LEXICAL-SEMANTIC FIELDS IN THE ARTISTIC SPACE OFTHE «CHOCOLATE»
NOVEL BY JOANNE HARRIS
There are lexical-semantic fields with “gastronomic” and “non-gastronomic” vocabulary in the novel “Chocolate” by Joanne Harris which are in contextual antonymic relations with each other. The structure of the «gastronomic» lexical-semantic field: the core is «chocolate» / «witch»; a perinuclear zone — praline, hot chocolate, waffles in chocolate, orange tubules, apricot hearts, chocolate nuts, truffles, chocolate mice; periphery — dreams, small pleasures, sweet temptations, culinary magic, food of the gods. The “non-gastronomic” lexical-semantic field is formed by the “church” / “Cure” nuclear center, which unites into syntagmatic relations the lexemes which make up the perinuclear zone: the Holy Father, the angel, the Great Lent, the black cassock, the Black Man. The syntagmatic interdependencies of the lexemes “church” and “chocolate” are provided by a semantic relation to the ideological field of the novel formed by the stableword-combination
“Great Post”.
Key words: lexical-semantic field, syntagmatic relations, paradigmatic relations, core, perinuclear zone, periphery.
INTRODUCTION
The topicality of a scientific problem is determined by the appeal to the artistic world of the modern English writer’s novel, in which semantically significant and ideologically actualized linguistic-stylistic means of creating an artistic image are explored.
The significance of the results of scientific work consists in the deepening of linguisticstylistic views. The pictorial and semantic possibilities of semantic-functional fields are studied on the material of the novel by Joanne Harris. The means of creating a linguistic-stylistic field in the novel reflect the peculiarities of the writer’s creative manner and emphasize her ideological and literary originality.
In the work «On the Language of Fiction» V.V. Vinogradov rightly considered the language of fiction not only as a material characterizing the literary-linguistic system of the corresponding epoch, but also as the language of verbal art, as a system of means of verbal-artistic expression, in which “the features of individual creative manner, individual style or skill are found and highlighted” [1, 51].
The selected aspect of the research corresponds to the modern methods of linguistic analysis of the artistic text [2] and is relevant. The possibility of researching vocabulary by the way of combining many private word systems was already discussed in linguistic works of the nineteenth century, for example, in the works of M.M. Pokrovsky (1868 / 69–1942) [3]. The “semantic field” term itself began to be actively used after the publication of the works of J. Trier and G. Ipsen [4], [5].
Elements of a separate semantic field are connected by regular and system relations, and, therefore, all the words of the field are mutually opposed to each other. Semantic fields can intersect or entirely enter one into the other. The meaning of each word is most fully determined only if the meanings of other words from the same field are known. The most simple kind of semantic field is a field of paradigmatic type, the units of which are lexemes belonging to one part of speech and united by a common categorical seme in meaning. Such fields are often referred to as semantic classes or lexical-semantic groups.
As noted by I.M. Kobozeva, L.M. Vasilyev [6], [7], the links between units of a separate
semantic field may differ in their “latitude” and specificity. The most common types of bonds are those of the paradigmatic type (synonymous, antonymic, generic, etc.).
A selected aspect of the research may claim to be scientifically new, since the formal and informative plans of the semantic fields in Joanne Harris’s “The Chocolate” are explored for the first time.
MAIN PART
In the title of the «Chocolate» novel by Joanne Harris is used «gastronomic» vocabulary, precisely its «dessert» component. Chocolate and a various sweets in the novel by Joanne Harris are the value reference points which help to expose the evil, the imaginary virtues, to discern the veritable human soul.
We have conditionally divided the “gastronomic” vocabulary in the novels into “dessert” one and “lunch” one, thus emphasizing the exceptional role that is assigned to the vocabulary, denoting sweetness in novels.
The conflict in the novel «Chocolate» is marked from the very beginning. Vianne arrives in Lansquenet-sous-Tannes with a carnival and almost instantly meets her future adversary. Viann as a pagan of olden times perceives all the attributes of the Catholic religion in the negative removal.
A church, aggressively whitewashed. A black figure brings up the rear. At first I take him for a
part of the parade – the Plague Doctor, maybe – but as he approaches I recognize the old-fashioned soutane of the country priest [8, 11]. «… but I see no welcome in his cold, light eyes. Only the measuring, feline look of one who is uncertain of his territory» [8, 12].
The priest Francis Reynaud and witch Vianne Rocher outlined their positions. She refused to go to church, follows pagan rituals (treats for the home gods), he takes as his duty to fight evil (Vianne is evil). In the window of her shop there is a gingerbread house with a famous character:
And the witch herself, dark chocolate from the top of her pointed hat to the hem of her long cloak… [8, 34].
«Dessert» vocabulary performs characterological functions: Vianne only gets acquainted with the inhabitants of a small town, but already guesses what kind of dessert prefers any visitor who enters her chocolaterie La Celeste Praline. One of the schoolchildren, in her opinion, prefers caramel with peanuts, because these sweets do not melt in his pocket, many friends can be treated to them and they are inexpensive. Former school headmaster Guillaume prefers waffles in chocolate, because they are easy to be shared easy with his dog Charlie. With the help of “gastronomic” vocabulary, a “portrait-dessert” of the Vianne’s daughter Anouk is created: Her hair is a candyfloss tangle in the wind [8, 8].
The lexemes “church” and “chocolaterie” are in antonymic relations to each other. Their syntagmatic interdependencies are provided by semantic relatedness to the ideological field of the novel, formed by the stable word-combination “Great Lent”. Lexemes denote buildings. These architectural objects are located on the same square, they compete with each other. The Holy Father admonishes the inhabitants of the town with a word, the hostess of the pastry shop seduces the townspeople with sweets. He must keep people from eating the forbidden food, she intends to seduce them with hot chocolate.
The nuclear centers «church» (Cure) and «chocolaterie» (witch) form lexical-semantic fields, contrasting the «gastronomic» and «non-gastronomic» vocabulary.\
The lexical-semantic field with the nuclear center «church» unites into syntagmatic relations the following lexemes which make up a near-nuclear zone: the Holy Father, the angel, The Great Lent, the black soutan, the Black Man.
The priest in the black cassock — Francis Reynaud — uses gastronomic vocabulary in the removal from the images, which it creates: For myself, I feel that fasting cleanses me. The sight of the butcher’s window appals; scents are heightened to a point of intensity that makes my head reel. Suddenly the morning odour of baking from Poitou ‘s is more than I can bear; the smell of hot fat from the rotisserie in the Place des Beaux-Arts a shaft from hell. I myself have touched neither meat nor fish nor eggs for over a week, subsisting on bread, soups, salads and a single glass of wine on Sunday… [8, 80].
The Lent is hard for the Cure. There is no enough faith in him to fast easily and with conviction. He seems to report to himself, to his elderly father, to God his righteous behavior. «Gastronomic» vocabulary reflects this struggle: For now water and coffee will be the only accompaniment to my meals, the coffee to be taken black and sugarless to enhance the bitter taste. Today I had a carrot salad with olives – roots and berries in the wilderness [8, 105].
The culmination of the confrontation between the Cure and the witch Vianne is the secret night invasion the chocolaterie carried out by the Cure on the eve of Easter. Francis Reynaud comes to crush the prepared gift baskets of sweets, but he cannot resist the temptation to try just one little candy. He breaks the rules of the Lent and overeats chocolate just a few hours before it ends.
I grab an aniandine and stuff it into my mouth to aid thought. Then a caramel fondant. Then a manon blanc, fluffy with fresh cream and almond… I’ll take one more chocolate, for luck, before I go searching. Just one more [8, 389].
The sinful thoughts of Francis Reynaud are exposed with the help of «gastronomic» vocabulary. During the Lent, he catches himself remembering the flavour of the witch Vianne Rocher-cream and marshmallow and burnt sugar and the heady mingling of cognac and freshground cocoa beans. It is the scent of a woman’s hair, just where the nape joins the skull’s tender hollow, the scent of ripe apricots in the sun, of warm brioche and cinnamon rolls, lemon tea and lily-of-the-valley [8, 289].
Cure loses the battle as soon as he is in the chocolaterie. He gives in to the charm of the holiday atmosphere, enchanted by the aromas and cannot resist them. The witch who drew almost all the inhabitants of Lansquenet to her side at last seduced the Cure too. Chocolate made its job: I take one from the top of the tray. I hold it beneath my nose; it smells of cream and vanilla… This is different altogether; the brief resistance of the chocolate shell as it meets the lips, the soft truffle inside… There are layers of flavour like the bouquet of a fine wine, a slight bitterness, a richness like ground coffee [8, 388]. Cure realizes that it is an impermissible temptation on the eve of Easter, but yields it, not being strong in his faith: warmth brings the flavour to life and it fills my nostrils, a taste succubus which has me moaning [8, 388].
The lexical-semantic field with the “chocolate” nuclear center unites in a syntagmatic relationship the perinuclear vocabulary: praline, hot chocolate, waffles in chocolate, orange tubules, apricot hearts, a nut in chocolate, truffles, marzipans, peanut candies, white chocolate mice.
The periphery of the lexical-semantic field is made up by the estimated vocabulary: dreams, little pleasures, sweet temptations, culinary magic, food of the gods.
The lexical-semantic field with the nuclear center “chocolate” is a lexical zone reflecting the sphere of life of the main character. She thinks by the means of gastronomic imageries and uses gastronomic vocabulary: Paris smells of baking bread and croissants; Marseille of bouillabaisse and grilled garlic. Berlin was Eisbrei with Sauerkraut and Kartoffelsalat, Rome was the ice-cream…
[8, 73].
Lexeme «chocolate» is represented in different surroundings.
Accompanied by words which form a semantic zone with the meaning «smell»: The air is hot and rich with the scent of chocolate. Quite unlike the light powdery chocolate I knew as a boy, this has a throaty richness like the perfumed beans from the coffee-stall on the market, a redolence of amaretto and tiramisu, a smoky, burnt flavor… [8, 389]. The creamy smell of chocolate is maddening[8, 167]. Chocolate as an enemy, as a threat, is presented in surrounding of lexemes with an estimated didactic meaning: ridiculous rituals and superstitions, a spirit of sinfulness, secrets in a whisper, voiced troubles, undermining the authority of the church: And with every day her influence spreads. Part of it is the shop itself. Halfcafe, half-confiserie, it projects an air of coziness, of confidences… Yesterday Denise Arnauld was eating eating! – in the confessional [8, 195].
In the whole guise of Vianne Rocher, the Cure sees a challenge and feels danger (“She is my enemy”). The eyes are dark, the pupils seem to be dissolved in them, the gaze is straight, evaluating, invariably ironic lips, the shoulders are straightened, the chin is boldly turned upside down.
Viann is surrounded by fascinating smells, she herself can wake them up, create, combine:
The place is transformed; the air perfumed with bewildering scents of ginger and spices. Gastronomic vocabulary is repeatedly used to list all the goodies that Vianne cooks for her grateful customers: … shelves with praline, truffles, chocolate wafers, cherries with liqueur and candied almonds[8, 319].
Vianne is able to create comfort around herself and become the center of this magical space: She has installed an electric fire now… the stools, the glass cloches filled with cakes and pies, the silver jugs of chocolate on the hob [8, 107].
Preparing for Easter (Vianne the witch!), she decorates the window in her chocolaterie shop: The magic mountain opens to reveal a bewildering, half-glimpsed, array of riches: multicoloured piles of sugar crystals, glace fruits and sweets which glitter like gems. Behind this, and shielded from the light by the concealed shelving, lie the saleable wares [8, 143].
«Gastronomic» vocabulary reflects the conflict between Francis Reynaud and Vianne Rocher. She is preparing to celebrate Easter with chocolate holiday, he is preparing not to celebrate the main event of the year, but to destroy the plans of Vianne. Less than two weeks left. We make the delicate liqueur chocolates, the rose-petal clusters, the gold wrapped coins, the violet creams, the chocolate cherries and almond rolls… [8, 303].
Semantically significant vocabulary in the novel is not only “gastronomic”one, but also the one which designates fate, changes, and obstacles. All these meanings in the novel are embodied in the lexeme «wind». It does not form lexical-semantic fields and exists in isolation, having several meanings: «… may not always portend the physical death of the self but the death of a way of life. A change. A turning of the winds[8, 102]. This is where we stay to face whatever the wind brings us[8, 103]. The wind’s changed since you’ve been here… [8, 150]. I feel light, insubstantial as milkweed fluff. Ready for any wind to blow away[8, 357]. Hoping that this time it will remain a lullaby. That this time the wind will not hear. That this time – please, just this once – it will leave without us[8, 399].
The lexemes “wind” and “carnival” are equalized by syntagmatic connections. They are synonymous in the context.
And besides, the wind, the carnival wind was still blowing, bringing with it the dim scent of grease and candy floss and gunpowder, the hot sharp scents of the changing seasons, making the palms itch and the heart beat faster. For a time, then, we stay. For a time. Till the wind changes [8, 17 — 18].
All the «gastronomic» vocabulary of the novel — both «dessert» and «lunch» ones- indicates the existence of a special zone around the main character — a zone of comfort and coziness. Despite the nomadic way of life, any of her parkings turns into an ark — salvation not only for her and her daughter, but also for all who need it. A long pause. I poured a glass for myself, with noisette liqueur and hazelnut chips. The smell is warm and intoxicating… Guillaume ate his religieuse with careful enjoyment… [8, 223].
With the help of chocolate, Vianne Rocher creates magic, she gives hope and relief for suffering ones: Sometimes it’s better to leave things as they are, to let grief take its course…. By the time I’d poured it,’ added cognac and chocolate chips, put the cups onto a yellow tray with a wrapped sugar lump in each saucer, she was calm again[8, 230].
In the chocolaterie of Vianne any visitor feels warmth and protection from adversity, here all the problems seem to be solvable: Today Luc was here too, and the three of them sat together in the comer with a pot of chocolate and some eclairs. I could hear occasional laughter and exclamations from the small group[8, 259]. At four Anouk came home tired and cheerful and muddy to the armpits, and Josephine made lemon tea while I ran the bathwater. Stripping off her dirty clothes I tipped Anouk into hot honey-scented water, then afterwards we all sat down to pains au chocolate and brioche with raspberry jam and plump sweet apricots… [8, 266].
“Lunch” vocabulary is actualized when Vianne is among her relativies, when she does not expect invasion of the Black Man.
She and Anouk are visiting Roux: I remember river crayfish, split and grilled over the embers, sardines, early sweetcorn, sweet potatoes, caramelized apples rolled in sugar and flash-fried in butter, thick pancakes, honey[8, 172]. Viann prepares for the birthday of Armanda, discusses the menu: Brandade truffle, vol-aux-vents aux trois champignons, cooked in wine and cream with wild chantrelles as a garnish, grilled langoustines with rocket salad, five different types of chocolate cake, all her favourites, homemade chocolate ice-cream…» [8, 351]. «Josephine helped me prepare dinner: a salad of green beans and tomatoes in spiced oil, red and black olives from the Thursday market stall, walnut bread, fresh basil from Narcisse, goat’s cheese, red wine from Bordeaux [8, 233].
“Lunch” vocabulary does not contradict the “dessert” one, both lexical- semantic groups are included in the “gastronomic” group and function in the life sphere of Vianne Rocher.
CONCLUSION
1. The “gastronomical” vocabulary of the novel consists of two lexical-semantic groups: “dessert” and “lunch” ones. Both lexical-semantic groups reflect the life sphere of the main character of the novel Vianne Rocher.
2. The nuclear center of “gastronomic” vocabulary is the lexeme “chocolate” (“chocolaterie”), which forms a lexical-semantic field in the novel.
3. The lexico-semantic field has the following structure: a core, a perinuclear zone, the periphery.
4. The nuclear centers «church» (Cure) and «chocolaterie» (witch) are in antonymic relations with each other.
6. Semantically significant vocabulary in the novel is not only “gastronomic” / “nongastronomic”, but also the one which designates fate, change, obstacles. All these meanings in the novel are embodied in the lexeme «wind» («carnival»). It does not form lexical-semantic fields and exists in isolation, having several meanings: the wind of change; wind of hope; wind, driving crazy.
REFERENCES
1 Виноградов В.В. О языке художественной литературы. — М.: Гослитиздат, 1959. — 657с.
2 Солганик Г.Я. Стилистика текста. – М.: Флинта; Наука, 2000.- 253 с.
3 Покровский М.М. Избранные работы по языкознанию.–М.: Изд-во АН СССР, 1959. –
381 с.
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5 Ипсен Г. Секреты древних письмен. Проблемы дешифровки. — M., 1975. – 341 с.
6 Кобозева И.М. Лингвистическая семантика. — М.: Эдиториал УРСС, 2000. — 352 с.
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8 Harris J. Chocolate https://www.goodreads.com/book/show/47401.Chocolat
А.Д.Свидова
Джоанн Харристің «Шоколад» атты романының көркемдік кеңістігіндегі лексикасемантикалық өрістері
Тараз инновациялық-гуманитарлық университеті
Тараз қ, Қазақстан Республикасы
Джоанн Харристің «Шоколад» атты романында констентуалды антонимиялық қатынастағы «гастрономиялық» және «гастрономиялық емес» лексика-семантикалық өрістер табылды. «Гастрономиялық» лексика-семантикалық өрістің құрылымы: өзегі – «шоколадты»/ «мыстан»; өзекмаңылық аймағы — пралине, ыстық шоколад, шоколадты вафли, апельсинді түтікше, өрік жүрекшелереи,шоколадтағы жаңғақ, трюфельдер, шоколадты тышқандар; перифериясы — армандар, кішкентай рахаттар, тәтті қызығулықтар, кулинарлық сиқырлық, құдайлар тағамы. «Гастрономиялық емес» лексикасемантикалық өріс өзекмаңылық аймақты құрайтын әулие әке, періште, Ұлы ораза, қара сутана, Қара Адам лексемалардың синтагматикалық қатынастарына біріктіретін «шіркеу»/«кюре» өзек орталығымен қалыптасқан. «Шіркеу» және «шоколадты» лексемалардың синтагматикалық өзара тәуелділігі Ұлы Ораза тұрақты сөз тіркесімен қалыптасқан романның идеологиялық өрісіне семантикалық қатынастылығымен қамтамасыз етіледі.
А.Д.Свидова
Лексико-семантические поля в художественном пространстве романа Джоанн
Харрис «Шоколад»
Таразский инновационно-гуманитарный университет
г. Тараз, Республика Казахстан В романе Джоанн Харрис «Шоколад» обнаружены лексико-семантические поля с «гастрономической» и «негастрономической» лексикой, которые находятся в контекстуальных антонимических отношениях. Структура «гастрономического» лексикосемантического поля: ядро – «шоколадная»/ «ведьма»; околоядерная зона — пралине, горячий шоколад, вафли в шоколаде, апельсиновые трубочки, абрикосовые сердечки, орех в шоколаде, трюфеля, шоколадные мышки; периферия — мечты, маленькие удовольствия, сладкие соблазны, кулинарное волшебство, пища богов. «Негастрономическое» лексикосемантическое поле сформировано ядерным центром «церковь»/ «кюре», который объединяет в синтагматические отношения лексемы, составляющие околоядерную зону: святой отец, ангел, Великий Пост, черная сутана, Черный Человек. Синтагматические взаимозависимости лексем «церковь» и «шоколадная» обеспечиваются семантической отнесенностью к идеологическому полю романа, сформированному устойчивым словосочетанием Великий Пост.