What is communication with literature? The importance of literature in human life

I believe that imagination is a person's ability to think creatively.

In my opinion, our imagination is intended to create something new in the future. Everyone thinks differently, therefore, each person has his own fantasy. Exupery in his book “The Citadel” wrote: “Following in the footsteps of others, you risk not leaving your own.”

Writers of various genres, and in particular science fiction writers and utopians, need imagination, because it is the key to an interesting plot. They create their own world on a piece of paper. A world with its devices and heroes that draws us in. In order for the author to convey the idea, we, the readers, also need to fantasize in order to better imagine the picture of what is happening.

Another creative profession in which, undoubtedly, as a personal quality, imagination must be present is an artist.

They are constantly looking for new trends in their craft. For example, impressionism, based on impressions, appeared in the twentieth century. We would not have seen numerous bright compositions if people did not have such a wonderful quality as the ability to imagine.

Imagination allows us to find our calling in creativity and enjoy the works of other talented people.

Updated: 2017-06-17

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The main focus of the book is on presenting the idea we have developed about the emergence of communication with people around us and its development in the next 7 years of a child’s life.

But before we begin to consider the genesis of communication, it is necessary to at least briefly inform the reader what meaning we mean by the term “communication”. The definition of communication is necessary, first of all, because the term itself is widely used in Russian everyday speech, where it has an intuitively understood, but not scientifically defined meaning. Such a definition is also required because in the scientific literature the meaning of the term “communication” depends on the theoretical positions of the researchers who use it. That is why we devote this chapter to a brief examination of the question of what communication is.

Definition of communication

In the introduction to the book, we already noted the fact that the field of communication has attracted close attention from researchers over the past two to three decades. The nature of communication, its individual and age-related characteristics, mechanisms of flow and change have become the subject of study by philosophers and sociologists (B. D. Parygin, 1971; I. S. Kon, 1971, 1978), psycholinguists (A. A. Leontiev, 1979a, b ), specialists in social psychology (B. F. Porshnev, 1966; G. M. Andreeva, 1980), child and developmental psychology (B. S. Mukhina, 1975; Ya. L. Kolominsky). However, different researchers put far different meanings into the concept of communication. Thus, N.M. Shchelovanov and N.M. Aksarina (Raising Children..., 1955) call the affectionate speech of an adult addressed to an infant communication; M. S. Kagan (1974) considers it legitimate to talk about human communication with nature and with himself. Some researchers (G. A. Ball, V. N. Branovitsky, A. M. Dovgyallo // Thinking and Communication, 1973) recognize the reality of the relationship between man and machine, while others believe that “talking about communication with inanimate objects (for example, with a computer) has only a metaphorical meaning” (B.F. Lomov // Problem of communication..., 1981. P. 8). It is known that many definitions of communication have been proposed abroad. Thus, referring to the data of D. Dens, A. A. Leontyev (1973) reports that in the English-language literature alone, by 1969, 96 definitions of the concept of communication had been proposed.

And yet, inevitably, everyone, starting to write about this phenomenon, gives another, his own definition of communication. We give this definition too.

Communication– interaction between two (or more) people aimed at coordinating and combining their efforts in order to establish relationships and achieve a common result.

We agree with everyone who emphasizes that communication is not just an action, but precisely an interaction: it is carried out between participants, each of whom is equally a carrier of activity and assumes it in their partners (K. Obukhovsky, 1972; A. A. Leontiev, 1979a; K. A. Abulkhanova-Slavskaya // Problem of communication..., 1981).

In addition to the mutual direction of people’s actions during communication, its most important characteristic for us is that each participant is active, that is, acts as a subject. Activity can be expressed in the fact that a person, when communicating, proactively influences his partner, as well as in the fact that the partner perceives his influences and responds to them. When two people communicate, they alternately act and perceive each other's influences. Therefore, we do not include cases of one-sided activity as communication: when, for example, a lecturer addresses an invisible audience on the radio or a teacher gives a lesson on television rather than in the classroom. The importance of this particularity of communication is emphasized by T. V. Dragunova (Age and individual characteristics of younger adolescents, 1967) and Ya. L. Kolominsky (1976).

Communication is also characterized by the fact that here each participant acts as a person, and not as a physical object, a “body.” A doctor's examination of an unconscious patient is not communication. When communicating, people are determined that their partner will answer them and count on his feedback. A. A. Bodalev (1965), E. O. Smirnova (Thinking and Communication, 1973) and other psychologists pay attention to this feature of communication. On this basis, B.F. Lomov asserts that “communication is the interaction of people entering into it as subjects” (Problema obshchivaniya..., 1981. P. 8), and a little further: “For communication, at least two people are needed, each of which it appears precisely as a subject” (ibid.).

We would like to emphasize that the above-listed features of communication are inextricably linked with each other. The absolutization of interaction in isolation from other features of communication leads to an interactionist position, which sharply impoverishes the idea of ​​communication. With an excessive emphasis on the exchange of information as the essence of communication, the latter turns into communication - a phenomenon that is also much narrower than communication. Let us recall that K. Marx, speaking about the phenomena of communication, did not use the English word communication– “communication”, and German Verkehr- a term that to a much greater extent captures the connection of communication with relationships in human society (Marx K., Engels F. Soch. T. 3. P. 19). 2

Finally, equating communication with relationships, especially relationships, also distorts the term in question; its clear separation from the concept of “relationship” has important fundamental and methodological significance (Ya. L. Kolominsky, 1981). We will return to the last question when considering communication products.

So, in the course of communication, people address each other in the hope of receiving a response, an answer. This makes it easy to separate acts of communication from all other activities. If a child, listening to you, looks into your face and, smiling in response to your kind words, looks into your eyes, you can be sure that you are communicating. But then the child, attracted by the noise in the next room, turned away or tilted his head, interestedly examining the beetle in the grass - and the communication was interrupted: it was replaced by the child’s cognitive activity. Communication can be separated from other types of human activity into a separate episode. This happens, for example, when people concentrate on discussing their relationships, expressing opinions to each other about their own or someone else’s actions and actions. In young children, communication is usually closely intertwined with play, exploration of objects, drawing and other activities and interspersed with them. The child is either busy with his partner (adult, peer), or switches to other things. But even short moments of communication are a holistic activity that has a unique form of existence in children, therefore, as a subject of psychological analysis, communication represents a well-known abstraction. Communication is not completely reduced to the sum of the observed isolated contacts of the child with the people around him, although it is in them that it manifests itself and, on their basis, is constructed into an object of scientific study.

This is not just reading stories, contemplating paintings, but a conscious creative, healing study of works of literature, art, science to find and clarify one’s life path.

General therapeutic “mechanisms” of the technique

1. The healing-creative moment here consists in the fact that the patient feels, realizes in communication with the stories, paintings, scientific works that excite him, his uniqueness, finds himself, if not in creating creative works, then in harmony with the creators close to him. His favorite paintings, books, musical and scientific works emphasize his personal portrait. A defensive patient who watches the plays of A.P. Chekhov many times essentially goes to the performances of his spirit and, as a result, becomes increasingly clearer to himself. M. Montaigne learned from books only what was consonant with himself, in order to better understand and express it in the “Experiences”. He was “busy with the study of only one science, the science of self-knowledge, which should (...) teach to live well and die well.” E. Gennequin (1892) substantiated the possibility of “making a conclusion based on the properties of the author’s mental organization about the properties of his admirers.” . N. A. Rubakin in his work “Among Books,” believing that this position of E. Hennequin is “of primary importance for the entire book business,” proposed to consider it “Hennequin’s law,” “This is his law,” notes N. A. Rubakin, - Genneken was able to express the very essence, the very basis of the book’s influence on the reader" [for "a strong influence (...) a mental affinity between the author and the reader is necessary"].
2. Dissonance with alien creativity also clarifies the concept. It is not necessary to know in detail what is alien; It's enough just to taste it. L. Tolstoy noted: “Learn from teachers and in books only what you need and want to know.”
3. Concrete knowledge of oneself through the experience of human culture makes it possible for a defensive patient to therapeutically understand and feel that “you are not a fool, not an ignoramus” if you do not know something or cannot sincerely admire what others admire, looking at you reproachfully. To each their own. Let us be understanding and lenient towards such reproaches.
4. When the patient brings to the group his favorite poems, stories, records with musical works, artistic photographs, scientific articles, books available to everyone in the group, creative communication occurs with the group members through his own in human culture. These are fruitful healing communications with people and at the same time life in a world that is close to you, understandable to you in art and science. So creative people(for example, a writer, scientist) surround themselves in their office with works of art and exhibits that are in tune with them, in order to feel more deeply themselves.

When using this method, the teenager is recommended to

1. Bring poems of your favorite poet, reproductions (car-

tina) favorite artist or postage stamp.

Talk about the personal traits of an author, highlight the features of his works and the readers for whom he wrote.

The idea of ​​the method is to find your poets, writers, etc. Find yourself as a reader, viewer. Reach out to your personal characteristics through your attitude to works of art.

personality (for example, F. Petrarch wrote letters to authors who lived long before him. In them he found it possible to express those feelings that he could not express to the people who actually surrounded him).

3. Music, theater (what is “seen”, “heard”,

“introduced” to music) can be a topic for discussion

judgment, reflective training, essay topics.

4. Science can also be a subject for discussion. Reading scientific works(classics) in the original, you can learn to hear a scientist, determine his style, language, etc. You can read autobiographies, letters. The task is to try to find an opportunity to “enter into the experiences” of the authors.

What does this method of creative expression provide?

1. New opportunities for adolescent self-disclosure.

2. Carrying out correctional work with teenagers

3. Another chance for a teenager to feel and become

by yourself.

Using this method, you should convince the teenager that he is capable of creating something interesting, and definitely his own work. We need to try to strengthen and develop his self-confidence.

The use of this method opens up new opportunities for learning both in terms of the teenager’s self-disclosure and for carrying out correctional work with him (way of expressing internal conflicts in visual and verbal forms).

The method of creative self-expression is practically a training in creativity and self-knowledge for a teenager, allowing him to satisfy the inherent need for creativity in every growing person and opening the way to himself.

In addition, this method solves another significant problem, emphasizing the dialectical nature of the pair: “common” (with everyone) - “special (mine)”, as well as the fact that this pair is inextricably linked - it is equally bad when “ all as one"

“everyone is like everyone else” and when “everyone is for himself”, “no one is like anyone else.”

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Creative communication with art, literature, science

relevant scientific sources:

• “Dehumanization of Art” and other works. Essay on Literature and Art

  Ortega y Gasset X. | Collection. Per. from Spanish - M.: Raduga, 1991. - (Anthology of literary and aesthetic thought). - 639 p. | Science book| 1991 | docx | 0.67 MB

  The Spanish philosopher José Ortega y Gasset (1883-1955) is one of the most famous Western thinkers of the 20th century. His ideas in the field of philosophy, history, sociology, aesthetics influenced

• Art and politics: In 2 volumes. T.1

  Gramsci A. | Per. from Italian - M.: Art, 1991. - 432 p. | Scientific book | 1991 | docx | 0.59 MB

  The founder and leader of the Italian Communist Party, A. Gramsci, is one of the most significant thinkers of the twentieth century. His ideas were formed both in polemics with the Italian philosopher B. Croce and in live

• The main stylistic trends in Russian piano art of the second half of the 20th century

  Drach Natalya Grigorievna | Dissertation for the degree of candidate of art history. Moscow - 2006 | Dissertation | 2006 | Russia | docx/pdf | 10.79 MB

  17.00.02. - Musical art. “Style pluralism” (M. Tarakanov) is one of the fundamental qualities artistic culture second half of the 20th century. In the works of philosophers and art critics

• Pragmalinguistic aspects of written business communication based on English-language texts of contracts and business correspondence)

  Drabkina Inna Vladimirovna | Dissertation for the academic degree of Candidate of Philological Sciences. Samara - 2001 | Dissertation | 2001 | Russia | docx/pdf | 4.84 MB

  Specialty 02/10/04 - Germanic languages. Modern stage development of society in Russia is associated with fundamental transformations of the economy and the development of trade and market relations both within the country and

• Answers to the exam in Russian language, speech culture and oratory

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  1. Russian language as a form of existence of national thinking and culture. The place of the Russian language in the system of world languages. Main trends in the development of the modern Russian language. 2. National language.

• Updating the creative potential of the future engineer in the process of heuristic learning

  Martynovskaya Svetlana Nikolaevna | Dissertation for the degree of candidate of pedagogical sciences | Dissertation | 2006 | docx/pdf | 4.23 MB

  13.00.08 - theory and methodology vocational education. Krasnoyarsk-2006 INTRODUCTION 3 Chapter I. THEORETICAL PREREQUISITES FOR ACTIVATING THE CREATIVE POTENTIAL OF THE FUTURE ENGINEER IN THE PROCESS

• Acmeological productivity of the teacher’s innovative position in the development of students’ creative readiness for professional activity

  Pautova Lyudmila Evgenievna | Dissertation for the degree of candidate of psychological sciences | Dissertation | 2004 | docx/pdf | 10.45 MB

Creative communication with literature, art and science means, first of all, reading such books, watching plays, paintings in albums and at exhibitions, listening to such music, immersing yourself in such sciences, so that all this helps to understand yourself, your spiritual characteristics and difficulties, suggested how to live.

Here it is important to remember that you are not bad at all, not ignorant, if, for example, those who are alien to you do not help works of art that other people are crazy about. This means that you are a person of a different type, you have more consonance with other authors, because you have more similarities in your soul, in your character. One has more healing consonance with the moral and psychological prose of Chekhov, the other with the poetic and philosophical things of Lermontov, the third with the noble sunny sadness of Pushkin. A book by a writer or poet (like any work of science or art) heals primarily through consonance.

S., 23 years old, dissatisfied with her character, “I read myself in the poems of A. Akhmatova and became more understandable, clearer to myself,” felt her spiritual peculiarity, now accepted herself as she is, learned to respect herself, similar to Akhmatova. Thanks to the lines of the poetess “If only you knew from what rubbish poems grow, without knowing shame, like a yellow dandelion by the fence, like burdocks and quinoa,” S. understood more deeply our conversations in the group about the fact that it’s worth scolding yourself for involuntary bad thoughts, for shameful feelings. We are morally responsible, in the end, not for what we think and feel in ourselves, but for the words we say to people and the actions we commit.

Consequently, in order for a book (like any work of science and art) to significantly help in the search for one’s business, the meaning of life, to help understand a complex mental conflict, and to inspire good deeds, the spiritual consonance of the author with the reader is necessary.

Domestic bibliologist N.A. Rubakin believed that the essence of the effect of a book on the reader is expressed by the position of the French scientist Emile Hennequin, which should be called “Hennequin’s law”: “The reader is most impressed by the book whose mental qualities of the author are similar to the mental qualities of the given reader” ( Rubakin N. A. Selected books in 2 volumes, vol. 1. - M.: Book, 1975, p. 191).

Often, however, people are healthily drawn to reading writers of the opposite type. Thus, a person with mental difficulties in the form of painful uncertainty, shyness, anxiety, and sensual lethargy is drawn not only to reading Chekhov, but also to reading the sensual, self-confident Bunin with piercing spicy colors in his descriptions of love and nature. This sensually stirs him up, healingly “sets him on fire”, but at the same time emphasizes the closeness of Chekhov’s.

Many people with mood disorders are helped to cheer up and come to life by the cheerful, sensual-sanguine, softly epicurean life-loving force that appears so prominently, juicily, visibly in Flemish painting, in the paintings of Kustodiev, in Rabelais’s novel “Gargantua and Pantagruel”, in “Cola Brugnone” Rolland, in the works of A. Dumas the father, Hasek, Ilf and Petrov, N. Dumbadze, in the music of Rossini, Strauss, Kalman.

So, it is important to find something that resonates with you in art and try to surround yourself with it at home, where you gain strength and strengthen yourself personally. There should be no random paintings or photographs on the walls. Let everything (down to the shape of the stool in the kitchen), if possible, be to your liking to the people living here.

Having become acquainted with many works of art and science, you need to choose one that is consonant with you (often there are so few of them!) and gain some experience in healing, personal communication with these cultural values ​​that are consonant with you: to establish which one piece of music, a poem, a painting, studying which particular insect or flower, etc. help to get rid of a particular mood disorder or at least mitigate it.