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SEMANTIC RELATIONSHIPS IN VERBALIZATION
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- Bu səhifədəki naviqasiya:
- II INTERNATIONAL SCIENTIFIC CONFERENCE OF YOUNG RESEARCHERS
- Shafaq IMRANI
- PARALLELS BETWEEN BERNAND SHAW’S BIOGRAPHY AND PYGMALION Shahana BABAYEVA
- SUICIDE IN SHAKESPEARE’S WORKS Şahnaz ƏLİYEVA
- ONE QEYRİ-MÜƏYYƏN ƏVƏZLİYİ VƏ ONUN XÜSUSİYYƏTLƏRİ Sona İSKƏNDƏROVA
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SEMANTIC RELATIONSHIPS IN VERBALIZATION Sevər ORUCOVA AMEA , Dilçilik İnstitutu seva_o@mail.ru The process of coining a new word in a different part of speech without adding any derivative elements is called conversion. This linguistic term is widely spread in English. The main reason for this widespread development is insufficiency of morphological elements that can show to what part of speech the word belongs. Recent research confirms that conversion is the predominant method of English verb-formation. In linguistics this structural-semantic type of conversion is called verbalization. In modern English in the process of verbalization the verbs are mainly formed by nouns and adjectives. Especially we come across semantic related groups in the verbalization model N→V (noun→verb). The lexical meaning of the verb points out the instrument, the place, the agent, the cause, the result and the time of action. The semantic related groups on verbalization are as follows: 1. Verbs based on nouns denoting some part of human body show a regularity of instrumental meaning: to face-to have or turn the face towards, finger- to touch with fingers, etc. 2. Verbs based on nouns denoting animals show the actions characteristic of animals: to dog- to follow (smb / smth) closely, to fox-to trick, etc. 3. Verbs based on nouns denoting time mean to spend one’s time somewhere at the period of time expressed by the noun: to winter-to spend winter somewhere, to weekend- to spend one’s weekend somewhere, etc 4. Verbs based on nouns denoting objects means gain, dispose of that object: to paper- to put wall-paper on, to dust- to remove the dust from, etc. While researching above shown semantic related groups, the second group arouses a great interest. Like in other conversion groups, here we observe transformation of meaning. For example, in the meaning of “to devour” the appropriate verb is formed by a noun “a shark” (fish), but in the meaning of “to cheat to gain money”, the second meaning of the noun “person who cheats to gain money” is used. The result of semantic transformations on the word-building level is the appearance of derived verbs with new independent meanings of metaphorical character. Conversion pairs of the second micro group mean either action of those animals or action of people directed towards animals or similar with their actions. So after primary consideration next lexical semantic groups can be distinguished: 1. First lexical semantic group has the meaning “to hunt the given animals”:
2. This lexical semantic group means “to hunt with the help of given animal “: To hawk – to hunt with hawk, falcon 3. Lexical semantic group with the meaning “to act, associated with the actions of animals metaphorically, but not imitating them directly” This group includes the verbs with more interesting semantics. For example:
Other lexical semantic groups can also be added to this list. As it is proven here, in the case of verbalization, the verbs are mostly polysemantic and have other meanings in addition to those indicated. For example, conversion pair stone→to stone . Verb formed by the noun of the same root “to stone” means “to throw stones at”, “to take the stone out of fruit” (Oxford dictionary). The semantic relationships occur not only in the model Noun→Verb, but we can also observe these semantic related groups in the model Adj→Noun. For example, cool→to cool dry→to dry, narrow→to narrow, etc. Word building analyses of these verbs shows that the main way of its formation is conversion. It must be noted that the verbs formed by conversion concerns neutral or colloquial speech. It goes without saying that very much yet remains to be done to research thoroughly these complex relationships. II INTERNATIONAL SCIENTIFIC CONFERENCE OF YOUNG RESEARCHERS 389
Qafqaz University 18-19 April 2014, Baku, Azerbaijan JANE AUSTEN AS THE BEST DESCRIBER OF WOMEN`S CHARACTERS AND FEELINGS (IN “SENSE AND SENSIBILITY”) Shafaq IMRANI Qafqaz University simrani@std.qu.edu.az During the 18 th and 19
th centuries many publishers considered that it wasn`t a woman`s place to indulge herself in writing literature. Therefore ,there were few options left to women if they wanted to preserve in becoming published authors ,they could continue to try and get published under their own name-prejudiced male publishers made those hopes very small-write under a male pseudonym, or submit to failure. Jane Austen chose to go under the name of “A Lady" when her first novel “Sense and Sensibility" was published. At that time in English literature many writers characterized women`s feelings. But Indian people tell that “Only a woman can understand another woman". And Jane Austen was one of the female writers who skillfully described women`s feelings in her works, especially in “Sense and Sensibility". In this novel we can see the contrast in the characters and feelings of two sisters, Elinor and Marianne. Jane Austen wrote this novel in 1795 and gave it the title “Elinor and Marianne”, but she later changed the title to “Sense and Sensibility”. This novel portrays the lives and loves of two very different sisters. In this case, Elinor is the voice of “sense” and her sister Marianne-who called Elinor cold-hearted-is the symbol of“sensibility". The interesting side of this is that one of Jane Austen`s heroines Elinor is19years old and she wrote this novel when she was 19.That`s why Jane`s main heroine Elinor reflects parts, aspects and dreams of the author that she had that were never fulfilled. Elinor Dashwood mirrors Jane Austen`s strait-laced sense of propriety and her concern and care about family members. Claire Tomalin wrote in her book "Jane Austen: a life" that Jane was practical and sensible, and she did what she thought to be the best. It means Jane drew on her experiences and her dreams for the future and incorporated them into her writing. The discrepancy is not only visible in the feelings of these sisters but also in their characters as well. Feelings always influence characters and ways of thinking, because in various situations the sisters react differently. Elinor Dashwood –the eldest daughter of Mr. and Mrs. Dashwood ,whose advice was so useful, effectual ,possessed a strength of understanding, coolness of judgment , which qualified her to be counselor of her mother and enabled her frequently to counteract, had a great deal of intelligence and common sense. She had an excellent heart, her disposition was affectionate and her feelings were strong, but she knew how to govern them .Elinor always felt a keen sense of responsibility to her family and friends, she places their welfare and interests above her own, and suppresses her own strong emotions in a way that leads others to think she is indifferent, cool. Marianne Dashwood - Dashwoods' middle daughter, whose feelings were always strongly felt and expressed, she is sensitive, romantic, sobbing wildly and passionately ,she is light and airy with a flighty personality. Her emotions dictate her actions .She was eager in everything: her sorrows, her joys, could have no moderation; she was interesting, amiable but prudent. She took after her mother Mrs. Dashwood, but like Elinor she is also generous and clever. Tomalin Claire wrote that Austen uses Marianne to relate her views of feminism. In reality, Austen never commented on Mary Wollstonecraft’s work to gain rights for women. Rather, she states her opinions through her characters. Marianne, when she hears the phrase about women “setting their cap” at men, responds, “setting their cap. . . is an expression . . . which I particularly dislike. Tendency is gross and illiberal; and if construction could ever be deemed clever, time has long ago destroyed all its ingenuity”. Very subtlety, Austen inserts her own feminist views into the words of her character. Since she could not condone the feminist movement in public as a result of her societal position, she made her female characters pro-woman and pro-women’s rights. Rashel Lerman in her article distinguishes these sisters like this: Elinor is composed, Marianne is foolhardy. Elinor is careful; Marianne rushes into situations without thinking them through. Elinor isn't prone to being swayed by others, Marianne is easily led. These observations are evident in their handling of affairs of the heart. Elinor is the one who supports Marianne through her heartache; she is the realist, whereas her sister is the romantic. In another Jane Austen`s quotes she says “It isn`t what we say or think that defines us but what we do". All her works are written masterly. Elinor was the girl whom Jane Austen herself most evidently admired, Elinor is the symbol of a sense, Jane Austen said in one of her quotes that “Sense will always have attractions for me". A truly happy marriage, she shows us at the end of the novel, exists only where Sense and Sensibility meet and mix in proper measure.
II INTERNATIONAL SCIENTIFIC CONFERENCE OF YOUNG RESEARCHERS 390
Qafqaz University 18-19 April 2014, Baku, Azerbaijan PARALLELS BETWEEN BERNAND SHAW’S BIOGRAPHY AND PYGMALION Shahana BABAYEVA Qafqaz University shahane_babayeva@yahoo.com Bernard Shaw is one of the most well-known and controversial men in England today. He is very celebrated not only as a playwright but also as a philosopher, thinker and an activist. G.B. Shaw (He hated the “George” and never used it, either personally or professionally) was born in Dublin where he grew up in something close to genteel poverty in 1856. When Shaw’s father died in 1885, he was brought mostly by servants. Shaw’s mother, Lucinda Elizabeth, eventually left the family home go to London to teach music. Shaw grew up in an atmosphere of “emotional coldness” and had to live. Despite all of the accident, Shaw loves his mother greatly. Nevertheless, he was capable of handling his loneliness and thoughts that he has a heart of stone. From this thinking form, we can see some resemblances with Higgins’ behavior. Higgins also seems as stone-hearted person. He can’t show his emotions and behaves with everyone in the same way. In 1876 Shaw moved to London where he established himself as a journalist, a leading music and theatre critic in the eighties and nineties. After reading Marx’s Das Kapital he became supporter of social rights and he said about himself that “Marx made a man of me.” There is also has similarity in this statement with at the end when Higgins says to Eliza I’d make a woman of you. However, in London he took part as a writer but he was not so successful until when the Court Theatre accepted Bernard Shaw as a dramatist in 1904.During those years many of Shaw’s plays were performed and, after it he became the most leading figure not only in London, but also in America, Germany and lastly the Scandinavian countries and continentals. Moreover, Shaw wanted his actors to endeavor steadily, that’s why he sent letters to them with directions and instructions for improvements. This teacher-like demeanor was very typical for Shaw and of course for Higgins as well. One of the main themes in Shaw’s plays is to educate a young woman and to support women’s rights. For example, In Caesar and Cleopatra, Shaw wants to prove that the relationship between Caesar and Cleopatra was not love but politics drew Cleopatra to Julius Caesar. We can see that Caesar wants to turn Cleopatra into a queen and of course, Pygmalion, in which a poor uneducated flower girl with a cockney accent is turned into a lady by phonetics professor Higgins who teaches her how to speak properly. Maybe it not Shaw’s of art, it was the purpose of culture in those days was to educate people, to teach them how to behave with people, to elucidate them moral standards and ethical thinking. Bernard Shaw’s all plays, novels and essays are political statement with a clear message. His teaching form might be as a result of his experience. When he was being left alone, he was self-taught. From this side I come to conclusion that he did not want the others make the same mistake his parents did and he wanted to share his knowledge to make his student’s life easier. There are also have one of the main aspect which Lucinda later on left her music teacher, in order to gain his status independently. Like Shaw’s mother, Eliza also leaves Higgins’ house for the same reasons, because he was interested in Eliza’s career and did not appreciate her as a woman, but he just only behave impolitely with her to an end. However, the similarity of the Pygmalion and author’s biography goes even further and although, Shaw’s mother came to decision to leave her music-teacher, Vandeleur Lee she takes with her the knowledge she has acquired from him. In order to attain perfection in singing he was teaching her voice training. She achieved this knowledge with when she left her teacher so as to be economically independent and to earn money. The same is true for Eliza, as she is an assiduous student and can grasp all the information which Higgins teaches her. She menaces Higgins of using this knowledge consequently in order to work as a phonetic-teacher herself. Both men proud of their ability that makes them superior to their women and it makes them act of protecting. Despite the fact that both men are hoisted with their own petard and it is also a good thing they did, both women used it against them.
Şahnaz ƏLİYEVA Qafqaz University seliyeva@std.qu.edu.az
The reason why we chose this topic is that nowadays a lot of suicides in the world, even in our country are increasing quickly, and as the young, it is interesting for in why they chose death instead of life. We can’t say what they get with choosing this way, but we can guess what they lose. Nevertheless, for some cultures it isn’t unusual thing, even it is the holy way to reach God and for the others to be born in the world is misfortune. In Monotheistic religions suicide is a guilt and it
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Qafqaz University 18-19 April 2014, Baku, Azerbaijan is considered denial' of the existence of a God. Even in Shakespeare’s work who lived in bloom and developed period of Christianity there were used almost 50 characters that killed themselves while the word suicide didn’t exist in lexicology. Shakespeare didn’t let his characters win or overcome their problems that might be good lesson to people how to get rid of such situations. He could show the way to solve their problems, but “just go and kill yourself “was the solution that he gave to his characters. In this case one question appeared that we are sure most of you would wonder is why this great writer made his characters kill themselves. We researched his biography with details, and found that he was witness of a lot of death in his life. Although, he grew up in rich family, it influenced his psychology. For instance, he was the third of eight children and only he was able to live more than others. He was also the witness of his son Hamlet's death. He might kill his characters to take revenge of these accidents psychologically. However, he showed reasons of characters’ suicides differently. For example, Brutus in ‘Julies Caesar’ after losing the battle and fear of defeat, he stabbed himself with a sword. Second, Cassius –again- in ‘Julies Caesar’ after losing the battle and fear of defeat he also took his life with a sword. Third, Portia-again- in ‘Julies Caesar’ killed herself by swallowing burning coal, fire, after the loss of power AKA battle defeat. Fourth, Cleopatra in ‘Antony and Cleopatra’ killed herself because of the fear of defeat after the loss of power. She killed herself using snakes’ poison and so did her two maids, Iras and Charmian –in the name of love they had for their queen. Fifth, Antony in ‘Antony and Cleopatra’ killed himself using a sword because of –again- loss of power and fear of defeat. Eros in ‘Antony and Cleopatra’ killed himself with a sword because his master demanded him to kill him but he refused and so killed himself instead. Goneril in ‘King Lear’ after her evil plans were exposed, she stabbed herself with a poisoned dagger. So she wouldn’t have to apologize (self-ego). Juliette in ‘Romeo & Juliette’ stabbed herself after the loss of the beloved. Romeo poisoned himself because of the loss of the beloved- he thought she was dead. Ofelia in ‘Hamlet’ drowns herself- some say she fell and others say she did so herself. She committed suicide because she didn’t know how to handle the fact that her beloved killed her father. Finally, Othello in ‘Othello’ killed himself with a dagger, stabbed himself, because he felt guilty. Feeling of defeat, losing special person, and guilt were the reasons of his characters’ suicide, he used suicide as the last way to escape from this problems. From our point of view, he just wanted to mention some examples of suicide and to show like wrong way. If he really advised to people it, he would commit suicide himself. In brief, as we mentioned at the beginning, we want to show that suicide isn’t to solve problem, nowadays some people prefer this way when they face with difficulties. Suicide is not the way to solve problems; it is just the way to run away from them. However, we should think that when God gives us problem also gives the solution; we just must try to find. Life is a chance and it is given to us just once, that is why we shouldn’t waste our chance and should appreciate it. We want to conclude it with Shakespeare’s words in ’Hamlet’: ‘To be or not to be, that is the question’.
ONE QEYRİ-MÜƏYYƏN ƏVƏZLİYİ VƏ ONUN XÜSUSİYYƏTLƏRİ Sona İSKƏNDƏROVA Bakı Slavyan Universiteti gunnur.musti@gmail.com “One” sözü ingilis dilində həm say, həm əvəzlik, həm də isim kimi işlənir. “One” sözü işlənmiş cümləni başa düşmək üçün həmin sözün mənasını və cümlədəki sintaktik vəzifəsini nəzərə almaq lazımdır. Bu söz ismin qarşısında işlənib kəmiyyət bildirdikdə say olur, mənası isə “bir” deməkdir. Qeyd edək ki, “One” sayının əvəzinə qeyri-müəyyən artiklın işlənməsi belə cümlələrin mənasına xələl gətirmir. Çünki ingilis dilindəki qeyri-müəyyən artikl (a) tarixən “One” sayından əmələ gəlmişdir. Lakin “One” sayı qeyri-müəyyən artiklla həmişə eyniyyət təşkil etmir və yaxud əksinə. Azərbaycan dilçisi olan Edison Hacıyev “İngilis dilində çox işlənən bir sıra sözlərin bəzi xüsusiyyətləri” adlı məqaləsində bu iki dil vahidinin oxşar cəhətləri ilə yanaşı müəyyən fərqli cəhətlərinin olduğunu yazır: “Hələ qədim ingilis dilində qeyri-müəyyən artikl yalnız əşyanın təkliyini göstərmək üçün deyil, həm də ismin ümumi mənada olduğunu göstərmək üçün işlədilirdi. Müasir ingilis dilində “One” sayı və mənşə etibarilə ondan əmələ gəlmiş qeyri-müəyyən artikl iki qrammatik kateqoriya ifadə edir: kəmiyyət və qeyri-müəyyənlik. Həmin mənaların hansının daha üstün olmasından və daha qabarıq nəzərə çarpmasından asılı olaraq ismin qarşısında ya “One” sayı, ya da qeyri-müəyyən artikl işlənməlidir. Aşağıdakı cümlələrə nəzər salaq:One day a telegram arrived.One night there was a terrible storm.” Bu cümlələrdə “One” sayı “day, night” isimləri ilə işlənərək iş, hal və hərəkətin baş verdiyi vaxtı bildirir. Azərbaycan dilinə tərcümə etdikdə “One” sayı öz leksik mənasını (bir) saxlayır. “Bir gün bir teleqram gəldi”, “Bir gecə bərk tufan var idi” cümlələrində isə “One” sayını qeyri-müəyyən artiklla əvəz etmək mümkün deyil, çünki həmin cümlələrdə kəmiyyət mənası qeyri-müəyyənliyə nisbətən daha üstündür. Lakin “ A rainy day is very common in England” cümləsində qeyri- müəyyən artiklı heç cür “One” sayı ilə əvəz etmək olmaz, əks təqdirdə “Yağışlı gün İngiltərədə adi haldır” cümləsi alınardı. II INTERNATIONAL SCIENTIFIC CONFERENCE OF YOUNG RESEARCHERS 392
Qafqaz University 18-19 April 2014, Baku, Azerbaijan Qeyri-müəyyənlik mənası kəmiyyət mənasına nisbətən daha qabarıqdır və bu səbəbdən də qeyri-müəyyən artiklın “One” sayı ilə əvəz edilməsi mümkün deyil. Kauşanskaya “one” sözünü qeyri-müəyyən şəxs əvəzlikləri qrupuna (indefinite-persona pronoun) daxil edərək onun istənilən adam, şəxs mənasına işləndiyini deyir. Onun fikrincə qeyri-müəyyən əvəzlik olan “one” ümumi mənada işlənir: Only one with a constitution of iron could have held himself down, as Martin did. ( J.London) Əvəzlik kimi çıxış edəndə “One” sözünün mənasını müəyyən etmək saya nisbətən çətindir. “One” əvəzliyinin iki variantı var: qeyri-müəyyən əvəzlik, qeyri-müəyyən şəxs və ya ümumi şəxs əvəzliyi. Qeyri-müəyyən əvəzlik olduqda “One” adətən sifət-əvəzlik adlanır. Şəxsə və əşyaya aid olan “One” cümlədə təyin vəzifəsində çıxış edir. Azərbaycan dilinə “bir, birisi” və s. kimi tərcümə olunur. Qeyri-müəyyən əvəzlik kimi işlənən “One” sözünün nə hal, nə də kəmiyyət kateqoriyası var. Oruc Musayev “İngilis dilinin qrammatikası” adlı kitabında “one” sözünün qeyri-müəyyən şəxs və ya ümumi şəxs əvəzliyi olduqda ancaq şəxs anlayışı bildirdiyini qeyd edir: “İsim-əvəzlik olan “One” adlıq və yiyəlik hallarında işlənə bilir. Adlıq halında “One” cümlədə mübtəda vəzifəsində çıxış edir və Azərbaycan dilinə “adam, hamı, hər kəs” və s. sözlər vasitəsilə tərcümə olunur. Yiyəlik hal forması “one’s” cümlənin təyini kimi çıxış edir.” Əgər “one” əvəzliyinin mübtəda olduğu cümlənin xəbəri inkar formasındadırsa, “one” dilimizə “heç kim, heç kəs” sözləri vasitəsilə tərcümə edilir. Mübtədası “one” əvəzliyi ilə ifadə olunmuş bəzi cümlələrin dilimizdəki qarşılığı isə ya qeyri-müəyyən şəxsli və ya ümumi şəxsli cümlələr olur. Belə hallara xəbəri modal fel və məsdərlə ifadə olunmuş cümlələrdə təsadüf edilir. “One” əvəzliyi “must, should, can, may, ought, need” modal felləri işlənmiş cümlələrin mübtədası olduqda Azərbaycan dilinə tərcümə edilmir. Həmin cümlələr modal felin mənasına müvafiq tərcümə olunur. Məsələn: One should be careful while crossing the street. Küçəni keçəndə ehtiyatlı olmaq lazımdır. One can buy this book in any shop. Bu kitabı hər mağazadan almaq olar. Xaimoviç əvəzliklərin təsnifatından danışarkən “one” sözünü onlardan ayırır. O, “one” sözünün üç variantının oldğunu göstərir: 1) qeyri-müəyyən əvəzlik, 2)qeyri-müəyyən şəxs və ya ümumiləşdirici şəxs əvəzliyi, 3)əvəzedici söz (prop-word). İngilis dilində əvəzliklər ismə məxsus xüsusiyyətlərin hamısını qəbul edə bilmir. Onların bəziləri artiklla işlənir, bəziləri yiyəlik hal şəkilçisini qəbul edir, bir neçə əvəzlik isə kəmiyyət kateqoriyasına malikdir. “One” sözü ismə məxsus bütün xüsusiyyətləri özündə cəmləşdirdiyi üçün əvəzlik deyil, isimdir. Lakin “one” ayrılıqda əşyalıq məzmunu ifadə etmir, o, ancaq cümlə daxilində əvəz etdiyi ismin mənasını qebul etdikdə əşyalıq bildirir. Bu xüsusiyyət onu digər isimlərdən fərqləndirir.
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