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THE POETICS OF CULTURAL REALITY IN THE WORK OF I. MELEZH «PEOPLE IN THE SWAMP»: ANTHROPONYMS
Брынина Екатерина Сергеевна, Гродненский государственный университет имени Я. Купалы, г. Гродно, Республика Беларусь
E-mail: brynina@grsu.by
Abstract. Understanding the role of proper names in a literary text and exploring the unique possibilities of onomasticon of a work for the expression of the author's idea contribute to a more accurate interpretation of the text, and it is therefore obvious that the study of the language of fiction is impossible without a comprehensive analysis of the anthroponyms enclosed in a particular text. The article analyzes the onomastic space in the work of I. Melezh «People in the Swamp», reveals the meaning of the author's use of a particular proper name, considers the features and functions of anthroponyms.
Key words: onomastic space, anthroponym, «People in the swamp», I. Melezh, poetonym, poetic anthroponym.
The degree of intensity of a literary text and all the writer's creative work with proper names can vary from a few units to several thousands. Onomastic space includes derivative formations of proper names, and contextual names, and pronoun substitutions, and periphrases of the nearest context [4, p. 163]. In the artistic world, every writer uses onomastic vocabulary as a particularly noticeable, stylistically and semantically marked expressive means, as a bright sign of idiostyle. The study of the functioning proper names in the context makes it possible not only to fully understand the «complex unity» of the author's text, but also to identify the textual mechanisms that carry out the implementation of language in its aesthetic function. By poetonym, or poetic name, we understand the name functioning in fiction. In case of specific concretization of proper names in a literary text, it is also appropriate to use the term «poetic anthroponym».
It is important not only to identify individual poetonyms, their characteristics and their role in the creation of imagery, but also to define their interrelation in the context of an artwork. The onomastic space of artistic works is a subsystem of the general imagery system of an artwork, on the one hand, and it reflects the specificity of the
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author's creative work, genre and style differences, correlation of the content of the artwork with the epoch of the image and the time of creation of the work, on the other hand [1, p. 23].
Quantitative index does not play an important role in determining the specificity of onomastic space of a separate artwork. The number of units of onomastic space has no absolute dependence on the size of the literary text. The number of poetonyms is motivated in many cases by the goals and objectives of the work. In the context of artistic speech, proper names can show their inner form and activate expressive properties, which are conditioned by the language system and traditions of their usage in the society of a certain epoch. «There are no non-verbal names in a text... Every name in a work of art is already a designation that plays with all the colors it is capable of» [4, p. 162].
The share of poetic anthroponyms in the work exceeds all other poetonyms, including toponyms. Such anthropocentricity is the most important feature of onomastic space of an artwork [6, p. 158].
In the nomination of heroes, not only the etymology of the name, but also the phonetic appearance and the «sound gestures» are of great importance [3, p. 165]. The first idea of the bearer of the name is often formed on the basis of acoustic associations. These associations, which are based on the impression that the reader has when meeting with an anthroponym, one way or another, influence the perception of the character's image. Among the anthroponyms of an artwork one can identify a three -stage typology of names: talking names, sound names and neutral (aesthetically unmarked) names [3, p. 163]. Talking names contain the main characteristic principle of the character, which is subsequently repeatedly played out and confirmed. Feeling the essence of a «speaking» name, the reader enriches their perception of the image, realizes the subjective author's attitude to the character. In the novel by I. Melezh a particularly vivid example of such a «talking» name is Сарока - «гаварлiвая, дужая, вяртлявая жанчына», «часта цетка Сарока забiвала сваёй гаворкай астатшх чатырох, яюя цямелi ад патоку да сцшных прымавак i жартау. Прымаую вязала яна лёгка, спрытна, без утомы, адкуль толью i бралюя!» (lit. «talkative, strong, fidgety woman», «aunt Magpie often killed the other four that couldn't think due to the stream to the humble proverbs and jokes with her speech. Sayings knit it easily, deftly, without tiredness, where did they come from!» [5, c. 199]. This name already creates a certain image of the character in the reader's mind, this name is the character's main characteristic.
Talking and sounding surnames have a distinct expressive halo, they are aesthetically labeled. Such names are found in the work of I. Melezh quite often: Грыбок, Дубадзел, Алеша Губаты, Хведзька, Хадоська, Хоня, Апейка, Зайчык, стары Корч, Мтрохван, Косщк Хвошч (Косц¡к-Хвошчык), Крывароты.
In addition to the abovementioned anthroponymic groups, the work also contains names with zero expression. The poetonyms with zero expression are not a clear exposition, and this function is performed by other elements of characteristics, for example, a portrait [2, p. 335].
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We can include the following names to these names: Ганна, Валодзька, дзед Дзяшс, Яух1м, Мжанор, 1гнат, Шабет, Пятро Пракопау, Ларывон, Сцяпан, ВасЫь Дзятлж, атаман Маслак, Яух1м Глушак, Хал1мон Глушак, Мжанор, Мщя.
Some anthroponyms are derived from surnames or character names: ДамецЫа, Грыбчыха, Глушачыха, Ганнуля, Сцяпанко, Яух1мко, Мжанорко, 1ванко, Андрэйко, Ганначко, Дзятл1ха, Захарыха. Such names emphasize the national flavor and foreign language specificity of the dialect used by the author in the novel «People in the Swamp».
As in real naming, the literary anthroponymy of the writer has models of a single-component (only name, only surname, only nickname), two-component (personal name + surname, personal name + patronymic) naming. Among the anthroponyms of this work one can also find a three-step typology of names: speaking names, sound names and neutral (aesthetically unmarked) names. Numerous combinations of personal names and surnames are observed in the texts. In the artistic world of I. Melezh anthroponyms act as a functional-semantic sign, a symbol that serves as one of the means of text education. The writer gives his characters names, giving them a special role as a link in the semantic space and formal organization of the text field.
Литература:
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