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2.3. The basic conclusions

The morphological line of typology of epithets has shown activity of the use in M.Tsvetaeva's texts as an epithet adektivnyh and adverbialnyh words. Both qualitative adjectives, and relative and prijatzhatelnye undergo semantic transformation in a context of products.

Many relative and possesive adektivy get in a context qualitative semantics or ability particularly-sensually to reflect an originality of a represented situation in its perception the author (fire will, musical music, orange gift of soul, mandarinnaja a smile, melancholy Vakhova). Use of qualitative adjectives as an epithet also has the features: forms of comparative degree adektiva are often used in value excellent (the sky – dark blue a banner); occasional forms (naijavstvennyj) are frequent.

For M.Tsvetaeva's lyrics the expressional use of various types of difficult epithets, often occasional, consisting of several bases (snovidennyj, naglovzoryj), and also use of chains of definitions (from two to ten) is characteristic at one defined word (unknown, bezvoprosnyj, not asking). Individuality of author's word usage adektivnoj lexicon is shown not so much in types epitetnyh complexes which in many respects are obshchepoeticheskimi, how many in features of selection of definitions, in compatibility of difficult signs and defined words. Antonimichesky epitetnye structures are constructed on unexpected collision of various signs.

Developed epitetnyj the complex in its versions (chained, repeated, pair etc.) becomes means of detailed elaboration of a sign, the spokesman of its intensity. Specificity tsvetaevskogo handwriting is shown in selection of epithets at forming of a chained number of definitions (sleepy, sleepless; indissoluble, nerazlivnyj), at aktsentuatsii the same words at lexical repetition of an epithet. Bright feature of work of the poet with appositive epithets is designing block epitetnogo a complex uniting in substantiv and its occasional characteristic. Such complex is used in not dismembered kind: in its epithets are kept structure in the fallen asleep kind, in the certain form (blizzards-your-prijutstvo) that pulls together it with a constant epithet.

Thus, structural types of epithets and epitetnyh complexes are presented in M.Tsvetaeva's creativity as by already known configurations in stylistics (pair, repeating), and specifically author's (block epitetnye complexes). All these types of definitions are called is volume to characterise a concrete situation, is underlined to express the author's relation to a speech subject.

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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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