Features of verbalization of the creolized text of the magazine "Der Spiegel"

Dolgopolova Liliya Anatol'evna ORCID: 0000-0003-1327-2454 Doctor of Philology Professor, Department of Linguistics and Intercultural Communication, Crimean Engineering and Pedagogical University named after Fevzi Yakubov 295044, Russia, Republic of Crimea, Simferopol, Bastionnaya str., 41, of. -- lilian2000@mail.ru Other publications by this author

Mustafaeva Alie Hairedinovna Senior Lecturer; Department of Linguistics and Intercultural Communication; Crimean Engineering and Pedagogical University named after Fevzi Yakubov 8 Uchebny Lane, Simferopol, Republic of Crimea, 295015, Russia alie_mail@mail.ru

Introduction

The dynamic development of mass media, which occurred in the second half of the twentieth century, contributed to the emergence of a new linguistic field, called media linguistics. The language of mass media becomes its object, and for its research the developments of pragmatics, theory of speech communication, journalism, political linguistics, psycholinguistics, linguoculturology and other sciences are involved.

Today, media linguistics has its own terminology and research methods. At the same time, the emergence of a new type of media text, namely, electronic, gives a new impetus to the study of the prospects for the evolution of the language of mass media. In this regard, the problem of the formation and development of media texts in specific languages is becoming particularly relevant. The analysis of historical changes helps to identify trends in the development of forms and linguistic means and the role of the media text, as well as to identify the prospects for its development.

The purpose of this article is to establish the features of the verbalization of the magazine's announcement.

Methodology

The theoretical basis for interpreting the verbalization of a creolized text was the work of Russian linguists E. E. Anisimova and O. A. Blinova, as well as the work of T. G. Matulevich et al.

The practical part of the study is based on the material of the first issues of the German magazine Der Spiegel (1946-1948) ^[8]. There are 110 rooms in total.

Research and results

The title page or cover of a magazine plays an important role in attracting the attention of potential readers. The publisher, as a rule, is faced with the task, on the one hand, of creating his own unique "face" of the magazine, on the other hand, of meeting the needs of the modern reader. The creation of the cover involves the conscientious participation of specialists of various profiles – a designer, graphic artist, photographer, journalist, etc., since it is the cover that most reflects the concept of the publication and attracts "potential readers with its colorfulness and demonstration of the content of the issue" ^{[4, p. 32]}.

Despite the fact that the reader's acquaintance with the magazine begins with the cover, interest in it as an object of scientific research was formed relatively recently – at the turn of the twentieth and twenty-first centuries, which, in turn, manifests itself in the controversial nature of the choice of the appropriate term. Today, the cover is most often considered as a multimodal ^[3] or creolized text ^{[5; 6]}. Its peculiarity is manifested in the involvement of verbal and non-verbal means for its creation ^{[7, p.180]}.

At the same time, the ratio of verbal and non-verbal means may be different. Depending on the role of verbal means of signature, E. E. Anisimova identifies three main groups of texts:

- creolized texts consisting of an image and a caption (or a series of images and captions under them);

- creolized texts that do not include signatures.;

-creolized texts consisting of a verbal (main) text, an image and a signature (or a series of images and captions under them) ^{[2, pp. 65-67]}.

On the cover of modern English-language magazines, the image can dominate, while the text element is not given close up, but is "postponed" in time and space" ^{[3, p. 15]}, which served as the basis for O. A. Blinova to identify an additional group of creolized texts.

Der Spiegel magazine positions itself as an information and political magazine with the largest circulation in Germany and Europe. Its first issue was published on November 16, 1946 under the name "Diese Woche", the concept of which largely corresponded to the English-language magazine "Time". With the name "Diese Woche" 6 issues were published, and from January 1947 the magazine began to be published as "Der Spiegel" ^[1].

The tradition of the cover design, dominated by three colors: red, black (dark) and white, was already established in 1946. On the front page of the magazine there is a photograph or image that occupies the main area of the cover. The name of the journal and its output are at the top. The location of the verbalized signature text announcing the current topic of the magazine has changed over time. During the period under review, the signature was at the bottom and had the following design features: first, the main text was presented in capital letters, and on the next line there was an explanation / clarification in the form of an auxiliary text and a reference to the heading where the announced information was placed, for example.:

MIT DEM HUT IN DER HAND –

wird man ein befreites Land. Österreichs Gesandter Dr. Kleinwächter vor dem Weissen Haus (sieh „Ausland“) (1/47).

According to E. E. Anisimova's classification, such a creolized text rather belongs to the third type, where the signature "acts as an auxiliary, but particularly functionally capacious component of the text, "responsible for identifying the image and linking it to the main text" ^{[2, p. 67]}.

Thus, the main semantic load on the cover of Der Spiegel 1946-1948 is carried by the image, since it occupies a central position, since according to the canons of media text layout, the most important information is located at the top and in the center. All issues of the magazine of that period contain exclusively photographs of people who are more or less involved in the announced article. This format of the cover remains unchanged in 1946-1948.

A preliminary analysis shows that the main text primarily performs a nominative function. At the same time, it can be focused on 1) the content of the image itself, 2) the content of the photograph and the main verbal text, 3) the content of the main text ^{[2, pp. 67-68]}.

Let's look at some of the features of their implementation.

1) text focused on the content of the photo. This type is quite rare in the journals we are considering. In this case, a photo can be used-a story or a staged photo reflecting the content of the announced article.

The creolized text with the photo and the title text is presented on the cover of the 3/46 magazine.:

FRAUEN AM STACHELDRAHT

"Schickt uns unsere 6 Millionen Gefangene zurück", fordert Kurt Schumacher.

The main text of FRAUEN AM STACHELDRAHT ’Women behind barbed wire' accompanies a photo of women of different ages behind barbed wire holding pieces of paper in their hands. The presented creolized text does not require additional interpretation, since the relationship between the image and the caption is transparent.

The supporting text "Schickt uns unsere 6 Millionen Gefangene zur ück", fordert Kurt Schumacher "Give us back our 6 million prisoners," demands Kurt Schumacher" contains a quote from a popular German politician, one of the founders of Germany, Karl Schumacher, a former concentration camp prisoner. This signature corresponds to the main article of the journal, where the relevant material is placed.

The cover of 6/47 magazine features a staged photograph of a man peering out of a snow hole. The caption-the name under the picture sounds like Das Loch im eisigen Vorhang ‘A hole in the ice curtain’, which fully corresponds to the image. The supporting text 999 er kehren bei minus 15 Grad in die Ostzone heim ‘999 people return home to the eastern zone at minus 15 degrees Celsius’ announces the central theme of the magazine and reveals the appearance of such a photo. As in the previous example, the snapshot and the main text act as captions-the titles act independently, but at the same time correlate with the main article of the magazine.

2) a text focused on the content of the photograph and on the content of the magazine article. The direct link to the photo is provided by the main text of the caption, and the link to the magazine article is performed by the auxiliary text, for example.:

DER KUSS DES PATRIARCHEN

Erzbischhof Athenagoras überreicht Präsident Truman das Großkreuz des heiligen Grabes (siehe Ausland) (8/47).

Main text of DER KUSS DES PATRIARCHEN ‘The Patriarch's Kiss’ is located under a photograph of a man in church attire kissing another man on the forehead. Auxiliary text Erzbischhof Athenagoras ü berreicht Pr ä sident Truman das Gro β kreuz des heiligen Grabes ‘Archbishop Athenagoras presents President Truman with the Great Cross of the Holy Sepulchre’, firstly, he names an event that is quite important for the world community; secondly, he represents famous world personalities - US President Truman and Archbishop Athenagoras. Together, the photograph and the text attract the reader by the unusual nature of the captured action and the main text mentioning high church rank.

The cover of issue 23/47 features a photograph of Wilhelm Pieck with a cane, a well-known and popular politician at the time. The main text to it is Piek an Bebels Wanderstab ‘The peak with Bebel's cane also performs a so–called function, which is accompanied by a presentation by two German politicians - Wilhelm Peak himself and his predecessor August Bebel. Both politicians share social democratic views.

The secondary text "Man hat unsere Genossen behandelt wie Auss ötzige" ‘Our comrades were treated like lepers’ is a quote from V. Pick and refers the reader to the main article of the magazine.

2) a text focused on the content of the main text. The main text of the cover of the magazine 32/48 Das Land der Schwaben "Land of the Swabians" is located under a photograph of a man looking at a globe through a magnifying glass. Reinhold Maier's auxiliary text, Reinhold Maier, tells the reader the name of the German politician depicted in the photo. The relationship between the text and the photograph becomes clear when the reader turns to the article, where Reinhold Mayer is shown as the minister-president of Baden-Württemberg, where the Swabian ethnic German group lives.

The main text in the nominative function, having the form of a nominal phrase, e.g., Demokratie unter Tr ü mmern (3/47), Friede auf Erden (5+6/46), Unterm Kreuz (20/47), etc. captions-titles in the form of a sentence, e.g., Max Reimann (KPD) reist nach London (9/47); Kron-Kolonisten klopfen auf den Busch (35/47); Tiefseetaucher ganz versunken (38/47) are less common.

The informative function of the main texts in the sources under consideration is realized mainly in the role of a generalization signature. It can be framed as a sentence So schreibt man "Gerstenbergs" 'That's how "Gerstenbergs" is written', where the author of the caption summarizes the information of the announced article about the famous German actor Axel von Ambesser, to which the reader is referred by the secondary text Axel von Ambesser St ü cke M ü nchenes Theater 'Performances of Axel von Ambesser at the Munich Theater'.

The main text of Musik macht sie zu königen ‘Music makes them kings‘ to the photo of two famous musicians on the cover of 2/47 magazine is accompanied by a high appreciation from professionals, whose names are presented by the auxiliary text Le Roi du Jazz Django Reinhardt besucht den King of Jazz Paul Whiteman 'Django Reinhardt, the King of Jazz, is visiting Paul Whiteman, the King of Jazz. It is worth noting that the King of jazz nomination is used in three languages in the main and secondary texts: German, French and English. The French Le Roi du Jazz and the English King of Jazz indicate that famous musicians belong to the French-speaking world (Django Reinhardt) and the English-speaking world (Paul Whiteman). For an adequate understanding of such a creolized text, the reader needs to have the appropriate background knowledge of that time in the field of world culture.

Generalization can also take the form of a phrase, for example, a comparison: Wie im Film ‘As in a movie'. The creolized text includes a photo of famous French artists Maurice Chevalier and Marcel Derrien. Their names and additional information announcing the content of the central article of the magazine are provided by the auxiliary text of the cover: Maurice Chevalier und Marcelle Derrien nach ihrem Br ü sseler Triumph ‘Maurice Chevalier and Marcel Derrien after the triumph in Brussels'. It is obvious that the main text and the picture of the artists are not enough for the reader to understand the main topic of the magazine. Disclosure of the Wie im Film signature value is possible only after reviewing the full text of the article.

The main text of the magazine cover can function as a presentation of the person to whom the central article of the issue is dedicated. The creolized text in this case includes his photo. In the period 1946-1948, German politicians and statesmen of that time, Kurt Schumacher, Max Reimann, Jacob Kaiser, the Mayor of Berlin, Arthur Werner, as well as representatives of world politics, most often became the faces for the cover. Truman, British politician and statesman Winston Churchill, Princess Elizabeth of Great Britain, Minister for Germany and Austria John Hynde, French Prime Minister Georges-Augustin Bidault, Commandant of the Soviet sector of Berlin A. G. Kotikov; translator of the head of the United Nations Kaminker; religious figures Pope Pius Xll, athletes Neusel, writers E.-M. Remarque, Thomas Mann; German actors Heidi Scharf and world famous actors Ingrid Bergmann, Greta Garbo and others.

The main text of the signature can be presented in the form of a quotation indicating its author, for example.,

„GEHEN WIR ANGELN“

Reservist Dwight D. Eisenhower (7/48)

Quote from GEHEN WIR ANGELN ‘Let's go fishing’ taken from an interview with the Chief of Staff of the United States (1945-1948) Dwight D. Eisenhower, at that time a well-known politician and military man. His name on the cover of the issue is mentioned in the auxiliary text, which together with the replica form a single text. Such a signature design was quite common in the magazine of that time.

Less common is a scheme where the name is used in the main text, and the auxiliary text is presented in the form of a replica, such as.,

KAPITÄN KUBEL

Nein, meine Messe lass ich nicht (21/48)

Such a design could have appeared due to the fact that the German captain Wilhelm Kubel, despite his military prowess in the Wehrmacht, was not widely known to the public.

Most often, the following scheme is implemented for the presentation, where the main text presents an indirect nomination of a person, and his name is present in the auxiliary text. Indirect nomination can be in the form of a metaphor (13/48):

ITALIENSSTRESEMANN

Graf Sforza öffnet die Tür

In the main text of ITALIENS STRESEMANN, the Italian politician Count Carlo Sforza is named after the German politician Gustav Stresemann. It is known that both politicians headed the Ministry of Foreign Affairs of their countries at that time.

The presentation can be implemented using idioms, for example: DER SCHWARZ MALER ‘the pessimist' (literally: the black artist) about Winston Churchill. It is likely that in this case we are dealing with a pun, since the auxiliary text of Winston Churchill schreibt Geschichte ‘Winston Churchill creates/writes history’ may indicate that dark colors dominate the process of creating history.

The person's name may be missing from both the main and auxiliary text. Identification in this case takes place exclusively by means of an image or any references in the auxiliary text, for example: the main text of the number 10/47 Sein Name bedeutet Hammer ‘His name means "hammer", located under the photo of the Minister of Foreign Affairs of the USSR V. M. Molotov. In the auxiliary text of Auf dem Teller liegt die deutsche Konkursmasse, "The German bankruptcy case is pending," his last name is missing. The identification of V. M. Molotov is possible due to the fact that the minister was well known to German readers since pre-war times. In addition, Molotov's last name is indicated by its German equivalent Hammer ‘hammer'.

The 47/47 Friedens Marshall magazine "Marshal of Peace" also uses wordplay, as indicated by the auxiliary text Sein Name wurde ProgrammHis name became a program." We are talking about the US Secretary of State J. K. Marshall, whose name is associated with the program of foreign aid to European countries after the Second World War. It is the secondary text that makes it clear that Marshall is not a title, but a surname.

In most cases, the presentation takes the form of a phrase and indicates the nature of the person's activity, e.g., Der Meister vom Dom (51+52/47), Dolmetscher des Volkswagen (36/47), Vizek ö nig ü ber ein viertel Deutschlands (39/47), Senior Partner (50/47), Ein grosser B ü hnenbildner (44/47); provides information in the form of generalization, for example, Politiker ohne Feinde (13/47), Kolumbus der lü fte (18/47) "Erste Dame der Lichtstadt" (31/47), US Reporter Nr.1. (43/47), Abgott von Paris (45/47), etc.

Conclusions

Thus, the German magazine Der Spiegel, which appeared in the post-war period, at the initial stage of its formation forms a creolized text, the elements of which remain to this day. The non-verbal part of the 1946-48 cover is represented exclusively by photography. The verbal part consists of the main text, which is graphically highlighted and located under the image, and the secondary text, which complements, summarizes or reveals the totality of the image and the main text. The main text performs nominative, informative and presentative functions. Its structure is compact and designed in the form of nominal phrases or simple non-common sentences. Lexical and stylistic means such as allusions, wordplay, irony, sarcasm, etc., as well as borrowings and phraseological units are rarely used. The slight use of semantic verbs makes the verbal text static. The subjects of the creolized texts of the period under review include domestic and foreign policy, world and German culture.

The rather modest design of the verbalized cover text and the predominant use of direct nomination in it can be explained by the increased interest of the population of that time in information and political media, which did not require additional means of verbalization from magazine publishers to attract readers.