Выявление факторов, влияющих на референциальный выбор анафорических выражений

 

Итак, следующим этапом нашего исследования будет определение факторов (контекстных или связанных со свойствами референта), тем самым мы попытаемся объяснить степень активации выбора референтов.

При когнитивном подходе к референциальному выбору становится, очевидно, что антецедент не является непосредственным контролером анафорического выражения. Антецедент влияет на текущую активацию референта, а последняя, в свою очередь, определяет референциальный выбор. Следовательно, анафорическое средство отсылает не к текстовому антецеденту, а к активированному представлению в когнитивной структуре.

Среди контекстных факторов главную роль играет расстояние до данной точки дискурса или антецедента.

Среди факторов, связанных с характеристиками самого референта, особую роль играют факторы одушевленности и протагонизма.

Что касается факторов, от которых зависит референциальный выбор того или иного средства, то существуют случаи, когда даже при высокой степени активации референта может оказаться, что употребление местоимения или нулевой анафоры невозможно, например, если в контексте существует больше одного референта, следующих один за другим и обладающих равной высокой активацией. В такой ситуации употребление местоимения вызывает референциальный конфликт, или неоднозначность.

3 шаг. Итак, следующим этапом нашего исследования будет определение факторов (контекстных или связанных со свойствами референта), тем самым мы попытаемся объяснить степень активации выбора референтов. Приведем один из анализируемых текстов.

Born in the East End of London in 1970 Alexander McQueen fast rose through the Fashion ranks to become one of the leading lights of international design.

Данный текст посвящен Александру МакКуину. Первое предложение вводит референт, т.е. в памяти адресата происходит активация внимания для адаптации нового референта. Как средство референциального выражения в данном случае используется полная именная группа, выраженная именем собственным. Это необходимо для того, чтобы в дальнейшем облегчить поиск референтов в памяти адресата.

He graduated from Central St Martins College of Art & Design in 1991, with a display of such flair and innovation that he was immediately awarded an apprenticeship with Savile Row tailors Anderson & Sheppard.

В следующем предложении употребляется анафорическое местоимение he. Здесь вступает в силу контекстный фактор, т.е. расстояние от данной точки дискурса до антецедента Alexander McQueen минимально, и степень активации референта в памяти адресата высокая.

He went on to work for Romeo Gigli and Koji Tatsuno, before opening his own studio in East London. Having introduced his label, McQueen managed to secure tabloid headlines with the launch of his infamous, low-cut 'bumsters', while his beautifully crafted and often Æ outrageous designs attracted a small but fiercely loyal clientele, including such influential fashion figures as stylist Isabella Blow, who was sitting on the front row of his MA show.

Первое предложение данного отрывка начинается с анафорического местоимения he, ввиду того, что активация референта все еще достаточно высока в памяти адресата, помимо этого еще присутствует фактор протагонизма данного референта. Однако в этом же предложении вводится еще два референта Romeo Gigli and Koji Tatsuno, степень активации предыдущего несколько уменьшилась, ввиду чего в следующем предложении опять употребляется полная именная группа, выраженная именем собственным. И в этом же предложении автор активирует новый референт Isabella Blow.

She wore one of the outfits he presented in a Vogue shoot in November 1992 and Æ has championed his work ever since.

Данное предложение интересно тем, что в нем присутствуют сразу два анафорических местоимения, и оба выражены местоимениями 3-его лица, т.е. на данный момент в памяти адресата при одинаковой степени активации существуют два референта. Помимо этого, во второй части предложения встречается нулевая анафора, и если бы адресат не ввел местоимение his, употребление нулевой анафоры вызвало бы референциальный конфликт, т.е. референциальный конфликт может быть вызван не только употреблением местоимения, но и нулевой анафоры.

In October 1996, McQueen was named Best British Designer of the Year for the first time. Days later, he was also named John Galliano's successor as the new chief designer at Givenchy.

В этом отрывке опять употребляется полная именная группа, т.к. фактор протагонизма постепенно утрачивает свою значимость, ввиду того, что в рабочей памяти адресата содержится несколько референтов.

В следующем отрывке данного текста выбор референциального средства и степень активации референта зависит от тех же факторов протагонизма и контекста.

What recommended him to the 40-year-old French couture house was his " brilliant creativity and technical mastery". In 1997, a year in which he produced four collections for Givenchy and twoÆ for his own label, McQueen shared the Best British Designer award with Galliano.

В вышеприведенном предложении встречается интересный пример того, как нулевая анафора употребляется во избежание повтора имени нарицательного, т.к. как правило, нулевая анафора употребляется в качестве замены местоимения.

But it is McQueen's carefully propagated image - as the raspberrying bad boy of fashion - which made him a star in his own right, winning him such rock 'n' roll clients as David Bowie and The Prodigy’s Keith Flint. Arriving at Givenchy, McQueen had the hubris to slam its founder, Hubert de Givenchy, as " irrelevant". As if in response, his first collection for the couture house was universally slated even by McQueen himself. " I know it was crap, " he told US Vogue in October 1997, promising to make amends the following season.

В вышеприведенном отрывке употребление полной именной группы, выраженной именем собственным, и редуцированной именной группы, выраженной местоимением, зависит все от тех же факторов контекста и протагонизма. В случае, когда автор активирует новых референтов в речи, происходит снижение активации предыдущего референта, вследствие чего употребляется полная именная группа, если же степень активации референта высока, то употребляется местоимение.

Анализируемый нами экспериментальный материал – это публицистические тексты, в которых встречается огромное количество референтов. В одном тексте содержится до 20 упоминаний фамилий и имен, активация всех рефернтов, как правило, очень высока, поэтому очень важно для адресата избежать референциальный конфликт или неоднозначность.

На основании проведенного исследования можно сделать следующие выводы:

¨ Степень активации референта в памяти адресата зависит в равной степени, как от контекстных факторов, так и от фактора протагонизма.

¨ Ввиду этого можно сделать следующий вывод: если референт высоко активирован в памяти адресата, то употребляется местоимение или нулевая анафора, если же нет, то полная именная группа (имя собственное или нарицательное).

¨ Что касается исследуемого материала, то в публицистических текстах чаще всего из всех референциальных средств употребляются местоимения (93 %).

 

Заключение

 

Итак, цель нашего исследования заключалась в изучении понятия анафорических выражений, их видов и способов выражения анафоры, условий референциального выбора анафорических выражений. Привлечение когнитивного подхода и сравнительно метода было призвано обеспечить точность представляемых результатов исследования, заключавшегося в выявлении анафорических выражений в публицистическом дисурсе и факторов, влияющих на выбор анафорических выражений. Можно предположить, что цель нашего исследования достигнута, и это подтверждается решением поставленных нами задач.

Мы сформировали теоретическую базу, на основе которой мы построили наше исследование (обобщили существующие точки зрения на явление анафоры, на условия ее реализации в дискурсе), а именно:

¨ анафора характеризуется как явление, обеспечивающее несинтаксическую коннексию между языковыми средствами посредством референции к тем или иным объектам дискурса.

¨ Анафорическая связность прослеживается практически на всех уровнях текстообразования, т.е. на грамматическом (временная и именная анафора Бах Э., Парти Б.), лексическом (лексические повторы) и т.д.

¨ Способы выражения анафоры различны - местоимения, являющиеся самой большой группой среди анафорических местоимений, особенно местоимения 3-его лица; именные группы.

¨ Отношения между антецедентом и анафорическим выражением строятся на зачастую на кореференции, которая занимает роль не менее важную, чем анафорические выражения, т.к. является очень важным аспектом связности текста, имеет непосредственное отношение к пониманию текста как единого целого, тесно связана с понятиями логики и мышления.

¨ С точки зрения когнитивной подхода предсказуемость референта или антецедента может быть количественно измерена при помощи “референциального расстояния”, т.е. расстояния от данной точки дискурса назад до ближайшего упоминания референта.

Что касается задач, которые мы решали, анализируя экспериментальный материал, можно сказать, что они выполнены в полной мере.

Тем самым мы определили способы выражения анафоры кореференции, среди которых полные референциальные группы (имена собственные и нарицательные) и редуцированные референциальные группы (местоимения и нулевая анафора). Проанализировав тексты на предмет выявления анафорических выражений, мы пришли к выводу, что наиболее частым способом выражения анафорических выражений являются местоимения (93 %). Это можно объяснить тем, что публицистические тексты данного характера активируют в памяти читателя огромное количество референтов. В процессе получения информации степень одних референтов уменьшается. Употребление тех или иных анафорических выражений напрямую зависит от степени активации референта в памяти читателя, т.е. если степень активации референта в памяти высока, то употребляется редуцированная именная группа, если же степень активации уменьшается, то адресат употребляет семантически полную именную группу.

На референциальный выбор анафорических средств влияют факторы контекста и протагонизма. Анализируя экспериментальный материал, мы пришли к выводу, что данные факторы влияют в одинаковой степени на выбор анафорического выражения. Тем самым можно сказать, что гипотеза нашей дипломной работы подтверждена полностью.

 

Библиография

 

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Словари

33. Американа. Англо-русский лингвострановедческий словарь. Под ред. Доктора филологических наук, профессора Черного Г.В., Полиграмма, 1996.- с. 1234.

34. Языкознание. Большой энциклопедический словарь/ Гл. ред. Ярцева В.Н. – 2-е изд., Большая русская энциклопедия, 1998. – с. 685.

 

Периодические издания

35. Vogue, December, 2000

36. Vogue, January, 2001

37. Vogue, December, 1999

 

Приложение

D y e-hard competitor

On any given Friday at 5: 15 A.M., one can safely assume that the fashion and beauty world is asleep. Understandable, for most likely, its luminaries spent the night before mingling with cohorts at a charity ball or wining and dining at Fressen. But Louis Licari – Madison Avenue ü bercolorist – is up. He is pulling on his sweats, throwing his Speedos into his leather duffel, and scarfing down his Smart Start. By 6: 00 a.m., he's out the door.

Licari – a.k.a. “the master of blonde, ” “the king of color, ” " colorist to the stars, " et cetera, et cetera—is training for the Ironman.

OK, it's a half Ironman. But still. A half Ironman consists of a 1.25-mile open-water swim, a 56-mile bike ride, and a 13.1-mile trail run. It's usually done by " athletes" with jobs that allow for rest after an eight-hour day. Licari works till 8: 00 or 9: 00 p.m. five to six days a week, owns salons in New York and Beverly Hills, and is busy planning to move his East Coast digs into a more fabulous space. He's not a trainer, sneaker designer, or anything else even vaguely related to the fitness world. He is, to use his own terminology, " a middle-aged beautician, " for God's sake.

Like many a bored-but-body-obsessed urbanite, the five-foot-eleven 164-pound Licari has taken his fitness regimen out of the gym. In search of something more than perfect pecs, he has, for the past year and a half, been competing in half-marathons and triathlons. But the half Ironman is his first foray into something hard-core. And to Licari and his trainer, three-time Olympian and former world pentathlon champion Mike Gostigian, he has just scratched the surface.

This year, Licari simply focused on getting through each competition. Come January, he plans to train more competitively—up to 25 hours a week, as opposed to the current ten or so he manages now. Next year, he hopes to race in the full Ironman.

“People are so impressed that I work out, ” says Licari, pedaling at 65 rpm on a stationary bike at New York Athletic Club (he eventually works up to 100 rpm). “But they don't know the half of it. I go to a nutritionist. I see a massage therapist. I do yoga. In L.A., I see a strength trainer. There's so much work involved.”

No wonder he has given up his beauty regimen of years past— the collagen peels, the facials. “Ever since I got serious about sports, I haven't done a damn thing, except normal grooming, ” he says.

But why suffer so? Why won't the AIDS Ride do? Well, it did, but then it was time to move on.

“I’ve always lived near the park, so I'm an OK runner”—actually, he can do a 10K in a more-than-respectable 40 minutes-“but then I got into biking, doing the AIDS Ride from Los Angeles to San Francisco and Boston to New York. I liked it, but I did it for ten years, and then I thought about trying something else.”

And so he began to think out loud about pulling it all together in a triathlon. One client who listened was Mary Leonard, owner of the U.S. Athletic Training Center. She introduced him to her client Gostigian, who made it all happen. Gostigian, not Licari, was the first to experience culture shock.

“I met him at his salon, ” he says. " And there were 40 women sitting around with foil in their hair. I was freaking out. I was actually afraid that if he didn’t get to them fast, the coloring would fry their hair off! But he really took the time to talk. He’s really committed.”

The two bonded, especially after Gostigian’s haircut. (“I don’t need Page Six writing about how I'm running around the park with Grizzly Adams, ” Licari told him.) Since then, Licari has been training six days a week. " This isn't for people who constantly cancel, " he says (thus disqualifying 95 percent of all New Yorkers). On most days, Licari rides U.S. 9W and/or runs up to ten miles In Central Park. It can get brutal. “I’ve done color for 20 years. But here I’m playing catch-up, ” Licari says.

When he works out. peroxide and highlights are a distant memory. Except when the Today show is on TV in the cardio room. One morning, he looked up and caught – horrors! – Katie Couric with a completely different “tonality” than what she had left the salon with. “I was shocked! ” he says, quickly noting that she, um, experiments with her color in a pinch. (So don’t blame him.) At this moment, Annette Bening is pitching American Beauty, for which Licari had frosted her hair. “It suited her character, " he explains.

A half-hour later, Licari jumps off the bike, ducks into the locker room, and emerges at the pool a quick-change skill he has honed as a triathlete. (When he first started racing, his arms and legs were shaking so badly that it took him five minutes to change between events; now it takes seconds.) In the water, he swims lap after lap of freestyle strokes, sidestrokes, breaststrokes. Gostigian tells him to tuck in his derriere, and he quickly adjusts.

On summer weekends, Licari takes his bike on the company van (used during the week to ship hair products from warehouse to salon) out to East Hampton, where he swims in the ocean. Frequent sightings have made many overwrought Hamptonites think that Licari was offering door-to-door service. One was hear sniping, “I don’t know why her toots are still showing. I see Licari truck near her house all the time! ”

In fact, more pressing matters were at hand. “The first time I saw him swim, it was like, he was in a shipwreck, ” Gostigian says.

“I didn't have a chance in hell, ” agrees Licari, who at the time still had issues with putting his face in the water. But he started with the basics – blowing bubbles, learning how to exhale and inhale. Gostigian devised special exercises to smooth out the curvature in his neck and back (from years of hunching over clients) and to increase his range of motion. This year, at 48, Licari finally, stopped wearing a nose plug.

After one month of training. Gostigian signed him up for road races. “I was frightened out of my mind, ” says Licari. “In one of my first races, Mike started yelling, ‘Come on, faster, ’ and I just yelled, ‘Stop! Just stop! ’ and literally went into a fetal position.” Much improved now, Licari often finishes in the top 25 percent for his age group, and he attributes his success to Gostigian. “I am in awe of Mike. He’s changed my negative attitude.”

By 9: 30 a.m., Licari, in standard-issue Old Navy khakis and a bright-white shirt, arrives at the salon. “You’ve already got seven people waiting for you, ” his slightly panicked assistant says. Completely composed, Licari prepares for his first client. He’s off to a running start. Vogue, 12.2000

Kate Moss.

The story goes that Kate Moss was discovered by Sarah Doukas, the founder of Storm model agency, at JFK airport in 1988, as she prepared to board a flight home to London with her father. She was 14 at the time, and a " not entirely enthusiastic" pupil of Riddlesdown High School in South London.

Born on 16 January 1974, in Addiscomb, Croydon, Moss once admitted that she thought she " might've been a bank manager". As it turned out, she was destined for far greater things including developing into one of the most beautiful women the world had ever seen. At 15, Kate was cast in her first catwalk show, playing Lolita for John Galliano. At 18, she became the Face of Calvin Klein, most famously fronting his underwear campaign with Mark Wahlberg and appearing nude for Obsession, and to this day Klein maintains that she " defines her generation". She made her first appearance in British Vogue in January 1993. Her first cover followed two months later, with Kate photographed by Corinne Day in a pink and blue Chanel bustier. As Vogue's former Fashion Features Editor Lisa Armstrong puts it, Kate soon became " the (defiantly) non-supermodel who managed to out-super them all". The darling of the fashion world, she was widely credited with spearheading the controversial " waif" look of the early Nineties and, in 1995, her fame was such that she was encouraged to release a hardback book of pictures entitled simply " Kate".

But by November 1998, her hectic lifestyle had taken its toll on the young model and Kate checked into London's Priory Clinic, suffering from exhaustion. When she emerged the following January, she announced that she had spent the last decade modelling " drunk". " For years I never thought there was anything wrong with it, " she told Vogue with characteristic frankness, shortly after her rehabilitation. " We all used to get drunk at the shows. I just thought I was having a really good time, which I was. But it got too much. There was no normality. I felt like everyone was sucking me away." Since rehab and the dissolution of her eight-year contract with Calvin Klein, Kate has taken on the grander status of style icon, appearing less and less on the catwalks. In the May 2000 issue of British Vogue, she played muse to seven modern British artists, including Tracey Emin, Sarah Morris, the Chapman brothers, and Sam Taylor-Wood. She is also famously easy-going. As Mario Testino says: " Kate is great company, a truly nice person." And she is still enormously bankable. In September 2000, US magazine BusinessAge ranked her the fifth highest paid model in the world, with estimated earnings of Ј14.8 million. She has appeared in several notable documentaries about the fashion world, having made her acting debut with a spot in the comedy series French & Saunders in 1996. Kate's love life has been almost as well-documented as her career, right down to the detail of the tiny heart tattoo on her hand. She has been linked with photographer Mario Sorrenti, Spacehog guitarist Antony Langdon, Rolling Stone Ron's son Jesse Wood, and artist Jake Chapman, as well as Billy Zane, Leonardo DiCaprio, and Evan Dando of the Lemonheads. Most famously, she dated Johnny Depp for three years until 1997 (the pair were trumpeted by Vanity Fair as the couple of the decade). She is now happily settled with Dazed & Confused Editor Jefferson Hack, whom she met in London in 2000. Her close friends include Anita Pallenberg, Marianne Faithfull, Stella McCartney, Alexander McQueen, Jade Jagger and Matthew Williamson. Vogue, 01.2001.

3. Stella McCartney.

Stella McCartney was born in 1972, the daughter of ex-Beatle Sir Paul and Linda McCartney. She first hit the headlines herself in 1995, when she graduated from London's Central St Martins College of Art & Design. Her graduation show, attended by her super-famous parents, featured pals Naomi Campbell and Kate Moss modelling her clothes on the catwalk. Unsurprisingly, the student show became front page news around the world and the entire collection was snapped up by London boutique Tokio. McCartney launched her eponymous label the same year. Despite her newfound celebrity, she had already served a long apprenticeship in fashion. At 15, she worked with Christian Lacroix on his first couture collection and later spent several years learning her craft on Savile Row.McCartney was appointed chief designer at the French couture house Chloe in March 1997. Succeeding Karl Lagerfeld in one of the most high profile posts in the industry, McCartney's appointment was viewed by many as simply an astute publicity stunt on the part of Chloe's owners, the Vendфme group. However, her first collection for the house, shown in Paris in October 1997, quickly dispelled any doubts about her talent. Sensual and romantic, the collection teamed lacy petticoat skirts with fine tailoring and was hailed a triumph. Her delicate camisoles and Nineties updates of the Seventies trousersuit fast became the talk of the catwalk circuit. The following season, Chloe execs proved that her efforts had not only raised the house's profile, but had lifted its profits too.Following the death of her mother in April 1998, Stella stepped up her fight against the maltreatment of animals, a cause Linda had always held dear. A month later, during Fur Fashion Week, she teamed up with PeTA (People for the Ethical Treatment of Animals) to release a video championing animal rights.In April 2000, she renewed her contract with Chloe, amid reports that she had turned down the offer of a position at rival house Gucci, because Gucci would have required her to work with leather. Exactly one year later, Gucci confirmed that they had signed McCartney up, with a view to developing her own label as a global luxury brand. The Chloe job was awarded to her righthand woman, Phoebe Philo.In August 2001, it was reported that Stella had started dating Alasdhair Willis, the 31-year-old publisher of Wallpaper magazine known to friends as Mr Gucci, for his love of designer labels. Stella's social life is legendarily star-studded. As well as being romantically linked with the likes of Lenny Kravitz in the past, her close friends include Kate Moss, Liv Tyler, and Madonna (known as Melly to Stella's Stelly), whose wedding dress she designed in 2000. Vogue, January, 2001.

Karl Lagerfeld

Born in Hamburg in 1938, Karl Lagerfeld emigrated to Paris at the age of 14. He was to go on to become one of the most celebrated designers this century has seen.In 1955, at the age of just 17, Lagerfeld was awarded a position at Pierre Balmain, after winning a competition sponsored by the International Wool Secretariat (the coat he had designed for the contest was later put into production by Balmain). In 1958, he left to take up a job with Jean Patou, which gave him an invaluable knowledge of couture but apparently very little pleasure. After just one year, he quit to work as a freelance designer for such fashion houses as Krizia, Charles Jourdan and Valentino. By 1964, he had grown so disillusioned with the world of haute couture that he left Paris altogether to study art in Italy.In 1967, Lagerfeld returned to fashion, joining Fendi as a design consultant. In the Seventies, however, his name was more closely associated with the house of Chloe, where he was given carte blanche to produce exquisite floaty and feminine ready-to-wear collections which claimed to rival contemporary couture. His 1972 Deco collection, which consisted of black and white prints and clever bias-cutting, brought him worldwide acclaim. He produced his last collection for Chloe - now designed by Phoebe Philo - in 1983 to move to Chanel (though he did return briefly in 1993, to replace outgoing designer Martine Sitbon).At the same time as taking on the title of director of collections and ready-to-wear at Chanel, Lagerfeld launched his own-name label, now synonymous with strong tailoring, combining easy-to-wear cardigan jackets in his favourite bright colours and softly shaped knitwear to create what he describes as " intellectual sexiness". Meanwhile his designs for the super-chic French fashion house, a fusion of pre-war Chanel and contemporary trends, carried the label to the pinnacle of high fashion in the Eighties and Nineties. Notable moments of his career at Chanel include teaming the traditional box jacket with denim mini skirts in 1991, combining club-influenced black fishnet bodystockings with the traditional Chanel camellia placed cheekily over the breasts and matching hefty lace-up boots with flowing georgette skirts and leather jackets. By 1997, Vogue had crowned him the " unparalleled interpreter of the mood of the moment".Despite moving from label to label, Lagerfeld has managed to retain a sense of his own style throughout his career. His success lies in an ability to make a bold statement and he is never afraid to try something new. He has also maintained a sense of humour throughout his designing that has produced such legendary pieces as a shower-dress, with beaded water streaming down the front; a car-dress with a radiator grille and fender, and a multitude of outstandingly eccentric hats, from armchairs to cream cakes, translating Chanel trademarks such as the quilted handbag into a range of seasonal must-haves, including the handbag earring, the handbag hat, the doll-sized shoulder bag, the quilted hip bag, the quilted Alice band and the outsize baguette bag.He also enjoys a range of outside interests, including languages (he speaks fluent German, English, French and Italian and has expressed a desire to learn Spanish), illustration, antiques and photography (he was responsible for producing Visionaire 23: The Emperor's New Clothes, a series of nude portraits, starring South African model David Miller) and describes himself as an " intelligent opportunistic" and " professional dilettante". As he told US Vogue in 1988: " What I enjoy about the job is the job." Vogue, 01.2001.

5. Taking his shot

It's a sunny Halloween afternoon in Ames, Iowa, where former pro-basketball player and U.S. senator Bill Bradley is scheduled to make his fourth campaign stop of the day. The candidate's plane has arrived about ten minutes ahead of the press plane, so that by the time we disembark, Bradley has-positioned himself in front of the tiny Ames airport, his H six-foot-five-inch frame sprawled across a green plastic chair, ubiquitous grape soda on the ground beside him. His head is thrown back, his eyes are closed; the candidate is catching some rays. As we hit the tarmac, he looks up. " Welcome to Ames, " he says, deadpan, giving us a wave before he closes his eyes again. Finally, after everybody else is loaded in the vans, ready for a walking tour of a couple of Ames blocks, he climbs in. " I got him up, " says his " body man" Matt Henshon, " by telling him he would still be out in the sun."

" Senator Offbeat" —that's what the late Republican strategist Lee Atwater called him. Cool, seemingly laconic, Bradley's doing his own thing out there on the campaign trail, coming off as refreshingly straightforward or just a little weird, depending on whom you're talking to. Earlier that day, he'd told CBS's Bob Schieffer on Face the Nation that he " drew the line" where religion was concerned; it just wasn't something he was going to talk about. Schieffer was left to ask him simply whether or not he believed in God. " Yes." " Can you tell us any more about it than that? " " No."

Later, when he arrives at the house of a supporter, 60 people are gathered in the backyard, but first the host, a nice man named Jay, asks Bradley if he'd like some cider or a soft drink, or maybe even some beer before he addresses the crowd. Bradley looks at him. " You got any whiskey? " This is the point at which Matt steps in to reassure us all that the senator was making a joke, but Bradley's not quite finished. Standing on the man's backyard deck, he notices that part of the lawn has been roped off. " You know, -when I got here today, Jay promised me that each and every one of you would vote for me." Pause. " I'm only kidding. The only commitment Jay made today is that he would save his best grass."

Normal flesh-pressing it ain't. It is, rather, an approach that sometimes gets him labeled diffident, aloof, anti-charismatic. But it seems to be working. When Bradley threw his hat in the ring a year ago, most pundits—and supporters of Vice President Al Gore—dismissed the announcement as the insignificant and self-indulgent act of a once-oversung hero of the Democratic Party. He had, after all, waffled when he'd had better shots, in 1988 and 1992. Now he seemed to be setting himself up as the automatically unsuccessful and tedious spoiler in a race in which all the other possible contenders had had the good sense to realize they could never make it against the well-financed sitting vice president.

That, of course, was before he raised as much money as the vice president and began leading him not just in New Hampshire but in New York; before he put Gore on the defensive, prompting him to change everything from his clothes to the address of his headquarters. That was before respected political journalists like the Washington Post's David Broder began writing columns with headlines like script for an upset, and the Gore campaign team's disarray was repeatedly – almost luridly – displayed on the front page of The New York Times. His endorsements include those from Senators Bob Kerrey and Daniel-Patrick: Moynihan, Wall Street heavy hitters Lou Susman, managing director of Salomon Smith Barney, and Thomas Labrecque, retired chairman of Chase-Manhattan' Bank, and Lakers-coach and former Knicks teammate Phil Jackson. (“Why did he take the job with the Los Angeles Lakers? It was not-because he thinks the Lakers can be champions – it is because it’s apart of my Southern California strategy. Make no mistake about that." - Barry Diller gave him a fund-raiser in L.A.; fans as disparate as designer Tommy Hilfiger and investment tycoon Herbert Alien round up checks for him in New York. He is running a big-league campaign in every way—except stylistically. So the question now is, Will the style sell?

Bradley doesn't just want to be president; he says he wants to change the way presidential campaigns are waged. In the beginning, he conducted what amounted to a floating seminar – introducing himself to small -groups of voters: probing, pushing, _finding out what their daily - concerns were, begging for their " stories." He was, he said, putting together a " narrative, " a word not often the mainstay of a stump speech. Meanwhile, " he steered clear of what he cafe " contrived" settings and exchanges. In a race in which we know, for example, that George W. Bush reads the Bible every day, Bradley will not discuss religion. In a race in which we knew that Mr. Popper's Penguins was Al Gore's favorite childhood book, Bradley has-declined to " go down the road" of the favorite book. (" What if I said Crime and Punishment! People might say I identified with a killer; " ) After Bush flunked a reporter's pop quiz on foreign leaders, the same reporter sprang a similar quiz on Bradley, and he simply refused to play.

It is something he does often. At the first Democratic town meeting in Concord, New Hampshire, Gore's staff distributed five press releases in 38 minutes, correcting Bradley, touting Gore. Bradley barely bothered to dispute Gore's estimate of what Bradley's own health-care package would cost. After Bradley's performance that night, Bob Woodward said he communicated a " presidential, almost Olympian calm." But Bradley is a bred competitor (former Boston Celtic John Havlicek says he still has his old opponent's handprints on his backside); it is more than calm he's demonstrating—it's an act of will. " It requires some discipline, yes, " Bradley tells me one afternoon in Davenport, Iowa, scraping soup out of a plastic container. " You always can resort to the elbows, but you make a judgment about what the politics of our time needs and what you can offer. You wanna win, but you wanna win in a certain way."

He is, he says in almost every speech, trying to " respect people" by running a " positive campaign." That he is trying to save his " outrage for those things that I want to change, " and his ‘ingenuity to try and figure out, how do we get everybody to see that we’ve got to head in the same direction? ’’Vogue, 12.1999.

A charmed circle

I’m in the wig room. For those of you who don’t have one, it is a small room where footmen powdered your, or more likely your husband's, wig. The house was built in 1588", so there are many such nooks and crannies, just perfect for me, the spy. So many young mothers are spies. They have to be, watching their child covertly, for clues, for signals, for some way to comprehend what is going on in that secret new bundle of nerve ends, tender flesh, brains, and biology that we almost inadvertently create over a long nine months.

I’m in the wig room, putting away linen. It might be a charming image – a young matron, keys at her waist – but in fact I'm in a froth of rage about the whole business of being a mother. What I want back is what I was, as archetypal mother/writer Sylvia Plath put it, “before the bed, before the knife, before the brooch and the salve fixed me in this parenthesis.”

I have three babies at this time, and I love them. At first they were adorable, noisy blobs; now, somehow, worryingly, they are fast growing into people with wills of steel, and there are times – and this is one of them – when I want not to be a mother ever again. For a start, I didn’t realize that they were going to be there forever. I thought in my innocence that you could, as it were, dip into babies, and I remember once at the very beginning driving into Bath and realizing as I parked that I had a tiny baby and she was sleeping in an empty house some 20 miles away. I had work to do. Writing. And she wouldn't let me.

The wig room is off the nursery, which has a big old window seat, like in Jane Eyre, and Rose and Daisy, two of my three daughters, are sitting there. I know this not because I have seen them, but because they have come in together, talking, intimate, and something about their tone, the urgency of their words, has made me freeze. Rose is six; Daisy is five. I know in my mind's eye how they look on the seat, blonde heads soldered together, their earnest, beautiful faces turned to each other, two philosophers with fat little lips.

I am famished by love of my daughters. How did this happen? Motherhood had always been an uninviting prospect to me. I'd had enough of the receiving end. The word mother carried a message I didn't want to hear-or repeat. Trammeled lives, little cruelties, a turntable of defeating busyness, and no joy in sight. I watched my own mother to make sure I would not become like her, though I was sure there was a dark angel ahead waiting to drop her image over me like a second skin turning me into the Mother. It seemed to me there was no way of escaping the destiny of repetition. So, easy answer, I would not become one.

And yet here I was, a mother of three stacking up fine linen and feeling a wedge being driven into my heart so that I could almost feel it creaking apart. I didn't know at the time that these wedges are necessary to widen the heart up, since it has either to widen or to break. I was in a rage because I wanted to have my life of such a short time before back, back to when I was a free woman, an adventurous spirit, an editor at Vogue and a protegee of Diana Vreeland – back when a heart was a Chanel motif, to be worn on the sleeve, a bauble outlined in diamonds.

I first met Vreeland in 1964, when I was nineteen and working as features editor at Vogue in London. The offices were open-plan, with partitions and bookcases at shoulder height, and so I first saw her as this extraordinary apparition, gliding along above the level of the filing cabinets. Then she swung round the corner between the cabinets and stood there burnished and shining in front of me like an Aztec goddess, with that unique stance that Cecil Beaton has famously described: “the Vreeland medieval slouch, pelvis thrust forward to an astonishing degree and the torso above it sloping backwards at a 45-degree angle.” Enormous stretched red canyon of a mouth; high, red cheeks; black-on-black lacquered hair; edge and cut and glitter; slanting eyes that missed nothing, nothing to do with the body, and as I came to know, missed many a thing to do with the soul. She came to a standstill in front of me, her retinue behind juddering to a stop. Her eyes swooped about, editing what she was seeing into what she wanted it to look like. I sat transfixed.

I'd joined Vogue only a short time before, and my first article, about the playwright John Osborne, had just been published. His seminal play, Look Back in Anger, had changed British theater at one blow. He'd become an icon, worshiped and loathed in equal measure. So when I wrote to ask for an interview, I didn't have much hope that he'd give one. It never occurred that I could actually have access to one of my great heroes. I'd assoon see Shelley plain or say hello to-Balzac. But I got a sweet noteback suggesting we meet for lunch; we talked all afternoon. And then, ten a cable came into the office that I have still pinned to my heart.It simply said, “Osborne/Devlin text superb.$500 for first American rights. D.V.” In my lingo, D. V. meant Deo volonte, “God willing.” Something we were taught in convent school always to use when speaking or writing of the future, presumably to preemptpresumption.That first, enabling cable was from Diana Vreeland, and I loved her for it.

My stock rose within the London office, since American Vogue rarely lifted pieces from other magazines in the Conde Nast family. I was puffed up with pride, but the pride was as nothing compared with the prospect of $500 for those mysterious first American rights. Five hundred dollars then was the equivalent of six months’ salary, but it was much morethan that to me. It was a recognition that could write, that my writing was worth something, that people would pay to read it. And now here was the reality of “God willing” in front of me, talking nineteen the dozen and offering me a job at American Vogue.

I'd read Vogue avidly since I was a young girl in a remote part of Ireland, 1eading such an atavistic life that turning those glossy pages was like accessing an archive from the future.

The past hung around Ireland like a shroud, and Vogue was gleaming and shining and soaring. The world of Vogue was so brightly lit - everything was illuminated, the shine on a string of pearls, the gleam on the curve of a cheek, the sheen on a satin ball dress. At home, shine was the sun on the lake, the reflection of brass harness on a horse's neck, the gleam of leaves in the chestnut tree. In Vogue, there were articles on cars as fashion accessories. At home, there were only two cars in the district, the priest's jalopy and ours. The world of Vogue sparkled night and day—flashlights, footlights, headlights. At home at night, the silence was palpable, the darkness profound.

The world of Vogue under Diana Vreeland, as I came to know it, was all invention, eclecticism, and style. The world I had come from knew nothing of invention; everything was old, organic, decaying—a place I think she'd have been amazed to know still existed, a culture on the brink of extinction, the ragged ends of a dispensation that had lasted for centuries. The world of the horse and cart, of silence and lapping water, dark colors that didn't show the dirt, religion and madness. Trapped in this Irish world, I had entered the Vogue talent contest and won it, which was how I had landed on the staff a year later.

Diana Vreeland showed me how to reinvent myself, though I'm sure nothing could have been further from her mind: She wasn't interested in me personally - indeed, I don't think I ever met anyone less interested in the person behind the persona. She loved surface, and I learned from her the great art of invention; that to be inventive with your life is creative; that invention has nothing to do with truthor lies but is a means of escape, a means to change places, to breaka pattern. She taught me such a valuable lesson that I didn't know itsworth until much later in life: that to dream, to reach out, to beunashamed of how you are, never mind who you are, to aim for theunreachable, is essential, that there is no such thing as ordinary.

But of course one of the things that made her extraordinary was that she never tried to be fantastical or larger than life. It was all-natural to her, if the word natural could ever have been used-with-in her aura. She said, “I figure that if I like something, the rest of the world will like it, too. I think I have an absolutely solid ordinary point of view.” True eccentrics do think that. They think they are perfectly normal. Perfect, yes. Normal, no.-She possessed all kinds of arcane knowledge, yet she never went to the person behind the image. She didn't want to; she didn't want to be disturbed. I was always amazed when I remembered she was a mother and a wife and heard that she adored her children.

I am silent in the small room. I hear Daisy ask Rose, her elder sister by a year, therefore an oracle and Delphic in her pronouncements: “Rose; what would you do if you had a mother like mine? ”' I carefully, carefully close the old door and try not to rustle with laughter, with love, with the understanding that I have heard a profound question. I have hearer for the first time the word mother used in connection with me, as a definition of myself. For all my laughter, I understand that I have also heard on of life's great truths; that every child in the same family has indeed a different mother. I know I am an irreconcilably different character to each of my three, and that this brings problems. I know, too, that whatever else happened to me in that journey – short in time but infinite in compass – between me on the; eighteenth" floor of the Graybar Building on Lexington Avenue and me here in the nursery, I have broken the motherhood! pattern laid down for me. Or at least broken it down enough to have given Daisy the power to think she could “do” something about me. In that earlier dispensation, adults, parents were monolithically immutable – children were powerless. That went without saying. You suffered in silence or in sobs. Yet here was Daisy talking with a hint of brisk killer instinct that warned me I'd better change my ways. And my ways, it transpired, was the amount of time I still devoted to writing for Vogue. Because although I'd left, I still did work for it, and this necessitated my leaving home. I wondered how Diana Vreeland had dealt with the perennial problem. I didn't know then her history, or her history as she told it, of a mother who, she surmised, died at 55 because she could find nothing more to interest her. “She was quite young and beautiful and amusing and mondaine and splashy, ” Diana Vreeland said, “all of which I'm glad I had in my background – now. But I've had to live a long time to come to that conclusion.” Diana Vreeland was magic. She sometimes called it fantaisie, sometimes called it faking it – “the most intoxicating release from the banality of the world.” But if you believed in her, it rubbed off on you. I never quite believed in her, but I recognized my luck in working for her, though she was daunting. Not that I exactly did work for her, since I was in the features department, a separate world, a kind of unnecessary adjunct to fashion. I was poised between the two departments – no, I wasn't, I was never poised in my life, I was on a hamster wheel between them – and I had lunch with Diana Vreeland when she wanted me to do something for her side of the dunes.

For someone who had lately arrived from a world where the rule of thumb for decoration was “kitchens is brown and landings is buff, ” Diana Vreeland's office was a visual education. A big black-lacquer desk, a leopard-skin carpet, leopard-skin upholstery, and scarlet walls covered in images she had culled, including the notice EVERYONE LOVES A LORD. The floor was awash with spreads for the next issue. Here was a woman who had a map of her desk so that everything on it would always be exactly in the same place. At lunch, I would try to order something I could eat unobtrusively, and she'd tell me what she wanted. No, she wouldn't. She'd emote, and I'd try to guess.

“They wa-a-a-de deep into the Thames, ” she said without preamble, “and turn them up. The turners-up are dressed in a certain costume, a livery. They stamp their bottoms—and my God that causes quite a flurry. I believe they all are in-the queen's gift.”

The sandwich between my teeth became intractable. I tried for clues. I said, “Boats? ”

“Well, I don't think they use boats, ” she-said. “I think they use a – not exactly a hook – a crosier.”

It must be bishops, I thought. Bishops are appointed by the queen. And they do have lovely costumes and pink frocks. But having their bottoms stamped…? Does she mean “smacked”? In the Thames? Some kind of baptism? Total immersion?

“Bishops? ” I ventured. “An article on bishops? ”

“That's a good idea, ” she said. “That wonderful pink. You can only get it in a little shop in the Vatican City where they sell the cardinals' silk stockings. But we need to get the Swan Upping article first.” Swan Upping turned out to take place once a year on the Thames at Maidenhead, when liveried men did indeed “turn lip” the swans and mark them as possession of the queen. Vreeland commissioned Snowdon to take the Swan Upping photographs and saw all this and more as the cutting edge of fashion.

I worked for her for two years. Then, suddenly, I was married and soon after, from having a future that belonged only to me I became irrevocably linked to three solipsistic baby beauties who had no idea that I existed outside of their needs. From an apartment on Eighty-eighth Street next door to the Guggenheim, I found myself in deepest Gloucestershire with a husband and three babies without practice or training. They had no practice, and I had no training. They grew up in a flash that still dazzles my perceptions and illuminates my life. I remember I devised a fairly simple method of memorizing particular moments. I would look hard at three blonde heads over a book – or a four-year-old Rose in yellow sou'wester and little else running through the rain, Bay in a tutu that didn't fit, Daisy solemn in a lilac negligee – and register the mental snapshot. I have only to close my eyes, and those images are there, my lost children, running away from me. I know those children. I know all about them.

Where are they? Well, Daisy is working for Vogue, forging her own future, living the circle that binds us together in its lovely and ratifying spin. I believe in magic. We all have extraordinary powers, if only we could access them. One way of accessing them is to be happy. One sign of the magic of happiness is how things connect, of how you do one thing that seems arbitrary at the time and then turns out to be the first and most necessary step in a process that leads to fulfillment. So much is circular. Vogue lay in my past, I thought, but it was streaming through my future, and that child who was pondering the vexed question of what to do about me was already connected to Vogue.

I see Daisy now and yet continually also see her as she has been through all the stages of her life. I see her different ages, different sizes, image superimposed on image, growing up in an endless shadow play, always herself in all her different manifestations, one melding into the other, a magma, an archaeological dig that only I can turn up. And yet she could always escape me. The child who asked what could yon do with a mother like me saw that I was a spy and took her own measures. She silently slipped away, withdrew from the tempestuous encounters endemic to the rest of the family.

Do you know that poem by Seamus Heaney about the hare?

Choose one set of tracks and track a hare

Until the prints stop just like that in snow.

End of the line. Smooth drifts, where did she go?

Back on her tracks, of course and then took a spring

Yards off to the side; clean break; no scent or sign.

Daisy was like that; all the evidence of her was there. Room like an ice palace, possessions in place. But the impeccable girl had sprung. I think about her al

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