Учебное пособие 1351

Transposing the latter to the field of study, let us emphasize, that film discourse working as a «container», to collect the film itself, the initial idea of filmmakers and the audience’s subsequent interpretation [6], claims there is a set of discursive genres accompanying the appearance of a motion picture as a nuclear formation in order to explain its content as well as to attract attention to а collective author working to ensure film discourse is realized [7]. Therefore, review serves as an epitext or an «outer» frame for the film.

The study aims to consider the characterological features of film from the standpoint of the realized linguistic, axiological and linguistic-cultural potential. The review is understood as an epitextual formation, which, in turn, determined the relevance of this work.

Research Methodology.

Let us turn to the subject of the study. Film review is a genre with a rich history. First full-fledged feature films released at the beginning of the twentieth century prompted the work of professional theater critics who were interested in writing film reviews for popular films at that time. To date, the film review is of interest to linguists, critics and journalists. Consequently, reviews, in particular film reviews, are considered from the standpoint of linguistics, mass media and advertising discourses. In particular, film review «is seen as one of the genres of periodicals» [8, p. 106].

The classical definition of a review interprets it as a genre, which is based on the compilation of a critical feedback about works of art, literature, science. The purpose of such a review is to express the author's position in relation to the work regarded [9, p. 3–5]. The critical essence of a review helps to define a film review as a thematic variety of the genre under study which helps to inform the audience about the qualities of a particular movie by presenting the assessment. At the same time, the reviewer needs to «justify, explain these assessments, prove their validity and, thus, to influence the opinion (behavior) of the reader» [10, p. 9]. It is relevant to state that in order to realize two main goals – to inform the audience about the release of the film, which corresponds to the key pragmatic attitude, and to express personal opinion – the author of the review chooses certain linguistic means to have a pragmatic impact on the addressee.

The concept of film review is narrower than the concept of film text; therefore, film review is one of the types of film text. The latter is traditionally understood as a text of any genre, one way or another related to or describing the phenomenon in the sphere of cinema «in any form and genre (game, documentary, animation, educational, popular science film)» [11, p. 36].

The film text as a special type of text is a component of the film discourse, which is assumed by the ratio of discourse and text – the text is considered within a certain discourse. Along with other types of discourse, film discourse has specific features inherent in this particular type of discourse. It should be noted that film discourse involves the study of items belonging to the cinematic art and, in addition to the film reviews considered in this article, accumulates such types of film texts as movie posters, film scripts, etc.

Initially, studies of the film text assumed the allocation of such components as the film phase and the frame [12, p. 14]. The latter is basic and is understood as a «minimal unit of editing» or «unit of cinema value» [12, p. 19], simultaneously acting as an instrument of the cinema language belonging to the spectrum of expressive means of cinema art, along with music, noise effects, panoramic plans, etc. The key characteristic of the frame, which determines the essence of cinematography in general, is its dynamism – it is not a static picture, but allows movement. Being a discrete unit that divides the cinema space and film time into separate elements available for measurement, the frame allows you to transfer any situation / picture from real life to the cinema rails, breaking it into separate frames arranged as a sequential time chain.

Further on, the concept of film text acquires a greater number of features that define it as a complex system, and interpreted as «a staged motion picture consisting of images, moving and static, speeches, oral and written, noise and music, organized in a special way and forming

64

an inseparable unity» [13, p. 22]. At the same time, the blurring of the boundaries between the film text and the film discourse becomes explicit.

What is of particular importance is the combination of two semiotic systems – linguistic and non-linguistic – within the framework of the film text, each of which operates with different signs, while together they allow the film text to appeal to the addressee. Thus, a linguistic system divided into written (titles, inscriptions belonging to the film world of things, for example, the name of the street, a letter or note, a page from a personal diary, etc.) and oral (speech of actors, voiceover, musical accompaniment in the form of songs) components, has natural language words as symbolic signs. The linguistic system allows us to identify a number of features that characterize the film text as a text [13, p. 153]:

1.discreteness (the structure of the film text allows segmentation);

2.connectivity (the components of the film text are directly related to each other);

3.prospectus and retrospection (anticipating the future and remembering the past);

4.local and temporal attribution (attribution to one or more time periods and places of plot twists);

5.multi-channel informativeness (the information flow is divided by the way of the information (visual and auditory) is perceived and by the type of perceived information (content-factual, content-conceptual, content-subtext);

6.consistency (each element is included in the overall system and functions to fulfill a common goal);

7.integrity (interaction of verbal and nonverbal components);

8.subjectivity (because the film text is a reflection of the world seen through the eyes of a person / group of people);

9.pragmatic orientation (prompting the recipient to respond; in the case of a film review

– forming or changing the recipient's opinion).

The sound part of the non-linguistic system, in turn, is represented by noises (natural –

the sound of rain, the voices of birds and animals, the sound of footsteps – and technical – passing cars, trains, phone ringing) and musical accompaniment (a melodic series without words). An equally significant element of the non-linguistic system is the video. Thus, it is fair to conclude that the film text is «a discrete sequence of continuous sections of the text» [14, pp. 109– 111], which allows us to consider it in close connection with the movie. In some cases, these concepts are identified (G.G. Slyshkin and M.A. Efremova), however, let us disagree with this statement. The film text is a more general name, which makes it possible to consider as a film text not only a movie, but also a trailer for it, a script, an annotation, critics' comments and a film review. As already mentioned, various types of film texts make up the film discourse a system.

In any of its manifestations, the film text is a creolized text consisting of linguistic and non-linguistic semiotic systems [13]. For the present study, the fact that the specificity of the film text is reflected in the construction of the text of the film review is of fundamental importance. The reviewer transforms (decoding) the film text: pictures and sounds are verbalized in the author's text, dialogues and polylogues are transformed into a written monologue [15]. Thus, the discourse of the film and the discourse of the reviewer’s are closely connected already at the level of the film text transformation.

Results of the study.

Let us focus on review as a kind of film text. The determining factor in the analysis of the review is that the subject basis of this analysis is "reflected reality" [16, p. 102], i.e. that certain "reality" that is embodied in various works of journalism and art and which, within the text of the review, correlates with the perception of the real world belonging to the reviewer himself. The author of the film review analyzes the film from the standpoint of his own system of values and accepted attitudes, gives him a personal assessment. The analysis of the film review demonstrates an individual text, unlike others, in which the author expresses a point of view

65

based on his vision of the real world, being influenced by various factors. Since "evaluation cannot exist outside the subject and outside the object" [17, p. 79], the review acts as a carrier or a kind of explicator of value information about the object of evaluation – a feature film. At the same time, the reviewer acts as the subject of evaluation, broadcasting the information and value attitudes formed by himself, based on the scale of assessments he has between the two concepts of the"good – bad" binary opposition [Ibid: 80] to the addressee, meaning the readers. Thus, the reviewer acts as a screen, passing through which the information vector is refracted in the way necessary for the reviewer and reaches the addressee already in the right form.

Such an evaluative dimension and the assessment formed on its basis are a natural consequence of the life activity of a person who is in a continuous search for his identity, the first principles and meanings of being in the "stream of life" [18, p. 7]. Evaluation mechanisms are largely determined by the linguistic and cultural environment in which the reviewer is located, as well as the circumstances of the audience's life. The difference in the existing values of the reviewer and the reader will not contribute to the formation of promising evaluation algorithms. Such a difference is a consequence of the discrepancy between the cultural codes of the review author (addressee) and the reader (addressee).

The latter allows us to talk about the review as a linguocultural phenomenon reflecting the layer of culture, the author being the carrier, as well as examples of global cultural heritage. The success of perception in this case depends on how correctly the text is interpreted by the reader, depending on the cognitive base available. As an example, let us turn to the critic Christopher Orr's review of the film La La Land:

The Novelty and Nostalgia of La La Land

Damien Chazelle’s magnificent musical pays homage to Old Hollywood while fully embracing its present.

By Christopher Orr

December 9, 2016

“That’s the window,” struggling actress Mia delightedly tells struggling jazz pianist Sebastian in Damien Chazelle’s La La Land, “that Humphrey Bogart and Ingrid Bergman looked out in Casablanca.” The two are on the Warner Brothers lot, where Mia works as a barista in the studio coffee shop. And the window in question is, in reality, the one featured in Casabalanca. Writer-director Chazelle discovered it after choosing the Warner lot for his shoot and he wrote the corresponding line into his screenplay.

It’s one of many joyous nods to movie history tossed off by La La Land, Chazelle’s lush and giddily musical love letter to Hollywood. But tucked within this overt reference is another, both more subtle and more apt. Look carefully, and you’ll notice that beneath the window is a shop door, and on it is stenciled a single word: “Parapluies.”

Of the many inspirations for La La Land—Chazelle clearly knows his An American in Paris and his Annie Hall, too—none echo so loudly as Jacques Demy’s 1964 masterpiece, Les Parapluies de Cherbourg (The Umbrellas of Cherbourg), as well as its lesser sibling, Les Demoiselles de Rochefort. Demy memorably described Umbrellas as “a film in color and song,” and one would be hard pressed to find a phrase better suited to La La Land. <…>

[1*].

66

The text of the review opens with a paragraph describing the heroine, who mentions an episode from the movie "Casablanca" and the background of this moment: «That’s the window, that Humphrey Bogart and Ingrid Bergman looked out in Casablanca»; And the window in question is, in reality, the one featured in Casabalanca. We should add that throughout the review, the author repeatedly makes references to famous classical and modern films and their main characters, comparing them with the heroes of this musical An American in Paris, Annie Hall, Jacques Demy’s 1964 masterpiece, Les Parapluies de Cherbourg “The Umbrellas of Cherbourg”, Les Demoiselles de Rochefort, Less Than Zero, Rodgers and Hammerstein’s Cinderella, Guy and Madeline on a Park Bench). A reader with the necessary knowledge is able to decipher linguistic and cultural codes presented in the form of intertextual inclusions.

In its turn, intertextuality is an integral element of a journalistic text. Thanks to the skillful use of such references and "footnotes" to various sources, the author demonstrates his own erudition in professional field. In addition, intertextuality helps to determine the common cultural background of the addresser and the addressee. For instance, the reviewer refers to a certain popular phenomenon or a well-known world event, which may thus interest the reader. It can be said that intertextuality is a way of appealing to reader's consciousness, therefore, it allows one of the functions of film review to be realized, namely, voluntary or motivational – the function of influencing a potential audience, forming a way of thinking. It is assumed that the addressee will form his own opinion about the picture based on the author's assessments, as well as based on the conclusions made by the reviewer.

In addition to intertextuality as a specific feature of film review, other characteristics are [10, p. 10]:

1. polyfunctionality (combining the functions of information, evaluation, impact, analy-

sis);

2.argumentativeness (the presence of validity, the objectivity of the author's assessment);

3.emotionality (subjectivity, expression of personal tastes and preferences of the reviewer are acceptable);

4.multi-addressability (the presence of different addressees depending on the type of printed publication);

5.hybridity (combining features of different styles).

Since polyfunctionality is correctly called the main property of film review [19], other functions are reproductive and informative ones, which are realized as the author of the review gives general information about the film and reveals the plot. The reactive function assumes an assessment that the reviewer gives to the movie. The advertising function finds its realization in the fact that the reviewer's evaluation of the film will contribute to its popularity with the audience. The generative function is a summary of the above made by the author who is making

some conclusions.

Nevertheless, it is fair to conclude that the key function of film review is to exert a certain influence on the addressee and the desire to convince of the relevance and reliability of the provisions put forward by the author-reviewer. At the same time, the reviewer's subjective point of view is represented as objective and verified, and the emotional intensity of the statement allows you to achieve the desired reaction from the readership, who will either visit the cinema to watch the film, or not.

The impact on the addressee is possible due to the representation of the author in the text of the review, which is manifested in the ways of organizing the text [20, p. 29]. During the analysis of the structure of the film review, it was revealed that the film review consists of an introduction designed to interest the addressee and provide a general description of the film, the main part consisting of information-descriptive, information-evaluation and argumentativeevaluation units, as well as a conclusion bearing the character of a final assessment [10, p. 15].

67

However, despite the existence of an algorithm for presenting the text within a certain structure, there is no generally accepted way of organizing a film review, and the authors, in turn, decide on the organization of the composition themselves.

As an illustrative example demonstrating the features of the structure of the film review, we propose to consider Christopher Orr's review of the film The Martian):

The Collaborative Excellence of The Martian

In a story in which everything goes wrong, the filmmakers and stars do everything right

By Christopher Orr October 2, 2015

Excellence in cinema is sometimes a singular achievement: a remarkable lead performance, a dazzling display of directorial panache, a script of sublime wit or clarity. On other occasions, it’s the result of extraordinary collaboration. The Martian is one of these latter cases. Yes, Matt Damon is awfully good. But Matt Damon is always awfully good. Yes, director Ridley Scott has a terrific eye for the material. But he had a terrific eye in Prometheus as well, and that didn’t save it from being an utter mess. Yes, Drew Goddard’s screenplay is a sharp, nimble adaptation of the novel by Andrew Weir. But … you get the idea.

The Martian succeeds because everyone involved does his or her job, and does it superbly. There are no tedious backstories, no leaps of rampant illogic, no poorly cast performances, no tacked-on romantic subplots, no extended narrative lulls. The film is a profound testament to the rare—and underrated—virtue of simply not screwing anything up. <…> [1*]

The review opens with a heading complex and an introductory phrase by the type of epigraph, placed after the general title of the review and aimed at expressing the author's position. The title structure and a kind of epigraph allow the reader to catch the author's attitude towards the reviewed film: (The Collaborative Excellence; In a story in which everything goes wrong, the filmmakers and stars do everything right. At the same time, the author uses the method of foreshadowing, implemented through the antithesis – the story was originally designated as tragic (everything goes wrong), at the same time, the qualitative embodiment of the idea by the film crew is known in advance (filmmakers and stars do everything right). This is followed by the name of the reviewer and the date. In the first two paragraphs, the author continues to express his personal opinion about the movie he watched (a remarkable lead performance, a dazzling display of directorial panache, a script of sublime wit or clarity). Let us emphasize the use of expressive-evaluative stylistically-marked vocabulary that contributes to influencing the addressee (superbly, awfully good, a profound testament). The author gives a general description of the reviewed film, reveals the principle of success – the "trinity" of the leading actors performance (lead performance), the work of the director (directorial panache), a witty and detailed script (a script of <…>). Regarding the actual division of the sentence, it is fair to emphasize that the script was the key to success of the film: the reviewer resorts to the gradation technique, starting the enumeration with the mention of acting, moving on to the director's plan and putting an accentuated final point on the script. A similar scheme is used in the first sentence and then revealed inside the paragraph: the third, fourth and sixth sentences, beginning with an anaphoric repetition, become transition points from one element of the trinity to another: Yes, Matt Damon (actors)… Yes, director Ridley Scott (director)… Yes, Drew Goddard’s screenplay (script).

The following paragraphs are devoted to the plot of the film, while the reviewer mentions the leading and supporting actors involved in the picture (played by Chiwetel Ejiofor, Jeff Daniels, Kristen Wiig, Sean Bean, Benedict Wong, Mackenzie Davis, and Donald Glover). Such a

68

decision, in addition to the pragmatic purpose of listing the cast (the format of the titles – the names go one after another, without mentioning credentials), also seems to be a sign of respect for the team that created the picture, but often remains in the shadow of the star performer of the main part.

In conclusion, what was said earlier is systematized, a final assessment is given regarding the viewed picture, an appeal is made to the readers either with a recommendation for viewing, or with a negative review. In the case of the review under consideration, the critic sums up the results, presenting his own point of view rather implicitly and extremely concisely – the final paragraph of the review describes the finale of the film and the happy resolution of the dangerous situation. The final sentence is the direct expression of the author's positive opinion (The term “uplifting” might be appropriate here had it not fallen on such hard times) together with expressive evaluation markers in the penultimate sentence (imbues the film with a rare generosity of spirit). The method of implementing the linguistic and cultural component in the review deserves special attention: in conclusion, describing the coherence in characters’ actions, seeking to rescue the main hero from a difficult situation, the critic admits an allusion to the current geopolitical and socio-economic situation in the world. Even representatives of a rival power with the United States, China, come to the hero's aid. Although a specific country was not named, the critic makes reference to the crisis in relations between the countries that took place in 2016 (during the presidential campaign, the future US President D. Trump accused the Chinese government of artificially undervaluing the yuan, which, in his opinion, caused serious damage to the American economy). Thus, knowledge of the general linguistic and cultural context allows us to correctly interpret the author's idea.

In turn, the model of the content components of the film review includes four basic elements:

-characterization and evaluation of the film;

-information about the film;

-determining the film's place in the world of cinema / the director's work;

-analysis of content and form [10, p. 11].

Each of the components of the film review performs a specific function and has a number of features. The component characterization and evaluation of the film involves the description of the plot, the disclosure of its ideological essence and artistic form. It seems that this component is one of the fundamental components in the composition of any film review, since it implies the reviewer's assessment of the viewed film, the expression of the author's personal point of view, an attempt to influence the recipient (reader). The rating is given on a scale determined by the author of the review himself, or according to generally accepted norms for evaluating a movie by a number of parameters.

Information about the film refers to factual data, such as the title of the film, the name of the author of the review, the date of writing or publication of the film review, the names of the director / actors / composers, the release date of the film. Sometimes the duration of the movie is indicated in minutes.

Another component – determining the place of a movie in the world of cinema or in the work of a director – also plays a text-forming role in film review, since it allows us to consider the latter as an epitext to a specific movie made by a certain director. At the same time, determining the place of a motion picture in the world of cinema implements a hypertextual function

– the unification of all films of a certain subject / shot by representatives of a particular country / all films as products of the film industry.

The next block – the analysis of the content and form of the film – involves the analysis of some specific features of the reviewed picture, for example, the system of images, the definition of the director's idea, the main topics of the film, the role of landscapes and details, mise en scene, speech features of the film's characters, etc.

69

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (35), 2021 ISSN 2587-8093

The remaining two content elements are complementary, because, having analyzed the content and form (having identified hidden motives, strengths and weaknesses of the picture, having looked into director's findings and predicted the future), the reviewer offers his own perception and evaluation of the film. Therefore, the indicated two blocks are subjective due to personal assessment and the reviewer's own vision of the film features translated.

From the point of view of linguistic embodiment, film reviewer strives to include as many stylistically labeled units into the text as possible. Consequently, a variety of expressive and evaluative structures act as the main way to influence the target audience and manipulate the reader's opinion. The originality of the language of film review is represented by various parts of speech and lexical means. However, at most language levels, we note that evaluative vocabulary is most effective as a way of expressing the author's position in film review and providing a comprehensive impact on the addressee [21]. Moreover, evaluativeness is a "genreand text-forming category of film review" [20, p. 28], one of the fundamental conceptual elements, without which the existence of this genre as such is impossible.

As an example, let us consider one of the reviews, the evaluation potential of which is aimed, in this case, at forming a negative impression of the film among the audience – that is Emily Yoshida's review of the film «Beauty and the Beast» [2*].

The title of the review initially contains lexemes with a negative connotation, demonstrating the author's position: a lifeless re-creation [2*]. Thus, the reviewer seeks to attract the attention of the audience; at the same time, by putting the main idea in the title, the author consciously seeks to bring it into the category of a topic from the point of view of actual division, therefore, this statement will be perceived by the audience as a given – a fact known to them that does not need rethinking.

The first paragraphs of the film review text are addressed directly to the recipient of the text. The author appeals to the reader through the use of imperatives and anaphoric constructions beginning with the second person singular pronoun (you): Imagine, You’ve been assigned to Beauty and the Beast, You’ve been assigned to design, You’d be glad to know, You likely know the story [2*], etc. Thus, readers are invited to imagine themselves in film makers’ shoes. Further, wanting to emphasize the high intellectual level of his audience, the reviewer suggests that in place of the film's director's crew, far-sighted readers would not have thought of "transferring" the cartoon world to the real one: an unshakable thought runs through your head: This is fine, but I just feel so hamstrung by my medium. This guy’s never going to look like an actual clock with a human face. I’m doomed to fail [2*].

Throughout the review, the author continues to sneer at the attempt of the Disney film company to create "close to reality" cartoon characters: Walt Disney Studios has set out to remedy everything wrong with the original 1991 Beauty and the Beast by producing a “live action” remake of the film, keeping them more faithful to real-world physics, I guess because that seemed like it would be fun [2*]. According to the component model of the film review described above, the characteristic of the film is realized in a similar way and its place in the world of cinema is described. The idea of negation runs through the entire text.

Let us note a large number of evaluation structures within the text of the review used by the author to give the text imagery and to express attitude to the film: banking on for a whole slate of planned live-action treatments, egregiously stretched, fuels countless enterprising cosplayers, somehow turned out less lifelike, accidentally wandered onto beastly property, the most eligible bachelor, the lopsided power dynamic, explicitly anti–female literacy [2*], etc.

The following paragraphs of the text are devoted to the description of the plot, which, as the author suggests, «is known to everyone»: You likely know the story: A spoiled prince (Dan Stevens) is turned into a beast, and all his servants into objects, in a curse that will be lifted if he ever learns to love and be loved in return [2*]. Despite the fact that the transmission of the storyline assumes sufficient objectivity, the evaluation structures used in the analysis of plot nuances explicate the author's position: an eerie, uncanny valley blend of lifelike CGI

70

fur, powdered wigs and face paint, unquestionably situates the story in the 18th-century twilight, hardly able to get a handle on him, features have been minimized supposedly in the name of realism, end up resembling the plastered visages, a blank soundstage [2*], etc.

Despite the overall low rating of the film, the author highlights Emma Watson’s performance: the real headliner here, and physically couldn’t have been more perfectly cast [2*]. The critic gives a low assessment of the actress’ vocal talents: Her singing voice could stand to add a little oomph [2*]; nevertheless, according to the reviewer, this is «the least of the film's troubles»: it’s the least of the problems in a performance that mostly adds up as a collection of charming poses and furrowed eyebrows [2*]. In general, the author is pleased with the work of the actress and believes that she is «ideally suitable for this part»: But boy, does she look the part.

In the final paragraph, the author summarizes that none of the aspects characterizing the form and content of the film deserves a positive assessment: Unfortunately, it’s over two hours long, and is padded out by a hugely unnecessary number of non–Ashman-Menken musical numbers and a pointless detour [2*]. The final sentence is an element of the ring composition: the author notes the successfully recreated hero, which was discussed at the beginning of the text (This guy’s never going to look like an actual clock with a human face): But hey, at least that clock looked real [2*]. Such a technique allows the critic to remind the audience what the review started with, as well as to strengthen the negative impression of the film.

Conclusion.

The research conducted allows us to draw the following conclusions. The review being an epitext is a framework construct located outside the cinema text (film) and aimed at controlling the readers’ perception and the mechanisms of interpreting the primary text – the film. The review belongs to a set of "post-text" elements along with posters, advertisements, etc. The purpose of an epitext in a film discourse (and, consequently, a review) is to accompany the appearance of a movie, explain its content, draw attention to a group of filmmakers, and form an opinion about the movie. The latter seems to be the key function of the review as an epitext. Nevertheless, the multifunctionality of the film review makes it possible to simultaneously implement a number of other communicative attitudes: informing, propaganda, advertising. The impact on the addressee in order to form an opinion about the object is achieved through value judgments that demonstrate the author's communicative intention to impose his own point of view, to prove the objectivity of the judgments presented, and to verify them.

References

[1]Volskaya, N.N., Borbotko, L.A., Zheltukhina, M.R., Kupriyanova, M.E., Ilina, A.Y. Effective suggestive psychotechniques in the political media discourse. XLinguae, 2017. 10(4). – s. 84–95.

[2]Zheltukhina M.R., Vikulova L.G., Mikhaylova S.V., Borbotko L.A., Masalimova A.R. Communicative theatre space in the linguistic and pragmatic paradigm // XLinguae.. Т.

10.No. 2, 2017. – s. 85-100.

[3]Vikulova L.G., Serebrennikova E.F. Struktury modelirovanija cennostnyh orientirov diskursa social'noj real'nosti v massmedijnom kommunikativnom prostranstve // Vestnik Moskovskogo gorodskogo pedagogicheskogo universiteta. Serija: «Filologija. Teorija jazyka. Jazykovoe obrazovanie». № 2 (14), 2014. – s. 55–63.

[4]Borbotko L.А. О razgranichenii ponytij «metatekst», «paratekst», «intertekst» i «sverhtekst» (na materiale sovremennykh p’es) // Vestnik MGOU. Seriia «Lingvistika». No 2, 2011. – s.19–23.

[5]Vikulova L.G. Paratekst frantzuzskoj literaturnoj skazki: pragmalingvisticheskij aspekt: diss. … d-ra filol. nauk. Irkutsk, 2001. 363 s.

71

[6]Samkova M.A. Kinotekst i kinodiskurs: k probleme razgranichenija ponjatij // Filologicheskie nauki. Voprosy teorii i praktiki. № 1, 2011. – s. 135–137.

[7]Lavrinenko I.N. Kriterii klassifikacii kinodiskursa // Vestnik Har'kovskogo nacional'nogo universiteta. Diskursologija: semantika i pragmatika. № 1003, 2012. – s. 41–44.

[8].Van’ko Т.R. Svoeobrazie yazy’ka kinoretzenzii // Vestnik MGLU. №26 (686), 2013.

–s. 106–112.

[9]Krikunov Yu.А. Retzenziya v gazete: uchebnoe posobie. М.: Izd. Mosk. un-ta, 1976. –

40 s.

[10]Brezhneva D.D. Zhanrovo-stilisticheskie osobennosti i kognitivnye osobennosti kinoretzenzii kak vida massovo-informatsionnogo diskursa: avtoref. diss. … kandid. filol. nauk. М., 2013. – s. 9-11.

[11]Fedorov А.V. Slovar’ terminov po mediaobrazovaniyu, mediapedagogike, media-

gramotnosti, mediakompetentnosti. Taganrog: izd-vo Taganrog. gos. ped. in-ta, 2010. – 64 s. [12] Lotman Yu.М. Semiotika kino i problemy kinoestetiki. Tallin: Aleksandra, 1973. –

63 s.

[13]Slyshkin G.G., Efremova М.А. Kinotekst: opyt lingvokultirologicheskogo analiza. М.: Vodolej Publishers, 2004. – 153 s.

[14]Tsyv’yan Yu.G. К metasemioticheskomy opisaniu povestvovaniya v kinematografe // Trudy po znakovym sistemam: uchenye zapiski Tartuskogo gosudarstvennogo universiteta, №17. Tartu, 1984. – s. 109–111.

[15]Hoffmann M. Gestaltungsstrategien und strategisches Gestalten. Zur Persuasivität von Thematisierungsstilen im politischen Diskurs // Beiträge zur Persuasionsforschung: unter besonderer Berücksichtigung textlinguistischer und stilistischer Aspekte. Frankfurt am Main,

Berlin, Bern, New York, Paris, Wien: Peter Lang, 1998. – s. 57–100.

[16]Krojchik L.Е. Sistema zhurnalistskikh zhanrov // Osnovy tvorcheskoj deytel’nosti zhurnalista. SPb.: Znanie, SPbIVESEP, 2000. – s. 125 –168.

[17]Malinovich Yu.М. Ierarkhiy tsennostej vneshnego mira i vnutrennego mira cheloveka // Lingvistika i aksiologiya: etnosemiometriya tsennostnykh smyslov: kollektivnaya monografiya. М.: TEZAURUS, 2011. – s. 77-99.

[18]Serebrennikova Е.F. Aspekty aksiologicheskogo lingvisticheskogo analiza // Lingvistika i aksiologiya: etnosemiometriya tsennostnykh smyslov: kollektivnaya monografiya. М.: TEZAURUS, 2011. – s. 7-27.

[19]Stegert G. Filme rezensieren in Presse, Radio und Fernsehen. Munchen: TRVerlagsunion, 1993. – 245 s.

[21]Garanina E.Yu. Otsenochnost’ v zhanre kinoretzenzii // Vestnik Kemerovskogo gosudarstvennogo universiteta, №2 (54), t.2. KemGU, 2013. – s. 28–31.

[21]Borbotko L.А. Avtorskaya identichnost’ v kinoretzenzii: lingvokognitivnyj aspekt // Yazyk i myshlenie v epokhu global’nykh peremen: materialy Mezhdunarodnoj nauchnoj konferentsii po kognitivnoj lingvistike. 2–4 iyuny 2021 g. М.: FLINTA, 2021. – s. 448–451.

Analyzed sources

[1*] The Atlantic [Электронный ресурс]. – URL: https://www.theatlantic.com, дата обращения: 07.11.2021.

[2*] The Vilture [Электронный ресурс]. – URL: https://www.vulture.com, дата обращения: 07.11.2021.

72

THEORY AND PRACTICE OF TRANSLATION

DOI 10.36622/MLMDR.2021.33.62.008

UDC 811.133.1

APPLICATION AS A WAY OF FORMING A LINGUOCULTURAL DIALOGUE

IN NANCY HUSTON'S BILINGUAL NOVEL

"CANTIQUE DES PLAINES" / "PLAINSONG"

S.M. Kravtsov, T.L. Chernossitova

Southern Federal University

Doctor of Philology, Professor of the Institute of Philology, journalism and intercultural communication,

acting head of the Department of Romance Philology

of the Institute of Philology, journalism and intercultural communication Sergey Miкhajlovich Kravtsov

e-mail: serg.cravtzov2017@yandex.ru

Southern Federal University

Ph.D. (Sociology), associate professor of the the Institute of Philology, journalism and intercultural communication

Tatiana Leonidovna Chernossitova e-mail: chernossitova@gmail.com

Problem statement. The study of bilingual novels created by translingual writers who use several languages in their creative activities is one of the most urgent problems of language theory, specifically in such areas as sociolinguistics, stylistics, language and society, language and culture. Such works, translated by the author from one language to another and addressed to representatives of different ethnic communities, are of a linguistic and sociocultural nature, which is achieved by the writer through the creation of an intertext containing intra-textual inclusions based on allegories, reminiscences, allusions, citations and applications. At the same time, the application plays a very important role in problem solving of forming a linguistic and cultural dialogue in a bilingual novel.

The results of the study. In the French-language version of Nancy Huston's novel «Cantique des plaines», created as a result of self-translation of the English-language version of her novel «Plainsong», many text applications in the form of fragments of songs are revealed, by means of which the author forms a linguistic and cultural dialogue, and creates not only a semantic, but also a musical background of the novel. It is established that in order to form a linguistic and cultural dialogue in a bilingual novel, applications in the form of song fragments may not coincide in the English and French versions. This effect is achieved in the French-language version through the use of citations with their extension by word combinations; the use of lexemes with a more specific, accurate meaning than their English counterparts; the use of paronyms of their English counterparts; the use of a literal translation of songs from English into French; the use of including a stanza from an English-language song in the translation into French, while preserving the rhyme without distorting the original meaning of the song itself.

Conclusion. The results of the analysis lead to the conclusion that the application of song fragments in Nancy

Huston's novel «Cantique des plaines» / «Plainsong» is a rather productive stylistic technique and has several types of implementation, depending on the author's need to create a certain semantic, emotional and musical background of the work. Due to the wide use and adequate choice of a particular type of application by a translingual writer, it serves as an effective way of forming a linguistic and cultural dialogue in Nancy Huston's bilingual novel

«Cantique des plaines» / «Plainsong». The results of the study indicate that it is relevant not only for the theory of language, but also for Romance and Germanic linguistics.

Key words: application, linguocultural dialogue, bilingual novel, translingual, translingual literature, multilingualism, linguoculture, intertext, self-translation.

_____________________________________

© Kravtsov S.M., Chernossitova T.L., 2021

73