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The meaning of artistic convention in the dictionary of literary terms. Literary theory See what "artistic convention" is in other dictionaries

Artistic convention

One of the fundamental principles of creating artwork. Denotes non-identity artistic image image object. There are two types of artistic convention. Primary artistic convention associated with the very material used by this type of art. For example, the possibilities of the word are limited; it does not give the possibility to see color or smell, it can only describe these sensations:

The music rang in the garden

With such unspeakable grief

Fresh and pungent smell of the sea

Oysters on ice on a platter.

(A. A. Akhmatova, "In the Evening")
This artistic convention is characteristic of all types of art; the work cannot be created without it. In literature, the peculiarity of artistic convention depends on literary kind: external expression of actions in drama, description of feelings and experiences in lyrics, description of the action in epic. The primary artistic convention is associated with typification: depicting even real person, the author seeks to present his actions and words as typical, and for this purpose he changes some properties of his hero. So, the memoirs of G.V. Ivanova"Petersburg Winters" evoked many critical responses from the characters themselves; e.g. A.A. Akhmatova was indignant at the fact that the author had invented never-before dialogues between her and N.S. Gumilyov. But G.V. Ivanov wanted not only to reproduce real events, and recreate them in artistic reality, create the image of Akhmatova, the image of Gumilyov. The task of literature is to create a typified image of reality in its sharp contradictions and peculiarities.
Secondary artistic convention is not characteristic of all works. It involves a deliberate violation of plausibility: the nose of Major Kovalev cut off and living on its own in N.V. Gogol, the mayor with a stuffed head in the "History of one city" M. E. Saltykov-Shchedrin. Secondary artistic convention is created through the use of religious and mythological images(Mephistopheles in "Faust" by I.V. Goethe, Woland in The Master and Margarita by M. A. Bulgakov), hyperbole (incredible strength heroes folk epic, the scale of the curse in N. V. Gogol's Terrible Revenge), allegory (Grief, Famously in Russian fairy tales, Stupidity in "Praise of Stupidity" Erasmus of Rotterdam). A secondary artistic convention can also be created by a violation of the primary one: an appeal to the viewer in the final scene of N.V. Chernyshevsky“What is to be done?”, the variability of the narrative (several options for the development of events are considered) in “The Life and Opinions of Tristram Shandy, Gentleman” by L. Stern, in the story of H. L. Borges"Garden of Forking Paths", violation of cause and effect connections in the stories of D.I. Kharms, plays by E. Ionesco. Secondary artistic convention is used to draw attention to the real, to make the reader think about the phenomena of reality.

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .

See what "artistic convention" is in other dictionaries:

ARTISTIC CONVENTION In a broad sense, the original property of art, manifested in a certain difference, mismatch artistic picture world, individual images with objective reality. This concept refers to a kind of ... ... Philosophical Encyclopedia

artistic convention- an integral feature of any work, associated with the nature of art itself and consisting in the fact that the images created by the artist are perceived as not identical to reality, as something created by the creative will of the author. Any art...

CONVENTION- an artistic, multifaceted and multi-valued concept, the principle of artistic representation, in general, denoting the non-identity of the artistic image with the object of reproduction. In modern aesthetics, primary and secondary are distinguished ... ...

convention in art- 1) non-identity of reality and its representation in literature and art (primary convention); 2) deliberate, open violation of plausibility, the method of detecting illusory artistic world(secondary convention). Category: Aesthetic …

artistic truth- display in the works of art of life in accordance with its own logic, penetration into the inner meaning of the depicted. Rubric: Aesthetic categories in literature Antonym / correlate: subjective in art, convention in art ... ... Terminological dictionary-thesaurus on literary criticism

CONVENTION- one of the essential properties of the claim, emphasizing the difference between the artist. prod. from the reality they represent. In epistemological terms, U. is regarded as common feature artistic reflection, indicating the non-identity of the image and its object. ... ... Aesthetics: Dictionary

fantastic- (from the Greek phantastike the art of imagining) view fiction, based on a special fantastic type of imagery, which is characterized by: a high degree of convention (see artistic convention), violation of norms, logical connections ... Dictionary literary terms

FICTION ARTISTIC- ARTISTIC FICTION, the activity of the writer's imagination, which acts as a formative force and leads to the creation of plots and images that do not have direct correspondences in previous art and reality. Discovering creative energy... ... Literary Encyclopedic Dictionary

In literature and other arts, the depiction of improbable phenomena, the introduction of fictitious images that do not coincide with reality, a clearly felt violation by the artist natural forms, causal relationships, laws of nature. The term F. ... ... Literary Encyclopedia

Kuzma Petrov Vodkin. "Death of the Commissar", 1928, State Russian Music ... Wikipedia

Books

Western European literature of the twentieth century. Textbook, Shervashidze Vera Vakhtangovna. IN study guide highlights key phenomena in Western European literature of the twentieth century - a radical update artistic language, a new concept of reality, a skeptical attitude towards ...

ARTISTIC CONVENTION

ARTISTIC CONVENTION - in a broad sense, the original art, manifested in a certain difference, a discrepancy between the artistic picture of the world, individual images and objective reality. This indicates a kind of distance (aesthetic, artistic) between reality and a work of art, which is an essential condition for an adequate perception of the work. The term "conventionality" is rooted in the theory of art, since the artistic is carried out mainly in "forms of life". Linguistic, sign means of expression arts, like , represent some degree of transformation of these forms. Usually, three types of conventionality are distinguished: conventionality, expressing the specificity of art, due to the properties of its linguistic material: paint - in painting, stone - in sculpture - in literature, sound - in music, etc., which predetermines each type of art in display various aspects of reality and self-expression of the artist - a two-dimensional and planar image on canvas and screen, static in fine arts, the lack of a "fourth wall" in the theater. At the same time, painting has a rich color spectrum, cinema a high degree dynamism of the image, literature, due to the special capacity of the verbal language, completely compensates for the lack of sensual clarity. This is called “primary” or “unconditional”. Another convention is the canonization of the totality of artistic characteristics, stable techniques and goes beyond the partial reception, free artistic choice. Such a convention can represent the artistic of an entire era (Gothic, Baroque, Empire), express the ideal of a particular historical time; it is strongly influenced by ethno-national characteristics, cultural representations, ritual people, mythology. The ancient Greeks endowed their gods with fantastic powers and other symbols of the deity. Religious and ascetic to reality affected the conventions of the Middle Ages: this era was personified by the otherworldly, mysterious. The art of classicism was instructed to depict in the unity of place, time and action. The third type of conditionality is actually artistic technique depending on the creative will of the author. The manifestations of such conventionality are infinitely diverse, they are distinguished by pronounced metaphor, expressiveness, associativity, deliberately open re-creation of “forms of life” - deviations from traditional language art (in ballet - the transition to the usual step, in the opera - to colloquial speech). In art, it is not necessary that the shaping components remain invisible to the reader or viewer. A skillfully implemented open artistic device of conventionality does not violate the process of perception of the work, but, on the contrary, often activates it.

A. A. Oganov

New Philosophical Encyclopedia: In 4 vols. M.: Thought. Edited by V. S. Stepin. 2001 .

See what "ARTISTIC CONVENTION" is in other dictionaries:

One of the fundamental principles of creating a work of art. Indicates the non-identity of the artistic image with the object of the image. There are two types of artistic convention. The primary artistic convention is connected with oneself ... ... Literary Encyclopedia

convention in art- 1) non-identity of reality and its representation in literature and art (primary convention); 2) a conscious, open violation of plausibility, a method of revealing the illusory nature of the artistic world (secondary convention). Category: Aesthetic …

CONVENTION- one of the essential properties of the claim, emphasizing the difference between the artist. prod. from the reality they represent. In epistemological terms, U. is considered as a common feature of the artist. reflection, indicating the non-identity of the image and its object. ... ... Aesthetics: Dictionary

fantastic- (from the Greek phantastike the art of imagining) a type of fiction based on a special fantastic type of imagery, which is characterized by: a high degree of convention (see artistic convention), violation of norms, logical connections ... Dictionary of literary terms

In literature and other arts, the depiction of implausible phenomena, the introduction of fictitious images that do not coincide with reality, a clearly felt violation by the artist of natural forms, causal relationships, and the laws of nature. The term F. ... ... Literary Encyclopedia

Kuzma Petrov Vodkin. "Death of the Commissar", 1928, State Russian Music ... Wikipedia

Books

Western European literature of the twentieth century. Textbook, Shervashidze Vera Vakhtangovna. The textbook highlights the key phenomena in the Western European literature of the twentieth century - a radical renewal of the artistic language, a new concept of reality, a skeptical attitude towards…

ARTISTIC CONVENTION in a broad sense

the original property of art, manifested in a certain difference, the discrepancy between the artistic picture of the world, individual images and objective reality. This concept indicates a kind of distance (aesthetic, artistic) between reality and a work of art, the awareness of which is an essential condition for an adequate perception of the work. The term “conventionality” is rooted in art theory because artistic creativity carried out predominantly in "life forms". Linguistic, symbolic expressive means of art, as a rule, represent one or another degree of transformation of these forms. Usually there are three types of conventionality: conventionality, expressing the specificity of art, due to the properties of its language material: paint - in painting, stone - in sculpture, word - in literature, sound - in music, etc., which predetermines the possibility of each type of art in displaying various aspects of reality and the artist's self-expression - a two-dimensional and planar image on canvas and screen, static in fine art, the absence of a "fourth wall" in the theater. At the same time, painting has a rich color spectrum, cinema has a high degree of image dynamism, and literature, due to the special capacity of verbal language, fully compensates for the lack of sensual clarity. Such conditionality is called “primary” or “unconditional”. Another type of conventionality is the canonization of a set of artistic characteristics, stable techniques and goes beyond the scope of partial reception, free artistic choice. Such a condition may be art style an entire era (Gothic, Baroque, Empire), to express the aesthetic ideal of a particular historical time; it is strongly influenced by ethnic and national characteristics, cultural representations, ritual traditions of the people, mythology. The ancient Greeks endowed their gods with fantastic power and other symbols of the deity. The religious and ascetic attitude to reality affected the conventions of the Middle Ages: the art of this era personified the otherworldly, mysterious world. The art of classicism was instructed to depict reality in the unity of place, time and action. The third type of conventionality is an artistic technique that depends on the creative will of the author. The manifestations of such conventionality are infinitely diverse, they are distinguished by pronounced metaphor, expressiveness, associativity, deliberately open re-creation of “forms of life” - deviations from the traditional language of art (in ballet - transition to a normal step, in opera - to colloquial speech). In art, it is not necessary that the shaping components remain invisible to the reader or viewer. A skillfully implemented open artistic device of conventionality does not violate the process of perception of the work, but, on the contrary, often activates it.

There are two types of artistic convention. Primary artistic convention is associated with the very material used by this type of art. For example, the possibilities of the word are limited; it does not give the possibility to see color or smell, it can only describe these sensations:

The music rang in the garden

With such unspeakable grief

Fresh and pungent smell of the sea

Oysters on ice on a platter.

(A. A. Akhmatova, "In the Evening")

This artistic convention is characteristic of all types of art; the work cannot be created without it. In literature, the peculiarity of artistic convention depends on the literary genre: the external expressiveness of actions in drama, description of feelings and experiences in lyrics, description of the action in epic. The primary artistic convention is associated with typification: even depicting a real person, the author seeks to present his actions and words as typical, and for this purpose he changes some of the properties of his hero. So, the memoirs of G.V. Ivanova"Petersburg Winters" evoked many critical responses from the characters themselves; e.g. A.A. Akhmatova was indignant at the fact that the author had invented never-before dialogues between her and N.S. Gumilyov. But G.V. Ivanov wanted not only to reproduce real events, but to recreate them in artistic reality, to create the image of Akhmatova, the image of Gumilyov. The task of literature is to create a typified image of reality in its sharp contradictions and peculiarities.
Secondary artistic convention is not characteristic of all works. It involves a deliberate violation of plausibility: the nose of Major Kovalev cut off and living on its own in N.V. Gogol, the mayor with a stuffed head in the "History of one city" M. E. Saltykov-Shchedrin. A secondary artistic convention is created through the use of religious and mythological images (Mephistopheles in Faust by I.V. Goethe, Woland in The Master and Margarita by M. A. Bulgakov), hyperbole(the incredible power of the heroes of the folk epic, the scale of the curse in N.V. Gogol's "Terrible Revenge"), allegories (Grief, Famously in Russian fairy tales, Stupidity in "Praise of Stupidity" Erasmus of Rotterdam). A secondary artistic convention can also be created by a violation of the primary one: an appeal to the viewer in the final scene of N.V. Chernyshevsky“What is to be done?”, the variability of the narrative (several options for the development of events are considered) in “The Life and Opinions of Tristram Shandy, Gentleman” by L. Stern, in the story of H. L. Borges"Garden of Forking Paths", violation of cause and effect connections in the stories of D.I. Kharms, plays by E. Ionesco. Secondary artistic convention is used to draw attention to the real, to make the reader think about the phenomena of reality.

This ideological and thematic basis, which determines the content of the work, is revealed by the writer in life pictures, in actions and experiences. actors, in their characters.

People, thus, are depicted in certain life circumstances, as participants in the events developing in the work that make up its plot.

Depending on the circumstances and characters depicted in the work, the speech of the characters acting in it and the author's speech about them (see Author's speech), i.e., the language of the work, are constructed.

Consequently, the content determines, motivates the writer's choice and depiction of life pictures, the characters of the characters, plot events, the composition of the work and its language, i.e., the form literary work. Thanks to it - life pictures, composition, plot, language - the content is manifested in all its completeness and versatility.

The form of a work is thus inextricably linked with its content, determined by it; on the other hand, the content of a work can manifest itself only in a certain form.

The more talented the writer, the more fluent he is in the literary form, the more perfectly he depicts life, the deeper and more accurately he reveals the ideological and thematic basis of his work, achieving unity of form and content.

S. of L.N. Tolstoy's story "After the Ball" - the scenes of the ball, the execution and, most importantly, the author's thoughts and emotions about them. Ph is a material (i.e., sound, verbal, figurative, etc.) manifestation of S. and its organizing principle. Turning to a work, we are directly confronted with the language of fiction, with composition, and so on. and through these components of F, we comprehend the S. of the work. For example, by changing bright colors into dark ones in the language, through the contrast of actions and scenes in the plot and composition of the above-mentioned story, we comprehend the author's angry thought about the inhuman nature of society. Thus, S. and F. are interrelated: F. is always meaningful, and S. is always formed in a certain way, but in the unity of S. and F., the initiative principle always belongs to C: new F. are born as an expression of a new S.

ARTISTIC CONVENTION - in a broad sense, the original property of art, manifested in a certain difference, discrepancy between the artistic picture of the world, individual images and objective reality. This concept indicates a kind of distance (aesthetic, artistic) between reality and a work of art, the awareness of which is an essential condition for adequate perception of the work. The term "conventionality" is rooted in the theory of art since artistic creativity is carried out mainly in "forms of life". Linguistic, symbolic expressive means of art, as a rule, represent one or another degree of transformation of these forms. There are usually three types of conventionality: conventionality, expressing the specificity of art, due to the properties of its linguistic material: paint - in painting, stone - in sculpture, word - in literature, sound - in music, etc., which predetermines the possibility of each type of art in the display of various aspects of reality and the artist's self-expression - a two-dimensional and planar image on canvas and screen, static in fine art, the absence of a "fourth wall" in the theater. At the same time, painting has a rich color spectrum, cinema has a high degree of image dynamism, and literature, due to the special capacity of verbal language, completely compensates for the lack of sensual clarity. This conditionality is called "primary" or "unconditional". Another type of convention is the canonization of the totality of artistic characteristics, stable techniques and goes beyond the partial reception, free artistic choice. Such a convention can represent the artistic style of an entire era (Gothic, Baroque, Empire), express the aesthetic ideal of a particular historical time; it is strongly influenced by ethno-national features, cultural representations, ritual traditions of the people, mythology. The ancient Greeks endowed their gods with fantastic powers and other symbols of the deity. The religious and ascetic attitude to reality affected the conventions of the Middle Ages: the art of this era personified the otherworldly, mysterious world. The art of classicism was instructed to depict reality in the unity of place, time and action. The third type of conventionality is actually an artistic device, depending on the creative will of the author. The manifestations of such conventionality are infinitely diverse, distinguished by pronounced metaphor, expressiveness, associativity, deliberately open re-creation of “forms of life” - deviations from the traditional language of art (in ballet - the transition to a normal step, in opera - to colloquial speech). In art, it is not necessary that the shaping components remain invisible to the reader or viewer. A skillfully implemented open artistic device of conventionality does not violate the process of perception of the work, but, on the contrary, often activates it.

Artistic convention is one of the fundamental principles of creating a work of art. Indicates the non-identity of the artistic image with the object of the image. Exists two types artistic convention. The primary artistic convention is associated with the very material used by this type of art. For example, the possibilities of the word are limited; it does not give the possibility to see color or smell, it can only describe these sensations:

The music rang in the garden

With such unspeakable grief

Fresh and pungent smell of the sea

Oysters on ice on a platter.

(A. A. Akhmatova, "In the Evening")

Secondary artistic convention is not characteristic of all works. It involves a deliberate violation of plausibility: the nose of Major Kovalev cut off and living on its own in N.V. Gogol, the mayor with a stuffed head in the "History of one city" M. E. Saltykov-Shchedrin. Secondary artistic convention is created hyperbole(the incredible power of the heroes of the folk epic, the scale of the curse in N.V. Gogol's Terrible Revenge), allegories (Woe, Likho in Russian fairy tales). A secondary artistic convention can also be created by a violation of the primary one: an appeal to the viewer in the final scene of N.V. Chernyshevsky“What is to be done?”, the variability of the narrative (several options for the development of events are considered) in “The Life and Opinions of Tristram Shandy, Gentleman” by L. Stern, in the story of H. L. Borges"Garden of Forking Paths", violation of cause and effect connections in the stories of D.I. Kharms, plays by E. Ionesco. Secondary artistic convention is used to draw attention to the real, to make the reader think about the phenomena of reality.