LINGUISTIC REPRESENTATION OF THE CONCEPT OF "CRIMEA" IN MODERN POETIC DISCOURSE

Abstract. The article describes the conceptual core of the concept of "Crimea" and establishes its place in the Russian national picture of the world based on the analysis of lexical representations and textual associates of the concept, verbalized in the texts of modern poetic discourse.

Keywords: Crimea, image, poetic text, discourse, history.

The concept of "Crimea" is one of the key concepts in the Russian national conceptual sphere. When analyzing contexts with representations of the concept of "Crimea" and textual associates and associative blocks, we identified the conceptual core of the concept under study and its semantic facets, which are embodied in the poetic discourse of the XX-XIX centuries and determine the significance of this concept in the Russian linguistic worldview. The texts of M.A. Voloshin, O.E. Mandelstam, J.V. Drunina, V.V. Nabokov, V. Luchit, A.S. Kushner, V.V. Kichigina became the material of our research. As a result of the analysis of the representations of the concept under study, we came to the following conclusions.

1. In all the poems of poets of the XX-XIX centuries, the conceptual core of the concept "Crimea" is verbalized through toponymic vocabulary and common names of geographical objects: Karadag, peaks (mountains), sea, ridges of mountains, forests and plains, valleys, gorges (M.A. Voloshin "On Karadag", 1907); mountains, Kiik-Atlas, waves, crests (of waves), seashore (M.A. Voloshin "Clouds swirl in green abysses", 1910); hills, piles of boulders and blocks of bare rocks, depressions (M.A. Voloshin "Soaked with ancient gold and bile", 1910); Taurida, vineyards, mountains, sea waves (O.E. Mandelstam "Golden honey stream...", 1917); mountains, sea, ridge, beach (Yu.V. Drunina "By the sea", 1954); mountains, sea waves, Yalta Garden, Koktebel (A.S. Kushner "Of course, the Russian Crimea, with surf under the rock", 2014); mountains, sea (V.V. Kichigina "Crimea", 2014). Thus, the individual idea of the poets of the XX-XIX centuries about the Crimea as a natural region coincides with the traditional ideas of the Russian people about this peninsula.

The central place in the structure of the concept of "Crimea" is occupied by the sensual image of Crimea, represented in most cases by positively colored vocabulary (love, happiness, freedom, paradise).

2. The meaning of "feeling of freedom and peace" is often represented in poetic texts. The lyrical hero, experiencing joy and joy, finds freedom and peace in the Crimean expanses, breaks the chains and shackles created by his worldview: "Our last starry paradise" (A.A. Akhmatova "Once again presented to me by slumber ...", 1917); "In spite of violent anxieties, you, wild and fragrant land", "Oh, the quiet valleys, / the midday tremor over the grass", "There, on a starry night, I sometimes dreamed of wings...", "and I will be in heaven, / it has been known for a long time

Russian Russian Crimea, with the surf under the rock, / With the blue expanse and the small mountain" (A.S. Kushner, "Of course, Russian Crimea, with the surf under the rock", 2014). This is exactly how Crimea appears in M.A. Voloshin's individual author's worldview. Crimea is a paradise for him, because it is a place where he can find peace and freedom. For example, in the poem "On Karadag" (1893), the image of paradise is created through associations [1]: "And here everything is so wonderful, calm around, / And from the bottom of the valley no rustle or sound / Can come up here!". The combination of the particle ni with the nouns rustle and noise creates an image of silence, which is associated with the stopping of time, and the combination of a modal word and a particle not with the infinitive to rise gives rise to a certain prohibition on climbing a mountain, i.e. The hero is isolated from the outside world. He stands on the top of Karadag, where "the sea looked into my eyes. / Over the ridges of mountains, forests and plains." The thematic nouns sea, mountains, forests and plains are markers that allow you to create an image of the space in which the hero is located. If no sound reaches the hero from the bottom, as if life had stopped there, then things are different at the top: "the wind roared and whistled over me." Sound associations are created here through the use of the verbs roared and whistled, which, by definition, have this 'sound' in their semantics: "roar is a long loud cry", "whistle is a sharp and high–pitched sound produced without the participation of a voice" [2]. We can say that only at the top the hero's life continues. He stands all alone, and the numeral one is repeated twice, as if to say that the lyrical hero is free from worldly worries, and his peace cannot be disturbed by anyone.: "On this peak I stood alone, Alone in the endless expanse. / In the deep valleys below me / I saw the human race swarming there." The use of the verb swarming indicates the insignificance of the people below for the hero: the human race is like ants swarming in their anthills (villages). The apposition of the mountain top and the deep valleys below, which allows the lyrical hero to look down on people, gives reason to associate Crimea with paradise, and the hero, to some extent, with the ancient gods.

3. The associative and axiological layers of the concept of "Crimea" are associated with the meanings of "love" and "happiness": "There I have more than once, in the distant spring, / met, as happiness, the ray of the initial / and the sweet wind of dawn ...", "I loved to wander around the Crimea ..." (V.V. Nabokov "Crimea", 1920); "Here you don't have to fight, you have to smile / And always laugh at the sea and the moon" (L. Semicheva-Rekhlitskaya "Crimea", 2014); "Crimea is a cheerful, sonorous name!" (V. Luchit "Crimea in impressionistic tones", 2014); "And Karadag remembers how much we love him" (A.S. Kushner "Of course, the Russian Crimea, with the surf under the rock", 2014); "We remembered with joy / The Tsarskoye Selo Gardens" (A.A. Akhmatova, "Given to me again by slumber...", 1917); "And here everything is so wonderful, calm around" (M.A. Voloshin "On Karadag", 1907).

These are the meanings that fill the concept of "Crimea" in V.V. Kichigina's poetic text "Crimea" (2014) [3]. The image of Crimea for this author is created through impressions of the taste and smell of the salty sea air: "Thank you for having a chance to taste the salty air." Thematic nouns mountains and sea (Mountains and sea / They will nod to my ship) are spatial markers of the Crimea, allowing you to recreate a certain image of the place in which the lyrical heroine is located. The nouns infinity and eternity (Eternity / will swing the Italian wing, / and suddenly infinity will call) make it possible to judge the change in the chronotope: time stops for her, and the heroine drowns in the gamut of her "given feelings". The gradation in a number of adjectives ("desirable", "kohaniyah", "amore") allows us to conclude that Crimea for her is love for people and love for life.

4. The ethnolanguage uniqueness of the concept of "Crimea" is determined by the conceptual meaning of "memory". In the Russian linguistic consciousness, Crimea is inseparable from its history. In this regard, the following associative block is being built: Crimea – antiquity – rule of the Tatars – October Revolution – Civil War – famine of 1932-1933 – WWII – Return to Russia.

Antiquity occupies a key place in Voloshin's poetic discourse, the poet cannot imagine modern Crimea without its legendary past: "Who lives in these places: a monster? titan?", "The heavily tired Ocean breathes there" (M.A. Voloshin "Fed with ancient gold and bile", 1910). The appeal to ancient images and motifs is also characteristic of the individual author's worldview of O.E. Mandelstam and V. Luchita: "There are Bacchus services everywhere, as if there were only one in the world." / Watchmen and dogs", "In the rocky Tauris, the science of Hellas", "Do you remember, in the Greek house: the beloved wife, / Not Elena – the other one – how long did she embroider?", "Odysseus returned, full of space and time" (O.E. Mandelstam "Golden honey stream ...", 1917); "The Cimmerian and the Taurus country", "You are greeted by a friendly Show-off" (V. Luchit "Crimea in impressionistic tones", 2014). The Tatar world is reflected in the poetic texts of Y.V. Drunina: "The old Crimea looks like a village. / Was he really called Solkhat", "The Golden Horde walked" (Y.V. Drunina "Old Crimea", 1984). Many of M.I. Tsvetaeva's poems are about the consequences and horrors of the October Revolution and the civil war that followed it on the territory of Crimea: "Yesterday's Tsar's monument is empty, / And night is over the Tsar's monument. / The harbor drinks, the barracks drink. The world is ours!" (M.I. Tsvetaeva "Night. – North-East. – the roar of the soldiers. – The Roar of the Waves", 1917); "The red cart, / Followed by the sons of my country / Are coming" (M.I. Tsvetaeva "The Capture of the Crimea", 1920). The famine of 1932-1933 is also not ignored by Soviet poets: "Cold Spring. Hungry Old Crimea", "Hungry peasants on the felt land / The gate is guarded without touching the ring" (O.E. Mandelstam "Old Crimea", 1930). The attack on the USSR by nazi Germany left its mark not only in the soul of the Soviet people, but also in the individual author's world of Y.V. Drunina: "the voice of battle hears again", "The forgotten beach still / rings with spent shell casings/" (Y.V. Drunina "By the Sea", 1954). The spring of 2014 has become a key event of modern times for the Crimean Peninsula. The sharply increased level of national consciousness has become an integral part of poetic discourse since March 2014: "And those who are killed are dumb. Russian Russian Crimea, of course" (A.S. Kushner, "Of course, Russian Crimea, with the surf under the rock", 2014); "How many peoples there are - you can't count them all - / This is the one Crimea, it's unique, / It's so beautiful, it's here in the world!" (L. Semicheva-Rekhlitskaya "Crimea", 2014).

Thus, the concept of "Crimea" in modern poetic discourse is deeply symbolic and represents a peculiar expression of the "image of freedom and peace," "love and happiness," "historical memory."