Semantics of the Concept "Yard" in the Work of A.I. Solzhenitsyn "Matrenin Yard"

Shagbanova Khabiba Sadyrovna Doctor of Philology Professor, Department of Philosophy, Foreign Languages and Humanities, Tyumen Institute for Advanced Studies of the Ministry of Internal Affairs of Russia 625049, Russia, Tyumen region, Tyumen, Amurskaya str., 75 khabiba_shagbanova@list.ru Other publications by this author

The works of A.I. Solzhenitsyn occupy one of the central places in the corpus of village prose, since the style of narration, the system of images and moral and aesthetic originality had a significant impact on the vector of development of the mentioned literary direction. Russian Russian spiritual culture As rightly noted by A.A. Gaponenkov, the phenomenon of A.I. Solzhenitsyn is the revival of forgotten truths against the background of cynicism and materialism, the binding of open spaces of Russian thought, the embodiment of the unity of Russian spiritual culture and, moreover, the understanding of its misconceptions ^{[1, p. 31]}.

In the Russian–language picture of the world, the lexeme "yard" is widely used and represents a high semantic value, referring the reader to one of the central concepts of national culture - the concept of "home", "ancestral nest".

Already the ancient Russian scribes noted the component of sacredness, describing the space of the house, patrimony, ancestral allotment. Cultural models, for which the concept of "home" (and, accordingly, "yard") is fundamental, are marked by moral content, perception of reality through the paradigm of the family, because the house is a space where traditions and values are passed down from generation to generation ^{[5, p. 18]}. It is also quite common in fiction to compare a house with a soul. In the work "Matrenin's Yard" ^{[16, pp. 42-63]}, the writer portrays the village as a rather original phenomenon, at the same time deprived and deprived.

One of the most debated topics among literary critics is the question of Solzhenitsyn's sacralization of the image of Matryona, since, on the one hand, the author recognizes the high spiritual value of such personal qualities as faith, kindness, meekness, humility, and on the other hand, casually mentions church attendance, prayer and the burning of the lamp. The plot contains two aspects – legendary with its emphasis on hagiographic, iconographic, religious and spiritual components and realistic with difficulties, adversities and obstacles that require a large amount of strength to overcome.

The action takes place in a mental space in which, through the centuries, from generation to generation, there are righteous guardians of spiritual and moral values from the destructive influence of the trends of time and the metamorphoses of political life. The image of the righteous man is the compositional and artistic center of the work through his attitude to events, reflection of personal experience and comparison of the present and the past, which allows us to highlight the strengths of the soul of the main character. Matryona Vasilyevna Grigorieva herself is a saint who lives in everyday life ^{[17, p. 89]}.

In addition, Matryona is an unrecognized righteous woman, as noted in the story: "We all lived next to her and did not understand that she is the same righteous person, without whom, according to the proverb, the village is not worth it" ^{[16, p. 63]}. A.M. Ranchin fixes this fact that Solzhenitsyn has righteousness Matryona was not recognized by anyone except the hero-narrator ^{[12, p. 103]}.  At the same time, it is important to realize that the saint may not be understood and persecuted, but after death he must receive recognition ^{[11, p. 156]}.

The inner world of Matryona is a likeness of the entire visible world, which reflects the idea of searching for the promised land, quiet primordial Russia. That quiet haven, the estate in the village, which Matryona found in her declining years, is one of the many knots from which the canvas is woven – the history and territory of Russia: it is only necessary to pull the thread of one knot – the others will follow it.

The inner world of the main character is full of warmth and kindness, which manifests itself externally. Matryona's house has turned gray and rotted in places from old age, but it is cozy in the hut, you can hide from the weather and warm up. The writer represents the image of a man-a wanderer in a serene earthly vale; there is no opportunity to hide from troubles and sorrows, but you can find your own quiet corner, the last pier. The estate is located on the periphery of the settlement, but it is the center of spiritual life, square in shape, which in the system of religious symbols is interpreted as steadfastness, inviolability. Matryona leads a laconic lifestyle, because she cannot afford to buy a radio, and there is no one to talk to because of loneliness.

One of the main qualities of the inner world of the main character is harmony, which is expressed both in a well-built estate, and in the internal closed single space of the peasant world, distanced from the external industrial world with its ugliness and disorder. Matryona's estate is located antithetically in relation to the chaotically existing space, but such an opposition is not absolute, since representatives of the big world are able to invade the world of harmony and harmony.

Matryona is afraid of lightning and fire, and most of all of the train. The archetype of the yard with its exposure to natural disasters is implicitly opposed to a man–made source of danger - a mechanical means of transportation.

The semanteme "yard" includes a number of ideological and semantic dominants that form its internal structure. The microcosm of Matryona Vasilyevna's yard is simple and outstanding from the point of view of material well-being: the hut itself needs repair, the roof of chips is not leaking yet, but the winds blow out heat overnight, and mice rustle under the wallpaper. Associative complication of a word occurs due to an increase in implications and actualization of their interpretative potential ^{[9, p. 80]}.

The semantics of the toponym "yard" includes a component of space, a location in which the main character feels protected and, despite misunderstanding on the part of the village administration staff and bureaucratic red tape when applying for a survivor's allowance, she knows that in her native walls, in which she became the mistress immediately after marriage, she will be warmed by the warmth of the old stoves and will be able to cook potatoes or porridge from cereals. Matryona Vasilyevna takes care of her estate, for her, first of all, it is a quiet marina where you can hide from the storms and adversities of the outside world ^{[19, pp. 23-24]}.

In the work, the author vividly portrayed the opposition of the profane and sacred through an appeal to the illustration of progressive technical solutions for the historical period described in the work. I.e., the light bulb, which the peasants call "Tsar-Fire", radio, train, satellite – all this is perceived and broadcast as significant achievements of the scientific and technical sphere, but it turns out to be useless to to dig potatoes, to bury a field, to remove collective farm grass and to perform simple work in the village: for this, friends and relatives turn to Matryona, who lives righteously in the neighborhood, knowing her reliability, her strict adherence to the principle of life, to help those who ask for it, and often demands it.

The toponym "yard", thus, contains opposition on the basis of helping one's neighbor, and this is manifested in the fact that the yard is a microcosm devoid of an atmosphere of discord, hatred, greed, contempt and heartless attitude. On the contrary, Matryona's yard is a concentration of virtue embodied in practice: the hostess, being a believer, verifies her religious choice with her life, actions and attitude towards her neighbor. In the space of the estate, created by Matryona Vasilyevna, there is peace, condescension, the ability to see the soul of a person with his sorrows and joys, willingness to support with a kind word and provide all possible help to those in need. The lexeme "yard" is primitive from the position of lexical semantics, since it is primarily interpreted as a plot with residential and outbuildings, then this seme experiences the transfer of a static structural feature, producing a new semantic content of this concept and expanding the boundaries of its semantic field ^{[2, p. 121]}; the yard already includes not only the characteristics of location and area, but also the categories of morality, humanity, spirituality.

The outside world, the macrocosm surrounding the estate, in contrast to Matryona's microcosm, testifies with all its being that no one should have illusions about it: the chairman of the collective farm reduces land plots to the main character of the story and other disabled people; the wife of the chairman of the collective farm forcibly sends Matryona to collective farm work, not wanting to understand that the mistress of the estate has poor health and there is no man to plant a pitchfork; Faddeus Grigoriev does not appear to help or be useful to a lonely elderly woman, but to ask a tenant math teacher for leniency to his son, an 8th grade student who is irresponsible about studying; neighbors, after learning that Matryona was assigned an allowance of 80 rubles, another 100 rubles, the woman began to receive from the tenant, but instead of joy about the recovered financial situation of her friend, they wonder what she will do with this money and why she needs such an amount?

A.I. Solzhenitsyn skillfully builds a storyline filled with images and symbols. Shortly before her death, Matryona Vasilyevna orders a coat from the overcoat of a railway worker and in the middle of winter sews 200 rubles for the funeral. Having come to the water consecration, the woman does not find her kettle with epiphany water, which is a serious loss for the heroine. And this is followed by an urgent request for the partition of the hut by Faddeus Grigoriev for his daughter Kira, to which Matryona agrees, subsequently receiving reproaches and reproaches for the decision from the younger sisters.

The courtyard, the estate that Matryona inherited, at the same time serves for her as a place of concentration of those values that the main character has been guided by all her life, they are for her a spiritual fulcrum. The toponym "yard" acts as an integral unit reflecting the world of the soul of the owner of the estate; this unit of the text is static in its semantic content – the categories in which the narrator describes the yard at the beginning of the narrative are inherent to him (the concept under study) throughout the story. However, this static does not indicate the shortcomings of the hostess, but on the contrary, about the advantages: about firmness of spirit, about constancy of character and about an established worldview. The concept of "yard" is based on a deductive-logical concept, which, being perceived and reinterpreted by the writer's consciousness, is transformed into an inductive-empirical one with its characteristic mutual transitions, interconnections and the absence of sharp boundaries in the nomination ^{[8, p. 54]}.

The semantic field of the toponym "yard" in the context of this work is formed under the influence of situational meanings based on specific behavioral paradigms and fixed by the narrator's consciousness, through which the figurative and spiritual-moral coloring of the studied linguistic unit occurs. The toponym dvor is constructed in the process of representing an individual space bordering on a human community and the development of semantics of the forming components appealing to the highest values: mercy, compassion, love for one's neighbor. Despite the seeming passivity of the processes taking place in Matryona's yard, all the events taking place represent an organic development of a conceptually organized attitude to life and fellow villagers. As N.G. Komlev notes, the lexical concept has an actual and potential meaning, and in a certain context there is a transition from the register of the potential to the register of the actual ^{[4, p. 78]}.

 The interpretive zone of the toponym under study actively correlates with the related concepts of "soul", "truth", "life" and "death", "sacrifice" and many others, which allows us to consider the concept under study as one of the basic concepts in Russian-speaking culture and the picture of the world. Within the framework of the work of A.I. Solzhenitsyn, the toponym dvor is verbally formed and acquires optional meanings and new signs. The yard is perceived as the basis of the universe at the individual level, serves as the basis of life for the hostess in practical and spiritual terms. The content and structural features of the concept "yard" testify to it as one of the most important, central mental-spatial constants in the scale of this work. The observation of M. Aloni and P. Dekker is fair that the fixation of polysemy as a systematic semantic connection in the enumeration of the meanings of a word does not guarantee an exhaustive interpretation in new contexts ^{[20, p. 41]}.

The individual author's concept sphere complements the concept of "yard" with philosophical, socio-cultural, religious, ethnic and mythological features. In addition to the reality of a purely everyday nature, a specific noun denotes a cultural universal that acts as one of the links in the system of human-human and human-world relations. The whole set of meanings of the concept yard includes ideas about housing, as a place where the hostess finds peace and a source of peace of mind, as the opposite of the outside world, saturated with vice and selfishness, as a very special space, bordering between the sacred and profane worlds.

In the work "Matrenin's Yard", the concept "yard" represents the features of an individual, society, people and culture, thus demonstrating the high extensional productivity of a language unit ^{[6, p. 106]}. The Russian land has always preserved the tradition of caring for the small homeland, the native home, the native hearth, and the home space, in turn, served as a source of inner balance and strength.

The semantic-thematic space of the analyzed concept is quite voluminous and is formed due to metaphorical and metonymic elements, cognitive microstructures; the nomination process is carried out in relation to various zones and layers of the semantic field: the author introduces the reader to the home space of the main character through the description of objects and processes inherent in housing. So, the yard is represented by a poster with a rude beauty, and a watch bought twenty-seven years ago in a village, and a dirty-white crooked goat with a lame cat, and an inconvenient Russian oven for cooking, and the simple-minded look of the blue-white eyes of the hostess, and the need to go to the forest for peat and hide it away from the inspectors. The concept of "yard" includes a number of values based on criteria satisfying the prototypical frame value ^{[3, p. 160]}.

The linguocultural dominant "yard" is universal and represents one of the basic elements of the mental space of the Russian person ^{[13, p. 138]}. This culturally significant hyperconception reflects the categorization of historical reality at the level of the microcosm in the person of Matryona and the macrocosm in the description of the actions of the rest of the villagers, which allows us to reconstruct the system of life priorities. The semantic load of the concept "yard" is accompanied by an associative series: a house, a hut, a manor, a pleasant place. At the same time, A.I. Solzhenitsyn gives Matryona's yard a number of ideal meanings and cultural functions: for the Russian consciousness, the semanteme "yard" forms a sign that allows introspectively perceiving the heroine of the story through the prism of physical space and psychological state. Semantic derivation organizes a complex of values into a single hierarchical structure. ^{[10, p. 159]}.

Thus, the concept of "yard" in the work of A.I. Solzhenitsyn is determined anthropologically, for the story it is one of the ideological and artistic dominants, nominates the spiritual and moral center of village life and a pier, a shelter, a closed space for its mistress, is a linguistic universal with a network-like structure ^{[21, p. 52]}. The writer fills the lexical and semantic content of the concept with the values of orderliness, regularity, consistency, calmness and peacefulness as opposed to chaotic, disorderly, selfish and devoid of mercy and compassion of life outside the courtyard. Along with this, the yard acts as a fence, a watershed between the micro and macro worlds.

In the artistic work of A.I. Solzhenitsyn, the concept of "yard", in addition to the geographical indicators characterizing it, is a concentration of those moral and moral values that testify to the generosity and nobility of Matryona Vasilyevna, which makes it possible to interpret the concept under study as multi-valued and multidimensional: its semantic structure consists of two main meanings: material – as buildings with economic and practical value and the market value, and the spiritual – as a mirror of the inner life of his mistress. The phenomenon of semantic transition testifies to the cognitive activity of a person aimed at projecting existing semantic structures onto the mastered elements of interaction with the outside world through the fixation of personal and generalization of social experience ^{[7, p. 23]}.

A.I. Solzhenitsyn vividly outlined the presence of the best human qualities in his character, despite all the difficulties and hardships of peasant life.  The author conveys to readers the idea: the main merit of the righteous is that they preserve the spirituality of the nation ^{[14, p. 165]}. Such personalities inspire hope for the successful implementation of the national idea, as the writer sees it, "saving our people" ^{[15, p. 188]}. The ideological position of the Master in today's conditions is more relevant than ever.  It is in harmony with the current socio-political agenda of modern Russia.  This aspect is extremely important in the context of the cultural potential of our Fatherland, for which the national idea is a mechanism that consolidates society when faced with external or internal challenges ^{[18, p. 349]}.