Anastasiia Kishchenko
Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University
Scientific Supervisor: Yamchinska T. I.
ANTROPONYM FUNCTIONS IN ARTISTIC CREATION
Abstract
Anthroponyms, like any linguistic sign, can perform various functions. Polyfunctionality is inherent in the very nature of the linguistic sign. However, in speech – a concrete situational implementation of language as a system – there is an actualization of one of its linguistic functions. At the same time, another function, remaining present, partially deactivates, retreats to the background.
Indicator of enhancement of a certain function of polyfunctional linguistic sign in artistic text is the system of special means, among which the most important one can be considered the context environment and logical allocation. Anthroponymy in the artistic text not only contains semantic information, but also expresses the non-textual parameters of the author’s image, since “the selection of anthroponyms for the artist is a manifestation of his literary personality and artistic skill on the background of a real socio-historical reality” [9, p. 4].
Key words: anthroponym, anthroponymous space, own names, proper names, idiostyle, names
Anthroponymicon of any artistic product is a complex system of anthroponym, which, together with other linguistic means, participates in the implementation of the author’s concept of worldview, in the construction of artistic image. The anthroponymic space of the works of one literary genre forms the idea of the most typical approaches to the character’s nomination, as well as allows to distinguish individual and author’s techniques in the use of literary anthroponym in the artistic text. As an element of form, anthroponym is an indicator of the idiostyle of the writer, a means of interpreting the author’s plan. The choice of a name for a literary character, as a rule, is not accidental. By giving his character a particular name, the writer usually invests in this name a certain mark, a characteristic. Thus, he has the opportunity to use his own names as an additional artistic means for expressing an ideological and aesthetic plan. Particular importance in the diversity of depicted colorful images, unique in its individual concreteness, was played by the writer’s life experience, in particular, knowledge of the specificity of the anthroponymic system, interest in the expressive abilities of anthroponyms. All these factors actively influence the problem of choosing naming for characters, the consistency of name and image [3, p.11]. Anthroponymy in the artistic text not only contains semantic information, but also expresses beyond the text parameters of the author’s image, since the selection of anthroponyms for the writer is a manifestation of his literary individuality and artistic skill on the background of real socio-historical reality.
Own names in the works of fiction often play a specific role, helping authors to best characterize reality in the light of their ideological and aesthetic positions.
One of the basic prerequisites for the realism of an artistic work is the correspondence of its own names used to the laws of the national onomastic system. Therefore, it is not surprising that many great writers were observing the names of people, worked hard on onomastic material.
A well-chosen name becomes an additional means of characterizing the character, enhances the emotional impression of the entire work.
Own names, such as those included in the structure of an artistic work, are organically linked with its content. The study of names in a work of art, that is, literary onomastics, flows, first of all, from the need for a deeper understanding of artistic work.
Each literary name receives a certain stylistic load at birth, the purpose of which is to make a more convex and visual figure of the bride named after the hero.
You can select the following groups of names [4, p.62]:
- Neutral names, the appropriation of which is more typical for the main characters of English literature. The most typical type is the local names, nicknamed: Forsythe, Domby, Copperfield.
- Descriptive (characterizing) names that contain the direct or indirect characterization of their carriers: Sir Dedlock, Headstone, Oxhead, Rasehellfrida.
- Parody names. Ch. Dickens widely used these names (Bleak House): Boodle, Duffy.
- Associated names that, with their visual and acoustic form, cause the reader of the association to refine and deepen the characteristics of the characters: Miss Flite, Murdstone. Heroes of Shakespeare’s works belonging to the court’s nobility are named after Richard II, King Lear, Macbeth [8, p.43].
In the era of classicism, the authors often borrowed or created literary names based on classical languages, Latin and Greek: Clarissa, Evelina.
Classic own names are often borrowed together with characters from Greek, Roman and Biblical mythology: Adam, Eve, Gabriel, Faun.
For a comedy, very well-known names are similar to those of a character: Lord Aimwell – “good purpose”; Lady Touchwood – “no matter what.”
The authors of sentimental novels give their heroes melodic, sonorous personal names: Pamela, Clarissa, Tristan.
Characterizing etymological names are given only to negative heroes: Lovelace. [2, c. 47]
In the era of romanticism, two opposite trends are noted: in some works we encounter real names (Robinson Crusoe), others are characterized by exotic anthroponymy (Rowena). Byron uses for his characters the German names Conrad, Manfred, Childe Harold.
Almost all the names and surnames of the characters in the works of C. Dickens are taken from life: Twist, Unwin, Boulter.
Unsurpassed master of names and surnames remains V. Thackeray. He has many examples of transparent names: Charles Honeyman, Missionary Silas Hornblower.
In the brilliant, merciless “Fairness of Vigilance,” W. Thackeray, the intricacious Beki is well cared for by the surname Sharp (sharp – clever, cunning).
It is known that in the writings of great writers there are no trivial things: everything is well thought out, every word stands in its place and performs the functions defined by him.
Own names are no exception. They are often given the role of peculiar, very concise characteristics.
Consequently, anthroponomies in works of art are the most expressive and informative means, which defines a rather substantial amount of implicit information contained in the text. The choice of a specific name for a literary hero is a matter for the author, and the subjective factor here is decisive. The writer selects or constructs not only personal names, but all components of the onomastic space of the work. He knows the characters, the occupation of the spiritual and physical data of the characters. Choosing a name may be related to artistic design, genre, artistic school, and style. Sometimes it can say more than a writer has conceived. The name in the literary work plays a very important role, namely, a landmark in time and space[5, p.20].
Thus, the anthroponymic paradigm extends the horizons of understanding the work of art as a unique phenomenon of cultural-civilizational communication, as an artistic unity of ontological and epistemological. The literary anthroponym opens enormous opportunities for a new interpretation of the text. It allows you to understand the text as embodied plurality.
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