Фразеология и ее стилистическое использование на примере произведения Артура Хейли "Аэропорт".

Content
Introduction
Part I. English phraseological system
Concept of a phraseological combination of words
The basic types of phraseological units in English language
Stylistic features of English phraseology
Lingvoculturological features of English phraseological units
Part II. Figurative and expressive features of the phraseological units in the novel “Airport”
Possibilities of use of phraseological means
Role of the phraseological units in the novel “Airport”
Types of the phraseological units used in the novel “Airport”
Stylistic features phraseological units in the novel text
Jargon phraseology in the “Airport”
Conclusions
Bibliography

Фразеология и ее стилистическое использование на примере произведения Артура Хейли "Аэропорт".

5) the scientific;
6) the publicistic.
We can classify the English phraseological units according to the theory of three sryles: elevated, neutral and subneutral.
Some of phraseological units are elevated: an earthly paradise; to breathe one's last; to fiddle while Rome burns; the sword of Damocles. Some are subneutral: to rain cats and dogs; to be in one’s cups (= to be drunk); big bug (‘important official’); small fry (‘unimportant people’).
Among the elevated phrases we can discern the same groups as among the elevated words:
a) archaisms - the iron in one’s soul (‘permanent embitterment’); Mahomet’s coffin (‘between good and evil’); to play upon advantage (‘to swindle’);
b) bookish phrases - to go to Canossa (‘to submit’); the debt of nature (‘death’); the knight of the quill(‘writer’); gordian knot (‘a complicated problem’);
c) foreign phrases - a propos de bottes (‘unconnected with the preceding remark’); mot juste (‘the exact word’).
Subneutral phrases can also be divided into:
a) colloquial phrases - alive and kicking (‘safe and sound’); a pretty kettle of fish (‘muddle’);
b) jargon phrases - a loss leader (‘an article sold below cost to attract customers’);
c) old slang phrases - to be nuts about (‘to be extremely fond of’); to shoot one’s grandmother (‘to say a non-sensical or commonplace thing’); to keep in the pin (‘to abstain from drinking’); to kick the bucket, to hop the twig (‘to die’).
Even what can be called neutral phrases produce a certain stylistic effect as opposed to their non-phrasal semantic equivalents (to complete absence of phrases in the whole text). Correct English and good English are most certainly not identical from the viewpoint of stylistics. Idioms and set expressions impart local colouring to the text; besides, they have not lost their metaphorical essence to the full extent as yet - hence, they are more expressive than unidiomatic statements.
Compare the following extracts containing set phrases with their ‘translations’ (equivalents) devoid of phraseology:
“Come on, Roy, let’s go and shake the dust of this place for good” (Aldridge)
Cf. … let us go and leave this place for ever.
If she could not have her way, and get Jon for good and all she felt like dying of privation. By hook or by crook she must and would get him! (Galsworthy)
Cf. If she could not act as she liked, and get Jon for herself for her whole life ... By whatever means she must and would get him.
Absence of set phrases makes speech poor and in a way unnatural: something like a foreigner’s English. On the other hand, excessive use of idioms offends the sense of the appropriate. Recall Soames Forsyte’s apparent incomprehension of the slang phrase to have the bird used by his son-in-law, Mont (see above).
A very effective stylistic device often used by writers consists in intentionally violating the traditional norms of the use of set phrases (some authors call it ‘breaking up of set expressions’(Galperin 1971: 313). The writer discloses the inner form of the phrase; he either pretends to understand the phrase literally (every word in its primary sense), or reminds the reader of the additional meanings of the components of which the idiom is made, or else inserts additional components (words), thus making the phrase more concrete and more vivid, as in the following example in which the phrase shifting from foot to foot is altered:
He had been standing there nearly two hours, shifting from foot to unaccustomed foot. (Galsworthy)
Often the key-words of well-known phrases are purposely replaced.
Thus, unmasking the inhuman ‘philosophy of facts’ in his novel Hard Times, Dickens ironically exclaims Fact forbid! instead of God forbid!.
Mark Twain replaces the epithet in the expression The Golden Age, naming satirically his contemporary epoch The Gilded Age.
In the following instances the humorous treatment of the idioms consists in pretending to understand them literally:
“Then the hostler was told to give the horse his head, and his head being given him, he made a very unpleasant use of it: tossing it into the air with great disdain, and running into the parlour windows over the way ...” (Dickens)
(To give the horse his head means 'to loosen the reins’.)
“Soames bit his lip. “God knows!” he said. “She’s always saying something,” but he knew better than God.” (Galsworthy)
Henry writes that he had so many new schemes up his sleeve that he “had to wear kimonos to hold them”.
Two examples in which one of the components of the idiom is taken at its face value as a separate word and treated accordingly, which provides a humorous effect:
“ ... the miserable little being [an illegitimate child] was usually summoned into another world, and there gathered to the fathers it had never known in this.” (Dickens)
(To go to one's fathers is a euphemistic phrase that means ‘to die’.)
In what follows, the boy’s mouth is described in passing just after the phrase to be born with a silver spoon in one’s mouth.
“Little Jon was born with a silver spoon in a mouth which was rather curly and large.” (Galsworthy)
On the basis of the ancient admonition, spare the rod and spoil the child (= if you do not punish your offspring, you will spoil him) the viewpoint of the new educational trend at the beginning of the twentieth century is thus summarized by Galsworthy:
“They spoiled their rods, spared their children and anticipated the results with enthusiasm.”
See also the title of Bernard Shaw’s play Too True to Be Good saying just the opposite of what it is the custom to say: too good to be true (= unbelievable ).
Observe, finally, a scornful word-for-word treatment of the current phrase in response to a gangster's reassuring verbosity:
“Alfred, he's my nephew. My sister’s child. Sort of his guardian, I am. He wouldn’t harm a fly, I assure you.”
“Next time I'll have a fly caught - specially for him not to harm it.” (Chandler)
A number of curious instances of distorting ‘literalizing’, combining and opposing phraseological expressions to achieve stylistic effects are adduced by L.A. Barkova, who studied commercial advertising (Barkova 1983). Here are some of them.
Assuring the prospective buyer of the high quality of those metallic parts of a car which its users rarely see (the inside of the car), an advertiser refers to it as to the other side of the metal. The expression is obviously derived from the internationally known phrase the other side of the medal.
A dealer in window blinds slightly alters the well-known saying Love is blind, advertising his merchandise thus: Our Love Is Blinds.
Changes in spelling (attaining a new meaning and at the same time preserving the phonetical form of the original set expression) are also resorted to. The well-known precept Waste not, want not (the idea of which is ‘wasting will make one suffer from want of what has been wasted’, or to put it shorter, ‘wasting brings suffering’) is used by the producer of dietary foods, hinting in his advertisement at the disadvantage of being fat: Waist not, want not.
A furniture shop praises its sofas: Sofa, So Good! (from so far, so good). A special device is the interaction of set phrases in an ad for a new cookbook: The last word in French cookbooks by the first lady of French cooking. The phrases last word and first lady make an antithesis, thus enhancing the expressive force of the statement.
Sometimes allusions are made use of. The ad recommending Smirnoff’s Silver (a famous brand of whisky) says that it is for people who want a silver lining without the cloud (the allusion is to the proverb Every cloud has a silver lining, i.e. ‘everything that is bad has a good side to it’). The advertiser's assertion without the cloud could be a hint that the consumer will have no hang-over afterwards.
All the examples of phraseology in advertising were collected by L.A. Barkova. The author of the present book has only commented on some of them.
Lingvoculturological features of English phraseological units
Phraseological units arise in national languages on the basis of such figurative representation of the validity which «displays spiritually empirical, historical or spiritual experience of language collective which, certainly, is connected with its cultural traditions for the subject of a nomination and speech activity is always the subject of national culture» (Telija 1996). Thereupon pertinently to result an opinion of N.A. Berdjaev that each separate person enters into mankind as the national person.
Characteristic feature of phraseological units in English language is their gravitation to negative estimations, reproduction of negative emotions. It is connected by that all good in a valuable picture of the world and all positive are perceived as due: the person is irritated with a discomfortable condition, and comfortable brings more likely rest, than pleasure.
Usual native speakers do not own historical and etymological “underlying reason” of value of a phraseological unit. The explication of the cultural-national importance of a phraseological unit is reached on the basis of reflective – unconscious or conscious – correlation of this live value with those “codes” of culture which are known to the speaking.
Correlation of language values with that or other cultural code makes the maintenance cultural and national connotations.
The cultural and national originality of phraseological units serves as object of studying of the researches close to a regional geographic direction aimed at the synchronous description idioethnic of distinction in phraseological structures of different languages (both related, and unrelated).
It is necessary to pay attention that at definition of national and cultural specificity the national language is accepted to the initial in it idioethnic forms, and the cultural importance is attributed only to a such language originality.
In language are fixed and phraseologised those tropes which associate with cultural andnational standards, by stereotypes, mythologems, etc and which at the use in speech reproduce characteristic for this or that lingvocultural generality the mentality serving for it “piritual equipment” “sychological toolkit” (Gurevich 1984).
Thus, as we see, the phraseology of English language represents a harmonous system. It has a relative autonomy, because the phraseological units essentially differ, on the one hand, from separate words, and from whole sentences on the other hand.
Part II. Figurative and expressive features of the phraseological units in the novel “Airport”
Possibilities of use of phraseological means
English phraseology contains the richest means of speech expressiveness in fiction, gives speeches a special expression and is unique national “color”. Phraseological units possess different degree of an expression. Among them is and stylistically neutral, having strictly defined, direct value for modern language consciousness (often they represent the erased metaphor), and coming nearer to terms or nomenclature formations. Expressive and emotional phraseological units are most widely common in spoken language and colloquial speech, and also in fiction texts and journalistic genre (Kozhina 2008: 240). One of prominent features of use of phraseology in fiction and publicismis are transformations of phraseological units, their figurative usage. So, we start the analysis of use of phraseological units in the novel text “Airport”, written by Arthur Hailey.
Role of the phraseological units in the novel “Airport”
One of the specific features of the Hailey’s style is the following one: he uses the phraseological units when he gives a characteristic to the heroes of the book. So, each hero has his own number of phraseological characteristics, but the plot of the novel brings them together into one complicated and simultaneously harmonious pattern.
The story takes place at a fictional Chicago airport called Lincoln International, based very loosely on O’Hare International Airport. The future of the Airport is described in this way: … at Lincoln International a showdown was coming soon.
The main character is Mel Bakersfeld, the General Manager, whose devotion to his job is tearing apart his family and his marriage to his wife Cindy, who resents his use of his job at the airport as a device to avoid going to various entertaining events she wants him to participate in, as she attempts to climb into the social circles of Chicago’s elite. His problems in his marriage are further exacerbated by his romantically-charged friendship with a lovely woman, Trans America Airlines passenger relations manager Tanya Livingston. Moreover Mel doesn’t see clear the future of his own personal career (He discovered he was no longer “in” in Washington – Hailey plays with this idiom to show the professional tragedy of Mel).
The story takes place mainly over the course of one evening, as a massive snowstorm cancel a lot of airport operations. The storyline centers on Bakersfeld’s struggles to keep the airport open during the storm. His chief problem is the unexpected closure of primary Runway 3:0, caused when a landing air jet turns off past the wrong side of a light, burying the plane’s landing gear in the mud, and blocking the runway. The stuck plane later becomes a major problem as Trans America flight two experiences an emergency which requires that the runway become available.
The closing of runway 3:0 requires the use of shorter runway 2:5, which has the unfortunate consequence of causing planes to take off over a noise-sensitive suburb – Meadowood, whose residents makes a protest picket in the airport. The short runway 2:5 is also later inadequate to land TA flight two which has suffered major mechanical damage due to explosive decompression caused by the detonation of the bomb brought on board by D.O. Guerrero.
Joe Patroni is the tough, grizzled, head of maintenance operations for Trans World Airlines (TWA), at Lincoln, who is drafted in by Bakersfeld to move the disabled aircraft. He fights to do so under the aircraft's own power without damaging it. This is in spite of the emergency, which could require the airplane be pushed off by snow plows (which would destroy the aircraft).
D.O. Guerrero is a desperate man (His financial rating was minus zero) who is determined to find a way to solve his financial problems, regardless of what it will cost others. He builds a carry-on suitcase bomb that he takes onto Trans America Flight Two, “The Golden Argosy”, a Rome-bound Boeing 707, in the hope of providing an insurance-fraud death benefit to his wife. The bombing plot is foiled with the assistance of a little old woman, Ada Quonsett, a habitual stowaway, whose help is enlisted by the flight crew of flight two to get at the bomb being held by Guerrero.
Vernon Demerest is a womanizing pilot for Trans America Airlines and brother-in-law to Bakersfeld, who opposes him on a number of issues. Vernon's lover, airline stewardess Gwen Meighan, reveals to him that she is pregnant (“Well, goddamit, Gwen!”). They are both on duty aboard the Trans America flight that Guerrero bombs.
A mostly separate plot line concerns Mel’s brother Keith (he lost the picture), an air traffic controller tormented by guilt and flashbacks from a past mid-air collision.
Types of the phraseological units used in the novel “Airport”
In the text of the novel the author, pursuing those or other art aims, uses phraseological units of all three types. In total in the text of the novel it was revealed nearby 200 phraseological units various types, approximately half from them are phraseological unities, 35 % are phraseological combinations, and 15 % are phraseological unions.
1. Phraseological unions. There are not so many phraseological unions in the novel text, basically, these are phraseologisms with a lexeme hell, carrying out expressional function, acting in a role of interjections: And what the hell it is necessary to do it?; Everybody voted to get the hell out;.
In the text we also can find examples of from morphological point of view different phraseological unions, but similar in their stylistic functions:
But meanwhile I don’t want anybody sitting on their hands until he [Joe] gets here (‘doing nothing’);
We’ll get them from Santa Claus (‘we don’t know, where we’ll find them’);
In aviation there was never a status quo. There was another factor.
Phraseological unions are adjoined by phrasal verbs which we can very often meet in the text of the novel. As we have already found out, phrasal verbs as a whole do not concern a layer of phraseological units in English language. However some of phrasal verbs are a part of the phraseological units, fixed in mono- and bilingual phraseological dictionaries. We will illustrate this statement with examples.
Danny Farrow answered without looking up. “I hear the captain put it to the passengers.” The phrasal verb to look up is officially not the phraseological union, but in the reality it does. Also in this example we can find a phraseological unity put something to the somebody – ‘to allow somebody to decide what to do’.
“I was going to call you,” Danny said. “I just had a report on that stuck 707 of Aereo-Mexican.” – “Go ahead.”
2. Phraseological unities. In the text meet phraseological unities, various on the origin and a stylistic accessory: to put on all power (‘to allow full gas’), to wove the dreams into the reality, to be a relief.
He sensed she was making fun of him.
The two requirements – contradictory in terms of human nature – were exhausting mentally and, in the long run, took a toll. In this fragment of text Hailey uses two phraseological unities together.
3. Phraseological combinations. Phraseological combinations are the most frequent from the rate of phraseological units used in the text. We will show some examples: to be at a stake (‘to be staked’), to intake someone’s breath (‘to hold breath’), as best as smb can, to be out of control.
We can also give some examples, where we can see the use of phraseological combinations in wider context: The two of them [Mel and Tanya] had been seen a good deal lately in the each other’s company, and Tanya was sure that the airport rumor machine has already started.