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116 Âåñòíèê ÑàìÃÓ. 2006. ¹5/1 (45) Ò.Ô.Ïëåõàíîâà* ÄÈÀËÎà ÊÀÊ ÑÒÐÀÒÅÃÈß ÀÂÒÎÐÑÊÎÃÎ ÄÈÑÊÓÐÑÀ  ÀÍÃËÈÉÑÊÎÉ ÕÓÄÎÆÅÑÒÂÅÍÍÎÉ ÏÐÎÇÅ Â ñòàòüå ïðåäñòàâëåíû ðåçóëüòàòû èçó÷åíèÿ àíãëîÿçû÷íîãî õóäîæåñòâåííîãî äèñêóðñà â òåðìèíàõ äèàëîãà, êîòîðûé ðàññìàòðèâàåòñÿ êàê ïðîòîòèï âåðáàëüíîãî èñêóññòâà, ÷òî ñïîñîáñòâóåò àäåêâàòíîìó ïîíèìàíèþ àâòîðñêîé êîììóíèêàòèâíîé ñòðàòåãèè è òàêòèêè è ðàñêðûâàåò ðîëü àâòîðà â êîíòåêñòå ÿçûêîâîé èãðû. Õóäîæåñòâåííûé äèñêóðñ íàöåëåí íà ñîçäàíèå «âîçìîæíîãî ìèðà» - òàêîãî äèñêóðñèâíîãî ïðîñòðàíñòâà, â êîòîðîì â ñèëó óñëîâíîñòåé õóäîæåñòâåííîãî ìèðà ìîæíî íàáëþäàòü «îòñòóïëåíèÿ» îò òðàäèöèîííûõ ëîãè÷åñêèõ ñèñòåì ïîðÿäêà è ñìûñëîïîðîæäåíèÿ. ßçûê è îáðàçû â õóäîæåñòâåííîì äèñêóðñå, íàðóøàÿ îáû÷íûå ïðàâèëà ÿçûêîâîãî óïîòðåáëåíèÿ, ñîçäàþò âîçìîæíîñòü íàäåëåíèÿ «ãîëîñîì» âñåãî òîãî, ÷òî â îáû÷íîé æèçíè ëèøåíî «ãîëîñà», è áëàãîäàðÿ ýòîìó ïðîèñõîäèò ñáëèæåíèå ß è Äðóãîãî, ñíèìàþòñÿ ðàçëè÷èÿ, ïðåîäîëåâàþòñÿ êóëüòóðíûå, ñîöèàëüíûå, à òàêæå ïðîñòðàíñòâåííî-âðåìåííûå áàðüåðû. Âìåñòå ñ òåì õóäîæåñòâåííûé äèñêóðñ áëàãîäàðÿ «ìíîãîãîëîñèþ» ñïîñîáåí ïðåäñòàâèòü âñå ðàçíîîáðàçèå ÷åëîâå÷åñêèõ òèïîâ, õàðàêòåðîâ è îáðàçîâ â èõ ðå÷åâîì ïðîÿâëåíèè. Àâòîðñêèé äèñêóðñ õóäîæåñòâåííîãî òåêñòà íàïðàâëåí íà ñîçäàíèå àâòîðñêîé ñóáúåêòèâíîé êàðòèíû ìèðà â îïðåäåëåííûõ ðàìêàõ õóäîæåñòâåííîãî ïðîñòðàíñòâà è âðåìåíè. Ýòà êàðòèíà ìèðà ÿâëÿåòñÿ ðåçóëüòàòîì ñëîæíîãî ïðîöåññà äèàëîãè÷åñêèõ îòíîøåíèé, ñîñòàâëÿþùèõ ìèìåñèñ: 1. ß – ðåàëüíîñòü. 2. ß – âîçìîæíûå ìèðû 3. ß – Äðóãîé (ðåôëåêñèÿ, èëè ñàìîâûðàæåíèå).  õóäîæåñòâåííîì äèñêóðñå ïåðâûé òèï äèàëîãè÷åñêèõ îòíîøåíèé ìîæíî íàáëþäàòü òîëüêî íà óðîâíå ïðîòîòèïà (íà÷àëüíîé âîïðîñî-îòâåòíîé ñèòóàöèè, êîãäà àâòîð â ïîèñêàõ îòâåòà íà ðåàëüíûé âîïðîñ, ïðîáëåìó èëè êîíôëèêò ñîçäàåò ñâîé òåêñò), ïîñêîëüêó õóäîæåñòâåííûé òåêñò íå èìååò ôàêòè÷åñêîãî ðåôåðåíòà. Ïîäëèííî ìèìåòè÷åñêèì ÿâëÿåòñÿ âòîðîé òèï äèàëîãè÷åñêèõ îòíîøåíèé, ïîñêîëüêó ëþáîé õóäîæåñòâåííûé òåêñò – ýòî îäèí èç âîçìîæíûõ ìèðîâ. Òðåòèé òèï ïðåäñòàâëÿåò ñîáîé àâòîäèàëîã è îáû÷íî â íåì ïðîèñõîäèò êîíöåïòóàëèçàöèÿ êàðòèíû ìèðà, ò.å. àâòîð «ðàçðàáàòûâàåò» ñâîè îñíîâíûå êîíöåïòû, ìåòàôîðû, ñèìâîëû.  ïðîöåññå òâîðåíèÿ ñâîåé ðåàëüíîñòè àâòîð íå òîëüêî óñòàíàâëèâàåò îïðåäåëåííûå äèàëîãè÷åñêèå îòíîøåíèÿ ñ Äðóãèì, íî è ñàì ïîñòîÿííî ïðåäñòàåò êàê Äðóãîé, ïîä ðàçíûìè ìàñêàìè, òàê êàê ìèìåòè÷åñêèé õàðàêòåð ðå÷åâîãî àêòà â õóäîæåñòâåííîé êîììóíèêàöèè îòðàæàåò îáùåå ñâîéñòâî ïîýòè÷åñêîãî ÿçûêà – «ðàñùåïëåíèå», ïîðîæäàþùåå åãî íåîäíîðîäíîñòü. Ìû ðàçäåëÿåì òî÷êó çðåíèÿ Þ. Ì. Ëîòìàíà, ïîêàçàâøåãî, ÷òî íåîäíîðîäíîñòü, ñîïîëîæåííîñòü ðàçíîðîäíûõ ýëåìåíòîâ ÿâëÿåòñÿ ïðèíöèïîì êîìïîçèöèè è îñíîâíûì ñòðóêòóðíûì çàêîíîì õóäîæåñòâåííîãî òåêñòà âîîáùå. Ýòîò çàêîí îáåñïå÷èâà* Ïëåõàíîâà Ò.Ô., 2006 Ïëåõàíîâà Òàòüÿíà Ôåäîðîâíà – êàôåäðà âòîðîãî èíîñòðàííîãî ÿçûêà (àíãëèéñêèé) Ìèíñêîãî ãîñóäàðñòâåííîãî ëèíãâèñòè÷åñêîãî óíèâåðñèòåòà Äèàëîã êàê ñòðàòåãèÿ àâòîðñêîãî äèñêóðñà â àíãëèéñêîé õóäîæåñòâåííîé ïðîçå 117 åò õóäîæåñòâåííîìó ïðîèçâåäåíèþ ïîñòîÿííîå ñîïðîòèâëåíèå ïðåäñêàçóåìîñòè, ò.å. ïîñòîÿííóþ èíôîðìàòèâíîñòü [1. Ñ. 337]. Îäíàêî ðîæäàåòñÿ ýòîò çàêîí íå ñàìèì òåêñòîì, à ïðèñóòñòâèåì â íåì Äðóãîãî, äèàëîãè÷åñêèì âçàèìîäåéñòâèåì àâòîðà ñ ÷èòàòåëåì è ñâîèìè ãåðîÿìè. Òàêîå âçàèìîäåéñòâèå ïðîèñõîäèò ïî-ðàçíîìó â êëàññè÷åñêîì è ñîâðåìåííîì õóäîæåñòâåííîì äèñêóðñå, ÷òî îáóñëîâëåíî ðàçíîé ñòåïåíüþ è õàðàêòåðîì ïðîÿâëåíèÿ ñóáúåêòèâíîñòè ïîâåñòâîâàíèÿ. Îáùàÿ òåíäåíöèÿ ê ñóáúåêòèâèçàöèè ïîâåñòâîâàíèÿ, ñâÿçàííàÿ ñ èñòîðè÷åñêèì ïðîöåññîì ðàçâèòèÿ ëè÷íîñòíîãî íà÷àëà, ïðèâåëà ê ïîñòåïåííîìó âûòåñíåíèþ àâòîðñêîãî ïðÿìîãî ñëîâà, ò.å. ãîëîñà àâòîðà îò ñâîåãî ëèöà êàê êîììåíòàòîðà, ìîðàëèñòà, ïðîïîâåäíèêà èëè ëèòåðàòîðà. Ñ ïåðåíîñîì öåíòðà òÿæåñòè íà ïñèõîëîãè÷åñêèé àñïåêò ñîáûòèé è ôàêòîâ, íà âíóòðåííåå ß ãåðîåâ ðàçâèëèñü íîâûå ôîðìû ïîâåñòâîâàíèÿ (âíóòðåííèé ìîíîëîã, «ïîòîê ñîçíàíèÿ», ñâîáîäíûé êîñâåííûé äèñêóðñ), ïðîèçîøëî ñëèÿíèå ëèðè÷åñêîãî ýëåìåíòà ñ ýïè÷åñêèì, êîòîðûå ðàçîáùåíû â êëàññè÷åñêîé ïðîçå.  ñîâðåìåííîé ïðîçå «òî÷êà çðåíèÿ» íå íàâÿçûâàåòñÿ èçâíå, à ôîðìèðóåòñÿ âíóòðè ïðîèçâåäåíèÿ â ðåçóëüòàòå äèñêóðñèâíîãî âçàèìîäåéñòâèÿ àâòîðà è ãåðîåâ, ïðè÷åì â ïðîöåññå ñòàíîâëåíèÿ è ðàçâèòèÿ íîâûõ ïîâåñòâîâàòåëüíûõ ôîðì ýòî âçàèìîäåéñòâèå ïðèîáðåòàåò âñå áîëåå ãèáêèé è ðàçíîîáðàçíûé õàðàêòåð. Íîâûå ôîðìû âçàèìîäåéñòâèÿ àâòîðñêîé ðå÷è ñ ðå÷üþ ïåðñîíàæåé ñòàëè âåäóùèìè â àíãëèéñêîé õóäîæåñòâåííîé ïðîçå XX âåêà íå òîëüêî â ðåçóëüòàòå îáùåé òåíäåíöèè ê ñóáúåêòèâèçàöèè ïîâåñòâîâàíèÿ, íî è áëàãîäàðÿ ïîÿâëåíèþ íîâûõ ìîäåëåé ìèðîïîíèìàíèÿ. Ïñèõîëîãèçàöèÿ ïðîçû, óñëîæíåíèå åå ñóáúåêòíîé ñòðóêòóðû íàõîäÿò îòðàæåíèå â ÿçûêå, êîòîðûé ìîæíî ïðåäñòàâèòü, ñîãëàñíî Áàõòèíó, â âèäå «ñèñòåìû ïåðåñåêàþùèõñÿ ïëîñêîñòåé», ò.å. äèñêóðñîâ ðàçíûõ ñóáúåêòîâ, ãäå àâòîðó ïðèíàäëåæèò ðîëü «ïðèâîäíîãî ðåìíÿ», «îðãàíèçàöèîííîãî öåíòðà» ïåðåñå÷åíèÿ ïëîñêîñòåé, ãäå ñõîäÿòñÿ «äèàëîãè÷åñêèå íèòè» [2. Ñ. 296–297]. Ðàññìîòðèì íà ïðèìåðàõ ðàçíûå ñïîñîáû îðãàíèçàöèè äèàëîãè÷åñêîãî âçàèìîäåéñòâèÿ àâòîðà è ÷èòàòåëÿ (ãåðîÿ) êàê ïðîÿâëåíèÿ íåîäíîðîäíîñòè àâòîðñêîãî äèñêóðñà. 1. Stephen bent over his loom, quiet, watchful, and steady. A special contrast, as every man was in the forest of looms where Stephen worked, to the crashing, smashing, tearing piece of mechanism at which he laboured. Never fear, good people, of an anxious turn of mind, that Art will consign Nature to oblivion. Set anywhere side by side, the work of God and the work of man, and the former, even though it be a troop of H ands of very small account, will gain in dignity from the comparison [3. P. 72]. Äàííûé îòðûâîê èç ðîìàíà Äèêêåíñà «Òÿæåëûå âðåìåíà» ïðåäñòàâëÿåò àâòîðñêèé äèñêóðñ, â êîòîðîì âíà÷àëå äàåòñÿ îïèñàíèå ãåðîÿ çà ðàáîòîé íà ñòàíêå. Ïåðâûå äâà ïðåäëîæåíèÿ – ýòî êîñâåííàÿ ðå÷ü, â ïðîøåäøåì âðåìåíè, îò òðåòüåãî ëèöà (Stephen, every man, he – bent, was, laboured). Çàòåì ðå÷åâîé ìîäóñ ðåçêî ìåíÿåòñÿ – àâòîð ïåðåõîäèò ê ïðÿìîé ðå÷è. Åãî äèñêóðñ ñòàíîâèòñÿ äèàëîãè÷åñêèì: îí îáðàùàåòñÿ ê äîáðûì ëþäÿì (good people), óáåæäàÿ èõ íå áîÿòüñÿ è íå òðåâîæèòüñÿ î òîì, ÷òî èñêóññòâî ïðèâåäåò ê çàáâåíèþ ïðèðîäû (that Art will consign Nature to oblivion), è ïðåäëàãàåò ïîñòàâèòü ðÿäîì (Set anywhere side by side) áîæåñòâåííîå òâîðåíèå (the work of God) è èçäåëèå ÷åëîâåêà (and the work of man) – â ëþáîì ñëó÷àå ñðàâíåíèå áóäåò â ïîëüçó ïåðâîãî (the former …will gain in comparison). Ãëàãîëüíûå ôîðìû â ïîâåëèòåëüíîì íàêëîíåíèè: never fear, … set anywhere …, óñèëåííûå íàðå÷èÿìè, â ñî÷åòàíèè ñ îáðàùåíèåì çâó÷àò óáåæäàþùå – îíè «ñîçäàþò äèñêóðñ» â åäèíîé èíòåðìîäàëüíîé ïåðñïåêòèâå, êîòîðàÿ îòëè÷àåòñÿ îò ìîíîëîãè÷åñêîé ïåðñïåêòèâû íà÷àëüíîãî îïèñàíèÿ. 118 Âåñòíèê ÑàìÃÓ. 2006. ¹5/1 (45) Òàêèì îáðàçîì, âòîðàÿ ÷àñòü ÿâëÿåòñÿ îòñòóïëåíèåì îò ðàññêàçà, ïî ñóòè, åãî îñòàíîâêîé, ñäåëàííîé àâòîðîì äëÿ óñòàíîâëåíèÿ äèàëîãè÷åñêîãî êîíòàêòà ñ ÷èòàòåëåì. Ýòîò êîíòàêò ïîääåðæèâàåòñÿ àâòîðîì íà ïðîòÿæåíèè âñåãî òåêñòà, âûÿâëÿÿ òåì ñàìûì ñòðàòåãè÷åñêóþ ëèíèþ âñåãî äèñêóðñà – óñòàíîâêó íà äèàëîã, êîòîðàÿ ïðîÿâëÿåòñÿ â àâòîðñêîì ïðÿìîì ñëîâå, åñëè èñïîëüçîâàòü òåðìèí Áàõòèíà.  ñîâðåìåííîé õóäîæåñòâåííîé ïðîçå íåîäíîðîäíîñòü àâòîðñêîãî äèñêóðñà ïðîÿâëÿåòñÿ â ðàçíûõ ôîðìàõ íåïðÿìîãî ãîâîðåíèÿ, êîãäà ãîëîñ àâòîðà ïîäêëþ÷àåòñÿ ê ãîëîñó ãåðîÿ – äðóãîñòü ïðèñóòñòâóåò èìïëèöèòíî, â âèäå äâóãîëîñîãî ñëîâà, êîòîðîå çíàìåíóåò ñîáîé îòêàç àâòîðà îò äîìèíèðîâàíèÿ, îò ïðÿìîãî âìåøàòåëüñòâà â õîä ïîâåñòâîâàíèÿ. 2. He wondered for a moment whether he should return and apply more pressure. I should not have gone to see, he thought. I should have called him before me and rebuked him for the fight at the gate. What if the mayor demands a court? I didn’t say half of what I meant to say. It’s that woman with her torrent, and her bold, shaken face. There are some women who are stronger than gates and bars by their very ignorance [4. P. 46].  äàííîì ïðèìåðå ïðåäñòàâëåíà íåñîáñòâåííî-ïðÿìàÿ ðå÷ü, â êîòîðîé ãåðîé ìûñëåííî àíàëèçèðóåò ñâîå ïîâåäåíèå è ðàçãîâîð ñ äðóãèì ÷åëîâåêîì – ðàçãîâîð, êîòîðûé îí íå ñìîã çàêîí÷èòü èç-çà âìåøàòåëüñòâà æåíùèíû, âûçûâàþùåé ó íåãî ïðèñòóï íåíàâèñòè (It’s that woman with her torrent, and her bold, shaken face). Äàëåå ñëåäóåò ôðàçà, êîòîðàÿ ìåíÿåò òîíàëüíîñòü âñåé íåñîáñòâåííî-ïðÿìîé ðå÷è (There are some women who are stronger than gates and bars by their very ignorance). Íåïðÿìîå ãîâîðåíèå àâòîðà íà÷èíàåòñÿ âî âòîðîì ïðåäëîæåíèè, ãäå ïðîèñõîäèò ñìåùåíèå äåéêòè÷åñêîãî öåíòðà. Òðåòüå ëèöî åäèíñòâåííîãî ÷èñëà, îò êîòîðîãî àâòîð ââîäèò íåñîáñòâåííî-ïðÿìóþ ðå÷ü (He wondered…), åùå ïîâòîðÿåòñÿ (…he thought), íî óæå çâó÷èò è ãîëîñ ïåðñîíàæà îò ïåðâîãî ëèöà (I should not have gone to see, he thought) – íà÷èíàåòñÿ äâóãîëîñèå â ïðåäåëàõ îäíîãî ïðåäëîæåíèÿ, òàê êàê ðå÷ü ïåðñîíàæà íå âûäåëåíà êàâû÷êàìè. Äàëåå ãîëîñ ïåðñîíàæà âûòåñíÿåò àâòîðñêèé ãîëîñ ïî÷òè ïîëíîñòüþ (I should have called him before me and rebuked him for the fight at the gate. What if the mayor demands a court? I didn’t say half of what I meant to say.) Ìåñòîèìåíèå I è ìîäàëüíûé îïåðàòîð should çàêðåïëÿþò ñäâèã äåéêòè÷åñêîãî öåíòðà, òàê êàê ïåðåâîäÿò àíàëèç ñîáûòèÿ â èíîé ìîäàëüíûé ïëàí – ìîðàëüíîãî äîëãà, êîòîðûé âèäèò òîëüêî ïåðñîíàæ – äåéêòè÷åñêèé öåíòð ïîìåùàåòñÿ âíóòðü åãî ñîçíàíèÿ, à âðåìåííîé ïëàí ïîêàçûâàåò, ÷òî ñèòóàöèÿ óäàëåíà, ÷òî ïåðñîíàæ íàõîäèòñÿ âíå åå, è äàæå íàñòîÿùåå âðåìÿ â ïðåäëîæåíèè: It’s that woman with her torrent, and her bold, shaken face íå ïðèáëèæàåò åå, òàê êàê óêàçàòåëüíîå ìåñòîèìåíèå that ñâèäåòåëüñòâóåò îá óäàëåííîñòè. Âîñïîìèíàíèå î æåíùèíå îêàçûâàåòñÿ ýìîöèîíàëüíîé êóëüìèíàöèåé ñèòóàöèè (ýïèòåòû: bold, shaken – ñ òðóäîì îòíîñèìû ê æåíùèíå, à ìåòîíèìè÷åñêàÿ õàðàêòåðèñòèêà åå ðå÷è (her torrent) çàêðåïëÿåò õàðàêòåðèñòèêó ýòîé æåíùèíû êàê îëèöåòâîðåíèÿ íàãëîé íàïîðèñòîñòè). Ìîäàëüíûé ïëàí äèñêóðñà ãåðîÿ ïåðåâîäèòñÿ â äðóãóþ ïëîñêîñòü (ìîðàëüíàÿ îöåíêà ñîáûòèÿ ñìåíÿåòñÿ ýìîöèîíàëüíîé îöåíêîé åãî ó÷àñòíèöû). Äèñêóðñèâíî ýòî âûðàæåíî â ñåìàíòè÷åñêîì ñäâèãå. Îäíî âîñïîìèíàíèå î æåíùèíå íàðóøàåò âåñü õîä ìûñëè ãåðîÿ, îñòàíàâëèâàåò «ïîòîê ñîçíàíèÿ», ïðîèñõîäèò ìãíîâåííîå ñìåùåíèå ôîêóñà ðå÷è. Àâòîð «ïîìîãàåò» ïåðñîíàæó ñìåíèòü òîí, ïîäíèìàÿ åãî íàä ñèòóàöèåé – òàê â ïîñëåäíåì ïðåäëîæåíèè ïðîèñõîäèò ðàçðÿäêà áëàãîäàðÿ ñîâìåñòíî âûðàáîòàííîìó ñìûñëó: íåâåæåñòâî ìîæåò ñäåëàòü íåêîòîðûõ æåíùèí êðåï÷å ðåøåòîê è âîðîò (There are some women who are stronger than gates and bars by their very ignorance). Ñàìà ñòðóêòóðà ýòîãî ïðåäëîæåíèÿ (There are…) ïåðåäàåò óíèâåðñàëüíîñòü ñìûñëà, â êîòîðîì óæå íåò êîíêðåòíîñòè ñèòóàöèè (that Äèàëîã êàê ñòðàòåãèÿ àâòîðñêîãî äèñêóðñà â àíãëèéñêîé õóäîæåñòâåííîé ïðîçå 119 woman îáîáùàåòñÿ äî some women, à õðîíîòîïè÷íîå at the gate, ãäå ïðîèçîøëî ñîáûòèå, ðàñøèðÿåòñÿ äî îáîáùåííîãî gates and bars, è òî, ÷òî òàê âîçìóòèëî ãåðîÿ è áûëî âûðàæåíî ýìîöèîíàëüíî – torrent, bold, shaken ïîëó÷àåò ïîíÿòèéíîå èìÿ ignorance). Ýòà êîíöåïòóàëèçàöèÿ äèñêóðñà, èçìåíèâøàÿ ôîêóñ è äåéêòè÷åñêèé öåíòð äèñêóðñèâíîé ñèòóàöèè, – ìàðêåð äèàëîãè÷åñêîé çîíû. Àâòîð íå ïðîñòî ïåðåäàåò ðå÷ü ãåðîÿ, îí äèñêóðñèâíî âçàèìîäåéñòâóåò ñ íèì, èùåò ñ íèì âìåñòå ðåøåíèå êîíôëèêòíîé ñèòóàöèè è ïåðåâîäèò ýíåðãèþ ýìîöèé ãåðîÿ â ýòè÷åñêóþ ïîçèöèþ ïîíèìàíèÿ äðóãîñòè ìèðà (â äóõå Øåêñïèðà: «Íà ñâåòå ìíîãî åñòü òàêîãî, äðóã Ãîðàöèé, ÷òî è íå ñíèëîñü âàøèì ìóäðåöàì»), êîòîðàÿ ñïîñîáíà èçìåíèòü è âèäåíèå ñèòóàöèè, è ñàìîãî ÷åëîâåêà. Ïî ñðàâíåíèþ ñ ïðÿìûì ñëîâîì àâòîðà, ãäå ÷åòêî îáîçíà÷åíà âåðõíÿÿ ãðàíèöà äèàëîãè÷åñêîãî äèñêóðñà, äâóãîëîñîå ñëîâî, êàê âèäíî èç ýòîãî ïðèìåðà, âûäåëÿåòñÿ íèæíåé ãðàíèöåé, ãäå ôèêñèðóåòñÿ «îáùåñòâåííî çíà÷èìûé ñìûñë». Òàêèì îáðàçîì, íåîäíîðîäíîñòü àâòîðñêîãî äèñêóðñà â õóäîæåñòâåííîé ïðîçå ñîçäàåòñÿ ëèáî ïðÿìûì (â êëàññè÷åñêîé ïðîçå), ëèáî äâóãîëîñûì (â ñîâðåìåííîé ïðîçå) ñëîâîì àâòîðà. Ïðÿìîå ñëîâî çíàìåíóåò ñîáîé äðóãîñòü àâòîðà êàê ãîâîðÿùåãî ñóáúåêòà, íåîäíîðîäíîñòü åãî ß, ñìåíó åãî ðîëè èëè ìàñêè è, ñîîòâåòñòâåííî, – òîíàëüíîñòè ïîâåñòâîâàíèÿ, â êîòîðîì ïðîèñõîäèò ñäâèã â ñòîðîíó àêòèâíîãî âçàèìîäåéñòâèÿ ñ ãåðîÿìè, ÷èòàòåëÿìè, äðóãèìè àäðåñàòàìè. Àâòîð ïðèãëàøàåò èõ îöåíèòü, âçâåñèòü, îáäóìàòü âìåñòå ñ íèì òî, ÷òî ïðîèñõîäèò â èçîáðàæàåìîì èì ìèðå. Äðóãèìè ñëîâàìè, ñîçäàåò ìåòàäèñêóðñ, â êîòîðîì âîçíèêàåò èíòåðñóáúåêòèâíîå ïðîñòðàíñòâî äèàëîãà, çàäàâàåìîãî îòíîøåíèÿìè: «ß – Äðóãîé», â êîòîðûõ ïðåîäîëåâàåòñÿ ãðàíèöà «ñâîé – ÷óæîé». Íåïðÿìîå, äâóãîëîñîå ñëîâî îçíà÷àåò äðóãîñòü ïåðñîíàæà, â ðå÷è èëè ìûñëè êîòîðîãî ïðîèñõîäèò âçàèìîäåéñòâèå ñ ÷óæèì ñëîâîì èëè ìûñëüþ, ê êîòîðîìó ïîäêëþ÷àåòñÿ àâòîð.  îáîèõ ñëó÷àÿõ äèñêóðñ ñâÿçàí ñ «òî÷êîé çðåíèÿ» – âûðàæåíèåì ñóáúåêòèâíîãî îòíîøåíèÿ, îöåíîê, ñìûñëîâûõ ïîçèöèé ó÷àñòíèêîâ âçàèìîäåéñòâèÿ. Åñëè â ïåðâîì ñëó÷àå òî÷êà çðåíèÿ âûðàæàåòñÿ àâòîðîì ïðÿìî, îòêðûòî (ñì. ïðèìåð èç Äèêêåíñà), è ìû, â ñóùíîñòè, èìååì äåëî ñ ÿâíûì äèàëîãè÷åñêèì äèñêóðñàì, òî âî âòîðîì ñëó÷àå òî÷êà çðåíèÿ àâòîðà âûðàæàåòñÿ íåïðÿìî, èìïëèöèòíî (ñì. ïðèìåð èç Ãîëäèíãà), è ýòîò ñëó÷àé ìîæíî íàçâàòü ñêðûòûì äèàëîãè÷åñêèì äèñêóðñîì. ßçûê ýòèõ äâóõ òèïîâ äèàëîãè÷åñêîãî äèñêóðñà ðåçêî îòëè÷àåòñÿ äðóã îò äðóãà.  îñíîâå ðàçëè÷èé ëåæèò òîò ñïîñîá ïðîÿâëåíèÿ ñîçíàíèÿ, êîòîðûé çàäàåò åãî ôîêóñ, äèíàìèêó, «òî÷êó çðåíèÿ» è äðóãèå «êîíñòàíòû», à òàêæå «ïåðåìåííûå» ñâîéñòâà, ïîòîê èëè ñäâèã â ñîçíàíèè [5. Ñ. 40]. Ñîãëàñíî Ó.×åéôó, â ðå÷è âûäåëÿþòñÿ, ñîîòâåòñòâåííî, äâà ñïîñîáà: íåïîñðåäñòâåííûé è ñìåùåííûé, êîòîðûå îáíàðóæèâàþò «ýêñòðàâåðòèðîâàííîå» èëè «èíòðîâåðòèðîâàííîå» ñîçíàíèå. Ýêñòðàâåðòèðîâàííîå ñîçíàíèå ïîäâåðãàåòñÿ íåïîñðåäñòâåííîìó âëèÿíèþ ñðåäû, ñîöèàëüíîãî êîíòåêñòà, à èíòðîâåðòèðîâàííîå ñîçíàíèå «âñïîìèíàåò» è «ïðåäñòàâëÿåò â âîîáðàæåíèè». Åñëè ïåðâîå ïîõîæå íà ïîòîê, íàñûùåíî äåòàëÿìè, ïðåäñòàâëÿåò «òî÷êó çðåíèÿ» âñåé èíôîðìàöèè è ÿâëÿåòñÿ «äåéêòè÷åñêèì öåíòðîì», èç êîòîðîãî ïðåäñòàâëÿåòñÿ ïðîñòðàíñòâî è âðåìÿ, òî âòîðîå ïîõîæå íà îñòðîâ è èçáèðàòåëüíî ïî îòíîøåíèþ ê äåòàëÿì [5. Ñ. 40]. Êðîìå ýòîãî, ×åéô âûäåëÿåò ðåïðåçåíòèðóåìóþ è ðåïðåçåíòèðóþùóþ ôóíêöèè ñîçíàíèÿ.  íåïîñðåäñòâåííîé ôîðìå ðå÷è ýêñòðàâåðòèðîâàííîå ñîçíàíèå íå òîëüêî «âûäàåò èäåè», êîòîðûå ðåïðåçåíòèðóþòñÿ, íî è ðåïðåçåíòèðóåò èõ.  ñìåùåííîé ôîðìå (êîòîðàÿ «âñïîìèíàåò è ïðåäñòàâëÿåò â âîîáðàæåíèè») èíòðîâåðòèðîâàííîå ñîçíàíèå ñîâåðøàåò îáà âèäà äåÿòåëüíîñòè, ýêñòðàâåðòèðîâàííîå – ðàçäåëåííî (ëèáî â âîîáðàæàåìîì, ëèáî âî âñïîìèíàåìîì âðåìåíè). 120 Âåñòíèê ÑàìÃÓ. 2006. ¹5/1 (45) Èíòåðåñíûì ìîìåíòîì â ðàññóæäåíèÿõ ×åéôà ÿâëÿåòñÿ âûäåëåíèå òàê íàçûâàåìîé ñìåùåííîé íåïîñðåäñòâåííîñòè, êîòîðàÿ ðåàëèçóåòñÿ ëèíãâèñòè÷åñêè â ïîâåñòâîâàíèè îò ïåðâîãî ëèöà è ðàçëè÷íûõ ñïîñîáàõ ïåðåäà÷è ÷óæîé ðå÷è.  ïîâåñòâîâàíèè îò òðåòüåãî ëèöà òàêîãî ÿâëåíèÿ íåò.  ñëó÷àå àâòîðñêîãî äèàëîãè÷åñêîãî äèñêóðñà ñìåùåííàÿ íåïîñðåäñòâåííîñòü ñîîòâåòñòâóåò àâòîðñêîìó ïîäêëþ÷åíèþ ê âíóòðåííåìó ìîíîëîãó ãåðîÿ, ò.å. ñêðûòîìó äèàëîãó àâòîðà. Ïðÿìîé äèàëîã àâòîðà – ýòî, ñîîòâåòñòâåííî, íåïîñðåäñòâåííàÿ ôîðìà ðå÷è àâòîðà. Òàêèì îáðàçîì, âûäåëåíèå äâóõ òèïîâ àâòîðñêîãî äèàëîãè÷åñêîãî äèñêóðñà âïèñûâàåòñÿ â ðóñëî ñîâðåìåííîãî ôåíîìåíîëîãè÷åñêîãî ïîäõîäà ê àíàëèçó ëèòåðàòóðû, êîòîðûé â ëèöå Ó. ×åéôà îïèðàåòñÿ íà äâà ïñèõîëîãè÷åñêèõ òèïà ëè÷íîñòè (ýêñòðàâåðòû è èíòðîâåðòû).  êàæäîì èç ýòèõ äâóõ òèïîâ äèñêóðñà ïî-ðàçíîìó ïðîÿâëÿåòñÿ äèàëîãè÷íîñòü – óñòàíîâêà àâòîðà íà êîíòàêò, íàïðàâëåííîñòü òåêñòà íà àäðåñàòà, èëè èíà÷å – äèàëîãè÷åñêàÿ ñòðàòåãèÿ.  íàøåé ïîñòàíîâêå âîïðîñ î ñòðàòåãèè – ýòî âîïðîñ îá îáùåé îðãàíèçàöèè äèñêóðñà, êîòîðàÿ îõâàòûâàåò íå òîëüêî ïîñëåäîâàòåëüíîñòü åãî ÷àñòåé, íî è òàêèå àñïåêòû, êàê ñìåíà êîììóíèêàòèâíûõ ðîëåé (ìàñîê), ñïîñîáû ïîääåðæàíèÿ âíèìàíèÿ, ðàçëè÷íûå âèäû óòî÷íåíèÿ, çàêðåïëåíèÿ êîíòàêòà, ïðîÿâëåíèÿ çàèíòåðåñîâàííîñòè â ïîíèìàíèè, ðàçäåëåíèè óáåæäåíèé è ïðàâîòû è ò.ä. Äðóãèìè ñëîâàìè, ýòî ñîçäàíèå îáùåãî ïëàíà, èëè «ñöåíàðèÿ âçàèìîäåéñòâèÿ» [6], ðå÷åâûå èíäåêñû êîòîðîãî îòíîñÿòñÿ ê ñôåðå äåéêñèñà äèñêóðñà, èìåþùåãî ìåòàêîììóíèêàòèâíûé õàðàêòåð [7]. Ñëåäîâàòåëüíî, ðå÷ü èäåò î ìåòàêîììóíèêàòèâíîé ñòðàòåãèè èëè î ñîçäàíèè “ìåòàòåêñòîâîãî êàðêàñà”, êîòîðûé, ïî ìíåíèþ Å. Â. Ïàäó÷åâîé, ÿâëÿåòñÿ ôîðìàëüíûì àíàëîãîì ïîíÿòèÿ äèàëîãà. Ïðè ýòîì îíà îòìå÷àåò, ÷òî “â ïðèíöèïå àíàëèç òåêñòà äîëæåí âûÿâèòü åãî ìåòàòåêñòîâûé êàðêàñ”, êîòîðûé “ñîåäèíÿåò ðàçíûå ïðîÿâëåíèÿ …ñîçíàíèé” ïîâåñòâîâàòåëÿ è ïåðñîíàæåé “â íåêóþ åäèíóþ êîìïîçèöèþ”. Íà ÿçûêîâîì óðîâíå òåêñò îòðàæàåò ñîçíàíèå ÷åðåç “âòîðè÷íûé äåéêñèñ” è íåñîáñòâåííóþ ïðÿìóþ ðå÷ü “ñî âñåìè åå ëèíãâèñòè÷åñêèìè àòðèáóòàìè” [8. Ñ. 411]. Èíà÷å ãîâîðÿ, ïðè ñîçäàíèè òåêñòà àâòîð ïðåæäå âñåãî íàìå÷àåò åãî îáùóþ êîíñòðóêöèþ, ìîäåëèðóåò êàðêàñ, êîòîðûé ñëóæèò îïîðîé äëÿ äàëüíåéøåãî ïîñòðîåíèÿ è îðèåíòèðîì âíóòðè îòìå÷åííîãî ïðîñòðàíñòâà. ×òîáû ïîíÿòü òåêñò, íóæíî îáíàðóæèòü ýòîò êàðêàñ, äàþùèé ïðåäñòàâëåíèå î öåííîñòè âñåé êîíñòðóêöèè èëè, âûðàæàÿñü ñëîâàìè Ì. Ðèôôàòåðà, î «ðèòîðè÷åñêîé ñèëå» è «ëèíãâèñòè÷åñêèõ ñòðóêòóðàõ ïðàâäîïîäîáèÿ» õóäîæåñòâåííîãî òåêñòà, êîòîðûå ïðèçâàíû ïåðåäàòü “ïðàâäó âûìûñëà” [9].  øèðîêîì ïëàíå ïðîáëåìà äèàëîãà êàê äèñêóðñèâíîé ñòðàòåãèè ñâÿçàíà, êàê âèäèì, ñ ïîíÿòèåì ìåòàòåêñòà. Îïðåäåëåíèå ýòîãî ïîíÿòèÿ è åãî ðàçðàáîòêà À. Âåæáèöêîé ñòàëè, ïî îáùåìó ìíåíèþ, õðåñòîìàòèéíûìè, õîòÿ èíòåðåñ ê ïðîáëåìå ìåòàòåêñòà ïîÿâèëñÿ, òîëüêî êîãäà ëèíãâèñòèêà âïëîòíóþ çàíÿëàñü èññëåäîâàíèåì äèñêóðñà âî âñåõ àñïåêòàõ åãî îðãàíèçàöèè. Ýòà ïðîáëåìà ñâÿçàíà ñ êîíñòèòóòèâíîé íåîäíîðîäíîñòüþ äèñêóðñà, ñ òåì, ÷òî ëþáàÿ ðå÷ü âêëþ÷àåò íå òîëüêî ìîìåíòû ñîäåðæàíèÿ îáùåíèÿ, íî è ìîìåíòû åãî ôîðìû, îðãàíèçàöèè. Äðóãèìè ñëîâàìè, äèñêóðñ âêëþ÷àåò â ñåáÿ ñòðóêòóðû, èìåþùèå îòíîøåíèå ê ñàìîìó àêòó îáùåíèÿ, ò.å. ìåòàòåêñòîâûå ýëåìåíòû, êîòîðûå ðàññìàòðèâàþòñÿ êàê ñðåäñòâà ãëîáàëüíîé ñâÿçíîñòè òåêñòà, òàê êàê çà íèìè ñòîèò ãîâîðÿùèé ñ åãî ñîçíàíèåì. Äèàëîãè÷åñêàÿ ñòðàòåãèÿ äèñêóðñà, îòðàæàÿ áàçîâóþ ñòðóêòóðó ëþáîãî òåêñòà (åãî ïðîòîòèï), ïîçâîëÿåò àíàëèçèðîâàòü äèñêóðñ êàê ïðîöåññ ïîèñêà âîçìîæíîãî îòâåòà íà âîëíóþùèé àâòîðà âîïðîñ, ò.å. êàê ïðîöåññ ñìûñëîïîðîæäåíèÿ, â êîòîðûé âîâëåêàåòñÿ ÷èòàòåëü, – ïîèñê ñòàíîâèòñÿ ñîâìåñòíûì è ñîöèàëüíî çíà÷èìûì. Ïðîòîòèï òåêñòà â êîíöåíòðèðîâàííîì âèäå ìàíèôåñòèðóåò åãî êëþ÷åâûå ÷åðòû è çàäàåò Äèàëîã êàê ñòðàòåãèÿ àâòîðñêîãî äèñêóðñà â àíãëèéñêîé õóäîæåñòâåííîé ïðîçå 121 ïðîãðàììó ïîèñêà, èìåííî òàêóþ îðãàíèçàöèþ ïðîöåññà, ïðè êîòîðîé íåîáõîäèìà «îáùàÿ òî÷êà îòñ÷åòà» êàê îñíîâà äëÿ ïîíèìàíèÿ.  ñîçäàíèè ýòîé îáùåé òî÷êè îòñ÷åòà è îáùåãî èíòåðñóáúåêòèâíîãî ïðîñòðàíñòâà è çàêëþ÷àåòñÿ ñòðàòåãèÿ àâòîðñêîãî äèñêóðñà. Ðàññìîòðèì åùå îäèí ïðèìåð. Parallel straight lines, Denis reflected, meet only at infinity. He might talk for ever of carecharmer sleep and she of meteorology till the end of time. Did one ever establish contact with anyone? We are all parallel straight lines. Jenny was only a little more parallel than most [10. P. 19]. Ðàçìûøëåíèÿ ãëàâíîãî ãåðîÿ (â ôîðìå íåñîáñòâåííî-ïðÿìîé ðå÷è) ñâèäåòåëüñòâóþò î êîíôëèêòå èíòåíöèîíàëüíûõ ìèðîâ ïåðñîíàæåé (he might talk…of carecharmer sleep and she of meteorology), êîòîðûé ñíèìàåòñÿ â äèàëîãè÷åñêîé çîíå, ãäå ê âíóòðåííåìó ìîíîëîãó ãåðîÿ, çàäàþùåãîñÿ âîïðîñîì î ïðèíöèïèàëüíîé âîçìîæíîñòè îáùåíèÿ äâóõ ðàçíûõ ëþäåé (Did one ever establish contact with anyone?), ïîäêëþ÷àåòñÿ ãîëîñ àâòîðà, ïðåäñòàâëåííûé â âèäå îòâåòà íà âîïðîñ ãåðîÿ – ýòà äèàëîãè÷åñêàÿ ñòðóêòóðà îáúåäèíÿåò îáà ãîëîñà êàê äâå áëèçêèå ñìûñëîâûå ïîçèöèè (We are all parallel straight lines). È òàêèì îáðàçîì ïîä÷åðêèâàåòñÿ èõ çíà÷èìîñòü êàê äëÿ èíòåðïðåòàöèè ìèðà ãåðîÿ, òàê è àâòîðñêîãî çàìûñëà. Ìûñëü, ðîæäåííàÿ â ýòîì äèàëîãå (âñå ìû – ïàðàëëåëüíûå ïðÿìûå ëèíèè), – ýòî ðàçäåëåííûé ñìûñë, îáùàÿ ýòè÷åñêàÿ ïîçèöèÿ, êîòîðàÿ, êàê íàì ïðåäñòàâëÿåòñÿ, ìîæåò ïîìî÷ü ÷åëîâåêó èçáåæàòü êîíôëèêòîâ. Èðîíè÷åñêîå çàìå÷àíèå î òîì, ÷òî Äæåííè áûëà íåìíîãî áîëåå ïàðàëëåëüíà, ÷åì áîëüøèíñòâî (a little more parallel than most), ãîâîðèò î òîì, ÷òî ãåðîé ïðèìèðèëñÿ ñ ìûñëüþ î äðóãîñòè êàê óñëîâèè îáùíîñòè âñåõ. Ïðîòîòèïè÷åñêèå ÷åðòû äèàëîãà, ðåàëèçóþùèå äèàëîãè÷åñêóþ ñòðàòåãèþ àâòîðà, ìîæíî ïðåäñòàâèòü â âèäå ñèñòåìû äèñêóðñèâíûõ ìàðêåðîâ, îçíà÷àþùèõ çîíó äèàëîãè÷åñêîãî êîíòàêòà àâòîðà ñ àäðåñàòîì. Îíè ïðåäñòàâëÿþò ñîáîé ëåêñè÷åñêèå, ñèíòàêñè÷åñêèå è ñòèëèñòè÷åñêèå ñðåäñòâà äèàëîãèçàöèè òåêñòà. Èõ îñîáàÿ êîìáèíàöèÿ ñâèäåòåëüñòâóåò ëèáî îá ýêñïëèöèòíîì, ëèáî îá èìïëèöèòíîì õàðàêòåðå àâòîðñêîãî äèàëîãà. Ê äèñêóðñèâíûì ìàðêåðàì àâòîðñêîãî äèàëîãà îòíîñÿòñÿ ÿçûêîâûå ñðåäñòâà, ðåàëèçóþùèå ìåæëè÷íîñòíóþ ôóíêöèþ. Êðîìå ðàññìàòðèâàåìûõ Ì. Õîëëèäååì íàêëîíåíèÿ, ìîäàëüíîñòè è îöåíî÷íîãî îòíîøåíèÿ (mood, modality, attitude), ìû ðàññìàòðèâàåì â êà÷åñòâå äèàëîãè÷åñêèõ ìàðêåðîâ òàêæå è ñðåäñòâà, îôîðìëÿþùèå íåïîñðåäñòâåííûé êîíòàêò è îçíà÷èâàþùèå ãðàíèöó çîíû äèàëîãè÷åñêîãî êîíòàêòà. Äèñêóðñèâíûìè ìàðêåðàìè ãðàíèöû, çà êîòîðîé íà÷èíàåòñÿ çîíà àâòîðñêîãî äèàëîãà, ÿâëÿþòñÿ: âðåìåííîé ñäâèã, èçìåíåíèå ïîâåñòâîâàòåëüíîãî ëèöà, èçìåíåíèå íàêëîíåíèÿ ãëàãîëîâ è ìîäàëüíîãî ïëàíà, ôàòè÷åñêèå ÿçûêîâûå ñðåäñòâà, ñðåäñòâà ïðîêñåìèêè è ñåìàíòè÷åñêèé ñäâèã ê îáîáùåíèþ [11]. Ïîëíûé íàáîð ýòèõ ìàðêåðîâ ñâèäåòåëüñòâóåò î ÿâíîì äèàëîãè÷åñêîì äèñêóðñå àâòîðà, êîòîðûé ðåàëèçóåòñÿ â ÷åòêî îáîçíà÷åííûõ ãðàíèöàõ çîíû êîíòàêòà ñ àäðåñàòîì (ñì. ïðèâåäåííûé âûøå ïðèìåð èç Äèêêåíñà). Íå÷åòêî îáîçíà÷åííàÿ ãðàíèöà äèàëîãè÷åñêîé çîíû ïîÿâëÿåòñÿ â ñëó÷àå íåïðåäñòàâëåííîñòè òàêèõ ìàðêåðîâ, êàê ôàòè÷åñêèå ñðåäñòâà è ôîðìû ïîâåëèòåëüíîãî èëè ñîñëàãàòåëüíîãî íàêëîíåíèÿ, ò.å. åñëè ãðàììàòè÷åñêè íå âûðàæåí ìîìåíò ïðÿìîãî îáðàùåíèÿ ê àäðåñàòó (Ñì. ïðèìåð èç Ãîëäèíãà). Äèàëîãè÷åñêîå, èëè èíòåðàêöèîíàëüíîå, èçìåðåíèå òåêñòà, ïðåäñòàâëåííîå êàê îáùàÿ ñòðàòåãèÿ àâòîðñêîãî äèñêóðñà, ìîæåò áûòü îïèñàíî êàê ñîâîêóïíîñòü èëè îïðåäåëåííûé íàáîð äèñêóðñèâíûõ òàêòèê, ðåàëèçóåìûõ â àâòîðñêîì âûáîðå ñðåäñòâ äèàëîãèçàöèè â êàæäîì êîíêðåòíîì ñëó÷àå ñîçäàíèÿ çîíû êîíòàêòà. Òàêòèêè èíòåðïðåòèðóþòñÿ íàìè â ñàìîì îáùåì ïëàíå - êàê ñïîñîáû ðåàëèçàöèè ñòðàòåãèè, êîòî- 122 Âåñòíèê ÑàìÃÓ. 2006. ¹5/1 (45) ðûå ïðîÿâëÿþòñÿ â òèïîâûõ ìîäåëÿõ êîììóíèêàòèâíîãî ïîâåäåíèÿ [12]. Äèàëîãè÷åñêèå òàêòèêè âåñüìà ðàçíîîáðàçíû, íî èõ ìîæíî îáîáùåííî ïðåäñòàâèòü â ñâÿçè ñî ñìåíîé àâòîðñêèõ ìàñîê, èëè ðîëåé. Èññëåäîâàíèå ïîêàçàëî, ÷òî íàèáîëåå ÷àñòî àíãëèéñêèå ïèñàòåëè èñïîëüçóþò ìàñêè ðåæèññåðà, ôèëîñîôà, ëèðèêà, ñóäüè (îáëè÷èòåëÿ), ëèíãâèñòà. Ñëåäóåò ïîä÷åðêíóòü, ÷òî â ïðîöåññå âçàèìîäåéñòâèÿ àâòîðà ñ ÷èòàòåëåì èëè ãåðîåì äèàëîãè÷åñêèå òàêòèêè, êàê ïðàâèëî, ðåàëèçóþòñÿ â ñî÷åòàíèè îäíà ñ äðóãîé.  êàæäîì êîíêðåòíîì ñëó÷àå òî èëè èíîå ñî÷åòàíèå äèàëîãè÷åñêèõ òàêòèê çàäàåòñÿ êîíòåêñòîì. Íàïðèìåð: Ah, Vanitas Vanitatum! which of us is happy in this world? Which of us has his desire? or, having it, is satisfied? – come, children, let us shut up the box and he puppets, for our play is played out [13. P. 412]. Äàííîå ïðÿìîå ñëîâî àâòîðà â êîíöå êíèãè ñî÷åòàåò â ñåáå ôèëîñîôñêóþ òàêòèêó â íà÷àëå (îíî ïðåäñòàâëÿåò äèàëîã ñ ñàìèì ñîáîé î òîì, ÷òî âñå – ñóåòà ñóåò «Vanitas Vanitatum» è íåò ñ÷àñòüÿ â ïîäëóííîì ìèðå «which of us is happy in this world?») ñ ðåæèññåðñêîé, òàê êàê ïîñëå ðèòîðè÷åñêèõ âîïðîñîâ îí, êàê áû î÷íóâøèñü, ïîäíèìàåò âçîð íà ïðîèñõîäÿùåå è âñïîìèíàåò î ñâîåé ðîëè êóêîëüíèêà. Àâòîð îáðàùàåòñÿ ê äåòÿì (come, children), îñíîâíûì çðèòåëÿì êóêîëüíûõ òåàòðîâ, è îáúÿâëÿåò î êîíöå ñïåêòàêëÿ: our play is played out.  ïðîèçâåäåíèÿõ Äèêêåíñà äèàëîãè÷åñêèé äèñêóðñ ñî÷åòàåò ëèðè÷åñêèå òàêòèêè ñ îáëè÷èòåëüíûìè. Òàê, â ðîìàíå «Õîëîäíûé äîì», ðàññêàçûâàÿ î ñìåðòè áåäíîãî ïåðåïèñ÷èêà, àâòîð îáðàùàåòñÿ ê ïîãèáøåìó, ÷òîáû òîò ïîäíÿëñÿ «ïðèçðàêîì âîçìåçäèÿ ó îäðà ìíîãèõ áîëÿùèõ» è ÿâèëñÿ «ïîñòûäíûì ñâèäåòåëüñòâîì áóäóùèì âåêàì î òîì âðåìåíè, êîãäà öèâèëèçàöèÿ è âàðâàðñòâî ñîâìåñòíî âåëè íà ïîâîäó íàø õâàñòëèâûé îñòðîâ». Äàëåå ñëåäóåò: Come night, come darkness, for you cannot come too soon, or stay too long, by such a place as this! Come, struggling lights into the windows of the ugly houses; and you who do iniquity therein, do it at least with this dread scene shut out! Come, flame of gas, burning so sullenly above the iron gate, on which the poisoned air deposits its witch-ointment slimy to the touch! It is well that you should call to every passer-by, “Look here!” [14. P. 151] Ýòîò îáëè÷èòåëüíûé äèñêóðñ çâó÷èò êàê çàêëèíàíèå ñèë ïðèðîäû, êîòîðûå àâòîð ïðèçûâàåò íà ïîìîùü, ïðîêëèíàÿ öàðÿùåå âîêðóã çëî (iniquity), ïðåäñòàâëåííîå ýïèòåòàìè ugly, dread, sullenly, poisoned, slimy. Ôàêò îáðàùåíèÿ ê ñèëàì ïðèðîäû (Come night, come darkness…, Come, struggling lights…, Come, flame…) – ýòî ñòèëèñòè÷åñêèé ïðèåì àïîñòðîôû, õàðàêòåðíûé äëÿ ëèðè÷åñêîãî äèñêóðñà.  ñî÷åòàíèè ñ ýìîöèîíàëüíûì ñèíòàêñèñîì (âñå ÷åòûðå ïðåäëîæåíèÿ âîñêëèöàòåëüíûå) ýòîò ïðèåì ñâèäåòåëüñòâåò î ëèðè÷åñêîé òàêòèêå â ïîñòðîåíèè äèñêóðñà. Îäíàêî óæå âî âòîðîì ïðåäëîæåíèè äåéêòè÷åñêèé öåíòð ñìåùàåòñÿ, àâòîð îáðàùàåòñÿ ê òåì, êòî òâîðèò çëî (you who do iniquity). Ýìîöèîíàëüíûé íàêàë, ñîçäàâàåìûé ïîâòîðîì (ãëàãîë come â ïîâåëèòåëüíîì íàêëîíåíèè ïîâòîðÿåòñÿ ÷åòûðå ðàçà â ÷åòûðåõ, ïàðàëëåëüíî ïîñòðîåííûõ ïðåäëîæåíèÿõ), ñíèæàåòñÿ ïðîñèòåëüíûì do it at least with this dread scene shut out!, ïðîèçíåñåííûì êàê áû âïîëãîëîñà, à çàòåì ñíîâà íàðàñòàåò è äîñòèãàåò ïðåäåëà â ïðèçûâíîì “Look here!” Ïîäîáíàÿ äâóôîêóñíîñòü äèñêóðñà, åãî îáðàùåííîñòü ê ðàçíûì àäðåñàòàì – ñâèäåòåëüñòâî ñî÷åòàíèÿ ðàçíûõ òàêòèê äëÿ äîñòèæåíèÿ îäíîé öåëè: ñîçäàíèÿ è óêðåïëåíèÿ çîíû äèàëîãè÷åñêîãî êîíòàêòà, ãäå âñå ÷óâñòâà è ìûñëè áóäóò ðàçäåëåíû, ïîíÿòû, ïðèíÿòû. Ïîäîáíîå ñî÷åòàíèå ðàçíûõ òàêòèê â ïðåäåëàõ îäíîãî äèñêóðñà ñâèäåòåëüñòâóåò î ñìåøàííîì õàðàêòåðå ïðîÿâëåíèÿ äèàëîãè÷åñêîé ñòðàòåãèè àâòîðñêîãî äèñêóðñà. Äèàëîã êàê ñòðàòåãèÿ àâòîðñêîãî äèñêóðñà â àíãëèéñêîé õóäîæåñòâåííîé ïðîçå 123 Ñìåøàííûé õàðàêòåð äèàëîãè÷åñêîé ñòðàòåãèè çàêðåïëÿåòñÿ â ñìåøàííûõ ñòðóêòóðàõ äèàëîãè÷åñêîãî äèñêóðñà. Ðàññìîòðèì ïðèìåð: A long engagement is a partnership which one party is free to keep or to break, but which involves all the capital of the other. Be cautious, then, young ladies; be wary how you engage. Be shy of loving frankly; never tell all you feel or (a better way still) feel very little. See the consequences of being prematurely honest and mistrust yourselves and everybody. Get yourselves married as they do in France, where the lawyers are the bridesmaids and confidants [13. P. 222]. Âåñü äèñêóðñ ðàñïàäàåòñÿ íà äâå ÷àñòè, ÷òî ïîä÷åðêíóòî ãðàôè÷åñêè (äâà àáçàöà). Ïåðâîå ïðåäëîæåíèå ïðåäñòàâëÿåò ñîáîé èðîíè÷åñêóþ ñåíòåíöèþ – àâòîð íà÷èíàåò ñ îáîáùåíèÿ, êîòîðîå íå ïðåäâåùàåò íèêàêîé ëèðèêè. Äðóãèìè ñëîâàìè, â ïåðâîé ÷àñòè ðåàëèçóåòñÿ ôèëîñîôñêàÿ òàêòèêà, è ñëåäóþùàÿ ÷àñòü çâó÷èò íåîæèäàííî – âäðóã àâòîð îáðàùàåòñÿ ê þíûì ëåäè (young ladies) ñ öåëûì ðÿäîì íåâåðîÿòíûõ, íî êîíêðåòíûõ â ñâîåé ÿçâèòåëüíîñòè ñîâåòîâ. È õîòÿ îáùàÿ èðîíèÿ îáúåäèíÿåò îáå ÷àñòè äèñêóðñà, èõ ýìîöèîíàëüíàÿ òîíàëüíîñòü ïðîòèâîïîëîæíà, ÷òî ïîä÷åðêèâàåòñÿ ñîþçíûì ñëîâîì then, ôîðìàëüíî âûñòóïàþùèì â ðîëè ñîþçà, íî ôàêòè÷åñêè ïåðåâîäÿùèì âòîðóþ ÷àñòü â ýìîöèîíàëüíî èíóþ ïëîñêîñòü. Ìîäàëüíûé ïëàí, ñîçäàâàåìûé ïîâåëèòåëüíûì íàêëîíåíèåì, ñòàíîâèòñÿ èíòåðìîäàëüíûì, äèàëîãè÷åñêèì, ÷òî êîíòðàñòèðóåò ñ ìîäàëüíûì ïëàíîì ïåðâîãî àáçàöà, îôîðìëåííîãî â èçúÿâèòåëüíîì íàêëîíåíèè. Òàêèì îáðàçîì, ðàññìîòðåíèå õóäîæåñòâåííîãî òåêñòà â àñïåêòå äèàëîãà ïîçâîëÿåò óâèäåòü åãî êàê êîììóíèêàòèâíîå ñîáûòèå àâòîðà, âåäóùåãî ðàññêàç “î âðåìåíè è î ñåáå”. Ñîçäàâàÿ òåêñò, àâòîð âèäèò ïåðåä ñîáîé àäðåñàòà, ïîääåðæèâàåò êîíòàêò ñ íèì, ïðîÿâëÿåò çàèíòåðåñîâàííîñòü â åãî âíèìàíèè, ïîääåðæêå, ðàçäåëåíèè ñâîåé òî÷êè çðåíèÿ. Ýòî íàõîäèò îòðàæåíèå â ìåòàêîììóíèêàòèâíîé îðãàíèçàöèè àâòîðñêîãî äèñêóðñà, êîòîðàÿ ñâèäåòåëüñòâóåò îá àäðåñîâàííîñòè âñåãî òåêñòà, åãî äèàëîãè÷åñêîé íàïðàâëåííîñòè è ïðîòîòèïè÷íîñòè äèàëîãà â âåðáàëüíîì òâîð÷åñòâå. Áèáëèîãðàôè÷åñêèé ñïèñîê 1. Ëîòìàí, Þ.Ì. Ñòðóêòóðà õóäîæåñòâåííîãî òåêñòà / Þ.Ì. Ëîòìàí. – Ì.: Èñêóññòâî, 1970. 2. Áàõòèí, Ì.Ì. Ñîáð. ñî÷.: â 7 ò. / Ì.Ì. Áàõòèí –Ì.: Ðóññêèå ñëîâàðè, 1997. Ò.5. 3. Dickens, Ch. Hard Times. - Moscow: Progress Publishers, 1952. 4. Golding, I. The Spire. - London, 1964. 5. Ñhafe, W. Discourse, Consciousness, and Time: the Flow and Displacement of Conscious Experience in Speaking and Writing. – Chicago: University of Chicago Press. 1994. 6. Ìàêàðîâ, Ì.Ë. Îñíîâû òåîðèè äèñêóðñà / Ì.Ë. Ìàêàðîâ. – Ì.: ÈÒÄÃÊ “Ãíîçèñ”, 2003. 7. Àðèñòîâ, Ñ.À. Êîììóíèêàòèâíî-êîãíèòèâíàÿ ëèíãâèñòèêà è ðàçãîâîðíûé äèñêóðñ / Ñ.À. Àðèñòîâ, È.Ï. Ñóñîâ. – 1999. http://homepages.tversu.ru/~ips/Aristov.htm 8. Ïàäó÷åâà, Å.Â. Ñåìàíòè÷åñêèå èññëåäîâàíèÿ: Ñåìàíòèêà âðåìåíè è âèäà â ðóññêîì ÿçûêå. Ñåìàíòèêà íàððàòèâà / Å.Â. Ïàäó÷åâà. – Ì.: Øêîëà «ßçûêè ðóññêîé êóëüòóðû», 1996. 9. Riffaterre, M. Fictional Truth. – Baltimore & London: the John Hopkins University Press, 1990. 10. Huxley, A. Crome Yellow. – London: Penguin Books, 1969. 11. Ïëåõàíîâà, Ò.Ô. Äèàëîãè÷åñêèé àíàëèç õóäîæåñòâåííîãî òåêñòà / Ò.Ô. Ïëåõàíîâà // Òðóäû ó÷åíûõ ëèíãâèñòè÷åñêèõ âóçîâ. – Ìèíñê: ÌÃËÓ, 2001. – Ñ. 170179. 12. Êëþåâ, Å.Â. Ðå÷åâàÿ êîììóíèêàöèÿ: óñïåøíîñòü ðå÷åâîãî âçàèìîäåéñòâèÿ / Å.Â. Êëþåâ. – Ì.: Ðèïîë êëàññèê, 2002. 124 Âåñòíèê ÑàìÃÓ. 2006. ¹5/1 (45) 13. Thackeray, W. M. Vanity Fair. - Moscow: Progress Publishers, 1951. 14. Dickens, Ch. Bleak House. - Moscow: Progress Publishers, 1959. T.Plekhanova DIALOGUE AS THE AUTHOR’S DISCOURSE STRATEGY IN ENGLISH LITERARY PROSE The article deals with literary discourse analysed in its dialogical aspect. Dialogue is treated widely, as a prototype of all verbal art. This approach makes it possible to view any literary text as a communicative event between author and reader, and their dialogue – as the author’s strategy in creating his text. The dialogical strategy is revealed in a number of dialogical tactics associated with the author’s roles, or masks which show that verbal art is a kind of language game.
