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THE CONCEPT “PATH” AND ITS LEXICAL REPRESENTATION IN THE LYRICS OF M. A. VOLOSHIN // Tomsk State Pedagogical University Bulletin. 2021. Issue 3 (215). P. 40-48

Introduction. The relevance of this study, carried out within the framework of a new cognitive-discursive linguistic paradigm, which is characterized by the principle of anthropocentrism, is due to the insufficient study of the poetic picture of the world by M. A. Voloshin. Analysis of the concept «path» in the poet’s work makes it possible to examine in detail and describe the important features of the author’s worldview; allows to establish the characteristic features and means of representation of this concept in its poetic picture of the world. The aim of the study is to identify the features of the content and lexical embodiment of one of the key concepts in the work of M. A. Voloshin – the concept “path”. Material and methods. The article provides data on the analysis of M. Voloshin’s poetic texts of different years, containing the concept of «path», based on the spatial parameters of the path identified by V. N. Toporov. The choice of this concept is due to its special significance for understanding the author’s worldview and his place in it. The research includes the use of methods of conceptual, contextological and semantic-stylistic analysis. Results and discussion. Consideration of some of the features of the verbalization of the concept «path» made it possible to conclude that the artistic space of M. Voloshin’s poetic texts is an individual author’s understanding of being and his place in it. This statement is substantiated by the types of analysis carried out: – the definition of the intertext associative-semantic field of the concept «path» in the texts of M. Voloshin, its ramification due to units that are both traditional and individual-author’s character (wandering spirit, wandering wanderings); – identifying directions of association (path-life, path-search, path-direction, path-destination, path-choice, pathknowledge, path-wandering), the analysis of which showed the presence of a synthesizing character of the path of the lyrical hero (earthly and cosmic paths), the dynamics of its development from existence within the spatial framework to going beyond the limits of time and space; – a detailed analysis of the lexical structure of the author’s poetic texts, in which the concept under consideration is reflected. Conclusion. The study allows us to conclude that in the representation of the concept “path” in the lyrics of M. A. Voloshin reflected the multidimensionality of his personality as a philosopher, thinker, poet. The significance of this research lies in the concretization of the author’s idiostyle and his poetic picture of the world.

Keywords: poetic picture of the world, concept, linguistic personality, M. A. Voloshin

LEXICAL AND IMAGE STRUCTURE OF INSCRIPTIONS TO WATERCOLORS BY M. A. VOLOSHIN AS A REFLECTION OF HIS POETIC PICTURE OF THE WORLD // Tomsk State Pedagogical University Bulletin. 2022. Issue 2 (220). P. 144-153

Introduction. At the turn of the 19th and 20th centuries, the synthesis of arts in culture becomes one of the dominant ideas. This orientation fully contributes to the disclosure of the many talents of such a brilliant representative of the Silver Age as M. A.Voloshin. The purpose of this article is to analyze the linguistic and artistic features of the text material accompanying M. Voloshin’s watercolors. Material and methods. The article presents the data of the analysis of lyrical sketches of different years, serving as an accompaniment to M. Voloshin’s watercolors. Attention to this genre is due to its undoubted importance for determining the characteristics of the creative manner of the poet and artist, understanding his worldview. The article uses the methods of semantic-stylistic, contextological, motivational analysis, allowing to reveal the specifics of the author’s poetic picture of the world, reflected in the inscriptions on the watercolors of M. A. Voloshin. Results and discussion. Cimmeria occupies a special place in the work of M. Voloshin – a poet, artist, translator, art critic, thinker. The congeniality of M. Voloshin as a master of brush and word is reflected in his inscriptions for watercolors. These lyrical miniatures are a separate genre dating back to antiquity, which makes the poet’s work related to the art of the East. The figurative structure of M. Voloshin’s poetic miniatures, organizing their semantic space, includes earthly (stone, water) and heavenly (clouds, moon, sun) realities and reveals, when examined in detail, the syncretism of “earthly” and “heavenly”. The color picture of the world, represented by a variety of color images, in combination with sound design, conveys the synesthesia of the author’s perception of the world. The linguistic and figurative structure of M. Voloshin’s poetic sketches is rich and diverse: the author uses numerous comparisons, metaphors, epithets, oxymoric combinations, deviations from grammatical norms, which make it possible to convey the peculiarities of the creative manner of the master-creator. Conclusion. Consideration of the linguistic and artistic features of M. Voloshin’s lyrical miniatures made it possible to identify their main features: metaphoricity, syncretism and synestheticism in creating images, emotive and pragmatic potential of color symbolism – and to draw a conclusion about the originality of the author’s poetic picture of the world.

Keywords: M. A. Voloshin, Cimmeria, inscriptions on watercolors, lyrical subject, syncretism of perception, picture of the world

THE CONCEPTS OF “WANDERING” AND “WANDERER” IN THE LYRICS OF M. VOLOSHIN AND IN THE MIRROR OF ASSOCIATIVE EXPERIMENTS // Tomsk State Pedagogical University Bulletin. 2022. Issue 6 (224). P. 88-96

Introduction. The appeal of representatives of the literary creativity of the Silver Age to the problem of wandering is due to concern for the fate of Russia and the search for opportunities to transform the world, as well as ways of self-determination. For the thinker, poet, artist M. A. Voloshin, the concept of “wandering” is the key. The purpose of this article is to identify the linguistic features of the embodiment of the concepts “wandering”, “wanderer” in the lyrical texts of M. Voloshin. Material and methods. The article presents the data of free associative and directed associative experiments aimed at revealing the perception of the concept of “wandering” by modern native speakers of the Russian language; data from various dictionaries reflecting the meaning of the lexemes “wandering”, “wanderer”; the results of the analysis of M. Voloshin’s poems of different years, reflecting the concept of “wanderer”. The methods of experiment, semantic-stylistic, contextological, motivic analysis are used, which allow revealing the features of the content and perception of the concepts “wandering”, “wanderer”, reflected in the lyrical texts of M. Voloshin. Results and discussion. Associative experiments conducted to identify the signs of the concept of “wandering” showed a broader understanding of the respondents about this phenomenon than is reflected in the explanatory dictionaries. The experiment made it possible to identify the attitude of modern native speakers to the phenomenon of wandering and compare it with the understanding of this phenomenon by the author, judging by the representation in the lyrics of M. A. Voloshin. Unsettledness, anxiety for the future of the country at the turn of the 19th–20th centuries determined the interest of representatives of the creative intelligentsia in the problem of wandering. The thematic zone “wandering”, including the concepts “path”, “wanderer”, “spiritual wanderings”, occupies a central place in M. Voloshin’s lyrics. The lyrical hero is an eternal wanderer, inquisitive, thirsty for knowledge, filially attached to Mother Earth; Odysseus, cut off from his native shores, wandering and restless; experiencing the pain of separation lover; a person who, as a result of trials, came to a higher understanding of life – gratitude to her for the persistence of pain, the bitterness of earthly herbs, the causticity of salt; finally, the chosen one, who renounced the joys of earthly life in the name of a higher destiny. Conclusion. An analysis of the linguistic and artistic features of the lyrical texts of M. Voloshin, containing the concept of “wandering”, which is central in the poet’s lyrics, made it possible to identify the main features of the lyrical wanderer hero (restlessness, inquisitiveness in knowing the world, unity with Mother Earth, the search for one’s destiny), and to draw a conclusion about the originality of M. Voloshin’s concept sphere.

Keywords: M. A. Voloshin, concept, conceptual picture of the world, wanderer, wandering, associative experiment, Silver Age

On Some Features of M. A. Voloshin’s Color Picture of the World and the Means of its Verbalization // Tomsk State Pedagogical University Bulletin. 2023. Issue 1 (225). P. 95-102

M. Voloshin’s special interest in color naming is caused both by the peculiarity of the era (Silver Age), and his passion not only for the poetic word, but also, equally, for fine art. The color picture of the world of M. Voloshin’s poems is distinguished by a variety of colors that convey shades of one color or another, and the unusualness of the created color images, in which the features of the author’s perception of the world are revealed. The article presents data on the study of the semantics and symbolic meaning of frequency colors found in the lyrical texts of M. Voloshin, data on the analysis of individual poems containing color symbolism in order to determine the meaning of color painting for understanding the poet’s worldview and the features of his creative manner. In the course of the study, methods of semantic-stylistic, contextological, and motive analysis were used, which make it possible to reveal the features of the embodiment and the meaning of M. Voloshin’s color picture of the world. The variety of color embodiment of the lyrics of M. A. Voloshin is associated with the peculiarity of the worldview of Voloshin the artist, who gave himself the attitude “to absorb all forms, all colors into oneself with the eyes”. In addition, the poet’s passion for Symbolist and Impressionist teachings influenced the multicoloredness of his poetry. Color painting, being one of the main means of expressing the author’s intentions, helps to convey the subtlest color shades and the symbolism of the feelings of the lyrical hero. The most frequent colors used by M. Voloshin: red in its many variations, gold, gray, purple – often contain metaphysical symbolism. To convey color, M. Voloshin also uses lexemes denoting plants (flowers), as well as mineralogical designations. The study of M. Voloshin’s lyrical tests for the use of color in them led to the conclusion that the color picture of the poet’s world is rich and diverse incarnations: colorful epithets, unusual metaphors, comparisons, synesthetic images, mineralogical designations – an incomplete list of the means and techniques used by the author. The significance of the conducted research lies in the reflection of the author’s worldview through the comprehension of the symbolic meanings of the image embedded in the color names.

Keywords: M. A. Voloshin, color picture of the world, color names, color painting, color image, symbolism, impressionism, Silver Age