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SPECIAL ASPECTS OF LINGUISTIC PRESENTATION OF TASTE SEMANTICS IN B. PASTERNAK’S POEMS // Tomsk State Pedagogical University Bulletin. 2014. Issue 2 (143). P. 76-79

Linguistic means of presentation of taste sense modality in B. Pasternak’s poetry at lexical and syntactic levels are considered in this article. It also touches upon such subjects as perceptual metaphors and synesthethic combinations with taste basis. A part of studied linguistic units in formation of images is defined.

Keywords: perception, taste sense modality, synesthethic metaphor

THE AUTHOR’S WORLDVIEW AND THE SPECIFICITY OF ITS VERBALIZATION IN TRANSLATED POETIC DISCOURSE (A CASE OF J. EICHENDORFF’S NACHTS AND V. BRYUSOV’S INSPIRED BY EICHENDORFF) // Tomsk State Pedagogical University Bulletin. 2016. Issue 3 (168). P. 37-41

The paper presents a linguopoetic analysis of the original and translated texts in terms of the author’s worldview. The emphasis is placed on extra-linguistic factors such as the translator’s system of values in understanding and creative perception of the original. The comparative analysis allows to identify imagery transformations verbalized in the translation and presented in the individual style that reflect the specificity of the Russian Symbolist’s personal interpretation of the individual poetic picture of the world typical for the German Romantic poet. The original and translation of the poetic work are regarded as texts united by a common discursive space of images with variable methods of poetic expression of artistic meanings.

Keywords: perception, poetic discourse, translation, comparative linguopoetic analysis, imagery transformations

POST-MODERNIST TEXT: METHODOLOGICAL AND LINGUISTIC ASPECTS OF ITS INTERPRETATION IN AUDIENCE SPEAKING ANOTHER LANGUAGE // Tomsk State Pedagogical University Bulletin. 2016. Issue 10 (175). P. 129-132

The article presents a methodology of working with post-modernist text, while teaching Russian as a foreign language. During the analysis, it is necessary to take into account specific characteristics such as the ‘out of the text’ information, implicitness and multiple meanings, deconstruction, and irony. The proposed methodology includes three steps: working with the cultural and historic context before taking up the text, interpreting the meaning of the fiction text and language based exercises, with special attention paid to them. The post-modernist text is considered an original fiction text and at the same time as didactic material. The case study of the short story by V. Pelevin illustrates basic characteristics of the post-modernist text and presents examples of language based exercises which can be used in audience speaking another language.

Keywords: post-modernist text, philological analysis, interpretation, Russian as a foreign language

SEMANTICS OF THE STATE AND ITS LANGUAGE MEANS OF EXPRESSION IN L. S. PETRUSHEVSKAYA STORIES (ON THE MATERIAL OF THE STORY “OLYA GIRL” // Tomsk State Pedagogical University Bulletin. 2017. Issue 2 (179). P. 14-17

The article presents an analysis of the linguistic means of expression of semantics of mental and physical states and their functional load in the stories by L. S. Petrushevskaya. In the process of representation of the studied semantics the traditional two-component models (the predicate and the carrier of the state) are characteristic of the syntactic level, on the semantic level attention focuses on the degree of intensity and depression. The simplicity of language means of expression is one of the key characteristics of creative works by L. S. Petrushevskaya. Conversational vocabulary, abundant urban slang, simple sentences, short gloomy phrases of the characters create a special artistic world of the author. In characters’ feelings expression there are no middle, neutral, «etiquette» of emotions, there is always felt anguish and emotional intensity: loved, wept, hard, etc. Hate is expressed indirectly, through the prism of despair and powerlessness. An analysis of the semantics of language means of expression in L. S. Petrushevskaya’s stories states the evidence of their artistic significance in the process of describing characters’ images. Laconic and simple shapes clearly highlight the depth of the feelings and experiences of the characters, the description of the emotional, physical and mental state generates a representation of the inner world of the characters, their perception of reality.

Keywords: semantics of the state, story, model, character

LINGUISTIC MODELING OF THE AUDITORY PERCEPTION OF “IRREALITY” IN VICTOR PELEVIN’S NOVEL “CHAPAEV AND PUSTOTA” // Tomsk State Pedagogical University Bulletin. 2019. Issue 2 (199). P. 63-69

Introduction. The article describes the semantic model of auditory perception of “irreality”, represented in the text of the novel by Victor Pelevin. Modeling of perception processes is one of the parameters of the artistic text considered in the analysis of its communicative and semantic structure. Images based on sensory sensations are a key component of the artistic picture of the author’s world. Material and methods. The study of the semantics of perceptivity on the material of postmodern texts is directly connected with the problem of “reality/irreality” of the described events, objects, phenomena in the artistic space of the text, which makes the research topic relevant, and includes the research in the scientific context. Results and discussion. The description of irreal events presupposes a change (deformation) of the invariant perception model, primarily related to the “strengthening” of the role of the object of perception. Particular attention is paid to the “mismatch” of the perceptual and mental modes. “Uncertainty”, “blurring”, “strangeness” of objects of perception, caused by the impossibility of visual activity and the altered state of the character’s consciousness, are actualized. Description of the unusual perceptual experience of characters indicates that in the situation of unavailability (absence) of the visual channel of perception, auditory perception allows to model a “picture” that exists only in the altered consciousness of one or another character of the narrative. Linguistic analysis of the fragments of the text showed that “irreality” becomes one of the objects of comprehension and creative reflection of the author of the novel. To represent the situation of unusual auditory perception, a wide range of language means is used (indefinite pronouns, comparative constructions, indefinitepersonal and impersonal one-member sentences, complex sentences with complement clauses and correspondences, etc.). In some cases, the subject of perception realizes that the events observed are of an irreal nature and tries to find their analogue in the familiar world (relying on their auditory sensations). This leads to the emergence of various analogies and comparisons in the text of the novel. The conclusion emphasizes that due to transpositional transfers (vision – hearing), the perceptual component is “strengthened” and the artistic space of the work is “expanded”.

Keywords: irreality, auditory perception, sound, semantic model

INTERPRETING MARINA TSVETAEVA’S POETIC TEXTS IN RFL LESSONS: PERCEPTUAL AND METHODOLOGICAL ASPECTS // Tomsk State Pedagogical University Bulletin. 2021. Issue 1 (213). P. 114-121

Introduction. The use of poetic texts as didactic materials is an effective method of teaching Russian as a foreign language. This study aims to describe the methodological and linguistic aspects of interpreting perceptual semantics in poetic works by Marina Tsvetaeva. The interpretation of literary works in perceptual terms facilitates understanding these works’ messages and provides an opportunity for studying and applying units with the meaning of perception in communicative practice. Material and methods. The material for the study was poems by Marina Tsvetaeva with a pronounced semantics of perception (270 poems, 547 contexts). The main research methods were the linguo-stylistic analysis of the texts, the conceptual and semantic analysis of the keywords, and a linguocultural commentary. Results and discussion. When selecting poems for lessons in a foreign-language audience, it is essential to take into account the students’ cognitive interest, the principle of accessibility, and the principle of the methodological value of the poems for studying. When interpreting texts and analyzing perceptual images, foreign students encounter lexical, grammatical, stylistic, and linguocultorological difficulties. By successfully overcoming the difficulties, students perceive the messages and the emotional tonalities of the poems. The titles of certain poems set “perceptual dominants” conceptually expressed in the further semantic development of the text (“V Sumerkakh” [At Dusk], “Luch Serebristyy” [Ray of Silver], “Nochnye Shepota: Shelka . . .” [Night Whispers: Silk . . .], etc.). Tasks on the analysis of perceptual images and the linguo-poetic analysis of poems must be formulated in accordance with the main stages of the lesson. The actualization of skills and abilities involves the use of individual perceptual experience and information available to students about literary texts. Pre-reading tasks aim to capture the readers’ interest and encourage them to be creative (conceptual guess and comparison). Reading tasks aim to analyze the means of expressing perceptual images at the lexical, grammatical, and stylistic levels of the poem. The focus is on keywords with perceptual semantics. Post-reading tasks aim to generalize and interpret the material. Conclusion. The linguo-stylistic analysis of poems by Marina Tsvetaeva in terms of perception allows foreign students to present one of the options for interpreting the texts using their linguistic and sensory experience. The students understand the functions perceptual units perform, observe the implementation of direct and figurative meanings of keywords, and see how the author expresses her intention at all the levels of the texts.

Keywords: poetic text, Russian as a foreign language, perceptual semantics, linguistic analysis