Deviations of phraseological units in individually-author’s picture of the world

The paper is focused on idioms of English language in individually-author’s picture of the world in the novels of British writer of postmodern literature Jasper Fforde. Language world picture reflects and interprets reality by way of language means and phraseological units take an important place among them. Author’s consciousness is inevitably connected with individually -author’s picture of the world. Individually-author’s picture of the world is a fragment of language world picture in the light of author’s outlook, worldview and percept ion of the world. The goal and the specific tasks of the article. The aim of the article is to identify types of phraseological variation in postmodernist discourse of Jasper Fforde’s novels. We’re going to use terms phraseological unit (PU), idiom or idiomatic expression defining them like most linguists do: polylexemic expression whose meaning cannot be deduced from the meaning of its parts. Statement regarding the basic material of the research and the justification of the results obtained. Recent years has seen rising interest in postmodernist literature, fiction of Postmodern in particular as a kind of contemporary fiction. Fiction in the 21st century, it might be argued, exists at a time when everything has already been said, written, invented, discussed, destroyed and reconstructed again – in the aftermath of modernism and the subsequent reconsideration of its experiments within postmodernism. Interest in the how (the telling, the process of narration), rather than the what (the story itself), is one of the general symptoms of this era [2]. Newness was the leading value of literary modernism, whereas postmodern literature obsessively revisits and rereads its own past. Narrative self-consciousness has always been a feature of the novel, but it has become more so in contemporary literature. This could either be a reflection of a wider cultural self-consciousness which can be pointed to in film, architecture, fashion and the TV game show or it could be a more specific response to developments in the theory of language and literature which make it more difficult to write a novel that does not reflect on its own role in the construction of reality [4]. English works of Postmodern are rhizomatous texts that have no center and are nonlinear form of postmodernist writings, nonlinear model of literature that destroys any hierarchy and order. Genre models of such works create special conditions for various versions of text reading. Rejecting early specified direction of reading, in particular, facilitates overcoming of contradictions between linearity of writing and nonlinearity of thinking [1]. Jasper Fforde, as British novelis t writing in the field of postmodern literature characterized by heavy reliance on techniques like fragmentation, paradox, and questionable narrators, with the novels which we here dealt with The Eyre Affair (2002), Lost in a Good Book (2003), The Well of Lost Plots (2004),Something Rotten (2005), First Among Sequels (2007), One of Our Thursdays is Missing (2011), The Woman Who Died a Lot (2012) represent symbiosis of alternative history and comic fantasy. As an author of postmodernist literature J. Fforde employs two basic plot devices. One is the “Alternative Universe” scenario. The other is that the world of fiction and the real world (“outland”) run into each other. Idioms are pervasive in all styles of language use. That is why one might assert that in literature of postmodernist period which is characterized by its originality as well as in novels of such imaginative postmodernist author as J. Fforde idioms might appear not only in dictionary forms but deviate from them considerably. Linguists notice that there are hardly any types of variation of an idiomatic expression, which would not be feasible given an appropriate context [3]. For purposes of analysis it is essential not only to have a clear idea of the concept of the phraseological unit (PU) or idiom (we use both terms) as a separate entity, but also to establish terms for denoting various types of form of the PU and to reflect their meaning and function. A. Naciscione proposes the term the base form in the English language to indicate the form of the PU to which other forms of the PU can be related and with which they can be compared [7]. In practice, the base form is the dictionary form and meaning, recorded as the head phrase. In its base form the PU is a static out-ofcontext formation which does not depend on discourse. Syntactically the base form never exceeds the boundaries of one sentence. Some PUs constitute a full sentence, including compound or complex sentences, but they never go beyond the limits of a sentence in their base form or core use. In text, PUs often appear in their standard form and meaning. A. Naciscione introduces the term core use to denote the basic, most common, essential form and meaning which is the in36 Science and Education a New Dimension. Philology, V(41), Issue: 145, 2017 www.seanewdim.com