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Статья поступила в редакцию 13.08.22
УДК 811
Zherdeva O.N., Cand. of Sciences (Philology), senior lecturer, Altai State Technical University n.a. I.I. Polzunov (Barnaul, Russia), E-mail: vigrijanova@mail.ru
Frolova O.V., Cand. of Sciences (Pedagogy), senior lecturer, Altai State Technical University n.a. I.I. Polzunov (Barnaul, Russia), E-mail: frolova.olga@list.ru
Derenchuk O.V., Cand. of Sciences (Pedagogy), senior lecturer, Altai State University (Barnaul, Russia), E-mail: derenchuk_ov@mail.ru
COMPARATIVE ANALYSIS OF TRANSLATIONS OF H. HEINE'S POEMS BY RUSSIAN POETS OF THE XIX CENTURY A.N. MAIKOV AND A.A. FET. In this research the authors analyze translations of H. Heine's poems done by Russian poets A.N. Maikov and A.A. Fet in terms of accuracy and preservation of the national content, reveal reasons for following principles of literal translation made by A. Fet. A comparative analysis of the translations of Heine's poems by Fet and Maikov makes it possible to demonstrate the trend towards literal translation that emerged in the 40-60s in the history of Russian literary translation, which is explained, firstly, by the historical prospects for the general development of Russian literature: the objective orientation of the literature of the mid-XIX century outlined objective trends in poetic translation as well, which resulted in the requirement of literal accuracy. Secondly, it is no coincidence that it is A. Fet who becomes a supporter of the literal principle in poetic translation and achieves high skill in this area: a German by birth, who knew the German language from childhood, moreover, from childhood he felt the rhythm of German verse (Fet from the age of seven translated Campe's children fables for years, trying to translate them into Russian exclusively in verse), on the one hand, and having grown up in Russia, he considered Russian his native language, on the other hand, he was thus in a bilingual situation and, like no one else, could and was called upon to cope with this historical task set before literary translation by time.
Key words: literary translation, national pictures of the world, A. Fet, H. Heine, A. Maikov, middle of XIX century.
О.Н. Жердева, канд. филол. наук, доц., Алтайский государственный технический университет имени И.И. Ползунова, г. Барнаул,
E-mail: vigrijanova@mail.ru
О.В. Фролова, канд. пед. наук, доц., Алтайский государственный технический университет имени И.И. Ползунова, г. Барнаул,
E-mail: frolova.olga@list.ru
О.В. Деренчук, канд. пед. наук, доц., Алтайский государственный университет, г. Барнаул, E-mail: derenchuk_ov@mail.ru
СРАВНИТЕЛЬНЫЙ АНАЛИЗ ПЕРЕВОДОВ СТИХОТВОРЕНИЙ Г. ГЕЙНЕ РУССКИМИ ПОЭТАМИ XIX ВЕКА А.Н. МАЙКОВЫМ И А.А. ФЕТОМ
В данной статье авторы анализируют переводы стихотворений Г Гейне русскими поэтами А.Н. Майковым и А.А. Фетом с точки зрения точности содержания и сохранения национального контента, выявляют причины следования принципам буквального перевода А. Фетом. Сравнительный анализ переводов стихотворений Гейне Фетом и Майковым позволяет продемонстрировать обозначившуюся в 40-60 годы в истории русского художественного перевода тенденцию к буквальному переводу, что объясняется, во-первых, историческими перспективами общего развития русской литературы: объективная направленность литературы середины XIX века обозначила объективные тенденции также в поэтическом переводе, что вылилось в требование соблюдения буквальной точности. Во-вторых, неслучайно, что именно А. Фет становится сторонником буквального принципа в поэтическом переводе и достигает высокого мастерства в этой области: немец по происхождению, владевший немецким языком с детства, более того, с детства ощутивший ритмику немецкого стиха (Фет с семи лет переводил детские басни Кампе, пытаясь переложить их на русский язык исключительно стихами), с одной стороны, и выросший в России, считавший русский язык родным, с другой стороны, он, таким образом, находился в билингвистической ситуации и, как никто другой, мог и был призван справиться с данной исторической задачей, поставленной перед художественным переводом временем.
Ключевые слова: художественный перевод, национальные картины мира, А. Фет, Г. Гейне, А. Майков, середина XIX века.
According to G.I. Ratgauz, Yu.D. Levin, E.G. Etkind, I. Kashkin [1; 2; 3; 4] and other researchers, one of the main and topical issues of the philosophy of translation today is the phenomenological description of the experience of translation as a human experience. Even E. Sapir emphasized that there are not two languages, which would reflect the same reality and connect this phenomenon with the identity of their people [5, p. 219]. M. M. Bakhtin noted: "<...> when we look at each other, different worlds are reflected in the eyes" [6, p. 129]. Indeed, a person, being a part of this or that reality, becomes its direct spokesman.
Thus, the relevance of our study is explained by the interest in the national aspect of literary creativity, including the peculiarities of preserving national content in literary translation.
The novelty of the study lies in the fact that the translations of the works of German poets made in the middle of the XIX century, and above all the poets who followed the principles of "literal translation", have not been studied deeply enough.
The purpose of our study is to compare Fet's translations of Heine's poems with translations of the same Heine's works made by other Russian poets - Fet's contemporaries.
The object of the study is to compare the translations of H. Heine's poems made by A. Maikov and A. Fet, firstly, to determine the degree of accuracy of translated texts, and secondly, to identify their originality.
The intentional use for comparison of the same poems by Heine in different translation authorship will facilitate the solution of the first task - to identify the degree of accuracy of Fet's translations.
The theoretical and practical value of our work is determined by the possibility of using research materials in the educational process and, thus, improving the quality of training of specialists in higher education.
Translation, being a bearer of culture, cannot fail to reveal elements of the dialogue of cultures. According to S.A. Romashko, the translation shows "the constant movement of one culture relative to another" [7, p. 118].
Of paramount importance, and in literary translation in particular, is the personality of the translator, which includes a complex set of individual qualities: the level of language proficiency, knowledge of culture, history (which is the foundation of world-view) of the people to which the translated author belongs, as well as their own culture, including knowledge of the cultural and speech capabilities of the native language, adherence to one or another method of translation and the range of tasks that the translator sets himself with which the subjective point of view on translation is connected.
B.Ya. Gordon calls L.A. Mei, A.N. Maikov, M.L. Mikhailov (Mei and Maikov translated more than forty, and Mikhailov more than sixty poems) the main translators of Heine's poetry in Russia. The researcher considers many of the translations done by these poets to be highly artistic; it is no coincidence that some of Heine's poems translated by them were included in the collected works of H. Heine, published in 19811983. They also can be found in the collection "Masters of Russian Verse Translation" (1968) [57].
This article presents a comparative analysis of the translations of Heine's poems "Du hast Diamanten und Perlen" and "Im Traum sah ich die Geliebte" by A. Fet and A. Maikov.
Maikov translated 42 poems by the German poet, four of those were also translated by Fet: "Mit Flügeln des Gesanges", "Du schönes Fischermadchen", "Im Traum sah ich die Geliebte", "Du hast Diamanten und Perlen". Comparing Maikov's translations with the original texts and Fet's translations, we came to the conclusion that Maikov, unlike Fet, follows the traditions of free translation: his texts represent misinterpretation and variations on the themes of Heine's poems. Let us take for comparative analysis Maikov's and Fet's translations of two poems by Heine: "Du hast Diamanten und Perlen" and "Im Traum sah ich die Geliebte".
In Maikov's translation of the poem "Du hast Diamanten und Perlen", already in the first stanza, we find inaccuracies that distort the meaning of the original. In the second line, Maikov introduces an additional lexeme "wealth", as a result, Heine's "everything that a person can desire" is reduced by Maikov to a narrower concept, covering
only material goods. Further, the lexemes "crown" and "beauty" appear in the translation, which do not exist in the original. If Heine has "You have pearls and diamonds/ You have everything that a person can desire", then Maikov has "You are all in pearls and diamonds / Wealth is the crown of beauty". The significance of the word "wealth" is emphasized in the translated text by the use of the phrase "at the same time" in the next line: "Wealth is the crown of beauty/ At the same time, wonderful eyes ..." In the third line of the same stanza, the poet-translator replaces the superlative adjective "the most beautiful" (eyes) to "wonderful" which creates the effect of childishness, treating the heroine as a spoiled charming child. Heine's heroine is also a childish woman; it is no coincidence that the author uses the diminutive suffix -chen (Liebchen) in addressing her, so the translator, despite the omission in the translated text of the address, conveys the author's attitude to the heroine with the help of other lexical means. In the second line of this stanza, Maikov replaces the word "want" with "dissatisfied". The word "dissatisfied" in the translated text has an ironic connotation; ironic perception is also facilitated by the presence in the sentence of the outdated and no longer used in colloquial speech of the middle of the XIX century the word "really". The lexeme "so", without having an independent lexical meaning, contributes to the strengthening of the ironic meaning of the word "dissatisfied", the word order present in the verse also serves this purpose.
H. Heine: My dear, what else do you want?
A. Maikov: Are you really so dissatisfied?
The ironic subtext of the translation at the level of the entire poem is also created by combining high poetic and colloquial vocabulary in one stanza, with an ironic tinge (for example, "crown of beauty" and "really", "so") - in the first stanza; ("fatal fire", "ah", "really") - in the third stanza, a change in intonation from exclamatory to narrative. The repetition of the phrase "wonderful eyes" in each stanza, as well as at the end of the stanza of the sentence "Are you all dissatisfied?" also strengthens the irony.
Heine Maikov
You have diamonds and pearls, You have everything a person can desire, You have the most beautiful eyes, My dear, what else do you want? You're covered in pearls and diamonds! Wealth is the crown of beauty! At the same time you have wonderful eyes ... Are you really so dissatisfied?
Fet's translation of the first stanza is noticeably closer to the original in terms of meaning than Maikov's translation. In the second line, Fet, like Maikov, introduces new exemes "life", "grace", but they do not make semantic changes in the text. Compare: Heine: You have everything a person can desire. Fet: All life for you is grace. Maikov: Wealth is the crown of beauty. The translator also replaces Heine's address "my dear" with "my friend", thus expressing rather a friendly, trusting attitude towards the heroine than love. However, in the translated by Fet text, there is a tendency to poetization -replacing the original lexemes related to neutral vocabulary with high-style words: my dear - my friend, want - desire, beautiful - lovely. The translator alters the last line into an impersonal sentence, which also indicates high style.
Heine Fet
You have diamonds and pearls, You have everything a person can desire, You have the most beautiful eyes, My dear, what else do you want? You are all in pearls and diamonds, All life for you is grace, And your eyes are so lovely, What can a woman desire, my friend?
Maikov's translation of the second stanza also differs from the original and quite accurate Fet's translation in terms of lexical composition and meaning. Compare, for example, the second and third lines:
Heine Maikov Fet
I composed the army of Eternal songs. I wove rhymes like flowers And immortal songs came out. I created a whole army of Songs breathing of immortality.
As you can see, instead of Heine's militancy, Maikov's motive of the beautiful, peaceful (flowers) appears, while Fet conveys the warlike spirit of the original, translating "army" as "army". The translation of the fourth line, although inaccurate in terms of vocabulary (eternal - immortal; composed songs/ songs came out/ created songs), both in Maikov's and in Fet's translated texts, is absolutely accurate in meaning.
In Maikov's translation of the third stanza, there are significant lexical differences with the original text:
Heine Maikov
With your beautiful eyes You made me so tortured, And ruined me. Ah, those wonderful eyes. Filled with fatal fire... I'm dying from them...
Thus, the eyes of Maikov's heroine have a supernatural, fatal power, witchcraft charms, they are capable of destroying. It is no coincidence that the "eyes" in this translated sentence act as a subject, in contrast to the Heine's sentence. And throughout the translated poem, the "eyes" function as the main image, meeting in every stanza and everywhere being the subject. Maikov's minimal use of the personal pronoun "you" and its forms is also noticeable, as well as the omission in the translation of the appeal "my dear", despite the fact that it is present in every stanza of Heine's poem. Heine also talks about eyes in every stanza, but still the main character here, her eyes are just a tool that helps to charm.
Evidence of this is the prevailing percentage of words explicating the heroine can be illustrated by the use of personal pronouns and address to the heroine:
In Fet's translated text, as in the original, the number of words related to the heroine predominates. In the third stanza, Fet does not observe significant discrepancies with the original he changes the syntax of the first and second lines, giving the text pompousness, while the translation is semantically accurate. Compare:
Heine Fet
With your beautiful eyes You made me so tortured And ruined me. My darling, what do you want more? Your lovely eyes were Allowed to make me tormented. And you ruined me. What do you want, my friend?
Thus, comparing the translations of Maikov and Fet with Heine's poem, we see that Maikov's translation contains not only lexical differences, but also semantic deviations from the original, the translator tries to interpret the poem in his own way, while Fet's translated text does not contain semantic alterations, Fet as a translator tries to follow the principle of literal translation.
Translating this poem, Fet reproduces the rhythm of a 3-ic dolly, and also, like Heine, rhymes even lines and leaves odd lines blank. Thus, here, too, Fet is more accurate than Maikov, who turned to the amphibrach.
Maikov's translation of the poem "Im Traum sah ich die Geliebte' is, in our opinion, a free variation on the theme of Heine's poem. First of all, the formal discrepancy between the original and the translation is striking - an unequal number of stanzas (6 -for Heine, 8 - for Maikov). It is also noticeable that Maikov's translation contains, firstly, sentences with exclamatory intonation (5), and secondly, sentences with unfinished intonation (4), although such intonation models of sentences are absent in the original. Fet, in his translation of this poem, observes the number of stanzas (6) and tries to accurately convey the intonation of the original - only one verse in his intonation does not correspond to Heine's (with exclamatory intonation). In Maikov's translation, significant differences from the original are also observed at the level of the text, both in lexical and semantic terms.
The information contained in the first stanza of Heine's poem is conveyed by the translator in two stanzas. Noticeable here are the portrait differences between the female image of Heine and Maikov. Compare:
Heine Maikov
A timid, preoccupied woman, Withered and haggard Usually such a flowering body. Because you are pale and sick, You poor unfortunate child. But how timidly she walked, How poor everything was on her In a thin and pale face With her thick eyelashes Only the eyes were just the same And they shone with a wonderful soul.
Thus, in the original, fewer lines are devoted to the description of the heroine (5) than in Maikov's translated poem (8). It is curious that the "pathetic" state of the woman is expressed in the original and the translated texts by different means: Heine's laconic portrait vividly depicts the heroine's suffering through the use of more expressive vocabulary than in the translation (bang - timid; bekümmert - preoccupied; verwelkt - withered; abfallend - haggard (about the body); blaß - pale; krank - sick; armes, unglückliches Kind - a poor, unhappy child) and comparisons (on the one hand, the body of a loved one is compared with a flower that was once attractive,
H. Heine A. Maikov A. Fet
heroine eyes heroine eyes heroine eyes
first stanza 7 (you have/ want; my dear) 1(eyes) 2 (you're covered) 1 (wonderful eyes) 5 (my friend) 2 (lovely eyes)
second stanza 4 (you have/ want; my dear) 1 (eyes) 1 1 (those wonderful eyes) 3 2
third stanza 5 (you have/ want; my dear) 1 (eyes) 1 5 (these wonderful eyes, filled, from them) 4 (tormented, ruined me) 2
total 16 3 4 7 12 6
but now "withered" and "haggard"; on the other hand, with a "poor, unfortunate child", which causes a deeper feeling of pity for her). Maikov, in his translation, conveys the image of an unhappy, suffering woman due to the contrast: his heroine is two-faced. On the one hand, we see the current beloved, on the other hand, the former: Portrait of the heroine today: But how timidly she walked, How poor everything was on her! In the face emaciated and pale... Portrait of a heroine in the past: With her thick eyelashes, The eyes were just the same And they shone with a wonderful soul! Ruddy, like once his mother was...
Thus, by drawing the image of the heroine in the past, the translator introduces additional information into the translated text, which is not mentioned in the original. These four additional lines make a quantitative difference (in the original - 1 stanza, in the translation - 2).
Fet's translation of the first stanza is undoubtedly closer in meaning to the original text than Maikov's translation: it does not distort the informative content of the original and does not introduce any additions, despite the fact that there are discrepancies in vocabulary, for example:
Heine: A timid, preoccupied woman... Fet: With care, fear in her eyes.
Heine: Withered and haggard, Usually such a flowering body. Fet: Once blooming body Exhausted, weakened with disease.
In the translation of the second stanza, Maikov does not reflect the content of the last two lines of the original, expanding, however, the content of the first two. In the last line, which deals with the child, the translator continues to draw a portrait of his beloved in the past, begun in the first stanza.
In Fet's translated text, discrepancies are observed only in terms of vocabulary and syntax: the translator replaces some of Heine's lexemes, but these replacements are synonymous (poverty - misery; look - glance), interchanges the lines (3/4). No meaningful differences are observed. Let's compare the original text with the translations of Maikov and Fet:
Heine Maikov Fet
She carried a child in her arms, Led the other by the hand And poverty and despondency were visible In gait, and look, and dress. She had a baby on her arm; Holding on to a finger, keeping up Another hurried after her -Ruddy, like once his mother was. She carried a child, and the other Was led by an ill-fated mother, In the glance, gait and dress It was impossible not to recognize misery.
In Maikov's translation of the next stanza, there are significant textual inconsistencies with the original, which manifests itself primarily in the lack of equilinearity (line breaks). The first line of Heine's third stanza is the first line of Maikov's first stanza. Fet's translation, unlike Maikov's, is equilinear, Fet, in addition, literally conveys this line. Compare:
Heine Maikov Fet
She staggered through the market square, And then she met me... I dreamed: in the market, among the people I met my sweetheart... Staggering, she wandered to the market, And then I met her...
Recorded in this stanza of the original text and in Fet's translation (second line), the moment when the lyrical hero meets and recognizes his beloved in Maikov's translation is moved to the second line of the first stanza.
Maikov as a translator, unlike the author and Fet, shows the rekindled feeling of the lyrical hero for his former lover: "It's as if they woke up in my chest // Suppressed voices of feelings". In Heine's and Fet's texts, he rather feels pity for the poor woman, as evidenced by the corresponding vocabulary "... calmly and sadly I tell her" (Heine)/ "And calmly and sadly I told her" (Fet). The motive of pity is developed by both Heine and Fet in the next stanza. In the original text, the lyrical hero calls the woman to live in his house, saying that she is pale and sick. The author uses here a compound sentence with the conjunction denn (because), which in the second part implies an explanation, an argumentation of the information contained in the first part of the sentence: ("Come to my house, // Since you are pale and sick"). Fet literally conveys the meaning of these lines, using in translation the same as Heine's, the adjective pale
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and replacing the original "sick" with a synonym - "ailing". The replacement of the union "because" with the lexeme "impossible" and the enjambement technique used by the translator, which led to its final position in the line, seems even more expressive, emphasizing the miserable position of the woman and the desire of the hero to help her. ("Let's go to my house. It's impossible // And she wanders around pale and ill"). Further, both in Heine's and in Fet's translation, the lyrical hero promises to take care of the woman, "by hard work" getting "food and drink" for her: ("I want to get food and drink with diligence and work // You get food and drink" (Heine); "I will be working hard // to feed and give you water" (Fet), the author also uses the lexeme "pflegen" (to take care of) ("I also want to look after // your children, // First of all, however, after you""). Such care is shown in relation to a sick person.
In Maikov's translation, we are talking about a different kind of care, which is provided out of love, and not out of pity. The translator omits the line "You can get food and drink"", instead of the word "care"" he uses "baby"" ("I will babysit you // Take care of the children and work"). Further, in the next stanza, Heine calls his beloved "poor, unfortunate child", Fet - "poor, sick child". Addressing an adult woman as a "child", "baby"" and the epithets accompanying it show her helplessness. In Maikov's translated text this line is omitted.
The translation of the last two lines (5 and 6) in Maikov's version is not just a free translation, but the essence of his work as a translator, which has nothing to do with Heine's poem. The original text and Fet's translation end on a tragic note, it seems that everything that happens is not a dream, but real life. For Maikov, the dream remains a dream, the hero wakes up and the end of the poem is optimistic. Compare:
Heine Maikov Fet
I don't ever want to And her children looked into I will never remind you
tell you her eyes, Anything about my love,
That I loved you Suddenly they hugged their And if you die, I will
And if you die, then I mother warmly ... Weep at your grave.
want to Their cry hurt my soul...
Cry on your grave. Suddenly I hear over my
shoulder
The Jew, my publisher, is
shouting:
"Victory! Triumph!
In three days, the entire
publication was sold out."
Oh, how I cursed him!
Heine's poem „Im Traum sah ich die Geliebte" is written in 3-ic dolly. Even lines are rhymed; odd ones are left blank. Both Fet and Maikov, following the Russian translation tradition, equalize the rhythm of the dolly into an amphibrach (despite the fact that the iambic basis of the verse is found in the original), but retain the structure of the stanza.
In conclusion it should be noted that Fet's translations, in comparison with the translations of other Russian poets - his contemporaries - F. Tyutchev, A. Grigoriev, A. Maikov, L. Mei, M. Mikhailov, are characterized by impeccable accuracy. None of Fet's translations is a free adaptation of the original.
Fet brings the translated poem closer to the original in terms of meaning, paying special attention to the search for exact equivalents to the grammatical, syntactic constructions and lexical units of Heine's text. If the author's lexemes are replaced, then, as a rule, they are replaced with synonymous ones, but if additional words are introduced, they do not introduce a new interpretation into the translated work. Fet avoids the introduction of new poetic images into poems. Maikov's translations are notable for their textual inaccuracies; very often he either replaces Heine's poetic images with his own or introduces additional ones, thus distorting the content of the original.
Fet is also attentive to the author's style, which cannot be said about the texts of other translators. Maikov, for example, often replaces Heine's neutral vocabulary with conversational style.
Fet also masterfully conveys the metrical features of the original works. Despite of the fact that in terms of rhythm reproduction he does not literally follow the author of the original, Fet captures his rhythmic nature and finds the exact equivalent without stepping out of the Russian translation tradition.
A. Fet as a translator subtly feels the seemingly imperceptible at first glance ironic overtones of Heine's lyrics, just like Heine, making the irony a little noticeable and leaving it in the background.
Fet sensitively conveys the musicality of the works of the German poet, using assonance and alliteration as the main methods of melodicization. Sometimes, to the detriment of lexical and stylistic accuracy, he replaces the original words with synonymous ones in order to bring the number of sonorous consonants closer to their number in Heine's text.
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Статья поступила в редакцию 12.08.22
УДК 81
Kaurova E.M., Cand. of Sciences (Philology), senior lecturer, Banzarov Buryat State University (Ulan-Ude, Russia), E-mail: kaurova76@mail.ru
Koreneva M.R., Cand. of Sciences (Pedagogy), senior lecturer, Banzarov Buryat State University (Ulan-Ude, Russia), E-mail: marina_cor@mail.ru
LINGUO-AXIOLOGICAL ANALYSIS OF ANTI-COVID-19 SLOGANS (GERMAN AND FRENCH LANGUAGES). The purpose of the article is to study axiological constants of modern European society and their explication through various units of the language system based on the material of French and German anti-Covid-19 slogans. Through linguo-axiological analysis, the authors determine the main European values in the historical, cultural and philosophical context, analyze slogans from the standpoint of formal-structural, semantic-stylistic aspects and identify values explicated through various stylistic means. As consequence, the authors come to the conclusion that slogans are represented by a wide range of stylistic means, they explain the will and needs of the people, an assessment of reality, a demonstrative part of civic behavior in the process of preserving human values.
Key words: linguo-axiological analysis, anthropocentrism, values, fundamental rights, personal freedom, anti-Covid-19 slogan, antithesis, errative, allusion, tropes.
Е.М. Кауроеа, канд. филол. наук, доц., Бурятский государственный университет имени Доржи Банзарова, г. Улан-Удэ, E-mail: kaurova76@mail.ru
М.Р. Коренева, канд. пед. наук, доц., Бурятский государственный университет имени Доржи Банзарова, г. Улан-Удэ, E-mail: marina_cor@mail.ru
ЛИНГВОАКСИОЛОГИЧЕСКИЙ АНАЛИЗ АНТИКОВИДНЫХ ЛОЗУНГОВ (НЕМЕЦКИЙ И ФРАНЦУЗСКИЙ ЯЗЫКИ)
Целью статьи является исследование аксиологических констант в современном европейском обществе и их экспликация через единицы различных уровней языковой системы на материале французских и немецких антиковидных лозунгов. Посредством лингвоаксиологического анализа авторы определяют основные европейские ценности в историческом, культурно-философском контексте, анализируют лозунги с позиции формально-структурного, семантико-стилистического аспектов и выявляют ценности, эксплицированные через различные стилистические средства. В результате исследования авторы приходят к выводу о том, что лозунги представлены широким спектром стилистических средств, являются экспликатами воли и потребностей народа, оценки действительности, демонстративной частью гражданского поведения в процессе сохранения человеческих ценностей.
Ключевые слова: лингвоаксиологический анализ, антропоцентризм, ценности, фундаментальные права, свобода личности, антиковидный лозунг, антитеза, эрратив, аллюзия, тропы.
Актуальность данного исследования объясняется междисциплинарным подходом к проблеме взаимодействия языка, человека и его способности постигать ценностную структуру мира. В статье экспликация ценностей исследуется через оценку, выражаемую единицами различных уровней языковой системы на материале французских и немецких антиковидных лозунгов.
Пандемия COVID-19 затронула все мировое пространство и отразилась на всех аспектах человеческой жизни. В Европе, в особенности в таких странах, как Германия и Франция, ковидные ограничения - введение санитарных паспортов, обязательной вакцинации, ограничения свободы передвижения и ущемления прав не привитого населения - вызвали активный протест граждан [1-5]. В период 2020-2022 гг. в Европе возникли протестные движения, были организованы многочисленные митинги и демонстрации, в которых граждане смогли выразить свое отношение к действительности через лозунги. Именно «антиковидные» лозунги представляют научный интерес в данном исследовании, поскольку они, с одной стороны, отражают отношение человека к нарушению значимой ценностной основы, на которой построено европейское общество, с другой стороны, являются объектом лингвистического анализа с точки зрения семантики, стилистики, новообразований.
Теоретическая значимость исследования обусловлена тем, что оно вносит вклад в лингвистическое изучение семантики и стилистики языковых единиц с учетом социальных факторов через призму аксиологических констант на материале нового языкового материала - антиковидных лозунгов 2020-2022 гг.
В целях исследования были отобраны 47 антиковидных лозунгов на французском и немецком языках (см. табл. 1) и распределены по их соотнесенности с определенной ценностью, являющейся аксиологической константой, нарушаемой, по мнению граждан указанных стран, во время пандемии COVID-19. Собранный материал, результаты лингвоаксиологического анализа могут стать материалом лекций и практических занятий по лингвистике, сти-
листике, лингвоаксиологии, использоваться в качестве экспериментального материала в научных исследованиях, что составляет практическую значимость исследования.
Для осуществления лингвоаксиологического анализа антиковидных лозунгов применяются следующие методы исследования: описательный метод, включающий приемы наблюдения, сопоставления, обобщения и классификации анализируемого материала; метод сплошной выборки материала; методика лингвоаксиологического анализа, включающая в себя группу методов - метод синхронного (семасиологического) анализа; метод компонентного анализа, предписывающий выделение компонентов в семантической структуре значения слова; метод контекстуального анализа, нацеленный на исследование языковых единиц с учетом лингвистического и экстралингвистического уровней, микро- и метаконтекстов.
Для достижения цели исследования были поставлены следующие задачи:
1) определить основные европейские ценности в историческом, культурно-философском контексте;
2) проанализировать отобранные лозунги с позиции формально-структурного, семантико-стилистического аспектов;
3) выявить ценности, эксплицированные через оценку, выражаемую языковыми единицами (лозунгами).
Европейские ценности - это совокупность (или система) аксиологических максим, включающих основные принципы обустройства общества и государства, политико-экономических, правовых, культурных, этических и других норм, объединяющая значимое большинство жителей Европы, служащая основой их идентичности [6].
Общеевропейская система ценностей начала складываться в эпоху Просвещения на основе различных традиций и включала такие понятия, как «прогресс человечества, его освобождение от угнетения, культ разума» и др. Именно
