Theory of Literature. Artistic convention Secondary convention in literature
There are conventional and life-like images in literature.
Lifelike is a reality that is mirror-like to life.
Conditional ones are violations, deformation, they have two plans - depicted and implied. Lifelike - character and type, conditional - symbol, allegory, grotesque.
Life-like images - the most identical to reality
The word in a work of art behaves differently than in ordinary speech - the word begins to realize an aesthetic function in addition to the communicative one. The purpose of ordinary speech is communication, the transfer of information. The aesthetic function is different, it does not just convey information, but creates a certain mood, conveys spiritual information, an idea. The word itself is different. The context, compatibility, rhythmic beginning is important (especially in poetry). The word in a work of art does not have a definite meaning as in everyday speech. Example: a crystal vase and a crystal time at Tyutchev. The word does not appear in its meaning. Crystal time - a description of the sounds of autumn.
Conditional images include:
allegory
The grotesque is often used for satire or tragic beginnings.
Grotesque is a symbol of disharmony.
The form of the grotesque: displacement of proportions, violation of scale, the inanimate crowds out the living.
The grotesque style is characterized by an abundance of alogisms, the combination of different voices. Allegory and symbol are two planes: depicted and implied.
The allegory is unambiguous - there are instructions and decoding:
1) imaginary
2) implied
The symbol is multi-valued, inexhaustible. In a symbol both what is depicted and what is implied is equally important.
There is no indication in the symbol.
With a symbol, multiple interpretations are possible, and with an allegory, unambiguity.
The literature of our century - as before - widely relies both on fiction and on non-fictional events and persons. At the same time, the rejection of fiction in the name of following the truth of fact, in some cases justified and fruitful6, can hardly become the mainstay of artistic creativity: without relying on fictional images, art and, in particular, literature are unimaginable.
Through fiction, the author summarizes the facts of reality, embodies his view of the world, and demonstrates his creative energy. Freud argued that fiction is associated with unsatisfied drives and repressed desires of the creator of the work and expresses them involuntarily.
The concept of fiction clarifies the boundaries (sometimes very vague) between works that claim to be art and documentary and informational. If documentary texts (verbal and visual) from the “threshold” exclude the possibility of fiction, then works with an orientation towards their perception as artistic willingly allow it (even in cases where the authors limit themselves to recreating real facts, events, persons). Messages in literary texts are, as it were, on the other side of truth and lies. At the same time, the phenomenon of artistry can also arise when perceiving a text created with an orientation towards documentary: “... for this it is enough to say that we are not interested in the truth of this story, that we read it, “as if it were the fruit of<...>writing."
The forms of “primary” reality (which again is absent in “pure” documentary) are reproduced by the writer (and the artist in general) selectively and somehow transformed, resulting in a phenomenon that D.S. Likhachev called the inner world of a work: “Each work of art reflects the world of reality in its creative perspectives.<...>. The world of a work of art reproduces reality in a kind of "abbreviated", conditional version.<...>. Literature takes only some of the phenomena of reality and then conventionally reduces or expands them.
At the same time, there are two trends in artistic imagery, which are denoted by the terms conventionality (the author's emphasis on non-identity, and even opposition between the depicted and the forms of reality) and lifelikeness (leveling such differences, creating the illusion of the identity of art and life.
In the early historical stages, art was dominated by forms of representation, which are now perceived as conditional. This is, firstly, the idealizing hyperbole of traditional high genres (epopee, tragedy), generated by a public and solemn ritual, whose heroes manifested themselves in pathetic, theatrical spectacular words, poses, gestures and possessed exceptional features of appearance that embodied their strength and power, beauty and charm. (Remember the epic heroes or Gogol's Taras Bulba). And, secondly, it is the grotesque, which was formed and consolidated as part of the carnival festivities, acting as a parodic, comical “double” of the solemnly pathetic, and later acquired a programmatic meaning for the romantics12. It is customary to call the grotesque the artistic transformation of life forms, leading to some kind of ugly inconsistency, to the combination of the incompatible. The grotesque in art is akin to a paradox in logic. MM. Bakhtin, who studied the traditional grotesque imagery, considered it the embodiment of a festively cheerful free thought: “The grotesque frees from all forms of inhuman necessity that permeate the prevailing ideas about the world<...>debunks this need as relative and limited; grotesque form helps liberation<...>from walking truths, allows you to look at the world in a new way, to feel<...>the possibility of a completely different world order. In the art of the last two centuries, the grotesque, however, often loses its cheerfulness and expresses a total rejection of the world as chaotic, frightening, hostile (Goya and Hoffmann, Kafka and the theater of the absurd, to a large extent Gogol and Saltykov-Shchedrin).
In art, from the very beginning there are also life-like principles that made themselves felt in the Bible, the classical epics of antiquity, and the dialogues of Plato. In the art of modern times, lifelikeness almost dominates (the most striking evidence of this is the realistic narrative prose of the 19th century, especially L.N. Tolstoy and A.P. Chekhov). It is vital for authors who show a person in his diversity, and most importantly, who seek to bring the depicted closer to the reader, to minimize the distance between the characters and the perceiving consciousness. However, in the art of the XIX-XX centuries. conditional forms were activated (and updated at the same time). Nowadays, this is not only traditional hyperbole and grotesque, but also all kinds of fantastic assumptions (“Kholstomer” by L.N. Tolstoy, “Pilgrimage to the Land of the East” by G. Hesse), demonstrative schematization of the depicted (B. Brecht’s plays), exposure of the device (“ Evgeny Onegin" by A.S. Pushkin), the effects of the montage composition (unmotivated changes in place and time of action, sharp chronological "breaks", etc.)
Artistic convention
Artistic convention
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 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.
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, inconsistency of the artistic picture of the 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) a conscious, open violation of plausibility, a method of revealing the illusory nature of the 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 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
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 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- a way of reproducing life in a work of art, which clearly reveals a partial discrepancy between what is depicted in a work of art and what is depicted. Artistic conventionality is opposed to such concepts as "plausibility", "life-like", partly "factual" (Dostoevsky's expressions are "daggerotyping", "photographic fidelity", "mechanical accuracy", etc.). The feeling of artistic conventionality arises when the writer diverges from the aesthetic norms of his time, when choosing an unusual angle for viewing an artistic object as a result of a contradiction between the reader’s empirical ideas about the depicted object and the artistic techniques used by the writer. Virtually any technique can become conditional if it goes beyond what is familiar to the reader. In those cases where the artistic convention corresponds to the traditions, it is not noticed.
Actualization of the problem of conditional-plausible is characteristic of transitional periods, when several artistic systems compete. The use of various forms of artistic convention gives the described events a supra-everyday character, opens up a socio-cultural perspective, reveals the essence of the phenomenon, shows it from an unusual side, and serves as a paradoxical exposure of meaning. Any work of art has an artistic convention, so we can only talk about a certain degree of convention, characteristic of a particular era and felt by contemporaries. A form of artistic convention in which artistic reality is clearly at odds with empirical reality is called fantasy.
To designate artistic conventionality, Dostoevsky uses the expression "poetic (or "artistic") truth", "the share of exaggeration" in art, "fantastic", "realism reaching the fantastic", without giving them an unambiguous definition. "Fantastic" can be called a real fact, not noticed by contemporaries due to its exclusivity, and a property of the characters' attitude, and a form of artistic convention, characteristic of a realistic work (see). Dostoevsky believes that one should distinguish between "natural truth" (the truth of reality) and that reproduced with the help of forms of artistic convention; true art needs not only "mechanical precision" and "photographic fidelity", but also "eyes of the soul", "spiritual eye" (19; 153-154); fantasticness "outwardly" does not prevent the artist from remaining true to reality (i.e., the use of artistic conventions should help the writer cut off the secondary and highlight the main thing).
Dostoevsky's work is characterized by a desire to change the norms of artistic convention accepted in his time, blurring the boundaries between conventional and life-like forms. For earlier (before 1865) works, Dostoevsky is characterized by an open deviation from the norms of artistic convention (“Double”, “Crocodile”); for later creativity (in particular for novels) - balancing on the verge of the "norm" (explanation of fantastic events by the hero's dream; fantastic stories of characters).
Among the conventional forms used by Dostoevsky are - parables, literary reminiscences and quotations, traditional images and plots, grotesque, symbols and allegories, forms of conveying the characters' consciousness ("transcript of feelings" in "The Meek"). The use of artistic conventions in Dostoevsky's works is combined with an appeal to the most life-like details that create the illusion of authenticity (the topographical realities of St. Petersburg, documents, newspaper materials, lively non-normative colloquial speech). Dostoevsky's appeal to artistic convention often provoked criticism from his contemporaries, incl. Belinsky. In modern literary criticism, the question of artistic convention in Dostoevsky's work was most often raised in connection with the peculiarities of the writer's realism. Disputes were connected with whether "fantasy" is a "method" (D. Sorkin) or an artistic device (V. Zakharov).
Kondakov B.V.
Image and sign in a work of art, the relationship of these concepts. Aristotle's theory of mimesis and the theory of symbolization. Lifelike and conditional image types. Conditional types. Artistic fantasy. Coexistence and interaction of conventions in the literature of the twentieth century.
Subject of discipline"Theory of Literature" - the study of the theoretical laws of fiction. The purpose of the discipline is to give knowledge in the field of literary theory, to acquaint students with the most important and relevant methodological and theoretical problems, to teach the analysis of literary and artistic works. Tasks of the discipline- study of the basic concepts of the theory of literature.
Art has as its goal the creation of aesthetic values. Drawing its material from various spheres of life, it comes into contact with religion, philosophy, history, psychology, politics, journalism. At the same time, even “the most sublime objects it embodies in a sensual form<…>”, or in artistic images (ancient Greek eidos - appearance, appearance).
Artistic image, a common property of all works of art, the result of the author's understanding of a phenomenon, the process of life in a way characteristic of a particular type of art, objectified in the form of both a whole work and its individual parts.
Like a scientific concept, an artistic image performs a cognitive function, but the knowledge contained in it is largely subjective, colored by the way the author sees the depicted object. Unlike the scientific concept, the artistic image is self-sufficient, it is a form of expression of content in art.
The main properties of the artistic image- subject-sensory character, integrity of reflection, individualization, emotionality, vitality, a special role of creative fiction - differ from such properties of the concept as abstractness, generalization, logicality. Because artistic image is ambiguous, it is not fully translated into the language of logic.
Artistic image in the broadest sense ndash; the integrity of a literary work, in the narrow sense of the word ndash; images-characters and poetic imagery, or tropes.
An artistic image always carries a generalization. The images of art are concentrated incarnations of the general, the typical, in the particular, the individual.
In modern literary criticism, the concepts of "sign" and "signedness" are also used. The sign is the unity of the signifier and the signified (meaning), a kind of sensory-objective representative of the signified and its substitute. Signs and sign systems are studied by semiotics, or semiology (from the Greek semeion - “sign”), the science of sign systems based on phenomena that exist in life.
In the sign process, or semiosis, three factors are distinguished: sign (sign means); designatum, denotation- the object or phenomenon indicated by the sign; interpretant - the effect by virtue of which the corresponding thing turns out to be a sign for the interpreter. Literary works are also considered in the aspect of significance.
In semiotics, there are: index marks- a sign that designates, but does not characterize a single object, the action of the index is based on the principle of contiguity between the signifier and the signified: smoke - an index of fire, a footprint in the sand - an index of human presence; signs-symbols - conventional signs in which the signifier and the signified have no similarity or contiguity, such are the words in a natural language; iconic signs- denoting objects that have the same properties as the signs themselves, based on the actual similarity of the signifier and the signified; "Photography, star map, model - iconic signs<…>". Among the iconic signs, diagrams and images are distinguished. From a semiotic point of view, artistic image is an iconic sign whose designatum is value.
The main semiotic approaches are applicable to signs in a work of art (text): revealing semantics - the relationship of a sign to the world of non-sign reality, syntagmatics - the relationship of a sign to another sign, and pragmatics - the relationship of a sign to the collective using it.
Domestic structuralists interpreted culture as a whole as a sign system, a complex text, which breaks up into a hierarchy of “texts within texts” and forms complex interweaving of texts.
Art ndash; it is an artistic knowledge of life. The principle of knowledge is put at the forefront of the main aesthetic theories - the theory of imitation and the theory of symbolization.
The doctrine of imitation is born in the writings of the ancient Greek philosophers Plato and Aristotle. According to Aristotle, "the composition of the epic, tragedies, as well as comedies and dithyrambs,<…>, - all this as a whole is nothing but imitations (mimesis); they differ from each other in three ways: either by different means of imitation, or by its different objects, or by different, non-identical ways. The ancient theory of imitation is based on the fundamental property of art - artistic generalization, it does not imply a naturalistic copying of nature, a specific person, a specific fate. By imitating life, the artist learns it. The creation of an image has its own dialectic. On the one hand, the poet develops, creates the image. On the other hand, the artist creates the objectivity of the image in accordance with its "requirements". This creative process is called the process of artistic knowledge.
The theory of imitation retained its authority until the 18th century, despite the identification of imitation with a naturalistic image and the author's excessive dependence on the subject of the image. In the XIX-XX centuries. The strengths of the imitation theory have led to the creative success of realist writers.
Another concept of cognitive principles in art - symbolization theory. It is based on the idea of artistic creativity as a recreation of certain universal entities. The center of this theory is the doctrine of the symbol.
A symbol (Greek symbolon - a sign, an identifying sign) - in science the same as a sign, in art - an allegorical polysemantic artistic image, taken in the aspect of its symbolism. Every symbol is an image, but not every image can be called a symbol. The content of a symbol is always significant and generalized. In the symbol, the image goes beyond its own limits, since the symbol has a certain meaning, inseparably merged with the image, but not identical to it. The meaning of the symbol is not given, but given, the symbol does not directly speak about reality, but only hints at it. The “eternal” literary images of Don Quixote, Sancho Panza, Don Giovanni, Hamlet, Falstaff and others are symbolic.
The most important characteristics of a symbol: the dialectical correlation of identity and non-identity in a symbol between the signified and the signifier, the multi-layered semantic structure of the symbol.
Allegory and emblem are close to the symbol. In allegory and emblem, the figurative-ideological side is also different from the subject, but here the poet himself draws the necessary conclusion.
The concept of art as symbolization arises in ancient aesthetics. Having assimilated Plato's judgments about art as an imitation of nature, Plotinus argued that works of art "do not just imitate the visible, but ascend to the semantic essences of which nature itself consists."
Goethe, for whom symbols meant a lot, connected them with the vital organicity of the beginnings expressed through symbols. Reflections on the symbol occupy a particularly large place in the aesthetic theory of German romanticism, in particular, in F. W. Schelling and A. Schlegel. In German and Russian romanticism, the symbol primarily expresses the mystical otherworldly.
Russian symbolists saw unity in the symbol - not only form and content, but also some higher, Divine project that lies at the foundation of being, at the source of all that exists - this is the unity of Beauty, Goodness and Truth seen by the Symbol.
The concept of art as symbolization, to a greater extent than the theory of imitation, is focused on the generalizing meaning of imagery, but it threatens to lead artistic creativity away from the multicolored life into the world of abstractions.
A distinctive feature of literature, along with its inherent figurativeness, is also the presence of fiction. In the works of different literary movements, trends and genres, fiction is present to a greater or lesser extent. Both forms of typification that exist in art are connected with fiction - life-like and conditional.
In art since ancient times, there has been a lifelike way of generalization, which involves the observance of physical, psychological, causal and other patterns known to us. Classical epics, the prose of Russian realists and the novels of French naturalists are distinguished by lifelikeness.
The second form of typification in art is conditional. There is a primary and a secondary conditionality. The discrepancy between reality and its depiction in literature and other forms of art is called primary convention.. It includes artistic speech, organized according to special rules, as well as the reflection of life in the images of heroes that are different from their prototypes, but based on lifelikeness. Secondary convention ndash; allegorical way generalizations of phenomena based on the deformation of life reality and the denial of lifelikeness. Artists of the word resort to such forms of conditional generalization of life as fantasy, grotesque in order to better comprehend the deep essence of the typified (the grotesque novel by F. Rabelais "Gargantua and Pantagruel", "Petersburg Tales" by N.V. Gogol, "The History of a City" by M.E. Saltykov-Shchedrin). Grotesque ndash; "artistic transformation of life forms, leading to a kind of ugly inconsistency, to the combination of the incompatible."
There are also features of secondary convention in figurative and expressive techniques(tropes): allegory, hyperbole, metaphor, metonymy, personification, symbol, emblem, litote, oxymoron, etc. All these tropes are built on the general principle conditional ratio of direct and figurative meanings. All these conditional forms are characterized by a deformation of reality, and some of them are a deliberate deviation from external plausibility. Secondary conditional forms have other important features: the leading role of aesthetic and philosophical principles, the image of those phenomena that do not have a specific analogy in real life. The secondary conventionality includes the most ancient epic genres of verbal art: myths, folklore and literary fables, legends, fairy tales, parables, as well as genres of modern literature - ballads, artistic pamphlets ("Gulliver's Travels" by J. Swift), fabulous, scientific and social philosophical fiction, including utopia and its variant, dystopia.
Secondary conventionality has existed in literature for a long time, but at various stages in the history of the world art of the word, it played an unequal role.
Among the conditional forms in the works of ancient literature came to the fore idealizing hyperbole inherent in the depiction of heroes in the poems of Homer and the tragedies of Aeschylus, Sophocles, Euripides, and satirical grotesque, with the help of which the images of the comedy heroes of Aristophanes were created.
Usually, the techniques and images of secondary conventionality are intensively used in difficult, transitional eras for literature. One of these eras falls on the end of the 18th - the first third of the 19th century. when pre-romanticism and romanticism arose.
Romantics creatively processed folk tales, legends, legends, widely used symbols, metaphors and metonymy, which gave their works philosophical generalization and increased emotionality. A fantastic trend arose in the romantic literary direction (E.T.A. Hoffman, Novalis, L. Thicke, V.F. Odoevsky and N.V. Gogol). The conventionality of the artistic world among romantic authors is an analogue of the complex reality of the era, torn apart by contradictions (“The Demon” by M.Yu. Lermontov).
Realist writers also use techniques and genres of secondary conventionality. In Saltykov-Shchedrin, the grotesque, along with a satirical function (images of city governors), also has a tragic function (the image of Judas Golovlev).
In the XX century. the grotesque is reborn. In this period, two forms of the grotesque are distinguished - modernist and realistic. A. France, B. Brecht, T. Mann, P. Neruda, B. Shaw, Fr. Dürrenmatt often creates conditional situations and circumstances in his works, resorting to the displacement of temporal and spatial layers.
In the literature of modernism, secondary conventionality takes on a leading role (“Poems about the Beautiful Lady” by A.A. Blok). In the prose of Russian symbolists (D.S. Merezhkovsky, F.K. Sologub, A. Bely) and a number of foreign writers (J. Updike, J. Joyce, T. Mann), a special type of novel-myth arises. In the drama of the Silver Age, stylization and pantomime, the "comedy of masks" and the techniques of the ancient theater are being revived.
In the works of E.I. Zamyatin, A.P. Platonov, A.N. Tolstoy, M.A. Bulgakov, scientistic neomythologising prevails, due to an atheistic picture of the world and associated with science.
Fiction in Russian literature of the Soviet period often served as an Aesopian language and contributed to the criticism of reality, which manifested itself in such ideologically and artistically capacious genres as dystopian novel, legend story, fairy tale story. The genre of dystopia, fantastic by its nature, was finally formed in the 20th century. in the work of E.I. Zamyatin (novel "We"). Memorable works of the anti-utopian genre were also created by foreign writers - O. Huxley and D. Orwell.
However, in the 20th century Fairy tale fiction continued to exist (“The Lord of the Rings” by D.R. Tolkien, “The Little Prince” by A. de Saint-Exupery, the dramaturgy of E.L. Schwartz, the work of M.M. Prishvin and Yu.K. Olesha).
Lifelikeness and conventionality are equal and interacting methods of artistic generalization at different stages of the existence of verbal art.
1. Davydova T.T., Pronin V.A. Theory of Literature. - M., 2003. S.5-17, chapter 1.
2. Literary encyclopedia of terms and concepts. - M., 2001. Stb.188-190.
3. Averintsev S.S. Symbol // Literary encyclopedia of terms and concepts. M., 2001. Stb.976-978.
4. Lotman Yu.M. Semiotics // Literary Encyclopedic Dictionary. M., 1987. S.373-374.
5. Rodnyanskaya I.B. Image // Literary encyclopedia of terms and concepts. Stb.669-674.
Students should get acquainted with the concepts of image and sign, the main provisions of the Aristotelian theory of art's imitation of reality and the Platonic theory of art as symbolization; know what an artistic generalization in literature is and what types it is divided into. Need to have an idea about lifelikeness and secondary conventionality and its forms.
Students must have clear ideas:
- about imagery, sign, symbol, tropes, genres of secondary conventionality.
The student must to get skills
- use of scientific-critical and reference literature, analysis of lifelikeness and secondary conventionality (fiction, grotesque, hyperbole, etc.) in literary and artistic works.
1. Give examples of an artistic image in the broad and narrow meanings of the term.
2. Present the classification of signs in the form of a diagram.
3. Give examples of literary symbols.
4. Which of the two theories of art as imitation is criticized by O. Mandelstam in the article "Morning of Acmeism"? Argument your point of view.
5. What types of artistic convention is divided into?
6. What literary genres are characterized by secondary convention?
ARTISTIC CONVENTION
An integral feature of any work, connected 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 conditionally reproduces life, but the measure of this U. x. may be different. Depending on the ratio of likelihood and fiction (see artistic fiction), primary and secondary W. x. For primary W. x. a high degree of plausibility is characteristic, when the fictitiousness of the depicted is not declared and is not emphasized by the author. Secondary U. x. - this is a demonstrative violation by the artist of plausibility in the depiction of objects or phenomena, a conscious appeal to fantasy (see science fiction), the use of the grotesque a, symbols, etc., in order to give particular sharpness and convexity to certain life phenomena.
Dictionary of literary terms. 2012
See also interpretations, synonyms, word meanings and what is ARTISTIC CONVENTION in Russian in dictionaries, encyclopedias and reference books:
- CONVENTION in the Encyclopedic Dictionary:
, -i, f. 1. ohm. conditional. 2. A purely external rule fixed in social behavior. Trapped in conventions. Enemy of all... - ARTISTIC
ARTISTIC ACTIVITIES, one of the forms of Nar. creativity. Collectives X.s. originated in the USSR. All R. 20s the Tram movement was born (see ... - ARTISTIC in the Big Russian Encyclopedic Dictionary:
ART INDUSTRY, production of industries. methods decor.-applied thin. products serving for thin. home decoration (interior, clothes, jewelry, dishes, carpets, furniture ... - ARTISTIC in the Big Russian Encyclopedic Dictionary:
"ART LITERATURE", state. publishing house, Moscow. Main in 1930 as State. publishing house literature, in 1934-63 Goslitizdat. Sobr. op., fav. prod. … - ARTISTIC in the Big Russian Encyclopedic Dictionary:
ARTISTIC GYMNASTICS, a sport, women's competition in performing combinations from gymnastics to the music. and dance. exercises with an object (ribbon, ball, ... - CONVENTION in the Full accentuated paradigm according to Zaliznyak:
conditional, conditional, conditional, conditional, conditional, conditional, conditional, conditional, conditional, conditional, conditional, conditional, conditional, ... - CONVENTION in the Thesaurus of Russian business vocabulary:
- CONVENTION in the Russian Thesaurus:
Syn: treaty, agreement, custom; … - CONVENTION in the dictionary of Synonyms of the Russian language:
virtuality, assumption, relativity, rule, symbolism, conventionality, ... - CONVENTION in the New explanatory and derivational dictionary of the Russian language Efremova:
1. g. Distraction noun by value adj.: conditional (1 * 2.3). 2. g. 1) Distract. noun by value adj.: conditional (2*3). 2) ... - CONVENTION in the Complete Spelling Dictionary of the Russian Language:
convention... - CONVENTION in the Spelling Dictionary:
conditionality, ... - CONVENTION in the Dictionary of the Russian Language Ozhegov:
a purely external rule fixed in social behavior In captivity of conventions. Enemy of all conventions. conventionality<= … - CONVENTION in the Explanatory Dictionary of the Russian Language Ushakov:
conventions, 1. only units Distraction noun to conditional in 1, 2 and 4 meanings. Conditional sentence. Conditionality of a theatrical production. … - CONVENTION in the Explanatory Dictionary of Efremova:
convention 1. g. Distraction noun by value adj.: conditional (1 * 2.3). 2. g. 1) Distract. noun by value adj.: conditional (2*3). … - CONVENTION in the New Dictionary of the Russian Language Efremova:
I distraction noun according to adj. conditional I 2., 3. II f. 1. distraction noun according to adj. conditional II 3. … - CONVENTION in the Big Modern Explanatory Dictionary of the Russian Language:
I distraction noun according to adj. conditional I 2., 3. II f. 1. distraction noun according to adj. conditional II 1., ... - FANTASTIC in the Literary Encyclopedia:
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 ... - ARTISTIC ACTIVITIES
amateur performance, one of the forms of folk art. It includes the creation and performance of works of art by the forces of amateurs performing collectively (circles, studios, ... - AESTHETICS in the Newest Philosophical Dictionary:
a term developed and specified by A.E. Baumgarten in the treatise "Aesthetica" (1750 - 1758). The Novolatin linguistic education proposed by Baumgarten goes back to the Greek. … - POP ART in the Dictionary of Postmodernism:
(POP-ART) ("mass art": from English, popular - folk, popular; retrospectively associated with pop - suddenly appear, explode) - the direction of the artistic ... - TRIPLE ARTICULATION OF CINEMATOGRAPHIC CODE in the Dictionary of Postmodernism:
- a problematic field that was constituted in the discussions of film theorists and semiotics of the structure-list orientation in the mid-1960s. In the 1960s and 1970s, the reversal (or return) of film theory... - TROITSKY MATVEY MIKHAILOVICH in the Brief Biographical Encyclopedia:
Troitsky (Matvei Mikhailovich) - a representative of empirical philosophy in Russia (1835 - 1899). The son of a deacon of a rural church in the Kaluga province; graduated ... - FANTASTIC in the Dictionary of Literary Terms:
- (from the Greek phantastike - the art of imagining) - a type of fiction based on a special fantastic type of imagery, which is characterized by: ... - TROUBADOURS in the Literary Encyclopedia:
[from the Provencal trobar - “to find”, “to invent”, hence “to create poetic and musical works”, “to compose songs”] - medieval Provencal lyric poets, composers of songs ... - VERSIFICATION in the Literary Encyclopedia:
[otherwise — versioning]. I. General concepts. The concept of S. is used in two meanings. Often it is considered as a doctrine of the principles of poetic ... - RENAISSANCE in the Literary Encyclopedia:
- Renaissance - a word, in its special sense, was first put into circulation by Giorgio Vasari in the Lives of the Artists. … - IMAGE. in the Literary Encyclopedia:
1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. . 4. Typification of reality... - LYRICS. in the Literary Encyclopedia:
The division of poetry into three main types is traditional in the theory of literature. Epos, L. and drama seem to be the main forms of any poetic ... - CRITICISM. THEORY. in the Literary Encyclopedia:
The word "K." means judgment. It is no coincidence that the word "judgment" is closely related to the concept of "judgment". Judging is, on the one hand, ... - KOMI LITERATURE. in the Literary Encyclopedia:
The Komi (Zyryan) alphabet was created at the end of the 14th century by the missionary Stefan, Bishop of Perm, who in 1372 compiled a special Zyryan alphabet (Perm ... - CHINESE LITERATURE in the Literary Encyclopedia.
- PROMOTIONAL LITERATURE in the Literary Encyclopedia:
a set of artistic and non-artistic works, to-rye, influencing the feeling, imagination and will of people, induce them to certain actions, action. The term... - LITERATURE in the Big Encyclopedic Dictionary:
[lat. lit(t)eratura lit. - written], written works of public importance (eg, fiction, scientific literature, epistolary literature). More often under the literature ... - ESTONIAN SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB:
Soviet Socialist Republic, Estonia (Eesti NSV). I. General information The Estonian SSR was formed on July 21, 1940. From August 6, 1940 in ... - SHAKESPEARE WILLIAM in the Great Soviet Encyclopedia, TSB:
(Shakespeare) William (April 23, 1564, Stratford-on-Avon - April 23, 1616, ibid.), English playwright and poet. Genus. in the family of a craftsman and merchant John ... - ART EDUCATION in the Great Soviet Encyclopedia, TSB:
education in the USSR, the system of training masters of fine, decorative, applied and industrial art, architects-artists, art historians, artists-teachers. In Rus', it originally existed in the form of ... - FRANCE
- PHOTO ART in the Great Soviet Encyclopedia, TSB:
a kind of artistic creativity, which is based on the use of the expressive possibilities of photography. The special place of F. in artistic culture is determined by the fact that ... - UZBEK SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB.
- TURKMEN SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB.
- THE USSR. BROADCASTING AND TELEVISION in the Great Soviet Encyclopedia, TSB:
and television Soviet television and radio broadcasting, as well as other media and propaganda, have a great influence on ... - THE USSR. LITERATURE AND ART in the Great Soviet Encyclopedia, TSB:
and art Literature Multinational Soviet literature represents a qualitatively new stage in the development of literature. As a certain artistic whole, united by a single socio-ideological ... - THE USSR. BIBLIOGRAPHY in the Great Soviet Encyclopedia, TSB.
- ROMANIA in the Great Soviet Encyclopedia, TSB:
(România), Socialist Republic of Romania, SRR (Republica Socialista România). I. General information R. is a socialist state in the southern part of Europe, in ... - RUSSIAN SOVIET FEDERAL SOCIALIST REPUBLIC, RSFSR in the Great Soviet Encyclopedia, TSB.
- LITHUANIA SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB:
Soviet Socialist Republic (Lietuvos Taribu Socialist Republic), Lithuania (Lietuva). I. General information The Lithuanian SSR was formed on July 21, 1940. From 3 ...
