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“Shaw's opinions on municipal politics and public health” [51] at the turn of the century were formed and sharpened by his years as a vestryman and” [51] borough councillor for the St Pancras district of London. he campaigned for women to be legally entitled to serve on metropolitan boroughs, fought against reckless borrowing from the banks and attempted to change the rating system so that it fell more heavily on the idle rich (whom he called "the unemployed" [51]). He was particularly active on the health committee, visiting hospitals, sweatshops and the homes of the poor where he saw under-nourishment, destitution and disease. he mocked the confusing jargon and circumlocution of physicians and he pressed for the re-examination by the London School of Economics of untrust worthy medical statistics. Some of his recommendations, such as the danger of alcohol and the wisdom of vegetarianism, are as uninvitingly valid now as they were over a hundred years ago, and some of his indictments (“against cowpox vaccination, for example” [51]), which had some validity in the late 19th century, are now mercifully out of date. but his horror at the practice of vivisection is particularly relevant today, after the last government's manifesto pledge to reduce it was laid aside and the importation of more animals to britain for experimentation has recently been advocated on financial grounds. “As a seasoned political campaigner, Shaw knew that” [51] eachbattle won would have to be re-fought in the future, and he would have been particularly scathing about any move to extend privatisation into the health service – an "economic efficiency" leading to cheap incompetence.
“Shaw brought his six years in local politics into several of his plays. The picturesque brigands of the Sierra Nevada in Act III of Man and Superman are holding what appears to be a St Pancras vestry meeting. The municipal characters in Getting Married owe their existence to the” [51] borough councillors with whom he had spent so many unventilated hours. “And the conflicting opinions of the medical specialists he met on the” [51] health committee are made into a wonderfully orchestrated theatrical entertainment in Act I of The Doctor's Dilemma as the doctors gather in Sir Colenso Ridgeon's consulting room to congratulate him on his knighthood.
“This successful 50-year-old physician who claims to have found a cure for tuberculosis is based on a celebrated and fashionable bacteriologist called” [51] Almroth Wright, who had been knighted shortly before The Doctor's Dilemma was written. Shaw sensed there was something dubious about Wright's high reputation (he was later nicknamed Sir Almost Right). In 1905, when Wright sent him a pamphlet on anti-thyroid inoculation with an invitation to discuss it in his laboratory at St Mary's hospital, Paddington, Shaw accepted the invitation but challenged the validity of his vaccine treatments. So began a long series of fierce debates between the two men. This gave Shaw an opportunity to use his dialectical brilliance to undermine the presumed authority of doctors over matters of life and death – an authority that he aggressively attacked in his preface to The Doctor's Dilemma and agreeably ridiculed in the play itself.
“At one of these debates, when a discussion arose about using a new treatment on someone who had arrived that day, one of the students pointed out that they had "too many patients on our hands already" [51]. Shaw then asked what would happen if more people applied for treatment than could properly be looked after, and Wright answered: "We should have to consider which life was worth saving." This became the pivotal plot point in Shaw's play.
“The common - sense answer to this problem is given not by Ridgeon, but his colleague, the cheery hit-or-miss physician Sir” [51] Ralphbloomfield bonington, who has accidentally cured a prince but is less fortunate in Act IV of the play with the consumptive and unscrupulous young artist Louis Dubedat. "I have never been able to say No, even to the most thoroughly undeserving people," he tells his fellow doctors" [51]besides, I am bound to say that I don't think it is possible in medical practice to go into the question of the value of the lives we save." he ends on a dark note of Shavian pessimism, concluding that if you asked yourself whether your patients were of any use to themselves or anyone else, you would probably be driven to the conclusion that most of them would be better off dead. Shaw himself believed that we should not seek to outlive our natural lives. he would have been appalled by cases of people being kept clinically alive for long periods, such as Ariel Sharon, still held up at the border post between life and death. Invalids "who cannot keep themselves alive by their own activities, cannot, beyond reason, expect to be kept alive by others" [51], he wrote. It followed that suicide and properly controlled assisted suicide should be brought within the law.
“Unlike bloomfield bonington, Ridgeon cannot make an objective medical decision because he is not at all well. "There's something the matter with me I dont know what it is … I have a curious aching … I cant localise it … It unsettles me completely" [51], he tells the eldest, most sensible of the physicians, Sir Patrick Cullen, who, knowing there is nothing so disturbing as an ill doctor, recog"nises that he is about to make a fool of himself. "I thought that the days of my vanity were past," Ridgeon says. "Tell me: at what age does a man leave off being a fool?" The answer is: never. We are being presented with a circus of Shavian lovesickness. “Ridgeon loves Jennifer, who loves her husband Dubedat, who loves himself, while the doctors who surround him love their profession” [51]. All of them deceive themselves. The idealism of love fills the play; the lure of money animates the preface. "There are two things that can be wrong with any man," says Cullen. "One of them is a cheque. The other is a woman" [51] both these wrongs find a welcome home in the talented Louis Dubedat. The first two acts of the play, deftly edited and played fast, are among the best comic drama Shaw wrote. The difficulty begins in Dubedat's studio in Act III, as it does in many scenes that introduce one of Shaw's artistic young men – such as the sentimental poet Eugene Marchbanks in Candida. Fortunately, “Dubedat is saved from sentimentality by a comprehensive amorality that is akin in some respects to that of Shaw's best virtuoso characters, such as billy Dunn the philosophical burglar in heartbreak house and the millionaire dustman Alfred Doolittle in Pygmalion” [51].
“The part of Louis Dubedat was written for harley Granville barker, who played the death scene in the first production at the Royal Court Theatre so realistically that some of the audience were shocked and became tearful. A similarly soft interpretation today would be more likely to provoke tears of laughter (as Oscar Wilde believed the death of Little Nell must do among modern readers). A more rewarding forerunner perhaps was a production at the Mermaid Theatre in” [51] 1975, “which had Kenneth Cranham as a forceful Dubedat opposite Lynn Farleigh's Jennifer, played not as a relentlessly naïve” [51] and tragic heroine but as a wife who treats her husband as an exciting possession. This made the pair into a partnership of confidence tricksters just right for modern comedy.
“Shaw could write tragedy: Saint Joan, heartbreak house, back to Methuselah and Too True to be Good are all tragedies. but if he had really intended The Doctor's Dilemma to be a tragedy, he would have made the doctors in the title plural and damned the whole profession” [51].
We resolves this problem with an interesting moral twist -he reasons that Dubechat's death will be a benefit because it will preserve his reputation. It will also potentially benefit Ridgeon, who covets Mrs. Dubechat. Various themes swirl about within this general framework--the value of science, the paternalism of the medical profession, and the fact that "everything that goes around, comes around." The play itself is preceded by an 88-page "Preface on Doctors" (1911) in which Shaw declaims at length about the general inadequacy of medicine in britain and presents a proposal for an improved medical care system, including socialized medicine. Along the way, he takes off against two of his favorite bugaboos--animal research (vivisection) and vaccination. (Shaw evidently did not believe that vaccination was efficacious.)
CONCLUSIONS FOR CHAPTER II
Speaking about the fact that the word in the language of a literary text is a kind of soulful and lively, Bernard Shaw: “Paisely vocabulary — not just vocabulary. In order to understand it, you need to be a journalist and a writer. Only a scientific researcher of this kind knew that in language, especially in the language of fiction, in addition to grammatical conditions, there is a foreign-language dominant condition of poetry. In his opinion, a word standing in one sentence of a work of art does not give a concept, a concept. At the same time, it creates a variety of additional associations and shows additional interest to the student. In this series, a single word is reborn in a new way when it finds its place and moment. Along with his artistic character, in the proposal of which he himself shot sparks” . In a work of art, an important place is taken by the artistic and aesthetic requirement in the selection and use of words. To do this, you need to understand the contextual (situational) activity of the word. The attempt to choose a word directly relates to the issue of creating a color-forming lexical bundle.
Text is the basis for teaching writing. It is necessary to analyze the unity of the text and its structural specificity, which consists of the semantic integrity of language signs. Because there are not enough words and phrases related to written relationships. In this case, the written activity does not consist of separate words and sentences, which consist of a whole text, which is a unit of sentences that come into logical and grammatical connection with each other .
Consideration of the text private sphere of linguistic education began in the 6070s of the XX century. As an object of linguistics research, there are also definitions given in the text. It is generally agreed that the main unity of speech, which is a complete integral thought, is characteristic of some of them.
For a more complete recognition of the text should determine the relationship between the text and sentences. Many scholars believe that a text consists of a single (simple or complex) sentence.
However, the property of a separate sentence to have a text designation is extremely rare. On this issue of Oscar Wilde relatively determine the legality of drafting and pattern drafting proposals, their contrast: "from 1, the proposal shall be prepared in accordance with a set formula and the text is formed according to a common feature; 2, the Main feature of the proposal is its grammatical structure in the text in the semantic structure.; Of the 3, based on a strict position in the grammatical construction of the sentence, the semantic organization of the text, i.e. the internal connection of parts of speech is based on a free (flexible) principle" .
Any text consists of a worldview and pragmatic aspect and constitutes a multi-faceted unity of language. The worldview aspect of the text is its semantic and compositional side, the pragmatic aspect is the semiotic and compositional side. Thus, the compositional side of the text is used as a connecting intermediary between the worldview and the pragmatic aspect and characterizes the text as a reflection of human thinking and mood.
The idea of the relationship between the author's worldview, creative position, composition and plot, space and time becomes particularly important when successfully leaving the presentation in fiction.
The style of the text provides forms of speech associated with the features of writing works of art. Therefore, according to the functional types of literary language (description, story, comprehension), there may be ways to compose a text. Through the creation of these types of text, a culture of systematic presentation of thoughts in writing is formed, giving the language material a regulatory character. For example, in the text of a story, the structure of a sentence is developed and developed by means of a semantic connection with each other.
Oscar Wilde defines the following communication mechanisms: 1) closure – the presence of a special binding element in the text; 2) repetition-repetition in the internal structure of the text of a similar element (word); 3) connection – the continuation of one of the events .
The writer expresses a valuable attitude to the person as the Central subject of artistic and cognitive activity, primarily through the images that the characters make. Thus, the categories of author-character-reader are the semantic center of the anthropometric structure of a work of art.
The artistic text has its own patterns of structure that are characteristic of the General text. This individuality forms many factors, in particular, the scope of application of the historical, political, cultural and social environment, literary orientation, style and genre of the text, the author's worldview, artistic and language skills, personality, General cultural project, modality of the text. Everyone organizes the structural system of language units in a literary text, strictly observing the structural communicative organized integrity. In addition, the genre of the work, the modality, the whole work is of great importance in the creation of an artistic text.
The implicitness of a literary text is a factor that can boldly resist other types of text. The characteristic property of the author of a literary text is the expression of a high degree of freedom in language use, that is, "uniqueness“, and of the literary text is characterized by a "template" for others, for the reader-a speech interlocutor who thinks together with the author, Bernard Shaw. believes that the problem of perception of the author's text is second in relation to the issue of transmission for the reader. Scientists emphasize that the peculiarity of a literary text is not in the presence of poetic vocabulary, but in the special organization of various language techniques defined by the functional and communicative direction .
A characteristic feature of the literary text is centralization (anthropocentricity) in relation to the person as a whole, that is, the worldview and its manifestation are primarily focused on human knowledge, and the presented artistic events are ways of its comprehensive manifestation. For example, in the fairy-tale genres themselves, everyone falls into the example according to the laws of the human world, transmitted through human “I”. In a literary text, the writer uses such language units as they understand and understand that when transmitting their ideas, views, they must meet the needs of the reader. This defines the problems of pragmatic aspects – discourse, hidden meaning, and context.
At the same time, as in other countries, including countries in the Middle East, world, world, world, world, world, world, world, world, world, world, world, world, world, world, world, world...according to scientists, this is due to the peculiarities of fiction, the complexity of its full assimilation.”
The amount of semantic and aesthetic information received by each reader from a literary text also differs. Analysis of the content of the work with the perception of artistic text information depends on the level of knowledge, personal taste and interest of readers. Reading fiction is a creative process that leads characters to abstract, General knowledge of specific, unique and unusual actions, which is characteristic only for a person, and affects the formation of his behavior.
Each work is always perceived and analyzed by the reader in different ways. The author gives the reader the opportunity to evaluate and draw conclusions. Any artistic text has an invariant stem, which does not allow any other understanding of the text. An artistic text can have several functions; in particular, aesthetic and philosophical, aesthetic and historical. From a pragmatic point of view, it is impossible not to take into account the human factor in the study of a literary text, since the pragmatics of a literary text refers to the subject of language relations. To achieve a communicative goal, the Author chooses a set of language indicators that are the author's linguistic instructors. The structure of a work of art consists of many different components.
Lexical units in a literary text, along with the aesthetic service of language, contribute to the mutual influence of objectivity (qualitative and quantitative characteristics of the General language system to a certain historical epoch) and subjectivity (the artist's everyday creative Outlook, expressed in the choice and use of language material). “The word has an emotional background, effect, and beauty. Isn't it true that the power of language can affect not only human thoughts, but also feelings? A word is a display tool that displays the artistic properties of the language. And for this, it has a color, an ornament” " Bernard Shaw.
3 Philosophical analysis of the paradox implementation in a literary text
3.1 Use of abbreviated words in paradoxical texts in Shaw's play
“In modern linguistic science, the problems of word formation still attract the attention of scientists. This ancient way of adding vocabulary is subject to natural changes. For example, in recent years, the vocabulary of the English language is largely enriched by the appearance of various abbreviations and compound units such as OMG (Oh, my God!), BFF (best friend forever), frenemies (friends + enemies). Such abbreviations are commonly included in texts of various genres” [52, c. 612]. Thus, it can be argued that the problem of word formation (especially abbreviation) does not lose its relevance in modern linguistics – moreover, it acquires new directions and facets of its research, as evidenced by the publications of domestic and foreign linguists in recent years (E. S. kubryakova, I. V. Varfolomeeva, G. A. Weichman, E. A. Dyuzhikova, A. A. Ionina, M. A. Yarmashevich, A. Byrd, D. krystal and many others).
“According to E. S. Kubryakova, " abbreviations appear at the very edge of word formation, at the boundary between motivated and unmotivated signs of the language. At the same time, their consideration helps to understand some important signs of motivated signs, for example, the sufficiency of alluding to a word by naming its part or even only its capital letters, cf” [52, c. 612-620], eng. H-bomb "hydrogen bomb" and X-rays "x-rays", V-shirt "shirt with a V-shaped cut", etc. " [10, с. 71].
It should be noted that nowadays shortening as a word-formation process is approaching the main ways of creating new words in the English language in terms of frequency of “use and occupies its niche next to affixation, conversion and phrasing. This is greatly facilitated by both the computerization of our lives and the intensive use of Internet resources by consumers” [52, c. 612-620]. In modern science there is a whole direction about language – Internet linguistics, which applies the styles and forms of the language that emerged under the influence of the Internet and other multimedia tools, such as SMS.
“Scientists point out that" …[52, c. 612] the most common means of shortening words in the Internet and SMS language are abbreviations and acronyms. Abbreviations can vary greatly depending on Internet groups, especially in the case of computer games online, where each game has its own abbreviations and acronyms. “Among the most frequent can be called TTYL (talk to you later), BTW (by the way), IMHO (in my humble opinion), FYI (for your information), HAND (have a nice day) and finally, LOL (laugh out loud)". The author of the cited article notes that” [52, c. 615] " the combination of the above means of text messages can significantly reduce the entire sentence. For example: “ru goin pub 2nite – Are you going to the pub tonight [52, c. 612]?". “The results of testing the usability of advertising texts led to A. A. Ionin concluded that” [57, c. 615] creating competent content (its micro - and macro-forms) determines success, the effectiveness and ultimately competitive ability of the site in a huge Network space. It should be noted that electronic text today is formed not only under the influence of the requirements of the modern user, but in the longer term it will actively affect the features of textual thinking and the requirements for the text of future generations".
“Thus, it can be argued that these days abbreviations are derived from the” [52, c. 618] peripheral layer of vocabulary. The initial word abbreviations included in the title of the article limit the range of problems considered in the article. In our the research attempts to explain the various “connections that exist between language structures and knowledge structures, which is reflected in initial-word abbreviations” [52]. Among the various types of abbreviated units of modern English, they occupy a special place. Their uniqueness lies in the fact that, having at first glance the same surface structure (initial+word), these words actually turn out to be different in their deep status. Identical it would seem that the surface structure units of V-Day and V-neck have different deep reading, which does not automatically consider each of them as an initial-word abbreviation. For this conclusion a special analysis is needed to show that the “V-Day and V-neck lexemes” [52] are indeed identical in terms of word formation. In other words, it is necessary to clarify how each of these words appeared in the English language system, to clarify what cognitive structures are behind them, what are the mechanisms of inference, which, in the end, will allow us to answer the question whether both of these units are compound words. A composite that combines different words in its structure is a means of nominating a complex object of reality that is perceived by consciousness as a Gestalt, a semantic whole that reflects the language picture of the individual's world. Any abbreviation is formally a collapsed form of the phrase transfor, unraveling the meaning of which is associated with "[52, c. 618] how knowledge is organized and in the form of what systems can you imagine". For full characteristics abbreviations should not be studied only structural types of abbreviations, as a way to reduce the words extremely diverse and adopt taking various shapes, but the mechanisms we procedure, i.e” [52, c. 612] receiving you- water data processing information and/ or language itself you water knowledge, reasoning, one of the most important cognitive operations human thinking, in which Roy, based on the directly from- contained in the text information, the person beyond this and gets new information. The need to include the inference operation in semantic theory and its description has been repeatedly drawn to the attention of R.Jack” [52, c. 615] end off. According to the researchers, "name inference is particularly significant when processing language data" [53, с. 14].