2

Contents Introduction.3 Chapter I Research of Emotional Concepts in Modern Linguistics..........6 1. Different Approaches to Emotion...6 1.1.1. The Definition of Emotion10 1.1.2. Classification of Emotions.................................................................................12 2. Notion of Concept. Main Approaches......................................15 2.1. Typology and Structure of Concepts................................................19 2.2. Methods of the Concepts Description...............................23 3. Linguistic Means Expressing Emotions in Language.........................................30 Conclusion to Chapter I34 Chapter II The Analysis of Emotional Concepts in the Story The Da Vinci Code by Dan Brown...........................................................................................36 2.1. Dictionary Interpretation of Emotions............................................................36 2.2. Conceptual Field of Emotions in the Text.42 2.3. Verbalization of Emotions in the Story The Da Vinci Code by Dan Brown...47 2.4. Stylistic Devices Expressing Emotions in the Story.................. 2.5. Specific Features of Emotional Concepts in the Detective Story............ Conclusion to Chapter II ... Conclusion List of References...... Appendix................................................................................................

Introduction

The work is devoted to the manifestation of emotions from the ognitive point of view and stylistic realization of the emotional concepts in the novel The Da Vinci Code by Dan Brown. The problem of linguistic interpretation of emotions and profound investigation of concepts is very topical. It has recently moved into the foreground of both theoretical interest of the world's linguists and scholars, and practical attempts of psychologists and cognitologists. We suppose, that today, when the study of human emotions are connected with different branches of science and their conceprtual realization is treated from cognitive and linguo-cultural approach we should interpret emotions as well as their concepts from different angles and points of view [Gordon, 1998, 223]. The topicality of the present course paper is caused by the increased interest to the concept. The research of concepts allows carrying out linguistic analysis that, undoubtedly, conducts to deeper understanding of the text and the position of the author. The novelty of the investigation is that the work presents contextual analysis of emotional concepts in the modern detective text. The story The Da Vinci Code by Dan Brown has never been investigated from the cognitive and functional point of view. The object of investigation is the verbalization of emotional concepts and the subject of the research work are stylistic devices representing emotions in the text. Thus, the main purpose of our work is the analysis of the emotional concepts in the English fiction text and revealing of the specific features of their realization in the text of the detective genre. To fulfil this purpose it is necessary to cope with the following tasks:

To observe literature data concerning the problem of emotions and their realization in the language; To observe dictionary interpretation of emotions;

To analyze stylistic realization of emotions in the text of the novel The Da Vinci Code by Dan Brown;

To reveal specific features of emotional concepts in the detective text. The theoretical urgency is determined by the definite contribution in to the theory of conceptual analysis; the practical urgency contains the possibility of using the results of the investigation in further study of lexicology and stylistics. For the solution of the problems the methods of description, classification, generalization and contextual- stylistic analysis were applied. Material Structurally the diploma paper consists of an introduction, two chapters, conclusion, the list of references and the appendices. Introduction gives the basic idea of the investigation, describes the aims and the tasks posed. Chapter 1 deals with the theoretical description of emotional concepts. We describe different approaches to the study of emotions, their definitions and classifications. The basic approaches to the cognitive study of the concepts are also described in the chapter. Chapter 2 outlines the research part of this work. The dictionary interpretation of emotions, the conceptual field of emotions in the story The Da Vinci Code by Dan Brown, the contextual analysis of the units investigated and the specific stylistic features of the detective story are revealed in the chapter. The results of the research, described in the two chapters are presented in the conclusion. The list of references includes linguistic, lexicographic and fiction sources employed in the research. The appendix contains the bulk of the units, describing the concepts under analysis that had been collected in the course of the investigation and the table of the specific stylistic features of the detective story.

Chapter I Research of Emotional Concepts in Modern Linguistics

1. Different Approaches to Emotion Emotionality penetrates

the whole speech activity of the person. [, 1994, 20]. XIV International Congress of Linguists in Berlin in 1987 was devoted to the communication of cognition and emotions and the linguistic importance of studying of this part of the language [ 1995]. Such researches as S.G.Vorkachev, E.V. Dimitrova, S.V. Ionova, N.A. Krasavsky, V.V. Leontyev, E.Ju.Myagkov, N.N.Panchenko, V.A. Pishchalnikova, J.A.Pokrovskaya, Ju.A.Sorokin, O.E.Filimonova, V.I. Shakhovsky, P. Ekman, W. Friesen, G. Lakoff, Z. Koveczes, A. Wierzbicka and others are interested in studying of the reflection of emotions in language, the emotional characteristics of a word and the text, emotive senses and emotional dominants of the text, emotional concepts and metaphors. What are emotions for a human being? Studying of emotions can be successful only by complex approach to their research. Emotion is the object of investigation both in psychology and linguistics. Feelings activity, and emotions are important components of human cognitive behaviour, communication with the world and other people. Human Ph. Ellsworth, J. Fontaine,

emotional sphere has been thoroughly analyzed by psychologists, philosophers, linguists. Prominent foreign scholars (V.P. Bakhur, Eu.P. Ilyin, P.M. Jakobson, A.G. Kovalyov, A.N. Louk, A.S. Nikiforov, J. Russel, K. Scherer, P. and K. Sterns and many others) have made a considerable contribution to creation of theoretic and methodological basics for studying feelings and emotions. Scholars have described the essence of emotions (Eu.P. Ilyin, A.N. Louk, A.S. Nikiforov,), have made their classification Louk, G.I. Rozhkova), Collins), of (O. have (B.I. Dodonov, of J. Eu.P. in Ilyin, A.N. described aspect (J. social life, some Fontaine, means of of them details (B.I. role of and and

Dodonov, Eu.P. Ilyin), have studied their cognitive structure (. rtoni, G.L. Clore, . function perception cultural in Russel), their sphere emotions Ewert), expression

peculiarities

emotional

people

belonging to different professions (teachers, musicians, actors, doctors, TV announcers (Eu.P. Ilyin) [ 1998]. Many different disciplines have produced work on the emotions. Human sciences study the role of emotions in mental processes, disorders, and neural mechanisms. In psychiatry, emotions are examined as part of the discipline's study and treatment of mental disorders in humans. In sociology, emotions are examined for the role they play in human society, social patterns and interactions, and culture. In anthropology, the study of humanity, scholars use ethnography to undertake contextual analyses and cross-cultural comparisons of a range of human activities. In economics, the social science that studies the production, distribution, and consumption of goods and services, emotions are analyzed in some sub-fields of microeconomics, in order to assess the role of emotions on purchase decision-making and risk perception. In law, which underpins civil obedience, politics, economics and society, evidence about people's emotions is often raised in tort law claims for compensation and in criminal law prosecutions against alleged lawbreakers (as evidence of the defendant's state of mind during trials, sentencing, and parole hearings). In political science, emotions are examined in a number of sub-fields, such as the analysis of voter decision-making. In philosophy, emotions are studied in subfields such as ethics, the philosophy of art (e.g., sensory-emotional values, and matters of taste and sentiment), and the philosophy of music. In history, scholars examine documents and other sources to interpret and analyze past activities; speculation on the emotional state of the authors of historical documents is one of the tools of interpretation [www. Wikipedia.org]. There are too many different theories of emotions in different branches of science. In order to understand the nature of emotions and their interrelation and interconnection with the language we should observe them from different angles and various points of view. Let us first consider the most interesting theories of emotions.In this article we aim to show how results obtained by psychologists and

methods employed by them are used in linguistics, what the difference between psychological and linguistic approach to the same object.

is

Psychologists take into account different features accompanying emotions, such as features describing a person's evaluation or appraisal of an event, features describing bodily symptoms that tend to occur during the emotional state (felt shivers (in the neck, or chest, got pale, felt his/her heartbeat slowing down, felt his/her heartbeat getting faster, had moist felt his/her breathing facial getting and faster, perspired, or hands); features describing vocal expressions that

accompany the emotion (blushed, smiled, felt his/her jaw drop, pressed his/her lips together, felt his/her eyebrows go up, frowned, closed his/her eyes, had tears in his/her eyes; changes in the loudness of voice, of speech melody, speech tempo, speech disturbances (etc.) [www. Wikipedia.org]. Linguists mainly concentrate on linguistic means proper, which belong to different levels: phonetic segmental morphological, lexical (expressive and suprasegmental vulgarisms, level, colloquial vocabulary,

neologisms, emotionally charged words, emotive clichs and idioms, lexico-semantic fields and thematic groups of emotion emphatic constructions, exclamatory terms); syntactic (inversion, aposiopesis, sentences, elliptical sentences, different

types of repetition, etc); stylistic (metaphor, simile, personification, euphemistic periphrasis, litotes, hyperbole) and some others. Very often linguists treat emotions and feelings as emotional concepts, linguocultural concepts, concept sphere, conceptual field [ 2000]. A. Wierzbicka is convinced, that emotions cannot be identified without the help of words, and words belong to any one concrete culture and bring with itself culturally specific point of view. Professor of Volgograd State Pedagogical University V.I. Shakhovsky is also engaged in problems of emotiveness of language, speech and the text. One of V.I. Shakhovsky's basic works, devoted to researches of emotions is work Categorization of emotions in lexico-semantics. The author attempted to reveal

essence of emotive component of semantics in words: its language statuses and speech realizations, it references, contents, its representation in various types of lexicon and other problems. The author distinguishes two types of emotive lexicon: affective and connotative. Affective (interjections, abusive and caressing words, emotional intensifying adjectives and adverbs) can be treated as a specialized emotives, as expressing the emotions is their main assignment. Connotatives (emotive lexicon in secondary, transferred meanings, derivatives with affixes, and so on) express emotiveness in the connected kind, exactly through logic-subject semantics [ 1987]. Native linguist Yu.D. Apresyan searched the names of emotional conditions within the limits of their studying of synonymic numbers and the systemic description of an image of the person according to language [ 1974, 1995].On Yu.D.Apresyans oppinion [ 1974], the person carries out three various kinds of actions -physical, intellectual and speech. Peculiar features of which are certain states - perception, desire, knowledge, opinion, emotion, etc.; it reacts in a definite way to external and internal influences. In development of emotions Yu.D.Apresyan allocates five phases: 1. An original cause of emotion - usually physical perception or mental contemplation of some state of affairs; 2. The direct reason of emotion, as a rule, intellectual appraise of this state of affairs as probable or unexpected, desirable or undesirable to the subject; 3. Actually emotion, or the condition of soul caused by position of things which the person has apprehended or beheld, and its intellectual estimation of this state of affairs; 4. Emotion caused by this or that intellectual estimation or actually by desire to prolong or stop existence of the reason, which causes the emotion. 5. External display of emotion [ 1974]. 1.1.The Definition of Emotion

10

We are now in a position to offer a general definition of an emotion. There are different approaches to the defining emotions. The majority of emotion researchers reject the feeling theory of emotions; they deny that emotions are feelings. Some of these researchers admit that emotions have feelings as components, but they insist that emotions contain other components as well, such as cognitions. In order to distinguish these to meanings we should observe some theories. Some philosophers have said that emotions contain feelings, but few have said that emotions are feelings. Aristotle says emotions are judgments. B.Spinoza says emotions are judgments plus feelings of pain or pleasure. Descartes says they are judgments brought on by felt changes in the animal spirits. In the 20th century, critics of the feeling theory included Errol Bedford (1957), George Pitcher (1965), Robert Solomon (1976), Patricia Greenspan (1988), and Martha Nussbaum (2001). William James thought that emotional consciousness is not a primary feeling, directly aroused by the exciting object or thought, but a secondary feeling indirectly aroused [James 1894, 516]. For Sartre, emotion is more than this too: it is a voluntary way of transforming the world, or altering our consciousness of events and things to give us a more pleasing view of the world [Sartre 1984, 247]. Some cognitive philosophers, such as Descartes, admit that feelings are nonconceptual, and emotions have essential cognitive components, then emotions are not feelings, though they may have feelings as parts. By a feeling we mean what C.S. Peirce has called a "firstness," a primitive, basic mental state [Langer 1973], [Gardiner et al., 1937], and [Aylwin 1985, 1-2]. It has no content, conceptualization and no links with other feelings, causes, or effects. We looked through dictionaries: Cambridge Advanced Learner's Dictionary, Macmillan English Dictionary for Advanced learners, Oxford Advanced Learners Dictionary of Current English, Merriam-Websters Wordsmyth english dictionary-thesaurus. In the dictionaries emotion is characterized as a strong feeling. New World Dictionary,

11

e.g.1. Wordsmyth English dictionary-thesaurus defines emotion as a strong feeling or subjective response such as joy, hatred, or love, sometimes accompanied by involuntary physical changes such as increased pulse or by activity such as crying, laughing, or trembling [Wordsmyth English dictionary-thesaurus]. e.g.2. Merriam-Websters New World Dictionary characterize emotion as a state of feeling [Merriam-Websters New World Dictionary 2007]. Feeling is treated as a perception: feeling is a general consciousness, perception, or sensation more or less independent of intellectual or physical activity [Wordsmyth English dictionary-thesaurus]. Thus, we can say that emotion is broader in sense than feeling. The difference between emotion and feeling is that feelings are easier to identify because they are faster, a feeling is something you are feeling right then. An emotion might be a deeper experience because it might affect more of you, but that is only because it is mixed into the rest of your system. In other words, people can only have a few feelings at a time, but they can have many emotions at the same time. Emotions just feel deeper because it is all your feelings being affected at once. A feeling is isolated and strong, but an emotion is more complicated and broad and far reaching. Since emotion is all your feelings being affected at once, emotions are stronger than feelings.

1.2.

Classification of Emotions

12

There has been considerable debate concerning how emotions should be classified. V.K.Viljunas divides emotions on leading and situational. Leading signals about dissatisfied needs and induce to search of target object. Situational results from estimations of stages of behavior and induce either to operate in a former direction, or to change behavior. Situational emotions are divided into three groups: 1) ascertained success- unsuccessful; 2) anticipating success-unsuccessful; 3) the generalized success-unsuccessful. Such classification, being, undoubtedly, useful and allocating essential attributes of emotions, nevertheless, is far from achievement of the ideal purpose [ 1990]. P.V. Simonov classifies emotions on character of actions: overcoming, protection, attacks. Thus it allocates additional shades on size of need causing emotion and according to probability of its satisfaction. Besides P.V.Simonov considers some emotions which are growing out occurrence of two emotions simultaneously: pleasure, disgust, pleasure, burning, fear, anger. For example, he considers contempt as result of occurrence of disgust and anger simultaneously. This fact we shall write down in the form of contempt = disgust + anger. Allocation of three classification attributes of emotional concepts - polarity of emotion , the reason of emotion and intensity of emotion is carried out on the basis of the given bilingual dictionaries and the theory of classification of emotions to three attributes - intensity of feeling , the reason of feeling, consequence of feeling of N.Jordanskaya [ 1969]. The interpretation offered by A. Wierzbicka represents some kind of models of behavior which set sequence of ideas, desires and feelings. However these models of behavior can be considered as the formula, foreseeing strict differentiation of necessary and sufficient conditions (not for emotions exactly, but for emotional concepts), and these formulas consider borders between concepts. A. Wierzbicka classifies the names of emotions in the following way:

13

1. The emotions connected with bad things (sadness, unhappiness, distress, upset, sorrow, grief, despair); 2. The emotions connected with good things (joy, happiness, content, pleasure, delight, excitement); 3. The emotions connected with people, made bad acts, and caused by negative reaction (fury, anger, rage, wrath, madness); 4. The emotions connected with reflections about, a self-estimation (remorse, guilt, shame, humiliation, embarrassment, pride, triumph); 5. The emotions connected with the attitude to other people (love, hate, respect, pity, envy) [ 1996, 333]. Following A. Wierzbicka we will divide emotions into the emotions connected with bad things and the emotions connected with good things, i.e. positive and negative. It is impossible to study all emotions as there are various synonyms. That is why scientists suggests one more classification- the so-called basic emotions of the Tomkins-Izard-Ekman tradition [Griffiths 1990, 200].According to this classification emotions can be basic and derivative. Basic emotion is the nucleus of the concept and other emotions derived from the basic one are the periphery. There are 31 theories of basic emotions. In the table 1 we present most interesting and popular points of view.
Theorist Plutchik Arnold Ekman, Friesen, and Ellsworth Frijda Gray Izard James McDougall Mowrer Oatley and JohnsonLaird Panksep Tomkins Watson Weiner and Graham Point of View Acceptance, anger, anticipation, disgust, joy, fear, sadness, surprise Anger, aversion, courage, dejection, desire, despair, fear, hate, hope, love, sadness Anger, disgust, fear, joy, sadness, surprise Desire, happiness, interest, surprise, wonder, sorrow Rage and terror, anxiety, joy Anger, contempt, disgust, fear, grief, guilt, interest, pleasure, shame, surprise Fear, grief, love, rage Anger, disgust, elation, fear, subjection, tender-emotion, wonder Pain, pleasure Anger, disgust, anxiety, happiness, sadness Expectancy, fear, rage, panic Anger, interest, contempt, disgust, distress, fear, pleasure, shame, surprise Fear, love, rage Happiness, sadness

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Table 1. The classification of K.Izard seems to be full and more obvious than others. K. Izard distinguishes emotions to basic and derivative, referring to basic ones Interest, Pleasure, Surprise, Grief, Anger, Disgust, Contempt, Fear, Shame and Guilt. Division of emotions on positive and negative is also represented as the most obvious and necessary [Izard 1999]. We will follow 2 attributes of emotions in our work: according to the attitude of the subject to object (referring to A.Wierzbicka) - positive/negative and structural feature basic/ derivative (classification of K.Izard). Using different dictionaries we defined these emotions (see appendix 2) and divide them into positive and negative emotions.So, we will keep the following table:

Table 2.

positive Joy Surprise Interest

negative Anger Contempt Disgust Distress Fear Guilt Shame

2. Notion of Concept. Main Approaches One of the means of investigating emotions in the language cluster is the analysis of their notions, or the so-called concept. In order to have a clearly cut

15

image of the emotional concept we should define first of all for ourselves the term "concept" itself. The term "concept" in linguistics is old and new at the same time. Just some time ago it was considered as an absolute equivalent to the term "notion" [ , 295]. Lately there has been observed the demarcation of these terms against the background of their doubleness. The search of the zone of special reference behind the term "concept", different from other zones, lead to securing by "concept" utterly peculiar contents, K.M. Frumkina believes that A.Wierzbicka is the first one on this way, who defined "concept" as "an object from the 'Ideal world which has a name and reflects definite culturally stipulated conceptions of a person about the world Reality. Cultural conceptions are reflected first in language, which personified in itself the experience of generations [ 1995, 31]. S.A. Askoldov published the article Concept and Word in 1928, where specified replaceable function of the concept and defined it as follows: concept is a mental formation which replaces an uncertain set of objects of the same sort in the process of thinking. Reconsideration of the traditional logic of the concept and its psychological meaning are explained by requirements of cognitive linguistics which focuses its on correlation of the linguistic data with psychological [ 1996]. Considering the language as the environment of representation senses, will be pertinent to correct Yu. Stepanovs statement that concept is the sense of a word to statement: concept is the sense embodied in a word by the subject of this word on the basis of complexes existing in the culture of representations about ways of an embodiment of this sense [ 1981]. The concept is an abstract notion and it is very difficult to give a precise explanation to it, frequently it remains not determined and accepted intuitively, being hyperonym of the notion, idea, scheme, frame, script, gestalt and other terms. There are different attempts to define significant characteristics of the term within the framework of various directions. Representatives of linguocognitology

16

(Ye. S. Kubryakova, N.A. Boldyrev, I.A. Sternin, A.P. Babushkin, etc.) understand the concept as a unit of operative consciousness [ 2003]. Representatives of linguoculturological direction (A. Wierzbicka, Yu.S.Stepanov, L.O. Cherneyko, N.D. Arutyunova, D.S. Likhachev, S.Kh. Lyapin, V.I. Shakhovsky, etc.) understand the concept as a mental formation marked to some extent by ethnosemantical (cultural) specificity. The linguoculturological understanding of concept narrows, specifies, limits the meaning of the given term stressing, however, its important characteristics, as cognitive activity and structural integrity [ 2003]. The term cultural concept is most brightly expressed in Yu. S. Stepanovs definition who characterizes concept as a slot of culture in consciousness of the person, in the form of what the culture is included into the mental world of the person, that bunch of ideas, notions, knowledge, associations which accompanies the word [ 1997]. In contrast Yu.S. Stepanov considers the concept and meaning to be various essences. He states that in comparison with meanings, concepts are not only thought, they are experienced. They are the subject of emotions, sympathies and antipathies, and sometimes collisions [ 1997]. Hence, concept in the linguoculturological sense, may be defined as cultural and mental language formation [ 2003], as the basic cell of culture in the mental world of the person [ 1997]. In A.P. Babushkins definition the concept is a patrimonial term; it is an ideal essence which includes sensual and intellectual images, ways of their construction and operating or spiritual values and orientations [ 1996]. According to the brief dictionary of cognitive terms, the concept is the term serving to explain units of mental resources of our consciousness and the information structure which reflects knowledge and experience of the person, an operative and substantial unit of memory, of mental lexicon of conceptual system and of language of a brain, of all the picture of the world reflected in human mentality [ 1996].

17

The concept has a layered structure, and different layers deposit of cultural life of different epoch. It consists of historically different layers, various in time of formation, in origin, in semantics, and has a special structure [ 2004]. Yu.S. Stepanov distinguishes three components of the concept: 1. The main property; 2. The supplementary or some additional, passive properties; 3. The inner form which is usually not realized at all, expressed in the external, verbal form. In the active layer the concept exists for all users of the given language (the language of the given culture) as a means of their mutual understanding and communication. In additional, passive layers of the contents of actual concept are only for some social groups. Besides in all such cases satirize historical, passive attributes of concept mainly at dialogue of people inside, i.e. among themselves, the given social group. The internal form or an etymological attribute opens only to researchers. But it does not mean that for using the given language this layer of the contents of the concept does not exist at all [ 2001]. It is necessary to differentiate the concept-sphere and semantic space of the language. Conceptual domain is a mental area consisting of concepts, and semantic space is a part of conceptual domain expressed by means of language units [ 2004]. The conceptual domain of the language is a complex system which is formed by crossings and interfacings of numerous and various structural associations of groups of concepts [ 2004]. The conceptual domain is wider than the language. Its to receive knowledge of any part of conceptual domain only studying the semantic space of the language. Now the concept is defined as the complex mental essence consisting of a lot of elements. Its structure includes linguistic, cognitive, cultural components and has a national specificity [ 2002]. Thus, it is possible to come to a conclusion,

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that the concept is a unit which can be used in the framework of cognitive linguistics, and linguoculturology. Having analyzed definitions of concept Z.D. Popova and I.A. Sternin came to conclusion that cognitive concept is formed in consciousness of the person by: a) a direct sensual experience - perception (recognition) of the world sense organs; b) subjective activity of the person; c) mental operations with concepts already existing in his consciousness; d) language communication (concept can be told, explained to the person in the language form);
e)

conscious knowledge of language units [, 2000].

2.1. Typology and Structure of Concepts In the scientific literature it is possible to distinguish some types of concepts classification. In I. A. Sternins works the following classification is given:
1)

Single- level concept includes only a sensual nucleus (concepts yellow,

salty; household concepts such as: cup, spoon);

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2) Multilevel concept includes several cognitive layers which are differ on a base layer (concept competent);
3)

Segment concept represents the base layer surrounded by several segments, From the sociological point of view concepts are subdivided into:

equal in a degree of abstraction (tolerance) [ 2001]. 1) Universal(common for all mankind); 2) Ethnic (inherent in a certain nation); 3) Group (used by people of one group, for example, trades);
4) Individual

(dependent completely on personal experience) [ 1997].

Concepts which belong to the bearers of one language can not coincide in structure and contents with appropriate concepts of another language. Or even there may be or not may be similar concepts in conceptual system of bearers of another language. It proves to be true in translations when it is possible to transfer adequately the meaning while translating to another language that sometimes results in semantic losses if the translator does not manage to fill loss with the help of any compensating means. There are various types of concepts both according to contents, and to structure. However, any concept, irrespective of type, has a base layer. This image represents a unit of the universal subject code, coding the given concept for cognitive operations and consequently can be named coding. The base image can settle the contents of the concept if only concept reflects some concrete sensual sensations and representations, or concept very primitively conceiving individuals are submitted in consciousness. Thus, the base layer of the concept is the sensual image coding concept as cognitive unit, plus some additional conceptual attributes. Set of base layer and additional cognitive attributes and cognitive layers make the volume of the concept and its structure. We shall emphasize that numerous layers in the concept can not exist, but cognitive base layer with a sensual- shaped nucleus can be at every concept, differently concept can not be fixed in a universal subject code as discrete

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unit of thinking (semantic separateness), can not function as cognitive unit [, , , 2001]. The criterion of translatability into other languages is used by V. P. Neroznak at distinguishing concepts specific and unique for any cultural community which be defined as concept of national culture. Such types of concepts are used in that part of lexicon which cannot be translated into another language directly. Concepts of cultures reflecting a national picture of the world are considered to be those concepts which have no direct equivalents, i.e. those words demanding not word-for-word but descriptive interpretation. It is necessary to make lists of main nationally determined concepts [ 1998]. The concept is frequently represented as a sphere or a part of sphere. Owing to this fact the idea about existence of microconcepts, base concepts, macroconcepts and superconcepts is developed [ 1998]. Such typology of concept is shown during the analysis of a language material in the framework of conceptual domain. Microconcepts depend on the lexical meaning of a separate word and consequently have small semantic volume, thus, they carry out the function of identification [, 2003]. Concepts of base level occupy the intermediate position between the general and the concrete. Macroconcepts described as superconcepts serve for revealing and ordering hierarchically organized categories of lexicon. Macroconcepts have the most extended semantic within the framework conceptual domain formed by them [ 1998]. The superconcept expresses the most abstract global meaning. It denotes all set of knowledge of objects and situations in all variety of communications and relations [, 1998]. Proceeding from this, it is possible to draw a conclusion about the existence of concepts in global mental structures, the so-called conceptual fields, which are cognitive analogues of functional - semantic fields. The more developed structure of concept is offered by I.A. Sternin. According to his theory, the nucleus of concept consists of a base layer, a cognitive layer and

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cognitive segments. And the base layer forms concrete sensual images a mental periphery is external interpretative part of the concept. It causes diffusion of cognitive layers of concept [ 2001]. Thus, it is possible to draw a conclusion that the structure of concept consists of: 1) the nucleus which is the steadiest part of concept containing concrete characteristics of denotat; 2) the centre consisting of cognitive segments; 3) the periphery being the least steady component. The nuclear part of the concept is logically the most organized. Layers of cognitive spaces of concept exist as quite certain sizes having the contents. At the same time these layers are not isolated. Their separate elements can penetrate into other spheres of concept and even to leave its limits contacting with similar mental categories [ 2000]. Yu.S. Stepanov emphasizes that concepts exist differently in different layers and in these layers they are differently real for people of the given culture [ 1997], i.e. the same concept can be differently interpreted by different people belonging to different social groups of one linguocultural system. This idea about various existences of concepts actually is very important as considerably expands functional and research borders of concept. Proceeding from all this, it is possible to say, that due to complex structure concept can integrate in consciousness and to be a part of more global mental formations making a conceptual field. On the other hand, concept consists not only of external, interpretative parts, but also nuclear and invariant parts having the logic organization. Describing the conceptual field we will take into account the approach of I.A.Sternin. The basic emotion presents as the nucleus, lexical units as the second layer and the periphery is shown by set expressions.

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2.2. Methods of the Concepts Description Having studied and having generalized various approaches to understanding of the term and notion concept, we name the concept the multivariate mental formation reflecting cultural-historical experience of people and feature of its attitude and having verbal expression. We understand means of the scientific knowledge as a method, the certain approach to the studied phenomenon, the certain complex of research receptions, which application enables to study the given phenomenon [ 2007, 278-281]. We shall consider approaches to studying and the

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description of concepts, developed within the limits of various interdisciplinary branches of modern linguistics. Psycholinguists consider that concept is essence which does not give in direct supervision and consequently at the description any of prospective judgments cannot apply for a role of true in last instance though everyone is authorized to hope, that it in the certain measure has come nearer to understanding of an essence of a considered phenomenon. <> we look at the same object from different positions, and it means, that each of us sees only a part of a picture which it is at least careless (and sometimes and dangerously) to accept for a picture as a whole [ 2001, 36-44]. Therefore concept should be investigated from positions of the complex approach, capable to integrate results of researches in many areas of humanitarian knowledge. Concept as a component of national concept-sphere, basic unit of mentality, world outlook in categories and forms of the native language is a subject of studying of linguoculturology. To methods of linguoculturology traditionally refer all set of analytical receptions, operations and the procedures used at the analysis of interrelation of language and culture [ 2004, 208]. The given methods are used in linguistics, culturology and sociology. As examples by researchers are resulted a content-analysis; the frame analysis; narrative analysis; methods of field ethnography (the description, classification, a method of vestiges); the open interviews applied in psychology and sociology; a method of linguistic reconstruction of the culture, used at school N.I. Thick; traditional methods of ethnography; receptions experimentally-cognitive linguistics (the major source of a material carriers of language/informants) ; psycholinguoculturological experiment; linguoculturological analysis of the texts, being original keepers of culture. One of the first methods of linguoculturology (and studying of concepts accordingly) was the so-called method of the conceptual analysis by which actions of the researcher anyhow directed on studying of concepts by the reference to language data. One of types of the conceptual analysis means the

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analysis of semantic structure and pragmatists of the separate word considered as the cultural phenomenon with the specific history. The conceptual analysis needs to be distinguished from the semantic analysis of a word. At all external affinity of their substantial problems and the purposes they in the certain sense are opposite each other: lexical semantics goes from unit of the language form to the semantic maintenance, and the conceptual analysis - from unit of sense to language forms of their expression. The purposes and problems of the conceptual analysis are defined as follows: For creation of a cultural-linguistic portrait of a word it is necessary to describe not simply history of its use and interpretation. Comparison of etymological value, semantics and pragmatists of a word should open the deep processes occurring inside of it; on the other hand, comparison opened the mechanism of generation of a word with real values, interpretations of words enables to track features of thinking, attitude of the person, people, feature of formation and development of culture [Hoffmann 2001, 214]. Thus, the conceptual analysis includes structration, a schematization of concept and culturological description of its elements. In A.Wierzbickas definition concept as object from the world "Ideal", having name and reflecting certain cultural caused representation of the person about the world opinion, the conceptual analysis is based on the profound and purposeful analysis of own language intuition. It does not consider that the intuition is deceptive and subjective: the most part of the semantic information is absolutely equally presented in consciousness of various carriers of languages. To describe semantics of a word, i.e. an image corresponding it, it is necessary to investigate language consciousness speaking, instead of the external world in which there are no these images, and is real objects [ 2001, 288]. At such approach there is essential a way of reception of the information: the knowledge taken from owns experience can be conceptual only. If the semantic analysis is connected with an explanation of words the conceptual analysis goes to knowledge of the world; but it is necessary to consider, that representations of an external world are generated by concrete culture, therefore structures of representation of knowledge in language should be studied in

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view of this phenomenon. At the conceptual analysis we anyhow lean on the language defined by social factors. As concept, according to D.S. Likhachev, not directly arises from a word meaning, and grows out connection of a dictionary word meaning with personal and national experience of the person the conceptual analysis should lean not only on language data, but also consider a historical and cultural situation. It is obvious, that such type of the conceptual analysis concerns more likely to cultural science, sociology, philosophy, etc., rather than to linguistics. The common opinion about a method of the conceptual analysis at scientists and has not developed because of absence of precise methodology as those. As a matter of fact, the conceptual analysis is not any certain method (a way, techniques) explications of concepts: more pertinently to speak that corresponding works are incorporated by some rather an overall aim more likely, at this way of achievement of this purpose appear rather various. The most precise methodology of studying and the description of concepts for today is developed within the limits of cognitive linguistics - a new stage of studying of complex attitudes of language and thinking, the beginning to which doctors, psychologists with the purpose to study language systems of knowledge have put that is language forms, the organization, storage, extraction from memory, language forms of influence on knowledge and by means of knowledge, etc. Cognitive linguistics studies language forms not independently, and from positions of how they reflect the certain vision of the world by the person and ways of conceptualization an objective reality in language, the general principles of categorization and mechanisms of processing of the information how in them all cognitive experience of the person is reflected, and also influence of an environment. Linguocognitive research, at which cognitive interpretation of results of research of a language picture of the world is used for the description primary, cognitive pictures of the world, is one of the most productive methods of studying national conceptsphere in the modern humanity. Detailed development of stage-by-stage methodology of linguocognitive analysis which, leaning actually on language facts and linguistic methods, would give cognitive and culturological information of opening the various

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parties included in linguistic concepts, is one of actual problems of cognitive linguistics. The purpose of linguocognitive researches-studying of value of all words and expressions, objecting this or that concept in a national language, and also ordering, that is the system description, representation in the ordered kind of a site of system of language, representing the data of concept (a semantic, lexico-semantic, lexical and grammatical, syntactic field). The cultural information of concepts is given to cognitivists with studying such language means, as semantic structure of a word; paradigmatics, syntagmatic and ethymology of a word; derivational networks of a word; realizations of key words-explicatirs of concept, their rate. The basic receptions of linguocognitive descriptions of concepts through the linguistic data are 1. Definition of the keyword, representing data concept in language, base linguistic representation of concept ("name" set of concept); 2. Construction and the analysis of the semantics of the keyword, of verbalizing concept in language (the analysis of dictionary interpretation in dictionaries of different types); 3. The analysis of lexical compatibility of a keyword to establish the major features corresponding the concept; 4. Studying of a polysemy of a word during its development: the analysis of sequence of occurrence of new word meanings allows establishing features defining this development of concept; 5. Construction of a lexicological and phraseological field of a keyword: the analysis of synonyms and antonyms of a keyword; 6. Construction and studying of a derivational field of a key lexeme; 7. Construction of a lexical and grammatical field of a keyword; 8. Application of experimental techniques (this reception, undoubtedly, is borrowed from psycholinguists for which experimental methods are key); 9. The analysis of aphorisms into which enters both a studied keyword, and concept even it does not present here (this reception shows well the national judgment of this or that phenomenon estimations);

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10. The analysis of fiction texts for revealing such attributes which have got in structure of concept symbolical sense; and also for revealing individually-author's concepts in fiction which description allows to understand more deeply features of outlook of the writer; 11. The analysis of oral, colloquial word usage; 12. The description of concept as the feature set, necessary and sufficient for its inclusion in a certain logic class (for example, a class of trees or a class of birds).It is clear, that the more methods and receptions uses the researcher, the more attributes of concept he will reveal even the model constructed by concept will be closer to true [ 2001; , 2003; 2004]. Thus cognitivists also recognize, that any representation of the maintenance of the concept in consciousness of the native speakers, received at the analysis of all set of language means expression of concept and texts in which its maintenance reveals, it is impossible to consider fully as any concept is not reflected in speech completely because: 1) concept is the result of individual knowledge, generalization, categorization, and always demands a complex of means for the full expression; 2) Concept represents volumetric unit, entirely to express which it is impossible; 3) Any researcher and any linguistic analysis cannot reveal and fix, and then analyze completely all means of language and speech representation of speech, always something remains not considered. A result of linguocognivistic researches should become cognitive interpretation of the received linguistic results which assumes modeling the structure of concept by results of the description of its means language objecting. The given technique carries out cognitive generalization of results of the linguistic description of language means, verbalizing concept: the facts of language consciousness revealed various linguistic and psycholinguists by methods, are generalized and interpreted as the facts of cognitive consciousnesses. Results of cognitive interpretation are the description of structure of the concept, i.e. cognitive layers isolated in them and forming their cognitive attributes; nuclear-peripheral ordering of layers of concept; the description of interpreting fields

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as sets conceptual (mental and estimated) stereotypes, the statements following from understanding and interpretation of concept by consciousness of people [ 2004 , 68-69]. As the increasing quantity of the researches, devoted to studying and the description various concepts, is spent on a material of several languages and has, thus, rather-comparative character methods of cognitive linguistics are also actively applied: in a mirror of other language it is possible to notice such attributes of "native" concept which earlier escaped attention, especially precisely to reveal national specificity of concepts, and also to see the distinction between concepts and a word meaning. Revealed by comparison of language units of distinction are interpreted as cognitive distinctions expressed by the concepts in various national concept-spheres and are formulated in language cognitive attributes. The technique of contrastive analysis can be described briefly as follows: Stage I. Allocation of a lexical grouping in the source language: drawing up of the base list of a lexical grouping; synonymic expansion of the base list; expansion of the base list due to results of text analysis; structuring of lexical grouping (semantic groups and subgroups, a kernel and periphery). Stage II. Definition of interlingual conformity of separate units: revealing of dictionary translation conformity; revealing interlingual lexical conformity. Stage III. Semic description of values of lexical units in compared languages: semic description of units of both languages within the limits of the allocated subgroups; an establishment of rate of the use of investigated units; verification of semic descriptions (interrogation of informants). Stage IV. The semantic description of contrastive pairs: formation of contrastive pairs; semic description of values of contrastive pairs. Stage V. Revealing of national-specific components of a word meaning: national-specific values (full equivalent less); lacunic values; discrepancy nuclear; discrepancy peripheral; distinction of this under the status (constants/likeness).

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Stage VI. Differential semantization of members of contrastive pairs: value of each word is described as transformation of only those which do not coincide with semes of other members of contrastive pairs. Stage VII. Differential interpretation of values of lexical units: the description of semic structure of unit of the source language in which the instruction on all its translation conformity with transfer of semantic components which differentiate unit of the source language from all its translation conformity contains [ 2004].

3. Linguistic Means of Emotions Expression in Language It is known, that emotion is unverbal, however within the limits of psycholinguistics and emotiology it is spoken about verbalization of emotion. Emotion is not expressed verbally. As a rule, significant break between complexity of emotional experiences and expressive opportunities of fiction creativity is observed; therefore process of self-expression practically never reaches the full realization [ 1995].

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Psychologists and Linguists both have a common object of investigation. However approaches to their studying are various. Psychologists learn voice, acts, movements and gestures of people. Methods of linguists are connected with levels of language: Phonetic, lexical, lexicological and phraseological, syntactic. Stylistic aspect is also of great importance which includes the above-stated levels. It is clear that in the fiction text emotions are not observed directly but only through specific language signs which are material, observable and serve for demonstration of emotions. Studying the emotiveness of the fiction text in foreign language it is necessary to consider intercultural specificity of demonstration of emotions that speaks the dual nature of the emotion (as universal psychological, physiological experience, on the one hand, and as emotional concept, described by the specific, cultural-marked realization on the other). Let`s analyze the emotion surprise in different levels of the language:
1)

Phonetic level:

E.g.1. with the help of interjections: Agh, Ah, Aiee, Oh, Oh-lala, Oho, Ha, Ha-ha, Heh, Heigh-Ho, Ho, Huh, Hump, Whoo, Whoope, Wow, Pah, Bah, Faugh. 2) Lexical level: E.g.2. the emotion surprise can be presented by such lexemes: surprise, wonder, amazement, astonishment, perplexity, incredulity, bewilderment, to alarm, indignation, horror, admiration, strange, unusual, incomprehensible, inexplicable, unexpected, sudden and others. E.g.3. Phraseological units: To my/our bewilderment, Interestingly enough, Horrors!, Impossible!, Strangely/oddly/Paradoxically enough, (Just) Imagine/Fancy!, (Just/only) Think!, All of a sudden, Who would/could have thought it? For a wonder/a marvel, To work/do wonders/marvels, To perform miracles, What a wonder/marvel/miracle!, As if by magic, As if by the touch of the magic wand, At a loss, I can't gather/make head or tail of it, To be like a thunderbolt, A bolt from the blue, As if struck by lightning, A clap of thunder.etc.

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E.g.4. Metaphors: to creep on, to catch, marvel/ous, miracle/ulous, mixed up, to confound, to stun, thunderstuck, a crusher, gobstruck, to freeze, to dumbfound. E.g.5.Set expressions: It hit me like a ton of bricks; it knocked me for a loop/sideways/for six. re you seeing/hearing things, Have you been eating soap? It beats me; its beyond me, to come/be as a bombshell, Out of the blue sky. (Oh/My) God! Holy Mother! /Virgin! Godfathers! Wonder is the daughter of ignorance. Wonder at nothing). Wonder lasts but nine days, Wonder lasts but nine days and then the puppy's eyes are open, Novelty wears off, He that is surprised with the first frost feels it all the winter after. E.g.6. Proverbs: Pigs might fly but they are unlikely birds, Pigs may whistle but they have an ill mouth for it. If pigs could fly we would shoot for bacon. 3) Syntactic level: E.g.7. Did you just hear? [Dan Brown The Da Vinci Code, p.69]. E.g.8. Leonardo Da Vinci! [Dan Brown The Da Vinci Code, p.59]. Stylistic means of expression are worth of thorough investigation as they include all levels of the language. We will observe them in phono-graphical, morphological, lexical and syntactical levels. Phono-graphical stylistic devices: Imitating the sounds of nature, man, inanimate objects, the acoustic form of the word foregrounds the latter, inevitably emphasizing its meaning too. Thus the phonemic structure of the word proves to be important for the creation of expressive and emotive connotations [ 2000, 6]. We take into account phonographical level as it adds emotiveness to the text. We can see such phonetic stylistic devices: alliteration (a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words. E.g. "Deep into the darkness peering, long I stood there wondering, fearing, "Doubting, dreaming dreams no mortals ever dared to dream before." (E. A. Poe).The sound [d] represents here the emotion fear),

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assonance (the repetition of similar vowels, usually in stressed syllables), onomatopoeia (the use of words whose sounds imitate those of the signified object or action, such as "hiss", "bowwow", "murmur", "bump", "grumble", "sizzle" and many more), graphon (effective means of supplying information about the speaker's origin, social and educational background, physical or emotional condition, etc). e.g. So, when the famous Thackeray's character - butler Yellowplush impresses his listeners with the learned words pronouncing them as "sellybrated" (celebrated), "bennyviolent" (benevolent), "illygitmit" (illegitimate), "jewinile" (juvenile), or when the no less famous Mr. Babbitt uses "peerading" (parading), "Eytalians" (Italians), "peepul" (people). Graphical changes may reflect not only the peculiarities of, pronunciation, but are also used to convey the intensity of the stress, emphasizing and thus foregrounding the stressed words. To such purely graphical means, not involving the violations, we should refer all changes of the type (italics, capitalization), spacing of graphemes (hyphenation, multiplication) and of lines. They are used to add to their logical or emotive significance of the text. e.g. You will meet the capitaine at the main entrance [Dan Brown The Da Vinci Code, p.7]. Morphological level is the vehicle of additional information - logical, emotive, and expressive. One important way of promoting a morpheme is its repetition. When repeated, they come into the focus of attention and stress either their logical meaning (e.g. that of contrast, negation, absence of quality as in prefixes a-, anti-, mis-; or of smallness as in suffixes -ling and -ette); their emotive and evaluative meaning, as in suffixes forming degrees of comparison; or else they add to the rhythmical effect and text unity. The second, even more effective way of using a morpheme for the creation of additional information is extension of its normative valence which results in the formation of new words. They are not neologisms in the true sense for they are created for special communicative situations only, and are not used beyond these

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occasions. This is why they are called occasional words and are characterized by freshness, originality, lucidity of their inner form and morphemic structure. In lexical level we deal with the word-stock of the language: special literary words (terms, archaisms), colloquial words (slang, jargons, vulgar words, dialectal words) and lexical stylistic devices (metaphor, metonymy, synecdoche, play on words, irony, epithet, hyperbole, understatement, and oxymoron). Syntactical level main characteristics of the sentence, sentence length, oneword sentences, sentence structure, punctuation, arrangement of sentence members, rhetorical question, types of repetition, parallel constructions, chiasmus, inversion, suspense, detachment, completeness of sentence structure, ellipsis, one-member sentences, apokoinu constructions, break, types of connection, polysyndeton, asyndeton, attachment. Lexico-Syntactical Stylistic Devices include antithesis, climax, anticlimax, simile, litotes and periphrasis. Expressive means, or figures of speech, do not create images, but raise expressiveness of speech and strengthen it emotiveness by means of special syntactic constructions: inversion, a rhetorical question, parallel constructions, antithesis, etc. It is clear that emotions can be expressed in all levels. It is shown in the scheme 1(see appendix 1).

Conclusion to Chapter I In the Chapter 1 we searched theoretical description of emotional concepts. We described different approaches to the study of emotions, their definitions and classifications. Proceeding from all this, it is possible to say, that studying of emotions is topical problem today. Emotion is investigated from different points of view. Mainly

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psychologists and linguists have it as the object of investigation. Psychologists take into account different features accompanying emotions while linguists mainly concentrate on linguistic means proper. To give the definition of notion emotion and differentiate from the meaning feeling we observed different approaches and theories. Some philosophers have said that emotions contain feelings, but few have said that emotions are feelings. We treat emotions as a strong and broad sense than feelings. The problem of classification also causes many debates. We will follow 2 attributes of emotions in our work: according to the attitude of the subject to object (referring to A.Wierzbicka) - positive/negative and structural feature basic/ derivative (classification of K.Izard). Very often linguists treat emotions and feelings as emotional concepts, linguocultural concepts, concept sphere, conceptual field. There are 2 approaches to concept: linguocultural and linguocognitive. We will follow linguocognitive approach as the object of cognitive linguistics is the investigation of lexemes, statements and texts which represent certain concept in language and speech. To define the concept we observed definitions by K.M. Frumkina ,A.Wierzbicka, S.A. Askoldov, Yu. Stepanov, A.P. Babushkin, Z.D. Popova and I.A. Sternin. A.P. Babushkin`s definition seems to be more appropriate : Concept is an ideal essence which includes sensual and intellectual images, ways of their construction and operating or spiritual values and orientations[ 1996]. Describing the conceptual field we will take into account the approach of I.A. Sternin. The basic emotion presents as the nucleus, lexical units as the second layer and the periphery is shown by set expressions. It is known, that emotion is unverbal, however within the limits of psycholinguistics and emotiology it is spoken about verbalization of emotion. We studied linguistic means of expressing emotions and came to conclusion that expressive means, or figures of speech, do not create images, but raise expressiveness of speech and strengthen it emotiveness by means of special syntactic constructions:

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inversion, a rhetorical question, parallel constructions, antithesis, etc. It is clear that emotions can be expressed in all levels.

Chapter II Text as the Object of Linguistics 2.1. Dictionary Interpretation of Emotions To describe the concept it is necessary to know the meaning of this notion, synonyms and set expressions build the semantic field of the concept. Following the classification of K. Izard we analysed dictionary interpretation of emotions Interest, Pleasure, Surprise, Grief, Anger, Disgust, Contempt, Fear, Guilt and Shame in dictionaries of different types Merriam-Webster

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Dictionary (M-WD), Macmillan English Dictionary for Advanced learners 2005 (MEDAl), Compact Oxford Dictionary Thesaurus 2001 (CODT), Cambridge Advanced Learner's Dictionary 2005 (CALD), Longman. Dictionary of contemporary English 2009 (LDcE), Collins Advanced Dictionary 2007 (CAD). We found definitions, synonyms and set expressions. This material further will help us in describing concepts. Interest is defined as a feeling that accompanies or causes special attention to an object or class of objects [M-WD].

Interest-

interesting-excited-

fascination-

intrigue-

rekindle/revive

interest- obsession- mania- fixation- fetish [CAD]. Set expressions and phrases: A gleam of interest came into his eyes - . Does it interest you? - ? He knows where his interest lies. - , (). He showed not a spark of interest. - . He showed not a spark of interest.- . He takes a lot of interest in what we are doing. - , . He takes passionate interest in sports. - . [MEDAl] (See appendix 2). Pleasure - a feeling of happiness, enjoyment, or satisfaction: a pleasant or pleasing feeling [M-WD].

Pleasure joy- ecstasy rapture - delight bliss - felicity - triumph happiness - excitement - exaltation - exultation elation - enchantment joviality - thrill - enthusiasm - sunshine - glee satisfaction - nirvana admiration gaiety - hilarity merriment mirth enjoyment gladness contentment gratification- amusement cheer liveliness - light-heartedness - self-fulfillment malice delectation jubilance [LDcE].

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Set expressions and phrases: A look of pleasure came to her face. - . He laughed his pleasure. - . Her eyes glistened with pleasure. - [CODT] (See appendix 2). Surprise is an unusual or unexpected event [CALD].

Surprise - wonder - astonishment - amazement -perplexity- incredulitybewilderment- indignation [CAD].

Set expressions and phrases: All surprise was shortly lost in other feelings.- . He may surprise you yet.- (-) . Her face registered surprise.- [CALD]. Grief is shown as a strong feeling of sadness, usually because someone has died [MEDAl].

Grief heart ache - heart-break - broken heart woe sorrow pain -hurt ache pang scar affliction agony wound sadness suffering - despair - gloom distress desolation bereavement dole yearning mourning depression discontent melancholy nostalgia - ennui - boredom lassitude apathy emptiness [CAD].

Set expressions and phrases: Grief consumed him.- . Grief has withered his heart. - . Grief is killing her.- . He was devastated by grief on.- . Her grief exceeds all consolation.- . Her grief melted our hearts.- .

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Her heart was pierced with grief.- . Her heart was surcharged with grief. - . Her mind was distracted by grief.- , . Good grief! - an exclamation of surprise or alarm [CODT]. Anger - a strong feeling which makes you want to hurt someone or be unpleasant because of something unfair or hurtful that has happened [CALD].

Anger rage - outrage - fury - berserk fury hysteria wrath ire bate indignation heat - malice - spite - irritation - irritability exasperation - outbreak - explosion virulence - resentment - gall grudge pique annoyance displeasure [LDcE].

Set expressions and phrases: Anger finally unlocked his tongue.- . Anger gave him the strength of ten.- . Anger moves him.- . Anger overpowered every other feeling.- . Anger rode on his brow.- [M-WD].

Fear - the feeling that you have when you are frightened [MEDAl].

Fear horror terror trepidation panic consternation awfulness phobia dismay fright dread scare neuroses alarm mayhem apprehension tension jitters cowardice awe [CODT].

Set expressions and phrases: Fear blanched his lips. - . Fear can have no place in his heart.- . Fear chalked her face.- . Fear fell upon him. - .

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Fear gripped him. - , . Fear gripped his heart. - . Fear hangs upon him. - () . Fear harried him. - . Fear is written on his face. - . Fear led him to tell lies.- . No fear.-British informal used as an emphatic expression of denial or refusal:Are you coming with me? No fear its too exciting here. Put the fear of God in (or into) someone.-Make someone very frightened [CALD]. Disgust is a feeling of revulsion or strong disapproval aroused by something unpleasant or offensive [CALD].

Disgust repugnance loathing abomination detest hostility animus - repulsion - animosity - hate - hatred aversion revulsion antagonism scorn contempt sickness enmity odium homophobia xenophobia antipathy disdain dislike distaste disappointment - ill feeling - ill will [LDcE].

Set expressions and phrases: His business methods disgust me.-, , . He eyed the greasy food with disgust. As the smell of garbage drifted through the air, she wrinkled her nose in disgust [CALD]. Shame - a feeling of guilt, regret, or sadness that you have because you know you have done something wrong [M-WD].

Shame-embarrassment-guilt-confusion indignity-stigma [LDcE].

regret-disgrace-humiliation-

Set expressions and phrases: A sin and a shame! For shame! - ! For shame! -!

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He is not so degraded but he has a sense of shame.- , . He's lost all sense of shame.- Her performance brings to shame even a professional singer.- . I almost died of shame.- [M-WD]. Contempt is described as a feeling that someone or something is unimportant and deserves no respect [MEDAl].

Contempt-dislike-hatred-loathing-animosity-abhorence [LDcE].

Set expressions and phrases: Her face settled into a mask of contempt.- . Beneath contempt.-If someone or something is beneath contempt, they are so bad or so unimportant that they do not deserve any attention [MEDAl]. Hold someone in contempt.-Judge someone to have committed the offence of contempt of court. Hold someone/thing in contempt.-Consider someone or something to be unworthy of respect or attention: the speed limit is held in contempt by many drivers [CODT]. Guilt [CALD]

Guilt-pity-compassion-shame-bewilderment-frustration-regret-remorse [MEDAl]. The least guilt, little guilt, severe guilt, great guilt, tremendous guilt, guilt in the eyes, to show no sign of the guilt, to push bottom lip up in mock guilt, flush with guilt burden of guilt, weight of guilt, heavy weight of guilt, intolerable pressure of guilt, to lift guilt from bowed shoulders, onus of guilt, flicker of guilt, garnish of guilt, dustbin of guilt, strata of guilt, trail of guilt, reams of guilt, squeamish dissection of guilt, destructing power of guilt, shadow of guilt, abyss of guilt, floating fireships of guilt,

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rush of guilt, overtones of guilt, finger of guilt, vibration of incipient guilt, inbuilt guilt, guilt comes in all shapes and sizes, play the guilt game, guilt convince us, tormented with guilt, swamped by guilt, crippled with guilt, lonely guilt, to be eaten up with guilt, flesh and muscles of his guilt, guilt gnawed him, guilt pricked at her, frightened guilt, mildly titillated by guilt [M-WD].

2.2. Conceptual Field of Emotions in the Text The text - (from Latin textus - a fabric, a texture, connection) the sequence of semantically sign units connected basic properties of which are connectivity and integrity.

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I.R. Galperins definition of the text is as follows: The text is a message, objectified as the written document consisting of series of statements connected lexically, grammatically and logically having the certain character, pragmatically installed and literary processed [ 1981]. The text is a verbal language product in which all language units (from a phoneme up to the sentence) are realized. It is a complex language sign; hence, the text can be and should be the object of the linguistic analysis. Transfer of the information (sense) is carried out by the whole texts and not just by separate words and sentences. The basic postulate of linguistics of the text is that any language unit does not function outside of the text. Earlier the text served in linguistics of the text as a material for the analysis, was considered as a space in which various language units function, and now as a speech product. The object of linguistics is rules of construction of the text, and its semantic categories expressed by these rules. The text is created to express the authors idea, to embody his creative plan, to transfer knowledge of the person about the world, to make this idea an achievement of other people. Thus, the text is not independent and not self-sufficient. It is a basic but not a unique component of the textual (speech and mental) activity. Besides the texts major components are: the author (sender) of the text, the reader (addressee), the reflected reality, the language system from which the author chooses language means. The research of concepts in the text assumes taking into account mainly syntagmatic connections of words alongside with paradigmatic ones. Concepts of the fiction text are formed on syntagmatic basis, have the textual syntagmatic nature. Each literary work embodies an individual authors way of perception and the organization of the world, and individual, even unique, imagined ideas, on the other hand. I.R. Galperin was the first to speak about the conceptual space of the text. He distinguished the following kinds of the information: 1. Substantially- factual information, which reflects an objective reality;

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2. Substantial- conceptual information; which informs the reader of individualauthors understanding, the relations between the phenomena, descriptive means of the substantially- factual information, understanding of their relationships of cause and effect, of their importance in social, political and cultural life of people including the relations between individuals, their complex psychological and aesthetic and cognitive interaction; 3. Substantially- subtextual information which asses is the emotional attitude of the author [ 1981]. Conceptualization is the use of the language themes for an explanation of the language phenomena, in result the cultural theme establishes its framework and allows to correlate the language data within the limits of certain micro motives [ 1994]. It is possible to say that conceptualization is based on a semantic conclusion of its components from the set of the language units revealing one theme. For this reason the conceptual space of the text is formed on more high level of abstraction on the basis of merge, approach, drawing the general attributes of the concept, expressed at a level of the text by words and sentences of one semantic area that causes and determines the integral conceptual domain the text (that is the space where the concept functions) and the main concept represents the nucleus of the authors picture of the world. Thus, the conceptual analysis of the fiction text includes: 1. Finding of a set of key words of the text; 2. The description of the conceptual space denoted by them; 3. Finding of the base concept of this space. Pretextual presuppositions (background knowledge of the reader) which represent preknowledge of the certain text, participate in the formation of the conceptual space of the text.

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The linguists dealing with problems of Texts linguistics bring to a focus that any fiction text reproduces an emotional life of people; that the purpose of speech activity of people in most cases is emotional contact or an airs of feelings. In the Story The Da Vinci Code by Dan Brown we revealed such emotional concepts: fear, guilt, anger, shame, surprise, disgust, grief, contempt and pleasure. There are 4 main characters in the story: Jacques Sauniere, Robert Langdon, agent Bezu Fache and Sophie Neveu. We characterize the emotions of each of them. The emotional concept sphere of the story The Da vinci Code by Dan Brown consists of such concepts: fear, guilt, anger, shame, surprise, disgust, grief, interest and pleasure. The concept contempt is not revealed in the analysis of the text. Concept fear is many-sided. We singled out following kinds: Fear: 1) Fear of God/sin The story The Da Vinci Code is of a religious character. The characters of the story (monk Silas, sisters) betray God. That is why they do everything to avoid sins. 2) Fear of truth We can see 2 kinds of fear: fear of lost secret and the fear of being caught. If Jacques Sauniere fears that nobody knew the truth, monk Silas covers his real face. He is afraid of being exposed. 3) Fear for reputation Bishop Aringarosa and agent Bezu Fache are intented to keep their reputation. Differing from other characters they do not fear death or God. 4) Fear of death One of the main concepts in the story. Characters are always in danger. 5) Fear of enclosed space This fear can be called as phobia. As a boy, Robert Langdon had fallen down an abandoned well shaft and almost died treading water in the narrow space for hours before being rescued. Since then, he'd suffered a haunting phobia of enclosed spaces

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elevators, subways, squash courts. Every time he enters elevator he feels uncomfortable.
6) Child

fears are common for monk Silas and Sophie Neveu. We meet their

childhood memories concerning fear. 7) Fear caused by danger There are a lot of dangerous situations testing characters. They causes fears. The text of any genre has the communicative intention. Communicative intention of the detective text - to entice the reader, to cause interest, excitement, feeling of participation with described events, to force the reader to build guesses. The author aims to surprise the reader. When the character of novel is astonished by something this also affects the reader. That is why concept surprise is the major concept in the story. It is most intensive emotional condition caused especially by sudden and unexpected acts. Having analysed character`s emotions we revealed such results: Emotion Jacques fear Robert Bezu Fache Sophie Neveu Child fears Fear of truth Fear of death Fear caused by danger anger guilt shame surprise grief pleasure disgust interest + + + + + + + + + + + + + + + + + + + + Monk Silas Fear of God/sin Child fears

Sauniere Langdon Fear of truth Fear of enclosed Fear for Fear of death by danger space Fear of death danger reputation Fear caused

Fear caused Fear caused by by danger

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2.3. Verbalization of Emotions in the Story The Da Vinci Code by Dan Brown Fear: 1) Fear of truth: Lost truth Jacques Sauniere`s life aim was to keep the secret. Fear that secret wouldn`t be passed is stronger than life:

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The truth. In an instant, the curator grasped the true horror of the situation. If I die, the truth will be lost forever [Dan Brown The Da Vinci Code, p.2]. Sauniere closed his eyes, his thoughts a swirling tempest of fear and regret [Dan Brown The Da Vinci Code, p.2]. ...as sacred as the ancient secret they protected [Dan Brown The Da Vinci Code, p.2]. Even so, the fear that now gripped him was a fear far greater than that of his own death [Dan Brown The Da Vinci Code, p.2]. Her darkest fears had just been confirmed [Dan Brown The Da Vinci Code, p.41]. Or they know the truth and are threatened by it. Many groups throughout history have sought to destroy the Grail [Dan Brown The Da Vinci Code, p.77]. I fear that is a question I may never answer [Dan Brown The Da Vinci Code, p.82]. Fear of being caught When he read the story, he filled with fear. It told of an earthquake in the mountains that had destroyed a prison and freed many dangerous criminals. His heart began pounding. The priest knows who I am! [Dan Brown The Da Vinci Code, p.21]. It was accompanied by the fear of being caught [Dan Brown The Da Vinci Code, p.21]. The ghost turned, frightened [Dan Brown The Da Vinci Code, p.21]. He gasped in shock [Dan Brown The Da Vinci Code, p.21]. Fear of death: On his hands and knees, the curator froze, turning his head slowly [Dan Brown The Da Vinci Code, p.1]. Horribly drawn-out death [Dan Brown The Da Vinci Code, p.1].

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Even if Sauniere feared his own death, there were three senechaux who also possessed the secret and therefore guaranteed the Priory's security [Dan Brown The Da Vinci Code, p.75]. I'm being murdered! [Dan Brown The Da Vinci Code, p.136]. 3) Fear of God/sin The Lord has provided me shelter and purpose in my life [Dan Brown The Da Vinci Code, p.5]. I must purge my soul of today's sins [The Da Vinci Code D. Brown, p.5]. The spiked cilice belt that he wore around his thigh cut into his flesh, and yet his soul sang with satisfaction of service to the Lord [Dan Brown The Da Vinci Code, p.4]. Five hundred miles away, the albino named Silas stood over a small basin of water and dabbed the blood from his back, watching the patterns of red spinning in the water. Purge me with hyssop and I shall be clean, he prayed, quoting Psalms. Wash me, and I shall be whiter than snow [Dan Brown The Da Vinci Code, p.11]. 4) Fear for reputation Excellent. I had feared the brotherhood's reputation for secrecy might prevail [Dan Brown The Da Vinci Code, p.5]. Alone in the small cabin, Aringarosa twisted the gold ring on his finger and tried to ease his overwhelming sense of fear and desperation [Dan Brown The Da Vinci Code, p.98]. 5) Fear of enclosed space Langdon exhaled, turning a longing glance back up the open-air escalator. Nothing's wrong at all, he lied to himself, trudging back toward the elevator. As a boy, Langdon had fallen down an abandoned well shaft and almost died treading water in the narrow space for hours before being rescued. Since then, he'd suffered a haunting phobia of enclosed spaceselevators, subways, squash courts. The elevator is a perfectly safe machine, Langdon continually told himself, never believing it. It's a

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tiny metal box hanging in an enclosed shaft! Holding his breath, he stepped into the lift, feeling the familiar tingle of adrenaline as the doors slid shut. Two floors. Ten seconds. [Dan Brown The Da Vinci Code, p.9]. Saying nothing, he stared dead ahead at the chrome doors. [Dan Brown The Da Vinci Code, p.9]. Langdon stared at the narrow crawl space at his feet and then up at the massive iron grate. He's kidding, right? The barricade looked like a guillotine waiting to crush intruders. [Dan Brown The Da Vinci Code, p.10]. 6)Child fears One night, there was a horrific fight, and his mother never got up [Dan Brown The Da Vinci Code, p.20]. She was six years old. She felt small and insignificant as she gazed up at the enormous ceilings and down at the dizzying floor. The empty museum frightened her, although she was not about to let her grandfather know that. She set her jaw firmly and let go of his hand [Dan Brown The Da Vinci Code, p.28]. Gargoyles had always terrified Sophie as a child; that was, until her grandfather cured her of the fear by taking her atop Notre Dame Cathedral in a rainstorm. Princess, look at these silly creatures, he had told her, pointing to the gargoyle rainspouts with their mouths gushing water. Do you hear that funny sound in their throats? Sophie nodded, having to smile at the burping sound of the water gurgling through their throats. They're gargling, her grandfather told her. Gargariser! And that's where they get the silly name 'gargoyles.' Sophie had never again been afraid [Dan Brown The Da Vinci Code, p.81]. 8) Fear caused by danger: Mr. Langdon, the message began in a fearful whisper [Dan Brown The Da Vinci Code, p.19]. Fache had no doubt the shock on Langdon's face was genuine, and yet he sensed another emotion there too, as if a distant fear were suddenly simmering in the American's eyes [Dan Brown The Da Vinci Code, p.23].

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Sophie Neveu entered, her green eyes flashing fear [Dan Brown The Da Vinci Code, p.23]. Sophie's eyes widened [Dan Brown The Da Vinci Code, p.25]. Langdon felt like a caged animal [Dan Brown The Da Vinci Code, p.25]. Langdon felt himself losing touch fast [Dan Brown The Da Vinci Code, p.25]. Something terrible has happened [Dan Brown The Da Vinci Code, p.27]. Danger? [Dan Brown The Da Vinci Code, p.27]. Sophie suddenly could hear her own heart [Dan Brown The Da Vinci Code, p.27]. In the silence, Sophie stood trembling for what felt like minutes [Dan Brown The Da Vinci Code, p.27]. Considering tonight's events, she would be a fool not to be frightened [Dan Brown The Da Vinci Code, p.28]. Afraid their voices might echo down the hall, Sophie pulled him into the Salle des Etats and closed the enormous twin doors silently, sealing them inside [Dan Brown The Da Vinci Code, p.39]. For an instant he felt totally blind [Dan Brown The Da Vinci Code, p.45]. Please answer, she whispered in fear. Where are you? [Dan Brown The Da Vinci Code, p.49]. Turning in terror, she saw the massive monk [Dan Brown The Da Vinci Code, p.49]. She was frightened [Dan Brown The Da Vinci Code, p.51]. Holding her breath, Sophie inched down another few steps and crouched down to look [Dan Brown The Da Vinci Code, p.51]. Even as she staggered back in horror, she felt the image searing itself into her memory forever [Dan Brown The Da Vinci Code, p.51]. When she saw it, Sophie's blood went cold [Dan Brown The Da Vinci Code, p.51].

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The trembling driver kept his arms over his head as he got out of his taxi and took several steps backward [Dan Brown The Da Vinci Code, p.59]. Trembling, the driver obeyed, stopping the car and putting it in park [Dan Brown The Da Vinci Code, p.59]. Sophie had feared as much [Dan Brown The Da Vinci Code, p.66]. The bishop's words terrified Silas [Dan Brown The Da Vinci Code, p.71]. Langdon froze [Dan Brown The Da Vinci Code, p.75]. Vernet could feel his own heart pounding. [Dan Brown The Da Vinci Code, p.76]. Feeling a surge of panic, Vernet shoved hard against the outside of the door, but it refused to budge [Dan Brown The Da Vinci Code, p.76]. Terrific, Langdon thought [Dan Brown The Da Vinci Code, p.78]. Something has happened. You both look shaken [Dan Brown The Da Vinci Code, p.82]. Again, Sophie was speechless [Dan Brown The Da Vinci Code, p.89]. Teabing came over to them, his eyes wild with fear. My friends, we must do something. The keystone is in danger! We have a duty to protect it [Dan Brown The Da Vinci Code, p.97]. Without turning from the window, Sophie began to speak. Quietly. Fearfully [Dan Brown The Da Vinci Code, p.113]. Remember the vinegar, Langdon whispered with fearful exhilaration. Be careful. [Dan Brown The Da Vinci Code, p.115]. The pilot looked terrified. I don't know the combination! [Dan Brown The Da Vinci Code, p.126]. Teabing felt his muscles seize with terror. Remy, I don't[Dan Brown The Da Vinci Code, p.129]. Teabing felt panicked. What is he saying! [Dan Brown The Da Vinci Code, p.129].

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Teabing now felt a wave of horror. He could see his life's work evaporating before his eyes. All his dreams about to be shattered [Dan Brown The Da Vinci Code, p.129]. Langdon seemed momentarily paralysed [Dan Brown The Da Vinci Code, p.129]. Surprise The curator felt a surge of adrenaline. How could he possibly know this? [Dan Brown The Da Vinci Code, p.1]. Where the hell am I? [Dan Brown The Da Vinci Code, p.2]. Last month, much to Langdon's embarrassment, Boston Magazine had listed him as one of that city's top ten most intriguing peoplea dubious honor that made him the brunt of endless ribbing by his Harvard colleagues [Dan Brown The Da Vinci Code, p.3]. He hesitated, feeling uncertain as the stranger's sallow eyes studied him[Dan Brown The Da Vinci Code, p.4]. Langdon stared at the picture, his horror now laced with fear. The image was gruesome and profoundly strange, bringing with it an unsettling sense of dej vu[Dan Brown The Da Vinci Code, p.4]. I can't imagine who would do this to someone. [Dan Brown The Da Vinci Code, p.4]. Silas knew the information he had gleaned from his victims would come as a shock [Dan Brown The Da Vinci Code, p.5]. I beg your pardon? [Dan Brown The Da Vinci Code, p.6]. Langdon felt a familiar tinge of wonder as his eyes made a futile attempt to absorb the entire mass of the edifice [Dan Brown The Da Vinci Code, p.6]. Fache looked surprised. Your first meeting was to be tonight? [Dan Brown The Da Vinci Code, p.8].

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The world into which he stepped, however, was nothing like he expected. [Dan Brown The Da Vinci Code, p.9]. Surprised, Langdon stopped short. [Dan Brown The Da Vinci Code, p.9]. He's kidding, right? [Dan Brown The Da Vinci Code, p.10]. You saw the photograph, Fache said, so this should be of no surprise. Langdon felt a deep chill as they approached the body. Before him was one of the strangest images he had ever seen [Dan Brown The Da Vinci Code, p.12]. As Langdon stood over the body and squinted in the harsh light, he reminded himself to his amazement that Sauniere had spent his last minutes of life arranging his own body in this strange fashion [Dan Brown The Da Vinci Code, p.13]. He glanced up in surprise [Dan Brown The Da Vinci Code, p.14]. Langdon looked down and jumped back in shock [Dan Brown The Da Vinci Code, p.14]. Jacques Sauniere's final communication seemed as unlikely a departing message as any Langdon could imagine [Dan Brown The Da Vinci Code, p.15]. To Langdon's amazement, a rudimentary circle glowed around the curator's body [Dan Brown The Da Vinci Code, p.16]. Da Vinci. Langdon felt a shiver of amazement [Dan Brown The Da Vinci Code, p.16]. To Langdon's surprise, the woman walked directly up to him and extended a polite hand [Dan Brown The Da Vinci Code, p.18]. Langdon felt a pulse of excitement. She broke the code? [Dan Brown The Da Vinci Code, p.19]. Langdon reacted with surprise, his excitement over the code giving way to a sudden ripple of concern. A message from the States? [Dan Brown The Da Vinci Code, p.19]. Sophie's soft features grew surprisingly stern as she leaned in [Dan Brown The Da Vinci Code, p.22].

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Langdon felt his apprehension rising. Look in my pocket? It sounded like some kind of cheap magic trick [Dan Brown The Da Vinci Code, p.24]. Sophie's eyes widened as if to say: No evidence? [Dan Brown The Da Vinci Code, p.25]. Sophie suddenly could hear her own heart. My family? [Dan Brown The Da Vinci Code, p.27]. The girl looked amazed [Dan Brown The Da Vinci Code, p.33]. This is amazing! someone cried out [Dan Brown The Da Vinci Code, p.33]. You're kidding, right? somebody said. I thought The Last Supper was about Jesus! [Dan Brown The Da Vinci Code, p.34]. Once he had written the English word planets and told Sophie that an astonishing sixty-two other English words of varying lengths could be formed using those same letters. Sophie had spent three days with an English dictionary until she found them all. [Dan Brown The Da Vinci Code, p.35]. To her surprise, on the end was a brilliant gold key [Dan Brown The Da Vinci Code, p.39]. Sophie felt herself staggering backward in amazement. But how could you possibly know that! [Dan Brown The Da Vinci Code, p.40]. Bezu Fache felt dumbstruck as he paced the banks of the Seine. He was certain he had seen Langdon dial a local number, enter a three-digit code, and then listen to a recording. But if Langdon didn't phone the embassy, then who the hell did he call? [Dan Brown The Da Vinci Code, p.42]. They both froze. [Dan Brown The Da Vinci Code, p.44]. Inside the Salle des Etats, Langdon stared in astonishment at the six words glowing on the Plexiglas [Dan Brown The Da Vinci Code, p.44]. To Sophie's utter amazement, the chain was affixed to a familiar gold key [Dan Brown The Da Vinci Code, p.47].

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She's kidding, right? The vehicle was easily the smallest car Langdon had ever seen [Dan Brown The Da Vinci Code, p.49]. You'll show it to me? Langdon was surprised. He left you a physical object? [Dan Brown The Da Vinci Code, p.50]. You'll show it to me? Langdon was surprised. He left you a physical object? [Dan Brown The Da Vinci Code, p.50]. Where are all the people? [Dan Brown The Da Vinci Code, p.50]. He has the alarm on during a party? [Dan Brown The Da Vinci Code, p.50]. I'm dreaming, Sophie told herself. A dream. What else could this be? [Dan Brown The Da Vinci Code, p.51]. Collet looked surprised. You're putting this on the wire? [Dan Brown The Da Vinci Code, p.56]. Sophie glanced up with a surprised look of recognition [Dan Brown The Da Vinci Code, p.57]. Sophie looked confused. The Knights Templar were obliterated? I thought fraternities of Templars still exist today? [Dan Brown The Da Vinci Code, p.57]. He's joking. The Holy Grail? [Dan Brown The Da Vinci Code, p.58]. Sophie was surprised she had not spotted the linguistic ties immediately [Dan Brown The Da Vinci Code, p.58]. Aringarosa was surprised how little emotion he felt as he signed the document [Dan Brown The Da Vinci Code, p.62]. She did not recognize the banker, but he for a moment looked as if he'd seen a ghost [Dan Brown The Da Vinci Code, p.66]. Langdon's eyes widened further [Dan Brown The Da Vinci Code, p.72]. His eyes were riveted to the rosewood box. Sub rosa, he choked, a fearful bewilderment sweeping across his face. It can't be. [Dan Brown The Da Vinci Code, p.73]. Sophie's eyebrows arched. Find the Holy Grail? [Dan Brown The Da Vinci Code, p.73].

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Sophie's face went blank. And you think this is it? [Dan Brown The Da Vinci Code, p.74]. Langdon's imagination could conjure no set of circumstances that would explain Sauniere's behaviour [Dan Brown The Da Vinci Code, p.75]. What! Langdon was thunderstruck. Three more murders? [Dan Brown The Da Vinci Code, p.75]. You're kidding, right? We're going to visit a knight? [Dan Brown The Da Vinci Code, p.79]. Sophie was surprised. Why would a pagan emperor choose Christianity as the official religion? [Dan Brown The Da Vinci Code, p.83]. Sophie looked down at the painting, seeing to her astonishment that everyone at the table had a glass of wine, including Christ. [Dan Brown The Da Vinci Code, p.85]. Again, Sophie was speechless. In the painting, Peter was leaning menacingly toward Mary Magdalene and slicing his blade-like hand across her neck. The same threatening gesture as in Madonna of the Rocks! [Dan Brown The Da Vinci Code, p.89]. She was surprised. She was of the House of Benjamin? [Dan Brown The Da Vinci Code, p.90]. Sophie felt the hairs stand up on her arms. But how could a secret that big be kept quiet all of these years? [Dan Brown The Da Vinci Code, p.90]. The male receptionist in the lobby of the Opus Dei headquarters on Lexington Avenue in New York City was surprised to hear Bishop Aringarosa's voice on the line [Dan Brown The Da Vinci Code, p.91]. Aringarosa felt himself hesitate. This was unexpected. Ah, yes I was asked to call this number? [Dan Brown The Da Vinci Code, p.91]. Sophie glanced up. They actually know the child's name? [Dan Brown The Da Vinci Code, p.93].

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Sophie was startled. There exists a family tree of Jesus Christ? [Dan Brown The Da Vinci Code, p.93]. Sophie felt an unexpected wonder. The hiding place of the Holy Grail is actually a tomb? [Dan Brown The Da Vinci Code, p.93]. This news surprised Sophie. Merovingian was a term learned by every student in France. The Merovingians founded Paris. [Dan Brown The Da Vinci Code, p.93]. So where the hell do I hear a car? [Dan Brown The Da Vinci Code, p.101]. Teabing's eyebrows arched. No? If not the possessor of the keystone, then who? [Dan Brown The Da Vinci Code, p.106]. He said nothing for a very long time. With each passing second, Teabing felt his confidence deflating. I'm astonished, he said. This language looks like nothing I've ever seen! [Dan Brown The Da Vinci Code, p.107]. And frankly, sir, considering your allegiance to the Crown, I'm a little surprised you didn't recognize it [Dan Brown The Da Vinci Code, p.108]. Langdon and Sophie looked equally dumbstruck. [Dan Brown The Da Vinci Code, p.129]. Guilt As Sister Sandrine listened to the odd request, she felt a deepening confusion. I'm sorry, you say this visiting Opus Dei numerary cannot wait until morning? [Dan Brown The Da Vinci Code, p.15]. This is my fault! [Dan Brown The Da Vinci Code, p.20]. And also because it is partially my fault that you're in trouble. [Dan Brown The Da Vinci Code, p.25]. Mr. Langdon, she said hurriedly, I need to ask you one last question. And your entire future may depend on it. The writing on the floor is obviously not proof of your guilt, and yet Fache told our team he is certain you are his man. Can you think of any other reason he might be convinced you're guilty? [Dan Brown The Da Vinci Code, p.28].

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Langdon ran. Guilty as charged. [Dan Brown The Da Vinci Code, p.30]. Sister, I feel guilty already for having awoken you. To ask you to stay awake is too much. Please, you should return to bed. I can enjoy your sanctuary and then let myself out. [Dan Brown The Da Vinci Code, p.31]. Grand-pere, Sophie said, hugging him. I'm really sorry about the key. [Dan Brown The Da Vinci Code, p.39]. Langdon now recognized the emotion that had been growing in her eyes as they spoke. It was remorse. Distant and deep. [Dan Brown The Da Vinci Code, p.113]. The guilt ripped through him. I involved Leigh, and now he's in enormous danger [Dan Brown The Da Vinci Code, p.131]. Langdon sat on a grungy bench nearby, feeling remorseful [Dan Brown The Da Vinci Code, p.131]. Shame Langdon felt almost disrespectful to be racing past so many masterpieces without pausing for so much as a glance [Dan Brown The Da Vinci Code, p.12]. Confused, Langdon turned back toward Sophie. I'm sorry, Ms. Neveu? I think you may have given me[Dan Brown The Da Vinci Code, p.19]. P.S. is the nickname he called me when I lived with him. She blushed. It stood for Princesse Sophie [Dan Brown The Da Vinci Code, p.25]. Too ashamed and stunned to endure her grandfather's pained attempts to explain, Sophie immediately moved out on her own, taking money she had saved, and getting a small flat with some roommates [Dan Brown The Da Vinci Code, p.27]. For ten years now, simple shame had kept her from telling a soul [Dan Brown The Da Vinci Code, p.61]. Grief

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Langdon could not help but feel a deep sense of loss at the curator's death. Despite Sauniere's reputation for being reclusive, his recognition for dedication to the arts made him an easy man to revere [Dan Brown The Da Vinci Code, p.6]. Tonight's meeting had been one Langdon was very much looking forward to, and he was disappointed when the curator had not shown [Dan Brown The Da Vinci Code, p.6]. Quite well, she said, her eyes welling now with emotion. Jacques Sauniere was my grandfather. [Dan Brown The Da Vinci Code, p.25]. The remorse that gripped her was powerful and sudden, a deep sadness laced with guilt [Dan Brown The Da Vinci Code, p.28]. Sophie turned from the window, sensing a sincere regret in Langdon's deep voice [Dan Brown The Da Vinci Code, p.28]. Anger Finally, he felt the blood begin to flow [Dan Brown The Da Vinci Code, p.5]. His tone was fittinga guttural rumble likes a gathering storm [Dan Brown The Da Vinci Code, p.7]. Captain Bezu Fache carried himself like an angry ox, with his wide shoulders thrown back and his chin tucked hard into his chest [Dan Brown The Da Vinci Code, p.7]. Fache's eyes shone white [Dan Brown The Da Vinci Code, p.14]. Fache felt his teeth clench in rage [Dan Brown The Da Vinci Code, p.18]. Fache's anger stalled momentarily [Dan Brown The Da Vinci Code, p.18]. It was a scream of anguish that startled the ghost from his slumber [Dan Brown The Da Vinci Code, p.20]. Turning, Fache marched angrily in the opposite direction [Dan Brown The Da Vinci Code, p.23].

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Why would Sauniere write this? Langdon demanded, his confusion now giving way to anger [Dan Brown The Da Vinci Code, p.25]. A sudden explosion of rage erupted behind the monk's eyes [Dan Brown The Da Vinci Code, p.47]. Pleasure She gave a pleasant laugh [Dan Brown The Da Vinci Code, p.31]. Prayer is a solitary joy [Dan Brown The Da Vinci Code, p.31]. Sophie shrieked with delight [Dan Brown The Da Vinci Code, p.39]. She giggled. I'm not a princess! [Dan Brown The Da Vinci Code, p.40]. It was a silent call of distress [Dan Brown The Da Vinci Code, p.41]. Interest I don't know. Art, I imagine. We share similar interests. [Dan Brown The Da Vinci Code, p.8]. So you shared interests with him? Fache asked[Dan Brown The Da Vinci Code, p.8]. Interesting. Fache nodded toward the spread-eagle corpse. [Dan Brown The Da Vinci Code, p.14]. But the church is far more interesting by day [Dan Brown The Da Vinci Code, p.15]. Actually, Sister, my interests are spiritual. [Dan Brown The Da Vinci Code, p.31]. Interesting watch [Dan Brown The Da Vinci Code, p.53]. Disgust Inside a house of the Lord, the Teacher exclaimed. How they mock us! [Dan Brown The Da Vinci Code, p.5]. What the hell does this mean! [Dan Brown The Da Vinci Code, p.14]. Her disgust for the man deepened [Dan Brown The Da Vinci Code, p.27].

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She hated her red hair and freckles, and she was bigger than all the boys in her class [Dan Brown The Da Vinci Code, p.36]. Quantitative relationship of emotional concepts is shown further: fear -20%, guilt-5%, anger-17%, shame-6%, surprise-40%, disgust-3%, grief-4%, interest-2% and pleasure-2% (see appendix 5).

2.4. Stylistic Devices Expressing Emotions in the Story 1) Phono-graphical, morphological stylistic devices.

Graphon (effective means of supplying information about the speaker's origin, social and educational background, physical or emotional condition, etc).

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The events of the story take place in France. To emphasize it and give a mystique effect there are a lot of French words in characters` speech. It also helps to make the emotional picture more effective: As a veteran of la Guerre d'Algerie, the curator had witnessed this horribly drawn-out death before [Dan Brown The Da Vinci Code, p.2]. Mais, monsieur, the concierge pressed, lowering his voice to an urgent whisper. Your guest is an important man [Dan Brown The Da Vinci Code, p.3]. Or latin words and expressions: Castigo corpus meum [Dan Brown The Da Vinci Code, p.5]. Musee du Louvre [Dan Brown The Da Vinci Code, p.6].

2.5. Specific Features of Emotional Concepts in the Detective Story

The concept-sphere of the story Apple - tree by J. Galsworthy consists of such concepts as: love (love, loved, lovely; He loved his nursery governess

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[J.Galsworthy, Apple tree, p.27] ), suffering (suffering (caused by pain)), fear (mans face frightened [Apple tree, p.17] ), anger (Ashurst could see her face, angry, disturbed [Apple tree, p.25]; angry, Joe stolid and furious![ Apple tree, p.28] ), happiness (he felt absurdly happy [Apple tree, p.13] ), pleasure (the pleasantest thing he had ever touched [Apple tree, p.13]; We shall be very pleased), etc. In the story Eveline, by J.Joyce concepts love and happiness are the basic one: Still they seemed to have been rather happy then [J.Joyce, Eveline, p. 101], He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness [Eveline, p. 106]. H.G. Wells, A Catastrophe: concept fear: He was struggling with this new idea of failure, the tangible realization that was taking shape and substance [H.G. Wells, A Catastrophe, p. 20]; Im afraid theres bad news, Minnie [A Catastrophe, p.27]; Im afraid its uncle [A Catastrophe, p.28].

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Conclusion to Chapter 2.

Conclusion

The results of our analysis testify to the fact that means of expressing feelings and emotions depend on the text type (poetry, prose, play) and its volume (short verse poem, (short story story narrative novel). Each text contains specific, very often an author's peculiar system of rendering characters' feelings and emotions.

List of References

1. .. . ., 1998. 2. .. // : . . , 2004.

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3. - .. // . . // . .. .- ., 1997.
4.

. . - ., 1996. .- : - . -, 1996.

5. .. - 6. .. . - .: , 2000. 7. . // : . .. - ., 1985. 8. . // . .16. -.,1985. 9. . .. / . ., 1997. 10. .. .- , 1990.

11.

, . . - ., 1998. , 1981.

12. .. .- .: 13. .., .. . ,1998. 14. .., .. .- , 2001. 15. .., .. - . - ,2003. 16. .. . - .,1989. 17. .. . - : , 2003. 18. .. . , 2001. 19. .. .- , 2002.

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20. .., .. // : . . ./ . .. .- , , 2002.

21.

..

.- ., 1981. 22. .., .. - .- , 1998. 23. .. . - ., 1997. 24. .. // .., 1997. 25. .. , , .- ., 1969. 26. .. : // . .1, 1997. 27. .. .- , 2001. 28. .. // .- , 1998. 29. .. // : .: , 2003. 30. .. // : . .2.- , 2000. 31. .., .. .- , 2000. 32. .. // , 2000. 33. . . .- ., 1993.

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