Позитивные изменения. Том 3, № 2 (2023). Positive changes. Volume 3, Issue 2 (2023)

Hence, in order to identify a construct, it is essential to establish correlations among a minimum of three objects using the method of triadic comparison, which is a modification of the scaling method. This involves considering two objects that are similar (the emergent pole) and one object that is different (the implicit pole).].

Figure 2. Semantic space depicting the relationships between characters of the feature film ‘The Barber of Siberia’ by Factor 3 and Factor 4

The experiment involved 100 students from various universities in Moscow, both males and females.

As a result, the respondents formulated 1,038 constructs, averaging about 10 constructs per person.

Objects of analysis (characters): Tolstoy, Jane 1 (upon her arrival in Russia), Jane 2 (after falling in love with Tolstoy), Radlov, Mokin, Tolstoy’s Mother, McCracken, Dunyasha, Alexander III, the Grand Duke, Polievskyy, Terrorist, Sergeant, and Andrew. Considering that the film takes place on the border between Russian and American mentalities, two additional virtual role positions were introduced to highlight this mental borderland: “Russian” and “American.

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Through factor analysis, the initial character oppositions were grouped into six factors, which were interpreted as artistic constructs according to the authors’ terminology:

• Factor 1 – “Passive obedience ? Inner independence and ability to act and fight”

• Factor 2 – “Inherent Dignity ? Unprincipled”

• Factor 3 – “Unbalanced Impulsiveness ? Common Sense”

• Factor 4 – “Proud Superiority ? Pleading Dependency”

• Factor 5 – “Openness to Diversity ? Inner Limitation”

• Factor 6 – “Devotion to the idea ? Immersion in everyday life”

These factors were used to construct the characters’ semantic spaces, as shown in Figure 2.

In Factor 3, Tolstoy emerges as the most prominent character, significantly differentiated from the others. Additionally, characters such as Tolstoy’s Mother, the Terrorist, and the Grand Duke exhibit traits that prevent them from asserting themselves and instead lead them to be immersed in an illusory world.

Conversely, characters like Mokin, Dunyasha, Jane 1, Jane 2, and Andrew embody balanced practicality and common sense (Fig. 2).

On the other hand, Factor 4 highlights the most polar positions held by characters such as Dunyasha, Tolstoy’s Mother, McCracken, and the Terrorist, who possess lower social status.