XIII Международная студенческая научная конференция Студенческий научный форум - 2021

There is no universal definition of allusion in modern scientific literature. This can be explained by versatile approaches of analysis of the allusion phenomenon and also by the fact that structural-semantic and functional peculiarities of allusion are different in texts of different styles.

According to scholar Khristenko “allusion is a term denoting a stylistic device” [16, p.38]. In philology allusion is studied as a verbal poetic image [12].

Today while studying the phenomenon of allusion it is important to remember that it was firstly used as a figure of speech. Etymologically this term originates from Latin alludere (from ludere - to joke, to to play, to give a hint) [16, p.39]. Figures of speech were subdivided into verbal figures (figurae verborum) and figures of reflection (figurae sententiarum). Verbal figures always depend on the words; if one component of verbal figure is changed, the figure can not exist. So allusion was treated as a verbal figure [16, p.39].

In Dictionary.com online dictionary allusion is defined as “a passing or casual reference; an incidental mention of something, either directly or by implication” [19].

A philological reference book gives us a following definition of allusion: “Allusion (Latin allusio - a joke, a hint) - a stylistic device, a hint, a reference to some poetic text, topic, image or historical event counting on the erudition of the reader who will decode the hidden content” [8, p.30].

L.O. Mashkova broadens the understanding of this term. She makes emphasis on the fact that allusion is a kind of “bridge” between two poetic worlds, two different epochs. She comes to the conclusion that allusion provokes complicated and multidimensional interplay between two texts. In this case we can speak about the allusive process. Though the allusive process differs according to the style of texts and various other features Mashkova [11, p, 27] underlines the following its characteristics:

Allusive process is directed. So to say, allusion is the reference to the concrete text (sometimes it can even be several texts).

Allusion makes possible the connection with certain literary source. So for better understanding of every allusion the knowledge of certain allusive fact is important.

Understanding of allusion is not only understanding of the certain allusive fact.

The allusive process is double-sided. Here the most important is interaction of the text under study and the source of allusion.

So reader's background knowledge is the indispensable condition of allusive process. Proceeding from this fact Mashkova states that there are two aspects of the problem under consideration. On the one hand, we can excuse the author who uses allusions only when he caters for the reader's background knowledge. On the other hand, reader's knowledge should be quite extensive for him to understand the poetic texts. But at the same time Mashkova explains that the reader's possibilities are limited as understanding of allusion is not only the knowledge of the literary source but, first of all, the understanding of its content [11, p.28].

Nevertheless the author needs an active reader. According to scientist Tukharelli “while depicting some characters and events the author gives only few details for the reader to finish the picture; the text is characterized by intermittence of the content. This feature is very close to allusion as the text is always full of special images and hints that can help the reader to amplify it using his memory and associations.” [13, p.113]

Allusion is versatile phenomenon. There are such traditional forms of allusion as:

proper name;

actual;

citation

We also can not omit the localization of allusion in paragraphs, strophe or even chapter and a literary work itself. The article of Tukharelli gives detailed examination of this problem. Here the scientist provides us with such well known examples as the novel Ulysses by James Joyce [13, p.115].

Characterizing allusion we must also mention its another important feature which is called orientation. In his work researcher Evseev points out that allusion always contains the intention of the author. This intention helps us to differentiate allusion from such phenomena as accidental coincidence, predetermined coincidence, accidental borrowing and influence [7, p.9].

Another important feature, according to Evseev, is the feedback. It is the bond between metatext and prototext which sometimes can be hidden by the author but can not be totally removed. The feedback also helps to differentiate allusion from plagiarism and artistic borrowing [7, p.10].

1.2 Classification of allusion: different approaches

We can not study the phenomenon of allusion without knowledge of its types and their major differences so let us dwell upon various approaches to the classification of allusion.

This topic was the matter of consideration for many scholars. Speaking about structural classification of allusion one of the most profound was created by scholar Evseev. According to Evseev, allusive process can be executed in two ways: nomination and citation [7, p.7]. There are essential differences between this two types of allusion:

In nominative allusion the relation between the representative and the denotatum of allusion is symbolic while in quotation allusion it is iconic;

In nominative allusion the denotatum can be various while in quotation allusion the denotatum can only be the text and objects connected with the text under consideration metonymically.

So he devided allusions into quotation and nominative according to the language and text levels, assuming their representative in the metatext as a basis of the classification [7, p.12].

Evseev differentiates twelve levels on which allusion may occur:

Phonetic level

Morphemic level

Lexical level

Level of word combinations

Level of the sentence

Level of the text

Level of images

Level of means and devices

Level of scenes and mise-en-scenes

Compositional level

Level of the idea

Thematic level

Other scholars state classifications that being no so profound differ from Evseev's a lot. Vast spear is the classification of allusions into simple and extended. There is also a classification of allusion according its position in the text:

Title allusion

Medial allusion

Ending allusion

O.H. Mamaeva points out the classification of allusion on the basis of their relation with one or another category of cultural facts:

Allusions on information which constitute the main stock of facts for the social culture of certain society

Allusions on one-day facts, events and phenomena of mass culture [7, p.14].

Semantic-stylistic classification of allusions is based on methods of meaning actualization of allusion in the context. This classification also takes under consideration different means of amplification associative relations between the source of allusion and the context. According to Mamaeva there are the following ways of meaning actualization of allusions:

Actualization on the basis of comparison of accentuated features of allusive fact with the features of certain character, event or situation in the text

Actualization on the basis of displacement of allusive information and object-logical meaning within a word, phrase or sentence [9, p.14].

Analyzing different approaches to allusion classification we must also mention the semantic approach. According to this classification allusions can be:

Dominant

Localized

Dominant allusions are characterized by the fact that in correlation between allusion and context different directions appear. There are two types of such directions:

allusion > context;

context > allusion

Speaking about the first variant we can characterize it as the direction of allusion to the content of the expression. In this case either the title of the text or some of its chapters (i.e. the introduction of the text) contains allusion which embodies the essence of the whole text becoming its semantic symbol.

The second variant (context > allusion) is characterized by the appearance of allusion from the outline of the whole text.

The second type of allusion according to the semantic classification is called the localized allusion, or allusion with the limited action. In contrast to dominant allusions they do not define the major topic of the whole poetic text but just contribute to its development acting only in certain limited part of the text. These allusions, in their turn, can be split into the following types:

allusions with the use of proper names (antroponyms, toponyms), or nominative;

quotations

Another important differentiation of types of allusion was suggested by above mentioned scholar Evseev. In his work he points out that we should differentiate the notions allusion and reminiscence. Evseev explains that its better to examine the notion reminiscence as a essential part of the notion allusion. ”Reminiscence as the allusion itself can appear not only in the poetic text but also in other different kinds of art such as music, painting etc. The contrast between allusion and reminiscence is in presence/absence of such feature as premeditation.“ [7, p.10]

So reminiscence is a reference unplanned by the author, spontaneous allusion which totally depends on memory and associations of the recipient.

1.3 Stylistic functions of allusion

allusion text vertical context

Any research can not be stated in proper way without pointing out the main functions of the subject under consideration. So now we should pay attention to different functions of allusion and especially to its stylistic functions.

As we have already mentioned allusion is a technique used in literature in which a literary work references another work of literature, work of art, historical figure, place, or event. In general, this passing reference is not explained by the writer, so only readers who are familiar with the source of allusion tend to understand or notice it. The wide use of allusions is caused by many reasons. In some special cases, allusion is used because it already communicated what the author wants to say better than he could have himself. More often, though, the writer uses allusions because of the many emotions or ideas that readers may associate with the text to which the writer alludes.

But in many cases, “allusion serves a more specific purpose than simply tapping into a body of associations. Sometimes a reference to another work is given in a context that is drastically opposed to the original meaning. This technique is often used to refute the meaning of the original and to assert a new meaning.” [20] Other case of the use of allusion in poetic texts actually reference several different sources simultaneously to create new associations and to make the reader to evaluate one or more sources of allusions.

Allusion implies presence of the contextual elements which function consists in indication on the relation between the given text and other texts or reference to the certain historical, cultural and biographic facts.

Stylistic function of allusion consists in the help for the author to depict his attitude towards the world by comparison of two (or several) “realities” or text systems.

Various scholars suggested diverse approaches to differentiation of functions of allusion. Let us firstly innumerate these functions and then proceed to their analysis. So stylistic functions of allusion in the poetic text are the following:

Expression of the idea of the text

Creation of the subtext

Style formation

Irony

Thematic

Microcomponent of the pragmatic structure

Realization of time category

Economy

Structure formation

Sense increase

Poetic value

Indication on the authors subtext

Characterological

Symbolic

Now let us proceed to the brief analysis of above mentioned functions.

In their work scientists Dashtamirova and Serdukova stated the function of allusion that they called the expression of the idea of the text [4, pp.4-54]. Later other scholars continued their work where they stated the position of allusion as the expression of the author's intention in the text. The main idea of the text may be hidden in the allusive process, so as we have already studied from the work of scientist Mashkova, using this function of allusion the author is expecting for the prepared reader [9, p.28].

The next function called the creation of the subtext was studied by various scientists such as Kashkimbaeva [5, pp. 28-33], Mamaeva [10, p.20], Serdukova [4], Fedosiuk. They stated allusion to be the means of creation of associative subtext which is possible by realization of intertextual references. In her work Kashkinbaeva points out that the sense of allusion is “in the interrelation between situational usage of speech means in the context created by the allusion and the new context where the reader can find author's attitude to these means.” [5, p.33] In Mamaeva's work we can also find the examination of this function of allusion. She explains [10, p.20] that allusion is not way different well known facts but just the hint for understanding of the subtext.

Scholar Diadechko [6, pp.117-123] mentioned the style forming function of allusion. He examined this function analyzing the above mentioned type of allusions called reminiscence and their use and influence in poetic text.

Allusion as the means of irony was also studied by different scholars (Dzhilkibaev, Kashkimbaeva [5, pp.28-33], Homleshko [2, p.6]). Homleshko states allusion to be one of the major stylistic devices used for creating irony (together with oxymoron, zeugma, hyperbole [2, p.24].)

Thematic function of allusion was examined by major Russian linguists such as Davydova [3, pp.141-150], Mamaeva [10], Polubychenko, Tukharelli [13, pp.110-116]. Davydova points out that allusion is often used for the explanation of thematic problems raised in the text. At the same time the author is expecting again for the reader's background knowledge [3, p.145].

The main partisan of regarding allusion as the microcomponent of the pragmatic structure was researcher Dashtamirova. This approach became the topic of her major works [4, pp.4-54]. She stated that the pragmatic power of the text as one of the sides of pragmatic influence of the language is based on the special choice of stylistic devices one of which is the allusion.

Diadechko also examined allusion as the realization of time category [6, pp.117-123]. According to him allusion can be one of major stylistic devices dealing with this function.

Diadechko states that allusion (so as the phraseology) can provide the economy of expression [6, p. 118]. This function was also studied by Evseev [7] and Kashkimbaeva [5, p.28-33].

Speaking about such type of allusion as the citation various scholars (Davydova [3, pp.145-150], Diadechko [6, pp.117-120], Tukharelli [12]) mtention its structure forming function. According to Belozerova allusions can depict the structure of characters and events in the poetic text [1].

Sense increase function of allusion was firstly mentioned by Tukharelli [14, p.163]. He points out that active interrelation between texts content (and their stylistic peculiarities) and the author's mind depicts one of the major intertextual principles which consists in the following phenomenon - the appeal to them “creates productive semantic fluctuation - leads to sense increase and sense transformation”. Other scholars such as Dashtamirova [4] and Evseev [7, p.10] also paid attention to this function. Examining their works we can come to a conclusion that allusion lead to sense increase not only because allusion markers create the relation with the source text but also because in the sense of the new text the source text is also transformed. This transformation changes the semiotic structure of the new text [18]. So we can treat the allusive process as a kind of exclusive circle.

Poetic value as a function of allusion was studied by Polubychenko and Fedosiuk [15]. It is ease to understand that allusions (as other stylistic devices) increase the poetic value of the text.

One of the most important functions of allusion in the poetic text is the indication on the author's subtext. Linguist Dzhilkibaev [5, pp.28-33] and later his colleague scolar Tsyrenova [17, pp.115-161] mentioned this major function in their research. According to Tsyrenova allusion is one of the means of realization of intertextuality [17, p.155] which, in tern, often becomes the basis for the author's subtext.

Characterological function of allusion helps authors to provide the reader with the special features of any character. It is can be often examined while allusion is used in dialogues. Such scientists of Dashtamirova [4, pp.48-50], Dzhilkibaev [5, pp.28-33], Diadechko [6, p.118] and Polubychenko also pointed out the interrelation between characterological function and the influence of allusion on the intertextuality in poetic texts. Linguist Davydova states that allusion can be used “as the contextual synonym of any character” [3, p.147].

Symbolic function of allusion studied by Serdiukova and Dzhilkibaev [5, p.30] consists in symbolic meaning of events and characters referred to in allusive process.

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