Literature, which has been rich from time immemorial in the traditions of interpersonal communication, has few specific communication spaces - mass and group. Specific hinting subtext is one of the most common methods of interaction between the author of a work of art and the recipient. Nevertheless, the symmetry cultivated in the modern information space is rather unconventional for today's global disorder that thinking would not see it. In the spaces of art, the function of such coherence is performed by the subtext (or the so-called "light hint"). However, the zone of hinting subtext often presupposes both inter- and intrapersonal communication. The pivotal and defining tool in this communication space, among others in the line of poetics of the work, is the image. In a portrait situation, the depicted individual works in the role of a gestalt object. In this case, the writer uses his image as a certain written out model, which he manages to fill at times with completely different components. It is quite natural that “the representatives of receptive aesthetics from the very beginning brought to the fore not the visible interlocutor, but his image - the “imaginary reader”, that is, manifested precisely “in the image”, and O. Mandelstam insisted even more decisively on that real “poetry, as a whole, is always directed to a more or less distant, unknown addressee”” [1, p. 92-93].
History and study of gestalt psychology in science
The topic of working with the subconscious through the image is of interest to many for a long time. The interaction built between physical space and unified perception was performed by gestalts. As a Russian translation of the German concept of Gestalt, which roughly means “image, structure, form”, the conceptual object of interest to us can be translated as “appending” or “waiting”. In particular, here the image as an active instrument of a whole trend appeared in world psychology, even turning out to be the root basis of its name. We are talking about Gestalt psychology, the intersection of which with creative activity through artistic lines, we will try to consider today.
In fact, Gestalt psychology is present among the leading literary lines of the era of obvious crisis, differing in the strength of the impact and in the variety of objects that attract the attention of the recipient. It acted as a kind of ricochet from the world of culture, responding in fear and embarrassment with its figurative associations to the mechanistic and atomistic transformations of being. This direction of psychology is recognized in Europe as an optimally accessible and effective model for eliminating difficulties in relation to the problem of the integrity of the German-speaking (both Austrian and German) psychologically colored philosophy dating back to the second half of the 19th - early 20th centuries. When considering the motivation of gestalt, W. Köhler refers to certain tendencies listed in the following four points: “1) in human experience, motivation is a dynamic vector; 2) if there are no obstacles on the way, this direction coincides with an imaginary straight line drawn from object to object; 3) the direction of the experimental vector is the direction to the object (to decrease the considered distance) or from it (to increase); 4) strength can vary" [2, p. 724]. These tendencies, outlined by W. Köhler, clearly demonstrate the existing position in science of the totality of gestalt motivation with recognized world traditions of psychology. But in fact, the meaning of gestalt acts is that the acting individual is located and is able to cement the disintegrated components into an integral structure.
Multi-temporal and multi-component consideration of mental characteristics made it possible in this case to calculate some principles of mental and personal progression, improvement of perception. It was possible in this industry to develop and test methodological guidelines that are significantly different from the previous ones. Gestalt specialists and their writings have proposed previously unknown options for considering all kinds of topics, including creative inclinations and thus generating personal intensity. The gestalt methodology consisted of sequential contemplation, recording and interpreting personal feelings and reactive responses in the course of events.
In particular, according to M. Wertheimer, "... the Gestalt theory arose from specific research ..." [3]. The researcher does not attribute it to a number of speculations of the theory, however, he classifies it as a product of certain research needs aimed at the individual, and therefore assigns empirical features to it. At the same time, M. Wertheimer rightly considers such philosophical trends as conceptual positions belonging to Mach, Kant, and phenomenological aspects of Husserl to be scientific schools that influenced Gestalt theory. So, in particular, according to E. Mach, the perception of a musical or sound model is somewhat independent from the feelings of certain sounds. This is evident because it is saved during the transformation of sounds in the situation of modifying the melody to a different tonal disposition. As if such a melody itself was such an elementary and indivisible component, as if it was a trivial feeling.
As the chronicle professionals assume (for example, the German art critic of the late 19th century, Richard Muter [4]), the essence and significance of this trend in psychology was initially understood during the Renaissance, which manifested itself in a specific phrase, often mentioned by scientists, by Leonardo de Vinci, a famous artist of his time: “If you need a complex composition, look for it in the shapes of clouds and in dilapidated stone walls (VB). In them you can see the most wonderful things: beautiful landscapes, mountains, rivers, rocks, trees, great plains, valleys and battles, lively poses, strange, amazing figures and even facial expressions” [1, p. 142-143]. Sometimes, in the case of the author's intention to broadcast a certain emotional tonality, the depicted picture functions as a certain gestalt. It is in it that, in the case of, for example, an optimistic broadcast, it is necessary to carry out at least a few appropriate strokes. So, in particular, for example, you can add the frequency of sunlight, start birds singing energetic songs and multiply the number of brightly sparkling plants (both green herbs and bright flowers). Undoubtedly, painting artists are able to use color tools in this way [5, 6, 7, 8], which is what Gestalt specialists who verbally depict a picture have the right to do.
In addition, it is precisely German scientists who are ranked among the founders of the Berlin School of Gestalt Psychology, who concentrated in the 1920s. last century in Berlin around Max Wertheimer. They are Wolfgang Keller, Karl Dunker, Kurt Koffk, Kurt Levin. In particular, on the basis of experimental data, K. Koffk made the following conclusions: "subjects in Central Asia with insignificant and rare deviations observed all the same optical illusions that subjects usually demonstrate in studies conducted by psychologists in Europe" [9, p. 61]. The problems of their work included mental and volitional mental aspects, nuances of perception, the side of affects, details of needs. At the same time, the followers of Gestalt turn to going beyond the boundaries of traditional psychology, allowing themselves to calculate most of the phenomena and events of reality using Gestalt laws. So, for example, the aforementioned W. Keller in his 1920 work “Physical structures at rest and stationary state” represents an attitude that material reality, similar to psychic reality, is built on Gestalt laws. Significant significance in the history of the Gestalt doctrine can be attributed to the appearance of its variations. Art history chronology fixes the fact of drawing gestalt phenomena both from the realities of reality and from artistic works of both variety of fine art and of different genres of verbal art. There was a hypothesis about the presence of spaces on the human brain areas that appear under the influence of one or another stimulating call. Filled with an electromagnet, they are capable of exhibiting isomorphic reactions of a shaped structure. The image and the accompanying law of isomorphism were interpreted by Gestalt adherents as a manifestation of the constructive integrity of reality (mental, physiological, physical). The first of the named ones acted as a thorough and detailed duplication of the static adjustment of the acting phenomena of the corresponding brain. The following author's statement based on his experimental observation can be considered an extensively traced, frequent conceptual conclusion of the gestalt works of W. Keller: "The anthropoid monkey, not only in relation to some morphological and physiological characteristics, is closer to man than to the lower species of monkeys, but also psychologically is the closest relative of man" [2]. The cited conclusions of W. Keller came into a conditional conflict with the professional position of the American teacher, psychologist E. Thorndike, who argued the following: animal behavioral manners under various circumstances are determined through their own tests, sometimes erroneous, reactive impressions, by unaccountable search for the right path or with the help of instant insight. However, they are devoid of thinking. At the same time, the named researcher allowed a person as an individual to be mistaken, to make mistakes, leaving behind him the right to figurative deviations from the rigid truth: “Experience has sufficiently shown that the facts of human nature can serve as material for quantitative science. However, the direct transfer of methods originating in the physical sciences or commercial arithmetic to sciences dealing with the complex and fickle facts of human life, however, has led to crude and often erroneous measurements. Moreover, it was difficult to teach students to correctly evaluate quantitative data, or to obtain and use them wisely, because the books to which they could be referred were too abstract mathematically or too specialized, and generally missed much of the knowledge about mental dimensions necessary for the majority of university students” [12, p. 3].
In general, Gestalt terminology was voiced and first tested by Austrian scientists at the end of the 19th century. Christian Ehrenfels, who published in 1890 in the course of studying the details of perception the article "On the quality of form". The scientist emphasized such a peculiar gestalt quality as a transposition feature, that is, the ability to transfer an image. For example, the gestalt of a triangle remains the same in the recipient's perception.
And this applies to most objects and phenomena perceived by a person during the day. Nevertheless, having expressed such a conceptual background, the named scientist did not continue to develop the issue, his theory remained within the framework of association assumptions. Previously unknown to colleagues, an approach to the problems of gestalt within the framework of general psychology was made by specialists from the scientific school in Leipzig, which operated in the first three decades of the last century. It included the head of the school, the German artist Franz Kruger, Hans Volkelt, Friedrich Sander. In its entirety, this research team has acquired the authority of the following schools in the scientific world: developmental psychology or diffuse-complex sensations.
The German psychologist of the beginning of the last century, Max Wertheimer, already mentioned above, is considered the direct initiator of Gestalt teaching in science. The first on the path of Gestalt coming into the world is his work (Experimental Studies of the Perception of Movement, 1912), which hesitated the traditional understanding of the presence of specific components in the process of perceiving an individual that was available at that time in science. The laboratory tests were as follows. With the use of professional instrumentation (including tachyostoscope, stroboscope), the subjects tracked step by step two strips (one - vertical or oblique, the other - horizontal) during multi-speed replacement. During the minimal interruption, the recipient understood the strips as data at one time. In the course of a standard time span of sixty milliseconds, it became apparent that one strip was shifting into the field of the other. In this way, it was proved: in the course of the step-by-step movement of the object on the part of the recipient, the perception of incessant movement is generated, which acquired the designation "phi-phenomenon", which implied a semblance of transfer from position to position of a pair of light signals that light up in turn. The laboratory tests described have shown that individual perception is not limited to a set of single feelings. So, in particular, in the course of analyzing the concept of perception of movement in the new century, A.N. Zhdan believes the following: “when a certain point“ A ”is excited in the brain, a zone is created around it, where the action of the stimulus also affects. If soon after "A" point "B" is excited, then a short circuit occurs between them, and the excitation is transferred from point "A" to point "B"" [13, p. 194-195].
In addition, M. Wertheimer, as the founder of the Gestalt school, believed that such events of perception as symmetry, closure, similarity, kinship are adequate for the recipient, usually because the brain reminds feelings of the corresponding concrete structural laws. [14]
It was after the appearance of this work in the German capital that the Berlin Gestalt School mentioned in the current article began to take shape. A significant share of science in this area was the work of one of the members of the school of the German and American psychologist Kurt Lewin, who considered volitional and need-based problems, affects in their manifestations. K. Levin started from the following: the basis of personal energy in its various manifestations (thought, move, action, memory) is the target priority, need.
Subsequent scientific studies only increased the intensity of the gestalt line. So, in particular, the Danish psychologist Edgar Rubin in 1915 discovered a unique background and figure, which again confirms the closeness of this psychological theory to the word-creation of interest to us in its reliance on the figure and its image. Because there is and cannot be poetics of any work of art without a character representing at least a concrete, albeit abstract, but figurative type. It seems as follows: in a situation of abstract presentation, the activity of the writer must turn out to be absolutely different. When the realistic approach requires the most lasting relationship with authentic reality, the abstract approach excludes this relationship in the first place. In the Gestalt ranks already in the 20s. XX century a judgment arose about the presence of electromagnet spaces in the brain, which arise under a stimulating influence from the outside and are accompanied by an image. This judgment was the defining thesis in Gestalt theory, filling the niche of its psychophysics that existed at that stage. According to the modern researcher V. Bransky of the synergetic philosophy of history and interaction of cultures, “This is how the“ abstract ”composition was born with strange“ biosimilar ”formations, as if balancing on the verge between dead and living nature, which can be said in the words of Nietzsche: “Human, too human”” [1].
Since 1921, members of the Gestalt school begin to publish the scientific journal "Psychologische Forschung", which contained their own articles. Or, for example, in 1926 the aforementioned K. Levin publishes a work that includes an analysis of laboratory experiments that were aimed at considering volitional acts and priority needs. In the journal work "Intentions, Will and Needs" in 1926, K. Levin outlined and systematized experimental data concerning the consideration of volitional efforts, as well as directly human needs. In fact, the researcher denoted a personal need as the psychological motivation of an active individual in his all kinds of activity manifestations, produced within the limits of personal memory, mind or action.
Generally, as the teacher Viktoria Amosova claims in our time, “Thanks to their work, a change in world psychology is taking place. Such works include Wertheimer's articles: "On the doctrine of Gestalt" (1921) and "On Gestalt theory" (1925)” [15]. Productive scientific studies within the walls of the Berlin School lasted until the arrival of Nazi ideology in the country. In the 30s. XX century such activists of the school as its leader M. Wertheimer and participants W. Keller, K. Levin, K. Koffk were forced to move to American territory, where the work on the theory was gradually forgotten. The basic content of Gestalt experiments on consciousness was one of two thought doctrines: based on formal logic, based on associations. Both of these could interfere and build obstacles to a productive, aesthetic approach in consciousness. Therefore, the founder of the gestalt school M. Wertheimer argued: the artistic approach in creativity of any type is determined by a plan, a structure, in the canopy of which a problematic focus and situational circumstances are visible. Or, for example, K. Levin's point of view was as follows. An individual figure exists, lives, sometimes progresses in a psychologically grounded space, which consists of objects and phenomena surrounding it, bearing the appropriate tonality. Any of the objects included in the environment has a specific sign for the figure; objects, both attracted and repulsed, can appear at the same time. Such an environment in a certain way affects the individual, generating in his emotional energy produced charges that give a person a stimulating motivation. In the event that an imbalance caused by circumstances is built up in individual relations, a natural disappointment appears, causing the urge to perform some kind of activity act. K. Levin designated such an urge as a quasi-need, requiring saturation and expecting a certain release due to the psychological field. Making independently recognized in the world science "theory of the psychological field" [16], K. Levin, relying on targeted and purposeful problems, naturally interpreted the behavioral patterns of the individual.
Gestalt scientists, who had directed their objections to traditional “atomism” on the original field, gradually turned to another panel. Trying to demonstrate the limited nature of behaviorism, its inability to interpret both the meaningful and character-figure saturation of reality, they spread the action and the image in different angles. Since the image in the gestalt manifested itself as a very peculiar type corresponding to personal, sometimes inexplicable, priorities.
General concept
The basis of Gestalt psychology can be viewed as follows. Hinting processes can have a large number of levels. The most omitted here are the hints addressed to the child, found in riddles and in verses, very popular with administrators and teachers in educational institutions. The core course of the psyche, which is based on visual activity. The movement of seeking the target answer includes the comprehension produced by constructing space. In another way - through today's present, but in no way through the acquisition of skills accumulated through real acts and attempts. Today there is the most elementary way of accumulating hints, one of the most obvious. Such is considered to be adjacent, in fact, by circumstances when many existing objects are located next to each other, both semantically, and chronicle, and territorially. In such a situation, the existing perception coordinates them into a common single harmoniously harmonious canvas.
The object of study of this Gestalt science is individual thinking, which should have been studied within a single whole. Thinking in the situation of viewing a certain white rhombus standing on a black frame is able to instantly finish drawing the boundaries of a well-known geometric figure and see a rhombus here, despite the fact that it is significantly lighter in color than the black frame and, according to the laws of logic, should be considered with difficulty. Individual thinking here is as confident as possible in the shape of the rhombus that he has, which allows him to give the white rhombus a standard border. Since even the very name of the doctrine is based on the Germanic lexeme "gestalt", meaning an image, a construction, a single form, the combination of components is by no means an elementary automatic fusion. It is a kind of combining whole, organic and internally interdependent, in which initially independent components are able to tangibly transform their own person. The primary motive for this is the human experience of life, which proves that nothing happens by itself. When the components of a phenomenon have made a certain composition, such a construction is obliged to imply something, because of which the beholder often convinces himself that something does not exist. As the Russian philosopher Vladimir Bransky explains already in the new century, the essence of Gestalt teachings, “The simplest illustration of Gestalt can be a modestly served table. Mentally replacing porcelain bowls and dishes with silver, banal vegetables with exotic fruits, and an ordinary coffee pot with an exquisite crystal vessel with wine, we get a still life in the taste of Dutch painters of the 17th century" [1]. That is why Gestalt psychology has gained a kind of popularity among Western directions of psychology, since its pivotal setting is the definition of the human mind as a merged whole, and by no means in the opposite role. This is not an array divided into disparate components, belatedly verified according to the principles of the laws of the psyche and taking into account the laws of artistic creativity. For the harmonious fusion of elements, a certain and verified “form of production” is required, the function of which is performed by an additional constructive image denoted in the considered teaching by gestalt. Thus, a significant number of components taking part in the combination is diverse, since there is one among them, whose mission is to unite confusion. At the same time, he acts as an instrument awarded to an individual already at birth. In this case, soldered compatibility is formed by removing obsolete components by placing components of a different order in their place. At the same time, in this situation, the tactics of bringing newly acquired elements into a design can be applied to the old, permanent one. Gestalt followers supported the refutation of introspective analysis tactics. They strove to develop a previously unknown type of psychology, which would be adaptively located to the perception of the events of thinking as an invariable psychic reality (by analogy with the natural component).
Gestalt scientists imagined: analytical analysis is a fruitful course, initially figurative understanding of an event or phenomenon generates an adequate perception. Introspective analysis here turned out to be the opposite of another method of phenomenology, which consists in a direct, open presentation by the recipient of the essence of his sensation during perception. It is the configuration of the image that is present in the basic concepts of poetics that allows us to try to trace the possibilities of gestalt in an artistic (in particular, literary) product. As far as we know, the image itself is one of the basic components of the poetics of a literary text. It turned out that the statement was terminologically verified: a single image is a static structure that is built in accordance with specific organizational rules. Moreover, for the scientist, gestalt psychology was a fresh and productive psychoanalytic configuration. Traditionally, in the visual space of an individual in the course of perception, both subduing and unifying powers of the perceptual function. The first of those named in their containment are aimed at the disintegration of space. The latter, in their rallying, seek to bring the components closer together. Their role is centrally regulatory integration. Directly, these forces are able to give an interpretation of the conditionality of the appearance of certain structures during perception. Thus, as indicated above, in the course of experimental tests on the specifics of individual visual perception, the followers of Gestalt teachings reaffirmed the thesis well-known in science: a single commonality significantly differs from the mechanical set of its components, which served as the basic core of Gestalt as a teaching. Consequently, the pivotal theme in Gestalt research was the theme of integrity and the corresponding holistic strategy as opposed to mechanical, elementary, standards known to psychology (both the former (based on associations) and supposedly progressive (based on behaviorism)).
In addition, there is the following possibility: the individual starts thinking in a direction that is not at all in the direction that we expect from him. In addition, to begin to think differently can not find the time. Accordingly, as a result, a final collection is formed in thoughts, which hardly anyone will like, hardly anyone will like it. In this case, the carrier carrying the thought tried to determine the psychologically justified edge of mental actions that differ from the acts of logic. Such a facet was depicted by means of generally accepted conventional concepts in gestalt, such as "grouping", "centering", "reorganization" and so on. The trends inherent in Gestalt psychology in our time reveal their own progression not just in most psychological attitudes. This development also takes place in today's orientation towards the production of psychotherapeutic support. This is a psychological help that carries Perls' gestalt therapy, which makes it possible and allows you to heal yourself by understanding everything that is hidden inside. The preferences for such reorganizations are often unknown. The following is natural: the sooner the speaker communicates to thinking what exactly he expects of him, the more intensively thinking will enter into agreement. Accordingly, the core dominants must be introduced already in the starting sentences. The mutual touch of an image with an authentic, conceptual presentation was by no means as mysterious as there is a mutual connection connecting the image and the action inherent in behaviorists.
Principles
Over the centuries, Gestalt specialists have presented notable provisions, which have acquired the status of patterns of perception in the toolkit of Gestalt theory. This, in particular, is the above-mentioned principle of operation of this science, formulated by its founder Max Wertheimer: "The whole is something more than the sum of its parts" [14].
One of the essential laws among the basic provisions of the Gestalt theory is the rule of the background-figure, according to which the observed human space is functionally divided into the existing background and the figure (or character) actually generated by it. Such a division is strongly evidenced, for example, in painting, watercolor descriptions, designated as effective. In such eventful cases (attributable to literature), the character figure carrying the image is closed, but clearly marked, colorful, has mobility, is close to the recipient in the visual (or text) field, has a leading status in it, pushing back minor persons and details into the background. That is why the study of the significance of gestalt in the chronicles of art has demonstrated in its time: the use of gestalt in the course of constructing an image (both in the text and on the canvas) is a promising tactic of aesthetic production and is fully characteristic of the creation of multi-style and multi-genre views and shows. In this case, we are talking about the perception of a particular Gestalt component as a figurative figure, and another as an illustrating first field. As an example, in this case, scientists cite the so-called “Rubin's Vase” (1915), illustrating the sometimes fascinating relationship between figure and background, when, depending on the viewer's desire, a radical change in the perception of faces and vases exchanging the roles of background and figure is possible. Just like how intensely a white square can emerge in a figure assembled from parallel black corners, in the same way, thinking is able to construct the completeness of a certain episode or frame, logically adding the required components to it. In this way, the required, missing parts are produced that match the description and safely fall into the expected place.
The background that we mentioned more often in the paragraph has its own role, acting as a possible united space on which the character image is located. The background unit is more often formless, it seems to be hiding behind the character and his image, often defectively placed on the site.
The second law of perception, significant in the theory of gestalt and interpreted through the isomorphism developed by psychologists, is the pattern of preference for the complete (the so-called "amplification"). The core property of Gestalt teaching is considered to be the inclination to completeness, contained in the so-called “Zeigarnik effect”. When the structure observed by the recipient (even if it is geometric or building) is not complete, in his perception he tries to see its integral, complete silhouette. When in the figure facing the individual there are some gaps and empty niches, his consciousness independently and fully completes the missing fragments to construct a complete model. So, in particular, the dotted line will be perceived as a whole, uninterrupted and long line, which also shows the tendency of thinking to ceaselessness. A square, obliged to have four corners, in the absence of them, is nevertheless seen as a classic square, that is, in fact, thinking is able to complete a picture.
The third law of perception ("pregnancies") in Gestalt theory is essentially close to the second, since it is again based on the tendency of consciousness to orderly speculation and consists in the desire to reduce situationally unusual stimuli to a qualitative form, to minimize the difficulties of perception. Accordingly, any image in the mind of an individual rushes to constant stability, even if sensory and tactile sensations are modified. So, for example, the ball moves around the court, but at the same time retains a stable image in the mind of the recipient. As far as possible, the most mobile and elementary configuration is assigned to each image.
It is the named laws of perception that can be attributed to the character-shaped sphere of the work, since any of the features and components that make up these laws belongs to the image drawn with features, colors, lines in a literary text. Speaking about the gestalt meaning, it must be taken into account that it is not actually exhausted by the tactical scheme of merging graphic components that mechanically carry figures, segments, etc. In addition, it also presupposes a mechanism for competent merging of color elements (the so-called "color gestalt").
Similar to the above-described square, such an image is also capable of being drawn, and not only by thinking, but also supplemented by human feelings and emotions. In addition, the role of the image in the thought process was convincingly emphasized by the founder of the Gestalt school M. Wertheimer, who confidently denied the benefits of logic for children in the creative process. Considering that a mathematical problem interferes with artistic thought, he said that with a brisk increase the emphasis on a single image grows and therefore a growing individual quickly becomes related to the only posture of the phenomenon that does not contribute to creative flight. Accordingly, students who studied formal geometry in professional schools find it much more difficult to get a creative approach to questions than those who did not delve into mathematics.
Findings
Generally speaking, sometimes Gestalt as an instrument reaches a perceptibly complex level, since it combines in itself the signs of not only nature, but also socio-fact. According to T. Martsinkovskaya today, “The works of Gestalt psychologists have laid down new approaches to various problems - from creative thinking to the activity of the individual. Diverse studies of the psyche made it possible to understand the patterns of development of perception, thinking and personality, to form experimental methods that are fundamentally different from the previous ones” [18, p. 191]. This course of production of all sorts of images, saturated with constant components, is really the flow of artistic word creation. Directly socio-fact is noticeable today: “Such artistic communication is not necessarily elitist, but necessarily and fundamentally limited within any of the socio-cultural (youth, sexual, creative) groups, and therefore the probable interlocutor is quite clearly localized” [19, p. 93]. That is why the founder of the Gestalt school Max Wertheimer, in his 1945 book Productive Thinking, which was developed for about two decades, sought to attribute the Gestalt laws directly to the process of human creativity. The most naturally explainable response is not to some stimulating factors, but to their balance, which is confirmed by Gestalt specialists with their research on the priority of the whole as opposed to the mechanical set of components. Accordingly, the success of such a balance is able to determine the correctness of the final conclusion. At the same time, a good balance allows you to look at the problem from all possible sides, that is, it makes it possible to construct various gestalt images from the components that make up the fact. As it was revealed in general, the pivotal quality of this artistic line is the penetration of any mental action with an emotional feeling, as a reflexively built, unconscious instrument. As we note in one of our works, “The lyric and social story of the 30s and 50s has absorbed all the material saturated with the most complex culminating content. The content of the story "became denser", it expressed multidimensionality, depth. The socio-psychological trend of the military story approved a special genre variety of the lyric and social story of the pre-war, war and post-war years, the specific weight and place of which in the entire genre diversity of Russian and, in particular, North Caucasian literature is very significant” [20, p. 238]. All the patterns of perception given in the article are the field of human thinking, which states: any visual fact that reaches the consciousness of the recipient has a meaning, is designed for its perception and has the right to individual revision, which is what artists who work with the word have been doing for centuries in their works. The strength of the spirit that adorns existential reality, built on feelings, is specifically seen in individual word-creative activity related to the production of fresh projects, models and, in addition, in children's entertainment.
References
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Опубл.: Хуако Ф.Н. THE IMAGE AS A GESTALT TOOL IN THE WORD CREATION // Himalayan Journal of Humanities and Cultural Studies (HJHCS). – 2021. – Vol. 2. – Issue 4. - PP. 15-21
DOI: 10.47310/Hjhcs.2021.v02i04.003
https://himjournals.com/journal-details/hjhcs/Volume%202/Issue%204