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1) about, around, around, at, in, on, under, within, in, under, under, over, through, throughout, during, outside;
2) before, while (until), by, beyond;
3) after, after, since;
4) among, between, of..., between..., between..;
The fourth group of prepositions includes the marking of the periods before and after. When indicating a limited duration, the circumstance is introduced with the preposition at: at five o'clock, at sunset, at teatime, etc.; for circumstances indicating a longer duration, i.e. the day and date, the preposition on is used: Sunday, May Day, public holiday, eve, etc.; for even longer periods - week, month, year, century - the preposition in is used: second week of January, 1970, 20th century.
Thus, the contraposition by the time period indicated by the circumstance combines the prepositions at, on, in. From the site
From the spatial meaning of the preposition comes the temporal meaning "about" of hour, moment. It should be noted that about indicates the proximity of the named time, unlike by and towards, which indicate only the time before the named term (by) or the time approaching (towards), and are translated by the preposition to «Around midnight Jack woke up»
After
The temporal meaning of the preposition exactly repeats the spatial meaning, starting from the time schedule (year, day, hour) and the action itself (end of work, battle). The gerund is often used after it as a time circumstance. «After breakfast he walks in the garden for an hour»
Against
This preposition, used to express temporal relations, has two meanings, one quite common and the other special. The first meaning indicates the completion of an action by or before a certain time. This is usually various preparations for an event. «They had to build some kind of shelter against the winter. »
Before
As a temporal preposition, before, before, before, before (hour, event) differs from until and till by the antonym of after. This preposition indicates that the action took place before the named time. «We went for a bath before breakfast» («мы ходили в ванную перед завтраком»)
Beyond
In the domain of time, the preposition has the meaning corresponding to its spatial meaning: beyond a certain hour, time, term. «I suppose they are sitting beyond their usual hour.» («я думаю, они сидят сверх своего обычного часа»)
By
Used analogously with the temporal meaning by to the spatial meaning: proximity to a certain moment is like proximity to a place, to a time later than a certain hour, time, or phrase. «Having done his work, he could leave at eleven o'clock» («Сделав свою работу, он мог уйти в одиннадцать часов»)
For as a temporal preposition has several meanings, some of which are the same as through , over and during. The main one is used to express the purpose: the in-between tense refers to an action in the present or future. In the past, for expresses the length or duration of an action or state, while during expresses the course of an action, as opposed to a period of time, while in is indifferent to the setting and indicates the division of time in the astronomical calendar.
In Temporal relations correspond to spatial relations, indicating the existence of boundaries, limits, a period, regardless of the size of the interval. They observe not very strictly delimited time boundaries in relation to the future, because future activities cannot always be very precisely delimited, and in relation to the past, when they are understood in relation to the most general periods, such as my years, the Bronze Age, my youth, etc. «The house was built in three months»
Into
In relation to time, the preposition is used (but very rarely) to express mental movement in the past or future. «It seemed to return to the past»
On
In the field of time, the on combinations denote a whole day (Monday 26 April), as well as parts of the day considered as a whole or characterized in some way (a nice morning, a cool evening, etc.) «On the evening of 8 August, Janey and I sat down to dinner»
Teaching the correct use of inflectional units is one of the linguistic and methodological difficulties of teaching English as a foreign language. This is probably due in large part to the fact that the teacher usually relies on descriptions of situations (of which there can be countless) in which the use of a particular preposition is legitimate;
2) Spatial prepositions predominate over temporal prepositions and are used much more frequently in the literature;
3) Spatial prepositions such as about, after, at, by, for, from, in were the most common in the work. The prepositions beyond, off, over, out of were very rare[6].
4) English temporal prepositions can be divided into four groups. The first group includes prepositions that mark the temporal centre of events, phases, actions. Prepositions in the second group indicate the priority of what is said in the sentence in relation to the moment or period indicated by the circumstance. Prepositions of the third group are part of the circumstances which express the time in which the thing is spoken of. The fourth group of prepositions includes both the preceding and the following period.
1.3 Summary of Results
Thus, after analyzing all the factors listed above, we understand that English prepositions are words that not only indicate the existence of known relationships between “significant” words in a sentence, but also reveal and clarify the content and nature of these relationships. The role of the preposition is not limited to the formal syntactic function of indicating which word is grammatically subordinate to another.
CHAPTER 2. SPACE AND ITS REPRESENTATION IN THE GREAT GATSBY
2.1 Characteristics of prepositions of space and time based on The Great Gatsby
Before we start analyzing the use of prepositions of place and time, let's figure out who the author is and what reasons prompted him to write this novel, what techniques he used and with what frequency he used prepositions of place and time. Francis Fitzgerald was born in the 19th century and lived a relatively long life, he died at the age of 44. After the publication of his first novel “ On this side of paradise” he became very famous. Francis began work on The Great Gatsby in 1925. The sketch for the novel was the story "Winter Dreams". Fitzgerald worked hard on the book, constantly making adjustments. The author changed the title of the book about six times. According to one version, Gatsby was given the name "The Great" to show the author's ironic attitude to the fate of the hero. The work belongs to the genre - a novel. In the work of the author, the realistic direction was emphasized, because he depicted life as it is, without embellishment. It was a chronicle of jazz, as many critics called his novel. The author accurately conveyed the mood of that time. The work was based on the injustice of fate[7]. This writer arouses the interest of every person by the fact that he writes his works without embellishment, he describes life with incredible accuracy, demonstrating its realities. The story of the hero of this novel is close to the author's heart. A poor young man dared to propose to a rich man's daughter, but failed. The girl, accustomed to social life, only smiled in response, saying that she would agree if the young man became a millionaire. Fitzgerald started writing, and one day his book brought him success and wealth. He got what he wanted. The main topics covered in the book are social inequality, friendship and family, habits and fear of being abandoned, as well as life in illusions. The message of the work is that life is not a fairy tale, even if it is lived with the help of music and dancing, it remains a tragedy. If fate tests a person's strength by sending him many trials, this does not mean that in the end he will be rewarded with fulfilled desires. If we look at the title of F. S. Fitzgerald's novel, then it can be divided into two parts:
"Gatsby" is the name of the main character in the work.
The adjective "great" can be interpreted in two ways[8].
Firstly, Gatsby is a rich man, but his reputation for acquiring wealth is shrouded in mystery. The hero throws all the feasts for one girl, Daisy. It is his way of trying to get her attention. In this respect, Fitzgerald ironically shows his attitude to the protagonist. The author is acting here as a moralist.Secondly, Gatsby is considered great because of his prejudices:
The hero's feelings are indeed strong;He is committed to his dreams; Gatsby is generous.
In another world, in reality, all these qualities would make the protagonist of The Great Gatsby a positive character. All these qualities are revealed at the moment when Daisy rejects him. The hero is no longer attracted to his wealth, he sees no point in it. There is no doubt that the complete version of The Great Gatsby allows a more subtle analysis of the psychology of the actions of all the characters. But a brief summary is enough to understand that this is a typical American tragedy, all the ingredients of which were laid down by Theodore Dreiser - interestingly enough, both American Tragedy and The Great Gatsby were published in the same year. In the 1920s, as people became millionaires, bought up shares and sold alcohol illegally, many intellectuals began to wonder whether the 'American Dream' was a fake. The tragedy of the novel and its protagonist is based on this idea. Jay Gatsby, a man of obvious intelligence, ability and organisation, who managed to soar to the top of the wealth ladder in the shortest possible time, was, it turned out, pursuing a very prosaic goal - to attract the attention of a girl who rejected him because he was insolvent. Unfortunately, Gatsby loved the image of Daisy that he invented, behind which he did not see the empty guts, the infantilism, the frivolous desire for luxury and wealth. The second problem raised by the author is the rotting, loose morals of upper-class society in the twenties. How many pages of The Great Gatsby are about adultery? Certainly more than half. There is no love other than self-love - Daisy wants to be with Tom and Jay, Tom wants to be with Myrtle and Daisy, Myrtle wants to date Tom but feigns resentment when her husband finds out she's been cheating. The twentieth century was a true age of selfishness, and Fitzgerald, who grew up in a wealthy family, knew this better than anyone - he observed the hypocrisy of luxury early on. Thus, only the narrator and Gatsby himself appear as positive characters - and while Nick's rationality allows him to see things soberly without losing his head over the glitz and glamour of money, Jay is an overly dreamy romantic who has fallen in love with the wrong girl. Seeking to reap the fruits of riches with more riches, reclaim the past and bring the girl of his fantasies to life, Mr Gatsby was doomed to failure from the start of his journey. This work covers a wide range of topics, but the main theme is of course the unequal position of people in society. Jay Gatsby and Daisy were in love. She was the daughter of a rich man, he was poor. They could not be together. Everything was against them[9]. The author talks about the problem of the reprehensible behaviour between the rich and the poor. People measure the people around them by the size of their wallets, which leads to mistakes that are costly for a society that lives by false values. There are several thematic lines in the work, which are interconnected.One of the main themes is social inequality (the relationship between Jay Gatsby, from a poor family, and Daisy, an aristocrat). The young people's inability to be together stems from their condemnation of society and its false, artificial values.The second thematic line of the novel is that of a life of illusions. Gatsby's whole life is about the pursuit of illusion and the death of illusion.The theme of family relationships is explored through Daisy and Tom, and Gatsby and his father.The theme of fear of life's changes is also expressed in the description of Daisy's actions, who refuses to end her relationship with her unloved and cheating husband for the sake of the man who has dreamed of her all her life.The novel did not enjoy great popularity in the author's lifetime, although it was staged on Broadway and adapted in Hollywood almost immediately after its release. However, it was republished after Fitzgerald's death. 150 000 copies of the book were sent to soldiers at the front. Over the next ten years, the novel became a bestseller and required reading in educational establishments in many English-speaking countries around the world. Today, The Great Gatsby is one of the 100 best novels written in English in the twentieth century. Living in illusions is an equally important problem. Jay Gatsby, after breaking up with Daisy, never stopped thinking that one day he would come to her, with a fortune behind him, and she, realising he still loved her, would return to him. But that was an illusion, nothing more. An unfinished goal that has turned into a strong desire to prove to her that he is worthy of her hand. On the one hand, this is a very good thing. Gatsby became successful and rich. On the other hand, he never built his life, at heart he was still someone society considered an outcast and a poor man. He lived only for his lover, and finally, when it came to him, he forgot that time changes people. The themes of friendship and family are also raised. Gatsby was in hiding and didn't talk much about himself, but as it turns out at the end, he had a loving father who knew his whole story from beginning to end. He got Nick, who treated him with respect, while the "big one" was rejected by all and sundry. But even these genuine bonds can't help a man realize his own importance and dignity[10]. He chases phantom feelings that let him down because they are long gone. Sadly, we are rarely able to properly appreciate the importance of the loyal and inconspicuous people who are around us, wherever we are.
Also at the heart of this is the problem of habituation and fear of abandonment. Daisy is addicted to cowardice and routine. She is afraid to break an unnecessary bond for the sake of a real feeling. She gives up happiness and betrays her dreams for the sake of her comfort zone. The basic idea of the play is that life is not a fairy tale, but a tragedy, even if there is music everywhere and the faint sound of palm trees. There can be many trials and tribulations, and unfortunately that doesn't mean that in the end you'll get lucky and suddenly everything will be justified. Jay Gatsby lived a hard life, kept a few secrets, but he had love in his heart and hoped to be happy with Daisy sooner or later. But, as we see, things are different. She was afraid to leave her husband and child for an old love. Gatsby dies alone. Daisy doesn't even come to his funeral. So even if you think you've earned happiness through many hardships, that doesn't mean some ephemeral force like justice has to bring the reward through its teeth. Fortune is as capricious and unpredictable as love: the heroine has chosen a mean and rude man instead of a devoted and loving one.The author also wanted to show her personal life, the way people's close relationships develop in an age of rampant capitalism. Through the drama of the protagonist, we see how man becomes a mere producer of material values and owner of all kinds of goods. He is valued in money, and is forced to pursue financial solvency without sparing himself. This is how his time passes. This is how Gatsby lost his happiness, because he thought he would succeed in making money and becoming a king, but unfortunately the drift of life is indifferent to people and their efforts. Success came for the man, but it didn't help him turn back time.
The novel received good reviews in the press, but it did not sell as quickly as the author would have liked. The critics of the time were not overly enthusiastic about his work.The novel was praised by famous writers Ernest Hemingway and Edith Wharton, who wrote more than 20 novels in her lifetime. Francis Fitzgerald's popularity only increased in 1945. During his lifetime, critics were very biased towards his works and only changed their opinion after his death.
There is still no consensus about the importance, individuality and even genius of his novel. Each critic perceives and appreciates The Great Gatsby in his own way. Read The Great Gatsby in English if possible. The author's language is musical, and many beautiful descriptive elements are lost in translation. Of course, not everyone will be able to read the original - but you should try to choose the best translation from those offered. There are six Russian versions of The Great Gatsby. The very first translation was done in 1965 by Soviet translator Yevgeniya Kalashnikova. To this day, it is considered the best, despite the many semantic inaccuracies (typical of most Soviet translations whose authors have tried to "tamper" with the original). The overall mood and musicality of the narrative of the original text are generally preserved. The next translation was done by Nikolai Lavrov in 2000 - he simply corrected any inaccuracies in Kalashnikova's translation and generally did not lose the author's style. The following translations were made in response to the popularity of new adaptations. The Great Gatsby, translated by Irina Mizinina (2013) and Sergei Tusk (2014), has received almost no reviews due to its small print run. The 2020 translation by Suzanne Alucard, on the other hand, was not well received, with readers accusing the translator of copying the screen version and of a dull, unprofessional narrative. The last translation of the novel to date was by Sergei Ilyin at the end of 2020, and it fully reflects Fitzgerald's original musical score. Although many have found Ilyin's translation difficult and "too eloquent", it is the closest to the original. F. S. Fitzgerald describes the eyes more and more often as time goes by,over the city[11]. Eyes that see everything, and despite the fact that these.
Eyes have no soul, they ache and grieve for all that happens. This happens as follows to better express their thoughts and opinions about the city, and the grey-blue eyes gradually become a symbol of the city. To summarise all from the above examples it can be concluded that the contrasting villas and small houses, sunshine and slag dust and the use of different adjectives and comparisons, F.S. Fitzgerald creates an artistic space, which in turn influences its inhabitants by changing them. These changes in turn show that psychology and allow us to trace the psychological characteristics characters from the side of temporal-spatial relationships[12].
2.2. Analysis of prepositions in The Great Gatsby
The Great Gatsby was written by Nick Carraway as a memoir. The narrator's character is very close to Fitzgerald himself. His moral, ethical and aesthetic judgements are in line with those of the author, and there are no instances in the novel where the author and the narrator differ. Nor does the presence of the fictional character of the narrator impose any significant constraints on the language of the novel, and the narrator's speech is analogous to that of the author, with all its inherent individuality and stylistic peculiarities. Including proper nouns, the vocabulary of The Great Gatsby consists of 4,741 words; the text of the novel contains 32,682 word uses. Excluding proper nouns, the figures are 4,236 words and 3,145 word uses. The average frequency of a word unit is 7.4. About half of the vocabulary (41.9 %) consists of nouns and 22.5 % of verbs. As can be seen, the vocabulary is dominated by nouns. However, the proportion of verbs and nouns is evenly balanced in the text, with the former slightly predominant (19.6 % of the text is verbs and 18.7 % nouns). This has been achieved at the cost of a high number of verbs and a correspondingly high word frequency (6.5 on average).An undoubted feature of the novel's vocabulary is the relatively high number of adjectives - 21.1 per cent. Adjectives account for 7.6% of the text. Fitzgerald's relatively low average frequency of adjectives, however, suggests that there is a wide variation in the choice of definitions.Of course, Fitzgerald has his favourite adjectives - 'late, white, dark, cool' - but it is noteworthy that nearly 60 per cent of all adjectives appear once in the text. It is not surprising, then, that of all the lexico-grammatical tagging in the novel, the adjective has the lowest average frequency, 2.7. These figures can probably be taken as objective evidence of the next characteristic of Scott Fitzgerald's style: a desire for expressiveness and variation in the definition of the qualities and properties of the subject. This may explain the high number of ideographic synonyms among the adjectives. These can record the degree of increase (decrease) in quality (thick - thickich; small - tiny - infinitely small; big - huge - colossal - huge; cool - cold - freezing) or any nuance of meaning (false - false - untrue; iron - solid; connecting - coherent; astonishing - astounding, etc.)[13]. The colour-light spectrum is very rich, and is mostly expressed by adjectives, and Fitzgerald often uses compound words to give a precise sense of hue: for example, 'ash-grey' is accompanied by 'ash-grey'; 'cream - cream-coloured; gold - gold - gold-coloured'; six words for the shades of the red part of the spectrum: 'red, pink, rose, crimson, crimson-red, crimson-red, wine-red'. In The Great Gatsby, there are many compound words among the adjectives, often with - ed. Compound compounds can be N + N 'owl-eyed', A + N 'gaping-mouthed, small-breasted', Num + N 'five-parted, triangular', N + V 'sun-stung, ocean-going', Adv + V 'well-loved'[14]. The large number of such adjectives demonstrates that Fitzgerald is actively using the derivational model in the language. His productivity is so great that the common language dictionary does not record all the derivatives that occur in speech. Such words represent a considerable saving of linguistic material. And because they always sound fresh, they attract attention and are an effective means of expression. Adverbs rank fourth in the vocabulary with 10.1 per cent of the vocabulary and 8.0 per cent of the text. These high numbers are due to the prepositional adverbs "up, out, off", which belong to the high frequency zone of the vocabulary: "up, out, off, place and time adverbs then, there, now, never, action adverbs here, also, together, suddenly, so". Fitzgerald's prose is characterised by a heightened interest in the representation of the nature of action. This accounts for the large number of figurative verbs: stagger, crouch, crawl, creep, etc., and the increase in the corresponding group of adverbs, partly due to neologisms. The vocabulary of The Great Gatsby contains more than a dozen action adjectives which are not in the Oxford Dictionary or Webster's Dictionary, but which are nevertheless not the author's own neologisms. They are mostly adverbs formed from adjectives with the suffix '1u': 'loudly, boisterously, brusquely, individualistically' or from verbs: 'overwhelmingly'. The lexico-grammatical class of pronouns occupies 1.5% of the vocabulary and 14.6% of the text, indicating an extremely high frequency of pronouns. Since the novel is written in narrative form and the narration is in the first person singular, the personal pronoun "I" is the most frequent, ranking 5th, with an absolute frequency of 841. The personal pronouns are mostly used as substitutes for I, heshe, it. The 3rd person pronouns are traditionally placed after the preposition.Sometimes several pronouns belong to the same preposition. The author refers to Daisy and Tom's three-year-old daughter as "the child" throughout. For Gatsby, this is a completely 'abstract' child, and in his mind the pronoun 'it' naturally replaces 'child'. "I don't think she ever really believed in the existence of (the child) before..." . For the mother, of course, he is the only substitute: "Daisy turned him around to face Gatsby". Both associative pronouns are used in the author's speech and are a very economical means of conveying the characters' different attitudes to the child[15].