The Acoustic Image of the Begging of the 20th Century in I. Grekova Novels

Abstract

The article deals with a linguo-conceptual analysis of the Soviet writer I. Grekova's (1907-2002) novels. The individual worldview is presented in the stories. They describe the events that took place in Russia at the beginning of the 20th century, the article is devoted to the concepts WAR and REVOLUTION represented in lexical units with the seme ‘sound’. A special place in the individual author's worldview is connected with the concept of MUSIC, which finds various expressions in the writer's texts. Music as an element of the culture in a certain period makes a significant contribution to the formation of an acoustic image of the describing era. Linguistic representations of the acoustic image form the special “sounding” of the historical period in the stories and also help to reconstruct author’s worldview. The linguo-conceptual analysis of the I. Grekova’s texts allows us to draw the following conclusions regarding the author's worldview, presented in the space of the stories. The acoustic image of each of the periods is a representation of the children's worldview (the acoustic image of historical events is made up of words perceived by ears (from the conversations of adults) that describe historical changes; each of the stages is marked by the transmission of educational processes). This is due to the fact that the writer herself was a child during the years of the events described, and in her thoughts, the speech of her characters reflected the personal memories of the author. The author is a woman, and this fact is also reflected at the level of the acoustic image, for example, in various expressions describing children's crying, as well as in describing еру peaceful life not on the front line. It can be concluded that the acoustic image of the beginning of the century (for I. Grekova from 1907, the year of the birth of the writer) forms the sound of the peaceful life. The space of cities is represented by sounds: languages and dialects (Russian, German, Estonian, Ukrainian languages; Moscow, St. Petersburg dialect); nature (sea, insects, birds); city streets (transport, churches). The sound of people in the stories is associated with the type of work performed (sewing, washing, playing the piano) and the emotions experienced during the work (sigh, moan); features of the educational process (laughter, home games, language games, music); governmental educational process (names of school realities, children's behavior). Music in the acoustic image of this period is associated with the performance of work (accompanying, auxiliary function), with the upbringing and education of children (a means of forming a harmonious personality); with the expression of love experiences through singing (communicative function); with spare activities (background for another business). In addition, a musical instrument can be a symbol of belonging to a certain social group, and the repertoire can indicate the level of education. The historical context of the era is conveyed by representatives of the socio-cultural zone of the concept MUSIC (song titles, names of performers), as well as words and names that mark political changes (republic, red, Bolsheviks, etc.; Rasputin, Shtrymer, etc.).