Учебное пособие 1773

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

So, the relevance and the scientific novelty of the work are due to the need to develop a coherent methodology for the onomastic research in a literary text and intertextuality. The empirical material of the undertaken in the article study are the key anthroponyms of the novel «Madame Bovary» by G. Flaubert as one of the conceptual works of the French and European literature. The main aim of the work is the revealing and the interpretation of the encoded in a proper name information according to the author’s intention implemented with the use of the following methods: linguistic-and-stylistic, linguistic-and-aesthetical, linguis- tic-and-cultural, semantic-and-stylistic and sememe analysis, as well as the intertextual and the contextual types of interpretation.

Aesthetic name-based text analysis methodology of a literary text seems to be a more productive approach to the text than other methods of onomastic analysis focused on accounting some qualitative or quantitative characteristics and parameters. This approach allows us to trace the mechanisms of interpretation/perception of the text containing proper names in the inseparable unity of their multiplicity.

The starting point of aesthetic onomastics research is understanding the naming units from the point of view of the logical antinomies, allowing the polar opposite evaluations and interpretations of the same object category [7]. For example, one of the most contradictory from the point of view of interpretation in diachronic aspect is such onym as Susanin, the name of a real person, transformed into the aesthetic category of onomastics and firmly rooted in the Russian culture: a lot of historical works are devoted to his person, his feat got a bright reflection in literature, music, visual arts, folklore.

On the one hand, the feat of Ivan Susanin has a very special place in our public consciousness, and Susanin himself was a long time ago strongly related to the number of national heroes of Russia. However, the wide recognition of the feat of Susanin in combination with the uncertainty as to what actually happened at the end of the time of Troubles in Russia at the beginning of the XVII century in the Northern part of Kostroma district, determined that, beginning with the famous article by N.I. Kostomarov «Ivan Susanin» in 1862 [1*], there are continuous disputes around the feat of Susanin. The main difficulty is that «the name of Ivan Susanin, as, perhaps, no other hero of Russian history, had been «overgrown» by an extremely powerful layer of legends, speculation, and preconceived ideas», along with this «Susanin, again, as, perhaps, none of the historical figures that had so long been the subject of political speculation and even political struggle, when one after another he was proclaimed the symbol of loyal to the tzar regime Russian people or he was defamed and declared a «myth» [8].

On the other hand, there is the polar opposite to the initial interpretation of this – not historical but aesthetic – onym: instead of the usual positive connotations (Ivan Susanin – a symbol of heroic self-sacrifice from the love for the Homeland) there is the ironic naming in the ordinary common use - Susanin which corresponds to the incompetence (semantic: «got the wrong place»). The examples of this are the numerous jokes and ironic proverbs:

-If Ivan Susanin took the Poles into the forest no one knows where, and they killed Susanin first, and then themselves completely perished - WHO found out about it and told?

-«Why not to cut the road through a small forest?» - thought Ivan Susanin, unwittingly condemning himself to the eternal glory.

- First tour operator of adventure tourism - Ivan Susanin.

-No, children, Susanin passed through another Bolotnaya square case... [2*].

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Thus, the presence of contradictions in the interpretation of individual names allows to identify the specific possibilities of realization of the value of a proper name depending on some internal and external semantics and connotations.

According to the basic name concept set out by A.F. Losev in his fundamental work,

«dialectics of a name» [9] has a central place in his philosophy of language [10, p. 26-27]. So, the name is a kind of cornerstone in all spheres of the life of its bearer: physiologi-

cal, psychological, phenomenological, logical, dialectical and ontological. In this case, the personal name is a kind of the base shape («lemma»), supporting information about the construction and content of other forms, personalizing all such objects.

So, a personal name is subject to the laws of dialectics about the unity and the struggle of the opposites: any individual value expresses the general concept, describing each individual manifestation of the essence of the object category. Thus, in a proper name is accumulated a certain part of the cognitive reality allocated from the shared cultural continuum as a kind of individual and common essence «of existence and experience». The main content is the meaning of the name showing the relationship between the source semantic (conceptual) core and peripheral (variable) value that bear some personal imprint of the associative connections on the basis of life experience or common cultural connotations.

Along with this, the discourse-semantic approach to the analysis of proper names has not lost its relevance [11]. The diversity and the variability of onomastic vocabulary in the space of the text, which is realized through numerous discursive meaning (pragmatic, expressive, connotative, associative, suggestive, etc.), contributed to the emergence of semantic communities (comp. with the term by V.I. Suprun «onomastic sphere» [12]), combining all the specific values.

Such a heterogeneity in the semantics of aesthetic onomastics returns again to dialectics, because of its ability to relate to a single concept containing all the actual or potential realizations of the value. Thus, the original meaning of a proper name is not equal to the semes of each individual specific naming, however in the sum of their manifestations all particular semes invariably go back to the basic concept (the prototype).

The ambivalent nature of a proper name, manifested, in particular, in the unity of some linguistic forms and extra-linguistic semantic connotations, is justified by the function of the language. General properties of a linguistic sign, which are realized in the discourse (namely, the division of the value into the total and the individual components) are also inherent to proper names. Thus, the discursive element of the personal names is correlated with a particular utterance (the context), while the generic component of its value is able to be implemented in a variety of communicative acts.

The linguistic process of lexicalization of proper nouns is crucial for the interpretation of the semantics of onomastics. A wide prevalence of common names, to a greater or lesser extent retained the original derivation from a proper name, is another evidence of the obviousness of the presence of some linguistic values (Arakcheyev - Arakcheevshchina, NEP -

NEPman, Oblomov – oblomovshchina, Bovary - bovarysm, etc.).

Specifically, with regard to proper names, their values are characterized by a certain degree of conceptualization due to the correlation with a specific performance, which, in turn, is able to evoke some associations on the level of semantic components [13, p. 53-55].

Thus, one might argue that the semantics of onomastic units are very unstable and are not always determined by their lexical meaning, but rather associative by nature on the basis of some extra-linguistic factors and connotations. However, the proper names in aesthetic discourse (so-called aesthetic onyms) are invariably inherent some conceptual semantics, which allows them to component analysis through decomposition and decoding of their individual components and of the onyms in whole.

An iterative method of data processing for the onomastic research allows to select a series of components of the «name bearer»: «man» (anthroponyms), «geographic name»,

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«place name» (toponyms), «gender», «nationality», «ethnic characteristics», «social environment», «evaluation» of a proper name from different points of view, including a sort of «emotional component», and other. Such characterizing fixed values assigned to wellknown proper names are a kind of stylistic means of expression in a particular context: hardworking like Cinderella; handsome like Apollo; to treat women like don Juan, etc.

Along with this, the combination of these characteristics contributes to the transformation of the individual onomastic units in the category of so-called «speaking» names that implement a specific value in a specially organized context.

The analysis of the functions of proper names suggests that their values (as the inner form («deictic») and the descriptive (predicative)) represent different kinds of semantic combination, which, on the one hand, can be identical in their composition with the basic semes (conceptual component), and on the other hand – to form a combined product of the basic entities in variable contexts. Any random component of the value of the personal names can have both linguistic and extra-linguistic nature and may be manifested, depending on some individual factors of perception: knowledge of the cultural environment, relations, etc.

It should be noted that most of the individual uses of the onyms (and their values) are characterized by instability, with variability depending on the context and short existence, above all, in view of the fact that they are a violation of the adopted norms in onomastic creation. The individual variations of component values of the personal names, due to individual use of onyms, have a high degree of subjectivity. In the terms of interpretative semantics [14], the basic semes correspond to the general and/or internal senses, while the individual variable components can be equated with some specific and/or peripheral nuances of meaning in the whole spectrum of connotations.

It is necessary to distinguish the semantics of onomastics inherent to one or another class of onyms, as well as the semes activated by the context. Thus, the implementation of a name value depends on its bearer, the subject or the object that it names (for aesthetic onomastics we talking about the subjects and the objects within a fiction created by the author according to the national-and-cultural onomastic tradition or based on some deliberate distortions of such tradition (e.g., satirical, fantastic literary works, etc.)).

A huge role in determining and implementing the functions of aesthetic onomastics plays the individual information assigned to one or another proper name, which, however, does not exclude the ambiguity and a high degree of variation in perceiving and interpreting the meanings of the individual names because of the personal characteristics of the recipient (level of education, socio-cultural environment, political and religious views, etc.), and the personal relationship to the named character.

However, excluding the personalized perception of a proper name in literary discourse it is impossible to make a multi-level onomastic characterization of a character/image in a variety of nuances of connotations, as well as to ensure an adequate individual author's interpretation thereof in the case of the use of some identical onomastic units.

The individual information about the bearer of the name (the subject or the object named) is realized in the process of the linguistic-and-stylistic variation through disclosure in the context of the «encoded» in the onym sememes serving as the markers of the writer’s idiostyle within the structure of the fiction. The contextual sememes of a proper name are able to the expression of some unexpected traits and characteristics of the referent on different levels of the text and the intertextuality that contributes to the creation of a generalized character (type) in the literature, more or less identically perceived by the recipient (a reader or a linguist).

Thus, an aesthetic onym is a «topos», a «common place», or a concept, forming a unified conceptual space in the literary text, and further in the intertextuality [15, p. 70].

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Therefore, the specificity of discourse-semantic analysis of aesthetic onomastics invariably includes the following aspects:

1)semantic approach to the interpretation of proper names;

2)functioning of onyms as the personal individual author's creation;

3)determination of the individual status of a referent to identify some baseline characteristics and functions of the onym.

A subjective factor of perception of onomastic units complicates and intensifies the pragmatic component of the nominal values. The disclosure of the multi-level connotations of a proper name in the personal individual writer's idiostyle is a phased process on the basis of the contextual and the intertextual references in the synchronic and the diachronic plan. As a result aesthetic onyms acquire the characteristics of an effective stylistic method of constructing the unified thematic space of a literary text.

The semantics and the symbolism of aesthetic onomastics embodied in the individual perception of the reader, contribute significantly to the creation of a single thematic space of a literary text (and subsequently the intertextuality) and can act as the ideological and conceptual guide in the process of generation of the literary text, providing an adequate analysis by the recipient/the reader.

Variable contextual semes play a leading role in the process of analyzing a literary text onymy, as the implementation of many of its values contributes to deeper and more comprehensive understanding of the features and the nuances of a mutable image without distorting the essence of the referent. In this way it is the balance between certain stability in the perception of the characters within fiction, and variability in their interpretation as a result of the accumulation by the onyms of some contextual and intertextual information and the transformation of the public consciousness. For example, a number of the Russian literature characters have been subject to revision due to the changes of points of view on certain characteristics: clearly negative in Soviet times, the characters of Chichikov, Oblomov and many others, during perestroika (90-ies of the last century) are examples of an «enterprising businessman» and of a «worthy man», a «normal person».

Thus, it is evident that the realization of the aesthetic values of onomastics within a fiction represents not only the end result of the author's creativity, but the continuing and constant in time and varying conditions and aspects of the perception process.

For a more detailed illustration of the process of aesthetic name-based text analysis

methodology of a literary text we should refer to the novel «Madame Bovary» by G. Flaubert as an emblematic work of the French realism. In this creation the author not only implemented the corresponding to the aesthetic direction canons, but also created in detail a new phenomenon in the literature, an innovative for his time character, or a type - «une Bovary» [2, p. 109-111].

The writer could embrace the full range of complex social and psychological issues related to the eponym character. And one of the key factors in creating such an extraordinary character is the proper name.

The title of the novel emphasizes that the whole interest is focused on the fate of the protagonist. In doing so, intentionally her family name is only mentioned: «Madame Bovary» (and not «Emma Bovary»), the emphasis is on the social status of a married woman, and the personal name, which embodies the essence of the character, remains in the shadows. This fact is also indicative from the point of view of the aspirations of G. Flaubert to follow the requirements of the new genre («roman nouveau» / «new novel» [16] breaking all the links with romanticism (comparing with O. de Balzac's «Eugénie Grandet» [3*]).

In this regard, the main question of the genesis of the onyms in the novel should be elaborated. For the writer during his work on the novel the name of the title character «Emma» remained on the periphery: G. Flaubert called her «ma petite femme» («my little wom-

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an»), specifying the character as «une femme de fausse poésie et de faux sentiments» / «a woman of false poetry and false sentiments» [4*].

Moreover, this character, without her own personal name, appropriates another's name

– «Madame Bovary» (in fact, there are at least two more Madame Bovary: the mother and the first wife of Charles), and under this naming the character becomes not just the «name bearer» but the eponym character, or the type («une Bovary»), and the term signifying a specific female neurosis – «le bovarysme» inherent to an idle married woman which consists in the dissatisfaction of her sensual desires. In France since 1982 this term caught on so much that can be used practically as well as become a common word: sadism, don juanism, Casanova, lovelace, etc.

As to the character's name choice, the author’s scenarios to the novel had no definite solution. Originally G. Flaubert’s character was to be named «Marie», however, some other variations of this personal name were immediately given: «Maria», «Marianne» and «Marietta», - all the possible variants are a kind of anagram containing the allusion to the character of the nun Anna Maria («Anna Maria») seduced by don Juan and tormented by temptations [16] that, according to J. Gauthier, is the first sign of «bovarysm» - «a person's ability to perceive himself or herself differently when actually he or she is» / «C'est le premier indice du «Bovarysme», défini par Jules de Gaultier, on le sait, comme «la faculté départie à l'homme de se concevoir autrement qu’il n'est» [17, p. 26].

According to the aesthetics of G. Flaubert, his eponym character is not perceived at all as a separate character, but rather as a type, or a large-scaled art image:

«Alors elle se rappela les héroïnes des livres qu'elle avait lus, et la légion lyrique de ces femmes adultères se mit à chanter dans sa mémoire avec des voix de soeurs qui la charmaient. Elle devenait elle-même comme une partie véritable de ces imaginations et réalisait la longue rêverie de sa jeunesse, en se considérant dans ce type d'amoureuse qu'elle avait tant envié» [5*, p. 167] / «Then she remembered the heroines of the books she had read, and the lyric legion of these adultere-wives began to sing in her memory with the voice of sisters bewitching her. She became herself as a part of these imaginings and realized the long reverie of her youth by considering herself in this type of beloved that she had so envied» [6*, p. 167].

On the other hand, it is evident the desire of the author to a peculiar overthrowing, or a certain debunking of the foundations of the romantic images of his characters. Thus, the name «Emma» arises spontaneously in the notes to the first scenario of the novel while highlighting the initials «Marie Anne» - «M. A.» - «Emma» [7*, p. 6]. So, the impression is that it is not a personal name at all, and only a random compilation of sounds from certain letters of the alphabet, as if deliberately consonant with the grammatical form of the verb in group I, in the 3-rd person, singular of tense passé simple (past perfect tense) in the French language: «aima» («time for loving had passed»). So, the romantic art image of the character was a priori deconstructed and de-personalized by the author which brings this character into the sphere of the social types («une représentation collective» / «a generalized character» [17]).

According to G. Flaubert, his character has many of the prototypes: «Ma pauvre Bovary, sans doute, souffre et pleure dans vingt villages de France à la fois, à cette heure même» /

«My poor Bovary, without a doubt, suffers and cries in dozens of French villages at the same time» [8*, p. 392].

From the point of view of the accumulation of some individual information by the proper name, in the text it is an important point of obtaining by the character of a particular significance: in the course of the narrative, Emma Bovary deserves the title of the «heroine of desire» («l’héroïne du désir») and all the aspects of the implementation of this meaning

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are automatically submitted by the only word – an aesthetic onym, the name of the character.

It is noteworthy even the apparition of the name Emma in the text of the novel. This occurs at the very moment when it awakens love in the heart of her first man – Charles. Before the scene when she helps Charles to find his whip she was simply «Mademoiselle Rouault» / «Mlle Rouault»), and at this moment she becomes «Mademoiselle Emma» / «Mlle Emma»):

«Mademoiselle Emma l’aperçut; elle se pencha sur les sacs de blé. Charles, par galanterie, se précipita, et, comme il allongeait aussi son bras dans le même mouvement, il sentit sa poitrine effleurer le dos de la jeune fille, courbée sous lui. Elle se redressa toute rouge et le regarda par-dessus l’épaule, en lui tendant son nerf de boeuf» [5*, р. 49] / «Mademoiselle Emma saw it; she leaned on the bags of wheat.

Charles, for gallantry, decided to get ahead of her, and, as he also extended his arm in the same movement, he felt his chest touch the back of the girl leaning over in front of him. She stood up all red and looked at him over the shoulder, handing him his horsewhip» [6*, p. 19].

The physical appearance of the character by G. Flaubert is an important question leading to some associations in the text and outside it to the character’s name as a symbolic entity. In the novel there is no appropriate to romantic tradition woman’s portrait of the character’s appearance description. The final version of the scenario to the novel presents some sketches to the appearance of the character, which are partly used for the description of the appearance of Emma before her marriage: «Emma Lestiboudois grande, [maigre] <mince>, noire – admirables yeux – Mains longues et trop maigres osseuses aux articulations» / «Emma Lestiboudois, high, [lean] <sleek>, brunette – beautiful eyes – Long arms, too thin and bony at the joints» [7*, р. 8]. Soon, however, a note is found: «portrait d'Emma (non fait)» / « portrait of Emma (not ready)» [7*, р. 21]. Instead are present the only visions of the character by Charles in love with her, then by Leon and by Rodolphe, and also by the author, and by all the possible real and imaginary beloved of the heroine.

At first Emma is presented to the reader exactly the way the loving look of Charles sees her:

«Ses yeux lui paraissaient agrandis, surtout quand elle ouvrait plusieurs fois de suite ses paupières en s'éveillant; noirs à l'ombre et bleu foncé au grand jour, ils avaient comme des couches de couleurs successives, et qui plus épaisses dans le fond, allaient en s'éclaircissant vers la surface de l'émail» [5*, p. 34] / «Her eyes appeared to him enlarged, especially when she opened for several times her eyelids by waking up; black in the shadow and dark blue in daylight, they had like the layers of colors in succession which are thicker in the bottom were thinning out towards the surface of the whites of the eyes» [6*, p. 34].

Then, the vision of Charles, so tangible and even the only present in the beginning of the novel is gradually complemented by other: through the eyes of Leon the reader opens a different Emma:

«Le feu l’éclairait en entier, pénétrant d’une lumière crue la trame de sa robe, les pores égaux de sa peau blanche et même les paupières de ses yeux qu’elle clignait de temps à autre. Une grande couleur rouge passait sur elle, selon le souffle du vent qui venait par la porte entrouverte. De l’autre côté de la cheminée un jeune homme à chevelure blonde la regardait silencieusement» [5*, р. 113] / «The fire shone her fully, penetrating by a flood light trough her dress, the pores of her smooth white skin, and

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even her eyelids that she opened from time to time. A great red color spent on her according to the breath of the wind that came in through the half-open door. On the other side of the chimney a young man with blonde hair watched her silently» [6*, p. 68].

The reader is also given the opportunity to see Emma through Rodolphe's eyes, this true connoisseur of women’s beauty who was able to instantly appreciate her charms:

«… il revoyait Emma dans la salle, habillée comme il l’avait vue, et il la déshabillait» [5*, р. 164] / «He saw Emma, she was in the room, exactly as well dressed, and he was mentally undressing her» [6*, p. 109].

But apart from this there were many other coveted looks, opening new features of the character to the reader. So, even the boy of the pharmacist Julien constantly notices something fascinating in the appearance of Emma. Like enchanted he was looking with greedy curiosity at the clothes of the mistress which were being ironed by her maid Félicité:

«... les jupons de basin, les fichus, les collerettes, et les pantalons à coulisse, vastes de hanches et qui se retrécissaient par le bas» [5*, р. 221] / «... petticoats of basin, scarves, collars, pantaloons on the ribbons, wide at the hips and narrowing down ...»

[6*, p. 155-156].

But for the young boy all these things are not just garments, they evoke some thought about a woman's body which they clothe. To the eyes of the dazed Julien also appears the cascade of Emma's let down hair, those as dark as night hair, worthy to be praised by the poet:

«… et, quand il [Julien] aperçut la première fois cette chevelure entière qui descendait jusqu’aux jarrets en déroulant ses anneaux noirs, ce fut pour lui, le pauvre enfant, comme l’entrée subite dans quelque chose d’extraordinaire et de nouveau dont la splendeur l’effraya» [5*, р. 249] / «When the poor boy saw for the first time how her hair unwound by black curls and went down below her knees, it was for him, poor guy, like an unwitting entry into a special, unknown world, frightening by its splendor» [6*, p. 179].

The description of Emma is also represented by the narrator that is none other than G. Flaubert, although his relation to the eponym character is invariably hidden. And yet, it is the novelist to whom belongs the following description:

«Jamais Mme Bovary ne fut aussi belle qu’à cette époque; ... Ses paupières semblaient taillées tout exprès pour ses longs regards amoureux où la prunelle se perdait, tandis qu’un souffle fort écartait ses narines minces et relevait le coin charnu de ses lèvres, qu’ombrageait à la lumière un peu de duvet noir. On eût dit qu’un artiste habile en corruptions avait disposé sur sa nuque la torsade de ses cheveux: ils roulaient en une masse lourde, négligemment, et selon les hasards de l’adultère, qui les dénouait tous les jours» [5*, р. 227] / «Never Mme Bovary was so beautiful that at the time; ... Her eyelids seemed to be cut in readiness for her long amorous glances in which the pupils disappeared, while a deep breathing flared her thin nostrils and lifted up the corners of her plump lips shaded by a little bit of black short hair, fully visible in the light. It seemed that an artist experienced in temptation was putting the curls on her neck; they were rolling in a heavy mass, carelessly, according to the hazards of adultery which were undoing them every day» [6*, p. 161-162].

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It also happens that Emma Bovary is presented to the reader in her own vision of herself. Prone to narcissism, it is not without pleasure that she is staring at her mirror image. After the first experience of the forbidden love pleasure, her head is dizzy with memories of those desires which she excites and is tempted by, and Emma is like rediscovering herself and all her appearance:

«En s’aperçevant dans la glace, elle s’étonna de son visage. Jamais elle n’avais eu les yeux si grands, ni d’une telle profondeur. Quelque chose de subtil épandu sur sa personne la trasfigurait» [5*, р. 196] / «Looking at herself in the mirror, she was surprised of her face. She never had so large eyes, nor of such depth. Something elusive spilled in her entire appearance, transforming her» [6*, p. 135].

The evolution of the portrait image of the eponym character clearly demonstrates the importance of the gradual gaining by the character of some conceptual characteristics accumulated in the main onym of the novel – its title, where the conceptual components of the art image according to the artistic idea of the author are concentrated. This idea is clearly illustrated by the example of the use of the onyms:

Table 1

The Evolution of the Conceptual Image of the Eponym Character Based on the Analysis of the Naming EMMA BOVARY

Based on the Novel «Madame Bovary» by G. Flaubert

EVOLUTION OF THE CONCEPTUAL IMAGE OF THE EPONYM CHARACTER BASED ON THE ANALYSIS OF THE NAMING EMMA BOVARY

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One of the most significant changes to the text of the novel (by G. Flaubert scenarios) appears to change the maiden name of Emma «Lestiboudois» (stylistically lowered connotations due to the comical sound) on a more harmonious and stylistically neutral – «Rouault».

It is obvious that the author was not part of a frivolous attitude of the readers to the main character. And subsequently it becomes the name of a secondary character of a cemetery caretaker from Yonville (such a coincidence also seems to be a presage of the tragic ending of the novel).

An important aspect of the aesthetic onomastics of the novel by G. Flaubert is the selection of the combination of sounds in the proper names causing complex sound associations. So, for example, becomes significant the sounding itself of the family name «Bovary» (from the word «bull» / «boeuf, bovin»), and by contrast, there is another important feature: with the reference to Charles in the novel is more often used his family name, as if turning into the character’s personal name (at least, acquiring many functions of a personal name), while his wife on the pages of the works is very frequently referred to as just «Emma», pointing out that the personal name is much closer to her character than such an «ignoble» family name.

Besides, the mental disorder of the main character is due to her unsuccessful marriage. The opposition of the name Emma with her husband's family name is a sort of reflection of the internal conflict in her life: an ordinary «peasant, Norman name» of Bovary is not suitable to the sublime and romantic name of Emma. However, it should be emphasized that the pseudo-romantic nature of the name and of the character is a symptom of «bovarysm» as the vision of herself so in reality. So, in the end of the novel, Charles Bovary will turn out the «romantic hero» showing the ability of the sublime feelings, while the pretentiously «refined» tastes and desires of Emma show themselves low and trivial.

Thus, all the attributes and the associations in the text and outside it promote the accumulation of some conceptual features of the art image of the eponym character in the only word – the main onym of the novel. In this case there is a symbolical division of the name on three components of the three incarnation of the art image conventionally corresponding to the three main men types in the novel:

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Table 2

The Image of the Eponym Character of the Novel «Madame Bovary» by G. Flaubert as a Type and its Correlation with the Main Men Characters of the Novel

COMPONENTS OF THE IMAGE OF THE EPONYM CHARACTER AS A TYPE –

«UNE BOVARY»

CORRESPONDING MEN CHARACTER TYPES IN THE NOVEL