Libmonster ID: SE-497
Author(s) of the publication: O. Y. PISHCHULINA

Russia has long been famous for its crafts and crafts, the most elegant of which is lace-making.

Lace is a European art. As an openwork ornament created by various interweaving of threads and existing independently, without any woven base, it appeared in Russia at the turn of the XV-XVI centuries.

Let's turn to the sphere of names of the lace business. Here we find a high prevalence of metaphorical transference. The life of a word in the new "field" begins with the application of its old name to new objects and phenomena in terms of content. Terms formed by metaphorical hyphenation of the name are quantitatively the broadest group in all craft and craft terminology systems.

Our observations have shown that most of the terms of lace making are formed by comparing the external features of objects (shape, general appearance, color). This is manifested primarily in the naming of drawings and patterns, for example: burdock, burdock, leaves, leaves, leaves, trees, flowers, flowers. The word burdock has a number of meanings, we will give only one: "pattern in the form of jagged leaves

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or flowers", which develops as a secondary one by metaphorical transfer of the name based on the external similarity of realities (a plant → a pattern similar to its leaves or flowers).

Ornaments with elements in the form of any repeating leaves were designated by the lexemes leaves, leaves, leaflets. The Dictionary of the Russian Language of the XI-XVII centuries indicates for leaf and leaflet the meaning of "pattern in the form of plant leaves", which develops as a secondary one by metaphorical transfer of the name based on the external similarity of realities.

A type of plant ornament, including a stylized image of trees, in the Old Russian language was called a tree. The main meaning of the word tree is "diminutive to tree", and its semantic evolution is similar to those previously described.

Ornaments with elements in the form of any repeating flowers were designated by generic words-flowers, florets and specific words-roses, poppies, etc. These terms are formed using metaphorical transfer by similarity: a pattern similar to flowers, roses, poppies.

One of the meanings of the word star in lace-making is " a pattern in the form of a geometric figure depicting a star." And here the external similarity of realities: "a star is a geometric figure with pointed protrusions evenly spaced around the circumference; a figure with rays radiating from the center "(Dictionary of the Russian language. In 4 vols. M., 1981. Vol. I). Circles - so lace makers call a repeating ornament of a rounded shape: from circle - "an object with a rounded ring shape" (Ibid. Vol. II); twig from branch - " a lateral process, a shoot coming from the trunk of a tree (shrub) or a herbaceous stem plants" (Ibid., Vol. I).

Trailers. Rectangles that follow each other and are connected to each other by a thin wire rope. Apparently, the rectangles are shaped like real train cars for lace makers. Hence the name of one of the patterns of the lace business.

Lemons. The pattern is oval in shape with elongated ends, similar in shape to a lemon.

Peacocks. Drawing in the form of an unfolded fan. S. I. Ozhegov gave two meanings of the word fan: "1. A small, usually folding fan, opening in a semicircle. 2. peren. What has the shape of a semicircle, truncated from the sides and down" (Ozhegov S. I. Dictionary of the Russian language, Moscow, 1988).

A striking feature of the lace-making terminology is the presence in it of a large number of terms in the form of a noun in the creative case: cucumbers, wheels, hearts, basket, boxes, etc. These terms seem to us to be the result of the disintegration of composite names, such as drawing cucumbers, drawing wheels, drawing hearts, etc., in which the creative case is

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It acts as an inconsistent definition that is connected to the nominative case by an adjacency connection. In these numerous constructions, the easily implied "redundant" word drawing is eliminated without breaking the understanding.

Currently, they are perceived by both professional craftswomen and ordinary users as independent names, for example: cucumbers - an oblong pattern that not only resembles a cucumber in its outline, but even has a braided peduncle and convex places, like a real vegetable; wheels - a rounded pattern, the main difference of which is the presence of thread axles and spokes inside a circle made with the main thread; basket (basket) - a pattern that resembles a basket in shape, inside which an oblique grid is woven, "confirming" that the basket is made of twigs.

The external similarity of the objects being compared, which is used to form terminology through metaphorization, is often relatively random, as if it does not have an obvious logical and linguistic justification. For example, hitched German Kalyazinsky lace. Hitch, interlock-this is " fasten, attaching one to the other." However, in the named lace there is no visible coupling of the parts. Perhaps the name was formed from the fact that in this lace traditions, motifs, ornaments of German and Russian lace, which was woven in the city of Kalyazin, Tver province, were combined and "intertwined".

Judging by the names of the Ryazan lace (grass, grass branch, branch with grapes, broken stalk, twenty cucumbers), the main motifs were originally vegetable. These names were preserved later, but the patterns themselves acquired geometric outlines and at present one can only guess at their plant base.

There is another group of names for drawings, which are usually formed by composite terms, and first of all they include varieties of "edge": capes, bells, balalaika, peacocks, money, circles, etc.; in them, the first word edge is a direct name (the limit line that limits the surface or extent of something), and the second one is portable. The same situation applies to the term circles-edge, where part of the compound name circles was created as a result of metaphorical hyphenation. Circles here denote a lace pattern consisting of three rows of diamonds arranged in a staggered pattern.

The group of terms formed by comparing the characteristics of the purpose, mode of action, state, and position also includes other names, both composite and single: overhead fly. A kind of round-shaped lace pattern. The front sight looks convex

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a knot, as if superimposed on the main ornament; therefore, invoice - a direct name formed from the verb to impose; cufflinks of lice - a pattern that resembles a cufflink in shape, which is sewn into the main pattern, hence lice; stitched tiles-vegetable motifs in lace made by stitching, similar in shape to cuttings (a segment of the stem root and place of the plant, separated for vegetative reproduction), the second part of the term - from the verb to sew something; flowers thin-the first part, a metaphorical transfer by external similarity (flowers), and the second thin-a direct name indicating the size of the pattern; severe poppies-the pattern resembles a blooming flower in its external outline maka, where the reference word makovki is formed by metaphorical transfer, the dependent definition indicates the material from which the lace is made, i.e. from harsh threads.

Similarly, the professional terms wheels severe and capes severe are formed.

A fairly wide group in the vocabulary of Russian lace makers is represented by composite terms, the dependent words of which indicate the presence of a different color in the ornament, and sometimes even specify which one, for example: multi-colored grids, beetles edge with color, crumpet with color, hooves colored, cufflinks with red, cucumbers with white, cucumbers with black, etc.. etc.

The metaphorical way of forming lace-making terms is used quite widely. Unfortunately, it is extremely difficult to get to the "root" of the names of many drawings. For example, such original names as grassy ridge, moscovochka, ryabka-perevenka, orderlies, shoe covers, refetka, and some others do not have obvious logical and linguistic explanations.

Yelets


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