Instituto de Estudios Políticos y Derecho Público "Dr. Humberto J. La Roche"
de la Facultad de Ciencias Jurídicas y Políticas de la Universidad del Zulia
Maracaibo, Venezuela
Esta publicación cientíca en formato digital es continuidad de la revista impresa
ISSN-Versión Impresa 0798-1406 / ISSN-Versión on line 2542-3185Depósito legal pp
197402ZU34
ppi 201502ZU4645
Vol.39 N° 70
2021
ISSN 0798- 1406 ~ De pó si to le gal pp 198502ZU132
Cues tio nes Po lí ti cas
La re vis ta Cues tio nes Po lí ti cas, es una pu bli ca ción aus pi cia da por el Ins ti tu to
de Es tu dios Po lí ti cos y De re cho Pú bli co “Dr. Hum ber to J. La Ro che” (IEPDP) de la Fa-
cul tad de Cien cias Ju rí di cas y Po lí ti cas de la Uni ver si dad del Zu lia.
En tre sus ob je ti vos fi gu ran: con tri buir con el pro gre so cien tí fi co de las Cien cias
Hu ma nas y So cia les, a tra vés de la di vul ga ción de los re sul ta dos lo gra dos por sus in ves-
ti ga do res; es ti mu lar la in ves ti ga ción en es tas áreas del sa ber; y pro pi ciar la pre sen ta-
ción, dis cu sión y con fron ta ción de las ideas y avan ces cien tí fi cos con com pro mi so so cial.
Cues tio nes Po lí ti cas apa re ce dos ve ces al año y pu bli ca tra ba jos ori gi na les con
avan ces o re sul ta dos de in ves ti ga ción en las áreas de Cien cia Po lí ti ca y De re cho Pú bli-
co, los cua les son so me ti dos a la con si de ra ción de ár bi tros ca li fi ca dos.
ESTA PU BLI CA CIÓN APA RE CE RE SE ÑA DA, EN TRE OTROS ÍN DI CES, EN
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Re vicyhLUZ, In ter na tio nal Po li ti cal Scien ce Abs tracts, Re vis ta In ter ame ri ca na de
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gra fía So cio Eco nó mi ca de Ve ne zue la de RE DIN SE, In ter na tio nal Bi blio graphy of
Po li ti cal Scien ce, Re vencyt, His pa nic Ame ri can Pe rio di cals In dex/HAPI), Ul ri ch’s
Pe rio di cals Di rec tory, EBS CO. Se en cuen tra acre di ta da al Re gis tro de Pu bli ca cio-
nes Cien tí fi cas y Tec no ló gi cas Ve ne zo la nas del FO NA CIT, La tin dex.
Di rec to ra
L
OIRALITH
M. C
HIRINOS
P
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Co mi té Edi tor
Eduviges Morales Villalobos
Fabiola Tavares Duarte
Ma ría Eu ge nia Soto Hernández
Nila Leal González
Carmen Pérez Baralt
Co mi té Ase sor
Pedro Bracho Grand
J. M. Del ga do Ocan do
José Ce rra da
Ri car do Com bel las
An gel Lom bar di
Die ter Nohlen
Al fre do Ra mos Ji mé nez
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Frie drich Welsch
Asis ten tes Ad mi nis tra ti vos
Joan López Urdaneta y Nil da Ma rín
Re vis ta Cues tio nes Po lí ti cas. Av. Gua ji ra. Uni ver si dad del Zu lia. Nú cleo Hu ma nís ti co. Fa-
cul tad de Cien cias Ju rí di cas y Po lí ti cas. Ins ti tu to de Es tu dios Po lí ti cos y De re cho Pú bli co
“Dr. Hum ber to J. La Ro che”. Ma ra cai bo, Ve ne zue la. E- mail: cues tio nes po li ti cas@gmail.
com ~ loi chi ri nos por til lo@gmail.com. Te le fax: 58- 0261- 4127018.
Vol. 39, Nº 70 (2021), 832-843
IEPDP-Facultad de Ciencias Jurídicas y Políticas - LUZ
Recibido el 12/07/2021 Aceptado 22/08/2021
Portrait descriptions in poetry and
prose of England of the XVI-XIX centuries:
from Shakespeare to Byron (the inuence
of trends of the past on the present)
DOI: https://doi.org/10.46398/cuestpol.3970.50
Vira Mizetska *
Snizhana Korkishko **
Hanna Savchuk ***
Anastasiia Musatova ****
Albina Ladynenko *****
Abstract
The description of the portrait of a literary character plays
an important role in creating the overall image of the character.
The urgency of the study is due to the anthropocentric direction
of linguistic studies since reection and interpretation of the
existing world and descriptions of portraits play an important role in this.
In this sense, it is necessary to analyze the use of linguistic units in the
description of portraits of characters from English ction and poetry in the
sixteenth-nineteenth centuries and to know the inuence of past trends in
the present. During the study several general scientic methods were used:
analogy, generalization, observation, comparison, experiment, analysis,
and the historical method. The study analyzed portrait descriptions in
English poetry and prose from the sixteenth and nineteenth centuries
and found that writers used a variety of symbols to capture the author’s
intentions in characters. Often, the authors used somatic vocabulary to
represent the appearance of the characters, the less used lexical units of
the general characteristics of the portrayal of the characters and the least
to represent the appearance of the characters used the kinetic vocabulary.
* Doctor of Philology, Professor, The head of the Department of Professional Communication in Foreign
Languages of the International Humanitarian University, Odesa, Ukraine. mguimps@ukr.net.
** Teacher of the Department of Professional Communication in Foreign Languages of the International
Humanitarian University, Odesa, Ukraine. korkishkosnezhana12@gmail.com.
*** Candidate of Philological Sciences, Associate Professor of the Department of Romano-Germanic
Philology and Methods of Teaching Foreign Languages at the International Humanitarian University,
Odesa, Ukraine. ORCID ID: https://orcid.org/0000-0003-4872-8722. Email: allhappy341@gmail.
com
**** Ph.D. candidate of the International Humanitarian University, Odesa, Ukraine. ORCID ID: https://
orcid.org/0000-0001-9101-3234. Email: musatovanastasia@gmail.com
***** PhD in Linguistics, Associate Professor of The Department of Foreign Languages, National University
“Odessa Law Academy”, Ukraine, ladynenko.albina@onua.edu.ua
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CUESTIONES POLÍTICAS
Vol. 39 Nº 70 (2021): 832-843
Keywords: English ction; description of portraits; kinetic vocabulary;
somatic vocabulary; poetry and prose.
Descripciones de retratos en poesía y prosa de
Inglaterra de los siglos XVI-XIX: de Shakespeare a Byron
(inuencia de las tendencias del pasado en el presente)
Resumen
La descripción del retrato de un personaje literario juega un papel
importante en la creación de la imagen general del personaje. La urgencia del
estudio se debe a la dirección antropocéntrica de los estudios lingüísticos,
toda vez que la reexión y la interpretación del mundo existente y las
descripciones de los retratos juegan un papel importante en esto. En este
sentido, es necesario analizar el uso de unidades lingüísticas en la descripción
de retratos de personajes de la cción y la poesía inglesas en los siglos
XVI-XIX y conocer la inuencia de las tendencias pasadas en el presente.
Durante el estudio se utilizaron varios métodos cientícos generales:
analogía, generalización, observación, comparación, experimento, análisis
y el método histórico. El estudio analizó descripciones de retratos en poesía
y prosa inglesas de los siglos XVI y XIX y descubrió que los escritores
usaban una variedad de símbolos para plasmar las intenciones del autor en
los personajes. A menudo, los autores utilizaron vocabulario somático para
representar la apariencia de los personajes, las unidades léxicas menos
utilizadas de las características generales del retrato de los personajes y
las menos para representar la apariencia de los personajes utilizaron el
vocabulario cinético.
Palabras clave: cción inglesa; descripción de retratos; vocabulario
cinético; vocabulario somático; poesía y prosa.
Introduction
A major paradigm in modern linguistics is the anthropocentric
paradigm, which explores man in language and language in man. This fact
contributes to the increasing interest in the portrait description of man, the
use of which is of great importance for various elds of science and art. Both
in literature and in painting, one of the most dicult tasks is the study and
transmission of portrait description by artistic means. That is why such a
term as “portrait description” is used.
In general, the features of descriptions of the character’s appearance,
age, body parts, attire, gestures, physique, actions, and facial expressions,
834
Vira Mizetska, Snizhana Korkishko, Hanna Savchuk, Anastasiia Musatova y Albina Ladynenko
Portrait descriptions in poetry and prose of England of the XVI-XIX centuries: from Shakespeare
to Byron (the inuence of trends of the past on the present)
perceived through visual perception in works of art in poetry and prose
of authors of dierent eras and periods, have repeatedly been the subject
of detailed study by linguists. However, the linguistic features of portrait
descriptions in poetry and prose of the 16th-19th centuries have not yet
been the subject of linguists’ attention. Nevertheless, in the works of
William Shakespeare, Edmund Spencer, Christopher Marlowe, George
Byron, and in general in the prose works of the 16th-19th centuries, the
portrait description is an essential compositional part of the work, to which
much attention is paid. Widespread and less common descriptions of the
appearance of heroes and their clothing are rich in various linguistic and
stylistic means: comparisons, epithets, metaphors, etc.
However, analyzing the use of language units in portrait images, it was
found that the existing systematization does not fully reect the variety of
tokens used to depict the appearance of the characters. In addition, the
portrait images reect quite narrowly the picture that the author sought to
convey.
Given this fact, it is crucial to interpret the features of the use of portrait
descriptions in poetry and prose of England in the 16-19 century and to
assess the impact of such descriptions on contemporary literature.
The work aims to analyze portrait descriptions in poetry and prose of
the 16th-19th centuries and the inuence of tendencies of the past on the
present. The subject of the study are social relations, namely social relations,
in which portrait descriptions were created in the poetry and prose of
England in the 16th-19th centuries and their inuence of tendencies of the
past on the present.
1. Theoretical Framework or Literature Review
Portrait images in ction have been studied by domestic scholars, but a
comprehensive analysis of portrait images in poetry and prose of the 16th-
19th centuries has not been conducted.
Among the scientists who studied portrait descriptions and images can
be distinguished: Abdulina (2014), Alekseev (1960), Bashkatova (2003),
Belekhova (2002), Horishna (2013), Grizhak (2014), Gut (2012), Esin
(2000), Ivasheva (1974), Zagorodnya (2013), Kukharenko (2004), Maletina
(2004), Ometsinska (2007), Pavlychko (1989), Prokopchuk (2000),
Razuvaeva (2008), Semenchuk (1993), Selezneva (2001), Starikova (1988),
and Yurkina (1988).
In her research, Abdulina (2014) paid attention to the portrait as a more
important means of forming a holistic image in the work of N. Musin. Thus,
the author noted that for the most part, the reader perceives information
precisely through the images that arise in his imagination and that are
actually formed through verbal transmission.
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Alekseev (1960) analyzed English literature in retrospect and noted how
under the inuence of various historical events, the economic situation in
the country, etc. portrait images were formed in the poetry and prose of
England.
Moreover, Bashkatova (2003) investigated the linguistic features
of portrait descriptions in the intertextual aspect. Thus, the researcher
summarized various conceptual areas of the theory of intertextuality,
information about the history of studying the portrait from the standpoint of
linguistics, and also analyzed the linguistic features of the implementation
of the category of intertextuality in the portrait of the character.
Further, Belekhova (2002) analyzed the verbal poetic image in
the historical-typological perspective. The author’s work claried the
relationship between the era and the portrait images created in this era.
Additionally, Horishna (2013) analyzed in detail the portrait in the
novels by Fitzgerald “Gentle Night” and “The Great Gatsby”. The subject of
Ivasheva’s (1974) research was an English realistic novel of the 19th century
in its modern sound. Ivasheva (1974) analyzed a large number of works
and noted the similarity of images of modern works and poetry of the 19th
century. Pavlychko (1989), in his works, analyzed the life and work of Byron,
including paying attention to the descriptions in the works of the author. In
her work, Selezneva (2001) explained, in more detail, the linguistic means
and cognitive models of describing the appearance of characters in English-
language ction, namely, in the materials of works by English authors of the
19th century.
Besides, Grizhak (2014) interpreted the linguistic features of portrait
descriptions in English ction of the 16th century. The author noted that
the portrait description of a literary character is an essential component of
any work of art, as it plays an inuential role in creating its holistic image.
After analyzing the linguistic features of descriptions of the appearance of
characters in English ction of the 16th century, the author found that writers
used a variety of tokens, embodying the author’s intentions in the presented
characters. In particular, the authors of the studied works of art often used
somatic vocabulary to depict the appearance of the heroes. Lexical units of
the general portrait characteristic of the characters were used a little less.
What is more, Vestial group of words ranks third in the number of uses
and includes not only descriptions of clothing and its elements, but also
accessories and other details of the portrait characteristics. As the author
noted, the least number of times to depict the appearance of the characters
used kinetic vocabulary.
Guth’s (2012) work became the basis for the study, as the author
analyzed the unconnected comparative constructions in Ukrainian and
English. Prokopchuk (2000) explored the category of comparison and its
836
Vira Mizetska, Snizhana Korkishko, Hanna Savchuk, Anastasiia Musatova y Albina Ladynenko
Portrait descriptions in poetry and prose of England of the XVI-XIX centuries: from Shakespeare
to Byron (the inuence of trends of the past on the present)
expression in the structure of a simple sentence, but Kukharenko (2004)
drew attention to the peculiarities of the interpretation of the text and
its interpretation. Zagorodnya (2013) noted the peculiarities of image
reproduction and drew attention to the fact that often during translation
there is often a problem of correct interpretation of comparisons and
comparative structures in Ukrainian. Maletina (2004) in detail the linguistic
and stylistic features of the portrait as a genre of artistic discourse. At the
same time, Ometsinska (2007) gave denitions of portrait description
as a component of artistic discourse and analyzed its structure. With
the help of Esin’s (2000) research, it was found out what principles and
techniques should be followed when analyzing a literary work. Razuvaeva
(2008) explored the types of comparative constructions in the literary text
from the standpoint of their perception by the recipient. In this context,
the researcher noted that the author’s style and use of language tools play
a signicant role. Furthermore, Semenchuk (1993) and Yurkina (1998)
analyzed the portrait in poetry and prose as a special kind of art and paid
much attention to the study of techniques and means of depicting portrait
images and descriptions in ction.
The results of the research will also be useful in teaching literature in
educational institutions of dierent levels of accreditation. Regarding the
peculiarities of teaching literature, the works of the following researchers
were studied: Halian, I., Halian, O., Gusak, Bokshan, and Popovych (2020),
Sheikhzadeh and Bejarzehi (2018).
But despite a large number of works on portrait images, the topic of
portrait descriptions in the poetry and prose of England of the 16th-19th
centuries and their inuence on modern trends remains incompletely
studied; in the context of the above requires research on this issue and
doctrinal study.
1. Methodology
During the writing of the article, such scientic methods were used as
an anaalogy, generalization, observation, comparison experiment, analysis,
and historical method.
Thus, using the method of observation created a general description of
portrait descriptions in poetry and prose, an overview of current trends in
this area, which further led to conclusions about the inuence of portrait
images in poetry and prose of England on contemporary works.
Applying the method of analysis, an analysis of trends in the development
of images in the ction of England, found that despite the long development
of ction, detailed descriptions of the characters remain relevant, as well as
the use of comparison and hyperbole.
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Vol. 39 Nº 70 (2021): 832-843
Based on the use of types of portrait descriptions, their role in the
formation of modern literary art was highlighted. It is also worth noting
that the application of such a method as synthesis, at dierent stages of the
study, introduced the general features of the object under study and helped
to understand its essence.
The method of comparison was utilized to highlight the features of
portrait descriptions in poetry and prose of England in the 16th-19th
centuries, which in turn allowed to make generalizations about the inuence
of English literature’s “past” on the present.
Besides, the method of generalization helped to identify the main
modern trends in literature and to draw conclusions on the relationship
between portrait images in English literature of the 16th-19th centuries and
portrait images in modern literature.
Further, the method of analogy made it potential to establish the
relationship of equivalence between the two systems under consideration
on some grounds. The literature of the past and the present has become
such systems.
In addition, a method such as an experiment was employed. This method
allowed us to predict the next stages of change of portrait descriptions,
taking into account the current stage of development of social relations and
technological progress.
2. Results and Discussion
Before analyzing the features of the inuence of portrait descriptions
in poetry and prose of England in the 16th-19th centuries on the present,
it is necessary to analyze the general provisions on portrait descriptions in
ction.
In general, information about the heroes of a work of art, materialized
through verbal transmission, on the one hand, objecties the conceptual
model of the world, on the other, - has an intentional, purposeful nature.
Combining these factors is the key to creating the image of the hero.
The term “portrait” is used in both broad and narrow meanings. In
foreign literary studies, the concept of a portrait is not separated from the
concept of character. This concept is considered more narrowly in domestic
stylistics, linguistic stylistics, linguistics of the text.
In the national sense, the portrait in literature is a means of
characterization, typication, and individualization of characters. Having
as the main subject of the artistic image interaction with the environment,
the writers describe the changes in the appearance of the characters in
838
Vira Mizetska, Snizhana Korkishko, Hanna Savchuk, Anastasiia Musatova y Albina Ladynenko
Portrait descriptions in poetry and prose of England of the XVI-XIX centuries: from Shakespeare
to Byron (the inuence of trends of the past on the present)
specic situations, in the relationship between them. Close attention to
the portraits of the characters is based on the general pattern, according to
which the internal mental states of people are reected in facial expressions
(expressive movements of facial muscles), pantomime (expressive
movements of the whole body), speech dynamics (intonation, tempo,
timbre), breathing, etc., which helps in the process of communication to
better understand each other’s inner world. In addition, a person’s clothing
often indicates his aesthetic tastes, traits, property status, occupation.
Therefore, writers record both the appearance of the characters and their
inner state, trying to interpret the correspondence or discrepancy between
their so-called external and internal portraits. The portrait, in contrast to
the landscape, determines the social aliation of the character, and is part
of the temporal continuum of the text, because the costume reects the
epoch, the time of year, and the time of day.
Therefore, it can be argued that the portrait description includes:
1. image of appearance: face, hair, physique, etc.
2. description of facial expressions, voice, and dynamics of breathing,
pantomime, and manners.
3. clothing and accessories (Asalevich, 2003).
Having analyzed many images in English literature, it is worth noting a
large number of comparisons in poetry and prose.
Comparison – partial assimilation of two objects – is one of the language
categories. Comparison, in general, is a comparison of two objects that
have any common feature for both of them, in order to more vividly and
clearly characterize one of them. In the course of this mental operation,
hierarchical connections are built between the judgments that are formed,
and the information is selected in such a way as to distinguish one object
from another, to specify its features.
Comparisons serve as a starting point for the generation of any
statements that form a system of gurative means and are embodied in two
ways – by pointing to the phenomena of similarity with the involvement of
purely lexical means, or by using certain syntactic units.
Comparisons used in portrait images are classied according to some
criteria:
1. By authorship: individual-author and traditional (national).
The latter gives the speech a great emotional expressiveness that
comes from the author. In contrast to the individual, traditional
comparisons are included as stable phrases in the vocabulary of the
language and actively function in the colloquial speech of the people.
Traditional comparisons are those whose image is not re-created,
but only reproduced and used in this particular sense by the entire
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CUESTIONES POLÍTICAS
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language team. The specicity of individual-author comparisons is
concentrated in a contextually limited fragment of the work, which is
ensured by the presence of the author and his characteristic stylistic
features. In the future, the author points to a fairly conditional
boundary between individual-author and traditional comparison,
as often comparisons in the context of the author’s work of art have
deep roots in folk.
2. By measure of comparison, there are: incomplete, expanded,
expanded. They are determined by the volume of the components of
the module and the standard.
3. According to the logical relations between the concepts connected in
contrast, real and imaginary comparisons are distinguished.
4. The central function is to distinguish between objective and
subjective comparisons.
5. In the presence or absence of a base of comparison – positive and
negative.
Therefore, it can be claimed that the art form has its components
(portrait characteristics, description of the landscape, description of
psychological states) in the structure of the artistic text, which provides for
the emergence of comparisons. Often comparisons are found in the speech
of the characters, complementing the speech portrait of the hero.
The analysis of poetry and prose of England of the 16th-19th centuries
allowed to allocate depending on the object of comparison of 7 basic groups
(Table 1):
Table 1. The comparison group of poetry and prose of England
of the 16th-19th centuries (by the authors of the article).
No. Comparison group
1. comparisons with celebrities (politicians, actors, artists, etc.);
2. Comparison with literary, fairy-tale heroes, mythical characters;
3. comparisons with animals (zoochemical);
4. comparisons with the plant world - oral comparisons;
5. comparison with natural phenomena and elements;
6.
comparisons which include a group of names of persons by age,
profession, nationality, status, and other characteristics;
7. comparison with artifacts, household items.
Source: own elaboration.
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Vira Mizetska, Snizhana Korkishko, Hanna Savchuk, Anastasiia Musatova y Albina Ladynenko
Portrait descriptions in poetry and prose of England of the XVI-XIX centuries: from Shakespeare
to Byron (the inuence of trends of the past on the present)
Thus, the portrait is one of the means of individualization of the character.
In addition to the external physical characteristics of the character, the
portrait includes information about the hair, clothes, manners, accessories,
that is, what reects the tastes, passions, habits - the individuality of the
hero in their comparison and generalization.
The portrait images used in the poetry and prose of England in the 16th
and 19th centuries had a signicant inuence on further literary works and
the development of ction in general.
In the prose works of the 16th century, the portrait description is
an important compositional part of the artistic narrative, to which the
authors of the works paid a lot of attention. Common and less common
descriptions of the appearance of heroes and their clothing are rich in
various linguistic and stylistic means: comparisons, epithets, metaphors,
and others. Describing the appearance of the characters, the authors mostly
depicted their faces and parts, hair, arms, body. Most attention is paid to
the description of the characters’ clothes, jewelry, etc. Kinetic vocabulary,
namely the image of facial expressions, poses and gestures, was not often
used by the authors in describing the appearance of the characters. The
most commonly used language units in this group of words to denote
portrait characteristics are the tokens “fair” and “beauty”, which were used
in Gascon’s novel, respectively, 8 and 2 times, in Lily’s works 11 and 9 times,
and Sydney’s novel “beauty” occurred 17 times, and “fair “- 10.
However, it should be remarked that each writer has his own individual
authorial preferences when depicting images and descriptions. In particular,
many authors tend to use comparisons that are expressed in a lexical way,
as the use of noun comparisons in the form of the instrumental case. For
some authors, the individual feature is objective, accurate, dry, naturalistic
comparative inversions.
The formation of literary trends is inuenced by many dierent processes,
such as socio-cultural vectors, climate change (Pavlova, Polunina, Tkalych,
Mankovskyi, & Zubair, 2020), political events .... Will not be left out and
the impact of the pandemic caused by the virus Kovid-19. It is seen that
the emotional tension (caused by the pandemic) that has engulfed the
entire planet is bound to be reected in modern literary works. Studying
the impact of the pandemic on society, we should refer to the works of the
following scholars Tkalych, Melnychuk, and Chumak (2021), Kharytonov,
Kharytonova, Kolodin, and Tkalych (2020).
Conclusions
Portrait description includes images of appearance (face, hair, physique,
etc.); description of facial expressions, voice and dynamics of breathing,
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CUESTIONES POLÍTICAS
Vol. 39 Nº 70 (2021): 832-843
pantomime, and manners; clothes and accessories.
Comparison is a powerful means of visual representation of reality in
English literature. By selecting linguistic ways of making comparisons,
composing comparisons in texts, the authors achieve a certain emotional-
expressive eect, express their own point of view on events that occur and
are described.
The most productive way of the grammatical design of comparative
constructions is in the poetry and prose of England of 16-19 centuries
became a syntactic way, and the most used forms: comparative inection,
contracted comparative, a noun in the instrumental case, which is
synonymous with the usual comparative inection. The second place is
occupied by the group of comparisons formed by a lexical way (utilizing
words with the semantics of comparison: similar, similar, similar, similar,
reminds, like, in comparison, etc.).
Methods and ways of depicting portrait descriptions are still used
in a modied form. Thus, descriptions of the 16th century with their
expressiveness, fullness, and splendor are still found today, but there
are also descriptions where the character is reproduced sparingly and
incompletely. Regarding further research, it is necessary to examine the
features of the image of appearance in the English works of the 16th-19th
centuries and highlight the linguistic features of portrait descriptions of the
appearance of the characters.
Bibliographic references
ABDULLINA Alina. 2014. “Portrait as the most important means of forming a
holistic image of the hero in N. Musin’s prose” In: Basic research. Vol. 5,
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ALEKSEEV, Mykhail. 1960. From the history of English literature. Goslitizdat.
Moscow, Russia.
BASHKATOVA, Yuliia. 2003. Linguistic features of portrait descriptions in
the intertextual aspect: Based on the material of English literature
of the 18th-20th centuries. Doctoral thesis. Altai State University,
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lingvisticheskie-osobennosti-opisanii-portreta-v-intertekstualnom-
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BELEKHOVA, Larysa. 2002. Verbal poetic image in the historical-
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