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THE CONCLUSION

The carried out research of the case epifraz and epitetnyh the complexes functioning in texts of products by M.Tsvetaeva, has shown their big communicatively-aesthetic importance in idiolekte the poet, rich ekspressivno-semantic potential and variety on all lines of typology of epithets – semantic (lexical value of lexemes-epithets and a semantic parity of definition and a defined word, etc.), structural, morphological, stylistic, with the account okkazionalnosti - uzualnosti a lexeme-epithet etc.

Studying of sights at an epithet of literary critics and linguists has led to a conclusion about existence in the scientific literature of numerous and diverse types of definition of a phenomenon of the epithets reflecting their incoincident understanding and, on the other hand, aspiration in one cases to make the general definition for the epithets functioning in texts of products of different epoch (in this case it inevitably appears too the general and it is anyhow reduced to function of art definition), in other cases – definition with orientation to multifunctionality of an epithet in modern works of art and on diverse receptions of their creation and reflecting these parametres of an epithet as means of creation of art effect (among definitions by the such most successful is represented to us A.V.Pavshuk's definition).

We are based on wide understanding of an epithet according to which an epithet role in certain contextual conditions words of many significant parts of speech (can carry out an adjective, a participle, an adverb, a noun, is more rare - a pronoun, the numeral, a verb, a verbal adverb, words of a category of state), thus the central place – owing to features chasterechnoj the nature – belongs to an adjective.

Research has allowed mnogoplanovo to look at a problem not only qualifications of the studied phenomenon, but also on a question on classification of epithets. The history of classification of epithets tracked in dissertational research (first of all in the domestic scientific literature) has led to a conclusion about existence of the tendency to more and more full coverage of many parties of the epithet describing it taking into account receptions of its creation and features of functioning in the art text and in idiolekte of the writer, taking into account ways of actualisation of its communicatively-aesthetic maintenance in the text. Most full the complex of the signs defining an epithet, is presented, in our opinion, in V.P.Moskvin's typology. The full typology of epithets 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, structural and a quantity indicator (number of epithets within the limits of one epifrazy).

In our work the epithet is considered in a close connection with a defined word (more precisely speaking – both components epitetnogo combinations are considered) in this connection are entered and used as base concepts of concept epifrazy and epitetnogo a complex. Under epifrazoj the semantic and structural unity of a defined word and an epithet, as a rule, not broken off by other lexemes is understood. The term epitetnyj a complex means the statement containing some epifraz, united by the form (the general structure) and value (semantics).

As direct object of research in work the nuclear part of a complex epifraz, including as an epithet an adjective is consistently analyzed. At the same time other part is periodically involved in a research field epifraz also.

As special directions of research of epithets three foreshortenings which have allowed from three essentially different parties proanalizovat the case of epithets on purpose are selected to show an essence, ways and mechanisms of semantic transformation of an attributive lexeme in the course of its transformation into art definition. It is a question of the analysis and the description of a nuclear part of the case of epithets from the point of view of their morphological typology and supervision over original destruction of borders between lexical and grammatical categories of adjectives with a complex of grammatical signs inherent in them in the course of semantic transformation of lexemes in structure epifrazy in M.Tsvetaeva's creativity. The status of an epithet at a lexeme with attributive function often results from its semantic transformation. The relative and possesive adjectives deprived in system of language of function subektivatsii are especially indicative in this sense. In the conditions of expansion of usual compatibility an adjective-epithet in frameworks epifrazy it becomes familiar to all situation, accumulating this situation in the curtailed kind. In it semnoj to structure there is an actualisation potential this (including entering into the individual thesaurus of the poet, reflecting events of its private life) which "are directed" by elements of a wide context and provide sense "increment".

The description of the case of epithets from the point of view of their structural types has allowed to establish, first, variety of ways of the organisation epifrazy and more difficult formation - epitetnogo a complex - in texts of products of M.Tsvetaeva, secondly, to track, as different lexical and grammatical structures create conditions for actualisation of the richest ekspressivno-semantic potential of a word-epithet. For M.Tsvetaeva's texts 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.

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 structure epithets are kept in the fallen asleep kind, in the certain form (blizzards-your-prijutstvo) that pulls together it with a constant epithet.

The analysis of one of the most widespread types of epithets in M.Tsvetaeva's creativity — a portable epithet in it metonimicheskoj and a metaphorical version — has allowed to reveal the main mechanisms of its formation — a complex of ways of semantic transformation of a word-epithet and actualisation of its maintenance in frameworks idiolekta the poet.

The spent semantic ordering of the lexemes acting as epithets, allows to draw a conclusion on extraordinary wide semantic structure of this lexicon even primenitelno only mainly to adektivnoj to lexicon – it is possible to ascertain the tendency to involving practically any word of this or that type exposed to semantic transformation in M.Tsvetaeva's context. The fact of wide use of participles and verbal adverbs which fix is not less indicative the situational perception of a reality in its communications with other realities, in different foreshortenings of its estimation is underlined. Thus rather considerable case of lexemes-epithets is fixed in the individual use.

On this background attracts attention the tendency revealed by us. Which consists in the primary use of definitions from sphere of the person, first of all semantic groups with value of an emotionally-psychological condition and features and details of appearance of the person (along with epithets of colour semantics which were not a subject of our attention). We are inclined to explain this circumstance to what the person with its private world, emotionally-psychological collisions are the basic object of a poetic reflexion, and also that the world around is perceived by the lyrical heroine M.Tsvetaeva through a prism of an emotionally-psychological condition, including at a world around embodiment. Other groups of definitions show rather low low rate of the use.

Original display of the same tendency resolute prevalence on common use of several lexemes – sad (132), sad (67), young (59), sleepy (40) which on this basis suppose treatment as constant epithets in idiolekte M.Tsvetaeva looks. We will notice, that all of them represent sphere of the person.

The structure of the defined words forming tsvetaevskuju epifrazu, also is diverse and at krupnoplanovoj ordering can be distributed on three spheres: sphere of the person; sphere of artefacts; nature sphere. Thematic ordering of the names acting in structure epifrazy as defined words, confirms the same tendency – prevalence denotatov from sphere of the person.

In work are considered kontsepty three kontseptopolej: the person (eyes, a mouth, soul, a hand, love), artefacts (house) and the nature (trees). The uniform logic of carrying over of definitions in M.Tsvetaeva's creativity is established: from the person as whole on a part (the person, the natural world: the jealous person, jealous eyelashes, a jealous wind). A source metonimii a sign in this case is the contiguity of properties of defined objects or subjects thanks to which definition can move from a name of one subject / object addressed to another: the impudent person – impudent blood. Denotativnaja the generality substantiva and priznakovogo words generates various associations which, being a fruit of an author's reflexion over a word, nevertheless keep within the general logic of the mechanism of displacement of an epithet.

Research and ordering of a picture of compatibility of components epifrazy allows to draw a conclusion that definition carrying over is the main way of formation of epithets in M.Tsvetaeva's texts.

Private kinds metonimicheskih carryings over of definitions not always give in accurate and, the main thing, exhaustive ordering. It is obvious, that all of them reflect otnesennost defined names denotatov (primary and secondary) to one situation. Carrying over of definition from one reality on another is predetermined by communication of these realities – thus not so much logic, how many situational.

On a material of creativity of M.Tsvetaeva it is shown, that for poetic idiolekta domination metonimicheskoj logicians is possible at formation portable priznakovyh words; and a regular combination antropomorfnyh substantivov and epithets (an eye, the soul – whimsical) represents bright idiostilevuju line of a lexicon of M.Tsvetaeva. Denotativnaja the generality substantiva and priznakovogo words generates various associations which, being a fruit of an author's reflexion over a word, nevertheless keep within the general logic of the mechanism of displacement of the epithet providing actualisation of the whole complex of associations.

In the conditions of definition expansion, first of all on metonimicheskoj to the logician, strongly pronounced expansion of lexical valency of subject and attributive words – components epifrazy is observed (compare: prostovolosaja the woman – prostovolosaja pleasure, prostovolosaja love; chernookaja the girl – shirokookaja grief). Destruction of usual syntagmatic communication at formation of epithets under the influence of the tendency to displacement of definitions logically metonimii, peculiar to language in whole, in M.Tsvetaeva's creativity gets consecutive character and as a whole characterises its feature idiolekta as one of individually-author's markers of art thinking.

M.Tsvetaeva's favourite, most frequency epithets sad, sad, young, sleepy, thoughtful, retentive and some other (which the convention with a known share can name constants for it idiolekta epithets) find out expansion to all three spheres.

Research of other types of epithets of creativity of M.Tsvetaeva, comparison of structure of definitions to definitions of other writers and poets waits for the research.


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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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