Moscow State University of Printing Arts. The concept of an emotive pragmatic attitude (EPU) The pragmatic attitude of the author

The text, if considered in the system of generalized functional categories, qualifies as the highest communicative unit. This is an integral unit, consisting of communicative-functional elements, organized into a system for the implementation of the communicative intention of the author of the text, according to the speech situation.

The text implements a structured activity, and the structure of the activity involves the subject and object, the process itself, the goal, the means and the result. These components of the structure of activity are reflected in different indicators of the text - content-structural, functional, communicative.

The text has its own micro and macro semantics, micro and macro structure. The semantics of the text is determined by the communicative task of transmitting information; the structure of the text is determined by the features internal organization units of text and patterns of interconnection of these units within the framework of an integral message (text).

The text units are: statement (realized sentence), interphrase unity(a series of statements combined semantically and syntactically into a single fragment). Interphrasal units, in turn, are combined into larger fragments-blocks that provide the text with integrity due to the implementation of distant and contact semantic and grammatical connections. At the compositional level, units of a qualitatively different plan are distinguished - paragraphs, paragraphs, sections, chapters, subchapters, etc.

The units of the semantic-grammatical (syntactic) and compositional levels are interconnected and interdependent, in a particular case they can even coincide in a “spatial” relation, overlapping each other, for example, inter-phrasal unity and a paragraph, although they retain their own distinctive features .

Its stylistic and stylistic characteristics are closely related to the semantic, grammatical and compositional structure of the text. Each text reveals a certain more or less pronounced functional and stylistic orientation (scientific text, fiction, etc.) and has stylistic qualities dictated by this orientation and, moreover, by the individuality of the author.

The stylistic qualities of the text are subject to the thematic and general stylistic dominant, which manifests itself throughout the entire text space.

The construction of the text is determined by the topic, the information expressed, the conditions of communication, the task of a particular message and the chosen style of presentation.

The text as a speech work consists of successively combined verbal means (utterances, interphrasal units). However, the values ​​enclosed in the text are not always transmitted only verbal means. There are also non-verbal means for this; within the framework of an utterance and interphrasal unity, this can be word order, juxtaposition of parts, punctuation marks; to emphasize meanings - means of highlighting (italics, spacing, etc.) For example, when combining statements “My son went to school. Daughter - in Kindergarten» the opposite meaning did not find a verbal expression for itself; in addition, the predicate "went" is replaced by a dash. Within the framework of more complex text components, such non-verbalized meanings can be much larger. For example, the use of question and exclamation marks that replace entire lines of dialogue.

Look how pretty he is! - Natasha brings me closer to the cage and puts her hand inside, which the baby immediately grabs and seems to shake. - Such beautiful cubs in orangutans are very rare. Have you noticed how he looks like his mother?

But how! Monkeys are like humans (Moscow Koms. - 1986. - 29 N.).

In this sense, the following example is interesting:

And on a shaved, crimson face lost:

Completely crazy! (A. Bely. Petersburg).

The image of pauses, hitches in speech, a sharp intonational change is carried out with the help of punctuation marks. The timbre, intensity, paralinguistic accompaniment of speech is usually depicted descriptively (shouted, waving his arms; looked, screwing up his eyes). However, such a verbal representation of facial expressions and gestures is not necessary. For example, a question, surprise, can be conveyed by signs: So did you see him? - "???"

Various default figures, also related to non-verbalized means, also serve to convey meanings in the text.

On the other hand, verbalization of "silent" languages ​​(sign languages, facial expressions) can be carried out in the text. This, in particular, is served by a variety of remarks in dramatic works or the author's descriptions of the corresponding gestures and facial expressions in prose works. For example:

He twists his mouth into a smile, tightens his throat and wheezes:

And my sir, my son died this week.

(A. Chekhov. Longing);

After weeping, the young lady suddenly shuddered and shouted hysterically:

Here again! - and suddenly sang in a trembling soprano:

Glorious sea sacred Baikal…

The courier, who appeared on the stairs, shook his fist at someone and sang along with the young lady in an unvoiced, dull baritone:

Glorious ship, omul barrel! ..

(M. Bulgakov. Master and Margarita).

The so-called "silent" languages ​​are a full-fledged means of communication in real life. However, they are widely presented in verbalized form and in the text - artistic, journalistic. When perceiving a textual description of gestures, it is necessary to take into account their significance within the framework of a given linguistic community. In addition, the reader and the creator of the text can be separated in time, which can also provoke inadequacy of perception. For example, a comment is required on the description of the gesture in the text of A. Chekhov's work "Thick and Thin": Tolstoy, wanting to part amicably, extended his hand, and Thin shook two fingers and giggled. Another example:

About the head of the department: ... I immediately noticed that he was a Mason: if he gives someone his hand, he sticks out only two fingers (N. Gogol. Notes of a madman).

Misunderstandings can arise when reading a text by a foreign reader, since the "dumb" languages ​​of different peoples can vary significantly. For example, a nod in agreement in the Arab world is perceived as a sign of bad manners if it refers to a stranger or an older person.

One can also name such a way of conveying meanings in a text as an intrusion into a uniformly organized space of elements of other texts, “texts in a text” (Yu.M. Lotman) . These can be direct inclusions - epigraphs, quotes, links. There may be retellings-inserts of other plots, appeals to legends, “foreign” stories, etc.

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

To determine the mechanisms of text formation, first of all, 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 nature, the tasks that 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 questions and problems need to be covered, what is the structure of the future text, what are the genre features of educational literature that have developed in practice and methodological techniques material supply, etc. 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 determines the form of the text, the selection of material; general style, etc. However, the author, as a specific subject, obeying the general rules for constructing a text of a given direction, makes his own, personal adjustments to the construction of the text, i.e. 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, and so on.

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 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 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.

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. Valgina 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 significance of the personal, individual aspect in reflecting the author's intention is noted 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). Subjectivization occurs, i.e. shifting the focus of perception of reality from the objective to the subjective. In this case, the subject of speech can be not only the author, but also the narrator, the 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, 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 statement. 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 V.L. Naera devoted to the comparison of 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 implementation 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(Casanova 2010).

Thus, we can conclude that almost any text has two types of pragmatic attitudes - textual and author's - regardless of its genre specific. However, it is in a literary text that the key role is assigned 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.

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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 consonance 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
• Application
• 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 key person 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;
• · To identify 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. The classification of lexical means of conveying the emotional state is also 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 take on social reality only if they are expressed in one form or another. A universal way of actualizing emotions is their verbalization in external speech.
• In linguistics, many disciplines study emotivity, but emotivity 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 feature that underlies the assignment of homogeneous linguistic units to a certain class, characterized by the same value of this feature (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
• As part of this study it is advisable to consider the category of emotivity in conjunction with other linguistic 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. AT general view connotation - "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 in a complex way, 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, interjectional words, swear words and curse words, i.e. those lexemes that serve only for the direct expression of emotions 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 on the direct 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-forming derivatives of different types: zoolexics, 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 deriving certain universal ways translation of the emotive content of the utterance.
• 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 dynamic equivalence is that it is supposed to adapt vocabulary and grammar in such a way that the translation sounds like "as the author would write in another language." According to Yu. Naida, "dynamic equivalence can ensure the fulfillment of the main function of translation - a full-fledged communicative replacement of the original text" (Nida 1964). It is in this way that 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, to evoke emotions that are as close as possible to those that the original text evoked in native speakers. 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 solve the problems of different perceptions of reality and the world by different peoples and cultures, to smooth out the influence of the corresponding extralinguistic factors. This is manifested in the fact that "instead of immersing the recipient of the translation in a foreign 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 the 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 the personal, individual aspect in reflecting the author's intention is noted by 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 whole 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 assigned 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; a work predominantly fantastic, magical, depicting the wonderful adventures of fictional or traditional fairytale heroes…" (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. Ovchinnikova's tales 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, speaking about the fact 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 fairy tale is basically the same as a folk tale, but unlike a folk tale, a literary fairy 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 the most important changes and trends in the literary and 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 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, as 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 main category to build it. 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 the 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 "emotiveness" 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.
• Next, we did short review studying 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 the individual features of the 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 features: 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).

Excellent! 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 " Excellent!" 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 he. (G. Kruzhkov)

...

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The very word "text" (lat. textus) means a fabric, plexus, connection. Therefore, it is important to establish both what is connected, and how and why it is connected. In any case, the text is a sequence of symbolic units united in meaning, the main properties of which are coherence and integrity.

Such a sequence of signs is recognized as a communicative unit of the highest level, since it has the quality of semantic completeness as an integral literary work, i.e. complete informational and structural whole. Moreover, the whole is something other than the sum of the parts, the whole always has a functional structure, and the parts of the whole fulfill their roles in this structure.

Textual categories (meaningful, structural, structural, functional, communicative), being essentially different, do not add up to each other, but are superimposed on each other, giving rise to a kind of single formation, qualitatively different from the sum of the components. Cohesion and integrity as text properties can be considered autonomously only for the convenience of analysis, somewhat abstractly, since both of these qualities exist in unity within the framework of a real text and presuppose each other: a single content, the meaning of the text is expressed precisely by linguistic means (explicitly or implicitly). And therefore, linguistic coherence is at the same time an indicator of semantic integrity. Of course, if we have in mind the natural situation when the generation of the text pursues the goal of expressing a certain meaning.

The text can be written and oral in the form of its reproduction. Both forms require their own "textuality" -

external connectedness, internal meaningfulness, focus on perception.

Important in the theory of text is the question of the identity of the text, its canonical form, which is especially studied by such a branch of philology as textual criticism. Linguistics studies the intonation, lexical and syntactic means of the text; graphic means of underlining, font selection, punctuation.

The concept of "text" can be applied not only to a whole literary work, but also to its part, which is quite independent in terms of micro-theme and language design. So, we can talk about the text of a chapter, section, paragraph; the text of the introduction, conclusion, etc.

The correct perception of the text is provided not only by linguistic and graphic units and means, but also by the general fund of knowledge, in other words, by the “communicative background”, on which text formation and its decoding are carried out, therefore perception is associated with presupposition and e (pre - lat. p r and e - in front, before; suppositio - assumption, presumption).

Presupposition is a component of the meaning of the text that is not expressed verbally, it is preliminary knowledge that makes it possible to adequately perceive the text. Such prior knowledge is commonly referred to as background knowledge. The presupposition may arise when reading the preceding text or be completely outside the text as a result of the knowledge and experience of the compiler of the text.

Background knowledge is the knowledge of realities and culture possessed by the writer (speaking) and reading (listening) 1 . For example, only preliminary knowledge of N. Nekrasov's poem "There are women in Russian villages ..." helps to fully understand a number of phrases and their meaning of N. Korzhavin's poems:

The century has passed. Nenova, As in that unforgettable year, Stop a galloping horse He will enter the burning hut. She would like to live differently Wear precious clothes But the horses keep jumping and jumping, And the huts are burning and burning.

Even a single statement in the text can contain preliminary knowledge, for example, a statement in the sentence "Pushkin had an outstanding gift as a portrait painter, the ability to grasp with one stroke character traits portrayed" contains preliminary knowledge about the portrait drawings of the poet. And in the usual everyday content, a phrase like "He quit smoking" contains information that the subject used to smoke 2 .

Or, for example, the quatrain of A. Mezhirov will seem like a rebus at all, if you do not have certain knowledge from the field of Russian literature:

And in Russia blizzards and sleep And a task for a century, not for a day. Was there a boy? - issue not resolved Nose lost and never found.

Another example: understanding the rhetorical question of A. Genis, the author of the "American ABC", is possible only with knowledge of that part of the text of the Gospel, which tells about the corresponding act of Jesus people", which came out in the fateful year for America in 1776, is subject to the same laws as the market. ( Was it worth driving the merchants out of the temple?)"

Consequently, this text consists not only of a "sequence of sentences", but also of some kind of "knowledge", verbally unexpressed, knowledge that participates in the formation of the general meaning of the text.

In the following article from the newspaper (MK, 2001, March 6), in a similar situation, a phrase from V. Vysotsky is used: "Among the 40 paintings mentioned, one can single out ... and the global project of Mark Zakharov and Ivan Okhlobystin" Unclassified Materials ", which is also known as called "The work of an angel. " In all likelihood, this work, among others, will become the most global, since it consists not of two or three, but of as many as forty series.

Where does the money come from, Zin? The question is by no means rhetorical.

In all the above cases, as we see, for a complete understanding of the text, a "broad cultural context" is needed, and it was created

There is a common fund of knowledge for the writer and the reader. The extralinguistic components of the speech act reflected in the text, including background knowledge, are written, in particular, by M.N. Kozhina 4 , V.Ya. Sha-bes 5, etc.

The text as a product of the author's speech-thinking activity and the material of the interpreter's (reader's) speech-thinking activity is, first of all, knowledge presented in a special way: verbalized knowledge and background knowledge. The text has a linearly ordered set of sign units of different size and complexity 6 , i.e. it is a material formation, consisting of elements of articulate speech. However, this generally material formation carries something intangible, content (knowledge, event). Moreover, knowledge is not always realized entirely by verbal means.

The author usually verbalizes the "difference" obtained as a result of the "subtraction" from the intention of the supposed knowledge of the interpreter 7 . The interpreter, in turn, "sums up" this difference with its own knowledge.

Since the sender and recipient of the message also have a certain amount of joint knowledge (background), the message always turns out to be formally fragmented, but in fact complete.

"Normal" presentation in the text is usually designed for the optimal combination of verbal and non-verbal presentation of information. Deviation from this norm leads to either hyperverbalization or hypoverbalization, i.e. the degree of curtailment - unfolding of the text changes. This degree can be planned by the author depending on the target setting of the text. Moreover, the degree of curtailment - deployment can vary along the entire length of the text: some fragments are given more expanded, others - less.

So, for adequate perception of the text, it is necessary to have background knowledge, which is considered as an information fund, common for the speaker and the listener, in our case, generating the text (author) and interpreting the text (reader). Background knowledge serves as a condition for the success of a speech act. More A.M. Peshkovsky wrote that natural speech is "by nature elliptical," that we always do not finish our thoughts,

omitting from the speech everything that is given by the situation or "the previous experience of the speakers" 8 . This previous experience (knowledge) is the knowledge that is not verbalized in the text.

Background knowledge can be classified in a certain way. In particular, we find such a classification in V.Ya. Shabes 9 .

Background knowledge types:

social, i.e. those that are known to all participants in the speech act even before the start of the message;

i n d i v i d u a l n e, i.e. those that are known only to two participants in the dialogue before the start of their communication;

col l e c t i v n e, i. e. known to members of a particular group, associated with the profession, social relations, etc. (for example, special medical knowledge, political, etc.).

It must be said that background knowledge can move from one type to another. For example, the death of a particular woman is a fact of individual knowledge, while the death of Princess Diana was a national, even world event, and thus this private fact entered social knowledge. Or: the everyday fact of the appearance of mice in the house, in the kitchen is an individual knowledge concerning the life of a separate family (or one person). But the appearance of mice in the kitchen in the castle of Queen Elizabeth of England became a fact social knowledge(This was told on television on February 19, 2001 - in the NTV program "Today").

Background knowledge can also be qualified from the other side, from the side of their content: worldly, pre-scientific, scientific, literary and artistic. In addition, background knowledge can be divided into trivial and non-trivial. As a rule, trivial knowledge is not verbalized in the text; it can only be realized in a special educational context, for example, when teaching a child.

Literary and artistic knowledge as background knowledge is used in journalism, in newspaper publications. As a rule, they are identified through precedent texts (from Latin praecedens, genus p. praecedentis - previous) - "foreign" texts (or individual literary images) presented in the author's text in the form of literary reminiscences.

Individual background knowledge often serves as a means of creating subtext. The concept of subtext is primarily associated with fiction, it is completely oriented towards prior knowledge. In a number of cases, the author, using certain statements, mentioning any facts, directly counts on understanding dedicated, i.e., on individual knowledge. For example, Yu. M. Lotman, commenting on A. Pushkin's novel "Eugene Onegin", draws attention to the poet's line "Zizi, the crystal of my soul ...", which could be understood only by those who knew that "Zizi is childish and household name of Evpraksia Nikolaevna Wulf" 10 . A number of examples of this kind are also given by AM Kamchatnov 11 .

1 See: Ter-Minasova S.G. Language and intercultural communication. M., 2000. P.79. 2 See: Luria A.R. Language and consciousness. M., 1998. 3 "And Jesus entered the temple of God and drove out all those who sold and bought in the temple, and overturned the tables of the money-changers and the benches of those who sold pigeons. And he said to them: it is written: My house will be called a house of prayer; (Gospel of Matthew). 4 See: Kozhina M.N. Stylistics of the text in the aspect of the communicative theory of language // Stylistics of the text in the communicative aspect. Perm, 1987. 5 See: Shabes V.Ya. Event and text. M., 1989. 6 See: Galperin N.R. Text as an object of linguistic research. M., 1981. 7 See: Shabes V.Ya. Event and text. M., 1989. 8 Peshkovsky A. M. Objective and normative point of view on the language // Izbr. works. M. 1959. P.58. 9 See Shabes V. Ya. Decree. op. pp. 7-11. ten Lotman Yu.M. Roman A.S. Pushkin "Eugene Onegin". Comment. L., 1980. S. 282. 11 See: Kamchatnov A.M. Subtext: term and concept// Philological sciences. 1988. No. 3.

The processes of generation and interpretation, being interconnected and interdependent, form the communicative-speech mechanism of interaction between the speaker and the listener. The essence of the mechanism is the functioning of the adaptation model of two texts or, in the terminology of E.V. Sidorov, models of correcting the primary communicative activity of the speaker and the secondary communicative activity of the listener: “Primary communicative activity creates a subject-sign program for building secondary communicative activity... Secondary communicative activity constructively participates, still in a subjective form (as an “internal image”), in the creation of a text . This means that the secondary communicative activity as an internal image, an ideal model, to a certain extent determines not only the function of a speech work, but also its elemental composition, i.e. the communicative aspect of the text system, and the relationship between the elements of the statement, i.e. text structure. Consequently, both the element-by-element composition and the structure of the text, n its functions are determined in the process of carrying out primary communicative activity by the corresponding parameters of secondary communicative activity, more precisely by the properties of the ideal model of this activity, acting through primary communicative activity and subordinate to it. Through the text, primary communicative activity sets the specific nature of the flow of secondary communicative activity and, in this sense, programs the latter, manages it" [Sidorov 1987, p. 15, 16].

Preliminary remarks. The text, being a fairly young object of linguistic research, in recent times became a field of study different kind interactions. This is due to the need for various kinds of coordination between the activities of the sender of the message (the speaker) and the recipient of the message (the listener). This agreement is concluded in a holistic conjugation of the models of activity of communication participants. Models, in turn, form the communicative content of the text. Accordingly, the text in non-textual activity functions both as a result of the generation of meaning (which is due to the adjustment of the generative intention, the author's pragmatic attitude and communicative intention), and as a way and result of meaning interpretation. Thus, the text fully reflects the essence of communication, which lies in the “construction in the cognitive system of the recipient of conceptual structures, “models of the world”, which in a certain way correlate with the “models of the world” of the speaker, but do not necessarily repeat them ... Texts exchanged by participants often have a greater influence on the formation of their models of the situation than on the actual state of affairs. Models of the world and knowledge of the participants in the situation become no less, and perhaps more “substantial” than external, objectively determined circumstances” [Sergeev 1998, p. 3].

The category of communicativeness, as a reflection of the essence of the inclusion of text in extra-textual spaces, functions as a result of the mechanism of generation and determines the basis for interpretation. Generation, interpretation, intertext are considered in terms of the mechanism, conditions, situation of functioning (which is reflected in the division of the chapter into paragraphs).

Generation of text as a way of including text in extra-textual reality. Essence of the text generation process. The generation of a text is primarily associated with the generation of meaning in a broad sense. According to Yu.M. Lotman, “one can imagine a certain meaning that remains invariant under all transformations of the text. This meaning can be represented as a pre-text message realized in the text. The “sense-text” model is built on such a presumption. It is assumed that in the ideal case, the information content does not change either qualitatively or in volume: the recipient decodes the text and receives the original message. Again, the text acts only as a “technical packaging” of the message in which the recipient is interested ... But with this approach, the ability to serve other functions inherent in the text in its natural state is lost” [Lotman 1996, p. 13].

If we talk about generation as a way to include text in the extra-textual space, then the most significant functions are the creative function and the function of memory.

The creative function includes the process of generation in the field of activity for “the production of texts or for the production and consumption of texts (and in essence, communicants as complex linguistic-paralinguistic-non-linguistic texts)” [Fundamentals of general rhetoric 2000, p. 7]. Thus, generation affects the material of culture. In this aspect, the main thing is the ratio of text and context, which, in turn, is transformed into the ratio:

1) text and subtext (in which hidden meanings inherent in the text are revealed);

2) text and overtext (in which a combination of psycholinguistic factors preceding the moment of generation is revealed).

This aspect reveals the specifics of the socio-cultural immersion of the text as a representative of a separate socio-cultural area.

In this regard, two types of generation of the meaning of the text can be distinguished:

1) implicit, based on the associative unfolding of the text;

2) explicit, in which deployment occurs through grammatical, lexical, intonation and other connections.

In addition, meaning generation is the action of two mutually directed mechanisms: contamination (clotting) and compression (deployment) [Murzin, 1976]. The essence of folding is to identify the content dominant of the text, and the expansion is carried out through the methods of meaningful compression (associative, synonymous, etc. connections), which are based on three types of background knowledge:

1. social, that is, known to all participants in the speech act even before the start of the message;

2. individual, i.e. known only to two participants before the start of the message;

3. collective, i.e. known to members of a certain team, related by profession, social relations, etc. (for example, special medical knowledge, political, etc.) [Valgina 2003, p. 16].

The implementation of the text memory function is connected, first of all, with the idea of ​​“linguistic existence”: “Language surrounds our being as a continuous environment, outside of which and without the participation of which nothing can happen in life. However, this environment does not exist outside of us as an objectified given; it is in ourselves, in our consciousness, in our memory, changing its shape with every movement of thought, every manifestation of our personality. This is our constant, never-ending life “with language” and “in language” and this is what is called linguistic existence” [Gasparov 1996, p. 5].

According to B.M. Gasiarov, the generation of a text is connected and follows from the ability of memory to continual, undivided processing of linguistic and speech information. Everything that the speaker needs to produce is already contained in his language memory in the form of ready-made blocks of information. These blocks genetically go back not only to the language experience of the speaker, but are also associated with his subject-communicative activity. This activity is connected both with the peculiarities of the situation and with the ability to evoke and transform previously known texts: “The linguistic memory of a speaking subject is a grandiose conglomerate that accumulates and develops throughout his life. It contains in itself in a semi-fused, fluid state a gigantic stock of communicatively charged particles of linguistic fabric of different volume, texture, varying degrees of distinctness and completeness: individual word forms, each surrounded by a whole field of more or less obvious combinational possibilities; ready-made verbal groups, in each of which one can see various possibilities of modification, expansion, truncation, replacement of individual elements, syntactic-intonational figures, only partially filled with individual key words, surrounded by entire fields of word forms and phrases suitable for their full embodiment; whole ready-made remarks-statements (again with the possibility of their modification); various rhetorical “gestures”, behind which larger speech blocks and even entire texts associated with such “gestures” are visible, finally, separate pieces of texts related to various spheres and genres of linguistic existence, which the speaker remembers with varying degrees of distinctness - be it exact knowledge by heart, or approximate, blurred by lacunae of memories, or a vague image, barely visible in the memory” [Gasparov 1996, p. 104]. Thus, all our language activity is permeated with block-citations from previous language experience. The speaker does not need to construct a message every time, all fragments of the text already exist in the memory as a whole (in the form of evoked or transformed fragments of the situation), and linguistic memory brings the necessary fragments to the surface of consciousness. The required fragment is simply “recognised”.

The mechanism of recognition during text generation is connected, first of all, with the peculiarities of the conditions for text generation.

Conditions for generating text. The conditions of generation are understood as the generative intention (the pragmatic setting of the author), the author's modality, the ways of its implementation in the text modality, the goal setting and the communicative intention. “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 its interpretation. The pragmatic setting of the text comes from the text itself - its purpose, type, genre ... When you start working on a text, its general goal setting is known - informing, teaching, instructing, declaring, etc. Thus, each text has its own pragmatic setting. It determines both the form of the text, and the selection of material, and the general style, etc. However, the author, as a specific subject, obeying the general rules for constructing a text of this direction, makes his own, personal adjustments to the construction of the text, i.e., carries out his own, author's pragmatic setting. Both attitudes are combined, they can overlap, but for some reason they diverge and even come into conflict” [Valgina 2003, p. 24].

Essence pragmatic attitude lies in the conscious intention of the speaker to have a certain effect on the listener. The hierarchy of pragmatic attitudes forms the pragmatic orientation of the text, which is realized, in turn, in communicative-pragmatic structure text content. The communicative-pragmatic structure is understood as “the content of the text organized and ordered by means of the language in a certain way in accordance with the communicative goal setting of the authors and the pragmatic orientation of the text” [Krizhanovskaya 1997, p. 131]. For example, in scientific text the nature of the content structure depends on the genre. Thus, the structure of an empirical article (an article containing a description of an experiment) is created by a sequence of the following communicative-pragmatic blocks: “introducing the topic”, “formulating the problem”, “setting the goal and objectives of the study”, “description of the stages of the experiment”, “proposing a hypothesis ”, “final imperative”, or “prediction”. The obligatory components of the communicative-pragmatic structure of a theoretical article are the components "maintenance of the topic", "setting the goal and objectives of the study", "formulation of the problem", "ultimate imperative". In the structure of a scientific and methodological article, it is very conditionally possible to single out only the communicative-pragmatic blocks “maintenance of the topic”, “final imperative” and “forecasting” [Krizhanovskaya 1997, p. 132]. AT advertising text the communicative-pragmatic structure is formed as a projection of the argumentative structure onto the compositional-pragmatic structure (in the form of a set of such blocks: who sells, what sells, to whom (implicitly, in the form of setting on target audience), where).

pragmatic attitude, implemented in the communicative-pragmatic structure of the text, correlates with the types of information and functional-semantic types of speech. According to N.S. Valgina, the functional-semantic type of speech is a kind of communication model. And when determining the mechanisms of text formation, the communication model itself is first of all chosen, i.e., the constructive features of the speech act are taken into account, the totality of which forms the model. Design features include:

1) communicative goal setting;

2) subject (content) of communication;

3) signs of the situation within which communication is carried out;

4) social characteristic communication participants.

The combination of these features creates a system of speech situations, and the type of speech situation determines the specific model of communication and the form of its implementation: “Within each type of speech situation, fairly standard forms of their implementation in the text are formed. A stereotypical speech behavior is born, which is reflected in the norms (strict or less rigid) of the speech organization of the text. The text accordingly acquires the form that helps it to perform this communicative task. At the same time, the more standard the text, the brighter its features are revealed, the more predictable is its form. Therefore, the goal, intention (author's intention) determine the type of text - the functional-semantic type of speech, i.e. the speech form" [Valgina 2003, p. 77].

The speech form also depends on author's modality text, which is manifested in the author's choice of the producer of the text: the producer of the speech itself, the subject of the narration, the image of the author. At the level text modality there is a connection of the content of the text with ideas about the author and the addressee. The interaction of the modal plans of the speaker and the addressee makes it possible to single out the static and dynamic types of texts. “The static version of textual modality presupposes coinciding modal plans of the author and the addressee throughout the entire space of the text. At the same time, it is important to note that the text does not switch from one modal register to another and that the addressee understands the modal meanings of the text in the same way as the author... Dynamic modality implies the absence of a single modality for the narrator, reader and hero. Each of the carriers of textual modality has its own "party", and the interaction, the interweaving of these parties gives rise to movement, the dynamics of the modalities of the entire text" [Soboleva 1997, p. 165].

The situation of text generation. The situation of generation is understood as a conscious and purposeful choice by the speaker of a certain speech genre, depending on the conditions accompanying the implementation of the act of communication; adjustment of the speech genre, based on the requirements of the listener; the choice of a generation mechanism adequate to the given situation. When determining the situation of text generation, two aspects can be distinguished: firstly, the conditions for the implementation of a communicative act, and secondly, the choice of the speech genre by the speaker and the correction of the speech genre, based on the situation.

The conditions of a communicative act are understood as the totality of the following signs of a situation: the circumstances of a communicative act (according to Gorodetsky: “the circumstances of a communicative act are the general activity context of a communicative act, including both a direct act of joint activity and incidental, background circumstances” [Gorodetsky 1990, p. 14 ]), persuasive program, communicative and practical goals (“a practical goal is associated with a type of social activity and represents an image of the result. A communicative goal is an intention, an attitude implemented by the speaker when generating a text” [Osnovy obshchego rhetoriki 2000, p. 29]).

The above components meaningfully characterize the situation of generation. The structure-forming components of the situation of generation are time and space: “The text is created in a certain single situation of connection - a subjective situation, and is perceived depending on time and place, in an infinite number of objective situations” [Pyatigorsky 1996, p. eighteen)].

1. differentiated description (clear delineation and definition of space and time):

a) the chronotopic description goes back to the ideas of M.M. Bakhtin about the "fusion" in the artistic text of space and time;

b) description of the “point of view” in the text (the ideas of B.A. Uspensky, V.N. Voloshinov, G.A. Gukovsky, etc.), which can be considered in different aspects: ideological and value, spatio-temporal, aspect of position observer, definition of the subject of speech, etc.

2. Continuum (undivided) description, in which time and space are not divided: time and space “lose” their grammatical and content characteristics. So, for example, argumentative texts (press releases, advertisements, etc.) are characterized by universal time, connecting the characteristics of the past, present and future. The present component is due to the fact that the argumentation is happening at the present moment, now. The component of the past is due to the presence of a certain experience and amount of information for the subjects of argumentation before the start of the argumentation. The component of the future is the possibility of modeling the argumentative process and predicting the results. The space in argumentative texts includes, in addition to the actual physical space, also informational, intellectual, cultural and other types of spaces.

The aspect of the speaker's choice of a speech genre is associated with the definition of a speech genre "not as a relatively stable thematic, compositional and stylistic type of utterance, but as a text" [Fedosyuk 1997, p. 26]. The speech genre, according to Bakhtin, is characterized by semantic completeness and a change in the subjects of speech. But such an approach does not qualify such texts as dispute, discussion, conversation as genres. Each of this kind of texts has specific features, but is a collection of statements belonging to different speakers. The definition of a speech genre as a type of text makes it possible to consider such types of texts as prefaces, dedications, epilogues, etc., as genres, since the boundaries of these texts are not the change of subjects of speech. Each of these types of texts has its own thematic, compositional and stylistic features, in many respects similar to the features of those varieties of texts that are considered to be genres. With this approach, elementary and complex speech genres are distinguished. “Elementary speech genres are understood as such thematic, compositional and stylistic types of texts, which do not contain components, which, in turn, can be qualified as texts of certain genres. Elementary speech genres include, for example, a message, praise, greeting or order. As for complex speech genres, these types of texts consist of components, which, in turn, are texts of certain genres. Complex speech genres can be monologue, i.e., including components that belong to one speaker or writer (for example, consolation, persuasion, persuasion), and dialogic, consisting of replicas of different communicators (for example, conversation, discussion, argument or quarrel) » [Fedosyuk 1997, p. 26].

In addition to the conditions for the implementation of a communicative act and the choice of a speech genre by the speaker, in the description of the situation of text generation, purely linguistic ways of enhancing meaning in the situation of generation are also distinguished. Such methods include:

1) extraordinary (occasional) compatibility of text elements (both semantic and formal-structural);

2) the so-called "emphatic tension" - the level of emotional saturation of the text, correlated with the categories of text tonality and subjective modality;

3) “deep (batismatic) tension”, resulting from the imposition of various textual meanings on the lexical semantics, the influence of the content of the compositional structure of the work, as well as various extralinguistic (for example, cultural) factors [Mukhin, 1997, p. 164].

Understanding as a way of including text in extra-textual reality. Essence and mechanism of interpretation. Currently, linguistics has developed different approaches to the understanding and interpretation of the text. The first one proceeds from the fact that “interpretation is the receipt on the basis of one source object (called the interpreted object) of another, proposed by the interpreter as equivalent to the original against a specific background of the situation, a set of presumptions, knowledge (V.Z. Demyankov); the second approach (A.V. Bondarko) is focused on the study of the interpretive component in the content of linguistic units, differentiation and interaction of the mental basis and its linguistic interpretation (representation method), which is realized in various types of meaning structuring. One can also talk about the interpretation of one's/other's behavior" [Tripolskaya 2001, p. 3]. Thus, the text, being included in extra-textual activity, acts both as a result of interpretation, and as a means of interpretation, and as external conditions for interpretation.

The text as a result of interpretation is the result of mastering and adaptation by the listener of the content of the original text transmitted by the speaker. This is the acceptance of the information received and its inclusion in the listener’s picture of the world: “To understand the text, to master its content means for me to turn all my experience to the text and at the same time accept its content so that it becomes part of my subjectivity, then share its content as a reflection someone else's experience in accordance with my experience, then choose from this division (implicit analysis) what I need for my activity" [Bogin 1982, p. 3].

The text as a means of interpretation is considered in the case when it comes to the functioning of the interpretive mechanism. Presupposition is included as a significant component in the interpretative mechanism: “presupposition is a component of the meaning of the text that is not expressed verbally, it is preliminary knowledge that makes it possible to adequately perceive the text. Such prior knowledge can be called background knowledge. The presupposition may arise when reading the preceding text or be completely outside the text as a result of the knowledge and experience of the compiler of the text. Background knowledge is the knowledge of realities and culture that the speaker and the listener possess” [Valgina, 2003, p. 13]. It is on the presupposition that the “launch” of the interpretive mechanism depends: background knowledge determines which component of the content of the text needs additional interpretation or which component of the meaning contains an implicit meaning. The mechanism of interpretation is subjective. The qualitative composition of the presupposition determines the dominant of the interpretation: be it the category of the author's image, the category of the semantics of the text structure, lexical methods of interpretation or argumentation as a method of interpretation.

According to Yu.N. Karaulov, argumentation is a fairly typical and frequent mechanism of interpretation, since it is initially individual and subjective. “Argumentation is always addressed—addressed to a specific person or group of people. In this regard, it can be contrasted with evidence, which is unaddressed, universally applicable to any circle of opponents and universally used by any circle of opponents” [Karaulov 2002, p. 245]. From the point of view of argumentation, the mechanism of interpretation is the functioning of the model of the search behavior of the speaker and the listener.

Argumentative activity has a mutually directed vector of influence: the speaker forms a model of argumentative search behavior for the listener, the listener, in turn, “works” according to the argumentation program that is given by the speaker. The mutual orientation of the formation of argumentative activity is built into the rhetorical model speech communication: the speaker verbalizes the argumentative model, the listener understands the speaker's argumentative intent. The adequacy of the methods of verbalization and understanding is ensured by “ideological monism, unity of points of view, modal attitude” [Kupina 1995, p. 53]. Search behavior is considered as a sequence of actions of the speaker and the listener, associated with the purposeful division of the following components of the argumentation field: a controversial position, theses, arguments, and the construction of the argumentative structure of the text from these components. Moreover, in the mode of search behavior, the argumentative structure of the text is fundamentally one-thesis, since the presence of a thesis that refutes the controversial position is redundant, since it removes the purposefulness of the “search”, makes it possible to interpret (compare the idea of ​​N.A. Kupina about the “structural certainty of the supertext of ideologemes… structured in the same way" [Kupina 1995, p. 53]. The essence of the search behavior model is an argumentative program that has psychological and rhetorical levels of formation.

The psychological level involves the organization by the speaker of the stages of the listener's activity, consistently implementing which, the listener comes to a conclusion. The starting point is the speaker's analysis of the listener's needs. The hierarchy of needs is determined, quasi-needs and pseudo-needs are singled out (cf.: “the formation of specific human subject-functional needs leads non-vital needs to the circle of needs, the need for which is in no way “controlled” by the objective conditions of human existence ... especially in the sphere of social and socio-psychological relations” [ Tarasov 1974, pp. 45], the meaning-forming motive of activity, which gives a personal character, and the motive-stimulus, which plays the role of an additional motivating factor, are determined.

The second stage is the stage of operating with needs: either the sense-forming motive of the leading type of activity becomes the main motive of activity, or the motive of the Audience's activity is rehierarchized. Thus, handling needs occurs either by restructuring the hierarchy of needs, or by updating needs. The result of the actualization of the need is the appearance of a quasi-need (super-need), the result of rehierarchization is a pseudo-need (false need). Ways of operating with needs are ways to create additional psychological values, ways to create an image, etc. The result is the creation of search behavior. This stage is allocated conditionally, since handling needs already lays down a model of search behavior, however, the allocation of this stage is important from the point of view of effectiveness. The search behavior model assumes that the speaker organizes the listener's activity code. The model includes the stages of the listener's activity, by consistently implementing which, the result predicted by the speaker is achieved. These stages are briefly formulated in the well-known aida formula: a (attention) - means attention, i (interest) - interest, d (desire) - formation of motivation, a (action) - response, action of the listener.

The rhetorical level is associated with the construction of an argumentative model of search behavior. This model assumes the adequacy of the choice of arguments depending on the problem situation formed in the course of argumentation: “Due to the fact that alternatives for choosing methods of disclosure conflict situations not given a priori, they are constructed by the person responsible for making the decision, and the rules for constructing alternatives turn out to be the most important moment in decision making. When constructing alternatives, the arguments in favor of including certain alternatives in the list of significant ones are of great importance” [Sergeev 1998, p. 4–5].

The rhetorical way of constructing alternatives (or an adequate selection of arguments depending on the sphere of communication) is associated with the construction of a “normative model of analytical and argumentative understanding, which should act as a basis for substantiating ... an explanatory concept of text understanding” [Zalevskaya 2001, p. 38]. Rhetorical understanding includes proper linguistic, communicative, semiotic characteristics.

A proper linguistic characteristic is the ability of an argumentative composition to be realized in terms of the horizon of expectation and deceived expectation. Argumentative composition presupposes the presence of the following components: beginning (includes introduction, main idea, division), middle (includes presentation, justification, refutation) and conclusion (generalization (conclusion) and appeal). Started is associated with the formulation of a controversial position and the proposal of ways to solve the problem (advancement of theses), which is associated with the implementation of the function of presenting the speaker and winning the listener. This function is embodied at the stage of handling needs (attention, interest). The compositional middle is associated with the argumentative development of a controversial provision, therefore, the function of presenting the argumentative structure is realized. Composite completion performs the function of developing an activity program for the listener, which corresponds to the desire stage.

The presented composition is implemented depending on the field of argumentation: the composition can be direct and inverse (for example, the reverse composition begins with the presentation of arguments and ends with the formulation of a controversial position; there may be a omission of a system of arguments or an implicit formulation of the thesis). In the case of presenting an invariant composition, the listener "works" in the mode of predicting the appearance of the next component (waiting horizon). The implemented model of the composition assumes a violation of the forecast, which gives the effect of surprise, attracts attention, there is a "syntagmatic tension (V.G. Admoni's term) that appears in the syntagmatic series in the process of deploying this series as a ratio between the previous and subsequent components of the composition" [Mukhin 1997, With. 354]. This tension has the effect of deceived expectation.

Cognitive characteristics lie in the ability to form an argumentative model of text understanding, which corresponds to the idea of ​​"language as effective means introduction of conceptual structures into the cognitive system of the recipient, often in addition to the consciousness of the recipient. Language thus acts as a social force, as a means of imposing views” [Sergeev 1998, p. 7]. In the process of generating an argumentative text (as in the process of understanding), information is transformed. At the first stage of transformation, the speaker creates some image of the text. This is the stage of appearance of argumentative intention. At the second stage, the argumentative intention is corrected: the image of the text acquires argumentative characteristics, which are set by the argumentation field. This stage is defined as an intertext, since its ontological property is the fundamental possibility of a qualitative transformation of information. As a result of the transformation, a quasi-text appears (the third stage of information transformation): an argumentative intention is transformed into an argumentative certainty. At the fourth stage, after the selection of arguments and language tools that implement these arguments, the text itself appears.

Stages of transformation text image - intertext - quasitext - text describe a formal model for the generation and understanding of an argumentative text and represent an external cognitive-activity mechanism of argumentative activity. The internal mechanism is determined by the multidimensional nature of the argument. Each of the aspects of argumentation (logical, psycho-intellectual, compositional-structural, tactical-strategic) forms a special field of argumentation depending on the nature of the function it performs. The function fields, having formed autonomously, form the dynamic structure of the argumentative function hyperfield. The core component of the hyperfield is the dominant argumentative function. Peripheral components - conditions and ways of implementing the dominant functions. The main characteristics of the hyperfield of an argumentative function are the multiplicity of function fields, the dynamics of the structure, the intersection of peripheral components (for more details on the structure of the hyperfield, see [Kachesova 1999, p. 80]). Thus, the mechanism for generating and understanding an argumentative text has two levels: an external cognitive-activity mechanism for transforming an argumentative intention into an argumentative certainty, and an internal mechanism associated with the dynamics of the hyperfield of an argumentative function.

Semiotic characteristics are due to those described by Yu.M. Lotman features of text generation. According to Yu.M. Lotman, the inadequacy of communication agents turns the very fact of the discrepancy between the semiotic systems of the speaker and the listener from a passive transfer of information into a conflict game. In the course of the game, each side seeks to rebuild the semiotic world in the opposite way in its image and at the same time is interested in preserving the originality of its counterparty [Lotman 1996, p. 13]. In the aspect of argumentation, the "conflict game" has the form of a problematic situation, realized by highlighting the components of the argumentation field; "the desire to remake the world" represents the essence of search behavior in argumentative activity.

Thus, when forming the argumentative structure of the text, psychological and rhetorical ways of representing the argumentative program are distinguished, which is associated with the model of search behavior. This model describes the purposefulness of the generation of the text by the speaker and the adequacy of the understanding of the text by the listeners. The psychological method is connected with the operation of needs, the creation of a psychological code of the listener's activity. The rhetorical method is associated with the construction of an argumentative model of search behavior, which, in turn, is based on the proper linguistic, communicative, semiotic characteristics of understanding.

Features of the formation of the argumentative structure are multifaceted and are associated with the diversity of the compositional implementation of the argumentative structure of the text. The cognitive, communicative, semiotic-pragmatic way of implementation are distinguished. The proposed analysis is based on the idea of ​​constructing argumentative alternatives, which is reflected in the generation of the argumentative-syntactic structure of the text. Construction is understood as the ability of the argumentative structure of the text to collapse and expand. The cognitive aspect involves considering the composition of the text as a predicate-actant structure, in the communicative aspect, a description of the dependence of the components of the argumentative structure of the text on the type of text is put forward, the semiotic-pragmatic aspect reveals the relationship between the semantic zones of the text and the components of the argumentative structure.

The consideration of the text as external conditions of interpretation is due to the current trend of describing the text as a formal unit of culture, and culture is the highest level of the language system. “This view of the text involves the study of its semiotic nature in direct connection with the variability of its semantic structure, the mobility and diversity of the possibilities of its pragmatic essence” [Vasilyeva 1997, p. 152]. Based on the proposed V.V. Vasilyeva interpretation, the mechanism of converting any text into a text-interpretation serves as the basis for creating a linguo-culturological model of the text.

Intertext as a way of including text in extratextual reality.

The essence of intertext. Intertext is a model of the interaction between the mechanisms of generation and interpretation as ways of including text in extratextual reality. A text in extra-textual reality can manifest itself in two ways: as a component included in the situation, and as a component participating in various kinds of evocative and transformational processes. In the first case, the intertext represents the model of obtaining situational characteristics by the text (in the form of a text adapted to the situation), in the second case, the model of the relationship between different texts in a situation. The essence of intertext is phantom (simulated), although the ways of its implementation are functional and situational.

Intertext is an intermediate communicative and activity stage of intertext transformation. It integrates both the features of the texts involved in the processes of evocation and transformation, and the characteristics of the situation itself. This is a kind of model of the relationship and mutual inclusion of texts involved in a communicative act. Intertext is an adaptive unit that adjusts the text to the situation (situational model, according to T.A. van Dyck). The adaptive mechanism of intertext functioning allows any texts in a communicative act to receive (or restore) the characteristics of the situation necessary for the successful flow of a communicative act: “Situational models are based not on abstract knowledge about stereotypical events and situations, but on the personal knowledge of native speakers, accumulating their previous individual experience, attitudes and intentions, feelings and emotions… We understand the text only when we understand the situation in question. The use of models explains why listeners perfectly understand implicit and obscure fragments of texts - in this case, they activate the corresponding fragments of the situational model" [van Dijk 1989, p. 59].

Mechanism of intertext functioning. To describe the process of interaction between the mechanisms of generation and interpretation, “large” units are needed, whether we are talking about models of generation and schemes for their deployment, about nominative blocks that exceed in their length a simple word, or, finally, about such complex structures of consciousness as frames, scenes or scenarios that largely predetermine the emerging speech utterances and the choice of means for their implementation" [ Human factor in language 1991, p. 7]. Intertext is a kind of invariant internal form of the transformation mechanism that contains knowledge about all stages of transformation in the form of a certain set of schemes and chains of transformations. Intertext is an abstract concept that is on a par with such concepts as a text package of information (V.I. Gerasimov, V.V. Petrov), the internal form of a text (I.D. Golev), a situational speech block (A.A. Chuvakin) etc. To refer to such phenomena (a kind of "black boxes" - known what is at the entrance and exit, but not known what is inside) in the linguistic literature, a variety of terms are used, depending on the aspect of study: "in the literature a number of terms are used to denote extralinguistic reality reflected in human consciousness: frames, scenarios, schemes, plans, etc. They are “packages” of information (stored in memory), providing adequate cognitive processing of knowledge about reality” [Sokolov 1993 , With. 3].

The status of intertext is determined by its intermediate position. Being a synthesizing abstract thought formation, the intertext functions as an invariant structure of the interaction process: the intertext “pulls together” the initial and final stages of transformations, uniting texts of different types and situations. In the process of generation, the stage of intertext is the stage of preparing thoughts for objectification, the stage of beginning speech and thought activity, which is associated with the search for a scheme of the transformation process. This refers to the so-called “pre-speech stages of speech activity, which actually fall on the phases of the transformation of the stream of consciousness into a verbalized or verbalized formation, when carriers of personal meanings, having up to this moment a variety of forms and substrates, finally acquire a quasi-verbalized one - in the form of internal words - or actually verbalized - in the form of real linguistic signs - but still an internalized form" [Human factor in language 1991, p. fifteen]. This definition of intertext allows us to consider its status as an internal form of transformation processes. According to N.D. Golev, the internal form of the text is the original element from which the speech work naturally "grows" in the unity of its formal and content sides; in terms of synchronous genesis, it is an embryo, an anticipation of a form, an emerging content. This is the source of the diversity of external forms and its simultaneous overcoming, that is, the source of integrity. All of the above allows us to draw a conclusion about the intermediate status of the intertext in the process of communication and define it as an abstract structure in which textual and situational characteristics are “dissolved”.

Introduction to the structure of the communicative act of intertext explains the functioning of the transformation process: passing through the stage of an intermediate link (a kind of "black box" - an intermediate stage of transformations, where the input contains an untransformed text, the output is situationally adapted, and between them is a cognitive structure - intertext), the generation mechanism adapts to the interpretation mechanism. Intertext not only matches the formal and semantic characteristics of the transformed and untransformed texts, but it is in the intertext that the selection of the characteristics of the situation necessary for the successful implementation of communication takes place.

The complication of the communicative act occurs under the influence of the author's intention (“completeness/incompleteness of the description of the object can be considered exhaustive in terms of the goals and objectives that the communicants set for themselves” [Murzin, Stern 1991, p. 43]). The intertext appears against the background of the difference in the intentions of the author. So, for example, in V. Shukshin, when converting texts of stories into texts of screenplays, the difference of intentions manifests itself in the following way: in the first case, the intention to create an epic work dominates, in the other case, to create a screenplay. The intertext brings together the different properties of the two kinds of literature. In the intertext, the division of the epic text into frames also takes place; The result of the functioning of the intertext is the compositional-syntactic arrangement of the screenplay text. In the process of transformation, secondary texts acquire compositional-syntactic structures that are qualitatively different from the epic text. The proposed model of transformational transformations of the syntactic composition of an epic text into the syntactic composition of a screenplay text (primary text - intertext - secondary text) can be considered an invariant model for this kind of transformation of V. Shukshin's texts, and the filling of this model occurs variably, depending on the compositional features of the primary texts.

Intertext as a model of interaction between different types of texts. Modeling the interaction of texts of different types is a rather big problem. This is due primarily to difference(typological, genre, generic, etc.) text ontology. Until now, there is no universal model that describes cases of multi-text interaction, since it is impossible to unify all the ways of text life of this kind. Intertext is one of the options representing the interpenetration of texts. For example, intertext as a model that organizes the interaction of different types of texts works when converting story texts into screenplay texts.

In particular, textual interaction of this kind is present in V. Shukshin's film prose, which is characterized by the transformation of epic (primary) texts into texts of film scripts (secondary). In the course of transforming an epic text into a screenplay, V. Shukshin undergoes the greatest transformations in the syntactic composition of both types of texts. All changes in the syntactic composition that occur during transformations make up three groups of transformations:

1. Transformations, the content of which is the introduction of new components into the syntactic composition of the secondary text. Such components are part of a paragraph, a whole paragraph, part of a dialogic unity, part of a complex syntactic whole.

2. Transformations associated with intra-component structural changes (both input and omission of any part of a fragment of a syntactic composition). Such transformations are caused by the insertion or omission of a part of a paragraph, a complex syntactic whole, or a dialogic unity.

3. Transformations that have an intercomponent character. In such transformations, new paragraphs and dialogic units are introduced. The structure of one paragraph is converted into multiple paragraphs, and so on.

In the first type of transformations, the screenplay (secondary) text is not divided into frames, since the mise-en-frame is not formed in the process of transformations. Transformations actualize a fragment of the syntactic composition of the primary text to organize a single plot narrative. For example, the introduction of replicas into the text of the film script “Your Son and Brother”: “Guys write”, “How are the guys?”, “Yes, they rarely write. Nothing like. Ignat boasts. And Maxim is at the construction site” – specifies the number of characters, organizes the texts of stories with isolated storylines into the text of a film script with one plot.

The second group of transformations includes intra-component transformations of the syntactic composition and is associated with the need to strengthen, highlight any gesture, posture, intonation of the hero. This type is associated with the introduction of directorial editing, with the need to arrange the characters in the misanthrope. For example, the introduction to the text of the film script "Your Son and Brother" emphatic "And I - at least henna!" actualizes the emotional mood of the scene, enhances this excitement.

The third group of transformations are intercomponent transformations, they are associated with the requirement of frame-by-frame transmission of information. Transformations occur as a result of the need for future on-screen implementation of the text. Keeping in mind the future sound-visual, on-screen embodiment of the text, the author divides the text not into text fragments, but into frames that he organizes into misanframes - with the arrangement of characters, the accuracy of their gestures, poses. There is a need to "depict a picture." Changes in the compositional-syntactic organization are, first of all, those changes with the help of which either the unnecessary, superfluous, “non-cinematic” (i.e., not working for image and sound) component of the text structure is curtailed, or the text is expanded due to the introduction of cinematic components. The function of this group of transformations is to be a kind of "guide to action" for the director. For example, V. Shukshin introduces a direct directive from the director into the text of the film script “Strange People”: “The Chudik came home at five o'clock. He walked and clearly imagined how he would now cheerfully tell how he almost became a film actor. How everyone will laugh heartily (silent image: Chudik tells his brother, his wife, children, shows how they rehearsed with the director; everyone rolls with laughter, even a small one in a painted stroller).

The above processes are modeled in the intertext - an abstract formation that performs a connecting function between the epic and screenplay texts in the process of text formation. The intertext connects the compositional-syntactic structures of the primary and secondary texts; in the intertext, the epic text is divided into frames of the film script. In the intertext, there is a change in the communicative status of the components of the syntactic composition of the primary text. Intertext is an invariant internal form of the mechanism for transforming an epic text into a script text, containing knowledge about all stages of transformation in the form of a certain set of schemes and chains of transformation.

The model of formation of syntactic composition (primary text - intertext - secondary text) is an invariant model of strengthening the cinematic potential and is considered as an invariant model of intergeneric transformation. Variant implementations of the model in the study are determined depending on the communicative features of the Speaker. The form of communicative activity carried out by the Speaker (epic or screenplay) determines the methods of structural-semantic re-decomposition of the syntactic composition.

Intertext as a model for including text in a situation. One of the characteristics of intertext is its adaptive potency. Intertext as an internal form of transformation is directly related to the mechanism of situational adaptation of the text. So intertext, for example, sets the way to include text in argumentative activity, adapts textual mechanisms to situational characteristics, creates the basis for the appearance of argumentative characteristics of the text.

Argumentative characteristics of the text are little studied; they are unique. So far in contemporary literature questions remain open: can any text be considered an argumentative text; how to determine the essential characteristics of the text in terms of argumentation; can the text be considered a component of the argumentative process and what are its functions? (See works by X. Perelman, T.G. Khazagerov, M.I. Panov, and others).

The appearance of an argumentative text is, firstly, the result of the functioning of the cognitive model of argumentative activity (hereinafter referred to as the K-model of argumentation), and secondly, it is due to the existence of the argumentation field. Consequently, the conditions for acquiring argumentative characteristics by the text are the existence of the K-model and the operation of the K-model in the field of argumentation.