What is a key signature? Key images What is a key image.

Keywords

- this terminological phrase, some researchers of the artist. (poetic and prosaic) speech is called the words expressing the main idea of ​​the whole artist. text. K. s. sometimes taken out in the names of artists. works (" cliff" I.A. Goncharova, " Thunderstorm"A.N. Ostrovsky," Well!" VV Mayakovsky and others). "Invisible threads go from them to portraits of actors and landscapes. They create the internal unity of the lexical system of works, becoming an essential element of its compositional construction. ... The key words in literary works, on one side, subject-material, are turned to the details of everyday life, and on the other - to social and moral and ethical problems. They are semantically multidimensional, hence their figurative and symbolic meaning" ( Petrovsky V.V., 1977, p. 54–57).

"In some works, key words only occasionally appear convexly on the surface of the context; in others, on the contrary, they clearly, densely permeate the artistic fabric, forcing the reader to look for a special meaning in them. Such key words are often highlighted graphically in the context: in italics, detente. So, for example ., one of the key words in F. Dostoevsky's novel "Crime and Punishment" - try- is given in italics. In the same novel, the key word injection is repeated several times, layering on its main, concrete everyday meaning a broad social meaning (" corner of life"): "... hide my money so that I have it in the corner... not stolen"; "I directly demanded corner just to turn around…"; "Because he grew up in corner"; "... get even more clogged in injection…"; "I made myself injection and lived in corner"; "My idea - injection" etc. Each original author has his own ways of creating key words, filling them with figurative and symbolic content, establishing an internal connection between the generalized meaning and the everyday meaning of other words in the context of the whole. In all this, a special warehouse of the writer's artistic thinking is manifested" (Ibid., pp. 54–55).

So, in the story of V.G. Korolenko "The Blind Musician" the meaning of words is great "quiet", "silence" and other cognate words. With these words, in one way or another, the entire content of the story, psychology, the characters of the characters, and the whole art are connected. fabric of the narrative, its peculiar tonality.

"Word silence and Korolenko's derivatives of it inflame the corresponding moods and make a big impression. Boy "quiet cried", mother "quiet asked", "everything in the estate calmed down" , heard "quiet splashing river", and again everything "calmly, quiet, unperturbed", "quiet a life", "quiet mood". Sometimes a word silence used three or four times per page. They create a lyrical mood and words close to the concept of "silence": calm, silent, silent, silent, fading, murmur, mystery, rustle, whisper, sighs, rustle"(Gibet E.I., 1973, p. 21–24).

In the story of A.M. Gorky "Mallow" the first phrase, taken out in a separate paragraph and divided into two parts with a dash (and thus updated), - "The sea laughed". This phrase is like a leading theme in a piece of music: it determines the general tone, serves to reveal the main idea; passing through the entire work, developing and enriching itself, it appears in various variations .... The image of the "laughing sea" is repeated repeatedly: "The gentle wind from the sea brought the splashes of the waves almost to their feet, and the restless laugh the sea all sounded ... "; "In front of him (Vasily) was the sea. Laughed waves, as always noisy, playful ... ". This main melody in the depiction of the landscape, as it were, overflows into the characterization of the romantic hero: "Malva, hugging her knees with her hands, gently shook her body, examining with green eyes funny sea, and smiled one of those triumphant smiles, which are so many in a woman who understands the power of her beauty". The words laugh, smile permeate the entire speech fabric of the story, pass through it as a leitmotif and, in connection with the philosophical and aesthetic concept expressed in it, acquire a generalized symbolic meaning" ( Sirotina V.A., 1971, p. 21–22).

"Every poem is a veil stretched on the points of a few words. Because of them, there is a poem" ( A. Blok). This characteristic can be fully attributed to K. s. poetic text. So, for example, in the poem by A. Voznesensky "Sentinel in front of the Kulikov field" K. s. is the word "field", which, repeating and revealing its ambiguity in different phrases and sentences ( "Alone in field warrior", "Magic field", "…but if there is field", "in pure field"," For me will remain field great", "... I call you, field!", "Field will come"), constitutes, as it were, the semantic core of this poetic text.

K. s. and phrases in art. texts are not necessarily repeated verbatim. Often they appear in the form of words, phrases and combinations of words ("turns") of different grammatical form. So, for example, in I. Severyanin's poem "Singing Eyes", the key phrase in the title is repeated in the text in the form of the following constructions: "Behind the glass two eyes will sing"," Woman with melodious eyes", "Those eyes that sing" .

K. s. increase the semantic capacity of the artist. text, expand the visual possibilities of the artist. (poetic and prosaic) speech, and the reader is allowed to penetrate deeper into the ideological and artistic. the structure of the work.

In the style of affairs. speech K. s. or phrases call the text formula of cases. document expressing its main function. So, for example, "... available- this word I order . Text Formula act is the design "We, the undersigned, have drawn up this act in that..." . AT protocol- a series of words: Listened, Acted, Decided . AT letter of guarantee the main formula is Our checking account… Payment guaranteed …. The text formula determines the choice of words and, thus, determines the specific compatibility and even the grammar of word forms "in the texts of case documents ( Veselov P.V., with. 48–49).

In lexicography, the term K. s. is used in work on thesauri, denoting those key words that, like a kind of thread, "link the internal structure of the thesaurus" ( Karaulov Yu.N., 1981, p. 152).

Finally, in recent years, in the context of studies of national culture and national mentality, such as yet uncommon terminological phrases have arisen as "key words of the Russian mentality (Russian mentality)", "key words of the current moment" and some others.

Under the "key words of the current moment" (K. s. t. m.) they understand the words and turns that are relevant precisely for this, current, relatively short historical period in the development of society. “Without any preliminary research, it is clear that each “current moment” brings to the center of public consciousness a fragment of the dictionary that contains the most significant concepts discussed everywhere – in parliament and in line, on radio and in print, on television and “in labor collectives" ... It is obvious that in such impromptu lists, for example, October 1992, there will be market, privatization, voucher, congress, Georgia, Abkhazia, Khazbulatov, Yeltsin, Gaidar… (Shmeleva T.V., with. 33). To the actual linguistic signs of K. s. t. m. include: 1) a sharp increase in the frequency of use, 2) attraction to the heading position, 3) expansion of form and word-formation possibilities, 4) expansion of word compatibility, 5) formation of new synonymous and antonymic connections (paradigmatics), 6) use words as a proper name (onymic use), 7) a tendency to be included in statements such as definitions, 8) a tendency to be an object of taste assessments (language reflection) and a language game (Ibid., p. 40).

If by mentality we mean "a national way of seeing the world and acting (cognitively and pragmatically) in certain circumstances" ( V.V. Kolesov, with. 106), in other words, the specific features of national self-consciousness and attitude, due to the history of the people, its culture, traditions and character (mental warehouse), national, then the key words of the mentality should be called such words (and corresponding concepts) that occupy a dominant position in " mental space" of national self-consciousness.

K.s. Russian mentality is a vocabulary that expresses the basic concepts and symbols that define the ideas and ideas of traditional Russian. national outlook and world outlook. We can distinguish at least three groups of such words (based on thematic or subject-conceptual juxtaposition): 1) words denoting concepts and objects of traditional folk life, mainly peasant ( house, estate, land, family, owner and etc.); 2) words denoting the basic concepts of Russian. statehood and public life ( state, homeland, fatherland, power, people, catholicity, world, artel and etc.); 3) words denoting the world of Russian. soul and folk ethics ( God, truth, conscience, justice, compassion, mercy, patience, remorse etc.) ( A.P. Skovorodnikov, with. 272).

The listed groups of words, united by the ultimate integral feature (idea), do not represent closed rows and can be represented with a greater or lesser degree of detail. The peculiarities of the semantics of these words, their correlations with words similar or, conversely, opposite in meaning (paradigmatics), their compatibility (syntagmatics) and use reflect the specifics of the national Russian mentality (in its historical past and in its current state). Naturally, such words-concepts, which occupy an extremely important place in the system of value ideas, in the spiritual world of both the whole people and the individual, require a particularly careful, "ecological" attitude and close study.

Lit.: Sirotina V.A. The sea laughed. - Rus. speech. - 1971. - No. 1; Aizerman L.S. Keywords. - RYASH. - 1973. - No. 4; Gibet E.I. The word "silence" in V.G. Korolenko. - Rus. speech. - 1973. - No. 5; Petrovsky V.V. About key words in artistic prose. - Rus. speech. - 1977. - No. 5; Karaulov Yu.N. Linguistic construction and the thesaurus of the literary language. - M., 1981; Veselov P.V. How to write a business document? - Rus. speech. - 1988. - No. 1; Kolesov V.V. Reflection of the Russian mentality in the word // Man in the mirror of sciences: Proceedings of the methodological seminar "Man". - L., 1991; Skovorodnikov A.P. On the key words of the Russian mentality. - Svetlitsa. - 1993. - No. 1; Shmeleva T.V. Current moment keywords, "Collegium". - 1993. - No. 1.

A.P. Skovorodnikov

Stylistic encyclopedic dictionary of the Russian language. - M:. "Flint", "Science". Edited by M.N. Kozhina. 2003 .

The point is this. In each training course, a certain number of images can be distinguished, a deep acquaintance with which provides the basis for a stable understanding and memorization of entire large topics, and even entire large sections.

For example, in geography, the globe and maps are just such key images. Working with a globe gives a general orientation on planet Earth - where everything is located (continents, oceans, seas, mountains, rivers, islands, peninsulas, major cities ...) and how it is all interconnected with each other. Having mastered the globe, the student receives the key to all further study of geography. And can move forward in it confidently.

And in all branches of mathematics, one of the main key images is the number line. Positive and negative, whole and fractional, rational and irrational numbers - they all correspond to one or another point on the number line. Here you can clearly see the concept of the module, and addition, and subtraction ... Here we solve equations using the interval method, complex inequalities, and various simple tasks from elementary school ...

The illustration for this article shows another key image from mathematics. He wanders from textbook to textbook with slight variations. Someone long ago came up with a simple and visual explanation of the commutative law of multiplication. And now we all use it.

Various translations of units of measurement of length, area and volume into each other are greatly facilitated if we rely on the key images in this topic. For areas, this is a square divided into small squares. And for volumes, this is a cube divided into small cubes.

For example, draw a square decimeter (a square with a side of 10 cm) and divide it into squares with a side of 1 cm. This will be the key image for understanding all the relationships between linear units and units of area.

How to use it? Let's say we want to know how many square meters are in one square kilometer. Imagine a big-big square with a side of 1 km and mentally divide it into small squares with a side of 1 m. How many of these small squares will fit in this big-big square? The answer is easy to figure out by thinking about this imaginary picture.

In physics and chemistry there are common key images - drawings of atoms, where the nucleus with a certain number of protons and neutrons is located in the center, and small electrons fly around. Add here the periodic table - and you get a clear system for understanding the chemical properties of atoms, and electrical conductivity, and nuclear reactions, and the photoelectric effect, and the operation of semiconductor devices ...

And such examples of key images are the sea. I have indicated only the most familiar, the most commonly used.

The key image is a powerful force. It immediately and forever provides the basis for our thinking, for memory. Find such an image for this particular educational topic, apply it in the lesson - and the effectiveness of learning will increase dramatically. You will save time and effort and ensure the sustainability of knowledge.

Explore the illustrations in the textbook, think and invent yourself, remember your school years ... We need not just pictures, but strong figurative schemes. And simple at the same time.

It seems to me that in the exact and natural sciences, key images are quite easy to identify and apply. But in the humanities, it is much more difficult, in my opinion. After all, when studying history, the Russian language, literature, a foreign language ... you just need to memorize a lot of things, you can’t do without it. And in the natural sciences, the main thing is to understand the essence of the matter.

So, use key images wherever possible. The results will please you.

The example I will now give is taken from Donald Norman (Norman, 1976). I have demonstrated it many times in class, and students have never ceased to be amazed at how effective this mnemonic device is. Its use is based on memorizing the first keywords, which serve as "hooks" for information that is remembered later.

In this case, the keywords are presented in the form of a simple verse that needs to be memorized. Do this for one to two minutes.

One is a pancake, Two is firewood, Three is eels, Four is weights, Five is army, Six is ​​tin, Seven is cream, Eight is autumn, Nine is a swan, and Ten is a month .

Have these lines stuck in your memory? If not, read this verse again.

Now I want to offer you a list of words that you need to remember. You must associate them with the words in the rhyme you have just learned through some image or association you have created. For example, the first word in the list is a plate. Imagine a plate with a pancake on it, since the pancake appears in the first line of the verse. Take your time to study the words of the list so that you have enough time to create an image:

1.plate

5. painting

7. boot

10. telescope

Now cover this list and answer the following questions:

What word is number eight? What number is the word "table"?

Like my students, you must have been surprised to find how easy it is for you to give an answer. In this case, you learned a series of rhyming keywords and then used your imagination to associate words with them to remember. Studies show that this technique works most effectively when the images interact with each other (the pancake is on the plate, not somewhere nearby) and when they are bright and detailed (the pancake is ruddy and appetizing, and the plate is beautifully painted) . The conscious use of both verbal and figurative forms of thinking was described in the first chapter. We will use this technique again in the chapters on creativity and problem solving. You may be thinking, “Why not just write this list down on a piece of paper?” Of course, if paper and pencil are allowed to be used and you have them at hand, this will be the best and simplest mnemonic device, but often we have to store such lists in our memory.

If you study anatomy, you will have to learn long lists of names for nerves, bones, and other organs. Chemists must know the most complex formulas by heart. I won't trust my surgeon if I see him keeping a list of human body parts on his operating table (although that might not be a bad idea). There are many real life examples where we need to learn long lists and do it as accurately as possible.

You can also use images alone (without keywords). They are especially handy when you need to remember names and faces. It is this technique that was used by Harry Lorayne (Lorayne, 1975). Replace the last name you need to remember with a specific noun; highlight some characteristic feature of the face; think of it all as a single image. Lorraine advised to pay special attention to the cheeks, lips, wrinkles, forehead, nose, eyebrows and eyes. For example, if you meet Miss Silverstein (Eng. silverstain- Silver mug) and notice that she has wide-set eyes, you can imagine a silver beer mug between her eyes. Mr Dinter's last name Dinter) can be converted to "diner" (eng. dinner- dinner), and the whole dinner can be imagined placed on his broad forehead. Try this trick at the next party you'll be attending. You will find it amusing and, perhaps to your surprise, you will discover new abilities in yourself.

Sections: Literature

A work of art is an integral compositional and stylistic structure based on the interaction of various linguistic means. By conveying a certain content, the author organizes the verbal material in such a way as to best express the main artistic idea.

The main categories of literary text are - verbal images. The word in a work of art is the material shell of the image, it is what forms, creates the image. A verbal image is not always identical to a word: it can consist of combinations of words, a paragraph, a chapter, and even an entire literary work. But it is always an aesthetically organized structural element of the style of a literary work. That is why images can be combined in a sequentially developed chain, can be correlated with one another in the stylistic system of a literary work. They can include each other, developing into a complex, multifaceted, single image.

If a single word or group of words occupy a key position in the text, then they should be an independent object of analysis. Selection criterion keywords are the following features: repetition, necessity, conceptual and figurative significance. In addition, the exclusion of key lexical elements from a literary text leads to the disintegration of this text as an aesthetically organized whole. So, if we remove I.A. Goncharov "Oblomov" such words as "Pea (street)", "letter", "robe", "East", then much in the image of Oblomov will remain incomprehensible. Keywords can be combined into paradigm, reflecting the subjective view of the author on the events and characters depicted. This paradigm always corresponds to the conceptual setting of the author of the work.

Not every recurring lexical item is a key one, frequency is not the main criterion for highlighting a key element. So, in the story of V.M. Shukshina "Give the heart!" the word "policeman" is used eighteen times, and the word "heart" - only eight, but the key, of course, is the "heart", since it is it that is significant ideologically.

keywords can be one thematic and logical series, as it happens, for example, in P. Bazhov's story "The Mistress of the Copper Mountain". Here, the key are the various names of the green color, transmitted directly (green, green) or indirectly (malachite, emerald, grass, forest). These keywords form a combination of a kind of semantic opposition: on the one hand, in one green color of the stone, we feel both a sad, deathly reflection, and endlessly alluring, lively shades, on the other hand, the green of the stone is opposed to the color of wildlife.

The organization of speech means, oriented towards the emotional and evaluative perspective of artistic narration, determines the originality of artistic speech.

A.P. Chekhov. "I want to sleep" story

As is often the case with Chekhov, a peaceful picture: night, a cradle, a nanny who sleepily purrs a song, destroys a word that suddenly burst into the narrative - "stuffy". A key word that helps to reveal the world of sensations of a nanny girl. A word that can help understand not only the physical, but also the mental state. It’s stuffy, it means uncomfortable, it’s hard to breathe, the head becomes heavy, everything irritates, I want this torment to end as soon as possible, to be freed, freed as soon as possible! To "stuffy" the key olfactory image is attached "smells" , which is significant for recreating the social atmosphere: uncomfortable, not rich, it smells of cabbage soup and shoe polish. It is unlikely that the shoemaker could pay Varka, most likely she lives here "out of mercy." This feeling, the assumption is later confirmed by the text: Varka lives in the house, doing all the black, dirty work during the day, and at night she has no right to sleep, as she has to look after the child. We feel some kind of tragedy behind this, we warmly sympathize with the poor nanny. The early, painful death of a father, a mother, with whom they came to the city together to get a job, and where she is now is unknown.

There is no one to take care of the girl, no one sympathizes with her, she is all alone in a strange, hostile world. Her timidity, humility, humility, desire to do everything well and very quickly are boundless - so as not to fall asleep on the go, since she is even denied the right to sleep. Stuffy... Feeling of impending disaster, catastrophe. Where is it from? Stuffy! What a capacious word, amazingly accurate, the only one! When it's night and stuffy, the most ordinary things become mysterious, significant. Large green spot from the lamp lies down on the ceiling, and diapers and pantaloons throw long shadows, then shadows come alive come into motion. "Green patch of shadow" is a dynamic personification. There is a spot in the tired mind of the girl comes to life, blinks, wants to say something very important. And the most important thing now is to alleviate at least somehow her suffering, which means to find what prevents her from living. The green spot keeps blinking, "clouds her brain", and she finally finds the enemy.

From the group of acoustic images, the key, through is "baby cry" . It is dynamic, it transforms into the cry of clouds, crows, magpies. In any Varka's vision, he interferes, irritates, takes away peace, threatens to destroy even the little that immeasurably tired people have - sleep. And, as the logical conclusion of this series, there is a symbolic cry of a cricket, which Varka perceives as pointing. So it turns out that green spot and cry of a cricket- instigators of a crime, contributing to the state of insanity into which the heroine of the story falls. Exhausted, she strains all her strength and eyesight, looks at the flashing green spot and, listening to the cry, finds an enemy that prevents her from living. "She's laughing... The green spot, the shadows and the cricket seem to be laughing too..."

There are images in the story that convey a state of general stupor, stiffness: "cannot move his lips", "pulls his head down", "eyes stick together", it seems that the face is "dry and stiff". The tactile feeling of a numb girl is the cause of the crime. This state is unnatural, but one really wants to take a natural position (this is the goal of the crime). Resolution: laughs with joy that you can sleep.

Repetitions enhance the impression even more, make artistic images visible. Again"blinks", "gets into the eyes", "clouds the head" green spot, again"screaming cricket" again in a dream, a girl sees a dirty highway, on which "people with knapsacks lie down and sleep soundly." Endless day, endless tedious work and reinforcing this impression " it is time get up", " it is time get to work", " already blue air."

She runs, does laundry, sews, puts down the samovar, washes the stairs, peels potatoes... And only "the evening haze caresses her eyes that stick together and promises her a fast and sound sleep..." But she deceives... In the evening guests come to the hosts.

The system of key images creates an emotional and evaluative background of the narrative, allowing even the most strict reader to justify the heroine. It is impossible to exclude these words from the text, they are the core of figurative meaning.

A.P. Chekhov. Story "Student"

L.N. Tolstoy said: “I remember when I first started reading it, it seemed to me somehow strange, “incoherent”, but as soon as I got a grasp of it, this language captured me. Yes, it was precisely thanks to this “incoherence” or, I don’t know what to call it, it captivates you extraordinarily, and it’s as if, without any will of yours, it puts beautiful artistic images into your soul ... You look how a person, as if indiscriminately smears with paints that come to his hand, and there seems to be no relationship between these strokes do not have each other. But you go a little distance, you look, and in general a whole impression is outlined. Before you is a bright, irresistible picture of nature. He is a strange writer: he throws words as if out of place, but meanwhile everything lives with him. " It is very interesting to consider this dialectic of "coherence" and "incoherence" in the artistic unity of A.P. Chekhov "Student". A.P. himself Chekhov, according to his brother, considered this story "the most finished."

The first phrase already reflects the state of the human soul, when you very subtly feel how fragile everything is in this world, that harmony can turn into disharmony, happiness can turn into misfortune, and misfortune will suddenly help you understand that you are not alone on this Earth.

So the weather good, quiet, but the word interferes with tuning in to the lyrical series "at first". It brings motive expectations something that will destroy the idyllic picture, the motive of anxiety, regret that everything beautiful is so short-lived. It is very important to have time to notice the beautiful, to enjoy it, memories of wonderful moments will help you survive in the storm of everyday adversity. Thrushes cried, rejoicing at the good weather, but something alive mournfully buzzed. What is it? So this alive bad? The motive of doom, hopelessness, as it buzzed, "as if blowing into an empty bottle." No one will hear, no one will help... The motive of terrible loneliness. But after all - spring, spring air, transparent, clean, in such air even a shot sounds booming and cheerful - until you think that this shot cut off someone's life. Something is gone and will never come back. "Hold out one woodcock and shot at it sounded..." After that "he sounded", the words “rolling” and “fun” fade in memory, they are replaced by “sad”, “dreary”, “like the sound of a broken string” that suddenly appeared in our minds.

After this Chekhov phrase, there is a final transition from harmony to disharmony, and we already take it for granted cold wind, which blew "inopportunely". We are already ready for its arrival. The key words are "cold" and "wind" . The wind is cold, piercing. Chaos. Darkness. Emptiness. Ice needles. It smelled like winter. Cold breath of death. Everything hushed up, hushed up, shriveled up. Fear. Feeling of hopelessness. Uncomfortable, cold, unsociable.

And suddenly - a man lost in this vast hostile world. What will happen to him? Will he find the strength to fight for life? Him stiffened fingers, but only the face from the wind flared up! It seemed to him that the cold, which came so suddenly, destroyed the harmony, that even nature itself was terrified, "and that is why the evening darkness thickened faster than necessary." If even nature is terrifying, what is it like for him, a weak person, lost in the Universe. The picture is cosmic: deserted, cold, creepy, gloomy, "everything was completely buried in the cold evening mist."

"cold, cold sound so often that you feel an icy breath, you involuntarily cringe, you imagine yourself a lonely traveler, you understand well his state of mind. This is not a lonely traveler from the fictional story of Vera Iosifovna ("Ionych"), no, this is a real one. The effect of reality, the effect of presence is amazing. Pity, compassion, the hope that everything will be fine - a variety of feelings awaken in the soul of the reader, which means that that person is no longer alone. And like a weak flame of hope, but flaring up brighter and brighter - a fire, a fire in the cold evening darkness. It is important that the person goes home. It is important to have somewhere to go, to have a home. True, the house is cold and hungry. A person feels bad, and now, although under the influence of a moment, he remembers the suffering of other people when "the same wind blew." "There was exactly the same fierce poverty, hunger, the same leaky thatched roofs, ignorance, longing, such a desert all around, darkness, a feeling of oppression - all these horrors were, are and will be, and because another thousand years will pass, life will not it is better." The phrase "And he did not want to go home" is especially significant. What can save a person at such a difficult moment when he himself does not believe in anything? Only hope for the best, faith in one's strength, love for life, for people. And he goes to the people, to the fire, which burns "hotly, with a crackle, illuminating the plowed land far around."

The hero's thoughts about what happened is the starting point of the plot. His negative generalization reflected both book knowledge and life experience. The reader is aware that all this is subjective, but takes it seriously.

Fire brings warmth and light, and cold recedes. He is no longer powerful! Plowed land as a promise of a possible harvest, it will be plentiful - and the eternal enemy of mankind - hunger will disappear. Terrible menacing forces recede, life is stronger than fear and cold. Still an amazing word - hello! Greeting a person, we wish him health, long life. And a friendly smile in response, a place by the fire, a conversation. " We talked"- written by Chekhov. The word is weighty, significant, detailed.

And again the transition to another state: from hopelessness to hope, from loneliness to the joy of communication, when you can say this very important word: " Do you understand?"And suddenly it becomes clear that they want to understand, and maybe they understand, and then - such a joy! Why? Because you are not alone, you are not alone, you are not the only one who thinks so. did Peter warm his chilled hands, having denied Christ three times?

It would seem that a passionate monologue sounds completely unexpected, colored by the most contradictory feelings of the narrator, ending with the words: “I imagine: a quiet, quiet, dark, dark garden, and muffled sobs are barely heard in the silence ... The abyss of human suffering! Someone else's pain is felt so clearly, pity and compassion for someone else's grief are immeasurable. However, is it for someone else? The feeling of amazing kinship of all people living both before and now arises suddenly. And he, a student, feels like a connecting thread between the past and the future. How meaningful your own life becomes! Three lives, three destinies were united by a feeling of compassion. From the point of view of the one-sided plot, almost nothing happens in the story and little changes. Immutability, as is often the case with Chekhov, is emphasized by repetitions: "and again", "the same", "exactly the same". Gray, boring everyday life, endless repetition of insignificant events, one day is similar to another, but in the great historical time (how many centuries have passed!) It was the same: people suffered, as they suffer now, nineteen centuries ago, poor Peter renounced his Teacher and lamented his apostasy, and now he is mourned again. Or maybe he was just mourning his weakness, after nineteen centuries people are also weak ...

No, I would like to think that the main thing is the ability to experience someone else's pain as your own and feel an inextricable connection with all people. In repetitions, in an amazing indecomposable unity, both the monotony of everyday life, and the growing sorrow for the passing and lost life, and in the very possibility of sorrow - the hope of overcoming the painful monotony. And this constant transition from hopelessness to hope! Leaving the fire, he again enters the cold and night. Darkness, "a cruel wind blew", it seemed that winter was returning, but all this now does not give rise to feelings of fear, longing, loneliness, because "a lonely fire quietly blinked in the dark." And although there were no people in sight, he could think of them. "The student again thought that if Vasilisa began to cry, and her daughter was embarrassed, then, obviously, what he was just talking about, what happened nineteen centuries ago, is related to the present - to both women and, probably, to this desert village to himself, to all people."

Amazing ending, open. We do not know what will happen next with the main character, how his life will turn out: will it consist of acts of kindness and compassion, or will there be a place in it for lies and apostasy. We don't know, he doesn't know either. We part with him when he is looking at the lane glowing, but purple, cold dawn, thinks about the fact that truth and beauty, which guide human life there, in the garden and in the courtyard of the high priest, have continued uninterruptedly to this day and, apparently, have always been the main thing in human life and in general on Earth ... And life seemed to him delightful, wonderful and full of lofty meaning." Will it always be like this? What does the crimson cold dawn promise him in life?

The question of faith in the triumph of truth and beauty of the author of "Student" is not connected with the strength of the hero's convictions. Chekhov does not offer the reader any illusions, but in those moments when beautiful words are heard, we feel the presence of the author, his silent support.

V.M. Shukshin. The story "Resentment"

Of course, the main word, the key one that determines the course of events in the story - "resentment". Dictionary of the Russian language Ozhegov gives him the following interpretation: 1 - unfairly caused grief, insult; 2 - an unfortunate, unpleasant case. Now a lot depends on the reader, on how he will evaluate what is happening in the store. Shukshin once wrote: "Respect comes with culture. This is something that can be acquired, but pity is higher than us, wiser than all libraries." What is this story about? Well, of course, about people, about moral deafness, spiritual callousness. What for one is an unfortunate trifle, for another is a tragedy. A well-known truth, not a new topic, many writers turned to it: Gogol, Dostoevsky, Chekhov ... But we don’t pay attention to many things until it happens to us or happens before our eyes. So what's going on in the store? Lynching. "Beat" the weak, defenseless. (Analogue: A.M. Gorky, Untimely Thoughts.) The only person who behaves reasonably is a three-year-old child, the daughter of the protagonist.

As if on purpose, strange people gathered in the store. An angry, rude saleswoman scolds an innocent person. The terrible crime that she commits (in front of a child she scolds her father, killing, destroying her soul) is from impenetrable stupidity. (Analogue: I.S. Turgenev, Fathers and Sons - "Peter is completely numb with stupidity.") For the head of the department, human dignity is an abstract thing. She does not understand Sasha's resentment, and he himself is not interesting, she simply does not notice the child nearby. "Cloak" - two-faced, vile, deceitful. (1937? Is everyone from here?) We don't know anything about him, we can only guess. His son, Igor, is a dumb whipping machine. A soulless crowd that doesn't care about anyone. (How often we have seen such a crowd, ready to insult and laugh in F. M. Dostoevsky's novel Crime and Punishment.)

The system of images so lacks a defender. After all, it takes a little - to get out of the crowd, to approach the unjustly offended person and say: "But I believe you." And some more kind words, and the person will feel better.

The hero of the story is saved by love. The love of his wife, children for him, his love for them. It's good that he did not have time to "break through to Igor with a hammer." What a tragedy could happen due to the fact that we do not have time for kind words (most often it is for scolding). But what about the author himself? Is the author's position expressed in the story? Oh sure. And it is connected with the word "prudence". "No one calls for the wordless demolition resentment, but immediately because of this, overestimate all human values, put the most meaning of life- this is also, you know, a luxury. "After these words of the author, the semantic emphasis of the story is transferred from the word" resentment"on a phrase" meaning of life".

S.-Exupery said: "The most difficult thing is to always be a decent person." Difficult, but necessary. And then the relevance of V. Vyazemsky's exact remark will remain in the distant past: "Everything ends with either a prohibition or an order. When will we be forbidden to be boors and ordered to be decent people?" A decent person does not need to be ordered, he is guided by his moral sense. Thanks to the capacious verbal images created by Shukshin and precisely found keywords, the reader reflects on what is really important for every person at all times.

Buyers are often driven by emotions. Therefore, advertisers use certain methods to influence the perception of advertising by buyers. Thus, successful brands don't just tell consumers to buy their products, they encourage them to make a range of emotional decisions.

Colour is a powerful tool because it can affect our mood as shoppers. Choosing the right color requires a psychological understanding of how each hue affects the perception of the visualization. However, there is no ideal or generally accepted color scheme for a general audience or even a specific socio-cultural group. Advertisements, posters and billboards use color to grab the audience's attention. Different colors evoke different feelings in the viewer.

Repetition used in advertising as a way to keep a brand or product in the minds of consumers. Repetition can introduce a brand, but it can also tire them out. To be effective, repetition must be used in the right amount, as too much of it can be counterproductive to an advertising strategy. Repetition must be carefully planned and given in sufficient doses.

Another powerful method is full trust method. It is the most difficult to use, as the main character in the visuals must have complete trust in the brand message. Viewers can detect even the slightest doubt, hesitation or fear. As a result, they will consider the ad somewhat unreliable. In real life, gaze is a signal that plays an important role in social interaction and communication. Looking directly at someone implies a demand or a question, as well as an expectation of an answer. The same principle works even in a still image.

Another important principle is promotional association concept. Whenever we see an image of people having a good time, we automatically associate their condition with the product they are using. The harmonious and skillful use of gestures, gazes, facial expressions and movements makes viewers buy the product and promote the brand.

Basic compositional technique, which is implemented by dividing the image vertically and horizontally using an imaginary grid. According to this technique, important elements should be placed at the intersections of horizontal and vertical lines. Vector lines direct our eyes to the most important information in an advertisement. Whether a vector image is included in an ad depends on the subject matter, product, image, direction, and overall look and feel of the advertising marketing campaign. Focal points are used to emphasize the most important part of the design. Focal points can be created using colors, shapes, and spaces. A successful design is one that uses a strong focal point and directional lines to keep viewers' eyes on the most important elements of the design.

Symbolism used in advertising to represent a brand, a company. Using symbolism, advertisers can associate a deeper meaning or message with the selling power of the ad. For example, advertisements for gemstones often use the image of water. Both represent clarity and purity. Some common symbols include the open road, which suggests freedom, and the lion, which symbolizes strength, superiority, and royalty. Colors can also be used to represent emotions: red symbolizes love and passion; green represents life and health; black embodies sexuality and seduction.