CC BY
8
В свою очередь, эти традиции на определённом этапе нашли глубокое преломление в легендах, преданиях и сказках, сложившихся в иных исторических условиях.
В отличие от героев эпоса, персонажи волшебных, особенно бытовых, сказок являются обычными людьми, индивидуальностями, которым присуща определённая свобода действий. Подобные метаморфозы и привели, в конечном счёте, к возникновению на Северном Кавказе романов, отличительным признаком которых является фокусировка на судьбах и развитии отдельных личностей.
Библиографический список
Ещё одной важной чертой фольклорного творчества народов Северного Кавказа, повлиявшей на становление романов на национальных языках, является воссоздание в полном объёме картин жизни и подвигов героев в рамках нартского эпоса. Данная черта нартского эпоса является общей с философией романов на национальных языках. При этом особенно важны целостная картина общества и концепция человека, воссоздающиеся как в эпосе, так и в романе.
1. Алиева А.И. Фольклорные традиции в младописьменном романе. Советский роман. Новаторство. Поэтика. Типология. Москва: Институт мировой литературы им. А.М. Горького РАН, 1978: 281 - 297.
2. Гегель Г.В. Сочинения. Лекции по эстетике. Москва: Издательство социально-экономической литературы, 1958; Т. 14.
3. Емельянов Л.И. Методологические вопросы фольклористики. Ленинград: Наука, 1978.
4. Караева З.Б. Формы эпического повествования в современном национальном романе. Черкесск: Ставропольское книжное издательство, Карачаево-Черкесское отделение, 1983.
5. Пути развития современного советского романа. Москва: Академия наук СССР 1961.
6. Тугов В.Б. Абазинский роман (фольклорная предыстория, генезис, поэтика). Труды (Карачаево-Черкесского НИИ экономики, истории, языка и литературы). Серия: Филологическая. Черкесск, 1973; Выпуск 7: 5 - 57.
7. Карху Э. В краю «Калевалы». Москва: Современник, 1974.
8. Гаджимурадова Т.Э., Хасамирзаева З.З. Особенности мировидения в философском наследии Джебрана Халиля Джебрана. Мир науки, культуры, образования. 2020; № 4 (83): 350 - 351.
9. Байрамукова С.К. Художественное и стилистическое своеобразие романа в литературе Северного Кавказа. Фундаментальные исследования. 2015; № 2-23: 5274 - 5278.
10. Байрамукова С.К. Фольклорные традиции историко-революционного романа Х. Аппаева «Черный сундук» // Современные проблемы науки и образования. 2015. № 1-1. С. 1202.
11. Байрамукова С.К. Поэтика новописьменного исторического романа (на материале литератур народов Северного Кавказа). Диссертация ... кандидата филологических наук. Майкоп, 2005.
12. Каракетов М.Д. Карачаево-балкарский фольклор. Карачаевцы и балкарцы: язык, этнография, археология и фольклор. Москва: Институт этнологии и антропологии РАН, 2001: 311 - 429.
13. Берберов Б.А., Берберова Л.Б. Поэтика карачаево-балкарской бытовой сказки. Филологические науки. Вопросы теории и практики. Тамбов: Грамота, 2018; № 5 (83), Ч. 1: 9 - 12.
14. Берберов Б.А. Специфика художественного конфликта в карачаево-балкарской бытовой сказке. Вестник Института гуманитарных исследований Правительства Кабардино-Балкарской Республики и Кабардино-Балкарского научного центра Российской академии наук. 2016; № 1 (28): 84 - 87.
15. Мелетинский Е.М. Герой волшебной сказки. Происхождение образа. Санкт-Петербург: Академия исследований культуры, 2005.
References
1. Alieva A.I. Fol'klornye tradicii v mladopis'mennom romane. Sovetskijroman. Novatorstvo. Po'etika. Tipologiya. Moskva: Institut mirovoj literatury im. A.M. Gor'kogo RAN, 1978: 281 - 297.
2. Gegel' G.V. Sochineniya. Lekciipo 'estetike. Moskva: Izdatel'stvo social'no-'ekonomicheskoj literatury, 1958; T. 14.
3. Emel'yanov L.I. Metodologicheskie voprosy fol'kloristiki. Leningrad: Nauka, 1978.
4. Karaeva Z.B. Formy 'epicheskogo povestvovaniya v sovremennom nacional'nom romane. Cherkessk: Stavropol'skoe knizhnoe izdatel'stvo, Karachaevo-Cherkesskoe otde-lenie, 1983.
5. Putirazvitiya sovremennogo sovetskogo romana. Moskva: Akademiya nauk SSSR, 1961.
6. Tugov V.B. Abazinskij roman (fol'klornaya predystoriya, genezis, po'etika). Trudy (Karachaevo-Cherkesskogo NII 'ekonomiki, istorii, yazyka i literatury). Seriya: Filologicheskaya. Cherkessk, 1973; Vypusk 7: 5 - 57.
7. Karhu 'E. V krayu «Kalevaly». Moskva: Sovremennik, 1974.
8. Gadzhimuradova T.'E., Hasamirzaeva Z.Z. Osobennosti mirovideniya v filosofskom nasledii Dzhebrana Halilya Dzhebrana. Mir nauki, kultury, obrazovaniya. 2020; № 4 (83): 350 - 351.
9. Bajramukova S.K. Hudozhestvennoe i stilisticheskoe svoeobrazie romana v literature Severnogo Kavkaza. Fundamental'nye issledovaniya. 2015; № 2-23: 5274 - 5278.
10. Bajramukova S.K. Fol'klornye tradicii istoriko-revolyucionnogo romana H. Appaeva «Chernyj sunduk» // Sovremennye problemy nauki i obrazovaniya. 2015. № 1-1. S. 1202.
11. Bajramukova S.K. Po'etika novopis'mennogo istoricheskogo romana (na materiale literatur narodov Severnogo Kavkaza). Dissertaciya ... kandidata filologicheskih nauk. Majkop, 2005.
12. Karaketov M.D. Karachaevo-balkarskij fol'klor. Karachaevcy i balkarcy: yazyk, 'etnografiya, arheologiya i fol'klor. Moskva: Institut 'etnologii i antropologii RAN, 2001: 311 - 429.
13. Berberov B.A., Berberova L.B. Po'etika karachaevo-balkarskoj bytovoj skazki. Filologicheskie nauki. Voprosy teorii i prakíiki. Tambov: Gramota, 2018; № 5 (83), Ch. 1: 9 - 12.
14. Berberov B.A. Specifika hudozhestvennogo konflikta v karachaevo-balkarskoj bytovoj skazke. Vestnik Instituta gumanitarnyh issledovanij Pravitel'stva Kabardino-Balkarskoj Respubliki i Kabardino-Balkarskogo nauchnogo centra Rossijskoj akademii nauk. 2016; № 1 (28): 84 - 87.
15. Meletinskij E.M. Geroj volshebnojskazki. Proishozhdenieobraza. Sankt-Peterburg: Akademiya issledovanij kul'tury, 2005.
Статья поступила в редакцию 17.05.21
УДК 81-25
Streneva N.V., Cand. of Sciences (Philology), senior lecturer, Foreign Languages Department, Orenburg State University (Orenburg, Russia),
E-mail: nstreneva@yandex.ru
Stnzhkova O.V., Cand. of Sciences (Philology), senior lecturer, Foreign Languages Department, Orenburg State University (Orenburg, Russia),
E-mail: yanusic79@mail.ru
SOME STRATEGIES OF PLACING PUNCTUATION MARKS IN GRAFFITI-TEXTS. The article is devoted to the analysis of graffiti. The researchers have focused on the punctuation marks that scriptwriters (people creating graffiti) use. The work is based on about three hundred graffiti-texts. All the material is analyzed according to the rules and punctuation norms of the Russian language. All the data are processed in a uniform way, and allows to identify the understanding among scriptwriters of punctuation marks and analyze their strategies for dividing texts. The researchers use the method worked out by K.I. Belousov to create graphic and semantic model that shows an alternative structure of the semantic proximity in the objects under consideration, which is based on the maximum manifestation indicators of a particular factor. The manner of writing is revealed in certain strategies of graphic and speech behavior, chosen by the author. In these strategies there appeared an individual set of graphic skills peculiar to the graffiti creators. The paper distinguishes 7 types of writing in producing the texts. All texts are divided into two groups according to the type of scriptwriters writing. The first group includes authors whose texts are characterized by the normative use of punctuation marks. Creators of the graffiti belonging to the second group either ignore the marks at all, or make up their own rules for dividing texts.
Key words: graffiti, punctuation marks, graphic and semantic model.
Н.В. Стренееа, канд. филол. наук, доц., Оренбургский государственный университет, г. Оренбург, E-mail: nstreneva@yandex.ru
О.В. Стрижкова, канд. филол. наук, доц., Оренбургский государственный университет, г. Оренбург, E-mail: yanusic79@mail.ru
СТРАТЕГИИ РАССТАНОВКИ ЗНАКОВ ПРЕПИНАНИЯ В ГРАФФИТИ
Статья посвящена анализу граффити. В этой работе мы сосредоточились на знаках препинания, которые использовали скрипторы (люди, создающие граффити). Мы тщательно изучили около трехсот граффити-текстов. Весь материал был проанализирован в соответствии с правилами пунктуации русского языка. Все данные были обработаны единообразно, что позволило нам выявить отношение скрипторов к знакам препинания и проанализировать их стратегии разделения текста. Мы использовали метод, разработанный К.И. Белоусовым, для создания графо-семантической модели, с помощью которой интерпретируются выявленные структуры семантических связей, основанные на максимальных показателях проявления того или иного фактора. Манера письма раскрывается в определенных стратегиях графического и речевого поведения, выбранных автором. В этих стратегиях появился индивидуальный набор графических навыков, свойственных создателям граффити. Мы выделили 7 типов письма при создании граффити-текстов. Все тексты нашей выборки можно разделить на две большие группы в зависимости от типа письма скрипторов. К первой группе относятся авторы, для текстов которых характерно нормативное использование знаков препинания. Создатели граффити, относящихся ко второй группе, либо вообще игнорируют знаки препинания, либо используют собственные правила членения текста.
Ключевые слова: граффити, знаки препинания, графо-семантическая модель.
The object of this research work is graffiti-texts and graphic representation of punctuation marks organizing them. Graffiti-texts are always emotional, expressive; their creation is aimed at recognition, for further broadcast. A person, writing such texts wants his readers to react somehow to make a dialogue with the author. Graffiti is remarkable part of the language material because being short-sized texts they are easily remembered and reproduced. They are stored in memory and if necessary readers could easily represent this or that graffiti snatching it from the reality. So, this fact was the main foundation of our experiment. Its aim was to analyze what features of graffiti are the most essential, what is remembered and fixed in reader's memory.
Recently, there appeared more and more works devoted to the study of various aspects of 'life' communication. The researchers are mostly dedicated to the description of spoken language. The most actual and detailed approaches to the text were formulated in the works of such well-known Russian scientists as M.M. Bakhtin, V.V. Vinogradov, L.V. Shcherba, I.R. Galperin, O.I. Moskalskaya, I.V. Arnold, N.V. Cher-emisina and many others.
We have scrutinized about three hundred graffiti-texts, their total volume being some 2,813 word-forms. In this work we have focused on the punctuation marks that scriptwriters (people creating graffiti-texts) used. All the material was analyzed according to the rules and punctuation norms of the Russian language.
So, we examined punctuation as a way of presenting graffiti from the graphical point of view. In the process of writing a scriptwriter pays his attention not only to the speech material but to graphical means expressing that material as well.
B. S. Shwarzkopf considers punctuation as "a phenomenon of the written language, as a specific part of the graphic system of the modern language" [1, c. 7]. Punctuation, being an important aspect of text segmentation, organizes text graphically, "creates order in this mass of words: it is divided by spaces between words and punctuation marks" [1, c. 7].
In this work, we examined punctuation marks based on the classification given by A.B. Shapiro, where the scientist identifies the following twelve punctuation marks:
- end marks: full stop, question and exclamation marks, ellipsis;
- mid-marks: such as comma, semicolon, dash, colon;
- paired marks: double comma, double dash, brackets, quotation marks [2].
We eliminated the possibility of appearing such paired marks as double comma
and double dash. Since, the texts under consideration were rather small in volume.
When analyzing the texts, we used the following criteria:
- presence or absence of a full stop. (The absence of a full stop as the main symbol for dividing the text was fixed from two different points of view. They were the end of the text and the end of the sentence, if the next letter was capitalized and this was not a proper name);
- presence or absence of a comma. (The absence of a comma was fixed when listing or in the case of using homogeneous parts of the sentence; in compound or complex sentences; before conjunctions requiring its presence);
- the presence of an exclamation mark;
- the presence of a question mark;
- the presence of three dots (we also recorded three dots in words with missing letters);
- the presence of a dash;
- the presence of a colon;
- the presence of quotes;
- absence of punctuation marks.
So, we processed all the received graffiti. We applied the Statistica program and scrutinized the data using the method of factor analysis. This method "allows you to select from the total set of variables their different subsets, correlating with each other and independent of other elements" [3, c. 69]. We got seven groups of factors, analyzed them and divided into seven strategy types of producing graffiti-texts. Otherwise, we distinguished seven types of writing graffiti-texts, on the basis of which we can scrutinize the types of scriptwriter writing.
The manner of writing is revealed in certain strategies of graphic and speech behavior, chosen by the author. In these strategies there appeared an individual set of graphic skills peculiar to the graffiti creators. Different linguistic individuals adhere to
their peculiar speech strategies, and "the choice of these strategies correlates with the types of individual speaker styles" [4, c. 192].
So, we differentiated 7 types of writing in producing graffiti-texts.
1. The texts of the first group are likely to appear in 25,7% of our sample. This type of texts is characterized by the correct use and presence of all necessary punctuation marks, which characterizes the writer as a person who competently uses punctuation marks. In all the sentences and texts belonging to this group we can find not only the end marks (full stop, question and exclamation marks, ellipsis) but also mid-marks (comma, semicolon, dash, colon). As a factor of "literacy" there is a positive correlation between the volume of the text and the presence of commas in it. The comma as a pause sign is a strong stylistic tool. It is often used as a mean of emphasizing the division of a sentence, highlighting its individual parts, creating dynamism, up to the design of "choking" rhythms. For example:
I can't stand when others are working, so I'll go to lie in the bed. Who was not a student, that does not understand, how you want to eat, when you want to sleep. (All the examples are analyzed according to the rules and punctuation norms of the Russian language and given with the scriptwriters' punctuation marks.)
2. When working with the texts of this sample, we had to introduce an additional criterion. That was the absence of any punctuation marks in the text at all. This fact indicates that the writer ignores punctuation marks. This may be due to both the low level of human culture, knowledge or education and the peculiarities of the genre. Such texts appear in 19% of our sample. These graffities are characterized by a positive correlation between the volume of the graffiti and the absence of a comma. For example:
A girl without an education is looking for a job in her specialty
If you like to mess around in manure / You will study at the agricultural university
3. The third group of sample texts is characterized by the presence of dashes. The use of this punctuation mark characterizes the writer as a person of logical orientation. The probability of such texts appearing is 19,8%. The dash marks emotional pauses. It can be used as a simple pause mark. It serves as a mean of transmitting abrupt, memorable speech. The usage of this punctuation mark somehow prepares readers for the message of something unexpected. It can be put instead of the missing words. But in most texts of this sample, a dash is placed when writing the name of the group, i.e. it is used rather as a framework construct, for example: 04 H- 1 or 05 -rc etc.
Correlation analysis showed that the use of a dash does not depend on the volume of the text and the application of any other punctuation marks, for example: Victoria -1 love myself and my name 04 AM - When will we have good roads?
4. The fourth group of texts is the most numerous. Here, we can find 34% of all the texts. The main characteristic feature of this group is the presence of a full stop. This punctuation mark is placed at the end of all the sentences, either complete or incomplete. The stylistic function of a full stop in the texts belonging to this group can be different. When describing a single picture or rapid change of events, the point breaks the text into short independent sentences and simultaneously conveys the unity and dynamism of the whole. Correlation analysis revealed the absence of a significant correlation, although there is a small positive relationship between the volume of the text, the presence of a full stop and the absence of commas. For example:
And the sun shines brighter and the landscape is more cheerful when the stomach gushes CHfiH.
(The text is written in a verse form and there should be 2 commas in this sentence but there isn't any. Though the author uses full stop at the end of the sentence.)
5. The fifth group includes texts with an exclamation mark. 12% of the sample belongs here. Moreover, there are texts that contain more than one exclamation mark. An exclamation mark completes emotionally charged sentences. In some texts, there is such a conglomeration of exclamation marks that all syntactic rules canons are violated. The texts are so emotionally intense that the language doesn't speak but shouts and calls. For example:
You are deep shit!!!
Girls! My dearest! Let's get acquainted!!!
In graffiti-texts of this group, a significant positive correlation was found between the presence of a comma and the volume of the text. All the examples are very emotional and expressive, and it characterizes scriptwriter as an educated person. So, we can consider scriptwriter's temperament as a factor of "literacy" writer. In this group of texts, there is also a small positive correlation between the presence of quotation marks and dashes.
6. This group of texts is not very large. It includes only about 7% of our sample group. Correlation analysis showed the tendency of the writer to set full stops in the absence of commas (positive correlation). This group includes graffities with a volume of 5 or more-word forms. Moreover, here writers do not use generally accepted rules for dividing the text, there are a lot of punctuation mistakes in this group of texts. For example:
It is easier to find the tail of the mouse than to pass the test on the math.
Student you should love your teacher because a dog is a man's friend. (Here, the address is not separated by a comma, as well two parts of the complex sentence).
The presence of a negative correlation between the presence of a full stop and its absence can serve as a confirmation of the results of the study.
7. The seventh group includes texts that use three dots (nearly 6%). This punctuation mark indicates emotional pauses, reflects various states of the speakers: indecision, uncertainty, embarrassment, nervousness, slowness, etc. For example:
My girlfriend Masha left me. Well, never mind. I don't love her anymore, though...
Here I wanted to sleep and to eat...
This group characterizes the writer as a thorough, thinking person. He puts his thoughts into complete sentences and organizes them according to grammar and punctuation rules of the Russian language. The three dots mark is similar to the full stop. In the texts of this group, the writer puts full stops where it is necessary. The correlation analysis showed a positive correlation between the volume of the text and the presence of a full stop. Moreover, there is a positive correlation between the presence of a full stop and the use of three dots.
We used the method worked out by K.I. Belousov to create graphic and semantic model (fig. 1) which shows "the revealed structures of semantic connections. ... Thus, we identified an alternative structure of the semantic proximity in the objects under consideration, which is based on the maximum manifestation indicators of a particular factor" [3, c. 56].
In Figure 1, the link depth is shown by the line thickness. Thus, there is an obvious relationship between the volume of the text and the presence of a comma in it. On the other hand, the absence of a comma is also associated with the volume, although to a lesser extent (the line is not so thick). The full stop shows the most connections with valence 4 (valence is a number of connections the parameter has). The negative correlation between the presence and absence of a point is shown by a dotted line. The relationship between dash and quotes is single and not significant. These two variables are related only to each other.
Библиографический список
Figure 1. Graphic and semantic model of punctuation marks setting ingraffiti-texts
It is necessary to point out the informative function of punctuation marks especially for the Russian language. Since the end mark of a sentence is very important for the language. Thus, full stop, question and exclamation marks, as well as three dots do not only increase the statement emotionally, but also express the speaker's communicative intentions: only their absence or presence can change the entire sentence completely. For example, there is a certain word order in English or German sentences. These languages have a direct word order to make affirmative or negative sentence, and a reverse word order to create an interrogative one. Everything is different in Russian. Of course, there must be a question mark (for example in interrogative sentences) both in Russian and English. But in English or German the aim of the statement is reflected in the reverse words order, which is not the case in Russian. The Russian language "allows for greater freedom of placement, mutual arrangement of words, phrases, whole utterances and their structural and semantic parts" [5, c. 26].
Thus, the use of the factor analysis method allowed us to distinguish 7 types of texts in which the strategies of using punctuation marks by scriptwriters are manifested. The method also made it possible to identify the attitude of the scripters to the corpusof punctuation marks andanalyzetheirstrategiesfordividingthetext.
So, we can divide all texts of our sample into two large groups according to the type of scriptwriters writing. The first group includes authors whose texts are characterized by the normative use of punctuation marks. Creators of the graffiti belonging to the second group either ignore punctuation marks at all, or use their own rules for dividingthe text.
1. Шварцкопф Б.С. Современная русская пунктуация: система и ее функционирование. Москва: Наука, 1988.
2. Шапиро А.Б. Современный русский язык: пунктуация. Москва: URSS, 2006.
3. Белоусов К.И., Блазнова Н.Н. Введение в экспериментальную лингвистику: учебное пособие. Москва: Флинта, 2005.
4. Горелов И.Н., Седов К.Ф. Основы психолингвистики. Москва: Лабиринт, 2001.
5. Головин Б.Н. Основы культуры речи. Москва: Высшая школа, 1988.
References
1. Shvarckopf B.S. Sovremennaya russkaya punktuaciya: sistema i ee funkcionirovanie. Moskva: Nauka, 1988.
2. Shapiro A.B. Sovremennyjrusskijyazyk: punktuaciya. Moskva: URSS, 2006.
3. Belousov K.I., Blaznova N.N. Vvedenie v 'eksperimental'nuyu lingvistiku: uchebnoe posobie. Moskva: Flinta, 2005.
4. Gorelov I.N., Sedov K.F. Osnovypsiholingvistiki. Moskva: Labirint, 2001.
5. Golovin B.N. Osnovy kul'turyrechi. Moskva: Vysshaya shkola, 1988.
Статья поступила в редакцию 21.05.21
УДК 811.11137+659
Zadorozhnaia Yu.V., postgraduate, Foreign Languages Department, Novosibirsk State Pedagogical University (Novosibirsk, Russia),
E-mail: YuliaZ7247@yandex.ru
COMBINATORIAL POTENTIAL OF SPEECH ACTS IN THE REALIZATION OF THE AIDA MODEL IN ENGLISH COMMERCIAL ADVERTISING TEXTS.
The article studies a problem of speech influence on the target audience of English commercial advertisement. The article reflects the implementation of the AIDA model. This model is a universal text marketing model that maximizes the influence on the behavioral response of the consumer. The name of the model is derived from the first letters of the words denoting the sequence of the influence of advertisement on the consumer's personality: Attention ^ Interest ^ Desire ^ Action. The article shows the variability of combinations of speech acts in the realization of this model. Considerable attention is paid to realization of individual elements of this model. It is revealed that individual elements of this model can be realized by various speech acts. The element A (Attention) is realized by representatives, expressives, directives, interrogatives, and commissives. The element I (Interest) is realized by representatives, interrogatives, commissives, and directives. The element D (Desire) is realized by representatives, commissives, and directives. The element A (Action) is realized by directives, commissives, and representatives.
Key words: pragmatic, speech act theory, speech act, speech influence, advertisement, AIDA.
Ю.В. Задорожная, аспирант, Новосибирский государственный педагогический университет, г. Новосибирск,
E-mail: YuliaZ7247@yandex.ru
