In the behavior of the heroes. Patterns in the behavior of heroes and villains

A study of the artistic motivation of the behavior of F.M.’s heroes. Dostoevsky in the novels “Crime and Punishment” and “The Brothers Karamazov” was carried out in this work within the framework of the approach of “aesthetic emotivism” (phenomenology artistic image rational and emotional), developed by A.M. Bulanov.

The concepts of “rational” and “emotional” have already received a more or less satisfactory interpretation in the scientific literature on philosophy, psychology and literary criticism (see: Avtonomova 1988; Bulanov 1992, 2003; Dialectics... 1985; Dolzhenko 2001; Ilyin 2001; Mudragei 1985 ; Psychology of Emotions... 1984; Jacobson 1998, etc.), but the term “motivation of behavior” will be debated for a long time in the social and psychological sciences. The concept of “artistic motivation” or the phenomena that make up its content and scope may seem even more controversial. The situation is no less simple with the concept of “motivation of behavior of (literary) heroes.” However, the concept that is most in need of justification is the one in the title of the work: “artistic motivation for the behavior of heroes.” In order to define the latter in more detail, we will approach the description of this scientific construct through the characteristics of its specific elements, i.e. along the chain: motivation of behavior - artistic motivation of the characters' behavior - artistic motivation of the characters' behavior F.M. Dostoevsky.

Taking into account the concept of the “three-level organization” of texts (V.I. Ivanov, R. Laut) of the author of “Crime and Punishment”, it can be assumed that the artistic motivation of the behavior of the heroes in Dostoevsky’s novels, although it can be studied both from the standpoint of positive science and and in terms of the Christian anthropology of the Eastern Church, but it is conditioned by the artistic phenomenology of religious intentionality, which embraces the material of the novels and sets the vector direction for the actions of all the characters in the writer’s works. The artistic phenomenology of the religious intentionality of the characters in Dostoevsky’s novels under study determines the type of behavior of the heroes, which is often even now defined in terms of “illness,” “chaos,” “lack of motivation,” or “strain.” Therefore, for analysis artistic motives The behavior of Dostoevsky's heroes requires an integrated approach based on the principles of both historical psychology and axiological literary criticism.

When starting to analyze the concept of “artistic motivation” in order to describe the patterns of behavior of a literary hero, one cannot ignore the research construct “motivation of behavior” in order to implement a scientific approach to this phenomenon and avoid the reproach expressed against humanists, for example, “On free the use of the concepts “motive” and “motivation” by writers and publicists goes without saying. There, any reason for an action, the historical and economic development of humanity, a group, an individual is called a motive. It is not surprising that sometimes the very subject of discussion, that is, the motive, disappears, or the assumption is made that modern concept motive describes not one, but several realities that do not coincide with each other...” It should be noted, firstly, that the concepts outlined above are used in completely different areas of knowledge, where specialized connotations are attributed to them, and secondly, that in psychological science itself, works on the problem under discussion do not contain a single, systematized knowledge, despite the fact that that theoretically and experimentally motivation has been most studied as a psychological phenomenon, and it is motivation that is the core problem of psychology. Thus, in the Psychological Dictionary, “motivation” is defined as “an impulse that causes the activity of the body and determines its direction,” and a motive is “a material or ideal object that encourages and directs an activity or action and for the sake of which they are carried out.” A comparison of these two definitions, which do not go beyond the psychological approach to the motivation of behavior, can clearly demonstrate the difficulty of distinguishing between these concepts, since, according to the definition, both motivation is an incentive for activity, and motive is an incentive that determines behavior. The situation will become significantly more complicated if we quote a definition from the Big Explanatory Dictionary of Sociology, in which motivation is motivator behavior, i.e. motive in a psychological sense.

Despite the fact that the concept of “motive of action” is already for a long time is in the field of view of the socio-psychological field of knowledge, many researchers consider it necessary to study the process of motivation of individual behavior in the correlative pair “motivation-motivation”, since, unlike motivation, the concept of motive has a narrower scope and the actual psychological content is fixed in it, namely - that internal background against which the process of motivating behavior as a whole unfolds. In fact, a motive cannot be the internal background of the motivation process, since the motivational process is primary in relation to the motive.

A variety of mental formations in the personality structure are called motives that determine human behavior under certain conditions. Analysis of special literature on this issue allows us to identify the following groups of “motives”: ideas, ideas, feelings, experiences (L. I. Bozhovich 1972); needs, drives, motivations, inclinations (X. Heckhausen 1986); desires, desires, habits, thoughts, sense of duty (P.A. Rudik 1965); thoughts (A.G. Kovalev 1988); mental processes, states, personality traits (K.K. Platonov 1974); objects of the external world (A.N. Leontiev 1975); installations (A. Maslow 1954); conditions of existence (V.K. Vilyunas 1990) and many others. etc.

In modern science, more than thirteen theories of behavioral motivation are known, based on on different grounds and logically following from the history of the development of various scientific paradigms. Thus, the founders of modern theories can be named: S. Freud in Austria, M. Ach and K. Lewin in Germany, I.P. Pavlov and E.N. Sokolov in Russia, W. McDougal in England, W. James and E. Thorndike in America. This development itself, as H. Heckhausen argues, has acquired such proportions that any attempts to restore the original justifications and somehow understand the variety of ongoing research encounter serious difficulties.

It is quite obvious that it is not possible to conduct a detailed analysis of the foundations of each modern theory. For our work, the judgment of E.P. can be considered a significant clarification of existing concepts. Ilyin, according to which all approaches to motivating behavior can be divided into two directions. In the first, “motivation” is considered from a structural position as a set of certain motives, primary in relation to it, and in the second - processually, as a dynamic formation.

Since “a person is characterized by a non-mechanical (in the spirit of the behavioristic S-R dichotomy) sequence of his mental processes, but a different way of organizing mental life, where there is a specific nature of the connection between individual acts and states that lead him to commit actions and deeds,” to the extent that the concept of behavioral motivation “denotes an essential feature of a person’s mental processes and can (in principle) turn out to be fruitful for its analysis and study, if it is revealed clearly enough what content it expresses, with what aspects of a person’s mental life does it connected". We consider the solution to the question of the content of a concept that can serve as both a concept and a construct of historical and literary analysis to be a concept in which motivation is understood as a “dynamic process of motive formation.” In this concept, the motivational process is primary in relation to the motive. The projection of this motivational theory onto stereotypes of behavioral processes makes it possible to combine the methods of literary criticism and historical-psychological approaches within the framework of the integrative paradigm of philosophia et theologia cordis and apply its research tools to the analysis of the artistic motivation of the behavior of F.M. Dostoevsky, since the scientific construct “motivation of behavior” most accurately captures the content and specific features of the course of mental processes. The concept of “motivation of behavior” is used in our work in a broad and narrow sense. IN in the narrow sense motivation of behavior is the motivation of specific forms of behavior of a literary hero as a dynamic process of formation of a motive, which can be realized before, during or after the completion of an action, or not realized. IN in a broad sense Behavioral motivation is understood as the process of forming motives for certain behavioral acts of characters, conditioned by a set of factors and formations that are determined and set by the author’s intention.

Each specific form of behavior (action in a broad sense) is determined by such psychological formations that participate in a specific motivational process and influence decision-making, which in psychological science are called motivators (motivational determinants), “when explaining the basis of an action, they become arguments for making a decision.” . E. P. Ilyin proposed to identify the following groups of motivators that influence the formation of a motive for action in the process of motivation: moral control, preferences, external situation, one’s own capabilities, one’s own state in this moment, conditions for achieving a goal, predicting the consequences of one’s action, etc. Thus, some of the groups of so-called motives listed above, such as emotions, ideas, thoughts, can be classified as motivational determinants, or motivational attitudes in the process of intense motivation. Taking into account the individual characteristics of the motivation for the behavior of Dostoevsky’s heroes, we consider it possible and necessary to classify the artistic phenomenology of the rational and emotional in the texts of the novels we are studying as motivational determinants (motivators) of the heroes’ behavior.

To solve the problem we have posed, it is also necessary to take into account the concept of external/internal locus of control by J. Rotter, which represents the features of the “construction” of the basis of an action, that is, motive. With internal locus of control, we are talking about beliefs related to the action, assessments and personal dispositions of the actor. Since the motivational process is always intrinsic motivation, a personally determined process (which, however, can also be stimulated by external factors), the internal locus of control of the individual influences the attitude towards the action. “And the relationship is bimodal. Thus, the construction of a motive and, consequently, the motivational process can be accompanied by both positive and negative emotional experiences...” In light of the above, it becomes clear why, in the paradigm of aesthetic emotivism, primary importance in motivating the behavior of heroes is given to the artistic phenomenology of the rational and emotional.

In the work on the artistic motivation of the behavior of Dostoevsky’s heroes, one more term, traditional for psychology, but not used in this sense in literary criticism, should be introduced - “motivation”. IN literary science it acts as a synonym for the concept of “motivation”. However, in relation to Dostoevsky's texts this is unacceptable. Motivation is defined as " rational explanation» the subject of the reasons for action by indicating what is socially acceptable for him<...>circumstances that prompted the choice of a given action (action). With the help of motivations, a person sometimes justifies his actions and deeds, bringing them into line with the norms of behavior in society (thus, through a system of motivations, for example, Raskolnikov, Dostoevsky, on the one hand, creates a picture of the world “torn off the ground”, and on the other, through "The system of motivations of the hero-doppelgangers depicts the picture of the world of the hero-ideologist and with his own personal standards. As a result, motivations-statements may not coincide with the actual motives of the action, even deliberately masking them." himself and the world, often falls into the temptation to replace the motives of his action with a motivation-statement (“ideological word”). This process is important for the artistic motivation of the behavior of Dostoevsky’s heroes both at the level of form and at the level of content; at the same time, it can act as the author’s artistic "means" in depicting the course of the motivational process. Therefore, in our opinion, it is necessary to distinguish between the terms "motivation" and "motivation". After all, “the speaking person in a novel is always, to one degree or another, ideologist, and his words are always ideologeme. A special language in a novel is always a special point of view on the world, claiming social significance.” It is as an ideologeme that the word of the hero-ideologist becomes the subject of depiction in the field of rational motivations for certain actions, while in the process of motivation the “deep motive” is important (in the terminology of A.M. Bulanov).

Modern scientists have proven that despite the individualizing method of cognition of personality in history through literature artistic creativity as a form of historical and psychological knowledge about a person can claim some objectivity, because artistic image combines both a narrative principle and reflection, approaching scientific understanding. According to the American psychologist G. Allport, the literary approach to the study of personality is no less significant than the scientific one, in connection with which scientists expressed the desire to create a scientific-humanistic system for the study of personality. “Unfolding pictures of human life of the past, narrative<...>provides space for both multiple interpretations and for non-specialized understanding literary psychology,” notes the researcher. Of course, for every psychologist who wants to approach a literary text from a strictly psychological point of view and find evidence of one of the concepts, there is the opportunity to apply research tools to the behavior of a literary hero and analyze it, because when “a writer strives to reveal to the reader the essence of his hero’s personality, his the inner world, his spiritual appearance and shows us separately (sic!?) his actions and the actions of his hero, he always talks about the motives that led his hero to action.” However, studies of the works of Russian classics, in general, and Dostoevsky, in particular, indicate that such a conviction in the psychological unambiguity of the heroes’ actions is not always justified, since the narrative makes its own adjustments to the image of “the inner man, and, consequently, the event connecting inner people” . This idea is clearly expressed by R. Rolland: “Wanting to tell the story of someone’s life, we describe its events. We think this is life. But this is just a shell. Life is what happens inside us. Events from the outside influence it only when they are marked and generated by it(it is this process of semiotic multiplication of the world that is reflected in the process of intense motivation).” Therefore, a psychological approach to literary texts that does not take into account the patterns and data of poetic anthropology is irrelevant for literary criticism. The reason for the significance and significance of artistic anthropology of literary texts is that “exemplary” classical texts not only support cultural identity, but also “teach the fundamentals of written mentality; book normativity belongs to the sphere of the spiritual ideal, which is why its definitions mix (among other things) artistic and religious.” And again, it should be emphasized that the relationship “psychology - literature - religion” is possible “only in relation to the emotional and symbolic phenomena of religion...”, or, what is the same, literary, symbolic representations of religious issues are reflected in the relationship between the rational and the emotional.

The artistic motivation for the behavior of a literary hero is a “content-filled form” in the structure of the text, determined by the cultural paradigm, the psychotype of a certain cultural style of behavior and the writer’s method, as well as the expression of the author’s psychoideology - the artistic style. Speaking about the behavior of a literary hero, one should also keep in mind the fact that each cultural era “discovers” a person in different ways and reflects the inner world of the individual: using various artistic means, authors depict thoughts and feelings in the space-time continuum of the text in different ways. , intentions, personal dispositions and emotional and value orientations of the actors.

Modern literary scholars consider the system of characters and events organized into a storyline to be the largest units of artistically reflected and transformed reality. Recognizing the forms of behavior and phenomena of the psychomental structure of the hero’s personality as components of artistic objectivity, scientists quite rightly raise the question of how the behavior of a (historical) person of a certain psychotype, captured by the artist and reflecting the emotional and cognitive processes of an agent of a particular culture, is transformed in the world of artistic text .

Traditionally, a literary hero is interpreted as “a series of manifestations of one person within of this text" A character has certain characteristics, which (provided they are stable and repeatable) act as his properties. In the literature of the second half of the 19th century, the role of these features was no longer reduced to a descriptive and symbolic function, the goal of creating a type, positive or negative, as in the rationalistic poetics of classicism, or a “dominant feeling,” as in the poetics of sentimentalism. The character's properties appeared in the literature of the second half XIX century in the characterological function of an individualizing approach to the inner world of a person. Appearing in various contexts (the context of the writer’s creativity, the context of the work), correlating with the historical and cultural background of the text, the character appears in the work in a certain function literary role. Therefore, with a certain approach to the system of these properties, various forms and methods of character formation can be identified (in this sense, we are talking about the specific behavior of Dostoevsky’s heroes). The judgment expressed by the researcher also applies to our study: “When speaking about the promotion of the anthropocenter “character” both at the level of content and at the level of meaning of the text, we mean not only the cognitive independence of the character depicted, that is, belonging to artistic communication (content level ), but also independence that has not yet been depicted, but has already taken the form of the author’s intention (level of meaning).”

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10. Sidorov, A.A. Beardsley's Life / A.A. Sidorov // Beardsley O. Drawings. Prose. Poetry. Aphorisms. Letters. Memoirs and articles about Beardsley. M.: Igra-tekhnika, 1992. pp. 267 - 280.

11. Tressider, J. Dictionary of symbols / J. Tressider; lane from English S. Palko. M.: FAIR PRESS, 2001.

12. Wilde, O. Selected works: in 2 volumes / O. Wilde. M.: Publishing house "Respublika", 1993. T. 1.

13. Khalizev, V.E. Theory of literature / V.E. Ha-lizev. M.: Higher school, 2000.

14. Shveibelman, N.F. In search of a new poetic language: prose French poets mid-19th - early 20th centuries: monograph / N.F. Shveibelman. Tyumen: Tyumen Publishing House. state University, 2002.

15. Beardsley, A. The Woods of Auffray / A. Beardsley Under the Hill and other essays in prose and verse. With illustration. London - N.Y.: The Bodley Head, 1904. R. 65.

16. In Black and White. The Literary Remains of Aubrey Beardsley. Including "Under the Hill", "The Ballad of a Barber", "The Free Musicians", "Table Talk" and Other Writings in Prose and Verse / Ed.by S. Calloway and D. Colvin. London: Cypher: MIIM, 1998. [Electronic resource]. Access mode: www.cypherpress.com.

17. MacFall, H. Aubrey Beardsley. The man and His Work / H. MacFall. London: John Lane the Bood-ley Head Limited, 1928.

18. Shaw, H. Concise. Dictionary of Literary Term / H. Shaw. N.Y.: VcGraw-Hill, inc., 1972.

19. The Letters of Aubrey Beardsley / ed. by

H. Maas. London: Rutherford, Fairleigh Dickinson university press, 1970.

The prosaic fragment or the poem in the prose of Aubrey Beardsley

Two prosaic extracts from the books “The Celestial Love” (1897) and “The Woods of Auffray” (published in 1904) of the famous English graphic artist of the end of the 19th century Aubrey Beardsley are analyzed. Its relational independence, small volume, reprises and parallelism which create the musical rhythm allow us to refer them to the genre of the poem in the prose. The basis prosaic plot connects with the lyrical beginning.

Key words: synthesis, genre, the poem in the prose, fragment, Aubrey Beardsley.

I.N. NEMAEV (Volgograd)

ARTISTIC MOTIVATION OF THE BEHAVIOR OF THE CHARACTERS OF F. M. DOSTOEVSKY’S NOVEL “THE BROTHERS KARAMAZOV”

IN THE ASPECT OF PHENOMENOLOGY OF RATIONAL AND EMOTIONAL

The artistic phenomenology of the rational and emotional and motivational behavior of F.M.’s characters is explored. Dostoevsky, which, as one of the few methodological ways, makes it possible to approach the analysis of the aesthetic phenomenon of the novel “The Brothers Karamazov” from positions corresponding to its heterogeneous nature.

Key words: Dostoevsky, Karamazov brothers, phenomenology, motivation.

In the novel by F. M. Dostoevsky “The Brothers Karamazov”, themes and problems that worried the author throughout his entire writing career and connected all his work were reflected. “In the last novel by F.M. Dostoevsky, turning to the highest questions of existence, explores the human nature of man in its main possibility - to preserve in himself the image and likeness of God. How actively do the “essential forces” of the individual participate in this possibility, who is more responsible in preserving the great Kant who so surprised “ moral law”: mind or heart, nature or society? The dialectic of mind and heart is developed in the novel with a brilliant artistic force, which allowed the writer not only to pose “eternal” ontological problems, but also to largely determine their understanding in the 20th century.”

The traditional view of the problems of F. M. Dostoevsky’s novels is expressed in the fact that they highlight the intellectual side of human life, but every thought reflected in fiction is thoroughly permeated with emotional elements, assessment and experiences

heroes. Of course, the rational in novels should not be left without due attention, since neglect or conscious rejection of one of the elements “emotional - rational” leads “to truly tragic consequences - not only does an incorrect theoretical scheme arise that impoverishes reality, but a deliberately false idea of the universe and the position of a person in it." Let us consider the artistic motivation of the behavior of Dostoevsky's heroes from the point of view of artistic phenomenology.

In the novel “The Brothers Karamazov”, the artistic motivation for the characters’ behavior is determined both by the author’s non-subjective forms of expression - genre principles that include features of the architectonics of the hagiographic narrative, and by subjective ones - the characters in the novel are depicted as a spiritual unity, a collective personality. “Heart” as the emotional and spiritual center of personality is filled in Dostoevsky’s work with a wide range of meanings - from “ emotional intelligence» to the repository of religious and moral sense, while the value of a religious feeling lies not in the feeling itself, but in the unconscious process of motivation. The significance of the motivational process lies in its actual result. Thus, Dostoevsky does not shift the emphasis to the psychological plane, but, on the contrary, the psychological style of a “realist in the highest sense” is complemented by “metaphysical space” and, consequently, an additional dimension in the psychomental structure of the characters’ personality.

Dmitry Karamazov's path to resurrection begins with aesthetic quests and ends with his spiritual rebirth. With such a sharp transition, the writer emphasizes the true reality of man, hidden in the spirit. In the first confession, Mitya appears before the reader enchanted by beauty. Beauty as an aesthetic test is neutral in itself. But she has power over a person, therefore, she can cross the emotional boundary and become a cult. In beauty, Mitya sees the contradictory state of man. Beauty here is only a form, and the true state of a person is determined by his spiritual maturity. An attempt to find

This resolution of the last questions in the aesthetic experience of man is inconclusive. Mitya's tragedy lies in her submission to this blind force. If Ivan suffers due to delusions of the mind, then Mitya suffers from the temptation of passion. In The Brothers Karamazov, Dostoevsky shows how a person can fall under the powerful power of passion, which destroys him. Mitya leads an ugly life and at the same time blames himself. In the world of love, he cheats on Katerina Ivanovna and at the same time suffers from this betrayal; he cannot refuse Grushenka's seductive beauty and despises his passion. Mitya Karamazov is a great voluptuous man and, at the same time, a sufferer, because, unlike Father Karamazov, who enjoys his own “badness,” Dmitry feels in himself the image and likeness of God. And as long as this feeling is unconscious, he remains spiritually dead. Spiritual blindness leads him into captivity of passion. He hopelessly and naively relies on his father's money, which makes him pitiful and ridiculous.

The idea of suffering, its elevating and purifying power, is one of Dostoevsky’s main ideas. It is not for nothing that the wise and insightful elder Zosima kneels before Dmitry and bows to the ground, as if anticipating his future suffering. The hero atones for his guilt by referring to hard labor. The purifying power of suffering affects him. He, sentenced to hard labor legally innocently, realizes that his spiritual guilt before his murdered father is undeniable and it is for this guilt, invisible to the world, that the Lord punishes him in a visible way. A dream about a crying child opens the way to spiritual resurrection through awareness of the laws of Christian life.

An important question for the novel is one that directly correlates with Dmitry: is what is done against one’s personal will, according to the law of “guilt”, charged with guilt and entails punishment? Another one is added to the system of motivators of Dmitry’s behavior, which in the language of pneumatology can be called “conscientious torment.” Only after this will the hero discover the deep meaning and reasons for his actions, which shocked him and pushed him to overcome rational and volitional “noumenal” hesitation and enter into the “war of God against the devil.”

la." The effect of conscientious torment on Dmitry’s soul and actions is as follows: “A person armed with conscientious “torment” for the first time can simply be shocked and depressed by the spectacle of the complex motivation and dynamics of each individual act that appears to him in himself. He will suddenly become convinced that to a certain extent he desired this and was secretly preparing what he clearly feared; that in a certain sense he did not want what he dreamed of<...>This movement inward and deep, to hidden motives, little noticeable details, to the hidden remnants of passions in oneself is extremely fruitful, it teaches a person ... keen contemplation of sin and real, unquenchable religious and moral self-purification.” It is very important to pay attention in this context to the fact that after the trial Dmitry falls ill with nervous fever.

In fact, it is Dmitry who is the hero, consciously sacrificing himself, consciously walking the path of atonement for his sin and the sin of his brothers. The artistic motivation for Dmitry Karamazov’s behavior is determined by the struggle between sinful aspirations, the “thirst for life” and the desire to find one’s soul. spiritual path, the path to soul transformation. By the end of the novel, this struggle is resolved by the fact that Dmitry embarks on the path of righteousness and is spiritually resurrected. He is a sacrificial person. The artistic motivation for Dmitry’s behavior reflects one of the main provisions of Dostoevsky’s “historiosophy,” according to which the course of world history is a struggle between two principles in the human world and an individual personality, over which freedom of choice prevails. On the other hand, this proves the only reality - in God, in Christ. This is precisely what is revealed to Dmitry Karamazov, and his “walk through torment” ends with the acquisition of Christian consciousness.

Ivan Karamazov is a tragic hero, an ethical metaphysician. It is necessary to pay attention to the fact that Ivan’s behavior reflects the principle formulated by Hegel “translating the heart into reality.” This principle boils down to the following: translating the “law of his heart” into reality, the subject no longer realizes that it is possible

None of this form of being is already a “common power”, for which the law of “this heart” is indifferent and is no longer a valid “being-for-itself”.

In the novel we are studying, Dostoevsky, who found himself in the same dilemma as Eastern Christian theology (how to reconcile the omnipotence of God and the personal responsibility of man?), solves the problem of the metaphysics of human will by combining anthropo- and Christocentric concepts of the world. Therefore, the reason for Ivan’s spiritual illness is different: he, reserving the right to self-will, cannot take responsibility for the evil of the world and become free in the religious sense of the word, that is, responsible for his actions and for everything: “.. “Know that truly everyone is guilty before everyone else and for everything.” The opening of the boundaries of the self in relation to one’s neighbor, to whom the heart is “closed,” and the experience of active love are unknown to Ivan. However, the suffering that forces him to “renounce” the world and hide behind his “Euclidean mind,” as if unable to comprehend the meaning of the universe, reveals in him the presence of a “sense of another.” The inability to accept responsibility for “everything” in this world (including the suffering of children, which so affects the hero’s mind and feelings) torments his heart and forces his mind to cling to the logic of facts in order to protect the law of “this heart” from the “order of this world”, but the “paradox” of freedom and responsibility lies precisely in the fact that this is impossible. Ivan Karamazov, due to his characteristic emotional and value orientation, is a tragic hero.

In our opinion, all the motivational mechanisms and behavioral acts of the hero in the novel are determined by the religious doubt in which Ivan Karamazov resides, comprehended and depicted by the author in both a philosophical and religious vein. It is religious doubt, and not atheism or fight against God, that determines the actions of the middle brother.

Ivan is confirmed in self-will and believes true freedom only in God, but does not have the “evidence of the heart” in order to gain freedom and take responsibility. To understand this well-known “diagnosis” in religious literature, one should comprehend the phenomenon

religious doubt in the hero’s behavior, which leads to such spiritual dissonance. The reason for Ivan’s suffering, in our opinion, is not that he seeks to save his understanding of values, but that the hero is the bearer of “mystical intuition”, which encourages him to encroach on the incomprehensible and think the unthinkable. The bearers of mystical intuition in the novel (Alyosha, Elder Zosima), like Ivan, are convinced that real reasons actions of the individual are located in the heavenly world, where the causes of causes reside and where the imperatives that determine human behavior on earth come from. But unlike Elder Zosima, who comprehended the meaning and purpose of this world and accepted guilt and responsibility, as well as Alyosha, who was not at all burdened with the burden of “damned questions,” Ivan makes his spiritual experience the subject of rational comprehension. Alyosha plunges his spirit into the “crucible of doubts” only after the miracle he expected did not happen. Ivan cannot bypass the laws of nature due to his attachment to facts and makes them the subject of spiritual contemplation, which inevitably entails religious doubt and rejection of the imperatives of the heavenly world. Ivan Karamazov became a victim of “metaphysical weakness of will,” which caused “weakness and fluctuations in the noumenal self-awareness of the individual” and was reflected as a painful doubt in the content of religious experience.

Important for understanding the images of Alyosha and Zosima is the fact that the artistic motivation for the behavior of the characters under study includes not only a psychological substrate, but also religious and philosophical-ethical issues, which are reflected in the phenomenology of the artistic depiction of emotions and feelings, therefore the issue of religious intentionality is embodied in literary text as one of the motivators for participation in the plot movement. Following the ideal is Zosima’s artistic motivator. The principle of organizing his inner world is the need for constant, conscious work on himself. The source is love and compassion. It is love that is effective and gives strength. In Alyosha’s behavior two emotional values coexist.

ny orientations. Coherence between the “mind” and the “heart” is the main characteristic of the novice’s behavior, but this state is reflected in the “heart”, in the self. Since there is no opposition of “mind” to “heart” in the image of the hero, the antinomy of the rational and emotional in Alyosha’s behavior is removed. Alexei’s behavior, except for a single episode after the death of Elder Zosima, when he was overcome by doubt about the justice of the structure of God’s world, does not include any motivators inducing “negative” action. In the behavior of the younger brother, all spiritual changes occur “childishly” spontaneously: not having time to “revolt,” he is transported to Cana of Galilee and gets up after sleep “a determined fighter for life.” The mystical experience of the novice becomes the source of his spiritual energy and trust in God.

Potentially, a person can be both a saint and a sinner. In reality, he is neither one nor the other. He carries and realizes both only in an embryonic state. The inner world of a person is a kind of arena in which the struggle between these two principles unfolds. This is how every serious action is born. Conflict is accompanied by internal dialogue and emotional experiences. It involves all mental functions (thinking, memory, imagination, will, emotions, etc.) and even physiological processes. In some cases, it can reach extreme intensity, remove a person from a normal state of mind, and cause mental and physiological diseases. This is the reason for the spiritual alienation of F.M.’s heroes. Dostoevsky.

When saving artistic dominant images of personality in text last novel of the Pentateuch, the author complicated the artistic means of depicting the actions of the heroes, as well as the genre “principles” of the last novel and the set of stylistic, structural and compositional means characteristic of it. The main (worldview) relationship lies in the semantic sphere of the novel and absorbs all the “eternal questions” that humanity has posed to itself - questions of theo- and anthropodicy, guilt and punishment, sin and retribution, free will and responsibility, and also, firstly turn, the antinomy of reason and heart.

Thus, we have come to understand that the relationship between “mind” and “heart” is both the basis of the artistic dominant portrayal of characters in the novel we are studying, and a means for revealing the deep processes of the characters’ awareness of themselves in the world and the world in themselves. The artistic motivation for the behavior of Dostoevsky’s heroes can be studied from the point of view of positive science and religious anthropology, but an approach that makes it possible to take into account all the features of the author’s poetic anthropology deserves more attention. This approach, in our opinion, is the scientific paradigm developed by A. M. Bulanov, the subject of which is the artistic phenomenology of the “mind” and “heart” in the behavior of the character and the relationship between the rational and the emotional in the psychomental structure of the characters.

Literature

1. Bulanov, A.M. Artistic phenomenology of the depiction of “heart life” in Russian classics (A.S. Pushkin, M.Yu. Lermontov, I.A. Goncharov, F.M. Dostoevsky, L.N. Tolstoy): monograph / A.M. Bulanov. Volgograd, 2003.

2. Hegel, G. Phenomenology of spirit / G. Hegel. M., 2000.

3. Ivanov, V.I. Dostoevsky and the tragedy novel // V.I. Ivanov // Native and universal. M., 1994.

4. Ilyin, I.A. The path to obviousness / I.A. Ilyin. M., 1993.

5. Mudragei, N.S. Rational - irrational - philosophical problem (reading A. Schopenhauer) // Issues. philosophy. 1994. No. 9.

The artistic motivation of the character behavior in the Dostoevsky’s novel “Karamazov Brothers” in the aspect of the phenomenology of the rational and the emotional

The artistic phenomenology of the rational and the emotional and the motivation of the Dostoevsky's characters behavior are examined which as one of the few methodological ways gives us the opportunity to approach the analysis of the aesthetic phenomena of the novel Karamazov's Brothers with positions that corresponding with its inhomogeneous nature.

Key words: Dostoevsky, Karamazov’s Brothers, phenomenology, motivation.

T.V. YUNINA (Volzhsky)

MODEL OF PERSONAL SPACE-TIME AND COSMOLOGY IN A. BELY’S STORY “LETAEV’S CAT”

The theme of interaction between the cosmos of the emerging human soul and the larger Universe is revealed in A. Bely’s story “Kitten Letaev”. The main philosophical models of space-time embodied in the artistic world of the story are reflected.

Key words: cosmology, chronotope, space-time models: static, dynamic, relational, substantial, radical.

In “Kotik Letaev” the writer returns to the beginning of his own existence, and this time travel leads him to the beginning of the outside world. His “descent” into his personal “before-time” leads him to cosmological models of the early Universe, developed only in the middle of the 20th century. A. Bely characterizes the first moment of existence as “a mathematically precise feeling that you are both you and not you, but some kind of swelling into nowhere and nothingness.” At this moment there is “neither space nor time”, but there is “a state of tension of sensations; as if everything, everything, everything was expanding, expanding, suffocating and began to rush within itself like wing-horned clouds” (Ibid.: 27). The triple “all-all-all” represents the ultimate multiplication of objects, a kind of super-density and indistinguishability with which the child’s world begins. But, on the other hand, this accurately conveys the model of the expanding Universe, which arose from the explosion of a super-dense clump of matter, in which, indeed, “there was neither space nor time.” We have before us a radical concept of space-time, according to which the components are included in the structure of the objects themselves and, in the absence of these latter, they themselves do not exist. For a child, “nothing is inside: everything is outside.” Therefore, there is no time inside it. On the one hand, there is no consciousness yet, on the other -

But, unlike the clichés of opportunistic crafts, the “language” of the genre canons of the literature of the past evokes the joy of recognition, of meeting with the childhood of culture. This “language” includes a stable ensemble of characters bearing traditional (often “talking”) names. Already the list of characters gives rise to very specific expectations, ideas about the type of work, its conflict and characters, the denouement. For example, such heroes of the play as the braggart Helicopter, his uncle Prostodum, the rich noblewoman Chvankina and her daughter Milena, the adviser from the viceroy Cheston and his son Zamir, clearly promise a classic comedy (this is “The Braggart” by Ya.B. Knyazhnin).

Studying character systems in aspect historical poetics, their iconic™, very bright in some genres (commedia dell’arte, mystery, morality play, chivalric, pastoral, Gothic novels, hagiography, etc.), also prepares for a deeper perception of modern literature, which makes sophisticated and widespread use of the wealth accumulated by culture .

S.A. Martyanova CHARACTER BEHAVIOR

The author of a work of fiction draws the reader's attention not only to the essence of the character's actions, words, experiences, thoughts, but also to the manner of performing actions, i.e., to forms of behavior. Under the term character behavior is understood as the embodiment of his inner life in a set of external features: in gestures, facial expressions, manner of speaking, intonation, in body positions (postures), as well as in clothes and hairstyle (including cosmetics). A form of behavior is not just a set of external details of an action, but a certain unity, totality, integrity. Forms of behavior give a person’s inner being (attitudes, attitudes, experiences) clarity, definiteness, completeness. Thus, in the 3rd chapter of Pushkin’s “Eugene Onegin”, the peculiarities of Tatyana’s behavior (her letter to Onegin - the absence of any prudence, caution) are explained by the fact that the heroine “loves without art”, “not jokingly”. About Tatiana the “Princess” in the 8th chapter of “Eugene Onegin” it is said:

She was unhurried, Not cold, not talkative, Without an insolent look for everyone, Without pretensions to success.

And this “simple”, “quiet” manner of behaving embodies the heroine’s indifference to the “hateful tinsel of life”, to the “rags of a masquerade”, to the “glitter” of social life.

The term “forms of behavior” was borrowed from psychologists 1 . It is also actively used by historians and sociologists. Priority in the literary study of the term apparently belongs to G.O. Wine-kuru. The author of a detailed theoretical essay “Biography and Culture”, using a phrase similar in meaning ".style behavior,” wrote: “In style, personal life receives such a unique unity and individual integrity that no philosophical historical interpretation can pass by if it wants to be adequate” 2 . Among the pre-revolutionary works, one can name an essay by V.O. Klyuchevsky about “The Minor,” where the historian’s attention is focused precisely on the features of the external actions of Fonvizin’s heroes 3. Theoretically significant is the work of M.M. Bakhtin “The Author and the Hero in Aesthetic Activity”, most of which contains discussions about the “externalization” of the spiritual appearance of the character as the author’s “completion” of his hero. D.S.’s judgments are also important. Likha-cheva about etiquette behavior of heroes of ancient Russian literature 5 and articles by Yu.M. Lotman about theatricality behavior of Russian people in the 18th-19th centuries. 6. Thanks to these works, the concept of “forms of behavior” acquired its “civil rights” in literary criticism.

Forms of behavior are one of the essential aspects of a person’s life in primary reality. They express the human soul and serve as an important means of communication. AF. Losev wrote: “The body is the living face of the soul. By the manner of speaking, by the look of the eyes, by the folds on the forehead, by the holding of hands and feet, by the color of the skin, by the voice<„.>not to mention integral actions, I can always find out what kind of person is in front of me.” And in fiction, forms of behavior are invariably recreated, comprehended and evaluated by writers. They are (along with the spiritual core, forms of consciousness) the most important facet of the character as integrity and are part of peace works. The writers themselves have spoken more than once about this aspect of literary creativity. N.V. Gogol admitted in his “Author's Confession”: “I could guess a person only when I was presented with the smallest details of his appearance” 2 . The advice of A.P. is also significant. Chekhov to his brother Alexander: “It is best to avoid describing the mental states of the heroes: you need to try to make it clear from the actions of the heroes” 3. In this case, the hero’s personality is comprehended more holistically: the spiritual essence appears in a certain external guise.

Forms of behavior may have iconic character. To describe sign forms of behavior, we will use the classification of St. Augustine, who divided all signs into “natural” and “conventional.” According to the medieval thinker, “gestures, facial expressions, eyes, voice intonations, reflecting the human condition, desire-unwillingness, etc., constitute a “natural language common to all peoples,” which is acquired by children even before they learn to speak" 4 . For example, when a person covers his face with his hands, this involuntarily expresses his despair. But among a person’s gestural and facial movements there may also be conventional signs: forms of behavior, the semantic content of which is variable, depending on the agreement of people among themselves (saluting by the military, a pioneer tie for members of a pioneer organization, etc.).

It is possible to distinguish between types of sign forms of behavior according to another principle. The first type includes “emblem” signs, “password” signs, which clearly and concisely convey certain information about a person. Thus, the hero of J. Orwell’s dystopia “1984” Winstoy notices Julia’s “scarlet sash - the emblem of the Youth Anti-Sex Union.” The second type includes forms of behavior that have a broader meaning - signs by which a person’s belonging to a certain social circle or class is guessed. Such forms of behavior are, as a rule, the result of education and volitional training. About Eugene Onegin in the 1st chapter of Pushkin’s novel it is said:

He danced the mazurka easily and bowed at ease.

Based on these signs, secular society concluded “that he is smart and very nice.” The behavioral ideal of Nikolenka Irtenyev in “Youth” by L.N. Tolstoy is a man comme il faut. It is not surprising that university comrades who do not correspond to such an ideal (“dirty hands with bitten nails”, “curses that they affectionately addressed to each other”, “dirty room”, “Zukhin’s habit of constantly blowing his nose a little, pressing one nostril finger"), evoke hatred and even contempt in Nikolenka.

For one person, details of another person's behavior can become a clear sign without being such for their bearer. The researcher is right when he writes about one of the episodes of “Three Sisters” by A.P. Chekhov (Olga is dissatisfied with Natasha’s outfit - a pink dress with a green belt) like this: “The whole future clash of the sisters with Natalya - two worlds, two cultures - is given here at once, in this color conflict” 1. For some people, a certain type of behavior is natural, organically acquired, while for others it becomes a subject of reflection. Martin Eden, in J. London’s novel of the same name, recalls how Ruth tenderly kissed her mother: “In the world from which he came, such tenderness between parents and children was not the custom. For him, this served as a kind of revelation, proof of the sublimity of feelings that the upper classes had achieved.” In B. Shaw’s play “Pygmalion,” Eliza tells Pickering about the latent educational effect of the unconscious “little things” of the colonel’s behavior: “Well, that’s what you stood up talking to me, that you took off your hat to me, that you never were the first to go through the door.” These “little things” awakened her “self-respect.”

At the same time, the theory of signs in relation to the study of forms of behavior can be used with certain limitations. Firstly, forms of behavior can lead the recipient to comprehend life intentions, spiritual aspirations, single, instant impulses, but they can also hide something, being a mystery to others. Thus, Pierre Bezukhov in the novel “War and Peace” is mistaken when trying to understand the “expression of cold dignity” on Natasha’s face: “He did not know that Natasha’s soul was filled with despair, shame, humiliation and that it was not her fault that her face she was accidentally expressed by calm dignity and severity” (vol. 2, part 5, chapter XIX). Secondly, if a person’s behavior becomes entirely symbolic, deprived of its naturalness, spontaneity, openness, freedom, then this indicates a person’s vain dependence on others, excessive concern for his own reputation and the impression he makes. As Natasha Rostova says about Dolokhov: “He has everything planned, but I don’t like it” (vol. 2, part I, chapter X).

Forms of behavior are directly imprinted acting art(most multifaceted - in the drama theatre). In literature, they are widely mastered, but are depicted indirectly - through a “chain” of verbal designations. In this, literature is inferior to theater and other plastic arts, and at the same time (here its advantage) has the ability to capture the reactions of human consciousness to the “external man.” The concept of “forms of behavior” is applicable not only to characters, but also to lyrical heroes, and to storytellers. D.S. Likhachev proved the productivity of this approach by analyzing the messages of Ivan the Terrible: “The writings of Ivan the Terrible were an organic part of his behavior. He “behaved” in his messages exactly the same way as in life” 1 . From the literature of a time closer to us, we can recall Pushkin’s Belkin: the simplicity and clarity of the speech manner of the fictitious author of “Belkin’s Tales” turn out to be a sign of his openness, ingenuousness, and his pathos and edification are a manifestation of the narrowness of his personal and literary horizons 2 .

In forms of behavior, a person appears aesthetically to others. The expression of the internal in the external becomes a form of behavior when the behavioral traits of the hero are stable, correlated with the spiritual core of the personality and have characteristic. In this sense, they are not just components of the “meaningful form” of the work, one of the aspects of the level of substantive representation, but directly become the object of interpretation and evaluation. Forms of behavior for a writer, therefore, are not only a means of revealing the inner world of characters, but also a subject of comprehension and assessment of human reality. They are organically and deeply connected with behavioral attitudes and value orientations: with how a person wants to present himself and presents himself to others, how he feels himself and how he builds his appearance. The problem of forms of behavior becomes especially acute and relevant in post-traditionalist times, when a person has the opportunity to freely choose the type of action. At the same time, the forms of behavior are very heterogeneous: they are dictated by tradition, custom, ritual, or, on the contrary, they reveal the features of a particular person and his free initiative in the field of intonation and gestures. People, further, can behave at ease, feeling internally free, but they can, through an effort of will and reason, deliberately and artificially demonstrate one thing with words and movements, hiding something completely different in their souls: a person either trustingly reveals himself to those who is currently nearby, or restrains and controls the expression of his impulses and feelings. Behavior reveals playful lightness, often associated with cheerfulness and laughter, or, conversely, concentrated seriousness and concern. In some cases, the behavior is outwardly impressive and catchy (similar to what the “enlarged” movements and intonations of actors on stage are), in others it is unpretentious and everyday. The nature of movements, gestures, intonations largely depends on a person’s communicative attitude: on his intention and habit of monologically teaching others (the position of a preacher and speaker), or completely relying on someone’s authority (the position of an obedient student), or, finally, talk to those around you on the basis of equality. The attention of the reader and literary critic to the forms of behavior of the characters turns out to be especially important when the characters themselves are focused on their appearance, on the impression they make and on their own reputation. Often it is the forms of behavior that become for the hero an important means of achieving specific purpose or a means of masking a base essence. In particular, the novel says about Eugene Onegin: “How early he could be a hypocrite...” Pechorin notes coquetry: in a conversation with Princess Mary, the hero either takes on a “deeply touching look,” then jokes ironically, then pronounces a spectacular monologue about his readiness to love the whole world and the fatal misunderstanding by people, about one’s loneliness and suffering (one can also point to Grushnitsky’s thick soldier’s overcoat, which the hero wears “proudly”, to his manner of speaking “quickly and pretentiously”; to the “academic poses” of the dandies resting on the waters) . In “Dead Souls,” the author reports that he has nothing to say about the character of the provincial ladies, they are so absorbed in external secularism: “... as for how to behave, maintain tone, maintain etiquette, many of the most subtle decencies, and especially observing fashion in the very latest details, then in this they were ahead of even the ladies of St. Petersburg and Moscow.” The official Ivan Antonovich (“jug snout”) artistically subtly extorts a bribe with the help of “speaking” gestures and facial movements: first he “looked sideways,” then he “pretended not to hear anything,” then he answered “sternly.” Having heard the hint of a bribe, Ivan Antonovich spoke “more kindly”; having received the piece of paper, he “immediately covered it with a book.” A little later, Ivan Antonovich, “bowing politely,” “slowly” asked for more.

The forms of behavior of a literary character should be distinguished from individual components of his appearance, speech and gestures and facial expressions (portrait descriptions, descriptions of costume).

Portrait characteristics, as a rule, are one-time and exhaustive: when a character first appears on the pages of a work, his appearance is described so that there is no need to return to it. Behavioral characteristics are most often dispersed in the text, multiple and variable, because they state in the depicted person what is inescapably dynamic in him and is associated with internal and external changes. Traditionally this is called dynamics portrait, but essentially we're talking about about forms of behavior. During the first conversation with Pierre about the upcoming departure to war, the face of young Bolkonsky trembles with “nervous revival of every muscle.” When meeting Prince Andrei a few years later, Pierre is struck by his “extinguished gaze.” Bol-konsky looks completely different at the time of his infatuation with Natasha Rostova. And during a conversation with Pierre on the eve of the Borodino battle, there is an “unpleasant” expression on his face, Bolkonsky answers “evilly and mockingly.” During a meeting with Natasha, the seriously wounded Prince Andrei, “pressing her hand to his lips, began to cry quiet, joyful tears”; later the author describes the eyes glowing “towards her” and, finally, the “cold, stern look” before death.

Forms of behavior are often brought to the forefront of the work, appearing as a source of serious conflicts. Thus, in Shakespeare’s “King Lear,” Cordelia’s silence, “lack of tenderness in her eyes and flattery in her lips,” against the background of the eloquent declamations of Goneril and Regan about boundless love for their father, infuriate old Lear, which was the beginning of the tragedy. “Small”, unpretentious, unable to “present himself” Akaki Akakievich from “The Overcoat” N.V. Gogol is ridiculed by his colleagues; Later, the general (“a significant person”) spoke to Bashmachkin in a “short and firm voice” and drove him away, noticing the “humble look” and “old” uniform of his visitor. The reason for Netochka Nezvanova’s antipathy towards Pyotr Alexandrovich (“Netochka Nezvanova” by F.M. Dostoevsky) was a childhood memory of how the owner of the house, going to his wife, “seemed to change his face”: “Suddenly, as soon as he managed to look in the mirror, his face had completely changed. The smile disappeared as if on orders, and in its place some kind of bitter feeling... twisted his lips, some kind of convulsive pain forced wrinkles onto his forehead and squeezed his eyebrows. His gaze gloomily hid behind his glasses - in a word, in an instant, as if on command, he became a completely different person... After looking in the mirror for a minute, he lowered his head, hunched over, as he usually did before Alexandra Mikhailovna, and walked on tiptoe to her office." And at the end of the story we learn that the reason for such harsh treatment of Pyotr Alexandrovich with his wife was a kind of “tyranny”, the desire to “maintain primacy over her”, to prove his own sinlessness.

Conflict situations, the cause of which were forms of behavior, formed the basis for a number of comedic works, which reveal an exaggerated focus on the external aspects of life. Tartuffe in the comedy of the same name by Moliere, who managed to take on a “pious appearance” and breeds “flowery races,” grossly deceives the gullible Orgon and his mother. The plot of another comedy by Molière, “The Bourgeois in the Nobility,” is based on the claims of the narcissistic and ignorant Jourdain, his desire to master the art of social manners at all costs. Based on the peculiarities of Khlestakov’s actions in Gogol’s comedy “The Inspector General,” Bobchinsky and Dobninsky concluded that in front of them was an important metropolitan official: “He’s not bad-looking, in a particular dress, he walks around the room like that, and there’s a kind of reasoning in his face... physiognomy. .. actions”, and then - “he doesn’t pay money and doesn’t go. Who should it be if not him?” Grotesquely exaggerated ideas of officials about the lifestyle and behavior of the “capital little thing” helped the frivolous Khlestakov fool the mayor and his subordinates.

Literature depicts not only the behavior of an individual, but also the behavior of large groups people - participants in ceremonies, rituals, etc. Thus, Stendhal’s novel “The Red and the Black” (Chapter XVIII) describes the movement of the king’s honor guard and the admiration of the provincials for the “brilliant uniforms” of its participants. And later, having followed the king to the chapel, the main character of the novel, Julien Sorel, notices pretty girls from noble families who, bending their knees, enthusiastically watched the bishop. The scene made a deep impression on Julien: “This spectacle deprived our hero of the last vestiges of reason. At that moment, he would probably rush into battle for the Inquisition, and with all his heart.”

Thus, forms of behavior are an essential and one of the most ancient aspects of character portrayal. After all, the life position psychological features and forms of consciousness in their entirety began to be mastered by literature much later. By analyzing forms of behavior, we get the opportunity to understand the involvement of a work of a particular tradition in the history of culture, which ultimately enriches our “ historical memory» knowledge about your past. In particular, in the article by Yu.M. Lotman about “The Inspector General”, Khlestakov’s behavior is correlated with the traditions of the pre-Petrine and post-Slepetrine eras, and the conflictual nature of the meeting between old and young culture is revealed. All this made it possible to talk about “Khlestakovism” as a phenomenon that had deep cultural and historical roots 1 .

It is natural to see the prospect of studying forms of behavior in the creation of a typology of personality, refracted through artistic creativity. As an example, let us recall the judgments of M.M. Bakhtin about the adventurous man, whose type is so significant in literature different countries and peoples 2; A.I. Zhuravleva about the “hero in a tailcoat”, who played a significant role in the history of Russian literature: “Everyone strives to relate to him, although with a different attitude towards this model” 3. Let us also refer to the article by I.L. Almi about the behavioral structure of the “improvisational personality type”, similar in such seemingly various heroes, like Pushkin’s Pretender, Don Juan and Gogol’s Khlestakov: “...instantaneity of transformation, diversity, bordering on impersonality, lightness, echoing frivolity, unprincipledness and childish spontaneity, attractiveness of nature and the undoubted criminality of actions in the overall result” 4. In this case, it seems appropriate to use the concept of “literary role”. This is a set of stable external signs of a character, in the words of L.Ya. Ginzburg, “endowed with a certain style,” genre or directional (reasoner of classicism, romantic hero 5). Concept literary role akin to the category of role in theatrical creativity.

Society and verbal art, in particular, have a certain repertoire of forms of behavior. Literary scholars and non-professional readers need knowledge about the cultural background, cultural context that shapes the language of behavior of a particular era.

Literature invariably captures the cultural and historical specificity of forms of behavior. In the early stages of literature, as well as in the literature of the Middle Ages, predominantly ritual behavior prescribed by custom was depicted. It, as noted by D.S. Likhachev, speaking about ancient Russian literature, answered a certain etiquette, the texts reflected mainly ideas about “how the character should have behaved in accordance with his position” - in accordance with some traditional norm 6. Turning to “Reading about the life and death of Boris and Gleb,” the scientist shows that the heroes behave as “long-taught” and “well-educated.”

Something similar is found in ancient epics, fairy tales, and knightly novels. Even that area human existence, which we now call private life, appeared as strictly ritualized. These are the words Hecuba addresses in the Iliad to his son Hector, who briefly left the battlefields and came to his home:

(SongVI. Per. EZh Gnedich)

And in the same tone, Hector answers why he does not dare to pour wine to Zeus “with an unwashed hand.”

At the same time, in the hagiographic literature of the Middle Ages, “formless” behavior was recreated. The “Life of St. Theodosius of Pechersk” tells how the saint in childhood, despite his mother’s prohibitions and even beatings, “shunned his peers, wore shabby clothes, worked in the fields with stinkers.” Having become a monk, Theodosius “imperceptibly ground the measures of grain allocated to each person for grinding.” The Monk Demetrius (“The Life and Spiritual Deeds of our Rev. Father Demetrius, the Vologda Wonderworker”), who had a beautiful face, “had... the custom not only when talking, but also on the street, to always cover his face with a doll.” The farmer, who came to see the “holy man Sergius” (“The Life of our Venerable and God-bearing Father, Abbot Sergius, the Wonderworker”), did not recognize him in the beggar worker: “I see nothing in the one you pointed out, no honor.” , no greatness, no glory, no beautiful, expensive clothes<...>no hasty servants<...>but everything is torn, everything is poor, everything is orphan.” And later it is told how the Monk Sergius refused to accept expensive gifts from the Metropolitan and renounced the bishopric.

The saints and the authors of hagiographic texts about them rely on the Gospel image of Christ (“inconspicuous”, “despicable”), the apostolic epistles and patristic literature. According to one of the apologists, “virtue, in order to have nothing in common with vice, renounces external beauty. Vice tries in every possible way to strengthen this form of disguise” 1. And “a loud voice, rude speech, an obstinate answer with bitterness, a proud and agile gait, uncontrollable talkativeness” appear in the “Philokalia” as signs of a proud person - the antipode of Christian holiness.

Completely different behavioral orientations and forms dominate in the low genres of antiquity and the Middle Ages. In comedies, farces, and short stories, there is an atmosphere of free jokes and games, squabbles and fights, absolute freedom of speech and gesture, which, as M.M. showed. Bakhtin in his book about F. Rabelais, at the same time, retain some ritual obligation inherent in traditional mass celebrations (carnivals). Here is a small (and most “decent”) part of the list of “carnival habits” of Gargantua in childhood: “Always rolled around in the mud, got his nose dirty, smeared his face,” “wiped his nose with his sleeve, blew his nose in the soup,” “bite when he laughed, laughed, when he bit, he often spat into the well,” “he tickled himself under the arms.” The threads to similar motifs of “Gargantua and Pantagruel” come primarily from Aristophanes, whose comedies are “an example of popular, liberating, brilliant, violent and life-giving laughter” 2.

The Renaissance was marked by an intensive enrichment of forms of behavior both in general cultural reality and in literary works. Society’s attention to the “outer man” has become much greater: “Interest in the aesthetic side of an act outside of its moral assessment has increased, because the criterion of morality has become more diverse since individualism undermined the exclusivity of the old ethical code,” noted A.N. . Veselovsky, looking at the “Decameron” by G. Boccaccio 3. The time has come for intensive renewal, free choice and independent creation of forms of behavior. This cultural and historical trend took place both during the Renaissance, when the etiquette of free mental conversation was developed, 4 and during the era of classicism, which brought to the forefront the behavior of a moralist-reasoner, champion and preacher of civic virtues.

In Russia, the time of radical renewal of forms of behavior was the 18th century, which passed under the sign of the reforms of Peter I, the secularization of social life and the hasty Europeanization of the country with its achievements and costs 5 . A significant characteristic of V.O. Klyunevsky goodies comedy by D.I. Fonvizin “The Minor”: “They appeared as walking, but still lifeless, schemes of morality, which they put on themselves like a mask. Time, effort and experience were needed to awaken life in these still dead cultural preparations, so that this moralistic mask would have time to grow into their dull faces and become their living moral physiognomy” 1 .

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Ministry of Culture of the Russian Federation

Federal State Budgetary Educational Institution of Higher Professional Education

MOSCOW STATE INSTITUTE OF CULTURE (MGIC)

Institute of Media Communications and Audiovisual Arts

Specialties "Literary Creativity"

Department of Journalism

COURSE WORK

In the discipline "Prose"

On the topic: “Character behavior patterns”

Completed by: 1st year student

Groups 129O

Safronova Yana Vladimirovna

Checked:

Elkina Marina...

Moscow-2016

Introduction

1. Forms of behavior of characters in epic works

2. Forms of behavior of characters in a dramatic work

3. The relationship between the portrait and the character’s behavior

Conclusion

List of used literature

INTRODUCTION

When a young writer sits down to write his first book, he is faced with a lot of questions: who to write about? How to write? How to make it look natural? And these are just a few of them. However, not only young writers, but also masters face problems of this kind.

I will focus on the last question, since in my opinion it is most difficult for an author to ensure that life blooms wildly on the pages of his novel or story. This can be influenced by many factors, such as: the behavior of the characters, a reliably depicted landscape (for realistic works), as well as a clear understanding of time and space. The first is one of the most important and difficult, because human personality has been studied for hundreds of years, and no one has yet been able to fully penetrate all the nooks and crannies of the human soul.

The purpose of this course work is to analyze the form of behavior of characters in literary works.

To achieve this goal, it is necessary to solve a number of problems:

· Consider how the semiotic nature of behavior influences the artistic world of the work

· Characterize the cultural and historical specifics of forms of behavior

· Explore the connection between the portrait and the behavior of the characters

Object The research of this course work is classical world literature, subject- literary characters of classical world literature.

1. FORMS OF BEHAVIOR OF CHARACTERS IN EPIC WORKS

Forms of human behavior (and a literary character, in particular) are a set of movements and postures, gestures and facial expressions, spoken words with their intonations. They are dynamic in nature and undergo endless changes depending on the situations of the moment. At the same time, these fluid forms are based on a stable, stable reality, which can rightfully be called a behavioral attitude or orientation. “By the manner of speaking,” wrote A.F. Losev, - by the look of the eyes<…>holding hands and feet<…>by voice<… >not to mention integral actions, I can always find out what kind of person is in front of me<…>Watching<…>man's facial expression<…>you definitely see something internal here.” The writers themselves have spoken more than once about this side of literary creativity. N.V. Gogol admitted in his “Author’s Confession”: “I could guess a person only when the smallest details of his appearance were presented to me.” The advice of A.P. is also significant. Chekhov to his brother Alexander: “It is best to avoid describing the mental states of the heroes: you need to try to make it clear from the actions of the heroes.” In this case, the hero’s personality is comprehended more holistically: the spiritual essence appears in a certain external guise.

Forms of human behavior constitute one of the necessary conditions for interpersonal communication. They are very heterogeneous. In some cases, behavior is dictated by tradition, custom, ritual, in others, on the contrary, it clearly reveals the features of this particular person and his free initiative in the field of intonation and gestures. People, further, can behave at ease, feeling internally free and true to themselves, but they are also capable, through an effort of will and reason, of deliberately and artificially demonstrating with words and movements one thing, while hiding something completely different in their soul: a person either trustingly opens himself to something who is nearby at the moment, either restrains and controls the expression of their impulses and feelings, or even hides them under some kind of mask. Behavior reveals either a playful lightness, often associated with cheerfulness and laughter, or, conversely, concentrated seriousness and concern. The nature of movements, gestures, intonations largely depends on a person’s communicative attitude: on his intention and habit either to teach others (the posture and tone of a prophet, preacher, orator), or, on the contrary, to rely entirely on someone’s authority (the position of an obedient student), or, finally, talk with others on the basis of equality. And the very last thing: behavior in some cases is outwardly impressive, catchy and reminiscent of the “enlarged” movements and intonations of actors on stage, in others it is unpretentious and everyday. Society and, in particular, verbal art, thus, have a certain repertoire, it is legitimate to say even the language of forms of behavior.

Forms of behavior may have iconic character. To describe sign forms of behavior, we will use the classification of St. Augustine, who divided all signs into “natural” and “conventional.” According to the medieval thinker, “gestures, facial expressions, eyes, voice intonations, reflecting the human condition, desire-reluctance, etc., constitute a “natural language common to all peoples,” which is acquired by children even before they learn to speak " For example, when a person covers his face with his hands, this involuntarily expresses his despair. But among a person’s gestural and facial movements there may also be conventional signs: forms of behavior, the semantic content of which is variable, depending on the agreement of people among themselves (saluting by the military, a pioneer tie for members of a pioneer organization, etc.). Thus, they are purely conditional and dictated by a particular situation.

At the same time, human behavior invariably goes beyond the narrow boundaries of conventional symbolism. Almost the center of the “behavioral sphere” is made up of organically and unintentionally appearing intonations, gestures and facial expressions that are not predetermined by any attitudes and social norms. These are natural signs (symptoms) emotional experiences and states. They are natural and do not lend themselves to any systematization. “Having my face, I begged God” in the poem by A.A. Akhmatova is an involuntary and easily recognizable gesture of confusion and despair by every person. Or, from Pasternak: “I will throw myself on the ground at the feet of the crucifix, I will faint and bite my lips.”

Free from convention, behavior outside the framework of signs does not always turn out to be an obvious self-disclosure of a person. Thus, Tolstoy’s Pierre Bezukhov is mistaken in believing that the “expression of cold dignity” on Natasha Rostova’s face after breaking up with Volkonsky is consistent with her mood: “he did not know that Natasha’s soul was filled with despair, shame, humiliation and that she was not to blame the fact that her face involuntarily expressed calm dignity and severity” (Vol. 2. Part 1. Chapter X).

Forms of behavior are recreated, comprehended and evaluated by writers actively, constituting no less important facet of the world of a literary work than the portraits themselves. These two sides of the character’s artistic appearance as an external person steadily interact.

At the same time, portrait and “behavioral” characteristics find different embodiments in the works. The first ones, as a rule, are one-time and exhaustive: when a character appears on the pages of a work, the author describes his appearance so as not to return to it. Behavioral characteristics are usually dispersed in the text, multiple and variable. They detect internal and external changes in a person's life. For example, “Anna Karenina” by Leo Tolstoy. “And from this one look from her involuntarily shining eyes, Levin understood that she loved this man, he understood as surely as if she had told him this in words” - Levin can sense the shade of the relationship from her gaze. And in the very next scene: “Kitty looked at his face, which was at such a close distance from her, and long later, several years later, that look, full of love, with which she then looked at him and to which he did not answer her, pierced her heart with painful shame.” Lev Nikolaevich generally pays a lot of attention to his gaze and eyes. By the characteristics of the eyes and their changing expression, we can understand the mood of the hero, his internal experiences, the attitude of the author himself towards him, etc.

Forms of behavior often appear as the center of the entire work, and sometimes appear as a source of serious conflicts. In the novel “Generals of the Sand Quarries” by Jorge Amado, the silence and obedience of one of the main characters, Legless, became the reason that the virtuous lady practically adopted him, deceived by the quiet and modest behavior of the young bandit. Here we can also recall the hero of Guy de Maupassant’s novel “Dear Ami”, Georges Duroy, who set himself a goal: to get into high society with the help of courtesy and courtesy.

Literature invariably captures the cultural and historical specificity of forms of behavior. In the early stages of literature, as well as in the literature of the Middle Ages, ritual behavior predetermined by custom was primarily recreated. It, as noted by D.S. Likhachev, speaking about ancient Russian literature, responded to a certain etiquette: the texts reflected ideas about “how the character should have behaved in accordance with his position” - in accordance with the traditional norm. Clear regulation is a distinctive feature of the Middle Ages in general, but this was most clearly reflected in literature. Turning to “Reading about the life and death of Boris and Gleb,” the scientist shows that the heroes behave as “long-taught” and “well-bred.” We can recall “The Tale of Woe and Misfortune,” where the entire conflict of the work is based on the fact that the main character violated the generally accepted norm of behavior - he stopped respecting his parents and listening to their orders.

Something similar is found in ancient epics, fairy tales, and chivalric novels. Even that area of human existence that we now call private life was presented as ritualized and spectacular in a theatrical way. These are the words Hecuba addresses in the Iliad to his son Hector, who briefly left the battlefields and came to his home:

“Why are you, O my son, coming, leaving a fierce battle? Is it true that the hated men of the Achaeans are cruelly pressing, Rathuya is close to the walls? And your heart directed towards us: Do you want to raise your hands to the Olympian from the Trojan castle? But wait, my Hector, I will bring the cup of wine to the father Zeus and other eternal deities. Afterwards, when you wish to drink, you yourself will be strengthened; For a husband exhausted by work, wine renews his strength; But you, my son, are weary, struggling for your citizens.”

And Hector answers even more extensively, saying why he does not dare to pour wine to Zeus “with an unwashed hand.”

Let us also recall one of the episodes of Homer's Odyssey. Having blinded Polyphemus, Odysseus, risking his life, turns to the angry Cyclops with a proud, theatrically impressive speech, tells him his name and tells him about his fate.

In the hagiographic literature of the Middle Ages, on the contrary, behavior that was outwardly “formless” was recreated. The Life of St. Theodosius of Pechersk tells how the saint in childhood, despite his mother’s prohibitions and even beatings, “shunned his peers, wore shabby clothes, worked in the field with the stinkers.” The farmer (“The Life of our Reverend and God-Bearing Father, Abbot Sergius, the Wonderworker”), who came to see the “holy man Sergius,” did not recognize him in the poor worker: “I see nothing on the one you pointed out - neither honor nor greatness , no fame, no beautiful expensive clothes<…>no hasty servants<…>but everything is torn, everything is poor, everything is orphaned.” The saints (as well as the authors of hagiographic texts about them) rely on the Gospel image of Christ, as well as on the apostolic epistles and patristic literature. “A particular issue of “thin vestments,” rightly notes V.N. Toporov, is an important sign of a certain holistic position and life behavior corresponding to it<…>this position is essentially ascetic<…>choosing her, he (St. Theodosius of Pechersk. - S.M.) constantly had before his spiritual gaze a living image of the humiliation of Christ.”

Completely different behavioral orientations and forms dominate in the low genres of antiquity and the Middle Ages. In comedies, farces, and short stories, an atmosphere of free jokes and games, squabbles and fights, and absolute looseness of speech and gesture reigns, which, as M.M. Bakhtin in his book about F. Rabelais, at the same time retain some ritual obligation inherent in traditional mass celebrations (carnivals). Here is a small (and most “decent”) part of the list of “carnival habits” of Gargantua in childhood: “Always rolled around in the mud, got his nose dirty, smeared his face,” “wiped his nose with his sleeve, blew his nose in the soup,” “bite when he laughed, laughed, when he bit, he often spat into the well,” “he tickled himself under the arms.” Similar motifs in Rabelais’ stories are traced back to Aristophanes, whose comedies provided “a model of popular, liberating, brilliant, violent and life-giving laughter.”

New times have been marked by an intensive enrichment of forms of behavior both in general cultural reality and in literary works. Attention to the “outer man” has increased: “Interest in the aesthetic side of an act outside of its moral assessment has increased, for the criterion of morality has become more diverse since individualism undermined the exclusivity of the old ethical code,” noted A. N. Veselovsky, considering “The Decameron "G. Boccaccio." The time has come for intensive renewal, free choice and independent creation of forms of behavior. This took place both during the Renaissance, when the etiquette of free mental conversation was developed, and in the era of classicism, which brought to the forefront the behavior of a moralist-reasoner, champion and preacher of civil virtues.

The time of radical renewal of forms of behavior in Russian society is the 18th century, which passed under the sign of the reforms of Peter I, the secularization of society and the hasty Europeanization of the country with its achievements and costs. A significant characteristic of V.O. Klyuchevsky positive heroes of the comedy D.I. Fonvizin’s “Minor”: “They appeared as walking, but still lifeless, schemes of morality, which they put on themselves like a mask. Time, effort and experience were needed to awaken life in these still dead cultural preparations, so that this moralistic mask had time to grow into their dull faces and become their living moral physiognomy.”

Peculiar behavioral forms developed in line with sentimentalism, both Western European and Russian. The declaration of fidelity to the laws of one’s own heart and the “canon of sensitivity” gave rise to melancholy sighs and copious tears, which often turned into exaltation and affectation (which A.S. Pushkin ironized about), as well as poses of eternal sadness (remember Julie Karagina in “War and Peace”) .

More than ever before, man's free choice of forms of behavior became active in the era of romanticism. Many literary heroes Nowadays they are guided by certain behavioral patterns, life and literary. The words about Tatyana Larina are significant, who, thinking about Onegin, imagined herself as the heroine of the novels she read: “Clarice, Julia, Dolphin.” Let's remember Pushkin's Hermann ("The Queen of Spades") in the pose of Napoleon, Pechorin with his Byronic coquetry (talking with Princess Mary, the hero of Lermontov's novel either takes on a "deeply touching look", then jokes ironically, then pronounces a spectacular monologue about his readiness to love the whole world and about the fatal misunderstanding by people, about their lonely suffering).

Similar “behavioral” motives were heard in Stendhal’s novel “The Red and the Black.” To win a high position in society, Julien Sorel first acts as a pious young man, and later, inspired by the example of Napoleon, takes the pose of “the conqueror of women’s hearts,” “a man accustomed to being irresistible in the eyes of women,” and plays this role in front of Madame de Renal. “He looks like this,” one of the heroines of the novel will say about him, “as if he were thinking everything over and wouldn’t take a step without calculating it in advance.” The author notes that, posing and showing off, Julien, under the influence of those around him and their advice, “made incredible efforts to spoil everything that was attractive about him.”

In the first half of the 19th century. Many characters appeared, similar to Lermontov’s Grushnitsky and Gogol’s Khlestakov, whose appearance was “built” in accordance with fashionable stereotypes. In such cases, according to Yu.M. Lotman, “behavior does not flow from the organic needs of the personality and does not form an inextricable whole with it, but is “chosen” like a role or costume, and, as it were, “put on” the personality.” The scientist noted: “The heroes of Byron and Pushkin, Marlinsky and Lermontov gave rise to a whole phalanx of imitators<…>who adopted gestures, facial expressions, and behavior patterns of literary characters<…>In the case of romanticism, reality itself hastened to imitate literature.”

Widespread at the beginning of the 19th century. gaming, “literary”, “theatrical” behavior, associated with all kinds of spectacular poses and masks, Yu.M. Lotman explained that the mass psychology of this era was characterized by “belief in one’s own destiny, the idea that the world is full of great people.” At the same time, he emphasized that “behavioral masquerades” as a counterweight to traditional, “routine” (as the scientist put it) behavior had positive meaning and were favorable for personality development and enrichment public consciousness: “... the approach to one’s behavior as consciously created according to the laws and patterns of high texts” marked the emergence of a new “model of behavior”, which, “transforming a person into an actor, freed him from the automatic power of group behavior and custom.”

Various kinds of artificiality, “made-up” forms of behavior, deliberate posture and gesture, facial expressions and intonations, which were critically illuminated already at the time of romanticism, began in subsequent eras to evoke a harsh and certainly negative attitude from writers. Let's remember Tolstoy's Napoleon in front of the portrait of his son: having thought about how he should behave at this moment, the commander “made an appearance of thoughtful tenderness,” after which (!) “his eyes became moist.” The actor, therefore, managed to penetrate the spirit of the role. In the constancy and equality of intonations and facial expressions of L.N. Tolstoy sees symptoms of artificiality and falsehood, posturing and lies. Berg always spoke precisely and politely; Anna Mikhailovna Drubetskaya never lost her “concerned and at the same time Christian-meek look”; Helen is endowed with a “uniformly beautiful smile”; Boris Drubetsky's eyes were "calmly and firmly covered with something, as if some kind of screen - blue dormitory glasses - were put on them." Natasha Rostova’s words about Dolokhov are also significant: “He has everything planned, but I don’t like it.”

F.M. is tirelessly attentive and, one might say, intolerant of any kind of acting and ambitious falsehood. Dostoevsky. The participants in the secret meeting in “Demons” “suspected each other and assumed different postures in front of each other.” Pyotr Verkhovensky, going to a meeting with Shagov, “tried to transform his dissatisfied appearance into a gentle physiognomy.” And later he advises: “Compose your physiognomy, Stavrogin; I always write when I visit them (members of the revolutionary circle - S.M.). More gloom, that’s all, nothing more is needed; a very simple thing." Dostoevsky very persistently reveals the gestures and intonations of people who are painfully proud and insecure, trying in vain to play some impressive role. So, Lebyadkin, getting acquainted with Varvara Petrovna Stavrogina, “stopped, looking blankly ahead, but, however, turned around and sat down in the indicated place, right at the door. Strong self-doubt, and at the same time arrogance and some kind of continuous irritability, was reflected in the expression of his face. He was a terrible coward<…>apparently afraid for every movement of his clumsy body<…>The captain froze in his chair with his hat and gloves in his hands and without taking his meaningless gaze off Varvara Petrovna’s stern face. He might have wanted to look around carefully, but he hasn’t dared yet.” In such episodes, Dostoevsky artistically comprehends the pattern of human psychology, which was characterized much later by M.M. Bakhtin: "Man<…>painfully valuable to the external impression he makes, but not confident in it, proud, loses the right<…>attitude towards one’s body, becomes clumsy, does not know where to place his arms and legs; this happens because<…>the context of his self-awareness is confused by the context of the other’s consciousness of him.”

Post-Pushkin literature was very critical of behavior that was constrained, unfree, and “case-based” (let’s use the vocabulary of A.P. Chekhov). Let us remember the cautious and fearful Belikov (“The Man in a Case”) and the serious, alienated Lydia Volchaninova (“House with a Mezzanine”). Writers did not accept the opposite extreme: people’s inability to be restrained (like Gogol’s Khlestakov) and the excessive “openness” of their impulses and impulses, fraught with all sorts of scandals. These are precisely the forms of behavior of Nastasya Filippovna and Ippolit in the novel by F.M. Dostoevsky’s “The Idiot” or the egoist and cynic Fyodor Pavlovich Karamazov with his “disinterested” buffoonery, which became his second nature.

In the literature of the 19th century. (both in the era of romanticism and later) behavior was persistently recreated and poeticized, free from any masks and acting poses, from pretense, deliberateness, artificiality and at the same time full of spirituality. In this regard, it is appropriate to name the heroine of the novel E.T.A. Hoffmann’s “Little Tsakhes, nicknamed Zinnober”: Candida differs from mannered, sublime girls by “gaiety and ease,” which do not deprive her of the ability to feel deeply. Among the cutesy Spanish ladies, Imali stands out sharply - the heroine of the popular novel in Russia by C.R. Methurina "Melmoth the Wanderer"; The girl is characterized by liveliness, natural grace, “amazing spontaneity and directness, which were reflected in her every look and movement.” Let us also remember the heroes of A.S. Pushkin: Mironovs and Grinevs in " The captain's daughter”, Tatiana, the eighth chapter of “Eugene Onegin” (“Without pretensions to success, / Without these little antics, / Without imitative undertakings / Everything is quiet, it was just in her”), Mozart in one of the small tragedies. The great composer appeared here as an everyday figure, embodying the poetry of artless simplicity, artistic lightness and grace, the ability to experience the deepest emotions and cheerful spontaneity. Pushkin's Mozart is ready to respond vividly to everything that surrounds him at every single moment.

Perhaps, behavior (primarily gestural and facial expressions) is captured and poeticized in “War and Peace” by L.N. more vividly and multifacetedly than anywhere else. Tolstoy, whose attention “focuses on what is mobile in a person, instantly appearing and disappearing: voice, gaze, facial bend, volatile changes in body lines.” “His words and actions poured out of him as evenly, directly necessary, as the smell is separated from a flower” - this thought of the narrator about Platon Karataev can easily be applied to many other heroes of the novel. “He played no role” is said about Kutuzov. Here is an image of the review of troops near Austerlitz: “Kutuzov smiled slightly, while stepping heavily, he lowered his foot from the step, as if these two thousand people who were looking at him without breathing were not there.” Pierre, open-hearted to each and everyone, completely indifferent to the impression he makes. At the St. Petersburg ball he moves “just as casually<…>as if he were walking through the crowd of a bazaar.” And here is a description of that meeting between Princess Marya and Rostov, which ended with their rapprochement: “At the first glance at Nicholas’s face, she saw that he had come only to fulfill the duty of courtesy, and decided to firmly adhere to the very tone in which he addressed To her". But the princess was unable to remain faithful to her chosen position: “At the very last minute, while he stood up, she was so tired of talking about what she didn’t care about<…>that in a fit of absent-mindedness, with her radiant eyes directed ahead of her, she sat motionless, not noticing that he had risen.” The result of this absent-mindedness, the inability to implement one’s own attitude, was Nikolai’s explanation with her, which brought happiness to both.

Unsophisticatedly simple behavior, free from both ritual predestination and life-creative postures in the spirit of romanticism, was recognized and portrayed as a certain norm not only by L.N. Tolstoy, but also many other writers of the 19th-20th centuries. The unintentionality and naturalness of the statements and gestures of the characters in post-Pushkin literature did not lead to the formation of a new behavioral stereotype (unlike what happened with the sentimentalistic melancholy and theatrical spectacle of romanticism): heroes, free from rational attitudes and programs, manifest themselves in a new way every time, presenting themselves as bright individuals, be it Prince Myshkin in F.M. Dostoevsky, the Prozorov sisters at AP. Chekhova, Olya Meshcherskaya in “Easy Breathing” by I.A. Bunin or Nastena in the story by V.G. Rasputin "Live and Remember".

Turn of the XIX-XX centuries. and the first decades of our century were marked by a new ferment in the behavioral sphere, which made itself felt primarily in literary life. According to Yu.M. Lotman, “in the biographies of the Symbolists, “life-building”, “one-man theater”, “theater of life” and other cultural phenomena” the “poetics of behavior” in the spirit of romanticism is resurrected. This is evidenced by the mystical-prophetic aspiration of the younger symbolists, and the irony over it in Blok’s “Showcase,” and the poet’s later call to cover his face with an “iron mask” (“You say that I am cold, withdrawn and dry ...”, 1916), and the “masquerade” beginning at the Sun Theater. E. Meyerhold, and the majestic roles of the saviors of humanity in the early works of M. Gorky (Danko in the story “Old Woman Izergil”) and V. Mayakovsky (tragedy “Vladimir Mayakovsky”). Poets of the beginning of the century, noted B. Pasternak in his “Safety Certificate,” often struck poses, creating themselves, and the “spectacular understanding of biography” over time began to smell of blood. In Akhmatova’s “Poem without a Hero,” the symbolist and near-symbolist environment of the pre-revolutionary years appeared in the form of a tragic masquerade: in the world of “eloquent speakers and false prophets” and “masquerade chatter,” careless, spicy, shameless, the form of behavior is a character portrait

And he's furious and doesn't want to

Recognize yourself as a person.

“Since childhood, I have been afraid of mummers” - these words from A. Akhmatova’s poem testify to her internal alienation from the salon-circle atmosphere of the beginning of the century and the involvement of that behavioral orientation that was previously so clearly expressed in the works of Pushkin, Tolstoy and other classic writers XIX century

You put love on violins.

Love lays rough on the timpani.

But you can’t turn yourself out like me,

so that there are only continuous lips!

Come learn -

from the living room cambric,

a decorous official of the angelic league.

And who calmly turns her lips,

like a cook the pages of a cookbook.

I'll be crazy about meat

And, like the sky, changing tones -

I will be impeccably gentle,

not a man, but a cloud in his pants!”

in these lines of the poem “A Cloud in Pants” by V. Mayakovsky there are also some signs of alienation, a challenge to the public, condemnation of a “ceremonious official”.

The images of “positive heroes” of Soviet literature are also not alien to the poetics of life-building (“Chapaev” by D.A. Furmanov, “Iron Stream” by A.S. Serafimovich, “How the Steel Was Tempered” by N.A. Ostrovsky). However, in the literature Soviet period(as well as in the works of Russian writers abroad) the “Pushkin-Tolstov” behavioral tradition remained intact. The words and movements of the characters in I.S.’s prose are marked with noble artlessness. Shmeleva and B.K. Zaitsev, “The White Guard” and “Days of the Turbins” by M.A. Bulgakov, works by M.M. Prishvin and B.L. Prishvin, creators of “village prose”.

In the 21st century, in an era when postmodernism goes hand in hand with “new Russian realism,” the forms of behavior of the characters began to play almost a decisive role. Sometimes writers do not build their works on the action itself, but on the shades and halftones of the attitude towards this or that action. For example, we can take the novel “Sankya” by Zakhar Prilepin, where the character of the hero is written with minimal use of a portrait, but maximum attention is paid to Sanka’s impetuous and harsh behavior, sometimes far-fetched, which he tries on himself in order to join the cruel environment of the National Bolsheviks party.

2. FORMS OF BEHAVIOR OF CHARACTERS IN A DRAMATIC WORK

Characters in drama reveal themselves in behavior (primarily in spoken words) more clearly than characters in epic works. And this is natural. Firstly, the dramatic form encourages the characters to “talk a lot.” Secondly, the words of the characters in the drama are oriented towards the wide space of the stage and auditorium, so that the speech is perceived as addressed directly to the audience and potentially loud. “The theater requires... exaggerated broad lines both in voice, recitation, and in gestures” (98, 679), wrote N. Boileau. And D. Diderot noted that “you cannot be a playwright without having eloquence” (52, 604). The behavior of the characters in the drama is marked by activity, flashiness, and effectiveness. It is, in other words, theatrical. Theatricality is speech and gestures carried out with the expectation of a public, mass effect. It is the antipode of the intimacy and inexpressiveness of the forms of action. Behavior filled with theatricality becomes the most important subject of depiction in drama. Dramatic action often involves the active participation of a wide range of people. Such are many scenes of Shakespeare’s plays (especially the final ones), the climax of Gogol’s “The Inspector General” and Ostrovsky’s “The Thunderstorm,” and the pivotal episodes of Vishnevsky’s “Optimistic Tragedy.” The viewer is especially strongly influenced by episodes where there is an audience on stage: depictions of meetings, rallies, mass performances, etc. Leave vivid impression and stage episodes showing few people if their behavior is open, not inhibited, and effective. “Like he acted out in the theater,” comments Bubnov (“At the Lower Depths” by Gorky) on the frenzied tirade of the desperate Kleshch about the truth, which, with an unexpected and sharp intrusion into the general conversation, gave it a truly theatrical character. At the same time, playwrights (especially supporters of realistic art) feel the need to go beyond theatricality: to recreate human behavior in all its richness and diversity, capturing private, domestic, intimate life, where people express themselves in word and gesture sparingly and unpretentiously. At the same time, the speech of the characters, which according to the logic of what is being depicted should not be spectacular and bright, is presented in dramas and performances as lengthy, full-voiced, and hyperbolically expressive. This reflects a certain limitation of the possibilities of drama: playwrights (like actors on stage) are forced to elevate the “non-theatrical in life” to the rank of “theatrical in art.” In a broad sense, any work of art is conditional, that is, it is not identical to real life. At the same time, the term convention (in the narrow sense) denotes ways of reproducing life, in which the inconsistency and even the contrast between the forms depicted and the forms of reality itself are emphasized. In this respect, artistic conventions are opposed to “plausibility” or “life-likeness”. “Everything should be essentially vital, not necessarily everything should be life-like,” wrote Fadeev. “Among many forms there may also be a conditional form” (96, 662) (i.e. “non-life-like.” - V. X.). In dramatic works, where the behavior of the characters is theatricalized, conventions are especially widely used. The inevitable departure of drama from life-likeness has been spoken about more than once. Thus, Pushkin argued that “of all types of works, the most implausible works are dramatic ones” (79, 266), and Zola called drama and theater “the citadel of everything conventional” (61, 350). Characters in dramas often speak out not because they need it in the course of the action, but because the author needs to explain something to readers and viewers, to make a certain impression on them. Thus, additional characters are sometimes introduced into dramatic works, who either themselves narrate what is not shown on stage (messengers in ancient plays), or, becoming interlocutors of the main characters, encourage them to talk about what happened (choirs and their luminaries in ancient tragedies ; confidantes and servants in the comedies of antiquity, the Renaissance, and classicism).

In so-called epic dramas, actor-characters from time to time address the audience, “step out of character” and, as if from the outside, report on what is happening. A tribute to convention is, further, the saturation of speech in drama with maxims, aphorisms, and reasoning about what is happening. The monologues pronounced by the heroes alone are also conventional. Such monologues are not actual speech acts, but a purely stage technique of bringing internal speech out into the open; There are many of them both in ancient tragedies and in the drama of modern times. Even more conventional are the “to the side” lines, which seem to not exist for the other characters on stage, but are clearly audible to the audience. It would be wrong, of course, to “assign” theatrical hyperbole to the dramatic genre of literature alone. Similar phenomena are characteristic of classical epics and adventure novels, but if we talk about the classics of the 19th century. - for the works of Dostoevsky. However, it is in drama that the convention of verbal self-disclosure of characters becomes the leading artistic trend. The author of the drama, setting up a kind of experiment, shows how a person would speak if in the spoken words he expressed his moods with maximum completeness and brightness. Naturally, dramatic dialogues and monologues turn out to be much more extensive and effective than those remarks that could be uttered in a similar situation in life. As a result, speech in drama often takes on similarities with artistic, lyrical or oratorical speech: the heroes of dramatic works tend to speak like improvisers - poets or sophisticated speakers. Therefore, Hegel was partly right when he viewed drama as a synthesis of the epic principle (eventfulness) and the lyrical principle (speech expression). From antiquity to the era of romanticism - from Aeschylus and Sophocles to Schiller and Hugo - dramatic works in the overwhelming majority of cases gravitated toward dramatic and demonstrative theatricalization. JI. Tolstoy reproached Shakespeare for the abundance of hyperbole, which allegedly “violates the possibility of artistic impression.” From the very first words,” he wrote about the tragedy “King Lear,” “exaggeration is visible: exaggeration of events, exaggeration of feelings and exaggeration of expressions” (89, 252). In his assessment of Shakespeare's work, L. Tolstoy was wrong, but the idea that the great English playwright was committed to theatrical hyperbole is completely fair. What has been said about “King Lear” can be applied with no less justification to ancient comedies and tragedies, dramatic works of classicism, Schiller’s tragedies, etc. n. In the 19th-20th centuries, when the desire for everyday authenticity prevailed in literature artistic paintings, the conventions inherent in drama began to be reduced to a minimum. The origins of this phenomenon are the so-called “philistine drama” of the 18th century, the creators and theorists of which were Diderot and Lessing. Works of the greatest Russian playwrights of the 19th century. and the beginning of the 20th century - A. Ostrovsky, Chekhov and Gorky - are distinguished by the authenticity of the life forms recreated. But even when playwrights focused on the verisimilitude of what was being depicted, plot, psychological and actual speech hyperboles were preserved. Even in Chekhov’s dramaturgy, which showed the maximum limit of “life-likeness,” theatrical conventions made themselves felt. Let's take a closer look at the final scene of Three Sisters. One young woman, ten or fifteen minutes ago, broke up with her loved one, probably forever. Another five minutes ago found out about the death of her fiancé. And so they, together with the elder, third sister, sum up the moral and philosophical results of what happened, reflecting to the sounds of a military march about the fate of their generation, about the future of humanity. It is hardly possible to imagine this happening in reality. But we don’t notice the implausibility of the ending of “Three Sisters”, since we are accustomed to the fact that drama significantly changes the forms of people’s life.

3. RELATIONSHIP OF THE PORTRAIT AND THE FORM OF BEHAVIOR OF THE CHARACTER

In my opinion, it would be incomplete and inaccurate to talk about the forms of behavior of the characters without the above-mentioned portrait, because these two categories are closely intertwined with each other. The details of the portrait, combined with non-verbal tools, can give a complete picture of the image.

In epic works there are expositional And dynamic portraits. An exposition portrait is a detailed listing of physical details, usually presented at the hero's first appearance. Often the narrator pays attention to traits that identify the hero as a representative of a particular social class.

A more complex type of exposure portrait is psychological, where the author’s special attention is focused on the details of the hero’s appearance, revealing his character.

ABOUT dynamic they say in a portrait when a work does not contain a detailed description of the hero’s appearance; it consists of individual details “scattered” throughout the text. These details often change (for example, facial expression), which allows us to talk about the revelation of character. Such portraits are often found in Tolstoy’s work, as mentioned above. Instead of a detailed listing of physical features, the writer uses vivid details that “accompany” the character throughout the entire work. These are the “radiant eyes” of Princess Marya, the naive childish smile of Pierre, the antique shoulders of Helen. The same detail can be filled with different content, depending on the feelings that the character experiences. The little princess's sponge with a mustache gives her pretty face a special charm when she is in society. During her quarrel with Prince Andrei, this same sponge takes on a “brutal, squirrel expression.”

A dynamic portrait appears due to changes in the social status of the hero during the plot. These are the portraits of Pugachev in Pushkin’s story “The Captain’s Daughter”.

The behavior of a character is one of the varieties of a dynamic portrait. Of course, some actions of people are determined by the traditions accepted in a particular society. Postures, gestures, facial expressions acquire a semiotic character, becoming signs. But within these traditions, a person can behave very differently. For example, Pechorin, when meeting Maxim Maksimych, cannot help but greet his old friend, but he does it reluctantly: “rather coldly, although with a friendly smile, he extended his hand to him.” When the staff captain reminds him of Bel, “Pechorin turned slightly pale and turned away...”, the memory is unpleasant for him. Ignoring or deliberately breaking traditions helps to understand the character’s current state or his position in life as a whole.

Violation of behavioral norms often occurs when characters belonging to different cultures communicate, when the same gesture or action can be perceived differently. Because of this, communication difficulties may occur. For example, the nobleman Olenin, who moved in secular society (L.N. Tolstoy’s story “The Cossacks”), living in the Caucasus, does not know how to approach the Cossack woman he likes, how to speak to her so as not to accidentally offend her. With quite a long contact between two cultures, in each of them a stereotype of a person of another culture arises, as well as a stereotype of relations between people of these cultures. If a person fits this stereotype, like Beletsky (Tolstoy’s story “Cossacks”), then it is very easy for him to enter a new environment. But if this person is of a different type, like Olenin, who is prone to reflection, then it will be very difficult for him: his behavior is absolutely incomprehensible to the Cossacks, and therefore they avoid him, fearing the consequences of friendship with him. And only the old Cossack Uncle Eroshka, who also stands out from his environment, finds a common language with Olenin, they are interested in communicating.

Characteristic poses and gestures of the character are highlighted, revealing his character and attitude towards other characters. For example, the fast, decisive gait of the old man Bolkonsky speaks of the strength of his character. However, the character’s behavior can change greatly depending on the life situation: “Suppose, for example, there is an office, not here, but in a distant country, and in the office, let’s say there is a ruler of the office. I ask you to look at him when he sits among his subordinates - but you simply cannot utter a word out of fear! pride and nobility, and what does his face not express? just take a brush and paint: Prometheus, determined Prometheus! Looks out like an eagle, acts smoothly, measuredly. The same eagle, as soon as he left the room and approaches the office of his boss, is in such a hurry as a partridge with papers under his arm that there is no urine. In society and at a party, even if everyone is of low rank, Prometheus will remain Prometheus, and a little higher than him, Prometheus will undergo such a transformation that Ovid would not have imagined: a fly, less than even a fly, was destroyed into a grain of sand! “Yes, this is not Ivan Petrovich,” you say, looking at him. “Ivan Petrovich is taller, but this one is short and thin; he speaks loudly, has a deep bass voice and never laughs, but this one, the devil knows what: he squeaks like a bird and keeps laughing.” You come closer and look - exactly Ivan Petrovich! “Ehe-he,” you think to yourself...”

The discrepancy between the character’s words and his actions helps to reveal his true state, attitude towards events, and other characters. For example, the first unfinished story by L.N. Tolstoy's "The History of Yesterday" the hero understands that it is time for him to leave, but does not want to do so.

In the story by A.I. Kuprin's "Garnet Bracelet" (1911) describes in detail the appearance of five characters: Vera, Anna, her husband, General Anosov, Zheltkov. The sisters are contrasted with each other, including through portraits. “The eldest, Vera, took after her beautiful English mother, with her tall, flexible figure, gentle but cold and proud face, beautiful, albeit rather large hands and that charming sloping shoulders that can be seen in ancient miniatures. The youngest, Anna, on the contrary, inherited her father’s Mongolian blood<…>She was half a head shorter than her sister, somewhat broad in the shoulders, and a lively and frivolous mocker. Her face is of a strongly Mongolian type with quite noticeable cheekbones and narrow eyes.<…>, with an arrogant expression in a small, sensual mouth, especially in a slightly protruded full lower lip - this face, however, captivated with some elusive and incomprehensible charm, which consisted, perhaps, in a piquant, perky, flirtatious facial expression. Her graceful ugliness excited and attracted the attention of men much more often and more strongly than the aristocratic beauty of her sister.” “She had a rare beauty of back, chest and shoulders. When going to big balls, she exposed herself much more than the limits allowed by decency and fashion, but they said that under her low neckline she always wore a hair shirt. Vera was strictly simple, cold and a little patronizingly kind to everyone, independent and royally calm.” The coldness, aristocracy of Vera and the oriental temperament of Anna are the leitmotifs. The sisters' family lives are completely different. Vera loves and appreciates her husband, is his devoted friend, and Anna is annoyed by her husband, she flirts in front of his eyes with many men, although she never cheats on him. She bizarrely combines free behavior (she “visited dubious cafes abroad”) and piety, which is extremely emphasized in the details of her clothing: indecent neckline and hair shirt.

And the attitude of others towards the sisters is different. Around Anna (“dragonflies-egozas,” according to the general) there are always a lot of men: they feel at ease and have fun with her. Vera (“lady”) does not enjoy such success, but it is she who can arouse true love, which “women dream of and which men are no longer capable of.” The aristocratic Vera appears to the romantic Zheltkov as a goddess in whom “all the beauty of the earth seemed to be embodied”: he reverently keeps the things forgotten by her, dies with the words “hallowed be thy name.” Anna is “madly” loved by her husband, but his annoying courtship of her looks pitiful and comical. And Gustav Ivanovich himself is unpleasant, limited person, which is emphasized in his repulsive appearance. When he laughed, “his thin face, smoothly covered with shiny skin, with slick liquid, blond hair, with sunken eye orbits, looked like a skull, revealing very nasty teeth in laughter.”

General Anosov’s appearance reveals him to be a real officer of the tsarist army, a participant in many battles, a hero who became coarse in the service, but retained kindness and responsiveness: “He had a large, rough, red face with a fleshy nose and with that good-natured majestic, slightly a contemptuous expression in the narrowed eyes, arranged in radiant, swollen semicircles, which is characteristic of courageous and simple people who have often seen danger and death close before their eyes.” The position of commandant he occupies probably seems to him to be something between military and civilian service. Maybe that’s why he “went around unarmed, in an old-fashioned frock coat, in a cap with large brims and a huge straight visor.”

The story of his unsuccessful family life takes up less than a page, but at the same time a portrait of his wife is given twice (!), and the reader never learns her name. Anosov believes that her appearance largely pushed him to get married: “there is a fresh girl next to me. She breathes - her chest moves under her blouse. He will lower his eyelashes, they are so long, and everything will suddenly burst into flames. And the skin on the cheeks is tender, the neck is so white and innocent, and the hands are soft and warm.” In his opinion, only an innocent girl could look like this; he had no idea what was hidden behind it. After the wedding, she is transformed: “she walks around in a shabby hood, shoes on her bare feet, thin, unkempt hair, in curlers, she gets along with the orderlies like a cook, she breaks down with the young officers, she lisps, squeals, rolls her eyes.” And now Anosov sees her “always lying, lying” eyes. However, in close proximity here we see a form of behavior, non-verbal signs: breasts that “walk under a blouse”, the way they “flare up”, “doggy with the orderlies” - all these signs are intended to explain to the reader the character of the heroine with the help of hidden behavioral codes

Zheltkov’s portrait reflects high spirituality, the ability to have strong, deep feelings and at the same time the ability to understand another person and put his happiness above his own. The narrator does not comment on this or that feature, leaving the reader to decide for himself what it indicates. His pallor and thinness are explained by difficult living conditions, as well as constant suffering (he has been hopelessly in love with Vera for seven years). “A girl’s face” and a “childish chin” speak of his tenderness, but his chin is also “stubborn” - doesn’t he hint at the tenacity with which Zheltkov follows Vera everywhere, writes to her. After talking with Vera on the phone, he is finally convinced that all his efforts are in vain and suicide is the only way out. “His eyes sparkled and were deep, as if filled with unshed tears,” the narrator notes. However, the greatest attention is paid to Zheltkov’s gestures. He was completely at a loss when he saw Vera’s husband and brother, his “nervous fingers<…>They ran up and down the side of a short brown jacket, buttoning and unbuttoning the buttons.” It takes him a while to find what to say and bows awkwardly. But, having heard from Tuganovsky that he was going to go to the police, Zheltkov is transformed, now he sees his moral superiority over Tuganovsky and feels free: “He put his hands in his pockets, sat down comfortably in the corner of the sofa, took out a cigarette case and matches and lit a cigarette.” It’s not easy for him to tell Shein that he has long loved Vera: “Zheltkov gasped for air for several seconds, as if choking, and suddenly rolled as if off a cliff. He spoke only with his jaws, his lips were white and did not move, like those of a dead person.” The comparison with the dead is significant; it anticipates Zheltkov’s words about suicide. And when he lay in the coffin, “his lips smiled blissfully and serenely, as if, before parting with life, he had learned some deep and sweet secret that resolved his whole life.” human life" It is important to remember that this is the point of view of Vera, who considers Zheltkov a strange person. Maybe she thinks that he could not die without realizing that such love was sent to him as a reward, and without realizing that she was not indifferent to him. It is no coincidence that during the performance of a Beethoven sonata, Vera “hears” him: “you and I loved each other only for one moment, but forever.”

CONCLUSION

Having knowledge of the forms of behavior of characters in an epic and dramatic work, the writer will be able to most reliably and colorfully depict the reality around him. The area of non-verbal communication still relates more to the sphere of psychological knowledge, which once again proves to us: a writer must have a lot of skills from the most different areas in order to write a work that is exciting, smart and vital. However, an image in a literary work is also impossible without a portrait. By combining knowledge about these two positions, the creator, if he has talent, will be able to create things that will be close and understandable to people due to their accuracy and reliability. Examples of such works are given above.

LIST OF REFERENCES USED

1. Khalizev V.E. Theory of literature. Moscow: Academia, 2009.

2. Lotman Yu.M. The structure of a literary text. Moscow: Azbuka, 2015.

3. Tamarchenko N., Tyupa V., Broitman S. Theory of Literature: a textbook // ed. Tamarchenko N. Moscow: Academia, 2014

4. Vershinina N., Volkova E., Ilyushin A., Murzak I., Ozerov Yu., Tselkova L., Shcherbakova M., Yastrebov A. Introduction to literary criticism: a textbook // ed. Vershinina N. Yurayt, 2016

5. L.V. Chernets, V.E. Khalizev, S.N. Broitman et al. Introduction to literary criticism. Literary work: basic concepts and terms: Textbook. allowance //.; Ed. L.V. Chernets. - M.: Higher. school; Academy, 1999

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In the behavior of the heroes. Patterns in the behavior of heroes and villains

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