Fiction and non-fiction are the two main types of literature. A work of fiction is a story created through the imagination of the author, it is not based on real events and does not involve real people, although it may refer to real events and people. Fiction is not based on truth, but contains many of its elements. Artistic, by far the most popular view literature, you will find it in any genre. If you want to write your own fictional story all you need is a little time and creativity.

Steps

Writing a work of art

Decide in what format you want to write your work. Although in this case there is no such thing as an absolute format, it is better if you create in the form of poetry or short stories, this will help to structure your work somewhat.

Come up with an idea. All books begin with a small idea, dream, or inspiration that gradually develops into a larger and more detailed version of that same idea. If you're short on imagination for good ideas, try this:

• Write on paper different words: "curtain", "cat", "investigator", etc. Ask each of them questions. Where is this situated? What it is? When is that? So write a paragraph about each word. Why is it where it is? When and how did it get there? What does it look like?
• Come up with heroes. How old are they? When and where were they born? Do they live in this world? What is the name of the city where they are now? What is their name, age, gender, height, weight, hair color, eye color, ethnic origin?
• Try to draw a map. Put a blot and make an island out of it or draw lines that will mean rivers.
• If you don't already have a diary, start now. Diaries are a great source of good ideas.

1. Feed your idea. She should get bigger. Make notes of what you would like to see in your story. Go to the library and get information on interesting topics. Walk and look at nature. Let your idea mix with others. It's sort of an incubation period.

   Come up with a main plot and setting. When does everything happen? In the present? In future? In the past? Several times at once? What time of year? Is it cold, hot or moderate outside? Does the action take place in our world? In another world? In an alternate universe? What country? City? Region? Who is there? What role do they play? Are they good or bad? Why is all this happening at all? Has something happened in the past that could affect what happens in the future?

   Write an outline of your story. Using Roman numerals, write a few sentences or paragraphs about what will happen in this chapter. Not all writers write essays, but you should try at least once to see what works for you.

   Start writing. For your first draft, try using pen and paper instead of a computer. If you're using a computer and something doesn't add up in your story, you're sitting there all the time typing and retyping trying to figure out what's wrong. When you write with a pen on paper, it's just on paper. If you get stuck, you can skip and move on, then just keep writing where you like. Use your essay when you forget what you wanted to write next. Continue until you finish writing.

   Take a break. After you've made your first sketch, forget about it for a week. Go to the cinema, read a book, ride a horse, swim, go for a walk with friends, go in for sports! When you take a break, you get more inspiration. It is very important not to rush, otherwise you will end up with a messy story. The more time you rest, the better your story will be.

   Read. That's right, you need to read your own creation. Just do it. As you read, take a red pen to make notes and corrections. In fact, take a lot of notes. Do you think there is a better word? Want to swap some sentences? Does the dialogue sound too ridiculous? Do you think it would be better to have a dog instead of a cat? Read your story out loud to help you find the mistakes.

   Check. Checking literally means looking at it again. Look at the story from different points of view. If the story is in first person, put it in third person. See whichever you like best. Try something new, add new storylines, add other heroes or equip already existing character new feature etc. At this stage, it is better to use a computer and print it all. Cut out the sections you don't like, add those that might improve your story, rearrange them, correct spelling, grammar, and punctuation. Make your story strong.

   • Don't be afraid to omit words, paragraphs, and even entire sections from your story. Many authors add to their stories unnecessary words or episodes. Cut, cut, cut. This is the key to success.

2. Edit. Go through each line, looking for typos, spelling and grammar mistakes, strange inappropriate words. You can look for certain errors separately, for example, only spelling, and then punctuation, or try to fix everything at once.

   • When editing your own work, it can often happen that you read what you thought you wrote, and not what you actually wrote. Find someone to do this for you. The first editor will find more bugs than you. It's good if it's your friend who also enjoys writing stories. Try to write your stories together and share useful secrets. Perhaps even read each other's work to find mistakes and make suggestions.

3. Format your manuscript. On the first page, in the upper left corner, you need to write your name, phone number, home and email address. In the right corner write the number of words rounded to the nearest ten. Press Enter several times and write a name. The title should be centered and somehow highlighted, for example, in bold or capital letters. Press Enter a few more times and start typing your story. The body of the text should be in Times New Roman or Courier (not Arial). The font size must be 12 or larger. So it's easier to read. Double spacing. Be sure to double spacing. The editors make notes between the lines. Make the borders about 4 cm, this is also for notes. Don't change the right border. It will only ruin everything by doing it like this. Sections must be separated by three asterisks (***). Begin each new chapter with new page. In case any pages of your manuscript get lost, all but the first page should contain the abbreviated title of the story, your last name, and page number. Finally, print your work on high quality A4 heavyweight paper.

   Print out several copies of the manuscript and give them to family friends to read and take notes. If you like these remarks, you can use them in your story.

4. Submit your manuscript to an editor or publisher and cross your fingers.

   • Try not to reveal all the cards from the very beginning. Give subtle hints, but don't reveal the ending to the reader. You need to make him want to read the book from beginning to end.
   • If you get an idea that doesn't quite fit in with the story, don't be afraid to change the events in the story a bit that precede your idea. Remember, stories are written to be exciting, to have unexpected twists, and most importantly, to express (or even surprise) the author.
   • If you can't come up with an event, write about a real one that happened to you and add a few touches to it to interest the reader even more.
   • Write down everything you would like to remember so you can build on those notes. It is much easier to remember what has been written down.
   • Have fun! Impossible to write good story if the author doesn't like it. It should be a wonderful experience and everything should come from your heart.
   • Don't panic if you're having a creative block! Use it to get new sensations and spark new ideas. Use it all to improve your story.
   • If you don't get a story, try again until some editor agrees to help you. They are very busy reading thousands of other manuscripts. Don't take rejection personally.
   • Even if you think you can't draw, illustrating the characters ahead of time is a plus. Visualizing characters will help you understand what a character in a story would do or how they would react.
   • Always print out a copy of the manuscript for yourself in case the story folder is tragically lost.
   • Make a list of your favorite words and try to include them in the story. Naturally, only in those places where it is appropriate.

   Warnings

   • Criticism is key to the overall success of your work, but don't let critics stifle your own vision (mostly friends, not editors). You are the author and it is up to you to decide how events develop in your book.
   • Don't let your story and its characters take over. Know your heroes, but don't let them control you. You are the author.
   • Don't use a pencil. When you write with a pencil, you want to erase what you don't like. Instead, use a pen to keep the creative process flowing smoothly. If you get stuck in one place, just skip and keep writing. Finish later during checkout.

   You will need

   • Lots of colored ink pens
   • Lots of lined paper
   • Computer and printer (Preferably laser, but inkjet works too)
   • High-grade thick A4 paper (For the finished manuscript)
   • A secluded place where you will write
   • Good imagination
   • Confidence in yourself and your literary work

   Sources

   • Short Story Writing & Critique Group. A free online community of writers. Based on weekly prompts, we submit stories and critique them in an effort to improve our own (and each other"s) writing. There is a Forum for discussion of various topics, and anyone is welcome to join.

General properties fiction

Fiction has whole line features that distinguish it from all other art forms and creative activity.

First of all, it is the use of language, or verbal language tools. No other art in the world relies entirely on language, is not created using only its expressive means.

The second feature of fiction is that the main subject of its depiction has always been and remains a person, his personality in all its manifestations.

The third feature of fiction should be recognized is that it is entirely built on the figurative form of reflecting reality, that is, it seeks to convey the general typical patterns of the development of society with the help of living, concrete, individual and unique forms.

Artwork as a whole

Literary piece of art as a whole reproduces either a holistic picture of life, or a holistic picture of experiences, but at the same time it is a separate finished work. The holistic character of the work is given by the unity of the problem posed in it, the unity of the problem revealed in it. ideas. Main idea of ​​a work or ideological meaning - this is the idea that the author wants to convey to the reader, that for which the entire work was created. At the same time, in the history of literature there were cases when the author's intention did not coincide with the final idea of ​​the work (N.V. Gogol " Dead Souls"), or a whole group of works was created, combined common idea(I.S. Turgenev "Fathers and Sons", N.G. Chernyshevsky "What to do").

The main idea of ​​the work is inextricably linked with its theme, that is, the vital material that the author took for the image in this work. Understanding the topic can only be achieved by careful analysis literary work as a whole.

Topic, idea are categorized content works. Category forms works include such elements as composition, consisting of a system of images and plot, genre, style and language of the work. Both of these categories are closely related, which made it possible for the famous literary researcher G.N. Pospelov to put forward the thesis about the substantive form and formal content of a literary work of art.

All elements of the work form are associated with the definition conflict, that is, the main contradiction that is depicted in the work. At the same time, this can be a clearly expressed conflict between the heroes of a work of art or between an individual hero and an entire social group, between two social groups (A.S. Griboyedov "Woe from Wit"). And maybe so, what's real expressed conflict cannot be found in a work of fiction because it exists between facts reality depicted by the author of the work, and his ideas about how events should develop (N.V. Gogol "The Government Inspector"). This is also related to such a particular problem as the presence or absence of goodie in the work. foreign literature prosody syntax

The conflict becomes the basis of plot construction in the work, because through plot, that is, the system of events in the work, the attitude of the author to the depicted conflict is manifested. As a rule, the plots of the works have a deep socio-historical meaning, reveal the causes, nature and development of the depicted conflict.

Composition of a work of art is the plot and the system of images of the work. It is during the development of the plot that characters and circumstances appear in development, and the system of images is revealed in the plot movement.

Image system in the work includes all actors, which can be divided into:

• - main and secondary (Onegin - mother of Tatyana Larina),
• - positive and negative (Chatsky - Molchalin),
• - typical (that is, their behavior and actions reflect modern social trends - Pechorin).

National originality of plots and the theory of "wandering" plots. There are so-called "wandering" stories, that is, plots whose conflicts are repeated in different countries and in different eras(the story of Cinderella, the story of the stingy pawnbroker). At the same time, the recurring plots take on the color of the country where they are currently being embodied in connection with the peculiarities of national development ("The Misanthrope" by Molière and "Woe from Wit" by A.S. Griboyedov).

Plot elements: prologue, exposition, plot, development of action, climax, denouement, epilogue. Not all of them must be present in a work of art. The plot is impossible only without the plot, the development of the action, the climax. All other elements of the plot and their appearance in a work of art depend on the author's intention and the specifics of the depicted object.

As a rule, they do not have a plot, that is, a system of events, landscape lyrical works. Sometimes researchers talk about the presence in them inner story, inner peace movement of thoughts and feelings.

Prologue- an introduction to the main plot of the work.

exposition- the image of the conditions for the formation of actors before the conflict and the character traits that developed under these conditions. The purpose of the exposition is to motivate the subsequent behavior of the characters. The exposition is not always placed at the beginning of the work, it may be absent altogether, it may be located in different places of the work or even at its end, but it always performs the same role - to acquaint with the environment in which the action will take place.

tie- the image of emerging contradictions, the definition of the conflict of characters or the problem posed by the author. Without this element, a work of art cannot exist.

Development of action- detection and reproduction artistic means connections and contradictions between people, the events taking place during the development of the action reveal the characters of the characters and give an idea of ​​​​the possible ways to resolve the conflict. Sometimes the development of an action involves whole paths life quest, characters in their development. It is also a mandatory element for any work of art.

climax represents a moment highest voltage in the development of action. It is an indispensable element of the plot and usually entails an immediate denouement.

denouement resolves the depicted conflict or leads to an understanding of the possibilities of its solution, if the author does not have this solution yet. Quite often in the literature there are works with an "open" ending, that is, without a denouement. This is especially common when the author wants the reader to think about the conflict depicted and try to imagine what will happen in the finale.

Epilogue - this is usually the information about the characters and their fate that the author wants to tell the reader after the denouement. It is also an optional element of a work of fiction, which the author uses when he believes that the denouement did not sufficiently clarify the depiction of the final consequences.

In addition to the above elements of the plot, there are a number of special additional elements of the composition that can be used by the author to convey his thoughts to readers.

The special elements of the composition are lyrical digressions. They are found only in epic works and represent digressions, that is, an image of feelings, thoughts, experiences, reflections, facts of the biography of the author or his characters, not directly related to the storyline of the work.

The additional elements are intro episodes, Narratives not directly related to the plot, but used to expand and deepen the content of the work.

Artistic framing and artistic anticipation are also considered additional elements of the composition, used to enhance the impact, clarify the meaning of the work, anticipate it with close-in-conceived episodes of future events.

Quite significant compositional role can play in a work of art landscape. In a number of works, it not only plays the role of a direct background against which the action takes place, but also creates a certain psychological atmosphere, serves to internally reveal the nature of the character or the ideological concept of the work.

significant role in compositional construction works plays and interior(that is, a description of the environment in which the action takes place), since it is sometimes the key to understanding and revealing the characters' characters.

ARTISTIC WORKS - a product of art. creativity, in Krom in sensually material form the spiritual content of its creator, the artist, is embodied and which meets certain criteria aesthetic value; main custodian and source of information in the field of art and culture. P. x. it can be single and ensemble, deployed in space and developing in time, self-sufficient or requiring performing arts. In the system of culture, it functions due to its material-subject carrier: the typographic text of the book, painting with its physico-chemical and geometric properties, cinematographic tape; in performing iek-vah - to the orchestra, actor, etc. Actually P. x. is constructed on the basis of the primary pictorial series: sounding or imaginary speech, a combination of shapes and color planes in fine arts, a moving image projected onto a film and television screen, organized system musical sounds, etc. Although, unlike a natural object, the creation of P. x. determined by the purpose of man, it occurs on the border with nature, because it uses natural materials(Material of art), and in some forms of art, P. arises in the process of rearranging and emphasizing natural objects (landscape) or in an ensemble with them (, memorial-monumental and landscape gardening). Being a product of specific creative activity, P. x. at the same time, it borders on the world of utilitarian and practical things (decorative and applied art), documentary and scientific sources, and other cultural monuments, for example. " historical novel there is, as it were, a point at which history as a science merges with art” (Belinsky). P. x. borders, however, not only on "practically useful", but also "on unsuccessful attempts art" (Tolstoy). It must satisfy at least the minimum requirements of artistry, i.e., stand on a step closer to perfection. Tolstoy divided P. x. into three types - P. outstanding: 1) "by the significance of its content", 2) "by the beauty of the form", 3) "by its sincerity and truthfulness." The coincidence of these three moments gives rise to. Artistic the merits of P. claims are determined by the talent of their creator, the originality and sincerity of the idea (in the claims of constantly renewing cultures), the most complete embodiment of the possibilities of the canon, (in the claims traditional cultures), a high degree of skill. The artistry of P. art is manifested in the completeness of the realization of the idea, the crystallization of its aesthetic expressiveness, in the content of the form, adequate to the general author's concept and individual nuances of figurative thought (Artistic Concept), in integrity, which is expressed in proportionality that meets the principle of unity in diversity , or in an emphasis towards either unity or diversity. Organism, apparent unintentionality of the present P. x. prompted Kant and Goethe to compare it with a product of nature, romantics - with the universe, Hegel - with man, Potebnya - with the word. Artistic the integrity of the P. of the claim, its completeness is by no means always adequate to the technical, quantifiable side constituent parts, its external completeness. And then the sketch is in a meaningful-hu-doge. relation is so precise that it outweighs in its significance and expressive power the detailed and outwardly large-scale P. x. (for example, V. Serov, A. Scriabin, P. Picasso, A. Matisse). In Soviet fine art, there are also detailed, outwardly finished paintings, and those in which there is a tendency to expressiveness, elevating a fragment to the status of an artist. integrity. However, in all cases, genuine P. x. there is a certain organization, orderliness, conjugation of aesthetic ideas into a whole. In the process of development of one or another type of art suit, the function can also be acquired by technical means, with the help of which P. x. delivered, transmitted to the public accepting the claim (for example, in cinema). In addition to the materially fixed plan P. x. carries encoded information of an ideological, ethical, socio-psychological order, which in its structure acquires an artist. value. Despite relative stability, P.'s content x. updated under the influence social development, art changes. tastes, trends and styles. Contacts in the field of art. contents are not fixed with unambiguous certainty, as is the case in scientific text, they are rather mobile, thereby P. x. is not closed in the system once and for all given meanings and meanings, but allows different readings. P. x., intended for performance, already in its textual structure suggests the versatility of artistic and semantic shades, the possibility of different artistic. interpretation. This is also the basis for the creation in the process of cultural inheritance of a new artist. integrity through creative borrowing from the treasury of aesthetic discoveries of past eras, transformed and modernized by the power of civic pathos and talent of new generations. artists. It is important, however, to distinguish the fruits of such creative borrowings from epigone handicrafts, where only the external features of one or another manner captured in P. x are most often reproduced. other masters, but the emotional-figurative fullness of the original is lost. The formal and soulless reproduction of plots and art. techniques does not give rise to a new organic and creatively suffered artist. integrity, but its eclectic likeness. As a cultural phenomenon, P. x. usually considered aesthetic theory as part of a particular system: for example, in the complex of art. values ​​of one or more types of art, united by a typological community (genre, style,), or within the framework of a socio-aesthetic process that includes three links: - P. x. -. Features of psychophysiological perception of P. x. are investigated by the psychology of art, and its existence in society - by the sociology of art.

Aesthetics: Dictionary. - M.: Politizdat. Under total ed. A. A. Belyaeva. 1989 .

See what "WORK OF ART" is in other dictionaries:

Piece of art- PIECE OF ART. To define a work of art, it is necessary to understand all its main features. Let's try to do this, keeping in mind the works of our great writers, for example, "The Brothers Karamazov" by Dostoevsky ... Literary Encyclopedia

Piece of art- product artistic creativity: in which the idea of ​​its creator, the artist, is embodied in a sensually material form; and which meets certain categories of aesthetic value. See also: Artistic works Works ... ... Financial vocabulary

Piece of art- This term has other meanings, see Work ... Wikipedia

Piece of art- PIECE OF ART. To define a work of art, it is necessary to understand all its main features. Let's try to do this, keeping in mind the works of our great writers, for example, "The Brothers Karamazov" ... ... Dictionary of literary terms

ARTISTIC SPACE- the space of a work of art, the totality of those of its properties that give it internal unity and completeness and endow it with an aesthetic character. The concept of "H.P.", which plays a central role in modern aesthetics, has developed only ... Philosophical Encyclopedia

A work of art in the era of its technical reproducibility- "The work of art in the era of its technical reproducibility" (Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit) essay, written in 1936, by Walter Benjamin. In his work, Benjamin analyzes the transformation ... ... Wikipedia

ARTISTIC KNOWLEDGE- 1) the knowledge of objective and subjective reality by a person (not an artist) who has an innate ability to figuratively see the world and perceive the world in a “beautiful shell”, as subjectively expressively colored (an example of such ... ... Philosophical Encyclopedia

piece of art- ▲ work of art in the form, literary work action (# of the novel occurs where). plot is the course of events in a literary work. plot move. intrigue (twisted #). | episode. exod. remark. | retardation. plot. sing. start. |… … Ideographic Dictionary of the Russian Language

ARTISTIC TIME AND ARTISTIC SPACE- ARTISTIC TIME AND ARTISTIC SPACE, the most important characteristics artistic image, providing a holistic perception of artistic reality and organizing the composition of the work. The art of the word belongs to the group ... ... Literary Encyclopedic Dictionary

Piece of art- a spiritually material reality that meets artistic and aesthetic criteria, which arose as a result of the creative efforts of an artist, sculptor, poet, composer, etc. and represents a value in the eyes of certain communities. ... ... Aesthetics. encyclopedic Dictionary

The integrity of a literary work as an ideological and artistic system. Its conceptuality and specific artistic completeness.

Organic unity of figurative form and emotionally generalizing content. The problem of their analytical distinction that arose in European aesthetics of the late 18th - early 19th centuries (F. Schiller, Hegel, Goethe). The scientific significance of such a distinction and its debatability in modern literary criticism (replacing traditional concepts with "meaning", "artistic semantics", "literal content", "text", "discourse", etc.). The concepts of "aesthetic idea" (I. Kant), "poetic idea" (F. Schiller), "idea of ​​beauty" (Hegel): the semantic nuances of these terms, revealing the mode of existence and formative potential of artistic thought (creative concept). "Specific" as common property ideas and image, content and form in a literary work. The creative nature of artistic content and form, the formation of their unity in the process of creating a work, the “transition” of content into form and form into content.

The relative independence of the figurative form, combining aesthetic expediency with "apparent randomness". Artistic form as the embodiment and deployment of content, its "symbolic" ("metaphorical") meaning and ordering role. The completeness of the form and its "emotional-volitional intensity" (M. Bakhtin).

Composition of an art form as a scientific problem; "internal" and "external" form (A. Potebnya). Aesthetic organization (composition) " artistic world” (depicted fictional reality) and verbal text. The principle of functional consideration of the elements of form in their meaningful and constructive role. concept artistic technique and its functions. Formalistic interpretation of this concept, isolating the artistic form from the content. Subordination of formal elements of the author's creative concept. The concept of structure as the correlation of the elements of the whole. The meaning of the terms "information", "text", "context" in the semiotic interpretation of fiction.

2. Content of a work of art

Poetic idea (generalizing emotional-figurative thought) as the basis of artistic content. The difference between a poetic idea and an analytical judgment; organic unity of the objective (subject-thematic) and subjective (ideological-emotional) sides; the conditionality of such a distinction within the artistic whole. The specificity of poetic thought, overcoming the one-sidedness of abstract thinking, its figurative ambiguity, "openness".

The category of an artistic theme, which makes it possible to correlate a poetic idea with its subject, with non-artistic reality. Author's activity in choosing a topic. The relationship between the subject of the image and the subject of knowledge; differences between them. Conjugation of specific historical and traditional, "eternal" themes in literature. The author's interpretation of the topic: the identification and understanding of life's contradictions under certain angle vision. Continuity of problems in the literature, their artistic originality. The value aspect and emotional orientation of the poetic idea, due to the author's ideological and moral attitude to the depicted contradictions of human life, the "judgment" and "sentence" of the artist. Different degree of expressiveness of emotional assessment in the integrity of a work of art (depending on the program and creative mindset of the author, genre and style tradition). Artistic tendency and tendentiousness.

Category of pathos. The ambiguous use of the term "pathos" in the science of the writer: 1) "the poet's love for the idea" (V. Belinsky), inspiring his creative idea; 2) the passionate aspiration of the character to a significant goal, prompting him to act; 3) the sublime emotional orientation of the poetic idea of ​​the work, due to the passionate and “serious” (Hegel) attitude of the poet to the subject of creativity. The connection of pathos with the category of the sublime. True and false pathos. " Pathos” and “mood” are varieties of poetic ideas.

Typology of poetic ideas as a literary-theoretic problem: thematic principle(social, political, religious, etc. ideas) and aesthetic principle(figuratively embodied "a system of feelings", according to F. Schiller, due to the ratio of the ideal of the artist and the reality he depicts).

Heroic in literature: the image and admiration of the feat of an individual or a team in their struggle with the elements of nature, with an external or internal enemy. The development of artistic heroics from the normative chanting of the hero to his historical concretization. The combination of heroism with drama and tragedy.

Tragic in Literature. The significance of ancient myths and Christian legends for understanding the essence of tragic conflicts (external and internal) and recreating them in literature. The moral significance of a tragic character and its pathos, inciting to action. A variety of situations reflecting the tragic collisions of life. Tragic mood.

Idyllic - artistic idealization of the "natural", close to nature way of life of "innocent and happy humanity" (F. Schiller), not affected by civilization.

Sentimental and romantic interest in the inner world of the individual in the literature of modern times. V. Belinsky on the meaning of sentimental sensitivity and romantic striving for the ideal in literature. The difference between the typological concepts of "sentimentality" and "romance" from the specific historical concepts of "sentimentalism" and "romanticism". Sentimentality and romance in realism. Their connection with humor, irony, satire.

Critical orientation of literature. Comic contradictions are the basis of humor and satire, which determine the dominance of the comic principle in them. N. Gogol on the cognitive significance of laughter. Humor - "laughter through tears" in connection with the moral and philosophical understanding of the comic behavior of people. Use of the term "humor" in the sense of light, entertaining laughter. Civic orientation of satirical pathos as an angry denunciation with laughter. The connection between satire and tragedy. Irony and sarcasm. Traditions of carnival laughter in literature. Tragicomic.

Compatibility and mutual transitions of types of poetic ideas and moods. Unity of affirmation and negation. The uniqueness of the idea of ​​a separate work and the breadth of its artistic content.

Epicness, lyricism, drama are typological properties of artistic content. Lyricism as a lofty emotional mood, affirming the value of the inner world of the individual. drama (drama)) as a state of mind that conveys a tense experience of sharp contradictions in social, moral, everyday relations between people.

epic as an elevated and contemplative view of the world, acceptance of the world in its breadth, complexity and integrity.

Interpretation the content of a work of art (creative, critical, literary, reader) and the problem of the boundary between its justified and arbitrary interpretation. The context of the writer's work, the idea and creative history of the work as guidelines for interpretation.

The term "literary work" is central in the science of literature (from the Latin Shvga - written in letters). There are many theoretical points of view that reveal its meaning, however, the following conclusion can act as a defining one for this paragraph: a literary work is a product of non-mechanical human activity; an object created with the participation of creative effort (V.

E. Khalizev).

A literary work is a statement, fixed as a sequence of linguistic signs, or a text (from Latin 1vkhY$ - fabric, plexus). Revealing the meaning of the terminological apparatus, we note that the symbolic supports "text" and "work" are not identical to each other.

In the theory of literature, text is understood as the material carrier of images. It turns into a work when the reader shows a characteristic interest in the text. Within the framework of the dialogical concept of art, this addressee of the work is an invisible person. creative process writer. As an important interpreter of the created work, the reader is valuable for a personal, different look in the perception of the entire work.

Reading is a co-creative step of literary skill. V. F. Asmus comes to the same conclusion in his work “Reading as labor and creativity”: “The perception of a work also requires the work of imagination, memory, binding, thanks to which what is read does not crumble in the mind into a bunch of separate independent, immediately forgotten frames and impressions , but

is firmly soldered into an organic and integral picture of life.

The core of any work of art is formed by an artifact (from Latin аНв/акШт - artificially made) and an aesthetic object. An artifact is an external material work, consisting of colors and lines, or sounds and words. An aesthetic object is the totality of what is the essence of an artistic creation, is fixed materially and has the potential to have an artistic impact on the viewer, listener, reader.

External material product and depths spiritual search, fastened into unity, act as an artistic whole. The integrity of a work is a category of aesthetics that characterizes the ontological problems of the art of the word. If the Universe, the universe and nature have a certain integrity, then the model of any world order, in this case - the work and the artistic reality contained in it - also have the desired integrity. To the description of the indivisibility of a work of art, let us add M. M. Girshman’s statement about a literary work as an integrity, which is important in literary thought: “The category of integrity refers not only to the whole aesthetic organism, but also to each of its significant particles. The work is not simply divided into separate interconnected parts, layers or levels, but in it each - both macro- and micro - element bears a special imprint of that integral artistic world, of which it is a particle.

The coherence of the whole and the parts in a work were discovered in ancient times. Plato and Aristotle associated the concept of beauty with integrity. Having invested their understanding in the formula of the “single completeness of the whole”, they clarified the harmonious coherence of all parts of a work of art, since “fullness” can turn out to be redundant, “overflowing”, and then the “whole” ceases to be “single” in itself and loses its integrity.

In the theoretical and literary field of knowledge, in addition to the ontological approach to the unity of a literary work, there is also an axiological approach, well known among critics, editors, and philologists. Here the reader determines how the author managed to harmonize the parts and the whole, to motivate this or that detail in the work; and also whether the picture of life created by the artist is accurate - the aesthetic reality, and the figurative world, and whether it retains the illusion of authenticity; the frame of the work is expressive or inexpressive: the heading complex, the author's notes, the afterword, the internal titles that make up the table of contents, the designation of the place and time of the creation of the work, remarks, etc. aesthetic perception creations; whether the chosen genre corresponds to the style of presentation, and other questions.

The world of artistic creativity is not continuous (not continuous and not general), but discrete (discontinuous). According to M. M. Bakhtin, art breaks up into separate, "self-sufficient individual wholes" - works, each of which "occupies an independent position in relation to reality."

The formation of the point of view of a language teacher, critic, editor, philologist, culturologist on a work is also complicated by the fact that not only the boundaries between works of art are blurred, but the works themselves have an extensive system of characters, several storylines, and a complex composition.

The integrity of a work is even more difficult to assess when the writer creates a literary cycle (from Latin kyklos - circle, wheel) or a fragment.

A literary cycle is usually understood as a group of works compiled and united by the author himself on the basis of ideological and thematic similarity, common genre, place or time of action, characters, form of narration, style, representing an artistic whole. The literary cycle is widespread in folklore and in all kinds of verbal and artistic creativity: in lyrics (“Thracian Elegies” by V. Teplyakov, “TsgY y OgY” by V. Bryusov), in epic (“Notes of a Hunter” by I. Turgenev, “Smoke of the Fatherland” I. Savina), in the drama (“Three Pieces for the Puritans” by B. Shaw, “The Theater of the Revolution” by R. Rolland).

Historically, the literary cycle is one of the main forms of artistic cyclization, i.e., the unification of works, along with its other forms: a collection, an anthology, a book of poems, stories, and so on. blocks. In particular, the autobiographical stories of L. Tolstoy "Childhood", "Boyhood", "Youth" and M. Gorky "Childhood", "In People", "My Universities" form trilogies; a historical plays W. Shakespeare in literary criticism is usually considered as two tetralogy: “Henry VI (part 1, 2, 3) and Richard III”, as well as “Richard II”, “Henry IV (part 1, 2) and Henry V”.

If in a single work the subordination of the part to the whole is important for the researcher, then in the cycle the connection of the parts and their sequence, as well as the birth of a new qualitative meaning, come to the fore. Let us turn to the apt conclusion of S. M. Eisenstein about internal organization cycle, which he understands as a montage composition. In his scientific writings, he pointed out that any two pieces placed side by side inevitably combine into a new representation that arises from this comparison as a new quality. The comparison of two montage pieces, according to the theorist, "is more like not their sum, but a product."

Thus, the structure of the cycle should resemble a montage composition. The meaning of the cycle always tends to exceed the sum of the meanings of the groups of the work, united into an artistic whole.

Lots of individual lyrical works in a cycle, it is not the addition that matters, but the union. Lyrical cycles were widely used even in the works of ancient Roman poets Catullus, Ovid, Propertius, who gave the world wonderful elegies.

During the Renaissance, sonnet cycles gained notable popularity.

Because the literary development in the 18th century required strict adherence to genres, then the main units of the poetry books that appeared were genre-thematic: odes, songs, messages, etc. Accordingly, each type of poetry collection of the 18th century had its own compositional principles, and the poetic material inside the volumes was located not in chronological order, but in accordance with the scheme: to God - to the king - to man - to himself. In the books of that time, the most prominent parts were the beginning and the end.

At the turn of the XVIII-XIX centuries. in connection with the individualization of artistic consciousness, the aesthetics of the accidental and the intentional were formed. The development of the artistic thinking of the era depended on the initiative creative personality and her desire to embody all the richness of human individuality, her sincere biography. The first Russian lyrical cycle in this capacity, according to scientists, was the cycle of A. S. Pushkin "Imitation of the Koran", in which a single poetic personality of the artist was revealed in various facets. The internal logic of the development of the writer's creative thought, as well as the unity of the form and content of the work, linked all imitations into an integral poetic ensemble.

A special study by M. N. Darwin and V. I. Tyupa sheds light on the peculiarities of the literary thinking of the era, as well as on the problem of studying cyclization in Pushkin’s work.

Literary experiences 19th century in many ways anticipated the heyday of the Russian cycle in the late 19th and early 20th centuries. in the works of symbolist poets

V. Bryusov, A. Bely, A. Blok, Vyach. Ivanova.