(according to the totality of these plans) and psychology (theory of perception).

History of the issue

Assumptions that the sounds of the language have their own separate semantics have been repeatedly made in the history of human thought: in particular, this idea was already developed by Mikhail Lomonosov, who pointed out in Rhetoric (1748) that:

Solid consonants To, NS, T and soft b, G, d have a dull pronunciation and there is neither sweetness nor strength in them, if other consonants are not attached to them, and therefore can only serve to depict living actions dull, lazy and dull sound having, what is the knock of cities and houses under construction, from horse stomp and from the cry of some animals. Solid with, f, NS, c, h, NS and fusible R have a sonorous and impetuous pronunciation, for this they can help to better represent things and actions of the strong, great, loud, terrible and magnificent. Soft f, s and fusible v, l, m, n have a gentle pronunciation and therefore are suitable for depicting gentle and soft things and actions.

A detailed interpretation of the meanings of individual sounds was suggested by Velimir Khlebnikov in the articles "Our Basis" and "Artists of the World!" (1919). At the origins of the scientific understanding of this problem are, according to some sources, the works of S.V. Voronin.

Theory of phonosemantic analysis of the word

The Soviet philologist A.P. Zhuravlev suggested that a certain subconscious meaning corresponds to each sound of human speech. Using the technique of "semantic differentials" by Ch. Osgood, Zhuravlev conducted a study to clarify these values. The results formed the basis of his dissertation. Zhuravlev proposed a list of qualitative characteristics of each sound of Russian speech, namely, what it is on the following 23 scales:

Good - bad, beautiful - repulsive, joyful - sad, light - dark, light - heavy, safe - scary, kind - evil, simple - complex, smooth - rough, rounded - angular, big - small, rough - gentle, courageous - feminine, strong - weak, cold - hot, majestic - low, loud - quiet, powerful - frail, cheerful - sad, bright - dull, agile - slow, fast - slow, active - passive.

All the sounds of the Russian language on these scales are compared. According to Zhuravlev's idea, high-quality phonosemantic scales allow one to assess the influence of sounds on a person's mental state. Each word is made up of sounds; it is proposed, to assess the impact on a person of a word as a set of sounds, using appropriate calculations to determine the total phonosemantic value of the sounds that make up a given word on all 23 scales. With the advent of cheap computers, phonosemantic analysis of a word began to take small fractions of a second.

VAAL computer program

According to the authors (V.P.Belyanin, M. Dymshits, V.I.Shalak) of the VAAL program, it is based on the idea and results of Zhuravlev's research. It should be noted that the VAAL program does not analyze sounds, but letters in the composition of words and does not take into account their mutual arrangement in any way.

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Notes (edit)

Literature

• Voronin S.V.// Fundamentals of phonosemantics. - L .: Publishing house of Leningrad State University, 1982
• Zhuravlev A.P. Sound and meaning. - Moscow: Education, 1991 .-- 160 p. - ISBN 5-09-003170-3.

see also

An excerpt characterizing Phonosemantics

Denisov took the smoked pipe served to him, clenched it into a fist, and, scattering fire, hit the floor with it, continuing to shout.
- The sempel will give, the pag "ol beats; the sample will give, the pag" the ol beats.
He scattered fire, smashed the pipe and dropped it. Denisov paused and suddenly with his shining black eyes glanced merrily at Rostov.
- If only there were women. And then here, kg "Oh, how to drink, there is nothing to do. If only she could" get off ".
- Hey, who's there? - he turned to the door, hearing the stopped footsteps of thick boots with the clatter of spurs and a respectful cough.
- Wahmister! - said Lavrushka.
Denisov grimaced even more.
- Squeg "but," he said, throwing his purse with several gold pieces. - G'ostov, count, my dear, how many are left there, but put the purse under your pillow, - he said and went out to the sergeant.
Rostov took the money and, mechanically, putting aside and leveling heaps of old and new gold, began to count it.
- A! Telyanin! Zdog "ovo! They blew me up yesterday" ah! - heard the voice of Denisov from another room.
- Who? At Bykov's, at the rat's? ... I knew, ”said another thin voice, and then Lieutenant Telyanin, a small officer of the same squadron, entered the room.
Rostov threw his purse under the pillow and shook the small, damp hand extended to him. Telyanin was transferred from the guard for some reason before the campaign. He behaved very well in the regiment; but they did not like him, and especially Rostov could neither overcome nor hide his unreasonable disgust for this officer.
- Well, young cavalryman, how does my Grachik serve you? - he asked. (Hrachik was a riding horse, a porch, sold by Telyanin to Rostov.)
The lieutenant never looked into the eyes of the person with whom he spoke; his eyes were constantly running from one object to another.
- I saw you drove today ...
“Nothing, good horse,” answered Rostov, despite the fact that this horse, which he bought for 700 rubles, was not worth half that price. - She began to fall on the left front ... - he added. - Cracked hoof! It's nothing. I will teach you, I will show you which rivet to put.
- Yes, show me please, - said Rostov.
- I will show, I will show, it is not a secret. And you will thank for the horse.
“So I will tell you to bring the horse,” said Rostov, wanting to get rid of Telyanin, and went out to tell them to bring the horse.
In the vestibule Denisov, with his pipe, huddled on the threshold, sat in front of the sergeant, who was reporting something. Seeing Rostov, Denisov winced and, pointing over his shoulder with his thumb to the room in which Telyanin was sitting, winced and shook with disgust.
“Oh, I don’t like the fellow,” he said, not embarrassed by the presence of the sergeant.
Rostov shrugged his shoulders, as if saying: "Me too, but what to do!" and having given orders, he returned to Telyanin.
Telyanin was still sitting in the same lazy position in which Rostov had left him, rubbing his small white hands.
“There are such disgusting faces,” thought Rostov, entering the room.
- Well, they ordered to bring the horse? - said Telyanin, getting up and casually looking around.
- He told me to.
- Yes, let's go ourselves. I only came in to ask Denisov about yesterday's order. Got it, Denisov?
- Not yet. Where are you going?
“I want to teach a young man how to forge a horse,” said Telyanin.
They went out onto the porch and into the stable. The lieutenant showed how to make a rivet and went to his room.
When Rostov returned, there was a bottle of vodka and sausage on the table. Denisov was sitting in front of the table and cracking his pen on paper. He looked gloomily into Rostov's face.
“I’m writing to her,” he said.
He leaned on the table with a feather in his hand, and, obviously delighted with the opportunity to quickly say everything he wanted to write in a word, he expressed his letter to Rostov.
- You see, dg "yog," he said. "We sleep until we love. We are children of pg`axa ... but fell in love - and you are God, you are pure as on the day of creation ... Who is this?" Drive him to the chog "that. No time!"
“Who’s to be?” They ordered it themselves. The sergeant came for the money.
Denisov frowned, wanted to shout something, and fell silent.
“Squeg, but business,” he said to himself. “How much money is left in the wallet?” He asked Rostov.
- Seven new and three old.
- Ah, squag "but! Well, what are you standing there, stuffed animals, let's go to the Wahmist," Denisov shouted at Lavrushka.
“Please, Denisov, take the money from me, because I have it,” said Rostov, blushing.
“I don’t like to borrow from my own people, I don’t like it,” Denisov grumbled.
“And if you don’t take money from me in a comradely manner, you will offend me. Indeed, I have, - Rostov repeated.
- No.
And Denisov went to the bed to get a wallet from under the pillow.
- Where did you put it, Rostov?
- Under the bottom pillow.
- No, no.
Denisov threw both pillows on the floor. There was no wallet.
- What a miracle!
- Wait, did you drop it? - said Rostov, lifting the pillows one by one and shaking them out.
He kicked off and brushed off the covers. There was no wallet.
- Haven't I forgotten? No, I also thought that you were definitely putting a treasure under your head, ”said Rostov. - I put my wallet here. Where is he? - he turned to Lavrushka.
- I didn’t come in. Where they put it, there it should be.
- Well no…
- You’re all right, throw it where, and you’ll forget. Look in your pockets.
“No, if I hadn’t thought about the treasure,” said Rostov, “otherwise I remember what I put.
Lavrushka ransacked the entire bed, looked under it, under the table, ransacked the whole room and stopped in the middle of the room. Denisov silently watched Lavrushka's movements, and when Lavrushka threw up his hands in surprise, saying that he was nowhere, he looked back at Rostov.

A.P. Repyev

I would recommend the reader to first run
my article " Science and pseudoscience in advertising».

In-WAAL-yay a fool, gentlemen!

The pseudoscientist does not like to be petty, he decides
only global problems.

Academician A. Migdal

There are no fools more obnoxious than those
who are not completely devoid of mind.

F. de La Rochefoucauld

FOR A BEGINNING, I recommend that you, an astute reader, download the mini-VAAL program from www.vaal.ru... This will make our conversation more meaningful. In addition, you will get the opportunity to appreciate this miracle: “Vaal-mini is a program for carrying out phonosemantic examination of a text that helps create real masterpieces whether it be a press release, an article in a glossy magazine, a lawsuit in court, an advertisement or a love letter. " So hurry up, gentlemen - the creators of masterpieces are not lying on the road!

Well, if the free mini-VAAL (supposedly reflecting only 3-5% of the capabilities of the entire package) is capable of creating masterpieces, then what can we say about the complete VAAL package. For a paltry $ 950, you can already create super masterpieces:

"The VAAL system allows predicting the effect of unconscious impact of texts on a mass audience, analyzing texts from the point of view of such impact, composing texts with a given impact vector, identifying the personal and psychological qualities of text authors, conducting in-depth content analysis of texts, and much more."

Woland and the devil-god Baal could only dream of such a means of influencing people! In general, the imagination of the creators of VAAL knows no bounds: VAAL is allegedly used in "psycho- and hypnotherapy"; a "A number of government agencies, large banks, advertising companies" without VAAL, they can't even take a step. And already "Active formation of an emotional attitude towards a politician" or "Search for the most successful names and trade marks (!?)" for VAAL, they are mere trifles.

The entry of VAAL to "global problems" was facilitated to a large extent by the involvement of the restless Dymshits in the project. Now this enfant terrible Russian near-branding and NLP sciences, well-known buyer manipulator(with his usual modesty) puts himself first on the list of authors. The VAAL-enkov team is constantly replenished with new geniuses in the field of everything “psycho-”, “neuro-”, “lingvo-”, “phono-”, “socio-”, “NLP-”, “astrologo-”.

More and more amazing versions of the program appear. So there is every reason to believe that soon VAAL will be able to predict the future, fry potatoes, remove spoilage, treat teeth, give birth, change the political system, and so on.

Pseudo- and supposedly-sciences in linguistics

Many pseudosciences are cancerous growths on the body of quite decent areas of knowledge, most often humanitarian ones. New themes and themes are constantly sprouting in them, often at the intersection of areas. Many of them are busy catching scholastic fleas, puffing academic cheeks, and inventing mystical terminology. A. Kitaigorodsky is right: "The mysticism of the word is an indispensable sign of pseudoscience."

This is how some Temki from linguistics and areas bordering on it call themselves: hermeneutics, glossolalia, sound-symbolism, kinesics, cognitive grammar, cultural linguistics, psycholinguistics, neuro-linguistics, neurosemantics, prosodics, asemantics, anthropophonics, psycho-geonomymetics typology, semiotics, synesthetics, semantic technology, sociolinguistics, folk linguistics, color psychology, epistemological reflection, ethnolinguistics, and then everywhere. Phonosemantics is one of these themes. (see below), which is being transformed from a funny sketch into a full-fledged pseudoscience.

Many of these topics may be of some interest. Many in terms of volume pull the maximum for a popular article. But they are declared sciences, dissertations are defended on them, and whole books are written. Some Temoks are used for long-term courses in universities. I could judge how this affects the quality of training of specialists by the example of foreign language graduates who came to the English edition of the Mir publishing house, where I translated books into English. In response to accusations of poor knowledge of the language, they listed the stupidest scholastic courses with which they hammered their heads instead of teaching English.

Why is there foreign language! In Russian schools, they have not taught for a long time how to express thoughts correctly, but they teach scholastic spelling and scholastic punctuation. Most linguists fail to understand that the purely linguistic aspects of a text are irrelevant compared to its content and composition. Even in fiction. The magician of the language Pushkin said: "Prose requires thoughts and thoughts - without them, brilliant expressions are useless." (By the way, many of Pushkin's poems receive very bad grades from VAAL.)

Pseudoscientific texts often include the so-called. "The effect of sheer stupidity" ( The blatant nonsense effect), the meaning of which is in the author's complete confidence that no one will ever seriously analyze his stupidity, even obvious. Many Temks include the formulation “the last refuge of academic charlatans”, expressed by D. Chandler in his book “Semiotics for Beginners”. Almost all of these "sciences" have no practical way out.

Pseudoscience is based on someone's morbid ambition, incompetence, careerism, and / or scientific dishonesty. (Cm. " Science and pseudoscience"). Richard Feynman considered that scientific honesty is the main quality of a scientist:

“If you do an experiment, you have to report anything that, from your point of view, could make it untenable. Report not only what confirms you in the right. Give any other reasons that might explain your results, all your doubts that have been removed in other experiments, and descriptions of those experiments so that others can be sure that they have indeed been removed. If you suspect that some details may question your interpretation, please provide them. If something seems wrong or supposedly wrong to you, do your best to figure it out. If you have created a theory and propagandize it, cite all the facts that do not agree with it as well as those that support it. "

I'm not sure that these lines were read by the author of the article "Courageous n-e-d-y-r-a or phonosemantic module of the VAAL program" Y. Zaitsev, but she acted like an honest researcher - I take off my hat!

That's philosopher Vladimir Shalak, "parent" of VAAL, (by the way, don't be surprised, supposedly a major specialist in logic!) solemnly proclaims: “We try to ensure that all the methods we use are scientifically sound. Only in this case will our conscience before clients be clear. " Alas, the authors of VAAL have very peculiar ideas about scientific validity and about conscience.

I would also like to say a few words about NLP and psycholinguistics, since these "sciences" are also embedded in the VAAL. I have already wrote about the empty claims of NLP for a role in advertising. The authoritative encyclopedia Wikipedia has published a comprehensive critical review of NLP. Here's a quick summary:

In modern science there is no "neuro-scientific" justification for NLP, many theories of NLP are naive. They are refuted by numerous studies, and NLP methods are false and ineffective. In the United States and Great Britain, due to the general frustration with NLP, the mention of NLP in psychotherapy journals is becoming less common, and special literature on this topic is practically not published. The British Psychological Society classified NLP as pseudo-psychology, and the US National Health Fraud Committee found NLP methods scientifically unconfirmed and questionable; they cannot be recommended for use. Numerous experimental and clinical data confirm that the use of NLP in psychotherapy, management and personal growth is useless.

Now about psycholinguistics. After reading a couple of confusing books and a dozen articles on this topic, I swallowed plenty of bubbles and dense terminology, but I could not find any practical grain. In one of the articles devoted to the aforementioned "effect of obvious stupidity", as a vivid example of "science", almost entirely consisting of such effects, the author examines psycholinguistics and Chomsky's theories. Thus:

VAAL rests on three frail whales: phonosemantics, psycholinguistics, and NLP.

A computer vs. human

With the advent of computers, some pseudosciences were able to create commercial computer programs and make good money on them. These products, as a rule, offer something magical: a solution to all textual problems (TRIZ and VAAL), a quick learning of foreign languages ​​and a cure for many diseases (25th frame), diagnostics in an hour (Megaton), and so on. In Russia, where everything is terribly adored "by the dictates of the pike", such "magic wands" are in great demand.

This is also facilitated by the holy faith of the man in the street and the humanities in the limitless possibilities of the computer. In his book The Glory and Poverty of Information Technology, Nicholas Car quotes an interview with one of the pioneers in the use of computers in business: “We dreamed of some wonderful machine in which we could put a sheet of paper, and then press a button and get answers to any questions. It was all so naive ... ”It's funny to read how childishly admiration A.P. Zhuravlev (the chief "theoretician" of VAAL) writes about computers.

Dreamers of a "wonderful car" should ponder the warnings of the American journalist S. Harris:

"The real danger is not that machines will start thinking like humans, but that humans will start thinking like machines."

Now we know that computers are better at performing many operations related to the mechanical processing of information. Thus, a computer can count the number of words and paragraphs in a text better than a person; he will quickly find the right word in the text, but ...

Would you like the computer to evaluate the movie you watched, the book you read, the picture you saw, your beloved for you? Do you think that the computer will appreciate the content of the book better than you, and even more so the subtle, barely perceptible movements of your soul, caused by this or that text? Do you think the computer will correctly evaluate your poetry or prose, article, or even a rudimentary press release? Many people don't think so. “I haven’t lost my mind yet, trust my texts to some kind of electronic geek,” one of the disappointed users of VAAL wrote to me.

The word "humanist" comes from the word "man". It is all the more striking that it is precisely humanitarians who, in evaluating, say, Pushkin's delightful lines, prefer the "electronic geek." They are not interested in people's opinion.

Here I would also like to note that the "abilities" of a computer depend not so much on the power of the "hardware" as on the intelligence, talent and honesty of the creators of the programs.

Let's define in terms

In his correspondence with me, Shalak blamed the critics of VAAL: “They should first slightly broaden their horizons in the field of language sciences, and only then express this“ bewilderment ”."

Let us, too, "broaden our horizons a little." And at the same time we will evaluate the horizons of the authors of the VAAL. Let's start with the elementary - let's define in terms.

This is easy to do in the exact sciences - the terms are clear and unambiguous there. In the humanities "sciences" everyone interprets the terms as he pleases. Moreover, many "scientists" do not understand the meaning of even elementary concepts. VAAL is built on such a misunderstanding. Let's look at a few terms.

Phonetics is a branch of linguistics that studies sounds, but not the meanings of words. This is how phonetics differs from phonosemantics. (see below)... Phonetics deals with phonemes.

A phoneme is a separate sound. From phonemes, syllables and words are formed. There are 42 phonemes in Russian: 6 vowel phonemes; 36 consonants. It is important to note here that:

Phonemes are not found in pure speech.

We will remember this when we analyze Zhuravlev's results.

Phonetic (sound) meaning (phonetic value or phonetic meaning) is a specific pronunciation of a letter, a phoneme. A letter can have several phonetic meanings. It follows that the book by A.P. Zhuravlev's "Phonetic Significance" should have discussed purely phonetic issues. In fact, she discusses phonosemantics, or rather, amateurish experiments with assessments of individual phonemes on many scales. Zhuravlev also introduced the meaningless terms "sound letter" and "phonetic significance."

Semantics - section linguistics, studying the meanings of words. Why only words? Because only words matter. The text makes sense, not meaning. True, linguists suffering from the lack of dissertation topics use the meaningless term “semantics of the text” and the tautology “semantic meaning”.

Phonosemantics, phonosemantic - these are the central terms of VAAL. Its authors are either terribly confused in their phonosemantic claims, or they deliberately mislead honest people.

What is phonosemantics? Although the answer follows from the very name of this "science", I surfed the Internet and even talked to the English specialist Margaret Magnus. Here is one of the definitions of phonosemantics:

Phonosemantics is a field of linguistics that studies the relationship between

VALUE (semantics) of words and their PRONUNCIATION (phonetics).

Dmitry Sergeev disagrees with this definition (by the way, not mine). I confess that in his tirade I understood only the second part, but maybe you will succeed, astute reader (http://rus33abc.narod.ru):

If we consider the resulting semantics elements of the word (it does not matter, letters, sounds or phonemes), then one can at least somehow judge such a correspondence. The refusal to recognize some semantics for the elements of words makes it impossible to assess the correspondence of the sounds of words to their denotations, except in cases of onomatopoeia.

Thus, for each word (and all its forms of sounding), it is necessary to conduct an independent study, the purpose of which is even funny to pronounce. For example, "Correspondence of the sound of the word SOAP to its meaning". People are accustomed to calling soap soap - most likely they will say that yes, they say, it does. What is it like? - soapy ... (or evil, heavy, etc. - who will think of something).

Gentlemen of photosemantics, could you first agree around the corner about the clear meaning of your terms.

So, one can speak about phonosemantics only when simultaneously analyzed two characteristics of the word - his phonetics and his semantics! Amazingly, this very simple truth is beyond the understanding of many "specialists"! Including our VAALenkov.

It is shocking that gentlemen of phonosemantics cannot even figure out the essence of their supposedly science. In his book "Psycholinguistics" Valery Belyanin writes:

"Phonosemantics studies the EMOTIONAL content of the sounds of the language."

That's it, sir. For God's sake. Then this "science" should be called "phono emotions"Or something like that. This is understandable even to non-language specialists.

« Phonosemantic evaluating words or texts deals only with evaluating the emotional impact of the sound of a word whatever its meaning... The program doesn't care that PARADISE is a place where the righteous should be after death, and HELL is a place for sinners. "

“... the program can assess the unconscious emotional impact phonetic structures words on the subconscious of a person. "

Can't it?

Phonosemantic characteristics are the invention of the authors of the VAAL. Phonosemantics cannot have characteristics; she can only state the presence or absence of a connection between the sound of a word and its meaning.

By the way, VAAL makes an absurd verdict on various objects:

"Word<…>does not have pronounced phonosemantic characteristics "(!?)".

Among these objects there is the letter "E" and even the most beautiful Pushkin lines "Dull time, charm of the eyes. Your farewell beauty is pleasant to me. " That's bullshit! Moreover, with any interpretation of the word "phonosemantics".

Phonosemantic research (experiments) - if someone wants to spend time on phonosemantic toys, what should he do? - A search for a value-sound correspondence, of course. And in what terms (units) to evaluate this correspondence? Yes or no, i.e. there is a correspondence or not. As a last resort, in percentages or points. But not in adjectives, how Zhuravlev and VAAL-enki do it.

In general, in the head of the authors of VAAL there is a complete phonetic-phonosemantic mess. In the description of VAAL we read: “It implements algorithms for assessing phonetic the impact on a person of words and texts of the Russian language ”. At the same time, the program offers to evaluate “ Phonosemantic impact "and" Emotional impact ”separately on words and texts. Dear VAAL-yenki, if you are lying, then lying is somehow more elegant.

So, an attempt to expand our horizons "in the field of language sciences" led us to funny conclusions:

• The authors of the VAAL have zero "horizons in the field of language sciences."
• They more than compensate for the lack of outlook with impudence.
• Their impudent fabrications and "Smokescisms"is distinguished by complete terminological chaos.
• They have a vague idea of ​​what phonosemantics is. Amazing!
• AND x VAAL has nothing to do with phonosemantics.
• Strictly speaking, it has nothing to do with anything. Besides the desire to make money, of course.

The VAAL duck went for a walk through the pages of a lot of scholarly texts. So, in the description of the Diatone program we read:

"Fono semantic analysis of a text, like a word, consists in assessing the sound whatever the content». – Excuse me, what then does the adjective "-semantic" do here?

The famous master of linguistic verbiage Yulia Pirogova teaches:

"At mismatch of phonosemantics and semantics(!?) of the text, the semantic component is more significant. In our (!?) Opinion, phonosemantics turns out to be an important factor of exhortatory (!?) Communication in two cases: a) if the phonosemantic component of the text (!?) Supports its semantic component (!?); b) if the semantic component of the message is absent (!?) or is not pragmatically significant. "

Do you understand anything here?

"If the semantic component of the message is absent"- in other words, if the text is meaningless. For a long time I could not understand this nonsense. Then it dawned on me - the author knows what he is talking about, because most of all her texts are meaningless, that is, the "semantic component", if you translate it into the illiterate language of pseudo-linguists.

I don’t know how many decades it will take for Russian advertising universities to recover from “Pirogov's” insanity and finally begin to train specialists in salesmanship in print, and not on semiotics, poetics, advertising drama.

Founding Fathers

Shalak wrote to me:

“My merit here is very small. The system simply implements the results of the doctoral dissertation of A.P. Zhuravleva. I just put them into the program in an adequate way and presented them to the general public. "

No verification, no analysis, no doubt!

But maybe the dissertation is nonsense? On this score, the “logician” Shalak has a thought that is stunning in its naivety and illogicality: “A doctoral dissertation, which was defended not today, but in 1974, is worth a lot. I am skeptical about today's dissertations, because I know how they are created and defended. " Coincidentally, it was in 1974, after painful reflections, that I resigned from graduate school. One of the reasons was that my boss forced me to write positive reviews for far from positive dissertations. I didn't want to be a prostitute. So I know how then dissertations were "created and defended" even in physics, not to mention the humanities.

The works of the aforementioned Zhuravlev cannot be understood without analyzing the contribution of his inspirer, the American psychologist Charles Osgood. He came up with a weird method of statistically processing subjective word ratings. What distinguishes ( differentiates) the meaning of words, Osgood not very aptly called "semantic differentials."

Zhuravlev did not quite understand the essence of this method.

Osgood danced from

semantics of words.

Only words, and not sounds and not text, as the linguist Zhuravlev and the "logician" Shalak did. He did not take into account either phonetics, nor, moreover, phonosemantics, so it is not clear why his method was dragged into the VAAL. Most likely for pseudoscience.

Osgood rightly argued that if you take a specific word, for example, "police", "car", "polite", then for different people these concepts will be slightly differently colored. Psychologist L.S. Vygotsky: “Meaning is an objectively formed system of connections in the course of history, behind a word, the same for all people. The meaning of any word is given in the explanatory dictionary. Meaning is the individual meaning of a word. "

For example, what is the meaning of the word "polite" university professor, student, soldier, bandit? What words will they use to describe their "meanings"? Perhaps the words good-bad, strong-weak, intelligent, civilized will be used.

Well, the results of such a survey will be of some academic interest. And even practical. For example, the state could draw certain conclusions from such a survey for the word "police". For some, the police seem to be a body protecting the population from illegal encroachments, and for others - a crowd of bribe-takers and bandits in uniform.

And what interest and for whom was Osgood's research interesting? The subjects were asked to rate different words on the same scale of antonyms. This is how Osgood portrayed the average scores in two groups of the word "polite":

You can look at this picture for an hour. What will you learn from these points? Osgood says nothing about this.

It is clear to any experimenter in the real sciences that:

Without interpretation, it all-

senseless jumble of numbers and / or adjectives.

However, this is incomprehensible neither to Osgood, nor to our VAAL-enk.

It's funny that no one was interested in the practical uselessness of Osgood's method. But everyone (except for the "heroes of our novel") noticed that it consists of continuous contradictions: assuming the subjectivity of the coloring of words, the method relies on estimates by again subjectively understandable criteria (scales). And who determines the number and content of pairs used? God? No, researcher. One more subjective element. So, Zhuravlev and his Ukrainian colleague V.V. Levitsky, used a different number of scales. Both, of course, did not substantiate anything.

Osgood used the scale good bad... This is strange, because such an assessment is a cumulative one, summarizing the results of answers to other questions. The concepts "good" and "bad" have completely different meanings for different objects and respondents. Levitsky, whose algorithm is also incorporated in the VAAL, rejected this senseless assessment. Zhuravlev and our VAAL girls left her.

So, Zhuravlev, without hesitation, took Osgood's senseless technique, and created many absurd scales for it:

good - bad, beautiful - repulsive, joyful - sad, light - dark, light - heavy, safe - scary, kind - evil, simple - complex, smooth - rough, rounded - angular, big - small, rough - gentle, courageous - feminine, strong - weak, cold - hot, majestic - low, loud - quiet, powerful - frail, cheerful - sad, bright - dull, agile - slow, fast - slow, active - passive.

Levitsky used only 7 scales.

Evaluation using any adjectives (if it makes sense at all) can only be very, very approximate, vague. And here the poor subject is asked to evaluate words and even letters in terms that themselves are difficult to differentiate:

agile - slow

fast - slow

active - passive

joyful - sad

funny - sad

strong - weak

mighty - frail

Appreciated? It didn't work out for me. How did people generally answer these unthinkable questions? Most likely by typing. But such answers are called pseudo-comments... And pseudo-comments are completely useless.

Although Zhuravlev understood that phonosemantics is related to the meaning of the word, he did not understand what to look for sound matching his words meaning(whistling, hissing, etc.), rather than trying to describe the sound using adjectives:

Drum - big, rough, active, strong, loud.

The bass is courageous, strong, loud.

The tambourine is bright and loud.

Explosion - big, rough, strong, scary, loud.

Well, well, although this is not phonosemantics, in these cases adjectives, in principle, correctly characterize our associations with these concepts. It is unclear, however, how this enriches these associations.

Even if we assume for a second that all words of the Russian language are evaluated with the help of adjectives that more or less fit into the concepts behind them, then the question arises -

What to do with these estimates? Who needs them?

“Of course, for the evidence to be convincing, you need to“ calculate ”many thousands of words, because in the huge lexical reserves of the language you can always find a dozen or so examples to confirm any hypothesis».

A neat move: talking about honesty but acting dishonest. Zhuravlev "selects a dozen or two examples" that fit into his hypothesis and ignores the sea of ​​examples that are not absorbed into it. Since Zhuravlev's developments are mechanically incorporated into the VAAL, let's use it to test a few words. Let's start with the most “phonosemantic” words, such as “buzz”. Let's substitute this word in VAAL. We get:

Word BUZZ gives the impression of being BAD, REPRODUCTIVE, SCARY, DIFFICULT, ROUGH, EVIL, DARK, LOW, HEAVY, ROUGH, HOT, BRAVE, MIGHTY, BIG

At first, on whom exactly makes an impression? Second, what is bad, repulsive, or scary about the cute word "buzz"?

And why does VAAL think that a globe, an eye, a mushroom, a pear, a tsunami, a bulb, a class, a whale are "angular"; flea, louse, atom, electron, "big" hair; ocean, steppe, forest, land "small"? Thousands and thousands of nonsense!

It is clear to anyone, except for our VAAL-enks, that Zhuravlev was involved in rigging. This lie has a simple explanation - well, who in the 70s could have guessed that in a few years computers would be on every table, and that smart guys would appear who, without understanding anything, would put its data into the program, and anyone whoever wishes can experience everything.

Donkey ears also stick out from the statements of the dissertation candidate about hundreds of thousands of people on whom this theory was allegedly tested. Valery Belyanin at the “Psycholinguistic Forum of V.P. Belyanina "introduces a significant amendment:" ... I interviewed not 100,000 people, but 80 people showed 50 sound letters and asked them to rate them on 25 scales. " - Not bad, isn't it? In addition, these 80 unfortunate people were most likely Zhuravlev's students. (True, in his book Psycholinguistics, he again speaks of 100,000 people.)

In other words, VAAL is built on lies.

Let's move on to other pearls of Zhuravlev and VAAL-enkov.

Remote 3 month

VAAL algorithm: letters, phonemes, words and texts

In life, we do not deal with isolated sounds (phonemes). Even the consonants of the alphabet we pronounce not “b”, “l”, “k”, “u”, but in a more readable form: “be”, “el”, “ka” and “schA”. The sailors pronounce them in Old Church Slavonic: "beeches", "lead", "verb", etc. The phonetic, and even more phonosemantic, assessment of isolated sounds by ordinary people (not phoneticians) is the fruit of idle speculation and one more evidence of the incompetence of Zhuravlev and the authors of VAAL. It makes even more senseless attempts to use the results of evaluations of individual sounds as a basis for evaluating words and texts. Plato spoke about this. But it is on this senseless idea that the whole house of cards of VAAL is built.

Thank God that no one has yet guessed to evaluate each musical note SEPARATELY à la Zhuravlev and VAAL, so that later using a computer to evaluate the works of Mozart and Tchaikovsky!

Our cohort of pseudo-phonosemanticists does not understand that people do not deal with individual phonemes and notes. They perceive them in a complex combination, where each element has its own place. Nobody in life says LJJJJ with effort. The sound [w] is found in the company of softening vowels and consonants, it is pronounced fleetingly, without tension. One VAAL user described his shock when the program recognized the sound of the wonderful word "crane" as repulsive, scary, rough, and angry.

Can they letters or sounds to be good or bad? And scary, repulsive, vicious, rude? WAAL can. Substitute all the letters of the Russian alphabet in the VAAL one by one and you will get a terrifying picture.

By order according to VAAL, 7 letters were declared bad (Ж, С, Ф, Х, Ц, Ш, Y); repulsive 6 (F, S, F, X, U, Y); terrible - 10 (F, Z, K, P, R, U, F, X, W, Sh). "G" is recognized as evil, and "H" is low. The letter "E" is declared "not possessing pronounced phonosemantic characteristics." That's it, sir. In a word, our VAAL-enki gave two marks to Cyril and Methodius - these villains ruined half of our alphabet. And what can you expect from a language that is full of ugly letters and sounds? Just a lot of disgusting words. Here's an example:

Word GOOD gives the impression of something Bad, repulsive, scary, ROUGH, ANGULAR, DARK, LOW, QUIET, DULL, SAD

Here are a few more "scary" words on the sidelines (please do not read the faint hearted):

"Terrible" words: Russia, Christ, temple, bread, artist, wife, groom, life, beauty, dad, true, homeland, native, rose, good, joy, gift, surname, joke, chrysanthemum.

Our VAAL-yenki and Russian words were divided into good and bad. Here are the bad ones:

"Bad" words: Christ, temple, church, groom, life, firm, surname, architect, delightful, whale, merchant, hairdresser, campaign, lead, torch, faience, tailcoat, fruit, veil, federal, figure, focus, good , laughter, artist, fur coat, joke.

Here are the good ones:

"Good" words: Judas, idiot, donkey, bandit, chatterbox, stunned, fool, fight, rubbish, slobber, bastard, poison, lie, lazy, bastard, muzzle, prison, deception, saliva, yoke, rage, cart, army , Armenian.

To evaluate words, Zhuravlev sucked out of his finger an algorithm with mathematical formulas, so impressive to any humanist. Nothing, of course, is proved or substantiated. The technical nonsense of the VAAL algorithm is discussed in sufficient detail in the article by Yu. Zaitseva. Among the many absurdities, the author notes that

A word gets different marks if it is analyzed as a word and as a text.

It will also receive a different assessment if it is carried out manually using Zhuravlev's formulas.

One happy owner of the complete VAAL package told me a funny detail: if the program is loaded on different computers, it will give different ratings of the texts.

VAAL-yenki do not understand very, very much, in particular, that in phonetic studies they are dealing not with the spelling of words, but with their transcription, otherwise it will be nonsense, as is the case in VAAL. Take, say, the word awning. We pronounce it "tent". If we substitute both options into VAAL, we get interesting differences:

Tent - good, beautiful, simple, majestic, courageous, big

TENT - rough, gentle, weak, hot, quiet, cowardly, frail, small, dull, sad

However, this alleged phonetic the program is set to writing a variant of a far from phonetic language, and not for its transcription. It is absolutely pointless, but our VAAL gurus are not embarrassed by this.

BBVAAAL- good, simple, majestic, courageous

DAAAAVVVEEEEE- good, beautiful, safe

NLDBB- good, majestic, rude, courageous

Isn't that so sweet?

What about the texts? A person of average intelligence understands the nonsense of phonosemantic analysis of texts. For the sake of interest, I tested a large piece from Eugene Onegin. I still remember with a shudder.

Well, at least a tuft of wool from the black sheep. Well, at least something useful can be done by the so-called. phonosemantic block VAAL? For example, to evaluate simply euphony? (Although the best evaluator of euphony is human.) www.vaal.ru responding to the criticism of the program in the "Interlocutor", Comrade Dymshits says: "Outright nonsense. Phonosemantics is not at all the euphoniousness of the text ”.

"Angular kolobok"

Naive users of VAAL, having received shocking results, began to ask unpleasant questions. I had to do something. It would be possible to remove the product from the market, but our authors are not ready for this, either morally or financially. There remains another way out - to turn around, as if under a boot, exacerbating the situation.

Content analysis

There are many concepts and definitions of content analysis - this is a common situation in the humanities. If we understand by it the quantitative processing of large volumes of text in electronic form, then sometimes content analysis is useful. For example, if in one book about advertising the words “selling” and “selling” do not appear even once, and another time 200, then this says something about the books and their authors. In short, it doesn't hurt to have a quantitative text analysis tool at hand.

However, a significant part of any content analysis is about explaining to you what you read. I recall the humorous definition of literary criticism: “I remember a wonderful moment, you appeared in front of me” - this is literature. "In one of his poems, AS Pushkin emphasizes that he remembers a wonderful moment" - this is literary criticism.

Is it reasonable to charge a computer with purely "human" assessments? Unlikely. Unless for robots that cannot feel. And people do not need a "prosthesis" that will tell them that what they have heard or read is wonderful or bad, aggressive or affectionate. But the VAAL-yenki do not think so.

Here is one of the declared "values" of their content analysis: "For example, there is a text of a speech by a Duma deputy and you need to assess how aggressive it is." Isn't it better to just read it or listen to it? In addition, aggressiveness and other "human" characteristics are subjective: what may seem aggressive to one may seem non-aggressive to another. For example, I am amused by black and white, without halftones, the reaction to my texts.

The undoubted content-analytical world champions are our VAAL-enki. Their content analysis has fantastic claims. Here I would like to refresh in the reader's memory the statement of Migdal "A pseudo-scientist does not like to be petty, he only solves global problems", as well as what was said about the "effect of sheer stupidity." This is 100% related to psycholinguistic and NLP toys hung by our VAAL-girls on a rotten (supposedly) phonosemantic tree.

The VAAL team is worthy of the Nobel Prize. Well, judge for yourself. You can take any text of any size: a vacation application, a love letter, a contract, a scientific article, a testament, a speech at the congress, congratulations to the hero of the day, answers to boring questions (see below)... You pass the text through VAAL, and in a second you will know literally everything about the author: all his ins and outs, all the secret movements of his soul, in a word, EVERYTHING! Here is a short list of parameters by which VAAL decomposes the author into molecules:

Accentuation: Paranoia, Demonstration, Depression, Excitability, Hypertensiveness

Psychoanalytic symbolism: Female symbolism, Male symbolism, Aggressiveness, Archetypalism, Positive, Negative, Life, Death

Motives: Power, Desire for power, Fear of power, Achievement, Achieving success, Avoiding failure, Affiliation, Hope for support, Fear of rejection, Physiology

Need: External need, Internal need

Valence: Positive valence, Negative valence

Instrumental activity: Instrumental activity (all), Processing, Broadcasting, Relaying, Movement, Moving, Manipulation

Information: Statement of information, Clarification of information, Specific information, Non-specific information, Exaggeration, Understatement, Denial, Insincerity

Perception channels: Visual channel, Visual perception, visual processing, visual transmission; Sensual channel Sense Perception, Sense Processing, Sense Broadcast; Auditory canal, Auditory perception, Auditory processing, Auditory translation; Rational channel, Rational perception, Rational processing, Rational translation

Organization of events: Cause, Effect, Violation

Values: Gnostic, Mind, Stupidity; Aesthetic, Beauty, ugliness; Ethical, Good, Evil, Morality, Immorality; Practical, Practicality, Impracticality

And for each of these incomprehensible and semi-understandable positions, VAAL will give you an abstruse figure, a whole bunch. Dig for your health!

What else remains unknown about the author? Shoe size, blood type, eye color, birthday, hobbies, addiction to alcohol, genes, attitude towards creatures of the opposite sex, temperament, height, weight, religion ... But I think that a talented team of people who want to make good money VAAL-enkov are already working on these little things.

These guys learned how to measure the average temperature in the ward with their VAAL-thermometer. Thus, together with the Public Opinion Foundation, they interviewed 866 people of different ages, sex, etc .; processed the answers and received, as it seems to them, "a detailed psycholinguistic map of various socio-demographic groups of the population of Russia." No more, no less. "A small fragment of this map" in the form of a sheet with an impassable figure is presented.

Take for example men aged 21 to 30: high indicators of paranoia (5.7), desire for power (3.2) and success (6.3), rationality (5.3), but ... at the same time, complete absence aggressiveness (-2.1) and love to yourself (-8.0)!

So, the average Russian of the most active age is a rational paranoid, striving for power and success, but ... completely devoid of aggressiveness and does not love himself. Quite a strange figure!

Our VAAL oracles broadcast: "This card contains information about the state of mind (!?) Of the population of our country and will be very useful in the field of social management." - And as soon as all this has not yet been classified!

Another example of the application of VAAL analysis is interesting. Here is a very reasonable book review. And here are the "results" of her content analysis on the VAAL, carried out by the author of the book. Predictably, the authors of this review turned out to be paranoid eccentrics.

The absurdities of the psycholinguistic aspect of the VAAL content analysis, revealed through testing, are discussed in more detail by psychologist Daria Shramchenko in the article "Diagnostics of character accentuations using the VAAL-2000 psycholinguistic expert system".

It's funny that our manipulator Dymshits, having created a program for zombies naive people he himself became her zombie:

“For the sake of interest, I conducted a content analysis of the above excerpt from Repyev’s letter to VAAL, which he didn’t like (by the way, he misunderstands the purpose of the program): he’s lying madly. In the article he is sincere (he does not understand what he is writing about, but he is sincere), but in the letter he is lying. "

Self-service, it turns out, isn't just in the store!

Marketing Applications

It is clear that no one will buy just a VAAL toy, especially for $ 950. To do this, it must be offered as a miracle tool in the most profitable areas. The authors chose politics and marketing - smart guys! This study gives an idea of ​​the VAAL analysis of political speeches. And in marketing, it turns out, it's just silly to come up with names without VAAL.

English-speaking phonosemantics, who understand their field as the search for harmony between pronunciation and meaning, also talk a little about naming. For example, they argue that the name is correct. Viagra: this name conjures up the meanings of words vitality(liveliness) and Niagara(Niagara Falls). That is, when choosing this name, a truly phonosemantic approach was used - an attempt to link the sound of the name with value words.

And here is how our VAAL women promote their "product":

“It is known that the Japanese spent several million dollars to find a sound that is pleasing to the ear of a Western European. The result is the well-known Sony brand. ”

It's a lie!

In the book "Made in Japan" by Akio Morita we read:

“We rummaged in dictionaries in search of a sonorous word and came across the Latin word" sonus ", meaning sound. The very word seemed to be filled with sound. Our business was closely related to sound, so we started trying variants with the word "sonus" ... One fine day, a solution came to my mind: why not call the company "Sony"? The word has been found! "

The quintessence of VAAL-yaniya the fool in naming is set forth in the fundamental work of M. Dymshits "Brand - the development of a name." Recommend.

Our VAAL-guru is deeply convinced that:

"… sales one a tube of Aquafresh brand toothpaste requires three times large advertising investments (A.R. - Where is the data, gentlemen?), rather than its competitor Colgate. The reason, according to marketers, is the "passive" and "lackluster" name Aquafresh. "

These guys can justify absolutely everything, even the absurdities of the name VAAL. They all point out that VAAL is the name of the devil, and the sound of this word (with a double "a") is very unusual for the Russian ear. I could remember only one more word with two "a", which, by the way, I pronounced every five minutes of work on the article - "Please"!

What would real marketers do? They would quickly change their name. But what are our gurus doing? They introduce into the program an exceptionally favorable assessment of the word "VAAL" and fend off attacks by indicating that this word is made up of initials. Strange logic. If, say, Woof reil and But Vicks decided to construct a name from the first syllables of their surnames, then ...

It turns out that VAAL works wonders in journalism as well. Vladimir Shalak:

“The article was rejected for the journalist. Appreciated it with the help of VAAL, replaced one word (!?) And the editor liked it. "

Gentlemen, journalists, buy VAAL. Then all your articles will go with a bang.

VAAL as a product

If you are interested in VAAL assessments from a technical point of view, I recommend reading Ashmanov's opinions about this “product, if I may say so,” and Shalak's response. See also the aforementioned Yu. Zaitseva.

VAAL fits perfectly into the "garbage in - garbage out" maxim that everyone who deals with mathematics knows. Its meaning is simple: if the mathematical model is based on wrong ideas, simplifications, parameters, etc. ("Garbage in"), then the result will be incorrect ("garbage in the output"). And VAAL is a typical "garbage".

As a marketer, I'm wondering how the creators envisioned using their masterpiece? Here, the poor guy-user has fallen to 18 (often mutually exclusive) characteristics of a word or text. What should he do with them? And what should he do with the sheets that content analysis will throw him out if he simply does not understand a significant part of the parameters and figures?

Children of Lieutenant Dymshits

The scientific and commercial successes of the phonosemantic team "Dymshits and Co. (pubes)" did not go unnoticed. A sprout of "children" has appeared. Here is one worthy offspring:

Heavy Brand

"Hefty Brand" is a computer naming program. The program is based on the stage-by-stage synthesis of a unique sound combination, which occurs on the basis of the qualities noted by the user in 25 phonosemantic scales. Thus, it is possible to generate a name (trade mark) that will have the qualities of the product being promoted.

In the list of names generated for certain qualities, the program provides the ability to search for explicit and hidden meaning, make a selection by gender, and choose a synonym.

For example, for a brand of new soap, the user notes the following qualities: smooth, gentle, safe - and by clicking on the "Synthesis" button, generates hundreds of names that correspond to these qualities. Here are just a few of them: Ivima, Nila, Leelu, Omi, Meow, Ice... All these words correspond to the chosen characteristics - smooth, gentle, safe. You can verify this if you use the free online service for phonosemantic analysis of words.

Get it, gentlemen, get it!

The time has clearly come to found a club (or society) for the children of Lieutenant Dymshits.

Conclusion

The conclusion I have come to is sad:

The BAAL program is a tangle of delusions, incompetence, fraud and lies. It is an ideal object for researching the so-called. "The effect of sheer stupidity" and the "people hawala" effect. This is an example of a pseudoscientific scam.

However, the Russian "People", which is closer to practice, it seems, does not really want to be a fool of VAAL. I'll just give you some of the many comments on the internet forums:

“It's strange, earlier it seemed to me that all this crap (VAAL) went into oblivion along with Lenya Golubkov, frame 25, Kashpirovsky and the geocentric model of the Universe” ...

“Phonosemantics, of course, is strong, the current should be taken seriously as a basis for the analysis of the tops produced by some generator on the Internet, um, this is so detski. And so stupid! And with the naming they gored completely, they lit such a fog - you can't break through with an ax. Most importantly, no one can explain how the name "Kodak" or "Xerox" helped to advance. As in NLP - everyone is ready to teach how to make a million dollars, and when you ask - how many millions you have - they are offended "...

"Nonsense. "scientific" rationale for picking the nose. Although if you remember that in our country and the concept of the 25th frame still has its adherents, then this is not surprising ... What are these people doing in marketing? "...

“These people run the show in marketing. They define the regulatory framework and even the personnel approach. That's what they do there. It’s not marketing, in fact, ”...

“I worked with BAAL - cool, but not instrumental. It does not give real options, does not allow making decisions - it "chops" clearly good options that the target audience perceives "with a bang" ...

“We tried to use content analysis during the elections (we made agencies on order). There were enough bubbles and thoughtful phrases (you have to work off the money). Real benefit - for a penny, and the paper is glossy, it is difficult to use later "...

"Michael [Dymshitsu], you look very stupid again. You ran out of arguments, that's why you switched to "the fool himself" and "look, my whole chest is in medals, all * oops are in scars." Well, be proud of your orders, I hope you will not burst with pride "...

I got the following message:

I read your article "in-WAAL-aleem" of a fool. In absentia I fell in love with you for the golden words. I came across an article in the process of writing a term paper on sound symbolism, that is, a conclusion to it.
While I was composing my "copy-paste masterpiece" and describing the results of the so-called experiment (everything is as instructed by the teacher, I wash my hands), I suppressed the feeling that I was reading, writing and researching complete crap: it is difficult to write a term book when the opinion about the subject of research is fundamentally different from the opinion about him a fanatical leader. As a result, my conclusion optimistically describes the fantastic prospects of applying the theory of sound symbolism in practice - in advertising, in the analysis of texts, etc., I am thinking whether to mention VAAL ...
But in my soul I am with YOU. The article is just super! I'll let my classmates read the paragraph on pseudo-sciences tomorrow. We actually think so for a long time. And please include in the list the grammar and the theory of speech (k) acts.
All of them in the furnace :-)
Sincerely,
Kate

The Russian "People", it turns out, "hawala" by no means everything!

But this does not bother our linguistic "people". His reaction on the forums to this article is quite amusing - most of him were offended.

I received a charming letter from one who was insulted to the depths of his twice philological soul ( "I have 2 philological education", both at St. Petersburg University ) of the young phonosemanticist Anatoly Tataurov:

I feel you are a professional in boltology, not everyone can juggle material so powerfully to suit their goals. Hats off, you are a great strategist.

In response to my proposal to express my well-reasoned claims, I received the following:

Come on, I don’t need to throw your cheap statuettes, I’m so clear, it’s reasoned to talk to you - all one thing is to kick a bunch of shit, I’m not even interested in talking to you, and if philology and linguistics didn’t exist, you would never be your own I couldn’t do my favorite physics, although you don’t do it, for "life reasons", I suppose either they were kicked out, or the mind was not enough to pull. About rudeness, I don't need to look anywhere, it's enough to re-read our dialogue. And about Yulia Pirogova, so I can also throw you a link about the famous physicist Alexander Repyev, the same level. In general, you are a worthless person, the same verbiage which there are many. Neither a physicist, nor a linguist, nor an advertiser, and no one knows who. A piece of shit unattached. And you do not advise anyone. And I would advise, I would not sit and rant. I ask about one thing - don't just write about philology and linguistics - don't make a fool of yourself.

"THE SOUND-IMPACTING NATURE OF PHONOSTYLISTIC METHODS OF AN ENGLISH ADVERTISING TEXT (EXPERIMENTAL STUDY) ..."

-- [ Page 1 ] --

DEPARTMENT OF EDUCATION OF THE CITY OF MOSCOW

STATE BUDGET EDUCATIONAL INSTITUTION

HIGHER EDUCATION CITY OF MOSCOW

"MOSCOW CITY PEDAGOGICAL UNIVERSITY"

____________________________________________________________________________

As a manuscript

Chukarkova Olga Vladimirovna

SOUND-IMPACTING NATURE OF PHONOSTILISTIC DEVICES

ENGLISH ADVERTISING TEXT (EXPERIMENTAL

STUDY)

02.10.04 - Germanic languages ​​Dissertation for the degree of candidate of philological sciences

supervisor- Candidate of Pedagogical Sciences, Associate Professor Tverdokhlebova Irina Petrovna Moscow - 2015

INTRODUCTION …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… .. ……………… … ..16 § 1. History of the study of sound visualization ……………………………………………………… 16

1.1 Evolution of the theories of tesei and fusei …………………………………………………………………………………………………………………………………………………………………… 16

1.2. The study of sound visualization in English studies ......................................................... 23

1.3. Sound representation in the semiotic aspect …………………………… .............. 31 § 2. Phonosemantics as an integrative science ………………………… …………………………… ... 39

2.1. The main theoretical provisions of phonosemantics ..................... 39

2.2. Methodology of phonosemantics and modern studies of sound visualization in English. ……………………………………………………

§ 3. Expressiveness of the plan of expression as the basis of phonetic connotation …………… ............. 57 Conclusions …………………………………………………… …………………………………………… ..62

CHAPTER II. PHONOSTYLISTIC METHODS OF ENGLISH ADVERTISING

TEXT …………………………………………………………………………………………… .... 65 § 1. Definition of the concept of advertising text ... ………………………………………………… ............. 65 § 2. Key parameters of the advertising text

§ 3. Stylistic means of expressiveness of the phonetic level of the English-language advertising text ………………………………………………………………………………

Conclusions …………………………………………………………………………………… .............. 89

CHAPTER III. PHONOSEMANTIC EXPERIMENT ON MATERIAL

ENGLISH TEXTS OF THE ADVERTISING DISCOURSE ……………………………… ..92 § 1. Development of the author's technique of a three-level phonosemantic experiment …………………………………………………………… ……………………… 92 Phonosemantic experiments on the material of English-language advertising 1.1.

texts …………………………………………………… ..

text …………………………………………………

§ 2. Three-level phonosemantic experiment ………………………………………… ... 113

2.1. Selection of experimental material …………………………………………… ... 113

2.2. Development of criteria for the perception of English-language advertising texts ... ... ............. 120

2.3. Development of the concept of connotative phonographic dominant of the English-language advertising text ………………………………. …………………………………………… .146

2.4. Informants ……. …………………………………………………………………… .149

2.5. The course of the experiment ……. …………………………………………………………………… 151 § 3. Processing and discussion of the results of the phonosemantic experiment …………… .154

3.2. Correlation of the elementary and contextual sound symbolism of the phonics of the English-language advertising text with the image of the advertised object ……… .. ………… .156

3.3. Degrees and types of sound visualization in English-language advertising texts ………………………………………………………………………………… ... 170 Conclusions ……… …………………………………………………………………………………… 179 CONCLUSION ……………………………………… ……………………………………………… .182 LIST REFERENCES ………………………………………………………………………… ... 188 APPENDICES ……………………………………… ……………………………………………… ... 208

INTRODUCTION

This work is devoted to identifying the sound-visual connection between the content plan and the expression plan of the English-language advertising text, organized with the help of stylistic means of expressiveness of the phonetic level, i.e. by means of phono-stylistic techniques based on sound repetitions (for example, alliteration, assonance).

In modern linguistics, phonostylistics is usually understood as two different areas of research. In the first case, the sounding speech is studied at the super-segmental level in terms of stylistics.

The second direction refers to the phono-stylistics of the segment level, the phonemic composition of the text. Thus, in this case, the emphasis is placed on the problems of sound saturation of speech as the preference of some units of the plane of expression to others through the choice of the sound matter of the text.

The work examines segment phono-stylistic techniques associated with sound repetitions in an English-language advertising text - alliteration and assonance. Neither sounds nor their combinations have a lexical meaning, however, they can be stimuli for the formation of one or another subtext, as well as create certain connotations using segmental phono-stylistic techniques. In this study, the sound quality of these techniques is interpreted in the aspect of the relationship between form and content.

The problem of the relationship between form and content not only has a long history, but is also investigated in various fields of science: philosophy, art history, psychology, literary criticism, linguistics. In linguistics, this issue is revealed, in particular, by referring to the relationship between the plane of expression and the plane of the content of the word, i.e. to its phonics1 and semantics at the same time.

Interest in the visualization of words has a long history. It manifests itself in the ancient dispute of Theses - Fusay Plato, [Cratilus 1994], Aristotle, Stoics [cit. after: Yakushin 2012], later - in glottogonic studies [Leibniz 1937; Bross 1822], in the centuries-old literary tradition [Bely 1910; Khlebnikov 1928-1933; Lomonosov 1952;

Rimbaud 1982]. Initially, philosophers, poets, and writers found interaction. In this study, the term phonics is used to refer to the plane of expression of a word. For more details on phonics, see BLS 2008: 680.

between the sound and the meaning of a word is introspective. Subsequently, these correlations were objectively and scientifically confirmed by etymological, typological, statistical methods by many linguists: W. von Humboldt, E. Sapir, O. Espersen, S. Bally, A.A. Potebnya, L. Bloomfield, D. Bolinger, S.V. Voronin, etc. Thus, the emergence of a new linguistic discipline - phonosemantics - was due to the constant scientific interest in the relationship between the content and formal (sound) components of vocabulary [Voronin 1982; 2006]. According to O.I. Brodovich, “... the merit of S.V. Voronin, as well as such scientists as A.P. Zhuravlev, I.N. Gorelov, V.V. Levitsky, and a number of others is the introduction of order and scientifically grounded argumentation where subjectivity and amateurism reigned almost completely before ”[Voronin 2006: 1].

On the one hand, phonosemantics owes its formation as a science to semiotics, which proposed the structure of a sign, in particular a linguistic one, pointing out the iconic and indexal connection between the signified and the signifier at the level of the word (onomatopoeia and sound symbolism).

On the other hand, the introduction of the experimental method into linguistics (scaling the semantic differential of C. Osgood, the sound letter of A.P. Zhuravlev) made it possible to obtain verifiable data that also testify to linguistic visualization at the junction of phonetics (according to the plan of expression), semantics (according to the plan of content) and lexicology (by the combination of these two planes) [Voronin 1990: 21].

The traditional material for the study of phonetic units and the connotations they create are the texts of artistic discourse. As you know, this area of ​​objectification of sound visualization has been studied quite widely in poetry, in particular in children's poetry [Smus 1988; Egorova 2008], in prose [Pavlovskaya 1999; Lebedeva 2006; Chertkova 2006] and others. One of the areas of study of the sound representation of the expression plan is suggestive texts - prayers [Prokofieva 2008], conspiracy texts [Kazieva 2010] - however, the sound-visual nature of the texts of the English-language advertising discourse associated with linguistic manipulation needs further study.

The advertising text, being a form of language representation, implements many linguistic functions, in particular emotive, expressive, aesthetic, semiotic, including through the interconnection of its components - meaningful and formal (phonographic). As a rule, the authors of successful advertising use numerous phono-stylistic techniques based on the phenomenon of sound-symbolism, one of the manifestations of iconicity inherent in language as a sign system. In this regard, these techniques reflect the inherent (intralingual) and adherent (acquired due to the pragmatics of the English-language advertising discourse) expressiveness of linguistic units - phonemes and phonesthemes (sound combinations understood as submorphisms).

Linguistic research reveals their various aspects:

phonological (phono-stylistics of sounding speech): prosodic features (Ksenzenko 1996; Somova 2002; Terekhova 2008; Fedorova 2008), in particular rhythmic characteristics (Morilova 2005), speech voice in American advertising (Girina 2008);

word-formation and syntactic: features of the verb in the advertising text (Dementieva 2004; Voronina 2011), expressive syntax (Zolina 2006; Korableva 2008);

lexical: colloquialisms (Sobyanina 1996), language play and compression (Lazovskaya 2007; Shokina 2008; Isaeva 2011, Ksenzenko 2013), synonymy (Yampolskaya 2009), onomastics (Kirpicheva 2007).

Lastovetskaya 2005; Makedontseva 2010), interlingual and intercultural communication (Medvedeva 2002; Shcherbina 2002, Vikulova 2008, Borisova 2012), verbal and non-verbal manipulation (Zheltukhina 2004; Borisova 2005; Popova 2005; Strakhova 2012), gender aspects (Kirilina 2000; Koltysheva 2008; Nazina 2011; Yandieva 2011) and others.

Advertising in the aggregate of its characteristics is considered as a special type of text (Litvinova 1996; Dmitriev 2000; Shido 2002) and a type of discourse (Ksenzenko 2012; Kochetova 2013), the key aspects of which are imperativeness (Terpugova 2000), intertextuality (Terskikh 2003; Uskova 2003), media advertising picture of the world (Dobrosklonskaya 2000; Ezhova 2010), etc.

Foreign scholars also address various aspects of advertising: Leech 1966; Dyer 1982; Cook 1992; Klink 2000; Goddard 2001; Lowrey 2013 and others.

Some studies pay attention to the plan of expression of advertising texts, while not touching on the phonosemantic problems of the material in question. They limit themselves to the description of phono-stylistic techniques, recommendations for readability and efficiency of the text, for example, it is noted that: “Tempbank”, “Holding Center” are discordant for the Russian ear and, therefore, are anti-advertising ”[Ledeneva 2004: 89] discourse is currently insufficiently studied.

In this regard, the relevance of the work is due to a number of factors.

First, modern linguistics addresses the complex examination of linguistic phenomena associated with verbal manipulation. Since there is a steady interest in the problems of the sound representation of a language, in particular, in the issues of the relationship between the form and meaning of a word, phonosemantics manifests itself as an interdisciplinary science.

Secondly, one of the favorable areas in which the realization of the potential sound visualization of linguistic units in the process of verbal manipulation takes place is advertising discourse due to (extra-) linguistic factors. The advertising text is viewed as an object of study of phonosemantics due to the predictability of the recipient's reaction, non-spontaneity, and clear stylistic marking [Somova 2002: 421–422].

Despite the fact that the texts of mass communication are often the object of research, at this stage of the development of linguistics there are only a few works devoted to the phono-stylistics of advertising text [Ksenzenko 1996; Terekhova 2008; Fedorov 2008], however, these studies describe the prosodic features of sounding advertising and do not consider the phono-stylistics of sound repetitions in the phonosemantic aspect.

Thirdly, although on the whole phono-stylistic techniques seem to be well studied, their sound-visual adherent expressivity remains insufficiently illuminated, as evidenced by the description of phono-stylistics of the segment level outside the deep intersection with aspects of semantics, in particular connotation [Kuznets, Skrebnev 1960; Kukharenko 1988; Halperin 2009]. In these works on stylistics, the presence of phono-stylistic devices in the analyzed material is stated, but the principles of choosing phonemes from the point of view of the role of their inherent expressiveness in creating implicature are not specified.

Fourth, a large number of works are devoted to the relationship between phonics and semantics as a whole, which are characterized by diversity, for example, the color and indicative symbolism of sounds [Bondar 2001; Prokofiev 2009; Ishchenko 2010]; phonosemantic aspect of antonymy 1990; Vasiliev 2004] and others; the problems are considered [Boer sound representation of specific languages: Russian [Shlyakhova 2003; 2006], Yakut [Afanasyeva 1993; Sorova 2011; Tarasova 2013], Italian [Belova 2009], Tatar [Osipova 2008], English [Pavlovskaya 1999; Evenko 2008; Egorova 2008; Solodovnikova 2009; Shvetsova 2011; Flaxman 2015]. However, at the same time, the sound-visual nature of the English-language advertising text is not described in phonosemantic studies. We have made an attempt to consider advertising discourse in the aggregate of its characteristics as one of the spheres of activation of inherent sound visualization, which also allows us to speak about the scientific novelty of this work.

Thus, the sound visualization of an English-language advertising text, associated with the emergence of connotations under the influence of the inherent and adherent properties of its phonemic composition, is analyzed for the first time in the reviewed work.

The object of the research is an English-language advertising text, the expression plan of which contains stylistic means of expressiveness of the segment phonological level, in particular, phono-stylistic techniques (alliteration, assonance).

The subject of research the sound-visual nature of these phono-stylistic techniques of the English-language advertising text acts as its connotative phonographic dominant.

The material of the study was English-language advertising texts selected by a continuous sample from authentic sources - English-language magazines and their Internet counterparts in the period from 2012 to 2015 (Cosmopolitan, Vogue, Harper "s Bazaar, Tatler, Psychologies, Women" s Health, Men " s Health, Family Fun, Glamor, GEO, Elle, Fair Lady, Easy Living, Shape, Good Housekeeping, Bicycling, Autocar, American Cop, Natural Health, Women 's Fitness, Prevention, Prima, Guitar Player, Design New England, Crochet !, Sporting Shooter, Gardens, Guns). These texts were subjected to phono-stylistic and phonosemantic analyzes, as a result of which the body of the study consisted of 1822 advertising messages with phonographic repetitions. The sample of advertising texts was not gender-specific or socio-oriented and included magazines with the target audience of English-speaking readers (men and women aged 16 and over).

The key requirements for the selection of units of the experimental corpus of the study (26 English-language advertising texts) are the following characteristics of advertising texts:

semantic opacity (broad formulation, "low degree of encoding"

[Chafe 1983]);

a projection advertising strategy [Pirogova, Parshin 2000] (unlike a rationalistic one, a projection strategy emphasizes the psychologically significant properties of the advertised object, creating a strong emotional effect, including through segment phonostylistics);

the presence of phono-stylistic techniques, representing the dominant means of linguistic expressiveness at the level of phonemes and phonestems of texts of a wide corpus.

The purpose of the dissertation research is to identify and experimentally verify the presence of features of connotations arising on the basis of the expression plan of an English-language advertising text created using phono-stylistic techniques at a segment phonological level.

To achieve this goal, the following were solved tasks:

to provide a description of the history of the development of studies of sound visualization, including in English studies;

to analyze modern research in the field of phonosemantics;

to provide a description of stylistic sound repetitions of a written text in the aspect of speech expressiveness;

show the connection between the connotation and the plan of expression of linguistic units;

to form the base of wide and narrow research corpuses;

to develop a three-level method (phoneme / phonestem - text - image of the advertised object) of the analysis of the English-language advertising text, the expression plan of which is organized using segment phono-stylistic techniques;

prepare and conduct a linguistic experiment to identify the sound quality of an English-language advertising text, as well as process the results obtained by the method of statistical analysis.

As a working hypothesis, it is suggested that the expression plan of an English-language advertising text containing phono-stylistic techniques at the segment phonological level (for example, alliteration, assonance) has a sound-visual nature, which is realized as the connotative potential of the advertising text and acts as a modifier of message interpretation.

Provisions for Defense:

1. The sound visualization of phono-stylistic techniques of the segment phonological level (alliteration, assonance) of the English-language advertising text is of a system-level nature and is created by the symbolism of the constituents of the expression plan (phonemes and phonostems). This happens, in particular, due to the fact that the texts of the English-language advertising discourse represent a favorable sphere in which the potential sound-visual properties of these phono-stylistic techniques are revealed.

2. Provided that the components of the expression plan interact, the phono-stylistic techniques of the segment phonological level of the advertising text not only perform attractive and mnemonic functions, but also allow manipulating the interpretation of the decoded message as one of the connotative modifiers.

3. English-language advertising texts of written implementation, the expression plan of which is organized using segmental phono-stylistic techniques, have a connotative phonographic dominant, which determines the emergence of adherent sound representation.

4. The sound-visual nature of the phono-stylistic techniques of the segment phonological level of the English-language advertising text is understood as the synergy of the inherent expression of dominant sounds included in stylistic repetitions, and adherent expression created by these techniques as a whole. In this regard, the sound image in English-language advertising texts is heterogeneous and is determined by the degree of interconnection of the constituents of the expression plan.

5. The basis of the sound quality of the segment phonological stylistics of the English-language advertising text of the written implementation is the figurative interpretation of the units of the phonological level. As a result, taking into account the principle of tertium comparationis, the phonetic characteristics of sound repetitions (expressive and articulatory) can create metaphorical, metonymic and metaphthonic semantic associations.

The comprehensive research methodology includes general scientific methods (hypothetical-deductive and inductive), as well as those used in linguistics (context analysis, the method of linguistic interpretation of the text and phono-stylistic analysis of units of the segment phonological level, phonosemantic analysis of phonemes and phonesthemes, in particular, auditory analysis of the material under study) , sociometric method (at the stage of working with informants). The main research method is a linguistic experiment carried out through interviews of informants to identify and verify the presence of features of the connotations of the plan of expression of English-language advertising texts. At the preparatory stage, as well as when discussing the results of the experiment, a statistical analysis of the obtained data was used to detect correlations of connotative relations between the constituents of the expression plan, as well as between the expression plan of the advertising text as a whole and its content plan.

The methodological and theoretical basis of the work was the research of such domestic and foreign scientists in the field of phono-stylistics as Sh. Bally, M. Grammon, O.M. Brick, D.N. Leach, O.S. Akhmanova, I.M. Magidova, R.O. Yakobson, I.V. Arnold, A.V. Puzyrev, A.A. Lipgart, G.V. Vekshin; phonosemantics - S.V. Voronin, V.V. Levitsky, A.B. Mikhalev, A.M. Gazov-Ginsberg, A.P. Zhuravlev, I. Yu. Pavlovskaya, L.P. Sanzharov, S.S. Shlyakhova, O. Espersen, A. Abelin, L. Bloomfield, D. Bolinger, M. Magnus;

linguistic experiment - L.V. Shchera, L.R. Zinder, in particular the phonosemantic experiment - A.S. Stern, A.P. Zhuravlev, V.V. Levitsky, E. Sapir, C. Osgood, M. Magnus, I. Taylor; philosophy of language - W. von Humboldt, E. Sapir, A.A. Potebnya; semiotics - Ch.S. Pierce, C.W. Morris, F. de Saussure, E. Benveniste; connotations - Yu.D. Apresyan, I. V. Arnold, S. Bally, V.N. Telia, V.I. Shakhovsky, advertising discourse - D.N. Leach;

T.A. van Dijk, T.G. Dobrosklonskaya, E.V. Medvedeva, O.A. Ksenzenko, L.A. Kochetova, Yu.K. Pirogov, P.B. Parshin, E.G. Borisov; cognitive linguistics - E.S. Kubryakova, V.Z. Demyankov, J. Lakoff, E. Roche, W.L. Chafe.

This research is based on the following theoretical principles:

The sound-visual system of the language is divided into onomatopoeic and sound-symbolic layers of vocabulary.

Lexical meaning can include semantic association (connotation).

The plan of vocabulary expression can be perceived taking into account associations and be associated with inherent and adherent expression [Grammon 1913; Sapir 1929; Jespersen 1949;

Voronin 1969; 1990; 2006; Gridin 1990; Zhuravlev 1991; Lukyanova 1991; Potebnya 2010;

Mikhalev 1995].

The advertising text belongs to one of the expressive spheres due to the extralinguistic features of the advertising discourse [Dyck 1977; Pirogova, Parshin 2000; Medvedeva 2002; Somova 2002; Ksenzenko 2012; Kochetova 2013].

The message can be presented in the form of text "low degree of encryption"

(broadly worded) [Chafe 1983].

Verbalization as well as connotation are interpretive [Roche 1978; 1991;

Voronin 1969; Chafe 1983; Kubryakova 1986; 2001; Telia 1986; Mikhalev 1995].

Phonosemantic dominant is a speech sound with objective signs of statistical prominence, marked with multiple phonetic repetitions that have a dominant effect on the recipient [Balash 1999; Pishchalnikova 1999; Shadrina 2001; Naumova 2005].

Phono-stylistic techniques are subdivided into performing (super-segmental) techniques, allowing for variation when transcoding a work from writing to oral, and author's (segment), which are set by the author at the stage of text production, which are constantly related to the phonemic composition, for example, alliteration, assonance, rhyme, etc. etc. [Stanislavsky 1951; Arnold 1990; Puzyrev 1995; Somova 2002; Vekshin 2006].

The phonographic stylization of the text of the written implementation takes into account the phonetic image of oral speech, which expresses the pragmatic, semantic and expressive functions of the linguistic material [Somova 1991; 2002; Skovorodnikov 2005; Kulikova 2011].

Internal speech, which is articulatory movements (internal pronunciation, latent verbalization), manifests itself, including when reading texts to oneself and listening [Zhinkin 1964; Sokolov 1968; Vygotsky 1999].

To avoid the effect of "sound-symbolic interference" phonosemantic perception of linguistic material should take into account not only quantitative characteristics (the presence of certain phonemes in a particular language), but also qualitative characteristics ("the threshold of phoneme difference", for example, aspiration) [Polivanov 1968;

Kuleshova 1990; Somova 2002].

A sound metaphor is understood as an emotional-connotative image created by the plan of expressing a word. In its mechanism, the sound metaphor is similar to that characteristic of the figure of speech designated by the same name, and is associated with the associativity of phonics due to the emergence of various types of implicatures [Wundt 1990; Jacobson 1975; Somova 1991; 2002].

Scientific novelty research is that:

2) the concept of connotative phonographic dominant was introduced to describe the expression plan of the English-language advertising text of written implementation, organized using phono-stylistic techniques of the segment phonological level;

3) the correlation between the plan of expression and the plan of the content of the advertising text is interpreted in the aspect of connotation, including as a manifestation of inherent and adherent expressiveness of language units of the phonological level;

4) for the first time, the sound visualization of segment phono-stylistic techniques of an English-language advertising text is understood as a metaphorical, metonymic and metaphthonic interpretation of the acoustic-articulatory characteristics of phonemes and phonesthemes.

Theoretical significance research is that the development of theoretical concepts associated with the understanding of connotation by referring to the plan of expression of linguistic units of the phonological level.

The results of the work contribute to the understanding of the functional significance of sound-symbolic means in advertising communication in English, as well as to some aspects of advertising discourse:

linguopragmatics, verbal manipulation and media advertising picture of the world.

In addition, the study touches on the problem of the motivation of a linguistic sign, expands the theoretical provisions of phono-stylistics and contributes to the understanding of the expressive means of the English language from the standpoint of the style of decoding.

Practical value of the work is that the research results can be used in courses on theoretical phonetics, stylistics, in special courses on phonosemantics of the English language, advertising communication, as well as in further research on this topic. Since the sound-visual component of the text expression plan, having a special sound attraction, is one of the motives of connotation, taking this factor into account when creating an advertisement allows you to control the interpretation of an advertising message, which is especially important for the practical activities of marketing specialists. In this regard, the author's methodology for assessing the sound quality of advertising text, proposed in the dissertation research, can be used for linguistic, in particular phonosemantic, analysis of advertising material.

Dissertation structure due to the above goals and objectives.

The work includes an introduction, three chapters, conclusion, bibliography and appendices.

In the Introduction, the hypothesis and provisions submitted for defense are stated, the purpose and objectives of the work, its object, subject and research methods are determined, and its relevance and scientific novelty, theoretical and practical significance are also argued.

Chapter I "Investigation of sound visualization in panchronicity" is devoted to a number of theoretical issues related to the phonosemantic aspect of the problem under study:

the characteristic of the historical tradition of studies of sound visualization, in particular in English studies, is given; outlines the main theoretical provisions of phonosemantics as a modern interdisciplinary science; the question of phonetic semiotics is raised;

highlights the correlation of the connotation and the plan of expression of linguistic units.

Chapter II "Phono-stylistic devices of the English-language advertising text"

is devoted to the description of the texts of advertising discourse, their characteristic features and main functions from the point of view of the sound image of the language; the issue of phono-stylistics in its division into performing (super-segment) and author's (segment) is touched upon, in particular, the connection between the expressiveness of the content of the advertising text and the elements of the expression plan (phonemes, phonestems), which have attractive, mnemonic, emotive potentials due to (extra-) linguistic features of advertising discourse.

In Chapter III "Phonosemantic experiment based on the material of English-language advertising texts", in addition to a detailed description of the three-level phonosemantic experiment carried out according to the author's methodology, an analysis of the results is presented. The experiment made it possible to establish how the phonographic elements of the advertising text expression plan (alliteration, assonance) actualize the inherent properties of dominant sounds and create connotations using phono-stylistic techniques of the segment phonological level, setting the perspective of a possible interpretation of the entire text with adherent sound expressiveness. This chapter introduces the idea of ​​the connotative phonographic dominant of the English-language advertising text.

The chapters of the dissertation end with well-founded conclusions.

The Conclusion summarizes the main provisions of the work, summarizes the results, outlines the prospects for a possible continuation of research in the field of the stated problem.

The appendices contain samples of experimental material (a list of advertising texts and advertised objects), as well as the results of a statistical analysis of both the texts of a broad corpus of the study and information obtained in the course of a linguistic experiment, which is presented in the form of diagrams.

Approbation of results research. Research results were presented in reports at international, all-Russian and interuniversity conferences: at scientific sessions of the Institute of Foreign Languages, Moscow State Pedagogical University (Moscow, 2004, 2005, 2013, 2014, 2015); at the PSTGU conference (within the framework of the section of German philology, Moscow, 2012); at the International Scientific Conference "Social Sciences, Social Development and Modernity" (Moscow, 2012); at the International Scientific Conference "Communication in Advertising and PR" (Leningrad State University named after A. Pushkin, St. Petersburg, 2013). The results and conclusions of the study were discussed at meetings of the Department of English Phonetics and Business Communication of the Moscow City Pedagogical University (2012-2015).

Basic Provisions theses are reflected in seven publications, including four articles in leading peer-reviewed scientific journals recommended by the Higher Attestation Commission of the Ministry of Education and Science of Russia.

Higher Attestation Commission of the Ministry of Education and Science of the Russian Federation:

1. Chukarkova O.V. The main trends in the expansion of the integrativeness of phonosemantics as a science at the present stage // Electronic journal "Theory and Practice of Social Development", 2011. - No. 8, http://www.teoria-practica.ru/-8-2011/philology/chukarkova.pdf , release date on the website: 12/20/2011, Informregister code: 0421100093 \ 0691.

2. Chukarkova O.V. Phonosemantics as a connection between form and content in the language of suggestive works (on the example of advertising texts in English) // European Social Science Journal. - M .: Publishing house "MII Nauka", 2012. - No. 12. - P. 225-229.

3. Chukarkova O.V. Sound-visual hyperexpressiveness (based on English-language advertising texts) // Philological sciences. Questions and theories of practice. Scientific, theoretical and applied journal. - Tambov: Publishing house "Gramota", 2013. - No. 4 (22), part II. - S. 206–211.

4. Chukarkova O.V. Expressiveness of the plan of expression as the basis of sound-visual connotation (based on the material of the English language) // Philological sciences. Questions and theories of practice. Scientific-theoretical and applied journal. - Tambov: Publishing house "Gramota", 2015. - No. 10 (52). - S. 206–211.

5. Chukarkova O.V. Paronomasia as a phono-stylistic device of a modern advertising text in English // Arakinskie readings. Actual problems of linguistics and methods of teaching foreign languages. Collection of scientific papers. / Resp. ed .:

I.P. Tverdokhlebova. - M .: MGPU, 2004. - S. 210-213.

6. Chukarkova O.V. Language game techniques in advertising texts // Arakinskie readings.

Actual problems of linguistics and methods of teaching English. Collection of scientific articles. - M .: MGPU, 2005. - S. 158–160.

7. Chukarkova O.V. Alliteration as a phono-stylistic device of modern advertising techniques (based on the English language) // XXII Annual Theological Conference of St. Tikhon Orthodox University for the Humanities. T. 2. - M .: Publishing house PSTGU, 2012. - pp. 162–164.

8. Chukarkova O.V. Experimental research: phonosemantics of advertising texts in English // Modern information space: communication in advertising and PR: materials of an international scientific conference (April 9, 2013) / ed. ed.

M.V. Yagodkina. - SPb: Leningrad State University im. A.S. Pushkin, 2013. - S. 92-102.

CHAPTER I. RESEARCH OF SOUND IMPACTABILITY2 IN PANCHRONY

§ 1. History of the study of sound imaging

1.1. Evolution of the theories of Thesei and Fyusei Discussion of the problem of sound symbolism has a long history of thinking about the arbitrariness of the linguistic sign. Taking into account various arguments and data obtained in the course of linguistic experiments, as well as centuries-old literary traditions, we consider sound symbolism as an extremely complex and ambiguous phenomenon of language and speech. In this regard, the description of the path of formation of phonosemantics requires a thorough analysis of not only the empirical facts themselves, but also the methods of identifying and interpreting phonetic symbolism, along with a historical excursion into the problem.

Initially, the mythological consciousness was characterized by the identification of the thing itself and its name (name). For the first time this issue is considered in the ancient Indian Vedas (XXV-XV centuries BC): “The ancient Indians were characterized by the belief in the existence of an initial connection between the thing itself and its name” [Voronin 2006: 9]. Trying to understand how meaning is transmitted, the ancient philosophers argued that the essence of a thing is hidden in the sounds of a word. According to I.M. Tronsky, the archaic consciousness believed that “every thing is a single integral complex, a living carrier of concrete relations, from which separate elements, including the name, are not abstracted. The name does not exist outside the thing, and by performing any operations on the name, we act on the thing, subjecting it to our will. Hence the power of conspiracies, spells, hence the desire of the "primitive" man to "classify" the names of those objects that he considers necessary to protect from hostile influences, the tendency to create secret languages ​​"

[Ancient theories of language and style 1936: 8-9]. Assumptions about the connection between sound and meaning in a word are contained in many mystical and religious texts, in which certain meanings and meanings were associated with the letters of the alphabet and were used as oracles: Viking runes, Kabbalah, Arabic Abjad, Upanishads, Celtic sacred books, etc.

If in mythological thinking the name belonged directly to the thing, then the ancient science, breaking this connection, placed a thought between the name and the thing. Ancient philosophers, The concepts of sound representation, phonetic symbolism, sound symbolism are used synonymously in our work, however, the nuances of interpretation are disclosed in the appropriate contexts. Ideas of phonetic meaning and phonetic semantics are interpreted in this work as the relationship of form and content in a connotative aspect.

Reflecting on the origin of language, they paid attention to the effect of speech sounds on a person, i.e. on associations that arise under the action of the plan of expression. So, in Antiquity, a dispute was laid between adherents of the theories of thesei () and fyusi (), a discussion about the "correctness of names" or about whether the name of a thing belongs to the establishment, i.e. by agreement (theseses), or by the natural state of affairs, i.e. - by nature (fusei). This dispute, in many respects continuing to this day, affects the principle of the arbitrariness of a linguistic sign. In the dialogue "Cratilus, or On the Correctness of Names" (4th century BC), Plato, referring to the hypotheses that existed at that time about the connection between sound and the meaning of a word, himself completely disagrees with any of them, making it clear that the truth, perhaps, lies in the middle: “... if we didn’t have a voice or a language, and we wanted to explain the surrounding objects to others, would we not designate everything with the help of hands, head and in general the whole body, as the mute do ? ... if we wanted to designate something higher and light, we would raise our hand to the sky, imitating the nature of this thing, but if it is something low and heavy, we would lower our hand to the ground. ... the name, apparently, is an imitation with the help of a voice that which is imitated ... "[Plato 1990: 660] 3.

Thus, already in ancient times, the approach to the problem of the connection between sound and meaning in a word is associative in nature: the connection is based not only on direct imitation of things (onomatopoeia), but also on the similarity of impressions received both from things and from the sounds themselves ( sound symbolism), denoting them (strength, rudeness, softness, etc.).

One of the brightest supporters of the theory of thesei was Aristotle. He believed that things and the impressions they cause are the same everywhere, and the signs are not identical in different languages, therefore, “no name exists by nature, words are only randomly associated with things” 4 [Yakushin 2012: 33]. These ideas were later picked up and developed by supporters of the conventional connection between sound and word meaning.

Statements of the ancient mystic philosopher F. Nigidia (1st century BC)

BC) are of interest linguistically, since they touch upon another aspect of the problem - articulation:

“When we pronounce vos, we make a movement with the mouth associated with the meaning of the word: the lips slowly move forward, and the breath is directed towards the person to whom our words are addressed. However, nos is pronounced without breathing or protruding lips. On the contrary, in this case, the lips are pulled back, pointing to the speaker himself. Similarly, tu is the articulatory opposite of ego, and tibi is mihi ... the utterance of such words represents. Later, these ideas find echoes in the works of A.A. Potebnya: “The inventors of the language acted like a painter who, depicting grass or woody leaves, uses green paint for this: wanting, for example, to express an object wild and rough, they chose wild and rough sounds” [Potebnya 2010: 8].

Modern phonosemantics based on extensive linguistic material testifies to sound-visual universals at the level of prototypical meaning, which forms the basis of the vocabulary of many languages ​​of the world (Voronin, Levitsky, Ohala, Gazov-Ginsberg, Mikhalev, etc.). See section 2.1. Basic theoretical provisions of phonosemantics.

a natural gesture, concluded in the movement of the mouth and breathing "5 6. Charles de Brosse later wrote about the articulation underlying the motivation of the phonetic sign, associating such sound combinations in French, Latin and English languages ​​as,,, with the connotation effort to break, , - polish, slippery, and - hardness, immobility [Bross 1821].

The question of the connection between sound and the meaning of a word is also raised in the Middle Ages. St. Augustine, F. Aquinas and many other scientists of that time, interpreting the mystical works of antiquity in their own way, drew attention to this aspect of the language, putting forward various theories of the origin of vocabulary (names by contiguity, by contrast, by similarity, etc., partly affecting phonics) 7.

Over time, scientists' interest in the relationship between sound and word meaning does not fade away. In the Renaissance, philosophical thought, under the strong influence of Aristotle, takes the side of the theory of these.

The vast heritage of Antiquity served as the foundation for the understanding of sound visualization in the modern era, in which studies of the relationship between acoustic symbol and meaning are developing in the glottogonic aspect. Onomatopoietic theory of the origin of language opens with hypotheses in the spirit of fyusei. German scientist Gottfried Leibniz, interpreting a sound sign as a carrier of meaning, subdivided sounds into strong (noisy), for example [r], and soft (quiet), such as [l]: “... guided by natural instinct, the ancient Germans, Celts and other peoples related to them used the letter r to denote the violent movement and noise that this sound produces ”[Leibniz 1983: 282]. In support of his theory, the scientist gives numerous examples from the German language: rinnen (flow, flow), Rhone (Rhone river), rauben (plunder, seize), rauschen (make noise, rumble) - leben (live), laben (delight), liegen (to lie down), lind (soft, meek, gentle) [ibid: 282]. At the same time, Leibniz observes contradictions and points to words whose plan of expression does not correspond to the transmitted idea: fr. le lion (lion), eng. lynx (lynx), lat. lupus (wolf). Considering the German word der Lwe (lion), the scientist argues that the softness in the name is a consequence of the transfer of the sign (impression of the object) of the speed of the predator's running (German der Lauf - running) to the name of the animal [ibid: 283]. Pointing to the dialectic of the relationship between the plane of content and the plane of expression of the word, Leibniz makes the most important assumption about the departure of the word from its original form in diachrony: “... due to various circumstances and changes, our translation. - O. Ch.

Wed ideas of the emergence of some words associated with an indication of the forward / backward direction by W. von Humboldt [Humboldt 1984: 114], language gesture by C. Bally [Bally 2009], C. de Bross.

For details see Jakobson 2002: 15; Yakushin 2012: 39–40.

most of the words were extremely transformed and moved away from their original pronunciation and meaning ”[ibid: 283] 8.

Among Leibniz's contemporaries, mention should be made of John Locke, who supported the theory of theses: “Words arose as signs of human ideas, and not because of the natural connection between sound and meaning, otherwise there would be no linguistic diversity. Only by an arbitrary choice does a word become a sign of this or that idea ”9 10.

The question of the relationship between the plane of expression and the plane of the content of a word in the aspect of linguistic diversity was discussed by Wilhelm von Humboldt in the 19th century. According to the scientist, linguistic differences lie in the fact that the nomination was based on a different impression created by one or another object of reality due to extralinguistic factors and the very development of the language community: “linguistic differences and national divisions are associated with the work of the human spirit” [Humboldt 1984 : 47]. "Languages, apparently, always develop simultaneously with the flourishing of peoples - their carriers, woven from their spiritual identity, which imposes some restrictions on languages" [ibid: 49].

For Humboldt, a sound sign is a kind of connecting link between the subjective (inner world of a person) and objective (reality). This is the dialectic nature of the acoustic sign: a sound pronounced by a person, arising, is capable of being generated at the will of a person, however, sound is a part of reality, the phonosphere (term by M.E. Tarakanov, 2002), which is transformed by the personality itself, linking meaning with sound. Humboldt urges to consider the sounds of language not as separate bursts of articulation, but as elements of the inner world of consciousness of the speaking nation (fragments of the linguistic picture of the world), which, in turn, correlates to a certain extent with the theory of fusi11.

Humboldt pointed out three reasons for the connection between sound and meaning based on different ways of translating an idea into a word. First of all, this is direct onomatopoeia (onomatopoeia) as an iconic sign, studied in detail by semiotics later: “This method is, as it were, pictorial: like a painting depicting a visual image of an object, the language recreates its auditory image” [Humboldt 1984: 93]. This idea correlates with understanding Within the framework of modern phonosemantics, the inconsistency of phonics with its semantics is considered to be cases of relative denaturalization of the expression plan (a process occurring in diachrony under the influence of distortion of the primary nomination) [Voronin 2006], for more details see section 2.1. Basic theoretical provisions of phonosemantics.

Our translation. - O. Ch.

Commenting on Locke's words, the modern linguist M. Magnus writes about semantics, which was previously understood exclusively as a reference. These statements indicate the importance of defining the concept of meaning, which cannot be considered without taking into account all its components. This issue remains controversial today. The study of works devoted to sound symbolism allows us to assert that the sound representation of a language is closely related to the connotative component of meaning, attention to which comes to the fore in expressive linguistic environments.

As you know, not only the content plan is involved in the representation of the national picture of the world (Telia 1988;

Kolshansky 1990; Ter-Minasova 2000; Apresyan 2006), but also the plan of expression and, in particular, its phonics (Chizhova 1994;

Shlyakhova 2003; Naumova 2005).

onomatopoeic vocabulary in phonosemantics: tick-tock, buzz, whoosh, bang, howl, beep, etc.

“The second method is based on imitation not directly of a sound or an object, but of some internal property inherent in both of them” [ibid: 93]. Following in the footsteps of the ancient philosophers, Humboldt notes that an acoustic sign is capable of expressing the very essence of a thing12:

“To designate an object, this method chooses sounds that partly by themselves, partly in comparison with other sounds give rise to an image for the ear, similar to the one that arises in the depths of the soul under the impression of the object” [ibid: 93]. To confirm the idea, the scientist compares the way of articulation with the characteristic features of denotations and gives a number of examples from German vocabulary with specific semantic associations: feelings of stability - stehen (to stand), sttig (constant), starr (motionless); fast and accurate clipping - nicht (not), nagen (gnaw), Neid (envy); something unstable, restless, vaguely appearing before the senses of movement - wehen (to blow), Wind (wind), Wolke (cloud), warren (to confuse), Wunsch (desire) [ibid: 93]. “Each concept must necessarily be internally tied to its own characteristics or to other related concepts, while the articulatory feeling (Articulationssinn) looks for the sounds denoting this concept. This is the case even with external, bodily objects that are directly perceived by the feeling. And in this case, the word is not the equivalent of a sensually perceived object, but the equivalent of how it was comprehended by a speech act at a particular moment of the invention of the word. It is here that the main source of the variety of expressions for the same subject is found. "

[Humboldt 1984: 103].

The third way of connecting meaning with sound in the word Humboldt calls analogous, since it “is based on the similarity of sounds in accordance with the relationship of the designated concepts.

The similarity of sounds is also inherent in words with similar meanings, but at the same time, in contrast to the previously considered method of designation, the character inherent in these sounds is not taken into account ”[ibid: 94]. This method manifests itself in the entire system as a whole in the presence of verbal unity of a certain length. Analogy is the most fruitful of all known nomination methods. It expresses the results of the work of thought in all its integrity with the help of the same integrity of language [ibid: 94].

It is worth noting that to describe this group, Margaret Magnus suggests the terms

Phonosemantic Association and Clustering. In her concept, this type of connection is close to arbitrary:

Clustering is related to semantic categories and through this is partly related to reference, therefore Cf. the idea of ​​the essence of vocabulary (is-ness) in M. Magnus: “The essence (is-ness) cannot be translated into another language, because it is contained in the very form of the word. It refers to the area where form is inseparable from content. In this case, if the form changes, the content must also change ”, (our translation - O.Ch.) has an arbitrary element in it. It should be noted that the term Clustering illustrates the work of consciousness: under the influence of the cognitive process of categorization, objects of the surrounding reality are combined into similar classes as a side effect of the natural productive tendency to associate a form with an adequate content for it. Clustering assigns to referents with a common semantics a similar plan of expression, as, for example, in English for the semantic field of dwelling: hacienda (hacienda), hall (hall), hangar (hangar), harem (harem), haunt (refuge), haven (shelter ), hearth (hearth), hive (beehive), hogan (home of the Navajo Indians), hold (den), hole (hole), hollow (hollow), home (dwelling), hostel (hotel), hotel (hotel), house (house), hovel (hut), hut (hut), hutch (closet), etc. [ibid: 7]. According to the theory of Magnus, the Phonosemantic Association is expressed differently from language to language, therefore it is not always possible to establish a direct correspondence between the name of the same subject in different languages ​​[ibid: 8].

In this regard, it is difficult to disagree with Magnus, who asserts that, without taking into account all aspects of the nomination, the conclusion about a total arbitrary connection between phonics and semantics based on one linguistic diversity is a subjective extreme (conventionalist overgeneralization) 13. [ibid: 2–3].

The question of the arbitrariness of a linguistic sign, interpreted as the ratio of sound and meaning in a word, was investigated by Russian scientists. Linguistic monuments indicate that in Ancient Russia the monk Efimiy dealt with this problem in the XII century. Sound "semantics" is seen by him in the evaluative characteristics of the phonics of words. He distinguishes groups of sounds associated with a certain connotative component of meaning: "vowels" (vowels with pronounced qualitative characteristics), "rough" ([b], [c], [d], [d]), "thunderous" ( [k], [p], [p], [t]; their meaning is described as “rumbling” and “noisy”), “strained” ([l], [m], [n]), “dumb”, "Whispering" ([s], [h]). This classification is based on associations and impressions produced by the way of articulation [cit. Quoted from: Vasilyeva 2004: 10].

Following the monk Efimy, M.V. Lomonosov, who in 1748 in his "A Brief Guide to Eloquence" writes about the sensual sphere of a person, which influences the choice of a word and determines his plan of expression: , depths and heights; an increase in the writing E, I, b, Yu - to the image of tenderness, caress, lamentable or small things, through the I show this or that language ". We also note the opposite extreme (naturalist overgeneralization): “If some aspects of semantics are derived from phonics, then the meaning of a word is completely determined by its sound shell” [ibid.], (Our translation - O.Ch.).

you can have pleasantness, amusement, tenderness and inclination, through O, U, Y - terrible and strong things: anger, envy, pain and sadness ”[Lomonosov 1950 - 1983: 241].

In linguistics of the XIX century. A. Potebnya, for whom the word is both a means of expressing thoughts and a way of creating it. Describing the process of linguistic creation, the scientist resorts to such concepts as the symbolism of language, the symbolism (symbol) of sound, the symbol of perception, to characterize the connections that exist between the object and sound, feeling and sound, word and feeling [Potebnya 1976].

Potebnya claims that each word is represented by a set of three components, in which, in particular, the relationship between phonics and semantics is traced: “In a word we distinguish:

external form, i.e. articulate sound, content objectified by sound, and internal form, or the closest etymological meaning of a word, the way in which content is expressed. With some attention, there is no way to mix the content with the inner form ”[ibid: 174]. In the etymological analysis of related vocabulary, it follows that in a series of one-root words, the previous member may turn out to be the internal form of the next one (an ulcer (it burns, burns) - to ulcerate (ie, inflict "wounds", cause pain, "burning").

Considering this example, the scientist points to the existence of the Sanskrit root indh (to burn, to burn), directly formed from an interjection. For a given element of the etymological chain, the inner form can be a feeling that connects meaning with sound: “The connecting link here can only be a feeling that accompanies the perception of fire and is directly reflected in the sound indh” [ibid: 115]. Thus, relying on the traditions of Antiquity, A.A. Potebnya places the feeling that accompanies perception between the sound and the meaning of the word, but does so based on data obtained in the course of etymological analysis.

According to the concept of Alexander Afanasyevich, at an early stage of language development, not only a feeling is an internal form, but the sound itself was not chosen by chance: "With feeling and sound, taken together (because without sound, the feeling would not have been noticed), a person denoted the perception received from the outside." [ibid: 115]. The primary subjective connection between the impression caused by the object and the sound that denotes it develops into an objective language habit, recognized by all members of the speaking community, on the basis of a stable internal connection between the perception of sound and the feeling induced by perception. When trying to analyze the connection between the plane of expression and the plane of the content of words recognized as primary, it is necessary to turn to the study of pathognomic sounds preceding the word [ibid: 116]. It is important to note that the range of problems considered in the framework of phonosemantics allows us to touch upon this aspect. These studies are described in more detail in the section devoted to the nature of the phonetic sign, in particular, on the example of the works of A.B. Mikhalev, who connects the iconic character of a sound sign with the idea of ​​a prototypical seme underlying the lexical meaning14.

Thus, the absolute arbitrariness of the linguistic sign was questioned long before the beginning of the era of structuralism, which radically interpreted F.

de Saussure:

"Le signe linguistique est arbitraire" (arbitrary linguistic sign).

At the early stage, studies of sound symbolism were predominantly empirical and carried out mainly introspectively. Phonetic symbolism was revealed indirectly as a "side effect" of the linguistic nature in the process of thinking about glottogenesis, as well as a practical guide to literary creativity. However, this indicates that human consciousness tends to notice tendencies in the connection between sound and meaning, even in situations that are far from the purposeful study of sound symbolism.

Summarizing the arguments for and against the motivation of a linguistic sign, Emile Benveniste writes: “... this problem is nothing more than the famous: or, and it can be solved only by adopting one point of view or another. In fact, this problem is nothing more than the philosophical problem of the correspondence of reason with reality, translated into the language of linguistics.

The linguist may one day be able to use it with benefit, but for now it is better to leave it. To consider an attitude arbitrary is a way for a linguist to get away from this question ... ”[Benveniste 1974: 93].

The further formation of phonosemantics as the evolution of the ideas of theses and fusi followed the path of semiotics in many respects, however, before turning to the nature of the phonetic sign, it is necessary to consider studies of the relationship between sound and the meaning of a word on the material of the English language. In English studies, this topic has been developed since the 17th century. and is initially empirical.

With the beginning of the era of positivism and the active introduction of experiment in the humanities, the registration of sound symbolism has more evidence and objectivity.

The next section is devoted to the works performed on the material of the English language, and is directly related to the subject area of ​​our research.

1.2. Study of sound visualization in English

English mathematician, theologian and grammarist John Wallis first in 1653.

published in the work "Grammatica linguae anglicanae" a list of English sound combinations, between analyzing an example borrowed from the work of A.A. Potebni (word window), A.B. Mikhalev registers the pictorial potential of the sounds of a word, directly indicating its internal form: “Two sounds about in the structure of the word are an eloquent and optimal language gesture (open mouth with rounded lips), combining both OPENING and ROUND. The ROUND also cannot be deduced from some other meaning, it can only be shown with a gesture, therefore it can also be considered a semantic prototype capable of giving life to new meanings ”[Mikhalev 2005: 35].

str - strength (strength - strength, strive - sl - light movement (slip - slide, slide - fight, stress - effort); move smoothly);

thr - sharp movement (throw - cl - sticking, grip (cleave - to throw, thrust - to push, throb - to stick, clasp - to attach, clot - to throb); roll up).

wr - curvature (wry - curve,.

- wriggle, - wrestle wriggle wriggle);

According to the description of the history of the study of sound symbolism in the work of J.

Genette "Mimologiques: Voyage en Cratylie", in addition to the initial sound complexes, Wallis offered his own vision of the semantics of final combinations, for example:

Ash (crash, flash) means something -ing due to the combination of -ng and a high bright, shrill (about sound): crash sound denotes an extension of a small

- crash, flash - sparkle; movements or vibrations that

Ush (to crush, blush) means something that ends smoothly: ding - to ring, swing or dull, quiet: - - to hesitate;

Ink, with a voiceless crushing consonant at the end, blush - faded;

sound, denotes an abrupt end of the action: clink - rattle, blink - blink 15.

Wallis wrote about the semantics of lexemes, which can be reduced to a combination of the meanings of constituents. So, for example, in the word sparkle (to sparkle), the initial combination sp- symbolizes dispersion (spit - to splash; splash - to splash; sprinkle - to sprinkle); -ar- reflects crackling; k- is an abruptly interrupted process; and the final -l means multiple and frequent repetition (compare: wiggle - to wriggle; wobble - to tremble; battle - to fight; twiddle - to twirl; mottle - to sprinkle; etc.) [ibid: 39] 16.

Despite the fact that Wallis' analysis of sound combinations is very generalized and is not always able to explain exceptions, his approach to word structure sheds light on more about other anaphoric combinations (cr-, shr-, gr-, sw-, sm-, sp-, sq-sk-scr-), as well as epiphoric sound complexes (-angle, -umble, -amble, -imble) see Genette 1995: 37–42.

Modern linguists also isolate the meaning-forming constituent parts of words, linking their analysis with linguistic sound representation. M. Magnus decomposes words into phonetic combinations in an attempt to capture the nuances of semantics. Analyzing the strap lexeme, the scientist adds to Wallis's hypothesis a new interpretation of the anaphoric combination str- - linearity (string is a string, strip is a stripe, stripe is a border, street is a street), as well as such an interpretation for the combination -ap as an arrangement on a plane (flap - something wide, flat, lap - hem, map - map): "If you put them together, you get a flat line:" strap "".

internal syntagmatics of vocabulary, manifested in its expression plan, which consists in the positional potency of individual elements (the influence of the location of phonemes on the activation of possible connotations).

Subsequently, Wallis's ideas were picked up and developed by many linguists working with English-language material: not only sound complexes were considered as combinations of elements, but also individual sounds (Espersen 1949; Sapir 1925), and then the phonetic characteristics of phonemes themselves (for example, high front vowels convey the idea of ​​light, the absence of light is expressed by low back vowels (Tsuru 1933; Chastaing 1964;

Wissemann 1954, etc.). Research in such planes will become possible, as the aspect of the study of the problem changes: phonics and some aspects of semantics will be considered together.

In English studies, the stable connection of combinations of phonemes, as well as sound complexes with one meaning or another, is called the phonestem17. This term was introduced by John Fers in 1930 in the book "Speech" and is understood by the author as phonetic habit. To confirm his hypothesis, the scientist gives a selection of words with the initial combination sl-: slack, slouch, slush, sludge, slime, slosh, slash, sloppy, slug, sluggard, slattern, slut, slang, sly. Since words with a similar plan of expression are to one degree or another united by expressive coloration (in this case

- pejorative, as well as the idea of ​​sliding), the linguist concludes that the plan of expression is capable of accumulating a cumulative suggestive value. This process takes place in situations in which vocabulary is used affectively, what is "learning"

native speakers to one or another semantic nuance of the phonestem, and there is no connection with inherent sound-symbolism. Claiming that the effect of the phonestem is due only to a language habit, and supporting the arbitrariness of a linguistic sign, Fers, however, draws attention to the connotation of sound complexes [ibid: 184].

Along with the concept of phonetic habit in English, there are a number of similar ideas describing this trend: language training, conventional sound symbolism. The latter is interpreted as an association of specific combinations of phonemes with one meaning or another, for example, the sound complex is traditionally associated with the idea of ​​light: glitter (to shine), glisten (to shine), glow (to glow), glimmer (to flicker). Thus, each word can enter into associative relationships based on connotation, and subsequently produce a chain of analogies for the entire lexical-semantic group18.

According to O.S. Akhmanova, a phonestem is “a repetitive combination of sounds, similar to a morpheme in the sense that some content or meaning is more or less clearly associated with it, but different from the morpheme by the complete absence of morphologization of the rest of the word form: Eng. sp- in splash, spray, spout, sputter, etc. with complete meaninglessness -ash, -ay, etc. " [SLT 2012: 496].

Wed the third way of combining meaning and sound in Humboldt.

Language training in the associative concept of I. Taylor goes back to the analogous way of connecting sound and meaning in Humboldt.

Following Fers, Taylor examines language habit and notes its influence on the results of language experiments:

“In English, the phoneme [g] is found in words with the meaning“ big ”(great, grand, gargantuan, grow), and therefore the subjects (of course, subconsciously) evaluate combinations with the initial [g] as something big” [cit. Quoted from: Solodovnikova 2009: 24]. M. Magnus describes similar experiments that illustrate the “learning” of a language community in glottogenesis: “When asked to come up with quasi-words starting with a sound complex, and then give them an interpretation, the respondents provide a significant amount of material related to ideas, reflected light or adhesion, sticking, which can be explained the fact that in the English language a large number of words beginning with these sound combinations are associated with these meanings. Thus, informants use the Clustering mechanism, which turns out to be very productive ”19.

These ideas, in the spirit of Thesey theory, do not explain the choice of a particular sound (group of sounds) for nomination, but illustrate the cognitive processes of categorization from the point of view of the plane of expression.

As follows from the term phonestem, in the interpretation of this phenomenon, parallels with the morpheme are possible. This category is still debatable, since the status and degree of its conventionality are not fully determined. In this regard, the phonestem is described either as a special type of phonemic combinations, or as intermediate units located between phonemes and morphemes and, therefore, possessing dual characteristics20.

The ideas of the sound-symbolic root are developed by Leonard Bloomfield in A Semasiological Differentiation in Germanic Secondary Ablaut (1909). Analyzing the difference in the meanings of the words slink, slank, slunk21, the scientist writes about the correlation of semantics with phonetic characteristics: the difference in the meaning of these words can be explained by resorting to the expression plan. Not only these words, but also other Germanic vocabulary takes into account such a characteristic of a vowel sound as its height: “If a word containing some sound or noise contains a high pitched vowel like i, it strikes us as implying a high pitch in the sound or noise spoken of; a word with a low vowel like u implies low pitch in what it stands for ... Its far reaching effects on our vocabulary are surprising. … A high tone implies not only shrillness, but also fineness, sharpness, keenness; a low tone not only rumbling noise, but also bluntness, dullness, clumsiness; a full open sound like a, not only loudness, but also largeness, openness, fullness ... "(If the word contains a high sound, for example, the vowel [i], the impression is created that the meaning of this In this regard, when conducting a linguistic experiment to identify possible connotations created by the plan for the expression of an English-language advertising text, we turned to informants-native Russian speakers who do not speak English (for more details, see Chapter III).

For more details see: Householder 1946: 83–84; Nida 1951: 10-14; Harris 1951: 177, 188; Bolinger 1965.

slink - to sneak; slank (dial.) - walk with a sluggish gait; slunk (dial.) - to wade through the bog.

words are associated with high-pitched sound; a word with a low vowel, such as [u], indicates a low frequency associated with the idea conveyed by that word…. This has a profound effect on vocabulary. ... A high tone indicates not only a squeal, but also a small size, sharpness, sharpness; low tone means rumbling, lack of sharpness, dullness, clumsiness; completely open sound is both loudness, and large size, and openness, and fullness) 22 [cit. on:

Magnus 2001: 20].

Having carried out this research, in the monograph "Language" L. Bloomfield showed how the synonymous series can differ semasiologically, which correlates with the earliest work on the sound symbolism of the English language by J. Wallis. L. Bloomfield made an invaluable contribution to the development of the issue of sound symbolism in Germanic studies, drawing conclusions for the English language.

He was one of the first to give the study of English phonetic symbolism a scientific character, statistically processing vast empirical data, and established the following phonetic correspondences:

- moving light: flash (flash), flame [b] - dull blow: bang (hit), bat (beat);

(flame); movement in the air: fly (fly), flap - strong movement: bash (beat), (whip), flit (flutter); clash (to push), gnash (to rattle);

- stationary light: glow (glow), - strong light or noise: blare (roar), glare (shine), gleam (glimmer); stare (gaze);

- smooth and wet: slush (slush), slip [-mp] - clumsy: bump (pothole, (slide), slide (move smoothly); pothole), hump (hump, bump). [Bloomfield - loud bang, collision: crash (from 1968: 266–269].

crash with a crash), crack (crack), crunch (crunch);

- the sound of breathing: sniff (sniffing), snore (snoring); fast movement: snap (snapping), snatch (to grab);

On the material of the English language, not only consonants were studied, but also some vowel sounds. So, for example, in addition to J. Wallis and L. Bloomfield, Otto Jespersen mentions the possibility of indicating the size of an object by choosing a vowel sound. The scientist gives many interesting examples both from the body of the language itself: piece (piece), pin (thorn), needle (needle), bit (particle), kick (kick), tick (tag), and directly from the children's vocabulary: lakeil ( armchair) / lukul (large armchair) / likil (toy armchair for a doll);

mem (moon, plate) / mom, mum (large round plate) / mim-mim-mim-mim (stars in the sky) [ibid: 283].

Our translation. - O. Ch.

American research on sound symbolism was conducted by Dwight Bolinger at Harvard University. In his work "The Sign is Not Arbitrary" (1949), he gives many examples that testify to the involuntary nature of the phonetic sign, noting a number of natural linguistic tendencies in the mutual influence of the plane of expression and the plane of content, one of which is the subordination of form to content (and meaning alters a phonemic shape) : natural substitution by native speakers of one sound form for another. The new form is more preferable, since the linguistic consciousness cannot but obey the interdependence of the signifier and the signified; this is how everyday names and phrases appear (the watermelon variety Kleckley Sweet was named Crackly Sweet, Schumberger Slumber Jay, wrapped rapt, in combinations of rapt attention, rapt expression. The scientist concludes that in such expressions the form is meaningful, therefore, paronymic attraction is a natural process , characteristic not only of artistic speech, but also of the language as a whole [ibid: 56].

The scientist comes to the conclusion that advertising discourse is one of the areas of practical application of these relationships: “The ideal conditions under which to test the influence of meaning over phonemic shape are those obtaining when new expressions at the level of morphemes are deliberately created. Such conditions are infrequent, but are found occasionally in the work of poets and often in the work of advertising men. " from time to time this phenomenon is present in poetry and quite often in advertising) 23 [ibid: 57]. Bolinger cites a number of interesting product names, such as the Dreft detergent (drift paronymic attraction), noting that monosyllabic words ending in -ft tend to mean pleasant or poetic meanings: soft, oft (often), lift (inspiration), tuft (thickets (trees, bushes)), deft (dexterous) [ibid: 57].

Thus, while studying the texts of the English-language advertising discourse, our research is based on the words of D. Bolinger about the understanding of sound "semantics" as a connotation (a secondary meaning), which in the advertising context subordinates the plane of expression (the form) and is associated with denotation (the primary meaning): “In such terms, of course, the primary meaning is the product; a secondary meaning, which the seller wishes to suggest, influences the form "24 [ibid: 58].

Our translation. - O. Ch.

In the texts of modern advertising discourse, we consider this mechanism through the prism of decoding stylistics: within the framework of phonostylistics through paronymic attraction, contextual convergence of unrelated concepts takes place based on the plan of expression: One nibble and you "re Hobnobbled (Hobnobbled cookies); SHOP your SHAPE (Venus Williams sportswear ); Pure genius. Guinness (beer Guinness).

The next phenomenon that reveals the mutual influence of form and content, according to Bolinger, is the change in the content plan under the influence of the expression plan (a phonemic shape alters a meaning). This tendency manifests itself in the results of linguistic experiments in which one or another semantic association is attributed to neologisms [ibid: 58].

So, for the quasi-word smuck, the scientists obtained the following results, indicating the connotative perception of the sound complex under consideration:

Nice 2 Definitions:

Not nice 13 1. Dirt, mud 5 (No reply) 1 2. Something slimy or sticky 1

3. Worthless (low-bred, socially unacceptable) person 4

5. Stupid person 1

6. Opprobrious name for a foreigner 1

7. Slap 1 [ibid: 59] 25 At the end of the XIX and throughout the XX century. represented not only by D. Bolinger, but also by many other Englishists (H. Bradley 1927; Partridge 1938; Kirchner 1941; Charleston 1960, etc.), linguistics continues to address the study of the hypothetical connection between the content plan and the word expression plan, despite the scientific paradigm of arbitrariness language sign.

It must be recognized that the study of sound symbolism in the early stages, to a certain extent, borders on subjective perception. For example, according to Partridge, words such as clink, clank, tinkle represent metallic sounds. However, at the same time, many conclusions made at the beginning of the 20th century were confirmed by large-scale experiments (see the section on modern research in phonosemantics).

It should be noted the first attempts to classify and generalize the results of previous sound-visual research on the material of the English language, undertaken by A. Frehlich and H. Marchand. Unlike his colleagues, Hans Marchand analyzed the sound semantics of single phonemes and short phonesthemes. The scientist concludes that at the end of the word it gives additional sound and symbolizes the extension: rattle (hubbub), sizzle (hiss), tremble (tremble); nasal words at the end of the word express repetitive vibrating sounds: ring (to ring), sing (to sing), drum (to knock, drum). For each characteristic, the scientist gave many examples.

In Russian linguistics, works of a generalizing nature belong to A.M. Gazov Ginsberg [Gazov-Ginsberg 1965], and later S.V. Voronin [Voronin 1969, 2006] and his students (IB Bratus, SV Klimova, M. Ya. Sabanadze, NV Bartko, etc.).

Large-scale experiments, the results of which also indicate the sound quality of the language, are described in the paragraph on phonosemantic methods.

In 1969 S.V. Voronin offers a classification of English-speaking onomatopes in relation to their acoustic denotations [Voronin 1969].

According to this theory, onomatopoeia are:

three classes: two hyperclasses:

Instants - instant acoustic - instant-continuants - hit and follow-up hits: pip (chirp), bubble (gurgle), clack / previous hit: dump (unload, (cluck); unload, dump), plump (full,

Continuants - continuous tones or round, puffy), flap (something wide, noisy sounds: hoot (whooping, screams), flat toot);

(beep, whistle), cheep (beep); - Frequentatives of quasi-constant-continuants -

Frequentatives - fast discordant blow followed by / sequences of blows perceived by the previous blow: tramp (hard as dissonances: crack (crack), jerk to step, stomp loudly), crash (with a roar (to jerk), chirp (chirp). Destroy, break) , ring (ring, sound).

The phonetic symbolism of onomatopes is expressed in the fact that the sound elements reflect the psychoacoustic characteristics of the denotatum. So, for example, the explosive nature of the phonemotype represents a beat or shortness of sound: tap (light knock), clap (clap); the presence of an affricate is found in onomatopes, denoting chomping: munch (chomp), crunch (gnaw), champ (crunch), squelch (squelch); lateral and labial sounds, as a rule, convey the movement of air or water: leak, flow. Vowel sounds in the phonemotype of an onomatope are an indicator of the pitch and loudness of the denotation sound: pip (to peep), peep (to chirp), squeak (to screech), blare (to roar), flare (a sudden loud sound), roar (to growl, yell) [Voronin 2006 : 69-70].

The works of V.V. Levitsky made a significant contribution to the development of phonosemantics as a science in general and to the study of sound symbolism in English in particular. As a result of statistical analysis, the scientist comes to the conclusion that “almost all two- or three-phonemic combinations at the beginning of a root in English are associated with a certain meaning or a certain range of meanings” [Levitsky 1983: 14]. Following Humboldt, Levitsky divides vocabulary into three subtypes: onomatopoeic, sound-symbolic and vocabulary, the ratio of phonics and semantics of which demonstrates “connections that do not belong to either the first or the second group, the statistical significance of which is due to the“ random ”distribution of one or another root in a given language ”[ibid: 16].

Among interlingual studies in the field of sound symbolism, it is necessary to note the work of not only Richard Rhodes and John Lawler, but also Margaret Magnus, who made a great contribution to the development of the problem of sound symbolism in the English language and offered an extensive survey of works on the problem under consideration in the work “What’s in a Word? Studies in Phonosemantics ”, based on the results of which a phonosemantic dictionary was compiled.

One of the most interesting works in the field of phonosemantics of the English language is the research of N.N. Shvetsova on the study of sound-visual vocabulary in English dialects [Shvetsova 2011]. Despite numerous works in the field of dialectal vocabulary, the relationship between its form and content is considered by the scientist for the first time. Due to the increased expressiveness of dialectisms, Shvetsova managed to address various aspects of onomatopoeic and sound-symbolic groups of geographical synonyms (term by M.A. Borodina), differing in several phonemes. As a result, Shvetsova proposed the term sound-visual hyperlexeme as an invariant of the semantics realizations within the LSG [Shvetsova 2011: 20]. This study is a new step in understanding the sound-visual system of the language and one of the first works in the field of dialectical phonosemantics, which, in turn, significantly expands the range of problems considered in the framework of the sound visualization of a language in English.

Of course, in addition to English, studies of sound symbolism were carried out in other languages, for example, in French (Grammon 1930; Jordan 1937), Italian (Rosetti 1957), Spanish (Diego 1965), Greek (Joseph 1994), Swedish (Abelin 1999), Russian (Germanovich 1961; Shlyakhova 2003, 2006) and others.

Many works on sound symbolism are based on the key provisions of semiotics. In this regard, the coverage of the stages of the formation of phonosemantics will not be complete if you do not touch on the nature of the linguistic sign itself in the aspect of the plan of expression.

1.3. Sound imaging in a semiotic aspect

The ancient dispute about the nature of the linguistic sign Thesei - fusi touched on the 20th century, however, the discussion about the phonetic "meaning" unfolds within the framework of semiotics. In 1916, F. de Saussure's "Course in General Linguistics" was published, in which the linguistic sign was recognized as arbitrary.

Subsequent versions of the natural connection between sound and meaning ran counter to the ideas postulated by Saussure and his students: "Saussure's dogma rejected all speculations about the hypothetical motivation of the signifier and about the expressive or mimic connection of sounds with meanings in the ghetto of fantastic constructions or completely peripheral facts not controlled by science." [Mikhalev 1995: 16].

As you know, linguistic signs have two natures - form (signifying) and content (signified). Returning to the theory of Theses, Saussure argues that the meanings of words are the result of a collective agreement between the speakers of a particular language. There is no motivated connection between the meaning and its form (acoustic shell) - a linguistic sign should be understood as arbitrary: "... every way of expression adopted in a given society mainly rests on a collective habit, or, what is the same, on an agreement", which " is fixed by the rule, it is this rule, and not the inner significance, that obliges us to use these signs. ... When semiology takes shape as a science, it will have to raise the question whether the ways of expression based on signs are fully "natural" within its competence. " ... But even if semiology includes them among its objects, nevertheless, the main subject of its consideration will remain the totality of systems based on the arbitrariness of the sign ”[Saussure 1977: 101].

For many years Saussurian ideas divided linguists into two groups - for and against the natural connection between the external form of the word and its meaning. Even within the "camp" that took the side of the fyusei theory, its own polarization was outlined. Among those who allowed a connection between the sound and content of the word, linguists stood out who support the idea of ​​a partial arbitrariness of a linguistic sign, which is especially characteristic of onomatopoeia (Sainean 1925; Brown 1958; Lyons 1968; Weinreich 1968, etc.). On the other hand, scientists believed that the direct onomatopoeic connection extended beyond onomatopoeia (Koziol 1937; Thun 1968; Tanz 1971, etc.). According to D.A. Faris, an appeal to the semiotics of C.S. Peirce is a search for the golden mean in an attempt to test the hypotheses put forward. YES. Faris urges: “… not to cling to the opinions of Saussure or his opponents, or to that of the majority, but to investigate the matter objectively and dispassionately. Peircian semiotic provides, in the concept of iconicity and indexicality, the ideal tools for this investigation. " such a study) 26.

Semiotics was formed largely thanks to the works of the American philosopher and logician C.S. Peirce, who proposed a classification of signs: symbols, indices, icons.

According to Peirce, a symbolic sign reflects a conditional connection between itself and its content.

Thus, communication with the referent, based on a certain agreement, is motivated. Traffic light colors are a typical example of a symbolic sign, where the relationship between color and its meaning is determined by convention. According to A.E. Kibrika, for symbols between the signified and the signifier there is no "useful"

intercom 27. A symbol is a completely conventional sign.

Symbols are opposed by signs-icons. Iconic signs reflect similarities, visual or acoustic similarities between the sign itself and its referent. In this case, the signifier, or the material outer side of the sign, is set by the signified, or the ideal inner side of the referent, and therefore the plane of expression of such a sign is similar to the plane of content, just as the picture is completely determined by the object depicted on it.

Ch.S. Peirce defines the signs-icons in a connotative-associative perspective - the properties of our Translation. - O. Ch.

Electronic resource: http://www.krugosvet.ru / enc / gumanitarnye_nauki / _lingvistika / IKONICHNOST. html? page = 0.3 (date accessed: 30.06.2014).

the sign itself evokes in the interpreter associations analogous to the impressions received from the object, which it designates. Since iconicity is based on a property common to both the sign and its referent, iconic signs are representatives of a number of situations and phenomena. According to Pearce, "... an icon doesn’t relate to any particular thing ..."

(... the icon-sign does not refer to any specific object) 28 [cit. from: Pharies 1985: 38]. "This is because the respect in which icons agree with their objects is a mere community of qualities, and since these qualities are abstract, universal attributes, they can refer to things only in a general way" correlate with their objects as some kind of community, and since the qualities of objects can be abstract, universal, these signs can relate to objects only in general terms) 29 [ibid: 38].

It is generally accepted that index signs occupy an intermediate position between icons and symbols, since their signified is built according to the principle of association with the signifier. Indices serve as an indicative function, much like smoke is a sign of fire.

All three types of sign, being in interaction, form the unity of the perception of the situation. They are constantly used by the consciousness constructing language. Ch.S. Pierce explains this idea by interpreting the It rains sentence, in which the iconic sign is a "mental photograph"

(mental composite photograph) of all days defined by consciousness as rainy; an index is everything by which a particular day becomes a representative of a category, and a symbol is a mental act, thanks to which the day is called rainy 30.

Emile Benveniste, who advocates the involuntariness of the linguistic sign, writes:

“... the mind accepts only such a sound form that serves as a support for some idea that can be identified; otherwise, the mind rejects it as unknown or alien. Consequently, the signifier and the signified, the acoustic image and the mental representation are in reality two sides of one and the same concept and together constitute, as it were, the containing and the content. The signifier is the sound translation of an idea; the signified is the mental equivalent of the signifier. This combined substantiality of the signifier and the signified ensures the structural unity of the sign "

[Benveniste 1974: 92–93].

In turn, G.P. Melnikov gives a logical and philosophical explanation of the involuntary nature of a linguistic sign in terms of necessity and balance: a really existing functioning sign system, including the linguistic one, establishes a dynamic balance of these opposite tendencies, and it is fundamentally impossible to understand the true nature of such a system without taking into account the component of motivation ”[Melnikov 1969: 5].

The concept of phonetic semiotics, proposed by M. Magnus in his dissertation "What" s in a Word? Studies in Phonosemantics ", 2001 seems interesting. Following Humboldt, the scientist divides cases of sound symbolism into three subtypes: Onomatopoeia, True Iconism and Phonosemantic Association (Clustering) . In the concept of Magnus, an arbitrary correlation between the sound and the meaning of vocabulary is presented in the subgroup Phonosemantic Association (Clustering) - this is the mechanism underlying the sign-symbol. At the national level, the choice of the linguistic form is impossible, and therefore the phonetic sign, taken for granted, is arbitrary: " In any era, no matter how far into the past we go, language appears as a heritage of the previous era. ... In fact, every society knows and has always known the language only as a product that is inherited from previous generations and which should be accepted as it is ”[ Saussure 1977: 104-105]. It is in this vein that Emile sees the arbitrariness of the linguistic sign. ь Benveniste: “Arbitrariness lies in the fact that some one sign, and not some other, is applied to a given, and not to another element of the real world. In this, and Electronic resource: http://www.krugosvet.ru/enc/gumanitarnye_nauki/lingvistika/IKONICHNOST.html?page=0.3 (date of access: 30.06.2014).

only in this sense is it permissible to speak of randomness, and then, perhaps, rather, not in order to solve the problem, but in order to outline it and temporarily bypass it ”[Benveniste 1974: 93].

At the same time, each collective consciousness has a motivating power and marks in a special way certain characteristic features of objects of the surrounding reality due to their connotative perception: “Living language exists only in the minds of people speaking it, the laws of language are explained by the laws of the human mind. ... Contacting life, language is saturated with affectivity, each word can receive an estimated value ”[Bally 2009: 8]. Thus, in the arbitrarily acquired linguistic material, the involuntary nature of the linguistic sign as a creative impulse of the speaking collective is manifested (cf. Humboldt 1984). In this case, other types of signs (index and iconic) are represented, mediated by certain properties of the described object, selected in a particular language. In other words, the picture of the world is reflected in the language not only through vocabulary, but also through the plane of expression, forming a specific phonosphere (Chizhova 1994; Naumova 2005;

Shlyakhova 2003, 2006).

The idea of ​​the phonosphere31 (sound sphere, sonosphere) is introduced into science by M.E. Tarakanov, by analogy with the concepts of biosphere and noosphere, and is being developed in linguistics by S.S. Shlyakhova. The phonosphere is on the verge of the biosphere and the semiosphere, since it is formed by both natural sounds and the sounds of the natural language of man. Generalizing various sound codes (bioacoustic, musical, linguistic), the phonosphere becomes part of the semiosphere and, as a result of intellectual action, enters the noosphere of a particular linguistic community: diverse biological (unrecognized by humans) and semiotic (perceived by humans) sound systems ”[ibid. 2003: 6].

Onomatopoeic and sound-symbolic layers of vocabulary demonstrate the process of semiotization of a sound linguistic sign and, under the influence of specific extralinguistic factors, turn a phonetic sign into an involuntary one. The phonosphere is a significant component of the semiosphere, since sound codes are involved in the communication process and reflect the previous cultural experience of the language community.

Marking a linguistic sign and, consequently, giving it motivation is manifested not only within the framework of a particular language, but also on a global scale, i.e. at the level of phonosemantic universals. M. Magnus characterizes these universals (True Iconism) as having the least specific meanings (least salient), where form is inseparable from meaning (form Phonosphere is a musical component of human life in the broadest sense, i.e. sounds of the surrounding reality. The term was proposed by M. E. Tarakanov (for more details see Tarakanov 2002).

literally is meaning) and represents the very essence of the object, objectified by means of phonetic form as much as possible in language (It is purely meaningas-form).

In this case, we are talking about the manifestation of a sound iconic sign, which is fixed on the material of many close synonyms, for example, in these strings of words that form a single semantic field:

flit, flitter, float, flutter, fly;

stamp (to stomp, to press), tramp (to step hard), tamp (to fill, to fill), tromp (to press, to press sharply), step (to step, to step), stomp (to stomp).

M. Magnus comes to the conclusion that the main difference in the semantics of these synonyms is represented through the expression plan: “In the first class, the final [makes the movement repetitive, the short makes the movement quick and short. In the second class, a pre-final [m] makes the contact with the ground heavy. A pre-vocalic [r] makes the motion go forward, and so forth. " [r] is the energy of forward movement) 32 [ibid: 7].

These ideas find echoes in the works of V.V. Levitsky. According to the scientist, the very differential features of phonemes can be perceived as an iconic sign. Thus, sound-visual universals are objectified [Levitsky 1998].

Based on the data obtained in the course of interlingual experiments, Levitsky fixes the following correlations between the meanings and distinctive features of phonemes:

Meaning Differential sign Large voiced, trembling, posterior row, lower elevation Small deafness, laterality, anterior row, upper elevation, medium elevation Strong voiced, stop-fricative, explosive, trembling, posterior row, labialization Weak deafness, sonority, laterality, anterior row , non-labialization Fast bowing, explosiveness Slow sonority, fricativity [Levitsky 1998: 27] Summarizing the vast interlanguage data, the scientist concludes about the hypothetical universality of sound symbolism, presented in the form of phonetic invariants.

The iconic character of the sound representation of a language is expressed through individual phonemes, as well as their features, describing a number of objects that have similar key features.

Our translation. - O. Ch.

Since a phonetic iconic sign is not an indication of the object itself, but only of its typical characteristics, it is possible to convey associations built on connotations with the help of a sound form. According to M. Magnus, the expression plan does not reflect the denotative component, but it can indicate connotations: "It only directly affects our understanding of what the word" s referent is like, the word "s connotation" (The expression plan directly affects our perception what the referent of a word is, i.e.

to its connotation) 33. So, the sound shell of brump is not able to reveal the referent, but if this word denotes, for example, an action, then it will have an energetic character of a breakthrough [ibid: 3].

Empirical data from Antiquity to the present day indicate a certain phonetic associative "semantics". If a linguistic sign were only a symbolic relationship between the signified and the signifier on the basis of a convention (signs-symbols), then the forms of the language would not have repetitions. However, the observed tendencies to express a particular meaning with a fixed set of phonemes, i.e. through their binary oppositional signs (hardness - softness, high - low rise34, etc.), they manifest themselves in different unrelated languages. According to A.E. Kibrika, “the last decades of the XX century.

are characterized by a gradual “insight” of linguistics, freeing itself from Saussure's dogma and revealing a lot of evidence of the inadequacy of the concept of linguistic reality fixed in it ”[A.E. Kibrik] 35. Inattention to the motivation of a linguistic sign, according to the scientist, has a negative effect on scientific research, because if the sign is arbitrary and arbitrary, then “any content is encoded in the language in an arbitrary way, therefore nothing can be said about its form in terms of content, and, on the contrary, the form does not give no hints as to what its content is ”, and all the accumulated information illustrating the involuntary nature of a linguistic sign simply does not participate in linguistic analysis [ibid.].

Having defined the signs-icons as pictorial forms for which the connection between the signified and the signifier is similarity, semiologists clarify the idea of ​​the arbitrariness of the sign and open the way for the science of phonosemantics, providing it with a philosophical and theoretical methodological basis.

The connection between sound and meaning is investigated not only within the framework of such sciences as philosophy, linguistics, and semiotics. Phonetic symbolism was also noted in the literary work of various masters of the word: A. Pope, I. Goethe, O. de Balzac, V. Hugo, A. Rimbaud, M. Proust, and others.

(for more details see: Genette 1995). Sound-color associativity (the term of L.P. Prokofieva) is inherent in many texts of artistic discourse. In the concept of L.P. Prokofieva (2009) sound Translation is ours. - O. Ch.

See Trubetskoy 1960 for more details.

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is considered as one of the types of sign, in the decoding of which several modalities are involved at once. The creativity of symbolists, futurists (texts in which the sound shell of a word is a synesthetic principle) is investigated both in our country (Jacobson 1987; Arnold 1967;

Pavlovskaya 1999; Pishchalnikova 1999; Fadeeva 2004; Prokofiev 2009; Solodovnikova 2009;

Marukhin 2014) and abroad (O'Malley, 1957; Mitchell, 1988; Day, 2001).

Of course, the description of the history of studying the sound visualization of a language is not limited to this section. Other studies examining the motivated connection between the plan of expression and the plan of vocabulary content, conducted since the middle of the 20th century, are described in the paragraph on methods of studying sound symbolism. It was this period that significantly influenced the formation of phonosemantics as a science, paving the way for identifying methods specific to this discipline.

An appeal to the basics of semiotics is necessary for our research, carried out within the framework of the English-language advertising discourse, since the advertising text is the embodiment of linguistic pragmatics and semiotic laws. The phonetic motivation of a linguistic sign as a representation of iconism is one of the foundations that make up the suggestion of an advertising text. The very essence of the dominant characteristics of the advertised object can be shown through the phonics of the text, which in this case plays the role of an iconic sign as the basis for further categorization of reality. In the center of the image (visual, poetic, auditory, advertising, etc.) there is an iconic sign that evokes in the recipient similar associations based on real life experience. These associations can be attributed as connotations to a completely new situation. Such relationships between the advertising text and the object described by it are characteristic of advertising discourse, when the accentuation of the form of presenting the message knowingly determines the perception and attitude of the recipient to the subject of communication: “If a word begins with [b], in other words, this says nothing about whether the word refers to a noise or an animal or a color. Rather the [b] tends to make the noise loud and sudden, the animal large and dangerous, and the color either very dark or very bright. " eg sound, or animal, or color. However, [b] rather indicates that the sound is loud and sudden, the animal is large and dangerous, and the color is either very dark or very bright) 36. ... This aspect of advertising is discussed in detail in the third part of this work.

A sign in general, and a linguistic one in particular, is considered as a unity consisting of four components: a representative (according to Ch.S. Pirus), or a sign means (according to Ch. Morris) - a form, designat or object; content, which by means of interpreters (the way of their correlation) enter into a relationship, and semiosis is possible only if there is our translation. - O. Ch.

an interpreter that is an integral part of the process. According to T.A. Prutskikh, “in terms of phonosemantic theory, the sign can be interpreted as follows:

sound is form, meaning is content, the interpreter is, in essence, an indicator of the connection between sound and meaning, and the interpreter is consciousness that establishes the nature of the relationship between form and content, that is, determines the sound-symbolic meaning "

[Prutskikh 2008: 130]. It should be noted that this idea is presented in the style of decoding as a theory of images in the aspect of tertium comparationis. According to this theory, the structure of the image distinguishes between: denoted (tenor) - that which is discussed in the literary text, and denoting (vehicle) - that with which the denoted is compared; the ground of comparison (ground) is a common for the compared concepts, expressed by a particular type of trope [Arnold 1990: 77]. These ideas are relevant for the study of advertising texts, in which, as you know, an image of a product / service is created, and in this study, a connotative acoustic-articulatory image.

Summing up the above, it should be noted that sound visualization is one of the aspects of the semiosis of a linguistic sign. Symbolic, index, iconic signs interpret the relationship between form and content in different ways. The linguistic sign-symbol demonstrates the connection between sound and meaning as language training, conventionality, or, according to Humboldt, a similar nomination. Index and iconic linguistic signs indicate the involuntary nature of acoustic nomination within the framework of associative perception. All acoustic signs in anthropic space, by analogy with the semiosphere, create a phonosphere.

These connections are inherent in thinking as a whole; they are the basis for the creation of an image and an archetype, the key concepts of advertising discourse. Modern advertising techniques are linguistic manipulation of the recipient based on the cognitive mechanisms of linguistic consciousness.

The result of such an impact is the formation of a media advertising picture of the world, and the phonetic sign is its constituent.

Studies of the 20th century, revealing the mechanisms of the connection between sound and meaning in a word, provided a significant evidence base for the advancement of a new, independent linguistic science (phonosemantics), which has its own object, subject and method, the description of which is devoted to the next paragraph.

§ 2. Phonosemantics as an integrative science

2.1. The main theoretical provisions of phonosemantics In the field of sound symbolism, a huge empirical material has been accumulated, illustrating the relationship between phonics and semantic association (connotation) of a word, which defies description by traditional theoretical concepts. An integrative approach comes to the rescue, as a result of which hybrid, joint, borderline sciences are born, one of which is the linguistic discipline of phonosemantics. This section examines the interdisciplinary nature of phonosemantics, its methods, modern studies of the sound representation of a language, pays attention to critical remarks, and also reveals applied aspects, in particular, in advertising discourse. However, first of all, it is necessary, as far as possible, to state in detail the main theoretical provisions of this discipline, namely, to describe its object and subject.

Despite the fact that at all times there has been a great interest in the sound-visual system of the language, phonosemantics is a fairly young science. However, in the latest dictionaries, there is no definition of phonosemantics with very detailed definitions of its integral elements: sound symbolism, phonetic symbolism, phonostylistics, phonostema, onomatopoeia, sound representation, etc. ... The birth of the science of phonosemantics is a natural process of the development of linguistic thought.

The founder of the St. Petersburg phonosemantic school S.V. Voronin described this scientific discipline as follows: it is born at the junction of phonetics (according to the plan of expression), semantics (according to the plan of content) and lexicology (according to the combination of these two planes) [Voronin 1990: 21].

The purpose of phonosemantics is “the study of ZI37 as a necessary, essential, repetitive and relatively stable involuntary phonetically (primarily) motivated connection between the phonemes of the word and the sign of the denotatum object, which is the basis of the name” [Voronin 2006: 22].

The object of phonosemantics is the sound-imaging system of the language, the subject is the sound-imaging system of the language, studied taking into account three aspects: spatial, i.e.

topical (linguistic area), temporary, i.e. panchronic (a combination of synchronicity and diachrony), and genetic. Thus, the visualization of the language is considered in pantopochrony. The study presupposes an appeal to the linguistic phenomena of both one specific linguistic area and any combination of them [ibid: 21-22].

As noted above, phonetic symbolism is mainly determined by the parameters of the reflected object. L.S. Vygotsky believed that “... a means of communication is a sign, a word, a sound. ... Sound itself is capable of associating with any experience, with any content of mental life, and therefore transmit or communicate this content or this experience to another person. ... Just as communication is impossible without signs, it is sound-depicting. - Auth.

impossible and without meaning. In order to convey any experience or the content of consciousness to another person, there is no other way than to refer the transmitted content to a certain class, to a certain group of phenomena, and this ... certainly requires generalization. ... Thus, the highest forms of psychological communication inherent in a person are possible only due to the fact that a person, with the help of thinking, reflects reality in a generalized way "

[Vygotsky 1999: 16].

It is difficult to disagree with the fact that the surrounding reality, as well as the concepts of the inner world of a person, constitute two types of phenomena - producing sounds or associated with them and soundless. In this regard, one of the main theoretical provisions of phonosemantics is the assertion that the psychophysiological basis of perception can be sound as such (denotatum-sound) and non-acoustic denotatum. Consequently, the sound-visual system of the language is divided into onomatopoeic and sound-symbolic [Voronin 2006].

In the light of all of the above, it is important to note the terminological inaccuracy in the criticism of phonosemantics provisions. So, for example, in the work of O.E. Znamenskaya does not make a clear distinction between onomatopoeic and sound-symbolic vocabulary: “... to overcome the obvious counterargument (the absence of an acoustically motivated meaning in most words), the supporters of phonosemantics use the idea that not only those words that are felt by modern native speakers are sound visual. unconditional phonetic motivation, but all those words in which this connection in the course of linguistic evolution turned out to be darkened, weakened and even at first glance completely lost, but in which with the help of etymological analysis (supported by “external” typology data) this connection is revealed ”[ Znamenskaya Non-differentiation 2009: 21].

fundamentally different mechanisms for the emergence of onomatopoeic and sound-symbolic subgroups, the last of which can be formed as a sound trope (for more details, see below), casts doubt on such interpretations of phonosemantic ideas in general.

Within the framework of onomatopoeia, we are talking about acoustic denotations expressed in linguistic form by means of onomatopes: the sound emitted by an object is the basis for the nomination of onomatopoeic words. The result of psychophysiological processing of the sound parameters of the denotation (pitch, volume, sounding time (instant sounds - beats and non-instantaneous

- strikes), regularity as the frequency of oscillations (tone strikes and noises), dissonance (for example, jitter)) becomes the choice of the type of phonemes that form the onomatopoeic word. As noted in the previous paragraph, in 1969 S.V. Voronin proposes a classification of onomatopes with respect to their acoustic denotations, which will later be considered as a successful attempt to create a universal concept of onomatopoeia: “Development of a comprehensive classification of denotation sounds is one of the tasks facing phonosemantics” [Voronin 2006: 44].

If the sound-visual vocabulary is based on a sounding denotation, i.e. sound, then the sound-symbolic vocabulary is formed under the influence of a non-acoustic denotation - non-sound (SV Voronin's term) - by reflecting its characteristics. The perception of these signs is a sensation of various modalities, with the exception of auditory.

O. Jespersen argued that sound-symbolic words, as a rule, express movement, appearance, size and shape of things, remoteness of objects, as well as emotional assessments of the speaker, for example, disgust or discontent. So, for example, vocabulary with a pronounced negative and pejorative connotation has in the composition of the sound envelope an element similar to phonemes [n], directly related to involuntary phonations accompanying various mental states (poor health, disgust38), however, this vocabulary is not onomatopoeic: nausea (nausea), rank (smelly), stink (stench) 39.

The basis of the nomination of sound-symbolic words is formed by various features of objects, expressed with the help of synesthemy and kinem (terms of S.V. Voronin).

In phonosemantics, kinemes are understood as mimic movements of a different nature:

reflex (cough, breathing); "Expressive" accompanying emotive and mental processes; mimic imitation of the parameters (shape, size) of the object. A study of the sound symbolism of facial movements is presented in the works of Charles Bally: “When pronouncing rounded vowels, the lips protrude; this movement, even outside of speech activity, expresses a bad mood, mockery, contempt: bouder “sulk” ... It should also be noted that our vocal organs produce mutatis mutandis the same symbolic movements as our hands ... ”[Bally 2012: 148] ...

Empirical evidence from the English language indicates that large objects tend to contain sounds that require a large mouth opening, such as broad, formidable, tall, vast , large, etc. 40. These movements, It is worth noting that among the linguistic material that made up a wide body of research, advertising texts, the expression plan of which contains phono-stylistic repetitions of this phoneme, are rare: advertising is designed to form a positive image of the described object or service; this image also includes associations arising from the perception of the phonics of the text. It will probably make sense to assume that, due to these conditions, such alliterations are infrequent in advertising discourse, as the statistical processing of a wide body of research shows.

Etymological onomatopoeia is possessed by the lexical unit moan (groan) and its derivatives included in this group.

Wed ideas of V.V. Levitsky about the pictorial potential of phonemic features, in particular, the value of a large one can be represented with the help of such differential features as voicing, trembling, back row, lower rise [Levitsky 1998: 27].

extrakinemas, “often serve as mimic imitations of the processes and forms of external nature, and the sound complexes generated by such movements subsequently become, replacing the mimicry itself, designations of the depicted external processes” [Gazov-Ginsberg 1965:

73]. This is where the iconic property of sound-symbolic vocabulary is manifested. Following the hands, depicting non-standard visual characteristics of the denotation in the process of oral communication, the organs of speech indicate the redundancy of one or another quality. It is worth noting that phonemes are also present in the composition of some words with a characteristic emotional coloring - intrakinem: appalling (scary), alarming (alarming), etc. always having only negative connotations: awesome (terrifying, amazing), startling (amazing, amazing), awful (terrible, reverent). Thus, intrakinemas (facial gestures that accompany internal emotive processes) are in many ways a reflection of reality, since they express the emotions that arise in a person due to how he learns and evaluates the world around him. According to E.S. Kubryakova, “language, being connected in different ways with two aspects of human consciousness, embodying the unity of the reflection of the world and the creatively transforming role of people, not only reflects, but also creates to a certain extent, since the achieved results are recorded in the language, in its units knowledge that is always included in subsequent experience and synthesis of thinking ... ”[Language nomination 1977: 10].

The next phenomenon that determines the formation of sound-symbolic vocabulary is synesthemia (literally, co-feeling + co-emotion). S.V. Voronin first introduces this term and gives it a definition: “By synesttemia we mean various kinds of interactions between sensations of various modalities ... and sensations and emotions, the result of which at the first signal level is the transfer of the quality of sensation (or the transfer of nerve impulses), at the second level - transfer meaning, including the transfer of meaning in a sound-symbolic word ”[Voronin 2006: 77]. As follows from this definition, synesthemia is based on the phenomenon of synesthesia, namely the intermodal phenomenon of the transfer of the quality of one modality to another. Intermodality manifests itself, for example, during sound experiences during the perception of color, and also vice versa - “color hearing”. There are also known cases of additional gustatory and tactile sensations. As a result of his research, L.P. Prokofiev comes to the conclusion that many masters of the word were synesthetics (V. Khlebnikov, V. Nabokov, E. Po, K. Balmont, A. Bely, etc.). For them, polymodal sensations were a kind of fundamental principle of speech, “metaphysics of the alphabet” [Prokofieva 2009: 31].

The influence exerted by the sensation of one modality on the sensation of another can lead either to an accumulation or to a decrease in the amount of one sensation under the influence of another:

“Along with synesthesia, cases of this kind are especially significant for understanding the psychophysiological basis of sound imaging” [Voronin 2006: 81]. With such an accumulation, the transition of sensations from the sensory to the purely emotional sphere is possible, where a positive or negative attitude towards the perceived (pleasant / unpleasant) indicates the transfer of sensation that has occurred.

The introduction of a new concept - synesthemy - into phonosemantics is necessary, since synesthesia does not affect the phenomena of the emotional sphere and cannot describe this process at the linguistic level: "Synesthemia is a psychophysiological universal underlying sound-symbolism as a linguistic universal" [ibid: 86]. At the linguistic level, the phenomena of the sensory sphere are associated with emotions not through sensations as in synesthesia, but through the meaning of a sound-symbolic word, and, therefore, the cognitive process refers to the area of ​​the semiosphere (in this case, the phonosphere).

Sound symbolism is considered by linguists as a special case of synesthesia (Peterfalvi 1970; Marx 1978; Gorelov 1990). The American psychologist L. Marx argued that synesthesia is inherent in all of humanity and is a pre-language form of categorization [cit.

Prokofiev 2009: 3]. G. Benedetti believes that, unlike an animal, intermodal associations are characteristic of a person, among which the word takes the first place: a person masters the skill of nomination precisely thanks to synesthetic associations based on information coming through various channels (visual, acoustic, tactile).

The senses interact through associative connections in the cerebral cortex. Under the influence of a conditioned stimulus (in this case, words), changes are induced in one of the sense organs, which, in turn, can affect the state of the other receptor. According to S.V. Kravkov, such a chain of reactions “opens up countless possibilities for the influence of the senses on each other” [Kravkov 1948: 86; cit. according to: Voronin 2006: 79] and gives practical application to phonosemantic phenomena. Thus, "... understanding the phonosemantic nuances can make it possible to develop a system of methods of influence in the process of speech, which is significant both for the theory of language and for the applied purposes of advertising, PR, video and audio presentations"

[Prokofieva 2009: 43].

R. Brown, and although he spoke out against the connection between synesthesia and sound-symbolism, saying that:

“Sound symbolism should not be reduced to synesthesia for the reason that studies of synesthesia usually gave significant individual discrepancies”, numerous phonosemantic experiments of L.P. Prokofieva, M. Magnus, I. Yu. Pavlovskaya, N.A. Naumova et al. Showed that the phenomenon of synesthesia as an analogue of the picture of the world is not only a component of idiostyle, but is also produced and can be perceived by the recipient both on a universal, individual and national scale [Prokofieva 2009: 42].

In the synesthetic process, the psychophysiological basis of sound-symbolism, the object of the transfer of "sensation" is the meaning of the sound-symbolic word. S.V. Voronin based on the experimental work of S.L. Rubinstein, S.V. Kravkova and many others argue that synesthesia is a universal phenomenon inherent in every person and at the linguistic level is a linguistic norm, fixed in metaphorical combinations: soft voice (soft voice), bitter sense of shame (painful feeling of shame), fuzzy thoughts (vague thoughts ), loud colors (flashy colors), etc. L.P. Prokofiev in his work "Sound-color associativity in linguistic consciousness and literary text: universal, national, individual aspects" concludes that "synesthetic laws are clearly distinguished in linguistic consciousness at the level of unconscious mechanisms of right-hemispheric thinking, which constitute the universal basis of polymodal perception ... ... The linguistic consciousness of native speakers of Russian, English or any language in general is formed taking into account the mass of extra-linguistic factors that allow one to go from the unconscious to the subconscious level, where natural, cultural, confessional, symbolic and many other signs are recorded ... ”[Prokofieva 2009: 42].

The fundamental principle of phonosemantics is the idea of ​​the involuntary nature of a linguistic sign. This principle illustrates the general interconnection of phenomena and objects of the real world, both in particular and in general. The principle of arbitrariness of a linguistic sign, postulated by F. de Saussure, according to R. Jacobson's succinct remark, “itself turns out to be arbitrary” [Jacobson 1965: 396]. "F. de Saussure, the founder of systemic linguistics and to a large extent the herald of the systemic approach as a general scientific phenomenon of the 20th century, put forward the principle of the arbitrariness of a linguistic sign as the fundamental principle, which in any interpretation turns out to be contrary to the very idea of ​​systemicity ”[Voronin 2006: 29]. Saussure's idea has been criticized by many famous linguists, for example, such as Otto Espersen: “De Saussure gives as one of the main principles of our science that the tie between sound and sense is arbitrary and rather motiveless ... and to those that would object that onomatopoeic words are not arbitrary, he says that “they are never organic elements of a linguistic system.

Here we see one of the characteristics of modern linguistic science; it is so preoccupied with etymology that it pays much more attention to what words have come from than to what they have come to be .... In the course of time, languages ​​grow richer and richer in symbolic words .... Sound symbolism , we may say, makes some words much more fit to survive .... Echoism and related phenomena - these forces are vital to languages ​​as we observe them day by day. " and an unmotivated connection between sound and meaning ... and to those who would object, citing the involuntary onomatopoeia as an example, he replies that “onomatopes are marginal elements of the language system” ... In this we see one of the characteristic features of modern linguistics: it is so busy with etymology that she is more interested in the past state of the word than in what it has become now. ... Over time, more and more symbolic words appear in languages ​​... symbolism allows words to last longer in the language. ... Iconism and related phenomena are the powers of languages ​​that allow them to maintain vitality from day to day) 41.

In addition to Saussure, the idea of ​​the arbitrariness of the linguistic sign was expressed by other linguists of the 20th century. So, for example, Charles Hockett (1958, 1963), in whose works the phonics of vocabulary is interpreted as “design features of language”, said: “The relation between a meaningful element in language and its denotation is independent of any physical and geometrical resemblance between the two. The semantic relation is arbitrary rather than iconic ... "(The relationship between a significant linguistic unit and the meaning conveyed by it does not depend on any physical and geometric analogies between them. The semantic relation is rather arbitrary, not iconic) 42 43. As it was noted earlier, R. Firs (1986), who proposed the term phonestema, generally adhered to the idea of ​​the conventionality of a linguistic sign, since, in his opinion, the sounds of a language in themselves do not express anything: "... the sounds of words in themselves paint nothing" [ibid.].

Linguists still write about the absence of a direct connection between the plan of expression and the plan of the content of the word: “In general, it can be said that the fundamental principle of the arbitrariness of a linguistic sign, proved on numerous examples, both monolingual and multilingual, is ignored by the supporters of phonosemantics in favor of the archaic recognition of unity sound and meaning ”[Znamenskaya 2009: 22]. However, in the criticism of phonosemantics, there are neither numerous examples indicating the arbitrariness of the linguistic sign, nor references to supporters who support this idea. At the same time, the lack of motivation of the linguistic sign destroys the systemic approach to the language, jeopardizing the stability of the entire system. The concept of a system is defined as a set of elements in relationships and connections with each other, which forms a certain integrity [Philosophical Dictionary44]. As you know, the word system, i.e. its unity is formed by two sides: the plane of expression and the plane of content (the signifier and the signified). “Having deprived the word system of the connection between the elements, the researcher deprives it of its structure; a system without a structure is no longer a system ”[Voronin 2006: 27]. It is worth Our translation - O.Ch.

Our translation is O.Ch.

Electronic resource: http://www.percepp.com/soundsmb.htm (date accessed: 20.02.2014).

Electronic resource: http://www.philosophydic.ru / sistema (date of access: 20.02.2014).

also note that the arbitrariness of a linguistic sign contradicts the philosophical principles of determinism, reflection and interrelation of form and content, which determine the emergence and development of various phenomena.

In addition to philosophical principles in defense of sound symbolism, linguists appeal to logic:

“Is there really much more logic in the opposite extreme which denies any kind of sound symbolism (apart from the small class of evident echoisms and“ onomatopoeia ”) and sees in our words only a collection of accidental and irrational associations of sound and meaning? ... Sounds may in some cases be symbolic of their sense even if they are not so in all words ... There is no denying that there are words which we feel instinctively to be adequate to express the ideas they stand for " the opposite categorical assertion that there is no sound symbolism (except for a small group of iconisms and "onomatopes"), and the word is just a random irrational combination of sound and meaning? ... It is impossible to deny that we instinctively feel that some words are meant to to express the ideas that they represent) 45;

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