Volume 12 - Issue 67
/ July 2023
265
http:// www.amazoniainvestiga.info ISSN 2322- 6307
DOI: https://doi.org/10.34069/AI/2023.67.07.24
How to Cite:
Bulegenova, I.B., Karabulatova, I.S., Kenzhetayeva, G.K., Beysembaeva, G.Z., & Shakaman, Y.B. (2023). Negativizing emotive
coloronyms: A Kazakhstan-US Ethno-Psycholinguistic comparison. Amazonia Investiga, 12(67), 265-282.
https://doi.org/10.34069/AI/2023.67.07.24
Negativizing emotive coloronyms: A Kazakhstan-US
Ethno-Psycholinguistic comparison
Негативные эмоциональные цветные наименования: этнопсихолингвистическое
сравнение Казахстана и США
Received: May 2, 2023 Accepted: July 11, 2023
Written by:
Indira B. Bulegenova1
https://orcid.org/0000-0001-6430-5557
Irina S. Karabulatova2
https://orcid.org/0000-0002-4228-3235
Gulzira K. Kenzhetayeva3
https://orcid.org/0000-0002-9046-353X
Gulshat Z. Beysembaeva4
https://orcid.org/0000-0003-4024-6470
Yrysgul B. Shakaman5
https://orcid.org/0000-0001-9554-4761
Abstract
Neurotargeting prioritizes emotions in
understanding collective unconscious and
individual behavior. Comparative emotive
linguistics reveals cross-cultural emotional
expression variations. Despite extensive emotion
research, gaps remain due to differing response
norms. Psychology understands emotions well, but
lacks universal classification, hindering linguistic
description. Confusion between emotion and
emotive obscures psychophysiological and verbal
distinctions. Nonverbal emotives, reflecting
emotions, require analysis of generation and
expression mechanisms.
This study examines color's role in conveying
negative emotions in Kazakh writer A. Nurpeisov's
"Blood and Sweat" and American writer T.
Dreiser's "Trilogy of Desire." Authors use linguistic
and nonverbal methods to portray emotions.
Hypothesis: color as emotive state designation
functions with "permissible-unacceptable" and
"good-bad" evaluations, evident in shaping
emotional reality perception. Analyzing coloristic
negative emotives uncovers ethno-cultural
1
PhD Student, L.N. Gumilyov Eurasian National University, Astana, Kazakhstan. Researcher ID: N-5159-2016
2
Dr of Philological Sciences, Professor, Lomonosov MSU, Bauman MSTU, P. Lumumba RUDN-university Moscow, Russia,
Heilongjiang University, Harbin, China. Researcher ID: M-2778-2013
3
Candidate of Philological Sciences, Ass. Professor of L.N. Gumilyov Eurasian National University, Astana, Kazakhstan.
Researcher ID: IZD-5229-2023
4
PhD Doctor of Philosophy, Associate Professor, Department of Foreign Philology, L.N. Gumilyov Eurasian National University,
Astana, Kazakhstan. Researcher ID: AGW-9544-2022
5
Candidate of Philological Sciences, Professor, Pavlodar State Pedagogical university, Pavlodar, Kazakhstan. Researcher ID:
IZD-6371-2023
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metaphorical models, connecting emotive
coloronyms with basic emotional concepts.
Findings aid standardizing cognitive mechanisms
for understanding mental experiences and
comparative emotive linguistic terminology.
Keywords: negative emotion, color, emotive,
emotive coloronym, artistic text, psycholinguistics,
different structural languages.
Introduction
Different ethno-linguistic cultures develop their
own standard of color perception, which affects
the psycho-emotional state of a person (Rathod,
2014; Sutton, & Altarriba 2016). At the same
time, the verbalization of these states is conveyed
by various concepts that can make up the
repertoire of emotives assigned to a particular
emotion (Antipenko, 1995; Dupina et al., 2013;
Monastyrskaya, 2008; Osintseva, 2019). This
separation between the verbalization of negative
emotions and the emotion itself began to occur
only now (Shamay-Tsoory et al., 2014;
Stefansky, 2009; Tokareva, 2021, Rong, 2021),
which puts the task of distinguishing emotives,
terminological apparatus, classification
parameters in the first place in modern research.
Emotivity colors our life, creating a variety of
coordinate systems for regulating the
ethnosociocultural behavior of an individual in a
particular society. Censure and/or approval were
and remain powerful tools for the formation of a
person's speech and behavioral matrix (Jensen,
2014; Ruan, & Karabulatova, 2021;
Shakhovskiy, 2018; Zhang et al., 2023).
Emotive linguistics originates in the works of
V.I. Shakhovsky (2019), starting from the
understanding that emotions are an important
component of the mind, the linguistic
consciousness of a modern person belonging to a
certain linguistic culture. The emotional
experiences presented in the language are
understandable for one particular language
(Ulyanova, 2011). Emotions are inherent in the
specific national experience of this people
(Shakhovsky, 2019). A person reflects the world,
and emotions serve as an intermediary between
the world and its reflection in language. It is
difficult to adequately describe the language
system without taking into account people's
emotions. Emotional states and relationships are
directly related to the assessment and
understanding of reality. A person experiences
different emotions, so they feel in the process of
forming a linguistic picture of the world. In this
process, language is a means of reflection, and
emotions are a form of reflection of reality.
According to researchers like
A. Yu Vychuzhanina, N.A. Krasavsky,
V.I. Shakhovsky, it is necessary to appreciate the
importance of human emotion in linguistic
works. The linguistics of emotion has made a
huge contribution to solving the problems of
emotivity, emotive semantics, classification of
emotional vocabulary, etc. Emotions have been
repeatedly investigated in this direction. For
example, in the dissertation work of
A.K. Kalzhanova, the relationship of emotive
language means and color designation in
different structured languages was described
(Kalzhanova, 2004). H.M. Nurmukanov devoted
his work to the study of emotionally expressive
words of the Kazakh language (Nurmukhanov,
1969).
Currently, works devoted to the study of
emotional vocabulary in a comparative-
contrastive aspect are becoming especially in
demand (Lin et al., 2021; Qin et al., 2022).
According to the theory of the psychological
basis of emotions, all speech acts are emotional.
Recently, researchers have found that emotional
information can be transmitted through color-
expressing language units. The color-emotion
ratio has not gone unnoticed by researchers. It is
relevant to identify and study the role of color
Bulegenova, I.B., Karabulatova, I.S., Kenzhetayeva, G.K., Beysembaeva, G.Z., Shakaman, Y.B. / Volume 12 - Issue 67:
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values in the expression of emotions. A number
of research papers are devoted to this issue. For
example, N. A. Bagdasarova studied the
mechanisms of emotion formation in her
dissertation "Lexical means of expression of
emotions in the context of different cultures"
(Bagdasarova, 2004). In particular, a decrease or
increase in body temperature and the use of color
for its description (based on materials in English
and Russian).
According to the author, a drop in body
temperature is associated with words and phrases
that contain certain emotions and semantics of
the word "cold". The increase in temperature is
expressed by color markers. For example: blood
stinks in the living quarters, get rid of grief, get
better. Changes and deviations that occur in the
human body under the influence of emotions are
directly reflected in the emotional language units.
She suggested that an increase or decrease in
body temperature is caused by emotions such as
fear, anger, and jealousy (Bagdasarova, 2004).
N. A. Krasavsky considered the compatibility of
the name of emotions and color names on the
basis of materials in Russian and German (2011).
According to the author, the conceptosphere of
emotions and colors is ontologically related to
each other. This is because both different
emotions and colors have both positive and
negative signs. Modern onomastics considers
color designations under the term coloronym
(Borisova, 2008). Previously, instead of the term
"coloronym", such terms as "colour name",
"colour naming" were used, which are found in
the works of R. M. Frumkina (1984),
A.P. Vasilevich (1987). In foreign linguistics –
"colour naming" (Mylonas, & MacDonalds,
2012). According to psychologists, the mental
stress experienced by a person can be divided
into positive or negative ones.
That is, a person constantly strives to evaluate
the phenomena that occur in the environment. In
associative psychological studies, it is
established that colors have an evaluative value.
This also happens in the language. For example:
gray days, schwarze Gedanken. In addition, the
author also pays attention to the dictionary
definitions of colors in his article. In the
dictionary definitions themselves, you can see
that colors have a positive or negative semantic
coloring. The author gives an example of the
word black (the name of the color): "Black -
trans. Gloomy, bleak, malicious, criminal
"(Krasavsky, 2011).
Kazakh linguists (Pansat, & Khalikova, 2023),
addressing the problem of the interaction of color
and emotion, argue that a person's internal
emotions, conveyed in texts through color
characteristics, act as a powerful ethno-linguistic
and cultural means of psycho-emotional
comprehension to enhance the expressive effect
of influence on the recipient.
A new stage of research in the terminology of
emotive coloristics is associated with the
actualization of cognitive linguistics, which not
only emphasizes the role of color in cognition of
the world, but also explains the importance of
color in the linguocognitive mechanisms of
visual perception of objects. Cognitive
linguistics is based on the results of
psychological studies, which reveal a rigid
"fixation" of a particular emotion on a certain
color (Basin, & Krutous 2007; Berdnikov, 2004;
Sycheva, 2016). Thus, emotions belong to the
sphere of psychological concepts, being the basis
of emotional concepts. Emotional concepts, in
turn, make up an emotional picture of the world.
The emotional picture of the world is understood,
following N. A. Krasavsky, as "a set of emotional
representations, emotional concepts transmitted
by individual concepts" (Krasavsky, 2008: 18).
At the same time, the emotional picture of the
world, acting as an evaluative reaction of human
consciousness when mastering the world,
correlates with the emotive linguistic picture of
the world, which is verbally realized in emotives.
The emotive is a linguistic unit of the emotive
picture of the world, performing both the
function of expressing the emotions of the
producer/addressee and the function of emotional
impact on the recipient/ addressee (Ulyanova,
2011). The lability of the boundaries of emotion
and its verbal expression has caused
misunderstanding of the phenomenon of emotion
and its verbalizations.
Materials and methods
In our article, we will look at emotions in the
artistic text and ways to convey them in the text.
The reason for considering a literary text is that
fiction presents a wide variety of emotional
situations, describes the verbal and nonverbal
emotional behavior of the characters and the type
of communication. In this sense, fiction is a very
valuable treasure (Shakhovsky, 2008: 187). At
the same time, emotions have certain
characteristics for representatives of each nation.
The cultural features of the expression of each
emotion are evaluated and understood differently
by representatives of different cultures. That is, it
depends on the environment in which each nation
was born, national history and values, etc. We
used lexicographic sources, methods of analysis
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of dictionary definitions of emotions in order to
identify ways of transmitting emotions through
colors in Kazakh and English. In this article, we
will analyze the ways and methods of color
transmission of negative emotions in an artistic
text. In particular, we can consider the negative
emotions expressed in the works of the great
Kazakh writer, translator A. Nurpeisov "blood
and sweat" (Ymyrt, Sergelden, Kuyreu) and the
American writer, publicist and novelist, public
figure T. Dreiser "Trilogy of Desire" (The
Financier, the Titan, the Stoic).
The analysis of emotional states in these literary
texts is based on the traditional classification of
emotions (Ekman, 2017) in comparison with pre-
selected material about experiences significant
for literary heroes. In the proposed classification
of negative emotive coloronyms, only those
speech models that clearly convey the negatively
colored component of emotion with the fixation
of the color of emotional experience are taken
into account.
The main basic emotions are distributed along
the poles of the maximum rating from plus to
minus (Izard, 1999), while the very division into
positive, neutral and negative emotions is
relative. Thus, anger refers to negative emotions,
but a positive connotation is found in the
characteristic "righteous anger". At the same
time, the emotion joy characterizes, as a rule, a
positive psycho-emotional state, but the
expression "frenzied joy" contains a negative
meaning. In addition, such an emotion as
surprise has an ambivalent character without a
clear link to the negative or positive pole of the
emotional reaction to the suddenness,
spontaneity of certain circumstances. In this
regard, the classification of emotions, as well as
the assessment of psycho-emotional states can
change both within one ethno-linguistic culture
and beyond.
Verification of emotional experiences mentioned
in the works of T. Dreiser and A. Nurpeisov is
based on 10 groups of emotions identified by B.
I. Dodonov (1987), based on pragmatics (tabl.1).
Table 1.
Verification of emotional states in the literary texts of T. Dreiser and A. Nurpeisov based of works by
B. I. Dodonov, 1987.
Verification of emotional states in the literary texts of T. Dreiser and A. Nurpeisov
1
Altruistic emotions
they realize the basic needs of a person in assistance,
assistance, patronage to other people
2
Communicative emotions
the need for communication
3
Glorious emotions (from lat. gloria –
glory)
They are conditioned by the needs for self-affirmation,
encouragement, fame. Basic type of emotional situation: real
or imaginary "reaping laurels"
4
Praxic emotions
The need for activity, assessment of its success/failure
5
Pugnic emotions (from Latin pugna −
struggle).
Basic needs: overcoming danger, overcoming certain
"boundaries", on the basis of which there is an interest in
fighting
6
Romantic emotions
Basic frailties: the desire to comprehend the mystery, the
sacred, the hidden, everything unusual, extraordinary,
inexplicable
7
Acquisitional emotions
Basic needs: accumulation and hoarding, acquisition,
"collecting" of objects, etc.
8
Hedonistic emotions.
Basic needs: bodily, mental comfort, enjoyment
9
Gnostic emotions and/or intellectual
feelings
Basic needs: satisfying the "information hunger", obtaining
any new information, achieving "cognitive harmony"
10
Aesthetic emotions
Basic needs: finding a person in harmony with himself and
the world around him
The interpretation of linguistic expertise of a
literary text for the determination of categorical
characteristics of emotions requires the use of
such a gradation. Conducting free and directed
associative experiments in multilingual cohort
groups of students from Kazakhstan, Russia and
China allowed us to determine that the basic
emotions are perceived by the absolute majority
of respondents in the standard response system:
positive, negative and neutral. The emphasis on
the color characteristic of emotion gave reason to
operate by dividing into positivizing emotive
coloronyms and negativizing emotive
coloronyms for the linguistic description of
emotive states in a literary text. A distinctive
feature of emotive coloronyms is the absence of
neutral coloring when using the color
characteristic of emotion.
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These metagraphs of emotion blocks are
considered through the prism of the so-called
"color circle" (Itten, 2019), thanks to which there
is a relationship between the perception of color
and emotion.
This important problem requires a consistent
solution of tasks such as: 1) to clarify the
conceptual and terminological apparatus for this
work; 2) to compare the symbolism of color in
the Anglo-American and Kazakh linguistic
cultures; 3) to study the representation of the
standards of basic color meanings of negative
emotions; 4) to consider negative emotive
coloronyms with their lexical and semantic
variants according to the explanatory dictionaries
of English, Russian and Kazakh languages to
identify universal and idioethnic; 5) conduct
directed and free associative experiments with
Kazakh-Russian-English polylinguists in order
to model the associative fields of the main color
meanings of negative emotions; 6) create an
architecture of language models aimed at
reconstructing the content of the basic concepts
of color presented in the idiolects of T. Dreiser
and A. Nurpeisov, in conjunction with negative
emotives; 7) carry out clarifying verification
universal and ethno-psycholinguistic features of
the studied negative emotive coloronyms.
These tasks are solved by using the method of
modeling emotive concepts and conceptual
analysis in order to identify the features that form
the structure of the concept, taking into account
their classification, integration and post-
interpretation. In addition, an important place is
occupied by directed and free associative
experiments in order to determine the psycho-
emotional potential of emotive coloronyms of the
negative spectrum in the idiolects of T. Dreiser
and A. Nurpeisov. Since we are faced with the
difficult task of making comparisons in the
planes of different structural languages, it is seen
as defining the definitional analysis of negative
emotions and negative emotive coloronyms in
English and Kazakh with access to the
conceptual analysis of emotives.
Results
There is no single emotional base between
psychologists and psycholinguists. P. Ekman
(2017) identifies six basic emotions (happiness,
surprise, hate, fear, sadness, anger), while the
famous psychologist K. Izard (1999) shows 12
basic emotions based on them. The more
elements are included in the definition of a
psychoemotional state, the stronger the emotivity
of the experience is transmitted in the text, which
makes it possible to more clearly verify the
emotion to the recipient of this text. Since, the
science that studies the problem of emotions does
not have a stable list of basic emotions, we
decided to consider the negative emotions and
colors that we encountered more often in our
works of art. Emotions and colors are
summarized in Table 2.
Table 2.
Color designation of negative emotions.
Negative emotions
Color designation
Anger, fury
Black, blue, gray, red, pale, color change.
Jealousy
Red, yellow, black.
Surprise
Black, red, color change
Shame
Black, red
Hate
Black, white, color change.
Fear
Gray, blue, red, dark, fading, discoloration (shoots).
Sadness
Black, color fading.
Grief
Gray, red, pale, color change
Let's illustrate the data in the table with
examples.
Anger.
1. Endy jengesine tipti oshigip aldy, kany
kainap, kejdikke bitken kishkentai tomai
kulaktyn ushy duyldap kyzara bastardy
(Nurpeisov, 2004: 276). (He was angry with
his sister-in-law. His ears started to get red)
2. She moved toward the door; but Butler
jumped up now and stopped her. His face for
the moment was flushed and swollen with
anger. (Dreiser, 2016: 477)"Why not?"
inquired Hand, grimly and heavily, turning
squarely about and facing him. "It doesn't
appear that you have extended any
particular courtesy to Hull or Stackpole."
His face was red and scowling. (Dreiser,
2016: 343)
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Jealousy
1. Adyra kalsyn! Keshe emes pe edy, seri jigit
kelgende jeldey esip, ayagy ayagina timei
ktkeny? Bir uiden kese, bir uiden tabak jiyp,
esynyzdy alyp bitken jok pa edy? O,
juzikara! O, karabet! (Nurpeisov, 2004:
20) (Damn her! She said with hatred. As it
was necessary to accept her dog, so she ran,
bitch! From some asked a plate, others bowl.
ran, bitch! And then it got heavier…)
2. – Ne deidy? Kaynym – au, judyryktai
baitaldyn nesin bolemiz. Ozim derbes alam
– dep karakatyn kasynda turgan kisilerden
kizgangandai, ala kozimen ata bastady.
(Nurpeisov, 2004: 193) (What? What's
there to share? Karakatyn shouted. — And
the filly is skinny, it's not enough for me!)
3. Her eyes blazed hotly, her color rose high
and strong. She breathed heavily.252
(Dreiser, 2016: 252)
Surprise
1. She flushed, trembled, turned pale, in the
grip of this strange storm, but drew herself
together. It was wonderful—heaven.
(Dreiser, 2016: 97)
2. She was strangely selfcontained, enigmatic,
more beautiful perhaps because more
remote than he had ever seen her before. In
a strange flash this young American saw the
isles of Greece, Cytherea, the lost Atlantis,
Cyprus, and its Paphian shrine. His eyes
burned with a strange, comprehending
luster; his color, at first high, went pale.
(Dreiser, 2016: 362)
Shame
1. Elaman kyzaryp ketty. (Nurpeisov, 2004:
49). (Elaman blushed)
2. Slowly, in spite of herself, a telltale flush
rose and mantled her brown cheeks. It
always did when he looked at her. (Dreiser,
2016: 103)
3. She looked up, then arose—for he slowly
drew her—breathless, the color gone, much
of the capable practicality that was hers
completely eliminated. She felt limp, inert.
(Dreiser, 2016: 103)
4. Since it has not, I merely wish to say to
you"—and Mr. Haguenin's face was very
tense and white—"that the relationship
between you and me is ended. (Dreiser,
2016: 207)
Fear
1. Ony Karatazdyn Baibishesi korip, ishke
kiruge gana shamasy jetty. Tili kurmelip, oni
kuaryp, juke arkasyn suiei tura kaldy.
(Nurpeisov, 2004: 249). (Karataz's baibishe
saw him and only managed to get inside. Her
tongue twitched, and she stood with his back
to the truck.)
2. Bayagy kip-kishkentay kezinen bastap ozi
jaksy biletin katal akenin ak kirpigi, kizil
kozi, kaysi birde oz ozinen otirip oskirinip
kalatyn yzaly ashi miskili sesine tusedi de,
tagy da tusi demde buzzilip, dir-dir etip
kaltyrap koya beredi: “Kudai-ai, ozin koldai
gor. Jerge karap kalmasam kaitsyn…”
(Nurpeisov, 2004: 305). (She remembered
her father's inflexible, tough temper,
remembered his white eyelashes, red eyes,
his snorting, his venom, and again fear
entered her soul. "Oh God, help me, don't
leave me! I'm afraid… It's scary!")
3. But I'm doing a great deal," she replied,
softly, a little breathless and a little pale.
(Dreiser, 2016: 98)
4. He was cogitating as to what might happen
to him in case his son failed, for he was
deeply involved with him. He was a little
gray in his complexion now, frightened, for
he had already strained many points in his
affairs to accommodate his son. (Dreiser,
2016: 271)
Grief
1. Akbala kup-ku. Kany kashkan bop-boz erin
dirildep, oksik kyskan kokirek koterilip-
basylyp, koz toil jas moltildep omirauina
tamdy (Nurpeisov, 2004: 378). (Akbalа
turned pale. The pale lips were trembling,
and her breasts rose and fell, and her eyes
filled with tears.
2. Asirese, dal osyndai olik shigip, el – jurt
yzy-shu bop jatkanda, kozinen jas, oninen
kan kashyp sup-sur bop alatyn-dy
(Nurpeisov, 2004: 58). Especially when such
a corpse comes out, and the people are
noisy, there were no tears in his eyes and he
was pale.
3. His fat, white lips were trembling--wabbling
nervously--and big hot tears were coursing
down his previously pale but now flushed
cheeks. (Dreiser, 2016: 339)
Sadness
1. Akbala tagy da jabyrkap, bet-oninin boiaui
onip sala berdi. “Kelmeitin shygar ….” –
dep oilap, munaiyp turgan ustinen kara sur
baybishe kirip keldi (Nurpeisov, 2004: 306).
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(Akbala blinked again, and the color of her
face faded. She thought they wouldn't come
anymore, a dark-gray woman stepped in.)
2. "You had better go on out to the house,
father, and I'll send some telegrams." (The
telephone had not yet been invented.) "I'll be
right out and we'll go into this thing
together. It looks like black weather to me.
Don't say anything to any one until after we
have had our talk; then we can decide what
to do." (Dreiser, 2016: 261)
These patterns are based on the works of classical
writers of Kazakh and English languages.
Although Kazakh and English are different in
structure and genetically distant languages, both
languages are widely used to express emotions in
color. So, we found that in literature, authors use
different colors to express the same emotions.
For example, in Kazakh, the author used red to
represent emotions of embarrassment, in
English-white.
In works of art, authors use various language
tools to convey the feelings and emotions of the
characters to readers. N. F. Ezhova suggests 4
types of use of various language tools for the
purpose of expressing emotions (Ezhova, 2003).
The first is a nominative – descriptive type. In
this form, the author also uses language units to
describe the gestures and facial expressions that
accompany these emotions with a specific word
that expresses emotions.
1. Akbala tagy da jabyrkap, bet-oninin boiaui
onip sala berdi. “Kelmeitin shygar ….” –
dep oilap, munaiyp turgan ustinen kara sur
baybishe kirip keldi (Nurpeisov, 2004: 306).
(Akbala blinked again, and the color of her
face faded. She thought they wouldn't come
anymore, a dark-gray woman stepped in.)
2. But Stener was so frightened that at the
moment it looked as though there was little
to be done with him. His face was a grayish-
blue: his eyelids and eye rings puffy and his
hands and lips moist (Dreiser, 2016: 318)
In the examples above the authors further refine
their emotions by describing the changes in the
characters facial expressions using the words
sadness and fear directly, the color of the face has
faded, and using words and phrases such as
jabyrkap bet-oninin boiayi onip, His face was a
grayish-blue: his eyelids and eye rings puffy and
his hands and lips moist.
The second is a characteristic type. Language
units that describe certain feelings and emotions
are used here. The names of emotions are not
found in the text. For example:
1. Asirese, dal osyndai olik shigip, el – jurt
yzy-shu bop jatkanda, kozinen jas, oninen
kan kashyp sup-sur bop alatyn-dy
(Nurpeisov, 2004: 58). Especially when such
a corpse comes out, and the people are
noisy, there were no tears in his eyes and he
was pale.
2. I'm not strong enough. If they didn't know, if
you hadn't told them, it might be different,
but this way--" He shook his head sadly, his
gray eyes filled with a pale distress.
(Dreiser, 2016: 319)
Without giving emotional names in these
examples, the authors try to describe the
emotions and feelings of the characters as best
they can through various language tools. In these
examples, the rhythm of the voice is also
important. It is not difficult to see emotions in
phrases such as: yzy-shy bop, kozinen jas, oninen
kan kashyp sup-sur bop alatyn-dy, not strong
enough, If they didn't know, He shook his head
sadly, his gray eyes filled with a pale distress
The third is a nominative type. This type is
distinguished by the use of language units that
express them, including the name of feelings and
emotions.
1. Her face paled slightly as she read it; and
then her hand trembled--not much. Hers was
not a soul that ever loved passionately;
hence she could not suffer passionately. She
was hurt, disgusted, enraged for the
moment, and frightened; but she was not
broken in spirit entirely. (Dreiser, 2016:
382)
2. Tanirbergen mirs etti. Ademi betine ashy
miskil shauyp, ishte jatkan yza men yzgardy
tsnytyp sup-sur bop sustiya kaldy
(Nurpeisov, 2004: 294) (Tanirbergen
muttered. A bitter smile spread across his
beautiful face, revealing the anger and rage
that lay inside him)
The expression, taken from the work of
T. Dreiser, clearly describes the changes in the
character's face and inner feelings. In addition,
the emotion born from feelings is expressed. In
the following example, A. Nurpeisov concretizes
the emotions of anger by transmitting the feelings
and emotions of the hero through changes in
movements and facial expressions.
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Fourth, it is the use of language units expressed
in all 3 types. This type gives a complete
description of emotions. For example:
1. She paused for a moment, uncertain how to
take this, the while she whitened, grew more
tense, more spiritual than she had been in
many a day. Now she felt desperate, angry,
sick, but like the scorpion that ringed by fire
can turn only on itself. What a hell life was,
she told herself. How it slipped away and left
one aging, horribly alone! Love was
nothing, faith nothing—nothing, nothing!
(Dreiser, 2016: 402).
2. Jasaganbergen yzalana kuldi. Algi jas jigittin
ileli judeu juzine kaita teuip, du etip kizara
tusti de, lezde bozardy (Nurpeisov, 2004:
172). (Zhasaganbergen laughed angrily.
The young man's anger returned to his face,
turning red and instantly got pale.)
The emotions expressed in the examples are not
only clearly expressed, but also transmitted
through different language units. In the examples
analyzed in all forms, colors that express and
characterize negative emotions are widely used.
As empirical material shows, the use of color
characteristics to define a negative emotion
occurs through its metaphorical designation.
Metagraphs (Pic. 1) of negativizing emotive
coloronyms are based on such conceptual
ontologies as "The human world", "The
Objective world", "The Natural World",
demonstrating the complex nature of the
relationship of these spaces with each other in the
internal picture of the world of a native speaker.
At the same time, the persuasive potential (Clark,
2009) transforms the conceptual value matrix
(v1- v5) of the target audience through a
multimodal presentation of information with a
complex structure architecture (mv1, mv2). In
this regard, there is a need to improve the
methodology of the analysis of meanings, based
on semantic networks, frames, semantic
networks, production rules, which in one way or
another have a limited character. Concept graphs
are a network of interconnected memory traces,
the relationships between which can be identical,
shared or completely separated. The use of a
system of complex metagraphs, in our opinion,
allows us to combine the achievements of various
ideas about emotion in an interdisciplinary way
using machine learning methods and intelligent
systems.
The metagraph approach (Gapanyuk, 2019)
seems promising in the verification of emotive
coloronyms, since it allows us to consider the
network of emotive experiences not only in the
form of "horizontal" layers, but also in the form
of "vertical" columns through color-visual
characteristics. Thus, the ambivalence of
emotions is organically "embedded" in a
multidimensional metagraph model of emotions
and emotive vocabulary. In this regard, it can be
assumed that each fragment of the metagraph
contains vertices/ or metavertices (v1-v5) that act
as "reference" nodes of both the process itself and
the connections of "edges" (e1, e2, e3, e4, e5, e6),
thanks to which a new meaning formation occurs
using the parameters of conceptual ontologies
(Pic.1). The above analyses of emotives as
verbalizers of emotions act as simpler edges in
the metagraph.
For example, the relationship between the neuro-
psychophysiological characteristic of emotion
and its verbal expression, developed by
H. Lövheim (2012), can also be inscribed in a
polycode multymetagraph model of emotive
vocabulary within the framework of the ethno-
linguocultural picture of the world of a native
speaker.
W. Levelt's psycholinguistic model of speech
reproduction presents language output as an
extensive system of processing modules working
independently of each other (Levelt, 1999),
representing two complex metagraphs:
1) rhetorical/semantic/syntactic metagraph;
2) phonological/speech metagraph. The
rhetorical/semantic/syntactic metagraph is
responsible for conceptualizing the speaker's
intentions and mapping them to the surface
structure of words, and the
phonological/phonological metagraph contains a
set of articulatory instructions for expressing the
surface structure and transmits them to the
articulatory system for execution.
The multydimensional-metagraph model is
dynamic due to the inclusion of polycode scaling
parameters with an emphasis on a variety of
measures and measurements (MVe), facts and
features, aggregation rules and metagraph
processes (MVs, MVi). As a result, the resulting
metahedron can be described using recursion,
since it allows you to detail a fragment of a
metagraph through nested metaedges (Pic. 1). A
given vector of decoding an emotive coloronym
can be presented as a directed message for a
potential recipient, based on the universal
experience of the collective human unconscious,
the ethnosociocultural tradition and the
individual picture of the addressee's world
(Pic.1).
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Pic. 1. Architecture of author 's multydimensional metagraph model of emotions and emotive vocabulary
It should be noted that the metagraphic
representation of emotion allows not only to
recreate the process of encoding/ decoding
psycho-emotional states in the form of a
metagraphic process of formation and
reproduction of emotivity in the speech and
behavioral practice of society, but can also
contribute to the collection and attachment of
metagraphic data (which in this case act as
analogues of metagraphic aggregation rules) in
order to process polycode data at each level a
multydimensional metagraph model for data
granularity with a transition to lower levels.
The vocabulary of the subject world itself
becomes one of the dominant sources of
figurative and metaphorical interpretation of the
world of emotions. For example, negativizing
emotive coloronyms metaphorically represent a
negative spectrum of emotions with the
maximum pronounced productivity of verbal
predicates of the physical process, which
somehow relate to semantic groups of action
manifested through "freezing" (chilling white
horror), "glow/illumination" (blinding hatred),
"fire" (withering anger), "boiling"(boiling
blood), "melting" (melting whitish hope),
"sounding" (crystal transparent laughter of
irony), "destruction" (black destructive
thoughts). The repertoire of semantic groups of
verbs correlates with the classification of
predicate vocabulary proposed by L. M. Vasiliev
(2005).
Thus, A. Nurpeisov describes anger as a living
being: "The anger of the young man returned to
his face" (Nurpeisov, 2004: 172). At the same
time, a change in complexion characterizes the
"movement" of anger, therefore, the speed of
mood change describes a sharp jump in
complexion: "it turned red and instantly turned
pale" (Nurpeisov, 2004: 172).
The idea of emotion as a living being, which is
characterized by its own life cycle, can be traced
in the verbs of the physical process in the
analyzed different-structured languages, which
makes it possible to attribute this characteristic to
the universals of human perception of psycho-
emotional states, demonstrating the involvement
of the nuclear components of meaning in the
process of secondary nomination based on
metaphorical attribution of color characteristics.
Based on this, it can be assumed that the
anchoring of a color attribute to a particular
emotion is a universal version of the collective
unconscious, in which the bundle "emotion +
color" contains a linguomental trigger that acts as
a pattern that activates one or another emotional
trace of universal memory (Jung, 2010).
Since the topic of emotions and attribution of
emotives responsible for determining a particular
emotion, the degree and intensity of its
manifestation, the use of the metagraph model
itself seems promising due to the possibility of
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preserving topological relations for subsequent
in-depth analysis without converting the
structure into a numerical vector and without
losing implicit cognitive-pragmatic patterns in
the works of T. Dreiser and A. Nurpeisov.
The main characteristic features of
A. Nurpeisov's trilogy "Blood and Sweat" are
traditionalism, variability, polyelement,
polyfunctionality and orientation to the folklore
tradition of transmitting information with the
help of "uzun kulak"/ "long ear" (the so–called
steppe mail - I. B., etc.), which brings this work
closer to such genres of Kazakh folklore as
tolgau (lit. reflections), in which zhyrau (folk
singers, storytellers) narrated about the past
history, great people of the people, etc.
The color characteristics of the emotive
perception of reality illustrate the specifics of
immersion into the inner world of the writer,
which allows you to show new accents of
perception of yourself and reality: vanity,
deprivation and hardships of life, awareness of
the chthonic end and the proximity of death,
acceptance of your own physical weakness and
your loved ones, devaluation of the importance
of social rules in the collapse of the state system,
awareness of the importance of harmony with by
yourself and nature, etc. Currently, the
experience of emotional and evaluative
perception of life, presented by T. Dreiser and
A. Nurpeisov in his novels is important due to the
fact that the global geopolitical cataclysm forces
us to reconsider the culture of relationships with
ourselves and the world, relying on the
achievements of ethno-linguistic and
confessional cultures (Qin et al., 2022; Munnes
et al., 2022). In this regard, such ethnolinguistic
cultures, complex in their ethnogenesis (as
Kazakh and Anglo-American), are beginning to
be characterized from the mythological and
mystical positions of Christianity and Islam. As
a result, the aura of sacredness in the everyday
permeates both works under consideration,
forming a mysterious mixture of pagan, Muslim
and Christian views in the literary and artistic
picture of the world by A. Nurpeisov
and T. Dreiser.
Both writers gravitated towards a naturalistic
representation of reality in their novels, using
color markers of attribution of emotion. So,
sadness, depression, prostration is conveyed by
A. Nurpeisov in the novel "Blood and Sweat"
through the perception of the steppe through the
eyes of the protagonist, who sees only the "gray-
brown spots" of grazing sheep dusted with steppe
dust. It should be noted that psychophysiologists
point out that the very excitability of the
emotionogenic structures of the cerebral cortex
depends on the form of external behavior, while
the ratio of the level of excitability of
emotionally positive and negative brain waves
correlates the direction of behavior (Slezin,
1989). It is no coincidence that I. V. Kalita (2017)
emphasizes that gray color characterizes a
negative spectrum of emotions: from mild
rejection to deep depression.
The presented table allows us to consider the
common markers of negative emotional
evaluation in the novels of T. Dreiser and
A. Nurpeisov (Table 3).
Table 3.
Linguocolor comparative characteristic of negative emotions
No
Name of the
negative
emotion
Emotive coloronym
realization
T.Dreiser
A. Nurpeisov
1
indifference
indifferent red
steppe Clyde: white, glam.
seemingly
indifferent.
Communicative
emotions
Clyde was white
and glam. He stood
to one side,
seemingly
indifferent.
The indifferent red
steppe sleeps, it says
nothing to the lonely
rider.
2
Anger
merciless clarity, red and black dress
very dark red with a
poke
Pugnic
emotions (from
Latin pugna −
struggle).
She had come
red and garbed in a with a black dress very dark red poke
bonnet to match
I was still quite a boy,
but with a child's
merciless clarity I
realized how hard her
life was... her young
rival... drove her out of
the house.
3
Jealousy
her color rose high
and strong. Karakatyn
Romantic
emotions
Her eyes blazed
hotly, her color rose
high and strong.
She breathed
heavily.
What? What's there to
share? Karakatyn
shouted. — And the
filly is skinny, it's not
enough for me!
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Color occupies a key position in the construction
of detailed associative connections in a literary
text, since color is one of the most common
semiotic systems and has a significant cultural
and symbolic meaning (Itten, 2019).
A. Nurpeisov widely uses the technique of color
painting, with which he describes the emotional
perception of reality, creating an individual
image of the steppe in the perception of the
linguistic color palette of the feelings of the
heroes: The indifferent red step sleeps, it says
nothing to the lonely rider (Nurpeisov, 2004: 32).
From this expanded metaphor, it can be seen that
the color characteristic has not only the
traditional nominative function of color
designation, but also performs an emotionally
expressive function. Before us is an overlay of
two images: steppe grass acquires a red color in
autumn. In Anglo-American linguoculture, it is
the color of gold and wealth. However, in the
steppe Kazakh culture, it is a sign of the
approaching winter, as well as a symbol of an
unfriendly neighbor with blond hair based on the
"friend – stranger" dichotomy, so here the
definition of "indifferent" is: the steppe is red and
indifferent. At the same time, T. Dreiser's
intactness, indifference has a white color, which
is due to the fact that people turn white at the
moment of fainting and loss of consciousness:
Clyde was white and glam. He stood to one side,
seemingly indifferent (Dreiser, 2016: 23).
The classic dyad of life and death in is
transmitted through red and black, where black
symbolizes death with the collapse of all the
hero's hopes for happiness (Dreiser, 2016:
410-411). T. Dreiser dresses nature in black on
the day of Roberta's death as if in mourning.
Also, Clyde's nightmares, which signify
imminent misfortunes, are painted in an
oppressive black palette.
Automatic determination of the emotive tonality
of texts with linguocolor comparative
characteristic of negative emotions is a step-by-
step work of experts and artificial intelligence.
This algorithm is presented in the form of the
following author's scheme (Pic.2).
Pic.2. Structure of the Emotive coloristic map of the art texts of T. Dreiser and A. Nurpeisov.
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Thus, the presented architecture of the linguo-
emotive map of texts with coloristic emotives
acts as a hierarchically complex metagraph of
psycho-emotional and symbolic-semiotic effects
on the recipient, which are realized at the verbal
level (directly through the word), at the
nonverbal level (color symbolism in the
characteristics of objects and subjects, acting as
an evaluative marker with an additional emotive
meaning) and at the paraverbal level (for
example, intonation and tempo-rhythmic
drawing of a literary text, highlighted by the
author's punctuation marks and graphons), which
all together organizes a system of polyvariant
emotive coloronyms in the mental internal map
of the producent and recipient (Pic. 2). The use
of a coloronym as a marker with an additional
emotive meaning strengthens archetypal ideas
about the world, reproducing myths in the
consciousness of a modern native speaker of
language and culture. Emotion, with its not fully
understood mechanism of regulation and
influence on the speech-teaching profile of an
individual, acts as the realization of the actions of
some deity and/or spirit. In this regard, the
coloring of emotion illustrates the operation of
the law of cause and effect with an emphasis on
the unconscious mythologeme of the
archeohistory of the origin of emotional
response: "Once a supernatural being performed
a certain action for the first time, and since then
this event has been repeated identically"
(Hübner, 2004: 122).
Based on the definition of the character of
coloronyms with an emotive negating meaning in
the literary texts of T. Dreiser and A. Nurpeisov,
we come to the conclusion that the color
designations of negative emotions are a kind of
emotive concepts as ethno-socio-culturally
conditioned linguistic formations. Their ethno-
sociocultural conditionality is formed specific
socio-cultural, ethno-psycholinguistic standards
and rules of a particular community that make up
the ethno-cultural value code, which includes
traditions, customs, peculiarities of everyday life,
stereotypes thinking, mores and behaviors.
Discussion
The terminological apparatus of emotive
comparative ethno-psycholinguistics is currently
undergoing a stage of rapid formation
(Berdnikov, 2004; Dael et al., 2020; Jensen,
2014; Rathod, 2014; Kalita, 2017). Only
recently, researchers have begun to distinguish
between the psychophysiological state of
emotion and verbal attribution of emotional
experience (Basin, & Krutous, 2007;
Shakhovskiy, 2018). The complexity of the
spectrum of psycho-emotional states experienced
predetermined the use of color verifiers in
determining the shade of feelings and emotions.
In this regard, the analytical analysis presented
by D.N. Borisova (2008) is interesting in the
article "On the problem of choosing the term
color for the name of forms of color designation
in the language". Within the framework of our
research, it is significant to analyze studies
devoted to the consideration of words and
expressions that are assigned to the designations
of color shades in various languages, with the
identification of five trends in the terminological
description of lexemes with a coloristic
component and the development of unified
methods of terminological nomination in this
area: color designation, color name, color term,
chromatonym, coloronym (Borisova, 2008: 36).
As L.A. Kalimullina clarifies, color designations
are "adjectives denoting color, formed from the
names of various objects of the surrounding
reality and having a pronounced etymology"
(Kalimullina, 2004: 5). At the same time, the
term "color designation" is not universal. Along
with it, synonymous terms such as "colour
naming" (Watts et al., 1986), "color adjective"
(Ishmael, 2015), "color vocabulary" (Berdnikov,
2004) or "colorative" (Perfilova, 2014), and
"coloronym" (Polyakova, 2013) are used. Thus,
there is currently a discrepancy in the choice of a
single term for the designation of tokens with the
meaning of color and its shades. At the same
time, it is immediately emphasized that
coloronyms are metaphorical and anchored to a
particular emotion (Kalita, 2017; Jonauskaite et
al., 2020; Vychuzhanina, 2009). Interest in the
psycho-emotional component of color also led to
the expansion of the terminological apparatus of
the coloristic repertoire (Mylonas, &
MacDonald, 2016).
Numerous theories interpreting the meaning of
color are based on the universal psycho-
emotional co-values of the color spectrum that
affects a person. At the same time, to date, one of
their most famous remains the theory of B. Berlin
and P. Kay, which is aimed at finding universal
patterns in the evolution of color terms (Berlin &
Kay, 1969: 45). The main place in this theory is
occupied by the concept of basic color naming
("Basic color term"). The authors have identified
11 terms of color designations that are universal
in most languages of the world.
Our work shows that despite the presence of
universal meanings (such as: red is a struggle,
life, and black is death), there are obvious
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discrepancies with the traditional perception of
color in the artistic paintings of the world of
Kazakh and American writers, which is due to
the specifics of the representation of author's
emotions in a literary work. For example, the
green color in T. Dreiser's works is ambivalent in
its emoticems, being used both as a symbol of
reborn life (which coincides with the ancient
Turkic interpretation of green, which has been
preserved in the Kazakh language), and as a sign
of impending trouble, since in American culture
green is a symbol of greed, disease and jealousy,
since it was noticed that mold and any rotting
organic remains and/or waste also have a green
color. Hence, the green color can be associated
with corruption, witchcraft, malice, envy,
corruption, disgust, madness and chthonic
horror: "The decadent and weird nature of some
of the bogs and tarns on either side of the only
comparatively passable dirt roads <…> strewn
like deserted battlefields with soggy and decayed
piles of fallen and crisscrossed logs <…> in the
green slime that an undrained depression in the
earth had accumulated. Only - only - these tall,
dark, green pines - spear-shaped and still, with
here and there a dead one - ashen pale in the
hard afternoon sun, its gaunt, sapless arms
almost menacingly outstretched" (Dreiser, 2016:
108).
A. Nurpeisov, in the very title of his trilogy, uses
the iconic lexeme "blood", which is a universal
symbol and cult status in all languages and
cultures (Savchenko, 2010), therefore, the color
of blood (as well as its symbol – red paint)
became, apparently, one of the first basic colors
that mankind got acquainted with in archaic
times (Rogalevich, 2004: 194). The word
"sweat" forms an antonymic pair to the lexeme
"blood", which has long been stigmatized in
Western culture due to an unpleasant smell and
ethno-cultural trauma due to the epidemic of the
so-called "English sweat" (Heyman et al., 2018).
In Kazakh linguoculture, increased sweating in
men symbolizes high physical achievements,
strength, fortitude, masculinity (Kaskabasov,
2014).
The symbolism of the blue color is due to the
obvious observation of the blue of a cloudless
sky in good weather. In this regard, the
sacralization of the blue color occurred in the
mythologized consciousness of the individual,
thanks to which the sky in all cultures is
associated with the world of spiritual and/ or
sacred support, the place of the presence of gods
and spirits, angels, heroes and ancestors. In this
regard, the experience of divine ecstasy, elation,
related to Gnostic emotions, is associated with
the blue color. Clyde's inner state, his soul, etc.
Dreiser through the image of the crystal clear,
bright blue water of the Chain River and the lake
at the Cranston cottage, where Clyde spent time
in love with Sondra.
However, the other polarity of blue is a dark blue
color, almost turning into black. Therefore, the
dark blue color acts as a sign of swirling
darkness, fallen angels, danger. Hence the main
symbol of dark blue is demonic evil. It is no
accident that the waters of the ill-fated lake
appear dark blue, almost black in T. Dreiser's
reflection: "The bright blue waters of the Indian
Chain. The blue waters of this bright lake
without as contrasted with the darker ones of Big
Bittern. But just then a long aisle of green trees
giving out at the far end as he now recalled upon
a square of lawn, and the lake itself, the little inn
with its pillared verandah, facing the dark blue
waters of Big Bittern" (Dreiser, 2016: 108).
At the same time, the coloristic thinking of
Kazakhs defined light blue or bright blue, the
heavenly color as a symbol of God-Heaven and
his word manifested in color (Mazhitaeva et al.,
2013). However, dark blue was not defined as a
sign of the devil's powers, but as evidence of the
wrath of the Heavenly Father. According to
S. S. Turganbayeva (2011), the Western type of
culture is characterized by imitation of nature,
naturalism, pragmatism, individualism,
extroversion. While the eastern type of culture is
focused on symbolism, abstraction,
contemplation, introversion, spirituality, which
allows people of the East to be open to nature, the
cosmos, trusting being (Turganbayeva, 2011:
29). However, these conclusions are not
supported by experimental material, which
makes it possible to question the significance of
these factors in understanding the role of color in
culture. As our observations of the neuro-
aesthetic functional of the color designations of
objects in the text as a hidden interpretation of
the emotional states of the characters in the
works of T. Dreiser become more capacious and
compressed in the works of Western fiction, for
which there is no need to use Eastern
macaronisms and / or references to archetypal
images. The sacred layer of the color scheme in
T. Dreiser's works of art is implicit and
understandable only to the initiate, appearing to
the uninitiated only as a dry pragmatic solution.
In the Kazakh ethno-linguistic and cultural
consciousness, the semantic space of "blue"
colors is realized through the archetypal images
of "Blue Wolf"/ Kök Böri, "Blue God"/ Kök
Tangri, which allowed researchers to assert that
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all the great forces governing human civilization
possess blue color (Zharkynbekova, 2011). The
neuro-aesthetic psycho-emotional effect of the
"blue color" is associated with the possibility of
using a variety of emotive expressive language
units that are able to convey to the recipient an
understanding of the essence of the impersonal
connection between earth and sky as an
understanding of the concepts of ocean, sea, lake
and river in the celestial and aquatic space. The
Kazakh linguistic-color emotive map, according
to scientists A.T. Khaidarov, A.T. Umirbekov,
Z.T. Akhtamberdiyev (1986), who studied
coloronyms in the Kazakh language, is saturated
with semitones and various shades under the
influence of color solutions inherent in the nature
of steppe fauna and flora. In this regard, Kazakh
researchers stressed the need to use the
traditional "primary color" and "its shades".
Also, based on experimental data, it was found
out that the mixing of the main seven/or ten
colors forms new certain colors (Khaidarov et al.,
1986; Pansat, & Khalikova, 2023). According to
A.T. Kaidar, who studied Kazakh color meanings
in this way, the Kazakh language presents a
palette of more than 150 color meanings
consisting of one syllable, formed on the
principle of reliance on a subject basis (Kaidar,
1998: 53). For example: blood red, cherry red,
bright red, golden yellow, sky-blue, cast-iron
black.
Today, emotive linguistics reveals a pronounced
attitude to comprehending the cognitive aspect of
language activity, conducting experimental
procedures using big data on the conceptual
analysis of the color representation of emotions
as a linguistic phenomenon (Antipenko, 1995;
Dodonov, 1987; Itten, 2019; Frumkina, 1984;
Monastyrskaya, 2008; Stefansky, 2009;
Vezhbitskaya, 2011; Vychuzhanina, 2009;
Vasilevich, 1987, etc.). If earlier researchers
turned only to the "conceptual core" of the word
(Yartseva, 1968: 262), today more and more
attention is paid to additional, connotative,
emotive meanings that permeate all levels of the
language system (Qin et al., 2022; Zhang, et al.,
2023; Rong, 2021).
The very analysis of the cognitive-connotative
nature of colorative emotives in the texts of
T. Dreiser and A. Nurpeisov aims not only at
studying the conceptual core of the concept
"Color in negativizing emotive coloronyms", in
which emotives and coloronyms themselves can
act as sub-concepts, most clearly manifested in
the peripheral zone, which has absorbed a huge
space of connotative meanings. As can be seen
from our analysis, in the literary texts of both
writers, the toxicity of negativizing emotive
coloronyms is usually demonstrated by
accentuating the connotative meaning due to the
context. The development of a recommendation
information and analytical system for the
recognition of negative emotive coloronyms
includes typical and specific features of the use
of machine learning and neural networks
(Vorontsov et al., 2022).
The indicated problem demonstrates the need for
clarity in the categorical features of the
terminological apparatus of comparative emotive
linguistics, which is necessary to solve problems
related to the recognition of emotion, its
characteristics and emotives, through which this
emotion is realized and translated externally.
At the same time, the refinement of the
conceptual and terminological apparatus of
comparative emotive linguistics within the
framework of this work allows us to create a
more coherent architecture of the linguistic-color
emotive map using digital tools.
Conclusion
Using the example of the analysis of the novels
by T. Dreiser and A. Nurpeisov, the role of color
designation in the transmission of the inner
experiences of the characters and the reflections
of the authors themselves was established with
the identification of metaphorically related and
indirect meanings of the transmission of negative
emotions in the text.
The text itself is a rather complex object for
research due to its multidimensional and multi-
aspect nature, and the analytical consideration of
the emotive plan is complicated by the
ethnopsycholinguistic features of the author and
the audience.
In works of art, colors can perform various
functions. Psycholinguists have come to the
conclusion that colors are used to describe
emotions or express them. They describe the
reaction of the characters to emotional situations.
In addition to expressing emotions, it is used to
create a visual image of emotions and feelings.
Taking into account the analyzed examples, we
came to the following conclusion: in literature,
the usage of colors that express emotions in the
text is carried out by several methods. The first is
that when a character experiences an emotion,
colors are used in the process of describing the
same emotion, actions, or facial changes. In these
situations, there may not even be Language units
that we call emotions. Secondly, emotional states
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are transmitted using figurative means. For
example, metaphors with color names,
comparisons, epithets, and so on.
Color synchronies with emotions occurs in
consciousness, and not in the surrounding world,
since the nature of emotions is due to
psychophysiology. The concept provides a
connection between the existing representation in
consciousness and the linguistic representation.
Despite the fact that the data of psycho-emotional
response are subjective, the concepts used are
universal for the translation of the received
experience.
The emotive co-meaning in the matrix of
meanings of the concept "color" has the character
of an ethno-linguo-cultural element, which is due
to the connection with its connotation, which is
predetermined by ethno-sociocultural norms and
rules fixed in the value code of the ethnos.
The authors use negativizing emotive
coloronyms with an emphasis on the experience
of their ethno-linguistic culture, while the
author's use of emotive metaphors of color to
convey negative emotions is individually
authorial.
The nuclear zone of emotive coloronyms with a
negative dominant is a nominative of color
designation. The peripheral zone includes
numerous interpretations of coloronyms
resulting from their representation in a literary
text based on everyday communication.
However, only the textual fabric is able to verify
the connotative meaning of coloronyms that also
convey emotional sound. This has not only
conceptual, but also axiological cultural value,
since it makes it possible to realize the values that
are characteristic of a certain nation with its
mentality.
Acknowledgement
The work was carried out within the framework
of the research project "Development of
technology and architecture of new software
tools for monitoring and forecasting public
threats based on "soft power" methods" (Irina
Karabulatova - Bauman Moscow State Technical
University)
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