Abstract

The language of emotions is culturally conditioned and a conceptualization of emotions is determined by the value systems adopted in given cultures, as well as by personal experiences in recognizing, valuing, and communicating those emotions. It is believed that sometimes certain emotions have no lexical equivalents in particular languages. Even within one culture and one language, we can observe a gray area in the meaning of terms from this field. This is not surprising, given the subjective perception of the world by each member of a specific community, as well as the multitude of emotions themselves. Although most information about other people’s emotions comes to the recipients through language, talking or writing about them is not simple. Emotions are among the concepts that are not very clearly delineated in our experience and therefore other, more comprehensible concepts, such as spatial orientations or objects, should be used when referring to them. In the novel The Slynx by Tatyana Tolstaya, emotions are conceptualized and represented for instance by liquids, small animals, natural forces, and substances with some specific taste (sour, bitter, etc.). Our goal was to figure out which emotions and their linguistic instantiations are only typical for the Russian language and which ones would fall in the universal category. The paper will focus on the description and the way emotions are conceptualized from a cognitive linguistic perspective, drawing on CMT (Conceptual Metaphor Theory), conceptual metonymies, and cognitive models.