Контроль и отрицание: взаимодействие значений
The paper considers semantic structure of emotion causatives and their interaction with negation, namely, its narrow or wide scope. Emotion causatives are defined as a group of causatives with their specific semantic properties that distinguish them from other groups of causatives. One of those properties concerns their relation with corresponding decausatives, which, unlike causatives, do not license wide scope of negation. There are several factors that enable negation to have scope over the causative element in emotion causatives – their imperfective aspect, generic referential status of the causative NP phrase, agentivity and conativity of the causative. Non-agentive causatives never license the negation of the causative component. Agentive conative causatives license the negation of the causative component more frequently and easily than agentive non-conative causatives, prompting the assumption that in their semantic structures the causative component has different statuses (assertion in the former, presupposition in the latter). It also has different forms for conatives and non-conatives. Conativity vs. non-conativity of emotion causatives is related to the emotion type, with conative synthetic causatives being limited to basic emotions. The greatest degree of conativity and, hence, the assertive status of the causative component characterizes three emotion causatives – zlit’ ‘to make mad’, veselit’ ‘to cheer up’, and pugat’ ‘to frighten’.
Key words: causative, decausative, agentive, conative, intentional, presupposition, assertion, semantic structure, basic emotions
In this paper we consider the presuppositions of the question of Othello in the context of the important Christian ideas: the idea of salvation, the idea of repentance, the value of prayer and the ratio between the «earthly» world and the heavenly world. Like this, Hamlet says that murder of Claudius during prayer «is hire and salary, not revenge». Shakespeare's characters comprehend concepts of « life» and « death» in terms of earthly suffering and heavenly bliss. In this context the words of Othello have special meaning. The murder of Desdemona Othello calls «sacrifice». In the tragedy the sacrifice is the opposition of the murder. In this semantic context Othello calls itself «An honorable murderer» («For nought did I in hate, but all in honor»). In this way, question of Othello gives special sense to his action.
How is metaphysics possible? The answer to this question can be received by means of Kant’s transcendental method. According to Kant, the basis (background) of any metaphysics is metaphysica naturalis, which is conceived as human reason speculation demand to arise and solve questions that are beyond possible experience and exceed the limits of a current ‘physical’ situation. Thereby the man is homo metaphysicus (Aristotle. Kant). Possibility of metaphysica naturalis roots in the human faculty of imagination and is connected with our language, its metaphysics. There are two modus of the academic metaphysics. Possibility of metaphysica generalis is connected with presence in our language (resp. Mind) special metaphysical (ontologic) predicates (categories). Possibility of metaphysica specialis is connected with presence in our language (resp. Mind) wholeness, or encompassing totalities (comp. with the Encompassing of K. Jaspers).
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.