‘The Radical Black Colour’. On the Semantics of the Black Colour in Anarchist Discourse
... political idea of transparency. In conclusion, the opacity of the black and white colours is compared. It is shown that the colour black can serve as a tool to create a radical semantic gap.
1. Batai, Zh., 1997. Vnutrennii opyt [Internal experience].... ... 2007. «Belyi tsar'». Obraz monarkha i predstavleniya o poddanstve u narodov Rossii XV—XVIII vv. [The «White Tsar». The image of monarch and the idea of citizenship of the peoples of Russia XV—XVIII centuries]. Moscow.
18. Trutovskii, V. K., 1991....
Colour naming as a means to present the concept of ‘life’ in N. Gogol’s epic poem Dead Souls
This articles analyses lexemes with the colour meaning of ‘white’, ‘green’, and ‘yellow’ as representatives of meanings related to the concept of LIFE — beauty, hope, faith. The author stresses the connection between these lexemes with the “living” images opposed to the lifeless world of Dead Souls.
1. Алимпиева Р. В. Семантическая структура слова белый // Вопросы семантики. Л., 1976. Вып. 2. С. 13—27.
2. Бахилина Н. Б....
The metaphor as a means of colour and light perception in M. Voloshin’s idiostyle
The poetic texts of M. Voloshin help consider the metaphorical use of mineralogical lexis as a means of light and colour perception. The author identifies the features of semantic and aesthetic realization of these lexemes and stresses their representative function within the structure of poetic images.
1. Бранский В. П. Искусство и философия: Роль философии в формировании и восприятии художественного произведения на примере истории живописи....
The conceptualization of light and colour as a means to express the perceptive dominant in a poetic text (on the basis of the poetry of A. Blok and M. Voloshin)
This article analyses the functioning of colour naming in a poetical text. The authors identify the features of its semantic and aesthetical implementation, as well as their role in the structure of poetic images.
1. Алимпиева Р. В. Способы реализации концепта прекрасный в ранней лирике А. Блока // Языкознание: Современные подходы к традиционной проблематике ...
Mineralogical colour-denotings as the means of the author’s perception in the world poetic picture of M. Voloshin
... poetic texts, the specificity of mineralogical colour-denotings functioning is considered as the means of the author’s perception;the semantic-aesthetic peculiarities of these lexemes realization are revealed;their role in the structuring of poetic images is determined.
1. Алимпиева Р. В. Семантическая значимость слова и структура лексико-семантической группы. Л., 1986.
2. Алимпиева Р. В., Таран С. В....
Time synaesthesia in W. Shakespeare’s texts: the semantics and pragmatics of colour
... external and internal world. Thus, black color, identified with the darkness of night, becomes a methonymic-metaphorical name for the unknown, danger, and suffering. Grey color, associated with the transition from darkness to light, correlates with the images of morning, youth, and hope, becoming an element of vivid authorial metaphors of personification. Red color allows for polar interpretations, being both a sign of trials and a symbol of life, strength, and energy. Yellow color serves as a sign ...
‘People in Black’: Semantization of the concepts ‘sectant’ and ‘baptist’ in the anti-religious campaign of 1958—1964
... primitives. This involved significantly narrowing the semantics of the words 'sektant' and 'baptist.' Linguistic tools such as new lexical pairs ('sectarian-Baptist,' 'fanatics and bigots,' 'subversives and villains') and linguistic markers related to colour, sound, appearance, age, and location were employed. These tools helped develop a negative image of a Protestant believer and ultimately transformed the concepts of ‘sectant’ and ‘baptist’ into political labels.
Arinin, E. I., 2017. The Invasion of Religion in to Soviet Cinema: Between “the Magical” and “the Eternal”....
The Soteriological Aspect of the Murals in the Kaliningrad Cathedral of Christ the Saviour
... iconography is one of the most traditional and semantically justified. It is reflected in the composition and the choice of colours as well as in the selection and juxtaposition of motifs and their correlation with the architectural elements of the Kaliningrad ... ... in the monuments of iconography]. Moscow.
9. Yazykova, I. K., 2012. So-tvorenie obraza. Bogoslovie ikony [Co-creation of the image. The theology of icon]. Moscow.
Kant and Wittgenstein on Thought Experiments and the Matter of Transcendental Arguments
... Francis Group, pp. 327-341.
Diamond, C., 2000. Ethics, Imagination, and the Method of Wittgenstein’s Tractatus. In: A. Crary and R. Read, eds. 2000. The New Wittgenstein. London & New York: Routledge, pp. 149-173.
Dragalina-Chernaya, E. G., 2020. Colours in Ludwig Wittgenstein’s Logical Space. Voprosy Filosofii, 6, pp. 146-156.
Engelmann, M. L., 2013. Wittgenstein’s Philosophical Development. Phenomenology, Grammar, Method, and the Anthropological View. London: Palgrave Macmillan.
Fehige, ...
Transzendentalphilosophie als kritische Bestimmung des Standpunkts. Eine wissenschaftstheoretische Annäherung
... Voltaires parodistischer Entwurf eines ewigen Friedens auf Erden. In: S. Stockhorst, Hg. 2015. Krieg und Frieden im 18. Jahrhundert. Hannover: Wehrhahn, S. 469-482.
Newton, I., 1730. Opticks. Or a Treatise of the Reflections, Refractions, Inflections and Colours of Light. Fourth Edition. London: William Innys.
Pilot, H., 1995. Die Vernunftideen als Analoga von Schemata der Sinnlichkeit. In: Ch. Fricke, P. König und T. Petersen, Hg. 1995. Das Recht der Vernunft. Kant und Hegel über Denken, Erkennen und ...
