Honored writers recognize that the genre of the story is one of the most difficult, since the process of creating a masterpiece requires precision of construction, impeccable finish, gravitas of meaning and high tension of the plot. But in this article, we still put everything on the shelves and find the answer to the exciting question: how to write a story?

Every day, hundreds of interesting events take place before your eyes, and more than one hundred thoughts are spinning in your head. Everything that you want to tell the reader must be stated in an accessible and understandable form. Those who first take up writing a story, as one, think that the story is not at all a difficult genre, since it is written much faster than any other. But it's not. I would even say that this is the main one.

In a novel, for example, events are recreated in the same way as an eyewitness saw them, a story is a consistent presentation of them. But the story is the most curious and complex shape, since the author will have to select from a variety of events only those that need to be arranged for a concise canvas of the story.

Writing a story

So, work on any literary work consists of three points: to know, to say, to be heard. Let's decipher these "three pillars" of writing a story.

To know- means to know life itself, to reevaluate and comprehend your own life experience learn to hear and understand the world around, people. Collectively, this gives a creative idea.

To tell- means to create a literary work, that is, the most important. Namely: to find material, select it, process it, organize it correctly, and, of course, write our story - to present everything in an artistic form.

To be heard- this does not mean just writing a work and putting it on a bookshelf to gather dust, but giving it life, showing it to readers, because a literary work lives only when it is read, understood and appreciated. In order for the book to be appreciated, you need to know a few small writing secrets that will be useful to a novice writer in the process of creation.

The first stage in creating a story is the birth of an idea.

It appears in your head thanks to banal curiosity, reflection, and, of course, fantasies. Various factors can contribute to the emergence of a fresh and interesting idea. For example, your mind will be strongly affected by the impressions of a book you read or some kind of informational message, whether it be a small document, a small note in the press, or even a chronicle. After reading the work of another author, sometimes there is a desire to slightly redo his work. Paradox - the desire to remake someone else's work, radically changing everything; personal experiences or severe stress; embellishment and addition of situations that occurred in real life; some assumptions, variations of events; ideal - the embodiment of the artist's perfect idea of ​​​​something, for example, justice.

The next step in writing a story is the selection of material.

Good command of the language does not make any person a real writer. In order to become a recognized artist of the word, it is necessary to know and understand life. Knowledge provides only the initial, supporting material, and understanding it makes it possible not to copy the text, but to elevate your presentation to the rank artwork.

select necessary material possible in several ways. The first is a description of what is seen or experienced. But this kind of presentation is more the work of a journalist than a writer. The task of literature is to create something that will allow the reader to see what he previously could not or did not want to see. Next Method- design. Here the writer himself invents the characters and the plot, fishing everything out of his imagination and memory. And few people need material in order to describe in detail the actions, for example, where the main characters live, in what era, what they are wearing, what they do, what their environment is, and the like. In such moments, the most reliable helpers are memory and your own experience. The last way to extract information is synthesis. The author puts real events in the basis of the work, but with some changes and many conjectures.

When there are a lot of materials, it is difficult to understand them. You can use the convenient ones that I wrote about in another article.

Components of a story

Arguably the most important detail in a story is the composition. Composition - a good arrangement of previously selected material. The sequence of episodes creates an emotional and associative perception of the story by the reader.

There are many composition options:

Straight-through- the simplest kind.
Ring- here the story has an author's frame at the beginning and at the end of the work.
dotted- when there are many small details and details that are ultimately tied to a specific event.
Wicker– when there is a spatio-temporal scale.
Action, detective, inversion - based on contrast.
Articulated- when the plot suddenly takes a sharp turn at the end of the story.
revolver- the events taking place in the story are shown with different points vision.

The beginning is the beginning of the story. It is the first phrase that is the most important in the whole story. It creates the first impression, which, as you know, is the most important.

Effectively, the story can be started with an exposition, that is, without delay, bring the reader up to date, or landscape, or action, a description of past events, the main characteristics of the hero, a portrait, and other points.

Each writer has his own style of story, it is thanks to him that the author can become recognizable. This is his personal handwriting, his individual way of wielding thought.
The criteria for determining the technique are such elements as a word, speech turnover, a phrase, a combination of two words, junctions of periods, and so on. Highlight a specific style writing a story impossible, because in one story there is always a combination of several styles.

Details are something without which any story will turn into an unknown thing. It is the details that create literary works, they should not be forgotten in any case. Details can be a variety of things - taste, smell, color, touch, and so on. In any case, it is necessary to adequately describe every little thing, to give it life.

That's all I wanted to tell you today. Now you know how to write a story. Looks complicated, right, but it's hard to get started. May your inspiration and talent bring you success, and I will share that with you in the next article.

Possibilities of studying the processes of human mental evolution on the material of art. The action of cultural-psychological and socio-psychological factors as a reflection of the cognitive and motivational spheres. Conditions for the development of artistic creativity from result mental warehouse of the ethnic group in reason forming this warehouse. Forms of contrasting and relatively independent development of mental and artistic. Mechanism of "mental mutation". Transformation of human needs in the mirror of phylogenesis and ontogenesis.

Methods of historical and anthropological knowledge in the 20th century were enriched with valuable results. New approaches to historical knowledge break down the barriers that for a long time fixed the tightness of certain scientific fields: the history of art, the history of culture, the history of science; implement the idea of ​​interdisciplinary synthesis in human cognition. On this basis, a dictionary of new historical and anthropological thinking has arisen and is developing, in which such concepts as mentality, consciousness and subconsciousness of culture, value orientations, automatisms and behavioral skills, implicit attitudes of thought, the culture of the imagination of the era. All these measurements, carried out on the basis of the analysis of various products of human cultural activity, make it possible to recreate complete picture of his mental evolution and constitute the subject of historical psychology.

As you know, the art of any era is a unique way of interaction between "practical" and "theoretical" forms of social memory, mythological and scientific ideas, conscious and unconscious. The multi-component nature of art has absorbed the entire spectrum of the structures of the historical psychology of man with special forms of “linking” the rational and the unconscious, the archetypal and the innovative. Crystallization of non-verbalized moments of the human psyche in works of art allows us to consider works of art as unique "psychological hardenings". In this regard, the reverse procedure is also possible: based on the material of art reconstruction of the forms of human mental plasticity in history, observation of trends in the evolution of his psyche.

How do we approach the identification of parallelism in such vast areas as historical psychology and art history? One of the significant difficulties that arise along this path is the tradition rooted in aesthetics to present the history of art as the history of masterpieces, classical creations that have become milestones in the spiritual history of mankind. In this case, this approach is not quite acceptable. After all, the artistic life of society does not consist of only top achievements: the sphere of art flexibly responds to the needs and tastes of all social strata, to the most diverse human motives, and therefore supplies in abundance works designed to satisfy the numerous needs of everyday consciousness, to saturate the area of ​​\u200b\u200blife and leisure with artistic forms. , entertainment, holiday, etc. No less light is shed on the basic mental attitudes by an analysis of what forms of artistic self-realization were used in everyday life by representatives of the middle and lower classes, who were not familiar with the artistic masterpieces of the era.

And one and the other branches of art in real life coexist in constant intersection, making up a single artistic process. Moreover, the second line, which reflects the everyday artistic forms of human existence, often acts as that special territory, outside of which the birth of cultural masterpieces is impossible. As S.S. correctly noted. Averintsev, "there are a number of inglorious, from our point of view, events of the literary process, without which the top results would be unthinkable or would be different." In addition, it would be a mistake to see signs of the psychological state of the era only in famous works. In a number of cases, great and innovative works arose in the mainstream of oppositional processes.

Of course, neither the artistic nor the psychological spheres dissolve into each other. The aesthetically established view of art as an intrinsically valuable form of creativity emphasizes the uniqueness of its language, which acts not only as a means (sign and symbol), but also as an object of disinterested admiration. The method of artistic organization of sounds, lines, movement carries a great hedonistic and heuristic potential, has an obvious independent value. At the same time, any work of art is open to “disobjectification” by contemporaries and subsequent generations. All the changing parameters of art are not only a sign of intra-artistic evolution, but also a mirror of the changes taking place in the person himself, in his well-being and self-knowledge. Thus, we are not talking about reductionism: the artistic in its entirety is irreducible to the non-artistic (psychological). And at the same time, one cannot ignore the fact that the special historical states of a person are reflected in their own way in the development of the language and figurative structure of art, in the priority development of its types and genres, and much more. For this reason, any characteristics of art, within certain limits, can act source of reconstruction of evolving psychological structures inner peace person.

What is the nature of the psychological factors invading the artistic process and determining its fate? What is included in the very concept of psychological structures? All psychological factors can be differentiated into cultural and psychological and socio-psychological influence. First through a certain picture of the world, ideas about the world order have an impact on the formation of historically certain types perception and thinking. The latter manifest themselves through the impact on a person of the closest ethnic and social environment: they form behavioral stereotypes, communication norms, and moral attitudes. Such differentiation reflects the division of the spheres of the spiritual being of the individual, accepted in psychology, into cognitive and motivational.

As aesthetics delves into the analysis of a particular material, more and more hidden reefs of the problem come to light. The main ones testify to the fact that knowledge of the general factors that make up the possible lines of mutual influence of historical psychology and art is still insufficient. As a rule, there is almost no direct flow of artistic characteristics into psychological ones, and vice versa, in the history of culture. An obstacle in the interpenetration of the psychological and artistic spheres is often artistic etiquette, a system of aesthetic canons imposed on the author.

So, if we try to reconstruct the content of the mental life of a person in the XI-XIII centuries. based on the materials of the chronicles, we will immediately encounter an obvious obstacle: history for the chronicler does not have a "second" plan - a hidden psychological background. In this case, the literary series and the psychological series, it would seem, are absolutely disunited, they do not combine. The images of princes in the annals do not know the spiritual struggle, inner experiences, i.e. what might be called the content of mental life. We can easily notice that the characteristics of princes are woven not so much from psychological as from political concepts. It would not be an exaggeration to say that the very concept of character as an idea of ​​an individual and unique psychology is absent at this moment. Should we conclude on the basis of this that the mental life of our predecessors was poor? Psychological experience of people of the XI-XIII centuries. was, of course, much richer than it is represented in the literature and art of that time. “You should not think,” writes D.S. Likhachev, - that the ancient Russian author of the XI-XIII centuries. the only reason he did not depict in the annals the psychology of people, their inner life, was that he did not know this psychology, did not see this inner life, or “did not know how” to depict them.

The political events of this period testify to the fact that the princes clearly took into account the psychology of their opponents, allies and the masses of people - let's take at least the annalistic descriptions of their negotiations or oratorical prose. But such a psychological experience did not enter directly into the plot fabric of art, because this was not required by the tasks that the artist and chronicler set themselves. Thus, the human character appears in the works of ancient Russian art of the 11th-13th centuries. in two ways: from the outside, i.e. in the author's system, as they wanted to present it; and at the same time in a hidden, implicit form, how can we reconstruct it indirectly according to the facts reported in the annals, through individual details, composition, etc.

This is where artistic and stylistic analysis comes to the rescue, allowing you to see behind the image prototype, for details - whole, for a hint trend, and through the author's intonation, comparison of facts, to reveal the interlinear meanings of run-in formulas, implicit motives, etc. In addition, large reserves are fraught with the possibility of recreating the appearance of that reader, viewer, for whom this work was designed and for which it would have a burning interest. Such a method of reconstructing psychological traits, for its part, would make it possible to complete the idea of ​​the specific mental silhouettes of people who actually acted, to feel them as living faces.

In order to register individual parties historical psychology as a non-random and widespread phenomenon, it is necessary to observe them over a long historical duration. In art, a single constructive principle is most tangibly expressed in the concept of style. Romanesque, Gothic, Baroque, Classicism - each of these styles is a sign not only of a special emotional-figurative structure, but also of integral socio-psychological states. The ability of the artistic process to cultivate and reproduce on a mass scale the constructive principle once found by it reveals it as a powerful force, capable of often changing its cultural functions- outgrow from result mental warehouse of the ethnic group to the reason forming this warehouse.

The pattern that operates here is the same for both historical psychology and art history. Any development is a unity of variability and stability with the leading role of variability. The milestones in this endless process are historical periods, during which human activity has been looking for and working out each time new stereotypes that satisfy the given historical second in their form and content. Once acquired, a formula, possessing life-giving power, always strives to expand, to spread to the widest possible areas and thereby prolong its existence. Winning, each artistic direction turns from revolutionary into peacefully ruling, acquires epigones and begins to degenerate. Because of this, the dominant trend in art never exhausts an era and, taken in isolation, characterizes not so much the state of art as the tastes and orientations of the public.

If at first a certain form of artistic product is brought to life by the mental originality of a historical individual, then, repeatedly broadcasting, art form itself affects both other individuals and the creator himself. This ability of reverse influence is inherent in principle to all products of culture: after all, they imprint and transmit a way of orienting a person in environment, way of communication, perception, behavior. Mastering the ways of perceiving various artistic creations, penetrating into the ways of their creation, a person simultaneously trains and develops in himself those mental processes that the artistic act of co-creation requires from him. This reflects the historical activity of the artistic, developing the mental equipment of the individual.

An enduring and popular art form does not die the moment a new one emerges. Brought up on familiar patterns, the public retains attitudes toward the recognizable. In this, in particular, the contradiction between the socio-psychological and artistic and cultural orders manifests itself. So, for example, which were very popular at the end of the 18th - early XIX in. intimate lyrical genres of poetry (classical romances, elegies, prayers, songs) outlived their creators, V.A. Zhukovsky, K.N. Batyushkova, E.A. Baratynsky. In the wake of mass interest, these genres over time were overgrown with epigone creativity, which brought Zhukovsky’s “captivating sweetness” to cloying, and nevertheless continued to satisfy the needs of the public even at a time when new forms of verse reigned in poetry (lyrics by A.A. Fet, F.I. Tyutcheva and others).

B.M. Eikhenbaum saw in such a polyphony of artistic life the operation of the law of "historical contrast", when the upper, leading layer of culture must be opposed not intermediate, but lower. Analyzing the panorama of the artistic process of the late XIX - early XX century. and contrasting the work of symbolist artists with "zemstvo literature", Eikhenbaum considered it quite understandable the situation when "high and complex philosophical poetry had to be opposed by" bad literature ", strong in its naivety, banality, accessibility." It is important to always take into account this multidirectional nature of artistic creativity: any genuine art, even in closed and totalitarian civilizations, is functional and dysfunctional at the same time. Under the pressure of dysfunctional elements brought to life by a new sense of being, along with the dominant tradition, utilized by civilization, on the periphery of official culture, an opposition tradition always grows, which generalizes and thereby, as it were, legalizes the outlier “nonconformist” tendencies of artistic creativity.

Those artistic directions, which for the time being stood on the second path as a spare, developing non-canonized traditions, developing new artistic material, break through to the forefront of culture. The real movement of art again causes the struggle of coexisting trends. For this reason, the winning style is no longer fully representative of the understanding of the psychological characteristics of the era, since new “conspirators” stand behind the back of the winner. In this way, the artistic movement in an era is created not by the fact of the victory of any direction, but by the very process of struggle, tension of opposition forces, reflecting the equally indirect paths of the evolution of man and his mental priorities.

Because of this, one can come to a conclusion that is paradoxical at first glance: the artistic masterpieces of one era have their roots not to the masterpieces of another era, but to what did not come true. Hence, the traditional principles of writing art history turn out to be unnecessarily linear. Most often history books visual arts, literature, music are distinguished by a "discontinuous" view of their subject as a sum of epochs that are quite mechanically combined with each other. All material of artistic facts is grouped, as a rule, chronologically or is closed within the framework of individual regions. The researcher conscientiously describes the necessary array of works of art, traditions, workshop experience, the indirect impact of the picture of the world on the methods of perception and thinking, etc. But as soon as the question moves from statics to dynamics, how and why does authorial self-will develop from random experiments? new style why, it would seem shocking artistic techniques suddenly acquire a transpersonal character, turn into the norm - a specialist often resorts to a purely mechanical connection. The end of the power of one artistic era and the accession of another is often explained by the method of “initiative chance” (M.M. Bakhtin). Such explanatory schemes are widely known: “and at the same time...”, “suddenly against the usual background...”, “it is at this moment that a figure appears...”, etc. In such cases, the research method is not able to detect spiritual and psychological trajectory structuring the artistic evolution itself, turns out to be similar to a “chest for storing facts” (L. Febvre).

So, on the one hand, reflecting socio-psychological stereotypes, on the other hand, art puts a lot of effort into the formation of new types of creativity that destroy the usual automatism of perception. It is at this turn that the mechanism of the active influence of the artistic on the psychological manifests itself: solving aesthetic problems proper, working on recreating the language, searching for new compositional principles, methods of deploying the material, the artist, not always realizing this, brings the perception and thinking of contemporaries to new qualitative ones. transformations. A person acquires new criteria, unusual attitudes, learns to grasp the integrity of a complicated form, to connect the “incompatible”, etc.

“I changed the methods of my writing and language, not because I argue that it is necessary, but because even Pushkin is ridiculous to me,” L.N. admitted. Tolstoy, painfully experiencing the inorganic nature of the old methods of the new sense of life. The crisis of narrative prose, which occurred in the middle of the XIX century. and from which F.M. Dostoevsky, I.S. Turgenev, forced L.N. Tolstoy to endure exhausting torments. The writer was burdened not so much with substantive problems as with the search for such a medium, the perception of which determines the tone of the description and the choice of details. As a result, after successful attempts, explaining N.N. Strakhov his artistic method, L.N. Tolstoy wrote: “The very connection (of the elements of a work of art. - O.K.) composed not by thought (I think), but by something else, and it is impossible to express the basis of this linkage directly in words.* This was the new artistic optics that was the only one capable of expressing his spiritual and psychological originality.

*Tolstoy L.N. Letters to N. Strakhov dated 10/21/1876

Similar laws of contrasting development are also characteristic of processes in the psyche. Everyday cultural environment has a blurring effect on patterns of social sensibility and perception. The more the established consolidation of habitual forms, methods, patterns asserts itself, the more likely it is that opposing, unorganized forms will appear in social psychology. Strengthening the action in the social attitudes of the core with a plus sign to one degree or another influences the emergence of another core with a different direction - minus. There is a development along polarization - negation of negation. The psyche, having mastered certain states, seeks to outgrow itself. The same mechanism distinguishes the dynamics of art. Art is far from being always cast off only to the side, predetermined by the logic of previous processes. And there, and here is often a blind search. A new artistic feature may arise on the basis of "accidental" results, "accidental" outbursts, mistakes, i.e. art violations. “Literature will be “ordered” to India, and it will discover America” (Yu. Tynyanov), - very often in the history of art we come across such facts.

Of great interest in this regard is the mechanism developed by a number of psychologists. "mental mutation".“In terms of its functional purpose, this mechanism can be compared with the role of mutations in the progressive development of wildlife from simple to complex, meaning not a better adaptation to the external environment, not an increase in stability (the ability to self-preserve), but such a complication of the internal organization that allows living beings to explore new, previously inaccessible areas of the world around us.* It's about about the fact that in its ability to self-propulsion the instinct of "intelligence" of the psyche is able to exceed the instinct of self-preservation. That is why in every era we are faced with incomplete, only partial awareness of human desires: they are constantly being transformed, differentiated, changing their hierarchy, appearing in the form of structures that are not entirely rationally explained. These processes confirm the possibility of developing both artistic creativity and mental activity. on the basis of independent resources in the implementation of "autonomous", not always interdependent experiments.

*Simonov P.V. Emotional brain. M., 1981. S. 189.

When studying specific types of cultures, one always has to keep in mind the following circumstance: the dominant needs of a given era as a result of phylogenetic development (the history of mankind as a species) are not the starting point on which to develop ontogenetic processes (the history of a particular person). Whatever epoch we observe, the stages of the formation of the spiritual world of the personality in it never begin with the apex results of the phylogenetic process. On the contrary, they often repeat the stages of the historical development of all mankind. This leads to the conclusion that in the structure of the psyche of a developing individual there will always be needs that are not limited to the content of the current culture, but are largely present as a routine element, “repetition of the past”. In history, insightful guesses have been expressed more than once that the formation of a full-fledged subject of culture is possible only through the direct appropriation of levels of already held cultural experience. In order for the development of each individual personality to be complete, it must go through the period of youthful romanticism, briefly repeating world history.

The desire for the most complete self-expression in the context of the later stages of culture providing an unlimited choice of traditions, models, forms of behavior comes into conflict with the need for psychological protection, satisfied with the help of inhibition of mental processes, bringing spontaneity, inertia, temperament under the control of integrative value attitudes of consciousness.

This, however, does not lead to a decrease in the possibilities of spiritual and psychological self-realization, infringement of choice. For some artists, the basis of their own identity can be home and family as an integration of everyday, creative, subjective-personal needs (which in the 19th century was especially characteristic of the noble intelligentsia, starting with A.S. Pushkin and ending with L.N. Tolstoy). For others, wandering becomes the most adequate form of life (M.Yu. Lermontov, F.M. Dostoevsky, M. Gorky) and the possibility of role changes associated with it.

Thus, the question does not stand in such a way that at each stage in culture there is a single true set of spiritual and psychological attitudes and preferences. For a balanced historical movement, it is important that a person can find himself in the artistic and cultural values ​​actualized by society and, on the contrary, that the latter, in order to confirm their relevance, need to be refracted in individual creativity.

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Description- one of the most common components of monologue author's speech. In logical terms, to describe a phenomenon means to list its features. Already in the rhetoric of the eighteenth century, one can find certain schemes for constructing such texts: 1 - definition; 2 - whole - parts; 3 - external properties (shape, material); 4 - place; 5 - internal properties: functions, use.

Of course, descriptive texts are very diverse depending on a number of conditions. Firstly, the object of description itself plays an important role: animate - inanimate, portrait, landscape, event, etc. Secondly, it is very important whether the description is static, that is, one that interrupts the development of the text, or dynamic - usually small in volume, which does not suspend actions, but is included in the event. Finally, the purpose of the description, its function and the role of the author of the text are fundamentally significant.

From this point of view, factual and creative texts-descriptions can be contrasted.

Factual descriptions common in the scientific and technical field, engineering, in instructions, technical manuals, as well as in various kinds of reference publications. They are distinguished, on the one hand, by dryness, lack of emotional evaluation, and, on the other hand, by completeness, clarity, accuracy and consistency.

The arrangement of parts in factual descriptions is usually as follows: 1 - the general purpose (function) of the subject; 2 - its components that are important for the addressee of the message (in descending order of importance), their purpose and work. Pay attention to the structure of the description texts presented in the instructions, dictionaries:

a) The cornice "String" is designed for hanging curtains made of light fabric on one string[function]. It consists of two brackets with fastening elements of a nylon string and decorative plastic covers.[whole - parts, properties, functions of parts].

b) Black elderberry is a perennial plant, shrub or tree 3-10 m tall [general characteristics]. The trunk and branches are gray with lenticels along the bark. Leaves opposite, petiolate, pinnate. The flowers are small, fragrant, yellowish-white, in many-flowered corymbs. Fruit - black-violet, berry-like[components and their external properties]. Medicinal raw materials are inflorescences and fruits dried in stoves or dryers.[destination].

in) The badger is a rather large, up to 90 cm (and with a tail and more than a meter), animal with a silver-gray bristle [general description]. Yellowish-white stripes stretch from the nose to the back of the head, and a black stripe runs through the eyes and ears. Paws are strong with strong claws[components and their characteristics]. With these paws, he digs holes, deftly digs out roots, these paws also serve him for defense.[assignment of the part].

Creative descriptions necessarily contain emotional, aesthetic, artistic elements. When compiling them, several general rules: the subject must be presented separately from others (select it) in its unity, integrity; identify characteristic properties, and these properties are not only the most significant for the narrator, but also will not leave the addressee indifferent.

When describing the subject of speech, it is very important to choose the main characteristic feature, the detail that makes the subject interesting. At the same time, it is necessary to find an accurate, vivid comparison, that is, to create an image based precisely on this characteristic feature, an essential feature of the object. No less important is the choice of point of view, the direction of the "look" at the subject.

The most typical is the following structure of a creative description text. First, a general picture of the surroundings is given (place, time, etc.), then the gaze, as it were, focuses on the subject and its characteristics are given. To create a vivid, emotional image, it is necessary to maintain the dynamism of the description.

So, if this is a landscape sketch, i.e. the object is “inactive” (for example, a lake, a hill, etc.), then changes in it can be described in different time. A vivid example of such a description can be found in the story of I.S. Turgenev "Yermolai and the Miller's Woman" (pay attention to how the "direction of gaze" of the narrator changes; how diverse are the "sensory" sources for creating the image - visual, auditory, olfactory, etc.):

A quarter of an hour before sunset, in the spring, you enter the grove with a gun, without a dog. You find yourself a place somewhere near the edge of the forest, look around, inspect the piston, wink with a friend. A quarter of an hour has passed. The sun has set, but it is still light in the forest; the air is clean and transparent; birds chattering babble; the young grass gleams with the merry sheen of emerald... you are waiting. The interior of the forest gradually darkens; the scarlet light of the evening dawn slowly glides over the roots and trunks of trees, rises higher and higher, passes from the lower, almost still bare, branches to the motionless, falling asleep tops ... Here the very tops have faded; the ruddy sky turns blue. The smell of the forest intensifies, there is a slight breeze of warm dampness; the wind that has flown in near you stops. Birds fall asleep - not all of a sudden - by breed: here the finches calmed down, after a few moments the robins, followed by the oatmeal. In the forest everything is getting darker and darker. The trees merge into great black masses; the first stars appear timidly in the blue sky. All birds are sleeping. Redstarts, small woodpeckers alone are still whistling drowsily ... So they fell silent.

If the object of speech is an inanimate physical object consisting of separate parts (for example, a city, a garden), then these parts, pictures from different sides are described. An example of this kind of description is a brief description of the interior of Khory's hut from the story of I.S. Turgenev "Khor and Kalinich" (note how the selection of details of the description reveals such features of the owner of the dwelling as solidity, housekeeping, accuracy, the predominance of the utilitarian over the aesthetic):

We entered the hut. Not a single Suzdal painting covered clean log walls; in the corner, in front of a heavy image in a silver frame, a lamp was glowing; the lime table had recently been scraped and washed; frisky Prussians did not wander between logs and jambs of windows, brooding cockroaches did not hide.

If a “moral” object is characterized (luxury, modesty, idleness, etc.), then usually the description is given according to the principle: “genus” - “species”, “varieties”. When describing actor its properties and actions are usually characterized: one after another, gradually and separately. Pay attention to the ironic characterization of the landowner Polutykin from the same story by I.S. Turgenev. The author does not directly name such qualities of the hero as mismanagement, greed, lack of a sense of humor, pretensions to taste, education in their complete absence, etc. I.S. Turgenev prefers to focus on the details, manifestations of the "varieties" of these "weaknesses" of the small Kaluga landowner:

As a hunter, while visiting Zhizdrinsky district, I met in the field and got acquainted with one Kaluga small landowner Polutykin, a passionate hunter and, therefore, an excellent person. True, there were some weaknesses behind him: for example, he wooed all the rich brides in the province and, having been refused by the hand and from the house, with a contrite heart he trusted his grief to friends and acquaintances, and sent sour peaches and other gifts to the parents of the brides. the raw produce of his garden; he liked to repeat the same anecdote, which, despite Mr. Polutykin's respect for his merits, definitely never made anyone laugh; praised the writings of Akim Nikhimov and the story of Pinnu; stuttered; called his dog Astronomer; instead, however, he spoke alone and started French cuisine in his house, the secret of which, according to the concepts of his cook, consisted in a complete change in the natural taste of each dish: the meat of this artisan was reminiscent of fish, fish - mushrooms, pasta - gunpowder; but not a single carrot fell into the soup without taking the form of a rhombus or a trapezoid. But with the exception of these few and insignificant shortcomings, Mr. Polutykin was, as has already been said, an excellent person.

The most diverse and individual descriptions in a work of art. Their structure, the means used are determined not only by the subject of speech, genre, function in the text, but also by the creative manner of the author, etc.

At the same time, in any description, it is necessary to ensure that the characteristics of the object of speech correspond to the specific author's task, be complete and accurate, the highlighted details reflect essential features object. The most important thing is to be able to highlight the property of the object, which makes it such. And then use this property as the core of all speech about the subject. When describing, one should avoid excessive detail, repetition and random, insignificant characteristics.

Artistic style is a special style of speech that has received wide use as in the world fiction in general, and copywriting in particular. It is characterized by high emotionality, direct speech, richness of colors, epithets and metaphors, and is also designed to influence the reader's imagination and acts as a trigger for his fantasy. So, today we are in detail and visually examples consider artistic style of texts and its application in copywriting.

Art style features

As mentioned above, the art style is most often used in fiction: novels, short stories, short stories, short stories and other literary genres. This style is not characterized by value judgments, dryness and formality, which are also characteristic of styles. Instead, for him, the characters are narrative and transmission. the smallest details in order to form in the reader's imagination a filigree form of the transmitted thought.

In the context of copywriting, the art style has found a new embodiment in hypnotic texts, to which an entire section "" is devoted to this blog. It is the elements of artistic style that allow texts to influence the limbic system of the reader's brain and trigger the mechanisms necessary for the author, due to which a very curious effect is sometimes achieved. For example, the reader cannot tear himself away from the novel, or he develops sexual attraction, as well as other reactions, which we will talk about in subsequent articles.

Art style elements

In any literary text there are elements that are characteristic of the style of its presentation. For the artistic style are most characteristic:

• Detailing
• The transfer of feelings and emotions of the author
• epithets
• Metaphors
• Comparisons
• Allegory
• Using elements of other styles
• Inversion

Let's consider all these elements in more detail and with examples.

1. Detailing in a literary text

The first thing that can be distinguished in all literary texts is the presence of details, and, moreover, to almost everything.

Art style example #1

The lieutenant walked along the yellow building sand, heated by the scorching afternoon sun. He was wet from the tips of his fingers to the tips of his hair, his whole body was covered with scratches from sharp barbed wire and aching with maddening pain, but he was alive and headed for the command headquarters, which was visible on the horizon about five hundred meters away.

2. Transfer of feelings and emotions of the author

Sometimes in a literary text the author conveys his feelings and emotions in order to form in the reader the necessary attitude towards certain objects being described. This relationship can be both positive and negative.

Art style example #2

Varenka, such a sweet, good-natured and sympathetic girl, whose eyes always shone with kindness and warmth, with a calm look of a real demon, walked to the Ugly Harry bar with a Thompson machine gun at the ready, ready to roll these vile, dirty, smelly and slippery types who dared stare at her charms and drool lustfully.

3. Epithets

Epithets are most characteristic of literary texts, since they are responsible for the richness of the vocabulary. Epithets can be expressed by a noun, adjective, adverb or verb and are most often bundles of words, one or more of which complement another.

Examples of epithets

Example of artistic style No. 3 (with epithets)

Yasha was just a small dirty trick, which, nevertheless, had a very great potential. Even in his pink childhood, he masterfully stole apples from Aunt Nyura, and not even twenty years had passed, when he switched to banks in twenty-three countries of the world with the same dashing fuse, and managed to peel them so skillfully that neither the police nor Interpol couldn't catch him red-handed.

4. Metaphors

Metaphors are words or expressions in a figurative sense. Found widespread among the classics of Russian fiction.

Art Style Example #4 (Metaphors)

5. Comparisons

Artistic style would not be itself if there were no comparisons in it. This is one of those elements that bring a special flavor to the texts and form associative links in the reader's imagination.

Comparison examples

6. Allegory

An allegory is a representation of something abstract with the help of a concrete image. It is used in many styles, but for artistic it is especially characteristic.

7. Using elements of other styles

Most often, this aspect is manifested in direct speech, when the author conveys the words of a particular character. In such cases, depending on the type, the character can use any of the styles of speech, but the most popular in this case is colloquial.

Art style example #5

The monk drew his staff and stood in the way of the intruder:

Why did you come to our monastery? - he asked.
- What do you care, get out of the way! the stranger snapped.
“Uuuu…” the monk pointedly drawled. Looks like you weren't taught manners. Okay, I'm in the mood today, I'll teach you some lessons.
- You got me, monk, angard! hissed the uninvited guest.
“My blood is starting to play!” the churchman groaned with delight. “Please try not to disappoint me.

With these words, both of them jumped out of their seats and grappled in a merciless fight.

8. Inversion

Inversion is the use of a reverse word order to enhance certain fragments and give words a special stylistic coloring.

Inversion examples

conclusions

AT art style texts can contain both all of the listed elements, and only some of them. Each performs a specific function, but all serve the same purpose: to saturate the text and fill it with colors in order to maximally involve the reader in the transmitted atmosphere.

The masters of the art genre, whose masterpieces people read without stopping, use a number of hypnotic techniques, which will be discussed in more detail in subsequent articles. or email the newsletter below, follow the blog on twitter and you won't miss them for anything.

Art- this is a form of human activity, artistic creativity, manifested in its various forms - painting, architecture, sculpture, literature, music, dance, theatrical productions, films, arts and crafts, etc. Art is a special way of knowing and reflecting life, with its own laws and means. With its help, as well as with the help of science, a person tries to comprehend, reflect and transform the world around him. It gives a person unique tools for understanding the world that no other field of activity can offer. Goethe noticed this feature of art very accurately. He wrote that art "is a mediator of that which cannot be expressed." Indeed, it is only in art that a person can fully realize his sensual attitude to the world around him.

In history human society art arose relatively early, when a person began to form the first concepts about himself and the world around him, and at the same time he felt the need to imitate this world around him and express his feelings. Most scholars believe that the first forms of art are rooted in primitive society and are closely related to magic. So, numerous cave paintings depicting animals, made, by the way, with high skill, according to archaeologists, served for magical hunting rites.

Art as a special area of ​​human activity is primarily studied by the science of aesthetics (from the Greek asthetikos - feeling, sensual). She explores the essence and forms of beauty in art, as well as the general laws of art, manifested in its various varieties (poetry, literature, music, painting, etc.).

ART FEATURES

For art as an activity primarily associated with human feelings, it is very difficult to find any strict criteria and framework. However, at first glance it is clear that this is a specific part of the culture, with its own patterns and characteristics. Let us try to single out its most essential, clearly visible features in the broad and polysemantic concept of "art".

First, as we have already found out, art is primarily associated with feelings and emotions. It is precisely the sensory perception of the surrounding world that is characteristic of him. With the help of art, a person does not express the logic of causes and scientific laws in dry formulas that are understandable only to a small circle of specialists, but through expressive forms, first of all, to the feelings and heart of himself. ordinary person. While science values ​​balance, validity and reliability, art requires sincerity, emotionality and depth of experience. It is no coincidence that the French writer Stendhal said: “... Art lives by passions. You need to feel the devouring fire of passions in order to succeed in it.

Secondly, art is subjective. Only by passing the world around through the prism of his feelings, a person can claim the title of a creator. The camera is also capable of perceiving and reflecting the world, but only a photographer can make a photograph a work of art, putting his talent and his vision of the world into it. After all, the task of art is not to “correctly” depict the environment, but to awaken in people a sense of beauty. Art does not strive for an objective reflection of reality. As the outstanding domestic director V. E. Meyerhold accurately noted, “the connection between art and reality is the same as between wine and grapes.” Even the concepts of "inspiration", "intuition", "enthusiasm", characterizing creative process xy artist, are connected primarily with the world of his individual experiences.

Along with feeling and subjectivity, the most important thing for understanding art is its imagery. It is the creation of an artistic image that most of all distinguishes art from other types of human activity. Many experts believe that the figurativeness of art is its most important characteristic feature. If for a scientist the means of knowing the world are theoretical constructions and logical conclusions, then for an artist such a tool turns out to be precisely artistic image- an individual perception of reality born by the artist's imagination.

Feelings in their personal refraction are not works of art in themselves, but only enclosed within the framework of a laconic and aesthetically designed whole, they become worthy of artistic embodiment. The image enables the artist to recreate the impression of the whole in the imagination of the viewer or reader with separate strokes. Moreover, it will be colored both by the feeling of oneself and by the feelings of the viewer, who restores the image based on his own experience. Listen to the poems of the wonderful poet I. A. Brodsky:

All night silently, one vershok,
grass grows. It chirps like an engine
all night the grasshopper is somewhere in the furrow.
Rowan wanders from star to star.

In order to depict the July night, the poet did not need to describe the landscape, lighting and air temperature. A few details were enough for the reader to feel the silence and serenity of a summer village night.

Unlike science, religion, morality, art manifests itself in finished author's works. If the former are largely the fruit of long-term collective efforts and are subject to reassessment of values ​​over time, then works of art are created “once and for all”. Picturesque canvases, sculptures, literary works for centuries remain as they were presented to the public by the author. And since they continue to bear the imprint of the identity of the creator, the connection with the author of the work of art is especially important. Often just the name of the artist determines the value of the canvas, regardless of its real merits. And even very ordinary works of a generally recognized genius are sometimes highly valued. It is on this that those who forge the paintings of great masters and create fake paintings speculate.

As individual as the creation of works of art is, their perception is just as individual. The well-known saying: “There are no comrades for the taste and color” - is the most suitable for art and is far from the activity of a scientist. Works of art are always open for discussion and criticism, everyone is free to evaluate them in accordance with their own tastes, beliefs and preferences. each person, generation, nation has its own aesthetic experience, on the basis of which judgments are formed. You can easily see this if you try to compare the artistic tastes of young people and older people. And it cannot be said that some of these tastes are better than others, it’s just that their aesthetic preferences were formed in completely different conditions and behind them there is a completely different life experience.
art has its own peculiarities of development. If scientific and technological progress is straightforward and moves from the highest to the lowest, then in art such progress does not exist. This is not to say that Greek sculpture is wrong in comparison with the work of the Impressionists. The processes in artistic creativity do not directly depend on the experiential knowledge and material needs of society. Very often, in seemingly unfavorable social conditions, real masterpieces are born. Thus, the Russia of serfdom gave the world famous Russian classical literature and music, and under the yoke of the Stalinist regime, A. A. Akhmatova, B. L. Pasternak, M. A. Bulgakov and others created their best works.

Progress in science, especially in recent times, is characterized by a continuous reassessment of values. What once seemed unshakable, with the advent of new research turns out to be wrong. Artistic masterpieces remain timeless, they retain their value and continue to influence more and more new generations. Egyptian and ancient Greek sculptures are thousands of years old, but they still never cease to amaze the audience. In art, it is impossible to prove the mistakes of predecessors if their works are really talented. Art, unlike science, does not overcome the accumulated, it only constantly enriches itself, carefully preserving in its treasury time-tested genuine masterpieces.

But at the same time, art is characterized by principles of development common to any field of culture. Art in the same way is born in the crucible of the struggle between tradition and innovation, through the confrontation of schools, trends and directions. Remember the history of the Russian Wanderers, who brought immortal glory to the Russian school of painting. After all, their movement arose as a counteraction to the academic painting that was established at that time. In the same way, art participates in the expanding dialogue of cultures. As a result of interethnic communication, for example, such a musical phenomenon as jazz appeared, which showed the fruitfulness of African American culture. Think for yourself, and you will be able to think of a lot of examples,
confirming the indisputable fact that culture in our time is undergoing a process of internationalization.

KINDS OF ART

Art manifests itself in a huge variety certain types artistic creativity. And their number only increases with time. As soon as mankind invents new technical means, they soon replenish the arsenal of arts, becoming the cause of the emergence of ever new forms and types of it. So man went from rock paintings and simple musical instruments to cinema with all its special effects and electronic musical devices.

As separate types of art, we are dealing with literature, painting, sculpture, architecture, music, theater, cinema, etc. They are distinguished depending on the means and methods by which an artistic image is created. So, for example, in literature, aesthetic awareness of reality is carried out through the word, in painting - through visual images, in sculpture - through volumetric-spatial forms, in music - through sound intonations, etc.

Many different types of art are combined into separate groups based on various criteria. Many scientists distinguish spatial and temporal types. Works of spatial arts (painting, sculpture, architecture, etc.) occupy a certain part of space, do not change in time and are not in motion. The works of temporary arts (literature, music, theater, etc.), on the contrary, change during the time that the viewer or listener enjoys them. In the theater, the plot of the play develops, the scenery and mise-en-scenes change, in music one theme replaces another, in literary work events and characters invented by the author pass before the reader's mind's eye.

However, this is far from the only way to classify art forms. They are also divided from the point of view of the participation of language or speech as a means of artistic self-expression into speech and language. In addition, types of art can be subdivided depending on which way of perception prevails in the process of their creation and consumption. Accordingly, they are divided into visual and auditory.

Of course, such classifications are rather arbitrary, since far from all types of art fit into their framework. Thus, the theater has absorbed literature, acting, painting and music, its action takes place in space and time, it uses speech and visual means, both vision and hearing are involved in its perception. And how can you classify, say, ballet, circus, design or fashion?

Arts that seek to combine the achievements of other species are often called synthetic. Their number is growing rapidly along with the development of technology. It suffices to name such comparatively young forms of art as photography, cinema and animation, to understand the fruitful influence of technology on the development of the arts. This commonwealth becomes the reason for the birth of completely new types of artistic creativity, striving to combine things that seem to be little suitable for each other. For example, at the beginning of the twentieth century. Russian composer A. N. Scriabin attempted to create an organic synthesis of melody and light and color effects, when a certain range of colors corresponds to the musical scale. A special optophonic piano was created, which, together with the sound, produced a certain color form on the screen. This idea gained recognition after the Second World War and is now known as light music.

In addition to numerous types, art exists in a huge variety of directions, trends and styles that form historically established common artistic features in one or another form of art or in several types at the same time. You already know many historical areas of art from history and literature courses - these are Romanesque and Gothic styles, baroque, classicism, romanticism, realism, etc. In the modern world, unlike how it was before, there is no one dominant style or trends in art. There is a conglomeration of the most diverse currents, intertwining and arguing with each other - modernism, expressionism, avant-gardism, abstractionism, surrealism, postmodernism, etc. The difference between them is how close to reality they use images to convey their own vision of the world. For example, in painting, this relationship with reality extends from photographically accurate images to completely arbitrary combinations of geometric figures. This situation in art enables the artist to express himself most fully and in various ways and is an indicator of the freedom of artistic creativity.

AESTHETIC CULTURE

Art is certainly one of the most democratic phenomena in culture. It affects the feelings of people regardless of their social and national affiliation. It does not recognize the division between people, its magic bewitches anyone who is ready to understand works of art. But, being publicly available, it requires a certain skill from a person, the skill of perceiving the beautiful - aesthetic culture. Understanding beauty and harmony in art is not given to a person from birth. These feelings need to be nurtured. Therefore, artistic upbringing and education should be integral part a mature personality capable of understanding the virtues of a work of art. Only under this condition can a person fully touch the heights of genuine art and feel the pleasure of beauty. Only then will he be able to feel his strength on himself, which makes a person kinder, more tolerant, better.

TRENDS OF SPIRITUAL LIFE IN MODERN RUSSIA

How and how does Russia live today? What are the challenges now facing national culture? In order to try to answer these questions, we first need to remember that the spiritual life of Russia has always been distinguished by its originality, some of the reasons for which existed even a hundred and two hundred years ago. They exist even now. The spiritual life of Russia has been influenced for centuries by the multinational composition of its population with its historical and religious traditions. On a vast unevenly populated territory, the state has always owned special role, and cultural processes gravitated towards government centers. The situation was often characterized by a gap between the conservative social order and the advanced achievements in the field of culture.

In addition, radical transformations in Russian society have left their mark on modern processes in the spiritual life of Russian society, which have led to fundamental changes in economic, political, social and cultural terms. Strict control over the spiritual life of society in the Soviet state gave rise to a situation of bifurcation of culture. At its poles were the semi-official culture dictated to society from above and the semi-legal culture of confrontation, the underground of Soviet society. It was in the latter area that cultural processes uncontrolled by the state took place, dissident literature and journalism developed, replicated in samizdat, art,
not allowed in exhibition halls, music expelled from stages and concert venues. Just remember the names of A. I. Solzhenitsyn and A. Schnittke, V. S. Vysotsky and M. Chagall, A. D. Sakharov and I. A. Brodsky.

A gap in the state's ideological control has been breached technical achievements. By the beginning of the 1970s. consumer electronics became available to most families, radically changing the distribution system and
consumption of spiritual values. The ability to copy audio and video products at home led to the emergence of a "cassette!) uncensored culture, since the selection and reproduction of records depended only on personal
the interests of each person. It was in this way that the independence of spiritual life in the USSR was formed.

Perestroika and subsequent reforms completely changed the entire structure of Russia's spiritual life. These difficult processes had both positive and negative results.

Naturally, along with the liberalization of all aspects of life, society received freedom of expression in the sphere of culture as well. There was an opportunity for an active dialogue with the cultures of other countries. Prohibited by censorship and hitherto unknown phenomena of world art have become publicly available. The doors of the special stores were opened, and the society gained access to the treasury of national culture without any censorship exceptions. The creativity of our compatriots who, for one reason or another, have emigrated, has also become accessible. The works of such thinkers, writers and poets as N. A. Berdyaev, P. A. Sorokin, S. N. Bulgakov, V. V. Nabokov, etc. turned out to be a common cultural heritage. and their cultural achievements to the judgment of the world community. The ideological factors limiting creativity have disappeared. Xyzhni k got the opportunity of free expression,
and the consumer - freedom of choice.

From the underground, culture poured into the marketplace. And it was here that the main problems awaited her. Culture has become a hostage to market relations, forced to meet the demands of the public and at the same time bring profit, that is, be self-sustaining. In Russia, mass culture began to develop, which in fact did not exist in the USSR. (Remember that the main purpose of mass culture is to make a profit.) In this situation, the Russian market was taken over by products of the Western entertainment industry. In cinemas, on television screens, on the shelves of bookstores, its samples appeared in large numbers. The standards of American and, to a lesser extent, European mass culture quickly became defining. Interest in the achievements of national culture subsided noticeably.

Market relations also crippled the Russian intelligentsia, strong in its historical traditions. Due to the deterioration of the economic situation of this social group, it has ceased to be a solvent consumer in the cultural market. After all, let's say, it makes sense to publish books by authors of elite literature when there are people who are ready to buy them. The commercialization of culture has made it difficult to access readers and viewers of the works of a mass of young talented writers, artists and directors. In the context of aggravated economic problems, the state weakened support for the cultural sector. The budgetary financing of this area still continues to obey the residual principle. The new social conditions made it necessary to change the cultural infrastructure, that is, everything that ensures the normal functioning of culture.

As a result, the culture management system, methods of material support and regulation, a lot of cultural institutions were closed, many research projects fundamental
science. The channels through which cultural products reached the consumer have largely collapsed.

In this situation, the spiritual life of the provinces and villages suffered the most. It turned out to be impossible for local budgets to maintain houses and palaces of culture, cinemas, libraries, amateur creative groups, clubs, local museums, organize traveling performances and performances by artists. Cultural life, to an even greater extent than before, was concentrated in Moscow and major cities. For the rest of the population, television has become the main source of cultural benefits.

In a situation where society has lost its usual guidelines, the eyes of many people turned to the traditional values ​​of religious beliefs. Per last years the authority and influence of the church increased significantly, and the number of believers increased significantly. For many, religion has become a mainstay in Everyday life. The church successfully joined the sphere of the spiritual culture of the country, becoming an element of stability and moral order.

As you and I could see, the spiritual life of Russia has undergone tremendous changes in recent years.
and got a lot of problems as a result. However, they still should not be considered signs of degradation and complete destruction of culture, they are quite natural for any society in transition. Changes in cultural orientations simply cannot be painless. But at the same time, they set certain tasks for Russian society, the solution of which determines the spiritual and moral atmosphere in our country.

First of all, it is necessary to support the material basis of culture - its infrastructure, well-established management, regulation and financing. Such an infrastructure should meet the needs of the market and take into account the high spiritual traditions of Russia. Solving this problem will make it possible to mitigate the acute contradiction between the need for broad borrowing of world experience and the preservation of the originality of one's own culture. The wide openness of society facilitates the assimilation of the latest achievements of the outside world, but the reverse side of such openness is excessive imitation, which leads to the undermining of one's own cultural heritage. Blindly copying samples of Western culture without proper adaptation to domestic cultural traditions turns into not only spiritual, but also social discord. The resulting losses are not compensated for by partial or superficial gains.

Strengthening and updating the education system, restoring the means and methods of attracting the masses to cultural processes - all this will make it possible to raise the general level of culture. Support for domestic art, development scientific research will contribute to the creation of a solid foundation for the cultural traditions of the future. The education of tolerance, along with the support of national spiritual traditions, will make it possible to smooth out the contradictions and difficulties in forming the foundations of the culture of the new society.

Reproduction of spiritual activity is ensured by the education system, scientific institutions, church institutions, media structures, creative organizations, etc. For their normal functioning, of course, serious state support is needed. But at the same time, culture is largely created in the spiritual space of the individual. And that is why every person should be clearly aware that culture is also his own business, the problem of his own spiritual level. Without understanding this responsibility, any attempts to improve the spiritual life of society will forever remain meaningless.

PRACTICAL CONCLUSIONS

1 It is impossible to love art in the abstract. It needs to be known and understood. It requires a person to read regularly, visit museums, theaters, exhibitions, concerts.

2 Remember that in our time, art is available to everyone. Even if you live far from Moscow or St. Petersburg, you always have the opportunity to create your own personal libraries, music and video libraries. Television also carries a lot of fresh cultural information, one has only to carefully study the television program.

3 Works of art will become much more accessible to your understanding if you try to master the basics of at least one of its types. The work of an artist is much easier to understand if you feel yourself in his place.

Document
From the story of A. p. Platonov "Among the people."

They stood one next to the other, rejoicing at each other, like relatives. The peasant was about seventy years old; he was a man of small stature, already drying up with age, with a tuft of brown beard under his chin and with those small bright eyes sunk in his forehead, which our people call suspicious: in his eyes one could distinguish at the same time the weakness of an uncertain human soul, and concentrated deep attention, trustingly waiting for the truth to overshadow him - and then he will be capable of any passion, feat and death.<...>The officer in front of him was tall, gloomy and thin, with that expression of calmness on his face or the habit of sadness that people have for a long time living in the war. In appearance, the major could have been given fifty or thirty-five: long years of work could tire him. anxiety and responsibility, taken to heart, and to leave frozen traces of tension on his face - or these were the features of constantly restrained extreme impressionability, which brings weariness to a person. But in Makhonin's voice there is still
a young, kind force was heard, inviting him to those who heard him, and the good nature of a good character sounded.

Questions and tasks for the document

1. Using the text of the passage, show distinctive features inherent in art.

2. What artistic images did the author create in this fragment? Describe the signs of an artistic image in their example.

3. How does Platonov portray the characters of his heroes? What impression did these images make on you? Try to convey their portraits in your own words. Try to complete them in accordance with how you imagined these people.

4. Try to write your own artistic description of a person you know.

SELF-CHECK QUESTIONS

1. What is art? What place does it occupy in culture?

2. How is the knowledge of the world around through art? Why is art called "figurative knowledge"?

3. List character traits art. Show how they manifest themselves with specific examples.

4. What is an artistic image? How does an artist convey his vision of the world with his help?

5. Describe the features of progress in art.

6. What does art have in common with other areas of culture? Show his connection with religion, science, education, the development of technology.

7. What kinds of arts do you know? On what basis are they distinguished?

8. How are the arts classified? What are synthetic arts?

9. Why does a person need an aesthetic culture?

10. What are the problems of spiritual life in modern Russia?

11. Name the main characteristic features of the processes taking place in the national culture and art.

TASKS

1. famous artist Vincent Van Gogh during his lifetime was not recognized by anyone, his paintings were not sold, he endured hardship and constant ridicule. Soon after his death, his work was appreciated. Van Gogh's Sunflowers is currently the most expensive painting ever sold. It was bought at a Christie auction in London in 1987 for £22,500,000. What do you think this example is about? Associate it with features
progress in art.

2. Using the knowledge gained from the courses of history and literature, name the currents and trends in art. Prepare an oral report about one of them.

3. Find out what cultural institutions are close to where you live. Compare your results with those of others.

4. Using the materials of the periodical press, prepare a report on the cultural life in modern Russia.