Файл: Terms and definitions in this dissertation the following terms and their definitions are used Paradox.docx
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B
A where B and C – is the opposite of the truth
C
“Lorg Goring: Life is never fair, Robert. And perhaps it is a good thing for most of us that it” [41].
Fig1: General framework
From one statement, two opposite truths are deduced. The original premise: life is always unfair. The first truth is good for many of us. The second truth is that it is not fair for everyone, but for many. As a result, a new meaning is formed: the unfairness of life - good for many people.
A
C where B and C – is the opposite of the truth
B
“Algeron: Oh! There is no use speculating on that subject. Divorces are made in Heaven” [41].
Fig 2: overall result
“The ironic paradoxical remark that divorces are made in heaven contains a” [42]reference to the proverb: Marriages are made in Heaven. Understanding the meaning of the author's expression depends on the reader's knowledge of this expression. “Playing off a phraseological utterance helps the author to establish close contact with the recipient” [42], on the basis of stimulating reflection, reactivating this knowledge.
A C where A and output C contradicts in meaning
B D B and in conclusion D
“If you pretend to be good, the world takes you very seriously. If you pretend to be bad, it doesn’t. Such is the astounding stupidity of optimism” [42].
Fig 3: parallelism
At the heart of the psychological perception of the paradox is the effect of deceived expectations (the term P. Jacobson), which is created due to the unpredictability of a certain element. The deceived expectation effect is the third psycholinguistic process involved in understanding the paradox.
There are the following stages of understanding the paradox.
1. the Shock created by the intervention of two independent semantic fields. Partial coverage of these fields gives the impression of complete destruction of the text.
2. Correlation of the text changed in this way with the generally accepted norms, causing a sense of rejection, desire to change, equate to the usual.
3. Re-reading the text.
The paradox has a text-forming function and creates the integrity of the text. The semantics of paradox involves its use to refer to actions, events, processes, beyond ordinary understanding and which contains a contradiction: the deviation from the usual movement of thought and development, custom action, duality the inner state of man and the adequacy of any action.
“The point of view of the text level, the paradox can function at the level of a phrase, a simple sentence, a compound sentence, a compound sentence, a microtext, or a text” [25].
In General, there are oppositions in all syntactic structures that can be divided into two types: implicit and explicit. “Implicit opposition occurs between the logical norm of a statement and a word or group of words whose presence makes the statement a paradox. Logically correct statements, against which the paradox is directed and with which the paradoxical statement is correlated, are expressed implicitly. Explicit opposition is observed in the most paradoxical utterance between two parts of a single sentence or several sentences” [30].
The research is interested in artistic texts, the implication saturation of which is an integral essence. In understanding the paradox, the scope and nature of what is understood depend on the perceiving subject. The recipient may not catch the implicit information or understand it incorrectly if they do not have the necessary knowledge or do not notice the peculiarities of the word's meaning. If "knowledge is not identical to understanding" [45, с. 5], then in the process of receiving a literary text, the activation of existing knowledge contributes to a deeper understanding of the text.
Like a metaphor, a paradox can reflect the values of a social group, shape the perception of the world, and serve as a means to gain new knowledge about the world around us. These assumptions are based on metaphorical and metonymic connections that open up new, atypical connections between words.
Paradoxical perception of reality determines the special ability to present meanings in a literary text and the use of various universal mechanisms for generating / perceiving the text.
There are five groups of language tools for creating a paradox, depending on the level of the text: graphic, phonological, morphological, lexical, and syntactic levels.
Paradoxical perception of reality determines the special ability to present meanings in a literary text and the use of various universal mechanisms of thinking in the generation/perception of the text.
2.2 Compare the functions of paradox in the Shaw’s and Oscar Wilde’s works in a literary text
The nature of paradoxes, their functions and features are not sufficiently disclosed in the literature. “In addition, the paradoxes of O. Wilde and B. Shaw have always been of great interest to people” [6]. Obviously, it is clear and understandable that society has remained the same with all its shortcomings, which were so accurately and ironically noticed by writers in their time. “There are also eternal problems between men and women, between virtues and vices, eternal disputes about beauty and art, and much more. Therefore, the paradoxes of Oscar Wilde and Bernard Shaw remain relevant to this day” [6].
“Language and style: Wilde's paradox is a play on words, an attempt to attract and amuse the reader. For Shaw, the paradox is social and moral, and also just – for Wilde” [6], it is not always so [6].
Wilde was called "the king of life", "the Prince of Paradoxes". "The truth of life is revealed to us in the form of paradoxes. To comprehend Reality, you must see how it is balanced on a tightrope. And only after looking at all the acrobatic things that the Truth does, we can correctly judge it, " [5]- said the author of "the Portrait of Dorian gray" [17]. “Wilde constantly amused himself and amused others by making banality stand on its head or walk the tightrope of its impudent” [5] thought. Or he would take a phrase that had become winged and turn it inside out like a glove. Americans are convinced: "Time is money." He will give his own version: "Time is a loss of money"[5]. Demonstrating how important it is to be [25] frivolous, he often utters far from harmless maxims, bringing to absurdity the poor philosophy of life of those who "see everything except the obvious". As if in jest, he seriously encroaches on the cornerstones of society, where "lies are the truth of other people" [5], and "duty is what we demand from others and do not do ourselves" [5]. Keenly reacting to the contradictions of the surrounding reality, O. Wilde himself is all woven from contradictions. In their statements it appears that a sentimental cynic, the immoral moralist, the visionary skeptic; calls to see the funny in the sad and experience the tragic undertone of the Comedy; a natural for him - a difficult position, doing nothing is most serious in the world of employment, the mask - interesting-person, theatre - real life; in his opinion, life imitates art more than art imitates life. Wilde himself revealed the psychological basis of his addiction to paradox. "What a paradox was for me in the field of thought, the perversity became for me in the field of passion," the poet wrote, retrospectively assessing his life and work. The paradoxes of O. Wilde, aptly called by K. Chukovsky" topsy-turvy generalities" [5], are really perceived as a parody of the walking maxims, the capital truths of Victorian morality. “Here are some, not deliberately selected examples from various [25] of his writings” [6]: • " Conscience and cowardice are really the same things, Basil. Conscience is the trade-name of the firm. That is all" [34, c. 10-19] - this paradox is related to the philosophical one, which is implemented at the level of micro-context. Semantically, this paradox is based on a comparison between two concepts such as "conscience" and "cowardice". •"To be natural is such a very difficult [5] position to keep up" [5] - this paradox is related to the philosophical one, which is implemented at the level of micro-context. Paradoxes are characteristic of comedies of FR. Oscar wilde: "Lady Windermere's fan" (1892)," a Woman not worth attention "(1893)," the Ideal husband "(1895)," the importance of being serious " (1895) [47, p. 52-55].
Among all the comedies of Oscar Wilde ," how important it is to be serious" is a play marked by the greatest variety of speech means of the comic. If we focus only on verbal paradoxes, then an elementary calculation of them convinces us that this Comedy significantly exceeds the previous ones” [5] in terms of the number of paradoxes. I would also like to note that among the characters of this play there is no written aphorist-paradoxalist, serving as the only mouthpiece of the author's with [43, p. 53]. “Paradoxes occur in the speeches of many, many different characters, as a result of which the effect of self-wit, visible in a number of scenes in previous plays, disappears. Paradoxes, if they do not serve to ridicule far from perfect morals, at least cause a merry laugh at some aspects of the moral practice of young heroes and their environment. Oscar Wilde's passion for the paradox, its active exploitation at various levels of the literary text, undoubtedly enriched the Comedy of manners” [5]. In four of Wilde's plays, it was paradoxical (rather than elaborate intrigue or melodramatic situations) that determined the originality of dramatic works that outlived their author by many years. Of course, the paradox is not the only form of the comic [3, c. 43] in the Arsenal of Wilde-the playwright, but it is the paradox that expresses at first glance an absurd idea, putting our usual ideas on their head, makes the reader (viewer) take a new look at the depicted, sometimes even trivial situation. Oscar Wilde's characters utter the most striking verbal paradoxes. They are Lord Darlington ("lady Windermere's Fan"), Lord Illingworth ("a Woman not worth noticing"), and Lord Goring ("the Perfect husband"). “As a rule, their speeches contain those paradoxes that are remembered in the first place, displacing from the minds of those who perceive the moralizing rhetoric, without which Wilde in these comedies has not yet done. However, this rule is not without exceptions” [2, c. 43]. We can recall at least the paradoxical remark of Mr. Dumby: "There are only two tragedies in life: one is not getting what one wants, and the other is getting it." [34, c. 15] - this paradox is related to the philosophical one, which is implemented at the level of micro-context. On a semantic basis, this paradox is based on opposition. “Paradoxical judgments that pass over time from dialogues even into remarks, paradoxical characters in the world of Wilde's comedies seem to struggle with melodramatic scenes, moralizing maxims, rhetorical monologues, sometimes addressed to the direct viewer and only to him. This peculiar contest in Wilde's Comedy of manners ends in a convincing victory for the paradoxical beginning” [5].
Among the paradoxical and ironic comedies of O. Wilde, one of The most significant is "the Ideal husband" [5]. The melodramatic intrigue of the play is combined with the disclosure of a serious political situation. The cynicism of the secular relationship develops into a principle of political action. Domestic fraud turns into political blackmail. Thus, the humorous characteristics in this play contain elements of satire. The Comedy exposes the British government Minister, sir Robert Chiltern, who is considered an ideal person in society. Wilde showed how a political career is made. Chiltern is ambitious and aspires to power. But to come to power, you have to be rich. And he gets rich by giving away state secrets. “The essence of the image of the political figure Chiltern is set off by the image of the adventurer Mrs. Cheveley. She knows how Chiltern came to power, and she blackmails Him” [34, с. 15-19]. The style of the novel" Portrait of Dorian gray " is also characterized by a paradox. This property distinguishes both plot situations and the characters ' speech. The characters in the novel speak in paradoxes. However, many paradoxical judgments in the novel are directed against hypocritical bourgeois morality, against the social phenomena of English life. The novel itself defines the relation of the paradox to the truth of life: "The truth of life is revealed to us in the form of paradoxes. To comprehend reality, you must see how it is balanced on a tightrope. It is only by looking at all the acrobatic things that truth does that we can judge It correctly" [2]. “The classic example of a paradox in the development of the plot is” [5] considered to be the plot of the novel by FR. Wilde's "Portrait of Dorian gray"[34, p. 10-42], according to which the portrait of the main character ages, and not he himself, while the low deeds of the hero remain outwardly imprinted on his image. The [3, c. 43] novel "Portrait of Dorian gray" contains many paradoxes about love, marriage, the relationship between a man and a woman, art, beauty, life, and virtue. “Wilde very often resorts to his sharp weapons, meaning women. In his opinion, there is no being in the world more cunning and sly than a woman. She always knows what to do to trick a man around her finger and achieve her goal” [3, c. 43]. •"Women love us for our defects. If we have enough of them, they will forgive us everything, even our intellects"[38] - according to the functional attribute, this paradox refers to the characterological one, which is implemented at the level of the microtext. On a semantic basis, this paradox is based on the opposition, which is achieved by contrasting words such as "defects" and "intellects"[44, с. 5]. •"A man can be happy with any woman as long as he does not love her" [5] - this paradox is functionally related to the philosophical one” [47, p. 52] , which is implemented at the level of micro-context. On a semantic basis, this paradox is based on the opposition, which is achieved by contrasting words such as "be happy" and "dont love". •"Women, as some witty Frenchman once put it, inspire us with the desire to do masterpieces and always prevent us from carrying them out" [5] – “on the functional basis, the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on opposition” [47, p. 55].
Wilde likes to contrast a man and a woman [38]: "Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals" [44, с. 22] - according to the functional attribute, the paradox refers to the characterological one, which is realized at the level of microcontext. “On a semantic basis, the paradox is based on the juxtaposition of men and women. Wilde has a very negative attitude toward marriage, believing it to be a demoralizing factor for men. “A person who wants to get married knows either everything or nothing about family life” [38]. •"Men marry [5] because they are tired; women, because they are curious: both are disappointed" [43, c. 52-55] - the functional feature of the paradox refers to the philosophical one, which is implemented at the level of the microtext” [45, p. 256]. “On a semantic basis, the paradox is based on comparison” [15, с. 19]. •"When a woman marries again, it is because she detested her first husband. “When a man marries again, it is because he adored his first wife. Women try their luck; men risk” [38], [17, c. 400] their lives" [44, с. 15] - the functional feature of the paradox refers to the philosophical, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on comparison. “Everyone keeps saying: "Marriages are made in heaven" [6] Oscar Wilde won't use it: "Divorces are made in heaven." Love and marriage are two completely incompatible things for him. If marriage for him is just a banal coexistence of two people who do not understand each other, then” [6] he speaks of love as a kind of sublime, mystical feeling. However, notes of irony also occur” [38]: • " [6] Shallow sorrows and shallow loves live on. The loves and sorrows that are great are destroyed by their own plenitude" [34, c. 10] - on the functional basis, the paradox refers to the philosophical one, which is realized at the level of the micro-context. “On a semantic basis, the paradox is based on the comparison of such phenomena as "sorrows" and "love" [5]. •"The only difference between a caprice and a life-long passion is that the caprice lasts a little longer" [44, с. 20] - on the functional basis, the paradox refers to the philosophical one, which is realized at the level of the microtext. “On a semantic basis, the paradox is based on the comparison of such phenomena as” [5] "caprice" and "life-long passion"[4]. •Those who are faithful know only the trivial side of love: it is the faithless who know loves tragedies"[5] - according to the functional attribute, the paradox refers to the philosophical one” [47, p. 52-55], which is realized at the level of the microtext. On a semantic basis, the paradox is based on comparison [44, с. 22]. •"When one is in love, one always begins by deceiving one's self, and one always ends by deceiving others. That is what world calls a romance " [5] "[43, p. 52-55] - the functional feature of the paradox refers to the philosophical one, which is implemented at the level of microtext” [34, с. 15]. On a semantic basis, the paradox is based on the comparison of such phenomena as the beginning of love and its end. After analyzing the paradoxes of Oscar Wilde on the topic of love and marriage, we can conclude that the nature of men and women is initially different, which makes their joint existence almost impossible. “Many paradoxes of Oscar Wilde are devoted to the theme "life", "man in life","man in society" [5]. People, in his opinion, are beings devoid of any imagination; and the philosophy of life is an exhaustive manifestation of personality through aesthetic pleasure. The writer had a terrible curiosity about life, which led him to look into its darkest depths for the sake of hidden sensations. According to Oscar Wilde, life imitates art more than the art of life. But behind the cold Sparkler of his sayings, there is a burning, passionate desire to blow up, overturn, or at least shake the immutability of sanctimonious morality and vulgar - often rented - ideas about the world that were held by the self-satisfied "masters of life" in the "age without a soul" [5].
Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul" - according to the functional feature, the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on the juxtaposition of such phenomena as "soul" and "senses". •"When we are happy we are always good but when we are good we are not always happy" [44, с. 20] - on the functional basis, the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on the comparison of such phenomena as "happy" and "good"[44, с. 22]. •"I love acting. It is so much more real than life" - the functional feature of the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the” [5] paradox is based on the juxtaposition of such phenomena as” [5] "life" and "acting" [4]. •"There are only two kinds of people who are really fascinating: people who know absolutely everything, and people who know absolutely nothing" [5] - by functional attribute, the paradox refers to the philosophical one, which is realized at the level of micro-context” [46]. On a semantic basis, the paradox is based on opposition [34, с. 6]. •"To become a spectator of one's own life is to escape the suffering of life" [5] - the functional feature of the paradox refers to the philosophical one, which is implemented at the level of micro-context” [43, p. 52]. On a semantic basis, the paradox is based on comparison[15, с. 8]. •"I can stand brute force, but brute reason is quite unbearable. There is something unfair about its use. It is hitting below the intellect" [38] - the functional attribute of the paradox refers to the philosophical one, which is implemented at the level of the microtext” [44, с. 20]. On a semantic basis, the paradox is based on the comparison of such phenomena as "brute force" and "brute reason". • "Nowadays most people die of a sort of creeping common sense, and discover when it is too late that the only things one never regrets are one's mistakes"[5] - on a functional basis, the paradox refers to the philosophical one, which is implemented at the level of the microtext” [43, p. 53]. On a semantic basis, the paradox is based on opposition [44, с. 20]. •"Laughter is not at all a bad beginning for a friendship, and it is by far the best ending for one" [5] - on the functional basis, the paradox refers to the philosophical one, which is realized at the level of the microtext” [34, с. 10]. On a semantic basis, the paradox is based on the juxtaposition of such phenomena as the beginning of friendship and its end. •"Always forgive your enemies; nothing annoys them so much" [5] - on the functional basis, the paradox refers to the philosophical one, which is realized at the level of the microtext” [34, с. 10]. On a semantic basis, the paradox is based on the statement [4] "forgive your enemies". •"I always like to know everything about my new friends, and nothing about my old ones" [5] - according to the functional attribute, the paradox refers to the philosophical one” [43, p. 52-55], which is realized at the level of the microtext[34, с. 19]. •"I can resist anything but temptation" [44, с. 20] - the functional feature of the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on the juxtaposition of the words "anything" and"but temptation" [4]. •"We are all in the gutter, but some of us are looking at the stars" [5] - according to the functional feature, the paradox refers to the philosophical one, which is implemented at the level of the microtext. On a semantic basis, the paradox is based on the juxtaposition of such phenomena as lying in the mud, but at the same time looking at the stars. •"When the gods wish to punish us, they answer our prayers" - according to the functional feature [5], the paradox refers to the philosophical one, which is implemented at the level of the microtext. The paradox is that the punishment will be our prayers. However, the author of paradoxes ' favorite themes are undoubtedly beauty and art. In love with beauty, Wilde painfully” [5] experiences its disappearance from the modern world. Crude reality, with its "material progress" and its Mercantile spirit, which suppresses the poetic imagination and kills high ideals, evokes the abiding hatred and contempt of Wilde” [5]. The only refuge from the stupefying boredom, vulgarity and monotonous monotony of the head of the English aesthetes sees in art” [5]. Oscar Wilde devotes his life and work to the search for truth and beauty. •"It is only shallow people who do not judge by appearances” [6]. The true mystery of the world is the visible, not the invisible..." [38]. “[18, c. 400] - on the functional basis, the paradox refers to the philosophical one, which is implemented at the level of the micro-context [47, c. 11]. On a semantic basis, the paradox is based on the periphery of the well-known statement "Never judge by appearances". •"Beautiful things like beautiful sins belong to the rich” [5], " [47, p. 53] - according to the functional feature, the paradox refers to the philosophical one, which is realized at the level of the microtext [47, p. 14]. On a semantic basis, the paradox is based on comparison. Old age for Wilde is not only a loss of beauty, but also "the tragedy of old age is not that one is old, but that one is young" – the” [27, p. 15] functional feature of the paradox refers to the characterological, which is realized at the level of the microtext. According to the semantic feature, the paradox is based on the opposition of old age and youth.