Unified State Examination in Literature: an artistic detail and its function in a work. Artistic details

Anton Pavlovich Chekhov - a recognized master short story. The ability to succinctly express thoughts, which has grown from a gymnasium hobby into a real serious work with the word, has become the main distinctive feature Russian classic.

Entering literature as the author of short stories - "sketches", A.P. Chekhov in the 1880s actively collaborated with periodicals(mostly with humorous magazines). Newspaper layout rules dictated certain restrictions on the number of characters. In the works that appeared on the pages of periodicals, the author was required to demonstrate the essence of artistic images in the most concise form.

In order to impartially, but at the same time clearly show life as it is, Anton Pavlovich Chekhov resorted to the use of various expressive and visual means. With their help, on just one or two pages of text, he was able to convey the diversity, and often the absurdity real world. The writer's favorite technique was the use of such an element as an artistic detail.

Artistic details of Chekhov in the story "Death of an official"

A detail in a work is one of known ways character creation. For example, they were actively used by N.V. Gogol to characterize his heroes. Special meaning this technique acquires in works of a small volume, where there are no lengthy dialogues, and each word is carefully selected.

What is an art piece? This is an expressive detail, with the help of which the essence of a person, event or phenomenon is revealed. Most often, some object of the material world acts as it - it can be a thing, an element of clothing, furniture, housing, etc. Often facial expressions, gestures, manner of speech of the characters also become artistic details.

What is the role of artistic detail in Chekhov's prose? It is intended to give the reader a complete picture of the character. So, in the story “The Death of an Official” () with the main character, the “beautiful” clerical worker Ivan Dmitrievich Chervyakov, there was an embarrassment in the theater. The fact is that while watching the "Corneville Bells" he suddenly sneezed. The author emphasizes the commonness of the situation: they say, with whom it does not happen. To his misfortune, the official notices that he accidentally stained the bald head of the state general Brizzhalov sitting in front. And although he does not attach any importance to a random episode, Chervyakov's life from that moment turns into a nightmare. Fear of a high rank forces him to offer his deepest apologies both during the performance, and during the intermission, and the next day, for which Chervyakov specially visits the general's reception room. But assurances that the apology is accepted, and what happened is a mere trifle, do not have the proper effect on him. Chervyakov is even going to write a letter to the general, but, on reflection, he decides to turn himself in again. With his servility, the official drives Brizzhalov into a frenzy, and he, in the end, kicks out the obsessive visitor. Tired of the mental anguish tormenting him, Chervyakov returns home and dies on his couch.

In fact, officials who were on the lower rungs of the career ladder often became the heroes of the works of A.P. Chekhov. This was due primarily to the fact that this class was an extremely inert mass, leading a rather meaningless - and therefore indicative - life.

In the story "The Death of an Official", a collision of two opposite worlds is noticeable. On the one hand, in the exposition, the author seems to set us up in a bohemian way: the hero came to the theater and enjoys the performance. On the other hand, an attentive reader is immediately alarmed by a strange detail: Chervyakov, sitting in the second row, is watching the opera through binoculars. This interweaving of high impulses with low impulses is again demonstrated in a phrase that gives a complete picture of the hero’s way of thinking: “Not my boss, someone else’s, but still embarrassing.” That is, Chervyakov apologizes not so much in accordance with the rules of etiquette, but out of necessity dictated by his official position.

In the same vein, Anton Pavlovich Chekhov describes the wife of an office worker. In the story, her image appears in only three sentences. But isn’t the detail that the frightened wife calms down as soon as she realizes that Brizzhalov is a “foreign” boss not significant?

Moreover, the comparison of a general and an official in their attitude to life suggests differences much deeper than inequality social statuses. The narrowness and narrowness of Chervyakov's views contrast sharply with Brizzhalov's complacency. However, there is a paradox here. For all Chervyakov’s awareness of his low place on the hierarchical ladder, he, probably without realizing it himself, believes that the general certainly cares about his modest person: “I forgot, but I myself have malice in my eyes ...”, “He doesn’t want to talk!. Angry means…”, “General, but he can’t understand!..”.

Chervyakov's inability to understand his own thoughts, to listen to the voice of reason, not fear, excessive suspicion, outward insecurity and downtroddenness - all this speaks of the character's passivity, his habit of living according to orders. In his admiration for the mighty of this world, he can in no way go beyond the framework of the position that he himself has determined. Therefore, before an audience with General Chervyakov, he specially cuts his hair and puts on new form is another important feature.

He remains in the same resigned position even after death. In the last sentence of the story, Chekhov brings out the most revealing detail: “Arriving mechanically home, without taking off his uniform, he lay down on the sofa and ... died.” There is a bitter irony here: the hero, as he lived, “mechanically” and according to instructions from above, died without taking off his uniform. As you can see, the uniform is a symbol of irresistible servility generated by the bureaucratic environment.

The author also mentions that before his death, "something came off in Chervyakov's stomach." Not in the chest, but in the stomach - thus, the torment that the reader has witnessed can hardly be called spiritual. Therefore, the detail in the stories of A.P. Chekhov becomes an exhaustive means of shaping not only social, but also psychological portrait character.

Brief description of the early period of Chekhov's work

Chekhov is a master of artistic detail. Early period his work is an example of concise presentation. Later, in a letter to his brother Alexander, he derived the famous formula: “Brevity is the sister of talent,” which can be called hallmark all his works. Avoiding a one-sided depiction of reality, Chekhov in his stories always intertwined the low with the high, and the comic with the dramatic. And in this he was especially helped by the use of artistic detail, since it set the reader in a certain way and made it possible to form a complete picture of the hero even within the framework of a short humorous story. Already in early works Anton Pavlovich Chekhov, there are tendencies that will later turn into plays and lead him to a number of recognized world classics.

In the analysis of speech matter, not only words and sentences are relevant, but also building units of the language(phonemes, morphemes, etc.). Images are born only in text. The most important stylistic trend in art. liter-re - muting general concepts and the emergence in the mind of the reader representation.

The smallest unit of the objective world is called artistic detail. The detail belongs to metaverbal to the world of the work: “The figurative form of a cast work includes 3 sides: a system of details of subject figurativeness, a system of compositional techniques and a speech structure.” Usually details include details of everyday life, landscape, portrait, etc. detailing the objective world in literature is inevitable, this is not decoration, but the essence of the image. The writer is not able to recreate the subject in all its features, and it is the detail and their combination that “replace” the whole in the text, causing the reader to associate the author with the necessary associations. This "removal of places of incomplete certainty" Ingarden calls specification. Selecting certain details, the writer turns the objects with a certain side to the reader. The degree of detail in the image mb is motivated in the text by the spatial and/or temporal point of view of the narrator/narrator/character, etc. detail, like a "close-up" in a movie, needs a "long shot." In literary criticism short message about events, the total designation of objects is often called generalization. The alternation of detailing and generalization is involved in the creation rhythm Images. Their contrast is one of the stylistic dominants.

The classification of details repeats the structure of the objective world, composed of events, actions, portraits, psychological and speech characteristics, landscape, interior, etc. A.B. Esin proposed to distinguish 3 types: details plot, descriptive And psychological. The predominance of one type or another generates a corresponding style property: plot"(" Taras Bulba ")," descriptiveness" ("Dead Souls"), " psychologism" ("Crime and Punishment"). In epic works, the narrator's commentary on the words of the characters often exceeds the volume of their replicas and leads to the image of the 2nd, non-verbal dialogue. This dialogue has sign system. It is kinesics(gestures, elements of facial expressions and pantomime) and paralinguistic elements(laughter, crying, pace of speech, pauses, etc.). The details of the mb are given in opposition, but can form an ensemble.

E. S. Dobin offered his own typology based on the criterion singleness/many, and used different terms for this: Detail affects a lot. Detail tends to be singular. The difference between them is not absolute, there are also transitional forms. " alienating"(according to Shklovsky) detail, i.e. introducing dissonance into the image, is of great cognitive importance. The visibility of a detail that contrasts with the general background is facilitated by compositional techniques: repetitions, “close-ups”, retardations, etc. Repeating and acquiring additional meanings, the detail becomes motive (keynote), often grows into symbol. At first, she may surprise, but then she explains the character. The symbolic detail mb is placed in the title of the work (“Gooseberry”, “Easy breathing”). The detail (in Dobin's understanding) is closer to sign, its appearance in the text evokes the joy of recognition, arousing a stable chain of associations. Details - signs are designed for a certain horizon of the reader's expectations, for his ability to decipher this or that cultural code. More than a classic, details - signs delivers fiction.

QUESTION 47. LANDSCAPE, ITS VIEWS. SEMIOTICS OF LANDSCAPE.

Landscape is one of the components of the world of a literary work, an image of any closed space of the outside world.

With the exception of the so-called wild landscape, the description of nature usually incorporates images of things created by man. In the literary analysis of a particular landscape, all elements of the description are considered together, otherwise the integrity of the subject and its aesthetic perception will be violated.

The landscape has its own characteristics in various kinds of literature. He is best represented in drama. Because of this "economy" the symbolic load of the landscape increases. There are much more opportunities for the introduction of a landscape that performs a variety of functions (designation of the place and time of action, plot motivation, a form of psychologism, landscape as a form of the author's presence) in epic works.

In the lyrics, the landscape is emphatically expressive, often symbolic: psychological parallelism, personifications, metaphors and other tropes are widely used.

Depending on the subject, or the texture of the description, landscapes are distinguished between rural and urban, or urban (“Cathedral Notre Dame of Paris"V. Hugo), steppe ("Taras Bulba" by N.V. Gogol, "Steppe" by A.P. Chekhov), forest ("Notes of a hunter", "Trip to Polesie" by I.S. Turgenev), sea (" Mirror of the Seas" by J. Conrad, "Moby Dick" by J. Meckville), mountainous (his discovery is associated with the names of Dante and especially J.-J. Rousseau), northern and southern, exotic, a contrasting background for which is the flora and fauna of the native the author of the region (this is typical for the genre of ancient Russian “journeys”, in general, the literature of “travels”: “The Frigate “Pallada”” by I.A. Goncharov), etc.

Depending on the literary direction There are 3 types of landscape: ideal, dull, stormy landscape.

Of all the varieties of landscape in the first place in its own way aesthetic value it is necessary to put the ideal landscape that has developed in ancient literature - in Homer, Theocritus, Virgil, Ovid, and then developed over the centuries in the literature of the Middle Ages and the Renaissance.

The elements of an ideal landscape, as it was formed in ancient and medieval European literature, can be considered the following: 1) a soft breeze, blowing, not stinging, bringing pleasant smells; 2) an eternal source, a cool stream that quenches thirst; 3) flowers covering the ground with a wide carpet; 4) trees spread out in a wide tent, giving shade; 5) birds singing on the branches.

Perhaps the most concise list of idyllic landscape motifs in their parodic interpretation is given by Pushkin in his message To Delvig. The very writing of "rhymes" already implies the presence in them of an "ideal nature", as if inseparable from the essence of the poetic:

"Confess," we were told,

You write poetry;

Can't you see them?

You depicted in them

Of course, streams

Of course, cornflower,

Forest, breeze,

Lambs and flowers..."

Characterized by diminutive suffixes attached to each word of an ideal landscape - "idyllema". Pushkin lists all the main elements of the landscape in an extremely laconic manner: flowers, streams, a breeze, a forest, a flock - only birds are missing, but instead of them - lambs.

The most important and stable element of an ideal landscape is its reflection in the water. If all other features of the landscape are in accordance with the needs human feelings, then through the reflection in the water, nature is consistent with itself, acquires its full value, self-sufficiency.

In the ideal landscapes of Zhukovsky, Pushkin, Baratynsky, we find this self-doubling as a sign of mature beauty:

And in the bosom of the waters, as through glass,

(V. Zhukovsky. "There is heaven

and the waters are clear!"

My Zakharovo; it

With fences in the wavy river,

With a bridge and a shady grove

The mirror of the waters is reflected.

(A. Pushkin. "Message to Yudin")

What a fresh dubrov

Looking from the shore

In her cheerful glass!

(E. Baratynsky. "Excerpt")

In the 18th century, the ideal landscape was significant in itself, as a poetic representation of nature, which had previously not been included at all in the system of aesthetic values ​​of Russian literature. Therefore, for Lomonosov, Derzhavin, Karamzin, this landscape had artistic value in itself, as a poeticization of that part of reality that was not previously considered poetic in medieval literature: as a sign of mastering the ancient, pan-European art of landscape. TO early XIX century, this general artistic task has already been completed, therefore, in Zhukovsky, Pushkin, Baratynsky, Tyutchev, Nekrasov, the ideal landscape conflicts with the real state of the world as something imaginary, incorporeal, distant, or even offensive in relation to the difficult, ugly, suffering human life.

The dull landscape came into poetry with the era of sentimentalism. Otherwise, this landscape can be called elegiac - it is closely connected with the complex of those sad and dreamy motifs that make up the genre feature of the elegy. A dull landscape occupies, as it were, an intermediate place between an ideal (light, peaceful) and a stormy landscape. There is no clear daylight here, green carpets full of flowers, on the contrary, everything is immersed in silence, resting in a dream. It is no coincidence that the cemetery theme runs through many dull landscapes: Zhukovsky's "Rural Cemetery", Batyushkov's "On the Ruins of a Castle in Sweden", Milonov's "Despondency", Pushkin's "Osgar". Sadness in the soul of the lyrical hero is transformed into a system of landscape details:

Special hour of the day: evening, night or special season - autumn, which is determined by the distance from the sun, the source of life.

Impenetrability to sight and hearing, a kind of veil covering perception: fog and silence.

Moonlight, bizarre, mysterious, eerie, pale luminary of the realm of the dead: "The moon looks thoughtfully through thin vapor", "only a month through the fog the crimson face will set", "a sad moon quietly ran through the pale clouds", "the moon makes its way through the wavy mists" - the reflected light, moreover, scattered by the fog, pours sadness on the soul.

A picture of dilapidation, withering, smoldering, ruins - whether it be the ruins of a castle near Batyushkov, a rural cemetery near Zhukovsky, a "overgrown row of graves" near Milonov, a decrepit skeleton of a bridge or a decayed arbor near Baratynsky ("Desolation").

images northern nature where the Ossian tradition led Russian poets. The north is part of the world, corresponding to the night as part of the day or autumn, winter as the seasons, which is why the gloomy dull landscape includes details of northern nature, primarily such characteristic, easily recognizable ones as moss and rocks ("mossy strongholds with granite teeth", " on a rock overgrown with wet moss", "where there is only moss, gray on gravestones", "above a hard, mossy rock").

In contrast to the ideal landscape, the components of a formidable, or stormy, poetic landscape are shifted from their usual place. Rivers, clouds, trees - everything is torn beyond its limit with an obsessively violent, destructive force.

We find the brightest examples of a stormy landscape in Zhukovsky ("The Twelve Sleeping Maidens", "The Swimmer"), Batyushkov ("The Dream of the Warriors", "The Dream"), Pushkin ("Crash", "Demons").

Signs of a stormy landscape:

Sound sign: noise, roar, roar, whistle, thunder, howl, so different from the silence and soft rustle of an ideal landscape ("huge moans", "breathed with a whistle, howl, roar", "huge waves rushed with a roar", "Wind it makes noise and whistles in the grove", "the storm roared, the rain roared", "the eagles scream above me and the forest grumbles", "the forest roars", "and the sound of water, and the whirlwind howl", "where the wind is noisy, a thunderstorm roars").

Black haze, dusk - "everything is dressed in black haze", "the abyss in the darkness before me."

The wind is raging, gusty, sweeping away everything in its path: "and the winds raged in the wilds."

Waves, abysses - boiling, roaring - "swirl, foam and howl among the wilds of snow and hills."

Dense forest or piles of rocks. At the same time, the waves beat against the rocks (“crushing against the gloomy rocks, the shafts rustle and foam”), the wind breaks the trees (“cedars fell upside down”, “like a whirlwind digging fields, breaking forests”).

Trembling, trembling of the universe, unsteadiness, collapse of all supports: "the earth, like Pontus (sea), shakes", "oak forests and fields tremble", "flinty Lebanon crackled". The motif of "the abyss", failure is stable: "here the abyss boiled furiously", "and in the abyss of the storm there are piles of rocks."

It is in a stormy landscape that the sound palette of poetry reaches its greatest diversity:

A storm covers the sky with mist,

Whirlwinds of snow twisting;

Like a beast, she will howl

He will cry like a child...

(A. Pushkin. " Winter evening")

Moreover, if through an ideal landscape the image of God is revealed to the lyrical subject (N. Karamzin, M. Lermontov), ​​then the stormy personifies demonic forces that cloud the air, blow up the snow with a whirlwind. A stormy landscape combined with a demonic theme is also found in Pushkin's Possessed.

Semiotics of the landscape. Various types of landscape are semiotized in the literary process. There is an accumulation of landscape codes, whole symbolic "funds" of descriptions of nature are created - the subject of study of historical poetics. Constituting the wealth of literature, they at the same time pose a danger to the writer who is looking for his own path, his own images and words.

When analyzing the landscape literary work it is very important to be able to see traces of this or that tradition, which the author follows consciously or unwittingly, in unconscious imitation of the styles that were in use.

It's no secret that in order to get high score in part C (composition) at the Unified State Examination in Literature, preparatory work is required, independent or with a tutor. Often success depends on the initially correctly chosen strategy for preparing for the exam. Before you start preparing for the exam in literature, you should answer yourself important questions. How can a tutor systematize topics so that he does not have to start all over again with each new work? What "pitfalls" are hidden in the wording of the topic? How to plan work properly?

One of the time tested principles preparatory work to the essay is a breakdown of various topics into certain types. If necessary, subgroups can be distinguished within the type. Attentive work with one type of theme from different writers (four to six) allows you to better understand the originality of each work and at the same time learn to work with a similar theme, not be afraid of it and recognize it in any formulation. One should strive to be able to determine the type of topic for Part C and formulate it both orally and in writing. The main task of such training is to develop the ability to argue one's thoughts and draw the conclusions necessary to reveal the topic. Any form of preparation can be chosen: an essay on 1-2 pages, selection of material on a given topic, drawing up an essay plan, parsing a short text, drawing up a quotation portrait of a hero, analyzing a scene, even free reflections on a quote from a work ...

Experience shows that the more the tutor sets homework for a certain type of topic, the more successful the work on the exam will be. Instead of writing an essay, we find it sometimes more useful to think about one type of topic and develop a plan for building several essays that can be used on an exam.

This article will focus on one type of topic - "The peculiarity of details ...". At the exam, the topic can be formulated in different ways (“Artistic detail in the lyrics ...”, “Psychological details in the novel ...”, “Function of a household detail ...”, “What does Plushkin’s garden tell us?”, “No one understood so clearly and subtly, like Anton Chekhov, the tragedy of the little things in life ... ”, etc.), the essence of this does not change: we got a topic associated with a certain literary concept - an artistic detail.

First of all, let's clarify what we mean by the term "artistic detail". A detail is a detail that the author endowed with a significant semantic load. An artistic detail is one of the means of creating or revealing the image of a character. An artistic detail is a generic concept, which is divided into many private ones. An artistic detail can reproduce the features of everyday life or furnishings. Details are also used by the author when creating a portrait or landscape (portrait and landscape detailing), an action or state (psychological detailing), a hero's speech (speech detailing), etc. Often, an artistic detail can be both portrait, everyday, and psychological at the same time. Makar Devushkin in Dostoevsky's "Poor People" invents a special gait so that his holey soles are not visible. The holey sole is the real thing; as a thing, it can cause trouble to the owner of the boots - wet feet, a cold. But for an attentive reader, a torn outsole is a sign whose content is poverty, and poverty is one of the defining symbols of St. Petersburg culture. And Dostoevsky's hero evaluates himself within the framework of this culture: he suffers not because he is cold, but because he is ashamed. After all, shame is one of the most powerful psychological levers of culture. Thus, we understand that the writer needed this artistic detail in order to visually present and characterize the characters and their environment, the life of St. Petersburg in the 19th century.

The saturation of the work with artistic details is determined, as a rule, by the desire of the author to achieve an exhaustive completeness of the image. A detail that is especially significant from an artistic point of view often becomes the motive or leitmotif of the work, an allusion or reminiscence. So, for example, Varlam Shalamov's story "At the Show" begins with the words: "We played cards at Naumov's stallion." This phrase immediately helps the reader to draw a parallel with the beginning of the "Queen of Spades": "... they played cards with the horse guard Narumov." But in addition to the literary parallel, the real meaning of this phrase is given by the terrible contrast of the life that surrounds the heroes of Shalamov. According to the writer's intention, the reader should assess the degree of the gap between the horse guardsman - an officer of one of the most privileged guards regiments - and the konogon belonging to the privileged camp aristocracy, where access is denied to "enemies of the people" and which consists of criminals. There is also a significant difference, which may elude an uninformed reader, between the typically noble surname Narumov and the common Naumov. But the most important thing is the terrible difference in character itself. card game. Playing cards is one of the everyday details of the work, which reflects the spirit of the era and the author's intention with particular sharpness.

Artistic detailing may be necessary or, conversely, redundant. For example, a portrait detail in the description of Vera Iosifovna from A.P. Chekhov "Ionych": "... Vera Iosifovna, a thin, pretty lady in pence-nez, wrote stories and novels and willingly read them aloud to her guests." Vera Iosifovna wears pence-nez, that is, men's glasses, this portrait detail emphasizes the author's ironic attitude to the heroine's emancipation. Chekhov, speaking about the heroine's habits, adds "I read aloud to the guests" my novels. Vera Iosifovna's hypertrophied enthusiasm for her work is emphasized by the author as if in mockery of the heroine's "education and talent". In this example, the heroine's habit of "reading aloud" is a psychological detail that reveals the character of the heroine.

Items belonging to the characters can be a means of revealing the character (Onegin's office in the estate) and a means of social characterization of the hero (Sonia Marmeladova's room); they can correspond to the hero (Manilov's estate), and even be his doubles (Sobakevich's things), or they can be opposed to the hero (the room in which Pontius Pilate lives in The Master and Margarita). The situation can affect the psyche of the hero, his mood (Raskolnikov's room). Sometimes the objective world is not depicted (for example, the significant absence of a description of Tatyana Larina's room). For Pushkin's Tatyana, the significant absence of substantive details is the result of poetization, the author, as it were, elevates the heroine above everyday life. Sometimes the importance of subject details is reduced (for example, in Pechorin's Journal), this allows the author to focus the reader's attention on the hero's inner world.

When preparing an applicant for part C, the tutor should remember that the wording of the topic may not include the term artistic (household, subject, etc.) detail, but this, nevertheless, should not confuse and distract from the topic.

Non-standard wording of the topic in the form of a question or unexpected detail the tutor must definitely debrief with the student in preparation for part C, since the purpose of such exercises is to help them remember information better and achieve a free presentation of thoughts. We recommend both the tutor and the student to use some of the topics from our list:

1. What do we know about Uncle Onegin? (mini essay)
2. The estate and its owner. (composition on "Dead Souls")
3. What does the Korobochka clock show? (mini essay)
4. The world of communal apartments in the stories of M. Zoshchenko. (writing)
5. Turbines and their home. (composition on the "White Guard")

The type of theme we have chosen - "The originality of details ..." - is more convenient to divide into two subgroups: the originality of details in the works of one author and in works different authors. Below is a work plan for each of the subgroups, which explains not what to write, but how to write, what to write about.

I. The originality of details in the works of one author:

1. What is meant by a household item?
2. The degree of saturation of the work with everyday details.
3. The nature of household items.
4. Organizing household items.
5. The degree of specificity of everyday details and the functions that the details perform for the time of creation of the work.

Household parts can be characterized as follows:

• the degree of saturation of space in the work with everyday details (“She squeezed her hands under a black veil ...”, A. Akhmatova);
• combining details into a certain system (the System of Significant Details in Dostoevsky's Crime and Punishment);
• detail of an expansive nature (in the "Banya" Zoshchenko wears the narrator's coat with the only remaining top button, which indicates that the narrator is a bachelor and goes to public transport at rush hour);
• opposition of details to each other (the furnishings of Manilov's office and the furnishings of Sobakevich's office, the clatter of knives in the kitchen and the singing of a nightingale in the Turkins' garden in Ionych);
• repetition of the same detail or a number of similar ones (cases and cases in "The Man in the Case");
• exaggeration of details (the peasants in the "Wild Landowner" did not have a rod to sweep the hut);
• grotesque details (deformation of objects when depicting Sobakevich's house);
• endowing objects with an independent life (Oblomov's Persian robe becomes almost an acting character in the novel, we can trace the evolution of the relationship between Oblomov and his robe);
• color, sound, texture, noted when describing details (color detail in Chekhov's story "The Black Monk", grey colour in "The Lady with the Dog");
• the angle of the image of the details (“Cranes” by V. Soloukhin: “Cranes, you probably don’t know, // How many songs are composed about you, // How many up when you fly, // Looks at misty eyes!”);
• the attitude of the author and the characters to the described household items (an object-sensory description by N.V. Gogol: “radish head down”, “ rare bird will fly to the middle of the Dnieper ... ").

The originality of the details in the work of one author can be fixed in the preparation of the following tasks:

1. Two eras: Onegin's office and his uncle's office.
2. The room of the man of the future in Zamyatin's dystopia "We".
3. The role of subject-everyday details in Akhmatova's early lyrics.

One of the skills of a professional tutor is the ability to create a complex work with a type of topic. A full-fledged work for part C must necessarily contain an answer to the question of what functions the subject-household parts perform in the work. We list the most important ones:

• characterization of the character (French sentimental novel in the hands of Tatiana);
• disclosure technique inner peace hero (pictures of hell in a dilapidated church, stunning Katerina);
• means of typification (furnishings at Sobakevich's house);
• means of characterization social position a person (Raskolnikov's room, similar to a coffin or closet);
• a detail as a sign of a cultural and historical nature (Onegin's office in the first chapter of the novel);
• an ethnographic detail (the image of an Ossetian sakli in Bela);
• details designed to evoke certain analogies in the reader (for example, Moscow-Yershalaim);
• a detail designed for the emotional perception of the reader (“Farewell to the New Year tree” by B.Sh. Okudzhava, “Khodiki” by Y. Vizbor);
• a symbolic detail (a dilapidated church in Groz as a symbol of the collapse of the foundations of the pre-construction world, a gift to Anna in I.I. Kuprin's story "Garnet Bracelet");
• characteristics of living conditions (life in the house of Matrena from A.I. Solzhenitsyn's "Matryona Dvor").

As an exercise, we propose to think over a plan for the following topics:

1. The function of everyday details in the novel in verse "Eugene Onegin".
2. Functions of household parts in the "Overcoat".
3. The researchers called the heroes of the "White Guard" "commonwealth of people and things." Do you agree with this definition?
4. In Bunin's poem "The whole sea is like a pearl mirror ..." there are more signs, colors and shades than specific objects. It is all the more interesting to think about the role of subject details, for example, the legs of a seagull. How would you define this role?
5. What is the role of subject details in Bunin's poem "The old man sat, humbly and dejectedly ..." (cigar, watch, window - to choose from)? (According to Bunin's poem "The old man sat, humbly and dejectedly ...").

II. The originality of details in the works of different authors. For example, an essay on the topic “Object-household detail in the prose of A.S. Pushkin, M.Yu. Lermontov and N.V. Gogol" can be written according to the following plan:

1. What is meant by subject-household detail.
2. The difference in the author's tasks and the differences in connection with this in the selection of household items.
3. The nature of everyday details in comparison with all authors.
4. The functions of subject-household details that they perform in the work.

To answer questions C2, C4, the tutor must explain to the student how the literary tradition connected the works, show similarities and differences in the use of artistic detail in the works of different authors. IN USE assignments according to the literature, the wording of tasks C2, C4 can be different:

• In what works of Russian literature do we meet with a description of life and how does life interact with a person in them?
• In what works of Russian classics does Christian symbolism (descriptions of cathedrals, church services, Christian holidays) play an important role, as in the text of the story "Clean Monday"?
• What role does artistic detail play in Chekhov's stories? In what works of Russian literature does the artistic detail have the same meaning?

For tasks C2, C4, a small answer of 15 sentences will suffice. But the answer must necessarily include two or three examples.

For many years before his death, in house number 13 on Alekseevsky Spusk, a tiled stove in the dining room warmed and raised little Helenka, Alexei the elder and the very tiny Nikolka. As one often read near the burning tiled square "Saardam Carpenter", the clock played gavotte, and always at the end of December there was a smell of pine needles, and multi-colored paraffin burned on green branches. In response, with a bronze gavotte, with the gavotte that stands in the bedroom of the mother, and now Yelenka, they beat black walls in the dining room with a tower battle. Their father bought them a long time ago, when women wore funny, bubble sleeves at the shoulders. Such sleeves disappeared, time flashed like a spark, the father-professor died, everyone grew up, but the clock remained the same and beat like a tower. Everyone is so accustomed to them that if they somehow miraculously disappeared from the wall, it would be sad, as if a native voice had died and nothing could plug an empty place. But the clock, fortunately, is completely immortal, both the Saardam Carpenter and the Dutch tile are immortal, like a wise rock, life-giving and hot in the most difficult time.

This tile, and the furniture of old red velvet, and beds with shiny knobs, worn carpets, colorful and crimson, with a falcon on the arm of Alexei Mikhailovich, with Louis XIV, basking on the shore of a silk lake in the Garden of Eden, Turkish carpets with wonderful curlicues on the eastern a field that little Nikolka imagined in the delirium of scarlet fever, a bronze lamp under a shade, the best bookcases in the world with books smelling of mysterious old chocolate, with Natasha Rostova, the Captain's Daughter, gilded cups, silver, portraits, curtains - all seven dusty and full rooms , who raised the young Turbins, the mother left all this to the children at the most difficult time and, already suffocating and weakening, clinging to the crying Elena's hand, she said:

Friendly ... live.

But how to live? How to live?

M. Bulgakov.

"White Guard".

This text asks you to do two things:

• C1. The researchers called the house of the heroes of the "White Guard" "commonwealth of people and things." Do you agree with this definition? Justify your answer.
• C2. In what other works of Russian literature do we encounter descriptions of everyday life and how does everyday life interact with a person in them? Support your answer with examples.

The specificity of both questions is that they are closely related, which facilitates the task of the teacher preparing for the exam. So, answering the questions proposed in these tasks, students can remember that the image of everyday life often helps to characterize the person around whom this life is built ( typical example- the first chapter of "Onegin"). The relationship between man and life is different. Life can absorb a person or be hostile to him. This happens, for example, in Gogol's " Dead souls”, at Chekhov in “Gooseberry”. Everyday life can emphasize the special cordiality of a person, as if extending to surrounding things - let's recall Gogol's "Old World Landowners" or Oblomovka. Everyday life may be absent (reduced to a minimum), and thereby emphasize the inhumanity of life (image of the camp by Solzhenitsyn and Shalamov).

War can be declared on everyday life (“On rubbish”, Mayakovsky). The image of the Turbins' house is built differently: we really have a "commonwealth of people and things." Things, the habit of them, do not make Bulgakov's heroes philistines; on the other hand, things, from a long life next to people, seem to become alive. They carry the memory of the past, warm, heal, feed, raise, educate. Such are the Turbins' stove with tiles, clocks, books; symbolic meaning in the novel is filled with images of a lampshade, cream curtains. Things in Bulgakov's world are spiritualized.

It is they who create the beauty and comfort of the house and become symbols of the eternal: “The clock, fortunately, is completely immortal, the Saardam carpenter is immortal, and the Dutch tile, like a wise rock, life-giving and hot in the most difficult time.” Recall that quoting the text when answering the exam is only welcome.

Such a theme as an artistic detail, infinitely broad, implies a creative attitude to literary heritage. In this article, we have been able to highlight only some aspects of this broad and very interesting topic. We hope that our recommendations will help both a high school student in preparing for an exam in literature, and a teacher in preparing for classes.

Meaning of ARTISTIC DETAILS in the Dictionary of Literary Terms

ARTISTIC DETAILS

- (from French detail - detail, trifle, particularity) - one of the means of creating an image: an element of an artistic image highlighted by the author, which carries a significant semantic and emotional load in the work. D. x. can reproduce the features of everyday life, environment, landscape, portrait (portrait detail), interior, action or state (psychological detail), hero's speech (speech detail), etc .; it is used to visualize and characterize the characters and their environment. The author's desire for detail is dictated, as a rule, by the task of achieving an exhaustive completeness of the image. Efficiency of use of D. x. is determined by how significant this detail is in aesthetic and semantic terms: especially significant from an artistic point of view, D. x. often becomes the motive or leitmotif of the text (for example, too a big nose the hero of the play by E. Rostand "Cyrano de Bergerac" or the iron arshin of the undertaker Yakov Ivanov in the story of A.P. Chekhov "Rothschild's Violin"). Artistic detailing may be necessary or, conversely, redundant. In particular, in the description of the heroine of the story A.P. Chekhov "Ionych": "...Vera Iosifovna, a thin, pretty lady in pence-nez, wrote stories and novels and willingly read them aloud to her guests" - a detail of the portrait (pence-nez - men's glasses) emphasizes the author's ironic attitude to emancipation Vera Iosifovna, and the indication "aloud", redundant in relation to the combination "read to the guests", is a mockery of the "education and talent" of the heroine.

Dictionary of literary terms. 2012

See also interpretations, synonyms, word meanings and what is ARTISTIC DETAILS in Russian in dictionaries, encyclopedias and reference books:

• DETAIL
  (from French detail letters - detail), in technology - a product made without the use of assembly operations. A part is also called a product subjected to ...
• DETAIL
  [from French] 1) detail; part of a whole; trifle; composite part of some for mechanisms, machines (bolts, nuts, shafts, gears, chains and ...
• DETAIL in the Encyclopedic Dictionary:
  and, well. 1. Small detail, particularity. Important d. Refine the story with unnecessary details. Detailed - detailed, with all the details.||Compare. HATCH. …
• DETAIL in encyclopedic dictionary:
  , -i, f. I. Small detail, particularity. State with all the details. 2. Part of a mechanism, machine, device, and also some kind of general. …
• ARTISTIC
  ARTISTIC ACTIVITIES, one of the forms of Nar. creativity. Collectives X.s. originated in the USSR. All R. 20s the Tram movement was born (see ...
• ARTISTIC in the Big Russian Encyclopedic Dictionary:
  ART INDUSTRY, production of industries. methods decor.-applied thin. products serving for thin. home decoration (interior, clothing, Jewelry, crockery, carpets, furniture…
• ARTISTIC in the Big Russian Encyclopedic Dictionary:
  "ART LITERATURE", state. publishing house, Moscow. Main in 1930 as State. publishing house literature, in 1934-63 Goslitizdat. Sobr. op., fav. prod. …
• ARTISTIC in the Big Russian Encyclopedic Dictionary:
  ARTISTIC GYMNASTICS, a sport, women's competition in performing combinations from gymnastics to the music. and dance. exercises with an object (ribbon, ball, ...
• DETAIL in the Big Russian Encyclopedic Dictionary:
  DETAILS (from French detail, letters - detail) (technical), a product made without the use of assembly operations. D. naz. also products subjected to protective or ...
• DETAIL in the Full accentuated paradigm according to Zaliznyak:
  deta "le, deta" whether, deta "whether, deta" ley, deta "whether, deta" lam, deta "l, deta" whether, deta "lew, details" ly, details "whether, ...
• DETAIL in the Popular Explanatory-Encyclopedic Dictionary of the Russian Language:
  [de], -i, f. 1) Small detail, particularity. State everything in detail. Bring the story to life with details. Clarify the details of the military operation. Synonyms: circumstance ...
• DETAIL in the Thesaurus of Russian business vocabulary:
  1. Syn: detail, particularity, part, share, subtlety, detail, thoroughness (strengthened) 2. ‘device, device, mechanism’ Syn: element, component, link, scheme, device, ...
• DETAIL in the New Dictionary of Foreign Words:
  (French detail) 1) small detail, particularity; trifle; 2) part of a mechanism, machine, ...
• DETAIL in the Dictionary of Foreign Expressions:
  [fr. detail] 1. small detail, particularity; trifle; 2. part of a mechanism, machine, …
• DETAIL in the Russian Thesaurus:
  1. Syn: detail, particularity, part, share, subtlety, detail, thoroughness (strengthened) 2. ‘device, device, mechanism’ Syn: element, component, link, ...
• DETAIL in the Dictionary of synonyms of Abramov:
  cm. …
• DETAIL in the dictionary of Synonyms of the Russian language:
  auto detail, accessory, amalaka, gaspis, detail, detail, clavus, crabb, trifle, microdetail, modulon, mulura, pentimento, detail, radio detail, glass detail, stensil, construction detail, subtlety, truck, …
• DETAIL in the New explanatory and derivational dictionary of the Russian language Efremova:
  well. 1) a) Small detail, particularity. b) single element, component(some kind of object, costume, structure, etc.). 2) Part of the mechanism, ...
• DETAIL in the Dictionary of the Russian Language Lopatin:
  detail, ...
• DETAIL in the Complete Spelling Dictionary of the Russian Language:
  detail...
• DETAIL in the Spelling Dictionary:
  detail, ...
• DETAIL in the Dictionary of the Russian Language Ozhegov:
  ! part of the mechanism, machines, devices Tractor parts. Clothing details. detail and also in general a part of any product Tractor parts. Clothing details. …
• DETAIL in the Dahl Dictionary:
  female or many details, in art, accessories, parts or details in decoration, little things, ...
• DETAIL in the Modern Explanatory Dictionary, TSB:
  (from French detail, lit. - detail), in technology - a product made without the use of assembly operations. A part is also called a product subjected to ...
• DETAIL in the Explanatory Dictionary of the Russian Language Ushakov:
  details, w. (French detail). 1. Small detail, particularity (book). Draw a house with all the details. The details of this case are unknown to me. 2. …
• DETAIL in the Explanatory Dictionary of Efremova:
  detail g. 1) a) Small detail, particularity. b) A separate element, an integral part (of some kind of object, costume, structure, etc.). 2) Part...
• DETAIL in the New Dictionary of the Russian Language Efremova:
  well. 1. Small detail, particularity. ott. A separate element, an integral part (of any object, costume, structure, etc.). 2. Part of a mechanism, machine, ...
• DETAIL in the Big Modern Explanatory Dictionary of the Russian Language:
  I Part of a mechanism, machine, instrument, etc. II well. 1. Small detail, particularity. 2. A separate element, an integral part (...
• IN VICE - CHROME PIECE in Helpful Hints:
  When clamping a metal part with a chrome or polished surface in a vise, use a plastic lid for glass jars as a gasket, which, ...
• ARTISTIC ACTIVITIES
  amateur performance, one of the forms of folk art. It includes the creation and performance of works of art by the forces of amateurs performing collectively (circles, studios, ...
• WORKWORK FROM THE BOARD in Helpful Hints:
  The workbench is the basis of the workplace. At home, it can be successfully replaced by a fairly thick and even board with an emphasis ...
• AESTHETICS in the Newest Philosophical Dictionary:
  a term developed and specified by A.E. Baumgarten in the treatise "Aesthetica" (1750 - 1758). The Novolatin linguistic education proposed by Baumgarten goes back to the Greek. …
• JOY TO ALL Grieving in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Joy of all who mourn, icon Mother of God. Celebration on October 24 (the day of the first miracle from the icon), ...
• FICTION in the Literary Encyclopedia:
  in literature and other arts - the depiction of implausible phenomena, the introduction of fictitious images that do not coincide with reality, a clearly felt violation by the artist ...
• RENAISSANCE in the Literary Encyclopedia:
  - Renaissance - a word, in its special sense, was first put into circulation by Giorgio Vasari in the Lives of the Artists. …
• IMAGE. in the Literary Encyclopedia:
  1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. . 4. Typification of reality...
• CRITICISM. THEORY. in the Literary Encyclopedia:
  The word "K." means judgment. It is no coincidence that the word "judgment" is closely related to the concept of "judgment". Judging is, on the one hand, ...
• KOMI LITERATURE. in the Literary Encyclopedia:
  The Komi (Zyryan) alphabet was created at the end of the 14th century by the missionary Stefan, Bishop of Perm, who in 1372 compiled a special Zyryan alphabet (Perm ...
• CHINESE LITERATURE in the Literary Encyclopedia.
• PROMOTIONAL LITERATURE in the Literary Encyclopedia:
  a set of artistic and non-artistic works, to-rye, influencing the feeling, imagination and will of people, induce them to certain actions, action. The term...
• LITERATURE in the Big Encyclopedic Dictionary:
  [lat. lit(t)eratura lit. - written], works of writing that are of public importance (for example, fiction, scientific literature, epistolary literature). More often under the literature ...
• ESTONIAN SOVIET SOCIALIST REPUBLIC in big Soviet encyclopedia, TSB:
  Soviet Socialist Republic, Estonia (Eesti NSV). I. General information The Estonian SSR was formed on July 21, 1940. From August 6, 1940 in ...
• ART EDUCATION in the Great Soviet Encyclopedia, TSB:
  education in the USSR, the system of training masters of fine, decorative, applied and industrial art, architects-artists, art historians, artists-teachers. In Russia, it originally existed in the form of ...
• PHOTO ART in the Great Soviet Encyclopedia, TSB:
  variety artistic creativity, which is based on the use expressive possibilities Photo. The special place of F. in artistic culture is determined by the fact that ...
• UZBEK SOVIET SOCIALIST REPUBLIC
• TURKMEN SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB.
• THE USSR. BROADCASTING AND TELEVISION in the Great Soviet Encyclopedia, TSB:
  and television Soviet television and radio broadcasting, as well as other media mass media and propaganda, have a great influence on ...

Artistic detail

Detail - (from French s1e1a) detail, particularity, trifle.

An artistic detail is one of the means of creating an image that helps to present an embodied character, picture, object, action, experience in their originality and originality. The detail fixes the reader's attention on what seems to the writer the most important, characteristic in nature, in man or in the objective world surrounding him. The detail is important and significant as part of the artistic whole. In other words, the meaning and power of the detail lies in the fact that the infinitesimal reveals the whole.

There are the following types of artistic details, each of which carries a certain semantic and emotional load:

a) a verbal detail. For example, by the expression “no matter how something happened,” we recognize Belikov, by the appeal “falcon” - Platon Karataev, by one word “fact” - Semyon Davydov;

b) portrait detail. The hero can be identified by a short upper lip with a mustache (Lisa Bolkonskaya) or a small white beautiful hand(Napoleon);

c) subject detail: Bazarov's hoodie with tassels, Nastya's book about love in the play "At the Bottom", Polovtsev's checker - a symbol of a Cossack officer;

d) a psychological detail, expressing an essential trait in the character, behavior, actions of the hero. Pechorin did not wave his arms when walking, which testified to the secrecy of his nature; the sound of billiard balls changes Gaev's mood;

e) a landscape detail, with the help of which the color of the situation is created; the gray, leaden sky over Golovlev, the “requiem” landscape in The Quiet Don, reinforcing the inconsolable grief of Grigory Melekhov, who buried Aksinya;

f) detail as a form of artistic generalization (the “casual” existence of philistines in the works of Chekhov, the “muzzle of a philistine” in Mayakovsky's poetry).

Special mention should be made of such a variety of artistic detail as everyday, which, in essence, is used by all writers. A striking example- "Dead Souls". Heroes of Gogol cannot be torn off from their life, surrounding things.

A household detail indicates the situation, housing, things, furniture, clothes, gastronomic preferences, customs, habits, tastes, inclinations of the character. It is noteworthy that in Gogol the everyday detail never acts as an end in itself, is given not as a background and decoration, but as an integral part of the image. And this is understandable, because the interests of the heroes of the satirist writer do not go beyond the limits of vulgar materiality; the spiritual world of such heroes is so poor, insignificant, that the thing may well express their inner essence; things seem to grow together with their owners.

Everyday detail performs primarily a characterological function, that is, it allows you to get an idea of ​​the moral and psychological properties of the heroes of the poem. So, in the Manilov estate, we see the manor's house, standing “alone in the south, that is, on a hill open to all winds”, an arbor with a typically sentimental name “Temple of solitary reflection”, “a pond covered with greenery” ... These details indicate on the impracticality of the landowner, on the fact that mismanagement and disorder reign in his estate, and the owner himself is only capable of senseless projecting.

The character of Manilov can also be judged by the furnishings of the rooms. “Something was always missing in his house”: there was not enough silk fabric to upholster all the furniture, and two armchairs “stood just upholstered with matting”; next to a dapper, richly decorated bronze candlestick stood "some just a copper invalid, lame, curled up on the side." Such a combination of objects of the material world in a manor's estate is bizarre, absurd, and illogical. In all objects, things, some kind of disorder, inconsistency, fragmentation is felt. And the owner himself matches his things: Manilov’s soul is as flawed as the decoration of his home, and the claim to “education”, sophistication, grace, refinement of taste further enhances the hero’s inner emptiness.

Among other things, the author emphasizes one, singles it out. This thing carries an increased semantic load, growing into a symbol. In other words, a detail can take on the meaning of a multi-valued symbol that has a psychological, social and philosophical meaning. In Manilov's office, one can see such an expressive detail as mounds of ash, "arranged not without diligence in very beautiful rows", - a symbol of empty pastime, covered with a smile, sugary politeness, the embodiment of idleness, idleness of the hero, surrendering to fruitless dreams ...

Gogol's everyday detail is expressed primarily in action. So, in the image of things that belonged to Manilov, a certain movement is captured, in the process of which the essential properties of his character are revealed. For example, in response to Chichikov’s strange request to sell dead souls, “Manilov immediately dropped the chibouk with the pipe on the floor and, as he opened his mouth, he remained with his mouth open for several minutes ... Finally, Manilov raised the pipe with the chibouk and looked at him from below face ... but he could not think of anything else but to release the remaining smoke from his mouth in a very thin stream. In these comic poses of the landowner, his narrow-mindedness, mental limitations are perfectly manifested.

Artistic detail is a way of expressing the author's assessment. The district dreamer Manilov is incapable of any business; idleness became part of his nature; the habit of living at the expense of serfs developed traits of apathy and laziness in his character. The landowner's estate is ruined, decay and desolation are felt everywhere.

The artistic detail complements the inner appearance of the character, the integrity of the revealed picture. It gives the depicted ultimate concreteness and at the same time generalization, expressing the idea, the main meaning of the hero, the essence of his nature.