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The author similarly resolves the controversy over the sex of the puppy Myrtle buys in a very terse way. "Boy or girl?" she asks gently. "That dog is a bop." "That's a bitch," Tom said firmly." Before that, he devotes an entire paragraph to the puppy, using the substitution "it" throughout, except in the last instance where the word "female" is used.The 2nd person pronoun "you" is not very frequent (the absolute number is 16), but its presence in the author's narrative is significant. The appearance of 'you' may indicate that the narrator is addressing the reader directly: 'I can still read the grey names, and they will give a better impression... of those who have accepted Gatsby's hospitality" (p. 63). Sometimes the "you" is a generalization of the author and the reader. Thus, in the 12-line description of Gatsby's smile, the pronoun "you" occurs nine times. "Gatsby's smile was 'concentrated on you with irresistible prejudice. He understood you as much as you wanted to be understood, believed in you as much as you wanted to believe in yourself..."This is a description of a smile addressed to the narrator, but it is structured in such a way that the reader gets the impression that the smile is addressed to him personally. In this way, the personal pronoun "you" helps to create an atmosphere of trust and closeness between the reader, the narrator and the hero, i.e. it performs a function that is not typical of ordinary, non-fiction speech. In this case, it is an aesthetically significant element of the text. Many prepositions are observed in the book. For example, in the book we use the at, in, on prepositions. To indicate the exact time: at one o'clock, at 9 o'clock in the evening. «Can you pick me up tomorrow? Can you pick me up tomorrow? I'll expect you at 9:30» « I’ll be back in a minute. Please don’t go without me» «He is a police officer and often has to work at night». Across: «He leant across the table» After: «The door shuts after him». The writer's keen sense of the rush of time is expressed in the text of the novel in the form of a series of time signs. Such signs are always present in the author's speech when a new narrative begins. It may be a direct reference to a point in time or a reference to an event already known to the reader. Syntactically, such a marker may be a temporal circumstance ("At the end of July, at nine o'clock in the morning..."), a time determiner ("It was when curiosity about Gatsby was at its height..."), or even a separate pronoun phrase ("Roaring noon"). Such temporal markers introduce the reader to a new scene at the beginning of each major episode and help to orient the reader to the temporal perspective of the novel. They serve the same function as descriptions of the setting and portraits of the characters, and as linguistic expressions of the author's creative style[16].
Of course, these signs are not only present at the beginning of the episode. For example, in the description of Nick's first visit to Gatsby's villa, they appear embedded in the text. They may appear to be a precise indication of the time: 'The band arrived at seven o'clock', 'The merriment increased at midnight', 'I was alone and it was nearly two' - or they may be an indirect indication of the passage of time: 'The moon rose higher'. Gatsby's description of the evening, however, breaks down into a series of small episodes, isolated moments of general merriment. The narrator's attention is focused for a brief moment on a detail or event. The temporal marker for these micro-episodes is the adverb now or the word compound atpresent, which emphasise the momentary, short-term nature of the event. "I looked around. Most of the women who remained were now arguing with the men they said were their husbands" "The room was now occupied by two woefully sober men and their extremely indignant wives" Temporal signs can fulfil more than their basic function of indicating the moment of action. For example, in his description of the party at Myrtle's flat, Nick remarks, after several hours in the stuffy room and a large shot of whisky: 'It was nine o'clock - I looked at my watch almost immediately afterwards and saw that it was ten o'clock. Here, the time mark is primarily used to convey the fragmented, fragmented sense of reality caused by intoxication. The repetition of the then adverb three times on a page serves the same purpose. "Then there were bloody towels on the bathroom floor...". "Then Mr. McKee turned and continued out the door." "Then I lay half asleep in the cold lower level of the Pennsylvania station..." The main events of the novel take place in the summer of 1922, and there are also episodes from three, five and fifteen years earlier (Daisy's marriage, Daisy and Gatsby's love, Gatsby's meeting with Dan Cody). All these events are connected in one way or another. "One autumn night, five years ago..." is how the love story of Gatsby and Daisy begins. "On a nineteen-seventeen October day" - this is how Jordan begins the story of Daisy's marriage. The meeting with Dan Coady is also dated, though not so clearly - the narrator reports that Gatsby was seventeen at the time, and we are made aware much earlier of how old Gatsby was at the time of the main events: 'I was looking at a smart, young, young, rough fellow, a year or two over thirty' And even the events of the 1922 timeline are linked. After a road accident and the death of Mrs. Wilson, Nick visits Buchanan's house: 'Crossing the porch where we had dined that June night three months before, I came to a small rectangular light .The reference to 'that evening' is not accidental - '...the story of the summer really begins on the night I drove there to dine with Tom Buchan' the reference to that evening not only creates a temporal distance between events but also carries an additional burden, as it evokes in the mind a comparison of the two evenings: '...the shrill metallic urgency of the fifth guest...' then and "Myrtle Wilson's body wrapped in a blanket and then another blanket" now; the occasional mention of Gatsby's name then and Gatsby's maturing tragedy now; the flirtatiously unhappy married Daisy then and the openly betraying Daisy now. But all these associations are rolled into a tight ball and subtextualised. And to make the complication begin to unravel, Fitzgerald introduces the phrase - the time marker "on that June night three months ago". As the results of the analysis show, the time signs not only contribute to the creation of a clear, multidimensional temporal perspective of the novel, but also testify to the ideological and semantic purpose of time as an artistic category in Scott Fitzgerald's work.To conclude this overview of the high-frequency vocabulary zone of The Great Gatsby, we must note that there are almost no stylistically distinctive elements. The emotionality and a certain stylistic elevation of the language of the novel are entirely provided at the expense of the proper notation of low-frequency lexemes.The mid-frequency zone of the novel's vocabulary comprises words used between 6 and 20 times in the text. These occupy 10.5 percent of the vocabulary and 14.5 percent of the text, i.e. the proportion of vocabulary and text occupied by these units does not show the gap that is so characteristic of the high and low frequency zones of the vocabulary.Directly related to the elaboration of the novel's theme, the mid-frequency vocabulary is dominated by thematic verbs and nouns (city, sound, butler, champagne, office, guest room, cocktail, reach, change, dress, play, sign), adjectives denoting the main colours of the rainbow (yellow, blue, green), objectively existing qualities (warm, hot, cool, big), subjective evaluations (fantastic, grotesque). Sometimes, adjectives may express the author's subjective evaluation of the object, in addition to the objective thermal properties of the object. For example, there is a "hot - cool" clause in the text: "the hot lashes of panic", "the hot struggles of the poor" - "bedrooms nicer and cooler than the other bedrooms".There is also a group of words in the mid-frequency vocabulary that carry a heightened ideological and thematic load in the text of the novel, denoting concepts that are key to the work in question. In The Great Gatsby, these words are "money, party, hope, past, dream". Of particular interest is the large group of personal names that appear 1-2 times in the text of the novel. This is Gatsby's famous guest list. For two pages the narrator lists the names of those who 'enjoyed Gatsby's hospitality'[17]. Why this huge list of names (74 names), whose bearers the reader does not know and will never know? By the academic V. V. Vinogradov: "Proper names, whose bearers are unknown to the reader, do not arouse in his mind any idea of real persons, but by their emotional colouring, by their connotations to their etymological units, they evoke various emotional and semantic echoes"In this case, these echoes contribute to a wittily satirical description of the distinguished company. The etymology of many names is 'metaphorically' animal-themed: 'the Catlips, Francis Bull, Webster Civit, Blackbug, Edgar Beaver, Fishguard, Ferret, Beluga', etc[18]. The overtly satirical Miss Claudia Hip, the Smirkers, the Hammerheads'. The personal names, even taken on their own, with external features such as "the Crysties (or rather Hubert Auerbach and Mr Crystie's wife), "Miss Claudia Hip with a man who is said to be her chauffeur and something of a prince - contribute to the satirical effect. In most of these names, the subject-logical meaning interacts with the nominative meaning. However, this is not a stylistic device of antonymy. "Surnames often retain their internal form, and with it their expressive colour". When such a surname is associated with a specific person, the internal form fades and often disappears completely from the reader's memory. And when the reader is confronted with names whose infinitive value is weakened (since these names are not based on representations of specific persons), the internal form of the name takes on a particular tension. The author's task is to choose names that have a pronounced internal form and a very strong expressive tone. Fitzgerald chooses names that clearly characterise society while maintaining the illusion of the author's objectivity. Analyzing all instances of the use of place names, we conclude that in various stylistic functions Fitzgerald uses non-American place names, probably because for the American reader they sound more romantic, often with a touch of exoticism, i.e. already in the initial position they carry certain stylistic connotations. Analysing the prepositions used in this work, we can say that the work is deep and meaningful with the help of prepositions. The temporal and spatial prepositions form a big part of the work.
2.3 Summary of Results
CONCLUSION
As a result of our study, we have found that prepositions are very specific linguistic units, capable of expressing a wide range of relations to objective reality. Throughout the historical evolution of language, the composition of prepositions has been renewed and their functional meaning has changed.The importance of the study of spatial prepositions is determined by the fact that these prepositions are primordial. The majority of prepositions are usually the result of the emergence of the original meaning. The primary original meaning of many prepositions is spatial. Spatial meanings are considered to be the prototypical element of the overall semantic structure of prepositions, since all possible abstract meanings of prepositions are generated by the metaphorical transition from physical to mental space. Having analysed the approaches scientifically available to study the semantic structure and functionality of prepositions, we can conclude that the best way to provide a comprehensive description of the features of prepositions is to use an integrated approach that combines elements of the traditional linguistic description of the paradigmatic relations between the linguistic units under study and a cognitive approach based on the nature of spatial concepts, reflected in the minds of speakers and expressed in the semantics of these prepositions. The combination of these methods allows the scientific underpinning and highlighting of the components of the semantic composition of the units under study, and provides a more complete picture of the role and function of prepositions in speech.
The practical part of the work is based on an analysis of the use of prepositions in English. Spatial prepositions dominate over temporal prepositions in English. We have analysed spatial and temporal prepositions and come to the following conclusion: authors prefer spatially related prepositions. In our work, spatial prepositions such as about, after, by, for, with and that are the most frequent. The prepositions beyond, off, over, out of were very rare. In accordance with the goal, we were able to analyze the use and meaning of prepositions in the work «The Great Gatsby» Fitzgerald developed his own unsettling style. He was characterised by a striving for artistic perfection, which he had achieved many times before, but the formal pursuit was never an end in itself. The best of Fitzgerald's works carried a total pervasiveness and fusion of important ideas and brilliant form[19]. One of the most striking principles of Fitzgerald's artistic style is that of 'double vision'.It should be noted that Fitzgerald's active involvement in real life, in the major socio-political events of his time, the 'suffering' of his world view, which he transposed to his art, makes his style philosophically deep and rich, his language spectacular and unique. The Great Gatsby is one of the finest works of world literature and, in the words of A. Startsev, "one of the most brilliant achievements of the American social novel of the 20th century". Description is one of the functional and semantic types of speech, along with narration and argumentation, but unlike these, its purpose is to draw a verbal picture visually so that the reader can visually imagine the subject of the picture. The essence of description is to express both the fact and the characteristics of objects existing side by side. Description serves to convey reality in detail, to depict nature, the interior, the exterior. The structural content of description is reduced to the temporal relationship of a simple sequence. The fact that all attention is focused on the recording of the dynamics, on the many moments of action, on their "step" character, such content determines the choice of sentences of an independent character. Description is often used to describe external events as a means of reflecting reality in a naturalistic way. In addition, description can also serve as a tool for sharp, subtle psychological sketches - when it depicts the experience and dynamics of the hero's inner state. In works of fiction, there is a distinction between description, evaluation and assertion, which depend directly on the author's intentions and the style he or she uses when writing the work. Not only a direct description of the setting of the action, the appearance of the character or the characteristics of his speech, but also details which are not visible at first sight, which help to reveal the character and which are used masterfully by the author of the work, can be used as descriptive elements.The Great Gatsby' is written in vivid prose, with carefully chosen sentences and without a single unnecessary word. F. Scott Fitzgerald reveals the characters of his characters, portrays their actions, remains distant, sometimes betrays his attitude to events. He evaluates the actions of the characters in precise terms, while characterising some of the characters. For example, the company gathered at the Gatsby's over the weekend is described by Nick Carraway as a 'cloud of accidental mosquitoes', expressing his contempt. The author masterfully paints a portrait of the character, conveying the essence of the man, his character[20]. The descriptions of nature are scattered throughout the book in small details that convey the mood of the characters. Fitzgerald is sometimes able to convey the feeling his characters are experiencing in a single, seemingly insignificant sentence. Thus, the word can convey positive and negative emotions, it can contain an evaluation, it can convey the author's attitude, irony, etc. In order to preserve the stylistic colour of such words, full and partial lexical correspondences have been used in the translation. The language throughout the narrative is lyrical and poetic. The author skilfully uses artistic means to create vivid, colourful images. Many words not only define concepts, but also express the speaker's attitude, a kind of evaluation. Each description presupposes the following four elements: the presence of the person or community giving the description, the situation described, the point of view from which the description is taken, and an indication of the truth or falsity of the alleged description.
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