The Formal Alteration of Phraseological Units in The Literary Works of V. Vysotsky

Аннотация

The presented article is aimed to explore the COPYRIGHT © 2025 Original content from this work may be used under the terms linguistic representation of the author within the of the creative commons attributes 4.0 License. poetry of V. Vysotsky. To accomplish this objective, several tasks were undertaken: an extensive examination of V. Vysotsky's poetic legacy, a thorough analysis of the stylistic application of phraseological units in his poetry to effectively showcase the evolving character of phraseology, its receptiveness to diverse structural and semantic transformations, and to distinctly highlight the uniqueness of the poet's artistic style and his skillful manipulation of language. Keywords: Metaphorically reinterpreted phraseological constructs, textual stylistics, stylistic devices, linguistic imagery, altered phraseology, interpretations of phraseological constructs, and metaphorical characteristics. Introduction: An extensive exploration of the poetic legacy of V. Vysotsky, particularly focusing on the stylistic application of phraseological units within his poetry, effectively highlights the evolving character of phraseology, its receptiveness to diverse structural and semantic modifications, and distinctly showcases the poet's unique creative style and linguistic proficiency. Furthermore, it is noteworthy that a dedicated analysis of the stylistic employment of phraseological units in the adaptation of V.S. Vysotsky by the author has yet to be undertaken, underscoring the significance of the selected topic. Investigating V. Vysotsky's poetry enables the identification of key techniques in the individual adaptation and utilization of phraseological European International Journal of Multidisciplinary Research 12 https://eipublication.com/index.php/eijmrms and Management Studies European International Journal of Multidisciplinary Research and Management Studies units: 1. Infusing a phraseological unit with new Без меня продолжался великий поход, nuances of meaning while preserving its lexical and На меня ж парусами махнули. grammatical structure: («Баллада о брошенном корабле»). Но только я уже бывал на Темзе, Собакою на Сене 1. In his writings, V. Vysotsky frequently draws parallels восседал... between cherished inanimate objects and human («Я к вам пишу») beings, thereby crafting metaphorically reinterpreted In this instance, the idiomatic expression «собака на phraseological expressions.: глотать слёзы - глотать сене» (Eng: dog in the manger) is not employed in its брызги, махнуть рукой - махнуть парусами. (Eng: to literal sense (referring to an individual who neither swallow tears - to swallow splashes, to wave one's hand utilizes a resource nor allows others to benefit from it). - to wave one's sails.). V. Vysotsky utilizes merely the superficial structure of Что за дом притих, погружён во мрак, the idiomatic expression as a tool for linguistic play. На семи лихих продувных ветрах?.. Был в балете, - мужики девок лапают. («Очи чёрные. Старый дом») Девки - все как на подбор - в белых тапочках... 2. The well-known expression «на семи ветрах» (Eng: («Два письма. Письмо с выставки») ‘on seven winds’) is enhanced by the poet with The phraseological expression «в гробу видеть (в clarifying definitions, which increases the белых тапочках) » (Eng: to see in a coffin (in white expressiveness of the image: «на семи лихих slippers)) is basically applied in an abbreviated manner, продувных ветрах.» (Eng: 'on seven fierce, gusty as it does not convey its literal interpretation (to regard winds.' someone or something with utter contempt). The 3. This formation is analogous to commonly used employed form of this phraseological unit enhances the phrases, creating new, author-specific expressions. artistic imagery, contributing to the development of the These neologisms are constructed using both the protagonist's speech traits, specifically that of a rural structure and individual elements of the conventional peasant, thereby enriching the expressiveness of his phraseological unit, as well as solely its structure. dialogue: ...Мне будто дверь в целый мир прорубили. ...Бросил якорь в историю стройный корвет, («Жертва телевиденья») Многотрубные увальни вышли в почёт. The renowned expression by Pushkin A.S., which refers («Этот день будет первым...») to creating a window into Europe, is reinterpreted The specific meaning of the idiomatic expression through a logical substitution of its constituent «бросать якорь» (Eng: ‘to drop anchor' (to settle or elements. - в целый мир прорубить дверь. remain in a place)) is broadened, as the author Я за пазухой не жил, не пил с Господом чая... introduces a new nuance: 'to remain forever in the («Песня о погибшем лётчике») past,' thereby enhancing the depth of the statement. The lexical and grammatical aspects of the idiomatic The ubiquitous Russian phraseological expression expression are updated while preserving its meaning «Жить как у Христа за пазухой» (Eng: 'to live lik