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4.2. Key words-substantivy tsvetaevskoj epifrazy and their compatibility with groups of lexemes in a role of epithets

Recently there are the works devoted to consideration central for the creativity by M.I.Tsvetaevoj of senses, or keywords. Of the cores conducting kontseptov the author there is its language picture of the world.

For M.Tsvetaeva kontseptami Trees [Revzina 1982] and some other, and their quantity at different researchers a miscellaneous (from several to ten, including verst, an elder, a mountain ash, the house, Moscow and others) are such kontsepty Soul [Vojtehovich 2003]. As the basic criterion at their allocation and the description for researchers their conceptual importance for M.Tsvetaeva's attitude, their rate, presence of the poems with the same name and cycles of verses acts; their role in the organisation poetic mirovidenija during the certain period of creativity is considered.

To S.J.Lavrovoj's dissertations it is spent tryohaspektnyj the conceptual analysis idiostilja by M.Tsvetaeva, providing presence of three types kontseptov – existential, sootnosimyh with an ontologic foreshortening of research (the Nature, the Creator, Society), gnoseological, defining methodology of author's knowledge of the world (Essence, the Limit), epistemicheskih, acting as methodological kontsepty the researcher (the Paradigm, Identity, the Myth, the Symbol). Thus, through modelling kontseptosfery M.Tsvetaeva consisting of two circles – existential and gnoseological [Lavrova 2000] is carried out.

N.V.Chernyh investigates keywords in M.Tsvetaeva's creativity. The values inherent in a keyword, reflect stages of development of thought in the text. The keyword accumulates in itself all variety of semantic units, becomes an equivalent to product in whole (see more in detail Black 2003). Besides, as has shown the researcher, keywords provide a compression at text level. In its opinion, the keyword (base kontsept creativity) shows a nuclear part of a semantic field. The centre of a semantic field can have not only on the keyword centre, but can be and independent (for example, kontsept the alto is under construction on crossing of semantic fields of a voice, heights and death). More often the keyword of the poetic text represents not the centre, and periphery, border of the semantic fields which have coincided in it. Such character, according to the researcher, following keywords carry: The soul (a life, death), a garden (death, flora), glass (sight, death), to close eye (sight, death, creativity) etc. «Just as in the mathematician border is called the set of points belonging simultaneously both internal, and external space, border of a semantic field is the sum semantic« filters », transition through which, made in a keyword of the poetic text, translates one semantic field in another, space of a semantic field of the text, thus, can repeatedly be crossed by internal borders, spetsializirujushchimi its sites in the semantic plan. Information translation through these borders forms sense generations, occurrence of the new information» [Black 2003:102]. The researcher comes to conclusion that all keywords of creativity of the poet (a shower, sight, a life, death) are variations kontsepta creativity.

By in total us it has been analysed more than 2500 nominal contexts. The verbal lexicon also partially joined in sample structure, but only that its part, which appeared the closest to nominal (participles, words of a category of state) and interpreted as an epithet.

Generalisation of results of the analysis epifraz from positions of rate of the use of substantive lexicon in M.Tsvetaeva's creativity shows, that central for the poet substantivami what are connected with the person act, with its corporal and spiritual life. These are eyes (296 units), a hand (133 units), a mouth (lips) (102 units), soul and heart (97 units), love (51 unit). Other conceptual spheres in which frameworks are fixed frequency substantivy, are nature sphere (kontsept trees – 90 units) and sphere of artefacts (kontsept the house – 198 units).

Let's submit data in the table.

Table 3

Structure base substantivov in M.Tsvetaeva's creativity, verbalizovannyh means epifrazy

№ p/p Kontsept Quantity reprezentatsy
1 Eyes 296
2 The house 198
3 Hand 133
4 Mouth, lips 102
5 Soul, heart 97
6 Trees 90
7 Love/passion 51

The structure allocated with us base substantivov, verbalizovannyh by means of nominal epifrazy, partially correlates with those data which results tsvetaeved I.I.Babenko as in the centre of its attention there is an early lyrics of the poet. We will result the list allocated with it base kontseptov (in its terminology – associative-semantic fields key kontseptov) M.Tsvetaeva's creativity: the person as a live being, the nature, colour, the person and its abilities, displays, time, love, the social status of the person, creed and religion, a life-movement, a dream, dwelling of the person, age, creativity, clothes (in decreasing order of rate in the lyric poet of the poet). The researcher leans against the system classification of concepts developed by R.Halligom and V.Vartburgom which represents grouping of the frequency lexicon representing associative-semantic fields key kontseptov. She notices, that «… it is possible to notice existence of certain law that variety of associative-semantic fields kontseptov in a zone of high rate contains the lexemes entering the relations oppositional protivopostavlennosti: a life – death, black – white. Variety assotsiatov occupy intermediate position and can be included and in other associative-semantic fields kontseptov, for example, assotsiaty: soul (kontsepty religion and the person) …» [Babenko 2001:257]. So, I.I.Babenko's understanding key kontsepta is based on criterion of rate of the use of words, it reprezentirujushchih, and also on as much as possible abstract and generalised interpretation kontsepta which, more likely, «the mental sphere» (for example, religion, society) is similar to concept.

Mid-frequency in the early lyrics of the poet the group the person as a live being (45 times appears; we will notice, that the lexeme used from 50 to 300 times, mid-frequency from 10 to 49 times, malochastotnoj from 3 to 9 times), and also group the nature admits high-frequency. The others admit to I.I.Babenko malochastotnymi. We will cite quantitative data.

Table 4

Quantity of word usage and rate kontseptov in M.Tsvetaeva's early lyrics (according to I.I.Babenko)

Kontsept Quantity of word usage Rate
The person 1518 45
The nature 1009 13
Colour 724 8
Displays of the person 685 8
Time 526 4
Love 463 5
The status 361 5
Religion 309 3
Movement 254 4
Dream 236 2
Dwelling 221 2
Age 194 3
Creativity 137 2
Clothes 70 1

Are united in data frameworks superkontsepta as are its specification. The sphere of artefacts (dwelling of the person) has appeared more representative as the case of late products of M.Tsvetaeva was considered, and also prose of the poet. The mental area the nature takes in our material the third place on rate, at I.I.Babenko it on the second place, that also speaks in sample volume.

It is necessary to notice, that all frequency senses set forth above expressed with the help epifrazy, are not isolated from each other: in the poetic text there is their associative-semantic interaction and in a concrete semantic environment one of them become central, others peripheral, sometimes highlighting others, not base, but actual for the given poem semantic blocks.

By consideration base for M.Tsvetaeva's creativity substantivov, verbalizovannyh in frameworks epifrazy, possibility of their distribution to three mental spheres was considered: the person, artefacts and the nature; in each of spheres the kind kontseptov – concrete or abstract has been detailed. The concrete (subject) type kontsepta corresponds subject denotativnym to images with sensually perceived kernel and verbalizujutsja lexicon of concrete value (a rose, a star, a hand); abstract kontsept verbaliziruetsja by means of abstract lexemes also defines concepts emotional (love, fear) and geshtaltnye (a life, death).

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A source: Gubanov Sergey Anatolevich. the EPITHET In M.I.TSVETAEVOJ's CREATIVITY: SEMANTIC And STRUCTURAL ASPECTS. The dissertation on competition of a scientific degree of a Cand.Phil.Sci. Samara - 2009. 2009

More on topic 4.2. Key words-substantivy tsvetaevskoj epifrazy and their compatibility with groups of lexemes in a role of epithets:

  1. 4.1. Compatibility of groups of lexemes in a role of epithets with groups of defined words: the basic laws
  2. THE CHAPTER III THE BASIC SEMANTIC GROUPS OF THE LEXEMES ACTING AS EPITHETS AND DEFINED WORDS
  3. THE CHAPTER OF IV TENDENCY OF COMPATIBILITY OF EPITHETS AND DEFINED WORDS IN TEXTS OF PRODUCTS OF M.TSVETAEVA
  4. 3.1. Semantic groups of the lexemes acting as epithets
  5. 4.2.1. Key substantivy spheres "person"
  6. semantic compatibility verbalizatorov in different languages as instructions on compatibility kontseptov
  7. 3.2. The basic groups substantivov, a part epifraz as defined words
  8. 3.4. Experiment on a material of English words, neologisms and nonce words
  9. nekogerentnost as result of not trivial lexical compatibility
  10. §5. A role and a place of leaders of informal groups condemned in system subkulturyosuzhdennyh
  11. 1.4.4. Other types of epithets
  12. 4.2.1.1. substantivy concrete semantics
  13. 4.2.1.2. substantivy abstract semantics
  14. 3.1. Epithet repetition at one defined substantive within the limits of one epifrazy (34 units) or as a part of various epifraz (22 units).