In addition to the violation of logical connections, the definition of alogism sometimes includes signs of an “unpredictable combination of concepts” (Peskov A. M. Alogism // Literary Encyclopedic Dictionary. M., 1987. P. 20); “combinations of contradictory concepts” (Dictionary of literary terms / Edited by L. I. Timofeev and S. V. Turaev. M., 1974. P. 13); “connections in the form of listing logically heterogeneous concepts” (Rosenthal D. E., Telenkova M. A. Dictionary-reference book linguistic terms: A manual for teachers. M., 1985. P. 14); "contradictions of an object or event with our usual ideas" ( encyclopedic Dictionary young literary critic / Comp. V. I. Novikov, E. A. Shklovsky. M., 1998. P. 13). The last sign of alogism is explained by some authors as follows: “A. is especially noticeable when it violates the “natural” idea of an object, a phenomenon (“watermelon - seven hundred rubles”, “soup ... from Paris”, which Khlestakov talks about in “The Inspector General "N.V. Gogol) and appears within a logically motivated segment of text (cf. the comparative characteristics of Ivan Ivanovich and Ivan Nikiforovich in Gogol's story "How they quarreled...")" (Peskov A.M. Op. op. p. 20 ).
This interpretation of alogism takes it beyond the realm of violation of purely logical connections into the area of violation of ontological connections. This explains the significant differences in the illustrations of alogism given by different authors: “Lev Savvich Turmanov, a common man with a capital, a young wife and a significant bald spot, once played screw at a friend’s name day” (Chekhov). This example of alogism, given by D. E. Rosenthal and M. A. Telenkova, demonstrates a violation of the logical homogeneity of the enumeration (incomparable concepts are placed in a series of homogeneous members of the sentence, that is, they are so far from each other that they have no common characteristics).
A village was driving / Past a man.
Suddenly from the gateway / The gate barks.
- Whoa! - said the horse, / And the man neighed.
The horse went to visit, / And the man stood...(Folklore).
In this example given by A.P. Kvyatkovsky, there is a violation of the ontological norm (the normal “picture of the world”), therefore, techniques of this kind, from our point of view, are more correctly defined as paraontological (See: Skovorodnikov A.P., Kopnina G. A. On the definition of the concept of "rhetorical device" // Philological Sciences. 2002. N 2. P. 77-79; Skovorodnikov A. P. On the systematic description of the concept of "stylistic figure" // Russian speech. 2002. N 4. P. 64-66). This statement will be true even when logic is understood broadly - as “the understanding of connections not only of thinking, but also of being”, as “the logic of things, the logic of events, the connection of times”, since such an understanding of logic brings it closer to ontology (Kemerov V. E. .Norm // Modern philosophical dictionary/ Under general ed. V. E. Kemerova. London, Frankfurt am Main, Paris, Luxembourg, Moscow, Minsk / "PAN-PRINT", 1998. P. 450).
An extremely broad understanding of alogism as a general law of constructing tropes and figures is presented, for example, in E. V. Klyuev, according to whom, “paralogic, “incorrectly exploiting logic,” had every reason to become the basis for ediction” (Klyuev E. IN.
E.V. Klyuev writes: “It would be tempting to assume that constructing a message in accordance with logical laws and constructing a message in accordance with the theory of figures are, in essence, the same process” (Klyuev E.V. Op. C. 168. Italics by the author of the quotation). Such an expanded understanding of paralogicality leads in many cases to dubious interpretations of the essence of figures and/or unconvincing illustrations. Let us consider several such interpretations and examples taken from the cited work of E.V. Klyuev.
Thus, it is difficult to discern a paralogical menopause in such statements: “Alas, there is such a progression: a cigarette, illness, death”; “First they become a mayor, then a millionaire, then a prisoner.” In the first example, not a single law of logic is violated, and the stylistic effect is achieved thanks to the gradational construction of the enumerative series, enhanced by asyndeton. In the second example, one can discern paralogic, but it is not the result of the use of climax (it is not here), but a consequence of the technique of deceived expectation, which can be interpreted as a deliberate violation of the law of sufficient reason and which is reinforced by paronomasia.
It is even more difficult to recognize an isocolon as a paralogical figure (for example: “Life is getting more expensive, work can’t be found, money is running out, my wife is pregnant... my poor contemporaries!”) on the grounds that, according to Klyuev, “violation of a logical rule is not grouping sentences of the same type - results in compliance with the paralogical rule, according to which a group of sentences of the same type is perceived as worthy special attention"(Klyuev E.V. Op. cit. P. 240). We believe that the expressiveness of an isocolon (the ability to attract attention) is explained not by a violation of a logical rule, but by the fact that it (isocolon) represents a stylistically significant deviation from the speech norm ( standard level of speech-text ordering).
An expanded understanding of paralogics (alogism) is also associated with the recognition of syntax as “a representative of logic at the level of message structuring” (Klyuev E.V. Op. op. p. 179). Hence the recognition of all syntactic figures as paralogical, for example, polysyndeton (“Both the artist, and rich customers, and friends of rich customers, and the artist’s wife are all happy.”) Meanwhile, from our point of view, in polysyndeton there is not a logical anomaly , but a stylistically significant deviation from the neutral version ("zero stage") of the syntactic norm. We can say that the unconditional recognition of syntax as a representative of logic at the level of sentence structure and text leads to the identification of the logical and the grammatical.
A different view of alogism is associated with the recognition of its conscious and expedient deviation from the “communicative norm of logical speech” (Lelyokina A.N. Alogism as a principle of organizing expressive means of the Russian language // Actual problems studying language and literature // Materials of the All-Russian Scientific Conference, November 25-27, 2002, Abakan, 2002. P. 139; Pekarskaya I.V. Contamination in the context of the problem of systematic stylistic resources of the Russian language. Part II. Abakan, 2000. P. 139). In this capacity, alogism acts, according to I. V. Pekarskaya and A. N. Lelekina, as “a paradigmatic principle of organizing a visual device (trope, figure) or an expressive device (text figure).” Moreover, it is indicated that “all types of figures traditionally called alogism<...>must be studied in relation to the laws of logic (identity, non-contradiction, excluded third, sufficient reason)" (I. V. Pekarskaya, op. cit. p. 143).
This point of view is close to our understanding of alogism as a principle underlying a group of rhetorical devices (including tropes and figures). This principle consists of a deliberate and pragmatically motivated deviation from logical norms, which are understood as the basic laws of formal logic and the private rules that follow from them (for example, the rules for dividing concepts). This understanding of alogism correlates with the definition of alogism in scientific logic: “Alogism (from the Greek, a - a particle of negation and logismos - reason, reason) is reasoning that ignores the laws and rules of logic" (Logical Dictionary. M., 1994. P. 15) . Techniques based on the principle of alogism are called paralogical rhetorical devices in our classification (Skovorodnikov A.P., Kopnina G.A. Op. cit. pp. 77-79; Skovorodnikov A. P. Op. cit. pp. 64-66 ).
The range of these techniques has not yet been defined with sufficient clarity, but it is quite extensive. Techniques in which alogism is involved (sometimes in combination with other constructive principles) may include amphiboly, antiphrasis, astheism, hypallag, diaphora, zeugma, catachresis, oxymoron, ploka, syllepsis, fractata, recursion, and some types of antithesis.
All these and other (including those that do not have generally accepted terminological designations) techniques of the paralogical type can be grouped into subtypes depending on the deviation from which logical norm (logical law) the given technique is based on. Let us note that, according to our observations, paralogical devices based on deviations from the law of contradiction are the most common in artistic and journalistic speech. For example:
1. Cherepovets, county town,
Located above Yagobra.
And in it, among the shaggy beards,
Among his shaggy wives,
I lived three winters in the Real,
Always considered disgraced
For killing the king,
A pupil of the institution,
Learning everything and nothing.
(I. Severyanin)
2. The hero is known, and the subject is not new;
So much the better: everything that is new is outdated!
(M. Lermontov)
3. It was in the provinces, in a terrible wilderness.
I had a Dentist for my soul
With a body whiter than lime and chalk,
And for the body - Milliner
With an amazingly gentle soul.
(Sasha Cherny).
4. But now we are expelled from Russia to the very Europe about which last years dreamed so passionately, so what? It’s not clear, but it’s still true: by being expelled to Europe, we were also expelled from Europe(F. Stepun).
5. And only when we feel that nothing is ours can we say with the apostle: We are poor, but we enrich many; we have nothing, but we possess everything, because this Kingdom of God is within us...(Metropolitan Anthony of Sourozh)
6. To get sick here, you have to be in good health.
(L. Izmailov)
7. Meanwhile, the age - imperishable - rushes about
And the age boasts of knowledge,
In countless humanity
Great rarity - Man.
(I. Severyanin)
In second place in frequency are paralogical techniques based on deviations from the law of identity. For example:
8. Lieutenant Petrov gave the order to dig a ditch from the fence before lunch(Yu. Borev);
9. Dying patient.
Purple pigs.
A flock of jackdaws above a mop.
Dish of crayfish.
Drunk Noah.
Bust of the thrush Aksinya,
And the mare under the pine tree.
(Sasha Cherny
10. Wife and muse
Nothing can be changed
In their strong union:
He can't change
Neither the wife nor the Muse.
He is constant to both
- Damned bigamist!
(V. Vasin)
11. It tastes bitter in my mouth.
The moon is sticking out
Where it should be according to rank.
- Would you like ham or damsel?
- Thank you, I'm full.
(V. Teplyakov)
In third place in terms of frequency are paralogical techniques based on deviations from the law of sufficient reason. For example:
12. He (the stranger - A.S.) thought that life was becoming more expensive; Life is difficult for working people; From there St. Petersburg is pierced by both avenue arrows and a band of stone giants.<...>The stranger thought all this; he clenched his fist in his pocket; and he remembered that the leaves were falling(A. Bely)
13. The streams are flowing.
Beer. Monday.
Bazaar. Railway station.
Bazarov is a nihilist.
When the rogue and the hermit come together
- Put out the stars...
Dirty. Clean again.
(V. Teplyakov)
The examples of paralogical rhetorical devices we have given allow us to note the following:
1. Not all techniques of the paralogical type fit into existing typologies and nomenclatures of figurative means (examples 1-7).
2. Paralogical techniques are multifunctional. For example, they can serve to expose contradictions in the actions and worldview of people (examples 1, 2, 3); discreteness and inconsistency of their thinking (example 12); express antinomy social processes or philosophical ideas in the form of paradoxes (examples 4, 5, 7); be a means of creation different types comic contexts (examples 6, 8, 9, 10, 11, 13).
3. Paralogical techniques can be included in convergence with techniques of other types, for example, with hyperbole (example 3), exaggerated epithet (example 6), diaphora (example 10), amphiboly (example 11), metaphor and personification (example 12), root repetition and tautology (example 7), root repetition and paronomasia (example 13).
4. Paralogical techniques can be stylistic basis small-format secondary (according to M. M. Bakhtin) speech genres (examples 6, 8, 10, 11, 13).
It should also be noted that when the content of the concept “logical norm” is not precisely defined, the problem of distinguishing between paralogical techniques and techniques of other types arises. So, for example, Yu. B. Borev considers, in addition to imposition (the use of a word simultaneously in literal and figurative meanings) and antiphrase (which does not cause objections), to the type of rhetorical figures formed on the basis of deviations from the logical norm (which is not defined by him) , such figures (techniques) as hyperbole, litotes, interruption of speech, allegory, personification, euphemism, denial (characterization of a phenomenon “from the opposite”, by communicating what it is not) (Borev Yu. B. Aesthetics. M., 1988 pp. 250-253). Yu. B. Borev illustrates the technique of negation with Lermontov’s lines:
No, I'm not Byron, I'm different
A still unknown chosen one,
Like him, a wanderer driven by the world,
But only with a Russian soul.
Such an expansion of the range of paralogical rhetorical devices in the aspect of the understanding of the logical norm that we have formulated seems to be unlawful.
(c) Skovorodnikov A.P. Alogism as a rhetorical device // Russian speech. - 2004. - No. 1. - P.35-49.
Alogism
Alogism
ALOGISM - as a literary device - the introduction into literary speech of all kinds of logically meaningless moments, absurdities in literary speech, the destruction of logical and causal connections, the movement of speech according to random associations. Of the most important types of A., we note: the discrepancy between the syntactic and semantic movement of speech, the opposition (comparison) of moments that do not contain anything opposite (common) (“I. I. is of a somewhat timid nature. I. N., on the contrary, has trousers in such folds...", etc.), an imaginary (absurd) conclusion, a logical gap between remarks, a verbal cover of a logical void, etc. A. most often takes place in the prologue, in the speech of the narrator. Moreover, A. is usually associated with an orientation toward the comic, irony, grotesque, and irrational. The role of A. in Gogol is very important (see).
Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .
Alogism
(Greek a - negative particle, logismos - mind), 1) stylistic figure; is a syntactic correlation of semantically incompatible parts of a phrase with the help of its auxiliary elements expressing certain type logical connection (cause-and-effect, generic relationships, etc.): “The car drives fast, but the cook cooks better” (E. Ionesco, “The Bald Singer”). Alogism as a figure is often used in the drama of the absurd.
2) The extreme degree of development of images and plot in satirical works (D. I. Kharms, “Pakin and Rakukin”: “But here from behind the closet a tall figure of the angel of death came out and, taking Rakukin’s soul by the hand, led it somewhere, right through the houses and walls. But then the angel of death gave way, and Rakukinskaya soul, bouncing and stumbling, disappeared into the distance around the bend").
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .
Synonyms:
Antonyms:
See what “Alogism” is in other dictionaries:
- (Greek). In philosophy, this is the name for deviation from the laws and requirements of logic. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. ALOGISM [Dictionary of foreign words of the Russian language
- (Greek a negative prefix, logos concept, reason) a course of reasoning that violates the laws of logic or the rules for carrying out logical operations. A. always contains logical fallacy. An error in inference made deliberately for the purpose of... ... Philosophical Encyclopedia
See illogicality Dictionary of synonyms of the Russian language. Practical guide. M.: Russian language. Z. E. Alexandrova. 2011. alogism noun, number of synonyms: 8 ... Synonym dictionary
- (from a negative prefix and Greek logismos reason) 1) denial of logical thinking as a means of achieving truth; Rationalism, mysticism, fideism contrast logic with intuition, faith or revelation.2) In stylistics, a deliberate violation in ... Big Encyclopedic Dictionary
ALOGISM, allogism, husband. (from Greek and without and logismos reasoning) (book). Something incompatible with logical thinking, contrary to logic. Ushakov's explanatory dictionary. D.N. Ushakov. 1935 1940 ... Ushakov's Explanatory Dictionary
alogism- a, m. alogisme m. gr. 1. Illogicality, incompatibility with the requirements of logic. Krysin 1998. In Pushkin’s letter, a cheerful verbal game, full of Arzamas hints and alogisms, comes to life again. RR 1974 5 41. 2. philosophy. Denial of logic as... ... Historical Dictionary of Gallicisms of the Russian Language
- (illogicality; from other Greek a negative particle and other Greek logísmós mind, reason) illogical reasoning, a train of thought that violates the laws and rules of logic, or a fact that does not fit into the framework of logical thinking, something that cannot... ... Wikipedia
A; m. [Greek an not, without and logismos reasoning]. 1. Lack of logic in anything; what l. illogical, paradoxical. A. action. A. artistic form. 2. Lit. A stylistic device in which logical connections are deliberately broken for the purpose of... ... encyclopedic Dictionary
- (a + Greek logismos reason, judgment) in psychiatry, a disorder of thinking in which judgments do not follow the laws of logic... Large medical dictionary
- (from the Greek and not, logos reason) a train of thought that violates some laws and rules of logic and therefore always contains a logical error. If the mistake was made unintentionally, then we have a paralogism; if a mistake is made with specific purpose … Dictionary of Logic Terms
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- Carrot and stick. Principles of a wise leader (gift set of 2 books), . Stylishly designed gift set of 2 books in a designer binding with gold foil embossing, silk ribbon and a three-sided hand-hammered edge. Books are included in...
Alogism as an artistic device. Stylistic devices associated with the violation of logical connections. Based on the contrast of concepts being brought together, or the meaning of a word and intonation, or on a change in the usual view of things, or on illuminating compatible things as something contradictory. Poetic anti-logic. Associated with an attitude towards the grotesque, irony, comic or irrational.
Alogism as an artistic device. Modern poetic techniques. Part 3
This article discusses the group stylistic devices associated with violation of logical connections. They are based on the contrast of concepts being brought together, or on the contrast between the meaning of a word and the intonation with which it is pronounced, or on a change in the usual view of things, phenomena, events, or on the illumination of absolutely compatible things as something contradictory and opposite. Poetic anti-logic. Usually associated with an attitude towards the grotesque, ironic, comic or irrational.
Antiphrasis
Antiphrasis- the contrast of visible and hidden meaning, the use of a word or expression in literally the opposite sense. For example, for the effect of irony or sarcasm, a subtle mockery covered with external politeness: “Where are you getting your head from, smart one?” - when addressing Donkey (I. Krylov). Or, on the contrary, to express hidden admiration: “And he was so clever, he was as clever as a devil” (M. Lermontov).
I teased the teacher with a cobra...
Retribution has come in full -
Reasonable, eternal, kind
in my head hammered it in she!
(Sergey Kopin)
But I will ask my questions into the darkness,
So that truth in the fog gain.
In this case, the word itself does not change. Sometimes an additional, defining word is placed next to it, thanks to which the possibility of a new reading of the old word appears. Antiphrases is often used to exaggerate a situation, bring it to the point of absurdity and to identify - thanks to this - obvious, obvious absurdities to which people try to turn a blind eye:
Two fragments of a former union
With the same craving for poetry.
What should a captivating Muse do?
To be torn, apparently, in half.
The half-muse holds the half-lyre in high esteem.
But Pegasus was left alone.
Which one, friends, do you prefer?
From so different his half?
(Lyudmila Nekrasovskaya)
With the help of antiphrases, the author ironizes the deliberate ignorance of the Russian-language literature of Ukraine by the “nationally concerned” classics of Ukrainian literature. modern literature who pretend that the “other half” does not exist. In any case, they do not recognize her right to exist, declaring her complete professional unsuitability. The necessary effect is obtained through the use of the defining epithet “different” before the word “halves”. If you think logically, the halves cannot possibly be different precisely because they are two parts of a single whole.
Death is the passage of a familiar void
IN other vacancy space.
If you try to think about “other emptiness,” a contradiction immediately emerges: we are talking about emptiness, how can the latter be “other”? And if the author speaks of “other”, does it mean that death is not “emptiness of space”, emptiness, nothing? In fact, with the help of antiphrases, the attentive reader is gently encouraged to think about this deep and controversial issue.
Thus, antiphrase is not always irony and does not necessarily imply hidden superiority over the one whose eyes the speaker is flattering by putting the opposite meaning into his speech. Antiphrases may contain shades of completely different feelings: involuntary approval with a clear expression of dissatisfaction, contempt and anger when extolling someone’s actions, etc. But one thing is invariable for antiphrases - the words that are used always mean the complete opposite of what is said , even if the refutation is not clearly implied in the intonation with which they are pronounced.
Alogism
Alogism– violation of logical connections to deliberately emphasize the contradiction: “I loved you are stronger / than Arafat - Jews"," "The soul, like life, is accessible and simple, / imperishable, like shagreen leather"(Stanislav Minakov), "When there are hundreds poor cripple – / The only happy person"(Tatyana Kornienko). Alogism was used in folk poetry (“A village was driving past a peasant”), and in K. Chukovsky’s “Confusion.”
When you see something absurd:
That's a purple striped elephant,
That sun is Malevich’s square,
That's a round red cucumber,
Something strange happens to me:
Everything adult in me is ending,
And again childhood returns,
And the creator wakes up.
(Lyudmila Nekrasovskaya)
Rocking the plump fuselage,
I will buy, collecting all my profits,
Not just a fur coat sterlet fur,
But also shoes from lion scales!
(Sergey Kopin, “Wide Opportunities”)
At the entrance on every step
cheerful, jubilant infusion
syringes crunch underfoot.
(Ibid., “Let’s talk about light ...”)
In the last two cases, the successful use of alogisms even more clearly highlights the hidden sarcasm, even the grotesque, with the help of which the author depicts the modern nouveau riche, who are knee-deep in the sea, and the free rampant drug addiction.
Alogism in literature is understood as a violation not only of the logic of thinking, but also of the perception of existence, a distortion of the normal picture of the world, natural ideas about objects, phenomena, and the course of events.
Catachresis
Catachresis- a combination of contradictory, but not contrasting in nature, concepts and expressions for the purpose of greater effectiveness: burning rain, black flame, green noise, crimson ringing, tooth of time, sharp words. A phrase that is catachresis has figurative meaning, which is created on the principle of distant associations, and this meaning cannot be taken literally, because it, like alogism, is illogical.
The use of catachresis as an artistic device requires the author to have great tact and a developed sense of lexical compatibility, since catachresis can be like a speech blunder in the mechanical combination of tropes (“let sharks imperialism is not stretch out to us yours paws"), and a manifestation of high skill.
I touched the branches framed by foliage,
Infinitely green resinous wave.
The rain splashed barefoot on the asphalt roads
And left nature piercingly clean.
(Tatiana Gordienko)
It would seem that adverbs that are illogical in this context, in combination with epithets that are unusual for them, nevertheless enhance the effect of the images, shading and highlighting them in contrast: for example, color - and space (infinitely green), sound - and color (piercingly clear).
Catachresis in “But still, wandering in evil godless faith Stanislav Minakov’s “godless faith” contains the contradiction. In this case, this is not a contrasting concept, since the poem refers to agnosticism, i.e. the belief that there is no God, an internal conviction that does not require proof, an unwillingness to take any evidence into account. This is also faith, but of a special kind.
Catachresis should be distinguished from the related concept of oxymoron.
Oxymoron
Oxymoron(in A. Kvyatkovsky - oxymoron, in Wikipedia - oxymoron and oxymoron) - a combination of words that are contrasting (as opposed to catachresis) in meaning, creating together a new concept: lush wilting, elegantly naked, beautifully ill, the heat of cold numbers, etc.
Examples of oxymoron in poetry:
AND, illuminated by darkness, I called darkness light.
(Ivan Volosyuk)
« Indifferent malice the oncoming pupil will twitch", "through black light the branches are looking at us”, “in these moments, in eternal these instant eyelids", "and, with the sophisticated appearance of the big guy, nods", "and is proud boundless mind"(Stanislav Minakov), "we, who escaped as if from prison into the gloomy is our fun", "the soul touches something, in enlightening darkness will drown” (Evgeny Pugachev).
Sometimes an oxymoron is called an antiteton, but an antiteton, or syneresis, is a rhetorical figure that contrasts two thoughts without creating a contradiction. Contradictions do not arise if not the opposite qualities of one object are opposed, but the qualities of two different objects, and also if the second opposed phenomenon is a consequence of the first.
Defamiliarization
Defamiliarization(sometimes they write “alienation”) - a description of a person, object or phenomenon, as if seen for the first time from the outside with a fresh look and therefore seeming a little unusual, strange. This is an artistic method of description that takes what is being described out of the usual context of recognition and makes the familiar unlike, unrecognizable:
Suddenly break down inappropriately
and already on damp and soft
find a handful of crushed berries...
(Elena Morozova)
Thin papyrus of an autumn evening
someone huge gently rolls...
(Elena Buevich)
The clouds are rushing, the thunder is thundering,
in response - the sad creaking of trees.
As if from under willows
rushes to the ground someone ancient –
he laughs and roars,
and bends the grass downwards.
(Vasily Tolstoys)
When defamiliarizing, the object is replaced by its own characteristics (“damp and soft”), as if it had not yet been given a name, and the phenomenon is conveyed by a descriptive phrase (“someone huge”, "someone ancient").
When looking at the depicted reality from a new distance, a new perspective opens up, features appear that were previously invisible due to the fact that they have already become familiar.
During normal development society, science, art, new problems are solved according to an already developed algorithm. When changing eras, paradigms, public relations, methodological settings, people find themselves as if on another planet, they are surrounded by unfamiliar conditions, known objects lose their meaning and become attractively unusual. A crisis of evidence is coming. Scientific progress is driven by “crazy” ideas, and art reflects changes in life through a new way of looking at things, i.e. through defamiliarization. This is a shift in comprehension, and as an artistic technique, defamiliarization is justified, being a heightened perception, an attentive penetration into life. But in the poetry of the absurd, in postmodernism, defamiliarization no longer appears only as a poetic device, not as a means, but as content, and thus denies the very possibility of meaning.
The principle of destruction of logic becomes the basis of many artistic techniques of N. Gogol. For example, in the story “How Ivan Ivanovich Quarreled with Ivan Nikiforovich” in the description of Ivan Ivanovich Gogol “pretends” to give positive characteristics to his hero, while the reader understands the opposite: Gogol’s character is a completely mediocre person, with base interests, but a very high opinion of himself.
Alogisms in the speech of the narrator of the said story are manifested in the discrepancy between the premises and the conclusion: “Wonderful man Ivan Ivanovich! What a house he has!” - and in violation of the logical basis of comparison: “Ivan Ivanovich is somewhat fearful in nature. Ivan Nikiforovich, on the contrary, has trousers with such wide folds...”
In Gogol's tale, the technique of inconsistent grouping in enumeration is often used. This can be observed in “The Overcoat,” where the narrator tries to explain the origin of the main character’s surname: “The official’s surname was Bashmachkin. Already from the name itself it is clear that it once came from a shoe; but when, at what time and how it came from the shoe, none of this is known. “And father, and grandfather, and even brother-in-law, and all the completely Bashmachkins, walked in boots, changing the soles only three times a year.” In this passage, the comic effect is achieved through an inconsistent listing of the hero’s parents: after the words both father and grandfather the reader logically expects and great-grandfather, but the expected word is imperceptibly replaced by the author with brother-in-law, who falls out of the “all Bashmachkins” group.
In the story “The Overcoat,” Gogol endlessly strings subordinate clauses (temporary, conditional), constantly abandoning the main idea for minor details. The tension is completely unexpectedly and trivially discharged at the end of the sentence - this is a kind of syntactic illogic:
“Even in those hours // when the St. Petersburg gray sky completely extinguished and all the official people ate and dined as best they could, in accordance with the salary they received and their own whim, // - when everything had already rested after the departmental creaking of feathers, running around, their own and other people's necessary activities and everything that a restless person asks himself voluntarily, even more than is necessary, // - when officials rush to devote the remaining time to pleasure: whoever is smartest rushes to the theater; some on the street, assigning him to look at some hats; who for the evening - spend it in compliments to some pretty girl, the star of a small bureaucratic circle...; // or even when there is nothing to talk about. Retelling the eternal anecdote about the commandant, who was told that the tail of Falconet’s monument’s horse had been cut off, // in a word, even when everyone was trying to have fun, Akaki Akakievich did not indulge in any entertainment.”
Typical Gogolian techniques for creating a comic effect, which are based on alogism, can also be seen in the texts of the cycle “Evenings on a Farm near Dikanka”.
For example, discrepancy between cause and effect:“It was the Cossack Sverbyguz. This could no longer be hidden in a bag, because such a bag could not be found. He was heavier in body than his head and taller than Chubov's godfather. And so Solokha took him out into the garden to hear from him everything that he wanted to explain to her.”
Or inconsistency of premises and conclusions: Vakula explains to Oksana that he is going to drown himself “in a hole”: “Lost soul! - an old woman passing by muttered piously, “go and tell me how the blacksmith hanged himself.” Or: Patsyuk, despite his small stature, was quite heavy in width...
A striking feature of Gogol's style is illogical comparisons:“...Their hut was twice as old as the volost clerk’s trousers...”
Gogol's Nevsky Prospekt is also built on inconsistencies and illogicalities.
For example, illogicality at the level of syntactic construction:“Little by little, everyone joins their society, having completed quite important homework, such as: talking with their doctor about the weather and about a small pimple that has popped up on their nose, learning about the health of horses and their children, however, showing great talents...”
Alogism in “speaking names”: the names of two drunkards - Hoffmann and Schiller.
“Sitting in front of him was Schiller, not the same Schiller who wrote “William Thel” and “The History of the Thirty Years’ War,” but the famous Schiller, a tinsmith on Meshchanskaya Street. Standing next to Schiller was Hoffmann, not the writer Hoffmann, but a rather good shoemaker from Officers Street, a great friend of Schiller... These worthy artisans were drunk, like shoemakers.”
Alogism at the level of the figurative system is manifested in the fact that the “divine” beauty and “heavenly” eyes of the beautiful stranger sharply contradict the nature of her occupation. She represents, as it were, an arena of struggle between divine and devilish power: “... she was thrown with laughter into its abyss by some terrible will of a hellish spirit, eager to destroy the harmony of life.”
The behavior of the characters meeting on Nevsky Prospekt is unclear: “Creator! What strange characters one meets on Nevsky Prospekt! There are many such people who, having met you, will certainly look at your boots, and if you pass, they will turn back to look at your coattails. At first I thought that they were shoemakers, but, however, it didn’t happen at all: they mostly serve in different departments...”
IN " Dead souls", piling up a whole series of details, Gogol again resorts to the technique of alogism - an unexpected deviation, a violation of the logic of enumeration.
For example, in the description of the interiors:
U Manilova:“... in the living room there was beautiful furniture, covered with smart silk fabric... but there was not enough for two armchairs, and the armchairs were simply covered with matting.” Or: “...a very dandy candlestick made of dark bronze with three antique graces, with a dandy mother-of-pearl shield was served on the table, and next to it was placed some simple copper disabled person, lame, curled to one side and covered in fat...”.
U Boxes:“Not all of the paintings were birds: between them hung a portrait of Kutuzov and a painted oil paints some old man with red cuffs on his uniform, like they were sewn on under Pavel Petrovich.”
U Sobakevich:“Among the strong Greeks, it is unknown how and why Bagration, skinny, thin, with small banners and cannons below and in the narrowest frames, fit in.”
Alogisms often found in the speech of the heroes:
Nozdryov:“Here is the border!.. everything you see on this side is all mine, and even on the other side, all this forest that turns blue over there, and that’s all. What’s beyond the forest is all mine.”
Alogism in the author's words, where evidence of the significant merits of officials leads to the opposite conclusion. “Many were not without education: the chairman of the chamber knew Zhukovsky’s “Lyudmila” by heart, which was still difficult news back then, and masterfully read many passages, especially: “Boron fell asleep. The valley is sleeping,” and the word “chu!” so that it really seemed as if the valley was sleeping; for greater resemblance, he even closed his eyes at this time. The postmaster delved more deeply into philosophy and read very diligently, even at night, Jung’s “Nights” and Eckartshausen’s “Key to the Mysteries of Nature”, from which he made very long extracts, but what kind they were, no one knew... The others were also more or less enlightened people: some have read Karamzin, some have read Moskovskie Vedomosti, some have not even read anything at all.”
Or: “Soon Chichikov presented himself with a much more spacious field: a commission was formed to build some kind of government-owned very capital structure... We spent six years fiddling around the building; but the climate, perhaps, interfered, or the material was already like that, but the government building just couldn’t rise above the foundation. Meanwhile, in other parts of the city each member found himself with beautiful home civil architecture: apparently the soil was better there.”
In “Dead Souls,” the technique of discrepancy between premises and conclusions is often encountered - for example, in the scene of discussion of Chichikov’s strange behavior.
The uncertainty of color emphasizes the uncertainty of Manilov’s character.
1. Manilova’s room “was definitely not without its pleasantness: the walls were painted with some kind of blue paint, like gray.”
2. Conversation between two ladies:
“Dead souls...” said a pleasant lady in all respects.
- I'm sorry, what? – the guest picked up, all in excitement.
- Dead Souls!..
- Oh, speak, for God's sake!
“This was just made up as a cover, but the point is this: he wants to take away the governor’s daughter.”
This conclusion, of course, was in no way unexpected and in all respects unusual. The pleasant lady, having heard this, froze on the spot, turned pale as death and, as if, was seriously worried.”
Alogism is sometimes used as an attempt to justify less than perfect behavior. For example, in “The Inspector General” the assessor says about himself that “in childhood his mother hurt him, and since then she has been giving him some vodka.”
From numerous examples it is clear that alogism is a striking feature of Gogol’s style, one of the techniques for creating a comic effect.
LITERATURE
1. Azarova N.M. Text. Russian manual XIX literature century. Part I. M.: Century of Books, 2003.
2. Azarova N.M. Text. A manual on Russian literature of the 19th century. Part II. M.: Century of Books, 2003.
3. Gorshkov A.I. Russian literature: From word to literature: Textbook. manual for students in grades 10–11. general education institutions. 3rd ed. M.: Education, 1997.
4. “Russian Literature”, No. 1/2008. I.Koleva.“On the comic in the works of N.V. Gogol: traditions and innovation".
5. The most full course Russian language / N.V. Adamchik. Minsk: Kharsvet, 2007.
6. Encyclopedic Dictionary young philologist(linguistics) / Comp. M.V. Panov. M.: Pedagogy, 1984.
N.V. KARNIZOVA,
Elektrostal,
Moscow region
ALOGISM
alogue And zm
1) A train of thought that violates the laws and rules of logic.
2) A stylistic device that consists of deliberately breaking logical connections (usually with the aim of creating a comic effect).
3) Same as: illogic.
Efremova. Ephraim's explanatory dictionary. 2012
See also interpretations, synonyms, meanings of the word and what ALOGISM is in Russian in dictionaries, encyclopedias and reference books:
- ALOGISM in Medical terms:
(a- + Greek logismos reason, judgment) in psychiatry, a disorder of thinking in which judgments do not follow the laws... - ALOGISM in the Literary Encyclopedia:
as a literary technique - the introduction into literary speech of all kinds of logically meaningless moments, absurdities in literary speech, the destruction of logical and ... - ALOGISM in the Big Encyclopedic Dictionary:
(from a - negative prefix and Greek logismos - mind) 1) denial of logical thinking as a means of achieving truth; rationalism, mysticism, ... - ALOGISM in big Soviet encyclopedia, TSB:
(from the Greek a - negative particle and logismos - mind, reason), 1) in philosophy, a course of thought that ignores laws and rules ... - ALOGISM
[from ancient Greek a (negative particle) + logos reason] 1) illogicality, negation of logic; 2) logical break in speech, violation of logical... - ALOGISM in the Encyclopedic Dictionary:
a, m. 1. Illogicality, incompatibility with the requirements of logic. 2. philosopher In some intuitionist (see INTUITIVISM) theories: denial of logic as... - ALOGISM in the Big Russian Encyclopedic Dictionary:
ALOISM (from a - negative prefix and Greek logismos - mind), negation of logical. thinking as a means of achieving truth; irrationalism, mysticism, ... - ALOGISM in the Complete Accented Paradigm according to Zaliznyak:
alogs"zm, alogs"zma, alogs"zma, alogs"zmov, alogs"zmu, alogs"zm, alogs"zm, alogs"zma, alogs"zmom, alogs"zmami, alogs"zme, ... - ALOGISM in the Dictionary of Linguistic Terms:
(from Greek a- - not-, without- + logismos - reason, reasoning). 1) Something illogical, contrary to logic. 2) Stylistic device of intentional... - ALOGISM in the Popular Explanatory Encyclopedic Dictionary of the Russian Language:
-a, m. 1) In philosophy: a train of thought that ignores the laws and rules of logic that violate the agreement of thinking with reality. Reasoning full of illogicalities. ... - ALOGISM in the Thesaurus of Russian Business Vocabulary:
Syn: see... - ALOGISM in the New Dictionary of Foreign Words:
(gr.; si. illogical, illogical) 1) illogicality, incompatibility with the requirements of logic; 2) the denial of logic preached by reactionary bourgeois philosophy as... - ALOGISM in the Dictionary of Foreign Expressions:
[ 1. illogicality, incompatibility with the requirements of logic; 2. the denial of logic as a means preached by reactionary bourgeois philosophy scientific knowledge, opposition to logical... - ALOGISM in the Russian Language Thesaurus:
Syn: see... - ALOGISM in the Russian Synonyms dictionary:
Syn: see... - ALOGISM in the New Explanatory Dictionary of the Russian Language by Efremova:
m. 1) A train of thought that violates the laws and rules of logic. 2) A stylistic device that consists of deliberately breaking logical connections (usually with... - ALOGISM in Lopatin’s Dictionary of the Russian Language:
alogism, ... - ALOGISM full spelling dictionary Russian language:
illogic... - ALOGISM in the Spelling Dictionary:
alogism, ... - ALOGISM in Modern explanatory dictionary, TSB:
(from a - negative prefix and Greek logismos - mind), 1) denial of logical thinking as a means of achieving truth; rationalism, mysticism, ... - ALOGISM in Ushakov’s Explanatory Dictionary of the Russian Language:
allogism, m. (from Greek a - without and logismos - reasoning) (book). Something incompatible with logical thinking, contrary... - ALOGISM in the New Dictionary of the Russian Language by Efremova:
m. 1. A train of thought that violates the laws and rules of logic. 2. A stylistic device consisting of a deliberate violation of logical connections (usually with ... - ALOGISM in the Large Modern Explanatory Dictionary of the Russian Language:
m. 1. A train of thought that violates the laws and rules of logic. 2. A stylistic device consisting of a deliberate violation of logical connections (usually ...
