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Plan:
Introduction------------------------------------------------------------------------------3
Main body---------------------------------------------------------------------------15
Chapter I. Subjectivity and Pragmatic Features of Simile
Semantic Typology of Simile---------------------------------------------------8
Panoramic (Background) Similes---------------------------------------------9
Chapter II. The Cognitive, Psychological, and Metaphorical Essence of Simile: Its Invariant Model.
2.1. Structural Types of Similes----------------------------------------------------14
2.2. Simile Versus Metaphor--------------------------------------------------------18
Conclusion-------------------------------------------------------------------------------19
List of Used Literatures-----------------------------------------------------------21
INTRODUCTION
The cours paper offers a three-dimensional linguosemiotic study of similes, which implies integral analysis of their semantic, syntactic, and pragmatic aspects. Such an approach to the study of similes is quite new as they have been hitherto considered either from a literary viewpoint as one of the stylistic expressive means of language or in the philosophy of language in correlation with metaphor. The three-dimensional linguosemiotic methodology of research has enabled us: to reveal the cognitive, psychological, and metaphorical essence of similes and work out the invariant conceptual model which remains unchanged throughout their structural-semantic variation in the text; to single out pragmatic features of similes, the set of which defines their linguistic status as a language-in-use construct, i.e., textual phenomenon; to study the denotational-cognitive aspect of similes pointing out the parameters according to which similes have been differentiated into semantic types and subtypes; and to generalize the syntactical aspect of similes and define the set of their structural modifications in the text conditioned both by the intralinguistic regularities and by pragmatic factors. Therefore, we have worked out an interdisciplinary theory of similes implying the synergy of the data of linguistic, literary, cognitive, and psychological studies. The present paper is devoted to the complex study of similes aiming to reveal their linguosemiotic peculiarities. Similes have been studied so far either from a literary viewpoint as one of the stylistic expressive means of language based on associative perception and mapping of the world or in the context of philosophy of language in correlation with metaphor. Different from them, we offer a three-dimensional linguosemiotic analysis of similes focusing on theintegral study of their semantic, syntactic, and pragmatic aspects. This methodology of simile is very much in line with Honeck, who, reviewing the state of metaphor research in 1980, remarked that what was needed was to go beyond semantics and develop a contextual approach which involved “a delicate integration of word-sense, syntactic form, pragmatic context, speaker-listener relationship, and goals, over time”. Such an approach to the study of similes has enabled us to reveal multinatural essence of similes and define them as language-in-use constructs, the sign status of which varies from a phrasal level to that of a microtext. In fictional writing, the author’s subjective modality interacts with his/her communicative intention. This paper is based on the statement according to which any literary text, irrespective of its genre or trend, represents a unique and aesthetic image of the world, created by the author according to their communicative intention and modality, i.e., their individual vision of the world. Hence, the subjective (i.e., intention and modality) acts as an organizing axis of a literary work, for, in expressing their vision of the world, the author represents reality in the way that they consider to be most fitting. However, being the product of the author’s imagination, a literary work is always based upon objective reality, for there is no source that feeds the imagination other than objective reality. A literary work, with similes in it, is thus an image of a target fragment of extralinguistic reality, arranged and mapped in accordance with the author’s subjective modus. We carried out a comparative analysis of similes in the works by British and American authors with differentstyles and outlooks, and came to the conclusion that all the similes reflect the author’s subjective modality via their aesthetic-philosophical and metaphorical vision of the world and individual style of writing in general.
Another pragmatic category of similes, which participates in the process of metaphorical mapping together with the author’s subjective modality, is evaluation. In the arts, and especially in fictional writing, analogy and contrast are ways of imaginative cognition. The author both contraposes and juxtaposes heterogeneous objects and in that way reveals the good and the evil, the beautiful and the ugly, the just and the unjust in life. In respect to similes, we adhere to the following general types and forms of evaluation offered byWolf :
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