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Kosharnaya S.A. [Speech as an element of the portrait of a character in the A.S. Pushkin’s novel «Evgeny Onegin» as a linguistic and cultural marker] World of Science. Series: Sociology, Philology, Cultural Studies, 2021, Vol. 12, No. 1. Available at: https://sfk-mn.ru/PDF/10FLSK121.pdf (in Russian).
Speech as an element of the portrait of a character in the A.S. Pushkin’s novel «Evgeny Onegin» as a linguistic and cultural marker
Kosharnaya Svetlana Alekseevna
Belgorod state national research university, Belgorod, Russia
Abstract. The focus of this work is on the speech realizations of the main characters of the novel «Evgeny Onegin» as key’s elements of the author’s portrayalization of the characters and linguistic and cultural markers of the language era. The poet repeatedly focuses the reader’s attention on the language: he seems to suggest to the reader that the decision to the character of a particular character should be sought in his speech. The names of the characters also serve as a kind of linguistic and cultural characteristics. As the analysis of the speech «self-presentation» of the characters and their author’s speech «portraitization» shows, in the novel, in addition to the actual storyline, there is a contrast between two literary and stylistic phenomenons: a high-artificial-syllable and a democratic literary language, which experienced its formation in the 20s of the XIX century. The two style are marked, contrasted, and personified. In this duel, the archaized language, torn from the living natural speech, like Lensky, perishes; and a new literary speech comes to replace it. Probably, already in the initial period of work on the novel «Evgeny Onegin», A.S. Pushkin finally formed his linguistic «worldview». He gets rid of pretentious archaic Church-Slavonisms and from unnecessary borrowings, mainly French. In the final part of the novel «Excerpts from Onegin’s Journey» (we do not consider the tenth chapter as a foreign inclusion in the structure of the novel), the poet already uses colloquial elements and constructions quite freely. Thus, despite the fact that Pushkin entered the atmosphere of the language’s struggle as a «Frenchman», deliberately limiting the scope of the use of Church-Slavonisms, starting in the 20s of the XIX century, and especially by the end of the decade, he refuses not only from the style of the poetry of his predecessors, but also from «imitation of the West» in favor of a national democratic language.
Keywords: linguoculturology; the language of literature; A.S. Pushkin; «Evgeny Onegin»; character; speech portrait; slavonism; borrowing; democratization of language
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