Учебное пособие 1773

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

businessmen support their hobbies carrying social responsibility.

He likes to hunt in the company of Peter Aven (№20) and Iskander Makhmudov (№29). All three are the founders of "The Bear" in the Arkhangelsk region which, according to the register, is engaged in "Hunting and breeding of wild animals, including rendering of services in these areas" [10 *].

A former career officer Zvetkov is an addictive personality, in addition to the introduction of FC ontology, numerology he went to shamans in Khakassia, yoga and Ayurveda, Chinese Qigong. He regularly attends an Orthodox church and spends a lot of money to charity " [11 *].

The image of man has evolved over time under the influence of external factors. For example, a modern social structure of Russian society according to N.M. Rimashevskaya and I.E. Diskin reflects the presence of the "elite-oligarchic groups" connecting the possession of the property in the amount comparable with the major Western corporations and powerful means of influence at the national level [11, c.349].

Returning to the consciousness of a modern man we note that in it there is more and more fixed idea of the image as a value which determines success in life. Not coincidentally the image is interpreted in the theory of archetypes as an essential element in the phenomenology of culture presents a stable concept throughout arise in individual consciousness and has spread in the cultural creativity of different peoples [12, p.144]. Considering the personality in the socioand ethno-cultural aspects O.A. Dmitrieva studies lingvocultiral type concept considering it as one of the cultural archetype actualizations. "The different characters observe varying degrees of archetypology, i.e. there is gradual filling in type features of archetype. The closer the type is to the archetype the greater the emotional response it has, the more charismatic, the more he manifests the archetypal nature of the outside world and appears as a bright personality. The type can carry several archetypes that will dictate the role behavior of this type. Thus, the archetypes act not by themselves but directly through lingvocultiral types, images, dictating the role "[13, p.76].

The degree of impact on the recipients dependends on stereotypes, attitudes, motives. Consequently, the archetype is consciously and systematically updated in specific terms of image. Lingvocultiral character types are generalized linguistic identity that stands out in lingvoculture on the principle of recognition and frequency and are marked by a definite social relation, which may vary depending on the different socio-cultural reasons [14, p.75]. Thus, the image is seen in communicative-pragmatic, sociolinguistic and linguistic-cultural aspects which are mostly in a relationship of mutual complementarity rather than hierarchy.

The impact of a massive flow of information on society gradually leads to rupture of the modern man with the past, with its customs and traditions. Mankind survived the transformation of several symbolic types. The first was a tradition oriented man doing as he is instructed by his community. Then, the main type has been an inner-oriented man whose behavior is determined by the laid down internal principles and rules of the twentieth century. Today an externally-oriented type receiving his standards from the outside is relevant. He is not only fully oriented to the external recognition but also, in principle, not sure of himself and cannot exist without a clear external manifestation of this support.

At the present time, in connection with the development of the media a steady trendconscious design image desired by the audience has been observed. An important component in the formation of an attractive image of a successful business man is a well-designed PR-strategy serving as a means of manipulating the mass consciousness [15, p.18].

Numerous examples in the Russian language show that the "business man" – is a generalized image-type which has a positive connotation and gets the specific social characteristics: a person endowed with authority (employer):

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Now two sons of my coach Kolyusheva Elena Borisovna and her daughter-in-law work for me. They moved here a year ago, addressed me and I'm happy to get them "[12 *].

In most cases a business man holds a high social position (head, manager):

Pavel Ustimenko is a manager of a company which is engaged in insurance in the aerospace field. When you come in its reception you see three cabinets, on each door there is a nameplate with surname Ustimenko "[13 *].

Olga Pleshakova also represented Russia in the organized Fortune magazine's annual forum Most Powerful Women Summit which was held on October 15-17 this year in Washington. It was attended by not only the most influential business women but also the heads of major companies, leading financial experts and economists from all over the world [2*].

or has significant financial resources:

For its core business - the fourth largest perfume factory in Russia, the monthly turnover of which is estimated at $ 5 - 6 million, Goryachev added else Omsk plant of synthetic detergents [14 *].

Standard style (manner of behavior, communication) is secured not only in public but also in the linguistic consciousness with a typical set of lexical means.

About relations with subordinates she says: "They have all the necessary powers but if I make a decision no one can challenge it" [15 *].

Currently, a type "business man" is imported by many cultures (including Russian), so revealing its figurative, conceptual and value dominants may indicate how widespread this type is in modern civilization. In connection with this, the study of type of a "business man" in Russian linguistic culture may be promising, as well as a comparison of image characteristics of this concept in the minds of other cultures.

Bibliographic list

1.Karaulov Y.N. Russkij yazyk i yazykovaya lichnost' / Y.N. Karaulov. – M.: Nauka, 1987. – 264s.

2.Karasik V.I. Rechevoe povedenie i tipy yazykovyh lichnostej / V.I. Karasik // Massovaya kul'tura na rubezhe XX–XXI vekov: chelovek i ego diskurs: cb. nauch. tr. / pod red. Y.A. Sorokina, M.R. Zheltuhinoj. IYA RAN. – M.: Azbukovnik, 2003. – 368 s.

3.Dmitrieva O.A. Lingvokul'turnye tipazhi Rossii i Francii XIX veka: avtoref. dis. … kand. filol. nauk / O.A. Dmitrieva. – Volgograd, 2007. – 24 s.

4.Robertus M. M. Harakteristika lica v sovremennom nemeckom yazyke: dis. ...

kand. filol. nauk M.M. Robbertus. – M., 2005. – 210 s.

5.Balahonskaya L.V., Bykov I.A. Specifika PR-tekstov v seti Internet: kommunikativno-pragmaticheskij aspekt / L.V. Balahonskaya, I.A. Bykov // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodikodidakticheskie issledovaniya. – 2014. – vyp.2 (22). – S. 41.

6.Nazarov M. M. Massovaya kommunikaciya v sovremennom mire: metodologiya analiza i praktika issledovanij / M.M. Nazarov. – M.: Editorial URSS, 2002. - 106 s.

7.Pochepcov G. G. Teoriya kommunikacii / G.G. Pochepcov – . M.: «Refl-buk», 2001. - 656 s.

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8.Plotnikova E.A. Nerelevantnost' tekstovogo soderzhaniya v mediadiskurse / E.A Plotnikova // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya. – 2013. – vyp.2 (20). – S. 66.

9.Sharkov, F.I., Tkachev V. A. Brending i kul'tura organizacii (upravlenie brendom kak ehlementom kul'tury organizacii) / F.I. Sharkov, V.A. Tkachev. – M.: Izdatel'skij dom «Social'nye otnosheniya», Izd-vo «Perspektiva», 2003. - 268 s.

10.Averchenko L. K. Prakticheskaya imidzhelogiya: Uchebnoe posobie. / Pod red. L. K. Averchenko. – Novosibirsk: SibAGS, 2001. – 295s.

11.Rimashevskaya, N., Vardanyan, R.A., Diskin, I.E. Rossiya-1999. Social'nodemograficheskaya situaciya : IX ezhegodnyj doklad / Pod red. N. Rimashevskoj. – M.: RIC ISEHPN, 2000. – 352 s.

12.Senderovich, S. Reviziya yungovoj teorii arhetipa / S. Senderovich. - Logos. – 1995. – № 6. – S. 144–163.

13.Dmitrieva, O.A. Lingvokul'turnyj tipazh «francuzskij burzhua» / O.A. Dmitrieva // Aksiologicheskaya lingvistika: lingvokul'turnye tipazhi: Sb. nauch. tr. / pod red. V.I. Karasika. – Volgograd: Paradigma, 2005. – S. 74–88.

14.Bondarenko, T.V. Lingvokul'turnyj tipazh «Anglijskij dvoreckij»: avtoref. dis. … kand. filol. nauk / T.V. Bondarenko. – Volgograd, 2009. - 21 s.

15.Dolgova E. V. Diskursivnye i kommunikativnye osobennosti rechevogo zhanra «portret delovogo cheloveka» (na materiale russkogo i anglijskogo yazykov): avtoref. diss. kand. filol. nauk / E.V. Dolgova. – Moskva, 2010. – 20 s.

http://www.profile.ru/society/item/92722-uskorennaya-pomoshch (data obrashcheniya: 18.02.2015).

4*. Karpova A. Vzyat'sya za vorotnik: zachem bankovskij menedzher zanyalsya poshivom rubashek [Elektronnyj resurs]. URL: http://www.forbes.ru/svoi-biznes/istorii- uspekha/283319-vzyatsya-za-vorotnik-zachem-bankovskii-menedzher-zanyalsya-poshiv (data obrashcheniya: 06.07.2015).

5*. Sazonov, A. Racional'noe zerno // Forbes. – yanvar', 2007. C.38 – 39. 6*. Igumenov V. Lomovaya Armiya // Forbes. 2007. № 4. C.79-81.

7*. Zhitkova V. Rebyata nashego dvora [Elektronnyj resurs]. URL: http://www.profile.ru/society/item/89806-rebyata-nashego-dvora (data obrashcheniya: 10.12.2014).

8*. Kushchuk V. Neudobno delat' vygovor sotrudniku, kotoryj starshe menya [Elektronnyj resurs]. URL: http://www.profile.ru/society/item/84972-neudobno-delat- vygovor-sotrudniku-kotoryj-starshe-menya (data obrashcheniya: 13.08.2015).

9*. Rezhim Potanina: kak rabotaet bogatejshij biznesmen Rossii [Elektronnyj resurs].

http://www.forbes.ru/profile/german-han (data obrashcheniya: 04.09.2015).

11*. Ushel v nirvanu: kak Nikolaj Cvetkov stroil korporativnuyu kul'turu v «Uralsibe»

Series «Modern Linguistic and Methodical-and-Didactic Researches» Issue № 4 (11), 2015

http://sol.ru/news/show/ushel_v_nirvanu_kak_nikolay_cvetkov_stroil_korpora_6(data obrashcheniya: 24.09.2015).

12*. Ziganshina, N. Stoya u otkrytogo okna / N. Ziganshina // Kommersant" Den'gi. – 2006. – №183. – S. 122–125.

13*. Gendlin, V. Rabota s riskom kosmicheskih masshtabov / V. Gendlin // Kommersant" Den'gi. – 2004. – №41(496). – S. 40–43.

14*. Zaural'skij, S. Mnogoprofil'nyj Goryaev [Elektronnyj resurs] URL: http://www.ko.ru/document.php?id=69 (data obrashcheniya: 19.04.2015).

15*. Prosvetov, I. Ledi s zheleznoj hvatkoj [Elektronnyj resurs] / I. Prosvetov // Kompaniya. Delovoj ezhenedel'nik. – 2000. – № 97. – [Elektronnyj resurs] URL: http://www.ko.ru/document.php?id=1202 (data obrashcheniya: 19.04.2015).

Dictionaries used

1**. Slovar' sovremennogo anglijskogo yazyka: v 2-h t. T.1 A–L – M.: Russkij yazyk, 1992. – 626 c.

2**. Ushakov, D.N. Bol'shoj tolkovyj slovar' sovremennogo russkogo yazyka. – M.: Al'ta-print, 2009. – 1239 s.

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

UDC 801:803.0

Voronezh State University of Architecture and Civil Engineering, Assistant lecturer, Post-graduate of the Chair of Foreign Languages Anna Ivanovna Gushchina

e-mail: anna-guschina@mail.ru

\

A.I. Gushchina

DENDROMORPHINE METAPHORS IN THE GERMAN ART DISCUORSE AS THE CULTURAL SIGN

The research of metaphorical representations of a phenomenon "Tree" ("Baum") in modern German art discourse is presented in this article. The lexicalsemantic features of the metaphorical phrases with a dendromorphine component functioning in works of modern German writers are investigated. The classification of metaphorical models of a phenomenon "Tree" is developed, their typology is represented, specifics of metaphorical images "Tree" ("Baum") in modern German artistic discourse are defined. It was found out that the image of a "Tree" in art discourse is presented polysyllabic that is reflected in the cognitive metaphors correlating with various spheres sources: physical, gidromorfine, mortomorfine, anthropomorphine, etc. The concept "Tree" act as foundation of modern German writers' attitude and the linguistic sign of the German culture: the tree reflects the German mentality, the importance of traditions for the German culture, acts as a standard of prosperity (ill-being) of the modern ecosystem, a standars of force and power, serves as the instrument of cognition.

Key words: metaphor, dendronym, ecology, artistic discourse, semantics, types of metaphors, sign of culture, metaphorical model, frame, slot, German mentality.

The metaphors play a specific role in the process of the fiction discourse creation. They now constitute the conceptual core of both scientific and artistic images of the world. According to V.N Telia, "... due to its mode of fictitiousness the metaphor represents a model of hypothetical knowledge acquisition. This gives to metaphors an exceptional productivity in comparison with other trope-based ways of acquiring new knowledge about the world in any field " [1, p.188].

The problem of defining the nature of the metaphor and its role in language has always been the center of attention of both foreign and Russian linguists (Akselrud, 1998, Arutyunova, 1999; Baskakova, 1999; Gak, 1988, 1998, Nikitin, 1978; Petrov, 1988; Serebrennikov, 1983; Simashko, 1994, Telia, 1986, 1988, Shiryaev, 1997, 1999). A pronounced interest in this linguistic phenomenon can be easily explained, since, as B.A Samadov noted, "the process of naming is always based on the metaphor, on a metaphorical "shift" from the subject to the word" [2, p. 71].

The major work in the field of metaphor studies was written by J. Lakoff and M. Johnson. The authors define metaphor as the representation of a concept in terms of another one [3].

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© Gushchina A.I., 2015

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A.A. Potebnya focused a lot on the problem of simile in language claiming that "even one word in everyday speech is the transition from the sensory image to its representation or its sign, and therefore should be called simile" [4, c. 212].

The most precise definition of the term "metaphor", given by N.D Arutyunova, is stated in the encyclopedic dictionary "Russian language": "Metaphor is a trope or a figure of speech consisting in use of a word designating a certain class of objects, events, actions or attributes to characterise or name another class of objects or an individual similar to the first one..." [5, p. 233].

Considered as universals of consciousness which penetrate language, culture, science and all the other areas of our lives, metaphors are connected to human genesis and consequently to human culture [6].

In modern researches a distinction is made between linguistic and conceptual metaphor. N.D. Arutyunova stresses that linguistic metaphor "is, above all, a way to capture the peculiarity of a specific object or phenomenon, to convey its uniqueness [7, c. 149].

Conceptual metaphor in contemporary cognitive science is usually defined as “(primary) mental operation, as a way of learning, categorisation, conceptualisation, evaluation and explanation of the world" [8, c. 16], which represents the basis of the verbalisation mechanism in language.

According to the theory of conceptual metaphor the essence of "metaphorical process is the interaction between the structures of knowledge (frames and scripts) of two conceptual domains - the source domain and the target domain [5, 9,10]. Thus the metaphorical mapping occurs from the source domain to the target domain formed by the human experience of interaction with the world, elements of the source domain structure the less clear conceptual target domain, which represents the essence of the cognitive potential of the metaphor "[5, 9, 10].

Nowadays there are numerous approaches to the study and analysis of conceptual metaphor. E.V. Budaev [11] identifies four types of comparison of metaphorical models. The first and second types of comparison involve the study of conceptual metaphors associated via the target domain and, accordingly, the source domain of metaphorical expansion. The third type consists in a comparative study of basic cognitive structures that shape metaphorical models. The fourth type includes the study the conceptual metaphors in the discourse of the message sender. This methodology allows to reveal general patterns of reality modelling via metaphors and standard scenarios used by the message sender in political discourse.

In the framework of this article we are interested in a set of approaches to the study of dendromorphic metaphors in particular. The paper examines both the target domains and the source domains of metaphorical images. As the material of this study is represented by German fiction, its aim is to identify the specificity of reflection of external world and man's inner world through dendromorphic metaphors from the position of the author of fiction.

After semantic and cognitive analysis we have developed gestalt models, reflecting the epistemological correlation of the phenomenon tree with the surrounding realia in fiction written by contemporary German authors. We adopt the definition of the term "gestalt" by V.N Telia: a special, more organised form of cognitive structure that combines the sensual and the rational in their unity and as a whole [12, p .298]. Gestalt as a whole structure consists of frames which, in their turn, consist of slots.

This study is based on fiction by many contemporary German writers (see. List of the analysed sources).

In the framework of the study we defined 8 source domains which represent the cognitive basis for creating metaphorical images of the phenomenon «Baum» (tree) in modern

German image of the world. The quantitative ratio of these domains is as follows: physical (3 units.) hydromorphic (2 units), mortomorphic (2 units.), color (2 units), pyromorphic (2

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units), anthropomorphic (2 unit), mythological (1 unit.), religious (1 unit.). The developed typology of metaphorical models and the quantitative ratio are shown in Table 1.

Table 1

Typology of metaphors with the component “Baum” in modern German fiction

The following part of the article is devoted to the analysis of the above-mentioned types of metaphors in accordance with their quantitative hierarchy presented in Table 1.

As can be seen from the table, physical metaphors epistemologically unite the bodily and vegetable domains. Cf.:

«Die drei Ärmelstreifen auf seiner Uniformjacke zeichneten den baumlangen Kerl als

Chief Mateaus». (Three stripes on his uniform bore the sign that this man high as a tree was a senior assistant) [5 *, p. 16].

In order to analyse the definition of key words "baumlang" and "Kerl" we refer to the dictionary DUDEN [1**]:

• baumlang - (von Menschen) sehr groß (about a person, very big);

• der Kerl - 1. männliche Person, Mann, Bursche (male person, man, young man); 2. ein junger,

räftiger, großer, langer Bursche ( a young, strong, big, tall guy).

In the example, the tree in terms of its cognitive metaphorical interpretation, is considered as a tool to measure the height of the young man.

The analysis of the words’ definitions leads to the conclusion that there is a common cognitive basis between the two words which represents height, power, youth, strength, striving for development and improvement.

The figurative integration of features inherent to the natural phenomena with human qualities determines the choice of the tropes and figures of speech. The close relationship between man and nature is connected with a certain similarity or approachment between the two images of the world - anthropomorphic and natural.

In German dendronyms the might of a tree becomes of outmost importance for the tree is envisaged as the standard of strength and serves as a measurement tool.

In this example, a physical metaphor is used (metaphorical model "tree-height"), based on the assimilation of human height to a tree, thus showing that the metaphorical verbalisation of the concept Baum is associated with the conceptual sphere "man."

One of the types of physical metaphor is represented by mineralogical metaphor, which has mineralogy as its source domain. This type of metaphor functions in the works by A. Muschg. Cf.:

«Morgenrot! Klabund! die Tage dämmern! Doch hatte ihm der Traum ein anderes Wort auf die Zunge gelegt. Seine Lippen konnten es noch nachsprechen: «Wir fahren mit dem Kahn in großem Bogen». Auch das Bild dazu ließ sich zurückrufen. Doch nahm hinter den geschlossenen Lidern nicht nur seine Lichtstärke ab, auch seine Tiefe im Raum verflachte sich, und zugleich veränderte es die Materie. Dem TraumUrsprung näher, war es ein Gebirge aus metallisch schimmernden Baumhäuptern gewesen, die sich hier buchenförmig, dort lindenartig, doch stammlos, von Windschauern gelockert aus schwarzem Gewässer in einen taghellen Sternenhimmel erhoben».

(Oh, scarlet dawn! It's time of dawn! "But in a dream he heard a very different verse. His lips were still able to repeat:" We swim in the boat doubling the island". The landscape which he has seen in the dream did not erase from his memory. But the image that was before his closed eyelids lost its brightness and depth, and its texture immediately began to change. As in the beginning of the dream, mountains appeared with trees’ crowns that were shot with metal, here similar to beeches, there to limes, however, without trunks, shaken by the wind, they were raising their weakened crowns from black water to a starry sky as clear as a day) [9 *, p. 308].

The cognitive structure of the concept "tree", considered from the point of physical metaphors, consists of two basic frames:

1. "tree as surreal phenomenon"

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2. "tree as real phenomenon"

In the analysed fragment the author, in this case, Adolf Muschg, identifies the phenomenon tree, in his metaphorical representations, with the real and unreal phenomena which explains our choice of the names of frames. They consist of distinctive slots and have a certain set of conceptual features that characterise the concept "tree".

The above-mentioned slots are verbilised in the following context:

«Auch das Bild dazu ließ sich zurückrufen. Doch nahm hinter den geschlossenen Lidern nicht nur seine Lichtstärke ab, auch seine Tiefe im Raum verflachte sich, und zugleich veränderte es die Materie. Dem Traum-Ursprung näher, war es ein Gebirge aus metallisch schimmernden Baumhäuptern gewesen…» (The landscape which he has seen in the dream did not erase from his memory. But the image that was before his closed eyelids lost its brightness and depth, and its texture immediately began to change. As in the beginning of the dream, mountains appeared with trees’ crowns that were shot with metal).

For a more detailed analysis of the phenomenon of the tree in this context, we have considered the semantics of major lexical units in the dictionary DUDEN [1**]:

→das Gebirge - zusammenhängende, durch Täler gegliederte Gruppe von hohen Bergen

(mountain – a group of high picks connected to each other but separated by hollows);

→der Baum - Holzgewächs mit festem Stamm, aus dem Äste wachsen, die sich in Laub oder

Nadeln tragende Zweige teilen (woody plant with a solid trunk usually developing branches, which are further divided into leaves or needles);

→metallisch - 1) aus Metall bestehend; die Eigenschaften eines Metalls besitzend, sich wie ein Metal lverhaltend (consisting of metal, having properties of metal); 2) hart klingend (which sounds sharply); 3) ins einem optischen Eindruck wie Metall, an Metall erinnernd (which looks like metal, evokes metal);

→schimmern - einen Schimmer verbreiten, von sich geben (to flicker, radiate);

→lockern - locker machen (which makes weak, wobbly).

According to the dictionary definitions, basic cognitive features of the semantic structure of the word «Baum» which form this context are: 1. the aspiration upwards; 2. the ability to grow; 3. something that has force; 4. having certain properties.

On the one hand, the trees are represented in surreal context of sleep, on the other hand, they are compared with the peaks with positive traits attributed to them: the aspiration upward, growth potential. Thus, the first metaphorical model within the analysed fragment is "tree-height".

The tree is described as well in the form of crowns that are shot with metal (aus metallisch schimmernden Baumhäuptern gewesen). Comparing the crown with metal the author of fiction attributes similar properties, primarily metallic luster, hardness, sharp sound at the impact. Consequently, the tree is regarded as surreal phenomenon, and the comparison tree crowns that were shot with metal allows us to define the following metaphorical model - "tree-metal".

The frame "tree as a real phenomenon" is one of the most important components of the cognitive structure of the tree as an object. This frame is represented in the following slots, each of them having a set of conceptual features:

•tree - different species of trees

•tree - absence of a trunk

•tree-weakness

A. Muschg uses synecdoche: instead of trees he speaks of their crowns, and comparison: the crowns are compared with beeches here, limes there, but the crowns are without trunks (die

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sich hier buchenförmig, dort lindenartig, doch stammlos); it creates a derogatory image of the tree, moreover, the writer uses the adverbs of place: hier / dort (here / there), which are antonyms. The author includes in his text the conjunction doch which expresses opposition: the trees’ crowns are like beeches here, like lime there, but (all the crowns) are without trunks.

The following description of trees is of a particular interest - shaken by the wind, they (the trees) were raising their weakened crowns from black water to a starry sky as clear as a day (cf.: Von Windschauern gelockert aus schwarzem Gewässer in einen taghellen

Sternenhimmel erhoben). On one hand, the trees are weakened by a strong wind, and on the other hand, there is an allusion to hope for a way out of a difficult situation (trees were raising their weakened crowns from black water to a starry sky as clear as a day). It should be noted that the author uses the antinomy black / clear as a day that emphasizes the opposition in the framework of the entire context.

So, within the class of physical metaphor the anthropomorphic metaphor can be identified which is based on the metaphorical model "tree-weakness."

Thus, the context which we have analysed above shows a surreal perception of a tree in the space of sleep, it should also be noted that the image of a tree is filled with both positive (comparison of the trees with the mountains, the trees and the sleep, the trees and the clear starry sky, the trees, raising their crowns) and negative metaphorical images (trees - a metallic luster, trees - black water, trees – weakness).

Another metaphoric model which we identified within the physical metaphor class is the model "tree-shade". It functions in the following context:

«Ich deutete auf ein kleines Fleckchen Gras, das zwischen den riesigen, schattenspendenden Bäumen gedieh». (I indicated a small lawn, which flourished between the huge shade trees) [7 *, p. 39].

The DUDEN Dictionary [1**] gives the following definition of the words spenden, der Schatten:

• spenden -als Spende geben (to give as a donation, gift).

Here are several examples of the use of the verb spenden: Geld, Kleider, Medikamente, Lebensmittel [für die Opfer des Erdbebens] spenden (donate money, clothes, medicines, foods (to victims of an earthquake)); Blut spenden (sich Blut für Blutübertragungen abnehmen lassen) (to donate blood); ein Organspenden (sich für eine Transplantation entnehmen lassen) (give permission for organ donation). These examples show that only a human can perform the actions connected with donation, thus the tree is endowed with human features to give / donate something, to sacrifice something.

→Der Schatten - Bereich, der vom Licht der Sonne oder einer anderen Lichtquelle nicht unmittelbar erreicht wird und in dem deshalb nur gedämpfte Helligkeit, Halbdunkel [und zugleich Kühle] herrscht (shadow - an area that the light of the sun or from another light source does not reach directly, which therefore is caracterised by only subdued lighting, twilight, [and coolness at the same time]).

→riesig - außerordentlich, übermäßig groß, umfangreich; gewaltig (huge / gigantic - very, excessively big, vast, powerful).

The tree in the novel by A. Kral symbolises strength, power, this is justified by the author's use of the lexical element riesig. In the context the writer uses antithesis: a small lawn and a gigantic tree.

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