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17SYNERGETIC PRINCIPLES OF VOCABULARY DEVELOPMENT (BASED ON THE MATERIAL OF THE ENGLISH CINEMATIC LEXICON)
Naumchuk T.I.
Zaporizhzhya national university, post-graduate student
Zaporizhzhya, Ukraine
ABSTRACT
The article deals with the synergetic principles of the English cinematic vocabulary development. Cinematic lexicon is defined as a complex system that tends to self-organization and self-regulation. It remains in constant inner development preserving its relevant outer stability. The main principles that contribute to the self-development of the lexicon as a complex system are hierarchy, openness, nonlinearity and non-balanced state.
Keywords: synergetic, complex system, self-organization, self-regulation, lexicon, hierarchy, openness, non-linearity and non-balanced state.
Since the ancient times people have formed the vision of systematic world nature, in particular the language, but it became widespread in the XXth century within the framework of a new holistic paradigm. Scientists of various branches of knowledge, first of all the natural sciences, developed the theory of systemic world unity (A. Bogdanov, F. de Saussure, M. Pe-trovich, L. F. Bertalanffy, etc.) which was based on the study of system components, their relationships (R. Garrison, L. Henderson) and the system as a whole. Scholars have tried to work out the principles of complex systems modelling, which are reflected in the theories of disasters, fluctuations, stability, bifurcations and phase transitions, wave processes, dissipative structures, and the theory of dynamic chaos. All of these discoveries were the basis of theoretical and methodological basis of synergetics, which studies the cooperation and coevolution of subsystems and their constituents in a variety of complex systems.
Scientists figure out multi-dimensional character of synergetics, which principles are relevant to the study of humanitarian sciences. It means that synergetic methodology is applicable to the study of human language as a complex system [2, p. 49]. Linguistics has successfully "tried on" the basic theoretical and methodological principles of synergetics, it managed to reveal the essence and dynamic nature of language development. Within the synergetic theory, language is considered as a supersystem consisting of many subsystems and relationships between its constituents.
In the latest works in the field of lingvosynergetics scholars research the synergetic principles of word -formation [8], cognitive linguistics [5], history of the English language [7], text organization [12] and speech pragmatics [10].
In our study, we extrapolate the ideas of synergetics into the study of the branch vocabulary and through its main statements we consider the principles of the lexicon's self-organization and identify certain tendencies in its evolution. That is the main goal of our study, and to achieve it we should solve the following tasks:
- characterize the basic statements of the complex systems theory claiming their ability for self-organization and self-regulation;
- apply the basic principles of self-organization and self-regulation to the English cinematographic vocabulary;
- find out the influence of self-regulation mechanisms on the development of cinematic lexicon in modern English.
The object under the study is the English vocabulary of the cinematic sphere as an open, non-balanced dynamic complex system, and the principles of its self-organization and mechanisms of self-regulation that cause its evolution are the subject of the research.
Sharing the opinion of scientists [7, p. 55], we do not separate the concepts of "self-organization" and "integrity", because we consider self-organization being the process of streamlining the structure and the formation of a new, integral system. We find it to be fundamental that the properties of the newly created system will always be different from the sum of the properties of its individual components. This statement completely denies the analytical approach of Descartes, who considered the whole as a mere set of separate constituents [1]. The most relevant definition of a system within a synergistic approach is the following: "The system is a set of objects of the same or different nature that are interconnected, and by means of that, constitute the organization of the system. The set acquires the properties of integrity - they are the new functions and qualities that do not flow from the functions and qualities of the set components. And the connections between the elements of the system and the ordered set of its functions constitute the organization of the system [12, p. 102].
In our work we research the English lexicon of the cinematic sphere as a complex system and apply in its study the basic synergetic principles - hierarchy, openness, nonlinearity, and non-balanced state - that determine the formation and self-development of the regarded system.
Such a property as hierarchy manifests itself in the ability of the system to enter a system of higher level [6, p. 43]. We can observe the hierarchic structure of the system on the example of the English cinematic lexicon. The latter can be defined as a macrosystem with a set of subordinate elements (acting, producing, screenwriting, animation etc.), which can form their
own structure according to the same patterns, i.e. combine a set of microsystems that reflect the diverse groupings of its units. At the same time English cinematic lexicon is a microsystem of the English language vocabulary. Such a phenomenon is called iteration -act of generating derivative of a new microsystem on the basis of an existing one, structurally similar to the macrosystem created [5]. It means that the principles of relations between system elements are identical at different levels.
Thus, within the framework of the cinema lexicon, there can be distinguished such subject-thematic groups as acting skills, genre specificity, installation, lighting, sound reproduction, distribution of cinema, etc. Applying the method of semantic fields [3] we can divide the whole lexicon into lexical-semantic groups (terms, professionalism, jargon, historicism, etc.) by the principle of core and periphery. In a lexical-semantic field microfields are distinguished as semantic associations which constituents are connected by an integral sign, which is usually expressed as a predominant of the mi-crofield (core lexeme). The outer structure of the mi-crofield is formed by the core and several areas, some of which can be located in the immediate proximity to the core (close periphery), while others are on the periphery of the microfield (far periphery) [11, p. 35]. In this respect, special terms form the core of cinematic professional lexicon whereas professionalisms belong to the close periphery, and jargonisms, slangisms, historic words refer to the far one.
The main condition for cinematic vocabulary evolution is its openness, which is expressed in its ability to exchange energy, matter and information with the environment and other language systems. Such an exchange with the environment manifests itself in the form of linguistic changes under the influence of ex-tralinguistic factors. In the field of the cinema lexicon they were technology progress, information revolution (to a certain extent due to the emergence of television and computer technologies), art development, in particular formation of new genres (cinematic aesthetics).
Language is a vibrant and dynamic system that responds instantly to external challenges. It is done through the creation of new units, either by borrowing from other languages or by word-formation on the basis of its own resources or by semantic changes of standard lexical units that acquire new meanings [9]. Thus, English vocabulary, in particular the cinematic vocabulary, has been enriched by borrowings from such languages as French (film noir, anime, Ingenue, arret, auteur, enfant terrible, Grand Guignol, montage, Soliloquy, decoupage); Italian: grotesque, camera obscura, chiaroscuro, Coda; Japanese: manga, Indian - masala, German: doppelganger. These lexical units were assimilated in the language, but there were others which were loan-translated into English: Nouvelle Vague -New Wave, montage - editing, doppelganger - doublewalker and others.
Studying the core elements of the cinematic lexicon we may suppose that it was mainly formed by terminological system elements of theatre (actor, director, extra, drama, crowd etc.) and photography terms (film, booth, zooming
lever, juxtaposition etc.). But it was only the starting point that provoked its development. Film industry vocabulary reflects the interaction of cinematic lexicon with the lexicons of other branches of technology, science and production, during which there was a mutual enrichment and redistribution of linguistic resources. Therefore, the vocabularies of the following branches are the sources of qualitative and quantitative changes of the cinematic lexical system:
- acoustics (sound producer, dubbing, orchestration, blimp, walla walla, whoop-whoops, buzz track, voice processing, foley artist);
- production (film industry, studio production, processing, technical direction, technology coordinator, IXengineers, stage-hand);
- business (trade mark, gross, post-production supervisor, payrole booker, block-booking, distribution , show bizz, house nut, tie-in (commercial venture));
- multimedia technologies, in particular, computer (D-cinema, computer desktop film production, cyberthriller, Cyberpunk, machine cinema, smart cartoon, computer graphics imagery (CGI), bootleg, pixilla-tion);
- advertising (cinema newsreel, trailer, pre-roll video ads, press junkets).
Migration of lexical elements within the lexicon is possible due to such mechanisms of self-regulation as terminologization, determinologization, transtermi-nologization and others. The process of terminologization means turning of a general word into a term. For example, the lexeme arret (French word meaning "halt", "stop") acquired terminological meaning "the in-camera trick technique of stopping the camera, then removing or inserting an object, then restarting the camera to have an object magically disappear or appear" and nominated one of the earliest techniques of silent film.
The process of determinologization reveals the opposite process - a term's becoming a non-term. For example, such techniques as IMAX or 3D have become so popular and widespread that nobody feels difficulties in understanding their meaning. The lexemes have lost their "unique", narrowly specialized meanings and are used in everyday speech.
Transterminologization shows the transition of the terms from one sphere to another with partial/complete meaning change. For example, the word dailies came from the vocabulary of newspaper publishers and as an informal variant of the word-combination daily news. In the cinematic lexicon it acquired the meaning "the immediately processed, rough cuts, exposed film, or first prints of a film (w/o special effects or edits) for the director (producer, cinematographer, or editor) to review, to see how the film came out after the day's (or previous day's) shooting". It is one of the most common ways of new terms' emergence as lexical system revises its material, regulates it in quality and quantity, and thus enables the process of self-organization.
It should be noted that the goal of self-organization process is to reach a certain attractor. That means, the system seeks for relative stability, during which it is least vulnerable to external factors and needs the least amount of energy expenditure [5, p. 61]. One of the
principles of self-regulation of a complex system is homeostasis. The homeostasis of a complex S-system is called the algorithm of its functioning within the limits which allow it to move to a certain goal - namely at-tractor. Due to this property the system maintains relative external stability but undergoes constant dynamic internal changes [7, p. 42]. Therefore, the redistribution of linguistic material observed between the cinema vocabulary and other language vocabularies does not change the English language supersystem as a whole, but significantly effects the functioning of lexical units within the English cinematic lexicon and the evolution of the vocabulary in general. Cinema lexicon being a definite model of the English lexical system shows general tendencies of the language evolution as a whole. Its development is actualized by the processes of self-organization and self-regulation.
The system remains its homeostatic state at the level of linear fluctuations, which maintain optimal parameters of the system, ensuring its integrity and stability [7, p.44]. But the stability of the system is a temporary phenomenon, which changes under the influence of external factors, causing its non-balanced state, during which the system is at the point of bifurcation -in the state of choosing the optimal vector of development.
Such paths of development by nature are nonlinear. The nonlinearity of the system supposes choice multiplicity of its evolution, the possibility of unexpected changes in the pace and direction of processes development. The nonlinear system has an unpredictable character, since the vector of its change cannot be predicted in advance by usual methods [7, p. 37]. Such processes can be observed at lexical level taking as the example the word anime meaning "a distinctive style of animated film that has its roots in Japanese comic books". Coming into English from the Japanese language, the lexeme used to function as a barbarism manga. Having no or little assimilation, the language tried to adapt it under natural linguistic processes and found its analogue as Japanimation. The newly coined word matched speakers' needs semantically but not in form so the term was used in its shortened form anime. The point of bifurcations is that the language system (at its lexical level) should decide on adapting the best nomination of the same notion taking into account the best parameters suitable for speakers. Thus, tending to language economy, it is rather logical that the lexeme anime was chosen by the system as normative unit, repelling the previous one.
When studying the material diachronically, one may clearly observe its evolution, i.e. from the moment of word formation to its present functioning variant. But if to treat the material synchronically, we may come across the problem of unpredictable nature of system evolution [5, c. 68]. When a new realia obtains several nominations (this linguistic phenomenon is called polynomination), the system is to choose the right unit to satisfy communication needs of the language speakers. For example, anthology film, episode film, omnibus film, package film, or portmanteau film are nominative variants having one common meaning - "a multi-part or
multi-segmented film with a collection or series of various tales or short stories sometimes linked together by some theme or by a "wrap-around" tale". Now we cannot define which way the system is going to choose in its development. Under the influence of external and internal factors the only appropriate variant of a nominative unit is to be adopted.
In accordance to the synergetic ideas, language system tends to find the easiest solution for systematizing its material, either adopting new units or dissipating overloading items. One of the self-organizing complex systems' principles - emergence - manifests the unpredictable nature of synergetic systems. The ways of such systems' development are nonlinear.
One should admit that the process of self-regulation is particularly dynamic at the lexical level as it is constantly "updating" and "upgrading". The newly coined words and borrowings enrich the English vocabulary frequently, that inevitably leads to quantitative changes in its lexicon. But the language as a live system regulates those processes, accepting lexical units, most relevant to reflect modern realis and at the same time repelling irrelevant lexemes to the periphery (archaic and historic words) or even to the "outer-language space" [8, c. 274].
The cinema has developed very rapidly and dynamically precisely due to technical progress and social phenomena: the old technology was substituted by a new one, and the words denoting it came out of usage because of relevance loss. Thus, historical words with the component "silent' of such compounds as (silenced studio camera, silent film, silent film-cutting) have lost their relevance presently, but function within the lexicon of the relevant historical period of cinematography. Such technical devices as kinetograph, kinetoscope, bioscope have already run out of usage, and the techniques "back projection" or "day-for-night shot" have become outmoded and have been replaced by bluescreen/greenscreen processing and other lexemes. The realis disappear and consequently the words that name them run out of usage in speech and become historic or archaic. But at the same time, new words appear and fill in the language lacunas. That means the lexical system is able to regulate all the processes naturally without letting either its overabundance or lack of naming units.
To come to conclusion, English lexicon of the cinematic sphere is a complex system tending to self-organization and self-regulation. It is characterized by hierarchy, openness, non-balanced state and nonlinearity. Under the mentioned principles the system remains in constant and still continuous development, so internal dynamism and relative external stability (the state of homeostasis) are peculiar to it. The main mechanisms of self-regulation and self-organization of the English cinematic vocabulary system are terminologization, de-terminologization and transterminologization.
The further perspective is the study of cooperation and coevolution processes in lexical systems of cinematography and its adjacent spheres.
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ЕВОЛЮЦ1Я КОНЦЕПТУ IRELAND В КОНТЕКСТ АНГЛО-1РЛАНДСЬКО1 Л1НГВОКУЛЬТУРИ
Полгородник Д.В.
Запоргзький нацiональний утверситет Заnорiжжя, Украна
EVOLUTION OF THE CONCEPT IRELAND IN THE CONTEXT OF ANGLO-IRISH LINGUOCULTURE
Polhorodnyk D. V.
Zaporizhzhia National University Zaporizhzhia, Ukraine
АНОТАЦ1Я
Стаття присвячена аналiзу ключового концепту ашло^рландсько1 лшгвокультури IRELAND в дiах-рони. Наповнення макроструктури концепту зумовлено особливостями взаемодп мшоритарно1 (автохтон-ног кельтсько1) та мажоритарно! (алохтонно! англосаксонсько!) культур. Доведено, що макростуктура концепту IRELAND не е рипдною i трансформуеться тд впливом екстралшгвальних факторiв.
ABSTRACT
The article is devoted to the diachronic analysis of the concept IRELAND in the Anglo-Irish linguoculture. The macrostructure of the concept changes due to the special aspects of interaction between the minority (autochthonous Celtic) and majoritt (introduced Anglo-Saxon) linguocultures. It is proved that the macrostructure of the concept IRELAND is not rigid and transforms under the influence of predominantly extralinguistic factors.
Ключовi слова: лшгвокультурна взаемод1я, англшська мова в 1рланди, концепт, макроструктура концепту.
Keywords: linguocultural interaction, the English language in Ireland, concept, macrostructure of the concept.
