Biology-tutor 

Individual features of representations. Typology (varieties) of artistic images typological images as the development of the presentation

Topic 10 (lecture 16)

The term "Paphos" is used in science of literature ambiguous: 1) "Poet's love in the idea" (V. Belinsky), inspiring his creative intent; 2) the passionate aspiration of the character to a significant goal, which encourages it to act; 3) the sublime emotional orientation of the poetic idea of \u200b\u200bthe work due to passionate and "serious" (Hegel) attitude of the poet to the subject of creativity. Related and synonymous concepts modern science On literature (type of author's emotionality (V. E. Khalizhev), "Modus of artisticity" (V. I. Tyuy)).

Paphos are classified historically and typologically.

Heroic in the literature: an image and admissance of a single person or a team in their fight against natural elements, an external or inner enemy. The development of artistic heroes from the normative chant of the hero to its historical concretization. The combination of heroes with drama and tragedy.

Tragic in the literature. The meaning of the ancient myths and Christian legends to understand the essence of tragic conflicts (external and internal) and recreating them in the literature. Moral significance of a tragic character and his pathos, which encourages action. A variety of situations reflecting the tragic conflicts of life. Tragic mood.

Idyllic - artistic idealization of the "natural" humanity, not affected by civilization.

Sentimental and romantic interest in the inner world of the person in the literature of the new time.

Comic contradictions are the basis of humor and satire, determining the domination of the launching principles. N. Gogol on the cognitive meaning of laughter. Use of the term "humor" in the meaning of lung, entertaining laughter. The civil orientation of satirical pathos as an angry dressing laugh. Irony and sarcasm. Traditions of carnival laughter in the literature. Tragicomic.

In literary works, there is often a combination and mutual acts of species of poetic ideas and sentiment.

Topic 11 (Lecture 17 - 18)

Peace literary work. Characteristics of its main components. Artistic time and space, their specifics and basic principles of consideration by science on literature (3 hours)

The artistic world is one of the levels of form artwork. This is recreated by the words depicted in the artistic work of a fictional object ("subject image" (G.N.PosPrelov)). The main units of the artistic world are components and subject details of the image: reproduced events (plot), characters surrounding nature (landscape), appliances. All these components are folded into the image system.

The artistic world may be life-like (the illusion of reality) or demonstratively constructed (secondary conditionality of art: fantasy, hyperbole, grotesque).

Time and space are exposed to artistic understanding. Time and space are able to appear with literature in the variety of forms: time can be biographical, historical, calendar, cosmic, utopian, etc. Psychological character time, external and inner space.

The literature also has an image of the most diverse spatial paintings. Characterized by symbols of traditional spatio-temporal coordinates (closed and open space, border, seasons, top and bottom, etc.)

In the science of literature, the specificity of the development of literature and space is described in different ways. In particular, one of the most sought-after became the category "Chronotope" as the unity of time and space in the artworks of different times, which was proposed by M.M. Bakhtin.

Topic 12 (lecture 18-19)

Character as the most important component of the world of literary work (3 hours)

Character - image of a person in literary works.

Main attributes of the character image in literary works: portrait, psychological and speech characteristics. Character art concern: dynamic unity of concrete details, creating the impression of a certain individuality.

External (portrait details, facial expressions, gestures) and the inner appearance of the character.

Portrait character characteristic - description of its outference. The literary portrait has the ability to show the dynamic aspect of appearance - the grace: Mimic, gait, Manera movements, gestures, etc.

Psychologist as reproducing experiences, thoughts and senses of characters in their dynamics and uniqueness. Indirect psychologist (indication on the nature of the experiences by portrait characteristics and the name of feelings and states). Direct psychologist (actually psychologism) - reproduce the process of flowing experiences, feelings, forming thoughts. Its development in the literature of the last centuries and special techniques are direct psychological characteristics: Inner monologue, deployed author characteristics, image of dreams, dreams, "flow of consciousness", etc.

Character character as a stable behavior system in the plot (type of reaction in situations, on the real and natural world) and as a carrier of a certain value attitude to life. The identity of the character and the representativeness (typical) of his character. Character participation in the development of a story action. Detection of contradictions inherent in it (comic, tragic, etc.) as the identification of author's understanding and evaluation. Static characters of moralizing characters. The formation and evolution of the character of the romance hero, his incompleteness.

Character speech as an artistic image. Character speech behavior. Target installations, psychological motivation, value orientation and the subject of his statements. Speech shapes: a monologue, replicas in a dialogue, "thoughts out loud", an inner monologue, a stream of consciousness, written and improperly direct speech. The characteristic importance of intonational-syntactic, lexical, semantic, phonetic features.

Character Image Arrangement: Exposure, Contrast or Self-laying of its properties, Repeated recognition signs that cause a holistic representation. Self-characteristics of the character and cross feedback on it of others. Prehistory and follow-up character history.

"Eternal images" in the literature. The transit of traditional characters in accordance with the individual intention of the author. Autopsychological characters. Character reader. "Positive" and "negative" characters, their historical transformation.

The character system in the work: the main, secondary, episodic characters. Their compositional and emotional-sense comparison in the artistic world as a factor of its integrity. The value of the character system to interpret artistic content.

Topic 13 (lecture 20)

The plot as the most important component of the world of the work. The basic concepts of scenery (2 hours)

The plot is the dynamic side of the artistic world, organizing the beginning of dramatic, epic and lioepic works. The plot is a chain of events unfolding in time and the space of an artistic work.

There are two scientific traditions in the terminological designation of the events depicted: the plot and plot. Understanding the plot as recreated in the work of events goes back to the works of A. N. Veselovsky. Formalist interpretation of the plot dilemma and Fabules are different: a set of events in their relationship - Fabul, the plot - artistic treatment, Event Distribution.

The plot is based on an event and action. The event is based on the situation and conflict. The classic plot exposure is based on an intra-joining end-to-end conflict (collision). Traditionally highlighted stages of development of through conflict: tie, peripetia, climax, junction. There are also insoluble - "substantational" (V. E. Khalizhev) - conflicts.

The plots are traditionally divided into concentric (plots of single action) and chronic (conjugation of events independent of each other).

The origins of the plots: life mythological, literary. Typology of plots: fabulous, detective, adventure, plot test. Novelistic plot.

"Plotology" as a science that studies the specified aspect of the works. Science has its own terminology: collision, intrigue, motive, etc.

Topic 14 (Lecture 21 - 22)

The specifics of the world and composition of epic, lyrical and dramatic works (review) - 4 hours

The works of the epic, dramatic and lyrical genus are characterized by the specifics of the art and composition.

Features of epic works.

The story of the plot events is the main principle of the organization of the epic. In the epic, not only the "tested event", but also the "event of telling" (MM Bakhtin) becomes particular importance.

Different methods of narrative are available literature »Objective tone - in the case of an absolute distance between characters and narrator

The narration is the presentation of events, the verbal message about them - assumes the presence of a narrator.

Literature is available different ways of narration. "Objective" narration assumes the presence of an absolute distance between characters and a narrative. The narrator is outside the events occurring, is an intermediary between the events and reader.

Epic works are peculiar to the introduction of a narrator (subjective forms of narration from the face of the hero, a secondary character, observer, chronicle).

Of particular importance acquires the spatial and temporal point of view of the narrator. The combination of different "points of view".

Of great importance is the composition of telling. The incomprehension of the chronological sequence of plot actions and incidents with the procedure for narration about them. Narration and dialogue of characters. Lyrical retreats inserted episodes. Appeals to the reader.

External composition of the epic work: division into parts and chapters. Epigraphs. Names of work and individual chapters. Cyclization of works .

Drama features. The statements of the characters in monologues and dialogues are the main principle of the organization of dramatic form. Chain of saying characters - the main text of the drama. Absence in the drama of narrative-descriptive images. The copyright word in drama is represented only in the side text. Remarks.

Space and time in drama. The drama is characterized by correlation, compliance of the stage and plottime. Continuous statement chain forms the illusion of the present.

The tension of the dramatic action ("drama") and the behavior of the characters. Drama for hyperbolization, effects (psychological and speech hyperboles).

Theatrical concept. Dramatic convention: a change in the forms of vital activity of people according to the requirements of theatrical effects, the convention of speech self-discharge of heroes.

Composition of the play: division into acts, phenomena, paintings.

Features of lyrical works.

Lyrical work as an artistic embodiment of intensive inner experience (impressions, thought, emotions) in its development. Lyrical event as an internal event (experience, understanding). Lyric hero as the main organizing factor in the world of lyrical work. Lyrical situation as an external or internal condition for a lyrical event. Lyrical motive as a pronounced assessment of the lyrical situation, in most cases verbal. Lyrical plot as an unfolding sequence of lyrical motifs. The composition plays a special role in organizing a lyrical statement. Artistic time and space in lyrics are dependent on the lyrical hero - this time and space of expression, and not images.

Topic 15 (Lectures 23 - 24)

Specificity of artistic speech. Poetry and prose. The basic concepts of elements (4 hours)

Artistic speech is one of the sides of the artwork of the work. Artistic speech is caused and expressive. It is characterized by high aesthetic organization. The similarity and distinction of artistic speech with spoken and with oratorias. Artistic speech is a speech with "Installation on the expression" (B. V. V. Tomashevsky) and a strict organization that does not tolerate renewal.

Preamy of speech in a wide and narrow (trails) value.

The composition of artistic speech. The National Language is the source of expressive and aesthetic capabilities of artistic speech: the use of archaisams, warbrisms, neologisms, etc. Significant violations of norms literary language. The word in the artistic context can change meaning. "Tesne and unity of the poems" (Y. Tynyanov) as a condition for allegorical use of words. Trails (allegory) as an integral component of the pity of poetic speech.

Acoustic-phonetic aspect of artistic speech: sounding, rigging, intonation.

Poetry and Prose - two forms of artistic speech organization: a poetic (rhythmically organized) and a nesh-a-athm. Two main factors of the difference of verse from prose (according to B. V. Tomashevsky): the separation of speech into correlations correlated and commensurate between themselves; The presence in the poetic speech of "internal measures".

Rhythmic organization of poetic speech at all its levels.

The poetic system is a set of basic rhythmic laws, relevant to a certain historical and literary moment for poetry created in a certain national language. The manifold of the system of poems in world literature, their connection with the peculiarities of the national language: song tonic poems, Sillabic poems, Syllabo-tonic session in Russia, dolnik, accent verse, Verlibr.

Rhyme as a phenomenon of polyflowal: rhythmic, composite, euphonic, and also having a semantic role. Rhyme varieties: accurate, inaccurate, approximate. Types of rhymes: adjacent, cross, ring. Alliteration as a consonant consonant and assembly as consonation of vowels.

Stroof is the main form of the organization of a poetic speech: a group of verses, combined with a certain type of rhythm, which has a syntactic-thematic connection.

Topic 16 (lecture 25)

The main concepts of the theory of the literary process (2 hours)

The literary process is a combination of works created in a certain era, their publications and discussions, creative programs, acts of literary struggle. The literary process is part of the cultural and social and historical process.

There is a problem of the periodization of the literary process.

On the world-historical scale, scientists (S. S. Averintsev, A. V. Mikhailov et al.) Diametive the three calves of literary development: ritual-mythological archaic (reflective traditionalism; orientation of literature on rhetorical culture (reflective traditionalism); free from genre Style canons, individually personal creativity.

The main concepts of the historical and literary process: artistic system, literary direction and current. There is a different interpretation of these categories in science.

"Art System" is a concept describing the phenomena of interethnic and worldwide-significant. "Literary Direction" is a group of writers of a certain country, united by a creative program.

Literary style. Rhetorical and art historical understanding of style. Style - aesthetic unity and interaction of all sides, components and details of an expression-shaped form of an artistic work.

Classicism, sentimentalism, romanticism - leading directions in European culture 17-18 - early 19th centuries.

Realistic method as a realization of cognitive opportunities of literature. His difference from naturalism. The use of conditional forms in realistic art.

Literary flows and directions in the 20th century: realism, modernism, social. Realism, postmodernism, etc.

Program seminar occupations at the rate

"Introduction to literary studies"

(18 hours)

Topic 1.

Picture nature (2 hours)

1. Image - performance - concept. Image and sign. Specificity of the artistic image.

2. Sliver image, its features.

3. Perception of literary and artwork by the reader.

4. Typology of images in the literature: Man - Society - Nature.

Literature

Bakhtin M. M. Questions of literature and aesthetics. P. 62-68.

Lessing E. Laocoon, or on the borders of painting and poetry. M., 1957.

Mann Yu. V. Dialectics of the artistic image. M., 1987.

Rodnyanskaya I. B. Artistic image // Philosophical Encyclopedia. T. 5. M., 1970. P. 452-455.

Tynanov Yu. N. Illustrations // Tynyanov Yu. I. Poetics. History of literature. Movie. M., 1977. P. 310-318.

Florensky P. A. The structure of the word // Context 1972. M., 1973.

Khalizhev. V. E. On the plasticity of verbal images // Bulletin of Moscow State University. Ser. Philology. 1980 № 2.

Topic 2.

The structure of the literary work (2 hours)

2. The principle of consideration of the formal-substantial integrity of the work: dichotomous membership (L. and, Timofeev, N. Pospelov), three-level (A. A. Phebenz, Vinogradov V. V.), Multi-level membership (R. Ingand, R. Wallek, M. Bakhtin et al.)

Literature

Bakhtin M. M. The problem of content, material and forms in verbal artistic creation. // Questions of literature and aesthetics. Or: works of the 20s. Kiev, 1994.

Gachev G. D., Kozhinov V. V. Constability of literary forms // ibid. T.2. M., 1964.

Ingard R. Studies on aesthetics. M., 1962.

Paliyevsky P.V. Artwork // Theory of Literature. Major problems in historical lighting. T. 3. M., 1965. P. 422-442.

Khalizhev V. E. Theory of literature. M., 1999. P. 149-157.

Topic 3.

"Inner World" of the literary work (4 hours)

1. "Inner World" (D. S. Likhachev), "Poetic World" (V. V. Fedorov) of the literary work.

2. Space and time as the attributes of the world of the work. The concept of chronotope (according to M. Bakhtin). Artistic time and space in the context of cultural studies: cyclic time concept, christian final time concept.

3. Some genre chronotopes: myth, fairy tale, heroic Epos., idyll, utopia, etc.)

4. Time and space in an individual artistic system: their marking ("Eugene Onegin") or underlined uncertainty ("human life" L. Andreeva).

5. Functions of the artistic space and time in the literary work (the story of Gogol "Nevsky Prospekt", Roman V. Nabokova "Masha").

Literature

Bakhtin M. M. Forms of time and chronotope in the novel: Essays on the historical poetics // Bakhtin M. M. Literary-critical articles. M., 1986.

Literary encyclopedic Dictionary / Ed. Kozhevnikova V. M., Nikolaev P. A. M., 1987: Art. Artistic space and time.

D.S. Likhachev Interior World of Artwork // Questions of Literature, 1968 No. 8 (or Reader).

Lotman Yu. M. Artistic space in Gogol's prose // Lotman Yu. M. in the school of a poetic word. Pushkin. Lermontov. Gogol. M., 1988.

Rhythm, space and time in literature and art. L., 1974.

Fedorov V.V. On the nature of poetic reality. M., 1984 (ch.2, p. 36-45).

Topic 4.

The system of characters and the plot - the basis of the world of epic and dramatic

works (2 hours)

1. Character (hero, actor) and related concepts: character, type; "Actor" and "Aktatant" (in nratratology).

2. System of characters in a separate work. Parallels and antithesis; Doubles in the system of characters ("Hero of our time" Lermontov), \u200b\u200bthe reception of the "split" of the character ("Sunny V. Nabokova," Shadow "E. Schwartz et al.).

3. Hierarchy of characters:

Major and secondary;

Insignificant characters, their functions;

Borrowed characters and their connection with borrowed plots (Wed: "Fedra" J. Rasin and "Ippolit" of Euripid.).

5. Meetings to create a character image. Forms description of the hero from the outside. Forms of self-discharge. Heroes "Ready" and Forming, Heroes-Objects and Heroes Subjects. ("Dressing" and "House with Mezzanine" Chekhov).

Literature

Bakhtin M. M. Problems of Poetics Dostoevsky M., 1963. With. 36, 76, 83, 107.; Aesthetics of verbal creativity. P. 8, 75.

Bocharov S. G. About art worlds. M., 1985. P. 136-138.

Ginzburg L. Ya. About the literary hero. L., 1079, p. 16-28, 45-46, 89-91, 124-129.

Literary encyclopedic dictionary. Articles: Character, hero, character, type.

Topic 5.

Scene as a system of actions and events in the work (2 hours)

1. Plot and Fabul (A. N. Veselovsky, formal school, modern understanding).

2. Event and situation. Situation and collision.

3. Typology of plot schemes: concentric and chronic, their combination; External and internal action, their combination.

4. Concentric plots, combination of their components (clarity or blur, possibility of several climax, open finals, etc.).

5. Remuneration of the plot and compositions of its image. Scene Inversion, Prologies and Epilogues, Alternating Episodes, Framing, Cyclulation, Plug-in Scenes, Backgrounds and Subsequent Stories as Testing Compositions. Analysis of the composition of the plot of the leader Pushkin "Blizzard" and "Shot" and Gogol "Shinel".

Literature

Vygotsky L. S. "Light Breath" // Vygotsky L. S. Psychology of Art. M, 1968.

Kolinov V.V. Plott, Fabul, Composition // Theory of Literature. Major problems in historical lighting. T. 2., M., 1964.

Levitan L. S., Tsilevich D. M. Plot in the artistic system of the literary work. Riga, 1990.

Literary Encyclopedic Dictionary: plot, situation, conflict, motive.

Lotman Yu. M. The structure of the artistic text. M., 1970., p. 255-279, 280-288.

Shklovsky V. B. Energy of delusion. Book of the plot // Shklovsky V. B. Favorites in 2 TT. M., 1983.

Eikenbaum B. M. How to "Shinel" Gogol // Eikenbaum B. M. About prose. L., 1969.

Topic 6.

Features of epic works (2 hours)

1. Epos as a narrative genus is advantage.

Metal Methods: "Overall author", "Personal narrator" (Turgenev "Hunter's Notes"); Narrator and narrator. The possibility of changing the subjects of the narrative, polysubjective compositions (Lermontov "Hero of our time"). The image of the author in narrative works. V. V. Vinogradov on the "image of the author".

The problem of "point of view of the text" ("Stationander" A. S. Pushkin).

Incomposition of the plot time and time of narration. Rhythm of the narration, its impact on the reader.

The ratio of narrative and dramatic episodes.

Descriptions and reasoning in the thread of the narrative (the returation of the narrative).

2. The narrator as an organizer of the overall composition of the work that makes up their private compositions: the image of the hero, the plot, landscape, dialogues, descriptions, reasoning, etc. The principle of "Montage" in the composition, its various effects.

He is On the evolution of narrative forms (2 half of the 19th century) // Izvestia RAS. Department of Literature and Language. 1992 № 2.

Topic 7.

Features of the dramatic work (2 hours)

1. Saying a character as a basic character disclosure in drama.

Conventionality of a dramatic statement.

Theatrical behavior of characters.

Functions of side text: AUTO interpretation; Introduction of an extravagital material.

2. External composition of the play. Membership on acts, scenes, phenomena (comparative analysis of the dramatic composition in Boris Godunovye Pushkin and "Tsar Boris" A. K. Tolstoy).

The coincidence of speech communication and scenic time (present in drama).

3. The ratio of dialogues and monologues, basic and adverse texts in the aspect of historical poetics.

4. Literary and theater approaches to the play.

Literature

Literary Encyclopedic Dictionary: Drama.

Khalizhev V. E. Drama as a phenomenon of art. M., 1986. P. 22-50, 122-134.

Topic 8.

Features of the lyrical work (2 hours)

1. Meditativity: the characteristics of the experience, mindset as objects and content of lyrics.

L. Ginzburg, B. Cormor about the lyric entity and "lyrical hero." Metaphoricity "I" in lyrics (analysis of "Hamlet" B. Pasternak).

2. Communication to "Eternal", Universal Topics (Motifs): Love, Nature, Creativity, Meaning of Life, Running Time, etc.

3. The dottedness of the plot or the "absence" of the plot in the lyrics. Specificity and components of the lyrical plot.

4. Psychologist in lyrics, his form. Classification of lyrics depending on the subject of the experience: autoxicheological and role-playing; From the structure of the objective world: the actual meditative, narrative (its interval with a lyri-epic), mixed forms ("Autumn" A. S. Pushkin).

5. Unity of experience as the basis of the composition of the objective world in the lyrics ("when worried .." M. Yu. Lermontov).

6. Composition associative. Communication with language capabilities.

7. Communication lyrics and phenomena of verse.

Literature

Ginzburg L. Ya. About lyrics. M., ed. 2nd. M, 1974 (Introduction, ch. 3.4).

Gasparov. M.L. "There are no clouds again .." (analyzing methodology). The composition of the landscape in Tyutchev. // Gasparov Selected Works in 3 volumes. T.2. About verses.

Zhirmunsky V. M. Composition of lyric poems // Zhirmunsky V. M. The theory of verse. L., 1975.

Lotman. Yu. M. Analysis of the poetic text M., 1972.

on the material ... – Rostov-on the-Donu: ... A.A. Introduction in... on the linguistics junction literary studies ... methodical benefit. - Rostov ... philologist forstudents ...

  • Language and intercultural communication in modern information space Materials of the I International Scientific and Practical Conference of Schoolchildren and Students

    Document

    ... germanic phraseology ( on thematerial ... – Rostov-on the-Donu: ... A.A. Introduction in... on the linguistics junction literary studies ... methodical benefit. - Rostov ... philologist-Encyclopedist, student A.A. Chehamatova and L.V. Scherbi is of particular interest forstudents ...

  • Training course Cultural studies for students

    Training course

    ... Forstudents, graduate students and teachers of legal universities, as well as practical workers. Introduction ... Methodical Note forstudents ... Rostov-on the -Donu, 1997 Shenderrik A.I. Culture theory: studies. benefit for ... linguistics, literary studies, ...

  • Materials and research on Ryazan Limony Tom 14 Ryazan 2007

    Document

    ... materials on archeology, history, genealogy, numismatics, toponymy, literary studies ... philology ... XII. - Rostov-on the-Donu, 1994. 11 ... humanity germanic fascism "... Russia. Educational methodical benefit forstudents, teachers and librarians ... Introduction ...

    • Development of perception

    Perception- a holistic reflection of objects, situations and events arising from the direct effects of physical stimuli on receptor surfaces.

    According to A. V. Zaporozhts, the peak of the development of perception in the child comes from early to preschool age. At this time, there are complex species of visual analysis and synthesis under the influence of gaming and constructive activities, including the ability to mentally dismember the perceived object on the part in the visual field, exploring each of these parts separately and then combining them into one. IN school years This ability of the child is constantly improving and reaches a very high level of development.

    The child is able, perceiving abstract images, what are written signs (letters), to combine them into a more complex abstract education, which is the word, and give this word concrete semantic meaning. Moreover, in the first stages of teaching a letter and reading, a child performs this operation with great difficulty, but gradually acquires a certain experience, and the written speech does not cause such difficulties with him, although it is still one of the most complex types of mental activities. This is also connected with the fact that at the same time the child has developed other cognitive processes.

    Development of representations

    Representation– mental process Reflection of objects and phenomena, which are currently not perceived, but are recreated on the basis of our previous experience.

    Reproductive view- Simple mechanical playback in the memory of the objects of real validity, not perceived at the moment.

    Productive view- Playing the images of objects that are not perceived at the moment, in the context of new conditions and, taking into account all the basic properties of these items. In its content, a productive performance is close to imagination.

    Static view- A special type of representation, which characterizes the inability to reproduce the image of the object, not perceived at the moment, in a new semantic context. This type of submission is characteristic of preschool children.

    During the primary school age, there is a significant development of the presence of a child. If until 7 years of age, children are detected only reproductive Presentation Images associated with the known child objects or events that are not currently perceived at the moment 7-9 years old The child is actively beginning to develop productive views . Moreover, if preschoolers possess mainly static ideas And they have difficulty trying to present something else, then the youngest schoolchildren perform this operation quite easily. What caused the emergence of a fundamentally new type of ideas in a child?

    This stage of the development of ideas in the child is due to the transition from an involuntary appearance of submissions to the ability to arbitrarily call the necessary views. For example, the child is already able to imagine and quite fully and brightly describe how his favorite toy looks like.

    This period age Development The child is also interesting in the fact that at this time the children have the formation of individual differences in ideas. As you know, in a number of research it has been proven that there are people who are absolutely not able to arbitrarily cause submissions of a certain type. It is largely due to the peculiarities of the formation of ideas in the period of early school age.

    Milestones in development

    This stage of the development of ideas in the child is due to the transition from an involuntary appearance of submissions to the ability to arbitrarily call the necessary views. At the same time, children also have the formation of individual differences in ideas.

    According to experts, the formation of the ability to operate with the ideas of a certain type in a child should be exercised in such a way that this process is aimed primarily to develop the ability to arbitrarily call these ideas. It should be borne in mind that any presentation contains an element generalizes And the development of ideas is on the way to increase the element of generalization.

    An increase in the generalizing representation values \u200b\u200bcan go in two directions. One way is the way schematization . As a result of schematization, the presentation that emerged in a child loses gradually a number of private individual characteristics and details, approaching the scheme. This path comes, for example, the development of a child of spatial geometric representations.

    Another way - the path of development typical images . Following in this path Development, ideas without losing their individuality, but on the contrary, making more and more visual, becoming "representatives" of the whole group of objects and phenomena. This path leads to the development of the child's ideas about the artistic form, which, being to the maximum degree specific and individual, can contain a very broad generalization.

    Development of attention

    Attention- The focus and concentration of mental activity on something defined.

    Significant changes are observed in qualitative characteristics of attention. In the younger school age, the child's attention becomes arbitrary , However, this happens not immediately. For quite a long time, especially in primary grades, strong and competing with arbitrary remains inprint Children. At the same time, the development of certain properties of the attention of the child, such as volume and stability, switching and concentration, as well as arbitrary attention.

    Norms of development

    For example, to age 10-11 years old Volume and stability, switching and concentration of arbitrary attention in children are almost the same as in an adult. Moreover, it is known that such a characteristic of attention as switching, in children of this age is developed significantly higher than its average indicator in adults. It is probably due to the youth of the organism and the mobility of the processes in the central nervous system of the child. Younger schoolchildren can move from one type of activity to another without any special difficulties and domestic efforts. However, here the attention of the child retains some of the signs of "childishness."

    The most perfect features of children detects only when the subject or phenomenon directly attracted attention is particularly interesting for the child.

    It should be noted that the development of attention in children at this age is caused not only by biological reasons, but first of all the activities that the child is engaged in.

    A special role in the development of random attention in the child is played by the school and educational process. In the process of school sessions, the child is disciplined, he has an imperishability, the ability to control their behavior. It should be noted that at school age, the development of random attention also passes certain stages.

    IN first classes A child cannot still fully control his behavior in the lessons. He still prevails inprint . Therefore, experienced teachers seek to make their classes with bright, exciting child's attention with a periodic change of filing methods educational material. It should be remembered that the child at this age thinking is mostly visual. Therefore, in order to interest it, the presentation of the educational material must be extremely visual. Gradually, in the process of targeted cognitive activity, attention in children of primary school age reaches quite high level development.

    Memory development

    Memory- process of capturing, saving, subsequent recognition and reproduction of traces of past experience.

    Arbitrary memory- a mental cognitive process, which is carried out under the control of consciousness in the form of the purpose of the purpose and use of special techniques, as well as if there are volitional efforts.

    The rapid development of the characteristics of the memory of a child occurring in school years is primarily associated with the learning process. The process of assimilation of new knowledge by the child predetermines the development of him arbitrary memory . Unlike the preschooler, the schoolboy is forced to memorize and not to reproduce when he wants, and not what is interesting for him, but what gives and demands a school program from him.

    Under the influence of school requirements, memorizing and reproduction is becoming more and more arbitrary and become much more active. Therefore, schooling from a certain point of view can be viewed as a comprehensive system of working out the memory of a young man. In the learning process, the schoolboy learns to set differentiated tasks for learning the educational material, that is, it determines the method of memorizing and reproducing information depending on the level of its complexity and gradually seizes with meaningful memorization.

    Research

    Studies of a well-known domestic psychologist A. A. Smirnova, devoted to the comparative analysis of memory in children of junior and middle school age, showed that in the younger school age, mechanical memory is especially actively developing on unrelated logically units of information. In addition, contrary to the common view that with age increases predominantly memorizing a meaningful material, in fact, the return ratio is actually detected: the older is the younger schoolboy, the less the advantages of memorizing meaningful material above meaningless.

    This, apparently, is due to the fact that the exercise of the child's memory under the influence of intensive teaching based on memorization leads to simultaneous improvement of all types of memory, and above all those relative to simple and are not related to complex mental work. This suggests that the younger student is easier to memorize a relatively simple meaningful material. Therefore, when teaching children of this age, the teacher should pay special attention to a detailed explanation of the educational material.

    If you characterize the development of the child's memory at this stage of its age development, it should be noted that compared with preschoolers, the memory of young children of primary school age reaches a very high level. This primarily concerns memory Memory which in the first three or four years of school exercises progresses very quickly. Somewhat below the pace of development indirect, logical memory in a child Since this type of memory has not yet become relevant.

    In most cases, the child, receiving curriculum, playing with friends, is quite a mechanical memory. However, it is currently known that if children of younger school age from the first years of school education is specially learning mnemonic techniques This can significantly increase the productivity of their logical memory subsequently.

    In addition, the knowledge of some mnemonic techniques and the ability to use them contributes to the development of arbitrary memory in a child, and the ignorance of them in most cases is the main cause of the weakness of arbitrary memory in many children of this age.

    A much more complex structure has the third, most important type of shaped memory - image of representation(sometimes it is indicated in YB psychology - from German Vorstellungsbild).Such images are well known to everyone. We say that we have an idea of \u200b\u200bthe tree, about Lemon, about the dog. This means that our previous experience left the traces of these images in us; Therefore, the presence of images of representations is regarded as the most significant form of memory.

    At first glance, it may seem that images of ideas are close to visual images, differing from them only by the fact that they are less bright, poisoned and blurred, less definite. However, such a characteristic of representations as poorer in its contents, deeply erroneous, and attentive psychological analysis shows that images of representations are not poorer, but immeasurably richer visual images.

    The first thing that distinguishes images of representations from visual images is that the images of representations are always polymodalin other words, it is always included in its composition elements of both visual and tactile, auditory and motor traces; They are traces of not one type of perception, but fights complex practical activity With objects.

    Externally, the image of submissions may seem visually poorer and is rather a scheme, a common outline of this thing than its visual visual image. However, it includes various sides of the ideas about things: the image of the representations about lemon includes both its appearance (shape and color) and its taste, rough skin, weight, etc. The image of the table includes not only the poor and a schematic view of the table, but also its use, traces of what a person sat behind him, dined, worked, etc. This multiple composition of the representation image, including a diverse practice with the subject, in itself makes an idea of \u200b\u200bthe subject much richer What is the only appearance.

    The second feature of the representation is that it always includes the following:

    Intellectual processing of the impression of the subject;

    Allocation in the subject of the most significant features;

    His attribution to a specific category.

    We not only reproduce the image of the tree, but also call it certain word, I highlight essential signs in it, refer to a specific category. Causeing an idea of \u200b\u200ba tree, we, as a rule, do not cause an image of a certain tree (one pine or birch-well known to us), but we are dealing with a generalized tree, in which can enter both a visual image of birch or pine, and visual The image of a poplar or oak. The fact that the image of the presentation at first sight seems blurred and poisoned than a visual visual image is actually a sign of his generalization, the potential wealth of the connections behind him, a sign that it can be included in any relationship. At the same time, this apparent poverty of the representation appearance says that any one sign (a complex of signs) stands out in it as the most significant, while other signs are ignored as less significant.


    Hence, the image of the presentation is ultimately not a passive fingerprint of our visual perception, and the result of its analysis and synthesis, abstraction and generalizations, in other words, the result of coding perceived into a well-known system.

    So, in the image of the presentation, our memory does not passively retain the imprint of the times perceived, but it makes a deep job with him, combining a number of impressions, analyzing the content of the subject, summarizing these impressions, combining your own visual experience with knowledge about the subject.

    Consequently, the image of the presentation is the product of immeasurably more complex activities and immeasurably more complex psychological education than a consistent or visual image.

    This presence image complexity is clearly visible both in the recognition of the item and in the preservation of the image.

    Learning of the subjectit is never a process of simple imposition of a perceived object to the view of the presentation of it stored in the memory. It takes, as a rule, by allocating essential signs of the subject, comparison of the signs of similar and various in the expected and actually perceived subject, as a result of which "decision" is "decision" about whether the visible subject we expected, or not. The fact that a person has a "image" of his friend, does not mean at all that he has a full visual fingerprint of this friend, and he will "recognize" him, in favor of a simple identification of the perceived image that is stored in his memory. This means that it has a generalized complex of signs that it holds as essential for his friend: High height, bald, in glasses, directly keeps, etc. Meeting a person similar to this acquaintance, he merges certain features, and if these The features do not match anything ("bald, glasses, but a round face ..."), he "makes a decision" that he is not that person before him, he "will not recognize him." Only the coincidence of all leading signs leads to the confidence that it is the expected person before him, and "Decision making",which is the manifestation recognitionhis friend.

    This gives reason to consider the image of the presentation is not a simple imprint in the memory of a single impression, but a reduced, rolled product of complex activities with the subject,including elements of both visual experience and knowledge about him. As complex process is storageimage view in memory.

    As a series of studies showed (and above all, the study of the Soviet psychologist I. M. Solovyova),the representation image is sometimes not stored in memory unchanged; It always undergoes dynamic changes that it is easy to detect if, giving the subject with the opportunity to get acquainted with the subject, then after the expiration of some time (day, week, month, a few months) not only ask if he has the presentation of this subject, but also to offer his. Experience convincingly shows that the preservation of this image image is practically associated with the modification of the image of the presentation of this subject, with the allocation and underlining its most essential signs, the disappearance of its individual characteristics, in other words, with deep processingstored in the memory image.

    All this shows that the appearance image is the most complex psychological phenomenon and the "human shaped memory" in any way cannot be regarded as an elementary phenomenon.

    Representation images are much more complex types of margins, and it is their proximity to intelligent processes that makes them one of the most important components of human cognitive activity.

    3. Typology (varieties) of artistic images

    The artistic reality of literary creation, as a rule, rarely expresses itself in one, the only artistic image. Traditionally, it arises from multivalued education; whole system. In this system, many images differ from each other and detect belonging to a certain type, species. The type of image is determined by its origin, functional destination and structure.

    At the level of origin, two large groups of artistic images are distinguished: author and traditional.

    Author's images, as can be seen from the very name, are born in the Creative Laboratory of the author "On the Reservation of the Day", "here and now." They grow out of the subjective vision of the world by the artist, from his personal assessment of the events depicted, phenomena or facts. Copyright images are specific, emotional and individual. They are close to the reader with its real, human nature. Anyone can say: "Yes, I saw (survived," I felt ") something like that." At the same time, the author's images are ontologicha (that is, there are close relationship with being, grow from it), typical and therefore are always relevant. On the one hand, these images embody the history of states and peoples, comprehend socio-political cataclysms (such as the Gorky Petrel, who predicts and at the same time encourages the revolution). And on the other hand, create a gallery of inimitable artistic types, which remain in the memory of mankind as real models of being.

    So, for example, the image of Prince Igor from the "Words" simulates the spiritual path of the warrior, which is exempt from low-lying vices and passions. The image of Pushkin Evgeny Onegin discovers the "idea" of a disappointed nobility. But the image of the Ostap Bender from creativity I. Ilf and E. Petrov personifies the path of man, obsessed with elementary thirst for material goods.

    Traditional images are borrowed from the treasury of world culture. They reflect the eternal truths of the collective experience of people in various spheres of life (religious, philosophical, social). Traditional images are static, sealed and therefore universal. They are used by writers for the artistic and aesthetic "breakthrough" in the transcendental and transubjective. The main goal of traditional images is the rootic spiritual and moral restructuring of the consciousness of the reader in the "Heavenly" sample. This serves numerous archetypes and symbols.

    Extremely uses the traditional image (symbol) of Senkevich in the novel "Quo Wadis". This symbol is a fish, which in Christianity denotes God, Jesus Christ and Christians themselves. Fish draws on the sand of Lyigia, beautiful Polyg, in which the main character falls in love with the Mark of Vinitia. Fish paints a spy first, and then martyr chilon hilonide, looking for Christians.

    Ancient Christian Fish Symbol gives the narrative of the writer not only a special historical flavor. The reader, following the heroes, also begins to think about it in the meaning of this symbol and mysteriously comprehend Christian theology.

    In the aspect of the functional purpose, images of heroes are distinguished, images (paintings) of nature, images and things and image images.

    Finally, in the aspect of the construction (rules of allegory, transfer of values) distinguish artistic images symbols and trails.

    4. Art trails

    In stylistics and rhetoric, art trails are elements of speech pictorial. The paths (Greek Tropos - turnover) are referred to as special speed of speech, giving her visibility, liveliness, emotionality and beauty. The trails suggest the conversion of the word, the coup in its semantics. They arise when words are not directly used, but in a figurative sense; When, by comparison on the adjacency of expressses, they enrich each other spectrum of lexical values.

    For example, in one of the poems A.K. Tolstoy read:

    The acute sequir was wounded birch,

    For the crust of sober, tears rolled;

    You do not cry, birch, poor, do not check out!

    The wound is not fatal, cured by the summer ...

    The story of one spring birch, which received mechanical damage to wood bark actually recreates the above lines. The tree, according to the poet, was preparing to awaken from a long winter hook. But a certain angry (or simply scattered) man appeared, wanted to drink birch juice, made an incision (hell), thoroughly thoroughly and left. And from the end continues to flow juice.

    The specific texture of the plot is sharply experienced by A.K. Tolstoy. He compresses birch and regards her story as a violation of the laws of being, like a baking beauty, as a global drama.

    Therefore, the artist resortes to verbal and lexical replacements. The poet calls an incision (or a knife) on the Korea "Wound". And birch juice - "tears" (of them in birch, of course, can not be). Trails help the author identify birch and man; Express in the poem the idea of \u200b\u200bmercy, compassion to the whole living.

    In the poetics, art trails retain the importance they have in style and rhetoric. The paths are referred to as poetic tongue turnover implying values.

    The following types of art trails are distinguished: metonimia, synengo, allegory, comparison, metaphor, personification, epithet.

    Metonimia is the simplest type of allegory, involving the replacement of the name of his lexical synonym ("secreir" instead of: "ax"). Or the semantic result (for example, the "golden" age of Russian literature "instead of:" Russian literature of the XIX century "). Metonimia (transfer) underlies any trail. Metonimical, according to M. R. Lviv, are "links on adjacentness."

    Synekdoka is such a metonymy in which the name is closing a narrower or broader name for the semantics (for example, "Nosach" instead of "man" (with a large nose) or "two-legged" instead of: "People"). The replaceable name is recognized by its characteristic feature that calls the replacement name.

    Allegoria is a figurative allegory intended for rational decryption (so, a wolf and a long-standing Basna I. A. Krylov "Wolf on Psarn" are easily decryable by images of Napoleon and Kutuzov). The image in the allegory plays a subordinate role. It sensually embodies in herself a significant idea; serves as an unambiguous illustration, the "hieroglyph" of an abstract concept.

    Comparison is such a metonymy that is revealed in two components: compared and comparing. And grammatically formed with the help of alliances: "As", "as if", "like", etc.

    For example, S.A. Yesenin: "And birch (comparable component) cost, like (union) large candles (comparing component)."

    Comparison helps to see the subject with a new, unexpected point of view. It highlights in it hidden or unnoticed until the line; gives him a new semantic being. Thus, comparison with candles, "gives" the Yeseninsky birch of slimness, softness, warmth, and a blinding beauty, characteristic of all candles. Moreover, trees, thanks to this comparison, are understood by alive, even the upcoming God (since candles are usually burning in the temple).

    Metaphor, according to the equitable definition of A.A. Pasty, there is a "abbreviated comparison". It detects only one - comparing component. Complied - speculated by the reader. The metaphor uses A.K. Tolstoy in a row of wounded and crying birch. The poet apparently provides only a replacement word (comparing component) - "Tears". And the replaceable (compared component) is "birch juice" - we are speculating.

    Metaphor - hidden analogy. This trail genetically grows from the comparison, but does not have its structure, no grammatical design (the unions "as", "as if" and others do not apply).

    Elimination is a personification ("revival") of inanimate nature. Due to the personification of land, clay and stones acquire anthropomorphic (human) features, organic.

    Very often, nature is likened to the mysterious living organism in the work of the Russian poet S.A. Yesenin. He says:

    Where cabbage beds

    Red water watering sunrise

    Maplenok little uterus

    Green donkey sucks.

    Epithe is not a simple, but metaphorical definition. It occurs by pairing heterogeneous concepts (approximately the following scheme: bark + silver \u003d "Silver Cora"). The epithet opens the limits of traditional signs of the subject and adds new properties to them (so, the epithet "Silver" gives the subject of the following new signs with it: "Light", "brilliant", "clean", "with a black") .

    5. Art Image Symbols

    The artistic symbol fundamentally opposes the visual elements of speech. It has a unique structure, special purpose.

    The trail arises in the aspect of the rational, easily readable replacement of one name to others. He implies a simple, unambiguous allegory (tears are only birch juice, wolf and catcher - only Napoleon with Kutuzov). An abstract idea, feeling, moral view In the trail replaces the image, "picture".

    The character-symbol is rolling with traditional cultural images: symbols and archetypes (they "draws" a literary context in the image-symbols. He discovers an allegory complex, multivalued. An image character is commemoration of not one thing, ideas, phenomena, but a number of things, spectrum of ideas, peace of phenomena. This artistic image disresses all the plans of being and embodies in the relative absolute, in temporary - eternal. Like a universal symbol, an image-symbol tightens the imaginable many meanings of the thing and becomes as a result (according to the expression K.V. Bobkova) "As if the center of all the meanings, from where their gradual deployment can occur."

    A comprehensive commentary of many signs of some signs gives Vyach. I. Ivanov in the article "Symbolism and religious creativity". He says: "It is impossible to say that the snake, as a symbol, means only" wisdom "<...>. Otherwise, the symbol is a simple gyeroglyph, and a combination of several characters - shaped allegory, an encrypted message to be read by reading the key. If the Hyeroglyph symbol is a mysterious gyeroglyph, multi-valued, politicality. In different areas of consciousness, the same symbol acquires various meanings. So, the snake has a mighty relationship simultaneously to Earth and the embodiment, sex and death, vision and knowledge, temptation and sanctification. "

    The classic example of the symbolization of the artistic image we see in a beautiful miniature I.F. Annena "among worlds":

    Among worlds, flickering shining

    One star I repeat the name ...

    Not because I loved her

    And because I'll tormented with others.

    And if I doubt hard,

    I have one prayer with her answer,

    Not because without it dark

    And because it is not necessary with it.

    The star in the poem poem is not just a favorite woman. Star means "blue" dream, inaccessible and sublime ideal, meaning of life, truth, love. It can also be the image of Christ, which is "Star Bright and Morning".


    This ... Lighting the face, i.e. Horning appearance ... First of Front of Urfenomen - We would say after Goethe. " The Muslim Church reached this through the semantic and aesthetic organization of the ornament, in which not only an artistic image was concluded, but also expressed the wisdom of Allah. In Buddhism, this is a whole system of ritual dancing or canonical images of Buddha, creating no less deep feeling ...




    Interesting, internally holistic and fruitful period in the history of not only a Russian handwritten book, but also the Russian state as a whole. The source partpries study the value of the text in the artistic image of a handwritten book, you can select several main areas of research: the selection of the type of writing (charter, semi-supest, calligraphic semi-supersay , speed); Location of text on a sheet (...

    1971. - p.385). It follows that "... Art depicts a true universal, or an idea, in the form of" sensual existence of an image "(Hegel of Aesthetics. T.4. - M., 1973. - C.412). His contribution to the solution of the issue of nature Marxism made artistic and-shaped consciousness. From the point of view of the Marxist methodology, social and historical practice is recognized by the criterion of art, given through the prism ...

    Concentration of attention, coordination of movements, sufficient physical force, accuracy, tidiness. 2.2 The crises of the profession of the type "Man - Art Image" Professional human activity asks the direction of development of his personality. Sometimes person acquired features of the personality manifest themselves in other life conditions and situations. Negative manifestation of this ...

    Individual features of the formation of the presentation. Characteristics of representations: visuality, impermanence, fragmentation, generalization.

    Today we will talk about what the features of ideas exist. After all, the fact that we represent far from always happen to a complete reflection of real objects.

    The presentation in human psychology is the process of reproducing heard, seen earlier. Such a process is characterized by some features and nuances. Features of the formation of representation:

    • Clarity;
    • Fragment;
    • Inconstancy;
    • Generalization.

    Features of the formation of the presentation: visibility

    First of all presentation is characterized by clarity. The maximum realistic image of the images that pop up, their approximity to the adopted information.

    At the same time there is one important difference - Images of perception are the display of those data that were perceived in reality and processed by the human brain at the moment. And view images are processing data that were perceived once upon a time. This act, determines the fact that the view is characterized by a minimum level of visibility.

    Features of the formation of the presentation: fragment

    Features of forming performance include fragmentaritywhich is the process of playing only some fragments of the picture or object. One part is clearly represented, the other is only with some elements, and the third is not at all. Fragmentality clearly visuals when a person recalls someone's face, an old friend or acquaintance, while distinctly recalling individual features of the face, but without the possibility of making a portrait completely.

    A fairly important nuance, concomitant representation is impermanence meaning instability images. Thus, no matter how much you want to keep the image in my head, for some time it disappears and on the contrary, sometimes it is impossible to get rid of the picture, which stable in imagination. I think it sometimes happened to you, when, after the horror movie, terrible paintings were constantly flooded before their eyes, even if you did not want it.

    Features of the formation of the presentation: variability

    In addition to the presented images very change, because insignificant details often pop up, then some, then others. Only a meager percentage of people who have a highly developed ability to form a complete picture of perception can present a whole image. These are most often the artists, sculptors or musicians who can relatively fully create various images.

    Features of the formation of submission: generalization

    It is worth noting that they are characterized generalizing reproducible images, This is exactly what causes their similarity with reality. At the same time, the process of generalization occurs regardless of whether objects similar are related or scattered. Any reproducible image is the outcome of the generalization, because the same subject, object or person we see more than once and always in new situations, conditions.

    This article is included in the view of the appearance of the view.

    Part one