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From the Archetype Original Image to the Functional Language Image (Based on the Verbal Image of Heart in the Ukrainian Poetic Discourse of the XIXth Century)

 © The Editorial Team of Linguistic Studies

Linguistic Studies
Volume 29, 2014, pp.  15-22

From the Archetype Original Image to the Functional Language Image (Based on the Verbal Image of Heart in the Ukrainian Poetic Discourse of the XIXth Century)

Khrystyna Shchepanska

Article first published online: October 10, 2014 


Additional information

 Author Information: 

Khrystyna A. Shchepanska, Post-Graduate Student at Department of the Ukrainian Language in Ivan Franko National University of Lviv. Correspondence: khr-shhepanska@yandex.ru

Citation: 
Shchepanska, КFrom the Archetype Original Image to the Functional Language Image (Based on the Verbal Image of Heart in the Ukrainian Poetic Discourse of the XIXth Century) [Text] / K. Shchepanska // Linguistic Studies collection of scientific papers / Donetsk National University Ed. by A. P. Zahnitko. – Donetsk : DonNU, 2014. – Vol. 29. – Pp. 15-22. – ISBN 966-7277-88-7

Publication History:
Volume first published online: October 10, 2014

Article received: 29 September 2013, accepted: February 20, 2014 and first published online: October 10, 2014

Annotation.

Cognitive-communicative mechanisms of the forming of "heart as an inner human" microimage in the sense structure of the verbal image of heart in the Ukrainian poetic discourse of the ХІХth century were analyzed in the article. The algorithm of the description of general mechanism of image formation was offered. The archetype background of microimage was determined, pre-conceptual (perceptible) and base conceptual signs, which had been underlain the proper inner form image, were emerged. Metaphorical images, which have been embodied on a base of the inner form image conceptual signs, were analyzed. The basic functions of the microimage in analyzable poetic discourse were determined.

Keywords: archetype original image, functional language image (verbal image), inner form image, microimage, sensory image.



Abstract.

FROM THE ARCHETYPE ORIGINAL IMAGE TO THE FUNCTIONAL LANGUAGE IMAGE (BASED ON THE VERBAL IMAGE OF HEART IN THE UKRAINIAN POETIC DISCOURSE OF THE XIXth CENTURY)

Khrystyna Shchepanska

Department of the Ukrainian Language, Ivan Franko National University of Lviv, Lviv, Lviv region, Ukraine

 

Available 29 September 2013.

 

Abstract

Relevance

The research of cognitive mechanism of language image forming is an actual problem of modern linguistics, in particular cognitive linguistics, because it helps to look in the semantic depth of the language and to see the human reflection there, what is very actual and important in the conditions of modern anthropocentric linguistic paradigm. The basic language images reflect archetype background of the people perception and understanding of the world. That’s why an investigation of the cognitive mechanism of the image of heart forming, which is one of the basic categories in the Ukrainian language culture, allows to determine the peculiarities of the human conceptualization of the world.

Purpose

The purpose of the analysis is to describe the mechanism of forming of the heart as an inner human microimage in the sense structure of the verbal image of heart in the Ukrainian poetic discourse of the ХІХth century (from the archetype original image to the functional unit of the communicative-pragmatic level).

Tasks

The purpose raises the following tasks: 1) to develop the algorithm of the description of mechanism of the verbal image forming; 2) to define the archetype, which entailed the differentiation of the analyzable sense (microimage); 3) to find out pre-conceptual (perceptible) and conceptual signs, forming the background of the inner form image heart is a human; 4) to describe the basic metaphorical images, embodying on the base of the inner form image conceptual signs; 5) to define the basic functions of the microimage heart is an inner human in the analyzable poetic discourse.

Novelty

The novelty of the analysis is in the developing of the algorithm of the description of mechanism of the verbal image forming, based on the interpretation of the process of image forming as a process of the transformation of myth in logos.

Theoretical value

The theoretical value of the study laid in the development of the theory of image. The emphasis is made on the determination of the definition limits of the concept of "image", on the cognitive-communicative mechanism of its formation and on the main aspects of its functioning as a communicative unit.

Practical value

The results of the analysis may be used in cognitive linguistics studies, cultural linguistics and ethnic linguistics studies. They also may be applied as an illustrative material in the dictionary of the Ukrainian linguistic culture with language image as the unit of description.

Conclusion

Forming of the poetic microimage, embodying the separate sense of the general verbal image, is a difficult, multistage process, including the differentiation of the sense from the archetype original image, integration of the pre-conceptual sensory signs and base conceptual features within the inner form image, development of these signs in the metaphorical images and, finally, functioning as a difficult communicative unit in the artistic text.

Perspective

Analysis of the conceptual becoming of the microimage heart is a human allows explicate only one part of the integral verbal image of heart in the Ukrainian poetic discourse of the ХІХth century. The perspective of the research is in the description of the cognitive-communicative mechanisms of the forming of microimages, embodying all other senses of the investigated language image, in particular microimages heart is an element and heart is a source.

 

Research highlights

 Cognitive-communicative mechanisms of the forming of «heart as an inner human» microimage in the sense structure of the verbal image of heart in the Ukrainian poetic discourse of the ХІХth century were analyzed in the article. ► The algorithm of the description of general mechanism of image formation was offered. ► The archetype background of microimage was determined, pre-conceptual (perceptible) and base conceptual signs, which had been underlain the proper inner form image, were emerged. ► Metaphorical images, which have been embodied on a base of the inner form image conceptual signs, were analyzed. ► The basic functions of the microimage in analyzable poetic discourse were determined.

Keywords: archetype original image, functional language image (verbal image), inner form image, microimage, sensory image.

 

References

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Іvashhenko, V. L. (2006). Kontseptual'na reprezentatsiya frahmentiv znannya v naukovo-mystets'kiy kartyni svitu (na materiali ukrayins'koyi mystetstvoznavchoyi terminolohiyi). Kyyiv.

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Jung, K. G. (1991). Biblioteka strannika. Arhetip i simvol; Е-portal: http://www.wanderer.org.ua/ book/psy/jung/arch_sym.htm

Gibbs, R., & Colston, H. (2006). The cognitive psychological reality of image schemas and their transformations. Cognitive linguistics: Basic readings: Oxford University Press, 239-268.

Langacker, R. (2002). Concept, Image and Symbol: The cognitive basis of grammar. BerlinNew York: Mouton de Gruyter.

 

Sources and Abbreviations

Afanas'yev-Chuzhbyns'kyy, O. (1972). Poeziyi. Kyyiv: Radyans'kyy pys'mennyk. Hrabovs'kyy, P. (1959). Zibrannya tvoriv. V 3-kh t. Kyyiv, I.

Kononenko, M. S. (1908). Struna. Poeziyi 1883-1908. Kyyiv: Ranok.

Kostomarov, M. I. (1990) Tvory: V 2-kh t. I: Poeziyi; Dramy; Opovidannya. Kyyiv: Dnipro.

Kulish, P. O. (1990). Tvory: V 2-kh t. І: Prozovi tvory. Poetychni tvory. Perespivy ta pereklady. Kyyiv: Naukova dumka.

Kulish, P.O. (1994). Tvory: V 2-kh t. ІІ: Poemy. Dramatychni tvory. Kyyiv: Naukova dumka.

Kulish, P.O. (1989). Tvory: V 2-kh t. І: Poeziya. Kyyiv: Dnipro.

Kulish, P.O. (1994). Tvory: V 2-kh t. І: Poeziyi epichni i lirychni. Piznishi poeziyi. Kyyiv.

Fed'kovych, O. Yu. (1896). Tvory. І: Poezyyi. Chernivtsi.

Franko I. (1978). Zibrannya tvoriv: V 50 t. ХІІ: Pereklady ta perespivy. Kyyiv: Nauk. dumka.

Franko I. (1914). Iz lit moyeyi molodosty: Zbirka poeziy p"yatylittya 1874-1878. L'viv.

Shevchenko, T. H. (1985). Kobzar. Kyyiv: Dnipro.

Shevchenko, T. H. (2001). Konkordantsiya poetychnykh tvoriv Tarasa Shevchenka. III: Shevchenko Scientific Society. New York.

 

Correspondence: khr-shhepanska@yandex.ru

Vitae

Khrystyna A. Shchepanska, Post-Graduate Student at Department of the Ukrainian Language in Ivan Franko National University of Lviv. Specialty of the professional training is the Ukrainian language (10.02.01). Her areas of research interests include cognitive linguistics, cultural linguistics and ethnic linguistics.


Article.

 

Khrystyna Shchepanska

УДК 81’42:[821.161.2-1.09“18”:7.045]

FROM THE ARCHETYPE ORIGINAL IMAGE TO THE FUNCTIONAL LANGUAGE IMAGE (BASED ON THE VERBAL IMAGE OF HEART IN THE UKRAINIAN POETIC DISCOURSE OF THE XIXth CENTURY)

 

Cognitive-communicative mechanisms of the forming of "heart as an inner human" microimage in the sense structure of the verbal image of heart in the Ukrainian poetic discourse of the ХІХth century were analyzed in the article. The algorithm of the description of general mechanism of image formation was offered. The archetype background of microimage was determined, pre-conceptual (perceptible) and base conceptual signs, which had been underlain the proper inner form image, were emerged. Metaphorical images, which have been embodied on a base of the inner form image conceptual signs, were analyzed. The basic functions of the microimage in analyzable poetic discourse were determined.

Keywords: archetype original image, functional language image (verbal image), inner form image, microimage, sensory image.

                                     

The concept of imagery is very important in cognitive linguistics. It is used by such leading researchers in the industry of cognitive linguistics, as R. Langacker, G. Lakoff, W. Kroft, N. Arutyunova, N. Alefirenko, Y. Karaulov, B. Gasparov, V. Kononenko, Т. Vil'chinska. The interest to the problem of imagery in the cognitive linguistics researches is justified, because "image" is a psychological category which plays an important role in cognitive processes. Cognition begins with the formation of image, and a linguistic sign comes forward the mean of its name [Елисеева 2006: 101]. Image is a "base, on which symbol and sign is built above" [Арутюнова 1999: 310; Алефиренко 2005:115]. A basic difference between languages, after R. Langacker, is that they "code the same conceptual structure by means of substantially different images" [Langacker 2002: 109].

The certain vectors of the definition of term "image" are outlined in the cognitive linguistics tradition of its interpretation. They determine the definition limits of this concept by a triad "sensory image" – "mental image" – "language image". This triad reflects the peculiarities of cognitive transformation of the perceptible experience data in the human consciousness or in other words reproduces the stages of the verbalization of the image component of a concept. However notion width of the term of image is not limited by this triad. For example, as a constituent of concept, image comes forward its fundamental principle, that grounds to talk about original image as an embryo of the concept, as the last mentioned notion based on "the collective irresponsible, archetype" [Кононенко 2004: 6]. De autre part, formation of the conceptual structure is related to the integration of different conceptual signs in the integrity, which can be defined as an inner form image [Бєлєхова 2002: 157]. Consequently, the notions archetype original image and inner form image supplement concept width of the term of image. It talks about the notion resourcefulness and multivalence of the analyzable category that can complicate the linguistic analysis of the concrete language images.

Different linguists, in particular, R. Langacker [Langacker 2002], N. Alefirenko [Алефиренко 2005:115], N. Arutyunova [Арутюнова 1999: 310], L. Belekhova [Бєлєхова 2002: 157] specify on the differences between the notions of sensory image, language image, mental image, however the problem of stage-by-stage forming and functioning of image in the aspect of its multilevel linguistic presentation remains not resolved.

As an image is a category, which better in all proves in the poetic discourse (it allows to explicate different forms of image (perceptible (pre-conceptual), conceptual, verbal)), we will make an attempt to analyze the stages of the verbalization of the concrete poetic image, namely heart as an inner human microimage in the sense structure of the language image of heart in the Ukrainian poetic discourse of the ХІХth century.

The purpose of our investigation is to describe the mechanism of forming of the heart as an inner human microimage in the sense structure of the verbal image of heart in the Ukrainian poetic discourse of the ХІХth century (from the archetype original image to the functional unit of the communicative-pragmatic level). It foresees the resolving of such tasks: 1) to develop the algorithm of the description of mechanism of the verbal image forming; 2) to define the archetype, which entailed the differentiation of the analyzable sense (microimage); 3) to find out pre-conceptual (perceptible) and conceptual signs, forming the background of the inner form image heart is a human; 4) to describe the basic metaphorical images, embodying on the base of the inner form image conceptual signs; 5) to define the basic functions of the heart is an inner human microimage in the analyzable poetic discourse.

The first stage of the image forming is its differentiation in the collective irresponsible by the formation of archetype. The archetype is a pre-knowledge or a priori knowledge, which is necessary for an origin of any verbal image. After K. Yung, the system "archetype/ archetype image" operates as the background of the image of reality designing. It is based on the understanding of human’s psychics as an element of the collective irresponsible, which reflects in the human’s consciousness through sleeps, myths and legends by archetype images [Юнг 1991]. Archetypes provide people’s understanding of the world, "the internal unity and intercommunication of the culture", forming "general a priori psychical and behavior programs" [Іващенко 2006: 69].

The sensory image, unlike the archetype image, which is the collective pre-knowledge, is a reflection of the real objects in the human consciousness formed in the process of cognition [Алефиренко 2005: 115]. It arises up as a result of mastering of the object’s quality features by the man’s sense-organs. A basic source of such image is a visual perception, "although it combines the information, coming from different channels of human connection with the world" [Арутюнова 1999: 315].

The formed sensory image of the object transforms in the proper language image, which is the visual perception of the subject world, embodied in the verbal form [Алефиренко 2005: 115]. As N. Alefirenko marks, the difference between the language image and the sensory image is in their nature: "we can see the first only by the internal sight, and the second is a reflection of a real object in our consciousness" [Алефиренко 2005: 115]. In a relation "world-image-sense", in which N. Arutyunova characterizes the category of image, a sensory image is more near to the world, and a language image is more near to the sense [Арутюнова 1999: 314].

And, finally, the mental imagery as the highest level of the subject reality mapping is the most abstract category. V. Ivashchenko uses a term "mental image" in the value of "reflection", "psychic", in which it is interpreted as a synonym to the notion of "concept". As the researcher marks, the formation of the mental images is related to the "process of the information coding" [Іващенко 2008: 37]. It is a unit of knowledge, achieved by the cognitive processing of data, that is by "the transformation of the sensory image structures in the different abstractions" [Іващенко 2008: 39]. Mental images "are not mental pictures in the sense of providing a veridical copy of what has been perceived" [Gibbs, Colston 2006: 248]. They are the result of cognitive treatment of the objects sensory images, that is why unlike the last, based on the perceptive experience, mental images are the reflection of reflection, whether the image of image. As L. Ivashchenko marks, mental image is not a form ideal maintenance is laid in, "it is a semantic, or internal form of reality as certain method of its ideal, psychical organization" [Іващенко 2006: 57]. In accordance with such conception, the notion of mental image approaches the notion of inner form image, which is used in the research of L. Belekhova in the sense of the conceptual side of verbal image. The inner form image as an aggregate of the conceptual signs-stimuli contains the embryos of senses, which are opened out in the verbal image.

Consequently, the verbalization of the image component of the concept can be understood as a process, foreseeing the transformation of the sensory image in the language image with the subsequent forming of mental image. De autre part, the process of the linguistic materialization of image can be interpreted as having the formation of language image as its finishing stage. It’s based on the understanding of verbal image as the mentally-linguistic unit, including mental or inner form image and its verbally-sign embodiment (B. Gasparov, Y. Karaulov) and on the determination of the language image as the basic unit of the linguistic picture of the world. According to L. Belekhova opinion, verbal image integrates sensory and conceptual (inner form) images [Бєлєхова 2002: 147]. For these reasons we treat the language image as a mentally-linguistic unit, having the long duration process of forming: from an origin of archetype image to the functioning as a difficult communicative unit in the text. After the terminology of Y. Karaulov, an «unverbal title» (sensory image, putting aside in the psychic of the recipient) transforms in the author’s consciousness in «more difficult image», which acquires a symbolic generalization (inner form image) and then transforms in the text [Караулов 1987: 190], the basic unit of which is a language image.

Consequently, the algorithm of description of the cognitive mechanism of the verbal image forming can be written down in such a way (succession): the original image (archetype, pre-knowledge) → myth (knowledge, described in the form of the sensory images) → inner form image → logos (knowledge, described in the form of verbal images). We will make an attempt to apply it to the analysis of the microimage heart is an inner human.

The semantic filling (content) of the verbal image of heart in the Ukrainian poetic discourse of the ХІХth century is rich and resourceful, however there are microimages, which better than other pass the character of its comprehension in our linguistic culture. The microimage heart is an internal human belongs to them.

Pre-conceptual basis of this image is archetypes of Ego and Shade. Ego as one of the central archetypes of personality, which integrates the all sides of the human psychical life at the level of individual presentations [Юнг 1991], is the original image of internal Me. It is the archetype of man’s identity to itself. Being the abstract essence of the collective irresponsible, it embodies in concrete images depending on the self-identification of separate man or people on the whole. For example, formula "I am what my ideas are" determines the image of Ego as a Mind, while formula "I am what my feelings are" approaches Ego to the sphere of Emotion. Self-identification of the lyric characters in the Ukrainian poetic discourse of the ХІХth century can be described by the second formula. The archetype of Ego embodies in the image of heart, forming the microimage heart is an inner human in its semantic structure: Легко сказати; та замість того Звернемось краще до себе, Щоб запитатись у серця свого: Як рятуватись від тебе? (Грабовський 1959: 389).

The archetype of Shade as such, that forms the "shadow" side of personality and includes tendencies, desires, experiences, which man tries to deny or hide on certain reason [Юнг 1991], forms the original image of internal Non-Me. It is the archetype of denial of man in a man. Unlike the embodiment of Ego, which is related to the self-identification, the archetype of Shade realizes through self-renunciation, that is why in the first case the original image my heart is me forms, and in the second case – the original image my heart is my shade. In the analyzable poetic discourse the archetype of Shade shows up in those contexts, where heart comes forward the internal beginning of man, intimately continuous with sinful senses, human aims to hide, or it characterizes as the internal state, which lyric hero does not want to discover: Куди, каже, хилить доля, Туди й треба гнуться, – Гнуться мовчки, усміхаться, Щоб люди не знали, Що на серці заховано, Щоб не привітали (Шевченко 1985: 76); Усміхнися, моє серце, Тихесенько-тихо, Щоб ніхто і не побачив (Шевченко 1985: 408); Одкрив би я своє серце, Та нікому, та нікому. Цвіте воно, як Божий рай, Потай миру, потай миру… Ой серденько закритеє, Тихий раю, тихий раю! Ніхто тебе не нівечить, Бо не знає, бо не знає. Цвіти ж собі, живи собі Самотою, самотою. Втішай себе солодкою Дрімотою, дрімотою… (Куліш 1994: 268); Так нащо ж мені і серце, На лиху годину? А воно не мертве в мене, Трепечеться в грудях, Тільки нишком, все боїться Говорить при людях… (Афанасьєв-Чужбинський 1972: 61).

The original images of personality (Ego and Shade) defines the semantic scopes of the microimage heart is a human, but pre-conceptual signs, underling the proper inner form image, forms on the level of the sensory contemplation of reality. The main pre-conceptual sign of the analyzable image is an "interior" [ЕСУМ 2006: 222] as an immersion in itself, self-comprehension. It is the basis of the primary anthropomorphous sensory images heart is a sight and heart is a hearing, sense. Modern researchers (in particular, Y. Karaulov, V. Ivashchenko) bind sensory images above all things to five basic feelings (visual, auditory, olfactory, haptic and taste). They are the emotional stimuli for the formation of the proper senses. Visual and auditory senses are the most actual sensory images for the microimage heart is a man in the Ukrainian poetic discourse of the ХІХth century.

As an anthropomorphous sign the internal sight characterizes analyzable microimage by predicates to see and to look: Любо та гарно, милеє серце, Тут нам укупі сидіти, За руки взявшись, серцем, очима В божеє небо глядіти (Костомаров 1990: 91); Дай мені на тебе серцем Праведним дивитись Образом твоїм небесним Тільки веселитись! (Куліш 1994: 134); Я Грицеву душу Своїм серцем бачу (Куліш 1989: 67); "Уся Україна, мій сину… Уся вона пишна, дитино, Як в небі у Господа рай! І я хоч не бачу очима Того, що видющих втіша, За те моє серденько бачить, За те моя бачить душа!" (Кононенко 1908: 52).

Pre-conceptual sign to hear, to feel forms the anthropomorphous sensory image heart is an internal hearing (feeling): Віщує козаче. Чує серце, та не скаже, Яке лихо буде (Шевченко 1985: 98); А я кажу своїй долі: "Тебе не шаную, Бо смерть моя ходить близько, Я серденьком чую…" (Афанасьєв-Чужбинський 1972: 47); Ми серцем чуєм вопль розлуки, Ми серцем чуєм серця глас (Куліш 1994: 322).

Except for the pre-conceptual sensory signs inner form image heart is a man is formed by signs, arising on the basis of comprehension of the category of heart through the base concepts of object and subject, which represent the objective-subject relation in the semantic structure of analyzable image: 1) heart as an object of action: І од того святого слова Чудне щось діється мені: Та мова серце оживляє, Його чимсь любим напува, З душею тихо розмовляє(Кононенко 1908: 26); Гаразд! Моя совість вішається моєму серцю на шию і говорить мені премудро: "Мій чесний друже, Ланселоте, ти ж син чесного батька" (Франко 1978: 385); 2) heart as a subject of action: Де ж ті люде, де ж ті добрі, Що серце збиралось З ними жити, їх любити? (Шевченко 1985: 35); І кожде серце ревне заплакало, Бо вже неволі стерпіти не може (Федькович 1896: 88).

Consequently, the inner form image heart is a man is formed by the pre-conceptual sensory signs of action (to see, to look, to hear, to feel) and by the conceptual signs of state, which is represented by the objective-subject relation.

The following stage is verbalization of the microimage by an anthropomorphous metaphor, which entails its semantic differentiation. Two basic semantic centers are formed in the microimage sense structure as a result of such process: heart is a biological essence (semantic primitives to live, to eat, to get dressed, to want, to feel) and heart is a spiritual essence (semantic primitives to love, to trust, to unite spiritually with God). The first semantic center is formed by such specialized senses: 1) heart as a separate life: О Україно, рач простити, – Не можна серцю тутки жити, То най навіки тя покине, Най тутки трісне, тутки гине! (Федькович 1896: 35); 2) heart as a thirsty or hungry being: І багато безталанних Панна зустрічала І у серце зцілющії чари проливала. І моє криваве серце Скропила сльозою, – Напоїла зцілющою Живою водою (Куліш 1994: 358); Є чим серце наситити Молоде, безодне, Є чим віки наповати Молодецку гадку (Федькович 1896: 113); І словами ніжно, Сходняя дівчино, Годувала серце, Як млеком і медом (Костомаров 1990: 157); Моя ти зоренько святая!.. Світи на мене і огрій, І оживи моє побите Убоге серце, неукрите, голоднеє (Шевченко 1985: 536); 3) heart as a bare or dressed being: Та де ж нам тую матір взяти? Ми серцем голі догола! Раби з кокардою на лобі! (Шевченко 2001: 1604); А яка-ж то шата, що ти груди криє? – Така, як моя доля, що лице ми миє: Тісна на моє серце і тісна на душу; Бо моє серце, братя, сардаком ся крило, Під бланев ся кохало, під ременем било (Федькович 1896: 36); 4) heart as an essence, able to think: «Не творю: передо мною Всемогучий сяє. Серце й розум пресвятою думкою сповняє (Куліш 1994: 181); 5) heart as a possible essence: Скажи мені правду, мій добрий козаче, Що діяти серцю, коли заболить, Як серце застогне, і гірко заплаче, І дуже без щастя воно защемить? (Афанасьєв-Чужбинський 1972: 251); 6) heart as a desire: Пробувала. Не спиняли, – Що багло серденько (Федькович 1896: 420).

The second semantic center is determined by such specialized senses: 1) heart as a being, able to love: Не так серце любить, щоб з ким поділиться, Не так воно хоче, як Бог нам дає, Воно жить не хоче, не хоче журиться. "Журись", – каже думка, жалю завдає (Шевченко 1985: 16); 2) heart as a being, able to trust: Всім серцем вірую в істочник битія, Де в Бозі зачалась душа свята твоя (Куліш 1994: 496); 3) heart as a being, which spiritually unites with God: То серце по волі з Богом розмовля, То серце щебече господнюю славу, А думка край світа на хмарі гуля (Шевченко 1985: 54).

And, finally, the last stage of the microimage forming is its plugging in the artistic triangle AUTHOR – TEXT – READER, which determines the functional loading of this image within the frame of vocal acts, for which it is a communicative stimulus. In the Ukrainian poetry of the ХІХth century such vocal acts are opened out on two levels of the communicative co-operation: psychological (as the conversation with the internal Ego); artistically-metaphorical (as the intercourse with the metaphorical image of Ego).

At the psychological level of the communicative co-operation vocal acts have different forms of expression: the form of lyric character monologue, where the internal Ego comes forward an addressee: Серце моє трудне, Чого ти бажаєш, що в тебе болить? Чи пити, чи їсти, чи спатоньки хочеш? Засни, моє серце, навіки засни… (Шевченко 1985: 222); І серце жде чогось. Болить, Болить, і плаче, і не спить, Мов негодована дитина. Лихої, тяжкої години, Мабуть, ти ждеш? (Шевченко 1985: 534); the form of the lyric character dialog with its Ego (heart): Скажи, віще серце, чи скоро світ буде?» – «Ой скоро світ буде» (Куліш 1994: 266); Чого, серце, ти сумуєш, Чого ниєш-заниваєш? Чи ти нове горе чуєш, Чи давнєє споминаєш? "Ой хоть чую – не боюся: Я крівцею розіллюся, Розіллюсь по ріднім краю Од Есмані до Дунаю…" (Куліш 1989: 52-53); the form of the monologue of heart as an internal man: "Не для хвалебности жило Те серце, повне благородства, Над себезнайством превосходства "І хочу й мушу в сьвіті жить, Щоб жизні ближнього служить!" Такий завіт воно держало Від Господа, владики Сил… (Куліш 1994: 355).

Artistically-metaphorical level of the communicative co-operation is based on the unrolling of vocal acts from the certain metaphorical images of heart. An original image "my heart is my Ego" acquires concrete sensory forms of expression: heart is a creature, heart is an object, heart is an element, heart is a sound et al. Such communicative acts are the lyric hero dialogs with its Ego, incarnate in certain sensory image. For example, a lyric hero likens the Ego both to the cuckoo (an area of imposition is voice image: periodic heart knocking and periodic cuckoo forging) or to the swan (an area of imposition is a linguistic cultural experience: a swan song as the last song and a parting song of lyric hero in a pair with its heart): Вспокій ся, серце, – таже ти казало, Що як-бись братну душу де здибало, То вже ні раз бись більше не боліло, То вже бись тілько сьвітом не гуділо Як та зозулька, що на весні кує: Де кукун братчик, що мене не чує!? – Будь тихо, серце, будь, най нагадаю Ту думку красну, нути тії милі О Добушеви, а як відсьпіваю Загинем разом на єго могилі Як ті лебеді, що лиш раз їх чути, потому гинуть, бо не можуть бути (Федькович 1896: 21).

The functional loading of the microimage heart is a man within the limits of concrete artistic communicative act, depends on the nature of the last. The most widespread in the investigated poetic discourse are expressive acts and directives. Within the limits of the first, analyzable image fulfills the same name (expressive) function, which shows up in its ability to pass the lyric hero psychological state. For example: Чого, серце, ти сумуєш, Чого ниєш-заниваєш? Чи ти нове горе чуєш, Чи давнєє споминаєш? (Куліш 1989: 52-53); Знов захмарилось високе, І велике, і страшне… Кволе, в світі одиноке Знов запитує мене: "Чи ти встоїш проти доли В гордих старощах твоїх? Чи – не буде вже ніколи Днів мені тихих, ясних?" Серце кволе, тихомирне! Ми з тобою знаєм світ, Творимо тиранства хирне Від Німвродових ще літ (Куліш 1994: 499).

The basic function of the analyzable image within the directives is a function of exchange. The microimage heart is a man exchange an addressee, from whom a sender (lyric hero) requires a certain action. For example: Та чого-ж я плачу? Тихо, серце, тихо моє! Є і в мене крила (Федькович 1896: 109); Усміхнися, моє серце, Тихесенько-тихо, Щоб ніхто і не побачив… (Шевченко 1985: 408); Ой закрийтесь, ясні очі, лягай, серце, спати: Ще нам Спаса не родила пречистая мати (Куліш 1: 351); Тихо, серце! Бач, широко Виринає світла око! Глянь, о, глянь, уже й над нами Відчинились неба брами! (Франко 1914: 45).

There are also communicative acts of the mixed type, predetermining the combining of the functions of analyzable microimage, for example, directive (order, requirement) combines with the representation (prediction): Ой серденько, серденько, Чого ж тобі тяженько? Канони грають, кулі засьпівають, Най ти буде радненько… Буде, буде радненько, Буде рано-раненько Сонце сходити, перестанеш жити, Гуляй, гуляй, серденько! (Федькович 1896: 8); act of expression (expression of the psychological state) combines with directive: Серце моє трудне, Чого ти бажаєш, що в тебе болить? Чи пити, чи їсти, чи спатоньки хочеш? Засни, моє серце, навіки засни… (Шевченко 1985: 222); directives interlaces with the act of expression: Тож тихонько, серце, струни, При зорницях, в світлі луни Можна трошки потужити, Лиш би братя не збудити (Федькович 1896: 43), etc. In the first example microimage heart is an internal man executes three functions: expressive (expression of the psychological state of the lyric hero: depression, sadness); function of exchange (exchange an addressee to whom the lyric hero speaks with a requirement to be glad, to have fun); function of prognostication (forecasts the death of the lyric hero: if heart will leave off to live, a lyric hero will die). In the second example it fulfills four functions: expressive (expresses the state of heartfelt alarm and pain); function of exchange (exchange an addressee from whom a lyric hero requires to fall asleep (to die); symbolic (eternal sleep of heart symbolizes death of lyric hero); artistically-metaphorical (image of heart approaches the image of child), and in the third example, as well as in the first, analyzable microimage carries out three functions: expressive (expresses the state of melancholy and sorrow); function of exchange (exchange an addressee from whom a lyric hero requires to be quiet); artistically-metaphorical (heart appears in the image of strings of the musical instrument).

An analysis of the functional loading of the microimage heart as an internal man in the investigated discourse confirms its influence on the pragmatic orientation of the communicative act (expression, imperativeness, representation et al). This microimage determines the semantic loading of the vocal act (every artistic communicative act is based on the separate psychological or metaphorical image, incarnate in the concrete sensory form).

Consequently, forming of the poetic microimage, embodying the separate sense of the general verbal image, is a difficult, multistage process, including the differentiation of the sense from the archetype original image, integration of the pre-conceptual sensory signs and base conceptual features within the inner form image, development of these signs in the metaphorical images and, finally, functioning as a difficult communicative unit in the artistic text. Analysis of the conceptual becoming of the microimage heart is a man allows explicate only one part of the integral verbal image of heart in the Ukrainian poetic discourse of the ХІХth century. The perspective of the research is in the description of the cognitive-communicative mechanisms of the forming of microimages, embodying all other senses of the investigated language image, in particular microimages heart is an element and heart is a source.

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У статті проаналізовано когнітивно-комунікативні механізми формування мікрообразу «серце – внутрішня людина» у структурі слова-образу серця українського поетичного дискурсу ХІХ століття. Запропоновано алгоритм опису загального механізму утворення образу. Визначено архетипне підґрунтя мікрообразу, виявлено передконцептуальні (предметно-чуттєві) та базові концептуальні ознаки, які лягли в основу відповідного внутрішньоформного образу. Проаналізовано метафоричні образи, що об’єктивувались на базі внутрішньоформних концептуальних ознак. Визначено основні функції мікрообразу в аналізованому поетичному дискурсі.

Ключові слова: архетипний першообраз, внутрішньоформний образ, мікрообраз, функціональний мовний образ (слово-образ), чуттєвий образ.

Available 29 September 2013.