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“Young Scientist” . # 21 (259) . May 2019
Philology, linguistics
Philology, linguistics
of the world is one of the urgent problems in the study of
perceptual vocabulary. The ability of a person to perceive the
real world is among its fundamental capabilities along with
the ability to feel, imagine, think, understand. “The results
of the process of perception (sensory sensations, perceptions
and perceptual images) are related, this relationship is
based on the experience gained. Perception is a kind of
link between reality and human thinking” [2, p. 68]. In the
dictionary of S. I. Ozhegov, N. Yu. Swedish perception has
this interpretation: “Perception — 1. Action by value. verb.
apprehend. 2. The course of studies., philos. Reflection in the
human consciousness of the senses, objects and phenomena
of the material world acting at this time, including their
understanding and comprehension on the basis of previous
experience” [3, p. 764].
To convey the perception of each of the five senses (vision,
hearing, touch, smell, taste) in the language there is a special
circle of words. All these words together form a semantic field
of sensory perception. Through the perception of a person, the
reflective function of language is realized.
The structure of the perception process is always two-
sided: there is a subject and an object of perception. The
category of perception in the poetic text actively participates
in the figurative interpretation by the subject of perception of
both the explicit (external) in the surrounding world and the
hidden (internal) world of the individual. The perceptive aspect
in the literary text performs various functions: it serves as a
mechanism of individual author’s sense formation, it is a means
of describing auditory impressions and related experiences, but
first of all, it reveals the evaluative characteristics that “direct”
the figurative interpretation, and thus unites the product of
the artistic perception of the author and the reader. Auditory
perception is one of the leading, although its object values are
less pronounced materially than objects of visual perception.
Hearing is not only the most important source of information
for a person, but also the most reliable way to verify it.
Thoughts about the special importance of the sensual
foundations of human existence and the existence of the
Universe occupied a Central place in the philosophical systems
of F. Hegel, I. G. herder and other thinkers.
Thus, the ancient Greek philosopher Epicurus bases his
theory of knowledge on sensory perception as the sole criterion
of truth.
Russian poet of the nineteenth century A. N. Mikov took
as a basis the epicurean philosophy of perception of life as
beautiful and reflected it in his “anthological poems”. This
view of life A. N. port and the surrounding. In this cycle of
poems the poet refers to Antiquity, to events, to the pantheistic
nature, to the “pagan” worldview. From the contradictions
of life, he to go into the world of harmonic ancient art, clear
sobriety, balance life and perfect plasticity.
In the poem “cycle”, “Italian” cycles “Century and” and
“comments history” by A. N. Maikov auditory perception is
Central, being dominant in the semantic system of core cycles.
The most important role this sensual feeling plays at the
level of the language system, it performs an emotive function,
for example, in the poem “Sounds of the night” the lyrical
hero, thanks to the auditory perception of the sounds of the
night, experiences a sense of calm and peace, a state of love
and spiritual attraction, as indicated by such tokens as:
“… I’m in love,
Stand and listen, you charmed” …
The auditory process also performs the accumulative
function, which transmits information about the cultural
activity of a person, the implementation of this function is
most clearly manifested in the historical cycles of the poet.
So, for example, in “Rome” poet story paints cultural and
the beauty, people and life of the ancient world and world, in
which lives himself, using under this appropriate vocabulary,
describing or transmitting auditory sensations.
Auditory perception can also carry out cognitive function,
which allows you to record the results of mental activity of the
subject of perception and use them in acts of communication:
“… Poet! You hear these sounds… Down with armor! To the
dust!” (“N. A. Nekrasov after reading “Muses”).
Lexical units of the auditory lexical-semantic field (hearing,
hearing, hearing, listening, hearing, etc.) in the poetic texts
of A. N. Maikova indicate, for example, the effectiveness of
the sensory process, help in understanding what he heard: «…
Even the very thoughts In the ear are given to wonderful Music”
… (“Only midnight feast”); “…I hear the nobles whispering
and crossed herself” … (“In Gorodets in 1263”); or indicate
whether the object is perceived or there is no purposeful
perception of it: “… Lord, hear my prayers” … (“The friar”); “…
You won’t hear the call” … (“Midnight feast only”), etc.
Such verbs of auditory perception as hear, hear, listen, hear,
etc., in the poems of A. N. Maikova acquire optional semes of
locativity, expressing the distinction, the perception of sound
at the point of space and complementing the lexical meaning
of these verbs in certain contexts (heard, heard, disobeyed,
listen): “… Heard in the cell sometimes only aching delirium”
… (“In Gorodets in 1263”) or “… Below — the cliff, where you
can hear the roar of dragons” … (“Minion”) — where the
tokens of the cell and the cliff called a specific place in which
the process of sensory perception. The author also uses a
metaphor to depict the localization of the auditory perception
of the lyrical hero, for example, in the poem “Improvisation”:
“… I hear hot impulses in my heart” …
The primary means of the verbalization of listening
comprehension in the poetic texts of A. N. Maikov:
— stable verbal and adjective phrases with nouns (to
be attentive, to cover ears, long ears, to prick ears,
sensitive hearing), for example: “… And the Prince
hears more attentively” … (“the Court of ancestors”); “…
He was captivated by sensitive hearing” … (“Epicurean
songs”), etc.
— adjectives denoting sound characteristics (loud, silent,
deafening, quiet, inaudible): “…Quiet speech led” …
(“That’s the coffin!”); “…This ringing, this clear Female
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