Color Semantics Research Articles

Using colourful semantic approaches as a group intervention within primary schools to improve language development: A mixed methods design

Colourful Semantics is an approach initially designed to support language development in children within clinical settings (Bryan, 1997). While initial research was small and based on case study methodology, the research base is growing to include larger numbers of participants and populations. Studies in this area have begun to explore how impactful Colourful Semantic approaches are within school settings when delivered by teaching practitioners (Hettiarachchi, 2016; Hettiararchchi & Ranaweera, 2019). The current small scale study explores the impact of Colourful Semantic approaches when delivered by Additional Support for Learning teachers within small groups in primary schools. A mixed methods design is utilised with both standardised (Renfrew, 1997) and non-standardised pre and post assessments being employed. Additionally, practitioner experiences were gathered through an online questionnaire. While the standardised assessment scores presented mixed findings, closer analysis of narrative responses revealed improvements in sentence structure and organisation. Triangulation and analysis of non-standardised assessment scores and practitioner experiences, revealed significant improvements in both semantic understanding and mean utterance length. Additional benefits in cognitive skills were highlighted by practitioners. Limitations and future research to explore implementing Colourful Semantic approaches within school settings is explored.

The Use of Colourful Semantics in Improving Sentence Writing Skills among Level One Pupils

The Use of Colourful Semantics in Improving Sentence Writing Skills among Level One Pupils

Features of representing emotions through color associations in a literary text (based on the novella “First Love” by Ivan Turgenev)

One of the most relevant trends that interests modern language science is the study of the way the inner world of humans is encoded in literary texts through various linguistic means. At the same time, the issues of specificity of using color designations as a means of conveying emotional information in Ivan Turgenev’s works remain incompletely studied.This work comprehensively analyzes the features of verbalizing the emotive space through lexemes with the semantics of color in Ivan Turgenev’s novella “First Love”. The research methods include contextual, semantic, linguistic-statistical, descriptive and psycholinguistic analyses.In the course of our research, we examined the occurrences of color lexemes along with their quantitative and frequency characteristics in Ivan Turgenev’s novella “First Love”. The article provides a classification of all identified words based on categorical-lexical themes and analyzes their specificity of associative emotive reinterpretation in the context.Color is a key element of visually perceived objects and phenomena, playing a crucial role in humans’ understanding of the surrounding world. In the context of Ivan Turgenev’s literary works, color lexemes both reflect the color characteristics of the objects and enable the writer to better reflect his worldview and emotional-psychological state. They imbue the text with figurative meanings and lend it emotional and evaluative coloration.

Terminologization of Colouronyms of Metal and Mineral Etymological Origin: The Evolutionary Aspect

This paper is devoted to the study of French colouronyms and their terminologization in different subtypes of scientific discourse. The research is based on colouronyms of mineral origin “(jaune / vert / brun / rouge d’) andalousite” and “quartz (blanc / rose),” as well as those of metallic origin – “jaune d’or” and “jaune / vert de chrome.” The authors carry out an etymological analysis of all the above-mentioned lexical units and consider the main tendencies of the terminologization of words with the semantics of colour in French scientific discourse. The peculiarities of the terminologization of colouronyms of mineral origin are analysed in the chemistry and geology discourse subtypes, whereas trends in the use of colouronyms of mineral origin are presented in the chemistry and physics discourse subtypes.The aim of this paper is to analyse the evolutionary tendencies of the terminologization of French colouronyms in the subtypes of scientific discourse to describe their common and diverging properties at different levels, i.e. structural-semantic, morphological, and syntactic.The empirical material for the research comprises written scientific texts on chemistry(the Annales de chimie et de physique electronic archive of scientific journals), geology (the Planète-Terre electronic archive of scientific journals), and physics (the Futura Sciences electronic archive of scientific journals).The research methods employed include etymological, component, structural-semantic, morphological, and syntactic analyses.The terminologization of colouronyms is a long-term continuous evolutionary discursive process that can be observed in French scientific discourse from the nineteenth century until the present day. The authors investigate the evolutionary tendencies of colouronyms as emerging semantics of colour in lexemes that have not had it before, the development of new structural-semantic models, the increasing numbers of morphological categories of colour terms, the acquisition of new syntactic roles, and the gradual process of the semantic transformation of colouronyms. The transition of colouronyms from one subtype of scientific discourse into another while preserving the structural-syntactic forms and morphological and semantic categories indicates the correlation between the discursive subtypes and the convergence of their functional properties at different levels of the language system. Despite this interdiscursive connectedness, each of the subtypes manifests distinct boundaries, which can be revealed through the study of the semantic specificity of colouronyms and their terminologization in scientific discourse.Transl.: Volkova M.V. 2022. Terminologization of Colouronyms of Metal and Mineral Etymological Origin: The Evolutionary Aspect. Professional Discourse & Communication. 4(2). P. 45–65. DOI: https://doi.org/10.24833/2687-0126-2022-4-2-45-65

Representation of the Green Color in Russian and French Linguo-Cultures

This article represents an in-depth linguistic analysis of the use of green color in the Russian and French languages. The richness of phraseological expressions and lexical turns associated with this color is examined in diverse contexts. The primary focus is on denoting plants, nature, and metaphorical meanings, such as associations with youth and emotions. The study covers various domains of green color use, including its connection with playing cards, money, and alcohol. The author aims to uncover how the color interacts with cultural concepts and perceptions in different linguocultural environments of Russian and French languages, providing a profound understanding of the multilayered semantics of the color green. The research is based on a comprehensive analysis of linguistic materials, including a comparative analysis of phraseological units in Russian and French. Methods of semantic analysis, cultural context, and historical-linguistic comparison are applied. The work relies on authentic texts and integrates cultural and linguistic history to reveal nuanced aspects of green color usage. The study offers a deep analysis of phraseological units involving the green color, identifying their cultural, linguistic, and semantic aspects in the context of Russian and French languages. The work unveils common features and unique characteristics of green color usage, providing readers with a profound understanding of its significance in various linguistic and cultural paradigms. The scientific novelty lies in the full-scale analysis of linguistic material and the exploration of the influence of cultural factors on color perception in language. The research enriches linguistic science, offering valuable insights into the realm of cultural interaction through the language prism. It inspires further investigations into the semantics of color and linguistic anthropology, introducing new perspectives and understanding into discussions on the impact of color perception on cultural norms and customs.

Поэтика цвета как инструмент анализа художественного текста

The paper discusses methodological approaches to the study of the poetics of color in literary texts. To identify the methodology, the study consistently examines the process of the formation of ideas about color, takes into account and systematizes existing approaches to its analysis, in particular, those based on the peculiarities of the existence of color in culture and the semantics of color terms. The starting points for the analysis of the functions and role of color in a literary text are the frequency of use, color or color-light cores, and the grouping of color terms according to their symbolic or metaphorical meanings. Much attention is paid in the paper not only to literary works but also to works on the theory of color and color perception. The mechanisms of perceiving and associating color are of particular interest, since they make it possible to assess the universality of colored images in art. A study of the poetics of color must not be guided solely by interpretation of color meanings or personal associations. Significantly, the semantics of color, due to its cultural existence, does not limit the functions of color in a literary text, but complements the contextual meaning and role of color. In an analysis of a literary text, it is important to remember that the functions of color can be manifested on all the levels of the text. For a study of the poetics of color to be complete and systematic, it is necessary to take into account all the methods of observing color, and one of the tasks of the present research is to identify these methods. It is proposed to distinguish between the concepts of symbol and detail in relation to color. Color should be considered separately in relation to motifs, spatial and temporal organization, and subjective structure. Distinguishing the individual roles of color allows us to consider it as a significant element of the artistic world, complementing it and providing additional ways of understanding and interpreting.

Популяризация национального наследия через создание цифрового продукта – обучающей компьютерной игры

The article is devoted to the development of a design project for an educational computer game “The Path of Batyr” for young people, created based on national Bashkir mythology. The relevance of the topic of this article is determined by the need to create a modern educational visual product of the digital media genre to attract the attention of the younger generation to the problem of preserving continuity and national cultural identity of their native land. The purpose of the article is to awaken the interest of modern youth in national culture and popularize its values as a form of cultural memory, which is a means of communication, including visual communication. Visualization helps to increase the number of participants involved in communication who are able to effectively perceive the information necessary for learning in an attractive game form, while providing feedback. The clear, visual form of quality visual design supports its content and functionality. The article discusses the key stages of creating a game design project. The authors reveal the essence, features and possibilities of learning with the help of computer games, which are gaining great popularity in the field of education. They pay attention to the target audience, the core of which is teenagers. The psychophysical characteristics of this group of respondents are specified, for whom the creation of game content should meet their needs and increase motivation for learning. The advantages and disadvantages of domestic and foreign similar projects are analyzed. The authors focus on the study of the rich national culture, history and mythology of the Bashkir people. Based on the study of extensive cultural and historical material, which includes everyday life, traditions, housing features, national clothing and color semantics, the concept of the game is built. The script and plot, consisting of sixteen episodes, are written in detail. Visual images of heroes and mythical creatures are constructed based on materials from legends, traditions, the epic “Ural-batyr”, and Bashkir mythological dictionaries. In conclusion, the authors find that an educational video game for young people, based on the study of national cultural characteristics and Bashkir mythology, can become a modern interactive means of popularizing cultural and historical heritage and contribute to the preservation of the continuity and national identity of the people.

Color Semantics in Human Cognition

People have associations between colors and concepts that influence the way they interpret color meaning in information visualizations (e.g., charts, maps, diagrams). These associations are not limited to concrete objects (e.g., fruits, vegetables); even abstract concepts, like sleeping and driving, have systematic color-concept associations. However, color-concept associations and color meaning (color semantics) are not the same thing, and sometimes they conflict. This article describes an approach to understanding color semantics called the color inference framework. The framework shows how color semantics is highly flexible and context dependent, which makes color an effective medium for communication.

‘Horseback brown’. Colour semantics of equine bay, chestnut, and dun in Middle Welsh literature

ABSTRACT: This article examines a set of terms in the semantic domain of horse colours in Middle Welsh. In the absence of a Basic Colour Term (BCT) for brown in its colour system, Middle Welsh deployed a combination of specialized adjectives and contextually-restricted uses of BCTs for red and yellow to describe the full range of horse coats in the brown range. It is argued that, like other equestrian cultures, medieval Wales would have had a nuanced and sophisticated collection of descriptive terms for horses and that its small number of BCTs in no way indicates a limited discernment of colour variations.

The colorful world of David Samoylov’s poetry

The article deals with the structure and semantics of color elements in the poetic texts by David Samoylov. Colorism manifests itself in three ways: as a color image recreated from the context, as substituted metonymy, and as words denoting color semantics. In this paper, using a continuous sample, the mechanism of manifestations of the basic monochromes “black – white” and the contaminated metatricolor “blue – green – red” is investigated on the basis of a complete collection of Samoylov’s poems. As a result of the article, a frequency dictionary of color elements was created, a semantic and structural analysis of five color images was carried out, and an ideological and thematic complex of the poet’s poetry was determined.

“WHITE” AND “BLACK” IMAGES IN THE POETRY OF M. MAKATAEV

In this article were considered two monochromes ―white‖and ―black‖in the poetic texts of Mukagali Makataev, who isa famous Kazakh poet, writer and translator of the 60sand 70s of the 20th century. A quantitative and qualitative methodsof analysis wereused, a frequency dictionary of color images was developed based on the material from the poetry collection ―МҰҚАҒАЛИ(MUKAGALI)‖ (2012). In addition, a detailed semantic and structural analysis of two monochromes was conducted to determine their role and the way in which the color semantics are represented: as main or additional elements. The generalized structural and semantic analysis revealed that Makataev uses these images as a contrast between darkness and lightness, comparing them and being indecisive in choosing a color. Black and white colors form thematic blocks such as animate/inanimate nature, the theme of moral choices, the theme of creativity, motherland, and love.Both colors reveal in their own way the theme of love and the theme of death through different images. Moreover, we can notice that the semantics of the white color is based on a well-knownand traditional image, while the black color contains the cultural background characteristic of the Kazakh people.

The application of advertising logo color design for big data and visual communication technology

Color is one of the three major elements of print advertising, and different color combinations can trigger different emotional experiences of human beings. At present, the application of color in advertising in China is relatively mature, but it is limited to the traditional application method and has not been combined with big data technology. From the perspective of business needs, this research analyzes the process of visual creativity from the perspective of business value-added, and analyzes the role of big data in it. Then it introduces the semantics of common colors and how to incorporate color semantics into advertising design. And a sequence mining-based advertising click-through rate prediction model is proposed. The Criteo dataset is used as the training set. The AUC value of the model is 0.702 and the loss value is 0.415. Compared with other models, AUC values increased by 10.16%, 4.70%, 2.69% and 2.30%, respectively. Losses decreased by 10.17%, 9.19%, 6.11% and 7.57%, respectively. Finally, the online shopping data of 20 consumers was used as the test set to predict their color preferences, and the prediction accuracy was about 70%. Among them, the prediction accuracy of the group with stable shopping habits was 72.76%, and that of the group who liked to try new things was 70.60%, both meeting the expectation. Through experiments, it is concluded that the model has good performance and stability, and can more accurately judge consumers’ consumption preferences.

Color Semantics of the Cultural Landscape

A cultural landscape is the result of a continuous interaction between the surrounding natural landscape and culture. Meanings, symbols, and codes of culture are an integral part of it. This paper is a review of publications on current research over the past 20 years. The aim is to analyze the existing research practices, which are based on factual evidence and existing theoretical foundations, using an interdisciplinary approach, in order to come closer to a sufficiently holistic understanding of the coloristic semantics of the cultural landscape. Such a review and analysis of disparate studies allows for the first time the correlation of different types of cultural landscapes (urban, rural, gardens, and parks) and different types of signifier functions performed in them by color—signals, indices, iconic models, conventional signs or symbols, zero, or empty signs. The author analyzes the difference in the semantics of chromatic and achromatic colors and explores the landscape chromodynamics, namely, by creating the first-ever classification of the types and meanings of color foci of various durations—from days to decades. Color loci signs are continuously communicating in the cultural landscape, which is a field of constant “cultural explosion”, where traditional cultural meanings are transmitted and new meanings are generated. The author comes to the conclusion that color symbolism is part of the “landscape-as-text” containing certain information—“messages” of culture to itself. In these messages, color has sacral, temporal, and historical semantics, thus creating an extended semantic frame for the reproduction of cultural codes.

White colour symbolism in the poem "A Cemetery near Paris" by R. Rozhdestvensky: a linguoculturological aspect

Robert Rozhdestvensky lived in the era of scientific atheist propaganda. Nevertheless, his poem "A Cemetery near Paris" is an artistic experience of understanding a civil war as the evangelical sin of fratricide. The article aims to analyse the poetic text from a linguoculturological perspective. The study used historical-genetic, descriptive methods as well as the method of observation of the stylistic functions of linguistic units in conjunction with narrative, semantic, componential, and linguo-stylistic analysis. We examined the words and set phrases that act as the main object of this study. Using them, the poet conveys the semantic shades of white and creates the contextual background necessary for their contrastive perception. The adjective white is the dominant lexical means representing the white colour semantics in the poem by R. Rozhdestvensky. Its different grammatical forms repeatedly occur in the text. The expressive effect in the perception of the work is achieved primarily through a natural combination of two main usual lexico-semantic variants (LSV) of the keyword with the contextual semantic connotations ‘colour of the shroud’, ‘colour of the robes of angels, saints’. In addition, such an effect is also created by actualising the themes of death and holiness which are conceptually significant for the Russian mental linguistic consciousness. These interrelated concepts are associated with the colour white. The linguoculturological significance of the dominating lexical unit white and its shades of meaning in the text is enhanced with the help of the same root adverb dobela (English until it is spotlessly clean). Other means include associatively related designations birch, clouds, candles as well as words and expressions thematically interacting with the lexeme white. We conclude that the semantics of the colour white in the poem "A Cemetery near Paris" performs text-forming and semantic functions since it creates a general elegiac tone of the work and considerably helps to objectively evaluate the message of the poet and how it is artistically conveyed in the text.

The visual design of urban multimedia portals.

In the visual design of a portal website, color is the first intuitive factor for users. It is relatively difficult for the designer of a city portal website to choose a color system that represents a city's unique color from among the many available options. Therefore, this study extracted a decision-making model of the urban color system, which can help decision-makers and designers choose among color systems, and then effectively design a portal website that conforms to local cultural attributes. The proposed method to solve the problem involved obtaining optimal color matching by performing weight analysis of colors through 123 sample color semantics, factor analysis, and a fuzzy analytic hierarchy process. Semantic analysis was used to classify colors into four categories of fashion, technology, calm, and dazzling. The fashion color matching scheme scored relatively high. Web page color matching schemes with a white background were popular, among which a white and green color matching scheme scored relatively high. At the same time, there are differences in color preferences between genders and cultures. This study is significant because it proposes a color decision model for portal websites, which provides a reference value that can also be applied to the selection of color schemes for other types of web pages in the future.

Тhe cultural concept GOLD/GOLDEN in the poetic works of A.S.Pushkin

The article presents the analysis of the poetic works of A.S. Pushkin in the aspect of using the linguocultural concept GOLD/GOLDEN in them. The relevant theoretical basis for the study of the term concept of this notion in cognitive and cultural terms is considered. The paper uses the methods of continuous sampling of factual material and the method of cognitive analysis. The stages of experimental research of the lingual embodiment of this concept in lexicography and in Pushkin's works are determined. The high frequency of this concept in the poetic texts of Alexander Pushkin determined the relevance of the study. The key word of the concept "gold" has both direct and figurative meaning in the studied texts. The paper analyzes the contexts illustrating both types of values. Analysis of the contextual figurative meanings of the word "golden" made it possible to describe the features of creating positive and negative connotations, to convey the variety of presentation of color lexemes, to characterize their generalized symbolic meaning. Cases of expanding the semantics of color designation, its figurative use, when the color adjective becomes multifaceted and ambiguous, are revealed. Our study allows us to conclude that the concept of GOLD / GOLD, verbalized in the poetic work of A.S. Pushkin, makes a significant contribution to the creation of a generally positive, vibrant atmosphere of his poetry. Key words: Russian poetry, cultural concept, gold, symbol, color image, color semantics.

СЕМАНТИКА ЦВЕТА В РУССКИХ И АНГЛИЙСКИХ ФРАЗЕОЛОГИЗМАХ И ПОСЛОВИЦАХ С КОЛОРАТИВАМИ

СЕМАНТИКА ЦВЕТА В РУССКИХ И АНГЛИЙСКИХ ФРАЗЕОЛОГИЗМАХ И ПОСЛОВИЦАХ С КОЛОРАТИВАМИ

Ancient Chinese Ideas about the World of Dead Huangquan (According to Pre-Han and Han Texts)

It is generally accepted that developed ideas about the World of Dead appear among the Chinese with the spread of Buddhism. Nevertheless, based on the data of material and spiritual culture, it can be assumed that already in the Paleolithic and, especially, in the Neolithic on the territory of Ancient China, there were a number of more or less developed models of the afterlife. One of its oldest names, recorded by written Chinese monuments, is 黄泉 Huangquan, the literal meaning of which is ‘Yellow Wellspring’. The character 泉 quan means the water flowing in a mountain cave or grotto, coming out at the base of the mountain. Its meaning is consistent with the religious ideas of different peoples: the archetype of the mountain is known as the place of birth and departure of ancestors, a tunnel connecting the worlds of the living and the dead; water as a boundary separating these worlds is also a universal motif of the World Culture. The semantics of the yellow color of the Chinese Hades can also be reconstructed by analyzing the sign 黃 huang. The pictogram depicts a man with a large swollen belly. Additional information from written monuments suggests that the yellow color was originally associated with illness and death, and by coincidence with the color of the earth, where the dead “went”, it began to determine the “border” wellspring. After the death of a person, the soul 魄 po in the form of 鬼 gui goes to the underworld of the ancestors — the place from which it appeared at the time of birth. According to the author, this knowledge is connected with the tradition of the center (Yellow River basin). An analysis of the texts of the pre-Han and Han periods makes it possible to conclude that Huangquan was understood as: 1) a designation of the end of a person’s life; 2) a designation of the lower limit in the vertical World Model; 3) a sacred place where 氣 qi is stored — the birth and death of ten thousand things.

СИМВОЛИКА ЦВЕТА В ПОВЕСТИ А.П. ЧЕХОВА «ЧЕРНЫЙ МОНАХ»

Recently, the interest of literary critics in the study of color painting in the work of poets and writers has increased, the analysis of whose works allows us to reveal the semantics of color, the state and inner world of heroes. Color painting is an integral element of A.P. Chekhov, therefore, the study of the coloring of the writer's prose is an urgent problem. The article is devoted to the poetics of color designations in A.P. Chekhov "The Black Monk". The colors that form the main coloristic background of the story are highlighted. Black, white, red colors show the complex inner experiences and state of mind of the main characters of the hero, convey their rich emotional world and at the same time create grounds for ambiguous interpretation of their images and the meaning of the story as a whole. The article proposes a comparative analysis of the canonical meanings of basic colors and their functions in Chekhov's text. It is shown what role the combination of basic colors plays in the meaning formation of the story. On the example of the analysis of portrait characteristics and landscape fragments, the techniques that form the ambiguity of color semantics are highlighted. In conclusion, it is emphasized that thanks to the color painting in the story, there is scope for the associative work of the reader's imagination, a metaphorical connection is formed between its characters and the author's position is expressed.

"Color" Сomponent of the Frequency Dictionary of the "Armenian Text"

The aim of the study is to reconstruct the "Armenian" local text of Russian poetry, its color segment. The research material is a corpus of poems by Russian poets of the XIX–XXI centuries dedicated to Armenia. The object of study is the poetics of color as an important component of the image of Armenia, the subject of study is color naming. The methodological basis was an interdisciplinary approach combining linguistics, literary studies and computer methods of text processing. To describe the poetics of color, language material is processed and a frequency dictionary is compiled. Data interpretation is performed at the level of the entire corpus and within the subcorpuses of individual authors. This is how data on individual and national pictures of the world are compared and considered against the background of Armenian folk ideas about color. The scientific novelty of the research consists in compiling an original alphabetical-frequency dictionary of color names in the "Armenian text" of Russian poetry and in describing the poetics of coloristic elements. It is proved that in the general linguistic picture of the "Armenian text" and in most of the individually authored artistic worlds, the blue color and its shades confidently dominate. The semantics of color in Russian poets when describing Armenia does not coincide with the ethnic representations of Armenians. The study is promising for the comparative study of both local texts and national linguistic worldviews. The peculiarity of the "Armenian text" is the construction of a color picture of the world based on the perception of the color of soils, stones, rocks and the mountains themselves, as well as impressions of paintings by Armenian artists, first of all, Martiros Saryan.