Silence, aposiopesis, aposiopesis. Default figure Default figure

DEFAULT FIGURE

omission, omission, understatement

Synonyms of the Russian language. 2012

2008.

Synonyms See what a “Default Figure” is in other dictionaries: default figure

- understatement, silence, reticence, reticence, omission Dictionary of Russian synonyms. figure of default noun, number of synonyms: 6 reticence (7) ... Synonym dictionary

Synonyms Default figure - Book Iron. What's l. about? unspoken, unspoken. BTS, 1421…

Synonyms- see default... Dictionary of linguistic terms

- 1) One of the rhetorical figures; deliberate omission, hint. 2) iron. What's l. about? unsaid, unspoken... Dictionary of many expressions figure

- 1) One of the rhetorical figures; deliberate omission, hint. 2) iron. What's l. about? unsaid, unspoken...- FIGURE, figures, women. (lat. figura view). 1. The external outline, appearance, shape of something (obsolete). Figure of the earth (mat., astr.). 2. In geometry, a part of a plane bounded by a closed broken or curved line, as well as a collection in general, is definitely ... ... Ushakov's Explanatory Dictionary

- y, w. figure f., German Figure, lat. figura appearance, image. 1. outdated Shape, outline of something. BAS 1. And how those chambers were made and that dissection we will show in the tetrat about all sorts of figures. AK 1 124. Figures. Styles. Cantemir Op. 2 421. What kind of... ...- noun, f., used often Morphology: (no) what? figures, what? figure, (see) what? figure, what? figure, about what? about the figure; pl. What? figures, (no) what? figures, what? figures, (see) what? figures, what? figures, about what? about figures 1. Geometric... ... Large dictionary of Russian sayings

- 1) One of the rhetorical figures; deliberate omission, hint. 2) iron. What's l. about? unsaid, unspoken...- s; and. (lat. figura) see also. figure 1) a) math. Part of a plane bounded by a closed line; a collection of points, lines, surfaces or bodies arranged in a certain way. Geometric shapes (triangle, parallelogram, cone, etc.) ... Dictionary of linguistic terms

- 1) One of the rhetorical figures; deliberate omission, hint. 2) iron. What's l. about? unsaid, unspoken...- s; and. [lat. figura] 1. Math. Part of a plane bounded by a closed line; a collection of points, lines, surfaces or bodies arranged in a certain way. Geometric shapes (triangle, parallelogram, cone, etc.). // Location… … encyclopedic Dictionary

Books

17 left boots, Michalsky V.. The novel “17 left boots” (1964-1966) was first published in the Dagestan book publishing house in 1967. It was the first novel of a young prose writer, but it already carried such generic features of prose... Buy for 396 RUR
17left boots, Vaclav Vaclavovich Michalsky. The novel “17 Left Boots” (1964–1966) was first published in the Dagestan book publishing house in 1967. It was the first novel of the young prose writer, but it already carried such generic features of prose...

;n -by RUSSIAN ACADEMY OF SCIENCES

INSTITUTE OF THE RUSSIAN LANGUAGE

As a manuscript

GRUZDEVA Elena Aadtkovna DEFAULT FIGURE, ITS TYPES AND FUNCTIONS IN THE LANGUAGE OF RUSSIAN PROSE (Specialty 02/10/01 - "Russian language")

Moscow - 1993

The work was carried out in the sector of stylistics and language of fiction of the Institute of Russian Language of the Russian Academy of Sciences

Scientific supervisor Doctor of Philology, Professor JL A. Sheikov

Official opponents: Doctor of Philological Sciences E. P. Vompersky Candidate of Philological Sciences S. XI Preobrazhensky

The leading scientific institution is the Department of Russian Language of the Moscow ■ Regional Pedagogical Institute named after. E. K. Krupskaya

The dissertation defense will take place in 1993.

at the 8th meeting of the specialized council (D 002.19.01) at the Institute of Russian Language of the Russian Academy of Sciences (Moscow, Volkhonka, 18/2)

The dissertation can be found in the library of the Institute of Russian Language of the Russian Academy of Sciences

Scientific Secretary of the Specialized Council Doctor of Philology

and E Belousov

GENERAL CHARACTERISTICS OF THE DISSERTATION

The object of research in the dissertation is the figure of default (FU) in the science of the language of fiction, its role in the text, and such types and methods of syntactic implementation. Our term Figure of Default is taken from rhetoric, but the content put into it is much broader than rhetorical: these are semantic breaks, lacunae, accompanied by incompleteness of syntactic structures, allowing interpretation with varying degrees of probability when referring to the micro- or macrocantext. thus creating the aesthetic effect of a “fluctuating semantic prianak” (KHN. Tynyanov) and polysemy, which help to arouse the reader’s interest and involve him in co-creation with the author.

The history of studying FU is long. This problem in its various aspects was the subject of interest in several areas of knowledge: rhetoric, and then poetics and stylistics (as a figurative means, a figure). syntax C as incomplete, elliptical and broken sentences). general linguistics (as part of the general problem of silence within the framework of the theory of speech acts and an element of zero theory). It should be noted that studies of silence from different points of view are carried out in parallel and practically do not overlap. All this led to the objective of the dissertation - to summarize the accumulated knowledge about the figure of silence, thus creating the foundations of a general theory of the figure of silence as a poetic device, actively used in artistic written work approximately from the middle of the 19th century.

The purpose of this study is to attempt to determine the figure of silence as a constructive component of a literary text.

The objectives of this work can be formulated as follows:

Define FU. identifying the characteristic features and features that distinguish it from other visual means of literary text;

Consider ways of constructing the technique under study in the syntax of the text and, based on this, establish options for its possible structure.

Determine the place of FU in the system of figurative means of language, which. will certainly be unusual, since silence has the properties of both a figure and a trope, occupying an intermediate position between them;

Determine in which types of speech FU functions most actively, establish the reasons for its uneven use in literary texts;

Characterize the types of default figures depending on their role in the text and participation in the composition of the work;

Identify the main functions performed by No. in a literary text, as well as private functions manifested in the formation of the character’s oral speech and his internal monologues.

But the significance of the dissertation research is determined by the set goals and objectives and lies in the fact that this is not the first time that the phenomenon of silence is considered comprehensively, as a poetic device in the language of fiction, for which an analysis of literary texts of the 19th-20th centuries is carried out. in order to build a typology and identify the evolution of FU during this period of time.

The following research methods are used:

Descriptive-logical (inductive and deductive), comparison of different interpretations of the default figure in different fields of science and in different eras;

System and component analysis, which serves to establish various syntactic models of FU;

The method of semantic and modal explication (interpretation) of a figure of silence from the point of view of identifying or interpreting semantic gaps;

Direct text analysis to detect examples of financial statements.

Prose works of 19th century authors were used as research material: a Leskov, K. V. Gogol and F.Y. Dostoevsky - due to the originality and psychologism of the narrative).

Among the literary works of the 20th century, the most fertile ground for work was provided by the texts of the works of Andrei Bely, the founder of the “new prose”, the distinctive feature of which is the so-called sensefulness, which begins in the increased imagery of the text, its rhythm, musicality, and the clarity of the prose to the stzp. in keeping with the text. In addition, the nature of Andrei Bely’s prose is very close, and sometimes identical, to the nature of the literature of the “stream of consciousness” and is one of the convincing evidence of the general tendency of penetration into the art of inner speech as a phenomenon that is qualitatively different from oral speech, which determined the presence in the works. a large number of unexplored techniques, including the figure studied in this work. The tag® works of E. Zamyatin, B. Pilnyak, A. Remizov are analyzed.

"The georhetical and ractic significance of the dissertation research lies in the fact that it provides a complete and detailed definition of the default figure, describes the identified varieties, characterizes functions performed in a literary text and options for syntactic implementation.

The results obtained can be used:

When writing theoretical works on rhetoric with the aim of recreating the cultural and rhetorical tradition;

When reading theoretical courses in stylistics, linguistic poetics, rhetoric and speech culture;

When writing textbooks, manuals, training programs on rhetoric, stylistics, poetics and speech culture.

The structure of the dissertation is determined by the tasks set in it. The dissertation consists of an introduction, a track of chapters and a conclusion.

Approbation of work. The dissertation was discussed at a meeting of the department of stylistics and language of fiction at the Institute of Russian Language of the Russian Academy of Sciences. Separate. the provisions of the dissertation research were set out in reports read by the author on.-

1) XXIV Scientific-Theoretical Conference of Young Scientists and Specialists of the Faculty of History and Philology of the Peoples' Friendship University named after. Patrice Lumumba in 1990;

2) Annual traditional research conference in Astrakhan (section of general linguistics and stylistics) in 1991.

The introduction provides a general description of the work, defines the purpose of the study and its main objectives. Here the relevance of the tasks posed is substantiated and the novelty of the work is determined, the characteristics of the linguistic object of the study are given and the main methods by which it was carried out are listed. In addition, the introduction indicates the theoretical and practical significance of the dissertation research and describes the structure of the essay itself.

In the first chapter, “Definition of the figure of default, its types and functions. Three figures of default in the system of figurative means of language,” the figure of default is examined from the point of view of various areas of knowledge where it was the object of research.

In rhetoric (ancient and Russian), a figure of silence is understood as the omission of words, restored from the context, or as the omission of the end of a phrase to express the transfer of strong emotions and relying on the listener’s guess. Neskolyso views the essence of the figure of silence differently in the so-called “new rhetoric.” The authors identify here four forms of implementation of the rhetorical function (metaboles), which make it possible to clearly define the area of rhetorical analysis, extending from the differential features of phonemes and graphemes (metaplasm), semes (metasemes) to discourse (meta-taxis) and the extralinguistic area of traditional “figures of thought” (metalogisms).

7 - - ....... "

2 “gura of silence has its place in this classification. It refers to substantive (reducing changes in the disposition of discourse) rhetorical operations and consists of a complete reduction in terms of content at the level of metalogisms.

The authors distinguish between the figure of default and ellipsis. which, in their opinion, is an analogue of FU at the metaseme level. Silence is taking the reduction (litotes) to the limit, the complete elimination of the language code. If litotes is a partial omission of characters, then omission is a complete omission of signs. Thus, it opens the way to various guesses,<. и позволяет получателю сообщения добавлять если не знаки, то се!,а. выбор которых является произвольным. Конечно, обращение к контексту может в некоторых случаях подсказать, катая последовательность 8нагсов была опущена, и тогда ее можно восстановить. Однако чаще всего ФУ обретает свое вначение на фойе фактического состояния вещей, о котором она ничего не сообщает. Существует три разновидности ФУ: сбрыз, пауза, приостановка. Говорящей отказызазтся от всякого употребления языкового кода и отдает предпочтен;:« молчанию. Оно выступает гак отказ от всякой фигуры и па зтсм основании само является фигурой (Дюбуа).

The figure of silence has also found its place among the figurative means identified and described by literary theory and stylistics, where silence is interpreted from the point of view of its Functioning not in oral speech (as in rhetoric), but in written speech, and specifically in figurative text.

In modern literary criticism and stylistics, the phenomenon of silence and silence as a stylistic device (a figure of silence) does not have a generally accepted interpretation. The Concise Literary Encyclopedia gives four meanings of the term omission-.

1) understatement of phrases and words, reflecting the high emotionality of speech;

2) silence as an element of the plot, composition of a work of art (for example, a detective story);

3) silence as a form of manifestation of artistic subtext

4) silence as a principle of the ideological and theoretical position of writing

Thus, the literary understanding of silence is very broad, and this is fully justified by the difference between the terms silence and Figure of silence: the latter incorporates the first and third meanings of the general term silence.

The understanding of silence as a phenomenon of poetics, that is, as a technique of artistic speech, is put forward in the works of V. V. Vinogradov. The main provisions of his works on this issue are as follows:

1) silence (or “pictorial ellipticity”) is associated with the polysemy of a word in artistic speech. Different forms of manifestation of the contextual polysemy of words, different principles of their associative connection can form the basis for differentiation and typification of methods of silence;

2) silence should be considered in terms of its development in the post-Pushkin era. It makes sense to trace the connection between the development of this phenomenon and the problem of the creative method and with the evolution of the literary language as a whole.

The grammatical approach to the study of the nature and essence of FU classifies it as a phenomenon of syntax, while syntacticists have given it a place among the expressive constructions of language, terminologically defined as truncated (interrupted, incomplete, unspoken, undivided, indivisible, incompletely formed) sentences. Linguists dealing with the problem of truncated constructions (A. E. Skovorodnikov, A. E. Khmelevsky, A. A. Doy, etc.), defining their linguistic status in the aspect of the “language-speech” dichotomy, state that they belong to the speech level: the very fact of their truncation (inconsistency) is an attribute of an utterance, but not a sentence as a linguistic unit. Since interrupted sentences cannot be considered either as a special type of sentences (they do not have their own structural scheme and grammatical meaning), nor as purely contextual, occasional formations, since, “taken as a whole, as a phenomenon of speech, they represent a special type or method , implementation of existing

in the language of structural schemes-sentences, the peculiarity of which (method) on the part of formal organization is the structural and intonation incompleteness of the sentence, and on the functional side - the maintenance of the actual expressive division of the sentence" (A.P. Skovorodnikov).

Exploring the problem of the figure of silence as a particular manifestation of the general technique of silence in artistic speech, one cannot help but turn to the essence of silence in general, silence as a phenomenon, as a major component of communication and linguistic communication in particular.

The phenomenon of silence (which is tedious to distinguish from natural philosophical “silence”, “silence”) lies in the fact that, ontologically preceding the word, structurally it is opposed to it as an unmarked member of the opposition yuta-sh;e (+) - word (-). The original element of silence (darkness, chaos, death, peace, etc.). generating its opposite - the word (light, space, life, movement), becomes dependent on the derivative. This is precisely the situation Heidegger had in mind when he wrote. that darkness is not simply the absence of light, this is how it can appear to ordinary consciousness, and not its denial, but “darkness is an open, albeit opaque, evidence of the secrecy of luminescence,” and peace “is not the opposite of movement. which excludes movement, for Only the movable can be at rest." In this sense, I confuse silence to be considered either as the source of the word. or, from another point of view, as its depth.

One of the most common properties of silence is its communicative function. In fact, silence together with speech constitutes a single basis of communication, which allows us to consider it in line with the theory of speech acts.

Silence as a communicative unit performs the following functions:

1. Contact function: such silence is a marker of the closeness of people, their mutual understanding (words turn out to be superfluous).

2. Discontact function: silence indicates the isolation of people, their alienation.

3. Zotivistic function: silence conveys various emotional states of a person.

4. Strategic function: silence helps to hide one's incompetence.

5. Informative function: silence signals agreement/disagreement, approval/disapproval, etc.

6. Rhetorical function: silence helps to attract the listener’s attention and interest him. to make an impression, to give overall weight to a statement.

7. Evaluative function: silence is an evaluation of the interlocutor’s words (may be accompanied by a gesture).

8. Actional function: performing some action in silence. (G. G. Bacheptsov)

Of all the listed functions, the rhetorical function is of greatest value for this study: the use of silence to attract the attention of the interlocutor or listener, to arouse his interest in the words of the speaker. From this point of view, silence in artistic writing is not just a sign, but a stylistic device that creates a wide variety of effects: from expressive to meaningful.

The specificity of FU relative to all other methods of poetizing a literary text, except for material inexpressibility, lies in its special, intermediate position between tropes and figures of speech. As a matter of fact, a clear division of figurative means into tropes and figures in rhetoric, and especially in poetics, has never been carried out. There were always phenomena of an intermediate nature or very controversial ones. However, according to the rhetorical tradition, tropes are forms of poetic, figurative thinking, figures are forms of speech. Paths result in the enrichment of thought with new content, figures are figures of speech designed for a certain action, but do not introduce anything new into the content that expands knowledge, contributing only to increased expressiveness, but not enriching the meaning. Such a narrow understanding of the figure is not justified for all figurative means denoted by this term. There is, if we follow this distinction, a sufficient number of transitional phenomena, so to speak, tro-by-figures.

The situation is similar with silence. It necessarily has its own syntactic structure (truncated, interrupted

and other proposals). must be indicated graphically (for which a 1/logo dash or, less commonly, a double dash is used). That is, all the signs of a figure as a figure of speech are present. But silence also has common features with tropes. Interrupted, unspoken phrases, a semantic break that emerges at the same time, create the need to fill in the gaps, complete constructions, and supplement the breaks, if not with words, then at least with meanings, which is what the reader must do. AB1yr, interrupting the flow of speech, creates ambiguity, what is called the “oscillating sign” of CHY. N. Tynyanov), involves the reader in co-creation. In the mythopoetic picture of the world, the word is a manifestation of will, while silence is freedom. Silence is the completeness of revealed or unidentified entities, the word is always not complete enough. Silence is never false. Let us remember F.I. Tyutchev: “A thought expressed is a lie.” Silence is neither true nor false; the author leaves to the reader the right to decide the existential situation: the choice between truth and falsehood. Therefore, the figure of silence contributes to the creation of new meanings in the reader’s perception. All this speaks in favor of the fact that FU is as close to tropes as it is to figures. Thus, Luke defines silence as a poetic device. The choice of the term “figure of default” is partly a tribute to the ancient rhetorical tradition, when a figure was understood broadly, as any figurative device, and partly a recognition that the syntactic principle is fundamental in the formation of this poetic device.

The first chapter describes the relationship between the figure of silence and inner speech.

We can highlight a number of specific features inherent in the artistic reflection of the world:

Activation of tropes (especially metaphors, metonymy, hyperbole, oxymoron);

Strengthening the principle of uncertainty (incomplete certainty in a work of art helps to reveal to aesthetic perception the qualities of the object that are essential for a given work);

Activation of inner speech (which is very important for the subject of this “(following) as a source of artistic techniques: the desire to convey not a result, but a process (deprivation and

perception, "stream of consciousness"; searches for new points of view and new promising solutions in works of art; the emergence of the technique of “montage”, derived from the characteristics of inner speech." (I. I. Kovtunova). Therefore, inner speech is the main source of artistic techniques, which then become part of the poetic tradition. In artistic prose, especially in psychological prose, it manifests itself with particular completeness the desire to bring artistic language closer to inner speech, to inner vision, to the flow of thinking (including “pre-logical”, “sensory” thinking).

This feature is noted by the authors themselves who worked at this time. E. Zamyatin noted that the latest artistic prose of his time is characterized not by “careful detailing of details,” but by “mere contours, seemingly unfinished.” According to E. Zamyatin, the authors of new prose are characterized by a language that has the greatest artistic economy and the greatest aesthetic impact on the reader. - a special “mental” language. that is, the embryonic language of thought of the narrator or literary character. The author communicates to the reader a greater number of impressions in a shorter period of time, in addition, “by reproducing this embryonic language of thought, you give the reader’s thoughts only the initial impulse and force the reader himself to connect these individual milestones of thoughts with intermediate links of associations or the lack of two elements of a syllogism. milestones leave the reader in the power of the author, do not allow him to deviate to the side, but at the same time, empty, unfilled spaces between milestones leave freedom for the partial creativity of the reader himself as a participant in the creative work, and the result of personal creative work, and not someone else’s, always fits into the head. brighter, sharper, stronger." (E.I. Zamyatin).

The second chapter, “Structural and semantic characteristics of the figure of silence,” occupies the most significant place in the dissertation work and represents a direct analysis of texts of the 19th and 20th centuries in order to identify types of figures of silence and its changes as an artistic device at this stage of literary development.

In a work of art, a figure of silence may appear

appear in the oral (external) speech of personnel and in their internal monologues. That is, the nature of the FU depends on the type of speech in a given text fragment. If oral conversational speech is characterized by situationality, unpreparedness, expressiveness, emotionality, etc., then FU in such cases is used as a way to create the effect of oral conversational speech, as a means of forming the speech characteristics of a character, conveying the atmosphere of dialogue, including as a way of immersion and the situation being recreated. In cases where the author tries to create the effect of oral speech (in the speech of a character or narrator), the FU can be an unfinished utterance in which the truncation of the phrase occurs arbitrarily (at the will of the speaker) due to some sufficiently clear reasons. reader for subjective reasons: incompetence, inability, reluctance to speak, etc. In addition, FU can also represent an involuntarily interrupted utterance (speech is interrupted due to some objective reasons independent of the subject of the utterance). FU is found in works of the 19th century. in the oral statements of the characters: replicas in dialogues and monologues, performing as the main function of stylizing oral conversation.

Most often, omitted sememes in texts of this period can be restored or, better said, somehow interpreted by turning to the microcontext, that is, by considering the one-time situation that provoked the appearance of reticence in the text.

Do you know the road here, sir? After all, there will be such alleys here... I could guide, because the local city is like hell and ruin. (F. Dostoevsky. Demons.)

This example is a fragment of a conversation between Nikolai Stavrogin and Fedka Katorzhnik during their meeting in a dark and

confusing part of the city. Revealing the meaning of the FU (at least approximate) is quite simple when referring to the immediate text environment of the given fragment of dialogue. One of the following options is possible: ... that it is very scary to walk. ... that you can get lost. ... that it is difficult to find the right place, etc.

Much less common are cases where missing links

It is possible to understand only by turning to the macro context, that is, to the content of a fairly large compositional segment or even to the plot of the entire work.

And why did they take us further? It was nice there too, but here it gets too cold. By the way, I only have forty rubles, and this money, take it, take it, I don’t know how, I’ll lose it, and they’ll take it from me, and... It seems to me that I want to sleep; Something in my head is spinning, spinning, spinning. Oh how kind you are, what are you covering me with? (F. Y. Dostoevsky." Demons.) .

This fragment is a monologue of Stepan Trofimovich Verkhovensky during his illness (before his death). The information that is “hidden” is “concealed” by the FU. cannot be detected based only on the immediate textual environment: this requires knowledge of the text that precedes a given microsituation, from which (the previous text) an idea of the character is formed. lifestyle, way of thinking of the hero. Considering that Stepan Trofimovich is a person who is poorly adapted to life, who does not know how to deal with its vicissitudes, who is weak-willed and defenseless, we can assume what the appropriate interpretation of the FU will be in this case. The following interpretations are possible: ... they will not be useful to me. ... I won't be able to use them correctly. ... I'll be left without them.

It should be noted that any attempts at any interpretation of FU in each specific case represent a very difficult task, since they depend not only on what and how the author presents to us, but also on how and. depending on what the reader perceives. The interpretation proposed by one reader may be completely unacceptable to another. Solving this problem is especially difficult in cases like the one above: understanding the “hidden information” requires addressing the macro context.

However, such facts in the works of the 19th century. are quite rare and were encountered during analysis only in the works of Dostoevsky. Basically, this type of FU is characterized by: which implies a meaning that is restored precisely from the micro-context.

Much more interesting, more original and diverse FU in the selected

nya for analysis of works of the 20th century. The phenomenon of increasing significance in all aspects: (semantic, pragmatic, etc.) and increasing forms of this technique should be “characterized from two sides: . (

1) the nature of the financial statements in general has changed compared to the previous" I ^analyzed period;

2) quite a strong discrepancy in the ways of expressing FU among different authors.

The following can be considered as general trends in the evolution of FU in literary prose of the 20th century:

Increasing number of cases of using FU in fiction;

Frequent use of the default figure only in. as a way to engage in co-creation;

Mixing the use of FUs from the character’s speech into the author’s speech, which, of course, is the result of a more general tendency to subjectivize the author’s narrative, which, in turn, is one of the specific manifestations of the increasing importance of inner speech and its penetration into art in general and into artistic literature creativity in particular.

The main material for studying the figure of silence in the language of prose of the 20th century were the works of Andrei Bely, the most prominent representative and theorist of ornamental prose, which emerged and took shape as a special type of literary work with a specifically organized system of stylistic visual means from the beginning of the 20th century, when interest in search;.! new artistic Forsh.

Without turning to a detailed description of ornamental prose, we list its main features: “condensed” linguistic imagery. rich linguistic ornamentation, namely leitmotiv. musicality. rhythm, plasticity, color painting, architectonics of composition, etc. With this very general outline of the features of Bely’s ornamental prose, it becomes clear to the ear that the phenomenon under study, which we call the figure of silence, functions quite widely as an artistic device “in the structure of the text of Andrei Bely’s works. At first glance it becomes clear that FU is one of the main ways of forming

text structure as an artistically embodied stream of consciousness. a means of creating a deep structure - subtext. Besides. FU acts as one of the means of implementing the “montage principle”, making the narrative cinematic.

It should be noted that when analyzing texts of the 19th century, FU in its essence, which is characterized in this work, is almost never found in the internal speech of the heroes. Therefore, it makes sense to assert that this type of silence, if not for the first time, then at least became widespread only during the formation of “new” prose (as defined by E.I. Zamyatin). This idea can be argued by referring to the results of the research research: in the novels of A. Bely, the number of examples of FU in internal monologues even exceeds their number in dialogues or stylizations of oral speech. Moreover, in internal speech, FU is a much more interesting phenomenon, since its main purpose in this case is the formation of a different semantic structure, deep in relation to what is present on a piece of paper, while in oral speech only emotional-expressive and characterological functions should be considered. Confirmation of the expressed idea can be considered the fact that when analyzing texts of the 19th century, any interpretation of the implicit in. As a result of the use of default meanings, it is necessary to address either 1: the microcontext (the immediate textual environment of the technique under study) or the macrocontext (the content of a large compositional segment or the entire work). To interpret omissions in A. Bely’s prose, the two factors mentioned are often not enough: this task can only be accomplished by turning to the historical context, the context of the era. Sometimes it is very difficult to interpret semantic breaks with even a small degree of probability without knowing the events and moods of the era; the main direction of activity of the author himself, his attitudes, values, philosophical views; people who surrounded him and had greater or lesser significance for him. For example, consider a fragment from A. Bely’s novel “Petersburg”:

Yes, yes, yes: they tore him to pieces: not him, Apollo

Apollo, and another, best friend, sent only once by fate; for one moment Apollon Apollonovich remembered those gray mustaches, the greenish depth of the eyes fixed on him, when they were both bending over the geographical map of the empire, and their youth, such an old age, was burning with dreams (it was exactly one year before the feces) and they tore apart even their best friend , first megau first. .. They say it lasts a second; and then - as if there is nothing. .. Well, what is it? Every statesman is a hero, but - brr-brr...-

From this passage it becomes clear that we are talking about some kind of murder of an important government official, moreover, committed by the people, the mob. It is also clear that this fact is very significant for Apollon Apollonovich, it frightens and suppresses him. Turning to the macro context will allow us to make the assumption that the deceased official held an important government position and, like Apollon Apollonovich, held conservative views. And turn to the immediate ones! historical events can be established. that in this case we mean Vyacheslav Konstantinovich Pleve, Minister of Internal Affairs and chief of gendarmes, who pursued a policy of suppressing opposition forces and sentiments and was killed on 15, 1904 by the Socialist Revolutionary Sazonov. Thus, the meaning of the figure of silence becomes clear: we are talking not only about the day on which the murder occurred, but about the day that became the boundary, the border of a quiet life. Friend ■ Ableukhov is “the first among the first” not only because he is so significant as a person and figure, but also because he is the first victim, the next should be Apollon Apollonovich himself.

That is, to the two factors that contribute to the creation of any interpretation of a specific example of FU: microcontext and macrocontext, one more is added: historical context.

The figure of silence in the prose language of other ornamentalists E. Zamyatin, B. Pilnyak, A. Remizov and others) is much more like a device (that is, in these texts the FU character is less organic than in the prose of A. Bely). You can justify the idea expressed as follows! provisions confirmed in the process of textual analysis:

FU in the works of Pilnyak and Zamyatin almost always has

fixed position in the compositional structure of the text;

a) marks the end of a chapter or other smaller compositional segment (examples 1,3);

b) creates the conditions necessary for changing plans and the theme of the story (examples 2, 4, 5);

The methods of lexical and syntactic design of FU are quite uniform, and do not differ in the diversity inherent in this phenomenon in the prose of A. Bely.

1. The all-night vigil ended - people dispersed in dark flocks. .

Only in the Archangel Cathedral were lights burning - unquenchable lamps.

And there on Ivan Weligam there is a huge bell - with empty windows.

And there are stars like autumn stars.

And suddenly I realized that all this had passed - this Russia - -

Wide, free Rus', my homeland, which has received a lot of need, a lot of passion, is impossible to remember! - I see you: you leave the light of life, defeated in fire. (A. Remizov. Moscow.)

The author ends his description of present-day Russia with a figure of silence. Moreover, he gives the reader the right to complete the unfinished phrase himself, to utter the fatal word. Next comes an appeal to Russia: these words are somehow surprisingly similar to people’s laments.

2. Darling O... Darling 1?... There is also something in it (I don’t know why “also” - but let it be written as it is written) - there is also something in it that is not clear to me, and that’s all - after all, I, he and 0 - we are a triangle, even if it is not isosceles, but still a triangle. Yyy. If we speak the language of our ancestors (perhaps this language is clearer to you, my planetary readers), we are a family. And it’s so good to rest at least for a while, to isolate yourself in a simple strong triangle from everything that...

(end of chapter)

Entry 9.

Abstract.

Liturgy. Iambics and trochees. Cast iron hand.

S E. Zamyatin. We.)

19 - ~ ------------

The title of the next chapter helps to clarify the omitted meaning.

3. Nikolai answered calmly:

No, there is no seizure. I am well. I was... - Nikolai was exhausted with words. - I was with Ivan Ivanovich Ivanov, with your father. He didn't say that our mother was "... that he doesn't know who"

and my father, with whom I sent you, he said, me, my mother.

What?.." our mother - -

A candle was burning on the table in the room. The strong man pulled the weak man by the shoulders. (B. Pilnyak. Human wind.)

After the appearance of FU, the dialogue between two characters (two brothers) ends. the author moves on to a more general narrative. no longer refers to the description of the nuances of the behavior and state of the heroes and ends the story with broad strokes, deducing its morality, consonant with the universal one.

When considering specific syntactic implementations of FUs, a statement or phrase is taken as the main unit in this work. A statement (phrase) is defined as a unit that is intended to be equivalent to a sentence, but is considered in speech, in direct relation to the situation, i.e. in addition to The structural-semantic scheme of a sentence includes a modal-communicative aspect, which manifests itself primarily in the intonation and actual division of the sentence. From this point of view, the FU can be represented by the following structures:

1. Phrases with relations of opposition between the present and omitted parts.

2. Phrases with any adjectival relations between the present and zero parts.

3. Statements with one implied component, which, when interpreted, may look like one word or phrase.

4. Constructions consisting of individual, . almost unrelated words.

5. Statements that represent a gradational series of whole phrases or parts thereof.

These are the main variants of syntactic constructions that can act as grammatical implementations of FUs.

Chapter three "Characteristics of the functions of the default figure in

artistic texts" is a study of the figure of silence in a functional aspect, involves identifying the purposes of using this technique in the text of a work of art, the functions that it performs. Of course, like any other figurative means. FU primarily performs an aesthetic function, and, taking this into account, The following two aspects can be distinguished: firstly, FU helps to increase the expressiveness of the text, its imagery and artistry, which enhances its impact on the reader’s imagination; secondly, by creating semantic gaps, the reader faces the need to fill these gaps in some way. which stimulates his mental activity, thus forcing the reader to connect to the creative process

This chapter takes a close look at the fact that FU along with. with other figurative means, first of all, it contributes to the author’s formation of an integral image of the character, the creation of his psychological characteristics, the description with greater expressiveness of his state, feelings, emotions, experiences at the moment, acts as one of the most important means of creating a different meaning, subtext, and deep text structures.

If we turn directly to the private functions of FU, then it should be noted that the most important is the euphemistic, allegorical function of silence, which manifests itself in not calling things by their proper names, the desire to express a thought not directly, but by hint. This function is performed by the FU in the internal monologue of the character. In addition, in the internal monologue of the character, the figure of default can perform a pictorial function, acting as a means of characterizing the situation of speaking or the environment of perception, avoiding excessive detail, as well as a compositional function (appearing at the boundaries of compositional segments, the figure of default provides a smooth change of narrative plans, a motivated transition from one compositional element to another.

In dialogue, a figure of silence can serve as a psychological characteristic, acting as a means of enhancing expressiveness when conveying various emotions experienced by the character (fear, embarrassment, annoyance, etc.); expressive restriction function

nichitel, acting as a means of weakening the sharpness of subjective-modal meanings; and may also demonstrate unformed thoughts, inability to express them, and reluctance to speak out.

The Conclusion summarizes all of the above:

1. The figure of default is the spelling breaks in the text, accompanied by the incompleteness of syntactic structures.

2. Gaps, called figures of silence, due to the uncertainty of meaning, create ambiguity and contribute to the emergence of new meanings.

3. The default figure, from the point of view of its place in the system of figurative means of language, occupies an intermediate position in the system of tropes and figures and belongs to the so-called tropo-figures.

4. The nature of a specific example of a figure of default depends on the type of speech where it is used.

5. During the period of literary development under study, the figure of silence underwent a noticeable evolution, consisting in its greater distribution and diversity in the prose language of the 20th century compared to the 19th century.

6. There is a certain set of syntactic constructions with the help of which the default figure can be formed in the text of a work of art.

7. In the text of a work of art, the default figure performs the following functions: euphemistic, compositional, characterological, etc.

8. The functions of the default figure are different in the dialogue and the internal monologue of the character.

The conducted research opens the way to considering silence in other textual material, which may make it possible to find other features of such an interesting phenomenon and significantly supplement the characteristics presented in this work.

The main provisions of the dissertation are presented in the following articles:

"On the problem of the figure of silence in the language of artistic prose." // "Issues of linguopoetics and literary criticism." Director of the depository at the Institute of Science and Technology of the USSR Academy of Sciences N 43022 dated 10/12/92.

"The figure of silence in Russian ornamental prose." //Collection-

nickname of the Astrakhan State Pedagogical Institute named after. S. M. Kirova (Materials of the 2nd research conference). Astrakhan, 1992.

"The figure of default: the essence of the phenomenon" In the collection. "Stylists and poetics" of the sector of stylistics and language of fiction IRYA RAE In press.

“The word is silver, silence is 80L0T0.”// “Russian Speech”, 1993. N 1. p. 10-14.

(Clickable.)

In addition to reducing the historical process to the struggle between hegemon and sub-hegemon, correct identification of the key figures of the historical process helps to clear intellectual optics. There are periods when a personality appears in world history who happily combines the fullness (and duration) of power, political activity and a powerful ideology. Then the entire era is painted with the color of such a hyper-leader and bears his name.

At the beginning of the 19th century, such a person was undoubtedly Napoleon. If you are interested in this era, and even more so if you are a specialist, then volens-nolens MUST be a Napoleonic fanatic. There's nothing to do here without a bust of Napoleon on the desk. Take the French consul and emperor out of the context of the era, and the era will turn into scraps of disparate events. “Neither mind nor heart.”

In the same way, the era of 1848-1870 is, first of all, the era of Napoleon III. Not only due to its “mechanical” influence on world history, but also due to the creation of a complete mechanism of “Bonapartism” - a symbiosis of absolutism and bourgeois democracy, which is the essence of the entire 19th century.

Of course, such Leaders do not always appear; sometimes several players act in the historical arena, but in general it is not difficult to single out two, three or four. And for the sake of simplicity, it’s useful to still appoint the “in-chief” of them. It will be easier. MUCH easier. Factor of.

But I'm talking about something else. About the aberration of axioms, which prevents the average person (or even a confused specialist) from arranging scattered historical facts into logical chains. In the last post I mentioned the “point-blank lack of vision” of the interwar duumvirate.

Now I’ll tell you about the same gap in the area of the hegemonic personality. If you ask an average intellectual about the period 1890-1918, he will be EXTREMELY confused. It will be difficult for him to even find candidates for 2-3rd place. It turns out that the most interesting, extremely dynamic and extremely politicized era turns out to be semi-anonymous.

This happens because the European “pre-war” was characterized by the enlarged hegemony of a political personality and this personality was... Wilhelm II.

William II in exile.
Yes Yes. What they did in the 20th century with “Nikolashka” was child’s play compared to what they did with Wilhelm. If you read the newspaper dirt poured on Wilhelm, then you will see a withered degenerate degenerate with a damaged nervous system, a crowned cretin who is fond of chopping wood (does the intel remind you of anything about firewood?), a homosexual, a flayer who tortured animals, etc. and so on. Unless idiotic diaries were published in his name, because... It was inappropriate to rivet a living person. “Crazy Willie”’s weight was such that they, like Napoleon, were embarrassed to kill him. For a very simple reason. If it’s “mona” to kill such people, then killing thugs and scoundrels like Loyd-George is like turning over an urn:

Well, they cut off the bastard. What the hell is that?

Nevertheless, they wanted to kill him; the Entente declared that he was “humanity’s No. 1 criminal” and should be executed in an exemplary manner. But it was an overreach (without the Holocaust and similar Hitchockianism - they haven’t yet learned to lie cinematically), and to remove it with the wrong hands, like Nicholas (the execution of German revolutionaries as revenge for Liebknecht-Luxemburg) failed.

What kind of person was this and what was his significance for humanity?

Wilhelm ruled almost single-handedly the second state on the planet for 30 years. The hegemon of Great Britain did not have such a concentration of power in some hands; other countries either did not reach the level of Germany (Russia, Austria-Hungary) or had even greater diffusion of power (France, the USA).

And the real Rose is William II’s favorite court joker, to whom he gave great laughter. More precisely, “with laughter” - the Kaiser’s idea was quite serious. (Clickable.)

Study the history of social democracy 1890-1918. without Wilhelm it is like studying the social democracy of the previous period without Lassalle and Marx.

2. William completed the modern public school system. The idea of mass and even universal public education arose before him, but it was Wilhelm who supported the idea of secular pedagogy at the state level. A school is not just a place for teaching specific knowledge and skills, but also a moral institution designed to EDUCATE the entire population of children and adolescents, taking into account the latest achievements of psychology. This led to the massive development of pedagogy, the use of pedagogical instructions, the introduction of full-time positions for teachers, etc. and so on.

3. William proclaimed himself a friend and protector of Muslims around the world. In fact, it was he who formed the modern Muslim national liberation movement. In a similar way, Napoleon tried to play the Muslim card in Egypt, but this was not a deliberate policy, but a brilliant impromptu by the head of the expeditionary force. Wilhelm LAID THE FOUNDATIONS for this sector of modern political life. What we now see is a continuation of the project of Wilhelm II.

Wilhelm in Turkish military uniform.
4. Wilhelm gave the whole world a model of crisis military management (including the system of military state socialism). He is the ideal head of a bitterly embattled state, superior to his rivals and allies by a wide margin.

When they talk about Germany during the First World War, they constantly say: Ludendorff-Hindenburg, Hindenburg-Ludendorff. In reality, everything was controlled by Wilhelm II. Just as the head of the Russian army was by no means Alekseev (unlike the German couple, and, moreover, personally insignificant).

Hitler was only a pitiful imitation of the real military Fuhrer of Germany, just as his army was only a shadow of the great army of the Second Reich.
The list goes on. But in conclusion I want to say something else. Nicholas II, being an intelligent man, imitated his cousin all his life. And he did the right thing. He imitated, of course, not stupidly, but where necessary. But wherever possible.

How did William's reign begin? He carried out a broad democratization of the political life of Germany (the abolition of the law against socialists, international detente, etc.). What did Nicholas do after coming to power? The same. "Like the elders."

Wilhelm and Nikolai. Between them is the German heir, on the right is Nikolai Nikolaevich.
What is official historiography talking about here? Instead of analyzing broad measures to loosen the screws (even to the point of patronage for local Social Democrats, who are still in their infancy), they quote the phrase about “meaningless dreams” like ass-fools. And they do it right. Because apart from this phrase, (or rather, DISCLAIMER), there is nothing else in the evidence base.

Wilhelm in Russian and Nikolai in German military uniform.
That is, Nicholas was slandered. And the person he imitated was “forgotten.”

This is how historical science lives. This is the 20th(!) century.

Silence, aposiopesis, aposiopesis. Default figure Default figure

See also interpretations, synonyms, meanings of the word and what the DEFAULT FIGURE is in the Russian language in dictionaries, encyclopedias and reference books:

2008.

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