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umphalist with the aforementioned value. This example is taken from the 15th episode which is written in the style of a series of small plays with the author's remarks. Words in the author's text, in parentheses, indicate the mood or state of the speaker: (Triumphaliter.) Salvi facti i sunt. The author's note is followed by a phrase in Latin which determines the meaning of the word in brackets. This is an adverb corresponding to the English word triumphantly (торжествующе/победоносно (torzhestvuiushche/pobedonosno).

The following are examples of neologisms created by combining two words. In the first case, the noun suffix -ism is added, in the second, an example with zero derivation is presented:

«A s s u m e d d o n g i o v a n n i s m w i l l n o t s a v e h i m » [1*, p. 176] – «Напускное донжуанство его не спасет» (Napusknoe donzhuanstvo ego ne spaset) [2*, p. 209] (translated by S.S. Khoruzhii).

Don Giovanni – дон Жуан (don Zhuan). The noun dongiovannism was created by the writer by analogy with the following nouns: Anglicanism, Confucianism. Thus it carries the meaning of a general phenomenon.

« M o n k e y d o o d l e the whole thing» [1*, p. 107] – «Мартышкин труд» (Martyshkin trud) [2*, p. 126] (translated by S.S. Khoruzhii); «Вот кутерьма поднялась бы» (Vot kuter'ma podnialas' by) [3*, p. 388] (translated by E. D. Kalashnikova).

Doodle (машинально рисовать, чертить/бездельник, бессмысленный рисунок(mashinal'no risovat', chertit'/bezdel'nik, bessmyslennyi risunok) has the meanings of both the verb and the noun, but in the example it performs the function of the imperative mood. However, based on the context, this sentence is most likely an incomplete, abbreviated version that skips the beginning: It will -> It will monkeydoodle the whole thing. The verb doodle means an action that creates something wrong, mechanically, ugly, while the monkey morpheme amplifies it many times over.

Grammatical metaphor

A grammatical metaphor is "the transfer of one grammatical category from one sphere of use to another in order to create a stylistic effect" [5, p. 105]. Here are the examples of grammatical metaphor in Joyce's work:

«I am a l m o s t i n g it» [1*, p. 43] – «Ага, постепенькаю» (Aga, postepen'kaiu) [2*, p. 52] (translated by S.S. Khoruzhii).

«He is s a u s a g e d into several overcoats» [1*, p. 449] – «Он плотно запакован в не-

сколько пальтo» (On plotno zapakovan v neskol'ko pal'to) [2*, p. 527] (translated by S.S. Khoruzhii).

«Fiercely she slaps his haunch, her goldcurb wristbangles a n g r i l i n g , scolding him in Moorish» [1*, p. 396] – «Она сердито хлопает его по окорокам, и на ее запястьях звякают златозмейки звонкогневно. Ругает его по-мавритански» (Ona serdito khlopaet ego po okorokam, i na ee zapiast'iakh zviakaiut zlatozmeiki zvonkognevno. Rugaet ego po-mavritanski) [2*, p. 476] (translated by S.S. Khoruzhii).

«He t h o u s and t h e e s her with grave husbandwords» [1*, p. 176] – «Супружеская речь звучала бы у него суровым библейским слогом» (Supruzheskaia rech' zvuchala by u nego surovym bibleiskim slogom) [2*, p. 209] (translated by S.S. Khoruzhii).

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Sausage is the noun, almost is a degree adverb, angrily is also an adverb. The sentence structure and inflectional morphology (-ed; -ing; -s) used in these examples clearly show that these words are to be understood as verbs. This use of words requires the reader to have a different cognitive comparison of the elements of the sentence, a different decomposition of them into semantic and syntactic structures.

«He began t o m a z u r k a in swift caricature <…>» [1*, p. 116] – «<…> с резвостью он принялся карикатурить мазурку» (s rezvost'iu on prinialsia karikaturit' mazurku) [2*, p. 137] (translated by S.S. Khoruzhii).

The noun in this example is transformed into a verb by zero derivation. This method is the most common word-formation strategy in Ulysses.

«Practice dwindling. A m i g h t h a v e b e e n . Losing heart» [1*, p. 112] – «Практика захирела. Неудачник. Падает духом» (Praktika zakhirela. Neudachnik. Padaet dukhom) [2*, p. 132] (translated by S.S. Khoruzhii).

The verb phrase is used as a noun. The situation is reinforced by the merging of three verbs into one unit.

«<…> professor MacHugh murmured softly, b i s c u i t f u l l y to the dusty windowpane»

[1*, p. 110] – «<…> тихонько прошамкал запыленному окну профессор Макхью полным печенья ртом» (tikhon'ko proshamkal zapylennomu oknu professor Makkh'iu polnym pechen'ia rtom) [2*, p. 130] (translated by S.S. Khoruzhii).

The noun b i s c u i t is transformed into an adverb by means of an intermediate morphological stage – transformation into an adjective b i s c u i t f u l . The word-formation process in this case uses the traditional derivational morphology in non-standard ways.

Unorthodox spelling

Unorthodox spelling, otherwise called graphological creativity, is divided into two types: figureoutable (понятные/вычисляемые (poniatnye/vychisliaemye) and notsofigureoutable (не настолько понятные/нелегко вычисляемые (ne nastol'ko poniatnye/nelegko vychisliaemye) [4]. In the first case, the word lends itself to understanding by breaking it down into components («a m a w f u l l y g l a d » ( am – awfully – glad) ; « a w f u l l y g l a d a s e e a g a i n » ( awfully – glad – a – see – again) [ 1*, p. 102] – «страшнорад»; «страшнорадсновавстре»

(strashnorad; strashnoradsnovavstre) [2*, p. 120] (translated by S.S. Khoruzhii), «in his c o m e t o b e d hat» (come – to – bed) [1*, p. 390] – «в шляпе фасона пошли-в-постельку» (v shliape fasona poshli-v-postel'ku) [2*, p. 470] (translated by S.S. Khoruzhii). In the second case, it attracts attention but is difficult to understand. In most cases, when spelling creates a word that is difficult to interpret, the process of recognizing it leads to an altered semiosis. Sometimes unusual spelling creates an iconic effect similar to modern texts ("textspeak").

In some examples of iconicity, an onomatopoeic effect or rather a fusion of lexical meaning with imitation of sounds appears d o g g y - b o w w o w s y w o w s y [1*, p. 155] – «мой гавгавгавчик» (moi gavgavgavchik) [2*, p. 183] (translated by S.S. Khoruzhii).

«My familiar, after me, calling S t e e e e e e e e e e e p h e n » [1*, p. 19] – «Мой дружо-

чек следом за мной, с тоненьким зовом: Стивииииии-вии!» (Moi druzhochek sledom za mnoi, s tonen'kim zovom: Stiviiiiii-vii!) [2*, p. 23] (translated by S.S. Khoruzhii).

The unusual spelling of the name of the protagonist is onomatopoeia – the sound of Stephen's cane is like a creak.

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«His mouth moulded issuing breath, unspeeched: o o e e e h a h : roar of cataractic planets, glob globed, blazing, roaring w a y a w a y a w a y a w a y a w a y a w a y » [1*, p. 44] –

«Уста округлились, но выпускали одно дыхание, бессловесно: ооиииаа: рев рушащихся водопадом планет, шарообразных, раскаленных, ревущих: прочь-прроочь-

прроочь-прроочь» (Usta okruglilis', no vypuskali odno dykhanie, besslovesno: ooiiiaa: rev rushashchikhsia vodopadom planet, sharoobraznykh, raskalennykh, revushchikh: proch'-prrooch'-prrooch'-prrooch') [2*, p. 53] (translated by S.S. Khoruzhii).

The following example can be attributed not only to unorthodox spelling, but also to the puns presented below:

(Goooooob! <…> Boooooog!)

[2*, p. 585] (translated by S.S. Khoruzhii).

In Ulysses there are many reflections on the equivalence of a man and a dog, as well as the connections between their bodies. To this are added the statements of the Christian doctrines of incarnation and transubstantiation [6], the essence of which is the connection between the bodies of people and the spiritual presence of God on the basis of the words of Christ: Вот мое тело для вас. Делайте так в память обо мне (Vot moe telo dlia vas. Delaite tak v pamiat' obo mne) [7]. And here another dyslexic equivalence can be assumed: dog = god. The letters d and g can be easily interchanged, the root vowel is unchanged.

Most of the examples below are onomatopoeia:

«Bits all k h r r r k l a k in place clack back» [1*, p. 38-39] – «Клочья фррр фррр щелк – все на место» (Kloch'ia frrr frrr shchelk – vse na mesto) [2*, p. 46] (translated by S.S. Khoruzhii).

«Up with her on the car: w i s h w i s h » [1*, p. 142] – «Сесть бы с ней вместе в вагон:

хочухочу» (Sest' by s nei vmeste v vagon: khochukhochu) [3*, p. 427] (translated by N.L. Daruzes).

«<…> no teeth to c h e w c h e w c h e w it» [1*, p. 150] – «<…> зубов нету раз-

грыгрыгрызть» (zubov netu razgrygrygryzt') [2*, p. 178] (translated by S.S. Khoruzhii). « W a a a a a a a l k » [1*, p. 258] – «Ходи-и-и-и-и-ть» (Khodi-i-i-i-i-t') [2*, p. 308] (translated by S.S. Khoruzhii).

The following examples are of a type of unorthodox spelling that is difficult to recognize. However, the translator has dealt with the problem of word identification in the second one:

«Goosepond P r h k l s t r K r a t c h i n a b r i t c h i s i t c h » [1*, p. 277] – «гусьподин Прклстр Кратчинабритчисич» (gus'podin Prklstr Kratchinabritchisich) [2*, p. 331] (translated by S.S. Khoruzhii).

«On the b e e t o t e e t o m , laughed Cissy merrily» [1*, p. 319] – «Ата-та по попке, -

весело рассмеялась Сисси» (Ata-ta po popke, - veselo rassmeialas' Sissi) [2*, p. 382] (translated by S.S. Khoruzhii).

Wordplay

A play on words (or a pun) as a figure of speech is based on the interaction of two wellknown meanings of a word or phrase and does not depend on any word in a sentence, since it is

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sufficiently free from any connections. It can also be called “substandard speech” which is the “language field” of the carnival [8, p. 135] and defined as a deliberate violation of the systemic relations of the language, that is, the destruction of the «speech norm in order to create noncanonical linguistic forms and structures that acquire an expressive meaning as a result of this destruction and the ability to evoke an aesthetic and, in general, stylistic effect in the listener / reader» [9, p. 657].

However, one should not single out this technique in a separate category on the grounds that it is not in any way exclusive, different from the examples presented above [4]. In other words, most of the linguistic means present in the novel, in one way or another, demonstrate a play on words. Its purpose in this case is the need to emphasize its fundamental characteristic, the essence of which is not so much in the creation of new words or whole phrases that change perception, but in the provision of means that can make us have difficulty in understanding what we read and encourage us to explore incomprehensible ambiguities or significant coincidences:

«Ahbeesee defeegee kelomen opeecue rustyouvee d o u b l e y o u . Boys are they?» [1*, p. 51] – «Эйбиси дифиджи килумен опикью эрэстэ видаблью» (Eibisi difidzhi kilumen opik'iu ereste vidabl'iu) [2*, p. 61] (translated by S.S. Khoruzhii).

The sounding of the letters of the alphabet contains at least one obvious pun: d o u - b l e y o u (удвоить тебя/двойной ты/вдвое (udvoit' tebia/dvoinoi ty/vdvoe) is the name of the letter w .

«– Read that, she said. He got it this morning.

–What is it? Mr Bloom asked, taking the card. U . P .?

–U . P .: u p , she said. Someone taking a rise out of him» [1*, p. 140]. –

«– Вот, прочтите, - сказала она. – Он получил ее этим утром.

–Что это такое? – спросил мистер Блум, разглядывая открытку. – К.К.?

–К.К.: ку-ку, - сказала она. – Кто-то над ним издевается, мол, он спятил»

–(Vot, prochtite, - skazala ona. – On poluchil ee etim utrom.

–Chto eto takoe? – sprosil mister Blum, razgliadyvaia otkrytku. – K.K.?

–K.K.: ku-ku, - skazala ona. – Kto-to nad nim izdevaetsia, mol, on spiatil) [2*, p. 165166] (translated by S.S. Khoruzhii).

The initials of a stranger on a business card, which can be read as an English adverb up – вверх, выше (vverkh, vyshe).

«May I tempt you to a little more filleted lemon sole, miss D u b e d a t ? Yes, d o b e d a d . And she d i d b e d a d . Huguenot name I expect that» [1*, p. 156] – «Вы не отведали бы кусочек этого угря, мисс Дюбеда? О, я бы да. Ясно она бы да. Надо полагать гугенотская фамилия» (Vy ne otvedali by kusochek etogo ugria, miss Diubeda? O, ia by da. Iasno ona by da. Nado polagat' gugenotskaia familiia) [2*, p. 185] (translated by S.S. Khoruzhii).

D u b e d a t is a family of French Protestants who moved to Ireland at the beginning of the 18th century. The word used by Joyce, consonant with the surname – b e d a d , belongs to the outdated vocabulary today, which was used mainly in Ireland and was a euphemism for the interjection by God [1**].

«The signor Brini from Summerhill, t h e e y e t a l l y a n o , papal zouave to the Holy Father, has left the quay and gone to Moss street» [1*, p. 290] – «синьор Брини из Сам-

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мерхилла, гутальянец, папский зуав при святейшем отце, покинул набережную и переселился на Мосс-стрит» (sin'or Brini iz Sammerkhilla, gutal'ianets, papskii zuav pri sviateishem ottse, pokinul naberezhnuiu i pereselilsia na Moss-strit) [2*, p. 346] (translated by S.S. Khoruzhii).

The noun t h e e y e t a l l y a n o possibly conveys a disdain for the Pope's Zouave, a military formation that attempted to restore the Pope's secular authority in the 1860s. The first part of the word – e y e (глаз, око (glaz, oko) offers a version of the all-seeing eye of the Pope, which is carried by an Italian. Its pronunciation matches the sound of the letter I (i), which begins the English adjective Italian, just like the spelling of the Italian word Italiano. Joyce's word includes another English morpheme tall (высокий (vysokii) – sees from afar.

Linguistic carnivalization

Play as a way of “carrying out an experiment with language” [8] or a creative approach to using language is linguistic carnivalization. At the same time, it reflects cultural attitudes “when the value poles set by the speaker / writer by means of the language game change” [8, p. 135]. The carnival which represents the «reverse world» is associated with such categories as eccentricity, profanity, misalliance; its main idea is “crowning-debunking”, and the whole point lies in “the people’s cheerful rejection of the frozen official truth” [2**]. The carnival character of Ulysses taken as a whole consists in the use of many normative and non-normative dialects, the collision of high and low styles, as well as elements of the sacred and the mundane. The very fact that the grandiose framework of the Homeric myth is used as a “vehicle” to tell the story of the mundane activities of ordinary people is carnival in itself [4]. But, if carnivalistic categories merge in a single idea of destruction of social hierarchies and there is no longer a distance between people, a special carnival category comes into force, that is, free and familiar contact between people. As a result, all categories imply interaction between people, their language and ideas [10, p. 15]. Here, literary and linguistic sides of carnivalization are coming together against the background of distancing «from official ideologies» and “overthrowing” the dominant style as a true expression of the will of the people, in order to somewhat belittle the pathos and, at least for a while and in jest, free oneself from moral obligations [11, p. 254-255].

The example below illustrates the mixing of high and low styles, official vocabulary with slang. It most clearly demonstrates the essence of linguistic carnivalization. However, in reality, almost every example given here is a violation of the normative language:

«They believe in r o d , the s c o u r g e r a l m i g h t y , creator of h e l l u p o n e a r t h and

r i e d , yelled like bloody hell, the third day he arose again from the bed, steered into h a v e n » [1*, p. 297-298] – «Веруют во кнута-отца, шкуродера и творца ада на земле, и в Джека-Матроса, сына прохожего, его же зачала Мэри-шлюха от несытого брюха, рожденного для королевского флота, страдавшего под отбивною и дюжиной горячительного, бичеваного, измордованного, и завывавшего аки зверь, и восставшего с койки на третий день по предписаниям, и пришедшего в порт» (Veruiut vo knuta-ottsa, shkurodera i tvortsa ada na zemle, i v Dzheka-Matrosa, syna prokhozhego, ego zhe zachala Meri-shliukha ot nesytogo briukha, rozhdennogo dlia korolevskogo flota, stradavshego pod otbivnoiu i diuzhinoi goriachitel'nogo, bichevanogo, izmordovannogo, i zavyvavshego aki zver', i vosstavshego s koiki na tretii den' po predpisaniiam, i prishedshego v port) [2*, с. 355] (translated by S.S. Khoruzhii).

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Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 2 (33), 2021 ISSN 2587-8093

In this case, Joyce is playing with words from the Nicene Creed. He has this ludicrous story about the sailor Jack Tar, in which the words sound like the words from the Creed, but at

( о с к о р б л е н н ы й , с о д р а н н ы й , о б о д р а н н ы й / п р и п р а в л е н н ы й ) – he suffered death and was buried (он перенес смерть и был похоронен), h a v e n ( п р и ю т ) – heaven (небеса).

Conclusion.

Thus, all the examples cited show the highly “hybridized text” [4] created by Joyce in Ulysses. There can be found a conscious processing of the facts of the language understood as a deviation from the commonly used norms of linguistic communication [12, p. 8.], and the function assigned to the sign system is multiplied many times by the “carnival concept”. Its essence lies in the need to allow the disintegration of the official and the unofficial and to carry within itself the idea of popular consciousness that maintains the necessary distance from official ideologies [13, p. 55]. It is created and maintained primarily through the manipulation of language which serves to undermine the centripetal tendencies of normal political and social life. This happens by granting privileges to many languages in comparison with those single languages in which the official culture is expressed [13, p. 55]. To this set of languages can be added Joyce's modernist ways which found their expression in means that differ from the artistic devices of the Victorian novel as a conventionally official language model. The author of Ulysses creates not just “zero” or the latest type of figurative means, his artistic methods are not traditional, they are capable of influencing the reading process, complicating the understanding of various kinds of lexical ambiguities or, for example, unorthodox spelling.

So, the distinctive feature of Ulysses, the stream of consciousness, made the disorderly activity of the mind privileged, which, in turn, led to the use of the language reserve in a different way and with new means, creating paradoxes, complex images, symbols and associations around. That largely became possible due to such a phenomenon as an altered semiosis. But, like any figurative means, Joyce's techniques can aim to impress, as well as add an aesthetic

vetvei); p e a c o c k t w i t t e r i n g lashes/ павлинорадужных ресниц (pavlinoraduzhnykh resnits); s u n n y w i n k i n g leaves/ солнцемигающей листвой (solntsemigaiushchei listvoi).

In addition, from a psychological point of view, Joyce's linguistic techniques help to

(razgrygrygryzt') and to reflect the author's interest in the relationship between language and perception, and, as a result, deliberately influence the reader's understanding of the text. The latter not only allows one to explore the relationship between language, thought and reality, but also invites you to participate in the process of comprehension (altered semiosis: M u c h i b u s t h a n k i b u s /Премногус благодаримус (Premnogus blagodarimus); грамматическая метафора: b i s c u i t f u l l y / полным печенья ртом (polnym pechen'ia rtom). It also offers creative and playful reading (wordplay: e y e t a l l y a n o /гутальянец (gutal'ianets); лингвистическая карнавализация: s c o u r g e r a l m i g h t y / бич всемогущий (bich vsemogushchii).

In general, all of the listed linguistic means are of a creative nature. The specific means of creating imagery demonstrated in the article are based on a clear violation of the normality of the language. Due to their clearly manifested grotesque and eccentricity, they greatly enhance

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the aesthetic and artistic effect in Ulysses and set it apart from the general background not only of traditionally written works but also of modernist novels.

References

[1]Alova N.E. Dinamicheskii aspekt obraznosti gazetnogo teksta (na materiale angliiskogo iazyka): avtoref. dis. na soisk. uchen. step. kand. filol. nauk: (10.02.04) / N.E. Alova. - M.: [s. n.], 1989. 22 s.

[2]Gal'perin I.R. Ocherki po stilistike angliiskogo iazyka. M.: Izdatel'stvo literatury na inostrannykh iazykakh, 1958. 462 s.

[3]Feshchenko V.V. Laboratoriia logosa. Iazykovoi eksperiment v avangardnom tvorchestve. M.: Iazyki slavianskikh kul'tur. 2009. 392 s.

[4]Trotta Joe. Creativity, playfulness and linguistic carnivalization in James Joyce’s Ulysses

//En Dag I Dublin on James Joyces Ulysses. Red: Asa Arping & Mats Jansson. Göteborg. 2014. P.

159-188.

[5]Vlasova Iu.N. Stilisticheskie vozmozhnosti kategorii roda i grammaticheskaia metafora // Nauchnye vedomosti. Seriia: Gumanitarnye nauki. № 12 (107). Vypusk 10, 2011. S. 105110.

[6]Uspenskii N.D. Sviatootecheskoe uchenie o Evkharistii i vozniknovenie konfessional'nykh raskhozhdenii // Anafora. Opyt istoriko-liturgicheskogo analiza. Bogoslovskie trudy. Sb. 13. M. 1975. S. 125-147.

[7]1-e Korinfianam 11:24 // Novyi Zavet. Per. s grech. M.: SP Sovaminko. 1993. S. 447.

[8]Volkogonova A.V., Krassa S.I. Kalambur – iazykovaia igra – karnavalizatsiia // Gumanitarnye i iuridicheskie issledovaniia. 2014. № 3. S. 133-135.

[9]Danilevskaia N. V. Iazykovaia igra // Stilisticheskii entsiklopedicheskii slovar'. M.: Flinta: Nauka. 2003. S. 657.

[10]Almagno Stephanie A. Joyce and the Dialogical: Literary Carnivalization in Ulysses. University of Rhode Island. 1988. 61 p.

[11]Vorkachev S.G. Mir naiznanku: karnavalizatsiia lingvokul'turnogo kontsepta v aforistike. Zhanry rechi. № 2 (16), 2017. S. 254-259.

[12]Ben A. Stilistika i teoriia ustnoi i pis'mennoi rechi. M.: 1886. 293 s.

[13]Platter Charles. Novelistic Discourse in Aristophanes // Carnivalizing Difference: Bakhtin and the Other. Ed. by Peter I. Barta, Paul Allen Miller, Charles Platter, David Shepherd / (et al). Routledge Harwood Academic Publishers. 2001. Taylor & Francis Books Ltd. P. 51-78.

Analyzed sources

[1*] Joyce James. Ulysses. Wordsworth Editions Limited, 2010. 682 p.

[2*] Dzhois Dzheims. Uliss. Per. s angl. V. Khinkisa, S. Khoruzhego. SPb: Azbukaklassika. 2009. 992 s.

[3*] Dzhois Dzheims. Izbrannoe: Sbornik. Per. s angl. Sostavl. K.N. Atarovoi. M.: Raduga. 2000. 624 s.

https://dic.academic.ru/dic.nsf/enc_culture/848/KARNAVALIZATsIIa (data obrashcheniia: 06.12.20).

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DOI 10.36622/MLMDR.2021.36.29.004

UDC 81.26

SPECIFIC VOCABULARY USED FOR NAMING

BUSINESS ENTERPRISES

I.P. Lapinskaya, M.A. Denisova, M.A. Manukovskaya

Voronezh State Technical University

Doctor of Philology, Professor of the Department of Foreign Languages and Translation Technology Irina Petrovna Lapinskaya

e-mail: deni-mar@list.ru

Voronezh State Technical University

Candidate of Philological Sciences, Associate Professor

of the Department of Foreign Languages and Translation Technology Marina Alexandrovna Denisova

e-mail: deni-mar@list.ru

Voronezh State Technical University

Teacher of the Department of Foreign Language and Translation Technology

Maria Alekseevna Manukovskaya e-mail: marsha_sweety@mail.ru

Statement of the problem. The article is devoted to the interaction of advertising and specific stylistic components in the speech form of the proper name of a business enterprise which is a distinctive feature of the modern stage of language evolution. The research is carried out on the variety of inclusion of specific vocabulary in the proper names of business enterprises (PNBE) as well as grammatical forms of items belonging to other styles of speech in which they are adapted to the requirements of advertising. Besides, they are obliged to preserve legally important individualization of the proper name and its informative integrity.

Results of the study. The complexity of interaction within the studied speech form of language units that differ in their initial stylistic relatedness has become evident. The direction diversity of legal and advertising requirements increases the number of speech units used for the proper names of business enterprises, translates specific vocabulary into the category of figurative proper names which encourages the emergence of new lexical units (we call them lexical equivalents) in the language system. These units are combined by the ability to convey the same specific meaning. Yet the typology of the found functional units, their number and other properties are not properly analysed.

Conclusion. The development of trade and economic relations in the modern society, the need for their legal registration offers preliminary in many aspects varieties for the interaction of styles. They turn to be on the way to the state of the language norm used for the units of written speech which had been formed for centuries. At present, reasonable communication that is necessary for the field of formal (trade, economic and legal) relations is performed on the principles of linguistic usage which is systemically localized in colloquial speech.

Key words: specific vocabulary, methods of word building, stylistic neologisms, proper name of a business enterprise, language norm, colloquial usage, multicomponent phrases, figurative meaning, lexical equivalents, positive emotional coloring of stylistic neologisms.

For citation: Lapinskaya I.P. Specific vocabulary used for naming business enterprises / I.P. Lapinskaya, M.A. Denisova, M.A. Manukovskaya // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2021. - № 2 (33). – P. 41-50.

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© Lapinskaya I.P., Denisova M.A., Manukovskaya M.A., 2021

Introduction.

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Nowadays the linguistic study of forms and results of the interaction between advertising and specific style components within boundaries of the advertising speech form called a proper name of a business enterprise (PNBE) is of current interest.

Justification of the problem under study.

1.The analyzed material shows that permanent development of the system of "nominations on shop signs" brings up to date the multiplicity of trends in language evolution. If the study of the formation of the advertising nomination system required to prove the fundamental necessity of the communicative triad (which included the seller, the commodity and the buyer) as the basis for choosing a proper name, the research investigation of the current system demands lexical, morphological and syntactic qualification of PNBE.

2.Modern linguistics pays attention to the interaction of styles within the boundaries of the nomination of the business enterprise. The laws of business relations lead to the fact that the advertising proper name of the business enterprise is increasingly giving way to the official certification of the type of property. Change of the object for the nomination (business enterprise – form of ownership), reinterpretation of the goals of this procedure (advertising – certification) is accomplished in attraction of those means of individualization of the linguistic reality that previously seemed incompatible to both a native speaker and a linguist.

Linguistics faces the need to define types of different-style interaction of linguistic units at the levels of lexical items, morphemes, syntactic constructions as well as to classify changes in the semantic and evaluative capabilities of stylistic neologisms which will provide a further opportunity to determine the stage of language evolution.

The methodology of the research.

The object of the research is the collected material from personal card catalogues of authors. They represent units of the advertising style called proper names of business enterprises which are classified into 4 types: public catering enterprises, pharmacies, security agencies and event agencies located in Voronezh.

The subject of the study is the units of different subsystems of the language (lexical, morphemic, and syntactic) in the aspect of development of new nominative and evaluative possibilities of stylistically marked neologisms in them.

The aim of the study is to define directions of the development of the language system as the result of the intrasystem interaction of its different-style, different-structure and differentlevel elements in the XXI century.

The material used for the study is the data of the advertising style and business relations. They are recorded as nominations of business enterprises in the personal card catalogues of the authors of the article. About 1000 varieties of nominations registered in our city take part in the analysis.

The methods used for the material analysis include intralinguistic comparison of nominative units from different stylistic variants of the Russian language in the aspects of lexical semantics, word formation, evaluation and syntactic constructive possibilities.

The research results.

The development of business in modern Russia which reveals in an increase in the amount of both focus areas and enterprises within each of them offers new challenges to creators of proper names of business enterprises [1, 2, 3]. The varieties of their solution suggested by proper name experts show language trends that are still unknown to linguistics [4, 5, 6, 7]. In particular, the interaction of advertising and specific style components in the advertising form of speech called a proper name of a business enterprise has not been the subject of a certain research yet.

It has been previously emphasized that the system of nominations for enterprises representing the professional activity of sellers, hairdressers, cooks, etc. in conditions of a single state form of property was limited with indication of the offered type of goods or services on

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the shop sign, for example, Fabrics, Books, Milk, Sports goods, Hairdresser,s, etc., as these enterprises were individualized by the number or address [8].

Proper names of business enterprises (PNBE) perform several functions. First and foremost, they individualize and certify the named enterprises. In this function the PNBE develop the long-known properties of the subclass of nouns as a part of speech through new material. The same function is carried out, for example, by anthroponyms (Ivanov Ivan Ivanovich), toponyms (Volgograd), zoonyms (Zor,ka) and units of other categories of this subclass.

The advertising function is specific in the proper names of business enterprises. Since these nominations perform as the units of communication between the seller and the buyer, since the nomination on the shop sign should attract attention, evoke pleasant, positive associations in the mind of a prospective buyer and promise him positive changes in his life that will definitely occur after the purchase of the offered commodity.

In the multi-authored monographs titled "What's in the name?" and "Advertising Style: speech forms" [9, 10] the systems of proper names of various business enterprises located in Voronezh were analyzed. The study of the language and speech properties of these units gave an opportunity to identify the nominative basis of this process and present it as a nominative triad which consists of 3 components "the seller/the manufacturer – the commodity/the service

–the buyer/the user".

Nowadays the trend towards the interaction of neutral, business and advertising styles within the studied nominations has become obvious. It is reflected in the development of evaluative components that are considered not only stylistically neutral. But it also includes lexemes of business style. Both of these items are defined with the term of "specific vocabulary" in this article. Moreover, both the mutual influence of different-style elements within the nomination and the intrasystem relations between the nominations of the same type of a business enterprise have became apparent. The limit of the material is in its distribution within the metropolis.

We will illustrate this process through proper names of four types of business enterprises. They are proper names of public catering enterprises, travel agencies, pharmacies, and event agencies found on shop signs in Voronezh.

Let us look at the ways which represent business enterprises. As it was mentioned above [10, p. 62], at the time of state property there were three types of public catering enterprises, such as cafes, canteens and restaurants. Nowadays canteens have practically disappeared, restaurants are extremely rare, but cafes have gained wide popularity. With a permanent increase of their number proper name experts have faced the question of how to individualize and certify business enterprises under conditions of their multiplicity in the limited area of a metropolis. Two tendencies have appeared in the language. They are to attract borrowings, archaic words so that to define a business enterprise or to turn to morphological means of the language.

We will give examples of authorial neologisms used in proper names of business enterprises located in Voronezh which are held in the personal card catalogues of scientists from Voronezh State Technical University. There are only 9 of them: a tavern ("Don Quixote"), aneatery ("Alice and Basilio"), agin-palace ("Yolki-Palki", "Horseshoe", "Coachman"), acoffee house ("Coffeemaker", "CoffeeArt", "Burgerville", "Chocolatemaker"), a pub ("Saint Patrick", "Shamrock", "ToDublin", "AlexPub", "Admiral Nelson"), a saloon ("Two cowboys"), a teahouse (chaihona) ("Pomegranate", "Bukhara", "Chaihona No. 1"), a bistro ("Sha-Rom"), a karaoke lounge ("Shalyapin"), a karaoke club ("Opera").

With that the words included in the active vocabulary possess different frequency. If a tavern, an eatery, a saloon, a bistro, a karaoke lounge and karaoke club are used in this area only once and due to this fact the nomination on the shop sign acquires the ability to certify a business enterprise, other ways of defining a business enterprise are repeated: a coffee house – 4 times, a pub –5 times, a teahouse (chaihona) – 3 times, a gin-palace –3 times. In other words, neologisms are characterized by a different degree of lexicalization in the language.

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