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Work structure. The final qualifying work consists of an introduction, two chapters, a conclusion, a list of references and a list of dictionaries. The introduction defines the relevance of the work, formulates the main goal and objectives, substantiates the object and subject of the study of the work. The first chapter outlines the main trends in the study of fictional languages, defines the concept of "fictional language", highlights the main functions and role of fictional languages in various fields. In the second chapter the functioning of fictional languages in dystopian novels is being studied. In conclusion, the main provisions of the study are summarized, generalizations and conclusions are made, and prospects for further development of issues related to fictional languages are considered.
CHAPTER 1
Fictional languages in the context of modern reality
At the present stage of development, the focus of linguistics is a person who expresses himself, establishes and maintains contact with other people, while achieving certain communicative goals and using language as a means. Man transforms the language, acts as an active creator of the language, not just a passive user. Every speaker can become a creator, creator of a language with the help of linguoconstruction of artificial languages.2
Linguistic construction is the construction of a language system consciously, and not spontaneously. In the process of linguistic construction , language is a tool for resolving worldview and cultural problems that concern a person at this stage of his development, and can also be considered as an object of research and construction (Sidorova, 2006: 8).
A fictional language is a product of linguistic construction , in the process of which a person's creative abilities are realized, his understanding of the world is expanding. Fictional languages are the languages spoken by characters in fiction and movies, as well as slang invented by the author for their characters.
IS HE. Shuvalova, according to her purpose, divides fictional languages into the following groups:
Fictional languages of fantasy language communities in fiction ( Tolkien's languages , Orwell's Newspeak) or fictional languages of computer worlds.
Fictional individual-author's languages, acting as linguistic experiments of both professional linguists and amateurs of linguoconstruction .
Fictional languages aimed at overcoming language barriers in real human communication, serving as universal international languages (Ido, Esperanto).
M. Rosenfelder classifies fictional languages according to structure and purpose. In accordance with the category of structure, languages of the European and non-European type are distinguished. According to the category of purpose, languages are divided into logical, auxiliary, experimental. There are separate classifications for the study and description of fictional languages of works of art.
The fictional language of a work of fiction is based to varying degrees on the native language of the author, as well as on other natural languages. The author can use various elements of various natural languages when creating a new language within his work. It follows from this that a fictional language includes elements of natural languages, i.e. has a real linguistic basis (Skvortsov, 2015: 14).
According to the degree of use of the real language base, fictional languages can be divided into:
Natural language with elements of fictional language.
The author uses a certain natural language in the work, adding to it some characteristics of a fictional language. Thus, the author does not create an absolutely new language with all its phonetic, lexical and grammatical structure, but only supplements the already existing natural language. An example of such a fictitious language is the language " speedtalk " in the work of R. Heinlein "The Abyss"
Modified natural language.
The work of art uses a natural language significantly altered by the author. The author can modify both some individual characteristics of the language, and the language system as a whole. For example, G. Orwell's Newspeak uses English as its basis, which undergoes grammatical changes, as well as contraction and modification of the dictionary.
Fictional language with the borrowing of certain systems of natural languages.
The author, using entire systems of one or more real natural languages, creates a fictional language. These languages include the utopian language of the work of T. More, who took Greek and Latin as a basis.
fictional language.
The author uses several systems of several natural languages at the same time to create a fictional one. New words, phrases and texts function within the work according to the rules of the author's fictional language. An example is J. R. R. Tolkien's languages of Middle -earth , which incorporated systems and elements of Greek, Finnish and Hurrian languages, as well as other words created by the author in accordance with the systems of his fictional languages.
In addition, fictional languages are classified according to the amount of linguistic material presented, i.e. according to the amount of fictional language presented or described in a particular work of art (Skvortsov, 2015: 16). Thus, allocate:
Fully described fictional language.
The work of art presents all systems of the language, including phonetics, vocabulary, grammar and others. With the use of such languages, texts written directly in a fictional language are created. Fully described fictional languages can also function outside of a work of art, develop as a natural language: in the process of use, speakers change and improve the originally fictional language. For example, the fictional languages of J. R. R. Tolkien began to be used for communicative purposes in the real world.
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