9. 10. Bein Th. Germanistische Mediävistik / ...

9. 10. Bein Th. Germanistische Mediävistik / ...

9.
.
10. Bein Th. Germanistische Mediävistik / Thomas Bein. Berlin : Erich Schmidt Verl., 2005.
253 s.
11. Dinzelbacher P. Mentalitaet / P. Dinzelbacher.
http://de. wikipedia. rg/
12. Farbiges Mittelalter?! Farbe als Materie, Zeichen und Projektion in der Welt des Mittelalters :
13. Symposion des Mediävistenverbandes 1 5 März 2009. Programm und Abstracts. Bamberg :
ZeMas, 2009.
: www.farbiges.mittelalter.de
14. Oguy O. Stand und neue Schwerpunkte in der Germanistik der Ukraine / O. Oguy // Dritte
Bayerisch-Ukrainische Germanistentagung an der Ukrainischen Freien Universität München
. München, Lwiw : BaK, 2005. S. 58 70.
15. Wegera K.-P. Grundlagenprobleme einer mittelhochdeutschen Grammatik / K.-P. Wegera //
Sprachgeschichte. Ein Handbuch zur Geschichte der deutschen Sprache. Berlin : W. de Gruyter,
2000. S. 1304 1320.
456].
T SKNOTA
utyskiwa
,
, -
,
45
,
,
,
,
,
,
,
,
,
,
-
,
-
,
,
-
,
-
,
nuda
),
(
)[
];
,(
)
[
302]
;
,
46
-
!)
,
[
nudy na pudy.
].
-
nuda.
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
),
-
,
-
,
,
-
,
,
chew his ear off
under hatches
cotton-picking
TETM: A Thesaurus of English Traditional Metaphors, London and New York:
47
Routledge
bumbledore
Like a drone in a bussa
would talk a glass eye to sleep
,
,
,
eat her heart out
Have an aching tooth
troska, smutek, t sknota,
Rdza trawi elazo, troska cz owieka, Smutek jak rdza elazu i robak
drzewu sile cz owieka szkodzi, t sknota sta a si robakiem, który po era , Jako mól
odzie y, a robak drzewu, tak smutek sile cz owieka szkodzi
.
, Ukryty robak wierci mu w sercu, mia
robaka, który mu toczy serce, robak serce gryzie
,
(Dr czy robak niepokoju, Gryzie go zmartwienie
jak robak, robak zgryzoty toczy wn trze jego duszy/mu sumienie
S ownik frazeologiczny j zyka
polskiego. T. 1 2. Warszawa : PWN, 2002
nuda
zabójcza, wielkie, potworne nudy na pudy <wielkie,
niezno ne, nudzenie si
przejmowa nud , rozprasza nud , robi
co z nudy, z nudów, umiera z nudy, z nudów <nudzi si bardzo, wstopniu trudnym
do zniesienia>,
),
(W
) nuda cechuje (co)
(
),
(
).
lukrecja z miodem/mas em/myd em,
rycynowy
nudny jak flaki z olejem, nudny jak
nudny jak kasza na rzadko, nudny jak olej
Nudno jak w klasztorze, Nudzi si jak diabe na pokucie, Nudzi si jak
mnich w klasztorze, Nudny jak wielkopostne kazanie
Nudny jak
flaki z olejem
nudny
Wprost
Patriotyzm jest nudny S owo patriotyzm kojarzy
si z agresj i smierteln nud
Wersja soft patriotyzmu nie zawiera agresji, jest
za to banalna, ckliwa i nudna jak flaki z olejem [Wprost
s. 40].
48
nudny jak lukrecja z miodem/mas em/myd em,
lukrecja
lukier
polewa do wyrobów cukierniczych, sporz dzona z roztopionego cukru, czasami z dodatkiem rodków aromatyzuj cych
lukrecja
melancholy as: melancholy as a graveyard on a rainy day
melancholy as a Quaker meeting-house by night
a sick monkey
melancholy as
a sick parrot
as a gib-cat
horse
a tar-barrel
a thunderstorm
The black ox has trodden on my foot
a collier's
miserable as a rat in
Like a dying duck in
Gooseberry eyes
Dull as a Dutchman
under the harrow [Ire
Get/Have your tail down
-
),
,
,
(
49
<
>:
-
,
[2, 110].
,
-
.
/
/
,
/
,
,
[4, 287].
1.
-1995.
2.
2003.
461.
-
3.
/
:
4.
50
5.
.
6.
1998.
7.
III.
:
720 c.
:
: 10.02.19 /
.
,
2009. 45 .
8.
Warszawa : PWN, 2004.
9.
mentalnych / M.Danielewiczowa // Studia z semantyki porównawczej. Nazwy barw. Nazwy wymiarów. Predykaty mentalne. Cz 1. Warszawa, 2000. S. 227-248.
10. TETM : A Thesaurus of English Traditional Metaphors / Ed. P. Wilkinson. L. : Routledge,
1992.
METALANGUAGE IN IRIS
THE SANDCASTLE
SHOPIN P. Y.
Luhansk Taras Shevchenko National University
Presentation of communication and thoughts of the characters and author in fiction
is one of the most relevant themes of literary criticism. Describing the personality
of the author and her characters provides an opportunity for the reader to learn their
perception, memories, thoughts, feelings, pleasures, pains, drives, needs, desires,
purposes and goals. Metalanguage is the material that enables scientists and readers
to comprehend deep thought patterns, hidden motives and suppressed emotions because linguistic reflexivity reveals value priorities of a personality, his or her intelligence, convictions and beliefs. Looking in the depths of consciousness appears to be
one of the reasons why Iris Murdoch lets us see the metalinguistic activity of the
characters. It is the most important way of character presentation in The Sandcastle.
The current study will look closer at linguistic reflexivity of the main characters and
s The Sandcastle
as one of the essential characteristics of the narrative style of the novel. We will also
make an effort to classify metalanguage according to the nature, functions and structure of the utterances in the novel. We have chosen this work of Murdoch because it
abounds with instances of linguistic reflexivity. It is not only the subject matter of a
number of dialogues but also a part and parcel of the inner speech of the characters.
We believe that the investigation of the discursive nature of metalanguage in Iris
The Sandcastle is quintessential for any literary analysis of the novel. Reflection concerns not only particular lexical units but it is also connected with cognizing the process of communication in all its complexity. Linguistic consciousness
of the
rception is achieved at the stage of linguistic reflexivity as reflection, related to human
behaviour and interaction with other people.
51