A. Akhmatova (1889–1966). Life and art. Early Sat. poems - "White Flock", "Rosary", "Plantain", "Anno Domini"

A work of fiction is multi-layered, and one of its main secrets is that it affects the consciousness of the reader simultaneously with all its various layers. We simultaneously perceive the logical meaning and magic of poetic speech, we feel the different, changing shades of its rhythm, its language. Fiction uses, according to N.K. Gay, "the potential difference between the word in its everyday, everyday use and the poetic word. polar limits" (156, p. 26). This explains the constant attention of researchers to the language of a work of art, to the word with its "volcanic energy", with its multifaceted transformations, as a result of which the semantic volume of the word is enriched, its emotional and evaluative component is complicated, and relationships with other words change (155,156, 166 , 178, 179,180).

Close attention to the word as an aesthetic, "multi-meaningful and multivalued unit"in a literary text is associated with the studies of A.A. Potebnya, who, based on the potential natural figurativeness of the word, was the first to express the idea that subjective, authorial, "words in a work of art, coinciding in their external form with lexical unit, which can be found in the dictionary, is addressed not only to the national language and the experience of the cognitive activity of the people reflected in it, but also to the world of reality that is creatively created or recreated in a work of art "(290, p. 174; 291, p. .20) Studies of the word as the primary element of a literary text were continued in the 1920s and 1930s.

20th century L.V. Shcherboy (349), V.V. Vinogradov (138, 141, 143), B.M. Eikhenbaum (76), V.M. Zhirmunsky (183), Yu.N. Tynyanov (322). Particular interest in the poetic word during this period was associated with the rapid change of literary trends, the unprecedented development of the linguistic creativity of the symbolists, acmeists, cubofuturists, egofuturists, which led to the renewal of the poetic language, which manifested itself in the desire of poets to strengthen the polysemy of the word and thereby bring the word closer. to the polysemantic meanings that exist in inner speech. Therefore, poetic speech, which reflected, on the one hand, the elements of all known speech styles, and on the other hand, manifested the versatility, versatility of the word, became "comprehension of the originality of an individual poetic style as a closed system language tools"(138, p. 369). Researchers approached the consideration and analysis of the poetic word from different positions. L.V. Shcherba declared "the path of the proper linguistic analysis of the text, the path of searching for the meanings of words, turns, stresses, rhythms, . the way to create a dictionary or, more precisely, an inventory of expressive means of the Russian literary language" (349, p. 17).

V.V. Vinogradov, in his fundamental research on the language of fiction, defined poetic speech as an "aesthetic and historical category", preserving in different eras "the same basis and essence, consisting in the maximum and expedient use of all the qualities of language and speech at all structural levels in an aesthetic aspect." (140, p. 207); he also outlined that area of ​​the semantic structure of the word, which is a source of "various shades of meanings", "intellectual and emotional overtones", wrapping the word in a specific phrase, context (143) and expressing the individual style of the writer, his "system of aesthetically creative selection, comprehension , location of various speech elements" (140, p. 35).

The name of B.A. Larin is associated with the doctrine of the aesthetic meaning of the word. According to the views of the scientist, the word has not an independent function, but an absorbed, tinted one, and a word with an aesthetic meaning "does not adjoin the nearest words in meaning, but serves as a hint of included thoughts, emotions, worries" (231, p. 33-44), is characterized "semantic capacity and versatility, the predominance of emotionally expressive elements in the meaning and indissoluble connection with the artistic whole" (177, p. 13).

The overriding task in the study of the language of the writer, B.A. Larin considered the study of the subtlest semantic nuances of the word, "associative meanings", or "aesthetic meanings" (231, p. 36, 42-43), or "lateral meanings", in the words of B. Eikhenbaum ( 76, p.426), or "combinatorial increments", according to Yu.N. Tynyanov (323). The doctrine of the aesthetic meaning of the poetic word was further developed in the studies of M.M. Bakhtin (110, 111, 112), L.S. Kovtun (207), V.P. Kovalevskaya (204, 205, 206), L.I. Donetskikh (177, 178, 179, 180), Yu.S. Yazikova (352, 353, 354), D.M. V. Zagorovskaya (189, 190, 191), M.B. Khrapchenko (334) and others. According to the views of researchers of the poetic word, in the artistic context, the word is being rethought, "the disintegration of meaning into semes and its transformation" (234, p. 213 ), "the acquisition of semantic diversity by him" (354, p. 101), the expression of "a quality or property cognized by means of language. Artistic function in a certain aesthetic system" (192, p. 26), or a reflection of "unique in its individuality and simple in its extraordinary complexity of the artistic idea" (114, p. 8). The birth of aesthetic meanings in a word is possible on the basis of nominative, metaphorical and symbolic meanings (177, 179). At the same time, the context plays a decisive role: it “highlights” or magnetizes, with the help of various and multi-level actualizers (contact and distant), “the necessary meanings and emotional-meaningful associations” (212), “clears the word from its past meanings accumulated by memory”, and creates an "actual meaning" for it (132, p. 17; 179, p. 35).

The semantic changes of a word depend not only on the context, but also on its organic nature, since grammatical categories to varying degrees, they have aesthetic possibilities and behave differently in a literary text. According to the studies of V.V. Vinogradov (142, 143), G.O. Vinokur (146), N.A. Shramm (346, 347), E.M. Volf (148), L.I. ), B.A. Orras (275), V.M. connotative content and wide mobility of their valency properties" (179, p. 60). In this regard, the color designations included in the category of quality adjectives are of interest. The study of color adjectives has a special place in linguistic research and has a long tradition. Color adjectives, like qualitative adjectives, have gone in their development from the name of a noun denoting a specific object, then a denomination that names one of the qualities inherent in this object, when "thought still relies on the object", to "the concept of a general independent meaning, independent of the object "and enriched in the concept of quality (89, p. 111).

Color is one of the elementary and at the same time significant sensations. The world of color exists independently of us, we are accustomed to being in the world of color, and nature itself spontaneously offers man all models of color. This is what gives artists and writers a clear and integral sense of the world, a sense of the world. At the origins of culture, color was equivalent to a word, color and object were one whole (127). Later, simple absolute colors - red, orange, blue, yellow, green, white, black, which are at the core of the color field, began to appear in different qualities: a universal category - in language, stable symbols - in art and religion (still, as V. Turner testifies that primitive and primitive peoples associate white, black and red colors with the most valuable substances for them and the vital elements - "blood, milk, fire, earth" (319). JW Goethe He described in detail the physiological, moral and aesthetic effects of color - "colors act on the soul: they can evoke feelings, evoke emotions that calm or excite us, sadden or delight" (158, p. 39). Goethe was subsequently developed by poets (symbolists), composers (A. Skryabin), artists (V. Kandinsky, M. Chiurlionis, M. Vrubel), psychologists (V. Wund, M. Deribere, L. S. Vygotsky) and linguists.

A group of words - color terms was considered from psycholinguistic positions in solving the problem of the relationship between language and thinking (260, 331, 342); was widely used in psycholinguistic experiments to identify the universal features of color names in various languages ​​(133, 134, 332); analyzed in psychological studies on the perception of color in architecture, nature and everyday life (102, 103, 104, 107, 149, 150, 162, 171, 172, 194, 216, 217, 235, 324); in works on psychosemantics, aesthetics of color, the history of the appearance and etymological development of Russian color designations (109, 164, 285, 315) is described in sufficient detail, attempts were made to comprehensively study the semantic field of color in Russian (97, 261) and in comparison with other languages ​​- Ibero - German (148), English and German (215, 230), Latvian (351); classifications of color designations based on the semantic principle (223) and subject-logical (122) have been developed. Of particular interest are studies of the figurative and poetic function of color words in a literary text, aimed at identifying individual author's features in the use of color designations. Studies have shown that "this category of words has great semantic significance and is a multidimensional phenomenon" (177, p. 42). A.N. Veselovsky, commenting on the expression “gray tears” he encountered in Goethe, wrote: “These gray tears cannot be depicted in painting: epithets are suggestive in the sense of tone, brightness of sensation, intangible quality of the subject ...” (136, p. 84). The functioning of color adjectives in literary texts is associated primarily with their potential ability to directly or indirectly contribute their share of content to common system figurative and expressive words, as well as serve as a means of embodying and expressing the author's worldview and attitude (139).

The color word symbol as an aesthetic category based on two qualities - psychophysiological nature and socio-historical conditioning, has two permanent properties - ambivalence and polyvalence, which suggest many semantic shades (for example, the tradition assigned the concepts of youth, health, youth, dreams, naivety) or the presence of opposite and even mutually exclusive meanings (for example, white is a symbol of purity, happiness and a symbol of death). It became possible to talk about the symbolic and emotional functions of the color word in a literary text after a number of serious monographic developments by R.V. Alimpieva (97), S.V. Vekova (114), L.I. ), L.V.Krasnova (219), R.Z.Miller-Budnitskaya (256), B.A.Orras (275), L.V.Zubova (193), S.M.Soloviev (312), D M. Potsepni (292), Yu.S.

A.S. Pushkin (311), F. Tyutchev (169), A. Fet (280), the work of N.V. Gogol (118), but also as a means of revealing the subtext, expressing the thoughts, feelings of the characters, building their vision world and causing the emergence of a special emotional mood in a literary text. So, the materials of L.V. Krasnova (219,220), S.S. Nadirov (265,266) testify that the red color, penetrating the poetry of A. Blok, is a symbol of anxiety, tragedy (a), philistinism, vulgarity, venality (b) and a symbol of revolution (c), and in A. Green's extravaganza "Scarlet Sails" the color adjective red, as shown by the philological analysis of JLI. according to JI.B.Zubova (193), red symbolizes 4life in dynamics leading to death*; according to F.M. Dostoevsky ("The Brothers Karamazov"), the red color is, according to S.M. Solovyov (312), a symbol of "" the color of healthy, beautiful people"or 4 colors of health of limited, well-fed people." The yellow color in the poetry of I. Annensky (300), the prose of I.A. Bunin (178, 316), A.I. "withering", "illness" but in the poetry of F.I. Tyutchev serves to create landscape sketches (251). Blue (blue) color in the poetry of S. Yesenin is a symbol of the motherland, purity (214, 254, 269, 310), in the poetry of A. Blok - a symbol of "dream" (266). Studies of color painting in the works of Russian poets and writers have shown that, for example, the white-black-red range is typical for the work of A.S. Pushkin, A. Blok, L.N. Tolstoy, red-white-black - for N.V. Gogol, M.M. Prishvin, white-gray-red-black - for I.A. Bunin, red-black-white - for F.M. Dostoevsky, early Mayakovsky is characterized by yellow-red gamut, for the late period of creativity - white-black; for the poetry of I. Annensky - yellow-black-white; for the early Tyutchev - gold (golden)-azure, for the late period of his work - a gray-gloomy scale.

Thus, the color adjective, receiving aesthetic content in a literary text, which implies the emergence of a new aesthetic meaning (meanings), becomes a special philological and aesthetic unit that can give additional characteristics to the writer's idiostyle, show the color of the work and even the color of the literary trend. In connection with the foregoing, the study of color painting in the poetry of A. Akhmatova is not far-fetched, but is organically connected with the traditions of the semantic-stylistic analysis of a literary text.

According to Isaiah Berlin, who knew Russian poetry well, "Akhmatova, Gumilyov and Tsvetaeva, in a certain sense, are the last great voices of the 19th century (and Pasternak and Mandelstam, who was very different from all, are the voices of the turn of the century) and will remain so." (14, p. 152).

The main psychological content of the lyrics of the early period (1912-1922) by A. Akhmatova was love - tender and affectionate, sacrificial and crazy, burning on the highest and sharpest, hurting crests of spiritual life (30). For the poetess, the love theme became that "window through which she looked at the world and in the focus of which the most important lines of her worldview crossed" (9, p. 135). Therefore, the general direction in the study of A. Akhmatova's creativity is the analysis of skill in revealing the spiritual world of her contemporary person (17). Researchers saw the originality, uniqueness of Akhmatov's Muse not so much in the originality of visual means, but in the unusual and novelty of the transfer of human feelings and emotions, in the extraordinary interpretation of the human "I" (9.29).

Of the biographical and literary works, the most significant are the studies of V.M. Zhirmunsky (31), B.M. Eikhenbaum (76), A.A. Pavlovsky (51, 52), E.S. .Timenchik (62-66), N.O.Artyukhovskaya (8-10), M.L.Gasparov (22), A.Heit (69), L.I.Bronskaya (17) and others. first of all, to point to the classical works of V.V. Vinogradov (19, 20), the studies of I.P. Smirnov (60), I.K. Beloded (13), A.A. Dmitriev (28), N.V. Asanova (eleven).

IN scientific literature dedicated to the work of A. Akhmatova, the researchers emphasized her spiritual, thematic, poetic connection with A. S. Pushkin (12,27,54,59,62), N.V. Gogol (39) F.M. ), L.N. Tolstoy (31), Ilnensky (21.51), A.A. Blok (29.30.69.75),

A.P. Chekhov (9.23), with folklore (24.67). Her poetry was called "novel" (76), "intimate diary" (20, 68), drama (29). All, without exception, noted the laconicism, lapidarity of her poems. According to

V. M. Zhirmunsky, A. Akhmatova "having adopted the verbal art of the symbolic era, adapted it to express new experiences, quite separate and simple" (183, p. 301). This statement affirmed the commonality of poetic principles - it was not the approach to the material that changed in essence, but the material itself: if the Symbolists had a phantasmagoria of feelings, then

A. Akhmatova - earthly experiences. Leaving in her arsenal such a technique as symbolism, the poetess expanded its semantic possibilities.

VV Vinogradov singled out two rows of symbols in A. Akhmatova's poetry: "fleeting symbols of things" and 4 "stable, repeating groups of symbols" (19,20). The study of the second row of symbols was continued by I.P. Smirnov, who singled out such symbols as "house, ladder, beam, bridge, gate", and stated that the symbol in A. Akhmatova's poetry is not projected into infinity, as in the symbolists (60) . We find this in N. Artyukhovskaya, who notes that if the principle of the arrangement of associative impulses among the symbolists corresponded to the formula "from the general to the particular", "from the abstract to the concrete", "from the idea to the image", then A. Akhmatova's words the symbols indicated that her poetic thinking went "from the particular to the general", "from everyday details to the image of character", "from recreating all the complexity of feelings to a philosophical understanding of life", the symbol served as a reflection of a specific state of mind (9).

The corporeal world" was portrayed by the poetess in the unity of all ways of its perception - visual, auditory, olfactory and tactile, that is, in all its completeness, brightness and diversity (76). In all studies on the work of A. Akhmatova, almost virtuoso mastery of her mastery of artistic detail is noted. In particular, S.S. Averintsev wrote about the paramount importance in her poetry of "sensual practice and everyday detail" (90, p. 212). According to V. V. Vinogradov, the "material world" - colored or colorless, or seemingly colorless, "floods the poetry of A. Akhmatova", and is "an emotional background that illuminates the mood swings of the heroine" (20, p. 405). Almost all researchers of creativity

A. Akhmatova pointed to the presence and a certain functional role of color epithets, which, according to some, create a uniform color, or, according to others, a contrasting color painting. The first mention of the functional role of color epithets in the poetry of A. Akhmatova is contained in the work of K.V. ). According to V.M. Zhirmunsky, in the use of the poetess "qualitative definitions of white, black and swarthy, there is individualization associated with the context" (31, pp. 89-90).

V.V. Vinogradov, B.M. Eikhenbaum emphasize the artistic skill of A. Akhmatova in choosing definitions, to which "she returned the stylistic role - to be a characteristic epithet" (76, p. 402) and which create the general emotional tone of Akhmatova's poetry (20) . According to the views of A.A. Pavlovsky (51, 52) and E.S. Dobin (29), the lyrics of A. Akhmatova cannot be reduced to a monophonic sound, since this contradicts the very essence of her poetry, - "her poems were born at the junction of Day and Night "," her poems are either dawn or dusk, but more often the last, "so looking for a uniform color in her poetry is a deliberately false path" (29, p. 84, 86, 101). she mastered the color palette, skillfully used chiaroscuro, knew the secrets of space and perspective, used the plastic element with a subtle artistic flair" (9, p. And 6).

In connection with the foregoing, it seems to us that the problem of studying color painting (color symbolism) in the poetry of A. Akhmatova, not only as a visual means, but primarily as a means of psychological characterization of the situation or state of mind of the lyrical heroine, and as the equivalent of a certain psychological state, seems to us to be relevant. The obtained materials will be useful in terms of language (in terms of identifying the features of the use of color words as expressive and expressive means of language and establishing their nominative, connotative capabilities in a poetic context) and aesthetic (color painting as a "language model" reflects the mental space of the poetess, her "conceptual model of the world") (255). The philological analysis of the color designations of whites black reds as aesthetic units in the poetic text of A. Akhmatova will reveal the mechanism for constructing symbolic imagery simultaneously in several perspectives - semantic, psychological and aesthetic.

Purpose and tasks of the work. Present the dynamics of color painting in the poetic system of A. Akhmatova. The goal is to solve the following tasks:

Determine the place and meaning of color painting as psychological basis visual and expressive means;

Establish and describe the methods of their aesthetic functioning;

Designate the typology of the emergence of aesthetic values, the system of stylistic contexts that realize their emotional and content potential up to generalizations;

Determine the role of color painting in the mental space of the poet.

Accordingly, the following provisions are put forward for consideration:

1. The lexico-semantic group of color designations, being part of the system of psychologically influencing expressive and visual means of artistic language, is able to participate in the creation of multifaceted images, and the lexical meaning of a color word often focuses the main ideological load.

2. Through the actualization of the components of their associative environment, color designations reveal unexpected expressiveness, realize new emotional "ringing" and thereby create an aesthetic-color background of the poetic context, exposing the psychological lines of idio- and emotional tension.

3. As a category, semantic-stylistic and aesthetic color painting (along with tropes and figures) reflects the emotional and semantic originality of A. Akhmatova's poetic speech, causing a variety of stylistic contexts in her work and revealing the uniqueness of the author's worldview and attitude.

Scientific novelty. The dissertation for the first time presents the dynamics of color painting in the poetic system of A. Akhmatova, shows the birth of new generalized symbolic meanings (aesthetic meanings) in color terms based on nominative, metaphorical and traditionally symbolic meanings; The interaction of symbolic and psychological components in the semantics of a color word in a poetic context is considered.

Object of study: for the philological interpretation of the figurative and poetic functions of color words (color adjectives and their derivatives), the disclosure of the typology of individual author's uses, poetic collections by A. Akhmatova "Evening", "Rosary", "White Flock", "Plantain", " Anno Domini.

Methods for the study of color words used in the dissertation. The typology of the emergence and realization of aesthetic meanings in color adjectives at the poetic level, developed and substantiated by L.I. Donetskikh, was used, analyzes - comparative-descriptive and component, quantitative using the formula of S.M. Solovyov, which determines the color number of adjectives white, black, red and color saturation of poetry collections.

Scientific and practical significance of the work. The conclusions and observations of the author of the dissertation, its main provisions and the specific material of the philological analysis of color terms can be used in school and university practice of teaching the section "Vocabulary", in special courses and special seminars on the lexical and stylistic interpretation of a literary text, linguopoetics, in the author's lexicography when compiling the writer's dictionary .

Approbation. The dissertation materials were presented at scientific conferences "Mastering national values ​​in education and upbringing", December 11-13, 1996, Chisinau, at the III Russian University-Academic scientific and practical conference, Izhevsk, April 21-23, 1997, at the scientific conference "Teaching and learning the Russian language and literature: problems and prospects", April 16-17, 1998, Chisinau.

The main provisions of the dissertation are reflected in the following publications:

1. Semantic and stylistic analysis of the adjective "black" in the poetry of Anna Akhmatova // Vestn. Udmurt University. Linguistics, 1996, No. 7, p. 195-200.

2. Semantic and stylistic interpretation of color epithets (based on some of A. Akhmatova's poems). Chisinau: Publishing House of the Tiras-Polish State. un-ta, 1996, p.59-62.

3. Colorful vocabulary in the poetry of A. Akhmatova (on the basis of early collections). Chisinau: Publishing House of the Tiraspol State. un-ta, 1996, pp. 63-65.

4. Poetics of the word white in the collection of Anna Akhmatova "Evening": Tez. report 3rd Russian university-academic scientific-practical. Conf., Izhevsk: Publishing House of the Udmurt State. un-ta, 1997, part 4, p.11.

5. On some color symbols in the poetic context of A. Akhmatova // Teaching and studying the Russian language and literature: Problems and prospects Chisinau: Mold. state un-ta, 1998, pp. 156-161.

CONCLUSION.

Linguistic poetics recognizes the word in the artistic space as a "multi-faceted unit", "multiple meaning", "polysemantic", which either reproduces reality in images or "absorbs the artistic whole and returns to the reader aesthetically enriched" (177, p. 14).

The poetic word in the poetry of A. Akhmatova is a complex semantic structure with subject-logical and connotative content, including emotional-evaluative, emotional-expressive and aesthetic components of meaning.

In the creation of the poetic world of A. Akhmatova, such a linguistic and poetic category as color painting plays an important role. The color word, acting as an epithet, becomes a semantic core at the points of the artistic space, attracting the semes of other parts of speech denoting color, and serves in the poetic text for the purposes of concretization or individualization of signs, allows presenting the depicted in direct "visibility" or in the halo of subjective associations and experiences.

In the artistic imagination of A. Akhmatova, "the original object stands nearby and that new image of metaphor or catachresis, which the free color element takes after it has moved away from the original objects, "ascended" above them and "transformed" into this new one" (350 , p.560). These transformations are determined not so much by the volume of the generating basis of the color word, but by its ability to enter into new lexical-semantic connections, to be drawn into the aura of surrounding meanings, meaningful and emotionally-tuning. Therefore, A. Akhmatova's color sensations evoke response psychological impulses that complicate the originally perceived author's image.

These psychological impulses express the generalized symbolic meanings that are born in the color designations white, black, red on the basis of nominative, metaphorical and traditional symbolic meanings. Generalized symbolic meanings, or new aesthetic meanings, represent, according to L.I.Donetsky, the highest degree of development "from direct nominative (with increasing biplanar) to figurative and figurative and further to generalized symbolic" and are characterized by a high degree of artistic generalization , the concentration of emotional and social expression, "the simultaneous presence of many associations that are difficult to delineate and single out within the general expressive-semantic complex. They help to throw a bridge from the material world into the sphere of ideas, philosophical generalizations and social assessments" (177, p. 75),

The most important actualizers of aesthetic meanings in the semantics of the color adjectives white, black, red should primarily include the ideological, artistic and linguistic contexts, as well as the moral and psychological state of A. Akhmatova. The days of these color words, which have ambivalence, are characterized by both positively and negatively colored generalized symbolic meanings, but to a greater extent the latter, which, of course, is connected with the theme of the poetess's poetry collections (the theme of loneliness, memory, betrayal, separation, war), author's task and cultural and historical background. Aesthetic meanings arising from the considered color designations can coincide or intersect at a certain semantic point - "end and beginning", "birth and death", "fullness of life and emptiness of life", "love and separation", "triumph and infamy", "pride and shame."

For example, the poetess' rejection of the First World War, suffering and pain for the defeat of Russia in this war, for hundreds of thousands of dead express new generalized symbolic meanings of the color words white, black and red, coinciding in the meanings of "death", 4 emptiness as suffering, and the color adjective red combines the symbolism of white and black in the development of negative aesthetic meanings.

In the poetry of A. Akhmatova, the decisive role is played not so much by thoughts in their clear, complete form, but by the intellectual and emotional representations corresponding to them, expressed by multi-valued symbolism, including color. Passing through all poetry, these symbols ensure the continuity of the development of themes and plots, which allows researchers to see in the poetry of A. Akhmatova "novel", "short stories", "intimate diary" (10, 17, 20, 31, 52, 63, 70) . The color symbols established in A. Akhmatova's poetic context are associated with such value categories as "love-separation", "truth-falsehood", "faith-unbelief". We also note that some symbols ("wind, dawn") were formed long before A. Akhmatova, however, they received new psychological content from her (black wind - "healing" liberating \ white blizzard - "liberation").

We have identified the following groups of color symbols in the early period of A. Akhmatova's work.

I group. Ambivalent characters (positively and negatively expressive-emotionally colored).

1. White House

2. White stone

3. Red leaves

II group. The color symbols are visually colored.

1. White page

2. White flock

3. White bird

4. White clothes

5. White swans

6. White flowers (levkoy, roses, daffodils, chrysanthemums)

7. White temples, churches

8. White blizzard vividly expressive-emotional

9. White winter

10. White headscarf of the Virgin

11. White angels

12. Red House

13. Red wine

14. Crown of Hearts

15. Black Cross of Vladimir

16. Black Wind

III group. The color symbols are visually colored.

1. White death

2. Red tulip

3. Red devils

4. Red moisture

5. Scarlet fire

6. Crimson bonfire

7. Crimson Dew

8 Pink Cockatoo

9. Black crows negatively expressive-emotional

Y. Black gate 11. Black clothes 12. Black angels 13. Black shame 14. Black ulcer 15. Black death 16. Black jealousy 17. Black ring 18. Black dream

The color symbols of group I are characterized by the realization in the poetic context of negative and positive generalized symbolic meanings "meeting - separation", "love - loneliness"; for group II - the neutralization of linguistic oppositions and the development of positive aesthetic meanings "bright memory", "happy, joyful", "song part of the soul"; for the color symbols of the III group, the appearance of negative symbolic meanings common to all new ones - "loss \ 1 death \" emptiness "is characteristic.

The study allows us to talk about the following thematic color symbols in the poetry of A. Akhmatova:

1. Symbols of the poetic gift, creativity, chosenness, the difficulty of the poetic path - a white bird, white clothes, red wine, a crown of red roses, crimson dew, a marble double.

2. Symbols - harbingers of happiness - white flowers (levkoy, roses, daffodils, chrysanthemums), red maple leaves, white angels, scarlet dawns, red wine, white white Spirits day.

3. Symbols of the fullness of life - a white house, a red house.

4. Symbols of sadness, separation, departed love, emptiness - red leaves, crimson fire, black gates, white house, black clothes, black jealousy, black ring, black dream.

5. Symbols - harbingers of misfortune - black crows, black angels, red devils, fiery seraphim.

6. Symbols of punishment - scarlet fire, red Sodom, crimson fires.

7. The symbol of noble antiquity, fate - the black cross of Vladimir.

8. Symbols of grief, misfortune, death - black death, White death, black ulcer, black wound, shroud, white (noun, absolute of death).

9. Symbols of the urban landscape - silver-white Isakiy, white columns of the Senate, white temples, black embankments, dark-water Neva, black (ink) holes, black pipes.

10. Symbols of the rural landscape - white churches, black fields.

11. Symbols of the park landscape - black spruce, black jackdaws.

12. The symbol of the salvation of Russia is the white dress of the Virgin.

For a more complete presentation of the role of color designations white, black and red (including its synonyms) in the system of visual and expressive means in the poetics of A. Akhmatova, statistical study: according to the formula of S.M. Solovyov (312, p. 241), color numbers were obtained, shown in the table and represented by a diagram.

Name Color word Color number of all used Volume of the collection White Black Red

Evening" 1.20 0.36 0.43 4.30 1.37

Rosary" 0.58 0.65 0.58 3.80 1.37

White flock" 1.06 0.54 0.64 3.80 2.33

Plantain" 0.57 0.86 0.43 3.60 0.70

Anno Domini" 0.92 0.82 0.65 4.04 1.83

Total: 4.33 3.23 2.73 19.54 7.60

Collections

Based on the received color numbers, color schemes for each collection:

4. "Plantain" - Black-white-red;

5. "Anno Domini" - White-black-red,

The general color scheme characterizing the early period of A. Akhmatova's work can be defined as White-Cherio-Red. The predominance of white and black makes it possible to compare A. Akhmatova's color painting with graphics, lithography.

The color number indicators obtained for white, black, red turned out to be due to the psychological "coloring" of poetry collections.

1. "Evening". Emotionally plot fabric and color reinforce each other, the color words white and red (their color number, respectively, C=1.2, C=0.43) realize positive symbolic meanings, acting as symbols of "purity, happiness, joy, fullness of life" . Through semantic and expressive-emotional transformations of color adjectives, taking place in a poetic context, A. Akhmatova conveys the thoughts of the lyrical heroine about the nature of her own love feeling. And here we observe a paradoxical harmonious "coexistence" of two planes: on the one hand, the theme of the collection reflects painful, feverish love, with the first separations and sufferings, but without that tragic fracture that will appear in the Rosary, and this is confirmed by the color numbers of black and red as symbols of loss and emptiness (С=0.36), on the other hand, this is the first maiden love is bright, despite her torment, suffering, joyful, life-giving. And these psychological

White-red-black; Black-white-red; White-red-black;

3. The "white flock" of standing convey the generalized symbolic meanings of the color designation white - Happy, joyful "anticipation of the meeting. Strong fluctuations in color numbers for white and black are associated with their ambivalence, proximity in the semantic space and with the ideological and artistic context.

2. "Rosary". The prevailing mood of the collection is "the suffering and grief of a woman, humiliated and abandoned, forced against her will to seek her own source of strength: poetry-prayer with a bittersweet aftertaste of glory" (69, p. 5 6). The motives of spiritual split, depression of the heroine create a psychological atmosphere of gloom and darkness. This led to the predominance of black (C=0.65) as a symbol of "loss, emptiness" and the implementation of color designations white (C=0.58) and red (C=0.58) with negative expressive-emotional connotations "separation, death" . Thus, the new aesthetic meanings of the color words white and red are psychologically correlated with the traditional symbolic meaning of black,

3. "White pack". The collection reflects the reflections of the heroine about creativity and creative gift, about love, which has always completely owned her. But the departed love no longer gives rise to despair and longing. On the contrary, out of grief and sadness, songs are born that bring relief from pain (69). The heroine experiences a quiet, bright sadness, she thinks hopefully about the future and draws strength from her loneliness. For the sake of her country, "the heroine is ready to sacrifice "everything", even the "song gift." And yet the struggle between the desire to give, "give the ring" to her beloved or lose it in the name of ending the senseless slaughter, and the consciousness that "the ring - that is, her poetic the gift is not only a source of strength, but also a link that connects it with God ", and is not finished (69, p. 68). This psychological self-sufficiency is reflected in the symbolic meanings of the color words white (C = 1.06), red (C = 0.64) and black (C=0.54) - "solemn, festive", "fateful," poetic gift\

4. "Plantain". The poems of the collection are dedicated to the farewell of the lyrical heroine with her former "I", with past girlish torments, sufferings. The love theme is supplanted by the events of the end of the First World War and the Civil War, the February and October revolutions, which turned out to be disastrous for many of A. Akhmatova's friends. The gloomy hopeless state that took possession of the heroine in the city of "sadness and anger", where "the white woman marks the houses with crosses", reflect the generalized symbolic and traditionally symbolic meanings of the color words black (C=0.86), white (C=0, 57), red (C=0.43). They realize negative connotations in a poetic context - "death", "betrayal, betrayal", "separation", which allows us to talk about the psychological correlation of color adjectives.

5. "Anno Domini". The collection reflects the heroine's understanding of her fate in connection with historical events taking place in Russia. These events are projected onto the life of the heroine: she feels forgotten, abandoned, like a thing, but she believes that dawn will come, and black will be replaced by white, light, the rays of the sun will again be golden, not crimson, bloody. The color word white acts as a symbol of the "song part of the soul", "easy, desired death", "passion-love", "peace" (С=0.92); the color designation black (C=0.82) symbolizes "separation; loneliness, earthly suffering" death "of thousands of Russians who died in the maelstrom of the civil war; red color (C=0.65) symbolizes the "real, desired\" sensual", "death ".

Thus, the maximum for white color is noted for the collections "Evening" and "White flock", the minimum - for "Plantain". All three collections are characterized by the realization of positive psychological symbolism by the color adjective white. For black, the maximum was noted in the collections "Plantain", "Anno Domini" (C=0.86, C=0.82, respectively) and the minimum in "Evening" (C=0.36) and the realization of a negative expressive-emotional value. For the red color (and its synonyms), the maximum was noted in the collections "White flock", "Anno Domini" (C=0.64, C=0.65, respectively), the minimum in "Evening" and "Plantain" (C=0, 43).

The strength of color painting in A. Akhmatova's poetry collections lies mainly in the rejection of color in favor of psychological complexity, the intensity of color, expressing either the movement of a burning feeling or a suffering heart. The semantic and expressive-emotional polysemy of color painting is determined by the depth of Akhmatova's subtext, which, according to A. Akhmatova, "the more, the better and closer to people"(3, v.P, p. 231): the color is enhanced by the emotional-plot fabric and at the same time deepens the expression of the contextual situation.

The peculiarity of color painting as a visual means in the poetics of A. Akhmatova is manifested in the depiction of artistic details, the creation of two or three colors of portraits, paintings of urban and rural landscapes, striking in their authenticity and reminiscent of lithography (the black cross of Vladimir against the background of green lindens; silver-white Isakiy against the background black factory chimneys; black spruce in the snow; red towers of Sodom against the backdrop of a black mountain) - "separate color strokes against a general almost colorless, but light and shaded background" (312, p. 231).

Thus, the aesthetic value of color painting in the poetry of the early period of A. Akhmatova is manifested in

Reliable materiality of the image,

In multidimensional dynamic movement,

In psychological impact.

Together with other linguistic expressive means, color painting as an expressive and visual means enters into a single channel of psychological analysis and creates in A. Akhmatova’s poetry that balance between the “element of rhythm and the element of the word” (350, p. 134), between the element of the word and the element of feeling, which constitutes the stylistic dominant of Akhmatov's poetic language, simple and acutely exciting, polysemantic and psychologically multicolored, and determines the semantic dynamics of the great poetess' color painting.

1. Akhmatova A.A. Lyrics. M.: HL, 1989.

2. Akhmatova A.A. Works: In 2 vols. M.; 1986. Vol. 2. P. 255.

3. Akhmatova A.A. Works: In 2 vols. M .: Pravda Publishing House, 1990.2

4. Admoni V. Acquaintance and friendship (memories of Anna Akhmatova) // Leningrad panorama. L., 1988. S.423-435.

5. Anikin A.E. Akhmatova and Annensky. Notes on the topic. 1-Sch. Novosibirsk, 1988-1989. (Preprint).

6. Annenkov Yu.P. Diary of my meetings. cycle of tragedy. M.: KhL, 1991. S.114-138. (Anna Akhmatova).

7. Arvatov V. Citizen Akhmatova and Comrade Kollontai // Young Guard. 1923, No. 4. pp. 147-151.

8. Artyukhovskaya N.O. On the drama of Akhmatova's early lyrics // Bulletin of Moscow State University. Series 10. Philology. 1977, No. 4. pp. 15-25.

9. Artyukhovskaya N.O. Acmeism and the early work of Anna Akhmatova (poet and movement). Diss. cand. philol. Sciences. M,. 1981.

10. Artyukhovskaya N.O. On the traditions of Russian psychological prose in the work of Anna Akhmatova // Bulletin of Moscow State University. Series 10. Philology. 1981, No. 2. pp. 14-21.

11. Asanova N.V. Analysis of the functioning of antonyms of the semantic field "sadness, melancholy, sadness, joy, fun" in poetic speech (on the basis of poems by A. Akhmatova and S. Yesenin). Abstract diss. cand. philol. Sciences. M., 1983.

12. Babaev E.G. Pushkin pages of Anna Akhmatova // New World. 1967, No. 1. pp. 12-14.

13. Beloded I.K. The symbolism of contrast in the poetic language of Anna Akhmatova // Poetics and stylistics of Russian literature. L.: Science. 1971. S.269-279.

14. Berlin I. Meetings with Russian writers in 1945 and 1956 // Zvezda. 1990, No. 2. P.152.

15. Blok A.A. Without a god, without inspiration. Works: In 6 vols. M., 1963. V.6. pp. 174-184.

16. Brazhnin I.Ya. Wizard's bag. L.: Lenizdat. 1978.464 S.

17. Bronskaya L.I. The concept of personality in the early work of Anna Akhmatova. Abstract diss. cand. philol. Sciences. Vologda, 1985.

18. Vilenkin V. In the hundred and first mirror. M.: Soviet writer, 1990. 331p.

19. Vinogradov V.V. On the symbolism of Anna Akhmatova // Lit. thought, Issue 1, Pgr., 1922. S.91-138.

20. Vinogradov V.V., On the poetry of Anna Akhmatova (Stylistic sketches) // Selected Works. Poetics of Russian literature. M.: Nauka, 1976. S.369-459.

21. Vyalitsyna N.V. Traditions of Russian classical poetry in the pre-revolutionary works of Anna Akhmatova (collections "Evening", "Rosary", "White Flock"). Abstract diss. cand. philol. Sciences. L., 1981.

22. Gasparov M.L. Akhmatova's verse: its four stages // Literary Review. 1989, No. 5. pp.26-28.

23. Ginzburg L.Ya. About the old and the new (articles and essays). M.: Soviet writer, 1982. S.328-333. (Akhmatova. Several pages of memoirs).

24. Gryakalova N.Yu. Folklore traditions in the lyrics of Anna Akhmatova // Russian Literature. 1982, No. 1. pp.47-64.

25. Gumilyov N.G. Beads. Anna Akhmatova // The Golden Heart of Russia. Kishinev: Shtiintsa, 1990. S.623-625.

26. Dzhandzhakova E.V. "A dark-skinned youth wandered along the alley" (about a poem by Anna Akhmatova) // Russian speech. 1976, No. 5. pp. 16-19.

27. Dmitriev A.A. A.S. Pushkin and the language of A. Akhmatova’s poetry // Russian language at school. 1987, No. 3. pp.64-68.

28. Dmitriev A.A. Lexico-phraseological expression of similarity and contrast in the poetry of Anna Akhmatova (linguistic-stylistic analysis). Abstract diss. cand. philol. Sciences. M., 1990.

29. Dobin E. Poetry of Anna Akhmatova. L.: Soviet writer, 1968, 249 p.

30. Zhirmunsky V.M. Anna Akhmatova and A. Blok // Russian Literature, 1970, No. 3. S.57-82.

31. Zhirmunsky V.M. Creativity of Anna Akhmatova. L.: Nauka, 1973. 183 S.

32. Zhirmunsky V.M. Overcoming symbolism // Theory of literary poetics. Stylistics. L .: Nauka, 1977. S. 106-134.

33. Ilyina A. A. Akhmatova in the last years of her life // October. 1977, No. 2. pp. 107-134.

34. Kalachova S.V. The originality of the verse of the early A. Akhmatova // Scientific reports high school. Philological Sciences. M., 1984, No. 4. pp. 73-76.

35. Kats B., Timenchik R.D. Music and Anna Akhmatova. L.: Soviet composer, 1985. 335 p.

36. Kolobaeva L. Both courage and femininity. On the originality of A. Akhmatova's lyricism. Literary studies. 1980, no. 1.

37. Koor M. Materials for the bibliography of Anna Andreevna Akhmatova (1911-1917) (chronological index) // Works on Russian and Slavic Philology. II. Tartu: Publishing House of Tartu University. 1968. Issue. 209. S.279-294.

38. Levinson A. Anna Akhmatova - Russian Marceline // Literary Review. 1989, No. 5. pp.53-55.

39. Likhachev D.S. Gogol and Akhmatova // Traditions in the history of culture. M.: Nauka, 1978. S.223-228.

40. Mandelstam O. Letters about Russian poetry // Poetry Day, 1981. M., 1982. P. 198.

41. Mandelstam O. Pages about Anna Akhmatova // Family and School. 1989, No. 6. pp.42-46.

42. Marchenko A. The path of Akhmatova's muse // Questions of Literature. 1967, No. 12. pp.187-191.

43. Meilakh M.B. On the names of Akhmatova // Russian literature. The haque. Paris, 1975, No. 10. C.42-45.

44. Meilakh M.B., Toporov B.H. Akhmatova and Dante // Intern. Journ. of Slavic Ling, and Poetics. The Haque, 1972. pp. 29-75.

45. Mochulsky K.B. Poetic creativity of Anna Akhmatova // Literary review. 1989, No. 5. pp.44-52.

46. ​​Nyman A. Stories about Anna Akhmatova // New World. 1989, No. 3. pp.98-130.

47. Nedobrovo N.V. Anna Akhmatova And Russian Thought, 1915, No. 7. Ch,P. pp.50-68.

48. Nikolina H.A. The image of the Motherland in the poetry of Anna Akhmatova // Russian language at school. 1989, No. 2. pp.72-79.

49. Ozerov L.A. Anna Akhmatova // History of Soviet Literature: In 4 vols. M .: Nauka, 1971. V.4. pp.365-389.

50. Obukhova O.Ya. The image of the shadow in the poetry of Anna Akhmatova // Star. 1989, No. 6. pp.29-37.

51. Pavlovsky A.A. Anna Akhmatova. Essay on creativity. Leningrad: Lenizdat, 1966. 190 p.

52. Pavlovsky A.A. Anna Akhmatova. Life and art. Moscow: Education, 1991. 190 p.

53. Parshina T.A. Poetic motif as a means of forming the integrity of the artistic system of Anna Akhmatova. Auto-ref. diss. cand. philol. Sciences. Kyiv, 1992.

54. Saulenko L.L. Pushkin motives in the poetry of Anna Akhmatova. Abstract diss. cand. philol. Sciences. Odessa, 1984.

55. Sedakova O.A. A box with a mirror. About one deep motive of A. Akhmatova // Proceedings on sign systems. Tartu: Publishing House of Tartu University, 1985. Issue 17.

56. Simchenko O.K. To the study of the poetics of Akhmatova and Tsvetaeva: Verbal behavior of the lyrical hero // Contemporary Issues Russian philology. Saratov, 1985. S.53-57.

57. Simchenko O.K. "Memory" as a leitmotif in the work of Anna Akhmatova (diversity of ideological and artistic aspects). Abstract diss. cand. philol. Sciences. M., 1985,

58. Skatov N. Far and near. M.: Sovremennik, 1981. 292 p.

59. Slinina E.V. Pushkin's motifs in Anna Akhmatova's Tsarskoye Selo poems (two epigraphs from Pushkin). Pushkin collection. Pskov, 1973. S.129-139.

60. Smirnov I.I. On the study of the symbolism of Anna Akhmatova (early work) // Poetics and stylistics of Russian literature. L.: Nauka, 1971. S.279-287.

61. Tager E.V. Anna Akhmatova // Russian literature of the late XIX - early XX centuries, 1908-1917. M., 1972. S.326.

62. Timenchik R.D. Akhmatova and Pushkin (analysis of the poem "A dark-skinned youth wandered along the alley") // Uch. app. Latvian state university T.106. Pushkin collection. 1968. S.124-131.

63. Timenchik R.D. Artistic principles of Anna Akhmatova's pre-revolutionary poetry. Abstract diss. cand. philol. Sciences. Tartu, 1982.

64. Timenchik R.D. Anna Akhmatova's early poetic experiences // Monuments of Culture. New discoveries, 1979. L., 1980. S. 140-144.

65. Timenchik R.D. Text in the text of the Acmeists // Proceedings on sign systems. Tartu: Publishing House of Tartu University, 1981. Issue. 14. P.65-76.

66. Timenchik R.D. Alien word from Akhmatova // Russian speech. 1989, No. 3. pp.33-36.

67. Tropkina N.E. Folklorism in the creative searches of Anna Akhmatova. Abstract diss. cand. philol. Sciences. L., 1985.

68. Urban A.A. Anna Akhmatova: "I don't need odic ratis" // Poetic structure of Russian lyrics. L.: Nauka, 1973. S.254-272.

69. Hayt A. Poetic journey. M.: Raduga, 1991. 382 S.

70. Khrenkov D. Anna Akhmatova in St. Petersburg-Petrograd-Leningrad. L.: Lenizdat, 1989. 221 p.

71. Khodasevich V. A. Akhmatova // Literary review. 1989, No. 5. pp.58-61.

72. Tsivyan T.V. Materials for the poetics of Anna Akhmatova // Proceedings on sign systems. Publishing House of Tartu University. 1967. Issue 198. pp. 180-208.

73. Tsivyan T.V. Cassandra, Dido, Phaedra: Antique Heroines - Mirrors of Akhmatova // Literary Review. 1989, No. 5. pp.73-75.

74. Chukovsky K.I. Reading Akhmatova (notes on poetic creativity) // Moscow. 1964, No. 5. pp.200-203.

75. Shumarina M.R. Indirect reference in poetic speech (on the material of Anna Akhmatova's lyrics). Abstract diss. cand. lol. Sciences. M., 1990.

76. Eichenbaum B. Anna Akhmatova // About prose. About poetry. L.: KhL, 1986. S.374-440.3

77. Gorbachevich K.S., Khablo E.P. Dictionary of epithets of the Russian literary language. L., 1979.

78. Dal V. Explanatory dictionary of the living Great Russian language: In 4 vols. M., 1935-1940.

79. Kvyatkovsky A.P. Poetic dictionary. Moscow: Soviet Encyclopedia, 1966.

80. Brief literary encyclopedia: In 9 volumes. M .: Soviet writer, 1971. V.6. S.1142-1144.

81. Russian grammar; In 2 t / Ch. ed. N.Yu.Shvedova. M.: Nauka, 1980. T.1.S.540.

82. Dictionary of the modern Russian literary language: In 17 volumes / Ch. editor K.S. Gorbachevich. M.; L., 1950-1965.

83. Dictionary of the modern Russian literary language: In 20 volumes / Ch. editor K.S. Gorbachevich. 2nd edition, revised, and supplemented. M.: Russian language. TX T.P. 1991.

84. Dictionary of the Russian language: In 4 volumes / Ch. ed. A.P. Evgeniev. M.: Russian language, 1985.

85. Dictionary of synonyms of the Russian language: In 2 volumes / Ed. A.P. Evgenieva. L., 1970-1971.

86. Explanatory dictionary of the Russian language: In 4 volumes / Ed. D.N. Ushakov. M., 1935-1940.

87. Phraseological dictionary of the Russian language / Ed. A.I. Molotkova. M.: Russian language, 1967.

88. Aesthetics: a dictionary / Under the general editorship of A.A. Belyaev. Moscow: Politizdat, 1989.4

89. Aksakov K.S. Experience of Russian grammar. Full composition of writings. T.Z.P.2. M., 1880.

90. Averintsev S.S. Early Mandelstam // Banner. 1990, No. 4, S.2-12.

91. Agoston J. Color theory and its application in art and design. M.: Mir, 1982.181 S.

92. Alimpieva R.V. Artistic and visual role of the scarlet color in the poetry of S. Yesenin // Uch. app. Kaliningrad University. Issue. 1. 1968. S.123-148.

93. Alimpieva R.V. Artistic and visual role of "blue" and "blue" colors in the poetry of S. Yesenin // Uch. app. Kaliningrad University. Issue. 4. 1969. S. 174-184.

94. Alimpieva R.V. Strengthening the expressiveness of the words of the "golden" group as the name of color in the poetry of S. Yesenin // Uch. app. Kaliningrad University. Issue. IV. 1971.

95. Alimpieva R.V. Aesthetic significance of the group "yellow" in the poetry of S. Yesenin // Uch. app. Kaliningrad University. Issue. IV. 1971.

96. Alimpieva R.V. Component Implementation semantic structure words "red" in the system of figurative-poetic speech // Questions of semantics. L .: Publishing house of Leningrad State University, 1974. Issue 1. pp.108-128.

97. Alimpieva R.V. Semantic significance of the word and structure and lexico-semantic group. JL: Publishing House of Leningrad State University, 1986. 176 p.

98. Alfonsov V. Words and colors. M.: Soviet writer, 1966. 241p.

99. Amosova N.N. On syntactic context // Lexicographic collection. Issue. 5. M., 1962. P. 36.

100. Annensky I. The book of reflections. Balmont-lyricist. St. Petersburg, 1906. S.206-207.

101. Arnaudov M. Psychology of literary creativity. M.: Progress, 1970.653 S.

102. Arnheim R. Art and visual perception, M., 1974. 392 p.

103. Arnheim R. Dynamics of architectural forms. M., 1984. 192 p.

104. Artemyeva E.Yu. Psychology of subjective semantics. M.: Publishing House of Moscow State University, 1980. 126 p.

105. Artyushin A.N. Color science, M., 1982. 200 p.

106. Afanasiev A.N. Living water and prophetic word. M.: Soviet Russia, 1988. 509 S.

107. Appsenazi G.I. Color in nature and technology. M., 1982. 94 p.

108. Bally S. General linguistics and questions French. M., 1955.

109. Bakhilina N.B. The history of color terms in Russian. M.: Nauka, 1975.287 S.

110. Bakhtin M.M. Word in poetry and prose // Questions of Literature, 1972, No. 6. S.54-85.

111. Bakhtin M.M. To the aesthetics of the word // Context, 1973. M .: Nauka, 1974. P. 258-281.

112. Bakhtin M.M. Questions of literature and aesthetics. M: KhL, 1975. S.88.

113. Bekova C.B. On the word "black" by M. Gorky // Studies in the aesthetics of the word and the style of fiction. L., 1964.

114. Bekova C.B. On the Problem of the Writer's Ideological Dictionary (A.M. Gorky's Semantic-Stylistic Analysis of Word Groups with Color Meanings). Abstract diss. cand. philol. Sciences. L., 1973.

115. Beletsky A.I. Selected works on the theory of literature. M .: Education, 1964. P. 193.

116. Belinsky V.G. Selected writings. Moscow: OGIZ, 1947. 671C.

117. White A. Symbolism. M., 1910. S.239.

118. Bely A. Gogol's skill. M.; L.: KhL, 1934. 320C. (Ch. Sh. Depictiveness of Gogol).

119. Belyaeva N.D. Adjectives denoting color in the works of Ilf and Petrov. Abstract diss. cand. philol. Sciences. L., 1977.

120. Bistrova E.A. Paradigmatic relations of words (based on adjectives of color) // Izvestiya AN SSSR. Ser. social sciences, 1971. Issue 4. pp.74-78.

121. Block A.A. Collected works: In 6 volumes. L .: KhL., 1982. V.4. pp.7-11. (Words and colors).

122. Bobyl C.B. Semantic and stylistic properties of Russian color designations (on the material of Soviet poetry). Abstract diss. cand. philol. Sciences. Dnepropetrovsk, 1984.

123. Bodrova T.I. Adjective colors in the works of A.S. Pushkin (red and black) // Questions of Russian Linguistics. Dushanbe, 1973. S.3-20.

124. Boltenkova H.A. Vocabulary with the meaning of color in the novel by A. Fadeev "The Young Guard" // Program and summary of the reports

125. X scientific method. conference North-West. zonal association of departments of Russian. lang. ped.in-t. L .: Publishing House of Leningrad State University, 1968. S. 170-172.

126. Borisova M.B. The semantic duality of the word in the dramaturgy of M. Khorky // Studies in the aesthetics of the word and the style of fiction. L .: Publishing house of Leningrad State University, 1964. S. 42-51.

127. Borisova M.B. Individual in the semantics of the word and its reflection in the dictionary of MKhorky // Essays on the Russian language and style. Saratov, 1967. P. 184.

128. Borodina M.A., Gak V.G. On the typology and methodology of historical and semantic research. M.: Science. 226 C.

129. Bragina A.A. "Color" definitions and the formation of new meanings of words and phrases // Lexicology and Lexicography. M.: Nauka, 1972. S.73-105.

130. Bryusov V. Selected works: In 2 vols. M.: KhL, 1955. T.1.

131. Bulakhovsky L.A. Deetymologization in Russian // Proceedings of the Russian Language Institute. M., 1949. T.1.

132. Butyrin K.M. The problem of the poetic symbol in Russian literary criticism (XIX-XX centuries) // Studies in poetics and stylistics. L.: Nauka, 1972. S.248-261.

133. Vandries J. Language. M., 1937. P.17.

134. Vasilevich A.P. Color naming as a characteristic of the writer's language // Uch.zap.Tartussky University. Linguistica. XIV, 1981. Issue 585.

135. Vasilevich A.P. The study of vocabulary in a psycholinguistic experiment (on the material of color designations in languages different systems). M.: Nauka, 1987. 141C.

136. Vecker L.M. Mental processes. L., 1981. T.Z. 323C.

137. Veselovsky A.N. Historical poetics. L.: HL, 4.1. 1940. P.84. (From the history of epithets. Psychological parallelism and its forms in the reflection of poetic style).

138. Vinarskaya E.H. Expressive means of the text (on the material of Russian poetry). M.: Higher. school, 1989. P.46.

139. Vinogradov V.V. About the language of fiction. Ml Nauka, 1959. 653C.

141. Vinogradov V.V. Stylistics. Theory of poetic speech. M.: Nauka, 1963. 255p.

142. Vinogradov V.V. About the theory artistic speech. M.: Nauka, 1971. P.6.

143. Vinogradov V.V. Russian language (grammatical doctrine of the word). 2nd edition. M.: Higher school, 1972. 614C.

144. Vinogradov V.V. Main types lexical meanings words // V.V. Vinogradov. Selected works. Lexicology and lexicography. M., 1977. pp. 162-192.

145. Vinokur G.O. Selected works on the Russian language. M., 1959.

146. Vinokur G.O. On the study of the language of literary works // Selected works in the Russian language. M., 1959. pp.388-393.

147. Vinokur G.O. About the language of fiction. M.: Higher. school, 1991. 447p.

148. Volkov N.V. Color in painting. M.: Art, 1984. S.115-135. (GlLP. Enriching the sense of color and painting).

149. Wolf E.M. Grammar and semantics of adjectives on the material of the Ibero-Romance languages. M., 1978. S.Z.

150. WundtW. Introduction to psychology. M., 1912. 152C.

151. Vygotsky L.S. Development of higher mental functions. M., 1960. 500C.

152. Gak V.G. Paints // Comparative Lexicology. M.: Publishing house " International relationships", 1977. S.192-201.

153. Galeev B.M. Commonwealth of feelings and synthesis of arts. M.: 3nanie, 1982, No. 2. 64C.

154. Galkina G.S., Tsapnikova V.M. Some features of the color naming system in L.N. Tolstoy's novel "War and Peace" // Problems of language and style of L.N. Tolstoy. Tula, 1974. S.272-280.

155. HartmannN. Aesthetics. M.: IL, 1958. P. 152,

156. Gay N.K. The art of the word. On the Art of Literature. M.: Nauka, 1967. 363C.

157. Gay N.K. Artistic Literature. Poetics. Style. M.-.Nauka, 1975.471C.

158. Gelhardt R.R. Theoretical foundations for the study of artistic speech. Selected articles. Kalinin, 1967, p. 131.

159. Goethe I.V. To the doctrine of color (Chromatics) // Selected works on natural sciences. M.; L.: AN SSSR, 1957. S.261-342.

160. Goethe I.V. About art. M.: Art, 1975. P.38.

161. Ginzburg L.Ya. About lyrics. L., 1974. pp.342-349. (The real world).

162. Ginzburg L.Ya. About the old and the new (articles and essays). M.: Soviet writer, 1982. 347p.

163. Glotova V.I. Coloristic shaping in architecture. Kharkov, 1987. 133C.

164. Goryunov B.C., Tubli M.P. The architecture of the modern era. St. Petersburg, 1992. 359C.

165. Granovskaya M.N. Adjectives denoting color in Russian of the 17th-20th centuries. Abstract diss. cand. philol. Sciences. M., 1964.

166. Grigoriev V.P. Poet and word. Dictionary experience. M., 1973.

167. Grigoriev V.P. The poetics of the word. M.: Nauka, 1979. 343C.

168. Grigoriev V.P. To the question of the analysis of the language of the poetic text // VYa, 1979, no. 3. pp.7-19.

169. Grigoriev V.P. From the standpoint of linguistics // Psychology of the processes of artistic creativity. L.: Nauka, 1980. S.234-237.

170. Grigorieva A.D. Word in Tyutchev's poetry. M.: Nauka, 1980. 247 C.

171. Gromov P.P. A. Blok. His predecessors and contemporaries. M.; L.: Soviet writer, 1966. 568p.

172. Deriberi M. Color in human activity. M .: Publishing house of literature on construction, 1964.183C.

173. Judd D.B., Vyshetsky G. Color in science and technology. M., 1978. 592С,

174. Dzhandzhakova E.V. Semantics of the word in poetic speech. Abstract diss. cand. philol. Sciences. M., 1974.

175. Dmitrieva H.A. Vincent Van Gogh. M.: Nauka, 1980. 397 S.

176. Donets H.A. Elements of color painting by MGorysy (on the material of the stories "In Rus'" and "Tales about Italy") // Questions of grammar and style. Riga: Publishing House of the Latvian State. un-ta, 1967. S.57-78.

177. Donetsk L.I. Semantic originality and stylistic functions of adjectives in K. Fedin's trilogy. Abstract diss. cand. philol. Sciences. L., 1966.

178. Donetsk L.I. Realization of the aesthetic possibilities of adjectives in the text of works of art. Kishinev: Shtiintsa, 1980. 160p.

179. Donetsk L.I. Realization of the aesthetic possibilities of adjectives in the text of works of art. Auto-ref. diss. doc. philol. Sciences. L., 1981.

180. Donetsk L.I. Aesthetic functions of the word. Kishinev: Shtiin-tsa, 1982. 153p.

181. Donetsk L.I. Word and thought in a literary text, Kishinev: Shtiintsa, 1990.165p.

182. Dolgopolov L.K. creative history and historical and literary significance of the novel by A. Bely "Petersburg" // A. Bely, St. Petersburg. M .: Nauka, 1981. P. 525-624.

183. Drobysheva L.Ya. The stylistic role of adjectives in the novel by Ilf and Petrov "The Twelve Chairs" and "The Golden Calf" // Uch. app. Omsk ped, in-ta. 1970. Issue 53. pp.3-23.

184. Zhirmunsky V.M. Theory of literary poetics. Stylistics. L.: Nauka, 1977. S. 173.

185. Zholkovsky A., Shcheglov Yu. Structural poetics - generative poetics // Questions of Literature. 1967, No. 1. P.82.

186. Zavadskaya E.V. Ut pictura poesis of Andrey Bely // Andrey Bely. Problems of creativity. M., 1990. S.461-469.

187. Zavalishina D.N., Lomov B.F., Rubakhin V.F. On the systemic structure of cognitive processes // Psychological problems of sign information processing. M.: Nauka, 1977. S.49-57.

188. Zaitsev A. The science of color and painting. M., 1986.158C.

189. Yesenin S. Collected works: In 2 vols. M.: Sovremennik, 1990. Vol.1.

190. Zagorovskaya O.V. Aesthetic Functions of Language and Aesthetic Significance of a Word in a Literary Text (Based on A. Blok's Cycle of Poems "The Snow Mask"). Abstract diss. cand. philol. Sciences. Voronezh, 1977.

191. Zagorovskaya O.V. Aesthetic function of language and its speech implementation // Methods and techniques of scientific analysis in philological research. Voronezh: Publishing house of VSU, 1978. S.13-18.

192. Zagorovskaya O.V. Aesthetic function of language in relation to its main functions // Communicative and poetic functions of a literary text. Voronezh: Publishing House of VSU, 1982. P.3-5.

193. Zaritsky S.S. Word, concept and meaning and their reflection in the writer's dictionary // Abstracts of the reports of the interuniversity symposium of compilers of the Gorky dictionary. Kyiv, 1966. P.26.

194. Zubova JI.B. Poetry of Marina Tsvetaeva: Linguistic aspect. L.: Izd-vo LGU, 1989. 261 S. (Chapter III. Color terms in the poetry of M. Tsvetaeva).

195. Izmailov Ch.A. Color perception (mechanisms and models). Abstract diss. cand. psychologist, science. M., 1985.

196. Ivanov Vyach. V. About the relationship of symbolism, pre-symbolism and post-symbolism in Russian literature and culture of the late XIX-beginning. XX century // Literary process and development of Russian culture of the XVIII-XX centuries. Tallinn, 1985.

197. Spanish song poetry: Collection / Compiled by N.R. Malinovskaya et al. M.: Raduga, 1987. 246p.

198. Kandinsky V. On the spiritual in art. L .: Publishing house "Archimedes", 1990.82 C.

199. Karpenko M.A. Gorky words-symbols in the works of the writer and in modern literary language// Word usage and style of M. Gorky. L .: Publishing house of Leningrad State University, 1968. S.64-76.

200. Kachaeva J1.A. On the peculiarities of the use of the adjective "yellow" in the language of A.I. Kuprin // Uch. app. MGPIIIA them. Mtorez. 1970, No. 58. pp.108-113.

201. Kachaeva J1.A. Vocabulary of color in the works of A. Tvardovsky, M. Isakovsky, A. Surkov // Problems of theory and methodology of language. Yaroslavl: YSU Publishing House, 1980. S.17-23.

202. Kachaeva L.A. The semantic structure of the word in the semantic-stylistic system of M. Gorky. Abstract diss. doc. lol. Sciences. Gorky, 1985.

203. Katsnelson S.D. The content of the word, meaning and designation. M.; L., 1965. S.53.

204. Klar G. Luther's test: psychological characteristics of eight colors // Magic of color. Kharkov: Sfera-Svarog, 1996. P.3-39.

205. Kovalevskaya E.G. Analysis of literary texts. L., 1976.

206. Kovalevskaya E.G. The semantic structure of the word and the stylistic function of the word//Linguistic meaning. L., 1976.

207. Kovalevskaya E.G. Word in language and artistic speech // Linguistic foundations aspect of the school program "Speech development". L., 1979.

208. Kovtun L.S. On the specifics of the writer's dictionary // Word usage and style of M. Gorky. L .: Publishing House of Leningrad State University, 1962. S. 41-53.

209. Kozhevnikova H.A. Word usage in Russian poetry at the beginning of the 20th century. M.: Nauka, 1986. 252 p.

210. Kozina H.A. On the problem of the symbol in Gorky (Semantic and stylistic analysis of landscape sketches in the cycle of stories "Across Rus'"). Abstract diss. cand. philol. Sciences. Saratov, 1976.

211. Kozlov C.J1. On the Poetics of Titles in Russian Literature in the First Half of the 20th Century. // Issues of genre and style in Russian and foreign literature. M., 1979.

212. Kolesov V. History of the Russian language in stories. M.: Akalis, 1994. 167 S.

213. Kolshansky G.V. On the nature of the context // VYa, 1959, No. 4. P.47.

214. Kondakov I.V. Color in nature and art // Artistic creativity. Issues of complex study. L., 1986. P. 100.

215. Kononenko V.I. Unspeakable, tender, blue (poetic nominatives in the work of S. Yesenin) // Russian speech. 1979, No. 2. pp.63-68.

216. Korsunskaya T.G., Fridman Kh.Kh., Cheremisina M.I. About the color naming system in Russian, English and German languages ​​// Uch. app. Gorky in-that foreign. languages. 1963. Issue 25. S.99-102.

217. Kravets V.I. Coloristic shaping in architecture. Kharkov, 1987.133 S.

218. Kravkov C.B. Color vision. M.: Nauka, 1951.175 S.

219. Krasikov S. Legends of flowers. M.: Young guard, 1990. 303C.

220. Krasnova L.V. Poetics of Alexander Blok. Lvov: Publishing House of Leningrad State University, 1973. P. 136-176. (Symbolism of color).

221. Krasnova L.V. Symbolism of white and red colors in the poetics of A. Blok// Philological sciences. 1976, No. 4.

222. Kuzmin M. Poems and poems. M .: Young Guard, 1992. Issue. 18.

223. Kulikova I.S. Semantic and stylistic characteristics of attributive nominal phrases (on the material of light and color adjectives in the works of K. G. Paustovsky and M. M. Lrishvin). Abstract diss. cand. philol. Sciences. L., 1966.

224. Kulikova I.S. Two color pictures // Russian speech. 1971, No. 3. pp.10-17.

225. Kulikova I.S. Aesthetic meaning of the word and context // Linguistic foundations of the aspect of the school program "Development of speech". L., 1979. S.73-78.

226. Kupina H.A. The essence and origin of metaphor. Abstract diss. cand. philol. Sciences. Eagle, 1968,

227. Kurilovich E.V. Notes on the meaning of the word // VYa, 1955, No. 3. P.75.

228. Kurilovich E. Essays on linguistics. M.: IL, 1962.

229. Kurland R., Matus L. The symbolic meaning of the word in poetry (on the material of the words "black" and "white" by M. Tsvetaeva and the word "winter" by A. Tarkovsky) // Modern problems of Russian philology. Saratov: SGU Publishing House, 1985. P. 91-94.

230. Kuslik A.M. The semantic structure of adjectives denoting color in modern German// Uch, zap. J11 PI im. ALHerzen. T.217.1960. pp.147-172.

231. Larin B.A. On the varieties of artistic speech // Aesthetics of the word and the language of the writer. L., 1974. S.32.

232. Larin B.A. The story of M. Sholokhov "The fate of a man" // Experience in the analysis of form // Neva. 1959, No. 9. P.204.

233. Levi-Strauss K. Culture as a system // Semiotics and art-metry. M.: Mir, 1972. S.25-50.

234. Levin Yu.I. About some features of the plan of content in poetic texts // Structural typology of languages. M., 1966. P. 213.

235. Leontiev A.A. Perception as a psychological process // Psycholinguistic and linguistic nature of the text and features of its perception. Yuev: Binja school, 1979. S.23,26.

236. Lilich G.A. About the word "gray" in the work of M. Gorky // Word usage and style of M. Gorky. L.: Publishing House of Leningrad State University, 1962. S. 120-135.

237. Lilich G.A. The development of the generalized symbolic meaning of the words "dirt", "dirty" in the works of M. Gorky // Word usage and style of M. Gorky. L .: Publishing house of Leningrad State University, 1968. S.24-37.

238. Litvin F.A. Polysemy of the word in the text and types of context // Questions of lexicography. Novosibirsk: Nauka, 1977, pp. 124-141.

239. Lopatin V.V. Brown to black, blue to lilac (about the language of Y. Nagibin's prose) // Russian speech. 1980, No. 3. pp.55-61.

240. Losev A.F. To the question of the occasional meaning of the word in poetic speech // Izvestiya AN SSSR. Ser. LA. 1970. T. XXIX. Issue. 5.

241. Losev A.F. The problem of the symbol in connection with literary categories close to it // Izvestiya AN SSSR. Ser. LA. 1970. T.XXIX. Issue 5.

242. Losev A.F. The problem of the variable functioning of pictorial imagery in fiction // Literature and painting. L., 1982. P.35.

243. Losev A.F., Shestakov V.P. History of aesthetic categories. M., 1965.

244. Lotman Yu.M. Analysis of the poetic text. The structure of the verse. L .: Education, 1972.270 S.

245. Lyulko N.P. Color in the landscapes of K. Paustovsky // Russian speech. 1967, No. 6.

246. The magic of color / Ans. for the issue Zaikov S.F. Kharkov: AOL "Sphere", 1996.

247. Maksimov D.E. Poetry and prose of Alexander Blok. 2nd edition, up to floor. L.: Soviet writer, 1981. 552 p.

248. Maksimov D.E. Russian poets of the early XX century. L., 1986.

249. Maksimov D.Yu. On the correlation of associative and constructive connections of the word in poetic speech // Russian language. Sat. Art. Moscow: MGPI named after V.I. Lenina, 1985. S.216-230.

250. Maksimova M.K. The figurative meaning of words denoting color in the language of the works of A.I. Herzen // Uch. app. LGPI them. A.I. Herzen. T.293, Theory and methods of teaching the Russian language, 1968. P.69-93.

251. Malakhovskiy E.A. From observations on the use of adjectives in the lyrics of F.I. Tyutchev // Essays on the Russian language and style. Saratov: Ped. in-ta, 1967. S.28-40.

252. Malinovsky E.A. On the evolution of the poetic language of S. Yesenin (color terms in the early and late poems of the poet) // Proceedings of the conference on general linguistics (on the 75th anniversary of Prof. E.D. Polivanov). Samarkand, 1966. S.21-25.

253. Malozemova I.I. Ideological and artistic role of color symbolism in A.N. Tolstoy's story "The Ancient Way" // Problems of Ideological and Artistic Values. Saratov: SGU Publishing House, 1977, Issue 4.

254. Marchenko A. Yesenin's poetic world. M., 1972. S. 187-191.

255. Meilakh B.S. Psychology of Artistic Creativity: Subject and Ways of Research // Psychology of Artistic Processes. L.: Nauka, 1980.

256. Miller-Budnitskaya R.Z. The symbolism of color, synaestheticism in poetry based on the lyrics of A. Blok // News of the Crimean Ped. in-ta, 1930. T.Z.

257. Mironova L.N. The problem of color in art // Modern science of color and problems of color preference. M., 1989. S. 11-13.

258. Mironova L.N. Color semantics // Color. Materials. Design. M., 1989. S.11-15.

259. Mironova L.N. The semantics of color in human evolution // Problems of color in psychology. M.: Nauka, 1993, pp. 172-188.

260. Mikheev A.V. Psycholinguistic studies of semantic relations (on the material of color terms). Auto-ref. diss. cand. philol. Sciences. M., 1983.

261. Moskovich V.A. Semantic field of color terms (experience of typological study of the semantic field). Abstract diss. cand. philol. Sciences. M., 1964.

262. Mrevlishvili M.N. On the language of Russian writers. Tbilisi: Publishing House of TSU, 1972, pp. 139-140.

263. Mukarzhovsky Ya. Aesthetic function, norm and value as social facts // Proceedings on sign systems. Tartu: Publishing House of Tartu University, 1975. Issue 7.

264. Murina E.B. Problems of synthesis of spatial arts. M.: Art, 1982. P.8.

265. Nadirov S.S. Color adjectives in the verses of A. Blok // Russian language at school. 1970, No. 6. S.3-6.

266. Nadirov S.S. Adjective in the poetry of Alexander Blok (lexico-stylistic analysis). Abstract diss. cand. philol. Sciences. Tbilisi, 1985.

267. Nalimov V.V. In search of new meanings. M.: Progress, 1993. 280C.

268. Nevolina L.I., Shcherbakova I.I. The poetics of color in the trilogy of A.N. Tolstoy "Walking through the torments" // A.N. Tolstoy. Problems of creativity. Voronezh: Publishing House of VSU, 1990. P. 124-151.

269. Nekrasova E.A. Blue, blue in S. Yesenin // Russian speech. 1979, No. 4. pp.37-41.

270. Nikitina E.I. Russian poetry at the turn of two eras. Saratov: SGU Publishing House, 1970.

271. Nyberg N.D. Coloring course. M, 1932, 191 S.

272. The image of a person and the individuality of the artist / Otv. ed. B.I. Singer. L.: Nauka, 1984. P.72.

273. Ozerov L.A. Crossroads: from the history of Russian poetry at the beginning of the 20th century. M.: HL, 1976.386 S.

274. Orras B.A. On the tasks of the stylistic characteristics of parts of speech // Scientific reports of higher education. Philological Sciences. 1959, No. 1. P.82.

275. Orras B.A. Stylistic functions of adjectives in the prose language of M. Gorky. Abstract diss. cand. philol. Sciences. M., 1959.

276. Essays on the language of Russian poetry of the XX century. Poetic language and idiostyle / Otv. ed. V.P.Grigoriev. M.: Nauka, 1990. P.15.

277. Pavlov V.M. On the ranks of adjectives in Russian it VYA, 1960, No. 2.

278. Monuments of world aesthetic thought. T.Z. M., 1967. S.254.

279. Panchenko A.M. On color in the ancient literature of the Eastern and Southern Slavs. - TODRL, 1968. T. XXSH. C.9.

280. Parshina V.L. Attributive phrases with adjectives "yellow, golden, golden" in the poetry of the second half of XIX century // Problems of the theory and methodology of language. Yaroslavl: YSU Publishing House, 1980. S.31-37.

281. Petrenko V.F. An Introduction to Experimental Psychosemantics: A Study of Forms of Representation in Ordinary Consciousness. M.: Publishing House of Moscow State University, 1983.177 P.

282. Petrenko V.F. Psychosemantics of analysis. M.: Publishing House of Moscow State University, 1988. 208 p.

283. V. F. Petrenko, V. V. Kucherenko, Relationship between emotions and color // Bulletin of Moscow State University. Ser. 14. Psychology. 1988, No. 3. S.70-82.

284. Peshkovsky A.M. Russian syntax in scientific coverage. M., 1956. S.84.

285. Pimenova M.V. Semantics of color naming according to monuments ancient Russian literature(on the material of herbalists, healers, icon-painting originals). Abstract diss. cand. philol. Sciences. L., 1987.

286. Platek I. Believe the music. Moscow: Soviet composer, 1978.

287. Pokrovsky M.M. Semasiological research in the field of ancient languages. M. 1896. S.21.

288. Polishchuk G.G. Color adjectives in Paustovsky's stories // Essays on the Russian language and style. Saratov: SGU Publishing House, 1967. P.46-51.

289. Polyakov M.Ya. Questions of poetics and artistic semantics. M.: Soviet writer, 1978. 445 p.

290. Potebnya A.A. Thought and language // Aesthetics and poetics. M., 1976. P. 174.

291. Potebnya A.A. From notes on Russian grammar. M., 1958. S.20.

292. Potepnya D.M. On the unity of the aesthetic properties of the word in the poetry and prose of A. Blok // Questions of Stylistics. Saratov: SSU Publishing House, 1972. Issue 4. P.75.

293. Potepnya D.M. On the language of A.Blok's prose. (Aesthetic beginning in articles, reviews, notes of the poet). Abstract diss. cand. lol. Sciences. L., 1973.

294. Purice M.P. Color names in dialects of the Moldovan language. Abstract diss. cand. philol. Sciences. Kishinev: KGU, 1969.

295. Revzina O.G. From poetic language to poetic idiolect // Essays on the language of Russian poetry of the XX century. M., 1990.

296. Rybakova I.V. Epithets with the meaning of color in the artistic prose of Pushkin and Lermontov // Questions of the Russian language. Stylistics and methods of the Russian language. Yaroslavl: Izd-vo YSU, 1969. Issue. pp.56-83.

297. Rynkov L.N. Nominal metaphorical phrases in the language of fiction of the 19th century. Post-Pushkin period. Chelyabinsk, 1975.

298. Rubinstein S.L. Fundamentals of General Psychology. M., 1989.485 S.

299. Sakulin P.N. Philology and cultural studies. M.: Higher. school, 1990. 240 p.

300. Semenova O.N. Semantic composition of the lyrical cycle // Teaching literary reading in an Estonian school. Tallinn. 1981. P.93.

301. Serov N.V. Chromatism of the world. L., 1990. 351 S.

302. Sechenov I. Selected philosophical and psychological works. M.: OGIZ, 1947. P. 375.

303. Silman T. Subtext is the depth of the text // Questions of Literature. 1969, No. 1.

304. Silman T. Notes on lyrics. L.: Soviet writer, 1977. 223p.

305. Sirotina V.A. Changes in the semantic structure of the word in artistic speech // Questions of stylistics. Saratov: SGU Publishing House, 1972. Issue 5. P.45.

306. Slavinsky Ya. To the theory of the poetic sign // Structuralism: "for" and "against". M., 1975.

307. Sluzhevskaya IP, The problem of art in poetry of 20-60-characteristics of the years. Abstract diss. cand. philol. Sciences. Tashkent, 1983.

308. Smirnitsky A.I. The meaning of the word // VYA, 1955, No. 2. pp.87-88.

309. Smirnov I.I. Cause-and-effect structures of poetic works // Studies in Poetics and Stylistics. L.: Nauka, 1972. S.212-248.

310. Sokolova L.F. Color vocabulary in Yesenin's poetry // Theory of poetic speech and poetic lexicography. Shchadrinsk, 1971. No. 161.

311. Soloviev S.M. Color and genre in Pushkin's works // Russian speech. 1976, No. 3. S.24-28.

312. Soloviev S.M. Visual means in the works of F.M. Dostoevsky. M.: Sov. writer, 1979. 350 p.

313. Sulimenko N.M. Qualitative adjectives in their relation to types of lexical meanings. Abstract diss. cand. philol. Sciences. JL, 1966.

314. Sulimenko N.M. Types of Lexical Meanings and the Stylistic Functions of Qualitative Adjectives Caused by Them in MKhorky's Novel "The Life of Klim Samgin" // Uch. app. LGPI them. A.I. Herzen. 1969. V.32.

315. Surovtseva M.A. On the history of color meanings in the Old Russian language of the 11th-16th centuries. Abstract diss. cand. philol. Sciences. M., 1967.

316. Sukhanova JI.B. Color adjectives in I.A. Bunin's story "The Village" // Russian vocabulary in the literary, artistic and professional terminological sphere. Vladimir: Ped. in-ta. 1978. S.65-73.S

317. Tager E.B. On Gorky's style // Uch. app. Moscow city ped. in-ta im. V.P. Potemkin. 1952. T.XX. Issue. 2. P.137.

318. Tahoe-Godi A.A. The sun as a symbol in Sholokhov's novel " Quiet Don" // Scientific reports of higher education. Philological sciences. 1977, No. 2. P.8.

319. Turner V. The problem of color classification in primitive cultures // Semiotics and artmetry. M.: Mir, 1972. S.50-81.

320. Ternovskaya O., Zhuravlev A. Color in the works of early Mayakovsky // Russian language at school. 1973, No. 3. pp.11-13.

321. Toyshibaeva G.P. Color Vocabulary in Literary Text (Based on Dostoevsky's Works). Abstract diss. cand. philol. Sciences. M., 1990.

322. Trifonova S.V. On the direct and figurative use of the word "blue" by M. Gorky // Word usage and style of M. Gorky. JI.: Publishing House of Leningrad State University, 1962. S.136-147.

323. Tynyanov Yu.N. The problem of poetry. M., 1965, p.66.

324. Urvantsev L.P. Psychologism of color perception. Yaroslavl, 1981. 66 p.

325. Ufimtseva A.A. The word in the lexical-semantic structure of the language. M., 1968. S.221,227.

326. Fadeeva T.A. The word in poetic speech (based on the word usage of V.A. Lugovsky // Linguistic problems of the program "Development of speech". L., 1979.

327. Fedorov A.B. Innokenty Annensky. L.: KhL, 1984. 255C.

328. Fedin K. Writer. Art. Time. Moscow: Soviet writer, 1957.

329. Owl F.P. Problems of historical lexicology of the Russian language (ancient period) // Slavic Linguistics: IX International Congress of Slavists, Kyiv, 1983. P. 271.

330. Freeling G., Auer K. Man - light - space. Applied color psychology. Abbr. translation from him. O.V. Gavalova. M: Stroy-izdat, 1973.117 S.

331. Frumkina R.M. On the method of studying the semantics of color terms // Semiotics and Informatics, 1978. Issue. 10.

332. Frumkina R.M. Color. Meaning. similarity. Aspects of psycholinguistic analysis. M.: Nauka, 1984.174C.

333. Huizing C. Autumn of the Middle Ages. M., 1987. 539 S.

334. Khrapchenko M.B. The nature of the aesthetic sign // Context, 1976. Literary and theoretical studies. M.: Nauka, 1977. S.6-40.

335. Khrulev V.I. Color and its functions in A. Green's story "Scarlet Sails" // Writer and Time. Ulyanovsk, 1975. Issue 1.

336. Tsyganenko G.P. On the ranks of adjectives. Donetsk, 1961.

337. Chagdurov S.Sh. On the expressiveness of words in artistic prose. Ulan-Udan, 1958. P.84.

338. Cheremisina N.V. Conditions for the contextual implementation of the individual author's meaning of the word // Russian language at school. 1969, No. 3.

339. Chernukhina I.Ya. Expressiveness of a lyric poem and the image of the author // Questions of theory and history of lyrics. Voronezh: Publishing House of VSU, 1988. P. 104-112.

340. Chistyakova JI.M. Red in the poetic language of V. Mayakovsky // Works on the Russian language. L., 1969.

341. Sharonov V.V. Light and color. M.: State. Publishing House of Phys.-Math. nauk, 1961. 312 p.

342. Shemyakin F.N. On the question of the relationship between the word and the visual image (color and its name) // Izvestiya APN RSFSR. 1960. Issue. FROM.

343. Shmelev A.G. Introduction to experimental psychosemantics. M.: Publishing House of Moscow State University, 1983. 158 S.

344. Shmelev D.N. Essays on the semasiology of the Russian language. M., 1964.

345. Shmelev D.N. On the types of lexical meanings of the word // Problems of modern philology. M.: Nauka, 1965. S.288-293.

346. Schramm H.A. Principles of semantic classification of qualitative adjectives in Russian // Questions of semantics. L., 1974. Issue 1.

347. Schramm H.A. Essays on the semantics of qualitative adjectives. L., 1979.

348. Shulskaya O.V. On symbolism in the poetry of A. Mezhirov and E. Vinogradov I Linguistics and poetics. M.: Nauka, 1979. S.255-273.

349. Shcherba L.V. Experiences of linguistic interpretation of poems, I, II // Selected Works in the Russian Language. M, 1957.

350. Eisenstein S.M. Selected works: In 6 volumes. M.: Art, 1964. T.Z. P.560.

351. Yurik V.A. Structural Analysis of the Color Field in Russian and Latvian Languages ​​// Uch. app. Latvian state university Philological Sciences, 1958. T. XXV. Issue. 1PA. pp. 185-198.

352. Yazikova Yu.S. Red color in the Okurovsky cycle of M. Gorky // Questions of theory and history of language. L., 1960.

353. Yazikova Yu.S. Features of the poetic word // Bulletin of Leningrad State University, Linguistics, 1963. Issue. 2, no. 8. pp. 97-104.

354. Yazikova Yu.S. Lexical connections in the context of a work of art // Studies in the aesthetics of the word and the style of fiction. L .: Publishing house of Leningrad State University, 1964.