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ЕРЕВАНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ
YEREVAN STATE UNIVERSITY
СТУДЕНЧЕСКОЕ НАУЧНОЕ ОБЩЕСТВО
STUDENT SCIENTIFIC SOCIETY
ISSN 1829-4367
СБОРНИК НАУЧНЫХ СТАТЕЙ СНО ЕГУ
МАТЕРИАЛЫ ЮБИЛЕЙНОЙ НАУЧНОЙ СЕССИИ,
ПОСВЯЩЕННОЙ 95-ЛЕТИЮ ОСНОВАНИЯ ЕГУ
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DEDICATED TO THE 95TH ANNIVERSARY OF YSU
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ISSN 1829-4367
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Khosrovadukht Mamyan
Yerevan State Linguistic University after V. Brusov,
Faculty of Foreign Languages, Bachelor’s student
Supervisor: PhD Z. Misakyan
E-mail: [email protected]
FUNCTIONAL PECULIARITIES OF PARCELLED CONSTRUCTIONS IN
POST-MODERNISTIC ENGLISH FICTION
The investigation of parcellation in the domain of stylistics. The term parcellation has
been introduced in scientific literature to define the new stylistic approach in linguistics.
Parcellation is a syntactical stylistic device marked by graphic separation due to which a
syntactical construction becomes formally independent. The independent form of parcelled
construction is conditioned by the function of creating certain emotional stylistic effect on the
recipient. With this primary function, parcellation is employed by separating the sentence
structure into detached elements called cumulemes. Therefore, graphically marked by separation, a cumuleme functions as a separate sentence conducive to the expressiveness of the
utterance. Though cumulemes are formally independent, they semantically and grammatically
relate to each other as parts of one and the same sentence. Being assigned the expressive
stylistic function cumulemes are arranged to emphasize certain ideas intended by the addressor.
It is worth mentioning that the notion of cumuleme explains various border-line phenomena
between the sentence and sentential sequence including parcellation. According to Blokh, a
cumuleme is formed by two or more independent sentences making up a topical syntactic unity
and it is delimited in the text by a finalizing intonation contour 1. So, the notion of cumuleme is
applied to define detached units of parcellation and those units are produced as a result of
transposing the sentence into a cumuleme and, therefore, due to this transposition the utterance
acquires topical and stylistic significance. In this respect, the definition of parcellation relates
to the notion of cumuleme and the interrelation between them explains the stylistic function of
the utterance.
Parcelled constructions have been vigorously employed in literature, however, the term
received linguistic definition in 1960s when Russian linguists began to investigate and analyze
parcellation as a linguistic phenomenon. The current definition of the term was first introduced
in the works of the outstanding linguist A. Yefremov in 1951. Furthermore, the first profound
investigation of parcellation was carried out by Y. Vannikov in the dissertation paper “The
Phenomenon of Parcellation in Modern Russian Language” in 1965. In linguistics parcellation
has no complete or monosemantic definition, thus it can be undoubtedly related to various
views and approaches of investigation. V. Gak views parcellation as an intermediate form
between the sentence and sequence of sentences defining it as a single utterance the smallest
unit of which has a definite intonation. Furthermore, according to Gak the function of parcelled
constructions is described by the ability to overcome the strict linear order of the sentence and
adjust to the communicative intention of the speaker. Another definition was applied by H. Filanova who defines parcellation as a dropping of the utterance into two or more pieces
conditioned by the communicative intention of the speaker. Multifarious approaches to the
definition of parcellation are conditioned by the fact that parcelled construction greatly deviates
from the basic rules of grammar and syntax and, therefore, it is hard to decide what aspect it
1
Blokh M., Course in Theoretical English, Moscow, 1983, pp. 367-371.
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belongs to. Due to performing expressive function and securing desirable effect on the
recipient, parcellation finds its application in the domain of stylistics. To explain the relation, it
should be mentioned that parcellation is possessed with certain stylistic features, that is, it does
not follow the rigid rules of grammaticality, thus deviating from the basic norms of the formal
sentence structure. Moreover, parcellation addresses the emotions of the reader and aims at
receiving respond from the latter’s side. As a matter of fact, the application of certain language
media is conditioned by the idiosyncratic preference of the author who employs excessive use
of stylistic devices to achieve a high level of spontaneity in the context. Actually, stylistic
techniques enhance aesthetic, intellectual and emotional appeal which is achieved mostly by
distorting the sentence structure. The more syntactical bonds are deviated, the more expressive
and emotionally coloured the utterance is. Thus, syntactical stylistic devices are applied to
achieve stylistic connotation due to the transformation of the syntactic pattern of the sentence.
According to G. Vinokur, new materials in syntax are coined due to new relations between
words and, therefore, the syntactical aspect of speech is a definite combination of grammatical
forms and in this sense the actual words used are essentially immaterial 1. He states that
syntactic relations are that aspect of speech where everything presents itself as actualization of
the potential by which he means variations of syntactical patterns. Therefore, it’s worth
mentioning that syntactical fluctuations are permissible unless they hinder the understanding of
the utterance. In this view, parcellation is a syntactical expressive stylistic device like detached
constructions, parallel constructions, stylistic inversion, chiasmus, repetition, break-in-thenarrative, etc. It should be mentioned that anaphora, epiphora, parallelism, chiasmus are based
on the peculiar formal and semantic interaction of syntactical constructions within a sentential
and suprasentential context, but parcellation is based on the transformation of the types and
means of connection within or between sentences.
While viewing any construction as a syntactical stylistic device, the following syntactical
stylistic patterns have to be taken into account:
 the reduction of the initial sentence: ellipsis, aposiopesis, asyndeton
 the extension of the initial sentence: repetition, polysyndeton, climax, gap-sentence
link,
 the change of word order: stylistic inversion, chiasmus
 the interaction of syntactical construction in context: parallel constructions, detached
constructions
 transposition of meaning and connection of constituent parts: rhetorical question,
parcellation
Though parcellation has never been regarded in the list of syntactical stylistic devices in
general, it is possessed with sufficient characteristic features to be involved in the list. First,
parcellation is an intended violation of the sentence structure in the form of fragmenting the
sentence into two or more parts. Second, like other syntactical stylistic devices it carries the
primary function of creating certain emotional appeal to the recipient. Third, parcellation is an
effective means of transposing words in a way that best illustrates the author’s intention. So,
the above-mentioned facts prove that parcellation should also be encountered in the list of
syntactical stylistic devices.
To explain the concept of parcellation on more profound levels it is of primary importance
to draw a definite borderline between parcellation and other similar syntactical stylistic devices
by comparing them. While subjecting elliptical sentences and parcelled constructions into
investigation, the following similarities and differences have been observed. Both syntactical
stylistic devices are characteristic of the spoken variety of the language and they are frequently
observed in belles-lettres and publicistic styles. The difference between them lies in the fact
1
Galperin I., Stylistics, Moscow, 1977, pp. 192-193.
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that elliptical sentence is an autosemantic unit, that is, it is meaningful by placing in isolation,
but parcelled constructions are realized only by relating them semantically and grammatically
to the previous sentence, that is, cumulemes relate to each other as parts of one and the same
sentence. The following example illustrates the point:
Example:
Jack: Dead.
Chasuble: Your brother Ernest dead?
Jack: Quite dead.
(Oscar Wilde “The Importance of Being Earnest”)
In the following piece of drama three cases of ellipsis are observed. The second utterance
provides with the information about the dead person with the auxiliary verb “is” omitted,
whereas first and third utterances lack both subject and auxiliary verb. However, due to the
second utterance one can easily establish the meaning of the first and third utterances, that is,
“Your brother Ernest is dead”. Thus, the formal structure of any elliptical sentence can be
restored and the meaning can be deduced. In other words, due to the knowledge of the basic
syntactical structure of the sentence the omission can be easily recognized and missing words
supplied.
Example:
“He hurried on eagerly towards the Freeman’s Journal. There bob I lent him in Meagher’s. Three
weeks. Three hint.”
(James Joyce “Ulysses”)
The case is different with following example of parcellation. In this example two cumulemes are observed: “Three weeks” and “Three hint”. To consider such a cumuleme a formal
sentence will be inappropriate for the fact that it lacks predication, that is, no subject or predicate can be observed in the cumuleme. As a matter of fact, no part of the sentence can be restored and no meaning deduced. These cumulemes serve the intention of the author who makes
the reader evaluate and think over the information provided.
Actually all syntactical stylistic devices have the common function of making the utterance more expressive and emphatic. The choice of stylistic devices is at writer’s discretion,
however, it is of primary importance to use stylistic device relevantly to the point so as not to
hinder the reader’s perception of the stylistic connotation. Using unnecessary devices creates
the impression of “heavy” speech. Moreover, the misuse or overuse of stylistic devices in a
piece of writing creates difficulties in constructing a logically coherent speech. It will be borne
in mind that all stylistic devices aim at creating certain imagery to illustrate the meaning contemplated by the author. All in all, based on the tangible comparison of parcellation and other
similar syntactical stylistic devices we outlined basic features of parcellation so as to elucidate
its peculiarities effectively.
Thus, in the framework of functional-communicative syntax, parcellation is viewed as a
peculiarity of the spoken and written varieties of the language. As for the spoken variety of the
language, parcellation is typical of colloquial impromptu speech. While speaking, speakers
subconsciously utilize such parcelled constructions for various reasons. The primary reason is
that their speech is impromptu and oral made on the spot. Speakers try to transmit the information ignoring strict formal rules of grammar and syntax. They are inclined to shape their ideas
in the way that best fits the situation. Moreover, as speakers strive for spontaneity during communication, they apply such informal loose structures so as to illustrate the point. Some speakers tend to expressiveness and, therefore, certain pauses that they maintain while speaking are
caused by emotions and hesitation. And, to avoid pauses speaker tend to the brevity of the
expression, thus, shaping their ideas in detached and incomplete sentences. In this respect the
speaker deals with parcellation, which is an indispensible part of the oral communication.
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The linguists who have investigated parcellation from the aspect of functional stylistics
unanimously mention that parcellation is vigorously observed in expressive syntax. Parcellation displays abundant use in belles-lettres style, particularly in emotive prose which is characterized by variations in syntactical constructions and sentence structure. In this respect, it is
worth mentioning that emotive prose is defined as a combination of the spoken and written
varieties of the language, thus parcelled constructions are included both in author’s and character’s speech as an efficient tool to expressively address the reader.
Example:
“Don’t you think it’s quite the most modern thing you ever saw?” she asked Ridley. “It seemed to
me I’d known twenty Clytemnestras. Old Lady Ditchling for one.
(Virginia Woolf “The Voyage out”)
One of the peculiarities of the emotive prose is the lexical and syntactical idiosyncrasy
which determines the range of lexical and syntactical deviations. Moreover, parcellation is an
advantageous device for prolific writers who are keen on creating imagery to arouse certain
emotions to the reader. Parcelled constructions are used not only in character’s speeches, but
also in narrator’s descriptions and remarks. This stylistic device is applied in description to
provide visual overview about the information provided, thus making the reader more
conscious and involved in the topic.
Example:
The Ramsays were not rich, and it was a wonder how they managed to contrive it all. Eight
children. To feed eight children on philosophy.
(Virginia Woolf “To the Lighthouse”)
It is necessary to mention that parcellation is frequently met in another substyle of belleslettres style, that is drama. Unlike emotive prose, the language of drama is entirely dialogue
which also includes the norms of colloquial language. Obviously the playwright avoids monotonous and tedious utterances and strives to stylize character’s speeches by making use of various expressive and syntactical stylistic devices.
Example:
Duncan: Give me your hand;
Conduct me to mine host: we love him highly
And shall continue our graces towards him.
By your leave, hostess.
(William Shakespeare “Macbeth”)
Generally speaking, emotive prose and drama are greatly related to the stylization as a
result of which the breach of the traditional syntactical design of a sentence takes place. To be
more precise, parcellation as a means of stylizing the text, brings intensification to the
utterance breaking the linear order of the sentence. This is explained by the fact that the
precision of syntactical connections becomes less important when the author strives for
producing certain effect on the reader. Even the breach of the syntactical pattern results in a
better perception of the utterance. So, the application of parcellation becomes relevant when
writer tends to create emotive-expressive tension on the reader.
Besides expressive stylistic function, parcelled constructions also perform the function of
economizing syntactical constructions. Due to this function parcellation finds its application in
advertisements, mainly in brand slogans. Brand slogans should be memorable, brief and meaningful, thus imparting positive feelings for the brand. The use of parcellation in advertisements
is conditioned by the aim of briefly informing the consumer and forcing to act. Taking into
account the fact that people are more inclined to read brief statements, parcelled constructions
are applied to meet the brevity of the expression, thus, visually grasping the attention of the
recipient. Needless to say that the shorter the statement is, the more success it will face. Actual41
ly, advertisements are designed to attract attention and at the same time they should be brief
and convey much information, and, therefore, parcellation is an efficient tool to reach the aim.
The following examples of brand slogans illustrate the point:
 Quality. Value. Service. (Marks & Spencer Company)
 New. Fast. Efficient. (Air France Company)
 Energy. Efficiency. Advice. (British Gas)
Overall we come to the conclusion that parcellation exposes quite broad use in those
functional styles which are apt to address certain emotional appeal to the recipient. Observing
the application of parcellation in different functional style we arrived at the point that
parcellation conveys a high level of stylistic expressiveness.
The investigation of parcellation in post-modernistic English fiction. The movement
of postmodernism emerged in the post-World War era, thus, tending to oppose trends and
norms provided by modernism, which gives importance to reasoning and natural sciences.
Modernism relies on the experimentation of ideas and views human-being as a crucial figure
with high self-consciousness and change-making progressive power, whereas postmodernism
is based on deconstruction and merging of subject and object. The ideology of modernism
implies that search for novelty led to emerging progress reexamining every aspect of human
existence ranging from psychology to commercial relations. Special emphasis was drawn on
techniques used to promote scientific knowledge with the prospect of improving human
environment. Roughly speaking, the vast network of mass communication and transportation
led to the principle of no clear distinction between natural and artificial. The gradual outcome
of modernism was referred to as de-realization, that is, the dissolution or complete change of
the substance conditioned by the interaction between subject and object. According to
Nietzsche de-realization is referred to as “the last breath of vaporizing reality”, which is further
described as the dissolution of the distinction between the “real” and the “apparent” world. The
introduction of novelty tools facilitated a different perception of the reality, thus finding
reflection in architecture, literature, philosophy and social organization. Postmodernism, as a
further successive movement, embraces logical consequences of modernism providing
skeptical interpretation of reality. A general suspicion and disregard about scientific knowledge
comes forth when the destructive consequences of World War II become apparent and
noticeable. In essence, with the primary effort to explain reality post-modernism focuses on the
relative truth of each person. The skeptical approach to the assumed, often scientific norms of
the modernistic era is conditioned by the lack of optimism toward what is scientifically and
philosophically proved. Post-modernistic ideology found its application in literature, thus,
becoming point of departure for a variety of works. In spite of the fact that postmodern
literature has commonly received peculiar features and literary norms, some researchers are of
the opinion that postmodern literature should be defined in relation to its precursor - modernist
literature. In fact, postmodern literature exists within a larger realm of contemporary fiction
embracing a large number of literary works. In postmodern literature most common features,
such as irony, pastiche, intertextuality, metafiction and temporal distortion, function as
disconnections of thoughts from reality. By means of these features writers achieved the
primary aim of displaying their negative attitude to whatever happened during World War II.
Moreover, the rise of global capitalism and transnational communication resulted in the
diminishment of national boundaries which is one of the basic characteristics of postmodernism. In other words, the chaotic condition in the world is manifested by equally chaotic
and complex techniques which are formed to demonstrate randomness and contradiction.
One of the brightest manifestations of postmodernism is the historical fiction novel “The
French Lieutenant’s Woman” by John Fowles in 1969. This literary work is remarkable for the
excessive use of intertextuality, metafiction, pastiche and other techniques which are employed
for the purpose of criticizing Victorian era with its repressive conventions and norms.
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Furthermore, with constant intrusion into the narrative Fowles expresses criticism to those
aspects of Victorian era which seem alien and distant. The novel suggests two endings, thus
displaying inevitable alternatives and different results, none of which offer the crystallization
of truth and meaning. The creation of multiple endings makes readers more conscious of the
sophisticated plot and relies on their personal preference. Specifically, the notions of detachment, irony and distance came to be expressed by parcellation, detached construction, break-inthe-narrative and other devices, which found their full application in post-modernistic English
fiction. As far as parcellation is concerned, it’s worth mentioning that the device found full
access in postmodern literature functioning in a variety of ways and, thus, it is due to the
common trends and features of postmodernism that parcellation finds full accessibility and
displays various expressive and semantic functions. By utilizing parcellation as a means of
achieving detachment, postmodern writers attempt to transmit the inconsistent flow of speech
and thought which is quite characteristic of the postmodern ideology. Thus, the application of
parcellation leads to the breach of coherence in the utterance which takes the form of formally
detached, but semantically related cumulemes. To illustrate the point, we proceed with examples from “The French Lieutenant’s Woman” by John Fowles.
Example:
“I will present you. And then you can have an eyewitness account of the goings-on in the Early
Cretaceous era.”
He smiled. “The Early Cretaceous is a period. Not an era.”
(John Fowles “The French Lieutenant’s Woman”)
In the following example the underlined part is the cumuleme which forms a separate
sentence. The detached form of the cumuleme enhances the meaning as well as increases the
logical emphasis presupposed by the author. In this example Charles corrects the statement
made by Ernestina and it is through the formal interference of the author that this correction
receives logical emphasis forming a separate cumuleme.
So, what makes parcellation accessible in English postmodern fiction? To deal with the
question we should expound the features of postmodernism along with those of parcellation so
as to come up with certain justification. Postmodernists are inclined to diminish the conventional boundaries and rules set prior to their literary movement. To put it in terms, postmodern
fiction is characterized by extended utterances which can be in the form of temporal distortion,
disconnection of thought, paranoid thinking or stream of consciousness. Such complex utterances reflect the character’s or author’s flow of mind resulting in the breach of coherence and
grammar. In this respect, postmodernists’ tendency was close to that of poststructuralists who
focus their attention on the ways in which texts undermine structures. More precisely, it is the
theory of deconstruction by eminent poststructuralist Jacques Derrida that makes these movements closer. According to Derrida, text is a play of linguistic elements rather than a structured
unit1. As a matter of fact, we can conclude that in his view a text is devoid of meaning as the
meaning of the context relies on the interplay of linguistic elements. The tendency of deconstruction establishes the core basis of post-modernistic movement serving its basic principles.
Thus, the use of parcellation turns out to be the best way to deal with extended utterances and
various literary deviated forms. Since writers seek a proper way of linguistic and formal representation of such extended and complex utterances, they turn to parcellation as the best way of
placing the utterance in separate cumulemes and meanwhile imparting stylistic colouring.
Semantic and expressive functions of parcelled constructions. The authentic approach
to the investigation of parcellation implies that parcelled constructions perform different
functions from the semantic point of view, thus, conditioned by the cryptic intention of the
author and the implication of the content. To distinguish between functions, one has to view
1
See Derrida J., Of Grammatology, JHU Press, 1998.
43
the semantic-functional aspect of the sentence and then decide what function the cumuleme
performs. These functions are performed due to the semantic property of parcellation and,
therefore, based on profound research the following basic functions have been singled out:
a) evaluative function
The author’s intended subjectivity finds its reflection on the formation of the utterance,
thus signaling about the specific evaluation based on the overall content. The evaluative
function carries the primary goal of displaying the intentional topical meaning intended by the
author. Evaluative function may also be applied to provide character’s portrayal. Perhaps, this
function is significant for the fact that the author’s evaluation is informative and thoughtprovoking. Obviously, such evaluative statements carry underlying logic which can be deduced
only by relating them to the context. The evaluative function is of primary importance for the
reason that all stylistic connotations are achieved by the evaluation of the author.
Example:
This is already a new language. And uncomprehensible.
(Ian Fleming “Gold Finger”)
As for me he remained an unintelligible island. An island which was difficult to comprehend.
(S. Maugham “The Razor’s Edge”)
b) defining (informative) function
Parcelled constructions are apt to provide explanation or definition, thus, expanding to
provide explicit information about the utterance. The graphic separation of parcelled
construction by full-stop makes the provided definition more emphatic and emotionally
colourful. The special indication in cumulemes is applied to highlight the provided information
and draw the reader’s attention to the important data. The purpose of such indication is that the
author tries to isolate essential information and, therefore, the information which could be
seemingly unimportant receives high stylistic connotation, thus taking an important role in the
utterance. The defining function may be viewed in the form of referring to the utterance
additionally and including further explanation on the subject. However, the question arises that
the definition provided in cumulemes may also contain evaluative information along with
definition. In this case the more subjective statement should be related to evaluative function,
and the more explanatory and informative statement to defining function.
Example:
From the playfield the boys raised a shout. A whirring whistle: goal.
(J. Joyce “Ulysses)
The dog’s bark ran towards him, stopped, ran back. Dog of my enemy.
(J. Joyce “Ulysses,)
He was sitting next to me. Jack Cardigan. The lawyer of the town.
(John Galswarthy “The Forsyte Saga”)
c) emphasizing function
The gradual strengthening and intensification of the utterance puts the emphasizing
function into work. Parcelled constructions are used to stress certain ideas and, therefore, this
function finds its fulfillment in reinforcing them. The most frequently observed pattern of
parcelled construction with emphasizing function is as follows; the word which is to be
emphasized should be repeated in the parcelled construction, that is in cumuleme, with the
appropriate adjective before it. The following examples illustrate the point:
Example:
But the level of the water is high. Very high.
(John Galsworthy “The Forsyte Saga”)
The main in a woman is character. Sharp character.
(S. Maugham “The Razor’s Edge)
44
“What! From a mere milkmaid? Impossible.”
Charles had to close his eye then in a hurry, to avoid a roughly applied brushful of lather.
“It was higgerance, Mr. Charles. Sheer higgerance.”
(“The French Lieutenant’s Woman” John Fowles)
d) supplementing function
To subject the recipient into anticipation and surmise the supplementing function is
performed. The following sentence marked by parcellation supplements the meaning expressed
in the previous sentence. In most cases the reader feels that the utterance is incomplete and
then, by reading the continuation in the following cumuleme, the meaning of the utterance
becomes comprehensible. The supplementing function may also act in the form of
enumeration, thus enumerating objects, feelings, states or activities in subsequent cumulemes.
Example:
There was a sort of community pride attached to it now. Or shame at its unavoidability.
(E. Stephens)
Jonathan was drinking tea, eating his pie greedily. And telling the story of his life.
(Charles Dickens “Great Expectations”)
I would like to have a cup of whiskey. Cold. With soda.
(S. Maugham “The Razor’s Edge”)
e) describing (visual) function
To stir the emotions of the recipient and make him/her an active participant of the events
in the book the author provides description by locating information in cumulemes and
gradually releasing them. This method helps the recipient get the visual picture of the
description, thus witnessing the picture intended. In general, this function is applied to describe
material things, such as description of panorama, state of objects or appearance of characters.
In other words, the describing function may be called visualizing function.
Example:
He stared at them proudly, piled stone mamooth skulls. Gold light on sea, on sand, on
boulders.
(J. Joyce “Ulysses)
Though the barbacans the shafts of light are moving ever, slowly ever as my feet are sinking,
creeping duskward over the dial floor. Blue dusk, nightfall, deep blue night.
(J. Joyce “Ulysses)
I’d say he was thirty-five or –six. Sallow, dark hair and eyes, with the eyes set pretty close
together, big mouth, long limp nose, bat-wing ears - shifty-looking.
(D.Hammett, “The Thin Man”)
As a result of the profound observation we have come up with the above-mentioned functions of parcelled constructions. The theory is worthwhile for the fact that it reveals the cases in
which authors employ parcellation, thus, helping the English learners observe peculiarities of
the construction. However, encountering the fact that writers are free in shaping and stylizing
their utterances, we admit that other functions by parcellation could also be observed. So, the
following classification is based on the semantic-expressive function of parcelled constructions
and, therefore, this theory serves as a guide for those who are keen on investigating parcellation.
Conclusion. As a result of the observation, we came up with a worthwhile theory on the
use of parcelled construction in Post-Modernistic English fiction. It should be mentioned that
the investigation of parcellation in Post-Modernistic English fiction resulted in revealing the
basic functions and features of the device. Moreover, parcellation should be unanimously
included in the list of syntactical stylistic devices as it displays all necessary features to be
regarded as such. Our innovative input to the investigation of parcellation is in the form of
singling out basic semantic and expressive functions of the device, thus, helping English
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learners observe peculiarities of the construction. This classification, as a means of individual
approach to the investigation, enhances the understanding of the construction providing
worthwhile material for further observation.
Խոսրովադուխտ Մամյան
ՄԱՍՆԱՏՎԱԾ ԿԱՌՈՒՅՑՆԵՐԻ ԳՈՐԾԱՌԱԿԱՆ ԱՌԱՆՁՆԱՀԱՏԿՈՒԹՅՈՒՆՆԵՐԸ
ՀԵՏՄՈԴԵՌՆԻՍՏԱԿԱՆ ԱՆԳԼԵՐԵՆԻ ԱՐՁԱԿՈՒՄ
Բանալի բառեր` մասնատված կառույցներ, հետմոդեռնիստական գրականություն,
մասնատում, մասնատված կառույցների իմաստաբանական և արտահայտչական
գործառույթներ, շարահյուսական, ոճաբանական միջոց
Հոդվածը նվիրված է մասնատված կառույցների ուսումնասիրությանը հետմոդեռնիստական անգլերենի արձակում: Լինելով շարահյուսական-ոճաբանական միջոց` մասնատված կառույցները օգտագործվել են գրական ստեղծագործություններում` մասնավորապես հետմոդեռնիստական արձակում: Սակայն հետաքրքիր է այն փաստը, որ մասնատումը երբեք խորապես
չի ուսումնասիրվել լեզվաբանության բնագավառում: Ելնելով այս փաստից` կարևոր ենք համարում ուսումնասիրել մասնատված կառույցների օգտագործումը և գործառական առանձնահատկությունները` ներառելով շարահյուսական ոճաբանական միջոցների շարքում:
Xосровадуxт Мамян
ФУНКЦИОНАЛЬНЫЕ ОСОБЕННОСТИ ПАРЦЕЛЛИРОВАННЫX КОНСТРУКЦИЙ В
ПОСТМОДЕРНИСТИЧЕСКОЙ АНГЛИЙСКОЙ ПРОЗЕ
Ключевые слова: парцеллированные конструкции, постмодернистическая литература,
парцелляция, семантическая и экспрессивная функции парцеллированныx конструкций,
синтаксическое стилистическое средство
Статья посвящена исследованию парцеллированныx конструкций, таких, как синтаксикостилистические средства, в постмодернистической английской прозе.
Исxодя из того, что парцелляция до сиx пор глубоко не изучена, считаем исследование
функциональныx особенностей, применение парцеллированныx конструкций и включение иx в
ряд синтаксико-стилистическиx средств важным и актуальным.
Khosrovadukht Mamyan
FUNCTIONAL PECULIARITIES OF PARCELLED CONSTRUCTIONS IN POSTMODERNISTIC ENGLISH FICTION
Keywords: parcelled constructions, postmodern literature, parcellation, semantic and expressive
functions of parcelled constructions, syntactical stylistic device
The article aims at investigating parcellation in Post-Modernistic English fiction. As a syntactical
stylistic device, parcellation has been abundantly used in literature, particularly in Post-Modernistic
fiction, however, it has never been subjected to profound and proper investigation in linguistics. As a
matter of fact, it is of paramount importance to investigate functional peculiarities and use of parcellation,
thus, including in the list of syntactical stylistic devices.
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