Typology and originality of female images in the works of I.S. Turgenev

1.2 The artistic originality of the novels by I.S. Turgenev

The novel work of I.S. Turgenev marks a new stage in the development of the Russian realistic novel of the 19th century. Naturally, the poetics of Turgenev's works of this genre has always attracted the attention of researchers. However, until recently there has not been a single work in Turgenevology that would be specifically devoted to this issue and would analyze all six novels of the writer. The exception, perhaps, is the monograph by A.G. Zeitlin “The Mastery of Turgenev as a Novelist”, in which all the novels of the great artist of the word were the object of study. But this work was written forty years ago. Therefore, it is no coincidence that P. G. Pustovoit writes in one of his last articles that not only the first four novels, but also the last two (“Smoke” and “Nov”) should come to the attention of researchers.

In recent years, a number of scientists have addressed the issues of the poetics of Turgenev's work: G.B. Kurlyandskaya, P.G. Pustovoit, S.E. Shatalov, V.M. Markovich. However, in the works of these researchers, the poetics of the writer's novel work is either not singled out as a special issue, or is considered on the basis of only individual novels. Nevertheless, general trends in assessing the artistic originality of Turgenev's novels can be distinguished.

Turgenev's novels are not large in volume. As a rule, the writer chooses a sharp dramatic conflict for the narrative, portrays his characters at the most important moments in their life path. This largely determines the structure of all works of this genre.

A number of issues of the structure of novels (in most of the first four: "Rudin", "Nest of the Nobles", "On the Eve", "Fathers and Sons") were once studied by A.I. Batyuto. In recent years, GB Kurlyandskaya and VM Markovich addressed this problem.

GB Kurlyandskaya examines Turgenev's novels in relation to stories, revealing different structural principles for creating characters and forms of psychological analysis.

V.M. Markovich in his book "I.S. Turgenev and the Russian realistic novel of the 19th century (30-50s)", referring to the first four novels of the writer, explores the role of the worldview dispute in them, the relationship between the narrator and the hero, interaction storylines, features and meaning of lyric-philosophical digressions and "tragic". What is attractive in this work is that the author considers Turgenev's novels in the unity of "local concreteness" and "eternal questions" in them.

In P. G. Pustovoit’s book “I. S. Turgenev - the artist of the word”, serious attention is paid to the novels of I. S. Turgenev: he enlightened the second chapter of the monograph. However, the questions of the artistic originality of the novels did not become the subject of the research of the scientist, although the title of the book seemed to be aimed precisely at this aspect of the analysis.

In another monographic work "The Artistic World of I.S. Turgenev", its author, S.E. Shatalov, does not single out novels from the whole system of the writer's artistic creativity. However, a number of interesting and subtle generalizations provide serious material for the analysis of artistic originality. The researcher considers the artistic world of I.S. Turgenev in two aspects: both in its ideological and aesthetic integrity, and in terms of visual means. At the same time, chapter VI should be especially singled out, in which the author, against a broad historical and literary background, traces the development of the writer's psychological skill, including in novels. One cannot but agree with the scientist's idea that Turgenev's psychological method has evolved in the novels. “The evolution of Turgenev's psychological method after “Fathers and Sons” proceeded faster and most sharply affected when working on the novel “Smoke”,” writes S.E. Shatalov.

Let us note one more work, the last book of A.I. Batyuto, in which, analyzing Turgenev’s work in relation to the critical and aesthetic thought of his time, he singles out, in our opinion, one very important feature of the writer’s novelistic work. This feature, which he called the "law of Antigone", is associated with an understanding of the tragic. Since the tragic is the lot of almost every developed person, and each of them has their own truth, and therefore Turgenev's novel conflict is based on "the clash of opposing ideas in a state of their eternal equivalence." This study also contains a number of other profound and important remarks about the novelistic skill of the great writer.

But at the same time, today in our Turgenev studies there is no generalizing work in which the specifics of the Turgenev novel would be revealed on the basis of all the works of the writer of this genre. Such a "cross-cutting" approach to the writer's novels, in our opinion, is necessary. It is largely dictated by the distinctive properties of the genre of Turgenev's work, which, first of all, are revealed in the peculiar interconnection of all novels. As we have seen, this relationship is revealed in the analysis of the ideological content of the novels. It is no less strong in terms of poetics. We will verify this by referring to its individual aspects.

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Turgenev's novels characterize a special type of time and space within which the events of the work are contained. As a rule, these are two or three summer months, the heyday of nature and human feelings. Turgenev in all novels follows the principle of drawing parallels between human life and nature. The plot is based on a story about the trials of heroes by love: the ability of heroes to deep feelings is an important feature of the characteristics of the character of the novel. It is no coincidence that semantically key episodes take place in the open air: in the garden (Liza and Lavretsky), near the pond (Natalya and Rudin), at the window of Odintsov and Bazarov, which is open to the garden), in the grove (Marianna and Nezhdanov). A symbolic role is also assigned to the time of day. As a rule, this is an evening or a night when a person's feelings are especially aggravated and the moment of spiritual unity or discord is more deeply motivated. In these plot knots of the narrative, Turgenev's thought about man as a part of nature and about the active birth in its formation of the spiritual beginning of the personality is clearly manifested. The features of the chronotope also determine the composition of images, the methods of their psychological characteristics. Turgenev is interested in the process of experiencing itself, he does not endow the characters with a tendency to analyze, giving the reader the right to judge for himself the scale of feelings experienced by the hero. Emotional reflection is more than an analysis of what happened.

(example “Odintsova stretched out her hands forward, and Bazarov rested his forehead against the glass” a strong and heavy passion, similar to malice, trembled in him).

Turgenev is a master of portrait chaoacteristics, and providing the hero, he is obliged to show all the details that outwardly define the hero for us. The portrait becomes a form of expression of the author's position. The principles of characterization are developed by Turgenev while working on his first novel, Rudin. Turgenev assigns a special role to female portraits of images. They are imbued with soft lyricism, in a woman Turgenev sees a being of a higher order. Most often, it is girls and women who bring to life the best spiritual qualities of heroes. This is what happens with Rudin, Lavretsky, Bazarov, Nezhdanov.

The poetics of Turgenev's novel is characterized by an appeal to the method of gradual, concentric disclosure of characters. Its reality is manifested in the chapter devoted to the description of the visit of Bazarov and Arkady to Kukushkina. The author leads the reader along the street of the provincial town, gradually approaching the heroine's house. Captures the details imbued with the author's irony.

The landscape in the works of Tugenev is not just a description of nature. This is the key to characterizing the character. picturesque landscape. What is important is what is grasped first, which does not require the ordering of successively named phenomena. ,Such a landscape is built on simple motives: light and sound. Landscape is a means of psychological characteristics of the characters. For example, the function of the landscape-mood in the Noble Nest.

Turgenev's organization of the narrative is not in time (which characterizes the classical form of literature), but in the spatial dimension inherent in painting. A special role is played in novels - the phenomenon of synesthesia - the transfer of visual and auditory impressions in a verbal image. Since the beginning of the 70s, Turgenev's landscape has been undergoing evolution, acquiring impressionistic features. Landscape mood is the most important form of expression of feelings in the novel Nov.
Almost all of Turgenev's novels are based on a love affair. The test of love determines the development of action in them: events characterize the experiences of the characters.

Another important difference in the compositional structure of the novels is the symmetry in the placement of characters. Turgenev was repeatedly reproached for the fact that this principle of creating images is archaic, focused on the traditions of French classical comedy, but it is in this archaism that the deep meaning of his technique manifests itself. Symmetry contains a hidden comparison, a comparison that implies the activity of the reader's position. (So in fathers and children, the system of images makes pairs: Bazarov-Odintsova, Arkady-Katya, Nikolai Petrovich-Fenichka, Pavel Petrovich-Princess R.)

Turgenev, like many other Russian writers, went through the school of romanticism. It was a hobby that had to be overcome. The romantic beginning in the work of early Turgenev became the basis for the development of an artistic system by the writer, which would then become part of his creative method.

Already in the early works of Turgenev - the dramatic poem "Steno" - there are motifs of world sorrow, the loneliness of a person who feels like a stranger in the world of beautiful and harmonious nature. In the poem "The Conversation", the idea that the "impudent feast of people" is opposed by the greatness of nature becomes a cross-cutting theme. The poem "Conversation" in composition (dialogue-dispute of an old hermit and a young man) and rhythm resembles Lermontov's "Mtsyri". Here one of the main themes of Turgenev's work arises - the problem of "fathers" and "children", their mutual misunderstanding. The hero of the Conversation, a young man infected with reflection, is the forerunner of the "superfluous people" in the writer's stories and novels. He is psychologically opposed to Mtsyri, he is a symbol of "broken strength."

"Wall" and "Conversation" are purely romantic works with pronounced attributes of romance. The main subject of the image is the inner world of a person, the content is the spiritual search for the ideal-beautiful.

In the poem Parasha (1843), written in imitation of Eugene Onegin in terms of plot and verse, social motives sound, although painted in romantic tones. The meaning of the poem is revealed in the contrasting contrast of satirical pictures of landlord life with the depth of the heroine's longing for a romantic ideal, which has no place in the vulgar everyday life.

The study of the living ties between man and society, man and nature, outlined in early works, will be continued in the works of the late 40s and early 50s. The era of the 40s, not without the influence of V. Belinsky, declared war on romanticism as an obsolete literary movement. In this struggle, Turgenev took a special position. Without rejecting the romantic means of depicting heroes, Turgenev saw the "insufficiency" of romanticism in its indifference to pressing social issues, public problems. These ideas are reflected in the stories "Andrey Kolosov", "Three Portraits", "Breter". In Breter, a story almost unnoticed by contemporary Turgenev, romanticism, which took on ugly egoistic forms in the image of Avdey Luchkov, was severely sentenced, as well as the good-heartedness of Kister, who died in a collision with the reality of life. At the same time, Turgenev sees the vitality of many forms of romanticism, without which the artist could not imagine art. In this case, we are not talking about romanticism as a literary movement, but about romance as a special type of attitude to life.

The romantic beginning in the creative method of Turgenev manifests itself in different ways. One way of expressing the romantic is portrait and landscape. The landscape in Turgenev's works is not just a description of the nature surrounding a person, it is the key to characterizing the character. Turgenev's landscape is characterized by picturesqueness: what is important is what is grasped by the first impression, which does not require the ordering of successively named phenomena. Such a landscape is built on simple motifs: light and sound, which are important not in themselves, but as forms into which the impression of the hero is cast. The landscape itself ceases to be a description of the nature surrounding a person: it becomes a means of psychological characterization of the hero, a “picture” of his state of mind. Such, for example, is the function of landscape-mood in the twentieth chapter of the novel "The Nest of Nobles", which is compositionally separated into a separate chapter. Often, turning to the creation of a landscape, Turgenev creates pictures of nature at a transitional time of day - morning or evening ("Three Meetings", "Calm", "Noble Nest", "Fathers and Sons"): transferring the dynamics of the movement of nature is the key to the secrets of movement hero's soul. No less important in creating the psychological image of the character is the motif of the road in the landscape sketches of the writer's stories and novels. Turgenev develops a special poetics of the landscape as a close space in which a person lives. So, it is no coincidence that the novel "Fathers and Sons", dedicated to the acute problem of our time, opens with a landscape of the road, and ends with a landscape sketch of Bazarov's grave: a philosophical reflection on the life path traveled by the hero.

The romantic in the portrait turns out to be associated not so much with the hero, whose appearance appears before the reader. The romantic portrait in Turgenev's works rather characterizes the character in whose perception the image is given. The portrait of the "mysterious princess R.", with whom Pavel Kirsanov is in love, is primarily evidence of the hero's admiration for the romantic ideal of a woman of mystery. Lisa Kalitina is also "seen" through the eyes of Lavretsky, a romantic and idealist. Panshina Turgenev "deprives" the ability to "portrait" Lisa: he lacks the romantic beginning necessary for this: his pragmatic nature is sharply satirically outlined. Thus, the poetic, idealizing principle, characteristic of many of Turgenev's heroes, is an essential positive character trait of his characters.

Another important technique for creating a psychological drawing is detailing. The idealizing, romantic beginning receives an artistic embodiment in the combination of the real and the fantastic. The originality of the psychological image of a romantic nature was fully manifested in Turgenev's first significant work, Notes of a Hunter. The main character of the cycle is the author-narrator, the complexity of whose inner world is determined by the combination of two narrative planes: a sharply negative depiction of feudal reality and a romantically direct perception of the secrets of nature. In one of the best stories of the Bezhin Meadow cycle, nature appears in the perception of the heroes as a living force that speaks to a person in its own language. Not everyone can understand this language. In the perception of the author, the real detail becomes a symbol of the mystical: the dove is the “soul of the righteous”, and the “groaning sound”, which inspires awe in those gathered around the fire, is the voice of a marsh bird. The narrator, wandering through the forest, lost his way in the dark (a real detail) and “suddenly found himself over a terrible abyss” (a romantic touch), which turned out to be a prosaic ravine. The ability to perceive the miraculous, the desire to join the mystery of nature and man becomes the emotional key of the story, performing the function of characterizing the narrator.

The hero's ability for a romantic experience becomes a sign of the wealth of his nature. “In its most essential meaning, romanticism is nothing but the inner world of a person’s soul, the innermost life of his heart,” wrote Turgenev. The writer's interest in the "mysterious source of romanticism" is especially noticeable in his later works: "The Song of Triumphant Love" (1881), "Prose Poems" (1878-1782), "Clara Milic (After Death) (1883). In these works, romance is not just combined with a realistic type of image - it becomes one of the elements of style. The inner world of the heroes of the "Song of Triumphant Love" - ​​Muzio, Valeria - is drawn mysterious, mysterious, inexplicable from the point of view of common sense. The philosophical problems of freedom and will, good and evil, feelings and duty are resolved in Turgenev's later works not in a direct clash of opinions, as was the case in Rudin, Fathers and Sons, Novi. The author does not explain the origin of Mucius' magical power, does not give a clue to the appearance of a strand of dead Clara's hair on the hero's pillow in a locked room: he leaves room for the reader's imagination to work. The picture of the world created in Turgenev's "mystical" stories testified not to the writer's rejection of realism, but to a desire to better understand the origins of the universe. The fantastic in the later works of the writer is a form of being of the real world, not yet understood and explained by man. Turgenev's romantic grotesque turns out to be no less effective method of characterizing a person than the depiction of "life in the forms of life itself."

Ivan Sergeevich Turgenev was born into a wealthy noble family. He spent his childhood in the family estate of his mother, Spasskoe-Lutovinovo. Since 1827 he lives in Moscow and studies in various private boarding schools. In 1833 he entered Moscow University, in 1834 he was transferred to St. Petersburg University, from which he graduated in 1837 in the verbal department of the Faculty of Philosophy. Turgenev's first literary experiments were romantic poems and the dramatic poem "The Wall" (1834). In 1838, Turgenev listened to lectures on classical philology and philosophy in Berlin, together with N.V. Stankevich and M.A. Bakunin, members of the famous Russian circle of Stankevich, who, each in their own way, played a huge role in the formation of his worldview and political views (Bakunin would later emigrate to Europe and become the creator of a new revolutionary doctrine - anarchism, as well as the founder of the First International). After the publication of the poem “Parash” in 1843, Turgenev became close to V.G. Belinsky and with writers of the natural school (N.A. Nekrasov, D.V. Grigorovich, I.I. Panaev, etc.), and in 1847 the first Turgenev essay from the future cycle “Notes of a Hunter” will appear in Nekrasov’s journal Sovremennik - "Khor and Kalinich".

"Notes of a Hunter" (first published as a separate book in 1852) laid the foundation for the all-Russian fame of Turgenev. For the first time in Russian literature, Turgenev presented the images of peasants as complex and deep personalities, with a special worldview, type of thinking and spirituality. Turgenev endowed the people with feelings that were previously attributed only to heroes from the nobility: love for beauty, artistic talent, the ability for sublime sacrificial love, deep and peculiar religiosity. In "Notes of a Hunter" the skill of Turgenev as a landscape painter was also clearly manifested.

In 1844, Turgenev heard the famous French singer Pauline Viardot sing for the first time during her tour in St. Petersburg and fell in love with her for the rest of his life. Soon he leaves for her in Paris. Polina was married to the director of the Grand’ Opera, Louis Viardot, and Turgenev could only become her devoted admirer and friend at home, dooming himself to the “loneliness of a familyless bean” (this is how H.H. complains in the story “Asya”). Subsequently, Turgenev repeatedly approached and diverged from Viardot, but did not part with her until his death. The theme of love becomes the leading one in his work and at the same time begins to sound like an inescapable tragedy. Perhaps none of the Russian classics was able to depict the development of love relationships with such charming poetry and subtle psychological nuances, which, however, for the protagonist always end in parting or death.

In 1850, upon returning from Europe, Turgenev actively participated in the work of the Sovremennik magazine and began to look for ways to major prose genres. From stories and essays, he moves to the genre of the story ("Mumu", 1854 and "Inn", 1855). More and more, the writer moves away from the peasant theme and takes as the subject of the image the noble intelligentsia, with its painful search for spiritual and socio-political ideals. The beginning was laid back in 1850 with the story “The Diary of a Superfluous Man”. From 1855 to 1862 Turgenev wrote, following the traditions of Dickens, J. Sand and Lermontov, a number of socio-psychological novels. According to L.V. Pumpyansky, Turgenev's early novels are primarily novels of the face (in contrast to the novels of the deed, like "Crime and Punishment" or "Anna Karenina"), where the main purpose of the image is the hero's personality in its social aspect: as representing time, ideological or political movement, one or another social force. The novel is being built as a trial of the social significance of the hero - as a detailed answer to the question of whether the social force represented by this character is productive, whether it is capable of playing a positive role in the further development of Russia. In "Rudin" (1855), the main character is a typical intellectual-idealist of the 40s. - member of Stankevich's circle; in "The Nest of Nobles" (1859) - Slavophile Lavretsky. In the novel "On the Eve" (1860), Turgenev's attention is attracted by the Bulgarian Insarov, a fighter for the liberation of his country from the Turkish yoke. In "Fathers and Sons" (1862), for the first time, the main character is not a nobleman, but a democrat-raznochinets Bazarov.

Being himself a Western liberal in his political views, Turgenev tried to be as objective as possible when depicting public controversy and disputing parties, so that his novels would not lose in artistry and historical value. Unlike the philosophical novels of Tolstoy or Dostoevsky, which required a long time to be absorbed by the cultural consciousness of the nation, Turgenev's novels, due to their relevance, immediately received universal recognition and caused heated discussions in the press.

According to G.B. Kurlyandskaya, Turgenev had a special ability to "correctly guess the originality of turning points in Russian social history, when the struggle between the old and the new becomes extremely aggravated ... He managed to convey the ideological and moral atmosphere of each decade of Russian public life in the 1840s-1870s, create an artistic chronicle ideological life of the “cultural stratum” of Russian society”. “During all this time,” Turgenev wrote already in 1880, “I tried, to the best of my ability and ability, to conscientiously and impartially portray and translate into proper types and what Shakespeare called “the body and pressure of time”, and that rapidly changing physiognomy of the Russian people of the cultural layer, which mainly served as the subject of my observations.

In between novels, Turgenev writes a number of stories, such as Asya (1958), Faust (1856), First Love (1860), the article Hamlet and Don Quixote (1860), which is important for understanding philosophy writer.

In 1867, the novel "Smoke" appeared, which describes the life of Russian nobles abroad and their complete social failure and isolation from Russian reality. The protagonist of the novel, Litvinov, is poorly defined as an individual and no longer claims to be progressive. The main ideas of the author are expressed in "Smoke" by the Westerner Potugin, who, following Chaadaev, denies Russia any cultural and historical significance. Needless to say, the novel was very hostilely received by the Russian public, but Turgenev's friend G. Flaubert greatly admired him.

Turgenev spends the last 20 years of his life mainly abroad, in Baden-Baden and Paris, together with the family of Pauline Viardot, where he becomes close to the most prominent classics of French literature - G. Flaubert, E. Zola, the Goncourt brothers, A. Daudet. In his work, he refers at this time to the past - to the family chronicle ("The Brigadier", 1868, "The Steppe King Lear", 1870) or to the motives of the stories of the 50s. (“Spring Waters”, 1872, “Unfortunate”, 1869). In 1877, Turgenev wrote his last novel, Nov, dedicated to the activities of the populist revolutionaries.

Thanks to his extensive connections and popularity in the artistic circles of France, Germany and England, Turgenev turned out to be an important connecting link between Russian and European literature, was a recognized master of French prose writers and organized the first translations of Pushkin, Gogol, Lermontov into European languages. His own works were often published in translation in the West even earlier than in Russian.

At the end of his creative career, Turgenev returned to romantic motifs and wrote several fantastic works: “The Song of Triumphant Love” (1881), “Clara Milic” (published in 1883), as well as a cycle of symbolic miniatures “Poems in Prose” (1882). In 1883, Turgenev died in Bougival, not far from Paris, at the villa of P. Viardot.

CHARACTERISTICS OF ARTISTIC METHOD AND PSYCHOLOGISM OF TURGENEV. Turgenev is rightly considered the best stylist of Russian prose of the 19th century. and the finest psychologist. As a writer, Turgenev is primarily “classical” in the most varied senses of the word. "Classic" (a unique embodiment of perfection) corresponded to the very spirit of his work. Artistic ideals for Turgenev were "simplicity, calmness, clarity of lines, conscientiousness of work." This meant “calmness”, stemming “from a strong conviction or deep feeling”, “communicating ... that purity of outline, that ideal and real beauty, which is true, the only beauty in art.” This calmness gave concentration of contemplation, subtlety and infallibility of observation.

A refined esthete, Turgenev considered the creation of beauty to be the main thing in art. “The beautiful is the only immortal thing, and as long as even the slightest remnant of its material manifestation continues to exist, its immortality is preserved. Beauty is poured everywhere, its influence extends even over death. But nowhere does it shine with such force as in human individuality; here it speaks to the mind most of all” (from a letter to Pauline Viardot dated August 28, 1850). So, Turgenev sees manifestations of beauty primarily in nature and in the human soul, depicting both with extraordinary skill. Both the human person and nature were the subject of his tireless philosophical reflections - mainly in the spirit of the natural philosophy of German romanticism (Hegel, Schelling and Schopenhauer). Classicality in the depiction of characters was manifested by Turgenev in the fact that he painted his heroes always calm and noble in expressing feelings. Even their passions are introduced within certain limits. If the hero fusses, gesticulates excessively (like Sitnikov in “Fathers and Sons”), then Turgenev despises him and seeks to completely discredit him.

According to P.G. Pustovoit, Turgenev always “went from a “living face” to an artistic generalization, therefore it was extremely important for him that the heroes have prototypes (the prototype of Rudin is Bakunin, Insarov is the Bulgarian Katranov, Bazarov is the doctor Dmitriev)”. But from a specific person, the writer still needs to go through a huge creative path to a collective artistic type, an exponent of the psychology of his entire class and an ideologist of a certain socio-political trend. Turgenev himself wrote that one should “try not only to catch life in all its manifestations, but also to understand the laws by which it moves and which do not always come out; you need to get to the types through the play of chances - and with all that, always remain true to the truth, not be content with superficial study, avoid effects and falsehood. Already from these words, we see how complex the creative process is typing. To create an artistic type means to understand the laws of society, to identify in a huge number of people those features that determine its current spiritual state, predetermine its development or, conversely, stagnation. It can be said, for example, that Turgenev revealed to his contemporaries the type of "nihilist". After the release of Fathers and Sons, this word became firmly established in cultural use and became the designation of a whole social phenomenon.

The main principle of critical realism is that a person is simultaneously given as a derivative of the society around him and at the same time as opposed to the environment that gave birth to him, wishing to self-determine himself in it and, in turn, influence it. Turgenev always shows the characters of the characters in dynamics, in development, and the more complex the character, the more the author of the scenes needs to reveal it. So, in "Fathers and Sons" we see not only the evolution of Bazarov's character and views, but also the return of Arkady "to square one", with a complete rejection of the ideology of nihilism. Even such “established” characters as the Kirsanov brothers undergo a series of life upheavals on the pages of the novel, partly changing their attitude, if not to life, then to themselves.

Turgenev reveals the character of his hero not directly in his social activities, but in ideological disputes and in a personal, intimate sphere. The hero must not only be able to justify his social position (as a rule, all of Turgenev's heroes - Rudin, Lavretsky, Bazarov, easily succeed in this), but also prove his capacity, to take place as a person. To do this, he is subjected to a “test of love”, because it is in it, according to Turgenev, that the true essence and value of any person is revealed.

Turgenev's psychologism is usually called "hidden", because the writer never directly depicted all the feelings and thoughts of his characters, but gave the reader the opportunity to guess them by external manifestations. (For example, by the way Odintsova “with a forced laugh” tells Bazarov about the proposal made by Arkady to Katya, and then in the course of the conversation “laughs again and quickly turns away”, her feelings become clear: confusion and annoyance, which she tries to hide behind laughter.) “A poet must be a psychologist, but secret: he must know and feel the roots of phenomena, but he represents only the phenomena themselves - in their heyday and withering” (from a letter to K. Leontiev dated October 3, 1860).

Considering this, Turgenev apparently withdraws from the personal assessment of the hero, giving him the opportunity to express himself in dialogue and in action. “Exactly ... to reproduce the truth, the reality of life, is the highest happiness for a writer, even if this truth does not coincide with his own opinion.” He very rarely resorts to a direct depiction of the hero's thoughts in an internal monologue or explains to readers his state of mind. Direct assessments by the author of what the hero said are also not frequent (such as: “My grandfather plowed the land,” Bazarov answered with haughty pride”). Throughout the novel, the characters behave completely independently of the author. But this external independence is deceptive, because the author expresses his view of the hero by the plot itself - the choice of situations in which he places him. Checking the hero for significance, the author proceeds from his own hierarchy of values. So, Bazarov finds himself in a noble environment alien to him (he even compares himself with “flying fish”, only for a short time able to “hold on in the air, but should soon plop into the water”) and is forced to take part in solemn visits, evenings, balls , he falls in love with the aristocrat Odintsova, accepts a challenge to a duel - and in all these noble contexts, his virtues and weaknesses are revealed, but again from the point of view of the nobles, whose position the reader stands imperceptibly.

However, further Turgenev always brings his hero into contact with the metaphysical aspects of being that give meaning to life - love, time and death, and this test deepens a person, reveals his strengths and weaknesses, makes him reconsider his worldview. Due to the inclusiveness and global nature of these categories, we get the impression that the hero is judged by “life itself”. But in fact, the author himself is hiding behind it, deftly “changing weapons” in order to “attack” his hero from his unprotected side.

The author's position is also clearly expressed in the prehistory of the hero, where in very accurate and ironic brief formulations, his entire previous life appears before us - always in the subjective author's coverage. The hero and his actions are characterized directly and unambiguously, so that the reader should immediately develop a stable and definite image. The same thing happens in the epilogue, when the author finally places all the characters in the places destined for them by life and their fate directly embodies the author's judgment on them.

In the socio-psychological novels "Rudin", "The Nest of Nobles", "On the Eve", "Fathers and Sons", the stories "Asya", "Spring Waters", images of the outgoing noble culture and new heroes of the era of commoners and democrats, images of selfless Russian women . In the novels "Smoke" and "Nov" he depicted the life of Russians abroad, the populist movement in Russia.

Roman I. S. Turgenev "Fathers and Sons" (1862), caused conflicting opinions. Critics understood and read the novel in different ways, interpreted the main idea and problems of this work in different ways. Most saw in him the eternal problem of fathers and children, the problem of generational change. That is, the main conflict of the novel was interpreted as an age-related one. But the struggle of "fathers" and "children" in Turgenev's novel is not only a clash of different generations, but also of ideologies and worldviews. The confrontation between the heroes in the novel has another meaning - it is philosophical reflections on the eternal movement of life and the eternal struggle of the old and the new, on the place and activity of man on earth. Therefore, one of the most interesting problems in the novel is the problem of the doer, the problem of the positive hero.

In the era described by the writer, a new type of figure begins to form: a raznochinets-democrat, a man of action, a pragmatist and a materialist. Turgenev managed to see and capture (of course, in his own way and very subjectively) the birth of the hero of the new time. Therefore, the central place in the novel is occupied by the figure of Evgeny Vasilyevich Bazarov. This hero of the 28 chapters of the novel is not present in only two. All other persons are grouped around him, in relationships with him and with each other, revealing their characters, thereby emphasizing the originality of his personality. Like Chatsky in "Woe from Wit" by A. S. Griboedov, Bazarov is opposed to all the actors: the nobles Kirsanov, and Odintsova, and Kukshina with Sitnikov, and even his own parents. He is from a completely different environment, and this is manifested in his views and words. This is especially noticeable in relationships with a friend, beloved woman and parents.

In the novel, Turgenev uses exact dating, showing the reader the specific time of the action. The story of the novel begins in 1859 on May 20 and ends in the winter of 1860. The conciseness of Turgenev's narrative is also striking. Pictures of the life of Russian society of that time fit into the framework of a small work.

The sharp difference between Bazarov and the surrounding noble landowners is striking at the first acquaintance with the hero. All the smallest details of the portrait characteristics (a weathered red hand, a hoodie with tassels, sideburns, a strong-willed face, rude manners) - all this indicates that we have a man of action who does not consider it necessary to observe the rules of good manners, so essential in noble life.

Turgenev talks very sparingly about the biography of his hero. From the novel we learn that Yevgeny Bazarov is the son of a regimental doctor, the grandson of a deacon, that he is a graduate of the Medical and Surgical Academy. "His main subject is the natural sciences," says Arkady. "Yes, he knows everything." Indeed, the hero is very knowledgeable in the field of medicine, chemistry, physics, and zoology. But Turgenev does not tell the reader in what field Bazarov's talent will unfold. Judging by the hints of Arkady, he is not destined for a medical career at all. The author himself saw a revolutionary in Bazarov. “And if he is called a nihilist,” the author wrote in a letter to K. Sluchevsky, “then it should be read: a revolutionary.” How does this revolutionary spirit manifest itself in the hero? Of course, Turgenev could not openly depict the revolutionary activities of Bazarov. But he managed to convey to the reader exactly this idea, showing the inner world of his hero, his level of thinking and worldview. Turgenev immortalized the Bazarov type by introducing the concepts of "nihilism" and "nihilist" into the Russian language.

What is the nihilism of the hero? What does he express? Bazar's nihilism, which denied authority, was born in an era of a turning point in public consciousness. It is associated with the assertion of a materialistic worldview, with the development of science, primarily natural science. A feature of Bazarov's nihilism was that the hero did not take anything on faith, he strove to test everything with life and practice. A distinctive feature was also the complete denial of art, music and other manifestations of the spiritual life of people. But this peculiarity of views gave rise to contradictions. Bazarov experiences for himself what he despised, what he called "romanticism, nonsense, rottenness, art."

The strongest blow, which led to the hero's internal conflict with himself, produced love, the existence of which he had previously completely denied. "Here you go! Baba got scared!" - thought Bazarov, and, lounging in an armchair no worse than Sitnikov, spoke exaggeratedly cheekily. "Love for Odintsova splits the hero's soul into two parts. Now two personalities live in him. One of them is a convinced opponent of romantic feelings. The other is a passionately loving person who with a genuine mystery of high feeling: "... He would easily cope with his blood, but something else entered into him, which he did not allow, which he always mocked, which outraged all his pride. " Bazarov confesses his love, but he sees that his feeling is not mutual.He leaves the house of Odintsova, trying to suppress the raging feeling in himself.

Although the character of Anna Sergeyevna Odintsova has much in common with the character of Bazarov, she does not dare to marry him, as she prefers calmness and confidence in the future: "Calmness is still the best thing in the world." Yes, and Bazarov himself is difficult to imagine the same family man as Arkady will become. The result of the spiritual discord, the tragic love of the hero was the collapse of his entire worldview.

A special role in the novel is played by Bazarov’s relationship with a friend, Arkady Kirsanov: “Bazarov has no friend, because he has not yet met a person who has not given up to him. Arkady wants to be the son of his age and puts on Bazarov’s ideas, which they absolutely cannot grow up with him." Arkady's nihilism is a song "from someone else's voice." Yevgeny Bazarov wanted to re-educate Arkady, make him "his own", but very soon became convinced that this was not feasible. And yet it is hard for Bazarov to part with Arkady, to whom he was sincerely attached.

In the novel, Arkady is the best of Bazarov's "disciples". His other "followers" are caricatured. Sitnikov and Kukshina vulgarize the ideas of the raznochintsy-democrats. They see in nihilism only one thing - the denial of all the old moral norms. That is why these characters are so repulsively ugly and funny. For them, nihilism is just a new fashion.

Turgenev once again takes his hero in the same circle, makes him meet the same people and clarify his relationship with them to the end. But now, neither in Maryino, nor in Nikolsky, we no longer recognize the former Bazarov: his brilliant disputes fade, unhappy love burns out, the essentially important thing - the treatment of people - becomes meaningless. And only in the finale "his disturbing, but life-loving soul will flare up for the last time in order to finally fade away." Death reconciles Bazarov with life. In the face of death, the supports that once supported Bazarov's self-confidence and cynicism turned out to be weak: medicine and the natural sciences, unable to turn the tide of events, retreated, leaving Bazarov alone with himself. And then the forces came to the rescue, once denied by him, but stored in the depths of his soul. It is with their help that the hero fights death and boldly looks into her eyes. What is the hero at this moment? The dying Bazarov is simple and humane: there is no need to hide his "romanticism", and now the hero's soul is freed from the chains of false theories. He thinks not of himself, but of his parents, preparing them for a terrible end. Love for a woman, love for father and mother merge in the mind of the dying Bazarov with love for the Motherland. The hero realizes that Russia does not need Bazarov the nihilist, that he is superfluous in this world, that his activities are useless: "Russia needs me ... No, apparently not needed. And who is needed? A shoemaker is needed, a tailor is needed, a butcher .. .meat sells..."

Full text of the dissertation abstract on the topic "Idiostyle features of I.S. Turgenev: artistic and stylistic use of words as a predicate function"

As a manuscript

KOVINA Tamara Pavlovna

FEATURES OF IDIOSTYLE I.S. TURGENEV: ARTISTIC AND STYLISTIC USE OF WORDS IN THE FUNCTION OF A PREDICAT (BY THE MATERIAL OF THE NOVEL "THE NOBILITY'S NEST")

Specialty -10.02.01. - Russian language

MOSCOW - 2006

The work was done at the Department of Modern Russian Language of the Moscow State Regional University

Scientific adviser: Ledeneva Valentina Vasilievna

Official opponents: Monina Tamara Stepanovna

Doctor of Philology, Professor

Petrushina Maria Vladimirovna

Candidate of Philology

Lead organization: Mordovian State

Pedagogical Institute. M.E. Evsevyeva

Dissertation Council D. 212.155.02 for the defense of doctoral dissertations (specialties 10.02.01 - Russian language, 13.00.02 - theory and methods of teaching and education [Russian]) at the Moscow State Regional University at the address: Moscow, st. F. Engels, d. 21-a.

The dissertation can be found in the library of the Moscow State Regional University at the address: Moscow, st. Radio, d. 10-a.

Scientific secretary of the dissertation council candidate of philological sciences professor

M.F. Tuzova

GENERAL DESCRIPTION OF WORK

“What can be said about all the works of Turgenev in general? - wrote M.E. Saltykov-Shchedrin. - Is it that after reading them it is easy to breathe, easy to believe, warmly felt? What do you clearly feel, how the moral level in you rises, that you mentally bless and love the author? It is this impression that these transparent images, as if woven from air, leave behind, this is the beginning of love and light, which beats with a living spring in every line.

K.K. said about the magnetism of Turgenev's language. Istomin: "We are standing in front of a little explored area, still waiting to deepen into it and call to this deepening" (Istomin, 1923, 126).

More than one generation of linguists and literary critics turned to the study of the phenomenon of Turgenev-classic (N.N. Strakhov, 1885; V. Gippius, 1919; K.K. Istomin, 1923; H.JI. Brodsky, 1931; A. Kiprensky, 1940; S.M. Petrov, 1957; G. A. Byaly, 1962; G. B. Kurlyandskaya, 1977; D. N. Ovsyaniko-Kulikovskii, 1989; E. G. Etkind, 1999; L. I. Skokova, 2000; I. A. Belyaeva, 2002; N. A. Kudelko, 2003; N. D. Tamarchenko, 2004; V. Ya. Linkov, 2006, etc.). The features of the writer's skill explain the interest and give rise to a variety of approaches, the choice of topics for studying his creative heritage.

The relevance of the work is determined by the undying interest in the work of I.S. Turgenev “He is still especially close to us, as if he belongs much more to our century than to the past ...”, wrote M.N. Samarin in 1922 (Samarin, 1922,130).

V.N. Toporov in “Speech at the opening-restoration of the I.S. Turgenev on November 9, 1998”, emphasizing the importance of everything created by the writer, noted: “Turgenev himself requires in many ways a new reading, a new understanding. He is at all times, in joys and sorrows, our eternal and living companion. We share this point of view.

■. Turgenev's language is still a model of stylistic perfection. And although the author's linguistic skills are constantly in the field of view of researchers, many facets of his talent have not yet been sufficiently studied. Thus, the stylistic use of words in the function of a predicate has not been subjected to close scrutiny.

The object of the dissertation research is the literary text of the novel by I.S. Turgenev "The Noble Nest" as a significant source of information about the ability of words to form into certain verbal and syntactic models, obeying the ideological and aesthetic guidelines of the author, to reflect not only the social, artistic and stylistic aspects of creativity, but also to convey the idea of ​​​​an individual linguistic picture of the world, through the prism figurative vision.

The subject of the study is lexical units in the function of a predicate in the character zone of the novel "The Nest of Nobles", such as patriotka-. It never occurred to Lisa that she was a patriot; kind: You are so kind, - she began and at the same time thought: “Yes, he is definitely kind ...”; whisper, lower her eyes: “Why did you marry her?” whispered Liza and lowered her eyes, etc., - i.e. nouns, adjectives, verbs, phraseological units.

The stylistic potential of the nominating word and the qualifying word, the ideological and artistically motivated use of predicates, the influence of the characteristics of a linguistic personality on the formation of an individual artistic space are of scientific interest to researchers of different generations. We find a reflection of the range of these issues in the works of Russian linguists: N.D. Arutyunova, 1998; Yu.D. Apresyan, 1995; Yu.A. Belchikova, 1974; N.P. Badaeva, 1955; V.V. Vinogradova, 1954; G.O. Vinokura, 1991; D.N.

Vvedensky, 1954; H.A. Gerasimenko, 1999; E.I. Dibrova, 1999; G.A. Zolotov, 1973; A.N. Kozhina, 2003; M.N. Kozhina, 1983; T.V. Kochetkova, 2004; V.V. Ledensvoy, 2000; P.A. Lekanta, 2002; T.V. Markelova, 1998; V.V. Morkovkina, 1997; O.G. Revzina, 1998; Yu.S. Stepanova, 1981 and others.

We believe, following V.V. Ledeneva that the use of words as a predicate reveals the most important features of the author’s idiostyle, that the choice of a predicate in a text is subject to the subjective authorial principle, which is reflected both in the preference for words of a certain lexico-semantic group (LSG) and in a selective attitude towards one or another member of which -either a lexical paradigm, and in the choice of a specific lexical meaning - a lexico-semantic variant (LSV), a stylistic layer.

In the study of functional-semantic and communicative-pragmatic aspects of the use of stylistically colored and evaluative predicates in the text

The material of the study was the contexts extracted by the method of continuous sampling, in which the predicate is explicated in the syntactic

and semantic. For example: ... she is very pure in heart and does not know herself what it means: to love; ... Lavretsky went up to Lisa and whispered to her: “You are a kind girl; I'm guilty..." etc.

Idiolect is understood by us as "a field of explication of the features of a linguistic personality, which are reconstructed in the analysis of texts created by this linguistic personality" (See: Karaulov, 1987, 94; Arutyunova, 1988; Stepanov, 1981; cf.: Ledeneva, 2001).

5) to characterize the word in the role of a predicate as a representative of the pragmatic level of the author's linguistic personality;

The language of fiction, the theory of literary text: M.M. Bakhtin, Yu.A. Belchikov, V.V. Vinogradov, N.S. Valgina, G.O. Vinokur, I.R. Galperin, V.P. Grigoriev, E.I. Dibrova, A.I. Efimov, A.N. Kozhin, D.S. Likhachev, Yu.M. Lotman and others;

Linguo-poetic and linguo-stylistic analysis: M.N. Kozhina, A.N. Kozhin, E.S. Koporskaya, V.A. Maslova, Z.K. Tarlanov, L.V. Shcherba and others;

Predications, nominations: Yu.D. Apresyan, N.D. Arutyunova, T.V. Bulygina, T.I. Vendina, V.V. Vostokov, N.A. Gerasimenko, M.V. Diagtyareva, G.A. Zolotova, E.V. Kuznetsova, T.I. Kochetkova, P.A. Lekant, V.V. Ledeneva, T.V. Markelova, T.S. Monina, N.Yu. Shvedova, D.N. Shmelev and others;

Linguistic personality, linguistic picture of the world: Yu.N. Karaulov, G.V. Kolshansky, V.V. Morkovkin, A.V. Morkovkina, Yu.S. Stepanov and others;

Language and style of I.S. Turgenev: G.A. Byaly, E.M. Efimova, G.B. Kurlyandskaya, V.M. Markovich, F.A. Markanova, P.G. Pustovoit, S.M. Petrov, V.N. Toporov, A.G. Zeitlin and others.

3. The choice of words used in the function of the predicate reflects the system of the writer's lexical and stylistic preferences.

4. The preference for a characterizing predicate is motivated, ... by the task of creating realistic images that reflect

representations of I.S. Turgenev about the types of Russian nobility in the middle of the 19th century.

Approbation of the study. The main theoretical provisions of the dissertation are presented in 7 publications, including publications of the HAC list. The research materials were discussed at a meeting of the Department of Modern Russian Language of Moscow State University, at postgraduate seminars on topical problems of linguistics (2003, 2004, 2005, 2006). Author

took full-time participation in international and all-Russian scientific conferences (Moscow, 2003,2004; Orel, 2005). -

The Preface substantiates the choice of the topic and aspect of the study of the writer's idiostyle, motivates the relevance and novelty of the dissertation, defines the object, purpose, objectives, research methods, presents the hypothesis and the main provisions submitted for defense, characterizes the theoretical and practical significance of the work,

The Introduction characterizes the work of I.S. Turgenev through the prism of numerous assessments given by his researchers - literary critics and linguists. We draw attention to the important role of the analyzed work in the writer's work. This is a novel in which the author not only creates a special artistic world filled with realistic images, but also reflects worldview positions, rethinks biographical facts, including childhood and upbringing. We emphasize that the analysis of the linguistic means chosen by the author and used in the function of the predicate makes it possible to comprehend the artistic image of the character, to assess the position of the author himself, his attitude towards the characters and the described artistic reality. This section introduces a range of working terms.

In the first chapter "Predicate as a means of expressing the author's beginning in the novel "The Nest of Nobles" I.S. Turgenev" we turn to the consideration of the concepts of "predicate" and "predication" and to the description of the units and their forms used by the writer in the character zone of a work of art in this function.

We present the main theoretical provisions in scientific coverage, give definitions of the operational concepts of the dissertation: predicate, predication, predicativity, we emphasize that our point of view coincides with the position of P.A. Lekant and with the characteristics of the predicate and predication by his scientific school. The paper substantiates the nature of predication in a literary text that determines the author's position; we state that predication in a literary text is a more complex and broader concept, including not only the act of attributing a feature to a subject, but also special “surreal-artistic” meanings consciously or unconsciously put into the text by the author of the work.

This chapter presents and analyzes the main forms of words used by I.S. Turgenev in the function of a predicate in the novel "The Nest of Nobles", describes and classifies the factual material that forms the basis of the study. Semantic-stylistic and morphological (formal) grounds are taken into account in these classifications. We analyzed in detail the word forms of various parts of speech (nouns, adjectives and verbs) used in the predicate function and pointed out some features of their use by the author.

Highlighting contexts that include constructions involving prepositional-case forms of a noun in the predicate position, we (following H.A. Gerasimenko) state the presence of bisubstantive sentences in the context of the novel as a means by which characterization of the character is carried out: and lived for himself as a cynic, an idealist, a poet...etc.

The study confirms the important role and productivity in the studied material of the novel of the proper predicative case forms, which in Russian are considered the nominative predicative, which has been used in this function since ancient times, and the instrumental predicative, which became noticeably more active later (beginning of the 19th century). The predicate, expressed by a noun, points to a qualitative characteristic, to a generic attribute, denotes a state, reveals the essence of who (what) is characterized. For example, the nominative form is used in the following contexts: Well, that's not a proof yet; I am also an artist, although a bad one; He is an amateur - and that's it!; You are smart for coming; I'm not a poet, where should I go! and etc.

The analyzed material also shows that the predicate in its composition has an adjectival component, which expresses a qualitative characteristic, providing the semantic content of the predicate with the lexically emptied, although important for the formal side, words man, being, etc.: He seems to be a good person; Sergei Petrovich - a respectable man; He, your will, is a pleasant person; Are you an honest person?; This Glafira was a strange creature; This girl is an amazing, brilliant creature, etc.

The noun in the instrumental case is also represented: Malanya Sergeevna became her slave; Ivan Petrovich returned to Russia as an Englishman; He felt like an eccentric, etc. More often, a noun in the instrumental form is used with the link to be in the past and future tenses of the indicative mood. Note that with the connectives become, become, seem, only the word in the form of the instrumental case is used: Panshin and in

Petersburg was considered efficient officials...; she was known as an eccentric ...; ... he was a chamber junker; I seem selfish; ... you were a child; ... he became a really good host; It was all over: Varvara Pavlovna became famous, etc.

The general difference between the nominative and creative predicative is that the former denotes something constant, unchanging, while the latter denotes something limited in time, replaced by something else. For example: It never occurred to Lisa that she was a patriot - the characteristic “patriot” is presented as the main life position, the essence of the heroine. Compare: Varvara Pavlovna has shown herself to be a great philosopher ... - Turgenev characterizes the heroine, calling her either a "philosopher", or a "musician". An indicator that the instrumental form of a noun is used by the author to indicate a quality (characteristic) limited in time, subject to change, is the use of words as a predicate with connectives become, become, etc., indicating becoming, transition from one state/quality to another. For example: I became a different person; He seemed to them some kind of sophisticated pedant, etc.

Adjectives, as evidenced by the analysis, have properties that represent them as classical predicates. Adjectives are predicative forms, i.e. typical for predication; indeclinable forms are short adjectives, inflected forms are full adjectives in the nominative and instrumental cases. ^

A specific form used only in the predicate, i.e. predicate, is a short form of the adjective; We have identified short forms formed from the following full forms of adjectives: poor, in love, enthusiastic, stupid, rude, dirty, kind, contented, trashy, bad, miserable, healthy, strong, scary, happy, smart, good, clean, etc. In the character zone of the novel, the writer used them a) with a zero form of the ligament: In fact, he is nothing, healthy, cheerful, "Lavretsky realized that he was not free; Is she devout ...; She is good-looking; It's a pity she , seems to be a little enthusiastic; - Are you sick? - meanwhile Panshin was saying to Lisa; - Yes, I am unwell, etc.; b) with a materially expressed bundle: He was not bad-looking, smart and, when he wanted, very kind; Panshin was really very clever - no worse than his father; ... but he was also very gifted; He became very indifferent to everything; I was then young and inexperienced: I was deceived, I was carried away by a beautiful appearance; Liza was calm as usual, but more than usual pale Sometimes he became nasty to himself: “What am I,” he thought, “waiting how raven of blood, true news of death

wives!" and others. Short forms of adjectives in the function of the “quality” predicate are overwhelming, and we were convinced of this by observations of their use in the character zone of the novel, which confirms the conclusions of Yu.S. Stepanov that in the use of these forms, the tendency of the Russian language to bring short forms closer to the “category of personality” is noticeable.

Full adjectives are used by the author in typical predicative forms of the nominative and instrumental cases: Anton also told a lot about his mistress, Glafira Petrovna: how reasonable and thrifty they were...; Lavretsky did not immediately answer him: he seemed distracted... etc.

Turgenev is a master of complex characteristics. The writer's verbs are an important tool in working on an artistic image, and this is a distinctive, striking feature of the writer's idiostyle. In the process of work, we found that verbs in the predicate function are preferable for the author as a means of promoting the plot of the work, expressing the author's sympathies, assessing the state of affairs, situations that generally realize the author's intention. They are represented in the novel by more than 1500 units and considered within 1200 contexts.

The verbal space, formed by full-valued verbs, is structured, first of all, by the opposition according to the semantic sign of actionality and non-actionality. “Action”, “state”, “relationship” are three semantic fields that are formed by verbal vocabulary in connection with the presence / absence or transformation of the components of activity and purposefulness in the semantic structure of words.

Thanks to verbs, the picture of the world in the text can appear as static or dynamic, in motion, interaction of objects, already - persons, events, etc., i.e. in the "state of affairs" (Zolotova, Onipenko, Sidorova, 1998, 73, 75-77; Ledeneva, 2000, 59). Analyzing the verbal predicates in the material under study, we established the LSG, which the writer uses when creating images of characters using various artistic techniques, and at the same time described the composition of these idiolect units of I.S. Turgenev, reflecting the features of his linguistic picture of the world.

The data of the analysis of action verbs as the most numerous group used in the function of the predicate show how the author selected language means when describing the protagonist of Lavretsky's novel. So, the group of verbs LSG thinking (basic think) is quantitatively distinguished. We especially note the verb think, since it is used 35 times in the text of the novel in the description of the hero's actions. The frequency of use shows that the hero is in thought, so this predicate is not only the most frequent in the novel, but also

perhaps the most important for understanding the idea of ​​the work, the defining link in the structure of the novel (forms a line of communication between the novel's past and future). For example: “Here,” he thought, “a new being is just coming into life; “Here I am at home, here I am back,” thought Lavretsky \ He began to think about her, and his heart calmed down, etc. The repeated, repeated use of the word as a predicate indicates the presence of an implicit positive or negative author's assessment and consolidates it .

The choice of a word as a predicate demonstrates the author's attitude to the functional and stylistic qualities of the language means necessary to express his ideological and aesthetic position and implement the idea.

In the second chapter “The stylistic use of words in the function of a predicate in the novel “The Nest of Nobles”: to the characteristics of I.S. Turgenev” analyzed the stylistic features of the use of words as a predicate in the depiction of the character zone of the novel, the author’s approach to the choice of means of expressing predication, which is one of the indicators of I.S. Turgenev.

The study of a literary text, the language of an individual author at the present stage of development of linguistic science cannot do without referring to the concepts of idiolect and idiostyle. This appeal is already motivated by the very specificity of the phenomenon of "language of fiction", which is recognized as a linguo-stylistic system of a synthesized nature, which has its own laws of functioning and formation of units designed to create emotionality, expressiveness, and imagery as signs of a literary text; in this system, an “aesthetic focus”, an “aesthetic angle of view” is used in the selection of means of the national language, and this angle of view is established by the writer (See: Andrusenko, 1978; Vinogradov, 1959, 1976, 1980; Maksimov, 1967).

We subscribe to the interpretation of the definition of idiostyle given by V.V. Ledeneva, according to which “idiostyle is a system of relations individually established by a linguistic personality to various ways of self-representation by means of an idiolect, which manifests itself in the used units, forms, figurative means in the text. Idiolect - a set of features that characterize the speech of a given individual ”(Ledeneva, 2001.36).

We find signs of Turgenev's idiostyle in the construction of the dialogue of the protagonist Lavretsky with his friend Mikhalevich. I.S. Turgenev artistically transforms the "phonetic shell", semantics, stylistic significance of units in order to emphasize the emotional

excitation of the participants in the dispute: skeptic, egoist, Voltaireian, fanatic, bobak, tsynyk. For example: You are a bobak; ...you are a skeptic; You are the chick

Turgenev's skill is manifested in the creation of text fragments of a special philosophical sound, which the author uses for the speech autocharacteristics of Lavretsky and Lisa Kalitina. Nouns in the function of the predicate are in them the semantic core, the center of the characteristic. See: Follow your heart; it alone will tell you the truth,” Lavretsky interrupted her... “Experience, reason—all this is dust and vanity! Do not deprive yourself of the best, the only happiness on earth, etc.

novel "The Nest of Nobles" by I.S. Turgenev uses phraseological units as an important characterological means of characters. The explication of the author's position is carried out due to the inclusion of phraseological units in the text fabric at the climax of the development of the action, the deployment of the novel's event outline.

The sequence of introducing phraseological units into the text allows us to draw conclusions about their role in organizing the ideological and artistic structure of the novel. So, first, an idea of ​​the hero is formed “from the words” of secondary characters (according to the information transmitted by the author in these speech parts): Marya Dmitrievna takes on a dignified, and somewhat offended look. “And if so,” she thought, “I don’t care at all; you can see, my father, everything is like water off a duck's back; another would be exhausted from grief, but you were still blown away ”- like water off a duck's back.

Then the writer describes the hero's heartache because of his wife's infidelity, and uses phraseology with a stone on his chest, varying the usual stone on his soul. Further I.S. Turgenev speaks of a feeling of love for her, while using phraseological units to describe the psychological state of a person: Lavretsky, having learned about his wife's betrayal, cannot immediately stop loving her. The depth of his experiences is conveyed by a phraseological unit, longing takes (took) -. Sometimes his longing for his wife took him so much that he seemed to give everything, even, perhaps ... to forgive her, just to hear her gentle voice again, to feel her hand in his hand again. The following phraseological unit indicates the philosophical reflections of the protagonist about a person and his nature, about the ability to understand someone's soul (which is connected with the "love for Lisa" storyline). Personal experiences are interrupted by the author with a philosophical dispute between Lavretsky and Mikhalevich. Phraseologism enter the soul indicates the hero's awareness of everything that happens to him: "But he is probably right," he thought, returning to the house, "perhaps I'm a bobak." Many of the words of Mikhalevich irresistibly entered his soul, although he argued and did not agree with him. The next stage is the news of the death of his wife and her sudden return, when the hero compares the past and the possible future. But Turgenev does not give an easy fate to the hero: with bitter irony

tells about the imaginary death of his wife, and then about her sudden appearance. Phraseologisms are included in these fragments of textual fabric as units that carry a strong emotional charge: He already wanted to throw them - and suddenly jumped out of bed, as if stung. In a feuilleton of one of the newspapers, Monsieur Jules, already known to us, informed his readers of “sorrowful news”: a charming, charming Muscovite, he wrote, one of the queens of fashion, an adornment of Parisian salons, madame de Lavretzki died almost suddenly. Then, heavy torments are shown associated with the understanding that happiness based on mutual love has become impossible, and - as a finale - a semantically modified phraseological unit that indicates death, but not physical, but spiritual - from the realization that there will never be happiness . To do this, in the epilogue, the author uses the phraseological unit to give the last bow, reinforcing it with connotations: And after today, after these feelings, it remains for me to give you the last bow - and although with sadness, but without envy, without any dark feelings, to say, in mind end, in view of the waiting God: “Hello, lonely old age! Burn down, useless life!" The connotative, evaluative content of phraseological units enhances the impact of the depicted events.

While working on the novel "The Nest of Nobles", I.S. Turgenev used an arsenal of dialect and colloquial words for a more accurate and ideologically complete depiction of the heroes. He introduced dialectisms as a vivid characterological means when creating a speech portrait of characters, and also explicated his own. attitude to speech, the character of the hero. Many scientists - A.I. Batyuto, G.B. Kurlyandskaya, P.G. Pustovoit - emphasized this important feature of Turgenev's writing, but we note that for this purpose words were also used as a predicate.

Hin dialectism is used as part of I.S. Turgenev only once in the studied novel, but it is an important authorial characteristic that can be attributed to the depicted noble, social life in general. We consider this usage to be stylistically conditioned. The writer, describing the "life of noble nests", using the example of Lavretsky's nest, showed that all noble arrangements, all noble life, all noble serf Russia went to hell. The appraisal predicate went khineyu in the speech of a minor character - the old servant Anton, as we showed in the dissertation, it turns out that the socio-political meaning that Turgenev’s “narrative about Russia” carries in itself (definition by V.G. Shcherbina) - the novel “The Noble Nest ".

In the dissertation essay, we explore the artistic and stylistic role of stylistically colored units in the function of a predicate and words of neutral vocabulary, which acquire a special meaning in the text.

stylistic load. The evaluative component as a determinant is manifested in the author's explication of the relationship to the main character when using words with the root -good- (a word-forming nest with a good apex) in the function of a predicate, which becomes the subject of special consideration.

Characterizing Lavretsky, I.S. Turgenev seems to question his strength and the direction of his kindness, and therefore, to characterize the hero, he uses the predicate kind with connotative shades of doubt, even irony. They appear in the speech parts of Lisa and Varvara Pavlovna (wife), women whom Lavretsky loved. See: ... you are so kind, she began, and at the same time she thought: “Yes, he is definitely kind ...” (Liza). I.S. Turgenev showed that he "checks his heroes with kindness." Wed: ... but it seems to me that he is still the same kind (wife). The predicate good is used in a construction that expresses doubt, uncertainty and, nevertheless, the hope that kindness-softness has not been replaced by a feeling of high morality and opposing evil.

In the course of the analysis of words in the function of a predicate as a means of revealing the features of the writer's idiostyle, we found that the key concept, reflecting the trait of the Russian national character, for I.S. Turgenev is passion. This is demonstrated by groups of predicates (see: to like, to love, to become attached, to give in, to seem nice), in the meanings of which the semantic components of intensity and surprise are palpable, which, according to our observation, characterizes a passionate temperament. For example, about Lavretsky's mother: Ivan Petrovich liked her from the first time; and he fell in love with her timid gait, bashful answers, quiet voice, quiet smile, every day she seemed dearer to him. And she became attached to Ivan Petrovich with all the strength of her soul, as soon as Russian girls know how to become attached, - and gave herself to him.

A vivid episode in which "passion" as a feature of the Russian character was manifested is Lavretsky's meeting with his friend Mikhalevich. The dynamics presents a dispute that a Russian person is trying to win not by logical means, but by emotionality, passion of speeches, sometimes contradicting his own judgments (this is the veracity and accuracy of the image): A quarter of an hour has not passed, as already ignited (1) an argument between them, one of those endless disputes that only Russian people are capable of. With onyx, after many years of separation, spent in two different worlds, not clearly understanding either other people's or even their own thoughts, clinging to words and arguing with only words, they argued (2) about the most abstract subjects - and argued as if it were going on about the life and death of both: they wailed (3) and yelled (A) so that all the people were alarmed in the house. The stylistically reduced words catch fire, wail, yell are used as predicates that convey

emotional intensity, which is shown in its increase. Wed in TSU: 1) FIRE - “Start to burn” (metaphorically about the intense beginning of something); 2) DISTURB - "Start arguing"; 3) VOICE - “In general, shout loudly, cry, lament sobbing uncontrollably (colloquial fam.)”; 4) SCREAM - “(colloquial). Shout loudly and drawlingly, howl.

We chose the image of Lavretsky as the object of detailed analysis; he appears in the novel "The Nest of Nobles" as an individual, but at the same time, Turgenev generalizes in this image the trait of representatives of the cultural middle nobility of the 40-60s. 19th century The dissertation presents a circle of predicates, with the help of which this image acquires the fullness of outlines.

The hero's speech style is characterized by the pronunciation verb uttered with action concretizers, expressed gerunds and adverbs, for example: he said, taking off his hat; said Lavretsky, climbing up the steps of the porch; he said loudly. Observations showed that I.S. Turgenev rarely uses the verb of speech message to say and the verb of pronunciation to speak. From synonymous units, he selects those members of paradigmatic associations that will focus on the semantic load of the word corresponding to the speech modification of the hero: object, yell, exclaim, tremble, start, speak, notice, shout, pray, interrupt, pick up, speak, pronounce, repeat, whisper and yes.

In the characterization system of the characters I.S. Turgenev assigns a large role to monologues and dialogues. The author reaches the highest point in the depiction of Lavretsky's image at the moments of the hero's open dialogue with Lisa and in showing a hidden dispute with her. The restrained author's characterization of this communication does not obscure the role of the dispute in the development of a feeling of love among the main characters, in assessing this feeling as a big, fateful one. The tonality of the dialogue of the characters indicates the birth of a great feeling - love, which is conveyed by predicate verbs: ... they didn’t say anything to each other, but both realized that they had closely agreed, both realized that they both love and dislike the same thing. The sequence of the use of verbs in the replicas of the dialogue also indicates the emergence of feelings. The verbs in the author's remarks and in the remarks line up in pairs: spoke - whispered; uttered with involuntary horror - slowly looked; he understood, spoke again - she shuddered; could not sleep - did not sleep.

The appearance of connotations is associated with the repetition of the same words. The verbs reflect the approaching climax of the novel, and the author uses word repetition as an artistic device.

In Lavretsky's description, we noted the predominance of short forms of adjectives as a predicate of "quality" with an evaluative connotation; they denote the qualitative state of the object of characterization: with the zero form of the ligament - he is healthy, cheerful, with a materially expressed ligament - he became indifferent. Full adjectives are used by I.S.

Turgenev in the predicative forms of the nominative and instrumental cases: yes, how glorious you are, including in conjunctions: he seemed sleepy. Thus, the short form of the writer portrays this "live" in the novel, reflecting the "instant" of the novel's time, and the full form is used to show the evolution of the image: what it was - what it became later.

In the dissertation, we also analyze the means of creating the image of the main character of the novel - Liza Kalitina. The author characterizes Lisa through the description of her look. As the material showed, only Liza's gaze conveys the state of her soul, and movements and speech in the manifestation of feelings, according to Turgenev, are restrained. At the beginning of the novel, the author puts into the mouth of Lavretsky a stroke characteristic of Liza: I remember you well; you already had a face that you never forget. See the description of the look/eyes in relation to Panshin: Lisa's eyes expressed displeasure. Turgenev wrote about the look of Lisa on the pages of the novel more than once. We believe that this particular detail is the main one in the assessment of the heroine and in the representation of the type - Turgenev's girl.

In working on the image of Lisa, the author uses an intensifier of the meaning of the main predicate, focusing on how the action took place; he chose words with the root -quiet- as such an amplifier: in childhood: She prayed earnestly: her eyes shone quietly, her head quietly bowed and raised; Liza leaned against the back of her chair and quietly raised her hands to her face; We recently had news of Lisa, - said young Kalitin, and again everything around was quiet; ... messages reach us through people. - There was a sudden, deep silence; “a quiet angel has flown by,” everyone thought.

In the novel's epilogue, the heroine's gaze is conveyed as a special trembling of her eyelashes: Moving from choir to choir, she walked close past him, walked with the even, hastily humble gait of a nun, and did not look at him; only the eyelashes of the eye turned to him quivered a little.

In the presentation of characters by the author, the characterizing predicate is one of the most widespread types of predicates in a literary text, since with its help the author has the opportunity to express himself in the description, characterization, evaluation of both the characters and the events depicted.

The predicate is significant for creating the unique artistic and stylistic content of I.S. Turgenev, to understand the author's position, the attitude of the writer to the depicted, to determine the features of his idiolect and idiostyle.

In the Conclusion, the general results of the study of the artistic and stylistic use of words as a predicate in the character zone of the novel "The Noble Nest" by I.S. Turgenev, the main conclusions obtained during the analysis of the material are presented.

1. Stylistically determined use of the word khin in the novel by I.S. Turgenev "Noble Nest": Vestnik MGOU. Series "Russian Philology". -No. 2 (27). - 2006. - M.: MGOU Publishing House. - S. 281-282.

2. Predicate as a means of the author's characterization of the image of Lavretsky // Rational and emotional in language and speech: means and methods of expression: Interuniversity collection of scientific papers dedicated to the 75th anniversary of Professor M.F. Ace. - M.: MGOU, 2004. - S. 157-161.

3. Stylistic functions of the word kind in the novel by I.S. Turgenev "The Noble Nest" // Rational and emotional in language and speech: means of artistic imagery and their stylistic use in the text: Interuniversity collection of scientific papers dedicated to the 85th anniversary of Professor A.N. Kozhin. - M: MGOU, 2004. - S. 275-280.

4. The role of LST in creating an artistic image (based on the novel by I.S. Turgenev! "The Nest of Nobles") // Rational and emotional in language and speech: grammar and text: Interuniversity collection of scientific papers. M.: MGOU, 2005. - S. 225-229.

5. The role of phraseological units in the formation of the structure of the novel by I.S. Turgenev "Noble Nest" // Information potential of the word and phraseological unit: International scientific and practical conference dedicated to the memory of Professor R.N. Popova (on the occasion of his 80th birthday): Collection of scientific articles. - Eagle, 2005. - S. 330-333.

6. Stylistically colored nouns as a predicate in I.S. Turgenev "The Nest of Nobles" // Topical Issues of the Modern Russian Literary Language: Collection of Materials of the Academic Conference of the Faculty, Students and Postgraduates of the Department of Modern Russian Language. - MGOU Publishing House, 2005. - S. 50-55.

7. Features of the Russian national character in the description of I.S. Turgenev (in the material of the novel "The Nest of Nobles") // Young Turgenev scholars about Turgenev: Materials of the conference / Collection of articles. - M.: Ekon-Inform, 2006. - S. 69-77.

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Introduction.

CHAPTER 1

I.S. TURGENEV.

§1.0 the concept of "predicate" in scientific coverage.

§2. Nouns as a predicate in I.S. Turgenev "The Nest of Nobles".

2.1. Nouns as predicates.

2.2. Nouns in the function of a predicate characterizing the character zone of the novel: predicative forms.

2.3. Nouns in the function of a predicate characterizing the character zone of the novel: non-predicative forms.

§3. Adjectives in the role of a predicate in the novel by I.S. Turgenev "The Nest of Nobles".

3.1. Features of the use of adjectives as a predicate.

3.2. The use of various forms of adjectives as a predicate in the character zone of the novel by I.S. Turgenev "The Nest of Nobles".

§four. Verbal predicates in the novel by I.S. Turgenev "The Nest of Nobles".

4.1. Action verbs in predicate function.

4.2. Statue verbs in predicate function.

4.3. Relational verbs in predicate function.

4.4. Lexico-semantic groups of verbs used to create the image of the protagonist of the novel.

§5. The specificity of the introduction of predicates and the explication of the author's position.

Conclusions for chapter 1.

Chapter 2 TURGENEV.

§one. On the means of the idiolect, reflecting the idiostyle features of I.S. Turgenev.

1.1. The concepts of "idiostyle" and "idiolect" as working terms in the analysis of the literary text of I.S. Turgenev.

1.2. The use of I.S. Turgenev of stylistically colored vocabulary as a predicate.

1.3. The role of phraseological units in the formation of the ideological and artistic structure of the novel.

1.4. Conceptually significant predicates of the novel "The Nest of Nobles" by I.S. Turgenev.

1.4.1. Phraseologism hinyu went as an explicator of the author's attitude to the world of noble nests.

1.4.2. The stylistic functions of the word kind and a reflection of the author's ethical and philosophical thought.

§2. Artistic images of the novel by I.S. Turgenev in lexical arrangement.

2.1. Key words reflecting the features of the Russian national character.

2.2. The role of predicates in the creation of the artistic image of Lavretsky.

2.3. The adjective in the role of a predicate is a favorite means of Turgenev's characterization.

Conclusions on chapter 2.

Dissertation Introduction 2006, abstract on philology, Kovina, Tamara Pavlovna

The text of the novel by I.S. We perceive Turgenev's "Nest of Nobles" as a speech fact, as a canvas woven from the means of the lexical-semantic level, we also take into account his pragmatic-stylistic intentions.

Absorbing the vocabulary of various styles, the writer's text becomes a source of knowledge about the pragmaticon of a linguistic personality, already because the idiolect units used contain pragmatic information inherent in them as members of the lexical system, this system is closely intertwined with the semantic one, and often "pressed" into the lexical meanings of words (Apresyan, 1995, 2; Markelova, 1998; Ledeneva, 2000.16).

The functioning of the word in the text as a whole and in a specific sentence as a statement is of great importance for determining the features of the author's idiostyle, the preference for choosing words of a specific stylistic and functional reference as a means of nomination and predication makes it possible to talk about the individuality of the author's linguistic personality and the features of this individuality, its linguistic picture world (YKM).

The relevance of the work is determined by the undying interest in the work of I.S. Turgenev. “It still remains especially close to us, as if it belongs much more to our century than to the past,” wrote M.N. Samarin in 1922 (Samarin, 1922,130).

V.N. Toporov in “Word at the opening-restoration of the Library-reading room named after I.S. Turgenev on November 9, 1998”, emphasizing the importance of everything created by the writer, noted: “Turgenev himself requires in many ways a new reading, a new understanding. He is at all times, in joys and sorrows, our eternal and living companion. We share this point of view.

A work of art, as shown by numerous studies (M.M. Bakhtin, 1963; G.B. Kurlyandskaya, 2001; V.M. Markovich, 1982; V.B. Mikushevich, 2004; E.M. Ognyanova, 2004; S. M. Petrov, 1976; A. Troyatt, 2004, etc.), is created due to the interaction of many factors determined by the ideological and aesthetic position of the writer and the originality of his linguistic picture of the world.

Turgenev's language is still a model of stylistic perfection. And although the author's linguistic skills are constantly in the field of view of researchers, many facets of his talent have not yet been sufficiently studied. Thus, the stylistic use of words in the function of a predicate has not been subjected to close scrutiny.

We consider it necessary to focus on this side of Turgenev's language, since predicates contribute to the expression of the life and creative position, the author's artistic and aesthetic concept, the writer's train of thought when creating a holistic text, convey a system of assessments, i.e. determine the manner of artistic writing, idiostyle as a whole.

The word in the text is considered by us as a realized unit of the language, reflecting the composition of the author's idiolect, contributing to the material embodiment of his intention, as evidence of the author's creative activity. Under the pen of the master, the words of the language units become figurative and expressive means of artistic speech, creating a figurative structure and author's narration - a textual fabric.

The object of the dissertation research is the literary text of the novel by I.S. Turgenev's "The Nest of Nobles" as a significant source of information about the ability of words to form into certain verbal and syntactic models, obeying the author's ideological and aesthetic guidelines, to reflect not only the social, artistic and stylistic aspects of creativity, but also to convey the idea of ​​​​an individual linguistic picture of the world, through the prism of figurative vision .

We are closely examining the character zone of the novel "The Nest of Nobles", which is understood as "a hierarchical qualification structure consisting of certain characteristics of a character, justified by the author's interpretations, which find their linguistic confirmation in the text of a work of art" (Dibrova, 1999.91).

The subject of the study is lexical units in the function of a predicate in the character zone of the novel "The Nest of Nobles", such as a patriot: Lisa never even thought that she was a patriot; kind: You are so kind, - she began and at the same time thought: “Yes, he is definitely kind.”; whisper, lower her eyes: “Why did you marry her?” whispered Liza and lowered her eyes, etc., - i.e. nouns, adjectives, verbs, phraseological units.

The stylistic potential of the nominating word and the qualifying word, the ideological and artistically motivated use of predicates, the influence of the characteristics of a linguistic personality on the formation of an individual artistic space are of scientific interest to researchers of different generations. We find a reflection of the range of these issues in the works of Russian linguists: N.D. Arutyunova, 1998; Yu.D. Apresyan, 1995; Yu.A. Belchikova, 1974; N.P. Badaeva, 1955; V.V. Vinogradova, 1954; G.O. Vinokura, 1991; D.N. Vvedensky, 1954; ON THE. Gerasimenko, 1999; E.I. Dibrova, 1999; G.A. Zolotov, 1973; A.N. Kozhina, 2003; M.N. Kozhina, 1983; T.I. Kochetkova, 2004; V.V. Ledeneva, 2000; P.A. Lekanta, 2002; T.V. Markelova, 1998; V.V. Morkovkina, 1997; O.G. Revzina, 1998; Yu.S. Stepanova, 1981 and others.

We believe, following V.V. Ledeneva that the use of words as a predicate reveals the most important features of the author’s idiostyle, that the choice of a predicate in a text is subject to the subjective authorial principle, which is reflected both in the preference for words of a certain lexico-semantic group (LSG) and in a selective attitude towards one or another member of which -either a lexical paradigm, and in the choice of a specific lexical meaning - a lexico-semantic variant (LSV), a stylistic layer.

The definition of the subject of research is motivated by an interest in predication and predicates, which have an artistic and stylistic content in the writer's prose, and therefore significant for understanding the author's position, the writer's attitude to the depicted. This determined the novelty of the study.

The scientific novelty of the dissertation research is:

In a new approach to the study of the language, I.S. Turgenev - in considering the stylistic features of the novel "The Nest of Nobles" through the prism of predication;

In the polyaspect analysis of the words chosen by I.S. Turgenev for the role of a predicate as units of the author's idiolect, demonstrating the features of his idiostyle;

In identifying the factors influencing Turgenev's choice of lexical and phraseological elements when creating images of characters and in establishing predicates that are conceptually significant for the character zone;

In the description of the key words reflecting the features of the Russian national character in the view of I.S. Turgenev;

In the stylistic analysis of the role of predicates in creating images of the heroes of the novel;

In the study of functional-semantic and communicative-pragmatic aspects of the use of stylistically colored and evaluative predicates in the text of the novel;

Previously unexplored material is introduced into scientific circulation, reflecting the specifics of the author's language and style, processed according to explanatory, semantic, etymological dictionaries and other information sources.

The material of the study was the contexts extracted by the method of continuous sampling, in which the predicate is explicated in syntactic and semantic terms. For example: .she is very pure in heart and does not know herself what it means: to love; Lavretsky went up to Lisa and whispered to her: “You are a kind girl; it's my fault." and etc.

The analysis of the words used as predicates was carried out by us taking into account their artistic and stylistic significance. The limitation of the scope of research is explained by the breadth of the material, on the one hand, and the ability of predicates to carry a significant informational and aesthetic load in the text, which helps to identify the author's intention, on the other hand. The card index includes about 3000 contexts.

A work of art realizes in itself not only the author's idea, but also expresses a judgment about the types of people. Nouns and adjectives in terms of such an expression are carriers of the figurative-characterizing thought of the author, the figurativeness of the text. Verbs are a means of realizing the writer's thoughts and advancing the plot in the development of the idea, thus, words in the function of a predicate are important units of an idiolect.

Idiolect is understood by us as “a field of explication of the features of a linguistic personality, which are reconstructed in the analysis of texts created by this linguistic personality” (See: Karaulov, 1987, 94; Arutyunova, 1998; Stepanov, 1981; cf.: Ledeneva, 2001).

The purpose of the study is to characterize the idiostyle features of I.S. Turgenev, explicated by the artistic and stylistic use of words as a predicate in the novel "The Nest of Nobles".

This goal predetermined the formulation and solution of the following specific tasks:

1) identify the composition of the predicates used in the character zone of the novel; to systematize language material;

2) to give a formal, semantic and stylistic description of the units acting as a predicate, based on the research materials;

3) evaluate the role of predication means in creating artistic images and in explicating the position of the writer in relation to the characters portrayed;

4) to identify the components of the semantics of the words used in the predicate function that are artistically significant for Turgenev;

5) to characterize the word in the role of a predicate as a representative of the pragmatic level of the author's linguistic personality;

6) establish the stylistic motivation for the use of predicates and their place in the system of means of representing the features of the linguistic personality of the writer;

7) to prove that the preference for predicates of a characterizing type is an idio-style feature of the author (when creating the character zone of the novel).

The main hypothesis of the study: words in the function of a predicate are the most important characterological means of explicating the author's intention, assessing the place and role of the character in the artistic space and in relation to socially significant events in reality.

The theoretical basis of the dissertation is based on achievements in the following areas of linguistic research:

The language of fiction, the theory of literary text:

MM. Bakhtin, Yu.A. Belchikov, V.V. Vinogradov, N.S. Valgina, G.O.

Vinokur, I.R. Galperin, V.P. Grigoriev, E.I. Dibrova, A.I.

Efimov, A.N. Kozhin, D.S. Likhachev, Yu.M. Lotman and others;

Linguo-poetic and linguo-stylistic analysis: M.N.

Kozhina, A.N. Kozhin, E.S. Koporskaya, V.A. Maslova, Z.K. Tarlanov,

L.V. Shcherba and others;

Predications, nominations: Yu.D. Apresyan, N.D. Arutyunova, T.V.

Bulygina, T.I. Vendina, V.V. Vostokov, N.A. Gerasimenko, M.V.

Diagtyareva, G.A. Zolotova, E.V. Kuznetsova, T.I. Kochetkova, P.A.

Lekant, V.V. Ledeneva, T.V. Markelova, T.S. Monina, N.Yu.

Shvedova, D.N. Shmelev and others;

Linguistic personality, linguistic picture of the world: Yu.N. Karaulov, G.V.

Kolshansky, V.V. Morkovkin, A.V. Morkovkina, Yu.S. Stepanov and others;

Language and style of I.S. Turgenev: G.A. Byaly, E.M. Efimova, G.B.

Kurlyandskaya, V.M. Markovich, F.A. Markanova, P.G. Pustovoit,

CM. Petrov, V.N. Toporov, A.G. Zeitlin and others.

The research methods and approach to the analysis of the material were chosen taking into account the goals and objectives set. The nature of the dissertation work involves the use of general scientific methods of analysis, synthesis, comparison and generalization. As the main methods, the method of linguistic observation, artistic and stylistic, descriptive and comparative, elements of component analysis, the method of continuous sampling of material, its lexicographic processing were used. The choice of methods and analysis is based on the idea of ​​the anthropocentricity of the language.

The theoretical significance of the study lies in the development, on the basis of specific material, of an aspect that is relevant for modern linguistics, the problem of reflecting the features of the author's linguistic personality in the features of her idiostyle; in describing the functioning of words as a predicate in a work as artistically and stylistically significant units.

The practical significance of the dissertation research is determined by the possibility of adequate reflection in linguistic science of the importance of the author's predication in a literary text, in identifying the patterns of selection of linguistic means of its expression. The results of the study can be used in further research of the language and style of I.S. Turgenev. The research material can be used in the practice of university and school teaching of linguistic and philological analysis of a literary text, in the development of special courses and special seminars on the problems of the language of fiction.

The following provisions are put forward for defense:

1. I.S. Turgenev is an active linguistic personality whose field of interest is the sphere of interpersonal relations, which is confirmed by the choice of idiolect means and the peculiarities of their functioning as a predicate in the characterization of images (in the character zone of the novel).

2. The qualitative and quantitative composition of the units used in the function of the predicate indicates the justification of their choice and the relevance for creating a novel of this ideological and artistic content.

3. The selection of words used in the function of the predicate reflects the system of the writer's lexical and stylistic preferences.

4. The preference for a characterizing predicate is motivated by the task of creating realistic images that reflect the ideas of I.S. Turgenev about the types of Russian nobility in the middle of the 19th century.

5. The selection of predicates in the character zone of the novel "The Nest of Nobles" is motivated by the idea and the ideological and artistic structure of the novel, explicating the ethical, philosophical and aesthetic positions of the writer.

6. The circle of the chosen ones I.S. Turgenev of predicates highlights the features of the national character, the mentality of the Russian people that are significant for the author.

7. The most important feature of the idiostyle of I.S. Turgenev, we consider the absence of categorical assessments represented by noun predicates, which allows us to speak of the author's pragmatic attitude towards the dialectical development of images, which is expressed in the evolution of characters (types).

Approbation of the study. The main theoretical provisions of the dissertation are presented in 7 publications, including publications of the HAC list. The research materials were discussed at a meeting of the Department of Modern Russian Language of Moscow State University, at postgraduate seminars on topical problems of linguistics (2003, 2004, 2005, 2006). The author took full-time participation in international and all-Russian scientific conferences (Moscow, 2003, 2004; Orel, 2005).

Dissertation structure. The work consists of Preface, Introduction, two chapters, Conclusion, Bibliography, Appendix.

INTRODUCTION

The art of the word. I.S. masterfully mastered this art. Turgenev is a great Russian writer of the 2nd half of the 19th century, whose artistic discoveries not only enriched the Russian literary language, but also strengthened its fame as a “great and mighty” language.

Texts by I.S. Turgenev have that attractive force that inspires researchers to search for material that reveals the originality of the national linguistic picture of the world (NLW), which is not yet fully known. Language as a kind of temple, this is what was before us, and will be after us, that is spiritualized in a person, which is embodied in the text by a word, colored by writer's talent.

More than one generation of linguists and literary critics turned to the study of the phenomenon of Turgenev-classic (N.N. Strakhov, 1885; V. Gippius, 1919; K.K. Istomin, 1923; H.JI. Brodsky, 1931; A. Kiprensky, 1940; S. M. Petrov, 1957, G. A. Byaly, 1962, G. B. Kurlyandskaya, 1977, D. N. Ovsyaniko-Kulikovskii, 1896, E. G. Etkind, 1999, L. I. Skokova, 2000; I. A. Belyaeva, 2002; N. A. Kudelko, 2003; N. D. Tamarchenko, 2004; V. Ya. Linkov, 2006, etc.). The features of the writer's skill explain the interest and give rise to a variety of approaches, the choice of topics and problems of studying his creative heritage.

K.K. said about the magnetism of Turgenev's language. Istomin: “We are standing in front of a little explored area, still waiting to deepen into it and call to this deepening” (Istomin, 1923, 126). We also responded to this call, choosing for scientific research the idiostyle of the writer, whom we

14 following K. Kedrov) I would like to call it the “emperor of the Russian language”, “Mozart in prose” (Kedrov, 2006, 99).

We believe that among the great Russian writers who continued the Pushkin tradition, processed and raised the literary language to a new height, I.S. Turgenev can rightly be given one of the first places. He entered the history of the Russian literary language as the greatest master of artistic prose, a brilliant stylist and one of the creators of the modern Russian literary language.

I.S. Turgenev inherited the best poetic traditions of his predecessors - Pushkin, Lermontov and Gogol. His exceptional ability to convey the deep inner feelings of a person, his “living sympathy for nature, a subtle understanding of its beauties” (A. Grigoriev), “an extraordinary subtlety of taste, tenderness, some kind of quivering grace, spilled on every page and reminiscent of morning dew” ( Melchior de Vopoe), finally, the all-conquering musicality of his phrase - all this gave rise to the unique harmony of his creations. The artistic palette of the great Russian novelist is distinguished not by brightness, but by softness and transparency of colors” (Pustovoit, 1980, 3).

G.B. Kurlyandskaya emphasized: "Turgenev's connection with his predecessors is visible primarily in the depiction of characters, the complex combination of social and typical manifestations in them with universal human content" (Kurlyandskaya, 1980, 5). We are also attracted by these characters and are interested in the features of the writer's idiostyle, which manifested themselves during their creation.

Admiring the strength and beauty of the Russian language, referring to it as a “treasure”, “property”, Turgenev not only used with exceptional skill all its richest possibilities to depict characters with a set of expressive features that represent the human mentality, but also pointed out in the subtext events of great public importance.

The facts of life and, as a result, the milestones of the biography determine the choice of topics, the range of problems considered in the author's works. So, it is known that at the beginning of 1843, Turgenev entered the service of the Ministry of Internal Affairs, in a special office for peasant affairs, and in December 1842 he compiled an official paper, where he expounded his thoughts on the Russian economy: “A few remarks about the Russian economy and Russian peasant." L.I. draws attention to this fact. Skokov in the article "I. Turgenev about the nobility”, where she notes: “The dramatic history of the contemporary Russian nobility comes to the fore. No wonder the novel is called "The Nest of Nobles". In 1842, Turgenev only touched on the topic of the nobility. And in 1858, when disputes flared up around the nobility, he, an active supporter of the abolition of serfdom, could not pass over the topic of the nobility in silence. Therefore, The Nest of Nobles, a novel conceived back in 1856 (and most likely on a personal occasion), arose precisely in 1858 in connection with the controversy about the peasant reform and the fate of the Russian nobility in this reform ”(Skokova, 2004, 101) .

According to G.O Vinokur, “the study of the writer’s language in projection on his biography, the facts of which, one way or another, give impetus to the formation of certain individual properties of a linguistic personality, is of key importance in unraveling the mystery of the word, idiostyle features, according to G.O Vinokur. It is necessary to pay attention to the fact that the very concept of "personality" in relation to the writer can be interpreted differently. Next to the real personality of the writer, which we know or represent in the biography on the basis of relevant historical materials, lives his other, literary personality, the one that lies in his works. In every text there is one who speaks, the subject of speech, even if the word I never occurs in it. It does not require proof that in a work of art the subject of speech is one of the phenomena of artistic fantasy and therefore cannot be completely reduced to the corresponding real biographical personality. In this case, the characteristics that we derive from observations of various individual, extra-grammatical properties in the language of literary works, we will no longer attribute to the biographical, but to the literary personality of the writer ”(Vinokur, 1991, 44,48).

The individual skill of the writer is revealed in the originality of his works, but the artistic originality of the work is due not only to the measure of talent, but also to the life experience of the author.

We strive to explore the language of the novel "The Nest of Nobles" by I.S. Turgenev, taking into account the facts of the writer's biography, to refract the peculiarities of the idiolect and idiostyle through the prism of life's collisions, to show how an extraordinary talent is manifested in the text, which allows us to talk about a person who was ahead of his time, striking with his worldview, reflected in the works. I.S. Turgenev is recognized not only as an excellent artist of the word, but also as the owner of a rare linguistic intuition, the ability to feel the purpose of the word as a means of embodying the subject of the image. A.G. Zeitlin points to an important factor: “Turgenev's interest in language was based on a solid scientific basis. Having received a good philological education in his youth, Turgenev was interested in linguistic problems throughout his life ”(Tseitlin, 1958, 269).

Turgenev's language is still a model of stylistic perfection; the writer was characterized by a high ability to stylistically expediently use the usual and - less often - non-usual units of the language and grammatical forms. In the textual fabric of the works, the author used only that material that was in harmony with literary speech, and in such quantity that it did not clog speech, did not impede its perception and understanding (See about the sense of language: Litvinov, 1958, 307). And although the author's linguistic skills are constantly in the field of view of researchers, many facets of his talent have not yet been sufficiently studied. Thus, the syntax of Turgenev's prose, the use and stylistic use of not only colored, but also neutral words, in particular, in the function of a predicate, was not subjected to close study, to which we devoted our dissertation research as an actual area of ​​linguistic research.

The novel “The Nest of Nobles” was written in that “beautiful” language, which is the “fundamental principle” of artistic creativity, a fertile object of scientific and linguistic observation and analysis,” noted D.N. Vvedensky (Vvedensky, 1954, 125).

Starting the study of the idiostyle of the classic writer, as mentioned above, we must certainly lift the veil of the personal that influenced the master during the creation of the work of art, considering the features of the portrait of the linguistic personality (LP) of the author. “A linguistic personality is understood as “a set of human abilities and characteristics that determine the creation and perception of speech works (texts) by him, which differ a) in the degree of structural and linguistic complexity, b) in the depth and accuracy of the image of reality, c) in a certain target orientation. This definition combines the abilities of a person with the features of the texts generated by him” (Karaulov, 1987.3).

Turgenev was an unusually gifted person, he "thirst for knowledge" (B. Zaitsev). After graduating from St. Petersburg University, he continued his education in Berlin, attended lectures on philology and philosophy. Scientists believe that such a passionate craving for knowledge is explained by his dislike for his mother, who failed to give him affection and love. Not knowing the warmth of the family hearth, Turgenev did not like the family, he did not wish warmth and comfort to many of his heroes (Lavretsky in The Noble Nest, Bazarov in Fathers and Sons, Nezhdanov in Novi, Chulkaturin in The Diary of an Extra Man and etc.). The absence of a happy family life, as an external reason, gave rise to internal tension and longing, as evidenced by well-known biographers I.S. Turgenev: S.M. Petrov “I.S. Turgenev: Life and work"

1968), N.I. Yakushin “I.S. Turgenev in life and work "(1998), G.B. Kurlyandskaya "The Aesthetic World of Turgenev" (1994), V.M. Markovich “I.S. Turgenev and the Russian realistic novel of the 19th century (30-50s) ”(1982), V.N. Toporov "Strange Turgenev" (1998) and others. The writer was lonely, and he managed to convey this tense, anxious state of mind to the reader so skillfully that, following the fate of his heroes, analyzing their actions, appearance, speech, the reader sincerely sympathizes, but, most surprising, he experiences the same painfully dreary feeling of inner loneliness, which was so familiar to the master himself. The following statement is close to us: “It is fair to say that from an early age Turgenev disliked the “basics” - marriage, family, home - and that childhood and youthful experiences in the parental home - be it in Spassky, on Samotek or on Ostozhenka - turned him away from such "basics". This repulsion from his own home, life at a strange hearth determined his homelessness and loneliness, which he felt keenly at the end of his life. Turgenev wrote more than once about this state of deprivation of his nest, nestlessness or clinging to someone else's nest, as did those who watched his life and who were saddened by his loneliness. P.D. Turgenev told Boborykin: “My life has developed in such a way that I have not been able to build my own nest. I had to be content with someone else’s” (Toporov, 1998, 81).

We do not feel any exaggeration in the reviews of Turgenev by contemporaries (P.V. Annenkov, V.G. Belinsky, D.V. Grigorovich, P.L. Lavrov, Ya.P. Polonsky, N.S. Rusanov, V.V. Stasova, A.A. Fet, N.V. Shcherbanya and others), according to which, according to the remark of the literary critic V.R. Shcherbina, "in the poetry of the paintings associated with the description of human experiences, Turgenev reaches a height that can only be compared with the classical samples of Pushkin's lyrics" (Shcherbina, 1987, 16).

The novel The Nest of Nobles (1859) presents not only the lives of several generations of the Lavretsky family, but also the Kalitins' "nest" before the reader's eyes. By the way the spiritual life of noble nests is arranged, by their connection with various aspects of social life, in textual objectification, one can judge that all of Russia, from Turgenev’s point of view, consists of such “noble nests”.

Turgenev's remarks are penetrating and objective: this is how the family of the author himself lived, this is how all of aristocratic Russia lived then. "The Nest of Nobles" can be called a story about Russia: the nests of nobles are disappearing, the life of the nobility is being destroyed, the "old" Russia is leaving. This thought, undoubtedly, led the contemporary reader to sad reflections, today to sadness (See: Shcherbina, 1987, 10).

In the book “I.S. Turgenev - the artist of the word "P.G. Pustovoit noted, referring to the review of a contemporary writer N.A. Dobrolyubov that “the collapse of Lavretsky’s illusions, the impossibility for him of personal happiness are, as it were, a reflection of the social collapse that the nobility was experiencing in these years. Thus, Turgenev portrayed the truth of life. With this novel, the writer, as it were, summed up the period of his work, which was marked by the search for a positive hero among the nobility, showed that the “golden age” of the nobility has passed into the past ”(Pustovoit, 1980, 190).

The text of the novel by I.S. Turgenev's "The Nest of Nobles" provides ample opportunities for studying the idiolect and idiostyle of this author.

N.S. Valgina, clarifying the definition of the term "idiostyle", indicates that "the author's text is characterized by a general, chosen way of organizing speech, often chosen unconsciously, since this way is inherent in the personality, it is he who reveals the personality. In some cases, this is an open, evaluative, emotional structure of speech; in others - detached, hidden: objectivity and subjectivity, concreteness and generalization - abstractness, logic and emotionality, restrained rationality and emotional rhetoric - these are the qualities that characterize the way speech is organized. Through the way we get to know the author. an individual, unique image of the author is created, or, more precisely, the image of his style, idiostyle" (Valgina, 2004, 104; cf.: Ledeneva, 2000, 36).

Our study is carried out in line with the anthropocentric paradigm, which puts a person, a linguistic personality in the center of attention, is devoted to the study of linguistic means used as a predicate in depicting a person, and the representation of the author's modality (intention).

The stylistic potential of the word nominating and the word qualifying the ideologically-artistically motivated use of predicates, the influence of the characteristics of a linguistic personality on the formation of an individual artistic space are of scientific interest to researchers of different generations. We find a reflection of the range of these issues in the works of Russian linguists: N.D. Arutyunova, Yu.D. Apresyan, Yu.A. Belchikova, N.P. Badaeva, V.V. Vinogradova, G.O. Vinokura, D.N. Vvedensky, N.A. Gerasimenko, E.I. Dibrova, G.A. Zolotova, A.N. Kozhina, M.N. Kozhina, T.N. Kochetkova, V.V. Ledeneva, P.A. Lekanta, T.V. Markelova, T.S. Monina, V.V. Morkovkina, O.G. Revzina, Yu.S. Stepanova and others (see bibliographic list).

Our study is also based on the works of leading Turgenev scientists: A.I. Batyuto, Yu.V. Lebedeva, V.M. Markovich, N.F. Budanova, G.B. Kurlyandskaya, P.G. Pustovoita, V.N. Toporova, A.G. Zeitlin and others. In the work of V.N. Toporov “Strange Turgenev”, where the scientist refers to the research of V. Ilyin, we found confirmation of our own position regarding the assessment of the place of the novel we are studying in the writer’s work, namely: “He wrote many semi-journalistic novels with rather perishable lyrics. Of his major novels, only The Nest of Nobles and Rudin have retained their artistic power. All others are hopelessly outdated” (Toporov, 1998,189).

In the dissertation, we relied on the concept of idiostyle and idiolect as a reflection of the features of the mental-lingual complex (MLC) (term by V.V. Morkovkin, 1997) of the writer and his creative manner, captured by the texts of the work (See: Ledeneva, 2000, 2001; Cf. .

Vezerova, 2004). The word in the idiolect is considered by us as a realized unit of the language - JICB. The composition of language units is the materially embodied intentions and views of the author, a mirror of the concept sphere, creative activity, which reveals itself in the implementation of the idiostyle.

A work of art, as shown by numerous studies (M.M. Bakhtin, 1963; G.B. Kurlyandskaya, 2001; V.M. Markovich, 1975, 1982; V.B. Mikushevich, 2004; E.M. Ognyanova, 2004; S. M. Petrov, 1976; A. Troyatt, 2004, etc.), is created due to the interaction of many factors determined by the ideological and aesthetic position of the writer and the originality of his linguistic picture of the world.

The master of the word acts as a creator, creating aesthetically valuable elements of the text at its different levels. All these elements, of course, belong to the author's idiostyle. Moreover, the style of creative individuality is considered to be the heritage of national literature. The principle of style individualization is a historical principle. The individual in the language of fiction is recognized as a historical category based on the language of writers and realized in a variety of private idiolects and idiostyles (See: Ledeneva, 2001, 36-41).

We believe that to characterize the idiostyle, the circle of words chosen for the role of a predicate is important, since these are means of characterization, expression of the author's position, evaluation. The choice of a predicate in the text is subject to the subjective author's beginning, which is also reflected in the preference for words of a certain lexico-semantic group (LSG), therefore, "in a selective relation to one or another member of any lexical paradigm (thematic, lexico-semantic group, synonymic series ), in the preference for a certain paradigm as part of a certain field ”(Ledeneva, 2001, 37), a stylistic layer.

Conclusion of scientific work dissertation on the topic "Features of I.S. Turgenev's idiostyle: artistic and stylistic use of words in the function of a predicate"

Conclusions for chapter 2:

1. The creative personality of a writer can be reflected not only in his language as a whole, but also in the language of a separate work: the idiolect and idiostyle of the author have unity, and their features are manifested in each text.

2. Among the factors influencing Turgenev's choice of lexical and phraseological elements when creating images and establishing conceptually significant predicates, the author's careful attitude to the folk language and admiration for its accuracy, which is manifested in the stylistic use of phraseological units and words of colloquial vocabulary, in the actualization of emotional and evaluative , ethno-cultural components in the semantic content. In such word usage, the nationality of Turgenev's prose is represented.

3. I.S. Turgenev is an active linguistic personality whose field of interest is the sphere of interpersonal relations, which is confirmed by the choice of the composition of the means of the idiolect and the peculiarities of their functioning as a predicate in the characterization of persons (in the character zone of the novel).

4. The choice of a predicate indicates a close connection between the character of the depicted hero and the means by which this character is created: the author notes the introduction of words with negative expression as predicates for characterizing and representing the secondary characters of the novel; semantics of rationality, reasonableness, calculation (rational) I.S. Turgenev, on the contrary, conveys with the help of units of the book fund an idiolect

5. The circle of the chosen ones I.S. Turgenev of predicates (key words) highlights the features of the national character, the mentality of a Russian person that are significant for the author (passion, religiosity, nationality, kindness, etc.).

6. Phraseologisms as units, which are associated with such a feature of the idiostyle as the definition of the plot-event outline of the novel, act as signals of climaxes, symbolize the line "tragedy of the soul" and form the reader's attitude towards the hero of the novel.

7. The choice of the form and part-of-speech properties of a word in the function of a predicate is subject to the ideological and aesthetic tasks put forward in the work and the development of the artistic space: at the beginning of the novel, I.S. Turgenev actively uses adjectives as a predicate, but by the end of the story, adjective predicates are rare. They are replaced by predicates expressed in verbal words, as well as nouns in the role of a predicate - indicators of hard, immutable author's assessments.

8. An important feature of the idiostyle of I.S. Turgenev, there is such a way of characterizing a character as a hidden comparison with other characters.

9. Mastery of I.S. Turgenev in creating an image is not only associated with the use of detailed portrait characteristics (eyes, gaze), but also with the creation of a speech portrait.

CONCLUSION

Based on the results of our study of the language of the novel "The Nest of Nobles", we can talk about the features of the idiolect and idiostyle of the Russian classic I.S. Turgenev, who treated the language as a "treasure", "property".

Continuing the traditions of Pushkin, Lermontov, Gogol, the writer created a work in realistic traditions by means of idiolect. His novel reveals personal and social conflicts.

The diversity of lexical means shows the nationality of the author's idiolect, its connection with the national language. In search of the right apt word, Turgenev turned to various sources, which is reflected in the composition of colloquial and book words and phraseological units used as a predicate. The analysis of the linguistic material confirms the conclusion about the writer as a linguistic personality with a high level of linguistic competence, activity in linguistic and creative activities aimed at the creative use of words. The explication of the author's position is seen in the use of dialect units, and in the interaction of book and colloquial words in the same context. The composition of the considered words speaks of their careful selection and motivation for the use of other style inclusions.

The function of the predicate indicates the development of a special stylistic significance of lexical units. The stylistic load of the word reflects the author's intention and is subordinated to the solution of ideological and aesthetic problems.

The words used in the function of the predicate in the "Noble Nest" are the expression of the author's principle.

The creative individuality of the author manifested itself at the level of implementation of connotations that were pejorative in content, various emotional and evaluative semes, and was a characterological means of expressing the linguistic personality of the writer. Stylistically reduced vocabulary, implemented in the conversational parts of the characters, also serves to explication the author's assessment.

The richness and variety of idiolectal means and methods of introducing predicates allows us to speak of Turgenev as a phenomenon of Russian literature.

We believe that the creative heritage of I.S. Turgenev will attract researchers of his idiostyle more than once, which will contribute to the development of Turgenev studies.

In the dissertation, a study of predicate vocabulary was carried out, which made it possible to characterize the features of the writer's idiolect, using the example of his large, ideologically very significant work.

Outside of this work, there are many directions in the study of the syntactic structure of the author's speech, ways of introducing his philosophical judgments, and the author's commentary on current events.

We see the prospects for a specific study in terms of comparing the features of the use of individual syntactic constructions of the type Eight years have passed: the chronology of the events of the novel allows us to put forward a hypothesis about the diary style of writing works.

This work can be considered as part of a promising project “Features of the Idiostyle of I.S. Turgenev”, which has great opportunities to be realized thanks to the unflagging interest in the literary personality of the writer, in his work, the peculiarities of artistic writing techniques and the manner of presentation in a work of art, and the diversity of the language palette.

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