National and cultural features of phraseological units on the example of Maugham's works. Scientific work on the topic: "Metaphors in the stories of Arthur Conan Doyle and Somerset Maugham"

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Comparative constructions in the works of W.S. Maugham

Kravets Olga Vladimirovna

Rostov State University of Economics (RINH)

PhD in Philology, Associate Professor of the Department of English

The article deals with comparative constructions, which are the constituents of the functional-semantic field of comparativeness. The material for the study is comparative constructions in the works of W.S. Maugham. The analysis and classification of structures is carried out according to the principle of a functional-semantic field with ontological-epistemological stratification, at the upper steps of which the division is carried out according to the principle of a field with ontological stratification, and at the subsequent stages - according to the principle of a field with epistemological stratification.

Keywords: comparative constructions, comparative constructions U.S. Maugham

The system of linguistic means of different levels, united by one common meaning, was called the functional-semantic field (according to the terminology of A.V. Bondarko). The functional-system approach is characterized by the fact that it makes it possible to explore the linguistic phenomenon not only from the point of view of its internal structure, but also in terms of its functioning, relations with the environment. The field has a heterogeneous and, as a rule, complex structure, which can be represented in the form of horizontal and vertical sections.

Complex various means expressions of comparison semantics forms a functional-semantic field of comparativeness. Horizontally, the comparative field is divided into two microfields:

1) microfield of similarity; 2) microfield of difference.

The microfield of difference consists of three microfields of the second stage (microfield

superiority, microfields of reduced manifestation of a trait and microfields of a general difference):

1. The microfield of superiority includes constructions illustrating a comparison in which a greater degree of manifestation of a feature is assumed. In the story "The Fall of Edward Barnard" and "Rain", William Somerset Maugham uses the following constructions belonging to the microfield of excellence:

She talked it over with Bateman Hunter, always the most generous of friends

(“The Fall of Edward Barnard”).

The most remarkable thing about her was her voice, high, metallic, and without inflexion (“Rain”).

2. The microfield of reduced manifestation of a trait is represented by the following examples:

…they dried their tears and had a little brandy and water, which every doctor had told them was the least fattening thing they could drink…

(“The Three Fat Women of Antibes”).

`You take my word for it, Mrs Ramsay, that chain you "re wearing will never be worth a cent less than it is now" (“Mr. Know All”).

3. Examples of structures illustrating the Microfield of General Difference can be seen in the examples below:

Sorrow took people in different ways (“Before the Party”).

There seemed to be two entirely different women in her (“Jane”).

The considered examples illustrate microfields that are distinguished according to the principle of a field with ontological stratification, since the difference in the values of the constituents of these microfields is based on differences in objective reality, that is, they are meaningful. It should be noted that there is another type of functional-semantic field, in which the difference between the constituents of microfields is observed not at the content level, but at the level of forms of thinking. An important factor is that such a difference is not associated with universal logical forms of thinking, but with specific national mental forms associated with the peculiarities of the grammatical structure of specific languages. P.V. Chesnokov calls such forms semantic forms of thinking, and FSP of the second type - FSP with epistemological stratification.

According to the doctrine of semantic forms of thinking in the functional-semantic field, it seems possible to single out microfields of the third and fourth levels according to the field principle with epistemological stratification.

Each of the microfields of the second stage (MP 2) can be represented as two microfields of the third stage. These are the fields of completeness and incompleteness of the comparative construction. Comparative construction refers to the microfield of completeness in the event that all four components of comparison (object, standard, basis of comparison and actual comparison) are presented in it. Example: She's much more amusing than your comedies (“Jane”).

If the comparative construction contains three or less comparison components, then it refers to the microfield of the third stage of incompleteness. Further, each of the microfields of the third stage splits into two microfields of the fourth stage. We are talking about microfields of discrete and non-discrete-discrete reflection of content. The design refers to a discrete reflection microfield in the event that each component is reflected separately. For example, in the sentence She was a little shy, but not more shy than Bateman… (“The Fall of Edward Barnard”), the base of the comparison is reflected in the adjective shy, and the actual comparison in the word form more.

In the case of a fused reflection of two comparison components in one word form, the comparative construction refers to MP 4 of non-discrete-discrete reflection.

Example: “The sinner may be deeper in sin than the depth of hell itself, but the love of the Lord Jesus can reach him still” (“Rain”).

The word form deeper non-discretely represents both the actual comparison (with the help of the comparative degree of the adjective) and the base of the comparison.

"s more cunning than I thought," said Mrs Tower acidly (“Jane”)

All comparison components are present and expressed separately, therefore, the construction refers to the microfield of completeness of the third stage and to the microfield of discrete reflection of the fourth stage.

`I'm not going to unpack more than we actually need.

In this example, all comparison components are present, but the comparison itself and the base of comparison are presented together, that is, this example illustrates the microfield of non-discrete-discrete reflection of the fourth stage in the microfield of completeness of the third stage comparative construction, which, in turn, refers to the microfield of superiority of the second stage.

Symmetric to the microfield of the completeness of the comparative construction, the microfield of the incompleteness of the construction also splits into two microfields of the fourth stage:

1) discrete reflection;

2) non-discrete-discrete reflection.

one). After many years of married life he had learned that it was more conducive to peace to leave his wife with the last word (“Rain”)

The comparison standard is not explicitly presented. The three components of the comparison are presented separately.

2). Wasn't paler than ever ("Rain").

There is no reference standard in the design. The basis of the comparison and the actual comparison are expressed together in one word form.

Next, we turn to the microfield of reduced manifestation of the trait. Just like the previous microfield of superiority, the microfield of inferiority can be divided into two microfields of the third stage: completeness and incompleteness of the comparison structure, each of which, in turn, is divided into two microfields of the fourth stage: discrete and non-discrete-discrete reflection of content.

In the following examples, we see constructions related to the microfield of the fourth stage of discrete reflection in the microfield of completeness:

Now and then she looked at him closely, and if he had been less intent on his narrative he might have wondered at her expression (“The Fall of Edward Barnard”).

All four comparison components are present and expressed discretely.

MP 4 non-discrete-discrete reflection MP 3 completeness:

But it was strange that after the first excitement of arrival she seemed to take less interest in the new life than he had expected (“The Pool”).

In the word form younger, both the actual comparison and the basis of the comparison - height, age - are presented together. All structural components are presented.

MP 4 discrete reflection MP 3 incompleteness:

If Bananas offered to take less money he would get the job and the girl could stay with him (“Honolulu”).

The comparison standard is not explicitly presented. The object of comparison, the actual comparison and the base of comparison are expressed discretely.

MP 4 non-discrete-discrete reflection MP 3 incompleteness:

Though he must have been thirty-four or thirty-five he looked much younger (“Honolulu”).

He is the object of comparison, there is no standard of comparison, the actual comparison and the base of comparison are presented in a non-discrete form of the adjective in a comparative degree.

MP 2 general difference.

As well as the two previous MP 2, MP 2 of the general difference is divided by the number of components into two MP 3: completeness and incompleteness of the comparison structure. In MP 3 stand out MP 4 discrete reflection.

Turning to MP 3 of the incompleteness of the comparative structure in MP 2 of the general difference, consider an example of MP 4 of discrete reflection:

Nicky remembered his father "s advice not to have anything to do with women, but this was different (“The Facts of Life”) .

The object of comparison is explicitly expressed this - this, the idea of comparison lies in the lexical meaning of the word different - another, the standard of comparison is restored from the first part of the sentence - women. The basis of the comparison is not explicitly presented. Since there is no basis for comparison, this example refers to MP 3 of the incompleteness of the comparative structure, and since the three comparison elements are presented separately, it, like the previous one, belongs to MP 4 of discrete reflection.

The analysis carried out testifies to the complex, multilevel structure of the field of comparativeness and its mixed nature, which consists in the fact that at the highest levels the microfields are distinguished according to the principle of a field with ontological stratification, and on lower levels- with epistemological stratification. In the works of William Somerset Maugham, we were able to identify the variety of forms of expression of comparative semantics, as well as to classify comparative constructions according to the microfields of the functional-semantic field of comparativeness of four steps.

comparative construction work maugham

Bibliographic list

1. Bondarko A. V. Principles of functional grammar and issues of aspectology. L., 1983.

2. Kravets O. V. Similarity microfield of the functional-semantic field of explicit comparativeness in Russian and English // Almanac of modern science and education. Tambov: Diploma, 2012. No. 8. C. 89-91.

3. Kravets O. V. Functional-semantic field of comparativeness in modern Russian: diss. ... k. philol. n. Taganrog, 2003.

4. Chesnokov P. V. Grammar of the Russian language in the light of the theory of semantic forms of thinking. Taganrog, 1992.

5. Kravets O.V. The structure of the microfield of difference in the functional-semantic field of explicit comparativeness in Russian and English. Almanac of modern science and education. Tambov: Diploma, 2013. No. 4. C. 104-106.

6. Kravets O.V. Features of the microfield differences in German and English. Philological Sciences. Questions of theory and practice. 2013. No. 7-1(25). pp. 101-104.

7. Kravets O.V. Constructions expressing similarity in the works of A.P. Chekhov and features of their translation into English. Innovations in science. NP "SibAK", Novosibirsk, 2014. No. 29. pp. 139-145.

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The concept of phraseology

Phraseologism is a phraseological unit, an idiom, a stable combination of words, which is actorized by a constant lexical composition, grammatical structure and a meaning known to native speakers of a given language (in most cases, figuratively), not derived from the meaning of the components that make up the phraseological unit.

This meaning is reproduced in speech in accordance with historically established norms of use.

There are phraseological units with a completely rethought composition and unmotivated meaning - phraseological fusions.

Back the wrong horse make a bad choice

Bite the bullet courageously endure

with a motivated meaning - phraseological units

The bottom line is the end result

Break the ice

Phraseological combinations that include a word or a range of words with a phraseologically related meaning

Deep silence

Iron nerves

Phraseological expressions are combinations of words with an unrethought, but constant composition and meaning.

There are other classifications that take as a basis for distinguishing the types of phraseological units the nature of restrictions in the choice of variable elements of their structure, the materially single or variable composition of words - components, the degree of stability of the structure and its elements, and more.

The totality of phraseological units of different nature and structure forms the phraseological composition of the language.

Phraseology - (Greek Phrases - expression + logos - doctrine) is the science of complex language units that have a stable character: upside down, get into a mess, the cat cried.

Phraseology is also called the whole set of these stable combinations of complex composition - phraseological units.

Phraseologisms, unlike lexical units, have a number of characteristic features.

Phraseologisms are always complex in composition, they are formed by combining several components, which, as a rule, have a separate stress, but do not retain the meaning of independent words.

Hold one's hand to refrain from anything

Honest to God! God sees!

Phraseologisms are semantically indivisible, they usually have

undivided meaning that can be expressed in one

Lose one's head

Lose one's heart

Make a poor mouth

True, this feature is not characteristic of all phraseological units.

There are also those that equate to a whole descriptive expression.

Have a green thumb golden hands (about gardeners)

Have all one's goods in the shop window

Have a lot on the ball

Such phraseological units arise as a result of figurative rethinking of free phrases.

3. Phraseologisms, unlike free phrases

characterizes the constancy of the composition. One component or another

phraseologism cannot be replaced by a similar one in meaning

in a word, while free phrases are easy

allow such a substitution.

Instead of a ladies' man

You can't say a gentlemen' women

Lady luck instead

Can't say man luck

In this case, free phrases can be compared

However, some phraseological units have variants

With all one's heart

With all one's soul

However, the existence of options does not mean. That in these phraseological units it is possible to arbitrarily update the composition.

Phraseological units are distinguished by reproducibility.

Unlike free phrases, which are built by us directly in speech, phraseological units are used in finished form, as they are fixed in the language, as our memory holds them.

So, saying "a bosom", we will definitely say "friend" (not pal, aquitance, other).

This indicates the predictability of the components of phraseological units.

Most phraseological units are characterized by

impenetrability of the structure: no elements can be arbitrarily included in their composition.

So, when using phraseology

Lares and penates hearth

Can't say

Very lares and penates, etc.

The exception is phraseological units, which allow the insertion of some clarifying words.

To learn one's lesson

To learn good lesson from something

The structural feature of individual phraseological units is the presence of a truncated form along with the full one.

A friend in need

A friend in need is a friend indeed

The reduction in the composition of a phraseological unit in such cases is explained by the desire to save speech means, but sometimes it leads to a complete rethinking and change in the meaning of a phraseological unit.

6. Phraseological units are characterized by the stability of the grammatical form of their components: each member of the phraseological combination is reproduced in a certain grammatical form, which cannot be arbitrarily changed.

That is, you cannot replace the plural forms with the singular and vice versa, the comparative degrees of the adjective, and so on.

Only in special cases are possible variations of grammatical forms in the composition of individual phraseological units. [D. Rosenthal.1999.36]

To gather up the thread(s)

To get into deep water

Most phraseological units are characterized by a strictly fixed word order.

A lay figure mannequin / not a figure lay

At the same time, phraseological units of the global type, that is, consisting of a verb and words dependent on it, allow for a rearrangement of components.

The heterogeneity of the structure of a number of phraseological units is explained by the fact that phraseology combines a rather motley language material, and the boundaries of some phraseological units are not clearly outlined.

Meanings of phraseological units

The term "phraseological meaning" was proposed in 1964 by A.V. Kunin and V.L. Arkhangelsk independently of each other. The existence of phraseological meaning as a linguistic category is the subject of discussion among researchers of phraseology. According to the theory of equivalence, phraseological units are assigned a lexical meaning, since, apart from their separate form, they do not differ significantly from the word in lexico-semantic terms, or, in any case, have a meaning in all respects similar to the lexical meaning of the word [Arutinova, 1989, p.50].

Proponents of phraseological meaning believe that the recognition of lexical meaning in phraseological units leads to a complete disregard for the structure of the expression. Phraseological meaning differs from the lexical meaning of a word by the originality of the reflection of objects, phenomena, properties of the surrounding reality, the peculiarities of motivating its meaning, the nature of the participation of components in the formation of the integral meaning of a phraseological unit.

Following A.V. Kunin and V.L. Arkhangelsky, we consider it legitimate to single out the phraseological meaning, which is understood as "an invariant of information expressed by semantically complicated, separately designed language units that are not formed according to generating structural-semantic models of variable combinations of words"

To understand phraseological rethinking, the concept of phraseological nomination is important.

The nomination is understood as "the process and result of naming, in which linguistic elements are correlated with the objects they designate"

The secondary lexical nomination of V.G. Gak and V.N. Teliya consider the use of nominative means already available in the language in a new function of naming. In their opinion, in the language "such secondary names are fixed, which are the most natural for the system of this language, ways of naming and make up for the missing nominative means" [Telia, 1986, p.38].

Undoubtedly, phraseological nomination has a number of features compared to lexical nomination. These features are primarily associated with the mechanism of phraseologization, which is studied in the theory of the onomasiological process. It distinguishes two main directions. According to one approach, the emergence of phraseological nomination seems to be a slow and gradual process, lasting for years until the acquisition of phraseological units of commonly used reproducibility (B.A. Larin, B.I. Roizenzon, S.G. Gavrin, A.V. Kunin, etc.). According to the second, this is a fast, one-act process, the work of the human brain, leading to materialization, fixing in the sound shell of a phrase combination of some relatively holistic ideal content (I.S. Toroptsev, Yu.A. Burmistrovich. Analyzing the complexity of phraseological nomination, in contrast to word nomination, A.V. Kunin explains it by the separate arrangement of phraseological units, the combination of words with different types of meanings, correlation with the phraseological prototype, the richness of the internal form and connotation. the fact that from phraseological units, which are already units of the secondary nomination, phraseological units-derevata are formed, the meanings of which are determined by the meanings of their phraseological prototypes.

The process of phraseological nomination is based on phraseological rethinking. Rethinking is one of the ways of cognizing reality in the human mind and is associated with the reproduction of real or imaginary features of reflected objects on the basis of establishing links between them. The rethinking technique lies in the fact that the old form is used for secondary or tertiary naming by transferring names and semantic information from the denotations of phraseological unit prototypes or phraseological variants, respectively, to the denotations of phraseological units or phraseosemantic variants [Kunin, 1990, p.101]. The most important types of rethinking are metaphor and metonymy.

As a metaphor, they understand "the mechanism of speech, which consists in the use of a word denoting a certain class of objects, phenomena, etc., to characterize or name an object that is part of another class of objects, similar to this one in any respect." In other words, a metaphor is the transfer of a name from one denotation to another, associated with it, on the basis of real and imaginary similarities.

Metaphor in context is easily recognizable because it cannot be taken literally. In a poetic metaphor, its main qualities are non-standard, the impossibility of replacing it with a figurative equivalent [Arnold, 1973, p. 99].

The existence of the metaphor mechanism allows using it to create new linguistic meanings, thus the metaphor turns from a figure of speech into a linguistic sign, which leads to the loss of the previous word or phrase and the acquisition of a new reference. For the productivity of a metaphor as a means of creating new names, the most characteristic parameter for a metaphor, its anthropometricity, plays an important role. It is expressed in the fact that the very choice of one or another basis for a metaphor is associated with a person’s ability to measure everything new for himself in his own image and likeness, or in terms of spatially perceived objects that a person deals with in practical activity [Teliya, 1996].

In general, in linguistic literature, the problem of metaphor has been considered for a long time, but if earlier it was perceived as a stylistic means or a means of nomination, then in the present tense, in connection with the development of cognitive science, metaphor is considered "a way of creating a linguistic picture of the world that arises as a result of cognitive manipulation of those already available in language with meanings in order to create new concepts" [Telia, 1988, p. 74]. In accordance with this understanding of metaphor, the process of idiom formation is the involvement of a combination of words in a metaphor based on the similarity of the meaning that underlies the nominative intention, and what is indicated by the combination of words in its "literal" meaning, and which, moreover, is included into a certain structure of knowledge about the world - some "script" or "frame". Phraseological units transmit information by "compressed means", expressing in an internal form the characteristic features of a certain situation fixed in the linguistic consciousness of native speakers of a given language and arising in the form of an image when pronouncing the sound envelope. In this regard, the phraseological unit is revived "(mar. "swimming along the loxodrome"; loxodrome is a line that crosses all the meridians at the same angle. A ship that goes all the time along the same course goes along the loxodrome. This navigation is not very difficult. ), the meaning of PU is "a simple, easy thing; trivia; as easy as shelling pears"; "take the wind out off smb's sails" (Mor. "to take away the wind" (to be on the windward side of a ship)), the meaning of PU is "to put someone in a hopeless situation; completely upset someone's plans; knock the ground out from under someone's feet."

"Yes", said Kemp, "that is plain sailing. Any schoolboy nowdays knows all that". (H.G. Wells, "The Invisible Man", ch.19).

The answer was so cool, so rich in bravado, that somehow it took the wind out of his sails. (Th.Dreiser, "Sister Carrie", ch. XXII)

An image created on a metaphorical basis is stable, in other words, a figurative metaphor is characteristic of phraseology. However, "the transition of a metaphor to the implementation of its secondary function of nomination excludes the semantic duality, that is, it ultimately leads to the death of the metaphor" [Arutinova, 1979, p. 54]. Nevertheless, phraseological units can be "deciphered" by restoring the comparison-similarity through which an idiom motivated on the basis of a metaphor passes. "Even in those cases where the connection between the two situations has been lost for centuries, the very fact of the existence of such a comparison is well known, and this only confirms the possibility of its restoration."

In addition to metaphorical rethinking, phraseological units can be based on metonymic rethinking. The mechanism of metonymic rethinking is the transfer of the names of phenomena, objects and their attributes according to their contiguity or, more broadly, according to their connection in space and time. Metonymy draws attention to an individual trait, allowing the addressee of the speech to identify the object, distinguish it from the area of the observed, distinguish it from other objects present with it (a metaphor usually gives an essential characteristic of the object). For example, "in dry dock" (mar. "in dry dock"), the value of phraseological units is "out of work; aground"; "a flag of distress" (mar. "distress flag"), the value of PU is "alarm sign ; distress signal";

June found herself in dry dock, and likely to remain there.(OED)

He has got consumption, poor fellow, though he doesn't know it... That flush of his cheeks is a very significant flag of distress.(SPI)

Unlike metaphor, which occupies mainly the position of a predicate in a sentence, metonymy is focused on the position of an object, which is associated with its identification function, carried out through the reference of a name. Therefore, metonymy is a shift in reference, while metaphor is a shift in meaning [Arutyunova, 1990].

Along with metaphorical and metonymic rethinking, the concept of internal form plays an important role in understanding phraseological meaning.

It is well known that our science owes the concept of "internal form" to the linguistic concept of W. von Humboldt, who considers the internal form to be a multifaceted phenomenon arising from the spirit of the people or national spiritual strength. Such a definition of the internal form received various interpretations in the future. First of all, the opposition of the internal form of the language to the internal form of language units arose, and the internal form of language units is understood by carved linguists in different ways. Some scientists [Potebnya, 1958; Gvozdarev, 1977] define the inner form as the closest etymological meaning of linguistic units, others consider the inner form "a contrasting feature that links the name with its source". According to V.V. Vinogradova, "the inner form of a word, the image underlying the meaning and use of a word, can decrease only against the background of that material and spiritual culture, that system of language, in the context of which a given word or combination of words arose or was transformed" [Arutyunova, 1990, p. . 75].

The internal form is aimed at recreating some significant connection for the purpose of secondary nomination or transmission of a system of connections (an integral situation), it also contributes to the emergence of associative connections in the mind. In addition, a typified situation, expressed by an internal form, carries "a certain holistic orientation, assigned to it by the supra-individual consciousness of previous generations, developed by social practice in the process of the historical development of this society" [Shmelev, 1988, p. 40].

Under the internal form of the phraseological unit of form, in other words, demotivation, leads to a violation of the derivational connection between the phraseological unit and its prototype due to the disappearance of the realia denoted by the term or distortion of the components.

Along with the concept of "internal form" for the formation of phraseological meaning, the concept of "phraseological imagery" is also important. According to A.A. A coral, linguistic image is a two-dimensional image created by means of a language, based on the expression of one object through another. Two image plans are described by many researchers: these are the defined and defining components of A.K. Dolinin), defined and defining parts (A.M. Melerovich), characterized and characterizing the components of imagery (O.A. Leontievich). Some scientists (for example, O.A. Leontyevich) include in the structure of the phraseological image a common feature that combines the phraseological meaning of the eponymous combination of words - tertium comparationis [Shmelev, 1988, p. 44].

The denotative component of meaning is understood as a part of the sign, reflecting in a generalized form objects and phenomena of extralinguistic reality. The denotative component is basically a concept that characterizes an extralinguistic object [Teliya, 1986, p. 104].

The significative component of the meaning correlates with a set of features that directly make up the content of the concept

The connotative aspect is "the stylistic coloring of phraseological units, their emotional and expressive side, that is, the attitude of a native speaker to extralinguistic entities, or an increase in the effectiveness of linguistic influence, devoid of an evaluative element." The connotative aspect is especially important for phraseological semantics, which is explained by the two-dimensionality of the semantic structure of all phraseological units built on figurative rethinking. Connotation can be considered as additional information in relation to the significative-denotative meaning, as a set of semantic layers, including evaluative, expressive, emotional and functional-stylistic components. At present, it is customary to note such an important function of phraseological meaning as connotative-culturological. The content of the latter is the relationship that exists between the figuratively motivated form of linguistic units and the culturally significant association included in it. The allocation of this function is connected with the understanding of phraseological units as "folk stereotypes": "phraseologisms arise in national languages on the basis of such a figurative representation of reality, which reflects the everyday-empirical, historical or spiritual experience of the language community, which is certainly connected with its cultural traditions, because the subject nominations and speech activity is always a subject of national culture" [Telia, 1986, p. 130].

In general, phraseological meaning is an extremely complex phenomenon and, of course, it cannot be considered as a mechanical sum of its components. The semantic structure of phraseological units can be represented as a microsystem, all elements of which are closely connected and interact with each other.

Classification of a phraseological unit in a literary text

The beginning of the typologies of phraseological units in Russian linguistics was laid by the works of Academician V.V. Vinogradov. According to N.N. Amosova, thanks to Vinogradov "phraseological units received a more reasonable definition, namely as lexical complexes with a special semantic originality" [Shansky, 1964, p.201].

Vinogradov, as you know, distinguished three types of phraseological units:

1. Phraseological fusions, or idioms - unmotivated units that act as equivalents of words.

2. Phraseological units are motivated units with a single integral meaning arising from the merging of the meanings of lexical components.

3. Phraseological combinations - phrases in which one of the components has a phraseologically related meaning, which manifests itself only in connection with a strictly defined range of concepts and their verbal designations [Vinogradov, 2004, p. 159].

Thus, in Vinogradov, the first two groups - fusion and unity - are separated from each other on the basis of the motivation of the phraseological unit, while the third group - phraseological combinations - on the basis of the limited compatibility of the word.

Phraseological expressions are understood as phrases that are stable in their composition and use, which are not only semantically articulated, but also consist entirely of words with a free meaning, for example, be afraid of wolves, do not go into the forest; not everything that glitters is gold, and so on [Shansky, 1964: 203].

A.I. Smirnitsky distinguishes phraseological units and idioms.

Phraseological units are stylistically neutral phrases that are devoid of metaphor or have lost it. Idioms are based on the transfer of meaning, on a metaphor clearly recognized by the speaker. Them feature is a bright stylistic coloration, a departure from the usual neutral style. Structurally, Smirnitsky divides phraseological units into one-top, two-top and multi-top, depending on the number of significant words [Smirnitsky, 2006, p. 127].

N.N. Amosova, using contextual analysis, distinguishes two types of phraseological units - phrasemes and idioms. A phrase is a unit of constant context in which the demonstrative minimum required to actualize the given meaning of a semantically realizable word is the only possible one, not variable, that is, constant. The second component is the index minimum for the first. Idioms, in contrast to phrases, are units of constant context in which the demonstrative minimum and the semantically realizable element normally form an identity and both are represented by the common lexical composition of the phrase. Idioms are characterized by a holistic meaning.

Amosova also singled out partially predicative phraseological units - phrases that contain the grammatically leading member - the antecedent - and the predicative unit that depends on it [Shansky, 1964, p.218].

S.G. Gavrin, approaching the study of phraseology in the Russian language from the standpoint of functional-semantic complicativity (complication), includes in the phraseology all stable combinations of words that meet the criteria of this very functional-semantic complicativity. Complicative tasks, according to Gavrin, include:

1. the task is to inform the combination of words of expressive-figurative qualities (expressive-figurative combinations of words);

2. task to localize a combination of words by truncation of some components (elliptical);

3. task to condense and systematize the results of human cognitive activity (epistemological) [Zolotova, 2000, p. 157].

Stylistic stratification of English phraseology

English phraseology is distinguished by a wealth of functional-stylistic and emotionally-expressive synonyms.

The stylistic coloring of phraseological units, as well as words, determines their consolidation in a certain style of speech.

At the same time, two groups of phraseological units are distinguished in the phraseology:

commonly used phraseological units that do not have a permanent connection with one or another functional style

functionally fixed phraseological units.

The first ones include, for example:

From time to time

Far and away much, much, much

They find application in both book and colloquial speech.

Unlike common vocabulary, which represents a very significant part of the English language and vocabulary, common phraseology occupies a modest place in the entire mass of English phraseological units in terms of the number of units.

Functionally fixed phraseological units are stylistically heterogeneous: their paradigms differ in the degree of expressiveness, expressiveness of emotional properties, etc.

The largest stylistic layer of phraseology is colloquial phraseology, which is used mainly in oral communication, and in writing - in fiction:

Up one's sleeves

To live in clover like buttered cheese

Phraseological units belonging to it are often given in explanatory dictionaries without stylistic marks, however, they still stand out against the background of commonly used phraseological units with a bright colloquial coloring, a slightly reduced, familiar tone in sound.

Colloquial phraseological units, as a rule, are figurative, which gives them a special expression, liveliness, brightness.

Their use in speech serves as a kind of counteraction speech stamps, office work.

Colloquial phraseology, which is generally close to colloquial, is more reduced.

To peek up one's nose

Rough-colloquial phraseology sounds even sharper.

It consists of swearing stable combinations, representing a gross violation of the language norm.

Book phraseology forms another stylistic layer.

It is used in book functional styles, mainly in writing.

In the composition of book phraseology stands out

scientific, which is a compound terms:

center of gravity

thyroid gland

school-leaving certificate

journalistic

people of good will

official business

take place

presumption of innocence

put into operation

There are much fewer book phraseological units in English than colloquial ones (out of 5000 phraseological units given in the "Phraseological Dictionary of the English Language" edited by John Blackmore, only 60 are marked "book".)

Among them are not only phraseological units proper, but also phraseological expressions from scientific, terminological and professional systems, used in a figurative sense:

Bring to naught/nothing

Lay it on thick

Phraseologisms that came into the language from socio-political, journalistic and fiction also have a book coloring:

Spirit of the law

The stylistic characteristic of phraseological means from the point of view of emotional and expressive deserves special attention.

All phraseology is divided into two groups:

neutral - not having connotative meanings.

expressively colored

There are few neutral phraseological units:

Open meeting

new year

Each other

And similar

They are part of the commonly used phraseology, which is not functionally fixed.

In addition, special phraseological units (scientific, official business), which have a clear functional attachment, are also devoid of additional connotative meanings:

Adam's apple Adam's apple

Punctuation marks

Length of service

The metaphorical use of many terminological combinations, which is accompanied by their determinology, changes their stylistic quality: they become expressive, like all figurative expressions:

If speaking about success in this region it is not a proper time to draw a line.

A large stylistic layer is made up of phraseological units with bright emotional and expressive coloring, which is due to their metaphorical nature, the use of various expressive means in them.

Phraseologisms of colloquial style are painted in familiar, playful, ironic, contemptuous tones:

Like a bolt from the blue

Chicken-heart wet chicken

Book phraseological units are characterized by a sublime, solemn sound:

To live this world

leave the mortal world

To blow up the bridge

Phraseological units as a means of creating a national character of a character in the prose of S. Maugham

The question of how to study idiomatic phraseology with its inherent cultural and national features as part of verbal and artistic creativity is complex. In literary works, speech differs significantly from both scientific and everyday, everyday, and serves to realize a certain emotional and artistic impact. The speech of literary characters, as a rule, is stylized and is characterized by a special selection of words and expressions, which, in turn, are means of artistic depiction of the protagonist of a literary work.

As you know, stylization involves imitation of the manner or style of speech typical of a given social environment or era. As V. V. Vinogradov (1971) pointed out, “fiction provides an aesthetically transformed reflection and reproduction of the “speech life” of the people in accordance with the socially conditioned aesthetic and ideological trends and methods of creativity that prevail in it in a given period.”

English literature, in particular the prose of S. Maugham, is one of the most influential and significant in the world.

Within the framework of linguoculturological analysis, ways of embodying elements of culture in the content of phraseological units-idioms and phraseological combinations (based on the literary texts of S. Maugham) are revealed, as well as determining the meaning of their cultural and national connotations, thanks to which phraseological units in the processes of their use reproduce the characterological features of the folk mentality.

In one of his essays, G. K. Chesterton wrote about the English character: “The English national character is like the sea – outwardly it is smooth and unruffled. Different colors and shades – English romanticism and subtlety of perception. And the fish – if I continue my metaphor – the emotions of the English trying to rise to the surface, but not knowing how.And occasionally we see a flying fish when this beauty soars into the air, on sunlight. English literature is this flying fish. It gives us an idea of the life that goes on day by day under the surface of the water, it proves that in the salty inhospitable depths of the "sea" there are emotions and beauty."

In the prose of S. Maugham, the following phraseological units (PU) are found, which serve as a characteristic of the characters:

1) book phraseological units: a chink in smb's armor - someone's weak, vulnerable spot, Achilles' heel, etc.;

2) colloquial phraseological units, which are used mainly in colloquial speech styles: box smb's ear (s) - give to smb. slap, slap someone crack, etc.;

3) common, or interstyle, phraseological units: at second hand - second-hand, etc.

According to expressive-emotional shades, i.e., according to the nature of the speaker's attitude to the phenomenon called, all phraseological units are also divided into three groups:

1) phraseological units expressing a positive assessment: a tower of strength - a reliable support, a person you can rely on; an angel of light - dear, beloved person; and etc.;

2) phraseological units expressing a negative assessment: the hub of the Universe - joke. the center of the universe, the navel of the Earth; with one's tail between one's legs - humiliated, humiliated, cowardly, with his tail between his legs, like a beaten dog, etc .;

3) phraseological units devoid of emotional and expressive shades: all and sundry - everything in a row, every one; on smb's account - for the sake of someone, because of someone; and etc.

Thus, in the prose of S. Maugham and its translations into Russian, we have identified various types, types and varieties of phraseological units, which indicates, firstly, that the phraseological systems of the Russian and English languages are comparable, although there is a clear linguistic and cultural specificity of many English phraseological units, which include certain national and cultural components, and secondly, that this writer widely uses phraseology in his works as an effective means of creating national character character. [Chesterton G. K. 1984. S. 242]

findings

Despite the complexity and versatility of the meanings and forms of phraseological units and the presence of some difficulties in using phraseological units in lively colloquial speech, they are perhaps the most striking tool for expressing human emotions of feelings.

The percentage of the presence of phraseological units in the language is closely related to the indicator of the development of the culture of a particular people, since phraseological units and their etymology are an expression of this very culture.

Traditions and customs are considered the unspoken founders of the emergence of phraseological units in speech.

But one cannot continue to use all phraseological units without exception in live colloquial speech. Many of them become obsolete over time and their use may seem ridiculous. This is especially true for those who study a foreign language.

The English language, in terms of the presence of phraseological units and phraseological units in its extensive system, is perhaps one of the richest. Phraseologisms occupy a huge layer in its structure. All events taking place in the UK are reflected in the phraseology: political life, sports, cultural events, everyday life - this is just an incomplete list of topics reflected in English phraseological units. Many become obsolete, but they are invariably replaced by new, lively, bright and witty ones. So, we can say with confidence that the phraseological system of the English language will develop every day, acquire new shapes, enrich itself and enrich inner world each individual inhabitant of Foggy Albion.

Literature

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21. Somerset Maugham "Favorites" M.: "Inyaz" 2006

Introduction 3
1. Theoretical aspects of studying the phenomenon of antonymy in English linguistics 7
1.1. The concept and types of antonyms 7
1.2. The category of conversion in the context of studying antonymy in English 18
2. Features of antonyms in the works of S. Maugham 28
2.1. Semantic Features antonyms in the stories of S. Maugham 28
2.2. Semantic features of antonyms in the novel by S. Maugham "Theatre" 48
Conclusion 56
References 59

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Introduction…………………………………………………………….3

Literary stylistic analysis…………………..4

Stylistic analysis of language means…………………………..5

Linguistic and stylistic features of the text……………….5

Structural and semantic features of the text………….8

Conclusion………………………………………………………..10

Bibliographic list…………………………………………11

Application…………………………………………………………..11

Introduction

Acquaintance with samples of English prose and poetry, the ability to read and understand fiction in the unity of content and form contribute to the holistic development of the individual, the formation of the spiritual world of man, the creation of conditions for the formation of his inner need for continuous improvement, in the realization of his creative potential.

In this regard, it is necessary to pay great attention to developing a deep understanding of a work of art and instilling the skills of its independent analysis.

William Somerset Maugham is one of the best foreign writers. The stylistic aspect of S. Maugham's work is an understudied area. Among the many wonderful works of S. Maugham, I have chosen the story "Rain" (original), since this story is a vivid example of the author's use of expressive means and stylistic devices.

Expressive means are used to enhance the expressiveness of the statement, their skillful use testifies to the skill and talent of the writer.

The object of the study is an excerpt from William Somerset Maugham's story "Rain" in the original (see Appendix).

The subject of the research is linguo-stylistic and structural-semantic means in an excerpt from the story "Rain" by S. Maugham (appendix).

The purpose of the study is to conduct a stylistic analysis of an excerpt from the story "Rain" by S. Maugham.

Consideration of the essence of the stylistic analysis of the text;

Determination of the functional characteristics of figurative and expressive means;

Carrying out a stylistic analysis of S. Maugham's story "Rain".

To solve the tasks set, research methods were used - analysis of educational literature, analysis of dictionary definitions, contextual analysis.

The practical significance of this work lies in the fact that the work can serve as a theoretical and practical material in the study of the stylistic aspect of S. Maugham's work, as well as in the interpretation of the English text.

This work consists of an introduction, two chapters, a conclusion, a glossary, a bibliography and an appendix.

Literary stylistic analysis

William Somerset Maugham's short story "Rain" was written in 1921. This novella was published in the April 1921 issue of the New York magazine Smart Set under the title "Miss Thompson". Included by the author in the collection "The Trembling of the Leaf", where she received the name "Rain" assigned to her. The story takes place immediately after the First World War.

main idea history is to attack religion. Maugham laughs about missionaries and their ideas and the idea of religion. It shows the real soul of the missionary of that time. Consider how Maugham's work is connected with time.

In 1917, Maugham was sent by British intelligence to Russia, to Petrograd, where he took part in a mission that was obviously doomed to failure, trying to prevent the Bolsheviks from coming to power. Subsequently, the writer spoke somewhat ironically about his activities at that time. There was a shift in Maugham's worldview after 1917. Most of Maugham's works are permeated with a sense of trouble in the social structure of modern Western civilization. This is the socio-critical trend in his work, but it is complicated, limited, infringed, sometimes crossed out by apoliticality, the concept of human loneliness and the idea of denying the meaning of life. The contradictions in Maugham's creative method are explained by the complexity of his worldview, in which uncompromising criticism of the foundations of morality, the decline of art and other social phenomena in bourgeois society coexists with conciliation, the rebellious rejection of philistinism is adjacent to the philistine exclusion from politics in the field of artistic creativity, and the position of aristocratic contempt for bourgeois commercialism is combined with the bourgeois idea of the struggle for existence.

In many of his works, Maugham depicted complex life conflicts, which, as a rule, turn out to be insoluble and bring only suffering to people. Maugham did not ignore the pressing problems of war and peace, colonial policy, interpreting them in the spirit of humanism.

All this indicates a clear connection between creativity and the literary movement of critical realism and naturalism.

Stylistic analysis of language means

Linguistic and stylistic features of the text

In integrity, this passage of the story (see appendix) consists of three parts. The first half of the paragraph is a description of nature (beaches, hills, trees), the second half is a description of Ms. Davidson, and the third is a dialogue between Ms. Davidson and Mr. McPhail.

On completion: the title of the story Rain is a symbol of rain. This symbol accompanies the reader throughout the story.

This text is characterized by absolute anthropocentricity, since the text is based on three centers: the author - the creator of the text; actors - images of the text, which are people; the reader acting as a "co-creator" of the text. The text is also inherent in sociology - on the one hand, its connection with a certain time, era, social structure of society, and on the other hand, the ability to independently perform social functions.

According to the degree of static - dynamism, the text in this passage is dynamic. Many verbs of motion are used.

Taken as a whole, there is tension as a result of the conflict between the missionaries and Miss Thompson. For many literary texts, it is typical to set the movement to such an end, the expectation of which gives tension to the perception of the text.

Imagery is inherent in any artistic text: metaphors (“he looked at it with greedy eyes”), expressive vocabulary(terribly difficult place) and a fairly large set of suffixes that serve to express emotions, characteristics, assessments (facetiously). Let's take a look at the features of this passage.

The metaphor "greedy eyes" means the doctor's love for land, for a hard surface. The doctor also refers to intelligent, sincere and good-natured people, such as Miss Thompson.

The epithets "silver beach", "luxuriant vegetation" vividly characterize the beauty of the wild landscape.

The epithets "prominent blue eyes", "her voice, metallic", "hard monotony", the metaphor "clamour of drill" and the comparisons "her face was long, like a sheep's", "it fell like pitiless clamour". These tropes show the author's attitude towards Mrs. Davidson - insincere and incapable of understanding other people with her soul, heart, cruel to Miss Thompson. Mrs Davidson is a missionary. Her phrase “we make the place so hot for them” only confirms this.

The metaphor “thin difficult smile” is the forced smile of a doctor. Maugham himself studied at the medical school at the hospital and here the author takes the position of Dr. McPhail.

All these paths show the author's attitude to nature: his passion for the beautiful wildlife of the islands being developed, his dislike for religion, for missionary work. The author took the position of people with a heart, with good soul. Therefore, in the confrontation between Mr. Davidson and Miss Thompson, the girl won.

Greedy (suffix -y) - greedy, gluttonous.

Gleaming (suffix -ing) - the churches shone brightly: the main symbol of religion, missionary work - the most important priority in the colonization of the island. The churches stand out against the backdrop of the beautiful, wild nature of the island.

Elaborately arranged (suffix -ly) - here the hidden irony of the author is “perfection itself” - the hair is styled perfectly. With everything else, she is not very good: face, voice, phrases.

Foolishness, alertness (stupidity, alertness, suffix -ness). Mrs. Davidson is a smart, cunning woman who will never do a foolish, reckless act.

Facetiously (jokingly, suffix -ly). Dr. McPhail, when dealing with this woman, keeps himself light, at ease. This suggests that he is also a smart person.

Thus, it is indicated that the Davidson missionaries are very intelligent, well-mannered people, but they are people without a soul, with a clear calculation, selfish. But Dr. McPhail is sensitive, very close to Ms. Thompson in character.

Structural and semantic features of the text

Syntactic style:

The sentences in the passage are predominantly common and complex. The sentences are complicated by the introductory words "of course", the introductory constructions "you know". Impersonal offer (Coral.).

There was a thin strip of silver beach rising quickly to hills covered to the top with luxuriant vegetation - syllepsis. In this case, a construction with heterogeneous connections of subordinate elements (rising… and covered…) with a common subordinate word strip.

And here and there gleaming white, a little church - the repetition of the word and and the sound "ere" expresses expressiveness, emotional impact on the reader of many churches. The author shows that religion is developing quite rapidly even on a sparsely populated island.

Functional style:

In general, this passage belongs to the sub-style of artistic prose, in which there is a synthesis of literary-bookish and familiar-colloquial means of the language.

The speech of the characters is a familiar-colloquial style.

Conclusion

The stylistic analysis of the text contributes to the ability to deeply understand and read fiction thoughtfully, which helps the comprehensive development of the individual and the formation of his spiritual world.

In the course of the stylistic analysis of an excerpt from William Somerset Maugham's story "Rain", I made the following conclusions:

1. Maugham's story "Rain" is of great interest for stylistic analysis, as it contains many expressive means and stylistic devices.

2. In his story, Maugham most often uses such stylistic devices as irony and epithet. They express the inner world of the characters, make the story more expressive and imaginative.

3. Other expressive means are also found in the story, such as comparison, metaphor, repetition and phraseological units.

4. The structure of the story consists of a plot, a climax and a denouement. Text exposition is missing.

All characters are very well drawn. The heroes of Maugham are unusually memorable. I love how he highlights the flaws in appearance - it makes the characters special. The images from the stories are vividly reflected in the imagination. Maugham knows how to make descriptions lively and not boring.

Glossary

pince-nez - pince-nez. Word of French origin

steamer - steamer

naval - naval

Full text of the dissertation abstract on the topic "Title as a semantic and compositional element of a literary text"

As a manuscript Bogdanova Oksana Yurievna

Title as a semantic-compositional element of a literary text

(Based on the material of the English language)

Specialty 10.02.04 - Germanic languages

Moscow 2009

The work was carried out at the Department of English, Faculty of Foreign Languages, Yaroslavl State Pedagogical University named after KD Ushinsky

Scientific supervisor doctor of philological sciences,

Professor

Blokh Mark Yakovlevich Official opponents Doctor of Philology,

Professor

Dzhioeva Alesya Alexandrovna

Candidate of Philological Sciences, Associate Professor

Samokhina Tatyana Sergeevna Leading organization State educational

institution of higher professional education "Moscow State Regional University"

The defense will take place on_ 200_ at_ hours at the meeting

Dissertation Council D 212 154 16 at the Moscow State Pedagogical University at 117571, Moscow, Vernadsky Avenue, 88, room 602

The dissertation can be found in the library of the Moscow Pedagogical State University at 119992,

Moscow, Malaya Pirogovskaya street, 1

Scientific Secretary of the Dissertation Council L. A. Muradova

GENERAL DESCRIPTION OF WORK

The dissertation under review is devoted to the study of the title of the text in order to establish its combat status. The study is conducted on the material of English-language fiction of the late 17th - 20th centuries

At present, there is an increase in interest in the grammar of the text and in the study of structural and semantic units included in its scope. This work meets the objectives of this area of research, we make an attempt to look at the titles from the position of a holistic text, in which the title acts as one of its constituent components.

The relevance of the topic is determined by its entry into the broad range of problems of the structure of the whole text, considered within the framework of three main perspectives: formal, general semantic, informational.

The purpose of the dissertation is to study the nature of the expression of the title as an element of the text associated with its content by complex polyfunctional relationships. In accordance with this goal, the following research objectives are formulated:

Consider the title as an integral semantic and compositional element of the text, which is a dictemic name of the text,

Analyze the structural and semantic features of the titles of works of English literature, their role in understanding the entire text, as well as trace changes in the structure of the title during the 17th-20th centuries;

The theoretical basis of the study is the theory of the dicteme structure of the text formulated and developed by Professor M. Ya Bloch. From these positions, the problem of the title of the text has not yet been studied, which should determine the novelty and theoretical significance of the expected results of the study. In the course of the study, we also relied on the scientific achievements of domestic and foreign scientists (IR. Galperin, A.I. Smirnitsky, I.V. Arnold, Z. Ya Turaeva, V A. Kukharenko, M. D. Kuznets, Yu M. Skrebnev, N D Arutyunova, V G. Gak, Yu N. Karaulov, V M. Ronginsky, Yu M Sergeeva, N. E. Bakharev, V S. Muzhev, B. I. Fominykh, MAK.

The material of the study was the texts of works of art by British authors of the late 17th-20th centuries (D. Defoe, G. Fielding, E. Radcliffe,

S. Richardson, T Smollett, L Stern, J Swift, J Austin, V Scot, O Wild, J Galsworthy, S Maugham and others) 263 works of fiction with a total volume of more than 85,450 pages were selected for analysis

The practical significance of the work is determined by the possibility of using the theoretical provisions of the study and the data of the analysis of language material in the relevant sections of training courses on the style of the English language, text linguistics, theoretical grammar, in the development of special courses and teaching aids, when writing term papers and theses, in the practical teaching of English

1. The title is directly included in the text and, as a rule, is one of its most essential semantic and compositional elements

2. The title can be formally expressed by a word, a phrase, a sentence, a whole statement, but in terms of its functions performed in the text, it is not equal to them, representing a dicteme of a special kind. The title is a dict name of the text

3 The originality of the dicteme in the title lies in the fact that, due to its structural and semantic features, it, as a rule, in a concentrated form gives an idea of the concept of the entire work, directly or indirectly reflecting the author's intention

4. The semantic content of the title is revealed by the reader retrospectively in the course of reading the text and, as a rule, does not coincide at the entrance to the text and at the exit from the text. Full understanding of the content of the title by the reader is achieved only after reading the entire work.

Approbation of work. On the topic of the dissertation, reports were made at scientific conferences of the YaGPU named after KD Ushinsky in 2004-2007. The main provisions of the dissertation are reflected in 5 publications with a total volume of 2.15 printed sheets.

The dissertation consists of an introduction, four chapters with conclusions and a conclusion. Lists of used scientific literature and dictionaries are attached to the dissertation

The introduction provides a substantiation of the topic, formulates the purpose and objectives of the study, provides the provisions submitted for defense, indicates the methods of analysis used in the study.

Chapter I "Text and its title" is devoted to the definition of the concept of "text" and the consideration of the title as an integral element of the text from the standpoint of the theory of the dictemic structure of the text

Chapter II "Structural and semantic features of the titles of works of art by British writers of the late 17th-20th centuries" examines the features of the close history of titles represented by various linguistic forms, namely, a proper name or

common noun, coordinating or subordinating phrase, syntactic phrase or sentence

Chapter III "The problem of the connection between the title and the content of the text" considers this problem from the point of view of revealing the semantic content of the title by the reader before and after reading the text.

Chapter IV "Titles-Symbols in English Literature of the 19th-20th Centuries" examines the problem of the symbol as one of the basic concepts of culture and discusses the most bright examples titles-symbols, by which it is possible to trace the connection of the title with the content of the text. a certain theme that unites all its parts into an informational unity. The elementary unit of text thematicization is the dicteme, which stands above the sentence and serves as a transitional link between the sentence and the whole text [Bloch-2008].

The title, as a rule, is one of the essential compositional elements of any literary text The title is associated primarily with the nomination

For the “title” nomination, the primary (main) basic lexicon denotes the title of the text of a certain information weight. This common sense the nomination “title” is opposed to the particular meaning of the nomination “title”. Usually, the title means the names of articles in periodicals, scientific journals, etc. And since the texts of works of art served as the material for studying this work, in further research, the title will be understood as the name of any work of art , which (the title), as a rule, implies the allocation of a certain semantic aspect of the work.

The title can be formally expressed by a word, a phrase, a sentence, a whole statement, but it is not equal to them, representing a special kind of dicteme.

The word (lexeme), as a rule, enters the language with its lexical specificity, being a nominative unit of the language, and directly names objects, phenomena and relations of the external world. The title, in the form of a word, due to its organic connection with the whole text, not only names the work, but also performs a number of other functions, primarily conceptual and meaningful and attractive.

The phrase is usually considered as a combination of full-valued words, which serves as part of a sentence with a complex name for objects,

phenomena and relations of the surrounding world [Vinogradov 1972] The title of the text in the form of a phrase is multidimensional in its semantic composition.

The sentence expresses (directly or indirectly) a judgment concerning some object (objects) The title in the form of a sentence, as a rule, to one degree or another concentrates the main idea of the work

The utterance is characterized by situationality and depends on the surrounding speech environment. The title in the form of a statement, as a rule, in a relatively expanded form, determines the ideological and content setting of the author

Based on the theory of dictemic organization of the text, formulated and developed by Professor M. Ya. Bloch, we believe that the title is directly included in the text, being its original peak, represented by a dicteme of a special kind. And since the title represents the author's work and is primarily his name, we determine title as a dict name of the text

There are four most important functional-sign aspects of speech in the dictem: nomination, predication, thematization and stylization [Bloch-

1984]. All these aspects of speech are also characteristic of the dictemic name of the text. The nomination of the title is realized through naming the title of everything

works The predication of the title is expressed in its dynamic relation to the text and through it to reality. Predicative meanings imply the presence of semantics in the dicteme name of the text, which is a field for the application of special functions for it, which will be discussed further. implications, if the title does not contain a sentence If the title is a word or phrase, then the predication is blurred, suspended

In a dicteme expressing a title, the nomination can imply the predication, and the predication, respectively, the nomination.

Through the dictemic name of the text, within the framework of the aspect of thematization, close and distant connections of parts of the text are realized. All types of information, namely factual, intellectual, emotive and impressive, are included in the aspect of thematization of the dicteme name of the text. power on the reader, reflects the attitude of "I" to "YOU / YOU" [Bloch, Kashurnikova

1985] The degree of impressiveness of the title is determined by the author's choice of appropriate expressive means. Stylization regulates the choice of linguistic means that supply the text with connotations for an adequate transfer of content.

Among the linguists involved in the study of the title, there are different opinions about the functions performed by the title in the text, their number and features. Taking into account these opinions and based on

our own observations, we distinguish the following three main functions of the title of literary texts

1) naming (naming),

2) conceptual and content;

3) attractive.

These functions are not equivalent in their importance for each specific title of each specific literary text.

The naming function is inherent in all titles without exception, since the dictemic name of the text names the work of art.

The conceptual and meaningful function of the title is fundamental from the point of view of the dictemic system. There are works without a plot, without an easily distinguishable theme, but there are no works without a concept. The author's intention is revealed through the plot and the characters of the characters, and the reader begins to comprehend the author's idea, on the contrary, in the course of getting acquainted with the content of the work The title, in this case, carries a large functional load, since it can fulfill its main purpose only in close connection with the fully completed text The title, as a rule, gives an idea of the concept of the whole work.

The process of revealing the concept of the work begins with the title and this happens through two types of semantic connection: centrifugal and centripetal (the concepts of centrifugal and centripetal™ were introduced into linguistics by Ya Wackernagel)

The title aims the reader at a certain semantic expression and this happens through a centrifugal type of connection. The reader comprehends the concept of a work after he has become familiar with the content of the entire text. this is the “reverse” pattern that unites the author’s idea and the reader’s understanding of it: the title acts as the starting point and “final instance” of the complex process of the reader’s understanding of the concept of the work. This statement can be represented in the form of two schemes

Title

A very expressively meaningful aspect of the conceptual-content function is presented in the titles of the works of the end

XVII-XVIII centuries, when detailed information in them was, in fact, an annotation to the subsequent text of the entire work. For example, the full title of Daniel Defoe's work "The Fortunes & Misfortunes of the Famous Moll Flanders Who was Born in Newgate, and during a Life of continu "d Variety for Threescore Years, besides her childhood, was Twelve Year a Whore, five times a Wife (where of once to her own Brother), Twelve Year a Thief, Eight Year a Transported Felon in Virginia, at last grew Rich , liv "d Honest, and dies a Penitent Written from her own Memorandums" ("The joys and sorrows of the famous Moll Flenders, who was born in Newgate Prison and for six decades of her varied life (not counting childhood) was a kept woman for twelve years, married five times (of which once to her brother), twelve years a thief, eight years an exile in Bir1Inin, but in the end she got rich, began to live honestly and died in repentance Written according to her own notes "(1722 d) orients the reader much more reliably than modern titles

The attractive function of the title is realized in attracting the attention and interest of the reader to reading a work of art, and in different cases it is expressed less vividly and more vividly. The attractive function is very clearly represented in the symbolic titles of the works of British writers of the 19th-20th centuries, such titles became a means of intriguing readers with their unusualness and surprise ("The White Monkey" ("White Monkey") J Galsworthy, "The Moon and Sixpence" ("The Moon and a penny") W.S. Maugham and others)

In the course of the study, in the second chapter, we reviewed and analyzed 234 works of art by British writers of the late 17th-20th centuries. Over the course of these centuries, the form of titles has changed. Each century is distinguished by its peculiarities in the use of titles.

In the early era of the development of fiction, titles as such did not yet exist. In the history of England, such outstanding works were created that did not allow titles, since they were transmitted orally from generation to generation, and only after the introduction of Christianity did the learned monks begin to write down various myths and legends. Thus, the epic poem "Beowulf" has come down to us in a manuscript of the 10th century. After the conquest of England by the Normans in the 11th - 13th centuries, a trilingual literature of the feudal world developed, church writings - in Latin, knightly poems and poems - in French, English traditions - in Anglo-Saxon. During this period, " The Cambridge Tales", which is a poetic anthology in the form of religious didactic, love and satirical songs. Also of note is "The Play of Adam" by St. Anselm of Canterbury (1093), "The History of the Kings of Britain" Geoffrey of Monmouth (1136), "Layamon's Brut" Layamon (1205) These works were chronicles and were mostly written in Latin Among chivalric romances, it is necessary to mention

"Havelock the Dane", dating back to the 1250-1300s historical events, mentioning in the names those personalities that were discussed

Among the few monuments of English literature of the 14th - 16th centuries is Geoffrey Chaucer's collection of verse stories and short stories "The Canterbury Tales" ("Canterbury Tales"), a prose retelling of the legends of knights " round table"in "Morte d" Arture" ("Death of Arthur") Sir Thomas Malory, "Utopia" ("Utopia") Sir Thomas More

Of the works of the late 16th-early 17th centuries, Shakespeare's works are very indicative, in terms of titles. He called the chronicle plays from the history of England by the names of the heroes-monarchs "King Henry UT" ("Henry VI"), "King Richard III" (" Richard III") Tragedies gave names by the names of the main characters "Hamlet" ("Hamlet"), "Othello" ("Othello"), "Romeo and Juliet" ("Romeo and Juliet") and others. Along with this, comedies appear, which give food for thought and are able to intrigue the reader by title. "The Taming of the Shrew" ("The Taming of the Shrew"), "A Midsummer Night's Dream" ("A Midsummer Night's Dream"), "Much Ado About Nothing" ("Much Ado About Nothing") and others.

Artistic prose of the late 17th-18th centuries approached documents in its linguistic features. Sometimes it resembles chronicles, and one of the most common forms was a diary. events: "The Life and Strange Surprising Adventures of Robinson Crusoe, of York, Mariner" (D Defoe), "A Journey Made in the Summer of 1794 through Holland and the Western Frontier of Germany" (A Radcliffe) and others. The long, common but lacking variety of titles show a dispassionate, business style Enlighteners, characteristic of that era According to IR Galperin, a common feature for many prose works of this period is “the specific nature of the refraction of the principle of narrative reliability” [Galperin. 1958, 377]

The titles of works of art by British authors of the 19th-20th centuries differ sharply from previous eras. Firstly, the content of the works has changed. A simple description of adventures ceased to interest writers. Secondly, the level of education of both writers and readers increased. Gradually, deeper works began to be created. The attention of writers, inspired by examples of outstanding personalities of the century, is riveted to a person and his fate.

The most common types of titles for literary texts of the period under review are simple two-part and simple “fixed” and “free” (context-elliptical)

one-part sentences containing a proper name or a common noun, as well as subordinating and coordinating phrases of full nominative power, represented by detailed substantive phrases [Bloch 2004,153]

A proper name as titles is found quite often out of 234 examples analyzed, 38 or 16% of them. Such titles were especially widespread in the 19th century (26 of the 81 titles examined or 32%), when the personality of the protagonist was in the center of attention of the writer and readership "" Oliver Twist", "David Copperfield" (Ch Dickens), "Emma" (J. Austen), "Jane Eyre" (Ch Bronte), "Romola" (G Eliot) which, according to the semantics of the subject, can be attributed to personal (“humacial”) sentences. The nominative aspect of the dicteme in such titles is expressed explicitly, the thematic and content characteristics of the dicteme name are presented implicitly. and author's objective and subjective characteristics of the main characters. However, due to the use of the name in the title own, the author achieves the realization of the value of the uniqueness of this title, as a single "representative" of the text

Titles, expressed by a proper name, are connected with the content of the text primarily by centrifugal connection, since the author determines in advance who the protagonist of the work, and gives the reader an orientation to this, and the reader mentally returns to the title more than once after reading in order to understand the concept of the work

The title, expressed as a common noun, becomes more common in the 20th century (22 out of 122 examples considered or 17%) "The Alteration" (K Amis), "The Enigma" (J Fowles), "The Summmg-Up" (W S Maugham ), etc. As can be seen from the examples, abstract nouns act as titles. But even nouns that have a certain specificity in their dictionary meaning acquire a shade of abstractness at the exit from the text in the novel "Island" A Huxley describes an ideal society, the life of the heroes of the novel "Theater "(W.S Maugham) becomes a theatrical game. The authors try to convey the main idea of the work through one word, concise and expressive at the same time. Such a title is not easy to choose, which makes it seem more successful the only word that accurately conveys the main idea of the author. With such a title, the author can point to the central character ( image), which in the context of the whole work can express its main theme. Titles expressed by a subordinate phrase, are the largest group of titles of works in English

fiction of the late XVII - XX centuries - 56% of the total

considered examples. Most titles are built according to the following grammatical patterns1

1 noun + preposition of + proper noun e.g. "The Picture of Dorian Gray" (O. Wilde) 19th century,

"The Ordeal of Gilbert Pinford"(E Waugh) XX century,

2 noun + preposition of + noun e.g. "The Return of the Native" (T Hardy) 19th century,

"A Woman of No Importance" (O. Wilde) 19th century,

"The Time of the Angels" (I. Murdoch) XX century,

3 adjective + noun

for example, "The Happy Prince", "The Devoted Friend" (O Wilde) XIX century The use of the possessive case in the titles of works of art has a number of significant features If nouns denoting inanimate objects are used as the first component of the possessive construction, then there is a rethinking and how would transfer the meaning to the area of animation "The Razor" s Edge "(WS. Maugham)," The French Lieutenant "s Woman" (J Fowles)

Such significant phrases, which are composite nominative-sign units and name a complex object or some combination of objects, in their nominative potential directly and directly correspond to sentences of optimal composition. A title of this type allows not only to present the main characters and display the storyline, but to explicitly express the intention The author's dicteme, representing this kind of titles, contains, first of all, "emotive information, associated with the direct expression of the author's feelings, and aesthetic information, which forms the aspect of the artistic and figurative expression of thought" [Bloch 2007]

The next type of titles is represented by the coordinative phrase Noun + conjunction and + noun for example. "The Moon and Sixpence" (W S Maugham) 20th century, "Nuns and Soldiers" (I Murdoch) 20th century, "Decline and Fall" (E Waugh) 20th century conflict of the work, opposition of heroes or central themes In addition to the implementation of a purely grammatical connection, the union "and" becomes a sign of the relationship of heroes, the relationship of events or themes of the work

In the 18th century, this form of titles was not popular among authors who preferred a mini-story about the plot as the title of a work. Nevertheless, already 6% of the considered titles of the 19th century are composing phrases.

This type of title was especially widespread only in the fiction of the 20th century (13 out of 122 analyzed

examples or 11%) Two concepts connected (or rather "disconnected") by the union "and" are sharp opposites. The real conflict is depicted in the novel "The Red and the Green" (I. Murdoch) - the war for the independence of Ireland against the English monarchy . In such titles, the subjective author's assessment is expressed. Emotive and impressive information contained in the dictem of this type of titles come to the fore, unlike other informational headings.

The use of syntactic constructions as a title is a fairly new phenomenon in English fiction. This small group of examples considered makes up only 3% of the total number (8 out of 234 titles analyzed) Many of them are allusions to famous works of past years. For example, "Under the Greenwood Tree" (T Hardy) - words from the English folk ballad, which the characters of Shakespeare's comedy "Twelfth Night, or What You Will" sing in the Forest of Arden - a kind of utopia "Under the green tree" - a patriarchal world isolated from the soot-covered city with its contrasts and contradictions, it seemed to the author that in search of an ideal one should not rush forward, one can be satisfied with a working, patriarchal life in the bosom of nature, “under a green tree”

An informed reader restores a phrase or statement from which one or another syntactic turn is taken, and the meaning of the title becomes clear to him, but at the same time only in close connection with the entire context of this work. Titles of this type have additional expressiveness

Titles represented by a sentence - a new type of title, which is a whole sentence with all its components - subject, predicate, secondary members. Among the analyzed examples of the title - sentences were found only in works belonging to the XX century, in general, their share in this period is 9% of the total number (11 out of 122 analyzed examples) for example - "Salt Is Living" (J В Priestley) XX century ,

"Time Must Have a Stop" (A Huxley) XX century Most often these are simple two-part sentences, where a personal pronoun occurs as a subject, giving the whole statement uncertainty, semantic understatement1 "They Walk in the City" (J В Pnestley), "I Want It Now" (K Amis) The reader's comprehension of the semantic content of the title occurs sequentially in the course of reading the work (retrospectively) Such sentences are rather typical of colloquial speech, and writers of the 20th century use them in works of art as one of the methods of increasing the expressiveness of the title and strengthening it semantic load

In the dictem presented in such titles, its most important functional and sign aspects of speech are revealed with the greatest force: nomination, predication, thematization and stylization. Offer,

presented in the dictemic name of a work of art, although it expresses a complete thought, but does not have semantic completeness Removal of semantic understatement occurs due to the context

All the above structural and semantic features of the titles of works of art by British writers of the late 17th-20th centuries can be represented in the following table

Structural and semantic features of the titles of works of art by British writers of the end of the 16th-19th centuries.

Structural-semantic \ features of titles \ General \ number \ of considered Authors \ titles

end of the 18th-18th centuries O.OeL)e 7 2 5

1Sheesh£ 5 1 4

A Yaskbe 6 6

in Scharchon 3 3

T.WTONEM 3 3

b 8(erne 3 3

Total number 31 6 25

in % 100% 19% 81%

19th century XAHYep 6 1 1 2 2

CL WIE 6 4 1 1

SILukepv 17 6 10 1

T Nagyou I 2 1 6 2

W, 81euep50p 8 2 1 5

\U.MLaskegu 6 2 1 3

O.HUME 12 10 2

Total QTY 81 26 7 41 5 2

in % 100% 32% 7% 51% 6% 3%

XX century K.Lpiz 12 1 6 2 3

J Eoltka 8 3 3 2

L Cabulogly 19 5 11 3

A Nix1ey 10 1 1 5 1 2

D.H. Lawrence 11 3 6 2

\V.8.Maikbarn 14 1 4 6 2 1

1.Moment(1axis 19 3 11 5

¿V.RpY1eu 15 2 8 1 4

E.\Vayub 14 1 9 2 2

Total number 122 6 22 64 13 6 I

in % 100% 5% 17% 53% 11% 5% 9%

late 17th-20th centuries Total number for 4 centuries 234 38 29 130 18 8 11

in % 100% 16% 12% 56% 8% 3% 5%

The text of a work of art, passing through several stages in its formation, cannot be semantically one-dimensional “In its formation and development, the text is revealed to us in its seven lives. The first life of the text (primary dictem) exists in the form of an idea, the second

The stage of processing, the fifth is the completion of the text in the course of its author's reading and rereading, the sixth is the reader's life, the seventh is the life of the text in discussions of its meaning and merits ”[Bloch 2006] Considering the fact that the title, as a rule, is an integral element of the text, and we consider the text not in isolation, but in its inseparable interaction with the title, we can assume that the title "lives" along with the text all its seven lives.

Reading a work of art is a kind of dialogue between the author and the reader. Therefore, we must consider the problem of a literary text from two sides - from the side of the message being presented, in the broadest sense of the word, and from the side of possible interpretations of the information contained in this message.

The process of "heading" the work of each author occurs individually (as a rule, almost always after the completion of the manuscript). The writer folds the work back into the title when it is already finished The reader, on the contrary, expands the semantic meaning of the title in the course of familiarization with the text of the work of art Only at the exit from the text can the title be fully understood by the reader

Indeed, the text is consistently revealed through its title, chapters, parts, dictemes, etc. through a centrifugal type of connection. The reader realizes why the author gave this particular name to the work, and not another, through a different type of connection - centripetal.

Reader's understanding of the text is based on "personal knowledge of native speakers, accumulating their previous individual

experience, attitudes and intentions, feelings and emotions” [Ushacheva 1998]. Based on the content of his individual conceptual system, a person is able to understand the idea of a work Understanding is a creative, active process The reader not only restores the author’s intentions, but in the course of reading, and possibly even at its completion, the text acquires new meanings for the reader “Feature of the sixth and seventh lives text (social life) is that this life can stop and resume again as the historical movement of the culture in which the text exists. Like the Phoenix, the text "burns" - dies in a faded interest in it - and rises from the ashes "[Bloch 2006] The text, once having arisen, gives rise to new possibilities for its perception and interpretation in the reader's world.

The title is a complex structural-semantic whole, including, along with the semantic factor, also emotional, psychological and social aspects. The title is primarily associated with the author's perspective, which is the idea that the author consistently sets out in the text. disclosure of the content of the text, it seems to us that it is not always directly related to the title of the text. The plot line should intrigue the reader by the very content of the text in terms of its psychological impact through the nature of its construction, and the title is primarily a form of attracting the reader to the very fact of his acquaintance with the text. In some works, the title only names the problem, the solution of which is given in the text. In others, the title is, as it were, the thesis of the text corpus itself. Often the title is only indirectly related to the content-conceptual information Sometimes the meaning of the title is veiled metaphorically or metonymically Thus, it should be noted that the semantic content of the title in the mind of the reader at the entrance to the text and at the exit from it, as a rule, does not coincide This is due to the process of comprehension in the course of its real reading (consecutive, selective, etc.) The semantic specificity of the title lies in the fact that it simultaneously concretizes and generalizes the meaning. The semantic features of the title are explained by its role in the work The title requires for its full realization the macrocontext of the entire work In its final, retrospective reading, the title can be an extremely capacious expression of the author's point of view

Symbolic titles are striking examples by which one can trace the connection between the title and the content of the text. In the course of the study, we selected 15 most significant works, in our opinion, in the titles of which symbols were identified.

The word “symbol” appeared quite a long time ago, it came to us from Greek and means “throwing, throwing”. Over time, its meanings have changed and transformed. Now we widely use

this word both in science and at the everyday level Everyone puts their own understanding of this concept, and often different critics see different symbols in the same work. Obviously, this is due to the polysemy of the term itself.

"The Shorter Oxford English Dictionary", among the main meanings of the "character", highlights a written character or mark used to represent something; figure or sign conventionally standing for object, process, etc "Longman dictionary of contemporary English" gives the following definition of "symbol" someone or something that people think of as representing a particular quality or idea. In our opinion, these definitions do not make a significant difference between a symbol and a sign. Meanwhile, a symbol is a special sign. A symbol is a sign that emphasizes the representative side of the nomination. The symbol is a sign with a specially emphasized nomination. The symbol is an underlined representative of the generalizing meaning of a certain functionally significant object. Once found by the author, the symbol is often repeated in different contexts and situations. The function of stable nomination of the object is assigned to the symbol

The appearance of titles-symbols in the titles of works of art occurred relatively recently - at the turn of the XIX-XX centuries. The eighties of the XIX century - this is the time when ten years have passed since the adoption of acts on universal primary education in Great Britain. the readership has been significantly updated, the book market has changed, the attitude of the writer to a work of art has changed. Writers began to worry about more important problems: the inner world and state of mind their heroes, their personality, character, fate The so-called short novel began to prevail, which required a careful selection of events and characters, mastery of intrigue, as well as a capacious but brief symbol in the title, capable of expressing the essence of the work and arousing reader interest. Works with similar titles covered the entire 20th century

There are various relationships and interactions between the title-symbol and the content of the work, therefore, the classification of titles-symbols is made depending on the nature of the connection between the symbol and the content of the work. The analyzed works were divided by us into several groups.

1 Works where the symbol indicated in the title is repeated many times throughout the work "The White Monkey", "The Silver Spoon" (J. Galsworthy), "Things" (D H Lawrence), "To the Lighthouse" (V Woolf), etc.

which are elements of the stylistic organization of the text, indicate the connection of the title with the text itself

2 Works where the symbol indicated in the title is never mentioned again in the work: "Pygmalion" (V. Shaw), "Point Counter Point" (L Huxley), etc.

Writers, concluding the main idea of their work in a short but capacious title-symbol, provide the reader with the opportunity to reflect on its meaning.

3 Works where the main symbol has both direct and figurative meaning: "Animal Farm" (G. Orwell), "Dangerous Corner" (J.B. Priestley),

"Decline and Fall" (E. Waugh), "The Lord of the Flies" (W Golding), "The Ebony Tower" (J Fowles) and others

Thus, despite its short form and isolated position in relation to the entire text, the title plays an important role, being, as a rule, a means of expressing the concept of a given text and represented by a special kind of dicte. The title is part of the whole text, an element that has a close semantic connection. with the whole text The results of the study allow us to consider that the title, as a rule, embodying the main idea of the text, reflects its semantic multidimensionality. , invested by the author in the title, becomes clear only after reading the entire work

The main provisions of this dissertation work are reflected in the following publications

1) Bogdanova O.Yu. Heading as an element of the text // Bulletin of the Kostroma State University. H.A. Nekrasov, No. 1 Volume 13 - Kostroma: Publishing house of KGU im. H.A. Nekrasova, 2007. -

with. 116-119, 03 p.s.

2) Bogdanova O.Yu. Semantic and grammatical features of the title of a literary text (on the material of the English language) // Bulletin of the Kostroma State University. H.A. Nekrasov, No. 3 Volume 14 - Kostroma: Publishing house of KGU im. H.A. Nekrasov, 2008.-p. 117-121, 0.4 p.l.

3) Bogdanova 010 Linguistic and stylistic analysis of the title as an element of the English text // Yaroslavl Pedagogical Bulletin, No. 1 (46) - Yaroslavl. Publishing House of YaGPU named after KD Ushinsky, 2006. - from 104 -110, 0.75 p l

4) Bogdanova O Yu, Apaeva L I Functions and means of expressiveness of the headings of the English-language media // Language and society Dialogue of cultures and traditions Collection of materials of the international scientific conference "Readings of Ushinsky" -

Yaroslavl - Publishing House of YaGPU named after KD Ushinsky, 2006 - p.59 - 62, 0.2 p l. (Authorship is not divided) 5) Bogdanova O Yu. K D Ushinsky, 2007. -p.52-56, 0.5 sq.

Signed to print 18 02 2009 Volume 1 p l Order No. 26 Tyr 100 zkz Printing house Mill U

CHAPTER I. TEXT AND ITS TITLE 8

1. Structure of theme 8

2. Title - diktemic name tea 14

CONCLUSIONS to the first chapter 24

CHAPTER II. STRUCTURAL AND SEMANTIC FEATURES OF TITLES OF ART WORKS OF BRITISH WRITERS OF THE END OF THE 17th-20th centuries 26

1. Nominal and common noun in the titles of works of art by British authors of the late 17th-20th centuries 29

2. Subordinating and subordinating counters in the titles of works of art with shaved birds of the late 17th-20th centuries 34

3. Syntactic turns in the titles of works of art by British writers of the late XVII-XX centuries 43

4. Titles of works of art by British authors of the late 17th-20th centuries. in the form of a proposal 45

CONCLUSIONS to the second chapter 49

CHAPTER III. THE PROBLEM OF RELATIONSHIP OF THE TITLE WITH THE CONTENT

CONCLUSIONS to the third chapter 66

CHAPTER IV. TITLE-SYMBOLS IN ENGLISH LITERATURE OF THE XIX-XX CENTURIES 68

1. The appearance of titles of characters in English literature 68

2. Clification of character titles 73

2.1. Multiple use of the ox indicated in the title74

2.2. Symbols used only in the title of a work 87

2.3. Headings with direct and variable meaning, realizing both meanings in the work 95

CONCLUSIONS to the fourth chapter 111

Dissertation Introduction 2009, abstract on philology, Bogdanova, Oksana Yurievna

This work is devoted to the study of the title of the text in order to establish its combat status. The study is conducted on the material of English-language fiction of the late 17th - 20th centuries.

At present, there is an increase in interest in the grammar of the text and in the study of structural and semantic units included in its scope. This work meets the objectives of this area of research: we make an attempt to look at titles from the position of a holistic text, in which the title acts as one of its constituent components.

The purpose of the dissertation is to study the nature of the expression of the title as an integral unit of the text, associated with its content by complex multifunctional relationships. In accordance with this goal, the following research objectives are formulated:

Consider the title as an integral semantic and compositional element of the text, which is a dictemic name of the text;

Investigate the problem of the connection between the title and the content of the text;

To reveal the specificity of titles-symbols as elements of the texts of works from the point of view of their special semantic and artistic and expressive role.

The main research method is the method of dictemic text analysis. To solve the tasks set, a complex methodology is used: the continuous sampling method, the statistical method, the method of component, conceptual, comparative analysis, the method of linguistic description.

The theoretical basis of the study is formulated and developed by Professor M.Ya. Bloch's theory of the dictemic structure of the text. From these positions, the problem of the title of the text has not yet been studied, which should determine the novelty and theoretical significance of the expected results of the study. In the course of the study, we also relied on the scientific achievements of domestic and foreign scientists (I.R. Galperin, A.I. Smirnitsky, I.V. Arnold, Z.Ya. Turaeva, V.A. Kukharenko, M.D. Kuznets, M. Skrebnev, N. D. Arutyunova, V. G. Gak, Y. N. Karaulov, V. M. Ronginsky, Y. M. Sergeeva, N. E. Bakharev, V. S. Muzhev, B. I. Fominykh , M.A.K. Halliday, J.R. Dominick and others).

The material of the study was the texts of works of art by British authors of the late 17th-20th centuries. (D. Defoe, G. Fielding, E. Radcliffe, S. Richardson, T. Smollett, L. Stern, J. Swift, J. Austin, V. Scott, O. Wilde, J. Galsworthy, S. Maugham and others .). 263 works of art with a total volume of more than 85,450 pages were selected for analysis.

The practical significance of the work is determined by the possibility of using the theoretical provisions of the study and the data of the analysis of language material in the relevant sections of the training courses on the style of the English language, text linguistics, theoretical grammar; in the development of special courses and teaching aids; when writing term papers and theses; in practical teaching of English.

Provisions for defense:

1. The title is directly included in the text and, as a rule, is one of its most essential semantic compositional elements.

3. The peculiarity of the dicteme in the title lies in the fact that, due to its structural and semantic features, it usually gives an idea of the concept of the entire work in a concentrated form, directly or indirectly reflecting the author's intention.

4. The semantic content of the title is revealed by the reader retrospectively in the course of reading the text and, as a rule, does not coincide at the entrance to the text and at the exit from the text. A complete understanding of the content of the title by the reader is achieved only after reading the entire work.

Approbation of work. On the topic of the study, reports were made at scientific conferences of the YaGPU named after. K.D. Ushinsky in 2004 -2007. The main provisions of the dissertation are reflected in 5 publications with a total volume of 2.15 printed sheets.

The dissertation consists of an introduction, four chapters with conclusions and a conclusion. Lists of used scientific literature and dictionaries are attached to the dissertation.

Conclusion of scientific work dissertation on the topic "Title as a semantic and compositional element of a literary text"

Conclusions to the third chapter

1. The title, being an integral element of the text, "lives" along with the text all its seven lives, starting with the first life (primary dictem), existing in the form of an idea, and ending with the seventh life in discussions of its meaning and merits.

2. The title is a complex structural-semantic whole, including, along with the semantic factor, also emotional, psychological and social aspects. The title, first of all, is associated with the author's perspective, which is the idea that the author consistently sets out in the text. As for the storyline, it is not directly related to the title of the text. The plot line should intrigue the reader by the very content of the text in terms of its psychological impact through the nature of its construction, and the title is primarily a form of attracting the reader to the very fact of his acquaintance with the text.

3. The title of a work of art, as a rule, implies the allocation of a certain semantic aspect of this work.

4. The semantic content of the title is revealed by the reader retrospectively in the course of reading the text and, as a rule, does not coincide at the entrance to the text and at the exit from the text. This is due to the process of comprehension in the course of its real reading (consecutive, selective, etc.). A complete understanding of the content of the title by the reader is achieved only after reading the entire work.

5. The semantic specificity of the title lies in the fact that both concretization and generalization of meaning are simultaneously carried out in it. The title requires for its full realization of the macrocontext of the entire work.

6. The title, in its retrospective reading, as a rule, can be an extremely capacious expression of the author's point of view.

7. The titles of the literary works of British authors of the late 17th - 20th centuries analyzed in this paper emphasize the semantic aspect of the work to varying degrees. Basically they just call actor works. However, in the titles of some works (especially of the 19th century), writers could indicate not only the name of the character, but also emphasize the features inherent in the hero. The indication in the title of the place where the action takes place is often important for the writer, since the name of this place often turns into a symbol of the work, expressing its main idea. Revealing the plot in the title of the work, the authors first of all expect to draw the reader's attention to their creations, if possible, to intrigue with the unusualness and originality of the content. Writers of the 18th century made special efforts to this end. In the XIX - XX centuries, the titles of the analyzed works, as a rule, to one degree or another reflect the main idea of the author and thus serve to understand the author's intention. In the 20th century, titles expressing the main idea of a work become the dominant type of all the examples considered.

Chapter 4

1. The appearance of titles - characters in English

National and cultural features of phraseological units on the example of Maugham's works. Scientific work on the topic: "Metaphors in the stories of Arthur Conan Doyle and Somerset Maugham"

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Dissertation Introduction 2009, abstract on philology, Bogdanova, Oksana Yurievna

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