Metasymbolization and functional aspect of syntactic-stylistic means in German postmodern text

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Metasymbolization and functional aspect of syntactic-stylistic means in German postmodern text

Паров'як Іван Іванович

кандидат філологічних наук

Чернівецький національний університет імені Юрія Федьковича

МЕТАСИМВОЛІЗАЦІЯ ТА ФУНКІЙНИЙ АСПЕКТ СИНТАКТИКО-СТИЛІСТИЧНИХ ЗАСОБІВ НІМЕЦЬКОМОВНОГО ПОСТМОДЕРНІСТСЬКОГО ТЕКСТУ

У статті здійснено огляд наукової літератури та відстежено основні тенденції розвитку постмодерністського тексту та становлення експресивного синтаксису як стилістичної конструкції впродовж XX - ХХІ століття. Особлива увага звертається на праці вітчизняних та зарубіжних мовознавців. Основний акцент зроблено на дослідження метасимволізації процесів метафоризації та метонімізації з їхніми основними прийомами та засобами, які створюють емоційно-експресивний фон прозового тексту. Детально розглядаються основні та допоміжні функції синтактико-стилістичних маркерів у романах німецьких по- стмодерністів. Проведено детальний аналіз підвидів метафоризації (персоніфікація, алегорія, синестезія) та метонімізації (синекдоха, антономазія, бегуврігі, апелятив). Окреслено також перспективи дослідження постмодерністського тексту.

Ключові слова: німецький постмодерністський текст, синтактико-стилістичний маркер, метафоризація, метонімізація, метасимволізація, експресивність.

Ivan I. Paroviak,

Candidate of Philological Sciences YuriyFedkovych Chernivtsi National University

METASIMIVOLIZATION AND THE FUNCTIONAL ASPECT OF SYNTHACTIC-STYLISTIC MEANS OF THE GERMAN POSTMODERN TEXT

The article reviews the scientific literature and traces the main trends in the development of postmodern text and the development of expressive syntax as a stylistic construction during the XX - XXI centuries. Particular attention is paid to the work of domestic and foreign linguists. The main focus is on the study of metasymbolization of metaphorization and metonymization processes with their basic techniques and means that create the emotionally expressive background ofprose text. The basic and auxiliary functions of syntactic-stylistic markers in the novels of German postmodernists are examined in details. The syntax of the German language written postmodern prose text is expressive of the processes of metaphorization and metonymization, implicit means known as the “metasymbolization” of syntactic and stylistic units. The process of metaphorization of expressive means of German language postmodern prose is due to allegory, symbolism, and synesthesia. The most typical type of metaphorization was personification. Metonymization in the texture of writing prose text is considered based on spatial and temporal, material and causal, associative and logical and quantitative relationships. Metonymy is syntactic in nature, compared to the semantic nature of metaphor. Functional approach to the study of syntactic-stylistic markers of German expressive syntax in postmodern texts is based on functionalism as a methodology and guided by its basic research principles, since it is in the functions of the syntactic-stylistic markers that the true intentions and reinforce of the postmodern author are strengthened. We see the perspective of our research in a comprehensive comparison of the German-speaking postmodern text of German, Austrian and Swiss postmodernists.

Key words: German postmodern text, syntactic-stylistic marker, metaphorization, metonymization, metasymbolization, expressiveness

Change of semantic meaning [9, p. 100]. The process of metonymization is fundamentally similar, but semantically not identical to metaphorization. Metonymization is a process in which the direct and transferring meaning of a statement is related to time and space [12, p. 131]. The processes of metonymization and metaphorization are part of expressive syntax, in which they are expressed both implicitly and implicitly.

The topicality of the study lies in the explanation of structural and functional mechanisms of syntactic constructions and the multi-expressivity from the point of view of the functional paradigm of modern linguistics.

The scientific novelty of the study lies in the recognition of the functional paradigm as the methodologically primary basis for the structure-syntactic description of modern prose text and its macro-system analysis. The expressiveness of a syntactic unit is viewed as a consequence of the processes of metaphorization, metonymization, implication, repetition, parceling, inclusion. In the study we used general scientific analysis and synthesis methods to select relevant theoretical material; inductive-deductive method for the observation, description and classification of expressive-syntactic units. The clarification of structural aspects, functions of the literary and artistic text with regard to the investigation of its syntactic diversity based on the structure-functional, contextual-situational, interpretative analysis.

The metaphor is the result of the substitution of semantically similar features that are in a paradigmatic relationship [7, p. 1187; 13, p. 110]. The stylistic meaning of the metaphor results in the representation, explanation, in the survey of an important characteristic [11, p. 110]. J. Miller explains the metaphor of "close comparison". When we talk about metaphor, the phenomenon of context comes to the fore, “transference” occurs in prose, so we need to talk about the process of metaphorization [3, p. 210]. According to J. Miller, metaphors are "either flawed in the real world or obviously have nothing to do with the concept of the text". Metaphorism arises from lexical-syntactic dissonance, which offers the possibility of interpreting some concepts through the prism of others [6, p. 351]. In metaphorical sentences, the grammatical model contradicts its lexical content and fulfills a number of stylistic functions, including nine main functions: nominative, informative, mnemonic, text-forming, genre-generating, explanatory, emotional-evaluating, playful, ritual [5].

Let us consider the metaphors in the novel "Perfume". The postmodern author uses a large number of metaphors to create images of nature, which is particularly arousing for the reader and forcing him to let himself through all the thoughts and feelings that the character feels at the turning point in his life. For example: "He put up with the moonlight alone. The moonlight knew no colors and only faintly drew the contours of the terrain. It covered the land with a dirty gray and strangled life for one night" [16, p. 151]. The author uses both simple and extended metaphors in his novel. If the structure of metaphors is simple and extended, the content of metaphors is divided into the following subtypes: personification, allegory and synesthesia [3, p. 213].

Personification - a humanization of inanimate beings or objects [8, p. 48]. For example, P. Sьskind humanizes a perfume, gives it a human character and shows the earthly "phases of life": it (the perfume) has a cheerful character, [...] it (the perfume) has a cheerful character, [.. .] it puts you in a good mood [, ..] The perfume lives in time: it has its youth, its maturity, and its age [16, pp. 79-80].

With the help of personification, the author makes the episode more saturated and draws the reader's attention to the most important details that are important in understanding the character's inner world. For example: the wind that sometimes_ fell like a shadow over the gray forests ... [16, p. 151]. In this example, the wind symbolizes the gloomy wanderings of Grenouille's soul in search of a single truth that only he can understand. In general, the process of metaphorization in the literary text contributes to the formation of a spacious image, which arises on bright, bold associations and allows the author to fully convey the idea. The personification fulfills the function of registering thoughts and feelings of the character: the fragrance was a brother of the breath ... [16, p. 198]. The smell is described as something living, humanized, with which we fully realize the essence of the character's feelings and experiences.

A semantic type of metaphor is an allegory - the replacement of the primary by analogy with the secondary semantic meaning [134, p. 112], a special form of personifying abstract concepts and ideas: A hygiene inspector is only half the truth <...> She was Hygiene goddess [15, p. 25]; the power of money, or the power of terror, or the power of death ... [16, p. 316]. Through the use of allegory (the power of money, the power of terror, the power of death), P. Sьskind in the novel "Perfume" gives the main character extraterrestrial power, power over all living and dead. Grenouille gets these superpowers by creating ideal perfumes, which in turn are personification. Another allegorical image is "the incense" [16, p. 198], which symbolizes everything divine. With the help of allegory, the author invests in the artistic text not only certain ecclesiastical attributes, but also the concept of religious morality.

As a kind of metaphor in fiction is a symbol - a designation of something concrete through abstract [8, p. 49] It is implicit, relevant to the allegory and covers the entire unity of the expression: in this example the author uses the symbol white Daffodil, which is the embodiment of the girl's purity and innocence. The symbol for purity and freshness can be found in another syntactic construction: He liked the smell of the sea so much that he wished he could get it once pure and unmixed and in such quantities that he could get drunk with it [16, p 46].

The general picture of the expressiveness of the German-language postmodern prose text is complemented by synaesthesia, a combination of two different sensations with a new concept. Synesthesia is used in the literary text to improve conceptual impressions [3, p. 216]. For example: he ... let his nose sweep the vast panorama of the volcanic wasteland ... [16, p. 153]. It is a kind of combinatorial-semantic metaphorization and takes place in cases in which the quality denoted by the adjective is perceived by a different sense organ than the object denoted by the noun denoted [2, p. 77]. The metaphor often goes beyond a single sentence and covers compositional and syntactic structures as well as the entire prose text. The entire prose text of the metaphorization process can be found in the titles of novels. For example, the title of the novel "Flashback Ost" by F. Mohr becomes metaphorical, where the meaning of the return to the old, experienced is established.

In contrast to the metaphor, in which the transfer of phenomena and names takes place through similarity, the basis of the metonymy and its varieties is the exchange of two terms from different areas that have spatial, temporal, material and logical connections [8, p. 49; 295, p. 83]. Metonymy is a semiotic pattern that manifests itself in the transfer of the designations of one component of an event to another: the class of objects on the object of this class, the designation of part for whole and of the whole for part by contiguity. The basis of metonymy is therefore the existence of connections between categories and concepts in human thought. These connections can reflect the hierarchy of classification, the separation of reality and internal reflective experience, the connections between the components of a situation (spatial, temporal characteristics, participants in the event, their actions and states, qualitative and quantitative characteristics). The result of the metonymy can be the specification of the meaning, its objectification and concretization or generalization [4, p. 346].

In the language, the metonymy destroys theexical syntagmatic of phrases and sentences due to the ellipse and the semantic compression of the content of the condensed connection into one word [4, p. 346]. It is difficult to identify clear boundaries between metaphor and metonymy. Like metaphor, metonymy is a symbolic transference, but metonymy identifies the object of its designation and metaphor-characterized [7, p. 1187]. In comparison to the semantic nature of metaphors, metonymy has a syntactic character, since the compatibility of units is due to the implication of the sign of the metonymized concept [4, p. 346]. Although there is no absolute classification of this SSM, which is recognized by most researchers, the functions of the SSM contribute to a better perception and assimilation of information by giving the names of other objects and phenomena additional nuances and expressing them emotionally. The author leads you to the reader unexpectedly in the text and makes a new complex connection. These are the means that give readers pause for thought. The main function of metonymy is inference.

At the center of the metonymization process are Synekdoche, Antonomasie and Appellation. Synekdoche- a kind of description in which the broader concept is called: the whole through the part (parsprototo); an integer by any number; Majority by minority; Indeterminate through certain [11, pp. 108-109]. Another type of metonymization process is Antonomasie renaming [11, p. 105; 13, p. 93]. There are two types of antonomasia: 1) the use of proper names in the sense of a common noun; 2) the use of nouns, adjectives or their parts and combinations in the function of the proper name. The second type is known as "spoken names" [1, p. 372] or appellative [3, p. 219].

The process of metaphorising the means of expression in the German-language postmodern prose texts is carried out through allegory, symbolism and synaesthesia. Syntactic units can be metaphorized at the micro and macro syntax level. A typical type of metaphorization is personalization. Common metaphors that go beyond a single sentence are characterized by greater abstractness and visual identification. The stylistic purpose of metonymy is to visualize, compress, and highlight the essential expression meaning. The stylistic coloring of the metonymies is better interpreted in the context. Metonymic style techniques have a pictorial expressive potential, strengthen the connotative side of the notation and can convey a variety of tonal expressive qualities.

We see the perspective of our study, a comprehensive comparison of the German-language post-modernist texts of German, Austrian and Swiss post-modernists.

Література

postmodern text metasymbolization

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