"Good and Evil in Russians" folk tales»
Good is light, the sunny side, everything that is associated with justice, love, sincerity, honor and conscience.
Evil – dark side, where deception and cruelty, selfishness and betrayal rule, where there is no compassion and love.
Even in ancient times, our ancestors came up with fairy tales: for adults to have fun and for children to teach. They talked about the struggle between good and evil. I like to read Russian folk tales about magic, and what I usually like about them is that good always triumphs over evil. The main characters of the good side in Russian fairy tales are usually the brave warriors Ivan the Tsarevich, Andrei the Shooter, Ivan the Fool, Ivan the Peasant Son, Alyonushka, Vasilisa the Beautiful, Marya the Magician and many others.
The evil heroes also have a large army. This is the terrible Baba Yaga in a mortar, Koschey the Immortal, the Serpent Gorynych with three heads, Dashing One-Eyed, all kinds of evil spirits.
Evil heroes of fairy tales have an unpleasant appearance, a terrible character and bad habits.
And good characters have a pleasant appearance, an affectionate character and good manners.
At first glance, evil seems invincible, because the heroes of fairy tales are very strong, cunning and have witchcraft spells. But good will still triumph over evil!
Good heroes in Russian fairy tales win not only thanks to their strength and courage.
After all, there are situations when force is useless against Koshchei the Immortal: he simply cannot be defeated. Positive heroes They use ingenuity, intelligence, and dexterity in the fight against evil.
The heroes of Russian folk tales have a real kind heart and soul; they feel sorry for others and help them. Sometimes even wild animals and birds and rodents take the side of the good heroes. For example, how the Gray Wolf served Ivan Tsarevich. Or how a duck, a hare and a crab helped him find Koscheev's death in a needle and save Vasilisa, the little gray mouse, Mashenka run away from the bear, and Nastenka run away from Baba Yaga.
When reading fairy tales, you can take an example from the actions of positive heroes, strive in something, to be like them. Probably, this is how the Russian people showed their people what is good and what is bad.
We must always remember that everything that we give to others will sooner or later come back!
Consultation for parents on the topic “Good and evil in Russian folk tales”
So “good and evil” is the main moral concept in life. Good is considered a moral value that is attributed to the pattern of human relations and actions. The opposite of good is evil, which needs to be corrected or removed altogether. Evil cannot be caused or allowed at all - here main task moral behavior of a person.
Russian folk tales provide an opportunity, better, to learn about complex world while still a small child. And for the younger generation, the boundary between good and evil should be clear and precise. This is how children will be able to discern what is bad and what is good.
In folk tales, evil and good always look bright and are very noticeable. At the same time, all the bad and evil characters can never improve, they simply find themselves defeated and humiliated, that is, with nothing. Anyone who brings evil with him will definitely be punished in the end. But goodness, on the contrary, will be well rewarded and will receive everything, and maybe even more.
That is why every Russian fairy tale provides an example of the confrontation between good and evil. No matter how evil the heroes are, they are always defeated by strong, savvy, lucky and simply kind characters. All this is thanks to him good heart, pity for other defenseless characters who need help. Everyone helps good heroes, even birds and animals. Here vivid examples: Ivan Tsarevich was helped by the Gray Wolf, and the hare, crab and duck helped in finding a needle to defeat the evil Koshchei and save Vasilisa.
For many centuries, the Russian people have produced oral folk art, in which folk wisdom, their aspiration and hope were embedded. A Russian folk tale is not only entertainment that brightens up a long evening, but also a lesson in how a person should behave and what he should strive for. The book with Russian folk tales is the most beloved for both children and adults. She is simple, kind and bright. There is no place for betrayal, falsehood and lies in it. Every evil deed receives the punishment it deserves.
Let us remember the words written by the great Russian poet Alexander Sergeevich Pushkin. “A fairy tale is a lie, but there is a hint in it, good fellows lesson! Folk tales are written, in principle, for children, so that the younger generation can absorb important points and the lessons that are hidden in fairy-tale characters and their funny adventures. But many adults also like them. In fairy tales, good always triumphs over evil. Everyone will be rewarded for good deeds. There are probably few people who will say that they don’t remember a single one fairy tale character. This is due to the fact that folklore is imbued with the soul of the entire Russian people.
Consider evil in folk tales, which has always been depicted as ugly and scary.
Evil has invincible strength and power, instilling fear and suppression in all heroes. Creates a feeling of complete defenselessness. An evil character, endowed with magical powers, always had an ugly, not very pleasant, repulsive appearance. But thanks to intelligence, courage, valor and bravery, fairy-tale heroes still manage to defeat him. Characters such as Baba Yaga, the three-headed Serpent Gorynych and Koschey the Immortal bring only misfortune, grief and tears to the people. They are provided with a huge army of various evil spirits. For example: evil witches eating small children. But at the same time, Baba Yaga provides irreplaceable assistance to the main character.
The Russian people portrayed the concepts of “good and evil” quite interestingly. There are two types of fairy-tale heroes - negative and positive. The positive characters are: Ivan Tsarevich, Andrei the Shooter, Ivanushka the Fool, Marya the Magician, Elena the Beautiful, Vasilisa the Wise, Ivan the Peasant Son, Alyonushka and many others. All these fairy-tale characters have hidden external beauty. For example: Ivanushka the fool is an object of ridicule and bullying. Everyone, even his brothers, laughs at him and mocks him without pity. But despite this situation, the hero copes best with his father’s instructions, because he is more responsible for his affairs and actions, more observant, endowed with courage and ingenuity. For his good and correct deeds, Ivanushka the fool received half a kingdom and a beautiful princess.
In our Russian folklore, evil characters are always precisely opposed to good ones. There are no heroes in fairy tales who are half bad or half good. They are either dark from the very beginning, evil and envious, or completely light, kind, generous, sympathetic to other characters. This usually applies not only to human characters, but also to animals. For example: Little Humpbacked Horse, Gray Wolf, Sivka-Burka and many others.
Consider the following fairy-tale character, “Ivan Tsarevich.” The Russian people also portrayed him as brave and sympathetic, kind and smart. It is because of these positive qualities The power of nature came to his aid, which allowed the prince to overcome the difficult tasks that arose on his difficult path. Female image in Russian folk tales is always endowed with incredible beauty, As the saying goes, “neither to say in a fairy tale, nor to describe with a pen.” He is wise and kind, caring and hardworking, and it is precisely because of such qualities that beautiful, brave and intelligent heroes rush to their aid. A kind character always has a gentle character, good manners and a pleasant appearance.
When a child listens to a fairy tale, he almost immediately determines for himself good hero to emulate who he wants to be like. In this simple way, oral folk art instilled in the child the concept of evil and good, what is bad and what is good.
"Good and evil in Russian folk tales"
For centuries, the people have been creating works of oral folk art, embedding in them folk wisdom, your hopes and aspirations. Folk tales are also entertainment that brightened up long evenings; these are also lessons about what a person should be; this is also the desire for justice. A.S. Pushkin wrote: “A fairy tale is a lie, but there is a hint in it, a lesson for good fellows!”
Listening to fairy tales, everyone immediately decides for themselves what is good and what is bad, and strives to imitate good heroes.
This is how the concepts of good and evil are formed. Each person understands in his own way what good is and what evil is.
Therefore, the author in one fairy tale made the stepmother the evil hero, in another - the king or neighbor, in the third - Baba Yaga, the Snake or Koshchei, focusing either on his own opinion or on the listeners. Justice did not always triumph in life, so people invented fairy tales where good defeated evil, as if making their dreams come true.
People have composed many proverbs and sayings about good and evil. Here are some of them:
Good is not repaid with evil.
From good to bad, there is no such thing.
Good fame flies, but bad fame flies.
When the sun is warm, and when mother is good.
A kind person takes someone else's illness to heart.
They pay for good with good.
Don't look for beauty, look for kindness.
Kindness is good quality person
Anger is a bad human quality
How did the people depict these two concepts: good and evil? All fairy tale heroes are strictly divided into positive and negative. Positive heroes: Ivan the Fool, Ivan the Tsarevich, Ivan the Peasant Son, Vasilisa the Wise, Elena the Beautiful, Marya Morevna and others are always endowed primarily with external beauty, which is sometimes hidden at the beginning of the fairy tale. This is Ivanushka the Fool. Everyone laughs at this hero, his older brothers openly mock him. But Ivanushka the Fool copes with his father’s instructions better than his brothers, because he has responsibility for the assigned work. He is observant, endowed with ingenuity and courage. And therefore, as a reward, he receives a beautiful princess and half a kingdom in addition.
Ivan Tsarevich was also portrayed as an intelligent and brave people, kind and sympathetic. That is why the forces of nature come to his aid, allowing him to cope with difficult tasks that arise along his path.
Female images in fairy tales are endowed with incredible beauty, which “cannot be said in a fairy tale, nor described with a pen.” They are wise and hardworking, caring and kind. Therefore, smart, brave and beautiful heroes always come to their rescue.
Sometimes Baba Yaga turns out to be an assistant to the main character:
Baba Yaga does not always represent evil; sometimes she is the giver of an object, or gives wise advice: this is how the hero receives from her a ball that leads him to his goal, or a wonderful horse that quickly takes him to his place. Baba Yaga knows many miracles. In the fairy tale “Go there - I don’t know where, bring that - I don’t know what” Baba Yaga, the mother of Princess Marya, helps Andrei the Strelok, his son-in-law, to complete the king’s task. In this fairy tale she is a kind heroine.
The Serpent Gorynych and Koschey represent evil in Russian folk tales. The serpent kills people, destroys beautiful girls. Koschey is cunning, treacherous and very selfish.
Since ancient times, fairy tales have been close and understandable to ordinary people.
Fiction intertwined with reality in them. Justice has always triumphed in Russian fairy tales, and good has triumphed over evil.
REMINDER
HOW TO BECOME A GOOD AND KIND PERSON.
Try to see the good and kind in people first of all! This makes everyone around you become prettier and kinder!
Be kind to people!
Learn good from the good!
Don’t be afraid to offer help to those who need it, help first of all those who are in trouble, the weak, the sick.
Without causing harm, you become kinder!
THANK YOU FOR YOUR ATTENTION!
Maretta Bystrova
Target: Bring up goodwill, the ability to correctly evaluate the actions of characters. Encourage children to actively perceive something familiar fairy tales. Evoke an emotional response to the appearance of familiar characters.
Preliminary work: the teacher arranges illustrations, pictures fairy-tale heroes; cubes of red and blue; musical accompaniment; shadow theater with heroes fairy tales"Kolobok".
Educator: Children, today we will go on a trip to our friends fairy tales. For a long time Russian people invented fairy tales: for your own amusement, for the younger ones to learn. And most often they talked about struggle good with evil, and this was depicted by differently: using the example of people, animals or unusual creatures. But the character traits remained unchanged.
Evil characters usually had a repulsive appearance, bad character and bad habits.
A good characters, on the contrary, had a pleasant appearance, affectionate character and good manners.
« Good» And "evil"- the main moral concepts in life.
Good is a moral value that relates to human activity, a pattern of people’s actions and relationships between them.
Evil is the opposite good, this is what morality seeks to eliminate and correct.
Preventing evil and fighting it are important tasks of human moral behavior.
Therefore in all In Russian fairy tales, good opposes evil., no matter how terrible it is and defeats it with the help of strength, ingenuity, and luck.
We've been sitting for a bit, I suggest we have a fun physical education session "Ivan Tsarevich".
Ivan Tsarevich, what a hero!
He bravely enters the battle,
He will wave his sword like magic, and Zmey-Gorynych won’t care.
Lunged once and twice -
The head flew off.
Another three-four lunge
The rest flew away.
(Performing movements according to the text)
Now it's time to play the game "Become a Wizard".
Target: Decompose, using characteristics, red and blue cubes. Find out which cubes have more « kind» (red) or "evil" (blue).
The teacher lists characteristics: cowardice, compassion, cruelty, patience, love, care, envy, greed, laziness, friendship, responsiveness,. Two children lay out the cubes to the sides under the children's dictation.
Educator: Children, let's count how many cubes.
Children: six red « kind» and four blue "evil".
Educator: Children, what more cubes!
Children: « Kind» !
Educator: So and in fairy tales are good Evil always wins.
Educator: Children, I offer you the next game "Get to know the hero fairy tales» .
Target: Guess the riddle and find out fairy tale character. Think about what kind of hero this is Kind or angry and why you decided so.
The teacher reads riddles:
Beware of any disease: flu, sore throat and bronchitis. The glorious doctor challenges you all to battle (Aibolit) I fly in a mortar and kidnap children.
I live in a hut on a chicken's leg.
Golden-haired beauty, my name is (B. Yaga)
In his favorite song sung:
If you are kind, it's always easy
But when it’s the other way around, it’s difficult. (Leopold the Cat). He's like a shepherd similar:
Every tooth is a sharp knife!
He runs with his jaws bared, ready to attack the sheep. (Wolf).
Educator: Children, I offer you one more fabulous physical education session"Pinocchio".
Pinocchio stretched,
He bent over once, he bent over twice.
He spread his arms to the sides,
Apparently I couldn't find the key.
To get us the key
You need to stand on your toes.
Educator: Children, now I will introduce you to the shadow theater.
We'll play with you fairy tale"Kolobok".
(the teacher introduces the children to the principles of work shadow theater, selects actors and the fairy tale has begun)
Educator: Children, our the evening has come to an end, let's say a big thank you to the artists, hold hands and wish each other good.
Li Yixin
THE CONCEPTS OF "GOOD" AND "EVIL" IN THE RUSSIAN LANGUAGE CONSCIOUSNESS (BASED ON THE MATERIAL OF RUSSIAN FOLK TALES AND FAIRY TALES BY A. S. PUSHKIN)
The article is devoted to the analysis of the concepts of “good” and “evil” in Russian folk fairy tales and in the fairy tales of A. S. Pushkin. The verbal representation of these concepts is presented in terms of multi-level means: lexical, morphological, stylistic and textual. Comparison of these means allows us to identify similarities and differences in the consciousness of the collective and the individual. Article address: www.gramota.net/materials/272017/2-2/40.html
Source
Philological sciences. Questions of theory and practice
Tambov: Gramota, 2017. No. 2(68): in 2 parts. Part 2. P. 146-151. ISSN 1997-2911.
Journal address: www.gramota.net/editions/2.html
© Publishing house "Gramota"
Information about the possibility of publishing articles in the journal is posted on the publisher’s website: www.gramota.net The editors ask questions related to the publication of scientific materials to be sent to: [email protected]
explain some procedural features of the processing of scientific information that do not have a reasoned explanation within the framework of other theories of speech understanding. These include strategies and tactics for condensing and separating scientific information, a differentiated approach of students to processing familiar and unfamiliar information, features and methods of understanding new information, strategies for identifying terms, including in incomplete contexts, strategies for formulating meaning.
References
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3. Dyck T. A. van, Kinch V. Strategies for understanding connected text // New in foreign linguistics. M.: Progress, 1988. Vol. 23. pp. 153-211.
4. Lebedinsky S.I. On strategies for formulating meaning // Lingvodidactics: new technologies in teaching Russian as a foreign language: collection. scientific Art. Minsk: Kolorgrad, 2016. Vol. 1. pp. 106-113.
5. Lebedinsky S.I. Strategies for constructing mental representations by analogy // Lingvodidactics: new technologies in teaching Russian as a foreign language: collection. scientific Art. Minsk: Publishing house. center of BSU, 2016. Issue. 2. pp. 71-78.
6. Lebedinsky S.I. Strategies of semantic perception and interpretation of oral foreign language scientific speech. Minsk: BSU, 2014. 296 p.
7. Lebedinsky S.I. Strategies for formulating meaning and constructing mental representations // Bulletin of the Minsk State Linguistic University. Series 1. Philology. Minsk, 2015. No. 5. P. 22-29.
8. Richard J. F. Mental activity. Understanding, reasoning, finding solutions. M.: Institute of Psychology RAS, 1998. 232 p.
9. Johnson-Laird P. N. Mental Models: Towards a Cognitive Science of Language, Inference, and Consciousness. Cambridge, MA: Harvard University Press, 1983. 513 p.
10. Kintch W. The Use of Knowledge in Discourse Processing: A Construction-Integration Model // Psychological Review. 1988. Vol. 95. P. 163-182.
11. Kintsch W., Dijk van. Towards a Model of Text Comprehension and Production // Psychological Review. 1978. Vol. 85. P. 363-394.
12. Whitney P., Budd D., Bramucci R. S., Crane R. On Babies Bath Water and Schemata: A Reconstruction of Top-Down Processes in Comprehension // Discourse Processes. 1995. Vol. 20. No. 2. P. 135-166.
CONTEXTUAL THESAURUS-BASED MODEL TO UNDERSTAND ORAL SCIENTIFIC SPEECH
Lebedinskii Sergei Ivanovich, Ph. D. in Philology, Associate Professor Belarusian State University, Minsk [email protected]
The article provides a theoretical justification of the author's contextual thesaurus-based model to understand oral scientific speech. The study focuses on the strategies to process scientific information, in particular, the author mentions the following ones: strategies to compress and separate information streams, key words search, advanced context activation, acquiring deeper and more detailed context, categorization, classification and systematization of the perceived information, constructing mental representations and understanding new information These strategies along with the individual data processing strategies form the operational basis of general macro- strategy by which the denotative structure of the perceived scientific text is reproduced.
Key words and phrases: models to understand speech; understanding of oral scientific speech; strategies to understand oral scientific speech; prognostic models; context; broadening and detailing the context; strategies of advanced context activation; constructing representations; formation of conceptual structure; cognitive styles.
UDC 81"42; 801.81:398
The article is devoted to the analysis of the concepts of “good” and “evil” in Russian folk fairy tales and in the fairy tales of A. S. Pushkin. The verbal representation of these concepts is presented in terms of multi-level means: lexical, morphological, stylistic and textual. Comparison of these means allows us to identify similarities and differences in the consciousness of the collective and the individual.
Keywords and phrases: linguistic consciousness; fairy tale; folk tale; author's fairy tale; the concept of “good”; the concept of "evil"; linguistic representation.
Tambov State University named after G. R. Derzhavin [email protected]
THE CONCEPTS OF “GOOD” AND “EVIL” IN THE RUSSIAN LANGUAGE CONSCIOUSNESS (BASED ON THE MATERIAL OF RUSSIAN FOLK TALES AND FAIRY TALES BY A. S. PUSHKIN)
In recent decades, the term “concept” has become widespread in modern linguistics, although its definition is still ambiguous. This is largely due to the fact that the concept
considered from the perspective of different approaches. Thus, in particular, from the point of view of the linguocultural approach, the understanding of a concept is determined by the fact that it is recognized as a basic unit of culture and concentrates cultural knowledge. According to Yu. S. Stepanov, “a concept is a concept behind which a long-familiar content appears in our consciousness, it is a description of a cultural situation.”
Representatives of the linguocognitive approach (E. S. Kubryakova, N. N. Boldyrev, Z. D. Popova, I. A. Sternin, etc.) consider the concept as a unit of the conceptual picture of the world. Thus, in the “Concise Dictionary of Cognitive Terms”, a concept is “a term that serves to explain the units of mental or psychic resources of our consciousness and the information structure that reflects human knowledge and experience; an operational content unit of memory, mental lexicon, conceptual system and language of the brain (lingua mentalis) of the entire picture of the world, reflected in the human psyche.” From the point of view of N. N. Boldyrev, concepts are understood as “ideal, abstract units, the meanings of which a person operates in the process of thinking. They reflect the content of acquired knowledge, experience, the results of all human activities and the results of his knowledge of the surrounding world in the form of certain units, “quanta” of knowledge. Man thinks in concepts." At the same time, researchers note that concepts “are not only thought, they are experienced.”
These approaches, in our opinion, do not exclude, but complement each other. In many ways, they are united by the fact that these types of concepts have, first of all, a plane of expression represented by linguistic representatives, which are multi-level units of language and speech. In their unity, these units make it possible to see and describe the representative basis of a particular concept in the structure of the text.
The most interesting linguistic material for studying the concept, in our opinion, is a fairy tale. The fairy tale, as one of the main genres of oral folk art, reflects, reveals and allows one to experience the meaning of the most important universal human values and life experience in general. Central location in the minds of the Russian people, concepts associated with moral assessments of a person occupy: “truth”, “lie”, “good”, “evil”, “God”, “fate”, etc. The subject of this article is the concepts of GOOD and EVIL, which are widely represented in fairy tales and are always found in pairs, representing a binary opposition. They are opposed to each other in meaning and together form the basis of the universe, defining its moral essence.
The purpose of this article is to describe the composition of linguistic representatives of the concepts of GOOD and EVIL in folk and original fairy tales. The similarities and differences in linguistic representation allow us to compare the linguistic consciousness of the people and a specific author - A. S. Pushkin, who represent, respectively, collective and individual linguistic consciousness. To achieve this goal, the texts of fairy tales by A. S. Pushkin and folk tales from the collection “Russian Folk Tales” edited by A. N. Afanasyev, the plots of which are similar to the author’s fairy tales, were used. The choice of fairy tales is due to the fact that, unlike everyday fairy tales and fairy tales about animals, in fairy tales the struggle between good and evil is most clearly presented.
Among the fairy tales of A. S. Pushkin the following were chosen: “The Tale of Tsar Saltan, of his glorious son and mighty hero Prince Gvidon Saltanovich and the beautiful Swan Princess", "The Tale of dead princess and about the seven heroes" [Ibid., p. 52-65] and “The Tale of the Fisherman and the Fish” [Ibid., p. 71-76]. Accordingly, a folk tale that has similar motifs to “The Tale of Tsar Saltan” is “Knee-deep in gold, elbow-deep in silver,” recorded by A. N. Afanasyev in 5 variants. But the fifth version was written in Belarusian language, so we did not include this option in the analysis. The “Magic Mirror” from the collection of A. N. Afanasyev has a similar plot to “Tales of the Dead Princess and the Seven Knights” [Ibid., p. 123-133]. The plot of “The Tale of the Fisherman and the Fish” is similar to the fairy tale “The Greedy Old Woman” [Ibid., vol. 1, p. 126-127]. It is worth noting that although “The Tale of the Golden Cockerel” by A. S. Pushkin is also a fairy tale, but, according to Pushkinists (A. A. Akhmatova, K. A. Boyko, etc.), the plot of this tale was borrowed from an Arabic source. There is not a single tale in Russian folk tales that has a similar plot, so we did not include this tale in the study.
The most important component in the description of concepts is, in our opinion, the use of vocabulary material, which allows us to comprehend the established conceptual content of concepts as a whole. In different types of dictionaries, the lexeme “good” means the following:
“good - in the broad sense of the word as good means a value concept that expresses the positive value of something in its relation to a certain standard or this standard itself”;
1. “wed. material, all good cf. property or wealth, acquisition, goodness, esp. movable"; 2. “in the spiritual sense.” good, what is honest and useful, everything that the duty of a person, a citizen, a family man requires of us; opposite to bad and evil";
“something positive, good, useful, opposite to evil; good deed» ;
“(good, useful) deed, benefit, benefit, charity, donation, service, favor; property, wealth, property, wealth, condition, belongings, belongings."
“Evil” is interpreted in dictionaries as follows:
“a value concept opposite to good (good), a universal of culture, fundamental to morality and ethics. It covers the negative states of a person and the forces that cause these states”;
“thin, dashing, thin, dashing; opposite sex good. The spiritual principle is twofold: mental and moral; the first refers to truth, and the opposite to falsehood; the second is for good (good) and for worse, for evil. All evil is contrary to the divine order. In an abstract form, evil is personified by the spirit of darkness";
1. “something bad, harmful, the opposite of good; evil deed"; 2. “trouble, misfortune, trouble”; 3. “annoyance, anger”;
“badly, dashingly; with the heart, menacingly, viciously, irritably, angrily, angrily, evil, evil beginning, untruth, fiercely, anger, poisonous, misfortune, ulcer, trouble, brutalized, vexation, angry, furiously, trouble, bile, malice.”
Analysis of these dictionary entries allows us to come to the conclusion that “good” means what is due and morally positive, what is good, useful, what a person needs, what people’s hopes, ideas about freedom and happiness are connected with. “Evil” is morally negative and reprehensible; it means something bad that entails troubles, suffering, grief, misfortune. Evil is the opposite of good.
The linguistic representation of these concepts in a fairy tale text has a multi-level system linguistic means, which includes lexical, morphological, stylistic and textual means. The results of the work carried out are summarized below and reflect the consideration of the linguistic representations we have identified, taking into account the field structure of the concept.
The core of the concept of GOOD is formed by the lexeme good. But this method of representation is very rare: 3 times in folk tales (1 time in the fairy tale “Knee-deep in gold, elbow-deep in silver”, 2 times in the fairy tale “The Magic Mirror”); 2 times in the fairy tales of A. S. Pushkin (1 time in “The Tale of Tsar Saltan”, 1 time in “The Tale of the Fisherman and the Fish”).
In the near-nuclear zone of the concept of GOOD at the lexical level, the units of representation are synonyms of the word good and their derivatives: kind, kindness, good-natured, good, blessing, bless. In folk tales such units are found more often (14 times) than in author's tales (7 times). But the word good-natured appeared only in author's fairy tale"About the dead princess and the seven heroes."
At the morphological level, to describe the nuclear zone, we used different types names (noun: good, kindness; adjective: kind, good-natured) and verbs (bless). In folk tales, names are used more often (11 times) than verbs (3 times), but in original fairy tales it is the other way around: verbs are used more often (4 times) than names (3 times).
Due to the peculiarity of the periphery, the linguistic representation of the concept of GOOD is presented in different linguistic ways.
At the lexical level, words were identified that have associations with “good”: good, beautiful, smart, glorious, faithful, cheerful, joy, mercy, rejoice, love, admire, god. In folk tales there are 54 such associates, and in the author's fairy tales - 104. At the same time, in the author's fairy tales new lexemes have been identified that were not found in folk tales: reliable, brave, diligent, powerful, friendly, sage.
At the morphological level, the associates are the noun (joy, mercy, fun), which was used 13 times in folk tales, while in author’s fairy tales its use is more frequent (35 times). At the same time, such representatives as a savior, a daredevil, a sage, a wish, have only just appeared in the author’s fairy tales. The number of adjectives (beautiful, smart, nice, faithful, cheerful) is presented more than nouns: 26 times in folk tales, 48 times in author’s fairy tales (reliable, brave, diligent, powerful, friendly were found only in author’s fairy tales), i.e. e. only 74 times.
The verbs to have fun and love appeared only 29 times, including 12 times in folk ones and 17 times in author’s ones. The verbs to rejoice and admire were found only in folk tales, and the verbs to fall in love, magnify, glorify, have mercy - only in author’s tales.
The adverb is presented 18 times, including 4 times in folk tales and 14 times in original fairy tales. Moreover, we found the adverbs pleasantly, cordially, diligently only in the author’s fairy tales.
At the syntactic level, free phrases, phraseological units or whole sentences are used to describe the periphery of the concept of GOOD. For example, Live and live in perfect harmony; To live and live and make good money (“Knee-deep in gold, elbow-deep in silver”); Not bad (“The Tale of Tsar Saltan”); an affectionate word (“The Tale of the Fisherman and the Fish” [Ibid., pp. 71-76]). In folk tales, 8 such units were identified, in original fairy tales - 14.
At the textual level, in folk and author's fairy tales, the personification of goodness is the heroes of fairy tales. For example, Prince Guidon and the Swan Princess in “The Tale of Tsar Saltan” [Ibid., p. 25-48]; Marya the Princess in the folk tale “Knee-deep in gold, elbow-deep in silver.”
Based on the analysis of linguistic representations of the concept GOOD, we come to the following conclusion: in comparison with folk tales, in the author's fairy tales, the means of expressing concepts have more expressive and diverse characteristics, which is reflected in the number of different multi-level means for describing the structure of the concept in question.
The core of the concept of EVIL is formed by the lexeme evil, but it occurs only once in folk tales and once in author’s tales.
To describe the near-nuclear zone of the EVIL concept, synonyms and derivatives of “evil” are used: evil, villain, angry, bad, dashing, evil. In folk tales such units are found less frequently (12 times) than in author's tales (20 times). But the words angry and dashing were found only in the author’s “The Tale of Tsar Saltan.”
The ways of linguistic representation of the periphery of the EVIL concept are varied.
At the lexical level, we have identified the following words that have associations with the word evil. These are: grief, disfavor, be angry, envy, deceive, be upset, die, cry, be angry, execute, dead, etc.. In folk tales there are 57 such units, in author's fairy tales - 70. In author's fairy tales there are new lexemes, which in There were no words in folk tales: to grieve, to lie, to misrepresent, to get sick, wayward, fool, simpleton, to scold, to scold, to scold, to rebel, to be foolish.
At the morphological level, we have 67 units of various nominal parts of speech: including the noun (misfortune, disfavor) appeared only 8 times in folk tales, 23 times in author's fairy tales (fool, simpleton, death, sorcerer appeared only in author's fairy tales). The adjective appeared 15 times in folk tales (filthy), 21 times in author's fairy tales (inclement, capricious, angry were found only in author's fairy tales); only 36 times.
The verbs die and deceive are realized 61 times, including 30 times in folk ones and 31 times in author’s ones. The verbs to threaten, disgrace were found only in folk tales, and the verbs to grieve, lie, misrepresent, get sick, wayward, scold, scold, scold, rebel, fool were found only in author's tales.
The adverb bitterly (to cry) appeared 2 times, including once in folk tales and once in original fairy tales. In “The Tale of Tsar Saltan” the adverbial word sad also appeared.
At the syntactic level, to describe the periphery of the concept EVIL, as in the case of the concept GOOD, free phrases, phraseological units or whole sentences are used. For example, an unclean thought, terrible hatred, is engaged in evil deeds (“The Magic Mirror”); black envy, scared to death (“The Tale of the Dead Princess”); If you don’t go, they will lead you willy-nilly (“The Tale of the Fisherman and the Fish”). 6 such units appeared in folk tales, and 4 in original fairy tales.
At the textual level, in folk and original fairy tales there are heroes who personify evil. For example, the queen’s sisters are the weaver and the cook in “The Tale of Tsar Saltan”; the stepmother in the folk tale “Knee-deep in gold, elbow-deep in silver”, the greedy old woman in “The Tale of the Fisherman and the Fish”.
Of particular interest in fairy tales are the relationships between good and evil, which are also reflected in linguistic representation.
Table 1.
Type of fairy tales Total number Victory of good Victory of evil Others
In almost all fairy tales, good defeats evil, and at the end of the fairy tales there was a merry feast, I was there; he drank honey, drank beer, and just wet his mustache. The victory of good over evil in all folk tales shows that such a folk text as a fairy tale reflects the stable collective moral and aesthetic value ideals of the people.
Only in one author’s fairy tale did we not observe this victory - in “The Tale of the Fisherman and the Fish” by A. S. Pushkin: Again there is a dugout in front of him; His old woman is sitting on the threshold, and in front of her is a broken trough [Ibid., p. 76]. The old man and the old woman returned to their former lives. The old woman is certainly a prominent representative of evil. But the old man is not a representative of good, since he has a weak character, he did not resist the old woman, evil. There is no winner in this fairy tale. But in a similar folk tale, “The Greedy Old Woman,” it’s a different matter: At that very moment the old man turned into a bear, and the old woman into a bear, and they ran into the forest. We see the old man and old woman being punished for their greed. This can be seen as the victory of good over evil.
It is worth noting the meaning in V. Dahl’s dictionary that represents the concept of GOOD - “property or wealth.” In the dictionary of synonyms, the word “good” also has a synonym “property”. But in the description of the concept of GOOD, this meaning does not always represent its moral essence. For example, in the folk tale “The Greedy Old Woman” and in “The Tale of the Fisherman and the Fish” by A. S. Pushkin, the old woman became richer and richer, but did not become kind. This wealth is also connected with greed: “Well, make me rich”; “The new hut is like a full cup, the chickens don’t peck at the money, there’s enough bread for decades, but you can’t count the cows, horses, sheep in three days!”; “We lived for about a month; The old woman was tired of her rich life” (“The Greedy Old Woman” [Ibid., pp. 126-127]).
A similar situation is observed in the linguistic representation associated with the word beauty. The good heroine is usually beautiful: “and the beautiful princess mother lives with them and admires them” (“Knee-deep in gold, elbow-deep in silver” [Ibid., vol. 2, p. 376]); “The moon shines under the scythe, And the star burns in the forehead. But she herself is majestic, She performs like a peahen” (“The Tale of Tsar Saltan”). But sometimes the evil stepmother is beautiful. For example, in the folk tale “The Magic Mirror” and in “The Tale of the Dead Princess” by A. S. Pushkin: “a merchant’s wife looked into the mirror, admiring her beauty...” (“The Magic Mirror”); “Of course you are, no doubt about it; You are the queen, cuter than everyone else, blushing and whiter than everyone else” (“The Tale of the Dead Princess”).
Thus, beauty and property belong to the common components of the concepts of “good” and “evil.” This can be represented as follows:
Rice. 1. Common components of the concepts “good” and “evil” We present the total number of linguistic representatives of the concepts GOOD and EVIL in Table 2. Table 2.
Number of units of representation of the concept of “good” and “evil”
The names of fairy tales are “good” and “evil”
Folk tales “Knee-deep in gold, elbow-deep in silver” Option 1 18 10
Option 2 9 6
Option 3 7 5
Option 4 7 6
"Magic Mirror" 32 36
“The Greedy Old Woman” 6 12
Fairy tales by A. S. Pushkin Total number “The Tale of Tsar Saltan” 81 38
“The Tale of the Dead Princess and the Seven Knights” 32 30
“The Tale of the Fisherman and the Fish” 14 206 24 167
Based on these data, we draw the following conclusions.
The linguistic representation of the concept GOOD is richer than that of the concept EVIL by 39 units. This is due, in our opinion, to the fact that the concept of KIND is presented in a more diverse and expressive way. The people and the author in fairy tales strived for a positive, positive perception of good in relation to evil.
Comparing the results of the presentation of this conceptual opposition in folk and author's fairy tales, we observed that the concepts of GOOD and EVIL are much more clearly represented in the author's fairy tales, which are processed folk text. Unlike folk tales, which were passed down from generation to generation, author's tales reflect, in addition to collective knowledge, also the individual style of the writers.
The analysis of these representatives not only allows us to get a more complete picture of this conceptual opposition in the Russian consciousness as a whole, but also determines the features of the author’s individual vision of the world. But at the same time, the conceptual approach to the assessment and perception of folk moral values inherent in the collective linguistic consciousness is preserved, since the purpose of the author’s fairy tales, in our opinion, is not to introduce new author’s knowledge into the content of these concepts, but to preserve the national culture and draw attention to it through the rich linguistic means that we find already in the idiostyle of this or that writer.
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CONCEPTS "GOOD" AND "EVIL" IN THE RUSSIAN LINGUISTIC CONSCIOUSNESS (BY THE MATERIAL OF RUSSIAN FOLK TALES AND A. S. PUSHKIN'S TALES)
Tambov State University named after G. R. Derzhavin [email protected]
The article analyzes the concepts "good" and "evil" in the Russian fairy tales and in A. S. Pushkin's fairy tales. The verbal representation of these concepts is carried out by multi-level means: lexical, morphological, stylistic and textual. The analysis of the mentioned linguistic means allows the author to identify the similarities and differences comparative between the individual and collective consciousness.
Key words and phrases: linguistic consciousness; fairy tale folk tale; author's tale; concept "good"; concept "evil"; linguistic representation.
This study is devoted to the study of the peculiarities of creating the image of the enemy in Russian and Western media using linguistic means aimed at forming the necessary opinion in the reader. The message function in news articles is implemented through lexical content. The article presents the most common linguistic techniques used to create the image of the enemy in Russian and Western media: epithets, metaphor, various types repetition, enumeration.
Key words and phrases: enemy; image of the enemy; Russian media; Western media; epithet; metaphor; repeat; enumeration; interrogative sentences.
Lugueva Raiganat Gadzhinasrullaevna
Dagestan State University, Makhachkala lugueva-dgu@mail. gi
LANGUAGE FEATURES OF CREATION OF AN ENEMY IMAGE IN RUSSIAN AND WESTERN MEDIA
It is known that in modern world The media not only perform the function of transmitting everyday information, but are also a means of forming a certain public opinion. In connection with recent events, the media have become the main weapon in shaping the reader’s attitude to reality. This article is devoted to the study of lexical features of creating the image of an enemy in Russian and Western media. The analysis examined 50 articles from electronic versions of Russian and Western media. First, let's define who the enemy is.
In the Political Science dictionary we find the following definition: the image of an enemy is “an ideological and psychological stereotype that allows one to build political behavior in conditions of a lack of reliable information about a political opponent and about the environment as a whole.” Considering the reliability and credibility of the source, this definition can be considered as quite accurate and capacious. However, I would like to note some inaccuracies; for example, the image of the enemy is not always created in the minds of society in the absence of reliable information. Let's give a few more definitions.
The image of the enemy is “a socio-political myth that is based on selfish interest and is based on the desire of individual political groups to expand influence, maintain or seize power.”
The image of the enemy is “an ideological expression of public antagonism, a dynamic symbol of forces hostile to the state and citizen, a policy instrument of the ruling group of society.”
The image of the enemy is a “qualitative (evaluative) characteristic (image) of the “enemy”, formed in public consciousness". This definition can be considered as the most objective of the existing ones and at the same time one of the most laconic.
