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Головна Філологічні науки → Лінгвостилістичні особливості морської прози Дж.Конрада

обозначить актуализированные лексико-стилистические явления в создании художественного образа (метафора, сравнение, персонификация, символ и др.) в описательных контекстах романов и представить их структуру по непосредственно составляющим. Это дало возможность раскрыть взаимодействие между синкретизмом выделенных лексических единиц и контаминацией стилистических средств, создающих художественную синестезию текста, а также углубить понимание их природы, определить соотношения между другими стилистически маркированными элементами, как, например, символа и словесно-художественного образа, в чем наиболее ярко проявляется единство подхода к исследованию произведения с широких филологических позиций. Системно-комплексное исследование языка и стиля впервые проведено на семантическом, метасемиотическом и мета-метасемиотическом уровнях и осуществлено поступательно: от слова к образу, от образа к символу, от символа к формализованной репрезентации анализа, представленного графически в двух моделях — инвариантной и комплексной. Ключевые слова-символы sea, ship, sky, sun лежат в основе построения лексико-стилистической модели как графического варианта художественной ситуации благодаря тематической и смысловой целостности, единства места и времени описываемых событий и явлений.

Ключевые слова: системность, лексико-тематическое поле (группа), жанр, художественный образ, семантический (мета-, метасемиотический) уровень, синкретизм, контаминация, символ, модель.

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Yakovleva I.V. Linguostylistic Peculiarities of J.Conrad's Sea Novels. — Manuscript.

A dissertation submitted for the academic degree of candidate in Philology; speciality 10.02.04 — Germanic languages. — Ivan Franko L'viv National University. L'viv, 2003.

Josef Conrad (1857-1924), an outstanding English writer, was born in Ukraine near Zhytomir of the Polish parents, and he left Ukraine at the age of fifteen. Conrad, a seaman and writer, published more than fifty books, numerous stories and essays; he is popular all over the world. The Conradian Society is an organizing centre of researchers-conradists. However, it is a conspicuous fact that among thousands of articles written on Conrad's creative works, one can hardly find special studies dealing with his language and style. In view of this the dissertation aims at providing a complex analysis of linguostylistic peculiarities of five Conrad's well-known novels: "The Nigger of the Narcissus" (1897), "Lord Jim" (1900), "Typhoon" (1903), "Nostromo" (1904), "The Mirror of the Sea" (1906). Fragments from other six works are used for additional illustration. The goal of this investigation is to reveal how the author's ideas are conveyed through language and its specific functioning in fiction for obtaining aesthetic values.

In "Theoretical Preliminaries" (Chapter I) a rather detailed survey of works tackling problems of the systematic character of language, understanding of imagery and genre peculiarities in a work of fiction was suggested. Problems concerning the choice of words and their organization into a message are at the centre of Chapter II, the particular emphasis being laid on the establishing correlations between the creative concepts of the author and the language, presented as a system. It is a well-established fact that literary works with the same source of inspiration, genre belonging, thematic homogeneity must have much in common in the way of their vocabulary and style, though with differences in structure and composition. We have taken it as a working hypothesis and a two-stage procedure for singling out the groups of words with common denotative meanings was applied. They made up certain thematic zones with constant lexical units within them. Then on the basis of the reiteration of high frequency words they were united into separate thematic fields (groups), which proved most representative against the background of other lexico-thematic units. As a result, four main lexico-thematic fields have been defined. They are: Seafaring, Weather, Land/Seascape, Exoticisms. As essential lexical elements of realistic descriptions these lexico-thematic fields closely interact with one another accounting for syncretism of their functioning.

These lexical units are also widely used with different connotative meanings, creating images and symbols in the descriptive passages of the novels. Their image-bearing and connotative meanings were analyzed on meta- and meta-metasemiotic levels in Chapter III. The analysis dealt with a) transference of direct meanings of words into metaphorical ones; b) transforming images into notions and ideas (symbols) evoked by them, allowing for a variety of opinions on the part of literary critiques; c) presenting metaphorical structures in terms of their T-R relations and immediate constituents. A most conspicuous feature of Conrad's prose is the convergence of different stylistic devices, especially an organic interaction of similes and metaphors in creating an integral artistic image and symbol. The actualization of four lexemes: sea, ship, sky, sun which, as a rule, are used simultaneously makes them central images in conveying content-factual and content-conceptual information. They become key-words in all the novels, being realized on semantic, meta- and meta-metasemiotic levels. On this basis situationally oriented models of two kinds — invariant and complex — were made up and presented graphically.

Thus the complex linguostylistic analysis of Conrad's works is a complete meaningful investigation carried out in a consecutive logical order: a word—an image—a symbol—a situational model.

Key-words: system, lexico-semantic group, genre, image, semiotic, (meta-, metasemiotic) level, syncretism, convergence, symbol, model.





Підписано до друку 30.01.2003 р. Формат 60x84/16

Тираж 100 прим. Зам. № 97

Віддруковано з оригіналів замовника

Видавництво Тернопільського державного

педагогічного університету імені Володимира Гнатюка




* Дж. Конрад сам охарактеризував предмет, цілі та метод своєї літературної праці: "Everything can be found at sea, according to the spirit of your quest-strife: peace, romance, naturalism of the most profound kind, ideals, boredom, disgust, inspiration — and every conceivable opportunity, including the opportunity to make a fool of yourself — exactly as in the pursuit of literature" (A Personal Record).