Undoubtedly, the problem of depicting Russian reality was most relevant for I. A. Bunin in the 1910s compared to other periods of his work. The surge of national self-awareness caused by the revolutionary events of 1917 is fully reflected in Bunin’s psychological prose and is associated precisely with an active understanding of the nature of the Russian person, his abilities, capabilities and future fate. Later, I. A. Bunin continues to write stories about Russian people, continuing to reflect on the “mystery of the Russian soul.” This thinking has reached a new level, if only for the reason that significant changes have occurred in Russia, which could not but affect the writer’s national self-awareness.
The main direction along which Bunin's creativity developed in the years 1914-17 was the combination of lyricism of style and psychological self-development of character, analysis and synthesis. I. A. Bunin became the end of an entire period of Russian classical literature, “associated with the strengthening of psychologism in it, which obliged him to further develop and enrich poetics and stylistics, to develop new forms of artistic representation...”
The specifics of the genre of lyrical prose could not be more fully embodied by the features of the poetics of Bunin’s lyrical miniatures. Lyrical prose is characterized by the emotional and intellectual self-expression of the hero, the artistic transformation of his individual life experience, which is no less important than an objective depiction of the realities of material reality. Bunin’s miniatures include the characteristic presented by A.I. Pavlovsky: “The content of a lyrical work is no longer the development of an objective incident, but the subject itself and everything that passes through it. This determines the fragmentation of the lyrics: a separate work cannot embrace the wholeness of life, because the subject cannot be everything at one and the same moment. An individual person is full of different contents at different moments. Although the entire fullness of the spirit is available to him, it is not suddenly, but separately, in countless different moments.”
Capturing reality in its most important object-sensory manifestations from the point of view of Bunin’s hero, the narrator of lyrical miniatures thereby, as it were, splits them into separate realities, each of which is comprehended by him with greater intensity and depth, the greater the emotional impact it has on him.
No matter what complex and deep phenomena of the spiritual sphere are discussed in Bunin’s works of these years, the understanding of these phenomena invariably turns under the artist’s pen into a poetically soulful, spiritual self-expression of his lyrical hero. This is achieved by various means. Here there is an open lyrical aspiration of the narrative, a balanced musical and rhythmic organization of phrases, and an intensive use of poetic tropes that direct the reader’s thoughts in the right direction. As a result, internal monologues, permeated with sad-elegiac reflections on the mysteries of life and death, cannot but evoke a certain reciprocal empathy in the reader’s soul.
However, this does not mean that the writer departs from the principles of artistic depiction of life and man. The basis of his stories and stories is the same realistic method as in the works of the turn of the century, written in an objective manner, with the only difference that now the revelation of the comprehended life is refracted through the subjective perception of the individual, whose thoughts and feelings affect the mind and heart of the reader with no less power than visual realities.
In order to enhance the emotional and aesthetic impact, the writer resorts to his favorite technique of associative comparison of life facts and phenomena. Unlike the modernists, I. A. Bunin saw in the artistic association not a self-sufficient symbol and not a simple set of spectacular poetic tricks, incapable of a critical attitude towards what is depicted, but the most important means of realizing the author’s thoughts and ideas. Even with the help of the most distant associations, I. A. Bunin sought to direct the reader in the right direction. Through the complex associative plane, the naked reality of the material and social environment always appears, among which he lives, acts and thinks. For example, in the story “Antonov Apples” the expressive details of a small-scale, centuries-old way of life emerge clearly, the depiction of which is one of the leading motives of the writer’s early work. We see with our own eyes the apple picking and the fair, and the whole way of life of the average nobleman, heading towards its decline.
And yet, what is significant for the hero-storyteller is not the realities of socio-historical reality, but the beauty and grandeur of nature, which are the subject of his own thoughts.
In full accordance with the genre of lyrical prose, most of Bunin's works are written in the first person. They resemble the pages of the diary of a lyrical hero, who, as a rule, is the only character uniting the action. Of course, talking about a specific action can be a stretch. There is no clearly defined traditional plot containing intrigue or clash of human characters. Instead, in the foreground we see “the flow of thoughts and feelings of the hero, sensitive and reflective, passionately in love with life and at the same time tormented by its mysteries.” Most pre-revolutionary critics viewed Bunin's miniatures as a phenomenon that had nothing in common with the early stories of I. A. Bunin.
The artistic system of I. A. Bunin, his psychologism is bipolar. One of their poles is descriptive (landscape, interior, portrait, and so on). It occupies different volumes in works - from relatively modest, functionally related to the plot, to self-sufficient, filling the entire space of the text. But what is constant, firstly, is that it is always created according to the same aesthetic laws, and, secondly, it goes beyond strict subordination to the logic of the narrative and exceeds what is necessary.
Its second pole is the plot. Its range is wide from zero to acutely psychological and intense. Its presentation can be sequential or discrete, that is, interrupted in time. The plot can be built according to the logic of linear time or on the displacement of time layers. If in descriptive elements I. A. Bunin is monotonous, then in everything that concerns the plot he is masterfully inventive.
The functions of psychological descriptiveness and plot can be understood by comparing them. The system of their interaction is the most important component of the artistic world of I. A. Bunin, which originates from the depths of his philosophy of existence. In some fragments, descriptiveness is traditionally subordinated to the plot; its function is to overcome the schematism of the plot, giving it concreteness and verisimilitude. In other cases, not completely subordinate descriptiveness performs other tasks. Thirdly, descriptiveness is independent of the plot and relates to it on other artistic grounds.
The problem of the interaction of two aesthetic poles - plot and psychological descriptiveness - has a special perspective in works where “reality appears through the prism of subjective states that are intermediate in nature from slightly distorted to surreal...” The function of descriptiveness as a beginning that overcomes the centrality of the plot is always with I A. Bunin is predominant, often acting as the only function.
Many of Bunin's works before the emigration period were plotless. The writer translates their epic content into lyrical content. Everything that the lyrical hero sees is both phenomena of the external world and facts of his internal existence (general properties of lyrics).
Life is incommensurably broader than any event, and the aesthetic reality of a story is broader than the plot line. A story is just a fragment of a boundless existence; the frame of the beginning and end can be arbitrarily imposed anywhere. The name plays the same role. Neutral names are often preferable so as not to distort the meaning. The names of Bunin’s works are also simple: “New Road”, “Pines”, “Meliton”, etc. The most characteristic among the plotless works of I. A. Bunin is considered to be “Epitaph”, filled with memories of the past. Bunin’s memories are already transformed and poeticized in the depths of consciousness, because they exist in the emotional field of longing for something gone forever. This is manifested primarily in the fact that every detail becomes prominent, bright, and valuable in itself.
One of the most important functions of plot and descriptiveness in their totality is the expression of the spatio-temporal dimension of life. The literary art of the 20th century seems to be straining beyond its capabilities. The spatial form allows you to more fully feel the value of any moment and any frozen particle of life. It opens the world beyond the boundaries of human existence and correlates its scale with the infinity of human existence.
In descriptiveness, I. A. Bunin realizes the feeling of limitless existence. Although the plot sometimes dwindles to zero, the descriptiveness never does. It has priority importance and is always focused on what is outside the work.
The constant and most important function of descriptiveness is the expansion of the human model, in the center of which there is a person, to a cosmic model. Since descriptiveness predominates in lyrical miniatures, their essence is clearly visible when comparing descriptiveness and plot and identifying their relationships.
Perhaps it is precisely in connection with this that the writer removes a negative ethical assessment from some negative properties of the Russian person, without having confidence in their national nature and - even in this case - implying the presence of some justification for the fact that such arose. So, for example, cruelty among peasants can be justified by strong, exhausting love (“Ignat”, “On the Road”) or an categorical desire for justice (“Good Blood”). In addition, Bunin’s prose artistically embodies the Old Testament worldview of Russian people, according to which both God and the world, which exists according to His laws, appear cruel to a defenseless person who is forced only to obey (“Sacrifice”). Love for one's neighbor (“Cricket”, “Lapti”, “Thin Grass”), the beauty of Russian Orthodoxy (“Aglaya”, “Saint”, “Saints”, “Dream of the Blessed Virgin Mary”), mercy, emotional sensitivity, special (related) the nature of spiritual closeness to God (“Saints”, “Saint”), closeness to nature, including in relation to life and death (“Thin Grass”, “Merry Yard”), the desire for feat (“Zakhar Vorobyov”) , the preservation of ancient tribal traditions that benefit people (“Good blood”) - these are a number of positive properties of the soul of the Russian person, which create a multifaceted image of the national ideal in the prose of I. A. Bunin and directly correlate with the Christian ideal.
Thus, in a number of stories by I. A. Bunin, the guardians of the best properties of the Russian character are old men and women who are living out their days or are on the threshold of oblivion: Anisya (“The Cheerful Yard”), Ilya Kapitonov (“The Cricket”), Averky (“The Thin Grass” ) etc. The courageous calm with which the Russian peasant awaits death characterizes the national attitude to life, the issue of which I. A. Bunin examines, in particular, in the story “Flies”.
The power of selfless parental love is depicted by I. A. Bunin in the story “Cricket,” whose hero, saddler Ilya Kapitonov, entered into an irreconcilable confrontation with death, trying to win his son from her. Selflessness as a feature of the national ideal is also manifested in the story “Lapti”, but without being determined by related feelings. The writer evaluates the death of the hero as a feat that granted salvation to other people. The fact that the lost men were able to navigate by Nefed’s dead body and thereby escape shows the symbolism of the sacrifice made by the hero and its highest meaning - a completed and, to a certain extent, won battle with death. Thus, the feature of the national ideal in the perception of I. A. Bunin is not only organic-natural, but also deeply national.
The specificity of the psychologism of I. A. Bunin - the most subjective singer of the objective world - is that it is impossible to talk about the priority of the external or internal, subjective or objective. The objective world in its true scale, shape, and proportions is of such high value that the soul reverently accepts it, avoiding any distortion. But in this soul it exists as a fact of its most intimate life, colored by its entire emotional structure.
The character has a certain structure in which internal and external are distinguishable. His image is made up of a number of components that reveal both the inner world of a person and his external appearance. The inner world of a person, which includes his intentions, thoughts, conscious feelings, as well as the sphere of the unconscious, is captured in works in different ways.
Psychologism in the early stages of the development of literature
In the early stages of verbal art, it is given more indirectly than openly. We learn mainly about the actions performed by the characters, and much less about the internal, psychological motives of their behavior.
Experiences depend entirely on the unfolding of events and are presented mainly through their external manifestations: a fairy-tale hero befalls a misfortune - and “hot tears roll down”, or “his quick legs give way”. If the hero’s inner world is revealed directly in words, it is in the form of a mean, clichéd designation of a single experience - without its nuances and details.
Here are a few characteristic phrases from Homer’s “Iliad”: “Thus he spoke and stirred the heart of Patroclus in Persia”; “And, being compassionate, he exclaimed”; “Zeus, the most exalted ruler, sent fear down on Ajax.” In Homer’s epic (as later in ancient Greek tragedies), human feeling, which has reached the height of passion, is depicted “close-up”, receiving pathetic expression.
Let us remember the last chapter of the Iliad, which talks about the grief of Priam burying his son Hector. This is one of the deepest penetrations of ancient literature into the world of human experiences. The depth of his father’s grief is evidenced by the act of Priam, who was not afraid to go to the camp of the Achaeans to Achilles in order to ransom his son’s body, and the hero’s own words about the misfortune that befell him (“I experience what no mortal has experienced on earth”), his lamentations and shed tears, which are mentioned more than once, as well as the pomp of the funeral, which completed the nine-day mourning of Hector.
But it is not the diversity, not the complexity, not the “dialectics” of experiences that are revealed here. In Homer's poem, with maximum purposefulness and picturesqueness, one feeling is captured, as if ultimate in its strength and brightness. In a similar way, the inner world of Euripides’s Medea, possessed by the tormenting passion of jealousy, is revealed.
Psychologism in the literature of the Middle Ages
Spiritual anxiety, heartfelt contrition, repentant attitudes, tenderness and spiritual enlightenment in a variety of “variations” are captured in the “Confession” of Bl. Augustine, “The Divine Comedy” by A. Dante, numerous lives. Let us remember Boris’s thoughts after his father’s death in “The Tale of Boris and Gleb”: “Alas, for me the light of my eyes, the radiance and dawn of my face are the bridle of my youth, the mentor of my inexperience.” But medieval writers (in this they are similar to the creators of folklore works and ancient authors), being subject to etiquette norms, still had little understanding of human consciousness as uniquely individual, diverse, changeable.
Psychologism in Renaissance literature
Interest in the complexity of a person’s inner world, in the interweaving of different mindsets and impulses, in changing mental states, has strengthened over the past three to four centuries. Vivid evidence of this is the tragedies of William Shakespeare with their inherent complex and often mysterious psychological picture, most notably Hamlet and King Lear.
This kind of artistic development of human consciousness is usually designated by the term psychologism. This is an individualized reproduction of experiences in their interconnection, dynamics and uniqueness. L.Ya. Ginsburg noted that psychologism as such is incompatible with the rationalistic schematization of the inner world(the antithesis of passion and duty among classicists, sensitivity and coldness among sentimentalists). According to her, “Literary psychologism begins with inconsistencies, with the unforeseen behavior of the hero.”
XVIII century
Psychologism intensified in the second half of the 18th century. This was reflected in a number of works by writers of a sentimentalist orientation: “Julia, or the New Heloise” by J.J. Rousseau, “Sentimental Journey through France and Italy” by L. Stern, “The Sorrows of Young Werther” by I.V. Goethe, “Poor Liza” and other stories by N.M. Karamzin. Here the mental states of people who feel subtly and deeply came to the fore. The literature of romanticism attracted attention to the sublimely tragic, often irrational experiences of a person: the stories of E.T.A. Hoffman, poems and dramas by D.G. Byron.
XIX-XX centuries
This tradition of sentimentalism and romanticism was picked up and developed by realist writers of the 19th century. In France - O. de Balzac, Stendhal, G. Flaubert, in Russia - M.Yu. Lermontov, I.S. Turgenev, I.A. Goncharov reproduced the very complex mentalities of the characters, which sometimes clashed with each other - experiences associated with the perception of nature and the everyday environment, with the facts of personal life and spiritual quests.
According to A.V. Karelsky, the strengthening of psychologism was due to the keen interest of writers in the “ambiguity of an ordinary, “non-heroic” character,” in multifaceted, “shimmering” characters, as well as the authors’ trust in the reader’s ability to make independent moral judgments.
Psychologism reached its maximum in the works of L.N. Tolstoy and F.M. Dostoevsky, who artistically mastered the so-called "dialectics of the soul". In their novels and stories, the processes of formation of human thoughts, feelings, intentions, their interweaving and interaction, sometimes bizarre, are reproduced with unprecedented completeness and specificity.
The psychologism of Tolstoy and Dostoevsky is an artistic expression of a keen interest in the fluidity of consciousness, in all kinds of shifts in a person’s inner life, in the deep layers of his personality. Mastering self-awareness and the “dialectics of the soul” is one of the remarkable discoveries in the field of literary creativity.
There are various forms of psychologism. F.M. Dostoevsky and L.N. Tolstoy, in our century - M.A. Sholokhov and W. Faulkner are characterized by explicit, open, “demonstrative” psychologism. At the same time, writers of the 19th-20th centuries. They also rely on another way of mastering the inner world of man.
The words of I. S. Turgenev are significant that an artist of words should be a “secret” psychologist. And a number of episodes in his works are characterized by reticence and omissions. “What did you both think and feel? - says about the last meeting of Lavretsky and Lisa. - Who will know? Who's to say? There are such moments in life, such feelings. You can only point at them and pass by.” This is how the novel “The Noble Nest” ends.
Implicit, “subtextual” psychologism, when the impulses and feelings of the characters are only guessed, prevails in the stories, short stories and dramas of A.P. Chekhov, where the characters' experiences are usually discussed briefly and casually. Thus, Gurov, who arrived in the city of S. to meet with Anna Sergeevna (“The Lady with the Dog”), sees her white Spitz at the gate of the house. He, we read, “wanted to call the dog, but his heart suddenly began to beat, and from excitement he could not remember the name of the Spitz.”These two seemingly insignificant touches - my heart began to beat and I couldn’t remember the dog’s name - by Chekhov’s will, turn out to be a sign of the hero’s great and serious feeling) that turned his life upside down. Psychologism of this kind manifested itself not only in the fiction of the 20th century. (I.A. Bunin, M.M. Prishvin, M. Proust), but also in lyric poetry, most of all in the poems of I.F. Annensky and A.A. Akhmatova, where the most ordinary impressions are permeated with spiritual radiations” (N.V. Nedobrovo).
The idea of reproducing a person’s inner life was sharply rejected in the first decades XX century both avant-garde aesthetics and Marxist literary criticism: a personality freely self-determining in a reality close to it was under suspicion.
Thus, the leader of Italian futurism F.T. Marinetti called for “the complete and final liberation of literature from psychology,” which, in his words, had been “drained to the bottom.” A. Bely spoke in a similar spirit in 1905, calling the novels of F.M. Dostoevsky's "Augean stables of psychology." He wrote: “Dostoevsky is too much of a “psychologist” not to arouse feelings of disgust.”
However, psychologism has not left literature. This is irrefutably evidenced by the work of many major writers of the 20th century. In our country this is M.A. Bulgakov, A.P. Platonov, M.A. Sholokhov, B.L. Pasternak, A.I. Solzhenitsyn, V.P. Astafiev, V.I. Belov, V.G. Rasputin, A.V. Vampilov, abroad - T. Mann, W. Faulkner and many others. etc.
Intensive formation and widespread consolidation of psychologism in the literature of the 19th-20th centuries. has deep cultural and historical background. It is connected, first of all, with the activation of self-awareness of a person of the New Age. Modern philosophy distinguishes between consciousness “that realizes itself” and “consciousness that studies itself.”The latter is called self-awareness. Self-awareness is realized mainly in the form of reflection, which constitutes the “act of returning to oneself.”
The activation and growth of reflection among people of the New Age is associated with an unprecedentedly acute experience of a person’s discord with himself and everything around him, or even total alienation from him. Starting from the turn of the 18th-19th centuries, such life-psychological situations began to be widely depicted in European literature, and later by writers from other regions (the tragedy of Shakespeare's Hamlet was the threshold of this shift in the artistic sphere).
A significant story by I.V. Goethe "The Sorrows of Young Werther". Focused on his experiences (“I have so much trouble with myself that I care little about others”), Werther calls his own heart his only pride, longs to pacify his “hungry, restless soul” (at least in outpourings addressed to a friend in letters. He is convinced that “much has been given” to him, and tirelessly philosophizes over his suffering of unrequited love. Werther is a figure poeticized by the author (although presented by him in no small measure critically) and evoking, above all, sympathy and compassion.
Russian writers of the 19th century. more severe towards their reflective heroes than Goethe towards Werther. The trial of a person completely focused on himself (whose character can rightfully be traced back to the myth of Narcissus) and of his solitary and hopeless reflection is one of the leitmotifs of Russian “post-romantic” literature. It sounds in M.Yu. Lermontov (“Hero of Our Time”), I. S. Turgenev (“Diary of an Extra Man,” “Hamlet of Shchigrovsky District,” partly “Rudin”), to some extent by L.N. Tolstoy (a number of episodes of the stories “Adolescence” and “Cossacks”), I.A. Goncharov (“Ordinary History”).
Reflection, presented in the forms of psychologism, was repeatedly presented by our classic writers as beneficial and essential for the development of the human personality. Evidence of this, perhaps the most striking, is the central characters of Tolstoy’s novels: Andrei Volkonsky and Pierre Bezukhov, Levin, and partly Nekhlyudov. These and similar heroes of other authors are characterized by spiritual restlessness, a desire to be right, and a thirst for spiritual gains.
One of the most important stimuli for the reflection of literary characters is the awakened and powerfully “acting” conscience in their souls, which disturbs and torments not only Pushkin’s Boris Godunov, Onegin, Baron, Guan or Paratov (in the finale of “Dowry” by A.N. Ostrovsky), but also Andrei Bolkonsky, remembering his late wife, Turgenev’s Liza Kalitina, who repents of giving vent to her feelings for Lavretsky, as well as Tatyana in the finale of Eugene Onegin.
Psychologism, no matter how deep and organic its connections are with the life of reflective characters, is also widely used when writers address people who are artlessly simple and not focused on themselves. Let us remember Pushkin’s Savelich, the nanny Natalya Savvishna and the tutor Karl Ivanovich from L.N.’s “Childhood”. Tolstoy. Even the images of animals turn out to be full of psychologism (“Kholstomer” by L.N. Tolstoy, “White-fronted” by A.P. Chekhov, “Dreams of Chang” by I.A. Bunin, “Cow” by A.P. Platonov, wolves in the novel by Ch. Aitmatov "The block")
Psychologism acquired a new and very original form in a number of literary works. XX century. The artistic principle called reproduction has become stronger "stream of consciousness". The certainty of a person’s inner world is leveled here, or even disappears altogether. The origins of this branch of literature are the works of M. Proust and J. Joyce. In Proust's novels, the hero's consciousness is composed of his impressions, memories and pictures created by the imagination.
Forms of direct expression of a character's psychological state :
- traditional designations of what the hero experiences (thinks, feels, wants);
- detailed (sometimes analytical) characteristics by the author-narrator of what is going on in the character’s soul;
- improperly direct speech, in which the voices of the hero and the narrator are fused together;
- character's internal monologue;
- dreams and hallucinations as a manifestation of the unconscious (subconscious) principle in a person, which hides in the depths of the psyche and is unknown to him (dreams of Tatyana Larina, Andrei Bolkonsky, Rodion Raskolnikov);
- dialogues, intimate conversations between characters (in oral communication or correspondence);
- diary entries.
Forms of indirect expression of a character’s psychological state:
- poses,
- facial expressions,
- gestures,
- movements,
- intonation.
Psychologism in the literature of the 19th-20th centuries. manifested itself in almost all existing genres. But with maximum completeness it affected socio-psychological novel. Very favorable for psychologism, firstly, epistolary form(“Julia, or the New Heloise” by J. J. Rousseau, “Dangerous Liaisons” by C. de Laclos, “Poor People” by F. M. Dostoevsky), secondly, autobiographical (sometimes diary) first-person narrative(“Confession” by J.J. Rousseau, “Confession of the Son of the Century” by A. de Musset, “Diary of a Seducer” by S. Kierkegaard, the early trilogy of L.N. Tolstoy). The confessional principle also lives in the works of F.M. Dostoevsky.
Source (selected):
V.E. Khalizev Theory of literature. 1999
Goal of the work: Identify the pros and cons
diets for weight loss
DIET
MEDICAL
therapeutic diet
sick person
AESTHETIC
Diet according to blood type
Vegetable diet
Kefir diet
Kremlin diet
Japanese diet
- Mono-diets
- Low fat diets
- Low carb
- Low calorie
- Separate food
- Diet according to blood type
Mono-diets
- These are diets that contain one or two
type of products
- These include: apple, kefir, chocolate, rice, buckwheat, cabbage, banana, potato
- Pros: weight loss in a short time: 2-4 kilograms
in several days
- Minus: the body will not receive enough of certain
vital substances, vitamins, microelements, so any period of use mono-diet, should be 3-5 days.
After its completion, excess weight will be lost just as quickly.
may come back
Low fat diets
- Diets with limited fat intake, usually up to 30-50 grams per day.
- Plus: the body uses up accumulated fat,
due to which weight loss occurs.
- Disadvantage: with long-term restriction of fat intake in the body may experience a deficiency essential fatty acids that the human body does not produce and fat-soluble vitamins (gr. A, D, E, K) do not are absorbed by the body.
Low carb
- Low-carb diets are based on the saying: “Sugar is white death.” Excess carbohydrates not used by the body are converted into fats,
which are put aside in reserve.
- Such diets include: Kremlin, French, protein diets.
- Pros: if carbohydrates consumed for current energy consumption is not enough, the body begins to burn fat reserves.
- Cons: possible manifestations of weakness, drowsiness, decreased performance, constant feeling of hunger.
Low calorie
- The main principle is a serious limitation of the total caloric intake of the diet.
- Pros: Restricting caloric intake leads to consumption of fat reserves, due to which weight loss occurs.
- Cons: During this diet, deficiency often occurs. vitamins, microelements. And after stopping the diet, the lost weight comes back in excess.
Separate food
Most foods are normally absorbed by the body only when consumed separately, because the body secretes different juices to digest them.
- Pros: the need to eat proteins, fats and carbohydrates separately leads to more fractional meals, and this helps to achieve temporary weight loss.
- Cons: the human body produces enough number of enzymes to simultaneously proteins and carbohydrates entering the stomach are excellent were assimilated.
The main harm from separate nutrition is a violation microflora of digestive systems, indigestion.
Diet according to blood type
- The diet is based on the fact that different blood types gradually appeared in humanity, and people at that time ate differently.
- Pros: blood test done to determine group, may reveal various abnormalities in you, which will help with timely treatment.
In addition, any food restriction, exception fried, smoked, fatty foods lead to weight loss and improvement metabolism.
- Cons: before getting into the blood, any food protein is broken down into amino acids, and no antibodies will not be able to figure out where these come from amino acids, so this theory is not confirmed scientists.
Diets using nutritional supplements
- Pros: temporary weight loss occurs due to the fact that supplements that need to be washed down with water “swell”
in the stomach and cause a feeling of fullness, which replaces a full meal.
- Cons: the body quickly eliminates nutritional supplements and begins to demand real food.
- Losing weight quickly puts stress on the body.
- It is important to remember that the normal rhythm of weight loss for a healthy adult is from 500 g to 1 kg per week.
- Combining healthy, nutritious foods with physical activity will help prevent weight gain.
Conclusion
- Don't exhaust yourself with diets.
- You just need to adjust your usual diet in accordance with the ideas of rational nutrition.
Mono-diets These are diets that include one or two types of products. These include: apple, kefir, chocolate, rice, buckwheat, cabbage, banana, potato Pros: weight loss in a short time: 2-4 kilograms in a few days Cons: body will not receive enough of certain vital substances, vitamins, microelements, so the period of use of any mono-diet should be 3-5 days. After its completion, excess weight can return just as quickly.
Low-fat diets Diets that limit fat intake, usually to grams per day. These include: Dr. Ornish's diet and Mikhail Ginzburg's pulse diet. Plus: the body uses up accumulated fat, resulting in weight loss. Minus: with a long-term restriction of fat consumption in the body, a deficiency of essential fatty polyunsaturated acids may occur, which the human body does not produce and fat-soluble vitamins (gr. A, D, E, K) are not absorbed by the body.
Low-carb Low-carb diets are based on the saying: “Sugar is white death.” Excess carbohydrates not used by the body are converted into fats, which are stored in reserve. These diets include: the Kremlin, French, protein diets and the Montignac diet. Pros: if the carbohydrates consumed are not enough for current energy expenditure, the body begins to burn fat reserves. Cons: possible manifestations of hypoglycemia, weakness, fainting, drowsiness, decreased performance, constant feeling of hunger.
Low-calorie The main principle is a serious limitation of the total caloric content of the diet. Low-calorie diets include diets in which calorie consumption does not exceed 1500 kilocalories per day for women and 2200 for men, this is the Larisa Dolina diet, the English and vegetable diets. Pros: restricting caloric intake leads to the consumption of fat reserves, due to which weight loss occurs. Cons: During such a diet, a deficiency of vitamins, microelements and other vital substances often occurs. And after stopping the diet, the lost weight comes back in excess.
Separate nutrition The author (Dr. Shelton) claims that most foods are normally absorbed by the body only when they are consumed separately, because the body secretes different juices to digest them. Pros: Having to eat proteins, fats and carbohydrates separately leads to smaller meals, which helps achieve temporary weight loss. Cons: the human body produces a sufficient amount of enzymes so that proteins and carbohydrates entering the stomach at the same time are perfectly absorbed. The main harm from separate nutrition is a disruption of the microflora of the digestive systems and indigestion.
Blood type diet The diet is based on the fact that different blood groups gradually appeared in humanity, and people at that time ate differently. The author is doctor Peter D'Adamo. Pros: a blood test done to determine your group can reveal various abnormalities in you, which will help with timely treatment. In addition, any restriction in food, exclusion of fried, smoked, fatty foods (and this is a requirement for all blood groups) leads to weight loss and improved metabolism.Cons: before entering the blood, any food protein is broken down into amino acids, and no antibodies can figure out where these amino acids come from, so this theory is not confirmed by scientists.
Diets using nutritional supplements Pros: temporary weight loss occurs due to the fact that supplements, which must be washed down with water, “swell” in the stomach and cause a feeling of fullness, which replaces a full meal. Cons: The body quickly eliminates nutritional supplements and begins to crave real food.
Rational nutrition FIRST PRINCIPLE - energy value must correspond to the energy expenditure of the body. SECOND PRINCIPLE - nutrients (proteins, fats, carbohydrates, minerals, vitamins) must be in a certain ratio. THIRD PRINCIPLE - maintaining an optimal diet. FOURTH PRINCIPLE – creating optimal conditions for human absorption of food.
If you nevertheless decide to use a diet for weight loss, you must remember: Rapid weight loss causes stress to the body. It is important to remember that the normal rhythm of weight loss for a healthy adult is from 500 g to 1 kg per week. Combining healthy, nutritious foods with physical activity will help prevent weight gain.
Based on the results of the survey, the following conclusions can be drawn: 90% of respondents are not satisfied with their figure, 30% of them consider the ideal figure of Madonna Jennifer Lopez, Lyudmila Gurchenko However: few people managed to fully fulfill all the conditions of the diet; most found it difficult to restrain themselves due to the fact that everyone around them could eat; many felt stressed and irritated; 60% of respondents have ever been on a diet. Half of them achieved the desired result. The harm from using fashionable aesthetic diets is obvious. And therapeutic diets, on the contrary, meet all the canons of rational nutrition, which means they serve as a source of beauty and health.
Conclusion Don't exhaust yourself with diets. You just need to adjust your usual diet in accordance with the ideas of rational nutrition. DIET (Greek) - WAY OF LIFE, so it is important to choose a nutrition system that can be followed for a long time. Such a safe system is RATIONAL NUTRITION.
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