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| 1 | The article focuses on describing the ways of revealing a phenomenon of “inner man” in conceptual space of the image of Anglo-Saxon epic hero. Despite the fact that revealing the hero’s “inner self” doesn’t fit within an epic genre framework it is not alien to Anglo-Saxon culture. The epic genre illustrates that feelings and emotions can be disclosed on other levels and by other means unlike contemporary interpretation of the phenomenon. The specific character of archaic folklore mentality can’t but influence the process of understanding and revealing the inner world of an epic hero through his actions and external manifestations. The inner space of the image of the epic hero is viewed in the light of the action approach which is coherent with the genre intention and functional meaning of the image in the culture framework. Keywords: linguoculture, artistic image, conceptual space, inner man, concept | 1220 | ||||
| 2 | The article puts forward a model of studying a n artistic image in national poetic linguoculture. The model comprises three levels: сharacter-contextual, linguopoetic and conceptual. Each of the levels offers research into different layers of the image. The first level aims at describing character repertoire of the image, the second level focuses on its linguostylistic characteristics and the third level provides research into its conceptual content. Application of the model contributes to understanding of a literary image as a complex phenomenon – a projection of three semiotic systems: poetics, language and culture. Thus, each of the model layers is characterized by its own methods of research. Contextual analysis is a dominant method of research on the first level. At this stage of analysis major focus is given to constructing contextual setting of the image. Thus, the following structure of integrated imagological context is proposed in the article. Names of characters and their second naming varieties constitute its nuclear zone, speech portraits represent its central zone and a peripheral area comprises narrative portraits. Quantitative and linguostylistic analyses dominate on the second level of imagological research. At this stage the analysis is split in two parts: research into lexical specifics of imagological contexts and its stylistic peculiarities. A conceptual analysis is used on the third level of imagological research and it aims at establishing links and means of connecting the image to national culture through a notion of linguocultural concept. Keywords: artistic image, character, imagological contexts, linguostylistics, consept, imagological conceptual space | 1467 | ||||