Emotive potential of the lyrical heroine's voice in M. Tsvetaeva's poetic cycle "Wires"
The article is devoted to interpreting emotive nature of M. Tsvetaeva's poetry, especially to understanding the potential emotivity of the poetess's work. The aim of the study is to analyze the explicit and implicit linguistic means of expressing emotions in the cycle «Wires».The theoretical significance of the work lies in describing the system of correlations between words denoting certain emotional and mental state - crying, sighing, screaming - and their speech conceptualization in a poetic text, i.e., between nominations and expressive means of creating emotion in the context of the poem, where the word tends to express its emotive potential. This article examines M. Tsvetaeva's poetic cycle «Wires» from the point of view of the emotive potential of voices. The «Wires» cycle uses a multilevel organization for expressing emotive elements: from phonetic means such as the gradational range of sounds, punctuation such as dashes, lexical such as interjections, to stylistic means such as metaphor and precedent names. The analysis made it possible to draw the following conclusions. Firstly, the cycle « Wires» has a lexical-semantic field of voice, which includes the nominations of scream, sigh, cry, disruption, shriek, etc. It is in these nominations that the voice of the lyrical heroine is embodied. Secondly, the indicative nominations sigh, cry, and scream , which have no emotive meaning, become indicators of the potential emotivity of the poetic text. These nominations form the emotive dominant and demonstrate a gradational order according to the intensity of the emotional state. Thirdly, the emotive dominant in the cycle under analysis characterizes the emotive situation of a long distance between close friends, which causes the heroine's emotional state - suffering, grief, despair, expressed through sighs, cries, screams, shrieks, etc. Fourthly, the nominations of sigh, cry, scream in M. Tsvetaeva's poetry generally mark the negative emotions of suffering. This study can be used in practical Russian language teaching, in theoretical courses on linguoculturology and literary analysis, as well as in a specialized course on Marina Tsvetaeva's poetry.