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The meaning of the word allusion in the Great Soviet Encyclopedia, bse. allusions

In creating works, Russian and Western classics used various means and techniques. At the beginning of the last century, a tendency towards symbolism and allegory began to appear in world literature. Such features are not only present in modern prose, but are today the subject of close study of literary critics. Artistic figures, which researchers paid special attention to in the 20th century, were allusions. What it is? What are they needed for? And what forms can allusions take?

Origin of the term

More recently, literary theorists have formulated a definition of allusion. What kind of phenomenon this is, few people thought about before, and not because the masters of the artistic word did not use it. Examples of allusion are already found in the poetry of the Middle Ages. Rather, the fact is that until the beginning of the last century, literary criticism did not develop so actively.

In modern philology, this term is used to refer to one of the stylistic devices. Translated from Latin, it means "to hint." Allusion is an artistic image that the author borrows from biblical stories, ancient or medieval mythology, or from the works of other writers. The purpose of such borrowing is to draw a parallel between one's own literary creation and a well-known work already created before it. Thus, it can be said that the author, using an already existing image, “hints” at his resemblance to the hero, plot or idea of his novel, short story or short story.

Types of allusion

With the help of such stylistic devices, the author can refer not only to a well-known literary work, but also to some historical fact. Various elements from biblical or mythical stories can play the role of allusion. What kind of artistic phenomenon it is, it is impossible to answer within the framework of one article. This topic is devoted to the works of many literary researchers, each of which offers its own interpretation and classification. To get a general idea of allusion, one should give several examples from the literature and classify them according to the main feature, namely, the source from which it can be borrowed. So, such artistic images can be:

mythological;
biblical;
historical;
literary;
philosophical and aesthetic.

Allusions are used to form a plot, reveal the image of the hero or the idea of the author. They can be in the title of the work or in its ending. They can also take a medial position.

"In the first circle"

The allusion in the novel by Alexander Solzhenitsyn is in the title of the work. In his "Divine Comedy", Dante Alighieri formed a strict structure of the afterlife, dividing it into nine circles. The sinful soul, according to the plot of the poem by the Italian author, ends up in one of them. But each of the circles corresponds to the severity of the offenses committed during life. The first contains the most harmless sinners, whose guilt is very doubtful: unbaptized babies, virtuous, but unbaptized people. In Solzhenitsyn's novel, Dante's first circle is taken as an allusion. What kind of allegorical device it is and what function it performs can be understood by remembering the words of the author: “The most expensive thing in the world is to realize that you are not participating in injustice.” The heroes of the Russian writer are punished, suffer, like the inhabitants of the first circle of the Italian philosopher, innocently and are victims of a huge terrible system.

Shakespearean allusions

Elements borrowed from the work of William Shakespeare are actively used in the works of contemporary authors, primarily English-speaking ones. One of these allusions is the image of the black prince from the novel. The plot of this work is a prehistory to the legend of the Prince of Denmark.

The English writer draws a parallel between the heroes of his novel The Collector and Shakespeare's characters from the tragedy The Tempest. Both in the first and in the second case, the symbols occupy a medial position.

As for the works of Russian classical literature, a vivid example of the allusion to images from the work of the English playwright is Leskov's story "Lady Macbeth of the Mtsensk District."

Other artistic allusions

The choice of the source of allusions depends on the time in which the author lives, on his ideas. In the novel "The Master and Margarita" there are allegories everywhere, subtle allusions to biblical images and plots. Bulgakov's work gives rise to many questions and mysteries. But the references of the author of the cult work of the 20th century to Goethe's Faust are obvious. The name of the main character is the main allusion. Bulgakov devoted the main storyline to love and the theme of fleeting happiness, which is also an interesting subject for critics due to the abundance of images of the German poet in it.

Reminiscence is a more general concept. The use of various images and elements from the known can take various forms. The stylistic device to which this article is devoted implies the most unambiguous reading.

Allusion and reminiscence in the general sense are almost synonymous. Great characters and plots may have already been created. Modern authors can only rethink them and transfer them to our time. And it is worth saying that similar ones are used not only in literature, but also in cinema. An example from Soviet cinema is the film "Children of Don Quixote". The protagonist of this film does good without expecting a reward. He gives himself to work with all his heart, not paying attention to ridicule. His actions may seem insane to ordinary people. But these madnesses are noble. And this is the similarity of the movie hero with the character of Cervantes.

ALLUSION

(from Latin allusio - a joke, a hint), in fiction, oratory and colloquial speech, one of the stylistic figures: a hint at a real political, historical or literary fact, which is supposed to be well known. As a hint, winged words and expressions are often used (for example, "the glory of Herostratus", "cross the Rubicon", "came, saw, conquered", "Demyanov's ear").

Great Soviet Encyclopedia, TSB. 2012

What is allusion

The trend towards symbolism in literature especially began to manifest itself in the last century, despite the fact that this is an ancient technique for composing a text. With the growth of popularity, this aspect began to gain the attractiveness of the study for researchers of the figures and methods of literature.

When borrowing elements of another text that are a reference to the source text, it becomes possible to give the described situation or person a certain sign that will serve as a code or a means for understanding certain characteristics. This is a very handy technique in cases where the author does not have the opportunity to openly express his ideas, or when explaining the necessary nature will take an excessive amount of resources.

Allusion, what is it? This technique, as a form of intertextuality, is sometimes mistakenly confused with a quotation. In the case of a quotation, we get an exact reproduction of the text, while an allusion is the borrowing of a certain part of the text that does not represent an integral component, due to which the necessary reference is recognized in the final text. The quote gives us information directly and openly, and to understand the allusion, certain knowledge and effort are required. The purpose of this application is to draw analogies between the newly created work and those already existing before.

Examples of allusion are various popular expressions (“I came, I saw, I conquered”, “the great strategist”).

A fairly close concept to allusion is reminiscence, applicable mainly in a psychological or comparative historical context. Reminiscence denotes the unconscious, referring the reader to something previously read or heard by the author. This quote is not enclosed in quotation marks, not on purpose. It is quite difficult to draw a clear distinction between allusion and reminiscence, since concepts are often defined with the help of each other, but the main distinguishing quality is the consciousness of the included reference text.

The allusion technique is used in psycho-correction and serves as a way of reorienting a person in the necessary, initially set direction. Since the use of this technique does not speak directly about the person, his defense mechanisms of resistance recede, and the reaction is involuntary, coming from the unconscious. Often found in diaries and memoirs, which makes it possible for the author to tell a calm story, at the same time, the reader can easily guess the characters and places of events.

Understanding this device can be difficult, since these are only allusions to something other than what seems to be the main theme of the story. Accordingly, when a person has not read the work to which the reference is made, is not familiar with the story or person referred to in the allusion, he is not able to understand the hint or simply skips it, dismissing it.

For the reader or listener to actualize the presence and meaning of allusion in their own perception, the following components are necessary:

Marker recognition (i.e. noticing the allusion itself, when it is heavily disguised, the whole meaning of the statement may be lost),

Text (i.e. deciphering which source the author refers to, if not widely known material is used, there is also a chance that the hint will be understood by a very small percentage of readers),

Modification of the original meaning of the text, based on those new semantic loads that the allusion introduced.

Types of allusions

The meaning of the word allusion includes high information content, which allows you to get acquainted with the directly discussed information, as well as with the author's personal attitude to events or characters. They have certain differences regarding the semantic load of their application. With the help of this literary technique, the author can make a reference not only to any work, but to a person, a historical period, a mythical plot. There are several types of allusions, depending on their semantics and the source from where they take their root.

Literary allusions are aimed at shortening the narrative text, reminding the reader of what is happening, adding depth and emotionality.

Examples of allusion in literature are "his nose does not grow like Pinocchio's", "she acted like Scrooge".

Biblical and mythological techniques that use reference to religious texts. Examples of allusion using the Bible are “good Samaritan”, “she turned the other cheek”, etc. They are the most emotionally filled, they are used to give the characters a certain characteristic.

Historical allusions are aimed at indicating certain historical facts, figures. The most precise and specific, easy to understand but least emotionally charged, they convey meaningful information.

Proper names (common names of animals, birds, geographical names, works of art, names of gods).

There are several other ways to classify this phenomenon, for example, that it can be used in a direct context or be veiled, constructed as a riddle. Allusions also differ in context and common knowledge. The first are accessible and understood by people living in a certain era or revolving in a certain circle; the second is public. According to its structure, it can be expressed in a word, several words, or even a whole verbal construct.

In order for the stylistic device to be correctly interpreted, and generally noticed and understood, the author and the reader must have unifying themes and knowledge. Often, techniques with references to another ethnic group greatly complicate the understanding of the text and the work of the translator. The one who perceives the text, when interacting with allusions, may have diverse associative series. In order for the one that the author wanted to convey to be chosen from all the options, precedent knowledge and ideas (folklore, national and world classical literature, texts of major religions) are needed that will be common to the community to which this text is addressed.

It is difficult to overestimate the influence of stylistic devices when creating subtext in a text; they also perform a number of functions:

Characterizing or evaluative (used to detail the image, by comparing the hero with other well-known objects or characters, in order to convey these qualities to him);

Text-structuring (introduction of additional information and fastening of the general text of the work).

Speaker of the Medical and Psychological Center "PsychoMed"

Types of literary allusions

The most popular form of literary intertextuality is the introduction of some texts into another in a fragmentary form. Such "inclusions" and "references" to previous literary facts are usually called allusions and reminiscences. These forms of intertextuality are the most developed. The boundary between allusion and reminiscence is difficult to establish.

Following the previous traditions of literary criticism, N.G. Vladimirova defined allusion as “a stylistic figure, an allusion to a well-known literary or historical fact, a rhetorical figure.” Reminiscence, in her opinion, is a recollection of an artistic image, a work or borrowing by the author (often unconscious) of an artistic image or any elements of an “alien” work by N.G. Vladimirov. Convention that creates the world. V.Novgorod, 2001. P.144.. V.E.Khalizev calls reminiscences “images of literature in literature” and considers quotation, accurate or inaccurate, to be the most common form of reminiscences. Reminiscences, in his opinion, can either be included in the work consciously and purposefully, or arise independently of the will of the author, involuntarily (“literary recollection”) Khalizev V.E. Theory of Literature. M., 1999. S.253. N.A. Fateeva believes that allusion can often turn into reminiscence, and vice versa. Following the concept of J. Genette, who defines allusion and quotation as equivalent categories of intertextuality, the researcher focuses on these forms. Fateeva defines a quotation as "the reproduction of two or more components of the donor's text with its own predication." Allusion is the borrowing of certain elements of the pretext, by which they are recognized in the recipient text, where their predication is carried out. An allusion differs from a quote in that “the borrowing of elements occurs selectively, and the whole statement or line of the donor text, correlated with the new text, is present in the latter, as it were, “behind the text”, only implicitly.” Those. in the case of citation, the author mainly exploits reconstructive intertextuality, registering the commonality of “his” and “foreign” texts, and in the case of allusion, constructive intertextuality comes first, the purpose of which is to organize the borrowed elements in such a way that they turn out to be the cohesion nodes of the semantic-compositional structure of the new text Fateeva N.A. Counterpoint of intertextuality, or Intertext in the world of texts. M., 2000. S.122-129..

This study does not draw a clear line between quotation, allusion and reminiscence, since the researchers have not come to a consensus on the distinction between these phenomena. Based on the above statements about the existence of "direct" (quoted) and "indirect" (indirect) allusions, we designate the three intertextual inclusions listed above as allusive.

Many researchers have made attempts to systematize the types and functions of allusions and allusive inclusions.

M.D. Tukhareli offers the following classification of allusions according to their semantics:

1. Proper names - anthroponyms. The same group includes: zoonyms often found in a work of art - the names of animals, birds; toponyms - geographical names; cosmonyms - names of stars, planets; ktematonyms - names of historical events, holidays, works of art, etc.; theonyms - names of gods, demons, mythological characters, etc.

2. Biblical, mythological, literary, historical and other realities.

3. Echoes of quotations, popular sayings, contamination, reminiscences.

From the point of view of structure, an allusion can be represented by a word, a combination of words, and larger verbal formations in terms of volume and construction. M. D. Tukhareli singles out allusions - superphrasal units, allusions - paragraphs, allusions - stanzas, allusions - prose stanzas, allusions - chapters, and finally, allusions - works of art by Tukhareli M.D. Allusion in the system of a literary work: Abstract of the thesis. dis. cand. philol. Sciences. - Tbilisi, 1984. - 18s. As for the last variety of allusion, A. Mamaeva calls it architectonic. Such an allusion is represented by a whole work of art, repeating the arrangement of parts and features of another work of art. But only one example of this kind of allusion has been found in world literature - "Ullis" by D. Joyce, duplicating Homer's "Odyssey".

In our opinion, the most complete classification is proposed in the work of D. Dyurishin Dyurishin D. Theory of Comparative Study of Literature. M., 1979. 397 p. "an appeal to a certain artistic device, motive, idea, and the like, mainly by the luminaries of world literature." Allusion is distinguished by "a momentary urge to associate with some component of the original source." Among the most popular allusions, Dyurishin considers direct and veiled citation of the source. Quotation allusions constitute an essential variety of the "non-author's" word. According to Dyurishin, this is “the simplest type of literary connection” [Diryushin D., 1979. 340]. Quotation allusions aimed at the "convex joy of recognition" can be both implicit and explicit. The purest form of direct quotation can be considered quotations with exact attribution and identical reproduction of the sample.

In the novel by D. Fowles "The Magician" there is a direct quotation of the poem by T.S. Eliot: "One of them marked a page on which someone circled in red ink a quatrain from the poem "Little Gidding":

We will wander the thought

And at the end of wanderings we will come

Where we came from

And we will see our land for the first time.

(Translated by A. Sergeev)

... I immediately realized that the owner of the villa was the same collaborator with whom Mitford had quarreled; but before that he seemed to me a kind of cunning, quick-witted Greek Laval, and not a man of the level of culture that allows you to read - or receive guests who read - Eliot and Auden in the original.

In this case, the poetic allusive inclusion is clearly distinguished in the prose text and has increased recognition, since along with the quotation, the name of the cited work and the name of its author are mentioned. The quote from Eliot is an allusion to the future rebirth of the protagonist of the novel. Thus, by appealing to a similar motif of a well-known author, the writer enhances the sound of his own. The Magus also repeatedly quotes Shakespeare's The Tempest. This is due to the allusive impersonation of the heroes of the novel with the characters of this tragicomedy. O. Huxley also refers to The Tempest. The hero of Brave New World speaks in Shakespearean quotations, contrasting the natural (Shakespeare) with the artificial (utopian civilization), the natural with the domination of technocracy.

An implicit quotation allusion does not give a direct indication of the author or work. Often we are talking about quoting fragments of well-known works, so that the association with the pretext "is implied by itself." An example of the simplest form of addressing Shakespeare is a quotation, behind which the authorship is unmistakably guessed. Such an example is given by Howard Brenton's play "Hitler Dances", which grew out of actors' improvisation on a given theme. Gradually, improvisation takes shape in the story of a girl who decides to go to the front to avenge the death of her beloved. When the heroine arrives at the recruiting station, a raid begins. Her future mentor, Captain Potter, is locked in a dark room, drinking, trembling with fear. To the knock of the heroine on the door, he answers somewhat out of place: “Knock! Knock!" It is precisely the fact that - out of place, indicates the citation nature of the answer. These are the words of the Gatekeeper from Macbeth, probably known to any English schoolboy. As in the original, this cue serves as a means of retardation of the action. In Brenton, this retardation is achieved through the reader's recognition of the words of Shakespeare's hero, which allows expanding the playing field and playful context of his play. It also enhances the general comic nature of the episode of Korenev M.M. The Artistic World of Shakespeare and Modern English Drama // English Literature

tour of the twentieth century and the legacy of Shakespeare. M., 1997. S.23-24..

Thus, “a conscious citation or allusion is such an inclusion of an element of a “foreign” text into “one’s own”, which should modify the semantics of the latter due to associations associated with the source text, but if such changes are not found, most likely, we are dealing with unconscious borrowing. Between the heroes of literary works, peculiar "quote" dialogues often arise. The intertextual link acts as the primary means of communication, the appeal of one character to another. The exchange of intertexts during communication, the elucidation of the ability of communicants to adequately recognize them and guess the intention behind them allows us to establish the commonality of cultural memory and aesthetic preferences. An example of such "allusive-quoting" communication is presented in A. Murdoch's novel "The Black Prince". In the course of a conversation with the daughter of his friend Arnold Baffin, writer Bradley Pearson, who is in love with her, tries to praise her father's books: “There is a great love of life in his things, and he knows how to build a story. To be able to construct a plot is also an art.” Julian calls his father's work "dead". Pearson jokingly rebukes her with a quote from King Lear: "So young and so callous at heart!" This is followed by an answer from the same work, moreover, from the same dialogue: "So young, my lord, and straightforward." Thus, the girl makes it clear that she has caught the communication code, identified the quoted quote and is well acquainted with the source. "Quotation" here serves as a way of marking a quote. An unattributed allusive inclusion is recognized and its meaning is expanded beyond the defined style.

A paraphrased quote has increased recognition and sharpens the moment of the game in the text. So, in Fowles' "Ebony Tower", David Williams, characterizing Anna's blunt frankness and artlessness, says: "Blessed are the poor in taste" Fowles D. Ebony Tower. Kyiv, 2000. P.166.. The paraphrase of one of the gospel commandments: “Blessed are the poor in spirit…” accentuates the recognition of the intertextual element just as well as a direct quotation.

Some literary texts become so popular that they turn into real "pantry quotes". On the example of Shakespeare's "Hamlet", this phenomenon is vividly characterized by the character of the novel "The Black Prince" Bradley Pearson: "Hamlet" is the most widely known work of world literature. The tillers of India, the lumberjacks of Australia, the pastoralists of Argentina, the Norwegian sailors, the Americans - all the darkest and wildest representatives of the human race have heard of Hamlet. ... From what other work of literature did so many places enter the proverbs? ... "Hamlet" is a monument of words, the most rhetorical work of Shakespeare, his longest play, the most intricate invention of his mind. See how easily, with what unconstrained transparent grace, he lays the foundation of all modern English prose. Indeed, many quotes, let's take, for example, the famous "to be or not to be" have become aphorisms over time. As a result, “popularized” quotations, separated from the general text, become like stereotyped speech metaphors and become elements of mass culture.

In order to eliminate the “fading” of well-known pretexts, writers use the technique of their “defamiliarization”. One such technique is the use of allusion in the form of a paraphrase. It is of a more general nature and less "recognizable" by the reader, who is unfamiliar with the full range of literary associations evoked by the original source. Thus, Fowles' novel The Magus is riddled with paraphrases of Shakespeare's works. "We are all actors and actresses," Lilia says to Nicholas, in a vaguely reminiscent of Shakespeare's "The whole world is a theater." In the "theatrical" context of the novel's events, the author makes us understand with the heroine's remark that everything that happens is just a game, and this game should not be taken seriously. An allusive allegory always goes through the path of "deciphering", as a result of which projections on the texts of predecessors are restored.

Subsequently, the "new" criticism developed a kind of intertextual approach in which the text is included in a dialogue not only with literature, but also with various types of art and culture. This phenomenon was called "syncretic intertextuality" and "intermediality", which is understood as "intertextual relations between verbal and visual arts" Arnold I.V. Problems of intertextuality // Bulletin of St. Petersburg University. - 1992.p.132.. Such inclusions began to be called pictorial allusions. They are characterized by references to the creations of various types of art, both real (numerous pictorial reminiscences in D. Fowles' novels "The Collector", "Magician", "Ebony Tower"), and a fictional writer ("Doctor Faustus" T. Mann, at length " painting" picturesque and musical creations, "Collector" with "invented" paintings by artist George Paston). The last type of reference to non-existent works of art and literature has been designated by scholars as pseudo-intertextuality. W. Goebel and G. Plett noticed that pseudo-intertextual allusions are distinguished by an increased conventionality, an emphatically playful character. It should be noted that such a "game" with the reader is an advanced method of postmodern discourse.

The connections that exist between the characters of various works of art are one of the most interesting and little-studied aspects of intertextuality. The introduction of the names of previously created characters, the allusive impersonation of "their own" heroes with "strangers" are deliberately used by writers as references to other texts. This type of intertextual connection can be designated as interfigural allusions, using the term of the German scientist W. Muller "interfiguration" Muller W. Interfigurality. A Study of Interdependence of Literary Figures // Intertextuality, Berlin and New

York, 1991. P.176-194.. According to the researcher, the complete or partial identity of the names of characters in various works of art is always an interfigurative element (except for cases of unconscious borrowing). The scientist also claims that, like a quotation, the name of a famous literary character turns out to be a “foreign” element, “embedded” in its text, and, like a quotation, a borrowed name is often doomed to transform not only the form, but also the content. For example, in T. Stoppard's play, the secondary characters of Hamlet Rosencrantz and Guildenstern become the central figures of the action. The author gives their names a modern touch, shortening them to the familiar "Roses" and "Gil". Barbara Garson's political satire MacBeth! was adapted from Shakespeare's Macbeth. ("MacBird!"): The name Duncan is transformed into O "Dunk, which is a hint of the Irish roots of the Kennedy family.

Another form of interfigurative transformation is the contextual adaptation of the names of characters in foreign-language works. So, Don Juan Tenorio is "anglicized" in "Man and Superman" by B. Shaw. The result of this transformation is the name John Tanner. The "encoded" interfigurative allusion requires deciphering and is aimed at a competent readership. The unchanged name of a well-known literary character is most recognizable in the context of a "new" work. It carries a certain semantic load, is a receptacle for certain qualities, or "this" (R. Barth), one way or another characterizing the "new" character. Thus, in The Name of the Rose by Umberto Eco, the figures of the protagonists William of Baskerville and Adso are based on the images of Sherlock Holmes and Dr. Watson. But if the “detective in a monastic cassock” is betrayed by his “Conandoy” surname, then in the case of Adso we are faced with an allusive personification, as well as a language game with a pretext: “Adso - Watson”. Sometimes the characters themselves choose their "prototype", often determined by the circle of their reading. Miranda from "The Collector" Fowles is not accidentally named after Shakespeare's heroine. However, reading the novels of Jane Austen, the girl often personifies herself with their heroines, rather than with the image of her namesake from The Tempest.

Allusions are deeply significant in the literature of different countries and eras. Such forms of allusiveness as myth, texts of canonical religions, masterpieces of world literature, have acquired a number of specific features in the modern literary process that distinguish them from their original forms. Using classical images and plots, the artist expresses the ideals and moods of his era.

§1.3 Functions of allusions

As part of a work of art, allusion has great potential for creating subtext. This technique gives the author the opportunity to convey a large amount of information in a concise form, express his attitude to the characters or events, lead the reader to a certain thought Evseev A.S. Fundamentals of the theory of allusion. (In mat. Russian language): Abstract of the thesis. dis. …cand. philol. Sciences / A.S. Evseev. - M., 1990. - 18 p. Allusion performs the following functions:

Estimated and characterizing;

“…Aunt Alexandra would have been analogous to Mount Everest: throughout my early life, she was cold and there” (Harper Lee, “To Kill a Mockingbird”).

As you know, Everest is the highest mountain in the world, located in the Himalayas. Such a comparison of a character with a mountain cannot do without additional decoding, since this allusion can cause a lot of different associations, which will be individual for each reader. It gives rise to images of greatness, strength, superiority, on the one hand, and inaccessibility, mystery, on the other. In this context, such aspects of this toponym as coldness and eternity of existence stand out.

occasional;

The use of references to historical facts and personalities recreates the spirit of the era in which the action of the work unfolded. Suffice it to recall the well-known novel by Margaret Mitchell "Gone with the Wind", where the action takes place against the backdrop of the American Civil War in 1861-1865. The work contains many names of generals, battles and other realities associated with this historical event.

Text structuring;

The text is a sign-thematic formation: a certain topic is disclosed in the text, which unites all its parts into an informational unity.

The intertextual connection carried out by the allusion belongs to the form of associative cohesion, since it helps to hold the work of art together and at the same time introduces additional information from the outside.

§1.4 Mechanism of action of allusions

The process of updating the allusion by the reader includes several stages:

1. Marker recognition. If the allusion is disguised or minor (it does not appear in quotes, has an attractive non-allusive interpretation, and so on), the reader may not realize that it is present. Some writers may use the allusion technique to satisfy some readers who enjoy the process of recognizing allusions. However, this raises the risk that the allusion may be lost and the true meaning, although plausible, is weak, i.e. the reader may lose a lot. The writer can only hope that the reader will recognize the allusion later, or that only a certain circle of readers will understand it;

2. Identification of the readable text. At present, there is no set list of books required for everyone - the circle of readers is wider, the Bible is less popular and there are many more books. Modern authors are more fond of alluding to dark, very personal, short-lived or even non-existent texts. Deciphering many allusions is sometimes impossible without footnotes and author's explanations;

3. Modification of the original interpretation of part of the text. At this stage, there is a change in the initial understanding of the text containing the allusion;

4. Activation of readable text. While reading the text, the reader fixes what he read in short-term memory. The activation of each idea activates the ideas adjacent to it. In this way, activation propagates through the entire memory structure, determining what should be added and moved out of the interpretation of the text. This process continues until further activation of adjacent assumptions changes the assumption of the whole interpreted text.

allusion

and. A stylistic device that consists in using an allusion to a real well-known, political, historical or literary fact.

Encyclopedic Dictionary, 1998

allusion

ALLUSION (from Lat. allusio - a joke, a hint) a stylistic figure, a hint through a similar-sounding word or mention of a well-known real fact, historical event, literary work ("Gerostratus's glory" - cf. Herostratus).

allusion

(from Latin allusio - joke, hint), in fiction, oratory and colloquial speech, one of the stylistic figures: a hint at a real political, historical or literary fact, which is supposed to be well known. As a hint, winged words and expressions are often used (for example, “the glory of Herostratus”, “cross the Rubicon”, “came, saw, conquered”, “Demyanov's ear”).

Wikipedia

allusion

allusion("hint, joke") - a stylistic figure containing an indication, analogy or allusion to some literary, historical, mythological or political fact, fixed in textual culture or in colloquial speech. The material in the formulation of an analogy or a hint that forms an allusion is often a well-known historical statement or some catchphrase. Biblical stories can also be used. For example, the title of the film "V. Davydov and Goliath" refers to the well-known biblical story about David and Goliath.

In other cases, titles of earlier works may be used. For example, Dr. James Tiptree, Jr. made her debut in science fiction literature with the short story "Birth of a Salesman" (1968), in the title of which an allusion is visible, referring the reader to the title of the play "Death of a Salesman" (1949) by American playwright Arthur Miller, and in the title of the series " Always say "always" - an allusion to the James Bond film Never Say Never.

Unlike reminiscence, it is more often used as a rhetorical figure that requires an unambiguous understanding and reading. Often there are difficulties with the use of the term allusion, namely with the choice of control. On the one hand, the definition of allusion as hint prompts the writer with a preposition on. On the other hand, the allusion reference assumes that the preposition will be used To .

Examples of the use of the word allusion in the literature.

biblical allusion the fall of Adam and Eve, who were tempted by Satan in the form of a snake.

BMS EARTHMAN'S BURDEN, THE GREAT MISSION OF HUMANITY - terms used to justify the expansion of mankind, the first - allusion to the wording of R.

I HAVE ENTERED INTO INTERMEDIATE RELATIONSHIPS - allusion to an anecdote: the translator leads a delegation around the plant and they ask him - what is the master talking about with the student?

Very important specific allusion is contained in an appeal to Queen Anne, when the poetess says that her early years were illuminated by the favor of the great Elizabeth.

Obviously, Smirnov was not aware allusion John Florio on the literary work of Rutland in the dedication of an Italian-English dictionary to him, Johnson's words in a letter to Elizabeth Rutland that her husband loved the art of poetry, not to mention many other facts.

interesting and allusion that Sidney's family had income from publications.

mourning allusion to John Salisbury, who died in the summer of 1612, allowed me to determine the true date of the book's appearance, and through it to identify the prototypes of the Dove and the Phoenix - an extraordinary couple of Rutlands who left this world at the same time as Salisbury.

However, at the same time, they threw out a very important comma from the text, which disappears allusion defining the meaning of the poem.

Description of the Lyapis-Trubetskoy scams in the editorial offices of departmental journals and the quote cited by Persitsky - allusion to the story of V.

Oxfordians have to assume that the plays that appeared after this time were created before 1604, but were published later, although they contain allusions the events of 1605-1610 are definitely spoken against such an assumption.

Numerous allusions show that the author of this additional epilogue poem describes the Belvoir castle of the Rutlands and mourns the absence of its mistress, Elizabeth Sidney-Ratland, who wrote the earlier addresses to the queen and the most noble ladies - her friends, and the poem itself about the passion of Christ, which gave the title to the book.

Political allusions were largely eliminated during the preparation of the magazine version, and some parodies were also removed.

In detail these parodies, as well as some political allusions, discussed in the comments.

The principles of commenting are traditional: first of all, realities, quotations and reminiscences, literary and political allusions, parodies, specific events, one way or another connected with the episodes of the novel, textologically significant discrepancies.

Many countrymen and friends of the authors of the novel published in this journal, in particular - Kataev, allusions whose stories are found in the future.

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