РОЛЬ ЭМОТИВНОЙ ЛЕКСИКИ В СОЗДАНИИ КАРТИНЫ МИРА ХУДОЖЕСТВЕННОГО ТЕКСТА

Abstract

Human emotions and the mechanisms for their linguistic support has always been a subject of scientific research. A number of sciences studying the psychological phenomenon are Psychology, Physiology, Sociology, Philosophy, Ethics, Medicine, Biochemistry, Linguistics, Literary criticism. Obviously, the variety of positions and approaches is due to the abundance and the disorder of terminology in the problem of emotions. The ability of a person to experience emotions can be described in many ways – psychological reality, mental state, inner state, an emotional activity. The comparison of positive and negative emotions reveals both common and distinctive properties. However, positive emotions are never long lasting, but the negative emotions very long, prone to summation and more frequently than positive emotions, form a semantic complex that is a collection of images associated with the situation that gave rise to strong emotional experience. While updating one of the elements of this complex leads to the introduction into the consciousness of the other elements and, ultimately, brings to life a whole range of negative emotions, and when repeated calls to complex negative emotions they every time more increasing (growing sadness, anger and fear increase). But positive emotion lives by itself, and, being once called on any matter, the repetition of this circumstance does not occur or occurs in a reduced form. Emotive language is traditionally studied taking into account such categories as evaluation, expressiveness, imagery and its connection with the rating are particularly close. The pairing of emotion and appreciation do not lose their relevance. The article illustrates the analysis emotive vocabulary in the disclosure of the conflict on the example of the extract from the American novel by Theodore Dreiser.