FLORA IN K. G. PAUSTOVSKY’S ART AXIOLOGY: ACACIA IN THE ASPECT OF AUTHOR’S COLORISTIC VISUALIZATION

In the article, one of the significant fragments of K. G. Paustovsky’s linguistic picture of the world was reconstructed on the basis of the writer’s Collected Works (in 9 volumes). Taking into account the important status of acacia in the axiological space of culture, in national and individual linguistic consciousness, in the chronotope of modernity, it seems appropriate to identify and describe the author’s specificity of acacia perception and visualization based on the extensive material of K. G. Paustovsky’s prose. The methodological basis of this article is comprised by the key provisions of color linguistics, set forth in V. G. Kulpina’s works, as well as in scientific research of R. M. Frumkina, A. P. Vasilevich, V. K. Kharchenko. Of particular importance in the light of coloristic component significance in the linguistic picture of the writer’s world is reconstruction of one of the fragments of color natural space of K. G. Paustovsky’s prose exemplified by the dendronym acacia. Against the background of acacia multilateral characteristics (spatial, actional, humidity, odorant, temporal, acoustic, parametric, tactile, taste and anthropomorphic among them), marked by axiological modality the specifics of the author’s color visualization of acacia was presented. As the result of this study, the amplitudinous color spectrum used by K. G. Paustovsky to visualize the plant, which includes 9 color terms (in alphabet order: black, dove-colored-yellow, gray, green, rusty, silver, sulfur color, white, yellow), was revealed. The color terms prevailing in this registry are yellow, white, green, the prose color palette expands to include the author’s color terms. The powerful functional potential of color terms has been revealed too, which is manifested both in the ontological and classification-taxonomic functions. The multifunctional coloristic characteristic of acacia was revealed demonstrating the author’s individual perception specificity actualized in significant spatial planes of K. G. Paustovsky’s works (not only in the space of nature, but also in the space of the city, in the space of creativity), which is important in the reconstruction of the unique coloristic picture of the writer’s world. Moreover — supplemented by the plant’s multilateral characteristic marked by axiological modality — in the reconstruction of K. G. Paustovsky’s linguistic picture of the world, it seems significant in the light of the anthropocentricity of modern linguistics.