The concept of "psychologism in fiction" was studied in detail by A. B. Esin. Consider the main provisions of its concept of psychologism in the literature. In literature, "psychologism" is used in a wide and narrow sense. In a broad sense, under psychologism, the Universal Property of Art reproduces human life, human characters, social and psychological types. In a narrow sense, under psychologism, a property is understood, characteristic not for all literature, but only for its particular part. Psychology writers depict the inner world of man especially bright and alive, in detail, reaching a special depth in his artistic development. We will talk about psychologism in a narrow sense. Immediately alleged that the absence in the work of psychologist in this narrow sense is not a deficiency and not dignity, but an objective property. It is simply in the literature there are psychological and non-psychological ways of artistic development of reality, and they are equivalent from aesthetic point of view.

Psychologist is a fairly complete, detailed and deep image of feelings, thoughts and experiences of a literary character using specific artistic literature. This is the principle of organizing elements of the artistic form, in which the visual funds are directed mainly to the disclosure of human mental life in its diverse manifestations.

Like any phenomenon of culture, psychologism does not remain unchanged in all centuries, its forms are historically moving. Moreover, psychologism existed in the literature not from the first days of her life - he arose at a certain historical moment. The inner world of a person in the literature did not immediately become a full and independent object of the image. In the early stages, culture and literature have not yet needed psychologism, because Initially, the object of the literary image was becoming that, first of all, it was happening in the eye and seemed most important; Visible, external processes and events, clear by themselves and not requiring comprehension and interpretation. In addition, the value of the event performed was immeasurably higher than the value of the experience of his occasion. V. Kolinov notes: "The fairy tale transmits only certain combinations of facts, reports the most basic events and actions of the character, not deepening in its special internal and external gestures ... All this is ultimately due to the undeveloped, ease of the mental world of the individual, as well as the lack of genuine interest. To this object "(V. Kolinov. Plot, Fabul, Composition // Theory of Literature: In 3 T. - M., 1964). It is impossible to say that the literature at this stage did not touch the feelings, experiences. They were depicted inside, because they were manifested in external actions, speeches, changes in facial expressions and gestures. For this, traditional, repeated formulas denoting the emotional state of the hero were used. They point to the unequivocal relationship of experience with its external expression. For the designation of sadness in Russian fairy tales and epics, the formula "He became unemployed, hung his head buoyed." The very essence of human experiences was one-dimensional - this is one state of grief, one state of joy, etc. According to the external expression and in terms of the content of the emotions of one character, no difference from the emotions of the other (the attractions are experiencing exactly the same grief, like Agamemenon, Dobrynya tries the victory in the same way as Wolga).

So, in the artistic culture of early epochs of psychologism, it was not simply not, and it could not be, and it is natural. In public consciousness, a specific ideological and artistic interest in the human person, individuality, to her unique life position appeared.

Psychologist in the literature arises when in culture a unique human personality is aware of the value. It is impossible in those conditions when the value of a person is fully due to its social, public, professional position, and a personal point of view on the world is not taken into account and is assumed to be even non-existent. Because the ideological and moral life of society is fully controlled by the system of unconditional and infallible norms (religion, church). In other words, psychologism is not in cultures based on the principles of authoritarianism.

In European literature, psychologist arose in the era of late antiquity (Heliodor's novels "Ethiopic", Long "Daphnis and Chloe"). The story of the feelings and thoughts of the heroes is the necessary part of the story, sometimes the characters are trying to analyze their inner world. The genuine depth of the psychological image is not yet: simple mental states, weak individualization, narrow range of feelings (mostly sincere experiences). The main technique of psychologism is inner speech, built under the laws of external speech, without taking into account the specifics of psychological processes. Antique psychologism did not receive its development: in the IV-VI century, an antique culture died. Artistic culture of Europe had to develop as it were, starting with a lower stage than antiquity. The culture of the European Middle Ages was a typical authoritarian culture, its ideological and moral basis were the stringent norms of monotheistic religion. Therefore, in the literature of this period, we practically do not meet psychologism.

The situation is fundamentally changing in the Renaissance, when the inner world of man is actively mastered (Bokcchcho, Shakespeare). The value of the person in the culture system is especially high since the mid-XVIII century, the question of its individual self-determination (Rousseau, Richardson, Stern, Goethe) is sharply. Playing feelings and thoughts of heroes is becoming detailed and branched, the inner life of the heroes turns out to be rich in the moral and philosophical searches. The technical side of the psychologism is enriched: the author's psychological narration, psychological detail, compositional forms of dreams and visions, psychological landscape, is an internal monologue with attempts to build it under the laws of internal speech. Using these forms of literature, complex psychological conditions becomes available, the ability to analyze the area of \u200b\u200bthe subconscious, artistically embody the complex spiritual contradictions, i.e. Make the first step towards the artistic development of "Dialectics of the Soul".

However, sentimental and romantic psychologism, with all its development and even sophistication, had its own limit associated with the abstract, not enough historical understanding of the person. Sentimentalists and romance thought of a person outside his diverse and complex ties with the surrounding reality. Genuine heyday psychologist reaches realism in the literature.

Consider receptions in the literature. The main psychological techniques are:

The system of narrative-composite forms (author's psychological narration, first-person story, letters, psychological analysis);

Internal monologue;

Psychological detail;

Psychological picture;

Psychological landscape;

Dreams and vision;

Double characters;

Default.

The system of narrative composite forms. Such forms include the author's psychological narration, psychological analysis, a story between the first person and the letter.

The author's psychological narration is a story from a third party, which is "neutral", a "outsider" by a storytellor. This form of the narrative, which allows the author without any restrictions to introduce the reader into the inner world of the character and show it in the most detailed and deep. For the author, there are no secrets in the soul of the hero - he knows everything about him, can trace in detail internal processes, comment on the hero's self-analysis, to tell about those mental movements that the hero himself cannot see or in which he does not want to admit.

"He chuckled; All the body apparently trembled. But it was not the fluttering of the youthful timidity, not the sweet horror of the first confession mastered them: this passion was fighting in him, strong and hard, passion like an angry and, perhaps, akin to her ... "(" Fathers and Children "of Turgenev).

At the same time, the narrative can psychologically interpret the external behavior of the hero, its facial expressions and plastic. The story from a third party gives unprecedented opportunities for inclusion in the work of various forms of psychological image: internal monologues, public confessions, passages from diaries, letters, dreams, visions, etc. This form of the narrative makes it possible to portray psychologically many heroes, which for any other method of the narration is almost impossible. The story of the first person or the novel in letters, built as an imitation of an intimate document, gives much less opportunities to diversify the psychological image, to make it deeper and comprehensive.

The form of a third party did not immediately be used in the literature to reproduce the inner world of a person. Initially, there existed a certain ban on the invasion of an intimate world of someone else's personality, even into the inner world of the character himself by the author himself. Perhaps the literature did not immediately mastered and secured this artistic conventionality - the author's ability to read in the souls of his heroes is as easy as in his own. There was no more task for the author to portray in the full sense of someone else's consciousness.

Up to the end of the XVIII century. For the psychological image, they were used for the most part non-author's subject forms of narration: letters and notes of the traveler ("Dangerous connections" Laklo, Pamela Richardson, "New Eloise" Rousseau, "Letters of the Russian Traveler" Karamzin, "Travel from St. Petersburg to Moscow" Radishchev) And the story of the first person ("Sentimental Journey" Stern, "Confession" Rousseau). These are the so-called non-autorous subject forms of narration. These forms allowed the most natural to report on the inner state of heroes, to combine likelihood with sufficient completeness and depth of disclosure of the inner world (a person himself speaks of his thoughts and experiences - the situation is quite possible in real life).

From the point of view of psychologist, the narrative of the first person retains two limitations: the inability is equally fully and deeply shown the inner world of many heroes and monotony of the psychological image. Even the inner monologue does not fit into the story of the first person, because the real inner monologue is when the author "overhears" the thoughts of the hero in all their naturalness, unintentionalness and rawness, and the story of the first person involves the famous self-control, self-defense.

Psychological analysis summarizes the picture of the inner world, allocates in it the main thing. The hero knows about himself less than the narrator, does not know how to clearly and accurately express the grip of sensations and thoughts. The main function of psychological analysis is the analysis of sufficiently complex psychological states. In another work, the experience can be indicated in total. And this is typical of non-psychological letters, which should not be confused with psychological analysis.

Here, for example, the image of the moral shifts in the consciousness of Pierre Dzuhova, which occurred during the captivity. "He received that calm and satisfaction with himself, to whom he switched in vain before. He was looking for a long time in his life from different sides of this calmness, agreement with himself ... he was looking for this in Philanthropy, in Masonry, in the scattering of secular life, in wine, in the heroic feat of self-sacrifice, in romantic love for Natasha; He was looking for this by thought, - and all these searches and attempts were deceived by him. And he, without thinking that he received this calmness and this consent with himself only through the horror of death, through deprivation and through what he understood in Karataev. "

The inner monologue of the hero gives thoughts and an emotional sphere. In the work, the external speech of the characters is most often represented, but there is an inner in the form of an internal monologue. It is like an overheard by the author of thought and experiences. Such varieties of the internal monologue are distinguished, as a reflectable inner speech (psychological self-analysis) and the flow of consciousness. The "stream of consciousness" creates the illusion of absolutely chaotic, disordered movement of thoughts and experiences. The discoverer in the world literature of this kind of inner monologue was L. Tolstoy (Anna Karenina's thoughts along the way to the station to suicide). Actively flow of consciousness began to be used only in the literature of the XX century.

Psychological detail. Under the non-psychological principle of the letter, external details are completely independent, they directly embody the features of this artistic content. In the poem Nekrasov "Who in Russia lives well" the paintings of life are given in the memoirs of Savelia and Matrena. The memories process is a psychological state, and the psychologist's writer is always revealed precisely as such - in detail and with the laws inherent in it. Nakrasov is completely different: in the poem, these fragments are psychologically only in form (memories), in fact we have a number of external paintings, almost not correlated with the processes of the inner world.

Psychologist, on the contrary, makes external details work on the image of the inner world. External parts are accompanied and framed psychological processes. Items and events enter the stream of thinking of heroes, stimulate the thought, perceived and emotionally experienced. One of the bright examples is the old oak that Andrei Bolkonsky thinks in different periods of calendar time and his life. Oak becomes a psychological detail only when he is the impression of Prince Andrew. Psychological details may not only be the objects of the outside world, but also events, actions, external speech. Psychological detail motivates the inner state of the hero, forms his mood, affects the features of thinking.

The psychological portrait and landscape can be attributed to external psychological details.

Every portrait is featured, but not any psychological. It is necessary to distinguish the actual psychological portrait from other varieties of portrait description. In portraights of officials and landowners in the "dead souls" of Gogol, nothing from psychologism is not. These portrait descriptions indirectly indicate the sustainable, permanent properties of character, but do not provide ideas about the inner world, the senses and experiences of the hero at the moment, the portrait shows the stable features that are independent of the change of psychological states. The portrait of Pechorin in the Lermontov novel can be called psychological: "I noticed that he did not swing his hands - a faithful sign of some character of character"; His eyes did not laugh when he laughed: "This is a sign - or evil in the face, or a deep-constant sadness", etc.

The landscape in the psychological narration indirectly recreates the movement of the mental life of the character, the landscape becomes his impression. In the Russian prose of the XIX century, a recognized master of psychological landscape is I.S. Turgenev, the most subtle and poetic internal states are transmitted through the description of nature paintings. In these descriptions, a certain mood is created, which is perceived by the reader as a character mood.

Turgenev in the use of the landscape for the purposes of the psychological image reached the highest skill. The most subtle and poetic internal states are transmitted to Turgenev through the description of nature paintings. In these descriptions, a certain mood is created, which is perceived by the reader as a character mood.

"In this way, Arkady reflected ... In the meantime he thought, the spring took her own. All Golden Goldenly, everything is widely and gently worried and squeezed under the quiet breath of a warm breeze, all - trees, bushes and herbs; Everywhere endlessly, frying jetings were fed up; Chibisians were shouting, seeing over low meadows, then silently moved around the bumps ... Arkady looked, looked, and gradually weakened, disappeared his reflections ... He dropped his sinel and so fun, looked at his father so a young boy that he hugged him again "

Dreams and vision. Such plot forms, like dreams, vision, hallucinations, can be used in literature with a variety of targets. Their initial function is an introduction to the narrative of fantastic motifs (the hairs of the heroes of the ancient Greek epic, prophetic dreams in folklore). In general, the shapes of dreams and visions are needed here only as plot episodes affecting the course of events who anticipate them, they are associated with other episodes, but not with other forms of thoughts and experiences. In the system of psychological writing, these traditional forms have another function, as a result of which they are organized differently. The unconscious and half-conscious forms of the internal life of a person are beginning to be considered and to portray as psychological states. These psychological fragments of the narration begin to relate no longer to the episodes of external, scene action, but with other psychological states of the hero. Sleep, for example, is motivated by non-preceding plot events, but by the preceding emotional state of the hero. Why does the telemake in the "Odyssey" sees in the dream of Athena, who commands it to return to Itak? Because the preceding events made it possible and necessary for its appearance there. And why Dmitry Karamazov sees the crying child in a dream? Because he is constantly looking for his moral "truth", painfully trying to formulate the "idea of \u200b\u200bthe world", and she is in a dream, as a menteleev of his table of elements.

Double characters. Psychologist changes the feature of twin characters. In an unexicological style system, they were needed for the plot for the development of external action. So, the appearance of a peculiar dope of Major Kovalev in Gogol's "nose" - the product of the philantal on issues and unexicious in style - is the main spring of the story action. Otherwise, twins are used in the narration of psychological. The twin-feature of Ivan Karamazova is no longer associated with the plot action. It is used exclusively as a form of a psychological image and an analysis of the extremely controversial consciousness of Ivan, the extreme tension of his ideological and moral quest. The damn exists only in the consciousness of Ivan, he appears when the hero's mental illness exacerbates and disappears when Alyosha appears. Damn is endowed with his own ideological and moral position, its way of thinking. As a result, there is a dialogue between Ivan and it, and not household, but at the level of philosophical and moral issues. Damn - the embodiment of some part of the consciousness of Ivan, their internal dialogue is his inner dispute with himself.

Device defaults. This technique appeared in the literature of the second half of the XIX century, when psychologism became quite familiar to the reader, who began to look for in the work, not external stories, but an image of complex spiritual states. The writer silent about the internal life processes and emotional state of the hero, forcing the reader to produce a psychological analysis. On the letter, the default is usually denoted by ellipsis.

"With a minute they looked at each other silently. Rassakhin remembered all his life this minute. The burning and close view of Raskolnikov as if intensified with every moment, perceding himself in his soul, consciousness. Suddenly, Raumichin flinched. Something strange as if it passed between them ... some idea slipped, as if hint; Something is terrible, ugly and suddenly understandable on both sides ... Rassakhin turned pale as a dead man. " Dostoevsky does not agree, silent about the most important thing - which "happened between them": the fact that suddenly Raleshin realized that the rolling splitters, and the Raskolnikov understood that Raleshin understood it.

Psychologist - the general name for the designation of philosophical and methodological movement, which can be traced in the history of development logic, philosophy, intellectual culture as a whole, at least over the past 150 years. The desire to show a special place and significance of psychology in logic, philosophy and methodology of science spawned the movement of antipsychologicalism, which, in turn, led to the need to exhaust the argument on justifying each of the emergence of antithesis "Psychology - antipsychologicalism" as the only right, in terms of Representatives of the respective parties.

At the same time, the critical reconstruction of this dispute suggests that its main ideas can be traced in the history of logic and philosophy over the past four centuries, starting with philosophical reflections J. Locke and R. Descarte. The cycles of the recession and lifts of disputes around the ideas of P., including modernity, generate peculiar "worlds" of P. and antipsychologicalism in culture. The concepts of "P." and "antipsychological" representing these worlds are fuzzy multiple, peculiar open systems, still continuing to accumulate their elements.

Attempts to give strict definition of P. are difficult due to a variety of negative connotations associated with this concept. Few authors tend to characterize their own theories as psychological or themselves as supporters of P. At the same time, many philosophers willingly characterize other theories as psychologists. As Franz Brentano, PEACTION for the word "P." Many of the "pious philosophers" are similar to the reaction of orthodox Catholics to the term "modernism": "They begin to be baptized as if the devil himself is concluded in them" (Brentano. R. 306). Simply put, P. is what the philosophers are accused, and that, in relation to which they seek to prove their innocence.

In all interpretations of P. you can allocate something in common. This, firstly, the approval of the methodological and theoretical superiority of psychology over all other sciences, secondly, the declaration of the need to build other sciences on the basis of psychology, thirdly, allocating the decisive role of a subject in science and culture. According to Nikan Abbiano, which traces the use of the term "P." In the works of German philosophers of the first half of the XIX century, this term begins to be used to characterize the philosophical movement, which is initially protected by Ya.F. Fris and F.E. Beneck and which was opposite to Hegelianism, dominated in Germany this period. The first complex of ideas P. of this period was associated with the protection of the "rights rights" and the approval that self-surveillance (or introspection) is the only tool for philosophical research, which is permissible to dispose of the thinker. The second set of problems is associated with the characteristic of the method of establishing truth as a procedure based on the analysis of the subjective elements of self-surveillance. As part of this position, psychology turned out to be a fundamental philosophical and scientific discipline, introspection - a good psychological method that allows any theoretical studies to obtain reliable results. Such postulates brought to the conclusion that science and philosophy can simply be reduced to introspective psychology.

Fregevskaya Criticism of the Gusserle "Philosophy of Arithmetic, published in 1894, is a kind of watershed in sluggish spores between P. and antipsychologicalism. This criticism of P. stimulated "logical studies" of Husserl and the transformation of the dispute between P. and anti-psychologism to the central philosophical dispute of the era. The same criticism identified the ideas that later in the philosophical literature were called "Psychology in Logic" and "Antipsychologicalism in Logic". These are the ideas that would more correctly call, as V.N. Bushushkin, ideas of P. and antipsychologicalism in the philosophy of logic. In fact, in the framework of the "psychologism-antipsychologicalism in logic", issues of justifying the logic, allocating its subject, the problems of the relationship between logic and thinking were discussed. These are the problems "related to the philosophical interpretation of logic" (Bushinkin V. N. P. 87). At the same time, philosophical-methodological disputes between P. and antipsychological in the context of logic became a model for manifestation and reconstructing options for such disputes in other sciences and areas of knowledge, namely in the theory of knowledge and metaphysics, the history of philosophy, including religious philosophical thought, linguistics, literary criticism , stories, sociology, right, theater, etc.

Psychologist in logic. The main packages of logical P. can be represented as follows. Logic is a science of thinking, thinking belongs to the field of psychology, so the theoretical foundation of logic lies in psychology, and the logic itself is aimed at studying scientific knowledge. These ideas were most brightly manifested in the English school in the philosophy J.ST. Mill, and in German - in the philosophy of X. Sigvart. But a fundamental role in this process is still owned by Mille, whom G. Frega called the leader of the logical P. Mill had influenced representatives of various areas of knowledge: logic, linguistics, literary studies, political economy, sociology, history and other sciences. In fact, all of them he suggested samples of methods for analyzing and reasoning. In many ways, thanks to him, it was its conceptual apparatus of psychological logic to various areas of culture and knowledge, and this, in turn, contributed to the constitution of the "cumulative peace of psychologism."

Antipsychologicalism in logic. The main parcels of the logical antipsychologicalism are not-mediocrely related to the tasks of obvious to mathematics. G. Fregé considered an important strict distinction between logic and psychology. The task of logic, according to Fregé, is the study of the laws of truth, not thinking. At the same time, it explicitly formulates the methodological orientation of the problems of logic: the logic explores "Only that truth whose knowledge is the goal of science" (Friege G. P. 19). Frega understands thought as something has nothing to do with psychology and what the concept of truth is applied. This implies the most important thesis of Fregev antipsychologicalism: "Thought is something extraordinary, and all sensually perceived objects should be excluded from the area in which the concept of truth is applicable. The truth is not such a property that corresponds to a certain type of sensual impressions "(ibid. P. 22). Similarly, the thought, by Friege, is separated from a particular carrier, because The thought that one person formulated could be formulated by other people. Frega believed that people are not so many carriers of thoughts as carriers of ideas, sensual impressions. The idea is directly related to the truth, by virtue of this, it does not depend on whether its particular person recognizes or not.

In the process of thinking, according to Friege, there is no production of thoughts, but only the formulation of them, the scientist does not create, but reveals the true thoughts that exist independently of it in the world of ideas. Truths are arrogant, eternal and unchanged. They do not depend on who expresses them. Therefore, thoughts and may be true, even if no one has yet formulated.

The general moment characterizing the antipsychological position of Frega and Gusserly is the recognition of the existence of truth, independent of the knowing subject, recognition of high-quality originality and incorruptibility to each other the need for logical and real. Both antipsychologists of this period consider it necessary to carry out the line between the objective, ideal logical content of thought and the subjective, real-historical process of thinking. Thought does not belong to the consciousness of a separate person. Logical laws cannot be based on psychology laws. They do not imply anything psychological, no facts of "mental life", as it was, for example, in P. Mill and Sigvart. For them, psychological, naturalistic reductionism is unacceptable, in accordance with which ideal, a priori structures, such as, for example, logical laws, are reduced to empirical facts, problems of everyday life, ordinary perception. Both thinkers believe that the disordex and multivalousness of logical terminology is the most important cause of the existence of P. Therefore, the departure from P., the construction of "clean", antipsychological logic they associate with work to clarify the basic concepts of logic and streamlining its terminology. The fact that Gusserl is only declared for Frega is the main content of its work. Frega is building the calculation of concepts, with whose pod, he wants to leave P. and eliminate the multigid and logical imperfection of a natural language.

Literature:

BUSINKIN VN Logic, thinking, information. L.: LSU, 1988;

He is Psychologist on the threshold of the XXI century // Logical Cantology - 4. Proceedings of the International Seminar. Kaliningrad, 1998;

Windelbands V. Philosophy in the German spiritual life of the XIX century. M., 1993;

Gusserl E. Logic Studies. Swells to clean logic. T. 1. SPb., 1909;

He is Philosophy as strict sciences; Logo. 1911.№ 1;

Syrina G.V. Logyko-cultural dominant. Essays of the theory and history of psychologism and antipsychologist in culture. M., 1993;

Friege thought: a logical study of philosophy, logic, language. M., 1987;

Abbagnano N. psychologism // The Encyclopedia of Phillosophy. Vol. 6. N.Y., 1967;

Brentano F. Psychology from An Empirical Standpoint. N.Y., 1973;

Frege G. Grundgesetze der ArithMetic. DarmstadT: Wissenschaftliche Buchgesellschaft, 1962;

Kusch M. psychologism. A Case Study in the Sociology of Philosophical Knowledge. L.: N.Y., 1995.

Dictionary of philosophical terms. Scientific revision of Professor V.G. Kuznetsova. M., Infra-M, 2007, p.458-460.

Psychologist - this is a way (method) image of the mental life character in the work; Recreation and image in the artistic work of the internal life of a person. IN journalism psychologist - This is the method of understanding the personality in accordance with the "algorithms" of science and at the same time aesthetic principle of the image of character, involving the use of a system of artistic agents.

Need to remember:

To touch to the fine spiritual organization of the personality, the journalist should figure out the subjective world of the hero, understand his mental state, look into his sensually emotional sphere. Only in this case it is possible to identify the spiritual origins of the behavior of a particular person.

To write a full-fledged essay, the journalist must be tuned on the "wave" of emotions and thoughts of his hero. Such a mood encourages the special tonality of writing: Lorism and confessional. In this sense, the essay is one of the most intimate genres of journalism. The future, the full and volume disclosure of the inner world of a person, as, for example, this is done in the literary work, is impossible in the sketch.

The process of self-examination, self-analysis of the hero can be described in sketch through a monologue or dialogue . And in the other case, we will deal with various manifestations of his self-consciousness.

BUT) In the monologue of the hero fully immersed in myself: sees and hears only himself; expresses only its own point of view on things; His consciousness does not come into contact with other consciousnesses. Therefore, the world of the hero, as a rule, appears to readers unilaterally. But this is the process of internal self-discovery of man and peculiar self-analysis, confession. C.to fully pass the gamut of human feelingsJournalists use "hidden" techniques for the psychological characteristics of the hero. To them, as a rule, include copyright reactions, replicas, comments etc., i.e. All that indirectly can characterize the internal psychological state of a person. For this, the external manifestations of the hero of the work are used.

B) otherwise things are indialogue. In the process of dialogue, the subjects of communication are not only divided by useful information, but also can argue, arguing, discussing about a certain subject of discussion, thereby revealing not only the features of their thinking, but also views, ideas, ideas, etc. In dialogue and author, and the hero of the works act as independent subjects of communication. They are free to express their opinions, points of view and ratings. They can occupy various positions for one or another issues, freely show their ideological views. In addition, the author can recreate in the work of the socio-psychological atmosphere, which arose during the dialogue, thereby adding new strokes to the psychological characteristic of the Hero of the essay.

One of the ways of penetration into the inner world of the individual is analysis of the motivational sphere. In this case, various identity qualities are being studied; the degree of awareness of the person's own actions; the level of psychological maturity of the personality; The dynamics of the motivational structure of the individual depending on the circumstances, the situation and the temporary state of the psyche; Reaction to socially compulsory, declared and promoted goals, values, norms of behavior, lifestyle, etc. Analysis of the motivational sphere correlate with ideals (the ideal is the dominant image of the desired), installations, beliefs, values, interests and desires of the person. Analyzing the motives of personality behavior, it is important to identify not only the dominant motives correlated, for example, with the objectives of human activity, but also hidden, which are found in extremum conditions.

Essayist, analyzing the identity in terms of its ideological positions, Can trace the stages of the formation of human beliefs, describe the transformations that occur in the consciousness of the individual when choosing a particular idea, finally, show those external influences that play a decisive role in the ideological position of the individual.

Translated from the Greek "Character" - This is "chasing", "sign". In the process of life, a person acquires various characteristic features that become its distinctive properties. In the essay work, the nature of the human person can be presented in all versatility. This is achieved not only through the allocation of some individual features or sides of the character, as, for example, is made in science, but by showing a person in all its 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 personality.

Distinguish three main forms of psychological imageTo which all specific techniques of reproduction of the inner world of literary heroes are reduced:

- straight (outdoor psychologist) - transmits the inner life of the character "From the inside" with the help of the psychological self-analysis of the hero (remember Pechorina, which is analyzing the smallest movement of his soul). Funds of open psychologist - internal monologue, dialogue, letters, confession, diaries, dreams, vision, improper-direct speech, "stream of consciousness" as the limit form of an internal monologue, "Dialectics of the Soul".

- indirect(hidden psychologist) - aimed at the image of the inner world of the hero "Out", through a psychological analysis. Funds of hidden psychologism - Portrait, landscape, interior, comment, default, art detail.

- total denoting (feelings are named, but not shown).

Psychologism is inherent, as a rule, major journalistic works. His stylistic features coincide in many respects with the peculiarities of journalism as a whole: the desire for imagery, expressiveness; search for new linguistic means; open expression of the author's position; a huge role of keywords characteristic of a certain era or ideological direction; Wide use of well-established speech revolutions.

However, psychologism is present not only in the language and style of the work. The last decades of media products manufactured without the use of high technologies are not interested in the mass reader - the consumer. Forms of psychologism changed. The state of the hero can be said to gesture, photography, musical accompaniment, graphics, etc. Thanks to high-quality slides, photographs and other forms of material feed, there is an impact on the reader at a non-verbal level. One photo in the modern essay material of the mass magazine can say about the hero more, show his inner world and internal experiences brighter than the journalist will do at the verbal level.

A big role in the process of perception and sensation playingrecognition, what is also used in psychologism. Perception has a variety of selectivity, that is, it is easier and faster than what is familiar or even closely is perceived. Its characteristic feature is constant. So, for example, the expression "Arctic Gate" The reader relates to the extreme north.

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

Introduction

In modern artistic literature, the desire of the authors not only to reflect the global catastrophes of the human being of the end of the XX century, but also to show validity of a single person. And setting the problem of psychologism modern women's prose, in particular prose L.E. Ulitska, becomes an artistic basis for the study of the moral, sociocultural parties to the life of a modern person.

It should be noted that actually the problem of psychologist In prose L. Ulitska, there is little studied, since scientists most often seek to consider the genre peculiarity of the works of the writer. This is explained relevancethis study.

In the work of L. Ulitskaya straight and indirect form Psychologist meet more often total-denoting. In use direct form of psychologist The influence of the classical literature on the work of the writer (in one of the interview with the Russian newspaper, L. Ulitskaya notes that the creativity of L.N. Tolstoy is of great importance). Using indirect form Explained, probably aspiration not directly show a psychological state, but to designate it with strokes, Therefore, less frequently denoted form.

Objectthis work is the work of L. Ulitsky, in particular such works as

Subject This work is the characteristic of psychologist in the work of L. Ulitskaya

Purposethis work is to identify the characteristics of psychologism in the work of L.E. Ulitska.

Achievement of the goal implies a decision of a number tasks:

conduct an analysis of literature on the research topic;

psychologist Ulitskaya Green Tent

get acquainted with the creative biography of L. Ulitskaya, to comprehend the originality of her writer manner, approach to the image of reality and man;

reveal the features of the manifestation of psychologist in the work of L. Ulitskaya;

Structurethis work corresponds to the goal and tasks and consists of introduction, main part, conclusion, list of used literature.

Theoretical foundations of research

The concept of psychologism in literature, techniques and methods of psychological image

Psychologist - This is an important property of literature that allows you to deeper to understand the human soul, to inlets in the meaning of the actions.

There are two interpretations of the term "psychologism". In a broad sense, the term is understood the overall property of literature and art recreate human life and characters. With this approach, psychologism is inherent to any literary work. In a narrow sense, under psychologism it is understood special property characteristic only for individual works.From this point of view, psychologism is a special admission, a form that allows us to be correct and distinguished to portray mental movements. According to A. B. Eustina, "Psychology is a certain artistic form, behind which it is worth and in which artistic meaning is expressed, ideological-emotional content."

Chernyshevsky, who one of the first identified psychologism as a special artistic phenomenon, also considered it the property of the artistic form of the work: in the article on early prose L. Tolstoy, he calls psychologism artistic reception.

The presence or absence in the literary work of psychologism in a narrow understanding will not be a dignity or disadvantage of the work - this is only its feature due to the idea of \u200b\u200bthe work, its content and theme, as well as copyright of characters. Psychologist when he is present in the work is the organizing style principle and determines the artistic peculiarity of the work.

According to Esin, there are three main forms of psychological image . Two of them formulated in their research I.V. Fears: "The main forms of psychological analysis are possible to divide the characteristics on the image" from the inside- that is, by artistic knowledge the inner world of existing persons expressed when internal speech, memory and imaging images; on psychological analysis " from outside, expressed in the psychological interpretation by the writer of expressive peculiarities of speech, speech behavior, mimic and other means of external manifestation of the psyche. "These forms of psychologism are called respectively straight and indirect .

Esin allocates another form of a psychological image - direct configuration by the author of feelings and experiences occurring in the soul of the hero . He calls such a way total denoting.

Psychologist has its own internal structure, that is, it consists of methods and image methods. As a rule, the writer emphasizes the writer in terms of psychological character, and not on external details. We will most often meet the description of all nuances of the experiencing hero, than a detailed analysis of its appearance. But besides the quantitative relationship in such works, the principle of their relationship is also changing. If with the usual narration external details exist independently here they are here will be subordinated to the total content, will be directly related to the mental experiences of the heroes. In addition to its direct function of reproducing life, they acquire another important function - to accompany and framed psychological processes. Objects and events are with this approach with material for thinking, reason to reasoning and can not mean anything without correlation with the inner world of the hero.

External details (landscape, facial expressions and gestures, portrait) are not the direct method of expressing psychologism, but with the appropriate environment, additional functions acquire. So, not any portrait characterizes the hero from a psychological point of sight, but at the neighborhood with psychological details, he assumes part of their functions. However, not every internal state can be transmitted through gestures and facial expressions or through an analogy with the state of nature, so these funds are not universal.

Of great importance in creating psychologism has narrative composition: The narrative can be conducted from the first or from a third party. Until the end of the XVIII century, a first-person story was considered the most relevant form for this kind of works, and the imitation of letters was often used. The other form would contradict the principle of believing, as it was believed that the author is not able to penetrate the consciousness of his hero and is better than the character himself, no one can reveal to the reader of his feelings. First-person narration focused on reflection hero psychological self-esteemand psychological self-analysisthat in principle is the main purpose of the work. However, such a story has two limitations: the inability is equally fully and deeply shown the inner world of many heroes and the monotony of the psychological image, which gives the work some monotony.

Another, more neutral form is third party narration, or author's narration. This is exactly the art form that gives the author enter the reader into the inner world of the character, show it in detail and deep. At the same time, the author can interpret the behavior of the heroes, give him an assessment and comment. In this form of the narration, freely turn on internal monologues, excerpts from diaries, letters, dreams, vision etc. The author's story is not subject to artistic time, the author can stop in detail on important details for him, while saying only a few words about a rather long, but not affected by the period of life on the development of the hero. Psychological narration from a third party allows you to portray the inner world of many heroes, which is difficulty in first-person narration.

According to the Eusin, the most common compositional-narrative forms are inner monologue And who are found practically from all writers of psychologists. However, in addition to these, there are also specific narrative forms that are used less often. it dreams and Vision, Double CharactersThese enable the author to reveal new psychological states. Their main function - introduction to the work of fantastic motives. But in the psychological image, these forms acquire another feature. The unconscious and semi-conscious forms of inner life are depicted as psychological states and relate primarily not with the plot and external actions, but with the inner world of the hero, with his other psychological states. For example, sleep will be motivated by non-preceding events in the Hero's life, and its previous emotional state. Literary dreams, According to I.V. Insurance - this is an analysis by the writer "Psychological states and characters of acting persons".

Another technique of psychologism, which was distributed in the second half of the XIX century, - default. He arises at that time when the reader begins to look for in the work of not external plot engagement, but images of complex and interesting mental states. Then the writer at some point could omit the description of the psychological state of the hero, allowing the reader to independently make psychological analysis and think that he was experiencing a hero at the moment. Such a default makes the image of the inner world very capacious, because the writer does not specify anything, does not limit the reader with a certain framework, gives full freedom to imagination. In such episodes, psychologism does not disappear, it exists in the consciousness of the reader. The most widespread this technique is obtained in the work of A.P. Chekhov, and later - in other Writers of the 20th century.

Thus, psychologism is a special admission, a form that allows us to be correct and vividly to portray mental movements. There are three main forms of psychological image: direct, indirect and total and denoting. Psychologist has its own internal structure, that is, it consists of the techniques and methods of the image, the most common of which are inner monologue and psychological author's narration. In addition to their use snov and visions double heroes and reception default.

Psychology is an important property of literature that allows you to deeper to understand the human soul, to inlets in the meaning of actions. There are two interpretations of the term "psychologism". In a broad sense, the term means the overall property of literature and art to recreate human life and characters. With this approach, psychologism is inherent to any literary work. In a narrow sense, under psychologism, a special property is understood, characteristic only for individual works. From this point of view, psychologism is a special admission, a form that allows us to be correct and distinguished to portray mental movements. According to AB Isin, "Psychology is a certain artistic form, behind which it stands in which artistic meaning, ideological and emotional content" is expressed.

Chernyshevsky, who one of the first identified psychologism as a special artistic phenomenon, also considered it the property of the artistic form of the work: in the article on early prose L. Tolstoy, he calls psychological scientist with artistic
The presence or absence in the literary work of psychologism in a narrow understanding will not be the dignity or disadvantage of the work, is only its peculiarity, due to the idea of \u200b\u200bthe work, its content and theme, as well as the author's understanding of characters. Psychologist when he is present in the work is the organizing style principle and determines the artistic peculiarity of the work.

According to the Eusin, there are three main forms of psychological image. Two of them formulated in their research I.V.Strakhov: "The main forms of psychological analysis can be divided into the pictures of the characters from the inside, - that is, by the artistic knowledge of the inner world of active persons expressed through the internal speech, memory and imagination images; At the psychological analysis of "from the outside", which is expressed in the psychological interpretation by the writer of expressive peculiarities of speech, speech behavior, mimic and other means of external manifestation of the psyche. " These forms of psychologism are called direct and indirect, respectively. Esin allocates another form of a psychological image - directly configured by the author of feelings and experiences taking place in the soul of the hero. He calls this method with a total and denoting.

Psychologist has its own internal structure, that is, it consists of methods and image methods. As a rule, the writer emphasizes the writer in terms of psychological character, and not on external details. We will most often meet the description of all nuances of the experiencing hero, than a detailed analysis of its appearance. But besides the quantitative relationship in such works, the principle of their relationship is also changing. If, with the usual narrative, external parts exist independently, here they will be subordinate to the total content, will be directly related to the mental experiences of the heroes. In addition to its direct function of reproducing life, they acquire another important function - to accompany and framed psychological processes. Objects and events are with this approach with material for thinking, reason to reasoning and can not mean anything without correlation with the inner world of the hero.

External details (landscape, facial expressions and gestures, portrait) are not the direct method of expressing psychologism, but with the appropriate environment, additional functions acquire. So, not any portrait characterizes the hero from a psychological point of sight, but at the neighborhood with psychological details, he assumes part of their functions. However, not every internal state can be transmitted through gestures and facial expressions or through an analogy with the state of nature, so these funds are not universal.

Of great importance in creating psychologist has a narrative-composite form: the narrative can be conducted from the first or from a third party. Until the end of the XVIII century, a first-person story was considered the most relevant form for this kind of works, and the imitation of letters was often used. The other form would contradict the principle of believing, as it was believed that the author is not able to penetrate the consciousness of his hero and is better than the character himself, no one can reveal to the reader of his feelings. The narrative on the first person is concentrated on the reflection of the hero, psychological self-esteem and psychological self-analysis, which in principle is the main purpose of the work. However, such a story has two limitations: the inability is equally fully and deeply shown the inner world of many heroes and the monotony of the psychological image, which gives the work some monotony. Another, more neutral form is the narrative of a third party, or the author's narration. This is exactly the art form that allows the author to introduce the reader into the inner world of the character, show it in the most detailed and deep. At the same time, the author may interpret the behavior of heroes, give him an assessment and comment. Internal monologues are freely included in such a form of narration, excerpts from diaries, letters, dreams, visions, etc. The author's story is not subject to artistic time, the author can stop in detail on important details for him, while saying only a few words about a rather long, but not affected by the period of life on the development of the hero. Psychological narration from a third party allows you to portray the inner world of many heroes, which is difficulty when narrowing the first person.
According to the Eusin, the most common compositional-narrative forms are an internal monologue and psychological author's narration that are found practically from all psychologist writers. However, in addition to these, there are also specific narrative forms that are used less often. These are dreams and vision, twin characters that provide the author to reveal new psychological states. The main function is the introduction of fantastic motifs into the work. But in the psychological image, these forms acquire another feature. The unconscious and semi-conscious forms of inner life are depicted as psychological states and relate primarily not with the plot and external actions, but with the inner world of the hero, with his other psychological states. For example, sleep will be motivated by non-preceding events in the Hero's life, and its previous emotional state. Literary dreams, according to I.V.Strakhov, is the analysis by the writer of the "psychological states and characters of the acting persons."
Another technique of psychologism, which was distributed in the second half of the XIX century, is the default. He arises at that time when the reader begins to look for in the work of not external plot engagement, but images of complex and interesting mental states. Then the writer at some point could omit the description of the psychological state of the hero, allowing the reader to independently make psychological analysis and think that he was experiencing a hero at the moment. Such a default makes the image of the inner world very capacious, because the writer does not specify anything, does not limit the reader with a certain framework, gives full freedom to imagination. In such episodes, psychologism does not disappear, it exists in the consciousness of the reader. This technique is most widely distributed in the work of A.P.hekhov, and later - in other writers of the 20th century.

Conclusions: Psychologist is a special technique, a form that allows it to be true and vividly depiction of mental movements. There are three main forms of psychological image: direct, indirect and total and denoting. Psychologist has its own internal structure, that is, it consists of the techniques and methods of the image, the most common of which are internal monologue and psychological author's narration. In addition to them, the use of dreams and visions, twin heroes and defaults are found.