General note-taking algorithm. Romantic revolution (thesis summary) Thesis plan summary

1. Romanticism was a revolutionary upheaval in the culture of Europe, a decisive turn in consciousness, a fundamentally new step in it. The essence of this "revolution" is the assertion of autonomous subjectivity, the freedom of the individual from any external conditioning. First of all, this concerns the field of creativity (the rejection of the previous "rhetorical" literary tradition), but also manifests itself in the socio-political, cultural, and religious fields.

2. Romanticism arose as a later (after 5-10 years) reaction to the Great French Revolution. This reaction is a disappointment in the essence, methods and consequences of the revolution. This disappointment lays the foundation for the literary biography of the first romantics.

3. The enthusiastic attitude of the "senior" romantics to the revolution is psychologically conditioned by their young age at the time of the revolution (15-20 years old) and upbringing (the ideal of "freedom" of the Enlightenment, the increased susceptibility to life of the feelings of Rousseau and sentimentalists). Hence the radicalism and revolutionary enthusiasm of future romantics, their relatively calm attitude towards the bloody methods of the revolution.

4. The whole history of the romantic worldview is accompanied by a tense reflection on the revolution that gave rise to it, either as a directly experienced event (the first generation of romantics), or more speculatively, through the prism of the current events of their time and with the projection of the revolution into the future - in subsequent generations. For the "younger" romantics, the French Revolution already existed only in the form of an idea, and its social and cultural consequences became the real experience of life.

5. The essence of the “disappointment” of romantics in the revolution is the realization that the desired freedom, “freedom”, is not achievable on the paths of social revolution, social (re)organization. It is “the essence of the property of a single person, if he is pure in soul and burns with love and worship of God in Nature” (Coleridge, “France”, comments). The pledge of freedom is in the return from the “human coves” (Wordsworth), from the “dust of human deeds” (Coleridge) to the harmony of nature and through it to the “secrets of the soul”.

6. This disappointment in "human affairs", which the first romantics came to experience, became the dominant feature of the romantic consciousness. It was here that romanticism, as a worldview and artistic position, retained its “pure” essential specificity in all the vicissitudes of development; and it was here that he became a revolutionary upheaval in European artistic consciousness.

7. "Secrets of the soul" - a purely individual sphere of romantic sublimation. It was not without reason that the Jenese announced the equal size of the poetic soul to the cosmos, their interpenetration and mutual imposition (Novalis). A romantic genius individual (“super-ordinary person”) appropriated the universe, placing it in the expanded space of the soul, building a parallel world as opposed to the real one.

8. In the most general terms, the main threat that frightened the romantics can obviously be defined as the bourgeois order that is being established as a result of the revolution. A lot of evidence can be cited that the romantics very soon recognized and resolutely rejected such essential features of it as pure practicality, which turned into an egoistic thirst for material prosperity, disregard for the values ​​​​of the spirit, the transformation of everything - including art - into an object of sale; in short, the notorious "bourgeois chistogan". “Everywhere we now find a huge mass of vulgarity, fully formed and formalized, that has penetrated more or less into all the arts and sciences. Such is the crowd; the ruling principle of human affairs at the present time, which controls everything and decides everything, is benefit and profit, and again benefit and profit ”(F. Schlegel, 1802).

9. Hence the romantic complex of "anti-philistinism", fear of the crowd. This is not just a manifestation of elitist arrogance: the romantics saw here a real danger to the very sphere of spirituality, which intensified many times precisely with the beginning of the bourgeois era. The revolution brought with it the spread of "enlightenment" to the broad masses of the third estate. This entailed the subordination of art to the laws of the market, its openness to anyone, including offensively profane judgment, increased dependence on the demands of the public, the temptation and danger of deforming the artistic intention to please these demands.

10. Therefore, the romantic spiritual revolution began by overthrowing and driving out the third estate, stigmatizing it once and for all with the name of "philistinism", and where it did not dare to confine itself to the society of "extraordinary people", demiurge poets, it opened the doors to the fourth estate for the "common people". This was done in order to avoid the sin of self-centeredness, which was immediately recognized.

11. Romantics, who initially turned to the problem of the people, presumably, for ideological and ethical reasons, saw in folklore simplicity also a weighty legitimation for their aesthetic aspirations. It was, in a certain sense, a tactical union of the principle of deeply subjective self-expression with the principle of "general validity."

12. The mentality and psychology of the common people were perceived by the romantics almost as part of Nature, as a marginal sphere, remote from modern life with its bourgeois-civilizational progress and opposed to it. In romantic "populism" the "centrifugality" of the romantic worldview found its expression.

13. Having first made a great ethical amendment to radical romantic geniocentrism, an attempt to supplement it with an altruistic dimension, populism did not solve and did not remove the main and most painful problem of romanticism. It was easy for romantics to imagine an ideal humanity of the future and love it, do good to it, but the environment that surrounded them every day broke this image again and again. Every time the ideal turned into a new illusion: every time the romantic, sublime idea of ​​freedom, trying to correlate with reality, with the earth, did not find soil and support - or rather, every time it found slipping soil, a failing support.

14. The very concept of "people" in the use of romantics is a kind of vague abstraction, an "ideologeme". Like any ideologeme, it has an evaluative coloring. In romantic ideology, this coloring is initially positive, but in principle it is just as stylized a concept as “crowd”, and “rabble”, and “philistines”, only with the opposite sign. A concept with elusive content. And this could not but be felt by the romantics, who longed for support. In general, the traditional romantic and all subsequent neo-romantic identifications of the people with the peasantry, with what is near the earth, near the “soil”, turned the people - and the closer to our time, the more obviously - into a minority of the nation.

15. An attempt at a more or less definite sociological reference ("independent peasantry", "common people") gives the concept of the people at least some tangible meaning and can still inspire in the artistic field such masterpieces as Wordsworth's ballads and poems in the folk spirit, such as "The Old Sailor" by Coleridge, as folklore poetic stylizations of Arnim and Brentano, as "The Tale of the Honest Casper and the Handsome Annerl" by Brentano. But it also narrows, of course, the channel of creative possibilities, especially for romantics with their initially all-encompassing aspirations, with their plans for a new world, even cosmic reorganization. In the same way, these possibilities are limited by the narrow national idea - Native sister populism in the system of early German romanticism. In this post, "high" romanticism did not last long. The later work of Coleridge, and even Wordsworth after the Lyrical Ballads, is already very far from a demonstrative orientation towards the "common people", folklore and soil.

16. Whom to take into the realm of freedom, whom to rule there? The historical basis for such reflections seems to be different every time: the French Revolution itself with Wordsworth and Coleridge, the liberation struggle of the Greeks at the end of the 18th century with Hölderlin, the political atmosphere of the European Restoration with Byron and Pushkin. But in all cases, we are talking about a revealing and painful reassessment of the concept of "people", and to be quite precise - about its devaluation, ultimately caused by the comprehension of the same revolutionary experience.

17. The problem of a romantic worldview looming in all these painful thoughts is precisely the elusiveness of an unambiguously positive, ideal image of the people, the impossibility of clearly separating it from the real and effective mass of ordinary contemporaries - a mass that appears to bewildered romantic eyes either as a bloodthirsty crowd during the days of the revolution, or as a submissive a herd in the days of the Restoration, then an inert and viscous mass of philistine lack of spirituality in the rest, peacefully flowing days. “The bourgeoisie was filled with everything and everyone ...” (Brentano, 1798)

18. Romantic thought is initially focused on the absolute; recognition of relativity, gradualness is given to her with difficulty - if at all. She wants everything at once. Romantics not only do not want to wait - they want to influence, they want to deal with sympathetic and malleable contemporaries, "the way they should be," the way they want to see them. Any real discrepancy, the slightest mutual misunderstanding plunges them into despair (the most striking and tragic symbol is Kleist). In this sense, all romanticism is a thirst and search for an interlocutor, a like-minded person, a dream of infinity - “inseparability and eternity” - the youthful union that once united them, about the spread of this union to everyone. But these "everyone" again and again scare them away with their inconsistency with the maximalist romantic requirements - serving only "benefit and profit" (F. Schlegel), and most importantly - "vulgarity". Hence, one of the most pervasive and vital motifs of romantic literature is the motif of "love wasted in the desert", love unclaimed. The object of love - in this case, the "common people" - deceived expectations.

19. What romantics do not want - or what they come to at the cost of considerable effort (and, in fact, at the cost of self-denial, farewell to romanticism) - is to see other people impartially, without regard to themselves, "as they are", and even more so - to recognize that these others may have their own existential reasons and their own rightness. Over this problem ("others" - not "crowd", not "rabble" and not "philistines", but first of all people) Hölderlin's thought beats in "The Death of Empedocles".

20. The subsequent history of European lyric poetry testifies that in its mainstream, it was not folk imagery and themes that were adopted and developed, but the intimate confidence of tone, the naturalness and spontaneity of lyrical expression - features inherent in the romantic mentality in general, creativity is sharpened -individual.

21. “Everything brings me back to myself,” Novalis said in The Disciples in Sais. This is said as if in a purely natural-philosophical context, about the identity of the knowledge of nature and self-knowledge. But this, in fact, is the formula of the entire romantic worldview in its consistent expression. His exits to social sphere ended precisely with a return "to oneself." So it was with the splendid folksy adventure of romanticism: from there a wonderful poetic experience was taken. But let's not be deceived: for all their focus on "simplicity" and "nationality", the Romantics remained elite poets, masters of virtuoso stylization. The romantic genius nevertheless remained "its own highest court."

22. The romantic cult of personality - brilliant and exceptional - arose not from the arrogance that suddenly seized the poets; it was almost a reflex reaction of self-defence against the triumph of the masses, against the threat of spiritual oppression. In the history of European literature, romantics then rose more than once against social and national oppression; but to understand the essence and heart of romanticism, one must clearly realize that all his other uprisings were derivatives of this main thing - the uprising of the Personality, a rebellion against any encroachment and claim to its absolute sovereignty. And this is the essence of that "parallel" revolution, which they opposed to the bourgeois revolution; this is the essence of the romantic revolution in the spiritual history of Europe - a revolution that had no less significant consequences for this history than the consequences of the bourgeois revolution for social history.

23. In romanticism arose radically new concept man and his life path. The pre-romantic individual has always correlated himself in one way or another with the outside world, with human or divine institutions. Enlightenment literature - the closest reading circle of romantics at the time of their maturity - cultivated the genre of "educational novel", showing how a person, entering into life, learns to live, learns to conform to the laws of the outside world. Romantic literature poses the problem in a completely different way: in it, a young person who has entered into life must not so much “grow up” as preserve his “childish consciousness” as much as possible, protect him from the onslaught of the outside world, from the oppressive weight of “prison”. Hence the apology of children's consciousness in romantic literature - precisely as the consciousness of a naive, innocent, still, so to speak, "not educated", not adjusted to the general ranking and therefore more open to the truth of being, than the consciousness of an adult, already marked with the seal of the outside world and therefore devoid of individuality. , open-mindedness. According to romantic existential philosophy and epistemology, a child is wiser than an adult. On this line of thought, Wordsworth's famous paradoxical formula could have arisen: "A child is a father to an adult!" This desire to preserve forever childhood and youth is a sign of a truly radical change and upheaval: to cross out everything that was before and start with the tabula rasa, with the monad of individuality.

24. In the same way, romantic campaigns against the classicist "rules", against enlightenment didacticism, against rationalistic moralizing were not just a sign of another "change of direction"; it was in the trend, too, a radical revision of the very status of creative activity. The pre-romantic artist nevertheless conformed to the establishment of a certain order outside him - from aesthetic to ethical. The Romantic Revolution opened the way to the legitimation of even the slightest expression of subjective creative will, which does not recognize any codes.

25. The logic of the principle laid down by the Romantics led to the fact that a work of art could become a purely individual, single self-expression, not correlated with any external verification criteria. For its perception and understanding, in fact, it is not enough even to know the "manifestos", the legal provisions of the corresponding "ism", if they were expressed. Here the age-old code of relations between the “creator” and the “public” itself changed: the writer was freed from the obligation to use any generally accepted language, whether it be the language of aesthetic laws or the language of everyday verbal communication, but the “public” was charged with the obligation to know a purely single figurative, symbolic the language of a given individual creator. Do not learn, do not understand - her concern; the work of art will not be diminished by this - it rests in itself. On this path, art can logically come - and more than once! - to extreme hermeticism. Then the question arises: is this the final meaning of the spiritual revolution carried out by the romantics? And is their original claim to correct the results of the social revolution, to bring about a better, true revolution, correlated with this result?

26. Of course, the goal of the first romantics was much more general than the self-satisfaction of the artistic instinct of the game. By proposing to begin with the restructuring of consciousness, they hoped to come to the reorganization of the world in this way as well. Their artist-genius is not only his own law, but also the embodiment of the ideal of human existence; he was conceived as an irresistible and contagious example of harmony, capable of captivating others along with him, raising them from the vulgar routine of improper life to the poetic paradise of proper existence. The freedom of expression of the individual - as the subject of a new revolution - was only a means to achieve the lofty and humane goal of universal freedom.

27. But such a path to others turned out to be very long, too, and the Romantic Revolution over and over again liberated itself only in the sphere of artistic consciousness; paradise turned into Parnassus, and then into a tower - sometimes from ivory, sometimes from ebony.

28. Yet the results of the Romantic Revolution should not be judged by the extremes of Hermeticism and Narcissism. It had more significant and fruitful consequences. One of the most important concerns artistic language. The visible presence of the will of the creative subject in every monad of the artistic world has become an almost indispensable element of the language and structure of all high art of the 20th century, including that which by no means excludes the traditional, objective possibilities of verification. Recipients of art in the 20th century, willy-nilly, had to get used to the fact that in order to understand the majority of works of art of this century, including those that have long since become classics, it is necessary not only to look for correspondences to their images in the object world, but also to look at them through the prism of this individual - author's - consciousness.

29. In turn, this influenced the reader's consciousness in the 20th century in general, extremely activating it, sharpening its susceptibility not only to the secrets of poetic language, but also to the secrets of the human soul. We are not always even aware of how powerful the receptive stimuli instilled in us by the Romantics are. Thus, the English researcher, not without reason, speaks of "our post-romantic (or still romantic) manner of reading", by virtue of which we are now inclined to perceive, "read" any image of world literature, whether it be Homeric Achilles or Shakespeare's Hamlet, in the same way as his It was the romances that were perceived and read.

30. Who finally populated romantic literature after their revolution? Wanderers, outcasts, rebels, scoffers, mourners - weird people, superfluous people; yes, geniuses, yes, enthusiasts, yes, very often "honest people with a pure heart" - but all "outcasts". All their euphorias and all their escapades, soarings and falling away, their forced enthusiasm and their ambiguous irony - these are all convulsive reactions of an individual who has felt himself in a close and ever shrinking ring of vulgarity, norm, Mass. Their world is probably indeed a "compensatory mythology", in the words of another researcher. But their revolution did not pass without a trace, and the romantic artist, having long defended himself against the rules and laws imposed on him by the public, nevertheless took revenge: he forced the public to look at the world through his eyes.

FULL ARTICLE: Karelsky A.V. Social Revolution and Romantic Revolution // Questions of Literature. M., 1992. N 2. S. 187-226.

Question plan The plan is written in the form of questions to the text. Each question - to any one semantic part of the text. Questions should be asked in such a way that the answers to them help to restore the content of the entire text. When compiling a question plan, it is better to use interrogative words (“how”, “how much”, “when”, “why”, etc.), and not phrases with the particle “whether” (“is there”, “found”, etc.).

Plan - support scheme This plan consists of "supports", that is, words and phrases, sentences that carry the greatest semantic load. On the "supports" it is easy to restore the text. The choice of "supports" depends on the characteristics of your memory, goals and objectives that you set. Each person draws up a reference scheme so that it is convenient for him to use it.

*Thesis is a briefly formulated idea of ​​a paragraph or part of the text. Each thesis corresponds to any one semantic part of the text. There are many verbs in this regard. - They caught a turtle in the sea. - Caught turtle cries all the time. - The turtle is crying out excess salt from the body.

A thesis is a briefly formulated main provision of a paragraph, text of a lecture, report, etc. The thesis usually coincides with the informative center of the paragraph. 1. Read the text. In each paragraph, highlight the sentences that express the main idea paragraph. 2. Write down these sentences in the order in which they are presented in the text. 3. As you write, number them. You will get the abstract of the text.

1. Three principles of Russian spelling 2. The leading principle of Russian spelling... The plan shows what needs to be said 1. Spelling in Russian is carried out according to three principles: morphemic, phonetic, traditional. 2. The morphemic principle of spelling is the leading principle of Russian spelling. Each morpheme retains a single spelling regardless of pronunciation. The thesis formulates WHAT needs to be said

Person doing scientific work, may record any information in writing - for example, within the framework of term paper or report, in the form of abstracts or abstracts. What is one and the other data reflection format?

• elements of the material of the article - compiled by a researcher or scientist, which reflect its main thoughts;
• a list of assumptions contained in a scientific article that can be subsequently proven or refuted.

Abstracts are usually based on the author's own research. Materials compiled on their basis usually reflect in sufficient detail the author's approach to a particular problem. Abstracts included in the document can be written in accordance with a separate plan. They are simple and complex in structure, key and secondary in terms of importance.

In order to reflect in the author's text (for example, in a scientific article) the facts that reveal the details of the theses, and also, as an option, supplement it with evidence, it is necessary to turn the corresponding work into a summary. Consider how it will look in this case.

What is an outline?

Under abstract accepted to understand:

• a source that is a brief retelling of other material (for example, a lecture at a university);
• a document that, like the one that contains the abstract, may include the author's assumptions - but supplemented with evidentiary elements (statistics, formulas, measurement results), as well as facts that reveal in detail the main ideas set forth in the abstract.

The abstract, therefore, is completely author's or based on the thoughts of another person - for example, a university teacher. Like the theses, it can be drawn up in accordance with a separate plan.

Comparison

The main difference between abstracts and abstracts is that the former, as a rule, are of an authorial nature. In addition, they can only reflect assumptions - which in the course of further research are not always confirmed.

The abstract, in turn, can be compiled by its author based on the thoughts of other people. Also, in some cases, it, in fact, is an extended version of an article with theses - but already proven.

There may be a difference between the types of data sources considered also in terms of content. Theses are, as a rule, the main thoughts of a larger text. The summary can be a brief retelling of part of the material - it is not necessary that these will be the main thoughts of this source. But the option is not ruled out, in which the abstracts are compiled on the basis of the synopsis. In this case, they will reflect the main ideas contained in it.

Having determined the difference between the theses and abstract, we fix the key findings in the table.

Table

PREPARATION OF ABSTRACTS

(From the speech of Adyukova L.A.)

In research work, it is difficult to do without such basic skills when working with texts as writing abstracts, taking notes, citing, folding information.

Thesis- the word of Greek origin literally means "position, affirmation"; kind of secondary document. According to the generally accepted definition, an abstract is a summary of the main provisions of a report, lecture, article without a system of evidence and factual material, which contains clearly formulated thoughts of the primary document.

There are two types of theses:

Reader's represent one of the options for "refining" a scientific text in the course of its study; they are written to highlight the main information of a source, such as a textbook or article.

In educational practice and independent scientific work, writing theses is used as a form of work on a ready-made foreign text. In this case, the abstract, being the most concise version of the entries related to the analytical processing of the text, is among other types of such entries:

plan - theses - abstract - abstract - review.

Work on abstracts:

The main distinguishing feature of abstracts from other forms of scientific publications is the generalization of information, which can be represented by a universal list of the following aspects of content:

Relevance of the problem

.Degree of knowledge of the problem

.Target setting

.Subject of consideration or proposed solution to the stated problem

Features (novelty) of the proposed subject matter

Abstract structure: introductory part, main, final.

Starting to work on the theses, you must carefully read, analyze the materials of your study. Theses are compiled on the basis of the main ideas and provisions. Drawing up the theses allows the author to deeply analyze the material, highlight the main thing in it.

Distinguished by shape three types of abstracts:

Brief, concise, clear, categorical, which contain the essence of the main provisions of the work or report;

Motivated, with a brief explanation of the put forward copyright provisions;

deployed, with an analysis of the causes of the processes and phenomena under study.

Abstract content requirements:

Informative content of abstracts, i.e. they should be maximum

Clear wording of each provision.

The logical sequence in the presentation, i.e. absence

logical contradictions both within a single provision and between theses.

Proportionality in the content of the abstracts, i.e. accounting for the previous

subsequent "accumulation" of provisions.

Absence of tautologies (repetitions of the already named concept by others

words).

Brief and concise wording (lack of substantiating

facts and examples).

The volume of abstracts should be from 1.5 to 3 typewritten pages.

Compliance with the theme of the conference, seminar, etc.

Requirements for the title of abstracts: brevity, capacity, completeness.

Abstracts are not characterized by citation, use

bibliographic references, lists of references, examples, details, explanations.

In fact, abstracts contain compressed text. Text compression (reduction) is the extraction of basic information without loss of coherence. The reduction occurs due to the exclusion of less informative parts of the text, the transformation of the remaining part, due to the replacement of the used language means with "capacious" synonymous ones (instead of several simple ones - one complex one; instead of listing homogeneous members - a generalizing word, etc.).