Literary Heroes Research Articles

Личность Раскольникова как символ: А.Ф. Лосев и Ф.М. Достоевский

The article is devoted to the analysis of the philosopher Alexei F. Losev’s (1893–1988) perception of Fyodor Dostoevsky’s works, especially of his novel Crime and Punishment. The author notes the thinker’s permanent interest in Dostoevsky’s legacy, starting from the 1900s and to the last days of his life. Special attention is paid to the reflections on Dostoevsky in Losev’s books The Dialectics of Myth (1930) and The Problem of Symbol and Realistic Art (1976), as well as in the report On Mythology in Literature (1983). Equally important are his epistolary legacy of 1932-1933 when Losev was imprisoned in a correctional labor camp on the construction of the White Sea Canal, and his fiction of the 1930s–1940s (the short story Life, the novel The Woman-Thinker). The central problem is the identification of Losev’s implicit understanding of Rodion Raskolnikov’s personality as a symbol – and the connection of this interpretation with Losev’s historiosophic concept of the formation of a “holistic universal human mythology”. Alongside this central problem other questions, no less significant, are addressed in the article: Losev’s understanding of Dostoevsky’s mythological realism as a whole and his attention to the early models determining the style of Dostoevsky’s ideological novels; both authors’ comprehension of the metaphysics of crime and their attitude to the Christian understanding of the concepts of “sacrifice” and “suffering”. Another important issue is Losev’s autoprojection on the novel Crime and Punishment, revealed in correspondence with his wife during his imprisonment in the labor camp. This auto-projection was due to the fact that the philosopher suffered from the “crime & punishment” syndrome firsthand, biographically, so to speak, which actualized the penal colony experience of Dostoevsky and of his literary hero in Losev’s own subconscious.

Victor Hugo’s verses and interpretation of Ivo Andric’s novel The Journey of Alija Djerzelez

The paper is dedicated to the analysis of Ivo Andric?s novel The journey of Alija Djerzelez and its connection with the verses of Victor Hugo written by Ivo Andric on the cover of the incomplete manuscript of the third part of the novel that is been kept in Archives of Serbian Academy of Science and Arts. Through analysis, we show that in this novel that has been printed for the first time complete, in Belgrade 1920, Ivo Andric began to depict literary heroes who commit evil deeds, which was left aside in interpretations of this novel for a long time, since this layer of meaning remained in the shadows due to the effect of the grotesque and the presence of comedy. Alija Djerzelez is actually the first in a series of evil-doer in Andric?s fictional worlds and the first literary hero on whom Andric began writing about the influence of evil on human beings.

UKRAINIAN-RUSSIAN MENTAL AND CULTURAL CONFLICT IN THE WORK OF LESYA UKRAINKA

The Ukrainian-Russian conflict of cultures in the creative heritage of Lesya Ukrainka is highlighted. The poems «My Way», «Prophet», dramatic works «Autumn Tale», «Cassandra», «Boyarynia», «Three Minutes», «Orgy», prose «My Way» were analyzed. The position of Lesya Ukrainka has been interpreted as a consistent protest against the supremacy of Russian culture over Ukrainian, and one that evolved from an awareness of fatal antagonism («Over the sea») to an outright hatred of Moscow (boyar) aesthetics («Boyarian») and a prophetic warning of the threat coming from East («Cassandra»). It is noted that Lesya Ukrainka debunked the myth about the special inner looseness of Russians in contrast to the oppressed European peoples, which was expressed in an unconcealed contemptuous and disdainful attitude towards them. It is claimed that this internal unfreedom of Russians cultivates hatred for those who unmask it – Ukrainians, and is a direct path to dictatorship: either in the intentions of the literary heroes of Lesya Ukrainka (Montagner), or the «dictatorship of the proletariat», fascism, racism, etc. It is emphasized that the existential threat to Russian messianism originates from the otherness of the Ukrainian cultural code, noted by Lesya Ukrainka, therefore, Ukraine «has no right to continue to exist within any borders». It is noted that a desperate attempt to save its imperial identity became the reason for the war against Ukraine. It is emphasized that Lesya Ukrainka represents the ideology of the new national aristocracy, which has lost respect for the exclusivity of the «Russian genius», conscious antagonism and threats originating from Russia. It is concluded that her work is a call to «return to the sources», cultural identity, as a guarantee of preserving the freedom and autonomy of the nation. Keywords: Lesya Ukrainka, Ukrainian-Russian conflict of cultures, «riznochynna intelihentsiia», Ukrainian intelligentsia, Russian intelligentsia, cultural (state) nationalism.

Frame ‘Zwischenmenschliche Beziehungen’ in literary discourse (on the material of B. Schlink’s novel “Der Vorleser”)

In the article the frame structures depicting interpersonal relationship of the literary characters in the German fictional discourse have been analyzed. The differentiation between the notions “frame” and “frame structure” has been made. Frames are qualified as cognitive formations, the component parts of which are the terminals and which are realized in a discourse by means of the frame structures. The key constituents of the frame structures are the terminal elements which provide language realization of the terminals. The analysis of the frame structures depicting interpersonal relationships of the literary characters has been carried out on the basis of the frame ‘Zwischenmenschliche Beziehungen’ (‘Interpersonal Relationships’). This frame is considered as a cognitive structure containing categorial knowledge about people’s interpersonal relationships which are expressed in persons’ mutual influence which they experience in the process of communication with each other and in common activity. On the basis of the dictionary definitions the basic terminals of the frame ‘Zwischenmenschliche Beziehungen’ (‘Interpersonal relationships’) have been defined: Verbindung (Connection), Kontakt (Contact), Gegenseitiger Einfluss (Mutual influence), Innerer Zusammenhang (Inner interrelation), Kommunikation (Communication), Gemeinsame Aktivität (Common activity), Wechselseititiges Verhältnis (Mutual relashinship). The analysis of the lexical units that represent the above-mentioned terminals and depict interpersonal relationships of the literary heroes has been fulfilled. The frame denoting peoples’ relations is actualized by means of the terminal elements which fill the frame structures in the analyzed discourse, reproducing interpersonal contacts and mutual influences of the literary personages. As the result of this research, it was concluded that the frame structures are an effective means in the illustration of the interpersonal relationships of the characters of a fiction discourse as well as a productive mechanism in decoding of author’s intentions.

Influence of goethe's sentimentalism on literary characters

This article analyzes in comparative terms the fate of literary heroes with the worldview, mood and lifestyle of the great German thinker I.W. Goethe at the time of writing the work “The Suffering of Young Werther”.

Биография ускользающей витальности: экстраполяция И.С. Тургеневым возрастных печалей на самочувствие персонажей

This article focuses on the problem of the writer’s age, which partly, and sometimes very noticeably, influences the author’s worldview and discourse. Age often sets a special type of confession that is manifested in Ivan Turgenev’s letters and novels. The writer’s protagonist turns out to be the object of the normative prescriptions of the age-related experiences of their creator. The article considers a new image of a literary hero, one who is close to real life and opposed to young sufferers, who are not burdened by past memories. A comparison of I. S. Turgenev’s novels and his letters enables the possibility of revealing the author’s self-awareness, which was transferred to his characters.The issue of the age-crisis is considered from different points of view. The first is an attempt to determine the psychological differences between youth and maturity on an example of the relationship between heroes of different ages. The peculiarities of the love between a 35-year-old character and a young girl is emphasized by the ideological position of the author and his character inside the romantic plot. The interpretation of how age influences the writer’s work allows one to trace the process of transformation in his creative world. The point of view presented in this article is one of many possible keys to considering the topic of age as a philosophical and aesthetic concept of the writer.

The structure of the W. Faulkner’s novels (the analysis of “The wild palms”)

The article “The structure of W. Faulkner’s novels (the analysis of “The wild palms”)” is devoted to the problem of the structure of prose works by W. Faulkner, in particular, it is considered the novel “The wild palms”. It is paid attention to the fact that the events of the main number of works of the American writer take place in the fictional district of Yoknapatawpfa. But “The wild palms” is out of the designated country. The writer plays out events in completely real geographic locations like New Orleans, Chicago, Utah, Texas, the Mississippi. The plot of the novel consists of two separate stories. One part is called like the novel “The wild palms”, and the second – “Old man” (for the first time the author published it as an independent story). The first part is about the attempt of heroes in love – Harry Wilbourne and Charlotte Rittenmeyer – to isolate themselves from social, public, family problems and find personal happiness in love. In the second part of the novel the author is talking about a tall convict without a name who is serving a sentence in prison, enters into a duel with the elements and takes responsibility for the lives of other people in such a difficult period. To understand the structure of the work better, the article analyses the heroes’ life positions. At first glance they are completely different: somewhat hidden from external influences, and sometimes, on the contrary, they are quite obvious and become a challenge to others. But analyzing what happens to the characters, their moments of joy, grief, losses or achievements, we come to the conclusion that the two parts of the novel complement each other, emphasize the drama of the characters’ fate, interconnect the deep and, in particular, identical tragedies of literary heroes. In the description of the composition, the author uses the musical term “counterpoint”. Echoes of the themes, problems, ideas expressed by the author arise in turn in each of the two parts, and merging into a coherent work also occurs due to the description of nature, weather, emotions, internal monologues, dialogues, etc. More than once, critics mentioned such an original construction of the novel, but did not deepen the analysis of this phenomenon at the level of the text. The novelty of the study lies in the attempts of a detailed analysis of events’ course in two parts, of which the story “Old man” is a counterpoint to “The wild palms”.

The "Meek" and "Proud" Types of Female Images in the Works of F.M. Dostoevsky: A Study of the Question of Virtue

The article analyzes the types of "meek" and "proud" female images in the works of F.M. Dostoevsky in connection with the typologies of the images of the writer among the literary critics N.A. Dobrolyubov, V.F. Pereverzev and A.A. Gizetti. The article refers to the classical authors of the early critical understanding of Dostoevsky's works, who divided female images into two opposite types of the "meek" and "proud". At the same time, the article emphasizes the idea that in Dostoevsky's polyphonic world every literary hero has a multidimensional consciousness, which is why the direct dichotomous division into the "proud" and "meek" can only be a rough generalization. The first part of the article examines the typologies of N.A. Dobrolyubov, as well as one of V.F. Pereverzev, who creates the most ambitious and significant typology, considering female images. He sensitively notices the ambiguity and tragedy of Dostoevsky's heroines and introduces the term "the doppelgngerwoman" into the typology of female images, on the basis of which each heroine somehow contains a certain internal conflict, the solution of which in the course of a novel allows her character to develop towards one of the indicated subtypes. The second part of the article analyzes the typology of A.A. Gizetti, who in his research focuses on such type of Dostoevsky's female images as the "proud", highlighting a new, "mysterious" subtype of the Dostoevsky's proud heroine. In the performed comparison of "meek" and "proud" types of female images it is considered to distinguish positive and negative ethical meanings of them. The article formulates conclusions about the various subtypes of "meek" and "proud" characters in the writer's artistic world, and outlines the grounds for further system of understanding of meekness and pride on a scale of correlation with vice and virtue.

Additions to the Сommentary (Based on F. M. Dostoevsky

The article analyzes certain proper names and titles of the works from the 1860s notebooks of F. M. Dostoevsky (preserved in the Manuscripts Department of the Russian State Library, fund 93.I.2.8 and in the Russian State Archive of Literature and Arts, fund 212.1.4, 212.1.5). Some of the notes have not been deciphered or have a controversial reading in research literature. These include both the names of people with whom Dostoevsky personally communicated, the names of the authors of books that the writer read, and the anthroponyms of literary heroes. Proceeding from the commentaries that accompany the first publications of notebooks in vol. 83 of the “Literary Heritage” series, as well as in vols. 20 and 27 of “The Complete Works” of the writer in 30 volumes, the author of the article offers an updated and/or corrected commentary on certain names and titles. Thus, the correct title of the book by the historian I. D. Belyaev, which was a part of Dostoevsky’s library, and about which a memo was made, is established. Dostoevsky often left critical notes in his notebooks regarding the works of a particular contemporary. The article examines a number of entries about “nihilistic novels” instigated by the reading of the then-current works on female emancipation. The commentary by T. I. Ornatskaya, who ascribes the name “Lilinka” and the records associated with it to “Dream,” a short story by A. V. Korvin-Krukovskaya, is disputed, confirming the opinion of other researchers that the source of the records is N. D. Akhsharumov's novel “A Tricky Business.” The article also analyzes records concerning the writer's debts (for example, to V. P. Polyakov, P. A. Popov and V. P. Popov), as well as notes about the failed and unknown authors of the “Epoch” (a certain Andreev). In Dostoevsky's notebooks of the “Time” (“Vremya”) and “Epoch” (“Epokha”) period (1860–1865) there are proper names that still have no corresponding comments. The article aims to draw the attention of researchers to existing problems for further development of the topic.

Hero in contemporary revolutionary and military literature: a typology of characters

The relevance of the issue stems from the urgent need to analyse with the help of the latest methods the new phenomena of modern Ukrainian literature, in particular the block of its revolutionary and military prose as one of the directions of modern literature. The aim of the work is to develop and thoroughly analyse the works of 2014-2020 dedicated to the Revolution of Dignity and the war in Eastern Ukraine, to study their genre nature, to clarify their characteristic features and to create a new typology of the modern literary hero. Among the main methods for processing diary texts were historical-biographical, comparative historical, comparative, structural-narratological, interdisciplinary, as well as elements of hermeneutical, intertextual methods, text and discourse analysis, etc. The paper provides a detailed analysis and proposes a new typology of the modern literary hero. The materials of the study can be used to prepare basic and special courses on the theory of literature, the history of Ukrainian and foreign literature, while working on manuals and textbooks, including those for higher education institutions, etc.

The fate of African mask in the works of French-speaking writers in West and Central Africa

The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the African mask as the most striking symbol of African traditions on the part of cultural, art and scientific workers and the reflection of this symbol in the works of representatives of Francophone literature in West and Central Africa in different periods of time. The article concludes about the transformation of the views of the studied writers on the future of African traditions from an enthusiastic and romantic (as, for example, in the lyrics of Léopold Sédar Senghor or Samuel-Martin Eno Belinga) attitude to the images of the African past and tradition – masks, ancestor cult – to despair and bitterness from the awareness of the desacralisation of traditional objects and images and the profanation of tradition under the pressure of the realities of the present day (drama by Koffi Kwahulé). The attitude of African writers to the image of the mask, which is directly related to the themes of preserving traditions and the search of their identity by African literary heroes, is gradually changing, demonstrating the pessimistic view of Francophone African writers on the future of African traditions.

Hero in contemporary revolutionary and military literature

The relevance of the issue stems from the urgent need to analyse with the help of the latest methods the new phenomena of modern Ukrainian literature, in particular the block of its revolutionary and military prose as one of the directions of modern literature. The aim of the work is to develop and thoroughly analyse the works of 2014-2020 dedicated to the Revolution of Dignity and the war in Eastern Ukraine, to study their genre nature, to clarify their characteristic features and to create a new typology of the modern literary hero. Among the main methods for processing diary texts were historical-biographical, comparative historical, comparative, structural-narratological, interdisciplinary, as well as elements of hermeneutical, intertextual methods, text and discourse analysis, etc. The paper provides a detailed analysis and proposes a new typology of the modern literary hero. The materials of the study can be used to prepare basic and special courses on the theory of literature, the history of Ukrainian and foreign literature, while working on manuals and textbooks, including those for higher education institutions, etc.

Репрезентация эталонов красоты человека в сравнительных оборотах русского языка

The article deals with the problems of representation of the standards of human beauty in the comparative turns of the Russian language [beautiful, as...]. When choosing beauty standards, a person is guided by cultural norms and stereotypes that exist in the socio-cultural space. Native speakers of the language and culture most often choose religious and mythological characters (god, angel, madonna, witch, devil) as standards. They belong not only to Slavic mythology, but also to ancient, Eastern, and Scandinavian (nymph, Apollo, Aphrodite, peri, guria, valkyrie). The standards of beauty also include the precedent proper names of literary heroes, actors, singers, historical figures (Agamemnon, Eugene Onegin, Brad Pitt, Lyubov Orlova, Liudmila Zykina, Chapaev, Cleopatra). Beauty standards are gender-oriented: there are separate standards of male beauty and standards of female beauty. When choosing standards, the principle of gender correspondence of the standard and the object of comparison is observed.

THE ROLE OF THE PROPER NAMES OF THE LITERARY HEROES IN MYROSLAV DOCHYNETS' NOVEL "CHILDREN OF THE FERN"

The relevance of our study is due to the fact that in modern linguistics is still insufficiently studied the potential of the proper names of the literary heroes in the prose texts of famous authors. Therefore, in our opinion, the study of the hero's own name needs special attention, and a thorough analysis of the proper names of the literary heroes in M. Dochynets' novel "Children of the Fern" opens opportunities for further generalizations in the field of relevant linguistic and stylistic issues. The purpose of our article is to study the role of the proper names of the literary heroes in the novel "Children of the Fern" written by the Transcarpathian writer, winner of the Shevchenko Prize Myroslav Dochynets; our task is to describe the proper names of the literary heroes, to reveal their information loading, the role in the development of the plot. The object of the research is the novel "Children of the Fern" by M. Dochynets. The subject of the research is the proper names of the literary heroes and their functional content. Methods and techniques. Research methods are determined by the specifics of onymic material, which requires a systematic approach and the use of traditional descriptive method and its basic techniques: observation, interpretation and generalization. The functional load of the proper names of the literary heroes is determined by the method of contextual analysis. The scientific novelty lies in the fact that for the first time the role of the proper names of the literary heroes functioning in the novel "Children of the Fern" by M. Dochynets is studied. Attention is paid to the role of the proper names of the literary heroes (including pseudonyms) and the conditions of their origin; the etymological meaning (internal form) of the proper names of the literary heroes is revealed. It is proved that proper names of the literary heroes in the novel are the most important lexical elements that have a variety of semantic and emotional content, they are accompanied by connotations and various associations, and they characterize the character by national, social origin, and create a certain emotional tone, reflect the author's attitude to the named character. Conclusions. Proper names of the literary heroes in the novel "Children of the Fern" are a powerful layer of vocabulary. Their role in the text is difficult to evaluate: they are indicators of time, nationally significant, informational and evaluative – they perform different functions.

ANALYSIS OF THE STORIES OF U. HAMDAM IN THE CONTEXT OF MODERN UZBEK LITERATURE OF NEOREALISM

The article is devoted to the problem of the evolution of the modern hero and types of heroes in the modern Uzbek literature of neo-realism. The poetics of neo-realism marked by a combination of descriptive concreteness and object precision with expressive and lyrical often-symbolized words; characterized by a weakening of narrative connections by strengthening the lyrical beginning and in-depth psychologism. Neo-realism in Uzbek literature, while possessing national features, in terms of poetic and stylistic orientation, is fundamentally different from neo-realism in Russian and Western literature. The works of A. Yuldashev and U. Khamdam are the bearers of this line in Uzbek prose. Along with the synthetic nature of the texts of these writers, there is a feature that unites them all — the desire of prose writers not to paradox, but to reality. The purpose of this article is to consider the philosophical perception reflecting the state of mind of modern man through the prism of the perception of the literary hero in the Uzbek literature of the XXI century. Ulugbek Hamdam in the stories «Камень», «Река души моей» (“The Stone", “The River of My Soul”) with the help of conventionality and signs-symbols, as well as building the work on the basis of functional relationships, builds his author’s concept on the material of everyday life. Abdukayum Yuldashev in the stories «Пуанкаре», «Близнецы» (“Poincare”, “Twins”) having a rich style arsenal, also works at the interface of realism and neo-realism. The article attempts to analyze the main features in the typology of the hero in the stories of U. Hamdam in the context of the traditions of new realism.

Folklore and literary continuum in the north caucasian novel of the late xx-th century in the aspect of ethnopedagogy

The purpose of the work is to comprehend the folklore-literary continuum in the major epic works of national writers. The relevance of the research is due to the scientific and cognitive interest in folklore aesthetics, which determined the dynamics of the development of artistic thought. The novelty of the research is to study the specifics of the inseparable interaction of oral literature and literature within the chronological period of the 1960s-1990s. The main attention is projected on the novel prose of the classics of Ingush and Karachay-Balkar literature Idris Bazorkin (1910-1993) and Alim Teppeev (1937-2010), who made a significant contribution to the development of artistic and intellectual thought of the North Caucasus region. The creative nature of the connection of these aesthetic systems contributes to the philosophical understanding of the historical events recreated by the authors in the life of an ethnic group, the comprehension of national psychology. The appeal to the images of the Ingush and Karachay-Balkar Nart epos, folklore motives is due to the solution of the problems of the spiritual evolution of the literary hero in the context of time. The conducted research allowed us to conclude that the continuity of folklore and literature gives prose works a high aesthetic beginning, the factor of creative evolution contributes to the creation of a national picture of the world, the achievement of artistic expressiveness.

AUTHOR AND HERO’S PARALLELISM IN ENGLISH AND UZBEK LITERATURE

The article examines the creative personality and his parallel construction with the literary hero and the use in Western and Eastern literature. The concept of a creative personality is a literary category, where there are leading the biographical and psychological factors. Nevertheless, the author is one of the factors in the perception of life events, their expression in high poetic and prosaic forms unlike “I”, especially in the choice of images and the formation of artistic heights in their expression. The creative personality is reflected through the artistic image (a character, a hero) and the characteristics of the creative style of the personality are stable. In this regard, emphasizing that a creative person is an artistic image, it is possible to determine the presence of a creative person in different cases of images, portraits and characters, as well as in a series of events in which the character participates. In English, the concept of a creative person translates as “creative person” and means a more creative, skilled person. This phrase is used more as a psychological term and in literature it is not understood as a writer. The concept of a writer is called “writer” or “author”. A creative person is a representative of a talent capable of creating high artistic patterns, unlike the author and writer in terms of terminology. The terms “writer” and “author” can be applied to any author of a work, but a creative person differs from ordinary authors and writers in terms of worldview, sense of poetic principles and power of expression. The “personality” of the writer, his expression is not only a peculiar view of life, its aesthetic development, but also a certain attitude towards it. These are also ideas, artistic concepts that form an integral part of literary works. This article also discusses the use of concepts such as creative “I” and biographical “I”. It reflects the problem of the creative personality and the hero in the works of English authors George Byron, Walter Scott and the most prominent representatives of Uzbek jadid literature Cholpon, Kadyri and Fitrat.

ВИХОВАННЯ ПАТРІОТИЧНИХ ПОЧУТТІВ У ДІТЕЙ СТАРШОГО ДОШКІЛЬНОГО ВІКУ ЗАСОБОМ ДИТЯЧОЇ ХУДОЖНЬОЇ ЛІТЕРАТУРИ

The article reveals the issue of education of patriotic feelings of the older pre-school-age children by use of children's fiction. Therefore, patriotic feelings which are nurtured by means of the artistic word, bring out the love for the heroic in children, convince that in any historical time in life there is always a place for feat, faithful service of his people and his country. The directions for the work with children in the educational space on the selection of works of art for the education of patriotic feelings are determined. Older pre-school-age children already own the literary baggage, unmistakably determine the genre features of works, understand of the essence of a particular act of a literary hero. They are interested in the artistic word and books of a certain subject and genre.

V.Nabokovʼs King, Queen, Knave: Love Story from the Life of Mannequins or a Novel about the Mysteries of Writing?

This article is devoted to the analysis of the formal content structure V. Nabokov / Sirin’s second novel “King, Queen, Knave” (1928). The “realistic” narration about adultery is here сlosely connected with metaphysical themes and the features of game poetics. The theme of mannequins, dolls and maps is interpreted here in a quite new way. It is shown that, contrary to popular belief, not the figures of mannequins and dolls highlight the images of the characters, their soulless and mechanistic, but, conversely, the novel “King, Queen, Knave” shows how the blanks of literary heroes types, with a wave of the Author’s magic wand, turn into real people. From the stereotypical figures of the triangle husband – wife – lover and the banal plot about adultery, V. Sirin created a fresh and unusual story with non-standard and accurately drawn characters, with a non-trivial structure of the plot and original narrative models. From the sketchy narrative of adultery, the true dominant theme of the novel emerges – the revival of the inanimate, the creation of the “living life” of a literary text. In every episode, in every moment of the narrative, in every plot course, the Author emphasizes his dominant, organizing and creating role. The law of the Author’s willfulness dominates over the eventual field of the novel and forms game poetics of the novel. The elements of the game and the chance reign here and control the logic of the plot development, the atmosphere is created by the card name, the crazy old man-illusionist, various models of sports games (tennis, mountain skiing, sports equipment store, etc.) and children’s (dolls), dressing up and carnival masks, etc. The Author, in the face of chance / or fate, throws trick-mirages (a pistol that turned out to be a lighter, etc.) to the heroes, and then brutally exposes them; organizes driving rain or sends deadly disease. From the game in the play quite naturally emerge two Russians – the “representatives” of the Author in the text.

HISTORICAL FIGURE AND LITERARY HERO IN WALTER SCOTT’S NOVELS

This article illustrates the analysis of Walter Scott’s historical novels. The aim of this work is to determine the peculiarities of the use of real historical figures in the works of the famous English writer Walter Scott. Achieving this goal led to the solution of the following tasks: consider the depiction of history in Walter Scott’s novels, to identify the description of English historical figures and literary hero in Scott’s novels. The focus of the research are the English historical novels “Waverly or Tis sixty years since” and “Ivanhoe”. The main research method is comparative analysis. The relevance of the work is determined by the need for further study of the genre of a historical novel in literature and the use of real life and artistic elements in Walter Scott’s novels.