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UDC 811.161.1`37
DOI 10.20339/PhS.3-26.027
Xin Mengfei,
PhD student of the Institute of Foreign Languages
Zhejiang University (Hangzhou, China)
e-mail: vityaxin@mail.ru; xmfzju@zju.edu.cn
https://orcid.org/0009-0009-3382-7075
Wang Yong,
Doctor of Philology,
Professor of the Institute of Foreign Languages
Zhejiang University (Hangzhou, China)
e-mail: wangyongrus@zju.edu.cn
https://orcid.org/0009-0000-2612-3293
The present study is devoted to the analysis of the sound organization of the original literary text of classical Russian literature — the story of M. Gorky “Chelkash”. Based on the data from the National Corpus of the Russian Language and subsequent manual verification, 136 lexical units with acoustic semantics were extracted and annotated from the work. Empirical material is classified according to three criteria: source, auditory texture, and degree of personification. The results of the study demonstrate that the distribution of acoustic sources forms a hierarchical structure: human voices, natural phenomena, and industrial noises. The latter category has a pronounced pejorative or harsh coloring, whereas the sounds of nature are endowed with the semantics of harmony. A significant aspect is the divergence of the auditory representation of the main characters. Chelkash’s vocal characteristic is a hybrid phenomenon that functions at the intersection of various semantic domains (in particular, through the use of morphemes with the meaning of hissing and roaring). Gavrila’s sound profile, on the contrary, undergoes a systemic decline through the semantics of shouting, whispering and indistinct articulation. Thus, the acoustic layer of the work does not act as a simple background element, but as a structured semiotic mechanism. He organizes the artistic space, forms the arrangement of the characters and determines the development of the plot conflict.
Keywords: soundscape, sound theory, semantic and statistical analysis, sound vocabulary, sound symbolism
This work was supported by the National Social Science Fund of China’s key project “Quantitative Research on Russian Literature and Its Digital Intellectual Transformation” (Project No. 25AWW009)
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