ÌÎÂÀ ¹ 15 (2) À. ß. — To try to suppress laugh (ñ òðóäîì ñäåðæèâàòü ñìåõ, ïûòàòüñÿ ïîäàâèòü ñìåõ) (íå ôðàçåîëîãè÷åñêàÿ åäèíèöà, îáúÿñíèòåëüíûé ïåðåâîä). — Ð. ß. — Êèñíóòü îò ñìåõà (ñèíåñòåòè- ÷åñêèé êîíöåïò, ðåïðåçåíòèðîâàí â çíà÷åíèè ôðàçåîëîãè÷åñêîé åäèíèöû).  ñèòóàöèè “òèõî êèñíóòü îò ñìåõà” íàáëþäàåòñÿ ôðàçåîëîãè÷åñêàÿ ëàêóíà â àíãëèéñêîì ÿçûêå èç-çà ðàçíîé àêòóàëèçàöèè êîíöåïòà “Êèñëûé” â ðóññêîì è àíãëèéñêîì ÿçûêàõ.  ðóññêî-àíãëèéñêèõ ñëîâàðÿõ, à òàêæå â ïåðåâîäàõ äàííîãî ôðàçåîëîãèçìà íà àíãëèéñêèé ÿçûê èñïîëüçóåòñÿ àâòîðñêèé êîììåíòàðèé “to try to suppress a laugh” — “ïûòàòüñÿ ïîäàâèòü ñìåõ”, ÷òî, êîíå÷íî, ïðèâîäèò ê ðåïðåçåíòàöèè ðàçíûõ êîíöåïòóàëüíûõ õàðàêòåðèñòèê. Òî æå íàáëþäàåòñÿ â ïåðåâîäå àíãëèéñêîãî âûðàæåíèÿ: À. ß. — to be bitter and twisted (áûòü “ãîðüêèì” îçíà÷àåò “çëèòüñÿ”). — Ð. ß. — Áûòü çëûì è íåñ÷àñòíûì (íåñèíåñòåòè÷åñêèé êîíöåïò, îáúÿñíèòåëüíûé ïåðåâîä). (3) À. ß. — Deep sorrow (“ãëóáîêàÿ ïå÷àëü” — íåñèíåñòåòè÷åñêèé êîíöåïò). Ð. ß. — Ãîðþøêî ãîðüêîå (ñèíåñòåòè÷åñêèé êîíöåïò); À. ß. — To be sweet on smb. (áûòü ñëàäêèì ê êîìó-òî). — Ð. ß. — Ëþáèòü êîãî-òî (“ñëàäåíüêèé ìîé”) (ñîâïàäåíèå ñèíåñòåòè÷åñêèõ êîíöåïòîâ, íåñîâïàäåíèå ñðåäñòâ ðåïðåçåíòàöèè). Ñóùåñòâóþò áîëåå ñëîæíûå ñèíåñòåòè÷åñêèå êîíöåïòû, èíòåãðèðóþùèå ñðàçó íåñêîëüêî ÷óâñòâåííûõ îùóùåíèé. Íàïðèìåð, â àíãëèéñêîì ÿçûêå ñóùåñòâóåò âûðàæåíèå “to become redhot” (ñòàòü êðàñíî-ãîðÿ÷èì), ðåïðåçåíòèðóþùåå ìîäåëü “Öâåò + Òàêòèëüíîñòü + Ýìîöèÿ”.  ðóññêîì ÿçûêå ïîäîáíûé ñèíåñòåòè÷åñêèé êîíöåïò îòñóòñòâóåò, è â ïåðåâîäå äàííîãî âûðàæåíèÿ ìû îáúåêòèâèðóåì ëèáî êîíöåïò “Öâåò + Ýìîöèÿ”: “ïîêðàñíåë îò âîçáóæäåíèÿ”; ëèáî “Òàêòèëüíîñòü + Ýìîöèÿ”: “áðîñèëî â æàð îò ñèëüíîãî âîçáóæäåíèÿ”. Àíàëèç âûøåïðèâåäåííûõ ïðèìåðîâ ïîêàçûâàåò, ÷òî è â àíãëèéñêîé, è â ðóññêîé êîíöåïòîñôåðàõ ñóùåñòâóþò ìåõàíèçìû îáðàçîâàíèÿ ñèíåñòåòè÷åñêèõ êîíöåïòîâ ñ èíòåãðèðóþùèì êîíöåïòîì “Ýìîöèÿ”. Äàííûé èíòåãðèðóþùèé ýìîöèîíàëüíûé êîíöåïò ïðåäñòàâëÿåò ñîáîé îòðàæåíèå â ñîçíàíèè ãîâîðÿùåãî åãî ýìîöèîíàëüíîãî ñîñòîÿíèÿ, òàêóþ åäèíèöó ìûøëåíèÿ, êîòîðàÿ îõâàòûâàåò âåñü êîìïëåêñ çíàíèé ÷åëîâåêà î åãî ýìîöèîíàëüíî-÷óâñòâåííîì âîñïðèÿòèè ìèðà. Ãîâîðÿ îá óíèâåðñàëüíîñòè ñèíåñòåòè÷åñêèõ êîíöåïòîâ ñ áàçîâûì èíòåãðèðóþùèì êîíöåïòîì “Ýìîöèÿ”, ìû ðàçäåëÿåì ìíåíèå Â. È. Øàõîâñêîãî î òîì, ÷òî “ýìîöèè — ýòî òî, ÷òî äåëàåò ëþäåé ðàçíûõ êóëüòóð áîëåå-ìåíåå ïîõîæèìè äðóã íà äðóãà”.  òî æå âðåìÿ ýìîöèè äåëàþò êàæäîãî èç íàñ óíèêàëüíûì â ñèëó ñâîåãî “èíäèâèäóàëüíîãî âàðüèðîâàíèÿ” [8:299]. Äåéñòâèòåëüíî, êîíöåïòû, ëåæàùèå â îñíîâå ñåìàíòèêè áîëüøèíñòâà ôðàçåîëîãè÷åñêèõ åäèíèö, èìåþò èíòåðíàöèîíàëüíóþ ïðèðîäó, ÷òî è ïîçâîëÿåò ïåðåâîäèòü èõ ñ îäíîãî ÿçûêà íà äðóãîé. Îäíàêî â ðóññêîì è àíãëèéñêîì ÿçûêàõ ñðåäñòâà ðåïðåçåíòàöèè îäíîèìåííûõ êîíöåïòîâ ñïåöèôè÷íû, èíäèâèäóàëüíû. Èìåííî èíäèâèäóàëüíîñòü ÿçûêîâûõ ðåïðåçåíòàöèé ñîçäà¸ò êóëüòóðíîå ñâîåîáðàçèå ôðàçåîëîãè÷åñêèõ çíà÷åíèé. Êîíöåïòóàëüíûé àíàëèç ñåìàíòèêè ÔÅ åù¸ ðàç ïîäòâåðæäàåò îñîáûé ñòàòóñ ôðàçåîëîãè÷åñêîé ñåìàíòèêè, çàêëþ÷àþùèéñÿ â òîì, ÷òî çíà÷åíèå ôðàçåîëîãè÷åñêîé åäèíèöû íå ïðÿìî, à êîñâåííî îáúåêòèâèðóåò ÿâëåíèÿ îêðóæàþùåé êàðòèíû ìèðà è â òî æå âðåìÿ ñàìî ÿâëÿåòñÿ ñëåäñòâèåì âòîðè÷íîé ðåïðåçåíòàöèè êîíöåïòîâ, ëåæàùèõ â îñíîâå ôðàçåìîîáðàçóþùèõ êîìïîíåíòîâ. 1. Àëåôèðåíêî Í. Ô. Òåîðèÿ ÿçûêà. — Ì., 2004. 2. Àëåôèðåíêî Í. Ô., Çîëîòûõ Ë. Ã. Ïðîáëåìû ôðàçåîëîãè÷åñêîãî çíà÷åíèÿ è ñìûñëà (â àñïåêòå ìåæóðîâíåâîãî âçàèìîäåéñòâèÿ). — Àñòðàõàíü, 2000. 3. Âîðêà÷¸â Ñ. Ã. Ñ÷àñòüå êàê ëèíãâîêóëüòóðíûé êîíöåïò. — Ì., 2004. 4. Êóáðÿêîâà Å. Ñ., Äåìüÿíêîâ Â. Ç., Ïàíêðàö Þ. Ã., Ëóçèíà Ë. Ã. Êðàòêèé ñëîâàðü êîãíèòèâíûõ òåðìèíîâ. — Ì., 1996. 5. Êóíèí À. Â. Êóðñ ôðàçåîëîãèè ñîâðåìåííîãî àíãëèéñêîãî ÿçûêà. — Äóáíà, 2005. 6. Ìîêèåíêî Â. Ì. Ñëàâÿíñêàÿ ôðàçåîëîãèÿ. — Ì., 1989. 7. Òèìêî Í. Â. Êóëüòóðîëîãè÷åñêèé àñïåêò ïåðåâîäà. — Êóðñê, 2003. 8. Øàõîâñêèé Â. È. Ëèíãâèñòè÷åñêàÿ òåîðèÿ ýìîöèé. — Âîëãîãðàä, 2008. 9. Fauconnier G. Mental Spaces. — Cambridge, 1994. 172
ÏÈÒÀÍÍß ÔÐÀÇÅÎËÎò¯ O. Yu. Romashina REPRESENTATION OF SYNESTHETIC CONCEPTS IN RUSSIAN AND ENGLISH PHRASEOLOGICAL FUND The article deals with the problem of forming and representation of synesthetic concepts, such as “Sound + Emotion”, “Taste + Emotion”, “Smell + Emotion”, “Tactility + Emotion”, “Colour + Emotion” in Russian and English idioms. Three cases of concept representation are viewed here: a) the coincidence of concepts and means of representation; b) the coincidence of concepts, but not means; c) the mismatching (or absence) of the concepts in two languages. Key words: phraseological unit, meaning, concept, synesthesia. Î. Þ. Ðîìàøèíà ÐÅÏÐÅÇÅÍÒÀÖ²ß ÑÈÍÅÑÒÅÒÈ×ÍÈÕ ÊÎÍÖÅÏÒ²Â Ó ÐÎѲÉÑÜÊÎÌÓ ÒÀ ÀÍÃ˲ÉÑÜÊÎÌÓ ÔÐÀÇÅÎËÎò×ÍÎÌÓ ÔÎÍIJ Ó ñòàòò³ ðîçãëÿíóòî ïðîáëåìó ôîðìóâàííÿ òà ðåïðåçåíòàö³¿ ñèíåñòåòè÷íèõ êîíöåïò³â, ÿê³ âèíèêàþòü ó ïðîöåñ³ êîíöåïòóàëüíî¿ ³íòåãðàö³¿ ìåíòàëüíèõ ïðîñòîð³â “Åìîö³ÿ + Çâóê”, “Åìîö³ÿ + Êîë³ð”, “Åìîö³ÿ + Íþõ”, “Åìîö³ÿ + Äîòèê”, “Åìîö³ÿ + Ñìàê”. Äîñë³äæåíî âèïàäêè çá³ãó, íåçá³ãó, â³äñóòíîñò³ îäíîéìåííèõ êîíöåïò³â ó ðîñ³éñüê³é òà àíãë³éñüê³é êîíöåïòîñôåðàõ, à òàêîæ íàÿâíîñò³ (â³äñóòíîñò³) àíàëîã³÷íèõ îäèíèöü ó ôðàçåîëîã³÷íîìó ôîíä³ îáîõ ìîâ. Êëþ÷îâ³ ñëîâà: ôðàçåîëîã³çì, çíà÷åííÿ, êîíöåïò, ñèíåñòåç³ÿ. 173
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