Art is such a sphere of human activity, which is addressed to his emotional, aesthetic side of personality. Through auditory and visual images, through intense mental and spiritual work, there is a kind of communication with the creator and those for whom it was created: listener, reader, viewer.

Term meaning

A work of art is a concept associated primarily with literature. This term means not just any coherent text, but carrying a certain aesthetic load. It is this nuance that distinguishes such a work from, for example, a scientific treatise or a business document.

Artwork is imaginative. It does not matter whether this is a multi-volume novel or just a quatrain. Imagery is understood as the saturation of the text with expressive-pictorial. At the level of vocabulary, this is expressed in the use by the author of such tropes as epithets, metaphors, hyperboles, personifications, etc. At the level of syntax, a work of art can be saturated with inversions, rhetorical figures, syntactic repetitions or joints, and so on.

It is characterized by a second, additional, deep meaning. The subtext is guessed by a number of signs. Such a phenomenon is not characteristic of business and scientific texts, the task of which is to provide any reliable information.

A work of art is associated with such concepts as the theme and idea, the position of the author. The topic is what the text is about: what events are described in it, what era is covered, what subject is being considered. Thus, the subject of depiction in landscape lyrics is nature, its states, complex manifestations of life, the reflection of a person's mental states through the states of nature. Idea artwork- these are thoughts, ideals, views that are expressed in the work. So, the main idea of ​​the famous Pushkin's "I remember a wonderful moment ..." is to show the unity of love and creativity, understanding love as the main driving, reviving and inspiring principle. And the position or point of view of the author is the attitude of the poet, writer to those ideas, heroes that are depicted in his creation. It may be controversial, it may not coincide with the main line of criticism, but it is precisely this that is the main criterion in evaluating the text, identifying its ideological and semantic side.

A work of art is a unity of form and content. Each text is built according to its own laws and must comply with them. So, the novel traditionally raises problems of a social nature, depicts the life of a class or social system, through which, as in a prism, the problems and spheres of life of society as a whole are reflected. In the lyrical poem, the intense life of the soul is reflected, emotional experiences. According to the definition of critics, in a real work of art nothing can be added or subtracted: everything is in place, as it should be.

The aesthetic function is realized in literary text through the language of art. In this regard, such texts can serve as textbooks, since give examples of magnificent prose unsurpassed in beauty and charm. It is no coincidence that foreigners who want to learn the language of a foreign country as best as possible are advised to read, first of all, time-tested classics. For example, the prose of Turgenev and Bunin are wonderful examples of mastery of all the richness of the Russian word and the ability to convey its beauty.

There are many types of text styles in Russian. One of them is the artistic style of speech, which is used in the literary field. It is characterized by the impact on the imagination and feelings of the reader, the transfer of thoughts of the author himself, the use of rich vocabulary, emotional coloring text. In what area is it used, and what are its main features?

The history of this style dates back to ancient times. Throughout time, a certain characteristic of such texts has developed that distinguishes them from others. different styles.
With the help of this style, the authors of works have the opportunity to express themselves, convey their thoughts and reasoning to the reader, using all the richness of their language. Most often it is used in writing, and in oral it is used when already created texts are read, for example, during the production of a play.

The purpose of artistic style is not to directly convey certain information, but to influence emotional side the person reading the work. However, this is not the only purpose of such a speech. Achieving the set goals occurs when the functions of a literary text are performed. These include:

• Figurative-cognitive, which consists in telling a person about the world, society with the help of the emotional component of speech.
• Ideological and aesthetic, used to describe images that convey to the reader the meaning of the work.
• Communicative, in which the reader associates information from the text with reality.

Such functions of a work of art help the author to give meaning to the text so that he can fulfill all the tasks for the reader in accordance with which it was created.

Scope of the style

Where is the artistic style of speech used? The scope of its use is quite wide, because such speech embodies many aspects and means of the rich Russian language. Thanks to this, such a text turns out to be very beautiful and attractive to readers.

Art style genres:

• Epos. It describes the storylines. The author demonstrates his thoughts, external disturbances of people.
• Lyrics. Such an example of artistic style helps to convey the inner feelings of the author, the experiences and thoughts of the characters.
• Drama. In this genre, the presence of the author is practically not felt, because much attention is paid to the dialogues taking place between the heroes of the work.

Of all these genres, subspecies are distinguished, which in turn can be further divided into varieties. Thus, the epic is divided into the following types:

• epic. In her most of assigned to historical events.
• Novel. Usually it is distinguished by a complex plot, which describes the fate of the characters, their feelings, problems.
• Story. This work is written in small size, it tells about a certain incident that happened to the character.
• Tale. She has the average size, has the properties of a novel and a short story.

The following lyrical genres are characteristic of the artistic style of speech:

• Oh yeah. This is the name of a solemn song dedicated to something.
• Epigram. This is a poem with satirical overtones. An example of an artistic style in this case is “Epigram on M. S. Vorontsov”, which was written by A. S. Pushkin.
• Elegy. Such a work is also written in poetic form, but has a lyrical orientation.
• Sonnet. This is also a verse, which consists of 14 lines. Rhymes are built according to a strict system. Examples of texts of this form can be found in Shakespeare.

The types of drama include the following genres:

• Comedy. The purpose of such a work is to ridicule any vices of society or a particular person.
• Tragedy. In this text, the author talks about tragic life characters.
• Drama. This eponymous type allows the reader to show the dramatic relationship between the characters and society as a whole.

In each of these genres, the author tries not so much to tell about something, but simply to help readers create an image of heroes in their heads, feel the situation described, and learn to empathize with the characters. This creates a certain mood and emotion in the person reading the work. A story about any extraordinary case will amuse the reader, the drama will make you empathize with the characters.

The main features of the artistic style of speech

Signs of the artistic style of speech have developed over its long development. Its main features allow the text to fulfill the tasks assigned to it, influencing the emotions of people. The linguistic means of a work of art are the main element of this speech, which helps to create a beautiful text that can capture the reader while reading. The following expressions are widely used:

• Metaphor.
• Allegory.
• Hyperbola.
• Epithet.
• Comparison.

Also, the main features include the speech ambiguity of words, which is widely used when writing works. With the help of this technique, the author gives the text additional meaning. In addition, synonyms are often used, thanks to which it is possible to emphasize the importance of the meaning.

The use of these techniques suggests that during the creation of his work the author wants to use the full breadth of the Russian language. So, he can develop his own unique language style, which will distinguish him from other text styles. The writer uses not only purely literary language, but also borrows funds from colloquial speech and space.

The features of the artistic style are also expressed in the exaltation of the emotionality and expressiveness of the texts. Many words in works of different styles are used in different ways. In the literary and artistic language, some words denote certain sensory representations, and in the journalistic style, these same words are used to generalize any concepts. Thus, they complement each other perfectly.

The linguistic features of the artistic style of the text include the use of inversion. This is the name of the technique in which the author arranges the words in a sentence differently than it is usually done. This is necessary in order to give more significance to a particular word or expression. Writers can different options change the order of words, it all depends on the overall intention.

Also in the literary language, deviations from structural norms can be observed, which are explained by the fact that the author wants to highlight some of his thoughts, ideas, emphasize the importance of the work. To do this, the writer can afford to violate phonetic, lexical, morphological and other norms.

The features of the artistic style of speech allow us to consider it the most important over all other varieties of text styles, because it uses the most diverse, rich and vivid means of the Russian language. It is also characterized by verb speech. It lies in the fact that the author gradually indicates each movement and change of state. This is a good help to activate the reader's tension.

If we analyze examples of styles of different directions, then identify artistic language definitely won't be difficult. After all, the text in an artistic style in all of the above features is noticeably different from other text styles.

Examples of literary style

Here is an example art style:

The sergeant strode across the yellowish construction sand, hot from the scorching afternoon sun. He was soaked from head to toe, his whole body was strewn with small scratches left by sharp barbed wire. The aching pain drove him crazy, but he was alive and walking towards the command headquarters, which could be seen in the distance three hundred meters away.

The second example of artistic style contains such means of the Russian language as epithets.

Yashka was just a little dirty trick, who, despite this, had great potential. Even in early childhood, he masterfully poked pears at Baba Nyura's, and twenty years later he switched to banks in twenty-three countries of the world. At the same time, he was able to masterfully clean them up, so that neither the police nor Interpol had the opportunity to catch him at the crime scene.

tongue plays huge role in literature, since it is he who acts as building material to create works. The writer is an artist of the word, forming images, describing events, expressing his own thoughts, he makes the reader empathize with the characters, plunge into the world that the author created.

Only the artistic style of speech can achieve such an effect, so books are always very popular. Literary speech has unlimited possibilities and extraordinary beauty, which is achieved through language means Russian language.

PATHETICA (derived from "pathos") - an aesthetic category that reflects the presence of phenomena, real and artistic, in which, in bright, effective form a certain pathos is expressed. The term pathos can refer to both vital and artistic content as well as the means of its implementation. Aristotle in "Rhetoric" pointed out that the oratorical "style will have the proper qualities if it is full of feeling ..." (lit. patheticon - pathetic). Pseudo-Longinus in his treatise "On the Sublime" already considered the pathetic as an independent aesthetic quality, different from the sublime, although sometimes adjacent to it. He also defined the features of the pathetic style artistic speech. F. Schiller understands the pathetic as the unity of sensual suffering and the strength of the spirit triumphing over it, as a necessary component of tragic art. Pathetic has a wide range of modifications - from sublime, heroic to melodramatic.

PARODY(Greek parodia - singing inside out) - a term denoting one of the types of comic art, an ironic or satirical imitation of a work of art, a writer, a style, and even a whole artistic direction. In parody, they often comically imitate the manner, beloved artistic techniques, turns of speech of the artist, bringing them to a caricature exaggeration, and in this way ridicule these aspects of his work. For parody, it is very important that the reader, viewer or listener guess the object being parodied. It is found in almost all art forms: literature, music, fine arts, cinema. The comic effect is often achieved due to the inconsistency between the theme and the way it is expressed; the degree of critical attitude to the object in parody can be different: from comic stylization to caricature and sarcasm. Burlesque is a type of literary parody. Parody was already known in antiquity (for example, "The Frogs", "Clouds" by Aristophanes contain parodies of Euripides and Socrates).

In art and literature, parody is either in the nature of comradely criticism, or it acquires a satirical character when directed against hostile phenomena. Parodies by V. Mayakovsky, A. Arkhangelsky, A. Bezymensky, etc. are known.

AESTHETIC ASSESSMENT - determination of the degree of perfection, aesthetic significance of objects and phenomena of reality, as well as works of art. Aesthetic assessment is determined by the worldview, social position of the individual, the level of his culture, needs, interests, developed aesthetic taste. Aesthetic evaluation is wider than artistic evaluation. It consists of the perception of an aesthetic object, its analysis and, finally, a judgment about its merits.

AT in general terms evaluation can be divided into two main parts: evaluation of content and form. Aesthetic evaluation is based on previous experience in the development of aesthetic culture. This is the guarantee of its continuity, the reliability of ideological and aesthetic criteria. But there is also a difficulty here: the absolutization of the aesthetic patterns of the past can lead to their elevation to the canon, and, consequently, close the way to the search for the new. The way out of this contradiction is not so much in the orientation towards a developed taste (this goes without saying), but rather in the development of scientific criteria based on a deep understanding of both the structure of an aesthetic object, its properties, and the laws of its development.

ARTISTIC ASSESSMENT — determination of the artistic value of works of art. Artistic evaluation is the result of the process of cognition of a work of art.

The basis of evaluation is necessarily present in the recipient (reader, viewer, listener) of art, being embedded in his needs, interests, ideals. Immediate formation artistic appreciation, as a rule, begins with the sensual stage of perception of a work of art. At the next stages of comprehension of the perceived object, the attitude of the recipient becomes more and more complicated. Here, the rational elements of artistic taste, the ideal, arising from the provisions of aesthetic theory, are included in the process of cognition. This is how artistic judgment is finally formed, which is the final point, culmination and pinnacle of artistic evaluation. Artistic evaluation is, on the one hand, an evaluation of the mass consumer of art, and, on the other hand, of art criticism. When evaluating a work of art, both the mass consumer and the professional art critic are essentially doing the same job. The difference lies only in the qualitative result of the analysis of a work of art. For a critic, it will be more complete and conclusive due to his higher aesthetic qualifications and the level of his artistic training.

The variety of criteria used by art criticism leads to variability in art assessments. For Marxist art criticism, the law is the commonality of social and aesthetic criteria that ensure the formation of a high-quality, full-blooded artistic assessment that adequately reflects the achievements of artistic culture, which is one of important factors her progress.

REFLECTION ARTISTIC - knowledge or reflection of reality in art. Philosophical basis to understand artistic reflection is the Leninist theory of reflection. Outside the principles of the theory of reflection concerning the dialectics of the objective and the subjective in cognitive process, the activity of the reflecting consciousness (its selectivity, the ability to abstract, generalize), the correspondence of the image to the original, it is impossible to clarify the specifics of aesthetic consciousness - aesthetic feelings, tastes, ideals, etc.

The methodological significance of the theory of reflection for aesthetic science has received convincing confirmation in the experience of studying the epistemological nature of art, the artistic image, creativity and perception as specific forms reflections.

It is no coincidence that the aesthetic revisionists chose the theory of reflection as the object of their reformist attacks. In their attacks on Marxist-Leninist aesthetics and the art of socialist realism, they are trying to discredit the methodological value of the theory of reflection, which supposedly limits the activity and freedom of artistic activity.

Meanwhile, V. I. Lenin specifically emphasized the dialectically active nature of the process of reflection "from living contemplation to abstract thinking and from it to practice." Dialectical-materialistic understanding of any creative process and its result is based on the recognition objective reality as the starting point, providing creativity with the necessary material. Generalization and transformation always presuppose the presence of certain material, its accumulation, carried out in the process of various forms of human interaction with the world. Thus, creative and transforming acts are always preceded by reflection (sensation, perception, representation, concept, more broadly - knowledge).

The result of artistic reflection is an artistic image, which contains deep generalizations, vivid emotionality. A feature of the artistic and figurative reflection of reality is a concrete-sensual form. Ideas in art are not expressed in any other way than in color, sound, stone, word, etc. By carefully observing and studying reality, the artist creates a work that is not only of great aesthetic value, but also fulfills cognitive function. The founders of Marxism convincingly showed by the example of the work of English writers of the 19th in. - Dickens, Thackeray and others, as well as on the example of Balzac's The Human Comedy, that an artist can give a picture social structure brighter and more accurate than historians, economists and statisticians.

And nowadays art plays important role in the study of man spiritual world. According to psychologists, the scientist in a number of cases is not able to compare with the artist in the intricacies of observing and describing many emotional experiences. In more broad sense art differs from science in that its main criterion is the truth of life, while science appeals only to the truth. The concept of truthfulness in art is unusually capacious. It includes not only truth, but also errors, as well as fiction. Truthful and convincing are, for example, works containing fabulous and mythological plots. It is no coincidence that the artistic image as the main way and result of reflecting reality in art is understood by Marxist-Leninist aesthetics both as an image of reality and as something new and specific, introduced into the work by the artist as a result of imagination and fantasy.

If art ceases to be a reflection of reality, then the artistic image is destroyed. In this case, the artist builds works on an unimaginative non-objective basis. The destruction of the image also occurs when the artist retains the figurativeness and plausibility, but does not make significant generalizations. Instead of vivid imagery, we have a dull and monotonous enumeration and description of bare facts. In this case, all kinds of household items can be presented as “artistic” facts, as, for example, in pop art. The absence of a figurative basis is the essence of non-objective art, which means a complete rejection of figurativeness, of any resemblance to reality.

ARTISTIC AND IDEOLOGICAL RELATIONS - the type of ideological relations that arise about works of art between subjects involved in the artistic practice of society. The center of artistic and ideological relations is the relationship between the artist and the public, based on the public's perception of works created by artists. All other relations in the field of artistic practice, one way or another, contribute to their implementation: the relationship between criticism and the public creates conditions for mutual understanding between the creators of works of art and those to whom they are intended; relations artist - publisher, artist - producer, entrepreneur, etc., publisher - reader organize the public distribution of works of art; relations in the system of institutions that store and transmit artistic works (libraries, museums, exhibition halls, theaters, philharmonic societies, etc.) ensure the social existence of art. Involved in the system of artistic and ideological relations social groups and associations of artists social institutions and institutions operating in artistic culture.

Through the formation of specific organizational forms artistic and ideological relations, society has an impact on the development of art, on its content and forms, on its functioning in the spiritual culture of society. Therefore, the history of art is not only the history of artistic ideas, the history of the content and form of works of art, but also the history of artistic and ideological relations that determine the specific historical type of organization of an integral artistic life, characteristic of one or another historical type society and its culture.

AESTHETIC ATTITUDE - special treatment person to reality, in the process of which a person reveals and reveals the measure of the integrity of objects, phenomena and situations of the objective world, manifests and experiences the abilities and possibilities of active creative activity developed in himself, evaluates the degree of perfection of the phenomena of reality and the degree of harmony between man and the world.

The history of aesthetics knows two fundamentally different approaches to elucidating the essence of the aesthetic relationship. Idealistic aesthetics sought the foundation of an aesthetic relationship either in the world of objective spirit, where the idea of ​​perfection and beauty, the ideal of beauty, lives initially and independently of a person, or in the human spirit, in its ability to “penetrate” an object, giving it emotional and aesthetic characteristics (“theory empathy"). Materialistic aesthetics tried to find an objective and absolute basis of aesthetic attitude in the specific material properties of objects and phenomena (proportionality, proportionality, symmetry, harmony, golden ratio, S-shaped line, etc.). The highest achievement of pre-Marxist aesthetics in solving the problem of aesthetic attitude is the aesthetic concept of the Russian revolutionary democrats, who came to an understanding of the social conditioning of aesthetic feelings and attitudes.

Marxist-Leninist aesthetics revealed the real dialectic of the aesthetic relationship, which stands among the fundamental relationships of man to the objective world. The aesthetic attitude develops and exists as an independent value attitude (see). In an aesthetic sense, the assessment of the phenomena of the objective world does not follow directly from the specific criteria of a particular activity, but is given in relation to the entire life activity of a social person and in relation to the objective world, its inherent measure. Therefore, the culture of society does not know more capacious and weighty values ​​than those that are formed in the aesthetic attitude of a person to the world and which are expressed in the categories of beauty, sublime, etc.

The aesthetic attitude absorbs practical and cognitive principles, at the same time freeing itself from them, which is manifested in the dialectics of the active-emotional and contemplative-disinterested nature of aesthetic experience. As a value attitude, it is determined not only by the objective situation, but also bears traces of the subject's social position: the nature and content of aesthetic assessments change historically, differ significantly among antagonistic classes (compare the aesthetic ideals of the bourgeoisie and the working class).

The variety of aesthetic attitudes of a person to reality is manifested and fixed in the system of aesthetic categories: beautiful, sublime, elegant, graceful, touching, tragic, comic, etc. The system of aesthetic relations is constantly developing both as a result of the progress of social practice and under the influence of art, which generalizes and develops the aesthetic experience of society.

ORIGINAL CREATIVE (from lat. originalis - initial) - aesthetically valuable qualitative novelty, originality, originality of the master's work, his special contribution to artistic culture. Originality is expressed in the novelty of the content and the new bold manner of saying the old. In a work of art, creative originality can appear to a greater or lesser extent. The artist's desire for excessive originality leads to pretentiousness, rupture between form and content. Originality is replaced by originality. According to Hegel, the true originality of style lies in the absence of originality, that is, in its concealment, the fusion of the author with the work itself.

Creative originality, determined by the peculiarities of the artist's talent, the warehouse of his personality, vision of the world, artistic style, can be absolute or relative in nature and act when comparing, juxtaposing the work of different masters. Absolute originality represents unique artistic discoveries in the development of the content, form, language of works of art, in the discovery of new ways of its development - new genres, trends and even types of art. So, in the work of the composer A. N. Scriabin, there are different levels of manifestation of originality in the features individual style, in the development of the genre of the symphonic poem ("The Poem of Ecstasy", etc.), in the creation of a new kind of art - "color music". Relative creative originality essentially coincides with creative individuality (see Creative individuality), which combines less significant original or individualized qualities of the artist. This is the ability to vividly, in a new way, freshly and aesthetically significant reproduce and combine elements of content and form already known in art, giving them a peculiar accent. Relative originality can also characterize the process of becoming a master's talent and appear in various manifestations at different stages of creativity. In the work of N. A. Roerich, for example, a period of interest in Slavic history is replaced by a passion for the culture of the countries of the East, the search for spiritual relationships between man and nature.

Relative originality is characteristic of every talented author, who, turning even to the "eternal" themes of art, reveals them in a unique artistic solution, refracting his aesthetic ideal through his own vision of the world. Therefore, even using images and plots already found by others, a talented artist gives them his own creative interpretation in relation to the figurative system of his work and the requirements of the era. The originality of performers - actors, directors, musicians, etc. is manifested in a new interpretation of images, works. Originality creative individuality the artist acts as a measure of comparison of his own contribution with everything that was created before him in the development of art, and with what was created by his contemporaries, which is the most common, familiar, has acquired the value of the norm.

IMAGE OF THE ARTIST - aesthetic concept holistic view about the creator of works of art, his role and function in society. It is differentiated according to two semantic meanings: the first of them implies a generalized idea, abstracted from specific individuals, creators, about the role of an artist (writer, painter, composer, etc.) at one stage or another community development; in the second case, we mean a specific image of a certain creative individuality (for example, Shakespeare, Raphael or Pushkin) (see). There is a close connection between them.

At various stages of history, as a "standard" is usually put forward certain type artist, corresponding to the aspirations and expectations of a particular class or social group.

The concept of the artist's image has an essential methodological significance for the history of aesthetics and modern practice, since it is connected with questions of the essence and meaning of art, value orientations, aesthetic ideals, and the processes of formation of aesthetic views. This category is especially important when studying the perception of art by the masses of readers, spectators, and listeners. This or that idea that exists in the public mind about the “standard”, the type of the creator of art, is recreated by means of literature, theater, painting, film and television art.

Ideas about the image of the artist go back to ancient history. They were of a legendary nature at that time and were generated by a belief in a special gift of influencing people, prophecy and foresight, which the artist was allegedly endowed with. The study of the image of the artist arose in the aesthetics of the XVIII-XIX centuries. Particular attention to the interpretation of the very concept of "artist" and the characteristics of the types of the creator and his role is paid in Hegel's aesthetics. However, comprehensive Scientific research This phenomenon became possible only in Marxist aesthetics.

Ideas about the image of the artist as a phenomenon of public consciousness have always been the subject of a struggle between different camps in aesthetics, criticism and in art itself. The interpretation of the image of the artist as a fighter for people's freedom, humanism, social justice was opposed in the advanced layers of society to the ideas of the elitism of artistic culture, ideas about the artist as a person, immersed only in the sphere of individualistic experiences, detached from the life and anxieties of the people and humanity.

Various interpretations of the image of the artist are also found in works of art about the creators of art - in literature, painting, theater plays, etc.

ARTISTIC IMAGE - one of the most important terms of aesthetics and art history, which serves to indicate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, a feature of which is the expression of an abstract idea in a specific sensual form. Such a definition makes it possible to single out the specifics of artistic and figurative thinking in comparison with other main forms of mental activity.

A truly artistic work is always distinguished by great depth of thought, the significance of the problems posed. In the artistic image, as the most important means of reflecting reality, the criteria for the truthfulness and realism of art are concentrated. By connecting the real world and the world of art, the artistic image, on the one hand, gives us the reproduction of real thoughts, feelings, experiences, and on the other hand, it does this with the help of conventional means. Truthfulness and conventionality exist together in the image. Therefore, not only the works of great realist artists are distinguished by vivid artistic imagery, but also those that are entirely built on fiction (folk tale, fantasy story and etc.). Imagery collapses and disappears when the artist slavishly copies the facts of reality, or when he completely evades the depiction of facts and thereby breaks the connection with reality, concentrating on the reproduction of his various subjective states.

Thus, as a result of the reflection of reality in art, the artistic image is a product of the artist's thought, but the thought or idea contained in the image always has a concrete sensory expression. Images are called both individual expressive devices, metaphors, comparisons, and integral structures (characters, characters, the work as a whole, etc.). But beyond this, there is also a figurative system of directions, styles, manners, etc. (images of medieval art, the Renaissance, the Baroque). An artistic image can be part of a work of art, but it can also be equal to it and even surpass it.

It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derived from a work of art. If a work of art is a unity of material, form, content, i.e., everything that an artist works with to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed result of creative activity. Meanwhile, the activity aspect in equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original idea and sometimes the material, that is, the practice of the creative process makes its own corrections to the very core of the artistic image. The art of the master here is organically merged with the worldview, the aesthetic ideal, which are the basis of the artistic image.

The main stages, or levels, of the formation of an artistic image are:

Image-intention

Work of fiction

Image-perception.

Each of them testifies to a certain qualitative state in the development of artistic thought. Yes, it depends a lot on the intention. further move creative process. It is here that the artist’s “illumination” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-design plays an equally important and necessary role in the creative process of both the artist and the scientist.

The next stage is connected with the concretization of the image-concept in the material. Conventionally, it is called an image-work. It's the same important level creative process, as well as an idea. Here the regularities associated with the nature of the material begin to operate, and only here the work receives a real existence.

The last stage at which their own laws operate is the stage of perception of a work of art. Here imagery is nothing but the ability to recreate, to see in the material (in color, sound, word) the ideological content of a work of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time have a huge educational impact on him.

Job type: 19

Condition

Some visitors (1) ticket (2) which (3) was not at all (4) went to the government box.

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Answer

14 <или> 41

Job type: 19
Topic: Punctuation marks in a complex sentence

Condition

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence. Write the numbers in a row without spaces, commas and other additional characters.

I circled around and saw (1) how the puck sparkles in the sun (2) as Vadik commands (3) and familiar figures are leaning over the cash register.

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Answer

12 <или> 21

Source: “Russian language. Typical test USE assignments 2019". Ed. R. A. Doshchinsky., M. S. Smirnova.

Job type: 19
Topic: Punctuation marks in a complex sentence

Condition

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence. Write the numbers in a row without spaces, commas and other additional characters.

And you can say ahead (1) that flight to other planets (2) won't give that joy (3) about which (4) is dreaming now.

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Answer

13 <или> 31

Source: “Russian language. Typical test tasks of the Unified State Examination 2019. Ed. R. A. Doshchinsky., M. S. Smirnova.

Job type: 19
Topic: Punctuation marks in a complex sentence

Condition

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence. Write the numbers in a row without spaces, commas and other additional characters.

Nothing in his calm appearance spoke of that tension of feeling (1) hum (2) whom (3) rushed through his whole being with a deafening nervous groan.

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Answer

Source: “Russian language. Typical test tasks of the Unified State Examination 2019. Ed. R. A. Doshchinsky., M. S. Smirnova.

Job type: 19
Topic: Punctuation marks in a complex sentence

Condition

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence. Write the numbers in a row without spaces, commas and other additional characters.

The romanticism of youth prevented me from turning off the road (1) go (2) according to which (3) I was doomed.

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Answer

Source: “Russian language. Typical test tasks of the Unified State Examination 2019. Ed. R. A. Doshchinsky., M. S. Smirnova.

Job type: 19
Topic: Punctuation marks in a complex sentence

Condition

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence. Write the numbers in a row without spaces, commas and other additional characters.

Style (Greek stylos - a stick for writing on a wax or clay tablet) is an important synthesizing characteristic of the unity of the content and form of a literary work.

Term style used in various sciences - linguistics, art history, aesthetics, literary criticism - in different meanings, which are also historically variable. Already in the ancient era, this word began to be understood in a figurative sense, denoting handwriting, the features of writing. This meaning is largely preserved in the modern term.

Until the middle of the XVII century. the word "style" was used primarily to characterize the expressive and visual features of speech. In the second half of the XVII century. (in Russia - much later, around the middle of the 18th century, this meaning was fixed in the aesthetic system of classicism (“Theory of three calms” by M. Lomonosov). Aesthetics of the late 18th century - early XIX centuries endowed the concept of style with art history value. Style began to be considered as belonging not only to verbal, but also to any other art. painting, sculpture, music, etc. Style was conceived as originality, artistic individuality, based on semantic originality. Thus, style was understood as a property of the artistic form of a work and, in modern terms, meaningful form .

During the 19th century term style used by both art critics and writers: writers - to denote an individual manner of literary writing, expressed in speech form. In the Russian tradition, the word “syllable” (“syllable of the writer”) often acted as a synonym for style. At the end of XIX - beginning of XX centuries. the aesthetic understanding of style was significantly expanded and somewhat rethought as a category. Firstly, for him, style began to denote not the individual identity of an individual artist, but the aesthetic thinking of certain trends and eras in art. Secondly, the concept of style ceased to characterize only the originality of form and began to denote the concept of the world and man, still characteristic of this era, embodied in art. This made it possible to compare works of different arts within the same artistic era and to isolate common stylistic principles in them. All this finally gave the term " style » cultural meaning.

During the 20th century, up to the present, the term acquired different shades of meanings, retaining only the sign of originality, dissimilarity, and distinctive feature.

Style as a literary category- this is a naturally coordinated unity of all elements of a meaningful form, in the synthesis of which creative individuality is manifested. Differ:

b) literary style ;

in) literary style as a historically unique stage in the development of the art of the word.

The literary meaning of the term "style", which is based on more on a general aesthetic than on a linguistic concept, but with significant adjustments in relation to literature as the art of the word. For the modern understanding of the literary and artistic style, the following is essential: firstly, style is an expression of deep originality, secondly, it has aesthetic perfection, thirdly, it is a meaningful form, and, finally, it is a property of the whole art form work, and not just its speech side, which "however, has for literary style is essential.

So, The most general definition of style can be given as follows:Style - this is the aesthetic unity of all sides and elements of the artistic form, which has a certain originality and expresses a certain content.

Style in this sense is opposed, on the one hand, to stylelessness (aesthetic inexpressiveness), and on the other hand, to the inability to find one's own style, i.e. simple and not opening up new content using the techniques already found. The artistic form is not a set of individual techniques, but a meaningfully conditioned integrity ; its expression is the category of style. Composing into a style, all elements of the form are subject to a single artistic pattern, they reveal the presence of an organizing principle. It seems to permeate the structure of the form, defining the nature and functions of any of its elements.

So, in "War and Peace" by L.N. Tolstoy, the main stylistic principle, the pattern of style becomes contrast , a clear and sharp opposition, which is realized in every "cell" of the work. Declared already in the title, the contrast then acts as the organizing principle of the composition of the depicted world and speech form. Compositionally this principle is embodied in the constant pairing of images: in the opposition of war and peace, Russians and French, Natasha and Sonya, Natasha and Helen, Platon Karataev and Tikhon Shcherbaty, Kutuzov and Napoleon, Pierre and Andrei, Moscow and St. Petersburg, natural and artificial, external and internal, etc. In area psychologism stylistic regularity is embodied in the form of a constant internal struggle, a contrasting connection in the minds of the heroes of opposite life impressions, in opposition to the consciousness and the subconscious. In area subject figurativeness the stylistic principle is manifested in bright, clear portraits with a highlight of the leading feature, which makes it possible to oppose heroes at this level (for example, the ugly Princess Marya and the beautiful Helen), in the discrepancy between the appearance and spiritual movements; in contrasting landscapes (for example, two descriptions of an oak tree). speech forms also obey the principle of contrast: either heterogeneous stylistic layers are combined in the speech of the characters (for example, the speech of Pierre, Natasha, and partly of Prince Andrei is characterized by a combination of sublime and colloquial vocabulary), or different speech manners are opposed to each other (Russian and French, "talking machine" in the Scherer salon and Pierre's natural speech); the speech of the narrator is distinctly separated from the speech of the characters.

Insofar as style is not an element, butproperty art form, it is not localized (like plot elements or artistic details), but as if poured into the entire structure of the form. Therefore, the organizing principle of style is found in almost any fragment of the text, each text "point" bears the imprint of the whole. Thanks to this, the style is recognizable by a separate fragment: it is enough for a sophisticated reader to read a small passage in order to name the author with confidence. At the same time, in the text of a work there are always some points at which the style "comes out". Such points serve as a kind of stylistic tuning fork, setting the reader on a certain aesthetic “wave”.

The integrity of style is most clearly manifested in the system style dominants – qualitative characteristics of style, which express artistic originality. Since ancient times, literary criticism, aesthetics, art history have tried to give such characteristics , using to define this or that style such emotionally rich tropes as « easy », « heavy », « strict », « free », « simple », « complicated », « monumental », « chamber » etc. One of the most interesting and reasonable attempts to systematize stylistic properties is the typology of "categories of style", proposed by A.N. Sokolov. Considering that “style categories act as phenomena of artistic style, covering all elements of form”, Sokolov considers as style categories: subjectivity/objectivity; image/expression; type of artistic convention; monumentality / intimacy etc. This typology is general aesthetic; the author emphasizes the need for its concretization, and partly for changes in relation to literature.

The artistic world of a work can be built in different ways. First of all, it concerns the image speakers and statics , external and internal .

If the writer focuses onstatic moments of being, then this style property can be called descriptiveness . It is characterized by a detailed reproduction of the outside world - the appearance of the characters, landscapes, city views, interiors, things, etc. The depicted world is descriptively detailed, and certain actions and events reveal, first of all, a stable way of life, that is, not something that happens once, but something that constantly happens. Descriptiveness is characteristic, in particular, of such works as "Old World Landowners" and " Dead Souls» N.V. Gogol, “Who should live well in Russia” by N.A. Nekrasov, essays by M.E. Saltykov-Shchedrin.

The concentration of the author on the reproduction of external (and partly internal) dynamics is calledplot . The plot is usually expressed in a large number of complex situations, in the intensity of the action, in its predominance over static moments, and, most importantly, in the fact that the characters of the characters and the author's position are manifested primarily through the plot. This property is the dominant style, for example, in the work “The Nose” by N.V. Gogol “Mad Money” by A.N. Ostrovsky and others.

Finally, the writer can focus on the inner world of a character or a lyrical hero - his feelings, thoughts, experiences, desires, etc. - this property of style is called psychologism. We see him in “A Hero of Our Time” by M.Yu. Lermontov, “Crime and Punishment” by F.M. Dostoevsky, “Anna Karenina” by L.N.

In each particular workplot, descriptive orpsychologism constitute its essential stylistic feature. However, these categories can be combined with each other: for example, psychologism and plot - in Dostoevsky's novels, descriptiveness and psychologism - in Chekhov's later stories and plays.

Depending on the type of artconventions two opposing style dominants can be distinguished:lifelikeness andfantasy. Lifelikeness presupposes the observance of physical, psychological, causal and other regularities known to us. Pushkin's "Eugene Onegin", the novels of Turgenev, Goncharov, Tolstoy, Chekhov's stories and plays are lifelike in character. Fiction, on the other hand, violates these patterns, depicting the world as emphatically conditional. Fantastic imagery is heterogeneous: it can be realized in the forms hyperbole("Gargantua and Pantagruel" by Rabelais), litotes(“Thumbelina” by G.H. Andersen), grotesque(a deliberate mixture of the fantastic with the vulgar and ordinary, for example, in Shchedrin's fairy tales "The Bear in the Voivodeship", "The Sane Hare", etc.), alogism("The Nose" by Gogol). The boundaries between fantasy and lifelikeness are quite flexible both historically (“the magic” or “love potion” of medieval legends seems to us to be a fantastic phenomenon, although at one time it was not perceived as such), and within one artistic whole (for example, in “ Queen of Spades" by Pushkin). However, on the whole, lifelike and conventionally fantastic imagery are quite clearly distinguished and are the hallmarks of the style.

In the field of artspeeches three pairs of style dominants can be distinguished:verse andprose, nominative andrhetoric; monologism andheteroglossia.

Verse andprose how stylistic qualities characterize the degree of rhythmic orderliness of artistic speech, as well as its tempo organization. They are playing essential role in the formation of the emotional pattern of style, since one or another tempo-rhythm is initially associated with a certain mood. Intermediate forms are also possible between verse and prose. (rhythmic prose), which, however, does not deprive these stylistic dominants of their qualitative originality.

Another pair of typological characteristics of style is associated with the measure of the use of means of linguistic figurativeness and expressiveness, trails andfigures (comparisons, metaphors, gradations, repetitions etc.), as well as passive vocabulary and vocabulary of a limited scope of use (archaisms, neologisms, barbarisms and etc.). These techniques may be an essential feature of the style of the work, but may be almost never used. In the latter case, it is important direct meaning words whose function is accurate designation of the details of the depicted world. This property of artistic speech is callednominativity . nominativity also implies a fairly simple and natural syntax. The opposite trend, associated with the indirect or descriptive designation of objects and the creation of a verbal-speech image, will be called rhetoric. A clear dominance of nominativity can be observed in Pushkin's late poems and prose, in Turgenev's novels, Chekhov's stories and short stories, Bunin's poetry and prose. Rhetoric is inherent, for example, in the lyrics of the Romantics, in the early prose of Gorky, Leonid Andreev. A relative balance between these principles is also possible: for example, in the novels of Tolstoy and Dostoevsky, the style of the former is more inclined towards nominativity, and the latter towards rhetoric.

From the point of view of mastering in a work of speech diversity, one can single out such dominants asmonologism andheteroglossia. Monologism implies a single speech manner for all characters, coinciding, as a rule, with the speech manner of the narrator (in epic works; the lyrics, as a rule, are entirely monologue). With heteroglossia, the real speech world becomes image object. Heterogeneity is represented in the literature in two ways: in one case, speech manners different characters are reproduced as mutually isolated (“Woe from Wit” by A.S. Griboedov, “Dead Souls” by N.V. Gogol, “Who Lives Well in Russia” by N.A. Nekrasov), in another, the speech manners of the characters and the narrator interact, “ penetrate" into each other (novels by F.M. Dostoevsky, "The Life of Klim Samgin" by M. Gorky, "The Master and Margarita" by M.A. Bulgakov).

The nature of the artistic compositions can also become a stylistic dominant. In general, two types can be distinguished: simple and complex compositions. In the first case, the function of composition is reduced to the unification of parts and elements of a work into a single whole, which is always carried out in the simplest and most natural way: in the area of ​​the plot, this will be direct chronological sequence, in the field of narration - a single narrative type throughout the entire work, in the field of spatio-temporal organization - the unity of place and time, etc. At difficult compositions in the very construction of the work, in the order of combination of its parts and elements, a special artistic meaning is embodied and an aesthetic effect is achieved. Such, for example, are the change of narrators and the disturbed chronological sequence in Lermontov's A Hero of Our Time, the system of intersections of different plot lines in Tolstoy's War and Peace, the repetitive symbolic details in Dostoevsky's novels, the spatio-temporal organization of Bulgakov's The Master and Margarita, and etc.

The essential property of style isvolume works which both writers and readers feel very well, and which often affects the entire style of the work in the most direct way. Every detail, every stylistic device, depending on the size of the structure, has different function, has a different strength, a different load falls on it.

When analyzing a work, one to three dominants are usually identified. At the same time, it should be borne in mind that the dominants of style manifest themselves as trends style formation and are not absolute: for example, with a general nominativity, the appearance of trails and figures; elements of a psychological image may also appear in those works where psychologism is not a dominant feature, and so on. Submission to the dominant of all elements and techniques is the principle of the stylistic organization of the work.

So, in Gogol's poem "Dead Souls" the stylistic dominant is a pronounced descriptiveness. Among artistic details the details of the portrait predominate and especially the real world; the psychological image is reduced to a minimum. The nature of the imagery is lifelike, which is important for creating a general impression of authenticity. Dramatically (as far as possible in an epic work) the plot is weakened; accordingly, the importance of extra-plot elements increases - author's digressions, inserted episodes, and especially descriptions. In accordance with the dominant, the composition of the system of characters is also built: firstly, there are extremely many of them in Gogol's poem, and secondly, they are essentially equal and equally interesting to the author, whether it be Chichikov or, for example, Ivan Antonovich pitcher snout, so that the division of characters into main, secondary and episodic is very conditional. Among compositional techniques, repetition and amplification, the injection of similar details, impressions, characters, etc., are of particular importance, which also contributes to descriptiveness. An important property is heteroglossia, and different speech manners are absolutely opposed to each other, without penetrating each other: this also “works” for descriptiveness, creating a speech image of various lifestyles.

Another example is the organization of style in Dostoevsky's novels. The stylistic dominants in them are psychologism and heteroglossia in the form of polyphony. Naturally, the "internal" artistic details prevail over the "external", and the latter are psychologized in one way or another - they either become an emotional impression of the hero, or reflect changes in the inner world, state of mind (for example, the details of a portrait). Basically, not details-details are used, but details-symbols (for example, an ax, blood, a cross in Crime and Punishment), which can be more psychologized. The role of the plot in shaping the style is interesting. Thus, the dominant properties determine the laws by which the individual elements of the artistic form are formed into an aesthetic unity - style.

However, the integrity of the style is created not only by the presence of dominants that control the structure of the form. Ultimately, this integrity, as well as the very appearance of one or another stylistic dominant, is dictated by the principle of style functionality, i.e. its ability to adequately express one or another content. Thus, style is a meaningful form. Here, however, it is important to clarify that the content of the work must be understood as a very wide range of phenomena - from the concept of the world and man, inherent in the entire work of the writer (for example, the romantic understanding of the individual in the work of Lermontov) to the most subtle experience (for example, in a separate lyrical poem).

Those, and not other stylistic dominants, stylistic tendencies arise in the work primarily because their appearance requires specific meaningful tasks. Thus, the principle of contrast in the style of "War and Peace" is due to Tolstoy's desire to clearly contrast the true and the false, the spiritual and the animal, good and evil. This is the core of both Tolstoy's problems and axiomatics, the essence of the ideological and emotional orientation of his work, the expression of the author's ethical uncompromisingness.

Originality is an essential property of style, but at the same time style cannot be reduced to it, and not all originality can be called style. Even at the turn of the XVIII-XIX centuries. aesthetics felt the need to separate the categories style and manners. Manner is a lower level of art. An individual author's style is always an abstraction to a greater or lesser extent, because its implementation in a particular work is influenced by factors such as genus and genre works, creative age of the writer, specific features of artistic content. In addition, if some writers create in a more or less unified style (Lermontov, Dostoevsky, Chekhov), then others discover unequal style trends in different works (Pushkin, L. Tolstoy, Gorky).

The category of style in modern literary criticism and art history is applied not only to the work of an artist or to a separate work, but also to broader concepts. So, they talk about styles of direction and current, about national and regional styles, about “styles of eras” (classicism, romanticism, etc.).

In modern literary criticism, the idea is expressed that a part of a work can be sustained in a special style. In the XX century. a new style of stylistic community arose - the style of the element of the work. Some works are built on the principle of collage (mosaic). But, even if the work is a collage, its parts enter into a new artistic unity, thus obeying new content and style patterns that are characteristic of this particular work. From what has been said, it is clear that the style of a single work is the most real and concrete, which makes its analysis a paramount task.

Main literature: 24, 30, 36, 58, 76, 80, 82

Further reading: 3, 6, 7, 11-15