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3.2.2.3 Kognitivnyj a sign "colour"

Feature of art space of texts of Henry Byollja is the colour symbolics. Colour epithets in texts of analyzed novels act in a role of the original markers differentiating
Art space of analyzed novels to a gender sign on man's and female, and also on real and irreal, passive and active.

That is why without attraction of data under the analysis of colour epithets it is impossible to present model kontsepta «Haus» in products of the given writer.

Many researchers underlined symbolical character in G.Byollja's products [Dzhebrailova 2008: 104], but absolutely special place in them is occupied with colour symbolics. Though «words were and there will be only hints, external enough designations of paints» [Kandinsky 1985: 49], nevertheless, we believe, that the word designating colour causes bright enough impression in consciousness of the person and gives rise to variety of associations (both absolutely subjective, and people typical for a certain generality). Therefore for today with confidence it is possible to assert, that one of the main results of a paint is its mental influence: «the mental force of a paint which are giving rise to vibration of soul» [Kandinsky 1985: 22] here is born. V.O.Kandinsky believes, that various colours have a various site in space. One are closer, others further, one above, others more low [Kandinsky 1985: 22]. « Paints in general cause the big pleasure in people. Eyes require them the same as it requires light »[Goethe 1957: 311].

Kognitivnyj the sign "colour" as a component kontsepta «Haus» is widely presented on pages of three products. The total kolorativov in texts of novels is presented in the table № 1.

The table № 1

Quantitative aspect reprezentatsii kognitivnogo a sign "colour"
«The house of the owner» Without «Billiards of half tenth» In «Eyes of the clown»
Nominations kolorativov Quantity %, Quantity %, Quantity %, ≈
Green (grun) 145 19 103 17,3 15 7,7
Red (rot) 122 16 113 19,4 64 33,3

Yellow (gelb) 106 14 42 7,3 9 4,6
White (wei β) 99 12 80 13 31 16,2
Black (schwarz) 83 11 75 13 17 8,8
Dark blue (blau) 77 10 45 8 17 8,8
Grey (grau) 70 9 85 14 11 5,7
Brown (braun) 45 6 20 3,3 20 10,3
Pink (rosa,

rosig)

12 1,5 4 0,7 3 1,5
Violet (violett) 10 1 21 3,5 6 3,1
Orange (orange) 3 0,5 1 0,5 0 0
TOTAL 772 100 589 100 193 100

Apparently from the resulted table, kolorativov in product «the House without the owner» makes total 772 reprezentantov (about 2,4 colour epithets on page), that is enough the big figure in comparison with Henry Byollja's other analyzed products: 585 reprezentantov in product «Billiards in half tenth» and 193 reprezentantov in the novel «Eyes of the clown», accordingly 1,7 and 0,6 colour epithets on page of the German-speaking text.

(However in comparison with the products written in Russian, the given figure is rather insignificant: for comparison 2,9 reprezentanta on page of the text of the novel of V.Nabokov "Lolita", 2,5 - on page of the text of product of A.Fadeeva "defeat" [Dmitriev 2012: 44] and 2,8 reprezentanta on text page to lead A.Tolstoy «Nikita's Childhood» [Beloborodova 2000: 184]).

Further we will analyse changes of a parity of colour epithets in three specified products, using given tables №2.

The table № 2

Comparative aspect reprezentatsii kognitivnogo a sign "colour" in Henry Bell's products
Quantity kolorativov in «the House without the owner» Quantity kolorativov «Billiards in half tenth» Quantity kolorativov «Billiards in half tenth»
1. Green (145) Red (113) Red (64)

2. Red (122) Green (103) White (31)
3. Yellow (106) Grey (85) Brown (20)
4. White (99) White (80) Dark blue (17)
5. Black (83) Black (75) Black (17)
6. Dark blue (77) Dark blue (45) Green (15)
7. Grey (70) Yellow (42) Grey (11)
8. Brown (45) Violet (21) Yellow (9)
9. Pink (12) Brown (20) Violet (6)
10. Violet (10) Pink (4) Pink (3)
11. Orange (3) Orange (1) Orange (0)
TOTAL: 772 TOTAL: 589 TOTAL: 193

From the data presented in tables № 1 and 2, it is visible, that transformation of an individually-author's picture of the world of Henry Byollja has led to reduction of quantity of epithets in its products. Possibly, given fact is caused by the different historical periods of an exit of novels to the public. The first products are written right after the ends of war, in which G.Byoll itself participated in quality of the soldier, and, possibly, peace post-war years right after wars were perceived by the author especially brightly, as has found the reflexion in a considerable quantity of colour epithets.

From the table № 2 it is visible, that colour nominations "green", "red", "yellow" and "white" are dominating. The given fact speaks, most likely, semantic features of colour symbolics in Henry Byollja's creativity. The matter is that green colour is perceived by the author exclusively as female [SHindel 2009: 13], and in the novel «the House without the owner» the narration is conducted mostly about women (so kakmuzhchiny, fathers of families, were lost during war). Presence of white colour in the prepotent speaks, possibly, an accessory of the given colour nomination to «to a positive triad green-silvery-white» [SHindel 2009: 13] vjazykovoj to a picture of the world of Henry Byollja («this book comes to the end any more with death and not mournful reconciliation, and a light melody of hope» [Kopelev 1960: 422]). So, we will consider reprezentatsiju everyone kolorativa in

Separateness. (The most frequency Are considered only on the use
kolorativy: red and green. The detailed analysis drugihleksem - reprezentantov kognitivnogo a sign "colour" is presented in the Appendix).

The most widespread kolorativom in the text of three products (except for product «the House without the owner» where on the first place on prevalence nevertheless there is a green colour) is red colour (in total 299 reprezentantov in texts of three products).

In the text of analyzed novels given kognitivnyj the sign is presented by various lexemes, but the most frequency is the lexeme «rot» (in total 182 reprezentanta) to what the given tables № 3 testify.

The table № 3

Quantitative aspect reprezentatsii

verbalizujushchihkognitivnyj a sign «red colour»

Lexemes,
The name The lexemes-reprezentanty located on

Rates of the use

Total
«The house without the owner» («Haus ohne Hutter») rot (72 reprezentanta) - red; 5

reprezentantov:

Rot - Red colour, rotlich - reddish; 11 reprezentantov: dunkelrot - dark red, knallrot - bright red; 2 reprezentanta: rotgeburstet - polished by a brush to it is red, 1 reprezentant: Rotwein - red wine, kirschrot - cerise, blaβrot - is pale-red, rotunterlaufen - swum away blood, rotlackiert - covered with a red varnish, hellrot - svetloyokrasnyj, rotbestreut - sprinkled red, derRotstift - a red pencil, grellrot - jarkoyokrasnyj, tiefrot - is dense-red, errotend - reddening, rotlich-weiβlich - krasnovatoyobelovatyj grun-wei - - green-white-red.

122
«Billiards in half tenth» («Billard um halb zehn») rot (71 reprezentant) - red; 3 reprezentanta: Rot - red colour, reddish; 2 reprezentanta: hellrot - light-red, rotumrandet - in a red framework, Morgenrot - a morning dawn, rotwangig - red-cheeked, blau-rot - blue-red, rosenrot - pink, Rotstiftnotizen - marks a red pencil, dunkelrot - tyomnoyokrasnyj, blutrot - blood-red, knallrot - bright red, rotsamten - from red silk, 113

schamrot - red with shame, rotweingesichtig - with the person of the fan of red wine,

Rotweintrinkerlippen - Lips of the fan of red wine, Rotwein - red wine, rotbraun - krasnoyokorichnevyj, Lippenrot - lipstick, rothaarig - red-haired, rotblond - light-red, gerotet - reddened, rotlich-reddish, rotlich-blau - krasnovato-dark blue, rotlich-wei  - krasnovatoyobelyj.

«Eyes of the clown"("Ansichte n eines

Clowns »)

rot (38 reprezentantov) - red, rostfarbig (7 reprezentantov) - tsvetarzhavchiny, 4

reprezentanta: Rotwein - krasnoevino; 3 reprezentanta: Morgenrot - utrennjajazarja,

Knallrot-bright red; 1 and 2 reprezentanta: schamrot - krasnyjotstyda, Rot - krasnyjtsvet, 1 reprezentant: rostrot - rubiginous,

Rotdornbusch - A hawthorn bush, feuerrot - bright-red, kardinalsrot - fioletovoyokrasnyj, errotend - reddening, Martyrerrot - clothes of cardinals.

64

Analyzing the given tables № 3, it is possible to come to conclusion, that ottenochnaja a scale kognitivnogo a sign «red colour» varies from knallrot - jarkoyokrasnyj, grellrot - bright red, tiefrot - dense, sated red, dunkelrot - dark red, kirschrot - cerise, blutrot - krovavoyokrasnyj, concentrated to one pole, and hellrot - light-red, rotlich - reddish, blaβrot - is pale-red, rostfarbig-colours of a rust, rostrot - rubiginous, feuerrot - bright-red - accordingly on other. Takes place also trikolor Grun-Weis-Rot.Далее we will consider gradation on intensity of colour epithets, analyzing the given tables № 4.

The table № 4

Gradation on intensity of colour
proizveyodenie Light, neintensivn yj Two-nuclear structures nejtrayolnyj substanyotivatsija prilagate lnogo Dark, bright

«The house without the owner» («Haus ohne Hutter») blaβrot -

blednoyokrasnyj, r otlich -

The reddish

r otlich - weiβlich - krasnovatoyobelovatyj, grun-wei β-rot - it is green -

White-red

ROT -

The red

Rot -

Red colour

knallrot -

jarkoyokrasnyj, tiefrot -

gustoyokrasnyj, dunkelrot - temnoyokrasnyj, grellrot - jarkoyokrasnyj, kirschrot - vishnevoyokrasnyj

«Billiards in half tenth» («Billard um halb zehn») hellrot -

svetloyokrasnyj,

r otlich -

The reddish

, rosenrot -

The pink

rotlichwei β - krasnovatoyobelovatyj, blau-rot -

sineyokrasnyj, rotlich-blau - krasnovato - dark blue, rotblon d-светло­рыжий

ROT -

The red

Rot -

Red colour

dunkelrot - tyomnoyokrasnyj, blutrot - krovavoyokrasnyj, knallrot -

jarkoyokrasnyj

«Eyes of the clown» («Ansicht en eines Clowns») rostfarbig - colours of a rust, rostrot -

rzhavoyokrasnyj

ROT -

The red

Rot -

Red colour

knallrot -

jarkoyokrasnyj, feuerrot - ognennoyokrasnyj, kardinalsrot - fioletovoyokrasnyj

To red colour traditionally attributed special symbolics in Christian culture. «... The red paint can cause the sincere vibration similar to a flame as red there is a colour of a flame. TeploYOkrasnoe operates excitingly. This red can rise to painful muchitelnosti, perhaps, as well on similarity to fluid blood. Then this
The paint clears up memoirs on other mental agent which invariably makes upon soul painful impression »[Kandinsky 1985: 22]. Andrey Belyj, analyzing value of red colour in religious sense considers, that the red incorporates concepts« infernal fire », love« all-devouring passion "," blood "." In red colour the horror of fire and thorns of sufferings »[White 1994: 204-205] are concentrated. B.A.Bazyma fairly believes, that« red in Christianity symbolises the blood of the Christ spilt for the sake of rescue of people, and, hence, - and its love to people »[Bazyma 2001: 13]. Under I.V.Goethe's certificate,« action of this colour is so unique, as well as its nature. It in the same measure makes impression of gravity and advantage, as goodwills and delights. And, thus, advantage of an old age and courtesy of a youth can clothe in one colour »[Goethe 1957: 318].

The quantitative aspect semantiko-kognitivnogo a sign «red colour» is presented in the table № 5.

The table № 5

Contextual compatibility kognitivnogo a sign «red colour»
Semantic categories «The house without

The owner »

«Billiards in

Half tenth »

«Eyes of the clown»
Appearance of the person 7 40 4 32 31
The Description

Men

24 21 21
The Description

Women

9 7 10
Surrounding subjects (life subjects, furniture, an interior) 36 46 19
Clothes of the person 2 12 1 6

Opisaniemuzhchin

2 - 9 5

y
The Description

Women

4 8 1
Another 10 14
Meal 11 4 5
Alarm fires, traffic light 5 1 -
The natural phenomena, nature descriptions 3 2 3
Paint 1 1 -
Fire, flame,

Sparks

4 4 -
Total 122 113 64

So, given tables 5 allow us to speak with confidence about antropotsentrichnosti kognitivnogo a sign «red colour» as bolshee quantity reprezentantov and in products «the House without the owner», and in «Eyes of the clown» concern the description of the person. Besides, as already it was marked earlier, red colour serves in an individual picture of the world of Henry Byollja as expression of "the man's beginning». The given attitude coincides and with definition of red colour on Kandinsky: «Red so we think of it, as nothing the limited characteristic-warm colour, influences internally, as the vital, live, uneasy paint which does not have, however, thoughtless character..., but at all energy and intensity finding out the certain note of almost systematic unusual force. In this boiling and pylanii, mainly, in itself and it is not enough in the parties the man's maturity» [Kandinsky 1985: 46] affects as though. Further we will consider kognitivnyj a sign «green colour».

Green colour in German mentality - is considered by researcher A.V.Rogova - has special symbolical character and is connected with many traditions and superstitions [Rogova 2012: 212]. It often symbolises rest, passivity, absence of movement. This feature of green colour was underlined also by I.V.Goethe, he wrote,
That green colour is when «do not wish to go further and there can not be further» [Goethe 1957: 320]. V.O.Kandinsky also marks this feature of green colour: «a full immovability and rest» [Kandinsky 1985: 41]. «Passivity is the most typical property of absolutely green colour» [Kandinsky 1985: 43]. Addressing to the text of product of G.Byollja, it is easy to notice, that green colour is far ambiguous. On the one hand, G.Byoll continues the given semantic tradition of green colour, but, on the other hand, this rest has no positive colouring, it, more likely, powerlessness and unwillingness to live in the real world.

Kognitivnyj a sign «green colour» is presented by variety of the lexemes connected among themselves gradualnymi and antonymous-synonymic relations. The most widespread is the lexeme grun (97 reprezentantov), further by quantity reprezentatsii in the product text follows substantivirovannoe an adjective dasGrun - green colour, greens (18 reprezentantov - running forward, it it is necessary to specify, that in comparison with quantity of substantivations of other colour epithets (on the average 4-5 reprezentanta) the given figure is represented to us impressive, the given increase in quantity substantivov is connected, most likely with presence semy the "greens", being frequency enough and applied by authors for the nature description). In gradualnom aspect kolorativy it is necessary to arrange in a following order, considering intensity of the presented colour: On one pole such lexemes as grellgrun - bright green (2 reprezentanta), dunkelgrun - dark green (3 reprezentanta), and on opposite - hellgrun - light green (4 reprezentanta), grunlich (8 reprezentantov) - greenish are presented. To light green it is possible to carry also a nomination moosfarbig (1 reprezentant) - colours of a moss. Among presented reprezentantov takes place also derivative of a verb to turn green (grunen) a participle I (Partizip I) grunend (1), and also a nonce word grunlackiert (1) - covered with a green varnish («Such specificity of German kompozitoobrazovanija, shown in logiko-semantic capacity
Composites, causes their functioning in the field of individual rechetvorchestva »[Reheight, Ostapova 2010: 161]).

The kernel of green colour is represented to us unstable enough as in the text is more than 10 reprezentantov with two-nuclear structure where kolorativ green vkljuchajaet a nomination of other colour: often yellow (grunlichgelb (2 reprezentanta) - chartreuse, gelblichgrun (1 reprezentant) - yellowish-green. grunlich-gelblich (1 reprezentant) - zelenovato-yellowish), grey (grunlichgrau (3 reprezentanta) - zelenovatoyoseryj), graugrun (1 reprezentant) - grey-green and white colours (grunlichwei β (1 reprezentant) - zelenovato-white). The quantitative parity of lexemes, verbalizujushchih kognitivnyj a sign «green colour» predstavlento in the table № 6 is More evident.

The table № 6

Quantitative aspect reprezentatsii lexemes, verbalizujushchihkognitivnyj a sign «green colour»
Product The lexemes-reprezentanty located on rate of the use Total
«The house without the owner»

(«HausohneHutter»)

grune (97 reprezentantov) - green, Grun (18 reprezentantov) - greens, green colour, grunlich (8 reprezentantov) - greenish, hellgrun (4 reprezentanta) - light green; 3 репрезентанта:grйnlichgraue - zelyonovatoyoseryj, dunkelgrun - dark green, 2

reprezentanta: grunlichgelb - zelenovatoyozhyoltyj, grellgrune - bright green, 1 reprezentant: grunlich-gelblichen -

Greenish-yellowish, grunlichwei β - zelenovato-white, grunend - turning green, moosfarbig - colours of a moss, graugrun - seroyozelyonyj, grunlackiert - covered with a green varnish, gelblichgrun - zhelovato-green

145
«Billiards in

Half tenth »

(«Billard um halb zehn»)

grun (82 reprezentanta) - green, Grun (4) - greens, green colour, 3 reprezentanta: dunkelgruner - dark green, grunlich - greenish, grungrau - green-grey; grungedeckten (2 reprezentanta) - covered 103

Greens; 1 reprezentant: grungefarbten - painted by a green paint, hellgrunen - light green, resedafarbig - colours of a mignonette, Silbergrun-serebristo-green, grun-wei β - green-white, grunsilbern - it is green-serebjanyj
«Eyes of the clown» («Ansichten eines Clowns») Grun (9 reprezentantov) - green, dunkelgrun (3 reprezentanta)-dark green, 1 reprezentant: Aaschengrune -

butylochnogotsveta, lindgrun - is gentle-green, grasgrun - tsvetazelyonojtravy, Grun - greens, zelyonyjtsvet

15

Having arranged kolorativy on ottenochnoj to a scale from light and not intensive to dark and bright, we will receive gradation of colour "green" on intensity. At the scale basis are located kolorativy grunlich - greenish, Iindgrun - gently green, hellgrun - light green, moosfarbig - colours of a moss. Into a category of the brightest have entered kolorativy grellgrun - bright green, dunkelgrun - dark green, resedafarbig - colours of a mignonette, flaschengrun - bottle colour, grasgrun - colours of a green grass. Kolorativ "green" it is wide predtavlen also two-nuclear structures: grunlichgrau - zelyonovato-grey, grunlich - gelblich - greenish-yellowish, grunlichwei β - zelenovato-white, graugrun - green-grey, gelblichgrun - zhyolovato-green, grunlichgelb - zelenovatoyozhyoltyj. In more details to gradation of colour "green" on intensity it is presented in table 7.

The table № 7

Gradation on intensity of colour
It is made ie Svetl., neinten sivn. Two-nuclear structures (with presence of other colour, as a rule, more light) nejtraln. Subcamp tivatsija prilaga telnogo Dark, bright
«The house without grunlich GRUNLICHGRAU - grun - Grun - grellgrun -
The owner » - zelyonovato - Green, Greens, Brightly -
(«Haus ohne zelenova Grey, grunlackiert The green Green,
Hutter ») tyj, GRUNLICH - - The covered Colour dunkelgrun

hellgrun

svetloyozelyonyj, moosfarb ig -

Colours of a moss

gelblich - Greenish - yellowish, grunlichwei β - zelenovatoyobelyj, graugrun -

Green-grey, gelblichgrun - zhyolovato - green, grunlichgelb -

zelenovatoyozhyoltyj

Green varnish - tyomnoyozelyonyj
«Billiards in half tenth» («Billard um halb zehn») grunlich

zelyonova tyj, hellgrun

svetloyozelyonyj

grungrau - Green-grey, silbergrun - serebristo - green, grjn - wei  - green

White, grunsilbern - it is green - the silver

grun -

Green, grungedeckt - covered with greens, grungefarbt

okrashenny jzelyonojkr askoj

Grun - Greens, green colour dunkelgrun

- tyomnoyozelyonyj ^ sedafarbig

- Colours of a mignonette

«Eyes of the clown» («Ansichten eines Clowns») lindgrun

- Gently green

grun -

The green

Grun -

Greens, green colour

dunkelgrun - tyomnoyozelyonyj, flaschengru n -

butylochno go colours, grasgrun - colours of a green grass

Further we will pass to the description of contextual compatibility kognitivnogo a sign «green colour». In comparison with red colour accents here were displaced: on the first place there were «surrounding subjects».

The table № 8

Contextual compatibility kognitivnogo a sign «green colour»

Semantic categories «The house without

The owner »

«Billiards in

Half tenth »

«Eyes of the clown»
Surrounding subjects (subjects of a life, house use, furniture, an interior) 36 54 1
The natural phenomena, nature descriptions 29 12 0
Clothes of the person 1 23 3 14 - 14
The Description

Men

17 1 3
The Description

Women

5 10 11
Another 14 16 -
Meal 11 4 -
Light, (alarm) fires 22 2 -
Paint 6 - -
Appearance of the person - 4 - 1 - 0
The Description

Men

4 1
The Description

Women

- -
Total 145 103 15

Apparently from the table № 8, kognitivnyj a sign «green colour» is combined in bolshej degrees spredmetami a life, house use, furniture, that in itself is rather remarkable, after all logical would be to expect, that green colour includes to this "natural phenomena". Probably, given circumstance is connected with certain specificity of creativity of Henry Byollja. As fairly notices Ilyin, «one of substantive provisions of creative outlook of G.Byollja is theme disclosing in a daily occurrence foreshortening.

For it those concepts and symbols which exist in sphere perceived, sensual [Ilyin 2002: 164] are important. Besides, given

The circumstance confirms once again a hypothesis about antropotsentrichnosti colour semantics in a language picture of the world of Henry Byollja.

So, the dominating colours which are representing itself as a background in analyzed products, are green and red. Data kollorativy in an individually-author's picture of the world of Henry Byollja are connected with gender representations. So, green it is thought as female colour, and red as man's. The space of the house depending on the one who occupies it (men or women), also is painted in these colours. Thus, kolorativnye epithets "green" and "red" are original markers of the female and man's text accordingly. Besides, kolorativ "green" has additional semantics, it is often used for the description of "unreality of an event» (in this sense kolorotiv "green" has in the text similar semantics, as kolorativ "yellow" which also designates improbability of described subjects, however unlike green, yellow has a positive estimation and it is more likely used by the author for the image of too ideal images - see Valuable component kontsepta «Haus» and the Appendix). Kolorativ "red", being a marker of "the man's text», symbolises activity. Thus, the house space shares in product on "man's" and "female", and as markers of the given divisions serve kolorativnye epithets.

So, the figurative component kontsepta «Haus» in an individually-author's picture of the world of Henry Byollja includes metaphorical models «the house - an empty cover» and «the house - man's and female space», and also such opredmechennye metaphors as "marriages-pieces of furniture" and «a matrimony - a bedroom», kognitivnuju a metaphor "person-house". Kognitvnyj the sign "colour" is the important spatial component kontsepta «Haus» and an original marker of man's and female space.

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A source: Ponomareva Anna Jurevna. KONTSEPT «HAUS» In the INDIVIDUALLY-AUTHOR'S PICTURE of the WORLD of HENRY BYOLLJA (on a material of novels «the House without the owner», «Billiards in half tenth», «Eyes of the clown»). The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Moscow - 2018. 2018

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