CC BY
5
RUSSIAN LINGUISTIC BULLETIN 2 (6) 2016
DOI: 10.18454/RULB.6.12 Савельева Е.Б.1, Филатова Н.А.2, Филатова А.А.3
'^Государственный гуманитарно-технологический университет, 3Школа хартий (Франция)
НОМИНАТИВНЫЕ ЛОКАЛИЗАТОРЫ ПРОСТРАНСТВА АВТОРА В РОМАНЕ АНДРЕ МАКИНА «LE TESTAMENT
FRANÇAIS»
Аннотация
В статье рассматривается вопрос фиксации пространственных ориентиров авторского присутствия средствами номинативных локализаторов. На основании эмпирической выборки приводимых примеров подчеркивается динамический характер акта наименования разнообразных локативных координат, что подчеркивает связь номинации с ее семантическим и прагматическим предназначением.
Ключевые слова: номинация, локализатор, пространство, дейксис, Le testament français, автор, эго-произведение, имя существительное.
Savelieva E.B.1, Filatova N.A.2, Filatova A.A.3 1,2State Liberal Arts and Technological University, 3Charter School (France) AUTHOR'S SPACE NOMINATIVE LOCALIZERS IN ANDREÏ MAKINE'S NOVEL «LE TESTAMENT FRANÇAIS»
Abstract
The article deals with the fixation of spatial marks of the author's presence by means of nominative localizers. Based on the empirical selection of the given examples we emphasize the dynamic nature of various locative coordinates of the naming act which, in its turn, emphasizes the connection of nomination with its semantic and pragmatic purposes.
Keywords: naming unit, localizer, space, deixis, Le testament français, author, ego-writing, noun.
Почта авторов / Author Email: [email protected], [email protected], [email protected]
It is quite difficult to clearly identify the genre of Andreï Makine's novel "The French Testament" ("Le Testament français" (Makine, 1995)); however, this work refers to personalized narrative as it includes the facts of the author's personal biography, the inner and outer worlds of his creative personality. Literary text, the one containing autobiographical motives, in particular, is the reflection of human attempts to find their place in the universe of their own values which is rendered with the help of linguistic means. In a fictional autobiographical story, the space of the speaker's narrative life is the main element of the author's event field. "It happens because of the introduction of time and space coordinates into the work, determined solely by the subjective approach to the depiction of events having personal significance" (Vakhnenko 2007, p. 7).
In this regard, language means of deictic character are considered to represent information signals which define the nature and functioning of the system indicators in Andreï Makine's ego-writing.
The deictic predestination of linguistic units derives from the context, which forms the space of the narrating subject, one of the most important components of the author's discourse. The use of lexical means in deictic function ensures the establishment of relations, both in terms of time and space, between the author of subjective writing and characters (Ryzhova, Savelieva, 2014).
Obviously, the space of such narrative is perceived as "given and as such a man cannot imagine himself beyond the limits of, and to build relations with this space a person needs a minimum set of two psychological aids: 1) the subject of consciousness -"I", always putting oneself at the center of an ideal space, and 2) boundary or boundaries which limit the space" (Borisova, 1996, p.15).
The position of the subject in the text is predetermined by specific space and the system of marks represented by lexical units, which allow fixing the coordinates of the space the life of the author passes in (Filatov, 2015). Orientation location coordinates are presented in the ego-writing through both auto-semantic and auxiliary parts of speech: nouns, verbs, adverbs, prepositions.
As a result of empirical analysis, we can say that nouns comprise the most extensive group including the following lexical-semantic classes, denoting:
• oponyms: «laRussie», «laSibérie», «Boïarsk», «lefleuveLéna», «Saranza»,«laVolga», «laCaspienne», «Stalingrad», «laStalinka», «laFrance», «Paris», «Neuilly-sur-Seine», «Cherbourg», «Moscou», «Léningrad», «Ourgentch», «Boukhara», «Samarkande», «l'Oural», «Minsk», «Fécamp», «LaRochelle», «Bayonne», «Verdun», «laSeine» etc.;
• constructions/buildings, institutions/organizations/enterprises:
«la prison Pierre-et-Paul», «cette Bastille», «ce «camp de femmes», «ce petit bistro», «Au ratafia de Neuilly», «un seul café», «le magasin des
meubles», «la caisse d'épargne», «cet énorme dancing»,«ses usines d'armement», «les grandes immeubles de style stalinien»,«ce café illusoire de Neuilly», «le Krimlin», «cette construction vieille de deux siècles», «la préfecture de police», «le «dessouloir», «l'Elysée», «l'Opéra», «Notre Dame», «le Panthéon» etc.;
• accommodation/parts of accommodation: «une baraque à part»,«de vraies isbas avec des toits recouverts de minces lattes argentées», «la fenêtre», «la fortotchka», «le petit balcon couvert de fleurs», «le grenier», «le lourd abattant», «les portes», «une datcha», «une grande maison en bois de deux étages», «cette deumeure obscure», «les couloirs encombrés», «le perron de la grande maison en bois», «la porte du balcon», «la salle» etc.;
• territories/location/landscape: «à l'autre bout de l'empire», «au fond de la steppe», «le bois», «sur le champ de Khodynka»,«dans cette ville aux abords de la steppe russe»,«sur les deux bords de laVolga»,«ses larges avenues», «les broussailles de Stalinka», «devant la table»,«sur les rails étroits envahis de pissenlits et de camomilles», «sur les rayons du Flocon de neige», «au millieu d'une grande ville industrielle sur laVolga», «la forêt», «la rivière», «la courbe de la route», «cette rue noire»,«à Yalta»,«la taïga»,«au marché de Soukharevka»,«à la périphérie de la ville»,«les marécages de laSibérie occidentale», «un petit lac en pleine taïga», «une palissade en planches vermoulus», «la cour», «une ruelle enneigée», «au pied des arbres», «en herbe» etc.;
• boundaries of space/distance/direction: «de l'autre coté de la cour», «de la mer Noire à ls Mongolie», «à coté de lui»,«en face», «sur le sommet d'une colline», «les espaces infinis entre la Volga et l'Oural», «vers Astrakhan», «de loin», «entre des touffes de fleurs», «dans une direction inconnue», «vers les pays inexistants sur la carte»,«vers les montagnes aux sommets neigeux», «vers une mer nocturne», «de la briqueterie de Saranza à la gare», «deux ou trois kilomètres», «à travers la Provence», «à la limite de la ville dans le lieu dit «la Clairière d'Ouest», «la ligne de défense», «depuis Stalingrad jusqu'à Berlin», «à (vers) l'horizon», «à travers les champs infinis», «pour Tachkent - vers les confins asiatiques de l'empire», «de Moscou à laSibérie» etc.
Thus, the usage of various nominative localizers for the creation of a spatial universe of the work is connected with the autobiographical story/novel structuring, which allows fixing the coordinates of space the lives of the author-narrator and characters pass in. The author's discourse brings together diverse spatial spheres into a coherent whole. Thereby, the function of spatial orientation and uniting the text into a whole is actualized in the texture of the writing discourse practice.
In conclusion, it should be noted that the retrospective nature of the narrative concerning memories and biographies of adressants is significantly different in terms of discursive space special organisation of "self-depictive text" (Bakhtin, 1979, p.132).
References
1. Бахтин, М.М. (1979). Эстетика словесного творчества. М.: Искусство, 422
2. Борисова, И.Н. (1996). Дискурсивные стратегии в разговорном диалоге. Русская разговорная речь как явление городской культуры. Екатеринбург: Арго. 21-48
3. Вахненко, Е.Е. (2007). Концепция времени и пространства в автобиографической прозе А.М. Ремизова. 1920-1950 гг. Иркутск, 206
RUSSIAN LINGUISTIC BULLETIN 2 (б) 201б
4. Рыжова, Л.П., Савельева, Е.Б. (2014). Контекстуальный дейксис как средство моделирования пространства и времени в автобиографической прозе Андре Жида. Вестник Московского городского педагогического университета. Серия: Филология. Теория языка. Языковое образование. М., 2(14): 72-81
5. Филатова, Н.А. (2015). Экзотизмы и способы их передачи в художественных текстах (на примере русского и французского языков. В мире научных открытий. Серия: Социально-гуманитарные науки. Красноярск: Научно-инновационный центр, 5.6 (65): 2247-2262.
6. Уфимцева, А.А. (2011). Типы словесных знаков. М.: Едиториал УРСС, 208
7. Makine, A. (1995). Le testament français. Paris: Mercure de France, 343
Sources of linguistics and philology. Collections of texts (UDC 801.8)
DOI: 10.18454/RULB.6.34 Михайлова М.Ю.
Самарский государственный социально-педагогический университет БЫТОВАНИЕ КАТЕГОРИИ НЕВЫРАЗИМОГО В РОМАНАХ С ЭКФРАСИСОМ
Аннотация
В статье рассматривается бытование функционально-семантической категории невыразимого в зарубежных романах, содержащих экфрасис; определены репрезентанты невыразимого в экфрасисе; показано кластерное бытование невыразимого с семантиками непостижимого, незримого в сценах, содержащих экфрасис. В романах серьезной литературы семантика невыразимого представлена полнее и многообразнее, связана с насущными проблемами назначения человека, искусства; в беллетристике невыразимое в экфрасисе представлено единично, преимущественно при помощи редкого репрезентанта сокровенное.
Ключевые слова: функционально-семантическая категория, семантика невыразимого, экфрасис, оксюморон, анализ художественного текста, quality и mass литература.
Mikhailova M.Yu.
Samara State University of socal Sciences and Education THE CATEGORY OF INEXPRESSIBLE IN THE NOVELS WITH ECPHRASIS
Abstract
Functional and semantic category of inexpressible in the foreign novels containing ecphrasis is analysed in the article; the representatives of inexpressible in ecphrasis are defined; the cluster existence of inexpressible is shown with the semantics of incomprehensible, hidden in the scenes containing ecphrasis. Semantics of inexpressible is presented in novels of serious literature more completely and is more diverse, it is connected with burning problems of a human being, art; in fiction inexpressible in ecphrasis is presented isolated, mainly by means of a rare representative of intimate.
Keywords: unctional and semantic category, semantics of inexpressible, ecphrasis, oxymoron, stylistic analysis and interpretation of a text, quality and mass literature.
Почта авторов / Author Email: [email protected]
Introduction
Inexpressible as the functional and semantic category is an independent meaning in language and the speech; the language units representing this category are presented at the different levels of language, for example: inexpressible, not said, to express inexpressible, there are no words and so on. For category of inexpressible the category of denial as it - "the category having own formal means of expression - "a negative formant" (a particle not and its grammatical analogs) is basic" (Kalinina, 2010: 247).
Linguists have defined traditional spheres of representatives of inexpressible: the field of theology, philosophy, the sphere of so-called bi-worldness (man or the character interior world, the other world), see (Syritsa, 2009; Mikhailova, 2015). The features of language universality are peculiar to semantics of inexpressible. Considering the aforesaid, we have assumed that the category of inexpressible has to be anyway presented in the texts containing ecphrasis.
Literary critics define ecphrasis as the verbal description method of work of the fine arts in the text. In linguistics they speak about allusion (literally - a hint), allusions on the well-known picture are possible. Allusions correspond to a reminiscence (literally - a remembering), an element of literary system, based on a motive of earlier known works. The image of one work in another, the text in the text is investigated by the theory of intertextuality.
However the above-mentioned linguistic terms, and also the theory of intertextuality are focused on other tasks, than studying verbal expression of visual artifacts in the text. Meanwhile this issue is resolved by the developing literary theory of ecphrasis. This theory has an independent conceptual framework, methodology and various classifications ecphrasis now that does convenient application of this theory in studying of specifics of the text with ecphrasis in linguistic aspect. In fiction the description of this or that picture is, as a rule, substantially loaded, description of a picture is a peculiar insert, some kind of plot in a plot.
The analysis of the Russian literature containing ecphrasis which is carried out by us regarding representation of category of inexpressible has revealed positive results. A peculiar confirmation
told was the collection of scientific articles prepared in the wake of the Russia's first scientific conference devoted to ecphrasis with the name "It is inexpressibly expressible": ecphrasis and problems of representation of visual in the text". Researchers of ecphrasis have defined the sphere of inexpressible as Knowledge of God, interfaced the use of semantics of inexpressible with the use of apophatics. So, D. V. Tokarev has noticed that "ecphrasis as "bridge" between inexpressible and expressible; to pass on him, and diversely, conferees tried" (Tokarev, 2013: 22).
The purpose of the research is to characterize the category of inexpressible in the foreign novels containing picturesque ecphrasis (the description of a picture). As material for research we have selected four novels in which the description of a picture plays a plot forming role. These are O. Wilde's novels "The Picture of Dorian Gray" (1890, England); A. Perez-Reverto "A Flemish board" (1990, Spain); J. Moyes "The girlfriend whom you had dumped" (2012, England), D. Tartt "The Goldfinch" (2013, the USA).
As the analysis has shown, these works contain the examples of category of inexpressible. In general, the representatives of inexpressible in the novels containing ecphrasis isn't so frequent as in poetic texts of romantics, however they are placed mainly in obligatory scenes. The representatives of inexpressible don't always present in the scenes which are actually containing ecphrasis, however where they contain, semantics of inexpressible touches the problems which deal with the meaning of life, purpose of art, fear of death that organize a semantic link to ecphrasis in the novel. See examples from O. Wilde:
[Dorian's characteristic whose age is reflected not on the face but on the portrait] (...) and for most people his frank good nature and affability is charming, almost childish smile of unspeakable charm its beautiful unfading youth were a sufficient refutation erected on it slander so these people called the rumors going about Dorian;
In fact, it was music that had first brought him and Dorian Gray together—music and that indefinable attraction that Dorian seemed to be able to exercise whenever he wished — and, indeed, exercised often without being conscious of it.
