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.
Key words: heroine, fictional consciousness of the heroine, modelling of fictional consciousness of the heroine, dramatic scene, conflict.
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