Image biography

Try the literature selection service. You can always turn off the advertisement. The author’s personality in the work and critic of Petrov S. The author’s identity and the concept of image in literature: the theoretical aspect in the article defines the concepts of author’s identity and image, which are key to the study of the biography and work of the poet or writer. The saturation of cultural space and the perception of life as a text leads to the processes of aesthetization of non -aesthetic, which makes it necessary to pay attention to the biographical context in the study of creativity and draw up the author of the author as a comprehensive embodiment of its copyright intences.

Key words: author’s identity, image, creative individuality, biography of the author. The term "author's identity" from lat. Initially, it was involved in sociology, but from the end began to be often used in other areas of culture. Three disciplinary understandings of this concept were determined: in logic, in philosophy and in sociology together with psychology.

This term received philological significance in the works of Zh. Delete “difference and repetition”, J. Derrida “Letter and Distinction” and P. Riker “Time and Narrativ”. The ideas of modern hermeneutics in particular G. Gadamer and P. Riker about the mediation of the formation of the personal identity of the symbolic material of culture are based on the formed definition.

Only through signs and symbols, as P. Ricker emphasized, the subject can a meaningful understanding of himself and his own existence, at the same time, are the signs of his own material [10]. It is the signs simulated in a written code that provoke a native speaker to interpretation. For a literary study, it is important that the resources and symbols of culture are produced and absorbed using linguistic means - through the “narrative discourse” [10].

In the works of H. Arendt, it was justified that the narrative plays a fundamental role in the self -identification of personality. In domestic literary criticism, the theory of identity was studied most fundamental in the works of M. The term “identity”, in contrast to the more familiar “self -awareness”, self -determination, etc. Thus, the use of the category of personal identity in a philological study allows adequately to enter literary subjects into the actual, surrounding its philosophical and cultural context.

This is confirmed by the fact that personal identity in the artistic and discourse framework is formed by the same processes as any other personal identity, although these processes are spent specifically in the artistic consciousness. The laws of artistic consciousness explicated in texts, signs, symbols, interpreted as narrative, have their own “narrative identity”. It is precisely such a term - the “narrative identity” created by P.

Riker - the form of identity is determined by which a person is able to come through narrative activity [11]. But the author’s identity does not coincide with the personal, but rather includes it in its structure, since it is formed with the participation of a larger volume of factors than the latter. It should also be said that the issue of author's identity in literary criticism refers, first of all, to the field of the author's problem.

In the theory of literature, two traditions were formed in the study of this sphere: on the one hand, this was expressed in such an interpretation as the “death of the author” in impersonal linguistic structures, on the other, respectively, the opposite point of view - disagreement with the denial of copyright monocentrism. Recently, a new idea has been outlined, considering the author’s figure and his poetics in conjunction with various cultural codes within the framework of interdisciplinary methodology, which is increasingly moving away to the centralization of author's subjectivity.

As an example, such works can be called: E. Tolstaya, “Poetics of irritation: Chekhov at the end of the 10th - early X” [13], S. Sentorovich, “Chekhov - with the eye of the eye. The story of one obsession: the experience of the phenomenology of creativity ”[11], V. Toporov,“ Strange Turgenev four chapters ”[14], I. Paperno,“ Semiotics of behavior: Nikolai Chernyshevsky - man of the era of realism ”[9], A.

Zholkovsky, “Mikhail Zoshchenko: Poetics of Farily” [7]. In the works of such a plan, the features of the writer’s literary style are determined by the characteristics of his personality, biography, and the conjugation of extension and interpretative justifications. In general, these studies restore the interaction between the texts and the personality of the author.

The basis of this direction, of course, is the works of Yu. Lotman, namely, the concept of behavior as a text formed by him; And also research by G. Vinokur [4] and L. Ginzburg [5]. In its monograph "Biography and Culture" G.Vinokur notes that the typical forms of author’s behavior are postponed on the structure of a work of art, created by him, as a special “layering”, which tells the text of his “own face” and makes at the same time typical and characteristic, not like the rest [4, p.

The expression of author’s identity in the biographical sphere affects the individual author’s style, the manner of writing. As G. Vinokur sums up, based on the fact that “inner life is simultaneously assimilation of life impressions - creativity in itself the result of a conscious internal culture”, therefore, in this case, “stylistic forms of poetry are simultaneously stylistic forms of personal life” [4, p.

Although at the same time, the scientist notes that in general, “the life of any person can equally be equally an aesthetic object of aesthetic, for example, in the perspective of symbolist attitudes, consideration of the poet’s life from the point of view of aesthetic aspects is necessary. Dolgopolov emphasized that it was after the Silver Age of Russian poetry that a separate poem began to be perceived in the perspective of the whole work of the author and in the context of his personality - this became a significant achievement of this literary period [6, p.

Such transitions between the life and literary forms of the biographical, according to L. Ginzburg, are possible, since they are carried out in speech elements, which is inseparably connected with the life process and at the same time actively forms it [5]. The aesthetization of the non -aesthetic occurs. Thus, the use of a certain literary idea in life is perceived as a certain kind of CTI of a work or author in biographical material.

The ability to perceive life as a text is also due to the fact that any writer exists in two spaces of being: in the space of life and in the space of creativity, art. This also causes the possibility of peculiar “intertextual” connections, various types of quotes, allusions, reminiscences in this kind of “biographical discourse”. According to A. We are dealing with extratextuality as a maximum and possibly transgressive phenomenon of intertextuality ”[15, p.

The poet, perceiving his biography in the perspective of certain ideas, strives for their realization, creating the image of himself that corresponds to his own intentions - the image. One of the first to introduce this concept of V. Alfons in relation to the futurists: “Image is a larch and a face at the same time. It is more difficult and more important to feel the hidden meaning, lyrical action, internal plot in it.

There is a pose, there is always something behind it. This “something” can be empty pretentiousness, but can carry a truly significant content ”[2, p. On the one hand, the image has internal content, and on the other, this is a certain behavior, a pose. It should be added that in the works of F. Nietzsche the idea of ​​life as an artistic act of creativity, incorporating the whole variety of types of aesthetic expression.

Art has turned into the only adequate form of life, has become an ontological category. It is important to note that the music was proclaimed the primary history of both art and the whole world. Although for the French Symbolists the music was more formal, but for German symbolists it became meaningful, capable of expressing an inexpressible word or color, a certain secret of being.

Aesthetic reality arises, based on artistic analogies that create their own “text” of artistic reality with the help of various aesthetic forms and experiences. This special "text" absorbs languages ​​of different types of arts. At the same time, the language of each of the arts does not reflect life realities, but becomes a system that encodes reality aesthetically.

By entering into interaction, these significant aesthetic systems are used to transmit different sensations, to create the volume and expressiveness of the artistic picture of life. The peculiarity of such a direction in art, as the researchers note, is primarily associated with the intensive saturation of cultural information [12]. The image is presented in several cultural plans.

These are internal elements transmitted through creativity, and external elements that are represented in material components: clothes, things, behavior of the author, etc. You can also include how the author is perceived not only by readers, but also by contemporaries surrounding him. When studying the author’s identity within the framework of the image, it is possible to compose the actual author’s strategies for organizing the image.

It must be added that the manifestation of a certain image is a way of forming the author’s “I” and serves as a kind of key point that reveals important features of poetics in the author’s work. Thus, the author’s identity is a component of the image. List of literature 1. Abasheva M. Literature in search of a person. Russian prose of the end of the twentieth century: the formation of author's identity.

Alfonsov V.Arenidt Hannah. Vita Activa, or about the active life of per. VIA Activia Oder vom Tatigenleben. Vinokur G. Biography and culture Russian stage pronunciation. Ginzburg L. Literature in search of reality: Articles. Dolgopolov L. at the turn of the century.