The concept of stylistic dominant and systemic organization around it of the main parameters of style.

The integrity of the style is most clearly manifested in the system of stylistic dominants, with the selection and analysis of which the consideration of style should begin. The most common properties of various aspects of the artistic form can become stylistic dominants: in the field of the depicted world these are plot, descriptiveness and psychologism, fantasy and lifelikeness, in the field of artistic speech - monologism and heteroglossia, verse and prose, nominativity and rhetoric, in the field of composition - simple and complex types*. AT work of art usually stands out from one to three stylistic dominants, which constitute the aesthetic originality of the work. Subordination to the dominant of all elements and techniques in the field of artistic form constitutes the actual principle of the stylistic organization of the work. So, for example, in Gogol's poem "Dead Souls" the stylistic dominant is a pronounced descriptiveness. The task of comprehensively recreating the way of Russian life in its cultural and domestic plans is subject to the entire structure of the form. Thus, among artistic details, details of a portrait and, in particular, of the material world predominate, while at the same time, details are usually used, details that affect the reader primarily by their mass. External details predominate, while internal ones are practically absent. The nature of imagery is lifelike, which is important for creating general impression the accuracy of the description. Subject to descriptiveness as a stylistic dominant and area of ​​composition. Sharply, as far as possible in an epic work, the plot is weakened and, accordingly, the importance of extra-plot elements increases - author's digressions, inserted episodes, and especially descriptions. In practice, the main plot in Gogol exists in order to constantly be distracted from it, it has no independent meaning, and the leading conflict (the contradiction between “dead”, stagnant and “alive”, developing) is realized outside the plot, at other levels of composition (primarily in contrasting pictures of reality and author's digressions). In accordance with the principle of descriptiveness, the composition of the system of characters is also built. Firstly, there are extremely many of them in Gogol's poem, and secondly, they are essentially equal in rights and equally interesting to the author; the division into main, secondary and episodic can only be formally carried out (this feature of "Dead Souls" was discussed in detail above). Among the compositional techniques, repetition and amplification, the injection of single-order details, impressions, characters, etc., are of particular importance, which also contributes to descriptiveness.

___________________

In the field of artistic speech, it should be noted, firstly, the nominativity, which is necessary for descriptiveness in order to create a complete and accurate idea of ​​\u200b\u200bobjects and phenomena, without being distracted by speech "beauties", and secondly, relatively slow, unhurried and measured tempo-rhythm, reinforcing the impression of thoroughness, meticulousness of the image-description. An important property there is also heteroglossia, in which different speech manners are absolutely opposed to each other, without penetrating each other; it also works for descriptiveness, creating also a speech image of various ways of life.

Another example is the organization of style in Dostoevsky's novels. The stylistic dominants in them are psychologism and heteroglossia in the form of polyphony. Subordinating to these dominants, all elements and sides of the form are artistically oriented. Naturally, among artistic details, internal ones prevail over external ones, and the external details themselves are psychologized in one way or another - they either become the emotional impression of the hero (axe, blood, cross, etc.), or reflect changes in the inner world (portrait details). There is practically no description as such. Basically, not details-details are used, but single details-symbols that can be psychologized to a large extent. The plot is undergoing an interesting transformation.

It does not weaken, as might be expected; on the contrary, Dostoevsky's plot is always impetuous and tense, replete with ups and downs. But in none of Dostoevsky's novels does the plot have a self-sufficient meaning, it works for heteroglossia and psychologism: acute, extreme situations that arise every now and then in the course of the plot are designed primarily to provoke the ideological and emotional reaction of the characters, to stimulate their ideological and speech activity. In the composition of novels, an unprecedentedly large place is occupied by the direct speech of the characters, both external and internal. The principle of polyphony is also realized in the nature of the narration: the narrator's word is just as initiative and tense as the hero's word, and just as "open" to someone else's speech, an indicator of which can be, first of all, the active use of such a narrative form as improperly direct speech. Thus, the dominant properties directly determine the laws by which the individual elements of the artistic form are formed into an aesthetic unity - style.

However, not only the presence of dominants that control the structure of the form creates the integrity of the style. Ultimately, this integrity, as well as the very appearance of a particular stylistic dominant, is dictated by the principle of the functionality of style, which means its ability to adequately embody the artistic content: after all, style is a meaningful form. “Style,” wrote A.N. Sokolov, is not only an aesthetic category, but also an ideological one. Necessity, by virtue of which the law of style requires just such a system of elements, is not only artistic, and even more so not only formal. It goes back to the ideological content of the work. The artistic regularity of style is based on the ideological regularity. Therefore, a complete understanding of the artistic meaning of style is achieved only when referring to its ideological foundations. Following the artistic meaning of style, we turn to its ideological meaning. G.N. later wrote about the same regularity. Pospelov: “If literary style is a property of the figurative form of works at all its levels, up to the intonation-syntactic and rhythmic structure, then it seems to be easy to answer the question of the factors that create style within a work. This is the content literary work in the unity of all its sides"**.

___________________

* Sokolov A.N. style theory. M., 1968. S. 42. The use of the terms "ideological" and "ideological", of course, is unsuccessful in this context, but this is a tribute to the times, and in general the scientist's thought is absolutely correct.

** Pospelov G.N. Problems literary style. M, 1970. S. 61–62.

Why do certain stylistic patterns, stylistic dominants, appear in a work of art? Because it is them that require specific meaningful tasks. Thus, the principle of contrast, which we noted in the style of "War and Peace", is primarily due to the content of the epic novel, Tolstoy's desire to clearly contrast right and wrong ethical principles, true and false, natural and unnatural, spiritual and animal, good and evil. This is the core of both Tolstoy's problems and axiomatics, the essence of the ideological orientation of his work, the expression of the author's ethical uncompromisingness. The appearance of descriptiveness as the dominant style of "Dead Souls" is explained by the fact that Gogol set himself the task of drawing, in his words, "an image of a lot", in his work he does not give images of individuals and destinies, but a picture of the cultural and everyday way of life in Russia, a way of life , the image of the world, nation, ethnic group; sociocultural issues became the content dominant of the poem. Psychologism and heteroglossia as the stylistic dominants of Dostoevsky's novels are due to their content dominant - ideological and moral issues, which involve the search for personal truth, one's own "word about the world", taking shape in constant interaction with "another's word", with other points of view on the world.

Test 15

Test 14 literary language presented in speech style

Test 13. Emotionally expressive vocabulary is most fully represented in

Test 12 fiction influences the development

Test 11 big influence on style

Test 9

Test 7

Test 6. The main language function of conversational style is

Test 3. Does not apply to book style of speech

a) official business;

b) scientific;

c) colloquial and everyday;

d) journalistic.

a) scientific;

b) artistic;

c) journalistic;

d) official business.

Test 5 style features, as informality, ease and expressiveness of speech communication characteristic of the style

a) official business;

b) scientific;

c) colloquial and everyday;

d) journalistic.

a) accumulative;

b) cognitive;

c) communicative;

d) aesthetic.

a) informality and ease of speech;

b) spontaneity and automatism;

c) accuracy and consistency of speech;

d) routine content.

Test 8. The statement is incorrect:

a) Speech situation pays a lot of attention to conversational style.

b) This allows the maximum reduction of the statement.

c) Compression, simplification is an extremely important condition for the existence of a conversational style.

d) The main form of existence of the conversational style is the monologue form.

a) scientific terminology;

b) colloquial words;

c) commonly used words;

d) colloquial words.

Test 10 practical application often there is a mixture of styles, ĸᴏᴛᴏᴩᴏᴇ begins to interact with each other. This process is called:

a) semantic flow;

b) written stream;

c) speech flow;

d) oral flow.

a) journalistic;

b) official business style;

c) scientific;

d) colloquial and everyday.

a) vernacular;

b) dialects;

c) jargon;

d) literary language.

a) colloquial and everyday speech;

b) official business speech;

c) scientific speech;

d) technical style.

a) scientific;

b) official business;

c) journalistic;

d) artistic.

a) sixty grams, with fifty percent;

b) driver, on vacation;

c) shorter, softer;

d) five kilograms of an orange.

Test 16 sweetheart, hare, hard worker refer to

a) neologisms;

b) evaluative vocabulary;

c) archaisms;

d) historicism.

a) abstractness and precision;

b) imagery and aesthetic value;

c) standardization and objectivity;

d) appraisal and invocativeness.

The integrity of the style is most clearly manifested in the system of stylistic dominants, with the selection and analysis of which the consideration of style should begin.

The most common properties of various aspects of the artistic form can become stylistic dominants: in the field of the depicted world these are plot, descriptiveness and psychologism, fantasy and lifelikeness, in the field of artistic speech - monologism and heteroglossia, verse and prose, nominativity and rhetoric, in the field of composition - simple and complex types.

In a work of art, one to three stylistic dominants are usually distinguished, which constitute the aesthetic originality of the work.

Subordination to the dominant of all elements and techniques in the field of artistic form constitutes the actual principle of the stylistic organization of the work. So, for example, in Gogol's poem "Dead Souls" the stylistic dominant is a pronounced descriptiveness.

The task of comprehensively recreating the way of Russian life in its cultural and domestic plans is subject to the entire structure of the form. Thus, among artistic details, details of a portrait and, in particular, of the material world predominate, while at the same time, details are usually used, details that affect the reader primarily by their mass. External details predominate, while internal ones are practically absent.

The nature of the figurativeness is lifelike, which is important for creating a general impression of the reliability of the description. Subject to descriptiveness as a stylistic dominant and area of ​​composition. Drastically, as far as possible in an epic work, the plot is weakened and, accordingly, the importance of extra-plot elements - author's digressions, inserted episodes and especially descriptions - increases.

In practice, the main plot in Gogol exists in order to constantly be distracted from it, it has no independent meaning, and the leading conflict (the contradiction between “dead”, stagnant and “alive”, developing) is realized outside the plot, at other levels of composition (primarily in contrasting pictures of reality and author's digressions).

In accordance with the principle of descriptiveness, the composition of the system of characters is also built. Firstly, there are extremely many of them in Gogol's poem, and secondly, they are essentially equal in rights and equally interesting to the author; the division into main, secondary and episodic can only be formally carried out (this feature of "Dead Souls" was discussed in detail above).

Among the compositional techniques, repetition and amplification, the injection of single-order details, impressions, characters, etc., are of particular importance, which also contributes to descriptiveness.

In the field of artistic speech, it should be noted, firstly, the nominativity, which is necessary for descriptiveness in order to create a complete and accurate idea of ​​\u200b\u200bobjects and phenomena, without being distracted by speech "beauties", and secondly, relatively slow, unhurried and measured tempo-rhythm, reinforcing the impression of thoroughness, meticulousness of the image-description.

An important property is also heteroglossia, in which different speech manners are absolutely opposed to each other, without penetrating each other; it also works for descriptiveness, creating also a speech image of various ways of life.

Another example is the organization of style in Dostoevsky's novels. The stylistic dominants in them are psychologism and heteroglossia in the form of polyphony. Subordinating to these dominants, all elements and sides of the form are artistically oriented.

Naturally, among artistic details, internal ones prevail over external ones, and the external details themselves are psychologized in one way or another - they either become an emotional impression of the hero (axe, blood, cross, etc.), or reflect changes in the inner world (portrait details).

There is practically no description as such. Basically, not details-details are used, but single details-symbols that can be psychologized to a large extent. The plot is undergoing an interesting transformation. It does not weaken, as might be expected; on the contrary, Dostoevsky's plot is always impetuous and tense, replete with ups and downs.

But in none of Dostoevsky's novels does the plot have a self-sufficient meaning, it works for heteroglossia and psychologism: acute, extreme situations that arise every now and then in the course of the plot are designed primarily to provoke the ideological and emotional reaction of the characters, to stimulate their ideological and speech activity. In the composition of novels, an unprecedentedly large place is occupied by the direct speech of the characters, both external and internal.

The principle of polyphony is also realized in the nature of the narration: the narrator's word is just as initiative and tense as the hero's word, and just as "open" to someone else's speech, an indicator of which can be, first of all, the active use of such a narrative form as improperly direct speech.

Thus, the dominant properties directly determine the laws by which the individual elements of the artistic form are formed into an aesthetic unity - style.

Esin A.B. Principles and methods of analysis of a literary work. - M., 1998

Test 15

Test 14. Vocabulary not only of the literary language is presented in the style of speech

Test 13. Emotionally expressive vocabulary is most fully represented in

Test 12

Test 11

Test 9

Test 7. Such a trait as

Test 6. The main language function of conversational style is

Test 3. Does not apply to book style of speech

a) official business;

b) scientific;

c) colloquial and everyday;

d) journalistic.

a) scientific;

b) artistic;

c) journalistic;

d) official business.

Test 5 informality, ease and expressiveness of speech communication characteristic of the style

a) official business;

b) scientific;

c) colloquial and everyday;

d) journalistic.

a) accumulative;

b) cognitive;

c) communicative;

d) aesthetic.

a) informality and ease of speech;

b) spontaneity and automatism;

c) accuracy and consistency of speech;

d) routine content.

Test 8. The statement is incorrect:

a) Speech situation pays a lot of attention to conversational style.

b) This allows the maximum reduction of the statement.

c) Compression, simplification - necessary condition for the existence of a conversational style.

d) The main form of existence of the conversational style is the monologue form.

a) scientific terminology;

b) colloquial words;

c) commonly used words;

d) colloquial words.

Test 10. In practical application, a mixture of styles often occurs, which begins to interact with each other. This process is called:

a) semantic flow;

b) written stream;

c) speech flow;

d) oral flow.

a) journalistic;

b) official business style;

c) scientific;

d) colloquial and everyday.

a) vernacular;

b) dialects;

c) jargon;

d) literary language.

a) colloquial and everyday speech;

b) official business speech;

c) scientific speech;

d) technical style.

a) scientific;

b) official business;

c) journalistic;

d) artistic.

a) sixty grams, with fifty percent;

b) driver, on vacation;

c) shorter, softer;

d) five kilograms of an orange.

Test 16 sweetheart, hare, hard worker refer to

a) neologisms;

b) evaluative vocabulary;

c) archaisms;

d) historicism.

a) abstractness and precision;

b) imagery and aesthetic value;

c) standardization and objectivity;

d) appraisal and invocativeness.

Philosophy/1. Philosophy of literature and art

Konnov A.F.

State Academy housing and communal farms, Kyiv

Spiritual Dominants artistic style

Sufficiently tested for today is the understanding of the artistic style as a system of features, principles for constructing the form of a work of art, in which a certain content is expressed. Such features are called style dominants. An example is the well-known series of "basic concepts" of the history of art by G. Wölfflin: linearity and picturesqueness, flatness and depth, closeness and openness, fragmentation and integrity, symmetry and asymmetry.The fact of consistency between the content of the work and its stylistic dominants is known and recognized in the "scientific community". However, style is seen (consciously or not) primarily as a system formal properties. Indeed, "linearity", "openness", etc. - the essence of the features of the form. And, despite the declarative recognition of the correlation between the style and the ideological content of the work, they are considered either in isolation, or the connection between them is established externally and arbitrarily.Everyone willingly admits that style and content are inseparable, wrote S. Sontag on this occasion, however, in a critical practice The "old antithesis" continues to be virtually irrefutable. Thus, there is a "gap" between the formal and substantive dimensions of style. The latter circumstance leads to the fact that the nature of the connection between form and content "falls out" of the researchers' field of vision. It remains unclear how exactly the content determines the features of the form, which content components set in motion certain stylistic dominants. For example, which features of the worldview (pessimism, the requirement of novelty, or something else) lead to the emergence of, say, “openness” of form. In our opinion, one of the urgent tasks of the philosophical and aesthetic analysis of style is to establish a correspondence between formal stylistic dominants (linearity and picturesqueness, flatness and depth, the type of artistic convention, monumentality and intimacy, etc.) and spiritual components that are embodied in the work .The concentration exclusively on the external elements of style and insufficient attention or misinterpretation of its spiritual dimensions often leads to an inadequate (debatable) interpretation of the artistic process.

Attempts to overcome the "gap" between content and form in stylistic analysis have been made earlier. Probably the most interesting and valuable option was proposed by A. Losev. He introduces the concept of "structural term", in which the principles of constructing an artistic form and ontological concepts intersect. Structural terms include: measure (meros), correspondence (symmetria), equal (isos), middle (mesos), quantity, balance, etc. The listed categories are used in philosophy, geometry, arithmetic, acoustics, physics. Structural terms contain theological, ontological, axeological and natural science content. In addition, they express the principles of creating a form of a work of art, i.e., stylistic dominants.

A. Losev gets to the very center of the problem. It seems that it is impossible to wish for the best. Indeed, antiquity used the term "measure" to formulate both the law of nature, and the ethical principle, and the aesthetic norm. Such terms were "syncretic", they concerned the universe as a whole. But, the feeling of the identity of the law of nature, ethical and aesthetic principles is characteristic of "archaic" thinking. Is modernity capable of thinking like this? The indicated specificity of the ancient Greek mentality was embodied in phrases of this kind: “square man” in the meaning of “virtuous” (a square has equal sides, and justice is a commensurate repayment). Our time, as we know, does not produce anything of the kind. "Measure", "symmetry", etc. are now perceived as concepts relating to something purely external, i.e., form. In our opinion, as long as the categories of style analysis will evoke associations only with form, the recognition of the unity of the content and formal aspects of style will remain only a declaration.

We propose such a solution to the problem. Aesthetics operates with "too formal" categories of style: linearity, picturesqueness, closed contour, open contour, etc. The spiritual aspect of them is either fundamentally eliminated or insufficiently accentuated. In our opinion, it makes sense to supplement the formal categories of style with meaningful ones, which will reflect the features of the spiritual dimensions of the work - the spiritual dominants of the style. A world view may be "metaphysical" or "dialectical", a value may be material or ideal, and so on. It is proposed to display "spiritual features" using a system of spiritual categories and consider them together with formal ones. The spiritual (content) category of style is a concept that reflects the feature of the content (spiritual dominant), which is embodied in the form of a work. Depending on the needs of the study, for example, such spiritual categories can be introduced: "rationality", "emotiveness", "positivity", "mysticism", etc. Rationality - a category that characterizes the spirit of classicism, emotivity - describes the dominant content of baroque, sentimentalism, romanticism.

Literature:

1. Umbrella WITH.Against interpretation and others. - Lviv: Calvary, 2006. - 320 p.

2. Losev A.F.Artistic canons as a problem of style // Issues of aesthetics. - Issue . 6. - M.: 1964. - S. 351-399.