What is an artistic image in literature definition. In what order is literary
Artistic image is one of the most important categories of aesthetics, defining the essence of art, its specificity. Art itself is often understood as thinking in images and is contrasted with conceptual thinking that emerged at a later stage of human development. The idea that initially people thought in concrete images (otherwise they simply did not know how) and that abstract thinking arose much later was developed by G. Vico in the book "Foundations of a New Science of the General Nature of Nations" (1725). "Poets," wrote Vico, "used to form a poetic (figurative. - Ed.) speech, composing frequent ideas ... and the peoples that subsequently appeared formed prosaic speech, combining in each single word, as if in one generic concept, those parts that have already been poetic speech. For example, from the following poetic phrase: "The blood boils in my heart," the peoples made a single word "anger."
Archaic thinking, or rather, figurative reflection and the modeling of reality has been preserved to this day and is the main one in artistic creation. And not only in creativity. Figurative "thinking" forms the basis of the human worldview, in which reality is figuratively and fantastically reflected. In other words, each of us brings some share of his imagination into the picture of the world he presents. It is no coincidence that researchers in depth psychology from Z. Freud to E. Fromm so often pointed out the closeness of dreams and works of art.
Thus, the artistic image is a concrete-sensory form of reproduction and transformation of reality. The image conveys reality and at the same time creates a new fictional world that we perceive as existing in reality. "The image is many-sided and multi-component, including all moments of the organic mutual transformation of the real and the spiritual; through the image that connects the subjective with the objective, the essential with the possible, the individual with the general, the ideal with the real, the agreement of all these opposing spheres of being is developed, their all-embracing harmony ".
Speaking of artistic images, they mean the images of heroes, actors works and, of course, first of all, people. And it is right. However, the concept of "artistic image" often also includes various objects or phenomena depicted in the work. Some scientists protest against such a broad understanding of the artistic image, considering it wrong to use concepts like "the image of a tree" (leaf in "Farewell to Matera" by V. Rasputin or oak in "War and Peace" by L. Tolstoy), "image of the people" (including same epic novel by Tolstoy). In such cases, it is proposed to talk about the figurative detail that a tree can be, and about the idea, theme or problem of the people. Even more difficult is the case with the image of animals. In some well-known works ("Kashtanka" and "White-browed" by A. Chekhov, "Strider" by L. Tolstoy), the animal appears as a central character, whose psychology and worldview are reproduced in great detail. And yet there is a fundamental difference between the image of a person and the image of an animal, which does not allow, in particular, to seriously analyze the latter, because there is deliberateness in the artistic image itself (the inner world of an animal is characterized by concepts related to human psychology).
Obviously, with good reason, only images of human characters can be included in the concept of "artistic image". In other cases, the use of this term implies a certain amount of conventionality, although its "expanding" use is quite acceptable.
For domestic literary criticism, "an approach to the image as to a living and holistic organism, in the most more capable of comprehending the full truth of being... In comparison with Western science, the concept of "image" in Russian and Soviet literary criticism is itself more "figurative", polysemantic, having a less differentiated sphere of use.<...>The fullness of the meanings of the Russian concept of "image" is shown only by a number of Anglo-American terms... - symbol, copy, fiction, figure, icon...".
According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, image-motives, topoi and archetypes.
Individual images characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in V. Hugo's Notre Dame Cathedral, the Demon in M. Lermontov's poem of the same name, Woland in M. Bulgakov's The Master and Margarita.
typical image, in contrast to the individual, is generalizing. It contains common traits of character and morals inherent in many people of a certain era and its social spheres (characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky, "The Forsyte Saga" by J. Galsworthy).
typical image represents the highest level of the characteristic image. Typical is the most likely, so to speak, exemplary for a certain era. The depiction of typical images was one of the main goals, as well as the achievements of the realistic literature of the 19th century. Suffice it to recall Father Goriot and Gobsek O. Balzac, Anna Karenina and Platon Karataev L. Tolstoy, Madame Bovary G. Flaubert and others. (so called eternal images) - Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe ...
Images-motifs and topoi go beyond individual characters. An image-motif is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements ("village Russia" by S. Yesenin, " Beautiful lady"by A. Blok).
topos(gr. topos- place, locality, letters, meaning - common place) denotes general and typical images created in the literature of an entire era, a nation, and not in the work of an individual author. An example would be the image little man"in the work of Russian writers - from A. Pushkin and N. Gogol to M. Zoshchenko and A. Platonov.
Recently, in the science of literature, the concept is very widely used. "archetype"(from Greek. arc he- start and typos- image). For the first time this term is found among the German romantics in early XIX century, however, the work of the Swiss psychologist C. Jung (1875-1961) gave him a true life in various fields of knowledge. Jung understood the archetype as a universal image, unconsciously passed on from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, literally “stuffed” all of humanity, and the archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes. "As a doctor," wrote Jung, "I had to bring out the images of Greek mythology in the delusions of purebred Negroes."
Brilliant ("visionary", in Jung's terminology) writers not only carry these images in themselves, like all people, but are also able to reproduce them, and the reproduction is not a simple copy, but is filled with new, modern content. In this regard, K. Jung compares the archetypes with the beds of dry rivers, which are always ready to be filled with new water.
To a large extent, the term widely used in literary criticism is close to the Jungian understanding of the archetype. "mythologeme"(in English literature - "mytheme"). The latter, like an archetype, includes both mythological images and mythological plots or parts of them.
Much attention in literary criticism is paid to the problem of the relationship between image and symbol. This problem was posed in the Middle Ages, in particular by Thomas Aquinas (XIII century). He believed that the artistic image should reflect not so much the visible world as express what cannot be perceived by the senses. Thus understood, the image actually turned into a symbol. In the understanding of Thomas Aquinas, this symbol was intended to express primarily the divine essence. Later, among the symbolist poets of the 19th–20th centuries, symbolic images could also carry an earthly content (“eyes of the poor” by Ch. Baudelaire, “yellow windows” by A. Blok). The artistic image does not have to be "dry" and divorced from objective, sensual reality, as Thomas Aquinas proclaimed. Blok's Stranger is an example of a magnificent symbol and at the same time a full-blooded living image, perfectly inscribed in the "objective", earthly reality.
Philosophers and writers (Viko, Hegel, Belinsky and others), who defined art as "thinking in images", somewhat simplified the essence and functions of the artistic image. A similar simplification is also characteristic of some modern theorists, who at best define the image as a special "iconic" sign (semiotics, partly structuralism). It is obvious that through images they not only think (or primitive people thought, as J. Vico rightly noted), but also feel, not only "reflect" reality, but also create a special aesthetic world, thereby changing and ennobling the real world.
The functions performed by the artistic image are numerous and extremely important. They include aesthetic, cognitive, educational, communicative and other possibilities. We confine ourselves to just one example. Sometimes a literary image created by a brilliant artist actively influences life itself. So, imitating Goethe's Werther ("Suffering young Werther", 1774), many young people, like the hero of the novel, committed suicide.
The structure of the artistic image is both conservative and changeable. Any artistic image includes both the author's real impressions and fiction, however, as art develops, the ratio between these components changes. Thus, in the images of Renaissance literature, the titanic passions of heroes come to the fore; literature XIX century, writers strive for a comprehensive coverage of reality, discovering the inconsistency of human nature, etc.
If we talk about historical destinies image, then there is hardly any reason to separate ancient figurative thinking from modern. At the same time, for each new era, there is a need for a new reading of the images created before. "Subjected to numerous interpretations that project the image into the plane of certain facts, trends, ideas, the image continues its work of displaying and transforming reality already outside the text - in the minds and lives of successive generations of readers" .
The artistic image is one of the most multifaceted and complex literary and philosophical categories. And it is not surprising that the scientific literature devoted to him is extremely large. The image is studied not only by writers and philosophers, but also by mythologists, anthropologists, linguists, historians and psychologists.
- Literary encyclopedic dictionary. M., 1987. S. 252.
- Literary encyclopedic dictionary. S. 256.
- Literary encyclopedic dictionary. S. 255.
Ticket number 9
Artistic image in literature.
Artistic image -
An image is also called any phenomenon creatively recreated by the author in a work of art.
The artistic image not only reflects, but above all generalizes reality. The specificity of the artistic image is determined not only by the fact that it comprehends reality, but also by the fact that it creates a new, fictional world. With the help of his imagination, fiction, the author transforms the real material: using exact words, colors, sounds, the artist creates a single work.
^ An artistic image is not only an image of a person - it is a picture human life, in the center of which stands special person, but which includes everything that surrounds him in life. So, in a work of art, a person is depicted in relationships with other people. Therefore, here we can talk not about one image, but about many images. Any image is an inner world that has fallen into the focus of consciousness. Outside images there is no reflection of reality, no imagination, no cognition, no creativity.
^ The image can take sensual and rational forms.
The image can be based on a person's fiction, it can be factual.
An artistic image can affect the senses and the mind.
The artistic image, on the one hand, is the artist's answer to questions that interest him, on the other hand, it gives rise to new questions, gives rise to the understatement of the image by its subjective nature. It gives the maximum capacity of content, is able to express the infinite through the finite, it is reproduced and evaluated as a kind of integrity, even if created with the help of several details. The image can be sketchy, unfinished.
^ The artistic image is a complex phenomenon that includes the individual and the general, the characteristic and the typical.
2) The art of book miniatures of the East.
^ The word "miniature" comes from the Latin minium (red paint used in the design of handwritten books).
^ The roots of the art of miniature go back to ancient times.
Wherever there are books, there is the art of book illustration.
Book miniature is not just an addition to the text, it turns the manuscript into a single verbal-visual space.
Illuminated manuscripts have had a significant impact on other art forms:
Byzantine and Western early medieval miniatures, transferring compositional and iconographic solutions from manuscript to manuscript, played huge role in the emergence of Romanesque sculpture.
In Muslim and Jewish art, figurative representation of a person was possible only in miniature - thus, its cultural value becomes immeasurably high for us.
^ Book miniature took a special place in the art of the Muslim world. Since it was not mentioned in the prohibitions of the Koran, on the pages of calligraphic manuscripts we see amazingly executed images of epic heroes, feasts, lyrical and battle scenes.
The style of the miniature absorbed and refracted the experience of calligraphy, jewelry craftsmanship and carpet weaving in a peculiar way: the filigree planar graphics of the drawing are combined with a colorful pattern.
The masterpieces of book illustrations include miniatures by Kamaladdin Behzad to the poem Behind "Bustan" (1488) and to the book about Timur's victories "Zafar-name".
Despite the stylistic conventionality of book mi-shgpyura, Behzad's images retained the liveliness of direct perception.
The Tabriz school of miniature in Azerbaijan is distinguished by great decorativeness and complexity of composition. Its outstanding representative is Sultan Mohammed, the author of illustrations for "Khamsa" by Ja-mi (end of the 15th century).
In Muslim India, the miniature acquires a sensual volume, chiaroscuro appears. Interest in man, characteristic of India, gave rise to a new genre in miniature - portraiture, with sharp psychological characteristics. Local schools are close to the traditions of folk popular prints and wall paintings. The miniature of the Rajput school refers to Hindu mythological subjects.
Ticket number 10
1) ABC of architecture.
Architecture -
a monumental art form, the purpose of which is the creation of structures and buildings necessary for the life and activities of mankind.
^ Forms architectural structures depend on geographical and climatic conditions, on the nature of the landscape, the intensity of sunlight, seismic safety, etc.
^ Architecture is able to combine with monumental painting, sculpture, decorative and other arts.
The basis of architectural composition -
volumetric-spatial structure, the organic interconnection of the elements of a building or an ensemble of buildings. The scale of the structure largely determines the nature of the artistic image, its monumentality or intimacy.
^ Architecture does not reproduce reality directly; it is not pictorial, but expressive.
As an art form, architecture enters the sphere of spiritual culture, aesthetically forms the environment of a person, expresses public ideas in artistic images. In architecture, functional, technical, aesthetic principles (usefulness, strength, beauty) are interconnected.
^ Expressive means of architecture -
composition, scale, proportions, plasticity of volumes, color of materials, synthesis of arts, etc. FUNCTIONALISM, a direction in architecture of the 20th century, requiring strict compliance of buildings and structures with the production and household processes (functions) that take place in them.
^ ORGANIC ARCHITECTURE-
based on the individual character of buildings (villas, mansions, country hotels, etc.), construction from natural materials, creation of a single space, connection with the surrounding nature.
^ RATIONALISM put forward the requirement for the unity of architectural form, construction and spatial structure.
Music in the temple.
The basis of sacred music is the Bible.
SPIRITUAL MUSIC, music associated with texts of religious content and intended to be performed during worship and in everyday life.
The oldest form of sacred music is church music (among Christians) - the singing of psalms.
Early Christian sacred music was monophonic, unaccompanied by instruments. Polyphony in sacred music in Russia took shape in the 17th century. (line singing, partes singing).
^ Russian sacred music - vocal. To the sounds of these tunes, the people were baptized in the waters of the Dnieper.
One of the first well-known composers should be called V.P. Titov (1650-1710), a singing clerk, who for 20 years composed 135 chants, about 30 concerts for 4, 8 and 12 voice choirs. MS Berezovsky (1745-1777) received the title of academician-composer in Italy;
P.I. Tchaikovsky (1840-1893) - a world-famous composer, created, along with secular works, highly spiritual and musically exemplary chants: "The Liturgy of St. John Chrysostom", "All-Night Vigil", "Evening", etc.
SV Rakhmaninov (1873-1943) wrote "The All-Night Vigil" of 17 hymns, masterfully using the Znamenny chant.
Up to the 17th c. the church remained music center. professionalism; within the church. culture, high artistic values were created, many more were formed. music genres, music theory developed. Gradually, an integral system of churches was formed. worship with its daily (main service - mass), weekly (with the center, Sunday service), annual (with fixed and moving holidays) cycles, or "circles".
Over time, the participation of women in societies, liturgical singing was prohibited; up to con. 1st millennium was not allowed and the use of muses. tools.
In Russia, the Ts. m. became widespread along with the adoption of Christianity by the Byzantines. sample in con. 10th c. According to the system of genres and the composition of verbal texts of chants, Rus. C. m. was exclusively vocal. Her singer. genres reflect the complexity and richness of the Byzants. hymnography:
stichera, canon, choruses, doxology, magnification, anthem, alliluary, psalms, etc.
Znamenny chant is the basis of other Russian. Ts. m. - dominated during the 11-17 centuries. (still preserved by the Old Believers).
^ Development of the chorus. Singing was facilitated by 2 choirs - the sovereign's singing deacons and the patriarchal singing deacons (since the 16th century), on the basis of which the Pridv. chanter chapel in St. Petersburg and the Synodal Choir in Moscow.
^ From the beginning. 19th century the chapel became the center of sacred music. Composers of the 19th century created numerous spiritual concerts, service chants and adaptations of other Russian. chants (A. F. Lvov, N. I. Bakhmetev, P. M. Vorotnikov, G. Ya. Lomakin, P. I. Turchaninov, N. M. G. F. Lvovsky). M. I. Glinka, M. A. Balakirev, N. A. Rimsky-Korsakov, A. K. Lyadov, and A. S. Arensky also addressed the C. m. The pinnacle of the development of the Central Church of this time was the “Liturgy of John Chrysostom” and “All-Night Vigil” by Rachmaninoff.
Ticket number 11
1) Artistic image in architecture.
Artistic image -
A form of reflection of objective reality in art from the standpoint of an aesthetic ideal.
^ Architecture is not pictorial, it is creative.
This type of art is often called the "chronicle of the world", "frozen music", "the art of writing lines in the sky".
Architecture, or architecture, is a field of material and spiritual activity, which has the main task of creating an artificial environment for the life and work of people.
This is the art of building and designing buildings and structures so that they meet their practical purpose, are comfortable, durable and beautiful.
^ Architecture surrounds a person everywhere and throughout life: it is both a dwelling and a place of work and rest. This is an environment in which a person exists, but an artificially created environment that opposes nature, but at the same time is always connected with the surrounding space.
Architectural art requires not only artistic creativity, but also deep engineering knowledge, and an architect must be not only an artist, but also an engineer.
^ In Russian, the word "architect" appeared in the 17th century under Peter 1.
Earlier in Russia they said: “master of ward affairs”, “master of stone affairs”, “master of carpentry”. In the Russian North, skilled craftsmen were called carpenters (from the word "raft" - a bunch of logs). Not in the steppe south, they built from clay, the clay building was called the “building”, and the masters of the adobe business began to be called the “builder”, or “architect”.
The architectural image is the person, the general appearance of the building, in which the purpose, the content of the latter should be expressed.
We often talk about the image of a modern residential building. This means that the modern house should have certain characteristic features in its appearance that would give a correct idea of its structure, life in it, and the social conditions that created it. Each specific residential building should be similar to a residential building, and not to a structure for another purpose. Exactly the same should be said about other buildings.
The image of each building should be emotional and impressive.
^ Architecture can and should have an impact on people.
Hegel's words are absolutely true that architecture is petrified music.
Buildings are harsh and gloomy, closed and alienated from the outside world, and, conversely, attractive, bright, light, optimistic in nature.
^ Architecture affects our mood, increases efficiency, instills in us a sense of elation, or, on the contrary, can create an oppressed, depressed mood. It should be noted that the architect's work on the image is not a task in itself. It should be subordinated to the main thing - the creation of a convenient, functionally justified building, economical in the process of construction and in the process of operation.
Surrounding us everywhere and constantly, architecture is a powerful tool educational impact.
^ 2) The song is the soul of the people.
Each nation has its own traditions, its own culture, its own fairy tales, sayings, its own language, national costume, its own ornament, folk instruments and, of course, its own songs.
Russian folk songs were created by folk singers, storytellers whose names are not known to us.
Words of songs were passed from mouth to mouth, from father to son, from grandfathers to grandchildren, passed from one village to another. ^ The first recordings of folk songs appeared at the end of the 18th century. After that, the first collections of Russian songs appeared.
Folk song plays an important role in the work of composers. It formed the basis of their creativity. These composers were: M.A. Balakirev, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky.
^ From the songs we learn about the life of the Russian people, about their work, about their feelings and thoughts, from the songs we learn about individual historical events of the distant past.
These diverse types of folk songs are called genres of folk songs.
^ These are labor, ritual, historical, revolutionary, comic, round dance, dance, jokes, children's games and epics.
Among the folk songs, the most famous are historical and ritual ones.
The historical song was in bloody battles, in campaigns, along all the roads of Cossack glory.
Displayed a difficult fate, protesting against corvée and serfdom, soldiery, and humiliation.
^ Ritual songs - carols and schedrivkas - glorified the working person with a poetic word, distracted his thoughts from everyday problems. And in the spring, when everything around came to life, when the beauty of nature disturbed sensitive young hearts, stoneflies sounded over Ukrainian villages. These songs combined joy with quiet sadness. Mermaid Sunday followed spring, and then preparations for the wedding followed.
^ Both Kupala and harvest songs have survived to our time. They are filled with a cheerful mood, attractiveness, dreams of well-being, love for nature.
Among the folk songs, lyrical songs that accompany the young down the aisle ache and disturb the soul.
Among the songwriters, a great word, of course, belongs to I. Franko, who, with his mother's milk, absorbed the love that manifested itself in his mature poetry.
^ The poetry of the mason's collection "Faded Leaves" attracted the attention of composers and sounded throughout the country "Red viburnum, why are you bending in a pocket?", "Why are you appearing to me in a dream?", "Oh, you girl, grain from a nut" and others.
Many of N. Voronoi's poems have also been set to music.
His poetry never left readers indifferent. The magic of Voronoi's poetry is not in the words, but in the musicality of every stanza, every line. This musicality, which confuses, captures, disturbs. In the poetry of V. Sosyura, everything seems to be ordinary, measured, traditional. The story flows quietly, calmly. And the soul is overwhelmed with an incomprehensible feeling that it captures the spirit when you hear these verses.
Ticket number 12
The concept of architectural styles.
a set of main features and signs of architecture of a certain time and place, manifested in the features of its functional, constructive and artistic sides; techniques for constructing plans and volumes of building compositions, building materials and structures, shapes and decoration of facades, decorative interiors; included in general concept style as an artistic worldview, covering all aspects of the art and culture of society in certain conditions of its social and economic development; the totality of the main ideological and artistic features of the master's work.
^ In the architecture of ancient Egypt, certain traditions developed during the construction of temples and palaces. This is a strict symmetry and geometric shapes. The facade looked like truncated pyramids (pylons), which were necessarily decorated with paintings.
The Gothic style arose in Western European art in the 13th - 14th centuries. This style is invariably characterized by the verticality of the compositions, their aspiration upward, towards God, virtuoso detailing, the organic connection of architecture and sculpture, lancet (rather than semicircular) arches, vast interiors with huge slotted windows decorated with multi-colored stained-glass windows, magnificent decor with extensive use of gold paint, woodcarving, carved and painted religious sculpture.
"Baroque" in translation from Italian sounds like a bizarre, strange.
This is the style of the late 16th - mid-18th centuries. The main distinguishing features of this style that we noticed are the grandeur and splendor of the facades. Here you will not see symmetry and strict geometry. Walls and roofs vary in height, shape, volume. This style is also distinguished by rich decor and many sculptural decorations.
St. Isaac's Cathedral Classicism in architecture
And the sculpture of St. Petersburg. Alexandria Theater
Classicism is a style of European architecture of the second half of the 18th - early 19th centuries.
The forms of this style are based on the motifs of ancient architecture: all buildings are very similar to ancient Greek temples. The main distinguishing feature of which is the order system (bearing parts: column, capital, base and carried parts: architrave, frieze, cornice). The facades are distinguished by a strict layout and clarity of volumes, which are still adorned with sculpture.
"Modern" in French means "the latest, modern."
This is a style in European American art of the late 19th - early 20th centuries.
Here we can see architectural elements of different styles.
The main thing here is the individuality of the architect's ingenuity. Architectural elements should not only be beautiful, but also carry certain functions. Glass and metal are always used here a lot. Metal fences look like an ornament with curvilinear outlines.
^ Artistic crafts of Russia.
An important component of decorative and applied arts is folk art crafts - a form of organizing artistic work based on collective creativity, developing a local cultural tradition and focused on the sale of handicrafts. The key creative idea of traditional crafts is the assertion of the unity of the natural and human worlds.
^ The main folk crafts of Russia are:
1) Wood carving - Bogorodskaya, Abramtsevo-Kudrinskaya;
2) Painting on wood - Khokhloma, Gorodetskaya, Polkhov-Maidanskaya, Mezenskaya;
4) Artistic processing of stone - processing of hard and soft stone;
5) Bone carving - Kholmogory, Tobolsk. Khotkovskaya
6) Miniature painting on papier-mache - Fedoskino miniature, Palekh miniature, Msterskaya miniature, Kholuy miniature
7) Artistic processing of metal - Veliky Ustyug black silver, Rostov enamel, Zhostovo painting on metal;
8) Folk ceramics - Gzhel ceramics, Skopinsky ceramics, Dymkovo toy, Kargopol toy;
9) Lace-making - Vologda lace, Mikhailovsky lace, Painting on fabric - Pavlovsky shawls and shawls
10Embroidery - Vladimir, Color interlace, Gold embroidery.
Khokhloma painting.
Russian folk art craft; originated in the 17th century. The name comes from the village of Khokhloma (Nizhny Novgorod region). Decorative painting on wooden products (dishes, furniture) is distinguished by a fine pattern depicting various plants, made in red and black (rarely green) tones and gold on a golden background.
Khokhloma.
On the Uzol River, in the ancient forests of the Volga region, there are ancient Russian villages - Novopokrovskoye, Khryashchi, Kuligino, Semino. From here, the world-famous Khokhloma craft leads its history. These villages are still inhabited by master artists who paint wooden utensils, continuing the traditions of their fathers, grandfathers and great-grandfathers.
However, researchers have not yet been able to establish the time of the appearance of the Khokhloma painting. After all, wooden dishes and other utensils were not stored for a long time. From frequent use, it wore out, fell into disrepair. It was thrown away or burned, replacing it with a new one. The products of Khokhloma masters have come down to us, mainly only in the 19th century. But various documentary evidence indicates that the fishery originated at an earlier time, possibly in the 17th century.
The original technique characteristic of Khokhloma, where painting with vermilion and black paint was performed on a golden background, finds analogies in ancient Russian art.
The lacquer miniature of Mstyora occupies a significant place in the collection of works of modern art crafts stored in the Russian Museum.
The manufacture of lacquered boxes with miniature paintings on the lids arose in the present village of Mstera, Vladimir Region, in the thirties of our century.
There is a village of Zhostovo in the Moscow region, whose inhabitants have mastered the art of decorating just one thing for more than a century and a half - a tray. Under the brush of folk painters, this item acquired the qualities artwork. Gathered in bouquets or spread freely on a brilliant black background, garden and wild flowers adorn the tray and bring people a sense of joy of the soul, the poetry of the eternal flowering of nature. Gzhel.
At a distance of 50-60 kilometers to the north-east of Moscow, in the Ramensky district, along the Yegoryevskoye Highway, there are two dozen beautiful villages and villages that have merged with each other.
PALEKH.
Type of Russian folk miniature painting in tempera on papier-mâché lacquerware (boxes, caskets, cigarette cases). It arose in 1923 in the village of Palekh on the basis of icon painting. Palekh miniatures (household, folklore, historical, literary scenes), made with bright local colors on a black background, are characterized by a thin, smooth pattern, an abundance of gold, and the elegance of elongated figures.
Gorodets painting.
Russian folk art craft; has existed since the middle of the 19th century in the area of the city of Gorodets (now the Nizhny Novgorod region). Bright, laconic Gorodets painting (genre scenes, figurines of horses, roosters, floral patterns), made with a free brushstroke with white and black graphic strokes, adorned spinning wheels, furniture, shutters, doors. In 1938, an artel was founded (since 1960, the Gorodetskaya painting factory), which made souvenirs.
Zhostovo painting.
Russian folk art craft; originated at the beginning of the 19th century in the village of Zhostovo (now the Mytizhensky district of the Moscow region). Decorative oil painting on metal trays, then varnished: bouquets, fruits, filled with bright colors on a black or colored background. In 1928, an artel was founded (now the Zhostovo factory of decorative painting).
Mstyora miniature.
Type of Russian folk miniature painting in tempera on papier-mâché lacquerware (boxes, caskets, etc.). It arose in 1923 in the village of Mstera (Vladimir region) on the basis of icon painting. Mstyora miniatures (everyday, folklore, literary, historical subjects) are characterized by warmth and painterly softness of color, small figures, and landscape backgrounds.
Kholuy miniature.
A view of Russian folk miniature painting in tempera on papier-mâché lacquerware. It arose in 1932 in the village of Kholui ( Ivanovo region) on the basis of icon painting. Subject compositions (modern, folklore, historical, literary subjects) against the backdrop of a landscape.
In the family of modern crafts of lacquer miniature painting on papier-mâché, Kholuysky is the youngest in terms of time of occurrence.
Kholuy, now a village, and formerly Kholuyskaya Sloboda, is located on both banks of the Tuza River, a tributary of the Klyazma.
Gzhel ceramics.
Products of ceramic enterprises in the area of the village of Gzhel (Ramensky district of the Moscow region) In the 2nd half of the 18th century, “black” (simple) and “anted” (irrigated) pottery were replaced by majolica with multi-colored painting on white glaze. In the 19th century porcelain, faience and semi-faience were produced. Nowadays, the tradition of Gzhel ceramics is continued by the plant of artistic ceramics in the village of Turygino.
the name of one of the villages - the former volost center, which has become collective for the whole district, a symbol of unique art and folk craftsmanship.
^ Gzhel is called the highly artistic porcelain products produced in these places, painted with cobalt on a white background.
Ticket number 13
1) The language of fine arts.
Art -
a kind of spiritual assimilation of reality by a social person, aimed at the formation and development of his ability to creatively transform the world around him and himself according to the laws of beauty.
One of the most important specific features of art is artistic convention - the principle of artistic representation, which in general denotes the non-identity of the artistic image with the object of reproduction.
In modern aesthetics, primary and secondary conventions are distinguished, depending on the measure of the likelihood of images, the openness of fiction and its awareness. A special way of mastering and transforming reality, inherent only in art, is an artistic image. In the artistic image, the objective-cognitive and subjective-creative principles are inextricably merged. The artistic specificity of the image is determined by the fact that it reflects and comprehends the existing reality and creates a new, unprecedented, fictional world.
Most often, an image is called a character or a literary hero, but this is a narrowing of the concept of “artistic image”. Any phenomenon creatively recreated in a work of art is an artistic image.
^ When analyzing works of art, artistic images of different scales are distinguished:
“micro-image” is the smallest unit of the artistic fabric of a work of art (tropes in poetry - metaphors, metonymies, comparisons, etc.; melodic chants in music);
“macro image” is the image of a character in a novel, play, film, a musical theme in a symphony, a mode of action is a plot device; the image of the work of art as a whole;
"mega-image" - all the artist's work as a single image of the world and man in the world (the world of Shakespeare, the world of Pushkin, the world of Dostoevsky; the world of Mozart, the world of Beethoven, the world of Tchaikovsky; the world of Raphael, the world of Nesterov, the world of Vrubel, etc.).
^ The spiritual and practical activity of the artist, directly aimed at creating a work of art, is called the creative process.
There are two closely related main stages in the creative process:
the formation of an artistic concept that arises as a result of a figurative reflection of reality (the artist's understanding of life material and the mental creation of a general design for the future work, practical searches for a figurative solution to the topic);
direct work on the work
(the desire of the artist to achieve optimal expressiveness of the figurative embodiment of his ideas and emotions) to deepen the content of the created images.
The result (product) of artistic creativity is a work of art.
^2) Music of Ancient Egypt.
^ From ancient times (2635-2155 BC), music in Egypt played an important role, both in religion and in everyday life.
The Egyptians called music "joy", cultivating this art in all social spheres. They also contributed to the development and improvement of musical instruments. The harp stands out especially from the others. Great importance was also attached to the human voice.
Women sang without musical accompaniment, while men played harps and flutes. It was believed that female voice more pleasant and does not need musical easing, while the masculine needs a musical entourage for complete harmony. Harps were made in different sizes and with a different number of strings, depending on the size, the harp had to be played by a seat.
1. Artistic image: the meaning of the term
2. Properties of the artistic image
3. Typology (varieties) of artistic images
4. Art trails
5. Artistic images-symbols
1. Artistic image: the meaning of the term
In the most general sense, an image is a sensory representation of a particular idea. Images are called empirical perceived and truly sensual objects in a literary work. These are visual images (pictures of nature) and auditory (wind noise, rustling of reeds). Olfactory (smells of perfume, aromas of herbs) and taste (taste of milk, biscuits). Tactile (touch) and kinetic (related to movement) images. With the help of images, writers designate a picture of the world and a person in their works; detect movement, dynamics of action. The image is also a kind of holistic formation; thought embodied in an object, phenomenon or person.
Not every image becomes artistic. The artistry of the image lies in its special - aesthetic - purpose. It captures the beauty of nature, wildlife, man, interpersonal relationships; reveals the secret perfection of being. The artistic image is called upon to testify to the beautiful, which serves the common Good and affirms world harmony.
In terms of the structure of a literary work, the artistic image is the most important component of its form. An image is a pattern on the “body” of an aesthetic object; the main "transmitting" gear of the artistic mechanism, without which the development of action, understanding of meaning is impossible. If a work of art is the basic unit of literature, then the artistic image is the basic unit of literary creation. With the help of artistic images, the object of reflection is modeled. The objects of landscape and interior, events and actions of the characters are expressed in an image. The author's intention comes through in the images; the main general idea is embodied.
So, in A. Green's extravaganza "Scarlet Sails", the main theme of love in the work is reflected in the central artistic image - scarlet sails, meaning a sublime romantic feeling. The artistic image is the sea, into which Assol peers, waiting white ship; the neglected, uncomfortable inn of Menners; a green bug crawling along the line with the word "look." As an artistic image (the image of the betrothal) is the first meeting with Gray Assol, when the young captain puts the ring of his betrothed on his finger; equipping Gray's ship with scarlet sails; drinking wine that no one should have drunk, etc.
The artistic images we have singled out: the sea, the ship, the scarlet sails, the tavern, the beetle, the wine are the most important details of the extravaganza form. Thanks to these details, A. Green's work begins to "live". It receives the main characters (Assol and Gray), the place of their meeting (the sea), as well as its condition (a ship with scarlet sails), the means (a look with the help of a bug), the result (betrothal, wedding).
With the help of images, the writer asserts one simple truth. It is "to do so-called miracles with your own hands."
In the aspect of literature as an art form, the artistic image is the central category (as well as a symbol) of literary creativity. It acts as a universal form of mastering life and at the same time a method of its comprehension. Artistic images comprehend social activity, specific historical cataclysms, human feelings and characters, spiritual aspirations. In this aspect, the artistic image does not simply replace the phenomenon it denotes or generalizes its characteristic features. He tells about the real facts of being; cognizes them in all their diversity; reveals their essence. Models of life are drawn in an artistic way, unconscious intuitions and insights are verbalized. It becomes epistemological; paves the way to the truth, the prototype (in this sense, we are talking about the image of something: the world, the sun, the soul, God).
Thus, the function of a “guide” to the Prototype of all that exists (the divine image of Jesus Christ) is acquired by a whole system of artistic images in the story “Dark Alleys” by I. A. Bunin, which speaks of an unexpected meeting of the main characters: Nikolai and Nadezhda, once bound by bonds sinful love and wandering in the labyrinth of sensuality (in the "dark alleys", according to the author).
The figurative system of the work is based on a sharp opposition between Nikolai (an aristocrat and a general who seduced and abandoned his beloved) and Nadezhda (a peasant woman, an inn owner who never forgot, did not forgive her love).
The appearance of Nikolai, despite his advanced age, is almost flawless. He is still handsome, elegant and fit. In his face, devotion to his work and loyalty are evidently read. However, all this is only an empty shell; empty cocoon. In the soul of a brilliant general, there is only dirt and the "abomination of desolation." The hero appears as a selfish, cold, callous person and incapable of an act even to achieve his personal happiness. He has no lofty goal, no spiritual and moral aspirations. He swims at the will of the waves, he died in soul. Literally and figuratively, Nikolai travels along the "dirty road" and therefore strongly resembles the writer's own "mud-thrown tarantass" with a coachman who looks like a robber.
The appearance of Nadezhda, Nikolai's former lover, on the contrary, is not very attractive. The woman retained traces of her former beauty, but she stopped taking care of herself: she grew fat, grew uglier, and “became mad.” However, in her soul, Hope saved hope for the best and even love. The house of the heroine is clean, warm and comfortable, which testifies not to simple zeal or care, but also to the purity of feelings and thoughts. And “a new golden image (icon - P. K.) in the corner” clearly indicates the religiosity of the hostess, her faith in God and in His Providence. By the presence of this image, the reader guesses that Nadezhda finds the true source of Good and all Good; that she does not die in sin, but is reborn into eternal life; what is given to her is at the cost of severe mental suffering, at the cost of abandoning herself.
The need to contrast the two main characters of the story stems, according to the author, not only because of their social inequality. The contrast emphasizes the different value orientations of these people. He shows the perniciousness of the indifference preached by the hero. And at the same time it affirms the great power of the love shown by the heroine.
With the help of contrast, Bunin also achieves another, global goal. The author emphasizes the central artistic image - the icon. The icon depicting Christ becomes for the writer a universal means of spiritual and moral transformation of characters. Thanks to this image, leading to the Prototype, Nadezhda is saved, gradually forgetting about the nightmarish "dark alleys". Thanks to this Image, Nikolai also takes the path of salvation, kissing the hand of his beloved and thereby receiving forgiveness. Thanks to this Image, in which the characters find complete peace, the reader himself thinks about his life. The image of Christ leads him out of the labyrinth of sensuality to the idea of Eternity.
In other words, an artistic image is a generalized picture of human life, transformed in the light of the artist's aesthetic ideal; the quintessence of creatively cognizable reality. In the artistic image there is a setting for the unity of the objective and the subjective, the individual and the typical. He is the embodiment of social or private being. An artistic image is also called any image that has visibility (sensual appearance), inner essence (meaning, purpose) and a clear logic of self-disclosure.
2. Properties of an artistic image
The artistic image has special characteristic features (properties) that are inherent only to it alone. This is:
1) typicality,
2) organicity (liveness),
3) value orientation,
4) understatement.
Typicality arises on the basis of the close connection of the artistic image with life and presupposes the adequacy of the reflection of being. An artistic image becomes a type in the event that it generalizes characteristic, and not random features; if it models a genuine, and not a far-fetched, imprint of reality.
So, for example, it happens with the artistic image of the elder Zosima from the novel by F.M. Dostoevsky "The Brothers Karamazov". The named hero is the brightest typical (collective) image. The writer crystallizes this image after a thorough study of monasticism as a way of life. At the same time, it focuses on more than one prototype. The author borrows the figure, age and soul of Zosima from the elder Ambrose (Grenkov), whom he personally met and talked to in Optina. Dostoevsky takes the image of Zosima from the portrait of the elder Macarius (Ivanov), who was the mentor of Ambrose himself. Mind and spirit "get" Zosima from St. Tikhon of Zadonsk.
Due to typicality literary images artists make not only deep generalizations, but also far-reaching conclusions; soberly assess the historical situation; even look into the future.
So, for example, M.Yu. Lermontov in the poem "Prediction", where he clearly foresees the fall of the Romanov dynasty:
A year will come, a black year for Russia,
When the kings crown will fall;
The mob will forget their former love for them,
And the food of many will be death and blood...
The organic nature of the image is determined by the naturalness of its embodiment, the simplicity of expression and the need to be included in the overall figurative system. The image then becomes organic when it stands in its place and is used for its intended purpose; when it flickers with the meanings given to it; when with its help the most complex organism of literary creation begins to function. The organic nature of the image lies in its liveliness, emotionality, feeling, intimacy; in what makes poetry poetry.
Let us take, for example, two images of autumn from such little-known Christian poets as the Monk Barsanuphius (Plikhankov) and L.V. Sidorov. Both artists have the same subject matter (autumn), but they live and paint it differently.
In the generally accepted understanding, an artistic image is a sensual expression of a term that defines reality, the reflection of which is in the form of a specific life phenomenon. An artistic image is born in the imagination of a person who engages in art. The sensual expression of any idea is the fruit of hard work, creative fantasies and thinking based only on one's life experience. The artist creates a certain image, which is an imprint in his mind of a real object, and embodies everything in Paintings, books or films reflect his own vision of the idea by its creator.
An artistic image can be born only when the author is able to operate with his own impressions, which will form the basis of his work.
The psychological process of sensual expression of an idea consists in the imagination of the final result of labor even before the start of the creative process. Operating with fictitious images helps, even in the absence of the necessary completeness of knowledge, to realize your dream in the created work.
An artistic image created by a creative person is characterized by sincerity and reality. characteristic feature art is skill. It is it that allows you to say something new, and this is possible only through experiences. Creation must pass through the feelings of the author and be suffered by him.
The artistic image in each area of art has its own structure. It is determined by the criteria of the spiritual principle expressed in the work, as well as by the specifics of the material used to create the work. Thus, the artistic image in music is intonational, in architecture it is static, in painting it is pictorial, and in literary genre- dynamic. In one, it is embodied in the image of a person, in another - nature, in the third - an object, in the fourth it acts as a combination of combinations of people's actions and their environment.
The artistic representation of reality lies in the unity of the rational and emotional sides. The ancient Indians believed that art owes its birth to those feelings that a person could not keep in himself. However, not every image can be attributed to the artistic category. Sensual expressions must carry special aesthetic purposes. They reflect the beauty surrounding nature and the animal world, capture the perfection of man and his being. The artistic image should testify to the beautiful and affirm the harmony of the world.
The sensual incarnations are a symbol of creativity. Artistic images act as a universal category for understanding life, and also contribute to its comprehension. They have properties that are unique to them. These include:
Typicality that arises in connection with a close relationship with life;
Liveliness or organicity;
holistic orientation;
Understatement.
The building materials of the image are the following: the personality of the artist himself and the realities of the surrounding world. Sensual expression of reality combines subjective and objective principles. It consists of reality, which is reworked by the creative thought of the artist, reflecting his attitude to what is depicted.
Introduction
An artistic image is a general category of artistic creativity: a form of reproduction, interpretation and mastery of life inherent in art by creating aesthetically affecting objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, independent life and content (for example, character in literature, symbolic images). But in a more general sense, an artistic image is a way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.
In a number of other aesthetic categories, this one is of relatively late origin, although the beginnings of the theory of the artistic image can be found in Aristotle's doctrine of "mimesis" - the artist's free imitation of life in its ability to produce integral, internally arranged objects and the aesthetic pleasure associated with this. While art in its self-consciousness (coming from the ancient tradition) was closer to craft, skill, skill and, accordingly, in the host of arts leading place belonged to the plastic arts, aesthetic thought was content with the concepts of the canon, then style and form, through which the transforming attitude of the artist to the material was illuminated. The fact that the artistically reshaped material captures, carries in itself a kind of ideal education, in something similar to thought, began to be realized only with the promotion of more “spiritual” arts - literature and music. Hegelian and post-Hegelian aesthetics (including V. G. Belinsky) widely used the category of artistic image, respectively, opposing the image as a product of artistic thinking to the results of abstract, scientific and conceptual thinking - syllogism, inference, proof, formula.
Since then, the universality of the category of artistic image has been repeatedly disputed, since the semantic connotation of objectivity and visibility, which is part of the semantics of the term, seemed to make it inapplicable to “non-objective”, non-fine arts. And, however, modern aesthetics, mainly domestic, at the present time widely resorts to the theory of the artistic image as the most promising, helping to reveal the original nature of the facts of art.
The purpose of the work: To analyze the concept of an artistic image and identify the main means of its creation.
Expand the concept of artistic image.
Consider means of creating an artistic image
To analyze the characteristics of artistic images on the example of the works of W. Shakespeare.
The subject of the research is the psychology of the artistic image on the example of Shakespeare's works.
Research method - theoretical analysis literature on the topic.
1. Psychology of the artistic image
1 The concept of artistic image
In epistemology, the concept of "image" is used in a broad sense: an image is a subjective form of reflection of objective reality in the mind of a person. At the empirical stage of reflection, images-impressions, images-representations, images of imagination and memory are inherent in human consciousness. Only on this basis, through generalization and abstraction, images-concepts, images-conclusions, judgments arise. They can be visual - illustrative pictures, diagrams, models - and not visual - abstract.
Along with a broad epistemological meaning, the concept of "image" has a narrower meaning. An image is a specific appearance of an integral object, phenomenon, person, his “face”.
The human mind recreates the images of objectivity, systematizing the diversity of movement and interconnections of the surrounding world. Cognition and practice of a person lead the entropic, at first glance, variety of phenomena to an ordered or expedient correlation of relationships and thereby form images of the human world, the so-called environment, residential complex, public ceremonies, sports ritual, etc. The synthesis of disparate impressions into integral images removes uncertainty, designates this or that sphere, names this or that delimited content.
Perfect Look object that arises in the human head is a certain system. However, in contrast to Gestalt philosophy, which introduced these terms into science, it must be emphasized that the image of consciousness is essentially secondary, it is such a product of thinking that reflects the laws of objective phenomena, is a subjective form of reflection of objectivity, and not a purely spiritual construction within the stream of consciousness.
An artistic image is not only a special form of thought, it is an image of reality that arises through thinking. The main meaning, function and content of the image of art lies in the fact that the image depicts reality in a concrete face, its objective, material world, a person and his environment, depicts the events of public and personal life of people, their relationships, their external and spiritual and psychological features.
In aesthetics, for many centuries there has been a debatable question of whether the artistic image is a cast of direct impressions of reality or is it mediated in the process of emergence by the stage of abstract thinking and the processes of abstraction from the concrete by analysis, synthesis, inference, conclusion, that is, the processing of sensually given impressions. Researchers of the genesis of art and primitive cultures single out a period of "prelogical thinking", but even the later stages of the art of this time do not apply the concept of "thinking". The sensual-emotional, intuitive-figurative nature of ancient mythological art gave K. Marx a reason to say that early stages The development of human culture was characterized by the unconsciously artistic processing of natural material.
In the process of human labor practice, not only the development of the motor skills of the functions of the hand and other parts of the human body took place, but also, accordingly, the process of development of human sensibility, thinking and speech.
modern science argues for the fact that the language of gestures, signals, signs in ancient man was still only the language of sensations and emotions, and only later the language of elementary thoughts.
Primitive thinking was distinguished by its primary signal immediacy and elementarity, like thinking about the current situation, about the place, volume, quantity, and immediate benefit of a particular phenomenon.
Only with the emergence of sound speech and the second signal system does discursive and logical thinking begin to develop.
Because of this, we can talk about the difference in certain phases or stages of development human thinking. First, the phase of visual, concrete, primary-signal thinking, which directly reflects the momentarily experienced situation. Secondly, this is the phase of figurative thinking, which goes beyond the limits of what is directly experienced thanks to the imagination and elementary ideas, as well as the external image of some specific things, and their further perception and understanding through this image (a form of communication).
Thinking, like other spiritual and psychic phenomena, develops in the history of anthropogenesis from the lowest to the highest. The discovery of many facts testifying to the prelogical, prelogical nature of primitive thinking gave rise to many interpretations. The well-known researcher of ancient culture, K. Levy-Bruhl, noted that primitive thinking is oriented differently than modern thinking, in particular, it is “prelogical”, in the sense that it “reconciles” with contradiction.
In Western aesthetics of the middle of the last century, the conclusion is widespread that the fact of the existence of pre-logical thinking gives grounds for the conclusion that the nature of art is identical to the unconsciously mythologising consciousness. There is a whole galaxy of theories that seek to identify artistic thinking with the elementary-figurative mythologism of prelogical forms of the spiritual process. This applies to the ideas of E. Cassirer, who divided the history of culture into two eras: the era of symbolic language, myth and poetry, firstly, and the era of abstract thinking and rational language, secondly, while striving to absolutize mythology as an ideal ancestral basis in history. artistic thinking.
However, Cassirer only drew attention to mythological thinking as a prehistory of symbolic forms, but after him A.-N. Whitehead, G. Reid, S. Langer tried to absolutize non-conceptual thinking as the essence of poetic consciousness in general.
Domestic psychologists, on the contrary, believe that the consciousness of a modern person is a multilateral psychological unity, where the stages of development of the sensual and rational sides are interconnected, interdependent, interdependent. Measure of development of the sensual aspects of consciousness historical man in the process of its existence corresponded to the measure of the evolution of the mind.
There are many arguments in favor of the sensual-empirical nature of the artistic image as its main feature.
As an example, let us dwell on the book by A.K. Voronsky "The Art of Seeing the World". She appeared in the 20s, had sufficient popularity. The motive for writing this work was a protest against handicraft, poster, didactic, manifesting, "new" art.
Voronsky's pathos is focused on the "mystery" of art, which he saw in the artist's ability to capture the immediate impression, the "primary" emotion of perceiving an object: "Art only comes into contact with life. As soon as the mind of the viewer, the reader, begins to work, all the charm, all the strength of the aesthetic feeling disappears.
Voronsky developed his point of view, relying on considerable experience, on a sensitive understanding and deep knowledge of art. He isolated the act of aesthetic perception from everyday life and everyday life, believing that it is possible to see the world "directly", that is, without the mediation of preconceived thoughts and ideas, only in happy moments of true inspiration. Freshness and purity of perception is a rarity, but it is precisely such an immediate feeling that is the source of the artistic image.
Voronsky called this perception “irrelevant” and contrasted it with phenomena alien to art: interpretation and “interpretation”.
The problem of the artistic discovery of the world receives from Voronsky the definition of a “complex creative feeling”, when the reality of the primary impression is revealed, regardless of whether a person knows about it.
Art "silences the mind, it achieves that a person believes in the power of his most primitive, most direct impressions"6.
Written in the 1920s, Voronsky's work is focused on searching for the secrets of art in naive pure anthropologism, "irrelevant", not appealing to reason.
Immediate, emotional, intuitive impressions will never lose their significance in art, but are they sufficient for the artistry of art, aren't the criteria of art more complicated than the aesthetics of direct feelings suggests?
The creation of an artistic image of art, if it is not a study or a preliminary sketch, etc., but a complete artistic image, is impossible only by fixing a beautiful, direct, intuitive impression. The image of this impression will be insignificant in art if it is not inspired by thought. The artistic image of art is both the result of impression and the product of thought.
V.S. Solovyov made an attempt to "name" what is beautiful in nature, to give a name to beauty. He said that the beauty in nature is the light of the sun, moon, astral light, changes in light during the day and night, the reflection of light on water, trees, grass and objects, the play of light from lightning, the sun, the moon.
These natural phenomena evoke aesthetic feelings, aesthetic pleasure. And although these feelings are also connected with the concept of things, for example, about a thunderstorm, about the universe, it can still be imagined that the images of nature in art are images of sensory impressions.
Sensual impression, thoughtless enjoyment of beauty, including the light of the moon, stars - are possible, and such feelings are able to discover something unusual again and again, but the artistic image of art incorporates a wide range of spiritual phenomena, both sensual and intellectual. Consequently, the theory of art has no reason to absolutize certain phenomena.
The figurative sphere of a work of art is formed simultaneously on many different levels of consciousness: feelings, intuition, imagination, logic, fantasy, thought. The visual, verbal or sound representation of a work of art is not a copy of reality, even if it is optimally lifelike. Artistic depiction clearly reveals its secondary nature, mediated by thinking, as a result of the participation of thinking in the process of creating artistic reality.
The artistic image is the center of gravity, the synthesis of feeling and thought, intuition and imagination; the figurative sphere of art is characterized by spontaneous self-development, which has several vectors of conditioning: the “pressure” of life itself, the “flight” of fantasy, the logic of thinking, the mutual influence of the intrastructural connections of the work, ideological tendencies and the direction of the artist’s thinking.
The function of thinking is also manifested in maintaining balance and harmonizing all these conflicting factors. The artist's thinking works on the integrity of the image and the work. The image is the result of impressions, the image is the fruit of the artist's imagination and fantasy and at the same time the product of his thought. Only in the unity and interaction of all these aspects does a specific phenomenon of artistry arise.
By virtue of what has been said, it is clear that the image is relevant, and not identical with life. And may exist countless artistic images of the same sphere of objectivity.
Being a product of thinking, the artistic image is also the focus of the ideological expression of the content.
An artistic image makes sense as a “representative” of certain aspects of reality, and in this respect it is more complex and multifaceted than the concept as a form of thought, in the content of the image it is necessary to distinguish between the various ingredients of meaning. The meaning of a hollow work of art is complex - a "composite" phenomenon, the result of artistic development, that is, knowledge, aesthetic experience and reflection on the material of reality. Meaning does not exist in the work as something isolated, described or expressed. It "flows" from the images and the work as a whole. However, the meaning of the work is a product of thinking and, therefore, its special criterion.
The artistic meaning of the work is the final product of the artist's creative thought. The meaning belongs to the image, therefore the semantic content of the work has a specific character, identical to its images.
If we talk about the information content of an artistic image, then this is not only a sense that states certainty and its meaning, but also an aesthetic, emotional, intonational sense. All this is called redundant information.
An artistic image is a multilateral idealization of a material or spiritual object, present or imaginary, it is not reducible to semantic unambiguity, it is not identical to sign information.
The image includes the objective inconsistency of information elements, oppositions and alternatives of meaning, specific to the nature of the image, since it represents the unity of the general and the individual. The signified and the signifier, that is, the sign situation, can only be an element of the image or an image-detail (a kind of image).
Since the concept of information has acquired not only technical and semantic meaning, but also a broader philosophical meaning, a work of art should be interpreted as a specific phenomenon of information. This specificity is manifested, in particular, in the fact that the figurative-descriptive, figurative-plot content of a work of art as art is informative in itself and as a “receptacle” of ideas.
Thus, the depiction of life and the way it is depicted is full of meaning in itself. And the fact that the artist chose certain images, and the fact that by the power of imagination and fantasy he added expressive elements to them - all this speaks for itself, because it is not only a product of fantasy and skill, but also a product of the artist's thinking.
A work of art makes sense insofar as it reflects reality and insofar as what is reflected is the result of thinking about reality.
Artistic thinking in art has a variety of areas and the need to express their ideas directly, developing a special poetic language for such expression.
2 Means of creating an artistic image
The artistic image, possessing sensual concreteness, is personified as a separate, unique, in contrast to the pre-artistic image, in which the personification has a diffuse, artistically undeveloped character and therefore is devoid of originality. Personification in the developed artistic and figurative thinking is of fundamental importance.
However, the artistic-figurative interaction of production and consumption is of a special nature, since artistic creativity is, in a certain sense, also an end in itself, that is, a relatively independent spiritual and practical need. It is no coincidence that the idea that the viewer, listener, reader are, as it were, accomplices in the creative process of the artist, was often expressed by both theorists and practitioners of art.
In the specifics of subject-object relations, in artistic-figurative perception, at least three essential features can be distinguished.
The first is that the artistic image, born as an artist's response to certain social needs, as a dialogue with the audience, in the process of education acquires its life in artistic culture, independent of this dialogue, since it enters into more and more new dialogues, about the possibilities of which the author could not suspect in the process of creativity. Great artistic images continue to live as an objective spiritual value not only in the artistic memory of descendants (for example, as a bearer of spiritual traditions), but also as a real, modern force that encourages a person to social activity.
The second essential feature of the subject-object relations inherent in the artistic image and expressed in its perception is that the “bifurcation” into creation and consumption in art is different from that which takes place in the sphere of material production. If in the sphere of material production the consumer deals only with the product of production, and not with the process of creating this product, then in artistic creativity, in the act of perceiving artistic images Active participation receives the influence of the creative process. How the result is achieved in the products of material production is relatively unimportant for the consumer, while in the artistic and figurative perception it is extremely significant and is one of the main points. artistic process.
If in the sphere of material production the processes of creation and consumption are relatively independent, as a certain form of people's life, then it is absolutely impossible to separate artistic figurative production and consumption without compromising the understanding of the very specifics of art. Speaking of this, it should be borne in mind that the limitless artistic and figurative potential is revealed only in the historical process of consumption. It cannot be exhausted only in the act of directly perceiving "single use".
There is also a third specific feature of subject-object relations inherent in the perception of an artistic image. Its essence boils down to the following: if in the process of consumption of products of material production, the perception of the processes of this production is by no means necessary and does not determine the act of consumption, then in art the process of creating artistic images, as it were, "comes to life" in the process of their consumption. This is most obvious in those types of artistic creativity that are associated with performance. We are talking about music, theater, that is, those types of art in which politics to a certain extent is a witness to the creative act. In fact, this is present in various forms in all types of art, in some it is more, and in others it is less obvious and is expressed in the unity of what and how a work of art comprehends. Through this unity, the public perceives not only the skill of the performer, but also the direct power of artistic and figurative influence in its meaningful meaning.
An artistic image is a generalization that reveals itself in a concrete-sensual form and is essential for a number of phenomena. The dialectics of the universal (typical) and the individual (individual) in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its individuality: the general is manifested in the individual and through the individual. The poetic representation is figurative and shows not an abstract essence, not an accidental existence, but a phenomenon in which, through its appearance, its individuality, the substantial is known. In one of the scenes of Tolstoy's novel "Anna Karenina" Karenin wants to divorce his wife and comes to a lawyer. A confidential conversation takes place in a cozy office, covered with carpets. Suddenly a moth flies across the room. And although Karenin's story concerns the dramatic circumstances of his life, the lawyer no longer listens to anything, it is important for him to catch the moth that threatens his carpets. A small detail carries a great semantic load: for the most part, people are indifferent to each other, and things are more valuable to them than a person and his fate.
The art of classicism is characterized by generalization - an artistic generalization by highlighting and absolutizing a specific feature of the hero. Romanticism is characterized by idealization - generalization through the direct embodiment of ideals, imposing them on real material. Typification is inherent in realistic art - artistic generalization through individualization through the selection of essential personality traits. In realistic art, each depicted face is a type, but at the same time it is quite certain personality- "familiar stranger."
Marxism attaches particular importance to the concept of typification. This problem was first posed by K. Marx and F. Engels in their correspondence with F. Lassalle about his drama Franz von Sickingen.
In the 20th century, old ideas about art and the artistic image disappear, and the content of the concept of "typification" also changes.
There are two interrelated approaches to this manifestation of artistic and figurative consciousness.
First, the maximum approximation to reality. It must be emphasized that documentary art, as the desire for a detailed, realistic, reliable reflection of life, has become not just the leading trend in the artistic culture of the 20th century. Modern art has perfected this phenomenon, filled it with previously unknown intellectual and moral content, largely defining the artistic and figurative atmosphere of the era. It should be noted that interest in this type of figurative conventionality does not subside even today. This is due to the amazing success of journalism, non-fiction films, art photography, the publication of letters, diaries, memoirs of participants in various historical events.
Secondly, the maximum strengthening of conventionality, and in the presence of a very tangible connection with reality. This system of conventions of the artistic image involves bringing to the fore the integrative aspects of the creative process, namely: selection, comparison, analysis, which are in organic connection with the individual characteristics of the phenomenon. As a rule, typification presupposes a minimal aesthetic deformation of reality, which is why in art history the name of life-like, recreating the world "in the forms of life itself" has been established behind this principle.
An ancient Indian parable tells of blind men who wanted to know what an elephant was and began to feel it. One of them grabbed the elephant's leg and said: "The elephant is like a pillar"; another felt the giant's belly and decided that the elephant was a jug; the third touched the tail and understood: "The elephant is a ship's rope"; the fourth took the trunk in his hands and declared that the elephant is a snake. Their attempts to understand what an elephant is were unsuccessful, because they did not cognize the phenomenon as a whole and its essence, but its constituent parts and random properties. An artist who elevates the features of reality to a typical fortuitous feature acts like a blind man who mistook an elephant for a rope only because he could not grasp anything other than the tail. A true artist grasps the characteristic, the essential in phenomena. Art is capable, without breaking away from the concrete-sensual nature of phenomena, of making broad generalizations and creating a concept of the world.
Typification is one of the main regularities of the artistic development of the world. Largely due to the artistic generalization of reality, the identification of the characteristic, essential in life phenomena, art becomes a powerful means of understanding and transforming the world. artistic image of Shakespeare
The artistic image is the unity of the rational and the emotional. Emotionality is a historically early foundation of the artistic image. The ancient Indians believed that art was born when a person could not restrain his overwhelming feelings. The legend about the creator of the Ramayana tells how the sage Valmiki walked along a forest path. In the grass he saw two waders gently calling to one another. Suddenly a hunter appeared and pierced one of the birds with an arrow. Overwhelmed with anger, grief and compassion, Valmiki cursed the hunter, and the words escaping from his heart overflowing with feelings formed themselves into a poetic stanza with the now canonical meter "sloka". It was with this verse that the god Brahma subsequently commanded Valmiki to sing the exploits of Rama. This legend explains the origin of poetry from emotionally rich, agitated, richly intoned speech.
To create an enduring work, not only a wide coverage of reality is important, but also a mental and emotional temperature sufficient to melt the impressions of being. Once, casting a figure of a condottiere from silver, the Italian sculptor Benvenuto Cellini encountered an unexpected obstacle: when the metal was poured into the mold, it turned out that there was not enough of it. The artist turned to his fellow citizens, and they brought silver spoons, forks, knives, and trays to his workshop. Cellini began to throw this utensil into the molten metal. When the work was completed, a beautiful statue appeared before the eyes of the spectators, however, a fork handle stuck out of the horseman's ear, and a piece of a spoon from the horse's croup. While the townspeople were carrying the utensils, the temperature of the metal poured into the mold dropped ... If the mental-emotional temperature is not enough to melt the vital material into a single whole (artistic reality), then "forks" stick out of the work, which the person perceiving art stumbles upon.
The main thing in the worldview is the attitude of a person to the world, and therefore it is clear that it is not just a system of views and ideas, but the state of society (class, social group, nation). The worldview as a special horizon of the public reflection of the world by man relates to the public consciousness as the public to the general.
The creative activity of any artist is dependent on his worldview, that is, his conceptually formalized attitude to various phenomena of reality, including the area of relations between various social groups. But this takes place only in proportion to the degree of participation of consciousness in the creative process as such. At the same time, the unconscious area of the artist's psyche also plays a significant role here. Unconscious intuitive processes, of course, play a significant role in the artistic-figurative consciousness of the artist. This connection was emphasized by G. Schelling: "Art ... is based on the identity of conscious and unconscious activity."
The worldview of the artist as a mediating link between himself and public consciousness social group contains an ideological moment. And within myself individual consciousness worldview is elevated, as it were, by some emotional and psychological levels: worldview, worldview, worldview. The worldview is more of an ideological phenomenon, while the worldview has a socio-psychological nature, containing both universal and concrete historical aspects. The worldview is included in the area of everyday consciousness and includes mindsets, likes and dislikes, interests and ideals of a person (including an artist). It plays a special role in creative work, since only with its help does the author realize his worldview, projecting it onto the artistic and figurative material of his works.
The nature of certain types of art determines the fact that in some of them the author manages to capture his worldview only through his worldview, while in others the worldview directly enters into the fabric of the works of art they create. So, musical creativity is capable of expressing the worldview of the subject of productive activity only indirectly, through the system of musical images created by him. In literature, the author-artist has the opportunity, with the help of the word, endowed by its very nature with the ability to generalize, to more directly express his ideas and views on various aspects of the depicted phenomena of reality.
For many artists of the past, the contradiction between the worldview and the nature of their talent was characteristic. So M.F. Dostoevsky, in his views, was a liberal monarchist, moreover, he clearly gravitated towards resolving all the ulcers of contemporary society through his spiritual healing with the help of religion and art. But at the same time, the writer turned out to be the owner of the rarest realistic artistic talent. And this allowed him to create unsurpassed samples of the most truthful pictures of the most dramatic contradictions of his era.
But in transitional epochs, the very outlook of the majority of even the most talented artists turns out to be internally contradictory. For example, the socio-political views of L.N. Tolstoy whimsically combined ideas utopian socialism, containing criticism of bourgeois society and theological searches and slogans. In addition, the worldview of a number of major artists, under the influence of changes in the socio-political situation in their countries, is able to undergo, at times, a very complex development. Thus, Dostoevsky's path of spiritual evolution was very difficult and complex: from the utopian socialism of the 40s to the liberal monarchism of the 60s-80s of the 19th century.
The reasons for the internal inconsistency of the artist's worldview lies in the heterogeneity of its constituent parts, in their relative autonomy and in the difference in their significance for the creative process. If for a natural scientist, due to the peculiarities of his activity, crucial belongs to the natural history components of his worldview, then for the artist in the first place are his aesthetic views and beliefs. Moreover, the artist's talent is directly related to his conviction, that is, to "intellectual emotions" that have become motives for creating enduring artistic images.
Modern artistic-figurative consciousness should be anti-dogmatic, that is, characterized by a resolute rejection of any kind of absolutization of a single principle, attitude, formulation, evaluation. None of the most authoritative opinions and statements should be deified, become the ultimate truth, turn into artistic and figurative standards and stereotypes. The elevation of the dogmatic approach to the "categorical imperative" of artistic creativity inevitably absolutizes the class confrontation, which in a concrete historical context ultimately results in the justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. The dogmatization of the creative process also manifests itself when certain methods and attitudes acquire the character of the only possible artistic truth.
Modern domestic aesthetics also needs to get rid of the epigonism that has been so characteristic of it for many decades. To get rid of the method of endless quoting of the classics on issues of artistic and figurative specificity, from the uncritical perception of other people's, even the most temptingly convincing points of view, judgments and conclusions and to strive to express their own, personal views and beliefs, is necessary for any and every modern researcher, if he wants to be a real scientist, and not a functionary in a scientific department, not an official in the service of someone or something. In the creation of works of art, epigonism manifests itself in the mechanical adherence to the principles and methods of any art school, direction, without taking into account the changed historical situation. Meanwhile, epigonism has nothing to do with a truly creative development of the classical artistic heritage and traditions.
Thus, world aesthetic thought formulated various shades concept of "artistic image". In the scientific literature one can find such characteristics of this phenomenon as "mystery of art", "cell of art", "unit of art", "image-formation", etc. However, no matter what epithets are awarded to this category, it must be remembered that the artistic image is the essence of art, a meaningful form that is inherent in all its types and genres.
The artistic image is the unity of the objective and the subjective. The image includes the material of reality, processed creative fantasy the artist, his attitude to the depicted, as well as all the wealth of the individual and the creator.
In the process of creating a work of art, the artist as a person acts as the subject of artistic creativity. If we talk about artistic-figurative perception, then the artistic image created by the creator acts as an object, and the viewer, listener, reader is the subject of this relationship.
The artist thinks in images, the nature of which is concretely sensual. This links the images of art with the forms of life itself, although this relationship cannot be taken literally. Such forms as an artistic word, a musical sound or an architectural ensemble do not and cannot exist in life itself.
An important structure-forming component of the artistic image is the worldview of the subject of creativity and its role in artistic practice. Worldview - a system of views on the objective world and a person's place in it, on a person's attitude to the reality surrounding him and to himself, as well as the basic life positions of people, their beliefs, ideals, principles of cognition and activity, value orientations conditioned by these views. At the same time, it is most often believed that the worldview of different strata of society is formed as a result of the spread of ideology, in the process of transforming the knowledge of representatives of a particular social stratum into beliefs. Worldview should be considered as the result of the interaction of ideology, religion, science and social psychology.
A very significant and important feature of modern artistic and figurative consciousness should be dialogism, that is, a focus on continuous dialogue, which is in the nature of constructive polemics, creative discussions with representatives of any art schools, traditions, and methods. The constructiveness of the dialogue should consist in the continuous spiritual enrichment of the debating parties, be creative, truly dialogic in nature. The very existence of art is conditioned by the eternal dialogue between the artist and the recipient (viewer, listener, reader). The contract binding them is indissoluble. The newly born artistic image is a new edition, a new form of dialogue. The artist fully pays his debt to the recipient when he gives him something new. Today, more than ever before, the artist has the opportunity to say something new and in a new way.
All of the above directions in the development of artistic and figurative thinking should lead to the assertion of the principle of pluralism in art, that is, the assertion of the principle of coexistence and complementarity of multiple and most diverse, including conflicting points of view and positions, views and beliefs, trends and schools, movements and teachings. .
2. Feature of artistic images on the example of the works of W. Shakespeare
2.1 Characteristics of the artistic images of W. Shakespeare
The works of W. Shakespeare are studied at literature lessons in grades 8 and 9 high school. In grade 8, students study Romeo and Juliet, in grade 9 they study Hamlet and Shakespeare's sonnets.
Shakespeare's tragedies are an example of "classical conflict resolution in a romantic art form" between the Middle Ages and modern times, between the feudal past and the emerging bourgeois world. Shakespeare's characters are "inwardly consistent, true to themselves and their passions, and in everything that happens to them they behave according to their firm certainty."
Shakespeare's heroes are "counting only on themselves, individuals", setting themselves a goal that is "dictated" only by "their own individuality", and they carry it out "with an unshakable consistency of passion, without side reflections." At the center of every tragedy is this kind of character, and around him are less prominent and energetic ones.
In modern plays, the soft-hearted character quickly falls into despair, but the drama does not lead him to death even in danger, which leaves the audience very pleased. When virtue and vice oppose on the stage, she should triumph, and he should be punished. In Shakespeare, the hero dies "precisely as a result of resolute fidelity to himself and his goals", which is called the "tragic denouement".
Shakespeare's language is metaphorical, and his hero stands above his "sorrow", or "bad passion", even "ridiculous vulgarity". Whatever Shakespeare's characters may be, they are men of "a free power of imagination and a spirit of genius... their thinking stands and puts them above what they are in their position and their specific aims." But, looking for an "analogue of inner experience", this hero "is not always free from excesses, sometimes clumsy."
Shakespeare's humor is also wonderful. Although his comic images are "immersed in their vulgarity" and "they have no shortage of flat jokes", they at the same time "show intelligence". Their "genius" could make them "great people".
An essential point of Shakespearean humanism is the comprehension of man in motion, in development, in becoming. This also determines the method of artistic characterization of the hero. The latter in Shakespeare is always shown not in a frozen motionless state, not in the statuary quality of a snapshot, but in motion, in the history of a person. Deep dynamism distinguishes the ideological and artistic concept of man in Shakespeare and the method of artistic depiction of man. Usually the hero of an English playwright is different. different phases dramatic action, in different acts and scenes.
Man in Shakespeare is shown in the fullness of his possibilities, in the full creative perspective of his history, his destiny. In Shakespeare, it is essential not only to show a person in his inner creative movement, but also to show the very direction of movement. This direction is the highest and most complete disclosure of all the potentials of a person, all his inner forces. This direction - in some cases there is a rebirth of a person, his inner spiritual growth, the hero's ascent to some higher stage of his being (Prince Henry, King Lear, Prospero, etc.). (“King Lear” by Shakespeare is studied by 9th grade students in extracurricular activities).
"There is no one to blame in the world," proclaims King Lear after the tumultuous upheavals of his life. In Shakespeare, this phrase means a deep awareness of social injustice, the responsibility of the entire social system for the countless suffering of poor Toms. In Shakespeare, this sense of social responsibility, in the context of the hero's experiences, opens up a broad perspective for the creative growth of the individual, his ultimate moral rebirth. For him, this thought serves as a platform for asserting the best qualities of his hero, for asserting his heroically personal substantiality. With all the rich multicolored changes and transformations of Shakespeare's personality, the heroic core of this personality is unshakable. The tragic dialectic of personality and fate in Shakespeare leads to the clarity and clarity of his positive idea. In Shakespeare's "King Lear" the world collapses, but the man himself lives and changes, and with him the whole world. Development, qualitative change in Shakespeare is distinguished by its completeness and diversity.
Shakespeare owns a cycle of 154 sonnets, published (without the knowledge and consent of the author) in 1609, but apparently written as early as the 1590s and which was one of the most brilliant examples of Western European lyrics of the Renaissance. The form that managed to become popular among English poets under Shakespeare's pen sparkled with new facets, accommodating a wide range of feelings and thoughts - from intimate experiences to deep philosophical reflections and generalizations.
Researchers have long drawn attention to the close connection between sonnets and Shakespeare's dramaturgy. This connection is manifested not only in the organic fusion of the lyrical element with the tragic, but also in the fact that the ideas of passion that inspire Shakespeare's tragedies live in his sonnets. Just as in tragedies, Shakespeare touches upon in sonnets the fundamental problems of being that have worried humanity from the ages, talks about happiness and the meaning of life, about the relationship between time and eternity, about the frailty of human beauty and its greatness, about art that can overcome the inexorable run of time. , about the high mission of the poet.
The eternal inexhaustible theme of love, one of the central ones in the sonnets, is closely intertwined with the theme of friendship. In love and friendship, the poet finds a true source of creative inspiration, regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, and mental anguish.
In the literature of the Renaissance, the theme of friendship, especially male, occupies important place: it is seen as the highest manifestation of humanity. In such friendship, the dictates of the mind are harmoniously combined with a spiritual inclination, free from the sensual principle.
The image of the Beloved in Shakespeare is emphatically unconventional. If in the sonnets of Petrarch and his English followers the golden-haired angel-like beauty, proud and inaccessible, was usually sung, Shakespeare, on the contrary, devotes jealous reproaches to the swarthy brunette - inconsistent, obeying only the voice of passion.
The leitmotif of grief about the frailty of everything earthly, passing through the whole cycle, the imperfection of the world, clearly realized by the poet, does not violate the harmony of his worldview. The illusion of afterlife bliss is alien to him - he sees human immortality in glory and offspring, advising a friend to see his youth reborn in children.
Conclusion
So, an artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. The artistic image is different: accessibility for direct perception and direct impact on human feelings.
Any artistic image is not completely concrete, clearly fixed setpoints are invested in it with the element of incomplete certainty, semi-appearance. This is a kind of “insufficiency” of the artistic image compared to reality. life fact(art strives to become reality, but breaks against its own boundaries), but also the advantage that ensures its ambiguity in a set of complementary interpretations, the limit of which is put only by the accentuation provided by the artist.
The inner form of the artistic image is personal, it bears an indelible trace of the author's ideology, his isolating and translating initiative, thanks to which the image appears as a valued human reality, cultural value among other values, the expression of historically relative tendencies and ideals. But as an “organism” formed according to the principle of visible revitalization of the material, from the point of view of artistry, the artistic image is an arena of the ultimate action of aesthetically harmonizing laws of being, where there is no “bad infinity” and an unjustified end, where space is visible, and time is reversible, where chance is not is absurd, and necessity is not burdensome, where clarity triumphs over inertia. And in this nature, artistic value belongs not only to the world of relative socio-cultural values, but also to the world life values cognized in the light of eternal meaning, to the world of ideal life possibilities of our human Universe. Therefore, an artistic assumption, unlike a scientific hypothesis, cannot be discarded as unnecessary and replaced by another, even if the historical limitations of its creator seem obvious.
In view of the inspiring power of artistic assumption, both creativity and the perception of art are always associated with a cognitive and ethical risk, and when evaluating a work of art, it is equally important: submitting to the author’s intention, recreate the aesthetic object in its organic integrity and self-justification and, not completely submitting to this intention, preserve the freedom of one's own point of view, provided by real life and spiritual experience.
Studying individual works of Shakespeare, the teacher should draw students' attention to the images he created, quote from texts, and draw conclusions about the influence of such literature on the feelings and actions of readers.
In conclusion, we want to emphasize once again that the artistic images of Shakespeare have eternal value and will always be relevant, regardless of time and place, because in his works he puts eternal questions, which have always worried and worried all of humanity: how to fight evil, by what means and is it possible to defeat it? Is it worth living at all if life is full of evil and it is impossible to defeat it? What is true in life and what is false? How can true feelings be distinguished from false ones? Can love be eternal? What is the meaning of human life?
Our study confirms the relevance of the chosen topic, has a practical orientation and can be recommended to students of pedagogical educational institutions within the framework of the subject "Teaching Literature at School".
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