EntranceWhat are key images? Key visual
Keywords
- with this terminological phrase some researchers of art. (poetic and prosaic) speech are words that express the main idea of the whole art. text. K. s. sometimes included in the titles of the artist. works (" Break"I.A. Goncharova, " Storm"A.N. Ostrovsky," Fine!"V.V. Mayakovsky and others). "Invisible threads go from them to portraits of characters and landscapes. They create the internal unity of the lexical system of works, becoming an essential element of its compositional structure. ... Keywords in literary works are addressed on one side, the material side, to the details of everyday life, and on the other - to social, moral and ethical problems. They are semantically multidimensional, hence their figurative and symbolic meaning" ( Petrovsky V.V., 1977, p. 54–57).
“In some works, key words only occasionally appear prominently on the surface of the context; in others, on the contrary, they clearly and densely penetrate the artistic fabric, forcing the reader to look for a special meaning in them. Such key words are often highlighted in the context graphically: in italics, discharge. So, for example ., one of keywords in F. Dostoevsky’s novel “Crime and Punishment” – try– given in italics. In the same novel the key word corner is repeated several times, layering on its basic, concrete everyday meaning a broad social significance ("corner of life"): "...hide my money so that I have it in the coal... not stolen"; "I directly demanded angle, just to turn around..."; "Because I grew up in corner"; "... become even more clogged in corner..."; "I made myself corner and lived in corner"; "My idea - corner" etc. Each original author has his own ways of creating keywords, filling them with figurative and symbolic content, establishing an internal connection between the generalized meaning and the everyday meaning of other words in the context of the whole. In all this, the writer’s special artistic thinking is revealed” (Ibid., pp. 54–55).
So, in the story by V.G. Korolenko "The Blind Musician" the meaning of the words is great "quiet", "silence" and other cognate words. The entire content of the story, psychology, characters, and all the art are somehow connected with these words. the fabric of the narrative, its peculiar tonality.
"Word silence and Korolenko’s derivatives from it incite the corresponding mood and make a great impression. Boy "quiet cried", mother "quiet asked", "everything in the estate went quiet" , audible "quiet splash of the river", and again everything "calmly, quiet, unperturbed", "quiet life", "quiet mood". Sometimes the word silence used three or four times per page. Create lyrical mood and words close to the concept of “silence”: calm, silent, silent, silent, fading, murmur, mystery, rustle, whisper, sighs, rustle"(Gibet E.I., 1973, pp. 21–24).
In the story by A.M. Gorky's "Malva" the first phrase, placed in a separate paragraph and divided into two parts with the help of a dash (and thereby updated), - "The sea laughed". This phrase is like a leading theme in piece of music: it determines the overall tone, serves to reveal the main idea; passing through the entire work, developing and enriching, it appears in various variations.... The image of the “laughing sea” is repeated several times: "The gentle wind from the sea brought splashes of waves almost to their feet, and the restless laughter the sea kept sounding..."; "In front of him (Vasily) was the sea. Laughed the waves are noisy and playful as always...". This main melody in the depiction of the landscape seems to flow into the characterization romantic hero: "Malva, hugging her knees with her hands, quietly rocked her body, looking at her with her green eyes funny sea, and smiled one of those triumphant smiles, of which a woman who understands the power of her beauty has so many". Words laugh, smile permeate the entire speech fabric of the story, run through it as a leitmotif and, in connection with the philosophical and aesthetic concept expressed in it, acquire a generalized symbolic meaning" ( Sirotina V.A., 1971, p. 21–22).
“Every poem is a veil stretched on the edges of a few words. Because of them, the poem exists” ( A. Blok). This characteristic can be fully attributed to K. s. poetic text. So, for example, in A. Voznesensky’s poem “The Watchman in Front of the Kulikov Field” by K. s. is the word "field", which, repeating itself and revealing its ambiguity in different phrases and sentences ( "Alone in field warrior", "Magical field", "...but if there is field", "in clean field", "It will remain with me field great", "...I call you, field!", "Field will come"), forms, as it were, the semantic core of this poetic text.
K. s. and phrases in art. texts are not necessarily repeated verbatim. Often they appear in the form of words, phrases and combinations of words (“turns of phrase”) of different grammatical forms. So, for example, in I. Severyanin’s poem “Singing Eyes,” the key phrase included in the title is repeated in the text in the form of the following constructions: "Behind the glass two eyes will sing", "Woman with with melodious eyes", "Those eyes that sing" .
K. s. increase the semantic capacity of the artist. text, expand the visual possibilities of the artist. (poetic and prose) speech, and the reader is allowed to penetrate deeper into the ideological and artistic. structure of the work.
In the style of affairs. speeches by K. s. or phrases call a text formula of affairs. document expressing it main function. So, for example, "... at disposal- this word I order . Text formula act is the design “We, the undersigned, have drawn up this act in that...” . IN protocol- a series of words: Listened, Speeched, Decided . IN letter of guarantee the main formula is Our bank account... Payment guaranteed …. The text formula determines the choice of words and, thus, determines the specific compatibility and even the grammar of word forms in the texts of business documents ( Veselov P.V., With. 48–49).
In lexicography, the term K. s. used in work on thesauri, denoting those support words, which, like peculiar threads, “connect the internal structure of the thesaurus” ( Karaulov Yu.N., 1981, p. 152).
Finally, in last years, in the context of research national culture and national mentality, such not yet generally accepted terminological phrases as “key words of the Russian mentality (Russian mentality)”, “key words of the current moment” and some others arose.
By “key words of the current moment” (K.s.t.m.) we mean words and phrases that are relevant specifically for a given, current, relatively short historical period in the development of society. "Without any preliminary studies it is clear that each “current moment” brings to the center of public consciousness a fragment of the vocabulary that contains the most significant concepts discussed everywhere - in parliament and in queues, on the radio and in the press, on television and “in work collectives”... It is obvious that in such improvised lists, for example, October 1992, there will be market, privatization, voucher, congress, Georgia, Abkhazia, Khazbulatov, Yeltsin, Gaidar… (Shmeleva T.V., With. 33). To the actual linguistic signs of K. s. t. m. include: 1) a sharp increase in the frequency of use, 2) gravitation towards the heading position, 3) expansion of form and word-formation possibilities, 4) expansion of word compatibility, 5) formation of new synonymous and antonymic connections (paradigmatics), 6) use words as a proper name (onymic use), 7) the tendency to be included in statements such as definitions, 8) the tendency to be the object of taste assessments (linguistic reflection) and language game(Ibid., p. 40).
If by mentality we mean “a national way of seeing the world and acting (cognitively and pragmatically) in certain circumstances” ( V.V. Kolesov, With. 106), in other words, specific features of national self-awareness and attitude, determined by the history of the people, their culture, traditions and character ( mental make-up), national, then the key words of mentality should be those words (and corresponding concepts) that occupy a dominant position in the “mental space” of national self-awareness.
K.s. rus. mentality is a vocabulary that expresses basic concepts and symbols that define the ideas and ideas of traditional Russian. national worldview and worldview. We can distinguish at least three groups of such words (based on thematic or subject-conceptual correlation): 1) words denoting concepts and objects of traditional folk life, mainly peasant ( house, estate, land, family, owner and etc.); 2) words denoting the basic concepts of Russian. statehood and public life (state, homeland, fatherland, power, people, conciliarity, peace, artel and etc.); 3) words denoting the Russian world. soul and folk ethics ( God, truth, conscience, justice, compassion, mercy, patience, repentance etc.) ( A.P. Skovorodnikov, With. 272).
The listed groups of words, united by a limiting integral feature (idea), do not represent closed series and can be presented with a greater or lesser degree of detail. The specifics of the national Russian mentality (in its historical past and in current state). Naturally, such words-concepts, which occupy an extremely important place in the system of value concepts, in the spiritual world of both an entire nation and an individual, require a particularly careful, “ecological” attitude and close study.
Lit.: Sirotina V.A. The sea laughed. – Rus. speech. – 1971. – No. 1; Yzerman L.S. Keywords. – RYASH. – 1973. – No. 4; Gibet E.I. The word “silence” in V.G. Korolenko. – Rus. speech. – 1973. – No. 5; Petrovsky V.V. About keywords in artistic prose. – Rus. speech. – 1977. – No. 5; Karaulov Yu.N. Linguistic construction and thesaurus literary language. – M., 1981; Veselov P.V. How to draw up an official document? – Rus. speech. – 1988. – No. 1; Kolesov V.V. Reflection of the Russian mentality in the word // Man in the mirror of science: Proceedings of the methodological seminar "Man". – L., 1991; Skovorodnikov A.P. About the key words of the Russian mentality. - Svetlitsa. – 1993. – No. 1; Shmeleva T.V. Key words of the moment, "Collegium". – 1993. – No. 1.
A.P. Skovorodnikov
Stylistic encyclopedic Dictionary Russian language. - M:. "Flint", "Science". Edited by M.N. Kozhina. 2003 .
What prevents you from managing yourself? What prevents you from creating the present and future you want?
I didn't have the best childhood, especially during school. Although I studied very well, this period was the most unfortunate for me, because it was during the school period that a huge number of limiting beliefs were ingrained in me, which to some extent still control my life.
These limiting beliefs then become patterns of behavior and create your life.
Let me give you a few examples from my own life.
Starting from the seventh grade, I was practically an excellent student.
And when I received a “4” grade (and in my time there was still a 5-point knowledge assessment system), I was very upset. I analyzed everything, why and how this happened, what I did wrong, etc. I could analyze and think about this assessment all day. I was unhappy. I was disappointed.
Now, looking at my current life, I am also not completely satisfied.
Although, if you look at it objectively, I live wonderfully. I live near the sea, in a beautiful city, beautiful country, I do my favorite job, I follow my destiny, I have a lot of free time, I have a wonderful girlfriend, excellent relationships with my guys on the team, excellent relationships with my parents, a lot of money, my business is developing, I am very wise and talented..... you can It would take a long time to list. Many would dream of changing places with me. But I wouldn’t say that I’m 100% satisfied, about 80%.
And it has always been like this!
Why is this happening? What makes me unhappy and unsatisfied?
I started to figure it out.
Some would say that my dissatisfaction and dissatisfaction move me forward.
And remembering my childhood and youth, I found in my memory a clear image of me going home, dissatisfied and upset, and analyzing why I got a 4 and not a 5. And when we switched to a 12-point system, even getting 10s, I was not entirely happy!
I clearly saw the place, the street, the houses, the surroundings - everything!
I call it key in memory!
You think that you control your life yourself, but in reality it is controlled by a key image stuck in your memory. And this image nullifies all your attempts to manage yourself and your life.
An image is a static picture. One single picture.
What needs to be done to change the behavior pattern?
We need to change the key image!
A single image in your memory controls your emotions, feelings and actions even after 10 years of life!
Now imagine how many of these key images stuck in your memory during your formative years!
Here's another example:
I remember how at school I really loved one girl. I would give anything to be with her. During that period, I even had dreams about this girl and about her and me...
I plucked up courage and invited her to the cinema.
There I told her that I love her. I remember clearly where it was, how it was, the situation, and what she answered me. I remember everything perfectly.
She told me: “Sasha, you know that this is impossible.”
And I answered her: “Yes, I know, I just wanted you to know it.”
I was 16 years old then.
And at that moment I unconsciously closed the feeling of love within myself.
I closed the strongest positive feeling!!!
Then I had another girl at the age of 18, who finally “finished off” me in terms of love.
I also remember everything perfectly, how it was.
And after 18 years until I was 23, I didn’t have girlfriends. I was alone, alone...
And this loneliness greatly affected my self-esteem, not for the better.
I admit that a little more than a year ago I didn’t accept the old me at all. I considered the old me a failure because of my failures in relationships…. I didn’t accept it when they called me Sasha, because for me Sasha is my past self.
What can I say, in general, you understand the consequences...
I learned to manage myself. I have already changed all this, but it was very difficult, and it required a lot of work on myself.
Now I have a wonderful girlfriend and a wonderful relationship.
Why am I telling you all this?
I know for sure that your life was also full of failures.
But it's not a matter of failure. It's a matter of their perception. The perception is much more important than the result.
And these failures of the past still create your present life.
And you keep wondering:
Why can't I find a great man or woman to be in a relationship with?
Why am I still poor?
Why isn't my business going as well as I would like?
Why did I stop enjoying life?
Why does everything I do fail?
The answer is key images from the past that have stuck in your memory, become patterns of behavior and still control your life!
What can you do to change your life, to start managing yourself and your life again?
Remember these key images and change them!
This is what I do with people in personal coaching. And I will do this during the training regarding money.
Sections: Literature
Piece of art is an integral compositional and stylistic structure based on the interaction of various linguistic means. By conveying certain content, the author organizes verbal material in such a way as to best express the main artistic idea.
Main categories of literary text – verbal images. The word in a work of art is the material shell of the image; it is what shapes and creates the image. A verbal image is not always identical to a word: it can consist of combinations of words, a paragraph, a chapter, and even a whole literary work. But it is always an aesthetically organized structural element of the style of a literary work. This is why images can be combined into a sequentially unfolding chain and can be correlated with one another in the stylistic system of a literary work. They can include each other, developing into a complex, multifaceted, unified image.
If a single word or group of words occupy a key position in the text, then they should be an independent object of analysis. Selection criterion keywords are the following features: repetition, necessity, conceptual and figurative significance. In addition, the exclusion of key lexical elements from a literary text leads to the disintegration of this text as an aesthetically organized whole. So, if we remove I.A. from the novel. Goncharov’s “Oblomov” such words as “Gorohovaya (street)”, “letter”, “robe”, “East”, then much in the image of Oblomov will remain incomprehensible. Keywords can be combined into paradigm, reflecting the author’s subjective view of the events and characters depicted. This paradigm always corresponds to the conceptual attitude of the author of the work.
Not every repeated lexical unit is key; frequency is not the main criterion for identifying a key element. So, in the story by V.M. Shukshina "Give me your heart!" the word “policeman” is used eighteen times, and the word “heart” only eight, but the key, of course, is “heart”, since it is what is significant ideologically.
Keywords can be one thematic and logical series, as it happens, for example, in P. Bazhov’s story “The Mistress of the Copper Mountain.” The key here are the various names for the color green, conveyed directly (greenery, little green) or indirectly (malachite, emerald, grass, forest). These key words form a combination of a kind of semantic opposition: on the one hand, in one green color of the stone we feel both a sad, deathly reflection and endlessly alluring, living shades, on the other hand, the green of the stone is contrasted with the color of living nature.
The organization of speech means, oriented towards the emotional and evaluative perspective of artistic narration, determines the originality of artistic speech.
A.P. Chekhov. Story "I want to sleep"
As is often the case with Chekhov, a peaceful picture: night, a cradle, a nanny who sleepily purrs a song, is destroyed by the word that suddenly burst into the narrative - "stuffy." A key word that helps reveal the world of sensations of a nanny girl. A word that can help you understand not only your physical, but also your mental state. It’s stuffy, it means uncomfortable, it’s hard to breathe, your head becomes heavy, everything is annoying, you want this torment to end as soon as possible, to free yourself, to free yourself as soon as possible! TO "stuffy" a key olfactory image is attached "smells" , which is significant for recreating the social atmosphere: uncomfortable, poor, smells of cabbage soup and shoe polish. It is unlikely that the shoemaker could pay Varka; most likely she lives here “out of mercy.” This feeling and assumption is later confirmed by the text: Varka lives in the house, doing all the menial, dirty work during the day, and at night she has no right to sleep, since she must look after the child. We feel some kind of tragedy behind this and ardently sympathize with the poor nanny. The early, painful death of his father, his mother, with whom they came to the city to get a job, and where she is now is unknown.
There is no one to take care of the girl, no one sympathizes with her, she is completely alone in a strange, hostile world. Her timidity, humility, humility, and desire to do everything well and very quickly are boundless - so as not to fall asleep on the go, since she is even denied the right to sleep. It's stuffy... The feeling of impending trouble, catastrophe. Where is it from? It's stuffy! What a capacious word, surprisingly precise, unique! When it’s night and stuffy, the most ordinary things become mysterious and significant. Large green spot from the lamp lies down on the ceiling, and diapers and pantaloons throw long shadows, then shadows come to life come into motion. “Green spot of shadow” is a dynamic personification. There's a spot in the girl's tired mind comes to life, blinks, wants to communicate something very important. And the most important thing now is to at least somehow alleviate her suffering, which means finding what is preventing her from living. The green spot keeps blinking, “fogs her brain,” and she finally finds the enemy.
From the group of acoustic images, the key, end-to-end is "cry of a child" . It is dynamic, it transforms into the cry of clouds, crows, magpies. In any Varka’s vision, he interferes, irritates, takes away peace, threatens to destroy even the little that immensely tired people have - sleep. And, as the logical conclusion of this series, there is the symbolic cry of a cricket, which Varka perceives as indicating. It turns out that green spot And cricket cry- instigators of crime, contributing to the state of insanity into which the heroine of the story falls. Exhausted, she strains all her strength and vision, looks at the blinking green spot and, listening to the scream, finds an enemy who is preventing her from living. "She laughs... The green spot, the shadows and the cricket also seem to laugh..."
The story contains images that convey a state of general numbness, stiffness: “cannot move his lips,” “his head is pulled down,” “his eyes are stuck together,” it seems that his face is “dry and stiff.” The tactile sensation of the numb girl is the cause of the crime. This state is unnatural, but I really want to take a natural position (this is the purpose of the crime). Denouement: laughs with joy that he can sleep.
Repetitions further enhance the impression and make artistic images visible. Again“blinking”, “getting into your eyes”, “foggy head” green spot, again"cricket screams" again In a dream, a girl sees a dirty highway, on which “people with knapsacks are lying down and sleeping soundly.” An endless day, endless tedious work and reinforcing this impression " it is time get up", " it is time get to work", " already the air turns blue."
She runs, washes, sews, sets up the samovar, washes the stairs, peels potatoes... And only “the evening darkness caresses her drooping eyes and promises her a quick and sound sleep...” But she deceives... In the evening, guests come to the owners.
The system of key images creates an emotional and evaluative background for the narrative, allowing even the most strict reader to justify the heroine. It is impossible to exclude these words from the text; they are the core of the figurative meaning.
A.P. Chekhov. Story "Student"
L.N. Tolstoy said: “I remember when I first started reading it, it seemed somehow strange, “clumsy” to me, but as soon as I read it, this language captured me. Yes, it was precisely thanks to this “clumsiness” or, I don’t know what to call it, it captivates you in an extraordinary way. And as if, without any of your will, he puts beautiful artistic images into your soul... You look at how a person seems to indiscriminately smear with paints whatever comes to his hand, and there seems to be no relationship between them the strokes have no interconnection. But you move a little distance, look, and in general a complete impression emerges. Before you is a bright, irresistible picture of nature. He is a strange writer: he throws out words as if out of place, and yet everything lives with him." It is very interesting to consider this dialectic of “coherence” and “incoherence” in the artistic unity of A.P.’s story. Chekhov's "Student". A.P. himself Chekhov, according to his brother, considered this story “the most finished.”
The very first phrase reflects that state of the human soul when you very subtly feel how fragile everything is in this world, that harmony can turn into disharmony, happiness can turn into misfortune, and misfortune will unexpectedly help you understand that you are not alone on this Earth.
So the weather good, quiet, but the word prevents you from tuning into the lyrical series "at first". It brings motive expectations something that will destroy the idyllic picture, the motive of anxiety, regret that everything beautiful is so short-lived. It is very important to have time to notice the beautiful, to rejoice in it; memories of beautiful moments will help you withstand the storm of everyday adversity. The blackbirds were calling, rejoicing at the good weather, but something alive it hummed pitifully. What is this? So this alive Badly? The motive of doom, hopelessness, as it hummed, “as if blowing into an empty bottle.” No one will hear, no one will help... The motive of terrible loneliness. But it’s spring, the spring air is transparent, clean, in such air even a shot sounds loud and cheerful - until you think that this shot ended someone’s life. Something is gone forever and will never happen again. "Hold out one woodcock, and a shot at it sounded..." After that "sounded through him", the words “rolling” and “cheerfully” fade in memory, they are replaced by “sadly”, “sadly”, “like the sound of a broken string” that suddenly appeared in our minds.
After this Chekhov phrase, the final transition from harmony to disharmony occurs, and we already take it for granted cold wind, which blew "inappropriately." We are already ready for his appearance. The keywords become "cold" And "wind" . The wind is cold and piercing. Chaos. Darkness. Emptiness. Ice needles. It smelled like winter. Cold breath of death. All fell silent, hid, shrank. Fear. Feeling hopeless. Uncomfortable, cold, unsociable.
And suddenly - a man lost in this huge hostile world. What will happen to him? Will he find the strength to fight for life? Him numb fingers, but the face is only from the wind flared up! It seemed to him that the cold, which had come so suddenly, had destroyed the harmony, that even nature itself was terrified, “and that’s why the evening darkness thickened faster than it should.” If even nature is creepy, what is it like for him, a weak person lost in the Universe. The picture is cosmic: deserted, cold, eerie, gloomy, “everything was completely buried in the cold evening darkness.”
"Cold", "cold" sound so often that you feel an icy breath, you involuntarily shrink, imagine yourself as a lonely traveler, well understand his state of mind. This is not the lonely traveler from the fictional story of Vera Iosifovna (“Ionych”), no, this is a real one. The effect of reality, the effect of presence is amazing. Pity, compassion, hope that everything will be fine - a variety of feelings awaken in the reader’s soul, which means that person is no longer alone. And like a weak flame of hope, but flaring up brighter and brighter - a fire, a bonfire in the cold evening darkness. It is important that the person goes home. It is important to have somewhere to go, to have a home. It’s true that it’s cold and hungry at home. A man feels bad, and now, although under the influence of the moment, he remembers the suffering of other people when “the same wind was blowing.” “There was exactly the same severe poverty, hunger, the same leaky thatched roofs, ignorance, melancholy, such a desert all around, darkness, a feeling of oppression - all these horrors were, are and will be, and because another thousand years will pass, life will cease to exist.” better." The phrase “And he didn’t want to go home” is especially significant. What can save a person in such a difficult moment, when he himself does not believe in anything? Only hope for the best, faith in one’s strength, love for life, for people. And he goes to the people, to the fire, which burns “hotly, with a crackling sound, illuminating the plowed ground far around.”
The hero’s reflections on what happened are the starting point of the plot. His negative generalization reflected both book knowledge and life experience. The reader realizes that all this is subjective, but takes it seriously.
Fire brings warmth and light, and the cold recedes. He is no longer omnipotent! Plowed land is a promise of a possible harvest, it will be abundant - and the eternal enemy of humanity - hunger - will disappear. Terrible and formidable forces are retreating, life is stronger than fear and cold. Still an amazing word - hello! When we greet a person, we wish him health and a long life. And a friendly smile in return, a place by the fire, a conversation. " We talked"- written by Chekhov. The word sounds weighty, significant, and detailed.
And again the transition to another state: from hopelessness - to hope, from loneliness - to the joy of communication, when you can say this very important word: "Do you understand?"And suddenly it becomes clear that they want to understand, and maybe they do understand, and then - such joy! Why? Because you are not alone, you are not the only one, you are not the only one who thinks so. Why did this fire remind him of the one where did Peter warm his cold hands, having denied Christ three times? Why did he tell the widows this episode from the Gospel? What did he hope to awaken in their souls? Was it only the cold, terrible night that revived the story of human weakness, and perhaps betrayal?
Completely, seemingly unexpectedly, a passionate monologue sounds, colored by the most contradictory feelings of the narrator, ending with the words: “I imagine: a quiet, quiet, dark, dark garden, and in the silence you can barely hear muffled sobs...” The abyss of human suffering! Someone else’s pain is felt so clearly, pity and compassion for someone else’s grief is immeasurable. However, is it to someone else's? A feeling of amazing kinship among all people living both before and now suddenly arises. And he, the student, feels like a connecting thread between the past and the future. How meaningful your own life becomes! Three lives, three destinies were united by a feeling of compassion. From a one-sided plot point of view, almost nothing happens in the story and little changes. Immutability, as often happens in Chekhov, is emphasized by repetitions: “and again,” “the same,” “exactly like that.” Gray, boring everyday life, endless repetition of insignificant events, one day is similar to another, but in great historical time (how many centuries have passed!) It was the same: people suffered, as they suffer now, nineteen centuries ago, poor Peter denied his Teacher and mourned his apostasy, and is now mourned again. Or maybe he was just mourning his weakness; after nineteen centuries, people are also weak...
No, I’d like to think that the main thing is the ability to experience someone else’s pain as your own and feel an inextricable connection with all people. In the repetitions, in an amazing indivisible unity, the monotony of everyday life appears, and the growing grief about the passing and lost life, and in the very possibility of grief - hope for overcoming the painful monotony. And this constant transition from hopelessness to hope! Leaving the fire, he again enters the cold and night. It was dark, “a cruel wind was blowing,” it seemed that winter was returning, but all this now does not give rise to feelings of fear, melancholy, or loneliness, because “a lonely fire blinked calmly in the darkness.” And although there were no people visible, he could think about them. “The student again thought that if Vasilisa cried and her daughter was embarrassed, then, obviously, what he had just talked about, what happened nineteen centuries ago, has something to do with the present - with both women and, probably, with this deserted village , to himself, to all people."
Amazing ending, open ended. We don’t know what will happen next to the main character, how his life will turn out: will it consist of acts of kindness and compassion, or will there be room in it for lies and apostasy. We don't know, he doesn't know either. We part with him when he is looking at the stripe glowing, But purple, cold dawn, thinks “that truth and beauty, guiding human life there, in the garden and in the courtyard of the high priest, continued uninterruptedly until this day and, apparently, always constituted the main thing in human life and on Earth in general... And life seemed to him delightful, wonderful and complete high meaning"Will it always be like this? What does the crimson cold dawn promise him in life?
The question of faith in the triumph of truth and beauty of the author of “The Student” is not related to the strength of the hero’s beliefs. Chekhov does not offer the reader any illusions, but in those moments when beautiful words are spoken, we feel the presence of the author, his silent support.
V.M. Shukshin. Story "Resentment"
Of course, the main word, the key word, determining the course of events in the story is "resentment". Ozhegov’s Dictionary of the Russian Language gives it the following interpretation: 1 – unfairly caused grief, insult; 2 – an annoying, unpleasant incident. Now a lot depends on the reader, on how he evaluates what is happening in the store. Shukshin once wrote: “Respect comes with culture. This is a gainful thing, but pity is above us, wiser than all libraries.” What is this story about? Well, of course, about people, about moral deafness, spiritual callousness. What is an annoying little thing for one is a tragedy for another. Known truth, no new topic, many writers turned to it: Gogol, Dostoevsky, Chekhov... But we don’t pay attention to many things until it happens to us or happens before our eyes. So what's going on in the store? Lynching. They “beat” the weak, defenseless. (Analogy: A.M. Gorky, Untimely Thoughts.) The only person who behaves reasonably is a three-year-old child, the daughter of the main character.
As if on purpose, strange people gathered in the store. An angry, boorish saleswoman scolds an innocent man. The terrible crime that she commits (she scolds her father in front of the child, killing, destroying her soul) is due to impenetrable stupidity. (Analogy: I.S. Turgenev, Fathers and Sons - “Peter is completely numb with stupidity.”) For the department head, human dignity is an abstract thing. She doesn’t understand Sashka’s insult, and he himself is not interesting; she simply doesn’t notice the child nearby. "Cloak" is two-faced, mean, deceitful. (1937? All from here?) We know nothing about him, we can only speculate. His son, Igor, is a stupid whipping machine. A soulless crowd that doesn't care about anyone. (How often have we seen such a crowd, ready to insult and laugh in F. M. Dostoevsky’s novel “Crime and Punishment.”)
The system of images lacks a protector. After all, it only takes a little - to get out of the crowd, to approach the unfair offended person and say: “And I believe you.” And some more kind words, and the person will feel better.
The hero of the story is saved by love. The love of his wife, children for him, his love for them. It’s good that he didn’t have time to “break through to Igor with a hammer.” What tragedy could happen because we don’t have time for kind words (most often we have time for abuse). But what about the author himself? Is the author's position expressed in the story? Yes, sure. And it is connected with the word "prudence". "No one is calling for wordless demolition grievances, but immediately because of this, overestimate all human values, put the most meaning of life- this is also, you know, luxury." After these words of the author, the semantic emphasis of the story is transferred from the word " resentment"to the phrase" meaning of life".
S.-Exupery said: “The most difficult thing is to always be a decent person.” It's difficult, but necessary. And then the relevance of V. Vyazemsky’s precise remark will remain in the distant past: “With us, everything ends either with a ban or an order. When will we be forbidden to be boors and ordered to be decent people?” A decent person does not need to give orders; he is guided by his moral sense. Thanks to the capacious verbal images created by Shukshin and precisely found keywords, the reader reflects on what is really important for every person at all times.
The example I will now give is taken from Donald Norman (1976). I demonstrated it in class many times, and students never ceased to be amazed at how powerful this mnemonic device was. Its use is based on remembering the first keywords, which serve as “fishing hooks” for information that is remembered later.
In this case, the key words are presented in the form of a simple verse that needs to be memorized. Do this for one to two minutes.
One is a pancake, Two is firewood, Three is eels, Four is weights, Five is an army, Six is tin, Seven is cream, Eight is autumn, Nine is a swan, and Ten is a month .
Have these lines stuck in your memory? If not, read this poem again.
Now I want to offer you a list of words that you need to remember. You must connect them with the words from the rhyme you just learned, using some image or association you created. For example, the first word in the list is plate. Imagine a plate with a pancake on it, since the pancake appears in the first line of the verse. Take your time to study the words in the list so that you have enough time to create the image:
1.plate
5. picture
7. boot
10. telescope
Now cover this list and answer the following questions:
What word is number eight? What number is the word “table” under?
You, like my students, must have been surprised to find how easy it was for you to give the answer. In this case, you learned a series of rhyming keywords and then used your imagination to associate the words you needed to remember with them. Research shows that this technique works most effectively when the images interact with each other (the pancake is on the plate, and not somewhere nearby) and when they are bright and detailed (the pancake is rosy and appetizing, and the plate has a beautiful painting) . The conscious use of both verbal and figurative forms of thinking was described in the first chapter. We'll use this technique again in the chapters on development. creativity and problem solving. You might be thinking, “Why not just write this list down on a piece of paper?” Of course, if paper and pencil are allowed and you have them at hand, this will be the best and simplest mnemonic device, but often we have to store such lists in our memory.
If you study anatomy, you will have to learn long lists of names of nerves, bones, and other organs. Chemists must know the most complex formulas by heart. I won't trust my surgeon if I see him keeping a list of human body parts on his operating table (even though that might not be a bad idea). There are many examples from real life, when we need to learn long lists and do it as accurately as possible.
You can also use images alone (without keywords). They are especially useful when you need to remember names and faces. This is precisely the technique that Harry Lorayne used (Lorayne, 1975). Replace the last name you need to remember with a specific noun; highlight some characteristic feature of the face; imagine it all as a single image. Lorraine advised paying special attention to the cheeks, lips, wrinkles, forehead, nose, eyebrows and eyes. For example, if you meet Miss Silverstein Silverstain- Silver mug) and you notice that her eyes are wide apart, you can imagine a silver beer mug between her eyes. Mr. Dinter's last name Dinter) can be converted to "diner" (English) dinner- lunch), and the whole lunch can be imagined placed on his wide forehead. Try this technique at the next party you attend. You will find it fun and, perhaps to your surprise, discover new abilities.
Buyers are often driven by emotions. Therefore, advertisers use certain techniques to influence consumer perception of advertising. So successful brands don't just tell consumers to buy their products, they encourage them to make a series of decisions based on emotions.
Color is a powerful tool because it can influence our mood as buyers. Choosing the right color requires a psychological understanding of how each shade affects the perception of the visualization. However, there is no ideal or generally accepted color scheme for a wide audience or even a specific sociocultural group. Advertisements, posters and billboards use color to attract the audience's attention. Different colors evoke different feelings in the viewer.
Repetition used in advertising as a way to keep a brand or product in the minds of consumers. Repetition can introduce brand awareness, but it can also bore them. To be effective, repetition must be used in the right amount, as too much of it can be counterproductive to an advertising strategy. Repetition must be carefully planned and provided in sufficient doses.
Another powerful method is full trust method. It is the most difficult to use because the main character in the visuals must fully trust the brand message. Viewers can detect even the slightest doubt, hesitation or fear. As a result, they will consider the ad somewhat unreliable. In real life, gaze is a signal that plays an important role in social interaction and communication. Looking directly at someone implies a demand or question and an expectation of an answer. The same principle works even in a still image.
Another important principle is association advertising concept. Whenever we see an image of people having a good time, we automatically associate their state of mind with the product they are using. The harmonious and skillful use of gestures, glances, facial expressions and movements compels viewers to buy the product and promote the brand.
Basic compositional technique, which is realized by dividing the image vertically and horizontally using an imaginary grid. According to this technique, important elements should be placed at the intersections of horizontal and vertical lines. Vector lines direct our eyes to the most important information in an advertisement. The inclusion of a vector image in an advertisement depends on the subject, product, image, direction and general appearance advertising marketing campaign. Focal points are used to highlight the most important part of the design. Focal points can be created using colors, shapes and spaces. A successful design is one that uses a strong focal point and directional lines to draw viewers' eyes to the most important elements of the design.
Symbolism used in advertising to represent a brand or company. By using symbolism, advertisers can connect a deeper meaning or message to the selling power of the advertisement. For example, advertising for gemstones often uses the image of water. Both represent clarity and purity. Some common symbols include the open road, which suggests freedom, and the lion, which symbolizes strength, dominance, and royalty. Colors can also be used to represent emotions: red symbolizes love and passion; green represents life and health; black embodies sexuality and seduction.