Psychological Components of Pedagogical Communication

The following theoretical methods of the research were used to solve the tasks formulated in the article: a categorical method, structural and functional methods, the methods of the analysis, systematization, modeling, generalization. The method of organizing empirical research was used as an experimental method.

Results and their discussion

A dialogue is often defined as a conversation between two or more people (Mykhalchuk & Ivashkevych, 2019). The most time researchers often pay attention to the speech characteristics of this process and contrast a dialogue with another form of speech - a monologue. This approach, in some a way, is typical of linguistic studies of a dialogue. We've to propose a classification of external circumstances that determine various forms of speech, and pay special attention to a dialogic and monologi- cal speech. The researcher argues that a dialogic form of speech in the most cases has to do with the process of communication, which, on the one hand, is characterized by direct auditory and visual perception of people of each other, and, on the other hand, involves rapid changes in actions and reactions. Monological form of speech is associated with one-way communication, which involves long-term influence of one of the participants in the communication from the other person (or others). But, characterizing the dialogue as a specific phenomenon of speech, we'll emphasize the relationships between a dialogue and a monologue. Thus, in our opinion, a dialogue and a monologue are connected by some forms of speech, among which there is a conversation that differs from ordinary conversation by a slower pace of exchange of statements, which is more common in structure, better thought out, as well as "a monologue dialogue", when a person in the process of his/her story quotes other people.

Also we've noticed the existence of mutual transitions between a dialogue and a monologue. For example, we believe that in colloquial speech there are not only a pure dialogue or a pure monologue, but also a dialogue with a monologue speech and vice versa. We'll emphasize a number of features that distinguish a dialogue and a monologue as stylistic types of literary speech. According to our mind, the main function of a dialogue is communication, and the monologue performs only the informative function.

We determine the difference between a dialogue and a monologue by their extralinguistic conditionality. A dialogue takes place in the process of communication between two or more partners, which involves the perception of collective information, distinguishes the difference in its assessment, the impact of the environment on the partner of communication, as well as the emotional assessment of the latter. These reasons determine the main structural features of a dialogue: questions and answers play the most important role, sentences can be repeated or incomplete, speech is always emotional.

The distinction between a dialogue and a monologue was based on the functional-semantic principle. In a dialogic speech the sentence includes the main idea and implies the presence of a speech reaction. In a monologue speech a sentence expresses the main idea of the statement and it does not provide the appropriate reaction. We distinguish between dialogical and monological forms of speech, such as a dialogue and a monologue are perceived by us as communicative acts of speech.

Recently, our interest to the problem of a dialogue has been increased, due to the general increase of public attention to the problem of communication. We proved that only the psycholin- guistic aspect of a dialogue had been studied and it was opposed to a monologue. Then various aspects of a dialogic form of speech had been studied, in particular the interaction of partners in joint activities.

We believe that a dialogic speech is reactive in nature and situational, that dialogue is always poorly organized, it does not have certain patterns. We characterize a dialogic speech as a psychological process. We emphasize some features of a dialogue:

1. The main thing in a dialogic speech is the language action of one of the communication partners, from which, not from the internal design, comes the response of another participant in communication (and in a monologue speech the main stage is always internal speech, which forms a detailed statement).

2. A dialogic speech is reactive, and a monologue speech is active.

3. A dialogic speech is situational, so, related to the environment in which communication takes place.

During 2020-2021 at Rivne secondary school №°15 we studied the dialogue of preschool children and identified some common features inherent in the dialogue of both children and adults:

1. Focus of speech on the communication of partners.

2. Alternation of partners' statements.

3. The peculiarities of linguistic characteristics of speech of partners of communication: fast pace of speech, the presence of different forms of address, semantic and syntactic connection between utterances, the great role of facial expressions, gestures.

To study dialogical speech in more details we organized experimental research during 2021-2022 at the philological faculties at Rivne State University of the Humanities and Kamianets-Podilskyi National Ivan Ohiienko University. In our experiment 92 students participated. The title of the lesson is "Dark humour, periphrasis, contrast, slang and other devices as important means in expressing the author's concepts in "Oliver Twist". We organized the discussion. In this article we'll propose the fragment of this discussion:

Natasha M.: "In modern fiction characters like these are considered a mark of poor writing, but in Dickens's time readers were not bothered by such a flat description. The novel was written as a serial that required readers to remember all the characters for a long period of time, thus it was necessary for writers to make their characters easy to remember and categorize.

Dickens makes a considerable use of symbolism. Many symbols which Oliver faces are primarily good versus evil; they are constantly trying to corrupt and exploit pleasure and kindness, because the last ones always win. Symbols are objects, characters, figures or colours which are used to represent abstract ideas or concepts. They are used as so called expressive ways to depict the main idea of the text. Each symbol generally conveys an emotional response which is far beyond the word, the idea or the image themselves.

Characters' Names. The names of characters represent their personal qualities. Oliver Twist himself is the most obvious example. The name "Twist," though given by accident, alludes to the outrageous reversals of fortune that he will face. Rose Mai- ly's name echoes her association with flowers and springtime, youth and beauty. Toby Crackit's name is a light-hearted reference to his chosen profession of breaking into houses. Mr. Bumble's name connotes his bumbling arrogance; Mrs. Mann's is the home of her lack of maternal instinct; and Mr. Grimwig's is his superficial grimness that can be removed as easily as a wig did.

Bulls-Eye. Mr. Sikes' little white dog is really a metaphor for his own evil personality. The dog, with its willingness to harm anyone on Sikes' whim, shows the true evil of the master. Sikes himself knows that the dog is the symbol of himself and thus he tries to catch the dog. He is really trying to run away from the person who he is. This is also illustrated when Sikes dies and the dog immediately follows him.

The Jew. Fagin himself is a recurring symbol of a devil. Several times Dickens refers to him with well-known devil names or symbols. He talks of Fagin as a person with flaming red hair and a beard, with a three-pronged roasting fork, which all are symbols of Lucifer. Before he is to die he refuses to pray for himself and his being a Jew has a very evil connotation. He is greedy and mean in his attempts to involve Oliver and others into his web of evil.

Rose Maily as a loving nature and a perfect beauty is a symbol of kindness.

Light and Dark. Light and dark, and white and black are important symbols in the novel "Oliver Twist". Oliver, who is the child of light, is locked into so called involuntary apprenticeship with a coffin maker, Mr. Sowerberry. Oliver is asked to join the funeral processions as a paid mourner. Oliver's commitment to life is contrasted with the darkness and the death that surrounds him. The parish authorities originally wanted to apprentice Oliver to a chimneysweeper. When Oliver was arrested for picking Mr. Brownlow's pocket, the officer who made up a name for Oliver unconsciously picked an appropriate one: "White." Oliver is as pure as the driven snow, while all the areas of London which were associated with the criminal class had been stained black.

London Bridge. Nancy's decision to meet Brownlow and Rose on London Bridge reveals the symbolic aspect of this bridge. Bridges exist to link two places that would otherwise be separated by an uncrossable chasm. The meeting on London Bridge represents the collisions of two worlds unlikely ever to come into contact - the idyllic world of Brownlow and Rose, and the atmosphere of degradation in which Nancy lives. On the bridge Nancy is given the chance to cross over to the better way of life that the others represent, but she rejects that opportunity, and by the time three persons left the bridge, and the possibility had vanished forever.

Agnes's ring and locket. Agnes's ring and locket are very important, because much mystery is associated with them. When Agnes firstly shows up at the workhouse to give birth to Oliver before dying, one of the very few things she wasn't wearing was a wedding ring. The question of who she was and whether there was a wedding ring at all, always hangs around in the back of everyone's mind. Old Sally had stolen some jewellery from Oliver's dying mother the night he was born. It was something that contained a clue to his parentage and identity. In Chapter 1 of "Oliver Twist" we learned that it had been a gold locket with two locks of hair, and a wedding ring. The locket represents the physical union between Agnes Fleming and Edward Leeford, Oliver's father. It contains a lock of each of their hair physically bound together. But the locket is designed to be "locked" and kept the secret.

Labyrinth and Maze. The labyrinth and maze motif frequently occurs in the novel too. Fagin goes into "a maze of the mean dirty streets which abound in that close and densely-populated quarter", and Sikes and Nancy drag Oliver "into a maze of dark, narrow courts". Both examples are the hidden description of the city.

The language of "Oliver Twist" can be called periphrastic, because Dickens uses a lot of periphrasis in the novel. Periphrasis is a device which, according to the Webster's dictionary, denotes the use of a longer phrasing in a place of a possible shorter and plainer form of the expression. It is also called circumlocution due to the round-about or indirect way having been used to name a familiar object or phenomenon. From the point of view of the angle of its linguistic nature periphrasis represents the renaming of the object and in such a way may be considered along with a more general group of word designations replacing the direct names of their denotation. For example, in Chapter 13 Dickens describes Dodger and Charley's theft of Mr. Brownlow's wallet as "an illegal conveyance of Mr. Brownlow's personal property". The same object may be identified in different ways and accordingly acquires different appellations. Thus, in different situations a certain person can be denoted, for instance, as either "his benefactor" or "this bore", or "the narrator", or "the wretched witness", etc. S.K. Workman, an English literature scholar, states that the most pervasive element in the aureate style and the most vitiating one is periphrasis. Some scientists also underline that the use of periphrasis in the 16th century was for characteristic of embellishment, thus justifying the attribute "aureate", and periphrasis became a feature of a definite literary style.

So, there are some other examples of periphrasis in the novel:

"...she knew what was good for children; and she had a very accurate perception of what was good for herself." ("she had a very accurate perception" = she knew a little);

"As for exercise, it was nice cold weather, and he was allowed to perform his ablutions, every morning under the pump, in a stone yard, in the presence of Mr. Bumble, who prevented his catching cold, and caused a tingling sensation to pervade his frame, by repeated applications of the cane" ("applications of the cane" = beating);

"Don't make your eyes red, Oliver, but eat your food and be thankful," said Mr. Bumble, in a tone of impressive pomposity." ("don't make your eyes red" = don't cry);

"Ah! I dare say he will," replied the lady pettishly, "on our victuals and our drink. I see no saving in parish children, not I; for they always cost more to keep, than they're worth. However, men always think they know best. There! Get down stairs, little bag o' bones." ("little bag o' bones" = thin boy = Oliver);

"Mr. Sowerberry rightly construed this, as acquiescence in his proposition; it was speedily determined, therefore, that Oliver should be at once initiated into the mysteries of the trade" ("should be initiated into the mysteries of" = should be taught).

We've found a lot of contrast in "Oliver Twist". Contrast is a literary (not a linguistic) device based on logical opposition between the phenomena set one against another one. For example:

"Oliver Twist was! Wrapped in the blanket which had hitherto formed his only covering, he might have been the child of a nobleman or a beggar." "Mr. Bumble walked on with long strides; little Oliver, firmly grasping his gold-laced cuff, trotted beside him, inquiring at the end of every quarter of a mile whether they were" nearly there." "The master, in his cook's uniform, stationed himself at the copper; his pauper assistants ranged themselves behind him; the gruel was served out; and a long grace was said over the short commons" "Three or four inches over one's calculation make a great hole in one's profits".

The biggest contrast in the novel is one between poverty and the high social class. Poverty is a prominent concern in "Oliver Twist". Throughout the novel Ch. Dickens enlarges on this theme, describing slums as rows of houses, that are on the point of ruin. In the Chapter 4 Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room".

Iryna I.: "This ubiquitous misery makes Oliver's few encounters with charity and love more poignant. The author shows that London population suffered much from poverty and disease. But Dickens delivers a mixed message about social caste and social injustice. Oliver may become nobler, but most of his associations, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children; and the Artful Dodger seems born for a life of crime. Oliver encounters middle and high class people: Mrs. Sowerberry, Mr. Bumble and the savagely hypocritical "gentlemen in the white waistcoat" of the workhouse board.

Oliver, who spends his childhood in a workhouse, proves to be of gentle birth. Thus, we have a contrast even in depicting the main character. Although he has been abused and neglected all his life, he recoils, aghast by the idea of victimizing anyone else.

This apparently hereditary gentlemanliness makes "Oliver Twist" something of a changeling tale, not just an indictment of social injustice. Oliver is born for better things and struggles to survive in the savage world of the underclass until he is rescued by his family and returns to his proper place - a commodious country house.

Dickens builds a satiric contrast of the city and the country in the novel. He associates the far-away place with an almost Platonic idea of a previous existence:

"Who can tell how scenes of peace and quietude sink into the minds of pain-worn dwellers in close and noisy places, and carry their own freshness, deep into their jaded hearts! Men who have lived in crowded, pent-up streets, through lives of toil, and who have never wished for change... The memories which peaceful country scenes call up are not of this world, nor of its thoughts and hopes. Their gentle influence may teach us how to weave fresh garlands for the graves of those we loved: may purify our thoughts, and bear down before it old enmity and hatred; but beneath all this, there lingers, in the least reflective mind, a vague and half-formed consciousness of having held such feelings long before, in some remote and distant time, which calls up solemn thoughts of distant times to come, and bends down pride and worldliness beneath it".

Dickens applies contrast between the hearth and the city to his concern for the nameless poverty of London. In doing such things he spelled out its ultimate implications. "Bleak, dark, and piercing cold", he writes in the novel, "it was a night for the well- housed and fed to draw round the bright fire and thank God they were at home; and for the homeless, starving wretch to lay him down and die".

Ch. Dickens compares rich people to the poor, the clothed ones to the naked individuals, and the stuffed people to the starving persons. He compares the light and the dark as the main symbols in the novel. These are some examples:

"...the heavy bell of St Paul's tolled for the death of another day. Midnight had come upon the crowded city. The palace, the

night-cellar, the jail, the madhouse; the chambers of birth and death, of health and sickness; the rigid face of the corpse and the calm sleep of the child - midnight was upon them all". This is the moment of social levelling through the use of darkness: Dickens lists a lot of contrasting places - palaces, night-cellars (bars that didn't have liquor licenses), jails, madhouses, etc. - and also juxtaposes a lot of extremes symbols: birth and death, sickness and health, corpses and sleeping children.

This is a passage about light: "The sun - the bright sun, that brings back not light alone, but new life, and hope, and freshness to man - burst upon the crowded city in clear and radiant glory. Through costly-coloured glass and paper-mended window, through cathedral dome and rotten crevice, it shed its equal ray. It lighted up the room where the murdered woman lay. It did".

The sun, like midnight, is a social leveller - it shines equally to everybody, whether through expensive glass stained, or through a window was mended with paper or duct tape. He even uses the word "equal" - the sun "shed its equal ray" - after juxtaposing a bunch of extremes ("costly-coloured glass" and "paper- mended window," and "cathedral dome" and "rotten crevice"). Dickens draws the parallel between "light" and "life", which were explicit here; the sun "brings back" both.

The "New Oxford English Dictionary" defines slang in such a way: "a) the special vocabulary is used by any set of persons of a low or disreputable character; the language of a low and vulgar type; b) the cant or jargon of a certain class or period; c) the language of a highly colloquial type considered as the level of standard specially educated speech, and consisting either of new words or of current words having been employed in some special sense". In these quotations slang is represented both as a special vocabulary and as a special language.

The American scientist Eric Partridge, who studied slang, stated: "Slang is much rather a spoken one than a literary language. It originates, nearly always, in speech. To coin a term on a written page it is almost inevitably to brand it as a neologism which will either be accepted or become a nonce-word (or phrase), but, except in the rarest instances that term will not be slang".

Nevertheless, slang is a deviation from the established norm at the level of the vocabulary. Only a definite person or a group of people use slang words. Dickens uses slang in "Oliver Twist" in order to show the peculiarities of the language of criminal society in London. Gamfield, Sikes, Fagin, Noah and other thieves speak slang. We can find a lot of examples of it in the novel:

"That's acause they damped the straw afore they lit it in the chimbley to make `em come down agin," said Gamfield; "that's all smoke, and no blaze; vereas smoke ain't o' no use at all in making a boy come down, for it only sinds him to sleep, and that's wot he likes. Boys is wery obstinit, and wery lazy, gen'lmen, and there's nothink like a good hot blaze to make `em come down vith a run. It's humane too, gen'lmen, acause, even if they've stuck in the chimbley, roasting their feet makes `em struggle to hextricate theirselves."

"I suppose yer the new boy, ain't yer?" said the voice through the key-hole.

"Yes, sir," replied Oliver.

"How old are yer?" inquired the voice."

"My eyes, how green!" exclaimed the young gentleman. "Why, a beak's a madgst'rate; and when you walk by a beak's order, it's not straight forerd, but always agoing up, and niver a coming down agin. Was you never on the mill?"

"Don't fret your eyelids on that score," said the young gentleman. "I've got to be in London to-night; and I know a spectable old gentleman as lives there, wot'll give you lodgings for nothink, and never ask for the change - that is, if any genelman he knows interduces you. And don't he know me? Oh, no! Not in the least! By no means. Certainly not".

"Stow that gammon," interposed the robber, impatiently. "Where is it? Hand over!"

"Tol de rol lol lol, right fol lairy, Work'us," said Noah, as a tear rolled down Oliver's cheek. "What's set you a snivelling now?"

Oliver Twist as the main hero of the novel was a hostage of this criminal society. He always suffered from it and was known as: "brat" (little monster), "young ruffian", "little rascal", "young wretch", and "little brute", "sneaking warmint", "a bag o'bone's" and so on. These words and word-combinations are the examples of slang too.

To characterise some specific features of pronunciation of the character the author uses graphons, which makes the speech natural. Here is Barney's manner of speaking:

"Nobody?" inquired Fagin, in a tone of surprise: which perhaps might mean that Barney was at liberty to tell the truth.

"Dobody but Biss Dadsy," replied Barney.

"Nancy!" exclaimed Sikes. "Where? Strike me blind, if I don't honour that `ere girl, for her native talents." (Barney couldn't pronounce a letter "n")".

Vlad F.: "To sum up everything mentioned above we draw the diagram 1 to observe the percentage correlation of language means and stylistic devices in the novel: