Филология и лингвистикд (philology and linguistics)
DOI: 10.12731/wsd-2014-9.2-1 UDC 811.111
EMOTIVE CONTENT OF THE FUTURE IN THE TEXT: THE CHARACTER
Sukhomlina T.A.
The article looks at the ways of conveying the character's emotions and the category of the future illustrated by examples from English fiction analyzedfrom anthropocentric perspective.
The study is acute due to the increasing interest to the issues of structure and semantics of literary text, the most advanced form of language activity. The linguistic problem of the fiction character's speech was first researched by M.M. Bakhtin [2], whose papers gained popularity within scientific circles in the 70s of the 20th century. Among other researchers were V.V. Odintsov [18], M.P. Brandes [6] and R. Bradford [27]. However, we do not thinkfiction character's speech gets enough attention in modern linguistics. Until recently literary text was traditionally referred to the field of literary studies and aesthetics while linguistics only dealt with the stylistic use of language units in the text. Nowadays it appears necessary to research the
idea of the whole text from anthropocentric and cognitological points ofview. This linguistic study gives a new idea of the text's semantic organization, which was considerably changed and enriched. Therefore, the text is studied as a complex structure, created as the result of the communication between the author and the reader.
The author looks at structural and stylistic examples of emotive meanings of the future in various contexts and provides their typology through analyzing the forms in which they appear in the text.
As the result the author has singled out three types of emotive meanings of the future, which vary depending on the context of a phrase, a text passage or the whole text, and depending on the type of the relation between emotive lexis of the future and emotive content of the whole text. The author has discovered that emotive vocabulary related to the future gives a certain idea of the character's emotive content when viewed separately from the text. The combination of compositional and stylistic variants of the context within the whole text and various types of emotive ideas of the future fosters a deeper understanding of both the literary piece and the character.
Keywords: linguistics; semantics of the future; meaning of the text; the character; emotive content; literary piece.
ЭМОТИВНОЕ СОДЕРЖАНИЕ БУДУЩЕГО ВРЕМЕНИ В ТЕКСТЕ: ОБРАЗ ПЕРСОНАЖА
Сухомлина Т.А.
Статья посвящена изучению семантики будущего времени на примере эмотивного содержания образа персонажа с различных текстовых позиций и определению их разновидности, где центральное положение занимает абсолютная антропоцентричность текста.
Актуальность статьи заключается в том, что в последние десятилетия заметно возрос интерес филологов к вопросам структурно-семантической организации текста, в особенности литературного текста как высшей формы речетворческой деятельности человека. Начало исследованию лингвистической проблемы речи персонажа было положено трудами Бахтина М.М. [2], которые вошли в широкий научный обиход в 70-е годы ХХ века. Далее этой темы касались такие ученые, как В.В. Одинцов [18], М.П. Брандес [6], Р. Брэдфорд [27]. Однако, по нашемумне-нию, реализации идеи речи персонажа в современной лингвистике уделяется недостаточное внимание. Отметим, что концепция литературного текста ранее традиционно считалась предметом литературоведения и эстетики. Поэтому до недавнего времени лингвистика ограничивалась только интерпретацией стилистического использования в тексте языковых единиц. В настоящее время наблюдается необходимость исследования смысла целого текста как объекта с теоретической позиции антропоцентризма и когнитологии. Результатом такого лингвистического исследования является новое представление о семантической организации текста, которое принципиально изменилось, усложнилось и обогатилось. Вследствие этого текст те-
перь исследуется как сложная структура, образованная в результате коммуникации между автором и читателем.
В рамках статьи автор проводит исследование структурно-стилистического воплощения эмотивных смыслов будущего времени в различных контекстных условиях и создает их типологию путем анализа форм воплощения эмотивных смыслов в тексте.
В результате исследования выделены три разновидности эмотивных смыслов будущего, которые различаются на уровне контекста фразы, текстового фрагмента, целостного текста и характером взаимодействия эмотив-ной лексики будущего и эмотивного содержания всего текста. Автором установлено, что рассмотрение эмотивной лексики будущего отдельно от текста дает частичное представление об эмотивном содержании персонажа. Взаимодействие выделенных автором композиционно-стилистических вариантов контекста в составе целого текста и разновидностей эмотивных смыслов будущего способствует глубинному пониманию всего содержания произведения и обогащает представление читателя об образе персонажа.
Ключевые слова: лингвистика; семантика будущего времени; смысл текста; образ персонажа; эмотивное содержание; литературное произведение.
Presently the researchers of literary texts are highly interested in text linguistics. The research and considerable contribution made by E.S. Kubryakova [13], I.R. Galperin [9], M.M. Bakhtin [2],
V.V. Vinogradov [8], G.A. Zolotova [10], O.A. Plakhova [15] [16], G.I. Bogin [3], A.V. Bondarenko [4], MY. Blokh [5], L.G. Babenko [1], Y.N. Karaulov [11], TV. Matveeva [14], T.A. Sukhomlina [20], Z.Y. Turaeva [24] prove the importance of studying semantic organization of literary text and the categories of the author, the author's image and the narrator from the perspective of cognitive process. [21].
In this article we are going to look at the semantics of the future illustrated by the character's emotive content, study its various positions in the text and define their types. The study presents novelty as it is the first research into structural and stylistic manifestation of emotive meanings of the future in various contexts. The typology is created as the result of the analysis of emotive meanings' manifestation in the literary text.
According to Z.Y. Turaeva [23], Y.S. Stepanov [19], O.A. Plakhova [17], V.V. Krasnykh [12] the character is the basic category in the literary text alongside with the author's image. Because of its anthropocentricity it always occupies the central position in the text. The character's feelings are present in the text as if they exist in reality and correspond to the author's feelings. Therefore, emotive meanings of the future, which are present in the character, are of special importance in the text.
The character's emotions constitute a certain psychic reality. There can be a dynamic range of them and they can be changing as the plot is developing and reflect the character's psychology in various situations and in relations with other characters. If we look at emotive means of conveying the future separately from the context, it can only give us a shallow idea of emotive meanings of the future present in the whole text. For example, the titles of the books by R. Pilcher are
simple («Before Christmas Present», «Home for the Day», «Tea with the Professor», «An Evening to Remember») [31], but semantically very succinct. They contain emotive information of the future, which introduces the reader to the theme and the plot. The title of the short story «Miss Cameron at Christmas» does not disclose the main events, but drops a hint by specifying the main character and the time frame important for the narration. Important is that the words in the title actualize temporal category and the category of anthropocentricity. The title suggests that Miss Cameron is the main character and the event is going to take place in future, at Christmas. The use of the anthro-ponym in the title increases the character's importance as it appears before the character is introduced to the reader. The anthroponym in the title actualizes anthropocentricity, essential for any literary piece.
As the result of studying contextual variations of emotive meanings of the future based on the typology by L.G. Babenko [1] we concluded that a phrase, which we view as a component of a complex syntactic whole, is the minimal element that conveys emotive meaning of the future.
«I'll take the money now», said the man in a bad-tempered voice (D. Barber, 7).
We will forget the fact that I had intended my drawing to represent Sunset over London (G. Sheffield, 14).
I will tell you, very shortly, what is wrong with me (G. Sheffield,
14).
The semantic extract of emotive lexis, which conveys these emotive meanings, is limited by a single phrase and the common idea of the future. There also occur single emotive meanings, which despite their unicity are expressive, unusual in terms of wording, are of sty-
listic significance and stretch outside the context. They are various metaphoric nominations. For example, in the sentence: Father's got to be a maniac... he'll start tearing his hair and think he's Napoleon or something [26] the most important are the character's emotions (Father 's got to be a maniac...), the metaphor (...he'll start tearing his hair...) conveys the character's state of mind and how they perceive their parent's actions (.and think he's Napoleon or something). Such phrase emotive meanings are conveyed through very expressive wording, which makes them easy to remember and semantically stretch far beyond the sentence's context.
Fragments of emotive meaning of the future usually correspond to the microtheme of a text fragment. The chains of phrases convey the dynamics of these emotive meanings within a text fragment and act as its carcass:
If you go into my sitting-room, you will see pictures hanging sadly on the wall, looking down at the Empty Chair which I will never sit in again. For I am certain that I shall never rise from this bed ... (G. Sheffield, 14).
Here
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