World literature. Comprehensive preparation for the External Examination

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

MINISTRY OF EDUCATION AND SCIENCE OF THE RK

KAZAKH UNIVERSITY OF INTERNATIONAL RELATIONS AND WORLD LANGUAGES NAMED AFTER ABYLAI KHAN

Individual project

Specialty: foreign philology (RHF)

Discipline: Introduction to literary criticism

Completed by: Kibler Victoria

Checked by: Lyudinina O.E.

Almaty 2014

Introduction

Literature as the art of words

Spatial and temporal arts

Homer's techniques for "translating" the "language" of spatial arts into the "language" of poetry"

The creative process of a writer

Semantics of terms denoting forms of human presence in a literary work

Introduction

literature spatial creative term

Literature works with words - its main difference from other arts. The meaning of the word was given back in the Gospel - a divine idea of the essence of the word. The word is the main element of literature, the connection between the material and the spiritual. A word is perceived as the sum of the meanings that culture has given it. Through the word it is carried out with the general in world culture. Visual culture is that which can be perceived visually. Verbal culture - more consistent with human needs - the word, the work of thought, the formation of personality (the world of spiritual entities). There are areas of culture that do not require serious consideration. There is literature at depth that requires a deep relationship and experience. Works of literature are a deep awakening of the inner powers of man. different ways, because literature has material.

Literature as the art of words

The language of fiction contains a huge aesthetic principle, therefore the author of a work of fiction determines the speech norm and is the creator of the language. Artistic speech incorporates a variety of forms of speech activity. For many centuries, the language of fiction was determined by the rules of rhetoric and oratory. Speech (including written) had to be convincing and impressive; hence the characteristic speech techniques - numerous repetitions, “embellishments”, emotionally charged words, rhetorical(!) questions, etc. Authors competed in eloquence, stylistics were determined by increasingly strict rules, and literary works themselves were often filled with sacred meaning (especially in the Middle Ages). As a result, to XVII century(the era of classicism) literature turned out to be accessible and understandable to a rather narrow circle educated people. Colloquial speech associated with communication between people in their privacy, therefore it is simple and free from regulation. In the XIX - XX centuries. Literature in general is perceived by writers and scientists as a unique form of conversation between the author and the reader; it is not without reason that the address “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-artistic speech (for example, diaries or memoirs); it easily allows deviations from the linguistic norm and carries out innovations in the field of speech activity (let us recall, for example, the word creation of Russian futurists). Today in works of art you can find the most modern forms speech activity - SMS quotes, excerpts from emails and much more. Moreover, they are often mixed different types arts: literature and painting/architecture, literature and music, etc. Imagery of speech is very often achieved through the use of words in a figurative meaning. For example: work is in full swing. The words that the writer uses in a figurative sense are called tropes (this is a Greek word translated as “image, turn, turn”). Among the tropes, the most often found and used are: Epitas, Similes, Metaphors. METAPHOR - the use of a word in a figurative meaning based on the similarity of two objects or phenomena (in other words - an unnamed comparison). A metaphor creates an image that is conveyed to the reader or listener. The term “literature” also refers to any works of human thought that are enshrined in the written word and have social significance. Literature is distinguished between technical, scientific, journalistic, reference, epistolary, etc. However, in the usual and more strict sense, literature refers to works of artistic writing.

Spatial and temporal arts

If you plunge headlong into modern art history literature and try to independently identify all the types of art that humanity has created over all the years of its development, you will very soon come to the conclusion that this is a very difficult and ambiguous question. You will be surprised to find out that in the modern art history literature of the world there is no description of a single and unquestionable, not to mention criticism, scheme or system for classifying types of art.

To address the issue of spatio-temporal forms of art, it is necessary to understand the classification of types of art. All species differ in specific ways of displaying the world and the senses used for perception. It is by these characteristics that it is determined which of the three types of groups of the classical classification a particular species fits:

1) The group of spatial types of art - it is also static, perceived by sight, works from this group have a clear connection between the disclosure of the artistic image and the spatial construction. This group includes: architecture, photography, painting, sculpture. They are called spatial types of art because for this group of arts spatial construction is essential in the disclosure of various artistic images.

2) The group of temporary arts - it is also dynamic, perceived by the ear (not in all cases), they are called arts because in them key value acquires a composition unfolding in time to reveal the image. This group includes: literature and music.

3) The group of spatio-temporal types of art - it is also synthetic, perceived simultaneously by hearing and sight, they are called because they simultaneously profess both spatial and temporal priorities in revealing the image. Spatiotemporal forms of art are sometimes called spectacular or synthetic. These include: cinema, theater, choreography.

The significant difference between the types of arts and the need for their existence is due to the fact that not one of them, by its own means, can give an artistic, comprehensive picture of the world. Such a picture of the world can only be created by the entire artistic culture of man, formed over centuries, as the creator of true art - art, which in turn consists of individual types of art.

Homer's techniques for "translating" the "language" of spatial arts into the "language" of poetry"

Without touching here on the question of how successful a poet can be in depicting bodily beauty, we can, however, consider the following proposition to be an indisputable truth. Since the entire boundless area of perfection is open to the poet for imitation, the outer, outer shell, in the presence of which perfection becomes beauty in sculpture, can only be for him one of the most insignificant means of awakening in us interest in his images.

In Homer there are two types of creatures and actions: visible and invisible. Painting cannot allow this difference: for it everything is visible, and visible in the same way.

If it is true that painting, in its imitations of reality, uses means and signs completely different from the means and signs of poetry, namely: painting - bodies and colors taken in space, poetry - articulate sounds perceived in time - if it is undeniable, that the means of expression must be in close connection with the expression, it follows that the signs of expression located next to each other should denote only such objects or such parts of them that in reality appear located next to each other; on the contrary, signs of expression following each other can only designate such objects or such parts of them as actually appear to us in a temporal sequence.

In works of painting, where everything is given only simultaneously, in coexistence, only one moment of action can be depicted, and therefore it is necessary to choose the most significant moment, from which both the previous and subsequent moments would become clear.

I find that Homer depicts nothing but successive actions, and that's all individual items he draws only to the extent of their participation in the action, and usually with no more than one line. Is it surprising if the painter sees little or no business for himself where Homer paints?

To characterize each thing, as I said, Homer uses only one trait. A ship for him is either a black ship, or a full ship, or a fast ship, or - at most - a well-equipped black ship. Homer does not enter into any further description of the ship. If special circumstances sometimes force Homer to stop our attention longer on some material object, then this still does not result in a picture that a painter could reproduce with his brush; on the contrary, with the help of countless techniques, he knows how to break the image of this object into a whole series of moments, in each of which the object appears in a new form, while the painter must wait for the last of these moments in order to show in a completed form that which we saw appearing from the poet. So, for example, if Homer wants to tell how Agamemnon was dressed, he makes him put on before our eyes one piece of clothing after another: a soft tunic, a wide cloak, beautiful sandals, a sword. Only after getting dressed, the king takes the scepter. Instead of a picture of the scepter, he tells us its history. We first see him in Vulcan's workshop; then it shines in the hands of Jupiter, then it is a sign of the dignity of Mercury; then it serves as a commanding staff in the hands of the warlike Pelops, a shepherd’s staff in Atreus, etc.

Thus, I finally become acquainted with this scepter better than if the poet had placed it before my eyes or Vulcan himself had handed it to me.

Since verbal designations are arbitrary designations, we can use them to list sequentially all the parts of an object that actually appear before us in space. But such a property is only one of the properties belonging to speech in general and the designations it uses, from which it does not yet follow that it is especially suitable for the needs of poetry. The poet cares not only about being understandable, his images must not only be clear and distinct - the prose writer is also satisfied with this. It is in this sense that we explained above the concept of a poetic picture. But a poet must paint constantly. Descriptions of material objects, excluded from the realm of poetry, are therefore quite appropriate where there is no question of poetic illusion, where the writer addresses only the minds of the readers and deals only with clear and, if possible, complete concepts.

The creative process of a writer

“The secret of writing lies in the eternal and involuntary music in the soul. If it is not there, a person can only “pretend to be a writer.”

Different people are predisposed to artistic creativity to varying degrees: ability - giftedness - talent - genius. An artist who is on a higher rung of this creative ladder retains those qualities that are inherent in those who are located on its lower steps, but must certainly have a number of additional high qualities.

Capabilities an artist, according to the American psychologist Guilford, involves six inclinations: fluency of thinking, associativity, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility, the ability to give artistic form necessary outlines. Abilities ensure the creation of artistic values of public interest.

Giftedness presupposes acute attention to life, the ability to choose objects of attention, to consolidate in memory the theme of associations and connections dictated by the creative imagination. An artistically gifted person creates works that have lasting significance for of a given society for a significant period of its development. Giftedness is the ability to focus attention on objects worthy of selective attention, to extract impressions from memory and include them in a system of associations and connections dictated by the creative imagination.

Talent gives rise to artistic values that have enduring national and sometimes universal significance. "Most people prefer the middle ground between mediocrity and genius - talent. Not everyone wants to exchange their whole life for art. And how many times does a genius, at the end of his career, repent of his choice! "It was better not to surprise the world and live in this world" - says Ibsen in his last drama." (Shestov. 1991).

Genius fully expressing the essence of its time, most often it does not seem to fit into its era. He, one might say, pulls the thread of tradition from the past to the future and therefore part of his work belongs to the past and part to the future. And only mediocre contemporaries see only what is in the genius of the present, and even then they see incompletely. Genius creates the highest human values, having significance for all time. The artist’s genius is manifested both in the power of perception of the world and in the depth of his impact on humanity. However, artistic genius is not a form of mental pathology and, according to Gogol’s fair judgment, “art is the introduction into the soul of harmony and order, and not confusion and disorder.” . This applies both to the impact of the work on the public and to the process of artistic creation.

2. Artistic creativity as a specific activity

Artistic creativity is a mysterious process. I. Kant said: “... Newton could imagine all his steps, which he had to take from the first principles of geometry to his great and deep discoveries, as completely clear not only to himself, but also to everyone else, and to designate them for succession; but no Homer or Wieland cannot show how complete fantasies and at the same time ideas rich in thoughts appear and are combined in his head, because he himself does not know this and, therefore, cannot teach this to anyone else. So, in. scientific field The greatest inventor differs from the miserable imitator and student only in degree, while from the one whom nature has endowed with a capacity for the fine arts, he differs specifically." (Kant. T. 5. pp. 324-325).

3. Creativity as the embodiment of a plan

The creative process begins with an idea. The latter is the result of the perception of life phenomena and their understanding by a person on the basis of his deep individual characteristics (degree of giftedness, experience, general cultural preparation). The paradox of artistic creativity: it begins with the end, or rather, its end is inextricably linked with the beginning. An artist “thinks” as a viewer, a writer as a reader. The plan contains not only the writer’s attitude and his vision of the world, but also the final link in the creative process - the reader. The writer at least intuitively “plans” the artistic impact and post-reception activity of the reader. The purpose of artistic communication feedback affects its initial link - the idea.

1) The idea is characterized by lack of formality and, at the same time, semiotically unformed semantic certainty, outlining the outlines of the theme and idea of the work. In the plan “it is still unclear through the magic crystal” (Pushkin), the features of the future literary text are distinguished.

2) The idea is formed first in the form of intonational “noise”, embodying an emotional-value attitude towards the topic, and in the form of the outlines of the topic itself in a non-verbal (= intonational) form. 3) The idea has the potential for symbolic expression, fixation and embodiment in images. Factor generating artistic design in its unique originality, - creativity (the creative deep layer of the personality), the center of creativity, a certain creative core of the personality, which determines the invariant of all artistic decisions. Everything is grouped around this center created by the artist(See: Rozanov. 1990. P. 39). In the writer's work there are invariants determined by the deep generative layer of his spiritual world. The writer creates his own art world. Moreover, each poet is distinguished by his own vision of reality, manifested in every cell of his texts.

Creativity is the process of translating an idea into a sign system and a system of images growing on its basis, the process of objectifying a thought in a text, the process of alienating an idea from the artist and transmitting it through the work to the reader, viewer, listener.

4. Artisticcreativity - creation

unpredictable artistic reality

Art does not repeat life (as reflected in the theory of reflection), but creates a special reality. Artistic reality can be parallel to history, but it is never a cast of it, its copy.

“Art is different from life in that it always runs repetitive. In everyday life, you can tell the same joke three times and three times, causing laughter, and turn out to be the soul of society. In art, this form of behavior is called “cliché.” Art is a recoilless weapon, and its development is determined by the dynamics and logic of the material itself, the previous fate of the means that require finding (or prompting) each time a qualitatively new aesthetic solution

5. Psychological mechanisms artistic creativity

Jung believed that psychology could be connected with aesthetics. There is a border zone between these sciences - the psychology of art (the psychology of creativity and the psychology of perception).

Artistic creativity begins with keen attention to the life of the world and involves "rare impressions" (Goethe), the ability to retain them in memory and comprehend them.

Memory - psychological factor of creativity. For an artist it is not mirror-like, but selective and of a creative nature. The painter Falk ordered his students to memorize impressions of nature and then write sketches from memory. It is known what importance memory had in Proust’s work. Believing that reality is artistically formed precisely in memory, he resurrected the past and then captured the memories in the work.

Imagination combines and creatively reproduces blocks of ideas, impressions and images stored in memory, combines and draws living pictures in the artist’s mind, which he records in literary text. Thanks to imagination, living pictures appear in the artist’s mind. Imagination has many varieties: phantasmagoric - in Hoffman, philosophical-lyrical - in Tyutchev, romantically sublime - in Vrubel, painfully hypertrophied - in Dali, full of mystery - in Bergman, realistically strict and grotesque - in Fellini. Creative imagination is fundamentally different from hallucination. According to Flaubert, when you hallucinate, you experience horror and feel that you are dying, but the fruits of the imagination bring joy and aesthetic pleasure.

Associations - thoughts or images that arise when seeing an object or when perceiving a statement; by establishing similarities, or by repulsion, through memory or finding analogies with the help of the subconscious; “roll calls” arising from contiguity, similarity and contrast between impressions of existence, leaps of imagination unpredictable by logic, comparing these impressions and unexpected combinations of phenomena far removed from each other. All stream of consciousness literature is based on associative thinking. Associations arise based on previous experience. The word by its nature is polysemantic, multivalent and provides the poet with the richest possibilities of associations. Not a single form of art can do without associations.

Inspiration - a specifically creative state of clarity of thought, intensity of its work, richness and speed of associations, deep insight into the essence life problems, a powerful “release” of life and artistic experience accumulated in the subconscious and its direct inclusion in creativity, heightened virtuosity in the sense of form. Inspiration gives rise to extraordinary creative energy; it is almost synonymous with creativity. Since ancient times, it has been a symbol of poetry and inspiration. winged horse Pegasus. Inspiration makes the creative process especially fruitful.

6. Consciousness and subconsciousness

Consciousness and subconsciousness are components of the creative process of creating a work. The important role of the subconscious in artistic thinking already led Plato and other ancient Greek philosophers to interpret creativity as an ecstatic, divinely inspired, bacchic state. For Homer, a rhapsode is a singer illuminated from above, and Pindar called the poet a prophet of the muses. The aesthetics of romanticism absolutized the role of the unconscious in creative process. Consciousness determines many essential aspects of creativity. It controls the goal, the ultimate task of creativity and the main contours of the artistic concept of the work, highlights the “bright spot” in creative thinking and organizes the artist’s entire experience around this light. The “bright spot” provides introspection and self-control of the artist, helps him to self-critically analyze, evaluate the draft and bring it to perfection. Consciousness helps the artist to conduct a critical analysis of his entire work and draw conclusions that contribute to further growth skill.

Ideas that pass from the subconscious to consciousness are not always correct, since in the subconscious there are no logical criteria for truth. It is beauty that is the criterion for the transfer of images from the subconscious to consciousness, where a strict check of the material received from the subconscious is carried out. Born by the subconscious, selected by an aesthetic sense, the image enters consciousness. Here it is logically verified, enlightened by the mind, processed (conjectured, justified, connected With cultural fund and is enriched by it). Thus, first the aesthetic feeling (at the level of intuition), then strict logic (at the level of consciousness) produce a “natural selection” from a variety of ideas and images. Only the most beautiful and true ones “survive”. The transition from the subconscious to the conscious is associated with a huge creative increase. An idea or image logically verified by the mind deepens and receives its completeness.

Semantics of terms,denoting forms of human presence in a literary work

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

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

The character seems to have a dual nature. Firstly, he is the subject of the depicted action, the stimulus for the unfolding of events that make up the plot. Secondly, and this is perhaps the main thing, the character has an independent significance in the composition of the work, independent of the plot (event series): he acts as a bearer of stable and stable (sometimes, however, undergoing changes) properties, traits, qualities.

Characters are characterized by the actions they perform (almost primarily), as well as by forms of behavior and communication (for it is not only the What a person does, but also that How he behaves at the same time), features of appearance and close surroundings (in particular, things belonging to the hero), thoughts, feelings, intentions. And all these manifestations of man in a literary work have a certain resultant - a kind of center, which M.M. Bakhtin called core personality, A.A. Ukhtomsky - dominant, determined starting intuitions person. The phrase is widely used to denote the stable core of people’s consciousness and behavior value orientation. Value orientations (they can also be called life positions) are very heterogeneous and multifaceted. The consciousness and behavior of people can be directed towards religious and moral, strictly moral, cognitive, and aesthetic values. They are also associated with the sphere of instincts, with bodily life and the satisfaction of physical needs, with the desire for fame, authority, and power.

Author invariably expresses his attitude towards the position, attitudes, and value orientation of his character. At the same time, the image of the character appears as the embodiment of the writer’s concept, idea, i.e. as something whole within the framework of another, broader, artistic integrity (work). He depends on this integrity; one might say, he serves it at the will of the author. With any serious development of the character sphere of the work, the reader inevitably penetrates into the spiritual world of the author: in the images of the heroes he sees the creative will of the writer. The author's attitude towards the hero can be predominantly either alienated or related, but not neutral. Writers have repeatedly spoken about the closeness or alienness of their characters. In literary works, one way or another there is a distance between the character and the author. It occurs even in the autobiographical genre, where the writer, from a certain temporary distance, comprehends his own life experience. The author can look at his hero as if from the bottom up (the lives of the saints), or, on the contrary, from the top down (works of an accusatory and satirical nature). But the most deeply rooted in literature (especially of recent centuries) is the situation of essential equality between writer and character (but not identity).

Posted on Allbest.ru

...

Download:

Preview:

Literature as the art of words.

Target: give the concept of literature as an art form in which the main means of figurative reflection of life is the word.

"The beautiful awakens the good."

D.S. Likhachev.

Beauty captivates forever.

You don't get cold feet towards him. Never

He will not fall into insignificance...

S. Narovchatov.

Prologue: ♪ An instrumental composition by I. Krutoy from the film “ Long road in the dunes."

− Huge Universe. Cosmic winds blow in it, cosmic blizzards rage, centuries fly by in it like one day. In this vast cold Universe there is a blue planet called Earth. Forests rustle here and rivers flow. Winter gives way to autumn, and after spring always comes summer. And after day comes night, and after night invariably comes day.

There is one day on this huge blue planet. On this day you were born. And loving women's eyes shed tears of happiness. And your mother’s heart wished you a good journey. And your mother’s hands blessed your first steps on this earth. And they wished on a star with your name. And at that very second it lit up in the sky new star. Your star. She shines for you all your life, even if you don’t know about it. This is the star of your love, your happiness, your life. You didn't choose her. It was given to you from birth, like life. And you choose everything else in your life yourself. It's your right. Human right. And if you choose the right way, then your star will illuminate it. And it depends only on you whether it goes out ahead of time.

May your star burn for a long time, you can and should do this!

Formulation of the problem:

♪ G. Sviridov “Time, forward!”; slide series “WE”>

XXI Century. Beginning of the century. We live in an age when one dictator threatens: “I will drown you in blood!” When another politician promises: “I will raise Russia from its knees!”

And somewhere there, in the Siberian wilderness, the district pediatrician writes a prescription. He writes out a prescription... for an apple, for milk. It was. That's it. Will it be like this?!

The 21st century is called the century of science and technology. Progress creates the illusion that it is science and technology, the level of their development, that have become the measure of human values. Is it so? What is our attitude towards culture? Art? Literature?

Development I. Input.

Yes, books are dying out. modern schoolchildren. And it’s scary to imagine the implementation of the situation that is modeled in a fantastic dystopia American writer Ray Douglas Bradbury "451"◦ Fahrenheit." This dystopia depicts a city where reading and possessing books is a terrible crime. All the books there have long been destroyed. And now, if someone has troublethey buy just one book, it is burned along with the house, and the owner is betrayed death penalty. You can't save books there without dying yourself. Firefighters in this city don't exist to put out fires. And in order to burn books and the houses in which they are found. The hero of the novel, Guy Montag, is a fireman. For ten years he conscientiously and even enjoyed his terrible work. But then one day while on duty he came to the house old woman, which. Not wanting to part with her books, she burned down with them. From that day on, everything changed in Montag's life. The question began to torment him: what was written in these books. If because of them people go to their deaths? And to get an answer, he starts reading...

Express form:

Who would you be with if you were in this fantastic city:

with those who can easily do without books;
with those who secretly read books and kept them in memory;
with those who destroyed books.

Admit it to yourself honestly, do you need books when you have television, cinema, or a computer? ( Yes. No.)

(Processing the results of the express questionnaire and summing up).

Development 1I. Literature as a form of art.

Literature is not just an academic subject that provides a certain amount of knowledge, but, first of all, literature is a type of art.

Dictionary of literary terms:

Literature (from the Latin litera - letter, writing) - a type of art in which the main means of figurative reflection of life is the word.

Fiction - a type of art that is capable of revealing the phenomena of life in the most multifaceted and wide manner, showing them in movement and development.

(Writing definitions into a dictionary)

As an art of words, fiction arose in oral folk art. Its sources were songs and folk epic tales. The word is an inexhaustible source of knowledge and an amazing means for creating artistic images. In words, in the language of any people, their history, their character, the nature of the Motherland are captured, the wisdom of centuries is concentrated. The living word is rich and generous. It has many shades. It can be menacing and gentle, instill horror and give hope. No wonder the poet Vadim Shefner said this about the word:

A word can kill, a word can save,

With a word you can lead the shelves with you.

In a word you can sell and betray and buy,

The word can be poured into striking lead.

Development III. “Literature is a textbook of life.”

But words in human speech and in fiction do not live separately. They are united and coordinated by thought, the idea of a work, and animated by human speech. A simple, familiar human word. But with the power of his talent, like a magic wand, a writer or poet turns his word to us unexpected side, making us feel, think, empathize.

Anton Pavlovich Chekhov has a story: it’s called “At Home.” Here is its summary: “To Evgeniy Pavlovich Bykovsky, the prosecutor of the district court, who had just returned from the hearing, the governess of his seven-year-old son complained that Seryozha smoked and that he took tobacco from his father’s desk.

“Send him to me,” said Evgeniy Petrovich.

“I’m angry with you, and I don’t love you anymore,” the father cut off the boy’s greeting. – Now Natalia Semyonovna complained to me that you smoke. This is true?

- Yes, I smoked once, that’s true.

“You see, you’re lying on top of that,” said the prosecutor. – Natalia Semyonovna saw you smoke twice. This means that you are caught in three bad actions: smoking, taking someone else’s tobacco from the table and lying. Three faults!

“Oh, yes,” Seryozha remembered. And his eyes smiled. - That's true, that's true! I smoked twice: today and before.

Evgeniy Petrovich began to explain to his son that it is impossible to take someone else’s property, that a person has the right to use only his own property. He began to explain to him what property means, about the dangers of tobacco, that tobacco smoke produces consumption and other diseases, from which people die.

Evgeny Petrovich was painfully thinking about what else to say to his son in order to capture his attention. He saw that Seryozha was not listening to him. The boy first picked a hole in the cloth upholstery of the table with his finger, and then climbed onto a chair standing on the side of the table and began to draw.

And it seemed strange and funny to Evgeniy Petrovich that he, an experienced lawyer who had spent half his life practicing all kinds of suppressions, warnings and punishments, could not convince the boy that he had acted badly. Ten o'clock struck. Evgeny Petrovich tiredly sank into a chair. And Seryozha, sitting comfortably on his father’s lap, asked: “Daddy, tell me a story.”

Like most business people, Bykovsky did not remember a single fairy tale, so every time he had to improvise.

“Listen,” the father began, raising his eyes to the ceiling. - In a certain kingdom, in a certain state, there lived an old, aged king... He lived in a glass palace that shone and sparkled in the sun like a big piece pure ice. The palace stood in a huge garden where oranges and cherries grew, tulips and roses bloomed, and colorful birds sang. There were glass bells hanging on the trees, which, when the wind blew, sounded so tenderly that you could listen...

The old king had his only son and heir to the kingdom, a boy as small as you. But this prince began to smoke, fell ill and died when he was 20 years old.

The decrepit and sickly old man was left without any help. Enemies came, killed the king, destroyed the palace, and there were no cherries, no birds, no bells in the garden.

Seryozha listened intently. His eyes were filled with sadness and something like fear; For a minute he looked thoughtfully at the dark window, shuddered and said in a fallen voice: “I won’t smoke anymore...”

Conversation with students:

− What happened? Why in A.P.’s story? Did Chekhov's fairy tale turn out to be a better educator than all the logic of facts and beliefs?

Relaxation

- Now sit down more comfortably. Close your eyes. Your hands lie calmly and freely...(instrumental music “Waterfall” sounds).

“Away with worries and worries. Lose yourself in thought: the music and sounds of the sorceress of nature will take you to a sparkling mountain stream. You will not find such peace and tranquility anywhere - only here, near the cool, clear waters, easily running down the green velvet of mossy stones. The banks of the stream are covered with a multicolored carpet of the brightest colors, and the light breath of the breeze carries their delicious aromas. A variety of birds sing in the foliage of tall trees. You are lying on the shore, looking at the sky, where lush clouds of various shapes float by. This wonderful moment can only be repeated by the Sparkling Time of Spring...”

- Open your eyes. Smile at yourself, your neighbor. You feel good and calm. You good mood. So, you're ready to listen further.

Development IV. “The world will be saved by beauty”

What is beauty?

And why do people deify her?

Is she a vessel in which there is emptiness?

Or a fire flickering in a vessel? -

Conclusion:

Epilogue.

You enter life as if through the doors of a workshop.

At your disposal from now on

The wonderful world of the beautiful, human

Built by tragedy in the desert.

And his brand burns on you

Responsibility, actions and words.

Much of what is new is old,

And the old is significant and new.

Enter it as a master boldly!

He is waiting for you and demands an answer.

Warm him with your tragedy,

Add more love and light to him!

Religious dogmas say: “In the beginning was the word.” And now there is no point in arguing about whether this is really so. Words are an integral part Everyday life each person. Thanks to them, we have the opportunity to receive or transmit important information and learn something new. Words are perceived as something ordinary, but only in skilled minds can they become a real work of art, which everyone is accustomed to calling literature.

From the depths of history

Literature as the art of words arose in ancient times. Then science and the arts were intertwined, and scientists were both philosophers and writers. If we turn to mythology Ancient Greece, then in it one can clearly see the unity of art and science. Myths about the muses, the daughters of Zeus, say that these goddesses patronized poetry, science and art.

If a person does not have knowledge of literature, it will be difficult for him to study other sciences. After all, only those who master the word can learn the countless information that humanity has accumulated over the centuries.

What is art?

Before answering the question of why literature is called the art of words, it is necessary to understand what art is.

In a broad sense, art refers to craftsmanship, the resulting product of which causes aesthetic pleasure among consumers. Art is a figurative representation of reality, a way to show the world in an artistic context in such a way that it interests not only its creator, but also consumers. Also? like science, art is one of the ways to understand the world in all its aspects.

Art has many concepts, but its main purpose is to satisfy the aesthetic needs of the individual and instill a love for the world of beauty.

Based on this, we can confidently say that literature is an art. And fiction, as the art of words, has every right to create your own niche among all varieties of art.

Literature as an art form

The word in literature is the main material for creating a masterpiece. With the help of lacy intricacies of verbal turns, the author draws the reader into his world. Makes him worry, sympathize, rejoice and be sad. The written text becomes like virtual reality. The imagination draws another world, which is created through verbal images, and a person is transported to another dimension, from which one can exit only by turning the last page of the book.

Literature as the art of words originates from the origins of oral folk art, echoes of which can be found in many works of art. Today literature is the basis for the development of many cultural spheres of human activity.

Source

Fiction as the art of words became the fundamental basis for the creation of theater. After all, based on the works of great writers, many theatrical performances. Thanks to literature, opera was also created.

Today, films are made based on text scripts. Some films adapt famous works of art. Particularly popular ones are “The Master and Margarita”, “Anna Karenina”, “War and Peace”, “Eragon” and others.

Part of society and leader of the arts

Literature is an integral part of society. It is in it that social, historical and personal experience in exploring the world is concentrated. Thanks to literature, a person maintains contact with previous generations, has the opportunity to adopt their values and better understands the structure of the universe.

Literature can rightfully be called a leader among other forms of art, because it has a huge influence not only on the development of an individual, but also on humanity as a whole. Based on all of the above, literature, as the art of words, became the object of study in lessons in the 9th grade. Lessons of this kind should have a certain structure. Students should not only learn the information easily, but also be interested throughout the lesson.

Literature - the art of words

The purpose of such a lesson: to make the student understand that literature is a unique form of art, the main instrument of which is the word. Accordingly, the topic: “Literature as the art of words.”

One of the optimal lesson plans may have the following structure:

Epigraph. You can choose from quotes famous people about art or beauty.
Formulation of the problem. Alternatively, you can provide examples from modern life, where a lot of attention is paid to politics, technology and science, while forgetting about ordinary human needs and art in general.
Introduction. It would be logical to continue to develop the problem. It is worth mentioning that fiction no longer takes up so much space in school life, as it was before. It was replaced by computers, televisions, the Internet and telephones. To interest students, you can retell a summary of Ray Bradbury's book “Fahrenheit 451”. This dystopia tells the story of a city where reading is strictly prohibited. People who keep books are sentenced to death and their houses are burned. And what seems interesting about these books? But since people are ready to die for them, it means there really is something there.
Survey. Based on the material presented, you can create an express questionnaire in which students would write how they would behave in the city of Ray Bradbury.
Literature is art. A little theory about what art is and how literature arose will not hurt.
Fiction as a guide to life. You can cite several excerpts from the books of classics, where books appear. For example, A.P. Chekhov’s story “At Home”.
Conversation with students. Define what literature means as the art of words and its role in human life. In a particular case, it is necessary to analyze why a fairy tale has become a better educator than logical arguments and beliefs.
conclusions. Students must answer the question: “How do you understand literature - the art of words?”
Epilogue.

Secret

After teaching the lesson “Literature as the Art of Words,” 9th graders often wonder whether writing is really so difficult, since words are accessible to everyone. Perhaps it’s all due to teenage maximalism, but that’s not the point.

If we talk about the difficulty of writing works of art, then we can draw an analogy with drawing. Let's say there are two people: one likes to draw, the other prefers to sing. None of them have a special art education, none of them became famous as an artist and did not attend special courses. For the purpose of the experiment, they are given a sheet of paper, a simple pencil and asked to depict something that will cause aesthetic pleasure.

As with words, they have the same resources, but the result is different for each. The best drawing came from a person who loves to draw. He may not have much talent, but the world he personifies with drawings.

Also with literature, the secret is not that words are accessible to everyone, but in being able to use them correctly.

Simple example

Literature as the art of words emerges from simple, everyday words. Some will definitely say that this is all nonsense. You can't create a masterpiece out of nothing. But from this “nothing” you can create emotions, open the door to a new Universe and show that the world around you has no boundaries.

The art of words is born deep in the soul of a writer or poet. He strives not only to tell a story, but to make the reader experience certain emotions. Draw him into your world and talk about something important. A simple person will write: “It was raining outside the window.” The writer will say the following: “Drops of autumn rain, like funeral tears, flowed down the glass.”

This is how art is born

Essentially, these two sentences say that it is simply raining outside. But once you “dress” a sentence with additional nouns, adjectives and definitions, it turns into art. And this art catches, fascinates and makes you plunge deeper and deeper into the abyss of words. And emerging from them, each reader holds in his hands priceless treasures and unforgettable memories of a conversation with a writer who has been gone for a long time.

Literature, like other types creative activity, is a way of learning and transforming life. Antiquity philosophically substantiated the main categories of fiction as an art form. Plato, discussing the relationship between the concepts of “moral” and “aesthetic,” proposed, in essence, the first definition of artistic creativity, which is based on a more general idea of the nature of the soul.

In the dialogue “Phaedrus” the thesis about the immortality of the eternal self-motion of the soul is illustrated by a fairy tale about the transformation of an idea and the transmigration of the soul. The idea (“eidos” is a word denoting form, genus, species, image), according to Plato, is the memory of the divine, the eternal in the soul of the chosen one, enslaved by the cares of the sinful earth: “After all, a person must recognize the truth under the form of the so-called genus, which is made up of many sensory ideas brought together by the understanding, says Socrates in the Phaedrus, and this is done through the recollection of what the soul knew when it accompanied God, and, despising everything that is called now existing, penetrated with thought to the truth. to existence." "Eidos", therefore, - general idea reason, not devoid of concreteness of sensory definitions. Its precondition is the idea as a memory or contemplation of eternal truth.

If a philosopher, argues Plato in the Republic, is in direct contact with thought with the superstellar kingdom of ideas, and a craftsman or artist creates material embodiments of “eidos,” then the poet carries minds along a completely different path. He is so chained to the things of immediate experience that he gives birth only to “shadows of shadows,” “imitations of imitations.” A look at the poet from the point of view of the state benefit he brings requires convincing evidence.

And Plato, calling Homer to answer, asks: why did Homer, who so convincingly portrayed war, laws and diseases, never be at the head of an army, never heal anyone, or create any laws? He painted only shadows of virtues and exploits. The philosopher’s rigorism extends to the works of tragedians who described “bad” examples and passions.

They should, Plato is convinced, be expelled from the ideal state. The concept of "mimesis" developed by Plato - art imitates nature - offers the primary formula for artistic generalization. It is this formula that will largely determine the understanding of the cognitive, moral and civic-aesthetic functions of art.

Plato sees in a work of art only an emanation of a superpersonal spiritual substance, and not an image of reality.

The ideas of the ancient philosopher largely determined the specifics of clarifying the problem of the relationship of art to reality.

Art is defined by Aristotle as the imitation of human nature, public life. But this is imitation, not mirror reproduction. Its goal is not to record what “really happened” in its random singularity, but to embody what is “possible by probability or necessity.”

The word “catharsis” in Aristotle’s philosophy is marked by ambiguity and ambiguity, which as a result gave rise to a huge number of theories - religious, aesthetic, aesthetic-ethical, medical.

The reason for the ambiguity in the interpretation of the concept can be explained by the fragmentation of the text of “Poetics” that has reached us, as well as the quite obvious difficulty of reconstructing the spiritual appearance of the models of modern consciousness “ free citizen» antiquity. In general terms, “catharsis” means “purification through suffering and fear,” that is, we are talking about the special impact of art on the viewer and the artistic effect of art, which testifies to its transformative educational function.

Based on the idea of the mimetic nature of art, G. W. F. Hegel, G. E. Lessing, D. Diderot, I. V. Goethe and I. Kant develop the basic principles of aesthetics - the relationship between reality and literature and the concept of “artistic truth”.

The definition of literature as a specific creative reproduction of reality is of particular importance for understanding literary creativity. To present a work of literature solely as the subjective intention of the author or as an irrational ability of the spirit, an aesthetic game, means to ignore the connection of artistic creativity with reality.

The task of literature is not reduced to the correspondence of an image to a single object, it is the birth of a new image, its materialization in a work. Literature is the embodiment of the typical, essences, patterns through their abstraction, generalization, idealization or, on the contrary, through the creation tragic pictures. This constitutes the main point in the writer’s efforts to philosophically and aesthetically master reality - to cognize, comprehend, transform and artistically translate.

Literature is marked by a creative, modeling, transformative character.

Literature does not register all aspects of reality, but only reproduces those that correspond to its capabilities, nature, and purpose. It is impossible to place increased demands on artistic creativity as an exhaustive reflection of reality, as an encyclopedic reproduction of all its aspects and features of life in artistic image. Selectivity, singularity and individualization are characteristic features of artistic representation.

The concept of “artistic thinking” has a relatively late origin and is separated by a significant historical distance from the phenomenon it denotes. The specificity of fiction is most often attributed to the peculiarities of the writer's thinking. Creativity means the unique artistic experience of the writer, embodied in the creation of a work of art, which reflects certain aspects and patterns of individual, spiritual, social and human development, and meets certain philosophical and aesthetic needs of the reader.

Freedom of creativity cannot be reduced to demonstrating the limitless possibilities of a poet and writer, and they should not be elevated to the rank of exponents of truth. Artistic creativity, of course, contributes to the rethinking of reality from the standpoint of high demands and uncompromising recommendations. The author models reality in accordance with his aesthetic ideal, is horrified by the imperfections of the world, and forms in the reader a certain assessment of reality.

Literature is part of the historical process of mastering reality, but this mastery is often associated with the conscious isolation of the author from topical problems, an attempt to depict the general laws of the human phenomenon. And in this case, the illusion of presence in the work recognizable by the reader peace will not only not be disturbed, but will also be convincing.

The definitions of literary creativity are varied: the creation of new, socially significant artistic values, the self-directed play of human forces and abilities, leading to the emergence of new completed systems or hypothetical projects. Creativity is the transformation of natural and social reality, the creation new reality in accordance with the writer’s subjective ideas about the laws of the world, which is changing and being recreated. This is also the mystical ability of a person to extract the phenomenal from the empirics of reality, using the most provocative methods to comprehend the random properties of a person and the general laws of life.

Literary creativity is processual, it records and understands the dynamics of transformation of natural and social reality, reveals the contradictory essence of phenomena or mystifies them, and then the reality of existence becomes a problem requiring the search for new solutions, as a result, a person’s ideas about himself expand.

Fiction in this sense contributes to the understanding of life and public relations, allows you to avoid unrest or, on the contrary, becomes a source of change in the surrounding physical and mental environment. The social and psychological metamorphoses of the characters, discovered or suggested by the authors, encourage the reader to create new connections with the world, expand the range of the reader's participation in life, elevate the random to the degree of the universal, and attach the reader's personality to the human family tree.

The writer expresses his attitude towards the environment - people, morals, customs, expresses the views of a certain social environment, gives philosophical and ethical assessments, he correlates the morality professed by the characters with ethical standards classical works and of his era.

F. Fellini was reproached for showing only negative characters in one of his films. The director replied: “It’s enough that I myself am positive!”

In other words, the position from which the artist criticizes society must be moral, and that is enough. Often positive hero becomes the author himself, his credo, critical attitude, unwillingness to indifferently put up with the shortcomings of modernity.

Introduction to literary criticism (N.L. Vershinina, E.V. Volkova, A.A. Ilyushin, etc.) / Ed. L.M. Krupchanov. - M, 2005