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definitions could not identify, describe, and incorporate the asa:dha:raNa ka:raNa into the definition systemically.

In the case of pari:ksha, a number of scholars tried their best to examine the properties of proverbs and define the proverb. However, their attempts were not based on rigorous scientific principles.

3. 1. 2. Classification of Proverb Characteristics.

Based on an understanding of the properties of proverbs, we can divide them into essential, secondary, and uncommon characteristics as follows:

1.essential (or primary) characteristics are those that are universally present among all the members of the species and which can equally be present either as secondary or essential characteristics among the members of a different species. Frozen textuality, cultural confirmation, and pro-cat (prototype-categorial) instantiation are the three important essential characteristics of a proverb in addition to the illocutionary function in its usage as the fourth property. For example, idioms are culturally frozen texts but they are not proverbs.

2.secondary characteristics are those that are present in some but not all the members of the species, and which can equally be present in members of other species. For example, rhyme, alliteration, affixation, balance, parallelism, affirmation, denegation, compounding, etc. can be present in proverbs as secondary characteristics, and

3.the uncommon characteristic as explained above.

In addition, the asa:dha:raNa ka:raNa can be arrived at in three different ways as fol-

lows.

3. 2. Types of Lakshana.

1. The asa:dha:raNa ka:raNa can be arrived at as: 1. the vyavrutti LakshaNa by neti neti ‘not this, not this’ process of elimination; 2. the tatastha LakshaNa by realizing it as the unchanging basis of the changing objects; and 3. the svaru:pa lakshaNa by realizing the direct feature or the inherent features.

In the case of proverbs, such type of an analysis has to be conducted to arrive at a comprehensive understanding of the uncommon characteristic of proverbs. It demands a much more rigorous enquiry into the nature of formation of objects and actions as discussed in the next sub-section.

3. 3. Types of Asa:Dha:Rana Ka:Rana.

From an observation of the nature of objects and actions, we find that the uncommon characteristic of objects and actions can be structural (formal), functional, cognitive, and ka:rmik.

a) Structural Uncommon Characteristics.

A structural uncommon characteristic is a structural property. For example, a powder is a substance (object) whose uncommon characteristic is its unique ‘powderiness’ – this is a structural property.

b) Functional Uncommon Characteristic.

A functional uncommon characteristic is a functional property. For example, a bed is an object whose uncommon characteristic is its unique function of providing the facility for lying down for taking rest. Here, the structure can be variable – round, rectangular, high, low, etc. – but the function is constant.

c) Co – Functional and Structural Uncommon characteristic of the proverb.

A co – functional and structural uncommon characteristic is one in which both functional and structural properties co-occur together to constitute the uncommon characteristic. For example, a television is an object in which the structure of a screen and the electronic

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equipment are the structural properties and relaying audiovisual signals from a relay station is the functional property. Both these properties have to be combined together to form the uncommon characteristic.

d) Cognitive Uncommon Characteristic of the proverb.

Impressional (internalized habitual) cognition of an action or an object alters the perception of that phenomenon. Here, the structure by itself and the normal function associated with it by virtue of its structure have no meaning by themselves. For example, a deity in Hinduism is so because of the impressional cognition of the members in a culture. Without that cultural cognition, the uncommon characteristic cannot be found. The Goddess Sarasvathi is the Goddess Sarasvathi by virtue of cognizing the vi:Na (stringed instrument) in two of her four hands, a rosary and Ve:das in the other two hands and the padmasana on a white lotus as the structural uncommon characteristics of Goddess Sarasvathi Ma:ta. If it were not for that, the deity would be a sculpture or photograph of a woman.

e) Pragmatic Uncommon Characteristic.

A pragmatic uncommon characteristic is one in which the members of a society confer a particular function to an object, by a process of selection (and election). For example, a husband is one who is selected to perform the function of being a husband to a women and conferred ‘husbandship’ through an act, a ritual etc. An M.P. (Member of Parliament) / P.M

(Prime Minister) is another example. Unless they are selected and elected (re – selected) and further have taken the oath, they will not become so. Again, they have to function in that capacity to be so. One more example is that of a father-in law. Here, a person (male) must have produced a female and performed another action of marrying her to a male. All these functions can range from one to many, as in the case of a grandfather, etc.

f) A Ka:rmik Uncommon Characteristic.

A ka:rmik uncommon characteristic is one in which an object or an action which is a patterned structure in a dispositionally cognized meaning exists or performs a function for the experience of pain and pleasure within time, space and matter. All material action performed by humans or any other sentient creature is ka:rmik, for example, the making of a powder, a bed, and a television; an administrative post, a law, and a social norm; an ideology, a technological process and a deity. In a ka:rmik perspective, in a bottom-up process, first, every action will have a structure which embodies a pattern which embodies a process/a concept; second, it embodies a function which embodies a dispositional cognition of meaning of the action as this and that to be so and so in such and such manner in its variety- range-depth; third, it embodies a desire which is a product of svabha:vam; and finally this svabha:vam is obtained as a product of karma (action) for the experience of pain and pleasure by humans, in fact, any sentient creature.

(2) Structure – Pattern – Process – Function – Cognition – Desire – Svabha:vam

– Karma

The uncommon characteristic of language is a ka:rmik characteristic. It is a dispositional cognitional representational action of action in time, space and matter. Its highest function is to function as a resource for the construction of ka:rmik reality which is realized as

The uncommon characteristic of a proverb as language in a generic mode is a dispositional cognitional prototypical representational action of categorial action in a culturally frozen text. To put it in other words, a patterned structure (ie, a frozen text) as a dispositionally

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

cognized meaning (i.e., the prototypical meaning via the referential meaning as the contextual meaning) is used as a prototypical illocution to instantiate a categorial action over a setting for projected view of life (to experience pain and pleasure as the karmaphalam).

As can be seen from the above explanation, proverbs have a structure (a frozen text) performing a function (pro-cat instantiation) through a pragmatic, and dispositional cognitional action of action. As such, they can be defined as follows in a unified theory where form, function and meaning are interrelated, inter-connected, and interdependent (I-I-I) in a huge mind boggling network of ka:rmik options of action and reaction:“A proverb is a culturally confirmed frozen text of a prototypical practice used as an illocution over a categorial action in a setting for a projected view of life” or “a culturally confirmed frozen prototypical illocution (as a text)”.

A detailed analysis of the so-called unusual characteristics of proverbs, using the above concepts will be presented in the following research of prof. B. Chilukuri, the publication of which is provided in the same series of Scientific Newsletter (in early 2016).

Biblographic list

1.Mieder, Wolfgang. 2004. Proverbs A Handbook. London: Greenwood Press.

2.Mieder, Wolfgang. 1993. “Popular views of the Proverb”. In Proverbs are Never out of Season. (Ed.) Wolfgang Mieder. New York: Oxford University Press.

3.Bhuvaneswar, Chilukuri (No date). “Bhuvaneswar Chilukuri on Scribd”. www.Scribd.com/bhuvanesvar.

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UDC 830:003

Voronezh State University

of Architecture and Civil Engineering,

Doctor in Philology,

Professor, Head of the Foreign

Languages Department

Zinaida Yevgenjevna Fomina

e-mail: FominaSinaida@gmail.com

Z.Ye. Fomina

SEMIOTICS "WIND-MISTRAL" AS METAPHORICAL SYMBOL OF MIND AND SPIRIT OF MAN (BASED ON "THE GAY SCIENCE" BY FR. NIETZSCHE)

The article analyzes the poetic text by Friedrich Nietzsche "To the Mistral" preceding the writing of "The Gay Science". The focus of the research is on 12 conceptual-and-compositional fragments correlating with the two fundamental epistemes: "Wind-Mistral" and "Man", which are analyzed in the interaction with the mental-and-gnosiological constructs of "Art", "Mind", "Spirit", "The Gay Science". It was found that the phenomenon "Wind", which serves as a metaphorical symbol of the human Mind/Spirit is identified with freedom, light, mind, movement and is endowed with the ability to control nature. The human mind, according to Nietzsche, - is "the spirit of all the free spirits."The ontological dyad "Will" and "Freedom" predetermine all the actions of a free artist-creator, whose true purpose is - "the fight against darkness".

Keywords: Fr. Nietzsche, "To the Mistral", "The Gay Science", episteme, "Wind", " Man," "Mind," Spirit ", semiotics, gestalt, metaphor, partcellats, metaphorical landscape.

In the world culture Friedrich Nietzsche is known not only as a great thinker, a philosopher, but also as a great composer, a poet. The interest in Nietzsche as a poet-thinker is due primarily to his rich, vivid and unique language. "The enchanting beauty of the language, which still captivates ... even where the content goes into the mysterious allusions, into the symbolism full of forebodings, which ... allows a twilight sinking in the uncertainty, an aphoristic form of presentation ...permitting the reader to decide himself as he can ... afford himself to enjoy amazing fantasies, brilliant formulations, good comparisons and paradoxical combinations " [1]. Andrew Belyi calls Nietzsche the "most exquisite stylist", who uses all the means of his influence to inspire us with this or that value, - here with science, here with metaphysics, there – with a sweet, sweet song of his. He is a symbolist, a preacher of a new life. What caused him to be Friedrich Nietzsche, a preacher of new values was not at all a motley amalgam of poetry, metaphysics and science [2].

The researchers stress that in Nietzsche it is difficult to separate the philosopher and poet, as at analyzing his works these two concepts appear to be identical. The explanation of this identity, as E.V. Leibel notes, lies in the very nature of Nietzsche's philosophic thought where philosophy and poetry are inseparable. "Nietzsche`s creative principles were truly innovative and did not have analogues in the era modern to him" [3]. According to E.V. Leibel, the best Nietzsche`s poems were created during the period when his technique of aphoristic writing had been finally developed.

__________________

© Fomina Z.Ye., 2015

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

These poems were written concurrently with the book "Dawn" and "The Gay Science", whose poetic frame there became the cycles "Joke, Cunning and Revenge" and "Songs of

Prince Fogelfri." For Nietzsche “The Dionysian Praises” - the pick of the poetic works of Friedrich Nietzsche [3].

According to E.V. Leibel, in Nietzsche`s poetic works the synthesis of Dionysian and Apollonian bases is traced. The Dionysian basis in art is close to Friedrich Nietzsche himself. The Dionysian art is "the enjoyment of man by himself, as by perfection [3].

In terms of understanding "The Gay Science", as one of the fundamental works of Nietzsche, consisting of 5 separate books published in 1881-1882, of great interest is the poem preluding it. Despite the deep symbolic meanings of the poem "To the Mistral" and its great significance for the understanding of the whole work of “The Gay Science”, it has not been the object of special consideration. In this connection, it is important for us to fill this gap and to share some research observations concerning conceptual-and-metaphorical analysis of this poetic text. It should be noted that the poem "To the Mistral", in our opinion, can be regarded as a kind of poetic overture, an introduction to the basic Nietzsche's philosophical works "The Gay Science". It acts as a peculiar kind of meta-text, text-commentary, textex- planation of this fundamental work of Nietzsche. It is from this small volume, but deep and capacious contents of the poetic text that the plan of the whole work of "The Gay Science" is revealed.

Nietzsche`s appeal to the mistral is not accidental. Mistral (fr. Mistral) is «a cold north-west wind, which is formed at the meeting of Atlantic anticyclone and north-sea cyclone [...].The wind often is so strong that uproots trees "[4].

Nietzsche identifies himself with the mistral, projecting his inner world, his inner essence on the main characteristics and specific nature of this type of wind.

In its ontology the poem “To the Mistral” can be regarded as one of the linguosemiotic means serving to Nietzsche as a way of explication of the essence of MIND and its destination, being put on the Gestalt image of the “MISTRAL” and depicted by him in perpetual motion. The ontological and external nature of WIND is metaphorically depicted and visualized in dance. DANCE is represented as a form of the existence of motion of the WINDMISTRAL, being, according to Nietzsche, a manifestator of the human spirit, of the human mind. Semiotics of dance, the idea of dance go back to the Dionysian beginning which, according to Nietzsche, “explodes, destroys the world of the spatial-and-temporary forms, erases the arranged borders of images. It manifests itself in music and dance. This is the world of a collective action, violent excitement, intoxication (Rausch)” [3].

All that Nietzsche wanted to say about the mind, about its strength, power, predestination, the role in the arrangement of the human world order, its enormous potential and opportunities, and the like, he expressed in the description of the WIND-MISTRAL, thus serving inherently a prototype of Mind and Spirit of man.

The purpose of the article is to define the specific character of forming gestalt image of “the Wind-mistral," as a metaphorical symbol of the human mind and human spirit on the basis of semantic-and-cognitive and metaphorical analysis of the dominant epistemes of the poetic text “To the Mistral”.

The study suggests the explanation of some basic ideas and terms, which will be used in this article. As follows from the very title of the work, it is necessary to explain the terms

“semiotics” (semiotical meanings), symbol, metaphor, episteme, Gestalt, etc.

The concept of semiotics is understood in the classical tradition, i.e. as the science of signs and sign systems. In this research all the three levels of studying language as a sign system: syntactics, semantics and pragmatics are important. [5]

As for episteme, in our study we use its definition given by Michel Foucault “as dis- course-formation that defines the way in which the world is presented or “seen”. In this sense this term has a similarity with the notions of paradigm and problems” [6].

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Gestalt (German Gestalt - shape, image, structure) is a spatial-and- visual form of perceived objects whose essential properties can not be understood by summing up the properties of their parts. “Actually Gestalt is a functional structure, ordering the diversity of individual phenomena” [7].

Concepts “Linguistic sign”, “Meaning”, “Sense,”“Symbol”are closely connected with the concept of semiotics. Following G. Frege, who singled out three essences: meaning, the sense of the name, including the ability of the name in certain circumstances to express the concept, i.e. the ability to qualify the name, we focus on the analysis of meanings, i.e. on the ways of representing and designing the object in the name itself. In this connection, of great importance is Frege`s thesis (in the context of his famous “theory of meaning”) that “the names denoting the same thing, i.e. having the same meaning, can express different meanings” [8].

With the above terms correlates the concept "Symbol" (from the Greek Σύμβολον)) understood as a sign, an image of an object or animal to indicate the quality of the object [9]. It is important to bear in mind that the notion of symbol closely comes into contact with such categories as an artistic image, allegory and comparison. A.F. Losev defined symbol as "substantial identity of an idea and thing." Each symbol embodies, according to A.F. Losev, the image, but is not limited to it, as it implies the presence of a certain sense, inseparably fused with the image, but it is not identical with it. The image and the meaning form the two elements of the symbol inconceivable without each other. Therefore, the symbols exist as characters (but not things) only within the interpretations [9].

Finally, the symbols are associated with metaphors. The researchers come from the fact that “metaphors consist of a set of interrelated components, called symbols”. Man, according to US researchers, can use several different metaphors to describe the aspects of his experiences. How symbols interact in the metaphor, in the same way all these metaphors interact. “They can support each other or contradict each other, but, however, they are connected, they will agree in the broader context, which is called a metaphorical landscape.

Symbol is a part of the metaphor, and the sum of all the symbols and metaphorical perceptions used by this or that man is their metaphorical landscape [10].

The choice of wind as a gestalt of human mind, as some complex integral structure is not accidental. As is known, wind is an incessant movement. Wind - is the movement of air masses due to their uneven heating and differences in atmospheric pressure on different parts of the Earth's surface [11].

In the poetic Nietzsche`s text "To the Mistral" wind is to symbolize continuous development, change, the impact force of the human spirit, mind. That is why, according to the results of the conducted analysis of this poetic text, the phenomenon of Wind is primarily endowed with kinetic characteristics. So, Wind hunts for the clouds, dispersing them (du Wolken-Jäger), overcomes darkness, gloom (Trübsal-Mörder), clears the sky (HimmelsFeger – “clouds sweeper”), which fully corresponds to the ontology of mind, whose existential essence is also TRAFFIC. The connection between mind, spirit and movement was considered by F.V.F. Hegel: “The dialectics is a driving soul of any scientific development of thought...” [12]. W. von Humboldt metaphorically compared the active work of spirit, human mind with fire, flame, flash, flow, flight symbolizing the eternal movement and the changes in the world and language [13].

So, every word of the poetic text contains the idea of the dynamics, the idea of rhythm. Kinetic characteristics constantly accompany the description of the wind-mistral and constitute its significative content.

The main idea (purpose) of writing the book “The Gay Science” is particularly evident in metaphors contained in Nietzsche's poem "To the Mistral (dance song)."

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According to our investigation, the given poem consists of 12 conceptual-and- composite paradigms correlating with the two fundamental epistemes MAN (“I” / Nietzsche) and WIND (“Mistral”), presented in metaphorical unity: “wind and I are brothers”.

It is important to note that in the first part of the poem Nietzsche presents (describes) quasi own observations related to the perception of wind introducing his metaphorical arguments using the verb to see:

Sah ich deine Rosse rennen, Sah den Wagen, der dich trägt, Sah die Hand dir selber zücken ... [ 1*] - I saw you as you drove the Chariot of the Gods. Saw the hand of yours, Oh, free...) [ 2*]

The verb “to see” has an important logical-and-semantic meaning, as it demonstrates a semiotic connection of all the metaphorical story scenarios, reflecting the dynamics of the relationship between MAN and WIND, as well as the specific character of the perception of WIND in the artistic consciousness of the thinker-creator. Wind is described in the context of the subjective observations of the author, and the language as "the third being" (A.F. Losev) [14], thus acts as subjective means of reflecting the objective world.

The episteme “WIND” (“Mistral”) is categorized into 6 metaphorically substantiated semantic units being defined and complemented, in turn, by a great number of associative- and-metaphorical parcellets forming “metaphorical landscapes”. Parcellets (from the French parcellets - particle) is understood by us as a stylistic figure being in such a partition of a single syntactical structure of the sentence in which it is embodied not in one but in several intonation-and-semantic speech units or phrases [15].

It is necessary to stress that, in general, Nietzsche's works are characterized by parcellized structures (with singling out the basic part and joining a wide range of complementary semantic parcellets to it).

According to our observations, there are 6 semiotically substantiated symbols of the phenomenon “Wind-Mistral”:

1)windbrother of a man

2)Wind - brother of freedom;

3)Wind - light;

4)Wind - the tsar of nature;

5)Windwill;

6)Windthe conqueror of sunrise.

The episteme “MAN” is also represented in 6 metaphorically substantiated parcellets that reveal the inner essence of man as an artist-creator. The metaphorical field (metaphorical landscape) of the episteme “Man – an artist-creator” is also formed by the mentalgnosiological constructs “art’, “mind”, “spirit”, “Gay Science” as well as the phytomorphian phenomenon “Flowers”.

From the position of Nietzsche`s “I” the dominant semiotically marked prolegomena forming the basis of spiritual activity of man (an artist-creator), which are presented in various metaphorical gestalts are the following:

1)Art – Will ("art is free");

2)Science - Joy ("science is gay ");

3)Flowers - Award ("flowers as a reward");

4)Man - an artist-creator

4.1Man - Contradiction (virtue and vice);

4.2.Man - Fight;

4.3.Man - Movement;

4.4.Man - Light;

4.5.Man - Noise;

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