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Перечисленные условия субстантивации порядковых числительных свидетельствуют о том, что эта группа слов по своим внутренним свойствам существенно отличается от имен прилагательных, и вторичные функции порядковых числительных не характеризуются, в отличие от прилагательных, регулярной субстантивацией (и самое главное - субстантивация порядковых числительных не зависит от синтаксической функции).
Особо следует остановиться на синкретичной по своей природе функции дуплексива. Дуплексив как особый тип второстепенных членов предложения обозначает признак предмета, проявляющийся у предмета одновременно с действием. Порядковые числительные в функции дуплексива представлены конструкциями типа: Мать пришла пятой, увидели его первым; Николай финишировал третьим. Что здесь считается? Предметы или действия? Очевидно, что в конструкции типа Мать пришла пятой, считаются не матери и не действия, названные глаголом, пришла. В данном случае считаются разные предметы (в том числе и мать), совершающие действие по глаголу приходить, считаются приходящие, т.е. в процесс счета вовлекаются и предметы, и действия в их единстве. По-
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рядковое числительное в подобных конструкциях характеризует одновременно и предмет со стороны порядка по счету, и действие по признаку его очередности.
При употреблении порядкового числительного в роли обычного определения, относящегося к некоторому существительному (второй том, третий год), числительное обозначает порядковое место предмета в ряду однотипных (одинаковых) предметов: если говорят третий год - это значит, что считаются годы, и данный год является третьим в ряду именно годов, а не каких-нибудь других предметов. Выражение же Книга положена десятой означает, что укладывались самые различные предметы, среди которых была и книга, она-то и положена десятой. Таким образом, порядковое числительное в анализируемых конструкциях одновременно характеризует один предмет со стороны порядка по счету среди неоднородных ему предметов, и действие по признаку очередности.
Противопоставление первичных и вторичных синтаксических функций словоформ в сфере такой синкретичной части речи, как имена числительные, оказывается делом более сложным, нежели противопоставление этих функций в сфере основных частей речи.
1. Бабайцева В.В. Зоны синкретизма в системе частей речи современного русского языка. Научные доклады высшей школы. Филологические науки. 1983; № 5.
2. Баудер А.Я. Части речи - структурно-семантические классы слов в современном русском языке. Таллинн, 2012
3. Панфилов В.З. Философские проблемы языкознания. Москва, 2000.
4. Булынин Л.Л. Трудные вопросы морфологии. Москва, 2017.
5. Милославский И.Г. Морфологические категории современного русского языка. Москва: Флинта, 2011.
6. Мигирин В.Н. Очерки по теории процессов переходности. Бельцы, 1971.
7. Лукин М.Ф. Субстантивация числительных в современном русском языке. Русский язык. 2012.
8. Русская грамматика. Москва: Наука, 1980.
9. Калечиц Е.П. Переходные явления в области частей речи. Свердловск, 1997.
10. Обнорский С.П. Историческая морфология русского языка. Москва, Издательство Юрайт, 2017.
11. Горшкова К.В. Лексикология, фонетика, морфология. Ленинград: Ленанд. 2019.
12. Былкова С.В. Русские синтаксические конструкции как средство фактического общения. Диссертация ... кандидата филологических наук, 2005.
13. Былкова С.В. Функционирование побудительных предложений в фактическом общении. Историческая морфология русского языка. Москва: Издательство Юрайт, 2017.
References
1. Babajceva V.V. Zony sinkretizma v sisteme chastej rechi sovremennogo russkogo yazyka. Nauchnye doklady vysshej shkoly. Filologicheskie nauki. 1983; № 5.
2. Bauder A.Ya. Chasti rechi - strukturno-semanticheskie klassy slov v sovremennom russkom yazyke. Tallinn, 2012
3. Panfilov V.Z. Filosofskie problemy yazykoznaniya. Moskva, 2000.
4. Bulynin L.L. Trudnye voprosy morfologii. Moskva, 2017.
5. Miloslavskij I.G. Morfologicheskie kategorii sovremennogo russkogo yazyka. Moskva: Flinta, 2011.
6. Migirin V.N. Ocherkipo teoriiprocessovperehodnosti. Bel'cy, 1971.
7. Lukin M.F. Substantivaciya chislitel'nyh v sovremennom russkom yazyke. Russkijyazyk. 2012.
8. Russkaya grammatika. Moskva: Nauka, 1980.
9. Kalechic E.P. Perehodnye yavleniya v oblasti chastej rechi. Sverdlovsk, 1997.
10. Obnorskij S.P. Istoricheskaya morfologiya russkogo yazyka. Moskva, Izdatel'stvo Yurajt, 2017.
11. Gorshkova K.V. Leksikologiya, fonetika, morfologiya. Leningrad: Lenand. 2019.
12. Bylkova S.V. Russkiesintaksicheskiekonstrukciikaksredstvo fakticheskogoobscheniya. Dissertaciya ... kandidata filologicheskih nauk, 2005.
13. Bylkova S.V. Funkcionirovanie pobuditel'nyh predlozhenij v fakticheskom obschenii. Istoricheskaya morfologiya russkogo yazyka. Moskva: Izdatel'stvo Yurajt, 2017.
Статья поступила в редакцию 04.11.19
УДК 801.8 DOI: 10.24411/1991-5497-2019-10252
Evenko E.V., Cand. of Sciences (Philology), senior teacher, Tambov State Technical University (Tambov, Russia), E-mail: nazarova33-1975@mail.ru Glivenkova O.A., Cand. of Sciences (Philology), senior teacher, Tambov State Technical University (Tambov, Russia), E-mail: olga-gllvenkova@rambler.ru Mordovina T.V., Cand. of Sciences (Pedagogy), senior teacher, Tambov State Technical University (Tambov, Russia), E-mail: tvmordovina76@mail.ru
COGNITIVE FEATURES OF TEXT COMPREHENSION. The process of text comprehension which is directly related to the process of mental activity and sound-tonality as a means of emotional expressiveness of fiction text, which is formed by the recipient's perception of phonosementic text organization is considered. The cognitive mechanism of text comprehension, which involves a step-by-step algorithm is discribed. The main attention is paid to the sound-imaginary nature of pho-nosemantic techniques (alliteration, assonance, anaphora, epiphora, onomatopoeia, sound symbolism, paronymy, metaphor, metonymy) based on the phenomenon of sound symbolism in the text. The analysis of the quantitative accumulation of the sound dominant in a segment of the text and the sound-imagery phonosemantic means of a segment phonological level and the sound-symbolic potential of the text are considered.
Key words: text comprehension, algorithm, phonosemantics, sound symbolism, sound dominants, alliteration, assonance, sound repetitions, metaphor, metonymy.
Е.В. Ееенко, канд. филол. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: nazarova33-1975@mail.ru О.А. Гпиеенкоеа, канд. филол. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: olga-glivenkova@rambler.ru Т.В. Мордоеина, канд. пед. наук, доц., Тамбовский государственный технический университет, г. Тамбов, E-mail: tvmordovina76@mail.ru
КОГНИТИВНЫЕ ОСОБЕННОСТИ УСПЕШНОГО ПОНИМАНИЯ ТЕКСТА
В данной работе рассматривается процесс понимания художественного текста, который непосредственно связан с процессом мыследеятельности и выявлением смысловой тональности как средства эмоциональной выразительности текста, которая формируется за счёт восприятия реципиентом фоносе-мантической организованности текста. В статье описывается когнитивный механизм понимания текста, включающий в себя пошаговый алгоритм. В центре внимания - звукоизобразительная природа фоносемантических приёмов (аллитерация, ассонанс, анафора, эпифора, звукосимволизм, звукоподражание, паронимия, метафора, метонимия), основанных на явлении звукового символизма и зрительно-слуховых ассоциациях реципиента. В статье анализируется количественное накопление звуковой доминанты и звукоизобразительные фоносемантические средства текста на фонологическом уровне и звукосимво-лический потенциал данных средств.
Ключевые слова: понимание текста, фоносемантика, звуковой символизм, звуковые доминанты, аллитерация, ассонанс, звуковые повторы, метафора, метонимия.
The modern tendency the approach to text comprehension as mental activity considered the recipient, his speech and mental base, as a prerequisite for the formation of the text content and its functioning in the society, as the comprehension process, primarily the process of perceiving a foreign language culture, which allows a person to rise to a new level by expanding the possibilities of co-creation to assimilate works of various cultures, arts, people.
The purpose of the article is to explore the cognitive characteristics of a successful text comprehension. The relevance of the study is due to the need to identify sound-tonality, considered as the emotional mood of the text, which is relevant to the comprehension and interpreting text process. The theoretical significance of the work lies in the study of the sound organization of fiction text, which helps to identify the sound-tonality arising from the active process of mental activity according to the algorithm proposed in the study. Theoretically important is the location of a complex of phonosemantic means, characterized for actualization of sound-tonality. The practical significance of the work stems from the possibility of using its conclusions in the process of interpretation technique learning, during practical classes and seminars on the study of sound symbolism in the framework of phonosemantics and assessing the quality of translation, in which sound-tonality can be conveyed. Since the study of underlying mechanisms the form choice, analysis of phonics and semantics of vocabulary, helps to gain new knowledge about cognitive operations, activated during the writing of the text replete with sound repetitions, where the sound-imaginary potential is used not only on the basis of its attractive functions, but also manipulative, this indicates the novelty of the study. The key points of the work are: 1. The process of comprehension of phonosemantic text organization is an active process of mental activity, as a result of which the recipient reveals the meaning of the text. 2. Alliteration, assonance, anaphora, epiphora, onomatopoeia, sound symbolism, paronymy, metaphor, metonymy is considered as phonosemantic means that contribute to the formation of sound-tonality in the text. 3. The cognitive mechanism for identifying sound-tonality in fiction text involves the comprehension algorithm we have proposed: 1) text perception; 2) comprehension of perceived means of text building; 3) categorization of perceived text-building means; 4) discretion of associations on the basis of meaningful text-building means; 5) categorization; 6) the sound-tonality construction.
Among the entire amount of mankind knowledge in any science, from whatever point of view they are considered, the central link remains man and language as a way of expressing and reflecting the surrounding reality. At the present stage of linguistics, the need arose to pay more attention to the anthropocentric factor, since in order to understand and learn a language one must turn to its carrier - a person. Therefore, there is a need to study those cognitive processes that occur in the process of text comprehension.
The study of the problems of comprehension and interpretation of fiction text allows us to present the specifics of the structure of the text on the part of its sound organization. The sound organization of the text is referred to the potentially agreed by the author text structure.
In the present work, phonosemantic means of text based on sound symbolism are considered, which are necessary units in the process of sound-tonality constructing. In the recent years, phonosemantic analysis has shifted from a detailed study to the form and structure of the text, to study of implicit communicative information based on the interpretative capabilities of sound-associative connections between various elements of a figurative text system.
The focus is on the ways of connecting phonic structures and their correlation within the framework of holistic structure of sound text organization. The word and its segments - phonemes and morphemes - as a result of intonational isolation and segment isolation acquire ambiguity and symbolism. Orderliness, expressed in a complex system of repetitions, parallelisms and speech rhythm, gives sound organization special significance, leads to semantic contacts between all elements of the structure, activating such connections between them that generate additional meanings that are essential for the perception of the conceptual and esthetic information of the text. It is R.O. Jacobson who points out that "the equivalence in the field of sounding, the sequence is projected as a constituting principle, inevitably entails semantic equivalence" [1, p. 181]. He is one of the first who call the close connection of sound and meaning in poetry with sound symbolism, providing that this phenomenon is objective, based on a real connection between feelings: for example, between vision and hearing. Despite the fact that sound symbolism is characteristic not only of poetry, but also of prose, only in poetry the internal connection between sound and meaning is manifested more tangibly and intensely.
There are two approaches to sound symbolism. At the first approach, the symbolism of sound is primarily, initial. Primary in relation to the conceptual meaning, that is, it arose under the influence of the sound nature of the language. Numerous psycho-linguistic experiments confirm the existence of primary sound symbolism, revealing the dependence of symbolic meaning on the acoustic-articulatory characteristics of sound. According to the second approach, sound symbolism is be, sound symbolism is believed to arise as a result of the speaker's desire to find to find a correlation between the sound of a word developing in accordance with the phonetic laws of a given language and its meaning. Secondary (contextual) sound symbolism is possible due to the primary (elementary) sound symbolism, so they should be considered in conjunction.
Sound symbolism exists due to the ability of the human brain to establish an associative relationship between sound and meaning. This ability is primarily determined by the objectivity and polymodality of human perception. We perceive natural sounds through the restoration of visual and auditory images of objects. Moreover, the
primary, basic is the visual image (the cry of a bird, the rustling of leaves, the rustling of leaves, the murmur of water). The multimodal nature of objective perception implies the appearance of visual images based on auditory ones, and vice versa, auditory images are born on the basis of visual ones. The phenomenon of intersensory effects, the transformation of images of some modalities into others are called synesthesia. The most pronounced synesthesia manifested in color-sound associations, which are essentially sound symbolic. The tables of color-sound correspondences by G.N. Iva-nova-Lukyanova between vowel phonemes of a text and certain color characteristics are widely known. For example, [a:] is red, [o] is yellow, [u] is green, high vowels [i], [o] are "bright" and "joyful". The low vowels [u], [e] are "dark" and "sad" [2, p. 109]. In the course of his experiments, A.P. Zhuravlev suggested that Russian informants categorize 46 sound letters ("sound-letters psychological images" [3, p. 95] according to the signs 'good"-"bad", "light"-"dark". A study of psychophysiological factors in the perception of sounds by an individual, shows that it would be simplification to look for the sources of sound symbolism only in synesthesia or in associative connections of human consciousness S. V. Voronin discovered that the physical properties of sounds are associated not only with the concept of size, but also with the concepts of strength, activity, frequency, light, heat and hardness. He distinguishes 36 types of "phonointrokinemes" [4, p. 85], which are interpreted by him as one of the categories of "sound-visual" words associated with kinemes accompanying internal sound-visual processes. According to S.V. Voronin, kineme is a reflex gesture or facial movement that accompanies certain emotions.
Thus, the basis of sound symbolism psychophysiological laws common to representatives of all languages, the presence of some universal properties. 1. A single basic cognitive mechanism built into the individual mental base; 2. The individual characteristics of the recipient to interpret the phonetically consistent structure; 3. The national specifics of sound symbolism associated with the linguistic experience of its native speakers.
From the position of communicative approach, the text structure formed by the author creates the opportunity and program for the recipient's creativity. The recipient's mental activity, "an active meaningful process of comprehension" [5, p. 92] is a creative process organized by the structure of the text and imagery material from the text itself and from the recipient's associations, which have various sources. This concept allows us to explain the variability of recipient's comprehension in historical and individual terms. The authors never provides an arbitrary complement to our imagination. In all the works of speech scholars, the unity of the processes of semantic perception and comprehension is emphasized.
Since the result of comprehension is sense as some knowledge, mental education, which is included in the existing knowledge system and correlated with it, then "meaning as an ideal mental model is created by the subject in the process of text comprehension" [6, p. 111], therefore, the active mental process we consider as a process of constructing meaning. In the process of constructing the contextual meaning of the text, sound-tonality is a smaller mental formation. The sound-tonality is interpreted in this work as the emotional mood of the text, determined by special arrangement of lexical units that create the tonality of the text. The identification of sound-tonality in the text is expressed through the comprehension algorithm proposed above.
The process of sound organization comprehension begins with perception according to the algorithm. The perception process is recognition and transmission of signals (signs) to the recipient's cerebral cortex. According to A.B. Mikhalev, "it is the image of objects that is the initial form of reality comprehension and it implements a cognitive function" [7, p. 95]. Let's consider a fragment of the text from the work of F.M. Dostoevsky "Crime and Punishment", which describes the main character, and analyze the mental process of contextual meaning and the construction of sound-tonality according to the proposed algorithm.
«Он шел по тротуару как пьяный, не замечая прохожих и сталкиваясь с ними...Лицо его было мокро от слёз; оно было бледно, искривлено судорогой, и тяжёлая желчная улыбка змеилась по его губам. Сильно билось его сердце и сильно волновались его мысли.Он был раздавлен, даже как-то унижен. Ему хотелось смеяться над собой со злости. Тупая зверская злоба закипела в нём» [8, c. 138].
"He walked along the sidewalk like a drunk, not noticing passers-by and colliding with them ... His face was wet with tears; it was pale, twisted by a cramp, and a heavy gallstone smile snaked across his lips. His heart was beating violently and his thoughts were very worried ... He was crushed, even somehow humiliated. He wanted to laugh at himself with anger. The dumb brutal malice boiled in him. "
At the perception of the text there is categorization of text-building means. The process of comprehension and categorization has no clear boundaries, since in the active process of mental activity, categorization always requires comprehension. In this text fragment phonosemantic means are categorized that contribute to the construction of sound-tonality (alliteration, assonance, sound symbolism, onomatopoeia, parony-my). In addition, the sound organization of the text is comprehended, which is formed by the frequency-used sounds (sound dominants). With the quantitative accumulation of a given segment of text, a certain sound organization causes associations that also pass through the categorization stage. Phonosemantis means are the initial link in the comprehension process of text-building means. The basis of phonosementic means is the interpretation of units of phonological level. As a result of this, taking into account the principle of identifying common features for compared concepts, the expressive and articulating phonetic characteristics of sound repetitions can create metaphorical and metonymic semantic associations. Such process of text comprehension completed with sound-tonelity construction.
The text meaning "character state" expressed through the author's speech is represented in the text fragment. The words "злая", "злоба", "злоба", "злость", «зверская» are paronymously related in meaning, using sound [з], [c] causing onomatopoeic associations (whistling sounds) with the comparison key word "snake-змея". The verb formed by the conversion method causes, in addition to onomatopoeic, sound symbolic associations "hissing, unpleasant, heavy, painful, cold, disturbing, nervous". In the lexical units, "тяжёлая, желчная, раздавлен, унижен" hissing whistling sounds [ж], [ч], [з] reinforce the associative process of the main dominant [с], [з] in the basic associations "unpleasant, heavy, painful, crushing harassing". The sound dominants [s] is used by the author in the sentence «Сильно билось его сердце, и сильно волновались его мысли.» both in an epiphoric position, representing the character's state as "difficult, restless, painfull" indicates the protracted nature of the character's illness and the sound repetition [o] at the beginning of the segment, causing the recipient to "gloomy, dreary, long, dull" notes of mood trough the appropriate text sound organization. As a result of the categorization of associations identified by recipient and the definition of sound dominants, sound-tonality of "painful, gloomy, difficult" is built in the text segment. To describe the psycho-emotional state, such technique as a comparison and a metaphor is used "как пьяный", "змеилась", "зверская", metonymy "искривлённо, раздавлен, закипела" which reflects the severe mental state of the character. The use of anaphora in the construction of the sentence "Сильно билось его сердце, и сильно волновались его мысли." - contributes to the creation, retention and consolidation of the meaning "the character has a strong emotional experience", which emphasizes the emphatic construction of the sentence with an inverse word
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order. The statement implicitly contains the idea that the character is in a state of fear, irritation, nervousness, dissatisfaction with himself and self-doubt. With the help of dissonant epithets "|тяжёлая, желчная, злая улыбка" and unusual phraseological units with metonymy "искривлено судорогой", "сильно волновались его мысли" emotional state of the character is represented. Unconscious malice is expressed by repeating the lexical units "злоба", "злость".
Thus, (conclusion) the phonosemantic text organization makes up semantic text sounding, on the basis of sound-semantic associations which play a great role in the construction of this contextual meaning "character state". The results of linguistic research shows that a successful comprehension of fiction text takes into account the characteristics of such cognitive processes as perception, categorization, discretion of associations and identification of sound-tonality as stated in the comprehension algorithm. The sequence of text elements (phonosemantic means) creates a certain structure of the situation for the recipient of information, which is of great importance for text comprehension, because the connections between the individual meaningful elements stretch through the entire text, sometimes they are obvious, sometimes they are hidden and not immediately recognized. Phonosemantic means of the segment phonological level of the text perform not only attractive and mnemonic functions, but also allow you to manipulate the interpretation of the decoded message as one of the connotative modifiers based on both dominant sound and segment sound performance. Linguistic research in this direction develops theoretical knowledge about the connotation that arises through the sound imagery of some elements of the textual sound envelope, contributes to the further study of a new layer of neologism words created on the basis of sound symbolism.
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Статья поступила в редакцию 03.12.19
УДК 8Т373.21 DOI: 10.24411/1991-5497-2019-10253
Merkel E.V., Doc. of Sciences (Philology), senior lecturer, Technical Institute (branch) of North-Eastern Federal University n.a. M.K. Ammosov (Neryungri, Yakutia), E-mail: merkel-e@yandex.ru
Yakovleva L.A., Cand. of Sciences (Philology), senior lecturer, Technical Institute (branch) of North-Eastern Federal University n.a. M.K. Ammosov (Neryungri, Yakutia), E-mail: yakovlyubov@rambler.ru
ON THE ETYMOLOGY OF SOME HYDRONYMS OF NERYUNGRI DISTRICT. The etymology of a number of hydro-objects of Neryungri District of southern Yakutia is covered in the work. The basis of this collective work was the materials collected by the authors in the framework of the research project "Lexicographic description of the toponymy of the South Yakut region" (project No. 08-04-00023a), carried out with the financial support of The Russian Humanitarian Science Foundation. The information is obtained as a result of working with maps of various specializations, dictionaries, as well as with informants - Evenks, hunters and reindeer herders. The results of lexical and semantic analysis of aboriginal hydronyms of the South of Yakutia, which are based on the properties and qualities of topoobjects, are presented. The principles and types of nomination of names of water bodies are considered on the unique toponymic material. Key words: toponyms, hydronyms, Evenks, principle of nomination type nomination.
Е.В. Меркепь, д-р филол. наук, доц., Технический институт (филиал) Северо-Восточного федерального университета имени М.К. Аммосова, г. Нерюнгри, E-mail: merkel-e@yandex.ru
Л.А. Яковлева, канд. филол. наук, доц., Технический институт (филиал) Северо-Восточного федерального университета имени М.К. Аммосова, г. Нерюнгри, E-mail: yakovlyubov@rambler.ru
К ВОПРОСУ ЭТИМОЛОГИИ НЕКОТОРЫХ ГИДРОНИМОВ НЕРЮНГРИНСКОГО РАЙОНА
Основой данной коллективной работы послужили материалы, собранные авторами е рамках научно-исследовательского проекта «Лексикографическое описание топонимии Южно-Якутского региона»(проект № 08-04-00023а), выполненного при финансовой поддержке Российского гуманитарного научного фонда.
В работе освещена этимология ряда гидрообъектов Нерюнгринского района Южной Якутии. Сведения получены в результате работы с картами различной специализации, словарями, а также с информантами - эвенками, охотниками и оленеводами. Представлены результаты лексико-семантического анализа аборигенных гидронимов юга Якутии, в основе номинации которых лежат свойства и качества топообъектов. На уникальном топонимическом материале рассматриваются принципы и типы номинации наименований водных объектов. Ключевые слова: топонимы, гидронимы, эвенки, принцип номинации, тип номинации.
