What elements are included in the concept of the composition of the work. The element of composition in a work of art: examples
Composition (lat. Compositio - compilation, combination, creation, construction) is the plan of the work, the ratio of its parts, the relationship of images, paintings, episodes. A work of art should have as many characters, episodes, scenes as necessary to reveal the content. A. Chekhov advised young writers to write in such a way that the reader, without the author's explanations - from the conversations, actions, actions of the characters could understand what was happening.
The essential quality of the composition is accessibility. A work of art should not contain unnecessary pictures, scenes, episodes. L. Tolstoy compared a work of art with a living organism. "In a real work of art - poetry, drama, painting, song, symphony - one cannot take one verse, one measure out of its place and put it on another without violating the meaning of this work, just as it is impossible not to violate the life of an organic being if one takes out one organ from its place and insert into another "." According to K. Fedin, the composition is "the logic of the development of the theme." Reading a work of art, we must feel where, at what time the hero lives, where is the center of events, which of them the main ones and which ones are less important.
A necessary condition for composition is perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. The writer must depict the world in as few words as possible. No wonder A. Chekhov called brevity the sister of talent. The talent of the writer turns out to be in the mastery of the composition of a work of art.
There are two types of composition - event-plot and nepodia, carrying or descriptive. The event type of composition is characteristic of most epic and dramatic works. The composition of epic and dramatic works has space and cause-and-effect forms. The event type of composition can have three forms: chronological, retrospective and free (montage).
V. Lesik notes that the essence of the chronological form of the event composition "is that the events ... go one after another in chronological order - as they happened in life. There may be temporary distances between individual actions or pictures, but there is no violation natural sequence in time: what happened earlier in life, and in the work is served earlier, and not after subsequent events. Therefore, there is no arbitrary movement of events, there is no violation of the direct movement of time. "
The peculiarity of the retrospective composition is that the writer does not adhere to the chronological sequence. The author can tell about the motives, causes of events, actions after their implementation. The sequence in the presentation of events can be interrupted by the memories of the characters.
The essence of the free (montage) form of event composition is associated with violations of causal and spatial relationships between events. The connection between the episodes is more often associative-emotional than logical-semantic. The montage composition is characteristic of the literature of the 20th century. This type of composition is used in the novel by Y. Japanese "Horsemen". Here the storylines are connected at the associative level.
A variation of the event type of composition is event-narrative. Its essence lies in the fact that the author, narrator, narrator, characters tell about the same event. The event-narrative form of composition is typical for lyric-epic works.,
The descriptive type of composition is typical for lyrical works. "The basis for the construction of a lyrical work," notes V. Lesik, "is not a system or development of events ... but the organization of lyrical components - emotions and impressions, the sequence of presentation of thoughts, the order of transition from one impression to another, from one sensual image to another "." The lyrical works describe the impressions, feelings, experiences of the lyrical hero.
Yu. Kuznetsov in the "Literary Encyclopedia" distinguishes plot-closed and open composition. The plot is closed characteristic of folklore, works of ancient and classic literature (three repetitions, a happy ending in fairy tales, alternation of choir performances and episodes in ancient Greek tragedy). “The composition is fabulously open,” Yu. Kuznetsov notes, “devoid of a clear outline, proportions, flexible, taking into account the genre and style opposition that arises in the specific historical conditions of the literary process. In particular, in sentimentalism (sternivska composition) and in romanticism, when works became a negation of the closed, classic ... ".
What determines the composition, what factors determine its features? The originality of the composition is primarily due to the design of the work of art. Panas Mirny, having familiarized himself with the life story of the robber Gnidka, set himself the goal of explaining what caused the protest against the landowners. First, he wrote a story called "Chipka", in which he showed the conditions for the formation of the character of the hero. Subsequently, the writer expanded the idea of \u200b\u200bthe work, required a complex composition, so the novel "Do oxen roar when the manger is full?"
Features of the composition are determined by the literary direction, the Classicists demanded three unities from dramatic works (the unity of place, time and action). Events in a dramatic work were supposed to take place during the day, grouped around one hero. Romantics portrayed exceptional characters in exceptional circumstances. Nature was more often shown at the time of the elements (storms, floods, thunderstorms), they often took place in India, Africa, the Caucasus, and the East.
The composition of the work is determined by the genus, type and genre, the basis of lyrical works is the development of thoughts and feelings. Lyrical works are small in size, their composition is arbitrary, most often associative. In a lyrical work, the following stages of development of feeling can be distinguished:
a) the starting point (observation, impressions, thoughts or state that became the impetus for the development of feeling);
b) development of feeling;
c) culmination (the highest tension in the development of feelings);
In the poem by V. Simonenko "Swans of motherhood":
a) starting point - to have a lullaby sung to the son;
b) development of feelings - the mother dreams about the fate of her son, how he will grow up, hit the road, meet friends, wife;
c) climax - the mother's opinion about the possible death of her son in a foreign land;
d) summary - One does not choose one's homeland, love for one's native land makes a person a person.
The Russian literary critic V. Zhirmunsky distinguishes seven types of composition of lyrical works: anaphoristic, amoebeina, epiphoristic, refrain, ring, spiral, joint (epanastrophe, epanadiplosis), pointe.
An anaphoristic composition is characteristic of works that use anaphora.
You have renounced your native language. You
Your land will cease to give birth,
A green branch in a pocket on a willow,
Withered by your touch.
You have renounced your native language. Zaros
Your way and disappeared in a nameless potion...
You don't have tears at the funeral,
You don't have a song at your wedding.
(D. Pavlychko)
V. Zhirmunsky considers anaphora an indispensable component of the amoeba composition, but it is absent in many works. Describing this type of composition, I. Kachurovsky notes that its essence is not in anaphora, "but in the identities of the syntactic structure, replicas or counterreplicas of two interlocutors or, in a certain pattern, the roll call of two choirs." Ludwig Ulanda:
Have you seen the castle high
A castle over the Sea Shire?
Silently floating clouds
Pink and gold over it.
In the mirror waters, peaceful
He would like to bow
And climb into the evening clouds
In their radiant ruby.
I saw a castle high
Castle over the sea world.
Hail fog deep
And the moon stood over him.
(Translated by Mikhail Orest)
Amebane composition is common in the troubadours' tentsons and pastorals.
An epiphoric composition is characteristic of poems with an epiphoric ending.
Breaks, breaks and fractures...
Our spines were broken in circles.
Understand, my brother, finally:
Before heart attacks
We had - so, do not touch!
Soul heart attacks... soul heart attacks!
There were ulcers, like infections,
There were images to disgust -
One bad thing, my brother.
So drop it, go and don't touch it.
We all have, mind you:
Soul heart attacks... soul heart attacks!
In this bed, in this bed
In this scream to the ceiling
Oh don't touch us my brother
Don't touch paralytics!
We all have, mind you:
Soul heart attacks... soul heart attacks!
(Yu. Shkrobinets)
The refrain composition consists in the repetition of a group of words or lines.
How quickly everything in life passes.
And happiness only flickers with a wing -
And he's no longer here...
How quickly everything in life passes,
Is this our fault? -
It's all about the metronome.
How quickly things go by...
And happiness only flickers with a wing.
(Lyudmila Rzhegak)
The term "ring" I. Kachurovsky considers unsuccessful. “Where better,” he notes, “is a cyclic composition. The scientific name of this tool is anadiplosive composition. Moreover, in cases where anadiplosis is limited to any one stanza, this does not refer to composition, but to style.” Anadiplosis as a compositional means can be complete or partial, when a part of a stanza is repeated, when the same words are in a changed order, when part of them is replaced by synonyms. Such options are also possible: not the first stanza is repeated, but the second, or the poet gives the first stanza as the final one.
Evening sun, thank you for the day!
Evening sun, thank you for the fatigue.
The calm of the forests is enlightened
Eden and for the cornflower in the golden rye.
For your dawn, and for my zenith,
and for my burned zeniths.
Because tomorrow wants greenery,
For the fact that yesterday managed to oddzvenity.
Heaven in the sky, for children's laughter.
For what I can and for what I must
Evening sun, thank you all
who did not defile the soul.
For the fact that tomorrow is waiting for its inspiration.
That somewhere in the world blood has not yet been shed.
Evening sun, thank you for the day
For this need, words are like prayers.
(P. Kostenko)
The spiral composition creates either a "chain" stanza (tercina) or stropho-genres (rondo, rondel, triolet) i.e. acquires stropho-creative and genre features.
The name of the seventh type of composition I. Kachurovsky considers indecent. More acceptable, in his opinion, is the name of epanastrophe, epanadiplosis. A work where the repetition of a rhyme when two adjacent stanzas collide has a compositional character is E. Pluzhnik's poem "Kanev". Each dvenadtsativir-Shova stanza of the poem consists of three quatrains with rhymes, which pass from quatrain to quatrain, the last verse of each of these twelve verses rhymes with the first verse as follows:
And home will step in here and time
Electricity: and the newspaper rustled
Where once the prophet and poet
The great spirit behind the darkness has dried up
And be reborn in millions of masses,
And not only look from the portrait,
Competition immortal symbol and omen,
Apostle of truth, peasant Taras.
And since my ten phrases
In the dull collection of an anchorite,
As for the times to come for show,
On the shores lies the indifferent Leta...
And the days will become like the lines of a sonnet,
Perfect...
The essence of the pointe composition is that the poet leaves the interesting and essential part of the work for last. This may be an unexpected turn of thought or a conclusion from the entire previous text. The means of pointe composition is used in the sonnet, the last poem of which should be the quintessence of the work.
Exploring lyrical and lyric-epic works, I. Kachurovsky found three more types of composition: symplocial, gradation and main.
A composition in the form of a symplok I. Kachurovsky calls symplokial.
Tomorrow on earth
Other people walking
Other loving people -
Kind, gentle and evil.
(V. Simonenko)
Gradation composition with such types as descending climax, growing climax, broken climax is quite common in poetry.
The gradation composition was used by V. Misik in the poem "Modernity".
Yes, perhaps, in the time of Boyan
Spring time has come
And the rains rained down on youth,
And the clouds were moving in from Tarashche,
And the hawks stole over the horizon,
And the cymbals resounded,
And blue cymbals in Prolis
Gazing into the heavenly strange clarity.
Everything is like then. And where is she, modernity?
She is in the main: in you.
The main composition is typical for wreaths of sonnets and folk poetry. Epic works tell about the life of people during a certain time. In novels, stories, events and characters are revealed in detail, comprehensively.
In such works there can be several storylines. In small works (stories, short stories) there are few storylines, few characters, situations and circumstances are depicted succinctly.
Dramatic works are written in the form of a dialogue, they are based on action, they are small in size, because most of them are intended for staging. In dramatic works there are remarks that perform a service function - they give an idea of the scene, the characters, advice to the artists, but are not included in the artistic fabric of the work.
The composition of a work of art also depends on the characteristics of the artist's talent. Panas Mirny used complex plots, digressions of a historical nature. In the works of I. Nechuy-Levitsky, events develop in chronological order, the writer draws portraits of heroes and nature in detail. Let's remember "Kaidasheva family". In the works of I.S. Turgenev, events develop slowly, Dostoevsky uses unexpected plot moves, accumulates tragic episodes.
The composition of works is influenced by the traditions of folklore. At the heart of the fables of Aesop, Phaedrus, La Fontaine, Krylov, Glebov "The Wolf and the Lamb" is the same folklore plot, and after the plot - morality. In Aesop's fable, it sounds like this: "The tale proves that even a just defense is not valid for those who undertook to do a lie." Phaedrus concludes the fable with the words: "This tale is written about people who seek to destroy the innocent by deceit." The fable "The Wolf and the Lamb" by L. Glebov begins, on the contrary, in morality:
The world has been going on for a long time,
The lower it bends before the higher,
And more than a smaller party and even beats
Today we are talking on the topic: "Traditional elements of composition." But first you need to remember what a "composition" is. For the first time we meet this term in school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, we stir up the old, and we fill in the missing gaps.
Composition in literature
What is composition? First of all, we turn to the explanatory dictionary for help and find out that in a literal translation from Latin, this term means “composing, writing”. Needless to say, without "composition", that is, without "composition", no work of art is possible (examples follow) and no text as a whole. From this it follows that the composition in literature is a certain order in which the parts of a work of art are arranged. In addition, these are certain forms and methods of artistic representation that are directly related to the content of the text.
The main elements of the composition
When we open a book, the first thing we hope for and look forward to is a beautiful entertaining story that will either surprise us or keep us in suspense, and then not let go for a long time, forcing us to mentally return to what we read again and again. In this sense, a writer is a true artist who primarily shows rather than tells. He avoids direct text like: "And now I will tell." On the contrary, his presence is invisible, unobtrusive. But what do you need to know and be able to do for such skill?
Compositional elements - this is the palette in which the artist - the master of the word, mixes his colors in order to get a bright, colorful plot in the future. These include: monologue, dialogue, description, narration, system of images, author's digression, inserted genres, plot, plot. Further - about each of them in more detail.
monologue speech
Depending on how many people or characters in a work of art are involved in speech - one, two or more - monologue, dialogue and polylogue are distinguished. The latter is a kind of dialogue, so we will not dwell on it. Let's consider only the first two.
A monologue is an element of the composition, which consists in the use by the author of the speech of one character, which does not imply an answer or does not receive one. As a rule, she is addressed to the audience in a dramatic work or to herself.
Depending on the function in the text, there are such types of monologue as: technical - a description by the hero of events that have occurred or are currently taking place; lyrical - the hero conveys his strong emotional experiences; acceptance monologue - the internal reflections of a character who is faced with a difficult choice.
The following types are distinguished by form: the author's word - the author's appeal to readers, most often through one or another character; stream of consciousness - the free flow of the hero's thoughts as they are, without obvious logic and not adhering to the rules of literary construction of speech; dialectics of reasoning - the hero's presentation of all the pros and cons; dialogue in solitude - a mental appeal of a character to another character; apart - in dramaturgy, a few words aside, which characterize the present state of the hero; stanzas are also in dramaturgy the lyrical reflections of a character.
Dialogic speech
Dialogue is another element of composition, a conversation between two or more characters. Usually, dialogic speech is the ideal means of conveying the collision of two opposing points of view. It also helps to create an image, revealing personality, character.
Here I would like to talk about the so-called dialogue of questions, which involves a conversation consisting exclusively of questions, and the response of one of the characters is both a question and an answer to the previous remark at the same time. (examples follow) Khanmagomedov Aidyn Asadullaevich "Goryanka" is a vivid confirmation of this.
Description
What is a person? This is a special character, and individuality, and a unique appearance, and the environment in which he was born, brought up and exists at the moment of his life, and his house, and the things with which he surrounds himself, and people, far and near, and the environment. its nature... The list is endless. Therefore, when creating an image in a literary work, the writer must look at his hero from all possible sides and describe, without missing a single detail, even more - create new “shades” that are impossible to even imagine. In the literature, the following types of artistic descriptions are distinguished: portrait, interior, landscape.
Portrait
It is one of the most important compositional elements in literature. He describes not only the external appearance of the hero, but also his inner world - the so-called psychological portrait. The place of a portrait in a work of art is also different. A book can begin with it or, conversely, end with it (A.P. Chekhov, "Ionych"). maybe immediately after the character performs some act (Lermontov, "A Hero of Our Time"). In addition, the author can draw a character in one fell swoop, monolithically (Raskolnikov in "Crime and Punishment", Prince Andrei in "War and Peace"), and another time and disperse the features in the text ("War and Peace", Natasha Rostova). Basically, the writer himself takes up the brush, but sometimes he grants this right to one of the characters, for example, Maxim Maksimych in the novel A Hero of Our Time, so that he describes Pechorin as accurately as possible. The portrait can be written ironically satirically (Napoleon in "War and Peace") and "ceremonially". Under the "magnifying glass" of the author, sometimes only the face, a certain detail or the whole become - a figure, manners, gestures, clothes (Oblomov) falls.
Description of the interior
The interior is an element of the composition of the novel, allowing the author to create a description of the hero's home. It is no less valuable than a portrait, since a description of the type of premises, furnishings, atmosphere prevailing in the house - all this plays an invaluable role in conveying the characteristics of the character, in understanding the entire depth of the created image. The interior also reveals a close connection with which is the part through which the whole is known, and the individual through which the plural is seen. So, for example, Dostoevsky in the novel "The Idiot" in the gloomy house of Rogozhin "hung" Holbein's painting "The Dead Christ", in order to once again draw attention to the irreconcilable struggle of true faith with passions, with unbelief in Rogozhin's soul.
Landscape - description of nature
As Fyodor Tyutchev wrote, nature is not what we imagine, it is not soulless. On the contrary, a lot is hidden in it: the soul, and freedom, and love, and language. The same can be said about the landscape in a literary work. The author, with the help of such an element of composition as a landscape, depicts not only nature, locality, city, architecture, but thereby reveals the state of the character, and contrasts the naturalness of nature with conditional human beliefs, acts as a kind of symbol.
Remember the description of the oak during Prince Andrei's trip to the Rostovs' house in the novel "War and Peace". What he (oak) was at the very beginning of the journey - an old, gloomy, "contemptuous freak" among birch trees smiling at the world and spring. But at the second meeting, he suddenly blossomed, renewed, despite the hundred-year-old hard bark. He still submitted to spring and life. The oak tree in this episode is not only a landscape, a description of nature reviving after a long winter, but also a symbol of the changes that have taken place in the prince’s soul, a new stage in his life, which managed to “break” the desire to be an outcast of life until the end of his days, which was already almost rooted in him. .
Narration
Unlike the description, which is static, nothing happens in it, nothing changes, and in general it answers the question “what?”, the narrative includes action, conveys the “sequence of occurring events” and the key question for it is “what happened ? Speaking figuratively, the narrative as an element of the composition of a work of art can be represented as a slide show - a quick change of pictures illustrating a plot.
Image system
As each person has his own network of lines on the fingertips, forming a unique pattern, so each work has its own unique system of images. This includes the image of the author, if any, the image of the narrator, the main characters, antipode heroes, minor characters, and so on. Their relationship is built depending on the ideas and goals of the author.
Author's digression
Or a lyrical digression is the so-called extra-plot element of the composition, with the help of which the author's personality, as it were, breaks into the plot, thereby interrupting the direct course of the plot narrative. What is it for? First of all, to establish a special emotional contact between the author and the reader. Here the writer no longer acts as a storyteller, but opens his soul, raises deeply personal questions, discusses moral, aesthetic, philosophical topics, shares memories from his own life. Thus, the reader manages to take a breath before the flow of the following events, to stop and delve deeper into the idea of the work, to think about the questions posed to him.
Plug-in genres
This is another important compositional element, which is not only a necessary part of the plot, but also serves as a more voluminous, deeper disclosure of the hero’s personality, helps to understand the reason for his particular life choice, his inner world, and so on. Any genre of literature can be inserted. For example, stories are the so-called story in a story (the novel "A Hero of Our Time"), poems, novellas, poems, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be either their own composition or someone else's.
Plot and plot
These two concepts are often either confused with each other, or they mistakenly believe that they are one and the same. But they must be distinguished. The plot is, one might say, the skeleton, the basis of the book, in which all parts are interconnected and follow one after another in the order that is necessary for the full realization of the author's intention, the disclosure of the idea. In other words, the events in the plot can take place in different time periods. The plot is that basis, but in a more concise form, and plus - the sequence of events in their strictly chronological order. For example, birth, maturity, old age, death - this is the plot, then the plot is maturity, memories from childhood, adolescence, youth, lyrical digressions, old age and death.
Story composition
The plot, just like the literary work itself, has its own stages of development. At the center of any plot there is always a conflict around which the main events develop.
The book begins with an exposition or prologue, that is, with an “explanation”, a description of the situation, the starting point from which it all began. This is followed by a plot, one might say, foresight of future events. At this stage, the reader begins to realize that a future conflict is just around the corner. As a rule, it is in this part that the main characters meet, who are destined to go through the coming trials together, side by side.
We continue to list the elements of the plot composition. The next stage is the development of the action. Usually this is the most significant piece of text. Here the reader already becomes an invisible participant in the events, he is familiar with everyone, he feels the essence of what is happening, but is still intrigued. Gradually, the centrifugal force sucks him in, slowly, unexpectedly for himself, he finds himself in the very center of the whirlpool. The climax comes - the very peak, when a real storm of feelings and a sea of \u200b\u200bemotions falls upon both the main characters and the reader himself. And then, when it is already clear that the worst is behind and you can breathe, the denouement softly knocks on the door. She chews everything, explains every detail, puts all things on the shelves - each in its place, and the tension slowly subsides. The epilogue draws the final line and briefly outlines the further life of the main and secondary characters. However, not all plots have the same structure. The traditional elements of a fairy tale composition are completely different.
Fairy tale
A fairy tale is a lie, but there is a hint in it. Which? The elements of the composition of the fairy tale are radically different from their "brothers", although when reading, easy and relaxed, you do not notice this. This is the talent of a writer or even an entire people. As Alexander Sergeevich instructed, it is simply necessary to read fairy tales, especially folk tales, because they contain all the properties of the Russian language.
So, what are they - the traditional elements of a fairy-tale composition? The first words are a saying that sets you in a fabulous mood and promises a lot of miracles. For example: “This fairy tale will be told from morning until lunch, after eating soft bread ...” When the listeners relax, sit down more comfortably and are ready to listen further, it is time for the beginning - the beginning. The main characters, the place and time of the action are introduced, and another line is drawn that divides the world into two parts - real and magical.
Next comes the tale itself, in which repetitions are often found to enhance the impression and gradually approach the denouement. In addition, poems, songs, onomatopoeia to animals, dialogues - all these are also integral elements of the composition of a fairy tale. The fairy tale also has its own ending, which seems to sum up all the miracles, but at the same time hints at the infinity of the magical world: "They live, live and make good."
Significantly affects the expression of his ideas. The writer focuses his attention on the life phenomena that attract him at the present time and embodies them through the artistic depiction of characters, landscapes, and moods. At the same time, he seeks to combine them in such a way that they are truly convincing and really reveal what he wanted to show, so that they encourage the reader to think.
The fact that the composition in literature significantly influences the disclosure of the writer's ideological intent was constantly pointed out in his works by Belinsky. He believed that the main idea of the author should meet the following criteria: isolation and completeness of the whole, completeness, commensurate distribution of roles between the heroes of a work of art. Thus, the composition in literature is determined by the positions of the author: ideological and aesthetic. But the idea and theme can be harmoniously combined only in a mature work.
The composition of the text is considered by literary critics from different points of view. Moreover, they have not agreed on a common definition to this day. Most often, the composition in the literature is defined as the construction of the correlation of all its parts with a single whole. It is known that it has many components that writers use in their works to complete the depiction of life pictures. The main elements that make up the composition in literature are lyrical digressions, and portraits, and inserted episodes, epigraphs, titles, landscapes, and the environment.
Epigraphs and titles carry a special load.
The title, as a rule, indicates the following aspects of the work:
Subject (for example, Bazhov "Malachite Box");
Images (for example, George Sand "Countess Rudolfstadt", "Valentina");
Problematics (E. Rich "What Moves the Sun and the Luminaries").
An epigraph is a kind of additional name, which is usually associated with the main idea of the work or hints at the bright features of the protagonist.
Lyrical digressions stand aside from the storyline. With their help, the author has the opportunity to express his own attitude to those events, phenomena and images that he depicts. There are also such lyrical digressions in which the experiences of several characters merge, but it is still clear that here the writer expressed his feelings and thoughts. For example, as in the digression about mother's hands in the novel "The Young Guard" by Fadeev.
Choosing the sequence of connecting the listed elements, their own principles of their "assembly", each author creates a unique work. And he uses the following:
- Ring composition, or frame composition. The writer repeats artistic descriptions, stanzas at the beginning of the work, and then at the end; the same events or characters at the beginning of the story and at the end. This technique is found in both prose and poetry.
- Reverse composition. When the author places the ending at the beginning of the work, and then shows how events developed, explains why it was that way and not otherwise.
- Using flashback technique - when the writer places readers in the past, when the causes of those events that happened at the moment were formed. Sometimes a flashback is presented in the form of reminiscences of the main character or his story (the so-called "story within a story").
- A compositional break in events, when one chapter ends at the most intriguing moment, and the next begins with a completely different action. This technique is more common in the works of the detective, adventurous genre.
- Using exposure. It may precede the main action, or it may be completely absent.
Composition (lat. sotropère - to fold, build) - the construction, arrangement and ratio of parts, episodes, characters, means of artistic expression in a literary work. The composition holds together all the elements of the work, subordinating them to the author's idea. The constituent elements of the composition: characters, ongoing events, artistic details, monologues and dialogues, portraits, landscapes, interiors, lyrical digressions, inserted episodes, artistic introductions and frames. V. Khalizev singles out such links of the composition as repetitions and variations that become motifs, omissions and recognition. There are different types of compositions. So, the composition of lyrical works can be linear (the poem "Winter. What should we do in the village? I meet ..." A.S. Pushkin), amoeba (regular, symmetrical alternation of two voices or themes - Russian folk songs); it can also often be based on the reception of antithesis (the poem "Demon" by A.S. Pushkin); ring (coincidence of the beginning and ending - a poem by S.A. Yesenin "Honey, let's sit next to ..."); hidden ring (the same theme is given at the beginning and at the end of the work - the theme of a blizzard, both a natural phenomenon and a life cycle in the poem “Snow memory is crushed and pricked ...” by S.A. Yesenin). Prose works are characterized by a wide variety of compositional techniques. There is a linear composition (successive unfolding of events and the gradual discovery of the psychological motivations for the actions of the characters - the novel "An Ordinary Story" by I.A. Goncharov), a ring composition (the action ends where it began - the story "The Captain's Daughter" by A.S. Pushkin) , reverse composition (the work opens with the last event, which gradually begins to be explained to the reader - the novel “What is to be done?” by N.G. Chernyshevsky), mirror composition (images are symmetrical, episodes - the novel in verse “Eugene Onegin” by A.S. Pushkin), associative composition (the author uses the technique of default, the technique of retrospection, the technique of "a story in a story" (the story "Bela" in "A Hero of Our Time" by M.Yu. Lermontov, the story "Asya" by I.S. Turgenev), dotted composition (discontinuity is characteristic in describing the events and psychological motivations, the narrative suddenly breaks off, intriguing the reader, the next chapter begins with a different episode - the novel “Pre step and punishment "F.M. Dostoevsky).
Searched here:
- What is composition
- composition of the poem
- composition definition
STYLE DOMINANTS
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", tune the reader to a certain "aesthetic wave" ... Style is presented as "a kind of surface on which a unique trace has been identified, a form that betrays the presence of one guiding force with its structure." (P.V. Palievskiy)
Here we are talking about STYLE DOMINANTS, which play an organizing role in the work. That is, they, the dominants, must be subject to all techniques and elements.
Style dominants- this:
Plot, descriptiveness and psychologism,
Conditionality and lifelikeness,
monologism and heterogeneity,
Verse and prose
Nominativity and rhetoric
- simple and complex types of composition.
COMPOSITION -(from lat. compositio - compilation, binding)
The construction of a work of art, due to its content, character, purpose, and largely determining its perception.
Composition is the most important, organizing element of the artistic form, giving unity and integrity to the work, subordinating its components to each other and to the whole.
In fiction, composition is a motivated arrangement of the components of a literary work.
A component (UNIT OF COMPOSITION) is considered a ""segment"" of a work, in which one way of depicting (characteristic, dialogue, etc.) or a single point of view (author, narrator, one of the characters) on the depicted is preserved.
The mutual arrangement and interaction of these "segments" form the compositional unity of the work.
Composition is often identified both with the plot, the system of images, and with the structure of a work of art.
In general, there are two types of composition - simple and complex.
SIMPLE (linear) composition comes down only to the unification of the parts of the work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.
With COMPLEX (transformational) composition the order of combination of parts reflects a special artistic meaning.
For example, the author does not start with an exposition, but with some fragment of a climax or even a denouement. Or the narration is conducted, as it were, in two times - the hero “now” and the hero “in the past” (remembers some events that set off what is happening now). Or a double hero is introduced - generally from another galaxy - and the author plays on the comparison / opposition of episodes.
In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.
DIFFERENT ASPECTS OF COMPOSITION:
external composition
figurative system,
character system change of points of view,
parts system,
plot and plot
conflict art speech,
off-plot elements
COMPOSITE FORMS:
narration
description
characteristic.
COMPOSITE FORMS AND MEANS:
repetition, amplification, opposition, montage
matching,
"close" plan, "general" plan,
point of view,
temporal organization of the text.
REFERENCE POINTS OF THE COMPOSITION:
climax, denouement,
strong positions of the text,
repetitions, contrasts,
vicissitudes in the fate of the hero,
spectacular artistic techniques and means.
The points of greatest reader tension are called COMPOSITION KEY POINTS. These are kind of milestones that lead the reader through the text, and in them the ideological problems of the work are most clearly manifested.<…>they are the key to understanding the logic of the composition and, accordingly, the entire internal logic of the work as a whole .
STRONG POSITIONS OF THE TEXT:
These include formally selected parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).
MAIN TYPES OF COMPOSITION:
ring, mirror, linear, default, flashback, free, open, etc.
STORY ELEMENTS:
exposure, connection
action development
(vices and turns)
climax, denouement, epilogue
OUTSIDE ELEMENTS
description (landscape, portrait, interior),
insert episodes.
Ticket number 26
1.Poetic vocabulary
2. Epic, dramatic and lyrical work of art.
3. The volume and content of the style of the work.
Poetic vocabulary
P.l.- one of the most important aspects of a literary text; the subject of study of a special section of literary criticism. The study of the lexical composition of a poetic (i.e., artistic) work involves correlating the vocabulary used in a separate sample of the artistic speech of a writer with the commonly used vocabulary, i.e., used by the writer's contemporaries in various everyday situations. The speech of the society that existed in the historical period to which the work of the author of the analyzed work belongs is perceived as a certain norm, therefore, it is recognized as “natural”. The aim of the study is to describe the facts of the deviation of the individual author's speech from the norms of "natural" speech. The study of the lexical composition of the writer's speech (the so-called "writer's dictionary") in this case turns out to be a particular type of such stylistic analysis. When studying the "writer's dictionary", attention is paid to two types of deviations from "natural" speech: the use of lexical elements that are rarely used in "natural", everyday circumstances, i.e. "passive" vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargonisms (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The introduction by the author of the words of either group into the text determines the figurativeness of the work, and therefore its artistry.
(household vocabulary, business vocabulary, poetic vocabulary etc.)
Poetic vocabulary. As part of the archaic vocabulary, historicisms and archaisms are distinguished. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussar, tax in kind, NEP, October (a child of primary school age preparing to join the pioneers), enkavedist (an employee of the NKVD - the People's Commissariat of Internal Affairs), commissar, etc. .P.). Historicisms can be associated both with very distant epochs, and with events of relatively recent times, which, however, have already become facts of history (Soviet power, party activists, general secretary, politburo). Historicisms do not have synonyms among the words of the active vocabulary, being the only names of the corresponding concepts.
Archaisms are the names of existing things and phenomena, for some reason displaced by other words belonging to the active vocabulary (cf .: daily - always, comedian - actor, gold - gold, know - know).
Obsolete words are heterogeneous in origin: among them there are native Russian (full, with a helmet), Old Slavonic (smooth, kiss, shrine), borrowed from other languages (abshid - “resignation”, voyage - “journey”).
Of particular interest in stylistic terms are the words of Old Slavonic origin, or Slavicisms. A significant part of Slavic words assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captive, hello), but there are also such Old Slavonic words that are perceived in the modern language as an echo of high style and retain their solemn, rhetorical coloring.
The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavicisms in Russian literature. Names of gods and heroes of Greek and Roman mythology, special poetic symbols (lyre, ellisium, Parnassus, laurels, myrtle), artistic images of ancient literature in the first third of the 19th century. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavs, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already the successors of A.S. Pushkin's poeticisms are archaic. Writers often turn to obsolete words as an expressive means of artistic speech. The history of the use of Old Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary a source of sublimely romantic and "sweet" sounding of speech. Slavicisms that have consonant variants in Russian, primarily non-vowel ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the rights of "poetic liberties": poets could choose from two words one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp's voice, will die quietly in the air. - Bat.). Over time, the tradition of "poetic liberties" is overcome, but outdated vocabulary attracts poets and writers as a strong means of expression.
Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the color of distant times. In this function, they were used, for example, by A.N. Tolstoy:
“The land of Ottich and Dedich are those banks of full-flowing rivers and forest clearings where our ancestor came to live forever. (...) he fenced his dwelling with a fence and looked along the path of the sun into the distance of centuries.
And he imagined a lot - hard and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on the Kalka, and the peasant spears installed under the banners of Dmitry on the Kulikovo field, and the blood-drenched ice of Lake Peipus, and the Terrible Tsar, who parted the united, henceforth indestructible , the limits of the earth from Siberia to the Varangian Sea ... ".
Archaisms, especially Slavicisms, give speech an elevated, solemn sound. Old Slavonic vocabulary performed this function even in ancient Russian literature. In the poetic speech of the XIX century. with the high Old Slavonic vocabulary, Old Russianisms were stylistically equalized, which also began to be involved in creating the pathos of artistic speech. The high, solemn sound of obsolete words is also appreciated by writers of the 20th century. During the Great Patriotic War, I.G. Ehrenburg wrote: “Having repulsed the blows of predatory Germany, she (the Red Army) saved not only the freedom of our Motherland, she saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which good will shine. Our people showed their military virtues…”
Outdated vocabulary can acquire an ironic connotation. For example: Which of the parents does not dream of a smart, balanced child who grasps everything literally on the fly. But attempts to turn your child into a "miracle" catastrophically often end in failure (from the gas.). The ironic rethinking of obsolete words is often facilitated by the parodic use of elements of high style. In the parodic-ironic function, obsolete words often appear in feuilletons, pamphlets, and humorous notes. Let us refer to an example from a newspaper publication during the period of preparation for the day the president took office (August 1996).
