The semantic meaning of the lexeme rose ( розовый ) : linguoculturological aspect (on the basis of Russian phraseology, the folklore language and the language of fiction)

The article is devoted to semantic research of the lexeme rose ( розовый ) in the Russian phraseology, the texts of folklore language and the language of fiction of the XIXth-XXIth centuries. The purpose of the work is to disclose the linguocultural information that is coded in the Russian colour term rose ( розовый ).


Introduction
Fiction "in its genre system does not depend on folklore genre system" [Лихачѐв 1986: 75]. However in the language of fiction bookish elements are organically united with folklore elements, there are settings fixed as set combinations in it (as well as in the folklore language). Folklore units included into a literary text and phrasems (with colour terms -CT) are not just language signs, which give information. These are signs, which store and reproduce cultural attitudes of people, signs, which embody "cultural vision of the world" in their imaginative content [Телия 1996: 231]. The language of fiction is penetrated by CT as a part of free and fixed combinations, and also folklore expressions. The word rose (розовый) belongs to such CT. The number of scientific researches which are dedicated to the study of colour designation is sufficiently enough in Russian and other languages.
The given group of words has been considered throughout different periods of the language development (N.B. Bahtilin, V.V. Kolesov, M.Vas. Pimenova), it was also studied taking into account its division into lexical-semantic groups ( In consequence of the linguists" interest towards the cultural folk background colour designations are studied from the position of the representation which is connected with ethnic mentality and national and cultural marking in them (A. Wierzbicka, S.I. Grigoruk, L.I. Lonskaya), their place in phraseologisms (N.I. Tolstoy, M. Ivich, L.G. Pivtorak) and also its semantics in folklore texts (A.T. Chrolenko, T.E. Nikulina, L. Radenkovich) which is caused by the understanding of the language as a model of certain culture. Certain colour designations are also investigated by the linguists from other angles. This particular remark is closely connected with the word rose (розовый) which semantics is described by A. Kachaeva, G. Оdintsov and others.
However, despite the great number and multiaspectualism of the scientific observations connected with the composition, semantics and functioning of colour designations (also applied to the lexeme rose (розовый), despite the existence of the researches devoted to the variety of meanings of colour designations on the basis of different texts the study of this group of words continues to be urgent for the modern linguistics.
The undetermined state of the question associated with the linguocultural interpretation of the colour designation rose (розовый), the unexistence of the complex approach in the description of colour designations which function in the Russian language area predetermine the necessity of the systemic analysis of this group from the position of the linguoculturology.
2. The purpose of the article To represent linguoculturological content of the lexeme rose (розовый) on the basis of the Russian fiction language with the involvement of examples from phraseology and the folklore language. The purpose raises the following tasks: 1) to consider the semantic meaning of the colour term rose (рожевий) not only from the point of view of peculiarities of its use in the language of a definite writer, but as a natural fact of the language specified by the deep linguocultural content; 2) to reveal the linguoculturological information which is coded in it.
3. The material of the research In the language of fiction is taken from the works of Russian authors of different epochs and The division of the authors into literary directions is rather contingent, because in the works of these writers not only mentioned trends but features of other trends are realized, that is explained by eclecticity of the epoch. The choice of rather wide temporal ranges, different genres, directions and idiostyles satisfies the purpose of the research. The aim is to consider the semantic meaning of the CT rose (розовый) not only from the point of view of peculiarities of its use in the language of a definite writer, but as a natural fact of the language specified by the deep linguocultural content.
On the contrary, the colour of haze, verbalized by the given CT, is considered as "dark" and is perceived as negative. Hence, lexeme rose (розовый) selected for such descriptions is endowed with negative connotations "dangerous", "illusive": […] [ветер. -I. G.] разметал туман, розовой душной мглою окутал меловые отроги придонских гор (M. Шолохов); Мы трепетно всматривались в розовую мглу, обманчивую в своѐм призрачном свете […] (Л. Андреев). Such evaluative doubling, embodied in the lexeme rose (розовый) is contextually determined. It is caused by environs (whole), painted in the pink colour (a part of the whole), and also by the perception of the colour in different conditions or states. Concerning the morning (light) part of a day a word, described in the rose colour, is a speech actualizer of beauty and it is interpreted in a positive context. On the contrary, in case when the word rose (розовый) characterizes the dark part of a day this adjective receives additional negative meanings.
In artistic language CT rose (розовый) and its derivatives are used for conveying a colour of phenomena, connected with fire (b) and water (c). The use of the lexeme rose (розовый) for the description of a colour of phenomena, connected with fire, is caused properly by a colour, which the given CT explicates. On the contrary, the use of the word rose (розовый) for convaying of the colour of water is caused not properly by the colour of water, but by that spectral feature, which water acquires at reflection.
In the language of fiction when describing vegetation (d) the adjective розовый, as in the cases mentioned above, is used for convaying of the light red colour.  [РФ 1986: 116]). In national poetic language the adjective rose (розовый) is not used for the description of colours of specific plants. These facts show, firstly, that present CT has narrow contextual capabilities as a component of national poetic descriptions of vegetation. And, secondly, they prove the existence of wide denotation of the word rose (розовый) as a component of these characterizations of artistic speech. At the same time in the language of fiction the adjective rose (розовый) is rarely used in the same row with its motivating lexeme. The cases, when the word rose (розовый) is combined with the lexeme rose (роза), describing the colour of the same flower, are extremely rare: О, будь со мной, чужая, родная, / Роза розовая, многолистая (З. Гиппиус); Я говорю при первом свете дня: / -Как ты прекрасна, розовая роза! (Б. Ахмадулина). Certainly, sporadic nature of the use of such expressions is caused by the tautology, which native speakers try to avoid in their speech.
That"s why any item of clothes can be of pink colour, that gives unlimited possibilities of using the adjective rose (розовый), caused by the peculiarities of conceptual (logical) thinking of its contemporary bearers [Миронова 1993]. While describing the colour of clothes (e) the word rose (розовый) is also used in the folklore language (На мостку берѐзовом / Стояла в платье розовом [Частушки 1990: 544]; Ой, милѐнок дорогой, / Рубашка розова твоя! [Частушки 1990: 357]). Though only a restricted set of lexemes can act as a contextual partner, because of objective reasons (limited, outlined below number of items of clothes).
In the artistic speech CT rose (розовый) explicates the colour of household items (e): Букет незабудок был брошен небрежно / На письменном розовом дамском столе (И. Северянин). In this one and similar examples the semantic meaning of the adjective rose (розовый) is connected with the area of colour terms.
While conveying the colour of elements of appearance linguocreative consciousness of Russian speakers can convert the semantic meaning of the given CT, endow the word rose (розовый) with negative connotations: Даже издалека было различимо его розовое, гладкое лицо отменно питающегося человека, что отличало депутата от всех рядом стоящих, серолицых и суетливых (З. Прилепин); Он бодро ссыпался по лестнице -маленький, толстенький, розовый, весь такой благополучный, благостный, свежевымытый, решительно уверенный, что день не принесѐт ему International Journal on Integrated Education e-ISSN : 2620 3502 p-ISSN : 2615 3785 Volume 3, Issue X, October 2020 | никаких неприятностей (Братья Стругацкие). Probably, too rose colour of a face, being described by means of the adjective rose (розовый), is perceived in Russian culture as prosperous, replete, i. e. "bad", and contrasts, by that, with a tired, exhausted face. It is difficult to agree to the idea that the existence of oppositeics: connotation of the word rose (розовый) is caused by the fact, that pink colour "is not the main one, it is just a mixture of red and white" [Маслова 2004: 188]. Following this argument, it would be difficult to explain this ambivalence of lexemes, describing achromatic colours (white, black, grey). The reasons of existence of different connotations (positive and negative) in semantic structure of CT rose (розовый) are caused by relations between bearers of Russian linguoculture and the nature of rose colour of appearance.