No 1 (2023)

At this stage of the terminology development, terminologists are particularly interested in studying the terminology of special fields of knowledge using a cognitive approach. The use of frame analysis in terms of this approach makes it possible to present the terminology model of any professional field most successfully. The purpose of the paper is to build a cognitive-frame model of the Russian term system of the field “Open architectural space design” as a fragment of the architectural and design terminology of the professional sphere “Design of architectural environment”. The material for the analysis is more than 680 lexical units of the field “Open architectural space design”, selected using a continuous sampling method from texts of educational, scientific and Internet sources of the specialty “Design of the architectural environment”, architectural design and linguistic dictionaries and reference books. The research methodology is based on general scientific and linguistic methods and techniques: descriptive, comparative methods, methods of classification and linguistic modeling, as well as definitional, contextual and frame analysis. The basic concepts within the framework of the cognitive approach are defined. The interpretation of the terms frame, subframe, slot is presented. The theoretical foundations of frame modeling are highlighted, the frame structure used in the study is justified. A hierarchical cognitive-frame model of the term system “Open architectural space design” is constructed, consisting of three frames: “Urban environment design”, “Landscape design”, “Lighting design”. Within each frame, units of lower levels such as subframes, slots and micro-slots are allocated. Interframe processes have been studied: the relations of intersection within the macroframe “Open architectural space design”, including between units of different levels, as well as the relations of intersection with the macroframe “Interior Design” are revealed. The special role of the frame “Lighting Design” is defined, consisting of general terminology for the macroframes “Open architectural space design” and “Interior design” and specific terms for each of them. The frame model of the term system “Open architectural space design” makes it possible to present a hierarchically organized system of the terminology and identify its intra-system relationships. The results of the research can be useful for terminologists, specialists in the field of architectural environment design, for teaching practice in universities.

The present article is devoted to the linguistic aspect of constructive solving of consciousness problems both in the individual independent activity, and in the process of group education. The author operates with the philosophic categories of non-linearity in the system of speech, dissipation of consciousness and its “pluses” and “minuses”, from the psychological point of view. Relatively new philosophic notions of graduality and ingraduality of mind as the speech trends are analyzed. The author dwells upon the problem of virtual reality (VR). The aim of the article is to picture the obvious benefits of constructive approach to solving the problems of mind in the framework of conjoint philosophic categories of virtuality, graduality and ingraduality, non-linearity and dissipation.We use the constructive approach, based on positive thinking in solving the mind problems, particularly, in making up the speech and in memorizing. The applied method is that of psychological associations, while memorizing foreign words, with the active context submerging on the example of A. Burgess’s book “A Clockwork Orange” in English. The associations fall into the content ones and purely linguistic examples, with free associations for everybody. The key to the used methods is the mediation of practice. The author of the article comes to the conclusion that only constant efforts in memorizing and creative modification of the necessary information, the worked out skill to cope with the mind problems constructively in practice are effective both in the process of education and in everyday life. The diversity of memorizing methods through practice, the projecting of the studied material onto everyday life as a hint to action are really working approaches. The search for links of the word under investigation with reality, the necessary activity foster the motivation of memory work in the foreign language (I added 24 words out of the necessary 13). The practical value of the present paper is determined by the necessity of everyday mind efforts in solving the problems of education and the household and is substantiated by the 20-year pedagogical experience of the author, practicing mnemotechnology in the framework of philosophic notions in the modern science.

The problem of linguistic variability remains acute due to the dynamism of national language development. The study of phraseological units of biblical etymology in the aspect of their variability has recently become increasingly significant, as the fact of wide use of phraseological units derived from biblical texts and stories in various types of discourse is noted. The diversity of variants of biblical phrases requires identifying, organising and structuring the types of their variation.The aim of the research is to identify new variants of biblical phraseological units that are widely used in various discourse types (fiction, media, publicistic, historical, political). Contexts that verify the resulting data of the research were borrowed from the British National Corpus (BNC), News on the Web (NOW) and electronic dictionary Reverso Context (RC).Language material for the research was extracted out of 3 phraseological dictionaries: 1) the bilingual “English-Russian phraseological dictionary” by Alexander V. Kunin, 2) “English-German-Swedish Dictionary of Biblical Phraseology” by Tatyana N. Fedulenkova and others, 3) the multilingual phraseological dictionary “The Mite of Biblical Wisdom” by Zoya K. Adamia and others. The research methods, namely the method of the phraseological identification, the method of the structural and componential analysis, the method of the quantitative analysis and the method of contextual analysis, allow to analyse 350 phraseological units of biblical origin that are actively used in modern English and identify a set of variants that include both usual and occasional simple variants, i.e. lexical and grammatical, quantitative variants of phraseological units and mixed or complex variants of phraseological units.It was found out that along with linguistic variation, phraseological variation is the result of the natural development of language as a system. Variation of biblical phraseological units is not equaled to phraseological synonymy. The analysis of selected biblical phraseological units allowed us to identify the following types of variants: simple variants and complex variants (e.g. substantive-quantitative variants, adjectival-quantitative variants, verbal-quantitative variants) of phraseological units. Within each of the given groups, a division into usual and occasional variants is made. Simple variants are represented by lexical variants (including substantive variants, prepositional variants, prepositional-substantive variants, attributive variants, verbal variants); grammatical variants (including morphological variants and morpho-syntactical variants); quantitative variants (with truncation and addition of components). Truncated parts of a phraseological unit may be represented by three types (truncation of the initial part of the phraseological unit; truncation of the final part of the phraseological unit; mixed truncation). A group of quantitative comparative variants is distinguished, in which the first conjunction (as) as a result of regular truncation becomes optional, resulting in quantitative-variative pairs. A type of mixed variation has been identified, implying the origin of variants by multiple modifications. Substantive-quantitative variants are formed by changing the substantive component together with varying the structure of the phraseological unit by expanding it with a variable component with a preposition. Adjectival-quantitative variants are formed as the result quantitative variation (expansion of the structure of the phraseological unit) coupled with the replacement of the adjectival element. With the help of corpus data, the preference of native speakers for some variants of idioms over others was successfully revealed.The conclusion is made that the studied phraseological units borrowed from the Bible are not static, but are ‘living’, constantly changing language units, widely used in modern English speech. Moreover, both simple and complex variation in the component composition of a given phraseological unit has no significant impact on the invariant meaning of the phraseological unit.

M. Voloshin’s special interest in color naming is caused both by the peculiarity of the era (Silver Age), and his passion not only for the poetic word, but also, equally, for fine art. The color picture of the world of M. Voloshin’s poems is distinguished by a variety of colors that convey shades of one color or another, and the unusualness of the created color images, in which the features of the author’s perception of the world are revealed.The article presents data on the study of the semantics and symbolic meaning of frequency colors found in the lyrical texts of M. Voloshin, data on the analysis of individual poems containing color symbolism in order to determine the meaning of color painting for understanding the poet’s worldview and the features of his creative manner.In the course of the study, methods of semantic-stylistic, contextological, and motive analysis were used, which make it possible to reveal the features of the embodiment and the meaning of M. Voloshin’s color picture of the world.The variety of color embodiment of the lyrics of M. A. Voloshin is associated with the peculiarity of the worldview of Voloshin the artist, who gave himself the attitude “to absorb all forms, all colors into oneself with the eyes”. In addition, the poet’s passion for Symbolist and Impressionist teachings influenced the multicoloredness of his poetry. Color painting, being one of the main means of expressing the author’s intentions, helps to convey the subtlest color shades and the symbolism of the feelings of the lyrical hero. The most frequent colors used by M. Voloshin: red in its many variations, gold, gray, purple – often contain metaphysical symbolism. To convey color, M. Voloshin also uses lexemes denoting plants (flowers), as well as mineralogical designations.The study of M. Voloshin’s lyrical tests for the use of color in them led to the conclusion that the color picture of the poet’s world is rich and diverse incarnations: colorful epithets, unusual metaphors, comparisons, synesthetic images, mineralogical designations – an incomplete list of the means and techniques used by the author. The significance of the conducted research lies in the reflection of the author’s worldview through the comprehension of the symbolic meanings of the image embedded in the color names.

In the autobiographical book “The Last Bow” V. Astafiev artistically comprehends the theme of childhood, which has already been noted by researchers. However, literary scholars, as a rule, concentrate on the analysis of the image of the central character and his grandmother. In our opinion, the writer’s ideas about childhood are also manifested through the images of secondary characters-children, relations with which reveal the originality of the autobiographical hero.The purpose of the study is to analyze the techniques for creating images of children (Vitya and Sanka) in the book “The Last Bow”.Material and methodology of the study. The material of the study is the stories of the book “The Last Bow”, which tell us about the relationship between two characters – Vitya and Sanka. The methodological basis of the study is the works on psychologism poetics, autobiographical prose by M. M. Bakhtin, L. Ya. Ginzburg, A. P. Skaftymov, A. B. Esin. A structural-semiotic approach is used to analyze the image of a character.The creation of images of Vitya and Sanka is based on psychologism techniques (portraiting, behavioral reactions in conflict or crisis situations, the transfer of an internal state through dialogic speech and internal monologues). At the same time, V. Astafiev uses elements of intertextuality, which make it possible to combine the social and everyday specifics of an autobiographical narrative with a conditionally symbolic generalization in the characters’ poetics (in the story “The Horse with a Pink Mane” the biblical motif of temptation is used, in the story “Dark Dark Night” - robinsonade plot, which implies self-determination in the conditions of being on an island).In the book “The Last Bow”, the stories about Vitya and Sanka represent a certain meta-plot in which the dynamics of the images of boys is determined by the process of their growing up, of formation of their personalities. The changes are especially showed in the image of Sanka. If in “The Pink-Maned Horse” he acts as a trickster-tempter in relation to the autobiographical hero; then in “The Photo I’m Not In” he is able to give up his interests in order to support a school friend.

In the collection of stories “Mirgorod” N. V. Gogol discusses what is behind the folk idyll. He shows the absurdity of any deviation from his harmonic model (the mixing of superstition and dogmas of Christianity in the “Viy”, the landlords’ quarrel over a stupid question in the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”). The illogicality of the last story is particularly frightening. It signals the disintegration of the culture of good neighborhood, friendship and patriarchy.In the first third of the XIX century, when Gogol wrote “Evenings on a Farm Near Dikanka”, friendly societies appeared en masse in Russia and the genre of “epistle to a friend” was actively developing, so the motive of the quarrel, already represented in the nomination of the work, could cause negative associations.The genre of the “epistle to a friend” was actively developed by the participants of the literary society “Arzamas”, which could well become the subject of Gogol’s reflection. The business card of “Arzamas” was “galimat’ya” (nonsense), friendly gatherings. Absurd speeches of friends acquired a written form. The poet V. A. Zhukovsky almost always recorded the comic texts of “Arzamas” meetings.In this regard, we consider it legitimate to refer to this facet of Zhukovsky’s talent in the further analysis of Gogol’s “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”, in which absurdism and caricatures are everywhere revealed.The purpose of the article is to identify the “Arzamas code” and analyze the creative models of Zhukovsky’s works in Gogol’s text. This analysis is being conducted for the first time and will expand the range of interpretations of the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”. The choice of Zhukovsky’s works models is justified by the fact that the poet was the permanent secretary of “Arzamas”; in addition, the poet continues to a certain extent the sentimental line in Russian literature, which correlates with the subjectivity of epistles to a friend chosen for analysis.The material of the article is the work of N. V. Gogol “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”, “Arzamas” protocols of V. A. Zhukovsky, as well as such his works as the dramatic poem “The Maid of Orleans”; the poem “Theon and Aeschines”; articles from the journal “Herald of Europe”; ballads “Lenore”, “Lyudmila”, “Svetlana”; epistle to a friend “To Batyushkov”, etc.; fable, “The Quarrel of the bald”, etc. Comparative and biographical research methods are used in the work.The final story of the tetralogy is characterized by absurdity, not harmony. There is a mixture of contexts in the story: the bright, idyllic side by side with destructive denial, the base and sinful penetrates into the consciousness of Gogol’s characters. In addition, the narrator puts an equal sign between a person and a thing.The man in the final story of “Mirgorod” gradually turns into a predator and pest. The main characters destroy the natural harmony by quarreling, which contradicts the principles of Zhukovsky’s creativity. The poet often sings friendship, love and harmony in his lyrics, but in Gogol’s story we see a crisis of these values.In Gogol’s story there are not enough components of friendly messages like those that Zhukovsky wrote.The idyllic model of Zhukovsky, which was still visible in the “Old-World Landowners”, completely disappears in the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich”. Firstly, patriarchy is leveled. A carefree stay in the bosom of nature is no longer enough for a person. Secondly, the reader in the “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” does not see families and couples (Ivan Ivanovich and Ivan Nikiforovich are single and have no children). Idyll in “Mirgorod” is now impossible, and harmonious relations between the characters are also impossible.The heroes do not seek to learn new things, do not want to give up harmful passions. No one can reason with those who have quarreled. Ivan Ivanovich and Ivan Nikiforovich turn into litigators, and litigation for former friends becomes a cult, an obsession. They do not hear the voice of conscience, nor the advice of others. The development and resurrection of the characters is postponed forever.The famous “Arzamas galimat’ya” plays the role of a facilitator in the quarrel of the heroes. Gogol’s narrator deliberately uses it to demonstrate the uniqueness of the phenomenon of friendship.There is a substitution of concepts everywhere in the work. Friendship turns into anti-friendship, idyll turns into anti-idyll, and the base replaces eternal values. The absurdity of Gogol’s story resembles “Arzamas” carnival. The narrator is characterized by high pathos when describing lowly objects.Thus, in “The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich” we see a decisive rejection of Gogol’s youthful aspirations to comprehend and reproduce Zhukovsky’s high idyllic and elegiac models. It is clear from the writer’s text that friendship is now a rare spiritual phenomenon. This destroys the model of epistle to a friend and creates a kind of antagonism, uncharacteristic of Zhukovsky’s creative thinking. Gogol’s exaltation and imitation of the poet in “Mirgorod” are weakening. Zhukovsky believes that all changes in the world are for the better, but Gogol’s opinion on this is somewhat different. He often shows a distorted, deformed world. By the end of “Mirgorod” there is no place for the aesthetic, because Ivan Ivanovich and Ivan Nikiforovich are disgusting in their pettiness. Gogol shows the result of man’s falling away from patriarchal traditions and Christian values, which leads to a violation of the universe logic (this was seen earlier in the death of the main characters in the novels “Old World Landowners”, “Taras Bulba”, “Viy”).