Wyglądy skonkretyzowane w Zmartwychwstaniu Lwa Tołstoja
Concertized aspects in Leo Tolstoy’s Resurrection

Summary/Abstract: The issues presented in this article are within the field of literary theory: they refer to a specific category, typical for the most problematic layer of a literary work distinguished by Roman Ingarden, a Polish phenomenologist, in his concept of two-dimensional construction of a literary work of art. The element that is analysed in the text is the presentation of a depicted object, and more precisely, a depicted character. The material used in order to fulfill the task that in essence remains within the realm philosophical theory became a novel by Leo Tolstoy, Resurrection. The problems discussed in this text refer to a phenomenon that can be labeled as “the recognition” or the identification of a depicted object via immensely developed spectrum of its aspects. Tolstoy illustrated the properties of the discussed phenomenon with great skill peopling the presented world with very unique, three-dimensional characters. They mirror the following statement by the author: “People are like rivers: the water in each of them is the same but each river can be times narrow, or fast, or wide, or slow, or transparent, or muddy, or warm. The same with people. Every person has seeds of all human qualities, and sometimes he displays some of them, other times others and he often may be quite unlike himself remaining [...]” [Tolstoy 1986, 199].

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