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Unser Glaube ist schwach und doch mächtig, denn es ist ein klein Geistlein im Herzen, das heißt unaussprechlich Seufzen, und der Heilige Geist tritt dazu, der es versteht [1*]. - Our faith is weak and, nevertheless, powerful, because this small spirit in the heart, which almost inexpressibly means a sigh, is connected with the Holy Spirit that understands it (Our translation).

In this context, there are two types of metaphors: mental and physiological:

Weak Faith is small spirit in the heart,

Weak Faith is an inexpressible sigh.

It is characteristic that Luther, noting the so-called weakness of Faith, at the same time, speaks about its power, which is substantiated by the fact that even this "small spirit in the heart" also possesses power, because it is connected with the Holy Spirit that understands it. The German theologian argues that even "a grain of faith" in a person by itself gives him strength and vitality.

7) Faith gives confidence in the possibility of changing any thing in the direction of good. Faith is able to relat e good and evil. Compare:

Es ist kein Ding so gut, keins so böse, daß es mir nicht zum Guten dienen muß, wenn ich glaube [1*]. - No thing is so good, no thing is so bad (evil), that this could not serve good for me if I believe in God (Our translation).

Faith, according to Luther's views, is capable of relativizing the attitude to opposing things, for example, good and evil. In the thinker`s opinion, even these concepts, opposite in content, are not so good or so bad that a person would not be able to use them in his good intentions and goals.

8) The nature of Faith: Faith proves its strength in fear, death and sin, and in everything that man is afraid of

Das ist eigentlich des Glaubens Natur, daß er seine Kraft in Furcht, im Tode, in Sünden und allem, was einen Menschen furchtsam und verzagt macht, beweist [1*]. - Actually, this is the nature of Faith, that it proves its strength in fear, in death, in sin and in everything that makes a person be timid and lose heart (Our translation).

Faith, according to Luther, demonstrates its power in everything what is a person most afraid of: in fear, death, sin, which lead a person to constant anxiety, instill uncertainty and deep alarm in him, paralyze his will and spirit. And only one Faith can save a person from his spiritual and physical sufferings.

9) Faith teaches us to deal with death

Luther draws attention to another essential feature of the ontological nature of Faith - Faith is as a spiritual means against death. Compare:

Mit dem Tode umzugehen, ist die Schule des Glaubens [1*]. - Dealing with death is the school (doctrine) of Faith (Our translation).

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Faith teaches us how to deal with death and how to treat death, how to overcome fear before death, which is "the strongest fear of mankind". Faith raises man above death.

Martin Luther highlights the verifiers of Faith, which allow one to test the power of Faith, make its existence authentic. He considers the following verifiers: good deeds, the state of sadness and bitterness, etc. Cf.:

Test of Faith - good deeds

Gute Werke sind des Glaubens Siegel und Prob; denn gleich wie die Briefe müssen ein Siegel haben, damit sie bekräftigt werden, also muß der Glaube auch gute Werke haben

[1*]. - Good deeds are seal and test of Faith; just as letters must have a seal to confirm them, so, Faith must have confirmation by good deeds (acts) (Our translation).

Test of power and strength of Faith - sadness and bitterness: the stronger sadness and bitte rness, the stronger Faith .

Der Glaube ist nimmermehr stärker und herrlicher denn wenn die Trübsal und Anfechtung am größten sind [1*]. - Faith is never so strong and splendid than at that moment when sadness and bitterness are becoming especially great (Our translation).

Luther establishes a philosophical-and-logical regularity between Faith and the realias of everyday life in whose space it is constantly present, demonstrating these interrelations on the basis of the category of comparison being built on the model "THE ...., THE", explicating the degree of growth and strengthening of Faith. Faith is contrasted with sadness and bitterness over a directly proportional vector: the stronger sadness and bitterness, the more powerful and beautiful becomes Faith. Sadness and bitterness of a person are the strongest spiritual catalysts of Faith.

It is characteristic, that Faith is endowed with aesthetically-marked positive features: Martin Luther speaks of it as magnificent, beautiful, and marvelous.

Of great scientific importance are the reflections of M. Luther on the existential qualities of Faith, its correlations with other concepts, its denial and the consequences of unbelief.

III. Determinative models of Faith with correlative fidemic metap hors, representing the interrelation between Faith and other realias.

In the interpretation of the phenomenon "Faith", Luther inevitably touches on the question of the various correlations of FAITH with all the components of human being, with the inner and outer worlds of man. According to our observations, he studies the problem of the interrelation of Faith with a whole series of essences, concepts and phenomena, such as:

1)the anthropological concepts (Faith and man, Faith and youth),

2)the theological realias (Faith and Christ, Faith and sin),

3)the ritual traditions (Faith and rituals),

4)the emotional essences (Faith and love, Faith and sorrow),

5)the intellectual-psychological concepts (Faith and confidence),

6)the theological realias (Faith and sin),

7)the moral and ethical concepts (Faith - good/ evil),

8)the biological concepts (Faith and death),

9)the juvenile (Faith and justice, Faith and freedom) and many others.

This article will consider the three types of the correlation of Faith: Faith and Christ; Faith and woman, Faith and fidelity.

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3.1. Faith and Christ: Christ as an insurmountable rock

Christus ist ein fester Grund der Seligkeit und ein unüberwindlicher Felsen für alle, die an ihn glauben [1*]. - Christ is the firm (reliable) foundation of morality and an insurmountable rock for all who believe in him (Our translation).

In this judgment, Luther singles out the spiritual and material hypostases of God reflected in metaphorical representations (God - morality) and (God is an insurmountable rock). In the first metaphor (mental-and-canonical), the German reformer demonstrates the moral-and- ethical component of J. Christ, being a moral canon, the model for all believers, in the second metaphor (natural-and-physical) he demonstrates its power, firmness, height, insuperability and unattainability of its peak. Thus, through the comparison of Faith of people and their Savior, Luther reveals the ontological nature of God and reflects the spiritual-and-moral guidelines of Faith.

3.2. Faith in Christ as the onl y Savior and Comforter of the world.

Alle rechten Predigten gehen dahin, daß wir glauben sollen, allein Christus sei der einzige Heiland und Trost der Wel [1*]. - All the right sermons come from the fact that we must believe, that only Christ is the only Savior and the comfort of the world (Our translation).

According to the German theologian, only those sermons can be considered right, whose aim is to convince believers that they can hope and rely only on God as their only Savior and the hope of the world. It is this conviction that is, in the global sense, the most solid foundation for believers in their confidence in daily life, in the belief that God is always near and he will never leave them without help and comfort in a difficult moment. "Living in the world of suffering and misfortune" (Plato), a person is constantly in need of some kind of reliable spiritual shelter, of some strong Faith in God, being eternally and always present, the omnipresent one and loving all people. Without instilling this Faith in the Savior and the Comforter, the deliverer of all sufferings, it is more difficult for a person to overcome life's difficulties. And as Luther stresses, this important mission should be performed by "right sermons".

3.3. God is our unshakable stronghold: "Ein feste Burg ist unser Gott"

The metaphorical image of God as a strong fortress (a building metaphor) represents him as a reliable defender, as an impregnable holy warrior, whose strength and power are insurmountable. It is important to emphasize that the image of God as a reliable fortress and stronghold was first used by Luther in his work "Ein feste Burg ist unser Gott" ("Our Lord is the stronghold"). The motive for his writing was the terrible period in the history of the Middle Ages - the rampant plague. Luther had high hopes for God as the only Savior. He wanted to bring comfort and give people the belief that plague would recede if ordinary people began to believe in the true God. In 1527-1529 he wrote this work, putting the free interpretation of 46 psalm on music.

Thus, Faith and Christ are inseparable concepts. In the space of FAITH, Christ is identified with spiritual concepts (the Savior and Comforter, stronghold), with material ones (visual, concrete, visible and tangible: Christ is the stronghold, fortress, etc.) and with natural-physical concepts (Christ - rock).

3.4. Faith and Fidelity

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An inseparable companion of Faith is fidelit y, the quality based on the ontological concept of Faith itself. Compare:

3.5. Faith is inseparable from fidelit y

Wo Treue und Glauben aufhören, da muß das Regiment auch ein Ende haben [1*]. -

Where fidelity (devotion) and Faith cease themselves, the governing must end there either

(Our translation).

In this categorical syllogism, Luther illustrates the predominant significance of the unity of devotion and Faith in government, which will not be able to exist without the presence of these central realias.

3.6. Faith and woman

Das Weib ist der höchste Schatz, denn sie wird von Gott geschenkt, hat viel Tugend und hält Treu und Glauben [1*]. - Woman is the highest treasure, because she is gifted by God, possesses virtueousness and keeps fidelity and Faith (Our translation).

In order to interpret the value of Faith, Luther resorts to the metaphorical image of woman as "the highest treasure" and at the same time explains the motivation for such a perception of woman. In this case, the German thinker singles out the moral-and-ethical triad: the possession of virtueousness, the preservation of fidelity and Faith. These three moral pillars make woman a treasure.

So, in describing the correlations of Faith and Christ, fidelity and Faith, Faith and woman, M. Luther widely uses metaphorical images, comparisons, oppositions, logical parallels and other expressive means of the language, allowing him to interpret and explain the specific character of the interrelations of Faith with different anthropological, philosophical and theological categories.

IV. The strategies and Luther`s linguistic resources used by him in the interpretation of Faith

In order to substantiate the great significance and value of Faith for man, the German theologian also refers to the cognitive strategies of cause -and-effect relations, demonstrating, in particular, to what can lead unbelief, the lack of Faith. In this case, he proves that unbelief is the cause of strong (terrible) fear, paralyzing the will of man. Compare:

WITHOUT FAITH (lack of faith) ← reason → terrible fear in will → consequence:

Wenn der Glaube und die Zuversicht auf Gott hinweg sind, so folgt gräuliche Furcht im Wil-len. Und wenn Weisheit und Verstand hinweg sind, so folgt darauf äußerste Torheit

[1*]. - When Faith and hope for God disappear, there comes terrible fear in will. And when wisdom and reason disappear, there appears pronounced stupidity instead of them

(Our translation).

Luther often prefers the strategy of totalization (strengthening) of the postulates of Faith being expressed by him on the basis of the parallel use of known concepts and realias from mental, intellectual spheres (for the purposes of comparison and persuasiveness, strengthening of clarity and argumentation), which is illustrated in the example cited above.

Here, Luther speaks not only about the cause-and-effect relations between Faith and confidence, but also about similar correlations between wisdom and reason, identifying Faith with

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wisdom, and confidence with reason. Thus, taking into account the fact, that the concepts of wisdom and reason are a priori understandable to an ordinary person, Luther introduces these conventional (generally accepted) concepts into the explanatory (interpretative) context of Faith.

M. Luther often resorts to the rhetorical questions of the explanatory character , which strengthen the significance, meaningfulness and the depth of the judgment on Faith expressed by him. Thus, demonstrating the inextricable connection of Faith with prayer , he exclaims:

Ohne Glauben kann ein Gebet kein Gebet sein. Denn wie will der beten, der nicht glaubt, daß bei Gott soviel Güte sei, daß er die Betenden erhören wolle? Without Faith, prayer cannot be the prayer. Since, how does the one want to pray if he does not believe that God has so much kindness, that he wants to hear all those who pray?

So, according to Luther, prayer is the language of Faith , through which a person can communicate with God. Without knowing prayers, not knowing the language of Faith, a person cannot appeal to God. Without Faith, prayer cannot be heard.

In his rhetorical question, the German theologian points to the three conditions, the prerequisites that are necessary for establishing a sacred contact with God: 1) a person must have Faith; 2) a person should know that God has a lot of kindness; 3) God wants to hear all those who pray, appealing to him.

Luther`s conclusion expressed by him through the rhetorical question is the following: prayer connects the believer with God, it is through the prayer that a person can be heard by Almighty and be favored with his kindness.

Conclusion.Thus, the German theologian initially believes that Faith is an indefinite concept, a "step into the unknown," "the overcoming of impossible things." Faith, according to Luther, can only be explained and interpreted. Therefore, it is no accident, that in the works the German reformer there are the hermeneutical definitions of Faith with the widest range of concepts and realias. At the same time, in the texts of the German theologian, there are traced, rather clearly, some interpretations of Faith, more preferable by Luther. So, he most often explains the essence of Faith for the common people through sensualistic essences (Faith - love), psychological ones (Faith - confidence), artifact-and-moral essences (Faith - gift of God), juvenile ones (Faith - justice), psycho-agnostic essences (Faith - the overcoming of impossible things), etc.

The basis for the conceptually-hermeneutical (interpretative) model of FAITH are the two types of structural macro-models: the explicit-and-categorical model expressed by the epistemic deixis "that" [cf. Faith is that (...)] and a descriptive-and-analytical model [Faith is called that, when/what (...)]. If the first model reflects a realized and confirmed (confident) understanding of Faith (Faith is based on practical knowledge, personal experience, as a result of its personal, individual knowledge), the second macro-model of Faith points to Faith as an essence that is difficult to be defined and that requires the interpretation through the multiplicity of other concepts and realias.

Among the metaphorical representations of Faith, on the basis of which the abovementioned determinative hermeneutical macro-models and sub-models of Faith are built, are conceptual metaphors, explicating the essence of Faith, its qualities and correlations with other concepts in the religious-and-philosophical discourse of M. Luther. Fidemic metaphors (metaphors of Faith) are represented by different types of conceptual metaphors, in particular, sensualistic, construction, natural-and-physical, cozmimatic (from Greek κοσμήματα-kosmímata (treasure), (Faith – treasure), artifact, biological, hydronimic (sea), agnostic, and others.

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It is necessary to stress that the great reformer demonstrates the ontological nature of Faith at the level of a wide variety of metaphorical images, gestalts and scripts of Faith, which later on, formed, in their majority, a brilliant collection of aphorisms with the constituent Faith.

M. Luther`s fidemic metaphors are not of an abstract character, but of an earthly, concrete, existential one. They are laconic and accessible for understanding, which to a certain extent contributed to the wide popularity of biblical texts in the Luther`s translation.

Along with the conceptual fidemic metaphors, the German philosopher widely uses the emotional means in his interpretation of Faith, which allow him to visualize the complex abstract concepts described by him, connected with Faith and not subjecting to an unambiguous interpretation. Luther also actively uses: a) comparative means; b) rhetorical questions; c) evaluation definitions of Faith; e) he determines the set of Faith verifiers, etc.

In order to convincingly and figuratively determine Faith, the German theologian very often resorts to the use of certain mental strategies that allow one to convey the good message about Faith to everyone an

d to most fully and accurately interpret it. Relevant hermeneutical (interpretative) models of Faith are: the strategy of logical parallels (Faith/devotion and government, faith/fidelity and woman, etc.); strategy of categorical syllogisms (from the two judgments, the third is derived); the strategy of cause-and-effect relations (with Faith and without Faith, Faith in relation to good and evil, in relation to sadness and bitterness); the strategy of antinomies (weakness and strength of Faith); the strategy of strengthening thought about Faith, etc.

The brilliant philosophical talent of Luther, his excellent knowledge of linguistic resources, including his knowledge of the ancient languages, the fundamental understanding of the biblical maxims, possession of the art of eloquence and a special gift of word magic, enabled the German theologian to achieve his goal: he presented not only a vivid, clear and convincing interpretation of Faith through many metaphorical images, but also made his translation of the Bible one of the most widely read even in the 21st century.

References

[1] Bogoslovskoe otkrytie Martina Ljutera. URL: https://www.e-reading.club/.../MakGrat_-_Bogoslovskaya_mysl%27_Reformacii.html

(data obrashhenija: 29.11.2017).

[2]Solov'ev Jerih: Vremja i delo Martina Ljutera. URL: scepsis.net/library/id_2638.html (data obrashhenija: 29.11.2017).

[3]Konrad Jedel'. Martin Ljuter perevodit Bibliju //Kak pojavilas' Biblija. URL: https://www.bible-center.ru/book/appearance/005/002 (data obrashhenija: 29.11.2017).

[4]Fomina Z.E. Kul'turnoe i jazykovoe nasledie Martina Ljutera v kontekste 500-letija reformacii dejstvitel'nosti / Z.E. Fomina // Nauchnyj vestnik Voronezhskogo gosudarstvennogo arhitekturno-stroitel'nogo universiteta. Serija: Sovremennye lingvis-ticheskie i metodiko-didakticheskie issledovanija. – 2017. – Vyp. 1 (33). – S. 66-81.

[5]Woher kommt Gewissen | Workherkunft von Gewissen. URL: http://www ...

ww.wissen.de/wortherkunft/gewisse (data obrashhenija: 29.11.2017).

[6]Losev A.F. Dialektika mifa. Sost.podg.teksta, obshh.red. A.A.Taho-Godi, V.P. Troickogo. M.; Mysl', 2001.- 558,[1] s. 1 l. port.- (Filosofskoe nasledie).

[7]Podlinnaja istorija vremeni bez lozhnyh vymyslov Stivena Hokinga. URL: https://books.google.ru/books?isbn=1773133977

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 4 (19), 2017 ISSN 2587-8093

Analysed sources

[1*] Aphorismen, Zitate, Sprüche und Gedichte. URL: https: //www .aphorismen .de /zitat/ 15254 (data obrashhenija: 29.11.2017).

[2*] Martin Luther in Redensarten und Sprichwörtern - Redensarten-Index. URL: https: // www.redensarten-index.de/suche.php?...luther.. (data obrashhenija: 29.11.2017).

[3*] Luthers Sprichwörtersammlung von Martin Luther. URL: http:// gutenberg. spiegel. de/ buch/-7927/3 (data obrashhenija: 29.11. 2017).

[4*] Jetimologija - Slovo "sovest'" - Russkij jazyk. URL: https:// rus. Stackexchange

.com/ questions/9898/Slovo-sovest' data obrashhenija: 29.11.2017).

[5*] Boryś W. Słownik etymologiczny języka polskiego.— Wydawnictwo Literackie.

Kraków, 2005.— S. 687. — ISBN 978-83-08-04191-8 (data obrashhenija: 29.11.2017).

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UDC 81-139

GENERAL AND SPECIFIC IN CONCEPT “MUSIC” VERBAL EXPLICATION IN

THE RUSSIAN LITERARY WORLD-IMAGE OF 19 AND 20 CENTURIES

L.V. Korobko

Voronezh State Technical University, Voronezh, Russia Liudmila Vladimirovna Korobko

post-graduate of the department of foreign languages,

Russian Air Force Military Educational and Scientific Center “Air Force Academy named after Professor N.E. Zhukovsky and Y.A. Gagarin”,

teacher of the department of foreign languages e-mail: l.v.ledeneva@mail.ru

Statement of the problem. The article is devoted to detection of the universal and differential language means of the concept “Music” explication in space of the Russian fiction of 19 and 20 centuries. Results. The g e n e r a l in the verbal explication of the concept “Music” in the Russian world-image of 19 and 20 centuries is the representation of the required phenomenon mainly by nouns. The verbalized phenomenon “Music” in the Russian linguistic world-image is preferentially represented by nouns. Autosemantic items dominate in L.N. Tolstoy’s and

V.V. Orlov’s literary discourse. It is necessary to emphasize that words with low performance rate prevail. The architectonics of lexical-semantic field “Music” in Tolstoy’s and Orlov’s language is created of 4 macrofields. It is interesting to note that the concept “Music” is, mainly, objectified by means of the verbal type combinations. In the Russian literary world-image the required phenomenon has the contradictory nature. Metaphoricalness of the concept “Music” representation is in focus of authors’ attention. The d i f f e r e n t in the verbal explication of the concept “Music” in the Russian literary world-image of 19 and 20 centuries is reflected in personal associative responses of the concept “Music”. The distinctive feature of L.N. Tolstoy’s story is the attention to representation of musical genres whereas V.V. Orlov focuses attention on detail reviewing of “passport” of the musician. In Tolstoy’s language subject meanings of music prevail, Orlov, in his turn, puts its object values into the forefront. In the 19th century traditional approach to music with obligatory presence of the performer is marked; in the 20th century there are devices in focus of attention, the person is not popular for playing music. Conclusion. The universality of the verbalized concept “Music” representation in the linguistic world-image of 19 and 20 centuries consists in antropologization of the musical instruments, attributing them with human qualities and also in the polar nature of the required concept. Specific in the concept “Music” explication is that the 19th century is characterized by traditional approach to music execution (violin, piano, etc.) whereas in the 20th century marked by the technical progress sounding of music from the musical equipment prevails (transistor, receiver, etc.). From the point of view of the subject-and-object relations in the 19th century subject values of music are in focus of attention, music is considered as an agent (“music transfers”, “music only irritates”, etc.); in the literary discourse of the 20th century object values of music dominate (“judged music”, etc.), music appears the subject of discussions, disputes, dreams. In the literary discourse of the 19th century the required phenomenon is provided as the moral category whereas in the 20th century the emphasis is placed on the intellectual and spiritual aspect.

Key words: music, L.N. Tolstoy, V.V. Orlov, world-image, concept, literary discourse, verbalization, antinomies, metaphors, architectonics, syntagmatics, semantics, axiology, writing style, synchrony, diachrony.

For citation: Korobko L.V. General and specific in concept “music” verbal explication in the russian literary world-image of 19 and 20 centuries / L.V. Korobko // Scientific Journal “Modern Linguistic and Methodical-and- didactic Researches”. – 2017. – № 4 (19). – P. 61 - 75.

Introduction.

The concept of a world-image is a basic concept which reflects specifics of the person and their life. The world-image is the result of person’s spiritual activity and arises in the course of their contacts with the world [1, p. 110].

___________________

© Korobko L.V., 2017

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Studying of the world-image, including art, philosophical, folklore and mythopoetic, etc. (see: [2; 3: 4; 5; 6]), is of special interest as two processes, in which language is directly involved, are connected with the world-image. “First, a linguistic world-image, one of the deepest layers of a person’s world-image, is formed inside a language. Secondly, the language expresses other world-images of the person which enter the language through special lexicon, filling it with the person’s features, their culture” [7, p. 11].

The author’s world-image represents a part of the global literary world-image arising in the recipient's consciousness during perception of the literary text and acts as the panoramic idea of definite reality in these or those existential ranges [8, p. 40]. The author defines a plan, a structure of the narration, a system of images, a speech manner, symbolics, etc. Placing emphasis on this or that fragment of reality, offering own point of view, the writer directs the reader, specifying a way to the correct understanding of the work.

The individual-and-author’s style of L.N. Tolstoy is reflected in use of the expressivelymarked means representing the author's relation and allowing to realize his plan, the rhetorical questions forcing the reader to plunge deeper into the literary world of the work, to think, to feel as a part of creative process. L.N. Tolstoy has embodied the moral life philosophy in his works expressed by means of masterly possession of the language means allowing to get into the world of the literary work.

The originality of individual-and-author’s style of V.V. Orlov consists in use of a figurative system, unusual to the Soviet period, rare mystical hints, identity of characters, presence of hints on imperfections of the Soviet life. Despite the minimum use of unusual metaphors and effective images the novel is sated with bright phrases-definitions.

The purpose of the offered research is to identify the universal and specific features in the explication of the concept “Music” in space of the Russian fiction of the 19th and 20th centuries. The system approach to research of the material is used in the work. The verbalized concept “Music” is studied not only in an individual-and-author’s world-image, but also as the polysyllabic, system structure. The empirical material is considered from a position of categorial, semantic-cognitive, structural-and-morphological, syntagmatic, quantitative, axiological, functional and metaphorical criteria.

We understand the term concept as “the discrete mental formation which is a basic unit of a cogitative code of the person, having rather ordered internal structure, representing the result of cognitive activity of the personality and society and bearing complex, encyclopedic information on the reflected subject or the phenomenon, on public consciousness interpretation of this information and the relation of public consciousness to this phenomenon or a subject” [9, p. 24].

In the present article the object of the research is the lexical units participating in a verbal categorization of a concept “Music” in the Russian literary world-image. The subject of the research is the universal and specific features in representation of the concept “Music” in the literary discourse of the 19th and 20th centuries (on material of L.N. Tolstoy’s and V.V. Orlov’s works).

Studying of the general and specific features of the language categorization of the concept “Music” in the Russian literary world-image is carried out on material of L.N. Tolstoy’s story “The Kreutzer Sonata” and V.V. Orlov’s novel “Danilov the Violist”.

Methods of the categorial, semantic-cognitive, structural-and-morphological, contextual, syntagmatic, metaphorical analysis, a classification method, a quantitative method were used in the analysis.

Results of the research.

1. T h e g e n e r a l i n t h e v e r b a l e x p l i c a t i o n o f t h e c o n c e p t “ M u s i c ” i n t h e l i n g u i s t i c w o r l d - i m a g e , a s r e p r e s e n t e d i n t h e R u s s i a n a r t o f t h e 1 9 t h a n d 2 0 t h c e n t u r i e s .

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During a study and comparison of the literary works of L.N. Tolstoy and V.V. Orlov the analysis of material from the point of view of the categorial criterion was carried out which showed that in the course of phenomenon “Music” verbal representation in the Russian linguistic world-image nouns prevail (Tolstoy ‒ 67% and Orlov ‒ 61%), the second class is verbs (Tolstoy ‒ 29% and Orlov ‒ 27%), adjectives follow further (Tolstoy ‒ 4% and Orlov ‒ 12%).

Music in an individual-and-author’s world-image of L.N. Tolstoy and V.V. Orlov appears the abstract concept, and nouns among all parts of speech are designed to reflect most precisely and deeply the abstract entities. Scientific works of V.N. Vinogradov (1984), T.A. Zolotareva (2003), L.A. Savelyev (1985), E.S. Kubryakova (1991, 2000), L.O. Cherneyko (2009), etc. are devoted to a research of the abstract nouns.

The concept “Music” study from the point of view of cognitive linguistics assumes reviewing of several levels of approach (linguoculturological, linguo-cognitive) to the analysis of this or that concept. The lexical-semantic level acts as one of basic levels as it allows to represent the internal form of the researched concept [9, p. 47]. Humboldt claimed that a language is

“the organ forming a thought” (“Die Sprache ist das bildende Organ des Gedanken”) [10, p. 75]. There is no clarity in thinking without the language, and representation does not become a concept. A soul permanently tries to release from the language bonds because the word constrains the enriched perception and can even suppress it. A word is not a print of a subject, but a print of the image generated by a subject in the soul [11, p. 283]. So, a peculiar view of the world consists in each language [12, p. 71]. The study of a lexical-semantic field of the concept

“Music” allows to penetrate into its internal form.

A lexical-and-semantic field (further LSF), after A.V. Bondarko, we understand as a set of the language units integrated by commonness of semantic functions and reflecting conceptual likeness of the designated phenomena. As a part of LSF nuclear and peripheral components are selected. The nuclear elements of the LSF possess a full range of signs, are the most frequency in comparison with other elements of the LSF and are obligatory for this field. The elements structuring the periphery of the LSF do not have all signs, characteristic of the field, and can have the signs similar to the adjacent fields [13, p. 39]. On the basis of a prevalence of substantives in L.N. Tolstoy’s and V.V. Orlov’s literary discourse we formed LSF “Music” only of nouns.

In the research field directed to the analysis of the structure of lexical units in L.N. Tolstoy’s and V.V. Orlov’s language it was found out that in most cases the Russian linguistic world-image is represented by means of a u t o s e m a n t i c u n i t s (musician, concert, etc.), the words formed with use of affixes (veshhica, pesenka, etc.), represent exceptions and are irrelevant for the writers.

As a result of consideration of LSF “Music” it has been established that the dominant is the lexeme “music” used by the authors in three meanings: “sounding”, “art”, “work”.

Along with detection of the lexeme prevailing on rate of the use in LSF “Music” the analysis of common features of verbal representation of the concept “Music” in the 19th and 20th centuries allowed to claim that in L.N. Tolstoy’s and V.V. Orlov’s works lexical units with low rate of the use prevail (variation, andante, opus, fifth, etc.) that specifies semantic saturation of the distant periphery of the required LSF.

It is interesting to note that in the linguistic world-image of L.N. Tolstoy and V.V. Orlov 4 macrofields are selected among which the macrofield “Music as Existential Category” representing ontological, essential properties of music prevails, the second in the quantitative relation in the works of both authors is the macrofield “Instrument as Means of the Explication of

Music”, however the analysis of the macrofields “Time and Space for Sounding of Music” and “Person as the Creator of Music” showed the differences in arrangement of emphasis which will be analysed below. A macrofield we understand as the field containing a set of lexical, conceptual, associative interdependent microfields [14, p. 200].

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