The author’s position as a factor of influence on the reader’s psychological consciousness

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The author's position as a factor of influence on the reader's psychological consciousness

Galyna Oleinikova, PhD in philology, associate professor Izmail state university of humanities

Abstract

Modern times dictate its requirements to scientific cognition by overcoming the disunity in many views that inevitably exist in any scientific thinking, distinguishing the links, highlighting the main from the multitude of assumed facts. Hence the close connection not only between phenomena of one science, but also between different sciences, both natural and humanities, is clearly visible. Synthesis of interdisciplinarity is the main characteristics of the scientific and philosophical space of the XXI century. The aim of this article is to review and analyze the study of text through the physiological side, confirming the importance of psychological content in text analysis.

Key words: text, interdisciplinary approach, psychological research, psycholinguistics.

Анотація

Авторська позиція як чинник впливу на психологічну свідомість читача

Галина Олейнікова кандидат філологічних наук, доцент Ізмаїльський державний гуманітарний університет

Сучасний час диктує свої вимоги до наукового пізнання шляхом подолання роз'єднання в багатьох поглядах, що неминуче існують у будь-якому науковому мисленні, розмежування зв'язків, виділення головного з безлічі передбачуваних фактів. Звідси наочно проявляється тісний зв'язок не тільки між явищами однієї науки, а й між різними науками, причому як природничими, так і гуманітарними. Синтез міждисциплінарності - основні характеристики наукового і філософського простору XXI століття. Метою цієї статті є розгляд та аналіз дослідження тексту через фізіологічну сторону, підтверджуючи важливість психологічного змісту в аналізі тексту. Методологія. Методологічною основою дослідження служив системний метод, метод роботи з даними, методика аналізу тексту за текстовими даними і комплексний підхід. У ході роботи застосовувалися методи ретроспективного та порівняльного аналізу.

Наукова новизна. У роботі проаналізовано психологічний підхід до дослідження та вивчення тексту як об'єкта психолінгвістичного аналізу. Інноваційне дослідження тексту насамперед спирається на розуміння його природи як факту практичного буття свідомості. Це завжди вираження авторської суб'єктивної реальності за допомогою тексту як фізичної системи знаків, у якому виражається соціокультурний досвід письменника і його бажання донести свою інтенцію до читача. І тому міждисциплінарний підхід до аналізу текстів з боку психологічного дослідження дає змогу подивитися на текст як на об'єкт особистісного прояву авторської позиції та розглядати текст "зсередини" та/або "ззовні" - серед інших текстів та/або за місцем і роллю його в житті автора та/або читачів. Сучасне психологічне дослідження тексту - це осмислення того, як читач сприймає і розуміє текст, які почуття і яку референтну ситуацію він викликає у читача. Тут визнається принципова спільність між душевними організаціями автора і читача тексту, яка і стає основою для розуміння прочитаного. Читач усвідомлено використовує певні моделі душевного світу людини взагалі, автора тексту, його різних позицій у конкретних ситуаціях, зокрема.

Ключові слова: текст, міждисциплінарний підхід, психологічне дослідження, психолінгвістика.

Formulation of the problem

Verbal communication is a leading factor in any human activity, since it is the verbal channel of information transmission that makes it possible not only to transmit meanings and senses to the recipient in the most effective way, but also to influence the recipient's perception and understanding of the message, thus changing not only the cognitive but also the emotional and semantic structures of his or her consciousness.

The most common form of any information transfer through a verbal channel is a text, a text that allows you to organise information, build a message in such a way as to achieve the tasks set by its author, in particular, the tasks of psychological influence on the reader's mind, which requires, first of all, an effective understanding of the message content. For this purpose, a number of tools are used: structural organisation of the text, use of metatextual elements, use of texts of different genres (in particular, the narrative genre is the most effective), references to authoritative sources, techniques that enhance the dialogue of the message, etc.

Relevance of the topic

The information mentioned above reflects the linguistic approach to text research, where cohesion, coherence and semantic completeness are considered as the main features of text units. Grammatical, lexical and intonational means that provide the main text-forming feature - text cohesion - are also distinguished. It can be said that linguistics, which uses text as a speech product for its analysis, "takes for research speech manifestations in the communicative circuit, correlates the observed material with the source, postulates the presence of a linguistic system in this source, describes as fully as possible the forms used, establishes their regularity, types, classes" (Чепелава, 2015).

The first steps in the psychological direction of research in language arose as a reaction to the teachings of representatives of the naturalistic and logical directions. This information can be found in the works of W.Von Humboldt, who emphasised the active and semantic character of speech activity. The connection of thinking activity with the psychology of is characteristic of all schools of linguistic psychology. However, over the course of more than 100 years of development, different approaches to the study and interpretation of speech psychology and the doctrine of activity and speech behaviour have emerged.

There is a desire to explore language in its real functioning, in the processes of speech activity, but without focusing on its physiological and psychophysiological aspects. Language begins to be interpreted as a phenomenon of the psychological state and spiritual activity of a person or people, which largely stemmed from the philosophy of language of W.Von Humboldt.

It should be noted that linguistic studies of a text are focused on describing to a large extent its internal, structural features. While from a psychological point of view, you can look at the text much more broadly. Through the text, through the speech organization, we can understand and feel the author of the work, the characters, their position, thoughts, moods and their upbringing. Therefore, the tas k of psychological text research is much broader than linguistic research: to find ways to characterize certain psychological properties of a person, an author, based on his text production.

Analysis of recent research and publications

As N. Chepeleva noted, "the psychological approach to the text requires disclosing the framework of the work, entering the extra-textual reality. Only in this case it is possible to reveal the true essence of the text, its characteristics that determine the effectiveness of verbal communication"(Chepeleva, 2015). R. Barth in his work "Selected Works: Semiotics. Poetics" noted that "the basis of the text is not its internal, closed structure, which can be objectively studied, but its output into other texts, other codes, other signs: in other words, the essence of the text is not in the text as such, but in its metatextual character" (Барт, 1989).

I.R. Halperin, T. Dridze, I. Vasilieva and other philologists combine the study of text categories with its psychological informativeness. They study the internal and external aspects of text analysis. It is worth noting that all the above approaches are united by the interpretation of the external structure of the text as a system of meanings, not senses. In this regard, the analysis is carried out at the level of the plan of expression, not the plan of content, as is the case when building the internal structure of the text.

The communicative approach to the study of the text deserves special attention, as it implies that the activities of the author and the reader are correlated with their communicative activities, dialogical interaction. One of the first researchers to focus on the communicative function of the text was R. Barth. The researcher identified five ways that reflect both the internal and external structure of the text. This classification is quite broad, it covers all possible characteristics of the text and is relevant for psychological analysis, and it is not without reason that it has been used even in psychotherapeutic practice.

When creating a text, socio-psychological, cognitive and linguistic factors play an important role, which denote both the relevant dimensions of the message and various authorial intentions and strategies. So the aim of this paper is to consider and analyze the investigation of a text through the physichological side affirming the importance of psychological content in text analysis.

Presentation of the main research material

We will focus on the most common strategies of textual research, namely, textual means of influencing the reader, which include the structural and semantic organisation of the message, the use of dialogue techniques of text construction and the authors' use of the narrative form of text presentation, which contains a hierarchy of semantic elements of varying degrees of complexity and significance. This construction is directed to the reader and reveals the author's intention and communicative intent. Thus, we will trace the psychological approach to the text, which will allow us to reveal the extra-textual reality and reveal the true essence of the text.

First of all, we will give a brief description of the text as a special type of message organisation and the psychological features of message understanding it from the light of modern psychological and psycholinguistic research.

The evolution of scientific ideas about the nature of language and speech should be considered in the context of the opposition between psychology and linguistics. Up to the beginning of the 20th century, the achievements in the study of this problem area in linguistics were far ahead of the achievements of psychological science. The notions "psychology of language" and "psychology of speech" were used as synonyms. It was linguists who introduced the categories "linguistic consciousness" (W. Humboldt) and "psychological component of language" (I.A. Baudouin de Courtenay). H. Steinthal even classified linguistics as a psychological science on the grounds that speech is a human spiritual activity (Bilous, 2014).

The French structural linguist F. de Saussure theorised the differences between language and speech. Language began to be understood as a stable and socially conditioned system of conventional symbols. On the contrary, speech is a dynamic and concrete process of operating these symbols (language). Language, in his view, is learnt theoretically as a system of rules, while speech is learnt actually, in the process of communication. As a result, for many years language became the subject of linguistics, speech - of psychology.

The gap was bridged when a new interdisciplinary field of knowledge - psycholinguistics - emerged in the mid-50s of the XX century. According to A. Blumenthal, interdisciplinary contacts between psychology and linguistics took place at least twice. First, linguists turned to psychology to understand how people use language, to build a linguistic theory based on psychological terminology (image, representation, memory), then the psychologists turned to linguistics to justify the psychology of language (Vasiliev, 1988).

In foreign science, one of the most recognised trends in the development of psycholinguistics was proposed by J. Kess. He distinguished four main periods: the formation of psycholinguistics under the influence of ideas of structuralism and behaviourism; the linguistic period (dominance of transformational - generative grammar); the cognitive period (overcoming the centrality on grammatical structures and recognition of the role of cognitive and behavioural systems in the acquisition and use of language) and the cognitive-interdisciplinary approach based on the structure of mental representations and knowledge.

Modern psycholinguistics was formed in the mid-1970s of the twentieth century. It is characterised by increased attention to the semantics and personality of authors of verbal utterances and texts in the absence of formalised theories. This trend advocates the autonomy of psychological concepts of speech from its linguistic models. J. Noise and J. Meler prefer the term "linguistic psychology" and include this area of knowledge in cognitive psychology.

Modern psycholinguistics has overcome the reactivity, atomism and individualism of the previous trends. In her opinion, psycholinguistic operations have a dual (communicative and cognitive) nature, being realised in communication, interaction between the author and the reader due to the speech impact on the latter (Chepeleva, 2015). This position is realised first of all through the text, where from the psychological point of view, the text can be perceived as any way of manifestation of thought or experience, any human act, that is, everything that can be expressed by it - from a simple everyday event to a brilliant work of art.

Through the text we can understand and feel another person, his/her thoughts, determine his/her mood, worldview, character, upbringing, etc. The text itself is a kind of "living integrity", a product of individual consciousness. It is created by the author and then exists independently. The individuality of a person can be studied through the content of texts generated by him/her. Melnichuk O., analysing the state of modern psychological science and practice, its subject, states the transition of modern psychology to the linguistic reality (Melnichuk, 2009).

Modern research work with text, has several foundations. One of them is psycholinguistic research of speech generation and perception. To characterise a text, it is common to use the peculiarities of its perception and understanding by different groups of readers. In psycholinguistic experiments, readers act as witnesses - perceptors, as evaluators - experts, and interested parties - interpreters.

The psychological approach to the text interprets the latter as a model of interaction between the author and the recipient. In other words, the text is seen as a transformed form of real interpersonal interaction between the author and the recipient, a dialogue between two subjects on certain issues. In this case, the message itself acts not just as an autonomous system of sign elements, but as a subsystem of a more complex system of linguistic communication. That is the text contains, on the one hand, the purpose and communicative intention of the author of the message and, on the other hand, the programme of the reader's work with it. Thus, the psychological approach to the text requires disclosing the framework of the work, entering the extra-textual reality. Only in this case it is possible to reveal the true essence of the text, its characteristics that determine the effectiveness of verbal communication.

Text as a verbally expressed product of human mental reality has two forms: written and oral. Each of these forms has its own specific features.

If written speech is characterised by consistency, logical development of thought, completeness, coherence, oral colloquial speech is built on other principles. It allows considerable grammatical incompleteness. Separate parts of a grammatically developed statement can be omitted and substituted, or implied by the situation, or included in speech by gestures, facial expressions, intonations. Writing allows the author of a text to change his point of view, his narrative, to expand the area of individual consciousness and his perception of the surrounding world. Through the possible replacement of external dialogue with internal dialogue, the author of the text can know himself and construct his identity, His self in a narrative manner.

In our opinion, the study of the content of personal identity is possible through reference to its texts, and more precisely to those narrative forms chosen by the author of the work. In our opinion, the text is first of all a sign reflected through the author's self, so it contains not only meaning, but also the author's point of view, his inner message.

Self-narrative as a phenomenon of human subjective consciousness contains objective information about the Self of the speaker. We adhere to the point of view of M.M. Bakhtin, who believed that any utterance is a process of constructing the self. According to M.M. Bakhtin, every text as a statement "...is something individual, unique and inimitable, and this is the whole meaning of it". It is the utterance as "...an inimitable, historically unique individual whole" is the expression of consciousness, utterance "as a subjective reflection of the objective world" (Bachtin, 1986).

According to Z. Freud, there is nothing indeterministic and random in the field of the psyche. Accordingly, the text reflects the flow of consciousness, which is represented through t he statement, through the author's narrative point of view.

Let us consider some examples of the author's narrative self on the examples of fiction. This type of narration is widely used in text linguistics to refer to 1st person narration. The author, as it were, is eliminated from the narrative, retreats into the shadows, leaving... the operative programme, the intent of the work, which... guides and entrusts his role to an internal focaliser, a fictional person who takes "responsibility for organising the point of view expressed in the narrative" [Ilyin 1983,150], an individual who apprehends a situation in one particular way in preference to any number of conc eivable alternatives (Langacker,1999: 242).

In this form of narration, the focaliser or narrator-character can act as an observer outside the world of the narrative, which most often leads to the creation of the "defamiliarisation effect" and the reader guesses about its existence due to the specifically organised linguistic fabric of the work. The focaliser can also perform his/her function explicitly, i.e. to lead the narrative on his/her own behalf and to be present in the artistic megamir. As V.A. Kukharenko notes, the narration in this case acquires a special trustworthiness and intimacy, the inner world of the narrator is reveale. This type of the 1 -person narration is often called entrusted narration, the author of the work reassigns, entrusts to lead the whole narration to his narrator, a character of the work.

The entrusted narration in science fiction is an effective means to achieve the effect of authenticity, "reality" of the fictional world of a science fiction work. The entrusted narrative has been used a lot in the works of such fiction writers as H. Wells, A. Clarke, F. Paul, A. Asimov, L. Niven, W. Tenn and others.

As for the definition of the term itself, it is worth noting that there is no clarity in the definition of entrusted narration in both domestic and foreign literature. The transfer of narration into the sphere of non- authorial consciousness has received various terminological denotations in theoretical literature: 1st -person narration, fairy tale, reassigned narration, first-person narration, entrusted narration, Ich-Roman, Ich-Form, Ich-Erzahlung. It seems that among those listed, the term "entrusted narration" is the most successful. It covers practically all types of narrative organised by a character, regardless of their pronoun formality (1st or 3rd person narration), the form of implementation of artistic communication (oral or written). As Oleinikova G/ mentions, "the main thing is to entrust the narrative to a fictional person, to transfer the perception and mastering of the displayed reality into someone else's consciousness, into someone else's system of rules and evaluations in order to achieve greater reliability of the received image" (Oleinikova, 2022). It should be noted that in our sample we took science fiction works imitating oral storytelling.

The organisation of the narrative by the point of view of the character radically changes the ways of expressing the author's position. In this case, the author's plan is hidden; the focus of the narrative is the narrator character, to whom all explicitly presented evaluations belong. As a result, "every moment of the story we clearly feel in two plans: in the plan of the narrator, in his subject-meaning outlook, and in the plan of the author, refracted by and through this story"(Bakhtin, 1986).

Thanks to this type of narration, in the texts of the genre under consideration, the reader has an illusion that all the described events are covered from the point of view of a direct witness and participant, which gives the work greater credibility, reliability, making the reader believe in the reality of the described events.

In the novels of G. Wells "The War of the Worlds", "The Time Machine", R. Heinleien "The Door into Summer", J. Windham "The Seeds of Time", the stories of A. Clark "Jupiter Five", F. Paul "The Middle of Nowhere", L. Niven "Neutron Star", V. Tena "Betelgeuse Bridge", F. Leiber "Coming Attraction" and "Coming Attraction". Leiber's "Coming Attraction" and others, where the form of entrusted narration is used, the character-narrator fulfils a double function: he is an actor and a narrator at the same time.

This type of narration significantly narrows the range of the depicted fabula space and thus limits the narrator's own possibilities. Firstly, he is limited in the way he sees and depicts the inner world of other characters. Only one consciousness - his own - is fully revealed to him, and he can judge the content of other consciousnesses only indirectly. Secondly, the narrator-character cannot and has no right to describe events that he has not witnessed. Nevertheless, the subjectivised narrator-character does not, in principle, lose the right to the reader's unconditional and complete trust, since he is himself the object of the image and the protagonist.

Thus, in the novel "The War of the Worlds" the narrator is a witness to the events taking place on the Horsell Heath, near Woking. He tells of alien vampires who have come from Mars to Earth to suck people's blood. The hero-narrator leads his story openly, as he sees and perceives everything himself. At the first acquaintance with the alien creature, the narrator defines it as some mass - "bulk", inanimate, non-human- like and explicates it through the pronoun "it", emphasising the strangeness and unusualness of the object: A big grayish rounded bulk, the size, perhaps, of a bear, was rising slowly and painfully out of the cylinder. ...it glistened like wet leather.

The narrator character then goes on to describe the Martians' appearance in more detail, in order to more plausibly portray the unreality of what is happening:

Two large dark-colored eyes were regarding me stead-fastly. The mass that framed them, the head of the thing, was rounded, and had, one might say, a face. There was a mouth under the eyes, the lipless brim of which quivered and panted, and dropped saliva. The whole creature appendage gripped the edge of the cylinder, another swayed in the air.

Those who have never seen a living Martian can scarcely imagine the strange horror of its appearance. The peculiar V-shaped mouth with its pointed upper lip, the absence of brow ridges, the absence of a chin beneath the wedge-like lower lip, the incessant quivering of this mouth, the Gorgon groups of tentacles, the tumultuous breathing of the lungs in a strange atmosphere,... There was something fungoid in the oily brown skin, something in a clumsy deliberation of the tedious movements unspeakably nasty. Even at this first encounter, this first glimpse, I was overcome with disgust and dread.

In this descriptive fragment, the narrator characterises the Martians' appearance from the position of combining the incongruous. Thus, the descriptive fragment emphasises a significant dissimilarity with the structure of the human body: V-shaped mouth, the absence of brow ridges, the absence of a chin. However, in the example there are also lexical units that are peculiar to a human being: mouth, lip, lungs, eyes. Hence, the opposition of the combinable and incongruous vividly allows the reader to see a fictional picture depicting fantastic creatures.

In order to portray the appearance of extraterrestrial beings more realistically and convincingly, the character-narrator uses various descriptive descriptions indicating characteristics similar to human appearance: the mass that framed them (eyes), the head of the thing, a mouth under the eyes....The stylistic device of repeating the words the absence..., the absence... in the above example creates the opposite effect - the absence of those external data, which for the reader are interpreted as inherent to a human being.

Thus, the appearance of alien creatures in science fiction texts is described as the unknown through the known, focusing on those external features that are primarily non-human. Such descriptions are aimed at creating images of extremely strange, unusual, non-human-like creatures and contribute to the visibility of the image. Aliens from the fantastic world acquire the illusion of reality.

According to V.A. Kukharenko, the entrusted narration can be typologised into unidirectional and multidirectional narration. In the first case, the author's position fully coincides with that of the narrator. In the second case, the author's and narrator's points of view do not coincide.

The delegated narration in H.G. Wells' novel can be classified as unidirectional. The writer acts in the form of "I" and fulfils the function of a character-narrator, identifies himself with the hero of the book - this technique, first of all, testifies to the author's desire to speak sincerely, excitedly and honestly. Of particular importance is the fact that in Wells's novel, the appearance and attack of the Martians is depicted not so much against the background of the whole society, but against the background of the fate of one man, suddenly caught by the universal catastrophe. And it is this type of narration, from the character- narrator brings an atmosphere of authenticity, excitement and humanity to the work.

The stories by A. Clarke, L. Niven, F. Leiber and F. Paul, in addition to the identity of the form of presentation, are united by the commonality of the theme - the theme of scientific research in interstellar space. Thus, in the story "Neutron Star" the narrator acts as an expert of the scientific research expedition, which studies the conditions of existence on Procyon, a double star in the constellation of the Little Dog. The narrator not only describes what he has seen, but also comments on the events from the scientist's point of view, using various scientific terms: X-ray star - X-ray star; watchdog - space autopilot; BVS-1 burned by fusion fire - the star BVS-1 burned by thermonuclear flames; the new 2603 Sinclair intrasystem yacht - a new model of space yacht - Sinclair 2603, designed for flights inside the solar system, etc. The new 2603 Sinclair intrasystem yacht - a new model of space yacht - Sinclair 2603, designed for flights inside the solar system, and others. In all descriptions the characters and realities of the alien world are compared with the earthly ones. In other words, the fictional reference space is projected onto the reader's real world.

A puppeteer is unique. Imagine a headless, three-legged centaur wearing two Cecil the Seasick Sea Serpent puppets on his arms and you'll have something like the right picture. But the arm s are wearing necks, and the puppets are real heads, flat and brainless with wide flexible lips. The brain is under a bony hump set between the bases of the necks.

Similarly to the novel The War of the Worlds, in the story Neu-tron Star the alien creature is described by introducing the technique of combination with the incongruous. Thus, the reader is immediately told that the aliens, who were called "puppeteers" by the Earthlings because of their appearance, do not resemble any other creatures in the universe: a puppeteer is unique. The narrator then presents the features of their appearance. Somatic vocabulary is widely used, i.e. words denoting the human body and its parts: arms, neck, head, lips, brain.

The effect of strangeness is achieved by exotic modification of the structure of the alien creatures: the neck is immediately on the arms, the head is brainless with wide, mobile lips, the brain is behind a bony hump, between the base of the neck - the arms are wearing necks, and the puppets are real heads, flat and brainless with wide flexible lips. The brain is under a bony hump set between the bases of the necks.

To visualise the appearance more clearly, the reader is invited to imagine and recall the image of marionette puppets representing sea monsters. The comic effect of the description of the appearance is created by the image itself and by the stylistic device of alliteration (Cecil the Seasick Sea Serpent).

The analysis of the use of the forms of entrusted narration in the works of science fiction genre was carried out, which demonstrated the following facts. In science fiction literature, the delegated narration is represented by the following types of narration: narrator's speech (NS), characters' speech (CS, internal speech (IS).

The study of the ratio of the textual volume of the types of narration in the structure of science fiction works written in the 1st person revealed a steady predominance of the narrator's speech over the characters' speech: NR - 61.7%, CR - 36.9%. The nature of the correlation between the types of narration found in this sample is quite consistent with the observations of other researchers (Bobyleva, Kukharenko). It is worth noting that a significant preponderance of the narrator's speech over the character's speech has also been noted in the works written in the form of re-purposed narration.

The reduction in the share of the narrator's speech in favour of the narrator's speech in different literatures demonstrates a general trend and gives reason to believe that the quantitative priority of the narrator's speech is a universal characteristic of the delegated narration.

Let us consider the peculiarities of the narrator's speech and the character's speech in the entrusted narration of a science fiction text.

In the entrusted narrative, the narrator's speech and his dialogic party merge into one whole and reflect a single consciousness through a single speech system. The latter represents formally expressed direct speech in the form of an oral story in which the narrator speaks in his own person.

Syntactically, as is well known, the foreign word can be conveyed through such syntactic patterns as direct speech, indirect speech and non-self-direct speech. Such narration indeed obeys the norms of direct speech, since the speaking subject is denoted by the first person pronoun. However, in terms of stylistic aspect, the narration in the person of the character, as a rule, is closer to the author's speech than to the dialogues of the actors.

The specificity of the transmission of other people's speech in the analysed works influences the ratio of the volume characteristics of the main types of narration - the narrator's speech and the character's speech. The initial statements of other actors in science fiction works are passed through the filter of the narrator's speech, subjected to various transformations and transformations. The use of indirect ways of transmitting other people's utterances leads to an increase in the speech of the main narrator, i.e. the narrator, and, accordingly, to a reduction in the percentage volume of dialogue. To illustrate the above, let us give the following examples:

1) ...I remember discussing with the Medical Man, whom I met on Friday at the linnean, he said he had seen a similar thing at Tubingen, and laid considerable stress on the blowing-out of the candle.

2) He told me the same old story. They were a four man patrol, ranging far beyond the defence perimeter of Niobe; they had got caught too far from town before it got really hot, and it was a choice between using their cached sand cars or getting stuck in the noonday sun.

The above extracts illustrate the transmission of other people's speech in the narrator's speech corpus in the form of enumeration of topics that are touched upon by another character. In such cases, the original speech is presented in a maximally reduced version.

The narrative form of narration implies changes in the structure of the artistic text. Thus, in works written in the form of objectified narration, along with the author's word there are the voices of other characters. Multispeak allows the author to portray phenomena and events from different spatial, temporal, evaluative, etc. points of view. In works written in the form of subjectivised narration polyphony is absent, all events of the referential space appear before the reader refracted through one consciousness - the narrator.

Thus, in A. Clark's story "Jupiter Five", the reader is presented with a picture of events taking place on a quasi-real satellite of the planet Jupiter - Jupiter 5. Familiarity with all the actors and events of the work occurs through the narrator, through his perception and worldview. Characterising one of the main characters of the story, Professor Foster, the narrator uses indirect forms of introducing this character. He does not give a description of the professor's appearance and way of life, but conveys it as he (the narrator) sees and perceives it himself:

Proffessor Foster is such a small man that a special spacesuit had to be made for him. Bur what he lacked in physical size he more than made up - as is so often the case - in sheer drive and determination. Perhaps I ought to confess that at this time I didn't believe a word of Frofessor Forster's theories. Of course I realize he was a very brilliant man in his field, but I draw the line at some of his more fantastic ideas.

The reader is presented with an image of a man of small stature, but determined and assertive - in sheer drive and determination, with unusual ideas and theories about the existence of other life on the planet Jupiter 5.

The narrative is told from the position of an eyewitness and sounds sincere and believable. The credibility of the narrative is enhanced by the narrator's use of a mode of nomination and characterisation in which what is new to the narrator, and therefore to the reader, is presented through the prism of what is already known. Fantastic expeditions to other planets are based on the results of previous scientific research and expeditions:

The earliest expeditions had reported that there wasn't any life on Mars at all,. Then the air reconnaissance had reported what turned out to be the Martians - creatures about the size of a man, more or less, that stood up like a man, that built villages of shacks like men.

Summarising the results of the conducted research of the types of narration in science fiction literature written in the form of reassigned narration, in general we can state that the form of entrusted narration in the genre of science fiction acquires a special load, which is expressed in giving unreal events more convincing. The narrative structure of the analysed science fiction works is formed by such types of narration as the narrator's speech and the character's speech. The textual volume of the characters' dialogue speech is much lower than the textual volume of the narrator's speech.

The above study and the use of the entrusted type of narration demonstrates a modern approach to the psychological study of text, where the dominant approach is to understand how the text is perceived and understood from the reader's overall impression of it. Here the relationship between the mental state of the author and the reader of the text is presented, which becomes the basis for reading comprehen sion. The author consciously uses certain models of the human mental world in general and its different positions in specific situations, which directly affects the reader's world of feelings and perceptions.

As is known, the modern psychological study of text is based on the understanding of its nature as a fact of practical existence of consciousness. on the understanding of its nature as a fact of the practical existence of consciousness. It is always an expression of subjective reality through language as a physical system of signs accumulating socio-cultural experience, in addition, the message provides virtual links between carriers of the same culture. And therefore it is an instrument of human-to-human influence, which is traditionally called psychological. The text is considered "from the inside" and/or "outside" - among other texts and/or by its place and role in the life of the author, characters and/or readers.

Communication between the author and the reader is a kind of dialogue between them. As N. Chepeleva notes, "the dialogicality of a text is closely connected with such its most important characteristic as meaningfulness (Chepeleva, 2015). Accordingly, it is possible to speak about a meaningful text only in the following case. when its creation involves both the author who "lays" the meaning in the text (not only a certain content, but also his/her own values, attitudes, evaluations, etc.), and the reader, who, relying on his or her cognitive and metacognitive and meta-cognitive skills. partly recreates this meaning and partly synthesises a new meaning adequate to his experience. Naturally, the mechanisms of meaning synthesis are activated only when the reader is dealing with a new meaning if the reader deals with a dialogical text, i.e. a text, which carries in itself potential possibilities of meaning formation.

In conclusion, we can say that the text becomes an object of psychological research provided that it is considered as a central link in the communicative chain «Author - Text / Message - Reader / Recipient» and implies its study from the point of view of those characteristics that «pull together» the two extreme poles of communication, providing the generation, synthesis of new meaning thus enriching the personal experience of the reader.

Джерела і література

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2. Бахтін М.М. Естетика словесної творчості. 1986. 424 с.

3. Білоус О. Sprachpolitik: Abriss Theoretischer Grundlagen von der Sight westlicher Sprachforscher.

4. Васильев С.А. Синтез смысла при создании и понимании текста. К.: Наукова думка, 1988. 204 c.

5. Жлуктенко Ю.А., Леонтьева А.А. Психолингвистическая и лингвистическая природа текста и особенности его восприятия. Киев, 1979. 248 с.

6. Ішмуратов А.Т. Конфлікт і згода. Основи когнітивної теорії конфліктів: Навч. посібник. К.: Наукова думка, 1996. 190 с.

7. Копыленко О.М. Роль смысловой структуры текста в его понимании. Дис. ... канд. психол. наук. Алма-Ата, 1974. 152 c.

8. Олейнікова Г.Особливості суб'єктивного типу розповіді. VIII Дунайські наукові читання. Ізмаїл, 2022.

9. Психологія особистості:Хрестоматія: Навч. посіб./ О.Б. Мельничук, Р.Ф. Пасічняк, Л.М. Вольнова та ін. К.: НПУ імені М.П. Драгоманова, 2009. 532 с.

10. Старовойтенко Н.В. Психологія: практикум. Черкаси, 2014. 346 с.

11. Чепелєва Н.В. Текст і читач: посібник. Житомир: Вид-во ЖДУ ім. І. Франка, 2015. 124 с.

12. Langacker R.W. The Contextual Basis of Cognitive Semantics. Language and Conceptualization. Cambr. UP, 1999. P. 229-252.

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14. Psycholinguistics.

15. Makhamadalieva Z. Understanding the text as Psyholinguistic problems.

16. Sanders T., Spooren W. Text Representation: Linguistic and Psycholinguistic Aspects.

psychological writer reader sociocultural

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