The article deals with the means of constructing a naturalistic character, the model for which was proposed by French writers: the Goncourt brothers and Emile Zola. Naturalists draw their personage concept from the interpretation of its biological nature. The focus of its depiction is shifted to the study of fundamental features of human nature rather than “variables” of the historical forms of its manifestation. A naturalistic character, being “a biological being” rather than “a set of social relations,” is completely absorbed by the environment. The “social” core of a realistic personage is based on the principles of typification, but the “biological” core of a naturalistic character cannot be a generalized type because in it the individual prevails over the typified. Images of Germinie Lacerteux and Therese Raquin from the Goncourts’ and Zola’s same-name novels respectively are considered to be prototypes of naturalistic characters. In Ukrainian literature, Ivan Franko interpreted and synthesized Western European experience using realistic and naturalistic art to create his own concept of “scientific realism.” The difference in Franko’s personage construction lies in the fact that he does not confine himself to the observation and description of his heroes’ behavior but offers a plan for correcting their deficiencies.

中文翻译：

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伊凡·弗兰科文学作品中法国自然主义角色模式的转变

这篇文章讨论了构造自然主义特征的方法，法国作家为此提出了模型：Goncourt兄弟和Emile Zola。博物学家从对生物本质的解释中得出了他们的人物概念。它的描绘重点转移到研究人性的基本特征，而不是研究其表现形式的“变量”。自然主义特征是“生物存在”而不是“一系列社会关系”，完全被环境所吸收。现实人物的“社会”核心是基于典型性原则的，但是自然主义性格的“生物”核心不能是广义的类型，因为在这种情况下，个人胜于典型。冈古茨和左拉的同名小说中的杰米妮·拉瑟图克斯（Germinie Lacerteux）和特蕾丝·拉奎因（Therese Raquin）的图像分别被认为是自然主义人物的原型。在乌克兰文学中，伊凡·弗兰科（Ivan Franko）使用现实主义和自然主义艺术诠释和综合了西欧的经验，以创造自己的“科学现实主义”概念。弗兰科（Franko）的人物结构的不同之处在于，他并不局限于观察和描述英雄的行为，而是提供纠正其缺陷的计划。