THE PHENOMENON OF FEAR FROM THE POINT OF VIEW OF LINGUISTIC RESEARCH

Abstract

The article outlines research approaches in modern linguistics to the study of the phenomenon of fear (lexical semantics, cognitology, cognitive syntax), which made it possible to identify a number of unresolved issues and outline ways to overcome them. Since the fear of basic human emotions, which alone has a decisive influence on human existence, is reflected in the minds of all members of the ethnic community, has a significant arsenal of linguistic means of representation. Depending on the type of consciousness that reflects the emotional experience and the sphere of functioning of knowledge, the emotional concept of "fear" is described as naive and scientific. The application of a linguo-pragmatic approach to the analysis of the linguistic expression of the phenomenon of fear is proposed; it is noted that the theoretical and methodological basis of this approach is just being formed; the basic principles and concepts, the involvement of which will allow a more objective analysis of the stipulation of the phenomenon of fear within one or more languages. One of the priority areas of linguistic research within the cognitive-discursive paradigm is to study the relationship between the emotional sphere of human consciousness and the language system used by it in the process of nominativecommunicative activity. Approaches to the study of fragments of the emotional picture of the world are systematized; the definition of the term “emotional concept” is adjusted. It is interpreted as a multilevel poly structural mentallinguistic form, which, on the one hand, is an emotional form of cognition of the world and through experience correlates with thought forms, on the other – a set of elementary meanings, i.e. comprehended by the subject of cognition (mental and other characteristics) a representative of a certain social group (ethnic, professional, etc.) emotions. Subject-object passions in the text form the basis of text creation in the discourse of fear. Subjectivity is the basis of any text of artistic discourse, and in the circumstances of its relation to the discourse of passions, it becomes the basis of text creation. The textual embodiment of subject-object passion relations is a way of constructing a fictional world of horror discourse, where the distinction of subjects of passion is the first stage of actualization of the communicative meaning of “fear”, and reference and nomination are strategies of its linguistic embodiment.