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1.5. The basic conclusions

Despite presence of many directions of research of language of products of M.Tsvetaeva, the lack of the works devoted to separate figurative means and figures is felt. Epithets in M.I.Tsvetaevoj's creativity yet were not object special linguistic and literaturovedcheskogo researches, about them is only in passing spoken in L.V.Zubovoj's works.

Owing to it epithet research in M.Tsvetaeva's creativity is represented actual.

As it is possible to see from the review of approaches to a definition of art definition and its typology, in epitetologii there are many debatable questions rather not only to classification of definitions, but also concerning borders of the concept "epithet". All this complex of problems is reflected in the superficial description of epithets in the scientific literature, in absence of the special works devoted to mechanisms of its formation and its figurative potential.

The epithet is an ekspressivno-shaped, estimated, subjective definition of object of the validity, functioning within the limits of an art discourse. As has shown the analysis various tipology epithets, in many cases epithets are qualified taking into account their parity with a defined word, i.e. in frameworks epifrazy (tautological, pleonastic epithets). We consider it necessary to underline importance of such approach to the epithet analysis. Under epifrazoj in our work the semantic and structural unity of a defined word and an epithet is understood.

Full typology of epithets (the classification offered by V.P.Moskvin) is closest to it assumes the account of a complex of the indicators covering different aspects of art definition – first of all character of a nomination (direct and portable taking into account character of carrying over – metonimicheskogo or metaphorical), semantics (lexical value), structure, degree osvoennosti, degree of stability of components epifrazy, stylistic colouring, a quantity indicator (number of epithets within the limits of one epifrazy).

Constant and figurative types of epithets are the basic versions of art definition. The question on structure and typology of constant epithets is difficult. Folklore, formular and national-poetic epithets are essentially not reduced to a constant epithet though it is impossible to deny their generality. The term a constant epithet we will put not only to national folklore creativity, but also to the formulas-cliches used in a poetic diction of a certain epoch.

Metaphorical and metonimichesky types of epithets are extremely productive in art texts. The special importance is got by studying diskursivnoj metonimii a sign – semanticheski the displaced epithet in aspect of the description of mechanisms of its formation.

In work the problem of the description of epithets from two positions is put: on the one hand, research of formal features of epithets from the point of view of their morphological types, structural features, revealing of mechanisms of change of semantics of words in a role of epithets is represented actual; on the other hand, it is important to describe semantic versions of definitions and a condition at which they become epithets. By means of epithet studying as one of tropov attempt to establish law not only language becomes, but also ideologically-thematic character - to reveal a role of words priznakovoj semantics in formation of key senses of creativity of the poet.

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A source: Gubanov Sergey Anatolevich. the EPITHET In M.I.TSVETAEVOJ's CREATIVITY: SEMANTIC And STRUCTURAL ASPECTS. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Samara - 2009. 2009

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