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Semantic affinity

×èòàéòå òàêæå:
  1. Notion of coherence. Types of coherent ties (isotopic relations; referential identity proper; partial identity; semantic affinity).
  2. Polysemy and context. Semantic change.
  3. Semantic Figures of Co-occurrence
  4. Semasiology. Different approaches to the study of meaning. The semantic structure of the word.
  5. What’s the authors’ attitude to M.T.? Why do you think the attitude of Britons is not monosemantic?
  6. XML - ñèíòàêñè÷åñêàÿ îñíîâà Semantic Web
  7. Ðåàëèçàöèè Semantic Web
  8. Ñòðóêòóðà Semantic Web

“Old Woodifiled paused, but the boss made no reply. Only a quiver of eyelids showed that he heard”(K.Mansfield).

Logical connecters link whole clauses, or propositions. They are classified into separate types. Like isotopic relations, logical relations can be expressed by with or without grammatical signals. The well-known indicators of logical relations are conjunctions. Conjunctive elements are cohesive not in themselves but indirectly but virtue of their specific meaning. The simple form of conjunction is and. When the “and” relation operates between sentences, it is usually restricted to just a pair of sentences. This provides an indication of the difference between “and” as a structural coordinate relation and “and” as a cohesive (additive one).

e.g.: “He was critical about women. A single defect – a thick ankle, a hoarse voice, a glass eye was enough to make him utterly indifferent. And here far the fist time in his life he was beside a girl who seemed the incarnation of physical perfection”. (F.S. Fitzgerald).

In this paragraph, one clause is linked with a conjunction; introduced by ‘and’, it stands in contrast to “he was critical about women. A single defect..”. The first two sentences are linked without a logical connector; both of them are explanatory of what is stated in the third sentence.

Logical relations between sentences include:

- enumeration;

- addition;

- transition;

- summation;

- concession and some others.

Enumerative conjuncts (“furthermore, far more importantly, etc.”) indicate a listing of what is being said. Additive adjuncts specify that part of the sentence is an addition to what has been previously implied. Concessive conjuncts signal theunexpected, surprising nature of what is being said. An inference from what is implicit in the preceding sentence or sentences can be indicated by an inferential conjunct [Quirk et al, 1982: 251-256]. Let us illustrate the logical relations of result and enumeration:

So now it was all over he thought. So now he would never had a chance to finish it. So this way the way it ended in a bickering over a drink (E.Hemingway).

2.5. “Centrifugal” and “centripetal” forces within a work of art. Notions of prospection and of retrospection. A text’s divisibility and coherence are directly related to the exertion of its centrifugal and centripetal forces. On the one hand, a text is not homogeneous: in it different plot lines are being developed, topics intermingled, points of view changed, different stylistic devices introduced. Thus, the text is getting loose due to centrifugal forces dominating. On the other hand, all these means are submitted to carrying out a single overall task: segments scattered all over the text unite through their reference to a common character, to a common local and spatial continuum. In such a way centripetal forces actively come into play. The availability of these two oppositely directed forces can be explained due to the ontological discrepancy between a text’s linear unfolding and the multidimensional nature of reality it is reflective of.

The major centripetal force contributing to a fictional text’s coherence is that is its plot consecutive development. On the contrary, the plot’s diffusivity results in the prevalence of centrifugal forces. Repetition turns out to be the basic means of their neutralization and establishment of coherence. There is no by accident that the modernist prose aimed to show the world as chaos abounds in repetitions. Without moving forward the narration, they prevent it from dissipation as a reader is returned to the work’s objective pivot.

The inevitable and insoluble unity of centrifugal and centripetal forces is brightly expressed through textual categories of prospection and retrospection. The term of “prospection” stands for the plot’s “cataphoric” movement forward, while retrospection is that is the “anaphoric” movement back to some initial point. As a rule, the fictional world is reflective of the real world’s consecutive development. Thus the cataphoric type of the plot organization prevails. At the same time, the cases of prospection and retrospection are quite frequent.

In a narrow sense, prospection is observed as the “flash-forward” anticipation of future events, while the retrospection is the turn back to some events, which took place in the past – a “flash-back”. Both of them violate the local-spatial continuum; tear up immediate meaningful ties of two contact utterances. Nevertheless, thanks to the scrupulous

E.g. "Íå strode into the living room feeling very cohesion, a “bridge” to the preceding (or following) segment is established. brisk and competent. He could not know, of course, that when Louise did get home he would be out cold on the divan" (R.P.Warren, “The Cave”).

The main signal of anticipating prospection is the change of the grammar tense: namely it’s turn to the future form. Additionally, such lexical indicators are frequent as: “much later”, “it will be not once that”, etc.

There is practically no fictional text without retrospection. Its forms and duration are often to change but signals of introduction remain such as:

1) words of the thematic group of “memory”, “reminiscence”, etc.;

2) grammar tense of Past Perfect;

3) adverbs of place and time “then”, “there”, etc.

Although differently directed in temporal and ideal sense, prospection and retrospection have common characteristics:

- Both categories deal with the partial sense repetition: at first the information is presented in a folded way; then it is being unfolded.

- Both of them carry out the function of informative and sentimental enriching the present. Violating the present’s unity, they nonetheless make for its connection to the past and future.

- Both of them enable the effect of multidimensionality of the text’s main substantial universals: Human, Time, and Space.

2.6. Anthropocentricity of a work of fiction and its local and temporal reference of a work of fiction. Every communicative unit is considered within a triangle of “I – now - here”. In he head of the system there is Man – a personage, a character. Whatever and whenever done in the text is dedicated to a better characterizing of a Man. Let through a character’s outlook, time and space in a work of fiction merge into an indivisible unity called “chronotop”.

E.g. "At a little town of Vevey, in Switzerland... the shore of the lake... hotels... at that time..." (J.Joyce).

Expression of time in a fictional text is characterized by interesting regularities:

- An extended system of English grammar tenses allows reducing a number of lexical temporal markers. Indication of time as such takes a little volume within the text: At noon, in summer. Writers often find them sufficient and come at once to the descriptions of nature, men, actions, etc.

- Fictional time does not exist separately from a person perceiving it.

- Fictional time as a form of substance is very much a subject to individual form of perception: the course of time is irregular: it can either fly or crawl.

- Represented in the text, the fictional time flows unevenly for a reader as well. Text segments abounding in events are perceived as dynamic and vice versa.

Space depicted in the fictional text is a relatively more independent phenomenon than the time is. Descriptions of place – the interior or the landscape can form relatively autonomous segments. However, the space in the art text is never free from a man’s presence. The phenomenon of all text categories’ submission to the task of characterizing a person results in the absolute anthropocentricity of a fictional text. Regardless of the theme, problem, plot etc. a man is always in the centre of the work of art, it being absolutely anthropocentric and local-temporal related.

2.7. Notion of concept, conceptuality of the text. Whatever is the type of linearly unfolded content and factual information, an author always submits it to the expression of the work’s main idea. Idea of the work formulated is called a concept. As far as the fictional discourse is concerned, one can find a text without a plot, without a clearly distinguished topic, etc. But there are no works without a concept. Implementation of social, moral, and aesthetic idea – a concept – by artistic means is the kernel of the creative process. Therefore, a concept’s compulsory availability – a fictional text’s conceptuality – can be considered its fundamental category. The whole of the interpretation process in fact can be represented as a meticulous search of language means expressive of the concept. The concept concentrates substantial results of the author’s mastering of reality and his/her massage.

The text’s concept is formed gradually. Every element introduced and functioning in the text (actualized language units as well as textual categories) serve to the common aim: a concept forming.

2.8. Heterogeneous multi-channel informative richness of the text. Theobligatory availability of a concept accounts for a text’s exfoliation into several layers (informative channels):

1) The first one is that of content and factual information (CFI) (term by I.R. Galperin). This textual layer represents a substantial part of the com­munication and conveys the information in a linear way. Even incompetent readers can decipher CFI. Unfortunately, it often remains for them the only perceivable layer of fiction.

2) Content and factual information is not the purpose of the written communication. Just the other way round, it is but a means of conveying a deeper layer of conceptual information (CI). CFI compression will result in formulating the work’s topic, while CI compression gives the text’s idea.

3) There is a third layer of implication, an underlying message of the text. Being an undercurrent of the work of fiction, it gives it some additional depth and meaningfulness.

Linear, explicit and undercurrent informational flows are directed to form the layer of conceptual information. Proceeding form the abovementioned, V.A.Kuharenko states that the informativeness of a work of fiction (as a text category) should be defined as a heterogeneous multi-channel informativeness, which is only directed to the disclosure of the text’s concept.

2.9. Systemacy of a work of fiction. The fact that local and global, micro- and macro means of the text submit to the fulfillment of a single task provides for their close interrelations and connections – i.e. systemacy, which also is a categorical indication of a work of fiction:

- No element of the system exists by itself and for it self: every one is included into the unite system, which is created and acts to pursue a single goal.

- The system of a fictional text is a close one. Not a single bit of it is a subject to further development, excerption or substitution.

- The only variable part of the written communication is a reader. Multiple interpretations are only the evidence of the perception culture evolution. The work is ever closed and completed. In other words, the closeness of the text’s system is fully stipulated by an author’s intention and deals with the completion of the text generating process.

2.10. Category of unity (completion) of a work of fiction. The idea of a text’s system being closed correlates with the category of integrity as inherent in the whole of the text. In this way one can tell the text from a non-text. All the above mentioned text categories such as divisibility and coherence, prospection and retrospection, informativeness, local and temporal reference can be as well found on the lower syntactical level. On the contrary, both conceptuality and integrity are only peculiar to the whole of the text. An author-dependent intentional completeness of a text gives it a modal and pragmatic orientation. The author is a sole master here, for he/she decides where to put the full stop. This means that the concept is formed, the way to its understanding traced, the communication is over, and the system – closed.

2.11. Category of modality of a work of art. Modality is an invariable category of a fictional text. As well as there are no stylistically neutral texts, there are no texts deprived of modality. This is ontologically inherent in the text because it is a result of an author’s subjective reflection on reality. Everyone is highly selective while constructing his/her world picture. No one is able to embrace all the signs of all the objects. That’s why everyone picks out of this endless multitude those ones which fit to his/her outlook on life.

Accordingly, the modality of the text is not only displayed through modal and appraisal words (although they are very important to indicate the signs of author’s modality) but also through the choice of characteristics to represent some objects; through the choice of objects of narration reflective of an author’s milieu and world picture. The text modality comes into play before the text is created: it presumably starts from the first act of an author’s choice – that of a work’s topic and idea. Along with conceptuality, it stipulates all the stages of constructing the fictional reality, all the stages of selecting extralinguistic and linguistic material suiting for the work.

2.13. Pragmatic orientation of a work of art. A text’s pragmatic orientation (i.e. the inducement of the readers’ reactions) is very closely connected to the modality and conceptuality of the text. All the texts of all genres and functional styles account for the reciprocal action of their addressee, for a perlocutive effect (coming after illocution – a speech act). This reciprocal action can be either an outwardly expressed deed, or a speech act, or possibly, a “soul” action – a change of mind, feelings, and outlook on life.

The fiction is mostly oriented on the latter effect. The pragmatic orientation of text is established through such an organization of the textual system elements, which provides for readers’ attraction to the author’s side and convincing in author’s position (expressed through the concept).

The pragmatic orientation of the text can be expressed explicitly, when an author directly addresses the reader, invites him/her to follow the reasoning. “Dear reader” is kind of old-fashioned clichés for the purpose. However, even our contemporary, John Fowles actively persuades the reader to confirm righteousness of his words: "I would have you share my own sense" (The French Lieutenant's Woman).

More frequently, the author’s pragmatic purpose is realized not through the specially expressed reader’s involvement in the system of his arguments, but through the actualization of such elements of artistic structure, which can exert the maximum impact on the reader.

 




Äàòà äîáàâëåíèÿ: 2014-12-23; ïðîñìîòðîâ: 67 | Ïîìîæåì íàïèñàòü âàøó ðàáîòó | Íàðóøåíèå àâòîðñêèõ ïðàâ




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