Прецедентні феномени як засіб передачі культурної інформації в художньому тексті

Abstract

У статті розглядаються особливості та цілі використання прецедентних феноменів у художньому тексті на прикладі матеріальних об’єктів культури – прецедентних артефактів. Маючи план змісту і план вираження, прецедентний артефакт є одним з найяскравіших знаків культури та наділяє чуттєве сприймання культурним змістом.

В статье рассматриваются особенности и цели использования прецедентных феноменов в художественном тексте на примере материальных объектов культуры – прецедентных артефактов. Имея план содержания и план выражения, прецедентный артефакт является одним из ярких знаков культуры и наделяет чувственное восприятие культурным содержанием.

The article deals with the peculiarities and aims of precedent phenomena usage in a literary text. It should be taken into account that a writer can use different types of precedent phenomena depending on his national identity. In many cases these language units are used as a special type of stylistic device for indicating the character’s cultural peculiarities. Precedent artifacts were chosen as an object of the research. They are very important cultural signs and add cultural coloring to the process of sensual perception. Every artifact is meaningful for the culture it belongs to, but it should be noted that the artifact functions in mental area of a human being. As a result we deal not with the artifact itself, but with its image. The same artifact may have different connotations in different cultures and for different people, that’s why we view them as an effective means of conveying of cultural information and peculiarities. In the novel «Waiting for the Tulips to Bloom: Adrift in Istanbul» precedent artifacts are represented by items of traditional Muslim clothes and accessories. Mentioning them in the text, the author tries to give additional information to the reader about the artifacts, connotations they have in Turkey, associations and valuation they awoke in European’s consciousness. As a result, we can observe the difference between the real connotation of the object and its image which has formed in another culture. It illustrates that every culture has its own ideas, which can influence and alter the artifact’s content. In addition, the author illustrates the various meanings the object can have among the representatives of the same (Turkish) culture. That fact allows getting more information about the author’s cultural competency and the characters’ social status, world view and attitudes.