Dar217.Html

IN SLOVAK 217 (287)
Projective lexicon of the Russian language September 28, 2008

NEOPHRAZIA - 3

Let me remind you that a phraseological unit is a combination of words that itself is, as it were, a word, an integral lexical-semantic unit that cannot be completely decomposed into the meanings of individual component words. At the same time, according to the degree of connectedness of words, phraseological fusions (“chickens laughing”), unity (“hanging by a thread”) and combinations (“black market”) differ. The meaning of phraseological fusion is generally not deducible from its components and is incomprehensible to foreigners (“do chickens laugh?”). Phraseological unities are motivated by the meanings of their component words (“hanging by a thread,” that is, they can easily fall, break), but their compatibility is very limited and selective. Phraseological combinations are the most free of all phraseological units, but still at least one of their components has a related meaning determined by the given context. For example, “black market” is a phraseological combination; you cannot say “dark market,” although in relation to a fence such a replacement is acceptable (“black fence,” “dark fence”).

Those neophrases (neo-phraseologisms) that are offered in this series of “The Gift” are predominantly phraseological combinations and unities, i.e. phrases that are connected to a small and medium degree (but, of course, not completely free). It is almost impossible to create new phraseological fusions, such as “beat the buck”, since the words in them are already so grounded in each other that they almost lose their independent meaning, and this requires a century-long adjustment, complete testing in speech.

The two previous issues offered phraseology on the topic of vision (215) and socio-political (216). The theme of this issue is creative (or non-creative) relationships between people.

make someone (or someone's ) day ( month , year , life ...) - determine the content of the upcoming day or other period of time.

English tracing paper to make somebody's day, eg: You've made my day. I want to make your day.

I received an amazing letter today: almost a declaration, almost of love. It made my day . Or maybe even a year. Or maybe life.
Let's have breakfast together in the morning. Just half an hour and you'll make my day.
In one month he wrote half a novel. Made myself a year.
A chance meeting at some concert (their seats were nearby) became the event of a week, then a month, a year... And finally he realized that this incident had made his life .

mania of influence , phobia of similarity - about an excessive desire to influence others and the fear of dependence. These expressions can be used together or separately.

People in creative professions have a fear of being secondary, an attempt to push away from predecessors who influenced them or could influence them, and to assert their primogeniture. Harold Bloom called this set of anxieties "anxiety of influence" in his famous 1973 book of the same name. In Russian, this expression literally translates as "anxiety of influence", "fear of influence" or "anxiety of influence", which does not sound very smoothly, since it is unclear from this phrase what the anxiety is actually directed at: to be influenced or to influence oneself (the Russian genitive case is ambiguous in this context).

Meanwhile, creators are characterized by both: they are afraid of being the subject of influence and at the same time they yearn to become its source, to influence others, to lead them. Therefore, it would be worthwhile to distinguish terminologically and conceptually between mania and phobia, merged in this complex: mania of influence (the desire to influence) and phobia of similarity (fear of being influenced, of becoming like someone). Rhyme (and a deep one: “mania - influence ” , “phobia - obsession ” ) does not interfere, but sharpens the meaning of these expressions, firstly, since we are talking specifically about influence, repetition, echo, i.e. about the peculiar phenomenon of rhyme, and secondly, because mania or phobia are compulsive mental disorders, when real facts are repeatedly amplified and obsessively reproduced in the mind.

mania of influence - the desire to find traces of one’s influence among contemporaries working in the same type or genre of art. Mania of influence can manifest itself in two ways: (1) as a tendency to accuse fellow writers or writers of stealing an idea or technique and parasitizing on my achievements; or, on the contrary (2) patronize certain writers as supposedly their followers, take them under their wing, form a school or circle out of them and unite them around themselves, etc. Accordingly, there are two types of mania of influence : accusatory and rewarding . An example of accusatory mania : the poet N. claims that all conceptual poets: Prigov, Rubinstein and others - borrowed their basic techniques from him and at his expense made a literary career for themselves, in every possible way hushing up his own original poetry. Example incentive mania : the critic K. believes that his ideas about transmetasuperponance had a decisive influence on a whole galaxy of poets, and he, looking for these superponses in their every line, praises and extols them as faithful heirs of his teaching.

phobia of similarity - fear of creative dependence, fear of becoming like someone and the desire to erase all traces of such influence in one’s work. It manifests itself as a denial of one’s dependence on predecessors or contemporaries, an attempt to destroy all features of their influence. from similarity phobia Many authors suffer . Nabokov, for example, denied any knowledge of Kafka, despite the obvious similarities between his novel Invitation to an Execution and The Trial and other works of Kafka. Marx had a strong phobia of similarity in relation to Hegel, which is why Capital remained unfinished: Marx felt too strong the influence of Hegel on his categorical apparatus and dialectical method. It turned out that the materialist Marx derived the specifics of capitalist society from logical categories such as “commodity”.

Just imagine, Sasha stopped communicating with his closest friends. He shouts that they are stealing his valuable ideas. - Well, it's a classic case. Mania of influence , phobia of similarity .

the invisible reader, the inner reader - the one for whom the writer works, whose image he carries in his soul.

For Lenin, the invisible reader of his writings was Marx, and for Marx, the future revolutionary practitioner who would bring his theory of communism to life. So they wrote for each other, never seeing each other.
Brodsky considered Orwell his inner reader and mentioned his name in this connection immediately after Auden. In one of his interviews, Brodsky admits that he writes prose with an eye on the imaginary opinions of these two writers.
For many writers, their inner readers were their lovers - close or distant, obvious or secret.

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The network project “The Gift of Words” has been published since April 2000. Every week, several new words are sent to subscribers, with definitions and examples of use. These words are not in any dictionary, and yet they denote significant phenomena and concepts for which there has not yet been a place in the public consciousness. "Dar" also conducts discussions about the Russian language, discusses letters and suggestions from readers. “The Gift of Speech” can serve as a manual on word creation and thought creation, an introduction to the linguistic sphere and conceptual sphere of the 21st century. All previous issues.

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Sticky leaves. Philosophical and philological diary of M. Epstein on LiveJournal

Yazykovod - website of the Center for Creative Development of the Russian Language.

PreDictionary - English neologisms by M. Epstein.

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New publications by M. Epstein (with links)

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Mikhail Epstein's books can be purchased in major bookstores, as well as on the Internet. In Moscow, almost all of them are in the Biblioglobus stores (metro station Lubyanka, Myasnitskaya st. 6/3, tel. 928-35-67, 924-46-80); NINA (Consent) (metro Paveletskaya, Bakhrushina st., 28, t. (095) 959-2094); Bookstore of the Literary Institute (25 Tverskoy Boulevard, entrance from Bolshaya Bronnaya Street, from Pushkinskaya metro station, on the left side, to the sign: Literary Institute, tel. 202-8608).

Projective Philosophical Dictionary: New Terms and Concepts . St. Petersburg: Aletheya, 2003, 512 pp.

Paternity. Metaphysical Diary . St. Petersburg Aletheia, 2003, 246 pp.

Space sign. On the Future of the Humanities . M.: New Literary Review, 2004, 864 pp.

All essays , in 2 vols. vol. 1. In Russia; v. 2. From America. Ekaterinburg: U-Factoria, 2005, 544 pp. + 704 ss.

New sectarianism. Types of religious and philosophical mindsets in Russia in the 1970s - 1980s . (series "Rainbow of Thought"). Samara: Bakhrakh-M, 2005, 256 pp.

Great Owl. Soviet mythology. (series "Rainbow of Thought"). Samara: Bakhrakh-M, 2006, 268 pp.

Postmodernity in Russian literature . M., Higher School, 2005, 495 pp.

Word and silence. Metaphysics of Russian literature "M., "Higher School", 2006, 559 pp.

Philosophy of the body . St. Petersburg: Aletheya, 2006, 194 pp.

Amerossia. Selected essays (series "Parallel Texts", in Russian and English) M., Silver Threads, 2007, 504 pp.

Poems and elements. Nature in Russian poetry of the 18th - 20th centuries (series "Rainbow of Thought"). Samara, Bakhrakh-M, 2007, 352 pp.