THOUGHT IN THOUGHT IN A DIEGETIC MINIMALIST NARRATIVE

. Diegetic narrative is a general linguistic phenomenon, which together with other types and modifications forms a system of language for the transmission of information, thoughts, expressions of will, states, feelings of the characters. Analysis of the thoughts of the characters in the novels of M. Drebble helps to solve certain problems.

Elaboration of the concept of communicative structure of M. Drebble's novels requires special attention to the figure of the producer of the text, the author of the work of art, which determines not only the plot and fate of her characters, but also the form of this information. At the same time, the author "manifests" herself differently in the text of her novels, she can directly enter into a dialogue with the reader or try to play the role of an impartial observer, she can associate herself with one of the characters more than with others, and so on.
First of all, "the language thinking of the character, as well as his image in general, in the reader's perception is a fact or process of objective reality, which is realized through artistic means" [4, p. 453-468]. Secondly, the mental and verbal activity of the characters, verbalized by a system of textual elements, is a reflection of their characteristic features. Moreover, the linguistic thinking of the character in the text is perceived by the reader as reliable information, as a kind of artifact that reflects in the form of mental-speech activity of the character's intentions, thoughts, worldview, views and linguistic experience [1].
According to M. Mylykh, "the discourse zone of a character is a discourse layer CURRENT ISSUES AND PROSPECTS FOR THE DEVELOPMENT OF SCIENTIFIC RESEARCH 252 introduced into the narrator's narration, i.e. into the narrator's discourse plan, which is the background for the character register and formally correlates with it, because it is the narrator who combines heterogeneous verbal elements into a single whole and leaves an imprint on the whole work" [9, p. 13]. A characteristic feature of the types of personal discourse is that they are (in the way of their expression) the forms of reproduced thought-speech acts, in contrast to the discourse of the narrator, which is actual speech manifested by the corresponding speech act.
If the narrator's discourse is implied in the creation of the composition, revealing the situation from the outside in its temporal-spatial and causal correlations with the events of the plot, the character discourse reveals artistic events from within, filling them with individual psychological and emotional impulses (if character discourse is a colloquial language and internal thought processes).
The components of the structure that introduce thought in thought into the discourse zone of the character perform the task of realizing the factors and conditions of the actual thought-speech process, revealing the communicative direction, illocutionary power of the thought-speech act, and perlocutionary effect [3]. They differ in the ways of representation of personal discourse (with components of thought in thought in it) -with a focus on the product or reception of linguistic thinking, with the neutralization of subject-object structure in the surface structure of the text, performing pictorial and evaluative-characteristic functions in application situations [8, c. 74-75].
The characteristic of thought in thought in the text space of M. Drebble's novels is expressed not only through the prism of inner speech in the form of thought processes, we also observe the location of thought in thought in various speech forms, in the view of their contaminating nature in artistic texts and the abrupt nature of the narrative, which are inherent in the personal speech in the texts of the writer's novels [11]. Lyd?" [2] " I almost felt that I might abandon the whole project and go to bed instead, or cook myself some bacon and eggs, or listen to the radio: but I knew that I would have to go through it, having once felt that I might, and regardless of its possible effectiveness. I wondered if it would be so unpleasant, and I could not let myself off.

So I picked up the bottle and carried it into my bedroom where I undressed and put on my dressing gown." [2]
In the example passage 1 thought in thought is expressed in the direct speech, which is used without representative component, which allows to briefly understand the thoughts of the character, but fully rely on them and the reader cannot trust them, because they are explicated, expressed in the act of communicating with another character and therefore lose authenticity (often expressed opinions are not true, because people tend to think one thing and say another).
In the example fragment 2, where thought in thought is verbalized in indirect speech, the reproduction of the character's thoughts through verbs to know, to wonder, to feel and modal verbs might, would help to reveal the character's view as if from within. The character's opinion is not voiced to the public (is implied), and the reader is more likely to perceive it as credible.   "'And that which should accompany old age, as honor, love, obedience, troops of friends, I must not look to have… I must not look to have! What comfort would they be to me: honor, love, obedience and troops of friends: as night fell?' those were the words that an elderly Italian woman, an old crone who swept the chairs, had uttered to Fran when she was working as an au pair girl in Florence, a hundred years ago.
'La note e vicina per me, but old age has its comforts, its recognitions.'" [2] In the above example, an older female character seeks to convince another character, and most importantly -themselves, that older age has its charms and advantages. To express the conversational speech of this woman and the depth of her experiences, M. Drebble quotes Shakespeare's "Macbeth" in her statement / opinion (quoting or referring to the words of famous people interests the reader and CURRENT ISSUES AND PROSPECTS FOR THE DEVELOPMENT OF SCIENTIFIC RESEARCH 256 motivates to in-depth understanding of the communicative situation) [5, p. 410-418] (And that which should accompany old age, as honor, love, obedience, troops of friends, I must not look to have) and then by repetition (I must not look to have… I must not look to have!) the writer emphasizes the character's desire to convince herself that she, in fact, does not believe, even afraid to admit to herself. The expressiveness of the statement is also given by a rhetorical question, to which it really does not seek to find answers (What comfort would they be to me: honor, love,