.png)
https://doi.org/10.20339/PhS.3-20.115
Gilyano Karina E.,
PhD Student of the Theory of Literature Department
Lomonosov Moscow State University
e-mail: k.guiliano@mail.ru
.Author theoretically substantiates the possibility and expediency of analyzing the world-modeling categories of literary artwork. Assuming that having established the laws by which a text is constructed as a work of art, and the moment when the text ceases to be just a text and becomes a work of art, a literary critic will be able to establish the boundaries of the aesthetic in a work of art and develop approaches to its analysis, the author refers to the largest units on which a literary work of art is built. These units are four basic world-modeling categories: subject, event, time and space. Each of these categories is understood as a combination, the sum of its manifestations in a work of art. The article discusses the nature and correlation of these categories, as well as the development of these categories at the three levels of the work of art described by M.M. Bakhtin: epistemological, ethical and aesthetic. The author of the article formulates and theoretically substantiates the stages of the analysis of world-modeling categories of literary work of art. As an example, the practical part of the article provides an analysis of the world-modeling categories of the story by A.P. Chekhov’s “Ariadne”, through which a literary critic gets the opportunity to go on to analyze the problems of the work and the author’s position.
Keywords: world-modeling categories, aesthetic component, philosopheme, author’s message, the problem of the work of art.
References
1. Bakhtin M.M. Literaturno-kriticheskie stat’i. Moscow, 1986.
2. Lotman Yu.M. Struktura hudozhestvennogo teksta. Analiz poeticheskogo teksta. St. Petersburg, 2018.
3. Nietzsche F. Polnoe sobranie sochinenii v 13 t. T. 13. Moscow, 2006.
4. Chekhov A.P. Sochineniia v 18 t. // Polnoe sobranie sochinenii i pisem v 30 t. T. 9. Moscow, 1975.