Arabesque gogol summary. "Arabesques". Aesthetic views of Gogol. Meaning and analysis of Gogol's works "Arabesques"

However, one after another in Germany and neighboring countries, more and more new groups began to appear, performing or trying to perform "disco". As a rule, they consisted of two or three young girls and existed on the stage for several months.

One of the rather noticeable phenomena in the world of "disco" was the group "Arabesque". Created with the light hand of the master of "disco" - the famous producer of "Boney" M, composer Frank Farian - this group began methodically bombarding the dance floors of Europe with their singles and albums since 1978. The original composition of the trio included Michaela Rose (Michaela Rose, 19.12. 1958), Karen Ann Tepperis, who later went on to play in Shakira, and Mary Ann Nagel, who only recorded one single, "Hello, Mr. Monkey" (1978), and Mary Ann was replaced by Jasmine Vetter (Jasmin Elizabeth Vetter, 02/22/1956), who had previously played sports and was a member of the German women's gymnastics team. With this line-up, the group recorded their first album, "Friday night", after which Karen replaces Heike Rimbeau.Having recorded half of the second album "City cats" (1979), Heike leaves, and in her place appears the now notorious Sandra Ann Lauer (Sandra Ann Lauer, 05/18/1962). , Jasmine and Michaela) and will last until the end of their career.The group was produced by Wolfgang Mewes (Wolfgang Mewes) with "Hansa International", the authors of all songs (with the exception of "Hello, Mr Monkey" and "Squaw") were Jean Frankfurter (Jean Frankfurter and John Moering.

But something strange happened to the group's popularity: their first album "Friday Night" was a complete failure in Germany, and since then the group has been simply ignored in Europe. At home, they were practically not noticed, out of 9 of their studio albums, only 5 were released in Germany, and the single "Marigot bay" from the 1980 album of the same name, which took third place in the German charts, was the biggest achievement. For unknown reasons, Europe preferred much weaker and less prolific in all respects bands like "Luv" and "A La Carte". But in Japan and other Asian countries, "Arabesque" were as popular as the pop quartet "ABBA " in Europe! Even during their performance in Cannes in 1978, Mr. Kito, the producer of the Japanese company "Jhinko Music", liked them very much, and he made efforts to promote them in the Land of the Rising Sun. The trio annually visited Japan with concerts, one of which it was even filmed and released on records and cassettes in 1982. In addition, the group's "Greatest hits" video was filmed and released in Japan in 1982. During their career, the group visited Japan 6 times, the number of records they sold in Japan alone exceeds 10 At the turn of the 70s and 80s, "Arabesques" were also the No. under the name "Arabesque"). In the Scandinavian countries, as well as Italy and France, their records were released, which hit the charts, and only in Germany their work was still treated coolly.

Throughout its journey, the group was not pursued by creative failures - the enthusiasm and creativity of this team were truly inexhaustible, new compositions bred like mushrooms after rain. To get an idea of ​​this group, it is enough to recall at least some of their wonderful popular songs: "Hello, Mr Monkey" (1978), "Six times a day" (1978), "In the heat of a disco night" (1979) , "Rock me after midnight" (1979), "Once in a blue moon" (1980), "Midnight dancer" (1980), "In for a penny, in for a pound" (1981), "Indio Boy" ( 1981), "Caballero" (1981), "Don" t fall away from me" (1982), "Zanzibar" (1982), "Sunrise in your eyes" (1983), "Time to say good-bye" (1984 ) In their repertoire there are just dance songs, there are slow lyrical compositions, and rock and roll oriented things. Their sound is very light and provocative and does not have the primitive inherent in many "girl bands" of those years.

"Arabesques" are popular to this day, the Japanese branch of "BMG" - the company "Victor" still re-releases all the albums of the trio with enviable consistency, so finding them is not a problem, and in 2002 they released a DVD disc " Greatest hits".

After the breakup of the group in 1984, Sandra started a solo (and very successful) career, and Michaela and Jasmine created the duet "Rouge", which released several singles in Europe and one album in Japan in Japanese with very beautiful and strong compositions. The work in this duet revealed the vocal abilities of Jasmine, who was pushed to the role of backing vocalist in "Arabesques". Unfortunately, the duo ceased operations in 1988 due to the mismanagement of the people who worked with the duo, especially in the financial field.

Arabesque- a collection of works by Nikolai Vasilyevich Gogol in two parts, compiled by the author. Published in the first half of January 1835 (censored permission - November 10, 1834). The collection is very diverse in content, hence the name: "arabesques" - a special type of ornament from geometric shapes, stylized leaves, flowers, animal elements, which arose in imitation of the Arabic style. The collection combined articles on chronicle, geography, art, as well as several works of art.

In the articles included in the collection "Arabesques" Gogol sets out his historical views and his views on literature and art. In the article "A few words about Pushkin", Gogol expressed his view of Pushkin as a great Russian national poet; in the fight against romantic aesthetics, Gogol outlines here the tasks facing Russian literature. In the article "On Little Russian Songs" Gogol gave an assessment of folk art as an expression of folk life and folk consciousness. In an article about Karl Bryullov's painting The Last Day of Pompeii, Gogol made a fundamental assessment of the phenomena of Russian art.

Part one

• Preface (1835)
• Sculpture, painting and music (1835)
• On the Middle Ages (1834)
• On the Teaching of General History (1834)
• A Look at the Compilation of Little Russia (An Excerpt from the History of Little Russia. Volume I, Book I, Chapter 1) (1834)
• A few words about Pushkin (1835)
• On the architecture of the present time (1835)
• Al-Mamun (1835)

All these stories are united into one whole, first of all, by their common theme, defined by Gogol as “a collision of a dream with; materiality (reality). They are also related by the place of action - St. Petersburg, the capital city, in which social contradictions were especially prominent already in the 30s of the XIX century, during the development of “mercantilism” in the capital], the pursuit of profit, predation, soulless calculation.

In Nevsky Prospekt, Gogol tells the story of the artist Piskarev, an enthusiastic dreamer, before whose eyes appeared "the whole low, all the despicable life - a life full of emptiness and idleness ...". And Piskarev perishes as a tragic victim of the discord between dreams and reality.

The story "Portrait" was later (in 1841) revised by Gogol, especially in the second part. This is a sad story about the artist Chartkov, who ruined his talent in pursuit of wealth. "Gold became his passion, ideal, fear, pleasure, goal." Under the influence of gold, human qualities die in Chartkow, and the artist perishes in it, since the exploiting classes do not need genuine, realistic art; they need handicraft embellishment of themselves and the life in which they dominate.

In “Notes of a Madman” and in the “Overcoat” adjoining them, although written later (in 1841), Gogol refers to the theme raised by Pushkin in “The Stationmaster”, the theme of the “little man”, a poor petty official living in a society that judges people by rank and wealth.

The senseless clerical service - copying papers - killed in Akaky Akakievich Bashmachkin every living thought and every human aspiration.

But even in this downtrodden, humiliated petty official, a man wakes up when he has a goal in life: a new overcoat. “He,” writes Gogol, “has somehow become more alive, even firmer in character, like a man who has already defined and set himself a goal. Doubt, indecision disappeared by itself from his face and from his actions ... "

There was no happier person than Akaky Akakievich when, finally, the tailor brought him a new overcoat. But the joy was short-lived. At night, when he was returning from a colleague, he was robbed: they took off his overcoat. In vain Akaky Akakievich sought help from a private bailiff, from a "significant person"; everywhere he met either complete indifference, or contempt and menacing shouts. Frightened by the reception at the "significant person", the timid and downtrodden Akaki Akakievich fell ill with a nervous fever, which took him to the grave. “The creature disappeared and disappeared,” Gogol notes, “not protected by anyone, not dear to anyone, not interesting to anyone ...”

With great sympathy, Gogol showed a downtrodden little man who responded to the evil ridicule of his colleagues with "penetrating" words: "leave me, why do you offend me," and in these penetrating words other words rang out: "I am your brother."

Two collections of Gogol's ("Mirgorod" and "Arabesques") caused a wonderful article by Belinsky: "On the Russian story and Gogol's stories", published in the magazine "Telescope" for 1835.

Defining the features of Gogol's work, Belinsky writes: “The distinctive character of Mr. Gogol's story is simplicity of fiction, nationality, the perfect truth of life, originality and comic animation, always overcome by a deep feeling of sadness and despondency. The reason for all these qualities lies in one source: Mr. Gogol is a poet, a poet of real life. And if the first four qualities are inherent, according to Belinsky, "to all elegant works", then the last - a special humor - is the originality of Gogol the writer.

This article by Belinsky, which Gogol liked very much, was important because the great critic, penetratingly guessing in Gogol a great writer worthy of Pushkin's successor, emphasized with all decisiveness that Gogol was a realist writer, strong in fidelity to the image of life. Each story by Gogol “makes you say: “How simple, ordinary, natural and true it all is, and, together, how original and new!”

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Meaning and analysis of Gogol's works "Arabesques".

All these stories are united into one whole, first of all, by their common theme, defined by Gogol as “a collision of a dream with; materiality (reality). They are also related by the place of action - Petersburg, the capital city, in which social contradictions were especially prominent already in the 30s of the 19th century, during the period of development in the capital of "mercantilism", the pursuit of profit, predation, soulless calculation.

In Nevsky Prospekt, Gogol tells the story of the artist Piskarev, an enthusiastic dreamer, before whose eyes appeared "all low, all despicable life - a life full of emptiness and idleness ...". And Piskarev perishes as a tragic victim of the discord between dreams and reality.

The story "Portrait" was later (in 1841) revised by Gogol, especially in the second part. This is a sad story about the artist Chartkov, who ruined his talent in pursuit of wealth. "Gold became his passion, ideal, fear, pleasure, goal." Under the influence of gold, human qualities die in Chartkow, and the artist perishes in it, since the exploiting classes do not need genuine, realistic art; they need handicraft embellishment of themselves and the life in which they dominate.

In “Notes of a Madman” and in the “Overcoat” adjoining them, although written later (in 1841), Gogol refers to the theme raised by Pushkin in “The Stationmaster”, the theme of the “little man”, a poor petty official living in a society that judges people by rank and wealth.

The senseless clerical service - copying papers - killed in Akaky Akakievich Bashmachkin every living thought and every human aspiration.

But even in this downtrodden, humiliated petty official, a man wakes up when he has a goal in life: a new overcoat. “He,” writes Gogol, “has somehow become more alive, even firmer in character, like a man who has already defined and set himself a goal. Doubt, indecision disappeared by itself from his face and from his actions ... "

There was no happier person than Akaky Akakievich when, finally, the tailor brought him a new overcoat. But the joy was short-lived. At night, when he was returning from a colleague, he was robbed: they took off his overcoat. In vain Akaky Akakievich sought help from a private bailiff, from a "significant person"; everywhere he met either complete indifference, or contempt and menacing shouts. Frightened by the reception at the "significant person", the timid and downtrodden Akaki Akakievich fell ill with a nervous fever, which took him to the grave. “A creature disappeared and disappeared,” Gogol remarks, “unprotected by anyone, dear to no one, not interesting to anyone ...”

With great sympathy, Gogol showed a downtrodden little man who responded to the malicious ridicule of his colleagues with "penetrating" words: "leave me, why are you offending me," and in these penetrating words other words rang out: "I am your brother."

Two collections of Gogol's ("Mirgorod" and "Arabesques") caused a wonderful article by Belinsky: "On the Russian story and Gogol's stories", published in the magazine "Telescope" for 1835.

Defining the features of Gogol's work, Belinsky writes: “The distinctive character of Mr. Gogol's story is simplicity of fiction, nationality, the perfect truth of life, originality and comic animation, always overcome by a deep feeling of sadness and despondency. The reason for all these qualities lies in one source: Mr. Gogol is a poet, a poet of real life. And if the first four qualities are inherent, according to Belinsky, "to all elegant works", then the last - special humor - is the originality of Gogol the writer.

This article by Belinsky, which Gogol liked very much, was important in that the great critic, penetratingly guessing in Gogol a great writer worthy of Pushkin's successor, emphasized with all decisiveness that Gogol was a realist writer, strong in fidelity to the depiction of life. Each story by Gogol “makes you say: “How simple, ordinary, natural and true it all is, and, together, how original and new!”