“Lecture course I. Introduction. Literary criticism as a science. Literary criticism is a philological science about the essence, origin and development of artistic literature as an art form. ..."

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Lecture course

I. Introduction. Literary criticism as a science.

Literary criticism is a philological science about the essence, origin and

development of artistic literature as an art form. The place of literary criticism in

system of humanitarian knowledge. Its interaction with linguistics, rhetoric,

art history, aesthetics, cultural studies, social history, philosophy,

sociology, psychology, religious studies, semiotics and other sciences.

The structure of modern literary criticism. Main disciplines: history of national literatures, literary and artistic criticism, literary theory and methodology of literary studies. Auxiliary disciplines:

historiography, paleography, textual criticism, bibliography.

Literary theory is a branch of literary criticism that studies the general patterns of artistic development, a literary work in its entirety, the system of visual and expressive means of language and style.

Systematicity and historicism as fundamental methodological principles of literary criticism. Historical movement of basic literary concepts.

II. General properties of fiction.

Topic: Literature as an art form. The aesthetic essence of literature.

Fine arts as a special form of spiritual culture, a specific form of self-awareness of humanity and artistic exploration of reality.

The origin of art from primitive syncretic creativity. Its connection with ritual, magic, mythology. Art and border areas of spiritual culture, their mutual influence.

Literature as a reflection (reproduction) of reality, a form of its artistic knowledge, comprehension, evaluation, transformation. The theory of mimesis, the theory of reflection. Religious art concept.

Literature and other forms of social consciousness. The difference between artistic comprehension and scientific knowledge. The subjective nature of creativity, the anthropocentrism of literature, its value orientations. Reflection in the writer’s work of the characteristics of his personality, talent and worldview. Aesthetic, sociological, philosophical views of the writer as the source of the work. Creative reflection. Integrity of the creative process.

Literature in the system of spatial and temporal forms of art. The meaning of Lessing's treatise “Laocoon, or on the boundaries of painting and poetry” (1766). Literature as a temporary art that reproduces the phenomena of life in their development. Fine-expressive and cognitive possibilities of artistic speech.

III. Literary and artistic work.

Topic: A literary work as a unity of form and content.

The integrity of a literary work as an ideological and artistic system.

Organic unity of the objective and subjective sides of the text. The concepts of “artistic semantics”, “meaning”, “literal content”, “discourse” as related to the content area of ​​the work.

The concreteness of the form, its relative independence. Artistic form as the embodiment of figurative content. Functional consideration of form elements in their meaningful role. Form as “hardened” content. Mutual transition of content and form.

Topic: The main components of the content and form of a literary work.

The ideological and thematic basis of the work. Topic, topic, issue. Types of issues: mythological, national-historical, social, philosophical, their relationship. Author's activity in choosing a topic. The connection between the subject of the image and the subject of cognition. The author's interpretation of the theme, artistic idea. The value aspect and emotional orientation of the idea. Artistic tendency and tendentiousness.

Artistic image, its structure. Literary hero, character. External and internal appearance, artistic detail. Means of psychological characterization of heroes. The character's speech as a subject of artistic depiction. Speech behavior.

The system of characters in the work: main, secondary, episodic. Their juxtaposition. Typification, typical image.

The plot as a form of conflict reproduction. Event and action. Aristotle on the unity of plot action. Situation, conflict, collision, intrigue - relationships between concepts. Components of the plot. Plot and extra-plot episodes. Prologue and epilogue.

Spatio-temporal organization of plot action. The concept of chronotope.

Composition of the work. Story structure. Subjective forms of narration on behalf of the hero, minor character, observer, chronicler.

The concept of plot. The problem of “redundancy” of the term.

Topic: Literary types and genres.

The historical nature of the concept of “literary genus”. The system of literary genera in Aristotle’s aesthetics, connection with the theory of mimesis. Generic and genre-specific division of literature in classicism (N. Boileau). The content principle of generic division in Hegel. “The division of poetry into genera and types” by V.G. Belinsky. Synthetic internatal formations.

Genres and types of epic. Unlimited volume, arbitrary speech structure.

Main genres and types: fairy tale, legend, heroic epic, epic, novel, story, short story, short story, essay. Universal forms of narrativity.

Genres and types of lyrical works. The concept of a lyrical hero. Combination of object and subject in one person. The originality of the lyrical situation. Lyrical meditation. Role-playing lyrics. Lyrical plot. Features of the composition.

Expressiveness of lyrical speech. Intensity of associative connections, thickening of semantics. Melody of lyric verse.

Drama and dramatic genres. Tragedy, comedy, drama itself. The principle of self-expression of heroes, its form. Space and time in drama. Correlation between plot and stage time. The severity of the conflict. Plot and extra-plot characters. Hero and

Historical changes in the genre canons of drama.

Topic: Rhythmic organization of artistic speech. Fundamentals of poetry.

The concept of verbal rhythm. The origin of rhythm in poetry and prose. The concept of a poetic system. The connection between the system of versification and the characteristics of the national language. Tonic and syllabic systems. Reform of verse in the 18th century. Syllabonic system. Basic poetic meters. Accent verse. Free verse.

Stanza as a form of organization of poetic speech. Types of stanzas. Rhyme and its role in poetry. Types of rhyme. Blank verse. Types of stanzas and methods of rhyming.

Classification of sound repetitions. Phonics.

Poetry: rhythmic prose, prose poems.

Topic: Language and style of fiction.

Language as the “primary element” of literature. Language and speech. Literary language, fiction, artistic speech. Visual and expressive functions of language. Types of linguistic figurativeness: nominative, verbal-subject, allegorical, intonation-syntactic.

Language and style. Style as the aesthetic unity and interaction of all sides, components and details of the expressive figurative form of a work of art.

Style-forming factors, their interaction. The use of the term “style” in relation to a work, the work of a writer, a group of writers. Stable signs of style.

IV Patterns of historical development of literature.

Topic: Literary process. Artistic method The concept of the literary process. The literary process in the context of cultural and historical development and the problem of its periodization. National originality of literature. International connections and influences. Literary traditions and innovation.

The concept of artistic method, literary direction and movement.

Different interpretations of these categories in science. Classicism, sentimentalism, romanticism are the leading trends in European literature of the 17th – first decades of the 19th century.

The main stages of the development of realism. Classical realism of the 19th century and the creative individuality of the writer. Literary movements and trends in the twentieth century: realism, modernism, literary avant-garde.

–  –  –

2. Fiction as the art of words. The originality of its “material”.

The aesthetic essence of literature: artistic and scientific knowledge, commonality and differences.

3. Literature and reality. Theories of mimesis (imitation) and reflection.

Religious art concepts.

4. Literature in the system of spatial and temporal forms of art. Lessing's treatise “Laocoon, or on the boundaries of painting and poetry.”

Individual student work Study fragments of works from the anthology “Introduction to Literary Studies” by: V.G.

Belinsky “A Look at Russian Literature of 1847” (on the difference between art and science); A.

I. Bugrov “Aesthetic and Artistic”; G. O. Lessing “Laocoon, or on the boundaries of painting and poetry.” Additionally: G. V. F. Hegel “Lectures on Aesthetics” (on poetry).

Make a diagram reflecting the main differences between literature and science. Give a scientific explanation for combinations such as: “poetry - talking painting”, “architecture - frozen music”.

No. 2. Literary work as an artistic whole

1. A literary work as a systemic unity of elements of content and form;

their interconnection and interdependence, the convention of demarcation.

2. The ideological and thematic basis of the work: the theme is the subject of artistic depiction, the idea is an expression of the author’s position. Topic, topic, issue.

3. Artistic image. Its functions. Typology.

4. Plot, composition, plot. Correlation of concepts.

5. Answer the questions, giving a theoretical justification for your answers: 1) What is the ideological and thematic originality of A. S. Pushkin’s story “The Captain’s Daughter”? 2) Describe the typology of artistic images in N.V. Gogol’s poem “Dead Souls”. 3) How do plot, plot, and composition correlate in M. Yu. Lermontov’s novel “A Hero of Our Time”?

Individual student work Study fragments of works from the anthology “Introduction to Literary Studies” by: G.V.

F. Hegel “Lectures on Aesthetics” (on the unity of form and content in art); L.N.

Tolstoy “Letters to N. N. Strakhov, April 23 and 26. 1876”; A. A. Potebnya “From notes on the theory of literature”, A. N. Veselovsky “Poetics of plot”. Using specific examples, prove the thesis: “Content is nothing more than the transition of form into content, and form is nothing more than the transition of content into form” (Hegel).

No. 3. Literary genres and genres

1. The principle of dividing literature into genera as a theoretical problem. Aristotle, Boileau, Hegel, Belinsky on the difference between literary genres based on content and formal characteristics.

2. A. N. Veselovsky about genre-clan syncretism. The debatable nature of the concept of “literary gender” in modern literary criticism. Genre as “memory of art” (M. Bakhtin).

3. Epic and epic genres. Genesis and evolution.

4. Lyrics and lyrical genres. Genesis and evolution.

5. Drama and dramatic genres. Genesis and evolution.

6. Borderline and individual genre-clan formations. Stability and historical variability of the category “genre”.

7. Is satire the fourth type of literature? Justify your point of view.

Individual student work

Study fragments of works in the anthology “Introduction to Literary Studies”:

Aristotle “On the art of poetry”, N. Boileau “Poetic art”, G. V. F. Hegel “Lectures on aesthetics”, V. G. Belinsky “On the Russian story and the stories of Mr. Gogol”, V. V.

Kozhinov “On the principles of dividing literature into genera”, based on them, give a theoretical justification for the categories “literary genus”, “genre (type)”.

Describe the genre and generic originality of the works of A. S. Pushkin “Eugene Onegin” and “The Captain’s Daughter”, N. V. Gogol “Dead Souls”, L. N. Tolstoy “War and Peace”.

No. 4. Analysis of the epic work

I. Generic and specific properties of the epic genre:

1. Plot-event basis, volume and principles of selection of vital material, time frame of the work.

2. Epic in revealing human character:

a) the image of the hero in the variety of his connections with the outside world. Man and environment.

Akaki Akakievich Bashmachkin is a petty St. Petersburg official, a typical representative of the “humiliated and insulted”;

b) showing the hero’s inner world through actions, actions, in comparison with other characters;

The variety of emotional and semantic shades of Gogol’s word (irony, humor, satirical and accusatory tone, elements of sympathy and compassion).

3. The meaning of extra-fabular elements in the story. Lyric-dramatic beginning in epic works.

II. Features of Gogol's narrative (individual features of the writer's style) 1. “Simplicity of fiction” and “perfect truth of life” (V. G. Belinsky);

2. “Comic animation, always overcome by a deep feeling of sadness and despondency” (V. G. Belinsky), “laughter through tears.”

3. Gogol's lyricism.

4. The role of the fantastic in storytelling.

III. Non-standard interpretations of the story by Ch. Lotto. (Individual assignment).

Individual student work Read N.V. Gogol’s story “The Overcoat” and prepare its analysis, highlighting generic (epic), specific (related to the genre of the story itself) and individual (characteristic of Gogol) elements of the narrative. Show their combination and interaction.

Option II.

A.P. Chekhov's story “Vanka” as an epic work.

1. Plot-event basis, volume and principles of selection of vital material.

2. Epic in revealing human character; his attitude towards life:

a) the versatility of the outside world in Vanka’s perception (workshop, city, village);

b) the typicality of the image of the main character, the disclosure of his tragedy in the patterns of cause-and-effect relationships;

c) a variety of forms of showing Vanka’s inner world: speech, actions, attitude towards others.

3. The combination in the story of various temporal (present - past) and spatial (city - village) layers as a property of the epic kind.

5. Chekhov's detail.

Match:

L. N. Tolstoy. Childhood.

“On August 12, 18..., exactly on the third day after my birthday, on which I turned ten years old and on which I received such wonderful gifts, at seven o’clock in the morning Karl Ivanovich woke me up by hitting me over my head with a cracker - made of sugar paper on A stick can kill a fly…” M. Gorky. Childhood.

“In a dark, cramped room, on the floor, under the window, lies my father, dressed in white and unusually long; the toes of his bare feet are strangely spread out, the fingers of his gentle hands, quietly placed on his chest, are also crooked; his cheerful eyes are tightly covered with black circles of copper coins, his kind face is dark and scares me with his badly bared teeth...” Individual student work Read A. P. Chekhov’s story “Vanka” and prepare its analysis, highlighting generic (epic), specific (related to the genre story) and individual (characteristic of A.P. Chekhov) elements of the narrative. Show their combination and interaction. Compare Chekhov's principles of embodying children's perception with the principles of other authors - L. N. Tolstoy and M. Gorky. Prepare a message “Short story genre today” (individual assignment).

No. 5. Basics of versification. Russian verse.

1. The difference between poetic speech and prosaic speech. Its specific features. The concept of verbal rhythm.

2. The concept of a poetic system. The connection between versification systems and the characteristics of the national language. Tonic, syllabic-tonic and syllabic systems in the historical aspect (based on the material of Russian poetry).

3. Rhyme in poetry. Its main functions. Types of rhymes. Methods of rhyming. Blank verse.

4. Stanza and its types. Superstrophes. Sonnet and wreath of sonnets. Onegin stanza: structure, genesis, artistic functions.

Individual student work Study the fundamental features of the tonic, syllabic and syllabonic systems of versification. Practice your meter skills by chanting. Give an analysis of the poetic text (optional) taking into account the peculiarities of rhythm, rhyme, and stanza. Comment on the statements: “I think that over time we will turn to blank verse. There are too few rhymes in the Russian language” (A.S.

Pushkin); “...For heroic or majestic programs, you need to take long meters with a large number of syllables, and for funny ones, short ones” (V.V. Mayakovsky).

No. 6. Analysis of a lyrical work

1. Dialectics of objective and subjective in lyrics. The significance of “external” factors (biographical, historical, social, literary, etc.) in the creation of this poem.

2. Principles of genre systematization of lyrical texts. Genre of the poem.

3. Theme and idea of ​​the lyrical work. Features of their expression.

4. The lyrical image as an image-experience. The relationship between the author’s “I” (narrator) and the lyrical hero (character) in a poetic text.

5. Compositional and plot organization of the poem: the presence of a timeline, parallelisms, repetitions, comparisons, contrasts, etc. as plot-forming factors.

6. The problem of the poetic word. Verbal and figurative leitmotifs.

7. Rhythmic-intonation structure. Stanza, meter and rhythms, rhyme and meaning. Sound recording.

8. This poem is in a comparative aspect (traditional and innovative in lyrics).

Individual student work Take notes from the article by V. G. Belinsky “The division of poetry into genera and types”, the section “Lyrical poetry”. Study in the anthology fragments of works on the specifics of lyrics: A. N. Veselovsky “From the history of the epithet”, “Psychological parallelism and its forms in the reflection of poetic style”; L. Ya. Ginzburg “On Lyrics”. Give a holistic analysis of one or two (as assigned by the teacher) poems below according to the proposed plan.

Texts Pushkin A.S. To sea. K *** (I remember a wonderful moment...). Winter morning. Prophet. Anchar.

Do I wander among the noisy streets? I visited again... Lermontov M.Yu. Sail. Borodino.

Clouds. Homeland. I go out alone onto the road... Nekrasov N.A. Troika. Homeland. In memory of Dobrolyubov. Uncompressed strip. Tyutchev F.I. Spring thunderstorm. Insomnia. Fet A.A. I came to you with greetings. I won't tell you anything. Blok A.A. Stranger. On the railway. Yesenin S.A. the golden grove dissuaded me... I don’t regret, I don’t call, I don’t cry... Mayakovsky V.V. Listen, if the stars light up..., as well as poems by A. A. Akhmatova, M. I. Tsvetaeva, B. L. Pasternak. etc. (optional).

No. 7. Analysis of a dramatic work

1. Genre and generic characteristics of comedy. Moral and social content of the conflict in the comedy “Woe from Wit”.

2. Arrangement of characters in a dramatic work. The principle of ideological polarization of characters in Griboyedov’s play.

3. Features of revealing human character in drama. The main means of his “self-revelation” (M. Gorky): a remark, a verbal gesture, dialogue, monologue, action, a system of actions, self-characterization, the opinion and attitude of other characters towards him.

5. The function of off-stage and extra-plot characters. Off-stage images in the comedy “Woe from Wit.”

6. The plot and compositional structure of a dramatic work. The relationship between Chatsky's personal and social drama. The main stages of plot development.

7. Elements of epic and lyricism in drama. Lyrical and psychological plan of Griboyedov's play.

8. Is this a comedy? Disputes about the genre nature of “Woe from Wit”.

9. Play and stage. Features of the stage embodiment of A. S. Griboedov’s comedy “Woe from Wit”.

Individual student work Reveal the specifics of the dramatic genre in the process of analyzing the comedy of A.S.

Griboyedov “Woe from Wit”. Pay attention to the essence of the dramatic conflict in the play, the originality of its development, the principles of constructing a dramatic character, and the methods of the author’s “interference” in the course of events. Prepare a summary report on the topic: “Features of the stage embodiment of A. S. Griboedov’s comedy “Woe from Wit” (individual task).

No. 8. Classicism and its fate in Russian literature

1. General concept of the creative method. Its relationship with the concepts of “literary movement (direction)”, “school”, “writer’s style”.

2. Social and historical conditions for the emergence and formation of classicism in Russia.

3. Genres of Russian classicism, their specificity. Principles of character portrayal.

The theory of “three styles”.

4. Normativity of theory and literary criticism: deviations from the canons of classicism in the works of Russian writers.

5. Features of classicism in the method of educational realism. The concept of “enlightenment realism” is debatable.

A. P. Sumarokov. Epistle about poetry.

Composing poetry is not as easy as many people think.

Those who don’t know enough will get tired of rhyme.

It should not be that she takes our thought captive, But that she should be our slave... Know the difference between genders in poetry And, when you begin, look for decent words for it,

Without annoying the muses with your bad success:

Thalia with tears, and Melpomene with laughter...

Let us consider the property and power of epigrams:

They then live, rich in their beauty, When they are composed sharp and knotty;

They must be short, and their entire strength lies in uttering something mockingly about someone.

The style of fables should be playful, but noble, And the low spirit in it is suitable for simple words, As de La Fontaine wisely showed And became famous in the world for fable verses, Filled all parables from head to toe with jokes And, singing fairy tales, played with the same with a whistle... Sonnet, rondo, ballads - playing is poetic, But they must be played intelligently and quickly.

In the sonnet they demand that the warehouse be very clean... If the lines have rhymes, then they call it poetry.

Poems flow according to the rules of the wise muses.

The style of the songs should be pleasant, simple and clear.

There is no need for flair - it is beautiful in itself... Try to measure the clock for me in the game by the hour, So that I, having forgotten myself, can believe you, That it is not a game of yours, But the very existence that happened... The property of comedy is to rule the temper with mockery;

Mix and use is its direct charter.

Imagine the soulless clerk in the order, the Judge, who will not understand what is written in the decree.

Imagine to me a dandy who raises his nose, Who thinks for a whole century about the beauty of hair, Who was born, as he thinks, for cupid, To win over the same fool somewhere.

Imagine a Latin speaker at his debate, Who won’t lie without “ergo” anything.

Imagine to me a proud one, bloated like a frog, Stingy, who is ready to be strangled for half a ruble.

Imagine a gambler who, having taken off his cross, shouts from behind his hand, with his figure sitting: “Rest!” Follow Boal and correct people.

Are you laughing, passions are in vain, present them to me as an example And, presenting them, follow Moliere.

When you have a proud spirit, a flying mind, And suddenly, swiftly running from thought to thought, Leave idyll, elegy, satire And drama for others: take the thundering lyre And fly to the sky with a magnificent Pindar, Or lift up a loud voice with Lomonosov... Everything is praiseworthy: is it a drama? , eclogue or ode - Compose what your nature leads you to;

Only enlightenment, writer, give to the mind:

Our beautiful language is capable of everything (1747).

V.K. Trediakovsky. Raven and Fox.

There was nowhere for the Crow to take away the cheese, part of it happened:

He flew up into a tree with something he liked.

This Fox wanted to eat;

In order to get home, I would think of such flattery:

Having cleaned the color of the raven’s feathers, and also praising his belongings, she directly said: “The ancestors of Zeus will honor you as a bird, your voice will be for myself, and I will hear the song of all your kindnesses worthy.”

The raven, arrogant with his praise, thought himself decent, began to croak and shout as loudly as possible, so that the last praise would receive a seal for himself.

But at the same time, that cheese fell out of his nose and fell onto the ground. Fox, encouraged

With this selfishness, he says to him to laugh:

“You are kind to everyone, my Raven; only you are fur without a heart.”

I. A. Krylov. A Crow and a fox.

How many times have they told the world that flattery is vile and harmful; but everything is not for the future, And the flatterer will always find a corner in the heart.

Somewhere God sent a piece of cheese to a crow;

Crow perched on a spruce tree, She was just about ready to have breakfast, but she was lost in thought, but she had cheese in her mouth.

To that misfortune, the Fox ran quickly;

Suddenly the cheese spirit stopped the Fox:

The fox sees the cheese, the fox is captivated by the cheese.

The cheat approaches the tree on tiptoes, twirls his tail, does not take his eyes off the Crow

And he says so sweetly, barely breathing:

“My dear, how beautiful!

What a neck, what eyes!

Telling fairy tales, really!

What feathers! what a sock!

Sing, little light, don’t be ashamed! What if, sister, With such beauty, you are a master at singing, After all, you would be our king bird!” Veshunin’s head was spinning with praise, The joy stole the breath from his goiter, And Lisitsyn’s friendly words

The crow croaked at the top of her lungs:

The cheese fell out - such was the trick with it.

No. 9. Romanticism and realism in Russian literature

1. Historical and typological features of romanticism: philosophical and aesthetic subjectivism, romantic dual worlds, antagonism between ideal and reality, romantic maximalism. The closeness of the author to the hero, the lyrical coloring of the author's speech.

2. The essence of the realistic method: reconstruction of reality in its objective laws, historicism, depiction of typical characters in typical circumstances. A variety of means of author's characterization of the hero.

3. Aesthetic criticism of romantic individualism by Russian realist writers.

Individual student work Formulate the main features of classicism as an artistic method, based on the recommendations of A.P. Sumarokov (“Epistole on Poetry”). Summarize the material, give examples from Russian and foreign literature. Compare the fable of V.K.

Trediakovsky “The Raven and the Fox” with I. A. Krylov’s fable “The Crow and the Fox”. Find what is common and what is different. Consider how the principles of classicism are implemented in Trediakovsky’s work and how they are either transformed (or destroyed) in Krylov’s text.

“Hero of Our Time” by M. Yu. Lermontov in the interpretation of modern researchers (the problem of the creative method) K. N. Grigoryan: “...It is difficult not to notice, to ignore the most characteristic features of the romantic aesthetic system, the romantic style, clearly expressed in Lermontov’s novel” (Grigoryan K. N. On modern trends in the study of “The Hero of Our Time.” On the problem of romanticism // Russian literature – 1973. – No. 1. P. 59).

V. M. Markovich: in Lermontov’s novel “critical realism of the mid-century in its classically pure and complete form” (Markovich V. M. “Hero of Our Time” and the formation of realism in the Russian novel // Russian Literature. - 1967. - No. 4 . P. 56).

K. N. Grigoryan: “As for the novel “A Hero of Our Time,” realistic tendencies were reflected in the depiction of pictures of the everyday life of highlanders, Russian warriors, the “water” society, in subtle, apt observations ... but the whole point is that they did not result into the aesthetic system" (Grigoryan K.N. On modern trends in the study of “The Hero of Our Time.” On the problem of romanticism // Russian literature. - 1973.

– No. 1. P. 78).

D. D. Blagoy: “... by the method of typification, by the vision and reconstruction of objective reality, and finally, by its style... “Hero of Our Time” ... continues, develops, deepens and strengthens the traditions of Pushkin’s “Eugene Onegin” to “Hero of Our Time” (Problems of romanticism. Collection of articles. - M., 1967. P. 315).

K. N. Grigoryan: “Images, general coloring, method of expression - everything is borrowed from the poetics of romanticism, the language of early Pushkin, and even more Zhukovsky” (Grigoryan K. N. On modern trends in the study of “Hero of Our Time.” On the problem romanticism // Russian literature. – 1973. – No. 1. P. 60).

K.N. Grigoryan: “Pechorin, by the nature of his worldview and life position, is all about romanticism. His individualism, sharply emphasized proud independence is a means of asserting personality, self-defense, and marking a clear line between himself and a hostile environment. It is absurd to demand from Pechorin the clarity of the ideal; the author of the novel did not have this clarity either. Therefore, the ideal is romantic” (Grigoryan K.N. On modern trends in the study of “The Hero of Our Time.” On the problem of romanticism // Russian literature. – 1973. – No. 1. P. 68).

D. D. Blagoy: “...To separate oneself from such a hero in the creative act of creating a novel, to place oneself next to him and essentially above him was the most important moment in the formation of the method of realistic typification in Lermontov’s work, the greatest triumph of Lermontov as a realist artist” ( Problems of Romanticism.

Sat. articles. – M., 1967. P. 312).

K. N. Grigoryan: “Yes, the critical principle in “A Hero of Our Time” is very significant, but what is the quality of this criticism? What is the author’s attitude towards Pechorin’s “self-exposures”? One thing, in any case, is clear - the author does not judge him from the outside, he is vitally interested in the fate of the hero, and if he is putting Pechorin on trial, he is also bringing judgment on himself. It’s not about realism, but about Lermontov’s personality” (Grigoryan K.N. On modern trends in the study of “A Hero of Our Time.” On the problem of romanticism // Russian literature. – 1973. – No. 1. P. 61).

B.I. Bursov: Lermontov “is both a romantic and a realist at the same time... His largest work in prose - the novel “A Hero of Our Time” - is predominantly realistic” (Bursov B.I. National originality of Russian literature. - L., 1967. P. 175).

D. E. Maksimov: “A Hero of Our Time” stands on the verge of the romantic and realistic periods in the history of Russian literature and combines the characteristic features of both of these periods” (Maksimov D. E. Lermontov’s Poetry. - M.; Leningrad, 1964. P. 107).

B. T. Udodov: “Lermontov’s creative method opened up new perspectives for literature in the artistic exploration of the complex nature of man in several dimensions at once. This is a kind of “realism in the highest sense” (Dostoevsky’s expression), going beyond the usual definitions, synthesized the achievements of realism and romanticism of its time” (Lermontov Encyclopedia. - M., 1981. P. 108).

No. 10. Techniques and skills of literary criticism.

Notes and note-taking rules.

Abstract and abstracting rules.

Abstract and rules for writing it.

Review and rules for its creation.

The main stages of working with critical literature.

Rules for keeping a reader's diary.

Individual student work Copy 3-4 annotations from books; get acquainted with the procedure for preparing the book's imprint; give an example of a reader's diary; draw up a plan for an essay on the topic: “Reading activity of a primary school student.”

No. 11. Reading activity of a primary school student

1. Children's book and its specifics.

2. The reading range of the modern primary school student. Parameters for systematizing the reading range of a primary school student.

3. Fiction for primary schoolchildren. Criteria for selecting educational material for reading and literary education of children of this age category.

4. Principles of organizing the reading activity of primary school students.

Individual student work Select 3-4 books addressed to junior schoolchildren that are of the greatest interest, from your point of view, and check how strictly they comply with the sanitary and hygienic requirements for printing; what is the “golden fund” of literature for children and how can it be presented; model a fragment of the organization of reading activity of junior schoolchildren.

Organizational recommendations: the student needs to know the full name of the discipline, become familiar with the place of the discipline in the schedule grid, determine the reporting of the discipline: test or exam, become familiar with the rating scale and the course program.

Recommendations for mastering the content of the discipline. In the process of studying the discipline, it is important for the student to form an idea of ​​the methodological foundations of literary criticism, get acquainted with the scientific concepts of scientists, highlight the subject, object, and understand the basic scientific concepts of this discipline.

The student must understand that this discipline covers the problems of interpreting a literary text in the unity of theory and practice. Classroom classes are held in the form of lectures and practical exercises. The task of students during lectures is to work on mastering new material (listening, understanding, recording, analyzing, comparing with previously studied material). In practical classes, the student must demonstrate the acquired knowledge on the selected topic, for this he must familiarize himself with the questions put forward for discussion, read a recorded lecture, and then, in the process of independently reading the recommended literature, supplement the missing material, formulate differences in the concepts and views of textbook authors, master terminology and be sure to prepare for a free, confident answer in class. The answer to any question must be accompanied by examples from literary texts, which the student must find on his own.

After each lesson, it is necessary to additionally collect information on the topic covered from various sources: additional literature offered by the teacher, Internet sites, dissertations, abstracts, articles from journals, and compile a personal card index on this discipline, monthly monitor articles in journals that present new scientific , practical developments, as well as perform various types of independent work, which are included in the rating criteria.

An important component of a student's education at a higher educational institution is independent work (SWS). It includes both preparation for classes and exams, and work on creating educational products in the form of abstracts, presentations, reports, notes, essays, development and solution of pedagogical problems related to the organization of children's reading. Most of these tasks are aimed at developing creative thinking, as well as developing the skills to create and implement educational and scientific student projects, design the educational process and analyze the results of their activities.

Identification of the most complex issues that require in-depth study, preparation of presentations on them in the POWER POINT program and systematic presentations to colleagues with reports will help a deeper understanding of the material and will become a factor in increasing the effectiveness of the student’s educational and professional activities.

Based on the results of processing and interpretation of scientific data, it is advisable for the student to prepare a scientific article or include the processed material in his educational or research work. Active involvement in research work and mastered material of this subject will help in future professional activities.

As a result of mastering the course, the student must first of all learn to analyze literary texts according to the following approximate plan for analyzing a work of art.

1. History of the creation of the work:

time of creation, life circumstances directly related to its creation.

2. Genre-genre features.

3. Topics, problems. Idea. Features of their expression.

4. The plot and its features.

5. Composition and its features.

6. System of images-characters. The image of a lyrical hero.

7. Ways to characterize characters or a lyrical hero.

8. Features of the speech organization of the work:

the narrator's speech, the characters' speech, lexical composition, syntax features, means of expression.

9. Rhythmic-intonation structure:

meter and size, rhymes, stanzas.

10. The meaning of the title, its connection with all elements of the literary text.

Work algorithm: prepare answers to each of the proposed points and emphasize the interdependence of all elements and aspects of the analyzed work of art.

–  –  –

terms / Ed. L.V. Chernets. M., 1999 and later editions.

Introduction to Literary Studies/Ed. G.N. Pospelov. M.: Publishing house. Moscow State University, 1992.

Volkov I.F. Theory of literature: A textbook for students and teachers. M., 1995.

Zhirmunsky V.M. Theory of literature. Poetics. Stylistics.L., 1977.

Kvyatkovsky A. Poetic dictionary. M., 1966.

Kormilov S.I. Basic concepts of literary theory. Literary work.

Prose and verse: To help teachers, high school students and applicants. M.: Publishing house.

Literary encyclopedic dictionary / Ed. V.M. Kozhevnikov and P.A.

Nikolaev. M.: Soviet Encyclopedia, 1987.

Fundamentals of literary criticism: a textbook for philological faculties of pedagogy. un-tov/Meshcheryakov V.P., Kozlov A.S., Kubareva N.P., Serbul M.N.; Under general ed.

V.P. Meshcheryakova - M.: Moscow Lyceum, 2000.

Dictionary of literary terms. - M., 1974.

Encyclopedic dictionary of a young literary critic. M., 1988.

Section 2. A literary work as an integral structure.

Topic 2.1.

The image as the basic unit of artistic form.

1. Define artistic image.

2. The difference between an artistic image and concrete sensory images (illustrative, factual, informational and journalistic).

3. Comment on the features of the artistic image: combination of general and special, emotionality, expressiveness (expression of the author’s ideological and emotional attitude to the subject), self-sufficiency, associativity, ambiguity, careful selection of details.

4. Typology of artistic images.

5. The image of a person is the main image of fiction. Image-character, character, -hero, -character, -type.

6. Typification and its forms (methods).

7. Means and techniques for creating images. Image and figurative details.

9. Distinctive features of epic, lyrical and dramatic images and methods of creating them.

Literature:

1. Introduction to literary criticism. Literary work: Basic concepts and terms / Ed. L.V. Chernets. M., 1999. P.209-220.

2. Vinogradov I.A. Image and means of representation // Vinogradov I.A. Questions of Marxist poetics. Selected works. M., 1972.

3. Volkov I.F. Theory of literature. M., 1995. P.68-76.

4. Khrapchenko M.B. Horizons of the artistic image. M., 1982.

5. Epshtein M.N. Artistic image // LES. M., 1987.

Topic 2.2.

The theme and idea of ​​a literary work.

1. Theme of a literary work. The difference between life material and the theme of a work of art.

2. Aesthetic credo, aesthetic ideal and aesthetic intentions of the author.

3. Main topic and private topics. Subject. Thematic integrity of a work of art.

4. Idea, ideological content of a work of art.

4. Theme and idea, their relationship in the work.

5. Ambiguity in the interpretation of the idea of ​​a work of art (objective and subjective idea).

Literature:

1. Introduction to literary criticism: Reader, M., 1988.

2. Soviet children's literature / Ed. V.D. One-time. M., 1978. P.7-25.

3. Literary encyclopedic dictionary / Ed. V.M. Kozhevnikov and P.A.

Nikolaev. M., 1987.

4. Relevant chapters in textbooks on literary criticism and literary theory.

Topic 2.3.

Plot and composition.

Lesson No. 1. The plot of a literary work.

1. The concept of plot. The plots are chronicle, concentric, multilinear.

Stray stories.

2. Extra-plot elements.

3. The relationship between plot and plot.

4. The concept of motive.

5. The connection between the plot and the theme and idea of ​​the work of art.

6. Conflict, its originality in epic, lyricism and drama.

7. Exposition, its role and place in the work.

8. The plot, its role and place in the work.

9. Development of action. Peripeteia.

10. Climax, its meaning.

11. Denouement, its role and place in the work.

12. Prologue and epilogue.

13. Plot in epic and dramatic works. Features of the plot in a lyrical work. Show with the example of A.S.’s comedy. Griboyedov “Woe from Wit”, one of the stories by I.S. Turgenev, poems by A.A. Feta "Butterfly".

14. The dynamism of the plot is a distinctive feature of works for children.

Literature:

1. Introduction to literary criticism / Ed. G.N. Pospelov. M., 1988. pp. 197-215.

2. Introduction to literary criticism. Literary work: Basic concepts and terms / Ed. L.V. Chernets. M., 1999. P.202-209 (motive); 381-393 (plot).

4. Kozhinov V.V. Plot, plot, composition // Theory of literature. The main problems in historical coverage. Vol. 2. M., 1964.

6. Lotman Yu.M. The structure of a literary text. M., 1970. S. 282-288.

7. Tomashevsky B.V. Theory of literature. Poetics. M., 1996. P. 176-209 (plot construction); With. 230-243 (about the lyrical plot).

8. Epshtein M.N. Fable // Brief literary encyclopedia. T.7. M., 1972.

Lesson No. 2. Composition of a literary work.

1. The concept of the composition of a literary work. Types of composition: simple and complex. The composition is conditioned by the ideological concept.

2. External composition (architectonics): the relationship between the whole and its constituent elements: chapters, parts, stanzas.

3. Composition and plot. Extra-plot elements.

4. Various methods of constructing a plot (montage, inversions, omissions, inserted short stories, plot framing, etc.).

5. Composition of individual images. The role of portrait, interior, speech characterization, internal monologue, dialogue, mutual characterization of characters, diaries, letters and other means.

6. Composition of non-plot works. The role in it of poetic meters and rhythm, figurative and expressive means of language, etc.

Literature:

1. Introduction to literary criticism / Ed. G.N. Pospelov. M., 1988. S. 188–215.

2. Introduction to literary criticism. Literary work: basic concepts and terms / Ed. L.V. Chernets; M., 1999 (See relevant concepts in the Consolidated Index of Terms).

3. Zhirmunsky V.M. Composition of lyrical poems // V.M. Zhirmunsky Theory of verse. L., 1975.

4. Kozhinov V.V. Plot, plot, composition // Theory of literature. The main problems in historical coverage. Book 2. M., 1964.

7. Tomashevsky B.V. Theory of literature. Poetics. M., 1996.

8. Khalizev V.E. Composition // Literary encyclopedic dictionary. M.,

Topic 2.4.

Genus and types of literature.

1. Primitive syncretic creativity as the source of the origin of literary genera.

2. Signs of generic division of literature: the subject of the image, speech structure, ways of organizing artistic time and space.

3. Specific features of lyrics as a type of literature. The relationship between objective and subjective in a lyrical work. The image of a lyrical hero.

The division of lyrics as a genus into types (genres). Main lyrical genres: ode, epistle, elegy, lyric poem, etc.

4. Specific features of the epic as a type of literature. The predominance of the objective principle in the narrative. The image of the narrator. Main epic genres:

novel, story, short story, poem, epic, fairy tale, fable, etc.

5. Specific features of drama as a type of literature. Drama and theater.

The main genres of drama: tragedy, drama, comedy, vaudeville, melodrama, etc.

6. Intergenre and intergeneric formations. Possibilities for synthesizing elements of lyric, epic and drama within one work of art.

Give characteristics of genders and genres based on works of children's literature. Make a diagram of literary types and genres. Indicate 4-5 works of fiction for children and adults, each belonging to a particular genre.

Literature:

1. Belinsky V.G. Division of poetry into genera and types // Belinsky V.G. Full personal

Op. T.5. M., 1954. (Make a brief summary of the article).

2. Veselovsky A.N. Three chapters from historical poetics (1899) (Syncretism of ancient poetry and the beginnings of differentiation of poetic genera) // Introduction to literary criticism. Reader / Ed. P. Nikolaeva. M., 1997. P.296-297. (You can use other anthologies that contain fragments from the work of A.N.

Veselovsky "Historical poetics").

3. Volkov I.F. Theory of literature. M., 1995.

4. Timofeev L.I. Fundamentals of literary theory. M., 1976.

5. Tomashevsky B.V. Theory of literature. Poetics. M., 1996.

6. Kozhinov V.V. On the problem of literary genres and genres // Theory of literature.

The main problems in historical coverage. Book 2. M., 1964.

7. Chernets L.V. Literary genres: Problems of typology and poetics. M., 1982.

Corresponding articles in dictionaries and reference books.

Topic 2.5. Poetic language.

1. Literary language and the language of a literary work, their features, interrelation and interdependence.

2. Language as “the primary element of literature” (M. Gorky). Language and style.

4. Common words as the basis of poetic vocabulary.

5. Archaisms, their role in children's books. Show with the example of a poem by S.Ya.

Marshak "Fairy tale".

6. Neologisms, their role in children's books. Show by example the works of K.I.

Chukovsky and V.V. Mayakovsky.

7. Dialectisms, their role in children's books. Show with the example of M.A.’s story.

Sholokhov “Nakhalenok”, tales by P.P. Bazhova.

8. Vulgarisms, their role in children's books. Show with the example of a story by A.P.

Gaidar "Timur and his team".

9. Artistic functions of homonyms, synonyms and antonyms.

Tropes and their role in literary text.

1. Polysemy of the word in an artistic context. The concept of a path.

2. Epithets, their types, ideological and artistic role. Give examples.

3. Comparisons, their types, ideological and artistic role. Give examples.

4. Metaphors and their meaning in a work of art. Deployment and implementation of metaphor. Give examples.

5. Personification. Give examples.

6. Allegory. Give examples.

7. Metonymy, its types, ideological and artistic role. Synecdoche. Give examples.

8. Periphrase and its functions, ideological and artistic role. Give examples.

9. Functions of hyperbole and litotes in a literary text. Examples.

10. Irony, its meaning.

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LITERARY STUDIES- the science of the principles and methods of researching fiction and the creative process;

The science that comprehensively studies art. literature, its essence, origin and societies. communications; body of knowledge about the specifics of literary and literary arts. thinking, genesis, structure and functions of literature. creativity, about local and general patterns of historical literature. process.

Main disciplines:

Literary theory– the doctrine of a literary work, its content, structure and functions, types and genres of literature, artistic styles and movements.

History of literature– the doctrine of the main milestones of evolution, artistic literature, the path of specific writers, the fate of works.

Literary criticism– evaluation of works of art from the point of view of modernity.

* Projective activity

Auxiliary disciplines:

Bibliography- a scientific discipline that studies the history, theory and methodology of bibliography, as well as bibliographic. source study. Basic tasks of B.L.: assistance to literary historians and literary scholars in research. work

Source study(including archival science): a scientific discipline that develops the theory and history of historical sources, as well as methods for studying them. The subject of source studies is a historical source and methods of searching and studying it.

Textual criticism: studies works of writing, literature and folklore in order to restore history, critical. checking and establishing them texts for their further research, interpretation and publication.

2. Literary criticism and linguistics. Literary criticism and other sciences.

LITERARY STUDIES AND LINGUISTICS are two components of one science: philology.

Literary criticism is the science of literature. Linguistics (linguistics) is the science of language. These sciences have much in common: both of them - each in their own way - study the phenomena of literature. Therefore, over the past centuries they have developed in close connection with each other under the general name “philology”.

Essentially, literary criticism and linguistics are different sciences, since they set themselves different cognitive tasks. Linguistics studies the phenomena of literature, or more precisely, the phenomena of verbal activity of people, in order to establish in them the features of the natural development of those languages ​​spoken and written by various peoples around the world. Literary studies studies fiction (more precisely, all literary literature - written and oral) of various peoples of the world in order to understand the features and patterns of its own content and the forms that express them.

Nevertheless, literary studies and linguistics constantly interact with each other and help each other. Along with other phenomena of literature, fiction serves as very important material for linguistic observations and conclusions about the general characteristics of the languages ​​of certain peoples. But the peculiarities of the languages ​​of artistic works, like any other, arise in connection with the peculiarities of their content. And literary criticism can give linguistics a lot for understanding these substantive features of fiction, which explain the inherent features of language. But for its part, literary criticism in the study of the form of works of art cannot do without knowledge of the characteristics and history of the languages ​​in which these works are written. Here linguistics comes to his aid. This assistance varies when studying literature at different stages of its development.

Modern literary criticism is also inseparable from aesthetics; it is closely related to philosophy, sociology, history and psychology.

LITERARY STUDIES AND HISTORY. Works of artistic literature always belong to one or another people in whose language they were created, and to a certain era in the history of this people. Literary studies cannot fail to take into account the close connection between the development of artistic literature and the historical life of individual peoples. Moreover, it makes the understanding of these connections the basis of its study. As a result, literary criticism itself acts as a socio-historical science, standing among the historical sciences that study from different sides the development of the social life of the peoples of the world. Works of artistic literature always reflect the originality of the historical era of national life in which they were created.

Without understanding this, without knowing many facts, events, relationships characteristic of the time when certain works arose, without the ability to delve into the very “spirit” of that era or its period, it is impossible to scientifically study fiction. Therefore, a literary critic must always turn to other historical sciences so that they arm him with the appropriate knowledge and information.

PHILOSOPHY and AESTHETICS serve as a methodological basis for literary criticism.

FOLKLORISTICS, ART SCIENCE close to literary studies in terms of tasks and subject of research.

HISTORY, PSYCHOLOGY and SOCIOLOGY similar to Lit-Ved. general humanitarian orientation.

Section II.

Summary of theoretical material

Topic I. Literary studies as a science.

(Source: Zenkin S.N. Introduction to literary criticism: Theory of literature: Textbook. M.: RSUH, 2000).

1. Prerequisites for the emergence of literary criticism as a science

2. The structure of literary criticism.

3. Literary disciplines and subjects of their study

3. Ways of approaching the text: commentary, interpretation, analysis.

4. Literary criticism and related scientific disciplines.

The subject of any science is structured, isolated in the continuous mass of real phenomena by this science itself. In this sense, science is logically prior to its subject, and in order to study literature, one must first ask the question of what literary criticism is.

Literary criticism is not something to be taken for granted; in terms of its status, it is one of the most problematic sciences. Indeed, why study fiction - that is, the mass production and consumption of obviously fictitious texts? And how is it justified in general (Yu.M. Lotman)? So, the very existence of the subject of literary criticism needs explanation.

Unlike a number of other cultural institutions that have a conventionally “fictional” nature (such as, for example, the game of chess), literature is a socially necessary activity - proof of this is its compulsory teaching at school in a variety of civilizations. In the era of romanticism (or at the beginning of the “modern era,” modernity) in Europe, it was realized that literature was not just a mandatory set of knowledge for a cultural member of society, but also a form of social struggle and ideology. Literary competition, unlike sports competition, is socially significant; hence the possibility, when speaking about literature, to actually judge life (“real criticism”). In the same era, the relativity of different cultures was discovered, which meant the rejection of normative ideas about literature (ideas of “good taste”, “correct language”, canonical forms of poetry, plotting). Culture has variations; it does not have one fixed norm.

These options have to be described not for the purpose of determining the best (so to speak, identifying the winner), but to objectively clarify the capabilities of the human spirit. This is what literary criticism that emerged in the romantic era did.

So, two historical prerequisites for scientific literary criticism are the recognition of the ideological significance of literature and cultural relativity.

The specific complexity of literary criticism lies in the fact that literature is one of the “arts,” but a very special one, since its material is language. Each science of culture is a kind of metalanguage for describing the primary language of the corresponding activity.

The difference between metalanguage and the language of an object, required by logic, is given by itself when studying painting or music, but not when studying literature, when one has to use the same (natural) language as literature itself. Reflection on literature is forced to carry out the difficult work of developing its own conceptual language, which would rise above the literature it studies. Many forms of such reflection are not scientific in nature. Historically, the most important of them are criticism, which arose many centuries before literary criticism, and another discourse that has long been institutionalized in culture - rhetoric. Modern literary theory largely uses the ideas of traditional criticism and rhetoric, but its general approach is significantly different. Criticism and rhetoric are always more or less normative in nature.

Rhetoric is a school discipline designed to teach a person how to construct correct, elegant, persuasive texts. From Aristotle comes the distinction between philosophy, which seeks truth, and rhetoric, which works with opinions. Rhetoric is needed not only by a poet or writer, but also by a teacher, lawyer, politician, and in general by any person who has to convince someone of something. Rhetoric is the art of fighting to convince the listener, standing on a par with the theory of chess or the art of war: all these are tactical arts that help to achieve success in competition. Unlike rhetoric, criticism has never been taught in school; it belongs to the free sphere of public opinion, therefore it has a stronger individual, original principle. In the modern era, a critic is a free interpreter of a text, a type of “writer.” Criticism uses the achievements of rhetorical and literary knowledge, but does this in the interests of literary and/or social struggle, and the appeal of criticism to the general public puts it on a par with literature. So, criticism is located at the intersection of the boundaries of rhetoric, journalism, fiction, and literary criticism.

Another way of classifying metaliterary discourses is by “genre” distinguishing between three types of text analysis: commentary, interpretation, poetics. A commentary is typically characterized by an expansion of the text, a description of all kinds of extra-texts (these are the facts of the author’s biography or the history of the text, the responses of other people to it; the circumstances mentioned in it - for example, historical events, the degree of veracity of the text; the relationship of the text with the linguistic and literary norms of the era , which may become obscure to us, like outdated words; the meaning of deviations from the norm is the author’s ineptitude, adherence to some other norm, or a conscious breakdown of the norm). When commenting, the text is fragmented into an unlimited number of elements related to the context in the broadest sense of the word. Interpretation reveals a more or less coherent and holistic meaning in the text (always necessarily partial in relation to the whole of the text); it always comes from some conscious or unconscious ideological premises, it is always biased - politically, ethically, aesthetically, religiously, etc. It comes from a certain norm, i.e. this is a typical activity of a critic. The scientific theory of literature, since it deals with the text and not the context, is left with poetics - the typology of artistic forms, more precisely the forms and situations of discourse, since they are often indifferent to the artistic quality of the text. In poetics, a text is viewed as a manifestation of the general laws of narration, composition, character systems, and language organization. Initially, literary theory is a transhistorical discipline about eternal types of discourse, and it has been this way since Aristotle. In the modern era, its goals have been rethought. A.N. Veselovsky formulated the need for historical poetics. This combination - history + poetics - means recognition of the variability of culture, the change in it of different forms, different traditions. The process of such a change also has its own laws, and their knowledge is also the task of literary theory. So, the theory of literature is not only a synchronic, but also a diachronic discipline; it is a theory not only of literature itself, but also of the history of literature.

Literary studies correlates with a number of related scientific disciplines. The first of these is linguistics. The boundaries between literary criticism and linguistics are fluid; many phenomena of speech activity are studied both from the point of view of their artistic specificity and beyond it, as purely linguistic facts: for example, narrative, tropes and figures, style. The relationship between literary criticism and linguistics on the subject can be characterized as osmosis (interpenetration), between them there is, as it were, a common strip, a condominium. In addition, linguistics and literary criticism are connected not only by subject matter, but also by methodology. In the modern era, linguistics provides methodological techniques for the study of literature, which has given grounds to combine both sciences within the framework of one general discipline - philology. Comparative-historical linguistics developed the idea of ​​the internal diversity of languages, which was then projected into the theory of fiction; structural linguistics provided the basis for structural-semiotic literary criticism.

From the very beginning of literary criticism, history interacts with it. True, a significant part of its influence is associated with commentary activity, and not theoretical-literary activity, with a description of the context. But as historical poetics develops, the relationship between literary criticism and history becomes more complex and becomes bilateral: there is not just an import of ideas and information from history, but an exchange. For the traditional historian, the text is an intermediate material that must be processed and overcome; the historian is busy “criticizing the text,” rejecting unreliable (fictional) elements in it and isolating only reliable data about the era. A literary critic works with the text all the time - and discovers that its structures find their continuation: in the real history of society. This, in particular, is the poetics of everyday behavior: relying on patterns and structures extrapolated to extraliterary reality.

The development of this two-way relationship between literary criticism and history was particularly stimulated by the emergence and development of semiotics. Semiotics (the science of signs and sign processes) developed as an extension of linguistic theories. She has developed effective procedures for analyzing text, both verbal and non-verbal, for example, in painting, cinema, theater, politics, advertising, propaganda, not to mention special information systems from maritime flag codes to electronic codes. The phenomenon of connotation, which is clearly observed in fiction, turned out to be especially important; that is, literary criticism here too has become a privileged area for the development of ideas extrapolated to other types of sign activity; However, literary works are not only of a semiotic nature and cannot be reduced to only symbolic discrete processes.

Two more related disciplines are aesthetics and psychoanalysis. Aesthetics interacted more with literary criticism in the 19th century, when theoretical reflection on literature and art was often carried out in the form of philosophical aesthetics (Schelling, Hegel, Humboldt). Modern aesthetics has shifted its interests to a more positive, experimental sphere (specific analysis of ideas about the beautiful, ugly, funny, sublime in different social and cultural groups), and literary criticism has developed its own methodology, and their relationship has become more distant. Psychoanalysis, the latest of the “companions” of literary criticism, is a partly scientific, partly practical (clinical) activity that has become an important source of interpretative ideas for literary criticism: psychoanalysis provides effective diagrams of unconscious processes, also identified in literary texts. The main two types of such schemes are, firstly, Freudian “complexes”, the symptoms of which Freud himself began to identify in the literature; secondly, Jung’s “archetypes” are prototypes of the collective unconscious, which are also widely found in literary texts. The difficulty here lies precisely in the fact that complexes and archetypes are discovered too widely and easily and are therefore devalued and do not allow us to determine the specifics of the text.

This is the circle of metaliterary discourses in which literary criticism finds its place. It grew out of the process of reworking criticism and rhetoric; it has three approaches - commentary, interpretation and poetics; it interacts with linguistics, history, semiotics, aesthetics, psychoanalysis (as well as psychology, sociology, theory of religion, etc.). The place of literary criticism turns out to be uncertain: it often deals with “the same thing” as other sciences, sometimes approaching the boundaries beyond which science becomes art (in the sense of “art” or practical “art” like military science). This is due to the fact that literature itself in our civilization occupies a central position among other types of cultural activity, which determines the problematic position of the science of it.

Literature: Aristotle. Poetics (any publication); Genette J. Structuralism and literary criticism // Genette J. Figures: Works on poetics: In 2 volumes. T. 1. M., 1998; It's him. Criticism and poetics // Ibid. T. 2; It's him. Poetics and history // Ibid.; Lomman Yu.M. The structure of a literary text. M., 1970; Todorov Ts. Poetics / / Structuralism: “for” and “against” M. 1975; Tomashevsky B.V. Theory of Literature: Poetics (any edition); Jacobson R.O. Linguistics and poetics // Structuralism: “for” and “against” M. 1975.

Answers to the exam in literary criticism

Literary criticism as a science.

Literary criticism–

the science of fiction

philological discipline

Literary criticism- one of the two philological sciences - the science of literature. Another philological science, the science of language, is linguistics, or linguistics.

Subject of study- not only fiction, but all the artistic literature of the world - written and oral.

LITERARY STUDIES as a science arose at the beginning of the 19th century.

Subject of literary criticism is not only fiction, but also all the artistic literature of the world - written and oral.

Literary studies faces two main questions. Firstly, why does every nation, in every era, along with other types of social consciousness, also have artistic literature (literature), what is its significance for the life of this people and all humanity, what is its essence, its characteristics, the reason for its emergence? Secondly, why is the artistic literature (literature) of each people different in each era, as well as within the era itself, what is the essence of these differences, why does it change and develop historically, what is the reason for this and not another development?

Modern literary criticism consists of THREE MAIN SECTIONS:

literary theory;

history of literature;

literary criticism.

THEORY OF LITERATURE studies the general laws of the literary process, literature as a form of social consciousness, literary works as a whole, the specifics of the relationship between the author, work and reader. Develops general concepts and terms. Literary theory interacts with other literary disciplines, as well as history, philosophy, aesthetics, sociology, and linguistics. Poetics is a part of literary theory that studies the composition and structure of a literary work. The theory of the literary process is a part of the theory of literature that studies the patterns of development of genders and genres. Literary aesthetics – studies literature as an art form.

HISTORY OF LITERATURE provides a historical approach to works of art. A literary historian studies every work as an indivisible, integral unity, as an individual and valuable phenomenon in its own right among other individual phenomena. Analyzing individual parts and aspects of a work, he strives only to understand and interpret the whole. This study is complemented and united by historical coverage of what is being studied, i.e. establishing connections between literary phenomena and their significance in the evolution of literature. Thus, the historian studies the grouping of literary schools and styles, their succession, the importance of tradition in literature, and the degree of originality of individual writers and their works. Describing the general course of development of literature, the historian interprets this difference, discovering the reasons for this evolution, which lie both within literature itself and in the relationship of literature to other phenomena of human culture, in the environment of which literature develops and with which it is in constant relationship. Literary history is a branch of general cultural history.

LITERARY CRITICISM deals with the interpretation and evaluation of works of literature from the point of view of modernity (as well as pressing problems of social and spiritual life, therefore it is often of a journalistic, political and topical nature), from the point of view of aesthetic value; expresses the self-awareness of society and literature in their evolution; identifies and approves the creative principles of literary trends; has an active influence on the literary process, as well as directly on the formation of public consciousness; relies on the theory and history of literature, philosophy, aesthetics.

AUXILIARY LITERARY DISCIPLINES:

textual criticism– studies the text as such: manuscripts, editions, editions, time of writing, author, place, translation and comments;

paleography– study of ancient text carriers, manuscripts only;

bibliography– an auxiliary discipline of any science, scientific literature on a particular subject;

library science– the science of funds, repositories of not only fiction, but also scientific literature, union catalogues.

Literary theory has 2 main content blocks:

methodology

Methodology.

In the development of literary theory, two opposing trends are observed:

passion for the theories of comparativeism and formalism (the very concept of “content of a work” is discarded, it is argued that literature consists only of form, that only form needs to be studied. Life is the “material” necessary for the writer for formal constructions - compositional and verbal. A work of art is a system creative techniques that have aesthetic significance).

strengthening and deepening the materialist worldview in literature.

Literary criticism faces two main questions:

why does every nation in every era, along with other types of social consciousness, also have artistic literature (literature, what is its significance for the life of this people and all humanity, what is its essence, its features, the reason for its emergence.

why the literature of each people is different in each era, as well as within the era itself, what is the essence of these differences, why does it change and develop historically, what is the reason for this and not other development.

Literary criticism can answer these questions only if it establishes some connections between the literature of individual peoples and their lives as a whole.

Method of literary criticism- a certain understanding of the connections that exist between the development of literature and the general development of the life of peoples and all humanity.

Methodology– theory of the method, doctrine about it.

Poetics.

Poetics is the study of the organization of the artistic whole, the science of the means and methods of expressing artistic content. Happens historical: development of the components of literature (genera, genres, tropes and figures). And it also happens theoretical: examines the most general laws of content.

The ancient concept of art as an imitation of nature. Plato and Aristotle on the essence of art

Mimetic nature of man - imitation (Plato, Aristotle)

Plato belonged to the idealistic tradition. The primacy of the idea, the secondary nature of matter. "Imitation of imitation."

World of ideas

World of Items

Imitation of the world of objects

Art is not allowed to penetrate into the sphere of ideas. The sensual and emotional nature of art. It is capable of thinking very indirectly, and therefore is unpredictable. It is fashionable to use music to educate both heroes and cowards. The treatise “The State” crowns the poets, but sends them outside the city walls. There should be no risk areas.

Aristotle also used the concept of “mimesis”. The material world is primary, and the ideal world is secondary. “Poetics” is art from the point of view of cognitive capabilities. The concept of recognition and catharsis. Recognition of the known (typical - the universal is manifested in the content, but the form is always different) and recognition of the unknown (state of catharsis - recognition based on the material of a tragic loss, possibly unknown in reality. Is productive).

Classical theory of the tragic: a tragic situation involves absolutely valuable characters or value systems. The scale of the hero is very important; it determines the possibility of experiencing a cathartic state.

Aristotle compares poetry and history. The historian writes about what happened, and the poet deals with what could have been. Anthology of reality. Reality is only one version of the possible. In history, vice is not always punished, but in art it is almost always punished.

3 types of literature:

Epic - imitation of an event

Drama - imitation of action

Lyrics - imitation of feeling

German idealistic aesthetics. Basic concepts of the creative and aesthetic concepts of Kant, Schelling, Hegel.

In the era of Classicism mimesis - imitation of examples of the graceful era. The doctrine of three unities. Aesthetics - the sensual - the science of beauty, of beauty, it becomes a branch of philosophy.

"Aesthetics" by Kant. Kant is the founder of a new picture of the world, which moves away from the previous isomorphism. 2 worlds: nature and human culture. Human beings are endowed with two properties: the ability to freedom and goal-setting.

The beautiful has no purpose, it lacks a pragmatic principle.

The Age of Romanticism – Schelling– unity of form and content. Natural philosophical aesthetics. The task of art is to imitate nature in its ability to create. Influence on Russian literature. Supporters of pure art.

Hegel. The most severe departure from the mimetic nature of art. Art is the sphere of ideal. The ideal is the manifestation of the universal in the individual. Art BRINGS to life the idea of ​​an ideal. Typification is the embodiment of the universal in the individual. Hegel identified 3 types of literature, but not according to the mimetic principle, but according to the “subject-object” dialectic:

Epic – predominance of the object, passivity of the artist

Lyrics - the predominance of the subject

Drama is a synthesis of objective and subjective: situation, events, conflict - the objective is carried out through the subject.

Realism - the need to study the world - a complex of humanities. Art is a surrogate for life. The art world is divided into two groups: progressive and conservative.

Academic schools in literary criticism: mythological, cultural-historical, comparative-historical, psychological.

Academic schools arise as a result of the Kantian revolution.

The Romantic era in Germany gave birth to mythological school: Schelling, Schlegel, Brothers Grimm. Submission to the national spirit is the idea of ​​national mythology. We dealt with genesis: we need to take material from the past.

Literary schools developed according to the law of the pendulum - the functional principle comes to replace it - cultural-historical school(France). Hippolyte Taine: the nature of art is determined by race, environment, moment. The work is a product of this “bouquet”. Literature is good at synthesis, but the desire for rationality alone will ruin it (in the field of fiction). Here literature ceases to be elegant and takes on a supporting role. It only captures an underestimation of the aesthetic nature of art. Literature = literature. Complete lack of interest in a particular work. The biographical method emerges. A separate work and the stages of creativity as a whole through biography + there is an aesthetic principle. A work is not only epistolary evidence. Art is the sphere of truth (according to Solovyov) - access to the philosophical level, reflection. Study of attributes. Entirely focused on studying the real dependence of literature on the conditions and circumstances of national historical life. The most prominent representative in Russia is A.N. Pypin, author of numerous works on the history of Russian literature and folklore. Representatives of this trend were sincerely convinced that literature, like other types of art, arises and develops under the influence of various conditions, relationships, circumstances that exist in the life of one or another people in one or another historical era. They called them factors of literary development, sought to study them carefully, tried to find as many of them as possible in order to be able to explain the features of any genre. But they could not figure out where these factors come from.

Comparativism - comparative historical literary criticism. Everything new is well forgotten old - the principle of coincidences. Literary studies is entering the universal stage. But what to compare with? In Russia A.V. Veselovsky “Historical poetics” dedicated to folklore. The plot is what comes to mind. And the unwinding of the plot is a plot. Certain motives (evil stepmother, transformation into a monster). Coded material plots. The set of motives are wandering plots. Founder - T. Benfey. The essence of comparativeism lies not in comparative study, but in a special understanding of the development of literature - in the theory of borrowing.

According to this theory, the historical development of literature of different nations comes down to the fact that folk singers and storytellers, and later writers of different countries, borrow from each other the motifs from which works are composed. From their point of view, the history of literature is a continuous transition (migration) of the same once-emerging motifs from work to work, from one national literature to another.

Psychological school– mechanism of perception of the work (Potebnya). A meeting of two consciousnesses: the author and the reader.

Psychoanalytic interpretation of art, Russian formalism and structuralism.

The first school in Russia - Russian formalism– formed her rejection of the tradition of academic literary criticism: the pursuit of abstract things, an attempt to analyze the artistic image (Schelling “The Symbolic Nature of the Image and Its Inexhaustibility”). Academic literary criticism has a colossal sin: it has not come closer to answering the question: What is literature? How is it different from non-literature?

Circle of Philologists (1916): Shklovsky, Ekhenbaum, Tynyanov, Yakobson, Zhermudsky. The manifesting moment - 1914 - Shklovsky’s book “The Resurrection of the Word” and “Art as a Technique” (1917).

The priority of form is the only given that can fix the specifics of literature.

Attention in the nature of the word (material is a unit of the artistic whole)

Interest in the process of making art, cultivating the poetic (Ekhenbaum “How was Gogol’s Overcoat Made?”)

Late formalism. Tynyanov. Defamiliarization is conceived as a combustible technique that is capable of organizing and promoting the process of the emergence of something new in art.

Structuralism. Jacobson is the founder of American structuralism. The era of positivism in science. The humanities and natural sciences tried to come as close to each other as possible. The birth of semiotics. The desire to think about a work from the point of view of an internal structure that is important and organizingly significant. They did not abandon content, but introduced the concept of “content of form.” The principle of binary: oppositional moments, lines of tension between which create special fields. Variant and invariant. Description of any structure. The moment of destruction is in structuralism itself. Roland Barthes School. Unstructured actions destroyed this structure - a cognitive crisis.

Poststructuralism. The structure of the world ceases to be the organizer of the world. Decentralization, variability of the world. Refusal of big ideas (progress). Relativistic picture of the world. The totality of the principle of relativity. There is no single center: it is where the subject acts. The concept of “text”, which originated in the depths of structuralism. Only the formal data (composition, size, division of the text) does not change depending on the will of the reader. Intertext– a product of poststructuralism (Barthes and Christian). He is not interested in the word as a material, but in allusions and hidden quotes. Deconstruction is the fundamental decomposition of the world of a work in order to capture spontaneous semantic meanings not fixed by the author himself.

The figurative nature of art. Properties of an artistic image.

Art is one of the types of social consciousness and spiritual culture of humanity. Like their other types, in particular science, it serves as a means of understanding life. What are the features of art that distinguish it from science and other types of social consciousness, in other words, what are its specific properties? First of all, this is a difference in the means in which art and science express their content. It is immediately noticeable that science uses abstract concepts for this, and art uses images. This distinctive property of works of art was first noticed over two thousand years ago by ancient Greek philosophers, especially Plato and Aristotle, who called art “imitation of nature.” Without using the word “image,” they essentially understood that art recreates, reproduces life in images.

What are images in contrast to reasoning, evidence, conclusions (syllogisms), which are created with the help of abstract concepts? What is the difference between images and concepts?

Both are means of reflecting reality in the minds of people, means of knowing it. But concepts and images reflect life in different ways in its two main aspects, which exist in all its phenomena.

The high degree of clarity and activity of expression of the general, generic in the individuality of this or that phenomenon makes this phenomenon a type of its kind, a typical phenomenon (Gr. typos - imprint, imprint).

For art historians, an “image” is not just a reflection of a separate phenomenon of life in the human mind, but a reproduction of a phenomenon already reflected and realized by the artist with the help of certain material means and signs - with the help of speech, facial expressions and gestures, outlines and colors, a system of sounds and etc.

Images always reproduce life in its individual phenomena and in the unity and interpenetration of their common and individual features that exists in the phenomena of reality itself.

A.A. Potebnya in his work “Thought and Language” considered the image as reproduced representation - as a certain sensory perceived reality. It is this meaning of the word “image” that is vital for the theory of art, which distinguishes between scientific-illustrative, factual (informing about facts that actually took place) and artistic images. The latter (and this is their specificity) are created with the explicit participation of the imagination: they do not simply reproduce isolated facts, but condense and concentrate aspects of life that are significant for the author in the name of its evaluative comprehension. The artist’s imagination is, therefore, not only a psychological stimulus for his work, but also a certain reality present in the work. In the latter there is a fictitious objectivity that does not have a full correspondence with itself in reality. Nowadays, the words “sign” and “sign” have taken root in literary studies. They have noticeably replaced the usual vocabulary (“image”, “imagery”). Structuralism and the poststructuralism that replaced it are oriented towards semiotics.

The artistic image captures or expresses the most essential features of art as a whole. The purpose of the image in art– reflect objective reality in a specific form. Any image is objective in its source - the reflected object and subjective in the form of its existence.

Artistic image– this is the unity of reflection and creativity, as well as perception, in which the specific role of the subject of artistic activity and perception is expressed. The artistic image is a universal category of artistic creativity, a means and form of mastering life through art. It also plays the role of a boundary line that “joins” the real world and the world of art. It is thanks to the image that the artistic consciousness is filled with thoughts, feelings, and experiences of real life and existence.

The definition of “figurative” is applicable both to individual expressive techniques, metaphors, comparisons, epithets, and to holistic, enlarged artistic formations - character, artistic character, artistic conflict. In addition, there is a tradition of highlighting the figurative structure of entire artistic movements, styles, and methods. We are talking about images of medieval art, Renaissance, classicism. The only common feature of all these images is that they are artistic images.

Just as art is born from reality, from practical activity, so the artistic image is rooted in imagery, imaginative thinking. An artistic image embodied in a work, as a rule, has its own creator, the artist. The quality of artistry will be possessed by that imaginative thinking that meets the criteria historically developed by aesthetics and artistic practice, such as a high degree of generalization, unity of content and form, originality, etc. Images of art, while maintaining a connection with the sphere of sensuality, contain all the depth and originality of meaningful artistry . This was noted by Hegel, who wrote that sensual images and sounds appear in art not only for their own sake and their immediate manifestation, but in order to satisfy the highest spiritual interests in this form, since they have the ability to awaken and touch all the depths of consciousness and evoke their response in the spirit (Hegel “Aesthetics”). It followed that An artistic image is nothing more than the expression of an abstract idea in a concrete sensory form.

Artistic creativity is the process of creating new aesthetic values. The artist’s thinking is metaphorical and purely individual. Artistic cognition is an associative process in which not the natural laws of the development of a phenomenon are revealed, but its connections with a person, its meaning for a person. The artistic image merges with the work that embodies it and some of its levels exist only in the material of art (in word, sound, paint, etc.).

An artistic image as a form of thinking in art is an allegorical, metaphorical thought that reveals one phenomenon through another.

Metaphorical- this is an element of the artistic system, which is based on identifying the similarities between the phenomena of reality. The image reveals one object through another, comparing two different independent phenomena. This is the essence of artistic thought: it is not imposed from the outside by the objects of the world, but organically follows from their comparison, from their interaction. For example, in the novels of L.N. Tolstoy and F.M. Dostoevsky's heroes are revealed through the reflections and shadows that they cast on each other, on the world around them, and which it, in turn, casts on them. In Tolstoy’s “War and Peace,” the character of Andrei Bolkonsky is revealed through his love for Natasha, and through his relationship with his father, and through the sky of Austerlitz, and through thousands of things and people that are “connected” with every person. An artistic image always connects what is at first glance incompatible and, thanks to this, reveals some hitherto unknown aspects and relationships of real phenomena.

Artist's Mind associatively. For him, like for Chekhov's Trigorin, a cloud looks like a piano, and the shine of the neck of a broken bottle and the shadow of a mill wheel give birth to a moonlit night.

In a certain sense, the artistic image is built on paradoxical and the seemingly absurd formula: “There is an elderberry in the garden, and a guy in Kyiv,” through the “conjugation” of phenomena far removed from each other.

Self-movement of an artistic image. An artistic image has its own logic, it develops according to its own internal laws, and they cannot be violated. The artist gives direction to the “flight” of the artistic image, puts it into orbit, but from that moment on he cannot change anything without committing violence against artistic truth. The artistic image lives its own life, organizes, and crushes the artistic space under itself in the flow of the artistic process. The vital material that underlies the work leads one along, and on this path the artist sometimes comes to a conclusion that is completely different from the one he originally aimed for. Heroes and heroines of works of fiction behave towards their authors as children behave towards their parents. They owe their lives to the authors, their character is largely formed under the influence of the “parents”-authors, the heroes (especially at the beginning of the work) “obey”, expressing a certain respect, but as soon as their character takes shape and strengthens, is finally formed, they begin act independently, according to your own internal logic.

Figurative thought - ambiguous. An artistic image is as deep, rich and multifaceted in its meaning and significance as life itself. A great artistic image is always multifaceted; it reveals an abyss of meaning that becomes visible after many centuries. Each era finds new sides and facets in the classical image, giving it its own content, its own interpretation.

Understatement, of course, is one of the aspects of the ambiguity of the artistic image. A.P. Chekhov said that the art of writing is the art of crossing out. And E. Hemingway compared a work of art to an iceberg. Only a small part of it is visible on the surface; the main and essential part is hidden under water. This is what makes the reader active, and the very process of perceiving a work turns it into co-creation. The artist forces the reader, viewer, listener to think out and complete the drawing. However, this is not arbitrary speculation. The perceiver is given an initial impulse for reflection, he is given a certain emotional state and a program for processing the information received, but he retains both free will and space for creative imagination. The understatement of the artistic image, stimulating the reader’s thoughts, is manifested with particular force in the principle of non finita (lack of ending, incompleteness of the work). How often, especially in the art of the 20th century, a work breaks off mid-sentence, does not tell us about the fate of the heroes, does not resolve the plot lines!

... By introduction to literary criticism.-Minsk, 1973. 8. Krupchanova L.M. Introduction to literary criticism ... By working with test tasks By course and homework, recommendations By preparation for exams, recommendations By ... How are resolved in science questions...

Literary criticism is the science of fiction, its origin, essence and development. Literary studies studies the fiction of various peoples of the world in order to understand the features and patterns of its own content and the forms that express them.

Literary studies dates back to ancient times. The ancient Greek philosopher Aristotle, in his book “Poetics,” was the first to give a theory of genres and types of literature (epic, drama, lyric poetry).

In the 17th century, N. Boileau created his treatise “The Art of Poetry”, based on the earlier work of Horace (“The Science of Poetry”). It isolates knowledge about literature, but it was not yet a science.

In the 18th century, German scientists tried to create educational treatises (Lessing “Laocoon. On the Boundaries of Painting and Poetry”, Gerber “Critical Forests”).

At the beginning of the 19th century in Germany, the Grimm brothers created their theory.
In Russia, the science of literature as an independent discipline, as a specific system of knowledge and a tool for analyzing literary phenomena with its own concepts, theory and methodology was established by the middle of the 19th century.
Modern literary criticism consists of three independent, but closely related main disciplines:

• literary theory
• history of literature
• literary criticism.

Literary theory explores the nature of verbal creativity, develops and systematizes laws, general concepts of fiction, patterns of development of genders and genres. Literary theory studies the general laws of the literary process, literature as a form of social consciousness, literary works as a whole, the specifics of the relationship between the author, work and reader.

The theory of literature develops in the process of philosophical and aesthetic comprehension of the entire set of facts of the historical and literary process.

^ The history of literature explores the uniqueness of various national literatures, studies the history of the emergence, change, and development of literary movements and trends, literary periods, artistic methods and styles in different eras and among different peoples, as well as the creativity of individual writers as a naturally determined process.

The history of literature examines any literary phenomenon in historical development. Neither a literary work nor a writer’s creativity can be understood without connection with time, with the unified process of literary movement.

The history and theory of literature are closely interconnected. However, their means and techniques are different: literary theory seeks to determine the essence of the developing aesthetic system, gives a general perspective of the artistic process, and the history of literature characterizes specific forms and their specific manifestations.

^ Literary criticism (from the Greek kritike - the art of disassembling, judging) deals with the analysis and interpretation of works of art, evaluating them from the point of view of aesthetic value, identifying and approving the creative principles of a particular literary movement.

Literary criticism is based on the general methodology of the science of literature and is based on the history of literature. Unlike literary history, it illuminates the processes occurring primarily in the literary movement of our time, or interprets the literature of the past from the point of view of modern social and artistic problems. Literary criticism is closely connected both with life, social struggle, and with the philosophical and aesthetic ideas of the era.

Criticism shows the writer the merits and shortcomings of his work. Addressing the reader, the critic not only explains the work to him, but involves him in a living process of joint comprehension of what he has read at a new level of understanding. An important advantage of criticism is the ability to consider a work as an artistic whole and recognize it in the general process of literary development.

In modern literary criticism, various genres are cultivated - article, review, review, essay, literary portrait, polemical remark, bibliographic note.

The source study base for the theory and history of literature, literary criticism are auxiliary literary disciplines:

• textual criticism
• historiography
• bibliography

Textual criticism studies the text as such: manuscripts, editions, editions, time of writing. Studying the history of a text at all stages of its existence gives an idea of ​​the sequence of the history of its creation (the “material” embodiment of the creative process - sketches, drafts, notes, variants, etc.). Textual criticism also deals with establishing authorship (attribution).

Historiography is devoted to the study of the specific historical conditions for the appearance of a particular work.

Bibliography is a branch of scientific description and systematization of information about published works. This is an auxiliary discipline of any science (scientific literature on a particular subject), based on two principles: thematic and chronological. There is a bibliography for individual periods and stages, for personalities (authors), as well as a bibliography of fiction and literary criticism. Bibliographies can be scientific auxiliary (with explanatory annotations and brief comments) and recommendatory (containing lists of main publications on certain sections and topics).
Modern literary criticism is a very complex and moving system of disciplines, which is characterized by the close interdependence of all its branches. Thus, literary theory interacts with other literary disciplines; criticism is based on data from the history and theory of literature, and the latter takes into account and comprehends the experience of criticism, while criticism itself over time becomes the material of the history of literature, etc.
Modern literary criticism is developing in close connection with history, philosophy, aesthetics, sociology, linguistics, and psychology.

2. SPECIFICITY OF FICTION AS A FORM OF SOCIAL CONSCIOUSNESS. LITERATURE AND SCIENCE

The term “literature” refers to any works of human thought that are enshrined in the written word and have social significance. There are technical, scientific, journalistic, reference literature, etc. However, in a more strict sense, literature is usually called works of fiction, which in turn is a type of artistic creativity, i.e. art.
Art is a type of spiritual exploration of reality by a social person, with the goal of forming and developing his ability to creatively transform the world around him and himself. A work of art is the result (product) of artistic creativity. It embodies the artist’s spiritual and meaningful plan in a sensory and material form and is the main keeper and source of information in the field of artistic culture.

Works of art are a necessary accessory to the life of both an individual and human society as a whole.
Ancient forms of world exploration were based on syncretism. Over the course of centuries of human life and activity, various types of art arose. the boundaries of which were not clearly defined for a long time. Gradually, an understanding of the need to distinguish between artistic means and images characteristic of different arts came.

All types of art spiritually enrich and ennoble a person, imparting to him a lot of different knowledge and emotions. Outside of man and his emotions, art does not and cannot exist. The subject of art, and therefore literature, is a person, his inner and outer life and everything that is somehow connected with him.

The general properties of art find specific manifestation in its different types, which at different times were divided into visual (epic and dramatic literature, painting, sculpture and pantomime) and expressive (lyrical literature, music, choreography, architecture); then into spatial and temporal ones, etc. Their modern classification involves the division of classical types of art into spatial (architecture), temporal (literature), visual (painting, graphics, sculpture); expressive (music), presentational (theater, cinema); Recently, many arts have appeared that have a synthetic character.

Literature and science

There is a close connection between literature and science, since they are designed to understand nature and society. Fiction, like science, has enormous educational power. But science and literature each have their own subject of knowledge, and special means of presentation, and their own goals.

The distinctive character of poetic thought is that it appears before us in a living, concrete image. A scientist operates with a system of evidence and concepts, and an artist recreates a living picture of the world. Science, observing a mass of homogeneous phenomena, establishes their patterns and formulates them in logical concepts. In this case, the scientist is distracted from the individual characteristics of the object, from its concrete sensory form. When abstracting, individual facts seem to lose their objectivity and are absorbed into a general concept.

In art, the process of understanding the world is different. An artist, like a scientist, when observing life, goes from individual facts to generalizations, but expresses his generalizations in concrete sensory images.

The main difference between a scientific definition and an artistic image is that we can only understand a scientific logical definition, while we seem to see, imagine, hear, feel an artistic image refracted through our feelings.