Implicit meanings of the discourse of fiction: linguistic-and-stylistic analysis of the story by I.A. Bunin “The murderess”

The theme of the work is the mechanisms of implicit meanings verbalization in fiction. The aim is to analyze stylistic convergence in the story of I.A. Bunin “The murderess” as an explication of subtext. The main methods are the following: denotative, chronotopic, stylistic, narrative, conceptual analysis. The main results identify stylistic mechanisms that provide an appropriate interpretation of the literary text. It is revealed that the stylistic convergence includes colorative gradation, parcelling, semantic-syntactic verbalization of perceptual concept, semantic-stylistic actualization of the “golden section”, conceptual antonymy, semantic sound images. Implicit meanings are identified in the narrative development: stylistic techniques and mechanisms of implicit artistic meanings verbalization are distinguished in each macrosituation. The term “method” traditionally refers to the conscious using of stylistic means by the author; the term “mechanism” is understood as a synergistic process of organizing the text space as a result of interpretative operations. The described techniques and mechanisms add to the repertoire of artistic stylistics. The means of fiction temporality are nominated; the vertical chronotope in macrosituations is modelled. The special feature of Bunin’s storycomposition is “the effect of eversion”: it transfers the semantic emphasis from the criminal action to the assessment of this action. The analysis confirms ecphrasticityand visualization of the image of an icon of the phenomenon within the analyzed story. The main oppositions power / people is distinguished in the conceptual field. The role of stylistic device in the synergetic organization of the text is shown. The main conclusion is drawn that the implicitness, ambiguity and “multi-focus” of the author’s assessment as a feature of Bunin’s idiostyle is realized through the mechanism of stylistic convergence.