Poetics of artistic psychologism

In classical and modern literary criticism, the problem of psychologism in artistic creativity has increased many times. Despite the abundance of research o n this issue and its ability tobe studied in many ways (from theoretical, literary, historical, analytical points of view), it’s now clear that the following is missing:

• -    a clear understanding of the phenomenon of artistic psychology, the fact ors that make up its place in the artistic system,

• -    terminological accuracy

• - methodology and methods of analysis.

The term “psychologism in literature” is already out of date from a semant ic point ofview, it is not in vain in works on literary criticism that the psychologi cal method, genre, style, writing, and mastery are again and again referred to. Th e typological definitions of psychologism (“abstract”, “analytical”, “synthetic”, “lyrical”, “mimic”, etc.), corresponding to the movements of literary periods, are also different. Thе psychological meaning of the text lies in the fact that it attract s linguists, philosophers and psychologists.

At the same time, the problems of psychologism in works on the basis of objective laws are examined in literary-historical courses in the system of higher education, raised in state examinations. Therefore, an understanding of the essen ce of psychologism and methods of its analysis remains one of the most importa nt conditions for philological knowledge.

“Psychologism is a very complete, detailed and deep description of emoti ons, thoughts and feelings of an imaginary person (literary character) using uniq ue means of literature,” states Esin A.B.

• L.    Y. Ginzburg noted that psychologism is not a rational, simplified descri ption of the inner part of a personality. "Literary psychologism begins with a nat ural, random, contradictory behavior that does not even occur to the hero."

• V.    Kompaneets understands that psychologism is not a method, but a feat ure of fiction, which reflects the author’s psychology. “The emergence of psych ological analysis in a work,” notes V. Kompaneets, “its form and typology largel y depend on the writer's worldview, his goals, his talents, the nature of his perso nality, and the situation in the work. At the same time, it seems obvious that, wit hout considering psychological analysis as an aesthetic principle based on consci ousness, there is no need to compare the details chosen by the artist. ”

These judgments testify to the diversity in the interpretation of the subject, the approach to the problem of psychologism in literature and the broad and narr ow interpretations of this term.

For example, A. Jesuitov, having studied the problem of psychology in lit erature, notes that the concept of psychologism is very significant, and divides it into three:

• “1 ) the conventional sign of speech art, its comprehensive character, the p roof of its artistry ...;

• 2)    a reflection of social psychology (class, social group, period, etc.) throu gh the fruit of artistic creativity, the author and his characters, and moreover - th e personality of the writer and the images of the characters created by them.

• 3)    "conscious and defining aesthetic principle."

In our understanding, among the given statements in determining skill in t he field of spiritual analysis, the second is dominant. This feature can be used to study the laws of the creation of a work of art. This is also mentioned in the boo k “Theory of Literature” by R. Walleck and O. Warren. According to them, the t erm "literary psychology" can be understood, in essence, "the study of the psych ological typology and patterns of creation of a particular artistic work."

Consequently, “artistic psychology is an art form that combines the ideolo gical and spiritual studies of heroes, the way human nature is formed, and the fo undations of a person’s world view. The educational, problem and artistic value of psychologism is primarily seen in this. ”

The researchers propose to distinguish between the psychology of the auth or, the reader and the hero, given that "the characters test their spiritual life in th e light of their deep contradictions."

The difficulty of determining the essence of the question is explained by t he content-oriented nature of psychologism. If the majority of literary scholars ( A. I. Pavlovsky, F. Khatipov, A. B. Esin) consider the art of the imagination of t he heroes of the world to be psychologism, it can exacerbate its attempts to deter mine the role of modern literary-theoretical concepts and their role in the system of multi-layered wor. In addition to the discussion, artistic images and expressio ns (portraits, inspired landscapes and details) and "objects that are not connected with the universe, whose images are not very clearly visible," include the expres sion of the character of the heroes. Regarding the definition of the hero's spirit th ere is no concrete answer, as some understand it as a style (A. Yesin), others as a figurative meaning (II Vinogradov), and still others as a form-semantic property.

Thus, the difficulties in creating a unique concept of literary psychologism are noted in (1) the confusion of the concepts of “psychologism”, “psychological analysis”, and “spiritual images”; (2) the definition of psychologism as a compo nent of a work of art, of original quality or level; (3) uncertainties in the relation ship between psychologism and the rhetorical triangle (the author - the hero - the reader).

Comparison of literary works on literary psychologism: lack of unity in th eoretical approaches; numerous works on the problems of individual author's ps ychologism in works; work on literary psychology in the works of the 19th cent ury; showed that in the world literature there is no comparative historical work o n psychologism of the 20th century and its dynamics.

A new image of psychologism can be understood by studying the options in the works of individual authors and then comparing them. We believe that in r esearching the problem it is necessary to take into account quality jumps in the d evelopment of 20th century literature and other laws, as well as to develop a sch eme of actions for interpreting the psychological meaning of the text.

In our opinion, artistic psychologism is an artistic, imaginative, visual-em otional and creative revival of human life, based on the author's concepts, person al perceptions and communication strategies. By the spiritual image, we underst and the physical aspects of the personality (emotions, experiences, states) and th e artistic study of his personal experience from his spiritual and psychological w orld.

Nevertheless, although it is a part of psychology, it is important to know a bout the problem of spiritual analysis. Because spiritual analysis is a category of the creative method and methodology of literature. Spiritual analysis is, in fact, a complex characteristic that the author can use to reveal the spirit of the hero, and the interpreter (researcher) can use the method of psychological analysis (psycho analysis) when studying a work of art.

N.V. Zababurova, a French psychological novel researcher, offers a comp rehensive approach to the study of psychology:

• 1)    the type of psychological problem. It reflects the influence of such fact ors as non-literary (historical, social, philosophical, scientific) and literary (litera ry traditions, aesthetic concept of a specific literary movement, etc.), which dete rmine the author's and artistic thinking. This problem is of paramount importanc e for psychologism - in many respects provides the convenience of writing work ;

• 2)    the concept of a person belonging to a certain period and social environ ment (formed in the form of artistic content);

• 3)    The artistic system and the creative method (the historical typology of t he methods of artistic psychology is compared with the evolutionary developme nt of creative methods);

• 4)    poetic level (degree).

Of course, such an approach may cause objections from an algorithmic po int of view. But it is clear that the productivity of the analysis of psychologism i n this or that work is connected with the artistic text and its focus on the integrit y of the review (A. Skaftimov, Yu. M. Lotman, M. Grishman, A. N. Andreev). T he structural nature of psychology does not allow it to be fragmentary. Therefore , as an alternative, a philological analysis of “literary texts that considers the enti re text as a whole, with its components and levels,” may be proposed. The role o f such an analysis is determined by V.A. Maslova: 1) identifying the uniqueness of individual elements of the work and their integrity; 2) combining both literary and linguistic approaches to the text; 3) "Identification of the relationship betwe en the author who made this text and the reader who will read it."

Thus, based on the idea that modern psychologism has changed its appear ance (characterization of heroic psychology, chronological, symbolic, mythologi cal image), it is now necessary to choose a path that allows you to systematically identify the psychological identity of various meanings of the work.