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pears when the unforeseen failure on the page happens. In this message the exclamation oh is used to express the semantics of an unpleasant surprise:

(17) O h , n o ! [1*]

• The standardized phrases.

The standardized phrases are used in error messages which inform the user about the failure in the operation of the web browser (examples 18-20):

(18)An error occurred while …

(19)An error was detected …

(20) Windows e r r o r d e t e c t e d [3*]

The grammatical level, as it was supposed, is characterized by the frequent use of nouns to nominate the elements of the user interface (examples 19-24):

(21)Adjustments

(22)View

(23)Character

(24)Check Spelling [1*]

Besides, we focus attention on the frequent use of present verbal forms in active and passive voice that is explained by necessity to conduct present communication and provide the user with relevant information (example 25):

<link>add a new person to Chrome</link> instead of switching sync accounts [1*].

The grammatical features of the English web browser text are caused using:

• Pronouns of you, your.

The authors of technical documentation, using the pronouns you, your in web browser texts, seek to emphasize a less official, friendly attitude to the users. In example 26 the use of the pronoun your draws the attention of the user (the owner of the computer account) to his or her history of downloads.

(26) Clear y o u r download history [1*]

• Pronouns with the generalizing semantics (in Terms of Service section) (example 27):

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(27) In a l l cases, Google, and its suppliers and distributors, will not be liable for a n y loss or damage that is not reasonably foreseeable [1*].

Verbs in the imperative mood.

Verbs in the imperative mood are used in the elements of the user interface to encourage the users to perform certain actions (examples 28-33):

(28) C u s t o m i z e a n d c o n t r o l Google Chrome

(29)R e o p e n the pages that were open last

(30)C h a n g e download locations

(31)R e c o v e r browser session after a Google Chrome crash

(32)C l e a r browsing data

(33)U s e the New Tab page [1*].

Impersonal verb forms.

In example 34 the infinitive is used as an adverbial modifier of the subsequent action. In this case it is used to express the action which is a logical development of the action expressed by the verb predicate:

(34) When the "Show Home button" checkbox is selected, a web address appears below

Modal verbs.

In Terms of Service section the modal verbs should and must are used to show the ordering character of the text (examples 35, 36):

(35)You m u s t follow any policies made available to you within the Services [1*].

(36)You s h o u l d look at the terms regularly [1*].

The syntactic level of the English web browser text is characterized by the use of:

• Simple and short structures at the beginning of the hypertext (example 37):

(37) Download files from the web

View and delete your browsing history in Internet Explorer Remember passwords and fill out web forms for Internet Explorer

Fix site display problems with Compatibility View in Internet Explorer Install Java in Internet Explorer

Manage add-ons in Internet Explorer [2*].

Complex structures at the end of the hypertext (example 38):

(38) Manage add-ons in Internet Explorer

Add-ons are apps that Internet Explorer uses to interact with web content like videos and games. Toolbars and extensions are also types of add-ons. Some common add-ons are Adobe Flash, Quicktime, and Silverlight

Internet Explorer is designed to provide an add-on free experience, and will play HTML5 and many Adobe Flash videos without needing to install a separate add-on. … [2*].

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Full and complex structures with homogeneous parts of the sentence and homogeneous subordinate clauses (in Terms of Service section) (an example 39):

(39) To the extent permitted by law, the total liability of Google, and its suppliers and distributors, for any claims under these terms, including for any implied warranties, is limited to the amount you paid us to use the services (or, if we choose, to supplying you the services again) [1*].

• Sentences with conditional clauses (example 40):

(40) W h e n y o u s i g n i n t o C h r o m e o n a l l y o u r d e v i c e s , they'll all show the same info: … [1*].

The stylistic features of the English web browser text are defined by neutral written literary standard of language. In reference texts practically all objects and concepts – templates, commands, etc. – "are animated" (example 41):

c o m e p r e - i n s t a l l e d by other apps or your PC's manufacturer [2*].

However, there has been a tendency of style simplification and shifting of classical standards of English language recently. It is necessary to pay attention to the use of the reduced verbal forms in web browser texts (an example 42):

(42) Stop unwanted ads, popups, or browser malware

If you're seeing popup ads that w o n ' t go away, or the homepage you set is gone, you may have unwanted software or malware installed on your computer. Here are some steps you can take to get rid of this program and block similar ones from getting installed in the future [1*].

Terms of Service section is characterized by the formal kind of written literary standard of language (example 43):

(43) The services are provided "a s i s " with all faults. to the extent permitted by law, mozilla and the indemnified parties h e r e b y disclaim all warranties, whether express or implied, including without limitation warranties that the services are free of defects, merchantable, fit for a particular purpose, and non-infringing. You bear the entire risk as to selecting the services for your purposes and as to the quality and performance of the services, including without limitation the risk that your content is deleted or corrupted or that someone else accesses your account. This limitation will apply notwithstanding the failure of essential purpose of any remedy. Some jurisdictions do not allow the exclusion or limitation of implied warranties, so this disclaimer may not apply to you [3*].

Conclusion.

The English web browser as a speech genre represents the computer mediated instructive text representing the interaction between software developers and users to provide the last with information resources of the Internet. The developed communicative and functional model considers various parameters of the communication – the purpose, the sender, the recipient, the initiator, the feedback, the structure and language features of the web browser text. The language means of the web browser text can be defined according to their use at the lexical, grammatical and syntactic levels. The language means of the web browser text are the following:

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a)terms, common vocabulary, emotional vocabulary (in Terms of Service section and error messages), the standardized phrases (in error messages);

b)various parts of speech – nouns, pronouns you, your, present verbal forms, verbs in active and passive voice, imperative structures, impersonal forms of a verb, modal verbs;

c)simple and short structures at the beginning of the hypertext, difficult and complex structures at the end of the hypertext, full and complex structures with homogeneous parts of the sentence and homogeneous parts subordinate clauses (in Terms of Service section), sentences with conditional clauses and sentences with clauses of reason (in Terms of Service section).

The stylistic features of the web browser text are characterized by the use of neutral written literary standard of language, and a formal kind of written literary norm (in Terms of Service section).

The model of a speech genre "web browser" can be used to describe genre characteristics of web browser texts on the material of other languages, to study other genres of the computer mediated communication, to identify text features of other types of the software. Besides, text features of different types of software are necessary to perform tasks while localizing which is a relevant field for translators nowadays.

References

[1]Bakhtin M.M. Jestetika slovesnogo tvorchestva : sbornik izbrannyh trudov / M.M. Bakhtin. – M. : Iskusstvo, 1979. – 421 s.

[2]Anisimova T.V. Tipologija zhanrov delovoj rechi (ritoricheskij aspekt) : avtoref. dis. … d-ra filol. nauk : 10.02.19 / Anisimova Tat'jana Valentinovna. – Krasnodar, 2000. – 46 s.

[3]Arutjunova, N.D. Zhanry obshhenija // Chelovecheskij faktor v jazyke. Kommunikacija, modal'nost', dejksis. – M.: Nauka, 1992. – S. 52 - 53.

[4]Vezhbicka A. Rechevye zhanry / A. Vezhbicka // Zhanry rechi. – Saratov: Kolledzh, 1997. – Vyp. 1. – S. 99-112.

[5]Gajda St. Zhanry razgovornyh vyskazyvanij / S. Gajda // Zhanry rechi. – Saratov: Kolledzh, 1999. – S. 103-111.

[6]Gol'din V.E. Zhanrovaja organizacija rechi v aspekte social'nyh vzaimodejstvij/V.E. Gol'din, O.N. Dubrovskaja // Zhanry rechi. – Saratov: Kolledzh, 2002. – Vyp. 3. – S. 5-17.

[7]Dement'ev V.V. Svetskaja beseda : zhanrovye dominanty i sovremennost' / V.V. Dement'ev // Zhanry rechi. – Saratov: Kolledzh, 1999. – Vyp. 2. – S. 157-177.

[8]Zaslavskaja I.M. Rechevye zhanry v sovremennoj lingvistike. Tipologija i osobennosti / I.M. Zaslavskaja // Uchenye zapiski Tavrich. nac. un-ta im. V. I. Vernadskogo. Ser. Filologija. – 2007. – T. 20. – №'1. – S. 153-159.

[9]Kapanadze L.A. O zhanrah neoficial'noj rechi / L.A. Kapanadze // Raznovidnosti gorodskoj ustnoj rechi : sbornik naunyh trudov. – M.: Nauka, 1988. – S. 230-234.

[10]Matveeva T.V. Tonal'nost' razgovornogo teksta : tri sposoba predstavlenija / T.V. Matveeva // Stylistyka V. – Opole, 1996. – S. 210-221.

[11]Shmeljova, T.V. Model' rechevogo zhanra / T.V. Shmelëva // Zhanry rechi. –

Saratov : Kolledzh 1997. – S. 88-98.

[12]Lebedeva N.B. Zhanry estestvennoj pis'mennoj rechi / N.B. Lebedeva // Antologija rechevyh zhanrov : povsednevnaja kommunikacija. – M. : KRASAND, 2007. – S. 116-123.

Analysed sources

[1*] Google [Jelektronnyj resurs] - URL: http://www.google.com/chrome/ (data obrashhenija: 01.05.2018).

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[2*] Podderzhka Microsoft Explorer [Jelektronnyj resurs] - URL: http://www.support.microsoft.com/ru-ru/products/internet-explorer/(data obrashhenija: 03.05.2018).

[3*] Mozilla [Jelektronnyj resurs] - URL: http:// www.mozilla.org/ http:// www. google. com /chrome/(data obrashhenija: 01.05.2018).

[4*] Apple [Jelektronnyj resurs] - URL: http://www.apple.com/safari/(data obrashhenija: 01.05.2018).

UDC 804.0-3(840)

SYNERGIC EFFECT OF THE AESTHETIC ONYMS

AS A STYLISTIC DEVICE OF THE CHARACTER OF THE NOVEL

CREATION AND CHARACTERIZING (based on the material of G. Flaubert's realistic works)

N.V. Меrkulovа

____________________________________________________________________________

Voronezh State Technical University

Candidate of philological sciences, Associate Professor, Assistant Professor of the Foreign Languages

and Technology of Translation Department Nadezhda V. Merkulova

е-mail: ndvv@mail.ru

____________________________________________________________________________

Statement of the problem. The purpose of the study is to determine the relationship between the concept of the

«character of the novel» and the writing techniques from the point of view of creating an individual character of an art image with the help of a proper name, taking into account the synergic effect of the onyms in a literary work. In this sense, the character of the novel and the proper name of the character appear to be an object of analysis not individually, but in relation with the art image named.

Results. Considering aesthetic onyms as a key element in the disclosure of the art image meaning allows us to identify three basic functions of the proper names in the space of a realistic work text, namely: identification, classification and connotation. At the same time, the degree of expressiveness of the aesthetic onyms as a stylistic device is directly dependent on their ability to reveal some semantic-and-symbolic connotations in the artistic discourse at different levels of perception. The article offers a system of some basic aspects of a realistic novel character characterizing (based on the names of some key characters in G. Flaubert's works), taking into account the synergy effect of the aesthetic onyms in the space of the art text and the intertextuality.

Conclusion. As a result of the research, it is established that the aesthetic onymy in the art text of the novel inevitably acquires a motivated character from the point of view of aesthetics, phonetics, graphics, etymology, symbolism, semantics, etc., producing a powerful synergic effect as a stylistic device for creating and characterizing the character and the art image named.

Key words: aesthetic onym, synergic effect of aesthetic onymy, character of the novel, stylistic device, art image, onomastic identification, art text, intertextuality, G. Flaubert, «Madame Bovary», «Sentimental Education».

For citation: Merkulova N.V. Synergic Effect of the Aesthetic Onyms as a Stylistic Device of the Character of the Novel Creation and Characterizing (based on the material of G. Flaubert's realistic works) / N.V. Меrkulovа // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2018. - №2 (21). – P. 28-38.

Introduction.

The main direction of the literary onomastics research is elaborating «the specific condi

_____________________

© Меrkulovа N.V., 2018

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tions of the onyms functioning as an object of the study in their particular environment», i.e. in the fictitious reality space [1, p. 235]. According to R. Barthes, «with proper names» there is a kind of «mysterious relationship that relates to the significance (meaning), desire (will) and even pleasure», which allows from the standpoint of psychoanalysis to determine a proper name in the art work as «the main guide of the plot and the scenario» [2, p. 321]. It is no coincidence that numerous studies in the field of literary onomastics are focused on the case of an- throponyms-names of the characters of the novels in the genre of realism (O. de Balzac, G. Flaubert, G. de Maupassant, E. Zola, M. Proust, and others (see, in particular: [3; 4] and many others, etc.).

In up-to-date interpretation of the question, «the essence of the character depends, first of all, on the proper name which, assuming some individuality, is one of the most effective stylistic devices of giving an effect of realism. The credibility of the art images of Lucien Leuwen, César Birotteau, David Copperfield is due, in the first place, to their so masterfully chosen names which give the impression of a civil status» [5, p. 89].

It would seem, to give true credibility to the character and to the story overall it is enough to pick up a name from the real onomastic repertoire or to use an object of reality designation, i.e. the people's names and the place names which might be known to the author. However, in this case – despite the apparent evidence (and the easy decision) of the stylistic device of making the narrative realistic through the use of some real proper names – we have to face with insufficient artistic expressiveness of the art images because of a simple «calque» of reality [4].

Moreover, up-to-date researches of the proper names within fiction in the space of artistic reality emphasize some «special» «status of the fictitious characters’ names», because «they are part of the universe, fully designed by its creator, who clearly did not leave anything to chance» [3, p. 184]. So, on recognition of many writers: G. Flaubert, Sade, E. Zola [3], etc., - they spent long days for choosing their characters’ names.

In the interrelation of real and fictional, there is inevitably a certain line in view of the fact that the novel itself can’t be a simple reflection of reality: «if the names of some real people are found in the novel, the readers are trying to find a true description of the events, not an artistic fiction» [6, p. 47-48]. It is of particular note that the issue of the precedent names using constitutes a separate area of research for the onomastic science (see, for example: [7]). However, following the clear definition of M. Bakhtin, the novel is not «a mirror reflection of the external reality», representing «the reality reconstructed by the author through some linguistic and aesthetic material» [8].

Since, the use of real proper names is not a sufficient condition for creating the credibility of the character (and subsequently – of the art image) of a realistic novel, it seems necessary to refer in more detail to the question of the synergic effect of the aesthetic onyms [9, p. 80-81], initially endowed with some value from the point of view of a significant basis, etymology, category, sound instrumentation and possible connotations, implemented by characterizing the character named in his/her relationship with other art images within fiction in the text of the art work and in the intertextuality space.

Research Methodology.

In order to determine the relationship between the concept of the «character of the novel» and the author's stylistic techniques in terms of creating the individual character of the art image with the help of a proper name, taking into account the synergic effect of the aesthetic onyms within fiction in the literary text space, the object for the analysis is the proper name of the character together with the art image named in the novel. As the subject matter of the study some key onymy within fiction in the text of the French realistic novel were chosen aiming to identify the expressive possibilities of the aesthetic proper names in aspect of realization of the stylistic literary techniques of creating an art image.

As the material of the study a number of key onymy within fiction in the text of the French realistic novel on the basis of the art works by G. Flaubert «Madame Bovary» and

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«Sentimental Education» were selected.

Methods of research. Considering the aesthetic proper names as a key element in the disclosure of the art image value, it seems relevant and appropriate involving the methods for the investigation of a realistic novel literary text based on the aesthetic name-based text analysis methodology of a literary text [10, p. 104-105] and the application of the fundamental principles of critical hermeneutics as a basic approach to the realist novel literary discourse analysis [11; 12; 13].

Results of the study. The specificity of the proper names within fiction is determined by the fact that the text of the art work has a peculiar «set of symbols, significantly different from those adopted in any other type of discourse» [14]. An aesthetic onym does not correlate with any generally accepted in reality criteria except through the prism of the imaginary fictional space created by the author, while remaining a kind of link between reality and fiction. Often the realism of the aesthetic onym in the literary text together with the uniqueness and the originality of the author's creativity contribute to attracting the interest of the readers.

In the semantic space of the novel, while focusing the literary text analysis on the proper names, a significant «fusion space of some semiotic functions, the accumulation and the concentration of numerous semantic meanings with the subsequent exponential amplification of the semantic (ideological) guidelines of the artistic discourse» is noted [15]. There is also a special kind of formal relationship of the proper names within fiction in the art work text: the aesthetic onyms as the key elements of the text of the novel architectonics obviously contribute to the development of the storyline and the deployment of the narrative.

The aesthetic onyms in a realistic novel due to their inherent synergic effect [9] can be regarded as a kind of sign, relevant of the totality of the author’s(-s’) text (s). In particular, in the process of narrating the proper names become the central element of the character value [16]. Being included in the text, an aesthetic onym (as opposed to a real proper name) becomes not just a symbol with the function of identification without any meaning, but rather a representation of the character named [14].

In order to illustrate the use of the author's stylistic techniques of creating an art image through the implementation of 3 basic functions of a proper name in the literary text: identification, classification and connotation, - it seems appropriate to refer to the analysis of some key onyms of the realistic works «Madame Bovary» and «Sentimental Education» by G. Flaubert.

A realistic art work is mainly intended to reflect and to analyze social phenomena, society as a whole, as well as the existence of an individual within society with all possible conflicts, injustice and moral suffering. This type of novel is characterized by the impartiality of the narrative and the concretization of the details of the described events, the cause-and-effect relationships and the art images’ characters development. In this regard, in order to objectively represent reality, the author of a realistic work faces the task of choosing the most representative names for his/her characters aiming to identify gender, age group, social class, profession, place of action, historical period, etc.

In general, the action of the novels by G. Flaubert (except, perhaps, «Salammbô» (1862)) takes place in France: in the province – «Madame Bovary. Mœurs of Province»/«Madame

Bovary. Mœurs de province» (1857), and mainly in the capital - «Sentimental Education. The History of a Young Man»/«L'éducation sentimentale, histoire d'un jeune homme» (1869) within the contemporary to the writer epoch, sometimes even there is an exact temporal indication:

(1)«Son père, M. Charles-Denis-Bartholomé Bovary, ancien aide-chirurgien-major, compromis, vers 1812 , dans des affaires de conscription, …» / «His father, Monsieur Charles Denis Bartolome Bovary, retired assistant-surgeon-major, compromised about 1812 in certain conscription scandals …» [1*, P. I, Ch. 1].

(2)«Le 15 septembre 1840 , vers six heures du matin , la Ville−de−Montereau , près de partir, fumait à gros tourbillons devant le quai Saint−Bernard» / «On the 15th

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of September, 1840, about six o'clock in the morning , the Ville de Montereau, just on the point of starting, was sending forth great whirlwinds of smoke, in front of the Quai St. Bernard» [2*, P. I, Ch. 1].

It is not surprising that most of the key characters of G. Flaubert are endowed with the family names common for the French national onomastic tradition: Bovary, Moreau, Arnoux, etc., as well as with the personal names that were common during the period under description:

Charles, Frédéric/Frederick, Jacques, Marie, Rose (Rosanette), etc. It is noteworthy that the family names of the key characters and the main characters are individually authored: see more: [12, p. 14].

According to the quantitative data, the main characters of G. Flaubert's novels are rather few: in the novel «Madame Bovary», in addition to the eponym character and the main character (Emma and Charles Bovary), there are about 3 key figures (Léon/Leon Dupuis, Rodolphe Boulanger, Monsieur Homais); in the novel «Sentimental Education» there are four main figures forming nominal couples (Frédéric/Frederick Moreau - Jacques Arnoux - Marie Arnoux -

Rosanette). In both cases, we are talking about the representatives of a family: the couple (the Bovary, the Arnoux), their children and their closest people around. Another question is that in the course of the development of the narrative and the vicissitudes of the plot the realistic novel abounds with a wide range of secondary figures, some of which are endowed with significant names from the point of view of developing the personal destiny of the main characters. In this case, some characters (both main and secondary endowed with some semantic meaning) do not have a full name or are intentionally called by nouns denoting occupation, profession, status or by pronouns, etc.:

(1) «Nous étions à l’étude, quand le proviseur entra, suivi d’un nouveau habillé en bourgeois et d’un garçon de classe qui portait un grand pupitre» / «We were in class when the head-master came in, followed by a “new fellow ”, not wearing the school uniform, and a school servant carrying a large desk» [1*, P. I, Ch. 1];

(2) «Un jeune homm e de dix−huit ans... » / «A young man of eighteen… » [2*,

P. I, Ch. 1];

(3)«Elle était assise... Elle avait un large chapeau de paille... Elle était en train de broder quelque chose...» / «She was seated in the middle of a bench all alone… She wore a wide straw hat with red ribbons… She was in the act of embroidering something…» [2*, P. I, Ch. 1];

(4)«−"Ma femme, es−tu prête?" cria le sieur Arnoux, apparaissant dans le capot de l'escalier» / «"Are you ready, my dear?" cried my lord Arnoux, presenting himself at the hood of the companion-ladder» [2*, P. I, Ch. 1], and many others.

A number of characters are intentionally named during the narrative partly by their family names, in part solely with the use of a personal name.

Thus, in the novel «Sentimental Education» the male art images, called by their family names without mentioning the personal ones, are common because such naming practices were quite typical for the French society of that time: Deslauriers (whose name Charles is one of the echoing names in the text of the two main novels of G. Flaubert), Monsieur Roque (le père Roque/Père Roque), M. Dambreuse/Mr. Dambreuse, Martinon, Dussardier, Hussonnet, etc. In the text of the novel «Madame Bovary» such an important character of the pharmacist Homais

(so significant from the point of view of the development of the plot) does not have a personal name, and is mostly called Monsieur Homais, which is a sign of some special attitude of the author towards this art image.

As for naming the women characters by their family names: Mme Bovary (for both the eponym character of Emma and the two other ladies: the mother and the first wife of Charles

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Bovary), Mme Arnoux, Mme Moreau, Mme Dambreuse and others - in addition to the tradition of naming the married ladies in a respectable way in the society, an author's stylistic device is realized which emphasizes the social status of the heroines, who are, despite all the differences in their characters and destinies, unhappy in marriage (whether for some objective reasons, like Marie Arnoux, or subjectively, like Emma Bovary). Naming by a personal name, in addition to the lower social status of the character (Rosanette, Justin), also often emphasizes children's or young age: Berthe, Marthe, Mlle Louise, etc.

In the course of the initial presentation of the characters, G. Flaubert gives a complete representation of the main male art images:

(1)«– Levez-vous, reprit le professeur, et dites-moi votre nom... Cependant, sous la pluie des pensums, l’ordre peu à peu se rétablit dans la classe, et le professeur, parvenu à saisir le nom de Charles Bovary , se l’étant fait dicter, épeler et relire...» / «“Rise,” repeated the master, “and tell me your name”... However, amid a rain of impositions, order was gradually re-established in the class; and the master having succeeded in catching the name of “Charles Bovary ”, having had it dictated to him, spelt out, and re-read…» [1*, P. I, Ch. 1];

(2)«M. Frédéric Moreau, nouvellement reçu bachelier, s'en retournait à Nogent−sur−Seine…» / «Frederick Moreau, having just taken his Bachelor's degree, was returning home to Nogent-sur-Seine…» [2*, P. I, Ch. 1];

(3)«−"Jacques Arnoux propriétaire de l'Art industriel, boulevard Montmartre"» / «Jacques Arnoux, proprietor of L'Art Industriel, Boulevard Montmartre» [2*, P. I, Ch. 1];

For the women's art images, the personal name is disclosed gradually, forming a subtle stylistic game with some extraordinary female characters revealing:

(1) «L’officier de santé, chemin faisant, comprit aux discours de son guide que M. Rouault devait être un cultivateur des plus aisés… Il n’avait avec lui que sa demoiselle, qui l’aidait à tenir la maison» / «The general practitioner, riding along, gathered from his guide’s talk that Monsieur Rouault must be one of the well-to-do farmers… There was with him only his daughter, who helped him to keep house» [1*, P. I, Ch. 2];

«Une jeune femme , en robe de mérinos bleu garnie de trois volants, vint sur le seuil de la maison pour recevoir M. Bovary…» / «A young woman in a blue merino dress with three flounces came to the threshold of the door to receive Monsieur Bovary…» [1*, P. I, Ch. 2];

«…et que mademoiselle Emma tâchait à coudre des coussinets…» / «…and Mademoiselle Emma tried to sew some pads …» [1*, P. I, Ch. 2].

(2) «… il alla devant, sur la route, tout seul. Arnoux l'avait appelée "Marie!" Il cria très haut "Marie!"» / «…he walked on along the road ahead by himself. Arnoux had, when he spoke to her, addressed her as "Marie." He now loudly repeated the name "Ma - rie!"» [2*, P. I, Ch. 1].

Different from the main ones, but important in terms of the story line deployment, the secondary women's characters without a personal name (named mostly by a surname or a nickname) are stylistically marked as not very significant women for the central male art images (not deserving true love and even respect, etc.): Madame Bovary jeune/Madame Bovary junior, Madame Dambreuse, la Maréchale/the Maréchale and some others.

The children of the Bovary and the Arnoux, Berthe, Marthe, Eugène, who are part of the family clans of the protagonists in both novels, are also stylistically neutralized by the author,

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Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 2 (21), 2018 ISSN 2587-8093

since, despite their family closest affiliation, they are conditionally equated to the secondary figures due to a simply naming them by personal names (like the characters of the servants as Justin, etc.). In both novels, it is noteworthy that the letter composition and the combination of the syllables in the personal names of the daughters of the families Bovary and Arnoux are remarkable: BeRTHE=MaRTHE, as well as the names of the boys - the son of Arnoux and the sincerely loving Emma Bovary pharmacist’s apprentice: Eu-GèNe ≈Jus-tiN.

It is of particular note that some author's name creation models in G. Flaubert’s art works are repetitive for the main characters of both novels:

1)the choice of the family names Bovary/Rouault/Moreau/Arnoux is a stylistic finding within the framework of the real French onomasticon of that time with the clear indication of the social status, namely: a bourgeois status, predominantly characteristic to the province;

2)the personal male key characters’ names Charles/Jacques firmly fit into the national French naming traditions;

3)the female names of the main heroines Emma/Marie, so different in character, echo each other and are completely correlated from the point of view of anagramming [10, p. 98-99], which stylistically brings together both women types in their common unhappy destiny.

In the aspect of giving some stylistic connotations different creative ways were chosen by G. Flaubert for his main women characters:

-numerous historical and cultural connotations containing a clear allusion to the noble personal name Emma as if an inappropriate one to the low status of the provincial doctor's wife;

-strong religious connotations of the personal name Marie which served to create an exalted woman art image of the triumph of the maternal feelings over low-lying carnal passions.

The art image of a demimondaine (a courtesan) Rosanette is achieved by a stylistic device of using a diminutive (=diminutive-derogatory) suffix -ette in the French language, attached however, to the basis of the biblical name Anne/Anna (which, according to the author's intention, indicates the capability to deep and strong feelings of the character of Frederick Moreau's mistress).

The use of the nickname la Maréchale/the Maréchale by G. Flaubert serves as an unambiguous indication to a certain occupation of the character, and at the same time to the strength of this woman character, which in fact dominates the «virile» (with numerous «strong» sounds in the name) Frederick/Frédéric Moreau.

Especially it should be noted that, often, for the male characters of G. Flaubert some ways of characterizing «from the opposite» are observed:

-endowed with a noble personal name, the protagonist Frédéric/Frederick turns out to be weak and mediocre;

-on the contrary, the character of a provincial doctor with the usual French personal name Charles, having such an ignoble and unsympathetic surname Bovary (containing an allusion to something mundane, peasant and completely unsuitable to the hero of the romantic narrative), becomes thus the romantic hero through the manifestation of inner noble qualities: nobility, true feelings;

-the character having a noble personal name Rodolphe (which has a clear allusion to the hero of the novel «The Mysteries of Paris» by E. Sue Prince Rodolphe [3 *] - the romantic savior of the poor and the miserable) is turned to be the most mundane and petty character;

-the personal name of the lover of Emma Léon/Leon, at first glance, stylistically neutral, contains the author's hidden mockery of the character's weakness by playing out the discrepancy between the meaning of the inner form («lion»/«lion», «the king of the beasts») and a weak, indecisive character of this art image;

-the root meaning of the family name of the character Homais (from the French «homme»/«man») goes in stark contrast to the art image described by G. Flaubert. It is especially noteworthy that in this surname there are deliberately no sound-letter combinations correlating with the author’ surname (as in the family names Bovary/Rouault/Moreau/Arnoux [9, p.

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