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DISCOURSE STYLISTIC SPECIFICITY OF THE EVALUATIVE MEANS IN A REGIONAL EDITION (ON THE EXAMPLE OF THE REALIZATION OF THE TOPIC “F. M. DOSTOEVSKY IN KUZNETSK” IN THE CITY NEWSPAPER “KUZNETSKIY RABOCHIY”) // Tomsk State Pedagogical University Bulletin. 2018. Issue 6 (195). P. 31-38

The article examines the influence of the city newspaper’s discourse on the system of the evaluative means having the specificity determined by the memorial and local historical function of the regional edition. Semantic and stylistic analysis of the materials of the newspaper “Kuznetskiy rabochiy” (Novokuznetsk) linked to the local historical dominant “F. M. Dostoevsky in Kuznetsk” shows that the meliorative contexts prevail. Due to the semantic and stylistic analysis of the evaluative contexts participating in the representation of the examined local historical dominant, it is possible to identify two connected components of the value content: the Kuznetsk events in the writer’s life as the cultural heritage of the city and F. M. Dostoevsky’s contribution to the culture. The first component is more concretized, while the second component, which is the base of the first one from the logical point of view, is presented by the repeated periphrases and appendices characterizing F. M. Dostoevsky as an artist in the general meliorative (normative) aspect. The materials not linked to the local historical dominant “F. M. Dostoevsky in Kuznetsk” present the great writer’s contribution to the Russian and world culture in a more multidimensional way. The memorial and local historical function of the regional edition determines, primarily, the ethical evaluation actualization; however, it interacts with other types of the evaluation as well – teleological, normative, and aesthetic ones. During the realization of such topics as the importance of F. M. Dostoevsky’s stay for Kuznetsk, the preservation of the memory of this stay, the value of the contact with the spiritual space of the memory, the emotional and expressive means are constantly used in the evaluative contexts. The emotional and expressive intensity of the contexts increases together with the role of the ethical evaluation. In the examined newspaper materials, the topic of the preservation of cultural memory is the central one among the topics representing the hyper-topic of Dostoevsky’s stay in Kuznetsk as the cultural heritage of the city. Particularly, it is presented not only by the meliorative pole but also by the pejorative one actualizing the topic of cultural oblivion. Pejorative contexts are not isolated; they are used in correlation with the meliorative ones, which, due to such means as contrast, increases the pragmatic effect. Prevailing of the meliorative contexts in the representation of the local historical dominant “F. M. Dostoevsky in Kuznetsk” confirms the sustainable ideals of the regional community and the stable range of the materially embodied values discussed in the city newspaper.

Keywords: evaluation, evaluative means, emotional and expressive means, regional media discourse, city newspaper, local historical dominant

IMAGES OF CHARACTERS OF THE FAIRY-TALE POEM “THE MAIDEN TSAR” (“TSAR’-DEVITSA”) BY M. I. TSVETAEVA IN THE MIRROR OF COMPARISONS: THE MAIDEN TSAR AND TSAREVITCH // Tomsk State Pedagogical University Bulletin. 2019. Issue 4 (201). P. 31-40

The article examines the semantic and stylistic system of comparisons in the fairy-tale poem “The Maiden Tsar” by M. I. Tsvetaeva. The purpose of the article is to compare features of the source domain and the target domain corre sponding to the comparisons in the fairy-tale poem of M. Tsvetaeva with the features of the images of The Maiden Tsar and Tsarevitch. The cognitive theory of the metaphorical speech and the theory of the literary word associativity developed in the communicative stylistics of text are the basis of the analysis of comparisons. In relation to comparisons, target domain (A) is a compared object, its semantic features, while source domain (B) is an object, with which A is compared. In the consciousness of an addresser, source domain is a reaction to the target domain, while, in the consciousness of an addressee, it is an incentive to form the associative field of the target domain. As one of the most important characteristics of the literary word, associativity allows the addresser and the addressee to compare two domains (A and B) on a definite basis (C), which becomes a key to the aesthetic sense. The analysis includes semantic and stylistic, statistic and stylistic methods. The system of comparisons reflects the important characteristics of the key images of the poem. It concerns not only means of expression of the comparison (for example, Ablative of Comparison expressing brightness, sharpness, and dynamism plays a great role in the representation of The Maiden Tsar, while conjunctions of comparison with unreal modality expressing that the character is lost and incompatible with material world are significant in the realization of the image of Tsarevitch), but also the comparison of the target domain and source domain. The following conclusions are the result of the research: in the comparison of the target domain of comparisons representing The Maiden Tsar and Tsarevitch, the integral semantic feature is the unusualness of characters belonging to another world. However, they have different nature of this belonging: The Maiden Tsar has the solar one (semantics of life, energy, warmth), while Tsarevitch has the lunar one (semantics of unreality, physical weakness, cold). Comparison of the other semantic characteristics of the target domain (a type of beauty and strength) occurs according to this central opposition. The differentiation of images according to the characteristics of the target domain includes the difference of such semantic dominants as the strength of love (in the image of The Maiden Tsar) and creativity (in the image of Tsarevitch). Source domain reflects the associative richness of the poetic world of M. Tsvetaeva. Aesthetic content of the comparisons of M. Tsvetaeva is endless. However, the analysis of comparisons based on the approaches of communicative stylistics of text and cognitive linguistics makes it possible to describe comparisons as the semantic and stylistic system.

Keywords: idiostyle of M. Tsvetaeva, fairy-tale poem “The Maiden Tsar”, comparison, source domain, target domain

THE WORD-IMAGE “MEMORY” IN M. I. TSVETAEVA’S LYRIC POETRY OF 1920 // Tomsk State Pedagogical University Bulletin. 2020. Issue 3 (209). P. 124-131

Introduction. The theme of Memory is a key one in culture and thus it is studied in history, sociology, semiotics, philology and other domains. The “Mnemonic Code” retains its significance throughout the entire career of M. I. Tsvetaeva as a poet. Material and methods. The aim of the article is to study semantic and stylistic features of the word-image “Memory” in M. Tsvetaeva’s lyrics of 1920 through the analysis of the lexical structure of the corresponding poetic text. The semantic-stylistic analysis is based on the theories of the imaginative speech substantiation by M. N. Kozhina and of the text paradigms by N. S. Bolotnova. Referring to both linguistic and textual paradigms goes within the textocentric approach in modern linguistics and the linguistic analysis of the literary text itself. Results and discussion. Semantic lexical paradigms present associative pairs and fragments of associative series of words and superword units within the lexical system of the text, already existing in the linguistic consciousness of the reader on the one hand and formed by the text on the other hand. Analysis of M. Tsvetaeva’s poems revealed semantic lexical paradigms based on semic recurrence, isotopic chains actualized due to such type of foregrounding as repetition, and semantic lexical paradigms based on semantic contrast. In 1920 M. Tsvetaeva wrote 4 poems containing the word-image “Memory”: “Good Night to a Stranger in a New Cell...”, “Psyche” (“Punch and Midnight ...”), “Running from Home…”, “How They Drink in Long Drinks... ” (Excerpt). They are written at the end of the third period of the poet’s creative work, they precede the new features of her idiostyle. The word-image “Memory” is associated with the main themes of M. Tsvetaeva’s works – the lost world, creativity, love. In the verbal associative network of M. Tsvetaeva’s poems of 1920, the word “memory” is accompanied by the usual lexical representatives “remember”, “forget”, phraseological unit meaning “without memory”. It actualizes in the locative “in memory”, in the spoken syntactic structure “what a memory” and it is accompanied by the epithets and descriptive adjectives as “bad”, “female”, “all”. Conclusion. The contextual meaning of the word-image “Memory” is based on a rich usual background and is explained in M. Tsvetaeva’s lyrics of 1920 through the themes of the vanishing old world, creativity and love. This further develops the trends outlined in the earlier poems, but they are expressed more clearly, expressively and deeply.

Keywords: cultural memory, M. I. Tsvetaeva’s idiostyle, M. I. Tsvetaeva’s lyric poetry, communicative stylistics, lexical structure of the poetic text, semantic lexical paradigms

SCIENTIFIC DIRECTION “COMMUNICATIVE STYLISTICS OF TEXT” (ON THE ANNIVERSARY OF THE DOCTOR OF PHILOLOGICAL SCIENCES, PROFESSOR N. S. BOLOTNOVA) // Tomsk State Pedagogical University Bulletin. 2022. Issue 6 (224). P. 161-165

The article discusses the features of the communicative style of the text as a scientific direction of stylistic research, developed at Tomsk Pedagogical University under the guidance of Professor N. S. Bolotnova. Also, the features of the communicative stylistics of the text, its connection with related scientific disciplines are noted here, the directions of communicative stylistics are highlighted, its connection with cognitive-discursive studies is emphasized.

Keywords: communicative style of text, theory of semantic development of text, theory of text associations, theory of regulativeness, N. S. Bolotnova

Image of a Rose in the Poetry by M. I. Tsvetaeva: Semantic and Stylistic Analysis // Tomsk State Pedagogical University Bulletin. 2024. Issue 1 (231). P. 77-86

The semantics of the image of a rose considered in the researches dedicated to the semantics of flowers has mythological roots. 67 verses by Tsvetaeva, from her early works to 1925, contain the image of a rose. The research purpose is to reveal the dynamics of semantic and stylistic features of the word-image rose expressed in a plural form (roses) analyzing lexical structure of the text. The poems containing this image have a lot of aesthetic differences. The research material includes 41 verses, from the early works to 1925. The texts are selected from Dictionary of the Poetic Language of M. I. Tsvetaeva. Philological analysis is based on the theories of M. N. Kozhina and N. S. Bolotnova. The authors consider the texts chronologically, which allows them to follow the dynamics of semantic and stylistic features of the image in different periods. The authors use the periodization developed by O. G. Revzina. In the collection of verses The Evening Album, roses express semantics of beauty and love; they are associated with a bright unreal space, with the image of a crown, the motif of martyrdom, sacral topics. The image of roses becomes a detail of stories and portraits. In the collection Youthful Verses, the word roses is, mainly, a detail of a portrait. Besides, the image of roses in this period is tied to the topics of death and writing. In the poems of 1916–1919, roses are an aesthetic element of sketches, a detail of the plot; they characterize the images considered by the heroine and have an evaluative function. The lyrical subject generalizes her feelings associating roses with the retrospection considered by the heroine in a new period of her life. In the theatrical 1918, Tsvetaeva often uses the plural form roses in dramatic sketches. The image of roses is developing as a vivid detail. In 1919 the image of roses has a descriptive function in genitive metaphors and a comparison with the semantics of strength, energy, and love. In the verses of the 1920s, the image of roses is associated with the topics of writing, talent, and a special role of the poet. The topics of love, writing, being are interrelated and expressed in the verses until 1925. In the poems where the image of roses expresses the topic of unrequited love, roses become a symbol of love as the beginning of life; being loyal to love is a great sense and a heavy burden. The image of roses, compared with the early verses, becomes deeper in the semantic aspect, more metaphorical and symbolic; Tsvetaeva often includes it in the expressive constructions typical for her.

Keywords: semantics of flowers, idiostyle of M. I. Tsvetaeva, communicative stylistics of the text, lexical structure of the poetic text