анализ

The discussion of literature education in schools has become a necessity of life. Our society has already encountered serious weaknesses in the linguistic and literary culture of youth on several occasions. However, the reason for the nationwide interest in the quality of literary education has a deeper basis. It lies, first of all, in the special place that literature occupies in the system of general education subjects, in the nature of the knowledge it provides, in the strength and immediacy of the educational impact it has. The aesthetic specificity of literature is the basis of a complex and comprehensive impact not only on the mind, but also on the heart of the student, which cannot be replaced by anything. Literature as a subject of study most often poses problems that are directly related to the ideological and moral education of students. Therefore, any underestimation of the educational and educational significance of literature as a subject of study is in contradiction with the great tasks of the "communist construction of the younger generation." Hence the lively interest that the general public shows in the narrowly professional at first glance problems of literary education in schools. The questions that arise when discussing the teaching of literature are many and varied. However, there are some that are fundamental and decisive. Of the greatest importance, precisely for the teaching of literature, is the problem of the analysis of the literary work. Not only because the curriculum devotes the most time to studying the work of Bulgarian and foreign writers. First of all, because the specificity of the subject is determined by the specificity of the literary work, which becomes material for educational work in literature classes. Recently, however, the problem of literary analysis in the teaching of literature has not been studied in depth, despite its complexity and diversity, although this is the weakest point in the work of a number of teachers. The detachment of methodological science from this problem has also led to the lagging behind of the methodology in general from the latest achievements of literary theory and aesthetics. Therefore, it is entirely justified that the issues of literary analysis in school are at the center of the national discussion of literature education.

It is obvious that since the work of art exists objectively, i.e. it is perceived by us as a material phenomenon (in other words - as a complex organism of speech, sounds, volumes, lines, colors, etc.) and moreover represents a work of art insofar as it reflects in its forms specific moments and forms of objective reality in its own specific way: we can approach it with the basic tools of any science: the complex system of methods and means of comparison, selection and classification. Of course, these methods have been applied since aesthetics existed as a separate discipline. Aesthetic phenomena do not lie on the surface of the work of art, and therefore, for their disclosure, the application of the so-called methods of comparative analysis is necessary. Since by its very nature the law is universal, regardless of how many objects and facts are involved (the more, the better, of course), their legal "kinship" will inevitably manifest itself in different phenomena. Observing multiple phenomena in this way will allow us to find repeatability, i.e. the first sign of regularity.

In the last ten years in France, among university literary scholars, there has been a clear interest in the so-called "thematic study" of a given author's work. Moreover, the proportional number of works devoted to thematic analyses is so large that it could be rightly said that they have recently become a fashion in literary studies. This direction in literary criticism was given by Professor Charles Moron, who in his work, Introduction to Psychocriticism (1938) developed the thesis that every artist is a visionary who enchants the reader with his own special, personal world, filled with strange visions, images and pictures, always the same in the different works of the artist, which came unconsciously, but insistently intruding on his consciousness, as well as on the consciousness of the reader. This peculiar personal mythology of the artist can precisely explain the impact of the work, an impact that can hardly be understood if we are satisfied only with the external meaning of the work. The task of the researcher, according to Moron, consists in revealing this personal mythology, the secret structure, the system of symbols that a given author uses involuntarily and unconsciously, or in other words, in determining the constant dominant themes in the work. He believes that by solving this task, one can also arrive at solving one of the main problems in The psychology of art - the problem of the genesis of artistic creativity.

Atanas Natev's book "Contemporary Western Drama" appears after a number of publications by the same author on the theory of art and some problems of the new Bulgarian drama. This circumstance provides an opportunity in advance for a combination of the general aesthetic aspects of the issues with the more specific and current focus of the analysis. And I must emphasize that this feature is clearly evident in Atanas Natev's new book. Here the author has managed to examine the various works and authors with careful insight into the characteristic features, the main trends and directions of development. In relation to contemporary Western drama, the author was faced with a specific difficulty: the fact that the matter he examines is insufficiently studied in our country and is only partially known to the wider public, and even to specialists. This also defines a new task for Natev: let's call it cultural and educational, when he is obliged, along with the analysis, to follow in quite detail the content of the individual plays, retell individual episodes, actions, etc. At a different level of knowledge of this material, such deviations would seem superfluous and unnecessary additions to the aesthetics of a new phenomenon in contemporary dramaturgy. But the author was aware that he was obliged to pave the way himself, to be to a certain extent a popularizer of insufficiently known phenomena.

The science of artistic thinking (the creative process) has recently been increasingly insistently dealing with the issues of aesthetic impact, aesthetic experiences, aesthetic pleasure - in an aspect in which they have not been considered so far. What is it about?