ФИО научного руководителя:
Ph.D.
Alimdjanov A.A.
Department of practical English language and literature, NUUz
Название публикации:
«STYLISTIC FIGURES USING IN APHORISMS»
АННОТАЦИЯ
В этой статье будут рассматриваться то, из чего состоят афоризмы. А также
стилистическиесредства используемые в афоризмах и значение каждого из них.
Кроме того, рассмотрим что влияет на образность, оригинальность и
эмоциональную эффективность афоризмов.
ANNOTATION
In this article, we will consider what aphorisms consist of. As well as the stylistic
figures used in aphorisms and the meaning of each of them. In addition, we will
consider what influences the imagery, originality and emotional effectiveness of
aphorisms.
Before talking about the style of the aphorisms, let's touch on their
compositional features. Aphorisms, as a rule, are built of two parts: a specific thought
and a final conclusion. Sometimes these components are indivisible, but they are
always present. The aphorism has, as it were, two aspects, which are often in conflict
with each other. For example, Wilde's aphorism: "Dissatisfaction is the first step
towards progress for both a person and a nation" - has no explanation, but it is easy to
conjecture: "since dissatisfaction encourages action." The contradictions present in the
aphorisms do not turn them into paradoxes. Paradoxes always oppose public opinion,
while the contradictions of aphorisms are extinguished in them.
Aphorisms are always two-aspect, but contradictions are not always present in
them. Take the aphorism: "Knowledge is power" (Bacon). There are no contradictions
in such aphorisms, their two-aspect nature is unidirectional.
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Having noted these, as they can be called, compositional and stylistic properties of
aphorisms, let us consider their artistic and stylistic features. These features were more
inherent in the sayings of ancient times, then they lost their diversity with the onset of
the Christian era, which expelled wit from literature, and again enriched literature
during the period of transition of sayings into aphorisms.
The aphorism based on definition has a clearly expressed two-term form. In
the first part, a phenomenon or concept is named, in the second, its essence is revealed:
"In fidelity to truth - fidelity to the fatherland" (S. Zweig).
Quite often there are aphorisms based on paradox, which gives them a novelty
and only at first glance is perceived as a contradiction to generally accepted opinions:
“There are dead people who must be killed” (L. Denouyer). In aphorisms are often
used antithesis, parallelism and chiasm from stylistic figures. Ellipsis, rhetorical
question, gradation, anaphora and some others are also used.
Antithesis:
1a: the direct opposite; b: the rhetorical contrast of ideas by means of parallel
arrangements of words, clauses, or sentences (as in "action, not words" or "they
promised freedom and provided slavery")
2: opposition, contrast the antithesis of prose and verse; c: the second of two
opposing words, clauses, or sentences that are being rhetorically contrasted
Parallelism:
1: the quality or state of being parallel 2: Resemblance, correspondence,
parallelism between obesity and hypertension— H. M. Marvin; 3: repeated
syntactical similarities introduced for rhetorical effect biblical poetry relies largely
on parallelism of lines— E. P. Sanders; 4: a theory that mind and matter accompany
one another but are not causally related; 5: the independent development of similar
traits or features (as of body structure or behavior) in different species or lineages
that have common ancestry and that typically occupy similar environments or
ecological niches: parallel evolution
Ellipsis:
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1a: the omission of one or more words that are obviously understood but that must
be supplied to make a construction grammatically complete; b: a sudden leap from
one topic to another; 2: marks or a mark (such as …) indicating an omission (as of
words) or a pause
Rhetorical question:
a question not intended to require an answer
Gradation:
1a: a series forming successive stages the gradations of evolutionary development;
b: a step or place in an ordered scale; 2: an advance by regular degrees gradations of
social progress; 3: a gradual passing from one tint or shade to another; 4: the act or
process of grading
Anaphora:
1: repetition of a word or expression at the beginning of successive phrases, clauses,
sentences, or verses especially for rhetorical or poetic effect Lincoln's "We cannot
dedicate, we cannot consecrate, we cannot hallow this ground" is an example
of anaphora; 2: use of a grammatical substitute (such as a pronoun or a pro-verb) to
refer to the denotation of a preceding word or group of words also: the relation
between a grammatical substitute and its antecedent
29
.
Most often, aphorisms have a complex structure, where two or even three
stylistic figures and other artistic means are found in various combinations.
The listed stylistic techniques and their various combinations determine the imagery,
originality and emotional effectiveness of the aphorisms. They also greatly influence
the creation of the "high style" characteristic of aphorisms. The use of artistic and
stylistic means in aphorisms predetermines their indisputable belonging to fiction
30
.
Definition of aphorism in the light of the general theory of idioms. The lexemes
aphorism, aphoristics, aphoristic (and their foreign accordances) in general dictionaries
29
https://www.merriam-webster.com/dictionary/aphorism
30
Преображенская Н.А. Мультипликационные крылатые выражения Ртищева К. 9А. МБОУ «Лицей №55».
Пенза. 2017, 78 c.
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are not labeled "special", in other words, these words are generally understandable to
speakers with secondary education.
1. On the insufficiency of mental, communicative and aesthetic definitions of aphorism
for linguistics. Regarding the above definition, the linguist will notice that such signs
(or epithets) of the aphorism as “original finished (thought)” and “memorable form”
do not work in practice, because it is hardly possible to establish their presence by
deciding whether a particular statement is an aphorism.
The epithet "original (thought)" here means ‘interesting (thought)’ rather than
‘original, not borrowed (thought)’; the real authorship of a particular "original
(thought)" often does not coincide with the name with which this aphorism is
associated in cultural tradition. It is difficult to say what a “complete (thought)” is,
since at school they teach that any sentence (utterance) expresses a “complete thought”,
and at philological faculties they teach that the meaning of any statement outside the
context and situation is not entirely clear (i.e. as if not finished). Further, such a sign
of an aphorism as the fact that it is “spoken or written” is redundant. As for the
"laconicism" of the aphorism, then everyone will intuitively agree with this sign
(fortunately, the relative adjective aphoristic also has qualitative meanings:
‘fragmentary, incoherent’
M.L. Gasparov defined an aphorism as “a generalized thought expressed in a
laconic, artistically sharpened form”, thus considering “generalization of thought” as
the first and obligatory feature of aphorism
31
. The sign of "generality of thought" has
lexical and grammatical signs: pronominal quantifiers of universality (words always,
never, everything, every time, whatever, nobody, nothing, anyone, everyone, everyone,
etc.) and verb tenses, which according to the tradition coming from the ancient rhetoric,
the gnome or aphoristic times were called so: “Gnomical (aphoristic, achronistic). Used
in sayings, proverbs, sayings, etc., representing a phenomenon (action, process) as
timeless, as a general rule; communicating the general truth”
32
. However, the formal-
31
Гаспаров М. Проблемы литературной теории в Византии и латинском средневековье. 1986, 43 с.
32
Ахманова О. С. – М: Советская энциклопедия. СССР. 1966 (2-е изд.). 1966, 51 с.
324
grammatical signs of the generalization of aphorisms often turn out to be neutralized.
There is also terminological evidence for this: not only presentations are gnomic, but
also aorists. Thus, the sign of "generalization" in relation to aphorisms is almost as
incontestable as the "sign of truth", which is nevertheless postulated by some authors.
2. Historical modifications of the genre of aphorism and its elusive nature.
Researchers and/or publishers of collections of aphorisms deal with two “generations”
of aphorisms. The first one is classical aphorisms: generalized “truths”, contextually
independent (self-sufficient), laconic and “perfect” in artistic and aesthetic terms. The
second generation is made up of the aphorisms of modern times, they have to be
defined differently. The aphorism "in general" (that is, both "classical" and "new") have
only one common feature - the reproducibility (repeatability) of the phrase.
From the middle of the XIX century and especially in the era of mass
communication, the nature of aphorism changed: "serious" aphorisms-instructions and
aphorisms-truths gradually gave way to aphorisms ironic, derisive, humorous, playful,
mocking; the contextual independence (semantic self-sufficiency) of aphorisms
decreased. The history of aphoristics convinces of this.
In the history of the genre, there are two models: 1) the phrase of a historical
person or character, which has sunk into the hearts and minds of listeners (witnesses,
readers, viewers), became an aphorism and therefore became “winged” - that is,
repeated, replicated, sometimes broadcast through the millennia. 2) the aphorism was
a phrase that was conceived by the author precisely as an aphorism, i.e. as a separate
work of this genre - a short and semantically capacious, masterful creation of verbal
art, containing a "significant" thought (so significant and so elegantly expressed that
the author brings it to the attention of the public).
3. Contextual lack of independence of modern aphorism. If the classical
aphorism is understandable out of context (and in this sense it is self-sufficient), then
modern catchphrases can be, on the one hand, fragmentary and incomplete, and on the
other, extremely dependent on the context in which they arose - on the movie, TV
series, advertising text, popular song, pop miniature, etc.
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In modern cliché sayings, unlike classical folk and literary aphorisms, it is not
positive knowledge about life ("truth-truth"), not prescriptions or prohibitions, but a
mocking and playful allusion to a complex sign from works that is rich in meanings
and connotations, created on the basis of multimedia semiotics.
The contextual lack of independence of modern aphorism is compensated by
the fact that in the minds of the speakers such an aphorism is steadily associated with
the source work. These connections are endlessly reproduced in the human
environment: they are replicated in print media, repeated on radio and TV, become part
of the interior, inscriptions on badges and T-shirts, and, placed on outdoor advertising
media, are included in the urban and roadside landscape. The intertextuality of the
quotation aphorism creates and compensates for its insufficiency (both syntactic and
semantic).
4. Two constants in the definition of aphorism: reproducibility and skillfulness.
Due to the semantic and syntactic diversity of aphorisms, a reliable feature that
distinguishes aphorisms (classical and new) from non-aphoristic (free) statements is
their reproducibility, i.e. “Wingedness” and clichédness of the phrase. Therefore, given
the way of existence of aphorisms, they can be defined as statements reproduced in
oral or written speech, which are included in collections of aphorisms, quotations,
sayings, winged words and other similar books
33
.
This, of course, is not about the real dependence of linguists on the
composition of aphoristic books. The point is in understanding the citation nature of
the aphorism. I.E. Anichkov wrote that the proverb and saying “always mentally, and
sometimes verbally, is preceded by the expression“ as they say ”and“ what is called ”,
i.e. metalanguage references to collective experience. “The proverb is specific,” wrote
Anichkov
34
, “not the use of the experience of previous generations, but the
consciousness of such a link”.
33
Мечковская Н.Б. Жанры афористики и градация высказываний по степени идиоматичности. Минск. 2009, 3-4
с.
34
Аничков Е.И. Эстетика. Санкт-Петербург. 1964, 39-41 с.
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In conclusion, aphorisms are constructed of two parts: a specific thought and a final
conclusion. In aphorisms are often used antithesis, parallelism and chiasm from
stylistic figures. Ellipsis, rhetorical question, gradation, anaphora and some others are
also used.
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