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3.5. Репрезентация сложного эмотивного концепта «вдохновение»
299
Как видим, данный эмотивный микротекст принадле
жит к эмоцентрическому агентивному типу. Связь между
действиями здесь носит ассоциативный характер, повто
ряющиеся действия описываются с применением итера
тивного показателя would, ни о каком сюжете здесь не мо
жет быть и речи. Кстати говоря, вообще трудно себе пред
ставить акциоцентрический эмотивный микротекст о та
ком эмотивном концепте, как вдохновение.
Различные фазы состояния транса представлены в сле
дующем эмоцентрическом микротексте дескриптивного
типа: «When I was irrevoсably committed to finish my poem
or die, there came the most trancelike state of all. With
hardly a tinge of surprise, I found myself of all places, on a
leathern couch in the cold, musty little used room that had
been my grandfather’s study. On that coach I lay prone, in a
kind of reptilian freeze, one arm dangling, so that my
knuckles loosely touched the floral figures of the carpet.
When next I came out of that trance, the greenish flora was
still there, my arm was still dangling, but now I was
prostrate on the edge of a rickety wharf, and the water lilies
I touched were real, and the undulating plump shadows of
alder foliage on the water – apotheosized inkblots, oversized
amoebas – were rythmically palpitating, extending and
drawing in dark pseudopods, which, when contracted, would
break at their rounded margins into elusive and fluid
macules, and these would come together again to reshape the
groping terminals. I relapsed into my private mist, and when
I emerged again, the support of my extended body had
become a low bench in the park, and the live shadows, among
which my hand dipped, now moved to the ground, among
violet tints instead of aqueous black and green. So little did
ordinary measures of existence mean in that state that I
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