"Emotion" in the Russian and English language pictures of the world

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

Emotions are an integral part of the reaction to the processes and events of reality, they are inherent in all spheres of life, and also mark the processes of thinking, behavior patterns and manifestation of consciousness of a particular person, emotional behavior is one of the main components of the inner world of a person. The semantic field of the language unit emotion is multidimensional due to the predisposition to the nomination of such states as passion, affect, feeling, perception, mood, reflection. The problem of analyzing the concept of "emotion" has been repeatedly characterized by representatives of the scientific community as one of the most difficult. This state of affairs is due to the fact that language is entrusted with the function of expressing the phenomenon of human mental activity, which in turn is complex ^{[11, p. 84]}.

It is advisable to consider the concept of "emotion" through a system of objective knowledge, culturally and ethnically conditioned, structured in structural, semantic, lexical and phraseological terms and performing communicative and axiological functions. The process of reconstructing a fragment of the linguistic picture of the world with the help of linguistic means is one of the most actively developing areas in modern linguistics ^{[5, p. 127]}.

The structure and content of the concept allows you to determine the analysis of its expression plan. As a unit of language, emotion, of course, refers to an abstract name that conceptualizes and categorizes reality, as a result of which the seme of a language unit acquires additional characteristics that formalize semantic completeness and formal-meaningful integrity ^{[12, p. 146]}. An important stage in the analysis of the concept of "emotion" is the appeal to cross-cultural concepts. The study of the conceptual picture of the world is complicated by the fact of the diffuseness of such a unit of language as emotion, which shows semantic affinity with other units of language. Emotion is a mental state that occurs spontaneously, and not as a result of conscious efforts, and is often accompanied by physiological changes ^[19].

Consider the cases of using the emotion token to form an idea of the semantic structure of the concept of the same name.

Aringarosa was surprised how little emotion he felt as he signed the document. The three men present, however, seemed to sigh in relief. Aringarosa was surprised: when signing the documents, he did not feel any emotions. But the three men sitting at the table were clearly relieved. [Dan Brown. The Da Vinci Code] ^[21]. In this case, the concept under study is described as a condition that was alien to the person signing the documentation. The author focuses on the absence of any emotions in one of the characters, which, against the background of the behavior of other participants in the scene, is rather something exceptional.

Everywhere, hearts shuddered with spontaneous emotion. The same feelings arose in all hearts. [Dan Brown. Angels and demons] ^[22]. In the example given, the emotion concept nominates feelings that have arisen, as it is said, in hearts. It is quite significant that in this case it is only possible to register the presence of feelings, but there is no way to qualify them as positively or negatively connoted, nevertheless we have the attribution of emotions to a certain space – the heart region.

I tire myself with such emotion. I'm tired of all these experiences. [Ernest Miller Hemingway. For whom the bell tolls] ^[26]. This example allows us to characterize the concept of emotion as a manifestation of an attitude to reality that bores and, accordingly, is presented negatively colored.

Such thoughts as these produced a new emotion in these torpid hearts as the young man entered. So it was precisely all these properties that gave rise to that new sensation that stirred the frozen souls when the young man entered. [Honore de Balzac. Shagreen leather] ^[20]. This episode fixes the ability of the language unit under consideration to influence the frozen souls, i.e. to awaken, to withdraw from the habitual state. The emotion concept in the above episode nominates a certain new sensation that motivates the process of changing the mental state of the people gathered. A specific case of use allows us to identify such a fragment of the semantic space of the lexeme as a motivator for changes in the state of the soul.

When all of this lay unpacked on the bed the Baroness von Botzenheim could not restrain her tears for emotion. When Baroness von Botzenheim saw all this on Schweik's bed, she could not hold back tears of emotion. [Yaroslav Hasek. Adventures of the brave soldier Schweik] ^[25]. Here, the mental image of the concept illustrates the reaction to a certain life situation, representing internal experiences and fixing the attitude to what he saw. Emotion is a phenomenon that is of a short-term nature, therefore, the process of perception of a certain plot is accompanied by temporal labeling through the reflection of emotion.

Mrs. Brannigan and I want you to know how grateful we are. His voice was choked with emotion. His voice was trembling with excitement. [Sidney Sheldon. If tomorrow comes] ^[30]. In this case, the token acts as a basic unit illustrating the functioning of the emotion concept as an explicate, which in this case forms the behavior of one of the characters. Emotion causes a tremor of the voice, indicating excitement.

Vladimir Ivanich" All of Ochumelov's face suffuses with a soft smile of emotion as he makes the enquiry. " Good Lord, and I hadn't the faintest idea! Vladimir Ivanovich? — asks Ochumelov, and his whole face is filled with a smile of emotion. — Look at you, gentlemen! I didn't know! [Anton Pavlovich Chekhov. Chameleon] ^[23]. In the present case, the use of the emotion language unit states the reaction of one of the characters to a meeting with another character. The accompanying function of this concept, embodied in the lexeme of the same name, is noteworthy: the reader's focus remains on the dialogue, but such a detail as a smile of affection significantly clarifies the nature of the relationship between communicants.

Overcome with emotion, he buried his face in his napkin, and Professor McGonagall shooed them away. Overwhelmed with emotion, he buried his face in a napkin, and Professor McGonagall drove the guys to bed. [J. K. Rowling. Harry Potter and the Prisoner of Azkaban] ^[29]. The disclosure of the semantic potential of the emotion language unit complements the sphere of semantics with the meaning of the manifestation of the properties of a certain fluid or loose substance — overflow, which allows us to attribute this use to an organizational and structural type, assuming the embodiment of projectivity simultaneously in the social, conscious, unconscious and individual spheres.

Van der Merwe had burned every emotion out of him except hate. He lived on that. Van der Merwe burned out, destroyed all the feelings in him, except one: hatred. [Sidney Sheldon. Schemer] ^[30]. In the above episode, the concept of "emotion" is conceptually associated with the phenomenon of destruction, destruction, which has a negative impact on the inner world of a particular person, representing anti-value and representing an aggressive attitude. An attitude of this kind indicates the depravity and harmfulness of the impact, as a result of which emotions are the object of elimination, which leads to undesirable psychological consequences.

I was overcome with such excitement and emotion that I could hardly speak. I was overwhelmed by such strong excitement that for a while I was speechless. [Christopher Priest. Space machine] ^[28]. The analysis of the presented fragment registers the semantic meaning of the concept being studied as a state, as a result of which the object of influence lost the power of speech. The present case notes the significance of the ability to "overwhelm", which can be compared with the expression "overwhelmed by a wave"; i.e., the actualization of an abstract name in the context of this work has a character similar to the behavior of the water element, which is due to the behavior of associative meanings that redirect the focus of attention to a completely changed state of personality compared to the original.

To me, acting is first and foremost intellect, and only after that, emotion. For me, the theater is first of all the mind, and only then the feeling. [Colin McCullough. Singing in the thorn] ^[27]. The case under consideration states the manifestation of the meaning of the emotion lexeme as an explication of a certain fragment of an individual's inner world without specifying the kind or type of emotion. The theater for the character of a literary work serves as a place where the intellect first finds food, perceiving the stage action through the prism of rational understanding, and only then — from the point of view of feelings. Also in the given example, there is an opposition of the semantemes feeling and reason. Such an opposition is quite natural, since the specificity of language categorization is aimed at embodying the pejorative status of the concept "emotion", which implements a nominative strategy on the scale of meaning–text. Also in this fragment, the lexical unit emotion reveals its own semantic structure as substantial and self-sufficient, accompanied by a variation of features in connotative and value aspects ^{[18, p. 372]}. The use of the word emotion in the present case also declares the fact of the significance for the person of the value of visiting the theater: first, they go there for intellectual enrichment, and only then for aesthetic reflection of what they saw on stage.

He heard the man's voice, with the throb in it of emotion. Patrick spoke, and there was deep emotion in his voice. [Agatha Christie. Evil under the sun] ^[24]. The cognitive structure of the emotion concept captures the ability to sound. This sign indicates a metaphorical transfer, in which the author evaluates the state of the speaker (in this case, being in a state of deep excitement). The investigated unit of language, as polysemantic in its structure, in this episode illustrates the importance of fixing a deep experience, not indifferent attitude to the reflected event.

They give us, now and then, some of those luxurious sterile emotions that have a certain charm for the weak. They (art and literature) only give us sometimes blissful, but empty feelings that amuse weak people. [Oscar Wilde. Portrait of Dorian Gray] ^[32]. Awareness of the value of emotions in the presented fragment is associated with the characteristic of the development of cultural space projecting a set of ideas, with the assessment of the conceptualization of extra-linguistic reality. The construction of such a mental scheme is due to the reference to a certain situation, regardless of the linguistic personality. Art and literature are defined here by the speaker as a source of empty feelings inherent in weak people, according to the character. The concept of "emotion" translates the reflection of the inner state of emptiness in consciousness, i.e. it acquires a pronounced negative connotation, contains a scenario for the use of certain segments of culture to meet the aesthetic needs of carriers of a naive interpretation of the linguistic picture of the world.

Now let's consider the cases of using the concept of "emotion" in the Russian-language verbal space.

It (the face — approx. H.S.) clearly expressed two equally strong emotions — amazement and fear. [Vera Belousova. Second shot] ^[2]. This example characterizes the representative of the concept of "emotions" as an object capable of having a sign of intensity (strong) and being a sign of behavior, a state of personality. The semantic components of the emotion lexeme in this episode are determined by the context of the work, and the informativeness reflected in the structure of the hyposeme, the differential meaning. At the same time, the semantic space of the semantic derivative includes the meaning of the attribution of emotion to such an area of the body as the face. In most cases, this correlate is a marker identifying a person's psychological state.

In the largest ward of the hospital — ward number two, where between lunch and dinner a gastronomic story was told daily by one of the patients, at least not to improve appetite, but because of the hungry person's need to excite food emotions - in this ward they talked only about Aunt Paulie's confession. [V.T. Shalamov. Aunt Polya] ^[16]. The example used in this work illustrates the logical and semantic potential of the word attributed to the adjective food. Food emotions, as seen from the context, are not at all the same as appetite. They represent such a mental-psychological phenomenon, for the sake of which the reading of stories was carried out, therefore, this abstract language education needs an act of initiation for actualization in the consciousness of an individual and is not prone to causeless occurrence ^{[6, p. 171]}. The realization of the concept of "emotions" here is associated with a complex of meanings — reactions, impressions, experiences and feelings of listeners. The abstract nature of the semantic field of the concept under study demonstrates a cognitive-pragmatic dependence on the environment with partner words, a high range of tropeic variation, an atypical spectrum of secondary semantic features.

Let go of anything from yourself: bad and good, pain and joy, thoughts and emotions. [Roman Romanov. Vom caminho, or Pilgrims on the Way of St. James] ^[14]. The development of the concept here illustrates such a fragment of polysemy as subordination to a certain liberation, an exit from the sphere of possession of an individual. The autonomous nomination is developed from the operational development of a concept that registers the nominal character of a word and its appeal to the entities of the world at the level of individual or collective use ^{[3, p. 214]}. In this case, the aspect of including the emotion lexeme in the generalizing group of whatever is curious: in this case, inductive-empirical perception serves as a sign of reflecting the dialectically probabilistic nature of the world. The semantic structure of the token contains a specific feature — a function. The functioning of emotion within the inner world of an individual can fairly be described as marking the polar states of the inner world.

The rich southern nature, with its clean breath, sparkling stream braids, green, flower-strewn attire and proud disposition, no longer evoked in Nikita's soul those violent emotions that he experienced when he first found himself in the Caucasus. [Dmitry Lynchevsky. Enemy] ^[9]. The pragmatic value of the concept of "emotions" in the given fragment lies in the subcategorical specification of the semantic load on the scale of a linguistic unit, where emotions are characterized by the sign of violent and were caused by the landscape of the surrounding world. The semantic derivation model in the given fragment demonstrates the realization of the meaning of the result of perception: if in the previously described plot the hero's first acquaintance with nature was accompanied by violent emotions, now these emotions were not. The embodiment of the semantic-derivational potential of the concept of "emotion" illustrates a vivid associative connection with the phenomenon of perception of the beauty of nature.

Gonor, emotions most often interfere with the pedantic performance of official duties. [Olga Novikova. Everyone killed] ^[13]. A look at the problem of interpretation of the concept under consideration allows us to talk about a figurative way of using it. In the example presented, emotions appear in the narrative line as a kind of hindrance, often hindering the fulfillment of duty. There is the use of the representative of the concept of "emotion" in a metaphorical and evaluative way, accompanied by the process of assimilation to a material denotation. Analogical assimilation in this case is devoid of strict binding to the hyperfamily, but is involved in interaction with the implication aura ^{[10, p. 137]}. The pragmatic evaluation of the trait indicates a close-valued rethinking of the object of comparison, accompanied by contamination of subject areas. The semantics of interference, at first glance, has no prerequisites for the development of the content plan in the emotion lexeme, nevertheless, the context creates conditions for an activity-conditioned idea of an emotive reaction as a physical obstacle to movement (of course, the obstacle metaphor itself primarily belongs to the material world and only in its dispersive manifestation goes back to functioning in mental space).

A simple job. Turn off all emotions. Get out of your head all the long-term pathetic nonsense about what you will tell him before that. [Dina Rubina. The white dove of Cordoba] ^[15]. The psychophysiological state in this fragment is compared with a certain device or device that can be deactivated. The concept of "emotions" reveals a sign of being in an active state, and in a state off, when they are stored in memory, but are no longer one of the determining factors in the act of communication. In this regard, it should be recognized that there is a correlation between a thing and a sign, which declares the presence of an epistemic component ^{[8, p. 346]}. The concept under study forms such an image in the listener's mind, to which certain signs can be attributed, allowing to speak about him, to assess his status.

Lebedkin, still shaking from his considerable emotions, flew out of the hall. [Vasily Aksenov. Mysterious passion] ^[1]. The implication of the word emotion in this case suggests a connection with the attribution function: emotions cause strong arousal, as a result of which a person shakes. Also, the lexical unit of emotion is characterized by the adjective considerable, which allows us to speak about its perception by the consciousness of the agent as an object varying in volume or size. There is a connection between the concept and the verbal meaning, realized at the level of consciousness, its perception as a metaphysical entity, relevant in the comprehension and comprehension of human activity ^{[7, p. 259]}. The peculiarity of the semantics of the emotion language unit is due to the great freedom in choosing ways of its interpretation and expression, in the absence of rigid determination regarding the logical structure of the concept.

Thus, the perception of the world inherent in any nation is impossible without an extensive system of describing reality. From generation to generation, language translates the invariants of being that determine the national-specific features of self-consciousness and the system of cultural values. The concept of "emotions" is certainly one of those linguocultural and psycholinguistic units, without which it is impossible to fully understand any linguistic picture of the world. The theoretical provisions of the cognitive approach allow us to talk about the correlation of the concept under consideration not only with feelings, but also with reason. The phenomenon of the use of lexical means that form speech behavior registers a different interpretation of the facts of non-linguistic reality by human consciousness, in connection with which there are certain differences in the English- and Russian-speaking mental space. So, in the English language picture of the world, the concept of "emotion" is the realization of such meanings of the polysemantic structure of this education as a) the state accompanying the clerical procedure; b) feelings that have arisen in a group of persons; c) a reaction to what is happening, which is boring; d) a means capable of motivating a change in the state of mind; e) the phenomenon representing inner experiences; f) a marker of behavior characterized by deep experiences; g) an indicator of the relationship of two characters at a meeting; h) an overflow property; i) an object that can be destroyed; k) a substance that can overwhelm; l) a characteristic of the attitude to theatrical art; m) an experience that has a degree of depth; h) the state attributed to the manifestation of emptiness. In the Russian-speaking semantic space, the following meanings were noted: a) a sign of personality behavior, varying in intensity; b) a moral and psychological phenomenon, not inclined to causeless occurrence; c) the meaning of belonging to a particular person; d) the result of perception; e) an obstacle to the performance of official duties; f) a device that can be turned off; g) an indicator of strong arousal.