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Literary critics are who? Russian critics

Literary criticism is a field of creativity that is on the verge of art (that is, fiction) and science about it (literary criticism). Who is the specialist in it? Critics are people who are engaged in the evaluation and interpretation of works from the perspective of modernity (including the point of view of pressing problems of spiritual and social life), as well as their personal views, affirm and reveal the creative principles of various literary trends, exert an active influence on the literary process , and Directly affect the formation of a certain social consciousness. They rely on history and theory of literature, aesthetics and philosophy.

Literary criticism is often politically-topical, journalistic in nature, intertwined with journalism. There is a close relationship with adjacent sciences: political science, history, textology, linguistics, bibliography.

Russian criticism

The critic Belinsky wrote that every epoch of the literature of our country had about itself a consciousness, which is expressed in criticism.

It is difficult not to agree with this statement. Russian criticism is as unique and vivid as the classical Russian literature. This should be noted. Various authors (a critic Belinsky, for example) pointed out repeatedly that she, being synthetic by nature, played a huge role in the social life of our country. Let us recall the most famous writers who have devoted themselves to the study of the works of the classics. Russian critics are D.I. Pisarev, N.A. Dobrolyubov, A.V. Druzhinin, A.A. Grigoriev, V.G. Belinsky and many others, whose articles included not only detailed analysis of works, but also their artistic features, ideas, images. They sought to see behind the artistic picture the most important social and moral problems of that time, and not only to capture them, but also to offer their own solutions at times.

Criticism

Articles written by Russian critics continue to have a great influence on the moral and spiritual life of society. They are not accidentally long ago already included in the compulsory school curriculum of our country. However, in literary lessons over a number of decades, students have become acquainted mainly with critical articles of a radical orientation. Critics of this trend are D.I. Pisarev, N.A. Dobrolyubov, N.G. Chernyshevsky, V.G. Belinsky and others. At the same time, the works of these authors were most often perceived as a source of quotations, with which the schoolchildren "generously" decorated their compositions.

Perceptual Stereotypes

This approach to the study of classics formed stereotypes in artistic perception, significantly impoverished and simplified the general picture of the development of Russian literature, which was distinguished, above all, by bitter aesthetic and ideological disputes.

Only recently, thanks to the emergence of a number of in-depth studies, the vision of Russian criticism and literature has become multifaceted and more voluminous. The articles of N.N. Strakhova, A.A. Grigoryeva, N.I. Nadezhdina, I.V. Kireevsky, P.A. Vyazemsky, K.N. Batiushkov, N.M. Karamzin (see portrait of Nikolai Mikhailovich, performed by artist Tropinin, below) and other prominent writers of our country.

Features of literary criticism

Literature is the art of the word, which is embodied both in the work of art and in literary criticism. Therefore, a Russian critic, like any other, is always a bit of a publicist and an artist. The article, written in a talented manner, contains necessarily a powerful fusion of various moral and philosophical reflections of the author with profound and subtle observations on the artistic text itself. Very little useful is given by the study of a critical article, if, as a certain dogma, it perceives its basic propositions. It is important for the reader to experience intellectually and emotionally everything that was said by this author, to determine the degree of evidence of the arguments put forward by him, to think about the logic of thought. Criticism of works is by no means an unambiguous thing.

Own vision of the critic

Critics are people who reveal their own vision of the writer's creativity, offer their unique reading of the work. The article often makes you rethink the artistic image, or it may be criticism of the book. Some assessments and judgments can, in a talented work, serve as a genuine discovery for the reader, but something will seem controversial or erroneous. Particularly interesting is the juxtaposition of the work of a particular writer or one work of different points of view. Literary criticism always provides us with rich material for thought.

The Wealth of Russian Literary Criticism

We can, for example, look at the work of Pushkin Alexander Sergeevich with the eyes of V.V. Rozanova, A.A. Grigorieva, V.G. Belinsky and I.V. Kireevsky, to get acquainted with the way Gogol's contemporaries perceived his poem Dead Souls (critics VG Belinsky, SP Shevyrev, KS Aksakov) in different ways, as in the second half of the 19th century the heroes "Grief From the mind "of Griboyedov. It is very interesting to compare the perception of Goncharov's novel Oblomov with the way he was interpreted by D.S. Merezhkovsky and D.I. Pisarev. The portrait of the latter is presented below.

Articles on the creativity of LN. Tolstoy

For example, a very interesting literary criticism is devoted to the creative work of L.N. Tolstoy. The ability to show "the purity of the moral sense," the "dialectic of the soul" of the heroes of works as a characteristic feature of Lev Nikolayevich's talent was one of the first to reveal and designate NG. Chernyshevsky in his articles. Speaking about the works of N.N. Strakhov, devoted to "War and Peace," can rightfully be asserted: there are few works in Russian literary criticism that can be placed next to it in terms of the depth of penetration into the author's design, the fineness and accuracy of observations.

Russian criticism in the 20th century

It is noteworthy that the result of often bitter disputes and uneasy searches of Russian criticism was her desire at the beginning of the 20th century to "return" Russian culture to Pushkin, to its simplicity and harmony. V.V. Rozanov, proclaiming the necessity of this, wrote that the mind of Alexander Sergeevich protects man from all foolishness, his nobility - from everything vulgar.

In the mid-1920s a new cultural splash occurred. The young state, after the end of the civil war, finally gets the opportunity to seriously engage in culture. In the first half of the 20th century, a formal school dominates literary criticism. Its main representatives are Shklovsky, Tynyanov and Eikhenbaum. Formalists, rejecting the traditional functions that carried out criticism - socio-political, moral, didactic - insisted on the idea of the independence of literature from the development of society. In this they went against the then dominant ideology of Marxism. Therefore, formal criticism gradually came to an end. In the years to come, socialist realism was dominant. Criticism becomes a punitive tool in the hands of the state. It was controlled and directed directly by the party. In all the magazines and newspapers appeared departments and columns of criticism.

Today, of course, the situation has radically changed.

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