Учебное пособие 1711

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

Кроме автомобильных заводов к о н ц е р н у принадлежит почти половина акций в крупном европейском концерне EADS («Автопилот», 2002) [1*] – In addition to mo- tor-car factories, nearly half of the shares of large European concern EADS belongs to t h e c o n c e r n («Autopilot», 2002); Большинство исследованных нами дагерроти-

El vehículo, con matrícula de Málaga, pertenece a la e m p r e s a B a c o m a , que cubre la línea regular de viajeros Barcelona-Almería-Málaga dos veces al día («La Vanguardia», 22/03/1994) [4*] – The vehicle, with registration number from Malaga, belongs to the c o m p a n y B a c o m a , which carries passangers along the route Barcelona-Almería-Málaga twice a day.

As it follows from these examples, a group of lexemes, indicating the collective owner, and functioning as possessor of the construction under consideration in three different languages, includes nouns such as concern, museum, family, la empresa (company), etc.

However, there are other semantic types of inanimate concrete nouns that can function as a possessor, in such cases the construction conveys variation of partitive relation:

Лишь недавно выяснилось, что строчка эта, сделанная отцом поговоркой, принадлежит о д н о м у и з п р о и з в е д е н и й Демьяна Бедного, крестьянского поэта (Э.

Лимонов) [1*] – Only recently, it turns out that this line, which became a favourite saying of my father, belongs to o n e o f t h e w o r k s of Demyan Bedny, a peasant poet (E. Limonov); При образовании химических связей электроны переходят от одной молекулы к другой и уже не принадлежат к а к о м у - т о о т д е л ь н о м у а т о м у , а

обобщены (гибридизованы) (В. Горбачев) [1*] – In chemical bonding, electrons move from one molecule to another and do not belong to s o m e k i n d o f a s i n g l e a t o m , and generalized (hybridized) (V. Gorbachev).

In the examples listed above the name of the whole acts as a possessor (the work of Demian Bediniy, a single atom), the name of the part acts as an object of belonging (line, electrons). (See here for more on lexical content of the construction under consideration in Russian and various types of possessive relations conveyed by it [12, 13]).

While the Great Barrier Reef with its islands and cays belong to Q u e e n s l a n d , most reefs and islets east of it are part of the Coral Sea Islands Territory [17*].

In this example the name of an administrative-territorial unit occupies the position of possessor – Queensland, in the position of the object of belonging geographical features appear – the Great Barrier Reef with its islands. In such cases, the partitive relation intersects with a relation of collective ownership.

El texto que se nos presenta pertenece a la ú l t i m a e s c e n a de la obra de Valle-Inclán («Examen escrito», 1992) [4*] – The proposed text that we have in front of us is from the l a s t s c e n e of a book of Valle-Inclán;"Las majas al balcón" de Goya pertenece a

104

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

u n a c o l e c c i ó n p r i v a d a de Suiza y está en el mercado («ABC Cultural»,

22/03/1996) [4*] – "Majas on a balcony" of Goya belongs to a private collection in Switzerland and is on the market now.

In these examples, the partitive relation is expressed in its proper meaning. Concrete nouns occupy the position of possessor la última escena (last scene) and una colección privada

(private collection), and in the position of possessee there are the names of parts of the whole: el texto (text) and the name of the picture – «Las majas al balcón» («Majas on a balcony»).

Note that in English the construction under consideration has syntactic semantics of localization. Apparently this is because the verb to belong has more meanings compared with its

Russian equivalent. In addition to the meanings ‘be the property of’ ‘be a member of’, and be connected with’, the verb to belong has meaning ‘have as a right or proper place’. In such cases concrete nouns, both inanimate and animate, function as a possessee. Temporal and spatial localizers are in the position of possessor:

A few – they belonged to t h e f r o n t , t o t h a t p r o t e c t i v e r i n g o f l e a t h e r - c o a t e d m e n b e n e a t h t h e s c a f f o l d – a few started laughing (J. Le Carre) [18*].

In this example circumstance of place occupies the position of possessor – front.

There are some variants of the English construction with prepositions on, in, out in, at, etc.:

Very stiffly Meadowes said: “The missing letters b e l o n g o n t h e m i s s i n g f i l e s ”

(J. Le Carre) [18*]; And perhaps, when they had got on to the other train, he would summon little Marian Tailor to his carriage. She would be delighted. And she t o o b e -

In these cases, the use of prepositions on, out in, at depends on the specific situations of localization and correlates with the use of Russian prepositions respectively на (в), из, в.

In Spanish in addition to the meanings ‘be the property of’, ‘be a member of’, and ‘be connected with’, the verb to belong has meaning ‘have as a right or proper place’: ¿Acaso sientes que ya n o p e r t e n e c e s a e s t e l u g a r ? (C. Cuauhtémoc Sánchez). – Don`t you feel that you belong to this place?; Max ¿Te vas? Sin embargo, p e r t e n e c e s a este lugar (M. Vilalta). – Max, are you leaving? Aren`t you from here? (You belong to this place, don`t you?).

These examples show that the Spanish language, as well as English, are characterized by the use of predicative construction of belonging in the meaning of localization. This is the main difference from the Russian language, where this sentence in this meaning can be used very rarely, occasionaly, in literary texts, such as:

Чем дольше ты где-то, тем больше вокруг всякого такого, что стоило бы выбросить, но когда ты переберешься на новое место, ты возьмешь с собой все что угодно, кроме этого самого мусора, а значит, он больше п р и н а д л е ж и т м е - с т у , чем людям, потому что не переезжает никогда, и в любом новом месте человек найдет клочки кого-то другого, а его клочки останутся тому, кто придёт на его прежнее место обитания, и так происходит всегда и везде (М. Петросян). –

The longer you're somewhere, the more you have things around you, that it would be

105

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

necessary to throw away, but when you move to a new place, you want to bring along anything other than that of the waste, which means that this waste b e l o n g s more t o t h e p l a c e than to the people because it never moves to the other place. At any new place people find pieces of someone else, and his pieces remain to the one who comes to his former place of residence, and it happens so always and everywhere (M. Petrosyan).

The investigation of the predicative means of expression of belonging was based on the methods of analysis of structural-semantic organization of the sentences in situational-structural subaspect of nominative aspect. It gave the opportunity to establish the relationship between the features of the lexical filling of structural patterns of sentences and types of possessive relations expressed by these sentences.

Our analysis of factual material showed that two-actant verbal active constructions, which express the relations of belonging in three structurally different languages such as Russian, English and Spanish, in nominative aspect have a lot more similarities than differences. For instance, the two-actant construction can be used to express the locative meaning (genetically similar to the possessive one). These sentences are characteristic primarily of English and Spanish. Structural and semantic similarities of these linguistic means in examined languages confirm the universality of the typical meaning of belonging. The differences between the languages in this area relate to morphological level.

Table

Typical combinations of actants of predicative constructions of belonging in Russian, English and Spanish languages and types of possessive relations related to them.

The examined material suggests that the predicative constructions in Russian, English and Spanish besides the main meaning of belonging often convey other types of possessive relationships. These types can be differentiated with respect to analysis of lexical content of syntactic structure of sentence. These types as a result of combinations of semantics of actants of various categorial types determine nuances of content of the constructions expressing belonging in nominative aspect.

The table shows the results of our study of relation of the proper meaning of belonging to other types of possessive relationships, expressed in study sentences in English, Spanish and Russian languages.

106

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

Main points and findings of our study can serve for investigation of difficult problems of language theory raised in this article, that is, the study of the means of expression of predicative relations of belonging in Russian, English and Spanish, and differentiation of various types of possessive relations, depending on the semantics of the possessor and of the object of belonging.

In future, we plan to examine the synonymy and special characteristics of the use of the multi-structured system of means of expression belonging in different functional styles of speech.

Bibliographic list

1.Fomina Z.Ye. Inostrannyj yazyk v sovremennom polikul'turnom prostranstve / Z.Ye. Fomina // YAzyk, kul'tura i obshchestvo v sovremennom mire. Materialy mezhdunarodnoj nauchnoj konferencii. Redkollegiya: B.A. ZHigalev (otv. redaktor), E.S. Gricenko, E.P. Savruckaya, E.R. Porshneva, S.N. Samozhenov, I.YU. Zinov'eva, E.V. Plisov, T.YU. Kolosova, S.M. Fomin, YU.N. Terekhina (otv. sekretar'). – Nizhnij Novgorod, 2012. – S. 61-62.

2.Koprov V.YU. Sopostavitel'nyj sintaksis russkogo i anglijskogo yazykov: uchebnoe posobie / V.YU. Koprov. – Voronezh: Izd-vo «NAUKA-YUNIPRESS», 2010. – 226 s.

3.Semantiko-funkcional'nyj sopostavitel'nyj sintaksis: Sub"ektno-ob"ektnye otnosheniya

/pod red. V.YU. Koprova. – Voronezh: Izdatel'stvo «NAUKA-YUNIPRESS», 2011. – 263 s.

4.Sushkova I.M. Prinadlezhnost' v semantiko-funkcional'nom pole posessivnosti (na materiale russkogo i anglijskogo yazykov): Dis. na soiskanie uchenoj stepeni kand. filol. nauk / I.M. Sushkova. – Voronezh, 2007. – 185 s.

5.Koprov V.YU. Semantiko-funkcional'naya grammatika russkogo i anglijskogo yazykov: monografiya / V.YU. Koprov. – M.: FLINTA: Nauka, 2016. – 348 s.

6.Koprov V.YU. Semantiko-funkcional'nyj sintaksis russkogo yazyka v sopostavlenii s anglijskim i vengerskim / V.YU. Koprov. – Voronezh: Izdatel' O.YU. Alejnikov, 2010. – 328 s.

7.Durova E.N. Leksicheskoe napolnenie sub"ektnoj pozicii predlozhenij so znacheniem processual'nogo sostoyaniya sub"ekta v russkom i ispanskom yazykah / E.N. Durova // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodikodidakticheskie issledovaniya. – 2011. – Vyp. 15. – S. 94-105.

8.Vinogradov V.S. Grammatika ispanskogo yazyka / V.S. Vinogradov. – Moskva: Izdvo: Universitet Knizhnyj dom, 2000. – 431 s.

9.Durova E.N. Sinonimichnye sintaksicheskie konstrukcii v praktike prepodavaniya grammatiki RKI / E.N. Durova // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Lingvistika i mezhkul'turnaya kommunikaciya. – 2013. – Vyp. 9. – S. 51-55.

10.Durova E.N. Russkie predlozheniya s vozvratnymi glagolami i ih sootvetstviya v ispanskom yazyke / E.N. Durova // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Lingvistika i mezhkul'turnaya kommunikaciya. – 2014. – Vyp. 12. – S. 105-109.

11.Kategoriya posessivnosti v slavyanskih i balkanskih yazykah / pod red. Vyach. Vs. Ivanova. – M.: Nauka, 1989. – 262 s.

12.Sushkova I.M. Leksicheskoe napolnenie predlozhenij so znacheniem prinadlezhnosti

/I.M. Sushkova // YAzykovye kategorii i edinicy: sintagmaticheskij aspekt. Materialy XI Mezhdunarodnoj nauchnoj konferencii. – Vladimir: Tranzit-IKS, 2015. – S. 505-510.

13.Sushkova I.M. Tipy posessivnogo otnosheniya, vyrazhaemye predlozheniyami so znacheniem prinadlezhnosti / Sushkova I.M. // Filologicheskie nauki. Voprosy teorii i praktiki. Nauchno-teoreticheskij i prikladnoj zhurnal, 2016. – № 7-3 (61). – S. 156-159.

Analyzed sources

107

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

1*. Nacional'nyj korpus russkogo jazyka [Jelektronnyj resurs]. URL: http://www.ruscorpora.ru (data obrashhenija: 12.07.2016).

2*. Christie A. Endless Night / A. Christie. – Collins: Fontana Books, 1972. – 182 p.

3*. Kristi A. Nochnaja t'ma: Roman / A. Kristi; Per. s angl. N. Emel'jannikovoj. – M.: ZAO Centrpoligraf, 2003. – 237 s.

4*. Wilson M. Live with Lightning / M. Wilson. – Moscow: Foreign Languages Publishing House, 1957. – 622 p.

5*. Real academia española: Banco de datos (CREA) [Jelektronnyj resurs]. URL: Corpus de referencia del español actual. <http://www.rae.es> (data obrashhenija: 15.07.2016).

6*. Tolkien J. R. R.. Hobbit, or There and back again / J. R. R. Tolkien. – London: HarperCollins Publishers Ltd, 2012. – 256 p.

7*. Rand A. Atlas Shrugged / A. Rand. – New York: Signett, Penguin Books, 1992. – 1075 p.

8*. «Graf Drakula», Brjem Stoker na anglijskom i russkom jazykah [Jelektronnyj resurs]. URL: http://fenglish.ru/graf-drakula-brem-stoker-na-anglijskom-i-russkom-yazykax/ (data obrashhenija: 14.07.2016).

9*. Rowling J. K. Harry Potter and the Prisoner of Azkaban / J. K. Rowling. – London: Bloomsbury Publishing, 2004. – 317 p.

10*.Rowling J. K. Harry Potter and the Deathly Hallows / J. K. Rowling. – London: Bloomsbury Publishing, 2007. – 607 p.

11*. Gelasimov A. God obmana / A. Gelasimov. – M.: OGI, 2003. – 264 s.

12*. Rowling J. K. Harry Potter and the Half-Blood Prince / J. K. Rowling. – London: Bloomsbury Publishing, 2005. – 607 p.

13*. Rowling J. K. Harry Potter and the Order of the Phoenix / J. K. Rowling. – London: Bloomsbury Publishing, 2003. – 766 p.

14*. Ant. From Wikipedia, the free encyclopedia [Jelektronnyj resurs]. URL: https://en.wikipedia.org/wiki/Ant (data obrashhenija: 10.07.2016).

15*. English Online [Jelektronnyj resurs]. URL: http://www.englishonline.at/media/newspapers/newspapers.htm (data obrashhenija: 10.07.2016).

16*. Russian language. From Wikipedia, the free encyclopedia [Jelektronnyj resurs]. URL: https://en.wikipedia.org/wiki/Russian_language (data obrashhenija: 10.07.2016).

17*. A city where new meets old [Jelektronnyj resurs]. URL: https://amberneat.wordpress.com/2011/06/06/202mc-a-city-where-new-meets-old/(data obrashhenija: 10.07.2016).

18*. Coral Sea. From Wikipedia, the free encyclopedia [Jelektronnyj resurs]. URL: https://en.wikipedia.org/wiki/Coral_Sea (data obrashhenija: 10.07.2016).

19*. Le Carre J. A Small Town in Germany / J. Le Carre. – London: Unabridged Pan Books LTD, 1968. – 320 p.

20*. Murdoch A. The Unicorn / A. Murdoch. – Great Britain: Penguin Books, 1972. – 270 p.

108

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

INTERCULTURAL COMMUNICATION

UDC 81-139

Voronezh State Technical University, post-graduate of the department of foreign languages

Russian Air Force Military Educational and

Scientific Center “Air Force Academy named after Professor N.E. Zhukovsky and

Y.A. Gagarin”, teacher of the department of foreign languages

Lyudmila Vladimirovna Korobko e-mail: l.v.ledeneva@mail.ru

L.V. Korobko

THE NOMINATIONS OF MUSIC PIECES IN V. ORLOV’S NOVEL «DANILOV THE

VIOLINIST» AS SIGNS OF CULTURAL CODE

The article explores the features of artionims (names of music pieces) representation in the literary discourse of Vladimir Orlov (on material of the novel «Violist Danilov») as the fragment of the lexical-semantic field «Music». It is established that the nominations of music pieces are subdivided into 3 lexical-semantic groups:

«Names of classical music compositions», «Names of pop songs» and «Names of fictional compositions». In axiological aspect the nomination of classical music pieces and pop songs have positive and neutral connotation whereas fictitious artionims have negative connotation. The nominations of pop songs and fictional compositions serve as the markers of national character of Russians. The features of national mentality of Russians are warm-heartedness, tendency to collectivism, breadth of soul, thoughtfulness, sadness, melancholy, tragic element.

Key words: music, culture, V. Orlov, literary discourse, onomastics, pieces of music, artionims, emotions.

Music represents the basic creative force, a creation basis, harmonization of the world. «Music and its basis – a sound, are a peculiar resonator of the nature, causing deep feelings in the person’s soul, reflecting great movements of world life» [1, p. 7].

The musical image transfers emotional reaction to the perceived phenomenon, it «is always emotionally specific, but at the same time emotions are abstracted, as if they are reflected in a pure form and by that the musical image reaches that degree of generality and a saturation which allows to speak about its generality» [2].

Music as a culture phenomenon, being «a quintessence and method of human activities, determines and synthesizes all other forms of knowledge of the world» [1, p. 25].

D.B. Gudkov and M.L. Kovshova declare that «…the culture represents the special hierarchical semiotics system which is in very difficult relations with the system of a natural language» [3, p. 14].

Language is «a culture mirror». According to S.G. Ter-Minasova, «it reflects not only the real world surrounding the person, not only real conditions of their life, but also public consciousness of the people, its mentality, national character, lifestyle, traditions, customs, morals, a value system, attitude, vision of the world»[4]. Culture, language and the people are closely interconnected and interdependent.

_______________________

© Korobko L.V., 2016

109

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

Studying of the musical culture allows to learn about national specifics. Music transmits data about the surrounding reality «through emotional and energy associations». In the piece of music «priority of sensual and energy line items prevails over intellectuality» [2] that demonstrates that the person is not only rational essence (homo racio), but also emotional (homo emotio) [5, p. 18].

Music is a national and specific component of culture. Asthetic, psychological, social, communicative and other directions combine and interact in the musical culture. The person not only makes certain changes in the universe, but also is affected themselve by surrounding people and their own acts that transforms their outlook and attitude, they endure what happens with them and in a special way concern what surrounds him. Experience of this attitude of an individual towards surrounding reality represents the sphere of feelings and emotions [5, p. 19]. Throughout centuries music has been and remains the most expressive way of representation of thoughts, emotions and state of mind of the person.

Relevance of the real research is caused by the fact that the musical component of the novel «Danilov the Violist» by V. Orlov considered in the aspect of its language categorization still remains poorly studied.

The purpose of the article is to analyse the features of representation of names of pieces of music (artionims) in the text of the novel «Danilov the Violist» by V. Orlov as the fragment of the lexico-semantic field «Music».

A large number of scientific works is devoted to studying of onomastic space of fiction (V.D. Bondaletov, A.L. Vasilevsky, V.V. Vinogradov, O.A. Dmitriyev, T.V. Evsyukova, etc.).

However the sphere connected with a research of peripheral categories of the proper names, in particular, the names connected with the spiritual sphere of human activity, namely the names of works of art, is still insufficiently studied.

In onomastics there is no standard term meaning names of works of art. E.A. Burmistrova suggests to use the term «artionim» (from Greek ars – «art», onyma – «name») which is understood as «names of works of fine and musical arts» [6, p. 38].

On the basis of studying of artionims in the literary discourse of Vladimir Orlov (on material of the novel «Danilov the Violinist») we have allocated 3 lexical-semantic groups:

«Names of works of classical music», «Names of pop songs» and «Names of fictional compositions».

The quantitative ratio of the names of music pieces in V. Orlov’s novel «Danilov the Violinist» is presented in the table.

110

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

Table

The quantitative ratio of the names of music pieces in V. Orlov’s novel «Danilov the Violinist»

Names of works of classical music

81%

As the stated above table with quantitative data shows, the names of the works relating to a genre of classical music (81% of a total quantity of the analysed examples) prevail. Let’s address to the consideration of the most striking examples of LSG «Names of Works of Classical Music».

1. Names of works of classical music.

In this lexical-semantic group the name of the performance based on the novel «Idiot» by

F. Dostoyevsky, «Nastasia Filippovna» or «Nastasia» prevails – 10 contexts. Let’s consider the examples:

111

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

« N a s t a s i a Fi l i p p o v n a » was played in the evening. N a s t a s i a came to an end in the tenth hour <…> [Danilov] after « N a s t a s i a » only hung the head under a stream of cold water. Though he loved « N a s t a s i a »! It was the fine music composed by the master, nervous, high as Dostoyevsky’s dialogue, with the shrill mixture of voices, with exact, on a sound and a melody, responses to movements of the souls suffering on the stage or not even answers, on the contrary – anticipations of these movements of souls. Music of « N a s t a s i a » was related to Danilov, he knew, that his road of the musician came nearby or at least conducted in the same direction <…> in « N a s t a s i a » because of the music instant reflection of restless and fast feelings the counting was difficult as in any other thing <…> The counting i n « N a s t a s i a » gave Danilov no breaks, Danilov left his place in the tenth hour exhausted [1*].

This context has a lot of the lexical items describing the music sounding in the performance and the effect which it causes on performers and listeners. At a research of emotionally marked lexicon we proceed from the technique of the analysis of emotional and estimated lexical means developed and offered by prof. Z.Ye. Fomina [5; 7; 8; 9].

The context contains the temporal component; time of day – «evening», and even the exact time of the end of the performance – «in the tenth hour» is specified. Time of execution of the performance is connected with the fact that the most interesting statements are, as a rule, executed in the evening.

Admiration of music is transferred by means of the epithet «fine» («fine music»), and the attitude towards the composer who has created it is expressed by a high rank – «master»

(«composed by the master»).

Music of «Nastasia Filippovna» is close to the main character of the novel («was related to»), he sees the way of the musician in its motives and variations («his road of the musician came nearby or at least conducted in the same direction») that causes warm feelings in his soul

(«loved»).

The melody receives the detailed characteristic – «nervous, high as Dostoyevsky’s dialogue, with the shrill mixture of voices».

The use of the metaphor is observed. Music transfers all shades of the movement of a restless, uneasy human soul, immediately reacting to all changes happening to it («with exact, on a sound and a melody, responses to movements of the souls suffering on the stage or not even answers, on the contrary – anticipations of these movements of souls», «instant reflection of restless and fast feelings»).

Similar metamorphoses dictate fast rate of playing that does execution of the music piece incredibly difficult («the counting was difficult as in any other thing»), without allowing musicians to take breath («The counting in «Nastasia» gave Danilov no breaks»).

The feeling of the sheer exinanition, apathy and powerlessness after the end of the performance is connected with it («Danilov left his place exhausted», «hung the head under a stream of cold water»).

Thus, music of «Nastasia Filippovna» reflects the slightest movements of a human soul, causes a storm of feelings that does it emotionally rich. Prompt rate of the music piece does not allow performers and listeners to come round, keeps them in constant suspense that explains the feeling of fatigue in the end.

The sign of the great impact on an emotional and physical condition of people which doesn’t leave indifferent, subordinating listeners and musicians by its power and causing feeling of attachment and love is staticized.

Realization of the following nomination «The Fiery Angel» meets in 5 examples. Cf.:

112

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (15), 2016

And then he thought: «If only we could do « T h e F i e r y A n g e l » as well....» Danilov held the Prokofiev work in awe and had been waiting years for them to decide to do it.

However, he understood why they didn’t decide. Only few theaters had the power to perform « T h e F i e r y A n g e l ». «We should have an article about « T h e F i e r y A n - g e l » in «Kamerton»!» [1*].

«The Fiery Angel» is Sergey Prokofiev’s opera based on the novel of Valeriy Bryusov written in 1919-1927 penetrated by passion and occultism [10].

Theaters haven’t ventured the setting of this work for a long time, and execution of the similar work was inaccessible to many of them at all («Only few theaters had the power»), the pensive note of the main character is explained by it – «If only we could do «The Fiery Angel»».

The relation to Prokofiev’s opera is transferred by means of the lexical item «in awe», transferring admiration of the specified work.

Thus, the meliorative connotation given the nomination is represented; the sign of worship and delight is staticized, however power, pressure and the subject of the composition causes feeling of awe that explains a rarity of settings.

The name of the opera of Georges Bizet «Carmen» is used in the text of the novel in 4 contexts. Let’s review examples:

« C a r m e n » attracted Natasha… [1*].

The opera «Carmen» has improbable attractiveness, attracts particular interest that is verbalized by means of the verb «attract» meaning «to seduce, tempt» [1**].

The sign of hypnotic impact of music on listeners is staticized.

The contrabass player, who has played in the orchestra for forty years and retired, got tickets for « C a r m e n » on acquaintance, brought his grandson to the theater. In the first break he came running in the pit, nearly cried: «What a music! What an overture! What an opera! All my life I have thought that it has only pum-pum, but it appears there is ta- ra-ra-ra…» – and sang the toreador’s theme [1*].

In this context wide interest of public in the specified work is shown that is represented by means of the phrase «got tickets on acquaintance». Demand for this setting is so big that it isn’t possible to purchase tickets in a cash desk.

The impression of the opera is transferred by means of emotionally charged lexical and graphical means. So, it is observed:

use of coordinate predicates («came running», «cried», «sang»),

lexical repetition of an adjective «what»,

number of exclamatory sentences («What a music! What an overture! What an opera!»),

phonetic component («pum-pums», «ta-ra-ra-ra»).

These expressive means represent the strongest impact which the opera has on audience. The sign of interest and delight is staticized.

Thus, the nomination «Carmen» has the positive markedness expressed by a number of the melioratively colored lexical and graphical means. The keen interest in this work attracted by its special «magic» is observed.

113