Literary hero and character. Images and characters. Literary subject: character and literary type

A literary archetype represents recurring motifs, plots, and images of the main characters in literary works.

Archetypes in literature

Archetypes may undergo changes, but they are united by one integral ethical core. Literary archetypes are classified into cross-cutting images, eternal heroes, and symbolistic images (sea, stone, thunderstorm).

“Through images”: Don Juan, Don Quixote, Hamlet

Cross-cutting images are artistic literary images that were created in a certain historical era, but managed to remain in the cultural memory of humanity. Cross-cutting images are characterized by a kind of travel in time and space, since they have that semantic stability that will be important for any generation of readers.

The most striking enduring images in literature are Don Juan, Don Quixote and Hamlet. Image Hamlet associated with the fragmentation of the world caused by the transitional state of culture. Danish prince represents a contradiction between essence and phenomenon; this literary hero contains the whole drama of split consciousness.

That is why many writers very often turn to the image of Hamlet, who, by the dictates of fate, had to create at turning points for society, in particular at the turn of the century.

In character Don Quixote the whole tragedy of human idealism is captured: the desire to become a hero in a pragmatic world. The image of Don Quixote, created at the beginning of the 17th century, continued its literary march in the works of Dostoevsky and Dickens.

No less famous cross-cutting hero, Don Juan, has become a symbol of a person who, while searching for a dream, loses his morality.

A female seducer, he insensitively broke the hearts of his lovers after he did not discover his feminine ideal in their faces. The image of Don Juan turned out to be so archetypal that it was included in more than 150 literary works.

Types of literary heroes: Bashmachkin, Khlestakov, Pechorin, Onegin

Types of literary heroes are a reflection spiritual development society. The birth of one type or another literary hero may be due to social order, that is, the need of society to see a hero with a certain set personal qualities, or on the initiative of the writer himself.

Often, types of literary heroes acquire names that most accurately characterize their qualities, for example: “an extra person,” “nihilist,” “ little man", "tramp".

A striking example of the “little man” type is Gogol’s Bashmachkin. The author clearly shows the meager and uninteresting inner world of the protagonist, as well as his gray everyday life. However, Gogol still emphasizes that even such a flawed, defenseless creature deserves the respect of society.

The main character of "A Hero of Our Time" Pechorin and the hero novel of the same name A. S. Pushkin Evgeny Onegin belongs to the type of “superfluous person”. Young nobles, before whom all blessings were open social life, realized their disdain for external gloss, alienation from the idle aristocratic life.

Gogol’s hero Khlestakov, a young man who, despite his pleasant appearance, was considered an ignoramus, comes into confrontation with Eugene Onegin and Pechorin. What became alien to Onegin and Pechorin, for Khlestakov is the main achievement of life.

Topic 19. The problem of the literary hero. Character, character, type

I. Dictionaries

Hero and character (plot function) 1) Sierotwiński S. Słownik terminów literackich. “ Hero. One of the central characters in a literary work, active in incidents that are fundamental to the development of the action, focusing attention on himself. Main hero. The literary character most involved in the action, whose fate is in the center of the plot” (S. 47). “The character is literary. A bearer of a constructive role in a work, autonomous and personified in the imagination (this can be a person, but also an animal, plant, landscape, utensil, fantastic creature, concept), involved in the action (hero) or only occasionally indicated (for example, a person, important for characterizing the environment). Taking into account the role of literary characters in the integrity of the work, we can divide them into main (foreground), secondary (secondary) and episodic, and from the point of view of their participation in the development of the plot - into incoming (active) and passive” (S. 200). 2) Wilpert G. von. Character (lat. figura - image)<...>4. anyone speaking in poetry, esp. in epic and drama, a fictitious person, also called a character; however, one should prefer the area of ​​“literary P.” in contrast to natural personalities and from often only outline characters” (S. 298). “ Hero, original embodiment of heroic deeds and virtues, which, thanks to exemplary behavior, evokes admiration, so in heroic poetry, epic, song And saga, repeatedly stemming from the ancient cult of heroes and ancestors. He assumes due to conditions of rank ändeklausel> high social origin. With the bourgeoisification of lit. in 18th century a representative of the social and characteristic turns into a genre role, so today in general the area for the main characters and roles of drama or epic poetry is the center of action without regard to social origin, gender or person. properties; therefore, also for unheroic, passive, problematic, negative G. or - antihero, which in modern lit. (with the exception of trivial literature and socialist realism) replaced the shining G. of early times as a sufferer or victim. - positive G., - protagonist, - negative G., - Antihero “(S. 365 - 366). 3) Dictionary of World Literary Terms / By J. Shipley. “ Hero. The central figure or protagonist in a literary work; a character with whom the reader or listeners sympathize” (p. 144). 4) The Longman Dictionary of Poetic Terms / By J. Myers, M. Simms. “ Hero(from Greek "protector") - originally a male - or female - heroine - whose supernatural abilities and character elevate him - or her - to the level of a god, demigod, or warrior king. The most common modern understanding of the term also implies a high moral character of a person whose courage, exploits and nobility of purpose make him or her uniquely admired. The term is also often incorrectly used as a synonym for the main character in literature” (p. 133). “ Protagonist(from Greek "first lead") in Greek classical drama, the actor who plays the first role. The term came to mean the main or central character in a literary work, but one that may not be a hero. The protagonist confronts the one with whom he is in conflict, the antagonist” (p. 247). “ Minor hero(deuteragonist) (from Greek "minor character") is a character of secondary importance to the main character (protagonist) in classical Greek drama. Often a minor character is antagonist” (p. 78). 5) Cuddon J.A. The Penguin Dictionary of Literary Terms and Literary Theory. “ Antihero. The "non-hero", or the antithesis of the old-fashioned hero who was capable of heroic deeds, was dashing, strong, brave and resourceful. It is a little doubtful whether such a hero has ever existed in any quantity in fiction, with the exception of some pulp fiction and romantic novellas. However, there are many literary heroes who exhibit noble qualities and signs of virtue. An antihero is a person who is endowed with a tendency to fail. The antihero is incompetent, unsuccessful, tactless, clumsy, stupid and ridiculous” (p. 46). “ Hero and heroine. Main male and female characters in a literary work. In criticism, these terms do not have connotations of virtue or honor. Negative characters can also be central” (p. 406). 6) Chernyshev A. Character // Dictionary of literary terms. P. 267. “ P. (French personnage, from Latin persona - personality, face) - a character in a drama, novel, story and other works of art. The term "P." more often used in relation to minor characters.” 7) KLE. A) Baryshnikov E.P. Literary hero. T. 4. Stlb. 315-318. “L. G. - the image of a person in literature. The concepts “character” and “character” are often used unambiguously with L.G. Sometimes they are delimited: L. g. are called characters(characters) drawn more multifaceted and more significant for the idea of ​​the work. Sometimes the concept "L. G." refer only to characters close to the author’s ideal of a person (the so-called “ goodie") or embodying heroic. beginning (see Heroic in literature). It should be noted, however, that in lit. criticism of these concepts, along with the concepts character, type and image are interchangeable.” “From the point of view. The figurative structure of a literary form combines character as the internal content of the character and his behavior and actions (as something external). Character allows us to consider the actions of the person portrayed as natural, going back to some vital reason; he is the content and the law ( motivation) behavior of L. g.” “Detective, adventure novel<...>- an extreme case, when the literary character becomes the main character, an unfilled shell, which merges with the plot, turning into its function.” b) Shopkeeper E.B. Character // T. 5. Stlb. 697-698. “ P. (French personage from Latin persona - face, personality) - in the usual meaning the same as literary hero. In literary studies, the term “P.” used in a narrower, but not always the same sense.<...>Most often, P. is understood as an actor. But here, too, two interpretations differ: 1) a person represented and characterized in action, and not in descriptions; then the concept of P. most of all corresponds to the heroes of drama, the images-roles.<...>2) Any actor, subject of action in general<...>In this interpretation, the protagonist is opposed only to the “pure” subject of experience appearing in the lyrics<...>That's why the term "P."<...>not applicable to the so-called “lyrical hero”: you cannot say “lyrical character”. P. is sometimes understood only as a minor person<...>In this interpretation, the term “P.” correlates with the narrowed meaning of the term “hero” - center. face or one of the center. persons of the work. On this basis, the expression “episodic P.” (and not “episodic hero”!)”. 8) LES. A) Maslovsky V.I. Literary hero. P. 195. “L. G., artist image, one of the designations of the integral existence of a person in the art of words. The term "L. G." has a double meaning. 1) It emphasizes dominance. the position of the character in the work (as main hero compared to character), indicating that the person bears the main problem-thematic load.<...>In some cases, the concept of “L. G." used to designate any character in a work. 2) Under the term “L. G." is understood holistic the image of a person - in the totality of his appearance, way of thinking, behavior and mental world; The term “character”, which is similar in meaning (see. Character), if you take it narrowly and not widen. meaning, denotes internal. psychol. cross-section of personality, its natural properties, nature.” b) [ B.a.] Character. P. 276. “ P. <...>usually the same as literary hero. In literary studies, the term “P.” used in a narrower, but not always the same sense, which is often revealed only in context.” 9) Ilyin I.P. Character // Modern foreign literary criticism: Encyclopedic Dictionary. pp. 98-99. “ P. - fr. personnage, English character, German person, figur - according to ideas narratology, a complex, multi-component phenomenon located at the intersection various aspects of that communicative whole that is the artist. work. As a rule, P. has two functions: action and storytelling. Thus, it fulfills either the role actor, or the narrator- narrator”. Character and type (“content” of the character) 1) Sierotwiński S. Słownik terminów literackich. Wroclaw, 1966. “ Character. 1. Literary character, highly individualized, as opposed to type<...>”(S. 51). “ Type. A literary character presented in a significant generalization, in his most outstanding features” (S. 290). 2) Wilpert G. von. Sachwörterbuch der Literatur. “ Character(Greek - imprint), in literary criticism in general, every character , performing in drama. or a narrative work that copies reality or is fictional, but stands out due to its individual characteristics with its personal identity against the backdrop of a bare, vaguely outlined type”(S. 143). 3) Dictionary of World Literary Terms / By J. Shipley. “ Type. A person (in a novel or drama) who is not a complete single image, but demonstrates characteristic features a certain class of people” (p. 346). 4) The Longman Dictionary of Poetic Terms / By J. Myers, M. Simms. “ Character(from the Greek “to make excellent”) - a person in a literary work whose distinctive features are easily identifiable (though sometimes quite complex) moral, intellectual and ethical qualities” (p. 44). 5) Blagoy D. Type // Dictionary literary terms: B 2 t. T. 2. St. 951-958. "...V broad meaning of this word, all images and faces of any work of art inevitably have a typical character, are literary types.” “...not all characters fit the concept of a literary type in its proper meaning poetic works, but only images of heroes and persons with realized artistry, that is, possessing enormous generalizing power...” “...in addition to typical images, we find in literary works images-symbols and images-portraits.” “While portrait images carry an excess of individual traits to the detriment of their typical meaning, in symbolic images the breadth of this latter completely dissolves their individual forms in itself.” 6) Dictionary of literary terms. A) Abramovich G. Literary type. pp. 413-414. "T. l.(from the Greek typos - image, imprint, sample) - an artistic image of a certain individual, which embodies the features characteristic of a particular group, class, people, humanity. Both sides that make up the organic unity - the living individuality and the universal significance of literary T. - are equally important...” b) Vladimirova N. The character is literary. pp. 443-444. "X. l.(from the Greek charakter - trait, feature) - the image of a person in verbal art, which determines the originality of the content and form of a work of art.” “ Special view H. l. represents narrator's image(cm.)". 7) KLE. A) Baryshnikov E.P. Type // T. 7. Stlb. 507-508. “ T. (from the Greek tupoV - sample, imprint) - an image of human individuality, the most possible, typical for a particular society.” “The category T. took shape in the Roman “epic of private life” precisely as a response to the need of the artist. cognition and classification of varieties common man and his attitude towards life.” “...class, professional, local circumstances seemed to “complete” the personality of the lit. character<...>and with this “completeness” they questioned its vitality, that is, its ability for unlimited growth and improvement.” b) Tyupa V.I. Literary character // T. 8. Stlb. 215-219. “ X. l. - an image of a person, outlined with a certain completeness and individual certainty, through which they are revealed as conditioned by a given socio-historical. situation type of behavior (actions, thoughts, experiences, speech activity), and the author’s inherent moral and aesthetic. human concept. existence. Lit. H. is an artist. integrity, organic unity general, repetitive and individual, unique; objective(nek - paradisesocially - psychological . realityhuman . life , which served as a prototype for lit. X.) and subjective(comprehension and evaluation of the prototype by the author). As a result, lit. H. appears " new reality”, an artistically “created” personality, of the edge, reflecting a real person. type, clarifies it ideologically.” 8) [ B.a.]. Type // Les. P. 440: “ T. <...>in literature and art - a generalized image of human individuality, the most possible, characteristic of a certain society. environment."

II. Textbooks, teaching aids

1) Farino J. Introduction to literary criticism. Part 1. (4. Literary characters. 4.0. General characteristics). “...by the concept of “character” we will mean any person (including anthropomorphic creatures) who receives in a work the status of an object of description (in a literary text), image (in painting), demonstration (in a drama, performance, film)” . “Not all anthropomorphic creatures or persons found in the text of a work are present in the same way. Some of them have the status of objects of the world there of this work. These are, so to speak, “characters-objects”. Others are given only as images, but the works themselves do not appear in the world. These are “image characters”. And others are just mentioned, but are not displayed in the text either as present objects or even as images. These are the "missing characters". They should be distinguished from references to persons who, according to the convention of a given world, cannot appear in it at all. The “absent” ones are not excluded by the convention, but, on the contrary, are allowed. Therefore, their absence is noticeable and thus - significant” (p. 103).

III. Special studies

Character and type 1) Hegel G.V.F. Aesthetics: In 4 volumes. T. I. “We proceeded from universal substantial forces of action. For their active implementation they need human individuality, in which they act as the driving force pathos. The general content of these forces must close in itself and appear in individual individuals as integrity And singularity. Such integrity is a person in his specific spirituality and subjectivity, an integral human individuality as character. The gods become human pathos, and pathos in concrete activity is human character” (p. 244). “Only such versatility gives the character a lively interest. At the same time, this completeness should appear merged into a single subject, and not be scattered, superficial and simply diverse excitability<...>Epic poetry is most suitable for depicting such an integral character, less dramatic and lyrical” (pp. 246-247). “Such versatility within the framework of a single dominant definiteness may seem inconsistent if you look at it with the eyes of reason<...>But for one who comprehends the rationality of a holistic and therefore living character within himself, this inconsistency precisely constitutes consistency and coherence. For man is distinguished by the fact that he not only bears within himself the contradiction of diversity, but also endures this contradiction and remains equal and true to himself in it” (pp. 248-249). “If a person does not have such single center, then the various sides of its diverse inner life disintegrate and appear devoid of any meaning.<...>On this side, firmness and determination are important point ideal portrayal of character” (p. 249). 2) Bakhtin M.M. Author and hero in aesthetic activity // Bakhtin M.M. Aesthetics of verbal creativity. “ Character we call this form of interaction between the hero and the author, which carries out the task of creating the whole of the hero as a specific personality<...>the hero is given as a whole from the very beginning<...>everything is perceived as a moment of characterization of the hero, has a characterological function, everything comes down to and serves as an answer to the question: who is he” (p. 151). “Character building can go in two main directions. We will call the first classic character building, the second romantic. For the first type of character building, the basis is artistic value fate...“ (p. 152). “Unlike the classic romantic character self-initiated and value-driven<...>The value of fate, which presupposes gender and tradition, is unsuitable for artistic completion here.<..>Here the hero’s individuality is revealed not as fate, but as an idea, or, more precisely, as the embodiment of an idea” (pp. 156-157). “If character is established in relation to the latest values ​​of the worldview<...>expresses the cognitive and ethical attitude of a person in the world<...>, then the type is far from the boundaries of the world and expresses a person’s attitude towards values ​​already specified and limited by the era and environment, to benefits, that is, to a meaning that has already become being (in the act of character, meaning for the first time becomes being). Character in the past, type in the present; the environment of the character is somewhat symbolized, objective world around the inventory type. Type - passive position of the collective personality” (p. 159). “The type is not only sharply intertwined with the world around it (objective environment), but is depicted as conditioned by it in all its moments, the type is a necessary moment of some environment (not a whole, but only a part of the whole).<...>The type presupposes the superiority of the author over the hero and his complete non-involvement in the world of the hero; hence the author is completely critical. The hero’s independence in the type is significantly reduced...” (p. 160). 3) Mikhailov A.V. From the history of character // Man and culture: Individuality in the history of culture. “...character gradually reveals its orientation “inward” and, as soon as this word comes into contact with the “inner” person, it builds this inner from the outside - from the external and superficial. On the contrary, the new European character is built from the inside out: “character” refers to the basis or foundation laid down in human nature, the core, as if the generative scheme of all human manifestations, and the differences can only concern whether “character” is the deepest in a person, or in its interior has an even deeper beginning” (p. 54). Hero and aesthetic appreciation 1) Fry N. Anatomy of criticism. Essay first / Trans. A.S. Kozlov and V.T. Oleynik // Foreign aesthetics and theory literature XIX-XX centuries: Treatises, articles, essays / Comp., total. ed. G.K. Kosikova. “The plot of a literary work is always a story about how someone does something. The “someone,” if it is a person, is the hero, and the “something” he succeeds or fails to accomplish is determined by what he can or might do, depending on the author’s intention and the consequent expectations of the audience.<...>1. If the hero is superior to people and their environment in quality, then he is a deity and the story about him is myth in the usual sense of the word, i.e. a story about God<...>2. If the hero is superior to people and his environment in terms of degrees, then this is a typical hero of a legend. His actions are wonderful, but he himself is portrayed as a man. The hero of these tales is transported to a world where the action ordinary laws nature is partly suspended<...>Here we move away from myth in the proper sense of the word and enter the realm of legend, fairy tale, Märchen and their literary derivatives. 3. If a hero is superior to other people in degree, but is dependent on the conditions of earthly existence, then this is a leader. He is endowed with power, passion and power of expression, but his actions are still subject to the criticism of society and are subject to the laws of nature. This is a hero high mimetic mode, first of all, a hero of epic and tragedy<...>4. If the hero is not superior to either other people or his own environment, then he is one of us: we treat him as to an ordinary person, and we demand from the poet to observe those laws of verisimilitude that correspond to our own experience. And this is the hero low mimetic mode, first of all - comedies and realistic literature. <...>At this level, it is often difficult for the author to preserve the concept of “hero,” which is used in the above modes in its strict meaning.<...>5. If the hero is below us in strength and intelligence, so that we have the feeling that we are looking down on the spectacle of his lack of freedom, defeats and the absurdity of existence, then the hero belongs ironic mode. This is also true in the case when the reader understands that he himself is or could be in the same position, which, however, he is able to judge from a more independent point of view” (pp. 232-233). 2) Tyupa V.I. Modes of artistry (lecture series outline) // Discourse. Novosibirsk 1998. No. 5/6. pp. 163-173. “The method of such deployment ( artistic integrity. - N.T.) - for example, glorification, satirization, dramatization - and acts as a mode of artistry, an aesthetic analogue of the existential mode of personal existence (the way the “I” is present in the world)” (p. 163). “Heroic<...>represents a certain aesthetic principle meaning generation, consisting in the combination of the internal givenness of being (“I”) and its external givenness ( role-playing border that connects and demarcates the personality with the world order). Basically, the heroic character “is not separated from his fate, they are united, fate expresses the extra-personal side of the individual, and his actions only reveal the content of fate” (A.Ya. Gurevich)” (p. 164). “ Satire is the aesthetic development of the incompleteness of the personal presence of the “I” in the world order, that is, such a discrepancy between the personality and its role in which the internal reality of individual life turns out to be narrower than the external given and is unable to fill one or another role boundary” (p. 165). “ Tragedy- a transformation of heroic artistry diametrically opposed to satire<...>A tragic situation is a situation of excessive “freedom of the “I” within oneself” (Hegel’s definition of personality) regarding one’s role in the world order (fate): an excessively “broad man”<...>The tragic guilt, contrasting with the satirical guilt of imposture, lies not in the act itself, which is subjectively justified, but in its personality, in the unquenchable thirst to remain oneself” (p. 167). “The considered modes of artistry<...>united in their pathetic attitude towards the world order. Fundamentally different aesthetic nature, unpathetic comic, whose penetration into high literature (from the era of sentimentalism) brought “a new mode of relationships between man and man” (Bakhtin), formed on the basis of carnival laughter.” “The laughter attitude brings a person subjective freedom from the bonds of objectivity<...>and, taking living individuality beyond the limits of the world order, establishes “free familiar contact between all people” (Bakhtin)<...>" “The comic gap between the inner and outer sides of the self-in-the-world, between the face and the mask<...>can lead to the discovery of true individuality<...>In such cases we usually talk about humor, making eccentricity (personal uniqueness of self-manifestations) a meaning-generating model of the presence of “I” in the world.<...>However comic effects can also detect the absence of a face under the mask, where there may be an “organ” or “stuffed brains”<...>This kind of comedy can appropriately be called sarcasm <...>Here the masquerade of life turns out to be a lie not of an imaginary role in the world order, but of an imaginary personality” (pp. 168-169). Hero and text 1) Ginzburg L. About a literary hero. (Chapter three. The structure of a literary hero). “A literary character is, in essence, a series of successive appearances of one person within a given text. Over the course of one text, the hero can be found in the most different forms <...>The mechanism of gradual increase in these manifestations is especially obvious in large novels with a large number of characters. A character disappears, gives way to others, only to reappear a few pages later and add another link to the growing unity. Repeating, more or less stable features form the properties of a character. It appears as one-quality or multi-quality, with qualities unidirectional or multidirectional” (p. 89). “The hero’s behavior and his characterological characteristics are interconnected. Behavior is a reversal of its inherent properties, and properties are stereotypes of behavioral processes. Moreover, a character’s behavior is not only actions, but also any participation in the plot movement, involvement in ongoing events, and even any change in mental states. The properties of a character are reported by the author or narrator; they arise from his self-characterization or from the judgments of other characters. At the same time, the reader himself is left to determine these properties - an act similar to the everyday stereotyping of the behavior of our acquaintances, which we carry out every minute. An act that is similar and at the same time different, because the literary hero is given to us by someone else’s creative will - as a task with a predicted solution” (pp. 89-90). “The unity of a literary hero is not a sum, but a system, with its dominants organizing it.<...>It is impossible, for example, to understand and perceive in its structural unity the behavior of Zola’s heroes without the mechanism of biological continuity or Dostoevsky’s heroes without the prerequisite of the need for a personal solution to the moral and philosophical question of life” (p. 90). 2) Bart R. S/Z / Per. G.K. Kosikov and V.P. Murat. “At the moment when identical semes, having permeated the proper name several times in a row, are finally assigned to it, - at that moment a character is born. The character, then, is nothing more than a product of combinatorics; Moreover, the resulting combination is distinguished by both relative stability (for it is formed by repeating semes) and relative complexity (for these semes are partly consistent and partly contradict each other). This complexity precisely leads to the emergence of a character’s “personality,” which has the same combinatorial nature as the taste of a dish or a bouquet of wine. A proper name is a kind of field in which magnetization occurs; virtually such a name is correlated with a specific body, thereby involving this configuration of semes in the evolutionary (biographical) movement of time” (p. 82). “If we start from a realistic view of character, believing that Sarrazin (the hero of Balzac's novella. - N.T.) lives outside of a piece of paper, then we should start looking for the motives for this suspension (the hero’s inspiration, unconscious rejection of the truth, etc.). If we proceed from a realistic view of discourse, considering the plot as a mechanism whose spring must completely unfold, then we should recognize that the iron law of narration, which presupposes its non-stop unfolding, requires that the word “castrato” not be uttered. Although both of these views are based on different and in principle independent (even opposite) laws of likelihood, they still reinforce each other; as a result, a general phrase arises in which fragments of two different languages: Sarrazine is intoxicated because the movement of the discourse should not be interrupted, and the discourse, in turn, gets the opportunity for further development because the intoxicated Sarrazine does not hear anything, but only speaks himself. Two chains of patterns turn out to be “unsolvable.” Good narrative writing represents precisely this kind of embodied undecidability” (pp. 198-199).

QUESTIONS

1. Consider and compare various definitions of the concepts “character” and “hero” in reference and educational literature. What criteria are used to usually distinguish a hero from other actors (characters) in a work? Why are “character” and “type” usually opposed to each other? 2. Compare the definitions of the concept of “character” in reference books and in Hegel's Lectures on Aesthetics. Point out the similarities and differences. 3. How does Bakhtin’s interpretation of character differ from Hegel’s? Which of them is closer to the definition of the concept given by A.V. Mikhailov? 4. How does Bakhtin’s interpretation of type differ from the one we find in reference literature? 5. Compare the solutions to the problem of classifying the aesthetic “modes” of the hero in N. Frei and V.I. Tyups. 6. Compare the judgments about the nature of a literary character expressed by L.Ya. Ginzburg and Roland Barthes. Point out the similarities and differences.