The structure of the biography

Try the literature selection service. You can always turn off the advertisement. Narrative Structure of “napoleon” by e. ludwig the article is dished to eliciting genre characteristics of E. The text of the scientific work on “narrative structure of the E. Transfer to the morning:“ Suddenly the sun seemed, the sun illuminated it Bride legs ”, maximum eloquently.

Behind this “suddenly” clock of mutual joy, which is now “suddenly” breaks off the tragically inevitable phrase of trouble: “The dead cold artyom was lying above it” This unexpected, quite in a short -lived spirit, a turn in the development of the plot leaves the reader in bewilderment, in front of the chain of insoluble puzzles, accessible to the “bright eyes of the Op”, which was wandering over the mountainous dark The world, where the eternal struggle of life and death, joy and grief, peace and war.

The story is small in volume, its plot occupied four pages, but the density of the letter is extraordinary in content, wealth and depth of associative thoughts and images, mathematically verified drawings and lines that really combine temporary layers and wide moral and ethical spaces concluded by Khlebnikov into the tight framework of the novelty narration. Notes 1 Voelskaya D.

Text and its interpretation.

Further, references to the artistic text are given according to this publication indicating the page in brackets. Ivan Bunin UDC Ludwig Napoleon based on the consideration of the characteristics of its narrative structure. Key words: biography, E. Ludwig, J. Women, narrative movement, narrative structure. Velimir Khlebnikov. Beloborodova, one of the branches of the Old Believers of the Belokrinitsky consent, which has its own hierarchy, connects its story with Bukovina, which adjoins the Carpathian mountains.

There, in the village of Belaya Kryni, Glybotsky district, on the border of Ukraine and Romania, there is an Old Believer monastery. To the border outpost - 50 meters, see fragments from the book "Country of Pomoria" Brockhaus and I. Gogol "Terrible Revenge". This is a transformed bother of the Ukrainian warlike lullaby of Pan Danil: “Luli, Lulia, Lulia! Lyuli, son, Luli!

Yes, grow up, grow into fun! Cossacks for glory, Vorozhenoks for reprisals! The nature of creativity. Encyclopedia of characters and signs. Narrative Structure of "Napoleon" by E. Ludwig E. Ivanova the Article is dedicated to eliciting genre characteristics of E. Key Words: Biography, E. Ludwig, G. Genette, Narrative Movement, Narrative Structure.

The narrative structure of the biography of E. Ludwig “Napoleon” “Napoleon” was the third full -scale biography written by German writer Emil Ludwig, and the first to bring him a wide success. She was translated into 23 tongues, was published in a half -million circulation in North America alone1. The passionate fan of Napoleon’s personality, M. Tsvetaeva called her “brilliant” and “Best Book of Napoleon” 2.

Trinity in a review of the researchers who published in the city has repeatedly noted that E. Ludwig biographies violate one of the generally accepted genre conventions - a ban on the inclusion of dialogs in the text. This is one of the main restrictions on the biography, ”writes Leon Edel4. Such a requirement is connected with the establishment of a biography as a genre to strict adherence to facts and the refusal of fiction, while the introduction of dialogs inevitably violates this principle, since it is impossible to fully prove their authenticity.

However, Napoleon Ludwig is enough to flip out fluently to make sure that this rule is not fulfilled here. Ulrich notes that the fascination of Ludwig biographies contributed to the use of dramatic techniques, including embedding in the text of dialogs5. Kittstein denotes the form of these biographies as a “stage story” and draws attention to Ludwig's love to episodes, which he himself called “symbolic scenes”, however, leading the very vague explanations of this concept6.

In the work “Narrant Discourse” J. Genietta develops in detail the problem of temporality in narrative texts. He distinguishes “four canonical forms of the novel pace” or four main narrative movements: ellipsis, resume, scene and descriptive pause7. The ellipsis, in which the “zero segment of the narrative corresponds to some duration in history” 8, is opposed to a descriptive pause as another extreme, when the time of history stands still for a certain segment of the text.

The scene achieves the conditional uniformity of the movement of the narrative and text, and the resume covers all the varieties of narrative movement, in which the text time is shorter than the time of history and the paragraph of the text covers the hours, days or years of life. At the same time, the scene in the European novel tradition is associated with the most dramatic elements of history, with the main and therefore most detailed points of action and is mainly dialogical in nature.

Thus, the concept of “scene” retains in this model a connection with a dramatic family and at the same time acquires quite clear characteristics as an element of a prosaic narrative text, which are also Ludwig's biographies.Comparing the theory of Genette with the statements of the researchers of the biography genre, we can conclude that this genre is characterized by a total predominance of resume and the rejection of scenes.

The use of ellipses and pauses is associated, first of all, with the author’s concept of the hero’s personality and the corresponding selection of material; Therefore, in order to identify the genre features of the biography of Napoleon Ludwig, one should more likely focus on the analysis of the role in the work of dialogs and stage elements. In five parts of Ludwig’s biography, the narrative time moves quite evenly, the hero is shown in the unity of his public and personal life.

Given the scale of Napoleon’s personality and the intensity of his life, the biographical task of creating his all -kining portrait looks utopian, why Ludwig puts forward at different stages of the emperor’s life - and in different parts of the book - his different properties are the forefront. The ambitious Corsican adventurer is a genius of a military organization, a romantic who dreams of the glory of Alexander the Great - the Savior of the Revolution and the destroyer of its conquests - a politician devoted to the patriarchal clan values, in his own way to the European princes - breaking away from reality, lying for himself and surrounding the broken hero - a tragic figure on the island of the St.

Elena - on each of these sides - in each of these The author to the traditional historical interpretations of Napoleon's figure adds his own, original accents. The through topics of the biography are incredible ability to work and endurance, his loneliness, genius and power, together, more and more removing him from humanity and turn into a criminal, into a monster.

Unlike historiographic works, Ludwig does not indicate his sources: he creates a new genre at that time, a novel-biography, a biography, the success of which is measured not by criteria for accuracy and completeness, but by criteria for artistic conviction and aesthetic impact. Therefore, the author synthesizes dozens of historiographic sources in his text, without reflecting them in any way and not indicating them that it complicates the isolation in the text of the actual quotes from Napoleon, words that are reliably belonging to him, with the exception of quotes taken from Napoleon's correspondence.

Napoleon’s dialogs with numerous characters are constructed with varying degrees of support on notes, diaries and memories of the latter, where the emperor’s statements are not necessarily reproduced literally, and, as we might assume, knowing the mechanisms of human memory, with inevitable significant distortions. Izvestia of the University of Saratov. Their volume ranges from several lines to the page.

Against this background, a scene stands out sharply, which occupies most of the eighteenth chapter of the third book and dedicated to the meeting of Napoleon with his brother Lucien. Particular attention. Most of it is dialogue, there are also the transmission of actions, thoughts, reactions and indications of the surrounding character. But if at the beginning of this scene the reader may well create that he discovered a historical novel, it soon dissipates, since two features are found.

A long exchange of remarks can go without copyright remarks, clarifying the intonation or gestures, which does not fully correspond to the expectations of the readers of the novel, and part of the dialogue is not given to us literally, as it should be in the stage, but retold. Thus, the elements of the resume are included inside the large scene. These techniques help the author to manage the reader’s attention, taking away a less significant interlocutor into the shadow, and from Napoleon’s behavior and words only what is most indicative and important.

Given these features, you can add about forty excerpts to the already highlighted scenes in the biography, combining the elements of the scene and resume, and consider them along with pure scenes. The ratio of these two principles within individual episodes can be different. I die today, in ten centuries I would have received no more than half of the page in world history!

We again see that the words of the interlocutor of Napoleon are conveyed in indirect speech. It cannot be argued that the biographer has changed the real length of the replica, since it is unknown to us, but due to the inability to determine this element of the text, even conditionally relate directly to the corresponding element of a real conversation and approaches the resume, remaining an integral part of the scene.

In the scene of Napoleon’s conversation with Bernadot on the village. In this case, the reader does not receive any indications of where and when the action unfolds. In the first use of direct speech here, it can even be accepted for the generalization of repeating similar remarks, and only the continuation of the conversation convinces us that this is a scene, most of which remains behind the scenes or summarized.

Here Ludwig is not interested in Napoleon’s specific words dictated by political considerations. Attention is focused on the confrontation of characters, only the most dramatic moments of the conversation are presented in the form of a pure scene.And the last phrase allows the author to naturally return to the summary story about the reasons for the tense relations of Bonaparte and Bernadotov.

Ludwig actively uses the numerous statements of Napoleon who have reached us, quoting his hero sometimes with whole pages. Most often, these quotes are included in the resume or copyright comments. But sometimes they receive a frame that makes them the scene elements. Getting up from the table, he walks back and forth and explains his foundations and mood before a silent circle.

Everyone is listening to how he, continuing to pace, speaks with a strange hobby of genius, about politicians, primarily about Frederick, whom he honors. In the above quote, Napoleon’s long argument about the admissibility of the manifestation of feelings for a politician is lowered. In itself, it looks purely theoretical and not tied to the depicted moment, but, placed in the context of the next day after the Duke of Engiensky’s execution of the Duke of Engien, invested in the mouth of a person who suddenly pronounces a long monologue in front of suppressed guests, it acquires a different sound and allows you to feel the doubts of the hero, alone and the desire to justify.

This helps to emphasize the author’s attitude to the execution of Engien as a serious mistake of Napoleon. Another quote turns very unexpectedly. In accordance with the tradition, Ludwig represents two ministers of Napoleon, Talleyrand and Fouche, his evil geniuses and traitors. With regret, the author notes that Napoleon could not get rid of them and, even knowing the impossibility of trusting them, nevertheless, he felt the need for them as equal interlocutors.

So, in the scene with Fouche on the eve of the Russian campaign Napoleon E.