Arkhipova I.
Ph. D.in Germanic Languages, Associate Professor, Horlivka Institute for
Foreign Languages HSEE “Donbass State Pedagogical University” Bakhmut,
Ukraine
TYPES OF COHESION FOR THE AUTHOR`S DIGRESSION
IN THE ENGLISH LITERARY TEXT SPACE
Introduction. The interest to the study of text in Linguistics does not weaken and
is determined by the fact that the last one is the scope of implementation and the form
of real existence of the language; in the first place it concerns the literary text.
The text is the whole, the only language work, but at the same time, it is a
combination of the statements of the various subject-language plans, where the
complicated, dynamic relations are set between [1, 2, 3, 4]. The text consists of
relatively large and relatively small component parts which are called components.
The text has highlighted segments that are different by form (description, dialogue,
monologue, inner monologue and etc.). These segments differ from one another not
only in the language design, but also with the functional orientation, different
significance in the work and a number of other indicators [5, 6, 7, 8, 9]. The use of the
dissimilar elements is the principle of the composition and the main structural law of
the literary text. This law provides the constant predictability resistance – “permanent
informativeness” for the literary text [2]. The composition is determined by the plan
and “serves to implement the author's attitude to the content” [8]. In the
implementation of the artistic conception, certain ideas for each element of the
composition and linguistic structure the right place is given [5, 1, 10, 11, 12].
In the philological works on the theory of composition of the literary text, the
author's speech and the image of the author were highlighted in the various aspects:
from the perspective of naratology of the interpreted concept of “author's point of
view”, forms and types of the author's speech [13, 14, 7]; in the syntactic and stylistic
aspect the peculiarities of the composition as a method of artistic theme deployment
[15], “text modality” and the “author's image” as the style-creating category of text
[14, 16]. However, actually the author`s digressions, their functions and
communication strategies for the inclusion to the semantic space of the literary text did
not receive enough highlights from the positions of linguopragmatic and
communicative-functional approaches.
Research result. The object of the work is the author`s digression in the English-
speaking literary prose texts of XIX-XX centuries. The material of the study was
English-speaking literary prose texts of XIX-XX centuries. Author`s digression is
determined as an autosemantic compositional unit of literary text, which ensures
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