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Слово в предложении. Коллективная монография

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  Мое письмо в министерство наделало много шуму  написал/послал письмо в министерство, наделало много шумупосылать   в министерство  письмо            Мое письмо в министерстве наделало много шуму.         ­        (писать что-то, кому-то, зачем-то и т.д.),                  
                                    (Keenan                           
  -                            truth value gap
(Kempson 1975).
                         
122
                    Neither wit nor drinking whisky could detain him then   Neither wit nor whisky could detain him then (Maugham  whisky  
                     -          -       история, случай
3  Велосипед/клубника расстроил(а) его →
 (Этот) случай / (эта) история с велосипедом/клубникой 
4 Он расстроился из-за велосипеда/клубники→
. Он расстроился из-за (этого) случая / (этой) истории с
велосипедом/клубникой.
 Велосипед/Клубника расстроил(а)      -   
3 . То, что велосипед сломался/разбился/потерялся, ;
То, что клубника завяла/высохла/погибла, 
4    -   велосипед сломался/ разбился/потерялся/оказался старым; клубника завяла/высохла/погибла.
                              
           
123
     -     Lyons                      -
                                    
           -   The moon has an effect on the surface of oceans (           The moons attraction has an effect on the surface of the oceans  Vendler  6, Shibatani 1976).
                      структуру знания                  
       велосипед  клубника -                    -            ­      
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                                                   Велосипед сломался               клубника.
             Велосипед расстроил его         -                        Велосипед обрадовал его       
                                                                                         -               
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      
   проявляется  образуется       -                   
                      -             in situ                проявляются          образуют            -        
                 ,  -                    -     Stepanova, Helbig 1981, 175-         
       
126
                             ­
                                                         Они поссорились из-за велосипеда (The bicycle caused the quarrel)              -        Each brothers desire to have the bicycle only for himself caused the quarrel).            
         - - -
         

It is brassWithout doubt it 
(Это латунь! … без сомнения, это она – причина испорченного жира)
  Brass  -            
127
        
              
Andre Lemieux checked them off on his fingers.
 fryer(Hailey).
                   .
     .
       - : Without doubt it as caused the bad fat 
       brass                                   - Fodor 1980, 207).
                                                
128
-   ,                   
                         -   -   
Chardin delighted him, and Rembrandt moved him to extasy (Maugham). Peter Brueghel the Elder interested him (  , 
  .     ).
  The Moon and Sixpence 
The only painter that interested him who was at all unexpected was Brueghel the Elder. I knew very little about him at that time, and Strickland had no power to explain himself. I remember what he said about him because it was
             .
                       .       
                              

I understood why he had attracted Strickland’s attention. Here, too was a man with a vision of the world peculiar to himsel    creatures grotesquely, and he was angry with them because they were grotesque; life was a confusion of ridiculous, sordid happenings, a fit subject for
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laughter, and yet it made him sorrowful to laugh. Breughel gave me the impression of a man striving to express in one medium feeling more appropriate to express in another, and it may be that it was the obscure consciousness of this
        
paint ideas which were more suitable to literature (Maugham).
                                                       
                                       
               parole
     -            ­          -       
130
                         
                                             
Литература
1.       -
 
2.  
 
3.  
4.      
 
5.       
          
6. Chomsky, A.N. Deep structure, surface structure and semantic interpretation //
Steinberg, D.D. and Yakobovits K.A. (eds.) Semantics. Cambridge, Mass.: CUP, 1971. Pp. 183-216.
7. Fillmore, Ch.J. Types of lexical information // Kiefer, F. (ed.) Studies in Syntax
and Semantics. Dordrecht, 1969. Pp. 109-37.
8. Fillmore, Ch.J. Verbs of judging: an exercise in semantic description // Fillmore,
Ch.J. and Langendoen, D.T. (eds.) Studies in Linguistic Semantics. Lnd.: Holt, Rinehart and Winston. 1971. Pp. 273-289.
9. Fodor, J.D. Semantics: Theories of Meaning in Generative Grammar,
Cambridge, Mass.: Harvard University Press, 1980.
10. Keenan, E.L. Two kinds of presupposition in natural language // Fillmore, C. J.
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