DENOTATIVE FIELD FEATURE OF SEMANTICS OF INEXPRESSIBLE


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Abstract

The paper defines semantics of inexpressible as the functional and semantic category, which has an independent meaning and plan of expression – the field of inexpressible; presents a brief overview of its studies in linguistics. The work proves that it is an objective-subjective meaning of the Russian language. The denotative field of semantics of inexpressible consists of constant and variable spheres. There are two constant spheres: the inner world of a man and the world beyond. It is shown that the expansion of elements of the field of inexpressible is observed in the first of the constant spheres. As a result, the overlapping of the field of inexpressible and the field of semantics of an extremely high quality of concentration takes place. The denotative sphere “inner world of a human” in the 21st century was replenished with intracorporal segment. It is shown that the elements of the second constant denotative sphere of semantics of inexpressible “world of the beyond” become less frequent and remain mostly in the language of literature. At the same time, the use of the elements of this sphere implies profanation and mimicking of initially high meanings. As for the variable spheres of the denotative area of semantics of inexpressible, the linguistic units of inexpressible correlate with various objects in broad sense, qualities and phenomena, and are applicable with respect to everything phenomenal – the sensible, and in relation to the noumenal – intelligible, but not observed. In particular, the elements of the field of inexpressible arise when one is operating rational concepts by undeveloped thinking. The element of semantics of inexpressible “to express the inexpressible” is a linguistic manifestation of the theory of the German Romantics, as the representative of the constant spheres of the language. In the Russian language in certain periods of time it became a part of the linguistic fashion in literature: Russian lyrics of the 19th century, symbolism of the early 20th century, creativity of the members of the Real Art Association, and modern Russian post-modernism. Through the example of creativity of A.S. Pushkin and M.Yu. Lermontov, the author shows that the fashion element of the artistic discourse of the 19th century “to express the inexpressible” could have been popular or unclaimed due to the individual preferences of artist in words.

About the authors

Marina Yurievna Mikhailova

Samara State University of Social Sciences and Education, Samara

Author for correspondence.
Email: marinamikhailova44@gmail.com

PhD (Education), Associate Professor, assistant professor of Chair of Foreign Languages

Russian Federation

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