Water as ontological and gnoseological environment (peculiarities of artistic adaptation of philosophical concept ''first cause'' in ''Socrates of the Siberian Athens'' by V.D. Kolupaev)

''Socrates of the Siberian Athens'' by V.D. Kolupaev represents a composition of a complex genre combining fantasy and parody, and the parody is understood by the author as rehash, in particular, rehash of ideas. Borrowing of philosophical terms from texts parodied in the novel poses the problem of adaptation of the referred non-artistic concepts to artistic discourse and the picture of the world embodied in it. This adaptation is performed by a partial restructuring of the prototype concept semantics and the emergence of new semantic components (individual author's semantic increments) in the adapted concept. Thus, the philosophical concept ''Water (as a first cause)'' adapts to the artistic discourse of the novel in the process of involving into the associative-semantic field of the concept ''Siberian Athens'' and transformation of the basic opposition ''arche - stoicheion'' into the axiologically loaded one, as well as by means of development of the semantic version ''Water as ontological / gnoseological environment''. The first way of adaptation is typical for all philosophical concepts of the ''first cause'' group, the second is specific. The meaning ''Water as gnoseological environment'' is represented in ''Socrates of the Siberian Athens'' much more often than the meaning ''Water as ontological environment'', because the narrative is focused on the image of space of the narrator's (global person's) thoughts and feelings. Each time the cognitive process is related with the person's staying in Water; it is manifested in the frequency of use of the ''water'' metaphors on the verbal level of the novel and in the continuous reproduction of immersion, emersion, floating, sinking motives on the story level. Through the prism of ''water'' associations cognition appears in the text of the novel in the aspects of activity, risk, focus, success, self-reliance, which is reflected in a series of steady lexical oppositions (to immerse - to dive, to sink - to come up, the bottom - the surface, etc.). Further semantic deployment of the concept ''Water'' in this direction is connected with the updating of motives of Plato's ''recall'' (anamnesis), spirit guiding and harmonization of the Apollonian and the Dionysian principles (with respect to the images of the dolphin and Delphi). Irrelevance of the ''water'' metaphors for the description of the cognitive process (in episodes of swimming and riding a dolphin) marks the character's typological identity if one is not a gnoseological subject for any reason (cf.: global person who has not yet formulated the ''accursed questions''; hetaera Kallipyga as personification of Beauty inseparable from Truth).

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