Alexander Sergeevich Griboedov is the author of a wonderful comedy, which everyone knows from school bench. Most of all remembered the winged expressions from the comedy "grief from the mind." While reading the work, they are perceived easily and are postponed for a long time. The winged expressions from the comedy "grief from the mind" are always filled with psychologism and acute issues. Man after many years after reading the comedy can remember them. This article considers quotes from "grief from the mind" and explains their meaning.

Characters of Alexander Griboyedov are known, probably everyone: Magineuses, Sophia, Chatsky, Lisa, Molchanin, rockozub, etc. Each of them has its own individual character. Among others in the comedy, Chatsky stands out. He is the only one who wants to live according to its own laws and is often incomprehensible society. Most of all the quotes of Chatsky are remembered. "Woe from Wit" is the greatest monument of Russian literature, which to this day causes numerous disputes and discussions.

"Houses of the new, but prejudice older"

The value of this statement is such that often the society lives, relying on old dogmas and presentation. If decisions are made on the basis of previous beliefs, it means that some of the youth will seem to be blasphemed, incorrect, degrading personality, not allowing it to fully express their essence. The winged expressions from the comedy "grief from the mind", similar to this, allow you to track the destructive effect of old men and the previous system.

The Chatsky of this expression emphasizes its incomprehensibility, isolation from the world in which hypocrisy and pretense flourish.

"It would be glad to serve nauseous"

Perhaps the reader is most famous for the statements of Chatsky. Quotes of the comedy "Mount from the mind" are replete with openness and sincerity. Chatsky expresses its own position very clearly and is not going to hide his opinion on this or that matter. Most of all the hero is unpleasant hypocrisy and profitable preservability towards the elders by rank. With each convenient case, Chatsky gives truthful comments that can be considered in the words of a truly sensible person. The winged expressions from the comedy "grief from the mind", similar to this, noted unhealthy relations within the society itself of the beginning of the 19th century, where the deception flourishes, flattery, unkind views, discussion behind the back.

"Where, specify us, Fatherland fathers, whom we must take for samples?"

Chatsky is still looking for the truth in this world. He wants to see a reliable friend, associate, responsible and honest person next to him. Instead, he faces an unsightly reality that makes it be finally disappointed in people. He often observes the older generation, whom to his fathers, but does not find a true understandment example. You do not want to like a young man to be like a Famousov, simply wondering my life, no one else from his circle. The tragedy is that Nobody understands, he feels lonely and lost among this "masquerade", which plays society. This statement sounds both as a statement of fact, and as a bitter regret. Perhaps other winged expressions from the Comedy "Mount from Wit" are in the soul not as much as it. Here actually depicts an irreconcilable, almost revolutionary essence of the most important hero.

"Evil languages \u200b\u200bare terrible pistol"

These words say the character of Molchanin. He impresses the person of a quiet, predictable, stopped, which, under any circumstances, ready to please others. But Molchanin is not as simple as it seems. It clearly understands the profitability of his behavior and, at a convenient case, adjusts the changing conditions of public life. Helply and ready to always be subordinate, he does not notice how every day more and more loses himself, rejects his dreams (if he once had something), it is lost. At the same time, Molchanin is very afraid that other people (perhaps even from his environment) at some point will betray it, turn away or in a certain way laugh at its clumsy.

"The ranks are given by people, and people can deceive"

Chatsky is deeply outdated by how high ranks receive high ranks in this society. All that is required from a person is to be attentive and helpful towards his immediate boss. Attitude towards work, abilities and talents, high aspirations - all this, according to its observation, does not even matter. Conclusions, which makes a young man, are very sad and disappointing. He just does not know how further it is possible to exist freely in society, which rejects all true and correct.

Quotes from "grief from the mind" are filled with bright emotionality. When you read the work for the first time, unwittingly begin to sympathize with the chief hero, together with him to be amazed by the Unhealthy Famovsky society and worry about the general outcome of the events.

Showing in his novel "Fathers and Children" Type of a new hero of the Democratic District, Materialist and Nihilista Bazarov, I.S. Turgenev shows that, as any thinking person, the hero cannot stay on the same positions under the various circumstances of his life. The bazaars are not blind fanatic idea, not Dogmatik, he is also able to doubt, worry, disappointed. The defeat in love was the first blow to the hero. He denied all the romantic feelings like a boy confessed to the love of Anna Sergeyevna, but she refused

From his love, frightened for his peace of mind and comfort. The pride of the Bazarov is vulnerable so much that it became the beginning of his mental crisis, a period of grave doubt and insecurity.

The stack scene is just evidence of this sincere crisis. Bazarov and Arkady rest in the estate at the parents of Bazarov. Osip on the edge of the pit, remaining from a brick barn, reminds Bazarov childhood and involuntarily makes him regret the previous serene times. "I did not understand then that I did not miss the fact that I was a child." He is bored in the house of his parents, he is alien to their small economic concerns. What bothers the Bazar himself? "... a narrow place that I occupy, before which is tiny in comparison with the rest of the space, where I am not and where it is, there is no before me; And part of the time I will manage to live, so insignificant before the eternity, where I was not and there will be no ... "The feeling of my own insignificance and unnecessaryness in this light makes the hero doubt his destination. What is the meaning of his life and work, what will remain after it? If the peasant "Philippe will live in a white hollow, and from me burst to grow", is it easier from this hero? To climb from the skin for the sake of a man, who "even thanks will not say", is it that the meaning of the revolutionary-democratic movement? The bazaars are not sure in their abilities, and the only thing he can be proud of is the fact that "he did not break himself away, so the Babenka will not break me." The denying "deaf life, which" fathers "lead here, the bazaars can not oppose it. To the question of Arkady, on what side the same way, Bazarov says that he can answer, "as an echo: where?". He denies human morality, reducing everything to the strength of primitive sensations: "Why do I like chemistry? Why do you like apples? Also because of the sensation. " He refuses to mankind in a deeper knowledge of the world: "Deeper this people will not imbued with anyway." And that nonsense that he carries the Pushkin and allegedly about his verses, shows how unilaterally its natural science education. The scene ends with arkadium with arkadium, when the hearts of both young people embraces the "some almost hostile feeling." Arkady first protests against "despotism"! Bazarov laughing over his "beautiful" phrase. He is outraged by the fact that the bazaarov called him an uncle Idiot, and not only from a relative feeling, but also from a sense of justice. The father of Bazarov does not appear, friends could have come up. Relatedness, Evgeny's uncerence attributing the feelings of Arcadia, which once again confirms that they initially alien to each other. "No friendship will not stand such collisions for a long time," says the author.

This episode deeper renews deeper and fracture in the briefness of the Bazar and the inevitability and with the arcade of discrepancy. Bazarov is nothing more to achieve in this life, and his death will not be randomly the lawsuit, which the author considers the only worthy extraordinary hero.

The role of the artistic detail in the work of I.S. Turgenev "Fathers and Children"

In his work, the great Russian writer Ivan Sergeevich Turgenev used a wide range of literary techniques: landscapes, composite construction, system of minor images, speech characteristics and other ... But the most impressive multifaceted means of copyright of ideas and images on the pages of works is the artistic part. Consider how this literary remedy participates in the disclosure of the semantic filling of "fathers and children", obviously, the most controversial Roman I.S. Turgenev.

First of all, it should be noted that portraits and descriptions of costumes in this work, as in any other, actually completely consist of artistic parts. So, for example, Pavel Petrovich Kirsanova "... a face, as if derived by a thin and light cutter" and "The appearance .., elegant and breeding ...". And so, the reader immediately in appearance can determine that "Arkadiev Uncle" belongs to the noble class. Sophistication, sophisticated manners, habit of luxurious life, lightness, unshakable feelings of self-esteem inherent in "charming melancholic" and characterizing it as one of the typical representatives of the nobility, are constantly emphasized by artistic details, which are the objects of life of Pavel Petrovich: "Lonely large opal »On the" Schedule "," Tight collar shirts "," lacquer half-boots ", etc.

With the help of the description of beautiful and elegant things of the "Archaic phenomenon" I.S. Turgenev shows the atmosphere in which Senior Kirsanov lives, he betrays his worldview. Intentionally focusing on inanimate objects surrounding Uncle Arkady, the author leads the reader to the thought of a certain lifeless of the "county aristocrat", calling it the "dead".

The irrelevance of the life principles of Pavel Petrovich determines his "dead", the very fact of the presence, which discloses the idea of \u200b\u200bthe decomposition and failure of the noble class of that time. Thus, we see that the artistic part, participating in the portrait characteristics and description of the costume, performs an important function, reflecting the images and the idea of \u200b\u200bthe novel.

It is also necessary to say that the image of psychological portraits of heroes is played by a major role in identifying the main ideas of the work. For the transfer of feelings, experiences, thoughts of actors "fathers and children", the author often uses artistic details. A visual example of this can be the display of the internal state of the Bazarov on the eve of the duel. I.S. Turgenev with amazing skills shows anxiety, the excitement of Yevgeny Vasilyevich. The writer notes that Evgenia "... tormented by a disorderly dreams at night with Pavel Petrovich ...", and during the waiting in the grove, "the morning chill made him shudder twice ...". That is, the bazaars are obviously afraid of his life, although it hides it thoroughly even from himself. "Dreams" and "chill" are those artistic details that help the reader understand the thoughts and sensations of the Bazarov who swept it in this difficult situation, and to understand the fact that Evgeny Vasilyevich can not only deny and argue, but also worry, Love your life.

In the disclosure of the psychological state of the heroes of the novel, the background is actively involved in which the action unfolds. So, for example, in the eleventh chapter, the romantic, the elevated mood of Nikolai Petrovich is the answer to his soul on the fragrance, the beauty of nature. In this episode, the author depicted a landscape using artistic details, recreating an atmosphere of an excellent rural evening. The relationship between the nature and the inner world of "God's Cows" "Stars", which "swirling and worried" are especially unlikely. In addition, this artistic part is, almost the only one pointing to the change of evening landscape night. I.S. Turgenev marked the change in the state with just one stroke admiring his simplicity and expressiveness. Thus, art details play an important role not only in the image by the author of portraits, characters, mood of heroes, but also in creating a common background in various episodes of the novel.

For a clearer identification of the functions of a disassembled means of literary incarnation in "fathers and children", we analyze the methods of its application in this work. The most used method in the novel is an addition to each other's art details. This technique does not only give the reader a wider and vivid picture of any image, interior, psychological condition, but also draws our attention to those of his traits that the author found it necessary to emphasize. In particular, the situation in the house of Cushina is depicted on the pages of the work precisely with the list of artistic details: magazines, "mostly incomprehensible", "dusting tables", "scattered cigarettes". I.S. Turgenev already through the description of the interior decoration of the Evdokia room exposes the fate of nihilism "wonderful nature." Further features given to her by the author, finally disclose the failure of the Cushina and as a negative, and as a woman, and as a person, but the first thing that points to the fallacy of her views, on an incorrect understanding of Emancipation, there is an interior of the house of Avdoti Nikitishna. Another method of use in the "fathers and children" of the artistic part is antithesis. For example, Kukshin arrived at the ball to the governor "in dirty gloves, but with a regional poultry in his hair", which once again shall with its carelessness and promiscuity, which it issues for the life principles of the emancipated woman. In addition, the artistic part in the novel is often complemented by any other literary means. In particular, the writer mentions that the "Speech" of Bazarov "Little-signed and fragmentary". This visual detail is revealed and amplified by the replicas of Evgeny Vasilyevich, which is inherent in the speed, sharpness, rapidness and some aphoricist. And so, in the "fathers and children" I.S. Turgenev uses the considered literary tool in all possible versions, which makes it possible to significantly increase and expand its ideological purpose.

Thus, we see that artistic parts are used by the author throughout the whole work to express the idea of \u200b\u200bthe novel, when describing the appearance of the heroes, their thoughts and feelings, the background in the individual parts of the "fathers and children". I.S. Turgenev applies this means of visual incarnation in various variations, which makes it possible to emphasize its greater semantic load. Amazing variety, wonderful versatility and striking selection of artistic parts of the works are summarized by the reader to the thought, expressed Pisarev in the critical article "Bazarov": "... Through the tissue of the novel, it is a troop, deeply felt the author's attitude towards the exposed phenomena of life ...".

Turgenev characters in the novel "Fathers and Children" appeared before us already established personalities with unique, individual, alive characters. For Turgenev, of course, the laws of morality and conscience are very important - the foundations of the fundamentals of human behavior. The writer is trying to reveal the fate of his heroes, taking into account the fate of the historical development of society. Like any big artist, the artist's detail, the detail of Turgenev: a look, the gesture, the word, the subject - everything is extremely important.

It is interesting in its works and color items. Describing Pavel Petrovich, the writer shows that he constantly take care of the appearance, emphasizes the aristocraticity of his manner and behavior; Beautiful polished nails On the fingers of Pavel Petrovich Kirsanova really proves that he is Sibarit, Belorichka and a slacker.

Gesture. "He turned away, threw her a devouring look at her and, grabbing both her hands, suddenly attracted her to his chest" does not mean that they fell in love, but these gestures are details that reveal the entire inner world of the hero.

Recall the duel when not a noble knighthood, and Tu Duel Paul Petrovich with Bazarov, who shows the nobility comically.

Very interesting to the Aphorisms of Bazarov, who reveal the essence of the character of the hero: "Every person must educate itself," "Correct society - there will be no diseases," "As for the time, from what I will depend on it - let it depends on me," the nature of the workshop, and the man in it worker "Thus, in detail those written in the text of the Aphorisms of Bazarov, allows Turgenev to reveal the ideological position of the hero.

Another interesting detail in the disclosure of images is the reception of speech irony, when people either speak each other's evil or say, do not hear, the other. (Bazarov's disputes and Paul Petrovich)

On the pages of the novel, many words exacerbate a symbolic meaning: Bazarov stood with his back, when Anna Sergeyevna was explained in love, as if trying to burn out. To reproduce the live spoken speech of the acting persons, Turgenev widely uses incomplete sentences, which contribute to their speech of the speed of action and the state of excitedness of the hero.

Another part is interesting that in the 19th century, the title of works (L.N. Tolstoy - "War and Peace", A.S. Griboedov "Woe from Wit") became the key support words. Dostoevsky used another way keyword - italics (sample, business, murder, robbery, then, after ...

Balatskaya I.S., Kozlova A.V.

Head Kuzmina O.A.

sratov, MOU "SOSH №106"

Non-verbal support of communication in Roman I.S. Turgenev "Fathers and Children"

We would like to introduce you to our work on the topic: "The non-verbal support of communication in Roman I.S. Turgenev "Fathers and Children"

The relevance of the topic is that it is in behavior, thanks to non-verbal signs, it appears that much what happens in our inside. Also, understanding the language of the facial expansion and gestures allows you to more accurately determine the position of the interlocutor.

Many Russian and foreign scientists appealed to the topic of non-verbal communication. . Most researchers share the view that the verbal (verbal) channel is used to transmit information, while the non-verbal channel is used to "discuss" interpersonal relations, and in some cases used instead of verbal messages.

Knowing the types of non-verbal communication, it is possible to better understand each other, so the subject of our work is to study non-verbal means of communication in terms of reflection of them in Roman I.S. Turgenev "fathers and children."

Analyzing the criticism of this work, we noted that much attention is paid to the speech of characters, that is, verbal means of communication. However, it should be noted that in its work I.S. Turgenev still pays a lot of attention to the non-verbal means of communication, thus helping readers it is better to understand the image of a hero of his work.

We believe that to build an image of the chief character of the artistic work, a high school student should be able to analyze non-verbal funds, as well as draw conclusions, relying on their own speech experience.

We will try to analyze the process of non-verbal communication of the main characters of the novel "Fathers and Children".

To begin with, we define what communication is. There are various definitions of the concept of "communication." This is due to various views of scientists on this problem. In the modern psychological dictionary, it is proposed to identify communication as "a complex, multi-faceted process of establishing and developing contacts between people, generated by the needs of joint activities; Includes the exchange of information, the development of a unified strategy of interaction, perception and understanding. Basically, the verbal, level is used as a means of transmitting information. For non-verbal communication, the perceived appearance and expressive movements of a person include gestures, mimic, pose, gait, etc. D. Syuda can also be attributed to such a specific shape of human non-verbal communication as eye contact. The role of all these non-verbal signs in communication is extremely large.

Ivan Sergeevich Turgenev, for example, was convinced that any writer, creating his work, should be primarily a psychologist, depicting the mental state of his heroes, penetrating the holy depths of their inner state, their feelings and experiences.

Knowing the types of non-verbal communication, it is possible to better understand the ways of their expression, since non-verbal communication is carried out by all senses. Main types of non-verbal communication - it

Kineyik - Summary of gestures, gestures and poses, additions

Tactile behavior - types of touches to interlocutors who are in close proximity.

Sensorika is a sensual perception.

Proxy - View of non-verbal communication based on the use of spatial relationships.

Paraaerbal communication is the meaning of communication depends on the manifestation of rhythm, intonation and voice timbre.

Writers, as a rule, in their works do not explain the essence of the psychological states of their characters, they simply describe these states, showing their "external" side. I.S. Turgenev, for example, draws the action of his hero, without commenting. The author gives the right to the reader himself to guess that he felt the hero, what he thought and what was worried.

We conducted survey among students of grades 9-11 in order to identify the importance of non-verbal signs in everyday life and to test our assumption that literature is a way to know the life of the world's art model. The results of the questionnaire we were systematized in the table

We concluded that schoolchildren when reading a artistic work or watching the film most often draw attention to the movement of hands, facial expressions and how active the character uses gesticulation. However, the overwhelming majority of the respondents, reading any work, do not pay attention to non-verbal signs at all, and do not believe that it will somehow help them in disclosure of the chief hero. Perhaps this is what contributes to the fact that schoolchildren are difficult to understand what is actually the main character. The writer often draws the reader's attention to the manner to speak, on the forms of behavior of the heroes, that is, on a non-verbal component. Just need to be able to analyze. it

it gives us the opportunity to more clearly understand the features of the author's position and the meaning of the work as a whole, to understand the image of the hero more deeply. In the study, we proceeded from the hypothesis that the analysis of non-verbal funds in the literature lessons would contribute to the formation of communicative competence in adolescents, their willingness to correct their own speech behavior, and will also increase the interest of students to the personality and the work of Russian writers.

At the second stage of our research, we selected episodes from Roman I.S. Turgenev "Fathers and Children", in which there are certain components of non-verbal. gesture, faithful. During the analysis, nine such episodes were selected. But now we will look at them on the example of one. [Episode dating Pavel Petrovich and Bazarov, p.17]. "Pavel Petrovich slightly tilted his flexible mill and smiled slightly, but his hands did not give and even put it in his pocket." The fact that Pavel Petrovich makes all his actions and does not even give his hands to Basarov, already suggests that from the first minutes of dating he experiences antipathy to Bazarov. While when meeting with a nephew, Pavel Petrovich preliminarily performs a traditional European handshake, and then three times, in Russian, kisses him. It should be noted that the bazaars from the very beginning dating notes the attitude of Pavel Petrovich to him, and when Arkady is going to go out, Eugene immediately goes behind him, "Suddenly rummaged from the sofa." During the first dinner, the house of Kirsan Bazarov practically does not speak, but it eats a lot, perhaps from what feels uncomfortable in the established atmosphere, while Pavel Petrovich eats nothing (he never dinner), but only back and forth He cares across the dining room and sometimes says any exclamation, maybe from the fact that the presence of such a guest is unhappy with the presence of such a guest as bazaars, in addition, he notes that his nephew after communication with such a friend has changed much.

The study made it possible to establish that the non-verbal behavior of the main characters of the Roman I.S. Turgenev, although it is the lines of expression of the characters of the heroes of the novel "Fathers and Children", but they are undoubtedly rendered to mutually influence each other.

Ivan Sergeevich Turgenev, describing the experience of the heroes of the novel "Fathers and Children", never claims anything. He describes everything in the form of assumptions. The writer provides the reader the right to guess what happens inside the hero. Let's try to figure out the manifestations essential for

understanding what is behind the words. We draw conclusions, relying on the lamp and kinetic non-verbal means of communication.

In the course of our study, we revealed several of some psychological pairs. Evgeny Bazarov - Arkady Kirsanov, Pavel Petrovich Kirsanov - Nikolai Petrovich Kirsanov; Nikolai Petrovich Kirsanov - Fuenus; Sitnikov - Kukshin, Anna Sergeevna Odintova - Katya; Arina V. Vasily Ivanovich. But the main psychological couple of the novel is, of course, Bazarov and Pavel Petrovich Kirsanov. Considering such a couple of interlocutors as Odints and Bazarov, we relied on the value of intonation and gestures.

Conclusion

Thus, the main goal of the work is to identify the effect of non-verbal means of communication on the construction of the images of the main characters of Roman I.S. Turgenev "Fathers and Children" was achieved. Thanks to the non-verbal signs, you can trace the relationship between the heroes and their mutual influence of each other. The results of the survey confirmed the relevance of our study in conclusion It is worth saying that non-verbal means of communication make the novel "fathers and children" are extremely fascinating. The reader himself becomes the acting face of the novel, it seems to be involved in action. The author does not allow the reader to be bored and constantly gives him food for reflection. To read the novel without thinking, almost impossible. Constantly falls on or another to study the behavior of the heroes. It can also be said that he is partly due to the non-worker, the novel is relatively small in size, which also facilitates its reading.

Consequently, the systemic appeal to the non-verbal means of communication of the heroes of one or another work in the literature lessons will contribute to the motivation of students to read the artistic work, the formation of their oral speech skills. We believe that the understanding of the inner world, the experiences of the heroes of the artwork leads to their own conclusions, dialogue and polylogu at the lesson of literature.

The results of our work we used when studying the Roman Goncharov "Oblomov" and preparing tasks for the analysis of the novel "Master and Margarita" Bulgakov.

For example, by analyzing the first meeting of the procurator with Ga-Nochri, we paid attention to non-verbal ways to transfer information.

Thus, we take part in planning literature lessons along with the teacher. We study and teach classmates to correctly analyze the behavior of literary heroes, in order to use our knowledge in everyday life.

When we analyze the texts of a artistic style, where there is no clear assessment by the author of the actions of the hero, knowledge of the methods of non-verbal communication is very useful to us to determine the author's position.

UDC 316.772.2.

A.S. Kuznetsov

female student 3 courses of the Philology Faculty of FGBOU to "Altai State Pedagogical University"

A.A. Chernikov k. Ped. N., Associate Professor of the Department of Psychology of FGBOU to "Altai State Pedagogical University"

g. Barnaul, Russian Federation

The role of non-verbal communication in Roman I.S. Turgenev "Fathers and Children"

annotation

The article is devoted to the problem of studying and interpreting the non-verbal components of communication in the texts of literary works.

Keywords

Non-verbal communication, non-verbal communication means.

Interest in the study of text fragments that represent non-verbal communication in Russian literature is associated with the verbalization of the spectrum of emotional-sensual state characters and the peculiarities of the presentation of non-verbal communication in the Russian language picture of the world. The specifics and purpose of non-verbal components in the literary work correlated not only with the system of portrait of the portrait. They act as a prerequisite for the development of intrigue of the work.

Non-verbal components serve as an expression of human emotional states. At the semantic level, they are responsible for the transfer of the emotional status of characters. Pragmatic aspect of non-verbal components - in their connection with the viewer (reader), in the reporting to the last idea of \u200b\u200bone or another hero.

System of gestures, facial expressions and televitations are used in literary works as means of communication. They replace or strengthen the sound speech, transmit emotions, reveal the momentary spiritual confusion of heroes or their secret plans.

Thus, in order to correctly reveal the character of the character, to analyze his attitude towards the people around him, in particular, interlocutors, it is necessary to investigate its means of non-verbal communication.

Literary creativity is as close as possible to the very reality due to the unity of individualization and generalization of the artistic image. And here the portrait elements play a significant role.

The artistic gesture and facial expressions create a conditional image of the theater, indicating the loss or acquiring a character of adequate relations with the surrounding reality.

The writer, as you know, depicts the world, and therefore it is extremely important to learn to see what the artist shows, you have to "see" the hero or a picture, placed not only in the foreground, but also what is behind them or moved to the scene. Consider gestures, facial expressions, pantomimik, the spatial location of the hero at the moment when his excitement manifests itself, he switches to another object, to another side, to focus on those who say, to fix portrait parts, although the author could not depict them. But the most important thing is to work out the methodology to "see" and distinguish between repeating words, phrases, paintings, episodes that create a motive "underwater flow".

Material for research and interpretation of non-verbal components served Roman I.S. Turgenev "fathers and children." To show that the means of non-verbal communication are an indicator of the true relationship of heroes in relation to each other in the process of communication, we analyzed fragments of this work.

International Scientific Journal "Innovation Science" №6 / 2016 ISSN 2410-6070_

Microtectors from Roman I.S. Turgenev "Fathers and Children"

1. "... Putrovich fell out of his beautiful hand from his pocket his beautiful hand with long pink nails, - the hand, which seemed even more beautiful from the Snow White of the Sweesecker, fastened with a lonely large opal, and filed her nephew (greeting gesture). After having previously European "Shake Hands" (a handshake (eng.)), He was three times, in Russian, kissed him (which allows the writer to strengthen the psychological effect), that is, she touched him three times with his fragrant mustes before his cheeks, and said: "Welcome".

Nikolai Petrovich presented him with Bazarov: Pavel Petrovich slightly tilted his flexible mill and smiled slightly (the emotional component was represented by the verb of a decreasing variety - acting a slightly; the inclination and smile hero tried to soften the lack of a "handshake"), but the hands did not give a sense of sympathy and Respect) And even put it back into his pocket (superiority over the interlocutor, negative attitude).

I already thought that you would not arrive today, "he spoke with a pleasant voice, kindly swaying (sign of superiority, high position), twisted his shoulders (doubt) and showing beautiful white teeth. - Is that on the road happened?

Nothing happened, "Arkady answered," so, they knew a little. But we are now hungry like wolves. Potoropi Prokofycha, dad, and I will come back now.

Wait, I will go with you, - exclaimed the bazaars, suddenly rummaged from the sofa (the desire to go away from communication, distance). Both young people came out.

2. ". Ditzova looked at Bazarov. Gorky smile (in order to prevent anywhere, the writer accompanies the smile of the epithetom, which allows the reader as accurately as possible to express the face of the hero: bitter) twisted his pale face. "This loved me!" She thought - and sorry she became him, and with her hand stretched to him (friendly gesture).

But he understood her.

Not! - he said and retreated a step back (distance). "The person I am poor, but the alms still did not accept." Goodbye-s and be healthy.

I am convinced that we are not visible for the last time, "said Anna Sergeevna with an invalid movement.

What does not happen in the world! - answered the bazaars, bowed (demonstrating respect) and came out. " .

Thus, non-verbal components play not an unimportant role in the disclosure of genuine

spectrum of emotional-sensual state characters of literary works. With the help of non-verbal communication tools, the reader reveals the authentic nature of the characters and their interpersonal relationship, veiled by speech communication. In literary works, the means of verbal and non-verbal communications are closely woven into the structure of the communicative act and act in equal hypostatas.

The non-verbal components as a source of additional information about communicators are socially determined and corresponding to the emotional state of the heroes, open the reader the opportunity to understand the psychology of characters.

1. The non-verbal means of communication are in systemic dependence on verbal.

2. Texts of artistic works containing a description of non-verbal components also reflect emotions.

3. Recreation of emotional-sensual states of artwork characters through the interpretation of non-verbal components is an important component of the text category of emotivity.

4. In syntactic structures, non-verbal means of communication may be present both explicitly and implicitly.

List of references: 1. Kutova, O.Yu. Gesture in the ancient Russian literature and iconopys of the XI-XIII centuries. To the formulation of the issue. - SPb.:

International Scientific Journal "Innovation Science" №6 / 2016 ISSN 2410-6070_

Todrl, 1983. - 258 p.

2. Mikhailichenko, B.S. Problems of literary studies: theory of literature. - Samarkand: Samgu, 2009. - 182 p.

3. Piz, A., Piz, B. New television language. Extended version. - M.: Eksmo, 2009. - 424 p.

4. Turgenev, I.S. Fathers and children: novel. - M.: Goslitizdat, 1963. - 295 p.

© Chernikova A.A., Kuznetsova A.S., 2016