CREATING A TEXT - CREATIVE PROCESS

Creating a text is always an individual act, deeply personal and intimate. The author (much less often - the authors) is left alone with the material, ponders it, analyzes it, classifies it and sets it out accordingly. The method of presentation, initially given the nature of the interpretation of the material play a large type-forming role.

The author can go completely different ways. He can very subjectively subjectively formal structures of the work. In this case, the process of meaning-generating will be difficult, in the semantic relation this text model will turn out to be implicit - not explicit, implicit. The text becomes self-sufficient, already in him, in the author's manner of speaking, unsteady, fuzzy and capricious meanings are based. Such a variant of text formation shows that “the text can be treated as a unique, generated by the originality of the author’s personality, a work that is of interest in itself. In this case, it is not that “behind” the text, but it is he himself who is the “true” reality ”[22]. It is sometimes difficult for the reader to understand such a text and to perceive it accordingly.

But this does not mean that each material initially qualifies as implicit, that is, to some extent closed, only implied, or, conversely, as explicit, that is, clear, unambiguous [23]. Of great importance is the readiness of the readership to accept the text proposed by it.

Despite the complexity of the strict distinction between the two aforementioned text-forming models - in fact, a number of texts that once seemed highly individualized, later became classical - there is a need for them at least with respect to correct diagnosis and evaluation. It is necessary to understand whether the text was produced by one whim of the author in order to express his exclusively personal feelings of little interest to others or, on the contrary, was made to fix material consonant with many people. As G.-G. Gadamer, “we will have to distinguish between: a note“ for ourselves ”, the use of which is ensured by our own memory; a letter which, thanks to the exact address itself, provides conditions for understanding; and, finally, all types of printed materials that lack an accurate reader’s address ”[24].

Printed products, and above all, of course, newspaper and magazine periodicals, are addressed to a wide readership, and therefore, when developing its textual model, it is necessary to use understandable and commonly used style-building tools, to avoid artificially complicated plot plotting and storytelling. The unshakable rule of journalism is to achieve a level of clarity and concreteness of the material that would be able to ensure adequate transmission of the message, that is, without distorting the idea, without semantic and psycho-aesthetic deformations, without losing even the most insignificant evaluative nuances. Of course, the creation of a journalistic text is a creative process, the author's vision and understanding of the problem, his judgments and conclusions play a big role, but the unrestrained desire to originate, subjectify the statement of facts, and experiment with lexical material will clearly be out of place. Different textual models “are implemented in the appropriate types of language: common and individual, the author. The first is the language of everyday communication, media, journalism; the second is the language of the original, only to this author peculiar stylistic means ”[25].

Even acting in a professionally limited text space, the journalist has the ability to create bright, original works. But a positive result will be achieved only if the author fully and, most importantly, creatively uses the existing potential of text formation, chooses the right direction in modeling the material. After all, at the stage of the initial processing of empirical data, the author, on a discursive or, on the contrary, intuitive basis, tries to define general guidelines for the presentation of the material, to select a suitable species pattern of text formation.

Written texts in publishing practice are classified according to the methods of presentation and types as follows: narration, description and reasoning [26]. The narrative text tells about any events and facts consistently, measuredly, with a reflection of what is happening in time. The descriptive text is aimed at recreating the picture of real life and, possibly, with particularly careful drawing of individual fragments and episodes. But the text, in which the aspect of reasoning dominates, contains a study of objects and phenomena, substantiates any propositions involving other, fully or partially already substantiated propositions and statements, that is, by arguing. The inclusion into the fabric of a work of propositions and statements, the truth of which has been established before, is considered evidence, namely, a particular manifestation of argumentation. The use of reasoning is acceptable, first of all, for analytical publications.

Dialectically, the methods of their construction are associated with the specific characteristics of written texts . It goes without saying that texts with different genre features will be built in different ways.

Thus, publications from a group of informational genres, as a rule, are created with extremely rational and economical expenditure of text-forming material, minimal intertextual inclusions, and even and moderate stylistic organization. Here, first of all, the task is to achieve the greatest completeness of the implementation of the communicative act.

Quite another thing - the methods of constructing artistic and journalistic texts. In this case, very extensive intertextual formations can also be introduced, the implications of different levels of complexity are often formed, the plot of the composition is almost never straightforward and simplified. Quite the contrary: in order to cognize and reflect the corresponding sides of reality, the author seeks to locate plot-forming elements in an original, sometimes even bizarre way, if this contributes to a more complete disclosure of the ideological and thematic content of the work.

The methods for constructing analytical texts have a different specificity. According to the concept of A.A. First of all, methods of cognitive-oriented construction are distinguished: fixing of some separate fact, description of interrelated phenomena, fixing of the whole cognitive act and, finally, description of the “scheme” of demonstrative reasoning. Secondly, the methods of communicative-oriented construction of the text are distinguished: due to the idea of ​​the text being in line with the expectations of the audience, due to the idea of ​​the ways and forms of reflecting the reality expected by the audience [27].

The scheme of the author's actions is as follows. Based on the task of writing exactly the journalistic text, he chooses the first type of speech activity. In this case, the only possible option is the language of everyday communication, easily understood by the reading audience. Then, of course, taking into account the genre factor, it seeks to outline in general the specific model of the future text, which is largely determined by the nature of the collected empirical material. Finally, the author looks for suitable options for constructing the text, determines the specific method of its construction.

In almost all stages of text-creation, the journalist operates with groups of signs fixed in one form or another. Structuring, he creates of them deployed complexes, which acquire additional value. We observe an amazing and mysterious phenomenon: signs, as a rule, well-known and almost ordinary, due to integration, uniting under the influence of the author's will, are filled with new, sometimes very original and bright content, realize the richest and unique information potential. The work is journalistic if it is executed as a text intended for active use in communicative activities, and represents a system in the sense that arises when approaching the text as an information product embodied in signs. The dialectically complex process of building interconnected content and formal structures at all levels is carried out, starting from the elementary to the highest, when the work is understood as integrity. The journalistic material reflects the classical triad on which the principle of constructing a text model is based. It assumes that all works of spiritual creativity are semantically related to reality - as “denoting with denoting”, are included in pragmatic relations (use of the work by the consumer), and also become carriers of syntactic relations existing between the work as a whole and its individual elements [ 28].

Attention to the mechanisms of text formation, which act complicatedly and therefore not always easily recognizable, led to an active introduction to the theory of the text of the concepts of narrative and, accordingly, narratology (from Latin narro - to tell and log. Logos - the word; concept, teaching). In fact, the term “narrative” has a rather ancient history: in ancient oratory it was used to designate one of the parts of speech, namely narration (narratio). Later, the semantics of this term was significantly modified and now has distinct textual and relative features. The next attempt to define it is interesting: “The term“ narratology ”, originally associated with research in the framework of semiotics, is commonly used today, more precisely outlining its structured part within the general concept of“ narrative ”: narrative levels, connections author-narrator-hero-reader, point of view ”and others.” [29]

The concept of narratology, therefore, reflects the multifaceted process of realizing text-forming potential, the manifestation of approaches characteristic of recreating a specific text in the context of the corresponding system of interrelationship of text-determining factors. In this notion, the key place is assigned to the author, who turns out to be by no means a detached creator of the work. He acts as a subject of organization and development of inner, deep plot-forming lines, reborn in the narrator and hero. But then the author, as it were, comes to life and continues in the reader, gives him an impulse of movement and creativity, through the narrator and hero conveys his thoughts and feelings. By the way, the reader, sometimes even unaccountably, feels this connection with the author, shows interest in his personality. Thus, the sphere of existence of any published text is not limited to the page of a book, magazine or newspaper, but is continued in many other realities of life.

On the one hand, the author is forced to act within the limits stipulated by the strict laws of building a certain textual model, and on the other hand, in any case he tries to put into effect the whole arsenal of text-forming tools that he has and which would help him express the state of his inner world fullness. The action includes such an important factor as textual modality, which “reflects the author’s world view and is realized in the subjective-evaluative modality ... utterance, discourse and broad context”, “is realized by a combination of logical-semantic, stylistic, structural-syntactic, word-formative and extralinguistic means that are closely interrelated "[30]. In a rigid text-making algorithm, the author seeks and tries to use even the smallest gaps to introduce into the fabric the material of the elements of his personal relationship, sometimes too excessively subjective. He achieves this through compositional and architectonic techniques, choosing the right intonation when interpreting facts.

An important role is played by the correct selection of lexical material, and for this it is necessary to have a delicate feeling of the word, to recognize its endless nuances of the psycho-aesthetic plan. A word erroneously involved in the process of textualization may, in fact, intonationally color a work in an inappropriate way, create an impression of falsity. In this regard, the opinion of A.T. Tvardovsky, who declared that “all these“ kaleidoscopes ”,“ silhouettes ”,“ reliefs ”,“ contrasts ”, etc. ... these are words that have neither color, smell, nor taste, as they have, for example , “Snow”, “bread”, “salt”, “apple”, etc. ”[31] Of course, this opinion does not mean that the words of the first group should not be used as a text-forming material. The fact is that each word should be in its place, organically fit into the context. For example, the same word can easily enter into the narrative fabric of correspondence or an article and be rejected by the structure of the essay.

The concept of textual modality reflects, among other things, the practical efforts of the author, undertaken for a more complete self-expression, his search for optimal variants of text formation among all possible. A modality is a field within which the author does what does not contradict the established rules, what can be done to realize the author’s volitional principle in its subjective manifestation. And within the limits of the action of the textual modality factor, the author in all conceivable aspects experiments, selects means for constructing text, models. After all, his natural desire is to create an interesting, original, “his” work, with deep narrative characteristics. T. Gautier testifies to how O. de Balzac worked with the text: “the night was spent on a single phrase; he grabbed it, intercepted it, curved it, crumpled it, flattened it, pulled it out, shortened it, rewrote it in a hundred frets, and - amazing thing! “He found the necessary, indisputable form only after he had exhausted all the approximate ones” [32].

Work directly on the text is the main component of the whole creative process, and each author goes exclusively with his own paths. True, he may have similarities with his colleagues in the method of collecting material, in methods of organizing labor, in thematic, aesthetic, and sociopolitical preferences, but the detailed and formal aspects of the two different texts never coincide. The theme can never be implemented in the same way. In this regard, it is interesting to observe how the authors of a number of periodicals cover the same event: even in closely related newspapers, for example, texts will be strong, and sometimes simply radically different.

We compare several classic texts concerning the novel by I.S. Turgenev "Noble nest". These critical articles with pronounced journalistic features were written immediately after the publication of the Turgenev work and published in journals of that time. This refers to the article D.I. Pisarev, A.A. Grigorieva and N.A. Dobrolyubov [33]. First note that all these materials have a lot in common. They are united by the fact that for the middle of the XIX century. they were extremely relevant, focused on a wide audience, namely, readers of magazine periodicals, and therefore explicitly used here in text-building, obviously, the works are not overly complex, their content-formal aspect is clearly expressed, transparent, easily seen and perceived. These texts are clear and open, which, of course, does not prevent the formation of subtext. By species characteristics, no doubt, these are text-reasoning with a high level of analyticity. The scheme of structuring the material is completely closed on the leading pretext of the Turgenev novel, which is due, by the way, to the very genre nature of literary-critical publications. In addition, they contain a considerable amount of various intertextual inclusions and are an example of the deep narrative organization of the entire text space: the authors as personality-subjects are immersed in the narration, they form and actively articulate their opinions at all levels of text formation, combined with the image of the narrator, penetrate the most intimate areas of existence of the main and secondary characters and at the same time directly involve the reader in the narrative process - in particular, through the principal th tone direct monologue calls cause in him a feeling of co-creation.

But at the same time, articles are fundamentally different. The source of the differences is that publicists fully enjoy the freedom of text-building within the chosen textual modality, which allows expressing the author's world view.

Писаревский текст ориентирован в первую очередь на отражение канвы рассматриваемого произведения в нравственно-воспитательном плане, чем продиктован и выбор соответствующих содержательно-формальных средств. Автор не обходится без назидательных и риторических элементов изложения, не преминул, в частности, указать «родителям и воспитателям на те препятствия, которые могут встретиться при чтении “Дворянского гнезда”», но, тем не менее, на его взгляд, «необходимо познакомить девиц с этим во всех отношениях замечательным произведением». Налет дидактичности, впрочем, – это скорее всего дань типологическому профилю журнала «для взрослых девиц», для которого предназначалась статья. Очень быстро Писарев переходит к серьезному анализу романа и делает аргументированные и социально важные выводы о роли и месте женщины в обществе.

Иное дело – подход к построению текста у Григорьева. Его интересует в основном поэтика Тургенева-романиста: каких художественно-эстетических принципов тот придерживается, как создает живые, с неподдельными чувствами образы персонажей, как в его творчестве воплощаются высокие идеалы искусства. Освещению этой грани тургеневского творчества подчинены все используемые Григорьевым выразительные текстообразующие средства – гармонично организованные, воздействующие без лишней категоричности, и в этом отражается, несомненно, его позиция как публициста, его мироощущение.

А вот Добролюбов в условиях, по сути, той же самой текстовой модальности весь комплекс средств и приемов, включая расположенный в несколько уровнейразвернутый подтекст, подчиняет обоснованию одной идеи – призыву прихода «настоящего дня». Варианты «эстетической критики» сразу же сурово отметаются, поскольку она «сделалась теперь принадлежностью чувствительных барышень». Автор усиливает давление, используя характерную лексику: «борьба», «свобода», «доблесть», «гражданский герой», «угнетенные», «произвол», «пропаганда» и др. Организация текстового пространства, расположение всех сюжетоформирующих линий произведения, создание сложной и довольно мастерской архитектоники нацелено на решение одной откровенно декларированной задачи – вытеснить «дворян разночинцами в русском освободительном движении». Своими разоблачениями «лишних людей» Добролюбов сознательно содействовал этому[34]. Именно сознательно, строя субъективную модель текстообразования.

Even a brief analysis of these well-known classical texts allows us to conclude about how complex and potentially diverse the process of creating a journalistic, and in general, journalistic work. Understanding the laws of text-building, the principles of interaction of various structures of a single textual space can expand the creative vision of the author, provide the key to solving a specific practical problem.