The acoustic image of the great patriotic war in I. Grekova's stories

The article deals with the linguo-conceptual analysis of I. Grekova’s stories. As the title implies, the article describes the stories focused on the Great Patriotic War in Russia in 1941–1945. In I. Grekova’s linguistic worldview much attention is given to the concept MUSIC, which is emphasized in the stories as ‘sound / sounding’ slot. The war is represented as a complex action. Its components (stages, localization, participants) have specific acoustic characteristics according to I. Grekova’s conception. The purpose of the article is to prove the significance of the ‘sound / sounding’ words for the Great Patriotic War description in the stories. The article contains into five parts. In Introduction, the understanding of the acoustic image is given. We demonstrate that the phenomenon of the Great Patriotic War is one of the most important in Russian linguistic worldview. We show that the war appears to be a popular theme in 20th century Russian literature. The author treats war as a complex action. It develops in time in particular place and involves specific participants. The components define the main body structure. The first part gives a detailed analysis of war stages. According to the acoustic characteristics, the war action may be separated into three periods. The first period is marked up with loud and awful sounds (screaming, crying and explosions). The second phase sounds with transport (evacuation) sounding (train horn, wheels knock). Finally, the last one is represented by victory songs and happy shouting. Thus, it should be noted that here the sounds reflect the common attitude towards the war situation in progress. The second part touches upon the issue of war space sounding. On the one hand, here we see a significant Moscow / St. Petersburg contrast. The first is a vivid and sounding city, thus we perceive it as living. The second one is soundless and noiseless; in other words, it is dead. On the other hand, there is a capital / countryside contrast. It turns into a nature / war opposition. From what the author says it becomes clear that the acoustic of the places shows different destiny of the described areas. The third part speaks in detail about female characters and child characters. The author of the paper draws the reader’s attention to the fact that women here appear to be good mothers. Consequently, they perceive war through the children’s reactions to the war. Mothers also sing baby songs that become a part of the «acoustic image» along with military songs. The children have predominantly an acoustic perception of war, because they are too young to read. They treat special military terms in a vary manner. The children themselves also provoke one of the slots of war sounding (crying, for instance). The author of the article concludes that the «acoustic image» is a unique stylistic method. It demonstrates I. Grekova’s personal worldview and permits to construct the model of the acoustic image of the Great Patriotic War.