Modernist form artistic expression in which specific concepts or ideas (generally personal (occurring in the mind of the artist) and complex) take the form of abstract, irrelevant images based on negation aesthetic principles. According to the pioneer of this direction, American artist Saul Le Witt, in conceptualism, an idea or concept (concept) is the most important aspect work. This means that the decision is made in advance, and its implementation is just a formality. The idea turns into a mechanism.

Generally speaking, concept art is a combination of different trends rather than a closely related movement. And it has many forms (including: installations, performances, happenings, ephemera). It originated in the first half of the twentieth century not as an artistic direction, but as a certain philosophy that questions the meaning of art itself. The Dadaist Maurice Duchamp, who introduced the practice, argued that the idea of ​​a piece is more important than its physical presentation. From the mid-1960s to the mid-1970s, conceptual artists created works that completely rejected the traditional ideas of art: aesthetics, expressiveness, craftsmanship (including conformity to market requirements).

However, it is important to understand that conceptual art developed in a succession of avant-garde movements (cubism, etc.) that succeeded in greatly expanding the boundaries of the Conceptualists themselves (in the strict sense) are the finalists of the avant-garde tradition. In truth, it doesn't matter if this extremely complex intellectual view fits the subjective idea of ​​what art should be, as long as the fact remains. Some works of conceptualists are perceived by museums, collectors, art dealers as masterpieces of world art.

Borrowing various methods (such as minimalism), conceptual artists sought to rethink pop art forms that did not rely on the theoretical foundations of art. Strongly influenced by the minimalism mentioned above (its simplicity), they, at the same time, categorically rejected its concepts, which were embodied in sculpture or painting, characteristic of perceptual or “felt” art (it is created primarily for visual perception). In relation to it, "conceptual" pursues completely different goals. expressing ideas in a very subjective and highly symbolic way, may serve to some extent as an association to it. The idea, according to artists, can take shape in any physical form. The relationship between the artist, who uses all available elements of expression, his work, and the viewer is completely transformed.

Conceptual art is not just a description of nature in all its diversity. The artist expresses his attitude to social, political, technological things and processes. In many cases, the viewer and the artist himself become an integral part of this art and its basic concepts. Starting as a movement among the numerous art trends of the sixties, conceived to demonstrate the priority of the artist's idea, today it is seen as a whole (as an aesthetic point of view of Conceptualism), having a great influence on modern ways of artistic expression.

Resume: The article is devoted to the analysis of such linguistic concepts as "conceptual picture of the world", "picture of the world" and " language picture peace." In the process of mastering the surrounding world by a person, knowledge is distributed into categories, forming a cognitive base. On the basis of a person's interpretation of the information received, a conceptual picture of the world, or a concept sphere, is formed, which includes individual and collective experience. It finds, although not complete, expression in the language picture of the world associated with the nomination of the main elements of the concept sphere and their explication by means of language. Relevant within the framework of the anthropocentric paradigm is the study of issues related to the features of the representation of concepts in national paintings world, establishing the relationship between the facts of language and the facts of culture.
Keywords: picture of the world, national picture of the world, language picture of the world, conceptual picture of the world (conceptosphere), concept, linguistic personality

Valeeva Dinara Rashidovna
Candidate of Philology, Lecturer of the Preparatory School for International Students, Humanities Section, Kazan Federal University, Kazan, Russian Federation [email protected]

Abstract: The given article is devoted to analysis and clarifying fundamental concepts of modern linguistics, such as the "conceptual picture of the world", the "picture of the world" and the "language picture of the world". Appeal to these concepts is due to the lack of a common opinion on this issue. The research has shown that in the process of mastering a person's reality, knowledge is divided into certain categories, forming a cognitive basis. Based on the interpretation of the information received by a person, a conceptual picture of the world, or a conceptosphere The conceptual picture of the world represents, although not completely, in the linguistic picture of the world associated with the nomination of the basic elements of the conceptosphere and their explication by means of language. The basic unit of the conceptual picture of the world is a concept that can be defined as a dynamic mental structure mediating between man and the world, combining conceptual, value and cultural information realized in the verbal units of a certain language. of the anthropocentrism is the study of the features of the representation of concepts in national world pictures, the establishment of the relationship between the facts of language and cultural facts.
Keywords: world picture, national picture of the world, language picture of the world, conceptual picture of the world (conceptosphere), concept, language personality

Within the framework of the anthropocentric paradigm laid down in the humanities by the studies of W. von Humboldt, E. Sapir, B. Whorf, A. Potebnya, such concepts as "culture", "cognition", "conceptualization", "cognitive base" acquire special significance. , "concept", "conceptual picture of the world", "linguistic picture of the world", "mentality", "mentality" and others.

This article analyzes and clarifies the fundamental concepts of modern linguistics, such as "conceptual picture of the world", "picture of the world" and "language picture of the world". Appeal to these concepts is due to the lack of a consensus on this issue, as well as the anthropocentric paradigm of modern humanities, when a person becomes the center of the universe and central figure communication process.

As a result of the development of the surrounding world by a person, knowledge is distributed into certain groups, forming a cognitive base. In the process of conceptualization of reality, i.e. comprehension and interpretation of knowledge about the world, built on the basis of certain models, categories and stereotypes of a particular language, a conceptual picture of the world is formed.

Note that in linguistic works the synonymous terms "conceptual system", "conceptual model of the world", "conceptosphere", "mental picture of the world" are used. All of them are characterized by a one-to-one correspondence and designate “a system of concepts that are - in a meaningful sense - information (true or false) that an individual has at his disposal - the carrier of such a system about the actual or possible state of things in the world (what he thinks, knows, suggests , imagines, etc.)” . The conceptual picture of the world is determined by " background knowledge, ethno-cultural, social environment, as well as all the value experience that has been accumulated by this linguo-cultural community and passed on from generation to generation.

In our opinion, the question of the relationship between the concepts of "picture of the world" and "conceptual picture of the world" is controversial and ambiguous. Some linguists are trying to differentiate them, but the criteria for distinguishing remain unclear. So, A.E. Shcherbinina defines the picture of the world as "the sum of a person's ideas about the world and himself", the conceptual picture of the world as "a reflected reality through the prism of concepts formed on the basis of a person's ideas".

HELL. Khutoryanskaya writes that the “picture of the world” and the “conceptual picture of the world” are synonymous. The most common is the first term. The use of the "conceptual picture of the world" prevails in philosophy. In psychology, the equivalent term is "image of the world".

In classical studies devoted to this issue, the definitions of the picture of the world are quite applicable to the concept of "conceptual picture of the world". As an example, the following interpretations can be cited: the picture of the world is “a set of a person’s ideas about the objective reality surrounding him”, “a global image of the world that underlies a person’s worldview, representing the essential properties of the world in the understanding of its bearers and is the result of all spiritual activity of a person” .

In our view, the picture of the world is a constantly changing objective reality, and the conceptual picture of the world (conceptosphere) is a kind of interpretation of reality, structured as a system of concepts and receiving verbal expression. The verbalized part of the conceptual picture of the world is called the language picture of the world, which is "specific features of the semantics given language that differentiate it from other languages" [Ibid. S. 6]; "captured in the lexicon national language the so-called “reflected world”, which is a projection of the outside world through the ethnic linguistic consciousness and carries information about the features national mentality» .

It is difficult to agree with the opinion that the conceptual picture of the world belongs to a purely mental sphere, free from verbal forms. Considering the concept as the main unit of the conceptual picture of the world, most linguists (A. Vezhbitskaya, N.D. Arutyunova, A.P. Babushkin, V.P. Neroznak, G.G. Slyshkin, etc.) note the connection of the concept with verbal means expressions. From our point of view, although there are concepts that are more needed for thinking (for example, “upper corner of the house”, “lower corner of the house”, which are extremely rarely actualized in the language), they cannot be called non-verbalized.

The linguistic picture of the world is the same as the conceptual one; according to R.R. Zamaletdinov, is subordinate to the conceptual one, since "the thought in the language is not fully recorded, only its most essential aspects find verbal expression" . At the same time, the analysis of the linguistic picture of the world allows us to explore the mentality of the people.

Each national linguistic picture of the world is unique, since it captures the worldview of a particular linguistic society. The originality of the JKM is explained by the socio-historical characteristics of the life of the people, and, despite the existence of universals, "carriers different languages see the world differently, through the prism of their languages.

Differences in linguistic pictures of the world can manifest themselves both in grammatical and lexical terms, in particular in the ways of nominating a given language. “The population of one country, according to its customs and according to its way of life, forms and names such different and complex ideas which the population of another country has never created, words with special, culture-specific meanings reflect and convey not only the way of life characteristic of some given society and contribute to its preservation. Compare flower name snowdrop In russian language, snow bell in german, snow arrow in French dying in Bashkir and Tatar languages; wealth In russian language, richness in English, richesse in French, ricchezza in Italian, Reichtum in German, in Tatar.

There is an opinion that linguistic meaning is at the center of the linguistic picture of the world. IN AND. Popov emphasizes that LCM (the author uses the term "linguistic model of the world") includes "lexical as well as grammatical meanings inflectional, derivational, partly root morphemes and meanings of statements, sentences, phrases, etc., i.e. all syntagmatic units".

As noted by A.N. Leontiev, the role of meanings is especially important, since they are given "an ideal form of existence transformed and curtailed in the matter of language objective world, its properties, connections and relations, revealed by the total social practice. In this regard, it is “in the meanings that are“ produced by society ”, but that function in the activity and consciousness of a particular individual, we can look for features of the worldview and self-esteem of a representative of a particular culture” . The study of human consciousness, fixed with the help of language, helps to identify the specifics of the corresponding picture of the world. Consequently, one of the objects, the study of which will contribute to the disclosure of the features of the LCM, is a linguistic personality.

A linguistic personality is “a basic national-cultural prototype of a carrier of a certain natural language, fixed mainly in the lexical system, constituting a timeless and invariant part of the structure of a speech personality” . However, although there is a certain “invariant that allows representatives of different dialects, sociolects, etc. to communicate and understand each other” , any linguistic personality constructs an utterance in accordance with its conceptual painting peace.

So, the study showed that in the process of mastering the surrounding reality, knowledge is distributed into certain categories, forming a cognitive base. On the basis of a person's interpretation of the information received, a conceptual picture of the world, or a concept sphere, is formed, which includes both individual and collective experience. The conceptual picture of the world finds, although not complete, expression in the linguistic picture of the world associated with the nomination of the main elements of the concept sphere and their explication by means of language.

Relevant within the framework of the anthropocentric paradigm is the study of issues related to the peculiarities of the representation of concepts in national pictures of the world, the establishment of a relationship between the facts of language and the facts of culture.

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Conceptualism is a trend that emerged in America and Europe in the 1960s, but also has a rich legacy in Russian culture. This distinguishes him from contemporary trends - abstract expressionism and pop art, which are on the territory Soviet Union transformed into completely different (see article)

1987. Plywood, acrylic. 24×30 cm

The main object of conceptual art is the idea, so it often works with text. In essence, it explores the boundary between text and visual images. A work of conceptual art can be not only a painting, but also a sculpture, an installation, and a performance.

The brightest representatives of conceptualism on western front we can name Joseph Kossuth, Yves Klein, in some periods of creativity - Piero Manzoni, Robert Rauschenberg. In addition to Kossuth, other artists came to conceptualism and after some time abandoned it.

Among the Moscow conceptualists, the main ones are Ilya Kabakov, Viktor Pivovarov, further - Andrey Monastyrsky, Igor Makarevich and the Collective Actions group, in some of their works - the Gnezdo group.

Note that we don't write "style", we write "direction" - conceptual art does not have a single "style" - like, say, impressionism. The most characteristic style features can be called the frequent presence of text in the picture.

“The text is present in the work either literally, or the text is supposed, it kind of glimmers, shines through the picture - as, for example, in the paintings of Pivovarov - it is clear that a story is told there, but it is told by figures, color, spots, color segments "- Natalya Sidorova, ( art critic, teacher educational program"Following the Footsteps of Contemporary Art" at the Garage Museum of Contemporary Art, Senior Research Fellow of the Department The latest trends in the State Tretyakov Gallery )

Viktor Pivovarov "Moscow is speaking...".1992

by the most good example, which analyzes the concept of "conceptual art", is the work of Joseph Kossuth "One and three chairs", or his many self-described works of neon lamps. Kossuth articulated his art magnificently: “The main meaning of conceptualism, it seems to me, is a fundamental rethinking of how a work of art functions - or how culture itself functions: how meaning can change even if the material does not change. ... the physical shell must be destroyed, because art is the power of the idea, not the material.

Joseph Kossuth, One and Three Chairs. 1965

What is interesting about this chair? For example, the fact that Joseph Kossuth did not personally choose a chair in the store so that his work was exhibited in a new place. The chair was chosen by the assistant curator - in fact, no matter who. Each time, with each repetition, this work will be the authorship of Joseph Kossuth, because the artist is the author of the idea.

Kossuth's works describe themselves in most cases, without being an object of aesthetic pleasure. It is important for an artist to appeal to your consciousness without affecting the emotional spectrum. If you think in historical context, then this is quite understandable - the emotional spectrum of the viewer was completely squeezed out by the existential revelations of expressionist artists escaping onto the canvas.

William de Kooning, Exchange. 1955

What is the difference between Moscow conceptualism and Western one? The main author who dissected and defined the concept of "Moscow Conceptualism" is Boris Groys. He is the author of the term, which is still in use today - "Moscow Romantic Conceptualism". The fact is that Western conceptualism did not contain literature at its core (meaning "great" literature).

“Both founding fathers of Moscow conceptualism, Ilya Kabakov and Viktor Pivovarov, point to great Russian literature as the source of their work. Kabakov very often has some characters at the heart of his works. Among his heroes appears mediocre artist. Or a person who does not throw anything away - as in his installation "10 Characters", in which Kabakov's works are between 10 fictional characters, each of which is a little hero who lives in a small apartment, downtrodden, no one knows him, he is such a shy marginal character, and he secretly, quietly, does some things for the soul. When he is in sight, he lives quiet life clerk, factory worker, and so on. A very inconspicuous person. And this hero, this small man- this same "little man" from the works of Gogol, Chekhov, Natalia Sidorova.

The works of Moscow conceptualists are often "literature", a story told not literary language, but in the form of installations, paintings, or set objects.
Plus, it's always a bit of a confession. Kabakov does not talk about himself, but he "lets slip" about himself, trusting his story, breaking himself up into several heroes. Something that is in him - some small, hidden trait - he talks about it, inventing a character who carries this trait in a more pronounced form.

“This is important, given that on the global stage, conceptualism and confessional art are perfect antipodes - you can’t compare conceptualism with expressionism - there is a confession, an anguish of the soul, when the artist expresses himself to the utmost. But in Moscow conceptualism there is a certain confession, even a certain emotionality, simply not manifested by a cry, ”- N. S.

Take, for example, the above-described work of Kossuth - "One and three chairs" - there is no author in it. The author in these works is withdrawn, and even a specific exhibited object can be picked up by anyone - from these works we learn nothing about the character of Kossuth. In the Western European direction, this absence is foreseen on purpose, where the author does not have a personal manner and cannot have one, there is no personal history, and there is only the primacy of the concept.

Pivovarov and Kabakov are whales, but there is another generation, for example, Yuri Albert - he is a very consistent conceptualist. His work "Painting for the Blind" is a black shield covered with oil enamel, and small hemispheres, also covered with this color, are attached to its part. Moving a short distance away, the viewer realizes that this is Braille. The phrase "Inspiration is not for sale, but painting can be sold" is typed in this typeface. Braille is large, a blind person could not read it, because the inscription is too large, and a person who sees cannot understand what is written there - for him it's just minimalism (see article about). It turns out that the main thing here is the concept, as far as we understand or do not understand art.

Yuri Albert “Painting for the blind. Visual Culture N3” From the series “Elitary-Democratic Art” 1989

“There is a temptation to argue that for Albert the most important thing is to state that the viewer very often does not understand modern Art, but, in fact, as the artist himself comments on this project - we are talking in general about the degree of understanding of art - is there this ideal viewer who really understands what the artist expresses. Moreover, contemporary art can be understandable to us because it comes from our time, and because we can easily, standing in front of a work, go online and immediately get a certain number of texts about both Albert and EDI. And what to do with the art of past centuries? You can cite as much as you like about the paintings of Hieronymus Bosch, as much as you like historical facts, features of culture, people, era, we will not be able to rebuild our optics, because we are not people of the 16th century, ” Natalia Sidorova.

If the “first wave” of conceptualists took their work very seriously (“Art before our time is as much art as a Neanderthal is a person!”), then the followers of this trend quite allowed themselves self-irony in their works - however, never refusing from the principles of the work, reflecting on the theme of itself and from the textual content.

Cognitive linguistics studies linguistic consciousness , the image of the world that exists in the human head. Linguistic consciousness should be understood as one of the aspects of human consciousness associated with the speech activity of the individual. The psychological dictionary gives the following definition of consciousness: consciousness is “the highest level of mental reflection of reality, a set of sensory and mental images that directly appear before the subject in his ‘internal’ experience and anticipate his practical activity.”

The image of the world that exists in the mind presupposes a reflection of external reality. Reality should be understood as everything that exists, material, really existing and imaginary, belonging to consciousness and lying outside it. The image of the world is associated with the concept of "conceptual picture of the world".

Above we have already talked about concepts, their structure, forms and ways of conceptualization. The conceptual picture of the world is the representation of the world that exists in our mind, given in the form of specifically organized and structured concepts. In fact, the conceptual picture of the world is not a picture depicting the world, but the world understood as a picture. In the human psyche, objects of the surrounding reality are displayed through mediation by objective meanings and corresponding cognitive schemes. This display can be the subject of conscious reflection. In fact, the picture of the world is a reflection of the surrounding world in the human head. It appears as a result of the past of the people to which we reckon ourselves.

The linguistic picture of the world is “the world in the mirror of language”. It is sometimes said that this is "a secondary ideal world in linguistic flesh". We can say that the linguistic picture of the world is a set of knowledge about the world, captured in vocabulary, phraseology, grammar.

11. Language personality, secondary language personality

Term language personality was introduced into the scientific lexicon by Yuri Nikolayevich Karaulov. In 1989, Yuri Nikolaevich Karaulov proposed the structure of a linguistic personality, consisting of three levels.

The verbal-semantic level assumes for a native speaker a normal command of a natural language, and for a researcher, a traditional description of the formal means of expressing certain meanings;

Cognitive level: its units - notions, ideas, concepts, which are formed by each linguistic personality into a more or less ordered, systematized "picture of the world", reflects the hierarchy of values. The cognitive level of the device of a linguistic personality gives the researcher a way out through the language, through the processes of speaking and understanding to knowledge, the processes of human cognition;

The pragmatic level includes goals, motives, interests, attitudes of a linguistic personality. This level provides in the analysis of a linguistic personality a natural and conditioned transition from assessments of its speech activity to the understanding of real activity in the world.

Thus, a linguistic personality has knowledge of the lexical and grammatical level, a certain linguistic model of the world and a hierarchy of motives and needs.

A linguistic personality can also be defined as a person who manifests himself in speech activity and has a certain set of knowledge and ideas. From another point of view, a linguistic personality can be understood as a set of abilities to create and perceive speech works (texts).

When a person takes over foreign language, this language becomes not "foreign" in relation to the native language, but another language and culture that must be both studied and "passed" through oneself, through one's vision of the world. Mastering any foreign language, we simultaneously (whether we want it or not) assimilate the image of the world inherent in another people, a different vision of the world through the prism national culture, one of the most important components of which (and a means of mastering it) is language.

In this regard, along with the phenomenon of linguistic personality, the phenomenon of secondary language personality , which can be understood as "a set of abilities to create and perceive speech works (texts) in a foreign language". Psycholinguistic methods allow explicating (that is, "bringing to the surface", making explicit) the processes of formation of a secondary linguistic personality in experimental conditions.

Fundamentals of linguoculturology [textbook] Khrolenko Alexander Timofeevich

3. Conceptual and linguistic pictures of the world

The idea of ​​a picture (sometimes a model) of the world is connected with mentality. Going back to the Sapir-Whorf hypothesis, the position that the language reflects the "naive" model of the world (picture of the world) has now become generally recognized. " Cards-on the world* in contrast to the worldview - the totality of worldview knowledge about the world, "the totality of the subject content that a person possesses" (Jaspers). The picture of the world is born by the human need for a visual representation of the world. It is believed that the picture of the world is a synthetic panoramic representation of concrete reality and about the place of each individual person in it.

It is possible to single out a sensory-spatial picture of the world, a spiritual-cultural, metaphysical one. They also talk about the physical, biological, philosophical pictures of the world [FES 1998: 201]. It turns out that there can be much more hypostases of the picture of the world: it is a linguistic picture of the world, a folklore picture of the world, an ethnic picture of the world, etc.

The concept of "language picture of the world" has several terminological designations ("linguistic intermediate world", "linguistic organization of the world", "linguistic picture of the world", "language model of the world", etc.). More commonly used language picture of the world.

The concepts of "mentality" and "picture of the world" are distinguished by the degree of awareness: "picture of the world" is a conscious representation, and "mentality" is not reflected by consciousness. Nevertheless, the originality of the mentality is judged by the specifics of the picture of the world.

"Picture of the world" is becoming one of the central concepts of many humanities - philosophy, cultural studies, ethnography, etc. There are a considerable number of definitions of the term picture of the world. Each definition depends on what differentiating feature is indicated before this phrase, for example, language picture of the world. According to Yu.D. Apresyan, each natural language reflects a certain way of perceiving and organizing ("conceptualization") of the world. The values ​​expressed in it add up to a certain single system views, a kind of collective philosophy, which is imposed as a mandatory requirement for all native speakers. The picture of the world reflects naive ideas about inner world of a person, it condenses the experience of introspection of dozens of generations and therefore serves as a reliable guide to this world [Apresyan 1995].

Linguistics, the most rigorous of the humanities, takes the idea of ​​a picture of the world as a methodological device, and this allows you to see what was not noticed before (see, for example: [Yakovleva 1995]).

The idea of ​​a picture of the world takes shape at the beginning of the 20th century. It was implied by O. Spengler in his work “The Decline of Europe”: “Each culture has a strictly individual way of seeing and knowing nature, or, which is the same, for each There is its own peculiar nature, which no other kind of people can possess in the same form. Similarly, for each culture, and within a single culture, with smaller differences, for each individual person, have your completely special kind history…” [Spengler 1993: 198].

Russian poet A. Bely about the same time convincingly showed the presence individual painting peace with Pushkin, Baratynsky and Tyutchev. These poets have a different sky: Pushkin's "firmament" (blue, distant), Tyutchev's "favorable firmament", the sky is "native", "living", "cloudy" of Baratynsky. Pushkin will say: "The distant sky shines"; Tyutchev: "Fiery firmament looks"; Baratynsky: "cloudy sky native" [Bely 1983].

Pictures of the world are structured by categorical, classification schemes, which should be studied by the history of mentality. M. Foucault believed that a person has a "grid" of ideas - the skeleton of a picture of the world. The sum or intersection of different "grids" gives mentality. The picture of the world, like a mosaic, is made up of concepts and connections between them, which is why it is sometimes called conceptual picture of the world.

The concept, in the understanding of the Voronezh scientific school, led by prof. Z.D. Popova, is a global mental unit, which is a quantum of knowledge (here and below - a presentation of the concept from the book: [Popova, Sternin 1999]). Concepts are ideal and encoded in consciousness by units of a universal subject code, which are based on individual sensory images that are formed on the basis of a person’s personal sensory experience. The images are concrete, but they can be abstracted and turn from a sensual image into a mental image. Many, if not all, concepts retain their sensory nature, such as those represented by the words sour, sweet, smooth, cigarette butt, pit, spoon, table, chair and under. The concept, unlike the concept, does not have a clear structure, rigid sequence and relative position of layers.

According to the content, the concepts are divided as follows: 1) representation (mental picture)- apple, pear, cold, sour, red, rough, heat, etc .; 2) scheme- a concept represented by some generalized spatial-graphic or contour scheme: a schematic image of a person, a tree, etc.; 3) concept- a concept that consists of the most general, essential features of an object or phenomenon, the result of rational reflection and comprehension: a square is a rectangle with equal sides; 4) frame - conceivable in its entirety constituent parts multi-component concept, three-dimensional representation, some set: a store, a stadium, a hospital, etc.; 5) scenario- the sequence of episodes in time: a visit to a restaurant, a trip to another city, a fight, an excursion; 6) gestalt- a complex, holistic functional structure that streamlines the diversity of individual phenomena in the mind: school, love, etc.

Conceptual features are revealed through the semantics of the language. The meanings of words, phrase combinations, sentence schemes, texts serve as a source of knowledge about the content of certain concepts. Concepts are represented by words, but the whole set speech means does not give complete picture concept. The word with its meaning in the language represents only a part of the concept, hence the need for synonymy of the word, the need for texts that collectively reveal the contents of the concept. “The torments of the word”, drafts, self-editing and literary editing are a consequence of the limited language means for the verbalization of the concept. Hence the conclusion that word creation, speech creation and artistic creativity- the eternal right and duty of man.

There are cases when there is a concept, but there is no lexeme for its verbalization. This is called a lacuna (in Russian there is newlyweds, but no - old-timers). There are illogisms - the absence of lexemes and semes in the presence of a concept, due to the lack of need for an object (there are rabbit breeders, but no tokens for rhinoceros breeders).

The ethnic community subjects the image to a certain standardization, as a result of which the concepts become national, group or personal. The totality of concepts in the collective consciousness of an ethnos began to be called concept sphere. Concepts have national specifics. The national concept sphere is a set of categorized, processed, standardized concepts in the minds of the people. A number of concepts are inherent in one ethnic group, and therefore non-equivalent (untranslatable) vocabulary is possible (for example, ingenuity, life, waiting list, countryman and etc.). However, a significant part of the concept spheres of different ethnic groups coincides, which explains the possibility of translation from one language to another.

Verbalization, linguistic representation, linguistic representation of the concept by means of lexemes, phrases, statements is the subject of cognitive linguistics, which is interested in which aspects, layers, components of the concept entered the semantic space of the language, how they categorize it, in which parts of the system of a particular language the concept under study is found. The goal is to present in an ordered form and comprehensively describe the part of the language system that verbalizes this concept.

So, concepts are realized primarily with the help of lexemes. As a result, a linguistic picture of the world emerges. <Языковая картина мира - this is the image of the whole existing as an integral and multi-part world, worked out by the centuries-old experience of the people and carried out by means of linguistic nominations, in its structure and in the connections of its parts comprehended by the language, representing, firstly, a person, his material and spiritual life activity and, secondly, everything what surrounds him: space and time, animate and inanimate nature, the area of ​​myths created by man and society” [Shvedova 1999: 15].

It can be assumed with a high degree of certainty that the conceptual and linguistic picture of the world are correlated. Pictures of the world, and even more so linguistic ones, are ethnically specific. National identity is seen in the presence / absence of certain concepts, their value hierarchy, the system of connections, etc. This can explain the observation of the French researcher that the relatively poor system that the Homeric language has cannot give the same division of the color spectrum as possible, say, in modern French [Turina 1998: 408].

The question of the genesis of the language picture of the world in the minds of every native speaker of a given language is logical. At first glance, it seems that it develops in a person gradually as he gains everyday experience and masters the language. According to the French philosopher, language theorist J. Derrida (born 1930), from childhood, a person learns the names of objects without reasoning and at the same time - a system of relations, some accents that determine ideas, for example, about politeness, about male and female, about national stereotypes, i.e., in fact, all the original postulates that determine the picture of the world, which are “smuggled in” in linguistic expressions (see: [Weinshtein 1992: 51]).

However, there are also opposite judgments about the picture of the world as an innate phenomenon. According to J. McIntyre of the European Laboratory for Applied Neuroscience, who explored the "intuitive" physical knowledge that is characteristic even for people ignorant of science, the experiment confirms the idea that the brain is based not so much on direct observations, but on an internal model of the physical world, which and are used to predict the “behavior* of objects around us [Search. 2001. No. 27. S. 15].

It becomes obvious that the study of individual linguistic and speech units in order to identify ethnically distinctive features in a language is very limited. Today it is impossible to understand why Homer calls the sea "wine", and it is difficult to explain why it is impossible to translate into French the English word humor[Turina 1998:408]. We need a "total", systematic approach to solving the problem. HELL. Shmelev, for example, believes that it is very promising to compare the “Russian picture of the world”, emerging as a result of the semantic analysis of Russian lexemes, with the data of ethnopsychology. Such a comparison will clarify the conclusions made within the framework of both sciences [Shmelev 1995: 169]. The realization of this perspective was the work of A.D. Shmelev "Russian language model of the world: Materials for the dictionary" (M., 2002).

The way out is also seen in the study of entire linguistic fields corresponding to fragments of the picture of the world. House, as shown by the participants of the ethnolinguistic conference "Home in Language and Culture" (Poland, Szczecin, March 1995), is a very important element of culture, language and literary texts. In the report on the topic "House in Polish and English Phraseology" it was shown how much there is in common in the structure of Polish and English phraseological units and proverbs on this topic [Plotnikova, Usacheva 1996:63].

The idea of ​​a linguistic picture of the world is heuristic in nature. So, a comprehensive analysis of the Old English lexical units naming the arable field makes it possible to visualize what an important role in the economic activity of the Anglo-Saxons was played by the field that was sown (32 names), the role of the field under fallow (7 names) is less significant, and even less - the compressed field (2 titles). It turns out that the cult of the field passed to the Anglo-Saxons from the ancient Germans and Indo-Europeans [Khopiyainen 2000: 331].

Through the picture of the world, mentality is connected with culture. The naive picture of the world of the speakers of this language is reflected by the structure of the meanings of words and is determined by the culture and mentality of the era, the place of a person in the social space, his self-identification as "I" and as "We" [Frumkina 1999: 8].

It is believed that the basic unit of mentality is the concept of a given culture, which is realized within the boundaries of a verbal sign in particular and language in general and appears in meaningful forms as an image, as a concept and as a symbol (Nikitina 1999]. The idea of ​​a profile picture of the world, or “pictures of the world" [Shvedova 1999: 5]. For example, a folklore cultural and linguistic picture of the world within various folk poetic genres can appear as "pictures of the world" with one cultural model.

It turns out that the seemingly purely theoretical concept of "image of the world" should be taken into account in the process of training specialists in various fields, for whom the problem of "building a professional destiny" is important. (See the textbook "The Image of the World in Diverse Professions" [Klimov 1995].)

Summing up the achievements of linguistics of the 20th century, among the problems that have not yet been fully resolved, along with the problem of language and thinking, they also include the problem of the national picture of the world close to it [Alpatov 1995: 18].

1. Babushkin A.P. Types of concepts in the lexico-phraseological semantics of the language. Voronezh, 1996.

2. Baksansky O.E., Kucher E.N. Modern cognitive approach to the category "image of the world" // Questions of Philosophy. 2002. No. 8. S. 52–69.

3. Popova Z.D., Sternin I.A. Language and national picture of the world. Voronezh, 2002.

4. Radchenko O. A. The concept of the language picture of the world in the German philosophy of language of the XX century // VYa. 2002. No. 6. P. 140–160.

5. Uryson EV. Linguistic picture of the world VS Everyday representations (a model of perception in Russian) // VYa. 1998; No. 3. S. 3-21.

6. Shmelev A.D. Russian language model of the world: Materials for the dictionary. M., 2002.