CC BY
53
как эмоционального состояния души в поэтическом мире Дж.П Байрона «To a youthful friend», позволяет сделать вывод о недолговечности и «хрупкости» дружбы в представлении поэта, порождающей тоску по прошлому и разочарование в себе и людях вокруг Лирический герой выбирает одиночество как протест против фальши и наигранности чувств:
What friend for thee, howe'er inclined,
Will deign to own a kindred care?
Who will debase his manly mind,
For friendship every fool may share? [13, с. 160].
Тема дружбы и тоски по прошлому в связи с утерянным чувством дружбы в стихотворении Дж.П Байрона напрямую связана с описанием эмоционального состояния лирического героя, тонко ощущающего перемену в отношениях между собой и друзьями его юных лет Наиболее полно в стихотворении раскрываются такие дифференциальные семы, как суть/характер развития эмоционального состояния человека и объект эмоции, которые вербализуются шестью и пятью лексическими единицами соответственно.
Номинанты базисных эмоций в стихотворении, тематически связанные с концептом «дружба», находятся в отношениях противопоставленности друг другу, в результате чего автором стихотворения создаётся эффект обманутых ожиданий и утраченных иллюзий. Поэт прибегает к использованию словосочетаний, построенных по принципу использования семантических оппозиций, т.е. содержащих в себе лексические единицы, обладающие взаимоисключающими семантическими признаками: hopes and tears, the world corrupts the noblest soul; where parasites and princes meet, and all must love and hate by rule. Таким образом, объединяя противоположные сущности в рамках одного контекста, автор стихотворения создаёт ощущение их несовместимости, тем самым усиливая эмоциональную нагрузку стихотворения. В этом отношении необходимо также отметить общую насыщенность поэтического произведения лексемами, вербализующими антонимичные понятия: youth - Man's maturer years, placid eye - folly, days of joy -so dark my fate; dares things boldly but to lie - a long farewell to truth; noblest soul -the welcome vices kindly great.
Библиографический список
В ходе анализа обозначений эмоций в стихотворении нами были выявлены как первичные, так и вторичные номинации эмоций, связанных в индивидуальной авторской картине мира с понятием дружбы. К вторичным номинациям эмоций относятся субстантивные метафоры (spring of life, an ignis-fatuus gleam of love), адъективные метафоры, которые выступают в аттрибутивной функции: stormy passions (в том числе и антропоморфические - the prostituted name of friend) и глагольные метафоры: the world corrupts the noblest soul. Метафоры, апеллируя к ассоциативной сущности человеческого мышления, обладают выраженным оценочным характером и прагматическим потенциалом, раскрывают новые смыслы в стихотворении.
По мере развития сюжетной линии стихотворения осуществляется плавный переход от описания юношеской дружбы в период безмятежной юности к чувству осознания того, что юношеская любовь и привязанность сменились разочарованием: годы прошли, и интересы друзей стали кардинально противоположными. О смене настроения героя и его разочаровании в дружбе свидетельствует обширный пласт эмотивной лексики. Так, друг лирического героя погряз в пороке «в одной упряжке с глупцами»: «With fools in kindred vice the same» [13, c. 156], вызывая тем самым лишь досаду и порицание. По причине своего разочарования в дружбе и людях вообще лирический герой предпочитает одиночество «обществу ветреных глупцов»: «Who will debase his manly mind, for a friendship every fool may share?» [13, с. 160]. Эмоциональное напряжение нарастает ближе к концу стихотворения, когда лирический герой заявляет о своем нежелании мириться с пороками общества и даёт другу из прошлого совет одуматься и встать на пути истины и благоразумия: «Be something, anything, but - mean" [там же].
Таким образом, мы можем сделать вывод о том, что анализ когнитивных особенностей эмотивной лексики (в частности, метафорических описаний проявлений эмоций) в контексте стихотворения Дж.П Байрона «To a youthful friend» позволяет выявить культурно обусловленные ассоциативные отношения между различными объектами действительности и постичь специфику мировосприятия поэта, особенности индивидуального авторского видения концепта дружбы как эмоционально заряженного.
1. Красавский Н.А. Эмоциональные концепты в немецкой и русской культурах: монография. Москва: Пнозис, 2008.
2. Караулов Ю.Н. Русский язык и языковая личность. Москва: Наука, 1987.
3. Шаховский В.И. Категоризация эмоций в лексико-семантической системе (на материале английского языка). Диссертация ... доктора филологических наук. Москва, 1988.
4. Вилюнас В.К. Основные проблемы психологической теории эмоций (вступительная статья). Психология эмоций. Москва: Издательство МПУ 1984: 3 - 28.
5. Изард К. Эмоции человека. Москва: Издательство МПУ 1980.
6. Лурия А.Р Диагностика следов аффекта. Психология эмоций. Москва: Издательство МПУ, 1984.
7. Рейковский Я. Экспериментальная психология эмоций.Москва: Прогресс, 1979.
8. Сеченов И.М. Психология поведения. Москва: Воронеж: Институт практической психологии, 1995.
9. Бабушкин А.П. Типы концептов в лексико-фразеологической семантике языка. Воронеж: Издательство ВорПУ, 1996.
10. Кубрякова Е.С., Демьянков В.З. и др. Концепт. Краткий словарь когнитивных терминов. Москва: Издательство МПУ 1996.
11. Степанов Ю.С. Константы: Словарь русской культуры. Опыт исследования. Москва: Школа «Языки русской культуры», 1997.
12. Щерба Л.В. О частях речи в русском языке. Избранные работы по рускому языку. Москва, Учпендгиз, 1957.
13. English romanticism verse. XIXcentury. Санкт-Петербург: Издательство «Анима», 2004.
References
1. Krasavskij N.A. 'Emocional'nye koncepty v nemeckoj irusskoj kulturah: monografiya. Moskva: Gnozis, 2008.
2. Karaulov Yu.N. Russkijyazyk iyazykovaya lichnost'. Moskva: Nauka, 1987.
3. Shahovskij V.I. Kategorizaciya 'emocij vleksiko-semanticheskojsisteme (na materiale anglijskogoyazyka). Dissertaciya ... doktora filologicheskih nauk. Moskva, 1988.
4. Vilyunas V.K. Osnovnye problemy psihologicheskoj teorii 'emocij (vstupitel'naya stafya). Psihologiya 'emocij. Moskva: Izdatel'stvo MGU, 1984: 3 - 28.
5. Izard K. 'Emociicheloveka. Moskva: Izdatel'stvo MGU, 1980.
6. Luriya A.R. Diagnostika sledov affekta. Psihologiya 'emocij. Moskva: Izdatel'stvo MGU, 1984.
7. Rejkovskij Ya. 'Eksperimental'naya psihologiya 'emocij.Moskva: Progress, 1979.
8. Sechenov I.M. Psihologiya povedeniya. Moskva: Voronezh: Institut prakticheskoj psihologii, 1995.
9. Babushkin A.P. Tipy konceptov v leksiko-frazeologicheskojsemantikeyazyka. Voronezh: Izdatel'stvo VorGU, 1996.
10. Kubryakova E.S., Dem'yankov V.Z. i dr. Koncept. Kratkij slovar' kognitivnyh terminov. Moskva: Izdatel'stvo MGU, 1996.
11. Stepanov Yu.S. Konstanty: Slovar'russkoj kultury. Opyt issledovaniya. Moskva: Shkola «Yazyki russkoj kul'tury», 1997.
12. Scherba L.V. O chastyah rechi v russkom yazyke. Izbrannye raboty po ruskomu yazyku. Moskva, Uchpendgiz, 1957.
13. English romanticism verse. XIXcentury. Sankt-Peterburg: Izdatel'stvo «Anima», 2004.
Статья поступила в редакцию 25.05.21
УДК 801.8
Evenko E.V., Cand. of Sciences (Philology), senior lecturer, Tambov State Technical University (Tambov, Russia), E-mail: nazarcva33-1975@mail.ru
Morozova O.N., Cand. of Sciences (Pedagogy), senior lecturer, Tambov State Technical University (Tambov, Russia), E-mail: morozova-on@mail.ru
SOUND SYMBOLISM AND SYMBOLIC SOUND METAPHOR. Symbolic sound metaphor based on sound symbolism is considered and its role in creation of new words is emphasized. The article aims to consider symmetry of sound iconic relationship between the meaning of a word and its sounds due to sound symbolism. The purpose of the paper is to point out processes, approaches, psychological and psycholinguistic experiments that can be applied to examine it. The modern classification of sound symbolism (corporal sound symbolism, imitative sound symbolism, synesthetic sound symbolism and conventional sound symbolism) is presented to identify the major one in creating symbolic sound metaphor. The most frequent phonosemantic means are analyzed to acquire the symbolic sound value of amplifying phonosemantic sound tonality in the text. The peculiarities of symbolic sound metaphor, the main means of representing sound tonality, is identified in the article to clarify the essence of sound tonality, which is treated as a linguistic category of expressing and evaluating. Thus it proves the necessity of further investigation in this field.
Key words: symbolic sound metaphor, sound symbolism, phonosemantics, attractive and manipulative function, sound dominants, alliteration, assonance, sound repetitions.
Е.В. Ееенко, канд. филол. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: nazarova33-1975@mail.ru
О.Н. Морозова, канд. пед. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: morozova-on@mail.ru
ЗВУКОВОЙ СИМВОЛИЗМ И ЗВУКОСИМВОЛИЧЕСКАЯ МЕТАФОРА
В данной статье рассматривается звукосимволическая метафора, основу которой составляет звуковой символизм, и подчёркивается её роль в создании новых слов. Цель статьи заключается в том, чтобы продемонстрировать существование звукоизобразительной связи между значением слова и его звучанием благодаря явлению звукового символизма. Выявлены те процессы, подходы и психолингвистические эксперименты, которые применимы в исследовании данного явления. В работе представлена современная классификация звукосимволизма с целью определения его базового типа для создания звукосимво-лической метафоры. Проанализированы основные фоносемантические средства, выявляющие звукосимволическую значимость смысла - тональности в тексте. В статье продемонстрированы особенности создания звукосимволической метафоры как основного средства репрезентации смысла - тональности, который рассматривается в статье в качестве языковой категории экспрессивности и эмоциональности. Таким образом, многочисленные эксперименты подтверждают необходимость дальнейшего исследования этой области знаний.
Ключевые слова: звукосимволическая метафора, звукосимволизм, фоносемантика, аттрактивная и манипулятивная функции, звуковые доминанты, аллитерация, ассонанс, звуковые повторы.
This article is relevant for its focus on the discretion of one of the parameters of textuality as a manifestation of the phonosemantic organization of the text. The study is distinguished by a qualitative presentation of the conceptual apparatus necessary to accomplish the assigned tasks. Various points of view on the underlying terms are widely presented. Therefore, the theoretical significance and novelty of the work are very high. Since the category of semantic tonality has already been stated by us in previous works [1] (2008, 2009), the more interesting is the study based on the phonosemantic organization of the text, including sound symbolism and sound-symbolic metaphor, proceeding from not only attractive functions, but also manipulative, which indicates the novelty of the study. It opens up new aspects of the semantic tonality of the text (poetic, prosaic, advertising). The authors' approach is defined as an active process of thinking. Accordingly, an understanding algorithm is proposed, the adherence to which ensures the identification of semantic tonality and phonosemantic means (sound symbolism, sound-symbolic metaphor).However, in order to correctly understand the very nature of sound symbolism (the relationship between the phonemic appearance of a word and the denotation object designated by it), it is necessary, first of all, to penetrate into the psychophysiological basis of sound symbolism, into the sphere of denotation, which S.V. Voronin [2]. A sound-symbolic word is, first of all, a sound complex, in a certain way correlated with the denotation object designated by it.
The work well presents the issue of associations: in the field of phonosemantics and in the formation of the sound-symbolic metaphor itself. And this is a "hot" topic of research in semantics in general. This article can serve for a more detailed development of the problematics of the sign - not only from the position of Voronin S.V., but from the definition of the sign by C. Pierce. For him, the sign is functional and manifests itself in semiosis. A huge field of meaning opens up not only in the form of selection of ready-made sign units, but also the creation of ad hoc discursive signs. This phenomenon is widely stated by R. Bart in his interpretation of the connotative sign. In the mode of working with phonosemantics, it is precisely the level of meanings set by connotative signs that manifests itself. Hence - so much attention to associations, metaphor and strategy of the hermeneutic approach to analysis. The sign exists only for the interpreter who "grasps" it. This position of Charles Peirce emphasizes the importance of the proposed algorithm [1] and removes the issue of subjectivity in assessing the results obtained.
The topic of the relationship between language and emotion is an incredibly relevant field for research in various modern sciences. Without studying this area of human activity, without knowledge about how emotions affect the formation of a linguistic picture of the world, the formation of a linguistic personality, the possibility of conflict-free interlingual communication, it is impossible to develop theory and solve practical problems facing a modern person. Semantic tonality is interpreted in the work precisely as the emotional mood of the text, determined by a special arrangement of lexical units that create the tone of the sound. The authors focus their attention on the phonosemantic organization of the text as one of the means of creating a semantic construct chosen for research, in order to demonstrate the richest meaning-forming potential of the sound organization of the text, as well as penetrate the mechanism of phonetic coordination of the text structure by the author.
However, in order to correctly understand the very nature of sound symbolism (the relationship between the phonemic appearance of a word and the denotation object designated by it), it is necessary, first of all, to penetrate into the psychophysiological basis of sound symbolism, into the sphere of denotation, which S.V. Voronin [2]. A sound-symbolic word is, first of all, a sound complex, in a certain way correlated with the denotation object designated by it.
A certain connection between the phonemic composition of some varieties of sound-symbolic words and the objects designated by them was pointed out by a number of researchers who studied various languages of the world on this subject. The question of the symbolism of "big / small" has occupied scientists already in ancient times. Even Plato in "Cratilus" expressed the idea that the sound [a] is best suited to denote something big, the sound [i] - something narrow. St. Augustine (IV-V centuries) assigned the sound [u] the role of the exponent of something huge and strong, as
well as thick [3, p. 31]. In the 30s of our century, a number of famous linguists began scientific research on the symbolism of designations large / small (E. Sapir 1929; S. Newman 1933). A significant contribution to the study of this issue was made by the experimental study of the phenomenon of sound symbolism, first carried out in 1929 by E. Sapir. The experimental results speak in favor of the fact that [a] is more suitable for denoting large, and [i] - for denoting small size [4, p. 225-239]. S. Newman, who continued this research, came to the conclusion that the vowels in English on the small-large scale are arranged in the following order - [i], [e], ... [a] [5, p. 62]. The well-known article by O. Espersen "Symbolic value of the vowel [i]" [6], where the author, using the example of English, as well as a number of other languages, shows that the concept of small sizes is expressed in many languages by symbols. containing the "high-front-uncorrupted" vowel [i]. W. Westerman notes that in some new African languages, along with the opposition of back / front vowels, there are oppositions in tone. "A low tone means something big, voluminous, wide ... A high tone means something small, thin, delicate ..." [7, p. 103-113]. Of great scientific interest is the research carried out by V.V. Levitsky study of the phonetic composition of words, during which he concluded that the concept "small" can be symbolized in various languages by such acoustic-articulatory features: non-stabilization, front row, upper rise (signs of the deaf); the concept of "large", in turn, - such signs: labiality, back row, middle or lower rise (for the deaf) [8, p. 97]. It can be argued that the symbolism [a] / [i] for "big / small" is generally recognized by all linguists dealing with the problems of sound symbolism. Also, there is a whole series of designations for distant / close with the opposition of low / high vowels in tone. Accordingly, the low tone [a] in these words serves to express the concept of "close". The sound-symbolism of words denoting distant / close with the opposition of low / high vowels in tone was studied in detail in the studies of K. Dance on the material of a number of unrelated languages.
The role of individual labial phonemes in the names of rounded, spherical, convex, bulging objects has been repeatedly noted in various languages. Studying the Malay language, W. Maxwell notes that the initial bu-, bun-, bung- are characteristic of a large number of words that betray the concept of roundness.
Finding the connection between the sound appearance of a word and the object designated by it, researchers condition the fact that they find certain common features in the nature of these types of phonemes in the composition of these words and the concepts symbolized by them. For pronouncing [a] we position our articulators in such a way that the resonator of the oral cavity is made large, and for pronouncing [i] we "reduce" the volume of the resonator of the oral cavity [4, p. 235].
The consistency of sound-symbolic words is less pronounced in comparison with the consistency of onomatopoeic words. The sound-symbolic subsystem is characterized by a wider coverage of the vocabulary.
According to O. Espersen, sound-symbolic words denote movements, things, appearance (form, light), state of mind (dissatisfaction, disgust), size and remoteness [6, p. 399-403]. According to N.B. Kile, Nanai figurative words denote a variety of color and light representations, sensory perceptions, mental state, appearance [9, p. 11-12].
The modern typology of sound symbolism was proposed by American scientists L. Hinton, D. Nicholas, D. Ohala, T. Kaufman, H. Aoki [10, p. 9-12]:
1. "Physical" sound symbolism (Corporal sound symbolism). These are sounds and intonation patterns that express the internal state of a person, emotional or physical (coughing, sneezing).
2. "Imitative" sound symbolism (Imitative sound symbolism). This category includes onomatopes that transmit ambient sounds (zip, knock, bang)
3. Synesthetic sound symbolism. This category includes acoustic symbolisms of non-acoustic phenomena. In other words, certain vowel and consonant phonemes constantly convey visual, tactile, and other characteristics of objects, such as size, shape, etc.
4. "Conventional" sound symbolism (Conventional sound symbolism) and included associations of phonemes and groups of phonemes with certain meanings (for example, the combination [um], conveying the value of roundness and convexity
Humpty-Dumpty; the combination [gl], conveying the meaning of the glow). This type of sound symbolism is the basis for creating a sound-symbolic metaphor. The human mind, combining involuntary and arbitrary, seeks to find a connection between sound and meaning to create new words in poetry, prose, advertising.
Metaphor occupies a special place in the theory of semantic, psycholinguistic, stylistic, syntactic and pragmatic research. For a long time, the sound-symbolic metaphor has attracted both domestic and foreign linguists, so the number of works on this topic continues to grow steadily. The scientific novelty of the phenomenon under study lies in the possibility of a sound-symbolic metaphor to act as a special way of denoting objects of reality and modeling associations between the new and the unknown, enshrined in the linguocultural space in practice. A sound-symbolic metaphor is a unique way of representing the expressive implication characteristics of an artistic and advertising text, structuring information, objectifying mental processes in a language and a way of producing new knowledge.
In the field of linguistic modeling of the semantics of metaphor, various logical-semantic structures of the metaphor are determined. "When analyzing the comparison included in the metaphor, as a rule, three main components are used: object-feature-image" [11, p. 208], "compared - the basis of comparison - the object of comparison" [12, p. 103]. It should be said that the differences in the semantic modeling of the metaphor make it difficult to decode it in the text due to the prevalence of implicit relations in it over explicit ones.
A sound-symbolic metaphor is created in a similar way. In this case, associations by the signifier are taken into account: semantic convergence based on associations by similarity, contiguity or opposition to the sound side of a linguistic sign. For example, on the basis of the paronymy "fog - deception" «туман - обман», a semantic convergence is clearly visible.
The sound-symbolic metaphor is characterized by a great freedom of choice of features that serve as a basis for comparison, a wider participation of fantasy and imagination in linguistic designation. Metaphorical transfers of meaning vary from purely external ones, taking into account the form of compared objects, actions, spatial and temporal relations that exist between actions, the peculiarities of physical actions of a person, animal and inanimate objects, to internal ones, based on their subjective, emotional perception.
Since metaphorization is based on associative connections of human experience, anthropometry is always at the heart of any metaphorical rethinking - the ability to present one essence as if it were similar to another. Therefore, the metaphor carries valuable information about the human scale of knowledge and ideas, about the conceptual system in different historical epochs, and at the same time about the system of national and cultural values and stereotypes.
Traditionally, in linguistic experiments to identify sound-symbolic symbolism, they resort to the method of subjective scaling (C. Osgood's semantic differential, interpreted as phonosemantic Zhuravlev 1991). Phonestemes as combinations of sounds associated with the transfer of certain connotations accompanying words in
Библиографический список
which these sound complexes are realized have been described in various studies (Bloomfield 1895; Firth 1957; Marchand 1966; Wallis 1653). The phonestems [sl], [br], [bu], [gl] considered in the article are proposed based on the associations traditionally attributed to these sound combinations: [sl] - light, smooth movement, smoothness, sliding; [br] - fast and strong forward movement, activity, breakthrough, breaking an obstacle, [bu] - roundness, protrusion, fullness, fullness.
Contextual sound symbolism can change (enhance, diminish, completely darken) the perception of the dominant sound of the advertising text. This mechanism can be traced on the example of the perception of the phonestem, in which, thanks to its components, there are associations characteristic of both the entire sound complex and its individual parts, for example, the sound combination [sl]: No sleepless nights on Slender Slides! [13] Silky Sleek and the described objects - silk bedding, olive oil) have the connotations smooth, light, slippery, long, inherent both for the phonestem components and for the sound complex as a whole: [s] - slippery, [l] - long , smooth, lightweight.
Advertising texts demonstrate a high degree of sound-visual associations due to the fusion of the constituents of the plane of expression, that is, the correspondence between the expressiveness of the symbolism of dominant sounds and the expressiveness of the contextual sound symbolism of segment phonosemantics.
The same dominant connotation created by different sounds can be enriched with additional ideas associated with it. For example, for repetitions of the sounds [b], [p], [u:], [bu], the main connotation is the semantic association convex, which is supported by complementary connotations - round, dark, thick - [u:]: Mousse it smooth -liquid chocolate Mood; It puts you in a good mood [14] - Sanka coffee.
Among all the variety of means of representing sound tonality, as a linguistic category of expressiveness and evaluativeness, a special role is assigned to the sound-symbolic metaphor. The unflagging interest in the problems of spoken speech has been observed especially clearly in recent decades. Linguistic scientists are making attempts to establish the phonosemantic meaning of sound, the emotional and evaluative significance, the nature of its semantic associations, and the psycholinguis-tic influence on a person.
Thus, using the examples of English-language advertising texts, it was revealed that the articulatory and expressive characteristics of repeated sounds, enhanced with the help of segment phonosemantics, act as modifiers of message decoding and contribute to the emergence of metaphorization of the perception of the expression plan. For the types of texts considered above, the general phon-emotype of the arrangement, which is based on the articulatory sign of labialization, functioning as a linguistic gesture, is an incentive for creating connotations: convex, rounded; acoustic characteristics of repeated sounds (aspiration, low timbre) - additional connotations are soft, dark, thick. According to the research conducted, phonetic hyperactivity is a sign of expressiveness, and expressiveness, along with emotionality, is manifested by a semantic criterion for identifying lexical units as sound-visual.
1. Евенко Е.В. Фоносемантическая организованность текста, как средство, способствующее построению смысла-тональности: на материале русской и английской литературы. Диссертация .кандидата филологических наук. Тамбов, 2008.
2. Воронин С.В. Основы фоносемантики. Ленинград: Издательство Ленинградского университета, 1982.
3. Пазов-Пинсберг А.М. Символизм прасемитской флексии. О безусловной мотивированности языкового знака. Москва: Наука, 1974.
4. Sapir E. A study in Phonetic Symbolism. J. Exp. Psychology, 1929: 225 - 239.
5. Newman S. Further Experiments in Phonetic Symbolism. J. of Psychology, 1933.
6. Espersen O. Symbolic Value of the vowel "i". Linguistica. Copenhagen, 1933.
7. Вестерман Д. Звук, тон и значение в западноафриканских суданских языках. Африканское языкознание. Москва, 1963: 103 - 113.
8. Левицкий В.В. Семантика и фонетика. Черновцы: Издательство Черновецкого ун-та, 1973.
9. Киле Н.Б. Образные слова нанайского языка. Ленинград: Наука, 1973: 11 - 12.
10. Hinton L. Topology of Sound Symbolism. Sound Symbolism. Cambridge, 1994: 9 - 12.
11. Томашевский Б.В. Стих и язык. Москва: ПИХЛ Язык: 1959.
12. Ефимов А.И. Стилистика художественной речи. Москва: Издательство МПУ 1957.
13. Haymarket Magazines Compaign. London, 2007.
14. Slogan Doctor. Available at: https://www. menagementtoday.co
References
1. Evenko E.V. Fonosemanticheskaya organizovannost' teksta, kak sredstvo, sposobstvuyuschee postroeniyu smysla-tonal'nosti: na materiale russkoj i anglijskoj literatury. Dissertaciya ...kandidata filologicheskih nauk. Tambov, 2008.
2. Voronin S.V. Osnovy fonosemantiki. Leningrad: Izdatel'stvo Leningradskogo universiteta, 1982.
3. Gazov-Ginsberg A.M. Simvolizm prasemitskoj fleksii. O bezuslovnoj motivirovannostiyazykovogo znaka. Moskva: Nauka, 1974.
4. Sapir E. A study in Phonetic Symbolism. J. Exp. Psychology, 1929: 225 - 239.
5. Newman S. Further Experiments in Phonetic Symbolism. J. of Psychology, 1933.
6. Espersen O. Symbolic Value of the vowel "i". Linguistica. Copenhagen, 1933.
7. Vesterman D. Zvuk, ton i znachenie v zapadnoafrikanskih sudanskih yazykah. Afrikanskoe yazykoznanie. Moskva, 1963: 103 - 113.
8. Levickij V.V. Semantika i fonetika. Chernovcy: Izdatel'stvo Chernoveckogo un-ta, 1973.
9. Kile N.B. Obraznye slova nanajskogo yazyka. Leningrad: Nauka, 1973: 11 - 12.
10. Hinton L. Topology of Sound Symbolism. Sound Symbolism. Cambridge, 1994: 9 - 12.
11. Tomashevskij B.V. Stih iyazyk. Moskva: GIHL Yazyk: 1959.
12. Efimov A.I. Stilistika hudozhestvennojrechi. Moskva: Izdatel'stvo MGU, 1957.
13. Haymarket Magazines Compaign. London, 2007.
14. Slogan Doctor. Available at: https://www. menagementtoday.co
Статья поступила в редакцию 24.05.21
