Forms, techniques and methods of psychological depiction. Techniques for creating a character's inner world Image of a character's inner world

What is the name of the method of depicting the inner life of a character (“he felt that something seemed to fall on him and pressed him,” “he came out, he swayed. His head was spinning. He did not feel whether he was standing”)?

Read the fragment of the work below and complete tasks 1–9.

-...Nil Pavlych, and Nil Pavlych! How did he, the gentleman who was reported just now, shoot himself on Petersburgskaya?

“Svidrigailov,” someone from the other room answered hoarsely and indifferently.

Raskolnikov shuddered.

- Svidrigailov! Svidrigailov shot himself! - he cried.

- How! Do you know Svidrigailov?

- Yes... I know... He arrived recently...

- Well, yes, he recently arrived, lost his wife, a man of bad behavior, and suddenly shot himself, and so scandalously that it is impossible to imagine... he left a few words in his notebook that he was dying in his right mind and asked not to blame anyone for his death . This one, they say, had money.

How do you want to know?

– I... know... my sister lived in their house as a governess...

- Ba, ba, ba... Yes, you can tell us about him. And you had no idea?

– I saw him yesterday... he... drank wine... I didn’t know anything.

Raskolnikov felt as if something had fallen on him and crushed him.

“You seem to have turned pale again.” We have such a stale spirit here...

“Yes, I have to go,” Raskolnikov muttered, “I’m sorry, I bothered you...

- Oh, for mercy's sake, as much as you like! The pleasure was delivered and I am pleased to say...

Ilya Petrovich even extended his hand.

- I just wanted... I went to Zametov...

“I understand, I understand, and it was a pleasure.”

“I... am very glad... goodbye, sir...” Raskolnikov smiled.

He came out, he rocked. His head was spinning. He couldn't feel if he was standing. He began to walk down the stairs, resting his right hand on the wall. It seemed to him that some janitor, with a book in his hand, pushed him, climbing up to meet him in the office, that some little dog was baying and barking somewhere on the lower floor, and that some woman threw a rolling pin at it and screamed. He went downstairs and went out into the yard. Here in the courtyard, not far from the exit, stood Sonya, pale and completely dead, and looked at him wildly, wildly. He stopped in front of her. Something sick and exhausted was expressed in her face, something desperate. She clasped her hands. An ugly, lost smile squeezed out on his lips. He stood there, grinned, and turned upstairs, back to the office.

Ilya Petrovich sat down and rummaged through some papers. Standing in front of him was the same man who had just pushed Raskolnikov while climbing the stairs.

- A-ah-ah? You again! Did you leave anything?.. But what happened to you?

Raskolnikov, with pale lips and a fixed gaze, quietly approached him, walked up to the table itself, rested his hand on it, wanted to say something, but could not; Only some incoherent sounds were heard.

- You feel sick, chair! Here, sit on the chair, sit down! Water!

Raskolnikov sank into a chair, but did not take his eyes off the face of the very unpleasantly surprised Ilya Petrovich. Both looked at each other for a minute and waited. They brought water.

“It’s me...” Raskolnikov began.

– Drink some water.

Raskolnikov drew back the water with his hand and said quietly, deliberately, but clearly:

It was I who then killed the old official woman and her sister Lizaveta with an ax and robbed them.

Ilya Petrovich opened his mouth. They came running from all sides.

Raskolnikov repeated his testimony.

(F. M. Dostoevsky, “Crime and Punishment”)

Name the genre to which F. M. Dostoevsky’s work “Crime and Punishment” belongs.

Explanation.

Crime and Punishment is a novel.

The novel is a work of large epic form, covering a wide range of phenomena of private and public life, depicting in the process of development numerous human characters in their contradictory relationships.

Answer: novel.

Answer: novel

Indicate the stage of development of action reflected in this fragment in an epic or dramatic work, where the resolution of its conflict is described or the fundamental insolvability of this conflict is revealed.

Explanation.

Denouement is the end of an action or the end of a conflict in a work. Raskolnikov's confession is the denouement.

Answer: denouement.

Answer: decoupling

Source: Unified State Examination in Literature 04/01/2016. Early wave

What is the name of the form of communication between the characters, represented by a conversation between two characters and which is the main one in this fragment?

Explanation.

Dialogue is a conversation between two or more people.

Answer: dialogue.

Answer: dialogue

Source: Unified State Examination in Literature 04/01/2016. Early wave

Establish a correspondence between the characters acting and mentioned in this fragment and the individual events of the work: for each position in the first column, select the corresponding position from the second column.

Write down the numbers in your answer, arranging them in the order corresponding to the letters:

A	B	IN

Explanation.

Sonya - begins to live “with a yellow ticket”;

Raskolnikov - sees a symbolic dream about a horse;

Psychologism- this is a way (method) of depicting the mental life of a character in a work; recreation and depiction of a person’s inner life in a work of art. IN journalism psychologism- this is a method of understanding personality in accordance with the “algorithms” of science and at the same time an aesthetic principle for depicting character, which involves the use of a system of artistic means.

THINGS TO REMEMBER:

To touch to the subtle mental organization of the personality, the journalist must understand the subjective world of the hero, understand his state of mind, look into his sensory-emotional sphere. Only in this case is it possible to identify the spiritual origins of a particular person’s behavior.

To write a full essay, a journalist needs to tune in to the “wave” of his hero’s emotions and thoughts. This mood prompts a special tone of writing: lyricism and confessionalism. In this sense, the essay is one of the most intimate genres of journalism. However, a complete and voluminous disclosure of a person’s inner world, as, for example, is done in a literary work, is impossible in an essay.

The process of self-disclosure, self-analysis of the hero can be described in an essay through monologue or dialogue . In both cases we will be dealing with various manifestations of his self-awareness.

A) The hero in the monologue completely immersed in himself: he sees and hears only himself; expresses only his own point of view on things; his consciousness does not come into contact with other consciousnesses. Therefore, the hero’s world, as a rule, appears to readers one-sidedly. But this is a process of internal self-disclosure of a person and a kind of introspection, confession. Hto more fully convey the range of human feelings, journalists use “hidden” methods of psychological characterization of the hero. As a rule, they include author's reactions, remarks, comments etc., i.e. everything that can indirectly characterize a person’s internal psychological state. For this, the external manifestations of the hero of the work are also used.

B) Things are different Vdialogue. In the process of dialogue, subjects of communication not only share useful information, but can also reason, argue, discuss about a specific subject of discussion, thereby revealing not only the features of their thinking, but also views, ideas, ideas, etc. In the dialogue, both the author and the hero of the work act as independent subjects of communication. They are free to express their opinions, points of view and assessments. They can take different positions on certain issues and freely express their ideological views. In addition, the author can recreate in the work the socio-psychological atmosphere that arose during the dialogue, thereby adding new touches to the psychological characteristics of the character of the essay.

One of the ways to penetrate into the inner world of a person is analysis of the motivational sphere. In this case, various personality traits are studied; the degree to which a person is aware of his own actions; level of psychological maturity of the individual; dynamics of the motivational structure of the individual depending on the circumstances, situation and temporary state of mind; reaction to socially obligatory, declared and promoted goals, values, norms of behavior, lifestyle, etc. Analysis of the motivational sphere is correlated with ideals (an ideal is the dominant image of what is desired), attitudes, beliefs, values, interests and desires of an individual. When analyzing the motives of a person’s behavior, it is important to identify not only dominant motives, correlated, for example, with the goals of human activity, but also hidden ones, which are revealed in extreme conditions.

Essayist, analyzing a personality from the point of view of its ideological positions, can trace the stages of the formation of human beliefs, describe the transformations that occur in the mind of an individual when choosing this or that idea, and finally, show those external influences that play a decisive role in the ideological position of the individual.

Translated from Greek "character"- this is “minting”, “sign”. In the process of life, a person acquires various characterological traits that become his distinctive properties. In an essay, the character of the human personality can be presented in all its diversity. This is achieved not only by highlighting some individual traits or aspects of character, as is done, for example, in science, but by showing a person in all his internal and external relationships with the social environment. From the analysis of individual human actions or actions, a journalist can approach their synthesis in the character of the individual.

Distinguish three basic forms of psychological representation, to which all specific techniques for reproducing the inner world of literary heroes come down to:

- direct (open psychologism) - conveys the inner life of the character “from the inside” with the help of the hero’s psychological introspection (remember Pechorin, who analyzes the smallest movements of his soul). Means of open psychologism- internal monologue, dialogue, letters, confession, diaries, dreams, visions, improperly direct speech, “stream of consciousness” as the ultimate form of internal monologue, “dialectics of the soul.”

- indirect(hidden psychologism) - aimed at depicting the hero’s inner world “from the outside”, through psychological analysis. Means of hidden psychologism- portrait, landscape, interior, commentary, silence, artistic detail.

- summarily denoting (feelings are named but not shown).

Psychologism is inherent, as a rule, major journalistic works. Its stylistic features coincide in many ways with the features of journalism in general: the desire for imagery and expressiveness; search for new language means; open expression of the author's position; the huge role of keywords characteristic of a certain era or ideological direction; widespread use of established speech patterns.

However, psychologism is present not only in the language and style of the work. In recent decades, media products made without the use of high technology have not aroused interest among the mass reader – the consumer. The forms of psychologism have changed. The state of the hero can be indicated by a gesture, photograph, music, graphics, etc. Thanks to high-quality slides, photographs and other forms of presentation of material, the reader is influenced on a non-verbal level. One photograph in a modern feature article in a mass magazine can say more about the hero, show his inner world and inner experiences more clearly than a journalist can do on a verbal level.

Large role in the process of perception and sensation playsrecognition, which is also used in psychologism. Perception has the property of selectivity, that is, it is easier and faster to perceive what is familiar or even close. Its characteristic feature is constancy. For example, the reader associates the expression “gates of the Arctic” with the far north.

The principle of psychologism allows not only to reveal the inner world of the hero, to give psychological or life advice, but also to present moral object lessons.

Literature test Poor Lisa for 9th grade students. The test consists of two options, each option contains 5 short-answer tasks and 3 general tasks with a detailed answer.

Even before the sun rose, Lisa got up, went down to the bank of the Moscow River, sat down on the grass and, saddened, looked at the white mists that were agitated in the air and, rising upward, left shiny drops on the green cover of nature. Silence reigned everywhere. But soon the rising luminary of the day awakened all creation; The groves and bushes came to life, the birds fluttered and sang, the flowers raised their heads to drink in the life-giving rays of light. But Lisa still sat there, saddened. Oh, Lisa, Lisa! What happened to you? Until now, waking up with the birds, you had fun with them in the morning, and a pure, joyful soul shone in your eyes, like the sun shines in drops of heavenly dew; but now you are thoughtful, and the general joy of nature is alien to your heart. Meanwhile, a young shepherd was driving his flock along the river bank, playing the pipe. Lisa fixed her gaze on him and thought: “If the one who now occupies my thoughts was born a simple peasant, a shepherd, and if he were now driving his flock past me; Oh! I would bow to him with a smile and say affably: “Hello, dear shepherd! Where are you driving your flock? And here green grass grows for your sheep, and here flowers grow red, from which you can weave a wreath for your hat.” He would look at me with an affectionate look - maybe he would take my hand... A dream! A shepherd, playing the flute, passed by and disappeared with his motley flock behind a nearby hill.

1 option

Short answer questions

1. To which literary movement does the work belong?

2. Name the city in which the events take place.

3. Indicate the name of the visual and expressive means:
...the flowers raised their heads to drink life-giving rays of light.

4. What is the name of the means of recreating the hero’s inner world:
Lisa fixed her gaze on him and thought: “If the one who now occupies my thoughts was born a simple peasant...”

5. Indicate the name of the appointment:
Until now, waking up with the birds, you had fun with them in the morning... but now you are thoughtful, and the general joy of nature is alien to your heart.

Long answer questions

Option 2

Short answer questions

1. Name the genre of the work.

2. Name the person who occupied my thoughts Lisa.

3. Indicate the name of the means of allegorical expression:
Silence reigned everywhere...

4. Indicate the name of the visual and expressive medium:
... the soul shone in your eyes, like the sun shining in the dewdrops heavenly.

5. What is the name of the image of nature in a literary work, for example:
“... white mists that waved in the air and, rising upward, left shiny drops on the green cover of nature.”

Long answer questions

6. How do the pictures of nature in this fragment reflect the state of the heroine?

7. For what purpose does Karamzin create the image of a shepherdess?

8. Compare fragments of the works of N.M. Karamzin “Poor Liza” and A.S. Pushkin's "The Young Lady-Peasant Woman". How does the state of mind of the heroines differ?

Fragments of works for task 8

The next day, before dawn, Lisa had already woken up. The whole house was still asleep. Nastya was waiting for the shepherd outside the gate. The horn began to play, and the village herd pulled past the manor's yard. Trofim, passing in front of Nastya, gave her small colorful bast shoes and received half a ruble from her as a reward. Liza quietly dressed up as a peasant woman, gave Nastya her instructions in a whisper regarding Miss Jackson, went out onto the back porch and ran through the garden into the field.
The dawn shone in the east, and the golden rows of clouds seemed to be waiting for the sun, like courtiers waiting for a sovereign; the clear sky, morning freshness, dew, breeze and birdsong filled Lisa's heart with infantile gaiety; afraid of some familiar meeting, she seemed not to walk, but to fly. Approaching the grove standing on the border of her father's property, Lisa walked more quietly. Here she was supposed to wait for Alexei. Her heart was beating strongly, without knowing why; but the fear that accompanies our young pranks is also their main charm. Lisa entered the darkness of the grove. A dull, rolling noise greeted the girl. Her gaiety died down. Little by little she indulged in sweet reverie. She thought... but is it possible to accurately determine what a seventeen-year-old young lady is thinking about, alone, in a grove, at six o’clock on a spring morning?

Answers to the literature test Poor Lisa
1 option
1. sentimentalism
2. Moscow
3. epithet
4. internal monologue
5. antithesis // contrast // opposition
Option 2
1. Tale
2. Erast
3. metaphor // personification
4. comparison
5. landscape

Ways to portray a character

In order to analyze the methods of depicting a character in specific works, it is necessary to familiarize yourself with the methods of depicting him.

Let's look at ways to portray a character. L.A. Kozyro, in his textbook for students “The Theory of Literature and the Practice of Reading Activity,” identifies two characteristics that make up the image of a character. These are external and internal characteristics.

In a literary work, psychologism is a set of means used to display the inner world of the hero - for a detailed analysis of his thoughts, feelings and experiences.

This method of depicting a character means that the author sets himself the task of showing the character and personality of the hero directly from the psychological side, and making this way of understanding the hero the main one. Often, methods of depicting the hero’s inner world are divided into “from the inside” and “from the outside.”

The character’s inner world “from the inside” is depicted through internal dialogues, his imagination and memories, monologues and dialogues with himself, sometimes through dreams, letters and personal diaries. The image “from the outside” consists of describing the character’s inner world through the symptoms of his psychological state that manifest themselves externally.

Most often, this is a portrait description of the hero - his facial expressions and gestures, speech patterns and manner of speaking; this also includes a detail and description of the landscape as an external element reflecting the internal state of a person. Many writers use descriptions of everyday life, clothing, behavior and housing for this type of psychologism.

Psychologism is a set of means used to depict the inner world of a character, his psychology, state of mind, thoughts, experiences.

Epic and dramatic works have wide possibilities for mastering the inner life of a person. A carefully individualized reproduction of the experiences of characters in their interrelation and dynamics is designated by the term psychologism.

External characteristics serve as a means of: a) objectifying the image-character and b) expressing the author’s subjective attitude towards him.

Sorokin V.I. The Tory of Literature lists twelve different means of depicting a character.

If the reader has no idea of ​​the character's appearance, it becomes very difficult to perceive the character as a living being. Therefore, the reader’s acquaintance with a character begins, as a rule, with a description of his face, figure, hands, gait, manner of holding himself, dressing, etc., that is, with a portrait description of the character.

Each talented writer has his own style of depicting portraits of heroes. A portrait depends not only on the author’s style, but also on the environment that the writer depicts, that is, it indicates the social affiliation of the character. Thus, in A.P. Chekhov’s story “Children,” the portrait of the “cook’s son” Andrei contrasts with the images of well-fed, well-groomed noble children: “The fifth partner, the cook’s son Andrei, a dark-skinned, sickly boy, in a cotton shirt and with a copper cross on his chest, stands motionless and dreamily looks at the numbers.”

A portrait helps to reveal the intellectual capabilities, moral qualities, and psychological state of the character.

Portrait characteristics are used to create not only the image of a person, but also the image of an animal. But we are interested precisely in the ways of depicting the image of a person.

A portrait as a means of creating a character’s image is not present in every work. But even a single portrait detail helps create an image.

A literary portrait is understood as an image in a work of art of a person’s entire appearance, including the face, physique, clothing, demeanor, gestures, and facial expressions.

When creating an image-character, many writers describe his appearance. They do this in different ways: some depict in detail the portrait of the hero in one place, collected; others in different places of the work note individual features of the portrait, as a result of which the reader ultimately gets a clear idea of ​​​​its appearance. Some writers use this technique almost always, others rarely, this is due to the peculiarity of the artist’s individual manner, the genre of the work, and many other conditions of creativity, but always the writer, when describing the appearance of the character, strives to emphasize such details that allow him to more vividly imagine both the external and internal appearance of the hero - to create a living, visually tangible image and to identify the most significant character traits of a given character, and express the author’s attitude towards him.

It is noted that every portrait is characterological to one degree or another - this means that by external features we can at least briefly and approximately judge the character of a person. In this case, the portrait can be provided with an author’s commentary, revealing the connections between the portrait and the character.

The correspondence of portrait features to character traits is a rather conditional and relative thing; it depends on the views and beliefs accepted in a given culture, on the nature of artistic convention. In the early stages of cultural development, it was assumed that spiritual beauty corresponded to a beautiful external appearance; negative characters were portrayed as ugly and disgusting. Subsequently, the connections between the external and the internal in a literary portrait become significantly more complicated. In particular, already in the 19th century, an inverse relationship between portrait and character became possible: a positive hero can be ugly, and a negative one can be beautiful.

Thus, we see that a portrait in literature has always performed not only a depictive, but also an evaluative function.

Kozyro L.A. in his work he names three types of portrait - portrait description, portrait-comparison, portrait-impression.

Portrait description is the simplest and most frequently used form of portrait characterization. It consistently, with varying degrees of completeness, gives a kind of list of portrait details.

Kozyro L.A. gives an example: “Chechevitsyn was the same age and height as Volodya, but not so plump and white, but thin, dark, covered with freckles. His hair was bristly, his eyes were narrow, his lips were thick, in general he was very ugly, and if he had not been wearing a school jacket, then in appearance he could have been mistaken for the cook’s son” (A. P. Chekhov. “Boys” ) .

Sometimes the description is provided with a general conclusion or an author's comment regarding the character of the character revealed in the portrait. Sometimes the description emphasizes one or two leading details.

A comparison portrait is a more complex type of portrait characterization. It is important not only to help the reader more clearly imagine the hero’s appearance, but also to create in him a certain impression of the person and his appearance.

An impression portrait is the most complex type of portrait. The peculiarity is that there are no portrait features and details here as such, or very few; all that remains is the impression made by the hero’s appearance on an outside observer or on one of the characters in the work.

Often a portrait is given through the perception of another character, which expands the functions of the portrait in the work, since it also characterizes this other character.

It is necessary to distinguish between static (remaining unchanged throughout the entire work) and dynamic (changing throughout the text) portraits.

A portrait can be detailed and sketchy, representing only one or several of the most expressive details.

We agree with the conclusion of L.A. Kozyro that a portrait in a literary work performs two main functions: pictorial (makes it possible to imagine the person depicted) and characterological (serves as a means of expressing the content of the image and the author’s attitude towards it).

The next characteristic that scientists note is the objective (material) environment that surrounds the character. It also helps characterize the character from the outside.

Character is revealed not only in his appearance, but also in what things he surrounds himself with and how he relates to them. This is what writers use to artistically characterize a character... Through objective characterization, the author also creates an individual character, a social type, and expresses an idea.

The image of a hero in a work of art is made up of many factors - character, appearance, profession, hobbies, circle of acquaintances, attitude towards oneself and others. One of the main ones is the character’s speech, which fully reveals both the inner world and way of life.

One should be careful not to confuse concepts when analyzing the speech of characters. Often, the speech characteristics of a character are understood as the content of his statements, that is, what the character says, what thoughts and judgments he expresses. In fact, speech characteristics are something else.

You need to look not at “what” the characters say, but at “how” they say it. Look at the manner of speech, its stylistic coloring, the nature of the vocabulary, the construction of intonation-syntactic structures, etc.

Speech is the most important indicator of a person’s national and social affiliation, evidence of his temperament, intelligence, talent, degree and nature of education, etc.

A person’s character is also clearly manifested in his speech, in what and how he says. The writer, when creating a typical character, always endows his heroes with an individualized speech characteristic of them.

Kozyro L.A. says that actions and actions are the most important indicators of a character’s character, his worldview, and the entire spiritual world. We judge people primarily by their deeds.

Sorokin V.I. calls this means “hero behavior.”

A person’s character is especially clearly manifested, of course, in his actions... A person’s character is especially clearly manifested in difficult situations in life, when he finds himself in an unusual, difficult situation, but a person’s everyday behavior is also important for characterization - the writer uses both cases.

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. The term behavior of a character is understood as the embodiment of his inner life in the totality 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 kind of unity, totality, integrity.

Forms of behavior give a person’s inner being (attitudes, attitudes, experiences) clarity, certainty, and completeness.

Sometimes a writer, when creating an image of a character, reveals his character not only indirectly, by depicting his portrait, actions, experiences, etc., but also in a direct form: he speaks on his own behalf about the essential traits of his character.

Self-characterization is when the character himself talks about himself, about his qualities.

Mutual characterization is the evaluation of one character on behalf of other characters.

A characterizing name when the character’s name reflects his qualities and characteristics.

In the work of Sorokin V.I. this means is designated as a “characterizing surname.”

All this related to external characteristics. Let's look at methods of internal characterization.

The method of revealing the image-character is the direct depiction of his inner world. Reconstructing a character's spiritual life is called psychological analysis. For each writer and in each work, psychological analysis takes its own unique forms.

One of these techniques is an internal monologue, which records the flow of thoughts, feelings, and impressions currently possessing the hero’s soul.

The most important method of psychological characterization of a character for many writers is the description of what is depicted from the point of view of this character.

Chekhov “Grisha”: “Grisha, a small, plump boy, born two years and eight months ago, is walking with his nanny along the boulevard…. Until now, Grisha knew only a quadrangular world, where in one corner there was his bed, in another - his nanny's chest, in the third - a chair, and in the fourth - a burning lamp. If you look under the bed, you will see a doll with a broken arm and a drum, and behind the nanny’s chest there are a lot of different things: spools of thread, pieces of paper, a box without a lid and a broken clown. In this world, in addition to the nanny and Grisha, there is often a mother and a cat. Mom looks like a doll, and the cat looks like dad’s fur coat, only the fur coat doesn’t have eyes or a tail. From the world called the nursery, a door leads into a space where they dine and drink tea. There is Grisha’s chair on high legs and a clock hanging there that exists only to swing a pendulum and ring. From the dining room you can go into a room where there are red chairs. Here there is a dark spot on the carpet, for which Grisha is still shaking their fingers. Behind this room there is another one, where they are not allowed and where dad flashes - a highly mysterious person! The nanny and mother are clear: they dress Grisha, feed him and put him to bed, but why dad exists is unknown.”

Showing what he thinks and feels at different moments is very important for depicting a living person - the writer’s ability to “move into the soul” of his hero.

A character's worldview is one of the means of characterizing a character.

Depicting the views and beliefs of characters is one of the most important means of artistic characterization in literature, especially if the writer depicts the ideological struggle in society.

There is a hidden analysis of the spiritual life of the heroes, when it is not their psyche that is revealed directly, but how it is expressed in the actions, gestures, and facial expressions of people.

F. Engels noted that “... a personality is characterized not only by what it does, but also by how it does it.” To characterize the characters, the writer uses images of the characteristic features of her actions.

Highlight the biography of the hero. It can be framed, for example, as a backstory.

For the purpose of artistic characterization, some authors set out the life story of the characters or tell individual moments from this story.

It is important not only what kind of artistic means the author uses to create an image-character, but also the order of their inclusion in the text. All of these artistic means allow the reader to draw conclusions about the author’s attitude towards the hero.

Creatively working artists find many different techniques to show the appearance and inner world of a person. They use all the different means for this, but each in their own way, depending on the individual style of creativity, on the genre of the work, on the dominant literary direction at the time of its activity and on many other conditions.

The image of a character consists of external and internal characteristics.

The main external characteristics include:

Portrait characteristic

Description of the subject situation

· Speech characteristics

· Self-characteristics

Mutual characteristic

· Characteristic name

The main internal characteristics include:

· Internal monologue description of the person portrayed from the point of view of this character

· Character's worldview

Character's imagination and memories

Character's dreams

· Letters and personal diaries

This list does not exhaust the abundance of means that writers use for artistic characterization.

Conclusion to chapter 1

Thus, after reviewing the scientific literature on the research topic, the following conclusions were made.

1. An artistic image is a part of reality, recreated in a work with the help of the author’s imagination; it is the final result of aesthetic activity.

2. An artistic image has its own specific features: integrity, expressiveness, self-sufficiency, associativity, concreteness, clarity, metaphor, maximum capacity and ambiguity, typical meaning.

3. In literature, there are images-characters, images-landscapes, images-things. At the level of origin, two large groups of artistic images are distinguished: original and traditional.

4. A character is a character in a work of art with his characteristic behavior, appearance, and worldview.

5. In modern literary criticism, the phrases “character” and “literary hero” are often used in the same meaning as “character.” But the concept of “character” is neutral and does not contain an evaluative function.

6. According to the degree of generalization, artistic images are divided into individual, characteristic, and typical.

7. In works of art, a special system is formed between characters. The character system is a strict hierarchical structure. The character system is a certain ratio of characters.

8. There are three types of characters: main, secondary, episodic.

· according to the degree of participation in the plot and, accordingly, the amount of text that this character is given

· according to the degree of importance of a given character for revealing aspects of artistic content.

10. The image of a character consists of external and internal characteristics.

11. The main external characteristics include: portrait characteristic, description of the subject situation, speech characteristic, description of the “hero’s behavior”, author’s characteristic, self-characteristic, mutual characteristic, characterizing name.

12. The main internal characteristics include: internal monologue, a description of what is being portrayed from the point of view of this character, the character’s worldview, the character’s imagination and memories, the character’s dreams, letters and personal diaries.

13. Highlight the biography of the hero. It can be framed, for example, as a backstory.