Methods of explication of objective space in P. P. Bazhov's tales

Van Pengfei ORCID: 0009-0007-7883-4426 Postgraduate student; Department of Russian Language, General Linguistics and Speech Communication of UrFU; Ural Federal University named after the first President of Russia B.N. Yeltsin 51 Lenin Street, office 312, Yekaterinburg, Sverdlovsk region, 620075, Russia 523876190@qq.com

1. Introduction

One of the basic categories of modern humanities is the category of space, which is studied by V. N. Toporov ^[13], T. V. Matveeva ^[9], A. S. Pangereev ^[19], O. V. Royko ^[10], I. G. Spiridonidis ^[20], S. Bushell ^[18], S. S. Gretskaya ^[2], T. V. Itskovich ^[5] and other researchers.

V. N. Toporov characterizes the text as characterized by spatiality, the text itself is a space ^{[13, pp. 227-228]}. The category of space in the text differs in substance, that is, it is always filled with people, plants, cultural objects, etc. ^{[13, p. 233]}. T. V. Matveeva characterizes space in relation to a work of art as "a category of text by which the content of the text correlates with the axis of space: the place of textual events or the actions of characters" ^{[9, p. 356]}.

Space is a multi-valued category, so it is customary to divide it into several subcategories. One of the most common in science is the classification of space into objective (or real) and subjective (or virtual/mythological) ^{[2, p. 96]}. As part of this work, we will study the objective space. Objective space in a literary text is understood as "a reflected likeness of the real world, passed through the perception of the subject" ^{[9, p. 32]}. The characters of the work directly exist and act in the objective space.

Space is reflected in a literary text using several categories and a number of linguistic means, which are divided into those with spatial significance and those without spatial significance ^{[8, pp. 266-267]}:

1. locations, which are expressed by means of toponyms, with which geographical objects are designated ^{[1, p. 147]}. The types of toponyms include hydronyms – designation of water bodies (rivers, seas, lakes); dromonyms – designating communication routes ^{[10, p. 486]}. Direct spatial signs are also used to indicate locations ^{[17, p. 144]} – a house, a mine, a factory.

2. verbs of movement – to go, to run, to carry, to ride, to carry and others, which are usually used together with prepositions with spatial meaning: in, about, under, over, to, under and others ^{[1, p. 147]};

3. Adverbs of place – near, to the right, above, there, back, in front and others, which are also used together with verbs;

The subject of the study is the category of objective space in the tales of P. P. Bazhov and the ways of its explication.

2. Research materials

The material of the study is the tales of P. P. Bazhov, collected in the collection "The Malachite Casket" (1939). Bazhov's tales are the material of many modern humanitarian studies – M. N. Lipovetsky ^[7], D. V. Zherdev ^[3], E. E. Ivanova ^[4], L. I. Stepanova ^[21] and others.

3. Research methods

The main method in the work is the categorical-textual method, which was created in the Ural scientific Prof. UrFU by T. V. Matveeva and through which we determine the ways of explication of such a category of text as objective space. T. V. Matveeva notes that the categorical-textual method is "characterized by a goal setting to determine the formal semantic properties of the text" ^{[9, p. 11]}. T. V. Itskovich writes that the use of the categorical-textual method implies the search for "ways to explicate textual categories" ^{[6, p. 1]}. We consider such a category as space.

4. The results of the study

The genre of the tale implies the coexistence of objective and subjective space. The objective space of Bazhov's tales has not yet become the subject of a separate study. The objective space in P. P. Bazhov's tales is the space above and below the ground – on the ground and in the mine.

Objective space is associated with settlements in the Ural Mountains, where mining workers live, and with the surrounding nature. S. S. Sokovikov notes that the natural context of the Ural Mountains is closely related to the content and plot of P. P. Bazhov's tales ^{[11, pp. 141-142]}.

Let's classify the ways of explication of objective space in Bazhov's tales. First of all, it is necessary to characterize the possibilities of using words with spatial meaning, with which locations in the work are designated.

One of the most common ways of explicating objective space in P. P. Bazhov's tales are prepositions of spatial meaning. In the tale "The Malachite casket" prepositions are used together with any parts of speech: in the Field, from foreign lands, to look out the window. With the help of prepositions, P. P. Bazhov creates an image of both the Ural and non-Ural space (metropolitan St. Petersburg), in which some of the heroes of the work who came to the Urals are located.

Spatial prepositions in conjunction with verbs and nouns explicate objective space in the tale "Stone Flower": they also ran from the factory-went; in the forest; then he went to the pond, then to the forest; on these bushes and others; in the tale "Silver Hoof": in our factory, through the forests, in a hut, along the street and others; in the fairy tale "Fire-jumping": on a birch tree, by a birch tree, into the ground, in the forest.

In most cases, spatial prepositions are used either to demonstrate the direction of the hero's movement through objective space, or to indicate a specific location. Nouns in conjunction with prepositions indicate specific locations directly – a forest, a factory, a hut, a street; or indirectly – birch and earth designate the forest as a place of action.

A common form of explication of objective space, namely locations in P. P. Bazhov's tales, are toponyms that denote real–life geographical objects in the Ural Mountains, where the action of the work takes place. L. Yu. Stepanova believes that the Ural writer showed interest only in those geographical locations that are associated with natural fossils - precious stones ^{[12, p. 354]}.

Toponyms in the tales of P. P. Bazhov denote the names of cities, towns, rivers that indicate an objective space: Gumeshki, Krasnogorka, Severushka, Krasnogorsky mine ("Mistress of the Copper Mountain"), Kolyvan, Seversky Pond, Gumeshki, Snake Hill, Polevaya ("Mountain Master"). The use of toponyms is necessary for a detailed image of the panorama of the Urals. Separately, we note the role of hydronyms: Zyuzelsko bolotse, Chusovaya or Chusovaya river ("Sinyushkin well"). It is worth noting that toponyms in different tales of P. P. Bazhov are often repeated, that is, the action takes place in the same geographical locations. In some of the tales, the action takes place within the framework of a single geographical object, for example, a Field.

Another way to indicate the locations of objective space in the text are direct spatial pointers. So, in the tale "Sinyushkin well" there are the following spatial signs: a hut, a hut, a factory, a mine, a mine and others.

Direct spatial pointers explicate the main locations of Bazhov's tales "Stone Flower", "Malachite box", "Mining master", "Sinyushkin well": 1. factory: at the factory, at the machine, at the mine, at the mine, behind the machine and others; 2. peasant house and its components: in the hut-that is, in the hayloft, at the window, in Danilushkov's hut, in the house, etc.

Another way to explicate the category of space are adverbs of place, which, for example, in the tale "Mountain Master" are used together with verbs, prepositions and other parts of speech with or without spatial meaning: everyone rushed there, that's where she went, she was close, where she... went, ran somewhere, Not at all close. Adverbs of place only approximately indicate the place of action in the work and are usually used to show how the characters move in objective space.

P. P. Bazhov also actively uses verbs of movement in his tales, with the help of which he shows the movement of the characters through objective space. In the tale "The Malachite Casket", objective space is explicated through the following verbs: he arrived with his wife, rolled up to Nastasya, the woman turned around coolly, ran up to the mirror, snorted and ran, etc. When using verbs, only the direction of movement of the hero in space is demonstrated. The objective space in Bazhov's tales is dynamic, and the locations in which the action takes place are constantly changing.

Usually, the explication of the category of objective space occurs by using several methods simultaneously. So, toponyms are used with prepositions of spatial meaning: on Gumeshki, at the Snake Hill, from Gumeshki, for the Snake Hill, to the Snake Hill, etc.

Finally, to explicate the category of objective space, P. P. Bazhov actively turns to words without spatial meaning. Spatial meaning may be absent in some adjectives used in conjunction with nouns that have spatial meaning: according to the old mines, there is a round window in the clearing, a large stump ("Sinyushkin well"). In most cases, adjectives in Bazhovsky are needed to describe the rich Ural nature – precious stones, forests with trees and grasses, swampy terrain, etc.

Unlike most of P. P. Bazhov's fairy tales, in the tale "The Malachite Casket" the objective space is represented not only by the Ural nature, but also by a peasant hut. Adjectives in conjunction with nouns help to depict the interior of a peasant house: a small fly, upper chests, Nastasya's windows and others; also a manor house: a manor house and others.

The specific subject vocabulary also has spatial significance, which helps to create the space of a peasant hut: cups, spoons, a stool, a broom in the hut, a chest, a window and others ("Malachite casket"). The specific subject vocabulary not only characterizes the objective space, but also allows you to get to know the peasant way of life better. Specifically, the subject vocabulary is also used to create an image of the Ural forest, rich in berries: strawberries, knyazhenika, cloudberries, currants with blueberries ("Sinyushkin well").

Considering the peculiarities of explication of objective space in the tales of P. P. Bazhov, it is worth noting such a method as the use of uralisms, which can be considered as part of the original style of P. P. Bazhov ^{[15, p. 957]}. The use of the uralisms shirinka, golbets, looks in the mining direction, malachite ore, lazorevka, etc. it allows you to imagine everyday life, rich Ural nature, against which mining workers live. We believe that uralisms also help P. P. Bazhov to create an original panorama of the Urals, conveying the peculiarities of this region. The use of uralisms is necessary because the reader sees the objective space in P. P. Bazhov's tales through the prism of the heroes of the work – mining workers, whose dialect words are an integral part of their speech. The use of uralisms helps the reader to become more familiar with the mining world and even penetrate into it.

5. Withdrawal

Thus, the explication of objective space in P. P. Bazhov's tales is carried out in two main ways – lexemes with spatial meaning and lexemes initially without spatial meaning. The first group includes prepositions with spatial meaning, toponyms, adverbs of place, direct spatial pointers and verbs of movement, which are used in conjunction with other parts of speech. Toponyms in fairy tales are represented by hydronyms. The second group of ways to explicate objective space is represented by specific subject vocabulary, uralisms, adjectives, which are given spatial meaning.

The objective space in Bazhov's tales is the space of nature – the unique Ural Mountains with their endless forests rich in various herbs. At the same time, the objective space in P. P. Bazhov's artistic text is represented by a peasant hut, a manor house, a mining plant as everyday locations for mining workers.