The social aspects of g. Orvelll's novel"1984" contents I. Introduction Main body

Fictional language as the main element of dystopia

In the literature of the 20th century, dystopia became a kind of leading genre. Dystopia (from the Greek " anti " - against and " utopos " - a place that does not exist anywhere) - a direction in fiction, in a narrow sense, a description of a totalitarian state or society, in a broad sense, a description of any society in which negative development trends have prevailed ( Lyubimova, 2001: 12). This genre is represented by authors from all over the world: E. Zamyatin in Russia, O. Huxley and J. Orwell in the UK, R. Bradbury in the USA.
The term dystopia was first mentioned by the philosopher John Stuart Mill in 1868. However, they believe that the roots of dystopia go back to antiquity: among the works of Marcus Aurelius and Aristotle, there are works with features of dystopia. Jonathan Swift in 1727 presents a technocratic dystopia in the third part of Gulliver's Travels. Features of dystopia can also be traced in the works of Jules Verne ("Five hundred million begums") and the works of Jack London ("Iron Heel") ( Kolomeitseva , 1999: 67).⁷
Later in the 20th century, dystopia flourished as a literary genre: two world wars, socio-political instability, revolutions, the establishment of harsh totalitarian regimes became a solid foundation for building dystopian plots. Thus, in Russia, the dystopian novel “We” by Yevgeny Zamyatin became a natural consequence of revolutions and imposed socialism , which describes an absolutely mechanized society, where a person is no longer a person, but simply a “ number ”, where dissent is forcibly eradicated, where ideology is compulsively instilled through the media, where people it is forbidden to show any emotions. A similar anti-socialist attitude underlies Andrey Platonov's The Pit, Ayn Rand's Anthem, and John Kendell 's Future Tomorrow.
Hastings ' City of Eternal Night (1920), Karel Capek's War with the Salamanders (1936), Murray 's Night of the Swastika Constantine (1937) (Arkhipova, 1992: 322).
Separately, Aldous Huxley's greatest anti-utopia "Brave New World" should be singled out, in which he brings the ideas of capitalism to absurdity: the chronology in the new caste technocratic state is from the Christmas of Henry Ford, the American automobile magnate, and the concepts of "love", "mother", " father" are prohibited.
The theme of totalitarianism stands apart in the world of dystopias. Anti- totalitarian ideas were actively developed by George Orwell in such works as "Animal Farm" and "1984", Anthony Burgess novel "A Clockwork Orange", Ray Bradbury in Fahrenheit 451.
At the present stage, the genre of dystopia continues its development and is in close contact with the genre of science fiction and science fiction. Among the most famous works are Suzanne Collins' The Hunger Games trilogy, James Dashner 's The Maze Runner, the novel
Viktor Pelevin "SNUFF", the work of Kazuo Ishiguro "Don't Let Me Go". In modern dystopias, a person confronts not the socio -political system, but the chaos of the present and the frightening uncertainty of the future. The works describe a person disoriented in the system of cultural and historical landmarks (Skvortsov, 2015: 174).
Dystopia is considered a logical consequence of the development of the utopia genre, but in fact these genres are opposite in relation to each other. While utopia draws unrealizable, often unrealizable ideals, shows the future world in an exclusively positive light, dystopia concentrates on the negative aspects of a particular society, political system. Moreover, unlike utopia, focused on building an ideal society, dystopia is anti -propocentric and focuses on resolving the conflict between society and the individual.
( Morson , 1991:35).
In dystopia, a close connection with historical reality is clearly traced. The most acute trends in the development of society fall under the scope of the authors: totalitarianism, fascism, etc. With their works, the authors show a reaction to such trends, moreover, they try to predict the further development of societies developing in these directions. The society or state created by the anti-utopian writer is abstract in nature: it is located in isolated corners of the Earth, or even goes beyond the boundaries of our planet; in addition, authors often attribute the effect of dystopias to the future.
The main distinguishing feature of dystopia as a genre is the image of a society that has reached a moral, social, political, and economic dead end: all this is due to disastrous decisions made by both individuals and society as a whole ( Kolomeitseva , 1999: 68).
Any changes in the life of society lead to changes in the languages spoken by this society. The appearance of new words gives the language dynamics, therefore neologisms are an integral part of any language, both written and oral. Neologisms can be the product of the creativity of a particular author, or they can appear as a result of the collective creativity of a certain group of people who speak a given language.
In nealogy , a special type is distinguished - occasionalisms. Occasionalism is an individual-author neologism created by a poet or writer according to the unproductive word-formation models existing in the language and used exclusively in a given context as a lexical means of artistic expression or a language game (Lopatin, 2003: 27).
Occasionalisms often form the author's language, which is incorporated into a separate work. In this case, a fictional language arises. With the help of a fictional language, the author characterizes the life of the main characters, describes their actions, however, more importantly, the author reflects the specifics of the culture of the described society through the fictional language (Lopatin, 2003: 112).
The role of fictional languages in the formation of the dystopian genre can be determined by referring to the main works. In connection with the development of the dystopian genre in the 20th century, such cult works as "1984" by G. Orwell, "A Clockwork Orange" by Anthony Burgess , "We" by E. Zamyatin, "This Brave New World" by Aldous Huxley and others appeared. In all these works the authors used fictional languages. Among all the functions of fictional languages, the artistic function is dominant in relation to all the aforementioned novel-mantio-utopias .
Thus, in the novel "1984" the fictitious language Newspeak determines the plot and stylistic aspects of the work. Newspeak is the political language with which the party manipulates society and maintains a totalitarian regime. All Newspeak words expressing political concepts are borrowed from the era of fascism and Bolshevism, for example, “Nazi”, “agitprop”, etc. Supporting the idea of the inseparability of language and thinking, the author argues that it is language that is able to structure and limit the thoughts and ideas of people ( Basovskaya , 1995: 39).
The fictional slang "nadsat " in A Clockwork Orange also has a stylistic and plot function. " Nadsat " combines Russian and English, which emphasizes the confrontation between the two superpowers of the 20th century. " Nadsat " symbolizes two opposing regimes: capitalist democracy and Soviet communist ideology ( Ox , 2006:154).
Despite the fact that the author's languages exist only on the pages of their works, they do not lose their relevance and reflect the individual style of the author.
Thus, it can be concluded that the role of fictional languages in the formation of the dystopia genre lies in the formation of the style of this genre, as well as maintaining the concepts that characterize the fictional world described by the author.