With the phenomenon called conflict (from the Latin conflictus - collision), i.e. an acute contradiction that finds its way out and resolution in action, struggle, we are in Everyday life We meet all the time. Political, industrial, family and other types of social conflicts of various scales and levels, which sometimes take away a huge amount of physical, moral and emotional strength from people, overwhelm our spiritual and practical world - whether we want it or not.
It often happens like this: we strive to avoid certain conflicts, remove them, “defuse” them, or at least soften their effect - but in vain! The emergence, development and resolution of conflicts depend not only on us: in every clash of opposites, at least two parties participate and fight, expressing different, and even mutually exclusive interests, pursuing goals that contradict each other, committing multidirectional and sometimes hostile actions. The conflict finds expression in the struggle between new and old, progressive and reactionary, social and antisocial; contradictions life principles and positions of people, social and individual consciousness, morality, etc.
A similar thing happens in literature. The development of the plot, the clash and interaction of characters taking place in constantly changing circumstances, the actions performed by the characters, i.e., in other words, the entire dynamics of the content of a literary work is based on artistic conflicts, which are ultimately a reflection and generalization of the social conflicts of reality. Without the artist's understanding of current, burning, socially significant conflicts, genuine word art does not exist.
Artistic conflict, or artistic collision (from the Latin collisio - collision), is the confrontation of multidirectional forces operating in a literary work - social, natural, political, moral, philosophical - which receives ideological and aesthetic embodiment in artistic structure works as opposition (opposition) of characters to circumstances, individual characters - or different aspects of one character - to each other, the very artistic ideas of the work (if they carry ideologically polar principles).
The artistic fabric of a literary work at all its levels is permeated with conflict: speech characteristics, the actions of the characters, the relationship of their characters, artistic time and space, the plot-compositional structure of the narrative contain conflicting pairs of images that are connected to each other and form a kind of “network” of attractions and repulsions - the structural backbone of the work.
In the epic novel “War and Peace,” the Kuragin family (together with Scherer, Drubetsky, etc.) is the embodiment of high society - a world organically alien to Bezukhov, Bolkonsky, and Rostov. Despite all the differences between the representatives of these three noble families beloved by the author, they are equally hostile to the pompous formality, court intrigue, hypocrisy, falsehood, self-interest, spiritual emptiness, etc., flourishing at the imperial court. That is why the relationships between Pierre and Helen, Natasha and Anatole, Prince Andrei and Ippolit Kuragin, etc. are so dramatic and fraught with insoluble conflicts.
In a different semantic plane, the hidden conflict unfolds in the novel between the wise people's commander Kutuzov and the vain Alexander I, who mistook the war for a parade of a special kind. However, it is not at all by chance that Kutuzov loves and singles out Andrei Bolkonsky among the officers subordinate to him, and Emperor Alexander does not hide his antipathy towards him. At the same time, it is no coincidence that Alexander (like Napoleon in his time) “notices” Helen Bezukhova, honoring her with a dance at a ball on the day of the invasion of Napoleonic troops into Russia. Thus, tracing the chains of connections, “links” between the characters of Tolstoy’s work, we observe how all of them - with varying degrees of obviousness - are grouped around two semantic “poles” of the epic, forming the main conflict of the work - the people, the engine of history, and the king, "slave of history." In the author's philosophical and journalistic digressions, this highest conflict of the work is formulated with purely Tolstoyan categoricalness and directness. It is obvious that in terms of the degree of ideological significance and universality, in terms of its place in the artistic and aesthetic whole of the epic novel, this conflict is comparable only to the military conflict depicted in the work, which was the core of all events Patriotic War 1812. All the rest, private conflicts that reveal the plot and plot of the novel (Pierre - Dolokhov, Prince Andrei - Natasha, Kutuzov - Napoleon, Russian speech - French, etc.), are subordinated to the main conflict of the work and constitute a certain hierarchy artistic conflicts.
Each literary work develops its own special multi-level system of artistic conflicts, which ultimately expresses the author’s ideological and aesthetic concept. In this sense, the artistic interpretation of social conflicts is more capacious and meaningful than their scientific or journalistic reflection.
IN " The captain's daughter Pushkin’s conflict between Grinev and Shvabrin over their love for Masha Mironova, which forms the visible basis of the romantic plot itself, fades into the background before the socio-historical conflict - Pugachev’s uprising. The main problem of Pushkin’s novel, in which both conflicts are refracted in a unique way, is the dilemma of two ideas about honor (the epigraph of the work is “Take care of honor from a young age”): on the one hand, the narrow framework of class-class honor (for example, the noble, officer oath of allegiance) ; with another - human values decency, kindness, humanism (fidelity to the word, trust in a person, gratitude for the kindness shown, the desire to help in trouble, etc.). Shvabrin is dishonest even from the point of view of the noble code; Grinev rushes between two concepts of honor, one of which is imputed to his duty, the other is dictated by natural feeling; Pugachev turns out to be above the feeling of class hatred towards a nobleman, which would seem completely natural, and meets the highest requirements of human honesty and nobility, surpassing in this respect the narrator himself, Pyotr Andreevich Grinev.
The writer is not obliged to present the reader in a ready-made form with the future historical resolution of the things he depicts. social conflicts. Often such a resolution of socio-historical conflicts reflected in a literary work is seen by the reader in a semantic context unexpected for the writer. If the reader acts as literary critic, he can determine both the conflict and the method of resolving it much more accurately and far-sightedly than the artist himself. Thus, N. A. Dobrolyubov, analyzing the drama of A. N. Ostrovsky “The Thunderstorm”, was able to consider the most acute social contradiction throughout Russia - the “dark kingdom”, where, among general humility, hypocrisy and voicelessness, “tyranny” reigns supreme, the ominous apotheosis of which is autocracy, and where even the slightest protest is a “ray of light”.
What makes a reader look at the first page of a work of fiction? Some people picked up the book because of the author's name, others were attracted by the catchy or provocative title of the story or novel. So what is next? What can make you read page after page, impatiently “swallowing” printed lines? Of course, the plot! And the more acutely twisted it is, the more painful the characters’ experiences, the more interesting it is for the reader to follow its development.
The main component of an ideally developing plot is conflict; in literature this is struggle, confrontation of interests and characters, different perceptions of situations. All this creates a relationship between literary images, behind him, as a guide, the plot develops.
Definition of conflict and how it is applied
It is worth considering in more detail the concept of conflict. The definition in literature of a certain specific form, a peculiar technique that reflects the confrontation of the characters of the main characters, different understanding them of the same situation, an explanation of the reasons for their feelings, thoughts, desires in similar or the same circumstances is a conflict. In simpler terms, this is a struggle between good and evil, love and hate, truth and lies.
We find a clash of antagonisms in every work of art, be it short story, epic saga, landmark novel or play for drama theater. Only the presence of a conflict can set the ideological direction of the plot, build a composition, and organize a qualitative relationship between opposing images.
The author’s ability to create a narrative in a timely manner, to endow opposing images with vivid characters, and the ability to defend one’s truth will certainly interest readers and force them to read the work to the end. From time to time it must be brought to the highest point of passion, creating insoluble situations, and then allowing the characters to successfully overcome them. They must take risks, get out, suffer emotionally and physically, causing in readers a whole heap of all kinds of emotions from tender affection to deep censure of their actions.
What should the conflict be?
True masters artistic word allow their characters to have and defend their point of view, to deeply captivate readers with different moral values. Only in this case will the army of fans of the work grow and be replenished with lovers of the artistic word of different ages, various social strata, all levels of education. If the author managed to capture the attention of readers from the first pages and hold it on one plot or ideological confrontation until the final point - praise and honor to his pen! But this happens infrequently, and if conflicts in works of literature do not grow, how snowball, do not involve new characters in their solution, with their own difficulties, neither a story, nor a novel, nor a play of even the most famous author will be able to develop the interest in themselves that was initially aroused.
The plot must dynamically twist up to a certain point, giving rise to the most incredible situations: misunderstanding, hidden and obvious threats, fear, losses - constant dynamics are necessary. What can create it? Just a sharp plot twist. Sometimes it can be caused by the unexpected discovery of a revealing letter, in other cases - by the theft of irrefutable evidence of someone's truth. In one chapter, the hero may witness some crime or a piquant situation, in another - he himself may become the culprit of something ambiguous. In the third, he may have suspicious patrons, about whom he knows nothing, but feels their presence. Then it may turn out that these are not patrons at all, but hidden enemies from those close to him, who are constantly nearby. Let them sometimes seem banal and far-fetched in literature, but they should keep the reader in constant suspense.
The influence of conflict on the severity of the plot
The individual sufferings and ordeals of the main character of a work of art can arouse interest and sympathy only for the time being, if other people are not involved in the conflict. minor characters narratives. The confrontation must be deepened and expanded in order to give the plot newness, brightness and poignancy.
Sluggish reasoning, even about high feelings and holy innocence, can make the reader want to irritably turn boring pages. Because, of course, it’s wonderful, but if it’s understandable to everyone and doesn’t give rise to a bunch of questions, then it won’t be able to captivate someone’s imagination, and when we pick up a book, we need vivid emotions. Conflict in literature is a provocation.
It can be given not so much by a pile of incomprehensible situations as by the clear and precise goal of the characters, which each of them carries through the entire work, without betraying it, even when the writer throws his characters into the thick of passions. Each of the warring parties must contribute to the development of the plot: some enrage the reader with their wild, logic-defying antics, others calm him down with prudence and originality of actions. But everyone together must solve one task - to create poignancy in the narrative.
as a reflection of conflict situations
What else, besides a book, can take us out of everyday life and saturate it with impressions? Romantic relationships, which are sometimes so lacking. Traveling to exotic countries, which not everyone can afford in reality. Revelations of criminals hiding under the guise of law-abiding and respectable citizens. The reader looks in the book for what worries him, worries him and interests him most at a certain period of time, but in real life Nothing like this happens to him or his friends. The theme of conflict in literature fills this need. We will find out how it all happens, what it feels like. Any problem, any life situation You can find it in books and transfer the whole gamut of experiences to yourself.
Types and types of conflicts
Several characteristic conflicts are clearly expressed in literature: love, ideological, philosophical, social and everyday, symbolic, psychological, religious, military. Of course, this is far from full list, we took for consideration only the main categories, and each of them has its own list of iconic works that reflect one or more of the listed types of conflict. Thus, Shakespeare’s poem “Romeo and Juliet,” without going into demagoguery, can be classified as a love story. The relationships between people, which are based on love, are shown vividly, tragically, hopelessly. This work reflects the nature of drama like no other in best traditions classics. The plot of “Dubrovsky” slightly repeats the main theme of “Romeo and Juliet” and can also serve as a typical example, but we still remember Pushkin’s wonderful story after we name Shakespeare’s most famous drama.
It is necessary to mention other types of conflicts in the literature. Speaking about the psychological, we recall Byron's Don Juan. The image of the main character is so contradictory and so vividly expresses the internal confrontation of the individual that it would be difficult to imagine a more typical representative of the mentioned conflict.
Several at once storylines novel in verse “Eugene Onegin”, masterfully created characters are typical for love, social, and ideological conflicts. The clash of various ideas, claiming the primacy of one over the other and vice versa, runs through almost every literary creation, completely captivating the reader both in its own storyline and in the conflict one.
The coexistence of multiple conflicts in fiction
In order to more substantively consider how conflicts are used in works of literature, types are intertwined, it is more reasonable to take as an example works of large form: “War and Peace” by L. Tolstoy, “The Idiot”, “The Brothers Karamazov”, “Demons” by F. Dostoevsky, “Taras” Bulba" by N. Gogol, the drama "A Doll's House" by G. Ibsen. Each reader can create his own list of stories, novels, plays, in which it is easy to trace the coexistence of several confrontations. Quite often one encounters, along with others, a conflict of generations in Russian literature.
Thus, in “The Possessed” an attentive researcher will find symbolic, love, philosophical, social, everyday and even psychological conflict. In literature, this is practically all that the plot rests on. "War and Peace" is also rich in the confrontation of images and the ambiguity of events. The conflict here is inherent even in the very title of the novel. Analyzing the characters of its heroes, in each one can find a Don Juanian psychological conflict. Pierre Bezukhov despises Helen, but he is captivated by her brilliance. Natasha Rostova is happy love for Andrei Bolkonsky, but is led by a sinful attraction to Anatoly Kuragin. The social and everyday conflict is discerned in Sonya’s love for Nikolai Rostov and the involvement of the entire family in this love. And so in every chapter, in every one. a short excerpt. And all this together is an immortal, great work, which has no equal.
Vivid pictures of the confrontation between generations in the novel “Fathers and Sons”
I. Turgenev’s novel “Fathers and Sons” deserves no less admiration, like “War and Peace”. It is generally accepted that this work is a reflection of the ideological conflict, the confrontation of generations. Undoubtedly, the superiority of one’s own ideas over those of others, which are defended with equal respect by all the heroes of the story, serves as confirmation of this statement. Even the existing love conflict between Bazarov and Odintsova pales against the background of the irreconcilable struggle of the same Bazarov and Pavel Petrovich. The reader suffers along with them, understanding and justifying one, condemning and despising the other for his beliefs. But each of these heroes has both judges and adherents among fans of the work. The conflict of generations in Russian literature is nowhere more clearly expressed.
The war of ideas of representatives of two different classes is described less vividly, but this makes it even more tragic - Bazarov’s opinion in relation to his own parent. Isn't this a conflict? But which one - ideological or more social? In one case or another, it is dramatic, painful, even scary.
The image of the main nihilist created by Turgenev will always be the most controversial of all existing works of art literary character, and the novel was written in 1862 - more than a century and a half ago. Isn't this proof of the novel's genius?
Reflection of social and everyday conflict in literature
We have already mentioned this type of conflict in a few words, but it deserves a more detailed consideration. In Pushkin’s “Eugene Onegin” he is revealed so in simple words, appears so clearly before us from the first lines of the work that nothing else dominates it, not even painful love Tatiana and the untimely death of Lensky.
“Whenever I wanted to limit my life to my home circle... What could happen in the world worse than family...,” says Evgeniy, and you believe him, you understand him, even if the reader has different views on the subject! Such dissimilar personal values of Onegin and Lensky, their dreams, aspirations, lifestyles - radically opposite - reflect nothing more than a social and everyday conflict in literature. two bright worlds: poetry and prose, ice and fire. These two polar opposites could not coexist together: the apotheosis of the conflict was the death of Lensky in a duel.
Philosophical and symbolic types of conflicts and their place in fiction
As for the philosophical conflict, from the very first minutes you cannot remember more ideal examples for its study than the works of Fyodor Dostoevsky. “The Brothers Karamazov”, “The Idiot”, “Teenager” and further on the list of the immortal heritage of Fedorov Mikhailovich - everything is woven from the finest philosophical threads of reasoning of almost all the characters in his works without exception. Works of Dostoevsky - vivid examples conflicts in literature! Consider the depraved (but quite commonplace for the heroes) theme of adultery, which runs through the entire novel “Demons,” and is especially pronounced in the forbidden for a long time Chapter "At Fyodor's". The words by which these predilections are justified and explained are nothing more than the internal philosophical conflict of the characters.
A striking example of symbolism is the work of M. Maeterlinck “The Blue Bird”. In it, reality dissolves into imagination and vice versa. The symbolic reincarnation of faith, hope, and one’s own conviction into a mythical bird is an exemplary plot for this type of conflict.
Also symbolic are Cervantes, Shakespeare, and the nine circles of hell in Dante. Modern authors Symbolism is used little as a conflict, but epic works are full of it.
Types of conflicts in Gogol's works
Works greatest writer Russia and Ukraine are full of clearly defined symbolism with its devils, mermaids, brownies - the dark sides of human souls. The story “Taras Bulba” is noticeably different from most of Nikolai Vasilyevich’s works in the complete absence of otherworldly images - everything is real, historically justified and in terms of the intensity of conflicts it is in no way inferior to that part fiction, which exists in every literary work to one degree or another.
Typical types of conflicts in literature: love, social, psychological, generational conflict can be easily traced in Taras Bulba. In Russian literature, the image of Andriy is so verified as an example on which they are tied that there is no need to once again go into explanations in which scenes they can be traced. It is enough to re-read the book and pay attention to some points Special attention. Conflicts in works of Russian literature are used for this purpose.
And a little more about conflicts
There are many types of conflict: comic, lyrical, satirical, dramatic, humorous. These are the so-called pathetic types; they are used to enhance the genre style of the work.
Such types of conflicts in literature as plot ones - religious, family, international - run through the works of a theme corresponding to the conflict and are superimposed on the entire narrative as a whole. In addition, the presence of one or another confrontation can reflect the sensual side of a story or novel: hatred, tenderness, love. In order to emphasize some facet of the relationship between the characters, the conflict between them is aggravated. The definition of this concept in the literature has long had a clear form. Confrontation, confrontation, struggle is used when it is necessary to more clearly express not only the character of the characters and the main storyline, but also the whole system of ideas reflected in the work. The conflict is applicable in any prose: children's, detective, women's, biographical, documentary. It is impossible to list all the types and types of conflicts; they are like epithets - numerous. But without them, not a single creation is created. Plot and conflict are inseparable in literature.
PRACTICAL WORK
In the discipline “MDK.01.02 Psychology
Social and legal activities"
Completed by a student
Murzagildina A.
Checked by the teacher
Nizamova R.R.
Practical part.
Select 3 examples from fiction on the topic “Mechanisms” psychological protection" Justify your answer.
Example 1.
- Have your legs become so dry that you can’t stand? You see, I'm preoccupied - just wait! Have you stayed there yet? Find the letter that I received from the headman yesterday. Where are you taking him?
- Which letter? “I haven’t seen any letter,” said Zakhar.
- You received it from the postman: it’s so dirty!
- Where did they put it - why should I know? - Zakhar said, patting his hand on the papers and various things lying on the table.
- You never know anything. There, in the basket, look! Or did it fall behind the sofa? The back of the sofa has not yet been repaired; Why should you call a carpenter to fix it? After all, you broke it. You won't think about anything!
“I didn’t break it,” Zakhar answered, “she broke herself; It won’t last forever: it will have to break someday. Ilya Ilyich did not consider it necessary to prove the contrary.[…]
Zakhar went to his room, but as soon as he put his hands on the couch to jump on it, a hasty cry was heard again: “Zakhar, Zakhar!”
- Oh, my God! - Zakhar grumbled, going back to the office. - What kind of torment is this? If only death would come sooner!
- What do you want? - he said, holding the door of the office with one hand and looking at Oblomov, as a sign of disfavour, from such an angle that he had to see the master with half an eye, and the master could only see one immense sideburn, from which you would expect two to fly out - three birds.
- Handkerchief, hurry! You could have guessed it yourself: you don’t see! - Ilya Ilyich remarked sternly.
Zakhar did not detect any particular displeasure or surprise at this order and reproach from the master, probably finding both of them very natural on his part.
Goncharov I.A. "Oblomov"
Justification for the answer.
IN this work main character Oblomov defends himself by offending others. He was offended and accused. And he always takes out the anger accumulated over the years on his servants, especially on Zakhara. The passage shows only a small glimpse of his behavior. He became depressed, lying to himself, pushing others out of his community. Introjection of the main character occurs through aggression and anger towards others. Compensation is a type of psychological defense in a work, because The lack of majesty in Oblomov’s society is compensated by Zakhar.
Example 2.
Shukhov quickly hid from Tatarin around the corner of the barracks: the second time you get caught, he’ll sneak in again. And you should never yawn. You must try so that no warden sees you alone, but only in a crowd. Maybe he’s looking for someone to send to work, maybe there’s no one to take out the evil on. We read the order for the barracks: take off your hat five steps before the warden and put it on two steps later. Some overseers wander like a blind man, he doesn’t care, but for others it’s sweetness. How much did they drag into the condo for that hat, damn dogs. No, we'll stop around the corner.
A. Solzhenitsyn “One Day in the Life of Ivan Denisovich”
In this case, psychological defense is carried out through projection and regression. The work tells the story of one day in prison. Thanks to regression, the heroes of the work descend to a lower level of adaptation, which guarantees themselves a “quiet” life and work. Projection manifests itself when heroes are left alone with their thoughts or when they follow their boss. They imagine themselves in their place, know their actions. That is, with the help of two types of psychological defense, they make their time in prison easier, enter into a certain regime with the help of which they will survive and wait until the end of their sentence.
Example 3.
She got used to this idea, like a bull gets used to a yoke, and a horse gets used to the voice of its owner. Some were given a mere pinch of life, like her daughters; for some a handful; to some - immeasurable generosity, whole sacks and barns, like mothers-in-law. But death awaited everyone - it lurked within him or walked very close, caressed his feet like a cat, lay like dust on his clothes, and penetrated his lungs with air. Death was omnipresent - more cunning, smarter and more powerful than stupid life, which always lost in a match.
G. Yakhina “Zuleikha opens her eyes”
In this excerpt of the work, the type of psychological defense is introjection, because According to the work, Zuleikha leaves her home, village, husband, mother-in-law. She will be forced to forget the traditions of her village, her people, and will no longer be able to visit the graves of her four daughters. She thinks and her thoughts lead to depression. Zuleikha is very vulnerable, she did not have time to mature as a person (she was married off early), she understood all the shortcomings of family life, lived hating her mother-in-law and loving her husband. All family life lived observing the shortcomings of her mother-in-law. She considered herself offended by life a woman.
Select examples from fiction on the topic “Conflict”. Determine its type and method of behavior in conflict situation. Justify your answer.
Knurov. So are you marrying off Larisa Dmitrievna?
Ogudalova. Yes, get married, Mokiy Parmenych.
Knurov. Found a groom who takes money without money?
Ogudalova. Without money, Mokiy Parmenych, where can we get money?
Knurov. Well, he has a lot of money, is he your fiancé?
Ogudalova. What means! The most limited.
Knurov.Yes... Do you think you did well to give Larisa Dmitrievna for a poor man?
Ogudalova. I don’t know, Mokiy Parmenych. I had nothing to do with it, it was her will.
Knurov.Well, what do you think this young man is doing well?
Ogudalova.Well, I think that's commendable of him.
Knurov. There is nothing commendable here; on the contrary, it is not commendable. Perhaps, from his point of view, he is not stupid. What is he, who knew him, who paid attention to him! And now the whole city will talk about him, he fits into the best society, he allows himself to invite me to dinner, for example... But here’s what’s stupid: he didn’t think or didn’t want to think about how and how he should live with such a wife. This is what you and I should talk about.
Ogudalova.Do me a favor, Moky Parmenych!
Knurov.What do you think about your daughter, what is she like?
Ogudalova.Yes, I don’t know what to say; I have only one thing left: to listen to you.
Knurov. After all, in Larisa Dmitrievna there is no earthly, this everyday thing. Well, you know, the trivial things that are needed for a poor family life.
Ogudalova. There is nothing, nothing.
Knurov. After all, this is ether.
Ogudalova.Ether, Mokiy Parmenych.
Knurov. She is made to shine.
Ogudalova.For shine, Mokiy Parmenych,
Knurov. Well, can your Karandyshev give her this shine?
Ogudalova. No, where is it!
Knurov.She will not endure the poor, half-philistine life. What remains for her? Waste away, and then, as usual, consumption.
Ogudalova. Oh, what are you, what are you! God forbid!
A.N. Ostrovsky “Dowry”
The main conflict of the play “Dowryless” is determined by its very title. The tragedy of Larisa Dmitrievna Ogudalova is precisely that she is homeless. Beauty, intelligence, charm, human dignity mean nothing in this world if you don't have money. Reading the list characters, we draw attention to the exceptional importance Ostrovsky attaches to property and social status heroes. In the play we find social conflict. The question of Larisa’s lack of money is acutely raised, but she romantic nature, believes in love and everything material is alien to her. Only Paratov and Karandyshev (participants love triangle) pursue a material goal. Larisa avoids resolving the conflict and sees no way out. Offended and rejected, Karandyshev, being in an emotional state, shoots Larisa. He was forced to commit a crime, to resolve the conflict, forced by his own pride and greed.
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Page creation date: 2017-07-13
And translation studies, 5th year
Orekhovo-Zuevo
Scientific supervisor: Art. teacher
CONFLICT IN LITERARY TEXT
Literary text is the author's individual presentation a certain number of situations and events that add up to the plot. The difference between an event and a situation is that the former is a dynamic element of the plot, while the latter is a more static element of the plot. The plot of a literary work is the arrangement and alternation of events and situations, and the purpose of such arrangement and alternation is related to the need to create, express, and emphasize the semantic core of the text. In this case, the plot cannot be understood only as a certain sequence, a certain body of events and situations: they actually become the plot thanks to the conflict (from the Latin konflictus - collision). Only conflict communicates the dynamic beginning of a sequence of private events and situations and creates the content of a literary text.
Conflict is a confrontation, a contradiction either between characters, or between character and circumstances, or within character - a contradiction that underlies action. Thus, conflict is the driving force of the novel. He acts as the motivating reason for all the hero’s actions.
In a generalized, broad sense, conflict is always present in a work, although it manifests itself differently, depending on the type, type, genre of the work, and the ideological and artistic attitudes of the writer. Conflict, as many people think, is not inherent in such a poetic genre as the idyll at all. But here the absence of conflict is emphasized, artistically significant and is the dominant genre. This is a negative technique: something without which the work cannot exist is missing. It's like a man without a shadow. If there is no conflict, then it is replaced by a situation. It presupposes “peaceful coexistence,” “symbiosis” of people who do not display divergent interests and aspirations.
Conflict in its classical, Hegelian interpretation is interpreted as “the opposite contained in a situation”, as “a violation that cannot be maintained as a violation, but must be eliminated” in the process of action, in the “actions and reactions” of opposing forces. As a rule, in a work it requires its full permission. Therefore, it is long lasting. In other texts it is eliminated only on the last pages. But this is probably how it should be: otherwise, the end of the book will be uninteresting to read.
The conflict must be outlined very clearly. It cannot be fully described. Otherwise, such huge defects will creep into the text as the unclear motives of the hero, the unclear stakes for which the game was played, the insignificance of the initial assessments of the game itself, and so on.
Does the work have a single, equal conflict at the input and output? It all depends on the scale of the work, on its genre and stylistic characteristics. If we are dealing with a small epic form, a story or novel, its action, as a rule, develops on the basis of a single and constant conflict. In epic and dramatic works of large format (epic, novel, play), in which several plot lines run in parallel, and even over a very significant time period, the number of conflicts increases accordingly, each of which can change from the beginning to the end of the action. In this case, we must distinguish the main conflict and the secondary ones subordinate to it.
So, as it became clear, conflict is a universal lever in the development of a literary text. But still, the main purpose of the conflict is to structure the plot, isolate its elements, that is, ultimately, in one way or another, regulate the event plan of action.
In literary studies, a tradition has developed by conflict to necessarily mean a collision, struggle, dispute, the expression of opposing assessments and the manifestation of polar inclinations, the confrontation of warring forces, both in external space and in space inner world heroes. The character itself and the role played by the conflict in a literary text are the best evidence that the reality reflected in this text is dualistic, and its dualism is oppositional. This opposition is the main structural principle of the structure and existence of reality: spiritual and material, darkness and light, good and evil, earth and sky, friends and enemies.
However, the modern vision of conflict in a literary text allows us to assert that conflict is not necessarily only a clash, but also the nature of the relationship, a state.
The conflict in each specific work is a reflection author's position. From this point of view, it can be valent if the author’s value-interested participation is present in it and his biases are clearly marked, and ambivalent if the author depicts the conflict from a position of maximum detached objectivity.
The tension of conflict in a character leads to its “dissociation”, to its decomposition into antagonistic forces, personified in derivative characters. Duality is not a psychological or social anomaly, but a conscious one that has a deep literary tradition and an extremely fruitful method of exposing the knot of contradictions in the individual and the world. In a broad sense, doubles are numerous characters in a work in which one of the facets of the author’s consciousness is realized and who embody certain aspects of conflict tension. In a narrow and specific sense, a double is a “materialized copy” of the hero, thanks to which conflicts are transferred from a time series into a simultaneously comparable spatial series.
The conflict presupposes the presence of two opposition components. Their role can be played by various structural elements artistic text.
Firstly, they can be two characters: a positive one (usually the main character) and his opponent and even his antipode (most often negative), when the main content of the conflict is associated with different worldviews, life positions and goals, different sense of self in time and space.
Secondly, the components of the conflict can be character and nature, when the hero enters into a struggle with natural, physical forces, most often exceeding its capabilities.
Thirdly, the role of such components can be played by two social ideological structures taken at the moment of their collision, the goal of which is victory, the supremacy of one structure over the other.
Fourthly, the role of opposing forces of conflict can be played by natural phenomena (most often animals), the collision between which occurs without the direct participation of humans. The conflict of such a structure can be conditionally called animalistic.
Fifthly, the opposing forces of the conflict can be presented as a character and society, when the conflict is built on the desire of an individual hero to realize his capabilities in the picture of the world proposed by the author and the difficulties, and most often the impossibility of such realization in a given time and space.
Sixthly, such components of a literary text can be character and fate, when the conflict is based on a person’s opposition to the laws of fate or a deity.
Seventhly, the qualities of the hero’s inner world that conflict with each other can act as oppositional forces when the source of the conflict is the problem of choosing between duty and desire, conscience and needs, opportunity and necessity, etc.
Eighth, the components of the conflict can be the creator and creativity, when the literary text becomes an image of what processes are taking place, what difficulties arise in the mind of the hero who is busy creative process, what sorrows and joys the results of this process bring to the creator.
Ninth, the source of conflict in a literary text can be the contradiction between the spiritual and physical principles.
The tenth type of conflict in a literary text is based on a contradiction that is implicit for the characters between the external manifestation of events and their essence. It has a certain global character, as it is associated with the limited knowledge, experience, ideas of a person and even all of humanity, which are unable to correctly understand the essence of what is happening, to see the inner, deep essence in the external. A misunderstood essence as the internal content of ongoing processes can lead, on the one hand, to incorrect, erroneous decisions, and on the other, to fear of the outside world, an apathetic or painful perception of it.
The first six types of conflict are usually defined as external, and the seventh, eighth and ninth are understood as internal. The tenth can be defined as synthetic, in which both external and internal components are combined and mated. In a literary text, conflicts of different types (internal, external, synthetic) can intersect, stem from one another, and be in a cause-and-effect relationship. The reason, the incentive internal conflict there may be an external conflict and vice versa, but in any case, the entry of certain forces into conflict relations in a literary text is determined, conditioned by the presence of reasons and goals. And the main determining principle is that the conflict of a literary text is the result of understanding the world as an oppositional structure. At the same time literary text It is the conflict that provides the main center of gravity, and therefore forms the author’s semantic core. Therefore, conflict can be defined both as the main element of content and as the main means of embodying this content in a literary text.
On the nature of the conflict, which is the source and main reason the unfolding of the plot depends on the increase or decrease in the tension of the narrative, the presence or absence of elements that inhibit its development (for example, descriptions, portraits or reasoning of the hero, author, narrator).
On the issue of conflict and its role in the creation, development, and nature of the plot, one paradoxical feature can be noted. Despite the uniqueness of the plot of a work of art, this plot is built on the basis of conflict patterns that have been known in fiction for many centuries; they are historically repeated, constantly reproduced, each time receiving a new author's embodiment.
Due to the fact that the plot of a work of art is built on well-known conflict patterns, the effect of conflict expectation can be observed in the relationship between the reader and the literary text. It arises, first of all, in connection with the title of the work and is based on the reader’s omniscience, on a certain foreknowledge of how and on what the plot will be built.
Conflict expectation is the reader's anticipation of upcoming events, which can either be destroyed as one reads, or confirmed. It is one of the foundations on which entertainment is built, of course, not only epic work. And it extends not only to detective and adventure literature. Another thing is that for the latter, the conflict expectation is fundamentally important: There is little interest in reading a detective story when from the first pages it is clear how its conflict will end.
Conflict expectation can be stimulated by the intertextuality stated in the title, when the reader’s knowledge is based on the fact that he already knows the literary or historical-cultural phenomena that have become part of the title of the literary text.
Conflict expectation imparts a special interest to a literary text: the reader finds himself involved in the new behavior of a well-known old hero or a new development of a well-known literary or historical conflict situation. However, the entertaining nature of an epic work cannot be understood only concretely materially, when the writer, and after him the reader, are passionate about obtaining only some final knowledge about the resolution of the conflict. Interest, based on foreknowledge, anticipation, stems from the fact that it becomes interesting and fundamentally important how, from what side, foreknowledge is confirmed or refuted, how the old conflict scheme is constructed and resolved in a technically new, original stylistic way.
Conflict expectation not only in epic, but also in drama, and especially in lyric poetry, creates in the reader a feeling of harmony, a certain idea that the world of a work of art is not closed, not separated from it. What is happening in this world can be predicted, you can find in it spiritual sympathy for the characters, and find your peace of mind. And this same conflict expectation contributes to the formation in the reader’s mind of an idea about the reliability of what is being told.
Based on the idea of opposition, contradiction between its constituent elements, conflict determines the nature of the relationship between the characters and images of a work of art, as well as the stages of plot development, thus being the semantic core of any text.
Between the active forces depicted in the work: characters, character and circumstances, various aspects of character. It is directly revealed in the plot, as well as in the composition. Usually forms the core of the topic and problem, and the nature of its resolution is one of the determining factors artistic idea. Being the basis (and “energy”) of the developing action, the artistic conflict in its course is transformed in the direction of climax and denouement and, as a rule, finds its plot resolution in them.
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See what “ARTISTIC CONFLICT” is in other dictionaries:
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