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"Броситься" в контексте языков и культур
The article is devoted to semantic shifts in the use of the Russian verb brosit’sja "to rush" in the XIX-XXI centuries. The modern use of the Russian verb brosit’sja "to rush" differs from its functioning in the 19th century. The contexts involving this token have changed. The article shows how three constructions with this verb gradually archaized: first, it ceased to be a synonym for the verb "climb" when referring to getting inside a room (modern "rush out the window" is used only to describe movement outside); Secondly, outside of ironic and hyperbolic contexts, the verb brosit’sja "rush" has become poorly combined in modern speech with verbs of demand and, thirdly, it no longer describes the situation of a person hitting a small surface area (on a chair, on a stool, in a saddle). Apparently, the choice of this verb to denote human movement previously assumed that the action was carried out under the control of the performer. In modern speech, in some of these cases, the verb to rush is replaced by the verbs to rush, jump up, jump, rush and rush, in others it is not fully understood as understood by readers of the novel "Fatalist", from which examples are extracted for analysis (for example, "to throw oneself on a bed" in the speech of M.Y. Lermontov's contemporaries was synonymous with the expression "go to bed"). Probably, the changes in the semantics and compatibility of the verb during the 19th century were caused by the gradual weakening of the influence on the Russian "rush" of the French equivalent se jeter, which served as the basis for semantic calculus during the formative years of the meaning and typical compatibility of the verb. By the 20th century, the verb "rush" had lost the control inherent in se jeter, and therefore it had practically lost the ability to freely (outside of idiomatics) combine with verbs of demand (order); it ceased to freely combine with names of small-area surfaces as targets of movement; it ceased to denote conscious movement from outside to inside the room (the "throw yourself out the window" construction lost the meaning of "climb in"); retained the idea of speed (lost the contexts of slowness); acquired compatibility with emotional stimuli; began to be used in the context of names of emotional manifestations (crying, covering your face with your hands).