For example, I suspected that its area was limited to the faculty of SZMK.
Like the continuum of plurality, it falls into the traps of hunters by definition is extremely rare. For example, I suspected that its area was limited to the faculty of SZMK. Being on the border of philosophy, psychology and "high" literary criticism, suggestiveness is recognized in Soviet sources as characteristic only of poetic works. We take on a rather large responsibility and claim that a journalistic work is also characterized by suggestiveness, and sometimes the level of journalistic creativity is not inferior to art.
All this, of course, applies to artistic, journalistic and analytical genres of journalism, because, although we are talking about aestive fact, information genres are suggestive of a completely different field. Thus, as information becomes more complex and acquires intellectual features, in the transition from the direct information function of facts to intellectual and emotional functions, the text acquires the ability to carry "something more." How to perceive this "something more" is not written in any textbook and is not taught in school, but man knows how – he knows how by nature. For some reason, news reports of an explosion at a Ukrainian mine confuse the average Ukrainian more than the aftermath of terrible cyclones in Colombia, and the monologues of Russian marasmic politicians cause unbridled laughter – although there seems to be nothing funny here – while Russian popular entertainment with Petrushka. contrary to its humorous purpose, it is not the mind but the stomach that worries. Many, many secrets are hidden from us by the human mind.
The key concept of suggestibility is the subtext. According to the Short Literary Encyclopedia, it is the hidden meaning of an utterance that stems from the relationship of verbal meanings to context and especially to the speech situation. The basis of the subtext as an artistic means is noticed in his time V. Vinogradov property of spoken language, where "… depending on the situation, the intentions and purpose of the speaker, his expression, the substantive meanings of words can become a means of expressing emotional meaning: direct lexical meanings of words cease to form and determine the internal content of speech. The idea of the subtext was formed at the turn of the XIX and XX centuries, in the system of Stanislavsky the subtext acquired a broad psychological meaning: "The meaning of creativity – in the subtext …"
So, the main suspicion of the expression of "something bigger" in the text falls on the subtext … But what about the suggestiveness at the highest level, at the level of the concept? Most likely, the subtext is only the embodiment of suggestibility on a figurative level. Again, this concept is abstract and subjective. There are a lot of examples of subtext that will be obvious to one person and the other will never notice. We will not get the "Philosopher’s Stone" from the subtext.
Blindly hunting for suggestibility, it is necessary to come across the concept of "archetype". Carl Gustav Jung defines this offspring as follows: “We learn about the existence of the psychic only through a certain content that can manifest in consciousness. Thus, we can talk about the unconscious only insofar as we are able to show its meaning. The content of the personal unconscious is mainly the so-called "sensory complexes", they represent the personal side of mental life. At the same time, the components of the collective unconscious are known as archetypes. "Literary Dictionary-Reference" states: "Archetype – a prototype, the original image-idea.
According to Plato, it is an eidos, an image comprehended by the intellect, according to Augustine the Blessed, it is the original image present in the basis of knowledge. The term in different systems of spiritual activity has an excellent conceptual content: in textology – the oldest common source of all subsequent copies of adaptations, in linguistics – the original form of the word for later formations, in psychology – the ancient pattern (abstract idea ) of the collective collective subconscious. eternally in the minds of mankind, and, passed from generation to generation, from generation to generation for millennia, ultimately motivates human actions and ideas. The archetype is actualized and manifested in various spheres of spiritual life. The archetype is the basis of sensory-mood complexes, defining them autonomously, most vividly appears in myths, fantasies, dreams, hallucinations, artistic creativity, etc. in the form of stable motives.
As we can see, intelligence in connection with the archetype is mentioned only in the context of Plato’s philosophy – but let’s remember that then the concept of "intelligence" was the opposite of modern in meaning! Thus, the archetype concerns the subconscious and the unconscious, while the intellect is the opposite extreme. If we imagine our study as an expedition to one of the extremes, it becomes clear that it is pointless, keeping the course to the North Pole, to look periodically to the South.
Perhaps in psychology and psychoanalysis, the archetype is the same philosopher’s stone that will help scientists unravel the mysteries of the human soul. But we are looking for the soul in the text, and here we will probably have to abstract from the archetypes in the future. In addition, some of my colleagues who have studied related problems have already argued that all these concepts, and constituent concepts, and criteria by which we assess the systematic nature of a journalistic work – are also archetypes. But for each thesis "Everything is an archetype" there will always be an antithesis "Nothing is an archetype", so let’s leave this topic for the successors of KG Jung.
Architectonics is the organization of a work in terms of expressing its content, the general aesthetic plan for the construction of a journalistic work, the fundamental relationship of its parts. Close to the concept of composition, the concept of architecture for a long time did not stand out. But this prevented the distinction between fundamentally different and dialectically interrelated categories: the work as a work of art and the work as a spiritual reality. Literary critic M. Bakhtin clearly distinguished these concepts: composition is the organization of an "external work", and architectonics is the structure of an aesthetic object. The concept of "architectonics" is taken from architecture: there it is associated with the idea of perfection, balance, stability – and in this regard, static, immobility – the artistic whole.
So, when dealing with the architecture of a journalistic work, we must always look for an answer to the additional "Why?" Why is this artistic means, symbol, fact used in this work? Why does it occupy this place? Why is it presented in such a form? Architectonics in architecture aims at harmony, and in literature – conceptuality, perfection, and in combination with suggestibility – also a continuum of plurality. In short, if the composition is correlated with the direct information function of facts, the architectonics – with intellectual information, suggestibility, that is, with the subject of our study.
A journalistic work is a system of facts, artistic means and images, united by a single concept. The material fact of a journalistic, as well as literary, work, which is perceived by the reader, is its text. But the work is not identical to the text. According to M. Saparov, “a work of art, which is a dialectic of object and subject, is not a material fact, a symbolic structure, it is a work, ie a complex deterministic spiritual and practical activity, although inextricably linked with material evidence of the artifact, but in no way reduced to it. Every system is a unity of elements that are selected in accordance with the principles of necessity and sufficiency; the combination and interaction of these elements are determined by the purpose of the system.
To organize a functional system (in this case – a journalistic work) requires the presence of "system-forming fact", the desire for a goal, ie a useful result for this system. The concept of purpose determines both the initial position of the creator of the system, and the result of his activities, it is realized, carried out in the system. If we are in a hurry in the third millennium, then journalistic works should be recognized as various products of creative activity of journalists, official documents, agency reports, advertising materials that have been selected and prepared for publication or broadcast.
But we will still allow ourselves to stay in the second millennium and keep with us the first definition of a journalistic work – because it is much more adapted to solving our problem, in which the concept plays a big role.
As mentioned above, let’s leave the information genres. We are also interested in the sphere of journalistic activity, which is able to make people think, to provoke in them not only a one-dimensional reaction, but also to encourage complex mental activity. That is, the genres are analytical (article, correspondence, review, letter, press review, commentary, interview) and artistic and journalistic (essay, essay, feuilleton, pamphlet, humoresque). By the way, special attention should be paid to the feuilleton, pamphlet and humor – satirical and humorous genres: after all, satire and humor are inconceivable without suggestiveness and intellectualism. Satire and humor in general exist due to the phenomenon of suggestibility, which makes a person laugh at completely ordinary, as if on the surface, facts.
And the fact that a person perceives satire and humor through the mediation of the intellect, and not intuition, instincts topics for narrative essay, etc. – is obvious. Examples do not have to look long: suggestive are absolutely all the jokes, aphorisms or something. For example, "Cottage cheese – the people!" – this is a suggestive joke, which can be understood only by knowing about the existence of "enemies of the people." But in order to investigate this undoubtedly interesting problem, it is necessary to comprehend a huge philosophical and psychological material devoted to humor and laughter. Therefore, we will put aside humor and satire and engage in serious analytical and artistic and journalistic genres.
Thus, a journalistic work is a system, that is, a set of common features that express a single whole. The level of modularity of the work – theseexistence, relevance to the topic, idea, etc. – depends on the level of conceptual expression of the material, and therefore, the system of journalistic work, the law by which it structured and placed facts and judgments, is a concept (but the concept is not synonymous with systemicity, because unsystematic – it also concept). The concept, in turn, is a system of views on phenomena or events and ways of understanding or implementing them.