Учебное пособие 1773

Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

According to the definitions of lexemes spenden, der Schatten, riesig the trees have the ability to bring the benefit (in this example, the shadow). In this case, the trees saved a small lawn from the hot sun and gave a huge shadow where the grass grew. This allows us to define the next metaphorical model "tree-shade" in the framework of physical metaphor.

The second most widely used type of dendromorphic metaphors (color metaphors) is the metaphorical model "tree-color", found in the fiction by W. Johnson («Mutmaßungen über Jakob»). Cf.:

«Die schwarzen nächtlich regnerischen Bäume im Wind, das harte Scheinwerferlicht, der überdrehte Lautsprecher mit der verwehten verwischten herbstheiseren Nationalhymne ssajusneruschimy, das reglose verschlossene Gesicht des Chauffeurs ...». (Black as night, rain trees in the wind, hard spotlights, twisted worn out speaker producing a hoarse national anthem " United forever in friendship and labor", immobile face driver ...) [6 *, p. 218].

The major components of the cognitive structure of the concept "tree", analysed in the above mentioned context are represented by the following basic frames:

1. "tree-color";2. "tree-natural phenomena".

These frames include the following major slots:

1."tree-color"

1.1.tree-darkness

1.2.tree-night

2."tree-natural phenomena"

2.1.tree-rain

2.2. tree-wind

Further we will focus on the definitions of each lexeme cited in the dictionary

→schwarz - von der dunkelstenFärbung, die alle Lichtstrahlen absorbiert, kein Licht reflektiert [1**] (the darkest color that absorbs all the light, does not reflect any light);

→nächtlich - in der Nacht vorhanden, stattfindend; während der Nacht [1**] (occurring at night)

→regnerisch - so geartet, dass immer wieder Regen fällt; grau und von Regenwolken verhangen [1**] (it rains again and again, the sky is gray and overcast because of the rain clouds).

The following cognitive features are common to these lexemes: overwhelming darkness, the absence of light, humidity, dullness.

In this context, we can speak about a complex type of hybrid metaphor, on the one hand, the tree is compared with the black (dark) night, on the other hand, with a windy rain. It is important to emphasise the meaning of the words surrounding the lexeme tree: hard spotlights, twisted speaker, a hoarse national anthem. From syntagmatics point these words express hyperbolic derogative meaning (lexemes hard, twisted, worn, hoarse), which shows a negative assessment of what is happening next to the tree. The image of the tree is formed on the background of darkness, rain, gusty winds, hard luminous spotlight, hoarse recording of the Soviet Union national anthem.

W. Johnson, the fiction author uses the color lexeme black (figurative meaning dark, gloomy, dull), which allows us to visualise the image of the black trees in the rain. Thus, the metaphor of «die schwarzen nächtlich ... Bäume» (trees black as night) can be considered in the framework of the color metaphor type.

Along with color metaphors in the analysed context there is a hydromorphic metaphor which represents the metaphorical model "tree-rain” («die regnerischen Bäume im Wind). This example shows that the writer uses the dendronyms to depict the inner world, various human feelings: sadness, anxiety, happiness, joy, etc., the psychological unity of man and

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nature. The contexts from the novel written by W.Johnson which are analysed in this article give the examples of dendronyms images that convey inner feelings and emotions of the hero.

We will further analyse the example which can be studied in the framework of the gestalt model "tree-Easter":

«Es war genau diejenige, an der Ruth an ihrem letzten gemeinsamen Ostern ein Ei versteckt hatte, das einzige ungefärbte; und da der Baum in hellweißer Blüte stand, hatte er es am längsten nicht gefunden ». (This was the same place, next to which Ruth during the last Easter day they celebrated together hid the egg, the only one that she did not paint, and as the tree was bathing in a white light, it took her a very long time to find it) [9 *, p. 178].

The example shows that the three major conceptual constants in the analysed gestalt model "tree-Easter" are: “tree-tradition”; “tree-color”; “tree-place”.

The key lexemes which help to create the metaphorical image of the tree have the following definitions:

→von der hellsten Farbe, alle sichtbaren Farben, die meisten Lichtstrahlen reflektierend [1**] (the lightest color, all visible colors, reflecting the biggest number of rays of light);

→die Blüte - in mannigfaltigen Formen und meist leuchtenden Farben sich heraus bildender Teil einer Pflanze, der der Hervorbringung der Frucht und des Samens dient [1**] (the part of a plant which has various forms usually of bright colors, which precedes seeds and fruit);

→Osterei - ein gefärbtes, oft mit Motivenbemaltes oder verziertes Ei; gewöhnlich ein hart gekochtes Hühnerei, das traditionell zu Ostern verschenkt oder gegessen wird (Easter egg - a colorful egg, often painted with motifs or decorated, usually hard boiled egg, which is traditionally offered on Easter day or eaten) [13].

→Ostern - Fest der christlichen Kirche, mit dem die Auferstehung Christi gefeiert wird (Easter

-the feast of the Christian Church, which celebrates the resurrection of Christ).

The author depicts the tree in a continuum with the church holiday – Easter and points out its following features. Easter - spring religious holiday, a time of nature awakening, the most beautiful time of the year. The common element of the denotation of the lexical units "Easter", "unpainted egg", "tree" in this context is white, because the tree is bathing in white light, the white color symbolises Easter as it is associated with purity and beginning. The Easter egg is not painted and is white as well). It should be noted that the author describes the tree as not simply white (wei ), but as light white (hellweiß), emphasizing the purity and beauty of the spring tree. The above mentioned points justify the possibility to distinguish one more metaphorical model "tree-white color”.

In German culture there is an interesting custom of hiding Easter eggs under trees and flowers, and then look for them. Thus, the frame "tree-place" has a structure consisting of two slots "tree – garden" and "tree – storage." It is essential to point out that the fiction author considers the tree as a part of the garden (a part of a whole) and provides it with the properties of a storage. Thus, the metaphorical model "tree-storage" can be distinguished.

It necessary to note that the perception of the metaphorical gestalt "Tree-Easter" is individual and personal since the image is formed via the representations of the author of a literary text.

In the framework of semantic-cognitive analysis among different types of dendromorphic metaphor we distinguish as well hydromorphic metaphor that allows to designate the following metaphorical model "petals - colored snow" formed on the basis of fitomorphic, color and hydromorphic frames "petals", "color", "snow". Cf .:

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«Die Blütenblätter trieben an Sylvi vorbei wie farbiger Schnee. (Petals moved by Sylvie like colorful snow) [12 *, p. 97].

In order to specify the semantic components of the most important lexemes we refer to the DUDEN dictionary [1**]:

→Die Blütenblätter - unterschiedliche Teile der Blüte der Bedecktsamigen Pflanzen bezeichnet (petals - are the different parts of inflorescences of flowering plants);

→der Schnee - Niederschlag in Form von Schneeflocken (precipitation in form snowflakes).

The common element for the lexemes «die Blütenblätter» and «farbiger Schnee» is

"color".

When contrasting the semantic components of metaphorical comparison of the phenomena expressed by the lexical units petals, snow and tree we have identified the following common components in their semantics:

1)the propensity to change;

2)a limited period of existence;

3)the presence of color;

4)a part of the whole.

In this context, M. Walser compares flower petals with snow. Both lexical units (colorful) snow and petals have the property to change.

However, we should emphasise that the semantics of the word "snow" includes, first of all, the component precipitation, and thus this metaphorical model must be considered in the framework of the hydromorphic metaphors.

Dendromorphic metaphors are frequently used by German writers in order to describe a landscape. The semantics of the spring flowering in the analysed examples of dendronymes gives the impression of the awakening of nature, the relationship between man and nature, which has an aesthetic value.

In the novel "Zutter’s Happiness" by A. Muschg («Sutters Glück») one of the most important metaphors identified in the framework of the analysis of fragments with the key component «Baum» is a mortomorphic metaphor (images connected with death and decay). Cf.:

«Dann entkörperten sich die Baumkronen und fingen an, getrockneten Pflanzenblättern zu gleichen, die Sutter aus einer Tabakreklame kannte. Dabei wußte er, daß sie in ein Herbarium gehörten, und betrachtete sie durch das Vergrößerungsglas, hinter dem sie festgepreßt waren ». (Then, the crowns lost their corporality and started to resemble to the dried leaves of plants, which Zutter had seen on billboard with cigarettes advertisements. In the meantime he knew that these are the leaves from the herbarium, and he examines them through a magnifying glass, tightly pressing it to the leaves.) [9 *, p. 308].

The cognitive basis of this type of metaphor is represented by the metaphorical model "tree-absence of corporality." Its structure is formed by the following frames "to lose corporality", "the dried leaves of the plants", "herbarium".

The author subtly drew a parallel between the anthropomorphic and dendromorphic essence, using the verb sich entkörpern (that is to lose corporality) and emphasised the ability of trees to die and leave the body like human soul.

Thus, the dictionary definitions of the lexemes trocknen, das Herbarium, der Baum reveal the following components which form their semantics:

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→trocknen - 1. trocken werden, nach und nach seine Feuchtigkeit, Nässe verlieren (to dry, gradually lose moisture); 2. trocken machen (to dry); 3. trocknend beseitigen, entfernen, zum Verschwinden bringen (to remove dryness, lead to its disappearance); 4. einer Sache Feuchtigkeit, Wasser entziehen, um sie haltbar zu machen; dörren (deprive an object of moisture, water in order to make it durable, to fade);

→das Herbarium - systematisch angelegte Sammlung gepresste rund getrockneter Pflanzen und Pflanzenteile (a systematically arranged collection of pressed and dried plants and plant parts);

→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).

In general, the analysis of the key lexemes semantics which form the image shows that their common semantic elements include the following: on the one hand, the plant / tree as part of the living things, on the other hand, the organism deprived of moisture, basis of the life dry, deprived of corporality.

In the framework of the socio-cultural approach corporality is seen as a product of evolution of culture. [14] Within this framework, the corporality is understood as a social and cultural phenomenon, which can be defined as "the human body transformed under the influence of social and cultural factors, it has both socio-cultural values and meanings, and performs certain socio-cultural functions" [15, c. 464]. Thus, corporality is a socio-cultural phenomenon inherent to human beings. Consequently, granting the tree with human characteristics the author makes it a living being that has not only physical body (trunk, leaves, crown), but exists both in spiritual and socio-cultural terms.

In this example using the verb sich entkőrpern (to loose corporality), A. Muschg describes the state of crowns which are deprived of corporality: they have become dry like dried leaves of plants, forming a herbarium. This fragment can be considered as mortomorphic metaphor where the metaphorical model "tree - absence of corporality" can be found. Thus, the metaphor correlates with realia which have derogatory semantic components.

Our analysis of the factual material clearly shows that the central conceptual correlation, represented in dendromorphic metaphors, is based on relating the man to the tree, which confirms the anthropocentric nature of dendromorphic metaphors.

Further we will consider another example of the mortomorphic metaphor (metaphorical model "tree-death"), in the novel «Rückblicke» by I. Ripperger. Cf .:

«In der Nähe von Fulda muss es gewesen sein, da sah ein Wald sehr böse aus, viele Bäume waren einfach umgeknickt und auch sonst hatte auf der Strecke das Unwetter seine Spuren hinterlassen». (It had to be somewhere near Fulda, where the wood looked very evil, many trees had been damaged and the storm left its marks) [11 *, p. 403].

The cognitive structure of the phenomenon tree within the mortomorphic metaphor contains the following basic frames, formed by a certain number of slots:

•“tree-evil forest" ("tree as part of the whole forest")

•“tree-death" ("damaged trees", "tree-storm").

We will analyse the definitions of the key lexemes. According to the dictionary DUDEN [1**] the verb umknicken has several meanings:

1.so umbiegen, dass ein Knick entsteht (rotate so that a break / crack appears);

2.zur Seite biegen, bis ein Knick entsteht (to bend until the object snaps);

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3.zur Seite knicken (to snap, to hew);

→böse - schlecht, schlimm, übel (bad, unpleasant); (umgangssprachlich) ärgerlich, zornig, wütend (angry, furious);

→das Unwetter - sehr schlechtes, stürmisches, meist von starkem Niederschlag [undGewitter] begleitetes Wetter, dessen Heftigkeit Schäden verursacht (very bad, rough weather, in most cases, accompanied by strong precipitation [and thunderstorm], the force of which causes damage).

The common connotative component of major lexemes is represented by an evil force that causes harm and fracture (damaged trees, storm, accompanied by strong winds). The author (I. Ripperger) notes that at nature’s behest the tree can be severely damaged, condemned to death and destroyed.

In these images of nature, natural phenomena each dendronyme is used in a specific context and thus can convey the corresponding meaning, rendering the features of nature.

Fire when used as the source domain can become the basis for the creation of pyromorhic metaphor. The following example from the novel by A. Planert illustrates the functioning of this type of metaphor:

«Als sie zurückkehrten, hatten die Argusaner Holzreste und verkohlte Baumstämme zusammengetragen». (When they returned, they collected the remains of wood and charred tree trunks) [10 *, p. 327].

Das Holz - feste, harte Substanz des Stammes, der Äste und Zweige von Bäumen und Sträuchern (die als Baustoff, Brennmaterial usw. Verwendet wird) (solid, rigid material of the trunk, twigs and branches of trees and shrubs (which is used as a building material, fuel etc.)) [1**].

According to the dictionary definition, the wood which is the tree element can be used by man as building material and as fuel.

The dictionary DUDEN gives the following definition of the word verkohlen: durch

Verbrennen zu einer kohleähnlichen Substanz werden [1**].

Thus, the product of combustion is substance similar to coal. Probably the tree trunks were burned as a result of human activity, and turned into remnants of wood. It is worth noting that the adjective verkohlt has derogatory meaning, it gives a negative assessment of the trunks of trees. Trees are lifeless charred trunks.

The common cognitive components of the lexemes das Holz and der Baum are: use as a building material, a product of combustion, a source of heat and light. However, A. Planert depicts the destruction of a tree, describing the charred trunks of trees and its remnants. Thus, we distinguish the following metaphorical model - "tree-fire".

It is essential to point out that the idea of the trees’ death appears more and more frequently in many contemporary works by German authors, including the novel «Via Astra» by H. Lange. Cf.:

«Das Brennen der Fackelbäume hatte nach Einbruch der Dunkelheit nachgelassen, nur hier und da flackerte noch ein vereinzeltes Flämmchen auf oder glomm einer Kerzenflamme gleich vor sich hin. (The burning of loblolly pines died out at nightfall, only in some places a small flame flashed, like the flame of candles) [8 *, p. 169].

To analyse the connections of the concepts «brennen», «der Fackelbaum», «das Flämmchen», «die Kerzen» we will analyse their definitions in the dictionary DUDEN:

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→brennen - 1. in Flammen stehen; 2. sehr heiß scheinen; 3. als Heizmaterial verwenden; 4. (als eine Lichtquelle) eingeschaltet oder angezündet sein und leuchten (1. glow 2. seem very hot; 3. to be used as fuel; 4. (a source of light) be lit and glow);

→das Flämmchen - Verkleinerungsform zuFlamme (in bläulich oder gelbrot leuchtenden Zungen) hochschlagender Teil des Feuers ((glowing tongues of bluish or yellowish-red color, soaring fire);

→die Kerze -meist Ä. Mit zylindrisches Gebilde aus gegossenem Wachs, Stearin, Paraffin o.

Einem Docht in der Mitte, der mit offener Flamme brennend Licht gibt (a solid, usually cylindrical mass of poured wax, stearin, paraffin, with a wick in the middle of its top, which gives light via open fire).

The common denotative feature of these lexemes is burning, presence of flame. The word «der Fackelbaum» can be translated into English as "loblolly pine", however, it is interesting to note that the word is composed of two lexemes: «die Fackel» (torch / fire) + «der Baum» (tree), which means "fire tree". We can suppose that in this context human intervention in nature resulted in ignition of pine trees.

As in the previous context, burning pines (loblolly pine) render the whole context derogatory. We emphasize that the reference to, and awareness of environmental issues prevails in the works of contemporary writers.

Thus, in the above mentioned examples the metaphorical images containing dendronyms verkohlte Baumstämme, das Brennen der Fackelbäume represent the authors means to affect the reader and to reinforce the emotional perception of the surrounding world. Consequently, this metaphorical model "tree-fire" also refers to pyromorphic metaphor.

The conducted study led us to the conclusion that the anthropomorphic metaphors are used to characterise phenomena. We have distinguished the gestalt model "branches of trees - the girls". Cf.:

«Wen der Weltenschöpfer liebte, den ließ er in jenes Land fallen, wo die schönen Mädchen auf den Bäumen wuchsen». (The Creator sent the ones he loved to a country where the beautiful girl grew on trees) [1 *, p. 9].

The frame structure of this metaphorical gestalt contains the concepts correlating with positively marked realia: "Creator", "country", beautiful", "girl".

In order to analyse the relationship between the lexemes das Mädchen, der Baum and wachsen, we will proceed to the interpretation of their definitions in the dictionary DUDEN [1**]:

→das Mädchen - Kind weiblichen Geschlechts (female child);

→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)

→wachsen - 1. als lebender Organismus, als Teil eines lebenden Organismus an Größe, Länge, Umfang zunehmen, größer, länger, dicker werden; 2. sich beim Wachsen in bestimmter Weise entwickeln (as a living organism, as part of a living organism something grows in value, length, increases in volume, becomes longer and thicker; 2. to develop in a certain way in a period of growth).

Thus, the ability to change, to grow, to develop represents a common feature of the lexemes: a girl grows and becomes a woman, a type of woody plant grows in a tree with leaves. Consequently the verb wachsen (to grow) plays the role of a connecting element to establish a metaphorical parallel between the concepts das Mädchen and der Baum.

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In this context the spatial characteristic of wood is represented by the upright branches, which, in their turn, are identified with beautiful young girls. The location of girls is indicated by the preposition "on" (the trees). The heaven on earth in which girls grow on trees, is open only to the chosen ones, the favorites of God. Thus, the presence of beautiful girls on the trees metaphorically represents an important component of the perfect, ideal world for humans. This example illustrates the metaphorical model "tree branches-girl".

In the framework of the analysis of the novel «Teufels-Spiele» by Heinz Fischer we have analysed a context in which the tree is considered from the point of view of mythology. It helped to define the metaphorical model "tree-ghost" within the type of the mythological metaphor. Here is an example of this type of metaphor:

«Ich sah zum Fenster hinaus, gespenstisch lang waren die Schatten der Bäume im Garten, so im hellen Licht des Mondes». (I looked out the window, in the garden there were ghostly long shadows of trees in the bright moonlight) [4 *, p. 84].

Within the metaphorical model "tree-ghost” the basic frames are "garden", "ghost shadows", " moonlight"

The dictionary DUDEN [1**] defines

→the lexeme das Gespenst as follows: furchterregendes spukendes Wesen [in Menschengestalt] (Cf creature wandering in human form, awe-inspiring);

→the lexeme der Baum has the following definition: eine gro Ästen, Zweigen und Blättern oder Nadeln, die viele Meter hoch wächst (tall plant with a trunk, twigs, branches and leaves or needles, which reaches several meters in height);

→der Schatten - Bereich, der vom Licht der Sonne oder einer anderen Lichtquelle nicht unmittelbar erreicht wird und indem deshalb nur gedämpfte Helligkeit, Halbdunkel [und zugleich Kühle] herrscht (The area which the light of the sun or from another source of light doesn’t reach directly and which is lit by only a subdued light, twilight [and along with this is cool]).

In this context there is the antinomy “good / bad, light / dark”; the lexical unit "ghostly long shadows" which has derogatory meaning correlates with the positively marked realia

"bright/light", "light", "moon".

The lexeme "ghostly" in the characteristic of the tree implies something scary and unknown, seen in the light of the night, by the bright moon. Moreover, the combination of the words die Schatten and die Bäume conveys the depth of the world’s perception which is characteristic for the German, neither detail is overlooked: the shadow of the trees, long trees, the bright light of the moon.

Summing up the results of the study, we can conclude that the major role within dendromorphic metaphors is played by physical (3 units), hydromorphic (2 units.), color (2 units), pyromorphic (2 units), mortomorphic (2 units), anthropomorphic (2 units) metaphors. Only one example for each of mythological and religious metaphors were distinguished.

This confirms that the phenomenon «Baum» in German fiction discourse forms metaphors via interaction between different source domains, the main source domains of "metaphorical expansion" are domains of human nature, mythology, religion, and others.

Analysing the metaphoric representations of the phenomenon "Tree" through the prism of the contemporary fiction by German writers we came up to the conclusions about the significance of dendromorphic metaphors in German culture.

In the novels by H. Hartwig and A. Kral the dominant feature is the might of the tree which in dendronyms represents the standard of strength and power («zwischen den riesigen, schattenspendenden Bäumen») and can serve as a measurement tool («den baumlangen Kerl»).

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In the novel by Adolf Muschg " Zutter’s Happiness " the tree is depicted in the surreal space of sleep and is compared to the mountain peaks, it has, on the one hand, the positive features: the aspiration to grow upwards, the potential to grow («ein Gebirge aus metallisch schimmernden Baumhäuptern», «aus schwarzem Gewässer in einen taghellen Sternenhimmel erhoben »), and on the other hand, can be as weak and defenseless as a man

(« von Windschauern gelockert aus schwarzem Gewässer in einen taghellen Sternenhimmel erhoben »).

Many German writers (for ex., W. Johnson, A. Brain, J. Ripperger) use dendronyms to create the image of the man’s inner world, various human feelings: sadness, anxiety, happiness, joy. According to our observations, the images created via the use of dendronyms can convey the feelings, the thoughts of the hero and his vision of the world («die schwarzen nächtlich ... Bäume», «die regnerischen Bäume im Wind»).

We have concluded that the metaphorical representations of a tree reflect, on the one hand, the rational perception of the world («war es ein Gebirge aus metallisch schimmernden Baumhäuptern gewesen»), and on the other hand the emotional and sensual vision of the world («die Blütenblätter trieben vorbei wie farbiger Schnee», «da der Baum in hellweißer Blüte stand», «wo die schönen Mädchen auf den Bäumen wuchsen») [16; 17; 18; 19]. The cult of ancient traditions is associated with the tree. These features characterise the German culture as unique and multifaceted.

Thus, the analysed metaphorical models representing the phenomenon "tree" are the quintessence of the modern world perception by German writers and perform the function of linguistic signs in German culture. Using the realiae tree in their works, the German writers implicitly describe the major problems of the society, such as environmental problems

("remnants of trees and charred tree trunks", "the crown deprived of corporality and resembling the dried leaves of the plant", "a lot of trees have been damaged"), psychological (in the garden there were ghostly long shadows of trees in the bright moonlight), which express fear, forced death, the loss of something important.

Morever, many German authors use synecdoche: instead of tree they use the words crowns, stems, leaves («die Holzreste und verkohlte Baumstämme», «ein Gebirge aus metallisch schimmernden Baum häuptern», «entkörperten sich die Baumkronen»), as well as compare, for example, crowns with beech and lime (aus metallisch schimmernden Baumhäuptern gewesen, die sich hier buchenförmig, dort lindenartig ...). The authors use various lexical means, for example, adverbs (hier / dort), unions (doch), antonyms (schwarz / taghell). We also emphasise that some contexts are based on antinomy of good / bad, light / dark, for instance, the phrase "ghostly long shadows" which has a derogative meaning correlates with the positively marked realia "bright / light", "light", "moon".

Modern German fiction discourse, "being a complicated linguistic and cognitive whole, demonstrates the national features of collective linguistic identity of the German in concentrated form" [16].

The dendromorphic metaphors in the fiction act as linguistic signs of German national character, reflected in concrete, sensual images, which highlight the linguistic and cognitive particular features of the metaphors including the phenomenon tree.

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Analyzed sourcesv

1*. BergerR.W. Spitzenrausch. - Föritz, 2006.

2*. Bichsel P. Im Gegenteil. - Frankfurt a.M., 1999. 3*. Dietrich J. Sprung ins Leben. - Föritz, 2006. 4*. Fischer H. Teufels-Spiele. - Föritz, 2005.

5*. Hartwig H. Suse an Bord. - Föritz, 2002.

6*. Johnson U. Mutmaßungen über Jakob. (Erstv. 1959). - Frankfurt a.M., 2000.

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7*. Krahl A. Und was gibt's noch? - Föritz, 2004. 8*. Lange H. Via Astra. - Föritz, 2003.

9*. Muschg A. Sutters Glück. (Erstv. 2001). - Frankfurt a.M., 2003. 10*.Planert A.Seleno. - Föritz, 2006.

11*.Ripperger I. Rückblicke. - Föritz, 2005.

12*.Walser M. Ohne einander. - Frankfurt a.M., 1993.

Dictionaries used

1**. Jelektronnaja versija slovarja DUDEN, URL: http : // www .duden .de/ rechtschreibung / (vremja obrashhenija – 10.10.15).

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