In Introduction the object and an object of research are defined, the purposes and problems are formulated, the urgency and scientific novelty of work are proved, the theoretical and practical importance reveals, research methods are described.

In chapter 1 of dissertational research «Understanding as the component sistemomysledejatelnosti» is carried out the analysis of processes of understanding, a reflexion and interpretation from the point of view of their participation in smysloobrazovanii in paradoxical art texts. Technicians are investigated germenevticheskie and most productive of them for work with the paradoxical art text come to light. Communication between type of paradox and sense actualisation in a certain belt of the scheme sistemomysledejatelnosti comes to light.

Understanding process is the purposeful, realised action of the reader on development of sense read. In work we adhere G.I.Bogina's to point of view that the understanding is a process of comprehension of pithiness of the text (see: [Bogin 2001]. In frameworks germenevticheskogo the approach the purpose of development of pithiness of the paradoxical art text, i.e. its understanding, consists in adequate interpretation and comprehension of senses of the text which, finally, conduct to finding of new knowledge.

The art text deals with the meaning experience which subject is the sense. In the head concepts "understanding", "reflexion", "interpretation", "sense" are in detail considered.

The sense, along with value and the maintenance, is an ideal reality of the text, konstruktom text pithiness on which basis activity on understanding of the text can develop. It is that part of the pithiness which development is an overall objective and a condition of adequate development it is paradoxical the marked text. The text, besides most general sense, can contain different types of the senses, differing features of a cleared up reflexion and not transferred by means of a direct nomination. The discretion of the senses expressed through language paradox, demands the organised reflexion. This position finds acknowledgement in G.I.Bogina's opinion according to which senses, «as well as understanding, represent itself as organizovannostej, inobyty a reflexion and if they are not designated in the text by means of a direct nomination, they cannot be seen differently as through reflektivnye certificates» [Bogin 1995: 4].p Therefore the sense designed at development it is paradoxical the marked text, it is represented difficult konstruktom, consisting of senses - ideal realities which are subject to development in the text, and mechanisms of development of these ideal realities, i.e. ways of understanding.

The sense provides understanding process, but the understanding is not identical to knowledge. G.P.Schedrovitsky in work «» noticed Value and sense, that the sense appears «in the form of knowledge of sense which represents itself as means, organizujushchego understanding processes», and the sense of the whole text is understood, how «that configuration of all communications and relations between elements of a situation of activity and communications which is created or restored by the person at understanding of the text of the message» [Schedrovitsky 1994: 14, 91]. According to Schedrovitsky's later definition, the sense is understood as the special validity, «created by the researcher at static fixing of processes of understanding» [Schedrovitsky 1995: 61].

The sense corresponds
With certificates of understanding also it is defined as the special validity created by the researcher at static fixing of processes of understanding [TSit. The slave: 93].

The sense can be understood as difficult konstrukt: on the one hand, senses - those ideal realities which are subject to development in the text, and with another - mechanisms of development of these ideal realities, i.e. ways of understanding. Besides it, senses, «as well as understanding, represent itself as organizovannostej, inobyty a reflexion and if they are not designated in the text by means of a direct nomination, they cannot be seen differently as through reflektivnye certificates» [Bogin 1995: 4].

In the tideway of philological germenevtiki collision of the reader with paradox in the course of development of pithiness of the art text logically corresponds with concept «germenevticheskoj situations» (on I.V.Solovevoj) which is defined as a stop in the course of the understanding, subjectively issued as experience of the arisen misunderstanding, or the misunderstanding discretion. In the work «Typology germenevticheskih situations in actions of the recipient of the text» I.V.Soloveva marks, «that the factor of sensibleness of the arisen misunderstanding in addition characterises germenevticheskuju a situation as a phenomenon of productive misunderstanding as the moment of the discretion of misunderstanding sets the further process of search by the recipient of ways of an exit to sense».

Occurrence germenevticheskih situations is caused equally as by features of process of understanding, i.e. features of an orientation of a reflexion on the text, and text structure. The interrelation of the structural organisation of the text and ways of its understanding is a basis in paradox research as means of designing of senses in the art text.

For research smysloobrazovatelnogo paradox potential difficult texts with high degree of artistry which are capable to staticize as much as possible a reflexion are selected and to make optimum space for activity on understanding. Optimum for a reflexion, «the second (after sensuality) a source of experience, the major actually human konstrukta...» [Bogin http], and understanding the language space promotes occurrence of the reader in the reflective certificate which can be treated as sequence of cogitative efforts of the individual at development of pithiness of the art text. Process mysledejstvovanija is treated as the process developing in unity where «all subjects and the phenomena develop not in itself, not separately, and in indissoluble communication, with other subjects and the phenomena» [Afanasev 1978: 62].

In the course of understanding of the text the reflexion of the recipient can be fixed in one (or at once several) from three belts of the scheme mysledejatelnosti, the developed G.P.ShChedrovitskim [Schedrovitsky 1995: 287]. Reflexion fixings set parametres of space of the understanding, formed at retseptsii the concrete art text. In the scheme belts are allocated: 1) a belt mysledejstvovanija (md) to which there correspond representations, the phenomena, mental "pictures"; 2) a thought-communications belt
(M-K) where there is a direct verbal dialogue, i.e. verbalisation of the art text; 3) a belt of pure thinking (in it are fixed and formed "pure", i.e. neverbalizovannye senses and ideas.

All named belts perevyrazhajutsja the friend through the friend, but, nevertheless, one nesvodim to another. By manufacture of art texts in bolshej degrees involved there is a belt (M-K), i.e. the belt of verbalisation of pithiness, and in the course of understanding an ideal case is presented by reflexion fixings in all three belts.

Reaction to composite structure of the paradoxical text is shown in reflexion activation in belt M-K. In this case the text is perceived as optimum for a reflexion and understanding language space. But the composite structure of the text does not reflect completely pithiness of the text, accordingly there is a forward development of reflective certificates in which the reflexion is fixed in the belts reflecting a way opredmechivanija of sense (senses) of the text, - in belt M-K and in the M. belt

The understanding and interpretation is two processes, which course basically probably separately: the understanding is possible without interpretation (when the understanding does not express); interpretation is possible without understanding if it does not represent comprehended process of understanding which comes to an end with construction of senses.

As a whole in philological germenevtike interpretation is understood as such way of verbal fixing of understanding in which result construction by the recipient of senses is carried out. High-grade interpretation of the art text is possible only as a result of involvement of certain background knowledge and the analysis leksikoyofrazeologicheskogo structure and receptions of the syntactic organisation of the text.

Besides, at interpretation use of two main principles is necessary: 1) the principle of the local interpretation assuming the account of a direct linguistic environment and the given communicative situation and 2) of principle of analogy, allowing to correlate the received information with already available knowledge and last experience.

At development of the maintenance of the paradoxical art text for formation of the realised understanding of product ability to involve as much as possible necessary number the technician of understanding (germenevticheskih the technician) is necessary for the reader. Germenevtichesky technicians are defined as a set of methods sistemomysledejatelnosti, promoting effective deducing of the subject in a reflective position and to construction of senses at development of pithiness of works of art. Ability to use germenevticheskie technicians depends from reflektivnoj readiness of the recipient and the general ability of understanding of art texts.

Specificity of author's selection tekstoobrazujushchih means, their arrangement in a text fabric often demands from the reader of use not one, and the several technician of understanding which can be involved consistently or in parallel. Overcoming of misunderstanding paradoxical
The text occurs with the help the technician of understanding. Optimum from them are: technics intendirovanija, technics problematizatsii, technics of creation of a multilayered image, the technician of definition of the validity.

Realisation of all germenevticheskih the technician which the recipient for comprehension of a semantic mosaic uses, is impossible in one art text.

For the novel «Portrait Doriana Heating» following formats of compilation germenevticheskih the technician are defined:

- Parallel application of technics problematizatsii and actualisations of knowledge in the course of perception of the text containing hints on historical events or bible/mythological plots;

- Rupture germenevticheskogo a circle with the subsequent or simultaneous involvement of technics problematizatsii;

- Rupture germenevticheskogo a circle with the subsequent actualisation of knowledge of historical or cultural realities.

In the second chapter «Paradox as the linguistic phenomenon» is made specification of concept language paradox and the paradoxical text, differentiation of concepts "paradox", "contradiction" and "kontradiktornost" is spent.

kontradiktornost is a logic relation between the concepts, one of which is negation of another and between which cannot be the third, average variant; the logic relation between two simple comparable judgements which cannot be simultaneously true and cannot be simultaneously false: the validity of one of them with necessity Gusev 2003] means lozhnost another, and on the contrary [. kontradiktornost it is realised by means of this or that way of correlation of contrasts. It concerns both the maintenance, and to language, and to internal relations in language paradox. Thus as contrasts mental phenomena - fancies, concepts, words and their values can act and real objects with their properties, and.

Traditionally the paradox is considered as the characteristic of the art text at sjuzhetno-composite level and as an artistic touch for disclosing of the paradoxical nature of characters of heroes. Within the limits of our research of paradox is the linguistic phenomenon influencing thinking of the person and stimulating search of "new" true.

paradoksalnost the paradox is included into categories abreast others integrativnyh characteristics, such as: semantic communication, integrity, semantic connectivity, extralinguistic conditions, informativnost, kommunikativnost, pragmatichnost, kognitivnost, dynamism, conceptualism. H.p. Vygotsky defined a paradoxicality as «the affective contradiction and destruction of the maintenance by the form» [Vygotsky 1986: 192]. The explanation of a principle of realisation of sense through paradox is concluded in the remark, that «any work of art conceals in itself internal dissonance between the maintenance and the form"and"the form the artist of that reaches
Effect, that the maintenance is destroyed, as though repaid »[Vygotsky 2017: 332].

In linguistic works during the considerable period of time the paradox was considered exclusively as the stylistic reception which have the characteristic language lines and carrying out certain function (O.K.Denisov, N.J.Shpektorova, G.J.Simeon). The set of works in which the paradox is considered from various foreshortenings is devoted paradox: a formulation of definition of paradox and attempt of classification by various signs (Denisov 1972, Ovsyannikov 1981, Sandler 1980, SHpektorova 1975), categories of logicality/illogicalness of paradox (Bujnitsky 1967, Solovjan 1960, Simeon 1986), studying kognitivnyh paradoxical structures and linguistic modelling (Temjanikova 1998, Zabotina 2012), specifications of the characteristic of texts of the various genre

Accessories (Andrjuhina 1996, Varenina 1998, Ilinova 1996, Salygina 1995), modelling of text conditions of formation of stylistic effects (Orletsky 1995, Tarmaeva 1997).

As working definitions for the given research following concepts are accepted.

The paradox is unexpected, unusual (at least under the form) judgement (the statement, the offer), sharply dispersing with the standard, traditional opinion on the given question. The paradox changes semantic space of an art discourse, modifying value of the language units entering into its structure, creating a non-standard semantic design with low degree of predictability as a result of which realisation new senses are formed.

The paradoxical text (it is paradoxical marked) (Pm-text) - is polisemantichnyj the art text in which the language paradox at its formal expression defined by block diagrammes of the paradoxical statement is present, phrase unity and-or text, and characterised by a paradoxicality at semantic level. It is important to notice, that polisemantichnost the paradoxical art text does not generate opposite interpretations.

As differentiating signs it is paradoxical the marked art texts which allow to define borders of this group, the following is allocated.

1. Expressiveness in the text of dialectic interaction of contrasts. The exit for limits of art rhetoric for which opposition presence - antitheses suffices, oxymoron or katahrezy is thus marked.

2. Contradiction presence through which the true comes to light. Here it is necessary to distinguish paradox from absurdity reception in which the contradiction is an essence of reception and transfers conformity of the form and the maintenance.

3. Unexpectedness of the contradiction. Unlike an antithesis realising trjuisticheskie the contradictions which are not opening for the reader (kindly - angrily, light - darkness, hatred - love), the paradoxicality deals

Contradicting concepts, it is primary in perceiving consciousness not being those. It is paradoxical to the marked art text the unexpectedness of opposition which focuses attention of the reader to author's perception of a problem is peculiar, activating its reflexion.

Each of the three signs is necessary for reference of the art text to the Pm-text category, thus any is not sufficient separately and possesses differentiating properties only in a complex with other two.

The paradox by the linguistic nature possesses characteristics which allow to carry it to group of the language phenomena considered within the limits of the uniform approach to a category of a paradoxicality, namely: an oxymoron, antinomija, irony, an aphorism.

Two groups of language mechanisms of construction of paradox define: 1) group of mechanisms of the construction realising to the technician of contrasts; 2) group of the componental analysis.

One of principles of realisation of paradox is opposition at lexical and semantic level of the text which influences directly the reader, staticizing thus the experience generated in an individual picture of the world of the individual, and creates new sense (tab. 1 see).

Table 1

It is paradoxical the marked fraction of the art text Opposition
Perhaps, one never seems so much at one's ease as when one has to play a part one - a part
I am hard at work being idle hard - idle
You do not seem to realise that in married life three is company and two is none two - none
I never put off till tomorrow what I can possibly do the day after tomorrow - the day after
Even things that are true can be proved. true-proved

Research of existing schemes of paradox and language mechanisms of realisation of paradox at various levels of the art text allows to reveal schemes, frequency for O.Uajlda's paradoxical art texts which are based on functioning kognitivnyh, logic communications. Degree of unexpectedness of illogical connections is in directly proportional relation to quantity of sentence parts: the more words, especially what underline the quality denied by the subsequent part of the statement, the the big unexpectedness and on the contrary (fig. 1 see).

Lorg Goring: Life is never fair, Robert. And perhaps it is a good thing for most of us that it is not.

Fig. 1: the general basis

Two opposite trues are deduced from one statement. The primary precondition: the life is always unfair. The first true it is good for many of us. The second true - it is unfair not for everything, but for many. The new sense is as a result formed: injustice of a life - the blessing for many people.

Algeron: Oh! There is no use speculating on that subject. Divorces are made in Heaven.

Fig. 2: the general result

The ironic paradoxical remark of that divorces come true in heavens, comprises the reference to a proverb: Marriages are made in Heaven. Understanding of sense of author's expression depends on knowledge the reader of the given expression. Obygryvanie the phraseological statement helps the author to come into close contact by the recipient, on the basis of reflexion stimulation, reaktivirujushchej this knowledge.

If you pretend to be good, the world takes you very seriously. If you pretend to be bad, it does not. Such is the astounding stupidity of optimism.

Fig. 3: parallelism

At the heart of psychological perception of paradox the effect of the deceived expectation (R.Yakobson's term) which is created for the account of unpredictability of a certain element lays. The effect of the deceived expectation is the third psycholinguistic process involved in understanding of paradox.

Allocate following stages of comprehension of paradox.

1. A shock created by intervention of two independent semantic fields. The partial covering of this field makes impression of full destruction of the text.

2. Correlation of the text changed thus with the standard norms, causing feeling of aversion, aspiration to change, podravnjat to the habitual.

3. Repeated reading of the text.

The paradox possesses tekstoobrazujushchej function and creates integrity of the text. Semantics of paradox assumes its use for a designation of actions, the phenomena, the processes beyond usual understanding and comprising the contradiction: a deviation from habitual movement of thought and succession of events, non-standard performance of action, a duality

Inwardness of the person, and also degree of adequacy of any action.

From the point of view of level of the text the paradox can function at level of a word-combination, a simple sentence, a compound sentence, a compound sentence, the microtext, the text.

As a whole in all syntactic structures oppositions which can be subdivided into two kinds are observed: implitsitnye and explicit. Implitsitnaja the opposition arises between logic norm of the statement and a word or group of the words which presence transforms this statement into paradox. Logically correct statements against which the paradox is directed and with which the paradoxical statement corresponds, are expressed implitsitno. The explicit opposition is observed in the most paradoxical statement between two parts of one offer or several offers.

Art texts are of interest for research, implikatsionnoe which saturation makes the integral essence. In understanding of paradox the volume and character of the understood depend on the perceiving subject. The recipient can not catch implitsitnoj the information or misunderstand it if does not possess necessary knowledge or does not notice features of a word meaning. If «the knowledge is not identical to understanding» [Galeyev, 1994: 79] in process retseptsii the art text activization of available knowledge promotes deeper understanding of the text.

As well as the metaphor, paradox can reflect values of social group, forms perception of the world and serves as means of reception of new knowledge of world around. At the heart of such assumptions lay metaphorical and metonimicheskie communications which open new, atypical communications between words.

The paradoxical perception of a reality defines special ability of presentation of senses in the art text and use of various universal mechanisms at text generation/perception.

Allocate five groups of language means of creation of paradox depending on text level: at graphic, phonologic, morphological, lexical and syntactic levels.

The paradoxical perception of a reality defines special ability of presentation of senses in the art text and use of various universal mechanisms of thinking at text generation/perception.

In the third chapter of reviewed dissertational research «Smysloobrazujushchy the paradox potential in O.Uajlda's products» is presented the analysis is paradoxical the marked fractions of the art text in the tideway of philological germenevtiki and as the substantiation of introduction of concept "paradoksalizatsija" is given. paradoksalizatsija in the text assumes the special relation to the text: subjectivity of the first perception of the text the reader and change of the relation to the text in process smyslooobrazovanija.

The analysis of fractions of the text in terms philological germenevtiki is defined by conformity is paradoxical the marked fractions of the text to parametres germenevticheskoj situations which represents «space of the organisation of the understanding, entered by a reflective delay as change of character of activity on understanding that is subjectively made out as experience of the arisen misunderstanding. The factor of sensibleness of misunderstanding characterises germenevticheskuju a situation as the phenomenon of productive misunderstanding providing formation of space of understanding and an exit to sense» [Soloveva 1999: 125].

The Germenevtichesky analysis of fractions of the text is spent according to characteristics germenevticheskoj situations: 1) presence of the reflexion directed on the text, 2) understanding modelling (belt SMD), 3) a parity of a part and whole, 4) the nonlinear organisation of process, 5) the analysis description.

O.Uajlda's paradoxical art texts meet the requirements konstruktov germenevticheskoj of a situation: mnogoslojnost values of lexical units in the text, structural-semantic features predikatsy, underlying making the text propozitsionalnyh structures, a special structure of the substantial party of the text which submits to laws of an embodiment of ideal realities.

For development of pithiness of paradoxical texts the reference to raspredmechivajushchemu to understanding is characteristic. Raspredmechivajushchee understanding - that basis which forms activity in germenevticheskoj situations with a dominant «raspredmechivajushchee understanding-sense» and represents dejstvovanie with ideal realities, opredmechennymi in text means [Soloveva 1999: 112].

Three types germenevticheskih situations as spaces of the organisation of understanding with a dominant «raspredmechivajushchee understanding - sense» are defined:

«Sense - raspredmechivajushchee understanding - experience

mysledejstvovanija »;
- «Sense - raspredmechivajushchee Understanding - Experience Thoughts -
Communications »;

- «Sense -

raspredmechivajushchee Understanding - Experience The pure
Thinking »[In the same place].

From the specified

germenevticheskih Situations for It is paradoxical

The marked art text last sequence is characteristic. The Germenevtichesky situation assumes presence of different possibilities of the organisation of space of understanding depending on a reflexion orientation. As the sense already is present at quality of one of paradox components as germenevticheskoj dominants in the course of understanding, dejstvovanie the reader in germenevticheskoj situations is aimed at the organisation of space of understanding as exit to higher level of understanding - to metasense.

As analysis subject the language paradoxes fixed at various levels of the paradoxical art text, containing paradoxical compositions and co-ordinating combinations of paradoxical type, the most significant concerning designing of senses have served.

Within the limits of carrying out of the linguistic analysis of construction of senses with application germenevticheskih the technician is put a problem to show potential of a linguistic phenomenon of paradox as means of formation of senses in the art text, and also to designate borders for the further research paradoksalizatsii as metameans smysloobrazovanija.

Further the analysis is presented is paradoxical the marked fractions of art texts of Oscar Uajlda. The expanded list of paradoxes is resulted in the Appendix 1 and in the Appendix 2. In total it has been analysed 225 it is paradoxical the marked fractions of the text, volume of 4116 words in English and Russians. The total amount of the investigated art texts has made 254 585 words.

At research of language paradoxes in O.Uajlda's texts various structural-semantic types of paradoxes are revealed; by the analysis of interaction of semantic structures values of components making paradox thanks to which there is a reconsideration of usual values and designing of the unexpected senses programmed by the author are defined. In research principles of interaction of components of language paradoxes, their influence on the process organisation smyslopostroenija within the limits of SMD are established.

If to present the text as hierarchy of senses the understanding can have the levels depending on how deeply the recipient gets into the semantic maintenance and masters pithiness. The essence of understanding of the text consists not only in taking from it a maximum of the information and to comprehend the maintenance, but also to explain and estimate intention of the author.

We notice, that especially internal and, subjective on the character reflexion process practically does not give in to an objective estimation until it not verbalizovan i.e. while it did not become the stated reflexion - interpretation.

In the resulted examples it is shown, as the difficult cogitative activity consisting in operations of transition from one intelligent element of the text to another in its linear expansion is carried out.

Example 1. «You do anything in the world to gain a reputation. As soon as you have one, you seem to throw it away».

Sense development «pricelessness of reputation» becomes possible at the reference of a reflexion of the reader on experience mysledejstvovanija and thoughts - communications. Thus the reference to experience mysledejstvovanija is provoked by contextual incompatibility of lexicon: «to gain a reputation»; «to throw it away». It allows the reader to understand, that reception
Wished not always means realisation of the conceived. Experience mysledejstvovanija specifies that the desire to get rid of something arises, as a rule, as regards has been received dishonest by. For understanding of the given fraction of the text productive there is a reference to technicians problematizatsii and actualisations of knowledge as confirmed in the paradoxical form it is necessary to correlate with life experience, and also to use knowledge and representations about an epoch reflected in the novel. It is a question of representatives of society in whom the vanity and aspiration to be in the public eye is inherent; opposition of vanity to desire is seen in the given phrase to have irreproachable reputation. Opposition is shown at lexical level and at context level. As result of understanding designing of sense of "hypocrisy" in the M. belt acts

Example 2. «But the bravest man amongst us is afraid of himself. The mutilation of the savage has its tragic survival in the self-denial that mars our lives. We are punished for our refusals. Every impulse that we strive to strangle broods in the mind, and poisons us. The body sins once, and has done with its sin, for action is a mode of purification. Nothing remains but the recollection of a pleasure, or the luxury of a regret. The only way to get rid of a temptation is to yield to it. Resist it, and you soul grows sick with the longing for the things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful» You do anything in the world to gain a reputation. As soon as you have one, you seem to throw it away.

At lexical level senses of lexical units are opposed: to get rid - to yield, resist - longing, temptation - forbidden.

Reflexion fixing occurs in all belts SMD. In belt M-K there is a discretion of transfer of sequence of actions for reception of pleasures that causes a reflexion delay in a belt md, - temptation, longing. Kategorizatsija these noem and their inclusion in already formed senses gives new sense: to give in to temptation, to sin means to find a way to clarification and peace of mind. The reflexion over means tekstoobrazovanija in the given fraction of the text forms sense-estimation - «to forget about bible precepts and to live, enjoying a life». The discretion and sense construction in this case demands from the reader of the reference to last experience, that, in turn, does necessary use of technics of actualisation of knowledge, and at their absence there is a rupture germenevticheskogo a circle and search of necessary data on bible plots.

In the text the general representation about a sin and a temptation contains, and in paradox space there is a reconsideration of elements of bible trues in which the instructions are concluded to resist to temptations as, from the point of view of Christian morals, the temptation is understood as display of weakness of human soul. Lord Henry does not urge Doriana to aspire to spiritual perfection and to resist to temptations, on the contrary, it convinces him to follow the desires, not reflecting about sinfulness degree. He believes, that, only having sinned, it is possible to get rid of temptation to sin for desire realisation, instead of its suppression is a true way to
To clarification. Lord Henry tries to convince the young man to forget about rescue of the soul and to choose this way, having gone on which it will relieve itself(himself) of a dissatisfaction and disappointment in a life. The author means tekstopostroenija strengthens a paradoxicality. Opposition of concepts «kindly - angrily» and «a temptation - protivlenie» to a sin, forces the reader to doubt the validity of stated statements and leads to the misunderstanding which is clearing up a reflexion.

The paradoxical thought stated in this fragment calls into question the generated representation about eternal human values and moral concepts. At occurrence at the reader of doubt in the validity of stated statements the author means tekstopostroenija strengthens its bewilderment even more: The only way to get rid of a temptation is to yield to it. In this case word use onlyповышает degree of a categoriality of sense.

In the presented examples the paradox acts germenevticheskoj as a dominant and means of activation of a reflexion.

We see a certain direction of movement of a reflexion in the majority of the considered cases on belts:

• belt M-K - the paradoxicality discretion, as a starting point of activation of a reflexion;

• a belt md - actualisation of representations;

• the M belt - formation of new sense on a basis kontradiktornosti.

Depending on features of text characteristics first two belts can be interchanged the position in sequence of the organisation of process of understanding.

As a result of spent germenevticheskogo the analysis two basic schemes of sequence of fixing of a reflexion are defined at perception is paradoxical the marked art texts:

1. М+М-К+мД

2. М+мД+М-К.

The first scheme eksplikatsionna, the second - implikatsionna. Thus actualisation of new senses in a belt of pure thinking () is equally significant for both variants.

Implikatsionnye text characteristics, unlike eksplikatsionnyh, define other direction of a vector of understanding as a whole, setting process parametres mysledejatelnosti in frameworks not linear, and is faster than a vertical context.

Following ukaznym to schemes, we believe possible to define concepts «eksplikatsionnyj paradox» and «implikatsionnyj paradox» as means of designing of senses in is paradoxical the marked art text.

From the point of view of rate of realisation of the scheme of sequence of fixing of a reflexion the quantity is paradoxical marked units of the art text is distributed as follows (tab. 2 see).

Table 2

The sequence scheme Quantity of units of the Pm-text
1. М+М-К+мД 124
2. М+мД+М-К 101

At creation and understanding it is paradoxical the marked art texts a reflexion proceeds in all belts SMD (fig. 4), therefore it is impossible to speak about the leading part of any belt in the organisation of senses. However as a result of the complex analitiko-synthetic activity stimulated logically kontradiktornoj with the nature of paradox, new senses will be organised in the M belt in which the general senses are staticized and fixed as new knowledge and the subjective experience of the reader received by means raspredmechivanija of senses of the author's text.

Fig. 4. SMD for it is paradoxical the marked art text.

The examples of formation of senses considered above in it is paradoxical the marked fractions of the text confirm, that at designing of senses of the paradoxical text the reader faces difficulty of understanding for which elimination the reflexion reference as outside text spaces is necessary, and to internal experience of the recipient. The new paradoxical situation which the reader faces in the text, becomes an element of experience of development of the art validity. At the reference of a reflexion to personal experience reaction which was generated in experience of the previous judgements is expected. The reflexion reference outside and inside does not represent two separate processes, and is realised simultaneously the same as also the unity of the reproductive and productive moments is equally necessary in art creativity, sootnosimym with discrepancy of a human nature.

Actions on the organisation of senses in the paradoxical art text create qualitatively new changes in understanding of pithiness of the text. They are defined by us (after G.P.ShChedrovitskim) as «reflektivnyj jump», i.e. such moment when reproductive actions, constantly changing thanks to the reflexion reference on new and thus "more and more remote" experience, gradually reach such border on which process of their transition in actions productive begins.

We underline, that the bases for reflektivnogo a gallop in the text define the size of extent of the jump and are connected with propozitsionalnym a paradox component.

The maintenance «reflektivnogo the gallop» at understanding of paradox is difficult interaction of plans of the maintenance and expression therefore the sense which represents unity of characteristics of plans is formed and reflects pithiness of a new situation in an art reality of the text.

The paradox clears up the active reflexion grasping all three belts sistemomysledejatelnosti. In a channel dejatelnostnogo the approach to studying of means tekstopostroenija such characteristic of paradox allows to consider it as means of understanding of the text.

In section «Experience of the analysis of an image of the hero in it is paradoxical the organised product» it is paradoxical the marked fractions of the text concerning group of text means, characterising lord Henry in paradoxical, metaphorical, aphoristic and ironical contexts, specify on defined ekzistentsionalnye and socially significant senses by means of which continuous reflective activity is ordered and there is a reconsideration of all life experience of the person. The analysed fractions of the text are distributed on binary groups: love - flirtation; belief - atheism; morals - immorality; charity - individualism; sincerity - hypocrisy; altruism - an egocentrism; restraint - hedonism; an aestheticism - platitude.

In the third chapter the concept "paradoksalizatsii" as method of rerepresentation on the basis of paradox or other means realising a paradoxicality, the employee for reflexion awakening is entered at perception of the text.

Following the theory metaforizatsii N.F.Krjukovoj, paradoksalizatsija is considered by us as metameans of the organisation of senses in the art text. metaforizatsija - the effective and universal method of rerepresentation on the basis of actually metaphor or others tropov (epithets, synecdoches, metonimii, hyperboles, litot, etc.) - serves for awakening of a reflexion of the recipient at perception of the text [Krjukova 2000]. In this case the applied principle of analogy is pertinent. It finds the acknowledgement and at M.V.Ljapon who asserts, that «as well as a metaphor, paradox - a universal remedy smysloobrazovanija» [Ljapon 2010: 227].

Confirming to a hypothesis we specify, that at voprijatii pithiness it is paradoxical the marked art text
Superficial senses reveal, deep senses are designed by the recipient in the course of the reflective analysis of the text and the directed reflexion of the reader which makes active its experience. Consequences are shown in interpretation which is individual reflexion of understanding. Thus the language paradox acts germenevticheskoj as a dominant. As a result of detection of the misunderstanding the reader will involve germenevticheskie technicians with which help it comes to understanding ekzistentsionalnyh senses, opredmechennyh the author of the text as reflecting reality.

In the Conclusion of dissertational research are summed up the spent work, the basic results of research are resulted, conclusions are generalised, ways of the further research of phenomena of paradox and paradoksalizatsii are outlined.

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A source: PIGARKINA Evgenie Anatolevna. PARADOX AS MEANS SMYSLOOBRAZOVANIJA In the ART TEXT (on a material of products of O.Uajlda). The dissertation AUTHOR'S ABSTRACT on competition of a scientific degree of a Cand.Phil.Sci. Tver - 2017. 2017


  2. the Basic maintenance of work
  10. the Basic maintenance of work