THE PROBLEM OF CREATING A COGNITIVE MODEL OF THE ACT OF A LITERARY HERO (BASED ON A. F. PISEMSKY’S NOVEL «MEN OF THE FORTIES»)

Studying the work of Russian writers from the perspective of modern literary approaches is one of the leading problems of the theory and history of literature. Many research works are written within that framework. Designed on the basis of such an approach, this article is devoted to the analysis of one of the aspects of A. F. Pisemsky’s novel «Men of the Forties». We examined the image of the novel’s protagonist, Pavel Vikhrov, from the point of view of his committing an actively responsible act marking his place in the world. The central problem of the article is the cognitive modeling of the act of a literary hero. The article studies the nature of the act of a literary hero in the artistic space of a Russian novel; the capacity of the cognitive approach to studying the behavior of a literary hero is analyzed. The performer of the act is a hero introduced into a number of literary universals, i.e. «a man of the forties». The novelty of the research work is largely determined by the combination of literary research methods and the technologies of categorical-system and cognitive analysis of texts. The result of the analysis is an algorithm for creating a model of the act of a literary hero and applying it to a specific work. The authors of the article come to the conclusion that the description of the act of a literary hero using cognitive models allows: firstly, to understand the motives of the act of A. F. Pisemsky’s hero; secondly, to discover the essence of this act; thirdly, to study the features of A. F. Pisemsky’s artistic picture of the world through the act of a literary hero.

Romantic Love and Grief in Bobbie Ann Mason’s “Shiloh”: A Sketch of a Cognitive Narratological Perspective

The article investigates the structure of romance and grief narrative included in Bobbie Ann Mason’s “Shiloh,” on the basis of Patrick C. Hogan’s th eory of literary universals and his work on aff ective narratology. Following Hogan, I argue that emotions are deeply embedded in stories and that stories are typically designed so as to manipulate the aff ective responses of their readers. I will focus on the way the story depicts prototypical stages of romance and grief and where it deviates from universal narratives involving concerning grief, separation, attachment, and romantic love, arguing that the aff ective and aesthetic potential of the story lies precisely in where it departs from these prototypical narratives. At the same time, I shall speculate on how discourse organization manipulates the formation of aff ective schemata and empathic alignment in readers.