РЕПРЕЗЕНТАЦИЯ СЕМАНТИКИ НЕВЫРАЗИМОГО В РАЗНЫХ ЯЗЫКАХ

The Semantics of Inexpressible (SI) is actively studied in different countries on material of various languages. So, Ia. Derrida describes the alogism of a combination to express the inexpressible. In the form of "I haven't enough words" the speaker actually expresses his or her gratitude: "But after all I said this recognition. Using the language of recognitions, I addressed to you, having told already more, than one word. Going beyond the adopted convention and without any rhetorical figure, I admitted that I not only can not get words, but also at the same time expressed this shortcoming as fault for which asked you about forgiveness" (Derrida, 1997, s. 450). SN is also studied by the Polish researcher M. Keith, she notes that in Poland "inexpressibleness is entered into literary criticism as new research category" (Kita, 2002, s. 102).

In Russia semantics of inexpressible is investigated from the second half of the XX century, most intensively – in the last quarter of the XX century – the beginning of the XXI century in literary studies and a linguopoetics (Zaika, 2006; Gavrilova, 2009; Syritsa, 2014, etc.). However as the functional and semantic category of Russian, having an invariant of meaning and system of expressive means presented at different levels of the language (indescribable, inexpressible, inexpressible; couldn't tell in a tale or write with a pen; it's too beautiful for words, etc.), SN hasn’t been an independent subject of studying yet.

The purpose of the article is to make a study of representation of SN in different languages, revealing of general and special features. G. S. Syrits designated an actual problem of SN representation in different languages in her article of (Syritsa, 2009).

The general features in SN representation is, in particular, existence in different languages the adjectives with semantics of inexpressible, inexpressible with a negative prefix, unspeakable – in English, unsagbar, unsäglich – in German, neizsakgms, naprakstgms – in Latvian (Syritsa, 2009, page 294).

The word inexpressibles - in the meaning 'lower men's drawers' became an international word with the dead semantics of inexpressible. The euphemistic designation of drawers, underpants which appeared in the Russian literary language of the second quarter of XIX century, corresponds to English inexpressibles, (cf. also loan-translated pictures in Fr. inexpressibles, Germ. die Unaussprechlichen; see B. Unbegaun. Le calque dans les langues slaves//Revue des études slaves, t. XII, fasc. 1 et. 2, 1932, river 10) (Vinogradov, 1999). The euphemistic character of the called nomination is obvious.

The ban on pronouncing not only the tabooed parts of a human body, but also subjects (names of underwear), "adjacent" to them, was strictly observed in the Christian countries. Thus, the designation of the lower drawers by the lexeme from the dead SN isn't a direct illustration of representation of inexpressible, and only outlines borders of the meaning coverage of inexpressible during different eras, in different countries. We believe that the euphemistic nomination inexpressibles is a manifestation of an euphemia and inexpressible semantic fields crossing.

The problem of representation of inexpressible in different languages is also that fact, that not all transmission media of SN are caught by translators and respectively translated without loss of sense. The researcher from Latvia G. S. Syrits notes: "as the analysis of the translations of these contexts into German and the Latvian language showed, the considerable part of meanings is transformed or at all lost" (Syritsa, 2009, page 295).

The object of this research are SN transmission means. The material for the analysis was the story of E. Zoe "The angel of the odd". As auxiliary material episodes were taken from M. Ancharov's novel "Probability theory" and M. Lermontov's stories of "Shtoss". The general feature in these works is the description of a fictional being. The descriptions consisting of the description of a fictional being (the devil, the wood spirit, etc.), are called prosoprography (Moskvin, 2007, page 590). As the recipient of information has no empirical experience of perception of a fictional being, the sender of information is compelled to meet this lack somehow: to give necessary definitions, at the end of a prosoprography to give a proper name.

In a prosoprography the writer often addresses to SN. As G. S. Syritsa notes: "inherently, the transcendental world is inexpressible, and inexplicable appears both the world Divine, and demonic manifestations" (Syritsa, 2009, page 294).

Our analysis of the language material showed that there are three types of SN interaction and a prosoprography: 1) SN precedes or follows prosoprography; 2) SN is in the introduction of a prosoprography (we mark three parts of prosoprography: introduction, the main part and the conclusion); 3) combination of the first two: SN is both in prosoprography, and beyond its limits.

As the research showed, the precedence of SN transmission means of prosoprography gives the text philosophical sounding and generality (the uses of SN in M. Lermontov's story "Shtoss", A. Poe "The angel of the odd"). The example of the third type of SN means of introduction to prosoprography is M. Ancharov's novel "Probability theory".

Before starting to characterize SN representation in A. Poe’s story we will make the remark on the narrow and broad understanding of this functional and semantic category. Inexpressible in its narrow sense is an invariant meaning of impossibility to verbalize some fact or the phenomenon of reality. The impossibility to verbalize can be certainly caused by the most various reasons: collision with the otherness, feeling sick of the sender, his low language ability, etc. All this reveals by the meaning 'it is impossible to express'. At the level of ordinary consciousness the word inexpressible, an oxymoron to express the inexpressible has narrower meaning 'it is impossible to express something because of his extraordinary qualities', as a rule, it and there is otherness, a world of the transcendental. In the research we concentrated attention mainly on such understanding of the inexpressible.

There is also a broader point of view on SN including not only inability to express verbally, but also all range of impossibility to comprehend (unimaginable, incomprehensible, incognizable, etc). Such point of view is in some way justified as at collision with the world of transcendental the person isn't only incapable to express verbally that extraordinary which he faces, but also refuses to comprehend, imagine how it is possible. To the broad point of view on SN, as well as on means of its expression, adheres in the researches of G. S. Syrits (Syritsa, 2009, 2014, 2015).

We adhere to a narrow understanding of SN as at broad approach the object of research is washed away. At the same time the zone of crossing of inexpressible, incomprehensible, inexplicable meanings at collision with the world of the transcendental is too wide not to consider this crossing. In many cases it is possible even to speak about a cluster existing of these meanings in the literary discourse. In particular, E. Poe,s story "The angel of the odd"  is an illustration of SN cluster existing, semantics of inexplicable, semantics of incomprehensible, etc.

We only then accept to consideration SN cluster existing in literary discourse when we meet at least one fact of SN means transmission in its narrow sense in this text. Such is a workable criterion of SN differentiation in narrow and broad understanding in our research.

In a case with E. Poe,s story "The angel of the odd"  SN transmission mean is a combination of a personage nondescript, although not altogether indescribable (трудно описуемый – in translation into Russian). The game on double denial actualizes SN which is also a prosoprography transmission mean. Besides, the theistic subject though given in a burlesque style of a narration confirms that before us is the plan of the contents and expression of SN: characters discuss angels’ wings, before going to bed the main character reads the book "God's Omnipresence", at the end of the story the Angel of the odd strictly asks: Whether you believe in me?".