graduate work

1.1 Analysis of historical and modern prototypes, analogues of creative sources

When creating modern clothing, it is necessary to take into account not only its convenience, practicality, economic indicators, but also aesthetic qualities. For a fashion designer, a designed costume is not just a household item - it is, first of all, a means of expressing an artistic vision of the world. Through a costume, the designer always tries to convey certain information to the viewer.

Ideas for new costume forms and images do not come to the artist by chance. As a rule, this is the result of a long study and understanding of the various phenomena of our life. The source that inspires a fashion designer to create can be any manifestation of real world, and ideal. Every aspect of life human society(history, politics, science, literature, art, etc.) is able to evoke artistic images in the designer’s mind, which he then transfers into the designed products.

The ability to see beauty and uniqueness in the most common objects and phenomena of the world around us is an essential part of an artist’s talent. Any phenomenon in our life can help a true professional in the birth of an idea. Images of a future product may appear in the artist’s mind after reading a book, watching a movie or theater performance. The prototypes of collections are sometimes bright historical figures.

Some events can also give impetus to the birth of a new idea, for example, space exploration, Olympic Games, scientific discoveries which caused a strong resonance in public life. All this can be characterized by one term - a creative source.

Two creative sources were used to create the collection:

1. Folk style (ethnographic)

2. Embroidery

One of the trends in modern fashion uses the attractive simplicity of ancient techniques for creating clothes. The folk style enriched youth fashion with gathered skirts, spacious blouses, shirts, hand-knitted vests, stockings, and scarves.

From the materials of the International Scientific and Practical Conference "Folk Artistic Culture as a Strategic Resource for the Development of Russia":

“At the present stage of preparation for the life of the younger generation, it is necessary to take care not only of the quality of general education disciplines, but also to devote time to artistic and aesthetic education, in which due place must be given to the study of one’s origins, traditions, and culture.

One aspect folk culture is his traditional clothes. It reflects the traditions of the people, their worldview and worldview.

Nowadays, traditional costume is of interest not only from an artistic, but also from a historical, ethnographic, sociological and scientific point of view. Folk costume is an important part of traditional artistic culture. And this part of folk art is distinguished by its high artistry and diversity. The skill with which women spun, weaved, embroidered, preserving centuries-old traditions, surprises everyone who has at least once come into contact with folk costume. Knowledge of the origins of its artistic nature makes it possible for the younger generation to join traditional Russian culture, allows them to instill in them a certain perception of the world, to develop creative qualities individuals who ensure readiness to inherit the spiritual values ​​of folk art.”

Rice. 1. Ritual folk

Rice. 2. Wedding folk costume

And today the folk costume attracts many. It has not lost its relevance today. Not only ethnographers, historians and art critics are interested in it. Many leading fashion designers (not only Russian ones) use elements of folk costume in their collections and even create entire collections based on it. But these “rites”, “rites”, “outfits” were made by the hands of simple, illiterate peasant women who, without realizing it, created masterpieces of world artistic culture.

Rice. 3. Show of the autumn-winter collection 2006-2007 Jean Paul Gaultier

Rice. 4. Show of the autumn-winter collection 2006-2007 Jean Paul Gaultier

Rice. 5. Russian felt boots from the Italian brand Judari

Both Gianni Versace and Paco Rabanne addressed the theme of folk costume. Even in one of Madame Chanel’s collections, small dresses were decorated with braid made in the traditional Russian style. Russian fashion designer Vyacheslav Zaitsev has repeatedly created collections based on Russian folk costume, which delighted not only his compatriots, but also foreign fashion connoisseurs. Another master of Russian modeling, Valentin Yudashkin, also in his works repeatedly turns to the origins of traditions, in particular, to embroidery on dresses from the Pret-a-porte and even Couture collections. Perhaps, after many years of oblivion, the real folk tradition We need it today to realize our identity, to restore almost lost connections with the past, with our roots, for the proper education of the modern generation.

Speaking about folk costume, we turn to the costume of the peasant environment. It was formed in ancient times, and at that time it was endowed with iconic features. Clothing was adapted to natural climatic conditions and corresponded to the human lifestyle. From time immemorial, the complex of folk costume carried a special spiritual meaning, in which the psychology of each people was manifested. The costume reflected the aesthetic views of the people, going back to the concepts of life and death, youth and old age, procreation and unity with people living nearby.

Russian folk costume is not only a variety of styles and types of clothing, not only the way of life of Russian people over a vast space. This is the interaction of visible and invisible world. These are audible sound vibrations and women’s feelings and thoughts hidden from everyone, which were not customary to be shared among the peasants, but which were “sewn” into patterns and dissolved in the centuries-old thickness of time, correlating personal life with the life of their ancestors.

I would like to note the All-Russian competition "Russian costume at the turn of eras", held for the fifth time in the city of Yaroslavl by the State Russian House folk art. The competition nominations are interesting and varied. This is the restoration and reconstruction of an ethnographic costume in the local features of its manufacture. This is a modern suit that meets the requirements of today's fashion, using modern technologies, materials, preserving traditional features and the color of Russian costume. This is a stylized stage costume folk motifs, combined with the repertoire program of creative groups.

Time is running away from us irrevocably, but there is so much more that can be saved, discovered, studied. After all, this is irreproducible material, it is part of our culture, part of our soul, part of our national heritage, and we have no right to forget about it.

It is necessary to support the interest of craftsmen and fashion designers who strive to study, preserve and develop the traditions of Russian costume, to educate and help shape the aesthetic tastes of the younger generation based on traditional culture, identify and support talented craftsmen, new teams and centers of authorship in the field of creating Russian costume in its regional diversity.

The second, but no less important creative source that influenced the creation of my collection was embroidery.

The art of embroidery has a long history. On the territory of our country, archaeologists have discovered fragments of clothing embroidered with gold threads. Finds dating back to the 9th-12th centuries confirm that embroidery existed and developed already in the era of Ancient Rus'.

Rice. 6. Modern wedding dresses in Ukrainian folk style

Rice. 7. Girls in wedding dresses in folk Ukrainian style

Since pagan times, women embroiderers have created scenes of everyday life in their embroidery paintings. Most often, embroidery was used to decorate bedding (sheets), the ends of which hung from the beds, as well as towels, tablecloths, curtains, wedding and holiday shirts, canvas sundresses, hats, and scarves. An embroidered towel was used not only in everyday life.

Ritual, richly embroidered towels were hung on sacred trees, roadside and grave crosses, and they were used to decorate the temples of idols. Later, in Christian times, the custom arose of decorating icons, mirrors and windows with embroidered towels. At a wedding, Maslenitsa, at the birth or death of a person embroidered towels were a sacred amulet. Special power to protect people from evil forces, diseases and the elements were attributed to an ordinary (“made in one day”) towel. It was created by several craftswomen in one day or day and was considered impeccably clean. Embroiderers often depicted a sacred tree and a human figure with his hands raised to the sun - a traditional religious gesture from both pagan and Christian times. The patterns reproduced signs of good wishes (a hooked cross, a circle, a rhombus, a rosette), symbolic animals, and birds of paradise.

Rice. 8. "Bird of Paradise"

Rice. 9. Geometric pattern

Rice. 10. Designation of symbolic characters in embroidery

Until the 18th century, embroidery was mainly practiced by women from noble families and nuns. Church vestments, rich clothes of kings and boyars were made from expensive fabrics (silk, velvet) and embroidered with gold and silver threads, combined with pearls and gems. Wedding towels, festive shirts and scarves were also decorated with colored silk and gold threads. The daughter of the Russian Tsar Boris Godunov, Ksenia, was a skilled needlewoman. The coverlet embroidered by her hands in 1601 on the church throne with the image of the Mother of God, Christ, John the Baptist, Sergius of Radonezh and Nikon worshiping them has survived to this day. This is embroidery with gold, silver and precious stones on velvet. The work is delicate and painstaking. Since the 18th century, embroidery has become one of the main occupations of peasant girls. The products were made from simple, inexpensive fabrics, but were distinguished by high artistic skill. The embroiderers themselves created patterns and selected colors.

Rice. 11. Festive tablecloth

Rice. 12. Ritual belts for shirts

Russian peasant embroidery can be divided into two main groups: the northern regions and the central Russian strip. Common techniques of northern embroidery include: cross stitch, painting, cutouts, white fine stitching, end-to-end sewing done on a grid, white and colored satin stitch. Most often, patterns were made with red threads on a white background or white threads on a red background. The background was used by craftswomen as an element of the pattern. Squares and stripes inside large figures(birds-peahen, leopard, tree) were embroidered with blue, yellow and dark red wool.

The Russian North is characterized by white stitching, while the Upper Volga region is characterized by colored stitching. In the Yaroslavl region, silk threads of delicate tones or woolen garus were selected for colored stitch embroidery.

In Olonets, Vologda and western parts Arkhangelsk region embroidered mainly with tambour. White and colored surface with plant motifs typical for the Vladimir region, gold embroidery - for the Tver region, guipure - for the Gorky and Ivanovo regions. In northern embroidery patterns, plot motifs prevailed over geometric ones.

The patterns were drawn on checkered paper and embroidered by counting the threads in the fabric. Complex compositions were made in outline, in one color, using one embroidery technique. The embroideries of Kaluga, Tula, Ryazan, Smolensk, Oryol and other Central Russian regions are multicolored. Ornament - the image of a bird is often found in embroidery. These are roosters, peacocks, waterfowl and predator birds. Another popular motif is horses located on the sides of the tree and carrying a rider. There are images of snakes and frogs, which in the old days were attributed with supernatural and mysterious powers. The sun was depicted in the form of a circle, a rhombus, or a rosette. The female figure and the flowering tree symbolized fertility. The location of the pattern and embroidery techniques depended on the shape of the clothing, which was sewn from straight pieces of fabric.

Rice. 13. Russian smooth surface

Rice. 14. Vladimir tops

Embroidery was placed along connecting seams, on the forearms, ends of sleeves, slits on the chest, and hems of aprons. By the age of 13-15, peasant girls had to prepare a dowry for themselves. These were embroidered tablecloths, valances, hats, and towels. Before the wedding, a public display of the dowry was held as evidence of the bride’s hard work and skill. IN peasant families clothes were made from homespun linen and woolen fabrics. It was decorated not only with embroidery, but also with lace, braid, and colored chintz inserts.

Rice. 15. Simple hems

In the second half of the 19th century, factory fabrics replaced homespun canvas. Along with them, embroideries made with counted stitches have practically disappeared. Cross stitch designs appeared, using colorful soap wrappers as examples. IN late XIX- at the beginning of the 20th century, embroiderers were fond of white openwork embroidery on a large mesh, called guipure. In the 1920-1930s, capes, sofa cushions, tablecloths with planes, tractors, airplanes and even embroidered on them appeared. state symbols - five-pointed star, sickle and hammer. Urban embroidery continued to be influenced by the Art Nouveau style.

In the supplements to the Women's Magazine, patterns were printed for tambour embroidery and machine cutwork openwork embroidery, which was fashionable in the pre-war years. In the post-war years, they were created unique works monumental art - plot-themed curtain panels, dedicated to victory over the enemy, hero cities. Architectural motifs were complemented plant patterns with oak and laurel branches, personifying the power and glory of the Motherland. Modern fashion is once again turning to embroidery, an elegant decorative element that adorns clothing and our everyday life. With the development of new technologies and the release of the latest embroidery equipment, the process of creating embroidery has become significantly faster and simplified. With the help of embroidery machines and special software for embroidery, almost anyone who wants to touch this type of decorative and applied art has the opportunity to express creativity. Machine embroidery has simplified and made the work of embroiderers easier, leaving more time for ideas and fantasies in relation to embroidery.

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Prototype

Prototype (from Greek. prototype- prototype) - a certain specific person or several persons who served the writer as the basis for creating a generalized image-character in a work of art. At the same time, the writer can select for his character the most typical character traits of the prototype, his appearance, speech, etc.

Sometimes the initial motive for creating artistic image may be any significant event associated with a certain person in reality. Thus, researchers suggest that the prototype of the image of Vladimir Dubrovsky (in the novel of the same name by A. S. Pushkin) could be the landowner Dubrovsky, who led a revolt of the peasants of the Pskov province in 1773.

The level of generalization (typing) depends on artistic method: in a classical or romantic hero, individual, most striking features can be imprinted; in a realistic character, in addition to artistic generalization at the individual level, a deep socio-psychological correlation is also necessary.

A realist writer often needs to observe a significant number of specific people with traits close to his design in order to create an image of great depth of artistic generalization. Such images are called collective images.

This is the image of Eugene Onegin, whose prototypes were the young people of secular society around him who served as prototypes for Pushkin.

A writer who does not have sufficient skill and talent for artistic generalization and creative imagination risks turning out to be a simple copyist of reality and even a naturalist.

The role of the prototype in art history is viewed differently. literary genre. Here a certain proportionality between creative imagination and historical accuracy. This is the image of Pugachev in “The History of Pugachev” or the image of Boris Godunov in the tragedy of the same name by A. S. Pushkin. And finally, another function of the prototype in the fiction-memoir genre. Here the writer's dependence on real facts reality, and therefore from prototypes, is greatest, although for any work of art Typification and creative imagination are required.

Portrait

Portrait (from French. portrait– image, description of appearance) – component character structures. Literary portrait– a voluminous concept. It includes not only the internal traits of the hero, which constitute the essence of a person’s character, but also external, complementary ones, embodying the typical, characteristic and individual. “A good painter must paint two main things: a person and a representation of his soul,” is how Leonardo da Vinci formulated the task facing the artist. The character’s portrait is one of the important components of the work, organically fused with the composition of the text and the author’s idea.

Each word artist has his own manner of creating an image-character, an integral part of his poetics. There are also objective methods portrait characteristics. Development portrait art is closely related to the change and evolution of literary and artistic styles. Thus, a portrait in sentimentalism is distinguished by a certain picturesqueness; it reflects the sensual world of the hero. Romantic aesthetics is dominated by a bright detail that emphasizes one or another character trait, revealing the infernal or sacred essence of the soul. The picturesqueness of the portrait description is achieved through an abundance of colorful means and metaphors.

An emphasis on one particular detail is characteristic of any type of portrait (sentimentalist, romantic, realistic, impressionistic). For example, the portrait of Silvio from A. S. Pushkin’s story “The Shot”: “The gloomy pallor, sparkling eyes and thick smoke coming out of his mouth gave him the appearance of a real devil.” Or the description of the revolutionary Shustova in L. N. Tolstoy’s novel “Resurrection”: “... low fat girl in a striped chintz blouse and with curly blond hair fringing her round and very pale, mother-like face." It is the use of epithets specific to aesthetics that gives these portraits a different romantic or realistic intonation. In both portraits one detail is named - "pallor". in the guise of Silvio this is the “pallor” of the fatal hero, and in L.N. Tolstoy it is the sickly pallor of the heroine who is languishing in a gloomy prison. Clarification - “a very pale face, similar to a mother” (although the reader has never seen and will not see in the text. the novel's portrait of this girl's mother) - strengthens the reader's compassion for the revolutionary.

Artistic image – one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art. Literary type - (type of hero) - a set of characters similar in their social status or occupation, worldview and spiritual appearance. Such characters can be presented in various works of the same or several writers. Literary types are a reflection of trends spiritual development society, worldview, philosophical, moral and aesthetic views of the writers themselves.

Basic moments:

1) hyperbolicity

2) emotionality

3) typicality (uniqueness)

H.o. is two-part, two planes intersect in it: objective and semantic (implied, hidden).

There are 2 possible classifications of artistic image:

1) objective (society - man - nature) - through a portrait, characters, they are also specific (tangible). The image of the author is above them.

Nature - interior, exterior, things surrounding the hero, details: scarf, etc.

Society - environment, people, family, world (like the Universe...)

For the Ancients: man is part of the choir

2) generalized semantic – allegory, symbol, myth, archetype (collective-unconscious)

Archetype – ancient symbol, generated by archaic collective consciousness. This is an image passed down from generation to generation. Example: image prodigal son, Cain and Abel, Faust.

1) archetype of the wise old man;

3) road.

Internal the structure of images can arise:

1) from internal O

2) due to comparisons

3) opposition or comparison

Two ways of creating images:

1) giving;

2) observation;

3) associations

I. The bad image is a purely speech phenomenon

II. Hood. image - a system of concrete feelings of details that embody the content

An image is a complex interconnection of details; it is tangible, plastic, and has a specific form. In x.o. something artistically new is created, possessing artistic capacity.

The most common definition of H.O. is a subjective reflection of the objective world.

Term (from Latin terminus - limit, boundary) is a word or phrase that accurately and unambiguously names a concept and its relationship with other concepts within a special sphere. Terms serve as specializing, restrictive designations characteristic of this sphere of objects, phenomena, their properties and relationships. Unlike words of general vocabulary, which are often ambiguous and carry emotional overtones, terms within the scope of application are unambiguous and lack expression.

Terms exist within the framework of a certain terminology, that is, they are included in a specific lexical system of a language, but only through a specific terminological system. Unlike words common language, the terms are not related to the context. Within a given system of concepts, a term should ideally be unambiguous, systematic, stylistically neutral (for example, “phoneme”, “sine”, “surplus value”).

Time and space in fiction. The concept of chronotope.

Spatiotemporal organization literary work- chronotope.

Under the chronotope of M.M. Bakhtin understands the “essential interconnection of temporal and spatial relations.”

In literary works, images of time and space are distinguished separately:

Daily allowance

Calendar

Biographical

Historical

Space

Space:

Closed

Open

Remote

Detailed (subject-rich)

Really visible

Presented

Space

In addition, both time and space distinguish between the concrete and the abstract. If time is abstract, then space is abstract, and vice versa.

According to Bakhtin, the chronotope is primarily an attribute of the novel. It has plot significance. The chronotope is the structural support of the genre.

Types of private chronotopes according to Bakhtin:

The chronotope of the road is based on the motif of a chance meeting. The appearance of this motif in the text can cause a plot. Open space.

The chronotope of a private salon is a non-random meeting. Closed space.

Chronotope of the castle (it is not found in Russian literature). The dominance of the historical, tribal past. Limited space.

The chronotope of the estate (not Bakhtin) is a concentric, unprincipled closed space.

The chronotope of a provincial town is eventless time, a closed, self-sufficient space, living its own life. Time is cyclical, but not sacred.

Chronotype of threshold (crisis consciousness, turning point). There is no biography as such, only moments.

Large chronotope:

Folklore (idyllic). Based on the law of inversion.

Trends modern chronotope:

Mythologization and symbolization

Doubling

Recalling a character's memory

Increasing the meaning of editing

Time itself becomes the hero of the story

Time and space are integral coordinates of the world.

The chronotope determines the artistic unity of a literary work in its relation to reality

Organizes the space of the work and leads readers into it

Can relate different space and time

Can build a chain of associations in the reader’s mind and, on this basis, connect works with an idea of ​​the world and expand

Artistic fiction. Image and prototype. Autobiographicalism.

Fiction – events, characters, circumstances depicted in fiction that do not exist in reality. In the 4th century, Aristotle argued in his treatise Poetics that the main difference literary works from historical works is that historians write about events that happened in reality, and writers write about those that could have happened. In the literature, the boundaries between CV and reliability are outlined conditionally and are fluid. XO – general category artistic creativity, a means and form of mastering life through art (an element or part of a work that has independent meaning).

A prototype is a real person whose traits the author has endowed with the character of the work. Correlation between the hero and the prototype: 1. The similarity is significant, necessary for understanding the meaning of the work; in this case, the author himself indicates the degree of recognition of the character. 2. The author can assign the features of a prototype to a character, but at the same time the literary hero should not be perceived as a double of a real person.

Autobiography is a reflection in a literary work of events from the life of the author, closeness with the hero.

14. Form of a work of art. Components.

A work of art is not a natural phenomenon, but a cultural one, which means that it is based on a spiritual principle, which, in order to exist and be perceived, must certainly acquire some material embodiment, a way of existing in a system of material signs. Hence the naturalness of defining the boundaries of form and content in a work: the spiritual principle is the content, and its material embodiment is the form. The form of a work of art has two main functions. The first is carried out within the artistic whole, so it can be called internal: it is a function of expressing content.

The second function is found in the impact of the work on the reader, so it can be called external (in relation to the work). It consists in the fact that form has an aesthetic effect on the reader, because form acts as a bearer of the aesthetic qualities of a work of art. The most common classification of elements artistic form a work is a composition determined by its content. Plot main element compositions: plot elements, exposition, plot, development, climax, denouement, prologue, epilogue. The main characters, their portraits, characters.

Character (actor)– in a prose or dramatic work, an artistic image of a person (sometimes fantastic creatures, animals or objects), which is both the subject of the action and the object of the author’s research.

In a literary work there are usually characters of different levels and varying degrees of participation in the development of events.

Hero. The central character, the main one for the development of the action, is called hero literary work. Characters who enter into ideological or everyday conflict with each other are the most important in character system. In a literary work, the relationship and role of the main, secondary, episodic characters (as well as off-stage characters in a dramatic work) are determined by the author's intention.

The role that authors assign to their hero is evidenced by the so-called “character” titles of literary works (for example, “Taras Bulba” by N.V. Gogol, “Heinrich von Oftendinger” by Novalis) . This, however, does not mean that in works entitled with the name of one character, there is necessarily one main character. So, V.G. Belinsky considered Tatyana equal the main character A.S. Pushkin’s novel “Eugene Onegin”, and F.M. Dostoevsky considered her image even more significant than the image of Onegin. Not one, but several titles can be entered by title. characters, which, as a rule, emphasizes their equal importance for the author.

Character- a personality type formed by individual traits. The set of psychological properties that make up the image of a literary character is called character. Incarnation in a hero, a character of a certain life character.

Literary type – a character that carries a broad generalization. In other words, a literary type is a character in whose character the universal human traits inherent in many people prevail over personal, individual traits.

Sometimes the writer’s focus is on a whole group of characters, as, for example, in “family” epic novels: “The Forsyte Saga” by J. Galsworthy, “Buddenbrooks” by T. Mann. In the 19th–20th centuries. begins to be of particular interest to writers collective character as a certain psychological type, which sometimes also manifests itself in the titles of works (“Pompadours and Pompadours” by M.E. Saltykov-Shchedrin, “The Humiliated and Insulted” by F.M. Dostoevsky). Typification is a means of artistic generalization.

Prototype- a specific person who served the writer as the basis for creating a generalized image-character in a work of art.

Portrait as an integral part of the character structure, one of the important components of the work, organically fused with the composition of the text and the author’s idea. Types of portrait (detailed, psychological, satirical, ironic, etc.).

Portrait– one of the means of creating an image: depicting the appearance of the hero of a literary work as a way of characterizing him. A portrait may include a description of the appearance (face, eyes, human figure), actions and states of the hero (the so-called dynamic portrait, which depicts facial expressions, eyes, facial expressions, gestures, posture), as well as features formed by the environment or that are a reflection of the character’s individuality: clothes , manners, hairstyles, etc. A special type of description - psychological picture– allows the author to reveal the character, inner world and emotional experiences of the hero. For example, the portrait of Pechorin in the novel “Hero of Our Time” by M.Yu. Lermontov, portraits of heroes of novels and stories by F.M. Dostoevsky are psychological.

An artistic image is a specificity of art, which is created through typification and individualization.

Typification is the knowledge of reality and its analysis, as a result of which the selection and generalization of life material is carried out, its systematization, the identification of what is significant, the discovery of essential tendencies of the universe and folk-national forms of life.

Individualization is the embodiment of human characters and their unique identity, the artist’s personal vision of public and private existence, contradictions and conflicts of time, concrete sensory exploration of the non-human world and the objective world through artistic means. words.

The character is all the figures in the work, but excluding the lyrics.

Type (imprint, form, sample) is the highest manifestation of character, and character (imprint, distinctive feature) is the universal presence of a person in complex works. Character can grow from type, but type cannot grow from character.

The hero is a complex, multifaceted person. He is an exponent of plot action that reveals the content of works of literature, cinema, and theater. The author, who is directly present as a hero, is called a lyrical hero (epic, lyric). The literary hero opposes the literary character, who acts as a contrast to the hero, and is a participant in the plot

A prototype is a specific historical or contemporary personality of the author, who served as the starting point for creating the image. The prototype replaced the problem of the relationship between art and a real analysis of the writer’s personal likes and dislikes. The value of researching a prototype depends on the nature of the prototype itself.

• - a generalized artistic image, the most possible, characteristic of a certain social environment. A type is a character that contains a social generalization. For example, the type of “superfluous person” in Russian literature, with all its diversity (Chatsky, Onegin, Pechorin, Oblomov), had common features: education, dissatisfaction real life, the desire for justice, the inability to realize oneself in society, the ability to have strong feelings, etc. Every time gives birth to its own types of heroes. The “superfluous person” has been replaced by the type of “new people”. This, for example, is the nihilist Bazarov.

Prototype- a prototype, a specific historical or contemporary personality of the author, who served as the starting point for creating the image.

Character - the image of a person in a literary work, which combines the general, repetitive and individual, unique. The author's view of the world and man is revealed through character. The principles and techniques for creating character differ depending on tragic, satirical and other ways of depicting life, from literary kind work and genre. It is necessary to distinguish literary character from character in life. When creating a character, a writer can reflect the features of the real, historical person. But he inevitably uses fiction, “invents” the prototype, even if his hero is a historical figure. "Character" and "character" - concepts are not identical. Literature is focused on creating characters, which often cause controversy and are perceived ambiguously by critics and readers. Therefore, in the same character you can see different characters (the image of Bazarov from Turgenev’s novel “Fathers and Sons”). In addition, in the system of images of a literary work, there are, as a rule, much more characters than characters. Not every character is a character; some characters only serve a plot role. As a rule, the secondary characters of the work are not characters.

Literary hero is an image of a person in literature. Also in this sense the concepts “actor” and “character” are used. Often, only the more important characters (characters) are called literary heroes.

Literary heroes are usually divided into positive and negative, but this division is very arbitrary.

Often in literature there was a process of formalization of the character of heroes, when they turned into a “type” of some vice, passion, etc. The creation of such “types” was especially characteristic of classicism, with the image of a person playing a auxiliary role in relation to a certain advantage, disadvantage, or inclination.

A special place among literary heroes is occupied by genuine persons introduced into a fictional context - for example, historical characters in novels.

Lyrical hero - the image of the poet, the lyrical “I”. Inner world lyrical hero is revealed not through actions and events, but through a specific state of mind, through the experience of a certain life situation. A lyric poem is a specific and individual manifestation of the character of the lyrical hero. The image of the lyrical hero is revealed most fully throughout the poet’s work. Thus, in individual lyrical works of Pushkin (“In the depths of the Siberian ores...”, “Anchar”, “Prophet”, “Desire for Glory”, “I Love You...” and others) various states of the lyrical hero are expressed, but, taken together, they give us a fairly holistic picture of him.

The image of the lyrical hero should not be identified with the personality of the poet, just as the experiences of the lyrical hero should not be perceived as the thoughts and feelings of the author himself. The image of a lyrical hero is created by the poet in the same way as an artistic image in works of other genres, through the selection of life material, typification, and artistic invention.

Character - protagonist of a work of art. As a rule, the character takes an active part in the development of the action, but the author or one of the literary heroes can also talk about him. There are main and secondary characters. In some works the focus is on one character (for example, in Lermontov’s “Hero of Our Time”), in others the writer’s attention is drawn to a whole series of characters (“War and Peace” by L. Tolstoy).

Artistic image- a universal category of artistic creativity, a form of interpretation and exploration of the world from the position of a certain aesthetic ideal, through the creation of aesthetically affecting objects. Any phenomenon creatively recreated in a work of art is also called an artistic image. An artistic image is an image of art that is created by the author of a work of art in order to most fully reveal the described phenomenon of reality. At the same time, the meaning of an artistic image is revealed only in a certain communicative situation, and the final result of such communication depends on the personality, goals and even the mood of the person encountering it, as well as on the specific

Literary heroes are usually fiction author. But some of them still have real prototypes who lived at the time of the author, or famous historical figures. We will tell you who these figures, unfamiliar to a wide range of readers, were.

1. Sherlock Holmes

Even the author himself admitted that Sherlock Holmes has many similarities with his mentor Joe Bell. On the pages of his autobiography one could read that the writer often recalled his teacher, spoke about his eagle profile, inquisitive mind and amazing intuition. According to him, the doctor could turn any matter into a precise, systematized scientific discipline.

Often Dr. Bell used deductive methods of inquiry. Just by looking at a person alone, he could tell about his habits, his biography, and sometimes even make a diagnosis. After the novel was published, Conan Doyle corresponded with the “prototype” of Holmes, and he told him that perhaps this is exactly what his career would have turned out like if he had chosen a different path.

2. James Bond

Literary history James Bond began with a series of books that were written by intelligence officer Ian Fleming. The first book in the series, Casino Royale, was published in 1953, a few years after Fleming was assigned to monitor Prince Bernard, who had defected from German service to English intelligence. After much mutual suspicion, the scouts began good friends. Bond took over from Prince Bernard to order a Vodka Martini, adding the legendary “Shaken, not stirred.”

3. Ostap Bender

The man who became the prototype of the great schemer from the “12 chairs” of Ilf and Petrov, at the age of 80, still worked as a conductor on railway on the train from Moscow to Tashkent. Born in Odessa, Ostap Shor was from a young age prone to adventure. He introduced himself either as an artist or as a chess grandmaster, and even acted as a member of one of the anti-Soviet parties.

Only thanks to his remarkable imagination, Ostap Shor managed to return from Moscow to Odessa, where he served in the criminal investigation department and fought against local banditry. This is probably where Ostap Bender’s respectful attitude towards the Criminal Code comes from.

4. Professor Preobrazhensky

Professor Preobrazhensky from Bulgakov's famous novel "Heart of a Dog" also had real prototype- French surgeon of Russian origin Samuil Abramovich Voronov. At the beginning of the 20th century, this man made a real splash in Europe by transplanting monkey glands into humans to rejuvenate the body. The first operations showed a simply amazing effect: elderly patients experienced a resumption of sexual activity, improved memory and vision, ease of movement, and children who were lagging behind in mental development gained mental alertness.

Thousands of people were treated in Voronova, and the doctor himself opened his own monkey nursery on the French Riviera. But very little time passed and the miracle doctor’s patients began to feel worse. Rumors arose that the result of the treatment was just self-hypnosis, and Voronov was called a charlatan.

5. Peter Pan

The boy with the beautiful fairy Tinkerbell was given to the world and to James Barry himself, the author of the written work, by the Davis couple (Arthur and Sylvia). The prototype for Peter Pan was Michael, one of their sons. Fairytale hero received from a real boy not only his age and character, but also nightmares. And the novel itself is a dedication to the author’s brother, David, who died a day before his 14th birthday while ice skating.

6. Dorian Gray

It's a shame, but main character The novel “The Picture of Dorian Gray” significantly spoiled the reputation of its real-life original. John Gray, who in his youth was a protégé and close friend of Oscar Wilde, was handsome, rugged, and had the appearance of a 15-year-old boy. But their happy union came to an end when journalists became aware of their relationship. An angry Gray went to court and obtained an apology from the newspaper's editors, but after that his friendship with Wilde ended. Soon John Gray met Andre Raffalovich, a poet and native of Russia. They converted to Catholicism, and after some time Gray became a priest at St. Patrick's Church in Edinburgh.

7. Alice

The story of Alice in Wonderland began on the day Lewis Carroll walked with the daughters of the rector of Oxford University, Henry Lidell, among whom was Alice Lidell. Carroll came up with the story on the fly at the request of the children, but the next time he did not forget about it, he began to compose a sequel. Two years later, the author presented Alice with a manuscript consisting of four chapters, to which was attached a photograph of Alice herself at the age of seven. It was entitled “A Christmas gift to a dear girl in memory of a summer day.”

8. Karabas-Barabas

As you know, Alexei Tolstoy only planned to present Carlo Collodio’s “Pinocchio” in Russian, but it turned out that he wrote an independent story, in which analogies were clearly drawn with cultural figures of that time. Since Tolstoy had no weakness for Meyerhold’s theater and its biomechanics, it was the director of this theater who got the role of Karabas-Barabas. You can guess the parody even in the name: Karabas is the Marquis of Karabas from Perrault’s fairy tale, and Barabas is from the Italian word for swindler - baraba. But the no less telling role of the leech seller Duremar went to Meyerhold’s assistant, who worked under the pseudonym Voldemar Luscinius.

9. Lolita

According to the memoirs of Brian Boyd, a biographer of Vladimir Nabokov, when the writer was working on his scandalous novel Lolita, he regularly looked through newspaper columns that published reports of murder and violence. His attention was drawn to the sensational story of Sally Horner and Frank LaSalle, which occurred in 1948: a middle-aged man kidnapped 12-year-old Sally Horner and kept her with him for almost 2 years until the police found her in a California hotel. Lasalle, like Nabokov’s hero, passed off the girl as his daughter. Nabokov even briefly mentions this incident in the book in the words of Humbert: “Did I do to Dolly the same thing that Frank LaSalle, a 50-year-old mechanic, did to eleven-year-old Sally Horner in ’48?”

10. Carlson

The story of Carlson’s creation is mythologized and incredible. Literary scholars claim that Hermann Goering became a possible prototype of this funny character. And although Astrid Lindgren’s relatives deny this version, such rumors still exist today.

Astrid Lindgren met Goering in the 1920s when he organized air shows in Sweden. At that time, Goering was just “in the prime of his life,” a famous ace pilot, a man with charisma and a wonderful appetite. The motor behind Carlson’s back is an interpretation of Goering’s flying experience.

Supporters of this version note that for some time Astrid Lindgren was an ardent fan of the National Socialist Party of Sweden. The book about Carlson was published in 1955, so there could be no talk of a direct analogy. However, it is possible that the charismatic image of the young Goering influenced the appearance of the charming Carlson.

11. One-Legged John Silver

Robert Louis Stevenson in the novel “Treasure Island” portrayed his friend Williams Hansley not at all as a critic and poet, which he essentially was, but as a real villain. During his childhood, William suffered from tuberculosis and his leg was amputated at the knee. Before the book appeared on store shelves, Stevenson told a friend: “I have to confess to you, Evil on the surface, but kind at heart, John Silver was copied from you. You're not offended, are you?

12. Winnie the Pooh Bear

According to one version, known throughout the world Teddy bear received its name in honor of the favorite toy of the writer Milne's son Christopher Robin. However, like all the other characters in the book. But in fact, this name comes from the nickname Winnipeg - that was the name of the bear who lived in the London Zoo from 1915 to 1934. This bear had many child fans, including Christopher Robin.

13. Dean Moriarty and Sal Paradise

Despite the fact that the main characters in the book are named Sal and Dean, Jack Kerouac's novel On the Road is purely autobiographical. One can only guess why Kerouac abandoned his name in the most famous book for the beatniks.

14. Daisy Buchanan

In the novel “The Great Gatsby,” its author Francis Scott Fitzgerald deeply and soulfully described Ginevra King, his first love. Their romance lasted from 1915 to 1917. But due to their different social statuses, they separated, after which Fitzgerald wrote that “poor boys should not even think about marrying rich girls.” This phrase was included not only in the book, but also in the film of the same name. Ginevra King became the prototype for Isabel Borge in Beyond Paradise and Judy Jones in Winter Dreams.

Especially for those who like to sit up and read. If you choose these books, you will definitely not be disappointed.