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music disk reviews, which are written in one of the most popular modern classical music magazines – the BBC Music Magazine. The reviewers of this title are eminent professional music critics, invited by the editors.

The genre of a music disk review is in great demand among modern English speaking readers. The volume of the milestone, devoted to such reviews, proves that; it takes the third part of the whole text field of an issue. There are several reasons for this. First, those, who love music, should know about new music issues, and the review is an immediate way to inform readers about new disks, which further can be bought, and also it is a short professional interpretation of the content. Second, the review text is usually clear, full and easily readable. Third, due to axiological character the review educates and can develop musical tastes.

Main components of a review, according to T.A. Kurisheva, are analysis, interpretation and evaluation. “One of them – evaluation – is the main reason to write a review, analysis and interpretation are the mechanisms of its successful realization <…> Music critic’s personality reveals, the reviewed object is colored with subjective attitude” [8, p. 212-213]. Evaluation can spread over all the reasoning, especially the moments of interpretation. Music critic aims at influencing the potential reader, and, using different word imagery means, he/she tries to create a certain bright and memorable image in an addressee’s mind. One of such means of persuasion is the use of evaluative lexis.

The analysis of evaluation means, which music critics of the BBC Music Magazine choose to characterize the performance of J.B. Lully works, allows his audience to understand, what his personal and music reputation are today, as well as the audience’s perception of his works. It is worth mentioning, that music critics are first of all thinking listeners and spectators, and thus their opinion can reflect audience’s perception.

In foreign practice a critic usually rates two components of a music piece: Performance and Recording. If the disk has a DVD format, the rating includes: Performance, Picture and Sound, Extras. We took four music disks reviews with J.B. Lully compositions, one of which has DVD format.

The author of the DVD disk review is George Hall, who rated Performance, Picture/Sound and Extras with five stars. The disk contains the opera “Armide”. The review is of special interest as the reviewer can see the action on the stage, and for the opera evaluation this fact is meaningful, because visual images play one of the key roles.

The staging takes place in the Théâtre des Champs-Élysées in Paris. The critic does not give any historical information about the composer (which is usually common), and starts to describe what he sees on the stage. The author is admired and positively speaks about all the opera components, using epithets and a simile:

the sight of dancers <...> is not something encountered every day; modern-pass production; William Christie and his ensemble <...> surpass themselves in revivifying this 325-Year-old score with imaginative articulation and expressive fair [1*].

At the end of the review text, the critic mentions a half-hour documentary “drop-in”, where the Baroque experts discuss the performance and the opera background. They jump to the conclusion that J.B. Lully was a great dramatic composer:

Not only is the result a comprehensive package supplying an exemplary performance of an unfamiliar Baroque masterpiece, but it vindicates Lully as a great dramatic composer

[1*].

It is clear that the critic recognizes the genius of Lully and points at the ability of modern musicians and producers to stage the composer’s music works, preserving the beauty, heroism and even pomposity of the Classicism epoch. Thus, we may tell about the so called Positive Thinking [9, p. 77], when a critic adequately evaluates the cultural pattern and the Baroque

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period’s context. There are no doubts that the critic-listener is aware of the music work and perceives it with certain expectations, but it is always important to him how the piece is going to be performed here and now.

The next two reviews are written by Music Professor Jan Smaczny. In his first report, called “Les divertissements de Versailles: excerpts from Psyché, Armide”, the critic rates the Performance with four stars and gives five stars for the Sound. In a short historical note the author correctly writes, that in the second half of XVII century Lully’s music was of great importance:

This delightful anthology <…> also shows clearly why his adaptable talents so dominated French music in the second half of the 17th [2*].

The music critic mentions good set of compositions and, using positive epithets, compliments singers and orchestra musicians:

magnificently sung by Olivier Lallouette; The instrumental ensemble, kaleidoscopic in colour, is superb, flexible in accompaniment and unfailingly together [2*].

However, in the review text the author writes about the disadvantages of their performance techniques:

The only blemishes comprise an occasional rough edge in the vocal contributions and a rather tepid reading of the exchanges between Renaud and Armide [2*].

Such models of simultaneous praise and blame are common in those reviews, having four or three stars rating.

The second review is devoted to the arias from Lully’s “Phaëton”, “Atrys” and “Armide”. The music critic rates the Sound and the Performance with four stars. In the opening sentences the author calls Lully “not the most talented of French Baroque composers”, but underlines his great influence on the music of the ensuing Years in France and beyond:

Even if Lully was not the most talented of French Baroque composers, his influence was enormous [3*].

The critic mentions that Lully created a type of an overture, which was further used by almost all the famous European composers. It is evident that the composer’s activity evaluation is controversial, and is difficult to agree with, because the question is about the musician, who belonged to a music culture of another country and another time period.

The performance evaluation is also ambivalent, first it is positive, then — negative. The change from “good” to “bad” is seen with an idiom and the conjunction however, which makes the phrase more vivid and helps to better influence the reader:

The Capriccio Baroque Orchestra delivers some memorable playing, with impressive style and ornamentation. Its wind plaYers offer some pungent solo playing in a suitably ambient acoustic. Not all is plain sailing, however: on occasion the string ensemble is a little ragged and the tuning of recorders is not impeccable [3*].

Both Jan Smaczny’s reviews contain the information about the composer. Taking into consideration the lexical means the author uses in these texts we may conclude, that the critic does not think about Lully as a great composer, but says he was remarkable not only for the Baroque period music, but also for the following music history. The performance is rated as excellent and only few mistakes are found. After reading these reviews the reader/listener will

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probably feel, that J.B. Lully’s influence was strong and his compositions can impress even modern spectators. The critic seems not to be satisfied because he cannot evaluate how Lully’s contemporary audience perceived the composer’s works and the way those idol-musicians performed.

The fourth review of J.B. Lully’s opera “Alceste” is written by Denis Stevens. The critic rated the performance with four stars and the sound quality with only two stars. In the beginning the critic tells about Louis the Fourteenths (Lully was the composer at his court) love of slapstick and detested music and about the libretto written by Quinault on the Euripides’s plot. But the authors commented, using ironical word-play, that Lully did not write the middle parts in the opera, but ordered his secretaries to do that. Thus the critic diminishes the composer’s uniqueness:

To be lulled by Lully is a simple matter, for he wrote only the treble and bass lines of arias and had the middle parts filled in by secretaries [4*].

The next author’s words make a joke at Lully’s expense:

He was the only French composer who made money from the opera in 300 Years of its history [4*].

In the following part of the review the critic comments this opera conductor’s words:

I cannot believe that a soi-disant French conductor can be ignorant of the many volumes of Lully’s stage works (including Alceste!) edited by the distinguished musicologist Henry

Prunières between 1931 and 1939. Are we being conned? [4*].

Irony, used here, is a powerful word imagery mean, because “an author’s ironical discourse - is the discourse of superiority, supposing the outness of everything it objectifies” [10, p. 56]. Irony is stronger in this sentence because of the French-style epithet “soi-disant”, exclamatory mark and the question mark in the end. The critic seems to show readers, that the conductor has only superficial knowledge, and emphasizes his own awareness. The performance is rated positively, though:

a strong cast of soloists; an excellent supporting instrumental group; stage effects are splendid [4*].

Taking into consideration the music critic’s negative comments we can conclude that he does not see J.B. Lully’s oeuvre as exceptional. Moreover, the author notes the composer’s mercenary approach to the operas writing and even states that the musician intended to impose his duties on the others. It is possible that such pejorative evaluation comes from strictly subjective perception of Lully’s work (and it is possible in the genre of review in itself). It is worth mentioning the composer’s biographical data, which witness about the musician’s great desire to take everything under control because of the responsibility allocated to him by the King. Lully was very exacting, prohibited any improvisation and never let go to break the music canon he created, that is why it is difficult to imagine him doing work with the left hand. Ill feelings expressed by the music critic, who belongs and lives in another culture and who was not the composer’s contemporary, we view as unethical. Critics should evaluate the performance and sound quality and not personal qualities of a composer.

D. Stevens’s review is nevertheless useful for readers. Besides a big part of it is devoted to the composer’s personality, the critic also writes about opera performance and gives proper respect to modern producers, who, according to his opinion, could stage the opera at a high level and trigger good emotions in listeners.

The review text’s analysis, written by modern music critics in order to evaluate French Baroque composer J.B. Lully’s works shows, that audience perception of his compositions is

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positive, music performance is not questioned by critics and is rated not less than an “excellent” (with four stars). A different situation arises with the composer’s personal reputation. The critics have mixed feelings about Lully’s works and talent: they either acknowledge his exceptionalism, or point at his mediocrity. The music reputation of Lully, whatever the evaluation variations of his works were, remains positive — his compositions are up-to-date and in demand even in XXI century. His operas are staged, they are still interesting for audience and evoke a warm response. But these music pieces need adaptation to the postnonclassical epoch and to its listeners/spectators. While performing classical music, ensembles face absolutely different structure of audience. The necessity of Lully’s works today may be considered a social demand of a modern time period audience. This supposes that the composer’s music reputation is active on another round of culture history.

Bibliographic list

1.Denisenko S.V. Pushkinsky tekst v teatralnom diskurse XIX veka: dis. … d-ra. filol. nauk / S.V. Denisenko. – Tver, 2008. – 360 s.

2.Fomina Z.Ye., Korobko L.V. Osobennosti verbalnoy reprezentatsii fenomena

«muzyka» v khudozhestvennom diskurse L.N. Tolstogo (na materiale proizvedeniya «Kreytserova sonata») / Z.I. Fomina, L.V. Korobko // Nauchny vestnik Voronezh. gos. arkh.- stroit. un-ta. SovremennYe lingvisticheskiYe i metodiko-didakticheskiYe issledovaniya. – 2015.

–vyp. 1 (25). – S. 74-91.

3.Rozenshild K. Muzyka vo Frantsii XVII – nachala XVIII veka / K. Rozenshild. – M.: Muzyka, 1979. – 168 s., s not.

4.Kravchenko O.V. Orkestr Zh.B. Lyulli v ego tragediyakh na muzyke / O.V. Kravchenko // Muzyka i vremya. – 2011. – №3. – S. 17-21.

5.La Gorce Jérôme de. Jean-Baptiste Lully / J. de la Gorce. – Paris: Fayard, 2002. – 912

p.

6.SevinYe. madam de. Pisma. – SPb.: Attikus, 2012. – 304 s.

7.Sidorenko M.A. Muzyka Zhana-Batista Lyulli i monarkhiya Lyudovika XIV / M.A. Sidorenko // Novaya i noveyshaya istoriya. – 2015. – № 1. – S. 50-60.

8.Kurysheva T.A. Muzykalnaya zhurnalistika i muzykalnaya kritika: ucheb. posobiYe dlya studentov vuzov, obuchayushchikhsya po spetsialnosti «MuzykovedeniYe» / T.A.

Kurysheva. – M.: Izdatelstvo VLADOS-PRESS, 2007. – 295 s.

9.Karpova I.A. Diskurs kak sredstvo verbalizatsii kontsepta «positive thinking» / I.A.

Karpova // Nauchny vestnik Voronezh. gos. arkh.-stroit. un-ta. SovremennYe lingvisticheskiYe i metodiko-didakticheskiYe issledovaniya. – 2009. – vyp. 2 (12). – S. 77-86.

10.Gotovtseva Ye.S. SemioticheskiYe aspekty avtorskogo ironicheskogo diskursa / Ye.S. Gotovtseva // Nauchny vestnik Voronezh. gos. arkh.-stroit. un-ta. SovremennYe lingvisticheskiYe i metodiko-didakticheskiYe issledovaniya. – 2013. – vyp. 2 (20). – S. 56-65.

Analyzed sources

1*. Hall G. Lully: Armide, URL: http://www.classical-music.com/review/lully-armide (vremya obrashcheniya – 03.06.2016).

2*. Smaczny J. Lully: Les divertissements de Versailles: excerpts from Psyché, Armide,

URL: http://www.classical-music.com/review/lully (vremya obrashcheniya – 03.06.2016).

3*. Smaczny J. Lully: Phaëton • Atrys • Armide, URL: http://www.classical- music.com/http%3A/%252Fwww.classical-music.com/review/lully-orchestral-aug-12 (vremya obrashcheniya – 03.06.2016).

4*. Stevens D. Lully: Alceste, URL: http://www.classical-music.com/review/lully-6 (vremya obrashcheniya – 03.06.2016).

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Dictionaries used

1**. Encyclopédie de L’Agora, URL: http://agora.qc.ca/dossiers/jean_baptiste_lully

(vremya obrashcheniya – 02.07.2016).

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UDC 803.0 – 73:13.2

Voronezh State Technical University, Postgraduate student,

Oksana Vladislavovna Zhuikova e-mail: oxanazhujkova@mail.ru

O.V. Zhuikova

THE STRUCTURAL-COGNITIVE AND METAPHORICAL ASPECTS OF THE CONCEPT "LANGUAGE" IN THE PHILOSOPHICAL DISCOURSE

OF WILHELM VON HUMBOLDT

The article is devoted to the study of the characteristics of the cognitive structure and methaphorical specific features of the concept "Language" in the philosophical discourse of W. von Humboldt. The cognitive structure of the metaphorical model "Language –organism" is examined as one of the metaphorical patterns in the Humboldt’s linguistic world image. Its basic frames and slots are studied, each of them bears certain conceptual features. The metaphorical images of language in the philosophical sphere of W. von Humboldt are revealed: existential images of language, synergistic, ectopic, intellectual, epistemological and etc. The study demonstrates a high degree of Humboldt’s metaphorical linguistic world image as a whole.

Key words: Humboldt, language, metaphorical model, physiological language model, metaphorical images of language, conceptual features.

Vladimir A. Zvegintsev studying the scientific heritage of Wilhelm von Humboldt, in imaginative and vivid form objectively determined place that takes great German scientist in the world of science. Wilhelm von Humboldt, as stressed by V.A. Zvegintsev, "by putting forward the original concept of the nature of language and raising a number of fundamental problems, which are currently at the center of a lively debate, he, like the unconquered mountain peak, towering over those heights, which has been achieved other researchers" (cit: Fomina Z.Ye., 2014, p. 170-175; [1]). There are many interpretations and studies linguistic concepts and postulates оf Humboldt, but the paradox is that the linguistic world image of Humboldt, his speech still remain poorly understood.

The linguistic identity of the scientist can be compared with an iceberg, only a small tip of which is investigated, while its deep structure hidden. W. von Humboldt devoted much attention to the study of the nature and functioning of the language, and in this regard it is important and interesting to consider what the language means used the scientist by describing laws, formed a further fundamental basis of modern linguistics.

Solving this problem we carried out a cognitive-semantic, contextual analysis of the works of Wilhelm von Humboldt. In particular, we pay attention to the language tools that are accessed by W. von Humboldt in the description of a linguistic categories "Language", since this phenomenon has been described by the author at the most.

The purpose of the study is to determine the cognitive structure of the concept "Language" in philosophical discourse of Wilhelm von Humboldt, which is often represented through the works of Humboldt by metaphorical means, to determine the characteristics of this concept, verbalized using metaphors, to identify metaphorical images the language.

Research concept "language" as a proper object of linguistic study is presented not as widely used in scientific studies. Thus, the study of the concept set forth in the works, Vorkachev S.G. [2], Polinichenko D.Y. [3], Zaretsky E.V. [4], Milovanova G.N. [5] and others.

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© Zhuikova O.V., 2016

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In the study of the cognitive structure of the concept "Language" in the Humboldt’s indi- vidually-author's picture of the world, it’s necessary to refer to the cognitive and linguocultural studies associated with studying the actual german language image of the world, and with revealing the ethno-cultural dimension in comparative studies [6; 7; 8; 9; 10], and also to the definition of Concept. We adhere to the definition of concept of E.S. Cubryacova: "Concept is a unit of memory, mental lexicon, conceptual framework and language of the brain, the whole image world, the quantum of knowledge. The most important concepts are expressed in the language " [11].

Agreeing with the opinion of the representatives of the Voronezh linguistic school Z.D. Popova, I.A. Sternin, we note that the linguistic interpretation of the term does not have unity, due to the lack of common methodological and theoretical systems of linguistic schools conceptual directions, give different definitions of the concept.

So Z.D. Popova and I.A. Sternin define the concept as "a discrete mental formation, which is the basic unit of the mental code of man, which has a relatively orderly internal structure, which is a result of cognitive activity of the individual and society, and carrying a comprehensive, encyclopedic information about reflecting object or phenomenon, about an interpretation of this information to public consciousness and attitude of social consciousness to this phenomenon or object " [12].

In turn, Y.S. Stepanov defines the concept as follows: "The concept is a cluster of culture in the human mind; is a culture that is included in human mental world. And, on the other hand, the concept - it is that by which a man - an ordinary, normal person, not a "creator of cultural values" - he is part of the culture, and in some cases, affect it " [13].

In that way, the definition of the concept is characterized by the diversity of scientific interpretations, it is a reflection of human activity, its cultural image, the mental world, associated with the learning process, as well as showing the results of cognition.

One of frequency means of linguistic expression of the concept "Language" in the discourse of Humboldt are metaphors. On the phenomenon of metaphorical thinking paid attention such scientists, researchers like N.D. Arutyunova [14], J. Lakoff [15], M. Johnson [16], V. Telia [17], Fomina Z.Ye. [18; 19; 20], A.P. Chudinov [21], and others.

The source of this study served as a major work of Humboldt: “On the Diversity of Human Language Construction and Its Influence on the Mental Development of the Human Species” («Über die Verschiedenheit des menschlichen Sprachbaues und ihren Einfluss auf die geistige Entwicklung des Menschengeschlechts », 1836) [1 * 2 *].

In the process of semantic-cognitive, contextual analysis of verbal means of expression of the concept "Language" in the philosophical discourse of Humboltd was found 7 metaphorical models: "Physiological", "Phytomorfpic," "Artifact," "Light," "Ontologic", "Terramina" "Aeromarine". For the basis for the classification of metaphorical models adopted conceptual sphere metaphor for the source language. These models were determined by comparing the initial conceptual field (source) and a new area of knowledge (target). So, to the spheres-sources metaphor phenomenon "Language" in the Humboldt’s language image of the world belong the realities:

•physiological sphere: (Organ);

•flora (verpflanzt);

•human activities (Werkzeuge);

•physical (light) sphere (Licht);

•hydromorphic sphere (Quelle);

•universe (element "Earth») (der Gipfel);

•universe (element "Air» (sonnigem und bewölktem Himmel).

Area "target" of the metaphorical transfer forms human language. The name of these models is due to the peculiarities of the initial conceptual sphere (sphere-source). That is the source objects have known features, which are transformed to a less known area - area of the target (the phenomenon "Language") [11].

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The study was performed in line of cognitive linguistic using the method of conceptual analysis.

In our article “Specifics of the concept “Language” metaphorization in the philosophical discourse of Wilhelm von Humboldt” [22] was determined the most frequency model - the "Physiological", representing the largest number of characteristic metaphors identified in the analysis of the associative links between the source of metaphor (initial conceptual area) and the purpose of metaphorization (language description). The initial conceptual domain MM (metaphorical model) "Physiological" is a man, his anatomy, bodily functions. By establishing an association between the functions of these known phenomena and new (previously unknown) conceptual domain, the last (language) acquires some characteristics of anatomical phenomena.

Physiological type of metaphorical language model is presented by two basic varieties:

1.LANGUAGE - ORGANISM.

2.LANGUAGE – PHYSIOLOGICAL ORGANS. Table 1

A quantitative ratio of metaphors that make up MM Physiological

In this article, we turn to the analysis of MM "LANGUAGE - PHYSIOLOGICAL ORGAN".

The results of the study, cognitive structure concept "LANGUAGE", considered from the perspective of the metaphorical the physiological model of language, constitute the two basic frames:

1)"The language - organ".

2)"Language - the essence having hands."

These frames were named based on the fact that in the language world image of Humboldt language, in its metaphorical representations, identified with certain organs of the body.

1. Frame "Language - Organ", acting as the cognitive component of the concept "Language" includes 4 dominant slots defined by metaphorical projection of organ as a physiological part, to the phenomenon language:

1.1.Language - the organ of thought;

1.2.Language - the organ of being;

1.3.Language - the organ of intellectual forces;

1.4.Language - the organ of identity

and components of their conceptual features characterizing the phenomenon of "LANGUAGE."

For a description and specification the conceptual features identified on the basis of metaphorical comparisons of the phenomenon «language» with organ, were held semantic-cognitive analysis of tokens, and verbalized these essences (language, organ). Semantic-cognitive analysis of tokens, nominating the source-areal and the purpose-areal metaphorical comparison (cf .: the original metaphor of "Language - organ"), showed that the source-areal of the metaphor – the organ, explicable of token Organ, and the scope of the target (Sprache ) show a series of semantic parallels. So the dictionary definitions of the tokens Organ reveal the following features that form its semantics:

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Organ, das (the Organ), Wortart: Substantiv, Neutrum;- Part of speech: Noun, neuter; aus verschiedenen Geweben zusammengesetzter einheitlicher Teil des menschlichen, tierischen und pflanzlichen Körpers miteiner bestimmten Funktion; - consisting of various tissues of the single human body, animals and plants with specific functions [1**].

According to the dictionary definition, the basic features of the semantic structure of tokens Organ are: 1) the unity, but multicomponent structures; 2) belonging to some kind of larger, more complex structure; 3) the implementation of certain functions.

Let’s consider the dictionary interpretation of tokens Sprache, verbalized the concept "Language", the purpose-area metaphorical comparison:

Sprache, die (the Language). Wortart: Substantiv, feminine. – Part of speech: Noun, feminine.

1.Fähigkeit des Menschen zu sprechen; das Sprechen als Anlage, als Möglichkeit des Menschen sich auszudrücken. - a person's ability to speak; speaking as an ability, as the ability to express oneself;

2.das Sprechen; Rede (speech);

(a)Art des Sprechens; Stimme, Redeweise. – Type of speech, voice, manner of speaking;

(b)Ausdrucksweise, Stil. – Expression, style;

(c)historisch entstandenes und sich entwickelndes System von Zeichen und Regeln, das einer Sprachgemeinschaft als Verständigungsmittel dient; Sprachsystem. - Historically developed and developing a system of symbols and rules, linguistic community, which serves as a means of communication; language system;

(c’) System von Zeichen (das der Kommunikation o. Ä. dient). – System of sings (which is used for communication, etc.) [1**].

From the dictionary definitions tokens Sprache follows that its denotative signs are: 1) the language is capable of expressing meaning; 2) capable of communication; 3) historically formed the phenomenon; 4) consistency, 5) interdependence.

So, based on the analysis of semantic structure tokens Organ and Sprache, we can conclude that among their common cognitive feathers include the following: "systemic internal structure", "certain functions", "interrelatedness and interdependence of forming elements" and others.

According our observations, the most structured (in the degree of frequency and presence of feathers) is slot "Language – the organ of thought" as the dominant number of realities of physiological areas as comparisons source-sphere, correlates, first of all, the concept of "organ of thought" (e.g., language ability of specific functions; language ability of making thought, etc.)).

Let’s refer to the characterization of the slot.

Slot 1.1. "Language - The organ of thought" frame’s "LANGUAGE – PHYSIOLOGICAL ORGANS" cognitive structure of concept "Language".

Humboldt emphasizes the unity of language and thought. Consider the following example, which describes language as an organ that forms the idea:

Die Sprache ist das bildende Organ des Gedanken. Die intellectuelle Thätigkeit, geistig, durch ausinnerlich und gewissermaßen spurlos vorübergehend, wird durch den Laut in der Rede äußerlich und wahrnehmbar für die Sinne [1*, S.50].- Language is the formative organ of thought. Intellectual activity, entirely mental, entirely internal, and to some extent passing without trace, becomes, through sound, externalized in speech and perceptible to the senses [2*].

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Just as in the bodies there are organs that perform specific functions and language tend to perform certain functions: it forms the idea, draws its verbal images and makes easy to understand others. Through the assimilation language to organ reveals not only the language’s ability to perform a specific function, but also to be a part of a larger system (the body), just as the organ can exist and work only in other organ systems, language functions as an element of a global system.

Thus, in comparison language with the organ, common features that make up the base of the metaphorical projection, is implementation certain functions, belonging to a more complex system. Note that the language action - is the formation of thought. These actions are being implemented in the sounds of speech and semantic content of language. There are signs, constituting the structure of the slot "Language - the organ of thought" cognitive structure’s of frame "LANGUAGE - PHYSIOLOGICAL ORGAN":

•Language - the essence, performing certain functions;

•Language - the essence, forming the idea;

•Language - the essence, realizing thoughts in sound (speech);

•Language – the carrier meaning.

MENTAL ASPEKT OF LANGUAGE (Language - thoughts) is represented through its ability to form thoughts. Language is not only a way of thinking, but also it realized the idea in the sound, because without sound expressing the idea will not be available to other individuals. ACOUSTIC ASPECT OF LANGUAGE (Language - sound).

Cognitive basis for metaphorical transfer of features such thing as the organ to the phenomenon "Language" served a feature the functioning of language (the formation of thoughts in the sound).

Consider another example, characterizes the language as an organ of thought:

Denn wo die volle Energie der leitenden Kraft nicht das richtige Gleichgewicht bewahrt, da erlangt leicht ein Theil der Sprache vor dem andren ungerechterweise eine unverhältnismäßige Ausbildung. Hieraus und aus anderen Umständen können einzelne Trefflichkeiten auch in Sprachen entstehen, in welchen man sonst nicht gerade den Charakter erkennen kann, vorzüglich geeignete Organe des Denkens zu sein [1*, S.257].- In fact where the full energy of the leading strength does not preserve the right balance, there a part of the language easily reaches unjustified and disproportionate superiority over the others. Due to this and other circumstances certain findings can also originate into those languages in which one can hardly recognize, otherwise, preferably to be suitable organs of the thinking

[2*].

From this example, it follows that the language develops under the influence of certain forces (leitende Kraft), and in violation of its balance in the structure of language disturbed the balance, which leads to the difficult recognition of the language character and its main feature - the formation of thought.

The basis metaphorical transfer in this example is "multi-component structure", "possessing a certain ability / function."

The slot "Language – the organ of thought," revealed a number of conceptual features that reveal the essence of language as an organ:

•Language - the essence, which forms the idea;

•Language - the essence, which has the character;

•Language - the essence, which subordinates to a single force.

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