It's no secret that in order to get a high score in part C (essay) at the Unified State Literature Exam, preparatory work is necessary, either on your own or with a tutor. Often success depends on the initially correctly chosen strategy for preparing for the exam. Before you start preparing for the exam in literature, you should answer yourself important questions. How can a tutor systematize topics so that he does not have to start all over again with each new work? What "pitfalls" are hidden in the wording of the topic? How to plan work properly?

One of the time-tested principles of preparatory work for an essay is to break down various topics into certain types. If necessary, subgroups can be distinguished within the type. Careful work with one type of theme by different writers (four to six) allows you to better understand the originality of each of the works and at the same time learn to work with a similar theme, not be afraid of it and recognize it in any formulation. One should strive to be able to determine the type of topic for Part C and formulate it both orally and in writing. The main task of such training is to develop the ability to argue one's thoughts and draw the conclusions necessary to reveal the topic. Any form of preparation can be chosen: an essay on 1-2 pages, selection of material on a given topic, drawing up an essay plan, parsing a short text, drawing up a quotation portrait of a hero, analyzing a scene, even free reflections on a quotation from a work ...

Experience shows that the more the tutor sets homework for a certain type of topic, the more successful the work on the exam will be. Instead of writing an essay, we find it sometimes more useful to think about one type of topic and develop a plan for building several essays that can be used on an exam.

This article will focus on one type of topic - "The peculiarity of details ...". At the exam, the topic can be formulated in different ways (“Artistic detail in lyrics ...”, “Psychological details in the novel ...”, “Function of everyday details ...”, “What does Plushkin’s garden tell us?”, “No one understood so clearly and subtly, like Anton Chekhov, the tragedy of the little things in life ... ”, etc.), the essence of this does not change: we got a topic associated with a certain literary concept - an artistic detail.

First of all, let's clarify what we mean by the term "artistic detail". A detail is a detail that the author endowed with a significant semantic load. An artistic detail is one of the means of creating or revealing the image of a character. An artistic detail is a generic concept, which is divided into many private ones. An artistic detail can reproduce the features of everyday life or furnishings. Details are also used by the author when creating a portrait or landscape (portrait and landscape detailing), an action or state (psychological detailing), a hero's speech (speech detailing), etc. Often, an artistic detail can be both portrait, everyday, and psychological at the same time. Makar Devushkin in Dostoevsky's "Poor People" invents a special gait so that his holey soles are not visible. The holey sole is the real thing; as a thing, it can cause trouble to the owner of the boots - wet feet, a cold. But for an attentive reader, a torn outsole is a sign whose content is poverty, and poverty is one of the defining symbols of St. Petersburg culture. And Dostoevsky's hero evaluates himself within the framework of this culture: he suffers not because he is cold, but because he is ashamed. After all, shame is one of the most powerful psychological levers of culture. Thus, we understand that the writer needed this artistic detail in order to visually present and characterize the characters and their environment, the life of St. Petersburg in the 19th century.

The saturation of the work with artistic details is determined, as a rule, by the desire of the author to achieve an exhaustive completeness of the image. A detail that is especially significant from an artistic point of view often becomes the motive or leitmotif of the work, an allusion or reminiscence. So, for example, Varlam Shalamov's story "At the Show" begins with the words: "We played cards at Naumov's stallion." This phrase immediately helps the reader to draw a parallel with the beginning of the "Queen of Spades": "... they played cards with the horse guard Narumov." But in addition to the literary parallel, the real meaning of this phrase is given by the terrible contrast of the life that surrounds the heroes of Shalamov. According to the writer's intention, the reader should assess the degree of the gap between the horse guardsman - an officer of one of the most privileged guards regiments - and the konogon belonging to the privileged camp aristocracy, where access is closed to "enemies of the people" and which consists of criminals. There is also a significant difference, which may elude an uninformed reader, between the typically noble surname Narumov and the common Naumov. But the most important thing is the terrible difference in the very nature of the card game. Playing cards is one of the everyday details of the work, which reflects the spirit of the era and the author's intention with particular sharpness.

Artistic detailing may be necessary or, conversely, redundant. For example, a portrait detail in the description of Vera Iosifovna from A.P. Chekhov "Ionych": "... Vera Iosifovna, a thin, pretty lady in pence-nez, wrote stories and novels and willingly read them aloud to her guests." Vera Iosifovna wears pence-nez, that is, men's glasses, this portrait detail emphasizes the author's ironic attitude to the heroine's emancipation. Chekhov, speaking about the heroine's habits, adds "I read aloud to the guests" my novels. Vera Iosifovna's hypertrophied enthusiasm for her work is emphasized by the author as if in mockery of the heroine's "education and talent". In this example, the heroine's habit of "reading aloud" is a psychological detail that reveals the character of the heroine.

Items belonging to the characters can be a means of revealing the character (Onegin's office in the estate) and a means of social characterization of the hero (Sonia Marmeladova's room); they can correspond to the hero (Manilov's estate), and even be his doubles (Sobakevich's things), or they can be opposed to the hero (the room in which Pontius Pilate lives in The Master and Margarita). The situation can affect the psyche of the hero, his mood (Raskolnikov's room). Sometimes the objective world is not depicted (for example, the significant absence of a description of Tatyana Larina's room). For Pushkin's Tatyana, the significant absence of substantive details is the result of poetization, the author, as it were, elevates the heroine above everyday life. Sometimes the importance of subject details is reduced (for example, in Pechorin's Journal), this allows the author to focus the reader's attention on the hero's inner world.

When preparing an applicant for Part C, the tutor should remember that the wording of the topic may not include the term artistic (everyday, object, etc.) detail, but this, nevertheless, should not confuse and distract from the topic.

Non-standard formulations of the topic in the form of a question or an unexpected detail must be analyzed by the tutor with the student in preparation for Part C, since the purpose of such exercises is to help them remember the information better and achieve a free presentation of thoughts. We recommend both the tutor and the student to use some of the topics from our list:

1. What do we know about Uncle Onegin? (mini essay)
2. The estate and its owner. (composition on "Dead Souls")
3. What does the Korobochka clock show? (mini essay)
4. The world of communal apartments in the stories of M. Zoshchenko. (composition)
5. Turbines and their home. (composition on the "White Guard")

The type of theme we have chosen - "The originality of details ..." - is more convenient to divide into two subgroups: the originality of details in the works of one author and in the works of different authors. Below is a work plan for each of the subgroups, which explains not what to write, but how to write, what to write about.

I. The originality of details in the works of one author:

1. What is meant by a household item?
2. The degree of saturation of the work with everyday details.
3. The nature of household items.
4. Organizing household items.
5. The degree of specificity of everyday details and the functions that the details perform for the time of creation of the work.

Household parts can be characterized as follows:

• the degree of saturation of space in the work with everyday details (“She squeezed her hands under a black veil ...”, A. Akhmatova);
• combining details into a certain system (the System of Significant Details in Dostoevsky's Crime and Punishment);
• a detail of an expansive nature (in "Banya" Zoshchenko wears the narrator's coat with the only remaining top button indicating that the narrator is a bachelor and travels by public transport during rush hour);
• opposition of details to each other (the furnishings of Manilov's office and the furnishings of Sobakevich's office, the clatter of knives in the kitchen and the singing of a nightingale in the Turkins' garden in Ionych);
• repetition of the same detail or a number of similar ones (cases and cases in "The Man in the Case");
• exaggeration of details (the peasants in the "Wild Landowner" did not have a rod to sweep the hut);
• grotesque details (deformation of objects when depicting Sobakevich's house);
• endowing objects with independent life (Oblomov's Persian robe becomes almost an acting character in the novel, we can trace the evolution of the relationship between Oblomov and his robe);
• color, sound, texture noted in the description of details (color detail in Chekhov's story "The Black Monk", gray color in "The Lady with the Dog");
• the angle of the image of the details (“Cranes” by V. Soloukhin: “Cranes, you probably don’t know, // How many songs are composed about you, // How many up when you fly, // Looks at misty eyes!”);
• the attitude of the author and the characters to the described household items (object-sensual description by N.V. Gogol: “a radish’s head down”, “a rare bird will fly to the middle of the Dnieper ...”).

The originality of the details in the work of one author can be fixed in the preparation of the following tasks:

1. Two eras: Onegin's office and his uncle's office.
2. The room of the man of the future in Zamyatin's dystopia "We".
3. The role of subject-everyday details in Akhmatova's early lyrics.

One of the skills of a professional tutor is the ability to create a complex work with a type of topic. A full-fledged work for part C must necessarily contain an answer to the question of what functions the subject-household parts perform in the work. We list the most important ones:

• characterization of the character (French sentimental novel in the hands of Tatiana);
• a method of revealing the inner world of the hero (pictures of hell in a dilapidated church, stunning Katerina);
• means of typification (furnishings at Sobakevich's house);
• a means of characterizing the social position of a person (Raskolnikov's room, similar to a coffin or closet);
• a detail as a sign of a cultural and historical nature (Onegin's office in the first chapter of the novel);
• an ethnographic detail (the image of an Ossetian sakli in Bela);
• details designed to evoke certain analogies in the reader (for example, Moscow-Yershalaim);
• a detail designed for the emotional perception of the reader (“Farewell to the New Year tree” by B.Sh. Okudzhava, “Khodiki” by Y. Vizbor);
• a symbolic detail (a dilapidated church in Groz as a symbol of the collapse of the foundations of the pre-construction world, a gift to Anna in I.I. Kuprin's story "Garnet Bracelet");
• characteristics of living conditions (life in the house of Matrena from A.I. Solzhenitsyn's "Matryona Dvor").

As an exercise, we propose to think over a plan for the following topics:

1. The function of everyday details in the novel in verse "Eugene Onegin".
2. Functions of household parts in the "Overcoat".
3. The researchers called the heroes of the "White Guard" "commonwealth of people and things." Do you agree with this definition?
4. In Bunin's poem "The whole sea is like a pearl mirror ..." there are more signs, colors and shades than specific objects. It is all the more interesting to think about the role of subject details, for example, the legs of a seagull. How would you define this role?
5. What is the role of subject details in Bunin's poem "The old man sat, humbly and dejectedly ..." (cigar, watch, window - to choose from)? (According to Bunin's poem "The old man sat, humbly and dejectedly ...").

II. The originality of details in the works of different authors. For example, an essay on the topic “Object-household detail in the prose of A.S. Pushkin, M.Yu. Lermontov and N.V. Gogol" can be written according to the following plan:

1. What is meant by subject-household detail.
2. The difference in the author's tasks and the differences in connection with this in the selection of household items.
3. The nature of everyday details in comparison with all authors.
4. The functions of subject-household details that they perform in the work.

To answer questions C2, C4, the tutor must explain to the student how the literary tradition connected the works, show similarities and differences in the use of artistic detail in the works of different authors. In the tasks of the USE in literature, the wording of tasks C2, C4 can be different:

• In what works of Russian literature do we meet with a description of life and how does life interact with a person in them?
• In what works of Russian classics does Christian symbolism (descriptions of cathedrals, church services, Christian holidays) play an important role, as in the text of the story "Clean Monday"?
• What role does artistic detail play in Chekhov's stories? In what works of Russian literature does the artistic detail have the same meaning?

For tasks C2, C4, a small answer of 15 sentences will suffice. But the answer must necessarily include two or three examples.

For many years before his death, in house number 13 on Alekseevsky Spusk, a tiled stove in the dining room warmed and raised little Helenka, Alexei the elder and the very tiny Nikolka. As one often read near the blazing hot tiled square "Saardam Carpenter", the clock played gavotte, and always at the end of December there was a smell of pine needles, and multi-colored paraffin burned on green branches. In response, with a bronze gavotte, with the gavotte that stands in the bedroom of the mother, and now Yelenka, they beat black walls in the dining room with a tower battle. Their father bought them a long time ago, when women wore funny, bubble sleeves at the shoulders. Such sleeves disappeared, time flashed like a spark, the father-professor died, everyone grew up, but the clock remained the same and beat like a tower. Everyone is so accustomed to them that if they somehow miraculously disappeared from the wall, it would be sad, as if a native voice had died and nothing could plug an empty place. But the clock, fortunately, is completely immortal, both the Saardam Carpenter and the Dutch tile are immortal, like a wise rock, life-giving and hot in the most difficult time.

This tile, and the furniture of old red velvet, and beds with shiny knobs, worn carpets, colorful and crimson, with a falcon on the arm of Alexei Mikhailovich, with Louis XIV, basking on the shore of a silk lake in the Garden of Eden, Turkish carpets with wonderful curlicues on the eastern a field that little Nikolka imagined in the delirium of scarlet fever, a bronze lamp under a shade, the best bookcases in the world with books smelling of mysterious old chocolate, with Natasha Rostova, the Captain's Daughter, gilded cups, silver, portraits, curtains - all seven dusty and full rooms , who raised the young Turbins, the mother left all this to the children at the most difficult time and, already suffocating and weakening, clinging to the crying Elena's hand, she said:

Friendly ... live.

But how to live? How to live?

M. Bulgakov.

"White Guard".

This text asks you to do two things:

• C1. The researchers called the house of the heroes of the "White Guard" "commonwealth of people and things." Do you agree with this definition? Justify your answer.
• C2. In what other works of Russian literature do we encounter descriptions of everyday life and how does everyday life interact with a person in them? Support your answer with examples.

The specificity of both questions is that they are closely related, which facilitates the task of the teacher preparing for the exam. So, answering the questions proposed in these tasks, students can remember that the image of everyday life often helps to characterize the person around whom this life is built (a typical example is the first chapter of Onegin). The relationship between man and life is different. Life can absorb a person or be hostile to him. This happens, for example, with Gogol in Dead Souls, with Chekhov in Gooseberries. Everyday life can emphasize the special cordiality of a person, as if extending to surrounding things - let's recall Gogol's "Old World Landowners" or Oblomovka. Everyday life may be absent (reduced to a minimum), and thereby emphasize the inhumanity of life (image of the camp by Solzhenitsyn and Shalamov).

War can be declared on everyday life (“On rubbish”, Mayakovsky). The image of the Turbins' house is built differently: we really have a "commonwealth of people and things." Things, the habit of them, do not make Bulgakov's heroes philistines; on the other hand, things, from a long life next to people, seem to become alive. They carry the memory of the past, warm, heal, feed, raise, educate. Such are the Turbins' stove with tiles, clocks, books; symbolic meaning in the novel is filled with images of a lampshade, cream curtains. Things in Bulgakov's world are spiritualized.

It is they who create the beauty and comfort of the house and become symbols of the eternal: “The clock, fortunately, is completely immortal, the Saardam carpenter is immortal, and the Dutch tile, like a wise rock, life-giving and hot in the most difficult time.” Recall that quoting the text when answering the exam is only welcome.

Such a theme as an artistic detail, infinitely broad, implies a creative attitude to the literary heritage. In this article, we were able to highlight only some aspects of this broad and very interesting topic. We hope that our recommendations will help both a high school student in preparing for an exam in literature, and a teacher in preparing for classes.

Meaning of ARTISTIC DETAILS in the Dictionary of Literary Terms

ARTISTIC DETAILS

- (from French detail - detail, trifle, particularity) - one of the means of creating an image: an element of an artistic image highlighted by the author, which carries a significant semantic and emotional load in the work. D. x. can reproduce features of everyday life, environment, landscape, portrait (portrait detail), interior, action or state (psychological detail), hero's speech (speech detail), etc.; it is used to visualize and characterize the characters and their environment. The author's desire for detail is dictated, as a rule, by the task of achieving an exhaustive completeness of the image. Efficiency of use of D. x. is determined by how significant this detail is in aesthetic and semantic terms: especially significant from an artistic point of view, D. x. often becomes a motive or leitmotif of the text (for example, the too big nose of the hero of E. Rostand's play "Cyrano de Bergerac" or the iron arshin of the undertaker Yakov Ivanov in A.P. Chekhov's story "Rothschild's Violin"). Artistic detailing may be necessary or, conversely, redundant. In particular, in the description of the heroine of the story A.P. Chekhov "Ionych": "...Vera Iosifovna, a thin, pretty lady in pence-nez, wrote stories and novels and willingly read them aloud to her guests" - a detail of the portrait (pence-nez - men's glasses) emphasizes the author's ironic attitude to emancipation Vera Iosifovna, and the indication "aloud", redundant in relation to the combination "read to the guests", is a mockery of the "education and talent" of the heroine.

Dictionary of literary terms. 2012

See also interpretations, synonyms, word meanings and what is ARTISTIC DETAILS in Russian in dictionaries, encyclopedias and reference books:

• DETAIL
  (from French detail letters - detail), in technology - a product made without the use of assembly operations. A part is also called a product subjected to ...
• DETAIL
  [from French] 1) detail; part of a whole; trifle; an integral part of any mechanism, machine (bolts, nuts, shafts, gears, chains and ...
• DETAIL in the Encyclopedic Dictionary:
  and, well. 1. Small detail, particularity. Important d. Refine the story with unnecessary details. Detailed - detailed, with all the details.||Compare. HATCH. …
• DETAIL in the Encyclopedic Dictionary:
  , -i, f. I. Small detail, particularity. State with all the details. 2. Part of a mechanism, machine, device, and also some kind of general. …
• ARTISTIC
  ARTISTIC ACTIVITIES, one of the forms of Nar. creativity. Collectives X.s. originated in the USSR. All R. 20s the Tram movement was born (see ...
• ARTISTIC in the Big Russian Encyclopedic Dictionary:
  ART INDUSTRY, production of industries. methods decor.-applied thin. products serving for thin. home decoration (interior, clothes, jewelry, dishes, carpets, furniture ...
• ARTISTIC in the Big Russian Encyclopedic Dictionary:
  "ART LITERATURE", state. publishing house, Moscow. Main in 1930 as State. publishing house literature, in 1934-63 Goslitizdat. Sobr. op., fav. prod. …
• ARTISTIC in the Big Russian Encyclopedic Dictionary:
  ARTISTIC GYMNASTICS, a sport, women's competition in performing combinations from gymnastics to the music. and dance. exercises with an object (ribbon, ball, ...
• DETAIL in the Big Russian Encyclopedic Dictionary:
  DETAILS (from French detail, letters - detail) (technical), a product made without the use of assembly operations. D. naz. also products subjected to protective or ...
• DETAIL in the Full accentuated paradigm according to Zaliznyak:
  deta "le, deta" whether, deta "whether, deta" ley, deta "whether, deta" lam, deta "l, deta" whether, deta "lew, details" ly, details "whether, ...
• DETAIL in the Popular Explanatory-Encyclopedic Dictionary of the Russian Language:
  [de], -i, f. 1) Small detail, particularity. State everything in detail. Bring the story to life with details. Clarify the details of the military operation. Synonyms: circumstance ...
• DETAIL in the Thesaurus of Russian business vocabulary:
  1. Syn: detail, particularity, part, share, subtlety, detail, thoroughness (strength) 2. ‘device, device, mechanism’ Syn: element, component, link, scheme, device, ...
• DETAIL in the New Dictionary of Foreign Words:
  (French detail) 1) small detail, particularity; trifle; 2) part of a mechanism, machine, ...
• DETAIL in the Dictionary of Foreign Expressions:
  [fr. detail] 1. small detail, particularity; trifle; 2. part of a mechanism, machine, …
• DETAIL in the Russian Thesaurus:
  1. Syn: detail, particularity, part, share, subtlety, detail, thoroughness (strengthened) 2. ‘device, device, mechanism’ Syn: element, component, link, ...
• DETAIL in the Dictionary of synonyms of Abramov:
  cm. …
• DETAIL in the dictionary of Synonyms of the Russian language:
  auto detail, accessory, amalaka, gaspis, detail, detail, clavus, crabb, trifle, microdetail, modulon, mulura, pentimento, detail, radio detail, glass detail, stencil, construction detail, subtlety, truck, …
• DETAIL in the New explanatory and derivational dictionary of the Russian language Efremova:
  and. 1) a) Small detail, particularity. b) A separate element, an integral part (of some kind of object, costume, structure, etc.). 2) Part of the mechanism, ...
• DETAIL in the Dictionary of the Russian Language Lopatin:
  detail, ...
• DETAIL in the Complete Spelling Dictionary of the Russian Language:
  detail...
• DETAIL in the Spelling Dictionary:
  detail, ...
• DETAIL in the Dictionary of the Russian Language Ozhegov:
  ! part of the mechanism, machines, devices Tractor parts. Clothing details. detail and also in general a part of any product Tractor parts. Clothing details. …
• DETAIL in the Dahl Dictionary:
  female or many details, in art, accessories, parts or details in decoration, little things, ...
• DETAIL in the Modern Explanatory Dictionary, TSB:
  (from French detail, lit. - detail), in technology - a product made without the use of assembly operations. A part is also called a product subjected to ...
• DETAIL in the Explanatory Dictionary of the Russian Language Ushakov:
  details, w. (French detail). 1. Small detail, particularity (book). Draw a house with all the details. The details of this case are unknown to me. 2. …
• DETAIL in the Explanatory Dictionary of Efremova:
  detail g. 1) a) Small detail, particularity. b) A separate element, an integral part (of some kind of object, costume, structure, etc.). 2) Part...
• DETAIL in the New Dictionary of the Russian Language Efremova:
  and. 1. Small detail, particularity. ott. A separate element, an integral part (of any object, costume, structure, etc.). 2. Part of a mechanism, machine, ...
• DETAIL in the Big Modern Explanatory Dictionary of the Russian Language:
  I Part of a mechanism, machine, instrument, etc. II well. 1. Small detail, particularity. 2. A separate element, an integral part (...
• IN VICE - CHROME PIECE in Helpful Hints:
  When clamping a metal part with a chrome or polished surface in a vise, use a plastic lid for glass jars as a gasket, which, ...
• ARTISTIC ACTIVITIES
  amateur performance, one of the forms of folk art. It includes the creation and performance of works of art by the forces of amateurs performing collectively (circles, studios, ...
• WORKWORK FROM THE BOARD in Helpful Hints:
  The workbench is the basis of the workplace. At home, it can be successfully replaced by a fairly thick and even board with an emphasis ...
• AESTHETICS in the Newest Philosophical Dictionary:
  a term developed and specified by A.E. Baumgarten in the treatise "Aesthetica" (1750 - 1758). The Novolatin linguistic education proposed by Baumgarten goes back to the Greek. …
• JOY TO ALL Grieving in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Joy to all who grieve, icon of the Mother of God. Celebration on October 24 (the day of the first miracle from the icon), ...
• FANTASTIC in the Literary Encyclopedia:
  in literature and other arts - the depiction of implausible phenomena, the introduction of fictitious images that do not coincide with reality, a clearly felt violation by the artist ...
• RENAISSANCE in the Literary Encyclopedia:
  - Renaissance - a word, in its special sense, was first put into circulation by Giorgio Vasari in the Lives of the Artists. …
• IMAGE. in the Literary Encyclopedia:
  1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. . 4. Typification of reality...
• CRITICISM. THEORY. in the Literary Encyclopedia:
  The word "K." means judgment. It is no coincidence that the word "judgment" is closely related to the concept of "judgment". Judging is, on the one hand, ...
• KOMI LITERATURE. in the Literary Encyclopedia:
  The Komi (Zyryan) alphabet was created at the end of the 14th century by the missionary Stefan, Bishop of Perm, who in 1372 compiled a special Zyryan alphabet (Perm ...
• CHINESE LITERATURE in the Literary Encyclopedia.
• PROMOTIONAL LITERATURE in the Literary Encyclopedia:
  a set of artistic and non-artistic works, to-rye, influencing the feeling, imagination and will of people, induce them to certain actions, action. The term...
• LITERATURE in the Big Encyclopedic Dictionary:
  [lat. lit(t)eratura lit. - written], written works of public importance (eg, fiction, scientific literature, epistolary literature). More often under the literature ...
• ESTONIAN SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB:
  Soviet Socialist Republic, Estonia (Eesti NSV). I. General information The Estonian SSR was formed on July 21, 1940. From August 6, 1940 in ...
• ART EDUCATION in the Great Soviet Encyclopedia, TSB:
  education in the USSR, the system of training masters of fine, decorative, applied and industrial art, architects-artists, art historians, artists-teachers. In Rus', it originally existed in the form of ...
• PHOTO ART in the Great Soviet Encyclopedia, TSB:
  a kind of artistic creativity, which is based on the use of the expressive possibilities of photography. The special place of F. in artistic culture is determined by the fact that ...
• UZBEK SOVIET SOCIALIST REPUBLIC
• TURKMEN SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB.
• THE USSR. BROADCASTING AND TELEVISION in the Great Soviet Encyclopedia, TSB:
  and television Soviet television and radio broadcasting, as well as other media and propaganda, have a great influence on ...

Detail (from fr. detail)- detail, particularity, trifle.

An artistic detail is one of the means of creating an image that helps to present an embodied character, picture, object, action, experience in their originality and uniqueness. The detail fixes the reader's attention on what seems to the writer the most important, characteristic in nature, in man or in the objective world surrounding him. The detail is important and significant as part of the artistic whole. In other words, the meaning and power of the detail lies in the fact that the infinitesimal reveals the whole.

There are the following types of artistic details, each of which carries a certain semantic and emotional load:

• A) verbal detail. For example, by the expression "no matter how something happened" we recognize Belikov, by the address "falcon" - Platon Karataev, by one word "fact" - Semyon Davydov;
• b) portrait detail. The hero can be identified but a short upper sponge with a mustache (Liza Bolkonskaya) or a white small beautiful hand (Napoleon);
• V) subject detail: Bazarov's hoodie with tassels, Nastya's book about love in the play "At the Bottom", Polovtsev's checker - a symbol of a Cossack officer;
• G) psychological detail, expressing an essential feature in the character, behavior, actions of the hero. Pechorin did not wave his arms when walking, which testified to the secrecy of his nature; the sound of billiard balls changes Gaev's mood;
• e) landscape detail, with the help of which the color of the situation is created; the gray, leaden sky over Golovlev, the "requiem" landscape in The Quiet Don, reinforcing the inconsolable grief of Grigory Melekhov, who buried Aksinya;
• e) detail as a form of artistic generalization("case" existence of philistines in the works of Chekhov, "muzzle of a philistine" in Mayakovsky's poetry).

Special mention should be made of such a variety of artistic detail as household, which, in fact, is used by all writers. A prime example is Dead Souls. Heroes of Gogol cannot be torn off from their life, surrounding things.

A household detail indicates the situation, housing, things, furniture, clothes, gastronomic preferences, customs, habits, tastes, inclinations of the character. It is noteworthy that in Gogol the everyday detail never acts as an end in itself, is given not as a background and decoration, but as an integral part of the image. And this is understandable, because the interests of the heroes of the satirist writer do not go beyond the limits of vulgar materiality; the spiritual world of such heroes is so poor, insignificant, that the thing may well express their inner essence; things seem to grow together with their owners.

A household item primarily performs a characterological function, i.e. allows you to get an idea of ​​the moral and psychological properties of the heroes of the poem. So, in the Manilov estate, we see the manor's house, standing "alone in the south, that is, on a hill open to all winds", a gazebo with a typically sentimental name "Temple of solitary reflection", "a pond covered with greenery" ... These the details point to the impracticality of the landowner, to the fact that mismanagement and disorder reign in his estate, and the owner himself is only capable of senseless projecting.

The character of Manilov can also be judged by the furnishings of the rooms. “Something was always missing in his house”: there was not enough silk fabric to upholster all the furniture, and two armchairs “were just upholstered with matting”; next to a dapper, richly decorated bronze candlestick stood "some kind of just a copper invalid, lame, curled up on the side." Such a combination of objects of the material world in a manor's estate is bizarre, absurd, and illogical. In all objects, things, some kind of disorder, inconsistency, fragmentation is felt. And the owner himself matches his things: Manilov's soul is as flawed as the decoration of his home, and the claim to "education", sophistication, grace, refinement of taste further enhances the inner emptiness of the hero.

Among other things, the author emphasizes one, singles it out. This thing carries an increased semantic load, growing into a symbol. In other words, a detail can take on the meaning of a multi-valued symbol that has a psychological, social and philosophical meaning. In Manilov's office, one can see such an expressive detail as mounds of ash, "arranged not without diligence in very beautiful rows", - a symbol of empty pastime, covered with a smile, sugary politeness, the embodiment of idleness, idleness of the hero, surrendering to fruitless dreams ...

Gogol's everyday detail is expressed primarily in action. So, in the image of things that belonged to Manilov, a certain movement is captured, in the process of which the essential properties of his character are revealed. For example, in response to Chichikov's strange request to sell dead souls, "Manilov immediately dropped the chibouk with the pipe on the floor and, as he opened his mouth, he remained with his mouth open for several minutes ... Finally, Manilov raised the pipe with the chibouk and looked at him from below face ... but he could not think of anything else but to release the remaining smoke from his mouth in a very thin stream. In these comic poses of the landowner, his narrow-mindedness, mental limitations are perfectly manifested.

Artistic detail is a way of expressing the author's assessment. The district dreamer Manilov is incapable of any business; idleness became part of his nature; the habit of living at the expense of serfs developed traits of apathy and laziness in his character. The landowner's estate is ruined, decay and desolation are felt everywhere.

The artistic detail complements the inner appearance of the character, the integrity of the revealed picture. It gives the depicted ultimate concreteness and at the same time generalization, expressing the idea, the main meaning of the hero, the essence of his nature.

Artistic detail and its types

Content

Introduction …………………………………………………………………..
Chapter 1. …………………………………………………………………….	5
1.1 Artistic detail and its functioning in the text ………….	5
1.2 Classification of artistic details …………………………..	9
1.3 Artistic detail and artistic symbol………………..	13
Chapter 2. …………………………………………………………………….	16
2.1 The innovative style of E. Hemingway……………………………………..	16
2.2 An artistic detail in E. Hemingway's story "The Old Man and the Sea" ...	19
2.3 Symbol as a kind of artistic detail in E. Hemingway's story "The Old Man and the Sea" …………………………………………….	27
Conclusion …………………………………………………………………	32
Bibliography ……………………………………………………….	35

Introduction
There are few phenomena in philological science that are so often and so ambiguously mentioned as a detail. Intuitively, the detail is perceived as "something small, insignificant, meaning something big, significant." In literary criticism and stylistics, the opinion has long and rightly been established that the widespread use of artistic detail can serve as an important indicator of individual style and characterizes, for example, different authors such as Chekhov, Hemingway, Mansfield. Discussing the prose of the 20th century, critics unanimously speak of its inclination to detail, which marks only an insignificant sign of a phenomenon or situation, leaving the reader to finish the picture himself.
At the present stage of development of text linguistics and stylistics, the analysis of a literary work cannot be considered complete without studying the functioning of an artistic detail in it. In this regard, the purpose of this study is to holistically study and analyze various types of artistic details, to determine their significance in the creation of E. Hemingway's parable "The Old Man and the Sea". This work was chosen due to the fact that the topics disclosed by E. Hemingway are eternal. These are problems of human dignity, morality, the development of the human personality through struggle. The parable "The Old Man and the Sea" contains a deep subtext, which will help to understand the analysis of artistic details, which allows expanding the possibilities of interpreting a literary work.
The purpose of the work determined the specific objectives of the study:

study of the main provisions of modern literary criticism regarding the role of artistic details in works;
analysis of varieties of parts;
identification of various types of artistic details in E. Hemingway's parable "The Old Man and the Sea";
disclosure of the main functions of artistic details in this work.

The object of this study is E. Hemingway's parable "The Old Man and the Sea".
The subject of the study is an artistic detail - the smallest unit of the objective world of the writer's work.
The structure of the work is determined by the goals and objectives of the study.
The introduction substantiates the relevance of the chosen topic, defines the main goal and specific tasks of the work.
In the theoretical part, the main provisions concerning the concept of "artistic detail" are explored, the classifications of details that exist in modern literary criticism are given, and their functions in a literary work are determined.
In the practical part, an analysis of the parable by E. Hemingway "The Old Man and the Sea" was carried out, highlighting the artistic details and determining their role in creating the subtext.
In conclusion, the theoretical and practical results of the study are summarized, the main provisions on the material of the work are given.

Chapter 1
1.1 Artistic detail and its functioning in the text
In literary criticism and stylistics, there are several different definitions of the concept of "artistic detail". One of the most complete and detailed definitions is given in this work.
Thus, an artistic detail (from French detail - part, detail) is a particularly significant, highlighted element of an artistic image, an expressive detail in a work that carries a significant semantic and ideological and emotional load. A detail is capable of conveying the maximum amount of information with the help of a small text volume, with the help of a detail in one or a few words you can get the most vivid idea of ​​the character (his appearance or psychology), interior, environment. Unlike a detail, which always works with other details, making up a complete and plausible picture of the world, a detail is always independent.
Artistic detail - one of the forms of depicting the world - is an integral part of the verbal and artistic image. Since the verbal-artistic image and the work as a whole are potentially ambiguous, their comparative value, the measure of adequacy or polemicalness in relation to the author's concept is also associated with the identification of the details of the depicted world of the author. The scientific study of the world of a work, taking into account subject representation, is recognized by many experts in the theory of literature as one of the main tasks of modern literary criticism.
A detail, as a rule, expresses an insignificant, purely external sign of a multilateral and complex phenomenon, for the most part it acts as a material representative of facts and processes that are not limited to the mentioned superficial sign. The very existence of the phenomenon of artistic detail is associated with the impossibility of capturing the phenomenon in its entirety and the resulting need to convey the perceived part to the addressee so that the latter gets an idea of ​​the phenomenon as a whole. The individuality of external manifestations of feelings, the individuality of the author's selective approach to these observed external manifestations gives rise to an infinite variety of details that represent human experiences.
When analyzing a text, an artistic detail is often identified with metonymy and, above all, with that variety of it, which is based on the relationship of part and whole - synecdoche. The reason for this is the presence of an external similarity between them: both the synecdoche and the detail represent the big through the small, the whole through the part. However, in their linguistic and functional nature, these are different phenomena. In synecdoche, there is a transfer of the name from the part to the whole. The details use the direct meaning of the word. To represent the whole in synecdoche, its catchy, attention-grabbing feature is used, and its main purpose is to create an image with a general economy of expressive means. In detail, on the contrary, an inconspicuous feature is used, rather emphasizing not the external, but the internal connection of phenomena. Therefore, attention is not focused on it, it is reported in passing, as if in passing, but the attentive reader should discern a picture of reality behind it. In the synecdoche, there is an unambiguous replacement of what is called with what is meant. When deciphering a synecdoche, those lexical units that expressed it do not leave the phrase, but remain in their direct meaning.
In detail, there is not a substitution, but a reversal, an opening. When deciphering the details, there is no unambiguity. Its true content can be perceived by different readers with varying degrees of depth, depending on their personal thesaurus, attentiveness, reading mood, other personal qualities of the recipient and the conditions of perception.
The detail functions in the whole text. Its full meaning is not realized by the lexical demonstrative minimum, but requires the participation of the entire artistic system, that is, it is directly included in the action of the category of systemicity. Thus, in terms of the level of actualization, the detail and metonymy do not coincide. An artistic detail is always qualified as a sign of a laconic economical style.
Here we must remember that we are not talking about a quantitative parameter, measured by the amount of word usage, but about a qualitative one - about influencing the reader in the most effective way. And the detail is just such a way, because it saves figurative means, creates an image of the whole at the expense of its insignificant feature. Moreover, it forces the reader to engage in co-creation with the author, complementing the picture that he has not drawn to the end. A short descriptive phrase really saves words, but they are all automated, and visible, sensual clarity is not born. The detail is a powerful signal of figurativeness, awakening in the reader not only empathy with the author, but also his own creative aspirations. It is no coincidence that the pictures recreated by different readers according to the same detail, without differing in the main direction and tone, differ markedly in detail and depth of drawing.
In addition to the creative impulse, the detail also gives the reader a sense of the independence of the created representation. Not taking into account the fact that the whole is created on the basis of a detail deliberately selected for it by the artist, the reader is confident in his independence from the author's opinion. This seeming independence of the development of the reader's thought and imagination gives the narrative a tone of disinterested objectivity. For all these reasons, the detail is an extremely essential component of the artistic system of the text, actualizing a number of textual categories, and all artists thoughtfully and carefully consider its selection.
The analysis of artistic details contributes to the understanding of the moral, psychological and cultural aspects of the text, which is an expression of the writer's thoughts, who, transforming reality through his creative imagination, creates a model - his concept, the point of view of human existence.
The popularity of an artistic detail among authors, therefore, stems from its potential power, which can activate the reader's perception, encourage him to co-create, and give scope to his associative imagination. In other words, the detail actualizes, first of all, the pragmatic orientation of the text and its modality. Among the writers who masterfully used the detail, one can name E. Hemingway.

1.2 Classification of artistic details
Identification of the details or system of details chosen by the writer is one of the urgent problems of modern literary criticism. An important step in its solution is the classification of artistic details.
Both in style and in literary criticism, a general classification of details has not developed.
V. E. Khalizev writes in the manual “Theory of Literature”: “In some cases, writers operate with detailed characteristics of a phenomenon, in others they combine heterogeneous objectivity in the same text episodes.”
L. V. Chernets proposes to group the types of details based on the style of the work, the principles for identifying which are determined by A. B. Esin.
A. B. Esin in the classification of details highlights the details of external and psychological. External details draw the external, objective existence of people, their appearance and habitat, and are divided into portrait, landscape and real; and psychological - depict the inner world of a person.
The scientist draws attention to the conditionality of such a division: an external detail becomes psychological if it conveys, expresses certain spiritual movements (in this case, it means a psychological portrait) or is included in the course of thoughts and experiences of the hero.
From the point of view of the image of dynamics and statics, external and internal, the scientist determines the property of the style of a particular writer according to the “set of style dominants”. If the writer pays primary attention to the static moments of being (the appearance of the characters, the landscape, city views, interiors, things), then this property of style can be called descriptive. Descriptive details correspond to this style.
The functional load of the part is very diverse. Depending on the functions performed, the following classification of types of artistic detail can be proposed: pictorial, clarifying, characterological, implicating.
The pictorial detail is designed to create a visual image of what is being described. Most often, it enters as an integral element in the image of nature and the image of appearance. Landscape and portrait work greatly benefit from the use of detail: it is this detail that gives individuality and concreteness to a given picture of nature or the appearance of a character. In the choice of a graphic detail, the author's point of view is clearly manifested, the category of modality, pragmatic orientation, and systemicity are actualized. In connection with the local-temporal nature of many pictorial details, we can talk about the periodic actualization of the local-temporal continuum through the pictorial detail.
The main function of a clarifying detail is to create an impression of its reliability by fixing minor details of a fact or phenomenon. A clarifying detail, as a rule, is used in a dialogical speech or a skaz, delegated narration. For Remarque and Hemingway, for example, a description of the movement of the hero is typical, indicating the smallest details of the route - the names of streets, bridges, alleys, etc. The reader does not get an idea about the street. If he has never been to Paris or Milan, he does not have vivid associations with the scene. But he gets a picture of movement - fast or leisurely, agitated or calm, directed or aimless. And this picture will reflect the state of mind of the hero. Since the whole process of movement is firmly tied to places that really exist, known by hearsay or even from personal experience, that is, completely reliable, the figure of the hero inscribed in this framework also acquires convincing truthfulness. Scrupulous attention to the minor details of everyday life is extremely characteristic of the prose of the middle of the 20th century. The process of morning washing, tea drinking, lunch, etc., dissected to the minimum links, is familiar to everyone (with the inevitable variability of some constituent elements). And the character, standing in the center of this activity, also acquires the features of authenticity. Moreover, since things characterize their owner, a clarifying thing detail is very essential for creating the image of a character. Consequently, without directly mentioning the person, the clarifying detail is involved in creating the anthropocentric orientation of the work.
The characterological detail is the main actualizer of anthropocentricity. But it performs its function not indirectly, as pictorial and clarifying, but directly, fixing the individual features of the depicted character. This type of artistic detail is dispersed throughout the text. The author does not give a detailed, locally concentrated characterization of the character, but places milestones - details in the text. They are usually served in passing, as something famous. The entire composition of characterological details, scattered throughout the text, can be directed either to a comprehensive description of the object, or to re-emphasizing its leading feature. In the first case, each individual detail marks a different side of the character, in the second, they are all subordinated to showing the main passion of the character and its gradual disclosure. For example, understanding the complex behind-the-scenes machinations in E. Hemingway's story "Fifty Thousand", ending with the words of the hero - boxer Jack "If funny how fast you can think when it means that much money", is prepared gradually, persistently returning to the same quality of the hero . Here is a boxer called his wife on a long-distance telephone. His staff notes that this is his first telephone conversation, he used to send letters: "a letter only costs two cents." So he leaves the training camp and gives the Negro massage therapist two dollars. At the bewildered look of his companion, he replies that he has already paid the entrepreneur the bill for the massage. Here, already in the city, having heard that a hotel room costs $ 10, he is indignant: "That" s too steep ". Here, having risen to the room, he is in no hurry to thank the battle that brought the suitcases:" Jack didn "t make any move, so I gave the boy a quarter". When playing cards, he is happy when he wins a penny: "Jack won two dollars and a half... was feeling pretty good", etc. , Hemingway makes it the leading characteristic of the passion for accumulation. The reader turns out to be internally prepared for the denouement: for a person whose goal is money, life itself is cheaper than capital. The author carefully and carefully prepares the reader's conclusion, guiding it along the milestones-details placed in the text. The pragmatic and conceptual orientation of the generalizing conclusion is thus hidden under the imaginary independence of the reader in determining his own opinion. The characterological detail creates the impression of eliminating the author's point of view and is therefore especially often used in emphatically objectified prose of the 20th century. precisely in this function.
The implicit detail marks the external characteristic of the phenomenon, by which its deep meaning is guessed. The main purpose of this detail, as can be seen from its designation, is the creation of implication, subtext. The main object of the image is the internal state of the character.
In a certain sense, all these types of details participate in the creation of subtext, because each implies a wider and deeper coverage of a fact or event than is shown in the text through a detail. However, each type has its own functional and distribution specifics, which, in fact, allows us to consider them separately. The pictorial detail creates an image of nature, an image of appearance, and is used mostly singly. Clarifying - creates a material image, an image of the situation and is distributed in a heap, 3-10 units in a descriptive passage. Characterological - participates in the formation of the image of the character and is dispersed throughout the text. Implicating - creates an image of the relationship between characters or between the hero and reality.

1.3 Artistic detail and artistic symbol
Under certain conditions, an artistic detail can become an artistic symbol. Much has been written about the symbolism of modern literature. Moreover, different critics often see different symbols in the same work. To some extent, this is due to the polysemy of the term itself. The symbol acts as a spokesman for the metonymic relationship between the concept and one of its specific representatives. The famous words "Let's beat swords into plowshares", "Sceptre and crown will tumble down" are examples of metonymic symbolism. Here the symbol has a permanent and important character for this phenomenon, the relationship between the symbol and the whole concept is real and stable, and does not require conjecture on the part of the recipient. Once discovered, they are often repeated in a variety of contexts and situations; unambiguous interpretation leads to stable interchangeability of the concept and symbol. This, in turn, determines the assignment to the symbol of the function of a stable nomination of the object, which is introduced into the semantic structure of the word, registered in the dictionary and eliminates the need for parallel mention of the symbol and symbolized in one text. The linguistic fixation of a metonymic symbol deprives it of novelty and originality, reduces its figurativeness.
The second meaning of the term "symbol" is associated with the likening of two or more heterogeneous phenomena in order to clarify the essence of one of them. There are no real connections between the like categories. They only resemble each other in appearance, size, function, etc. The associative nature of the connection between a symbol and a concept creates significant artistic possibilities for using a symbol-similarity to make the described concept concrete. The assimilation symbol during decoding can be reduced to the final transform "symbol (s) as the main concept (s)". Such a symbol often acts as the title of a work.
The dazzling and unattainable peak of Kilimanjaro is like the unfulfilled creative destiny of the hero of E. Hemingway's story "The Snows of Kilimanjaro". The Gatsby mansion from Fitzgerald's novel of the same name, at first foreign and abandoned, then flooded with the glitter of cold lights and again empty and resonant - like his fate with its unexpected rise and fall.
The symbol-similarity is often presented in the title. He always acts as an actualizer of the concept of the work, pragmatically directed, based on retrospection. Due to the actualization of the latter and the associated need to return to the beginning of the text, it enhances textual coherence and systemicity, i.e., the likeness symbol, in contrast to metonymy, is a phenomenon of the text level.
Finally, as already mentioned, a detail becomes a symbol under certain conditions. These conditions are the occasional connection between the detail and the concept it represents and the repeated repetition of the word expressing it within the given text. The variable, random nature of the relationship between the concept and its individual manifestation requires an explanation of their relationship.
The symbolizing detail is therefore always first used in the immediate vicinity of the concept, the symbol of which it will act in the future. Repetition, on the other hand, legitimizes, strengthens a random connection, the similarity of a number of situations assigns to the detail the role of a constant representative of the phenomenon, provides it with the possibility of independent functioning.
In the work of E. Hemingway, for example, a symbol of misfortune in the novel "Farewell to Arms!" it starts to rain, in "The Snows of Kilimanjaro" - a hyena; the symbol of courage and fearlessness is the lion in the story "The Short Happiness of Francis Macomber". The lion of flesh and blood is an important link in the development of the plot. The first repetition of the word "lion" is in close proximity to the qualification of the hero's courage. A further forty-fold repetition of the word, dispersed throughout the story, gradually weakens the meaning of correlation with a specific animal, highlighting the emerging meaning of "courage". And in the last, fortieth use, the word “lion” is the authoritative symbol of the concept: "Macomber felt unreasonable happiness that he had never known before... "You know, I"d like to try another lion," Macomber said". The last use of the word "lion" has nothing to do with the external development of the plot, for the hero says it while hunting a buffalo. It appears as a symbol, expressing the depth of the change that has taken place in Macomber. Having failed in the first test of courage, he wants to win in a similar situation, and this display of courage will be the final stage in the assertion of his newly acquired freedom and independence.
Thus, the detail-symbol requires an initial explication of its connection with the concept and is formed into a symbol as a result of repeated repetition in the text in similar situations. The symbol can be any type of part. For example, the pictorial detail of Galsworthy's landscape descriptions in The Forsyte Saga, related to the birth and development of love between Irene and Bosnia, is sunlight: "into the sun, in full sunlight, the long sunshine, in the sunlight, in the warm sun" . Conversely, there is no sun in any of the descriptions of the Forsytes' walk or business trip. The sun becomes a detail-symbol of love, illuminating the fate of the heroes.
The symbolic detail, therefore, is not yet another, fifth, type of detail that has its own structural and figurative specificity. It is, rather, a higher level of development of the detail, associated with the peculiarities of its inclusion in the whole text, it is a very strong and versatile text actualizer. It explicates and intensifies the concept, penetrating the text through repetition, significantly contributes to strengthening its coherence, integrity and consistency, and, finally, it is always anthropocentric.

Chapter 2
2.1 Innovative style of E. Hemingway
Around the American writer Ernest Hemingway (1899 - 1961), legends developed during his lifetime. Having made the leading theme of his books the courage, resilience and perseverance of a person in the fight against circumstances that doom him to almost certain defeat in advance, Hemingway strove to embody the type of his hero in life. A hunter, fisherman, traveler, war correspondent, and when the need arose, then a soldier, he chose the path of greatest resistance in everything, tested himself "for strength", sometimes risked his life not for the sake of thrills, but because a meaningful risk, like him thought it befits a real man.
Hemingway entered great literature in the second half of the 1920s, when, following the book of short stories In Our Time (1924), his first novels appeared - The Sun Also Rises, better known as Fiesta. (“The Sun Also Rises”, 1926) and “Farewell to Arms!” (“A Farewell to Arms”, 1929). These novels gave rise to the fact that Hemingway began to be considered one of the most prominent artists of the "lost generation" ("Lost Generation"). His largest books after 1929 are about bullfighting Death in the Afternoon (1932) and the safari Green Hills of Africa (1935). The second half of the 1930s - the novel To Have and Have Not (1937), stories about Spain, the play The Fifth Column (1938) and the famous novel For Whom the bell tolls" ("For Whom the Bell Tolls", 1940).
In the post-war years, Hemingway lived in his house near Havana. The first of the works of the 50s was the novel "Across the River and into the Trees", 1950. But the real creative triumph awaited Hemingway in 1952, when he published his story "The Old Man and the Sea" ("The Old Man and the Sea"). Two years after its appearance, Hemingway was awarded the Nobel Prize in Literature.
As a correspondent, Hemingway worked hard and hard on the style, manner of presentation, and form of his works. Journalism helped him develop a basic principle: never write about what you do not know. He did not tolerate chatter and preferred to describe simple physical actions, leaving room for feelings in the subtext. He believed that there was no need to talk about feelings, emotional states, it was enough to describe the actions in which they arose.
His prose is a canvas of the external life of people, a being that contains the greatness and insignificance of feelings, desires and motives. Hemingway strove to objectify the narrative as much as possible, to exclude from it direct author's assessments, elements of didactics, to replace, where possible, the dialogue with a monologue. In the mastery of the internal monologue, Hemingway reached great heights. The components of composition and style were subordinated in his works to the interests of the development of the action. Short words, simple sentence structures, vivid descriptions, and factual details combine to create realism in his stories. The skill of the writer is expressed in his subtle ability to use repetitive images, allusions, themes, sounds, rhythms, words, and sentence structures.
The “iceberg principle” put forward by Hemingway (a special creative technique when a writer, working on the text of a novel, reduces the original version by 3-5 times, believing that the discarded pieces do not disappear without a trace, but saturate the narrative text with additional hidden meaning) is combined with the so-called “ side view" - the ability to see thousands of the smallest details that seem to be not directly related to events, but in fact play a huge role in the text, recreating the flavor of time and place. Just as the visible part of an iceberg, rising above the water, is much smaller than its main mass hidden under the surface of the ocean, so the writer’s laconic, laconic narrative captures only those external data, starting from which the reader penetrates into the depths of the author’s thought and discovers the artistic the universe.
E. Hemingway created an original, innovative style. He developed a whole system of specific methods of artistic display: editing, playing with pauses, interrupting dialogue. Among these artistic means, an essential role is played by the talented use of artistic details. Already at the beginning of his writing career, E. Hemingway also found “his own dialogue” - his characters exchange insignificant phrases, cut off by chance, and the reader feels behind these words something significant and hidden in the mind, something that sometimes cannot be expressed directly.
Thus, the use by the writer of various techniques and means of artistic display, including Hemingway's famous short and precise phrase, became the basis for creating a deep subtext of his works, which will help to reveal the definition and analysis of five types of artistic detail (pictorial, clarifying, characterological, implicating, symbolic) taking into account the function they perform in E. Hemingway's parable "The Old Man and the Sea".

2.2 Artistic detail in E. Hemingway's story "The Old Man and the Sea"
The Old Man and the Sea is one of the last books by Ernest Hemingway, written in 1952. The plot of the story is typical of Hemingway's style. Old man Santiago struggles with adverse circumstances, fights desperately, to the end.
Outwardly concrete, objective narration has philosophical overtones: man and his relationship with Nature. The story about the fisherman Santiago, about his battle with a huge fish, turned under the pen of the master into a true masterpiece. This parable showed the magic of Hemingway's art, its ability to keep the reader's interest despite the outward simplicity of the plot. The story is extremely harmonious: the author himself called it "poetry translated into the language of prose." The protagonist is not just a fisherman, like many Cuban fishermen. He is a Man who fights destiny.
This small, but extremely capacious story stands apart in Hemingway's work. It can be defined as a philosophical parable, but at the same time, its images, rising to symbolic generalizations, have an emphatically concrete, almost tangible character.
It can be argued that here, for the first time in Hemingway's work, a hard worker, who sees his life calling in his work, became a hero.
The protagonist of the story, old man Santiago, is not typical of E. Hemingway. He will not yield to anyone in valor, in readiness to fulfill his duty. Like an athlete, he shows by his heroic struggle with the fish what a man is capable of and what he can endure; asserts in deed that “a man can be destroyed but not defeated.” Unlike the heroes of Hemingway's previous books, the old man has neither a sense of doom, nor the horror of "nada". He does not oppose himself to the world, but seeks to merge with it. The inhabitants of the sea are perfect and noble; the old man must not yield to them. If he "does what he was born to do" and does everything in his power, then he will be admitted to the great feast of life.
The whole story of how the old man manages to catch a huge fish, how he leads
etc.................

An expressive detail in a work that carries a significant semantic and ideological and emotional load. A detail is capable of conveying the maximum amount of information with the help of a small text volume, with the help of a detail in one or a few words you can get the most vivid idea of ​​the character (his appearance or psychology), interior, environment. Unlike a detail, which always acts with other details, making up a complete and plausible picture of the world, a detail is always independent. Among the writers who skillfully used the detail, one can name A. Chekhov and N. Gogol.

A. Chekhov in the story uses as a detail the mention of new galoshes and snacks on the table to show the absurdity of the suicide that took place: “On the floor, at the very legs of the table, lay motionless a long body, covered with white. In the weak light of the lamp, in addition to the white bedspread, new rubber galoshes were clearly visible.. And then it says suicidal “committed suicide in a strange way, behind a samovar, spreading snacks on the table”.

Figuratively speaking, every piece of gun must fire. The well-known literary critic Efim Dobin argues, using the example of the use of details by A. Chekhov, that the detail must undergo a rigorous selection and must be placed in the foreground. A. Chekhov himself advocated the minimization of details, but for the skillful use of a small number of details. When staging plays, A. Chekhov demanded that the details in the setting and clothing match the details in his works. K.G. Paustovsky in his short story "The Old Man in the Station Buffet" explains and reflects on the meaning of details (details) in prose. Chekhov said: "A thing does not live without a detail."

According to the compositional role, details can be divided into two main types: narrative details (indicating movement, a change in the picture, situation, character) and descriptive details (depicting, painting a picture, situation, character at the moment). A detail may appear in the text once, or it may be repeated to enhance the effect, depending on the author's intention. Details can relate to everyday life, landscape, portrait, interior, as well as gesture, subjective reaction, action and speech.

In different periods of the history of literature, the role of the detail changed: Homer used detailed everyday descriptions to reproduce a picture of reality, while the realists switched to a “talking” detail, one that served the specific purpose of a realistic depiction of a typical person in typical circumstances, while the modernists used illogical, contrasting, metaphorical details, which allowed them to further reduce the text without compromising the idea.

Literature

• Dobin E. Hero. Plot. Detail. - M.: Soviet writer, 1962
• Dobin E. Plot and reality. Art details. - L .: Soviet writer, 1981

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Detail can mean: Detail detail in mechanical engineering Detail (literature) detail in literature List of meanings ... Wikipedia

The content and scope of the concept. Criticism of pre-Marxist and anti-Marxist views on L. The problem of the personal principle in L. The dependence of L. on the social “environment”. Criticism of a comparatively historical approach to L. Criticism of the formalistic interpretation of L. ... ... Literary Encyclopedia

The term "postmodern literature" describes the characteristic features of the literature of the second half of the 20th century (fragmentation, irony, black humor, etc.), as well as the reaction to the ideas of the Enlightenment inherent in modernist literature. Postmodernism in literature, ... ... Wikipedia

This term has other meanings, see Detail (meanings). A part is a product that is part of a machine, made of a material that is homogeneous in structure and properties without the use of any assembly operations. Details (partially ... ... Wikipedia

Literature Multinational Soviet literature represents a qualitatively new stage in the development of literature. As a certain artistic whole, united by a single social and ideological orientation, commonality ... ... Great Soviet Encyclopedia

Literature of the era of feudalism. VIII X century. XI XII century. XII XIII century. XIII XV century. Bibliography. Literature of the era of the decomposition of feudalism. I. From the Reformation to the Thirty Years' War (late 15th–16th centuries). II From the 30 year war to the early Enlightenment (XVII century ... Literary Encyclopedia

This term has other meanings, see Sleeve. A sleeve is a piece of clothing that covers the entire arm or part of the arm. It can be short (like on T-shirts), medium (for example, covering the arm to the wrist) and long (straitjacket). ... ... Wikipedia

This term has other meanings, see Washer. Different types of washers Washer (from German Scheibe) cream ... Wikipedia

A coupling is a device (a part of a machine) designed to connect the ends of the shafts to each other, as well as the shafts and parts freely sitting on them. The clutch transmits mechanical energy without changing its value. (Part of the energy is lost in the clutch. You can ... ... Wikipedia

This term has other meanings, see Baba. Baba is a working part of a machine that performs useful work due to impact after a directed fall. A similar projectile is used for driving piles, forging, etc. The mass of a woman can be ... ... Wikipedia