LINGUISTIC MODELING OF THE AUDITORY PERCEPTION OF “IRREALITY” IN VICTOR PELEVIN’S NOVEL “CHAPAEV AND PUSTOTA”
DOI: 10.23951/1609-624X-2019-2-63-69
Introduction. The article describes the semantic model of auditory perception of “irreality”, represented in the text of the novel by Victor Pelevin. Modeling of perception processes is one of the parameters of the artistic text considered in the analysis of its communicative and semantic structure. Images based on sensory sensations are a key component of the artistic picture of the author’s world. Material and methods. The study of the semantics of perceptivity on the material of postmodern texts is directly connected with the problem of “reality/irreality” of the described events, objects, phenomena in the artistic space of the text, which makes the research topic relevant, and includes the research in the scientific context. Results and discussion. The description of irreal events presupposes a change (deformation) of the invariant perception model, primarily related to the “strengthening” of the role of the object of perception. Particular attention is paid to the “mismatch” of the perceptual and mental modes. “Uncertainty”, “blurring”, “strangeness” of objects of perception, caused by the impossibility of visual activity and the altered state of the character’s consciousness, are actualized. Description of the unusual perceptual experience of characters indicates that in the situation of unavailability (absence) of the visual channel of perception, auditory perception allows to model a “picture” that exists only in the altered consciousness of one or another character of the narrative. Linguistic analysis of the fragments of the text showed that “irreality” becomes one of the objects of comprehension and creative reflection of the author of the novel. To represent the situation of unusual auditory perception, a wide range of language means is used (indefinite pronouns, comparative constructions, indefinitepersonal and impersonal one-member sentences, complex sentences with complement clauses and correspondences, etc.). In some cases, the subject of perception realizes that the events observed are of an irreal nature and tries to find their analogue in the familiar world (relying on their auditory sensations). This leads to the emergence of various analogies and comparisons in the text of the novel. The conclusion emphasizes that due to transpositional transfers (vision – hearing), the perceptual component is “strengthened” and the artistic space of the work is “expanded”.
Keywords: irreality, auditory perception, sound, semantic model
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Issue: 2, 2019
Series of issue: Issue 2
Rubric: CURRENT ISSUES OF LINGUISTICS
Pages: 63 — 69
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