FORM OF ARTWORK. WORLD OF ARTWORK.

World literary work(or objective world, object representation) – side artistic form, which we can mentally distinguish from the verbal structure.

The world of a literary work is the one recreated in the work through speech and with the participation of fiction. objectivity . The world of the work constitutes both “material” and “personal” reality, i.e. includes not only material reality, but also human consciousness.

The world of the work is a system that is somehow correlated with the real world: it includes people, with their external and internal ( psychological characteristics), events, nature (living and nonliving), things, it has time and space. Subjective visualization is characteristic of all types of literature, but it is most developed and most autonomous (and therefore most easily distinguished) in epic and drama, where there is a system of characters and a plot.

The world of the work is artistically mastered And transformed reality.

THE INNER WORLD OF A WORK OF ART

D.S. Likhachev. Inner world work of art// Questions of literature, No. 8, 1968. – pp. 74-87

“The inner world of a work of verbal art (literary or folklore) has a certain artistic integrity. The individual elements of reflected reality are connected to each other in this inner world in a certain system, artistic unity.

Every work of art (if it is only artistic!) reflects the world of reality in your creative ways. And these angles are subject to comprehensive study in connection with the specifics of the work of art and, above all, in their artistic whole. When studying the reflection of reality in a work of art, we should not limit ourselves to the question: “true or false” - and admire only fidelity, accuracy, correctness. The inner world of a work of art also has its own interconnected patterns, its own dimensions and its own meaning, like a system.

Of course, and this is very important, the inner world of a work of art does not exist on its own and not for itself. It is not autonomous. It depends on reality, “reflects” the world of reality, but the transformation of this world that a work of art allows is holistic and purposeful. Transformation of reality associated with the idea of ​​the work, with the tasks that the artist sets for himself. The world of a work of art is the result of both a correct reflection and an active transformation of reality. In his work, the writer creates a certain space in which the action takes place. This space can be large, cover a number of strange travel stories, or even go beyond terrestrial planet(in fantasy and romantic novels), but it can also be narrowed to the tight confines of one room. The space created by the author in his work may have peculiar “geographical” properties, be real (as in a chronicle or historical novel) or imaginary, as in a fairy tale. The writer in his work also creates the time in which the action of the work takes place. The work may cover centuries or just hours. Time in a work can move quickly or slowly, intermittently or continuously, be intensely filled with events or flow lazily and remain “empty,” rarely “populated” with events.

Works may also have their own psychological world, not the psychology of individual characters, but general laws of psychology that subordinate all characters, creating a “psychological environment” in which the plot unfolds. These laws may be different from the laws of psychology that actually exist, and it is useless to look for exact correspondences in psychology textbooks or psychiatry textbooks. Thus, fairy tale heroes have their own psychology: people and animals, as well as fantastic creatures. They are characterized by a special type of reaction to external events, special argumentation and special responses to the arguments of antagonists. One psychology is characteristic of the heroes of Goncharov, another - of the characters of Proust, another - of Kafka, and a very special one - of the characters of the chronicle or the lives of saints. Psychology of historical characters Karamzin or romantic heroes Lermontova is also special. All these psychological worlds must be studied as a whole.

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The world of literary work

§ 1. Meaning of the term

The world of a literary work is the objectivity recreated in it through speech and with the participation of fiction. It includes not only material data, but also the psyche, consciousness of a person, and most importantly - himself as a mental-physical unity. The world of the work constitutes both “material” and “personal” reality. (By thing, 20th century philosophy understands passive and silent being, while the personal principle is understood as an active and speaking being.) In literary works, these two principles are unequal: in the center is not “dead nature”, but living, human, personal reality (even if only potentially).

The world of a work constitutes an integral facet of its form (of course, its content). It is located, as it were, between the actual content (meaning) and the verbal fabric (text). Note that the word “world” is used in literary criticism and in a different, broader meaning - “as a synonym for the creativity of the writer, the originality of a particular genre: the world of Pushkin, Lermontov, chivalric romance, science fiction, etc.” .

The concept of “the artistic world of a work” (sometimes called “poetic” or “internal”) is rooted in literary criticism different countries. In our case it was justified by D.S. Likhachev. The most important properties the world of the work - its non-identity with primary reality, the participation of fiction in its creation, the use by writers of not only life-like, but also conventional forms of representation (see pp. 94–96). In a literary work, special, strictly artistic laws reign. “Let us deal with a completely unreal world,” wrote W. Eco, commenting on his novel “The Name of the Rose,” “in which donkeys fly and princesses come to life with a kiss. But with all the arbitrariness and unreality of this world, the laws established at its very beginning must be observed.<…>The writer is a prisoner of his own premises."

The world of a work is an artistically mastered and transformed reality. He is multifaceted. Most large units verbal and artistic world - the characters that make up the system, and the events that make up the plots. The world includes, further, what can rightfully be called components representation (artistic objectivity): acts of behavior of characters, features of their appearance (portraits), mental phenomena, as well as facts of life surrounding people (things presented within interiors; pictures of nature - landscapes). At the same time, artistically captured objectivity appears both as a non-verbal existence designated by words, and as speech activity, in the form of statements, monologues and dialogues belonging to someone (see pp. 196–201). Finally, a small and indivisible element of artistic objectivity is the individual details(details) of what is depicted, sometimes clearly and actively highlighted by writers and acquiring relatively independent significance. So, B.L. Pasternak noticed that in the poems of A.A. Akhmatova fascinates him with the “eloquence of details.” He gave details in poetry a certain philosophical meaning. The last lines of the poem “Let’s drop words...”(“<…>life, like the silence / Autumn, is detailed”) are preceded by a judgment about the “god of details” as the “omnipotent god of love.”

From era to era, the objective world of works is being mastered more and more widely and persistently in its smallest details. Writers and poets seem to come close to what they depict.

When come here to this proud coffin

Come curls bend and cry

Regarding these lines from Pushkin’s “The Stone Guest” by Yu.K. Olesha noted: “Tilting the curls” is the result of a keen eye for things, which was unusual for the poets of those times. This is too “close-up” for the poetic thinking of that time<…>In any case, this is the poet’s step into a different, later poetics.”

The detailing of what is depicted reached a kind of maximum in the literature of the second half of the 19th century - both in the West and in Russia. The statement of L.N. is significant. Tolstoy that the impact on the reader “is achieved only then and to the extent that the artist finds the infinitesimal moments from which a work of art is composed.”

Let us turn to the various layers (facets) of the world of a literary work.

§ 2. Character and his value orientation

In literary works, images of people, and in some cases their likenesses: humanized animals, plants (“Attalea princeps” by V.M. Garshin) and things (a fairy-tale hut on chicken legs) are invariably present and, as a rule, fall into the spotlight of readers’ attention. . There are different forms of human presence in literary works. This is a narrator-storyteller, a lyrical hero and character, capable of revealing a person with the utmost fullness and breadth. This term is taken from the French language and is of Latin origin. The ancient Romans used the word “persona” to designate the mask worn by an actor, and later the person depicted in a work of art. The phrases “literary hero” and “character” are now used as synonyms for this term. However, these expressions also carry additional meanings: the word “hero” emphasizes the positive role, brightness, unusualness, and exclusivity of the person portrayed, and the phrase “character” - the fact that the character manifests himself primarily in the commission of actions.

A character is either the fruit of the writer’s pure invention (Gulliver and the Lilliputians by J. Swift; Major Kovalev, who lost his nose, by N.V. Gogol)” or the result of conjecture on the appearance of a real person (whether historical figures or people biographically close to the writer, or even himself); or, finally, the result of processing and completing already known literary heroes, such as, say, Don Juan or Faust. Along with literary heroes as human individuals, sometimes group, collective characters turn out to be very significant (the crowd in the square in several scenes of “Boris Godunov” by A. S. Pushkin, testifying to and expressing the people’s opinion).

The character seems to have a dual nature. Firstly, he is the subject of the depicted action, the stimulus for the unfolding of events that make up the plot. It was from this side that V.Ya approached the character sphere. Propp in his world-famous work “The Morphology of the Fairy Tale” (1928). The scientist spoke about fairy-tale heroes as bearers of certain functions in the plot and emphasized that the persons depicted in fairy tales are significant primarily as factors in the movement of event series. A character as an actor is often referred to as actant (lat. active).

Secondly, and this is perhaps the main thing, the character has an independent significance in the composition of the work, independent of the plot (event series): he acts as a bearer of stable and stable (sometimes, however, undergoing changes) properties, traits, qualities (see. pp. 35–40 “Typical and characteristic”).

Characters are characterized by the actions they perform (almost primarily), as well as by forms of behavior and communication (for it is not only the What a person does, but also that How he behaves at the same time), features of appearance and close surroundings (in particular, things belonging to the hero), thoughts, feelings, intentions. And all these manifestations of man in a literary work (as in real life) have a certain resultant - a kind of center, which M.M. Bakhtin called core personality, A.A. Ukhtomsky - dominant, determined starting intuitions person. The phrase is widely used to denote the stable core of people’s consciousness and behavior value orientation. “There is not a single culture,” wrote E. Fromm, “that could do without a system value orientations or coordinates." These orientations exist, the scientist continued, “in every individual.”

Value orientations (they can also be called life positions) are very heterogeneous and multifaceted. The consciousness and behavior of people can be directed towards religious and moral, strictly moral, cognitive, and aesthetic values. They are also associated with the sphere of instincts, with bodily life and the satisfaction of physical needs, with the desire for fame, authority, and power.

The positions and orientations of both real and fictional persons by writers often take the form of ideas and life programs. These are the “ideological heroes” (M. M. Bakhtin’s term) in romantic and post-romantic literature. But value orientations are often non-rational, immediate, intuitive, determined by the very nature of people and the tradition in which they are rooted. Let us remember Lermontov’s Maxim Maksimych, who did not like “metaphysical debates,” or Tolstoy’s Natasha Rostova, who “did not deign to be smart.”

The heroes of literature from different countries and eras are infinitely diverse. At the same time, in the character sphere there is a clear repetition associated with the genre of the work and, more importantly, with the value orientations of the characters. There are a kind of literary "supertypes"- supra-epochal and international. There are few such supertypes. As noted by M.M. Bakhtin and (following him) E.M. Meletinsky, for many centuries and even millennia, man dominated artistic literature adventurous-heroic who firmly believes in his strength, in his initiative, in his ability to achieve his goal. He reveals his essence in active search and decisive struggle, in adventures and achievements, and lives with the idea of ​​​​his special mission, of his own exclusivity and invulnerability. We find succinct and apt formulas for the life positions of such heroes in a number of literary works. For example: “When you can help yourself, / Why cry out to heaven? / We have been given a choice. Those who dare are right;/ He who is weak in spirit will not achieve his goal./ “Unachievable!” - this is what only he says / Who hesitates, hesitates and waits” (W. Shakespeare. “The end is the crown of the matter.” Translation by M. Donskoy). “Under the hood, I thought about my brave plan, preparing a miracle for the world,” Pushkin’s Grigory Otrepiev tells about himself. And in the novel “The Brothers Karamazov” the devil expressed Ivan’s innermost thoughts: “Where I stand, there will immediately be first place.”

Characters belonging to the adventurous-heroic supertype strive for fame, long to be loved, have the will to “eliminate the fabulism of life,” that is, they tend to actively participate in changing situations in life, fight, achieve, and win. An adventurous heroic character is a kind of chosen one or an impostor, whose energy and strength are realized in the desire to achieve some external goals.

The scope of these goals is very wide: from ministry people, society, humanity to the point of selfishly self-willed and knowing no boundaries self-affirmation, associated with cunning tricks, deception, and sometimes with crimes and atrocities (remember Shakespeare's Macbeth and his wife).

The characters of the heroic epic gravitate towards the first “pole”. Such is the brave and prudent, generous and pious Aeneas in the world-famous poem of Virgil. Faithful to his duty to his native Troy and his historical mission, he, in the words of T. S. Elist, “from his first to his last breath” is a “man of destiny”: not an adventurer, not an intriguer, not a tramp, not a careerist - he fulfills what is destined for him fate, not by force or random decree, and certainly not out of a thirst for glory, but because he subordinated his will to some higher power<…>great goal" (meaning the founding of Rome). In a number of other epics, including the Iliad and the Odyssey, the heroic deeds of the characters are combined with their self-will and adventurism (a similar combination in Prometheus, which, however, for many centuries became a symbol of sacrificial service to people).

Much has been said about the essence of the heroic (see pp. 69–71). The concept of adventurism (adventurism) in relation to literature is much less understood. MM. Bakhtin associated the adventurous beginning with the solution of problems dictated by “eternal human nature - self-preservation, the thirst for victory and triumph, the thirst for possession, sensual love.” In addition to this, we note that adventurism may well be stimulated by a person’s self-sufficient play impulses (Kochkarev in N.V. Gogol’s “The Marriage”, Ostap Bender in I. Ilf and V. Petrov), as well as a thirst for power, as in Pushkin’s Grishka Otrepiev and Emelyan Pugacheva.

An adventurous-heroic supertype, embodying the striving for something new at all costs (i.e. a dynamic, fermenting, exciting principle human world), is represented by verbal and artistic works in various modifications, one not similar to the other.

Firstly, these are the gods of historically early myths and folk-epic heroes inheriting their features from Arjuna (the Indian “Mahabharata”), Achilles, Odysseus, Ilya of Murom to Till Eulenspiegel and Taras Bulba, invariably exalted and poeticized. In the same row are the central figures of medieval chivalric novels and their similarities in the literature of recent centuries, the characters of detective stories, science fiction, adventure works for youth, and sometimes “great” literature (remember Ruslan and the young Dubrovsky in Pushkin, the hero of the play by E. Rostand "Cyrano de Bergerac", Lancelot from "Dragon" by E. Schwartz).

Secondly, these are romantically minded rebels and spiritual wanderers in the literature of the 19th and 20th centuries. - be it Goethe’s Faust, Byron’s Cain, Lermontov’s Demon, Nietzsche’s Zarathustra, or (in another, down-to-earth variation) such ideological heroes as Onegin, Pechorin, Beltov, Raskolnikov, Orestes (“The Flies” by J.-P. Sartre). The named characters (Zarathustra is a significant exception) are, as it were, half-heroes, or even anti-heroes, such as, for example, the central person in Notes from Underground and F.M.’s Stavrogin. Dostoevsky. The appearance and destinies of the characters in this so-called “demonic” series reveal the futility of intellectual and other adventurism, devoid of connections with the morality and cultural tradition of a great historical time.

Thirdly, the heroic-adventurous principle is to some extent involved in romantically minded characters who are alien to any demonism, believe that their soul is beautiful, and are eager to realize their rich potential, considering themselves to be some kind of chosen ones and lights. This kind of orientation in the coverage of writers, as a rule, is internally crisis-ridden, full of sad drama, and leads to dead ends and disasters. According to Hegel, “the new knights are predominantly young men who have to fight their way through the worldly cycle that takes place instead of their ideals.” Such heroes, the German philosopher continues, “consider it a misfortune” that the facts of prosaic reality “cruelly oppose their ideals and the infinite law of the heart”: they believe that “it is necessary to make a hole in this order of things, to change, improve the world, or at least , in spite of him, to create a heavenly corner on earth." Characters of this kind (remember Goethe's Werther, Pushkin's Lensky, Goncharov's Aduev Jr., Chekhov's characters) are not heroes in the full sense of the word. Their lofty thoughts and noble impulses turn out to be illusory and futile; romantically inclined characters suffer defeats, suffer, die, or over time come to terms with the “base prose” of existence and become philistines, or even careerists. “Hero,” notes G.K. Kosikov, based on the writing experience of Stendhal, Balzac, Flaubert, becomes a bearer of ideal and degradation at the same time."

Thus, the hero of romantic and post-romantic literature (both in his “demonic” and “beautiful” varieties), while maintaining his involvement in the adventurous-heroic supertype (an aura of his own exclusivity, the will to large-scale acquisitions and accomplishments), at the same time appeared as a symptom and evidence of the cultural and historical crisis and even exhaustion of this supertype.

Among the characters belonging to this supertype, fourthly, we find adventurers themselves, even less heroic than those listed above. From the tricksters of early myths, threads stretch to the characters of medieval and Renaissance short stories, as well as adventure novels. The critical reinterpretation of adventurism in the literature of modern times is significant, most clearly in the works about Don Juan (starting with Tirso de Molina and Moliere). The images of those seeking a place in high society and careerists in the novels of O. de Balzac, Stendhal, and Guy de Maupassant have a consistently anti-adventurous orientation. Hermann in Pushkin’s “The Queen of Spades,” Gogol’s Chichikov, Dostoevsky’s Rakitin and Pyotr Verkhovensky, Tolstoy’s Boris Drubetskoy are in the same row. In other, also very different variations (and far from being apologetic), the type of adventurer is captured in such literary figures of our century as Felix Krul in T. Mann, the famous Ostap Bender of Ilf and Petrov, and the much less popular Komarovsky in Pasternak’s Doctor Zhivago.

A completely different, one might say, polar to the adventurous-heroic “supertype” is revealed in medieval hagiographies and those works (including eras close to us) that, to a greater or lesser extent, directly or indirectly, inherit the hagiographic tradition or are akin to it. This supertype can rightfully be called hagiographical-idyllic. The kinship between everyday holiness and idyllic values ​​(about them, see pp. 72–73) is clearly evidenced by the famous “The Tale of Peter and Fevronia of Murom,” where “the halo of holiness surrounds not the ascetic monastic life, but the ideal married life in the world and the wise sovereign government his principality."

Characters of this kind are not involved in any struggle for success. They reside in a reality free from the polarization of successes and failures, victories and defeats, and in times of trials they are able to show perseverance, avoiding temptations and dead ends of despair (which is confirmed by the words about one of Shakespeare’s heroes who suffered injustice: he has the gift of translating “into the meek, clear mood of fate, severity" - "As you like it"). Even being prone to mental reflection, characters of this kind (for example, Leskov’s Savely Tuberozov) continue to reside in a world of axioms and indisputable truths, rather than deep-seated doubts and insoluble problems. Spiritual fluctuations in their lives are either absent or turn out to be short-term and, most importantly, completely surmountable (remember: Alyosha Karamazov’s “strange and uncertain moment” after the death of Elder Zosima), although these people are prone to repentant moods. There are hard attitudes of consciousness and behavior: what is commonly called loyalty to moral principles. Such characters are rooted in a close reality with its joys and sorrows, communication skills and everyday activities. They are open to the world around them, capable of loving and being friendly to everyone else, ready for the role of “communication and communication workers” (M.M. Prishvin). They, using the terminology of A.A. Ukhtomsky, is characterized by “dominance to another person.”

In Russian literary classics of the 19th–20th centuries. The hagiographic-idyllic supertype is presented very vividly and widely. Here is Tatyana of the eighth chapter of “Eugene Onegin”, and the “group portrait” of the Grinevs and Mironovs in “ The captain's daughter”, and Prince Guidon (“The Tale of Tsar Saltan”), who did not need to go far away in search of happiness. In post-Pushkin literature, this is Maxim Maksimych M.Yu. Lermontov, characters family chronicles of S.T. Aksakova, old-world landowners N.V. Gogol, the characters of “Family Happiness”, Rostov and Levin by L.N. Tolstoy, Prince Myshkin and Makar Ivanovich, Tikhon and Zosima by F.M. Dostoevsky. One could also name many heroes of A.N. Ostrovsky, I.A. Goncharova, N.A. Nekrasova, I.S. Turgeneva, A.P. Chekhov. In the same row - Turbines at M.A. Bulgakov, the hero and heroine of the story “Fro” by A.P. Platonova, Matryona A.I. Solzhenitsyn, a number of characters in our “village” prose (for example, Ivan Afrikanovich in “A Habitual Business” by V.I. Belov, the hero of the story “Alyosha Beskonvoyny” by V.M. Shukshin). Turning to the Russian diaspora, let's call the prose of B.K. Zaitsev and I.S. Shmelev (in particular, Gorkin from “The Summer of the Lord” and “Politics”). In the literature of other countries, such persons are deeply significant in Charles Dickens, and in our century - in the tragic novels and stories of W. Faulkner.

At the origins of the hagiographic-idyllic supertype - characters ancient Greek myth Philemon and Baucis, who were rewarded by the gods for faithfulness in love for each other, for kindness and hospitality: their hut turned into a temple, and they themselves were granted longevity and simultaneous death. From here threads stretch to the idylls of Theocritus, Virgil’s “Bucolics” and “Georgics”, the idyll novel “Daphnis and Chloe” by Long, to Ovid, who directly turned to the myth of Philemon and Baucis, and - after many centuries - to I.V. Goethe (the corresponding episode of the second part of Faust, as well as the poem “Herman and Dorothea”). The origins of the “supertype” under consideration are a myth not about gods, but about people, about the human In man (but Not man-god, if we resort to vocabulary characteristic of the beginning of the Russian 20th century).

The hagiographic-idyllic supertype was also outlined by the didactic epic of Hesiod. In "Works and Days" Homer's apology for military prowess, booty and glory was rejected, and everyday life was glorified. common sense and peaceful peasant labor, good behavior in the family and moral order, which is based on folk tradition and experience captured in proverbs and fables, were highly valued.

The world of the characters in the series under consideration was also preceded by ancient Greek symposia, which gave rise to the tradition of friendly mental conversation. In this regard, the figure of Socrates is important as real personality and as the hero of Plato’s dialogues, where the great thinker of antiquity appears as the initiator and leading participant in peaceful and confidential conversations, often accompanied by friendly smiles. The most striking dialogue in this regard is “Phaedo” - about the last hours of the philosopher’s life.

In the formation of the hagiographic-idyllic supertype, the fairy tale also played its role with its interest in what is valuable in the implicit and formless, be it the stepdaughter Cinderella or Ivan the Fool, or good wizard, whose features are possessed by the scribe-sage Prospero from Shakespeare’s “The Tempest”.

Heroes of hagiographic-idyllic orientation are characterized Not alienation from reality and involvement in the environment, their behavior is creative in the presence of “kindred attention” to the world (M.M. Prishvin). Apparently, there is reason to talk about a trend in the development of literature: from positive coverage of adventurous-heroic orientations to their critical presentation and to an increasingly clear understanding and figurative embodiment of hagiographic and idyllic values. This trend, in particular, was reflected with classical clarity in the creative evolution of the speaker. Pushkin (from “Prisoner of the Caucasus” and “Gypsies” to “Belkin’s Tales” and “The Captain’s Daughter”). It finds justification and explanation in the philosophizing experiments of our century. Thus, the modern German philosopher J. Habermas argues that instrumental action, oriented towards success, eventually gives way to communicative action aimed at establishing mutual understanding and striving for the unity of people.

Literary characters can appear not only as “bearers” of value orientations, but also as embodiments of unconditionally negative traits or as the focus of trampled, suppressed, failed humanity. The origins of the “negative” supertype, worthy of ridicule and denunciation, passing through the centuries, are the hunchbacked and askew, grumbling and mocking Thersites, the enemy of Achilles and Odysseus, who is described in the Iliad. This is perhaps the first in European literature antihero. This word was introduced into use by F.M. Dostoevsky: “Here on purpose all the traits for an anti-hero have been collected" ("Notes from the Underground"). Suppressed humanity is embodied in the myth of Sisyphus, doomed to an existence hopelessly painful and meaningless. Here a person has no time for value orientations! Sisyphus as an archetypal figure was considered by A. Camus in his work “The Myth of Sisyphus. An Essay on the Absurd." The named characters of ancient Greek mythology anticipate much in the literature of later and closer eras.

In reality, where there is no place for any human-worthy guidelines and goals, many characters of Russian writers of the 19th century live, in particular N.V. Gogol. Let us remember, for example, the crazy Poprishchin, or Akakiy Akakievich with his greatcoat, or Major Kovalev, who lost his nose. “The leading Gogol theme,” says S.G. Bocharov, - there was “fragmentation,” historically widely understood as the essence of the entire European modern era, which reached its culmination in the 19th century; characterization of modern life in all its manifestations as fragmented, fractional<…>extends to the person himself<…>IN Petersburg stories Gogol with the hero-official established a special scale for the image of a person. This scale is such that a person is perceived as a particle and a fractional value (if not “zero,” as the head of the department instills in Poprishchina).” The man here, continues Bocharov, speaking about the hero of “The Overcoat,” is “a creature<…>reduced not only to the absolute minimum of human existence, value and meaning, but simply to the zero of all this”: “Akaky Akakievich is not just “ small man" He, one might say, is even “smaller” than a little man, below the very human measure.”

Many characters in “post-Gogol” literature are completely subordinated to lifeless routine, deadened stereotypes of the environment, and are subject to their own selfish motives. They either languish over the monotony and meaninglessness of existence, or they reconcile with it and feel satisfied. In their world there is present, if not reigns supreme, what Blok called “immense) gray spider-like boredom.” Such is the hero of the story “Ionych” and his numerous similarities in Chekhov, such (in a unique variation) is the atmosphere of a number of Dostoevsky’s works. Let us remember the terrible image that arose in Svidrigailov’s imagination: eternity is like a neglected village bathhouse with spiders.

A person driven (or driven himself) into a dead end of boredom was repeatedly recognized and portrayed by writers as oriented only hedonistically - towards bodily pleasures, as alien to morality, tolerant of evil and prone to its apology. “In the novels of the 18th century,” notes G.K. Kosikov (naming Charles Baudelaire’s predecessors in Western European literature - Marivaux, Lesage, Prevost, Diderot and de Sade) - hedonism and its flip side, evil) were subjected to a thorough, versatile and impressively bleak analysis.”

Speaking about Dostoevsky’s characters as those who preceded the human reality of a number of works of the 20th century. J. Kristeva, not without reason, uses such phrases as “cracked selves”, “split subjects”, bearers of “torn consciousness”. A person whose value guidelines have been shaken or are completely absent has become the subject of close attention of writers of our century. These are the horrors of F. Kafka, and the theater of the absurd, and images of participants in the mass extermination of people, and the artistic concept of man as a monster, a monstrous creature.

This is (in the most approximate outlines) the character sphere of a literary work, if you look at it from the perspective of axiology (theory of values). ..

In literary criticism, the concept of world, on the one hand, is used metaphorically without a clearly defined content. On the other hand, a direction has developed within which this word is a term. The foundations of this approach were laid by the works of Bakhtin “Problems of Dostoevsky’s creativity” 1929 “forms of time and chronotope in the novel” 1937.

Bakhtin considered the works in their eventful completeness, including here “both its external material reality and its text (the work supposedly) and the world depicted in it (that is, the artistic world of A.A.S.) and the author-creator, and the listener of the reader” ( Bakhtin “Questions of Literature and Aesthetics Research. different years"// Moscow, 404 pp.)

The term “Inner world of a work of art” came into scientific circulation after Likhachev’s article, in which the thesis about the presence of verbal art in a work of art was substantiated inner world, which has its own laws different from the laws real world. In another work, poetics ancient Russian literature they considered the following parameters: h.m. like time and space. A literary work is a dynamic system that is formed in the very act of perceiving the work, that is, what Bakhtin called dialogical communication, and D.S. Likhachev. co-creation of the author and reader. In this regard, when analyzing a work of art in to a greater extent the one being considered artistic image, which develops as a result of familiarity with the work.

Art world- this is not a concept of the world, it is the world itself, as it is reproduced and depicted in a work of art.

As L.V. Chernets notes, the world is a side of the artistic form, mentally delimited from the verbal structure. The artistic world is a system that exists according to its own laws, but it is not autonomous. It depends on the real world. The artistic world includes people, events, things. HM. reflects the world of reality

The transformation of reality is connected with the ideas of the work, with the tasks that the artist sets for himself. The connection of the worlds does not mean their identity; to differentiate them, M.M. Bakhtin introduces the concept of Borders. Borders are a sharp, fundamental boundary, the crossing of which leads to a mixture of the laws of the real and artistic worlds.

An analysis of the world of a work of art, from the point of view of whether it is true or false to reality, is not scientific; in assessing the artistic world one must proceed from its own laws.

One of the methods for analyzing the artistic world is the study of its spatial-temporal structure. The direction became popular in the 60s. Predecessor - Bakhtin. He introduced the concept of chronotope into literary studies. Chronotope (chrono-time, top - place) is the relationship between the temporal and spatial relations of art mastered in literature. The world of the work is considered as an interaction of chronotopes. Representatives of the Tartu-Moscow school under the leadership of Yu.M. Lotman worked within this direction. They derived the functions that space performs in the artistic world. Space is also the principle of organizing objects and characters, but in addition it is a means of expressing non-spatial relationships: good - bad, one's own - someone else's, valuable - non-valuable.

Slide 2

The purpose of the lesson: