Узуально-стилистическая значимость речевых штампов в кинодиалоге

Abstract

The authors consider the tendency of widespread use of clichés in film dialogues and analyse the ways in which their expressive and, therefore, impactful function is enhanced. The paper examines the stylistic device of the so-called ‘reproduced use of clichés’ which is based on the recognition of their potential expressive capabilities in communication. Clichés are normally attached to certain communicative situations and are, therefore, functionally restricted. However, they also may be occasionally expanded with other (i. e., non-clichéd) language means, which will amplify expressiveness of clichés and result in their “stylistic resuscitation” (the device of ‘reproduced use of clichés’). This paper outlines the ways to select potential lexical and phraseological components (occasionalisms, or nonce words) that can be employed in the ‘the reproduced use of clichés’ device. The clichés analysed in this paper fall into the category of evaluative phraseological units in which the stylistically relevant modal meaning of evaluation (assessment) is superimposed on the descriptive content. The modal meaning of evaluation is determined in such units not by their individual lexical components, but by the cliché as a whole. The collation of the studied clichés in the original language and in the language of translation shows their homomorphism, both in terms of content and in terms of expression. Such homomorphism can be interpreted as a manifestation of the similarity of value accented systems of English and Russian native speakers. The organic combination of a cliché and a nonce word can result in the symbiotic relationship, where the rational aspect which is based on social conventions is complemented by the prevailing emotional intensifier. The components — whether actually available or potential — which can fit into the stereotyped form of a cliché create the opposition of generally accepted language units and non-standard ones (i. e., stylistic devices). The combination possibility is determined and limited only by their semantic compatibility. It is in the communication process, when an incidental element obtains expressiveness in the utterance, that the pragmatic effect of the intensification of meaning takes place. The novelty achieved by the implementation of selected, processed and adjusted lexical and phraseological items presents a kind of positive distinctiveness introduced into a speech pattern which otherwise lacks expressiveness and emotionality. The examined device of the ‘reproduced use of clichés’ can be effectively applied in subtitling, a type of film translation which is increasingly in demand.