The intellectual and aesthetic complexity of Lesya Ukrainka’s dramas forms
multidimensional artistic spaces of her works, the appropriate means of interpretation
of which are the methods of literary cognitive studies. The aim of the article is to
outline the basic principles of modeling the fictional consciousness of the character
in the dramatic scene “Iphigenia and Tavrida”, in particular to determine the internal
and external dimensions of the construction of fictional consciousness of the heroine.
The analysis of the scientific problem is carried out by using the methodology
of cognitive literary criticism, according to which the study of works of art is carried
out by updating cognitive phenomena and establishing their relationships with forms
of artistic reflection.
For example, T. Cave’s concept structures the main principles of the cognitive
approach to literary analysis, which express the intratextual dimensions of works
of fiction from a cognitive perspective. At the same time, scientists pay attention to the
relevance of transgenre researches. M. Fludernik’s work “Towards “Natural”
Narratology” is devoted to substantiating the expediency of studying drama with the
help of narratological methodology. The researcher outlines various forms of
narrative, but emphasizes the similarity of the reflection of the processes of
consciousness in different types of verbal, theatrical, dramatic and cinematic art.
The study of the problem mentioned in the title of the article is based on the
definition of fictional consciousness: “The fictional consciousness of the personage
appears in the form of the character’s constructed ability to realize internal and
external realities in complexes and systems of their correlations, which determines
the formation of a network of certain meanings that determines the character’s
identification and actions within the fictional world”.
Lesya Ukrainka models the fictional consciousness of the heroine by reflecting the
deep contradictions in her perception of the reality in which she found herself. In the
dramatic scene, Iphigenia perceives reality through the prism of the role of Artemis’
priestess, which she performs with the necessary external attributes, but with feelings
of internal dissonance caused by sadness for the homeland.
Keywords: heroine, fictional consciousness of the heroine, modelling of fictional
consciousness of the heroine, dramatic scene, conflict.
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