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Communicative stylistics of fiction puts forward the following tasks:
• the study of the system of linguistic signs of all the language levels, their peculiar selection and arrangement in accordance with the author’s communicative aim and pragmatic intentions;
• the study of the correlation and interdependence of linguistic and extralinguistic factors including communicative and sociocultural contexts, background knowledge structures;
• the study of the literary text as a joint creative activity of the writer and the reader in the process of text production and perception;
• the study of stylistic and pragmatic functions of text units viewed from the angle of the pragmatic effect of literary communication;
• the study of idiostyle and the author’s individual world picture.
Proceeding from the tasks of communicative stylistics, we can define the key notions of this discipline: literary discourse, discourse analysis, communicative context, communicativepragmatic situation, pragmatic intention, the author’s image, text perception. Let us give a brief survey of these notions.
The communicative approach to the text with regard to all extralinguistic factors of communication requires that the new terms be introduced: discourse and discourse analysis. There are different definitions of the term “discourse”. The most appropriate in our view, is that given by N.D. Arutyunova, who distinguishes the notions of “text” and “discourse” stating that the latter represents culturally conditioned and socially oriented communicative activity. Discourse is a text in dynamics. It is a purposeful social activity based on interaction of language and cognition. So, the notions of “text” and “discourse” are correlative, but not equivalent. Text is a part of discourse, it is constructed in the process of discourse.
Discourse analysis as the main method accepted in communicative stylistics concentrates attention on the role of extralinguistic factors: situational context, background knowledge, social and psychological factors. Discourse analysis consists of two stages. At the first stage the communicative-pragmatic
situation including all external conditions of textual communication are defined. At the second stage the impact of extralinguistic factors on the semantic and verbal structure of the text, its linguistic regularities are studied.
Communicative-pragmatic situation is “a complex of external conditions which the partners keep in mind at the moment of t h e i r s p e e c h c o m m u n i c a t i o n ” .
According to E.S Aznaurova the communicative-pragmatic situation can be presented by a chain of questions: who — what - where — when — why — how — to whom.
The most relevant parameters of the communicative-pragmatic situation in the literary discourse are:
• the subject and aim of communication;
• the factors of the addresser (writer) and adressee (reader);
• social, ethnic, individual characteristics of the personages, their role and personal relations;
• the linguistic personality of the author, his conceptual world picture.
The general communicative aim of literary discourse is to exert an aesthetic influence on the reader. It means that the fictional text calls forth a feeling of interest and pleasure derived from the form and content of the text. The aesthetic impact is also caused by the fact that the reader is supposed to be involved in the creative activity of the writer and is led to form his own conclusions. Only on this condition can a pragmatic effect of literary communication be achieved. Indeed, the reader “enjoys reading” if something is disclosed to him as a “miracle”, if he decodes senses that were encoded by the author.A crucial role in analyzing the pragmatic effect of literary communication is assigned to the notion of pragmatic intention. Pragmatic intention is understood as verbalized in the text the addresser’s deliberate intention to exert influence on the addressee so that it might cause some reconstruction of his world picture. From this definition it follows that pragmatic analysis aims to find the verbal signs which explicitly or implicitly make pragmatic intentions recognizable. There are different types of pragmatic intentions varying according to a concrete text of literary discourse. A detailed analysis of pragmatic intentions, their hierarchical classification is given in the works by D.U. Ashurova. The following types of pragmatic intentions are distinguished:
• to attract attention;
• to interest the reader;
• to exert an emotional impact;
• to activize knowledge structures;
• to stimulate the addressee’s creativity;
• to represent the conceptual world picture.
Differentiation of these pragmatic intentions is mainly influenced by theoretical considerations. Practically in the literary text all these intentions are closely knit together, one following another. The pragmatic intention to represent the conceptual world picture is ranked as the most global one. It embraces all other types of pragmatic intentions and to some extent coincides with the function of literary discourse to produce an aesthetic influence on the reader. The conceptual world picture is understood as a global image of the world and its essential features reflected in the individual’s mind as a result of his spiritual activity.
Among all the language means verbalizing the conceptual world picture a specific emphasis should be laid on quotations. Quotation is defined as “a terse, witty, pointed statement, showing the ingenious turn of mind” of the writer. Quotations are characterized by the brevity of the form and the depth of the
content expressing emotiveness and modality.
The following quotations representing the picture of the concept “WORD” may serve as examples:
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