ІНТЕРСУБ’ЄКТНІСТЬ ЕМОЦІЙ У КІНОДИСКУРСІ

Abstract

The article focuses on the intersubjectivity of emotions as a means of their embodiment and its peculiar features in the English cinematic discourse. It is determined that the intersubjectivity forms a preverbal mechanism for construeing emotions, acting as a system of interpersonal and intrapersonal relationships. The intersubjectivity finds its manifestation on the nonverbal level revealing the person‟s desire to interact and realize meanings. The result of the intersubjective interaction is the bodily mimesis – an imaginary representation of the emotion by non-verbal means. The triadic bodily mimesis in the cinematic discourse reflects the communicative nature of embodiment and includes the subject, the recipient, and the intentional component that connects them. The recipient of a polycoded statement in the cinematic discourse, recognizing a bodily sign, determines the communicative intention of the subject. The triadic mimesis in the cinematic discourse focuses not only on the awareness of representative relations between the movements of the body and the object, but also on the communicative nature of such representative relationships. The embodiment of the joint emotion in the communication between the film author and the recipient of the cinematic discourse is based on pragmatic universals that reflect the intersubjective interaction between the author and the recipient of the cinematic discourse. The embodiment of the emotion of fear reflects its physiological manifestation and can take place in two basic forms: asthenic and sthenic. Mimic, kinetic, prosodic means, as well as a system of paralinguistic codes that actualize vegetative manifestations of the emotion, are typical markers for embodying fear. The embodiment of the emotion is based on the common experience of film authors and recipients – viewers and the emotional feeling of fear can influence their communicative behavior. The intersubjective nature of emotion embodiment in the cinematic discourse is predetermined by the fact that viewers identifiy Themselves with the Other through the interpersonal world.