The concept of style. Style functions, style media, style categories

established form of art. self-determination of an era, region, nation, social or creative. groups or departments personality. Closely related to aesthetics. self-expression and constituting the center, the subject of the history of literature and art, this concept, however, extends to all other types of people. activity, turning into one of the most important categories of culture as a whole, into a dynamically changing total sum of its concrete history. manifestations.

S. is associated with concr. types of creativity, taking on their Ch. characteristics ("picturesque" or "graphic", "epic" or "lyric" S.), with decomp. social levels and functions of language communication (S. "colloquial" or "business", "informal" or "official."); in the latter cases, however, the more impersonal and abstract concept of stylistics is more often used. S., although it is a structural generalization, is not faceless, but contains a lively and emotional. echo of creativity. S. can be considered a kind of air superproduct, quite real, but imperceptible. The “airiness” and ideality of S. historically and progressively intensified from antiquity to the 20th century. Ancient, archaeologically fixed style formation is revealed in "patterns", in succession. rows of things, cultural monuments and their characteristic features(ornaments, processing techniques, etc.), which are not only purely chronological. chains, but also clear lines of prosperity, stagnation or decline. Ancient S. closest to the earth, they always (as S. "Egyptian" or "Old Greek") denote the strongest possible connection with def. landscape, with types of power, settlement, and everyday life peculiar only to this region. In more conc. approaching the subject, they clearly express decomp. handicraft skills ("red-figure" or "black-figure" S. other Greek vase painting). In antiquity, an iconographic style definition (closely associated with the canon) was also born: the decisive factor was k.-l. a symbol fundamental to the beliefs of a given region or period (the "animal" symbol of the art of the Eurasian steppe, originally associated with totemism).

In the classic and late antiquity S., finding its modern. the name is separated both from the thing and from faith, turning into a measure of creativity. expression as such. This happens in ancient poetics and rhetoric - along with the recognition of the need for diversity, which a poet or speaker needs to master in order to optimally influence the perceiving consciousness, most often three types of such stylistic influence were distinguished: "serious" (gravis), "medium" ( mediocris) and "simplified" (attenuatus). Regional S. are now beginning, as it were, to soar above their geogr. soil: the words "Attic" and "Asiatic" no longer necessarily signify something created specifically in Attica or Asia Minor, but first of all "more strict" and "more flowery and magnificent" in their manner.

Despite the constant reminiscences of the ancient rhetoric. understanding of S. in the Middle Ages. literature, regional-landscape moment is cf. century remains dominant, - coupled with the intensified religious and iconographic. So romance. S., Gothic and Byzantine. S. (as one can generally define the art of the countries of the Byzantine circle) differ not only chronologically or geographically, but primarily because each of them is based on a special system of symbolic hierarchies, however, by no means mutually isolated (as, for example, in Vladimir -Suzdal sculpture of the 12th-13th centuries, where the Romanesque is superimposed on the Byzantine basis). In parallel with the emergence and spread of world religions, it is the iconographic. the stimulus is increasingly becoming fundamental, determines the features of the style-forming kinship inherent in numerous. local centers of early Christ. artistic cultures of Europe, Asia Minor and North. Africa. The same applies to Muslim culture, where the religious factor also turns out to be a style-forming dominant, partly unifying local traditions.

With the final separation of aesthetic. in the early modern period, i.e. from the turn of the Renaissance, the category S. is finally ideologically isolated (in its own way, it is significant that it is impossible to intelligibly say about some kind of "ancient" or "Mid-century." S., while the word "Renaissance" outlines at the same time an era, and a quite clear stylistic category.) Only now S. actually becomes S., since the sum of cultural phenomena that previously gravitated towards each other due to regional or religion. generalities, are equipped with critically evaluative categories, to-rye, clearly dominating, and outline the place of this sum, this "superproduct" in history. process (thus, Gothic, representing the decline and "barbarism" for the Renaissance and, on the contrary, the triumph of national artistic self-awareness for the era of romanticism, for several centuries of the New Age takes on the likeness of a giant historical and artistic continent, surrounded by a sea of ​​likes and dislikes). The whole history, starting from this milestone, is under the influence of the ever-increasing charm of the concepts of "ancient", "Gothic", "modern." etc., - begins to be comprehended stylistically or stylized. Historicism, i.e. man-vech. time as such is separated from historicism, i.e. image of this time, expressed in different kind flashbacks.

S. from now on reveals more and more claims to normative universality, and on the other hand, it is emphasized individualization. "Persons-S" are moving forward. - they are all three Renaissance titans, Leonardo da Vinci, Raphael and Michelangelo, as well as Rembrandt in the 17th century. and other great masters. Psychologization of the concept in the 17-18 centuries. further enhanced: the words of R. Burton "Style reveals (arguit) a person" and Buffon "Style is a person" from afar portend psychoanalysis, showing that it is not only about generalization, but about revealing, even exposing the essence.

Utopian ambivalence. claims to an absolute supra-personal norm (in fact, already the Renaissance in its classical phase interprets itself as such) and the growing role of personal manners or "idiostyles" is accompanied by another kind of ambivalence, especially clearly outlined within the Baroque; we are talking about the emergence of a permanent stylistic. antagonism, when one S. presupposes the obligatory existence of another as its antipode (a similar need for an antagonist existed before, for example, in the “Attic-Asiatic” contrast of ancient poetics, but has never acquired such a scale). The very phrase "baroque classicism of the 17th century." suggests such a duplicity, which is fixed when, in the 18th century. Against the background of classicism (or rather, within it), romanticism is born. The entire subsequent struggle between tradition (traditionalism) and the avant-garde in all their varieties goes along the line of this stylistic. dialectic of thesis-antithesis. Thanks to this, the property of any most historically significant work is not monolithic integrity (characteristic of the monuments of ancient cultures, where, as it were, “everything is their own”), but actual or latently implied dialogism, the polyphony of S., which attracts primarily with its obvious or hidden differences.

In the space of post-Enlightenment culture, the claims of a particular style to a universal aesthetic. significance diminishes over time. From Ser. 19th century The leading role is no longer played by "epochal" S., but by successive (from impressionism to the latest avant-garde trends) trends that determine the dynamics of art. fashion.

On the other hand, shrinking into art. life, S. is absolutized, even higher "soars" in philosophy. theories. Already for Winckelmann, S. is the highest point in the development of all culture, the triumph of its self-identification (he believes that Greek art, after the classics, in a period of decline, no longer possesses S. at all). In Semper, Wölfflin, Riegl, Worringer, the idea of ​​S. plays a leading role as Ch. mode of historical art. research, revealing the worldview of the era, its internal. the structure and rhythm of her being. Spengler calls S. "the pulse of the self-fulfillment of culture", thereby indicating that this concept is the key to morphological. comprehension as a separate cultures and their world history. interactions.

In the 19th and 20th centuries Further "stylization" of history is also facilitated by the entrenched skill of naming many artists. periods for specific chronological milestones, most often dynastic ("S. Louis XIV" in France, "Victorian" in England, "Pavlovian" in Russia, etc.). The idealization of a concept often leads to the fact that it turns out to be an abstract philosophy. a program imposed from the outside on historical and cultural reality (as often happens with "realism", - a word originally borrowed from theology, and not artistic practice; "avant-garde" also constantly turns out to be a pretext for speculating. , conjuncture). Instead of serving as an important tool of history. knowledge, the concept of S., epistemologically abstract, increasingly turns out to be his brake - when instead of concret. cultural phenomena or their complex sum, their correspondence to one or another abstract stylistic is investigated. norms (as, for example, in the endless debate about what is baroque and what is classicism in the 17th century, or where romanticism ends and realism begins in the 19th century). Complement the confusion in the 19-20 centuries. introduces the problem of national S., which has not yet found an optimal solution because of its fatal dependence on politics.

Psychoanalysis in decomp. its varieties, as well as structuralism, as well as the postmodern "new critique" make a fruitful contribution to the exposure of idiocratic. fictions that have accumulated around the concept of "C". As a result, it seems that it is now turning into a kind of obsolete archaism. In fact, it is transformed, in no way dying.

Modern practice shows that S. are now not so much born spontaneously, summed up after the fact, as they are consciously modeled, as it were, in some kind of time machine. The artist-stylist not only invents, but combines the "files" of the historical. archive; the design concept of "styling" (i.e. creating a visual image of the company) is also, it would seem, entirely combinatorial and eclectic. However, within the endless postmodern montage, the richest new possibilities of individual "idiostyles" open up, demystifying - and thus cognitively opening - the real field of culture. Modern the visibility of the entire world historical and stylistic panorama makes it possible to fruitfully study the diversity. morphology and "pulses" S., while avoiding mental fictions.

Lit .: Kon-Wiener E. History of fine arts styles. M., 1916; Ioffe I.I. Culture and style. L.; 1927; Ancient theories of language and style. M.; L., 1936; Sokolov A.N. style theory. M., 1968; Losev A.F. Understanding style from Buffon to Schlegel // Lit. studies. 1988. No. 1; Shapiro M. Style// Soviet art history. Issue. 24. 1988; Losev A.F. The problem of artistic style. Kyiv, 1994; Vlasov V. G. Styles in Art: Dictionary. T. 1. St. Petersburg, 1995.

Great Definition

Incomplete definition ↓

Style (from Latin stylus - writing stick) of fiction - a way of being: a) the general literary language, b) the language of fiction (including poetic language), carried out in a specific work of a specific author; corpus of works by a particular author; corpus of works by a number of authors of the same era (schools, trends, etc.); corpus of works by a number of chronologically unrelated authors who choose a similar manner of relationship with the language and their works.

This definition characterizes the point of view from the outside. If we talk about the inner essence of the style of fiction, then this is the centripetal movement of all elements of the text, subordinate to a single idea, which ensures the solidity of the work. The nature of the linkage of words is both an appeal to a certain type of perception, and an indispensable necessity, outside of which the artistic world disintegrates.

Our experts can check your essay according to the USE criteria

Site experts Kritika24.ru
Teachers of leading schools and current experts of the Ministry of Education of the Russian Federation.

The culturological function of the style of fiction is clear: through it, the author and the reader communicate with each other.

Style in a modern work of art can be based on one of the traditional varieties of language style in general: 1) neutral, 2) bookish, 3) colloquial, 4) scientific and their derivatives. The main ones are neutral, colloquial and bookish. It was on them that normative aesthetics was built. Ancient Greece, Ancient Rome or European classicism (the most famous theory of "three calms", in the domestic tradition associated with the name of M. Lomonosov).

It is also possible to imitate any generally accepted manner of performing one or another speech act (oratory, newspaper article, official document, diary entry, scientific lecture, everyday dialogue, friendly letter, etc.). The combination of stylistic manners makes up the special dynamics of the text, its absence is perceived as a sign of the author's constant presence in the work and the priority of his position, the author's point of view: this happens in novels and smaller genre forms by Tolstoy and Dostoevsky. In any case, style, and first of all the style of fiction, is always a selection and the principle of a combination of language means, techniques, elements, etc. Styles are distinguished by the way the selection is carried out. So, in the domestic prose of the 1920s. the stylistics of the document, "objective" fixation of life events, dominated. The style of Mandelstam's poetry can be defined as "symbolic-metaphorical", S.S. Krzhizhanovsky - as metonymic. S. M. Bulgakov - psychological and realistic, in some cases with a predominance of the ironic element. When Chukovsky called Bryusov "the poet of adjectives," it was precisely the stylistic characteristic that was meant. The same can be said about the expression "Fet is verbless."

In relation to the neutral language norm, the style of fiction, like its language, can be characterized as a system of deviations. These deviations become constant components, the main parameters of systematization. Their source is in the worldview and artistic ideal of the author, who seeks to create his own artistic world in accordance with his own subjective ideas of beauty and harmony. Meeting the reader's response, the subjective becomes objective: the style of the writer is close to his readers, because they see the world in a similar way. That is why in some cases the style is directly identified with the worldview.

The worldview can be both private, individual, and universal, due to the state of culture in a particular era. Moreover, different eras are characterized by different attitudes towards universality, and therefore we can talk about the "Style of French (Russian) classicism" (as well as separately about the style of P. Corneille or J. Racine, which, for all their proximity, differed in many parameters relations with the world), but it is difficult, for example, to strive to generalize even the “Style of Russian Symbolism” (for all the commonality of many linguistic devices, Vyach. Ivanov, Balmont and Blok have very little in common at the stylistic level). At the same time, researchers quite reasonably talk about the commonality of the language of the Symbolists (the most authoritative study in this area is N. Kozhevnikova’s study “Word Usage in Russian Poetry of the Late 19th and Early 20th Centuries”). Moreover - the style of acmeism. The latter case is especially interesting, since the commonwealth of acmeists, in the process of poets communicating with each other, developed many common language, symbolic units (a funny example is the famous “squirrel skin” of Akhmatova and Mandelstam). Akhmatova's attitude to the description of a real everyday situation dictates "simplicity", seeming routine, stylistic restraint. In Mandelstam, what is happening is translated not into an eventful, but into a purely existential layer, into a mythological or, in any case, mythologized time of antiquity, which appears as a kind of conglomeration of Ancient Greece and Ancient Egypt.

Style is the main element of speech. In fact, this is the “clothing” of the text, its design. And people's clothes say a lot.

A man in a formal suit is probably a business worker, and a guy in sneakers and stretched sweatpants either went out for bread, or is still an athlete.

So, according to the stylistic “clothing” of the text, one can understand in what area it “works” - it functions.

Tired of homework and essays?

Speaking scientifically, style is a system of various linguistic means and the ways in which they are organized, which has developed over the entire historical period of language development. The use of each of the established systems is typical for a strictly defined sphere of human communication: for example, the scientific sphere, official business, the sphere of mass media, fiction, or the sphere of communication in everyday life or the Internet.

By the way, pay attention: in some sources, text styles are called speech styles. Both phrases are one and the same.

Types of text (speech) styles

The Russian language has historically developed four functional styles. Later, the style of fiction emerged from the journalistic style.

Thus, five styles of speech are currently distinguished:

How to distinguish one style from another? For example, a men's business suit is a combination of trousers, shirt, tie, jacket and shoes. And style is also a combination of certain "objects" - elements: words, sentences (syntactic constructions) and text structure.

Characteristics of speech styles

So, how to identify the scientific style by "clothes"?

Rich expressive-emotional vocabulary. Metaphors and comparisons at every turn. "Tint" words - slang, abusive, outdated. Sentence constructions that are easy to understand (“Darkness”). Bright author's position.

How to recognize?

First of all, it is a style for everyday live communication between people. IN writing it is used when the author wants to establish a closer, personal contact with his readers. In a conversational style, personal blog posts are often written, selling texts, notes with social networks etc. It is characterized by lively speech, pronounced expression, colloquial and colloquial words and phrases, colorfulness, high subjectivity and evaluativeness, repetitions, incomplete sentences. Sometimes obscene language is also used.

Thus, when working on a text, it is important to combine stylistic elements. Otherwise, you run the risk of being left without a reader, and the manuscript is closed in the table. Why? Are you going to get a job in the office in torn jeans and an elongated T-shirt? It seems not.

So you shouldn't write in a scientific style. However, in an artistic style, you can use elements of each - scientific, colloquial, journalistic ... The main thing is to understand why you are doing this, for what purpose, what effect you want to achieve.

Therefore, in order not to look stupid, find out the features of different styles, their elements and learn how to work with them.

And do not forget - they are greeted by clothes. And not only people, but also texts.

All materials posted on the site are intended for non-commercial use and are protected by the legislation of the Russian Federation (Civil Code of the Russian Federation, Part Four).
Copying is prohibited.
Partial citation of articles and training materials is possible only with the obligatory indication of the source in the form of an active link.

With a holistic analysis of the form in its substantive conditionality, the category that reflects this integrity, style, comes to the fore. Style in literary criticism is understood as the aesthetic unity of all elements of the artistic form, which has a certain originality and expresses a certain content. In this sense, style is aesthetic, and therefore, evaluation category. When we say that a work has a style, we mean that in it the artistic form has reached a certain aesthetic perfection, has acquired the ability to aesthetically influence the perceiving consciousness. In this sense style opposed, On the one side, stylelessness(lack of any aesthetic meaning, aesthetic inexpressiveness of the artistic form), and on the other hand - epigone stylization(negative aesthetic value, simple repetition of already found artistic effects).

The aesthetic impact of a work of art on the reader is due precisely to the presence of style. Like any aesthetically significant phenomenon, You may or may not like the style.. This process takes place at the level of primary reader's perception. Naturally, aesthetic evaluation is determined both by the objective properties of the style itself and by the characteristics of the perceiving consciousness, which, in turn, are determined by a variety of factors: the psychological and even biological properties of the personality, upbringing, previous aesthetic experience, etc. As a result, various properties of style excite in the reader either positive or negative aesthetic emotion. It should be borne in mind that any style, whether we like it or not, has an objective aesthetic significance.

Style patterns. As already mentioned, style is an expression of the aesthetic integrity of the work. This implies the subordination of all elements of the form to a single artistic pattern, the presence of an organizing principle of style. This organizing principle, as it were, permeates the entire structure of the form, determining the nature and functions of any of its elements. So, in L. Tolstoy's epic novel "War and Peace", the main stylistic principle, the pattern of style is contrast, a clear and sharp opposition, which is realized in every "cell" of the work. Compositionally, this principle is embodied in the constant pairing of images, in the opposition of war and peace, Russians and French, Natasha and Sonya, Natasha and Helen, Kutuzov and Napoleon, Pierre and Andrei, Moscow and St. Petersburg, etc.

Style is not an element, but a property of an artistic form; it is not localized (as, for example, elements of a plot or an artistic detail), but is, as it were, poured into the entire structure of the form. Therefore, the organizing principle of style is found in any fragment of the text, each text “dot” bears the imprint of the whole (hence, by the way, it follows that the whole can be reconstructed from separate surviving fragments - so we can judge the artistic originality of even those works that have come down to us in passages, like the "Golden Ass" of Apuleius or the "Satyricon" of Petronius).

style dominants. The integrity of style is most clearly manifested in system style dominants , with the selection and analysis of which the consideration of style should begin. Style dominants can become the most general properties various parties art form: in the field of the depicted world, this plot, descriptive And psychologism, fantasy and lifelikeness, in the region of artistic speech – monologism And contradiction, verse And prose, nominative And rhetoric, in the field of composition - simple And difficult 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. 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). Thus, the dominant properties directly determine the laws by which the individual elements of the artistic form are formed into an aesthetic unity - style.

Style as a meaningful form. 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.

Style and originality. In terms of artistic style originality, dissimilarity to other styles is thought to be an integral feature. Thus, an individual writing style is easily recognizable in any work or even a fragment, and this identification occurs both at the synthetic level (primary perception) and at the level of analysis. The first thing that we feel when perceiving a work of art is the general aesthetic tonality, embodying the emotional tonality - the pathos of the work. In this way, style is initially perceived as a meaningful form. According to any line chosen at random from the poem "Lilichka!" you can recognize its author - Mayakovsky. The first impression of the poem is an impression of an expression of amazing power, behind which stands a tragic intensity of feelings that has reached an extreme, unbearable degree. The stylistic dominants of the work are pronounced rhetoric, complex composition and psychologism. Generous, bright, expressive allegorical imagery - in almost every line, and the images, as is typical of Mayakovsky in general, are catchy, often deployed (comparison with an elephant and a bull); for the depiction of feelings, mainly a materializing metaphor is used (“a heart in iron”, “My love is a heavy weight, after all”, “I burned a blooming soul with love”, etc.). To enhance expressiveness, the poet’s favorite neologisms are used - “Krunykhovsky”, “I’ll go crazy”, “cut off”, “roar out”, “fired”, etc. Complex, compound rhymes, involuntarily stopping attention, serve the same purpose. The syntax and the tempo-rhythm associated with it are nervous, full of expression, the poet often resorts to inversion (“In a muddy anteroom, a trembling broken arm will not fit into a sleeve for a long time”, “Will dry leaves make my words stop, breathing greedily?”), to rhetorical appeals. The rhythm is ragged, not obeying any meter: the poem is written in the tonic system of versification and approaches the loosely ordered rhythmic of free verse, with alternating long and short lines, with a breakdown of the line in the graphics to emphasize additional emotional stresses and pauses. These two lines alone are more than enough to unmistakably identify Mayakovsky.

Style is one of the most important categories in the comprehension of a work of art.. Its analysis requires from the literary critic a certain aesthetic sophistication, an artistic flair, which is usually developed by copious and thoughtful reading. The richer in aesthetic terms the personality of a literary critic, the more interesting he notices in style.

54.Historical and literary process: the concept of the main cycles of the development of literature.

The historical and literary process is a set of generally significant changes in literature. Literature is constantly evolving. Each era enriches art with some new artistic discoveries. The study of the laws of development of literature is what constitutes the concept of "historical and literary process". Development literary process is determined by the following artistic systems: creative method, style, genre, literary trends and currents.

The continuous change of literature is an obvious fact, but significant changes do not occur every year, not even every decade. As a rule, they are associated with serious historical shifts (change of historical epochs and periods, wars, revolutions associated with the entry of new social forces into the historical arena, etc.). It is possible to single out the main stages in the development of European art, which determined the specifics of the historical and literary process: antiquity, the Middle Ages, the Renaissance, the Enlightenment, the nineteenth and twentieth centuries.

The development of the historical and literary process is due to a number of factors, among which, first of all, it should be noted historical situation(socio-political system, ideology, etc.), the influence of previous literary traditions and the artistic experience of other peoples. For example, Pushkin's work was seriously influenced by the work of his predecessors not only in Russian literature (Derzhavin, Batyushkov, Zhukovsky and others), but also in European literature (Voltaire, Rousseau, Byron and others).

home » materials » The concept of style. Style functions, style media, style categories