Ideas about static space in the linguistic picture of the world by V. Tsoi

Darbanova Nadezhda PhD in Philology Associate Professor, Department of Russian Language and General Linguistics, Federal State Budgetary Educational Institution of Higher Education "Dorzhi Banzarov Buryat State University" 670000, Russia, respublika Buryatiya, g. Ulan-Ude, ul. Smolina, 24a, of. 2208 bsu_oiyaz@mail.ru

Ivanova Irina Master's student, Department of Russian and Foreign Literature, Federal State Budgetary Institution of Higher Education "D. Banzarov Buryat State University" 670000, Russia, respublika Buryatiya, g. Ulan-Ude, ul. Smolina, 24a, of. 2104 bsu_oiyaz@mail.ru

In Russian linguistics, the study of ideas about space is carried out in various aspects in the works of the authors of the collection of articles "Logical analysis of language: Languages of Spaces" edited by N. D. Arutyunova, I. B. Levontina ^[1], E. S. Kubryakova ^[2], E. N. Yevtushenko ^[3], E. S. Yakovleva ^[4] et al. The symbolism of space was studied on the material of the texts of the Russian rock poetry of various artists, among them the Kino group (albums "Blood Group", "A Star named the Sun", the song "Change!") ^[5], the study is devoted to the identification of folklore motifs of the "path", "one's own" and "someone else's" space based on the material of rock songs In. Tsoi ^[6], the characteristics of the linguistic means of verbalization of the concept of "Night" in the works of V. Tsoi ^[7], etc.

This article is devoted to the study of the key ideas about space in the linguistic picture of the world by V. R. Tsoi on the material of the songs of the group "Cinema", of which he is the author, in albums: "45" (1982), "46" (1983), " The Chief of Kamchatka" (1984), "This is not love" (1985), "Night" (1986), "Blood Group" (1988), "A Star named the Sun" (1989), "Black Album" (1990).

The relevance and scientific novelty of the research carried out within the framework of linguoculturology (conceptual linguistics) are determined by the fact that the concepts of space as a static phenomenon realized in the fragments "Kitchen", "House", "City", "Earth", "Star", "Sun", "Moon" of the linguistic picture of the world V. Tsoi, insufficiently studied in this aspect or described for the first time, for example, the fragment "Kitchen".

a) A fragment of V. Tsoi's linguistic picture of the world "Kitchen". One of the main spatial fragments of V. Tsoi's linguistic picture of the world is the house, and a locus specific to representatives of Soviet culture – the kitchen – stands out in it. In the explanatory "Dictionary of the Russian language" S. I. Ozhegova the word kitchen is served as a multi - valued: 1. A separate room (in a house, apartment) with an oven, a stove for cooking. Cook in (on) the kitchen. Summer kitchen. 2. A set of furniture for such a room. 3. Selection of dishes. Russian cuisine. Caucasian cuisine. 4. Peren. The hidden side of some activity, someone's actions (razg.) ^{[8, p. 254]}. In the songs of V. Tsoi, this word is used in the primary meaning of ‘a separate room with a stove, a stove for cooking’. However, in addition to this meaning, V. Tsoi's work implements the figurative meaning of this lexical unit, which arose in the speech of Russian speakers of the second half of the XX century: ‘a room in an apartment in which informal meetings of people who disagree with the formal government and state policy were usually held.’ In the 1970s and 1980s, the word quartermaster appeared in the meaning of ‘a concert held in an ordinary apartment, at home. As a rule, it gathers a small number of musicians with acoustic instruments’ ^[9]. The appearance of this word, as well as the figurative meaning of the word kitchen, is due to extralinguistic factors. Rock musicians, who at that time could not perform at official venues, often participated in apartment parties and gatherings in the kitchen. In the songs of V. Tsoi, the kitchen lexeme also appears as a symbol of the place of meeting and communication of friends, like-minded people, this is indicated by both the use of the lexical unit itself and the standard attributes of such a meeting in the kitchen: gas on the gas stove, cigarettes, an empty box of matches, tea, table:

Electric light continues our day,

And the matchbox is empty,

But the gas is burning like a blue flower in the kitchen.

Cigarettes in hand, tea on the table - this scheme is simple,

And there is nothing else, everything is in us.

<…>

We cannot boast of the wisdom of the eyes

And with skillful hand gestures,

We don't need all this to understand each other.

Cigarettes in hand, tea on the table - so the circle closes,

And suddenly we become afraid to change something.

(V. Tsoi. Changes)

The feeling of a closed kitchen space is expressed in the words "a circle is closing", outside of which "there is nothing else", and inside of which there is a circle of friends who, "in order to understand each other", do not need much effort. The world is inside, in the minds of the people who enter this circle:   "everything is in us." The value of the kitchen as a locus is contained in the line: "And suddenly we become afraid to change something", in which the kitchen space is perceived as "our own", familiar, within which the author feels protected, being in a circle of friends.

At the same time, in the texts of V. Tsoi, the kitchen is a negatively evaluated locus, at that period of his life and creativity associated with the aimlessness and meaninglessness of pastime, for example, in the song "The Last Hero": "the goal is far away", "You go out to the kitchen, but the water is bitter here", "And you meet the dawn playing "the fool." In the title of this song, in our opinion, on the one hand, self-irony is contained, since according to the author nothing special is happening in his life, especially heroic, but on the other hand, the tragic perception of what is happening is reflected in the word form of the latter. The hero, who is also the author, does not achieve what he wants: "you wanted to be alone – it passed quickly, you wanted to be alone, but could not be alone." In the lines of this song, one can observe how the spatial fragment of V. Tsoi's linguistic picture of the world intersects with the idea of loneliness: he strives to be alone and at the same time wants to get rid of loneliness. And this expresses the inconsistency of the author's perception of the world at that time:

The night is short, the goal is far away;

At night so often thirsty,

You go out to the kitchen, but the water here is bitter;

You can't sleep here, you don't want to live here.

<…>

You wanted to be alone - it passed quickly,

You wanted to be alone, but you couldn't be alone.

Your burden is light, but your hand is numb;

And you meet the dawn at a game of "fool".

(V. Tsoi. The last hero)

The title of the song "In the kitchen" mentions the kitchen space and in the lyrics of the song – the house space. There are constitutive attributes of the house and kitchen: light, gas, smoke, which are found in other songs of V. Tsoi. In words: "My house, I'm sitting in it like a stump", "sleep of years", "night, day – sleep laziness" – the reflection of the hero and the author about the meaninglessness of life and his inactivity is verbalized, he is tired of it: from sleep, when day and night are mixed, sleep is lazy, there is no sleep, from thoughtless watching TV – movies – ended a long time ago. The mechanistic, thoughtlessness of the automatic actions of the author-hero is emphasized by the rhythm of the text and music.

Russian Russian word forms and combinations, natural for the Russian language, in the kitchen, sitting in it (the house), in V. Tsoi's linguistic picture of the world, as well as in the Russian national picture of the world, realize the conceptual metaphor of the receptacle:

Night, day – too lazy to sleep.

There is smoke – to hell with it.

There is no sleep – there is a dream of years.

The movie ended a long time ago.

My house, I'm in it

I'm sitting here, stumping.

There is light, there is no sleep.

There is a night – it is already going away.

There is a basin, the gas is burning.

A click and the gas went out.

It's time to go to bed.

Get up, get up tomorrow.

(V. Tsoi. In the kitchen)

Communion with the listener is metaphorically expressed through the image of a "closed circle", on the other hand, V. Tsoi does not accidentally use this metaphor, wanting to say that there is no way out of the "closed circle", the kitchen is a "closed circle", and despite the cohesion of those present at it, there is no way out of it. The closeness of the kitchen gives a false sense of freedom, but it is quite clear that if he leaves it, then everything will end, so the author says "it becomes scary to change something", "there (outside the house) everything is on fire", "the train takes me where I don't want to go", i.e. the author does not want to leave the closed circle of "his" people.

b) A fragment of V. Tsoi's linguistic picture of the world "House".

A fragment of V. R. Tsoi's linguistic picture of the world "House" is explicated in the lyrics of his songs, and, first of all, the lexeme house in its first two meanings becomes a means of representing this fragment of the YAKM: 1. ‘a residential (or for an institution) building, as well as people living in it’, 2. ‘an apartment, as well as a family, people living together, their household’ ^{[8, p. 141]}. The use of the word form house in the works of V. Tsoi, according to our research, generally does not differ from the all-Russian. The denotative component is complemented by the potential semes ‘closed, enclosed space’, ‘one's own space’ when it comes to a house as an apartment, a room, and ‘someone else's space’ when it comes to a house as a building. More often, the house in the perception of V. Tsoi is "his" locus, it is a personal space closed from an alien world, and it appears outside the kitchen, where it can be natural, and feels "protected" with his like–minded people, and extends to "his" house 'apartment'.

The constitutive attributes of the house are light, gas, telephone, hot water, a window from which the distance is visible, etc., it is warm in it. These signs intersect with the constitutive attributes of the kitchen: light, gas:The house is standing, the light is on, the distance is visible from the window ...

Or:

In old apartments where there is light, gas, telephone, hot water,

Radio, parquet floor, separate bathroom, brick house,

One family, two families, three families... Lots of utility rooms...

(V. Tsoi. Boshetunmai)

The complexity of V. Tsoi's perception is expressed in the fact that "his" space can become alien and hostile to him:

You can't sleep here, you don't want to live here.

(V. Tsoi. The last hero)

The hero and the songwriter have a home, but he rarely goes there, but if he comes home, he is often alone, and then "his" house is perceived as someone else's, empty, cold. The absence of heat and light is associatively associated in his mind with a sharp sense of the meaninglessness and hopelessness of existence: "the house is empty", "alone again", "evil winds are blowing in my room":

I came home,

And as always alone again,

My house is empty...

(V. Tsoi. My friends)

And there are probably evil winds blowing in my room.

And there's no point in this song, this song is old.

(V. Tsoi. About seven in the morning)

The author tries in vain to find a shelter house where he would feel protected and not alone:

I tried to find shelter, they say I was looking badly.

(V. Tsoi. Anthill)

The hero, who is also the author, is in a conflict situation with respect to the surrounding world, which he evaluates as "some kind of wrong circle". He feels it as his own inferiority, a lack of important, essential in him, expressing the feeling associatively through linguistic characteristics: a house from which there are no keys; the sun ... among the clouds; a head ... no shoulders; a word, but ... no letters; a forest ... no axes; there is time, but no strength to wait; night ... no dreams. The epithet white is usually associated with a positive assessment in the Russian language picture of the world, in V. Tsoi's songs it is often associated with cold, restlessness, loneliness: white, white days, white mountains, white ice. However, hope does not leave him, and he also metaphorically expresses this in the lyrics of the song: I see how the clouds are cut by a sunbeam, he strives forward: all I need is ... a place to step forward:

I have a house, but no keys,

I have the sun, but it is among the clouds,

There is a head, but there are no shoulders,

But I see how the clouds are cut by a sunbeam.

I have a word, but there are no letters in it,

I have a forest, but no axes,

I have time, but I don't have the strength to wait,

And there is still night, but there are no dreams in it.

And there are still white, white days,

white mountains and white ice.

But all I need is

This is a few words and a place to step forward.

(V. Tsoi. A place to step forward)

"A place for a step forward" is a symbol of free space, in which the conceptual metaphor of the path is realized.

V. Tsoi contrasts the house as a symbol of an enclosed space and the free space located outside the house, outside the window, behind the door; opposes (1) the category of people who are afraid to leave the house as a comfort territory: they cannot take risks, they have a house, the light is on in the house, they are waiting for dinner at home, they are surrounded by deceptive affectionate light, a portrait on the wall, as signs of comfort that can get boring, and (2) the polar category of restless people, not bound by attachments to the house as the focus of everyday life, to which the author-hero also belongs: rain is waiting for me on the street, they have a lot of space: there is enough rain for everyone, they are happy: you will hear our laughter:

They say: they can't take risks,

Because they have a house, the lights are on in the house.

And I'm not sure which one of us is right.

Rain is waiting for me outside, lunch is waiting for them at home.

Close the door behind me. I'm leaving.

Close the door behind me. I'm leaving.

And if you suddenly get bored with your gentle light,

We'll find a place for you, there's enough rain for everyone.

Look at the clock, look at the portrait on the wall,

Listen - there, outside the window, you will hear our laughter.

(V. Tsoi. Close the door behind me. I'm leaving)

In this text, the "House" again appears as a closed space, only someone else's. The house acts as a receptacle, has boundaries – walls and an important boundary – a door that is closed behind it, and the hero / author goes into free space. This perception coincides with the ideas existing in the Russian language picture of the world.

c) A fragment of V. Tsoi's linguistic picture of the world "The City".

This fragment of the linguistic picture of the world in the lyrics of V. Tsoi is represented, first of all, by the lexeme city ‘a large settlement, administrative, commercial, industrial and cultural center’ ^{[8, p. 114]}. Interestingly, the origin of the word city brings it closer to the word house in semantics: "from pride — "to fence, to fence". The original meaning is a fence, a fence. Subsequently, the word city came to mean "fenced place" (housing had to be protected from enemies) ^[10]. Historically, the words house and city are connected by the idea of ‘performing the function of protection’.

Often V. Tsoi looks at the world as a detached observer, for example, in the song "Sadness". It verbalizes spatial fragments of the author's worldview "City", "Earth". But unlike the closed and native circle, these loci are alien to him: the house in this text appears as an "alien" space, and although the author is in the house, it is only a point of observation of the distance that opens from the window, how a new day rises after a sleepless night. The detachment of the hero and the author from the space of the city, the alienness of this city, the earth is expressed in the temperature characteristic of the cold(about the earth), the parametric adjective big (city), which include in their meaning the potential seme ‘alien’ (in small towns people are closer to each other, in megacities people are more distant, distant from each other):

There is a big city on the cold ground.

There are lights on, and cars are humming.

<…>

So where did the sadness come from?

 (V. Tsoi. Sadness)

The metaphor of the anthill used in the song of the same name is not new in relation to the city, it is quite common. In the song "Anthill", the city is filled with bustle: cars are going back and forth, but in this song by V. Tsoi, the city appears indifferent and cruel towards the insect man: "someone broke a leg - does not count", "if he dies, he will die...». Colloquial will die also have a negative connotation ^{[8, p. 453]}, colloquial nonsense ^{[8, p. 152]}, which create a negative emotional background of the text:

A new day begins, and cars are going back and forth...

Since the sun is not too lazy to get up, and for us, it means nonsense.

An anthill lives, someone broke a leg - does not count,

And before the wedding he will heal, and he will die - so he will die...

(V. Tsoi. Anthill)

d) Fragments of V. Tsoi's linguistic worldview "Star", "Sun", "Moon", "Earth".

The view from above and the cosmic perception of the world by the author / hero is realized in the song "Sadness". In its text, a fragment of V. Tsoi's linguistic picture of the world "The Moon" is represented as part of the spatial macrofragment "Cosmos".:

And the night is over the city, and the moon is over the night,

And today the moon is red with a drop of blood.

<…>

So where did the sadness come from?

 (V. Tsoi. Sadness)

The gaze of the observer (the author) rises above the city, above the night. The phrases night over the city, moon over the night represent the space in the perception of the author as multi-layered, multi-level. This idea of space is individually authored, and it differs from the ideas that exist in the Russian language picture: cf. the moon in the sky, the moon in the night. The image of the sinister blood-red moon is present in the Russian language picture of the world and also has a negative connotation, as in the analyzed song, but finds a new realization – V. Tsoi uses the author's comparative construction with the creative case: the moon is red with a drop of blood.

The cosmicity of the author's perception of the "City" is reflected in the lyrics of the song "Quiet Night". The observer (hero/author) is on top. The mythological picture of the world is verbalized in the line: "The heavenly shepherd grazes the clouds." Here and further, V. Tsoi uses a metaphor – personification: the city shoots a shot of lights into the night; the night is stronger, its power is great:

The roofs of the houses tremble under the weight of the days,

The heavenly shepherd grazes the clouds.

The city shoots a shot of lights into the night,

But the night is stronger, its power is great.

(V. Tsoi. A quiet night)

The mythological perception in this text is realized in a figurative picture: the city and the night enter into a single combat, and the night wins.

The cosmos of V. Tsoi's linguistic worldview is represented by the fragments "Earth", "Star", "Sun" in the song "A Star named the Sun". The author – observer first seems to be above the city, then moves and already observes the city from the outside or from inside the city as a receptacle:

White snow, gray ice on the cracked ground.

A patchwork quilt on it – a city in a road loop.

And clouds are floating over the city, blocking the heavenly light.

And over the city – yellow smoke, the city is two thousand years old,

Lived under the light of a star named the Sun...

(V. Tsoi. A star named the Sun)

A fragment of the linguistic picture of the world "Earth" at the text level is verbalized in the phrases white snow, gray ice, cracked earth. Again cold, snow, ice, associated in the mind of V. Tsoi with the coldness of the world in relation to him. He uses a morbial metaphor – a city in a road loop. He again uses a comparative construction with the creative case: a patchwork quilt on it is a city, paying attention to the diversity and heterogeneity, the division of the city into "patches" of districts and microdistricts when viewed from above. The city is old, V. Tsoi uses hyperbole – two thousand years, unnatural yellow smoke over the city. And once again the city appears as something negative and alien, unreal.

Fragments of the linguistic picture of the world "Star" and "Sun", verbalized in the text of the song, are associatively associated with the image of eternity, the city is perceived as eternal under the eternally existing sun. The expression a star named the Sun can, in our opinion, be interpreted as a detached view of the Sun as one of the many stars, as something alien. This is a specific individual author's vision of V. Tsoi. Compare, in the Russian language picture of the world, the Sun appears as the center of the universe, the Sun gives life, is associated with positive images: a sunny smile, a sunny man, etc.

Thus, the ideas about static space realized in the lyrics of V. Tsoi's songs are concentric: in the center is a house, the core of which and the main habitat of the author/ hero and his friends is the kitchen; the next circle is the city, and then the "cosmos", of which the sky, stars, Sun, Moon, earth are part. These spaces are closed, closed, at the same time inextricably linked with each other by the unity of the center and permeable. The fundamental conceptual opposition of "friend and foe" in V. R. Tsoi's linguistic picture of the world and the idea of loneliness among people permeate the ideas of static space. His "own" space for him is the center in which the author and his immediate environment are located, the degree of "alienness" and hostility, the coldness of the space increases with distance from the center. The complexity of the perception of the world by the author / hero is manifested in the fact that sometimes his "own" space becomes alien to him, as well as in the fact that, on the one hand, he identifies himself with listeners and is in one "closed" circle with them, from which it is "scary" and impossible to get out, on the other from the outside, he is a detached observer, observing from somewhere from the outside everything that happens in the world, and perceiving space as part of the cosmos.