Artistic image

Artistic image is a generalized expression of reality, an essential property of art. It is the result of the artist's understanding of a phenomenon or process. At the same time, the artistic image not only reflects, but, above all, generalizes reality, reveals the eternal in the individual, transient. An artistic image is inseparable from its objectively existing material prototype. However, it must be remembered that an artistic image is, first of all, an image, a picture of life, and not life itself. The artist strives to select such phenomena and depict them in such a way as to express his idea of ​​life, his understanding of its tendencies and patterns.
So, "an artistic image is a concrete and at the same time a generalized picture of human life, created with the help of fiction and having aesthetic value" (L. I. Timofeev).
An image is often understood as an element or part of an artistic whole, as a rule, such a fragment that seems to have an independent life and content (for example, a character in literature, symbolic images, like a “sail” or “clouds” by M. Yu. Lermontov):

White sail lonely In the blue mist of the sea!.. What is he looking for in a distant country? What did he throw in his native land?.. or

Heavenly clouds, eternal wanderers! Steppe azure, pearl chain You rush as if like me, exiles From the sweet north to the south.

An artistic image becomes artistic not because it is written off from nature and looks like a real object or phenomenon, but because it transforms reality with the help of the author's imagination. The artistic image does not so much copy reality as it seeks to convey the most important and essential. Thus, one of the heroes of Dostoevsky's novel "The Teenager" said that photographs very rarely can give a correct idea of ​​a person, because not always human face expresses the main character traits. Therefore, for example, Napoleon, photographed at a certain moment, might seem stupid. The artist, on the other hand, must find in the face the main thing, the characteristic. In Leo Tolstoy's novel "Anna Karenina", the amateur Vronsky and the artist Mikhailov painted a portrait of Anna. It seems that Vronsky knows Anna better, understands her more and more deeply. But Mikhailov's portrait was distinguished not only by similarity, but also by that special beauty that only Mikhailov could detect and that Vronsky did not notice. "You should have known and loved her, as I loved her, in order to find this sweetest expression of her soul," thought Vronsky, although he only recognized from this portrait "this is her sweetest spiritual expression."

At different stages of human development, the artistic image takes on various forms.

This happens for two reasons:

the subject of the image changes - a person,
the forms of its reflection in art also change.
There are peculiarities in the reflection of the world (and hence in the creation of artistic images) by realist artists, sentimentalists, romantics, modernists, etc. As art develops, the ratio of reality and fiction, reality and ideal, general and individual, rational and emotional, etc.
In the images of classic literature, for example, there is very little individuality. Heroes are typified, template. It does not change throughout the work. As a rule, the hero of classicism is the bearer of one virtue and one vice. As a rule, all images of the heroes of a work of classicism can be divided into positive and negative (Romeo and Juliet, Shakespeare's Hamlet, Mitrofanushka and Mrs. Prostakova at Fonvizin). And romantic artists, on the contrary, pay attention to the individual in a person, depict a rebel hero, a loner who rejected society or was rejected by it. The image of the hero of a romantic work is always two-faced, we are tormented by contradictions that occur due to the difference between the real world in which we all live and the ideal world, the way the world should be (Quasimodo and Esmeralda Hugo, Don Quixote of Cervantes, Mtsyri and partially Pechorin Lermontov) . Realists strove for a rational knowledge of the world, the identification of causal relationships between objects and phenomena. Their images are the most realistic, they have very little artistic fiction (Gogol's Chichikov, Dostoyevsky's Raskolnikov). And the modernists announced that it is possible to know the world and man only with the help of irrational means (intuition, insight, inspiration, etc.). At the center of realistic works is a person and his relationship with the outside world, while romantics, and then modernists, are primarily interested in the inner world of their heroes.
Although the creators of artistic images are artists (poets, writers, painters, sculptors, architects, etc.), in a sense, those who perceive these images, that is, readers, viewers, listeners, etc., also turn out to be their co-creators. So, the ideal reader not only passively perceives the artistic image, but also fills it with his own thoughts, feelings and emotions. Different people and different eras reveal different sides of it. In this sense, the artistic image is inexhaustible and multifaceted, like life itself.

Briefly:

The artistic image is one of the aesthetic categories; image of human life, description of nature, abstract phenomena and concepts that form a picture of the world in the work.

The artistic image is a conditional concept, it is the result of poetic generalizations, it contains the author's fiction, imagination, fantasy. It is formed by the writer in accordance with his worldview and aesthetic principles. There is no single point of view on this issue in literary criticism. Sometimes one work or even the entire work of the author is considered as an integral artistic image (the Irishman D. Joyce wrote with such a program setting). But most often the work is studied as a system of images, each element of which is connected with the others by a single ideological and artistic concept.

Traditionally, it is customary to distinguish between the following levels of figurativeness in the text: images-characters, images of wildlife(animals, birds, fish, insects, etc.), landscape images, object images, verbal images, sound images, color images(for example, black, white and red in the description of the revolution in A. Blok's poem "The Twelve"), scent images(for example, the smell of fried onions, rushing through the courtyards of the provincial town of S. in Chekhov's "Ionych"), signs, emblems, as well as symbols, allegories and so on.

A special place in the system of images of the work is occupied by the author, narrator and narrator. These are not identical concepts.

Image of the author- the form of existence of the writer in a literary text. It brings the entire character system together and speaks directly to the reader. We can find an example of this in A. Pushkin's novel "Eugene Onegin".

The image of the narrator in the work is generalized-abstract, this person, as a rule, is devoid of any portrait features and manifests himself only in speech, in relation to what is being reported. Sometimes it can exist not only within the framework of one work, but also within the literary cycle (as in I. Turgenev's Notes of a Hunter). In a literary text, the author reproduces in this case not his own, but his, the narrator's, manner of perceiving reality. He acts as an intermediary between the writer and the reader in the transmission of events.

The image of the narrator is the character on whose behalf the speech is being made. Unlike the narrator, the narrator is given some individual features (portrait details, biography facts). In works, sometimes the author can narrate on a par with the narrator. There are many examples of this in Russian literature: Maxim Maksimych in M. Lermontov's novel "A Hero of Our Time", Ivan Vasilyevich in L. Tolstoy's story "After the Ball", etc.

An expressive artistic image can deeply excite and shock the reader, and have an educational impact.

Source: Schoolchildren's Handbook: Grades 5-11. — M.: AST-PRESS, 2000

More:

An artistic image is one of the most ambiguous and broad concepts that is used by theorists and practitioners of all types of art, including literature. We say: the image of Onegin, the image of Tatyana Larina, the image of the Motherland or a successful poetic image, meaning the categories of poetic language (epithet, metaphor, comparison ...). But there is one more, perhaps the most important meaning, the broadest and most universal: the image as a form of expression of content in literature, as the primary element of art as a whole.

It should be noted that the image in general is an abstraction, which acquires concrete outlines only as an elementary component of a certain artistic system as a whole. The whole work of art is figurative, and all its components are figurative.

If we turn to any work, for example, to Pushkin's "Demons", the beginning of "Ruslan and Lyudmila" or "To the Sea", we read it and ask ourselves the question: "Where is the image?" - the correct answer will be: “Everywhere!”, because imagery is a form of existence of a work of art, the only way of its being, a kind of “matter” of which it consists, and which, in turn, breaks down into “molecules” and “atoms” ".

The artistic world is primarily a figurative world. A work of art is a complex single image, and each of its elements is a relatively independent, unique particle of this whole, interacting with it and with all other particles. Anything and everything in poetic world imbued with imagery, even if the text does not contain a single epithet, comparison or metaphor.

In Pushkin's poem "I loved you ..." there is not one of the traditional "decorations", i.e. tropes, habitually referred to as "artistic images" (the extinguished language metaphor "love ... faded away" does not count), therefore it is often defined as "ugly", which is fundamentally wrong. As R. Jakobson superbly showed in his famous article "The Poetry of Grammar and the Grammar of Poetry", using only the means of poetic language, only one skillful contrasting grammatical forms, Pushkin created an exciting artistic image of the experiences of a lover who deifies the object of his love and sacrifices his happiness for him, striking in its noble simplicity and naturalness. The components of this complex figurative whole are private images of a purely speech expression, revealed by an insightful researcher.

In aesthetics, there are two concepts of the artistic image as such. According to the first of them, the image is a specific product of labor, which is called upon to "objectify" a certain spiritual content. Such an idea of ​​the image has the right to life, but it is more convenient for spatial arts, especially for those that have applied value(sculpture and architecture). According to the second concept, the image as a special form of theoretical exploration of the world should be considered in comparison with concepts and ideas as categories of scientific thinking.

The second concept is closer and more understandable to us, but, in principle, both suffer from one-sidedness. Indeed, do we have the right to identify literary creativity with a kind of production, ordinary routine work that has quite definite pragmatic goals? Needless to say, art is hard, exhausting work (let us recall Mayakovsky's expressive metaphor: "Poetry is the same extraction of radium: / In the year of extraction - a gram of labor"), which does not stop day or night. The writer sometimes creates literally even in a dream (as if the second edition of the Henriade appeared to Voltaire in this way). There is no leisure. There is no personal privacy either (as O Henry perfectly portrayed in the story "Confessions of a Humorist").

Is art work labor? Yes, of course, but not only labor. It is torment, and incomparable pleasure, and thoughtful, analytical research, and unrestrained flight of free fantasy, and hard, exhausting work, and an exciting game. In a word, it is art.

But what is the product of literary labor? How and with what can it be measured? After all, not liters of ink and not kilograms of worn out paper, not embedded in the Internet sites with texts of works that now exist in a purely virtual space! The book, which is still a traditional way of fixing, storing and consuming the results of a writer's work, is purely external, and, as it turned out, not at all an obligatory shell for the figurative world created in its process. This world is both created in the consciousness and imagination of the writer, and is transmitted, respectively, into the field of consciousness and imagination of readers. It turns out that consciousness is created through consciousness, almost like in Andersen's witty fairy tale "The King's New Clothes".

So, the artistic image in literature is by no means a direct "objectification" of the spiritual content, any idea, dream, ideal, as it is easily and clearly presented, say, in the same sculpture (Pygmalion, who "objectified" his dream in ivory, it remains only to beg the goddess of love Aphrodite to breathe life into the statue in order to marry her!). Literary work does not carry direct materialized results, some tangible practical consequences.

Does this mean that the second concept is more true, insisting that the artistic image of a work is a form of exclusively theoretical exploration of the world? No, and here there is a well-known one-sidedness. Figurative thinking in fiction, of course, is opposed to theoretical, scientific, although it does not exclude it at all. Verbal-figurative thinking can be represented as a synthesis of philosophical or, rather, aesthetic understanding of life and its object-sensory design, reproduction in the material specifically inherent in it. However, there is no clear definition, canonical sequence, sequence of both, and cannot be, if, of course, we mean true art. Comprehension and reproduction, interpenetrating, complement each other. Comprehension is carried out in a concrete-sensory form, and reproduction clarifies and refines the idea.

Cognition and creativity are a single holistic act. Theory and practice in art are inseparable. Of course, they are not identical, but they are one. In theory, the artist asserts himself practically; in practice, theoretically. For each creative individuality, the unity of these two sides of one whole manifests itself in its own way.

So, V. Shukshin, “exploring”, as he put it, life, saw it, recognized it with the trained look of an artist, and A. Voznesensky, who appeals to “intuition” in knowledge (“If you look for India, you will find America!”), With an analytical look architect (education could not but affect). The difference was also reflected in terms of figurative expression (naive sages, “freaks”, animated birch trees in Shukshin and “atomic minstrels”, culture tragers of scientific and technological revolution, “triangular pear” and “trapezoidal fruit” in Voznesensky).

Theory, in relation to the objective world, is a "reflection", while practice is the "creation" (or rather, "transformation") of this objective world. The sculptor "reflects" a person - for example, a sitter, and creates a new object - a "statue". But the works of the material arts are evident in the very direct meaning of this word, which is why it is so easy to trace the most complex aesthetic patterns on their example. In fiction, in the art of words, everything is more complicated.

Knowing the world in images, the artist plunges into the depths of the subject, like a naturalist in a dungeon. He cognizes its substance, fundamental principle, essence, extracts from it the very root. The secret of how satirical images are created was wonderfully revealed by Hans Schnier, a character in Heinrich Böll's novel Through the Eyes of a Clown: "I take a piece of life, raise it to a power, and then extract the root from it, but with a different number."

In this sense, one can seriously agree with the witty joke of M. Gorky: “He knows reality as if he himself did it! ..” and with Michelangelo’s definition: “This is the work of a man who knew more than nature itself,” which leads to V. Kozhinov in his article.

The creation of an artistic image least of all resembles the search for beautiful clothes for an initially ready-made primary idea; planes of content and expression are born and ripen in it in full harmony, together, simultaneously. Pushkin's expression "the poet thinks in verse" and practically the same version of Belinsky in his 5th article on Pushkin: "The poet thinks in images". “By verse we mean the original, immediate form of poetic thought” authoritatively confirm this dialectic.

literary image- a verbal image, designed in a word, that peculiar form of reflection of life, which is inherent in art.

So, imagery is the central concept of the theory of literature, it answers its most basic question: what is the essence of literary creativity?

Image - a generalized reflection of reality in the form of a single, individual - such a common definition of this concept. The most basic features are emphasized in this definition - generalization and individualization. Indeed, both of these features are essential and important. They are present in every literary work.

For example, the image of Pechorin shows the common features of the younger generation of the time in which M.Yu. lived. Lermontov, and at the same time it is obvious that Pechorin is an individual depicted by Lermontov with the utmost concreteness of life. And not only this. To understand the image, it is necessary, first of all, to find out: what is the artist really interested in, what does he focus on among life phenomena?

“The artistic image, according to Gorky, is almost always wider and deeper than the idea, it takes a person with all his diversity of his spiritual life, with all the contradictions of his feelings and thoughts.”

So, the image is a picture of human life. To reflect life with the help of images means to paint pictures of the human life of people, i.e. actions and experiences of people characteristic of a given area of ​​life, allowing to judge it.

Speaking about the fact that the image is a picture of human life, we mean precisely that it is reflected in it synthetically, holistically, i.e. "personally", and not any one of its side.

A work of art is valuable only when it makes the reader or viewer believe in itself as a phenomenon of human life, either external or spiritual.

Without a concrete picture of life, there is no art. But concreteness itself is not the end in itself of artistic representation. It necessarily follows from its very subject, from the task that art faces: the depiction of human life in its entirety.

So, let's complete the definition of the image.

An image is a concrete picture of human life, i.e. her personalized image.

Let's consider further. The writer studies reality on the basis of a certain worldview; in the process of his life experience, he accumulates observations, conclusions; he comes to certain generalizations reflecting reality and at the same time expressing his views. He shows these generalizations to the reader in living, concrete facts, in the destinies and experiences of people. Thus, in the definition of "image" we supplement: An image is a specific and at the same time a generalized picture of human life.

But even now our definition is not yet complete.

Fiction plays a very important role in the image. Without the creative imagination of the artist, there would be no unity of the individual and the generalized, without which there would be no image. Based on his knowledge and understanding of life, the artist imagines such life facts by which one could better judge the life he depicts. This is the meaning of fiction. At the same time, the artist's fiction is not arbitrary, it is suggested to him by his life experience. Only under this condition will the artist be able to find real colors for depicting the world into which he wants to introduce the reader. Fiction is a means of selection by the writer of the most characteristic of life, i.e. is a generalization of the life material collected by the writer. It should be noted that fiction does not oppose reality, but is a special form of reflection of life, a peculiar form of its generalization. Now we must again complete our definition.

So, the image is a concrete and at the same time a generalized picture of human life, created with the help of fiction. But that's not all.

A work of art evokes in us a feeling of immediate excitement, sympathy for the characters, or resentment. We treat it as something that personally affects us, directly relating to us.

So. This is an aesthetic feeling. The purpose of art is to aesthetically comprehend reality, in order to evoke an aesthetic feeling in a person. Aesthetic sense is associated with the idea of ​​the ideal. It is this perception of the ideal embodied in life, the perception of the beautiful that causes us aesthetic feelings: excitement, joy, pleasure. This means that the significance of art lies in the fact that it should evoke an aesthetic attitude towards life in a person. Thus, we have come to the conclusion that the essential side of the image is its aesthetic value.

Now we can give a definition of the image, which has absorbed the features that we talked about.

So, summing up what has been said, we get:

IMAGE - A SPECIFIC AND AT THE SAME TIME GENERALIZED PICTURE OF HUMAN LIFE, CREATED WITH THE HELP OF FICTION AND HAVING AESTHETIC SIGNIFICANCE.

Artistic image

typical image
Image-motive
topos
Archetype.

Artistic image. The concept of the artistic image. Functions and structure of the artistic image.

Artistic image- one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
The artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of feelings, thoughts, aspirations, aesthetic emotions of the artist.
Its main functions are: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal the specific features of the image, each of them individually characterizes only one side of it; an isolated consideration of individual functions not only impoverishes the idea of ​​the image, but also leads to the loss of its specificity as a special form of social consciousness.
In the structure of the artistic image, the main role is played by the mechanisms of identification and transfer.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, signs are combined into a single whole; moreover, the identification is only partial, highly limited: it borrows only one feature or a limited number of features of the objective person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes - transference.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed in an associative way to all new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating in dreams and neuroses the so-called. thickening.

Conflict as the basis of the plot side of the work. The concept of "motive" in Russian literary criticism.

The most important function of the plot is the detection of life's contradictions, i.e. conflicts (in Hegel's terminology - collisions).

Conflict- confrontation of a contradiction either between characters, or between characters and circumstances, or within a character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of a single conflict. In works of large volume, the number of conflicts increases.

Conflict- the core around which everything revolves. The plot least of all resembles a solid, continuous line connecting the beginning and end of the series of events.

Stages of conflict development- main plot elements:

Lyric-epic genres and their specificity.

Lyric epic genres reveal connections within literature: from lyrics - a theme, from epic - a plot.

Combining an epic narrative with a lyrical beginning - a direct expression of the experiences, thoughts of the author

1. poem. – genre content can be either epic or lyrical. (In this regard, the plot is either enhanced or reduced). In antiquity, and then in the era of the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method, it is equally represented in romanticism ("Mtsyri"), in realism ("The Bronze Horseman"), in symbolism ("12")...

2. ballad. - (French "dance song") and in this sense it is a specifically romantic narrative poetic work. In the second meaning of the word, the ballad is a folklore genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.

3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) a feature of the genre form yavl. The inclusion in the text (at the beginning or at the end) of a special short stanza - morality. The fable is connected with the parable, besides, the fable is genetically connected with the fairy tale, the anecdote, and later the short story. fable talents are rare: Aesop, Lafontaine, I.A. Krylov.

4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together, these lyrical works create a "circle": the unifying principle is yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.

Basic concepts of poetic language and their place in the school curriculum in literature.

POETIC LANGUAGE, artistic speech, is the language of poetic (poetic) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, in which the communicative function is the main one (see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, i.e. proper communicative and poetic functions language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. Ya., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is language in its aesthetic function.
P. i. closely connected, on the one hand, with the literary language (see), which is its normative basis, and on the other hand, with the national language, from where it draws a variety of characterological linguistic means, for example. dialectisms when transmitting the speech of characters or to create a local color of the depicted. The poetic word grows out of the real word and in it, becoming motivated in the text and fulfilling a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.

19. The concept of the artistic method. The history of world literature as a history of changing artistic methods.

The artistic method (creative) method is a set of the most general principles of the aesthetic assimilation of reality, which is consistently repeated in the work of a particular group of writers that form a direction, trend or school.

O.I. Fedotov notes that “the concept of “creative method” is not much different from the concept of “artistic method” that gave rise to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire trends.

The concept of the artistic method appears in the 1920s, when critics of the Russian Association of Proletarian Writers (RAPP) borrow this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of "proletarian" writers.

The artistic method has an aesthetic nature, it represents historically determined general forms emotionally colored figurative thinking.

Art objects are the aesthetic qualities of reality, i.e. “the wide social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changeable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, the historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through the historical changes in the object of art, but also through the historical change in the aesthetic qualities of reality. The subject of art contains the lifeblood of the artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the general philosophical and political worldview of the artist. “The method always appears before us only in its concrete artistic embodiment – ​​in the living matter of the image. This matter of the image arises as a result of the artist’s personal, most intimate interaction with the concrete world around him, which determines the entire artistic and thought process necessary to create a work of art” (L.I. Timofeev)

The creative method is nothing more than a projection of imagery into a certain concrete historical setting. Only in it does the figurative perception of life receive its concrete realization, i.e. is transformed into a certain, organically arisen system of characters, conflicts, storylines.

The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically conditioned understanding of it in the light of the main questions that life poses to art at each new stage of its development.

The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of the artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, the kinship of characters, the homogeneity of conflicts and plots, and the manner of writing. So, for example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.

The artist's method is felt through style his works, i.e. through the individual manifestation of the method. Since the method is a way of artistic thinking, the method is the subjective side of the style, because. this method figurative thinking generates certain ideologically - artistic features art. The concept of method and individual style of the writer correlate with each other as the concept of genus and species.

Interaction method and style:

§ Variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;

§ stylistic unity is possible only within one method, since even the outward similarity of the works of authors adhering to the same method does not give grounds for classifying them as a single style;

§ Reverse influence of style on method.

Full use style techniques of artists who are adjacent to one method is incompatible with the consistent observance of the principles of the new method.

Along with the concept of creative method, the concept direction or type of creativity, which are in the most diverse different forms and relationships will manifest themselves in any method that arises in the process of the development of the history of literature, since they express the general properties of the figurative reflection of life. In their totality, the methods form literary currents (or trends: romanticism, realism, symbolism, etc.).

The method determines only the direction of the artist's creative work, and not its individual properties. The artistic method interacts with the creative individuality of the writer

The concept of "style" is not identical with the concept "creative individuality of the writer". The concept of "creative individuality" is broader than what is expressed by the narrow concept of "style". In the style of writers, a number of properties are manifested, which in their totality characterize the creative individuality of writers. The concrete and real result of these properties in literature is style. The writer develops his own individual style on the basis of this or that artistic method. We can say that the creative individuality of the writer is a necessary condition for the further development of each artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individualities of writers become general and represent a new quality in their totality.

The artistic method and creative individuality of the writer are manifested in literature through the creation of literary images, the construction of motives.

mythological school

The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.

Mythological school in Russian literary criticism: A.N. Afanasiev, F.I. Buslaev.

Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.

biographical method

Theoretical and methodological foundations of the biographical method. Life and work of Sh.O. Saint-Beva. Biographical method in Russian literary criticism of the 19th century. ( scientific activity N.A. Kotlyarevsky).

Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.

Biographical approach to the study of the heritage of major artists of the word (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.

Psychological direction

Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.

Psychological approach in Tatar literary criticism of the early twentieth century. Views of M.Marjani, J.Validi, G.Ibragimov, G.Gubaydullin, A.Mukhetdiniya and others. The work of G.Battala "Theory of Literature".

Concept psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.

Psychoanalysis

Theoretical basis psychoanalytic criticism. Life and work of Z. Freud. Psychoanalytic writings of Freud. Psychoanalysis of C.G. Jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis of Erich Fromm. The concept of the social unconscious. J. Lacan's research.

Psychoanalytic theories in Russia in the 1920s. 20th century (I.D. Ermakov). Psychoanalysis in modern literary criticism.

Sociologism

The emergence of sociology. The difference between sociological and cultural-historical methods. Application features sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Proceedings of G. Nigmati, F. Burnash.

Vulgar sociologism: genesis and essence (V.M. Friche, later works of V.F. Pereverzev). FG Galimullin about vulgar sociologism in Tatar literary criticism.

Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).

The emergence of new concepts, directions that managed to overcome reductionism sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the possibilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.

Sociologism on a global scale: in Germany (B. Brecht, G. Lukacs), in Italy (G. Wolpe), in France, striving for the synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.

formal school.

Scientific methodology formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.

Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague Linguistic Circle and the Geneva linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.

Activities of the Parisian semiotic schools (early R. Barthes, K. Levy-Strauss, A. J. Greimas, K. Bremont, J. Genette, W. Todorov), the Belgian school of the sociology of literature (L. Goldman and others).

Structuralism in Russia. Application attempts structural method in the study of Tatar folklore (works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis (A.G. Yakhin), in the study of the history of Tatar literature (D.F. Zagidullina and others. ).

emergence narratology - the theory of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.

B.S.Meilakh about complex method in literary criticism. Kazan base group Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Proceedings of Yu.G. Nigmatullina.

An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.

hermeneutics

The first information about the problem of interpretation in Ancient Greece and the East. Views of representatives of the German "spiritual-historical" school (F. Schleiermacher, W. Dilthey). The concept of H. G. Gadamer. The concept of "hermeneutic circle". Hermeneutic theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).

Artistic image. The concept of the artistic image. Classification of artistic images according to the nature of generalization.

Artistic image- a way of mastering and transforming reality, inherent only in art. An image is any phenomenon that is creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, images-motives, topoi and archetypes (mythologems).
Individual images are 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 A. Bulgakov's The Master and Margarita.
A characteristic image is generalizing. It contains common features of characters and mores inherent in many people of a certain era and its public spheres(characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky).
typical image represents the highest level of the characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of 19th-century realistic literature. Suffice it to recall the father of Goriot and Gobsek Balzac, Anna Sometimes in the artistic image can be captured both the socio-historical signs of the era, and the universal character traits of a particular hero.
Image-motive- this 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» from A. Blok).
topos(Greek topos - place, area) 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 is the image of the "little man" in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. For the first time this term is found among German romantics at the beginning of the 19th century, however, real life in various fields knowledge was given to him by the work of the Swiss psychologist C. Jung (1875–1961). Jung understood the "archetype" as a universal image, unconsciously transmitted 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.

Introduction

The artistic image is a universal category of artistic creativity: a form of reproduction, interpretation and mastery of life inherent in art by creating aesthetically influencing objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content (for example, a 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 is in its self-consciousness (coming from ancient tradition) was closer to craft, skill, skill and, accordingly, in the host of arts, the leading place belonged to the plastic arts, aesthetic thought was content with the concepts of the canon, then style and form, through which the artist's transforming attitude to material was illuminated. The fact that artistically reshaped material captures, carries in itself a certain ideal education, in something similar to thought, began to be realized only with the nomination of the more “spiritual” arts - literature and music - to the first place. 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, human consciousness has images-impressions, images-representations, images of imagination and memory. 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 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 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 occurs in human head, is some 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, its objective, material world, a person and his environment in a concrete face, depicts the events of social and personal life people, their relationships, their external and spiritual and psychological characteristics.

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 reason to say that the early stages of the development of human culture were characterized by 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 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 appearance of sound speech and the second signal system does discursive and logical thinking.

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 provides 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 a 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 such an 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, the influence of the creative process takes an active part. How the result is achieved in the products of material production is relatively unimportant for the consumer, while in the artistic-figurative perception it is extremely significant and constitutes one of the main points of the artistic process.

If in the sphere of material production the processes of creation and consumption are relatively independent, as certain form life activity of people, 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 singularity: 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 her 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 person is a type, but at the same time a well-defined personality - a "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 should be emphasized that documentary art, as a desire for a detailed, realistic, reliable reflection of life, has become not just a 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 The conventionality of the artistic image presupposes bringing to the fore the integrative aspects of the creative process, namely: selection, comparison, analysis, which act in an 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 exploration 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 not just a system of views and ideas, but the state of society (class, social group, nations). 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 special role in creative work, since it is only in it that the author realizes his worldview with its help, 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 bizarrely combined the ideas of utopian socialism, which included 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 complicated: 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 nature of his activity, the natural history components of his worldview are of decisive importance, then for an artist, his aesthetic views and beliefs. Moreover, the talent of the artist 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 anyone and everyone 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 has formulated various shades of the 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 by the creative imagination of the artist, his attitude to the depicted, as well as all the richness of the personality 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 and 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 principles conditioned by these views. life positions people, their beliefs, ideals, principles of cognition and activity, value orientations. 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 new edition, new form 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 imaginative 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 of 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 the English playwright is different at different phases of 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 ascent of the hero to some higher level 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 deep awareness 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. Having become popular among English poets the form under Shakespeare's pen sparkled with new facets, accommodating a vast 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 life that have worried humanity from the ages, talks about happiness and the meaning of life, about the relationship between time and eternity, about frailty. human beauty and its greatness, about art, capable of overcoming the inexorable run of time, about the lofty 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 friendship, occupies an important place: it is regarded 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.

inner form artistic image is personal, it bears an indelible trace of the author's ideological, its isolating and transforming initiative, due to which the image appears as an appreciated human reality, a cultural value among other values, an 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 of 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 in assessing 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 raises eternal questions that have always worried and worried all of humanity: how to deal with evil, what means and is it possible to defeat him? 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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