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in-depth and many-sided study. [1, p. 147]. Tourist discourse is an interesting research material. E.V. Moshnyaga, V.A. Mityagina, O.R. Bondarenko, T.V. Demidova, U.A. Zharkova, N.V. Filatova, G.S. Atakyan, L.Yu. Govorunova, E.E. Menshikova, Yu.V. Slezko, Z.P. Pimenova and others have appealed to tourist discourse research within linguistic framework. Being an institutional discourse type, the tourist discourse combines elements of different discourse types, has a counterpoint character and reveals a wide range of genres.

Thus, the starting point is mainly a city tourism in different forms and proved variations [2]: cultural and informative; business; congress and exhibition; sport; event; medical; educational; intensive tourism; ecological; pilgrim, etc.

Tourism branch development caused the appearance of innovative travel forms: extreme tourism; country (suburban) tourism; shopping tourism; hobby tourism; food tourism; ornithological tourism; timeshare tourism; space tourism; commercial tourism; bicycle tourism, etc. [3]. Communication purposes of each mentioned tourism type are connected with modeling of tourists’ educational and behavioral strategies [4, p. 40].

Tourism types, technological development and demand for tourist services determine genre variety of tourist discourse. The width of tourist discourse genre range can be attributed to its heterogenic nature and connection with other types of institutional communication. It is possible to distinguish tourist genres itself and other discourses genres realization within the tourist one. One of the interesting research materials is an excursion discourse within tourist discourse being the main type of tourist services. After U.A. Zharkova, we define excursion discourse as the guide's professional discourse verbalized through the excursion texts of different genres. [5, p. 119].

The detailed genre classification is observed in papers of N.V. Filatova, F.L. Kositskaya, T.V. Demidova, where you can find the attempts to break up genres into categories according to communication form (verbal; verbal indirect; written; computer indirect) [6] and according to related discourse types (tourism; advertizing tourism; scientific; educational; legislative [7], historical, literature, architectural, religious [8].

Excursion discourse is one of characteristics of tourist discourse in general and cultural tourism particularly, as it contributes to development of ethno-cultural, cross-cultural and transcultural skills, a person’s cultural self-identification, widens cognitive borders and determines cultural values of "own" and/or "alien" culture more than other types of tourist communication[9]. We share N.N. Klementsova's point of view that cultural rules and regulations, formed in each culture, correlate to linguistic norms, which observance is represented in various discourses, in this case - in excursion one. [10, p. 104]. Excursion discourse is an important cultural indirect channel through which cultural significant values of "own"/"strange" culture are transmitted. As O.V. Horwat mentions, the largest part of our knowledge comes through texts, however the discourse activity of each independent person or a group stands after each text [11, p. 50]. Developing this idea, we believe that the excursion narrative in its different varieties, as the basic form of tourist practices, promotes to mental and person cultural enrichment.

Excursion discourse is presented by such verbal communication genres as: excursion, video excursion, video guide. Excursion, as a type of direct verbal communication, is the focus attention of many linguists: B.V. Emel’yanov, M.V. Kuznetsova, T.V. Demidova, L.E. Bahvalova,

U.A. Zharkova, A.D. Bogdanova, O.R. Bondarenko, thus we research discourse important characteristics of less studied genres of video excursion and video guide.

The excursions, presented in the Internet, can be divided into three groups: author’s – professional; author’s – amateur; ordered by agencies. The video excursions, made by a guide according to the order of a tourist agency or a TV company (Mikhail Zherbak – a professional guide, providing the author’s Moscow excursion program on “Culture” TV channel; Yana Klee – a guide of “Panorama B, Berlin” tourist agency) were selected as the research material [1*, 2*].

A video excursion is a prepared and video recorded excursion narrative – a monologue while presenting some sights. The situation determined factor is not important for video excur-

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sion. A video recorded excursion always has a planned character and “favorable” situation context without force-majeure circumstances, which make a guide use definite strategies of communicative behavior.

A potential listener is supposed to be a vast audience without any feedback and special pragmatic purposes for satisfaction of definite socio-determined demands. It should be mentioned that video excursion takes place with a participation of guide, who is visible or audible presented in the shot.

The guide appeals to paraverbal and nonverbal means, considering the communication format limited by definite verbal means, which help to implement phatic, affecting, advertising, gnosiological, entertaining functions as well as information and instructions distribution function.

One of effective methods to hold the listeners’ interest and attention is inclusion of and illustration from the documental memorials.

The structure of a video excursion as the usual “live” excursion includes introduction, body and conclusion. A guide addresses with brief greetings and gives a plan of excursion in the introduction:

«Здравствуйте, с Вами по-прежнему Михаил Жебрак. Как Вы думаете вклад какой нации в развитии нашего города самый большой?» [2*].

«Сегодня 4.11.2013 года. Мы находимся на станции Кропоткинская. Сегодня я решил пройтись по бульварам и посмотреть их достопримечательности. Если хотите, мы сделаем это вместе» [2*].

„Guten Tag. Herzlich willkommen zum Stadtrundgang Berlin`s historische Mitte. Ich bin Jana Klee von der Agentur „Panorama B“. Ich möchte Ihnen Berlins Geschichte anhand der Sehenswürdigkeiten präsentieren. Wir befinden uns im Nikolai-Viertel“[1*].

A body is an excursion narrative. According to A.S. Skobeltsyna, an excursion narrative is an important part of excursion, determined by the presentation. A narrative is a “nominal, conventional for excursion activity name of verbal part of excursion, all sum of messages and explanations, which a guide gives to a group…”; a form of verbal communication during the excursion [12, p. 217]. The body of the excursion text contains, as a rule, information about historical, architectural, regional historical, sociocultural excursion subject peculiarities. A guide falls back upon a range of professional and discourse significant and pragmatic reasonable strategies of excursion conduction while realization of its communicative program. Communicative behavior of video guide depends on the linguistic identity and frame conditions of situation determined context. The genre format includes limited abilities of full range of guide’s linguistic identity type realization, where a guide implements his primary functions of guide-storyteller with some elements of other roles.

The selection of linguistic means takes place within the framework of undertaken strategies of a guide. Analysis of papers on guide’s functional-communicative peculiarities within tourism discourse of U.A. Zharkova, L.E. Bahvalova, O.V. Bondarenko, T.V. Demidova allows to form the next list of communicative strategies:

Strategy of group interaction arrangement (informative directive),

Strategy of knowledge transmission (educational didactic),

Strategy of emotions transmission (emotive),

Strategy of compliment,

Strategy of entertainment,

Strategy of advertising,

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Strategy of stereotypes exploding,

Strategy of self-kidding,

Strategy of self-presentation.

The excursion communicative format significantly narrow the range of strategies. Verbalized strategies help identify guide’s type. In the analyzed material two types of guides are distinguished: a guide-informant in German excursion discourse, a guide-conductor in Russian discourse. We illustrate how guides implement discourse-determined strategies. The strategy of informing and knowledge transmission are fully realized in Russian and German language excursions due to transfer of maximum significant knowledge of the described object:

Das ist der Ort, an dem die Wurzeln der Stadt ruhen [1*].

Berlin entstand zusammen mit einer Schwesterstadt Cölln [1*].

Die Nikolaikirche entstand um 1230 zunächst als festungsartige Basilika [1*].

В Москве есть цепь из 10 бульваров. Мы на одном из них – Никитском, или как его называют – Бульварное кольцо. В старину на месте бульваров проходила стена одной из московских крепостей белого города – это было третье оборонительное сооружение после Кремля и Китая [2*].

Imperative mood constructions, rhetorical questions, personal pronouns are used in the excursion text to hold the potential excursionists’ attention and contact:

Смотрите, какая прекрасная старинная решетка. Посмотрите, вот характерный голландский франтон. Что это за здание? Давайте спустимся и посмотрим [2*].

Wenn Sie sich herum schauen, sehen Sie sich harte Kontraste…[1*].

Strategies of advertising, stereotypes exploding, entertaining are implemented to achieve aesthetic and advertising functions, thus usage of quite a wide range of linguistic means in texts of Russian language excursions can be observed. The author resorts to using epithets and affective vocabulary to make the statement more figurative and expressive:

Львов поставили 1912 вместе с печальным Гоголем, а львы то не грустные, им же не вопрошать, «куда ты несешься, Русь» - вот и лежат себе с довольными мордами. Дореволюционных львов не тронули – весь прайд на месте (о памятнике) [2*].

Москва – это всегда винегрет стилей и эпох. Она украшена разновременными зданиями [2*].

У нас чай не Италия. Мы живем не в нафталине [2*].

Многим москвичам грустный Гоголь не нравился, раздражал он и руководителя государства тов. Сталина [2*].

German language excursion yields to the Russian language one by its emotionality and expressiveness degree. The author only sometimes uses adjectives with positive coloring for illustration of historically valued objects.

Sie war ein Beispiel für die florierende Backbausteinkunst…[1*].

Comparisons are used to show the significance of the sights, historic realias and personalias are incorporated to the text.

Посмотрите, вот это не перестроенное типовое здание гостиницы конца 18 века работы архитектора Стасова [2*].

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Именно в этом храме венчались А. Пушкин и Наталья Гончаров [2*]. Пушкин любил этот бульвар, он часто приезжал сюда [2*].

Unter der Leitung des Architekten Günter Stahn entstand 1979 eine weitere Nachschöpfung des historischen Berlins [1*].

1987 gilt den meisten Berlinern dieses Viertel als 'Erich Honeckers Disneyland [1*].

Archive documents and photos are often used during video excursions for visual demonstration of the excursion objects historic colour. At that, a guide usually focuses on these objects to attract attention of potential recipients.

Die großen Teile der Nikolaikirche sind während des zweiten Weltkrieges stark zerstört worden, wie die folgenden historischen Aufnahmen zeigen [1*].

The German-language text is full of historic facts, dates in chronological order.

Die Nikolaikirche entstand um 1230…[1*].

Als 1955 am Rand des Berliner Tiergartens die Abrissbagger anrückten, um das im Zweiten Weltkrieg stark beschädigte Hansaviertel zu beseitigen…[1*].

Zwischen 1994 und 2004 verwandelte sich die "größte Baustelle Europas" in den neuen

Potsdamer Platz [1*].

Precedent names and statements are often used in Russian-language texts:

Шел трамвай 10 номер по Бульварному кольцу. В нем сидело и стояло 115 человек. Пионеру Николаю ехать очень хорошо. «Помните эти строчки? Пионер Николай ехал сюда на каток [2*].

The Russian-language guide uses culture-specific information for the illustration of cultural concepts.

В то время бытовала шутка: «все москвичи гуляют вдоль бульвара и только оберполицмейстер имеет счастье гулять поперек» [2*].

Все знают символ советской эпохи – салат «Оливье», его придумал француз Люсьен Оливье и мы идем к его ресторану «Эрмитаж» [2*].

А вообще-то москвичи очень любят Чистопрудный бульвар. Чистопрудный снялся уже в десятках фильмов [2*].

The strategy of self-presentation is implemented implicitly in the video excursion. The guide avoids the direct references to his professional and personal characteristics, only with particular phrases we can form our impression about his ethnic and cultural background, his professional experience:

Раньше в советское время в этом доме был кинотеатр повторного фильма, я смотрел там старое хорошее кино [2*].

Еще здесь назначали свидание, правда я сам по аллеям с девушками не гулял, предпочитал покорять их знанием проходных дворов и тупичков [2*].

This strategy realization was not observed during the analysis of German language excursion texts.

Excursion conclusion has a brief standard form where the guide says goodbye to the audience, expresses his wishes, invites to see the next releases or visit the tourist agency web-site:

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Вот у этой красивой арки в конце Гоголевского бульвара мы закончим нашу прогулку. До встречи через неделю, но уже в другой Москве [2*].

An dieser Stelle möchte ich mich von Ihnen verabschieden. Ich hoffe, dass Ihnen das Programm gefallen hat. Vielleicht haben wir Ihr Interesse an weiteren Angeboten geweckt, besuchen Sie uns bitte unter www.panorama.b [1*].

We are coming to analysis of the second type of verbal indirect communication within the framework of excursion discourse – a video guide [3*, 4*]. A video guide is an indirect type of verbal communication where a guide is absent, but sounds a voice-over of announcer, who is reading the text of sights video showing.

A video guide has a standard structure: introduction, body, conclusion. An introduction contains verbal and non-verbal components. As a rule, a text starts from the general information about a city/place/sight and is accompanied by changing of photo/video shots, which give full conception about the forthcoming show.

Es ist die Stadt der vielen Städte. Eine Metropole nach der ständigen Such nach sich selbst. Willkommen in eine Stadt, in der alles möglich scheint. Berlin“. Eine Stadt der Kulturen. Skulpturen und früher auch Diktaturen [3*].

„Вот уже много веков бьется сердце Москвы – святая святых государства российского. Отсюда, с Боровицкого холма началась история Третьего Рима – Москвы священного города России» [4*].

The absence of the guide undoubtedly reduces the degree of the text affection, deprives it of an identity-oriented factor and special verbal figurative means. Though in this case the additional affective factor is a so-called music code – the background music, which determines the mood and text perception. The excursion discourse practice is implemented in the text, as well as in the case of other types of excursion, due to institutionalization of genre-determined strategies. Strategy of knowledge transmission:

Слева от Спасской башни на Кремлевской стене находится небольшая царская башня. По приданию с нее Иван Грозный наблюдал за казньнями, которые совершались на Васильевском спуске [4*].

Арбат впервые встречается в летописи 1493 года [4*].

Die kolossale Kuppel misst 40 Meter im Durchmesser, 23,5 Meter in der Höhe und wiegt stolze 800 Tonnen. Sie ermöglicht den Besuchern wahrhaften Blick in das Parlamentsgeschehen oder Ausblicke auf das neue Regierungsviertel [3*].

Strategies of dismantling stereotypes, advertising, entertainment:

Der Publikumsmagnet in seiner Nähe ist das geschichtsträchtige Reichstagsgebäude [3*].

Dieses attraktive Bauwerk wird im Volksmund liebevoll als Kanzlerwaschmaschine genannt [3*].

Die Siegessäule wird von den Berlinern als „Goldelse“ verehrt [3*].

На сегодняшнее время Большой театр остается лучшим театром России, на его сцене выступали Галина Уланова, Майя Плисецкая. Театр славится постановками и актерами. [4*].

Российская библиотека – одна из самых крупных в мире [4*].

Отсюда пошла известная московская поговорка «От копеечной свечи Москва сгоре-

ла» [4*].

Тверская запестрела красочными вывесками самых шикарных магазинов [4*].

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A conclusion is expressed rather implicit in video-guides, the excursion narrative goes to its logical end without using any additional verbal means, in some cases shots/pictures, illustrating the main excursion parts, are often proposed to a viewer at the end of the video in the range of cases; in the conclusion the voiceover emphasizes again the advantages of the city/museum, sight and invites to visit this place again in the range of cases.

Summarizing our arguments, the following conclusions can be done: the uniting component of any type excursion is an excursion narrative as a text verification of tourism discourse. Excursion narrative has a definite structure: introduction, body, and conclusion. However the realization of communicative action strategies in each definite excursion type is different, that is caused by its pragmatic and formal factors and differently verified by verbal and nonverbal means.

In spite of some similarity of intratextual conventions (usage of tourist vocabulary, text arrangement peculiarities, information intensity of the text, etc), the analyzed varieties of excursion reveal some differences:

1.Presence of a guide in the shot makes the narration alive and helps to come into contact with potential excursionists. In spite of solely monologue form of narration, the Russianspeaking guide, comparing with the German-speaking one, managed to merge the audience into the feeling of “live” excursion with the help of special verbal and nonverbal means. It is explained mostly by the guide’s language personality type.

2.The language personality of the guide includes the guide’s mobility in the excursion space and realization of linguoand sociocommunicative program of his behavior. So, the guide does not limit himself to knowledge transmission, but also gives additional value-significant information, entertains the audience, arouses interest to the excursion objects, using a wide range of linguistic means. The language personality of a “guide-informant” in its communicative program is limited by transfer of main historic and culture significant information, operates with just outline of facts, figures, bolstering the text with pictures of documentary memorials.

3.A video-guide in contrast to a video-excursion, where a guide’s movement changes with video and photo insert, is a purely media product, which has one communicative channel. Success of a video-guide communicative effect mostly depends on the quality and creativity of used nonverbal and paraverbal means, which help hold attention of the audience and set the general emotive pace of excursion.

Bibliographic list

1.Moshnjaga E.V. Konceptosfera mezhdunarodnogo turizma v kontekste mezhkul'tur-noj kommunikacii.// Znanie. Ponimanie. Umenie. 2008. №4. S 146-151.

2.Artjomova E.N., Kozlova V.A. Osnovy gostepriimstva i turizma, URL: http://tourlib.net/books_tourism/artemova7.htm (vremja obrashhenija – 15.01.2015).

3.Netradicionnye vidy turizma, URL: http://bibliofond.ru/view.aspx?id=48032 (vre-mja obrashhenija – 07.09.2015).

4.Novikova Je.Ju. Jekskursionnoe obsluzhivanie kak ob#ekt professional'noj perevodcheskoj dejatel'nosti v ramkah turisticheskogo diskursa, URL: http://bonjour.sgu.ru/sites/default/files/08_novikova.pdf (vremja obrashhenija – 1.02.2015).

5.Zharkova U.A. Professional'naja jazykovaja lichnost' jekskursovoda: diskursivnyj aspekt //Lingvisticheskie aspekty issledovanija identichnosti lichnosti v izmenjajushhemsja mire: kollektivnaja monografija. - Cheljabinsk: Jenciklopedija, 2012. S. 109-132.2.

6.Filatova N.V. Diskurs sfery turizma v pragmaticheskom i lingvisticheskom as-pektah, URL: http: //www.linguanet.ru/science/ dissD/dissD6/D6-2014/ Filatova %20N.V. /Filatova %20 N. V-Kd.pdf (vremja obrashhenija – 11.01.2015)

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7.Kosickaja F.L. Zhanrovaja palitra francuzskogo turisticheskogo diskursa, URL: http://cyberleninka.ru/article/n/zhanrovaya-palitra-frantsuzskogo-turisticheskogo-diskursa (vremja obrashhenija – 10.01.2015).

8.Demidova T.V. Fenomen interdiskursivnosti jekskursionnyh tekstov (opyt lingvokognitivnogo analiza testov jekskursij po Nizhnemu Novgorodu i Nizhegorodskoj oblasti), URL: http://cheloveknauka.com/v/45819/a?#?page=11(vremja obrashhenija – 5.02.2015).

9.Fomina Z.E. Vezhlivost' v prostranstve nemeckoj digital'noj kommunikacii (na primere jazyka Interneta) / Z.E. Fomina // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2013. – Vyp. 2 (20). – S. 43-56.

10.Klemencova N.N. Sootnoshenie jazyka i kul'tury: strukturno-funkcional'nyj podhod /

N.N. Klemencova // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovre-mennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2012. – vyp. 2 (18). – S. 104.

11.Horvat O.V. Kognitivno-metaforicheskaja reprezentacija realij sovremennogo mira, ob#ektiviruemyh v politicheskih, jekonomicheskih i kul'turnyh konceptah nemec-kogo gazetnopublicisticheskogo diskursa/ O.V. Horvat // Nauchnyj vestnik Voronezh. gos. arh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovanija. – 2014. – vyp. 1 (21). – S. 45-56.

12.Skobel'cina A.S. Osobennosti kommunikacii na jekskursii (istoricheskij as-pekt) [Tekst] / A. S. Skobel'cina // Social'nye kommunikacii i jevoljucii obshhestv : sb. st. II Mezhdunar. nauch.-prakt. konf. / pod red. G. B. Parshukovoj; Novosib. gos. teh. un-t. – Novosibirsk: Idz-vo NGTU, 2010. – S. 216-220.

Analyzed sources

1 *.Stadtführung Berlin, URL: http://www.youtube.com/watch?v=glLvye2URKc (vremja obrashhenija – 10.01.2015).

2 *. Peshkom Moskva bul'varnaja, URL: ttp://www.youtube.com/watch?v=oOYTmV5hIS0 (vremja obrashhenija – 11.01.2015)

3 *. BERLIN - Teil 1 "Brandenburger Tor - Reichstag - Potsdamer Platz" Sightseeing Berlin – Tour, URL: http://www.youtube.com/watch?v=t6R0m1xrODI (vremja obrashhenija – 12.01.2015).

4 *.Videoputevoditel' po Moskve, URL: http://www.youtube.com/watch?v=RCCvtMpxn9s. (vremja obrashhenija – 13.01.2015).

90

INTERCULTURAL COMMUNICATION

UDC 802.0-3 : 378.022

Voronezh State University of Architecture and Civil Engineering,

Ph.D. in Philology, Associate Professor of

Foreign Languages Department,

Building-and-Technology Institute Irina Victorovna Guyduk

e-mail: irene.123@mail.ru

I.V. Guyduk

PRECEDENT NAMES AND THEIR DERIVATIVES

IN THE RUSSIAN AND AMERICAN MEDIA DISCOURSE

This article discusses the specifics of the operation of precedent names (PNs) and their derivatives (anthroponymic derivatives or ADs) in the Russian and American media discourse. The peculiarity of the interpretation of precedent names in the texts of the media is to appeal to them as possibly reduced and minimized, with a distinguished dominant trait or a fairly limited set of dominant traits due to the orientation of media materials for the general reader. The groups of PNs are analyzed, which served as the basis for the process of transanthroponymization. Examples of precedent names that have acquired nominal value and are used in the plural form are given. It is established that according to their ability to express assessment anthroponymic derivatives are divided into implicit and explicit. Both explicit and implicit anthroponymic derivatives help the authors of media materials in the creation of certain pragmatic attitudes among readers and, thus, may be included in the arsenal of lexical means that provide pragmatic impact on the reader.

Keywords: a precedent name (PN), a national precedent name, a universal precedent name, the concept of a precedent name, transanthroponymization, an anthroponymic derivative (AD), implicit evaluation, explicit evaluation.

Anthroponyms form the mosaic of the era, there is a picture of the world, events and people, their actions, and evaluation of these actions behind them. In this article, we intend to trace the tendencies of functioning of a special type of anthroponyms, precedent names (hereinafter PNs) and anthroponymic derivatives (ADs) in the Russian and American media discourse at the present stage regarding the examples from the Russian and American press (the Russian sources are Arguments of the Week (2015), Komsomolskaya Pravda (2015), Arguments and Facts (2015), Arguments and Facts, The Black Earth Region (2015), the American on-line sources are The Washington Post (2015), The USA Today (2015), The New York Times (2015), The Wall Street Journal (2015)).

Among the most significant features of the modern mass communication should be noted such as intertextuality, imagery, a focus on the language game and emotional impact on the recipient. Precedent phenomena are directly related to each of these properties, but they are particularly closely intersect with intertextuality and imagery [1]. From this perspective, it is understandable that media texts give many examples of appeal to PNs [2].

A PN is “an individual name associated with a well-known text, as a rule generally related to precedent (e.g., Pechorin, Terkin) or to a precedent situation (such as Ivan Susanin); it is a kind of a complex sign, which when used in the communication the appeal is made not properly

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© Guyduk I.V., 2015

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to a denotatum but to a set of distinctive features of a PN; it may consist of one (Lomonosov) or more elements” [3, p.83].

A PN is introduced into the context of media materials for the implementation of a colorful comparison, in order to emphasize a particular quality, a character trait, abilities, political views of a referent and so on. In this situation a dominant trait of a precedent name or a fairly limited set of dominant traits is distinguished, the other distinctive features are discarded as insignificant, namely, Don Juan and Casanova are considered to be conquerors of ladies’ hearts, the names of Romeo and Juliet are associated with romantic feelings, Don Quixote is known as a selfless fighter for justice. A special feature in the treatment of a PN in media texts is to appeal to it as much as possibly reduced and minimized notion, as media materials are aimed at the general reader [2].

In order to make the motive of the PN selection by an author of the material clear to readers, communicants should possess some knowledge of the cultural background. In addition, “a name may relate to a real and an unreal carrier, thus getting specific background characteristics which are often restricted by the national culture” [4, p.214]. Actually, “the phenomenon of a name being precedent is based on the general background knowledge of the sender and the recipient – social, cultural or linguistic” [2].

In the modern mass media the metaphorical usage of personal names to refer to a man in a figurative sense who is more or less similar to a “legitimate” carrier of a corresponding anthroponym is widespread. This method allows drawing parallels between the activities, views, personal qualities of the corresponding actors involved in political or other activity, to express the author’s attitude to these people and to have emotional impact on the recipient of the text [1].

The transposition of a PN from one person to another, or TRANSANTHROPONYMIZATION, is a widely used device in the media when the transfer of personal or family names, as well as full anthroponyms from one individual to another within the same class of onims is fulfilled. An indispensable condition for the successful implementation of transanthroponymization is a famous bearer of a name, its precedent nature, i.e. nationally determined minimized idea of a name of a person, including its distinctive features, attributes and evaluation [5, p.63].

PNs as units of the language and speech are the representants of precedent concepts – mental-verbal units which are used to represent, categorize, conceptualize and assess the validity of the composition of the world picture and its fragments.

For the modern mass communication it is characteristic to appeal to both the nationallyprecedent names (known to all members of a particular cultural and linguistic community), and the universally-precedent names included in the universal cognitive space [6]. As the analysis shows the body of PNs is heterogeneous, it includes the names of historical figures, famous people of the past and present, the heroes of literary works, biblical characters and the folklore names. PNs as precedent phenomena are “major (nuclear) elements of the cognitive base, which is perceived as a complex of knowledge and representations of all the speakers of this language” [3, p.82]. What kind of precedent concepts do certain PNs represent (in other words, what dominant meanings of PNs are realized) in a particular case of their contextual usage in media materials? To answer this question, we’ll turn to the analysis of examples.

The most numerous group consists of PNs of famous people of the past and present.

Let’s refer to their consideration.

1. PRECEDENT NAMES OF FAMOUS PEOPLE OF THE PAST AND PRESENT.

For example, a sculptor Konenkov is presented as Russian Rodin. The analysis of the concept reveals the following dominant meanings → “an innovator in sculpture, the works of whom cause a mixed reaction in the society” (in the text of the article there is a reference to the destruction of his sculpture (Samson) due to political censorship):

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In the life of the People’s Artist of the USSR, the Hero of Socialist Labor, Lenin Prize laureate Sergey Konenkov there were a lot of mysteries. And many mysteries are still unsolved. At the beginning of the last century he was called Russian Rodin. Before the 1905 revolution Konenkov carved the sculpture “Samson Tearing the Bonds”. The authorities have seen in the biblical character an allusion to the proletariat – the poor Samson was destroyed [1*].

Lev Dodin is called “Stanislavsky of the Modernity”, in this case there is an actualization of the precedent concept “a legendary theater-director, the reformer of the theater”:

Lev Dodin is regarded to be the legendary theatre-director. He is the owner of more than three dozen prestigious theatrical awards, he runs St. Petersburg’s Maly Drama Theater of Europe, which is a welcome guest of festivals around the world. To Platonovfest Dodin came with a sensational performance of “The Enemy of the People” based on the play of

Henrik Ibsen.

-You are called Stanislavsky of the Modernity, how do you react to it?

-It is necessary to learn Stanislavsky’s reaction to it! - the master grinned [2*].

The dominant feature of the PN Leonardo relevant for the comparison with the referent

(Lomonosov) is the brilliant genius of Leonardo da Vinci in different spheres of the human activity, there is no such indication in the text of the material, in this case it is necessary to appeal to the background knowledge of the reader (the great Russian scientist Mikhail Lomonosov →

“Russian Leonardo”):

These are common opinions of Lomonosov. And this is the real “Russian Leonardo” who is himself “our first University” [3*].

Juna (a famous Russian clairvoyant with the Assyrian roots) is presented in an electronic resource as “our Vanga” or “Russian Vanga with the Assyrian Accent”, with the following meaning actualized → “a soothsayer, clairvoyant, prophecies of whom came true”:

Juna the Powerful, just so and not otherwise. Many believe that this woman sees the future, so they also call her “our Vanga”. A mediator between heaven and earth, she has lived as a hermit for 13 long years to make a revelation. Russian Vanga with the Assyrian Accent is a patriot to the backbone. Until now, all the prophecies of Juna have come true [4*].

We have found an unexpected parallel between the recent events in the south-east Ukraine and the Texas War Chronicle (1835-1836) in the Russian press, when the names of the heroes of the war for independence in Donbass, having shown remarkable courage and military capabilities (Girkin, Zakharchenko, Tsarev, “Motorola”) serve as PNs, thus realizing the precedent concept “the heroes of the liberation war”:

We will not delve into the chronicle of “the Texas War (1835-1836)”. We’ll say only one thing: it had its own Girkins, Zakharchenkos, Tsarevs and “Motorolas”, but their names were Sam Houston, Mirabeau Lamar, Stephen Austin, Thomas Rusk, William Travis and others. Cities and universities in Texas currently bear these names [5*].

The name and surname of one of the most effective US Vice Presidents (Dick Cheney) becomes a PN in the following example in order to emphasize the “political weight” and the im-

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