UDC 81’42

NATIONAL CULTURAL COLOR OF A WORK OF ART

T.V. Drobysheva

Voronezh State University

Abstract: The article examines the image of the surrounding world in F. Scott Fitzgerald's novel “The Great Gatsby” and its refraction in two Russian translation texts using the example of the interpretation of realities and words with a cultural component in meaning. The main focus of the work is on comparing translation techniques and the resulting shifts in perception artistic image the surrounding world, that is, the refraction of the pragmatic effect in the translators’ texts.

Key words: reality, translation technique, artistic image, pragmatic effect. Annotation: The article studies an image of the environment in the novel by F. Scott Fitzgerald “The Great Gatsby” and its interpretation in two translated Russian texts by an example of realias and words with a cultural component in their meaning. The main focus of the investigation is on the comparison of the translation devices and the resulting shifts in perception of the literary environment, i.e. deflection of the pragmatic effect in the two translated texts.

Key words: reality, translation devices, imagery, pragmatics

Images of the surrounding world are an integral part of the analysis of the meaningful structure of a work of art. In addition, they make it possible to identify culturally specific meanings embodied by the author of the original text and their refraction by the authors of translations, since translation is within the broad framework of interlingual and intercultural communication involves “transferring a text to another culture,” the translator, thus, “acts as an intermediary between independent, integral, specifically organized semiotic systems, which ultimately reflect the characteristics of the national culture and a certain worldview.”

Our research is devoted to the analysis of the communicative-pragmatic content of images of the surrounding world in the novel by F.S. Fitzgerald's "The Great Gatsby" and its refraction in Russian translations (A - translation by E. Kalashnikova, B -

N. Lavrov) using the example of realities and words that have a cultural component in their content structure.

Back in 1969 N.G. Komlev recognized that a word-sign expresses something other than itself, and saw in this a connection with the presence of “cultural

© Drobysheva T.V., 2008

new component". Many scientists today define such words as realities. S. Vlahov and S. Florin, N.A. Fenenko recognizes “color” as the most typical feature for realities, and we, following them, consider realities to one degree or another to be carriers of connotative meanings. Researchers believe that “national and historical coloring is closely related to a wide variety of emotional, expressive, and evaluative overtones, and often determines them.”

In connection with the pragmatic importance of realities and their exclusive role in the text of a work of art, words with a cultural component in their meaning come into the focus of our attention, namely, according to the subject division, having topographical, ethnographic and socio-political phenomena and objects as their denotations. Also within the framework of this classification we include proper names and “allusive names”, since they constitute the figurative system of the work and are associated by native speakers with certain folklore, literary sources and historical events. Such label names saturate the text with all kinds of symbols. “The untranslatability of proper names, their attribution to non-equivalent vocabulary is due to the inherent

most of them have connections with a certain people, with national traditions and culture, which makes them closer to reality.”

Words with a cultural component in their meaning present great difficulties in translation, since they are conceptual and lexical gaps in the target language. In this regard, the problem of equivalence between the original and translation texts arises, which can be solved from the point of view of the category of compensation, which allows them to ensure their expressive and impressive equivalence. Despite many serious obstacles to full translation, it is carried out, which is explained by “the ability of languages ​​and cultures to compensate for the insufficiency of one of their areas at the expense of others.”

In the theory and practice of translation, the following methods of translating words with a cultural component in their meaning (realities) are widely known: translation periphrasis, adaptation, transcription, tracing and omission. Translators choose different methods of translating realia depending on how significant a function a particular sign-realia performs for the poetics of the translated text and depending on the lexical-semantic compatibility in the context of the target language. The above transformational techniques influence to varying degrees the perception of images in translated texts.

1. Let us give examples of shifts in the perception of images of the surrounding world when translating words denoting topographical objects.

F.S. In the novel, Fitzgerald repeatedly uses the technique of metonymic substitution when describing topographical objects in America. So, instead of the well-known Yale University, Fitzgerald uses the name of the city where it is located: I graduated from New Heaven in 1915 (lit.: I graduated from New Haven in 1915). Translator A neutralizes this technique in his text and resorts to the specific name of the educational institution to remove possible difficulties in perception by Russian readers, cf.: I graduated from Yale University in 1915. Translator B also neutralizes metonymic transfer, but, unlike author A, does it in more detail, which leads to narrative overload, cf.: I studied at Yale University in New Haven, Connecticut, from which I graduated in 1915.

In the following example, Fitzgerald uses the stylistic device of alliteration to create a comic effect. Ironic-

The comic effect (banter on the main character, Daisy) is enhanced by the fact that the author deliberately makes a mistake in the name of the American state, cf.: ‘A man named Biloxi. “Blocks” Biloxi, and he made boxes - that’s a fact - and he was from Biloxi, Tennessee.’ The state of Tennessee is in the group of states of the Southeast Center, there is no such city as Biloxi. This fact is certainly difficult to understand for a Russian reader unfamiliar with the topographical subtleties of America. In addition, the name of the city and the guy's last name are meaningful names for American readers, since the city of Biloxi, located on a peninsula in the Gulf of Mexico, was named after the now extinct Biloxi Indian tribe - one of the oldest settlements in that area. So the 'Biloxi guy' is perhaps a guy with roots in this ancient Indian tribe.

In translation A, the author tries to preserve alliteration as much as possible and get closer in form to the original, without revealing the cultural and historical background of the original’s irony, cf.: - Yes, yes, his name was Biloxi. Blox Biloxi - and he was a boxer, honestly, and he was from Biloxi, Tennessee. Whereas translator B in the text strives to be logical, even more logical than the original author himself, and, along with maintaining the technique of alliteration, “corrects” Fitzgerald, indicating in his text that the city of Biloxi is not in Tennessee, but in bordering it in southern Mississippi. Irony is thus neutralized. Wed: - Exactly, Biloxi! - Daisy remembered. - “Churban-Biloxi”, he was also involved in boxing! I am not kidding! Biloxi, originally from Biloxi, Mississippi.

2. Let us give examples of shifts in the perception of images of the surrounding world when translating words denoting ethnographic objects, that is, words associated with the life, work and culture of the people.

2.1. The first subgroup of names of ethnographic objects includes words associated with the life of the people.

So, for example, when translating the names of drinks and dishes typical in American culture: highball - ‘ alcoholic drink made of whiskey/brandy and water/soda, served in a tall glass, usually with ice', hash - 'finely chopped meat, stewed/baked with potatoes or other vegetables: onions, tomatoes' - translators use the following techniques: A - highball paraphrase ^

whiskey and soda, B - transcription highball ^ highball; A - adaptation with elements of periphrase

hash ^ goulash with vegetables; B - transcription with elements of the periphrasis hash ^ “hash” - juicy finely chopped meat.

In America, it is customary to denote urban transport - a taxi - with the word cab (derived from cabriolet) meaning a hired car with a driver, usually yellow, and Fitzgerald repeatedly resorts to this word in the novel. Translator A either omits it completely (cf.: At 158th Street the cab stopped), or resorts to the generic concept of a car, that is, to a transformation of the generalization of meaning, which levels out the cultural component of the word and does not reflects the specific differences between cabs and other cars - that is, its function (paid hired transport) and appearance (yellow color) (cf.: the Forties were lined five deep with throbbing taxicabs / seethed a continuous stream of snorting cars). Translator B in the second case also uses a transformation of generalization (cf.: the Forties were lined five deep with throbbing taxicabs / passed traffic flows through their sclerotic veins). In the first case, he conveys the nationally specific word cab using a generally accepted taxi, thus using one of the possible translation options (cf.: At 158th Street the cab stopped/On 158th Street the taxi stopped). But here it should be noted that translator B in this sentence has already resorted to the technique of transcription when rendering the word street ^ street, so repeated use of the same technique would lead to a stylistic overload of the narrative with exoticisms.

Easily recognizable to residents of Great Britain and America, the name of the shipping company that carried out and still carries out communication between Great Britain and North America, mentioned in the novel, is the Curnard-White Star Line. When translating this proper name, denoting shipping transport, translator A uses the technique of periphrasis, suggesting that the name of this shipping company will not say anything to the Russian reader, cf.: I think must be a nightingale come over on the Curnard or White Star Line / he, probably arrived on the last transatlantic flight. Translator B in this situation also uses periphrasis, but to preserve the national flavor he transcribes the name of the company, cf.: how did he get to

to us - no less than the last flight across the Atlantic. Apparently from Cunard or White Star Line.

2.2. To the second subgroup of names of ethnographic objects we include words associated with the art and culture of the people.

Fitzgerald's text mentions the then-famous American dancer and comedian Joe Frisco, who invented the “Black Bottom” dance, which involved an unusual rotation of the hips. The writer compares the dance of one of the girls at Gatsby's party with the way this dancer moved. This comparison highlights the atmosphere and culture of that era. Translator A omits it, in translation B the comparison is preserved and for greater clarity the translator resorts to periphrasis. Compare: moving her hands like Frisco, dances out alone on the canvas platform / A will run out onto the canvas platform and spin in a dance without partners / B and jump out onto the canvas of the dance floor... her hands fly like white-winged gulls, like the king’s Frisco's rhythm and she dances alone.

An example of an allusion to a well-known work in the English-speaking environment is the mention of the realistic saga novel by M. Edgeworth “Castle Recreent,” written in 1801. Its main idea is to describe the ups and downs of the life of an aristocratic Irish Catholic family. “That’s the secret of Castle Rackrent,” exclaims the main character of the novel, hinting at the difficult relationship in their family, which translator A conveys isomorphically, without revealing the essence of this allusion, unrecognizable to the Russian reader (Cf.: This is the secret of Castle Rackrent). In translation B, the author adapts this allusion and replaces it with an allusion to the universal famous fairy tale Charles Perrault "Bluebeard". The tale is based on an ancient Breton legend and was published in 1697. The plot of the story about a murderous husband is the punishment for curiosity at the cost of death. Having replaced the original allusion, translator B preserves the artistry and imagery in his text, but transforms the implication: secret ofCastle Rackerent (long, complicated story) ^ secret of Bluebeard's Castle (dangerous story).

The original mentions a children's game common in the culture of English-speaking countries - sardines-in-the-box (sardines in a box) - according to the rules it is similar to hide and seek, in the end all the players find themselves in a 'house' stuffed like a box of sardines. Translators do not risk cluttering

narration using paraphrases or any comments and resorting to the following techniques: translator A to adaptation (sardines-in-the-box ^ “the sea is agitated”), translator B to omission. The adaptive replacement of translator A completely distorts the subject situation, since according to the rules of the game “the sea is agitated,” children depict the sea, and when the presenter speaks, everyone must freeze. Perhaps translator A wanted to preserve the ‘watery’ theme of the original, but with this transformation the national flavor of the original is neutralized.

3. Let us give examples of shifts in the perception of images of the surrounding world using the example of the translation of words denoting socio-political objects and phenomena.

3.1. The word frontier (the savage violence of the frontier brothel and saloon), which has a strong cultural and historical component in its meaning, refers to objects of administrative-territorial structure characteristic of America in the 18th-19th centuries. The frontier represented the border with Indian territories, the extreme limit of the advance of the pioneers in North America; it was characterized by lawlessness, adventurism, hope for quick enrichment, and confrontation with the Indians. It is generally accepted that the Frontier played an important role in shaping the American national character. The author of translation A uses the technique of periphrasis, which does not fully reveal the depth of the cultural subtext of the description American reality, cf.: the riotous prowess of the saloons and brothels of the western border. Translator B uses transcription and reveals the cultural component of the meaning with the help of a reference (The border with Indian territories, the extreme line of advance of the first settlers in North America), which in this case is appropriate due to the great cultural significance of this object of territorial structure.

3.2. One of the brightest elements of the socio-political life of America were the so-called ‘pioneers’, that is, the first English settlers who went to the West, developing during the colonial period and in the 19th century. territory of North America. Fitzgerald mentions this social phenomenon when he describes young Gatsby's mentor and calls him a pioneer debauchee, where pioneer performs an attributive function. Due to the peculiarities of compatibility in the Russian language, translators transform it

to the nominative. In this case, translator A uses the technique of transcription, which only partially reveals the deep culturally specific meaning contained in this word (pioneers). The author of translation B resorts to synonymous adaptation and compares the pioneer settlers of the Wild West with the conquistadors of the Wild West, who were participants in the Spanish campaigns of conquest in Central and South America at the end of the 15th-16th centuries, brutally exterminating and enslaving the indigenous population, thus using a different historical reality. The translator here manages to convey the connotative meaning of the character’s unbridledness and savagery.

3.3. Transformations during the transmission of military-historical realities are presented by the following examples. In order to characterize the First World War of 1914-1918, Fitzgerald resorts to comparison with the migration of the Teutons - the proto-Germanic tribes. These tribes were a military and religious order of German knights who carried out feudal aggression in Eastern Europe in the XIII-XIV centuries. Wed: a little later I participated in that delayed Teutonic migration known as the Great War. The author thus resorts to reality to create cultural-historical relationships in the structure of the text. Translator A specifies this comparison and adds a differential feature - he defines the Teutons as a tribe, which is the historical name of a nation, people. This technique helps the Russian reader to decode the cultural and historical subtext of the phrase, cf.: ... a little later I took part in the Great World War - the name that is usually given to the belated migration of the Teutonic tribes. Translator B, when conveying this comparison, resorts to negatively evaluative, emotionally charged vocabulary, through which he also concretizes the situation. Wed: ... soon after this he was drafted into the army and took part in the Great War, as we in America usually call the invasion of the newly-minted Teutonic barbarians. The words invasion, barbarians define the clearly negative nature of “migration” - that is, aggression, intervention, seizure, encroachment, penetration, intervention; cruelty, savagery, primitivism. The definition of the new book style is an expressive means of drawing the reader's attention to the historical parallels between the First World War and the actions of the Teutons.

In the above analyzed examples, focused around the analysis of translation techniques, the direct relationship of translation techniques with the communicative and pragmatic effect produced on the reader is revealed,

and, as a consequence, the formation of different images of the surrounding world among recipients. In these examples, we can see the tendency of translator A to adapt and Russify the image of the surrounding world, while translator B strives to maximally convey the atmosphere of America in those years. He repeatedly gives cultural and historical comments in the form of footnotes, in addition, author B often resorts to transcription, which can, on the one hand, lead to an incomplete understanding of the situation by Russian readers, on the other hand, saturates the text with national flavor, “constituting, in the words of N.K. Garbovsky, is an integral part of poetics."

BIBLIOGRAPHY

1. Vlahov S. Untranslatable in translation / S. Vlahov, S. Florin. - M.: International. relations, 1980. - 352 p.

2. Garbovsky N.K. Translation theory: textbook / N.K. Garbovsky. - M.: Publishing house Mosk. University, 2004. - 544 p.

3. Komlev N.G. Components of the content structure of a word / N.G. Komlev. - M.: Publishing house Mosk. University, 1969. - 191 p.

4. Kretov A.A. Switching language codes as a reflection of the individual author’s picture of the world / A.A. Kretov, E.A. Protsenko // Sociocultural problems of translation / Voronezh. state univ. - 2002. - Issue. 5. - pp. 92-98.

5. Fenenko N.A. Language of realities and realities of language / N.A. Fenenko. - Voronezh: Voronezh. state univ., 2001. - 140 p.

SOURCES

1. Fitzgerald F. Scott The Great Gatsby. - Penguin Books, 1994. - 188 p.

2. Fitzgerald F. S. The Great Gatsby, Tender is the Night: Novels; stories / trans. from English E. Kalashnikova. - M.: 2003. - 824 p.

3. Fitzgerald F. S. The Great Gatsby, Tender is the Night: Novels / trans. from English N. Lavrova. - Rostov n/d: Phoenix, 2000. - 576 p.

Voronezh State University T.V. Drobysheva, teacher of the department in English natural science faculties, applicant for the department of general linguistics and stylistics [email protected]

Voronezh State University

T. V. Drobysheva teacher, Department of the English Language for Natural Science Faculties, postgraduate student, General Linguistics and Stylistics Department [email protected]

Color in painting is the most important element of the artistic form, serving to reveal the figurative content of works of art. The term “color” comes from the Latin word color, which means color, paint. Color in painting is “the nature of the relationship between all the color elements of a work, its color structure as one of the means of a truthful and expressive depiction of reality.” For centuries, starting from the 16th century, there was a debate among artists about the primacy of form or color, pattern (line) or color in painting, which was resolved mainly idealistically in search of the absolute, in isolation of one concept from another. Artists of the Renaissance assessed drawing as the fundamental basis of painting, but in the same era, along with the linear school of the Florentines, the pictorial and coloristic school of the Venetians arose - Giorgione, Titian, Veronese. Ingres believed that “color complements painting with decoration, but it is no more than a court lady from the retinue. A similar idea was expressed by David: “A line is the outline of the real, color is nothing more than a mirage.”

Even some representatives of the Russian realistic school of painting of the 19th century. held similar views. P.P. Chistyakov said: “High art, as an inalienable property of the human spirit, manifests itself essentially in the trait. Effect, color - these are all auxiliary means, you need to be able to use them in moderation.” However, along with the above attitude towards color as a “secondary” quality of painting and only an auxiliary means of complementing and decorating the form, the history of art gives us numerous examples of the use of color and color in painting as an active means in constructing an artistic image. In the works of Titian and Veronese, Rembrandt and Rubens, Russian artists B. Surikov, V. Serov, K. Korovin, M. Vrubel, M. Konchalovsky, A. Lentulov and many others, color is actively used to express the artistic and figurative content of the creative concept. The famous Armenian artist Martiros Saryan said that the painter expresses the world and his attitude towards the world primarily in color. The theory of color has undergone significant changes with the development of the theory, history and practice of art. In the 19th century Hegel gave a definition of color in relation to valerine painting. The essence of color, in his words, “lies in the use of all colors so that a play of reflections independent of the object is revealed, which constitutes the pinnacle of color; the interpenetration of colors, the reflection of reflexes that flow into other reflections and are of such a subtle, fleeting and spiritual nature that the transition to music begins here.” And further he wrote that “the great variety of color is not simply arbitrariness and a random manner of coloring, which would not exist in rerum natura, but it lies in the nature of the things themselves.” In the 19th century The theory of color and artistic practice was based on the idea of ​​imitation of nature. A master of color was considered an artist who knew how to take Color tone illuminated objects, inherent in their nature, and give harmony to the color combinations of the painting. At the beginning of the 20th century. German researcher E. Utitz classified various forms of using color as a means of artistic expression and identified three main types of color organization in the fine arts: polychrome, harmony and colorism.

Polychrome, according to Utitz, comes down to coloring and is used in sculpture, architecture, ornament, and posters. Harmony is used in those types of art where the consonance of colors is necessary, which gives the work of art a certain mood and influences the content. Colorism as a principle of organizing the color system, according to Utitz, is possible only by imitation of nature, is inherent only in painting and is rarely used in decorative and applied arts. In our opinion, the use of color in an ornament only through polychrome (coloring) is unlawful, since the ornament is created using means of harmonious combinations of color tones, which affects the content of ornamental motifs and their emotional impact. Another German scientist F. Jenicke identifies three types of colorism in the color structure of a painting, built on the principle of imitation of nature: absolute color, exaggerated color, tonal color. Absolute color conveys all modifications of the color and tone of the depicted nature, exaggerated color conveys exaggerated saturation color combinations nature, tonal coloring conveys not the real colors of the depicted nature, but deliberately harmonized and expressed through a general color tone. Color is a means of artistic expression in painting and, as an element of artistic form, is inextricably linked with the ideological, semantic and figurative content of a painting.

Color expresses the artist’s unique worldview, his aesthetic views and, indirectly, the general artistic culture of the era. Color in painting is directly related to the specifics of the image of space and the stylistic interpretation of the forms of image elements. The basis of coloring as a system for organizing color combinations in realistic pictorial writing (spatial chiaroscuro painting) is made up of color and tonal relationships, value, tone, halftones, tonality, scales, shades, etc. The basis of color in decorative painting is the rhythmic organization of harmonious combinations of local colors. Color in painting includes the laws of harmonious combinations of color tones, the phenomena of lightness and color contrasts, and the laws of optical color mixing. We will consider the system of color and tonal relationships in painting, the problems of tone and halftone further, and here we will dwell on a brief description of other components of color. The term “valere” was quite often used by practitioners and theorists of painting in the 19th century; nowadays it is used less frequently. The term "valere" comes from the French word valour, which means "value, value." The literal translation of this word does not reflect the content that practitioners and theorists of fine art put into it. Some artists and theorists understand valor as the development of tonal gradations of image elements in painting from light to dark while maintaining color richness. Mastering the principles of valera allows the artist to paint a light object in the shadow with dark colors so that the lightness of the object is felt, or paint a bright object in the shadow with dark colors so that the lightness of the object is felt. so that the brightness of the object is felt.

The correct, from our point of view, interpretation of the term “valer” is given by K. Yuon: “Valer is a French traditional term used when analyzing the pictorial merits of a painting and is difficult to translate. It denotes not so much any quality of color as the quality of painting itself, meaning by the latter the totality of everything inherent in it: the quality of its color, light and technically textured aspects. Valer defines the pictorial value that appears as a result of subtly perceived pictorial relationships and feelings inherent in the characteristics of the pictorial parts among themselves, in the unification of the whole, formed from chiaroscuro, colorful and plastic content of the subject. Valeras are formal indicators of the subtleties of pictorial sensations.” Valerie in painting is created by the imperceptible transition of one color tone to another through the so-called degradation of tones and the resulting formation of a color scheme. A color scheme is a set of consonant colors that are close to each other in hue, saturation and lightness. The color of a painting is often characterized by the words: warm, cold, silver, golden, ocher-red, meaning color scheme. Often the color scheme of a painting is called a color scheme. Sometimes a painting is built on the principle of using several color scales, but they are generally subordinate to the leading color scale or serve to highlight and contrast it. The use of several color scales in painting creates a certain tonality, which is sometimes called the coloristic tonality of a painting.

The use of various color tones in painting conveys the state of the season, day, weather condition, etc. The coloristic richness of painting is also achieved through the nuances of color, the search for its various shades. The term "nuance" comes from the French word nuance and means "shade". Nuanced color, enriched with its shades creates a feeling of vibration of color, its spatiality. They say that the shade of a color is more valuable to a painter than the color itself. “Painting that does not breathe in each of its colors a thousand enriching shades is dead painting,” said K.F. Yuon. Analyzing various ways coloristic decisions in painting, art theorist N.P. Volkov said: “There were many attempts to create a system of rules for the color construction of a painting. All these attempts, often useful for their authors, soon became dead recipes, because the tasks for which the rules were created changed.” Only the three most general laws remain - the law of visibility of color, the law of subordination to the meaningful task of the image and the law of unity (integrity) of the system of arrangement of natural colors.”

The color of a painting is significantly influenced by the nature and color of the lighting source in the image environment. No matter how diverse the colors of the depicted elements are, the nature and color of the lighting unites them coloristically. For example, under moonlight, all colors of objects acquire gray-blue and greenish-blue shades, and when the sun sets, they become ocher-reddish or orange-purple. To understand the principles of color combination of colors, it is sometimes recommended to look at image elements through various colored glasses. If you look at nature through yellowish-red glasses, you get an impression close to evening lighting, and if you look through bluish-blue glasses, you get an impression close to moonlight. When painting a landscape, the unification of various elements of the image with a common lighting color is the basis for creating a harmony of color structure, i.e. coloring of a painting. The principles of coloristic organization of image elements in a landscape are more clearly visible if we compare pictorial sketches depicting, for example, a cloudy state summer day, moonlit night, twilight, bright sunny day, sunset, clear or cloudy winter day. The color of each element in the image in these sketches, both in light and in shadow, must be correlated and must be in harmony with other colors and with the overall coloring of the image. If at least one color in the image does not convey the influence of the lighting color, this color will stand out as alien and extraneous to the given state of illumination, it will destroy the coloristic harmony and integrity of the image.

Thus, coloristic (unity various colors The general color of lighting in nature is the basis, the key to creating color, a harmonious color structure of a painting. P.P. Volkov also said the following: “The task of a color image is always and certainly - even in the absence of purely creative tasks - the task of translating, firstly, an infinite number of color phenomena onto a limited vocabulary of the palette, and secondly, the task of translating volumetric - spatial life of color into a system of spots enclosing a limited piece of plane.”

a) Simultaneous light and color contrasts

b) Arrangement of spectrum colors in a triangle

c) Improper qualities of color. Under the same conditions, blue color causes a feeling of greater distance than red.

Term "color" entered the artistic lexicon no earlier than the 18th century. It comes from the Latin word “color”, meaning “color”, “paint”. This word was subsequently borrowed by many European languages. In the 18th century, it appeared in the Russian artistic lexicon and was used, as a rule, as a synonym for the word “color.” In the reports of students of the St. Petersburg Academy of Arts about the works they saw abroad, remarks are often found: “natural colors,” “pleasant colors,” etc. In these characteristics, attention is drawn to the quality of local colors in terms of their truthfulness, development in lightness, color tone, saturation, their consistency or inconsistency with each other, and the word “color” is used either in the singular or in the plural. This understanding also corresponds to the general definition contained in one of the manuals of the 18th century: “Coloring or shading of paints is an art through which the painter mixes not only paints, but also shading them, with choice and action. Adjectives of color, such as: bright, sharp, weak, etc. Thus, attention is drawn to the fact that it is important not only to mix paints well, but also to be able to express their illumination or shading through them. At the same time, color is also characterized as a certain optical whole, as a set of all colors viewed from a certain distance.

This interpretation of color is still widespread today. It is in this last sense that it is customary to talk about cold, warm, silver or some other similar color. And there is no doubt that when analyzing the artistic merits of a painting, the statement of these features of the color structure of the picture is useful, since it draws attention to the preference given by the artist to one color or another, which expresses the peculiarity of his vision. So, we can say that V. Surikov had a colder coloring than I. Repin, that El Greco was colder in his coloring than Rembrandt, and draw further conclusions from here.

However, one should also keep in mind the fact that the general color tone, which we call color, can arise completely by chance, against the will of the artist, and, in essence, can be inherent in any combination of colors.

The clarification of the concept of “color” was facilitated by a long-term dispute about the priority of drawing or color in a pictorial work. The dispute originated in the 16th century. In his treatise “Dialogue on Painting,” Lodovico Dolci (1557), contrary to the views of Michelangelo’s followers, who affirmed the primacy of drawing in painting as the main means of expression, puts forward color. The dispute continued in subsequent times, until the 19th century. Echoes of it were heard in O. Balzac’s novel “The Unknown Masterpiece.” However, in these disputes it was still not so much about color as a specific concept of painting practice, but about the role of color in painting in general.

The development of the science of color, as well as the history and theory of art in the 19th century, leads to a deeper and more comprehensive analysis of the concept of “color.” It becomes obvious that not everyone who works with paints, even if very beautifully and elegantly, is a colorist, that “color” or “colorism” is some kind of special ability of the artist to manage color, so mysterious and incomprehensible that statements about “secret” appeared. color, about the “magic” of color, about its incomprehensibility.

A favorite saying among artists has become: “drawing can be taught, but a colorist must be born.” Perhaps the most profound definition of the essence of color in the 19th century was given by Hegel, referring to classical valerie painting: the magic of color, in his words, “lies in the use of all colors so that a play of reflections independent of the object is revealed, which constitutes the pinnacle of color; the interpenetration of colors, the reflection of reflexes that flow into other reflections and are of such a subtle, fleeting and spiritual nature that the transition to music begins here”; and further: “The sense of color should be an artistic property, a unique way of seeing and comprehending existing color tones, and should also constitute an essential aspect of the reproducing ability of imagination and ingenuity.” Hegel further drew attention to the fact that true colorism is a reflection of the color relations of reality: “the great variety of color is not a simple arbitrariness and a random manner of coloring, which would not exist in rerum natura, but it is contained in the nature of the things themselves.”

This understanding arose in the sphere of artistic practice; It is based on the idea of ​​imitation of nature. A true master color, according to Diderot, is the one “who managed to take the tone characteristic of nature and well-lit objects, and managed to give harmony to his picture.” Quoting these lines, Goethe, who polemicized with Diderot, adds: “In any light, at any distance, under any circumstances, the one who most correctly, most purely and vividly perceives and reproduces colors and combines them harmoniously.”

There are certain differences between the terms “color” and “colorism,” which are very often used as synonyms in our art history literature. N. Dmitrieva points out the difference between these two terms: “We are accustomed to calling color construction color, regardless of what type it belongs to and what era it belongs to, but the term “colorism” has a slightly different connotation.”

This idea is confirmed in an analogy. Just as by the word “painting” we mean any work executed with paints on canvas, wood or paper, and by “picturesqueness” we mean a certain specific quality that is not inherent in every work of painting, so by color we mean any combination of colors, but under colorism - only a certain special quality that is not inherent in every set of colors. However, in a certain context, the term “color” can be synonymous with the term “colorism”, receiving the meaning of the latter.

Colorism is associated with the ability to convey through color, as they say, the “skin” of the visible world. It arises along with picturesqueness, owes much to it and also represents a new stage in the development of painting. A new understanding of the tasks of painting required the artist to paint things in such a way that they were represented in all their tangibility. And this was much more difficult than painting the depicted objects. If local color is entirely determined by its connection with the object, then the pictorial-coloristic interpretation of color presupposes its concrete sensory perception and emotional experience. But at the same time, although it seems paradoxical, there is a slight diminishing of the role of color. While the color was used locally, it was more noticeable, brighter; The symbolism of color also played an important role. With a coloristic solution, color, sharing its expressive and pictorial role with other means of artistic expression, is somewhat faded, becoming less noticeable and catchy.

00461486 As a manuscript UDC 811.161.1 BBK 81.411.2 P501

POLIKUTINA Lyudmila Nikolaevna

LINGUISTIC FEATURES OF NATIONAL COLOR IN A LITERARY TEXT (BASED ON THE EXAMPLE OF M.YU. LERMONTOV’S EASTERN STORY “DEMON”)

Specialty 10.02.01 - Russian language

dissertation for the degree of candidate of philological sciences

Tambov 2010

The work was carried out at the Russian language department of the State Educational Institution of Higher Professional Education “Tambov State University named after G.R. Derzhavin"

Scientific supervisor: Doctor of Philology,

Professor

Blokhina Nina Georgievna

Official opponents: Doctor of Philology,

Professor

Novikova Nina Viktorovna

The defense will take place on December 3, 2010 at 15.00 at a meeting of the dissertation council D 212.261.03 at the GOUVPO Tambov State University named after G.R. Derzhavin" at the address: Russia, 392000, Tambov, Sovetskaya street, 6, meeting room of dissertation councils.

dissertation council ^

Candidate of Philological Sciences Kudinova Elena Alekseevna

Leading organization: State Educational Institution "Volgograd"

State Pedagogical University"

Doctor of Philology, Professor

Piskunova S.V.

GENERAL DESCRIPTION OF WORK

The originality of a previously unfamiliar culture is primarily comprehended through language. In the text, through words, phrases and sentences, the realities of another people appear, connected only with its location, religion and folklore. Explanation of the word and larger contexts from the linguistic and accompanying historical and cultural aspects helps to reveal the national flavor of the work.

National color was studied selectively either from the lexical side, as borrowed, foreign words (A.B. Garyma, L.P. Krysin, S.A. Korolevich, S.Sh. Shkhalakho, Yu.Yu. Lipatova), or from the historical and cultural side (I Andronikov, A. Kovalenkov), or as an aspect of translation studies (T.A. Lukyanenko, M.L. Chibirova). Meanwhile, the national flavor in the text, like the text itself, at all linguistic levels should be subject to comprehensive study.

With a broad study of the artistic text in the linguistic aspect and with a deep study of the work of Mikhail Yuryevich Lermontov, the Caucasus in his life, the poem “Demon”, in the presence of a general incomplete dictionary of his poetic and prosaic creations, there is not a single experience that would explain the national originality of a particular work.

The dissertation research is devoted to the analysis of national color in a literary text in the linguistic aspect using the example of the work of M.Yu. Lermontov "Demon".

The relevance of the study is determined by its connection with the systemic-functional and anthropocentric directions of modern linguistics; the lack of development of the issue of linguistic means of representing oriental flavor in the works of M.Yu. Lermontov; the significance for modern linguistic science of the search for new elements of artistic imagery in the writer’s system of idiostyle.

National color can be examined in those literary texts where it plays an important role. Color always requires explanation, linguistic commentary, and commentary also implies the disclosure of cultural and historical

ric context of the work. The study of vocabulary characteristic of national color is a study of those specific concepts that are often used in a certain linguistic environment by one or another people: the names of objects that are poorly understood by any other nation. Behind one word or phrase sometimes there is a whole history of one of the spheres of a people’s life. Therefore, the study of exotic vocabulary helps to understand any aspect of the life of another nation.

Syntax as a connected set of words represents a certain dynamics of content, and therefore syntactic units (such as a period) are, according to the author, the most expressive means of describing rituals, landscapes, national characteristics and what happens against the backdrop of a colorful landscape. The choice of syntactic unit - period - allowed M.Yu. Lermontov to present the work “Demon” as a multi-genre work, which can be called a poem, a story, and a dramatic work.

The relevance of the problem determined the purpose of the study - to identify the features of the poem by M.Yu. Lermontov’s “Demon” based on the disclosure of the concept of “national color”.

In accordance with the goal, a number of tasks are put forward in the research process:

1. Describe the system of linguistic means with the help of which the national color is expressed in the poem by M.Yu. Lermontov "Demon".

2. Identify how the analysis of linguistic means and their expression in the text contribute to a better understanding of the ideological and semantic content of M.Yu.’s work of art. Lermontov "Demon".

The material for the study was examples extracted using the continuous sampling method from the poem by M.Yu. Lermontov’s “Demon” and texts of oriental lyricists. In total, over 1000 examples were considered.

The appeal to the poem “Demon” is motivated by the fact that the work of M.Yu. Lermontov (1814-1841) - one of the most significant

significant phenomena of Russian literature, and Lermontov’s personality still remains largely mysterious.

His poetic and prose works largely reflect character traits the author, and at the same time in his poems the reader sees himself, his feelings, his thoughts. Therefore, by exploring Lermontov’s work, we strive to understand his personality. And having better understood his personality, we will to some extent understand ourselves. The French psycholinguist and critic Emile Hennequin said in 1892: “The reader, in his psychological characteristics, is similar to the writer whose books he likes.”

Thus, the work reveals the commonality that unites the great poet with the modern reader.

The study of the eastern originality of the poem “Demon” reveals the work of the poet M.Yu. Lermontov for further similar studies in the linguistic aspect.

For in-depth reading of favorites poetic text it is necessary to trace and comprehend the meaning of the national color, which is reflected in the poem. In the process of analysis, the content acquires new qualities; without comprehending the national color, without identifying its significance for the poem, it is impossible to fully penetrate the author’s worldview and understand his personality.

Studying the creativity of M.Yu. Many scientific works are devoted to Lermontov (E.F. Rosen, A.A. Grigoriev, P. Viskovatov, V.V. Vinogradov, D.E. Maksimov, E.H. Mikhailova, L.V. Pumpyansky and others). Interest in the poem by M.Yu. Lermontov’s “Demon” is reflected in literary works and in studies of the stylistics of the work (U.R. Fokht, I.B. Rodnyanskaya, A.B. Maznyak), in the works of linguists (G.A. Rodionova, E.V. Plakhina ).

With a wide study of the biographical, literary, stylistic contexts of the poet’s work, for a long time the linguistic side of his work, reflecting the national flavor, remained practically unattended. The reason is the common misconception that Lermontov as a classical poet has been studied almost thoroughly.

Lermontov’s appeal to national color in the poem “Demon” is not accidental. National coloring, as a conquest of foreign romantic writers, and then Russians, made it possible to place the main character in such exceptional, unusual conditions where his character could clearly manifest itself, that character that is lost in the gray reality of his native country.

Whatever analysis of the text of “The Demon” is carried out, including the analysis of national color, it is necessary to bring this analysis under the main meaning given in the title of the work. “An Eastern Tale” is just a subtitle. His poems containing national traits, Lermontov and colorfully entitled: “Aul Bastundzhi”, “Kalli”, “Mtsyri”, “Hadji Abrek”, “Caucasian Prisoner”, “Izmail-Bey”. The exceptions are the poems “Angel of Death” (where the subtitle is “an oriental tale”) and “The Fugitive” (the subtitle is “a mountain legend”). It should be noted that the main feature of the above-mentioned titles is that they contain the name or characteristics of the main character (except for “Aul Bastundzhi”). As the development of the work “The Demon” shows, everything really revolves around the image of the main character, and therefore the national color, its analysis is the auxiliary means that reveals the main character - the Demon. Therefore, if the analysis of national color is not connected with the image of the main character, then such an analysis will not make sense.

The dissertation reveals a linguistic image, that is, one that appears to the reader as something collective, as a result of a synthesis of particular analyses: lexical, syntactic, partly cultural.

There were and are different views on the poem. In one case it is said that “The Demon” is a work that will never be solved, since both the image of the main character and the motives of many of his actions are not completely clear (S.P. Shevyrev), in another case a clear explanation is given image of the main character (I. Shcheblykin). But the researchers of “The Demon” are unanimous on one thing - that in the image of the hero the author embodied himself to some extent.

In connection with the coexistence of such mutually exclusive points of view, it seems relevant, through an analysis of national color, to answer the question of who both the Demon himself and the poet who created him are.

It must be said that no matter how exhaustive the study of the poem may seem, every time, every scientist will find in it their own answers to the questions that arise as they read, which arise after a closer acquaintance with the personality of the creator of the work.

The object of the study is the poem “Demon” by Mikhail Yuryevich Lermontov, revealing its ideological and thematic content through a linguistic analysis of national color.

The subject of the study is the national (oriental) flavor in the poem by M.Yu. Lermontov “Demon” and linguistic means of its expression.

National flavor is inherent in a literary text with the corresponding features of the landscape, life, people, legends and rituals presented in it. Such a text can be written by either a foreign author or a Russian one.

In a text written by a foreign author, national coloring will almost always be present. Color is characteristic of tangible forms (clothing, flora, fauna, musical instruments, weapons, architectural structures); in the texts of foreign (eastern) authors it is determined by their worldview. The lexical expression of such texts is much richer than the same lexical content in the text of a Russian poet, where national features are also present. But in Russian romantic poetry the tasks for the national color are different: not being a bearer of the Eastern worldview, the poet cannot convey the features of the Eastern mentality as a whole. The Russian romantic pursues the goal of precisely reflecting the colorful in his work in order to reveal against its background the main character, the features of his unique character.

Thus, exploring the national color in those linguistic manifestations with which it is represented in Lermontov’s poem “Demon”, one should contrast it with the image of the main

the hero of the story, and by exploring the national characteristics of the text from a linguistic point of view, to create a collective linguistic colorful image-background that will give a new perception of the Demon and, in many ways, the one who is embodied in him - the creator of the text.

In accordance with the design, theme, and content of the text, the genre and stylistic design of the text and the corresponding linguistic means are chosen.

Research methods. The main methods used in this study are:

1) comparative method;

2) continuous sampling method;

3) method of linguistic description;

4) method of statistical calculation.

The following provisions are submitted for defense:

1. Isolating the national flavor in the poem “Demon” is one of the most important stages of working on a literary text, the purpose of which is to gain a deeper insight into the semantic structure of the text and the personality of the author with the help of linguistic design.

2. Lexical analysis of national color in a literary text is carried out only with the involvement of historical and cultural commentary. Such a comment helps to most accurately imagine an object or phenomenon of a non-native environment, embodied in the text in the form of a lexeme.

3. Lexical analysis of national (oriental) flavor in the artistic text of a Russian writer is carried out only with the involvement of artistic texts of oriental poets. A comparison of nationally colorful lexemes in the text of the Russian writer and lexemes of equivalent form and meaning in the texts of Eastern lyricists proves that the Russian writer really has such lexemes with flavor.

4. The choice of a certain syntactic unit to reflect the national color clearly represents the history of another people, their way of life, customs; the chosen syntactic unit is not only the main means of expressing the idea of ​​the work, but also an indicator of the author’s idiostyle.

5. Syntactic analysis of linguistic means of expressing national color in the poem “Demon” is inseparable from genre analysis. National coloring as a reflection of the real world is characteristic only of the epic layer of the work, the lyrical layer is the fantastic world of the main character Demon, the dramatic layer is presented in the dialogue of the two worlds of the work: national and non-national (Tamara and Demon).

The scientific novelty of the research lies in the fact that the dissertation is the first to address a comprehensive analysis of national color in a specific work of art (M.Yu. Lermontov’s poem “The Demon”). National identity is expressed by certain lexical means, for which a classification has been developed according to substantive feature, which allowed the author of this study to identify value guidelines characteristic of a particular linguistic culture.

The study for the first time proposed a definition of national color, which allows us to consider national identity from a linguistic aspect: “National color in a literary text is the totality of the realities of life of a certain people, expressed in a complex of lexical means. The expression of color in the text is associated with the peculiarities of the author’s idiostyle, which is manifested in the poet’s choice of certain syntactic means” (for Lermontov in “The Demon” this is the period).

The theoretical significance of the dissertation research lies in the linguistic approach to the analysis of text with pronounced national characteristics. The results of the study make it possible to take a deeper approach to the consideration of artistic modern and classical texts with national flavor. The study of national color helps to identify the image of the main character of the work.

The practical significance of the conducted research lies in the fact that the results of the work can be used by researchers of romantic literature in general, researchers of national color in the text, teachers

when studying and presenting a theoretical and practical course in the Russian language, courses in stylistics, linguistic and cultural analysis of text, literary studies, by students when writing coursework and diploma papers, by teachers in lessons dedicated to the poem “Demon” and the Caucasus in the works of M.Yu. Lermontov.

Approbation of work. The main theoretical principles and practical results of the study are reflected in reports presented at international and all-Russian scientific and practical conferences in Russia and neighboring countries: International Conference “Presenting the World in Humanitarian Discourses of the 21st Century” (Ukraine, Lugansk, 2008); “Derzhavin Readings”: All-Russian Conference (Russia, Tambov, 2009); International Conference " Russian word: perception and interpretation" (Russia, Perm, 2009); All-Russian Conference “Philology and Journalism in the 21st Century” (Russia, Saratov, 2010). The research materials are presented in 10 publications, 1 of which is in a publication recommended by the Higher Attestation Commission of the Russian Federation.

Work structure. The dissertation consists of an introduction, two chapters, a conclusion, a list of references (247 titles), a list of dictionaries, a list of electronic sources, a list of abbreviations and two appendices. The total volume of work is 187 pp.

The introduction substantiates the relevance and scientific novelty of the research, defines the object, subject, purpose and objectives, initial theoretical principles, material and methods, theoretical significance and practical value of the work, and formulates the main provisions submitted for defense.

In the first chapter, “Theoretical foundations of linguistic analysis of national color in a literary text,” a definition of national color is given, the linguistic aspects of its study are considered, and the features of the study of oriental color in the poem by M.Yu. Ler-

Montov's “Demon”, the works of linguist and non-linguist scientists have been studied, in which they address one or another national aspect (for example, the work of M.JI. Chibirova talks about the importance of understanding someone else’s mentality when translating foreign texts into Russian; A.B. Taryma studies phonetics and vocabulary in the texts of Tuvan writers, etc.).

Linguistic analysis of national color in a literary text in the complex of its lexical, syntactic, phonetic and word-formation analyzes has been practically not studied. This is to some extent natural, since linguistic analysis in general aroused real interest among scientists only forty years ago. For this reason, it is too early to talk about the theoretical basis of linguistic studies of national identity in the text. This base should consist of aspects without which it seems difficult to study the national features of a poetic text: this is the structure of the text, and poetics, and the lexical basis of national flavor.

In relation to the study of the classic romantic text of a Russian writer, the analysis of the word-formative and, in many ways, phonetic levels of the language is irrelevant, since such a text does not carry the sound-bearing, symbolic load that was characteristic of texts of a later period of literature: futuristic, symbolist, avant-garde - and texts of modern writers from national minorities, where phonetics and morphemics play an important role in identifying the uniqueness of a particular nationality.

National color is the prism that allows you to take a fresh look at a work of art. It manifests itself mainly at the lexical level of a literary text, being an auxiliary means of contrast with the image of the main character. According to the romantics, who were the first to introduce national flavor into their works. he not only highlights the main character, but also introduces the reader to a foreign reality, in particular, the Caucasus. For people who lived during Lermontov’s time and rarely traveled outside their native country or to its remote areas, as for the poet himself, the Caucasus was unconditionally exotic.

The peculiarity of a text with national originality expressed in it is that the analysis of such a text (linguistic, literary, historical, psychological, etc.) must begin with the analysis and explanation of all linguistic units in which the author presented the reader with the life of another people. Only such a primary analysis with detailed commentary on linguistic means will provide a subsequent correct and holistic perception of the work, an understanding of its aesthetic value and the character of the creator. Studying the linguistic means by which national color is presented in a literary text means answering the question about the role that the author himself gave it in the work.

Of no small importance in understanding the function of national color is its syntactic design in the text. A significant syntactic structure in the poem “Demon” is a period consisting of two parts, and the content of each part can be assessed differently: 1) national identity is reflected in the entire period, and then the parts complement each other; 2) the color expressed in one part is contrasted with the non-colorful content of the second part, thereby the author emphasizes the main role of national color in the text of “The Demon” - to be the antithesis of the image of the main character, and this corresponds to its purpose for which it was introduced by Lermontov.

A period as a syntactic unit is represented by one or several sentences, if the intonation of the text fragment and its unique two-part composition allows this. In connection with this phenomenon, the researcher proposes to divide such periods into standard and meaningful. This division makes sense, since the period from its syntactical-semantic side has been practically not studied, although the history of the study of this syntactic unit goes back about 2500 years. In rhetoric and logic, no place was given to the syntactic side of the period.

The period, which “delivers pleasure” with the harmony of its form, influences the poetics of “The Demon,” adding musicality, special rhythm and aesthetics to the work. In this aesthetics, poetry, and belonging to art, an artistic (poetic) text will always be underexplored, unsolved, which makes the research open and thereby emphasizes its scientific value.

The second chapter, “The author’s interpretation of national color in an artistic (poetic) text,” directly examines those linguistic units that convey oriental color in the poem “Demon.” These are lexical means: words, phrases; artistic means: epithets, comparisons.

The main thing that characterizes national color is lexical material, and the author chooses a period as a means of expressing national color - a syntactic unit in which the multi-genre nature of this work can be traced (epic, lyrical and dramatic features).

To check the reliability of the coloring of lexemes, it is necessary to turn to oriental texts that were written before the creation of the analyzed work by the Russian author: firstly, in this case, the author could be familiar with those images and objects that are found in oriental texts; Secondly, Eastern texts written in a later period may contain lexical innovations that historically emerged only in this later period. When analyzing lexemes with an oriental character, it is important to explain them from a historical and cultural aspect - to create a holistic and correct perception of both themselves and individual episodes of the work.

When comparing nationally colorful lexemes in Russian and Eastern texts, the geographical location of the action in the Russian work and the origin of the lexemes play an important role. If “The Demon” is about Georgia, then the literary Georgian text serves as the material for comparison. At the same time, Persian vocabulary is found in Lermontov’s work (peri, Finger, harem, muezzin), and therefore the texts of Persian poets were used for comparison.

The sources of comparative analysis in the study were the largest collections of Persian poetry “Spring of Pearls”, “Love Lyrics of the East” (lyrics of the X-XV centuries) and the Georgian poem “The Knight in the Tiger’s Skin” by Shota Rustaveli (XII century).

In the process of studying the national vocabulary of “Demon”, 50 lexemes were identified in the text. For them, their own classification has been developed, dictated by the text of “The Demon,” which can expand or narrow depending on the work being analyzed. The classification of lexemes characterizing national flavor is compiled from proper nouns to common nouns on a descending scale:

1) toponyms (there are 10 of them: Aragva, Terek, Daryal, Caucasus, Kazbek, Georgia, Persia, Karabakh, Sinodal, Koishauri Valley);

2) anthroponyms (2 of them: Gudal, Tamara);

3) names of buildings, their groups and parts (there are 8 of them: aul, a harem, a lonely temple, a wonderful temple, a church on a steep peak, a holy monastery, a secluded monastery, a chapel on the road);

4) names of fabrics and clothing (there are 7 of them: veil, brocade, brocade/brocade, turban, papakha, chukha, erivanka);

5) names of people and creatures (5 of them: muetsin, peri, Ossetians, Georgians, Georgian);

6) the names of the cardinal directions (there are 4 of them: east, eastern, south, southern);

7) names of plants (there are 3 of them: plane tree, almond, pillar-shaped vines);

8) names of animals (there are 3 of them: the frisky pet of Karabakh, camel, lioness);

9) names of weapons (there are 3 of them: a Turkish barrel, a gun with a carved notch, a Muslim dagger);

10) names of musical instruments (there are 2 of them: zurna, chingur);

11) a group of words with a single meaning (there are 3 of them: sonorous stirrups, caravan, pearl).

A comparative analysis of the national vocabulary of “Demon” with the texts of eastern poets revealed certain features:

1. Persian vocabulary is completely absent in the text of the Georgian poet Shota Rustaveli (peri, harem, muetsin).

2. Of the two anthroponyms, only the lexeme “Tamara” is found in eastern texts - in the Georgian poet Rustaveli (when he talks about his contemporary - the great Queen Tamara).

3. Complete absence of similar toponyms in both Georgian and Persian poetic texts. If in Persian poetry such an absence is justified by the ordinary absence of specific geographical objects, then in the Georgian text this is explained by the fact that the action of “The Knight in the Tiger’s Skin” takes place not in Georgia, but in Arabia and India (Terek, Daryal, Aragva, Georgia, Caucasus, Kazbek, Koishauri Valley, Sinodal-Tsinandali).

4. Some common noun national lexemes that belong to the Caucasian geographical area are not used in Eastern and Georgian texts due to the difference in the place of action in them and in “Demon” (aul, Ossetian, Georgian).

5. The presence in the poem “Demon” of such national lexemes, similar forms of which are not found either in Georgian or Persian texts, or in other works of the same Lermontov (Chingur, Sinodal, Yerivanka). This is due to the peculiar transmission of the pronunciation of the Caucasian word in Russian letters - as Lermontov himself heard in the Caucasus and as he decided to capture in writing. This also includes lexemes expressed in unstable phrases, which are exclusively the author’s, contextual and determined by the author’s focus on the history, culture of the Caucasus, the form and properties of the object (pillar-shaped walls, a Turkish trunk, sonorous stirrups, a Muslim dagger, a lonely temple, a church on a steep peak , a gun with a cut-out notch, a frisky pet of Karabakh).

Among the national lexemes that require special historical and cultural commentary, in the text of “Demon” the author himself explained 6 lexemes (chukha, zurna, chingur, papakh, chadra, sonorous stirrups), which means that the “unexplained” part of the lexemes did not require interpretation before , but now they are archaic.

Word combinations, reflecting the national flavor in the text of “The Demon,” play two roles: 1) represent an inseparable object (Koishauri Valley - a specific geographical object; sonorous stirrups - stirrups characteristic only of Georgians; pillar-shaped raines - pyramidal poplars); 2) indicate certain milestones in the history, culture and economy of Georgia (Turkish trunk - this is the arms trade between Georgia and Turkey; the Muslim dagger is the Georgian-Ossetian war of the XNUMXth-XVIII centuries; the frisky pet of Karabakh - the horse trade between Georgia and Karabakh) .

Artistic means of expressing national color represent the periphery between the lexical and syntactic levels, since the epithet as a figurative word belongs to the lexical level, and comparison is expressed in units from a word to a complex of sentences.

In this study, only an adjective was considered as an epithet in order to identify the qualitative side of national lexemes, the attitude towards something and belonging to something. Using epithets as an example, the author's attitude (positive, compassionate, respectful) to the realities he writes about (luxurious Georgia, poor Tamara\ glorious name Gudala) is revealed.

Comparison was an important technique for better figurative perception of national subtleties in the text of “The Demon”. When explaining the unknown, which in the text of the poem is national identity, it is important to evoke in the reader certain associations with objects or actions that are familiar to him. This allows the reader to most accurately imagine an unfamiliar object. The technique of comparison is used in relation to toponyms in order to explain their character (Terek jumps like a lioness); anthroponyms in order to convey the oriental beauty of Tamara or evoke sympathy for her (like a peri-sleeping sweetheart; poor victim) -, natural phenomena (water - pearl dew). However, some comparisons are no longer incomprehensible to the modern reader and require mandatory commentary (the gates of the Caucasus; the silent guards of the tombs).

In the process of studying national color, the important role of the genre in conveying this feature should be noted. National color represents the earthly space of the work: it characterizes everyday objects, people, and the names of geographical objects. He represents something new and exotic, something that really exists for the Russian reader. The poem is a lyric-epic genre, and the real national flavor is its epic part, which is reflected in the subtitle of “Demon” - an oriental story.

The epic part is contrasted with the lyrical component. The lyrical part of the work is the fantastic coloring of the Demon's world. With the help of special syntactic means (usually period), these two worlds in the poem are in constant contrast and very rarely in addition to each other. When comparing the two main images of the work: the image of the Demon and the image of the Caucasus, their incompatibility in relation to each other is revealed.

“The Demon” is unique in that, along with epic and lyricism, it contains the third of the main literary genres - drama, manifested in the dialogue between Tamara and the Demon - representatives of the national and fantastic spaces of the work. Through the characters, these two spaces in dialogue strive to unite, but remain in contradiction to each other.

Thus, the role of national color in the poem “Demon” is to serve as a contrast for fantasy world the main character, and from this point of view, national flavor is a special device in the work. The most indicative syntactic unit in this regard is the period (standard and meaningful), in which one part, containing national characteristics, is contrasted with the world of the Demon in another part. In those periods where both parts represent national identity, the conclusion is a striking addition or generalization to the content of the beginning.

In the text of the poem “Demon”, in addition to the period, other syntactic units - superphrasal unities - are used as a means of expressing national color, although very rarely. The author conveys in them as brief, superficial information

about a ritual, an event, describes the details of the groom’s wedding decoration, tells whole stories associated with a specific episode from the life of another people (the tradition of erecting chapels and crosses on the road, the story of the ancestor of Prince Gudal, a pre-wedding feast, the burial of an unmarried girl, princes who died on the way ).

So, lexical and artistic means represent the national identity of the poem “Demon” from different sides, opening up a new exotic world of another people to the Russian reader. Linguistic analysis of national lexemes in most cases cannot do without an auxiliary study of oriental poetry and historical and cultural commentary, as well as syntactic analysis of linguistic means expressing oriental flavor, which makes text analysis more versatile and contributes to a more accurate understanding of oriental culture, represented by M.Yu. Lermontov in the poem “Demon” through the prism of his own, author’s understanding.

At the conclusion of the dissertation, directions for further research are outlined and results are summed up, which boil down to the following.

Analysis of linguistic means is the fundamental basis for the study of national color in any field (linguistics, literary studies, cultural studies, psychology, history, etc.).

The most extensive group that names objects and phenomena characteristic of another people is vocabulary. In the poem “Demon” 50 lexical units have been identified. Most lexemes are used once as bright colorful strokes - these are some words and all phrases. A small number of words are repeated, and then such words are characterized by various epithets in order to discover a new property in an object (white veil, long veil) or name the same character who appears repeatedly in the narrative (Tamara, Gudal). The phrases in the poem, firstly, name an object that is inseparable in reality (Koishauri Valley), and therefore have a stable character; secondly, they are

an inseparable group of words only in this context, and in this case they are interpreted as the author’s (the majority of them).

The study of national color in the poem “Demon” has a twofold goal: 1) to identify the realities behind the lexemes and enclosed in special syntactic units; 2) through the special presentation of all these realities in the text, to identify the author himself, his idiostyle. In one work, the idiostyle is not so clearly traced, however, the patterns of choice of certain words, contextual synonymy, contrast, for the demonstration of which the author chooses special linguistic means - all this embodies the perception of reality that is characteristic of Lermontov in his most iconic work - the poem “Demon” .

National, earthly originality in “The Demon” is contrasted with a fantastic, fantasy space in everything: Tamara - to the Demon, nature - to the Demon, colorful vocabulary - non-colorful in those episodes where she appears main character. Thus, the holistic image of the Caucasus, consisting of exotic realities (Tamara, objects, customs, legends), is a constant antithesis to the main character. Against the backdrop of the Caucasus, the Demon most clearly manifests himself: his experiences, feelings, memories, plans, dreams, which corresponds to the function that was originally defined for the national color by romantic writers: to act as that unusual, non-native environment where the main character will appear in to the fullest. Another thing is that national color can be a complement to the image of the hero, a sphere of his spiritual growth, or a bright, informative, but obscure decoration, against the background of which the image of the hero becomes, on the contrary, understandable. Lermontov chose national color as the antithesis of the Demon, and this is the peculiarity of his idiostyle.

The diversity of genres of the poem also reflects in a special way different possibilities for conveying national identity:

1. The dramatic genre presented in the dialogue between Tamara and the Demon is devoid of colorful vocabulary, but this dialogue is a conversation between two worlds of the work (real and surreal, national and fantastic), the author’s attempt to connect them, to show the character of representatives of each of these worlds.

ditch in their speech, “on stage”. In the end it was dramatic genre, devoid of colorful colors, shows the incompatibility of two worlds, two images of the poem - the image of the Caucasus and the image of the Demon.

2. In episodes of the story where the main character appears, the national vocabulary disappears. The image of the Demon is always accompanied by the author's fantasy, since the hero himself is a representative of the unreal world. Fictional character with real experiences - this shows the deep lyricism of the poem “Demon”, which makes it partly a lyrical work.

3. Real people, objects, historical events described in poetic form determine the genre of the work as a poem. The poem combines epic and lyricism, fact and fiction. “The Demon” is called in the subtitle “an oriental tale,” and this communicates the epic component of the work. Vocabulary names tangible objects associated with the life of the Caucasian nation, and to express all this with the help of syntactic constructions, the author conveys a certain role of national color in a literary text - to serve as a device of contrast. The most indicative in this regard is the period when one part, saturated with national characteristics, is predominantly opposed to the second part, devoid of such characteristics.

The broad informative (from the point of view of national identity) function of “Demon” is combined with an aesthetic and educational function: by learning through the writer’s language the world of another people, the reader learns respect for the history, customs and culture of this people, and this is seen as the enormous value of the poem M.Yu. Lermontov's "Demon" as a work of art.

The work gave a description of national color as a phenomenon of the era of romanticism based on an analysis of the work of art of Russian romantic literature “The Demon” by M.Yu. Lermontov. It seems promising to further study words and phrases (especially author’s) that reflect national identity not only in texts of a certain era, but also in relation to literary texts

any time, any direction. The analysis of certain syntactic structures chosen by the author to express national color should go parallel to the analysis of vocabulary, since such a comprehensive study will give an idea of ​​both the style of a particular author and the purpose for which the author introduced national color into his work.

The main provisions of the dissertation research are reflected in the following publications:

1. Polikutina L.N. Linguistic analysis of a poetic text through the prism of national color (using the example of M.Yu. Lermontov’s work “The Demon”) // Bulletin of Tambov University. Ser. Humanitarian sciences. -Tambov, 2009. - Issue. 5 (73). - pp. 19-22.

in other publications:

2. Polikutina L.N. Linguistic and literary means of analyzing the poem by M.Yu. Lermontov “Demon” // Sciences1 notes of the Lugansk National Educational University. VIP. 7. T. 3. Series "Fsholopchsh science": 36. sciences, prats [Pre-appearance of the Supreme Soviet in humanitarian discourses of the XXI century] / Lugansk. National University of Taras Shevchenko. - Lugansk: "Alma Mater" , 2008. - pp. 254-258.

3. Polikutina L.N. Features of linguistic analysis of a poetic text (using the example of M.Yu. Lermontov’s oriental story “The Demon”) // Current problems of Russian philology: Collection. Art. employees scientific-method. laboratory “Innovative technologies for teaching the Russian language at universities and schools.” Vol. 4 / Rep. ed. N.G. Blokhin; Federal Agency for Education, State Educational Institution of Higher Professional Education “Tamb. state University named after G.R. Derzhavin." - Tambov: Publishing House of TSU named after. G.R. Derzhavina, 2008. - pp. 97-102.

4. Polycutina J1.H. National coloring of the poem by M.Yu. Lermontov’s “Demon” from the point of view of large units of syntax // Problems of discourse analysis: Collection of scientific works of young philologists / Rep. ed. R.P. Kozlova, N.L. Potanin; Federal Agency for Education, State Educational Institution of Higher Professional Education “Tamb. state University named after G.R. Derzhavin." - Tambov: Publishing House of TSU named after. G.R. Derzhavina, 2008. - pp. 35-42.

5. Polikutina L.N. Linguistic poetics of the eastern story M.Yu. Lermontov “Demon” // Aspects of the study of linguistic units and categories and Russian studies of the 21st century: collection of materials of the International Scientific Conference (November 27-28, 2007): in 2 volumes. T. 2 / comp. and resp. ed. E.V. Altabaeva. - Michurinsk: MGPI, 2008. - P. 38-40.

6. Polikutina L.N. Interpretation of a poetic text through national color (using the example of M.Yu. Lermontov’s poem “The Demon”) // Russian Word: perception and interpretation: collection. materials International scientific-practical conf. March 19-21, 2009: in 2 volumes - Perm: Perm. state in. art and culture, 2009.-P. 223-228.-T. 1.

7. Polikutina L.N. Linguistic commentary on some customs in the poem by M.Yu. Lermontov’s “Demon” from the point of view of national color // HayKoei notes of the Lugansk national ushversigetu. VIP. " LNU "T. Shevchenko", 2009. - P. 313320.

8. Polikutina L.N. Period as a syntactic unit (using the example of M.Yu. Lermontov’s oriental story “The Demon”) // XIV Derzhavin Readings. Institute of Russian Philology: materials of the All-Russian Federation. scientific conf. Feb. 2009 / resp. ed. N.L. Potanin; Federal Agency for Education, State Educational Institution of Higher Professional Education “Tamb. state University named after G.R. Derzhavin." - Tambov: Publishing House of TSU named after. G.R. Derzhavina, 2009. - pp. 259-262.

9. Polikutina L.N. Mikhail Lermontov and the poets of the East: the similarity of images and linguistic means in the poem “Demon” and Eastern lyrics // Current problems of Russian philology: Collection.

Art. employees scientific-method. laboratory “Innovative technologies for teaching the Russian language at universities and schools.” Vol. 5 / Rep. ed. N.G. Blokhin; Federal Agency for Education, State Educational Institution of Higher Professional Education “Tamb. state University named after G.R. Derzhavin." - Tambov: Publishing House of TSU named after. G.R. Derzhavina, 2009. - pp. 104-110.

10. Polikutina L.N. Syntax of language and thinking // Current problems of Russian philology: Collection of articles. Art. employees scientific-method. laboratory “Innovative technologies for teaching the Russian language at universities and schools.” Vol. 6 / Rep. ed. N.G. Blokhin; Federal Agency for Education, State Educational Institution of Higher Professional Education “Tamb. state University named after G.R. Derzhavin." - Tambov: Pershi-naR.V. Publishing House, 2010.-P. 86-89.

Signed for publication on October 25, 2010. Format 60x84/16. Offset paper. Risograph printing. Conditional oven l. I, Circulation 100 copies. Order No. 1598. Publishing house of TSU named after G.R. Derzhavina. 392008, Tambov, st. Sovetskaya, 190g.