THE CONCEPT OF “EYE” IN THE ART OF ANNA AKHMATOVA: IMAGE OF “BODY-MAKING MAN”

The anthropocentric postulates of Silver age’s poetry “acmeism” are opened as an idea of continuity of cultural and civilization models; the concept of "spiritual body of the Universe", of world physiological basis are represented. The article reveals the idea of continuity of cultural and civilization models in the works of acmeism representatives. The conceptual importance of the somatic lexicon as the name of parts of a body is analyzed in A. Akhmatova's masterpieces, especially the “eye” image. It is important to analyze the somatic lexicon as a component of the model of "body-making man” reproducing the most harmonious condition of the world. The authors of the article interpret static data determining the character and the number of references to the concept “eye” in A. Akhmatova's poetry and deduce the main regularities of the use of this concept. The structural models of constructions that include "eye" are revealed; the most productive semantic groups corresponding to traditional cultural interpretations and archetypes are highlighted. The main interpretations of the “eye” as a retranslator of inner feelings, a means of cognition of the world, a semantic detail of mythological and individual-author images are highlighted. The antithesis “closed eye - open eye” is introduced, the color symbolism of the “eye” is deciphered. The paper differentiates cultural and individual-author associative rows of the studied units. The authors of the article hypothesize the importance of “eye” in the works of A. Akhmatova as a part of the concept of “spiritual body of the Universe”; they reveal the dualism of this organ, which combines the experience of studying the outer world with the function of a conductor of feelings and emotions to the outer world. The idea of the fruitfulness of further observations on the functioning of somatic vocabulary in the works of A. Akhmatova in the aspect of anthropocentric model is introduced.

Symbolism of Colour of the Vietnamese National Garment Áo Dài: Historical Foundations, Development and Interpretations

This paper is an attempt to analyze the color symbolism of traditional Vietnamese o di costume, as well as to identify and characterize the main reasons and peculiarities of transformations in this sphere. The symbolic model of color is considered in the context of language, socio-historical and cultural processes. The focus is on women's traditional costume, as it has undergone far more extensive changes than mens and has a much broader scope of use today.

“Oh, Where are You, My Russia?”: The Image of Russia in the Camp Poems of A. Solzhenitsyn

The article deals with A. Solzhenitsyn camp poems, pertaining to the early and underresearched part of his oeuvre. The analysis is centered around the image of Russia. In his poetry, Solzhenitsyn formulates the basic artistic characteristics of this image, that are further developed and deepened in his prose. The image of Russia consists of two toposes: “the visceral Russia”, that embodies the author’s ideal, as well as “the orphaned Russia”, that reflects the country’s “pain points” or its most acute problems. The image of “the visceral Russia” is created under the influence of Christian traditions and the early lyrics of S. Yesenin. Its key elements are landscapes, pantheistic dissolvment in the world of nature, hesychasm and related to it notions of silence and color symbolism. The image of “orphaned Russia” is divided into “the free Russia” and “the Gulag Russia”. It echoes A. Blok’s poetry and demonstrates the historically ambivalent and dramatic sides of Russian history. Despite the spatial categorizations, the lyrical hero’s perception of his motherland is not fragmented, but objective and multi-sided. Like the author himself, he views Russia as a whole in all of its struggles and contradictions.

The Color Palette in the Work of the Iranian Writer Rаziye Tujjar

The article analyzes the symbolic expressions reflected in colors in the stories of Razia Tujjar, one of the greatest representatives of modern Iranian literature. In modern Iranian literature, the famous writer Raziye Tujjar has a great ability to fully understand a woman's heart, reach the depths of a woman's heart, revealing all its secrets. Raziye Tujjar writes in a unique style that distinguishes her works from other writers for the richness of philosophical observations, the beauty of language and style, and the presentation of social problems. Most of the characters in her stories are women. The writer is very fond of colors in her stories. She sees the world through different colors and shades. Especially gray, full of hardships, she describes it and ends her work in a depressed state. Our scientific article also emphasizes the role of color symbolism in the richness of the literary imagery of the writer.

Расплескавшийся цветом. К.В. Душенко Красное и белое. Из истории политического языка: Сборник статей / РАН. ИНИОН. Москва: Центр гуманитарных научно-информационных исследований, 2018

This review presents the author's views on the book Red and White, which deals with the multivariance of color symbolism of the political language of revolutions in France and Russia. Writers' ideas about color political language of that historical period are reflected in their literary works. The characteristic features of white, red, black and blue colors, which carry an active visual call at all times, are highlighted and described. Conducting his own analysis of the identity of the color palette of the French tricolor and Russian tricolor flags, the author of the article is based on the principles of perception of color by representatives of various ethnic groups, based on the experience of processing external impressions and mentality.

Color Symbolism in the Works by Raphael and Mozart

Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works dedicated to various aspects of the artist’s and composer’s artwork. According to J.W. Goethe’s and F. List’s studies, Raphael’s and Mozart’s creations appear to be congenial. Romantic poets and artists took up Goethe’s and List’s ideas and developed them in their own fashion. E.T.A. Hoffmann was the first to pay attention to color symbolism in Mozart’s works, and the coloration of Raphael’s paintings influenced K. Bryullov. In the 20th century, G.V. Chicherin and H. Abert made their contribution to investigating a possible interrelation between Raphael’s and Mozarts’ works of art. In the article, the author considers an interpretation of the color on the fresco «The School of Athens» by Raphael and also in the songs and operas by Mozart.

Color symbolism in Russian and Chinese languages and semantics of hydronyms with a color component

The goal of this article is the characteristics of color symbolism as the means for creating imagery in a discursive aspect. In the course of this research, the following questions were addressed: 1) generalization of the semantics of color designation in the linguistic context; 2) characterization of linguistic specificity of color designations in the Chinese language, and comparison with the Russian language; 3) determination of intralinguistic and extralinguistic factors impacting the functionality of color designations in media discourse; 4) systematization of means and specificity of creation of imagery in the TV series “Story of Yanxi Palace” using the color designations; 5) characterization of metaphorical potential of Chinese words for color designation in the context of TV series “Story of Yanxi Palace”. The key color designations in the Russian language are white, black, red, blue, yellow, and green. It also suits the Chinese language. The meaning of color is closely related to people’s psychology and national culture. Although the Russians and Chinese have common understanding of the true nature of color, due to the differences in cultural traditions, customs, geographical conditions, traditional national and cultural way of thinking, prevailing religious ideas and language expressions, color designations have different symbolic meanings. Having studied the words that express “color”, the author determined that each culture has its own comprehension and interpretation of various colors, particularly, based on the example of geographical names.