Artistic convention. Moscow State University of Printing Arts Fulfillment of Prophecies, Convention of Prophecy and Deep Meaning
CONDITIONAL ARTISTIC - in a broad sense, a manifestation of the specificity of art, which consists in the fact that it only reflects life, and does not represent it in the form of a truly real phenomenon. In a narrow sense, a way of figuratively revealing artistic truth.
Dialectical materialism proceeds from the fact that the object and its reflection are not identical. Artistic cognition, like cognition in general, is a process of processing the impressions of reality, striving to reveal the essence and express the truth of life in the form artistic image... Even in the case when natural forms are not disturbed in a work of art, the artistic image is not identical with the depicted one and can be called conditional. This convention only fixes that art creates a new object, that the artistic image has a special objectivity. The measure of convention is determined by the creative task, artistic purpose, first of all, by the need to preserve the internal integrity of the image. At the same time, realism does not reject deformation, the re-creation of natural forms, if the essence is revealed by such means. When they talk about realistic conventions, they do not mean a departure from the truth of life, but the measure of conformity to specific species, national, ethnographic and historical characteristics. For example, the conventions of ancient theater, the "three unities" of the period of classicism, the originality of the "Kabuki" theater and the psychology of Moscow. Artistic academic theater should be considered in the context of traditions, prevailing artistic ideas and aesthetic perception.
The purpose of artistic convention is to find the most adequate forms for the essential contained in these forms in order to reveal the meaning, giving it the most expressive metaphorical sound. Conventionality becomes a way of artistic generalization, which presupposes an increased emotionality of the image and is designed for the same emotionally expressive audience response.
In this regard, the problem of understanding, the problem of communication, is of particular importance. There are a number of traditional forms in which various conventional systems are used: allegory, legend, monumental forms, in which a symbol is widely used, a metaphor. Having received a logical and psychological justification, convention becomes an unconditional convention. Even N.V. Gogol believed that the more ordinary an object, the higher you need to be a poet in order to extract the extraordinary from it. The work of Gogol himself, as well as of artists who generously use the grotesque, metaphor (D. Siqueiros and P. Picasso, A. Dovzhenko and S. Eisenstein, B. Brecht and M. Bulgakov), sets as its goal the deliberate destruction of illusion, faith in reliability. In their art, a metaphor is a one-step combination of impressions that are far from each other and that arise at different times, when a conditional feature becomes the basis for uniting spectator impressions into a single complex.
Realistic aesthetics opposes both formalism and protocol reproduction of reality. Socialist realism uses conventional forms along with other forms of reflection of reality.
No matter how periodically the interest in the problem of genres sharpens, it has never been in the center of attention of film studies, being at best on the periphery of our interests. This is evidenced by the bibliography: not a single book has been written on the theory of cinema genres either here or abroad. We will not find a section or at least a chapter on genres, not only in the already mentioned two books on the theory of screenwriting (V.K. Manevich, V. Yunakovsky. As for the articles on the general theory of genres, literally the fingers of one hand will be enough to list them.
Cinema began with a chronicle, and therefore the problem of photogeny, naturalness of cinema, its documentary nature absorbed the attention of researchers. However, reality not only did not exclude genre sharpening, it assumed it, which was shown already by Eisenstein's "Strike", built on the principle of "mounting attractions" - the action in the style of a chronicle was based in it on episodes sharpened to eccentricity.
The documentary filmmaker Dziga Vertov argued with Eisenstein in this regard, believing that he was imitating the documentary style in feature films. Eisenstein, in turn, criticized Vertov for allowing play in the chronicle, that is, cutting and editing the chronicle according to the laws of art. Then it turned out that both of them strive for the same thing, both from different sides break down the wall of the old, melodramatic art in order to come into direct contact with reality. The dispute between the directors ended with Eisenstein's compromise formula: “On the other side of the fiction and non-fiction”.
Upon closer examination, documentary and genres are not mutually exclusive - they turn out to be deeply connected with the problem of method and style, in particular, the individual style of the artist.
Indeed, even in the very choice of the genre of the work, the artist's attitude to the depicted event, his outlook on life, his individuality is revealed.
Belinsky wrote in his article "On the Russian Story and Gogol's Stories" that the author's originality is a consequence of the "color of the glasses" through which he looks at the world. "Such originality in Mr. Gogol lies in comic animation, always prompted by a feeling of deep sadness."
Eisenstein and Dovzhenko dreamed of staging comic films, showed remarkable abilities in this (meaning "Love Berry" by Dovzhenko, script "MMM" by Eisenstein and comedy scenes of "October"), but they were nevertheless closer to an epic.
Chaplin is the genius of comedy films.
Explaining his method, Chaplin wrote:
Belinsky VT. Collected cit .: In 3 volumes. T. 1.- M .: GIHL. - 1948, - S. 135.
A.P. Dovzhenko told me that after "Earth" he was going to write a script for Chaplin; he intended to convey a letter to him through S.M. Eisenstein, who was then working in America. ed.
“In the movie Adventurer, I very successfully put myself on the balcony, where I eat ice cream with a young girl. One floor below I placed a very respectable and well-dressed lady at a table. As I eat, I drop a piece of ice cream, which, when melted, flows over my trousers and falls on the lady's neck. The first burst of laughter makes me uneasy; the second, and much stronger, causes ice cream falling on the lady's neck, who begins to scream and jump ... No matter how simple it may seem at first glance, two properties of human nature are taken into account here: one is the pleasure that the public feels when seeing wealth and shine in humiliation, another is the desire of the public to experience the same feelings that an actor experiences on stage. The audience - and this truth must be learned first of all - is especially pleased when all sorts of troubles happen to the rich ... If, say, I dropped ice cream on the neck of a poor woman, say some modest housewife, it would cause not laughter, but sympathy To her. In addition, the housewife has nothing to lose in terms of her dignity and, therefore, nothing funny would come of it. And when ice cream falls on the rich woman's neck, the audience thinks that this is how it should be. "
Everything is important in this little treatise on laughter. Two responses - two bursts of laughter evokes this episode in the viewer. The first explosion - when Charlie himself is confused: ice cream falls on his trousers; hiding confusion, he tries to maintain external dignity. The viewer, of course, laughs, but if Chaplin had limited himself to this, he would have remained just a capable student of Max Linder. But, as we can see, already in his short films (original sketches of future paintings), he gropes for a deeper source of the funny. The second, more powerful burst of laughter occurs in the indicated episode when ice cream falls on the neck of a rich lady. These two comic moments are related. When we laugh at a lady, we express our sympathy for Charlie. The question arises, what does Charlie have to do with it, if everything happened because of an absurd incident, and not at his will, because he does not even know what happened on the floor below. But that's the whole point: thanks to his absurd actions, Charlie is both funny and ... positive. We can do evil by ridiculous actions. Charlie, with his ridiculous actions, unknowingly, changes the circumstances the way they should change, thanks to which the comedy achieves its goal.
"Charles Spencer Chaplin. - M .: Goskinoizdat, 1945. S. 166.
Funny is not the coloring of the action, funny is the essence of the action and negative character and positive. The one and the other are clarified through the funny, and this is the stylistic unity of the genre. The genre thus reveals itself as an aesthetic and social interpretation of the theme.
It is this idea that Eisenstein sharply sharpens when, in the classroom at VGIK, he invites his students to stage the same situation, first as melodrama, then as a tragedy and, finally, as a comedy. The following line of an imaginary script was taken as the theme for the mise-en-scène: “A soldier is returning from the front. Discovers that during his absence, his wife had a child from another. Throws her. "
Giving this task to students, Eisenstein emphasized three points that make up the director's skill: to see (or, as he said, “fish out”), select and show (“express”). Depending on whether this situation was posed on a pathetic (tragic) or comic level, different content, different meanings were “fished out” of it - therefore, the mise-en-scene turned out to be completely different.
However, by saying that a genre is an interpretation, we do not at all assert that a genre is only an interpretation, that a genre begins to manifest itself only in the sphere of interpretation. Such a definition would be too one-sided, as it would make the genre too dependent on performance, and only on it.
However, the genre depends not only on our attitude to the subject, but, above all, on the subject itself.
In the article "Questions of the genre" A. Macheret argued that the genre is "a way of artistic sharpening", the genre is "a type of artistic form."
Macheret's article was of great importance: after a long silence, she drew the attention of criticism and theory to the problem of the genre, drew attention to the meaning of form. However, the article's vulnerability is now also obvious - it reduced the genre to form. The author did not use one of his very correct remarks: Lena events in art can only be a social drama. A fruitful thought, however, the author did not use it when he came to the definition of the genre. Genre, in his opinion, is a type of art form; genre - the degree of sharpening.
Eisenstein S.M. Fav. Prod .: In 6 vol. T. 4, - 1964.- S. 28.
Macheret A. Questions of the genre // Art of cinema. - 1954. - №11 - p. 75.
It would seem that such a definition completely coincides with the way Eisenstein approached the genre interpretation of mise-en-scène, when, while teaching students the techniques of directing, he "sharpened" the same situation first into a comedy, then into a drama. The difference, however, is significant here. Eisenstein was not talking about the script, but about the line of the script, not about the plot and composition, but about the mise-en-scène, that is, about the techniques for performing a particular: one and the same, it can become both comedic and dramatic, but what exactly it will become is always depends on the whole, on the content of the work and its idea. Getting down to his studies, Eisenstein in his introductory speech speaks about the correspondence of the chosen form to the inner idea. This thought constantly tormented Eisenstein. At the beginning of the war, on September 21, 1941, he writes in his diary: “... in art, first of all, the dialectical course of nature is“ reflected ”. More precisely, the more vital (vital - S.F.) art, the closer it is to artificially re-creating in itself this basic natural position in nature: the dialectical order and the course of things.
And if even there (in nature) it lies in the depth and basis - not always visible through the veils! - then in art its place is mainly in the "invisible", in the "unreadable": in the order, in the method and in principle ... ".
It is striking how the artists who worked at different times and in the most different arts coincide in this thought. Sculptor Burdell: “Nature must be seen from the inside: in order to create a work, one should leave the skeleton of a given thing, and then give the skeleton an external design. It is necessary to see this skeleton of a thing in its true aspect and in its architectural expression. "
As we can see, both Eisenstein and Burdell speak about an object that is true in itself, and an artist, in order to be original, must understand this truth.
Questions of screenwriting. Issue 4.- M .: Art, 1962.- S. 377.
Masters of art about art: In 8 volumes. T. 3.- M .: Izogiz, 1934.- S. 691.
However, maybe this only applies to nature? Perhaps we are talking about a "dialectical course" inherent only in it?
In Marx we find a similar thought about the course of history itself. Moreover, we are talking precisely about the nature of such opposite phenomena as the comic and the tragic, which, according to Marx, are shaped by history itself.
“The last phase of the world-historical form is its comedy. The gods of Greece, who were already once - in a tragic form - mortally wounded in Aeschylus' Chained Prometheus, had to die once again - in a comic form - in Lucian's Conversations. Why is history like this? This is necessary so that humanity can cheerfully part with its past. "
These words are quoted often, so they are memorized separately, out of context; it seems that we are talking exclusively about mythology and literature, but it was, first of all, about real political reality:
“The struggle against German political reality is a struggle against the past of modern peoples, and the echoes of this past still continue to gravitate over these peoples. It is instructive for them to see how the ancien regime (the old order - S.F.), having survived their tragedy with them, plays out its comedy in the person of a German immigrant from the other world. The history of the old order was tragic, while it was the power of the world that has existed from time immemorial, freedom, on the contrary, was an idea that overshadowed individuals - in other words, while the old order itself believed, and had to believe, in its legitimacy. While the ancien regime, as an existing world order, was struggling with a world that was just emerging, on the side of this ancien regime was not a personal, but a world-historical delusion. Therefore, his death was tragic.
K. Marx, F. Engels, Soch. T. 1.- p. 418.
On the contrary, the modern German regime - this anachronism, this blatant contradiction to generally recognized axioms, this insignificance of the ancien regime exposed to the whole world - only imagines that it believes in itself, and requires the world to imagine this too. If he really believed in his collected essence, would he hide it under the guise of someone else's essence and seek his salvation in hypocrisy and sophistry? The modern ancien regime is rather just a comedian of such a world order, the real heroes of which have already died! ”
Marx's thinking is contemporary both in relation to the reality we experienced and in relation to art: are not the words that we just read the key to the painting "Repentance" and to its main character, the dictator Varlam? Let's repeat them: “If he really believed in his own essence, would he hide it under the guise of someone else’s essence and seek his salvation in hypocrisy and sophistry? The modern ancien regime is rather just a comedian of such a world order, the real heroes of which have already died. " The film "Repentance" could have been staged as a tragedy, but its content, already compromised in itself, at this transitional moment in history demanded the form of tragedy. Less than a year after the premiere, the director of the film, Tengiz Abuladze, remarked: "Now I would stage the picture differently." What does it mean "now" and what does it mean "differently" - we will turn to these questions when the time comes to say more about the picture, and now we will return to the general idea of art, which reflects the dialectical course of not only nature, but also stories. "World history," Engels writes to Marx, "is the greatest poetess."
History itself creates the sublime and the funny. This does not mean that the artist only has to find a form for the finished content. The form is not a shell, much less a case in which the content is embedded. The content of real life in itself is not yet the content of art. The content is not ready until it is put on form.
K. Marx, F. Engels Ibid.
Thought and form do not just unite, they overcome each other. Thought becomes form, form - thought. They become one and the same. This balance, this unity is always conditional, because the reality of a work of art ceases to be a historical and everyday reality. Giving it a form, the artist changes it in order to comprehend.
However, haven't we deviated too far from the problem of genre, carried away by reasoning about form and content, and now starting another conversation about convention? No, we are now only getting closer to our subject, for we have the opportunity, finally, to get out of the vicious circle of definitions of the genre, which we cited at the beginning. Genre - interpretation, type of form. Genre - content. Each of these definitions is too one-sided to be correct to give us a convincing picture of what defines a genre and how it is formed in the process. artistic creation... But to say that genre depends on the unity of form and content is to say nothing. The unity of form and content is a general aesthetic and general philosophical problem. Genre is a more common problem. It is associated with a very specific aspect of this unity - with its convention.
The unity of form and content is a convention, the character of which is determined by the genre. Genre is a type of convention.
Conventionality is necessary, since art is impossible without limitation. The artist is primarily limited by the material in which he reproduces reality. The material is not itself a form. The material overcome becomes both form and content. The sculptor strives to convey the warmth of the human body in cold marble, but he does not paint the sculpture so that it resembles a living person: this, as a rule, causes disgust.
The limited material and the limited plot circumstances are not an obstacle, but a condition for the creation of an artistic image. Working on the plot, the artist himself creates these restrictions for himself.
The principles of overcoming this or that material determine not only the specifics of this art - they feed the general laws of artistic creativity, with its constant striving for imagery, metaphoricality, subtext, second plan, that is, the desire to avoid mirroring the object, to penetrate the surface of the phenomenon into the depths, in order to comprehend its meaning.
Conventionality frees the artist from the need to copy an object, makes it capable of revealing the essence hidden behind the object's shell. The genre regulates convention, as it were. Genre helps to express an essence that is by no means the same as the form. The convention of the genre, therefore, is necessary to express the unconditional objectivity of the content, or at least the unconditional feeling of it.
Literary encyclopedia
artistic convention
Artistic condition
One of the fundamental principles of creation artwork... Indicates that the artistic image is not identical to the image object. There are two types of artistic convention. The primary artistic convention is associated with the very material used by this art form. For example, the possibilities of a word are limited; it does not provide an opportunity to see color or smell, it can only describe these sensations:
Music rang in the garden
With such unspeakable grief
Smelled fresh and pungent of the sea
On a platter, oysters in ice.
(A. A. Akhmatova, "In the Evening")
This artistic convention is characteristic of all types of art; a work cannot be created without it. In literature, the peculiarity of artistic convention depends on the literary kind: the external expression of actions in drama, description of feelings and experiences in lyrics, a description of the action in epic... The primary artistic convention is associated with typification: depicting even real person, the author seeks to present his actions and words as typical, and for this purpose changes some of the properties of his hero. So, the memoirs of G.V. Ivanova The "Petersburg winters" evoked many critical responses from the heroes themselves; for example, A.A. Akhmatova was outraged by the fact that the author had invented the never former dialogues between her and N. S. Gumilev... But G. V. Ivanov wanted not only to reproduce real events, but to recreate them in artistic reality, to create the image of Akhmatova, the image of Gumilyov. The task of literature is to create a typified image of reality in its acute contradictions and peculiarities.
Secondary artistic convention is not characteristic of all works. It presupposes a deliberate violation of plausibility: Major Kovalev's nose, cut off and living on its own, in N.V. Gogol, the mayor with a stuffed head in "The History of a City" by M. Ye. Saltykov-Shchedrin... Secondary artistic convention is created through the use of religious and mythological images(Mephistopheles in "Faust" by I. V. Goethe, Woland in The Master and Margarita by M. A. Bulgakov), hyperbole(incredible strength of heroes folk epic, the scale of the curse in "Terrible revenge" by N. V. Gogol), allegories (Grief, Dashing in Russian fairy tales, Stupidity in "Praise of Stupidity" Erasmus of Rotterdam). A secondary artistic convention can also be created by a violation of the primary one: an appeal to the viewer in the final scene of Nikolai Gogol's "The Inspector General", an appeal to the discerning reader in N.G. Chernyshevsky"What to do?" Stern, in the story of H.L. Borges Garden of Forking Paths, violation of causal connections in the stories of D.I. Kharms, plays by E. Ionesco... Secondary artistic convention is used to draw attention to the real, to make the reader think about the phenomena of reality.
- - see fictional biography ...
- - 1) non-identity of reality and its image in literature and art; 2) a deliberate, open violation of plausibility, a technique for detecting the illusory nature of the artistic world ...
Terminological dictionary-thesaurus on literary criticism
- - an integral feature of any work associated with the nature of art itself and consisting in the fact that the images created by the artist are perceived as non-identical to reality, as something created by the creative ...
Dictionary of literary terms
- - English. conventionality; German Relativitat. 1. General sign of reflection, indicating the non-identity of the image and its object. 2 ...
Encyclopedia of Sociology
- - CONDITION in and with c with t - implementation in arts. creativity, the ability of sign systems to express the same content by different structural means ...
Philosophical Encyclopedia
- - - in a broad sense, the original property of art, manifested in a certain difference, non-coincidence of the artistic picture of the world, individual images with objective reality ...
Philosophical Encyclopedia
- - It is no exaggeration to say that the history of artistic bronze is at the same time the history of civilization. In a crude and primitive state, we meet bronze in the most distant prehistoric epochs of mankind ...
encyclopedic Dictionary Brockhaus and Euphron
- - R., D., Pr. conditions ...
Spelling dictionary of the Russian language
- - CONDITION, -and, wives. 1. see conditional. 2. A purely external rule fixed in social behavior. Trapped in convention. The enemy of all conventions ...
Explanatory dictionary Ozhegova
- - CONDITION, conventions, wives. 1.units only. distract. noun to conditional in 1, 2 and 4 digits. Conditionality of the sentence. Conventional theatrical performance. Syntactic construction with the meaning of convention. 2 ...
Ushakov's Explanatory Dictionary
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Efremova's Explanatory Dictionary
- - condition I w. distract. noun by adj. conditional I 2., 3. II f. 1.Distract. noun by adj. conditional II 1., 2. 2. A custom, norm or order generally accepted in society, but devoid of real value ...
Efremova's Explanatory Dictionary
- - conv "...
Russian spelling dictionary
- - ...
Word forms
- - contract, agreement, custom; relativity...
Synonym dictionary
- - The independence of the form of a linguistic sign from the nature of the designated object, phenomenon ...
Dictionary of linguistic terms T.V. Foal
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There are conventional and lifelike images in literature.
Life-like is a reality mirror-like life.
Conditional are violations, deformation, they have two planes - the depicted and the implied. Life-like - character and type, conditional - symbol, allegory, grotesque.
Life-like images are as close as possible to reality
A word in a work of fiction behaves differently than in ordinary speech - the word begins to realize an aesthetic function in addition to a communicative one. The purpose of ordinary speech is communication, transmission of information. The aesthetic function is different, it does not just convey information, but creates a certain mood, conveys spiritual information, an idea. The word itself manifests itself in a different way. The context, compatibility, rhythmic beginning (especially in poetry) are important. A word in a work of fiction does not have a definite meaning as in everyday speech. Example: a crystal vase and crystal time at Tyutchev. The word does not appear in its meaning. Crystal time - description of sounds in the fall.
Conventional images include:
allegory
The grotesque is often used for satire or tragic elements.
Grotesque is a symbol of disharmony.
The form of the grotesque: a shift in proportions, a violation of scale, the inanimate displaces the living.
The grotesque style is characterized by an abundance of alogisms, a combination of different voices. Allegory and symbol are two planes: depicted and implied.
The allegory is unambiguous - there are instructions and decoding:
1) imaginary
2) implied
The symbol is polysemantic, inexhaustible. In the symbol, both the depicted and the implied are equally important.
There is no indication in the symbol.
With a symbol, multiple interpretation is possible, and with an allegory, unambiguity.
The literature of our century - as before - is widely based on both fiction and non-fictional events and persons. At the same time, the rejection of fiction in the name of following the truth of the fact, in some cases justified and fruitful6, can hardly become the mainstream of artistic creation: without reliance on fictional images, art and, in particular, literature are unimaginable.
Through fiction, the author summarizes the facts of reality, embodies his view of the world, demonstrates his creative energy. Freud argued that fiction is associated with the unsatisfied drives and suppressed desires of the creator of the work and involuntarily expresses them.
Concept fiction clarifies the boundaries (sometimes very vague) between works that claim to be art, and documentary information. If documentary texts (verbal and visual) exclude the possibility of fiction from the "threshold", then works with an orientation towards their perception as artistic ones willingly admit it (even in those cases when the authors limit themselves to recreating actual facts, events, persons). Messages in fiction texts are, as it were, on the other side of truth and falsehood. At the same time, the phenomenon of artistry can also arise when perceiving a text created with a documentary mindset: “... for this it is enough to say that we are not interested in the truth of a given story, that we are reading it,“ as if it were a fruit<...>writing ".
The forms of “primary” reality (which, again, is absent in “pure” documentary filmmaking) are reproduced by the writer (and in general by the artist) selectively and are transformed in one way or another, resulting in a phenomenon that D.S. Likhachev called the inner world of the work: “Each work of art reflects the world of reality in its creative perspectives<...>... The world of a work of art reproduces reality in a certain "abbreviated", conditional version<...>... Literature takes only some of the phenomena of reality and then conventionally reduces or expands them.
At the same time, there are two tendencies of artistic imagery, which are designated by the terms convention (the author emphasizes the non-identity, or even the opposition between the depicted and the forms of reality) and lifelike (leveling out such differences, creating the illusion of the identity of art and life.
In the early historical stages, forms of depiction prevailed in art, which are now perceived as conditional. This is, firstly, the idealizing hyperbole of traditional high genres (epic, tragedy), generated by a public and full of solemnity ritual, whose heroes manifested themselves in pathetic, theatrical-spectacular words, poses, gestures and possessed exceptional outward features that embodied their strength and power, beauty and charm. (Remember epic heroes or Gogol's Taras Bulbu). And, secondly, it is the grotesque, which was formed and consolidated in the composition of carnival festivals, acting as a parody, laughter "double" of the solemnly pathetic, and later acquired programmatic significance for romantics12. It is customary to call grotesque the artistic transformation of life forms, leading to a certain ugly incongruity, to the combination of the incongruous. The grotesque in art is akin to a paradox in logic. MM. Bakhtin, who studied the traditional grotesque imagery, considered it the embodiment of a festively cheerful free thought: “The grotesque frees from all forms of inhuman necessity that permeate the dominant ideas about the world<...>debunks this necessity as relative and limited; grotesque form helps liberation<...>from walking truths, allows you to look at the world in a new way, to feel<...>the possibility of a completely different world order ”13. In the art of the last two centuries, the grotesque, however, often loses its cheerfulness and expresses a total rejection of the world as chaotic, frightening, hostile (Goya and Hoffman, Kafka and the theater of the absurd, to a large extent Gogol and Saltykov-Shchedrin).
In art, there are initially life-like principles that made themselves felt in the Bible, the classical epics of antiquity, the dialogues of Plato. In the art of modern times, lifelike almost dominates (the most striking evidence of this is the realistic narrative prose of the 19th century, especially by Leo Tolstoy and A.P. Chekhov). It is essential for authors who show a person in his versatility, and most importantly - who strive to bring the depicted closer to the reader, to minimize the distance between the characters and the perceiving consciousness. However, in the art of the XIX-XX centuries. conditional forms were activated (and at the same time updated). Nowadays it is not only traditional hyperbole and grotesque, but also all kinds of fantastic assumptions ("Kholstomer" by L.N. Tolstoy, "Pilgrimage to the Country of the East" by G. Hesse), demonstrative schematization of the depicted (plays by B. Brecht), exposure of the device (" Eugene Onegin "by A. Pushkin), the effects of the editing composition (unmotivated changes in the place and time of the action, sharp chronological" breaks ", etc.)
Convention- this is an integral feature of any work of art. Artistic convention involves the use of techniques that serve as a special form of displaying reality and help to better understand the meaning of the work. There are two types of conventions in literature.
The primary (hidden, implicit) convention is not emphasized by the author: the work is created according to the principle of likeness, although both the characters and the plot itself may be fictional. The author resorts to typing even if his characters have real prototypes... An example of the embodiment of this type of convention can be considered the plays of A. Ostrovsky and the novels of I. Turgenev. Everything described in them is quite plausible, could actually happen.
The author resorts to secondary (open, explicit) conventions if he wants to emphasize the absurdity, fantasticness, and originality of the situation. This is achieved through the use of grotesque, fantasy, symbols, a whole series of tropes (allegories, hyperbole, metaphors, etc.) - all these are ways of deforming reality, forms of deliberate departure from plausibility.
This type of convention was often used by Saltykov-Shchedrin - this is distinctive feature his style. The writer connects several narrative plans at once: real, everyday and fantastic (the "wise squeaker" is an enlightened moderate liberal, the details of his Everyday life, fantastic fabulous elements). In The History of a City, the satirist combines the comic and the tragic, the plots of legends, fairy tales, myths with real events. Gloom-Grumblev is ridiculous in his shagistics, but his activity has tragic consequences both for his family (children die) and for all of Foolov.
The writer makes extensive use of allegory: actors in his fairy tales, as in the fables of I. Krylov, often there are a lion, a bear, a donkey, personifying both individual human traits and full-fledged characters. Shchedrin supplements the traditional list with his characters: roach, crucian carp, gudgeon, etc.
The author often resorts to hyperbole: humility and love for the rulers of the Foolovites are clearly exaggerated. Sometimes exaggeration reaches the point of absurdity, fiction and reality are mixed. In "Wild Landowner" a grotesque "swarm of men" appears, which was robbed and sent to the district. All the mayors are grotesque in The History of a City.
Means of a satirical image
Aesopian language - special kind allegories; the deliberately darkened language of the writer, full of hints and omissions, who, for various reasons, expresses his thought not directly, but allegorically. The subject in question in the work is not named, but described and easily guessed.
Hyperbola- a technique of expressiveness, a means of artistic depiction based on exaggeration; a figurative expression, consisting in an exaggerated exaggeration of events, feelings, strength, significance, size of the depicted phenomenon. Can be idealizing and derogatory.
Litotes- a technique of expressiveness, a means of artistic depiction based on an understatement of the magnitude, strength, and significance of the depicted phenomenon ("a boy with a finger", "a little man with a fingernail").
Grotesque- a kind of comic, the maximum possible satirical exaggeration, representing a ridiculed life phenomenon in an incredible, fantastic form, violating the boundaries of plausibility.