CC BY
19УДК 372.8:81'243
LINGUISTIC MEANS OF EXPRESSION OF THE TIME CATEGORY IN FANTASY WORKS (COGNITIVE ASPECT)
Тимченко Валентина Андреевна,
Крымский инженерно-педагогический университет, г. Симферополь, E-mail: soldatowa.valentina 2013@yandex.ru
Abstract. The article contains the material on the theory of text, cognitive linguistics and the communicative theory of text. The author analyses in detail the linguistic means of expression of the time category and comes to the conclusion that the time category in J. Rowling's works is a dynamic phenomenon being formed and functioning in the process of fiction communication. The category of time is the major part of the writer's mental space, and the analysis of the linguistic means of its expression makes it possible to penetrate more deeply into the writer's conceptual system, to understand her individual picture of the world, thus to understand the conceptual organization of texts.
Key words: category of time, picture of the world, conceptual organization of text, meaning.
ЯЗЫКОВЫЕ СРЕДСТВА ВЫРАЖЕНИЯ КАТЕГОРИИ ВРЕМЕНИ В ПРОИЗВЕДЕНИЯХ ЖАНРА ФЭНТЕЗИ (КОГНИТИВНЫЙ АСПЕКТ)
Аннотация. Статья содержит материал по теории текста, когнитивной лингвистике и коммуникативной теории текста. В статье представлен детальный анализ языковых средств выражения категории времени, по результатам анализа которых делается вывод о том, что категория времени, представленная в произведениях данной писательницы, -динамическое явление, формирующееся и функционирующее в процессе художественной коммуникации. Время является важнейшей частью ментального пространства автора, а анализ языковых средств его выражения позволяет глубже проникнуть в концептуальную систему писателя, понять его индивидуальную картину мира, т. е. понять концептуальную организацию текстов.
Ключевые слова: категория времени, картина мира, концептуальная организация текста, смысл.
Man and the ever-changing world are in close interaction and direct influence on each other. Language as mediator between man and the surrounding world, "creates opportunities for rationalization and systematization in mind a lot knowledge to build a characteristic for each of the given ethno-cultural collective language world picture" [3, p. 11].
Cognitive linguistics, which has recently been developed within the framework
of the modern anthropocentric paradigm, studies issues related to coding, processing, storage and transmission of information, and therefore opens up great prospects in the study of language in General and its individual aspects. In this article we will consider one of these aspects, namely the category of time.
In modern studies, the category of time (along with space) is presented as the primary element, as the main cognitive structure that takes part in the construction of various models of the world (E. S. Kubryakova, N. N. Boldyrev. M. Black, John. Lakoff, M. Johnson, V. N. Telia, A. Zaliznyak, A. Shmelev, M. Konnova, N. V. Runova, L. N. Mikheeva et al.). Particular attention to the category of time, in General, to the Russian verb, was paid to the work of the Russian verb. He created the philosophy of legalnosti affirms the primacy of verbs in the structure of the parts of speech, their greatest distraction and constant development due to the "otherwise" other parts of speech. The category of time was carefully studied in the works of V. V. Vinogradov, A. A. Shakhmatov, A. M. Peshkovsky, N. S. Pospelova, S. Maslova, A. V. Bondarenko, etc.
Underlining the special importance and relevance of the study of the category of time in line with the cognitive approach, E. S. Kubryakova notes that "the results of the knowledge of the properties of time are optimally encoded in the language, so the linguistic study of temporal structure allows us to objectify the mental forms and to comprehend the conceptualization of the world human consciousness and mind" [2, C. 52].
The article provides a detailed analysis of language temporal structures by the material of works for children and adolescents in the fantasy genre. The relevance of the article is explained by the growing interest in children's literature in General and in the fantasy genre in particular, which is not sufficiently studied for this period of time. In addition, temporal structures are one of the main semantic factors in the construction of the text, which showed the analysis of the first three books about Harry Potter.
The material of the research is the works of the modern English writer G. K. Rowling about the boy wizard Harry Potter. The first three books were analyzed, namely Harry Potter and the Philosopher's stone, Harry Potter and the chamber of secrets, Harry Potter and the prisoner of Azkaban.
To study the realization of the category of time in the works of J. K. Rowling let us consider the vocabulary with a time value. One of the numerous and functionally important group of words with the meaning of temporal extension. The group includes words such as time, minute, hour, day, and others. The author uses these tools to change the properties of time in the text, such as stretching. The next group is represented by the names of different time periods within the cyclic nature of time. This group can include:
1. Days and months. In the first book, the names of the days of the week are used 24 times, months-7 times. It can be assumed that the author uses lexemes to create a cyclic character of time, translational motion, which is not quite typical for this chronotope, and therefore there is a small frequency of use of these lexical units.
2. The now lexeme, functioning in the text with a sufficiently high frequency.
The moment is a sign of rational analytical perception of time, time of coincidence and plexus of events. In the work (in the first book) with high frequency the adverb now (87) is used, in the second book - 120 times and in the third - 172 times. There is a high frequency of use of this lexical unit. This attracts the attention of readers to the moment, to what is happening, to the situation " here and now»;
3. Designation of daily and annual intervals: morning, day, evenig, night, month, year. This group is used by the author to focus on the features of the perception of time-as a cyclical, repetitive.
A group that includes adverbs of time-always, usually, often, already. Another equally important group-adverbs-intensifiers: suddenly, just-represent one of the largest groups. So, for example, in the first book about Harry Potter "Harry Potter and the Philosopher's stone" the adverb just is used by the writer 133 times, in the second -158, in the third - 176; suddenly - 57 in the first book, 36 - in the second and 62 - in the third. If the adverb just is used by the author more often from novel to novel, then suddenly shows a fairly stable result. Most used adverbs are just, not only in Present Perfect, but also in Past Perfect, Past Continuous. Although it should be noted that very often just is used in the dialogues of the main characters. This is due to the fact that the author focuses on the present, on what is happening at the moment. A moment and a moment are usually used to depict a special emotional state, to depict an exceptional, over-the-counter time in which unique events take place. It should be particularly noted adverb suddenly, the use of which can be seen throughout the novel. As you know, "a feature of texts from magic time is a sudden shift from real time to the unreal, the unusual" [4, p. 206]. This is the result of the introduction of new characters, and unusual and magical events that occur, which are a reflection of the unreal world that arise suddenly and often not motivated by previous events.
""Wow," said Ron. He sat and stared at Harry for a few moments, then, as though he had suddenly realized what he was doing, he looked quickly out of the window again" [5, p. 99].
"It happened very suddenly. The hook-nosed teacher looked past Quirrell'sturban straight into Harry's eyes - and a sharp, hot pain shot across the scar on Hurry's forehead" [5, p 126].
"Filch knows the secret passageways of the school better than anyone and could pop up as suddenly as any of the ghosts" [5, p 133].
The combination of these units is a distinctive feature of the work, a means of constructing a chronotope.
Very often in narrative captured elements retrospective and here skillfully apply adverbs never, before or never before.
"My scar keeps hurting-it's happened before, but never as often as this".
It is important to note that the lexeme before is used quite often. So, in the first book about Harry Loss this lexeme can be found 69 times, in the second - 73, in the third - 113. There is an interweaving of events in time, the opposition of the present to the past. Moreover, one can notice an increase in the frequency of the lexeme from work to work, which indicates the dominance of the retrospective element associated with such categories of text as continuity and discontinuity (discountuum). The latter,
according to Galperin, has the quality of " a kind of pathogen of perception processes. The consciousness of the recipient, perceiving the picture of the world, imprinted in the text, seeks to keep in mind all the significant that was in each part. The impression of integrity arises only when the corresponding relations between the parts. Referring to the previously reported content-factual information of the recipient, retrospection is not programmed in the plan, but occurs during the deployment of the text. Perhaps, as I. R. Galperin writes, this is one of the manifestations of the unconscious, which grasps the creative impulse and passes into conscious actualization. By delaying the forward movement, retrospection integrates the temporal sections of the work, makes us consider the text from the perspective of the past, present and future. Considering the text as an ordered speech communication, Halperin stresses that he "is deprived of spontaneity, randomness (if it is not a conscious artistic technique), and this order defines the range of possible reader interpretations" [1, p. 230].
Thus, it can be argued that the observed violations of the time sequence in the presentation of events, the shift of the reference point due to the change of synchronous and retrospective types of presentation, the alternation of time regimes -are typical ways of manifestation of the author's worldview, the actualization of his personal meanings.
So, the basic units used to build a chronotope are just, never, now, before, and they are used purposefully and have a constant emotional impact on the reader. In this work, the author rarely uses the adverbs always, usually. This is due to the fact that the author focuses on the uniqueness of the events, and not on their typicality.
Accurate time indications carry a certain semantic and artistic load, contributing to clarity, reliability of the description of events and a combination of real and unreal time. The author often uses the exact time: On Friday the 16 of October, on Thursday morning, eight o'clock on Thursday evening, on the 1st Saturday, at a quarter to 11, at half past ten, at midnight. Often used expressions of time, which is not exactly represented, but the reader understands when it happens: on Halloween morning, on Christmas morning, the Easter holidays, on the last day of August.
In the works of J. K. Rowling can be found quite a high frequency of the use of accurate indication of time. So, in the first book the exact time is used by the author 68 times.
Thus, the semantic analysis of vocabulary with the meaning of time showed that the author pays special attention to the creation in the texts of both folklore and fairytale structure and mythological model of time, as evidenced by the frequency use of indicators of cyclic time. In addition, the texts are short-term indicators that convey the perception of time characters. Lexemes with a time value are decisive when creating a special type of chronotope in the texts of this genre, in which there are changed properties of time.
Note that the picture of the world J. K. Rowling is represented by a unique combination of temporal structures, which allows us to talk about the fusion of different genres in these works.
List of references:
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