In the text of the third stanza, the final moment of the thematic triad of the poem unfolds - the theme of forced loneliness. This theme sums up the dynamics of the thematic development of the poem as a whole and stabilizes the overall conflict of the poem, fixing this conflict in its insolubility. The theme of loneliness is also initially developed in terms of a static description - through a series of situations: the prisoner is lonely, the bare walls are “lonely”, the beam of the lamp is “lonely”, the sentry guarding the prisoner is lonely. However, the image of the latter is already deployed in terms of action, which in its variations

relies on the motive of forced, unfree movement, obviously

in a striking contrast to the antonymous motif of free movement in the first two stanzas. In essence, the sentry also appears as a prisoner, doomed to his lack of freedom, although outside the prison. Thus, at the end of the stanza, through the motive of unfree movement, the theme of bondage, common FOR the entire poem, is again updated. On the whole, the third stanza is identical to the previous one in its structure: in both, the plan of a static description, exactly in the middle of the text, is replaced by action.

8. MOTIVE AND KEY MOTIVATION

In literary studies, along with the term "motive", the term "leitmotif" is used. What stands behind the latter: a terminological repetition or a real distinction between the relevant features of the motive? To begin with, let's turn to some well-known interpretations and definitions of the leitmotif in science.

The relationship between motive and leitmotif was considered by B. V. Tomashevsky: “If (...) the motive is repeated more or less often, and especially if it is through, that is, not woven into the plot, then it is called a leitmotif” [Tomashevsky, 1996 , With. 187 (note text)]. For a correct understanding of this point of view, it is necessary to take into account what the scientist defined the motive itself as an elementary narrative theme and did not associate with the motive understood in this way: a sign of stable repetition in the narrative. Therefore, in fact, the leitmotif here is understood as recurring theme. In the definition of B. V. Tomashevsky, the second sign is also of significant importance - the “cross-cutting”, non-fable character of the leitmotif. This

Chapter 2. Motive in the system of the narratological approach

the sign brings the concept of leitmotif in this interpretation closer to our understanding of the lyrical theme (see above). To summarize: the leitmotif for B. V. Tomashevsky is, in essence, a lyrical theme.

If we take into account the semantic and communicative relations of the theme and meaning (see above, section 5), then the deep connection between the thematic concept of motive / leitmotif by B. V. Tomashevsky and the modern concept of leitmotif, developed on the basis of the ideas of intertextual analysis by B. M. Gasparov, becomes clear. The latter establishes almost the same conceptual representation behind the terms “motive” and “leitmotif”: “Any phenomenon, any semantic “spot” - an event, a character trait, an element of landscape, any object, a spoken word, paint, sound, etc.; the only thing that determines the motive is its reproduction in the text" [Gasparov, 1994, p. thirty]. Instead of the term "motive" in this definition, with the same right, there may be the term "leitmotif", which is characteristically indicated in the very title of the quoted book ("Literary Leitmotifs"). Here, the motive (leitmotif) is the same theme, but seen from the perspective of the actual meaning of the narrative. At the same time, as you can see, the definition emphasizes the sign of repetition of the leitmotif in the text.

The scientific literature also presents another tradition of understanding the leitmotif, which is not thematic and semantic in its dominant, but rather functional: the leitmotif is determined taking into account the nature of its repetition in the text of the work. These are the interpretations of I. V. Rodnyanskaya (the leitmotif is “a figurative turn that repeats throughout the work as a moment of constant characterization of a hero,

text of the work [Bogatyrev, 1971, p. 432]. 53]), L. N. Tselkova (“the leading motive in one or many works of the writer can be defined as a leitmotif” [Tselkova, 1999, p. 207]).

We join this tradition and add the following thesis: from the point of view of the criterion of repetition of the concept,

tiva and leitmotif are opposite. A sign of a leitmotif is its obligatory repetition within the text of the same work; a sign of a motive is its obligatory repetition outside the text of one work. At the same time, in a particular work, the motive can act in the function of the leitmotif, if it acquires a leading character within the text of this work.

9. SUMMARY OF SECTIONS 1-8

So what is motif as a narrative phenomenon? Raise the question of defining a motive beyond a specific

conceptual context would be methodologically incorrect. Only in relation to other concepts can we establish what we are looking for. Therefore, a different formulation of the question would be correct: what is a motive as a narrative phenomenon in its relation to other narratological categories?

The discrepancy in the definitions of motive in literary criticism and folklore is largely due to the fact that researchers look at the motive from different points of view - from the point of view of the theme, event, plot, plot, etc., as a result of which they come to a different understanding of the motive. At the same time, each interpretation turns out to be correct in its own way, because the motive is really connected with many aspects of the literary narrative, both ontologically and functionally. However system definition motive can only be constructed in relation to all the essential concepts of narratology.

It should be noted that the understanding of the motive is most characterized by its multidimensionality in the case of the founder of the very tradition of the theoretical study of the motive - A. N. Veselovsky. Let us refer to the opinion of B. N. Putilov: “Veselovsky understood the motive either as the main theme realized in the plot as a whole (the motive of the battle between father and son is the theme of a number of epic plots), or as a stable representation that gives life to the plot or some of its essential part (transformation, heroism, belief in monsters), then, finally, as a schematic element of the plot (the same fight between father and son - but already as an episode in the narrative) and - at the same time - as a specific implementation of it in the text (the duel of Ilya Muromets with Sokolnik in an epic)" [Putilov, 1992, p. 74].

Without repeating the observations made above, let's try to generalize them in the form of a sequence of interdependent relationships that will allow us to build a systematic definition of a motive.

The “motive-event” relation, taken as such, makes it possible to expand the idea of ​​a motive to the level of structure. The basis of the motivic structure is the action and the actants associated with this action.

Organically related to the previous relation "motive-action" allows us to detect such a basic property of the motive as its predicativity.

The correlation of the motive and the chronotope makes it possible to identify in the structure of the motive space-time signs of motivation.

Comparison of the concept of motive with ideas about the theme of the narrative leads to the idea thematic content motive structure.

The correlation of the concepts of motive and hero brings to the level of understanding aesthetic value motive. It is the aesthetic potential of the motif associated within a certain series of events with the character of the plot action that raises the latter to the level of the plot hero as the focus of the aesthetic paradigm of a literary work.

Comparison of the concepts of motive and leitmotif allows us to speak of motive as intertextual repetition and, thus, determines the boundaries of the functioning of the motive. Within the limits of a single and closed text, it is generally impossible to single out a motive as such, and at the most, one can speak of the leitmotifs of this text.

The last two comparisons take us beyond the range of issues that were directly considered in this chapter. These are comparisons of the concept of motive with the main categories of artistic storytelling - plot and plot

The correlation of motive with plot and plot will be analyzed in full detail in the next chapter, but here we will confine ourselves to brief remarks on the essence of the question of defining the very concept of motive.

In art theory, many terms intersect. They are used to refer to different or similar concepts. Let's figure out what the meaning of the word leitmotif is. This is an ambiguous term that is used in different types of art to characterize certain aspects, for example, a leitmotif in music. This is usually called the periodic repetition of the same expressive fragment throughout the entire work.

This technique was introduced into musical theory by Richard Wagner. Without using this term, he used a musical element: the repetition of fragments of sounds in his operas in order to create the integrity of the work, enhance the semantic load of the melody and emotional impact on the listeners.

It was this term that G. Wolzogen used when describing the work of Wagner. The so-called element of a musical work, which is repeated at equal intervals of time. This is a detail that, through repeated repetition, sets the overall tone, the idea of ​​the whole melody.

But even earlier attempts to use the principle of repetition are known to musical theory: in 1607, Monteverdi used a similar technique in Orpheus, but at that time he could not gain a foothold due to the cultural and historical characteristics of the development of musical art.

The term later spread to other art forms:

• theater
• literature,
• choreography,
• architecture,
• painting.

It began to be actively used in everyday life, denoting with its help the main idea, cyclically repeating events, phenomena in a person’s life and various aspects of his activity.

Functions

The leitmotif performs the following functions:

• expressive and semantic: it helps to emphasize the important ideological and thematic aspects of the work, to focus on the details;
• constructive: unites the work thematically, creates the unity of the text or melody

These functions are characteristic of the leitmotif both in music and in literature.

In prose and poetry

In literary works, the leitmotif is an important compositional element of the text.

It is expressed through:

• a detail that is repeated throughout the story;
• artistic image, which is the main one through which the theme and idea of ​​the text are revealed;
• through intonation (this applies to poetic texts);
• description of the experiences of the characters, their thoughts.

Keynote in music

It can be seen that such a concept in literary works is modified, transformed. In voluminous texts, several leitmotifs can intertwine and complement each other.

Ch. Baudelaire and S. Mallarme were the first to use musical techniques in literature. They used not only the lexical meanings of different words, but also their stylistic possibilities to enhance the semantic impact of texts on readers.

Interesting! It is important to distinguish between the concepts of "theme" and "leitmotif": in the theory of literature one can find a mixture of these terms.

The topic is what is outside the text. The leitmotif is what the theme is embodied in, it is a structural component of the composition, sets the general emotional tone of a literary work, embodies its main idea.

An example of a leitmotif in literature is the sound of a broken string in P. Chekhov's work "The Cherry Orchard". It can be a word or phrase that is constantly repeated. For example, in the poem "My genealogy" there are lines: "Noise, noise, obedient sail ...". In Proust's In Search of Lost Time, a recurring detail is the Madeleine cookie, which the author constantly recalls: this image symbolizes childhood, lost time, days that remain in memory.

Note! Poetry, as the closest kind of literature to music, is most closely intertwined with the concept of leitmotif.

In poetic texts, the following types of it are distinguished:

• intonational - repetition of intonational elements: questions, rhetorical exclamations, appeals;
• sound - the repetition of the same sounds, sound combinations. It is realized through the use of rhyme, stylistic figures: anaphora,;
• lexical - the repetition of the same words or word forms with a similar sound.

Leitmotifs in poems are manifested not only at the level of content, but also at the level of form, which is especially clearly observed in classical poetry.

What is a leitmotiv image: let's give examples from the texts. This is the image that is the key that runs through the whole narrative through various details and elements of the text. For example, in Ch. Dickens' novel "Great Expectations" one can single out the leitmotif image of hope as the main idea. This image from the first pages becomes an integral part of the main character, accompanies him throughout the development of the plot and at the moment of climax is revealed to the maximum: collapsed hopes are the key point in the development of the leitmotif.

In The American Tragedy by T. Dreiser, one of the leitmotifs is the image of Roberta, who goes from lover to victim, and through her the facets of the character of another important character, Clyde, are revealed. Her image serves as a litmus test for describing the protagonist's decency; in his attitude towards her, he reveals his aspirations and dreams. The leitmotif of her image in this case lies in the fact that she becomes a through element of the composition: the influence of the heroine on the course of the narrative remains even after her death. Thus, the main criterion of the leitmotif is preserved - repetition.

Useful video: keynote

Transferring meaning to other areas

In Ozhegov's dictionary, this concept is also referred to as something that "passes like a red thread through something." This meaning has helped the musical term become part of people's daily lives. They call the main idea of ​​different types of human activity.

For example, this concept is actively used in design, defining the leitmotif of photography, interior or wedding. In choreography, it is used to denote the main idea of ​​the dance, and in social networks you can even find this word as a title for the main concept of a blog or information resource.

This means that the essence of the concept expands significantly over time and it is quite acceptable to use it where the main idea or topic should be highlighted.

In contact with

The section is very easy to use. In the proposed field, just enter the desired word, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-building dictionaries. Here you can also get acquainted with examples of the use of the word you entered.

The meaning of the word leitmotif

keynote in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

keynote

leitmotif, m. (German Leitmotiv, lit. guiding motive) (book).

Harmonic or melodic turnover, constant sound image (mainly in opera), use. composer to characterize some. hero or something. experiences, stage position and repeating every time the hero appears or when a given position occurs in the course of the action (music). Leitmotifs in Rimsky-Korsakov's operas.

trans. The main idea, the leading beginning, the main tone. Keynote of the book. Keynote of the discussion.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

keynote

The main motif that is repeated in a piece of music.

trans. Recurring in some the main idea of ​​the work.

trans. The main idea, what goes through sth. red thread. L. speeches report.

adj. leitmotif, -th, oh (to 1 value).

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

keynote

A musical turnover that is repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, etc.

trans. The main position, the leading thought, repeatedly repeated, emphasized.

Encyclopedic Dictionary, 1998

keynote

LEITMOTIV (German: leitmotiv, lit. - leading motive) is a musical turnover that is repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Used with con. 18th century in opera, from the 19th century. - in ballet and program instrumental music. R. Wagner used a complex system of leitmotifs in his operas. The term "leitmotif" has a broader meaning: as the definition of the dominant principle in human activity, in the chain of events.

keynote

(German Leitmotiv, literally ≈ leading motive), a musical turn (motive, phrase, less often a whole theme, sometimes a harmonic sequence), repeatedly repeated as a through image of a musical work. It usually serves as a characteristic or symbol of a certain character, object, phenomenon, idea, emotion. Starting from the 19th century. The principle of linearity finds wide application in opera, as well as in ballet and instrumental program music. In the late operas of R. Wagner, the complex system of staging forms the basis of musical and dramatic development. The Russian classical composers M. P. Mussorgsky, N. A. Rimsky-Korsakov, and P. I. Tchaikovsky artistically convincingly implemented the principle of L., but it does not occupy such an exceptional position in their compositions as Wagner’s, and is combined with others. principles of musical dramaturgy. L. retained its importance in the music of the 20th century. (for example, in operas and ballets by S. S. Prokofiev), a new aspect of its use is associated with the development of film music. The concept of L. is often used in the analysis of works of literature, denoting a figurative turn that is repeated in a work as a moment of constant characterization of a character, experience, or situation. Repeating and varying, L. acquires associations and acquires a special ideological, psychological, or symbolic depth. For example, the beat of a mallet in A.P. Chekhov's story "The Bride" is transformed into a symbol of a monotonous and sleepy philistine life and at the same time - accentuates the change of mind of the heroine. They also talk about the sound, rhythmic, intonations of L. in poetry.

The term "L." also received a broader nominal meaning, defining the dominant principle in human activity, in a chain of events, etc.

Lit .: Wagner R., On the application of music to drama, in the book: Selected. articles, M., 1935; Druskin M. S., Questions of the musical dramaturgy of the opera, L., 1952; Yarustovsky B. M., Dramaturgy of Russian opera classics, M., 1953; Rimsky-Korsakov N. A., "The Snow Maiden" - a spring tale, Poln. coll. soch., vol. IV, M., 1960.

G. V. Krauklis.

Wikipedia

keynote

Leitmotif, in music - a characteristic theme or musical turn that describes any character in an opera, ballet, program play, his individual features or a certain dramatic situation and sounds when they are mentioned, when a character appears or when a dramatic situation is repeated in different parts of the work. Richard Wagner was the first to actively use leitmotifs in his operas.

Examples of the use of the word leitmotif in the literature.

Proust, Joyce, Mann, Doderer enriched prose with musicality, turning the novel into a symphony, ideas and time into musical ones. keynotes.

But one cannot fail to notice similarities in the deeper layers of both works and the fact that the entire fantasy genre exploits the Arthurian myth in one, basic canon - in keynote the struggle of the Forces of Good and Progress, represented by Arthur, Merlin, Excalibur and the Round Table, with the Forces of Darkness and Destruction, embodied by Morgana, Mordred and the forces behind them.

Also, the author often sympathizes with the unjustified grandiosity of Church Slavonicism, which sounds in the mouths of Plato's heroes, rather, making these expressions for us, his readers, without sarcasm and mockery, leaving them to sound like an internal keynote his text, which eventually breaks out, begins to sound louder than others.

The tasks of strengthening the unity of the non-aligned countries on a consistent anti-imperialist basis have been keynote through a series of visits by F.

The musical dramaturgy of this choreographic drama is based on an extended system keynotes, which are symphonically transformed in the process of development.

But Zhukovsky achieved this re-expression of the original in each work by specific methods suitable specifically for this text, for the poet, preserving his own style, translated in more than one manner: his translation, like a two-faced Janus, combined the appearance of the translated author and Zhukovsky himself, included in behaving keynotes his creativity.

Antisthenes, in turn, was a pagan of the pre-Christian era, and what the phallus from time immemorial served as a symbol, namely, sensual sensation, was still close to his heart - and not only to him alone, but, as you know, to the entire Cynic school, which proclaimed its keynote return to nature.

Each time an action or speech excites one or another complex, the corresponding keynote in some variation.

But in his subtle remarks, and in his humorous comparisons, and even in his principled objections, the same marvelous keynote, which so bribed and touched with its peaceful softness.

The search for this synthesis is keynote incarnations of Shakespeare on our stage, and in our further presentation, analyzing some of the milestone Shakespearean performances, we will trace the contradictions in which this keynote.

It - keynote Greek tragedy, with the difference that Shakespeare's moira does not live in empyrean inaccessible to people, but is the flesh of the flesh of complex and diverse human relationships.

Volunteer army I laid down and persistently enforced as keynote the following principle: if the gentlemen are fighting, then we, the chiefs of staff, must do everything so that the serfs have their forelocks intact.

It was that main trump card keynote, with whom they rushed along Gogolevsky, like a fool with a written sack.

Canine relationship disputes keynote in our family conversations.

The same is true in ordinary psychological life: keynotes- these are shades of feelings of our complexes, our actions and moods are transformations of leitmotifs.

Richard Wagner himself never used such a designation as keynote. The term was introduced in 1871 by the German musicologist and vocal teacher Friedrich Wilhelm Jens in relation to Weber's operas. It was widely used by Hans von Wolzogen (German) Russian , who used it in all works relating to Wagner's work.

In literature

Term keynote, borrowed from music, is also used in literary criticism and can denote the prevailing mood, the main theme, the main ideological and emotional tone of a literary and artistic work, the work of a writer, a literary movement; a specific image or turn of artistic speech, persistently repeated in a work as a constant characteristic of a character, experience or situation (for example, the distant sound of a broken string becomes a leitmotif in A.P. Chekhov’s The Cherry Orchard), a single detail or a word that serves as a key word is repeatedly mentioned to reveal the writer's intention ("Noise, noise, obedient sail" - in the poem "The daylight went out ...", "I ... the tradesman" - in the poem "My genealogy" by A. S. Pushkin). In the process of repetition or variation, the leitmotif evokes certain associations, acquiring special ideological, symbolic and psychological depths. In poetry, along with figurative, sound, rhythmic and intonational leitmotifs are distinguished. Here it denotes both the dominant theme of the work or work of the writer as a whole, and the totality of groups of thematic elements or expressive means, constant, "canonical" for a particular genre and style. Also, the leitmotif sometimes means a complex of thematic and expressive means, which is constantly repeated throughout a given artistic whole - a literary work; in this usage, the concept of leitmotif approaches its original musical meaning.

Notes

opera terms

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See what "Leitmotif" is in other dictionaries:

Keynote... Spelling Dictionary

- (German Leitmotiv "leading motive") a term introduced into music theory by Richard Wagner (see) and sometimes used in literary criticism, mainly by representatives of the psychological and formal schools. The meaning of the term "leitmotif" in ... ... Literary Encyclopedia

- (German). 1) music. The guiding motive in an orchestra, in an opera, which serves to characterize a famous person or mood and constantly accompanies him. 2) guiding thought. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910 ... Dictionary of foreign words of the Russian language

keynote- Leitmotiv, this word borrowed from the German language (leitmotiv) means (in a figurative sense) the main idea of ​​the work, the idea that the author repeatedly repeats and emphasizes. We also emphasize: the main idea is called the leitmotif! But… … Dictionary of Russian language errors

LEITMOTIV, leitmotif, husband. (German Leitmotiv, lit. guiding motive) (book). 1. Harmonic or melodic turnover, constant sound image (mainly in opera), use. composer to characterize some hero or some ... ... Explanatory Dictionary of Ushakov

Idea, thought, theme, motive, main motive Dictionary of Russian synonyms. leitmotif main motive Dictionary of synonyms of the Russian language. Practical guide. M.: Russian language. Z. E. Alexandrova. 2011 ... Synonym dictionary

- (German leitmotiv letters. Leading motive), a musical turnover that is repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Used with con. 18th century in opera, from the 19th century. in ballet... Big Encyclopedic Dictionary

Keynote, a, husband. 1. The main motive that is repeated in a piece of music. 2. trans. Recurring in what the main idea of ​​the work. 3. trans. The main idea, what goes through what n. red thread. L. speeches report. |… … Explanatory dictionary of Ozhegov

keynote- (German Leitmotiv, literally a leading motive), a musical turnover that is repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Used since the end of the 18th century. in the opera, from the 19th century ... Illustrated Encyclopedic Dictionary

keynote- a, m. 1) A musical turnover, the main motive, repeated in a piece of music as a characteristic or symbol of a character, object, phenomenon, idea, emotion. Opera theme. 2) trans. The main position, repeatedly ... ... Popular dictionary of the Russian language

- (German Leitmotiv, lit. leading motive) relatively short music. turnover (b. h. melody, sometimes a melody with harmonization assigned to a certain instrument, etc.; in some cases, a separate harmony or sequence of harmonies, rhythmic ... ... Music Encyclopedia

Books

• History of Catherine II. Part One (The Path to the Throne). Part Two (Internal Troubles), Alexander Gustavovich Brikner. The leitmotif of the historical writings of Professor A. Brikner of Dorpat University is the process of Europeanization of Russia, the penetration of Western European concepts and interests into it. This approach is…

Or a musical turn that describes any character in an opera, ballet, program play, his individual features or a certain dramatic situation and sound when they are mentioned, when a character appears or when a dramatic situation is repeated in different parts of the work. Richard Wagner achieved perfection in weaving leitmotifs into the canvas of a musical work and creating uninterrupted dramatic development thanks to them in his, especially later, musical dramas.

emergence

Richard Wagner himself never used such a designation as keynote. The term was introduced in 1871 by the German musicologist and vocal teacher Friedrich Wilhelm Jens in relation to Weber's operas. It was widely used by Hans von Wolzogen (German)Russian, who used it in all works relating to Wagner's work.

In literature

Term keynote, borrowed from music, is also used in literary criticism and can denote the prevailing mood, the main theme, the main ideological and emotional tone of a literary and artistic work, the work of a writer, a literary trend; a specific image or turn of artistic speech, persistently repeated in a work as a constant characteristic of a character, experience or situation (for example, the distant sound of a broken string becomes a leitmotif in A.P. Chekhov’s The Cherry Orchard), a single detail or a word that serves as a key word is repeatedly mentioned to reveal the writer's intention ("Noise, noise, obedient sail" - in the poem "The daylight went out ...", "I ... the tradesman" - in the poem "My genealogy" by A. S. Pushkin). In the process of repetition or variation, the leitmotif evokes certain associations, acquiring special ideological, symbolic and psychological depths. In poetry, along with figurative, sound, rhythmic and intonational leitmotifs are distinguished. Here it denotes both the dominant theme of the work or work of the writer as a whole, and the totality of groups of thematic elements or expressive means, permanent, "canonical" for a particular genre and style. Also, the leitmotif sometimes means a complex of thematic and expressive means, which is constantly repeated throughout a given artistic whole - a literary work; in this usage the concept of leitmotif approaches its original musical meaning