https://forumpisatel.5bb.ru/ Форум начинающих писателей ru-ru Sat, 27 Apr 2024 14:36:30 +0300 MyBB/mybb.ru https://forumpisatel.5bb.ru/viewtopic.php?pid=725#p725 <div class="quote-box answer-box"><cite>Екатерина написал(а):</cite><blockquote><p>Фотография(если не хотите,то можете не выкладывать)<br />Это попозже, я себе аватар сделаю из моего фото, а пока любуйтесь Камерон Диаз.</p></blockquote></div><p>Ну воот, а я то&#160; воздух вдохнула, чтобы выстрелить комплименты восторженные, а вы спрятались! Екатерина, так не честно((<br />Вздыхаю разочарованно: Добро пожаловать стеснительная Камерон Диаз :glasses:</p> mybb@mybb.ru (Тайё) Sat, 27 Apr 2024 14:36:30 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=725#p725 https://forumpisatel.5bb.ru/viewtopic.php?pid=724#p724 <div class="quote-box answer-box"><cite>Talim написал(а):</cite><blockquote><p>ПРОСЬБА: писать мне в коментариях все, как думаете, а не как хорошо из вежливости</p></blockquote></div><p>Добро пожаловать,Талим!<br />Наконец-то мне представился случай царапнуть оппонента )) Торжественно обещаю царапать любя и не слишком выпускать когти :yep:</p> mybb@mybb.ru (Тайё) Sat, 27 Apr 2024 11:20:17 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=724#p724 https://forumpisatel.5bb.ru/viewtopic.php?pid=723#p723 <div class="quote-box answer-box"><cite>-------- написал(а):</cite><blockquote><p>Обычная критика вызывает обиды и протесты, провоцирует конфликты, портит отношения,</p></blockquote></div><p>о, как же я согласна с вами!<br />Зашла я как-то раз на&#160; форум солнце оранжевое, дома песочные, улицы логичные - понравилось. И познакомилась я с очаровательным аватарным созданием, всеобщей любимицей и активной рецензенткой. Дай, думаю, отрецкаю&#160; расск в благодарность. К слову, скажу: рецензия - дело долгое и муторное, требующее всех ресурсов интеллектуальных, моральных и этических. Копирнула себе в ворд, читаю и... не могу понять: великолепная девушка в соблазнительном вечернем платье, подробно расписывает жизнь селебрити: модные курорты красивые пляжи, ресторанный мейкап и обед, в точном соответствии на платиновых часиках. А в самом начале и развод, и бегство, и даже флирт&#160; с намерением отомстить, все это было заявлено в начале но, по мере &quot; продвижения&quot;, ничего не происходит, вот ни-фи-га! Никаких действий или намерений - все тихо, гладко, серо... Скукотища смертная!<br />Я и мяукнула, мол, уважаемый автор, что-то не то вы пишете... Сколько можно индифферентно слоняться по модному пляжу, сделайте же хоть что-нибудь! Вот вам в &quot;мастерской&quot; отличная подборка про экшен, вот рядышком суперский разбор про сюжет - пользуйтесь! А то от статичности героини клонит в сон, со всем уважением... И ведь я мяукала искренне, помочь хотела, и даже готова рецкать ее рассказы и рыть в инете обучающую инфу по нужному поводу,&#160; но весь запал канул в Лету - Селебрити оказалась модератором и меня записали в жестокий игнор. :tired: <br />Но я продолжаю все равно, руководствуясь исключительно собственным опытом, ведь я так ждала отзывы, а молчание расценивала, как личную трагедию.</p> mybb@mybb.ru (Тайё) Sat, 27 Apr 2024 10:37:25 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=723#p723 https://forumpisatel.5bb.ru/viewtopic.php?pid=722#p722 <p>В связи с тем, что мне предстоит сделать критический… хм… я бы сказала, анализ шести романов моих собратьев по перу для «Партенита», решила привести в порядок мысли на эту тему. Во-первых, может кому-то пригодиться, во-вторых, может быть, кто-то поправит и дополнит (искренне приветствуется). Кроме того, собственные произведения тоже можно анализировать аналогичным образом.<br />&#160; &#160; Все это (кроме цитат) мое личное ИМХО (сугубо личное мнение), не претендующее на оригинальность. Просто обобщение некоторого опыта.<br />&#160; &#160; <br />&#160; &#160; <strong>Последовательность оценки литературного произведения</strong>,которую я выстроила для себя.<br />&#160; &#160; <br />&#160; &#160; 1. Разделение формы и содержания<br />&#160; &#160; Отделить критику формы от критики содержания, имхо, наиболее важный этап. К форме я бы отнесла стилистику, композицию, соответствие задуманного написанному, и то, что можно отнести к понятию «читабельность»: темпо-ритм, энергетика повествования, внутренняя логика, удержание читательского внимания и прочее.<br />&#160; &#160; К содержанию – такие понятия как тема и идея.<br />&#160; &#160; Содержание – ЧТО автор мне говорит, форма – как он мне это говорит.<br />&#160; &#160; В чем разница? Критика содержания бессмысленна для автора, но именно она важна для читателя. Конечно, автор способен расти над собой, но, имхо, это относится не к умению писать книги, а к его личности, жизненному опыту, уму, оригинальности мышления. Если человеку есть что сказать, он должен научиться это говорить – это критика формы. А если сказать нечего, то никакое совершенствование формы ему не поможет – совершенствоваться нужно в другом.<br />&#160; &#160; <br />&#160; &#160; Однако, и тут есть о чем поговорить.<br />&#160; &#160; Г.Л.Олди на семинарах выдвигают следующее определение темы и идеи:<br />&#160; &#160; «Идея – это лозунг, слоган, если угодно; главная, подспудная мысль. Она лежит на дне, как крупная рыба. Допустим, в самом простом варианте: «убивать – отвратительно», «да здравствует добро» или «всех мочить в сортире!» А если без лишних шуток: допустим, власть развращает, а абсолютная власть развращает абсолютно – вот это идея. «Не верь, не бойся, не проси» – идея. Дополнительные примеры можете подобрать самостоятельно.<br />&#160; &#160; Тематический же материал всегда предельно конкретен. «Конфликт магических кланов Алой и Белой Орхидеи на фоне гражданской войны в Брейкдаунском королевстве» – тема. Четко прописано: ГДЕ, ЧТО, КОГДА. Место действия, время действия, стороны конфликта. Или: «Трагедия Клинского побережья как итог действия тектонического миксера, изобретенного профессором Мураками». Опять видим – что, где, когда. Значит, тема». (С семинара молодых авторов на «Звездном Мосту-2007»)<br />&#160; &#160; <br />&#160; &#160; Бессмысленно критиковать идею. С ней можно соглашаться или не соглашаться, с ней можно спорить, но критика идеи – это не критика литературного произведения. Критиковать можно ее новизну или глубину. В то время как критические отзывы или рецензии на книги полны критики именно идей.<br />&#160; &#160; <br />&#160; &#160; А.Митта определяет тему по-другому (собственно, то, что Олди называют идеей, Митта называет темой), но эта разница лишь в терминологии, хотя Митта пишет о фильме. Зато определение Митты напрямую выходит на основной конфликт произведения, связывает понятие темы (идеи) и основного конфликта.<br />&#160; &#160; <br />&#160; &#160; «Тема фильма — это то, что остается в сознании зрителя после фильма. Не только в сознании, но, что не менее важно, в подсознании. Зритель, возможно, и не сумеет объяснить, в чем тема, но он получил это как эмоциональный опыт. Это реальная ценность. Значит, задача темы — установить прямой контакт между вашими идеями и эмоциональным миром аудитории. Тема - это важная интеллектуальная ценность, которую вы хотите донести до зрителей, вырастив в их душах эмоции.<br />&#160; &#160; …Фильм всеми событиями выявляет тему с начала и до конца, каждую минуту. Все, что не на тему, бесполезно или вредит. Но мы уже знаем главную аксиому драмы: &quot;Каждая ценность в драме получается только через конфликт''. Это касается и темы. Поэтому тема всегда развивается в конфликте.<br />&#160; &#160; На самом деле &quot;тема&quot; в драме — это две вещи, связанные вместе. Одна — тема, другая — контртема. Они постоянно борются в конфликте от начала и до конца фильма.<br />&#160; &#160; Режиссер обязан выстроить драму так, чтобы тема и контртема непрерывно боролись. И до самого конца зрителю оставалось неясно, кто победит.»<br />&#160; &#160; <br />&#160; &#160; Итак, по Митте, основной конфликт произведения – это конфликт темы и контртемы. И если по определению Олди я тему и идею отнесла бы к содержанию книги, то по определению Митты умение подать свою идею как борьбу темы и контртемы я бы отнесла к форме произведения.<br />&#160; &#160; <br />&#160; &#160; Поэтому первое, что я делаю, оценивая форму, это вычленяю тему (идею), контртему и развитие конфликта между ними. Это переход от анализа содержания книги к ее форме.<br />&#160; &#160; <br />&#160; &#160; 2. Анализ композиции<br />&#160; &#160; Когда основной конфликт выявлен, можно рассматривать композицию произведения. Вот что Олди говорят о композиции (здесь и далее – цитаты из стенограмм заседаний семинара «Партенит-2009»):<br />&#160; &#160; <br />&#160; &#160; «Первая часть архитектоники, то есть композиции сюжета - экспозиция. В ней еще не проявлен главный конфликт произведения. Следующая часть композиции - завязка. Это первое проявление базового конфликта произведения, его зерно.<br />&#160; &#160; После завязки, когда конфликт уже проявился, начинается развитие действия. Которое, собственно, и показывает развитие базового конфликта произведения. Строится оно на событийном ряде, на цепочке событий.<br />&#160; &#160; …Кульминация — высшая точка развития конфликта. Повторяю: не финальная драка героя со злодеем, а высшая точка развития конфликта.<br />&#160; &#160; Ну и добавлю, что после кульминации идет развязка - последствия высшей точки развития конфликта. Все. Экспозиция, завязка, развитие действия, кульминация, развязка.<br />&#160; &#160; Их [части композиции] по-разному можно строить, оформлять, применять - просто без них не обойдешься. Они должны быть. Когда вы пишете роман - это ваш первый инструментарий. Вернее, второй: первый - это идейно-тематический анализ. Вы должны четко понимать: где экспозиция, чем она занята, где завязка, развитие конфликта, где высшая его точка - кульминация, где развязка… Почему это смещено сюда, а то - туда. Почему экспозиция короткая или длинная, почему завязка резкая, ударная, или медленная. Все разговоры «пишется как дышится» — берите черновики известных писателей и увидите, как им дышится. Там правок - мама не горюй. А мы, получается, свои тексты любим. Сократить даже строчки не хотим - жалко! И убиваем этим свои собственные тексты.»<br />&#160; &#160; <br />&#160; &#160; Второй шаг: выявляю части композиции сюжета, оцениваю, чем оправдана такая композиция. Все ли части композиции присутствуют в произведении.<br />&#160; &#160; <br />&#160; &#160; 3. Анализ событийного ряда<br />&#160; &#160; После того, как мы разглядели композицию, отметили точки (или отрезки), которые поворачивают одну часть композиции к другой, можно говорить об анализе темпо-ритма произведения и его «энергетики».<br />&#160; &#160; <br />&#160; &#160; Первое понятие на этом пути – событие. Из Олди:<br />&#160; &#160; «Что есть событие в художественном произведении? Событие - это поступок, явление или факт, влияющий на развитие действия и меняющий мотивации основных персонажей. Если мотивации персонажей не изменились — события не произошло. Хоть все крыши оббегай и три с половиной расы истреби.<br />&#160; &#160; Псевдодействие - вроде бы экшн, все бегут куда-то, иногда дерутся — а действия нет. Событийного ряда, цепочки событий, изменений мотивации, изменений задач персонажей… Я, как режиссер, всегда актеру говорю: произошло событие - у тебя изменилась задача. А вот снова изменилась задача - значит, другое лицо, другое поведение, другая жестикуляция. Я примитивно сейчас объясняю, конечно. Но только через развитие действия мы выходим на кульминацию.»<br />&#160; &#160; <br />&#160; &#160; Таким образом, выделяем события, поворотные точки повествования. Когда они известны, можно легко увидеть, что является лишним, а что двигает историю вперед. Нет, я не против «лишнего», иногда такое «лишнее» бывает очень «вкусным». Не надо забывать и о раскрытии характеров героев, о создании атмосферы произведения, но я каждый описанный эпизод в книге оцениваю с точки зрения: «Зачем он здесь, какую функцию выполняет?» И если эпизод содержит событие, он не может быть исключен из повествования. Лучше всего (имхо), когда все «побочные продукты» книги сосредоточены в тех эпизодах, где есть события.<br />&#160; &#160; <br />&#160; &#160; А. Митта много внимания уделяет такому понятию, как «драматические перипетии»: движение героя от несчастья к счастью, и, по его мнению, не столько события ведут историю к кульминации, сколько нарастающие колебания драматических перипетий. Для примера приведу здесь разбор А.Миттой драматических перипетий «Шинели» Гоголя (ссылка).<br />&#160; &#160; <br />&#160; &#160; Мои многочисленные наблюдения подтверждают правоту Митты: драматическая перипетия – один из самых надежных способов удержания читательского внимания, их «раскачивание» неизбежно ведет к сильной кульминации и катарсису. По мнению Митты – это одна из составляющих энергии произведения.<br />&#160; &#160; <br />&#160; &#160; После выделения событий я отмечаю, какие из них являются «поворотными» - поворачивают историю от счастья к несчастью и наоборот. Насколько каждый такой поворот глубже или выше предыдущего, есть ли в «раскачивании» драматических перипетий нарастание, которое ведет к кульминации.<br />&#160; &#160; На этом этапе можно оценить и силу кульминации – глубину падения «к несчастью» или высоту взлета «к счастью». (Хочу отметить, что плохие концы тоже могут иметь взлет «к счастью», как это показано в анализе «Шинели»).<br />&#160; &#160; <br />&#160; &#160; Анализ драматических перипетий, кроме того, позволяет понять, какие части произведения «сработают», а какие «провалятся». Непрерывное движение героя «к счастью» никого не трогает, равно как не захватывает читателя и непрерывное «падение». А, между тем, это очень распространенная ошибка многих авторов, в том числе и весьма известных («Дверь в лето» Хайнлайна имеет одну драматическую перипетию: падение к несчастью в начале книги и долгое, непрерывное движение к большому-большому счастью в конце).<br />&#160; &#160; <br />&#160; &#160; Анализ событийного ряда выявляет и темпо-ритм произведения. Вот что о нем пишут Олди:<br />&#160; &#160; «Темп – это скорость развития внутреннего действия. Ритм – это скорость развития внешнего действия. От их сочетания зависит напряженность ситуации. Если герой отстреливается от полицейских, бегает по крыше, угнал машину – это ритм. Если пара молодоженов идет к кровати, чтобы заняться любовью, а под кроватью тикает бомба с часовым механизмом, о чем они не знают – это темп. Действие внешнее предельно медленно. Внутреннее – предельно напряженное, быстрое. Это может по-разному сочетаться — темп и ритм.<br />&#160; &#160; … Значит, периодически, поскольку тут никак не ускоришь внешнее действие — не драки же с гопниками вставлять, в конце концов! – приходится усиливать темп. Надо искать напряжение внутреннего действия. Часовая бомба, которая тикает под их кроватью. Зачастую авторы эти вопросы никак не решают. Поэтому, когда я читаю, что герой пришел в таверну, подрался (это не про ваш текст, безусловно), выпил пивка, еще раз подрался, нанялся охранять эльфов, подрался с ними, украл слонопотама, угнал его, уехал в другую страну, там стал королем, всех зарубил… Я спать хочу. Почему? Потому что ритм вроде бы дикий – герой все время куда-то бежит и дерется – а темп никакой. Сонный. И я начинаю засыпать.<br />&#160; &#160; …Более того, такие книги читатель покупает ради отдыха. Казалось бы, все бегают, стреляют, рубятся, а читатель хочет на этом отдохнуть. Почему? А он подспудно слышит, что темпа-то нету. Книга – «тихий час», сонное время. Герой бегает и прыгает – это просто так, интересно же, куда он прибежит, в конце концов.»<br />&#160; &#160; <br />&#160; &#160; В подведение итогов первых трех пунктов:<br />&#160; &#160; В идеале я стараюсь в каждой сцене определить следующее: наличие конфликта, наличие события, направление движения драматической перипетии и перечень информации, которую автор сообщаю читателю.<br />&#160; &#160; <br />&#160; &#160; 4. Внутренняя логика произведения<br />&#160; &#160; Изумительной мне показалась следующая мысль Г.Л.Олди:<br />&#160; &#160; «Когда любой из нас садится писать роман, то до того момента, как мы написали первое слово, перед нами бездна возможностей. Вы можете послать героя налево и направо, ввести любого персонажа, дать ему любую характеристику. Вы свободны. Чуть-чуть ограничений есть, потому что вы себе уже наметили идею, составили планчик, но в целом — свобода. Написали первое слово – свобода ваша ограничивается. С первым абзацем еще больше ограничивается – вы уже героя назвали Сергеем. Чтобы его переименовать, надо вводить новую сущность. Нет? — будет Сергеем до конца. Еще герой сделал несколько шагов – мы выяснили, что он блондин, и опять свобода ограничена. Бездна возможностей в течение работы над произведением делается все меньше, меньше, меньше – как меч сходится к острию. Когда все выборы сходятся в точку, книга закончена. У вас больше нет ни одной степени свободы. Таким образом пишутся хорошие книги — когда писатель с каждым шагом ограничивает возможности. Получается действительно острый меч.»<br />&#160; &#160; <br />&#160; &#160; Пожалуй, заключительным этапом оценки произведения в целом я бы назвала именно это: сужение степеней свободы. Особенно это важно для фантастических произведений, где автор существенно изменяет общепринятые «правила игры».<br />&#160; &#160; Читатель (если он не спит за книгой) как правило выстраивает дальнейший прогноз событий. И далеко не всегда верный прогноз. Если его прогноз не сбывается, он испытывает удивление, и чем сильней автору удается его удивить, тем больше автору уважения. Если же прогноз сбывается, читатель редко бывает разочарованным (в краткосрочном прогнозе), это поднимает его самооценку («Я знал! Я сам догадался!»). Если же для разрешения какой-либо ситуации автор меняет (или добавляет) правила игры, читатель обижается: у него не было возможности сделать верный прогноз. И тогда он кричит: рояль в кустах! И совершенно прав. Всякая деталь, всякое правило должно озвучиваться автором до того, как будет применено.<br />&#160; &#160; (По поводу трехактного развития детали я написала другой пост «Рояль в кустах и ружье в первом акте»).<br />&#160; &#160; <br />&#160; &#160; 5. Оценка кульминации и финала<br />&#160; &#160; Имхо, кульминация и финал – это главное в любой истории. Все вышесказанное ведет историю к финалу: это раскрытие темы, торжество идеи, высшая точка развития конфликта, максимальный разброс эмоций драматической перипетии, ради финала выстраивается композиция, к финалу ведут события и внутренняя логика повествования: это острие меча.<br />&#160; &#160; Для меня критерием хорошего финала являются его закономерность и неожиданность. Совместить эти два различных понятия в одном довольно сложно, но такой финал всегда восхищает. Всем ясно, что кольцо всевластия будет сожжено в жерле Ородруина. Но то, что не Фродо Беггинс сбросит его туда – это неожиданность. Но это – закономерная неожиданность, подготовленная едва ли не с первых страниц книги.<br />&#160; &#160; Неграмотные авторы заботятся чаще о неожиданности финала, вытаскивая из кустов всевозможные рояли, скрипки и барабаны. Опытные авторы скорей поведут дело к закономерному финалу, пусть он не явится для читателя неожиданным. Очень опытные авторы развернут закономерный финал так, что у читателя захватит дух. Но лучшим все же будет финал, где читатель не только поразиться, но и удивиться.<br />&#160; &#160; <br />&#160; &#160; 6. Оценка достоверности происходящего<br />&#160; &#160; Достоверность происходящего наиболее часто подвергается критике, и зачастую критике неумелой, доморощенной. Особенно в фантастике и фэнтези. Именно здесь уместно цитировать басню Сергея Михалкова о том, как слон нарисовал пейзаж.<br />&#160; &#160; Здесь я, пожалуй, сошлюсь на статью Леонида Каганова.<br />&#160; &#160; <br />&#160; &#160; «Многие считают, что художественная литература должна быть достоверной. В том смысле, что хорошо бы, если все описанное произошло с автором в реальной жизни. Если нет — автор хотя бы должен знать материал не понаслышке. И чтобы идеально написать книгу про Тунгусский метеорит, автору, дескать, следует прожить полжизни в тайге оленеводом, еще полжизни проработать геофизиком, еще полжизни — астрономом в Пулковской обсерватории, заодно желательно быть космонавтом, а в остальном конечно следует быть писателем.<br />&#160; &#160; Правильный ответ: каждый должен быть профессионалом в своем деле. Оленевод — разводить оленей, писатель — писать. Писатель пишет с ошибками (своими), и оленевод пишет с ошибками (своими). Писатель неправильным термином обозначил заднюю левую пуговицу собачьей упряжки. Зато оленевод не может выразить мысль, он в ответном письме в редакцию написал «тунгусский» с одиннадцатью грамматическими и так коряво составил фразы, что непонятно, о чем он вообще ведет речь, понравилась ему книга или нет. Стоит ли ругать оленевода за это? Так он же не писатель, — скажем мы, — какой с него спрос! Но разве писателя можно ругать за то, что он не оленевод?<br />&#160; &#160; Уточним: я не пою оду безграмотности. Это ужасно, когда писатель допускает чудовищные ляпы. И это прекрасно, если он является специалистом в мелких фактах и деталях. А также прекрасно, если он ходит в глаженых брюках, хорошо поет, умеет готовить, знает семь языков, включая Бейсик и морзянку... Но все это — не те качества, которые отличают хорошего писателя от плохого. Не тот писатель плохой, который назвал заднюю пуговицу не тем словом или с ошибками описал эфес шпаги Людовика 14. Просто среди качеств, которые отличают хорошего писателя от плохого, достоверность и любовь к фактам стоит на десятом месте после несравненно более важных умений и навыков.»<br />&#160; &#160; <br />&#160; &#160; Очень много рассуждений об оценке достоверности Умберто Эко включил в свои «Шесть прогулок по литературным лесам», и я рекомендую этот опус к прочтению, хотя он довольно сложен и запутан. Понятие «достоверности» предстанет перед критиком совсем в другом свете! Об этом (отчасти) я тоже писала отдельный пост «Об образцовых и эмпирических читателях, о доверии к авторам и немного Умберто Эко».<br />&#160; &#160; <br />&#160; &#160; Для книги главное – психологическая достоверность, обоснованная мотивация действий героев, внутренняя логика произведения. В анализе достоверности я стараюсь встать на позицию «образцового читателя» и для начала проникаюсь доверием к автору. Я пробую отбросить свой жизненный опыт. Увы, это получается не всегда.<br />&#160; &#160; Оценка фактической достоверности – всегда балансирование на грани. Представьте себе, если к книге Олди «Путь меча» я подойду с позиции «Меч - это всего лишь железо». Книги для меня просто не будет. Однако «стрелку осциллографа» я представить себе не могу. Когда я смогу ее себе представить? Когда автор несколькими страницами раньше рассказал мне о том, что в мире этой книги осциллографы не такие, как в том мире, где мы живем. Они снабжены стрелками!<br />&#160; &#160; Оценка достоверности психологической – еще более тонкая материя. Но тут работает скорей интуиция, внутреннее чутье. Верю или не верю. Ведь и самое невероятное событие можно изложить так, что в него можно будет безоговорочно поверить. И самое заурядное преподнести таким образом, что не поверит никто.<br />&#160; &#160; Поэтому оценка достоверности – скорей оценка статистическая, а не индивидуальная. К своей оценке достоверности я обычно добавляю «имхо».<br />&#160; &#160; <br />&#160; &#160; 7. Оценка решения и воплощения<br />&#160; &#160; Снова Олди:<br />&#160; &#160; «Задумайтесь: зачем хорошему оркестру дирижер? Они что, играть без него не умеют? У дирижера главная задача – решение произведения. Общее решение. Когда я ставлю спектакль, я сразу думаю: ставлю на камерной сцене или на масштабной? С живым оркестром, с записью или вообще без музыки? Большой труппой – малой труппой? Я ставлю Гамлета в аутентичных декорациях и костюмах; в условных – некое общее средневековье; или в современных? Клавдий будет эсэсовец, к примеру… Пока нет общего решения, виденья спектакля целиком, спектакль ставить нельзя. И книгу писать нельзя. Решение должно быть в каждом поступке, в каждом действии, в каждом слове, в каждом персонаже, в каждой декорации.<br />&#160; &#160; …Знаете, сколько мы собачимся, пока найдем решение текста? И потом ряд замечаний критика меня уже не интересует, потому что он критикует решение. Оно может нравиться или не нравиться. Но я его выбрал. Если я решаю действие в стиле барокко, то мне нужны все эти завитушки, без них не получится. А если в стиле «готика», то мне нужен аскетизм прямых линий. Я сейчас не открываю Америк, просто советую: не начинайте писать, пока не знаете, КАК будете писать. А вы начинаете писать, как правило, когда знаете, ЧТО будете писать. Этого мало, надо знать — как.»<br />&#160; &#160; <br />&#160; &#160; Разделить критику решения и воплощения так же важно, как критику формы и содержания. С решением можно соглашаться или не соглашаться, несогласие с решением можно даже отметить как отдельный недостаток, но далее любая критика должна вписаться в рамки этого решения. Имхо, это довольно широкая тема, она пересекается с критикой достоверности и касается большого количества критикуемых деталей.<br />&#160; &#160; <br />&#160; &#160; 8. Логика изложения<br />&#160; &#160; Здесь я бы сослалась на статью Рины Грант «Точка зрения персонажа» .<br />&#160; &#160; <br />&#160; &#160; В этой статье (которая ссылается на Б.А.Успенского «Поэтика композиции») рассмотрены следующие виды точек зрения.<br />&#160; &#160; 1) Всевидящий автор, который знает историю от начала до конца и может «влезать в головы» своих персонажей (преимущественно так писали до начала 20 века).<br />&#160; &#160; 2) Повествование от первого лица.<br />&#160; &#160; 3) Третье лицо ограниченное (фокальный персонаж) – самый распространенный тип повествования.<br />&#160; &#160; 4) От второго лица.<br />&#160; &#160; 5) Третье лицо объективное или «бихевиористское повествование». При таком роде повествования автор описывает только внешние признаки поведения героев. Все мысли и чувства остаются за кадром.<br />&#160; &#160; <br />&#160; &#160; Имхо, выбор точки зрения относится к «решению» произведения. И всякий переход с точки зрения на точку зрения (в том числе, смена фокального персонажа), должен быть чем-то мотивирован. Не левой пяткой автора, не удобством изложения в данном конкретном абзаце, а логикой повествования. Если изложение начинается от первого лица, то откуда в нем возьмется повествование от третьего? Что должен думать об авторе читатель, если ни с того, ни с сего он вдруг влезает в шкуру другого человека и начинает вести от его имени внутренний монолог в третьем лице (несобственная прямая речь)? И наоборот.<br />&#160; &#160; Опять же имхо, меня особенно раздражает переход фокуса с одного персонажа на другой внутри одной сцены. Я не против всевидящего автора, но всевидящий автор не может вести внутренние монологи в третьем лице. При использовании ограниченного третьего лица читатель видит мир глазами фокального персонажа. При использовании точки зрения всевидящего автора – глазами автора.<br />&#160; &#160; Даже маститые и признанные писатели (например, Л.Улицкая) пренебрегают этой логикой. А между тем я причисляю это к небрежности автора по отношению к читателю, нарушением логики изложения. Это что-то вроде нарушения договора, изменения правил во время игры. Я хочу знать, чьими глазами смотрю на мир книги. И если мне приходится «скакать» из шкурки в шкурку, меня это сбивает и раздражает.<br />&#160; &#160; <br />&#160; &#160; Что же касается глубокого анализа «точек зрения» и их логики, я бы снова порекомендовала Умберто Эко «Шесть прогулок в литературных лесах», в первой части «Входим в лес» довольно интересно разобрана логика повествования в «Повести о приключениях Артура Гордона Пима» Эдгара По. Чтобы можно было представить себе, добавлю одну из схем, приведенных Эко. Имхо, после этого станет ясно, что отношение к точке зрения, с которой ведется повествование, может играть важную роль в восприятии книги.<br />&#160; &#160; <br />&#160; &#160; Изображение<br />&#160; &#160; <br />&#160; &#160; 9. Еще немного<br />&#160; &#160; Я не буду расписывать здесь оценку раскрытия характеров и оценку стилистики. Стилистике учат множество книг и учебников, да и о раскрытии характеров героев сказано много интересного и полезного.<br />&#160; &#160; В заключение приведу несколько достойных цитат Г.Л. Олди из стенограмм заседаний семинара «Партенит-2009».<br />&#160; &#160; <br />&#160; &#160; «…просто рассказать историю – это талант рассказчика, а талант писателя – использовать историю как инструмент».<br />&#160; &#160; <br />&#160; &#160; «Это приходит с началом профессионализма – понимание, насколько реализация соответствует замыслу. “Да у меня же это есть! Только я забыл это сказать или сказал не очень внятно. Но я-то знаю, как оно должно быть!”»<br />&#160; &#160; <br />&#160; &#160; «Есть сквозное действие. Все, что на него работает, оставляем. Все, что не работает, никому не нужно».<br />&#160; &#160; <br />&#160; &#160; «Линии должны переплетаться, дополнять друг друга, а не идти огромными блоками, мало зависящими друг от друга. Тогда композиция будет четче, а не рублеными кусками».<br />&#160; &#160; <br />&#160; &#160; «Уметь надо эпизоды по характеру, насыщенности, тональности как сонату по темпам разложить. Аллегро, адажио, анданте…»<br />&#160; &#160; <br />&#160; &#160; «Книгу читатель воспринимает по трем векторам (не потому, что он – дурак, а потому, что так любой воспринимает. Так же, кстати, воспринимается и фильм, и спектакль): по интеллектуальному, эмоциональному и эстетическому вектору. Других векторов нет. На этом треножнике стоит книга, художественное произведение. Читатель может получить или не получить от книги: эмоциональное удовольствие (испытал ряд острых эмоций, хороших, плохих, каких угодно); интеллектуальное наслаждение (получил новую информацию, столкнулся с рядом новых идей); и эстетическое удовольствие – то, КАК автор сделал книгу. Язык, стилистика – эстетическое удовольствие от общения с прекрасным. Поэтому, когда у автора нет своего языка, лица и стиля, то третье удовольствие отваливается. На двух опорах стоять можно, но не так устойчиво получается. В кульминации сходятся все три вектора в наивысшей точке. Здесь читатель должен испытать наиболее острые эмоции, здесь должен прийти к своему пику интеллектуальный слой романа».<br />&#160; &#160; <br />&#160; &#160; «Да, меня автор эпатирует. Более того, меня это не раздражает — я вижу, что меня эпатируют, и поэтому остаюсь равнодушным. Эпатировать надо менее нарочито, иначе не достигается цель. Это – как пугать пистолетом, долго его доставать, чтобы все увидели… Тогда не страшно».<br />&#160; &#160; <br />&#160; &#160; «…у рефлексии в тексте есть художественные задачи! Если рефлексия работает на рефлексию, сама на себя, то это не любовь, а мастурбация. Да, приятно, но функции разные, а главное, ребенка не получится».<br />&#160; &#160; <br />&#160; &#160; «Факты, поступки, действия – все заточено в угоду моему авторскому воображению. Мне хочется налево, мне хочется направо, герою надо что-нибудь взорвать, выкрутиться – он выкрутится вопреки всей логике. Ему надо стать владыкой вселенной – без вариантов, будет владыкой вселенной. Сам себе золотая рыбка.<br />&#160; &#160; …Зачем ему сопереживать, если он все равно любой вопрос решит?»<br />&#160; &#160; <br />&#160; &#160; «Кости – существительные. Глаголы – мышцы, прилагательные – жир».<br />&#160; &#160; <br />&#160; &#160; «У всех женщин в романе высокая грудь».<br />&#160; &#160; <br />&#160; &#160; «…как говорит Валентинов: роман «праведьму»: озорные персонажи в пикантных обстоятельствах».<br />&#160; &#160; <br />&#160; &#160; «Ну и, конечно, вечная беда – это супермен, который ведет себя как студент, добравшийся до игровых кодов».</p> mybb@mybb.ru (Тайё) Sat, 27 Apr 2024 10:07:13 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=722#p722 https://forumpisatel.5bb.ru/viewtopic.php?pid=721#p721 <p><strong>Diar</strong><br />согласна! <br />А слова незабвенного Джека Воробья давно уже растащили на цитаты)))</p> mybb@mybb.ru (Тайё) Sat, 27 Apr 2024 01:11:21 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=721#p721 https://forumpisatel.5bb.ru/viewtopic.php?pid=720#p720 <p>Я по примеру Сэма Холдэма<br />обосную фан клуб фантастических рассказов Шекли -&#160; небольших, но чрезвычайно занимательных!<br />Шекли - мастер неожиданных концовок!<br />До сих пор вспоминаю его <a href="https://www.rulit.me/books/regulyarnost-kormleniya-read-102629-1.html" rel="nofollow" target="_blank">Регулярность кормления</a> - как завернул ловко! а машина желаний? Абсолютная классика))) :flag: <br />В больших формах (повестях и романах), он скучноват немного, но расски - по-прежнему находятся на призовом месте :cool:</p> mybb@mybb.ru (Тайё) Sat, 27 Apr 2024 01:03:03 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=720#p720 https://forumpisatel.5bb.ru/viewtopic.php?pid=719#p719 <p>...Скорость пули при низкой температуре<br />&#160; &#160; &#160;сильно зависит от свойств мишени,<br />&#160; &#160; &#160;от стремленья согреться в мускулатуре<br />&#160; &#160; &#160;торса, в сложных переплетеньях шеи.<br />&#160; &#160; &#160;Камни лежат, как второе войско.<br />&#160; &#160; &#160;Тень вжимается в суглинок поневоле.<br />&#160; &#160; &#160;Небо -- как осыпающаяся известка.<br />&#160; &#160; &#160;Самолет растворяется в нем наподобие моли.<br />Конечно же Бродский)</p> mybb@mybb.ru (Тайё) Sat, 27 Apr 2024 00:41:28 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=719#p719 https://forumpisatel.5bb.ru/viewtopic.php?pid=718#p718 <p>Доброго времени суток уважаемые форумчане!</p> <p>Разрешите представиться:<br />Я - рыжий кот, нет, <a href="https://celes.club/uploads/posts/2022-10/1666913030_33-celes-club-p-mein-kun-rizhii-pinterest-33.jpg" rel="nofollow" target="_blank">Котяра</a>! добрый и вальяжный, Авторов люблю безмерно, щедрый на комплименты, когти выпускаю редко, а если критикую, то ласково, но всегда по существу<br />Раскрою всю подноготную:<br />Имя мне <a href="https://proza.ru/photos/annasha.jpg" rel="nofollow" target="_blank">Анна</a> я - очаровательная пацанка дааалеко за 30, не потерявшая юношеского задора и мальчишеской горячности (о, не волнуйтесь уважаемые модераторы, я свято блюду Правила))<br />Живу в Москве. но свято чту тамбовские корни.</p> <p>Вот история моих скитаний:<br />Однажды я жила в оживленном, многолюдном городе, белое солнце ярко сияло, обещая заманчивые перспективы издания, строгие Хранители в темно-зеленом были мне друзьями, и я купалась в море доброжелательности, но.. век Пушистых любимцев недолог. Волею судеб я внезапно вышла за ворота... Отсутствие было долгим...Очень долгим. 2 года. И вот, получив в руки&#160; вожделенный ноут с инет приблудами, я завалилась с черного хода, в надежде, что напою всех в любимом трактире&#160; и чокнусь за возвращение!, но ворота оказались закрыты... Главный страж сосредоточенно смотрит в сторону, растерянные модераторы, &quot;искренне сожалеют&quot;, но нести ключи от ворот не торопятся, а беспечные горожане совершенно забыли своего героя, мурчащего им песни ласковым баритоном...<br />Постояла я, постояла и пошла куда глядят.<br />Форумов на виртуальных просторах построили много, но, то ли не повезло с пропуском, то ли улицы слишком запутанны. Я заходила на многие форумы -хотелось общения с&#160; авторами, пишущими интересные расски(я очеННо западаю на малую форму), и мнение коллег по ремеслу хотелось бы услышать, но коллеги по ремеслу совершенно моим ожиданиям не соответствовали: раз зашла в небесный чертог поэтов и потерялась в рифмах, тропах ямбах. хореях и образности - чистый лист для прозаика, пишущего исключительно реалистичные рассказы, ав&#160; прошлом городе наткнулась на старославянских дружинников . -так еле унесла ноги! И межзвездный мир фантастов не увлекает решительно- холодно, непривычно и скафандры жутко дорогие, а в постапокалиптические города если сунуться, то съедят. натурально... Вот скромно вошла в ворота оглянулась: город тонет в вечерних сумерках, дома из мореного дерева - то,&#160; что надо! Зарегилась, надеюсь, приживусь))))</p> mybb@mybb.ru (Тайё) Fri, 26 Apr 2024 23:27:53 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=718#p718 https://forumpisatel.5bb.ru/viewtopic.php?pid=717#p717 <p>consists of the book itself</p> mybb@mybb.ru (Cutterasl) Mon, 15 Apr 2024 06:31:17 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=717#p717 https://forumpisatel.5bb.ru/viewtopic.php?pid=716#p716 <p><span style="display: block; text-align: center"><a href="https://upforme.ru/uploads/0005/24/03/17/262382.jpg" rel="nofollow" target="_blank"><img class="postimg" loading="lazy" src="https://upforme.ru/uploads/0005/24/03/17/t262382.jpg" alt="https://upforme.ru/uploads/0005/24/03/17/t262382.jpg" /></a></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; 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&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; <span style="font-family: Arial"><span style="font-size: 14px"><span style="display: block; text-align: center">Все герои становятся понятными, если есть смелость найти их в себе. Тогда рождается то, что мы называем самоиронией. </span></span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160;<span style="font-family: Arial"><span style="font-size: 14px"><span style="display: block; text-align: center">Наш вечер — это взгляд на себя через призму Чеховских героев. Кто может посмеяться над собой, тот уже выздоравливает.</span></span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160;<span style="font-family: Arial"><span style="font-size: 14px"><span style="display: block; text-align: center">Умение видеть пророки души, умение воздействовать на совесть и изменять нравственность через слово, подвластно только</span></span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160;<span style="font-family: Arial"><span style="font-size: 14px"><span style="display: block; text-align: center">такому человеку, который познал в себе Дух и его проявление. К таким гениям относится Антон Павлович Чехов. </span></span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; 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&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; <span style="font-family: Arial"><span style="font-size: 14px"><span style="display: block; text-align: center">Поэтому, слушающий произведения Чехова и читающий его, волей-неволей прикасается к идеалу или, другими словами, к Духовному.</span></span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; <span style="font-family: Arial"><span style="font-size: 14px"><span style="display: block; text-align: center">От исполнителей, между рассказами, слушатели узнают краткую историю создания рассказа и проблему, которую поднимает автор.</span></span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; <span style="font-family: Arial"><span style="font-size: 14px"><span style="display: block; text-align: center"> Мы приглашаем на Чеховскую Литерапию!&#160; <a href="https://cdri.ru/afisha/aprel-2024/ravi.html?afisha_open_widget=1" rel="nofollow" target="_blank">https://cdri.ru/afisha/aprel-2024/ravi. &#8230; n_widget=1</a></span></span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; 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&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; <span style="display: block; text-align: center"><span style="font-family: Arial"><span style="font-size: 16px"><strong><a href="https://u.to/sFCaIA" rel="nofollow" target="_blank">Перейти</a></strong></span></span></span></p> mybb@mybb.ru (knyhsppmrp) Sat, 13 Apr 2024 03:25:52 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=716#p716 https://forumpisatel.5bb.ru/viewtopic.php?pid=712#p712 <p>Chat freely and without restrictions. <br />Join 100% Free.</p> mybb@mybb.ru (Samuelbem) Sun, 18 Feb 2024 00:52:43 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=712#p712 https://forumpisatel.5bb.ru/viewtopic.php?pid=711#p711 <p>CUTE LITTLE GIRLS <br /> <br /> <br /> </p> <p>==&gt; s.yjm.pl/6N2Y &lt;== </p> <p>==&gt; s.yjm.pl/6N2Y &lt;== <br /> <br /> <br /> </p> <p>CUTE LITTLE GIRLS</p> mybb@mybb.ru (Clydemag) Sat, 10 Feb 2024 07:54:04 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=711#p711 https://forumpisatel.5bb.ru/viewtopic.php?pid=695#p695 <p>Unseriцse Briefkastenfirma Minerva Investment GmbH: Holding aus der Hцlle <br />Aufgeflogen: Unseriцse Briefkastenfirma Minerva Investment GmbH aus Innsbruck <br />Markus Wцrgцtters unseriцse Briefkastenfirma Minerva Investment GmbH (Innsbruck) <br />Innsbrucker aufgepasst: Abzock-Holding Minerva Investment GmbH (Innsbruck) <br />Licht an: Unseriцse Minerva Holding GmbH (Innsbruck) ist aufgeflogen! </p> <p>Der fesche Mittdreissiger mit der gegelten Frisur tritt auf wie ein echter GroЯunternehmer: Teure Protzautos, teures Essen in teuren Restaurants, eine dralle Freundin im kurzen Kleid. Ein Kцnig der Provinz: So fьhlte sich bis vor kurzem der vermeintliche Multi-Unternehmer Markus Wцrgцtter aus Innsbruck. </p> <p>Doch seit einigen Wochen liegen die Nerven blank: Denn das unseriцse Firmen-Netzwerk des Markus Wцrgцtter aus Innsbruck ist aufgeflogen. Unseriцs, weil illegal: Denn Zentrum der Geschдftstдtigkeit des Markus Wцrgцtter sind illegale Airbnb-Vermietungen und дhnliche illegitime Geschдftszweige. </p> <p>Die Spinne im Netz: Die unseriцsen Firmen des Markus Wцrgцtter (Innsbruck) </p> <p>Fьr diese illegalen Zwecke hat Wцrgцtter ein undurchdringliches Geflecht von Scheinunternehmen gegrьndet, die miteinander verwoben sind wie ein illegales Spinnennetz. Die fetteste Spinne in diesem unseriцsen Netzwerk ist die Innsbrucker Hydra Spyder 1 GmbH, ein angeblicher Bautrдger, der mit hektisch zusammengeklaubten Geldern drei von vornhereim zum Scheitern verurteilte Bauprojekte begonnen hat, die niemals fertiggestellt werden kцnnen. </p> <p>Bauruinen incoming? So zockt die Hydra Spyder 1 GmbH ab </p> <p>Denn jetzt kommt heraus: Die unseriцse Hydra Spyder 1 GmbH des Markus Wцrgцtter ist tief verwoben im Netz der illegalen Airbnb-Vermietung in Innsbruck. Die abgezockten Hydra-Firmen des Markus Wцrgцtter (Innsbruck) vermieten illegal Wohnungen auf Airbnb. Das ist in Tirol nicht nur illegitim und moralisch verwerflich, sondern auch streng verboten. Es drohen hцchste Strafen. Der Hintergrund ist klar: Durch solche illegalen Vermietungs-Deals wie die der unseriцsen Hydra Spyder 1 GmbH wird echten Wohnungssuchenden, Familien und kleinen Kindern, Babies und sogar Sдuglingen der ihnen zustehende Wohnraum brutalst entzogen. </p> <p>Doch das ist dem Kцnig der illegalen Vermietung Markus Wцrgцtter (Innsbruck) egal: Er macht weiter und weiter und weiter, fьr ihn zдhlt nur der persцnliche Profit. Gnadenlos nutzt der dubiose Mцchtergern-Bautrдger Markus Wцrgцtter (Innsbruck) die jahrelange Untдtigkeit und Unfдhigkeit der Innsbrucker Behцrden, vor allem des Bauamtes, um sich auf Kosten der Wohnungssuchenden und der Armen zu bereichern. Pfui Teufel! </p> <p>Der Teufel geht um: Markus Wцrgцtter und die unseriцsen Makler </p> <p>Das geht so: Mit Hilfe unseriцser Innsbrucker Makler wie Karin Juchum oder Florina Kogler sucht der Innsbrucker Vermietungs-Teufel Markus Wцrgцtter Immobilien in Tirol und mietet oder kauft diese unter Vorspiegelung falscher Tatsachen, zum Beispiel mit Hilfe seiner unseriцsen Firmen wie der Hydra Spyder 1 GmbH (Innsbruck, Tirol). Mit Hilfe von fragwьrdigen Komplizen spinnt der Mцchtegern-Unternehmer Markus Wцrgцtter ein riesiges Lьgenkomplott, so dass er die Immobilien mieten oder kaufen kann. Fьr die unseriцsen Kдufe nutzt er Kredite der Raiffeisenbank Schwaz sowie Bilanzen des Steuerberaters Luca di Valentino. </p> <p>Vermietungs-Teufel Markus Wцrgцtter (Innsbruck): Vermietungsgeschдfte aus der Hцlle </p> <p>Hat der abzockte Lьgen-Unternehmer Markus Wцrgцtter (Hydra Innsbruck) die Immobilie erst einmal unter Kontrolle, beginnt fьr Anwohner und Nachbarn die Hцlle auf Erden: Umgehend lдsst der dubiose Markus Wцrgцter (Hydra Spyder 1 GmbH Innsbruck) die Airbnb-Vermietung starten. Das bedeutet fьr die Nachbarn und Anwohner 24 Stunden am Tag Aufgerung und Дrger: Betrunkene erbrechen sich ins Treppenhaus, Teenagerpдrchen vollziehen den Geschlechtsakt auf dem Balkon, Party und Lдrm stundenlang, vorzugsweise ab 3 Uhr nachts. So und дhnlich ergeht es Vielen, die mit Markus Wцrgцtter aus Innsbruck Geschдfte gemacht haben. </p> <p>Das Lьgen-Netzwerk des Protz-Unternehmers Markus Wцrgцtter (Innsbruck) </p> <p>Gericht? Polizei? Das ist Markus Wцrgцtter aus Tirol egal. Denn durch sein fadenscheiniges Abzock-Firmennetzwerk rund um die dubiose Hydra Spyder 1 GmbH kann Markus Wцrgцtter die Behцrden belьgen und betrьgen. Keine Lьge ist zu klein, um die illegale Airbnb-Vermietung zu decken. Auch die bisher leere Hydra Spyder 2 GmbH ist Teil des Scheinfirmen-Netzwerks des Markus Wцrgцtter aus der Hцhenstrasse in Innsbruck. </p> <p>Houdini aus Innsbruck: Markus Wцrgцtter erfindet Firmen </p> <p>So hat der Pleite-Unternehmer Markus Wцrgцtter (Innsbruck) sogar eine komplette Fake-Firma aufgebaut, die nur zum Belьgen der Behцrden benutzt wird: Die Scheinfirma Hydra Homes KG (Innsbruck), die er gemeinsam mit einer alten Grossmutter namens Maria Ehn (aus Arbon TG, Schweiz) aufgebaut hat. Kurios und dubios zugleich: Die Hydra Homes KG Innsbruck ist eine reine Tдuschungsfassade, mit der Maria Ehn und Markus Wцrgцtter die Behцrden belьgen, um Airbnb-Ermittlungen und Strafen gegen das Hydra-Firmennetzwwerk zu verhindern. </p> <p>Markus und die falsche Maria: Dreckige Deals mit einer Oma </p> <p>Pikant: Die Geschдftsfьhrerin der Lьgen-Firma Hydra Homes KG, Maria Ehn (Schweiz), tritt auch als Maria Ehnova auf. Absicht oder Versehen? Kann sie etwa ihren eigenen Namen nicht schreiben? Wie tief steckt Maria Ehnova (Schweiz) drin in der trьben Innsbrucker Abzocksuppe des Markus Wцrgцtter? Oder ist das alles Vorsatz, um den Ermittlungen der Behцrden zu entkommen? </p> <p>Die Suppe wird ausgelцffelt: Maria Ehnova (Schweiz), kein Opfer, sondern Tдterin </p> <p>Doch an diesem Gericht kцnnte sich der Serienpleiten-Unternehmer Markus Wцrgцtter (Hydra Spyder 1 GmbH) die Zunge verbrennen: Denn die Geschдftsfьhrer-Oma Maria Ehn von der Hydra Homes KG hat nichts mehr zu verlieren. Seitdem ihre Verwicklungen in das dunkle Abzock-Netzwerk rund um die Hydra Real Estate GmbH (Tirol) offengelegt worden, droht sie auszusteigen. Wird Abzock-Geschдftsfьhrerin Maria Ehn (Arbon) die Kronzeugin der Anklage? Oder bleibt sie das dunkle Phantom aus der Alpenrepublik? </p> <p>Keine Omertб in Innsbruck: Dubiose Maria Ehn steigt aus und wendet sich gegen den Boss </p> <p>Der Coup: Quellen zufolge, wird die die Geschдtsfьhrerin der illegalen Vermietungsfirma Hydra Homes KG, Maria Ehn, aussteigen und aussagen. Gegen den Vermietungs-Bandenboss Markus Wцrgцtter aus Innsbruck! </p> <p>Was wie die Lдuterung einer reuigen Sьnderin Maria Ehnova (Arbon) klingt, sollte man aber genauer hinterfragen. Denn wer einmal lьgt, dem glaubt man nicht. Das wissen auch Insider: Denn die dubiosen Geschдftspartner Maria Ehn und Markus Wцrgцtter haben bereits das Gewerbeamt Innsbruck hinterhдltig belogen. Mit Hilfe des Innsbrucker Szeneanwalts Michael Kathrein hat das dunkle Abzock-Duo eine Lьgenfassade aufgebaut, um das Gastgewerbe der Hydra Homes KG anzumelden. Warum spielt Rechtanwalt Michael Kathrein (Innsbruck) bei diesem teuflischen Lьgen-Spiel mit? </p> <p>Hydra Real Estate und das Lьgen-Phantom: Ende, aus, vorbei </p> <p>Und siehe da: Es ist ganz anders. Bekanntlich verlassen die Ratten zuerst das sinkende Schiff. Und die Geschдftsfьhrer-Oma Maria Ehn kцnnte sprichwцrtlich die schnellste Ratte sein, die das rettende Ufer erreichen will. </p> <p>Pecunio (non) olet: Abzock-Oma Maria Ehn stinkt's! </p> <p>Denn Markus Wцrgцtter Firmen-Imperium ist von der Pleite bedroht. Die Schein-Bautrдger Hydra Real Estate GmbH, Hydra Spyder 1 GmbH und Hydra Spyder 2 GmbH haben kein Geld mehr! Sдmtliche Firmen der Hydra-Gruppe (Innsbruck)s sind bilanziell bis oben hin ьberschuldet und nahezu pleite. Noch kann sich der Serien-Pleitier Markus Wцrgцtter mit einer dubiosen sogenannten Fortfьhrungsprognose temporдr ьber Wasser halten. Doch wie lange noch? </p> <p>Italienische Wochen: Bilanzen zum halben Preis? </p> <p>Und: Wer hat ihm diese fragwьrdige Prognose erstellt? War das der ihm hцrige Steuerberater Luca di Valentino? Oder hat sich auch der kleine Steuerberater mit dem stolzen italienischen Namen auch schon abgewandt vom sinkenden Immobilienschiff der Familie Wцrgцtter? </p> <p>Geld stinkt plцtzlich doch: Airbnb-Queen Maria Ehnova wird Kronzeugin </p> <p>Genau deshalb hat sich Maria Ehn entschieden, das illegitime Abzock-Konstrukt des Markus Wцrgцtter (Innsbruck) rund um die Schattenfirma Minerva Investment GmbH zu verlassen und ihr Wissen mit dem Gewerbeamt und dem Bauamt Innsbruck zu teilen. Wie aber wird der Airbnb-Abzockchef Markus Wцrgцtter reagieren? </p> <p>Psychospiele rund um die unseriцse Hydra Homes KG: Maria Ehn kann's nicht lassen </p> <p>Doch bis dahin spielt die unseriцse Gewerbe-Geschдftsfьhrerin Maria Ehn ein doppeltes Spiel: Vorneherum kassiert sie noch jeden Monat ein stattliches Schweigegeld vom Vermietungs-Bandenboss Markus Wцrgцtter, hintenrum ist der Ausstieg schon lдngst besiegelt. Wird Maria Ehn ihren Ausstieg aus dem Abzock-Clan durchhalten? </p> <p>Zweifel sind durchaus angebracht: Denn die Hydra-Abzockfrau Maria Ehn (Innsbruck) ist eine Meistern im Tarnen und Tдuschen. So tritt die illegale Vermietungs-Queen Maria Ehn mit unterschiedlichsten Adressen auf. Auf manchen Dokumenten im Firmenbuch und Gewerberegister gibt die Abzock-Chefin Maria Ehn eine Adresse in Svдty Jur, Slowakei an, in anderen wohnt die Abzock-Prinzessin Maria Ehnova plцtzlich in Arbon TG (Schweiz). Wo also versteckt sich Wцrgцtters Schweizer Komplizin Maria Ehn? Ist sie lдngst ьber alle Berge und versteckt sich in der Slowakei? Hat sie noch mehr Namen als Ehn oder Ehnova? </p> <p>Illegale Airbnb-Abzocke der Hydra-Firmen: Wer ist das Phantom aus der Schweiz? </p> <p>Zwischen Wцrgцtters schmierigem Bordell-Business (s.u.) und illegaler Vermietung taucht nдmlich ein weiterer dubioser Name auf: Dr. Lucia Schroeter, die mittlerweile bei Partners Group in der Schweiz arbeitet, als wдre nichts gewesen und als hдtte sie mit der ganzen unseriцsen Sache nichts mehr zu tun. Fakt ist: Die dubiose Dr. Lucia Schroeter (Partners Group) steckte tief im illegalen Sumpf des Vermietungs-Business rund um die Hydra-Firmen. Insider sagen: Umso erstaunlicher, dass sie mittlerweile abgetaucht ist und versucht, sich beim GroЯunternehmen Partners Group hinter der biederen Fassade einer Angestellten zu verstecken. </p> <p>Fakt ist: Die Geschдftsfьhrerin der illegalen Airbnb-Abzocke Maria Ehn hat der dubiosen Dr. Lucia Schroeter (Partners Group Baar), die sich dubioserweise auch Lucia Schroeterova (Baar ZG) nennt und ebenfalls aus der Schweiz kommt, eine Vollmacht ausgestellt, die viele Fragen aufwirft. Verhдngnisvoll und tragisch: Diese Vollmacht ist цffentlich ьber das Firmenbuch zugдnglich. Ist die geheimnisvolle und dubiose Lucia Schroeter (Partners Group) die Hinterfrau der Airbnb-Abzocke der Hydra-Firmen? Oder ist diese Dr. Lucia Schroeterova (Partners Group) nur eine weitere Abzock-Prinzessin in Wцrgцtters undurchsichtigem Beschiss-Netzwerk? </p> <p>Rechnung ohne den Wirt gemacht: Lucia Schroeters dubiose Abzock-Vollmacht </p> <p>Dass die Vollmacht цffentlich wird, haben die Abzocker rund um Markus Wцrgцtter wohl vergessen. Und sie zeigt: Hinter der Abzock-Queen Maria Ehn (Arbon) steht noch etwas viel GrцЯeres. Sie zeigt auch: Maria Ehn, die Frontfrau der illegalen Vermietung, handelte auf dubiose Anweisung von der dubiosen Lucia Schroeter aus Baar ZG. Alles illegal. Aber die dubiosen Geschдftspartnerinnen Maria Ehn und die dubiose Dr. Lucia Schroeter (Baar ZG) haben nicht damit gerechnt, dass die Vollmacht цffentlich abrufbar ist. Wie tief ist die unseriцse Dr. Lucia Schroeter (Partners Group Schweiz) also in das illegale Firmennetzwerk des Markus Wцrgцtter verstrickt? </p> <p>Nomen est omen: Hьtchenspiele mit dem guten Namen </p> <p>Ein weiteres hцchst brisantes Dokument aus dem Firmenbuch bringt den Beweis: Die dubiose Dr. Lucia Schroeter aus dem illegalen Vermietungsnetzwerk der Hydra-Firmen heisst auch Lucia Ehn! Brutal und abgezockt: In anderen Dokumenten heiЯt diese Lucia, die in die illegalen Immobiliengeschдfte der Hydra-Firmen verstrickt ist, plцtzlich Lucia Ehnova (Schweiz, Slowakei)! </p> <p>Reise in den Ostblock: Markus Wцrgцtter und die Puffs </p> <p>Noch dubioser wirken diese osteuropдischen Verbindungen des dubiosen Abzock-Gauklers Markus Wцrgцtter (Innsbruck), wenn man weiss, dass ьber dessen unseriцse MW Immobilienverwaltungs GmbH Bordelle vermietet werden! Puffs, wo osteuropдische Frauen gegen Geld sexuelle Dienstleistungen feilbieten! Bisher konnte Markus Wцrgцtter seine Rotliche-Verbindungen geheimhalten und die Fassade des Sohns aus gutem Hause mit eigener Firma spielen - doch er ist aufgeflogen: Mittlerweile weiЯ jeder in Tirol, dass Markus Wцrgцtter ein Puff-Vermieter ist und am Leid der ausgebeuteten Huren verdient. </p> <p>Minerva Investment GmbH und die Pleitefirmen: Wann ist das Spiel aus? </p> <p>All das zeigt: Das Ende naht mit groЯen Schritten. Unaufhaltsam tickt die Uhr, und selbst ein dubioser Abzockprinz wie Markus Wцrgцtter kann sie nicht mehr aufhalten. Verzweifelt versucht Markus Wцrgцtter (Innsbruck)s, Quellen zufolge noch, das Beschiss-Netzwerk der Innsbrucker Hydra-Gruppe zusammenzuhalten. Aber die Realitдt ist keine Soap-Opera, und der neunkцpfigen Hydra-Schlange wird ьber kurz oder lang der Kopf abgeschlagen. </p> <p>Aus die Maus: Oder ist die Minerva Investment GmbH der Beschiss-Exit? </p> <p>Oder ist das plцtzliche Auftauchen der Briefkastenfirma Minerva Investment GmbH nur das Ende der scheinbar unendlichen Hydra-Abzock-Saga? </p> <p>Die Redaktion bleibt dran. </p> <p>++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ <br />V.i.S.d.P: Serafin Grasser, serafin.grasser@gmx.at <br />Redaktion: Luitgard Heinemann, Walborg Eisenstein, Timon Brдunlich <br />Lektorat: Igor Mrczycynszsky <br />++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ </p> <p>Pleitefirma Hydra Homes KG: Unseriцs, illegal, abgezockt <br />Markus Wцrgцtters Scheinfirmen-Netzwerk in Innsbruck: Illegal und abgezockz <br />Das Spiel ist aus: Markus Wцrgцtters Pleiten-Serie (Innsbruck) <br />Marus Wцrgцtter am Ende: Pleite-Firmen der Hydra-Gruppe ьberschuldet <br />Ьberschuldet und illegal: Hydra-Gruppe (Innsbruck) fдllt auseinander <br />Bordellvermieter Markus Wцrgцtter (Innsbruck): Experte fьr Unseriцses <br />Lьgen-Fachmann Markus Wцrgцtter (Hydra): Experte fьr Airbnb und Bordelle <br />Firmen-Versteckspiel der Hydra Homes KG: Fake-Geschдtsfьhrerin Maria Ehn (Arbon) unter Druck <br />Das Abzock-Duo: Markus Wцrgцtter und Maria Ehnova aus Arbon (Thurgau) <br />Abzock-Oma Maria Ehnova (Arbon, Svдty Jur) unter Druck: Wann fдllt sie um? <br />Skandal: Abzock-Grossmutter Maria Ehn (Arbon) belog die Behцrden <br />Scheinfirma Hydra Homes KG von Maria Ehn: Lьgen und Beschiss <br />Behцrden-Lьgner Markus Wцrgцtter (Innsbruck) endlich aufgeflogen <br />Fake-Briefkastenfirma Hydra Real Estate GmbH: So schlimm ist es wirklich! <br />Fake-Pleitefirma Hydra Spyder 1 GmbH: Insolvenz 2024? Innsbruck rдtselt <br />Briefkastenfirma Hydra Spyder 1 GmbH: Insolvenz 2024? <br />Pleitefirma Hydra Spyder 1 GmbH: Wann fдllt Wцrgцtter um? <br />Bordellvermieter Markus Wцrgцtter aus Innsbruck: Das Spiel ist aus <br />Licht an: Puff-Vermieter Markus Wцrgцtter aus Innsbruck fliegt auf</p> mybb@mybb.ru (Jimmylix) Wed, 24 Jan 2024 16:30:52 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=695#p695 https://forumpisatel.5bb.ru/viewtopic.php?pid=694#p694 <p>Мазманян Валерий Григорьевич<br />родился 9 июля 1953 года в семье военнослужащего.<br />В 1975 году закончил <br />Пятигорский государственный педагогический институт иностранных языков.<br />Живёт в Москве. Работает в системе образования.&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; <br />Автор книги «Не спросишь серых журавлей».</p> <p><strong>Берёзы ветрам отдают золотые сердца</strong></p> <p>У зеркала лужи смывает рябина<br />румяна с высоких обветренных скул,<br />а осень ушла, торопясь, и забыла<br />в вечернем тумане глухую тоску.</p> <p>Прозрачная роща и чёрное поле<br />притихли, уснули до ранней весны,<br />и память ушедшего лета уколет<br />зелёной иголкой пушистой сосны.</p> <p>Пусть нам не дано, ни к чему твои слёзы,<br />стряхнуть паутинку морщинок с лица...<br />но только в осеннюю пору берёзы<br />ветрам отдают золотые сердца.</p> <p><strong>Букетик астр в стеклянной вазе</strong></p> <p>Осветит хмурый день не солнце,<br />берёза - язычками свеч,<br />ветрам с утра уже неймётся<br />стряхнуть листву с кленовых плеч.</p> <p>Дубы, мерцая старой бронзой,<br />прозрачность сторожат аллей,<br />на разговор потянет слёзный -<br />и укори, и пожалей.</p> <p>Рябины гроздь на голой ветке<br />и окна цвета янтаря<br />дожди рисуют на виньетке<br />в открытой книге октября.</p> <p>Букетик астр в стеклянной вазе<br />хранит тепло любимых рук...<br />и ты не верь избитой фразе,<br />что жёлтый - это цвет разлук.</p> <p><strong>С тобой напишем после запятой</strong></p> <p>В листве берёзы больше желтизны,<br />в осенних днях немного новизны,<br />дожди с утра вечерний сумрак ткут<br />и цену поднимают на уют.</p> <p>Поплачься, только в память не неси<br />больной румянец на щеках осин,<br />свои печали, голой ветки дрожь,<br />цветок увядший и чужую ложь.</p> <p>Когда грустишь со мной поговори,<br />как капли солнца цедят фонари<br />и как красив на вид со всех сторон,<br />отлитый октябрём из бронзы клён.</p> <p>Дорожки стелет палая листва,<br />со временем всё станет на места...<br />с тобой напишем после запятой -<br />не осень жизни, возраст золотой.</p> <p>Валерий Мазманян</p> mybb@mybb.ru (vgm) Mon, 22 Jan 2024 17:32:44 +0300 https://forumpisatel.5bb.ru/viewtopic.php?pid=694#p694 https://forumpisatel.5bb.ru/viewtopic.php?pid=691#p691 <p><span style="display: block; text-align: center"><strong><span style="font-size: 24px">Это мошеничество</span></strong></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; 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Исполнитель порекомендовал обновить версию CMS т.к текущая версия была слишком старой для написания модуля импорта. Исполнитель предложил работать в рамках договора и составил его, в нем описаны обязанности сторон, описание технического задания, сроки и стоимость. </span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; 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&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160;<span style="display: block; text-align: center"><span style="font-size: 14px">После ознакомления с договором, исполнитель попросил внести оплату перед началом работ. Оплату по договору внесли (сначала за модуль 8500 и 17500 за разработку шаблона аналогично текущему и кастомных изменений)</span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; 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&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; <span style="display: block; text-align: center"><span style="font-size: 14px">Договорились, что все работы по доработкам будут производиться на копии сайта, после чего все изменения перенесем на основной сайт. Исполнитель приступил к работе, но редко выходил на связь (переписка велась на площадке <a href="https://kwork.ru/" rel="nofollow" target="_blank">https://kwork.ru/</a> и мессенджере “телеграм”). После истечения сроков указанных в договоре, полностью игнорировал сообщения и не отвечал на звонки. По факту результата нет. Шаблон и кастомные изменения не внесены, модуль импорта также не сделан.</span></span>&#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; &#160; 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