The artistic image in literature and art. Artistic image in literature

The artistic image is one of the most important categories of aesthetics, defining the essence of art, its specificity. Art itself is often understood as thinking in images and is contrasted with conceptual thinking that arose at a later stage of human development. The idea that initially people thought in concrete images (otherwise they simply could not) and that abstract thinking arose much later, was developed by J. Vico in his book "Foundations new science about the general nature of nations "(1725)." Poets, - wrote Vico, - earlier formed a poetic (figurative. - Ed.) speech, making up frequent ideas ... and the peoples that subsequently appeared formed a prosaic speech, combining in each a separate word, as if in one generic concept, those parts that have already made up poetic speech. For example, from the following poetic phrase: "The blood is boiling in my heart" the peoples have made a single word "anger".

Archaic thinking, or rather, figurative reflection and modeling of reality, has survived to this day and is the main one in artistic creation. And not only in creativity. Figurative "thinking" forms the basis of the human perception of the world, in which reality is figuratively and fantastically reflected. In other words, each of us brings a certain amount of our imagination into the picture of the world presented to them. It is no accident that researchers of depth psychology from Z. Freud to E. Fromm so often pointed to the closeness of dreams and works of art.

So, an artistic image is a concrete-sensory form of reproducing and transforming reality. The image conveys reality and at the same time creates a new fictional world, which we perceive as existing in reality. "The image is many-sided and multi-component, including all the moments of the organic interconversion of the real and the spiritual; through the image, which connects the subjective with the objective, the essential with the possible, the singular with the general, the ideal with the real, the agreement of all these opposing spheres of being is developed, their all-embracing harmony."

Speaking of artistic images, they mean the images of heroes, actors works and, of course, above all, people. And it is right. However, the concept of "artistic image" often includes various objects or phenomena depicted in the work. Some scholars protest against such a broad understanding of the artistic image, considering it wrong to use concepts like "the image of a tree" (larch in "Farewell to Mother" by V. Rasputin or an oak in "War and Peace" by L. Tolstoy), "the image of the people" (including the same epic novel by Tolstoy). In such cases, it is proposed to talk about a figurative detail, which can be a tree, and about an idea, theme or problem of the people. The situation is even more complicated with the depiction of animals. In some famous works ("Kashtanka" and "White-fronted" by A. Chekhov, "Kholstomer" by L. Tolstoy) the animal appears as a central character, whose psychology and perception of the world are reproduced in great detail. And yet there is a fundamental difference between the image of a person and the image of an animal, which does not allow, in particular, to seriously analyze the latter, because in the artistic image itself there is deliberation (the inner world of an animal is characterized by means of concepts related to human psychology).

Obviously, only images of human characters can be included in the concept of "artistic image" with good reason. In other cases, the use of this term presupposes a certain amount of convention, although its "expansive" use is quite permissible.

For Russian literary criticism "the approach to the image as to a living and integral organism, in the most to a greater extent capable of comprehending the full truth of being ... In comparison with Western science, the concept of "image" in Russian and Soviet literary criticism itself is more "figurative", polysemantic, having a less differentiated sphere of use.<...>All the fullness of the meanings of the Russian concept "image" is shown only by a number of Anglo-American terms ... - symbol, copy, fiction, figure, icon ... ".

By the nature of generalization, artistic images can be divided into individual, characteristic, typical, image-motives, toposes and archetypes.

Individual images characterized by originality, uniqueness. They are usually a figment of the imagination of the writer. Individual images are most often found in romantics and science fiction writers. Such are, for example, Quasimodo in "Notre Dame Cathedral" by V. Hugo, the Demon in the poem of the same name by M. Lermontov, Woland in "The Master and Margarita" by M. Bulgakov.

Characteristic image, in contrast to the individual, it is generalizing. It contains the general features of characters and mores inherent in many people of a particular era and its social spheres (characters from "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky, "The Forsyte Saga" by J. Galsworthy).

Typical image represents the highest step a characteristic image. Typical is the most probable, so to speak, exemplary for a particular era. The portrayal of typical images was one of the main goals, as well as the achievements of realistic literature of the 19th century. Suffice it to recall the father of Goriot and Gobsek O. Balzac, Anna Karenina and Platon Karataev L. Tolstoy, Madame Bovary G. Flaubert and others. Sometimes in the artistic image, both socio-historical signs of an era and universal human traits of a character can be captured (the so-called eternal images) - Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe ...

Images-motives and toposes go beyond individual characters-heroes. An image-motive is a theme that is consistently recurring in the work of a writer, expressed in various aspects by varying its most significant elements ("village Rus" in S. Yesenin, "Beautiful Lady" in A. Blok).

Topos(Greek. topos- place, locality, letters, meaning - common place) denotes general and typical images created in the literature of an entire era, nation, and not in the work of an individual author. An example is the image " little man"in the works of Russian writers - from A. Pushkin and N. Gogol to M. Zoshchenko and A. Platonov.

V recent times in the science of literature, the concept is very widely used "archetype"(from the Greek. arc he- start and typos- image). For the first time this term is found among German romantics in early XIX centuries, however, a true life in various spheres of knowledge gave him the work of the Swiss psychologist C. Jung (1875-1961). Jung understood the archetype as a universal human image, unconsciously passed down from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, literally "stuffed" all of humanity, and archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes. "As a doctor," wrote Jung, "I had to uncover the images of Greek mythology in the delirium of purebred Negroes."

Brilliant ("visionary", in Jung's terminology) writers not only carry these images, like all people, but are also able to reproduce them, and the reproduction is not a simple copy, but is filled with new, modern content. In this regard, K. Jung compares archetypes with dry river beds, which are always ready to be filled with new water.

To a large extent, the term widely used in literary criticism is close to the Jungian understanding of the archetype "mythologeme"(in English-language literature - "mitema"). The latter, like an archetype, includes both mythological images and mythological plots or parts of them.

Much attention in literary criticism is paid to the problem of the relationship between image and symbol. This problem was posed back in the Middle Ages, in particular by Thomas Aquinas (XIII century). He believed that an artistic image should reflect not so much the visible world as express what cannot be perceived by the senses. The image thus understood actually turned into a symbol. In the understanding of Thomas Aquinas, this symbol was intended to express primarily the divine essence. Later, among the symbolist poets of the 19th – 20th centuries, the images-symbols could also carry an earthly content ("the eyes of the poor" by C. Baudelaire, "yellow windows" by A. Blok). The artistic image does not have to be "dry" and cut off from the objective, sensory reality, as Thomas Aquinas proclaimed. Blok's Stranger is an example of a magnificent symbol and at the same time a full-blooded living image, perfectly inscribed in the "objective", earthly reality.

Philosophers and writers (Vico, Hegel, Belinsky, etc.), who defined art as "thinking in images," somewhat simplified the essence and functions of the artistic image. A similar simplification is typical for some modern theorists, who at best define the image as a special "iconic" sign (semiotics, partly structuralism). Obviously, through images, not only do primitive people think (or thought, as G. Vico rightly noted), but also feel, not only "reflect" reality, but also create a special aesthetic world, thereby changing and ennobling the real world.

The functions performed in an artistic manner are numerous and extremely important. They include aesthetic, cognitive, educational, communication and other opportunities. We will restrict ourselves to just one example. Sometimes a literary image created by a brilliant artist actively influences life itself. So, imitating Goethe's Werther ("The Suffering of Young Werther", 1774), many young people, like the hero of the novel, committed suicide.

The structure of the artistic image is both conservative and changeable. Any artistic image includes both real impressions of the author and fiction, however, as art develops, the relationship between these components changes. So, in the images of the literature of the Renaissance, the titanic passions of the heroes are brought to the fore, in the era of the Enlightenment, the object of the image is mainly "natural" man and rationalism, in the realistic literature of the 19th century, writers strive for a comprehensive coverage of reality, discovering the contradictions of human nature, etc. .d.

If we talk about the historical fate of the image, then there is hardly any reason to separate the ancient figurative thinking from the modern. At the same time, for each new era, there is a need for a new reading of the images created before. "Being subjected to numerous interpretations, projecting the image into the plane of certain facts, trends, ideas, the image continues its work of displaying and transforming reality already outside the text - in the minds and lives of successive generations of readers."

The artistic image is one of the most multifaceted and complex literary and philosophical categories. And it is not surprising that the scientific literature devoted to him is extremely large. The image is studied not only by writers and philosophers, but also by mythologists, anthropologists, linguists, historians and psychologists.

• Literary encyclopedic Dictionary... M., 1987.S. 252.
• Literary encyclopedic dictionary. P. 256.
• Literary encyclopedic dictionary. P. 255.

The word "image" (from ancient Gr. Eydоs- appearance, appearance) is used as a term in various fields of knowledge. In philosophy, an image is understood as any reflection of reality; in psychology, he is a representation, or mental contemplation of an object in its entirety; in aesthetics, the reproduction of the integrity of an object in a certain system of signs. In fiction, the material carrier of imagery is word ... A.A. Potebnya in his work "Thought and Language" considered the image as a reproduced representation, sensually perceived reality ... It is this meaning of the term "image" that is relevant for the theory of literature and art. The artistic image has the following properties : has a subject-sensory character, is characterized by the integrity of the reflection of reality; he is emotional, individualized; differs in vitality, relevance, ambiguity; can appear as a result of creative invention with the active participation of the author's imagination. In a work of art, there is a fictional objectivity that does not fully correspond to itself in reality.

The origins of the theory of the image lie in the ancient concept of mimesis. During the period of the birth of an artistic image, the artist's activities stand out two main creative stages : prehistory and history of image creation. In the first period of work, the accumulated life material is concentrated, ideas are developed, images of heroes are outlined, etc. Similar sketches are found in notebooks The artist's literary work begins at the moment when his intention is realized in the word. Here, at the second stage of work, the image crystallizes, which will act as a new, created object in the world, and as a new world. In the poem "Autumn" by A.S. Pushkin figuratively presented the process of the birth of images:

And I forget the world - and in sweet silence

I'm sweetly put to sleep by my imagination

And poetry awakens in me:

The soul is embarrassed by lyrical excitement

Trembles and sounds, and seeks, as in a dream,

Finally pour out free manifestation -

And then an invisible swarm of guests comes to me,

Old acquaintances, the fruits of my dreams.

And the thoughts in my head are agitated in courage,

And light rhymes run towards them,

And fingers ask to pen, pen to paper,

A minute - and the poems will flow freely.

The artistic image carries a generalization, has typical value (from gr. Typos- imprint, imprint). If in the surrounding reality the ratio of the general and the particular can be different, then the images of art are always bright: they concentrate the concentrated embodiment of the general, the essential in the individual.

In creative practice, artistic generalization takes different forms, colored by the author's emotions and assessments. The image is always expressive, expresses the ideological and emotional attitude of the author to the subject. The most important types of author's assessment are aesthetic categories, in the light of which a writer, like another person, perceives life: he can heroize it, reveal comic details, express tragedy, etc. An artistic image is an aesthetic phenomenon, the result of an artist's understanding of a phenomenon, a process of life in a way characteristic of a particular type of art, objectified in the form of both the whole work and its individual parts.

The artistic image is one of the most important categories of aesthetics, defining the essence of art, its specificity. Art itself is often understood as thinking in images and is opposed to conceptual, scientific thinking that arose at a later stage of human development.

An image is fundamentally polysemantic (in contrast to a concept in science), since art thinks in terms of the sums of meanings, and the presence of a sum of meanings is an indispensable condition for the "life" of an artistic image. Is it possible to scientifically comprehend an artistic image? Theoretically, artistic content can be reduced to scientific content, to a logically expanded system of concepts. But this is practically impossible and unnecessary. We are dealing with an abyss of meanings. Cognition is high artwork- the process is endless. The image is indecomposable. And its perception can only be holistic: as the experience of thought, as a sensually perceived entity. Aesthetic (indivisible) perception is at the same time empathy (“I will shed tears over fiction”), co-creation, as well as an approach to artistic integrity using scientific-dialectical logic.

So, an artistic image is a concrete-sensory form of reproducing and transforming reality. The image conveys reality and at the same time creates a new fictional world, which we perceive as existing in reality. “The image is many-sided and multifaceted, including all the moments of organic interconversion of the real and the spiritual; through the image that connects the subjective with the objective, the essential with the possible, the single with the general, the ideal with the real, the agreement of all these opposing spheres of being is developed, their all-embracing harmony ”(Literary Encyclopedic Dictionary, 1987).

Speaking of artistic images, they mean the images of the heroes, the protagonists of the work, primarily people. However, the concept of an artistic image also often includes various objects or phenomena depicted in a work. Some scholars protest against such a broad understanding of the artistic image, considering it wrong to use concepts like “the image of a tree” (larch in “Farewell to Mother” by V. Rasputin or an oak in “War and Peace” by L. Tolstoy), “image of the people” (including the same epic novel by Tolstoy). In such cases, it is proposed to talk about a figurative detail, which can be a tree, and about an idea, theme or problem of the people. The situation is even more complicated with the depiction of animals. In some famous works ("Kashtanka" and "White-fronted" by A. Chekhov, "Kholstomer" by L. Tolstoy) the animal appears as a central character, whose psychology and perception of the world are reproduced in great detail. And yet there is a fundamental difference between the image of a person and the image of an animal, which does not allow, in particular, to seriously analyze the latter, because in the artistic image itself there is deliberation (the inner world of an animal is characterized by means of concepts related to human psychology).

What are the classifications of artistic images? This is a rather controversial question. In the traditional typological classification(V.P. Meshcheryakov, A.S. Kozlov) by the nature of generalization, artistic images are divided into individual, characteristic, typical, image-motives, toposes, archetypes and images-symbols.

Individual images are characterized by originality, uniqueness. They are usually a figment of the imagination of the writer. Individual images are most often found in romantics and science fiction writers. Such are, for example, Quasimodo in "Notre Dame Cathedral" by V. Hugo, the Demon in the poet of the same name by M. Lermontov, Woland in "The Master and Margarita" by M. Bulgakov.

Characteristic the image, in contrast to the individual, is generalizing. It contains the general features of characters and mores inherent in many people of a certain era and its social spheres (the characters of "The Brothers Karamazov" by F. Dostoevsky, plays
A. Ostrovsky, "The Forsyte Sagas" by J. Galsworthy).

Typical the image is the highest level of the characteristic image. Typical is the most probable, so to speak, exemplary for a particular era. The portrayal of typical images was one of the main goals, as well as the achievements, of realistic literature of the 19th century. Suffice it to recall Father Goriot and Gobsek Balzac, Anna Karenina and Platon Karataev L. Tolstoy, Madame Bovary
G. Flaubert and others. Sometimes in an artistic image, both the socio-historical signs of the era and the universal human traits of a particular hero (the so-called eternal images) can be captured - Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe ...

Images-motives and toposes go beyond individual characters-heroes. An image-motive is a theme that is consistently recurring in the work of a writer, expressed in various aspects by varying its most significant elements (“village Rus” by S. Yesenin, “Beautiful Lady” by A. Blok).

Topos (Greek. topos- place, area, letters. meaning - "common place") denotes general and typical images created in the literature of an entire era, nation, and not in the work of an individual author. An example is the image of the "little man" in the works of Russian writers - from A. Pushkin and N. Gogol to M. Zoshchenko and A. Platonov.

Recently, in the science of literature, the concept of "Archetype" (from the Greek arche - the beginning and typos - the image). For the first time this term is found among German romantics at the beginning of the 19th century, however, the works of the Swiss psychologist C. Jung (1875-1961) gave him a true life in various spheres of knowledge. Jung understood the "archetype" as a universal human image, unconsciously passed down from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, literally "stuffed" all of humanity, and archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes. "As a doctor," wrote Jung, "I had to uncover the images of Greek mythology in the delirium of purebred Negroes."

Brilliant ("visionary", in Jung's terminology) writers not only carry these images, like all people, but are also able to produce them, and the reproduction is not a simple copy, but is filled with new, modern content. In this regard, K. Jung compares archetypes with dry river beds, which are always ready to be filled with new water. The concept of the archetype Jung includes not only the images of mythological heroes, but also universal human symbols - fire, sky, house, road, garden, etc.

To a large extent, the term widely used in literary criticism is close to the Jungian understanding of the archetype "Mythologeme" (in English-language literature - "miteme"). The latter, like an archetype, includes both mythological images and mythological plots or parts of them.

Much attention in literary criticism is paid to the problem of the relationship between the image and symbol ... This problem was mastered in the Middle Ages, in particular by Thomas Aquinas (XIII century). He believed that an artistic image should reflect not so much the visible world as express what cannot be perceived by the senses. The image thus understood actually turned into a symbol. In the understanding of Thomas Aquinas, this symbol was intended to express primarily the divine essence. Later, among the symbolist poets of the 19th-20th centuries, symbolic images could also carry an earthly content ("the eyes of the poor" in
S. Baudelaire, "yellow windows" by A. Blok). The artistic image does not have to be "dry" and cut off from the objective, sensory reality, as Thomas Aquinas proclaimed. Blok's Stranger is an example of a magnificent symbol and, at the same time, a full-blooded living image, perfectly inscribed in “objective”, earthly reality.

Recently, literary scholars have paid much attention to the structure of the artistic image, based on the understanding of a person as a social and mental being, based on features of personality consciousness ... Here they rely on research in the field of philosophy and psychology (Freud, Jung, Fromm).

The famous literary critic V.I. Tyupa ("Analysis of a literary text") believes that in a work the image of a person is a reproduction of his consciousness, or rather, a certain type of consciousness, mentality. So, he considers, for example, "Little Tragedies" by Pushkin as a dramatic clash of consciousnesses, different ways of thinking, worldviews, value positions. Lermontov's "A Hero of Our Time" is analyzed in the same vein. All the heroes of Pushkin's cycle of "Little Tragedies" correspond to three types of consciousness: either authoritarian-role or secluded or convergent ... Here Tyupa draws on Teilhard de Chardin's research “The Phenomenon of Man”.

Human authoritarian-role type of consciousness dogmatically proceeds from the world order - one and only. This is a patriarchal type of consciousness (Albert, Salieri, Leporello, Commander, Donna Anna, Don Carlos, Mary, Priest, Valsingham). The authoritarian consciousness divides the participants in the world order into “us” and “aliens” and does not know the category of the “other”, does not know the non-volitional individuality.

Secluded The (romantic) consciousness sees a special world in a person's personality. It is not bound by moral prohibitions and regulations; it is demonic in its freedom to transgress any boundaries. In the field of solitary consciousness, their own, separate, sovereign world is formed, all other personalities appear not as subjects of equal consciousnesses, but as objects of thought of a lonely “I” (Baron, Salieri, Don Guan, Laura, Valsingam). Variants of solitary consciousness are the introverted, "underground" (stingy Baron) variety and the extroverted, "Napoleonic" (Don Juan). Both authoritarian-role and solitary consciousness are essentially monologic types of consciousness, they are antagonistic. Evolution from one type of consciousness to another is also possible, which we observe on the example of the image of Salieri. From the authoritarian attitude of a priest, a minister of music, he evolves to the position of an internally solitary envious person who has lost faith in the supreme truth.

Convergent(convergence - convergence, divergence - divergence) Consciousness is dialogical in its essence, it is capable of empathizing with someone else's "I". This is Mozart, his "I" does not think of itself outside the correlation with "you", with an original personality his other(when the other is perceived as his own). Teilhard de Chardin writes: “To be completely yourself, you have to go ... in the direction of convergence with everyone else, to another. The pinnacle of ourselves ... not our individuality, but our personality; and we can find this last ... only by uniting with each other. " It can be said that the perspective of convergent consciousness, personified by Mozart, opens up to a consciousness that is secluded as a consequence of its break with authoritarianism. But Pushkin's Salieri stops halfway and does not take that step from monologism to dialogism, which is unexpectedly possible for Don Juan. In the finale, his "demonism" is crushed, he appeals to God and to Donna Anna, the symbol of virtue found in her face.

Albert Albert

Duke Duke

Salieri Salieri Mozart

Leporello Don Guan

Commander Laura

Donna Anna

Don Carlos

Priest Young Man

Mary Louise

Walsingham Walsingham Walsingham

This approach to understanding the character sometimes turns out to be quite productive for understanding the concept of personality created by the author in the work.

Volkov, I.F. Literature theory: textbook. allowance / I.F. Volkov. - M., 1995.

Literature theory: in 3 volumes - M., 1964.

Fundamentals of literary criticism: textbook. allowance / V.P. Meshcheryakov, A.S. Kozlov. - M., 2000.

Fedotov, O. I. Foundations of the theory of literature: textbook. manual: in 2 hours /
O.I. Fedotov. - M., 1996.

Khalizev, V.E. Theory of literature / V.E. Khalizev. - M., 2002.

method and form of mastering reality in art, a universal category of arts. creativity. Among other aesthetics. categories category X. о. - of a relatively late origin. In ancient and middle-century. aesthetics that did not single out the artistic into a special sphere (the whole world, space - an artistic work higher order), the art was characterized by predominantly. canon - a set of technological. recommendations that ensure the imitation (mimesis) of the arts. the beginning of being itself. K anthropocentric. the aesthetics of the Renaissance ascends (but terminologically fixed later - in classicism) the category of style associated with the idea of ​​the active side of art, of the artist's right to form a work in accordance with his creative. initiative and immanent laws of a particular type of art or genre. When, after the de-aesthetization of being, the de-aesthetization of practical. activity, a natural reaction to utilitarianism gave specific. understanding of the arts. forms as organization according to the principle of int. goals, not external use(beautiful, according to Kant). Finally, in connection with the process of "theorizing" art, they will graduate. separating it from the dying arts. crafts, pushing architecture and sculpture to the periphery of the system of arts and the advancement of more "spiritual" arts in painting, literature, music ("romantic forms", according to Hegel) to the center, it became necessary to compare the arts. creativity with the sphere of scientific and conceptual thinking to clarify the specifics of both. Category X. о. took shape in Hegel's aesthetics precisely as an answer to this question: the image "... puts before our gaze, instead of an abstract essence, its concrete reality ..." (Soch., vol. 14, Moscow, 1958, p. 194). In the doctrine of forms (symbolic, classical, romantic) and types of art, Hegel outlined different principles constructing X. o. as different types of relationship "between the image and the idea" in their historical. and logical. sequence. The definition of art as “thinking in images,” which goes back to Hegel's aesthetics, was subsequently vulgarized in a one-sided intellectualism. and positivist-psychological. concepts X. about. late 19 - early. 20th century In Hegel, who interpreted the entire evolution of being as a process of self-knowledge, self-thinking abs. spirit, just when clarifying the specifics of art, the emphasis was not on "thinking", but on "image". In the vulgarized understanding of X. about. boiled down to visualization general idea , to a special cognition. a technique based on demonstration, demonstration (instead of scientific proof): an example-image leads from the particulars of one circle to the particulars of another circle (to its "applications"), bypassing abstract generalization. From this t. Sp., Arts. the idea (or rather, the plurality of ideas) lives separately from the image - in the head of the artist and in the head of the consumer, who finds one of the possible applications for the image. Hegel saw the knower. side of X. about. in his ability to be the bearer of specific arts. ideas, positivists - in the explanatory power of his depiction. At the same time, it is aesthetically pleasing. pleasure was characterized as a kind of intellectual satisfaction, and the whole sphere will not depict. the claim was automatically excluded from consideration, which called into question the universality of the category "X. o." (for example, Ovsyaniko-Kulikovsky divided claims into "figurative" and "emotional", that is, non-figurative). As a protest against intellectualism at the beginning. 20th century non? brazen theories of art arose (B. Christiansen, Wölflin, Russian formalists, partly L. Vygotsky). If positivism is already intellectualistic. sense, having taken out the idea, the meaning outside the brackets X. o. - in the psychological. the area of ​​"applications" and interpretations, identified the content of the image with its thematic. filling (despite the promising doctrine of the internal. form, developed by Potebney in line with the idea of ​​W. Humboldt), the formalists and "emotionalists" actually took a further step in the same direction: they identified the content with "material", and the concept of the image was dissolved in the concept form (or design, reception). In order to answer the question for what purpose the material is processed by form, it was necessary - in a latent or frank form - to ascribe an external purpose to the work of art in relation to its integral structure: in some cases, the claim began to be considered as hedonistic-individual, in others - as a social "technique of the senses." Learn. utilitarianism was replaced by educational-"emotional" utilitarianism. Modern aesthetics (Soviet and partly foreign) returned to the figurative concept of the arts. creativity, spreading it and not depicting it. art and thereby overcoming the origin. intuition of "sight", "seeing" in letters. sense of these words, to-paradise came into the concept of "X. o." under the influence of Antich. aesthetics with her experience is plastic. lawsuit (Greek ????? - image, image, statue). Semantics of Rus. the word "image" aptly indicates a) about the visual being of the arts. fact, b) his objective being, the fact that he exists as a certain integral formation, c) his meaningfulness ("image" of what? , i.e. the image presupposes its own semantic problem). X. about. as a fact of the imaginary being. Each work of art has its own material and physical. the basis, which is, however, immediate. the bearer of not arts. meaning, but only an image of this meaning. Potebnya with his characteristic psychologism in the understanding of H. o. proceeds from the fact that X. about. there is a process (energy), the intersection of creative and co-creative (perceiving) imagination. The image exists in the soul of the creator and in the soul of the perceiving, and objectively existing art. the object is only a material means of arousing fantasy. In contrast, objectivist formalism considers the arts. a work as a made thing, edge has a being, independent of the intentions of the creator and the impressions of the perceiver. Having studied objectively-analytic. through the material senses. elements of which this thing consists, and their relationships, you can exhaust its construction, explain how it is made. The difficulty, however, lies in the fact that the arts. a work as an image is both a given and a process, it both abides and lasts, it is both an objective fact and an intersubjective procedural connection between the creator and the perceiver. Classical mute. aesthetics viewed art as a kind of middle sphere between the sensual and the spiritual. "In contrast to the direct existence of objects of nature, the sensible in a work of art is elevated by contemplation into pure v and dimness, and the work of art is in the middle between immediate sensibility and thought belonging to the ideal field" (Hegel V.F., Aesthetics, vol. . 1, M., 1968, p. 44). The very material of X. about. already to a certain extent de-materialized, ideal (see Ideal), and natural material here plays the role of material for material. For example, the white color of a marble statue does not appear by itself, but as a sign of a certain figurative quality; we must see in the statue not a "white" person, but an image of a person in his abstract corporeality. The image is both embodied in the material, and, as it were, is not embodied in it, because it is indifferent to the properties of its material basis as such and uses them only as signs of its own. nature. Therefore, the existence of an image, fixed in its material basis, is always realized in perception, addressed to it: until a person is seen in a statue, it remains a piece of stone, until a melody or harmony is heard in a combination of sounds, it does not realize its figurative quality. The image is imposed on consciousness as an object given outside it, and at the same time is given freely, nonviolently, for a certain initiative of the subject is required for this object to become precisely the image. (The more idealized the material of the image, the less unique and easier it is to copy its physical basis - the material of the material. Typography and sound recording almost without loss cope with this task for literature and music, copying works of painting and sculpture already encounters serious difficulties, and the architectural structure is hardly suitable for copying, because the image here is so closely intertwined with its material basis that the most natural environment of the latter becomes a unique figurative quality.) This appeal of X. about. to the perceiving consciousness is an important condition for its historical. life, its potential infinity. In X. about. there is always an area of ​​the unspoken, and understanding-interpretation is therefore preceded by understanding-reproduction, a certain free imitation of internal. mimicry of the artist, creatively voluntary following it along the "grooves" of the figurative scheme (this, in the most general outline, is the theory of the internal form as an "algorithm" of the image, developed by the Humboldt-Potebnian school). Consequently, the image is revealed in every understanding-reproduction, but at the same time remains itself, since all realized and many unrealized interpretations are contained as intended by the creator. an act of possibility, in the very structure of X. about. X. about. as an individual whole. Assimilation of arts. works for a living organism were outlined by Aristotle, according to which poetry should "... produce its inherent pleasure, like a single and integral living being" ("On the Art of Poetry", Moscow, 1957, p. 118). It is noteworthy that the aesthetic. pleasure ("pleasure") is considered here as a consequence of the organic nature of the arts. works. The idea of ​​X. about. as an organic whole played a prominent role in later aesthetics. concepts (especially in German romanticism, Schelling, in Russia - A. Grigoriev). With this approach, the expediency of X. o. acts as its whole-consistency: each detail lives due to its connection with the whole. However, any other integral structure (for example, a machine) determines the function of each of its parts, thereby bringing them to a whole-created unity. Hegel, as if anticipating the criticism of later primitive functionalism, sees the difference. traits of living integrity, animate beauty are in the fact that unity does not manifest itself here as an abstract purposefulness: "... the members of a living organism receive ... the appearance of the case, that is, together with one member, it is not given also the certainty of the other "(" Aesthetics ", vol. 1, Moscow, 1968, p. 135). Likewise, arts. the work is organic and individual, i.e. all its parts are individuals, combining dependence on the whole with self-sufficiency, for the whole not only subordinates the parts to itself, but endows each of them with a modification of its completeness. The brush of the hand in the portrait, the fragment of the statue produce independent arts. impression precisely because of this presence of the whole in them. This is especially clear in the case of lit. characters who have the ability to live outside their arts. context. The "formalists" rightly pointed out that lit. the hero acts as a sign of plot unity. However, this does not prevent him from maintaining his individual independence from the plot and other components of the work. On the inadmissibility of decomposition of works of claims into technically official and independent. moments were spoken by many. critics rus. formalism (P. Medvedev, M. Grigoriev). In the arts. the work has a constructive framework: modulations, symmetry, repetitions, contrasts, carried out in different ways at each of its levels. But this framework is, as it were, dissolved and overcome in the dialogically free, ambiguous communication of the parts of the X. life of figurative unity, its animality and actual infinity. In X. about. there is nothing accidental (i.e., outsiders to its integrity), but there is also nothing that is unambiguously necessary; the antithesis of freedom and necessity is "removed" here in the harmony inherent in X. about. even when he reproduces the tragic, cruel, terrible, absurd. And since the image is ultimately fixed in the "dead", it is inorganic. material, - there is a visible revival of inanimate matter (the exception is theater, which deals with living "material" and all the time seeks to go beyond art and become a life "action"). The effect of "transformation" of inanimate into animate, mechanical into organic - Ch. source aesthetic. pleasure, delivered by the claim, and the premise of its humanity. Some thinkers believed that the essence of creativity lies in the destruction, overcoming the material by form (F. Schiller), in the artist's violence over the material (Ortega y Gasset). L. Vygotsky in the spirit of the influential in the 1920s. constructivism compares a work of art with letat. apparatus heavier than air (see "Psychology of Art", Moscow, 1968, p. 288): the artist conveys the moving by means of the resting, air by means of heavy weight, visible by means of the audible or - beautiful by means of the terrible, high by means of the low, etc. Meanwhile, the artist's "violence" over his material consists in the liberation of this material from external mechanical bonds and bonds. The freedom of the artist is consistent with the nature of the material in such a way that the nature of the material becomes free, and the freedom of the artist becomes involuntary. As has been noted many times, in perfect poetic works, the verse reveals in the alternation of vowels such an immutable int. compulsion, edges makes it similar to natural phenomena. those. in general language phonetic. material, the poet releases such an opportunity, the edges forces him to follow him. According to Aristotle, the realm of art is not the realm of the factual and not the realm of the lawful, but the realm of the possible. Art cognizes the world in its semantic perspective, re-creating it through the prism of the arts embedded in it. opportunities. It gives specificity. arts. reality. Time and space in art, as opposed to empirical. time and space, do not represent cuttings from homogeneous time or space. continuum. Arts. time slows down or speeds up the pace, depending on its content, each time moment of the work has a special significance depending on the correlation with the "beginning", "middle" and "end", so that it is assessed both retrospectively and prospectively. Thus, the arts. time is experienced not only as fluid, but also as spatially closed, visible in its completeness. Arts. space (in space. arts) is also formed, regrouped (in some parts it is condensed, in others it is rarefied) by its filling and therefore is coordinated within itself. The frame of the picture, the pedestal of the statue do not create, but only emphasize the autonomy of the artistic architectonic. space, being auxiliary. a means of perception. Arts. space, as it were, conceals a temporal dynamics: its pulsation can be revealed only by passing from a general view to a gradual multiphase consideration in order to then return to a holistic coverage. In the arts. the phenomenon of the characteristics of real life (time and space, rest and movement, object and event) form such a mutually justified synthesis that they do not need any motivations and additions from the outside. Arts. idea (meaning X. o.). Analogy between X. о. and a living organism has its limit: X. o. as an organic integrity is, first of all, something significant, formed by its own meaning. Art, being image-making, necessarily acts as meaning-making, as an incessant naming and renaming of everything that a person finds around and within himself. In art, the artist always deals with expressive, intelligible being and is in a state of dialogue with it; "for a still life to be created, it is necessary that the painter and the apple collide with each other and correct each other." But for this, the apple must become a "talking" apple for the painter: many threads must extend from it, weaving it into the whole world. Any work of art is allegorical, since it speaks of the world as a whole; it does not "investigate" K.-L. one aspect of reality, and specifically represents on its behalf in its universality. In this it is close to philosophy, edges also, unlike science, does not have a branch character. But, unlike philosophy, lawsuit is not of a systemic nature either; in private and specific. to the material it gives the personified Universe, which at the same time is the artist's personal Universe. It cannot be said that the artist depicts the world and, "besides," expresses his attitude towards it. In this case, one would be an annoying hindrance to the other; we would be interested in either the fidelity of the image (naturalistic concept of art), or the meaning of the individual (psychological approach) or ideological (vulgar sociological approach) "gesture" of the author. Rather, on the contrary: the artist (in sounds, movements, object forms) gives expression. being, on which his personality was inscribed, depicted. As the expression expresses. being X. about. there is an allegory and knowledge through an allegory. But as an image of the personal "handwriting" of the artist X. about. there is a tautology, a complete and only possible correspondence with the unique experience of the world that gave rise to this image. As the personified Universe, the image has many meanings, for it is a living focus of a multitude of positions, both of which, and another, and the third at once. As a personal Universe, the image has a strictly defined evaluative meaning. X. about. - the identity of allegory and tautology, ambiguity and certainty, cognition and evaluation. The meaning of the image, arts. an idea is not an abstract position, a cut has become concrete, embodied in organized feelings. material. On the way from the concept to the embodiment of the arts. an idea never goes through the stage of distraction: as a plan, this is a concrete point of the dialogic. the artist's encounter with being, i.e. the prototype (sometimes the visible imprint of this original image is preserved in the finished work, for example, the prototype of the "cherry orchard", which remained in the title of Chekhov's play; sometimes the prototype-concept dissolves in the completed creation and is only caught indirectly). In the arts. thought loses its abstraction, and reality loses its silent indifference to the human. "opinion" about her. From the very beginning, this grain of the image is not only subjective, but subjective-objective and vital-structural, and therefore has the ability to spontaneous development, to self-clarification (as evidenced by the numerous confessions of people of art). The prototype, as a "formative form", draws new layers of material into its orbit and shapes them by means of the style it sets. The author's conscious and volitional control is to protect this process from random and incidental moments. The author, as it were, compares the work being created with a certain standard and removes the unnecessary, fills in the voids, and eliminates the gaps. The presence of such a "standard" is usually acutely felt "by contradiction" when we assert that in such and such a place or in such and such a detail the artist has not remained faithful to his intention. But at the same time, as a result of creativity, a truly new arises, which has never been before, and, therefore. there is essentially no "standard" for the work being created. Contrary to the Platonic view, which is sometimes popular among the artists themselves ("In vain, artist, do you think that you are the creator of your creations ..." - A. K. Tolstoy), the author does not just reveal it in the image of the arts. idea, but creates it. The archetype-concept is not a formalized datum that builds up material shells on itself, but rather a channel of imagination, a "magic crystal" through which the distance of the future creation is "vaguely" distinguished. Only upon completion of the arts. work, the ambiguity of the concept turns into a multivalued definiteness of meaning. Thus, at the stage of the design of the arts. the idea appears as a certain concrete impulse that arose from the artist's "collision" with the world, at the stage of embodiment - as a regulatory principle, at the stage of completion - as a semantic "facial expression" of the microcosm created by the artist, his living face, which is at the same time a face the artist himself. Various degrees of the regulatory power of the arts. ideas combined with different materials gives various types of X. o. A particularly energetic idea can, as it were, subdue its own arts. implementation, to "sign" it to such an extent that the object forms are barely outlined, as is inherent in certain varieties of symbolism. A meaning that is too abstract or indefinite can only conditionally come into contact with objective forms, without transforming them, as is the case in naturalistic ones. allegories, or mechanically connecting them, as is characteristic of allegorical magic. fiction of ancient mythologies. The meaning is typical. the image is specific, but limited by specificity; the characteristic feature of an object or a person here becomes a regulatory principle for constructing an image that fully contains its meaning and exhausts it (the meaning of Oblomov's image is in "Oblomovism"). At the same time, the characteristic feature can subdue and "signify" all the others to such an extent that the type develops into a fantastic one. grotesque. On the whole, the various types of X. o. depend on the arts. self-awareness of the era and are modified internally. the laws of each claim. Lit .: Schiller F., Articles on aesthetics, trans. [with German], [M. - L.], 1935; Goethe V., Articles and thoughts on art, [M. - L.], 1936; Belinsky V.G., The idea of ​​art, Complete. collection cit., t. 4, M., 1954; Lessing G.E., Laocoon ..., M., 1957; Herder I.G., Fav. cit., [trans. with it.], M. - L., 1959, p. 157-90; Schelling FV, Philosophy of Art, [trans. with it.], M., 1966; Ovsyaniko-Kulikovsky D., Language and Art, St. Petersburg, 1895; ? fuck ?. ?., From notes on the theory of literature, X., 1905; his, Thought and Language, 3rd ed., X., 1913; him, From lectures on the theory of literature, 3rd ed., X., 1930; Grigoriev M. S, Form and content of literary-artist. production., M., 1929; Medvedev PN, Formalism and formalists, [L., 1934]; Dmitrieva N., Image and Word, [M., 1962]; Ingarden R., Research in aesthetics, trans. from Polish., M., 1962; Literature theory. Main problems in the historical. lighting, book 1, M., 1962; ? Alievsky P. V., Arts. manuf., ibid., book. 3, M., 1965; Zaretsky V., Image as information, "Questions. Literature", 1963, No 2; Ilyenkov E., On the esthetician. the nature of fantasy, in Sat .: Vopr. aesthetics, vol. 6, M., 1964; Losev?., Artistic canons as a problem of style, ibid; Word and image. Sat. Art., M., 1964; Intonation and muses. image. Sat. Art., M., 1965; Gachev G.D., The content of the artist. forms. Epic. Lyrics. Theater, M., 1968; Panofsky E., "Idea". Ein Beitrag zur Begriffsgeschichte der? Lteren Kunsttheorie, Lpz.– V., 1924; him, Meaning in the visual arts,. Garden City (N.Y.) 1957; Richards? ?., Science and poetry, N. Y.,; Pongs H., Das Bild in der Dichtung, Bd 1-2, Marburg, 1927-39; Jonas O., Das Wesen des musikalischen Kunstwerks, W., 1934; Souriau E., La correspondance des arts, P.,; Staiger E., Grundbegriffe der Poetik; his, Die Kunst der Interpretation,; Heidegger M., Der Ursprung des Kunstwerkes, in his book: Holzwege,, Fr./M.,; Langer S. K., Feeling and form. A theory of art developed from philosophy in a new key,?. Y. 1953; her, Problems of art,?. Y.,; Hamburger K., Die Logik der Dichtung, Stuttg.,; Empson W., Seven types of ambiguity, 3rd ed., N. Y.,; Kuhn H., Wesen und Wirken des Kunstwerks, M? Nch.,; Sedlmayr H., Kunst und Wahrheit, 1961; Lewis C. D., The poetic image, L., 1965; Dittmann L., Stil. Symbol. Struktur, M? Nch., 1967. I. Rodnyanskaya. Moscow.

Introduction

The artistic image is a universal category of artistic creativity: the form inherent in art for reproducing, interpreting and mastering life by creating aesthetically influencing objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content (for example, character in literature, symbolic images). But in a more general sense, an artistic image is a way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.

Among other aesthetic categories, this one is of a relatively late origin, although the beginnings of the theory of the artistic image can be found in Aristotle's doctrine of "mimesis" - the artist's free imitation of life in its ability to produce whole, internally arranged objects and the associated aesthetic pleasure. While art in its self-consciousness (coming from the ancient tradition) was rather closer to craft, craftsmanship, skill and, accordingly, in the host of arts the leading place belonged to the plastic arts, aesthetic thought was content with the concepts of the canon, then style and form, through which the transforming attitude of the artist to the material was illuminated. The fact that the artistically reformed material captures, carries in itself a kind of ideal education, somewhat similar to thoughts, began to be realized only with the advancement of more “spiritual” arts - literature and music - to the first place. Hegelian and post-Hegelian aesthetics (including V.G.Belinsky) widely used the category of artistic image, respectively opposing the image as a product of artistic thinking to the results of abstract, scientific-conceptual thinking - syllogism, inference, proof, formula.

Since then, the universality of the category of the artistic image has been repeatedly challenged, since the semantic shade of objectivity and clarity, which is part of the semantics of the term, seemed to make it inapplicable to "non-objective", non-visual arts. And, however, modern aesthetics, mainly domestic, now widely resorts to the theory of the artistic image as the most promising, helping to reveal the original nature of the facts of art.

Purpose of the work: Analyze the concept of an artistic image and identify the main means of its creation.

Expand the concept of an artistic image.

Consider means of creating an artistic image

Analyze the characteristics of artistic images on the example of the works of W. Shakespeare.

The subject of the research is the psychology of the artistic image using the example of Shakespeare's works.

The research method is a theoretical analysis of the literature on the topic.

1. Psychology of the artistic image

1 The concept of an artistic image

In epistemology, the concept of "image" is used in a broad sense: an image is a subjective form of reflection objective reality in the mind of a person. At the empirical stage of reflection, human consciousness is characterized by images-impressions, images-representations, images of imagination and memory. Only on this basis, through generalization and abstraction, images-concepts, images-inferences, judgments arise. They can be visual - illustrative pictures, diagrams, models - and not visual - abstract.

Along with a broad epistemological meaning, the concept of "image" has a narrower meaning. An image is a specific image of an integral object, phenomenon, a person, his "face".

Human consciousness recreates images of objectivity, systematizing the diversity of movement and interconnections of the surrounding world. Human cognition and practice lead the seemingly entropic variety of phenomena to an ordered or expedient correlation of interrelationships and thereby form the images of the human world, the so-called environment, a residential complex, social ceremonies, sports rituals, etc. The synthesis of disparate impressions into integral images removes ambiguity, designates a particular sphere, names one or another delimited content.

The ideal image of an object that appears in human head, is some system. However, in contrast to Gestalt philosophy, which introduced these terms into science, it must be emphasized that the image of consciousness is substantively secondary, it is such a product of thinking that reflects the laws of objective phenomena in itself, is a subjective form of reflection of objectivity, and not a purely spiritual construction within the stream of consciousness.

An artistic image is not only a special form of thought, it is an image of reality that arises through the medium of thinking. The main meaning, function and content of the image of art lies in the fact that the image depicts reality in a specific face, its objective, material world, a person and his environment, depicts events in the social and personal life of people, their relationships, their external and spiritual and psychological characteristics.

In aesthetics, for many centuries, there has been a debatable question of whether an artistic image is a cast of immediate impressions of reality or is it mediated in the process of emergence by a stage of abstract thinking and the associated processes of abstraction from the concrete by analysis, synthesis, inference, inference, that is, the processing of sensually given impressions. Researchers of the genesis of art and primitive cultures distinguish the period of "pre-logical thinking", but even the later stages of art of this time do not apply the concept of "thinking". The sensory-emotional, intuitive-figurative nature of ancient mythological art gave K. Marx a reason to say that the unconsciously artistic processing of natural material was inherent in the early stages of the development of human culture.

In the process of human labor practice, not only the development of the motor functions of the hand and other parts of the human body took place, but also, accordingly, the process of the development of human sensibility, thinking and speech.

Modern science argues that the language of gestures, signals, signs in ancient man was still only the language of sensations and emotions, and only later was the language of elementary thoughts.

Primitive thinking was distinguished by first-signal immediacy and elementarity, like thinking about the present situation, about the place, volume, quantity, and the immediate benefit of a particular phenomenon.

Only with the emergence of sound speech and the second signaling system does discursive and logical thinking begin to develop.

Because of this, we can talk about the difference in certain phases or stages of the development of human thinking. Firstly, the phase of visual, concrete, first-signal thinking, which directly reflects the instantly experienced situation. Secondly, this is the phase of figurative thinking that goes beyond the directly experienced through imagination and elementary ideas, as well as external image some specific things, and their further perception and understanding through this image (a form of communication).

Thinking, like other spiritual and mental phenomena, develops in the history of anthropogenesis from the lowest to the highest. The discovery of many facts testifying to the prelogical, prelogical nature of primitive thinking gave rise to many options for interpretation. Renowned explorer ancient culture K. Levy-Bruhl noted that primitive thinking is oriented differently than modern thinking, in particular, it is "prelogical" in the sense that it is "reconciled" with contradiction.

In Western aesthetics of the middle of the last century, the conclusion is widespread that the fact of the existence of pre-logical thinking gives grounds for the conclusion that the nature of art is identical to the unconsciously mythologizing consciousness. There is a whole galaxy of theories that seek to identify artistic thinking with the elementary-figurative mythologism of prelogical forms of the spiritual process. This concerns the ideas of E. Cassirer, who divided the history of culture into two eras: the era of symbolic language, myth and poetry, firstly, and the era of abstract thinking and rational language, and secondly, striving at the same time to absolutize mythology as an ideal primordial foundation in history artistic thinking.

However, Cassirer only drew attention to mythological thinking as a prehistory of symbolic forms, but after him A.-N. Whitehead, G. Reed, S. Langer tried to absolutize non-conceptual thinking as the essence of poetic consciousness in general.

Domestic psychologists, on the contrary, believe that the consciousness of a modern person is a multifaceted psychological unity, where the stages of development of the sensory and rational sides are interconnected, interdependent, interdependent. The measure of the development of the sensory sides of consciousness historical person in the process of its existence corresponded to the rate of evolution of the mind.

There are many arguments in favor of the sensory-empirical nature of the artistic image as its main feature.

As an example, let us consider the book by A.K. Voronsky "The Art of Seeing the World". It appeared in the 1920s and was quite popular. The motive for writing this work was a protest against handicraft, poster, didactic, manifesting, "new" art.

Voronsky's pathos is focused on the "mystery" of art, which he saw in the artist's ability to grasp a direct impression, the "primary" emotion of perceiving an object: “Art only comes into contact with life. As soon as the viewer, the reader, the mind begins to work, all the charm, all the power of aesthetic feeling disappears. "

Voronsky developed his point of view, relying on considerable experience, on a sensitive understanding and deep knowledge of art. He isolated the act of aesthetic perception from everyday life and everyday life, believing that it is possible to see the world "directly", that is, without the mediation of preconceived thoughts and ideas, only in happy moments of true inspiration. Freshness and purity of perception are rare, but it is this immediate feeling that is the source of the artistic image.

Voronsky called this perception “irrelevant” and contrasted it with phenomena alien to art: interpretation and “interpretation”.

The problem of the artistic discovery of the world receives from Voronsky the definition of "complex creative feeling", when the reality of the primary impression is revealed, regardless of whether a person knows about it.

Art "makes reason fall silent, it achieves that a person believes in the power of his most primitive, most direct impressions" 6.

Voronsky's work, written in the 20s of the XX century, is focused on the search for the secret of art in naive pure anthropologism, “irrelevant”, not appealing to reason.

Impressions direct, emotional, intuitive will never lose their meaning in art, but are they enough for the artistry of art, aren't the criteria of art more complicated than the aesthetics of immediate feelings suggests?

The creation of an artistic image of art, if we are not talking about a sketch or a preliminary sketch, etc., but about a completed artistic image, is impossible only by fixing a beautiful, immediate, intuitive impression. The image of this impression will be insignificant in art if it is not spiritualized by thought. The artistic image of art is both the result of impression and the product of thought.

V.S. Soloviev made an attempt to "name" what is beautiful in nature, to give a name to beauty. He said that the beauty in nature is the light of the sun, lunar, astral, changes in light during the day and night, the reflection of light on water, trees, grass and objects, the play of the light of lightning, the sun, the moon.

The named natural phenomena evoke aesthetic feelings, aesthetic pleasure. And although these feelings are also associated with the concept of things, for example, about a thunderstorm, about the universe, it is still possible to imagine that the images of nature in art are images of sensory impressions.

A sensual impression, thoughtless enjoyment of beauty, including the light of the moon, stars - are possible, and such feelings are capable of rediscovering something unusual, but the artistic image of art incorporates a wide range of spiritual phenomena, both sensual and intellectual. Consequently, the theory of art has no reason to absolutize certain phenomena.

The figurative sphere of a work of art is formed simultaneously at many different levels of consciousness: feelings, intuition, imagination, logic, fantasy, thought. The visual, verbal or sound depiction of a work of art is not a copying cast of reality, even if it is optimally lifelike. Artistic depiction clearly reveals its secondary nature, mediated by thinking, due to the participation of thinking in the process of creating artistic reality.

The artistic image is the center of gravity, a synthesis of feeling and thought, intuition and imagination; The figurative sphere of art is characterized by spontaneous self-development, which has several vectors of conditioning: the "pressure" of life itself, the "flight" of fantasy, the logic of thinking, the mutual influence of the intrastructural connections of the work, ideological tendencies and the direction of the artist's thinking.

The function of thinking is also manifested in maintaining balance and harmonizing all these contradictory factors. The artist's mind works on the integrity of the image and the work. The image is the result of impressions, the image is the fruit of the artist's imagination and fantasy and at the same time the product of his thought. It is only in the unity and interaction of all these sides that a specific phenomenon of artistry arises.

In view of the above, it is clear that the image is relevant, not identical to life. And there can be countless artistic images of the same realm of objectivity.

Being a product of thinking, the artistic image is also the focus of the ideological expression of the content.

An artistic image has meaning as a “representative” of certain aspects of reality, and in this respect it is more complex and versatile than a concept as a form of thought; in the content of the image, it is necessary to distinguish between various ingredients of meaning. The meaning of a hollow work of art is complex - a "composite" phenomenon, the result of artistic development, that is, cognition, aesthetic experience and reflection on the material of reality. Meaning does not exist in a work as something separate, described or expressed. It "follows" from the images and the work as a whole. However, the meaning of the work is a product of thinking and, therefore, its special criterion.

The artistic meaning of the work is the end product of the artist's creative thought. The meaning belongs to the image, therefore the semantic content of the work has a specific character identical to its images.

If we talk about the informativeness of an artistic image, then this is not only a meaning stating certainty and its meaning, but also aesthetic, emotional, and intonational meaning. All this is called redundant information.

An artistic image is a multifaceted idealization of a material or spiritual object, present or imaginary, it is not reducible to semantic unambiguity, not identical to sign information.

The image includes the objective inconsistency of information elements, oppositions and alternatives of meaning, specific to the nature of the image, since it represents the unity of the general and the individual. The signified and signifier, that is, the sign situation, can only be an element of an image or an image-detail (a kind of image).

Since the concept of information has acquired not only a technical and semantic meaning, but also a broader philosophical meaning, a work of art should be interpreted as a specific phenomenon of information. This specificity is manifested, in particular, in the fact that the pictorial-descriptive, figurative-plot content of a work of art as art is informative in itself and as a "container" of ideas.

Thus, the depiction of life and the way it is depicted is full of meaning in itself. Both the fact that the artist chose certain images, and the fact that by the power of imagination and fantasy he added expressive elements to them, all this speaks for itself, because it is not only a product of fantasy and skill, but also a product of the artist's thinking.

A work of art makes sense insofar as it reflects reality and because what is reflected is the result of thinking about reality.

Artistic thinking in art has various spheres and the need to express their ideas directly, developing a special poetic language of such expression.

2 Tools for creating an artistic image

The artistic image, possessing sensual concreteness, is personified as a separate, unique, in contrast to the pre-artistic image, in which the personification has a diffuse, artistically unworked character and therefore is devoid of uniqueness. Personification in developed artistic and imaginative thinking is of fundamental importance.

However, the artistic-figurative interaction of production and consumption is of a special nature, since artistic creation is in a certain sense also an end in itself, that is, a relatively independent spiritual and practical need. It is no coincidence that the idea that the viewer, listener, and reader are, as it were, accomplices in the artist's creative process, was often expressed by both theorists and practitioners of art.

In the specifics of subject-object relations, in artistic-figurative perception, it can be distinguished, according to at least, three salient features.

The first is that the artistic image, born as an artist's response to certain social needs, as a dialogue with the audience, in the process of education takes on a life in artistic culture, independent of this dialogue, since it enters into more and more new dialogues, about the possibilities of which the author could not even suspect in the creative process. Great artistic images continue to live as a subject spiritual value not only in the artistic memory of descendants (for example, as a bearer of spiritual traditions), but also as a real, modern force that encourages a person to social activity.

The second essential feature of subject-object relations inherent in an artistic image and expressed in its perception is that the “split” into creation and consumption in art is different from that which takes place in the sphere of material production. If in the sphere of material production the consumer deals only with the product of production, and not with the process of creating this product, then in artistic creation, in the act of perceiving artistic images, the influence of the creative process takes an active part. How the result is achieved in the products of material production is relatively insignificant for the consumer, while in the artistic-figurative perception it is extremely important and constitutes one of the main points of the artistic process.

If in the sphere of material production, the processes of creation and consumption have relative independence, as a certain form of human life, then artistic-figurative production and consumption cannot be separated absolutely without prejudice to understanding the very specifics of art. Speaking about this, it should be borne in mind that the boundless artistic and imaginative potential is revealed only in the historical process of consumption. It cannot be exhausted only in the act of immediate perception of "one-time use".

There is also a third specific feature of subject-object relations inherent in the perception of an artistic image. Its essence boils down to the following: if in the process of consumption of products of material production the perception of the processes of this production does not necessarily and does not determine the act of consumption, then in art the process of creating artistic images seems to "come to life" in the process of their consumption. This is most obvious in those types of artistic creation that are associated with performance. We are talking about music, theater, that is, those forms of art in which politics, to a certain extent, is a witness to the creative act. In fact, in different forms, this is present in all types of art, in some more, and in others less obvious and is expressed in the unity of what and how a work of art comprehends. Through this unity, the audience perceives not only the performer's skill, but also the direct power of the artistic-figurative influence in its meaningful meaning.

An artistic image is a generalization that is revealed in a concrete-sensual form, which is essential for a number of phenomena. The dialectic of the universal (typical) and the individual (individual) in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its singularity: the common is manifested in the individual and through the individual. The poetic representation is figurative and does not show an abstract essence, not an accidental existence, but a phenomenon in which the substantial is cognized through its appearance, its individuality. In one scene from Tolstoy's novel Anna Karenina, Karenin wants to divorce his wife and comes to a lawyer. A confidential conversation takes place in a cozy office covered with carpets. Suddenly a mole flies across the room. And although Karenin's story concerns the dramatic circumstances of his life, the lawyer no longer listens to anything, it is important for him to catch the mole that threatens his carpets. A small detail carries a large semantic load: for the most part, people are indifferent to each other, and things for them are of greater value than a person and her fate.

Generalization is inherent in the art of classicism - artistic generalization by highlighting and absolutizing a specific trait of the hero. Romanticism is characterized by idealization - generalization through the direct embodiment of ideals, their imposition on real material. Typification is inherent in realistic art - artistic generalization through individualization through the selection of essential personality traits. In realistic art, each person depicted is a type, but at the same time a completely definite personality - a "familiar stranger".

Marxism attaches particular importance to the concept of typification. This problem was first posed by K. Marx and F. Engels in their correspondence with F. Lassalle about his drama Franz von Sickingen.

In the 20th century, the old ideas about art and the artistic image disappear, and the content of the concept of "typification" also changes.

There are two interrelated approaches to this manifestation of artistic and imaginative consciousness.

First, the maximum approximation to reality. It should be emphasized that documentaryism, as a desire for a detailed, realistic, reliable reflection of life, has become not just a leading trend in the artistic culture of the 20th century. Contemporary art has improved this phenomenon, filled it with previously unknown intellectual and moral content, largely defining the artistic and imaginative atmosphere of the era. It should be noted that interest in this type of figurative convention does not subside today. This is due to the tremendous success of journalism, non-fiction films, art photography, with the publication of letters, diaries, memoirs of participants in various historical events.

Secondly, the maximum strengthening of convention, and in the presence of a very tangible connection with reality. This system of conventions of the artistic image presupposes bringing to the fore the integrative aspects of the creative process, namely: selection, comparison, analysis, which are organically connected with individual characteristic phenomena. As a rule, typification presupposes a minimal aesthetic deformation of reality, which is why in art history this principle has been given the name of life-like, recreating the world "in the forms of life itself."

An ancient Indian parable tells about the blind people who wanted to know what an elephant was and began to feel it. One of them grabbed the elephant's leg and said: "The elephant is like a pillar"; another felt the belly of the giant and decided that the elephant was a jug; the third touched the tail and understood: "The elephant is the ship's rope"; the fourth took the trunk in his hands and declared that the elephant is a snake. Their attempts to understand what an elephant is were unsuccessful, because they cognized not the phenomenon as a whole and its essence, but its constituent parts and random properties. An artist who elevates the random traits of reality to the typical behaves like a blind man who takes an elephant for a rope only because he has failed to grab anything other than the tail. A true artist grasps the characteristic, the essential in phenomena. Art is capable of making broad generalizations and creating a concept of the world without breaking away from the concrete-sensual nature of phenomena.

Typification is one of the main laws of the artistic development of the world. Largely due to the artistic generalization of reality, the identification of the characteristic, essential in life phenomena art and becomes a powerful means of cognition and transformation of the world. artistic image of shakespeare

The artistic image is the unity of the rational and the emotional. Emotionality is the historically early fundamental principle of the artistic image. The ancient Indians believed that art was born when a person could not contain the feelings that overwhelmed him. The legend of the creator of the Ramayana tells how the sage Valmiki walked along the forest path. In the grass he saw two sandpipers, tenderly echoing. Suddenly a hunter appeared and pierced one of the birds with an arrow. Seized with anger, sorrow and compassion, Valmiki cursed the hunter, and the words that burst out of his heart filled with feelings, by themselves formed a poetic stanza with the now canonical size of "sloka". It was with such a verse that the god Brahma subsequently commanded Valmiki to sing the exploits of Rama. This legend explains the origin of poetry from emotionally intense, agitated, richly intoned speech.

To create an enduring work, not only a wide coverage of reality is important, but also a mental and emotional temperature, sufficient to melt the impressions of being. Once, casting a figure of a condottiere from silver, the Italian sculptor Benvenuto Cellini faced an unexpected obstacle: when the metal was poured into the mold, it turned out that it was missing. The artist turned to his fellow citizens, and they carried silver spoons, forks, knives, trays to his workshop. Cellini began to throw these utensils into the molten metal. When the work was completed, a beautiful statue appeared to the spectators, but a fork stuck out of the rider's ear, and a piece of a spoon from the horse's rump. While the townspeople were carrying the utensils, the temperature of the metal poured into the mold dropped ... If the mental and emotional temperature is not enough to melt the vital material into a single whole (artistic reality), then “forks” stick out of the work, which a person who perceives art stumbles upon.

The main thing in the worldview is the attitude of a person to the world, and therefore it is clear that it is not just a system of views and ideas, but the state of society (class, social group, nation). The worldview as a special horizon of social reflection of the world by man refers to public consciousness as public to the general.

The creative activity of any artist is dependent on his worldview, that is, his conceptually formulated attitude to various phenomena of reality, including the area of ​​relations between various social groups. But this takes place only in proportion to the participation of consciousness in the creative process as such. At the same time, a significant role here also belongs to the unconscious area of ​​the artist's psyche. Unconscious intuitive processes undoubtedly play a significant role in the artist's imaginative consciousness. This connection was emphasized by G. Schelling: "Art ... is based on the identity of conscious and unconscious activity."

The artist's worldview as a mediating link between himself and the public consciousness of a social group contains an ideological moment. And within the very individual consciousness, the worldview, as it were, is elevated by some emotional and psychological levels: worldview, worldview, worldview. The worldview is to a greater extent an ideological phenomenon, while the worldview is of a socio-psychological nature, containing both general human and concrete historical aspects. The perception of the world is included in the field of everyday consciousness and includes the mentality, likes and dislikes, interests and ideals of a person (including the artist). It plays a special role in creative work, since it is only in it with its help that the author realizes his worldview, projecting it onto the artistic-figurative material of his works.

The nature of certain types of art determines the fact that in some of them the author manages to capture his worldview only through the perception of the world, while in others of them, the worldview directly enters the fabric of the works of art they create. Thus, musical creativity is capable of expressing the worldview of the subject of productive activity only indirectly, through the system of musical images created by him. In literature, however, the author-artist has the opportunity, with the help of the word, endowed by its very nature with the ability to generalize, to more directly express his ideas and views on various aspects of the depicted phenomena of reality.

For many artists of the past, the contradiction between the worldview and the nature of their talent was characteristic. So M.F. Dostoevsky, in his views, was a liberal monarchist, who, moreover, clearly gravitated towards resolving all the ulcers of contemporary society through its spiritual healing with the help of religion and art. But at the same time, the writer turned out to be the owner of the rarest realistic artistic talent. And this allowed him to create unsurpassed examples of the truest pictures of the most dramatic contradictions of his era.

But in transitional epochs, the very worldview of the majority of even the most talented art workers turns out to be internally contradictory. For example, the socio-political views of L.N. Tolstoy bizarrely combined the ideas of utopian socialism, which included criticism of bourgeois society and theological searches and slogans. In addition, the worldview of a number of major artists, under the influence of changes in the socio-political situation in their countries, is capable of undergoing, at times, very complex development. So, the path of spiritual evolution for Dostoevsky was very difficult and complicated: from utopian socialism in the 40s to liberal monarchism in the 60s and 80s of the 19th century.

The reasons for the internal inconsistency of the artist's worldview lie in the heterogeneity of his component parts, in their relative autonomy and in the difference in their significance for the creative process. If for a scientist-natural scientist, due to the peculiarities of his activity, the decisive importance belongs to the natural history components of his worldview, then for the artist his aesthetic views and convictions are in the first place. Moreover, the artist's talent is directly related to his conviction, that is, with "intellectual emotions" that have become the motives for the creation of enduring artistic images.

Modern artistic-figurative consciousness should be anti-dogmatic, that is, characterized by a decisive rejection of any absolutization of one single principle, attitude, formulation, assessment. None of the most authoritative opinions and statements should be deified, become the ultimate truth, turn into artistic-figurative standards and stereotypes. The elevation of the dogmatic approach to the "categorical imperative" of artistic creativity inevitably makes class confrontation absolutized, which in a concrete historical context ultimately translates into justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. Dogmatization of the creative process also manifests itself when certain methods and attitudes acquire the character of the only possible artistic truth.

Modern domestic aesthetics must also get rid of the epigony so characteristic of it for many decades. It is necessary for any and every modern researcher to free himself from the reception of endless quotation of the classics on issues of artistic and figurative specifics, from the uncritical perception of strangers, even the most temptingly convincing points of view, judgments and conclusions, and strive to express his own, personal views and beliefs. wants to be a real scientist, not a functionary in a scientific department, not an official in the service of someone or something. In the creation of works of art, epigonism manifests itself in the mechanical adherence to the principles and methods of any art school, direction, without taking into account the changed historical situation. Meanwhile, epigonism has nothing to do with the truly creative assimilation of the classical artistic heritage and traditions.

Thus, the world aesthetic thought has formulated various shades of the concept of "artistic image". In the scientific literature one can find such characteristics of this phenomenon as "the secret of art", "cell of art", "unit of art", "image-education", etc. However, no matter what epithets this category is awarded, it must be remembered that an artistic image is the essence of art, a meaningful form that is inherent in all its types and genres.

The artistic image is the unity of the objective and the subjective. The image includes the material of reality, processed by the artist's creative imagination, his attitude to the depicted, as well as all the wealth of the personality and the creator.

In the process of creating a work of art, the artist as a person acts as a subject of artistic creation. If we talk about artistic-figurative perception, then the artistic image created by the creator acts as an object, and the viewer, listener, reader is the subject. this relationship.

The artist thinks in images, the nature of which is concretely sensual. This makes the images of art related to the forms of life itself, although this relationship cannot be taken literally. There are no such forms as an artistic word, musical sound or an architectural ensemble in life itself and cannot be.

An important structure-forming component of an artistic image is the worldview of the subject of creativity and its role in artistic practice. Worldview is a system of views on the objective world and a person's place in it, on a person's attitude to the reality around him and to himself, as well as the basic life positions of people, their beliefs, ideals, principles of knowledge and activity, conditioned by these views, value orientations... At the same time, it is most often believed that the worldview different layers society is formed as a result of the spread of ideology, in the process of converting the knowledge of representatives of a particular social stratum into beliefs. The worldview should be considered as the result of the interaction of ideology, religion, sciences and social psychology.

Dialogism should become a very essential and important feature of modern artistic and imaginative consciousness, that is, the focus on continuous dialogue, which is in the nature of constructive polemics, creative discussion with representatives of any art schools, traditions, methods. The constructiveness of the dialogue should consist in the continuous spiritual mutual enrichment of the discussing parties, be creative, truly dialogical in nature. The very existence of art is due to the eternal dialogue between the artist and the recipient (viewer, listener, reader). The contract that binds them is indissoluble. The newly born artistic image is new edition, new form dialogue. The artist gives his debt to the recipient in full when he gives him something new. Today, as never before, the artist has the opportunity to speak new and in a new way.

All of the listed areas in the development of artistic and imaginative thinking should lead to the approval of the principle of pluralism in art, that is, the approval of the principle of coexistence and complementarity of multiple and most diverse, including conflicting points of view and positions, views and beliefs, trends and schools, movements and teachings ...

2. The peculiarity of artistic images on the example of the works of W. Shakespeare

2.1 Characteristics of the artistic images of W. Shakespeare

The works of W. Shakespeare are studied in literature lessons in the 8th and 9th grades of secondary school. In the 8th grade pupils study "Romeo and Juliet", in the 9th - "Hamlet" and Shakespeare's sonnets.

Shakespeare's tragedies are an example of "the classical resolution of collisions in a romantic art form" between the Middle Ages and modern times, between the feudal past and the emerging bourgeois world. Shakespeare's characters are "internally consistent, true to themselves and their passion, and in everything that happens to them, they behave according to their firm determination."

Shakespeare's heroes are "relying only on themselves, individuals", setting themselves a goal that is "dictated" only by "their own individuality", and they carry it out "with an unshakable consistency of passion, without side reflections." At the center of every tragedy is this kind of character, and around it are less prominent and energetic ones.

In modern plays, a kind-hearted character quickly falls into despair, but the drama does not lead him to death, even in danger, which leaves a very pleased audience. When virtue and vice confront on the stage, she should triumph, and he should be punished. In Shakespeare's work, the hero dies “precisely as a result of resolute loyalty to himself and to his goals,” which is what they call “a tragic denouement”.

Shakespeare's language is metaphorical, and his hero stands above his "grief" or "bad passion", even "ridiculous vulgarity." Whatever the Shakespearean images, they are people of "the free power of representation and the genius of the spirit ... their reflection is worth and puts them above what they are in their position and their specific goals." But, looking for an "analogue of inner experience", this hero "is not always free from excesses, at times awkward."

Shakespeare's humor is also remarkable. Although his comic images are "immersed in their vulgarity" and "they have no shortage of flat jokes," they at the same time "show intelligence." Their "genius" could make them "great people."

An essential point of Shakespeare's humanism is the comprehension of a person in movement, in development, in becoming. This also determines the method of artistic characterization of the hero. The latter in Shakespeare is always shown not in a frozen motionless state, not in the statuary of a snapshot, but in motion, in the history of personality. Deep dynamism distinguishes Shakespeare's ideological and artistic concept of a person and the method of artistic depiction of a person. Usually the hero of an English playwright is different at different phases of dramatic action, in different acts and scenes.

Shakespeare shows a person in the fullness of his capabilities, in the full creative perspective of his history, his destiny. In Shakespeare, it is essential not only to show a person in his inner creative movement, but also to show the very direction of movement. This direction is the highest and most complete disclosure of all the potencies of a person, all of his internal forces... This direction - in a number of cases, is the rebirth of a person, his inner spiritual growth, the hero's ascent to some higher level of his being (Prince Henry, King Lear, Prospero, etc.). (Shakespeare's "King Lear" is studied by 9th grade students in extracurricular activities).

“There are no guilty ones in the world,” proclaims King Lear after the turbulent upheavals of his life. In Shakespeare, this phrase means a deep awareness of social injustice, the responsibility of the entire social system for the countless suffering of poor Toms. For Shakespeare, this sense of social responsibility, in the context of the hero's experiences, opens up a broad perspective for the creative growth of the personality, its final moral revival. For him, this thought serves as a platform for affirming the best qualities of his hero, for affirming his heroically personal substantiality. With all the rich multicolored changes and transformations of the personality in Shakespeare, the heroic core of this personality is unshakable. Shakespeare's tragic dialectic of personality and fate leads to the clarity and clarity of his positive ideas. In Shakespeare's King Lear, the world is crumbling, but man himself lives and changes, and with him the whole world. Development, a qualitative change in Shakespeare is notable for its completeness and diversity.

Shakespeare owns a cycle of 154 sonnets, published (without the author's knowledge and consent) in 1609, but written, apparently, in the 1590s and was one of the most brilliant examples of Western European lyric poetry of the Renaissance. Having managed to become popular among English poets, the form under the pen of Shakespeare sparkled with new facets, containing a vast range of feelings and thoughts - from intimate experiences to deep philosophical reflections and generalizations.

Researchers have long drawn attention to the close connection between sonnets and Shakespeare's drama. This connection is manifested not only in the organic fusion of the lyrical element with the tragic, but also in the fact that the ideas of passion that inspire Shakespeare's tragedies also live in his sonnets. Just as in tragedies, Shakespeare touches in sonnets the fundamental problems of existence that have worried mankind for centuries, talks about happiness and the meaning of life, about the relationship between time and eternity, about the transience of human beauty and its greatness, about art that can overcome the inexorable run of time. , about the high mission of the poet.

The eternal inexhaustible theme of love, one of the central ones in the sonnets, is closely intertwined with the theme of friendship. In love and friendship, the poet finds a true source creative inspiration regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, mental anguish.

In the literature of the Renaissance, the topic of friendship, especially male, occupies an important place: it is considered as highest manifestation humanity. In such a friendship, the dictates of reason are harmoniously combined with a spiritual inclination, free from the sensual principle.

The image of Shakespeare's Beloved is emphatically unconventional. If in the sonnets of Petrarch and his English followers the golden-haired angel-like beauty, proud and inaccessible, was usually sung, Shakespeare, on the contrary, devotes jealous reproaches to a dark-skinned brunette - inconsistent, obeying only the voice of passion.

The leitmotif of sorrow about the frailty of everything earthly, passing through the entire cycle, clearly recognized by the poet, the imperfection of the world does not violate the harmony of his attitude. The illusion of afterlife bliss is alien to him - he sees human immortality in glory and posterity, advising his friend to see his youth reborn in children.

Conclusion

So, an artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. The artistic image is different: accessibility for direct perception and direct impact on human feelings.

Any artistic image is not completely concrete, clearly fixed points of reference are clothed in it with the element of incomplete definiteness, half-manifestation. This is a kind of "insufficiency" of the artistic image compared to the reality of a fact of life (art strives to become reality, but breaks against its own boundaries), but also an advantage that ensures its polysemy in a set of replenishing interpretations, the limit to which is set only by the accentuation provided by the artist.

The inner form of an artistic image is personal, it bears an indelible trace of the author's ideology, its singling out and implementing initiative, thanks to which the image appears as a valued human reality, a cultural value in a number of other values, an expression of historically relative tendencies and ideals. But as an "organism" formed according to the principle of visible revitalization of the material, from the point of artistry, the artistic image is an arena of the ultimate action of aesthetically harmonizing laws of being, where there is no "bad infinity" and unjustified end, where space is visible, and time is reversible, where chance is not absurd, and necessity is not burdensome, where clarity triumphs over inertia. And in this nature artistic value belongs not only to the world of relational socio-cultural values, but also to the world of life values, cognized in the light of enduring meaning, to the world of ideal life opportunities for our human universe... Therefore, an artistic assumption, in contrast to a scientific hypothesis, cannot be discarded as unnecessary and supplanted by others, even if the historical limitations of its creator seem obvious.

In view of the inspiring power of artistic assumptions, both creativity and the perception of art are always associated with cognitive and ethical risk, and when evaluating a work of art it is equally important: submitting to the author's intention, to recreate the aesthetic object in its organic integrity and self-justification, and, without completely submitting to this intention, preserve the freedom of one's own point of view, provided by real life and spiritual experience.

Studying individual works of Shakespeare, the teacher should draw the attention of students to the images he created, quote from texts, draw conclusions about the influence of such literature on the feelings and actions of readers.

In conclusion, we want to emphasize once again that Shakespeare's artistic images have eternal value and will always be relevant, regardless of time and place, since in his works he puts eternal questions that have always worried and worried all of humanity: how to fight evil, by what means and is it possible to defeat it? Is it worth living at all if life is full of evil and it is impossible to defeat it? What is true and what is false in life? How can true feelings be distinguished from false ones? Can love last forever? What is the general meaning of human life?

Our research confirms the relevance of the chosen topic, has a practical orientation and can be recommended to students of pedagogical educational institutions in the framework of the subject "Teaching Literature at School".

Bibliography

1. Hegel. Lectures on aesthetics. - Works, v. XIII. P. 392.

Monroz L.A. Studying the Renaissance: Poetics and Politics of Culture // New Literary Review. - No. 42. - 2000.

Rank O. Aesthetics and psychology of artistic creativity // Other banks. - No. 7. - 2004.S. 25.

Hegel. Lectures on aesthetics. - Works, v. XIII. P. 393.

Kaganovich S. New approaches to school analysis of poetic text // Teaching literature. - March 2003.S. 11.

Kirilova A.V. Culturology. Methodical manual for students of the specialty "Socio-cultural service and tourism" by correspondence course. - Novosibirsk: NSTU, 2010 .-- 40 p.

Zharkov A.D. Theory and technology of cultural and leisure activities: Textbook / A.D. Zharkov. - M .: Publishing house MGUKI, 2007 .-- 480 p.

Tikhonovskaya G.S. Screenwriting and directing technologies for creating cultural and leisure programs: Monograph. - M .: Publishing House MGUKI, 2010 .-- 352 p.

Kutuzov A.V. Culturology: textbook. allowance. Part 1 / A.V. Kutuzov; GOU VPO RPA of the Ministry of Justice of Russia, North-West (St. Petersburg) branch. - M .; SPb .: GOU VPO RPA of the Ministry of Justice of Russia, 2008 .-- 56 p.

The stylistics of the Russian language. Kozhina M.N., Duskaeva L.R., Salimovsky V.A. (2008, 464s.)

Belyaeva N. Shakespeare. "Hamlet": problems of the hero and genre // Teaching literature. - March 2002.S. 14.

Ivanova S. On the activity approach in the study of Shakespeare's tragedy "Hamlet" // I'm going to a literature lesson. - August 2001.S. 10.

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Literary image- a verbal image, formed in a word, that peculiar form of reflection of life, which is inherent in art.

So, imagery is the central concept of the theory of literature, it answers its most basic question: what is the essence of literary creativity?

An image is a generalized reflection of reality in the form of a single, individual, is such a widespread definition of this concept. The most basic features are emphasized in this definition - generalization and individualization. Indeed, both of these features are essential and important. They are present in any literary work.

For example, the image of Pechorin shows the general features of the younger generation of the time in which M.Yu. Lermontov, and at the same time it is obvious that Pechorin is an individual depicted by Lermontov with the utmost vital concreteness. And not only this. To understand the image, it is necessary, first of all, to find out: what interests the artist in reality, where does he focus his attention among life phenomena?

"An artistic image," according to Gorky, "is almost always wider and deeper than an idea; it takes a person with all his diversity of his spiritual life, with all the contradictions of his feelings and thoughts."

So, the image is a picture of human life. To reflect life with the help of images means to draw pictures of the human life of people, i.e. actions and experiences of people, characteristic of a given area of ​​life, allowing you to judge it.

When we say that an image is a picture of human life, we mean precisely that it is reflected in it synthetically, integrally, i.e. "Personally", and not by any one side of it.

A work of art is only complete when it made the reader or viewer believe in itself as a phenomenon of human life, either external or spiritual.

There is no art without a concrete picture of life. But concreteness itself is not an end in itself for artistic depiction. It necessarily follows from its very subject, from the task facing art: the depiction of human life in its entirety.

So, let's supplement the definition of the image.

An image is a concrete picture of human life, i.e. an individualized image of her.

Let's consider further. The writer studies reality on the basis of a certain worldview; in the process of his life experience, he accumulates observations, conclusions; he arrives at certain generalizations reflecting reality and at the same time expressing his views. He shows these generalizations to the reader in living, concrete facts, in the lives and experiences of people. Thus, in the definition of "image" we supplement: The image is a concrete and at the same time a generalized picture of human life.

But even now our definition is not yet complete.

Fiction plays a very important role in the image. Without the artist's creative imagination, there would be no unity of the individual and the generalized, without which there is no image. On the basis of his knowledge and understanding of life, the artist imagines such life facts by which one could better judge the life he depicts. This is the meaning of fiction. At the same time, the artist's fiction is not arbitrary, it is suggested to him by his life experience. Only under this condition will the artist be able to find real paints to depict the world into which he wants to introduce the reader. Fiction is a means by which the writer selects what is most characteristic of life, i.e. is a generalization of the material collected by the writer. It should be noted that fiction is not opposed to reality, but is a special form of reflection of life, a peculiar form of its generalization. We must now complete our definition again.

So, the image is a concrete and at the same time a generalized picture of human life, created with the help of fiction. But that's not all.

A work of art evokes in us a sense of immediate excitement, sympathy for the heroes, or resentment. We treat it as something personally affecting us, directly related to us.

So that's it. This is an aesthetic feeling. The purpose of art is to aesthetically comprehend reality in order to evoke an aesthetic feeling in a person. The aesthetic feeling is associated with the idea of ​​the ideal. It is this perception of the ideal embodied in life, the perception of the beauty that causes us aesthetic feelings: excitement, joy, pleasure. This means that the meaning of art lies in the fact that it should evoke an aesthetic attitude to life in a person. Thus, we have come to the conclusion that the essential aspect of the image is its aesthetic value.

Now we can give a definition of the image, which has absorbed the features that we talked about.

So, summing up the above, we get:

IMAGE IS A SPECIFIC AND AT THE SAME TIME GENERALIZED PICTURE OF HUMAN LIFE, CREATED WITH THE HELP OF Fiction AND HAVING AESTHETIC SIGNIFICANCE.