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The semantic composition of the completed utterance complies with the rules of the poetic and rhetoric composition. The communicative center of both of the poetic and rhetoric compositions is a dialogue. In the rhetoric composition the dialogue is formed like the author’s discussion of the problem with other people and expresses the outer reflection. In the poetic composition the dialogue is as if it were the dialogue of the author with himself and accordingly expresses the inner reflection. The rhetoric composition is made up of the system of didactic arguments. The poetic composition is made up of the system of impressions and the system of personal philosophy.

The method of the distributive metaphor as a method for researching the semantic structures of the works of philology focuses on the explication of the author’s intention, the process of his writing, his ideas, feelings, thoughts which are thoroughly hidden from the public. The writer’s disposition, various social demands, social environment, requirements of literary community, its tastes are especially hidden.

Historical and philological substantiation of the method.

The discovery of the formation of the meaning on the basis of metaphor goes back to the Greek philosophers, mainly to Plato. In the contemporary history the development of such a method for researching the image structure of the work of philology is presented in the works of A. F. Losev, V. V. Vinogradov, Yu. V. Rozhdestvensky and other scientists of the 20th century and the new one.

According to Plato, metaphor is directly connected with the formation of the language and is directed by the will of cognition. The name is «a particle of our speech» [3, 415]. The correctness of the name comes from the conformity between the name and the thing. The conformity between the name and the thing is the reason and the truth. Thus, the one who knows the name knows the thing; and to know the thing is to be able to use it. But there can be nonconformity between the name and the thing. Then, there will be the unreason and the lie. There can be no intermediate relations between the conformity and nonconformity of the name and the thing. Consequently, there can exist only one of the two relations of the name and the thing: 1) not all the things exist for every one at a time, 2) every thing exists not particularly for every person, 3) one can speak both about the thing that exists and about the thing that does not exist, 4) the author/ the writer/ the copywriter can use the name which he/she has chosen him/herself, 5) in his/her speech the author can change the name for the same thing.

To call things, to give them names means to distribute things according to the way they exist and consequently to use them correctly. To do this, the one who gives the name should pay attention: 1) to the way the other names are called, 2) to the kind of speech (when making up the name, one should provide it with the features appropriate best for the given kind of speech), 3) to the establishment of the relationship between the names. The correct name is the name whose image is oriented to the purpose of its use.

Giving the name is always individual. In terms of the expression the art of creating a verbal image is connected with the imitation not of the sound (which not every thing has), but with the imitation of the essence typical of the sound, shape, or color. This essence can be expressed descriptively by means of feelings arising at the perception of the thing. The metaphorical conformity between the name and the thing can be considered as a search field for the creation of occasionalisms.

Plato’s general conception of the nature of metaphor is as follows:

1)names are created in the process of cognition; these names reflect the essence of the thing if the cognition is correct;

2)a thing is changeable one in itself , and cognition is developed: that is why it is necessary to create new names for the same thing;

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3)creation of new names for the same thing forms the synonymy of the language means including the names;

4)a correct creation of names relies on the existing language means; new names mainly come from the already existing ones;

5)creation of new names on the basis of the already existing names demands a comparison for the nomination of the new properties of things. This means that metaphorical transfers are the basis for the creativity, the expression of the will of cognition and cognitive ability, and consequently, metaphor is the basis for the formation of the text and then - of the language system.

According to A. F. Losev, «in the name there is all our cultural wealth that has been accumulated for centuries» [4, p. 30]. Summarizing the traditions of the Greek and Byzantine philosophy, A. F. Losev describes the main mechanisms of semantics in their manifestations from the meaning of the etymon (the stem of the name) to the way the name is located in the sentence, the influence of the metre, the rhyme and other ways of expression on the name. He demonstrates the way the name is becoming a verbally expressed symbol.

A. F. Losev understands the word «symbol» as 1) the separation of the knowledge about the world by means of the language and speech and 2) the complexity of this separation [5]. The ability to use a word/ a name at the level of material symbol means

1)self-comprehension as an independent unit, i.e. the one, who is able to think and to

feel;

2)realization of the processes of one’s thinking and feeling;

3)realization of what is precisely thought about the object;

4)realization of thinking of the object itself.

A symbol is a cognizing communication of a person with a thing: «…the secret of a word is in the communication with objects and other people» [4, p. 46]. «Without a word and a name, any person is an eternal prisoner of oneself, who is actually and crucially an antisocial, unsociable, unanointed one, and consequently, is not individual, not existing one, merely an animal, or if still a human-being, it is a madperson. The secret of a word is that it is a tool for communication with objects and it is an intimate and conscious meeting with their inner life» [4, p. 47].

The thematic-communication structure of the symbol is based on the notion that was called a noema in Antiquity. The term «noema» – from Greek νοημα – idea – is etymologically connected with the complex of terms (noesis, noetic, noun) that go back to the Antique doctrines about mental presentations of a thing. It means a semantic correlative of the objectivity, as such (perceived, recalled, felt). A. F. Losev defines the term «noema» as a semantic invariant whose variants are some contextual synonyms in a work of philology.

The mental image considered from the standpoint of the interrelation between the whole and the parts makes it possible to construct the scheme for the work of philology. This scheme represents the logic construction of antinomic-and-synthetic structure of things of the real experience and explains «the sense in all its sense relations, in all its sense and structure interrelation», thus, «it is apparent … how one category generates another category and they all together generate each other» [4, p. 8].

As contrasted to Plato who interpreted the metaphorization and comparison given in a monologue and for this reason clear in the context itself, A. F. Losev states that metaphor arises and is thought of in the minds of the dialogue participants. This happens due to the fact that each dialogue participant knows what is meant, and this knowledge is the reason for comparison. In the dialogue the very fact of the apposition of different judgements represents an inner metaphor.

The problem of the inner metaphor as the basis of the text interpretation was the

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subject of V. V. Vinogradov’s research [6], [7], [8], [9], [10], [11].

V. V. Vinogradov considers the problem of the inner metaphor as exemplified by artistic speech. Artistic speech is a fiction by its very nature. In terms of this fiction there is an agreement between the author and the reader, between one author and other authors. All the participants of the artistic speech communication have the same subject of thinking. This can only be achieved by knowing narrative peripetia presented in literature as a system of narratives. Due to this fact the synonymization of key images in the given artistic speech work is based on the background knowledge of literature with its kinds, narratives, fable and language. The attention of a master of the pen is primarily paid to the language. In the process of the formation of the text the master of the pen operates three types of the inner metaphor:

1)knowledge of the narrative structure as a thematic world of artistic speech;

2)knowledge of the language means of artistic expression;

3)knowledge of broadly understood historical reality when the past objectives of this reality combine the forecast for the future. These three types of the inner metaphor generate the speech forms of expression.

Yu.V. Rozhdestvensky introduced the concept texture of speech [2, p. 21]. The texture of speech is the material, which the work of philology is made of, and the instrument or the way this material is treated. In the history of philology here have been the four kinds of the texture of speech: oral speech, written speech, printed speech and mass communication. Based on the property of texture of speech, Yu. V. Rozhdestvensky made the classification of the works of philology. This classification embodied all the traditions of Russian rhetoric. Knowledge of generic characteristics of the text according to its location in the classification is the fourth type of the inner metaphor determining success (or failure) in finding Plato’s correlation between the name and the thing.

Formal representation of sematic structure of the work of philology.

To recognize the semantic structure of the work of philology, it is necessary to point out the building keywords that determine a verbal core of the image in every text passage being a relatively independent image structure. The sequence of the keywords is the semantic core of the text – i.e. its noematic row. The material meaning of the noema as a semantic invariant is revealed by the variative row of contextual synonyms. This variative row consists of the keywords being metaphorically synonymized. The sequence of the keywords composes the semantic core of the text, the noema of the work of philology, and reflects direct and consequent accumulating influence on the reader by means of the words with which the writer/ the copywriter creates his/her work. This direct and increasing influence comes from the ability to perceive the difference between the general language meaning of the word and its contextual use.

The relations of the keywords in the sequence of their variative noematic row with the keywords of other noematic rows make up the semantic composition of the work of philology, its semantic image rhythm.

The semantic rhythm is the sequence of the images and their adhesion, that is the uniting of the keywords through the metaphorical links as some specific heuristic line of thought in the process of searching for the properties of the thing whose semantic image is being constructed.

Metaphorical combination of distant concepts is based not on the general similarity of the noema as a whole but on the assimilation of the one of the properties of the image, that is on the assimilation of the keywords. This results in renewing of the meanings of words. That is the condition for the existence of the keywords which does not amount to their simple row-positioning in the noema. Metaphorical relations of the keywords are revealed step by

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step. Thus, the writer’s inner dialogue is the uniting power of the semantic composition; emotions, history and culture come through this dialogue.

The mental image considered from the standpoint of the whole and its parts enables us to form a constructive scheme of the semantic composition where the combination of its components is a moving stability.

The importance of the constructive scheme of the semantic composition is in the fact, that it shows some semantic link, because from the text we can extract the words but not the link itself. Every keyword is a part of the noema, it correlates with the other keywords and is restricted by them. In the constructive scheme the lively picturesque whole is ignored. This is the method of our reconstructing the writer’s mental vision of the idea; it is also the state of the action, actualization of the writer’s «self», nomination of the writer’s feeling; a specific way of the writer’s realization.

Formal representation of the semantic structure of the work of philology is of applied significance: this is the mechanism for the explication of the dominant and varied latent meanings of the conceptual representations, according to Z. Ye. Fomina [12], [13], [14], [15].

Exemplary analysis of revealing distributive metaphor.

The determination of the keywords and revealing a metaphor in a work of philology will be shown by the example of A. A. Block`s poem «On the Kulikovo Field»:

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In the thematic creation of the image there is a method of the semantic combination of the words (is like broken arpeggio): keeping the word in the structure of the sentence or the strophe, Blok removes it from its usual place in the syntactical sequence.

For example, the epithet yellow is quite usual in the combination with such nouns as clay, haystacks, steppe. Blok combines this epithet with the word cliff (with all the other words in this sentence):

(3)Above the bare clay of the yellow cliff

(4)Haystacks languish on the steppe.

Or: consider the combination the river spreads out. The verb to spread out combines the landscape names that have the seme impressing, of great width in their denotation. The combination the steppe spreads out is usual one. The word steppe is used in the closing strophe in the poem: Haystacks languish on the steppe, – and then the material meaning of this word is used in terms of the thematic tie of the poem: steppe path, steppe expanse, steppe smoke, steppe mare.

Esthetic play with the material meaning of the word steppe is one of the characteristics of the individual style of this Blok`s poem. On the one hand, being removed from its usual place (which in this case is the beginning of the poem) and later being used in the six verses out of the twenty-eight (in its various associative and etymological meanings), it is the means for creating the feeling of a nervous wake which is backed up by both the punctuation drops among the dots and the exclamation marks; on the other hand, (together with the title

«On the Kulikovo Field» whose main elliptical structure-forming seme is memory, recollection) it “shifts” the reader’s attention to the text prototype of this poem in terms of arranging verses:

A. A. Blok`s poem «On the Kulikovo Field» (1) and A. S. Pushkin`s poem «The Remembrance» are appositional in terms of the implicit metaphor. This apposition is carried out in the adhesion of the semantic and structural-and-linguistic meanings.

In Blok`s poem the image the river spreads out metaphorically goes back to the image in Pushkin`s poem the remembrance then quietly unfolds before my eyes the undulating scroll my life created. Both of the images back up each other in their narrative-and-semantic development:

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Pushkin’s image explains Blok’s using the verb spreads out with the word river. The linguistic base for the implicit metaphor is the prefix ras-/ raz-.

The paronyms stoga (haystacks) and stogny (Old Slavic; modern: squares) are syntactically extended in the inversed manner, each in its own text (GRustyat stoga– stogny Grada). They are also in the metaphorical relations. The Old Slavic stogny grada stands out stylistically against the Pushkin texture in the discussed poem: all the other words (including Old Slavic words) become usual in the modern Russian language. But Pushkin’s poem unlike Blok’s one is not devoted to the historical subject. Metaphorical synchrony of the historical and modern styles is due to the similar positions of the paronyms: each of them is at the beginning of the poem. The phonetic-and-graphic image of the word is the reason for the metaphor.

Metaphorical adhesion of the images of the two poems is ethologically substantiated. A. A. Blok composed his poem «On the Kulikovo Field» in 1908 which means that he was almost of the same age as A. S. Pushkin in 1828 (the year of his composing «The Remembrance»).

However, though the poem «The River spreads out…» and «The Remembrance» are in the structural-and-semantic, narrative-and-figurative apposition to each other by means of the implicit metaphor, Blok composes the author’s image not only by means of the verbal material of the discussed poem. The sources of his poetic inspiration (he himself associated inspiration with Pushkin’s interpretation the art of uniting concepts) are several poems by

Pushkin. Blok’s whole text is composed of the words having elusive contents of Pushkin’s poems. For example,

Dashing young mare,

The honour of the Caucasian Taur,

Why are you racing?.. (1828) [2*, p. 423];

Again clouds of the mute heavens

Came together o’er my head;

And again the karma, envious,

Threatens me with future’s bad…

Should I scorn all fate’s intentions?

Should I bear her against

The great stubbornness and patience

Of my proud youthful years?..(1828) [2*, p. 426];

…Having a rest after a bad pursuit,

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Feeling their native land, The Don horses are drinking

From the Arpachay. (1829, the Arpachay is a feeder of the Araks; in the 19th century it was the border between Russia and Turkey) [2*, p. 450].

The implicit irony is in the possibility to substantiate the semantic meaning of Blok’s word combination It flows, sorrowful in the sentence It flows, sorrowful, lazy, And washes the banks. This word combination appeals to the ironical-and-sarcastic poems by Pushkin (1828):

The one is happy being willfully chosen

By your yearnful dream…[2*, p. 426].

Yearnful dream is transformed into yearnfully dream or into dream yearnfully without semantic loss and is appositional with the combination of the words to be sorrowful and lazy.

Thus, through the implicit metaphor, the text, in the title of which there is deliberate excitement of historical memory and patriotic consolidated inspiration, comes from solitary fight against desperate cowardice, in terms of literature.

The semantic rhythm of each poem can be represented by the following keywords or noemas:

REMEBRANCE:

1)night – mortal – sleep – reward;

2)night – I – mind suppressed by longing cries – to condemn ,to curse, to start, to repulse, tears – the woeful text can never wash away.

ON THE KULIKOVO FIELD (1):

1)river – sorrowful, lazy – steppe, darkness – yearning – wife –mare of the steppe – at full gallop;

2)river – path – Tatar arrow, pain, breast – holy banner, Khan's steel – eternal battle

–mare of the steppe – at full gallop.

The constructive schemes of the keywords are the following:

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Table 2

Semantic structures of the poems

The examination of the semantic structure of A. S. Pushkin`s poem «The Remembrance» shows that the central key image given in the title is hidden among the other keywords.

According to its position in the noematic row the Remembrance mediates the intellectual state of the person (minds up pressed by longing cries), conditioned by the biological time (sinking night), and the emotional-and-volitional actions of this personality (to condemn, to curse, to start, to repulse, tears).

Besides, being a mediator in its noematic row, remembrance is in the opposite relations in comparison with every keyword from another noema. Just as sleep is a guarantee of great reward – death for a man, –so the remembrance is an insoluble and ever-lasting situation of the choice between pride and fight against cowardice.

In the constructive scheme in A. A. Blok’s poem (radically preserving the general form)the direction of the «motion» of the meanings is different. Pushkin’s poem is tragic (in the tradition of the Greek philosophy) through its links being non-recoverable and meanings being detached, having one source, and self-awareness of the personal eternal unrest. In

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Blok’s poem all the metaphorical «motions» are unidirectional and ultimately completed by its confluence into the one semantic course:

The mare of the steppe flies at full gallop!

The antithethical extension of the semantics of the actions contribute to this redirection of the meanings: the list of the verbs translating the emotional and volitional state in Pushkin’s poem is continued by Blok by means of the verbs of action: will speed, will light up, flies, tramples, stop, approach, flies at full gallop.

When comparing the compositions, one can see some style novations intended to change a psycho-physical state of a person and society. In comparison with the source, there is a transformation (as with the implicit metaphor) but not the repetition of the information. The key image yearning is transferred from the second noematic row into the first one; and it causes an attendant tragicomic effect reminding Pushkin’s verses from «Eugene Onegin» both by the description of its new location and by the comparison of this location with the previous one:

And then he saw That country by ways

………………………………

And spleen, he saw, would dog his life, Like shadow of a faithful wife. [3*, p. 206].

The key image expressed by the word containing the notional seme memory in its material meaning is not represented in Blok’s poem. Just as the title of the cycle «On the Kulikovo Field» is an elliptical sentence by structure, so the poetic composition is some metaphorical ellipsis based on the philosophical notion memory presented in the scheme as fusiya of Old Testament and Old Greek associations: pain – breast – arrow – path – river, – and restricted by the allusion to the literary prototypes – ironical one («Eugene Onegin») and philosophical one («The Cart of Life»). Thus, Blok’s an arrow of ancient Tatar will is a psycho-physical way from tearing between cowardice and pride to patriotic anxiety.

Summary. The exemplary analysis (uniting the ideas of Plato, of A. F. Losev, V. V. Vinogradov, Yu. V. Rozhdestvensky) of revealing metaphor concludes that the formation of the metaphor in the work of philology complies with the following elementary figure:

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Prosaic prototype

Philosophical

notion

Delimitation of the invariant by pointing out the variant

Fig.1. Formation of metaphor in a work of philology.

This figure can be an apparatus precedent for the analysis and creating every work of philology when activating all the four types of the inner metaphor:

1)knowledge of texture of speech;

2)knowledge of material world relevant to the texture of speech;

3)knowledge of the language means of the expression in the relevant thematic field;

4)knowledge of widely understood historical reality when the previous objectives of this reality associate with the forecast for the future.

Bibliographic list

1.Subbotina M.V. Russko-turanskaja metafora: Arkhitektonika russkogo khudozhestvennogo diskursa v kul'turno-istoricheskom aspekte. – M.: Nauka: Flinta, 2004.

2.Rozhdestvensky Yu.V. Obshchaya filologija. – M.: Fond «Novoje tysiacheletije»,

1996.

3.Platon Kratil. Soch. v 3-h t. T. 1. – M.: Mysl', 1968.

4.Losev A.F. Filosofija imeni. – M., 1927.

5.Losev A.F. Iazykovaja struktura. – M.: MGPI im. V.I. Lenina, 1983.

6.Vinogradov V.V. Stil' Pushkina. – M.: Goslitizdat, 1941.

7.Vinogradov V.V. Iz istorii izuchenija russkogo sintaksisa. (Ot Lomonosova do Potebni i Fortunatova). – M.: Izd-vo Mosk. un-ta, 1958.

8.Vinogradov V.V. O iazyke khudozhestvennoj literatury. – M.: Goslitizdat, 1959.

9.Vinogradov V.V. Problema avtorstva i teoriia stilei. – M.: Goslitizdat, 1961.

10.Vinogradov V.V. Stilistika. Teorija poeticheskoj rechi. Poetika. – M.: Izd-vo AN SSSR, 1963.

11.Vinogradov V.V. Iazyk Pushkina: Pushkin i istorija russkogo literaturnogo iazyka.

–M.: Nauka, 2000.

12.Fomina Z.E. Kontsepty «Chuzhbina» i «Rodina» v russkoi iazykovoi kartine mira

/ Z.E. Fomina // Nauchnyi vestnik Voronezh. gos. arkh.-stroit. un-ta. Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniia. – 2005. – vyp. 3. – S. 42-59.

13.Fomina Z.E. «Blesk» i «nishcheta» goroda Makhagoni v zerkale kognitivnykh metafor (na materiala proizvedeniia B. Brekhta “Der Ayfstieg und Fall der Stadt Mahagony”) / Z.E. Fomina // Nauchnyi vestnik Voronezh. gos. arkh.-stroit. un-ta.

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