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«And I swear I been walking every one of em. Mind if I join you? » He nodded toward her feet and began unlacing his shoes.

«You want to soak them? Let me get you a basin of water. » She moved closer to him to enter the house. «No, uh uh.Can’t baby feet»

[1*, p. 3-4].

Modality (from the Latin modahs - modal, Latin modus - measure method) - is a complex and multifaceted category, which, in the figurative expression Sh. Bally, "the sentence soul" [3]. Developing upon his thought, we can talk about the modality of discourse and text.

Multimodality is based on the phenomenon of modality, inevitably confronted with the fact that the modality itself is one of the most complex and not sufficiently understood categories of humanities and language and text at the same time universal. In philology, interest in this category is increased ,in recent years due to the growing complexity of theoretical and experimental tools in the study of speech activity and its increasingly complex products.

In the following snippet attention is drawn to the extent of loneliness black women in the house, when they stopped coming hypocritical and deceitful "white", but now they are coming even "colored":

«It had been a long time since anybody (good-willed whitewoman, preacher, speaker or newspaperman) sat at their table, their sympathetic voices called liar by the revulsion in their eyes. For twelve years, long before Grandma Baby died, there had been no visitors of any sort and certainly no friends. No coloredpeople» [1*, p. 12].

In contemporary Russian science, the vision of modality as a grammatical and lexical category presented by (V. V. Vinogradov) [4], for example, the word maybe at the beginning of the next sentence: «Maybe shaped like one, but nothing like any tree…» [1*, p. 12].

After him, studies entered the areas of the stylistics and the literary text, and later deepened to mental and imaginative levels of language/speech. On one hand, modality unites all levels of a language system; on the other, it unites all speech products including literary texts and discourses. As an integrating system, modality defines all the categories of a text, its conceptual meaning, denotation and connotation structure and system, pragmatics, syntagmatics, semantics, semiotics, national and individual character.

The polemic activity in the contemporary philology concerning the issues of modality is seen as the result of its complex subjective and objective nature as well as the versatility and the contractiveness of this category, which joins linguistic and extralinguistic parametres. Even if the numbers "124" and "1987" refer to linguistics (a kind onim and chronon), it is impossible to get away from the fact that this fragment of the defeat in the house provides not even a ghost of the deceased girl, if you believe in ghosts, but the emanation of a sick conscience and an overwhelming sense of guilt:

«124 was spiteful. Full of a baby’s venom. The women in the house knew it and so did the children. For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims» [1*, p. 3].

It is an axiom, that modality reflects a wide specter of attitudes and esteems which correlate with the implicit level of speech and text, and is unnecessary to be objectivized by any explicit means. For instance, we face with a basic binary segmentation in any literary product or any discourse: an author’s modal differentiation of positive and negative esteems. For example, in any work of art, in any discourse, we are inevitably faced with the simplest binary axiological articulation: to author modal differentiation of positive and negative assessments. So, the daugh-

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ter of the main character, Denver, outraged mismatch between nostalgia for the older To lovely home and their stories about the horrors they have experienced it:

«How come everybody run off from Sweet Home can’t stop talking about it? Look like if it was so sweet you would have stayed» [1*, p. 12].

However, the analytical reconstruction of the concrete manifestations of the said modalities requires the engaging of the integrative analytical means, used in a number of sciences. At the same time, in semiotics, every area of culture and any type of art have their own language (philosophical, legal, theological, literary, musical, etc.). These languages, in turn, come together as discourses and, therefore, have their own modality or an aggregation of modalities (multimodality), defined by its genre character, for instance, «postfeminist», «multicultural», «postmodern», etc.

In the Foreign linguistic studies,the initial stage of the modality research is connected to a French linguist Sh. Balli, who made the conclusion that modality is inseparable from the meaning of any sentence, its «dictum», as an objective semantic constant and the «mode» as a subjective transformation variable [3]. In a sentence:

«Anybody Baby Suggs knew, let alone loved, who hadn’t run off or been hanged, got rented out, loaned out, bought up, brought back, stored up, mortgaged, won, stolen or seized»

[1*, p.24].

Dictum determined by the course of fading, but still dramatic memories of the old and wise woman. Modus here - still persisting pain and unforgettable memories of the author and the characters on the fate and history of the black people of America.

The very term and the related concept of «multimodality» appeared in linguistics due to M. Halliday and his followers, who strived to overcome the «monomodality» of the language study with its prior attention to the verbal aspects of communication.

The usual wide interest in the phenomenon of multimodality in modern foreign philology has intensified attention to the nature of the modality of Russian researchers and outlined the increasing tendency to its own judgment and understanding polymodality / multimodality. In this way foreign and Russian scientists idea of the nature of modality is not always the same.

In his book «Multimodality: A Social Semiotic Approach to Contemporary Communication» the English professor of semiotics G. Kress refers to the two semiotic positions in foreign philology. One of them, which G. Kress and his school called "canonical", involves the inclusion of a social, cultural, formal, semantic parameters, as well as images, diagrams, animations, fragments of writing - which is the "Modus»:

«a socially and culturally shaped resource for making meaning. Image, writing, layout, speech, moving images are examples of different modes » [5]

The second looks on the text as a synchronized unity modes: «Multimodal texts are those texts that have more than one« mode »so that meaning is communicated through a synchronisation of modes». Accordingly, each of the modes has its modal - ontological, cultural, social - life:

«Thus, every mode has a different modal resource, which is historically and culturally situated and which breaks it down into its parts» [5]

that brings the understanding of the English scientist closer to the Russian philology.

The issue of multimodality in the European countries, Australia, Canada, and the United States has become a widely discussed topic in several branches of natural sciences (evolutionary anthropology, medicine, chemistry), and in the humanities.In the first instancein linguistic dis-

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ciplines, down to neurolinguistics and evolutionary linguistics, often being associated with the linguistics of text.

In the Foreign philology, «multimodality» is seen as an epistemic and a speech producing ability of communicants to combine several ways (modes) of perception and representation of the universal and individual pictures of the world with the help of different communication channels: verbal, visual, kinaesthetic, sensor, cyberspace, etc. Therefore, combinations of a picture and a label, a phrase and a gesture, a body pose, mimics and an utterance, a video sequence and comments, computer hypertexts can be examples of integration of modes.

According to this idea, the multimodal approach rejects the idea of language as a multilevel verbal system, and focuses on the semiotic aspect of the interplay of various semiotic (language) systems, which were fully listed by the Australian scientist M. Whalsh:

«That is, they may incorporate spoken or written language, still or moving images, they may be produced on paper or electronic screen and may incorporate sound. Different types of multimodal texts that students commonly encounter in their educational environment in print form are picture books, information books, newspapers and magazines. Multimodal texts in non-print form are film, video and, increasingly, those texts through the electronic screen such as email, the internet and digital media such as CD Roms or

DVDs».[6].

The main purpose of this approach was to study and use of complex semantic resources beyond verbal field and structured "Modus". The structure of these modes may include kinetic, visual, auditory, tactile, emotive, axiological links. Developing ideas M.Hellideya, H. Kress argued that any form of communication endowed with pragmatism and multimodality: «Texts are always multimodal, so the rhetorical and design decisions lead to the making of ensembles of modes; these are themselves assembled as orchestrations of modes, in which purposes and needs of the maker of sign-frames are brought together with affordances in the best possible manner, from the rhetor's and the designer's perspective »[5].

Developing in its own ways, Russian philology looks at the multimodality (polymodality) mainly as a linguistic semantic category, actualized on various speech/language levels, including the text and discourse categories, at the same time touching functional semantic dominant of the semiotics. Although there are very few works by Russian researchers looking at the multimodality, the interest to this issue is growing. In particular, (А.А. Kibric) has original and interesting view on multimodality, considering the linguistic research which counsels borders between verbal and other languages prospective. Here, he extends the ideas offered by Russian and French semiotists A.J. Greimas and J. Kurtes, who described the consistency between discourse and the idea of the «secondary simulation systems», based on «the primary simulation system» - the natural language.

Text (discourse) multimodality, concentrated in the author multimodality, formed by different types of modalities: axiological, temporal, local, epistemic, deontic, existential, etc. The integrity of the content and meaning of a literary text excludes the possibility of differentiation of diverse types of modality and modality of the author's text, which raised the interest of the in integrative phenomenon of verbal - semantic multimodality. Sometimes they can be matched in one statement:

«He was responsible for that. Emotions sped to the surface in his company. Things became what they were: drabness looked drab; heat was hot. And wouldn’t you know he’d be a singing man.

Kneeling in the keeping room where she usually went to talkthink it was clear why

Baby Suggs was so starved for color. There wasn’t any except for two orange squares in a quilt that made the absence shout. The walls of the room were slate-colored, the floor

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earth-brown, the wooden dresser the color of itself, curtains white, and the dominating feature, the quilt over an iron cot, was made up of scraps of blue serge, black, brown and gray wool—the full range of the dark and the muted that thrift and modesty allowed. In that sober field, two patches of orange looked wild—like life in the raw» [1*, p.39-40].

In foreign philology additional stimulus to the study of multimodal semiotic dominant served with new channels of communication and modern media in their complex unity, as well as the emergence of the modern genre neoplasms as internet-blogs, personal weblogs and hypertext.

It is possible not only to unite both ways of understanding the phenomenon of multimodality, but also to look at the special aspects of its actualization, using the text of the novel by Т.

Morrison «Beloved», highlighting in the author’s modality of the novel the ethnopsychological, aesthetic, archetypical, magical and other axiological aspects.

We consider that modality and multimodality allow to unite the analytical and the integrative means of different scientific disciplines of semiotics, philosophy, cognitology, philology, longuoaestetics, linguopragmatics, stylistics, theory of communication, discource analysis at local, and at the same time, limitless junction of connotation.

Multilevel and multimodal connotations in the novel is unexpected in a seemingly onedimensional phenomenon. So, the word «velvet» suddenly acquires layers of meaning such as

"Dream", "beautiful life", "pre-red and a bright future." These connotations are concentrated, for example, in the phrase:

«It was the voice full of velvet and Boston…..» [1*, p.33], which brought together metaphor and metonymy, and that defies explication out of context.

Is there a possibility of a separate review of semiotic components of a literary text? In experimental purposes, going up to the semantic, aesthetic and semantic levels, analyzing separately coloristic, music, mythological, kinetic and other aspects of the text, such a study is possible. But it is necessary to endure beyond the analysis of at least two axiomatic circumstances: the integrity of a literary text and its essentially a verbal basis.

Author’s multimodality in literary text/ discourse unites in itself the intention of the addressant and, simultaneously, the conceptual focus point of the «inner author», with the centreforming unity of axiological patterns and the status of the inner and outer demiurge – the organizer of the linguoaestetic and explicit and implicit material. We see the category of the «аuthor» as it was stated by М.М. Bakhtin, who argued, "The so-called image of the author - is, however, a special type of image that is different from other images of the product, but it is a way, and it has its author, who created it," "pure media depicting the beginning" [7].

Further, М.М.Bakhtin goes on to talk about a special representation of verbal-aesthetic text/discourse by the initiator’s personality, which in his understanding is the (pure) author, as distinguished from the created or aesthetic one: «Это не natura creata и не natura natura et creans, но чистая natura creans et non creata». In other words, evolving from the creating, but not created nature to a human author, М.М. Bakhtin's (pure author) cannot become a character of a literary product. Instead, a pure author leads to the personality of the author of the text, their superconscious and the unconscious in their personality structure, to the assembly of their goals, modalities, language and stylistic identity. [7].

Explication of the author's presence are primarily a means of linguistic modality, verbalized signs and meta sighs in the form of direct and indirect quotations, estimates of copyright, text references, authorization tools, modus are indicators that make up the particular combination of text and meta text, and consequently, the discourse.

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In particular, and from the author multimodality of T. Morrison novel ,including "external" and "internal" , it is impossible to remove any ethno-cultural (African-American) or gender (including and post-feminist), nor the historical aspect (unforgotten slavery). Similarly, the author’s style do not allow to work out the ways of the organisation of the verbal-aestethic material, connected with the esthetics of the «stream of consciousness», «multi-eyed narratve», «magic realism», ethnocultural (multicultural) identity.

In particular, depending on the author's multimodality of T.Morrison's fiction, it is impossible to eliminate an ambivalent mod e(modal) of postfeminism / feminism / archetype of feminine nature. Creativity of the writer is surrounded by a very active context of women's literature.The number of «female», «feminist», post-feminist writings has rapidly grown up recently, creating the critical mass of female writers and their creations ,that challenge the social - gender as much as "language" and "creative" inequality.

In other words, the dominance of men of literature and the arrogance of men writers towards "female", "pink" novels, as well as gender discrimination in the language when the male authors are identified in English as «writers», whereas writers - women are known as " women writers ». For years it was believed that women write «women's fiction», while man creates a «fiction» or «literature». It becomes an axiom that men write about what's important for all humanity, and women respond only to specific women's issues.

However, the most outstanding masters of the word - are women who reflected in their works, the most difficult and tragic events of their time, their countries and of humanity, without giving any outlook in their language nor in style of the identity of the female nature, not forgetting their archetypal responsibilities of motherhood and the harmonization of family life, and without forgetting the need for selfactualization.The unity of the universal and the particular problems of women determined the quality of the creative originality and style of their most significant works. It is no coincidence that since the beginning of the award of the Nobel Prize in literature laureates, there were many awarded women,for example, American P.Buck.

In the second half of the ХХ century, this prestigious prize was awarded to Т.Моrrison, who in fights in her books for freedom and the right for a dignified self-realization, not only for women, but also for the whole her ethnic group - the black population of the USA. Generated by time and the uniqueness of the individual thinking and style, the works of T.Morrison absorbed the most diverse discursive and communicative modes (modalities).

Author multimodality in the novel «Beloved» objectified in the macrocosm ideo-style of the author, and in the microcosm connotations. In this article we consider the verbal - aesthetic view of the world of the novel at the level of the microcosm denotative / connotative.

The terms "connotation" and "denotation" were introduced first in such disciplines as logic, and later in philology, linguistics and in text / discourse, particularly in the two-volume G. Ganett "Figures." Ganett explained: "Every noun denotes some things and connotes quality related to these subjects"; Thus, the word "dog" denotes all the canine family and every one of its representatives (extension of the concept) and connotes quality characteristic of this family (the content of the concept)"[8].

The concept of connotation was introduced into semiotics by L. Hjelmslev in his famous

«Prolegomens». He claimed that language is «a means of knowledge», while the source and the experimental material for the research is the text. At the same time the goal of linguistic theory is to identify the constant underlying changes. And accordingly, connotative semiotics, as well as linguistic semantics, in his opinion, imply the existence of denotative. [9]

L. Hjelmslev related a wide range of variety to the connotative semiotics. It is a variety of stylistic forms (by which he meant verse and prose) and various forms of mixing of different styles ("creative" and "imitative" which Hjelmslev calls as normal). In addition, he correlated denotative / connotative with the difference evaluation styles (high and low), the difference of emotional tones, dialects (professional language, jargon), national, regional languages up to the individual characteristics of the pronunciation. [9]

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The denotative level of the narration (defined and described by F. Ankersmit and L. Dolezel), in the novel of «Beloved» by Т. Morrison is genuine aesthetic reinterpretation of a true story which occured in the state of Ohayo in the 80-s of the XIX century века, when an outstanding Afro-American mother killed her own daughter in horror of the possible slavery in the future.

This was told by T. Morrison herself in the introduction to the novel:

« A newspaper clipping in The Black Book summarized the story of Margaret Garner, a young mother who, having escaped slavery, was arrested for killing one of her children (and trying to kill the others) rather than let them be returned to the owner’s plantation»

[10, p. ХХYII].

Everything else is correlated with a connotative verbally - aesthetic interpretation and transformation of the interpreted story. The term «connotation» is used in various human sciences, and, in narrow-pragmatic sense ,it is meant the same as the increment of associative contents and meanings of linguistic units and a phenomena that can be studied in semiotics, cultural linguistics, lexical semantics, stylistics, discourse theory and linguoeashetics.The connotation ,explicitly or covertly,is presented in the concept-analysis and discourse - analysis, the study of mythological archetypes and in modernized systems. Thus, the phenomena of connotation and denotation are likely to bind a wide range of different types and different levels.

The author’s multimodality of T. Morrison's works includes the unity of verbilised dominant concepts-antinomies, or bipolar denotations, and mythic images as well.We handle here the most significant ones T. Morrison’s novel,such as : «life» - «death», «freedom-slavery» «motherhood» - «infanticide», «man» - «woman», «home» - «homelessness».

The creativity of T. Morrison’s writings and the author’s multimodality reflect the inseparable unity of constant/ variable, or denotative/connotative phenomena of her texts/discourses and the author’s individual style as well.

Conceptual bipolar denotation of "life" - "death" in the novel acquires connotations that contain subjective and objective aspects of the author's multimodality.

The main feature of objectification and complication of bipolar denotation is the dramatic mobility of the space between life and death, developing according to the laws of inverse: the smaller the space of living, the greater the space of death, and vice versa. At the same time, the winner in this tragic conflict is usually death, who leaves only local and unreliable victories to life.

Regarding the happy life of the main characters in a nice house in the "good" hosts for all of them ended in physical violence, to put them all on the verge of death or insanity. But after the release of their timid attempts to break through to happiness and love is killing the memory of the past. Her works are imbued with dramatic struggle dull gray and bright colors of nature (or eaten in secret master's patches)

«…. she used the little energy left her for pondering color. “Bring a little lavender in, if you got any. Pink, if you don’t » [1*, p.4].

His system and structure are determined by the influence of the verbal basis of confessional ductility trailblazing African-American blues reflecting the horror of not only life, but also dreams and desacralization common shrines - and sacralization of human attachments:

«Always in the same place if he could, and choosing the place had been hard because

Sweet Home had more pretty trees than any farm around. His choice he called Brother…»

[1*, p.21].

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No less complex system of connotations in the process of transformation and representation of verbal - aesthetic means of a bipolar dentate "House" - "homelessness." All the black characters in the novel are homeless:

«What'd be the point? »Asked Baby Suggs. «Not a house in the country is not packed to its rafters with some dead Negro's grief» [1*, p.5].

Here -the chronotope fusion where the lack of reliable own home and "the country" is inextricably linked with a readability of personal and specific historical time.

From the outset, we are faced with the ambivalence of "magical realism" and the subjective consciousness of the characters and the author's perversion traumatized personal dramas and historical destiny of their ethnic group: all characters had, have or will have a house, but it was not ,at any time , their own home.

Almost all the characters once lived in the house, which is still called «Sweet Home» («Sweet Home"), remembering, and that was the best of it, in an effort to get rid of the pain at the thought of it:

«How come everybody run off from Sweet Home can’t stop talking about it? Look like if it was so sweet you would have stayed». Paul D laughed. «True, true. She’s right, Sethe. It wasn’t sweet and it sure wasn’t home» [1*, p. 13-14].

«Sweet Home» - is both emanations of Heaven and Hell. Paradise when their masters were white good and humane gentlemen, and Hell, when they were replaced by the villains and sadists.

The Unbearable life of the black population of America before the liberation from slavery was full of wonder,or miracles as it was seemed by them.Good home for a few years of life, a white girl, Amy, who helped Sethe, already dying from torture and difficult shoot, give birth, and saved her legs immobilized, a good host family who gave her the Baby Suggs storey abandoned house. But even this house,a well-lived-in, which witnessed the happy moments of the family's Baby and sheltered many sufferers did not become their home. On the first line of the novel, we learn that the name of this house is "124", and it is haunted by the ghost of the mother's killed child,

"124 was spiteful. Full of a baby's venom. The women in the house knew it and so did the children » [1*, p.4].

The mystic apparition of the killed daughter becomes the rightful hostess of the house. The girl-werewolf kills all the timid attempts of the dwellers of the «digital» house to come alive again,become happy and find love. At the end, they were smashed by the sense of the mother's guilt and under the influence of the werewolf who nearly killed the present owner of the house, an abolitionist, who came to have a look at the house, he generously paid and became the new owner of the house.

The bipolar denotative «freedom - slavery» also become overgrown with the historical, social, psychological and subjective of the author’s connotations. The special feature of this connotative row is the intensification of the expression and tensity in the border area between these poles. This is most accurately reflected by the former slaves’ modal experience of the time: being more real, than the present, the past is still devastating their souls, determining the presnt and the future.

The Afro-American spiritual leader, Baby Buggs, addressed her people, transformed Jesus

Christ’s Sermon on the Mount, by narrowing His love to all to love of every individual of the

Afro-American to themselves, their jaded bodies and hard hands. This is understandable and

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clear in relation to the people, who survived unbearable tortures and humiliations. AfroAmericans need to feel their individual values and become a community of individuals:

«O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them» [1*, p.87].

And just as Jesus, it pays special attention to the growing generation, its special status:

«Let your mothers hear you laugh», she told them, and the woods rang. The adults looked on and could not help smiling. Then «Let the grown men come», she shouted. They stepped out one by one from among the ringing trees. «Let your wives and your children see you dance, she told them, and groundlife shuddered under their feet» [1*, p.88].

Freedom in the novel is the absolution of ameliorative modality. It is more important than love, life, marital duties, maternal instinct and even the life of children.

The bipolar denotation «motherhood» - «infanticide» in the novel by Т. Моrrison «Beloved», as well as its connotations, simultaneously objectivises the motherhood archetype in its deepness by one of its poles, showing on the other one how the character hastily steps outside it to save her children from slavery:

« All I knew was I had to get my milk to my baby girl»[ 1*, p.16].

This hypertrophied maternity instinct led the main character of the novel ,Sethe to the heart of the passion of killing. The tragic conflict between the motherhood and the sense of guilt towards the slayed daughter becomes the main nerve of the narrative and the psychological motivation of the behavior of the main character and those around her. Shattered and devastated by the guilt, Sethe was ready to become an unwilling tool of revenge in the hands of the ghost up to the attempt to kill one of the most generous people and the fighter for the liberation of the AfroAmerican population of the USA.

The forced breaking of the link between mother and her children used to be the norm of life for an Afro-American woman:

«You lucky. You got three left. Three pulling at your skirts and just one raising hell from the other side. Be thankful, why don’t you? I had eight. Every one of them gone away from me. Four taken, four chased, and all, I expect, worrying somebody’s house into evil». [1*, p.116].

Looking at the bipolar denotation «man» - «woman», its necessary to remember, that the female nature prevails in novel of «Beloved». This novel is feminine in all respects, with its hyper emotiveness and the leading status of women, who organize the surrounding society: Baby

Suggs is the source of wisdom, the people’s preacher. Sethe herself is a courageous fighter for her people’s freedom. Women are on the forestage in all areas of life: in social fight, family, relationships, household. Men are represented by weaker characters. Sethe’s husband, Hell, being unable to bear her physical sufferings, «escapes», as she thinks, into madness.

The person, who gave Sethe hope for happiness or, at least, protection, left,unable to bear the of the deceit of the ghost and the truth about Sethe’s past. The sons escaped from the house, leaving all the duties on the women’s shoulders:

«... the sons, Howard and Buglar, had run away by the time they were thirteen years old— as soon as merely looking in a mirror shattered it (that was the signal for Buglar); as soon as two tiny hand prints appeared in the cake (that was it for Howard).» [1*, p.3].

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As we can see, even the selected aspects of transformation of bipolar denotations of the author’s multimodality in the novel allow to understand the special features of the author’s picture of the world and her individual style.

The study of the theoretical and experimental aspects of multimodality showed that this phenomenon stays actual for Russian philology, in particular, the linguistics of literary text, and the category of «author’s multimodality», as well as for the foreign one, inclined to semiotics.

The rising interest to revelation, structurisation and integration of the multimodality is caused by the complication of communication, the increase of the number of interaction channels for addressants and addressors, as well as the increasing variety of information sources and data storage devices. At the same time, we consider that our research can confirm the scientific productivity of contingence of Russian and Foreign philological studies of the sense unity extensive analysis of its modalities on verbal basis.

Bibliographic list

1.Lotman Ju. M. Problema hudozhestvennogo prostranstva v proze Gogolja. // Trudy po russkoj i slavjanskoj filologii, XI, Literaturovedenie, Uchenye zapiski TGU, vyp. 209 / Ju. M. Lotman. - Tartu: Izd-vo TGU, 1968. - S. 151.

2.Lavrinenko I. Ju. Kognitivnye strategii kak sredstvo realizacii zamysla avtora v filosofskom diskurse F. Bjekona (na primere jemocional'nogo koncepta « Despise» / I. Ju.

Lavrinenko // Nauchnyj vestnik Voronezhskogo gosudarstvennogo arhitekturno-stroitel'nogo universiteta. Ser. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2014.

–№ 3 (23). – S. 30–46.

3.Balli Sh. Jazyk i zhizn' / Sh. Balli. - M.: Izd-vo inostr. lit, 2003. - S 85.

4.Vinogradov V. V. O kategorii modal'nosti i modal'nyh slovah v russkom jazyke // Trudy instituta russkogo jazyka AN SSSR. T. 2./ V.V.Vinogradov - M. – Leningrad: Nauka, 1950. - S. 38 - 79.

5.Kress G. Multimodality: A Social Semiotic Approach to Contemporary Communication / G. Kress. New York: Routledge , 2010. - P. 79 -157.

6.Walsh M. «Reading Visual and Multimodal Texts: How is ‘Reading’ Different?» Proceedings of the ALEA/UNE 2004 Conference. Multiliteracies and English K-12 in the Age of Information and Communication Technologies./M.Walsh. - [Еlektronnyj resurs] Rezhim dostupa: http://www.goodreads.com/book/show/7608189-multimodality

7.Bahtin M. M. Jestetika slovesnogo tvorchestva / M.M. Bahtin. – M.: Iskusstvo, 1986. –

S. 304.

8.Zhenett Zh. Figury. Tom 2 / Zh. Zhenett. - M.: Izdatel'stvo im. Sabashnikovyh, 1998. –

S. 411.

9.Jelmslev L.Prolegomeny k teoriy yazyka // Novoje v lingvistike. Vol. 1 / L. Hjelmslev - M.: Progress, 1960. - S. 370

10.Srebrjanskaja N.A. O nekotoryh aspektah lingvisticheskogo analiza hudozhestvennogo teksta / N.A.Srebrjanskaja // Nauchnyj vestnik Voronezh. gos. arhit.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2006. – Vyp. 6 (2). – C. 59-64.

Analysed sources

1*. Morrison T. Beloved. Vintage international. Vintage Books / T. Morrison - New York: A Division of Random House, Inc., 2007. – 278 p.

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UDC 81’255

Voronezh State University of Architecture and Civil Engineering, Ph.D. in Philology,

Senior Lecturer of Foreign Languages Department, Engineering Technology Institute e-mail: victoriak_@mail.ru

V.V. Kozlova

METATEXT AS A MEANS OF ELIMINATING LACUNAS

The article presents the results of a study on the analysis of types of lacunas that occur in the translation text, and their correlation with the type of metatext used in the renomination of realias and, consequently, the elimination of lacunas of different types. As a result, the work established that the metatext in the French translation of prose by M.A. Bulgakov acts as a way of elimination of four types of lacunas: ethnographic, socio-cultural, associative, stylistic. These four types, as well as the fifth type - deviant lacunas are combined into a single class of textual lacunas arising from the specificity of a literary text as a special product of the author's intention and poetics, as well as the specifics of metatextual communications as a result of creative activity of an interpreter.

Key words: lacuna, translation, metacommunication, linguocultural realia, interpreter’s metatext, elimination of lacunas, translation comment.

When translating a literary text, one of the tasks for a translator is not only to acquaint the reader with the content of the book, but also to achieve reception of the same artistic impression from other culture than the reader of the original text, that is important to achieve equivalent experience at a reader of the original text (OT) and at a reader of the translation text (TT). In this case, the two constituents of equivalence play a fundamental role - namely, semantic and emotional. Due to the fact that the reality of a culture is hardly reducible to the reality of other, these aspects during the execution of translator task can to a greater or lesser extent "suffer." Consequence is the formation of lacunas in the reader's mind PT [1; 2; 3; 4 et al.], which is primarily due to differences in cognitive luggage OT and TT recipients.

The emergence of the TT in Bulgakov's works of different types of lacunas is a result of peculiarities of individual realia-content who accumulates the essence of meaning and emotional content of the text. Because of this, the equivalent of the transfer of in the TT realia-content becomes a priority, the solution of which contributes to minimize the lacunas and achieve impressive equivalence [5, p. 29] OT and TT.

Question of lacunarity is one of the urgent problems of modern linguistics and translation. Gap as a regular phenomenon in the lexical level of language has become the object of study of a number of scholars, both domestic (Y.S. Stepanov, N.I. Konrad, Y.A. Sorokin, I.Y. Markovina, V.L. Muraviov, Z.D. Popova, I.A. Sternin, M.A. Sternina, V.G. Gak, O.A. Ogurtsova, etc.) and foreign (J.P. Vinay, V.O. Mathesius, K. Hale, M. Lederer, W. Iser, etc.).

The interpretation of the concept of gap varies in different scientific concepts. We hold the view Y.A. Sorokin and I.Y. Markovina, who use the term gap in the broad sense, referring to this phenomenon all the phenomena that require explanation in the interaction with other cultures. Researchers consider it expedient to use the term in the comparison not only the language, but

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© Kozlova V.V., 2015

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