Учебное пособие 1773
.pdfScientific Newsletter of Voronezh State University of Architecture and Civil Engineering
Thus, the ontological principles of the cognitive-and-semiotic structure of Wind-mind form the notions of "Freedom", "Will", "Light", "Ubiquity", "Omnipotence", "Powers over the nature and the world”. Nothing is subjected to the wind-mind. The wind-mind appears in the gestalt of a frantic fearless racehorse that broke away from "Nowhere", leaving a trace of bright light, similar to the “wild diamonds deposits” in its way.
The conceptual signs of the wind-mind are reflected by such gnosiologically important meanings as:
•swiftness (Wind-mind → Running (movement)
•intensity vs. dynamics (Wind-mind → Flight)
•streams of light (Wind-mind → Fire (lightning))
•diverse displacement in space (Wind-mind → Height of knowledge), and others.
The distinguished semiotic characteristics of the wind-mind, represented in the meta-
phorical Gestalt wind, are ultimately correlated with the human spirit, that Nietzsche intended to praise in “The Gay Science”.
As noted earlier, the second part of the poem "To the Mistral" addresses an artistcreator, to his mind, the spirit, the creative being, psychological state, and human values. Let us consider the basic semiotically marked characteristics (symbols) of the artist-creator (5 units) and mental and phytomorphical constructs ontologically connected with his spiritual activity presented in a variety of metaphorical representations: art (1), science (1), flowers (1), mind (1), gay science (1).
So, the existential credo of Nietzsche reflects the initial thesis “Art is free.”
2.1. [Art – Will].Using the metaphor the wind-mistral the author creates the image of free, independent and all-powerful art. Cf.:
Tanze nun auf tausend Rücken, Wel- len-Rücken, Wellen-Tücken - Heil, wer neue Tänze schafft! Tanzen wir in tausend Weisen, Frei - sei unsre Kunst geheissen, Fröhlich – unsre Wissenschaft! [ 1*]
Dance, oh! dance on all the edges, Wave-crests, cliffs and mountain ledges, Ever finding dances new!
Let our knowledge be our gladness, Let our art be sport and madness,
All that’s joyful shall be true! [ 2*]
Like the wind, dancing on the backs of the waves, full of unpredictability, treachery and force (Tanze nun auf tausend Rücken, Wellen-Rücken, Wellen-Tücken. - Now dance on 1,000 backs, the backs of waves, waves treachery), the art boldly and confidently makes experiments, creates new forms. (Cf.: Heil, wer neue Tänze schafft! - Good, who creates new dances!).
Nietzsche directs the idea of freedom, above all, to ART, SCIENCE. The art is diverse (Tanzen wir in tausend Weisen.- When we dance in 1,000 ways). Art is not of one and the same form, and it has many artistic expressions. And this diversity of self expression makes it possible to call the art - free, and the science – gay (bright, joyful and creative). Cf.: Frei - sei unsre Kunst geheißen, Fröhlich - unsre Wissenschaft. (Free in us - our art, And the science - gay!).
The cognitive basis of the above metaphors is the model: "Art - Freedom", on the one hand, and "Science - Gaiety", on the other hand.
2.2. [Science – Joy]. Nietzsche correlates the phenomenon GAIETY with SCIENCE, into the space of notions of which he includes, first of all, the signs of inner freedom of man, the nature of the movement, not complicated by any dogmas and regulations, which should create the conditions for creative research inevitably accompanied by joy of darings, joy of success, the joy of knowledge.
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In the metaphor "Art - Freedom," a conceptual sign of the freedom is identified as an active movement, which is embodied in the idea of DANCE.
2.3. [Flowers – a Reward]. By the vegetative metaphor of flowers the creator of "The Gay Science" imparts the idea of the importance of the attention to his work for any artistcreator. The symbol of the award, of evaluating the artist`s creative activity is the flowers perceived by him as a significant and well-deserved reward. Cf.:
Raffen wir von jeder Blume Eine |
Let us snatch from every bower, |
|
Blüthe uns zum Ruhme |
Und zwei |
As we pass, the fairest flower, |
Blätter noch zum Kranz! [ |
1*] |
With some leaves to make a crown; [2*] |
The given fragment contains the metaphorical allusion to the longevity of the artist's creations, which will inevitably step into the centuries. The philosopher is convinced that the precious fruits of his labor will not be forgotten. In this case, flowers are very important for the artist-creator as the symbol of reward (are greedily picking), then, having left to the eternity, the monument for him will be a wreath of "leaves" as a symbol of merits and glory for the artist-thinker. We can assume that Nietzsche associates wreath with laurel wreath – the symbol of glory, victory of human spirit and mind.
2.4. [Man – a creator]. Man-creator is represented by 5 metaphorical, sign symbols which will be discussed below.
2.4.1. [Man – a contradiction (virtue and vice)]. Describing the essence of the artistcreator, Nietzsche emphasizes, above all, his contradictory nature. Cf.:
Tanzen wir gleich Troubadouren Zwischen Heiligen und Huren, Zwischen Gott und Welt den Tanz! [1*]
Then, like minstrels gaily dancing, Saint and witch together prancing, Let us foot it up and down. [2*]
The polarity of the inner world of man is explicated by two axiologically opposite moral-and-ethical maxims: vices and virtues. In man there coexists "the worldly, the earthly" and "the divine." It is the contradiction, that "is the source of any movement, development and self-development" as, according to Hegel, stated in one of the basic principles of the cognition process. Characterizing the artist-creator, Nietzsche focuses the main attention on the idea of movement, which is vividly realized by the verb “dance” (“to dance”).
Of interest is the comparison of the artist-creator with troubadours, that, in our opinion, is not accidental. As is known, Nietzsche named his book "The Gay Science" similar to the consistory "Gay Science» («gay a sienza»), created by troubadours in Toulouse in 1323.
Nietzsche shows his worship for the Provencal troubadour, who combined a singer, a knight and free spirit " in himself [18].
2.4.2. [Man – Fight]. The main motive of the artist-creator is "against stagnation", for "movement", for "freedom". In his effort to praise the activity, courage and fearlessness of the human genius, human spirit, Nietzsche turns to the mistral, embodying these features, personifying movement and freedom and possessing powerful natural force.
Wer nicht tanzen kann mit Winden, Wer sich wickeln muss mit Binden, Angebunden, Krüp-pel-Greis, Wer da gleicht den Heuchel-Hänsen, Ehren-
Tölpeln, Tugend-Gänsen, Fort aus uns-rem Paradeis! [ 1*]
Those who come must move as quickly
As the wind we’ll have no sickly,
Crippled, withered, in our crew; Off with hypocrites and preachers, Proper folk and prosy teachers,
Sweep them from our heaven blue. [2*]
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2.4.3. [Man – Movement]. Actions of the artist-creator are: to make noise, to protest.
Cf.:
Wirbeln wir den Staub der Strassen
Allen Kranken in die Nasen, Scheuchen wir die Kranken-Brut! Lösen wir die ganze Küste Von dem Odem dürrer Brüste, Von den Augen ohne
Muth! [1*]
Sweep away all sad grimaces, Whirl the dust into the faces Of the dismal sick and cold!
Hunt them from our breezy places, Not for them the wind that braces, But for men of visage bold. [2*]
Nietzsche focuses his attention on the main premise forming the basis for the existence and vital activity of any living organism - on the movement. Movement is considered as the equivalent of the human existence, on the one hand, and as a guarantee of his physical and moral health, on the other hand. In the content of the abovegiven detailed metaphor, the semiotic meanings actualize the need for spiritual cleansing, making man and the society healthier (Wirbeln wir den Staub der Strassen. - We throw up the clouds of dust), that is achieved only by movement. The semiotics of movement is opposed to stagnation ("bed regime"). In our opinion, the negative medical metaphorics incorporated in the poetic text "To the Mistral", reflects, first of all, the mood, the precept for fight of Nietzsche himself, who had a hard personal experience in the fight against illnesses, having caught him up and pursued him throughout all his life.
2.4.4. [Man – Light]. The purpose of the artist-creator is the struggle against darkness (Hellen wir das Himmelreich)! Nietzsche speaks about the struggle of the artist with those for whom "life - a bed regime ", with those who personify by themselves the "darkness trading clouds and blackening the world around". The artist-creator is called to bring light, truth, justice, enlightening into the world. The verb «Hellen» (to lighten, to brighten, to enlighten) semiotically imparts Kant`s idea of the need to go out of silence, of the importance of skills to be guided by one`s own mind in the name of progress, in the name of moving forward. Cf.: "Education is a way out for a man from the state of his silence, in which he is due to his own fault. Silence is the inability to use the mind without the guidance of someone else. Silence by one`s own fault is not in the lack of mind, but in the lack of resolve and courage to use them without the guidance from someone else. Sapere aude! - Have the courage to use your own mind! – such is the motto of the Enlightenment” [19]. This idea of
"going out of Silence" is very close to Nietzsche and is one of the key semiotic meaning of his poem. Cf.:
Jagen wir die Himmels-Trüber, Welten- Schwärzer, Wolken-Schieber, Hellen wir das Himmelreich!
Off with those who spoil earth’s gladness,
Blow away all clouds of sadness, Till our heaven clear we see; [2*].
2.4.5. [Man – Noise]. Nietzsche`s state as a philosopher-wind: “Brausen wir ...- We
make noise...”. Cf.: |
|
Brausen wir ... oh aller freien Geister |
Let me hold thy hand, best fellow, |
Geist, mit dir zu Zweien Braust mein |
Till my joy like tempest bellow! |
Glück dem Sturme gleich. – |
Freest thou of spirits free! |
Philosopher invests the idea of glorification of the Spirit in a bright expressive anthropomorphical metaphor, whose basis is the epistemological antinomy "With your bad weather And my happiness rages). After the bad weather (the fight against darkness) there come changes, giving the hope for the future. In this metaphorical parcellized construction the basic episteme "bad weather" is opposed to the episteme "happiness" polar in its concep-
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tually-immanent content. Positively marked "happiness" of the poet is endowed with a sign of the intensity in its highest degree realized by the metaphorical partcellets «Braust mein Glück» (my happiness rages) and «dem Sturme gleich (like a storm). Nietzsche praises "THE HUMAN SPIRIT", dedicating to it an original metaphorical hymn glorifying grandeur and the power of the human mind.
2.5.[Mind - "the spirit of all the free spirits]." The phenomenon "SPIRIT" is identified with WILL, freedom, and is the most free and is not subject to any influence. Cf.: Oh, the spirit of all the free spirits! How else can you be glorified? Mind, being one of the forms of consciousness, self-conscious mind is directed at itself and at the notion content of its knowledge (Kant, Hegel). Mind expresses itself in principles, ideas and ideals [20], which are fully correlated with Nietzsche's ideas of mind.
In N. Kusansky`s (1401-1464) treatise "The Man" the initial thesis consists in the fact that "man is a rolled up Universe, and the universe is an unrolled man" (Cf .: "Just as man`s power is capable to come to everything in human way, so, the all in the world comes to him, and the aspiration of this wonderful force to cover the whole world is nothing else but rolling up the Universe unity in it by human way") [21]. This Kusansky`s thesis is also of particular importance for Nietzsche because he thinks by global categories of human mind, spirit, and the Universe. Will and freedom are existential prerequisites for the activities of the mind, the implementation of its gnosiological and universal potential.
2.6.["Gay Science" - Gift of the artist to SPIRIT]. In Nietzsche`s opinion, the greatness and significance of the human spirit should be praised. Resorting to the language of metaphors, the philosopher realizes the goal: "to glorify the spirit and the mind of man" in the book "The Gay Science." He calls his work WREATH, which is given by him to the great and eternal human spirit. Cf .:
Und dass ewig das Gedächtniss Solchen Glücks, nimm sein Vermächtniss, Nimm den Kranz hier mit hinauf! Wirf ihn höher, ferner, weiter, Stürm 'empor die Himmelsleiter, Häng ihn - an den Sternen auf! [1*]
When thou partest, take a token Of the joy thou hast awoken, Take our wreath and fling it far; Toss it up and catch it never, Whirl it on before thee ever,
Till it reach the farthest star. [2*]
The phitomorphical metaphorical model “GAY SCIENCE”- WREATH” reflecting the signs of the interaction between the intellectual (rational), vegetable ("made a wreath "), and aesthetic-and-ethical paradigms (science → wreath → gift) shows the highest goal of this deep and significant Nietzsche's work in the philosophical plan.
Praising the human spirit and mind should be, in the opinion of Nietzsche, infinite. It should occupy the highest point in the world space. This central idea is expressed in the key metaphor of the poem, in the metaphorquintessence shown above.
The importance and greatness of the human spirit praised by Nietzsche in "The Gay Science" should take the highest point in the Universe, that is metaphorically realized in the image of STAR holding WREATH as a symbol of the triumph of spirit, mind, human genius, art, and human knowledge.
Summing up the above, we consider it is important to emphasize that the global plan of "The Gay Science" – praising the human spirit, mind - is by now implemented in the very content of the poem "To the Mistral". The means of linguistic objectification of this plan are numerous cognitive metaphors of different types, correlating with a wide range of spheressources being the basis of forming the bright metaphorical images of WIND-MIND.
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Nietzsche emphasizes the contradictoriness of the artist-creator, that forms the basis of any movement as a form of the existence of all the things, as the eternal Heraclitus «panta rei» (from the Greek gr. Πάντα ῥεῖ, «Everything flows, everything moves") [22]. He considers gaiety (optimism, positive view of the world) as one of the most important prerequisites for any science, as a basis for its progressive development and prosperity. Nietzsche associates the phenomenon art with global abstract essences: Will and Freedom, regarding them as alpha and omega for the artistic space of the thinker-creator.
In the above metaphorical gestalts both of the man himself and mental-and- epistemological components (art, science) ontologically connected with him there is reflected the main motive of the artist-creator "against stagnation", for "movement", for "freedom". The main aim of an artist-creator consists in fighting against darkness. The true action of an artist-creator is to make noise, to protest. Mind (for an artist-creator) is identified with the notion "Will" (mind is the spirit of the "all the free spirits"). "The Gay Science" is considered as a gift of the artist-creator to the human mind/spirit.
The poetic text "To the Mistral" is characterized by a high degree of symbolism, bright metaphorics, aphoristicity, that is revealed not only on the level of constructing Nietzsche`s syntactic structures, particularly on the level of forming numerous parcellized constructions, but also on the level of semantics and pragmatics.
The idea of dance that goes back to the description of the man-creator, man-worker (homo faber), runs through all the content of the poem and serves as a symbol of freedom, flight, beauty, variability, depth, power, and at the same time the unpredictability of movement of the human mind and spirit.
The phenomenon "wind" being a metaphorical symbol of human Mind/Spirit is identified with freedom, light, will, movement, and is endowed with the ability to control nature. The human mind, according to Nietzsche, - is “ the spirit of all the free spirits”. The ontological dyad "Will" and "Freedom" predetermine all the actions of a free artist-creator, whose true aim is "the fight against darkness."
Bibliographic list
1.Vindel'band V. Ot Kanta do Nicshe Istorija novoj filosofii v ee svjazi s obschej kul'turoj i otdel'nymi naukamiper. s nem. Vvedenskij A.I. M. KANON-press Kuchkovo pole.- 496 s. Kanon filosofii. 1998.– URL: httpknigi.linkfilosofii-istoriyakanta-nitsshe- istoriya-novoy-filosofii-svyazi.html (data obraschenija 13.11.2015).
2.Belyj Andrej. Fridrih Nicshe. Andrej Belyj Simvolizm kak miroponimanie cerija Mysliteli HH veka Politizdat Moskva 1994.– URL: www.vehi.netnitshebelyi.html( data obraschenija 13.11.2015).
3.Lejbel' E.V. Po'ezija Fridriha Nicshe obrazy i mifotvorchestvo dissertacija ...
kandidata filologicheskih nauk 10.01.03.- Sankt-Peterburg 2006.- 285 s. - URL: httpwww.dissercat.comcontentpoeziya-fridrikha-nitsshe-obrazy-i-mifotvorchestvo (data obraschenija 13.11.2015).
4.Mistral' veter Vikipedija. - URL: httpsru.wikipedia.orgwikiMistral'_veter (data obraschenija 13.11.2015).
5.Cemiotika. – URL: httptolkslovar.rus3881.html (data obraschenija 13.11.2015).
6.'Epistema. – URL: httpdic.academic.rudic.nsfruwiki1413010(data obraschenija 13.11.2015).
7.Geshtal'tpsihologija. Vikiipedija. – URL: http s ru .wikipedia. org wiki Geshtal't psihologija (data obraschenija 13.11.2015).
8.Surovcev V.A. Filosofija logiki G. Frege v kontexte analiticheskoj filosofii i fenomenologii v knige Gotlib Frege Logicheskie issledovanija Tomsk Vodolej 1997 g. s. 8.
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9.Simvol. – URL: httpsru .wikipedia .orgwiki D0A1D0B8D0BCD0B2D0BED0B Bcite _ note-2. (data obraschenija 13.11.2015).
10.Chistyj jazyk i simvolicheskoe modelirovanie. Osnovnye voprosy chistogo jazyka.
–URL: httpkak.znate.rudocsindex-5247.html (data obraschenija 13.11.2015).
11.Veter. Chto takoe veter. – URL: webotvet.ruarticlesopredelenie-veter.html (data obraschenija 13.11.2015).
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13.Gumbol'dt. – URL: httpwww.proza.ru20111226216 Cit. po kn. Postovalova 1982 52 (data obraschenija 13.11.2015).
14.Jazyk i filosofija 'Enciklopedija – URL: www. krugosvet. Ruencgumanitarnye _naukilingvistika (data obraschenija 13.11.2015).
15.Stilisticheskij 'enciklopedicheskij slovar' russkogo jazyka. – URL: httpstylistics. Academic .ru105(data obraschenija 13.11.2015).
16.Prometej Vikipedija. – URL: httpsru.wikipedia .orgwiki Prometej (data obraschenija 13.11.2015).
17.Zitate von Johann Gottlieb Fichte 1 - 23. - URL www. Gutzitiert .dezitat_ autor_ johann _gottlieb_fichte_382.html (data obraschenija 13.11.2015).
18.Filosofskij 'enciklopedicheskij slovar' 2010. Veselaja nauka. – URL: httpunienc.ru2484218-veselaya-nauka.html (data obraschenija 13.11.2015).
19.Kant Immanuil. Otvet na vopros Chto takoe prosveschenie. - URL www.bimbad.rubibliotekaarticle_full.phpaid754 (data obraschenija 13.11.2015).
20.Razum. – URL: httpwww. Pinfos .rufcns-113-2. html (data obraschenija 13. 11.
2015).
21.Nikolaj Kuzanskij. Sochinenija v 2-h tomah. T. 1 PerevodObsch. red. i vstupit stat'ja 3. A. Tazhurizinoj. M. Mysl'1979. 488 s. – URL: httpsci.housefilosofi- sochineniyasochineniya-tomah-perevod-obsch-red-vstupit.html (data obraschenija 13.11.2015).
Analyzed sources
1*.Die fröhliche Wissenschaft von Friedrich …Friedrich Nietzsche. Die fröhliche
Wissen-schaft. – URL: http://www.magister.msk.ru/library/babilon/deutsche/nietz/nietz11g.htm (data obrashhenija 13. 11. 2015).
2*. Fridrih Vil'gel'm Nicshe. Veselaja nauka («La Gaya Scienza») » Pjataja kniga. My, besstrashnye » §369 - §371 URL: http://nicshe.velchel.ru/index.php?cnt=19&sub=6&part=8
(vremja obrashhenija- 1.07.2015).
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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering
UDC 81’44
Peoples’ Friendship university of Russia,
PhD of Philology, Associate Professor Aryuna Gomboevna Ivanova
e-mail: ariunadi@mail.ru
Peoples’ Friendship university of Russia, magister Natalya Vladimirovna Litrovnik e-mail: natalya.litrovnik@yandex.ru
А.G. Ivanova, N. V. Litrovnik
PECULIARITIES OF MORPHEMIC AND PHONEMIC STRUCTURE OF SEMIOLOGICAL CLASSES (DIFFERENT WORD CLASSES)
IN THE LANGUAGES OF DIFFERENT TYPES
The article considers the significance of the degree of lexicality and grammaticality of language as its typological determinant for distinguishing semiological classes – different word classes in the typologically various languages. Semiological word classes – notional, pronominal and functional words’ – and basic parts of speech – a noun’s and a verb’s – morphemic and phonemic structures are studied. Three genetically, areally and typologically different languages – analytical English, agglutinative Buryat and isolating Chinese – are at the centre of the research. The essential subject matter of the paper is the study of a word length in morphemes and phonemes, the degree of synthesis of a word, fre- quency-domain models of morphemic structure of word classes and frequency of the words of definite phonemic length and average length of a word in phonemes. The dependency on the leading grammatical tendency – analytical or synthetical – is traced.
Key words: lexicality and grammaticality, analytical or synthetical tendency, notional signs, non-notional signs, semiological classes of words, morphemic word structure, the degree of synthesis of a word, phonemic word structure, average length of a word in phonemes.
As is well known, primary segmentation of language includes distinction of its two different sides: meaning and sounding. The interconnection of these two sides determines a possibility of segmentation in both spheres. According to I. A. Baudouin de Courtenay, lan- guage-speech is characterized by double hierarchical segmentation: morphological segmentation (or semasiologically-morphological) in the content plane into denotative units, and phonetic segmentation into sound units [1, p. 184]. Both planes have the segmentation from the top to the bottom right down to the smallest, indivisible elements, which in their turn are capable of “infinite junction” [2, p. 308, 315]. Therefore we can talk about bidirectionality of hierarchical connections – both from the top to the bottom and from the bottom to the top.
Language is a system of linguistic signs and morphology is a way of connecting the two planes – the content plane and the expression plane [1, p. 163]. Morphological structure of word significantly characterizes grammatical system of language [3, с. 65]; determines main grammatical tendencies of language – fusion and agglutination; defines analytical or synthetical tendency, and also peculiar to every given language correlation of lexical and grammatical that forms the typological determinant of language [4, с. 171].
__________________________________
© Ivanova А.G., Litrovnik N. V., 2015
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Thesis concerning language system’s integrity has been formed with the development of theoretical views on language. All the characteristic features of language – universal, typological, specific – depend on the degree of segmentation of lexical and grammatical in language in accordance with the degree of development of grammatical categorization, both being principle foundation of language.
As a part of recent developments on typology of language system’s integrity study of universal, typological and specific regularities of the correlation between the content plane and the expression plane, defining the level of segmentation and profoundness of hierarchical segmentation, and revelation of lexicality/grammaticality of language gain fundamental meaning. Particularly, research studies of L. G. Zubkova and her students contain definite conclusions that reflect specificity of interconnection between units of phonological and morphological levels in the typologically different languages [5, 6, 7,].
Linguistic research in the language typology can be based not only on categorization of conceptions but also on the method of grammatical formation of the sentence and expression of syntactical relationships [8, 9].
For the substantiation of the categorial nature of sign and categorial nature of connection between the content plane and the expression plane studying of regularities of the structure of the units of morphological and sound (phonemic) segmentation in the genetically and areally different languages, such as analytical English, agglutinative Buryat and isolating Chinese, gains particular topical significance. In spite of typological divergences, the languages are characterized by common typological features such as agglutinative technique of connection of morphemes and higher or lower degree of analytism.
The aim of the research consists of ascertainment of nature and level of segmentation of semiological classes of words and fundamental parts of speech in different types of languages basing on the analysis of morphemic and phonemic structures and the assumption of functional peculiarities of word classes, typological specificity of the languages under study and grammatical categorization of language.
From the material side differentiation of content and functional words, semiological classes of words apply to both principles of the linguistic sign that were marked out by Ferdinand de Saussure: arbitrariness of the connection between the signifier and the signified, and linear nature of the signifier, which F .de Saussure has defined as the most important because “the whole mechanism of language depends on it” [10, p. 103]. The extent of the sign of one or another class correlates with the level of its lexicality and grammaticality and with quantitative composition of the class [4, p. 185-186, 215; 11, p. 112-113]. The higher lexicality and, respectively, the lesser quantitative limitedness of the present word class correlates with the bigger number of ways of its expression [12, p. 61]. Thereby, depending on semiological function denominative signs (notional words) are more complex – in the case of their morphemic structure – and averagely longer – in the case of their extent in syllables and phonemes – than non-denominative signs (deictic or pronominal units, pronouns, and copular, or functional, units). Such principle of contraposition can be clearly found in every language, that is bearers of lexical meanings are drawn towards bigger complexity and extent, than bearers of grammatical meanings.
Material and Research Methods
Three fairytales in English, Buryat and Chinese, that are similar in size (approximate 600 words) and content, were used as text data of study. The present research proves that, main tendencies in segmentation of semiological classes can be traced even in the texts of small volumes.
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The examined texts were divided into words (word forms), morphemes (morphs), syllables, phonemes; further they were analyzed using quantitative-typological and statistical analyses.
To analyze morpheme structure of the word functionally significant and typologically essential characteristics are:
1.presumable range of the length of the words (word form) in the morphemes (morphs),
2.frequency of the words of specific morphemic structure,
3.average length of the word in the morphemes,
4.frequent morphemic models.
In the English language, according to their formation all the models of morphemic structure can be divided into four main typical structures: rooted (that includes one or two roots with inflexion in the modified words), suffixal, prefixal, prefixal-and-suffixal. The following symbols were used to denote the models of morphemic structure: R – root, WFS - word formative suffix, IS - inflectional suffix, P - prefix, MEI - materially expressed inflexion, I (int) - internal inflexion, I(ø) - zero inflexion, - (hyphen) describes morphemic boundary.
In the Buryat language, all the determined models of morphemic structure can be divided into two main typical structures: rooted and suffixal. The following symbols were used to denote the models of morphemic structure in Buryat: R – root, R (f) – functional root, DAf – derivational affix, FAf(ø) – zero form-building affix / index of singular of nouns, FAf* -form-building affix / index of plural of nouns, FAf – form-building affix / index of voice, aspect, participle, adverbial participle of verbs, and also possessiveness of nouns and adverbs, IAf –inflectional affix / index of grammatical case of nouns, numerals, pronouns, participles, IAf – inflectional affix / index of time, person and number of the verbs.
In the Chinese language, all the explored models are divided into rooted, suffixal and prefixal structures. To denote the models of morphemic structure in the Chinese language the following symbols were used: R – root, FS - form-building suffix, Af* - half-affix.
Phonemic structure is typologically essential and functionally significant due to following characteristics:
1.presumable range of the length of the words (word form) in the phonemes,
2.frequency of the words of specific length,
3.average length of the word in the phonemes.
1.Morphemic structure.
Comparison of the three typologically different languages showed, in all the languages according to their morphological structure denominative signs (notional words) are more complex than non-denominative ones (pronominal and functional words); while nouns and verbs – basic parts of speech – are obviously contradistinguished to each other.
1.1. The English language.
In the English language nominative words can contain one to three morphs. Especially frequent are two-morphemic word forms – 71,2%. Further one-morphemic words stand – 28,4%, three-morphemic words are very rare, only 0,4%. The degree of synthesis of the notional words with due regard for materially expressed morphemes accounts for 1.27 morphemes.
In the notional words, all the main typical structures are found. The most frequent model of the notion words is R-I(ø) (40,3% part/ø ‘часть’). The following models are R
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Series «Modern Linguistic and Methodical-and-Didactic Researches» |
Issue № 4 (11), 2015 |
(28,4% same ‘подобный’) and R-I (13,3% comb/ed ‘расчесала’) and R-WFS (7,6% stead-y
‘ровный, спокойный’).
The pronominal and the functional words have much smaller depth and include not more than two morphemes. One-morphemic word forms constitute a majority – 81,7% of the pronouns and 91,7% of the functional words. The remained 18,3% of the pronominal words and 8,3% of the functional words are two-morphemic word forms. The degree of synthesis of the pronouns accounts for 1,07 morphemes, the degree of synthesis of the functional words accounts for 1,04 morphemes.
Hierarchy of rooted models have the same tendency for the both classes of words: R- model is the most frequent one (81,7% and 87,1%), the following models with inflexions are: R-I(int) (11,8% for the pronouns 4,6% and for the functional words those ‘те’, would ‘будущее в прошедшем’) and R-R (4,3% and 2,1% anything ‘что-либо’, do not ‘отриц. форма вспом. глагола’) in the pronouns and the functional words correspondingly.
The opposition of two basic parts of speech – nouns and verbs (including auxiliary ones) – continues to persist. The verbs’ degree of synthesis is 1,38 morphemes, the nouns’ degree of synthesis is 1,19 morphemes. The verbs – both main and auxiliary ones – do not have rooted model R. The nouns, however, have such model (19,4%) but it is presented rarely than in others, non-basic parts of speech.
Nouns that accomplish nominative functions have suffixal models with derivational suffixes; verbs, as more grammatical part of speech, have suffixal models with inflectional formants.
Thus, the main semiological word classes of the English language are clearly distinguished in order of complexity of morphemic structure. In the notional words all four types of morphemic structure are spread, the great majority of the pronominal and the functional words – 99,5%-100,0% – have rooted structure. The main divergence regards to distribution of one-morphemic words. Elementary R-model is more typical for non-denominative words (functional (87,1%) and pronominal (81,7%)) than for denominative (notional) words (28,4%).
1.2. The Buryat language.
As is well known, in the Buryat language word consists at least of root morpheme with affixational morphemes that can be attached to the root in postposition [13, p. 48]. According to V.I. Rassadin, in the Buryat language there can be derivational, form-building and inflectional affixes.
The notional words can include up to four morphemes. Two-morphemic words are especially frequent (63,9%). One-morphemic and three-morphemic word forms have approximately the same frequency – 17,9% and 15,1% correspondingly. Four-morphemic models account by 3,1%. On the average, the depth of notional word is 1,84 morphemes.
In comparison with the notional words the pronouns have smaller depth and cannot include more than three morphemes, neither do the functional words. One-morphemic pronouns and functional words accounts for 60,9% and 52,1%; two-morphemic pronouns and functional words account for 37,0% and 43,7%, three-morphemic pronouns and functional words account for 2,1% and 4,2% correspondingly. The degree of synthesis of the pronouns accounts for 1,41 morphemes, the degree of synthesis of the functional words accounts for 1,52 morphemes.
In the notional parts of speech frequency of rooted and suffixal structures is approximately the same, with correlation being comparatively even: 49,4% have rooted structure, correspondingly 50,6% of words have suffixal structure. In the functional words correlation of rooted and suffixal structure accounts for 52,1% and 47,9%, in the pronouns – 63,0% and 37,0% correspondingly.
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