Pages: 389-393
Published: 30.11.2024
Abstract: The given article the significance of boundary words in Otia Ioseliani's language, characterized by expressive and artistic prose. The limiting word, similar to an adjective, serves as an artistic descriptor or epithet in prose, playing a significant role in the writer's language. The expressiveness of the writer’s language is, in part, determined by the expressive function of these delimiters. According to Koshoridze, 'the expressiveness of boundary words is primarily influenced by the choice of boundary and the way the writer aligns it with specifically selected elements' (Koshoridze, 2005: 151). The bordering syntactic features add a unique charm to the language in Otia Ioseliani’s writings. The writer employs both prepositional and postpositional arrangements of boundary elements, guided by stylistic needs that enhance the expressiveness of the text and serve as a foundation for imagery. Syntactically, definitions in Ioseliani's prose often function as delimiters. They are consistently dominant elements, and stylistically, their expressive power is profound, making them true gems within the language of his works. The author’s focus is on unexpected word combinations and the emotional weight of delimiters conveyed by abstract nouns. These abstract nouns typically correspond to specific nouns but are infused with artistic tone and heightened expressiveness. The striking word gains artistic value through a carefully chosen modifier, imbuing it with an element of surprise and added expressiveness. For instance, the word fear typically evokes a negative emotion in the reader; however, the writer pairs it with words that carry positive semantics, giving it a unique, expressive quality: 'This is both fear and not fear, beautiful fear, good fear' (Ioseliani, 2010: 277). Zvirti—typically associated with something large or immense—is paired by the writer with a diminutive adjective as a boundary descriptor, creating an unexpected effect: 'On every side, the cape will follow the eagles as molasses fragments' (Ioseliani, 2010: 279). Delimiters that personify inanimate objects add a unique expressive quality to the text, enhancing its emotional impact: 'It is a very sad day' (Ioseliani, 2010: 235). In Otia Ioseliani's prose, metaphorical language creates vivid and lifelike characters from a semantic perspective: "You will be covered by green, unruly branches, leaves, and sky" (Ioseliani, 2010, p. 10). "Ah, poor soul, a fair-skinned woman, "The drunk, slovenly boy" (Ioseliani, 2010, p. 263). The use of postpositional delimiters conveys a certain emotion and expression, highlighting the characteristics and personality of each character. "Buchulia, the one who 'ate at Christ’s feet,' would not rest" (Ioseliani, 2010, p. 263). "Buchulia hid on a tree that had fallen from God's mouth at the river's edge, watching from there as the girl joyfully carried her" (Ioseliani, 2010, p. 264). "You’re in good spirits now, Lukaya Kerketa" (Ioseliani, 2010, p. 203). “Kerketa -???????" describes someone who is lazy, idle, or aimless. "Buchulia Shechvenebuli worshiped openly" (Ioseliani, 2010, p. 265). „Shechvenebuli“ refers to someone or something that is "cursed," "bewitched," or "possessed. In the writer's language, various linguistic techniques are employed to create visual artistic forms that vividly represent the subject, incorporating both multi-word combinations and acoustic auditory effects. a) Two-part words: "High mountains, low floodplains; the foaming river stretches ahead" (Ioseliani, 2010, p. 182). "He has very loving eyes and long eyelashes" (Ioseliani, 2010, p. 185). b) Delimiter with two or more members: "How many field flowers have been here—white, red... luscious field flowers" (Ioseliani, 2010, p. 182). „A certain man, with a gray bag slung over his shoulder and a bushy beard, entered the yard” (Ioseliani, 2010, p. 241). c) Acoustic, auditory effects realized through various means: „And we hear how Yvliane breathes deeply. Comfort, endless comfort, the faint rustling of trees, the rare barking of a dog, the distant muted rumble of the mill, and somewhere in the thicket, the barely audible 'wee-wee' of a nightingale” (Ioseliani, 2010, p. 225). „The sound of his tiptoeing footsteps ceased” (Ioseliani, 2010, p. 213). It is noteworthy that Otia Ioseliani often employs color to convey emotion more effectively. The writer uses color to express the characteristics of objects. “The girl will have blue eyes; sea-colored, chestnut hair, and thin, pink lips” (Ioseliani, 2010, p. 224). There is great emotional weight in those descriptors that usually correspond to specific nouns, but they gain a poetic hue and become highly expressive when combined with abstract nouns: “Our life’s spring has arrived, and water has settled in the wood” (Ioseliani, 2010, p. 3). “Revenge is merciless, cold, and soulless” (Ioseliani, 2010, p. 3). In the writer’s language, attention is drawn to word combinations achieved through composition that serve as descriptors: “Even now, that wide-eyed, joyful, withered, thin woman is sitting and dozing with her eyes open” (Ioseliani, 2010, p. 15). “A woman with teeth gnashed to the bone, with a closed mouth, was scolding...” (Ioseliani, 2010, p. 5). Clearly, the use of such word combinations unequivocally points to the writer's individuality, creating a distinctive language and style that sets him apart from others. It is evident that the writer's word combinations and original descriptors are realized through various linguistic means, metaphorically conveying the spiritual and psychological states of the characters, expressing their external appearances and characteristics, and playing a significant role in shaping the writer's style.
Key words: Otia Ioseliani, Original Descriptors, Adjective, Expression, The Expressive Function of Borders.
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