Content concepts author narrator narrator point of view. The book "Introduction to Literary Studies"

NARRATOR - a conditional figure in the epic, a fictional intermediary between the author and the reader, the one who reports on everything that happens in the work, without participating in the events himself, being outside this figurative world. In his outlook, he is close to the author. In The Captain's Daughter, Pyotr Grinev, as the “author” of the notes, is the narrator, and he, in his youth, is a character. In "A Hero of Our Time" the narrator is a literary officer. Even more conditional narrators are the guslars, who allegedly sing “The Song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov”.

Modern theory distinguishes from the narrator, firstly, the image of the author, and secondly, the narrator. “In contrast to the narrator, the narrator is ... entirely inside the depicted reality”, this is “the subject of the image, sufficiently “objectified” and associated with a certain socio-cultural and linguistic environment, from the standpoint of which ... he portrays other characters.” Lermontovsky Maxim Maksimych is a storyteller. But the narrator doesn't have to be a character. “For example, the subject of a “narrative” must certainly qualify as a narrator, regardless of whether the story is told in the first or third person (in N.S. Leskov’s “Lefty” ... the second option is chosen).”

Skaz is one of the varieties of stylization. Styling is a form artistic speech, which conveys an obviously alien speech manner (sometimes with the designation of a conditional subject) so that alienation is felt throughout the entire text. Unlike parody, stylization does not aim to ridicule its object; in contrast to the rehash (“Lullaby” by Nekrasov is a comic “imitation of Lermontov”, the scene with Kuskova and Milyukov in Mayakovsky’s poem “Good!” is a play on the scene of Pushkin’s Tatyana with a nanny, and the characters are ridiculed, not literary samples) stylization is not focused on a specific work of literature, but on someone's speech, not necessarily artistic, manner in general. Skaz is an exaggerated imitation of oral speech. In addition to Leskovsky's “Lefty”, where the word “skaz” is included in the subtitle (“The Tale of the Tula Oblique Left-hander and the Steel Flea”), one can name as a typical example the humor of M.M. Zoshchenko. The story of I.E. Babel's "Salt" from the cycle "Cavalry" imitates the letter of an illiterate Red Army soldier, reflecting his oral speech.

According to another point of view, stylization imitates only literary styles and is thus opposed to skaz as an imitation of oral speech. Ho as an example of stylization is called ‘"Song about Tsar Ivan Vasilievich ..." - an imitation of folklore, i.e. oral folk art.

The word "author" lat. austog - the subject of action, the founder, organizer, teacher and, in particular, the creator of the work) has several meanings in the field of art history. This is, firstly, the creator of a work of art as real face with a certain fate, biography, a complex of individual traits. Secondly, this author image, localized in a literary text, i.e. the image of a writer, painter, sculptor, director of himself. And finally, thirdly (which is especially important for us now), this is the artist-creator, present in his creation as a whole, immanent work. Author (in this meaning of the word) in a certain way gives and illuminates reality (being and its phenomena), comprehends and evaluates them, manifesting itself as subject artistic activity.

The author's subjectivity organizes the work and, one might say, gives rise to its artistic integrity. It is an integral, universal, most important facet of art (along with its proper aesthetic and cognitive principles). The “spirit of authorship” is not only present, but dominates in any form of artistic activity: both when a work has an individual creator, and in situations of group, collective creativity, and in those cases (now prevailing) when the author is named and when his name is withheld ( anonymity, pseudonym, hoax).

Bakhtin wrote that one should distinguish between the biographical author and the author as an aesthetic category. The author stands on the border of the world he creates as an active creator of it. The reader treats the author as a set of creative principles that must be implemented. And ideas about the author as a person are secondary.

Narrator- this is a conditional figure in the epic, a fictional intermediary between the author and the reader, the one who reports on everything that happens in the work, without himself participating in the events, being outside this figurative world. In his outlook, he is close to the author, but not identical to him. The narrator is not the only form of the author's consciousness. The author also manifests himself in the plot, composition, organization of time and space. While the narrator only tells. For example, in "A Hero of Our Time" the narrator is a literary officer. In The Captain's Daughter, Pyotr Grinev, as the "author" of the notes, is the narrator, and he, in his youth, is a character. The narrator should be distinguished from the narrator, who is entirely inside the work, he is also the subject of the image, associated with a certain socio-cultural and linguistic environment. Lermontovsky Maxim Maksimych, for example, is a storyteller. How the narrator is qualified and the subject of the tale, it does not matter whether he is a hero or not.

Character- this is a character (a person or a personified creature, sometimes a thing, a natural phenomenon) in the epic and drama, the subject of consciousness and partly the action in the lyrics They also talk about collective heroes: images of the Famus society, the image of the people in "War and Peace". Characters can be main and secondary, cross-cutting, episodic and off-stage. Sometimes their roles in the plot and content are far from the same. According to their characters and actions, they are divided into positive and negative.

Character- this is the subject of the objective world of the work, the fruit of the author's fiction. Compared to the author, the character is always limited, while the author is omnipresent.

The author invariably expresses (of course, in the language of artistic images, and not in direct conclusions) his attitude to the position, attitudes, value orientation of his character (hero - in the terminology of M.M. Bakhtin). At the same time, the image of the character (like all other parts of the verbal and artistic form) appears as the embodiment of the writer's concept, idea, i.e. as something whole within the framework of another, wider, proper artistic integrity (the work as such). He depends on this integrity, one might say, serves it according to the will of the author. With any serious mastery of the character sphere of the work, the reader inevitably penetrates into spiritual world author: in the images of the characters sees (first of all, direct feeling) the creative will of the writer.

The attitude of the author to the hero can be predominantly either alienated or kindred, but not neutral. Writers have repeatedly spoken about the closeness or alienation of their characters. “I,” wrote Cervantes in the prologue to Don Quixote, “only I am considered the father of Don Quixote, “in fact I am his stepfather, and I am not going to follow the beaten path and, as others do, beg you almost with tears in my eyes , dear reader, forgive my brainchild for its shortcomings, or look at them through your fingers.

In literary works, one way or another, there is a distance between the character and the author. It takes place even in the autobiographical genre, where the writer comprehends his own life experience from a certain time distance. The author can look at his hero as if from the bottom up (the lives of the saints), or, on the contrary, from the top down (works of accusatory satirical nature). But the most deeply rooted in literature (especially of the last centuries) is the situation of the essential equality of the writer and the character (which, of course, does not signify their identity). Pushkin persistently made it clear to the reader of "Eugene Onegin" that his hero belongs to the same circle as himself ("my good friend"). According to V.G. Rasputin, it is important “that the author does not feel superior to his heroes and does not make himself more experienced than them”: “Only equality during work in the most wonderful way gives rise to living heroes, and not puppet figures.”

Literary characters, however, are able to separate themselves from the works in which they were born and live in the minds of the public an independent life, not subject to the author's will. Such are Hamlet, Don Quixote, Tariof, Faust, Peer Gynt as a part of common European culture; for the Russian consciousness - Tatyana Larina (largely due to the interpretation of her image by Dostoevsky), Chatsky and Molchalin, Nozdrev and Manilov, Pierre Bezukhov and Natasha Rostova. In particular, famous characters A.S. Griboedova and N.V. Gogol in the 1870s–1880s "moved" into the works of M.E. Saltykov-Shchedrin and started a new life there. “If there can be novels and dramas from the life of historical figures,” noted F. Sologub, “then there can be novels and dramas about Raskolnikov, about Eugene Onegin (170)<...>which are so close to us that we can sometimes tell about them such details that their creator did not have in mind.

Hyperbole and litote, their functions in literature. The concept of the grotesque.

Everything is in shambles.

Functions.

1. Already in heroic folk epic the strong hyperbolization of the battle actions of the bogatyrs expresses the lofty emotional assertion of their national significance. (Dobrynushka began to push the Tatars away ... He grabbed the Tatar by the legs. He began to wave the Tatar, He began to beat the Tatars ...)
2. In the future, especially since the Renaissance, hyperbole, like other traditional types of verbal-objective expression, has become a means of expressing the actual artistic content. With particular force, it began to be used as a method of creative typification of comic characters in their humorous and satirical interpretation.

“He sat down at the table and, being phlegmatic by nature, began his dinner with a few dozen hams, smoked tongues and sausages, caviar and other appetizers that precede wine. At this time, four servants, one after another, continuously threw mustard into his mouth with full shoulder blades ... ”- this is how the life of the giant Gargantua is described. (Rable)

3. In works with romantic pathos, verbal-objective hyperbolism sometimes also becomes a device of representation. Such, for example, is the image of Hans the Icelander in novel of the same name Hugo, or the images of a snake and an eagle in the introduction to Shelley's poem "The Rise of Islam", or the image of Prometheus in Bryusov's poetic "symphony" "Remembrance".

4. In works that glorify the heroism of popular uprisings, verbal-objective hyperbolism is an integral property of depiction. For example, in "Rebellion" by E. Verhaarn (translated by V. Bryusov):

Countless footsteps rising clatter Louder and louder in the ominous shadow On the road in days to come.

Hands are outstretched to the torn clouds, Where a menacing thunder suddenly rumbled, And lightning catches a break.

Examples of litotes: In A. S. Griboedov's comedy "Woe from Wit", Molchalin says:

Your spitz is a lovely spitz, no more than a thimble!
I stroked all of it; like silk wool!

N.V. Gogol often turned to litotes. For example, in the story “Nevsky Prospekt”: “such a small mouth that it can’t miss more than two pieces”, “waist, no thicker than a bottle neck”. Or here is a fragment from the story “The Overcoat”: “He took the overcoat out of the handkerchief in which he brought it; the handkerchief had just come from the laundress, he had already rolled it up and put it in his pocket for use.

N. A. Nekrasov in "The Song of Yeryomushka": "You have to bow your head below a thin blade of grass." In the poem "Peasant Children" he used the folklore expression "a little man with a fingernail":

And marching importantly, in serenity,
A man is leading a horse by the bridle
In big boots, in a sheepskin coat,
Big gloves... and himself with a fingernail!

This trope has the meaning of understatement or deliberate mitigation. In litotes, on the basis of some common feature, two heterogeneous phenomena are compared, but this feature is presented in the phenomenon-means of comparison in significantly lesser degree than in the phenomenon-object of comparison.

5. Literature as the art of the word. The place of literature among other arts. G.-E. Lessing on the Specifics of Literature as an Art.

The originality of each type of art is determined primarily by the material means of creating images in it. In this regard, it is natural to characterize literature as a verbal art: the material carrier of its imagery is human speech, the basis of which is one or another national language.

Fiction combines two different arts: the art of fiction (manifested mainly in fictional prose, relatively easily translated into other languages) and the art of the word as such (determining the appearance of poetry, which loses almost the most important thing in translations).

The actual verbal aspect of literature, in turn, is two-dimensional. Speech here appears, firstly, as a means of representation and as a way of evaluative illumination of extra-verbal reality; and secondly, as image subject- statements belonging to someone and someone characterizing them. Literature, in other words, is capable of recreating the speech activity of people, and this distinguishes it especially sharply from all other forms of art.

Word- the main element of literature, the connection between the material and the spiritual. The word is perceived as the sum of the meanings given to it by human culture. The word adapts to different types of thinking.

The essence of the word is contradictory.

External and int. word forms: 1) understandable to everyone, solid composition, stable, unshakable manifestation - “body” 2) individually - “soul”. The outer and outer form form a unity.

Differences and unity of external. and int. forms of the word, inconsistency of the word à the basis for constructing the text.

The word is material (a means of constructing phrases, text) and non-material (changeable content).

The word and its meaning depends on the usage.

The comparison is simple and detailed. A simple comparison is built on a comparison of the phenomena of life according to their similarity, like a metaphor. Expanded comparison - similarity is established in the absence of identity. Two members of the extended comparison are set, two mapped images. One is the main one, created by the development of the narrative or lyrical meditation, and the other is auxiliary (involved for comparison with the main one). The function of an extended comparison is to reveal a number of features of one phenomenon or to characterize a whole group of phenomena. Extended comparison

Comparison(from lat. comparatio) - a kind of trail, this artistic technique, a figurative verbal expression in which one event (phenomenon) is compared with another, a similarity between two phenomena of life is established, one object or phenomenon is likened to another according to some common feature for them in order to identify new S. in the object, important properties. These phenomena themselves do not form a new concept, but are preserved as independent ones. Comparison includes three components: the subject of comparison (what is compared), the object of comparison (what is compared with) and the sign of comparison (common to the compared realities). For artistic speech, it is common to compare two different concepts in order to emphasize this or that side in one of them by this comparison.

Almost any figurative expression can be reduced to comparison (cf. the gold of the leaves - the leaves are yellow, like gold, the reeds are dozing - the reeds are motionless, as if they are dozing). Unlike other tropes, comparison is always binomial: it names both compared objects (phenomena, qualities, actions). "Like a steppe scorched by fires, Grigory's life became black" (M. Sholokhov). "Neva tossed about like a sick person in her restless bed."

Comparison problem- to make the reader feel the written more vividly. Comparison helps to instill in the reader the author's attitude towards the subject of the main narrative by mentioning the compared object, which causes a similar attitude towards itself. Comparison is based not so much on the similarity of the compared objects themselves, but on the similarity of the author's attitude towards the compared objects.

Comparison Value as an act of artistic knowledge in that the convergence of different objects helps to reveal in the object of comparison, in addition to the main feature, also a number of additional features, which greatly enriches the artistic impression.

Along with simple comparisons, in which two phenomena have one common feature, are used extensive comparisons, in which several characteristics serve as the basis for comparison. With the help of detailed comparisons, a whole range of lyrical experiences and reflections is conveyed. A detailed comparison is a figurative technique that compares two images (and not two objects, as with simple comparison). One of them is the main one, the main one in meaning, the other is auxiliary, used for comparison with the main one.

Example: “Like a hawk floating in the sky, having given many circles with strong wings, suddenly stops flattened in one place and shoots from there with an arrow at a male quail screaming near the road, so Tarasov’s son, Ostap, suddenly flew into a cornet and immediately threw him " a rope around the neck "(Ya.-V. Gogol). Here Ostap is the main member, and the hawk is auxiliary.

The relationship between two members of a highly developed comparison can be different both in their cognitive meaning and in their place in the development of creative thought. Sometimes an auxiliary member of the comparison can receive, as it were, an independent value. That is, similarity is established in the absence of identity. Then the auxiliary member and syntactically can become the content of a separate sentence, no longer subordinate to another with the help of the conjunctions “like”, “as if”, “as if”, but only in the sense of the coordinating conjunction-adverb “so” associated with it. Grammatically, this is a "composed simile". Here is an example from Fet's lyrics:

Only you, poet, have a winged word sound

Grabs on the fly and fixes suddenly

And the dark delirium of the soul and herbs an indistinct smell;

So, for the boundless, leaving the meager valley,

An eagle flies beyond the clouds of Jupiter,

A sheaf of lightning carrying instantaneous in faithful paws.

And, as a lion attacks the calves and suddenly crushes

I haul a calf or a heifer grazing in a green grove, -

So both Priamids from the horses of Diomedes, who do not want,

Ruthlessly knocked down to dust and tore off the armor from the afflicted,

He gave the horses to the minnows, but they were driven to the stern of the ship. (Iliad)

The function of an extended comparison is to reveal a number of features of one phenomenon or to characterize a whole group of phenomena.

Comparisons are subdivided on the simple("Girl, black-haired and tender as night", A.M. Gorky) and complex("Die my verse, die like a private, like our nameless ones died during the assaults", V. Mayakovsky).

There are also:

• negative comparisons:

"Not two clouds converged in the sky, two daring knights converged" (A.S. Pushkin). From folklore, these comparisons passed into Russian poetry (“Not the wind, blowing from a height, touched the sheets on a moonlit night; you touched my soul - it is anxious, like sheets, it is like a harp, multi-stringed”, A.K. Tolstoy). In negative comparisons, one object is opposed to another. In a parallel depiction of two phenomena, the form of negation is both a way of comparing and a way of transferring meanings.

• indefinite comparisons, in which the highest assessment of what is described is given, without, however, receiving a specific figurative expression ("You can't tell, you can't describe what life is like when you hear your own artillery in a battle for someone else's fire", A.T. Tvardovsky). Indefinite comparisons also include the folklore stable turnover, neither in a fairy tale to say, nor to describe with a pen.

11. The concept of the literary process.

The literary process is the literary life of a certain country and era (in the totality of its phenomena and facts), and secondly, the centuries-old development of literature on a global, worldwide scale. In the second meaning, lit. The process is the subject of comparative historical literary criticism (Khalizev.) It is already possible to designate this term as a set of works for a certain period of time.

L.p. is not strictly unambiguous: literary memory is erased, some works disappear from it (ancient ones, for example). Some things leave our everyday reading (works of the 1810s). Entire layers of literature are forgotten (Radishchevites, although their work was very popular).

Literary creativity subject to historical changes. But literary evolution takes place on a certain steady, stable basis. In the composition of culture there are individualized and dynamic phenomena - on the one hand, on the other - universal structures, supratemporal, static, often referred to as topics (place, space). Topoi (khalizev): types of emotional mood, moral and philosophical problems (good, evil, truth, beauty), eternal themes and arsenal art forms, which always and everywhere find a use for themselves - constitute the fund of continuity, without which lit. process is not possible.

There are moments of commonality and repetition in the development of the literatures of different countries. The stages of the literary process are habitually conceived as corresponding to those stages in the history of mankind that manifested themselves most fully in European countries, especially in Romanesque. When these views and ideals turn out to be “prerequisites” for the work of writers from different countries, then in their work itself, in the content and form of works, there may also be certain similarities. This is how stadial communities arise in the literature of different peoples. Based on them, within them in different literatures, of course, appear at the same time and national characteristics literatures of different peoples, their national originality, arising from the originality of the ideological and cultural development of one or another people.

This is the basic regularity of world literary development.

Ancient and medieval literature was characterized by the prevalence of works with non-artistic functions (religious, ritual, informative, business), the widespread existence of anonymity, the predominance of oral creativity over writing. This literature was characterized by a lack of realism. Stage 1 World Literature- archaic period. There is no literary criticism, artistic - creative programs, therefore, it is impossible to speak of a literary process here.

Then second stage, which lasted from ser. 1 thousand. BC. until the middle of the 18th century. Here is the traditionalism of artistic consciousness and "poetics of style and genre": writers focused on pre-made forms of speech that met the requirements of rhetoric and were dependent on genre canons. Two stages are distinguished here, the boundary of which was the Renaissance. On the second, literature moves from an impersonal to a personal beginning (although still within the framework of traditionalism), literature becomes more secular.

The third stage was the era after the Enlightenment and romanticism, the main thing here was "individual creative artistic consciousness." The "poetics of the author" dominates. Literature is extremely close to human being, the era of individual author's styles is coming. This took place in the romanticism and realism of the 19th century, in modernism. The examples given show that, despite the stadial commonality of the literature of individual peoples, not only do they differ national identity, but also, arising in a class society, contain internal and ideological and artistic differences.

Factors that determine the boundaries of the casting process:

1. The work must have a material form.
2. literary clubs \ associations (writers who consider themselves close on any issues)

Writers act as a certain group, conquering part of the literary process. Literature is, as it were, "divided" between them. They issue manifestos expressing the general sentiments of a particular group, predicting the path along which the direction will go. Manifestos appear at the time of the formation of a literary group.

1. literary criticism of published works. The author should be noticed by literary criticism. For example, Gogol's first work, Hans Kbchelbecker, was destroyed by the author. As a result, he was removed from the literary process.
2. oral criticism \ discussion of works The work should attract public opinion. For example, "One Day in the Life of Ivan Denisovich" caused a wide resonance in society, was nominated for the Lenin Prize. This indicates that the work has entered the literary process.
3. awarding prizes
4. journalism
5. unofficial distribution

As the literary process progresses, various literary communities, directions. The literary direction is one of the factors of the literary process. O literary direction one should speak only if the writers inside it are aware of their commonality, determine their literary position.

Classicism dominated in the 18th century. With its strict canonicity, rhetoric.

In the 19th century (especially in its first third) the development of literature proceeded under the sign of romanticism, which opposed classicist and enlightenment rationalism. Initially romanticism established itself in Germany, having received a deep theoretical justification, and soon spread throughout the European continent and beyond. It was this artistic movement that marked a globally significant shift from traditionalism to the poetics of the author. Romanticism (in particular - German) is very heterogeneous. V.M. Zhirmunsky was the main figure in the romantic movement of the early 19th century. the scientist considered not two worlds and not the experience of a tragic discord with reality (in the spirit of Hoffmann and Heine), but the idea of ​​the spirituality of human existence, of its “permeated” by the divine principle.

Following romanticism, inheriting it, and in some ways challenging it, in the 19th century. a new literary and artistic community, denoted by the word realism. The essence of realism in relation to the literature of the last century (speaking of its best examples, the phrase "classical realism" is often used) and its place in the literary process are understood in different ways.

The essence of the classical realism of the last century lies in the wide development of the living connections of a person with his close environment. Realism (in contrast to romanticism with its powerful "Byronic branch") is not inclined to the exaltation and idealization of a hero alienated from reality. Reality was perceived by realist writers as imperiously demanding from a person responsible involvement in it.

In the XX century. other, new literary communities coexist and interact with traditional realism. This is, in particular, socialist realism, aggressively planted by political power in the USSR, the countries of the socialist camp and spread even beyond their borders.

The literature of socialist realism usually relied on the forms of depicting life characteristic of classical realism, but in its essence it opposed the creative attitudes and attitudes of the majority. writers of the 19th in. In the 1930s and later, the opposition of two stages proposed by M. Gorky was persistently repeated and varied. realistic method. This is, firstly, characteristic of the XIX century. critical realism, which, as it was believed, rejected the existing social being with its class antagonisms and, secondly, socialist realism, which asserted the newly emerging in the 20th century. reality, comprehended life in its revolutionary development towards socialism and communism.

At the forefront of literature and art in the XX century. advanced modernism, which manifested itself most clearly in poetry. The features of modernism are the maximum free self-disclosure of the authors, their persistent desire to update the artistic language, the focus more on the universal and cultural-historically distant than on close reality. In all this, modernism is closer to romanticism than to classical realism.

Modernism is extremely heterogeneous. He declared himself in a number of directions and schools, especially numerous at the beginning of the century, among which the first place (not only chronologically, but also in terms of the role he played in art and culture) rightfully belongs to symbolism especially French and Russian. It is not surprising that the literature that came to replace it is called post-symbolism, which has now become the subject of close attention of scientists (acmeism, futurism and other literary movements and schools).

As part of modernism, which largely determined the face of literature of the 20th century, it is legitimate to single out two trends that are closely related to each other, but at the same time are multidirectional: avant-garde, which survived its "peak" point in futurism, and (using the term of V. I. Tyupa) neotraditionalism, which is very difficult to separate from avant-garde: “The powerful opposition of these spiritual forces creates that productive tension of creative reflection, that field of gravity, in which, one way or another, all more or less significant phenomena of the art of the 20th century are located. Such tension is often found within the works themselves, so it is hardly possible to draw an unambiguous line of demarcation between avant-garde and neotraditionalists. The essence of the artistic paradigm of our century, apparently, is in the incongruity and inseparability of the moments that form this confrontation. The author names T.S. Eliot, O.E. Mandelstam, A.A. Akhmatov, B.L. Pasternak, I.A. Brodsky.

Terms (just in case, if you don't want to - don't)): literary currents- this is the refraction in the work of writers and poets of certain social views (worldviews, ideologies), and directions- these are writers' groupings that arise on the basis of a common aesthetic views and certain programs of artistic activity (expressed in treatises, manifestos, slogans). Currents and directions in this sense of the words are facts of individual national literatures, but not of international communities.

International literary communities ( art systems , as I.F. called them Volkov) do not have a clear chronological framework: often in the same era, various literary and general artistic “trends” coexist, which seriously complicates their systematic, logically ordered consideration.

For recent years the study of the literary process on a global scale emerges more and more clearly as the development historical poetics. The subject of this scientific discipline, which exists as part of comparative historical literary criticism, is the evolution of verbal and artistic forms (with content), as well as the creative principles of writers: their aesthetic attitudes and artistic worldview.

Consideration of literature and its evolution in the aspect of style, understood very broadly, as a stable complex of formal artistic properties. International Literary Communities D.S. Likhachev is called "great styles", delimiting in their composition primary(gravitating towards simplicity and plausibility) and secondary(more decorative, formalized, conditional). The scientist considers the centuries-old literary process as a kind of oscillatory movement between primary (longer) and secondary (short-term) styles. He refers to the first. Romanesque style, Renaissance, classicism, realism; to the second - gothic, baroque, romanticism.

For a number of decades (starting from the 1930s), the term creative method as a characteristic of literature as knowledge (mastering) social life. The successive currents and directions were considered as marked by a greater or lesser degree of presence in them. realism. So, I.F. Volkov analyzed artistic systems (371) mainly in terms of the creative method underlying them.

Epos as a literary genre.

In furs.

Reproducing life in the word, using all the possibilities of human speech, fiction surpasses all other forms of art in the versatility, diversity and richness of its content. The content is often called what is directly depicted in the work, what can be retold after reading it. But it is not exactly. If we have before us an epic or dramatic work, then we can retell what happened to the heroes, what happened to them. As a rule, it is generally impossible to retell what is depicted in a lyrical work. Therefore, it is necessary to distinguish between what is known in the work, and what is depicted in it. Characters are depicted, creatively created, fictional by the writer, endowed with all sorts of individual characteristics, placed in certain relationships. The general, essential features of life are known. Individual actions and experiences of characters and heroes serve as a way of expressing ideological and emotional understanding and emotional assessment of the general, essential in life. The emotional-generalizing thought of the writer expressed in the work is called an idea. In its cognition, the analysis of the work should also consist.

1. Subject are those phenomena of reality that are reflected in this work. Topic- the object of knowledge. The subject of the image in works of fiction can be a variety of phenomena of human life, the life of nature, animal and flora, as well as material culture (buildings, furnishings, types of cities, etc.). But the main subject of knowledge in fiction is the social characters of people both in their external manifestations, relationships, activities, and in their inner, spiritual life, in the state and development of their thoughts and experiences.
2. Issues- this is the ideological comprehension by the writer of those social characters that he depicted in the work. This comprehension lies in the fact that the writer singles out and enhances those properties, sides, relations of the characters depicted that he, based on his ideological worldview, considers the most significant

The problematics, to an even greater extent than the subject matter, depends on the worldview of the author. Therefore, the life of one and the same social environment can be perceived differently by writers with different ideological worldviews. Gorky and Kuprin depicted the factory working environment in their works. However, in understanding her life, they are far from each other. Gorky in the novel "Mother", in the drama "Enemies" is interested in people in this environment who are politically minded and morally strong. Kuprin, in the story "Moloch", sees in the workers a faceless mass of exhausted, suffering, worthy of sympathy people.

13. Works of art, fiction in particular, always express ideological-emotional attitude writers to those social characters that they depict. It is thanks to the expression of this assessment in images that literary works have such a strong effect on the thoughts, feelings, will of readers and listeners, on their entire inner world.

The attitude to life expressed in the work, or its ideological and emotional assessment, always depends on the writer's understanding of the characters he portrays and always thereby follows from his worldview. The writer can express satisfaction with the life he perceives, sympathy for one or another of its properties, admiration for them, justification for them, in short, your ideological affirmation e life. Or he can express dissatisfaction with some other properties of life, their condemnation, the protest and indignation caused by them, in short, his ideological rejection of the characters portrayed. If a writer is dissatisfied with some life phenomena, then his assessment is an ideological denial. So, for example, Pushkin showed the free life of the gypsies in order to express his romantic admiration for civil liberty in general and deep dissatisfaction with the "bondage of stuffy cities." Ostrovsky portrayed the tyranny of merchants and landowners in order to condemn the entire Russian "dark kingdom" of his era.

All parties ideological content of a work of art - subject matter, problematics and ideological assessment - are in organic unity. Idea literary work is the unity of all aspects of its content; this is a figurative, emotional, generalizing thought of the writer, which determines the deep level of the content of the work and manifests itself both in the choice, and in comprehension, and in the assessment of characters.

Not always artistic idea perceived as copyright. On the early stages the existence of literature, they were recognized as an expression objective truth having a divine origin. It was believed that the Muses brought inspiration to poets. Homer begins the Iliad: "Anger, Goddess, sing to Achilles, son of Peleus."

Literature and mythology.

Myth - scientific form knowledge in mythological and poetic form. Mythology is not a phenomenon of the past, it manifests itself in contemporary culture. The constant interaction of L. and m. proceeds directly, in the form of "transfusion" of myth into literature, and indirectly: through fine Arts, rituals, folk festivals, religious mysteries, and in recent centuries- through the scientific concepts of mythology, aesthetic and philosophical teachings and folklore. The scientific concepts of folklore have a great influence on the processes of interaction between L. and M.

Myths are characteristic of ancient, partly ancient Russian literature.

AS LITERARY CATEGORIES»

Tsyvunina T.A.

teacher of Russian language and literature

GBOU secondary school No. 292

Modern literary criticism explores the problem of the author in the aspect author's position; in this case, a narrower concept is singled out -"image of the author" indicating one of the forms of the indirect presence of the author in the work. The creator of the term “image of the author”, Academician V.V. Vinogradov, called it a kind of "center, focus, in which all the stylistic devices of a work of verbal art intersect and synthesize" (1).

In a strictly objective sense, the “image of the author” is present only in works of autobiographical, “autopsychological” (L.Ya. Ginzburg’s term), lyrical plan, that is, where the author’s personality becomes the theme and subject of his work. But more broadly, under the image, or "voice" of the author, we mean the personal source of those layers of artistic speech that cannot be attributed either to the heroes or to the narrator specifically named in the work.

It should be noted that the literary category "author" has only an indirect relation to the real-biographical personality of the author-writer. So, V.E. Khalizev presents the category of the author in a three-term stratification: into the real author-writer, “the image of the author, localized in the literary text, that is, the image of the writer himself”, “the artist-creator present in his creation as a whole and immanent in the work” (2).

Consequently, this is mainly an artistic image, sometimes manifested in the first-person narrative (then the “author” often takes on the functions of a narrator, a narrator about the events of his own or fictional life) or “hiding” behind the subjective spheres of the characters (penetrating into them, completing construction in his narrative speech, and the like).

Narrative speech becomes the main means of "author's" embodiment.The image of the narrator, the image of the author – carrier of copyright (that is, not related to the speech of any character)speeches in prose work.

AT dramatic work the speech of each character is motivated by the properties of his character and plot situations, the author's speech is reduced to a minimum: remarks, description of the situation, as a rule, do not sound on the stage and have no independent meaning.

In lyrics, speech is most often motivated by the experience of the lyrical hero. In prose, in the foreground we have the speech of the characters, again motivated by their properties and plot situations, but not the entire speech structure of the work is associated with it, much in it refers to what is usually denoted by the concept of authorial speech. Very often, speech that is not associated with the images of the characters is personified in prose, that is, it is transmitted to a certain person-narrator who tells about certain events, and in this case it is motivated only by the features of his personality, since he is usually not included in the plot. But, even if there is no personified narrator in the work, we catch a certain assessment of what is happening in the work by the very structure of the author's speech.

The image of the narrator (narrator) occurs in personified first-person narration; such narration is one of the ways to implement the author's position in a work of art; is an important means of compositional organization of the text.Category "image of the narrator", correlating with the concepts of "narrative" ("narrator"), "image of the author" ("author"),allows you to identify artistic unity in the aspect of its structural and stylistic diversity.

The problem of such diversity became relevant only in the 19th century: before the era of romanticism, the principle of genre regulation dominated, and in romantic literature, the principle of monologue self-expression of the author. In the realistic literature of the 19th century, the image of the narrator becomes a means of creating an independent position of the hero, separate from the author (an independent subject along with the author). As a result: the direct speech of the characters, personalized narration (the subject is the narrator) and non-personal (from the third person) narration constitute a multi-layered structure that cannot be reduced to the author's speech.

Interest in these problems emerged in the West at the end of the 19th century, when the question of the "absence" and "presence" of the author in the narrative was discussed in the Flaubert circle.

In modern literary criticism, the attitude"author - narrator - work" is transformed as "point of view - text" (Yu.M. Lotman); constructive ways of implementing the author's position in a broad aspect are revealed: spatio-temporal and other plans (B.A. Uspensky).

AT recent times The problem of the narrator is attracting more and more active attention of literary critics. Some Western researchers even tend to consider it the main (or even the only) problem in the study of fiction(which, of course, is one-sided).

The problem of the narrator arises in the analysis of epic works. However, the image of the narrator (as opposed to the image of the narrator) in the proper sense of the word is not always present in the epic. Thus, a “neutral”, “objective” narrative is possible, in which the author himself, as it were, steps aside and directly creates pictures of life in front of us (although, of course, the author is invisibly present in every cell of the work, expressing his understanding and assessment of what is happening). We find this way of outwardly “impersonal” narration, for example, in the novel “Oblomov” by I.A. Goncharov, in the novels of L.N. Tolstoy.

But more often the narration is conducted from a certain person; in the work, in addition to other human images, there is alsocharacter of the narrator. This may be the image of the author himself, who directly addresses the reader (for example, "Eugene Onegin" by A.S. Pushkin). However, one should not think that this image is completely identical to the author - this is precisely the artistic image of the author, which is created in the process of creativity, like all other images of the work.

Very often, a special image of the narrator is created in the work, which acts as a person separate from the author (often the author directly introduces him to the readers). This narrator may be close to the author, related to him (sometimes even, as, for example, in F.M. Dostoevsky’s “Humiliated and Insulted”, the narrator is extremely related to the author, is his other “I”) and may, on the contrary, be very far away from him in character and social status (for example, the narrator in N.S. Leskov's The Enchanted Wanderer). Further,the narrator can act as only narrator, who knows this or that story (for example, Gogol's Rudy Panko),and as an acting hero (or even main character) works (the narrator in "The Teenager" by F.M. Dostoevsky). Finally, not one but several narrators sometimes appear in the work, covering the same events in different ways (for example, in the novels American writer W. Faulkner).

All this has a very significant artistic value. The complex relationships of the author (who, of course, is present in any case, embodied in the work), the narrator and the life world created in the work determine the deep and rich shades of artistic meaning. So,the image of the narrator always brings an additional assessment of what is happening to the work, which interacts with the author's assessment. A particularly complex form of storytelling, characteristic of modern literature, is the so-called non-proper direct speech. In this speech, the voice of the author and the voices of the characters are inseparably intertwined (who in this case also act as a kind of storyteller, because the author uses his own words and expressions to reflect what is happening, although he does not convey them in the form of direct speech, in the first person).

When studying the problem of the narrator's image, "it is important to identify the differences between personalized and impersonal narration" (3). Although the stylistic layer from the third person can approach the author's own speech (philosophical and journalistic narrative in Leo Tolstoy's "War and Peace"), in general, it also realizes only a certain side of the author's position. Non-personal narration, not being a direct expression of the author's assessments, as well as personalized, can become a special intermediate link between the author and the characters.

“The discrepancy between the functions of personalized narration and non-personal narration and the irreducibility of assessments in each of them to the author’s position can be used as literary device" (four). In the novel by F.M. Dostoevsky's "The Brothers Karamazov", the narrator-chronicler organizes the external course of events and, as a certain person, expresses his attitude towards them; impersonal narration contributes to the identification and partial author's assessment complex psychological states and points of view of the characters on the world; the author's position as a whole is realized through a system of assessments of a personified, impersonal narrative and the "ideological" statements of characters equal to them.

A special problem is the realization of the author's position in the tale. In terms of the planned structural and stylistic hierarchy, a tale is a completely personified first-person narrative with pronounced individualized stylistic features, which makes the “narrator” more distant from the author than the “narrator”, and closer to the system of characters.

Thus, we can conclude that the author and the narrator are concepts that serve to designate those features of the language of a work of art that cannot be associated with the speech of one or another of the characters in the work, but at the same time have a certain artistic significance in the course of the narration. .

The study of the features of the image of the narrator in the analysis of the work is essential.

Literature.

Aikhenvald Yu. Gogol // Gogol N.V. Tales. "Dead Souls". - M., 1996, - p. 5-16.

Akimova N.N. Bulgarin and Gogol (mass and elite in Russian literature: the problem of the author and the reader) // Russian Literature. - 1996, No. 2. - p. 3-23.

Aleksandrova S.V. Tale of N.V. Gogol and folk spectacular culture // Russian literature. - 2001, No. 1. - p. 14-21.

Annenkova E.I. "Taras Bulba" in the context of N.V. Gogol // Analysis artistic text. - M., 1987. - p. 59-70.

The narrator, unlike the author-creator, is outside only that depicted time and space in which the plot unfolds. Therefore, he can easily go back or look ahead, and also know the prerequisites or results of the events of the depicted present. But at the same time, its possibilities are determined because of the boundaries of the entire artistic whole, which includes the depicted “event of the story itself”.

The "omniscience" of the narrator (for example, in "War and Peace") enters into the author's intention in the same way as in other cases - in "Crime and Punishment" or in Turgenev's novels - the narrator, according to the author's attitudes, by no means possesses complete knowledge about causes of events or about the inner life of the characters.

In contrast to the narrator, the narrator is not on the border of the fictional world with the reality of the author and reader, but entirely within the depicted reality.

All the main moments of the "event of the story itself" in this case become the subject of the image, the "facts" of fictional reality: the "framing" situation of storytelling (in the short story tradition and the prose of the 19th-20th centuries oriented towards it); the personality of the narrator: he is either biographically connected with the characters about whom the story is told (the writer in The Humiliated and Insulted, the chronicler in Dostoevsky's Possessed), or in any case has a special, by no means comprehensive, outlook; a specific speech style attached to a character or depicted on its own (“The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” by Gogol, miniatures by I. F. Gorbunov and early Chekhov).

The "image of the narrator" - as a character or as a "linguistic person" (M. M. Bakhtin) - necessary hallmark of this type of depicting subject, the inclusion of the circumstances of the story in the field of depiction is optional. For example, in Pushkin's "Shot" there are three narrators, but only two situations of storytelling are shown.

If such a role is entrusted to a character whose story does not bear any signs of either his horizons or his speech manner (the insert story of Pavel Petrovich Kirsanov in "Fathers and Sons", attributed to Arkady), this is perceived as a conditional device. Its purpose is to relieve the author of responsibility for the authenticity of what is told. In fact, the subject of the image in this part of Turgenev's novel is the narrator.

So, the narrator is a personified subject of the image and / or an “objectified” speaker; he is associated with a certain socio-cultural and linguistic environment, from the positions of which (as happens in the same “Shot”) the image of other characters is conducted. On the contrary, the narrator is depersonalized (impersonal) and in his outlook is close to the author-creator.

At the same time, compared to the characters, he is the bearer of a more neutral speech element, generally accepted linguistic and stylistic norms. (The closer the hero is to the author, the less speech differences between the hero and the narrator. Therefore, the leading characters of a great epic, as a rule, are not the subjects of stylistically sharply distinguished inserted stories: compare, for example, the story of Prince Myshkin about Marie and the stories of General Ivolgin or a feuilleton Keller in The Idiot.)

The "mediation" of the narrator helps the reader, first of all, to get a more reliable and objective idea of ​​the events and actions, as well as the inner life of the characters. The "mediation" of the narrator allows you to enter the depicted world and look at events through the eyes of the characters. The first has to do with certain advantages of an external point of view.

And vice versa, works that seek to directly involve the reader in the perception of events by the character do without a narrator at all or almost, using the forms of a diary, correspondence, confession (“Poor people” by Dostoevsky, “The Diary of a Superfluous Man” by Turgenev, “Kreutzer Sonata” by L. Tolstoy) .

The third, intermediate option is when the author-creator seeks to balance the external and internal positions. In such cases, the image of the narrator and his story may turn out to be a “bridge” or a connecting link: this is the case in “A Hero of Our Time”, where Maxim Maksimych’s story connects the “travel notes” of the Author-character with Pechorin’s “journal”.

The "attachment" of the narrative function to the character is motivated, for example, in "The Captain's Daughter" by the fact that Grinev is credited with the "authorship" of the notes. The character, as it were, turns into an author: hence the expansion of horizons. The opposite course of artistic thought is also possible: the transformation of the author into a special character, the creation of his “double” inside the depicted world.

This is what happens in the novel "Eugene Onegin". The one who addresses the reader with the words “Now we will fly to the garden, / Where Tatyana met him”, of course, is the narrator. In the reader's mind, he is easily identified, on the one hand, with the author-creator (the creator of the work as an artistic whole), on the other hand, with the character who, together with Onegin, recalls "the beginning of a young life" on the banks of the Neva.

In fact, in the depicted world, as one of the characters, there is, of course, not the author-creator (this is impossible), but the “image of the author”, the prototype of which is for the creator of the work himself as a “non-artistic” person - as a private person with a special biography ("But the north is harmful to me") and as a person certain profession(belonging to the "perky shop"). But this issue should be considered already on the basis of the analysis of another initial concept, namely “author-creator”.

Theory of Literature / Ed. N.D. Tamarchenko - M., 2004

Topic 18. Narrator, narrator, image of the author

I. Dictionaries

Author and image of the author 1) Sierotwinski S. "Author. Creator of the work” (S. 40). 2) Wielpert G. von. Sachwörterbuch der Literatur. “ Author(lat. auktor - own patron; creator), creator, in particular. lit. labor: writer, poet, writer. <...>Poetological the problem offers an expansive but dubious equating of A. lyric. I in the sense of the lyrics of experience and the figure of the narrator in the epic, which, most often being fictitious, fictitious roles, do not allow identification” (S. 69). “ Narrator (narrator)1. in general, the creator of a narrative work in prose; 2. a fictitious character not identical with the author, who tells an epic work, from perspectives which is the image and message to the reader. Thanks to new subjective reflections of what is happening in the character and features of R., interesting refractions arise” (S. 264-265). 3) Dictionary of Literary Terms / By H. Shaw. “ Narrator- one who tells a story, orally or in writing. In fiction, it can mean the imaginary author of the story. Whether the story is told in the first or third person, the narrator in fiction is always assumed to be either someone involved in the action or the author himself” (p. 251). four) Timofeev L. The image of the narrator, the image of the author // Dictionary of literary terms. pp. 248-249. "O. on. a. - the bearer of the author's (i.e., not related to the speech of the CP character) speech in a prose work.<...>Very often, speech that is not associated with the images of characters is personified in prose, that is, it is transmitted to a specific person-narrator (see. Narrator), which tells about certain events, and in this case it is motivated only by the features of his personality, since he is usually not included in the plot. But if there is no personified narrator in the work, we catch a certain assessment of what is happening in the work by the very structure of speech. “At the same time, O. p. does not directly coincide with the position of the author, who usually narrates, choosing a certain artistic angle of view on events<...>therefore, the terms "author's speech" and "image of the author" seem less accurate. 5) Rodnyanskaya I.B. Author // Clay. T. 9. Stlb. 30-34. “Modern. lit-knowledge explores the problem of A. in the aspect author's position; at the same time, a narrower concept is singled out - “the image of the author”, indicating one of the forms of the indirect presence of A. in the work. In a strictly objective sense, the "image of the author" is present only in the works. autobiographical, "autopsychological" (L. Ginzburg's term), lyric. plan (see Lyrical hero), that is, where the personality of A. becomes the theme and subject of his work. But more broadly, under the image or “voice” of A., we mean the personal source of those layers of art. speeches that cannot be attributed to either the heroes or the one specifically named in the work. narrator (cf. The image of the narrator, v. 9)”. “... a primary form of narration is emerging, tied no longer to the narrator (a persistent tradition of short stories - up to the stories of I.S. Turgenev and G. Maupassant), but to a conditional, semi-personalized literary “I” (more often - “we”). With such an “I” openly addressed to the reader, not only elements of presentation and awareness are linked, but also rhetorical. figures of persuasion, argumentation, exposition of examples, extraction of morals...”. “In lifelike realism. 19th century prose<...>the consciousness of A.-narrator acquires unlimited. awareness, it<...>alternately combined with the consciousness of each of the characters...” 6) Korman B.O. The Integrity of a Literary Work and an Experimental Dictionary of Literary Terms // Problems of the History of Criticism and Poetics of Realism. pp. 39-54. “ Author - subject(carrier) consciousness, the expression of which is the whole product or their combination.<...> Subject of consciousness the closer to A., the more it is dissolved in the text and invisible in it. As subject of consciousness becomes an object of consciousness, it moves away from A., that is, to a greater extent subject of consciousness becomes a certain personality with his own special way of speech, character, biography, the less he expresses the author's position” (pp. 41-42). Narrator and narrator 1) Sierotwinski S. Slownik terminow literackich. “Narrator. The face of the narrator introduced by the author in the epic work, which is not identical with the creator of the work, as well as the accepted, non-authorial in the subjective sense, point of view” (S. 165). 2) Wielpert G. von. Sachwörterbuch der Literatur. “ narrator. Narrator (narrator), now in esp. narrator or facilitator epic theater , which, with its comments and reflections, takes the action to another plane, and resp. for the first time, through interpretation, he attaches individual episodes of the action to the whole” (S. 606). 3) Modern foreign literary criticism: Encyclopedic reference book. a) Ilyin I.P. implicit author. pp. 31-33. “ I. a. - English. implied author, French auteur implicite, German. impliziter autor, - the concept of "abstract author" is often used in the same sense, - narrative authority, not embodied in art. text in the form of a character-narrator and recreated by the reader in the process of reading as an implied, implicit "image of the author". According to the ideas narratology, I. a. together with the corresponding paired communicative instance - implicit reader- Responsible for providing art. communications of all lit. work as a whole." b) Ilyin I.P. Narrator. P. 79. H. - fr. narrateur, English. narrator, German Erzähler - narrator, narrator - one of the main categories narratology. For modern narratologists, who in this case share the opinion of structuralists, the concept of N. is purely formal and is categorically opposed to the concept of “concrete”, “real author”. W. Kaiser once argued: "The narrator is a created figure, which belongs to the whole whole of a literary work"<...>English-speaking and German-speaking narratologists sometimes distinguish between "personal" narration (in the first person of an unnamed narrator or one of the characters) and "impersonal" (anonymous third-person narration).<...>... Swiss researcher M.-L. Ryan, based on the understanding of the artist. text as one of the forms of a "speech act", considers the presence of N. obligatory in any text, although in one case he may have a certain degree of individuality (in the "impersonal" narrative), and in the other - be completely devoid of it (in " personal" narrative): "Zero degree of individuality occurs when N.'s discourse assumes only one thing: the ability to tell a story." Zero degree is represented primarily by the "omniscient third-person narrative" classic. nineteenth century novel and in the "anonymous narrative voice" of certain 20th-century novels, such as H. James and E. Hemingway." four) Kozhinov V. Narrator // Dictionary of literary terms. pp. 310-411. “ R. - a conditional image of a person, on behalf of whom the narration is conducted in a literary work.<...>image of R. (unlike the image of the narrator- see) in the proper sense of the word is not always present in the epic. Thus, a “neutral”, “objective” narrative is possible, in which the author himself, as it were, steps aside and directly creates pictures of life in front of us.<...>. We find this way of outwardly “impersonal” narration, for example, in Goncharov’s Oblomov, in the novels of Flaubert, Galsworthy, A.N. Tolstoy. But more often the narration is conducted from a certain person; in the work, in addition to other human images, there is also the image of R. This may be, firstly, the image of the author himself, which directly addresses the reader (cf. Pushkin). However, one should not think that this image is completely identical to the author - this is precisely the artistic image of the author, which is created in the process of creativity, like all other images of the work.<...>the author and the image of the author (narrator) are in a complex relationship”. “Very often, a special image of R. is also created in the work, which appears as a person separate from the author (often the author directly presents him to readers). This R. m. close to the author<...>and m. b., on the contrary, is very far from him in character and social position<...>. Further, R. can act both as just a narrator who knows this or that story (for example, Gogol's Rudy Panko), and as the acting hero (or even the main character) of the work (R. in Dostoevsky's "Teenager"). “A particularly complex form of story, characteristic of the latest literature, is the so-called. improperly direct speech(cm.)". 5) Prikhodko T.F. The image of the narrator // KLE. T. 9. Stlb. 575-577. "O. R. (narrator) occurs when personalized storytelling from the first person; such a narrative is one way to implement copyright positions in art. production; is an important means of compositional organization of the text. “... direct speech of the characters, personalized narration (subject-narrator) and non-personal (from the 3rd person) narration constitute a multi-layered structure that cannot be reduced to the author's speech.” “The non-personal narration, not being a direct expression of the author's assessments, like the personalized one, can become a special intermediate link between the author and the characters.” 6) Korman B.O. Integrity of a literary work and an experimental dictionary of literary terms. pp. 39-54. “ Narrator - subject of consciousness, which is predominantly characteristic of epic. It is related to its objects spatial and temporal points of view and, as a rule, is invisible in the text, which is created due to the exclusion phraseological point of view <...>“(p. 47). “ Narrator - subject of consciousness, characteristic for dramatic epic. He, like narrator, is connected with its objects by spatial and temporal relations. At the same time, he himself acts as an object in phraseological point of view” (p. 48-49).

II. Textbooks, teaching aids

1) Kaiser W. Das sprachliche Kunstwerk. “In individual stories told by a role-playing narrator, it usually happens that the narrator relates events as experienced by himself. This form is called Ich-Erzählung. Its opposite is Er-Erzählung, in which the author or fictitious narrator is not in the position of a participant in the events. As the third possibility of the narrative form, the epistolary form is usually singled out, in which the role of the narrator is shared by many characters at the same time or, as in the case of Werther, only one of the participants in the correspondence is present. As you can see, this is a modification of the first-person narrative. Nevertheless, the deviations are so profound that this variant can be characterized as a special form: there is no narrator here who conveys events, knowing their course and final outcome, but only perspective dominates. Already Goethe rightfully ascribed a dramatic character to the epistolary form” (pp. 311-312). 2) Korman B.O. The study of the text of a work of art. “ One's own life, biography, inner world in many ways serve as source material for the writer, but this source material, like any life material, undergoes processing and only then acquires a general meaning, becoming a fact of art.<...>At the core artistic image The author (as well as the entire work as a whole) ultimately lies in the worldview, ideological position, creative concept of the writer” (p. 10). "In an excerpt from" dead souls» the subject of speech was not identified. Everything that is described (the cart, the gentleman sitting in it, the peasants) exists, as it were, on its own, and we do not notice the speaker when we directly perceive the text. Such a carrier of speech, not identified, not named, dissolved in the text, is defined by the term narrator(sometimes called author). In an excerpt from Turgenev's story, the speaker is identified. For the reader, it is quite obvious that everything described in the text is perceived by the one who speaks. But the identification of the subject of speech in Turgenev's text is limited mainly by its naming ("I").<...>Such a carrier of speech, which differs from the narrator mainly by name, we will denote further by the term personal narrator. In the third passage (from "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich") we have a new degree of identification of the subject of speech in the text.<...>For a native speaker, the objects are Ivan Ivanovich and his amazing bekesha with smushkas. And for the author and reader, the subject of speech itself becomes an object with its naive pathos, ingenuous envy and Mirgorod narrow-mindedness. A speaker who openly organizes the entire text with his personality is called storyteller. A story told in a sharply characteristic manner, reproducing the vocabulary and syntax of a native speaker and designed for the listener, is called a tale” (pp. 33-34). 3) Grekhnev V.A. Verbal image and literary work: A book for the teacher. “... it begs the distinction between two main narrative forms: from author's face and by the narrator. The first variety has two options: objective and subjective". "AT objective-author's The stylistic norm of the author's speech reigns supreme in the narrative, not obscured by any biases in the character word.<...>“The subjective form of the author's narration, on the contrary, prefers to demonstrate manifestations of the author's “I”, his subjectivity, not constrained by any restrictions, except perhaps those that affect the area of ​​taste” (p. 167-168). “Three varieties include it<«рассказовое повествование» - N. T.>: narration of the narrator, conditional narration, tale. They differ from each other in the degree of objectification and the measure of speech coloring. If the objectification of the narrator from the first type of narration to the last becomes less and less noticeable, then the degree of coloring of the word, its individualizing energy, clearly increases.<...> Narrator's story one way or another attached to the character: this is his word, no matter how weakened the individualizing principle was in it. “In Gogol's stories "The Nose" and "The Overcoat"<...>as if some shapeless narrator is grimacing in front of us, constantly changing intonations<...>this subject, in essence, is a multitude of faces, an image of mass consciousness...” “..in a tale<...>social and professional dialects sound more tangible”. “The bearer of a tale, its speech subject, even if he is endowed with the status of a character, always fades into the shadows before his depicted word” (pp. 171-177).

III. Special Studies

1) Croce B. Aesthetics as a science of expression and as general linguistics. Part 1. Theory. [Regarding the formula “style is a person”]: “Thanks to this erroneous identification, many legendary ideas were born regarding the personality of artists, just as it seemed impossible that one who expresses generous feelings was not himself a noble and magnanimous person in practical life , or that the one who in his dramas often resorts to dagger blows, and himself in a particular life was not the culprit of any of them” (p. 60). 2) Vinogradov V.V. Queen of Spades style // Vinogradov V.V. Fav. works. On the language of artistic prose. (5. The image of the author in the composition of The Queen of Spades). “The subject of the narration itself, the “image of the author,” fits into the sphere of this depicted reality. It is a form of complex and contradictory relationships between the author's intention, between the fantasized personality of the writer and the faces of the characters. “The narrator in The Queen of Spades, at first not indicated by either a name or pronouns, enters the circle of players as one of the representatives of secular society.<...>The story has already begun<...>the repetition of indefinitely personal forms creates the illusion of the author's inclusion in this society. Such an understanding is also prompted by the order of words, which expresses not the objective detachment of the narrator from the events being reproduced, but his subjective empathy with them, active participation in them. 3) Bakhtin M.M. Aesthetics of verbal creativity. a) The problem of text in linguistics, philology and other humanities. An Experience in Philosophical Analysis. “We find the author (perceive, understand, feel, feel) in every work of art. For example, in a painting, we always feel its author (artist), but we never see him as we see the images depicted by him. We feel it in everything as a pure depicting principle (depicting the subject), and not as a depicted (visible) image. And in a self-portrait, we do not see, of course, the author depicting it, but only the image of the artist. Strictly speaking, the image of the author is a contradictio in adiecto” (p. 288). “Unlike the real author, the image of the author created by him is deprived of direct participation in the real dialogue (he participates in it only through the whole work), but he can participate in the plot of the work and act in the depicted dialogue with the characters (the conversation of the “author” with Onegin). The speech of the depicting (real) author, if any, is speech of a fundamentally special type, which cannot lie on the same plane as the speech of the characters” (p. 295). b) From the records of 1970-1971. “Primary (not created) and secondary author (an image of the author created by the primary author). Primary author - natura non creata quae creat; secondary author - natura creata quae creat. The image of the hero is natura creata quae non creat. The primary author cannot be an image: he eludes all figurative representation. When we try to figuratively imagine the primary author, we ourselves create his image, that is, we ourselves become the primary author of this image.<...>The primary author, if he speaks with a direct word, cannot be simply writer: nothing can be said on behalf of the writer (the writer turns into a publicist, moralist, scientist, etc.)” (p. 353). “Self-portrait. The artist portrays himself as an ordinary person, and not as an artist, the creator of a picture” (p. 354). four) Stanzel F.K. Theorie des Erzahlens. “If the narrator lives in the same world as the characters, then he is, in traditional terminology, an I-narrator. If the narrator exists outside the world of characters, then it is, in the traditional terminology, He-narrative. The ancient concepts of I-narrative and He-narrative have already created many misconceptions, because the criterion for their distinction, the personal pronoun, in the case of I-narrative refers to the narrator, and in the case of He-narrative, to the speaker of the narration, who is not the narrator. Also sometimes in He-narrative, for example, in "Tom Jones" or "Magic Mountain", there is an I-narrator. It is not the presence of the first person of the pronoun in the narrative (excluding, of course, the dialogue) that is decisive, but the place of its bearer inside or outside the fictional world of the novel or story.<...>An essential criterion for both determinants<...>- not the relative frequency of the presence of one of the two personal pronouns I or He / She, but the question of identity and resp. non-identity of the realm of being in which the narrator and characters live. The narrator of "David Copperfield" - I am the narrator (narrator), because he lives in the same world as the other characters in the novel<...>'Tom Jones' narrator - He is a narrator or an auctorial narrator, because he exists outside the fictional world in which Tom Jones, Sophia Western live...” (S. 71-72). 5) Kozhevnikova N.A. Narrative types in Russian literature of the 19th-20th centuries. “The types of narration in a work of art are organized by a marked or unmarked subject of speech and clothed in the corresponding speech forms. The relationship between the subject of speech and the type of narration is, however, indirect. In third-person narration, either the omniscient author or the anonymous narrator expresses himself. The first person can belong directly to the writer, and to a specific narrator, and to a conditional narrator, in each of these cases differing in a different measure of certainty and different possibilities. “Not only the subject of speech determines the speech embodiment of the narration, but the forms of speech themselves evoke, with a certain certainty, an idea of ​​the subject, build his image” (p. 3-5).

QUESTIONS

1. Try to divide the definitions that we have grouped under the heading “Author and the image of the author” into two categories: those in which the concept of “author” is mixed with the concepts of “narrator”, “narrator”, and those that have the goal of distinguishing the first concept from the two others. What are the criteria for differentiation? Is it possible to more or less accurately define the concept of "the image of the author"? 2. Compare those definitions of the subject of the image in a work of art that belong to V.V. Vinogradov and M.M. Bakhtin. What content is invested by scientists in the phrase "image of the author"? In what case does he distinguish himself from the author-creator, on the one hand, and from the narrator and narrator, on the other? By what criteria or concepts is the distinction made? Compare from this point of view the definitions of M.M. Bakhtin and I.B. Rodnyanskaya. 3. Compare the definitions of the concepts "narrator" and "narrator" given by us: first - taken from reference and educational literature, and then - from special works (just like you did with the definitions of the concepts "author", "image of the author") . Try to reveal different ways and options for solving the problem. What place among them is occupied by the judgments of Franz K. Stanzel?