Article.
Halyna Namachynska
УДК
821.161.2.09(092)
FUNCTIONING OF THE UKRAINIANISMS-ARTEFACTS IN
FICTION TEXTS WRITTEN BY V. KOROLENKO (DEDICATED TO HIS 160TH
ANNIVERSARY)
The article focuses on the analysis of
functioning of the lexical-semantic Ukrainianisms that nominate the Ukrainian
national instruments and the names of persons who play these instruments.
Besides semantics, the pragmatic constituent of the analyzed lexemes, their
connotations have been singled out. The analyzed sample may be used to
represent the nominations in the Dictionary of the Ukrainianisms in the Russian
language.
Keywords: lexical-semantic Ukrainianisms,
pragmatic constituent, connotation, the Dictionary of the Ukrainianisms.
Problem and relevance of the investigation. The Ukrainian language has a tradition of
functioning as a donor language that affects the enrichment of lexical-semantic
and stylistic resources of the Russian language. Based on the analysis of the
certain processes of semantic adaptations and the functional-stylistic use
which are used today, there is a need to define the features of development the
Ukrainianisms in Russian, it is necessary to develop the appropriate methods of
their qualifications and represent the Ukrainisms in Russian in a particular
lexicographical source. Of course, the Ukrainisms in Russian as a consequence
of the appropriate interlingual contacts have some tradition of the research
and fixing in lexicographical sources (Interpretative Dictionary of "Great Russian" language by
V. Dahl, Dictionary of Modern Russian Language). But there is no
dictionary of the Ukrainianisms in the Russian language.
The degree of the problem investigation. Modern sociolinguistics is characterized by a
tendency to study an interlingual communication as a source of appearance of
borrowings in different languages: in Ukrainian (B. Azhnyuk,
D. Barannik, N. Dybyiak, Y. Zhluktenko, T. Kyyak,
L. Kochan, L. Matsko, O. Styshov, L. Struhanets etc.),
Russian (V. Aristov, E. Volodarska, L. Wilkens, L. Krysin [Крисін 1968], A. Larionov, A. Mayorov, A. Molodkina,
O. Solohub, O. Shakhraiy), English (B. Hansen,
H. Hitchings, A. Stanforth, S. Thomson), Italian (I. Chelysheva), German
(R. Brunner, H. Fink, M. Lenhert), Polish (V. Blanar,
T. Lehr-Splawinski), French (B. Hak) and the others. The
Russian-Ukrainian language links have been investigated by A. Horbach,
H. Izhakevych, T. Kosmeda [Космеда
2000], M. Kocherhan,
D. Miller, H. Matsyuk, N. Ozerov, T. Chertoryzka and the
others. V. Korolenko is one of them.
The goal of the article is to describe the features of functioning of
musical instruments' names and nominations of people who play these
instruments, which represent the Ukrainian culture. Material of the research –
the story "The blind musician" by V. Korolenko.
The main tasks of the paper are 1) the analysis of functioning of the
lexical-semantic Ukrainianisms that nominate the Ukrainian national instruments
and the names of persons who play these instruments, 2) disunity of the
pragmatic constituent of the analyzed lexemes, their connotations.
The exposition of the main material. V. Korolenko was born in Zhytomyr, lived in
Ukraine for a long time, particularly in the cities such as Rivne and Poltava. His childhood the writer passed in Zhytomyr. He eagerly listened
to the stories оf the old nurse about ancient times, enjoyed Ukrainian folk
songs. The events of his childhood gave a material for many works, the
particularity of his childhood reflected in a way the nature of his work. When
he was a small child he spoke both Ukrainian and Polish. He loved Ukrainian
tales and poems by T. Shevchenko.
A great originality and a difficult world and
feelings of the writer are represented in every separate work. For example this
you can find in "The blind musician". To understand what a strong
echo in the writer's works has made life of the Ukrainian people, we should
remember Iohim's image in "The blind musician". The personality of
V. Korolenko's mother inspired to create an image of Evelin, a loving and
selfless friend of the hero of the story "The blind musician". Since
childhood the writer liked nature. The first significant childhood experiences
– walking in the pine forest. Left alone with nature, the boy was listening to
the sound of trees, a quiet whisper and breath of the forest. That memory was
imprinted in the mind of the writer with such depth that after many years, as
he told, it was the motive for his story "Wood murmurs."
Memories of the childhood and teenage years
spent in Ukraine were always dear and close for him. Ukrainian themes and
images were highly imprinted ("The blind musician", "Wood murmurs" "No tongue"). The writer sincerely
respected the culture and life of the Ukrainians. V. Korolenko loved folk
art, poetic songs, stories and legends. He listened to folk singers and kobza
players. In 1906 he wrote "Duma" in which he depicted the in
Sorochyntsi.
In 1886 he published his first book
"Essays and stories", which received an admiring response of
A. Chekhov. The real triumph had the next work – the story "The blind
musician" (1886). In it V. Korolenko with great knowledge of human
psychology, and philosophical approached to solving the eternal problems of man
and society. Tracing the fate of the blind boy, he led the reader to believe
that the natural vocation of man is not only a struggle for their own
happiness. The completeness and harmony of life can be felt only being a part of
people and to overcome feelings of selfishness. It is worth remembering the
story of this period: "Wood murmurs" (1886).
Wherever he lived, he always wanted to return
to Ukraine. He liked Ukraine for its spectacular beauty of nature, loved
Ukrainian people for their hard work, melody, an irresistible thirst for
freedom. Volodymyr Halaktionovych passionately defended the Ukrainian culture
and language, strongly supported the progressive Ukrainian writers. A strong
friendship was between him and Panas Myrniy, P. Hrabovskiy,
M. Kotsyubynskiy. The subject of Ukraine occupies an important place in
the stories "Wood murmurs", "In a bad company", "No
tongue," the story "The blind musician" and the others.
The Ukrainisms of the Russian language belong to
the artifacts – the names of the musical instruments, including bandore,
kobza, lire. The same with the category of people who play these
instruments – a bandore player, a kobza player, a lire player, who were usually
blind. These lexical-semantic lexemes receive a special figurative and symbolic
meaning in the stories by V. Korolenko "The blind musician" and
"Wood murmurs" (Poliska legend).
Kobza, bandore and lire are symbols of the Ukrainian
folk-lore, the Ukrainian history V. Korolenko emphasizes the function of a
bandore player, a kobza player, a lire player and their role in
life of the Ukrainian people. We can fill the singing of the Ukrainian romantic
antiquity.: It was better for the blindmen. Instead of the piano then I would have
learned to play the bandore, and would have gone to the cities
and villages ... A crowd of people would have gathered, and I would have
sung them about the affairs of their fathers, the exploits and fame.
Then I would have been something in life. But now? [Короленко 1956: 160]. As you can see, primarily this context points
out at the bandore player's role in the life of the Ukrainian society, their
high authority (Then I would have
been something in life). These were people who reported to the Ukrainian people the truth about
historical facts, important facts about Ukrainian life. The
"activity" of a real Ukrainian bandore player Opanas Shvydkiy (name
exclusively of Ukrainian origin) made poetry in another writer's story –
"Wood murmurs" (Poliska legend), compare: Hey, boy, you did not
use to listen to the way Opanas Shvydkiy played , and you would not listen to. Bandore
is a tricky thing, but in hands of a person it speaks well. Touch it
with a hand, and it will tell you everything about: a dark forest
murmurs in bad weather, the wind tolls on weeds in the empty steppe, the grass
whispers on a high Cossack's grave. No, fellow, you will not listen to a
real playing! All sorts of people come here now, they visited not only
Polissiay, in Ukraine they were everywhere: in Chyhyryn, Poltava and Kyyiv and
Cherkasy. They say that there are no bandore players,
they are not heard at fairs and markets. Bandore is still hanging on the
wall in my house. I was taught to play the bandore by Opanas, and nobody took
my experience. When I die – so, perhaps, nowhere in the wide world bandore
playing will be heard. That's it! [Короленко 1956: 81-82].
As we can see in these texts there are also
other types of the Ukrainisms: lexical and grammatical – form of address – fellow.
The onomastic Ukrainisms – the name Ukraine, Cyiyiyin, Poltava, Kyyiv,
Cherkasy, the Ukrainisms-folklorism – a wide world (a wide world
means a wide space), the lexical-semantic Ukrainisms – the names of
traditional Ukrainian phenomena, events, reality (fair, house, Cossak's
grave).
V. Korolenko emphasizes that an
obligatory characteristics for a Ukrainian bandore player, a kobza player, a lire player is to be blind, and perhaps that physical defect
activates other qualities, sensitivity and emotionality, compare: "He
[Max] had forgotten that bayan playersand Ukrainian bandore players, kobza
players were blind. It was true, that difficult life often forced to take lyre
or bandore and ask for a pittance. But not all of them were just poor
and artisans with a nasal voice, and not all of them have lost their vision
only in their old age" [Короленко 1956: 122].
As we can see, some V. Korolenko's
thoughts about bandore players are to be simplified. He said that all bandore
players, kobza players, lyre players have already died. They exist nowadays,
study in the universities, they are not blind travelers but professional
musicians.
However, when V. Korolenko wrote his
story bandore players, kobza players, lyre players were still in Ukraine
(compare: they say, there are no bandore players… Hnat Khotkevych wrote
that during the XIIth archaeological congress which was in Kharkiv in 1902), (1886-1898 is a period of time, when the
"The blind musician" was published), he managed to publish an
important statistics: there were bandore players, kobza players, lyre players from Kharkiv,
Chernihiv and Poltava provinces. There were 25 people among the invited
represented Chernihiv province. None of them considered himself the
"last" because at home they left their followers [Хоткевич 1930: 140].
V. Korolenko stressed that such
instruments as bandore, kobza and lyre are very important for the Ukrainian
national culture. Unfortunately, sometimes they are identified by him and do
not use an exact category for the specification of a musical instrument and
gives a generalized description, compare: In the morning, at the very dawn, two blindmen gone.
One of them turned a handle of a primitive tool: a wooden roller circled in the
hole of the empty box and rubbed up against the taut strings, which made a sad
and monotonous hum. A little bit nasal but a pleasant old voice was singing a
morning prayer [Короленко 1956: 205].
The lexemes bandore, kobza, lyre and bandore
players, kobza players,lyre players comprise the dictionary of Dahl with
appropriate marks, compare:
BANDORE f. a musical instrument, very similar to the lute or
balalaika, with a rounded body and the metal strings, a feather is used to play it, like to play the Turkish domra. | We
(maloros.) call bandore for torban , which is much larger and bellyer, and play
it with fingers, as guitar. All system
of bandore or torban is in one fret (chord), and there are a lot of strings,
but not always the same quantity. Bandore player m.,
bandore player f., a person who plays bandore. Bandore players used to be in
every house of Malorosiyai, Cossacks danced and sang accompanied by bandore. To
bandore, to strum, to play an
instrument for pleausure; wasting time [Даль 1978: 44].
As we see bandore has not only one
derivative lexeme bandore player.m., but also modifies the name of a
female person – a bandore player.f. However, at that time there were not
so many women, who played the bandore. To bandore is a derivation.
V. Dahl gave a negative connotation, because playing the bandore didn't
mean to waste time. Evidently such meaning of the word was in Russian, but not
in the Ukrainian language.
KOBZA f. south. a kind of bandore; a rounded balalaika
with seven strings. There are eight strings, or four pairs of gnashing strings. A kobza player,
a poor blind man singing about Ukrainian historical events [Даль 1978: 127].
LYRE f. a musical weapon of an old-world; now it is
modified. The blindmen in Malorosiya and the poor in
St. Petersgurg play it. In the dictionary there is less information about
lyre, but there is a denotment that this instrument is appropriate only for
Ukrainian culture.
The conclusions. The words bandore (bandore player), kobza (kobza
player), lyre (lyre player) belong to the Ukrainianisms in Russian;
there’s a certain specifics of their operation in the texts of a classic
literature, including V. Korolenko. In his texts the pragmatics of using
of these lexemes, their connotative meanings of individual authors associations
are represented, and sometimes contain false information circulated in the
discursive practice of using the Russian language of the early twentieth
century. The above mentioned Ukrainianisms are fixed in the Dictionary of the
Russian language by V. I. Dahl. The texts written by V. Korolenko – a perfect illustration for
the articles in the
future dictionary of the Ukrainisms in the Russian language. It represents the perspective
of a further
investigation.
References.
References
Даль 1978: Даль, В.И. Толковый словарь живого великорусского языка [Текст] / В. І. Даль. – Москва : Русский язык, 1978. – Т. 1. – С. 44; Т. 2. – С. 127.
Дерман
1946: Дерман, А. Життя В. Г. Короленка [Текст] / А. Дерман. – Москва,
Ленинград : Государственное издательство детской литературы Министерства
образования РСФСР.
Короленко
1956: Короленко, В. Г. "Лес шумит" (Полесская легенда) :
Сборник рассказов [Текст] / В. Г. Короленко. – М. :
Художественная литература, 1956. – Т. 2. – С. 70-120.
Короленко
1956: Короленко, В.Г "Слепой музыкант" : Сборник рассказов
[Текст] / В. Г. Короленко. – М. : Художественная
литература, 1956. – Т. 2. – С. 122-170.
Космеда
2000: Космеда, Т. Аксіологічні аспекти прагмалінгвістики : формування і розвиток категорії оцінки
[Текст] / Т. Космеда. – Львів : ЛНУ ім. І. Франка, 2000. –
350 с.
Крисін
1968: Крисін, Л.П. Іншомовне слово в сучасній російській мові [Текст] /
Л. П. Крисін. – М. : Наука, 1968.
Труханенко
2006: Труханенко, А.В. Основи поетики В.Г. Короленко [Текст] /
А. В. Труханенко. – Львів : Видавничий дім "Спол",
2006. – С. 126.
Хоткевич
1930: Хоткевич, Г. Музичні інструменти українського народу [Текст] /
Г. Хоткевич. – Харків, 1930. – С. 180.
У статті проаналізовано особливості функціонування
лексико-семантичних українізмів, що позначають назви українських національних
інструментів та номінують назви осіб, які володіють грою на цих інструментах.
Крім семантики, виокремлено прагматичну складову розглянутих лексем, їх
конотації. Проаналізований матеріал слугуватиме для репрезентації виокремлених
номінацій в словнику українізмів російської мови.
Ключові слова: лексико-семантичні українізми, прагматична складова,
конотація, словник українізмів.
Available 2 December 2014.
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