Scholarly article on topic 'The Specificity of Discourse in the Lyrics of Modern English-speaking Authors'

The Specificity of Discourse in the Lyrics of Modern English-speaking Authors Academic research paper on "Languages and literature"

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{Discourse / "intercultural communication" / "English song" / Beatles / translation}

Abstract of research paper on Languages and literature, author of scientific article — Artyom S. Zhilyakov

Abstract Songs of British authors of the XX century reflect the complex process of learning about the world, and fully mark the author's ability to create a special poetic reality. For the analysis of poetry taken lyrics Beatles “I Am the Walrus”, the study of this text suggests the process of intercultural communication in the translation from the English language, the detection of the local language picture of the world, available discourses and their interaction. Investigation of Beatles songs gives the translator an opportunity to navigate cultural situations, his own literary and linguistic analysis, and use the methods of cognitive research.

Academic research paper on topic "The Specificity of Discourse in the Lyrics of Modern English-speaking Authors"

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Procedía - Social and Behavioral Sciences 154 (2014) 470 - 474

THE XXV ANNUAL INTERNATIONAL ACADEMIC CONFERENCE, LANGUAGE AND

CULTURE, 20-22 October 2014

The Specificity of Discourse in the Lyrics of Modern English-

speaking Authors

Artyom S. Zhilyakov*

National Research Tomsk State University, 36, Lenin Ave., Tomsk, 634050, Russia

Abstract

Songs of British authors of the XX century reflect the complex process of learning about the world, and fully mark the author's ability to create a special poetic reality. For the analysis of poetry taken lyrics Beatles "I Am the Walrus", the study of this text suggests the process of intercultural communication in the translation from the English language, the detection of the local language picture of the world, available discourses and their interaction. Investigation of Beatles songs gives the translator an opportunity to navigate cultural situations, his own literary and linguistic analysis, and use the methods of cognitive research.

© 2014 The Authors. Publishedby Elsevier Ltd.Thisisan open access article under the CC BY-NC-ND license (http://creativecommons.Org/licenses/by-nc-nd/3.0/).

Peer-review under responsibility of National Research Tomsk State University. Keywords: Discourse; intercultural communication; English song; Beatles; translation

1. Introduction

A feature of intercultural communication, which manifests itself at the level of the text of a work of art, this may include genre and modern songs, is that the song presents the local language picture of the world of the author. It gives an idea of the creative process, the stages of creation and indicates the presence of discourses within the cognitive process in the translation of the song.

Methods of working with English lyrics assume particular perception of a song genre, as well as the ability to detect nuances in the song cultural situation, creativity and originality of artistic reflection of reality (Chumak Zhun, 2009). Therefore, as the investigation were the lyrics of the Beatles, a common vector which focuses on the

* Corresponding author. Tel.: 83622529695 . E-mail address: aztek 1965@yandex.ru

1877-0428 © 2014 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC-ND license (http://creativecommons.Org/licenses/by-nc-nd/3.0/).

Peer-review under responsibility of National Research Tomsk State University. doi:10.1016/j.sbspro.2014.10.195

perception of human values, and respect for world history and culture. In addition, Beatles songs are to this day a valuable legacy of the English language and literature, leaving a wide trail and actual sound in the minds of modern progressive society.

The local language picture of the world presented in the song is composed of individual elements - it may be the dictionary meaning of words, idiomatic expression or a complex metaphor, word string, forming a poetic stanza, specify the proper names, quotes, and, finally, the presence of linguistic gaps, images, which is difficult to find an equivalent value in the Russian language. In addition, there are the songs the Beatles "new" words, invented by the author, which is equivalent to the general trends in linguistics (the process of word formation), in the development of English literature in the XX century, in particular, children's literature. As an example, the expression "Oh, Warrish!", used by John Lennon in the song "Revolution".

In turn, a study of the local language picture of the world in the song leads to understanding and identification of multiple links, including biographical motives of the author, which is a complex and multi-level discursive field that includes not only text units, but our cognitive perception. This cognitive perception is always wider and deeper than the text itself, as we learn about the world a lot more in the process of analysis and study of the text of art (Kashkin, 2004).

2. Research Findings and Discussion

To study the discursive field in the text of the song "I Am the Walrus" some elements of the local language picture were taken - the first line of the song "I'm with you and you're with me and we are all together", a metaphor "I am the eggman, they are the eggmen, "I Am the Walrus", which is the refrain, proper names Hare Krishna, works of Ginzburg, Pitchard, Edgar Allan Poe, the Eiffel Tower, the name of Oswald, the hero of "King Lear" by Shakespeare, "alien" voices (non-words of the author) "Do not think that the clown laughs at you (ho-ho-ho, hee-hee-hee-ha-ha)", "strange" English phrase "Goo goo g 'job".

"I Am The Walrus" has a clear composite sequence of the musical and poetic narrative - Overture (Intro, introduction), the story (lyric text), retreat (addition) and completion (Outro), complicated text editing. In addition, the song structure accommodates vocals, full of the feel of alien voices (not the voice of the author).

The overture of the song begins simultaneously with the entry of symphonic and bit, its mood anxiety, restrained and exciting, the same tone sounds through all the work, except for a small retreat in the second part of the song. Poetic introduction, following it can be considered separately from the text. It is a conceptually complete cycle within a single line, and it is not only important composition, but also sense-link in the explanation of the absurd at first glance, the world of Lennon. The text of the first line sounds like: "I am he as you are he as you are me and we are all together" («I like it, it is like you, you like him, like me, and all of us together"). Rhythmic stroke and stress syllables clearly defined weak share measure, and subsequently all the first-line verses faithfully replicate this given rhythm. In comments to the song states that "some believed that the first line ... is a parody of the first line of the folk song" Marching to Pretoria ":" I'm with you and you're with me and we are all together "(Wikipedia, 2010).

The phonetic pattern utterance of this phrase, its rhythmic preconceived have a deep sense of composition, and can be decoded as the beginning of the dance, movement, circle dance. At the same time the line contains a chronotop of space-time in which there is a circular motion, moving dance tune (Bakhtin, 1975). The first line reveals the time-space through its carnival sense, fantastic play, celebration, where all members alike, are actors in masks, whose role - only perform dance, play the mystery, give rise to the alternation of the images that will be included in the following text.

Another aspect of this phrase lies in the concept of R. Gary Patterson, described in his book "Paul McCartney: The Story of the sacrifice." According to this concept the Beatles all the way their work is accompanied by images and signs of death. In comments to the album "Magical Mystery Tour", he writes: "The Beatles" dressed up in animal costumes, among them - the black walrus, who allegedly in the Nordic countries is a symbol of death". And further: "The widespread among fans bought the rumor that" the walrus in Greek means "corpse". Thus, the song I Am The Walrus («I - Walrus") means "I - a corpse." (Patterson, 1997).

The storyline with the image of "corpse" makes Patterson remember "Finnegans Wake" by James Joyce. The protagonist, Tim Finnegan, drunk, falls down the stairs. Deciding that he fell to his death, friends arrange a wake over the body of Tim, wanting to hold it solemnly on his last journey. A wake turned into a noisy drinking party (the

image of the song "I am the Walrus" mirth in funeral - "fun at the funeral"), and one of the guests feasting throws whiskey on the "corpse". Finnegan rises from the grave to join the fun junket. However, participants in commemoration again placed in the coffin of Tim, telling him that from now on it will be replaced by a double.

This story gives rise to a different interpretation of the dance, given the first line of the song - now it is a ritual dance, which, in addition to his desire, including the "hero of the holiday." In this case, a central place in the dance remains with the walrus, however, is changing its role to the role of the Joker "corpse", which generally consonant with the dominant disturbing music. Transferred to the song Lennon story about the "corpse" gives the text songs element of staging, theatrical action.

In this sense, Lennon drew attention not just to the dance with the set-sounding phrases, but a more complex structure on the hoax, a sense of the fantastic sounding orgy scene.

In solving the mystery of the first line of play and Walrus Carroll. So, Carroll's Humpty Dumpty to Alice incredulous question: "Is the name should mean something?" Snort, replied: "Of course, it!". Some of the futility of the first line of the song suggests the idea of the comparison with the "nonsense" verses Carroll, who actually - a play on words. Thus, Lennon provides the first line of the listener to play the game by determining the motive of all subsequent text.

If Alice Carroll, getting in on the other side of the mirror meets the fictional characters of the book, interacting with them and giving rise to a chain of thought and associations (White Rabbit, Dodo, The Duchess, Hatter, March Hare and so on) Lennon's song listener, plunging into the "Magical Mystery Tour" and artistic reality delimited text, "I am the Walrus", meets other heroes - invisible people and, on the contrary, well-known personalities and characters of the 60's. For example, in the song featured the usual cop, Hare Krishna (Hare Krishna), Allen Ginsberg, in particular, the reference to "Elementary penguin", Oswald, the hero of "King Lear" by Shakespeare, voiced his monologue, Semolina Pilchard, climb the Eiffel Tower, is mentioned Edgar Allan Poe, and finally man-Egg or Humpty Dumpty.

Analysis of the poetic text, which is a set of images with no apparent connection to each other, cementing the line, turned into a chorus, and repeated once again from "I am the eggman, they are the eggmen , I am the Walrus."

By themselves, these lines are also a play on words, but in addition to the overall fragmentation of images in the text, give rise to the enhancing effect of audible absurdity. In addition, the words "I am the eggman" symbolically represent multivariate interpretation and poetic shell converted text into a cultural paradox, artistic text with a multilayer structure.

Another observation in the analysis of the song "I am the Walrus" refers to features of its chronotop, namely landscape chronotop, which is based on the different facets of urban reality and the English garden, present in the text as the opposite poles. Nevertheless, they have a single philosophical point of convergence, the point of "assembly" of the text (Kashkin, 2002).

Outer space songs occur in a normal urban environment, perhaps in the near suburbs that does not change, however, detached position lyrical, outside the city of the universe, which involve his future experiences - he is "sitting on a pile of popcorn, waiting for the van to go in corporate-shirt." Followed images that expose the hero's feelings, mostly negative - detachment, a feeling of emptiness, retching vomiting "Mr. City policeman sitting on his haunches, cute little cop gets involved in the dispute", "see how the pig run away from the muzzle of the machine" "mustard yellow pus from the eye follows a dead dog", "canned crab", "Expert poisoned choking among smokers." In the second part of the song references to the works of Ginzburg, Pitchard, Edgar Allan Poe extends to outer space chronotop world borders, implying that a similar pattern is observed by the author in all spheres of culture and causes such feelings.

However, despite the oppressive external reality, the song has its own inner space hero, where he was left alone, can feel peace. Musically, this pause expressed remission music stretched orchestral sound. Inside this pause the landscape is changing - the chronotop of the narrative of the momentary urban life, philosophically conjugated with absurdity and horror, it is deliberately classic, familiar to British ears - a listener suddenly finds himself in a beautiful English garden, which has its own traditions and customs, in spite of every minute change and the developments. However, contrary to the expectations of the listener, Lennon leverages pause occurred in sharp satire and mockery, twisting inside this imaginary inner freedom one impish remark: " Sitting in an English garden Waiting for the sun -If there is no sunrise, you will get your tan, Standing under English rain."

Thus, the time-space landscape in the song represented the city and the English Garden. Philosophically, the city and the garden in the song are one plastic concept, which does not provide an answer to the listener, but offering a false salvation for the hero. Turning wrong side of the city, garden loses its traditional aesthetic burden places where there is beauty and style.

One of the features of the song "I am the Walrus" are strange words "Goo-goo-goo-Joob". According to Patterson, they are borrowed from "Finnegans Wake" Joyce. Also, these are supposedly the last words spoken by the "man-egg" Humpty Dumpty before his famous fall. In any case, this absurdist reception Lennon added a sense of mystery and unsolved mysteries in the "magical journey".

The dramatic situation is amplified by the presence of a clown (the actor) and his faceless smile, taunts, emphasized inserted in Voice Recording: "Do not think that the clown laughs at you (ho-ho-ho, hee-hee-hee-ha-ha)." Thus, the Walrus seems no longer an abstract symbol, but the real suffering person, placed in the world of theater, displayed artistic and musical means.

In an interview, Lennon admitted: "Then I was not clear that Lewis Carroll commented on the capitalist and social system. I did not realize, and the particles of what he really meant, like people do with the Beatles works. Later, I reviewed it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, "Oh, shit, I picked the wrong guy." I had to say: "I am the carpenter". But this would not be the same, is not it? [Sings] "I am the carpenter ..." (Wikipedia, 2010).

This excerpt from an interview with Lennon paraphrases dialogue Alice and Tweedledee after the verse, "The Walrus and the Carpenter", "I like the Walrus," said Alice. "He at least was at least a little sorry for the poor oysters." "But he ate more than the Carpenter," said Tweedledum. "It's not fair!" cried Alice. "Then I like the Carpenter - if he ate less than the Walrus" (Carroll, 2003).

Secondly, Lennon demonstrates hidden smile "I am the carpenter ...", because in the context of Christ Bible refers to "the carpenter."

Thus, the time-space of the narrative together with the philosophical, existential concept of lyrical create a bizarre reality, bordering on the fantastic fiction "magical journey", where Alice and falls instead fabulous and generally harmless mirror.

Finally, the composition of the product completes the code (final), which is enhanced by the orchestral sound that emphasizes the importance of the text as the final not only in music reading, but also points to the multi-variant reading all the previous text. And this is despite the fact that the code leaves more questions than answers. In general, the sound codes guess - 1) dialogue voice and orchestra 2) musical instruments, their tone and timbre with embedded noise and replicas of Shakespeare's play "King Lear". Both of these factors give rise to polyphony, polyphony of meanings and the score of the choir.

3. Conclusion

The results show that the amount of knowledge gained from the analysis of the local language picture of the world in the lyrics of The Beatles' I Am the Walrus" seriously exceeds the overall linguistic background, it provides an opportunity to reflect on the nature of the creative process. The linguistic and literary discourses found during cognitive immersion tend to mark the process of intercultural communication. This type of analysis seems promising in the study of a variety of artistic genres in their contest, connection, including songs and contemporary British authors, reflecting the complex poetic reality.

References

Bakhtin, M., (1975). Forms of time and chronotope in the novel. Essays on historical poetics. Questions of Literature and Aesthetics. 258, 112163.

Carroll, L., (2003). Alice in the Woderland. 262..

Chumak, Zhun., (2009). Discursive space of the poetic text: figurative word in the Russian lyrics late XVIII - early XXI. Dissertation the

humanities / Disssertatsiya, Belgorod, 232. I am the Walrus/ Wikipedia, (2010). http://ru.wikipedia/wiki/I_Am_the-Walrus (pp.6-10).

Kashkin, V. (2002). Factor model of action and grammatical translation. Herald VSU Series linguistics and intercultural communication (pp. 6267).

Kashkin, V. (2004). Grammar of poetic discourse and translation. Studia Germanica et Romanica. Inozemni MTIE. Zarubizhna literature.

Vikladannya technique. "Donetsk: Donetsk National University, Volume I. Number 3 (pp. 71-81). Patterson. P. (1997). Paul McCartney: History of Sacrifice. 243.