Text in text

Text in the text is an introduction to the original author's text of someone else's text. Thus, the idea of ​​a text as a uniform semantic space can be supplemented or clarified by indicating the possibility of the invasion of various elements from other texts [1]. The text of this author, taken from the previous works, may also be a “foreign” text. Moreover, this could be the text created by the same author, but as if inserted as the text of another author.

Alien text can be represented in the main text in the form of live inclusion. This is primarily a quotation, which is used in scientific and popular science texts, to rely on someone else's opinion or to refute it, to make it a starting point for asserting one’s own opinion in polemical form. A similar function is performed by references, reference (pointing to someone else's text), retelling. The inclusion in the text of "someone else's speech" is accompanied, as a rule, by its assessment. Here is an example of direct quoting:

Hero Chesmensky [Count A.G. Orlov-Chesmensky] lived out his great glory in the ancient capital; his contemporary S.P. Zhikharev says: “Some sort of charm surrounded the warrior of the Great Catherine, who was resting on her laurels in the simplicity of private life, and attracted popular love for him. There was unlimited respect for him of all classes of Moscow, and this general respect was a tribute not to the rank of a rich nobleman, but to his personal qualities ” (MI Pylyaev. Old Moscow, p. 142).

Appeal to the opinions of others is found in the reference, for example. “The style of the text, in the understanding of V.V. Odintsova directs her attention to a separate whole text (work), whereas functional style, without evading the questions of the whole text (text as a complete communicative whole), deals mainly with the typology of speech (texts): specific and typical characteristics of speech varieties (functional styles) , which are represented by texts (types of texts) " (MN Kozhina. Stylistics of the text in the aspect of the communicative theory of language).

An example of a retelling in a scientific text:

Summarized data characterizing the meaning in terms of contrasting its meaning are contained in the work of A.V. Bondarko [1978]. They are presented in the form of the following oppositions.

The meaning is the content side of a certain unit of a given language, whereas the meaning (the same) can be conveyed by different units in a given language. In addition, it can be expressed not only by language, but also by non-language means. The value of a unit is an element of the language system, whereas a specific meaning is a speech phenomenon having situational conditionality <...> (AI Novikov. Meaning as a special way of dividing the world into consciousness // Language consciousness and the image of the world M., 2000. p. 34.).

Text in the text may be in the artwork. True, the forms of its inclusion here are more diverse, and its functions are more diverse.

At the same time, direct quotation is not excluded: “So he wrote darkly and sluggishly ...” The story about poor Igor would have started here, if he decided to live here ... (A. Bitov. Pushkin's photo).

The text can serve as a frame for the main text, convey the main idea of ​​the work (epigraph), be interspersed with another language (French in “War and Peace” or in “Eugene Onegin”).

Perhaps the hidden quotation of other people's lines, interspersed in the author's text without any selection, references:

Armed with the experience of the thirty-sixth year, he was now sneaking up for sure, aiming the lens and microphone at the highest, as he will calculate, for a moment ... and whatever happens. He walked through like an elk through an autumn grove. With sad noise, she was exposed ... She lay down ... on the fields ... fog. It was like that. He walked straight, rustling along the lines as if on leaves (A. Bitov. Photo by Pushkin). And further: Igor's Golovenko slipped off his palm - this brilliant bearing ball rolled down the aisle and stopped at the heel of a friend of the steppes (ibid.).

These can be literary reminiscences (from late Lat. Reminiscentia - remembrance) - features that lead to the recollection of another work, the result of the author’s borrowing of a separate image, motive, stylistic device, for example, Blok reminiscences in the works of A. Akhmatova or Gogol's images of “road” and "Wheels" in A. Solzhenitsyn.

All this - evidence of the connection of artistic texts belonging to different authors. The intertextual connections of various works of art are reflected in various kinds of quotations: accurate and inaccurate, open and hidden, implicit (for example, Block: Blue eyes are bottomless and bloom on the far shore; Akhmatova: There are sweet blue eyes that bloom there [2]). By the way, this image was recorded even in the "Life of Avvakum".

Interspersed texts perform both a semantic and structural role. One of the methods of incorporating text into text is a combination of texts, for example, A. Pushkin in Dubrovsky introduced the text of a true court case of the 18th century, changing only the names. The merger turned out to be organic. The materials of the court session were also used by L.N. Tolstoy in the novel "Sunday."

More difficult is the construction of the text, when the entered text covers events parallel to the main ones, usually these are surreal events that are served as quite real. The master of such an introduction to the text is, for example, Ch. Aitmatov. All his main works are built on the combination of the main text and the text of the legend. This is the “White ship”, and “Buranny station”, and “Scaffold”. And in the ideological and semantic terms, the legendary texts are leading, they psychologically and philosophically cover the events of real life.

Ingeniously given is the combination, interweaving of two independent texts in M. Bulgakov's novel Master and Margarita [3]. One text tells about the events in Moscow, the modern author, with all the realities of the then life; the other is dedicated to events in ancient Yershalaim. The Moscow text is overloaded with believable details familiar to the reader, and therefore he, this text, is presented, according to the author, as the text of the primary neutral plan. The use of the biblical story (the story of Yeshua and Pilate), on the contrary, has the form of text in the text, the text entered; this second text, as it were, is created not by the author Bulgakov, but by his characters - first this is a story by Voland, then a novel by the Master. The secondary nature of this text is also emphasized by the fact that the chapters on the Moscow events are presented as a reality, the Aershalaim chapters as a story that is listened to and read. Moreover, the compositional endings of some chapters and the beginning of others are lexically combined (lexical repetition), and, thus, the boundary between reality and irreality is blurred. As a result, something fantastic breaks into reality, and the plot of another plan acquires the features of everyday credibility, so a compositional scheme is created: the author tells about the heroes, and the characters tell about the story of Yeshua and Pontius Pilate. Wed, for example, the end of Chapter 1 and the beginning of Chapter 2:

... And again the editor and the poet were extremely surprised, and the professor beckoned both to himself and, as they leaned toward him, whispered:

- Keep in mind that Jesus existed.

“You see, professor, ” said Berlioz, with a forced smile, “we respect your great knowledge, but we ourselves have a different point of view on this issue.”

- And do not need any points of view! - the strange professor answered, - he just existed, and nothing more.

“But some proof is required ...” began Berlioz.

“And there is no need for any evidence, ” the professor answered and spoke quietly, and for some reason his accent disappeared: “It's simple: in a white coat ...”

Chapter 2

PONTIUS PILATE

In a white raincoat with a bloody lump of shuffling cavalry gait, early in the morning of the fourteenth day of the spring month of Nisan, the procurator of Judea Pontius Pilate came out into the covered colonnade between the two wings of Herod the Great's palace. <...>

As a result of such a composition, the temporal displacement is eliminated, the events seem to be combined on the same plane, passing one into the other. And this makes it possible to artistically embody the main idea of ​​the novel - the idea of ​​combining good and evil. Their confrontation is removed and replaced by unity, their polar essence is removed by a single text space.

The dialogue of good and evil is embodied in the relationship of Yeshua and Woland. They are in different temporal and spatial planes, but they exist quite harmoniously. Paradoxical, but Woland’s conclusion is logical: good can exist only in the presence of evil, one presupposes the other.

Biblical scenes, images, popular expressions often serve as material for creative transformations in the texts of fiction, both prosaic and poetic. If the plot lines of the novel by M. Bulgakov are sufficiently open and the boundaries of their contact are quite perceptible, in other cases the penetration of biblical motifs and images into the author's text may turn out to be more profound. This is not just blotches in the text or parallel to the folding plot. This means a special artistic understanding of reality. For example, the “Requiem” by A. Akhmatova [4] was created. Here, the entire text of the poem is entirely a "biblical secret writing" that has to be deciphered. With the help of biblical images and situations A. Akhmatova recreates the image of the contemporary world represented by her, represented in apocalyptic paintings. The biblical context is so interwoven into the text of the poem that it is extremely difficult to isolate individual images. Before us is a continuous overlay of one on the other: the Neva River, Leta-Neva, acts as the Babylonian river; the years spent in prison queues are called “rabid”, the epoch of forced silence (30s) is associated with “hanging lyre”, etc. The “eternal images” of the Holy Scriptures serve Akhmatova to recreate the tragic picture of the bloody terror of the Stalin era [5], the era of the “hunt for a man”, the era of the terrible and for the poetess personally.

In some cases, A. Akhmatova rethinks the biblical text, in particular, reinforcing the theme of the Mother of Jesus. It is known that Jesus from the cross of Golgotha ​​addressed the “daughters of Jerusalem,” and not directly to his mother. Addressing the words of the Son of the Mother, Akhmatova includes in the text of the poem his own maternal motive (the suffering of the mother over the arrest of the son - L.N. Gumilyov). In this case, A. Akhmatova follows the text of the Gospel of John, where there is a mention that “His Mother stood at the cross of Jesus,” which was highly consonant to her.

Biblical plots became the basis of other poems by A. Akhmatova - “Rachel”, “Lot's Wife”, “Melkhola”.

Along with biblical, great literary demand are Latin expressions, the names of ancient gods, poets, philosophers. Even just the mention of famous names introduces certain additional meanings to the text, gives rise to a system of imaginative means.

As an example, let us use one of the Latin expressions in the memoirs of A.F. Horses dedicated to the acquittal imposed by V. Zasulich in 1878: The jury’s verdict may be wrong legally, but it is faithful to moral sense; he does not agree with the dead letter of the law, but the voice of everyday truth is heard in it; society cannot deny him sympathy ... and caveant consules! (Consuls, beware!). (It is used in the sense of: Power! Watch out!) [6]

Especially often the intertextuality (text in the text) is seen in the application of guessed literary inclusions in the main author's text.

In T. Tolstoy’s story “The Plot”, a textual roll with famous literary works turns into a special literary device, on which the whole text rests. Phrases-quotes (sometimes two or three words in the form of a hint, references to someone else's text) constitute a kind of milestones in the story; with their help, the characteristics are composed, the plot line is built up, interlacing into a single rigid, tightly woven lace - events, evaluations, characteristics, lyric-epic, then ironically-satirical. Here is the text:

Pushkin dreams of shooting, shooting, shouting, the Poltava battle, the gorges of the Caucasus covered with small and hard bushes, one in height, the tramp of copper hoofs, Karl in a red cap, Griboedovskaya cart, he sees the coolness of Pyatigorsk bubbling water — someone put a cooling hand on feverish forehead - Dal? –Dal. Dal clouded with smoke, someone falls, shot down, on the lawn, among Caucasian bushes, medlars and capers; it is he himself, murdered, - what is now the sobbing, empty praise, an unnecessary choir? - the Scottish moon pours sad light on the sad glades covered with spreading cranberries and mighty, cloud-filled to the skies; beautiful Kalmyk, frantically, tuberculous coughing, is the creature trembling or has it any right? - breaks a green stick over his head –civil penalty; What do you sew, Kalmyk? - Portka. - To whom? - Yourself. Are you still dormant, adorable friend? Do not sleep, get up, curly! A senseless and merciless little man, bending down, doing something with iron, and the candle, in which Pushkin, trembling and cursing, with disgust reads his life, full of deception, sways in the wind. The dogs are tearing up the baby, and the boys are bloody in their eyes. To shoot, ”he says quietly and with conviction, “ because I stopped hearing music, the Romanian orchestra and sad Georgia’s songs, and the anchar rushes over my shoulders , but I am not a wolf because of my blood: I managed to stick it in my throat and turn it there twice. He got up, killed his wife, sleepy killed his babies. The buzz subsided, I went to the stage, I went out early, before the star, I was, but I went all out, a man with a bludgeon and a bag came out of the house. Pushkin leaves the house barefoot, boots under his arm, diaries in his boots. So souls are looking from above on a discarded body. Diary of a writer. Diary of a Madman. Notes from the dead house. Scientific notes of the Geographical Society. I will pass through the blue flame in the soul of the people, I will pass through the cities in a red flame. Fish swim in your pocket, the path ahead is unclear. What are you building there, to whom? This, sir, state house, Alexander Central. And music, music, music is woven into my song. And everyone who calls it will call me. Whether driving at night along a dark street, now in a tent, now in a carriage, now in a carriage from under oysters, ichsterbe, is not that city, and that is not the same at midnight. Many robbers have shed the blood of honest Christians! Horse, my dear, listen to me ... P, O, C - no, I do not distinguish between letters ... And suddenly I realized that I was in hell. (Here there is Pushkin, and Lermontov, and Tyutchev, and Dostoevsky, and Blok, and L. Tolstoy, and Chekhov, and Dante, and others.)

And further, another storyline:

For example, Maria Alexandrovna will meet in Kazan for her sister, and Ilya Nikolayevich in a distant county with an inspection — who should I leave my children to? Previously, it used to be, the cook suggests: I, they say, will manage without you here - and Volodya is glad. Now, he will step forward, stamp his foot, and ring out like this: “It will never happen to him!” And it will reasonably sort things out, judge and imagine why the cook cannot manage. It is a pleasure to listen.

<...> With young people, peers led a little, more and more with important old men, and especially with important old women. And the fan will give, and the pug will stroke , and the little cap will be praised: with what, they say, the taste of the lace maker is selected, very, very to the face! He was friends with Katkov himself, and he also knew how to approach: he would sigh, and, as if by chance: “What a lump, my dear! what a hardened man! ” - and to that it is flattering.

There are examples of references to well-known literary texts in T. Tolstoy's other works, in particular, in the short story “The Poet and the Muse”, A. Blok’s lines are quoted:

... Framed with an otklyachenny tail, Ninina was smiling at a photograph, so to speak, "your face in its simple frame."

And further - in the same story all recognizable words of A. Pushkin:

And Grishunya again laughed and said that he had sold his skeleton for sixty rubles of the Academy of Sciences, that he would survive his ashes and run away ashes, that he would not, as he feared, lay in the damp earth, but would stand among the people in a clean, warm hall, strung and numbered ...

Introducing someone else's image can be quite open (given in quotes or with appropriate explanation):

1. Airport - vestibule between earth and sky. In order for the “born to crawl” to fly, it is necessary to prepare a person, this is undoubtedly a land animal, for the transition to another - the third - dimension, to another - air - element (A. Genis. American alphabet).

And further (without quotes):

Residents become hostages of the skyscraper. He jealously isolates them from the street: he puts them directly from the subway into the elevator and brings them to the heavenly nest of the apartment, turning around a trap. There is nowhere to be seen from her: he who is born cannot crawl (ibid.).

2. The pharmacy, which appears twice in Blok’s famous eight-line poem, is an annoying sign of civilization that annoys the poet with its inevitability: it is just an integral and intrusive detail of the landscape, like a street or a lantern.

However, in the New World both the one and the other, and the third was by no means obvious. The memory of the very recent wildness of the surrounding landscape erased the stamp of boredom from civilization. Another hundred or two hundred years ago in this country there were so few streets, street lamps and pharmacies that Americans were treated not with boredom — with vigorous enthusiasm (A. Genis. American alphabet).

Quite peculiarly used the ready literary form of V.O. Pelevin in the story “The Ninth Dream of Vera Pavlovna” (from the novel “What to do?” By N. G. Chernyshevsky). Allegory, veiled in the form of sleep, ends with the eternal Russian question "What to do?". V.O. refers to the well-known literary heroes and partly the storyline that connects them. Pelevin and in the novel "Chapaev and Emptiness."

В «Романе с языком» В.И. Новикова также представлена игра чужими образами, известными литературными произведениями. Здесь чужие слова так вплетаются в ткань текста, что ощущаются как достаточно скрытый намек. Например: Существует такая литературная условность: в большинстве романов, повестей и пьес женщины стремятся к личному счастью, а мужчины – якобы – к доблестям, деньгам, подвигам и славе. (Ср.: О доблестях, о подвигах, о славе я забывал на горестной земле. – А. Блок.) Еще пример на угадывание истинного автора используемого в тексте сюжета: ...Я же не завскладом, не маклер, не дантист — какие услуги может оказать лингвист? Объяснить, что правильно будет говорить не звОнит, а звонИт? Но без орфоэпии в жизни можно прекрасно обойтись, и мой коллега, подцепивший на эту удочку неумытую цветочницу со стопроцентной женственностью, – лишь великолепная выдумка драматурга, свежий фабульный поворот и ничего более (обращение к сюжету «Пигмалиона»). Хотя у того же автора есть и прозрачные включения, и даже некоторые пояснения при этом: Дремлешь, друг прелестный? Чувствую, утомил я тебя болтовней; Когда Тильдины родители убедились, что пребывание в комнате их дочери, так сказать, «мальчика, но мужа» привело к ощутимому результату, они раздобыли ордер на двухкомнатную квартиру; В джазе только девушки – таков неминуемый удел всех филологических вузов; Однако, когда утро красит нежным светом, все-таки тянет к людям; ...Женщина, согласно лучшей поэтической дефиниции, — это «ряд волшебных изменений»; Помнишь, Мастер, впервые встретив Ивана Бездомного, говорит, что ему его стихи «ужасно не нравятся», хотя он их и не читал?; Учитель, перед выменем твоим... Так, бывало, острили мы в студенческие и постстуденческие годы; Еще раз скажу: номенклатурный быт обладал аристократической сдержанностью, которую вовсе необязательно было разрушать «до основанья», чтобы затем на обломках выстраивать мелкобуржуазную безвкусицу; Далеко ушел от темы? Это я нарочно, не уйти, а убежать от нее хочется. Как говорится, я очень спокоен, но только не надо...; Не совсем из Ахматовой, из трансвестированной вертинской версии. И мужчины, между прочим, чувствовать умеют.

Возможно и переиначивание известных литературных цитат: Все счастливые семьи счастливы по-разному, утверждает Кальтенбах и предлагает свою типологию благополучных пар (ср., прямо противоположное утверждение Л.Н. Толстого).

Надо сказать, что способы и приемы использования «текста в тексте» в художественной литературе, бесспорно, не исчерпываются приведенными выше. Более того, взаимодействие текстов может быть в высшей степени сложным, оригинальным и особенно значимым для сюжета, композиции произведения и особенно его смысла. Причем текст в тексте не обязательно должен быть «чужим» для данного автора. Это может быть текст самого автора, но преподнесенный от «чужого» имени, например от имени персонажа. Так, в частности, построен роман Б. Пастернака «Доктор Живаго». Фактически здесь параллельно даны два текста – прозаический (автор – Б. Пастернак) и стихотворный (автор – Юрий Живаго, герой Пастернака). Общая структура романа создается так, что «Стихотворения Юрия Живаго» оказываются «чужими», включенными текстами, но содержательно оба текста перекрещиваются и дополняют друг друга, создавая два временных и пространственных измерения: прозаический текст – современная Россия; стихотворный текст – древний Иерусалим и современная Россия. «Поэтический и прозаический тексты выполняют взаимодополняющую или взаимоотражающую функцию. Один для другого является метатекстом, который рассказывает и проясняет суть своего коррелята, получающего иное текстовое выражение[7]. Так создается два уровня восприятия романа. И созданное самим автором (Пастернаком) становится созданным условным героем.

Литературные реминисценции – яркий прием современной газетной публицистики. При использовании литературных цитат, образов, чужих мотивов повышается словесная изобразительность текста. Расцвеченный узнаваемыми образами, текст привлекает ассоциативными связями, оригинальными вкраплениями. Часто журналисты пользуются «чужими» текстами в целях иронически-сатирического осмеяния и осуждения какого-либо явления, позиции критикуемого автора и проч.

Приведем в качестве примера статью О. Осетинского из Литературной газеты (2001 г. 7–13 февр. №6). Сам заголовок показателен в этом отношении: «Любовью, грязью или комиксом» (так переиначивает автор известные строчки А. Блока). Речь идет о тексте-комиксе Е. Метелицы. «На этот раз Метелица взяла на абордаж саму «Анну Каренину», сделав из нее не то чтобы кысь , но комикс». ( Кысь – образ Т. Толстой.)

And further:

"A peasant, sentencing over iron, forged ..." - so, it seems, in Tolstoy? And another Russian genius also foresaw: “With love, with dirt or with wheels it is crushed — everything hurts!”

The little man forged a revolution, a change, a pre-lomlen! There is a great weathering soul.

Yes, and Anna, and all of us, addicts of love and beauty, do not perish under the train - under the banter and whip of a new computer Asian, under the icy wind of the untied cave beast with a computer instead of a club. Well, snicker and comic book! On lilacs, on dark alleys and Chopin - go ahead, new triplets, and winnet trash - drop them! Dump! Dump! They dumped Pushkin and Tolstoy - and, dropping the ballast, surfaced and fluttered joyfully - over blown up temples, over corpses and corpses - at a light KGB gallop.

Yes, we already clone and replace parts of a person, and centuries are not a priority, like a soul, say.

End of a century? Goodbye, Man! .. Hello tribe ...

Gogol intonation (and structure also!) Accompanies the text in the following example:

Do you know what a presentation is? No, you do not know what a presentation is! If you have never been to presentations. And if you visit, you will learn that, as the way to a man’s heart lies through his stomach, so the way to the souls of partners, customers and journalists lies through the presentation. That is, through the same stomach (A. Inin. Freebie, sir! // AiF. 1995. Feb. 5).

A ready-made image, a rubber stamp, a well-known phraseologism, a popular expression, as a whole - the precedent texts in modern publications are spreading more and more widely. Old, familiar phrases, often literary quotations known from school years give rise to new modern images, but they “play” against the background of the old, recognizable. Then a humorous tinge appears; A new situation, the fact of modern life, is highlighted in an easy, accessible form.

In modern texts, especially in the media, there is clearly a craving for rethinking the old speech structures. In a sense, this desire is explained by today's “freeman of speech”, the desire to reinterpret old expressions, telling them a semantic negative, to play freely with the word, to show off wit. Naturally, the precedent word is unraveled only in the presence of certain background knowledge. Therefore, in the literature, designed for the general reader, the texts of the level of the school curriculum, of mass culture are mainly used.

The phenomenon has become so common that it aroused serious interest at the level of research activities. In particular, the book by VG is devoted to precedent expressions. Kostomarova and N.D. Burvikova “Old bottles and young wine. From observations of Russian word usage at the end of the 20th century ”(St. Petersburg, 2001). The book raises questions about the new relationships of the linguistic and cultural levels and proclaims the need for "cultural literacy." The authors of the book introduce the term "logoepisteme" (Greek. L Ogos - word; episteme - knowledge). “Turning to the cultural memory of which they are carriers, the logo epistems, among other things, provide a sense of belonging to the same socio-cultural group, to the same nation. After all, they allow us to express a new content through the prism of a picture of the world, mentality, and the socio-cultural history of a given people. With this they provide unlimited increment of meaning, expression, emotionality ”[8]. About precedent texts writes and N.A. Fateev in the book “Counterpoint of intertextuality, or Intertext in the world of texts” (Moscow: Agar, 2000) [9]. Especially often the authors of newspaper texts use inclusions in heading constructions. Recognizable images and expressions given in new, often unexpected contexts attract attention and give rise to a desire to get acquainted with the publication. Modernization of quotations most often serves the purpose of creating ironic or satirical overtones, a new meaning. With the talent of the writer, the transformed quotes are able to reveal the necessary meaning due to the reorientation of perception in a direction clearly defined by the author. In other cases, with a different installation, on the contrary, the meaning of known expressions is blurring, leading to the uncertainty of their meaning.

As a rule, at the same time there is a modernization and transformation of famous sayings, popular expressions, excerpts from songs, titles of literary works. The emotional impact on the reader in this case is due to the recognition of the saying and the degree of wit and the urgency of its modernization.

Some examples: There are no others, but those who dolechat ... (KP. 1991. November 22); That the cabinet came to us is preparing (Izv. 1991. November 21); Guessing on Belovezhskaya Pushcha (KP. 1991. December 11); We do not want to be work, we want to be capital (KP. 1991. December 11); The evolution of which the Mensheviks spoke for so long has come about (CP. 1991. July 30); And Zorkin is quiet here ... (MK. 1992. May 27); Exchange: the phenomenon of a voucher to the people (WE. 1992. Oct. 25); From here the Swedes will feed us (MK. 1992. June 26); Who will come to us with a sword, we will buy it from him (MN. 1992. April 12); Bankruptcy only dreams (MK. 1993. March 2); The ghost of the election wanders around Moscow (MK. 1993. March 2); Not eggs color a person, but a person paints eggs (MK. 1993. March 2); Here comes Sidorov ... (Labor. 1994. November 24); A cup is not a bull, you cannot plow a field for them (Trud. 1994. November 24); Came, confused, mocked (Labor. 1995. February 4); A feast during the Chechnya (MK. 1995. January 10); From Chechnya to the very suburbs (Lit. Gas. 1995. June 28); Mind us the dollar does not understand, but the ruble is left only to believe? (Lit. Gas. 1995. June 28); Grandmas would make of these guests (MK. 1997. September 9); The hero of our burden (Lit. gas. 1997. December 7).

Modernization of known expressions, quotations occurs as a result of semantic transformation, usually carried out in an ironic manner, whereas in a structural sense, these expressions retain their appearance. It is thanks to this that they become recognizable.

In other cases, recognition is based on the lexico-semantic level, and then not only substitutions of new components into the finished structure are possible, but also a breakdown of components, the use of their “fragments” in different parts of the text involving a number of words from the nearest semantic field, such as It happened with the lines from A. Pushkin:

Here the city will be laid

On evil haughty neighbor.

And further:

Nature is destined to us

To Europe cut a window.

The meaning of this meaning has been updated due to the expansion of the semantic field (the window to Europe is the European door; the key to the cherished door):

Peter the First chopped a window into Europe when he had to learn to use the European door. Yesterday, in Brussels, the President of Russia was shown the key to the cherished door, which will finally fall into our hands in a year and a half or two (Courant. 1993. December 10).

Thus, Pushkin's quotation is supported by metaphorical combinations of using the European door and revealed the key to the cherished door.

We find similar in another publication:

Rotterdam handles 700 ships at a time ... and there are only twelve in Leningrad! A shame! The city of Petra from a window to Europe turned into a curve and a dirty crack (KP. 1991. May 6).

Very often biblical expressions are subjected to textual transformation in journalism: The legislator, of course, must have clean hands . And, probably, therefore, the deputies are addicted to wash them every now and then . This syndrome was very prominently manifested on March 28, when the Prime Minister threw troops to the rally in the capital (Courant. 1991. Apr. 16) (to wash hands - to disclaim responsibility; ritual washing of hands, indicating non-participation in the event).

Unfortunately, an insufficient culture of speech sometimes leads to the transformation of capacious, figurative biblical expressions into a literary stamp, as, for example, happened to the expression “not bread and bread”: not raw, not single, not single, not single single, not past single (headlines from the newspapers "Pravda" and "Izvestia"); Not Alsou single (AIF. 2001. No. 52).

In principle, such a re-actualization of the meaning of well-known sayings, filling them with topical content, as a result of which they become an effective and effective means of attracting the reader’s attention and influencing the emotional sphere of a person, is nothing more than a verbal game. V.N. Vakurovnazvat this phraseological pun. This is exactly how the selection of such expressions in Sergey Karatov’s book titled “Za-dam-s” (Poem in Spiritual Post-repressionism) reads: Read as you like — either a toast to a lady, or — I'll show you.

Some examples from the book: I will not back down on Toyota; A lot of shows from nothing; Not to fat, would be in the vein; Melpodmen; Banquet data. "Perivrazy" - And I aroused good feelings with a liter; They, merchants, cannot enjoy the battle of life; the thunder of taxes scares them; In opposition, the girl escorts the fighter; At dawn, you are her counterpart; Kurosivo not forbid to live, and many others.

Thus, intertextual inclusions, due to the contact of "one's own" and "of someone else's", create conditions for the essential (both semantic and structural) transformations of the text. The text in the text is not just an element of the author's erudition or purely external decoration. The text in the text is able to emphasize or manifest the dominant meanings of the main text, to open a different meaning, born as a result of the imposition of meanings, and also to create different levels of perception of the text as a whole.

As the illustrations show, intertextuality is most widely and diversely represented in artistic and journalistic texts, where the role of this phenomenon is noted at the semantic, functional and structural level, and, therefore, the so-called literary technique works in terms of creating the essential characteristics of the text. However, the scientific text, in particular the scientific-humanitarian one, is not alien to this method of incorporating "alien" words to express one's own judgment: So, we become witnesses of a phenomenon that does not happen very often in the history of culture, when the very type of cultural thinking that is formed millennial traditions. Speaking very rudely, fiction, over which our ancestors shed tears, gives way to what really happened "(NA Bogomolov. Author and hero in the literature of the turn of the millennium // Philological sciences. 2002. № 3. P. 4). Intertextual links, reflected in various kinds of reminiscences or in parallel existing texts, as an object of study, are interesting both from the point of view of text formation and from the point of view of perception texts.

The concepts of “intertextuality”, “precedent text” became especially relevant in the period of postmodernism. There are even the terms "quote literature", "quote thinking". Borrowing someone else's text began to take the most diverse, sometimes bizarre forms. And the main thing in this game is an alien word - strengthening the semantic richness of the text, entering into the general context of the relevant culture.