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3) reflective level:

• a verbal slot representing “tears” as a reaction to what was said. Compare:

“… Und dies W o r t oder dieser Laut r ü h r t e ihn bis zu T r ä n e n ...” [1 *, p.84];

• tears as a result of verbal reproach (Vorwurf), for example:

«Nichts kam der Gewalt des V o r w u r f e s gleich, den diese einfache Worte enthielten.

Sein Herz krampfte sich zusammen, k a l t e T r ä n e n liefen ihm herunter, sie erstarrten ihm an den Wangen…» [5*, p. 122].

In this context, the causator of “cold tears” (kalte Tränen) is a verbal reproach. It is interesting to note that the reproach (Vorwurf) is endowed in Hugo von Hofmannnstal's individual author's consciousness with such characteristic as a force with which nothing can compare;

• aesthetic slot; Aesthetic slot includes 3 slots:

a) the experience of literary, including dramatic work (beim Buche, der Stück, etwas Tränenvolles, die Sache). For example:

«… wenn er rund um sich her jedes Auge in T r ä n e n erblickte und darin den Beweis las, daß ihm sein Endzweck, durch die S a c h e, die er vorlas, zu rühren, gelungen war…» [1*, с. 180];

b) experiencing a piece of music. Compare:

“Selbst die M i s i k rührte ihn bis zu T r ä n e n ...” [1 *, p. 365];

c) religious subslot, which reflects the reflection of church speeches, chants. For example:

«…mich h i n t e r K i r c h e n o r g e l versteckt und mich mal a u s g e w e i n t richtig, während sie voll reingegriffen hatte: ›Aus tiefer Not ruf ich zu dir…‹ Oder es hätte mich ihr Sopran – mein Gott, hat die Stimme! – über den Jordan gebracht…» [6*, p. 441].

• tears of gratitude; eg:

«…und oft vergoß er im stillen T r ä n e n der F r e u d e und des D a n k s, wenn er diese glückliche Wendung seines Schicksals überdachte…»[1*, p. 117];

•fatalistic slot (tears of fate), for example, as in the previous quotation, “tears” are the result of not only gratitude, which is in itself a reflective experience, but also reflections on its fate:

«Die häufigen T r ä n e n, welche er oft beim Buche und im Schauspielhause vergoß, flossen im Grunde ebensowohl über s e i n e i g n e s S c h i c k s a l als über das Schicksal der Personen, an denen er teilnahm…» [1*, с. 189];

•tears of discontent and satiety of life; compare:

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«…die bittersten T r ä n e n des U n m u t s und L e b e n s ü b e r d r u s s e s» [1*, p.

315];

• tears of compassion, for example:

"Ich versprach, endlich zu einem Arzt zu gehen, und spürte ihre T r ä n e n auf meiner linken Hand ..." [I promised finally to go to the doctor, and felt her tears on my left hand - my translation, O. V. Kuznetsova] [7 *, p. 88];

4) the value level:

• tears as the price for experiencing the work, for example:

«Clavigo, der ihm so viel T r ä n e n g e k o s t e t h a t t e …» [1*, p. 339].

Or:

«Zärtliche Seelen, werdet ihr dieser Geschichte eine heilige T r ä n e z o l l e n?» [3*, p. 273];

• tears as a price for forgiveness for sins, for example:

“Die G n a d e wurde dem V e r b r e c h e r nicht so leicht gemacht; sie mußte d u r c h Gebet und T r ä n e n errungen werden ” [1 *, p. 70];

5) philosophical and social level:

• tears in the parental home, for example:

"Wenn er in das H a u s seiner E h e r n trat, so trat er in ein H a u s der Unzufriedenheit, des Zorns, der Tränen und der Klagen" [1 *, p.15].

• gender slot. The presence of a gender slot in the Tränen frame structure in the Germanspeaking artistic picture of the world indicates that tears are inherent in women, not men. Laughter is inherent in men, they avoid, they drive away tears - “tränentreibend”. Compare:

“Zum W e i n e n bei der F r a u, und bei dem M a n n zum L a c h e n” [3 *, p. 207].

Or:

«Doch so laut, verhalten, herzhaft und t r ä n e n t r e i b e n d die zehn-, nein hunderttausend Männer ihren Vatertagshumor bewiesen…» [6*, p. 553].

Thus, the given context reflects the ritual character of the celebration of Father's Day in Germany for men.

• women's tears (mothers, sisters). This slot is not uniform. Includes the following subslots:

a) mother's tears:

“Die M u t t e r hatte T r ä n e n in den Augen” [8*, p. 103];

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b) domestic tears, tears of concern and complaint of bad times - ‘schlechte Zeiten’, a severe winter - ‘der harte Winter’, lack of firewood - ‘Holzmangel’:

«…da die Frau des Garnisonküsters über Tische erst anfing von den schlechten Zeiten und von dem harten Winter und dann von dem Holzmangel zu reden und endlich über die B e s o r g n i s in T r ä n e n ausbrach…» [1*, p. 143];

c) empty, artificial female tears (Kullertränen - ball-tears'), sometimes as a means of manipulation:

«…die zickigen Weiber mit ihrer Tagesund Nachtcreme, ihren Dauerwellen und vierzehn Paar Schühchen, mit ihren P r e β t r ä n e n Schondeckchen Sammeltassen…» [6*, p.529]. [... these nervous women with their day and night cream, their perm and fourteen pairs of shoes, with their squeezed tears of protective covers collection cups ... - my translation, O. V. Kuznetsova]

It is interesting that the author in this example does not use a comma in the listing, thus emphasizing the continuity and total non-stop in the circulation of women's whims and trifles.

d) tears of female solidarity, female protest:

"Frau von Carnow, p r o t es t i e r e n d in Tränen ausbrach ..." [6*, p. 309];

• men's tears. This slot is also heterogeneous and contains two polar subslots: 1) men do not cry; 2) men cry. For example:

«Und jedesmal, wenn O t t o Stubbe seine Lena mit schwerer Hand oder mit dem Abziehleder für sein Rasiermesser verprügelt hatte, weinte er aber sich, so daβ ihn Lena, die nicht weinte, trösten muβte. Wie hätte sie auch untätig einem ausgewachsenen Mann zusehen können, der R o t z und W a s s e r h e u l t e…» [6*, p.483];

• children's tears, for example:

“Das K i n d Paul w e i n t e, wenn es keine Täfeli bekam, keine Schokolade ...” [8 *, p. 145];

• tears of friendship; e.g.:

«W e i n e t, und empfindet in eurer lebhaften Vorstellung die S ü ß i g k e i t mit einem F r e u n d e zu sterben» [3*, p. 273];

• lofty tears. Compare:

«Da war nun der Ort, wo die e r h a b e n e T r ä n e des Mitleids bei dem Fall des E d l e n g e w e i n t …» [1*, p. 355].

Or:

«Wie sich von selbst versteht, er wurde mein intimster Freund, und er weinte h e l l e T r o p f e n, als er späterhin für lange Zeit von mir Abschied nahm…» [9*, p. 173];

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• earthly, human tears, for example:

"Sie begriff zum ersten Mal die W o l l u s t der i r d i s c h e n T r ä n e n ..." [5 *, p.177].

Or:

“... ihr Gesicht in Schmerz und T r ä n e n schwamm wie das einer s t e r b l i c h e n Frau

...” [5 *, p. 130].

• uselessness, invisibility of human tears (Menschenträne), for example:

«Sie fielen hinab in die Themse und schwammen fort ins große Meer, das schon so manche M e n s c h e n t r ä n e v e r s c h l u c k t h a t, ohne es zu merken!» [9*, p. 146] [They - “tears” - fell down into the Thames and floated away into a huge sea, which had once also consumed human tears without even noticing it! - my translation, O.V. Kunetsova];

• tears due to punishment (or ‘as punishment’). For example:

“Diese S t r a f e preßte ihm zum erstenmal T r ä n e n aus ...” [1 *, p. 139].

Or:

«wenn er sein ganzes Leben hindurch seine S c h u l d m i t T r ä n e n der Reue und guten Werken wieder a b z u w a s c h e n s u c h t e»[1*, p. 70].

•religious tears, tears and prayer (Tränen und Gebet);

•tears of world pain: "... vor Weltschmerz weinend ...".

6) naturomorphic level:

•nature cries in the fall; eg:

”Wind in den Linden, in Ahorn. Erstes Laub fiel. Der Garten roch herbstlich. Nun w e i n t e auch rapp ”[6 *, p.437];

• tears of tar in the trees (Harztränen).

As mentioned at the beginning of the article, the frame structure of the Tränen will not be considered complete, if you do not take into account the presence of kinetic and extreme levels.

7) the kinetic level, in turn, includes:

•dynamic slot.“Tears” is an active, dynamic substance, as evidenced by the analysis of the verb lexemes objectifying it: durchströmen to flow - for example, on the face), herunterlaufen (run down), fallen (fall), überströmen (overflow, over the edge), fließen ( flow), schießen (beat), stürzen (splash), hervortreten (act), laufen (leak, run), hinabrinnen (flow down);

•Static slot. The static slot is polar dynamic. Its presence indicates the presence of the following verbalizations: erstarren (solidify), versiegen (dry out), in den Augen stehen (to stand in the eyes);

•Slot "Agent". This slot indicates the position of the agent of “tears” in a context that dominates in relation to the position of patients.

•slot "Patient". For example: "Der Abschied aus Hannover preßte ihm keine Träne aus

...".

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Analysis of the kinetic slots, reflecting the kinesthetics of “tears”, shows that this is a “moving” and “dynamic” substance. "Tears" also detect the presence of the attribute "for extreme", often having the highest degree of manifestation.

8) the extreme level is structured with the following slots:

a)an intensive slot: 'Rotz und Wasser heulen' 'phrases. - sob. Also: ein Strom von Tränen;

b)perceptual slot: ‚heiße Tränen ‘; ‚ die bitteren Tränen ‘, ‚ kalte Tränen ‘, etc.;

c)a quantitative slot: ‚tausendeTropfen‘, ‚ein Strom von Tränen;

d)temporal slot (the slot of duration). For example, it can be objectified with stylistic repetition, for example:

"Ich w e i n, ich w e i n, ich w e i n e ..." [2 *, p. 292].

And also with temporal cognitive classifiers: “die häufigen Tränen” - ‘frequent tears’, “ganze Nächte durchweinte er oft” - ‘to cry all nights often’.

It is important to note that the study of the concept of “Tränen” in the individual author's conceptual sphere also takes into account the estimated perception of this psychosomatic phenomenon in all its manifestations. Through the contextual analysis of the linguistic representations four main groups of contexts were identified: a) melioratively coloured; b) pejorative coloured; c) neutral; d) ambivalent. It has been established that in most cases they have an ambivalent character in the individual author's consciousness of German-speaking authors. The completed contextual analysis shows that in the German-speaking artistic picture of the world

“tears” as physiological symptoms of emotions and emotional states of a person are an ambiguous phenomenon, as they interact not only with meliorative, but also pejorative signs. Moreover, their interaction is often found in the same context. The slots and subslots described above are true proof of this. The frame “Tränen” does not act as an explicator of unequivocally negative emotions and phenomena in the German-language artistic concept sphere. As evident from numerous contexts, "tears" can be the result of melioratively coloured emotions and states, for example, "generosity", "pleasure", "joy", "happiness", "gratitude", "tenderness", "consolation", are associated with "by faith," "by hope." Nevertheless, the palette of pejoratively coloured contexts also remains very broad: from “longing”, “parting” to “horror” and the feeling of “physical pain”. Based on the examples, the ambivalent nature of a rather wide range of psy- cho-emotional experiences in the minds of the author and the reader is found, for example, tears of "repentance" (die Tränen der Reue). The following context can also be considered as a vivid example of the intertextual ambivalence of “tears”:

«W e i n e t, und empfindet in eurer lebhaften Vorstellung die S ü ß i g k e i t mit einem F r e u n d e zu s t e r b e n» [3*, p. 273].

This passage proves the fact that tears of grief can be sweet: on the one hand, ‘imaginary death’ is mourned, on the other hand, ‘joy to die with a friend’. Describing the ambivalence of the “Tränen” concept frame as a relevant cognitive feature of the “Tränen” concept, it is impossible to ignore the fact that in the manifestation of this symptom it is possible to switch to another, seemingly completely opposite psycho-emotional phenomenon “laughter”. This phenomenon is objectified in contexts of German-speaking authors, in which “tears” border on “laughter” (das Lachen). That is, “laughter” and “tears” can often be literally next to each other, for example:

Thus, the main slots of the “Tränen” frame described above and described in the Germanspeaking concept sphere are also ambivalent from the point of view of the emotions with which they interact. The cognitive characteristics of this symptomatic phenomenon vary from emo- tional-psychological (“tears of magnanimity”, “tears from anguish”, “tears of happiness and joy”, “tears of grief”) and reflective levels (“tears from satiety of life”, “tears from their fate ","

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As a reaction to what was said, to a verbal reproach ") to the value level ("price for forgiveness"), and philosophical-social ("earthly tears","tears of female solidarity"," tears of helplessness", "tears of world pain"). It is interesting to note that the “tears” in the Germanspeaking artistic picture of the world acquire distinct gender characteristics, although sometimes contradictory. For example: “Männer weinen nicht ...”, “weinerliche Männer” - ‘men do not cry’, ‘weeping men’.

Thus, the cognitive perception of tears in the German-speaking artistic concept sphere can be transmitted and summarized by the philosophical interpretation of this phenomenon by Hugo von Hofmannsthal in his novel "Woman without a shadow."

«…auch ihr war zu weinen neu und süß. Sie begriff zum ersten Mal die W o l l u s t der i r d i s c h e n T r ä n e n…» [5*, p. 177]. [... crying for her was also a new and sweet feeling. She first felt the enjoyment of earthly tears ... - my translation, O.V. Kuznetsova].

Hofmannnstal's individual author's perception of the “Tränen” phenomenon as an earthly phenomenon peculiar to people - mere mortal beings, reflects the philosophical essence of this phenomenon: woe to someone who never cries, who does not have such an opportunity, who cannot and should not manifest earthly emotions, intrinsic to a man, a mortal being.

In conclusion, I would like to note that the results presented in this article are not final, but, on the contrary, offer the prospect of studying the structure of the “Tears” concept frame based on the works of other German-speaking authors, as well as comparing its semantic and linguistic representations, cognitive correlations with emotional concepts in other languages.

References

[1]Fomina, Z.E. Nemeckaya ehmocional'naya kartina mira i leksicheskie sredstva eyo verbalizacii / Z.E. Fomina. – Voronezh: Voronezhskij gosudarstvennyj universitet, 2006. – 336s.

[2]Vezhbickaya, A. YAzyk. Kul'tura. Poznanie / A. Vezhbickaya. – M., Russkie slovari, 1997. – 416 s.

[3]Tomkins S., McCarter R. What and Where the Primary Affects? Some Evidence for a Theory / S. Tomkins, R. McCarter // Perceptual and motor Skills.-V. 18.- 1964.-Pp. 119-159.

[4]Krasavskij, N.A. Dinamika ehmocional'nyh konceptov v nemeckoj i russkoj lingvokul'turah: avtoref. dis. … d-ra filol. nauk. Volgograd, 2001. URL: http://www. vspu.ru.

[5]Freud, Sigmund. Psichologijabessoznatel’nogo. – Moskva: “Prosveščenie’, 1990. – 448 S.

[6]Izard, Caroll E. Die Emotionen des Menschen. Eine Einführung in die Grundlagen der Emotionspsychologie. – Weinheim und Basel: Beltz Verlag, 1981. – 541 S.

[7]Apresyan, V.YU. Metafora v semanticheskom predstavlenii ehmocij / V.YU. Apresyan, YU.D.Apresyan // Apresyan, YU.D. Izbrannye trudy. T. 2. Integral'noe opisanie yazyka i sistemnaya leksikografiya. M.: YAzyki rus. kul'tury, 1995. 767s.

[8]Babenko, L.G. Leksicheskie oboznacheniya ehmocij v russkom yazyke. Sverdlovsk, 1989. 184 s.

[9]Fillmor, CH. Frejmy i semantika ponimaniya // Novoe v zarubezh. lingvistike.

Vyp. 23. M. : Progress, 1988. S. 52–93.

[10] Boldyrev, N.N. Koncept i znachenie slova //Metodologicheskie problemy kognitivnoj lingvistiki : nauch. izd. / pod red. I.A. Sternina. Voronezh, 2001. S. 25–36.

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Analysed sources

[ 1*] Moritz K. P. Anton Reiser. CD-ROM – Deutsche Literatur von Lessing bis Kafka/

[ 6*] Günter Grass. Der Butt. – 633 S.

[ 7*] Frish, Maks Homo Faber: Kniga dlya chteniya na nemeckom yazyke. – SPb.: KARO, 2007. – 320 s.

[ 8*] Fricker, Ursula. Fliehende Wasser: Roman / Ursula Fricker. – 2. Aufl. – Zürich: Pendo, 2004 . – 167, [2] S.

[ 9*] Heine H. Florentinische Nächte. CD-ROM – Deutsche Literatur von Lessing bis Kafka/ DirectMedia Publishing Ltd, Москва.

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UDC 81'373.612.2:355

FUNCTIONING OF MILITARY METAPHOR

IN THE SOCIAL-AND-EVERYDAY DISCOURSE

OF THE MODERN RUSSIAN LANGUAGE

N.V. Fedotova

____________________________________________________________________________

Military Training and Research Center of the Air Forces «Air Force Academy under the names of Professor N.Ye. Zhukovsky and Yu.A. Gagarin»

Senior Lecturer of the 141 Russian language departments Nataliya Vladimirovna Fedotova

e-mail: Natali.VL-Fedotova@yandex.ru

____________________________________________________________________________

Statement of the problem. The article is devoted to the analysis of the military metaphor in the framework of the

structural-and-semantic approach in the texts related to the theme family (based on the text fragments of the National Field of the Russian Language, modern printed publications and lively colloquial speech) from the beginning of the ХХI century and up to the present.

The research results. As a result of the research, 490 units of the “War” semantic sphere have been singled out, having received metaphorical meanings in the social-and-everyday discourse of the modern Russian language; 12 thematic groups of military vocabulary in the metaphorical use have been revealed; military metaphors have been analyzed from the standpoint of the lexical-and-semantic characteristics (most often, the metaphorical expression of family relations is effected by rethinking the military vocabulary from the thematic group “The name of hostilities and ways of warfare”, “The name of the persons and groups of the persons directly and indirectly related to hostilities" and "The name of the processes and the results of conducting hostilities") and the categorical-and- grammatical peculiarities (substantive metaphors are the most frequent ones in the framework of the material having been studied).

Conclusions. The results of the study allow us to conclude that the metaphorization of the semantic sphere “War” relevant for the various types of discourse of the modern Russian language (political, sports, medical, etc.), is also quite active in the social-and-everyday discourse, in particular, for expressing family relations, due to the similar nature of the people behavior in the process of the military operations and in the family life.

Key words: military vocabulary, metaphorization process, military metaphor, social-and-everyday discourse, family relations, lexical-and-semantic characteristics, categorical-and-grammatical peculiarities, seme, direction of metaphorical transfer.

For citation: Fedotova N.V. Functioning of military metaphor in the social-and-everyday discourse of the modern Russian language / N.V. Fedotova // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2019. - №1 (24). – P. 31-43

Introduction

The vocabulary of the semantic sphere “War” in the metaphorical application is actively used in various types of discourse of the modern Russian language, since metaphors are an integral part of discourse, “any discourse contains metaphors characteristic of it, i.e. a certain combination of metaphors and a special way of studying metaphors” [1, p.25].

The most significant amount of works in modern metaphorology is devoted to the functioning of military metaphor in political discourse [1; 2; 3; 4], because, as A.P. Chudinov notes, modern domestic reality contributes in no less degree to the revitalization of military metaphors [4, p.104]. This may be related to the hypothesis based on the researches of C. de Landtsheier and D. Vertesen about increasing the number of metaphors that influence the decision-making

___________________

© Fedotova N.V., 2019

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process during economic and political crises [1; 2; 3]. The works by A.A. Elistratov [5], K.V. Snyatkov [6], I.M. Yurkovski [7] and others are devoted to the specific nature of using military metaphor in sports discourse; in the medical discourse – by S.L. Mishlanova [8], T.I. Utkina [9], N.A. Ulyankova [10] et al.

Military metaphor is also widespread in the social-and-everyday discourse, in which, it, in particular, reflects the perception of relationships between the family members – the groups of relatives living together (husband and wife, parents with children, etc.) – as an analogue of a military battle that “allows one to see another metaphorical model in the Russian reality: “Family life is war” [11, p.240].

Research Methodology

The purpose of this study is to analyze the peculiarities of the metaphorical use of military vocabulary in the framework of the structural-and-semantic approach to the designation of family relation in the social-and-everyday life discourse (based on the text fragments from the National Field of the Russian Language [1*], modern printed publications and lively colloquial speech) beginning from the twenty-first century up to the present.

To achieve the purpose in hand it is necessary to solve the following tasks:

1)to single out the units of the semantic sphere “War” having received metaphorical meanings;

2)to reveal the thematic groups of military vocabulary, undergoing the process of metaphorization;

3)to analyze military metaphors from the standpoint of the lexical-and-semantic characteristics (highlighting the semes on which the metaphorical transfer is based, as well as the directions of the metaphorical transfer) and the categorical-and- grammatical peculiarities (having considered the peculiarities of their functioning to express family relations in the social- and-everyday discourse).

In this article, the object of the research is the lexical units relating to the semantic sphere

“War”. The subject of the research is the process of metaphorization of these lexemes in the modern Russian language.

The analysis of the metaphorization of the semantic sphere “War” lexemes is carried out on the text fragments of the “National Field of the Russian Language”, modern printed publications and lively colloquial speech.

To solve the tasks in hand, the following methods have been used: the descriptive method, the method of contextual and interpretative analysis, as well as the semes analysis.

Research results

The analysis of the military vocabulary from the point of view of the lexical-and- semantic characteristics allows us to single out the following thematic groups.

1. "The name of hostilities and the ways of warfare":

boarding / aggression / aggressiveness / aggressive / aggressively, artillery preparation, attack / to attack / attacking / being attacked / attacker, to barricade / having barricaded / to barricade oneself / having barricade oneself, battle, / beat / fight, blockade / block / block / block, battle, battle / beat / fight, blockade / to blockade / having blockaded / who blocks / being blocking / blocked, combat, explosion / explosions / dangerously explosive / detonative / to detonate / explosiveness / explode / explode, explosion/ to fight / unleash / co-belligerent, war, to fight, shot, stationing/ dislocation / to dislocate/ to dislocate oneself / deploy / to relocate / relocate oneself / having relocated / relocation, interrogation / interrogation / being interrogated / to interrogate, conquest / aggressive / to try to get / conquer / to have conquered, to command / to give a command, to escort / escorting, maneuver/ maneuverable / to maneuver / having maneuvered / maneuvering / maneuverability, to mine / being mined / mining / to have mined / to having been mined / to demine / having been demined / demining, to attack / offensive /attacker, to have disarmed / to disarm / disarming / having been disarmed, firing / to fire /

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to have fired / to fired oneself / firing, operation / military operation / offensive operation / bypass operation / operational / to operate, defense / defensive / defensively / to defend / to have defended / to defend oneself / to have defended / self-defense, siege / siege /to besiege / to besiege oneself, undermining / detriments/ to undermine / to have undermined / to undermine oneself /to have undermined oneself /demolition, to retreat / retreat, conquer / to subjugate /subjugation, attack, reconnaissance /to reconnoiter / to have reconnoitered, to retire, hand-to- hand / hand-to-hand, surrender, signal / signaling / to signal / to have signaled /having been signaling / signaling / signaled, fight /to fight / having been fighting / to join battle, shooting / to shoot / to shoot oneself / shooting / to shoot off / to shoot off oneself/ shooting / to have shot off / having been shot off / to fire/ shoot out / to have finished firing /to wound by a shot /to shoot down / shooting down, signal / signaling / to signal / being signaled / having been signaled / having signaled / to signal oneself / signaling / signaled, clash, skirmish (go to ram) / to ram / having rammed / ramming, to kill / killing /murder / murderous / murderously / murderousness, storm/ assault /to assault / to assault oneself / assaulting /storming / low-flying air attack, etc.

For example, to a s s u m e the o f f e n s i v e in the meaning of “to start active actions in order to achieve a certain goal”:

“When the white dance began to play, Zinaida Lvovna got up and a s s u m e d the o f f e n s i v e ...” (Andrei Troitsky. A Blow from the Past (2000) [1*],

“My wife again tried to a s s u m e the o f f e n s i v e” (Dina Rubina. A few hasty words of love (2001) // Novy Mir, 2003) [1*].

The direction of the metaphorical transfer is: “To conduct active military operations, to assume the offensive => to actively act against somebody or something in order to achieve the desired results". In the given example, the metaphorical transfer is carried out on the basis of the common seme “active actions”. This seme serves to metaphorizing the other lexemes of this thematic group:

“She used the invitation – she defiled back and forth two times, shaking her hips. She stepped slowly, provoking an a t t a c k. Tired of idleness, Arslan, without hesitation, a t t a c k e d her. He started with r e c o n n a i s s a n c e in b a t t l e – he grabbed an indefatigable young lady by the shoulders and pulled her to him”(Marianna Bakonina. Nine grams of plasticity (2000) [1*],

“The s i e g e lasted for two weeks, Galya Brezhneva actively brought them together, buzzing her friend's ears ...” (Lyudmila Sidorova: Mystery of Vidova’s wife // Collection Caravan of Stories, July 07, 2017),

"... each woman, having noticed his slightly interested look, began such an a s s a u l t that Pavel Alexeevich hardly carried off his feet" (Lyudmila Ulitskaya. Kukotsky's case [Journey to the Seventh Side of the World] // New World, 2000) [1 *].

2. "The name of the place of conducting military operations":

airfield / aerodrome, barricade / barricades / barricaded, casemate / casemate, fortress, trench / trenched, front-line zone, belt road /belt, back /, rear, shelter, center of hostilities, etc.

For example, f o r t r e s s in the meaning of “that which serves as protection”:

“My home has ceased to be my f o r t r e s s. Lyana has been in charge here ” (Victoria Tokareva. Masters and Servants (2015) [1*],

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