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Functions:
it helps to bring up the theme and the idea (ideological function)
R. is an important part in the composition of the text, in poetry: anaphora, epiphora, framing can be used to divide it into stemsas or to make it complete
to create motifs and leit-motifs of the text
to create symbols (symbolic m-ng)
Motif – a particular idea, situation, incident, image, ch-re type – any dominant element, running through a work of act, forming part of the main theme.
Ex. “Master and Margarita”: moonlight – Margarita
Leit-motif – an image, incident, situation or any other element, which is repeated significantly within a single work. It’s realized through a frequently repeated w-ds or associated w-ds and the recurrance of which indicates the author’s thought, the main idea or theme.
Ex. Лермонтов: Белеет парус одиокий – лейтмотив одиночества.
The poetic detail – the mention of some facts, seemingly insignificant, but conveying more than it seems at first sight.
Kuharenko distinguishes 4 types of detail:
factual D. – some small facts, elements, which are not directly connected with the theme or idea
Ex. names of streets, buildings
It gives plosibility to the nar-n and may reveal the inner state of the ch-rers. It
contributes to the fidality of representation, the scrupulous attention to some
insignificant details, elements of everyday life, creates the pleasure of recognition
discriptive detail – describing of ch-rer’s appearance oe elements of the setting. It creates the individuality and concreteness of the discription and often conveys the author’s emotional, subjective attitude, his evaluation
Ex. “Forsyte Saga”
characterising D. – which aims at ch-rer study. It accentuate some features of a personage throughout the text. But it is never in the foreground, it seemed to br mentioned by chance. The reader seems to form this conception, his attitude without the author’s interference.
implicative D. (suggestive) – mentions some autocharacteristic, which implies some important sence. It helps to create some undercurrent or hidden m-ng.
A poetic detail may become a symbol in a text.
Kuharenko distinguishes 3 types of S.:
metonymic conventional S.
Ex. a dove – peace, butterfly – mindedness...
symbol by identification, metaphoric S. – when 2 quite different notions are likened to better understand one of them. Very often such S-s are taken as titles
Ex. “Sand Castle” by Murdock
“The snow of Kilimandzharo” symbolizes the imposibility to reach the top.
symbolic detail (almost in every text) – when a detail becomes a S
The conditions for a detail to require a symbolic m-ng:
an occasional, unmotivated connection b/w the detail and the notion it symbolizes
the repetitive use, which supports the connection b/w the detail and the notion symbolized, and makes the detail the representative of the symbolized notion
the use in close proximity in the notion it symbolizes.
It is of interest, that abstract nouns, becoming the poetic through repetition, require suttle
of m-ng, acquire some concreteness. Concrete nouns, turning in some poetic motif as a result of distant repetition, acqire some generilized m-ng and often turn into metonymic and metaphoric symbols.
Coupling – a special technique, based on the affinity of the elements, that occupy similar positions throughout the text. It provides cohision, consistancy and unity of the text form and contence. C. can be found on any level of the l-ge. So, the affinity may be phonetic, structural and semantic.
Ex. phonetic affinity: alliteration, rhyme; syntactical affinity: repetitions, parallel constr-n
antithesis; semantic affinity: synonyms, antonyms, morphological repetitions, periph-
rasis, semantic fields, connotations, symbols.
Strong position.
The title – the first sign of literary text. It creates the key, in which the whole text should be perceived. It arouses anticipation and therefore realizes the category of prospection. The title acquires its full m-ng only after we read the whole text in retrospection.
The titles may name the main ch-rers (“Oliver Twist”), state their social role, profession (“Жигало и Жигалетто”), the relationships (“The devoted friend”), the scene and the time of the action. The subject and the main idea may be hinted, that either directly (“The escape”) or indirectly by means of elusion, metaphor and so on (“The ant and the grasshoper”).
The informative are allusive titles. Such titles activate our background knowledge, tune us in to percieve the text in relation to other texts or facts.
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