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Файл:Компаративные филологические исследования в XXI веке. Монография-1
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lyzed. We compared basic and specic color terms in both magazines and
put them in atable where one color term in the men’s magazine goes along
with the same color term or similar hue term from the women’s magazine.
Table 1. Basic color terms
Basic color terms
Esquire Magazine Vog ue Magazine
1 Black n/a
2 White n/a
3 Green green
4 Red red
5 Yel low yellow
6 Pink n/a
7 Brown n/a
8 Blue n/a
9 Gray n/a
Total: 9 (45 %) Total: 3 (29 %)
Table 2. Specic color terms
Specic color terms
Esquire Magazine Vog ue Magazine
1 blush pink tickled pink
n/a candy-oss pink
2 n/a deep red
3 n/a rich cranberry
4 Purple n/a
pale orange rusty orange
n/a bright orange
5 Terracotta n/a
6 n/a copper
n/a bright copper
n/a bold copper
161
Specic color terms
Esquire Magazine Vog ue Magazine
7 Navy n/a
true navy n/a
8 golden khaki n/a
9 n/a neutral brown
10 natural black n/a
11 natural white n/a
12 Blonde blonde
platinum blonde platinum blonde
honey-blonde n/a
13 Platinum n/a
14 Brunette n/a
15 n/a earthy
16 heather gray n/a
17 Pine n/a
18 n/a bold green
n/a bright green
n/a lady liberty-green
19 n/a bright blue
n/a nautical blue
20 n/a bright yellow
n/a sunshine yellow
n/a zesty pale yellow
n/a anything-but-mellow yellow
n/a bus-yellow
Total: 16 (55 %) Total: 23 (71 %)
End of Table 2
162
Results
e results of the research show that female writers tend to use more
color terms in their articles than male authors, which supports our hypothesis. We analyzed 16articles from two gender-oriented magazines
and found out that basic color terms were used 11times (Table 1). However, basic color terms in Vog ue Magazine were mentioned only 3times
(29 %), while in Esquire Magazine basic color terms were used 9times
(45 %). In the men’s magazine writers mentioned almost every color
from eleven basic color terms range. In awomen’s magazine, we found
only three basic color terms in 8articles: green, red, and yellow. Writers
oriented on male readers are more likely to discuss fashion topics using
basic color terms in contrast with women writers who use fewer basic
color terms in the same discussion. e choice of basic color terms in
Vog ue can be determined by tendencies in the fashion world. On the
other hand, the analyzed data is not enough to reveal reasons why women
writers mention basic colors less frequently.
We found 39specic color terms in total in Vogu e and Esquire (Table2). Both men and women tend to use more specic color terms than
basic ones. Although the number of specic color terms used in the men’s
and women’s magazines does not dier extremely, the percentage of specic color terms from women’s magazines is higher. We found 23specic
color terms (71 %) in Vog ue Magazine and 16 (55 %) in Esquire Magazine.
Discussion
e research shows that male writers use more basic color terms in
fashion discourse than women do, which disagrees with our hypothesis.
e data is limited by the number of articles, so it gives alot of opportunities to investigate more articles and have aprecise look at the gender differences in basic color terms use in future studies. Although the number
of basic color terms in Vog ue was limited, women writers made up agreat
number of specic color terms adding adjectives to basic color terms
or using other words to describe particular hues. For example, women
added dierent adjectives to yellow referring to dierent shades of the
color (bright yellow, sunshine yellow, zesty pale yellow, anything-but-mellow
yellow, bus-yellow). At the same time, male writers used only the basic
color term, yellow. As Lako says: “Women, then, make far more precise
163
discriminations in naming colors than do men; words like beige, ecru,
aquamarine, lavender, and so on, are unremarkable in awomen’s active
vocabulary, but absent from that of most men” [Lako, p. 49]. us, the
reason why female writers mention fewer basic color terms is that they
tend to describe colors using specialized vocabulary.
e statistics support our hypothesis in that women use more specic
color terms than men. However, it does not mean that male writers did
not mention specic color terms. ey mentioned many more specialized
color terms than they mentioned basic color terms but the dierence
between the same terms used by women was in the range of color hues.
Male authors described awide range of brown, grey, green, and other
dark shades and hues. In women’s articles, bright colors such as yellow,
pink, red, orange, and corresponding shades dominated. One possible
explanation for this fact is that articles represent trending colors that
are dierent in men’s and women’s current fashion. e study shows
that there is no huge dierence between color terms use in men’s and
women’s magazines. e same conclusion is drawn by Marselus Suarta
Kasmiran and Ouda Teda Ena in their study: “ere is no clear-cut of
gender dierences in using language” [Kasmiran, p. 43].
Conclusion
e study aimed to investigate whether women writers use more
color terms in their articles addressing women than men writers use
color terms to address men. We hypothesized that there would be more
basic and specic color terms in women’s magazines than in men’s. It is
partially true: female authors mentioned alot of specialized color terms
in contrast with male authors. Nevertheless, we did not expect to see
the number of basic color terms to be higher in Esquire Magazine than
in Vo gu e Magazine. e results support the hypothesis and show that
women writers use more specic color terms than men writers do. In
other words, women tend to use compound color terms to be accurate
in naming colors, while men do not pay much attention to the exactness
of color naming and have atendency to use more basic color terms.
e research was limited by time and gathered data, so the conclusions cannot be generalized. For further investigations, we suggest
collecting more primary materials and data, so it will help to draw con-
164
clusions that are more accurate about gender dierences in color term
use. It is possible to investigate whether authors of the opposite sex from
the reader adapt their language to the readers, especially it is of interest
to learn if male and female authors change the color terminology when
writing for readers of the opposite gender.
Sources
Esquire Magazine. URL: https://www.esquire.com/ (accessed 30.11.2021).
Vogue Magazine. URL: https://www.vogue.com/?us_site=y (accessed
30.11.2021).
References
Макшакова М. В. //
XXI:
III (8 2013.). .1. : , 2013. .7–12.
Al-Rasheed A. S. An Experimental Study of Gender and Cultural Dierences
in Hue Preference// Frontiers in Psychology. 2015. Vol.6, nr.30. P.1–5.
Arvidsson S. AGender Based Adjectival Study of Women’s and Men’s Magazines. University of Gävle, 2009. P.22–33.
Arthur H., Johnson G., Young A. Gender Dierences and Color: Content
and Emotion of Written Descriptions// Social Behavior and Personality. Vol.35,
nr.6, 2007. P.827–834.
Kasmiran M. S., Ena O. T. Gender Representation in Men’s and Women’s
Fashion Magazine// Journal of English Language Teaching and Linguistics.
2019. Vol.4, nr.1. P.35–45.
Lako R. Language and Woman’s Place// Language in Society: Cambridge
University Press. Vol.2, nr.1. 1973. P.45–80.
165
3.8. Травянистые растения вгерманских ифиннопермских языках: народные названия вьюнка
(Сonvolvulus L.)
(Convolvulus L.) , (Convolvulus arvensis L.), —
-.
, -—
( ), ,
- -. () ;
,
. -
. ,
- .
- Campanula
. ,
,
.
Германские языки
, , .
, - ;
.
1. Форма части растения.
,
.
« »— wiþo-winde bere-winde (. 2.
166
);
. windan> towind
«, (), » ,,
[Krischke, p. 415].
wiþo-winde : «» «»,
«- » «-
». , ,
,
(
) [Ibid., p. 408; 415].
der
Teufelsdarm (. « ») [IWP, S.62]. Teufels-
- , ; «» - ,
.
: ,
, « » (Teufelsklaue) [IWP,
S.133], ,,
- .
, ( ) , — . .
die Schiermützchen [Marzell, S.1145]
« » (das Mützchen—
die Mütze «»). die Muttergottegsläschen
(. «() ») [Ibid., S.1144–1145]
, .
: «- ,
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.
,, , :
“ , , ”. — “, — , —
, ”.
,
“” , .
167
, ,
, .
“ ”» [Marzell, S.1144–1145;
, .6]. ,
, ;
.
Convolvulus
. — . die Windg-
locke (winden «» die Glocke «»: «
») [IWP, S.62].
2. Форма части растения иместо произрастания. -
.-. bere-winde
wiþo-winde (. 1. ). bere «»:
( — ). bere-winde
«- » [Krischke, p. 415; 248–249].
bere-winde , bēre-bīnde ( , ,
.-. binden > . . to bind «»).
,
Convolvulus, [MEC].
— die
Ackerwinde (. «-»). (die Winde
«»; . winda, . winde) ; winden (. wintan, .
winden, winten), — «» [DWDS].
. winden . to wind [OED].
, . die
Kornwinde (. «-») (. . bere-winde).
die Wegewinde (der Weg «» die Winde «»:
«-») , [IWP, S.62;
, 2004, .74].
, , — hedge bells
168
(hedge «() » bells «»: «,
») [DEPN, p. 576].
. —
(,
,
) [ , 2004, .74].
3. Форма части растения инизкая ценность растения; форма,
низкая ценность иразмер; форма, низкая ценность иместо произрастания. , -
, bindweed (. « »),
,
.
«» ,
lesser bindweed, small bindweed (. « ») eld
bindweed (. « ») [Krischke, p. 248; 415; Dictionary].
lesser bindweed small bindweed, ,
(, , ,
«»).
Convolvulus arvensis.
4. Форма части растения иразмер. . die kleine Winde (. « ») [Pritzel,
S.109].
5. Запах. . ,
die Mandelblume (.
«-») (. . миндальная трава) [Marzell, S.1146;
, .107].
6. Действие, которое совершает растение. der Regenschließer der Regen «»
schließen «» (sich schließen «»):
[Marzell, S.1147]. ,
«[],
».
169
7. Народные поверья иобычаи.
,
die Donnerblume (. «-»)
. , , , . , , ,
[Marzell, S.1147] (,
- ). ,
- ,
: .
Финно-пермские языки
1. Форма части растения. - ,
, . . kierto ( — «, »)
, [, .179;
Suhonen, p. 119]. kiertoheinä (. « ()-») [, .73].
, kiereheiny. kiere, ,
kierittyä «, , » [, .66; ,
.207]; «
() ».
pyöriäruoho (. « () », pyöriä «, ») kieroruoho (. « ») [Lönnrot,
p. 383; Suhonen, p. 119]. viruvaheinä
virumaheinä ,
.
virruu «, »,
« () » [, .61].
« »: -. гартчан ту-
170
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