• Specialty HAC RF10.02.04
• Number of pages 197

CHAPTER D. ABOUT SOME QUESTIONS OF THE PRAGMATICS OF THE LANGUAGE.

SECTION D. About the term "pragmatics" and its interpretations

SECTION 2. On the concept of "pragmatic attitude" . 27 SECTION 3. Language means of implementing the pragmatic attitude (general remarks)

CHAPTER P. LANGUAGE MEANS OF REALIZING THE PRAGMATIC INSTALLATION IN THE HEADING AS A RELATIVELY INDEPENDENT COMPONENT OF THE NEWSPAPER TEXT.

SECTION I. Means of implementing the installation for a positive / negative assessment of phenomena and events

1.1. morphological means.

1.2. Lexical means.

1.3. Syntactic means

D.4. Stylistic tricks.

1.5. Graphic tools

1.6. Convergence of funds.

SECTION 2. Means of implementing the installation to attract attention.

SECTION 3. Means of implementation of installation on motivation to action.

SECTION 4. Means of implementing the setting for assessing the phenomenon as desirable / undesirable, probable / unlikely

SECTION 5. Interaction of varieties of pragmatic attitude during their simultaneous implementation

CHAPTER III. PRAGMATICS OF THE HEADLINE AS A NEWSPAPER COMPONENT

TEXT. MAIN TYPES OF PRAGMATIC COMPLETION OF THE TEXT IN RELATION TO THE HEADING.

SECTION I. Correlation of the pragmatic attitude as a characteristic of the whole text with individual cragmatic moments.

SECTION P. Structural-semantic relations of the means of implementing the pragmatic attitude in the title and body of the text. Nuclear pragmatic constructions.

RAZ,OT Sh. Structural-semantic relations of the means of implementing the pragmatic attitude in the title and body of the text. Nuclear-free pragmatic constructions.

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A pragmatic attitude is first and foremost psychological setting, because the original term "attitude" arose in psychology, in relation to the unconscious processes of the human psyche.

“The decisive role of the mechanism of the psychological setting of a certain functional state of the organism, which has developed in previous experience, is in the direction of each type and form of human activity, in creating a certain predisposition, the readiness of the individual to act in one way or another”[Uznadze, 1966: 163]. In the light of the theory of D.N. Uznadze, a person, due to the impulse of some need and in the aspect of this need, is forced to establish certain relationships with external reality. After that, he, as a whole - the subject of these relationships - has a set of a certain activity.

Information coding (modeling) of objective reality presupposes an adequate display of the latter. However, the objectivity and adequacy of the material reflecting a specific event does not mean its absolute informational completeness, which in practice cannot be achieved in principle. Even in the hypertext of the Internet, where you can place links to comments, background, forecasts of the possible consequences of an event, etc. After all, even the positions of commentators-specialists can be an unlimited number, not to mention the number of possible scenarios. In addition, the presentation of information is limited by the requirements of publishing policy, ethics, security, fact checking, and so on. For example, a journalist printed edition like Vedomosti or Kommersant, when presenting official information about the activities of the government, is unlikely to include in the text data on the personal interest of the first persons involved in resolving the situation, even if they somehow get access to this data and be sure of their authenticity.

“One and the same situation can be described by different texts and, therefore, each text becomes a certain paradigmatic series.<...>It should be borne in mind that the texts included in this paradigm describe the same situation in different ways, covering different aspects of it, making evaluative and, more broadly, pragmatic adjustments” [Murzin, Stern 1991: 49].

Thus, there is always some variability not only in displaying segments of reality, but also in their understanding. The author, as a rule, chooses the main, essential, interesting. Or what “needs” to be displayed, following a certain set of interests and motivations of persons influencing the production of the text.

As we have already noted, there are points of view that draw an "impassable" boundary between semantics and pragmatics precisely in relation to the reference, the reflection of reality. “The pragmatic content differs from the semantic content, which is clearly referential in nature, i.e. aimed at reflecting the external world: it (pragmatic content) embodies the specific conditions and goals of conveying semantic content, the evaluative, modal, incentive and other intentions of the addresser accompanying it, i.e. focused on the semantic content itself and is the focus of the impact potential of the text; it arises on the basis of a pragmatic attitude and develops it, giving it a certain direction and, as it were, in an enriched, concretized form conveys it to the addressee” [Naer 1985: 9].

Let us cite as an example the authors of the "democratic" persuasion of the early 1990s. In their texts, the image of I.V. Stalin was positioned as unambiguously negative. Stalin was called a dictator, a murderer, a mentally ill person - which was associated with the selection of certain facts-details. The facts "worked" for a specific pragmatic attitude of the authors. In turn, the materials of communist-oriented publications on the topics: “There was order under Stalin”, “Stalin is a strong politician and a charismatic leader” and others contained a reference, also supported by propositions of real facts. It is obvious that these two cases of reference are set pragmatically, depend on the intention of the authors of the text, on their intention to influence the recipient in a certain way, eventually forming the aggregate public opinion.

We adhere to the point of view according to which the choice of the author " angle of view» on the displayed reality, on the content of the reference is the main characteristic QMS text with leading TsUT "persuasion" and " impulse". PUT is the most important component of the pragmatic content of the text. The angle of view implies variability at a sufficiently high level of generalization. Modeling in the implementation of the CUT "informing", "entertainment" and "advertising" does not have variability, the recipient does not have to make a choice among possible structures of values ​​that reflect the initial situation of objective reality, the model is set peremptorily and is operated, as a rule, explicitly, openly for the recipient. Let's call this type of simulation Level 1 simulation. In the implementation of the TsUT "persuasion" and "inducement" Concretion no longer occurs at the level of meanings that can occupy the propositions of one MSS, but at the level of several MSSs, where only one of them (rarely more) receives final verification by the author in the content of the text. This type of modeling can be called Level 2 modeling.

PUT is defined by us as mechanism , "launched" (initiated) by the addresser and operating in the subjective semantic space of the recipient, the mechanism correlating information embedded in verbal meanings with a certain (at the will of the addressee) system of subjective meanings stored in the memory of the individual and having a mandatory emotional-evaluative content. PUT, defining the "viewpoint" on reality, as it were, connects this reality with one of the possible fragments of the meanings of the subjective semantic space, refers to the given structures of the classes of values ​​of human memory. Note that this “connection” implies a certain variability of choice explicitly set by the author in the text. In turn, variability creates a general sense of the objectivity of the "connection" and helps the overall verification of the meaning of the text.

We provide an analysis of an example of the implementation of the pragmatic setting of the QMS text in Appendix 10.

Alternative MSS exist as results of semantic processing of the initial complex of facts , their appearance is a consequence of the "counter generation of meaning", i.e. they may not be explicitly manifested in the text, but completed by the recipient depending on the author's strategy, the recipient's presets and his informational readiness. Operationally, PUT can be defined as the filling with propositional facts of a separate MSS or of an entire paradigm, including the original and alternative MSSs. .

When forming the PUT QMS explication of the MCC in the text needed:

- for the speed (adequacy) of processing by the recipient of the content based on the counter generation of the meaning by the recipient; thanks to the appeal to models of all understandable "everyday" situations, information becomes easier to perceive, and the audience of the publication expands;

- to “recognize” any incoming information when an individual text projection scheme is built with nuclear propositions similar to frame slots;

- for summing up, the final arrangement of meanings, conclusions, for the formation of the category of integrity of the text;

- for the “creative understanding” of the content by the recipient, the formation of “their own” text, deepening the process of understanding the source text.

The formation of the pragmatic attitude of the text begins with the definition of micro-themes and the selection of facts that specify the general the subject of the text; continues with the creation of a specific structural code through a set of keywords that organizes, interprets and directs the content of the denotative material to the recipient consciousness in accordance with the intention of the author of the message. This process is accompanied by a mandatory (hidden or expressed) emotional and evaluative attitude of the author to the original facts of reality, which should not be confused with the general emotional-evaluative style inherent, for example, in a given author or a given publication, or even representing only the manner of presenting a given message, but only the manner, tone, and not a meaningful assessment of the facts presented in the message.

When students studied a number of QMS materials, primarily of an analytical nature (CUT “persuasion”), it turned out that very often the meaning of a particular situation described in the material can be conveyed in a short phrase, and most often a certain proverb or saying was suitable for these purposes. In addition, it turned out that the number of proverbs “fixing” situations in this way is much less than the number of facts: that is, the same wording “fits” different facts in different materials. Moreover, it was revealed that a certain context contains a certain set of formulations that are often repeated in this context. In materials about political life, for example, the following formulations of situations had a high frequency: “ Everything is captured, everything is paid for”, “Whoever can, he will gnaw”, “Young - with toys, old - with pillows” .

It should be noted that this is not necessarily about the explication of such formulations or their synonymous variants in the text, although in practice the authors of QMS texts often use expressions that are capacious in meaning, among which, of course, proverbs are included. The process of correlating information with the “standards” laid down in the subjective semantic space (on which the PUT is based) occurs in the mind of the recipient. The addresser's task is to optimize his impact on someone else's consciousness, balancing direct formulations with skillful allusions and thematic digressions in which the desired point of view of the recipient "ripens". Bringing to the desired idea, emotion, action of the recipient is desirable to perform covertly and unobtrusively, avoiding the resistance of the recipient.

Thus, in order to implement the PUT, the author of the QMS needs to carry out work on the selection of means of expressing the selected meanings of reality. This work is being studied by us as part of a separate stage of the author's activity in implementing the pragmatic content of the QMS text.

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MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

Federal State Educational state-financed organization higher education

"SAINT PETERSBURG STATE

THE UNIVERSITY OF ECONOMICS"

Faculty of Humanities

Department of English Language and Translation

Direction of training - Linguistics. Qualification - bachelor

GRADUATION

QUALIFYING WORK

Ways of translating the linguistic representation of the author's emotive-pragmatic attitude based on the material of R. Kipling's cycle of fairy tales "Pack from the Magic Hills"

Students

Osipova

Svetlana Leonidovna

St. Petersburg

• Introduction
• Chapter 1
• 1.1 Emotivity as a linguistic embodiment of emotionality
• 1.1.1 Correlation of the category of emotiveness with the categories of expressiveness and evaluativeness
• 1.1.2 Main approaches to the classification of emotive vocabulary
• 1.1.3 Features of the translation of emotive vocabulary
• 1.2 Emotivity as a component of language pragmatics
• 1.2.1 The author's emotive-pragmatic attitude
• 1.3 Literary fairy tale as a genre of children's literature
• 1.3.1 Genre originality of a literary fairy tale
• 1.3.2 The specifics of the cycle of fairy tales by R. Kipling "Pack from the Hills"
• Chapter I Conclusions
• Chapter II. Lexical means of emotiveness and features of their translation (on the example of R. Kipling "Pack from the Magic Hills")
• 2.1 Components of the lexical component of the emotive fund of the English language in R. Kipling's fairy tale "Pack from the Magic Hills"
• 2.1.1 Words with emotive semantics from the point of view of literary translation
• 2.1.1.1 A set of words with emotive semantics in the status of meaning
• 2.1.1.2 A set of words with emotive semantics in the status of connotation or connotation
• 2.1.2 Words naming emotions
• 2.1.3 Words that indirectly describe emotions
• 2.2 Comparison of emotive vocabulary in the author's and character speech
• Chapter Conclusions II
• Conclusion
• Bibliography
• Appendix
• Introduction
• During the last decades in linguistics there has been a change of the system-structural paradigm to the anthropocentric one. This means that now the focus is not on the object of knowledge, but on the subject - a person, with his thoughts, judgments, emotions. A person is considered as a bearer of language and culture and as a key figure for further linguistic analysis. Under the influence of the anthropocentric approach, which is now firmly established in modern linguistics, one of the actual problems became the problem of representation, implementation and principles of the functioning of emotions in the language, as well as their pragmatic purpose in the text. This study is devoted to the study of lexical means expressing the author's emotive-pragmatic attitude in the text of a literary fairy tale, and methods of their translation. It seems to us that the features of the pragmatic orientation of emotive language units in a literary fairy tale have not been fully studied at the moment, which leads to relevance our work.
• aim This work is a study of the category of emotiveness and the emotive-pragmatic setting of the author in the text of a fairy tale and translation techniques used to convey the emotions of the original when translating a literary text from English into Russian.
• The set goal determines the solution of the following tasks:
• · Research the scientific literature on emotivity and identify the main approaches to compiling a typology of emotive language units;
• Reveal lexical emotive means functioning in children's fiction(on the example of a literary fairy tale);
• · To analyze the features of the representation of the author's emotive-pragmatic attitude with the help of lexical means;
• · To study ways of translating and conveying the author's emotive-pragmatic attitude in a fairy tale when translating from English into Russian.
• Scientific novelty of the ongoing research lies in the fact that the emotive component of the language is considered in conjunction with the pragmatic aspect within the framework of a specific genre of fiction - a literary fairy tale. Also, the classification of lexical means of conveying the emotional state is carried out and the features of the translation of lexical units from English into Russian are analyzed, taking into account the pragmatic setting of the author, which determines the choice of language units. translation artistic emotionality emotiveness
• Object of study is an authentic work by Rudyard Kipling "Puck of Pook" s Hills "and two versions of its translation, made by Grigory Kruzhkov ("Puck from the Magic Hills", 2010) and Anna Enquist ("Old England", 1916). Subject of study are lexical means of transferring emotive information and emotive-pragmatic attitude of the author from English into Russian.
• theoretical basis monographs served for our research, science articles, dissertation research of foreign and domestic linguists and literary critics: V.I. Shakhovsky, E.V. Strelnitskaya, V.N. Komissarov, Yu. Naida, O.E. Filimonova, L.Yu. Braude, L.V. Ovchinnikova, N.S. Valgina, V.V. Vinogradov and others.
• As the main research method the work uses the method of contrastive analysis when comparing the English original with Russian translations; dictionary definition analysis, contextual analysis, descriptive method and quantitative calculation method are also used.
• The structure of the work includes an introduction, abstract and research chapters, conclusion, bibliography and appendix.

Chapter 1

• 1.1 Emotivity as a linguistic embodiment of emotionality
• In recent decades, especially in connection with the firmly established anthropocentric linguistic paradigm, the interest of both foreign and domestic linguists has been riveted to the study of emotions as one of the forms of reflection of reality (Boldyrev 2001; Kostomarov 2014). More A.A. Potebnya emphasized the anthropocentric nature of language: "In reality, language develops only in society.<…>a person understands himself only by testing the intelligibility of his words on others" (Potebnya, 1999: 87). Emotions can acquire social reality only if they are expressed in one form or another.The universal way of actualizing emotions is their verbalization in external speech.
• In linguistics, many disciplines are engaged in the study of emotivity, but emotivity has received the most complete and detailed coverage in the framework of an interdisciplinary science - emotiology or linguistics of emotions, which studies the connection between language and emotions. She makes a distinction between the concepts of "emotionality" and "emotivity", as belonging to the terminological apparatus of different sciences - psychology and linguistics, respectively (I.I. Turansky, V.I. Shakhovsky, T.V. Larina, V.A. Maslova ).
• However, within the framework of emotiology, there is no single definition of emotivity yet. IN AND. Shakhovsky believes that emotivity is "a semantic property inherent in language to express emotionality as a fact of the psyche with a system of its means" (Shakhovsky 1987: 24). A slightly different opinion is held by L.A. Piotrovskaya, who believes that emotivity is a kind of function of language units to express the emotional attitude of the speaker to objective reality (Piotrovskaya 1993). In our opinion, the definition of L.A. Piotrovskaya more accurately reflects the features of emotivity, since in our work we first of all turn to the pragmatics of emotive lexical units that outwardly express emotions in speech activity.
• Within the framework of emotiology, emotions and their pragmatic impact are interrelated and are studied in parallel. This is explained by the fact that during the transmission of a message, the emotional impact of the text on the addressee occurs, and it is pragmatics that is responsible for choosing the relevant language means for the best impact on the recipient of the message.
• In emotiology, emotions are considered in close connection with cognitive processes. According to the cognitive interpretation, a person perceives and realizes the world around him, fixing the received information, experience in the language (Ilinskaya 2006). And all these mental processes are regulated by emotions, thus separating the important from the insignificant, which did not cause any sensory experiences.
• The basis for the cognitive approach to the study of language, as a tool involved in human cognitive activity, is the principle of organizing knowledge, ways of storing, transmitting and processing it using the processes of categorization and conceptualization. In cognitive linguistics, emotivity has a status language category, i.e. a group of linguistic elements that is formed and distinguished on the basis of some common property- a sign underlying the attribution of homogeneous linguistic units to a certain class, characterized by the same value of this sign (Filimonova 2007). Emotivity, like any other cognitive category, is a system of multi-level units - lexical, stylistic, graphic, phonological (Filimonova 2007). In our work, we will consider the lexical level of linguistic emotiveness as the most representative and meaningful in terms of the realization and verbalization of emotions.
• 1.1.1 Correlation of the category of emotiveness with the categories of expressiveness and evaluativeness
• Within the framework of this study, it is advisable to consider the category of emotivity in conjunction with other language categories. Of greatest interest are the categories of expressiveness and evaluativeness, as related concepts that enter into linguistic relations directly in the text.
• In the semantic structure of a linguistic sign, it is customary to single out two macro components - denotative and connotative. The denotative component, being the logical and objective part of the meaning, is interpreted quite unambiguously by almost all linguists, while the definition of connotation is controversial. In general, connotation is "information about the attitude of the speaker to the nominated object, the realities of the objective world" (Vstavsky, 2006).
• A.N. Vstavsky and N.A. Lukyanova believe that the connotative component has a tripartite structure, including expressiveness, emotiveness and evaluativeness as the main interrelated and complementary elements (Lukyanova, 1979). Therefore, it is most often customary to consider emotivity and evaluativeness as a complex, since the speaker's attitude to the information being communicated, expressed with the help of emotive markers, implies an assessment of this information through the binary opposition "good" / "bad". We also take into account the classification of assessment types proposed by G.G. Sokolova. This typology implies the existence of not only a positive and negative assessment, but also a situational one, which is characterized by the subjective-personal perception of the speaker or evaluator (Sokolova, 1981). Different cultures can interpret the same phenomena in different ways and give them their own special meanings.
• Emotivity and expressiveness are identified in many works. We are of the opinion that these concepts are completely different linguistic phenomena, sharing the point of view of M.V. Nikitina, I.I. Turansky, O.E. Filimonova, V.I. Shakhovsky. Emotivity is usually expressive, while expressiveness is not always associated with the expression of emotions, but is always opposed to a neutral form of presentation (Bukina, 2009). Expressiveness indicates the measure, the degree of manifestation of a particular feature.
• Since it is the pragmatic effect of language units that is of great interest to us, we take into account and take into account the conjugation of all three concepts when studying the emotive-pragmatic setting of the author and the functions of language units in the text of a fairy tale. An explanation of the pragmatics of an utterance is impossible without an analysis of the evaluative and expressive components, especially in children's literature, which is characterized by increased figurativeness and expressiveness.
• 1.1.2 Main approaches to the classification of emotive vocabulary
• The lack of a unified psychological concept of emotions makes it difficult to study linguistic emotivity and to compile a unified typology of language verbalization of emotions. In our work, we will consider several currently existing classifications that help to more systematically approach the consideration of the category of emotivity. However, despite the difficulties that arise in determining the meaningful features of emotions, most researchers recognize the functional characteristic of emotion - its sign (positive or negative) (Kondakov 2007). A certain concretizer of emotion appears, expressed in the opposition "approval" / "disapproval".
• A.S. Ilinskaya, developing the semiotic concept of emotions, suggests dividing signs into emotive signs that can directly express emotions and signal an experience, and other signs that non-emotionally represent emotions in the language through nomination, description, and metaphorical representation (Ilinskaya 2006). The nomination and description of emotions is purely symbolic. Another way of the existence of emotions in the language is in emotional conceptual metaphors, by likening emotional phenomena and their indirect signs to physiological or physical signs ( to go dark with anger, to brighten up with joy, to be hit by grief). N.F. adheres to a similar classification. Yezhov, highlighting the nomination, description, metaphors and expression (Ezhova 2003).
• It is also worth noting the research work of L.G. Babenko, devoted to the classification of emotive vocabulary by class. L.G. Babenko identifies the following groups of words: 1) nominative emotives; 2) nominative emotives with included meanings; 3) expressive emotives with accompanying meanings (Babenko 1989).
• In our opinion, the classification proposed by V.I. Shakhovsky, explains in most detail the features of emotive vocabulary classes. To designate emotive vocabulary, a linguist introduces the concept of "emotive" - ​​a language unit whose main function is to convey emotions (Shakhovsky 1987). According to V.I. Shakhovsky, the lexical fund of emotive means consists of: 1) emotives - affectives (emotive meaning is the only lexical meaning) and connotatives (emotive semantics has the status of connotation); 2) neutral vocabulary that can become emotive in speech (potentially emotive). The rest of the vocabulary that nominates or describes emotions, according to the scientist, does not belong to emotive. Let us consider in more detail the means of conveying emotiveness in the language and, accordingly, in the text.
• The main group of words that can directly convey the emotional experience of the speaker are emotives, whose primary function is emotional self-expression. At the same time, the emotive may have an impact on the recipient (reader) or not. Since it is the emotive-pragmatic aspect of the author's attitude and perception that is of interest to us, we will also take into account the expressive-influencing side of emotives in order to determine what the author was trying to convey to his readers. The emotive acts as a hypernym in relation to affective - "emotive", the meaning of which for a given word is the only way meaning of the reflected emotion, without its name "(Shakhovsky 1987: 25). It is customary to refer to affectives as interjections, interjective words, swear words and curse words, i.e. those lexemes that serve only for the direct expression of emotion and do not have a logical and subjective meaning The main feature of affective vocabulary is that it does not describe emotions, unlike other emotive words, but reports the immediate emotional state of the subject. due to the growth in the semantics of the word of additional meanings in the context.
• Another subgroup of emotives are connotatives , whose emotive share of meaning accompanies the main logical-objective meaning. Connotatives, in comparison with affectives, characterize a greater awareness of the expressed emotions. These are word-building derivatives of different types: zoolexic, comparisons and metaphors with a zoonymic component, evaluative lexemes, emotionally colored vocabulary, colloquial vocabulary, archaisms, poetisms, diminutives, color designations, etc.
• Let us especially emphasize the importance of comparative and metaphorical processes verbalized in the text as connotatives. The entire comparison structure serves to reinforce or emphasize any feature. Metaphor and comparison are two cognitive mechanisms that closely intersect and interpenetrate each other's structure. Both mental operations serve to process information, its structuring. It is generally accepted that comparison is more explicit than metaphor, and its language formulas are easier to recognize in the text, thanks to special comparative operators ("as", "like", "as if", "as" and others); in turn, the metaphor is a convoluted, implicit comparison (Balashova 2011: 20).
• Comparison can be used to build new associative links and images or to strengthen existing ones. The units of comparison are not lexical units and their definitions, but images, mental concepts that combine the entire set of features and characteristics. Comparison of concepts allows you to highlight the necessary elements by setting the angle, the depth of meaning deployment, the distinctness of objects, connections and comparison relations (Denisova 2010). V.P. Moskvin, exploring the semantic features of metaphor, singles out the animalistic/zoomorphic type of metaphor, when an animal acts as an auxiliary subject for comparison (Moskvin 2006). Zoom metaphors play a very significant role in the linguistic implementation of the category of emotiveness in the text of a fairy tale.
• Zoonyms, zoolexemes, animal vocabulary are "lexical units that are direct names of animals" (Raspolikhina 1984). Both in Russian and in English, most of the zoolexemes can be used to express the evaluative characteristics of a person and an emotional attitude towards the object of evaluation. (Sagitova 2014). Zoometaphor is a linguistic characteristic of a person and is formed on the basis of various images. It is based on a certain stereotype, the most striking and distinct feature that characterizes any animal. This sign is usually easily comprehended in the minds of the speakers, therefore it is the leading one when comparing a person with an animal.
• We see that not all linguists approach the definition of emotive vocabulary in the same way. Thus, there are two main interpretations of emotiveness. According to the first one (L.G. Babenko, E.M. Galkina-Fedoruk), the category of emotivity includes the names of emotions, pure emotives, and potentially emotive words. According to another position (V.I. Shakhovsky, I.V. Arnold, A.S. Ilinskaya), words naming emotions and feelings are excluded from the composition of emotives, since, in their opinion, these words carry only the thought of experiencing, but not direct his expression. In our study, it is advisable to study all types of vocabulary that can be markers of emotion, because from a functional point of view, such vocabulary is of great importance in the text of a fairy tale to simplify the decoding of emotions and designate the author's intention.
• 1.1.3 Features of the translation of emotive vocabulary
• Why does the translation of emotively colored vocabulary always present a certain problem for translators? Most often this happens due to the fact that the emotional expression, unlike the logical, rational one, tends more towards implicitness, and, being embodied in linguistic units, does not lend itself to traditional literal interpretation in a different language system during translation. I.V. Gubbenet argues that within the framework of a literary text, emotional situations develop semantically and connotatively, acquire subtext, additional internal meanings and forms, due to which a vertical context is formed at the content level, relevant only in a specific text (Gubbenet 1981). Therefore, the process of deducing certain universal ways of translating the emotive content of an utterance becomes more difficult.
• In addition to the fact that emotiveness in the text is most often contextual, it usually includes complex, multi-component language units (metaphors, comparisons, phraseological units), which cover not only individual lexemes or phrases, but also sentences, entire parts of the text. Such forms rarely coincide in English and Russian, and the selection of appropriate equivalents does not always bring the desired result, both from an emotive point of view and from a content or stylistic point of view.
• Therefore, in our study, we will rely on the concept of "dynamic equivalence" proposed by the American translation theorist Eugene Nida. He makes a distinction between formal and dynamic equivalence. The most important principle of dynamic equivalence is that it is supposed to adapt vocabulary and grammar in such a way that the translation sounds like "the author would write in another language." According to Y. Naida, "dynamic equivalence can ensure the fulfillment main function translation - a full-fledged communicative replacement of the original text "(Nida 1964). This is how it is possible to transfer emotive information from one language to another, because it is important not only to convey factual information to the reader, but also to have an impact, evoke emotions as close as possible to those that the original dynamic equivalence requires the translator to work hard to transform and transform the source text, adjusting it to the cultural, social and other realities and norms of the TL people, and also helps to resolve the problems of different perceptions of reality and the world by different peoples and cultures, to smooth out the influence of relevant extralinguistic factors.This is manifested in the fact that "instead of immersing the recipient of the translation in a foreign language culture, the translator offers him a" mode of behavior that is relevant to the context of his own culture", so the reader does not need a thorough knowledge of another culture to understand text.
• Of course, no translation is perfect and accurate and cannot fully reproduce the original work exactly as the author intended and embodied it. Partial loss of information, meaning, mood or emotions is inevitable, but it is dynamic equivalence, in contrast to the formal one, that enables readers who are not native speakers of the source language to feel the text.
• In the process of adapting the translated text, both in terms of content and language, the translator resorts to various translation transformations - "interlingual operations of re-expression of meaning" (Schweitzer 1988). We consider the classification of translation transformations by V.N. Komissarov, including: lexical, grammatical and complex lexico-grammatical substitutions (Komissarov 1990). Based on the classification of V.N. Komissarov in the practical part of our work, we will analyze how the emotive-pragmatic setting of the author is transmitted in a fairy tale from English into Russian.
• 1.2 Emotivity as a component of language pragmatics
• The pragmatic tasks of the author can be realized primarily through the creation of a certain emotional mood in the recipient. An effective impact on the reader occurs due to the expression of the author's personal-significant attitude to what is depicted in the text. Emotivity ensures the success of the pursued communicative task, due to an indifferent, complicit attitude to the events, persons and situations described in the work. The author of the work, through a certain pragmatic attitude, helps the reader in the interpretation of the text, the creation of additional associations, the emotional assessment of events, and provides important information (Kudashina 2006).
• Among the emotive-pragmatic attitudes of the author may be: the impact on the emotional sphere of the reader, causing sympathy and sympathy for certain positions in the text, anticipation of a certain emotional reaction.
• 1.2.1 The author's emotive-pragmatic attitude
• One of the main tasks of emotsiology is to determine the pragmatic attitudes of the author within the framework of the text. Emotivity always seeks to evoke an emotional reaction in the reader, to provide a more vivid and figurative picture of the logical, rational side of the literary text, to convey the author's aesthetic, ideological, social, and moral intention. The author's ideas may not be perceived by the reader immediately, but after some time, since the recipient receives the largest amount of information and impressions not by analyzing or comprehending aspects of the text, but by empathizing with the characters and/or partially identifying with them. Thus, with the help of various speech means, a conscious pragmatic impact on the reader is carried out, which is one of the main functions of the category of emotiveness. The implementation of pragmatic attitudes in the text is also aimed at establishing and maintaining contact between the author of a literary text and its reader.
• N.S. Valgin notes that pragmatic attitude of the author bears in itself first of all the relation of the author to the reported information. The author acts not only as the creator of the text, in addition, he guides the reader in interpreting the test. Even obeying the general rules and patterns of constructing a work of art, the author supplements the text with his own individual corrections, implementing a pragmatic approach (Valgina, 2004). The author's speech controls the reader's perception, controls the processes of speech interaction and the course of narration inside and outside the depicted world.
• The importance of personal individual aspect in the reflection of the author's intention, V.V. Vinogradov. He defines the manifestation of the author's attitude as "" a concentrated embodiment of the essence of the work, uniting the entire system of speech structures ..." (Vinogradov, 1971). to be not only the author, but also the narrator, narrator, various characters personifying the image of the author within the framework of the work itself.
• It should be noted that in many works the concepts " author's goal setting" , " communicative setting" , " author's intention" are synonymous with the concept " pragmatic attitude" . So, T.M. Dridze T.M. and G.P. Grice, speaking of "communicative attitude" and "intention" respectively (Dridze 1984; Grice 1969), imply the same intention of the speaker (addresser) to communicate something, to convey a certain subjective meaning in the utterance. By definition, O.S. Akhmanova, intention is understood as the potential or implicit content of the utterance and is opposed to the actual, real content of the utterance (Akhmanova 1966).
• Within the framework of a work of art, as well as any other speech work, not only the author's installation, but also the text one, functions. Both attitudes can represent both a synthesis and a contradiction in conflict, since the attitudes of a text are dictated by its type, genres, task, and overall goal setting. Research by V.L. Naera, devoted to comparing the "intention of the author" and the "pragmatic attitude of the text", led him to the conclusion that these attitudes are two complementary, but opposite aspects of the realization of the author's intention. First - nonverbalized the stage of forming an unconscious or conscious intention to communicate something, and the second - verbalized stage, i.e. specific and formalized setting in the text. Thus, according to Naer, the pragmatic setting of the text is a "materialized intention" (Naer 1985).
• The author's pragmatic attitude, which has an emotive component, provides extensive material for studying the designation of emotions, revealing their hidden possibilities, additional, implicit information. The pragmatic potential of such an attitude is associated with the peculiarities of the author's choice of a language unit to designate a particular emotion, psychological state.
• In the process of translation, the pragmatic attitude of the author becomes a derivative of the intentions of the author of the original, the translator, the degree of translatability of certain elements, the presence of suitable correspondences of pragmatic meanings in the target language. It is also worth noting that the socio-cultural adaptation of the text during translation is a key point, since the transfer of cultural specificity in most cases is associated with problems and losses during translation, especially the emotive-pragmatic component of the text (Dortmuzieva 2006).
• For the successful implementation of the author's pragmatic attitude, emotiveness can be associated with expressiveness, representing a single set of means and techniques for creating the pragmatic effect of a work or statement. Pragmatic emotivity is also able to independently carry out the necessary transmission of the author's intentions, but unlike expressiveness, which is always focused on the recipient, the recipient, emotivity does not require the presence of such.
• Also worth noting is the phenomenon " author's accompaniment of direct speech of characters" and its linguistic embodiment, analyzed by E.A. Kazankova. The entire space of a literary text can be divided into speech "from the author" - the narration itself and the author's accompaniment of direct speech, and into "alien" speech for the author - replicas and statements of characters. Author's accompaniment plays an important role in the analysis of a pragmatic attitude, because it contains a particularly pronounced intention. Where there is no author's accompaniment, freedom is given to interpret the meaning and emotions of the characters. In other cases, the author independently determines what should be emphasized and what means to use for this (Kazankova 2010).
• According to E.A. Kazankova, the following types of information provided by the author can be distinguished: 1) information about the fact of transmission of a voice message; 2) information informing about the goals, intentions of the speech message; 3) information about the paralinguistic component; 4) information about the emotional and psychological state of the character; 5) information about the accompanying non-semiotic movements of the character (Kazankova 2010). To clarify the author's pragmatics, the last three types are of interest, since they carry the emotional component of the statement, but at the same time expressing emotions indirectly through a description or an indication of them. Noting the positions that the author's speech can take in relation to the hero's statement, E.A. Kazankova highlights the following: preposition- author's accompaniment prepares the perception of the replica; postposition- explication of meaning or emotional content inaccessible to the reader; inside direct speech(Kazankova 2010).
• Thus, we can conclude that almost any text has two types of pragmatic attitudes - textual and author's - regardless of its genre specificity. However, it is in a literary text that the key role is given to the intention of the author, colored by a personal, individual beginning, since the less standardized and canonical the text, the higher the manifestation of the author's style and originality. The pragmatic setting of the author, aimed at conveying the originality of the emotional world and potential, is realized both in separate, abstract units (lexicon, syntax, graphics), and in superphrasal units entirely (in the text). The pragmatic orientation of the category of emotivity (and also expressiveness) - the desire to evoke a certain response - is one of the main functional aspects of emotivity.
• 1.3 Literary fairy tale as a genre of children's literature

1.3.1 Genre originality of a literary fairy tale

Having considered the features of the implementation and functioning of the category of emotivity in the language, as well as the emotive-pragmatic setting of the author, we will make a brief digression into the field of studying a literary fairy tale, as the main genre of text taken by us to study emotivity. There has been an increase in the interest of domestic and foreign researchers in the literary fairy tale in recent decades. Among the scientists involved in the study of fairy tales, it is worth noting V.P. Anikina, L.Yu. Braude, N.M. Lipovetsky, L.V. Ovchinnikov, E.M. Meletinsky.

Consequently, many researchers have developed their own genre features of the fairy tale, its definitions. The most complete and adequate within the framework of this work is the definition given by L.Yu. Braude in the article "On the history of the concept of a literary fairy tale": " literary tale- author's, artistic, prose or poetic work, based either on folklore sources, or purely original; the work is predominantly fantastic, magical, depicting the wonderful adventures of fictional or traditional fairy tale characters…" (Braude 1979).

Well-known Russian folklorist V.Ya. Propp in his writings did a significant amount of work on the analysis and identification of the main features of the tale. According to V.Ya. Proppu, a fairy tale: 1) has a certain compositional and stylistic structure; 2) has the purpose of entertainment and edification; 3) the basis of the tale is something unusual (everyday, miraculous or historical) event (Propp 1984).

L.V. Ovchinnikova in her monograph writes that "a literary fairy tale is a multi-genre type of literature realized in an infinite variety of works by different authors" (Ovchinnikova 2001). Thus, it emphasizes the idea of ​​the diversity of species and subtypes included in the more generalized concept of "literary fairy tale", as a whole separate view literary activity. According to L.V. Ovchinnikov's tale can be classified into two large groups- folklore-literary and individual author's. In turn, both types of fairy tales differ thematically: fairy tales about animals, household, magical, historical (Ovchinnikova 2001).

Russian literary critic V.G. Belinsky noted the enormous moral, ethical and aesthetic potential of a literary fairy tale. He emphasized the educational nature of such literature, relying on numerous Russian and European fairy tales (A.S. Pushkin, V.A. Zhukovsky, Hoffman, the Grimm brothers). V.G. Belinsky believed that fairy tales play a huge role in shaping a child's sense of beauty and taste, as well as value orientations in life. In his opinion, a storyteller must have a "calm, childishly simple-hearted soul," "an exalted mind," and "a lively, poetic fantasy" (Belinsky 1972).

A literary fairy tale is directly related to a special type of reader - a child, which makes its content special and different from complex adult literature. The authors of the literary fairy tale are driven by the desire and need to form in the child an idea of ​​life, morality, which has deep national and historical roots.

Story- this is the artistic space where, first of all, spiritual values ​​are important, preserved by entire generations, transmitted and not losing their significance over time. The author aims to create the most idealized understanding of the world, the beliefs of a small reader, thanks to the artistic features of the genre.

Within the framework of a literary fairy tale, the possibility of correlating and connecting both entertaining and moralizing aspects, "an adventure story with a didactic and cognitive orientation" is realized. (Ovchinnikova 2001). The presence of an educational orientation of a literary fairy tale is also emphasized by K.I. Chukovsky, saying that the fairy tale "improves, enriches and humanizes the child's psyche", since the child in the process of reading identifies himself with the hero and adopts his perception of the world (Chukovsky 2001).

In itself, the phenomenon of genre uniqueness of a literary fairy tale lies in the fact that it has become an example of an amazing synthesis of folklore and literature, absorbing and rethinking the traditions, achievements and experience of the people, closely intertwined with the author's individuality and worldview. This is emphasized by M.N. Lipovetsky: "A literary tale is basically the same as a folk tale, but unlike a folk tale, a literary tale was created by a writer and therefore bears the stamp of the author's unique creative individuality" (Lipovetsky 1992).

However, a literary fairy tale is not only the subject of the author's understanding of reality and life events, but also reflects major changes and currents in the literary-historical process. The embodiment of this idea can be found in the works of L.V. Ovchinnikova: "For centuries folk tale certain aspects of its ideological and artistic world corresponded to the creative searches of poets and writers<.>Each period of literary development had its dominant literary-fairy "reflections". Given these features, a special place belongs to the literary tale of the turn of the XIX-XX centuries.

• 1.3.2 The specifics of the cycle of fairy tales by R. Kipling "Pack from the Hills"
• In the era of the change of centuries in European, in particular English, literature, there was a change in the focus of attention of writers from adult classical literature to fairy-tale children's literature. The period was marked by a deep interest in folklore, experimental creativity and the development of the figurative and plot outline of the fairy tale genre. The English literary fairy tale was formed at the beginning of the 19th century and relied on the classic examples of fairy tales of the Romantic era: the fairy tales of the Brothers Grimm, G.K. Andersen, Ch. Perrault (Burtsev 1991). However, the final formation of the genre takes place only in the last decades of the 19th century, during the heyday of a new literary trend - neo-romanticism. First of all, the emergence of neo-romanticism is characterized as a reaction of naturalism, pessimism and unbelief, inherent in English society at the end of the 19th century.
• It was in England that neo-romanticism manifested itself most clearly, since English writers sought to drown out the obsolete "values" of the outgoing Victorian era and bourgeois reality, expressed in the desire for a philistine, stagnant lifestyle.
• Neo-romantic writers sang of beauty, the beauty of the surrounding world, the fullness of human existence. The literary fairy tale occupies a central place in the genre system of neo-romanticism, with its own special type of hero and specific artistic means.
• On the example of R. Kipling's cycle of fairy tales "Pack from the Hills" we will consider the main genre and structure-forming features of a literary fairy tale, both of the era of neo-romanticism and fairy tales in a more general sense. One of the most important structure-forming principles of the fairy-tale space is " fairy tale balance" (Meletinsky 2001). The term was introduced by the Russian philologist E.M. Meletinsky to describe the basic binary-dual oppositions that organize the alignment of images and plot in a fairy tale. Oppositions are built on the value ideas of the people, they include the following: "friend/foe", "good/evil", "right/wrong", "fair/unfair". In the space of a fairy tale, everything breaks up into paired-opposite elements, and this is realized both in the reflection of static elements - images of characters, realities, and plot dynamics - events, situations (Shlepova 2014). For example, the basis of social and moral contradictions for neo-romantic writers is the eternal struggle between Good and Evil. At the same time, Evil for them is not only cruelty, meanness, but also routine, mediocrity (Pasechnaya 2013).
• The category of intertextuality is also of great importance in the literary fairy tale genre. Intertextuality in the text is woven into the concept of "vertical context", being the main category for its construction. The vertical context, according to V.S. Vinogradov, is background knowledge, "not explicitly expressed historical and philological information" (Vinogradov 2001), i.e. information expressed implicitly. The vertical context is formed with the help of markers: allusions, symbols, realities, idioms, quotations. N.S. Olizko, studying the functions of intertextuality, determines that these include communicative, cognitive, emotionally expressive, poetic. Those. intertextuality is directly involved in the inclusion of additional emotiveness in the text (Olizko 2008).
• Under the influence of the information embedded in the work, the reader sees the world around him in the light and with the focus of attention that the writer emphasized. Taking into account the specifics of the type of reader of a literary fairy tale - a child, R. Kipling gives footnotes or explanatory inclusions that make it possible to understand the intertextual markers presented in the text. And in this case, the reader does not need an extensive background knowledge base, since by introducing intertextuality into a fairy tale, the author seeks to give a certain emotion, mood, referring to certain elements.
• An important role in the fairy tale is given to the main characters-listeners - Dana and Una. Their children's perception gives rise to a trusting tone of stories and a special emotional mood, contributing to the identification of real readers and child characters.
• Thanks to this technique, the child's consciousness is able to carry out the transfer of experiences, emotions and attitudes to what is happening in a fairy tale. It can be concluded that despite the individualism of R. Kipling, the cycle of fairy tales "Pook of the Pook" s Hills "obeys the general laws of the fairy tale genre. It proclaims primordial values ​​(kindness, duty and honor, nobility, justice), condemns vices (selfishness, malice, cruelty, arrogance, vanity).
• Chapter I Conclusions
• Having considered the theoretical foundations for studying the category of emotiveness, the emotive-pragmatic attitude of the author in the text and the literary tale, let us briefly summarize.
• Given the anthropocentric approach to the study of language, which puts the personality of a person at the center of linguistic teachings, emotivity, as one of the most important forms of reflection of the surrounding world, occupies a key place in linguistics in recent decades. A science was formed - emotiology, which makes it possible to approach the study of the category of emotiveness in a multilateral and comprehensive way. Emotiology distinguishes between the concepts of psychological "emotionality" and linguistic "emotivity" and develops classifications and typologies of linguistic signs that are used as markers of emotions in the text.
• As part of our work, we will use the definition of emotivity given by L.A. Piotrovskaya, that emotivity is a function of language units, which consists in the ability to express the emotional attitude of the speaker to objective reality.
• We also found that from the point of view of the cognitive direction of linguistics, within which there is emotiology, emotivity is considered as a multi-level language category that is capable of reporting the emotional experience of the speaker through its system of means. At the same time, emotivity is an important component of linguistic pragmatics, influencing the feelings of the recipient, causing the necessary reactions. The author in the text creates emotive-pragmatic attitudes that form the framework of the work and influence the choice of language means for their successful implementation.
• Further, we made a brief overview of the study of a literary fairy tale as a genre of children's literature and formulated a working definition of a fairy tale, which we will rely on in the research chapter of our work: a fairy tale is an author's, artistic, work based on folklore sources; a work predominantly magical, depicting the adventures of fictional and traditional fairy tale characters; entertaining, developing and instructive functions are the main ones for a literary fairy tale.
• Chapter II. Lexical means of emotiveness and features of their translation (on the example of R. Kipling "Pack from the Magic Hills")
• The main research method in our work is the method of contrastive analysis used to compare the English original with Russian translations. When studying the semantic features of emotive lexical units, we will rely on the analysis of dictionary definitions and contextual analysis, with the help of which we will identify individual characteristics functioning of emotive lexemes in the text of a fairy tale. A descriptive method is also used in explaining and considering particular cases of the use of certain means, and the method of quantitative calculations to create statistical material.
• 2.1 Components of the lexical component of the emotive fund of the English language in R. Kipling's fairy tale "Pack from the Magic Hills"
• Summarizing all the theoretical material that we considered in Chapter 1, we received the following classification of vocabulary that can communicate emotions in the text of a fairy tale:
• I. emotive vocabulary (emotives):
• a) words with emotive semantics in the status of meaning(affective words expressing the emotional state of the speaker - swear words, interjections and interjection words)
• b) words with emotive semantics in the status of meaning(connotatives that convey the emotional attitude of the speaker to the subject of the nomination or its signs: affectionate expressions, curses, metaphors, phraseological units, diminutives, animalistic comparisons and metaphors, color designations, etc.).
• P. vocabulary of emotions: words naming emotions.
• Sh. lexical units describing emotions(words indicating the cause, result, indirect sign of emotion).
• Having established the classification of emotive vocabulary, the features of the implementation of the author's emotive-pragmatic attitude and adequate ways of transferring this vocabulary from English into Russian, let's proceed to the analysis of lexical means in the text of R. Kipling's fairy tale "Pack from the Magic Hills".
• 2.1.1 Words with emotive semantics from the point of view of literary translation

2.1.1.1 A set of words with emotive semantics in the status of meaning

In such a group of emotives as affectives, interjections occupy a central place and play a fundamental role in the formation of children's emotive space. This is evidenced by the frequency of interjections themselves, as well as interjective words or interjectives (full-meaning words that have passed into the category of interjections).

Imagery and emotionality are the key features of children's fiction that help highlight the author's intention and ensure the success of its transmission in children's communication. Consider a few examples that most successfully demonstrate the features of the implementation of affectives in the speech of a fairy tale and their translation from English into Russian:

"Well, well ! They do sayhoppin" "ll draw the very deadest , and now I believe 'em. You, Tom? Tom Shoesmith?" Hobden lowered his lanthorn (R. Kipling" Dymchurch Flit" ; 127).

well well ! Apparently, it is not in vain that they say that harvesting hops will even pull the dead out of the grave ! Is that you, Tom? Tom Shoemaker! - exclaimed old man Hobden, lowering the lantern (translated by G. Kruzhkov)

original " well, well" according to the dictionary means " indicating pondering or consideration, sometimes with sarcasm or mock surprise", i.e. either neutral, or with a touch of sarcasm or discontent. G. Kruzhkov uses " well well" , which in Russian also has a connotation of discontent or surprise. At the same time, in both versions, it is precisely the emotion of surprise that is preserved, which is supported in the translation by the author’s accompaniment verb - " exclaimed" , and the very speech of the character - in circulation " hoppin" "ll draw the very deadest".

"Whoop! Holiday!"cry Hal, leaping up (R. Kipling" Hal o' the Draft" ; 117).

Hooray, holiday! -- shouted Gal and jumped out of place (translated by A. Enquist; 89).

Fine! Let's take a break. - Gal jumped to his feet . (translated by G. Kruzhkov).

This example is of interest because the two translations reflect different degrees of emotiveness. Interjection " whoop" meaning in the dictionary " a noise or cry often made in excitement", i.e. it conveys the emotion of surprise, joy, and is complemented by a description of the movements performed by the character during this emotional state. Combined lexemes " Cried" and " leaping up" mark the intensity of the experience and the physical reflection of the emotion. A. Enkvist almost verbatim traces the original phrase, in contrast to G. Kruzhkov, who, omitting the verb of author's accompaniment " cry" slightly reduces the level of emotiveness, making the cue more restrained. Interjected adverb " Fine!" here it acts as an interjection, and expresses approval of what is happening, but it sounds more dry than " Hooray!" , used by A. Enquist.

" Pest !" he says (R. Kipling" Hal o' the Draft" ;121).

Damn it ! - exclaimed is he. (G. Kruzhkov)

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To determine the mechanisms of text formation, it is necessary to understand such concepts as the pragmatic attitude of the text and the pragmatic attitude of the author. The text as an integral speech work has its own patterns of formation. Text formation is carried out under the influence of the goal setting of the text itself and the goal setting of a particular author of the text. The first is dictated by the text itself, its type, genre, and the tasks it implements. The second is entirely related to the author's modality, since any message contains not only information, but also the author's attitude to the information being communicated. The latter is especially important in establishing the pragmatics of the text, since it is connected with the interpretive side of the text. The author not only forms the actual text, but also guides the reader in his interpretation of the text.

The pragmatic setting of the text comes from the text itself - its purpose, its type, genre. For example, an author starting to write a textbook knows in advance what the volume of the text will be, what issues and problems need to be covered, basically what the structure of the future text will be, what are the genre features of educational literature that have developed in practice and methodological methods of presenting material.

At the beginning of work on the text, its general goal setting is known - informing, training, instructing, declaring, etc. Thus, each text has its own pragmatic setting. It also determines the form of the text, selection of material, general style, etc. carries out its own, author's pragmatic installation.

Both attitudes are compatible, they can overlap each other, but for some reason they can diverge and even come into conflict. Moreover, the author can choose the genre of the text, focusing solely on his personal preferences. For example, L.N. Tolstoy preferred monumental, voluminous novels, A.P. Chekhov - humorous sketches, stories, in extreme cases - a story. Having chosen a genre, the author creates in accordance with the principles of this genre, but may also violate the canons of the genre, may violate the sequence in the disclosure of the topic.

The personal principle, of course, is manifested to a greater extent in a literary text than in an educational text, and even more so in reference, instructive, etc. In general, the more standard the text, the brighter its signs are revealed, the more immutable the canons of its formation, the lower the degree of manifestation personal beginning. The more the presence of "artistic" in the text is felt, the stronger the personal principle is manifested.

Even in the construction of a paragraph, this small piece of text, one can find a difference in the goals - textual and author's. For example, a paragraph in principle tends to merge with inter-phrase unity, i.e. become a semantically and structurally complete unit. However, at the will of the author, he, a paragraph, can break the inter-phrase unity, pursuing the goals of an emotional, emphatic plan, or, conversely, combine several inter-phrase units into one large paragraph. Thus, the text dictates a strict observance of the compositional sequence in the disclosure of the topic, and the author, neglecting this rule, tries to solve the problem of increasing the expressiveness of the text by applying the “surprise” technique.

As a result of the interaction of two pragmatic attitudes, two types of segmentation are found in the text: objective segmentation, subject to the structural logic of the text deployment, and subjective segmentation, which either enhances the logical structure of the text or breaks it in a peculiar way, creating semantic and stylistic effects. In the latter case, the setting of the text and the setting of the author diverge, and the author deliberately uses this technique in order to more effectively influence the reader. In particular, this affects the features of the paragraph division of the text, which is entirely subordinate to the author's setting.

See the section "Paragraph as a compositional and stylistic unit of text".

Recognizing the objective need for a multidimensional study of the text, one can nevertheless single out the main aspects related to the characterization of the text as an integral literary work, as a dynamic communicative unit of the highest level. Understanding the text as a “text in action” leads to highlighting its functional aspect, and the orientation of the text to the communicative process, moreover, focuses on the pragmatics of the text.

Functional analysis involves taking into account the preliminary conditionality of the author's choice of certain means of expressing the semantic structure of the text by its specific and genre goal setting. At the same time, the very choice of the type and genre of the text is dictated by the conditions of real communication (communicants, subject of communication, means of communication, etc.). Thus, functional analysis takes into account extra- and intratextual features.

Functional analysis also lies in the fact that the individual components of the text are considered from the point of view of their role in organizing the whole text. Consequently, functional analysis helps to reveal the actual content qualities of the text. The fact is that the linguistic signs in the text concretize their meaning, being correlated with other linguistic signs, they enter into special relations with them, inherent in this text; one of the possible meanings of a word is updated, for example, or the word changes its meaning altogether under the influence of the context (contextual synonyms appear that are not marked in the dictionary order).

Functional analysis also takes into account the author's attitude to what is reported, the author's intention (intention), etc.

What does functional analysis give?

1. 1. Functional analysis allows you to go beyond the actual linguistic characteristics of the text and move on to the analysis of conceptual categories, such as "space" and "time" (cf.: artistic space, artistic time). Functional analysis reveals the significance of these categories in the text.

2. 2. Functional analysis helps to reveal the relationship between the meaning of language units and their meaning in the text. The difference between the concepts of "meaning" and "meaning" in the analysis of the text is very significant, as it leads to its content characteristics. This is revealed even at the level of a single word. Meaning objectively reflects the system of connections and relationships in the word, it is a stable system, the same for all people. By meaning, we mean an individual understanding of the meaning of a word, isolated from the objective system of connections, but related only to a given moment and to a given situation. Therefore, “meaning” is the introduction of the subjective aspects of meaning, the manifestation of the affective state of the subject. A.R. Luria in the book "Language and Consciousness" gives the following example of distinguishing meaning and meaning in a word: the objective meaning of the word "coal" is a black object of woody origin, the result of burning trees, which has a certain chemical composition, which is based on the element C (carbon). But the meaning of this word may turn out to be different for different people in different situations: for the hostess, coal is what kindles the stove; for a scientist - a subject of study; for the artist - a tool with which you can draw a sketch; for the girl who soiled her dress, it is the dirt that gave her displeasure.

It is clear that such meanings usually appear in the text, subjective - corresponding to the given moment and the given situation.

3. 3. Functional analysis makes it possible to reconstruct texts, to establish their authorship. For example, to reconstruct ancient texts. (True, there is an opinion that an adequate reconstruction is impossible, since ignorance of the cultural and historical assessments of the era makes it difficult to interpret the text.)

4. 4. Functional analysis can link texts from different eras, multilingual texts.

The latter is especially important in the analysis of translated texts, when the question arises of the equivalence of words and their combinations in different languages. In this case, it is necessary to take into account the sociocultural aspect of the analysis of speech units of the text, since the language reflects the culture of the speaking community. And the same realities and concepts expressed in a word can be perceived differently by carriers of different cultures. For example, communication (in this case, the perception of a text) can be complicated by a “conflict between cultural representations”: in particular, Russian green eyes is perceived as something romantic, mermaid, and the English green eyes is a metaphor for envy.

5. 5. Finally, functional analysis is able to reveal the essence of text overlap (text in text), the significance of this phenomenon, explain the meaning of the associations of these texts, their combinations that create additional meanings (cf.: literary reminiscences, allusions, direct quotation; different types interpretation of texts, for example, biblical story about Christ by M. Bulgakov and Ch. Aitmatov). Functional analysis explains how this complicates and at the same time clarifies the main meaning of the work.

The pragmatic analysis of the text follows from the functional, logically continues and develops it. Greek, pragmatos (deed, action) is a field of science (semiotics, linguistics), which studies the functioning of linguistic signs in speech. Linguistic pragmatics includes questions related to the subject (the author of the text), the addressee (the reader) and, most importantly, their interaction in the act of communication.

1) 1) the goals and objectives of the message (for example, informing, expressing will, instructing, etc.);

2) 2) type of speech behavior;

3) 3) attitude to the reported, its assessment (or lack thereof);

4) 4) accents in the construction of the message text.

Addressee of the speech (reader of the text):

1) 1) interprets the text, including indirect and hidden meanings,

2) 2) is affected - intellectual, emotional, aesthetic.

Pragmatic analysis reveals these interactions between the author and the reader, establishes the measure useful information in the text, focusing on the typology of the reader's address.

Pragmatic analysis underlies the theory of discourse. Discourse (from the French discours - speech) is currently considered to be a coherent text in conjunction with extralinguistic factors - psychological, sociocultural, etc. Discourse is a text taken in the event aspect as a socially oriented "action". Metaphorically, discourse is speech immersed in life. Therefore, the term "discourse" at the present time seems to be incorrect when applied to ancient texts, since the discourse is entirely addressed to the pragmatic situation.

The tendency to demarcate the terms "text" and "discourse" emerged in the 1970s and 1980s. Discourse began to be understood as different types of actualization of texts in connection with extralinguistic indicators.

The distinction between the concepts of "discourse" and "text" is based on the opposition of the process of speech activity and its result. Discourse is understood precisely as a process associated with real speech production, while the text is associated with the result of this process. In addition, the distinction can also be determined by the forms of speech: the term "discourse" is more often used for works of oral speech, and the term "text" - for works of speech. writing. "Discourse" in Western terminology can mean any speech at all.

The pragmatic attitude of the text and the pragmatic attitude of the author

To determine the mechanisms of text formation, it is necessary to understand such concepts as the pragmatic attitude of the text and the pragmatic attitude of the author. The text as an integral speech work has its own patterns of formation. Text formation is carried out under the influence of the goal setting of the text itself and the goal setting of a particular author of the text. The first is dictated by the text itself, its type, genre, and the tasks it implements. The second is entirely related to the author's modality, since any message contains not only information, but also the author's attitude to the information being communicated. The latter is especially important in establishing the pragmatics of the text, since it is connected with the interpretive side of the text. The author not only forms the actual text, but also guides the reader in his interpretation of the text.

The pragmatic setting of the text comes from the text itself - its purpose, its type, genre. For example, an author starting to write a textbook knows in advance what the volume of the text will be, what issues and problems need to be covered, basically what the structure of the future text will be, what are the genre features of educational literature that have developed in practice and methodological methods of presenting material.

At the beginning of work on the text, its general goal setting is known - informing, training, instructing, declaring, etc. Thus, each text has its own pragmatic setting. It also determines the form of the text, selection of material, general style, etc. carries out its own, author's pragmatic installation.

Both attitudes are compatible, they can overlap each other, but for some reason they can diverge and even come into conflict. Moreover, the author can choose the genre of the text, focusing solely on his personal preferences. For example, L.N. Tolstoy preferred monumental, voluminous novels, A.P. Chekhov - humorous sketches, stories, in extreme cases - a story. Having chosen a genre, the author creates in accordance with the principles of this genre, but may also violate the canons of the genre, may violate the sequence in the disclosure of the topic.

The personal principle, of course, is manifested to a greater extent in a literary text than in an educational text, and even more so in reference, instructive, etc. In general, the more standard the text, the brighter its signs are revealed, the more immutable the canons of its formation, the lower the degree of manifestation personal beginning. The more the presence of "artistic" in the text is felt, the stronger the personal principle is manifested.

Even in the construction of a paragraph, this small piece of text, one can find a difference in the goals - textual and author's. For example, a paragraph in principle tends to merge with inter-phrase unity, i.e. become a semantically and structurally complete unit. However, at the will of the author, he, a paragraph, can break the inter-phrase unity, pursuing the goals of an emotional, emphatic plan, or, conversely, combine several inter-phrase units into one large paragraph. Thus, the text dictates a strict observance of the compositional sequence in the disclosure of the topic, and the author, neglecting this rule, tries to solve the problem of increasing the expressiveness of the text by applying the “surprise” technique.

As a result of the interaction of two pragmatic attitudes, two types of segmentation are found in the text: objective segmentation, subject to the structural logic of the text deployment, and subjective segmentation, which either enhances the logical structure of the text or breaks it in a peculiar way, creating semantic and stylistic effects. In the latter case, the setting of the text and the setting of the author diverge, and the author deliberately uses this technique in order to more effectively influence the reader. In particular, this affects the features of the paragraph division of the text, which is entirely subordinate to the author's setting.