Artistic time and space of Russian historical songs. Artistic space and time
Natural shapes the existence of the depicted world (as, indeed, the world of time and the real) are time and space. Time and space in literature represent a kind of convention, the nature of which determines different shapes spatiotemporal organization art world.
Among other arts, literature deals most freely with time and space (only the art of cinema can compete in this regard).
In particular, literature can show events occurring simultaneously in different places: for this, the narrator only needs to introduce into the narrative the formula “Meanwhile, such and such was happening there” or a similar one. Just as simply, literature moves from one time layer to another (especially from the present to the past and back); most early forms Such a temporary switch was the memory and story of a hero - we already meet them in Homer.
Another important property of literary time and space is their discreteness (discontinuity). In relation to time, this is especially important, since literature does not reproduce the entire time flow, but selects only artistically significant fragments from it, designating “empty” intervals with formulas such as “how long, how short,” “several days have passed,” etc. Such temporal discreteness serves as a powerful means of dynamizing first the plot, and subsequently psychologism.
The fragmentation of artistic space is partly related to the properties of artistic time, and partly has an independent character. Thus, an instantaneous change in space-time coordinates, natural for literature (for example, the transfer of action from St. Petersburg to Oblomovka in Goncharov’s novel “Oblomov”) makes the description of the intermediate space unnecessary (in in this case– roads). The discreteness of the actual spatial images lies in the fact that in literature this or that place may not be described in all details, but only indicated by individual signs that are most significant for the author and have a high semantic load. The remaining (usually large) part of the space is “completed” in the reader’s imagination. Thus, the scene of action in Lermontov’s “Borodino” is indicated by only four fragmentary details: “large field”, “redoubt”, “guns and forests with blue tops”. Also fragmentary, for example, is the description of Onegin’s village office: only “Lord Byron’s portrait”, a figurine of Napoleon and - a little later - books are noted. Such discreteness of time and space leads to significant artistic economy and increases the significance of an individual figurative detail.
The nature of the conventions of literary time and space greatly depends on the type of literature. In the lyrics this convention is maximum; V lyrical works In particular, there may be no image of space at all - for example, in Pushkin’s poem “I loved you...”. In other cases, spatial coordinates are present only formally, being conditionally allegorical: for example, it is impossible to say that the space of Pushkin’s “Prophet” is the desert, and Lermontov’s “Sails” is the sea. However, at the same time, lyrics are capable of reproducing the objective world with its spatial coordinates, which have a great artistic significance. Thus, in Lermontov’s poem “How often, surrounded by a motley crowd...” the contrast of spatial images of the ballroom and the “wonderful kingdom” embodies the antithesis of civilization and nature, which is very important for Lermontov.
Lyrics deal with artistic time just as freely. We often observe in it a complex interaction of time layers: past and present (“When a noisy day falls silent for a mortal...” by Pushkin), past, present and future (“I will not humiliate myself before you...” by Lermontov), mortal human time. and eternity (“Having rolled down the mountain, the stone lay in the valley...” Tyutchev). There is also a complete absence in the lyrics significant image time, as, for example, in Lermontov’s poems “Both Bored and Sad” or Tyutchev’s “Wave and Thought” - the time coordinate of such works can be defined by the word “always”. On the contrary, there is also a very acute perception of time by the lyrical hero, which is characteristic, for example, of the poetry of I. Annensky, as evidenced even by the names of his works: “Moment”, “The melancholy of fleetingness”, “Minute”, not to mention the more profound images However, in all cases, lyrical time has a high degree of conventionality, and often abstraction.
The conventions of dramatic time and space are associated mainly with the orientation of drama towards theatrical production. Of course, each playwright has his own construction of the space-time image, but the general character of the convention remains unchanged: “No matter how significant the role in dramatic works no matter how narrative fragments acquire, no matter how the depicted action is fragmented, no matter how the characters’ spoken statements are subordinated to the logic of their inner speech, drama is committed to pictures closed in space and time.”*
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* Khalizev V.E. Drama as a kind of literature. M., 1986. P. 46.
Has the greatest freedom in handling artistic time and space epic kind; It is also where the most complex and interesting effects in this area are observed.
According to the peculiarities of artistic convention literary time and space can be divided into abstract and concrete. This division is especially important for the artistic space. We will call abstract a space that has a high degree of conventionality and which, in the limit, can be perceived as a “universal” space, with coordinates “everywhere” or “nowhere”. It does not have a pronounced characteristic and therefore does not have any influence on the artistic world of the work: it does not determine the character and behavior of a person, is not associated with the characteristics of the action, does not set any emotional tone, etc. Thus, in Shakespeare’s plays, the location of the action is either completely fictitious (“Twelfth Night,” “The Tempest”) or does not have any influence on the characters and circumstances (“Hamlet,” “Coriolanus,” “Othello”). According to Dostoevsky’s correct remark, “his Italians, for example, are almost entirely the same English”*. In a similar way, artistic space is built in the dramaturgy of classicism, in many romantic works(ballads by Goethe, Schiller, Zhukovsky, short stories by E. Poe, “The Demon” by Lermontov), in the literature of decadence (plays by M. Maeterlinck, L. Andreev) and modernism (“The Plague” by A. Camus, plays by J.-P. Sartre, E. Ionesco).
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* Dostoevsky F.M. Full collection cit., In 30 volumes. M., 1984. T. 26. P. 145.
On the contrary, concrete space does not simply “tie” the depicted world to certain topographical realities, but actively influences the entire structure of the work. In particular, for Russian literature of the 19th century V. characterized by the concretization of space, the creation of images of Moscow, St. Petersburg, county town, estates, etc., as discussed above in connection with the category of literary landscape.
In the 20th century Another trend has clearly emerged: a peculiar combination of concrete and abstract space within a work of art, their mutual “flowing” and interaction. In this case, the specific place of action is given symbolic meaning And high degree generalizations. A specific space becomes a universal model of existence. At the origins of this phenomenon in Russian literature were Pushkin (“Eugene Onegin”, “The History of the Village of Goryukhin”), Gogol (“The Inspector General”), then Dostoevsky (“Demons”, “The Brothers Karamazov”); Saltykov-Shchedrin “The History of a City”), Chekhov (almost all of his mature works). In the 20th century, this tendency finds expression in the works of A. Bely (“Petersburg”), Bulgakov (“ White Guard", "The Master and Margarita"), Ven. Erofeev (“Moscow–Petushki”), and in foreign literature– in M. Proust, W. Faulkner, A. Camus (“The Stranger”), etc.
(It is interesting that a similar tendency to transform real space into symbolic is observed in the 20th century and in some other arts, in particular in cinema: for example, in the films of F. Coppola “Apocalypse Now” and F. Fellini “Orchestra Rehearsal”, the very concrete at the beginning the space gradually, towards the end, transforms into something mystical-symbolic.)
The corresponding properties of artistic time are usually associated with abstract or concrete space. Thus, the abstract space of a fable is combined with abstract time: “For the strong, the powerless are always to blame...”, “And in the heart the flatterer will always find a corner...”, etc. In this case, the most universal patterns are mastered human life, timeless and spaceless. And vice versa: spatial specificity is usually complemented by temporal specificity, as, for example, in the novels of Turgenev, Goncharov, Tolstoy and others.
The forms of concretization of artistic time are, firstly, the “linking” of action to real historical landmarks and, secondly, precise definition“cyclical” time coordinates: seasons and time of day. The first form received special development in the aesthetic system of realism of the 19th–20th centuries. (thus, Pushkin insistently pointed out that in his “Eugene Onegin” time is “calculated according to the calendar”), although, of course, it arose much earlier, apparently already in antiquity. But the degree of specificity in each individual case will be different and emphasized to varying degrees by the author. For example, in “War and Peace” by Tolstoy, “The Life of Klim Samgin” by Gorky, “The Living and the Dead” by Simonov, etc. artistic worlds are real historical events are directly included in the text of the work, and the time of action is determined with an accuracy not only to the year and month, but often to one day. But in “A Hero of Our Time” by Lermontov or “Crime and Punishment” by Dostoevsky, the time coordinates are quite vague and can be guessed by indirect signs, but at the same time the connection in the first case to the 30s, and in the second to the 60s.
The depiction of the time of day has long had a certain emotional meaning in literature and culture. Thus, in the mythology of many countries, night is the time of undivided domination of secret and most often evil forces, and the approach of dawn, heralded by the crowing of a rooster, brought deliverance from evil spirits. Clear traces of these beliefs can be easily found in literature right up to today(“The Master and Margarita” by Bulgakov, for example).
These emotional and semantic meanings were preserved to a certain extent in the literature of the 19th–20th centuries. and even became persistent metaphors such as “the dawn of a new life.” However, a different tendency is more typical for the literature of this period - to individualize the emotional and psychological meaning of the time of day in relation to a specific character or lyrical hero. Thus, the night can become a time of intense thought (“Poems composed at night during insomnia” by Pushkin), anxiety (“The pillow is already hot...” by Akhmatova), melancholy (“The Master and Margarita” by Bulgakov). Morning can also change its emotional coloring to the exact opposite, becoming a time of sadness (“Foggy morning, gray morning...” by Turgenev, “A Pair of Bays” by A.N. Apukhtin, “ gloomy morning» A.N. Tolstoy). In general, individual shades in the emotional coloring of time exist in latest literature great multitude.
The season has been mastered in human culture since ancient times and was associated mainly with the agricultural cycle. In almost all mythologies, autumn is a time of dying, and spring is a time of rebirth. This mythological scheme passed into literature, and its traces can be found in the most different works. However, more interesting and artistically significant are the individual images of the season for each writer, performed, as a rule, psychological meaning. Here there are already complex and implicit relationships between the time of year and state of mind, giving a very wide emotional range (“I don’t like spring...” by Pushkin – “I love spring most of all...” by Yesenin). Correlation psychological state character and lyrical hero with one season or another, in some cases it becomes a relatively independent object of comprehension - here we can recall Pushkin’s sensitive sense of the seasons (“Autumn”), Blok’s “Snow Masks”, lyrical digression in Tvardovsky’s poem “Vasily Terkin”: “And at what time of year // Is it easier to die in war?” The same time of year is individualized for different writers and carries different psychological and emotional loads: let’s compare, for example, Turgenev’s summer in nature and the St. Petersburg summer in Dostoevsky’s “Crime and Punishment”; or almost always Chekhov’s joyful spring (“It felt like May, dear May!” - “The Bride”) with spring in Bulgakov’s Yershalaim (“Oh, what a terrible month of Nisan this year!”).
Like local space, specific time can reveal in itself the beginnings of absolute, infinite time, as, for example, in “Demons” and “The Brothers Karamazov” by Dostoevsky, in Chekhov’s late prose (“Student”, “On Business”, etc.) , in “The Master and Margarita” by Bulgakov, the novels of M. Proust, “The Magic Mountain” by T. Mann, etc.
Both in life and in literature, space and time are not given to us in their pure form. We judge space by the objects that fill it (in a broad sense), and we judge time by the processes occurring in it. For practical analysis of a work of art, it is important to at least qualitatively (“more - less”) determine the fullness, saturation of space and time, since this indicator often characterizes the style of the work. For example, Gogol’s style is characterized mainly by maximally filled space, as we discussed above. We find a somewhat lesser, but still significant saturation of space with objects and things in Pushkin (“Eugene Onegin”, “Count Nulin”), Turgenev, Goncharov, Dostoevsky, Chekhov, Gorky, Bulgakov. But in the style system, for example, Lermontov, the space is practically not filled. Even in “A Hero of Our Time,” not to mention such works as “The Demon,” “Mtsyri,” and “Boyarin Orsha,” we cannot imagine a single specific interior, and the landscape is most often abstract and fragmentary. There is also no substantive saturation of space in such writers as L.N. Tolstoy, Saltykov-Shchedrin, V. Nabokov, A. Platonov, F. Iskander and others.
The intensity of artistic time is expressed in its saturation with events (by “events” we mean not only external, but also internal, psychological ones). There are three possible options here: average, “normal” time filled with events; increased time intensity (the number of events per unit of time increases); reduced intensity (saturation of events is minimal). The first type of organization of artistic time is presented, for example, in Pushkin’s “Eugene Onegin”, the novels of Turgenev, Tolstoy, Gorky.
The second type is in the works of Lermontov, Dostoevsky, Bulgakov. The third is from Gogol, Goncharov, Leskov, Chekhov.
Increased saturation of artistic space is combined, as a rule, with a reduced intensity of artistic time, and vice versa: reduced occupancy of space - with increased saturation of time.
For literature as a temporary (dynamic) art form, the organization of artistic time is, in principle, more important than the organization of space. The most important problem here becomes the relationship between the time depicted and the time of the image. Literary reproduction of any process or event requires a certain time, which, of course, varies depending on the individual pace of reading, but still has some certainty and in one way or another correlates with the time of the depicted process. Thus, Gorky’s “The Life of Klim Samgin,” which covers forty years of “real” time, requires, of course, a much shorter period of time to read.
Pictured time and image time or, otherwise, real" and artistic time, as a rule, do not coincide, which often creates significant artistic effects. For example, in Gogol’s “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich,” about a decade and a half passes between the main events of the plot and the last visit of the narrator to Mirgorod, which are extremely sparingly noted in the text (of the events of this period, only the deaths of judge Demyan Demyanovich and crooked Ivan Ivanovich). But these years were not completely empty: all this time the litigation continued, the main characters grew old and approached inevitable death, still busy with the same “business”, in comparison with which even eating melon or drinking tea in a pond seems like meaningful activities. The time interval prepares and enhances the sad mood of the finale: what was only funny at first becomes sad and almost tragic after a decade and a half.
In the literature there are often quite difficult relationships between real and artistic time. Yes, in some cases real time in general can be equal to zero: this is observed, for example, with various types of descriptions. Such time is called eventless. But the event time in which at least something happens is internally heterogeneous. In one case, we have before us events and actions that significantly change either a person, or relationships between people, or the situation as a whole - such time is called plot time. In another case, a picture of sustainable existence is drawn, i.e. actions and deeds that are repeated day after day, year after year. In the System of such artistic time, which is often called “chronicle-everyday”, practically nothing changes. The dynamics of such time are as conditional as possible, and its function is to reproduce a stable way of life. Good example Such a temporary organization is the image of the cultural and everyday way of life of the Larin family in Pushkin’s “Eugene Onegin” (“They kept in a peaceful life // Habits of dear old times ...”). Here, as in some other places in the novel (the depiction of Onegin’s daily activities in the city and in the countryside, for example), it is not dynamics that are reproduced, but statics, something that does not happen once, but always happens.
The ability to determine the type of artistic time in a particular work is a very important thing. The ratio of eventless (“zero”) time, chronicle-everyday and event-plot time largely determines the tempo organization of the work, which, in turn, determines the nature of aesthetic perception and shapes the reader’s subjective time. So, " Dead Souls"Gogol, in which eventless and chronicle-everyday time predominates, create the impression of a slow pace and require an appropriate “reading mode” and a certain emotional mood: artistic time is leisurely, and the same should be the time of perception. For example, Dostoevsky’s novel “Crime and Punishment” has a completely opposite tempo organization, in which event time predominates (let us recall that by “events” we include not only plot twists and turns, but also internal, psychological events). Accordingly, both the mode of its perception and the subjective pace of reading will be different: often the novel is simply read “absorbedly”, in one breath, especially for the first time.
The historical development of the spatio-temporal organization of the artistic world reveals a very definite tendency towards complication. In the 19th and especially in the 20th centuries. writers use space-time composition as a special, conscious artistic technique; a kind of “game” begins with time and space. Her idea, as a rule, is to compare different times and space, to identify both characteristic properties of “here” and “now”, as well as general ones, universal laws human existence, independent of time and space; this is an understanding of the world in its unity. This artistic idea Chekhov expressed it very accurately and deeply in his story “The Student”: “The past,” he thought, “is connected with the present by a continuous chain of events that flow from one another. And it seemed to him that he had just seen both ends of this chain: he touched one end, as the other trembled<...>truth and beauty, which guided human life there, in the garden and in the courtyard of the high priest, continued uninterrupted to this day and, apparently, always constituted the main thing in human life and in general on earth.”
In the 20th century comparison, or, in Tolstoy’s apt word, “conjugation” of space-time coordinates has become characteristic of many writers - T. Mann, Faulkner, Bulgakov, Simonov, Aitmatov, etc. One of the most striking and artistic significant examples This trend is reflected in Tvardovsky’s poem “Beyond the Distance, the Distance.” The spatio-temporal composition creates in it an image of the epic unity of the world, in which there is a rightful place for the past, the present, and the future; and the small forge in Zagorye, and the great forge of the Urals, and Moscow, and Vladivostok, and the front, and the rear, and much more. In the same poem, Tvardovsky figuratively and very clearly formulated the principle of space-time composition:
There are two categories of travel:
One is to set off into the distance,
The other one is to sit in one’s place,
Flip back through the calendar.
This time there is a special reason
It will allow me to combine them.
And that one, and that one - by the way, both of them,
And my path is doubly beneficial.
These are the main elements and properties of that side artistic form, which we called the depicted world. It should be emphasized that the depicted world is an extremely important aspect of the entire work of art: the stylistic, artistic originality works; Without understanding the features of the depicted world, it is difficult to analyze the artistic content. We remind you of this because in the practice of school teaching, the depicted world does not stand out as a structural element forms, and therefore its analysis, are often neglected. Meanwhile, as one of the leading writers of our time, W. Eco, said, “for storytelling, first of all, it is necessary to create a certain world, arranging it as best as possible and thinking through it in detail”*.
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* Eco U. Name of the rose. M., 1989. P. 438.
CONTROL QUESTIONS:
1. What is meant in literary criticism by the term “depicted world”? How is its non-identity with primary reality manifested?
2. What is an artistic detail? What groups are there? artistic details?
3. What is the difference between a detail part and a symbol part?
4. What is the purpose of a literary portrait? What types of portraits do you know? What is the difference between them?
5. What functions do images of nature perform in literature? What is a “city landscape” and why is it needed in a work?
6. For what purpose in work of art things being described?
7. What is psychologism? Why is it used in fiction? What forms and techniques of psychologism do you know?
8. What are fantasy and life-like as forms of artistic convention?
9. What functions, forms and techniques of fiction do you know?
10. What are plot and descriptiveness?
11. What types of spatio-temporal organization of the depicted world do you know? What artistic effects does the writer extract from the images of space and time? How do real time and artistic time relate?
Exercises
1. Determine what type of artistic details (detail-detail or detail-symbol) is typical for “Belkin’s Tales” by A.S. Pushkin, “Notes of a Hunter” by I.S. Turgenev, “The White Guard” by M.A. Bulgakov.
2. What type of portrait (portrait-description, portrait-comparison, portrait-impression) belongs to:
a) portrait of Pugachev (“ Captain's daughter» A.S. Pushkin),
b) portrait of Sobakevich (“Dead Souls” by N.V. Gogol),
c) portrait of Svidrigailov (“Crime and Punishment” by F.M. Dostoevsky),
d) portraits of Gurov and Anna Sergeevna (“Lady with a Dog” by A.P. Chekhov),
e) portrait of Lenin (“V.I. Lenin” by M. Gorky),
f) portrait of Beach Saniel (“Running on the Waves” by A. Green).
3. In the examples from the previous exercise, establish the type of connection between the portrait and character traits:
– direct correspondence,
– contrast discrepancy,
- complex relationship.
4. Determine what functions the landscape performs in the following works:
N.M. Karamzin. Poor Lisa,
A. S. Pushkin. Gypsies,
I.S. Turgenev. Forest and steppe
A.P. Chekhov. Lady with a dog,
M. Gorky. Okurov town,
V.M. Shukshin. The desire to live.
5. In which of the following works does the image of things play a significant role? Determine the function of the world of things in these works.
A.S. Griboyedov. Woe from mind
N.V. Gogol. Old world landowners
L.N. Tolstoy. Resurrection,
A.A. Block. Twelve,
A.I. Solzhenitsyn. One day of Ivan Denisovich,
A. and B. Strugatsky. Predatory things of the century.
6. Identify the predominant forms and techniques of psychologism in the following works:
M.Yu. Lermontov. Hero of our time,
N.V. Gogol. Portrait,
I.S. Turgenev. Asya,
F.M. Dostoevsky. Teenager,
A.P. Chekhov. New dacha,
M. Gorky. At the bottom,
M.A. Bulgakov. Dog's heart.
7. Determine in which of the following works fantasy is an essential characteristic of the depicted world. In each case, analyze the predominant functions and techniques of fiction.
N.V. Gogol. The missing certificate
M.Yu. Lermontov. Masquerade,
I.S. Turgenev. Knocking!,
N.S. Leskov. The Enchanted Wanderer,
M.E. Saltykov-Shchedrin. Chizhikovo grief, conscience has disappeared,
F.M. Dostoevsky. Bobok,
S.A. Yesenin. Black man,
M.A. Bulgakov. Fatal eggs.
8. Determine in which of the following works the essential characteristic of the depicted world is plot, descriptiveness and psychologism:
N.V. Gogol. The story of how Ivan Ivanovich and Ivan Nikiforovich quarreled, Marriage,
M.Yu. Lermontov. Hero of our time,
A.N. Ostrovsky. Wolves and sheep
L.N. Tolstoy. After the ball,
And P. Chekhov. Gooseberry,
M. Gorky. Life of Klim Samgin.
9. How and why space-time effects are used in the following works:
A.S. Pushkin. Boris Godunov,
M.Yu. Lermontov. Daemon,
N.V. Gogol. Enchanted place
A.P. Chekhov. Gull,
M.A. Bulgakov. Diaboliad,
A.T. Tvardovsky. Ant Country,
A. and B. Strugatsky. Noon. XXII century.
Final task
Analyze the structure of the depicted world in two or three of the works below using the following algorithm:
1. For the depicted world the following are essential:
1.1. plot,
1.2. descriptiveness
1.2.1. analyze:
a) portraits,
b) landscapes,
c) the world of things.
1.3. psychologism
1.3.1. analyze:
a) forms and techniques of psychologism,
b) functions of psychologism.
2. For the depicted world it is essential
2.1. lifelikeness
2.1.1. determine life-like functions,
2.2. fantastic
2.2.1. analyze:
a) type of fantastic imagery,
b) forms and techniques of fiction,
c) functions of fiction.
3. What type of artistic details predominates
3.1. details-details
3.1.1. analyze, using one or two examples, artistic features, the nature of the emotional impact and the functions of details,
3.2. details-symbols
3.2.1. analyze, using one or two examples, artistic features, the nature of the emotional impact and the functions of symbolic details.
4. Time and space in the work are characterized
4.1. concreteness
4.1.1. analyze the artistic impact and functions of a specific space and time,
4.2. abstractness
4.2.1. analyze the artistic impact and functions of abstract space and time,
4.3. abstractness and concreteness of time and space are combined in an artistic image
4.3.1.analyze the artistic impact and functions of such a combination.
Make a summary of the previous analysis about artistic features and the functions of the depicted world in this work.
Texts for analysis
A.S. Pushkin. Captain's daughter, Queen of Spades,
N.V. Gogol. May Night, or Drowned Woman, Nose, Dead Souls,
M.Yu. Lermontov. Demon, Hero of our time,
I.S. Turgenev. Fathers and Sons,
N.S. Leskov. Old years in the village of Plodomasovo, Enchanted wanderer,
I.A. Goncharov. Oblomov,
ON THE. Nekrasov. Who lives well in Rus',
L.N. Tolstoy. Childhood, Death of Ivan Ilyich,
F.M. Dostoevsky. Crime and Punishment,
A.P. Chekhov. On matters of service, Bishop,
E. Zamyatin. We,
M.A. Bulgakov. Dog's heart,
A.T. Tvardovsky. Terkin in the next world,
A. I. Solzhenitsyn. One day of Ivan Denisovich.
Mikhailova Ekaterina Romanovna
Presentation on the topic "Time in a work of art"
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Time in a work of art
Time (in philosophy) is an irreversible flow, flowing in only one direction - from the past, through the present to the future, within which all processes existing in existence, which are facts, take place. Time (in literature) – time series in various aspects its embodiment, functioning and perception in works of fiction as a phenomenon of art.
Literature, more than any other art, becomes the art of time. Time is its object, subject and instrument of image.
Approaches to the study of tense in literature: one can study grammatical tense in literature. And this approach is very fruitful, especially in relation to lyric poetry (R. O. Yakobson); it is possible to analyze the manifestations of the understanding of time in literature and science, to establish a gradual increase in interest in the problem of time in modern literature and make assumptions about the significance of the problem of time in literature, in science, in philosophy, etc. (Pule and Meyerhoff); But the most essential for the study of literature is the study of artistic time: time as it is reproduced in literary works, time as an artistic factor in literature.
Features of artistic time 1) artistic time is the phenomenon of the artistic fabric itself literary work, subordinating both grammatical time and its philosophical understanding by the writer to its artistic tasks;
2) Artistic time, in contrast to objectively given time, uses the diversity of subjective perception of time. Plot time, serving as an accelerator/decelerator of the narrative, is characterized by speed and consistency. Poetic time is faster than real time in narration, synchronous with it in dialogue, slower in comparison with it in description. A work of art makes this subjective perception of time one of the forms of depicting reality. However, objective time is also used at the same time: either observing the rule of unity of time of action and the reader-viewer in French classicist drama, then abandoning this unity, emphasizing the differences, leading the narrative primarily in the subjective aspect of time;
3) Actual time and depicted time are essential aspects of the whole artistic work. Their options are endlessly varied. They are combined with the artistic concept of the work, are in a state of continuous conditioning of their artistic whole of the work; 4) Time in fiction is perceived through the connection of events - cause-and-effect or psychological, associative. Time in a work of art is not only and not so much calendar references, but the correlation of events;
5) the time of a work can be “closed”, self-contained, taking place only within the plot, not connected with events occurring outside the work, with historical time, and also the time of a work can be “open”, included in a broader flow of time developing against the backdrop of a precisely defined historical era. The “open” time of a work, which does not exclude a clear frame delimiting it from reality, presupposes the presence of other events occurring simultaneously outside the work, its plot.
6) story time can speed up and slow down. Plot time can be divided into a number of separate forms inherent in the consciousness of time. Very often, the time of action in a work gradually slows down or speeds up its pace. The entire work can have several forms of time, developing at different paces, moving from one flow of time to another, forward and backward; 7) The depiction of time can be illusionistic (especially in works of a sentimental direction) or introduce the reader into its unreal, conventional circle. It depends on artistic design the author, but it may also depend on natural, common for its era, ideas about the movement of time.
Artistic time - time as the “fourth coordinate” of the artistic world: the reality of the hero (conceptual time - objectified background art events, modeling of external reality in forms adequate for the recipient) and the reality of the subject of the image (perceptual time - the placement of real-life objects in other systems of relations, elements acquire features inherent in real world objects of a completely different nature, for example, landscape - traits of mood, animals - traits of rationality and properties of human character). In the first case, the temporal characteristic (plot time, time of action - historical, biographical, natural, social, everyday, event (adventure)) acts as a condition for the performance of diverse actions (actions, reactions, emotional movements, gestures and facial expressions).
Correlation between time and literary kind Lyrics, which present an actual experience, and drama, which plays out before the eyes of the audience, showing the incident at the moment of its occurrence, usually use the present tense, while the epic is mainly a story about what has passed, and therefore in the past tense.
Classification of forms of time taking into account folklore and literary tradition Folklore time does not know a clear differentiation into the present, past and future (it presupposes individuality). Human life and the life of nature are perceived in single complex, all elements of which are equally worthy. A single life event is revealed in its various sides and moments. Time in heroic epic- fenced off from all subsequent times, a closed and completed time of national tradition, a time of memory. The depicted world and the real reality of the singer and listeners are separated by an epic distance. The absolute past is a value-time category of the epic world. It localizes such categories as ideal, justice, perfection, harmony.
Wonderful time chivalric romance– the world for the knight exists only under the sign of the miraculous “suddenly”, this is the normal state of the world, in contrast to the Greek novel, where a random event is a sign of a broken pattern of the temporal chain of existence. This time is characterized by fabulous hyperbolism: sometimes the hours stretch out, sometimes the days shrink to an instant; time can be bewitched until entire events disappear. Medieval eschatological time, which corresponds to a spatial vertical, a vertical chronotope. Everything that is separated by time on earth converges in eternity in the pure simultaneity of coexistence. To understand the world, you need to compare everything in one time (timeless plane).
Creative, productive, productive time of the Renaissance (universal chronotope created by Rabelais), destruction of the historical concept of the Middle Ages, in which real time was devalued and dissolved in timeless categories. The formation of the individual person is not separated from historical growth and cultural progress. The time of the hero’s “outlook”, the time of ignorance ( classic novel) – the present is fundamentally incomplete and requires continuation in the future. The temporal model of the world is radically changing: the first word is gone, and the last has not yet been said. Time and the world become historical for the first time. The concept of environment contributes to the appearance in literature of chronicle-everyday time, receiving special design: the sum of circumstances repeatedly affecting a person is taken out of the scope of the action.
The time of memory, the “stream of consciousness” is the active work of the narrator’s memory, the detailing of the remembering mechanism, in which images of the past flow one upon another, interpenetrate, uniquely transforming in the consciousness of the hero. S. Bocharov about the psychology of the remembering process: “... reality is covered, it appears as separate objects... which consciousness has arbitrarily extracted and brought closer...” (Time in the works of M. Proust, V. Wulf, V. Bykov, Y. Trifonov). The time and space of dreams are a distortion of real perspectives (for example, dreams in the works of Dostoevsky). Artistic time is the most important characteristic artistic image, providing a holistic perception of the “poetic reality” created by the author in the work (V.V. Fedorov).
