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ABSTRACT
The article is devoted to the study of the correlation of extraordinary stylistic figures in Russian and English: oxymoron
and catachresis. In modern linguistics, the communicative function of language and speech has become a very
important problem. Because of this, stylistic methods and figures are increasingly popular among modern linguists.
Many different works are devoted to oxymoron and catachresis, which indicates the interest of researchers in these
phenomena. Oxymoron is referred to different stylistic categories as paradox, irony and catachresis. Some
researchers also believe that oxymoron is one of the varieties of paradox.
A great number of researchers think that catachresis and oxymoron are very similar in terms of structure and
semantics. Indeed, some even attribute the oxymoron to catachresis. Although the former is based on a combination
of contrasting words, the latter is based on a combination of words of distant concepts. The article will attempt to
find similar and distinctive features of the two figures of speech.
KEYWORDS
Oxymoron, catachresis, trope, figure of speech, contradiction.
INTRODUCTION
Research Article
PARAMETERS OF THE CORRELATION BETWEEN OXYMORON AND
CATACHRESIS IN RUSSIAN AND ENGLISH
Submission Date:
June 05, 2023,
Accepted Date:
June 10, 2023,
Published Date:
June 15, 2023
Crossref doi:
https://doi.org/10.37547/ajps/Volume03Issue06-08
Ayupova Guloyim Bakhtiyorjon Kizi
Ph.D. Student, EFL Instructor of The Department of Practice of The English Language, Andijan State Institute of
Foreign Languages, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ajps
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
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Many works consider oxymoron as a stylistic figure of
speech, which is produced by combining two
contrasting words. For example, cheerfully depressed,
merry sadness, cold fire. Not a few writers give their
preference to this particular figure. For example,
Shakespeare's "Romeo and Juliet" is full of colorful
oxymorons of various kinds. “Loving hate. Anything of
nothing first create.” With these lines, the writer
means `to hate someone and love at the same time`.
Traditionally, an oxymoron implies a stylistic
phenomenon based on a combination of two lexical
units that contradict each other. According to
Professor Flayih, an oxymoron is a figure of speech in
which opposite or contradictory words, terms, phrases
or ideas work together to create a rhetorical effect in a
paradoxical way. For example, “despairing hope,
tender cruelty, glad mourning and sad joy” (Flayih,
2009).
Oxymoron consists of words of opposite meanings in
various parts of speech, including both heterogeneous
(“remember forgetting that” (Clara
Barton)) and
single-
root words (“faith unfaithful” (Alfred, Lord
Tennyson)), as well as associative opposite words (“Of
melancholy merriment.” (Lord Byron)). This feature
distinguishes oxymoron from the usual antonymic
figures and the stylistic figure of contradiction in
particular. The presence of antonyms in a contrasting
opposition is not always necessary, and the words
involved in this opposition are not necessarily
antonyms (Glukhikh, 1995).
Based on this, we can say that oxymoron is not just an
antonymous pair of words, but a special stylistic device
that combines opposite concepts and creates a new,
dialectically complex concept. Unlike antithesis,
oxymoron creates something new and maintains a
logical connection between its components. In
addition, an oxymoron is a cultural and psychological
phenomenon that overcomes a real contradiction
through language, causing a momentary shock in the
mind, which is accustomed to clichés and ordinary
language constructions [Kagarlitsky, 1990]. In this
sense, an oxymoron acts as a way to change our vision
of the world and to have an exciting effect on the
reader or listener. Moreover, the connection of
oxymoron with such concepts as paradox, irony,
contrast, absurdity is quite natural.
However, the question arises about the logic and
paradoxical nature of the oxymoron. According to the
literary encyclopedia, oxymoron is a type of paradox.
R. Lachmann interprets oxymoron as something
identical and opposite to itself, combining two
mutually exclusive definitions [Lakhman, 1997].
However, the analysis shows that the illogicality and
paradoxical nature of the oxymoron is conditional and
ephemeral.
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In fact, an oxymoron expresses the complex essence
of a single whole, denoted not by opposite
components. The formal and logical-semantic dual
unity and at the same time the integrity of the
oxymoron make it an extraordinary and individual
stylistic device. An oxymoron is always catchy and non-
standard, bringing a completely new perspective on
phenomena to the presented world and scale.
Akhmanova defines catachresis as an “incorrect” use
of a word or expression, “... which incorrectly explains
the intended meaning...” (Akhmanova, 2001):
"The new CEO's strategy of leading from behind was
met with skepticism by the board of directors." (Kim, &
Mauborgne, 2005). This example refers to setting a
strategy without being responsible for making
decisions.
There are different interpretations of catachresis. It
usually refers to stylistic devices, also called tropes or
figures of speech. Catachresis, like many other figures,
suffers from chaos in the terminology of stylistics. This
disorder manifests itself in different terms used to
denote the same technique, or, conversely, in a single
term to denote different techniques. For researchers
and readers of dictionaries, this presents great
difficulties when several different speech phenomena
belong to the same category of classification.
(Skovorodnikov, 2004).
To include catachresis as a stylistic (rhetorical) figure,
we have used definitions from several sources. They
emphasize the figurative aspect of this rhetorical
figure. According to the authors, catachresis is used to
denote an idea that does not have its own word, so the
word takes on a figurative meaning. "Catachresis is a
figure of speech that is often considered a mistake, but
in fact it is a deliberate and effective device used by
skilled writers to achieve specific rhetorical effects."
(Morgan, 2016)
The basic concepts of linguistic stylistics are "stylistic
device", "syntactic figure" and "tropes". Many
researchers have noted that it is necessary to clearly
distinguish between these concepts, and even
attempted to make such a distinction. Let's summarize
the characteristics of an oxymoron and analyze them
in order to determine the general and distinctive
features of this stylistic figure of speech compared to
catachresis.
LITERATURE REVIEW
As mentioned above, oxymoron and catachresis have
been of interest among many researchers for quite
some time.
The greatest number of affecting works was found in
dissertations and monographs of Russian researchers,
such as G. Kopnin, and F. Artyomova, N. Pavlovich, E. T.
Bochina, V. Ovsyannikov. Leading researchers G.
Kuregyan, E. Shestakova L. Tatanova touch upon
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oxymoron,
emphasizing
the
linguo-stylistic
interpretation and the antonymic correlation of this
topic with other stylistic means. Also, E. Atayeva and G.
Kuregyan devoted the topic to structural and semantic
classification. All works are inherently different from
each other and carry useful discoveries of the author.
The work carried out by the Uzbek linguist V.
Kamoliddinova, based on methodological and
semantic features, also developed this topic deeper.
Oxymoron and catachresis were also mentioned in the
works of foreign researchers such as R. Gibbs and L.
Kearney, D. Leach, K. Krippendorf, J. Shen, M. Flyich.
The works of foreign writers focus more on linguo-
stylistic interpretation and structural classification.
MATERIAL AND RESEARCH METHODS
The article will use a number of methods of linguistic
analysis, including the traditional descriptive method,
the method of contextual analysis, the comparative
method, the method of conceptual integration and
cultural analysis in order to study oxymoron and
catachresis. These methods will be used to gain a full
understanding of the complexities of oxymoron and
catachresis of their meaning. By combining these
methods, the article aims to provide a multifaceted and
in-depth analysis of stylistic figures.
There are two understandings of oxymoron: traditional
(narrow) and wide. In the traditional sense, an
oxymoron is a combination of words expressing
opposite and contradictory concepts, based on the use
of antonyms proper. Some scholars view the
oxymoron as a figure, others as a trope. At present, the
problem of distinguishing between a path and a figure
has not been fully resolved. In the Dictionary of Literary
Terms, edited by L.I. Timofeev and S.V. Turaev, an
oxymoron is described as an artistic trope that creates
a new semantic quality, combining definitions and
concepts that are opposite in meaning (Timofeeva;
Turaeva, 1974).
It is important to use an oxymoron with full
understanding. This will help to better understand the
nature of the original images that contradict each
other, as well as determine the place and meaning of
the oxymoron among other stylistic figures and tropes.
The definition of an oxymoron as “a stylistic figure that
combines not only two contrasting, but also
contradictory
semantic
wo
rds
...”
(Stylistic
Encyclopedic Dictionary of the RY, 2003) is the most
common. The principle of a hidden ornament is used in
an oxymoron, where one of its elements leads to
another, and pairing and symmetry are mandatory
features. This refers to the semantic or even syntactic
ornament, and not to the sound.
Let us dwell in more detail on the meaning of
oxymoron, which is associated with opposites.
Opposites intertwined within the framework of an
oxymoron cannot exist separately from each other,
otherwise the contrast of the figure will be lost. They
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not only mirror each other, but are strongly connected
to each other. One image is hidden inside another.
Between them there is a "sliding" value that moves
between both poles - positive and negative. As R.
Lachmann said, this doubled figure, or double-figure, is
characterized by aggressiveness and a connecting
point that connects two phenomena that are directly
opposite to each other (Lachmann, 1997).
A significant difference between catachresis and
oxymoron is that an oxymoron is built on the use of
opposing units, while catachresis consists of words
that do not combine.
Combinations of words that contradict each other are
not considered errors in the language, but are an
opportunity to reveal the hidden possibilities of
language forms. Such phrases as “grimly gay”,
“honour rooted in dishonor”, “faith unfaithful”,
“falsely true” do not violate the logical connection
between words, since they reflect the real relationship
between objects and their features and are used as
units of secondary nomination.
The logical-semantic law of disjunction regulates the
understanding of attributive oxymoron combinations,
where one of the contradictory features is subject to
the combined semantics of the combinations,
restoring its logical balance (Shishkina, 1991). An
oxymoron is similar to an epithet in its linguistic nature,
paying attention to certain features of what is being
described and expressing the subjective attitude of the
author. But unlike the epithet, which concretizes the
signs of an object or phenomenon, an oxymoron also
opens up contradictions in objective reality. Oxymoron
continues to be a separate stylistic device, being an
attributive phrase.
Both figures, catachresis and oxymoron, are based on
the stylistic technique of combining incompatible
concepts, which allows expressing some aspects of the
depicted subject. When forming a catachresis figure,
the opposite sides of the object are combined in one
phrase, and when using an oxymoron, the illogical or
antonymic characteristic of one aspect of the object
hits the eye, due to which both components of the
figure become connected and mutually related as the
main component and dependent components,
respectively. For example, in the case of the phrase
"magnificent catastrophe", the combination of words
connects opposite concepts, which makes it an
example of an oxymoron. Also, an oxymoron can
include objectively existing characteristics and serve
for their subjective assessment. As Khazagerov notes,
an oxymoron is a complex figure of speech, consisting
of the main and auxiliary parts, which are connected by
subordination relations (Khazagerov, 1984). The main
part of the figure compares two concepts, covering
both similarities and differences, and the auxiliary part
indicates contrasting features and is externally
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connected with the main part, although it conflicts
with it.
An oxymoron consists of words of opposite meanings
in various parts of speech, including both
heterogeneous (“remember forgetting that” (Clara
Barton)) and single-
root words (“faith unfaithful”
(Alfred, Lord Tennyson)), as well as associative
opposite words (“Of melancholy fun.” (Lord Byron)).
This feature distinguishes the oxymoron from the usual
antonymic figures and the stylistic figure of
contradiction in particular. The presence of antonyms
in a contrasting opposition is not always necessary, and
the words involved in this opposition are not
necessarily antonyms.
Based on this, we can say that an oxymoron is not just
an antonymous pair of words, but a special stylistic
device that combines opposite concepts and creates a
new, dialectically complex concept. Unlike antithesis,
oxymoron creates something new and maintains a
logical connection between its components. In
addition, an oxymoron is a cultural and psychological
phenomenon that overcomes a real contradiction
through language, causing a momentary shock in the
mind, which is accustomed to clichés and ordinary
language constructions. In this sense, an oxymoron
acts as a way to change our vision of the world and to
have an exciting effect on the reader or listener.
Moreover, the connection of oxymoron with such
concepts as paradox, irony, contrast, absurdity is quite
natural.
An oxymoron, like many stylistic figures, has many
meanings, which are usually grouped together. The
significance of the oxymoron syntagma depends on
the context, and the opposition in the context plays a
major role in the normative perception of this group of
combinations (Pavlovich, 1982). The context fixes the
presence of the effect of incompatibility of semantic
features and contains a description of the conditions
under which it can be eliminated.
We are dealing with an oxymoron form, which is a
formal expression of an oxymoron, but its semantics
does not imply opposition and interaction of
opposites, which does not give a new reflection of the
phenomenon (Shestakova, 1994).
When analyzing oxymorons, it is necessary to take into
account the broad context and emotional and
expressive mood of the poem. The oxymoronic form is
close to irony, metaphor, euphemism and allegory, and
the appearance of the oxymoronic form is due to the
same reasons as the proximity of oxymorons to irony,
i.e. the desire to use a phenomenon that causes a need,
but does not violate a predetermined being.
As for catachresis, the meaning conveyed by
catachresis depends on the personal perception of the
reader and can be understood without any context.
"The heavy silence pressed down on us like a weight".
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Silence is neither heavy nor light. This example of
catachresis is similar to an oxymoron in that the
components of the phrase "heavy silence" are
incompatible, at the same time there is no contrast in
the combination of words, which distinguishes
catachresis from an oxymoron.
Catachresis, in turn, is interpreted in different ways.
Some call it a trope, a figure of speech, or a kind of
metaphor. "Chatachresis is an extreme form of
metaphor which uses an analogy that is so far-fetched
and stretched that its literal meaning is totally
distorted" (Harris, 2014). "She swam through the
treacle of life" - This metaphorical expression is a
catachresis, as life cannot literally be like treacle (a type
of syrup). "The ambition to corporatize environmental
activism has led to a form of greenwashing that
obscures the true nature of environmental problems."
In this example, "greenwashing" is used as a
catachresis to describe the act of environmental hiding
problems under a guise of corporate social
responsibility.
Quintilian was the first to note the importance of
distinguishing between catachresis and metaphor,
since where there was no name at all, catachresis is
applicable, and metaphor replaces one name with
another. Catachresis fills in gaps in the dictionary using
new meanings for old words. Some consider
catachresis an abuse, but it can become a linguistic
metaphor that is habitually used in speech. Metaphor,
on the other hand, transfers meaning from the named
to the named, and catachresis if from the named to the
completely devoid of a name (Freindberg, 1996).
Metaphors can wear off and become new meanings
for old words, as their repeated use can create a
catachresis. For example, the word "legs" in the
expression "table legs" became the new meaning of
the word "legs" as it was reused and worn out over
time. However, some scholars see the use of obsolete
metaphors as a sign of poor language and irrelevance,
as it can lead to stylistic sloppiness. In addition, some
scholars consider the use of obsolete metaphors to be
comical and a vice of language (Molino 1979; Bally 1961;
Gvozdev 1955).
We use M. Riffater's definition of a stylistic context,
according to which it is a segment of a literary text
disturbed by an element that is unexpected for a given
context and creates a stylistic effect (Riffaterre, 1960).
Riffater defines stylistic context through properties
such as inseparability from a stylistic device, the ability
to become the norm for other devices, and variability.
He distinguishes between micro and macro contexts,
which depend on the external or internal attitude to
the stylistic device. Macro context can enhance or
weaken the stylistic effect.
"Good night, good night! parting is such sweet sorrow,
/ That I shall say good night till it be morrow"
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This oxymoron combines two opposite concepts -
"sweetness" and "sadness". In the context of the play,
Romeo and Juliet love each other, but their love is
impossible due to the feud between their families.
Before parting, they talk about their love and how hard
it will be for them to part. Romeo says: "Good night,
good night! parting is such sweet sorrow, / That I shall
say good night till it be morrow" morning will not
come."
In this context, "sweet sorrow" reflects the conflicting
feelings of love and sadness that Romeo and Juliet
experience when they part. The oxymoron enhances
this contrast between the two concepts and helps to
convey the complexity and contradictory feelings of
the characters in the play.
Oxymoronic expressions always have a justification in
the context or are explained further in the text. The
task of the context is to facilitate the perception of
unusual constructions, such as oxymorons, by
combining them with actions and design. The context
creates an emotional-semantic background that helps
the reader understand the appearance of unusual
expressions. The context also determines exactly
which meanings are combined in an oxymoron and
which alternatives are used in a given text.
RESULTS
In the light of above-mentioned catachresis and
oxymoron have a similar feature - the union of lexemes
that at first glance seem to be incompatible in
meaning. However, the difference between them lies
in the fact that catachresis does not contrast, and
oxymoron contrasts the compared phenomena.
Word combinations that make up statements usually
play the role of characterizing elements, often acting
as a predicate.
The context plays a decisive role in revealing the
semantics of an oxymoron, including its emotional-
evaluative aspect, while the meaning of catachresis
often depends on the reader's personal experience
and the associations evoked.
The commonality of oxymoron and catachresis is
expressed in the fact that they are both aimed at
depicting unusualness and exclusivity, combining in
the text what is incompatible in life.
Features of combinations of oxymorons, which are
characterized by incompatibility of components in
terms of the level of lexical semantics, determine their
stylistic meaning and possible applications in the text,
which convey the information invested by the author
in such a stylistic device and cause a psychological
reaction in the reader. An oxymoron is often used in
poetry to describe human feelings, as it allows one to
express the complexity and inconsistency of these
states (Schuplyakova, 1995). The main function of an
oxymoron is to convey the author's assessment or
attitude towards the described object. He vividly and
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briefly expresses the unusual or exceptional state of a
person or ironically evaluates the events described,
while creating a semantic-stylistic focus of the depicted
image. The use of an oxymoron allows us to present
the described object from a new and unusual side, and
its multi-layeredness additionally expresses the
author's consciousness. They are necessary to create
emotional depth and include elements of dialogue in a
one-dimensional world (Shestakova, 1994).
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№2.
-P. 207-218.
LIST OF LITERARY FICTION BOOKS
•
Barton, C. (n.d.). Remember forgetting that.
[Quote]. Retrieved from
https://www.brainyquote.com/quotes/clara_barto
n_133779
•
Tennyson, A. L. (n.d.). Faith unfaithful. [Quote].
Retrieved from
https://www.brainyquote.com/quotes/alfred_lord
_tennyson_386556
•
Byron, G. G. (n.d.). Of melancholy merriment.
[Quote]. Retrieved from
https://www.brainyquote.com/quotes/lord_byron
_132870
•
Harris, M. C. Hermeneutics: An Introduction. Wipf
and Stock Publishers, 2014
•
Milton, J. Paradise Lost. Samuel Simmons, 1667
•
Shakespeare, W. Othello. Thomas Creede for
Richard Hawkins, 1603
•
Kim, W. C., & Mauborgne, R. Blue ocean strategy:
How to create uncontested market space and
make the competition irrelevant. Harvard Business
Review Press, 2005
•
William Sh. Romeo and Juliet, Act 2, Scene 2, Lines
184-185.
