Key text metaphorical models in D. Rubina's trilogy Lyudi Vozdukha

The article presents an analysis of the metaphorical layer of D.Rubina's trilogy of novels Lyudi vozdukha (People of the Air) on the theoretical platform of cognitivism. The terms "lexical metaphor", "conceptual metaphor", "basic linguistic metaphorical model", "key text metaphorical model", "architecture of text metaphorical models", "reversible metaphorical models" are correlated. The functional status of the key textual metaphorical model is substantiated and variants of its relationship with basic linguistic metaphorical models are characterized. The idea is proved that the originality of the architecture of metaphorical models in the trilogy is determined by their functional orientation to the artistic interpretation of the problem of the nature of the gift of the creator, its deeply controversial, dramatic relationship with the world and the Creator. Key text metaphorical models (KTMM) or key text metaphors can be variously correlated with basic linguistic metaphorical models (BLMM). First, KTMM can be textual specifications of BLMM actualizing part of its conceptual potential when correlated with the whole meaning of the text: in the novel Sindrom Petrushki (The Syndrome of Petrushka) the key text metaphor "life is a puppet theater" is interpreted as the text version of BLMM "life is a theater" expressed virtually in all the functional spheres of the Russian language by numerous lexical metaphors. Second, the composition of KTMM can show further development of BLMM: in the novel Belaya golubka Kordovy (The White Dove of Cordoba) the relationship of the creator and his works are interpreted within the basic metaphor of birth, what is represented by in-text models "newly painted picture - baby", "original picture and a copy - twins", in Sindrom Petrushki it is the model "dolls - puppeteer's children", etc. Third, KTMM can be in-text, born at the intersection of a number of BLMM. An example is a metaphor in the novel Pocherk Leonardo (The Handwriting of Leonardo) built at the intersection of the key textual metaphor "Anna - Mirror" and the basic linguistic metaphorical model "life is a book": Poymi, ya prosto zerkalo. Prosto zerkalo. Inogda mne chto-topokazyvayut, no mne nepozvoleno nichego ispravit', ya tol'ko otrazhayu... My voob-shche nichego ne mozhem izmenit', Zhenev'ev. Prosto vse chitayut etu knigu po skladam, po slovu, po strochke, zapinayas' na kazhdoy bukve. A ya znayu vse soderzhanie. No ne mogu zastavit' avtora perepisat' stranitsu (You must understand, I'm just a mirror. Just a mirror. Sometimes I have something to show, but I'm not allowed to fix anything, I'm just reflecting... We generally can not change anything, Genevieve. All just read this book part by part, word by word, line by line, stumbling at each letter. And I know all of the content. But I can not force the author to rewrite the page). One of the important artistic methods of D. Rubina is to use the conceptual potential of reversible metaphors in the formation of ambivalent images of the characters of the novel. Exploring the nature of the gift, in the system of reversible metaphors D. Rubina presents one of the profound contradictions of the nature of the gift - a contradiction of the complete freedom of the artist and his inner dependence on the will of the Creator.

Keywords

Authors

References