COMPOSITIONAL SPECIFICITY OF ARTISTIC TEXTS WITH SACRAL COMPONENTS

In the paper the author sets some goals and puts forward various
tasks to solve the problem connecting with the location of
quotation and allusion as main means with the help of which the
sacral component is realized in the Russian and English literary
texts. In this regard the relevance of the topic under study is due
to the urgent need for theoretical understanding and practical
study of the problem of placing a sacral metacomponent in the
space of an artistic text. This study attempts to analyse the
compositional structure of texts. And on the basis of the obtained
data the author of the paper highlights the main parts of the
artistic text in which the writers most often use the sacral
component. This study is devoted to the consideration of the
theoretical and the practical basis of the study of the sacral
metacomponent in artistic texts, in connection with which the
author solves the general and specific problems of using the
sacral component in various segments of the artistic text. In
addition to what has already said, the paper compares the use of
the sacral metacomponent in two languages – in Russian and
English. The author pays significant attention at the problem of
the relationship between the compositional structure of an artistic
text with a sacral component and an artistic text without the
subtext under study. In this paper the text is considered both as a
work of art and as an object of linguistic research. Moreover the
quotation and allusion in the text appear to be the main
metacomponents with the help of which the “sacral” is expressed
in the text of the artwork.
In the study the author of this paper gradually examines and
analyzes the use of compositional features of the text. At the
same time a comparison of the structural specificity of both
Russian and English artistic texts with the sacral component is
made.
This study states that the main text positions in which the author
uses the sacral metacomponent are the title, epigraph, “the actual
text” (beginning, end) and the after-text part (chronological
name).
The title of the text presents the quotation and allusion with the
sacral component without reference to their classification, more
precisely, according to the principle of their frequency use in this
part of the text. The next is the epigraph that represents the level
of the text in which sacral quotation is most often used. As for the
“actual text”, this is the largest in frequency of the use of sacral
metacomponents of the artistic text. The post-text part is studied
by the author rather as part of the compositional structure of any
artistic text generally accepted in linguistics and literary criticism.
The problem of the compositional structure of a literary text is
studied by many scholars not only in literary criticism, but also in
philology. Among the linguists who dealt with the problem of the
notion of a text, its features in general, and also compositional
peculiarities in particular, can be called I.R. Galperin (1986) and
his work “The Text As An Object of Linguistic Research”,
O.L. Kamenskaya (1990) who wrote the book “Text and
Communication”, N.S. Valgina (2003) and her course book “Text
Theory” etc. In scientific works linguists, as a rule, investigate
the question of the compositional construction of an artistic text,
analyze its structural originality, etc. At the same time the
problem of the positional use of a metacomponent in the text by
the author remains practically unexplored. There are some
scientific works devoting to the problem of the metacomponents
used in texts. Among these papers one may call the works by
A. Wezhbitska “Metatext in The Text” (1978), V.А. Lukin’s
“The Artistic Text: The Basics of Linguistic theory and Elements
of Analysis” (1999) and some others.
Keywords: metacomponent, sacral, artistic text, compositional
structure, positional specificity, quotation, allusion