the direct communication of the creator of the work with the reader is expressed.

The formation of the genre of the novel contributed to the development of the image-narrator. In the baroque novel, the narrator acts anonymously and does not seek contact with the reader; in the realistic novel, the author-narrator is a full-fledged hero of the work. In many ways, the main characters of the works express the author's concept of the world, embody the experiences of the writer. M. Cervantes, for example, wrote: “Idle reader! You can believe without an oath, as I would like this book, the fruit of my understanding, to be the height of beauty, grace and thoughtfulness. But it is not in my power to cancel the law of nature, according to which every living being gives birth to its own kind.

And yet, even when the heroes of the work are the personification of the author's ideas, they are not identical to the author. Even in the genres of confession, diary, notes, one should not look for the adequacy of the author and the hero. The conviction of J.-J. Rousseau that autobiography, an ideal form of introspection and exploration of the world, was questioned by the literature of the 19th century.

Already M. Yu. Lermontov doubted the sincerity of the confessions expressed in the confession. In the preface to Pechorin's Journal, Lermontov wrote: "Rousseau's confession already has the disadvantage that he read it to his friends." Without a doubt, every artist strives to make the image vivid, and the plot captivating, therefore, pursues "a vain desire to arouse participation and surprise."

A. S. Pushkin generally denied the need for confession in prose. In a letter to P. A. Vyazemsky regarding Byron’s lost notes, the poet wrote: “He (Byron) confessed in his poems, involuntarily, carried away by the delight of poetry. In cold-blooded prose, he would lie and cunning, now trying to show off sincerity, now slandering his enemies. He would have been caught, as Rousseau was, and there malice and slander would triumph again... You love no one so much, you know no one as well as yourself. The subject is inexhaustible. But it's difficult. It is possible not to lie, but to be sincere is a physical impossibility.”

Introduction to Literary Studies (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin and others) / Ed. L.M. Krupchanov. - M, 2005

In terms of the structure of a literary work, the artistic image is the most important component of its form. An image is a pattern on the “body” of an aesthetic object; the main "transmitting" gear of the artistic mechanism, without which the development of action, understanding of meaning is impossible. If a work of art is the basic unit of literature, then the artistic image is the basic unit of literary creation. With the help of artistic images, the object of reflection is modeled. The objects of landscape and interior, events and actions of the characters are expressed in an image. The author's intention comes through in the images; the main general idea is embodied.

So, in A. Green's extravaganza "Scarlet Sails", the main theme of love in the work is reflected in the central artistic image - scarlet sails, meaning a sublime romantic feeling. The artistic image is the sea, into which Assol peers, waiting for a white ship; the neglected, uncomfortable inn of Menners; a green bug crawling along the line with the word "look." As an artistic image (the image of the betrothal) is the first meeting with Gray Assol, when the young captain puts the ring of his betrothed on his finger; equipping Gray's ship with scarlet sails; drinking wine that no one should have drunk, etc.

The artistic images we have singled out: the sea, the ship, the scarlet sails, the tavern, the beetle, the wine are the most important details of the extravaganza form. Thanks to these details, A. Green's work begins to "live". It receives the main characters (Assol and Gray), the place of their meeting (the sea), as well as its condition (a ship with scarlet sails), the means (a look with the help of a bug), the result (betrothal, wedding).

With the help of images, the writer asserts one simple truth. It is "to do so-called miracles with your own hands."

In the aspect of literature as an art form, the artistic image is the central category (as well as a symbol) of literary creativity. It acts as a universal form of mastering life and at the same time a method of its comprehension. Artistic images comprehend social activity, specific historical cataclysms, human feelings and characters, spiritual aspirations. In this aspect, the artistic image does not simply replace the phenomenon it denotes or generalizes its characteristic features. He tells about the real facts of being; cognizes them in all their diversity; reveals their essence. Models of life are drawn in an artistic way, unconscious intuitions and insights are verbalized. It becomes epistemological; paves the way to the truth, the prototype (in this sense, we are talking about the image of something: the world, the sun, the soul, God).

At the level of origin, two large groups of artistic images are distinguished: authorial and traditional.

Author's images, as it can be seen from the name itself, are born in the creative laboratory of the author "for the needs of the day", "here and now". They grow from the subjective vision of the world by the artist, from his personal assessment of the events, phenomena or facts depicted. The author's images are concrete, emotional and individual. They are close to the reader with their real, human nature. Anyone can say: “Yes, I saw (experienced, “felt”) something similar.” At the same time, the author's images are ontological (that is, they are closely connected with being, grow out of it), typical and therefore always relevant. On the one hand, these images embody the history of states and peoples, comprehend socio-political cataclysms (like, for example, the Gorky petrel, which predicts and at the same time calls for a revolution). On the other hand, they create a gallery of inimitable artistic types that remain in the memory of mankind as real models of being.

So, for example, the image of Prince Igor from the "Word" models the spiritual path of a warrior who is freed from base vices and passions. The image of Pushkin's Eugene Onegin reveals the "idea" of the nobility disappointed in life. But the image of Ostap Bender from the works of I. Ilf and E. Petrov personifies the path of a person obsessed with an elementary thirst for material wealth.

Traditional images borrowed from the treasury of world culture. They reflect the eternal truths of the collective experience of people in various spheres of life (religious, philosophical, social). Traditional images are static, hermetic and therefore universal. They are used by writers for artistic and aesthetic "breakthrough" into the transcendental and transsubjective. The main goal of traditional images is a fundamental spiritual and moral restructuring of the reader's consciousness according to the "heavenly" model. This is served by numerous archetypes and symbols.

G. Sienkiewicz uses the traditional image (symbol) in the novel "Quo wadis" quite revealingly. This symbol is a fish, which in Christianity means God, Jesus Christ and the Christians themselves. The fish is drawn on the sand by Lygia, a beautiful Polish woman, with whom the main character, Mark Vinicius, falls in love. The fish is drawn first by a spy, and then by the martyr Chilon Chilonides, looking for Christians.

The ancient Christian symbol of the fish gives the writer's narrative not only a special historical flavor. The reader, following the characters, also begins to ponder the meaning of this symbol and mysteriously comprehend Christian theology.

In the aspect of functional purpose, images of heroes, images (pictures) of nature, images-things and images-details are distinguished.

Finally, in the aspect of construction (rules of allegory, transfer of meanings), artistic images-symbols and tropes are distinguished.

Similar information.

Artistic image

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

So, "an artistic image is a concrete and at the same time a generalized picture of human life, created with the help of fiction and having aesthetic value" (L. I. Timofeev).

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

An artistic image becomes artistic not because it is written off from nature and looks like a real object or phenomenon, but because it transforms reality with the help of the author's imagination. The artistic image not only and not so much copies reality, but tends to convey the most important and essential. Thus, one of the heroes of Dostoevsky's novel "The Teenager" said that photographs very rarely can give a correct idea of ​​a person, because the human face does not always express the main character traits. Therefore, for example, Napoleon, photographed at a certain moment, might seem stupid. The artist, on the other hand, must find in the face the main thing, the characteristic. In Leo Tolstoy's novel "Anna Karenina", the amateur Vronsky and the artist Mikhailov painted a portrait of Anna. It seems that Vronsky knows Anna better, understands her more and more deeply. But Mikhailov's portrait was distinguished not only by similarity, but also by that special beauty that only Mikhailov could detect and that Vronsky did not notice. “You should have known and loved her, as I loved, in order to find this sweetest expression of her soul,” thought Vronsky, although he only recognized from this portrait “this is her sweetest spiritual expression.”

At different stages of human development, the artistic image takes on various forms.

This happens for two reasons:

the subject of the image changes - a person,

the forms of its reflection in art also change.

There are peculiarities in the reflection of the world (and hence in the creation of artistic images) by realist artists, sentimentalists, romantics, modernists, etc. As art develops, the ratio of reality and fiction, reality and ideal, general and individual, rational and emotional etc.

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

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

Artistic means of creating images

The speech characteristic of the hero :

- dialog- a conversation between two, sometimes more persons;

- monologue- the speech of one person;

- internal monologue- statements of one person, taking the form of inner speech.

Subtext - unspoken directly, but guessed by the attitude of the author to the depicted, implicit, hidden meaning.

Portrait - the image of the hero's appearance as a means of characterizing him.

Detail -expressive detail in the work, carrying a significant semantic and emotional load.

Symbol - an image expressing the meaning of a phenomenon in objective form .

Interior -indoor environment, human environment.