Conflict situations in works. Conflicts in works of literature (with examples)
In literature? How does it manifest itself? Is it always possible to notice it even to an inexperienced reader? Conflicts in works of literature are an obligatory and necessary phenomenon for development storyline. Not a single high-quality book that can claim the title of eternal classic can do without it. Another thing is that we are not always able to see a clear contradiction in the views of the character being described, to deeply consider the system of his values and inner convictions.
Sometimes it is difficult to understand true literary masterpieces. This occupation requires enormous mental stress, as well as the desire to understand the characters, the system of images built by the author. So what is conflict in literature? Let's try to figure it out.
Concept definition
In most cases, people intuitively understand what in question when it comes to talking about some ideological clash in a particular book. The conflict in literature is the confrontation of the characters of the heroes with external reality. The struggle in the fictional world can go on for a long time and necessarily leads to a change in the way the hero looks at the surrounding reality. Such tension can form within the character himself and be directed to his own personality. The development of such a move occurs very often. And then they talk about the internal conflict, that is, the struggle with oneself.
Conflicts in Russian literature
Domestic classics deserve special attention. Below are examples of conflicts in literature taken from Russian works. Many of them will be familiar from the time school curriculum. What books are worth checking out?
"Anna Karenina"
The greatest monument of Russian literature, which does not lose its relevance today. Almost everyone knows the plot of Anna Karenina. But not every person can immediately determine what the main experiences of the heroine are. Thinking about what conflict is in literature, one can recall this wonderful work.
Anna Karenina shows a twofold conflict. It is he who does not allow the main character to recover and look differently at the circumstances. own life. In the foreground, an external conflict is depicted: society's rejection of relations on the side. It is he who distances the heroine from people (friends and acquaintances) with whom it was so easy to interact before. But apart from that, there is internal conflict: Anna is literally crushed by this unbearable burden that she has to bear. She suffers from separation from her son Seryozha, has no right to take the child with her to new life with Vronsky. All these experiences create a strong tension in the heroine's soul, from which she cannot free herself.
"Oblomov"
Another unforgettable piece of Russian classical literature which is worth talking about. Oblomov depicts the solitary life of a landowner who at one time decided to refuse service in the department and devote his life to solitude. The character himself is quite interesting. He does not want to live according to the pattern imposed by society, and at the same time does not find the strength to fight. Staying in inaction and apathy further undermines it from the inside. Hero conflict with outside world It manifests itself in the fact that he sees no point in living the way most people do: going to work every day, performing actions that seem meaningless to him.
The passive way of life is his defensive reaction against the incomprehensible surrounding world. The book shows the conflict of the ideological plan, since it is based on an understanding of the essence and meaning of human existence. Ilya Ilyich does not feel the strength in himself to change his life.
"Idiot"
This work is one of the most famous by F. M. Dostoevsky. In "The Idiot" is depicted ideological conflict. Prince Myshkin is very different from the society in which he has to be. He is laconic, has extreme sensitivity, which is why he is acutely experiencing any events.
The rest of the characters are opposed to him by their behavior and outlook on life. The values of Prince Myshkin are based on the Christian understanding of good and evil, on his desire to help people.
Conflicts in foreign literature
Foreign classics are no less entertaining than domestic ones. Conflicts in foreign literature sometimes presented on such a broad scale that one can only admire these masterfully written works. What examples can be given here?
"Romeo and Juliet"
A unique play by William Shakespeare, which every self-respecting person must have met at one time or another. The book shows a love conflict, gradually turning into a tragedy. Two families - the Montagues and the Capulets - have been at war with each other for many years.
Romeo and Juliet resist the pressure of their parents, trying to defend their right to love and happiness.
"Steppenwolf"
This is one of the most memorable novels by Hermann Hesse. The main character - Harry Galler - cut off from society. He chose for himself the life of an impregnable and proud loner, because he cannot find a suitable place in it for himself. The character calls himself steppe wolf", who accidentally wandered into the city to the people. Haller's conflict of an ideological plan lies in the inability to accept the rules and attitudes of society. The surrounding reality appears to him as a picture devoid of meaning.
Thus, when answering the question of what a conflict is in literature, one should definitely take into account the inner world of the protagonist. The worldview of one character is very often opposed to the surrounding society.
We continue to study the structural elements of the plot, and today we will talk about the core of dramatic stories - conflict.
What is conflict?
First of all, conflict- this is a clash, a struggle of two or more interests within the framework of a literary work. IN "Song of Ice and Fire" J. Martin Lannisters fight the Starks, during "Lord of the Rings" the combined forces of humans, elves and dwarves oppose Sauron, and so on. All narrative and entertaining prose tends to use conflict as the main driver of the plot.
Secondly, conflict is a source of dramatic situations, a catalyst for the tension of the physical and emotional forces of the characters involved in the struggle. Who cares about lazy and idle heroes? The characters involved in the conflict are forced to show the strength of their character and intellect in order to achieve their goals, and the clash of two polar forces gives rise to a variety of dramatic situations - moments when a person stands in front of difficult choice or hanging by a thread.
Watching such a skillfully written collision, the reader is involuntarily drawn in, empathizes with one side or the other. Acute conflict situations always attract attention, such is the nature of curiosity, and what else does a writer need, if not a reader focused on his text? In this regard, cinema and literature are forms that allow creating conflicts of the highest intensity. Limitations are imposed only by the imagination of the author. Therefore, let us remember that conflict in capable hands is the strongest means of influencing the readership.
conflict as it is.
However, it is my duty to warn you that not every work of art has to contain conflict. I already talked about this in the article (read it to better understand the scope of the tips from the rubric "Story Power"). Prose works in our time are so diverse that they allow us to refer to the most different sides human being: not only the uncompromising struggle for a place under the sun, but also the spiritual and intellectual spheres, the aesthetics of descriptions. However, modern Mass culture, whether we like it or not, is almost entirely dependent on conflict.
Therefore, if you intend to write action-packed prose, if you want to confidently hold the attention of your readership, you simply need to master the art of building artistic conflict.
So, solid dramatic story always starts with conflict. However, it is not at all necessary for him to appear already on the first page, but by the end of the conditional first third of the narrative, he should be identified specifically and clearly (for more details, see the article). IN otherwise, the reader will simply get bored. I regularly come across such texts: page after page something happens, the hero runs and fusses, but it is completely incomprehensible why and for what purpose. The conflict is not marked, and we are no longer guided by events.
It follows from this that only clear, clearly defined forces should be present in the conflict - the reader should be conveyed who is fighting for what and why. Both sides of the conflict must be endowed with specific goals, the achievement of which for the heroes should be vital.
Let's take the following simple plot as an example.
Two couples together with the children go on a two-day country trip. In the evening, at a halt, a poisonous snake bites the girl; next to her is the father of the second family - he tries to drive away the snake, but she bites him too. The snake's venom is deadly and people simply won't make it to the city in time. However, the man has an antidote with him, but it is only enough for one. The girl's parents believe that it is she who needs to be saved, and they are ready to take the medicine from the second family by force. The man, like his relatives, believes that it is he who should take the antidote. Two close-knit families in an instant become fierce enemies. Here is the conflict.
As you can see, in this story, a specific object is at the center of the conflict - an ampoule with an antidote. It is very important that there is something understandable and tangible at the center of the conflict (the ring of omnipotence in The Lord of the Rings, the Iron Throne in PLIO).
Antagonist.
Two more plot elements are closely related to the concept of conflict: antagonist And alternative factor.
Antagonist- this is a specific person opposing the main character. In J. R. R. Tolkien's trilogy Lord of the Rings"The main antagonist is the dark spirit Sauron, it is his goals and actions that run counter to the interests of the main characters. The presence of an antagonist provides a form of conflict of the form " good and evil". Sometimes, as such, there may not be an antagonist in the work, in which case the conflict will take the form “ good versus good” (as in our example with a venomous snake bite: none of the heroes is overtly evil (although one can argue here), everyone is fighting for his life), or there is a so-called internal conflict.
Internal conflict- there is a clash of two opposing sides of personality. In our example, a bitten man will develop a serious internal conflict- the norms of morality and upbringing will push him to give the antidote to the girl, but the sense of self-preservation will insist on something else.
Often in fiction, several conflicts unfold at once. This makes the story multifaceted, close to the true realities of life. The main thing that is required here from the writer is not to forget to bring each of the conflicts to a resolution.
alternative factor.
Alternative factor- this is a real threat that will overtake the hero in case of defeat in the conflict. The key word here is real. If the hero does not suffer in any way as a result of defeat in the conflict, then it is not so interesting for us to empathize with him. Another thing is if he is in real, tangible danger. I will especially note that the alternative factor should be indicated in the text as early as possible so that there is no unpleasant feeling of puppet actions.
Below is classification of alternative factors based on the book by A. Mitta “ Cinema between hell and heaven».
Classification of alternative factors according to A. Mitte.
- Loss of self respect.
- Professional failure.
- Physical harm.
- The threat of death.
- Threat to family life.
- Threat to the life of the nation.
- Threat to humanity.
As you can see, the degree of heat is increasing. But this does not mean that the most exciting dramas are built around the threat of the annihilation of humanity. Not at all. This is where the real skill of the writer and writer is revealed: conflicts with weaker alternative factors give rise to more interesting variations. In our example with the snake, the alternative factor of the fourth group (the threat of death) operates, and it is this that allows us to introduce an additional very interesting internal conflict. But act with us already the fifth factor (the bite was received by his own child), no internal contradictions a man would not have.
Well, let's stop there for now. You have gained basic knowledge of the nature of conflict in literary works understood the main points and features of its use and construction. I hope these theoretical basis will be successfully implemented by you in practice. Thank you for your attention. Stay tuned!
The meaning of the word CONFLICT in the Dictionary of Literary Terms
CONFLICT
- (from lat. conflictus - clash) - an acute clash of characters and circumstances, views and life principles underlying the action artwork. K. is expressed in confrontation, contradiction, clash between heroes, groups of heroes, the hero and society, or in the internal struggle of the hero with himself. The development of K. sets the plot action in motion. K. can be solvable or insoluble (tragic K.), explicit or hidden, external (direct clashes of characters) or internal (confrontation in the soul of the hero). As an element of the plot, it is of particular importance in dramatic works (see drama).
Dictionary of literary terms. 2012
See also interpretations, synonyms, meanings of the word and what is CONFLICT in Russian in dictionaries, encyclopedias and reference books:
- CONFLICT in the Dictionary of Analytical Psychology:
(Conflict; Konflikt) - a state of indecision, uncertainty, accompanied by internal tension. (See also opposites and transcendental function) - CONFLICT in the Newest Philosophical Dictionary:
(lat. conflictus - collision) - in a broad sense, a collision, confrontation of the parties. The philosophical tradition considers K. as a special case of contradiction, his ... - CONFLICT
INTERESTS - a situation where a person or company acts simultaneously in several persons, whose goals do not coincide, for example, when ... - CONFLICT in the Dictionary of Economic Terms:
(lat. conflictus - clash) - a clash of opposing interests, a contradiction in views and in ... - CONFLICT in the Basic terms used in A.S. Akhiezer's book Criticism of historical experience:
- the inevitable manifestation of the inconsistency of the life of society, the result of different attitudes of groups to entropic processes, to disorganization, to the challenge of history. K. can ... - CONFLICT in the Literary Encyclopedia:
[literally "collision"]. - In a broad sense, K. should be called that system of contradictions, which organizes a work of art into a certain unity, that ... - CONFLICT in the Pedagogical Encyclopedic Dictionary:
(lat. conflictus - clash), an extremely aggravated contradiction associated with acute emotional experiences. K. are divided into internal (intrapersonal) and external (interpersonal ... - CONFLICT in the Big Encyclopedic Dictionary:
(from lat. conflictus - clash) clash of parties, opinions, ... - CONFLICT in the Great Soviet Encyclopedia, TSB:
(from lat. conflictus - clash), clash of opposing interests, views, aspirations; a serious disagreement, a sharp dispute leading to ... - CONFLICT
[from Latin conflictus clash] clash of opposing interests, views, aspirations; strife, disagreement, dispute, threatening ... - CONFLICT in the Encyclopedic Dictionary:
a, m. 1. Collision, serious disagreement, dispute. Enter the family k. k. on the border. Conflict - characterized by conflict, relating to ... - CONFLICT in the Encyclopedic Dictionary:
, -a, m. Collision, serious disagreement, dispute. Enter into the family k. Armed k. on the border. II adj. conflict, -th, ... - CONFLICT in the Big Russian Encyclopedic Dictionary:
ARTISTIC CONFLICT (artistic conflict), confrontation, contradiction between those depicted in the production. operating forces: characters, character and circumstances, decomp. sides of character. Directly… - CONFLICT in the Full accentuated paradigm according to Zaliznyak:
conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, conflict"ct, ... - CONFLICT in the Dictionary of Epithets:
Uncompromising, fruitless, meaningless, absurd, lengthy, long-term, dramatic, lingering, eternal, bloody, bloody, large, petty, ridiculous, unreasonable, incessant (usually pl.), frivolous, never-ending, ... - CONFLICT in the Popular Explanatory-Encyclopedic Dictionary of the Russian Language:
-a, m. Collision of opposing interests, opinions, views; serious disagreement, dispute. Family conflict. Military conflict. Come into conflict with the law. Settle… - CONFLICT in the Thesaurus of Russian business vocabulary:
- CONFLICT in the New Dictionary foreign words:
(lat. confl ictus clash) clash of opposing interests, views; serious disagreement, acute ... - CONFLICT in the Dictionary of Foreign Expressions:
[ clash of opposing interests, views; serious disagreement, acute ... - CONFLICT in the Russian Thesaurus:
Syn: collision, clash, contradiction, contradiction, duality, discrepancy, inconsistency, mutual exclusion Ant: agreement, ... - CONFLICT in the Dictionary of synonyms of Abramov:
cm. … - CONFLICT in the dictionary of Synonyms of the Russian language:
Syn: collision, clash, contradiction, contradiction, duality, discrepancy, inconsistency, mutual exclusion Ant: agreement, ...
Briefly:
conflict (from lat. conflictus - clash) - disagreement, contradiction, clash, embodied in the plot of a literary work.
Distinguish conflicts of life and art. The first are contradictions that reflect social phenomena(for example, I. Turgenev's novel "Fathers and Sons" depicts the confrontation between two generations, personifying two social forces - the nobility and democrats-raznochintsev), and the artistic conflict is a clash of characters that reveals their character traits, in this sense, the conflict determines the development of action in plot (for example, the relationship between Pavel Petrovich Kirsanov and Evgeny Bazarov in the specified essay).
Both types of conflict in a work are interrelated: the artistic one is convincing only if it reflects the relationships that exist in reality itself. And life is wealthy if it is embodied in a highly artistic way.
There are also transient conflicts(arising and exhausting themselves as the plot develops, they are often built on ups and downs) and sustainable(unsolvable within the depicted life situations or insoluble in principle). Examples of the first can be found in the tragedies of W. Shakespeare, detective literature, and the second - in " new drama”, works of the authors of modernism.
Source: Schoolchildren's Handbook: Grades 5-11. — M.: AST-PRESS, 2000
More:
Artistic conflict - a clash of human wills, worldviews, vital interests - serves as a source of plot dynamics in the work, provoking, at the will of the author, the spiritual self-identification of the characters. Resonating throughout the entire compositional space of the work and in the system of characters, he draws into his spiritual field both the main and secondary participants in the action.
All this, however, is quite obvious. But much less obvious and infinitely more important is something else: the reincarnation of the private life conflict, firmly outlined in the form of an external intrigue, its sublimation into higher spiritual spheres, which is the more obvious, the more significant the artistic creation. The usual concept of "generalization" here not so much clarifies as confuses the essence of the matter. After all, the essence lies precisely in the fact that in the great works of literature, the conflict often retains its private, sometimes accidental, sometimes exclusively single life shell, rooted in the prosaic thickness of being. From it it is no longer possible to smoothly ascend to the heights where higher power life and where, for example, Hamlet's revenge quite specific and spiritually insignificant perpetrators of the death of his father is reincarnated as a battle with the whole world, drowning in dirt and vice. Here, only an instantaneous leap is possible, as it were, into another dimension of being, namely, the reincarnation of a collision, which does not leave a trace of the presence of its carrier in the "former world", at the prosaic foot of life.
Obviously, in the sphere of a quite private and quite specific confrontation, obliging Hamlet to revenge, it proceeds quite successfully, in essence, without hesitation and any signs of reflective relaxation. At spiritual heights, his revenge is overgrown with many doubts precisely because Hamlet initially feels like a warrior, called to fight the "sea of evil", knowing full well that the act of his private revenge is screamingly incommensurable with this higher goal, tragically eluding him. The concept of “generalization” does not fit such conflicts precisely because it leaves a feeling of a spiritual “gap” and incommensurability between external and internal action the hero, between his specific and narrow goal, immersed in the empiricism of everyday, social, concrete historical relations, and his highest destiny, a spiritual "task" that does not fit within the boundaries of external conflict.
In Shakespeare's tragedies The "gap" between the external conflict and its spiritual reincarnation is, of course, more tangible than anywhere else; tragic heroes Shakespeare: both Lear, and Hamlet, and Othello, and Timon of Athens - are placed in the face of a world that has gone astray ("the connection of times has broken"). In many works of the classics, this feeling of heroic single combat with the whole world is absent or muffled. But even in them, the conflict, which encloses the will and thoughts of the hero, is directed, as it were, to two spheres at once: to the environment, to society, to modernity, and at the same time to the world of unshakable values, which life, society, and history always encroach on. Sometimes only a glimpse of the eternal shines through in the everyday ups and downs of the confrontation and struggle of the characters. However, even in these cases, the classic is classic because its collisions break through to the timeless foundations of being, to the essence of human nature.
Only in adventurous or detective genres or in "comedies of intrigue" this contact of conflicts with higher values and the life of the spirit is completely absent. But that is why the characters here turn into a simple function of the plot and their originality is indicated only by an external set of actions that do not refer to the originality of the soul.
The world of a literary work is almost always (perhaps with the exception of idyllic genres) an emphatically conflicted world. But infinitely stronger than in reality, here the harmonious beginning of being reminds of itself: whether in the sphere of the author's ideal, or in plot-embodied forms of cathartic purification of horror, suffering and pain. The mission of the artist, of course, is not to smooth out the conflicts of reality, neutralizing them with pacifying endings, but only to see the eternal beyond the temporal and awaken the memory of harmony and beauty without weakening their drama and energy. After all, it is in them that the highest truths of the world remind of themselves.
External conflict, expressed in the plot depicted clashes of characters - sometimes only a projection internal conflict that played out in the soul of the hero. The outset of an external collision in this case carries only a provocative moment, falling on spiritual soil, which is already quite ready for a strong dramatic crisis. Loss of the bracelet in Lermontov's drama "Masquerade", of course, instantly pushes the action forward, tying up all the knots of external collisions, feeding the dramatic intrigue with ever-increasing energy, prompting the hero to look for ways to take revenge. But in itself, this situation could be perceived as the collapse of the world only by a soul in which there was no longer peace, a soul that was in latent anxiety, oppressed by the ghosts of past years, having experienced the temptations and deceit of life, knowing the extent of this deceit and therefore eternally ready for defense. Happiness is perceived by Arbenin as an accidental whim of fate, which must certainly be followed by retribution. But most important of all, Arbenin is already beginning to be weighed down by the stormy harmony of peace, which he is not yet ready to admit to himself and which is muffled and almost unconsciously seen in his monologue preceding Nina's return from the masquerade.
That is why the spirit of Arben so quickly breaks away from this unstable point of rest, from this position of shaky balance. In a single moment, the old storms wake up in him, and Arbenin, who has long cherished revenge on the world, is ready to bring down this revenge on those around him, without even trying to doubt the validity of his suspicions, for the whole world has long been under suspicion in his eyes.
As soon as the conflict comes into play, the system of characters immediately polarization of forces: The characters are grouped around the main antagonists. Even the side branches of the plot are somehow drawn into this “infecting” environment of the main collision (such, for example, is the line of Prince Shakhovsky in A. K. Tolstoy’s drama “Tsar Fyodor Ioannovich”). In general, the clearly and boldly drawn conflict in the composition of the work has a special binding power. In dramatic forms, subject to the law of a steady increase in tension, this binding energy of the conflict is expressed in the most distinct manifestations. Dramatic intrigue with all its "mass" rushes "forward", and a single collision here cuts off everything that could slow down this movement or weaken its pace.
The all-penetrating conflict (the motor "nerve" of the work) not only does not exclude, but also presupposes the existence of small collisions, the scope of which is an episode, a situation, a scene. Sometimes it seems that they are far away from the confrontation between the central forces, as far, for example, at first glance, those “little comedies” that are played out in the compositional space "Woe from Wit" at the moment when a string of guests appears, invited to the ball to Famusov. It seems that all this is just a personified attribute of the social background, carrying a self-contained comedy, not included in the context of a single intrigue. Meanwhile, this whole panopticon of monsters, each of which is nothing more than amusing, in its totality gives rise to an ominous impression: the crack between Chatsky and the world around him grows here to the size of an abyss. From that moment on, Chatsky's loneliness is absolute, and dense tragic shadows begin to fall on the comedic fabric of the conflict.
Outside of social and everyday clashes, where the artist breaks through to the spiritual and moral foundations of being, conflicts sometimes become especially problematic. Particular because their insolubility is nourished by duality, the hidden antinomy of the opposing forces. Each of them turns out to be ethically heterogeneous, so that the death of one of these forces does not excite only the thought of the unconditional triumph of justice and goodness, but rather instills a feeling of heavy sadness caused by the fall of that which carried the fullness of the forces and possibilities of being, even if broken. fatal damage. Such is the final defeat of the Lermontov Demon, surrounded, as it were, by a cloud of tragic sadness, generated by the death of a powerful and renewing aspiration for harmony and goodness, but fatally broken by the inescapability of demonism and, therefore, carrying tragedy in itself. Such is the defeat and death of Pushkin Evgenia in "The Bronze Horseman", despite all its screaming incommensurability with Lermontov's symbolic character.
Chained by strong bonds to everyday life and, it would seem, forever excommunicated from great Stories by the ordinaryness of his consciousness, pursuing only small worldly goals, Eugene in a moment of “high madness”, when “thoughts became terribly clear” in him (the scene of rebellion), soars to such a tragic height, at which he turns out to be at least for a moment an antagonist equal to Peter, the herald of the living pain of the Personality, oppressed by the bulk of the State. And at that moment, his truth is no longer the subjective truth of a private person, but the Truth, equal to the truth of Peter. And these are equally great Truths on the scales of history, tragically irreconcilable, because, equally dual, they contain both sources of good and sources of evil.
That is why the contrasting cohesion of everyday and heroic in the composition and style of Pushkin's poem is not just a sign of confrontation between two non-contiguous spheres of life assigned to opposing forces (Peter I, Eugene). No, these are spheres, like waves, interfering both into the space of Eugene and into the space of Peter. Only for a moment (however, dazzlingly bright, equal in size to a lifetime), Eugene joins the world, where the highest historical elements rule, as if breaking through into the space of Peter 1. But the space of the latter, heroically ascending into the supra-everyday heights of great History, like an ugly shadow, is accompanied by a miserable living space Eugene: after all, this is the second face of the royal city, the brainchild of Petrov. And in symbolic sense it is a rebellion that perturbs the elements and awakens it, the result of his state act is the trampling of the personality thrown on the altar of the state idea.
The concern of the artist of the word, which forms the conflict, is not reduced to cutting the Gordian knot without fail, crowning his creation with an act of triumph of some opposing force. Sometimes the vigilance and depth of artistic thinking consists in refraining from the temptation of such a resolution of a conflict, for which reality does not give reasons. The courage of artistic thought is especially irresistible where it refuses to be led by the ruling this moment spiritual trends of the times. Great art always goes against the current.
Russian mission literature XIX centuries in the most critical moments of historical existence was to shift the interest of society from the historical surface to the depth, and in the understanding of a person to shift the direction of an indifferent look from a social person to a spiritual person. To bring back to life, for example, the idea of the guilt of the individual, as Herzen did in the novel “Who is to blame?”, at a time when the theory of the all-encompassing guilt of the environment already clearly claimed dominance. To return this notion, not losing sight of the fault of the environment, of course, but trying to understand the dialectics of both — this was the corrective effort of art in the era of the tragic, in essence, captivity of Russian thought by superficial social doctrinairism. The wisdom of Herzen the artist here is all the more obvious because he himself, as a political thinker, participated in this captivity.
Conflict
Conflict
CONFLICT (literally "collision"). - In a broad sense, K. should be called that system of contradictions, which organizes a work of art into a certain unity, that struggle of images, social characters, the ideas that unfold in each work - in epic and dramatic ones widely and completely, in lyrical ones - in primary forms. The concept of K. in itself is sufficiently diverse: one can speak of K. in the sense of external opposition of characters: for example. Hamlet and his opponent, about a number of more particular K. - Hamlet and Laertes, etc. One can talk about the internal K. in Hamlet himself, about the internal struggle of his conflicting aspirations, etc. The same inconsistency, conflict can be seen in lyrical work , which clashes different attitudes to reality, etc. K. in this sense is an integral moment in every plot (and often plotless, for example, lyrical) work, and the moment is completely inevitable; the social practice of any social group is represented as a continuous dialectical movement from some emerging on its way social contradictions to others, from one social conflict to another. Resolving these contradictions, realizing them, " public man, reproducing in artistic creativity his feelings and thoughts” (Plekhanov), thereby reproduces his contradictory attitudes towards contradictory objective reality and resolves them; So. arr. Every work of art appears first of all as a dialectical unity - a unity of contradictions. Thus, it is always in conflict, at the basis of it there is always a certain social K. Expressing itself in the lyrics in the least tangible forms, K. appears extremely clearly in epic and drama, in various compositional oppositions of struggling characters, etc.
Literary Encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .
Conflict
(from lat. conflictus - clash), a clash between the characters of a work of art, between heroes and society, between various motives in inner world one character. Conflict is a contradiction that determines the movement of the plot. Traditionally, conflicts are usually divided into internal (within the limits of self-consciousness, the soul of one hero) and external. Among the external conflicts are psychological (in particular, love), social, ideological (including political, religious, moral, philosophical). Such a selection of species is very conditional and often does not take into account the relationship or merging of different conflicts in one work.
Various conflicts dominated in different literary epochs. Plots depicting the futile confrontation between characters and fate prevailed in ancient dramaturgy. In the dramaturgy of classicism (in France - P. Corneille, J. B. Racine, Voltaire, in Russia - A.P. Sumarokov etc.) dominated by conflicts built on the confrontation between passion and duty in the souls of the heroes. (A.P. Sumarokov added to them the conflict between the ruler and his subjects.) In romantic literature, the conflict between an exceptional personality and a soulless, rejecting society was widespread. The variants of this conflict were: the expulsion or flight from society of a freedom-loving and proud hero (works by J. G. Byron, a number of works by A. S. Pushkin and M. Yu. Lermontov); tragic fate"savage", "natural man" in the world of civilization deprived of freedom (M. Yu. Lermontov's poem "Mtsyri"); the sad fate of the artist in a vulgar society that does not appreciate beauty (in Germany - the works of E. T. A. Hoffmann, in Russia - the works of V.F. Odoevsky, N. A. Polevoy, M. P. Pogodin, story by N.V. Gogol"Portrait"); image of the so-called extra person
", unable to free himself from the painful boredom of existence, not finding a goal in life (Onegin in A. S. Pushkin, Pechorin in M. Yu. Lermontov, Beltov in A. I. Herzen, Rudin, Lavretsky, Litvinov and other characters from I.S. Turgenev).
A stable version of the conflict is characteristic of dramaturgy from antiquity to the present: it is the overcoming of obstacles by the young hero and heroine in love, posed by relatives (most often parents), which prevent the marriage of the main characters.
Most conflicts in world literature can be reduced to a kind of patterns - several recurring types of conflict.
Some conflicts are not just a confrontation between characters, but a clash of opposite principles of being, the symbols of which can be heroes or images of the work. So, in Pushkin's poem " Bronze Horseman”depicts a tragic contradiction between three forces - an ordinary person, an ordinary person (Eugene), Power (its symbol is a monument to Peter I) and the Element (its embodiment is a flood, the rebellious Neva). Such conflicts are typical for works based on plots of a mythological nature, with characters of a symbolic and mythological nature. So, in the novel Russian. symbolist writer Andrei White“Petersburg” depicts not so much a clash of certain individual characters (Senator Ableukhov, revolutionary terrorist Dudkin, provocateur Lippanchenko, etc.), as a conflict between two externally opposite, but internally related principles fighting for the soul of Russia - the West and the East.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .
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Antonyms:
See what "Conflict" is in other dictionaries:
conflict- (from lat. conflictus collision) a collision of differently directed goals, interests, positions, opinions or views of the subjects of interaction, fixed by them in a rigid form. At the heart of any K. is a situation that includes either conflicting positions ... ... Great Psychological Encyclopedia
- (from lat. conflictus) in psychology, a collision of two or more strong motives that cannot be satisfied simultaneously. Psychologically, the conflict is connected with the fact that the weakening of one motivating stimulus leads to the strengthening of another and ... ... Philosophical Encyclopedia
- (lat. conflictus - clash) - a way of interaction between people, in which the tendency of confrontation, hostility, destruction of the achieved unity, harmony and cooperation prevails. may be in conflict individual people,… … Political science. Dictionary.
- (lat. conflictus, from confligere to collide). Collision, dispute, strife. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. CONFLICT lat. conflictus, from confligere, to collide. Clash, argue, strife. ... ... Dictionary of foreign words of the Russian language
Cm … Synonym dictionary
CONFLICT, conflict, husband. (lat. conflictus) (book). Clash between arguing dissenting parties. Conflict between workers and management. || Complication in international relations. Polish-Lithuanian conflict. Dictionary Ushakov. D.N.… … Explanatory Dictionary of Ushakov
- (from lat. conflictus clash) clash of parties, opinions, forces ... Big encyclopedic Dictionary
- (from lat. conflictus clash) a contradiction in views and relationships, a clash of divergent, opposing interests, a sharp dispute. Raizberg B.A., Lozovsky L.Sh., Starodubtseva E.B. Modern economic dictionary. 2nd ed., rev. M... Economic dictionary
Disagreement between two or more parties (individuals or groups) when each party tries to make sure that its views or goals are accepted ... Glossary of Crisis Management Terms
- (lat. conflictus clash) in a broad sense, clash, confrontation of the parties. Philosophical tradition regards conflict as a special case of contradiction, its ultimate aggravation. In sociology, social cohesion is a process or situation in which one ... The latest philosophical dictionary
Books
- , Glazyrin T.S. Conflict of interest as the basis of corruption offenses threatens the authority of the state (municipal) service, hitting the organizational, legal and moral foundations ...
