Action Literature. The development of action in literature is the cognitive development of an early age child.

One of the currents in neo-romanticism k.19-n. 20 centuries. In the center of attention of the literature of "action" is an actively acting hero. The activity of the hero is realized primarily in an act that has a tangibly effective, cultural and historical character. The hero's act is nothing more than the "objectification" of his will (see: "Will") into the flesh of national-historical being. The hero, as it were, establishes, as a result of the manifestation of his will, a certain new Law and, thanks to this, acquires the status of a cultural hero in the national tradition. It is very significant that a hero of this type is not a thinking hero, an intellectual hero, whose superhuman activity is concentrated in analytical abilities, in thought (Sherlock Holmes in K. Doyle, Pastor Brown in G.K. Chesterton and other characters of the so-called . analytical genres in neo-romanticism), on the contrary, the hero's inability to perform complex mental operations is very often emphasized (the hero of R. Kipling's "barracks" ballads Tommy Atkins or Captain McWhirl from D. Conrad's story "Typhoon"). The low intelligence of the heroes, and sometimes the lack of it, is not a negative characteristic of the character of the literature of "action", on the contrary, this limitation helps the hero to concentrate on a specific goal and convincingly achieve it. Thought, the ability to reason, to surrender to the flow of speculative-logical operations would look like obstacles that interfere with the hero, hindering the process of the character's volitional activity. Until recently, it was customary to link the literature of "action" with the so-called. “imperialist” ideology (the work of the “ideologist of colonization” R. Kipling often appeared as an example), which, of course, does not hold water: Joseph Conrad, who, like R. Kipling and H. R. Haggard, pays tribute to this literature, cannot be called "the ideologue of English colonization" and "singer of imperialism" because of his democratic leanings. Lit-ra: Yu. I. Kagarlitsky. Rudyard Kipling // Rudyard Kipling. Stories. Poetry. Fairy tales. - M., 1989.

List and describe the stages of action development in the composition (in the literature) and got the best answer

Answer from Elivanch[guru]
exposition, plot, development of action, climax and denouement. The selection of these elements is expedient only in connection with the conflict. (The fact is that at school there is often a simplified approach to determining the elements of the plot, according to the type: “the plot is when the action is tied”). The nature of the conflict at any given moment is decisive for determining the elements of the plot.
Exposition - part of the work, usually the initial one, which precedes the plot. It usually acquaints us with the characters, circumstances, place and time of action. There is no conflict in the exposition yet.
The plot of a work is the moment of occurrence or detection of a conflict.
This is followed by the development of the action, that is, a series of episodes in which the characters are trying to actively resolve the conflict, but nevertheless it becomes more and more acute and tense.
Finally, the conflict reaches the moment when the contradictions can no longer exist in their former form and require immediate resolution, the conflict reaches its maximum development. According to the author's intention, the greatest tension of the reader's attention and interest usually falls on this same point. This is the climax.
Following the culmination in close proximity to it (sometimes already in the next phrase or episode), the denouement follows - the moment when the conflict exhausts itself, and the denouement can resolve the conflict, or clearly demonstrate its insolubility.
It should be noted that the definition of plot elements is necessary in order to more accurately imagine the external structure of the plot.
There can be various complexities in defining plot elements that need to be anticipated; this is especially true for large-volume works. Firstly, a work may have not one, but several storylines; each of them, as a rule, will have its own set of plot elements. Secondly, in a major work there is usually not one, but several climaxes, after each of which the appearance of a weakening of the conflict is created and the action subsides slightly, and then the upward movement begins again to the next climax. The climax in this case is often an imaginary solution to the conflict, after which the reader can take a breath, but then new events lead to further development of the plot, it turns out that the conflict has not been resolved, and so on until a new climax.

Action

Action

ACTION is a term that has several meanings. It is used as a synonym for the term "act" (see). Denotes the act of the hero of the work, which characterizes and exposes his volitional orientation (dramatic device). It is one of the links in the chain of events, called the plot of the work (see). And, finally, by action we mean the dynamics of the work. Lessing argued that if the realm of painting is bodies and the spatial relationships between them, then the subject of poetry is action, located in a temporal sequence.
It is customary to define drama as the depiction of a person in drama. Aristotle called drama the soul of tragedy. But D. owes any work of art its semblance of life, the illusion of reality. Reproducing life, the world, a work of art reproduces them not in finished form, but in the process of their formation, for “the world does not consist of ready-made objects, but is a set of processes in which objects that seem unchanged, as well as mental pictures taken by the head, concepts are in constant change, now they arise, now they die” (Engels). And the law of development (“everything flows, everything moves, nothing is at rest”), penetrating nature, social relations and individual existence, predetermines, as it were, action, movement in a work of art. D. predetermines the movement in a work of art and the struggle that man had and has to wage throughout history (“The history of mankind is the history of the struggle of classes” - K. Marx). That is why the reasoners of classical tragedy, which are static and given "ready-made" from the first scene, do not make an artistic impression. The suggestive role of symbolist heroes (see) is also extremely low. On the contrary, the images of Shakespeare, the characters and passions of which are shown in the process of their origin and development, which, as it were, undergo various life metamorphoses before our eyes, are irresistible in their impression. Let us recall King Lear, Macbeth, and others. For the same reason, Tolstoy's characters (for example, Andrei Bolkonsky, Natasha, Pierre, Anna Karenina, and others), who are shown in dialectical development, are so artistically convincing. From the first to the last page of the novels, they rush in the stream of life, “flow”.
“Homer,” says Lessing, “does not describe the shield as a thing that is already completely ready, but as a thing that is being done. Seeing this, we, - he notes, - begin to marvel at the work itself, but we marvel, like self-viewers who saw how it was done. What cannot be described in parts and in detail, Homer is able to show the effect of the described phenomenon on others. In the Iliad, for example, he does not give a portrait of Helen, but tells how the beauty of Helen affects the Trojan elders.
The problem of D. is the main problem of creativity. “Beginners to create poetic works,” said Aristotle, “may succeed earlier in dialogue and depiction of mores than in the development of action.” For many writers, the problem of D. remains unresolved throughout their entire career. So for Chekhov, the following letter to Suvorin, written during the work on the Duel, is typical: “My story,” he writes, “is moving forward. Everything is smooth, even, there are almost no lengths, but you know what is very bad? There is no movement in my story, and this frightens me ”(On movement in the story and in Chekhov’s story, see M. Rybnikov’s book, Po questions of composition, M., 1924). Chekhov's plays were also distinguished by the extreme weakness of D..
What importance the great writers attached to this problem can be judged by L. Tolstoy's review of Pushkin's prose works: “Every writer should study and study them. Here's how to write. Pushkin gets down to business (Guests gathered at the dacha). Another would begin to describe the guests and the room, but he immediately puts it into action ”(Gusev N., Tolstoy in the prime of his artistic genius, M., 1928).
Speaking of D. as a problem of the skill of the artist, it must be emphasized that this problem is at the same time a problem of style. The lack of movement in Chekhov's stories, short stories and plays is explained not only by an organic lack of his talent. Provincial life in the reactionary 80s, which he reproduced, was not dynamic. Vulgar, ordinary, she paralyzed the will of her bearers - gloomy, disappointed, tired intellectuals, which are mostly the images of Chekhov. Equally not only to the genius of L. Tolstoy his works owe their dynamism. “The era, which was remarkably vividly reflected both in his brilliant works of art and in his teaching, is an era,” says V. I. Lenin, “after 1861 and before 1905”, when “everything turned upside down and just fit in .. .” Turgenev, describing the life of the “Noble Nest”, reproduces this life as flowing very sluggishly and slowly - so that it seems as if life has even stopped here. The work, as it were, is doomed to static, immobility by the material itself. But this is only an appearance, just as the immobility of the earth is an appearance. Here the action, the movement, is simply slowed down. Such is the way of life on the estate, such is the life of the feudal landowners.
In contrast to the manor life of serfdom, the life of the city rushes at an accelerated pace. The urban writer, as if in a hurry to keep up with this pace, does not linger on descriptions of nature, environment, characters. These "inactive parts" (an expression of Aristotle), so characteristic of the works of country estate writers - exponents of the psycho-ideology of a class doomed to relative inactivity, are completely absent from urban writers. In the works of the latter, predominantly dynamic motifs predominate.
Developing continuous action, a typical city writer in this respect - Dostoevsky, an artist of movement, not forms - as V. Pereverzev points out, puts the necessary descriptions and characteristics into the mouths of the characters along the way. Dostoevsky even developed a special way of starting from the middle, with the D. (for example, Crime and Punishment, etc.). Therefore, the form of his works are often memoirs and correspondence. “There is already a correspondence with D.: it immediately opens up a relationship for us, says nothing about their beginning.”
Establishing the dependence of the dynamics of a work of art on the style of social life, we must in conclusion once again emphasize that works that appear in epochs of social shifts, revolutionary epochs, are distinguished by a special dynamism and effectiveness. Revolution - "the great D. on the world-historical stage" - creates its own special poetry - the poetry of D., reproducing the dynamics of the struggle. In cases where the class making the revolution does not create this poetry, it borrows it from the arsenal of the revolutionary traditions of the past. So it was, for example. in the era of the French Revolution, when the bourgeoisie borrowed the poetry of D. from ancient Rome. For “the gladiators of the bourgeois order, the classical strict traditions of the Roman Republic provided all the ideals, all the artistic forms and means of self-deception that they needed to hide from themselves the bourgeois-limited content of their struggle and maintain their enthusiasm at the height of the great historical tragedy” (Karl Marx , "Brumer's 18th").
The October Revolution, which unfolded in our country a social democracy unprecedented in the world, the struggle of the worker and peasant masses against capitalism, created its own artistic literature, which reproduces the dynamics of this democracy, the class struggle. The most striking works of the October Revolution are full of movement and action with characteristic dynamic titles - "The Iron Stream", "The Fall of Dair", "Storm", "Rout". Bibliography:
Aristotle, Poetics, transl., introduction and notes. Edited by N. I. Novosadsky. L., 1927; Lessing, Laocoön, Sobr. sochin., v. VIII, St. Petersburg., 1904; Pereverzev V., Dostoevsky's work, M., 1922; Friche W., Western-European literature of the XX century. in its most important manifestations, ed. 2nd, M., 1928.

Literary encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

Action

1) an act of a character in a literary work, which can be expressed in the form of statements, movements, gestures, facial expressions, etc. An action can have an external expression (practical changes) or internal (changes in the state, mood, personality of the characters). External action (for example, in the works of V. Scott) is a means of depicting resolvable contradictions and short-term conflicts. Internal action (for example, in E. Hemingway) depicts eternal, enduring conflicts.
2) In dramaturgy, action (in addition to designating the actions of heroes) is part of a dramatic work or performance and one of the rules classicism. In the classic drama, along with the unity of place and time, the unity of action had to be observed - the performance had to develop one storyline to its logical conclusion. In modern dramas, the unity of action is often absent. In the lyrical genres of literature, the action fades into the background, because the feelings, emotions and experiences expressed through lyrics are more important. The action is on the periphery.

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

Antonyms:

See what "Action" is in other dictionaries:

See reason; quantum of action - see Quantum theory. The “principle of least action” states that of all the mechanical movements that a system of bodies can perform, bound by certain limiting conditions, that movement is performed, when ... ... Philosophical Encyclopedia

action- purposeful activity, implemented in the external or internal plan; unit of activity. In Russian psychology, ideas about D. as a specific unit of human activity were introduced by S. L. Rubinshtein and A. N. Leontiev. ... ... Great Psychological Encyclopedia

ACTION, action, cf. 1. The manifestation of some kind of energy, the discovery of activity. Action equals reaction. 2. only units Work, the state of the acting. Start the machine. This machine was in action yesterday. 3. only units… … Explanatory Dictionary of Ushakov

Action is an ambiguous word, which can mean: Wiktionary has an entry for "action" Act of activity. Group action (in mathematics) Action (physics) Actions (acts) ... Wikipedia

Action, feat, deed, trick, step, maneuver, manipulation, machination, operation, procedure, process, act, doing, deed, dressing, manufacture, execution, implementation, implementation, production, fabrication. Impression, effect. An outburst against... ... Synonym dictionary

Action- Action ♦ Action The result of the manifestation of the will. A will without a result is not an action, just as a result without a will. To act means to do what you want and be free to do it. From whom does the desire to act come? From the heart. And who is acting? … Philosophical Dictionary of Sponville

1) the finished part of the performance, play (the same as the act). 2) In drama and epic, the development of events that forms the basis, the flesh of the plot (plot). 3) In the theater, the main means of embodying the stage image ...

A physical quantity that has the dimension of the product of energy and time. If we consider a certain set of possible movements of a mechanical system between its two positions, then its true (actually occurring) movement will differ ... Big Encyclopedic Dictionary

the most important component of artistic conflict; the concept characterizes the way in which an artistic action moves through the points of initiation, climax, and denouement. The development of the action can be carried out in a different compositional rhythm, have a different number of climax points.

Whole: plot

Other associations: climax, conflict, climax, denouement

"In a work of art, the development of an action can be interrupted by a sudden, unexpected denouement. In ancient Greek tragedies, the gods were such a force, unraveling all contradictions with their intervention" (A. Revyakin).

"There are no universal rules and norms in the field of plot construction. In some cases, the conflict underlying the plot requires numerous ups and downs; in others, on the contrary, the slowness of the development of the action is important for the writer" (VE Khalizev).

• - irreversible, directed, regular quantities. and qualities. changes in a living organism, characterized by a transformation in its structure, a transition from one quality ...

  Veterinary Encyclopedic Dictionary

• - the passage by the body of a number of stages that differ in morphological and physiological characteristics, leading, as a rule, to a change in its structure and functions ...

  Plant anatomy and morphology

• - A set of processes that determine the morphological, physiological and biochemical changes that an individual undergoes on the way from fertilization of the egg to death ...

  Terms and definitions used in breeding, genetics and reproduction of farm animals

• - process of closely related quantities. and qualities, transformations of individuals from the moment of birth to the end of life and during the entire time of the existence of life on Earth of their species, etc. system-tich. groups...

  Natural science. encyclopedic Dictionary

• - regular change of matter and consciousness, their universal property...

  The Beginnings of Modern Natural Science

• - a structural element of the plot: a system of events arising from the plot. In the course of the R.D., the conflict escalates, and the contradictions between the actors deepen and intensify ...

  Dictionary of literary terms

• - 1. Strengthening, strengthening. 2. Bringing to a certain degree spiritual, mental maturity, consciousness, culture, etc. 3. Bringing strength, power, perfection to a certain degree; raising the level of something. 4...

  Great Psychological Encyclopedia

• - psychoanalysis claims that human behavior can be considered in its development, that is, adult behavior can be interpreted as a complication or evolution of child behavior, and that the "higher" forms of the latter ...

  Analytical Psychology Dictionary

• - progressive movement, evolution, transition from one state to another. R. is opposed to "creation", "explosion", emergence from nothing, as well as spontaneous formation from chaos and ...

  Philosophical Encyclopedia

• - characteristics of qualitative changes in objects, the emergence of new forms of being, innovations and innovations and associated with the transformation of their internal and external relations ...

  The latest philosophical dictionary

• - DEVELOPMENT - an irreversible, progressive change in the objects of the spiritual and material world in time, understood as linear and unidirectional. In European philosophy, the concept of R. has become dominant in ...

  Encyclopedia of Epistemology and Philosophy of Science

• - English. development; German Entwicklung. 1. Individual R. - manifested in the totality of successive morphol., Physiol., Biochemical changes occurring in the body from the moment of its inception until the end of life ...

  Encyclopedia of Sociology

• - A multi-dimensional process, usually involving a change in state from less satisfactory to more satisfactory ...

  Political science. Dictionary.

• - directed, regular change in nature and society. As a result of development, a new qualitative state of the object arises - its composition or structure ...

  Modern Encyclopedia

• - qualitative changes in the structure and functions of the body and its individual parts - organs, tissues and cells that occur in the process of ontogenesis ...

  Ecological dictionary

• - 1. the process of regular change, transition from one state to another, more perfect; transition from an old qualitative state to a new one, from simple to complex, from lower to higher 2...

  Big Economic Dictionary

"development of action" in books

Path development during the action