CC BY
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bined mechanism with thin jet (subcategorial level II type) ^ maltese combined mechanism with thin jet on the pusher (subcategorial level III type).
Hyperonymical kind of propositional-dictum motivation of analytical terms is actualized in combining with the predicate-thematic variety. This is because of the nominator, calling this or that object, process or action aims to verbalize the most common amount of information. Hyperonyms are correlated with argument positions: 1) destinative: blocking mechanism, adjusting valves, sorting automat; 2) locative: roof crane, external switch, mine lamp; 3) mediative: enameled wire; 4) fabrikative: diamond tip, iron core, copper wire; 5)quantitative: multipump, three phase motor, two net lamp; 6) component which indicates on the action doing on an object: woodworking machine; 7) component which indicates on the action, which aims to object: cargo crane, flax machine; 8) component with a meaning of mode/operating prin-
ciple: vibration machine, hammer mechanism; 9) peculiarities of construction: hose spring, brush machine; 10) component, which indicates on the object belonging (device, details): the lug of soldering copper, transformer winding, transistor generator; 11) component of the character meaning: self-lubricating bearing, fast engine; 12) component, which is a measure of shape: double elliptic spring.
Thus, the study of predicate-thematic kind of motivation of scientific-technical terminology analytical terms demonstrates relevant regularity and the usage of object features that depends on the processes of categorization and conceptualization in mind, psychological and cultural stereotypes, as well as the specifics of the language system. Perspectives for future are defining the peculiarities of motivational components research appears to find out the actual features of motivation components of analytical terms in scientific and technical terminology with secondary metaphorical meaning.
References:
1. Вихованець I. Р. Граматика украшсько! мови. Синтаксис: шдр. - К.: Либ^дь, 1993. - 368 с.
2. Манерко Л. А. Новая методика исследования категоризации в лингвистике//Вестник Московского университета. Сер. 9: филология - 2000. - № 2. - С. 29-42.
3. Пристайко Т. С. Функционально-семантическая стратификация лексики специального текста: [монография]. - Днепропетровск: ДГУ, 1990. - 60 с.
4. Селиванова Е. А. Когнитивная ономасиология (монография). - К.: Издательство украинского фитосоциологического центра, 2000. - 248 с.
5. Чупилина Е. И., Преображенская О. А. Лексический состав терминологии вычислительной техники//Тези-сы докладов науч.-мет. конф. “Современные проблемы терминологии”. - Владивосток, 1989. - С. 100-101.
6. Lakoff G. Metaphors We Live By/G. Lakoff, M. Jonson. - Chicago: CUP, 1980. - 242 p.
7. Russel B. An inquiry into meaning and truth. - Harmondsworth: Penguin, 1963. - 333 p.
Dibrova Olga Vitaliivna, Kharkiv National Pedagogical University, Ph. D. student the department of Ukrainian language E-mail: chasnik-olga@mail.ru
Language image of mother as a dominant of Borys Oliynyk’s linguopoetics
Abstract: The article focuses on the analyzes of the language image of mother and the specific of its language dominant is defined. The symbolic meaning of image and the specific of its functioning peculiarities in the poetic texts of Borys Oliynyk is studied. Linguo-cognitive actualization mechanisms of verbal and poetic images which have archetypical semantics are analyzed. The attempt of linguistic interpretation of the language units to describe the image of the mother is made.
Key words: dominant, language image, semantics, linguopoetics, language world picture.
An image of the human belongs to the basic images of of the human — is the basis, the moving beginning of art, any nation, it was said since the days of antiquity, that the culture, language, the inner core of the artistic image. The
human — is the measure of all things. “The conception other components are concentrated around this prob-
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lem. “Anthropocentrism is a major paradigm in which today’s linguistic investigations are made" [1, 66]. Contemporary linguistic anthropology has a great experience in studying of the language image of human. It is the works of N. D. Arutyunova, K. Y. Holoborodka, S. J. Er-molenko, A. O. Pikalova, Y. S. Stepanova, H. M. Syuta and others. In the scientific picture of the world the human is considered as a unique being that has the gift of thought and language. During the evolution of artistic consciousness and poetic thinking, the artists gradually moved from the image of a human to expressing his inner world, his thinking in connection with nature and society. Concepts of human’s inner world, as well as the body, its parts and functions, life, death, destiny always have been at the center of metaphorizational processes of Ukrainian poetry of the twentieth century [2, 172-173].
An important recipient area of the language projections in poetry was a human. D. S. Lyhachov said: “Human always is the central subject of literary art. In relation with the image of the human being all other things are existed: not only the image of social reality, way of life, but also nature, historical variability of the world and so on. In cooperation with the way how human is represented, the all artistic means are found" [3, 3].
As the K. Y. Holoborodko said, “general philosophical interpretation category of HUMAN is polysemantic. This concept appears in the following basic ways: 1) the human individual; 2) the species Homo sapiens; 3) socially organized humanity” [4, 218]. The image of the human dominates in many literary texts, and as one of the priorities of modern linguistics is the study of language image, idiostyle of masters of artistic expression, language of writer’s works, it seems appropriate to pay attention to the lingual expression of a key image, as mother in a literary practice.
Actuality of the work is caused by increasing of interest in modern Ukrainian linguistics in cognitive aspect of the study of language, figuring out how it interprets the world, realizing mental peculiarities of the nation and the system of its values. According to this the important and necessary task is to compose an idea about language picture of the mother’s world that is only possible the detailed research of specific fragments.
The aim of study — analysis of the mother’s language image and defining the specific of its language dominant, which is based on the concept “motherhood’’, an attempt of linguistic interpretation of language units to describe the image of the mother.
The object of study is the linguistic units in Borys Oliynyk’s works.
The novelty ofthe work lies in the fact that the linguistic interpretation of linguistic units to describe the image of the mother has not been a subject to a complex study.
Borys Oliynyk’s creative development was pretty fast. The poet can say about himself with the pride — he is from Poltava region. From there he is, where the (“чорнозем плодючий, наче жiнка”)“black soil is fertile like a woman” [5, 18], where the history is deep clear depths, where the people have (“на золот обжинки завжди напохват 3i CMixy литий серп) “in golden harvest is always laughing sickle” [5, 18].
Borys Oliynyk perhaps the only in modern Ukrainian poetry writer who has created not a few verses, poems or cycles but wrote a book about his mother. Borys Oliynyk dedicated the collection ofpoems (“Syva lastivka”) “Grey swallow” in loving memory to his parents Martha Nikonivna and Ilya Ivanovich. The mother’s death forced the son to think about her fate, remembering all their life. From the poem’s lines, which are included in the collection, slowly raises the image of a simple peasant woman. The difficult fate was destined for his mother: during the war she was living in poverty with a little child, early widowed, getting funerals of her husband. The whole burden of post-war reconstruction has fallen on her shoulders, with endless work and solicitude she never had to look up. The mother for the poet is a bearer of ordinary and at the same times the eternal moral truths.
Borys Oliynyk said that “Truly God and Mother in any nations and tribes were honored as the most precious thing — life. The sanctity of mother for Ukrainians is untouched”.
Actually the concept motherhood as a semantic core of linguistic personality ofmother in the mind ofwoman gradually acquires new conceptual layers, volume is increasing, content is concretizing and structure is transforming. Such conceptual spheres (CS), which are directly related to the childbirth: CS care, CS maternal love, CS worry are dominated in the thematic mother’s repertoire. Thus, listed CS can be considered as dominant individual cognitive linguistic personality of the mother, because they take an important place in a motivational system of linguistic personality and serve as the guides of its behavior. As communicative and cognitive factors of individual discourse are closely connected with key emotions and their complexes — feelings, with emotive dominant language personality [6, 36].
Mother presents a life for human, inspires for good deeds, and gives everything she has: the warm of her soul, her heart and endless love. Her lullabies are accompanied us throughout life and wisdom word helps us to overcome difficulties.
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In the language poetic area of B. Oliynyk distinguishes ornithonyms which are representing a language image of mother through existing symbolic value. (“Ти eid лютог зими/Затуляла нас крильми,/Прихилялася/Те-плим леготом,/Задивлялася биим лебедем...») “You're from fierce winter/screened us wings/Bending/Warm soft wind,/White swan ...” [7, 5] Mother swan — symbolizes rebirth, purity, wisdom, clairvoyance, perfection, the symbol of divine; White swan — a symbol of the Sun and the Good. (“Дивом-казкою/За вжонечком, —/Сива ластiвко,/Сиве сонечко”) “Miracle-tale/by the window —/Grey swallow/Grey sun" [7, 5]. Mother swallow — a symbol of spring, the harbinger of good. It is believed, where swallow has weaved a nest — will be a luck. That’s the greatest happiness for the son to be near his mother. ("Наша мати — сивая горлиця") "Our mother — gray turtle-dove" [7, 50], mother turtledove — is used to appeal to woman caressing ("О мамо, моя голубко...") “Our mother — gray turtle-dove" “Oh Mom, my dove...” [7, 35]. Mother dove — according to popular conceptions is pure, holy and God bird. Dove is the bird of peace and love.
The phenomenon of motherhood is one of the main in Ukrainian literature. Mankind has always addressed and address in songs and prayers, verses and poems to their guardians — his mother, glorifying her blessed name. The same thought B. Oliynyk has in his poems. The love of word, for native land is given to us in childhood through the lullabies which our mother sings for us (“А вона до вах до них — тснею, “And she for all of them with song «, through the tale." [7, 50]. Through the tales we «ми вертаем...у вiчну казку... до матерiв») "return to the eternal tale of mothers ...” [7, 59] and that the care and kindness she gives us. In the culture of every nation there are concepts that can provide insight about all culture, to provide the most basic features of the ethnic group; they are called the key concepts of culture. Some phytonyms are able to show Ukraine because of the structure of existing concepts of imaginative, conceptual and symbolic meaning. (“Стартть важко: матерi — як верби») «Hard to get old: the mothers — as willows» [7, 78]willow is often used with the epithet “old gray”, symbolizing the sad old woman, mother, widow, who went through a hard life, full of pain and loss, turned gray with grief, a tragic fate.
But not only these concepts present Ukraine, also the important are: cherry, oak, poplar, apple, rose, rye,
wheat: (“Похитнулася, мов колос,/Без ридання i мо-литв,/Тиьки сивим квтом коси/Материт зацвии...") "Swinging like an eye,/Without weeping and prayer/Only gray braids/Mothers bloom ...” [7, 32] ear in the sense of majesty that is exceptional importance, the son of the mother.
There are poetic conceptualization of astro-nyms, namely the sun and the stars: (“Дивом-каз-кою/За вжонечком, —/Сива ластiвко,/Сиве сонечко" «Тиьки ж ти, немов зоря,/Далешеш в небеса") "Miracle-tale/by the window —/Grey swallow/Grey sun" "Only you like the star/Go to the heaven" [7, 5], the sun — a source of life, joy, happiness. Mother illuminates the way, like the sun, and lead to the life.
The author represents a language image as a mother — stethoscope, because the mother’s heart reflects the wisdom of the senses, as opposed to the wisdom of the head. No accurate device that can sense and feel the condition of the child, wherever she is, even in space, (“Мати вiрить не дужепрофесорським викладам: Щеж немае од серця точншого приладу"). "The mother believes not really professors outlining: There is no exact instrument than the heart yet” [7, 13].
Creating language image of a mother poet uses metaphorical comparison turnover with epithets. There is a smiling mother in front of the reader. ("Вона усмiхнулась, красива i сива, як доля")"She smiled, a beautiful and gray like a fate» [7, 26].
Borys Oliynyk raises a question of symbolic immortality in the poetry which is developed in a new way: the poet reminds readers that immortality can be achieved not only by masterpieces of art or scientific discoveries, but also doing good deals. So, mother remains immortal forever for her children becoming (“замисленим полем на щлу планету, на вй покомння й вжи") "thoughtful field on a planet for all generations and ages" [7, 26].
Conclusions. As a result of the conducted scientific observations we concluded that a language image of the mother can be represented multifaceted. Analyzed linguo- cognitive actualization mechanisms of verbal and poetic images have archetypical semantics. This is especially valuable because of the artistic and poetic poetry filling and the matrix combination of “physical” and “spiritual” in a language image of a mother if it has not the leading but at least very important role.
So, for the poet mother there was and there is the most holy image, eternal star and warm sunshine, gentle swallow and hardworking bee.
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1. Пшалова А. О. Вербамзащя концепту людина в поетичних текстах М. Стельмаха: дис. ... канд. фглол. наук: 10.02.01/Пшалова Анна Олексивна. - Х., 2008. - 233 с.
2. Кравець Л. Динамiка метафори в украшськш поези ХХст.: монографiя/Лариса Кравець. - К.: ВЦ «Акаде-мiя», 2012. - 416 с.
3. Лихачев Д. С. Человек в литературе Древней Руси/Д. С. Лихачев. - [3-е изд.]. - М.: Наука, 2006. -202 с.
4. Голобородько К. Ю. 1дюстиль Олександра Олеся: лшгвокогнггивна штерпретацы: [монографш]/Костян-тин Юршович Голобородько. - Х.: Харк. Кт.-фглол. т-во, 2010. - 527 с.
5. Олшник Б. I. Вибраш твори: У 6 т. - К.: ПТФ «Просвгга», 2007-Т. 2: Камшь з души - 223 с.
6. Бондаренко Я. О. Дискурс акцентуйованих мовних особистостей: комушкативно-когштивний аспект: Дис. канд. филол. наук: 10.02.04/КНЛУ - Ки1в, 2002. - 248 с.
7. Олшник Б. I. Вибраш твори: У 6 т. - К.: ПТФ»Просвгга», 2007-Т. 4: Сива ласйвка. -96 с.
Kotelewskaja Wera Wladimirowna, Kandidat der philologischen Wissenschaften Das Institut für Philologie, Journalistik und interkulturelle Kommunikation (Südliche Föderale Universität),
Dozentin am Lehrstuhl für Theorie und Geschichte der Weltliteratur
E-mail: luga17@rambler.ru
Die Selbstreflexion des Subjekts im deutschsprachigen Künstlerroman der literarischen Moderne
Zusammenfassung: Die Selbstreflexion des Subjekts im deutschsprachigen Künstlerroman der Spätmoderne und Postmoderne wird als grundlegend für die Entwicklung des Genres des Romans einerseits und für die Selbstreflexion des künstlerischen Ichs andererseits betrachtet. Die Transformation des reflektierendes Ichs wird von Ursprung des Genres im 18. Jahrhunderts bis zur gegenwartige Literatur dargestellt.
Schlüsselwörter: Selbst, Andere, Selbstheit, Künstlerroman, literarische Moderne, Spätmoderne, Postmoderne
Das Thema des Artikels lautet «Die Selbstreflexion des Subjekts im deutschsprachigen Künstlerroman der literarischen Moderne». «Die literarische Moderne» wird als eine «Makroepoche» verstanden, die in der Kultur der Aufklärung ihren Ursprung nahm und der Selbstbestimmung in der Kunst und Philosophie der Romantik erreichte [8]. Die klassische Moderne umfängt den Zeitraum erster Hälfte des 20. Jahrhunderts, die späte Moderne — den der Nachkriegsliteratur und Gegenwartsliteratur [5], die Michael Braun z. B. mit der Periode von 1968 bis Heute einschränkt [2]. Die Frage über die Grenzen der späte Moderne und der Postmoderne im deutchsprachigen Literatur ist diskutabel. Es geht vielmehr um die verschiedene Modifikationen der Selbstbestimung des Subjekts, bzw. um seinen Skepsis und Scheitern in der späte Moderne (bei A. Schmidt,
I. Bachmann, P. Handke, Th. Bernhard, G. Grass) und um den symbolischen Tod, d. h. der Dekonstruktion in der Postmoderne (H. Krausser, Ch. Kracht, Ch. Ransmayr, R. Schneider, P. Süskind, R. Jirgl, E. Jelinek u. a.). Außer dem Begriff der «literarischen Moderne» gibt es auch eine kulturell-philosophische Tradition, die Periode von
dem zweiten Drittel des 17 Jahrhunderts bis zur Krise der Metaphysik, vertreten durch Nietzsche, Schopenhauer, Kierkegaard, Heidegger, Sairtre, Camus, Adorno und Horkheimer, als «die rationalistischen Moderne» betrachten. Demgemäß setzt das Projekt der Moderne eine Erfindung der Subjektivität voraus — im Rahmen der rationalistischen Philosophie und der experimentalen Wissenschaft, sowie im Rahmen der Kunst und der Literatur, die von vornherein ein Problematisierungssfeld für neuzeitliche Subjektivität, ihre utopischen und tragischen Merkmale entdeckend und darstellend schafften.
Es ist relevant, dass an der Wende vom 18. zum 19. Jahrhundert ein neuer Heldentyp entwickelt wurde, das selbstreflektierende «Ich». Die Befreiung des Subjekts von der totalen Gewalt der religiösen, korporativen und familiären Beziehungen [1] verwirklichte sich in dieser Epoche dramatisch, als eine Art der «Theatrali-sierung», buchstäblich und figürlich. Nicht von ungefähr ist es, dass die Fabeln der Künstlerromane oft mit der «theatralischen Sendung» sowie mit der Prüfung der Ansichten und Ideale des Protagonisten durch das Theater verbunden ist (z. B. Goethe, Moritz, Keller,
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