What is genre memory? The very movement of literature is a kind of memory of the genre

The phrase "memory of the genre" looks like a typical tautology, because in essence the genre itself is a tectonic, communicative and semantic memory.

Plus, it's metaphorical. To attribute memory to a genre is to imply its resemblance to living beings capable of remembering and forgetting. But if this is a metaphor, then only half, because genres in art are inconceivable outside the activity of people, outside their consciousness, their individual and collective memory. The characteristic image of any musical genre is, of course, imprinted with the greatest brightness and completeness in the memory of people - living bearers of culture. Culture as a whole preserves this image in a generalized ideal form.

And yet, it is possible to recognize the formula "memory of the genre" as legitimate only if, after bracketing the incoming

human memory in its complex structure, it will be possible to see in itself a mechanism capable of performing at least one of the functions inherent in memory (memorization, storage, generalization).

So, if this is memory, then how does its mechanism work? Is it contained in the music itself or also in the non-musical components of the genre? How does it work, what does it consist of, where is it located, what information and in what form does it capture? Does everything that we attribute to a genre become a subject of memorization? Are there not among its components that which is not only remembered, but also carries out memorization, allowing in the end to assert that the genre remembers itself?

Indeed, if we carefully consider the components of the genre (music, word, plot, composition of characters, space of action, instruments, temporal characteristics, specific situation, etc.), it becomes clear that, on the one hand, they are all without exception, as specific semantic treasures of a musical genre, turn out to be the material of fixation and are remembered, on the other hand, all of them at the same time somehow contribute to memorization, participate in the processes of imprinting and storage, i.e. themselves act as blocks and cogs of the memory mechanism.

The principle of its operation is mutual, cross-coding. Music remembers the verbal text, and the text remembers the music. Any musician, and even every lover of singing, who is not at all related to the workshop of professionals, knows from his own experience how the text of the song helps to remember the forgotten melody, and the melody helps to remember the forgotten words. The dance makes you remember the sound of the accompaniment, and the musical rhythm itself evokes plastic associations - it seems to encode, albeit in the most general terms, the features of dance movements.

Let's consider this on the example of the same communicative situation.

In the components of the extra-musical context, in the life situation characteristic of the genre, to a large extent specific genre meanings, emotional modes are contained, without which a stable tradition is unthinkable in memory. A majestic wedding song as a genre is not only a complex of musical elements proper (characteristic melody, elevated tone, slow or moderate tempo), not only a certain verbal text, but also the very situation in which it is sung. Festive

a feast, hops, funny conversations as a kind of sound accompaniment, role-playing roles of participants legalized by tradition. This is even a certain time of the year preferred for weddings, in the old Russian way of life - the golden autumn time. This and many other things that remain constant, repeated in the wedding ceremony. The military marching march is not only an active two-beat rhythm unfolding at a tempo of 120 beats per minute, not only a complex three-part form with “bass solos” or baritone cantilena melodies in the middle section. This is both a way of organizing the movement, and an energetic, synchronized tread of a moving column, these are the courageous faces of soldiers and the instruments of the brass band walking ahead, sparkling with copper. This, in essence, is the whole traditional army way of life behind the picture of the march. This complex is a significant part of the content stored in the memory of the genre.

However, in most cases it is not difficult to find that the communicative situation is not only an object of memorization. In one way or another, it itself is included in the mechanism of genre memory. In many everyday genres, the preservation of the typical appearance and characteristic features of music is based on repetitive life circumstances specific to the genre. The context of life sometimes dictates quite certain norms for making music. The very conditions of a military drill march set the tempo of 120 beats according to Mälzel's metronome as physically and physiologically optimal for a step, as directly arising from the feeling of elation of tone and drill coordination of movements. In the lullaby that the mother sings to the falling asleep child, the volume of singing is limited (such is the requirement of the situation), and the soft rocking of the cradle imposes not only a measured tempo on the melody and words, but also a two-beat meter.

It is quite clear that the genre situation with all its attributes, on the one hand, is a significant part of the content stored in the memory of the genre, on the other hand, it itself acts as one of the memory blocks of the genre, creating the most favorable regime for preserving the simple and natural features of the musical genre.

But the connection between the situation and the actual musical sound material of the genre is two-way. Not only does the situation remember and recreate certain elements inherent in music, but music also "remembers" and "remembers" the situation. And this is actually the musical memory of the genre. Music, but

her musical sound, "acoustic text", i.e. what in abstraction is called pure music functions in the memory mechanisms of the genre, perhaps with the greatest efficiency. It is both the object of imprinting and the richest instrument of memorization itself.

What can music capture, what aspects and features of the genre situation, life context leave a tangible imprint on sound, intonation and other musical structures? There are quite a few specific examples. So, in the variable modal structure and in the melody of many folk songs, where the initial major inclination in the chorus is replaced by the minor in the chorus, the typical ratio of the vocal capabilities and skill of the lead singer and other participants in singing is reflected: in the chorus, the tessitura decreases, as the modal center shifts down by third, the chorus is characterized by a less developed melodic-rhythmic pattern. In general, register and dynamic features often directly correlate with the features of the communicative situation: it is enough to compare the tessitura and loudness of a lullaby and a dashing ditty. The three-voice, three-component texture in the trio of both symphonic, chamber, and piano minuets and scherzos (for example, in Beethoven's sonatas op. 2 No. 1 and No. 2, op. 27 No. 2) is a memory of typical instrumental ensembles in primary dance genres.

You can point to at least three main forms of connection between music and context.

1. Reliance on a specific subject and life environment in conveying artistic meaning. From this point of view, music acts as an element of a larger whole, and information is contained precisely in this whole whole, but with direct perception, it appears to the listener as relating to the music itself.

2. The specific structure of the musical text bears traces of a typical situational complex, for example, dialogism, refrain-chorus relations, etc. In everyday genres, these traces are not so important, since music does not need to remember the situation at all. They unfold in parallel, act together, are caused by life itself, social institutions, traditions, and customs. But when the primary genre is transformed into a secondary one, when everyday, everyday music is transferred to the concert hall, this memory - the memory of primary situations - turns out to be an important meaningful, semantic component from an artistic point of view.

3. But even if there are no such traces, the musical material of the genre in the minds of listeners, performers, participants in communication enters into a strong associative relationship with genre situation. And then, already in other circumstances and conditions, even in a different historical context, it begins to perform the function of a reminder of that former situation and evoke certain aesthetic experiences, colored by memories. Such, for example, is the melody of the “Holy War” by A.B., which has a strong effect on the older generation. Alexandrov, whose expressive, effective power is due both to the very musical structure of the song, and associations with the formidable events of the Great Patriotic War.

So, if we try to distinguish between the functions of the musical and non-musical components of the genre in the processes of memorization, storage, and recreation, it becomes clear that all of them are both fixation material and components of a kind of memory device.

His name stands apart in the memory of the genre. It will be discussed in the next section.

In days of doubt, in days of painful reflections about a not very successful theatrical season, about the crisis of the “new wave”, about the sacred and the profane in the theater, one inevitably has to change the “optics” and “twist” a professional lens in order to see something meaningful. So we came to the need to understand the genre nature of modern theater. The lack of genre of the modern performance is obvious, but not understood by the theatrical consciousness. Is there a genre at all? What is the stage genre in its correlation with the classical genre? How do classical genres relate to the author's theater and the developed artistic consciousness of the creator? Or is the creator not developed and his genre memory is asleep? Does the viewer dictate the genre?

In order to “soften” the problem in the most general terms, and then look at the performances through the prism of the genre, we once gathered in the editorial office. We are Doctor of Philosophy Lev Zaks (on behalf of aesthetics), Candidate of Art History Nikolai Pesochinsky (on behalf of theater studies and theater history), Marina Dmitrevskaya, Olga Skorochkina and Elena Tretyakova (all candidates of art history, from the editors of PTZh and on behalf of theater criticism ) and Maria Smirnova-Nevsvitskaya (from humanitarian thought in general). If you, dear readers and colleagues, think that we have come to at least some conclusions, you are mistaken. Our conversation is only an approach to a topic that, nevertheless, seems important to us.

Leo Zaks. I see our task in trying to comprehend the genre situation in contemporary theatrical art. For several centuries (and the peak here, of course, is the 17th century, although this also applies to the 18th, to a lesser extent to the 19th), the genre was perceived as a supporting structure of both artistic consciousness and artistic practice: not to mention the strict genre system of the French theater of the Classical era, we can also recall Diderot, who significantly expanded this system, developing the theory of petty-bourgeois drama.

But if we take the genre practice of the 20th century, the picture will turn out to be completely different. And what is interesting here is the deep discrepancy between theory and practice.

Theorists have come to realize the fundamental role of the genre (here one can recall the researchers of historical poetics and name many from Academician Veselovsky to Bakhtin). MM Bakhtin remarkably formulated the theory of the genre as an integral type of artistic expression, which has its original, genetic content and (which is very interesting) has a memory. That is, according to Bakhtin, there is a tradition and the genre remembers this tradition regardless of the artist. He showed that whether the artist wants to or not, there is an objective memory of the genre. When an artist turns to a certain material on the basis of a certain modernity, this memory works and today's creativity turns out to be an expression of some layers of old experience. Bakhtin asserted this even in his younger years - in a book published under the name of P.N. Medvedev, devoted to the formal method in literary criticism, and in mature works on Rabelais and Dostoevsky, and in later notes. And another of Bakhtin's key ideas, which rhymes with the interests of the humanities of the twentieth century, is an interest in the archaic. Any developed, established genre has archaic origins.

While theory realized the importance of genres, in artistic practice, just the opposite things began to happen. This was due to the peculiarities of the realism of the twentieth century, and modernism, and, of course, postmodernism. There is a blurring of genre consciousness, the severity of the boundaries between genres is lost, their clear, fixed and to some extent canonized contours, the delimitation of genres is replaced by active mutual influence, merging - and the formation of genre symbioses, “mixed” becomes the pinnacle: tragicomedy, tragic farce, etc. .d. But precisely because everything is mixed up, according to my observations, the genre component is absent in the minds of practitioners today, they work as if bypassing the genre, it is not essential for them. And it might seem that if today everything is mixed up and all genres are equal and all can be combined, then the genre is unimportant and there is no genre problem. It is impossible to agree with this, even when "miscegenation" flourishes in the art world. After all, when a child is born from a mixed marriage in life, this does not mean that he is neither Russian nor Jewish. It carries the genetic traits of both.

The same thing happens in art. Mixing, mutually influencing, these genres retain their original content base, and if for some reason a genre falls out of artistic practice or moves to the periphery, then this means that something is happening to its original semantics. Today, the traditional genre system is enriched with many new genres, genres from other types of art come to the theater, which were not previously in theatrical practice, and on the other hand, life itself, its genres create new genre variants of theatrical art. "Mass" genres - thriller, detective story, fantasy. What is O. Menshikov's "Kitchen"? Of course, this is a "mix" based on mass-cult fantasy.

Separately, it is necessary to talk about the vital nourishment of new genres, which occur due to the inclusion of new forms of communication, communications, language, new spaces in the old genres, when the old genre seems to retain its features, but becomes completely different. Because a genre is a way to see and understand the world in a certain way, it is a view of reality crystallized in the centuries-old practice of art.

Marina Dmitrevskaya. You said that the genre remembers its past. Now say that the genre consciousness of the artist. If the genre remembers itself, then the consciousness of the artist has nothing to do with it ... Who remembers what?

L.Z. Now I emphasize the objective logic of the genre, but this logic lives in the minds of artists. If an artist undertakes, say, to stage a tragedy, then by doing so he falls into the field of action of forces that are concentrated in the genre of tragedy. If he undertakes to stage a comedy, then he works with a certain worldview, captured in this genre. If you walk on two legs - this is one gait system, on four - another. I am a traditionalist, and it is the theme of the memory of genres that worries me. And, in connection with this, how, along with the enrichment of modern theater, there is a relegation to the periphery of important, traditional, semantic genres. Genre devaluation. And here my favorite example is tragedy. What do we see today?

Elena Tretyakova. We see how it has no place in the tragic world...

L.Z. There are no modern tragedies, but when they take on classical ones - antique, Shakespearean ones (and here an example for me is a remarkably interesting, emotionally touching performance by N. Kolyada "Romeo and Juliet", about which PTZh wrote in Nos. 24 and 26), - there is an elimination of the fundamental features of the genre: the ideological scale of tragedy, depth, penetration into the tragic laws of life, the theater loses the ability to see a person who opposes the tragedy of the world, and so on. After all, what made an ancient, Shakespearean, Racine tragedy a tragedy? A person who is part of a tragic conflict and catastrophe, but, on the other hand, rises to take the whole burden of the world on his shoulders and assert himself - even at the cost of death, etc.

M.D. But tragedy has been absent from the theater for a very long time, for the twentieth century it is a deeply peripheral genre!

L.Z. Okhlopkov tried, for example, to instill it in the Soviet theater...

M.D. And did not instill.

L.Z. Now look. We live (objectively) in a tragic era. One world is replaced by another. Personality is lost, value systems are collapsing, irreparable losses, forks in the road... Life has everything that makes up the ideological and emotional meaning of the tragedy, but art, which supposedly should have caught it all, is leaving it. And the petty-bourgeois drama is becoming the main genre today. But the petty-bourgeois drama is not in the "Diderotian" lofty sense, but in the most vulgar, "post-Gorky" sense. Melodrama, everyday comedy, anecdote dominate. That is, private life in its private, self-sufficient sense has filled everything, and the tragic scale of reality fades into the background.

E.T. Perhaps this is due to the fact that the concept of death has been devalued. Death is not recognized as an existential category. When in American cinema they kill every minute and no one feels anything, and when on September 11 we all sat and saw the deaths of thousands of people on TV, but there was a feeling that we were watching a movie. Culture and life have vaccinated us against the genre of tragedy.

M.D. In the 17th century, they did not see death from morning to night on TV ...

L.Z. The 17th century is the century of bloody and long wars. Hundred Years War!

M.D. But this was not alienated by mass culture, video sequence.

L.Z. Man lived in a small world and thought of the universe (the storm in King Lear). And we live in a huge world, but we experience a small space.

Maria Smirnova-Nesvitskaya. I don’t know if the media or the extreme narrowness of the world are to blame, but it seems to me that the tragic reality that surrounds a person from all sides directs him to deny the tragedy. He doesn't want her. Children read "Vanka Zhukov" and laugh, the teacher is amazed - why, after all, they always cried? And they do not want to worry, they see enough of this house. The person yearns for a psychotherapeutic effect.

M.D. It is clear that the theater is becoming a place of emigration. But it is important: they left the tragedy and drama - where did they come?

L.Z. The genre of the era is melodrama.

M.D. Maybe a small space is a salvation for a private person in the vast world he perceives, and therefore he chooses a melodrama, a soap opera that is commensurate with himself? He is afraid of infinity, he needs foreseeable limits, where he would feel full.

M.S.-N. And it seems to me that they have come to the genre of “complicity” (television helped in this). A person longs to participate, but something comfortable.

L.Z. But the soap opera is a direct successor to the melodrama. Loss of memory and mother followed by gaining mother and memory. The loss of a grandmother and the subsequent acquisition of a grandmother ...

M.D. At the melodrama, I have to cry and believe in something. Melodrama is reduced tragedy. And here is a simulation of the genre. Or an imitation.

Olga Skorochkina. Mankind in the twentieth century is tired of the tragedy in culture. And tragedy as a genre cannot get tired?

L.Z. Consciousness gets tired, and the genre goes into the lethargy of culture, waiting in the wings. Sooner or later, it will reappear.

Nikolay Pesochinsky. There is no tragedy in the 20th century, because there is no “classical” wholeness of worldview, a person is losing the traditional hierarchy of values. “God is dead,” according to Nietzsche, and in art, indeed, there is no vertical line on which the mentality of tragedy is built.

L.Z. Tragedy has always arisen from the fractures of consciousness. Whole consciousness did not give birth to it. In this sense, presumably, the consciousness of the 20th century should have generated tragedy and generated it. Take Sartre or the theater of the absurd.

N.P. All absurdism is tragic, but it does not live in the structure of an integral tragedy. This is just the tragedy of non-integral consciousness. But I have a more radical idea. When the history of the director's theater began at the beginning of the 20th century (not the interpretation of plays by actors, but the performance built as a whole), it became difficult to designate program performances by genre. What genre is Stanislavsky's "The Cherry Orchard" (hence the scandals with Chekhov)? What about Meyerhold's "Balaganchik"? Yes, in literary criticism Blok's drama is called "lyrical". But what does this explain in the genre of Meyerhold's performance and in its structure? Maeterlinck's "The Death of Tentagile" is designated as "A Piece for the Puppet Theatre", but this is not a genre. What about Meyerhold's Inspector General? Performances by Vakhtangov? And "Phaedra" Tairov is not a tragedy in its purest form.

E.T. What about Shakespeare's performances of the 1930s? What about Optimistic Tragedy?

N.P. And there, of course, the laws of "classical" genres are violated. No milestone performances for the theater are subject to genre designations.

M.D. Except for the dramatic ones. "Woe from Wit" Tovstonogov had a genre.

N.P. Yes, Tovstonogov is a genre director, this is an exception. But Efros is not.

M.D. He is absolutely dramatic. The Marriage, and Don Juan (originally both comedies), and the tragedy Romeo and Juliet became drama.

N.P. In general, I begin to doubt that when we talk about the art of the theater, we can talk about the same genres that we have in mind in dramaturgy. Brecht's epic theater or Strehler's Campiello - do they have a genre? There is a problem of interaction between the creative method and the genre. And it turns out that the method that determines the stage structure suppresses the genre as a structure. We have been taught that tragedy is built on one type of conflict, comedy on another (comic inconsistency conflict), and drama on conflict resolution. But in different theatrical systems this is suppressed, and what is called the same genre turns out to be completely different. Different directors have different performance systems in the same genre. The method of associative editing, for example, will determine here more than the genre. Second. Film critics have long clearly divided cinema into authorial and genre. Author's cinema is a statement that does not obey the genre structure and affects the viewer in a different way. And genre cinema is one that respects a rigid structure and knows by what mechanism it affects typical general processes in the unconscious perception of the public. Further, psychoanalysts got involved, who, within the framework of genre cinema, established the nature of each genre, for example, the difference between an action movie and a thriller. In an action movie, it is the hero who wins, this is a fairy tale where, by identifying ourselves with the hero and “trying to help him”, we achieve success, get rid of the complexes of everyday life. In a thriller, the hero is a victim, we identify with him and, dodging all dangers, we try to escape from our own deep irrational fears. Melodrama compensates for the lack of a life poor in emotions. Perhaps this is also applicable to the theater, which is divided into author's and genre? The entreprise theater is clearly a genre one. There are also directors whose thinking does not violate traditional genre boundaries. V. Pazi, no matter what he puts on, puts on a melodrama (even when he puts on “Toibele and her demon”, a play with various other psychological, mystical, comic motives).

M.D. But there is Nyakroshus with his tragedies. I just close the idea that the consciousness of the artist genre. No matter what Nyakroshyus puts on — Pirosmani or Macbeth — he puts on a tragedy, everything with him is always unsolvable. And no matter what Sturua puts on, there will be a tragicomedy.

O.S. Film experts won't help us here. Nyakroshus is such a combination of the author's theater and the memory of the tragedy!

N.P. It would be nice to understand what we generally call a stage genre. Here we should talk about the regularities of the stage structure, about the specific typology of theatrical action. This, perhaps, is a completely different system of genres, compared not only with cinema, but also with dramaturgy as a kind of literature.

L.Z. Regardless of whether a large symphony orchestra is playing or a small one, vocal elements that are not inherent in the genre from the very beginning, or not, whether the choir participates or not, the symphony will remain a symphony. Does the theater retain its essence?

N.P. Let's take absolutely all the performances of our "new wave". In A. Galibin's play "La funf in der luft" there was both tragic, and comic, and absurdity, but the genre could not be determined. The same with his "Urban Romance". And how to define the genre of "Dead Demon" by A. Praudin? In Tumanov's Lunar Wolves there were elements of the tragic (as an aesthetic category), but it was not a tragedy in the sense of the genre. We either have to abandon this concept altogether, or understand what we mean by genre. We do not have a theory of the genre of the play. By the way, does not the same destruction of the genre category occur in other arts? We talked about cinema. And in painting? Contemporary painting does not know portrait, landscape, still life...

M.S.-N. Yes, and the very classification of genres in different types of art today looks incorrect - indeed, in the fine arts, the genre is usually defined by the subject of the image: landscape, portrait, still life, which leaves behind the scenes the largest and most significant layer of art of the late 19th and the entire 20th century - impressionism , abstract art, suprematism, non-figurative art, etc. If we take the history of art of the 20th century, we will see that it is precisely with the rigidity of the genre structure that absurdism, abstractionism, etc., which has arisen and exists outside of genres, does not “grow together”. Dramaturgy of the absurd, Andre Gide, who writes the first novel about how he writes a novel. Bataille, who says that there is no literature, but only writing, a process. And - "Black Square" by Malevich, where perception is semantically transferred to the space between the viewer and the work. What is the genre of Black Square? What one sees is what one gets. An appeal to the consciousness of the perceiver, to the viewer, to the reader. And it seems to me that, following painting, literature, and in the theatre, the concept of genre today is carried into the space between the viewer and the work. The departure from the frozen structure, which is the genre classification, seems to me to have been carried out long ago and firmly. Genre classification can be revived only after the death and revival of our civilization.

L.Z. But the traditional understanding of the genre rests on two whales: on the one hand, it is a certain view of the world, but also a certain way of communication of this form with the perceiver.

M.D. The traditional understanding of the genre is a difficult question for me in general. How to deal with ancient tragedy today for a modern person, whose concept of “fate” is completely different from the Greek understanding of “rock”? The angry Greek gods do not give a person a choice, determining his fate (Oedipus tried to choose, and we remember how the matter ended). The man of the new time understands that every time God gives him a moral choice and, depending on this choice, on the deed, whether or not he gives the strength to carry his cross further. The absence of choice or its centrality gives a completely different meaning to the tragic.

M.S.-N. But today there is a fork in the road: one thing is laid, the cultural layer makes another, the performance is saturated with context...

M.D. And there is also an acting sense of the genre. Whatever Oleg Borisov played, he played a tragic rift.

O.S. And no matter what O. Yakovleva played with Efros, it was a tragedy.

M.D. Man is a genre. No matter how publican G. Kozlova, a purely tragic or purely comedic perception of the world will not be inherent in him. Its genre is drama. I like the idea of ​​the artist's consciousness of genres, but I cannot define the genre of Galibin, Praudin or Klim.

O.S. The method replaces the genre.

L.Z. The method category does not cover anything now. It is better to talk about worldview. In general, the theater as a way of interaction between the stage and the hall grows out of the pre-artistic way of human communication. There are three forms of human communication, which correspond to three types of theater. There is official-role communication, according to certain rules - this is a ritual theater that works with basic, systemic values, and the viewer here is also included in the action, and not as an individual. There has always been very little of this in the Russian theater, but we can find elements in the art of Tairov and Koonen, and now just such a turn is happening with A. Vasiliev. The second type is game communication, which corresponds to the theater of performance. You are offered the field in which you play. And the third is interpersonal communication, and the theater most beloved by Russian people is such, that is, of course, the theater of experience.

N.P. All this has to do with the problems of the artistic method. Moreover, the rite and the game were not separated from the very beginning. And Vasiliev has both a metaphysical and playful nature. And here it is just interesting that the origins of the theater do not have a genre, the theater is initially syncretic. Art begins without a genre. On the other hand, genre is a communicative category. Here we are watching the "Orchestra" of the Small Drama Theatre, and if we do not know what guignol, farce, profanity, etc., if I do not master this genre language, it will seem to me that I see blasphemous nonsense. There is the truth of the genre, really coming from the viewer.

M.D. What should the ancient viewer know? Tragedy and comedy. And how many genres have grown over the twentieth century! At the same time, as N. Pesochinsky once rightly said, the genre memory of our directors (especially the audience) does not extend beyond the performances of Akdrama in the 1930s. Their aesthetic memory for genres is minimal. It seems to me that our directors can extract the dramatic from the comic, the comic from the dramatic, but they do not extract the comic from the tragic, and the tragic from the comic. That is, they do not work with poles. The swing does not swing wide.

L.Z. There is a term "atragedy". When everything is like a tragedy, but there is no catharsis and other things ...

M.S.-N. Mankind has already lost knowledge several times throughout its existence. Several times lost the theory of the golden section, then again opened, found. Today, the secret of tea spouts and the genre of tragedy has been lost.

Now we can talk about the return of the syncretism of culture, about the disappearance and even the absence of boundaries not only between tragedy and comedy, but even between art and non-art. Many things now, according to critics, lie outside the boundaries of culture. And yet they are consumed by the majority of mankind precisely as products of culture and art. And one more thing - the logic of our conversation raises for discussion another problem related to this - the problem of "taste", the problem of evaluation.

M.D. As the play Arcadia says, “we drop and pick up at the same time. What we do not pick up, those who follow us will pick up.

A literary hero is a complex, multifaceted person. He can live in several dimensions at once: objective, subjective, divine, demonic, bookish. He takes on two forms: inner and outer. It goes in two ways: introverting and extroverting.

A very important role in depicting the inner appearance of the hero is played by his consciousness and self-awareness. The hero can not only reason, love, but also be aware of emotions, analyze his own activities. The individuality of a literary hero is especially clearly reflected in his name. Profession, vocation, age, history of the hero pedal the process of socialization.

16. The concept of genre. "Memory of the genre", genre content and genre carrier

Genre is a historically formed internal subdivision of each kind, uniting works with common features of content and form. Each of them has a certain set of stable properties. Many literary genres have their origins and roots in folklore. Genres are difficult to systematize and classify (unlike the genres of literature), stubbornly resist them. First of all, because there are a lot of them: in each fiction, genres are specific (haiku, tanka, gazelle in the literatures of the countries of the East). In addition, the genres have a different historical scope; In other words, genres are either universal or historically local. Literary genres (in addition to content, essential qualities) have structural, formal properties that have a different measure of certainty.

Traditional genres, being strictly formalized, exist separately from each other, separately. They are determined by strict rules - canons. The canon of a genre is a certain system of stable and solid genre features. The canonicity of the genre, again, is more characteristic of ancient art than modern.

Comedy is a genre of drama in which the action and characters are interpreted in the forms of the comic; the opposite of tragedy. Displays everything ugly and ridiculous, funny and awkward, ridicules the vices of society.

Drama has been one of the leading genres of drama since the Enlightenment (D. Diderot, G. E. Lessing). Depicts mainly the private life of a person in his sharply conflicted, but, unlike tragedy, not hopeless relations with society or with himself

Tragedy is a type of dramatic work that tells about the unfortunate fate of the protagonist, often doomed to death.

A poem is a piece of literature written in verse.

Elegy is a genre of lyric poetry. Stable features: intimacy, motives of disappointment, unhappy love, loneliness, the frailty of earthly existence, etc.

Romance - a musical and poetic work for voice with instrumental (mainly piano) accompaniment

Sonnet - a solid form: a poem of 14 lines, forming 2 quatrains-quatrains (for 2 rhymes) and 2 three-line tercetes (for 2 or 3 rhymes).

Song is the most ancient form of lyric poetry; a poem consisting of several verses and a chorus.

Essay - the most reliable type of narrative, epic literature, displaying facts from real life.

The story is the middle form; a work that highlights a series of events in the life of the protagonist.

A poem is a kind of lyrical epic work; poetic storytelling.

The story is a short form, a work about one event in the life of a character.

The novel is a great form; a work, in the events of which many characters usually take part, whose fates are intertwined.

Epic - a work or cycle of works depicting a significant historical era or a major historical event.

The concept of "genre memory"

Genre is a historically formed internal subdivision of each kind, uniting works with common features of content and form.

"Memory of the genre" is a frozen, formally meaningful structure, in the captivity of which is every creator who has chosen this genre.

Genre-forming beginnings were both poetic meters (meters), and strophic organization, and orientation to certain speech constructions, and construction principles. Complexes of artistic means were strictly assigned to each genre. The laws of the genre subjugated the creative will of writers.

Lesson Objectives:

Ø Learn to perceive music as an integral part of every person's life.

Ø To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Ø Formation of the listener's culture on the basis of familiarization with the highest achievements of musical art.

Ø Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Ø F. Chopin.

Ø There was a birch in the field. Russian folk song(hearing).

Ø P. Tchaikovsky.

Ø V. Muradeli, poetry Lisyansky. School path (singing).

Ø V. Berkovsky, S. Nikitin, poetry A. Velichansky.

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: What does the musical genre tell about. "Memory of the Genre"

III. Work on the topic of the lesson.

– How do you understand the expression “memory of the genre”?

The vast world of musical content is encrypted primarily in genres. There is even such a concept as “memory of a genre”, indicating that genres have accumulated a huge associative experience that evokes certain images and ideas in listeners.

What do we imagine when we listen to a waltz or a polka, a march or a lullaby? In our imagination, couples circling in a noble dance (waltz), cheerful youth, lively and laughing (polka), solemn tread, elegant uniforms (march), affectionate motherly voice, home (lullaby) immediately appear in our imagination. Such or similar representations evoke these genres in all the people of the world.

Many poets wrote about this ability of music - the ability to evoke images and ideas in memory.

Appeal to certain genres and the composers themselves often evoked vivid and lively images. So there is a legend that Fryderyk Chopin, composing the Polonaise in A flat major, saw around him a solemn procession of gentlemen and ladies of bygone times.

Due to this feature of genres, which contain huge layers of memories, ideas and images, many of them are used by composers intentionally - to sharpen one or another life content.

Ø F. Chopin. Polonaise in A flat major, Op. 53 No. 6 (hearing).

Genuine folk genres or skillfully executed stylizations are often used in musical works. After all, they were most closely connected with the way of life of people, they sounded during work and fun, at weddings and funerals. The vital content of such genres is inextricably intertwined with their sound, so that by introducing them into his works, the composer achieves the effect of complete authenticity, immersing the listener in the color of time and space.

Everyone knows the Russian folk song "There was a birch in the field." Her melody seems simple and unassuming.

However, it was this song that P. Tchaikovsky chose as the main theme of the finale of his Fourth Symphony. And by the will of the great composer, it became the source of the musical development of the whole movement, changing its character and appearance depending on the current of musical thought. She managed to give the sound of the music either a dance or a song character, a mood both dreamy and solemn - in a word, she became infinitely diverse in this symphony, which only genuine music can be.

And yet, in one - its main quality - it remained intact: in a deeply national Russian sound, as if capturing the nature and appearance of Russia, so dear to the heart of the composer himself.

Ø There was a birch in the field. Russian folk song(hearing).

Ø P. Tchaikovsky. Symphony No. 4. IV movement. Fragment (hearing).

Vocal and choral work.

Ø V. Muradeli, poetry Lisyansky. School path (singing).

Ø V. Berkovsky, S. Nikitin, poetry A. Velichansky. To the music of Vivaldi. (singing).

Work on sound formation, diction, breathing, character of performance.

IV. Summary of the lesson.

Appeal to the national song or dance genre in a piece of music is always a means of vivid and reliable characterization of the image.

V. Homework.

Learn lyrics.

AT In the modern post-structuralist, deconstructivist theoretical context, reliance on the category of "artistic world" seems to be especially relevant. On the one hand, this term is associated with the domestic tradition of understanding the artistic meaning as integral and present. On the other hand, "art world" involves considering all the works of the author as a "single text", which is associated with the idea of ​​the so-called "cross-genre" (Yu.M. Lotman, V.N. Toporov). With this approach, all the works of the author are considered as a holistic, single, probabilistic text. Fragments, unfinished compositions, versions and variants are perceived in their unity. Incomplete, unfulfilled things are included in the same row with published works. In this case, the last point set by the author and the subsequent publication of the text are not final and can be passed in the forward and backward directions, which echoes the systemic principles proposed by I. Prigogine.

Significant deviations, undoubtedly inherent in different texts, do not remove the single principle of their generation - the energy of semantic cohesion that unites unequal works into a “single text” - a “statement” included in a certain semantic sphere.

The study of the artistic world does not fit into the accepted formal framework. In such studies, genre definitions are used not in the genre-restrictive, but in the genre.

ART WORLD

Rovo-connective sense, as part of a single text. Moreover, the “text” appears here “as a kind of monad reflecting in itself all texts (in the limit) of a given semantic sphere” 1 . Of great importance is also the analysis of the generation and deployment of the "artistic world", which goes back to generative poetics. Note that the “generation” of the whole series of texts by a particular author is most conveniently considered at this “cross-genre” level. Obviously, important aspects of the concept of "artistic world" are associated with the description of the "individual mythology" of the author, which appears in this case as a super-genre phenomenon. At the same time, traditional literary genres also have their own “artistic world”. clashindividual mythology author with a collective genre mythology and constitutes the "artistic world" of a particular work.

In the "literature" system, the category "artistic world" is associated primarily with the relationship between the author and all the texts of a given author (including variants of texts). Fundamentally important is the very moment of naming, generating the text. However, the concept of "artistic world" also includes the aspect of completeness, the formalization of the artistic whole.

1 Bakhtin M.M. Aesthetics of verbal creativity. - M., 1986. S. 299."

2 Losev A.F. The problem of artistic style / Comp. A.A. Tahoe-Godi. -
Kyiv, 1994. P. 226. From the standpoint of philosophical aesthetics M. Bakhtin in the 20s
formulates his understanding of the terms "aesthetic world" and "artistic
ny world”, which later influenced Russian philology. through
the motive of his scientific work was the idea of ​​the author as "... a carrier
tense-active unity of the completed whole...» See: Bakhtin M.M.
Aesthetics of verbal creativity / Comp. S.G. Bocharov. - M., 1979. S. 16. Bakhtin
introduces the term "architectonics of the artistic world", which is associated with
creative activity of the author. It is this "architectonics" that determines
“... the composition of the work (order, distribution and completion, concatenation
word masses ... ”(S. 181). According to the researcher, "architectonics"
appears as "the principle of vision and the object of vision" at the same time. This
formula is one of the brilliant explanations of the concept of "artistic
world". From Bakhtin's theoretical propositions included in the semantic field
"artistic world", the principle of "mixing moments" of content follows

Sense fills the zone of meaning of the category "artistic world". Probably, style is the "artistic world" in its technical aspect, taken from the perspective of "incarnation". "The Artistic World" signals the inseparability of artistic thinking and its implementation, content and form, statics and dynamics. In this category, the differences between the written, published text and the material that remains in the manuscript disappear. A work created and potentially able to exist has legal rights from the point of view of the "artistic world". So, artistic world- it is not only a principle, but also an embodiment, design and construct at the same time, modeling and model, synthesis of statics and dynamics, an invariant of possible realizations of the symbolic model of the world not only in a given work (text), but also in many works of this series. Art world- it is a symbolic invariant static-dynamic model of a work or creativity in general, surrounded by a fan of potential texts-variants.

In a different system of terms, one can speak of the "artistic world" as a system of "concepts" in the work of a given author (or a given era). Concepts are "... some substitutions of meanings, hidden in the text "substitutes", some "potentials" of meanings... ". The "artistic world" reproduces reality in a kind of "reduced", conditional version" 3 .

And forms. The retention of this "mixture" about which Bakhtin wrote is the specific meaning of the term. The category "artistic world" captures the idea of ​​"form content". In the book "Gogol's Mastery" (1934), A. Bely emphasized that "<...>the content withdrawn from the process of its formation is empty; but the form outside this process, if it is not a form in motion, is empty; form and content are given in form content, which means: form is not only form, but also somehow content; content is not only content, but also somehow the form; the whole question is: how exactly!"(italics - A.B.). The category "artistic world" just contains the answer to the question "how exactly!", because it involves attention to the static and dynamic aspects of form and content at the same time. Cm.: White Andrew. Mastery of Gogol / Foreword. N. Zhukova. - M., 1996. S. 51.

3 Likhachev D.S. The Conceptosphere of the Russian Language // Russian Literature: From the Theory of Literature to the Structure of the Text. Anthology / Ed. d.ph.s., prof. V.P. Unrecognized. - M., 1997. S. 283.; Likhachev D."The inner world of a work of art" // Questions of Literature. No. 8. 1968. P. 76.

ART WORLD

For the terms "conceptosphere" and "artistic world" the semantics of the “circle”, the semantic scope, deeply thought out by W. von Humboldt and G.W.F. Hegel. W. von Humboldt notes that the poet creates a fundamentally different world in his work with the power of imagination. The work, like language, appears to the German philosopher both as a process and as a result. The work arises as a result of the transformation of reality into an image. It becomes.

Humboldt emphasizes the idea of integrity and independence of the work. According to the German philosopher, “... the poet erases in him the features based on chance, and brings everything else into a relationship in which the whole depends only on itself...” This “integrity” (Totalitat) W. von Humboldt defines like "peace". At the same time, the word "world" is not used as a metaphor. "Integrity" in art occurs when the artist manages to bring the reader or viewer into a state in which they could see(italics - W. von Humboldt) all. According to Humboldt, “the world” is “... a vicious circle of everything real”, where “... the desire for completeness closed within itself” reigns, and “... every point is the center of the whole.” In other words, the "artistic world" is capable of unfolding from any point. Therefore, all elements of the work are equivalent. It is obvious that the Russian formalists largely followed W. von Humboldt and A.A. Potebne, putting forward a position about the significance of even the smallest elements of form.

In Hegel's Aesthetics, these ideas are further elucidated. The German philosopher understands a poetic work primarily as an “organic integrity”. In other words, the meaning of the work (in the language of Hegel - its "universal", its content) "equally" organizes both the work as a whole and its various aspects ("everything small in it"), "... just as in In the human body, every member, every finger forms the most elegant whole, and as in general, in reality, any creature represents a world closed within itself. Already here Hegel introduces the concept of "world", although he still uses it only by analogy. Further, the author of "Aesthetics" directly correlates this term with a work of poetic art. Hegel develops the position according to which “... the universal, constituting

The growing content of human feelings and actions must appear as something independent, completely finished and as a closed world(emphasis mine - V.Z.) on its own." A work of art is such a completely independent "world". Hegel explains that "self-sufficiency" and "isolation" must be understood "...simultaneously and as development(italics - Hegel), division and, consequently, as such a unity, which, in essence, proceeds from itself in order to come to a real isolation of its various sides and parts "4. Thus, the" world "of the work is self-sufficient and at the same time capable of development , closed-open unity. This unity contains the "individual", "special" view of the poet on the world. This "special" indicates an individual, concrete-sensual form of embodiment of the universal content in the work.

Later, similar thoughts were developed in Russia by G. G. Shpet and the German philosopher H.-G. Gadamer, who proposed a broad understanding of the term "hermeneutic circle". Based on the ideas of A.A. Potebnya and G. G. Shpet, one should once again emphasize the idea that The "artistic world" of the work is an analogue of the internal form of the word.

The "artistic world" as a "model of models" is associated with many private models, including:

2) artistic time-space (“chronotope” according to ter
minology M.M. Bakhtin);

3) the principle of motivations (the artistic logic of the author, his
"playing with reality" (B.M. Eikhenbaum).

These basic models work at levels: plot-thematic, character and of course, language.

At the linguistic level, one can clearly see how the process of generating the "artistic world" is translated into a result. language, on

4 Humboldt Wilhelm. Language and philosophy of language / Comp. A.V. Gulyga and G.V. Ramishvili. - M., 1985. S. 170-176. (Translated by A.V. Mikhailov.) Gegel Georg Wilhelm Friedrich. Aesthetics: In 4 vols.: Vol. 3 / Ed. Mikh. Lifshitz. - M., 1971. S. 363-364. (Translated by A.M. Mikhailov.)

ART WORLD

The language in which a work is written becomes the language of that work. The laws of contextual synonymy and antonymy begin to operate. The linguistic "process-result" is another example of the action of direct and feedback in the literature.

The question of the interaction of different levels of the "artistic world" is very complicated. An important aspect of the study is the analysis of the expression of some parameters in the language of others, the consideration of contextual synonymy / antonymy of units of different levels.

The specificity of the category "artistic world", and, perhaps, its uniqueness lies in the combination of static and dynamic moments, since this world arises at the moment of generating a poetic statement, "externalization", textualization of the internal, names of the world (generation of names). As a result, it becomes possible to simultaneously analyze both the formation of the text and its result 5 .

5 Archpriest Sergiy Bulgakov expresses deep thoughts about the nature of “naming” in his book “Philosophy of the Name”. The concept of S. Bulgakov, associated with the tradition of naming, implies the objective, cosmic significance of language as a carrier of thought. He understands by "naming" "... the act of birth... the moment of birth", when the "name-idea" is connected with matter. The philosopher considers the essence of the word to be its ability to name, which consists in "predicate", that is, defining one in terms of the other. "Predictability" lies primarily in the function of the link "there is". The author of The Philosophy of the Name states that “... a bundle expresses the world connection of everything with everything(italics - Sat.) the cosmic communism of being and the altruism of its every moment, i.e. the ability to express through the other. According to Sergiy Bulgakov's ideas, the word is an "incomprehensible and antinomic" "fusion" of "ideal and real", "phenomenal, cosmic and elementary". In other words - words are symbols(italics - Sat.). Features of the "naming" of the artistic world, the processes of end-to-end semantization of all its elements, both significant and secondary, determine the mechanisms of its generation. Cm.: Bulgakov Sergiy. Name philosophy. - M., 1997. S. 33-203. It is clear that similar ideas were expressed by P.A. Florensky and A.F. Losev. S. Bulgakov appears here only as one of the authors of a large series. Cm.: Florensky Pavel. Names // Small collected works: Vol. 1 / Prep. text: hegumen Andronik (Trubachev) and S.L. Kravets. - Kupina, 1993; Cm.: Losev A.F. Being. Name. Space. - M., 1993. S. 613-880; Losev A.F. Name: Works and translations / Comp. A.A. Tahoe-Godi. - SPb., 1997. S. 127-245. Taking a different position in philosophy, G.G. Shpet also emphasized that in the process of naming a thing there is a “grasping”, “concepting” of it. At the same time, poetic naming often leads to "... complete emancipation from existing(italics - G.Sh.) of things". Cm.: Shpet G.G.

The "artistic world", taken as a supra-genre phenomenon, is the "individual mythology" of the author. This term can be understood as the "individual myth" of a particular author embodied in the texts, which is "... a unifying invariant, inextricably and deeply connected with constant, diverse variability." This "individual mythology" reworks the biography of the poet and, in turn, is reworked by it 6 . Based on the views of P.O. Yakobson about “permanent mythology”, a deep characterization of the “poetic world” as a concept of literary theory is given in a number of works by Yu.M. Lotman. The researcher comes to the conclusion that the individuality of each particular author lies "... in the creation of occasional symbols (in a symbolic reading of the non-symbolic) ...", as well as "... in the actualization of sometimes very archaic images of a symbolic nature." From the point of view of the researcher, in order to understand the "poetic world" it is necessary to grasp "... a system of relations, which

Works / Foreword E.V. Parsnip. - M., 1989. S. 395, 408. Later, Yu. Lotman also puts forward these provisions. In his opinion, "... an individual poetic nomination turns out to be at the same time a picture of the world seen through the poet's eyes." Cm.: Lotman Yu.M. Jan Mukarzhovsky - art theorist // Mukarzhovsky Ya. Studies in aesthetics and art theory. - M., 1994. S. 25.

6 Jacobson Roman. Selected works / Comp. and general edition by V.A. Zvegintseva. - M., 1985. S. 267. Even earlier, the author reveals this concept in the 1937 article "Statue in Pushkin's poetic mythology." See: Jacobson Roman. Statue in poetic mythology of Pushkin // Jacobson Roman. Works on poetics / Comp. and general ed. Doctor of Philology M.L. Gasparov. - M., 1987. S. 145-180. M.L. Gasparov defines the artistic world of a text as “... a system of all images and motifs present in a given text. /.../ The frequency thesaurus of the writer's language (or a work, or a group of works) - this is what the "artistic world" is in translation into the language of philological science. Cm.: Gasparov M.L. Artistic world of M. Kuzmin: formal thesaurus and functional thesaurus // Gasparov M.L. Selected articles. - M., 1995. S. 275. Under the "picture of the world" A.Ya. Gurevich understands “... the system of ideas about the world embodied in the text, which has developed in the mind of an individual, one or another human community, nation, humanity as a whole ...” Citing this well-known position, F.P. Fedorov explains: “The picture of the world” contains a kind of transcendental grid, i.e. dominant categories, "... demonstrating the most general, fundamental concepts of consciousness ...". Cm.: Fedorov F.P. Romanticism and Biedermeier // Russian Literature. XXXVIII. - North Holland, 1995. P. 241-242.

ART WORLD

The poet sets between(in all cases, italics - Yu.L.) fundamental images-symbols. Under the "poetic world" Y. Lotman means a "crystal lattice of mutual connections" between these symbols 7 .

Just as important is the "system of relations" between the supra-genre "individual mythology" of the author and genre memory. We are talking about freedom and the simultaneous limitation of the “artistic world”. In the literary process, the supra-genre existence of texts is possible only hypothetically. The “artistic world” of any author is always “restricted” by the “genre world”.

A genre can be understood as a "collective", generalized artistic world, formed as a result of the movement in time of the creations of writers from different countries, trends and eras. The "memory of the genre" (Bakhtin's term) is the very integrity, the structural unity that is imposed on the author's "individual mythology", changing it. The "artistic world" as such arises as a result of the "meeting" of "individual mythology" and the "memory of the genre". This is the same problem that A.N. Veselovsky, reflecting on the "boundaries" of personal creativity, personal "initiative", colliding with tradition, "tradition". The ratio of the categories "genre" and "artistic world" determines the nature of a particular work.

Let's take F. Kafka's "artistic world" as an example. Here the word has almost lost its ability to act as a "bundle", a Logos, a means and content of the Dialogue. When violated "connection", then removed and "predicability"(term S. Bulgakov). In Kafka's world proper names and topographic designations disappear. The protagonist of the novel "The Trial", the procurator of a certain bank, Josef K., turns into a land surveyor K. from the novel "The Castle". The unnamed, anonymous space in Kafka's short stories most often does not expand, but collapses. The movement is directed from light into darkness ("Nora"), from the street and the window - to the dark center of the house ("Sentence"). As you roll

7 See: Lotman Yu.M. Typological characteristics of the realism of late Pushkin // Lotman Yu.M. In the school of poetry. Pushkin. Lermontov. Gogol: A book for teachers. - M., 1988. S. 131. See also: Lotman Yu.M. The poetic world of Tyutchev // Lotman Yu.M. Selected articles: In 3 vols. Vol. 3. - Tallinn, 1993. P. 147.

One of the possibilities of art. Literature and art are open systems in which direct and reverse links, creating a "musical" movement of meanings. This "musicality", symbolic and mystical by its very nature, A.F. Losev defines as "universal and inseparable fusion and interpenetration" of often opposite and "self-contradictory" parts 10 .

In our case, the "artistic world", studied by the method of an integrated approach to literature, is considered as a macrosystem. It is focused on the author, the tradition of the text, reality and reader's perception. In turn, all these elements also represent a system associated with a literary text by genetic, logical, intuitive, symbolic relationships. It is not necessary for the researcher to consider all these connections in their ultimate depth. But an integrated approach assumes that they are taken into account, even if the emphasis is on the problematics of the work, the "individual mythology of the author", the problem of artistic style, characterology, and so on. The proposed structural unity of the concept of fiction does not contradict the concept of "artistic world". The inevitable schematism of the System, unable to reflect both statics and dynamics, the artistic text and the process of its implementation can be partly overcome by understanding the inconclusiveness of the result.

Questions to the topic: 1. How do you understand the "individual mythology" of the author? Give examples of supporting symbols that make up the "individual mythology" of A. Blok.

10 See: Losev A.F. Music as a subject of logic // Losev A.F. The form. Style. Expression / Comp. A.A. Tahoe-Godi. - M., 1995. S. 406-602.

ART WORLD 189

3. What is the specificity of naming the world in the writer's work? Give your analysis of the beginning and ending of N.V. Gogol "The Nose".

Literature on the topic

1. Bakhtin M.M. Aesthetics of verbal creativity / Comp. S.G. Bocharov. -

2. Likhachev D. The inner world of a work of art // Questions

literature. No. 8. 1968.

additional literature

1. Humboldt Wilhelm. Language and philosophy of language / Comp. A.V. Gulyga and

G.V. Ramishvili. - M., 1985.

2. Losev A. F. The problem of artistic style / Comp. A.A. Tahoe-Go-
di. - Kyiv, 1994.

CONCEPT DICTIONARY

Literature (from lat. littera - letter) - a set of written and printed texts that can receive the status of a work of art in the system:

Work

Reader

Text(from Latin textus, textum - fabric), written or printed, is a form of existence of a work of verbal art.

Communication(from Latin communicatio - communication, message) - a category denoting the interaction of system elements taken in a semiotic aspect. The theory of communication developed rapidly in the last decades of the 20th century due to the advances in cybernetics and computerization. In linguistics, psychology, ethnology, a wide range of functions and possibilities of communication has been revealed. In the literature, communication is a condition for the interaction of elements, a means of implementing forward and reverse links systems.

System(from the Greek - a whole made up of parts). System - a set of elements that are in relationships and in mutual dependencies. The main property of a system is that the system is greater than the sum of its parts.

The construction of the "general theory of systems" belongs to the Austrian theoretical biologist L. Bertalanffy (1901-1972), who applied the formal apparatus of thermodynamics to biology and developed general principles for the behavior of systems and their elements.

Among the main ones are the principle of integrity and universal dependence, the presence of system-forming factors, hierarchy, the irreducibility of the properties of the system to the sum of the properties of its elements, the relative independence of the elements that are in relation to the system subsystems. The set of relationships between elements forms system structure:

Systems approach- direction of methodology, which is based on research systems, It came into scientific use in the last decades of the 20th century in connection with discoveries in thermodynamics (I. Prigogine's Nobel Prize).

Structure~ the main property of an object, its invariant, an abstract designation of the same entity, taken in abstraction from specific modifications-variants.

Method(from Greek through Latin methodus - “following + path”) - a way to build and justify a system of scientific knowledge, in this case about literature and its history.

Dialogism- an extremely broad principle that affirms the existence meaning in communication. Dialogism differs from "dialogue as one of the compositional forms of speech". The dialogue of man with people, the world and the Creator is described by M.M. Bakhtin as contact and contact of individuals endowed with unique voices. Of exceptional importance is the category of the boundary between "one's own" and "alien" consciousnesses, where the "change of speaking subjects" takes place. According to M. M. Bakhtin, the author and the hero enter into a dialogic relationship. In this case, it is possible to "intersect" the planes of the author's speech and the character's speech. Generalizing this particular moment, we can say that meaning arises at the intersection of planes. “Attitude to meaning is always dialogic” - this is the main thesis of the scientist.

inner form- one of the signs of the meaning of the word, connected with its sound. The presence of different words for the same phenomenon illustrates this phenomenon. A.A. Potebnya defined the internal form as "the image of the image", "representation".

"Internal form" is a deep model of the emergence of the meaning of the word. Following the tradition of W. von Humboldt and A.A. Potebni, G.G. Shpet considers the "internal form" as the most important element of the structure of the word. Perceived as a dynamic structure, the meaning of the word turns out to be mobile. The actual meaning of the word thus appears only as one of the facets of its meaning. In the course of literary communication, "third kind of truth" when

Concept dictionary

A sign (a word, a gesture, their combination) ceases to be only a “concept” or only a “representation”, appearing “between representation and concept” (G. Shpet).

reception- intersection of impact and perception, "recreation" and"recreation", leading to the generation of meaning.

Art world is the relationship of the processes of genesis (Author M- Work) and functioning (Work -SCH- Reader) in the "literature" system. The artistic world can be represented as a symbolic static-dynamic model of a work or creativity.

TOPICS OF SUMMARY AND REPORTS

1. Literature as a kind of verbal creativity.

2. Literature as a system.

3. History of the study of literature as a system.

4. The specifics of literary communication.

7. The problem of tradition in the historical poetics of A.N. Veselovs-
whom.

9. The problem of dialogism in the works of M.M. Bakhtin.

10. The fact of life and the fact of literature: the controversy of the sociological
and formal schools.

11. Yu.M. Lotman on the structure of a literary text.

12. Literary translation as a problem of comparative studies.

13. Reception of Shakespeare (Goethe, Byron, Hoffmann, etc.) in Russian
Russian literature of the XIX-XX centuries.

14. Image of Russia in English (French, German, etc.)
literature of the 19th and 20th centuries.

15. The provisions of the general theory of systems by I. Prigogine apply
in relation to the "literature" system.

16. Hermeneutic circle in the works of H.-G. Gadamer.

Topics of abstracts and reports

18. The main parameters of the writer's artistic world (badly
feminine work).

19. V. Nabokov - reader and translator of the novel by A.S. Pushkin
"Eugene Onegin".

20. Poetry of B. Pasternak (O. Mandelstam, I. Brodsky, etc.)
as an intertext.

21. Pastiche novel as a variant of intertext (B. Akunin, J. Barnes,
P. Suskind, M. Pavic, U. Eco and others).

22. Concepts of the artistic world of F. Kafka.

23. A systematic approach to the analysis of a work of art
at school (on the example of M.Yu. Lermontov's poem "Mtsyri").

24. The principle of historicism in university lectures on literature.

25. Describe the main literary methods and
approaches dating back to A.N. Weight-
lovsky.

Academic schools in Russian literary criticism. - M., 1975.

Alekseev M.P. Comparative Literature / Ed. ed. Academician G.V. Stepanov. - L., 1983.

Alekseev M.P. Russian culture and the Romanesque world. - L., 1985. Andreev L.T. Surrealism. - M., 1972.

Anikin G.V., Mikhalskaya N.P. History of English Literature. - M., 1975.

Askoldov S.A. Concept and word // Russian literature. Anthology / Pod. total ed. d.ph.s., prof. V.P. Unrecognized. - M., 1997.

Balashova T.V. French poetry of the XX century. - M., 1982.

Bart R. Selected Works: Semiotics. Poetics / Comp. G.K. Kosikov. - M, 1989.

Bakhtin M.M. Aesthetics of verbal creativity. - 2nd ed. / Comp. S.G. Bocharov. - M., 1986.

Bakhtin M.M. Literary-critical articles. - M., 1986.

White Andrew. Mastery of Gogol / Foreword. N. Zhukova. - M., 1996.

Bogin G.I. Philological hermeneutics. - Kalinin, 1982.

Broitman SP. Historical Poetics: Textbook. - M., 2001.

Verley M. General Literature. - M., 1967.

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