CC BY
87
DOI: https://dx.doi.org/10.18454/RULB.9.13 Хамитова Л.М.
Кандидат филологических наук, Казанский инновационный университет имени В.Г.Тимирясова (ИЭУП) ОСОБЕННОСТИ ИМЕН СОБСТВЕННЫХ В ХУДОЖЕСТВЕННОМ ТЕКСТЕ
Аннотация
В данной статье рассматриваются особенности имен собственных в художественном тексте. Основное внимание уделено на изучение основных функций антропонимов. В центре внимания данной работы будет изучение происхождения антропонимов и употребление их в поэтическом тексте. Особенности каждого функционального стиля давно уже позволили противопоставить литературно-художественный стиль всем остальным по наличию в литературных текстах особой семантической осложненности, многоярусной композиции и эстетической функции слова, организующей весь контекст произведения.
Ключевые слова: антропоним, художественный текст, имя собственное, апеллятив.
Khamitova L.M.
PhD in Philology, Kazan innovative university named after V. G Timiryasov (IEML) FEATURES OF THE PROPER NAMES IN A LITERARY TEXT
Abstract
This article discusses the proper name in a literary text. We focuse on the study of the basic functions of anthroponyms. The focus of this work is the study of the origin of anthroponyms and their use in a poetic text. The characteristics of each functional style has long been allowed to oppose the literary style of all the others by the presence of literary texts of a particular semantic difficulties, the multi-layer composition and aesthetic Junctions of speech, organizing the whole context of the work.
Keywords: anthroponym, literary text, proper name, appellative.
Почта авторов / Author Email: [email protected]
There are different views on the study of the functional specificity of a proper name in a literary text. An important factor that must be considered when addressing the study of the functional specificity of proper name in narrative texts is the fact that the analyzed texts belong to different functional styles of the language. It is well known that a proper name varies considerebly according to the functional styles and types of speech that show the sociolinguistic parameters of using the names: birth, areal, regulatory, social group, situational, etc. Therefore, research in this area should take into account both aspects of stylistics: structural and functional. The characteristics of each functional style has long been allowed to oppose the literary style of all the others by the presence of literary texts of a particular semantic difficulties, the multilayer composition and aesthetic functions of speech, organizing the whole context of the work. This gives a special depth of poetry, his diversity, the polyphony.
Studying the poetic onomastics of a poet or writer, it helps one to see the inner wealth, the psychology of his work. The names of the characters in a literary text acquire a special semantic function that is not characteristic of nominations of scientific texts. Their analysis revealing any regularities, the comprehension of semantic focus - a step to understanding the aesthetic function of the artwork.
As for fiction, then localization is often vague in nature, as a poetic name in addition to the function of the message has a pragmatic function of exposure. And if the rate of household name - the phenomenon of language, the proper name may be the result of activities of individuals and prosecution of their own purposes, i.e., it may depend on the individual author's style, intent and, therefore, the pragmatics of the utterance.
A proper name differs from the appellative names. The concept of "appellative" and onymization means the following: the main purpose of common nouns is called undefined objects, correlating them with a known class of things and concepts. The main purpose of proper names is to call certain objects within known classes of things. The map concept is not necessary because a certain class of things is already associated with it. This moment and allows you to
resort to so-called secondary use of known words to new categories that may not have any visible ties to the original and primary use of lexical units. Under the appellative includes the names, changed the function name to a function denote properties or special qualities, the state of the object. The function names proper name (what makes it a proper name) is associated with the least motivation name. Derived from personal names, the place-name elements represent the specific characteristics of the carriers of these names, and the transition of proper names in appellative occurs on the basis of metaphorical and metonymical shift values.
Thus, appellative names differ from proper names and common nouns. They discover their own system of communication: antonymy, synonymy, and polysemy. According to R. L. Ohshit, the appellative can be zero /Marat, Lenar / and with a pronounced stylistic characteristics /Timersha, Kamyrsha, Muhamedzhan/. Usually, the appellative with pronounced stylistic characteristics combine obscenities signs with signs of common nouns. That is, they occupy an intermediate position between proper names and common nouns. In our opinion, the mistake is that many linguists equate the value of proper names with a value corresponding appellative names.
The anthroponyms are widely used both in prose and poetic works of literature. The focus of this work is the study of the origin of anthroponyms and their use in a poetic text.
Speaking about the main differences of prose and poetic texts, V. N. Mikhailov pointed out that in a prose text the value of a proper name is characterized by indivisibility. In prose the words retain only necessary for a given context value, the remaining value of the word drop out [1, P. 47].
All anthroponyms appearing in the poetic text can be conditionally divided into two large groups. First, the anthroponyms can nominate actors poetry, presenting as a well-known personality, and brand new characters created by the author of the work. Second, in the poetic text, the anthroponym can play the role of semantic milestones, causing a number of different associations with already known to the reader texts.
In poetry, the anthroponyms are often nominated direct actors of poetry. This kind of anthroponyms can be divided into two groups:
a) a central figure of the poetic works can be literary, biblical or historical character. This character functions in a new poetic work, while maintaining their distinctive features and fully assimilating in the lines of the new text. As a rule, this use of the anthroponyms found in various devotions, meditations on the topic of historical events or works of art, memoirs, etc.
For example, in the poem of R. Minnullin "Kazan. The Kremlin. ..." we see that in the poem the author used historical name. Syuyumbike is Holy name for Tatar people. In this poem, the words are about the Syuyumbike tower, which was built in Kazan a few years ago. When translating poetic passages containing proper names in this function, the name taken from a literary-historical context is remained. Here another example where the historical identity of the Syuyumbike loses its value and is used as the simple name of the girl.
b) the name of the hero of the poetical works may not be associated with the literary-historical context. In most cases, in the translation of proper names - anthroponyms are saved and do not cause difficulties when transferring to another language. Take, for example, the poem Sh.Galiev. "Ilgis". In the poem names Nakip and Ilgiz, are characters invented by the author. In this poem the author tells children that you cannot drive in a tram or bus without paying his ticket. He describes in detail how the boy Nakip, pulls the ticket without paying for it. But then, when Ilgiz blushing, holds a ticket to the controller, leaving the tram, he realizes that the fare you have to pay and you can't cheat. The choice of names in this poem is not accidental: Nakip has the meaning "chief, commander", the name of Ilgiz has the meaning "traveler." Sh. Galiev acts not only as a writer but also as a psychologist. Describing this act on the example of two boys - Nakip and Ilgiz, he addresses the reader with a certain poetic purpose.
Another example from a poem by R. Minnullin "New sport": the proper name Almaz(Diamond), used with a clear positive feature. It should be noted that the word diamond, has the value of a precious stone. In this work we see how the word loses all value, taking only the image of a young boy named Almaz(Diamond). The translation of this name isn't difficult.
In our study, we have attempted a comprehensive classification of names used in the poems of these authors. Our research has shown that in most cases the authors in their works have used the anthroponyms borrowed from Arabic, Persian, and the names of ancient Turkic origin.
a) according to our observations, the majority of anthroponyms used in the texts of Sh. Galiyev and R. Minnullin, is the names come from the Arabic language. This is evidenced by many examples. The names used by author Mahmut/ praise/ Nagim /happy, good-natured/, Ramai -/abbreviated from the name Ramazan is hot, warm/ - came from the Arabic language.
In the cycle of poems "Halim, Salim, Musalim" we meet with three boys in class who do not like growth and character. From a general proposition we know that. And then comes her private poetic solution: everyone says the truth: what he sees. The ability to view the world through a
"triangular prism", of course, with the reflection of reality is revealed to a poet the great features. In images of boys, we see how the poet feels and deeply understands a child psychology. And, perhaps more importantly, that it is not places under the hood, not nurtures a fragile child in the greenhouse, and portrays it in the most natural conditions: the contradictions of real life, truthfully, vividly and sensitively.
b) the anthroponyms are taken from the Russian language.
In the Soviet time, a lot of words were borrowed from Russian and European languages. One manifestation of this phenomenon is that many parents began to give their children names such as Marat, Venera, Albina, Larisa, Albert, Regina, Lemar, Yunir, Renas, Kim, Renat, etc.
A group of words are characterized by the fact that they were abbreviations of various names. After analyzing the works of Sh. Galiyev and R. Minnullin, we can state that the authors use in his poems, this group of words Renat (REvolutsia "revolution", NAuka "science", Trud "labor"), Rim (REvolutsia "revolution", I "and" Mir "peace"), Vil (Vladimir Ilyich Lenin).
Researchers have repeatedly noted that the functioning of proper names in the text has its own peculiarities, so names are an integral part of the form works of art, element of style of the writer, a means of creating an artistic image. Onyms can carry a markedly pronounced meaning, have an unusual sound shape, and have a hidden associative background. Proper names should be stylistically correct and accurate, must conform to the whole spirit, the idea, purposes works, and should bear a characteristic flavor and sometimes some special meaning, a special meaning, which is concentrated expressed in the author's idea.
Our analysis showed that the anthroponyms in the poems are very diverse. Real and unreal own names and organically motivated to go into a system of language means of poetic texts, participate in creating the General shape of the works, and vividly paint a panorama of the surrounding reality. All this allows speaking about high degree of erudition of the author, wide range of interests, and the magnitude of the philosophical worldview. By selecting a certain onomastic material to create their texts, the author thus embodies the special onomastic picture of the world. Each anthroponym, each model takes its place, creating a holistic perception of poetic space. Views on the use of linguistic resources in works of art, on the relationship of speech and literary style, on the functioning of speech means in the text of works of art, allowed us to understand the psychology of poets, the perception and comprehension of their language material to establish that the phenomenon of language and speech are considered in conjunction with the formal, poetic points of view, and taking into account historical conditions and national mentality.
Thus, it is possible to draw the following conclusions that a literary text anthroponyms can nominate his actors, and these actors can be as a figment of the imagination of the author, and the real historical characters; most of the anthroponyms in the poem is etymologically, "speaking", that is semantically marked.
It was found that Sh. Galiyev and R. Minnullin prefer the names come from the Arabic language. Perhaps this is due to the fact that such names are convenient to combine with different common name.
Список литературы / References
1. Горбаневский М. В. В мире имен и названий / М. В. Горбаневский. - М. : Знание, 1987. - 156 с.
2. Салимова Д. А. Антропонимия романов Д.И. Стахеева / Д. А. Салимова, Г. Р. Патенко. - Елабуга : Изд-во Елабуж. госпедуниверс., 2008. - 112 с.
3. Саттаров Г. Ф. Татарская антропонимика / Г. Ф. Саттаров. - Казань : ТКИ, 1992. - 240 с.
4. Суперанская А. В. Что такое топонимика? /А. В. Суперанская. - М. : Наука, 1984. - 182 с.
Список литературы на английском языке / References in English
1. Gorbanevsky M. V. V mire imen i nazvanii[ In the world of names] / M. V. Gorbanevsky. - Moscow : Znanie, 1987. - 156 p. [in Russian]
2. Salimova D. A. Antroponimiya romanov D.I.Stakheeva [ Anthroponymy of D. I. Staheev's novels] / D. A. Salimova, G. R. Patenko. - Yelabuga: Yelabuga State Pedagogical University publishing house, 2008. - 112 p. [in Russian]
3. Sattarov G. F. Tatarskaya onomastika [Tatar onomastics] / G. F. Sattarov. - Kazan: TKI, 1992. - 240 p. [in Russian]
4. Superanskaya A. V. Shto takoe toponimika [What is toponymy?] /A. V. Superanskaya. - Moscow : Nauka, 1984. -182 p.[in Russian]
