Магистрант Шапочанская Е.А.

Региональный социально-инновационный университет

The principle of fractality as a cognitive reason «Bondiana» discourse generation

The discourse of "Bondiana" which is culturally specific product of the British culture for many decades has impact on the sphere of mass communication. Literary works about James Bond the character of the British writer Ya. Fleming (1908 - 1964), continue to be created and after death of the writer, i.e. synergetic replenishment of "Bondiana" proceeds; thus loses the importance as an authorship factor (works and scripts about James Bond written by different authors), and a factor of semiotics representation (along with written texts "Bondiana" is replenished with movies, posters, comics, etc.).

What is the reason of reproducibility of discourse “Bondiana”?

Until recently in cognitive sciences, and in particular linguistics, it wasn't made attempts to offer an explanation for similar synergetic reproduction of a discourse, it is obvious, for the reason, that there was no reliable linguistic method for data together and joint studying of various semiotics representations of the same or same message / contents. There is a need to analyze discourse as a self-organizing system in which there are certain mechanisms that promote the development of a self-similar sets of artistic worlds made in total texts operate. As theoretical justification of the reasons for the generation of serial and periodically renewable discourse what the discourse of "Bondiana" is perceived, we use the theory of fractality of a discourse and a method of the fractal analysis of discourse [Plotnikova, 2011].

For the last decades the concept of fractality lost status purely mathematical [Mandelbrot, 1982] and became a general scientific, having entered into conceptual and terminological apparatus of the general theory in general and synergetic systems, which include the natural language, in particular belongs. The concept "fractal" designates a way of representation of difficult systems. Fractal system consists of a self-similar parts, each of which in some ways similar to the whole; based education fractals is iterative feedback process [Feder, 1991; Tarasenko, 2009a; 2009b]. Now the concept of fractality is used in separate humanitarian disciplines: to fractal philosophy, logic and semiotics [Delez, 1995; Stepanov, 1998; Maturana, 2001; Svirsky, 2001; Tarasenko, 2009a; 2009b].

S.N.Plotnikova introduced the concept of fractal discourse develops her concept of a discursive space, which is defined as a certain logical environment in which certain discourses co-exist; a logical medium is meant an abstract length - a continuum [Plotnikova, 2008]. Need of the new theory locates that, "though the hypothesis of a spatial factor in language was already approved in linguistics: in researches of the last years even more often there are mentions of language, cognitive, discursive, communicative, genre, intertextuality space, space of speech interaction, an interaction, communication, etc., – the principle by which similar spaces are formed, isn't revealed" yet [Plotnikova, 2011, p.132]. According to the new theory of fractal discourse discursive space generated by the fractal principle - the principle of self-similarity, iteration and recursion filling the total space of discourse fractals. Fractal system exists within the space filled by it, the most stable supply of fractal systems have space and go to the multidimensional and infinity.

What cognitive structures are projected and duplicated by the principle of fractality, causing reproduction of a discourse of "Bondiana"? We will begin with that in the light of separation, diversity of semiotics representations of all set of works about James Bond the same type of the art world recreated in them becomes the only criterion uniting them. That is the concept of the art world forms is the basis of the scientific concept of "Bondiana" as a separate independent genre [Klyuchnikova, 2012].

Works by J. Fleming fully comply by reason of their artistic discourse, and to no other (in particular documentary; they in no way be attributed to the documentary discourse). Reference of Fleming's works for artistic discourse based on fact that in them there is not an image of any real people, and their representatives in the generalized artistic images – in full accordance with the scientific description of the act of art creativity which creation, to whom is creation of the art world. By type of art world, these worlds are partly realistic and partly fantastic as they are, on the one hand, to a large extent identical to the real world and are assigned many of his objects, the space-time coordinates, and social relations, but on the other hand , they also present a purely fantastic facilities and abnormal phenomena not peculiar to the real world. The worlds of "Bondiana" are the possible worlds, according to understanding of opportunity as alternatives of relevance (existence). The existing world (actual world) appears as the actualized at the moment, incarnate opportunity. And existing and non-existing worlds are conceived as possible in relation to each other, if they are included in one set / system worlds (comprise a set) [Lewis, 1986, p. 98].

Hermeneutic understanding of "Bondiana" as a separate genre proves this position. "Bondiana" is a system of possible worlds, as the concept "genre" assumes openness of genre space, the possibility of inclusion of more and more new same works. However, the existing concept of "structural formula" plot "Bondiana» [Eco, 1979] and "Bondiana" as a genre [Golitsyn, 2007; 2010; Chapman, 1999; Lindner, 2003; Comentale, 2005] can not offer an explanation of linguistic organization of all possible worlds "James Bond", in particular, the answer to the question depends on whether the future discursive representation of new worlds from the existing worlds, what are the parameters of the formation of linguistic worlds transformation opportunity into cash. The new method of fractal analysis of discourse allows, in our view, to fully disclose the specifics of discourse - representative "Bondiana".

General cognitive script "Bondiana" organizes itself as a living growing knowledge - that knowledge "live" as it pushes itself from itself the cognitive element that becomes the base for its creation and recreation - assistant James Bond. This reviewer is myrrh creating, as well as fractal as it forms the cognitive projection of the virtual and the updated demands of their new implementations in a set of worlds on the basis of cognitive mechanisms of fractal self-similarity, iteration and recursion. Linguistic marker fractal quantification is its central referent remains unchanged throughout the system worlds and cementing the system name of James Bond. The deployment of each of the world begins with the nomination of introduction of this character (Bond, James Bond, Secret Agent, 007, one of Double O's). Only reviewer James Bond interacts with all the other assistants and included in all reference subspace, thus combining them into a single referential space of the world. Each artistic world is not simply replicated the name James Bond, but his discourse is formed the same personal identity. Iteration name turns into a descriptive quantification of personal qualities; cognitive mechanism is to quantify the similarity of the properties of the character and related referents in different worlds, and the observed similarity of communicative roles. Such a manifestation of the same type of individuals-representatives in total possible worlds - the same type of a set of properties and relationships - forms a "world line" of the individual through the possible worlds [Tselishev, 1977].

The general possibility of all Bonds – drawing between Bonds in the different worlds of the uniform world line reducing these worlds in system is set conceptually – conceptual signs of a uniform concept of "James Bond". As the concept of "James Bond" is formed in an art discourse, and "all art perceptions have character of concepts" [Askoldov, 1997, p.268], it is an art concept. The art concept is a combination of feelings, emotions, sometimes even strong-willed representations [Askoldov, 1997, p. 274]. That is why the formation of this concept is a process of conceptualization or reflection, the reader / viewer of cognitive essence of each artistic world of "Bondiana". If you start to analyze the concept of «James Bond» with the meaning of the name James and tokens bond, it stands out the most profound etymological indication «Britishness». Name James puts this conceptual nomination, because it is one of the most traditional, going back centuries English names [SSLI, 2005]. Consequently, the name James suggests "Britishness": belonging to British culture. With regard to component Bond, the bond - it is what connects two or more people or groups (something that unites two or more people or groups, such as a shared feeling or interest) [LDELC, 1998]: in fact, Bond's central mirosozidayuschy Assistant provides interconnection of all assistants, organizing the reference space of the world: British Secret Service - Allis- Enemies - Girls; bond - is an agreement or promise, having the force of law (a written agreement or promise with the force of law) [CODEE, 2003; LDELC, 1998]; that restricts the freedom to do what you want (something that limits your freedom and prevents you from doing what you want) [LDCE, 2001]: Bond as a secret agent in the service of Her Majesty, fulfilling duty to the country, defending its freedom and providing protection from the enemy, forced to abandon the deep feelings and the possibility to have a family. Through semantic analysis of the word bond conceptual indication «Britishness» concept «James Bond» is complemented by conceptual signs «Representative of a Social Institution» and «Defender of Public Interests». The concept of «James Bond» basic attitude connected inference (inference) to the concept of «Superman». "Superman" is the special metaconcept which is a hyperonym for a certain set of universal concepts, uniform for a sphere of concepts of all supermen, and a number of the specific concepts representing special essence of this or that superman [Klyuchnikova, 2010].

Complete structure of the complex concept of «James Bond = Superman» includes the following features: 1) «Britishness»; 2) «Representative of a Social Institution»; 3)«Defender of Public Interests»; 4) «Physical Superstrength»; 5) «Psychic Superstrength»; 6) «Masculinity»; 7) «Winner». In this kind of concept «James Bond» does not develop more in their differences, but has a different amount of empirical when, under a concept summed up more and more assistants / agents, the new Bond, acting in their own worlds. Throughout the set of currently existing worlds "James Bond" general possibility of Bonds set fractal - iteration signs concept «James Bond», to the knowledge of the essence of which he directed numerous semiotic implementation. There is a replication of this basic concept in different referents / constituent entities, in different "bodies" and because fractal sense precedes the existence of the character, he does not respond to our efforts iz replace view it - in all the worlds, he is an individual, semiotically one to construct of the same qualities. Not only the central referent, but all the other reviewers are replicated in the worlds of "James Bond". Linguistically iteration and project assistants of peace in the world is carried out with the aid of rigid designation, the same proper names and their substitutes (James Bond, M, Q, S, Monneypenny, Number Two etc.), and through language alternatives , svo- sary to single categories: (Le Chiffre, Mr. Big, Sir Hugo Drax ... = Enemy; Vesper Lynd, Solitaire, Gala Brand ... = Girl; Matis, Felix Leiter, John Strangways ... = Ally). The ability to introduce a single nomination Abolishing language alternatives confirms the conceptual identity of these assistants. During the deployment, the worlds going on cognitive process of conversion of specific characters in a single conceptually character.

So, in "Bondiana" nonlinear fractality will organize (crowding) worlds, not specified on time, transgressing within the logical space, as distinguishes it from the linear fractal organizing the worlds in their serial sequence order in time.

BIBLIOGRAPHY

1. Askoldov, S. A. Kontcept and word/ М. : Academia, 1997. – C. 267–279.

2. Plotnikova, S. N. Fraktality of a discourse as new linguistic concept / S. N. Plotnikova //NEEDLE bulletin. Philology. – 2011. – No. 3. – Page 126-134.

3. Lewis, D. On the Plurality of Worlds [Text] D. Lewis. – Oxford : Basil Blackwell, 1986. – 276 p.