Types and types of artistic conflicts in literary works. Artistic conflict and its types

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PRACTICAL WORK

In the discipline "MDK.01.02 Psychology

Socio-legal activities»

Completed by a student

Murzagildina A.

Checked by the teacher

Nizamova R.R.

Practical part.

Pick 3 examples from fiction on the topic "Mechanisms psychological protection". Justify your answer.

Example 1

Are your legs so dry that you can't stand up? You see, I'm preoccupied - just wait! Haven't stayed there yet? Look for the letter I received yesterday from the headman. Where are you doing it?

- Which letter? I didn’t see any letter,” said Zakhar.

- You took it from the postman: so dirty!

- Where did they put him - why should I know? - said Zakhar, patting the papers and various things lying on the table with his hand.

- You never know anything. There, in the basket, look! Or fell behind the sofa? Here, the back of the sofa has not yet been repaired; what would you call a carpenter to fix? After all, you broke it. You won't think of anything!

- I did not break, - Zakhar answered, - she broke herself; she will not be a century: she must someday break. Ilya Ilyich did not consider it necessary to prove the contrary.[...]

Zakhar went to his room, but as soon as he put his hands on the couch in order to jump on it, a hasty cry was heard again: “Zakhar, Zakhar!”

- Oh, my God! - Zakhar grumbled, going back to the office. - What is this torment? If only death would come sooner!

- What do you want? - he said, holding on to the door of the office with one hand and looking at Oblomov, as a sign of displeasure, so sideways that he had to see the master half-heartedly, and the master could only see one immense whisker, from which you just expect two to fly out - three birds.

- Handkerchief, quick! You yourself could guess: you do not see! Ilya Ilyich remarked sternly.

Zakhar did not show any particular displeasure or surprise at this order and reproach from the master, probably finding both of them very natural on his part.

Goncharov I.A. "Oblomov"

Justification for the answer.

In this work, the main character Oblomov defends himself by offending others. He was offended and accused. And he always takes out the anger accumulated over the years on his servants, especially on Zakhar. The passage presents only a small part of his behavior. He is depressed, lying to himself, pushing others out of his society. Through aggression and anger at others, the protagonist is introjected. Compensation is a type of psychological defense in a work, because Oblomov compensates for the lack of majesty in society in the person of Zakhar.

Example 2

Shukhov quickly hid from Tatarin around the corner of the barracks: if you get caught a second time, he will row again. And yes, you should never yawn. You must try so that no guard sees you alone, but only in the crowd. Maybe he is looking for a person to send to work, maybe there is no one to ward off evil. Well, they read the order for the barracks - in front of the warden, take off your hat five steps ahead and put it on two steps later. Some overseer wanders like a blind man, he doesn't care, but for others it's sweetness. How much for that hat they dragged into the condo, damned dogs. No, we'll stop around the corner.

A. Solzhenitsyn "One Day in the Life of Ivan Denisovich"

In this case, psychological protection is carried out through projection and regression. The work tells about one day of a prisoner. Thanks to regression, the heroes of the work descend to a lower level of adaptation than they guarantee themselves a “quiet” life and work. The projection manifests itself when the characters are left alone with their thoughts or when they follow the boss. They imagine themselves in their place, they know their actions. That is, with the help of two types of psychological protection, they facilitate their time in prison, they enter into a certain mode with which they will survive, wait for the end of their sentence.

Example 3

She got used to this thought, as a bull gets used to a yoke, and a horse gets used to the voice of its owner. Someone was given life with a pinch, like her daughters; someone with a handful; to someone - immeasurably generous, with whole bags and barns, like mothers-in-law. But death was waiting for everyone - lurking in himself or walking very close, like a cat caressing at his feet, laying dust on his clothes, penetrating the lungs with air. Death was omnipresent - smarter, smarter and more powerful stupid life, which always lost in a match.

G. Yakhina "Zuleikha opens her eyes"

In this passage of the work, the type of psychological defense is introjection, because according to the work, Zuleikha leaves her home, village, husband, mother-in-law. She will be forced to forget the traditions of her village, the people, she will no longer be able to visit the graves of her four daughters. She thinks and her thoughts lead to depression. Zuleikha is very vulnerable, she did not have time to take place as a person (she was married off early), understood all the shortcomings of family life, lived hating her mother-in-law and loving her husband. All family life lived watching the shortcomings of her mother-in-law. She considered herself a woman offended by life.

Choose an example from fiction on the topic "Conflict". Determine its type and method of behavior in a conflict situation. Justify your answer.

Knurov. So are you marrying Larisa Dmitrievna?

Ogudalova. Yes, married, Moky Parmenych.

Knurov. Was there a groom who takes without money?

Ogudalova. Without money, Moky Parmenych, where can we get some money.

Knurov. Well, he has big means, is your fiancé?

Ogudalova. What means! The most limited.

Knurov.Yes ... And what do you think, you did well, what do you give Larisa Dmitrievna for a poor man?

Ogudalova. I don't know, Moky Parmenych. I have nothing to do with it, it was her will.

Knurov.Well, what do you think this young man is doing well?

Ogudalova.Well, I find it commendable of him.

Knurov. There is nothing commendable here, on the contrary, it is not commendable. Perhaps, from his point of view, he is not stupid. What is he, who knew him, who paid attention to him! And now the whole city will talk about him, he fits into a better society, he allows himself to invite me to dinner, for example ... But here’s the stupid thing: he didn’t think or didn’t want to think about how and with what he could live with such a wife. Here's what we need to talk about.

Ogudalova.Do me a favor, Moky Parmenych!

Knurov.What do you think of your daughter, what is she like?

Ogudalova.Yes, I do not know what to say; I have only one thing to do: listen to you.

Knurov. Indeed, in Larisa Dmitrievna there is no earthly, this worldly. Well, you know, the trivial things you need for a poor family life.

Ogudalova. There is nothing, nothing.

Knurov. After all, this is ether.

Ogudalova.Ether, Moky Parmenych.

Knurov. She's made to shine.

Ogudalova.For shine, Moky Parmenych,

Knurov. Well, can your Karandyshev deliver this shine to her?

Ogudalova. No, where!

Knurov.She will not endure a poor semi-petty-bourgeois life. What is left for her? Waste, and then, as usual, consumption.

Ogudalova. Oh, what are you, what are you! God save!

A.N. Ostrovsky "Dowry"

Main conflict the play "Dowry Blessing" is determined by its very title. The tragedy of Larisa Dmitrievna Ogudalova lies precisely in the fact that she is a dowry. Beauty, mind, charm, human dignity mean nothing in this world if you don't have money. Reading the list of actors, we draw attention to the exceptional importance that Ostrovsky attaches to property and social position heroes. In the play we find social conflict. The question of Larisa's lack of money is sharply raised, but she is a romantic person, believes in love and everything material is alien to her. Only Paratov and Karandyshev (members of the love triangle) pursue a material goal. Larisa avoids resolving the conflict, sees no way out. Offended, outcast Karandyshev, being in an emotional state, shoots Larisa. He was forced to commit a crime, to resolve the conflict, his own pride and greed forced him.

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On the question of the theory of artnconflict

A.G. Nagapetova

In the theory of literature, artistic conflict is understood as "opposite", "contradiction" in the relationship in the system of images of the heroes of the work. Domestic literary critics give a number of definitions of this phenomenon, but in fact these formulations can be considered similar. So, according to V. Kozhinov, “collision (from lat. collisio - clash) is a confrontation, a contradiction between characters, either between characters and circumstances, or within a character, which underlies the action of a literary work. The conflict does not always appear clearly and openly; for some genres, especially for idyllic ones, collision is not typical: they have only what Hegel called "situation".<...>In an epic, drama, novel, short story, a collision usually forms the core of a theme, and the resolution of a collision appears as a defining moment of an artistic idea ... ".

Or the identical opinion of the Soviet literary critic L. Timofeev on this matter: “In a broad sense, the conflict should be called that system of contradictions that organizes a work of art into a certain unity, that struggle of images, social characters, of ideas that unfolds in every work - in epic and dramatic ones widely and completely, in lyrical ones - in primary forms.

Another domestic researcher - M. Epshtein - points in the same direction: “Usually, the conflict acts as a collision (sometimes these terms are treated as synonyms), i.e. direct collision and confrontation between the acting forces depicted in the work - characters and circumstances, several characters or different parties one character."

In most cases, the conflict is revealed both in the plot and in the composition. In fact, conflict is the center of the theme of a work of art. Usually in such cases, he completely subjugates the development of the plot, determines the system of images, maturing from the plot through the climax to the denouement. In general, the development of the action is the most important component of the artistic conflict: the system of events that follow from the plot in the course of the development of the action - as a rule, the conflict escalates, and the contradictions become sharper and clearer. The expressive principle of constructing a work in such cases is an antithesis, as can be seen, for example, already from the title of I. Turgenev's novel "Fathers and Sons", in which two generations seem to be opposed: older and younger. At the same time, the conflict can also manifest itself "out of plot - in compositional contrast, opposition of individual situations, subject details, pictorial angles, in stylistic antithesis, etc." .

In general, powerful conflicts lie at the heart of almost all works of Russian classical literature. In “Woe from Wit” by A. Griboedov, the conflict is the deepest - he loves her, and she loves another: if Sophia did not prefer the romance of a pragmatist, Chatsky would probably be more lenient both to his father-Famusov and to the whole pernicious environment. In "War and Peace" by L. Tolstoy there is a significant number of conflicts, the main of which is the invasion of a stranger into huge country, which did not accept it and pushed it out. In Yesenin's "Anna Snegina" the conflict is formulated piercingly: "We all loved in these years, but we were little loved."

The science of literature traditionally recognizes the existence of four types of artistic conflict, which will be discussed further.

First, natural or physical conflict, when the hero enters into a struggle with nature.

Secondly, the so-called social conflict, when a person is challenged by another person or society. In accordance with the laws artistic world such a conflict arises in the clash of heroes, which are owned by oppositely directed and mutually exclusive life goals. And to this conflict was sharp enough, rather “tragic”, each of these goals hostile to each other should have its own subjective correctness, each of the characters should arouse compassion to some extent. So the Circassian (" Prisoner of the Caucasus"A.S. Pushkin), like Tamara from M.Yu. Lermontov's poem "The Demon", comes into conflict not so much with the hero as with society, and dies. Her "epiphany" costs her her life. Either " Bronze Horseman"- the confrontation between a small man and a formidable reformer.

Moreover, it is precisely the ratio of such themes that is characteristic of Russian literature of the 19th century. It should be emphasized that the unquestioning introduction of a character into a certain environment that embraces him, assuming the supremacy of this environment over him, sometimes abolishes the problems of moral responsibility, personal initiative of a member of society, which were so essential for literature XIX in.

A variation of this category is the conflict between social groups or generations. So, in the novel "Fathers and Sons" I. Turgenev depicts the pivotal social conflict of the 60s of the XIX century - the clash between the liberal nobles and the democrats of the common people. Despite the name, the conflict in the novel is not age-related, but ideological in nature, i.e. this is not a conflict of two generations, but in fact a conflict of two worldviews. The antipodes in the novel are Yevgeny Bazarov (the spokesman for the idea of democrats-raznochintsev) and Pavel Petrovich Kirsanov (the central defender of the worldview and lifestyle of the liberal nobility). The breath of the era, its typical features are palpable in central images novel and in the historical background against which the action unfolds. The period of preparation for the peasant reform, the deep social contradictions of that time, the struggle of social forces in the era of the 60s - this is what was reflected in the images of the novel, made up its historical background and the essence of the main conflict.

The third type of conflict traditionally identified in literary criticism is internal or psychological, when a person's desires conflict with his conscience. For example, moral psychological conflict novel by I. Turgenev "Rudin", which originated in the early prose of the author. So, the confessional elegy "One, again one I" can be considered an original preface to the formation storyline"Rudin", which defines the main character's confrontation between reality and dreams, falling in love with being and dissatisfaction with his own fate, and a significant share of Turgenev's poems ("To A.S.", "Confession", "Have you noticed, my silent friend ..." , “When it’s so joyful, so tender…”, etc.) as a plot “blank” of the future novel.

Fourth possible type literary conflict designated as providential when a person opposes the laws of fate or some deity. For example, in the grandiose, sometimes difficult for the reader "Faust", everything is built on a global conflict - a large-scale confrontation between the genius of Faust's knowledge and the genius of evil Mephistopheles.

Often, some confusion of the above types of conflict is possible. For example, in the novel "Rudin" by I. Turgenev, the opposition between a bright, selfless heroine and a character of considerable intelligence and nobility, but weak in reality, takes place in a new socio-historical situation. So the author's focus on the lyrical side of human existence - love - gives a significant romantic mood to the epic work. However, at the same time, the psychological tonality of the conflict is consistent with social attitudes, becoming to some extent a criterion for the social role of the central character, his historical opportunities.

Often in a number of works, the opposition of opinions, points of view of characters turns into an intense struggle of multidirectional human inclinations and passions, which consistently and incessantly develops throughout the entire presentation. At the same time, the role that determines the genre is that the conflict is as significant as possible for the characters. For example, Gogol's heroes Ivan Ivanovich and Ivan Nikiforovich forever part because of the word, because of the "gander", and an anecdotal, at first glance, quarrel spoils the lives of both. Or the character of another Russian classic, A. Chekhov, - Chervyakov - just inadvertently sneezed on the head of a superior employee, which ultimately led to death.

In general, as a source of plot development, conflict in most cases gives rise to growing tension, occasionally interrupted by descriptions or scenes that slow down the course of action - tension that leads the hero to a catastrophe and can only be removed by a denouement. Thus, summing up, we can cite the words of the famous German writer I. Bechera: “What gives the work the necessary tension? Conflict. What excites interest? Conflict. What moves us forward - in life, in literature, in all fields of knowledge? Conflict. The deeper, the more significant the conflict, the deeper, the more significant its resolution, the deeper, the more significant the poet. When does the sky of poetry shine brightest? After the storm. After the conflict.

literature artistic conflict

Notes

1. Kozhinov, V.V. Collision // KLE. - T.3.

2. Literary Encyclopedia: in 11 volumes - V.5. - M .: Publishing house com. acad., 1931.

3. Epstein M. Conflict // Literary encyclopedic Dictionary. - M., 1987.

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Definition of conflict and how it is applied

It is worth considering in more detail such a concept as conflict. The definition in the literature of a certain specific form, a peculiar technique that reflects the confrontation between the characters of the main characters, their different understanding of the same situation, the explanation of the cause of their feelings, thoughts, desires in similar or the same circumstances is a conflict. Speaking more plain language, then it is a struggle between good and evil, love and hate, truth and lies.

We find the clash of antagonisms in every work of art, whether short story, epic saga, landmark novel or play for drama theater. Only the presence of conflict can set ideological orientation plot, build a composition, organize a qualitative relationship of opposite images.

The ability of the author to create in time in the narrative, to endow opposite images bright characters, the ability to defend one's truth will surely interest readers and make them read the work to the end. From time to time it must be brought to highest point passions, create unsolvable situations, and then allow the characters to successfully overcome them. They must take risks, get out, suffer emotionally and physically, evoking in readers a whole heap of all kinds of emotions from tender tenderness to deep condemnation of their actions.

What should be the conflict

True masters of the artistic word allow their characters to have and defend their point of view, to deeply captivate readers with different moral values in the net of their feelings and reasoning. Only in this case, the army of fans of the work will grow and replenish with lovers of the artistic word. different ages, different social strata, various levels of education. If the author managed to capture the attention of readers from the first pages and keep him on one plot or ideological confrontation until the final point - praise and honor to his pen! But this happens infrequently, and if conflicts in works of literature do not grow like a snowball, do not involve new characters in their solution, already with their own difficulties, neither the story, nor the novel, nor the play of even the most famous author.

The plot should dynamically spin up to a certain point, giving rise to the most incredible situations: misunderstanding, hidden and obvious threats, fear, losses - constant dynamics is needed. What can create it? Just a twist in the plot. Sometimes it can be caused by the unexpected discovery of a revealing letter, otherwise it can be the theft of irrefutable evidence of someone's truth. In one chapter, the hero may become a witness to some kind of crime or a piquant situation, in another, he himself becomes the culprit of something ambiguous. In the third, he may have suspicious patrons about whom he knows nothing, but feels their presence. Then it may turn out that these are not patrons at all, but hidden enemies from the environment close to him, who are constantly nearby. Let sometimes in the literature seem banal, far-fetched, but they should keep the reader in constant suspense.

The impact of conflict on plot suspense

The sole suffering and ordeal of the protagonist of a work of art can arouse interest and sympathy only for the time being, if the secondary characters of the story are not involved in the conflict. The confrontation must be deepened and expanded in order to give the plot novelty, brightness and sharpness.

Sluggish reasoning, even if it is about high feelings and holy innocence, can make the reader want to turn boring pages in annoyance. Because, of course, it’s wonderful, but if it is understandable to everyone and does not give rise to a bunch of questions, then it will not be able to captivate someone’s imagination, and when we pick up a book, we need vivid emotions. Conflict in literature is a provocation.

It can be given not so much by a pile of incomprehensible situations, as by a clear and precise goal of the characters, which each of them carries through the whole work, without betraying it, even when the writer throws his characters into the thick of passions. Any of the opposing sides should contribute to the development of the plot: some with their wild, illogical tricks to infuriate the reader, others - to calm him down with reasonableness and originality of actions. But all together they must solve one problem - to create sharpness for the narrative.

as a reflection of conflict situations

What else, besides a book, can pull us out of everyday life and saturate it with impressions? Romantic relationships, which are sometimes so lacking. Traveling to exotic countries, which not everyone can afford in reality. Exposing criminals hiding behind the masks of law-abiding and respectable citizens. The reader is looking for something in the book that worries him, worries and interests him most at a certain period of time, but in real life nothing like that happens to him or his friends. The theme of conflict in literature fills this need. We will find out how it all happens, what it feels like. Any problem, any life situation can be found in books and the whole gamut of experiences can be transferred to oneself.

Kinds and types of conflicts

Several characteristic conflicts are clearly expressed in the literature: love, ideological, philosophical, social, symbolic, psychological, religious, military. Of course, this is far from full list, we have taken for consideration only the main categories, and each of them has its own list of iconic works that reflect one or more of the listed types of conflict. So, Shakespeare's poem "Romeo and Juliet", without going into demagoguery, can be attributed to the love type. The relationship between people, which is based on love, is shown in it brightly, tragically, hopelessly. This work reflects the nature of drama like no other in more best traditions classics. The plot of "Dubrovsky" slightly repeats the main theme of "Romeo and Juliet" and can also serve as a typical example, but we still remember Pushkin's wonderful story after we name Shakespeare's most famous drama.

Other types of conflicts in the literature need to be mentioned. Speaking of the psychological, we recall Byron's Don Juan. The image of the protagonist is so contradictory and so vividly expresses the internal confrontation of the personality that more typical representative the mentioned conflict will be difficult to imagine.

Several storylines of the novel in verse "Eugene Onegin", masterfully created characters, are typical for love, social, and ideological conflicts at once. The clash of different ideas, claiming the supremacy of one over the other and vice versa, runs through almost every literary work, completely captivating the reader both in its storyline and in the conflict one.

Coexistence of multiple conflicts in fiction

In order to consider in more detail how conflicts are used in works of literature, types are intertwined, it is more reasonable to take for example works of a large form: “War and Peace” by L. Tolstoy, “The Idiot”, “The Brothers Karamazov”, “Demons” by F. Dostoevsky, “Taras Bulba "N. Gogol, drama" Dollhouse» G. Ibsen. Each reader can create his own list of stories, novels, plays, in which it is easy to trace the coexistence of several confrontations. Quite often, along with others, there is a conflict of generations in Russian literature.

So, in "Demons" an attentive researcher will find a symbolic, love, philosophical, social and even psychological conflict. In literature, this is almost everything on which the plot rests. "War and Peace" is also rich in confrontation of images and ambiguity of events. The conflict here lies even in the very title of the novel. Analyzing the characters of its heroes, one can find a Don Juan psychological conflict in each. Pierre Bezukhov despises Helen, but he is captivated by her brilliance. Natasha Rostova is happy love for Andrei Bolkonsky, but goes on about a sinful attraction to Anatole Kuragin. The social conflict is guessed in Sonya's love for Nikolai Rostov and the involvement of the whole family in this love. And so in every chapter, in every small passage. And all this together - immortal, great work, which has no equal.

Vivid pictures of the confrontation of generations in the novel "Fathers and Sons"

No less admirable, like "War and Peace", deserves I. Turgenev's novel "Fathers and Sons". It is generally accepted that this work is a reflection of the ideological conflict, the confrontation of generations. Undoubtedly, the superiority of one's own ideas over those of others, which all the heroes of the story defend with equal respect, confirms this statement. Even existing love conflict between Bazarov and Odintsova fades against the background of the irreconcilable struggle of the same Bazarov and Pavel Petrovich. The reader suffers along with them, understanding and justifying one, blaming and despising the other for his convictions. But each of these heroes has both judges and adherents among fans of the work. The conflict of generations in Russian literature is nowhere else expressed so clearly.

The war of ideas of representatives of two different classes is described less vividly, but this makes it even more tragic - Bazarov's opinion in relation to his own parent. Is this not a conflict? But which one - ideological or still more social and everyday? In one way or another, it is dramatic, painful, even scary.

The image of the main nihilist created by Turgenev from all existing works of art will always be the most controversial literary character, and the novel was written in 1862 - more than a century and a half ago. Is this not proof of the genius of the novel?

Reflection of social conflict in literature

We have already mentioned this kind of conflict in a few words, but it deserves more detailed consideration. In "Eugene Onegin" by Pushkin, he is revealed so in simple words, so clearly rises before us from the first lines of the work that nothing else dominates it, not even Tatyana's painful love and Lensky's untimely death.

“Whenever I wanted to limit my life around the home circle ... What could be worse than a family in the world ...,” says Eugene, and you believe him, you understand him, even if the reader has different views on the subject! Such dissimilar personal values of Onegin and Lensky, their dreams, aspirations, images of lives - radically opposite - reflect nothing more than a social conflict in literature. two bright worlds: poetry and prose, ice and fire. These two polar opposites could not coexist together: the apotheosis of the conflict is the death in the duel of Lensky.

Philosophical and symbolic types of conflicts and their place in fiction

As for the philosophical conflict, there are no more ideal examples for its study than the works of Fyodor Dostoevsky, from the first minutes you will not remember. "The Brothers Karamazov", "Idiot", "Teenager" and further on the list of the immortal legacy of Fedorov Mikhailovich - everything is woven from the finest philosophical threads of reasoning of almost all the characters in his works without exception. Dostoevsky's works - bright examples conflicts in literature! What is the depraved (but for the heroes quite ordinary) theme of adultery, which runs through the entire novel "Demons", and is especially pronounced in the chapter "At Fyodor", forbidden for a long time. The words with which these addictions are justified and explained are nothing but the internal philosophical conflict of the characters.

A vivid example of symbolism is the work of M. Maeterlinck "The Blue Bird". In it, reality dissolves into imagination and vice versa. The symbolic reincarnation of faith, hope, one's own conviction into a mythical bird is an exemplary plot for this type of conflict.

Also symbolic in Cervantes, in Shakespeare, the nine circles of hell in Dante. Modern authors make little use of symbolism as a conflict, but epic works are filled with it.

Types of conflicts in Gogol's works

Artworks greatest writer Russia and Ukraine are saturated with brightly marked symbolism with its devils, mermaids, brownies - the dark sides of human souls. The story "Taras Bulba" noticeably differs from most of the works of Nikolai Vasilyevich by the complete absence of otherworldly images - everything is real, historically justified and in terms of the intensity of conflicts is in no way inferior to that part fiction, which exists in every literary work to one degree or another.

Typical types of conflicts in literature: love, social, psychological, generational conflict can be easily traced in Taras Bulba. In Russian literature, the image of Andriy is so verified as an example on which they are tied that there is no need to go into explanations in which scenes they are traced. It is enough to re-read the book and pay special attention to some points. Conflicts in the works of Russian literature are used for this.

And a little more about conflicts

There are many types of conflict: comic, lyrical, satirical, dramatic, humorous. These are the so-called pretentious views, they are used to enhance the genre style of the work.

Such types of conflicts in literature as plot - religious, family, interethnic - pass through the works of the theme corresponding to the conflict and are superimposed on the entire narrative as a whole. In addition, the presence of this or that confrontation may reflect the sensual side of the story or novel: hatred, tenderness, love. In order to emphasize some facet of the relationship between the characters, they exacerbate the conflict between them. The definition in the literature of this concept has long had a clear form. Confrontation, confrontation, struggle is used when it is necessary to more vividly express not only the nature of the characters and the main storyline, but also the whole system of ideas reflected in the work. The conflict is applicable in any prose: children's, detective, women's, biographical, documentary. All kinds and types of conflicts cannot be listed, they are numerous as epithets. But without them, no creation is created. Plot and conflict are inseparable in literature.

Artistic conflict, or artistic conflict (from the Latin collisio - collision), is the confrontation of multidirectional forces acting in a literary work - social, natural, political, moral, philosophical - receiving an ideological and aesthetic embodiment in the artistic structure of the work as a contrast (opposition) of characters circumstances, individual characters - or different aspects of one character - to each other, the artistic ideas of the work itself (if they carry ideologically polar principles).

In Pushkin's The Captain's Daughter, the conflict between Grinev and Shvabrin over love for Masha Mironova, which forms the visible basis of the actual novelistic plot, fades into the background before the socio-historical conflict - the Pugachev uprising. The main problem Pushkin's novel, in which both conflicts are refracted in a peculiar way, is a dilemma of two ideas about honor (the epigraph of the work is “Take care of honor from a young age”): on the one hand, the narrow framework of estate-class honor (for example, a noble, officer oath of allegiance); on the other hand, universal

values of decency, kindness, humanism (loyalty to the word, trust in a person, gratitude for the good done, the desire to help in trouble, etc.). Shvabrin is dishonest even from the point of view of the nobility code; Grinev rushes between two concepts of honor, one of which is imputed by his duty, the other is dictated by a natural feeling; Pugachev turns out to be above the feeling of class hatred for a nobleman, which would seem completely natural, and meets the highest requirements of human honesty and nobility, surpassing in this respect the narrator himself - Pyotr Andreevich Grinev.

The writer is not obliged to present the reader with a ready-made future historical resolution of the social conflicts he depicts. Often such a resolution of socio-historical conflicts reflected in a literary work is seen by the reader in a semantic context unexpected for the writer. If the reader acts as a literary critic, he can define both the conflict and the way it is resolved much more accurately and far-sightedly than the artist himself. So, N. A. Dobrolyubov, analyzing the drama of A. N. Ostrovsky "Thunderstorm", managed to consider the most acute social contradiction of all of Russia - the "dark kingdom", where, among the general humility, hypocrisy and silence “tyranny” reigns supreme, the sinister apotheosis of which is autocracy, and where even the slightest protest is a “beam of light”.

In epic and dramatic works conflict is at the heart of the plot and is its driving force, determining the development of the action.

So, in the "Song about the merchant Kalashnikov ..." M. Yu. Lermontov, the development of the action is based on the conflict between Kalashnikov and Kiribeevich; in the work of N. V. Gogol's "Portrait" the action is based on an internal conflict in the soul of Chartkov - the contradiction between the awareness of the high duty of the artist and the passion for profit.

At the heart of the conflict of a work of art are life contradictions, their detection is the most important function of the plot. Hegel introduced the term "collisions" with the meaning of a collision of opposing forces, interests, aspirations.

The science of literature traditionally recognizes the existence of four types of artistic conflict, which will be discussed further. First, a natural or physical conflict, when the hero enters into a struggle with nature. Secondly, the so-called social conflict, when a person is challenged by another person or society. In accordance with the laws of the artistic world, such a conflict arises in the clash of heroes who have oppositely directed and mutually exclusive life goals. And in order for this conflict to be sharp enough, “tragic” enough, each of these mutually hostile goals must have its own subjective correctness, each of the characters must evoke compassion to some extent. Thus, a Circassian (“Prisoner of the Caucasus” by A.S. Pushkin), like Tamara from M.Yu. Her "epiphany" costs her her life. Or The Bronze Horseman is a confrontation between a small man and a formidable reformer. Moreover, it is precisely the ratio of such themes that is characteristic of Russian literature of the 19th century. It should be emphasized that the unquestioning introduction of a character into a certain environment that embraces him, assuming the supremacy of this environment over him, sometimes abolishes the problems of moral responsibility, personal initiative of a member of society, which were so essential for the literature of the 19th century. A variation of this category is a conflict between social groups or generations. Thus, in the novel “Fathers and Sons”, I. Turgenev depicts the pivotal social conflict of the 60s of the XIX century – the clash between the liberal nobles and the democrats of the raznochintsy. Despite the name, the conflict in the novel is not of age, but of ideological character, i.e. this is not a conflict of two generations, but in fact a conflict of two worldviews. The antipodes in the novel are Yevgeny Bazarov (the spokesman for the idea of democrats-raznochintsev) and Pavel Petrovich Kirsanov (the central defender of the worldview and way of life of the liberal nobility). The breath of the era, its typical features are felt in the central images of the novel and in the historical background against which the action unfolds. The period of preparation for the peasant reform, the deep social contradictions of that time, the struggle of social forces in the era of the 60s - this is what was reflected in the images of the novel, made up its historical background and the essence of the main conflict. The third type of conflict traditionally singled out in literary criticism is internal or psychological, when a person's desires conflict with his conscience. For example, the moral and psychological conflict of I. Turgenev's novel "Rudin", which originated in the author's early prose. So, the confessional elegy “One, again one me” can be considered an original preface to the formation of the Rudin storyline, which determines the main character’s confrontation between reality and dreams, falling in love with being and dissatisfaction with one’s own fate, and a significant proportion of Turgenev’s poems (“To A.S.”, “Confession”, “Have you noticed, my silent friend ...”, “When it is so joyful, so tender ...”, etc.) as a plot “blank” future novel. The fourth possible type of literary conflict is designated as providential, when a person opposes the laws of fate or some deity. For example, in the grandiose, sometimes difficult for the reader “Faust”, everything is built on a global conflict – a large-scale confrontation between the genius of knowledge Faust and the genius of evil Mephistopheles.

№9The composition of a literary work. External and internal composition.

Composition (from Latin composition - arrangement, comparison) - the structure of a work of art, due to its content, purpose, and largely determining its perception by the reader

Distinguish between external composition (architectonics) and internal composition (narrative composition).

To features external compositions include the presence or absence of:

1) dividing the text into fragments (books, volumes, parts, chapters, acts, stanzas, paragraphs);

2) prologue, epilogue;

3) applications, notes, comments;

4) epigraphs, dedications;

5) inserted texts or episodes;

6) author's digressions (lyrical, philosophical, historical)Author's digression - an extra-plot fragment in a literary text that serves directly to express the thoughts and feelings of the author-narrator.

Internal

The composition of the narrative is the features of the organization of the point of view on the depicted. When characterizing the internal composition, it is necessary to answer the following questions:

1) how the speech situation is organized in the work (who, to whom, in what form the speech addresses, whether there are narrators and how many of them, in what order they change and why, how the speech situation organized by the author affects the reader);

2) how the plot is built (linear composition, or retrospective, or with elements of a retrospective film, ring, plot frame; reportage type or memoir, etc.);

3) how the system of images is built (what is the compositional center - one hero, two or a group; how do the world of people correlate (main, secondary, episodic, off-plot / off-stage; twin characters, antagonist characters), the world of things, the world of nature, the world cities, etc.);

4) how individual images are built;

5) what compositional role play a strong position text - literary works.

No. 10 Speech system thin. works.

The narration can be:

FROM THE AUTHOR (objective form of narration, from the 3rd person): the apparent absence of any subject of narration in the work. This illusion arises because epic works the author does not directly express himself in any way - neither through statements on his own behalf, nor through the excitement of the tone of the story itself. The ideological and emotional comprehension is expressed indirectly - through a combination of details of the subject representation of the work.

FROM THE PERSON OF THE NARRATOR, BUT NOT THE HERO. The narrator manifests himself in emotional statements about the characters, their actions, relationships, experiences. Usually, the author assigns this role to one of the secondary characters. The narrator's speech gives the main assessment of the characters and events in a literary and artistic work.

Example: " Captain's daughter» Pushkin, where the story is told on behalf of Grinev.

The form of narration in the first person is SKAZ. The narrative is built as an oral story of a specific narrator, equipped with his individual linguistic properties. This form allows you to show someone else's point of view, including one that belongs to another culture.

Another form is EPISTOLAR, i.e. letters of the hero or correspondence of several persons

The third form is MEMOIR, i.e. works written in the form of memoirs, diaries

Personification narrative speech is a powerful, expressive tool.

№ 11 character system like component literary work.

When analyzing epic and dramatic works, much attention has to be paid to the composition of the system of characters, that is, the characters in the work. For the convenience of approaching this analysis, it is customary to distinguish between main, secondary and episodic characters. It would seem that a very simple and convenient division, but meanwhile in practice it often causes bewilderment and some confusion. The fact is that the category of a character (main, secondary or episodic) can be determined by two different parameters.

The first is the degree of participation in the plot and, accordingly, the amount of text that this character is given.

The second is the degree of importance of this character for revealing the sides of the artistic content. It is easy to analyze in cases where these parameters coincide: for example, in Turgenev’s novel Fathers and Sons, Bazarov is the main character in both respects, Pavel Petrovich, Nikolai Petrovich, Arkady, Odintsova are secondary characters in all respects, and Sitnikov or Kukshina are episodic.

In some art systems we meet with such an organization of the system of characters that the question of their division into main, secondary and episodic loses all substantive meaning, although in a number of cases there are differences between individual characters in terms of plot and volume of text. No wonder Gogol wrote about his comedy The Inspector General that “every hero is here; the course and course of the play produces a shock to the whole machine: not a single wheel should remain as rusty and out of business. Continuing the comparison of the wheels in the car with the characters in the play, Gogol notes that some characters can only formally prevail over others: “And in the car, some wheels move more noticeably and more strongly, they can only be called the main ones.”

Quite complex compositional and semantic relationships can arise between the characters of the work. The simplest and most common case is the opposition of two images to each other. According to this principle of contrast, for example, the system of characters in Pushkin's Little Tragedies is built: Mozart - Salieri, Don Juan - Commander, Baron - his son, priest - Walsingam. A few more difficult case, when one character is opposed to all others, as, for example, in Griboedov's comedy "Woe from Wit", where even quantitative ratios are important: it was not for nothing that Griboedov wrote that in his comedy "twenty-five fools for one smart person". Much less often than opposition, the technique of a kind of “duality” is used, when the characters are compositionally united by similarity; classic example Bobchinsky and Dobchinsky can serve with Gogol.

Often, the compositional grouping of characters is carried out in accordance with the themes and problems that these characters embody.

№ 12 Actor, character, hero, character, type, prototype and literary hero.

Character(character) - in prose or dramatic work an artistic image of a person (sometimes fantastic creatures, animals or objects), which is both the subject of action and the object of the author's research.

Hero. Central character, the main for the development of the action is called the hero of a literary work. Heroes who enter into an ideological or everyday conflict with each other are the most important in the character system. In a literary work, the ratio and role of the main, secondary, episodic characters (as well as off-stage characters in dramatic work) are due to the author's intention.

Character- personality warehouse individual traits. The set of psychological properties that make up the image literary character, is called a character. Embodiment in a hero, a character of a certain life character.

Type of(imprint, form, sample) is the highest manifestation of character, and character (imprint, distinguishing feature) is the universal presence of a person in complex works. A character can grow out of a type, but a type cannot grow out of a character.

Prototype- a certain person who served as the basis for the writer to create a generalized image-character in a work of art.

Literary hero- this is the image of a person in literature. Also in this sense, the concepts of "actor" and "character" are used. Often, only more important actors (characters) are called literary heroes.

Literary heroes are usually divided into positive and negative, but such a division is very conditional.

Actor artwork - character. As a rule, the character takes an active part in the development of the action, but the author or someone from literary heroes. Characters are main and secondary. In some works, the focus is on one character (for example, in Lermontov's "A Hero of Our Time"), in others, the writer's attention is drawn to a number of characters ("War and Peace" by L. Tolstoy).

13. The image of the author in a work of art.
The image of the author is one of the ways to realize the author's position in an epic or lyric-epic work; a personified narrator, endowed with a number of individual characteristics, but not identical to the personality of the writer. The author-narrator always occupies certain spatio-temporal and evaluative-ideological positions in the figurative world of the work, he, as a rule, is opposed to all characters as a figure of a different status, a different spatio-temporal plan. A significant exception is the image of the author in the novel in verse "Eugene Onegin" A.S. Pushkin, either declaring its closeness to the main characters of the novel, or emphasizing their fictitiousness. The author, unlike characters, cannot be either a direct participant in the events described, or an image object for any of the characters. (Otherwise, we may not be talking about the image of the author, but about the hero-narrator, like Pechorin from M. Yu. Lermontov.) Inside the work, the plot plan is represented by a fictional world, conditional in relation to the author, which determines the sequence and completeness of the presentation of facts, the alternation of descriptions, reasoning and stage episodes, the transfer of direct speech of characters and internal monologues.
The presence of the image of the author is indicated by personal and possessive pronouns first person, personal forms of verbs, as well as various deviations from the plot action, direct assessments and characterizations of characters, generalizations, maxims, rhetorical questions, exclamations, appeals to an imaginary reader and even to characters: “It is very doubtful that the hero we have chosen will please the readers. Ladies, he if you don’t like it, this can be said in the affirmative ... ”(N.V. Gogol,“ Dead Souls ”).
Being outside the plot action, the author can handle both space and modernity quite freely: freely transfer from one place to another, leave the “actual present” (time of action), or delve into the past, giving the background of the characters (the story about Chichikov in the 11th chapter “Dead Souls”), or looking ahead, demonstrating their omniscience with messages or hints about the immediate or distant future of the heroes: “... It was a redoubt that did not yet have a name, then it received the name of the Raevsky redoubt, or the Kurgan battery. Pierre paid no particular attention to this redoubt. He did not know that this place would be more memorable for him than all the places of the Borodino field ”(L. N. Tolstoy,“ War and Peace ”).
In literature, the second half. 19th–20th centuries subjective narrative with the image of the author is rare; it has given way to "objective", "impersonal" narration, in which there are no signs of a personalized author-narrator and the author's position is expressed indirectly: through a system of characters, plot development, with the help of expressive details, speech characteristics of characters, etc. P.

14. Poetics of the title. Title types.
Title- this is an element of text, and a completely special, "advanced" one, it occupies a separate line and usually differs in font. The title is impossible not to notice - like a beautiful hat, for example. But, as S. Krzhizhanovsky figuratively wrote, the title is "not a hat, but a head that cannot be attached to the body from the outside." Writers are always very serious about the titles of their works, it happens that they are remade many times (you probably know the expression "heading pain"). To change the title means to change something very important in the text...
By the title alone, you can recognize the author or the direction to which he belongs: the name "Dead Moon" could only be given to the collection by hooligan futurists, but not A. Akhmatova, N. Gumilyov or Andrei Bely.
Without a title, it is completely incomprehensible what the poem is about. Here is an example. This is the beginning of B. Slutsky's poem:

Didn't get knocked off my feet. drew with a pen,
Like a swallow, like a bird.
And - do not cut down with an ax.
You won't forget and you won't forgive.
And some new seed
Carefully grow in your soul.

Who ... "didn't knock me off my feet"? It turns out, Alien line. That is the name of the poem. Whoever reads the title perceives the beginning of the poem with completely different eyes.

In poetry, all the facts of the language and any "little things" of the form become significant. This also applies to the title - and even if it ... is not. The absence of a title is a kind of signal: "Attention, now you will read a poem in which there are so many different associations that they cannot be expressed in any one word ..." The absence of a title indicates that a text rich in associations is expected, elusive to define.

Subject descriptive titles - titles that directly, directly designate the subject of description, in a concentrated form reflecting the content of the work.

Figurative-thematic- titles of works that communicate the content of what is to be read, not directly, but figuratively, by using a word or a combination of words in figurative meaning, using specific types of trails.

Ideological and characteristic- headings of literary works, indicating the author's assessment of what is being described, on main conclusion author, the basic idea of all artistic creation.

Ideological-thematic, or polyvalent titles are those titles that indicate both the theme and the idea of the work.

In literature? How does it manifest itself? Is it always possible to notice it even to an inexperienced reader? Conflicts in works of literature are an obligatory and necessary phenomenon for the development of the storyline. Not a single high-quality book that can claim the title of eternal classic can do without it. Another thing is that we are not always able to see a clear contradiction in the views of the character being described, to deeply consider the system of his values and inner convictions.

Sometimes it is difficult to understand true literary masterpieces. This occupation requires enormous mental stress, as well as the desire to understand the characters, the system of images built by the author. So what is conflict in literature? Let's try to figure it out.

Concept definition

In most cases, people intuitively understand what is at stake when it comes to talking about some kind of ideological clash in a particular book. The conflict in literature is the confrontation of the characters of the heroes with external reality. The fight in the fictional world can go on long time and necessarily leads to a change in the way the hero looks at the surrounding reality. Such tension can form within the character himself and be directed to his own personality. The development of such a move occurs very often. And then they talk about the internal conflict, that is, the struggle with oneself.

Conflicts in Russian literature

Domestic classics deserve special attention. Below are examples of conflicts in literature taken from Russian works. Many of them will be familiar from the time school curriculum. What books are worth checking out?

"Anna Karenina"

The greatest monument of Russian literature, which does not lose its relevance today. Almost everyone knows the plot of Anna Karenina. But not every person can immediately determine what the main experiences of the heroine are. Thinking about what conflict is in literature, we can recall this wonderful work.

Anna Karenina shows a twofold conflict. It is he who does not allow the main character to recover and look differently at the circumstances. own life. In the foreground, an external conflict is depicted: society's rejection of relations on the side. It is he who distances the heroine from people (friends and acquaintances) with whom it was so easy to interact before. But besides him, there is still an internal conflict: Anna is literally crushed by this unbearable burden that she has to carry. She suffers from separation from her son Seryozha, has no right to take the child with her to new life with Vronsky. All these experiences create a strong tension in the heroine's soul, from which she cannot free herself.

"Oblomov"

Another unforgettable work of Russian classical literature, which is worth talking about. Oblomov depicts the solitary life of a landowner who at one time decided to refuse service in the department and devote his life to solitude. The character himself is quite interesting. He does not want to live according to the pattern imposed by society, and at the same time does not find the strength to fight. Staying in inaction and apathy further undermines it from the inside. The hero's conflict with the outside world is manifested in the fact that he sees no point in living the way most people do: going to work every day, performing actions that seem meaningless to him.

The passive way of life is his defensive reaction against the incomprehensible surrounding world. The book shows the conflict of the ideological plan, since it is based on an understanding of the essence and meaning of human existence. Ilya Ilyich does not feel the strength in himself to change his life.

"Moron"

This work is one of the most famous by F. M. Dostoevsky. The Idiot depicts an ideological conflict. Prince Myshkin is very different from the society in which he has to be. He is laconic, has extreme sensitivity, which is why he is acutely experiencing any events.

The rest of the characters are opposed to him by their behavior and outlook on life. The values of Prince Myshkin are based on the Christian understanding of good and evil, on his desire to help people.

Conflicts in foreign literature

Foreign classics are no less entertaining than domestic ones. Conflicts in foreign literature are sometimes presented in such a broad way that one can only admire these masterfully written works. What examples can be given here?

"Romeo and Juliet"

A unique play by William Shakespeare, which every self-respecting person must have met at one time or another. The book shows a love conflict, gradually turning into a tragedy. Two families - the Montagues and the Capulets - have been at war with each other for many years.

Romeo and Juliet resist the pressure of their parents, trying to defend their right to love and happiness.

"Steppenwolf"

This is one of the most memorable novels by Hermann Hesse. Main character- Harry Haller - out of touch with society. He chose for himself the life of an impregnable and proud loner, because he cannot find a suitable place in it for himself. The character calls himself steppe wolf", who accidentally wandered into the city to the people. Haller's conflict of an ideological plan lies in the inability to accept the rules and attitudes of society. The surrounding reality appears to him as a picture devoid of meaning.

Thus, when answering the question, what is a conflict in literature, it is necessary to take into account inner world Main character. The worldview of one character is very often opposed to the surrounding society.

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