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Pole semantyczne barw zieleni w twórczości Stefana Żeromskiego

100%

Handke K.

Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny

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2011

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vol. 10

7-32

EN

The author the full set of vocabulary from the fields of green colour, representing the entire corpus of works by S. Żeromski – great Polish writer (1864-1925), who in his work has an incredible richness and diversity of Polish vocabulary. It become the subject special research in an innovative writer dictionary, published in the 15-volume series called “Słownictwo pism Stefana Żeromskiego” (“Vocabulary of Stefan Żeromski writings”) (Kraków 2002, 2007, 2010). No. 5 “Świat barw” (“The world of colours”) by Kwiryna Handke contains full vocabulary of colour, also from the fields of green. In this article, the author cited only a part of it for illustration of issues that have deal with. Field of green colour in Stefan Żeromski works consists of 7 tokens: angelica, olive green, aquamarine, emerald, rust, tabac, green. Their presence has a considerable disproportion: 498 tokens to use the green to 29 use of all the other field token. The analysis and interpretation of the material focuses on the green colour. Żeromski used the Polish language in all know forms of formative slot: green, greenish, form an adverb, a variety of verbs and participles and many forms of compound adjectives, which are made according to know patterns, but differentiating them for creative images – from green token in various functions within these structures. All names and description of green, regardless of their formative forms are treated interchangeably by the writer as a means of transmitting the colour images and realities of the surrounding world: the real and the created. He used it for simple information transfer, or modify styles in a number of expressions, phrases metaphors, comparisons, personifications, animations, etc. In her considerations the author has focused her attention on the share of green to depict the world of fiction presented by the writer, while stressing constantly explicit reference to the colour of the real world. The study separates the prototype colour facts – in this case belonging to the natural world, form the artefacts, which are the result of the realieties and experiences of people. Stressing the meaning of the green colour value, she highlighted – in nature and human life – on the one hand, associating them with beauty, joy and on the other hand – the ugliness, misery, disease, dying.

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Varvisonad ja varvisumbolid eesti moistatuste alaliikides

84%

Voolaid P.

Mäetagused

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2016

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vol. 64

69-98

EN

The article analyses colour names in the three most widely spread subgenres of Estonian riddles – classical or ordinary riddles, conondrums, and droodles – focusing on the specific features of each subgenre and their specific differences. The main questions concern the more frequent colour names by subgenres, their more general usage relations, and the use of colours in image creation. Classical riddles belong to a more archaic layer and are, by their nature, poetic descriptions of an object or a phenomenon, in which the image expresses mainly the appearance of the answer object, the facets perceived by senses. Colour names occur frequently in the image creation of riddles, serving as primary indicators in describing an object or a phenomenon and providing a hint at the answer. Classical riddles manifest the importance of colours in the semantic-lexical imagery of riddles (image stereotypes and form patterns), which can roughly be divided into two: 1. In texts with defined subjects, in which the image coincides with the syntactic subject of the descriptive sentence, the subject is often a zoological term, which is complemented by a colour (e.g. clichés such as grey/black/white ox; black pig and red piglets); yet, colour is also essential in human images (e.g. black man, red boy). 2. Texts with undefined subjects, in which the object to be guessed is presented indirectly by means of its activity, qualities, relations, places, time, etc., and colour names are applied in form stereotypes based on some kind of paradoxical differences or contradictions. Conondrums and droodles as more recent subgenres are oriented on humour; they both express cultural stereotypes and symbols by means of colours. As compared to the colour statistics of classical riddles, in conondrums the leading position is occupied by the subject-related term ‘blond’, which marks a fair-haired and fair-skinned person, and is caused by the multitude of jokes about dim-witted blondes that became popular in the second half of the 1990s. Colours play an important role in the absurd questions beginning in ‘What is…?’, as well as internationally known absurd series of elephant-questions, in which the opposition of two colour shades (light-dark, white-black) is widely spread as a humour-creating method. The colour image of the black-and-white droodles often contains the inducing of visual imagination and the occurrence of colour in both the question and answer. Text examples originate from internet databases Estonian Riddles (Krikmann & Krikmann 2012), Estonian Conondrums (Voolaid 2004), and Estonian Droodles (Voolaid 2002), based mainly on the manuscript material of the Estonian Folklore Archives as well as different publications and internet material.

3

Карпатоукраїнська словосполука біла дівка в південнослов’янському контексті

83%

Гриценко П.

Gwary Dziś

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2020

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vol. 12

15-57

EN

The collocation біла дівка (synonymous with гарна дівчина, кохана дівчина) and its correlative білий хлопець, леґінь are popular in the song folklore of the Ukrainian Carpathian Mountains. In the Ukrainian dialectal continuum, these frequent structural elements of the kolomyika songs belong to the Carpathian regional lexis. In Carpathian songs about love and affection, the meaning “beautiful, positive” conveyed by білий occurs in the phrase *біла дівка as well as many phrasal names containing it.The folklore of every ethnic community is unique with respect to its content (i.e. plots and themes), language, and imagery. At the same time, behind the uniqueness of folk songs of different people, there are sometimes common features arising at various times and for different reasons. These features is a specific subject for comparative-historical research. Bulgarian, Macedonian, and Serbian songs reflect a mode of using *běl- to express the notion of love and affection as well as the related values; this bears a resemblance to the Carpathian Ukrainian pattern. These folklore traditions share a more or less similar way of using the qualifier *běl- referring to a beautiful beloved maiden, as well as attributes, circumstances, and processes which, taken together, represent a large axiological “white space matrix” of love songs (carrying markedly positive connotations). Here, the qualifier *běl- is among the principal means of implementation of the semantic features “beautiful” and “positive”, while its synonymic relations to the other items conveying the same meaning are ethnos-specific.The qualifier *běl- in the collocation *біла дівка and its permanent presence in the structure of the other nominative items represent the Ukrainian-Carpathian-Bulgarian-Macedonian-Serbian isogloss, thus increasing the number of integral, linguistic and cultural Ukrainian-Carpathian-Southern-Slavonic entities. The meaning of the isogloss’s invariant is modified and extended by names, collocations, and concepts widely manifested in Carpathian songs as well as in separate Southern Slavonic folklore traditions. Equally topical is the study of the isogloss’s structure (i.e. the topography of relevant elements and phenomena as well as their areal distribution and functioning) and of the prerequisites for the emergence of similar linguistic items and phenomena within different languages and cultures. This is owing either to their mutually independent convergent development, the preservation of the homogeneous historical heritage of the earlier periods, or to the interaction between languages and their dialects. The intensity and sources of these influences are often evidenced by the isogloss’s specific characteristics.As a result of the appearance of “beautiful” and “positive” as the meanings of *běl- and their occurrence in the Carpathian-Balkan area, the issue of the origin of these features within each language of this area becomes topical. An investigation of this issue will show whether they are secondary in relation to, and derivative from, the underlying meaning of colour, or maybe they derive from the archaic syncretic semantics of білий “shining = light = beautiful”.The unique, i.e. exclusive, structural elements of each Slavonic language are not only indicative of the specificity of their evolution but are also instrumental for comparative analysis aimed at establishing the degree of identity or similarity between languages and cultures. The feasibility of isoglosses / isopragms evidenced by folklore texts and ethnographic materials correlates with the exhaustiveness and comparability of basic data corpora of individual Slavonic dialectal continuums.

PL

Студія є ескізним розглядом окремих питань із широкої проблематики карпатобалканіки. За матеріалами словосполучення біла дівка та інших номінацій із компонентом *běl- у фольклорних текстах показано спеціалізацію семантики кольороназви; прокоментовано окремі лінії змін значень*běl- в українськокарпатському просторі, а також виявлені в болгарському, македонському і сербському мовно-культурних континуумах паралелі й відповідники цим процесам. Окреслено особливості лінгвальної й етнокультурної інформації, що містять фольклорні тексти, прийоми її використання в дослідженні діалектного континууму однієї мови та генетично споріднених мов.

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1 Gwary Dziś

1 Mäetagused

1 Studia Językoznawcze. Synchroniczne i diachroniczne aspekty badań polszczyzny

1 Handke K.

1 Voolaid P.

1 Гриценко П.

1 2020

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1 2011

Pole semantyczne barw zieleni w twórczości Stefana Żeromskiego

Varvisonad ja varvisumbolid eesti moistatuste alaliikides

Карпатоукраїнська словосполука біла дівка в південнослов’янському контексті