Абуова Б. А., Ахметова А.Е.

Региональный социально – инновационный университет

National world picture on the lexical and stylistic levels

On the lexical level, imagery is represented by simple and complex words. The most interesting are the image-bearing words, which render national colouring. These lexemes are morphologically motivated and based on metaphors. For example: in English ‘dangler’ is an idler, loafer who is hanging down his legs (a physical movement serves a motivation in this case).

Thus, let us see how imagery is created in Tolstoy’s works for example. Figurativeness can be defined so: the writer means of language wakes up at the reader coloring, shape, a sound, the movements or any other feeling, causing in his imagination images of fictional life which will become for him as live as his own reminiscence. For creation of these bright images the writer has a wide range of receptions, beginning with a short expressive epithet and finishing the perfected examples of graphic skill and difficult metaphors.

1) Epithets. Among the most amazing we will note such: "slapping- plopping and rough" — the adjectives which are perfectly transferring a slippery interior and a rough surface of the oysters chosen by Oblonsky which he with pleasure eats greedily at restaurant during a lunch with Levin. It is necessary to pay attention to the adjectives used in a scene of a ball, emphasizing a maidenly charm of Kitty and a dangerous charm of Anna. Especially interestingly and amazing are complex adjectives: tulle - lacy color, describing crowd of ladies on a ball. The princess Shcherbatskaya calls the sluggish aging frequenters of clubs of a younger men as — the children's mot designating the hard-boiled egg which has become absolutely soft and friable from too long driving during the Easter games where eggs ride and are knocked the friend about the friend.

2) Gestures. Oblonsky, answering the questions of the servant (whether Anna will arrive alone or with her husband), raises a finger up, and Anna, talking to Dolley about " the possibility to forget", "does gesture before a forehead".

3) Examples of irrational enlightenment. A set of examples from Anna's light slumber in the train.

4) Striking comedy traits. The old prince thinks that he imitates the wife when fatly and coyly grins and does curtseys, speaking about a catch for the daughter.

5) Examples of graphic skill. Their infinite number. Dolley feels sorry sits before the pier glass and in a quicik, deep voice hiding her suffering, asks the husband what he wants. Convex nails of Grinevich, sticky lips of an old, sleepy, blessed hunting dog — all these are wonderful and unforgettable images.

6) Poetic comparisons. Tolstoy seldom uses them, speaking about feelings: for example, charming sendings to diffused light and a butterfly on a ball and in a scene when Kitty rides a skating rink.

7) Auxiliary comparisons. They are turned rather to reason, than to visual perception, by the ethical, but not esthetic beginning. When Kitty's feelings before a ball are compared to feelings of the young man before the fight, would be ridiculous to see Kitty in the form of the lieutenant, but comparison quite suits for the black-and-white verbal scheme and has an allegoric shade which Tolstoy consistently applies in some subsequent heads.

The stylistics, mainly, consider figurative funds from the point of the possibility of their use in this or that context, in use of figurativeness in texts of various style genres: litarary, scientific, publicistic, etc.

Considering figurativeness taking into account various approaches to it, we allocate about difference of figures included into it, based on the use of words and expressions in the meaning, comparable to the concept of the metalanguage, and non figurative image –which is comparable to the concept of avtologiya [1, 280]. Under non figurative imagery we refer its compliance to an author's esthetic task, figures are understood as literary images much wider, the image is understood as the category of an esthetics there, characterizing special, inherent only in literature like the way of development and transference of reality to what it will be told below in more detail about.

Non figurative imagery isn't surely connected with pictorialism; it can be caused only by compliance of speech unit to author's esthetic task, his literary motivation, aims, as a part of the whole work that is peculiar to any speech creation as in the literary text. Non figurative imagery is possible, according to A. M. Peshkovsky, V. D. Levin, D. N. Shmelyov and others, they call it general figurativeness [2].

The cognitive linguistics considers the world picture as a complete, global image of the world which is result of all spiritual activity of the person, it arises at the person during all his contacts with the world. Learning the world, the person constitutes the idea of the world, i.e. in his consciousness arises certain "model of the world" and, including, "language model of the world". If the world – this interaction of the person with the reality surrounding it, a picture of the world is a result of conversion of information on the person and the reality surrounding it. All phenomena and objects of the outside world are provided in human consciousness in the form of internal images, this so-called "semantic field", "system of values", that is the picture of the world is a system of images, including those which find the embodiment in language.

Promotion imagery as the category of cognitive linguistics changes the vector of linguistic researches to the forefront of an image: it revives the interest to paramiology, precedent phenomena, pun as a language game, etc., that is the concept of figurativeness when it gets new sides with development of cognitive sciences. Besides, in literature the creation of new images, new means of their expression which allows to specify classification of figurative means, undoubtedly, is the basis of the traditional classification.

Literature:

1. Кубрякова Е.С. Об установках когнитивной науки и актуальных проблемах когнитивной лингвистики// Известия АН. Сер. лит. и яз. 2004. Т. 63 № 3.

2. Колшанский Г.В. Контекстная семантика. М.: Наука, 1980. — 154 с.