Наукові записки. Серія: Філологічні науки

ANTHROPOCENTRIC VECTOR OF THE SEMANTICS OF IMAGONYMS OF UKRAINIAN AVANT-GARDE

D. V. Kozlovska — 2025-10-16

The purpose of the study is to identify the semantic content of the titles of works of painting and graphics by tracing the connections of their semantics with the dominant concept of the ontological discourse «human» and its subconcepts based on the material of Ukrainian avant-garde imagonymy of the early 20th century. Given the ambiguity of the perception of the language of avant-garde pictorial and graphic works, the grouping of imagonyms was carried out in order to analyze their semantic load in the aspect of one of the general philosophical concepts – anthropocentrism.The study establishes the significance of the analyzed imagonyms in the linguistic and cultural aspect through the use of the method of contextual-interpretative analysis. To highlight the connections between the semantics of imagonyms and the dominant concept of ontological discourse, a descriptive method was used. Using the linguistic- statistical method, the number of imagonyms classified by the contained anthropolexemes was determined.Imagonyms are grouped by the types of anthropolexems contained in them within the framework of the connections of their semantics with the concept «human» and subconcepts reflecting various manifestations of physical and spiritual being. The presence of variants of combining lexemes in the titles of works of avant-garde painting and graphics indicates the multilevel nature of manifestations of anthropocentrism. The implicit nature of the anthropocentric semantics of imagonyms, objectified by their locative and temporal components, is demonstrated.It’s observed that imagonyms, performing nominative and stylistic functions, compensate for the semantic blurring of abstract images inherent in avant-gardism.It’s noted that the anthropocentric vector of imagonym semantics is implemented through the paradigm of anthropolexemes. Analyzing the connections between the semantics of imagonyms and the conceptual space of ontological discourse contributes to the positioning of Ukrainian imagonyms as a component of the linguistic picture of the world.

COLOR CODES IN «THE FOREST SONG»: INTERPRETATION OF COLOR SYMBOLISM IN LESIA UKRAINKA’S FAIRY-DRAMA

I. O. Koshova — 2025-10-16

The article presents an attempt to interpret the color symbolism in Lesia Ukrainka’s fairy drama «The Forest Song». The color dominants of the work have been studied, which made it possible to gain a deeper understanding of the text, uncover its hidden meanings, and enter the mysterious world of artistic language. The meanings of symbolic images such as the willow, guelder rose, flowers, blood, fire, wolf, dream, purple robe, hair, and night have been interpreted. It is shown that the verbal representations of color in «The Forest Song» are formed through the nomination of color itself, as well as through the use of coloristic periphrasis, where the name of the color is not mentioned directly, but phenomena are described with consideration of their color characteristics. Color contributes to the creation of artistic devices such as metaphors, similes, metonymies and epithets. Lesia Ukrainka often uses shades and employs words such as «bright», «clear», «brilliant», «flashes of light», «shimmering with colors», «pure», «dark», «darkness», «gloom» and others. It has been proven that the color white appears most frequently in The Forest Song; it dominates the prologue, as well as the first and third acts of the drama. White color carries both positive and negative meanings: light, sun, life, eternity, holiness, joy, goodness, beauty, the beginning of all possibilities – and also death, cold, physical and emotional pain. The second most frequently used color is red. Red takes the leading position in the second act of the fairy drama. Red is a symbol of love, passion, intense emotions, but also of suffering, blood, wounds, death and fire. Black is repeated 21 times, yellow (golden) – 20 times, green – 17 times, blue (light blue) – 12 times; grey and ashen are mentioned twice, and brown and hazel – twice as well. Color helps the writer express their thoughts and feelings. The use of color is one of the most distinctive features of the author's vision of the world and its embodiment in artistic practice.

ACCOUNTING AND FINANCIAL TERMS IN THE MODERN UKRAINIAN ECONOMIC TERMINOLOGY SYSTEM

T. P. Kravchenko — 2025-10-16

The article presents a comprehensive linguistic analysis of modern Ukrainian accounting and financial terms integrated into the economic terminological system, taking into account their structural, semantic, and functional characteristics. The influence of extralinguistic factors on the formation and development of this subsystem isrevealed, with the leading ones being market globalization, business process digitalization, harmonization of legislation with international standards, as well as socio-economic transformations caused by the full-scale Russian invasion and Ukraine’s European integration course. The accounting and financial terms are systematized into six thematic groups: financial indicators, properties, and phenomena; accounting operations; reporting and document flow; institutions, organizations, and associations; professionals in the field; securities, funds, and electronic money.The study identifies terms formed through borrowing, calquing, compound and analytical word formation, and reveals the growing trend of multi-component terminological units. The linguistic features of adapting internationalisms and English borrowings denoting modern financial instruments, documents, and professions are analyzed, along with the process of gender adaptation of professional titles. It is demonstrated that accounting and financial terminology functions as an open and dynamic subsystem of the economic terminological sphere, within which processes of specification, concretization, and standardization of meanings take place. The scientific novelty of the research lies in its comprehensive approach to analyzing terms through thematic grouping and cross-linguistic interaction, which makes it possible to outline the vectors for the development of the Ukrainian economic terminological system in the context of European integration. The practical significance lies in the possibility of using the results for compiling bilingual and explanatory dictionaries, developing electronic terminographic resources, and improving the language training of economists.

CONCEPTUAL AND PLOT FUNCTIONS OF «MR. CHARLES» STORY IN THE CINNAMON SHOPS BOOK BY BRUNO SCHULZ

A. P. Krasniashchykh — 2025-10-16

The uniqueness of Bruno Schulz’s idiostyle and artistic picture of his world directs researchers of his book The Cinnamon Shops to the study of its poetics in general, and in these parameters, it has already been described in detail and characterized by foreign and Ukrainian Schulz studies. At the same time, individual stories from The Cinnamon Shops very rarely become an independent subject for scholarly research. However, the stylistic, conceptual and even implicit plot integrity of the book does not deprive its components of independent value. Among the stories of The Cinnamon Shops, «Mr. Charles» (Pol. «Pan Karol») is the least frequently studied by scholars. It is almost the smallest story in the collection, the main characters of the book do not act in it, and in terms of plot it is also seemingly unrelated to the rest of the stories. The aim of our study is to identify the conceptual and plot context for the story «Mr.Charles» in The Cinnamon Shops and to determine the place and role of the plot of this story in the overall fictional world of the collection of stories. The short story «Mr. Charles», which is located in the middle of the book, finalizes its first part, referring to the first stories of The Cinnamon Shops and showing in the story of Mr. Charles’s rejection by his home and his alienation from himself an alternative to the story of the book’s protagonist, father Jakub. The father in his demiurgic experiments is constantly brought back to reality by his maid Adela, who can be perceived, as B. Schulz points out in the synopsis of the book, the «archenemy» of the father. If in the stories about the father Adela is always present, and there is no way to imagine the course of events without her, then «Mr. Charles» provides such an opportunity: the protagonist's house is deprived of Adela and the female presence in general. In these circumstances, all household items expel Mr. Charles, and he himself turns out to be his archenemy.

THE STRUCTURE OF THE ONYMOUS SPACE OF THE MODERN UKRAINIAN VILLAGE: PROBLEMS OF SUSTAINABILITY

O. I. Kryzhanivska — 2025-10-16

The proper names of any language are a special cultural layer that reflects the people's worldview, the peculiarities of their economy, lifestyle, relationships, and their sense of self among close, surroundings, and the universe as a whole. The onymic words of a particular settlement are a kind of verbal coordinates in which its inhabitant lives.First of all, these are people with their official and colloquial names of individuals and families/clans. The names of geographical objects, large and small, known far beyond the region and only within it; names of linear (streets, squares, corners, hamlets) denotations, which in modern realities can have several names. Economic activity is reflected in words denoting certain enterprises, organizations, institutions, locations where it is carried out, and in the village, these are also the names of domesticated animals and birds. The spiritual quests of the inhabitants are realized in the names of churches, prayer houses, and cultural institutions. These individual onymic fields make up the onymic space of the settlement, which is always original, never literally repeated anywhere or by anyone. But it is not immutable, because the fluid life that changes the architecture of any space, including the onymic one, raises the natural question: what and how affects the stability of the onymic space as a whole and its individual fields?The proposed article attempts to describe observations on the unique functioning of proper name fields in Tsybuleve village, Kropyvnytskyi district (formerly Znamianka district) of the Kirovohrad region. The scientific interest is projected onto the stable/variable in the onymic names of rural objects, the reasons and directions of updating groups of certain names, the disappearance or appearance of new fields. The entire onymic space did not become the object of research, since the interest is aroused by unique groups that distinguish one settlement from another at the level of proper names.

EUPHEMISMS AND DYSPHEMISMS IN THE LINGUISTIC PLAY OF BERNARD WERBER’S SHORT STORIES

N. Ye. Lysenko — 2025-10-16

This article explores the peculiarities of how euphemistic and dysphemistic expressions function as tools in the author’s strategy of linguistic play within the narrative space of contemporary French writer Bernard Werber’s short prose. The research is based on the collection “L’Arbre des possibles et autres histoires”, where each story unfolds as a speculative scenario set in an alternative spatiotemporal dimension. Linguistic play is understood as a deliberate deviation from linguistic norms, a playful manipulation of linguistic resources to achieve a particular pragmatic resonance. In Bernard Werber’s works, euphemistic and dysphemistic substitutes manifest as linguistic entities drawn from diverse discursive domains – media, administrative, juridical, and scientific domains, particularly medical, biological, psychological, and philosophical, as well as lexemes and expressions from diverse linguistic registers interacting within a single context. Such stylistic heterogeneity, coupled with the contamination of usual media euphemisms with substitutes forged through alternative stylistic figures, generates not merely humorous, ironic, and satirical effects, but also cultivates an atmosphere of absurdity and, occasionally, cognitive dissonance within the reader’s consciousness. The synthesis of euphemisms and dysphemisms within unified contextual boundaries precipitates an effect of semantic and stylistic flickering – a peculiar oscillation between the veiling and illumination of an object’s negative attributes in a 'veil–spotlight' mode (in line with D. Jamet’s metaphors). This phenomenon induces cognitive tension in the reader, thereby activating their interpretative engagement. Through this mechanism, the author not only constructs possible worlds but also engages the reader in an active game of meaning decipherment – a manifestation that simultaneously embodies postmodernist literary practice and reflects the distinctive features of the writer’s individual stylistic signature.

COMMUNITY INTERPRETING IN THEORY AND PRACTICE

T. H. Lukianova — 2025-10-16

Community interpreting is currently in great demand due to the global migration processes. The number of skilled interpreters trained in this specialized type of interpreting is insufficient. Our article focuses on studying the main translation competencies necessary for working as a community interpreter. The paper examines linguistic, domain- specific, intercultural, and interpersonal competencies, as well as the interpreter’s further professional development. The research investigates the issues of consecutive dialogue interpreting and potential problems arising from it; skills necessary for consecutive interpreting, note-taking, sight translation, and chuchotage. The article dwells upon memory and concentration exercises.The article outlines the main domains, the terminology of which needs special attention due to their specific terminology, which can pose problems for volunteer interpreters in the absence of professional interpreters.The article emphasizes the need to study the traditions and customs of the soutce and target language countries, understand the mindset of people and moral values of the country whose language is being studied, which will further facilitate the work of the interpreter. «Soft» skills are receiving increasing attention, as they make it possible to establish effective communication with all participants, help to establish trusting relationships, understand basic emotions, and to be able to actively listen, as well as to adhere to the code of ethics, etc.The article examines the possibilities of further development of professional skills, and it pays attention to the need to take care of the physical and psychological state of the interpreter to avoid burnout.The paper analyzes the results of a survey of people who are forced to move abroad: women with children of different ages, women with elderly parents, people of various genders who have been abroad for more than four years, and people with sick relatives in their care.

FORMATION AND TRANSLATION OF METONYMIC MILITARY TERMS OF THE ENGLISH LANGUAGE

N. L. Lvova — 2025-10-16

The article is devoted to the study of English military terms formed by means of metonymy. A definition of the notion «a metonymic term» is given in the article, models and submodels of formation of English metonymic military terms are defined, methods and transformations of their translation into the Ukrainian language are also analyzed in it.A metonymic term is a means of official designation of a professional notion, formed by the transposition of the meaning of a linguistic unit based on the contiguity of the denoted notions, or on the basis of a functional relationship between them. Metonymic terms are quite common in the English language of the military sphere.It indicates the productivity of metonymy as a semantic mechanism of term formation in it. The models of their forming are the following: «process − result» (pure metonymy), «proper name − common name» (antonomasia), «part − whole» (synecdoche).Terms based on the «process–result» metonymic model are not numerous in the analyzed terminology. They are used to designate military objects and subjects by their actions. Terms of the antonomasia model, formed by means of the substitution of a proper name by a common, are used to designate military events, institutions, and inventions in the English language. Submodels of their formation are the following: «name of a settlement − military event»,«name of a settlement − military institution», «name of an inventor − military invention». The most widespread metonymic terms of the analyzed terminology are formed on the basis of synecdoche and its «part − whole» model. Submodels of their forming are «item of gear (uniform) − military personnel (equipment)», «individual − community», «significative component (quality, color, functional features) of a military object/subject – military object/subject».English metonymic military terms are rendered into Ukrainian by means of equivalents, calquing, descriptively, and with the help of various translation transformations. In addition to such simple translation transformations, as transposition, adding of words, and lexical substitutions, complex transformations, combining several simple transformations, are also used in the translation of the analysed terminology. Transformation translation is used mainly for the terminological combinations of the sphere.

EXPRESSIVENESS OF TERMINOLOGICAL ABBREVIATIONS IN CONTEMPORARY ENGLISH-LANGUAGE DISCOURSE OF ENERGY INDUSTRY

T. B. Maslova — 2025-10-16

The rapid development of science and technology and an increase in the information exchange have led to the trend towards the shortening of multi-component terms, and this is currently one of the most productive word- building patterns of English language vocabulary. The practicality of using abbreviated terms contributes to the processes of language economy, fosters the tendency of the English language to monosyllabism, and ensures the communicative and pragmatic integrity of various types of discourse. In the English-language energy industry discourse, both abbreviations and acronyms have been identified, which are distinguished depending on the principle of their design: abbreviations are usually formed from the first letters of a term combination and each letter is read separately, while acronyms are built from various combinations of the elements of a term combination, but are read as a full word. An acronym that is pronounced the same way as a common word is called “omoacronym” and it usually receives an additional connotative meaning, which is specified by the speaker’s pragmatic intention. The intentions for creating omoacronyms are found to make a new term easier to remember and more common to use, due to associations with the internal form of a familiar word. As for semantics, terminological abbreviations in contemporary English-language energy industry discourse can be divided into three categories: names of energy companies, names of official documents, and names of projects, newly invented devices, methods, etc. It is the third category that includes most of the homoacronyms that have been revealed to perform the pragmatic function of attracting the addressee’s attention by creating a positive impression of the proposed new idea or initiative in the energy industry because of the word pun involved. In general, the presence of homonymy of terminological abbreviations is quite noticeable. Accordingly, to overcome the difficulties of understanding and translating cross- industry and intra-industry homonymous abbreviations, definitional and contextual analysis should be used based on modern dictionaries, specialized reference sources, and corpus-based techniques. The distinction between inter- industry homonyms is made obvious across the broad contexts and by determining the type of discourse to which the communication of specialists belongs, while intra-industry homonymy requires further details about the subject matter of communication, and it is usually the immediate context and collocations that will eventually help clearly understand the semantics of the abbreviation.

GENRES AND POETICS OF LYRICAL COMPOSITION IN VASYL SYMONENKO’S POEMS

V. A. Meleshko — 2025-10-16

The article contains results of the thorough analysis of Vasyl Symonenko’s oeuvre. It reveals the genre specificity of some of his lyrics, as well as highlights the poetics of the composition of his certain poems.It was proven that Vasyl Symonenko’s poetic works have genre diversity. Among them one can find civic- patriotic polyphonic poems-interpretations, intimate (rarely intimate-landscape) poems-wonders, lyrical lullaby-fairy tale, psychological poetry; also, humorous and invective genres, sharply accusatory appeals in particular, humorous and satirical miniatures, humorous and satirical epitaphs, poetic messages, etc. It is worth mentioning that some of Vasyl Symonenko’s works are on the borderline between several genres: at the crossroads of landscape and philosophical lyrics, on the borderline between civic and philosophical lyrics, partly journalism.In determining the essence of the poems’ composition by Vasyl Symonenko, the authors relied on, firstly, theoretical and literary postulates that the composition’s constituents are two groups, textual and supra-textual, of main elements, and, secondly, on the fact that in a lyrical work the focus in terms of composition is mainly grounded on the genesis of feelings. Therefore, in the compositional analysis of a certain poem by Vasyl Symonenko the following convincing stages of the unfolding of feelings (the starting point in the genesis of feelings; the proper genesis itself; the culmination of lyrical feeling, though not always possible to identify, and the author's conclusion) were successfully identified.The article makes an emphasis on the fact that Vasyl Symonenko often resorts to concentrated aphoristic expressions, which become the “moral” (similar to a fable) of the work. A significant number of the author’s poems end precisely with an aphorism, which makes it possible to assert that in such cases the lyrical composition acquires, to a certain extent, the traits of epic poetry.The civic-patriotic polyphonic poems-interpretations of V. Symonenko, the scientists are convinced, are characterized by civic responsibility and passion. The author realizes them primarily through the stylistic device of contrast.Thus, the authors in their article have implemented several scientific tasks: they have identified the genre nature of V. Symonenko's poems; they have analyzed works of various genres to demonstrate the wide amplitude of the author's artistic world; based on the theoretical and literary aspects of the composition of lyrical verbal canvases, they have revealed the poetics of the compositions of individual poems by the artist of the sixties.

HISTORICAL AND LINGUISTIC ASPECTS OF FRENCH BORROWINGS IN LEGAL ENGLISH

T. I. Mys — 2025-10-16

This article is devoted to the study of French borrowings in legal English, specifically their formation, spread, and usage in legal terminology. The article analyzes the specific features of this terminology, such as its French origin, strict use of terms, formality, and standardization. The historical aspect of the development of legal vocabulary in the English language is separately examined, particularly the influence of Norman-French after the Norman Conquest of England in 1066, when English began to experience significant French influence. This led to the formation of «Law French» − a language used in legal correspondence and court proceedings. Some terms and structures introduced at that time have persisted in modern legal English.The purpose of this article is to analyze the French borrowings in legal English terminology, their formation, spread, and usage, as well as to examine the lexical composition of English legal terms.To achieve the objective of the study, descriptive, analytical, and etymological methods were applied. Elements of the comparative method were also partially employed to contrast English and French legal constructions. The research made use of such reference sources as the Anglo-Ukrainian Dictionary of Legal Terms and Black’s Law Dictionary, which contributed to a detailed examination of legal terminology and its etymology.The scientific novelty of the work lies in the comprehensive approach to analyzing French borrowings in legal English and their impact on the development of legal vocabulary. The article also highlights the connection between Old French and modern English legal terminology, as well as the interaction of terms through the process of “Franglais,” which is an important aspect for understanding the transformation of linguistic units in the international legal context.From the history of the development of legal language, it can be concluded that it has gone through a significant evolution, and despite its specificity, terms in English law often have equivalents in other languages and legal systems. Knowledge of these equivalents is essential for lawyers and legal professionals, as it allows them to better adapt to different legal systems and interact effectively on the international level. Legal language vocabulary is rich and diverse, contributing to its successful application in international legal processes. Studying legal terminology in English is a necessary tool for effective communication, analysis, and interpretation of legal acts, as well as participation in global legal initiatives.

PRISON AESTHETICS IN IVAN BAGRYAN'S NOVEL “THE GARDEN OF GETHSEMANE”

I. S. Mykhyda — 2025-10-16

The article attempts to comprehend the prison aesthetics in Ivan Bahrianyi's novel “The Garden of Gethsemane,” aimed at deconstructing totalitarian discourse and illustrating the distorted moral and ethical paradigm of the Soviet Union. To this end, certain criteria of aesthetics in general are identified, and the author's techniques and means of creating a special artistic space and characters that foster a positive environment for spiritual growth in inhumane conditions are determined.The main character of the novel strives for freedom, but bravely endures imprisonment and the unwritten laws of the prison microsociety. The reader sees the prison through the prism of his perception: clear order, justice, mutual support, and, conversely, immediate punishment for traitors. There is also a deep immersion in prison life (slang, crafts, education, art, games, etc.), which flourishes despite conditions that are completely unsuitable for it. This creates an antinomy between the outwardly ugly but highly spiritual world of prisoners and the attractive but immoral world of guards and investigators. The expected space for the destruction of personality in I. Bahrianyi's work is transformed into a metaphor for spiritual trial and purification through the numerous circles of totalitarian hell.The article highlights the author's interpretation of the prison world, which does not tend to romanticize criminal elements. Moreover, the entire imagery is aimed at demonstrating the absurdity and immorality of the Soviet repressive system, where true intellectuals and representatives of the creative and scientific elite find themselves among “criminals”. Thus, the prison aesthetics in the novel are not a tool for aestheticizing crime or deviance, as is characteristic of criminal subculture, but reflect the author's moral code in conditions of existential terror, serving as a means of interest and a way for the psyche to survive traumatic experiences and realize thanatic intentions. In summary, the novel “The Garden of Gethsemane” is capable of satisfying the demand of part of Ukrainian society for countercultural content without cultivating marginal behavior. Thus, prison aesthetics in I. Bahrianyi's work is a manifestation of an artistic strategy of resistance and a form of deconstruction of the imperial conception of crime and punishment.

LANGUAGE AS A MARKER OF «OWN» AND «OTHER» IN SOFIA ANDRUKHOVYCH’S NOVEL

I. S. Mokriakov — 2025-10-16

The article explores the use of language(s) as a means of «othering» characters in the literary works of contemporary Ukrainian author Sofia Andrukhovych, specifically in the novels Сьомга (2007), Фелікс Австрія (2014), and Амадока (2020). The study presents this linguistic strategy as a significant component of the author’s stylistic approach. It highlights how characters are marked through language, how their images are constructed, and how language directly influences this process. The article also examines the aspect of perception in detail – in our study, it appears in two dimensions: first, we explore how language directly influences the reader’s perception, the ways characters perceive one another within the fictional space of the text, and the distinctive features of using language to differentiate characters in the context of the author’s style.The methodological foundation for the analysis includes Edmund Husserl’s concept of intersubjectivity, Maurice Merleau-Ponty’s phenomenology of perception, Jacques Derrida’s deconstruction, Edward Said’s theory of Orientalism, and their contemporary interpretations in Ukrainian literary studies.The article demonstrates the use of language as a tool of «othering» in Sofia Andrukhovych’s three novels and identifies its practical functions and artistic features. A comparative analysis of the texts reveals the transformation and evolution of this stylistic component. Thus, the study portrays language not merely as a means of conveying and perceiving the fictional reality of a text, but also as a broader tool: one that marks characters as «own» or «other» establishes textual distance or proximity between them, constructs identity and serves as a means of self- identification, and ultimately shapes the reader’s perception of the literary work.

THE IMAGE OF WOMAN IN THE ENGLISH LINGUISTIC WORLDVIEW: A LINGUOCULTURAL ANALYSIS OF PROVERBS AND APHORISMS

L. V. Monastyrova — 2025-10-16

This article explores the features of representing the image of women in the English-speaking worldview through the lens of paremiological units (proverbs and sayings) and aphoristic expressions. Language is considered a key tool for shaping, preserving, and transmitting collective ideas about social roles, particularly gender roles. Proverbs serve as reflections of accumulated collective experience and societal value systems, while aphorisms represent intellectual generalizations of individual authorial perspectives, often containing philosophical or critical reflections.A diverse range of linguistic units from various English phraseological dictionaries and quotation collections was analyzed to reveal the characteristic connotative features of the female image across different genres. Proverbs predominantly convey utilitarian and sometimes critical evaluations, highlighting emotional volatility, talkativeness, propensity for extravagance, and social instability. In contrast, aphorisms demonstrate a much broader spectrum of perception, ranging from ironic critique to aesthetic and philosophical admiration of the female nature.The folk tradition primarily depicts women in the roles of wife, mother, and homemaker, thus forming a fairly conservative and socially conditioned ideal of femininity. Meanwhile, the aphoristic discourse offers a more flexible, multifaceted, and ambivalent image of women, emphasizing their intellectual, moral, and intuitive strengths, portraying them as individuals with an inner world and as active cultural agents. This discourse contributes to softening traditional stereotypes and gradually shaping new paradigms of gender perception. Connotative analysis indicates the coexistence of both negative and positive connotations, reflecting the persistence of certain stereotypes alongside shifts toward more pluralistic and subjective views of women. Therefore, the image of women in English- speaking culture is formed at the intersection of traditional and contemporary views, collective memory, and individual interpretations, opening avenues for further linguistic-cultural and gender studies.

TRAGIC COMEDY IN THE WORK OF IVAN TOBILEVYCH (I. KARPENKO-KAROGY)

L. Z. Moroz — 2025-10-16

The article contains a brief overview of some theoretical ideas regarding the interaction of comedic and tragic principles in literary works (E. Malanyuk, E. Bentley). This is followed by a detailed, episode-by- episode analysis of I. Tobilevich's play ‘Chumaky’. The playwright designated the genre of the work as ‘comedy.’ The author of the article argues that it is a ‘tragicomedy,’ noting moments of psychological artistic exploration and tracing the accumulation of characteristics of this particular genre. She discusses the dual nature of the artistic conflict in the work: external – moral and social, and internal – moral and existential, as a problem of a certain threat to the ancestral characteristics of the nation's existence as a result of the moral degradation of some of its representatives, who are capable of undermining the harmony between the male and female principles, which traditionally supported the inviolability of ‘the family as the axis of culture,’ according to Y. Lypa's theory. Scientific information (from the works of P. Odarchenko and Y. Lypa) is presented about the original Ukrainian way of economic activity – chumakstvo. Here is the researcher's own original version of the uniqueness of the Ukrainian name for the cosmic phenomenon – the Milky Way constellation.The philosophy of the work is seen within the framework of a system of national ethics based on Christian values.The development of the conflict in the play, constructed by the playwright, is traced in accordance with his understanding that the morality of the entire community, and further, of the whole society, depends on the morality of each individual. The grounds for discussing the dual nature of the artistic conflict in the play ‘Chumaky’ have been established: moral and social, so to speak, on the surface (according to external signs) and, according to internal dimensions, moral and existential. Since we are talking about the ancestral characteristics of a nation's existence, the conflict unfolds mainly within one family: brothers Khoma and Vitaliy are representatives of one clan, while their wives Nastya and Solomiya are from other clans, thus starting new clans.Nastya initiates the conflicts, thereby threatening the harmony between the male and female principles as a traditional guarantee of the inviolability of ‘the family as the axis of culture’ (Yuri Lypa's theory). Solomiya appears as a symbol of the Woman-Mother, thanks to whom Life continues.

MILITARY SYMBOLISM OF UKRAINE (2022–2025): FOLKLORIC GENESIS, TYPOLOGY, AND FUNCTIONAL SIGNIFICANCE

L. O. Nazarova — 2025-10-16

The article offers an interdisciplinary analysis of wartime symbolism that has emerged in the Ukrainian cultural space during the Russian–Ukrainian war of 2022–2025. The study proposes to consider this symbolic system as a complex semiotic structure that arises in response to national trauma while drawing on deeply rooted folkloric archetypes. The transformation of key symbolic figures is examined – such as the Ghost of Kyiv, Saint Javelin, Patron the Dog, memetic figures (NAFO, tarot divinations), popular wartime songs (“Bayraktar”), and iconic toponyms (Snake Island, Azovstal, Bakhmut) – in terms of their ontological nature, functional roles, and cultural genealogy.The article introduces a three-layer typology of wartime symbols: (1) by ontology (anthropomorphic, zoomorphic, technomorphic, phytomorphic, artefactual, geotoponymic, verbal); (2) by function (therapeutic, mobilizing, sacred, commemorative, educational, parodic-defensive); (3) by cultural origin (traditional, digital, hybrid). This approach allows for structuring a large body of empirical material and reveals how symbols function as rapid responses to social and military crises.Particular attention is paid to parallels between new symbolic figures and traditional folklore imagery (e.g., the Ghost of Kyiv as a charakternyk warrior; Saint Javelin as a protector akin to the Virgin Mary; Patron as a totemic guardian; Bayraktar as a sacralized weapon; Azovstal as a mythologized place of power). In the study, methods of content analysis of digital media (TikTok, YouTube, Telegram) and analysis of contemporary literary works representing war symbolism are combined with folkloristic, semiotic, and cultural studies approaches. It traces patterns of image circulation, their memetic dissemination, ritualization in digital space, and institutionalization in public culture (stamps, murals, embroidery, official emblems).This is the first attempt to present a systematic map of wartime symbolism as a hybrid cultural phenomenon that synthesizes traditional folk heritage, digital media practices, and emotional-therapeutic functions. The article emphasizes the role of folklore in contemporary information warfare, collective coping mechanisms, symbolic trauma processing, and the formation of cultural memory in times of prolonged military conflict.

THE INNER WORD OF A PERSON THROUGH THE SYMBOLISM OF BLACK (ON THE MATERIAL OF ENGLISH, TURKISH, AND UKRAINIAN LANGUAGES)

L. I. Oriekhova — 2025-10-16

The article is aimed at describing the ethnic and cultural specific features of phraseological units with the component black in a comparative aspect (on the material of the Ukrainian, Turkish, and English languages) when taking into consideration the linguistic conceptual space formed by the corresponding communicative and cultural traditions.A person who loves the color black is considered conservative. It is assumed that such people are characterized by elegance, subtlety of perception, the ability to soberly assess the situation, etc. In Western cultures, black is perceived as the color of death. In the Christian tradition, the custom of wearing black clothes to a funeral comes from the belief that this will prevent the spirit of the deceased from recognizing people and harming them. Meanwhile, Eastern culture is more tolerant of the color black: in Japan, for example, black is a symbol of age and experience, nobility.The symbolism of black is most often viewed in its most negative aspects. Black, in contrast to white, symbolizes the completion of any phenomenon, and in many cultures is usually given negative symbolic meaning, as the color of evil, sin, the devil and hell, as well as death. Most peoples have a similar attitude towards the color black. And this is not difficult to understand, because black is the color of the night, which associates it with evil. In the symbolism of black, there is a very important coding caused by fears of dark forces.Phraseological units with a black component in all three languages have a pronounced negative assessment and are associated with such concepts as "failure", "evil", "longing". Black absorbs all other colors and negatively affects a person's psyche and mood, but perhaps it is this pronounced negative energy that has become the reason that in a person's thinking, everything bad and joyless is strongly associated with black.Thus, as a result of our research, we can conclude that a feature of the semantics of the coloronym black in phraseological units of the Ukrainian, English, and Turkish languages is the absence of binary axiological opposition, because this color designation most often has a negative, negative assessment in the three languages considered in the study.

TYPES OF FIGURATIVE MEANINGS IN MODERN KOREAN LANGUAGE (BASED ON THE MATERIAL OF KOREAN K-POP SONGS)

V. O. Okhrimenko — 2025-10-16

The article deals with the varieties of figurative meaning as one of the important components of the Korean language semantics. The purpose of this study is to identify the peculiarities of using figurative meanings in contemporary K-pop songs and to characterise the meaning of tropes in the Korean language. The research material was the lyrics of contemporary Korean songs by the following artists: IU, BTS, TXT, I-DLE and Agust D. The analysis examined the classification of tropes (figurative meanings) found in the selected material. Particular attention is paid to metaphor, metonymy and synecdoche. The paper reveals the essence of the meaning of each of these tropes, their functioning in terms of cognitive and emotional aspects. The article analyses metaphorical transformations and metonymic transfers as characteristic features of figurative meanings in the modern Korean language. It is determined that the figurative meaning is derived from the direct meaning and is usually associated with it. There are cases of figurative use that are individual, figurative in meaning and characteristic only of selected contexts. The figurative lexical meaning resulting from such use of a word is usually not fixed in the minds of speakers and may not be recorded in explanatory dictionaries.The study reveals the semantic transformations of certain lexical units in K-pop songs of the modern Korean language and, on the basis of them, examines in more detail the peculiarities of the use of figurative meaning in Korean lyrical texts. It has been proved that the use of tropes in songs is a widespread phenomenon that is also characteristic of the Korean language. Tropes are actively used in fiction poetry and carry emotional colouring and add symbolism and imagery. The analysis and the results obtained may be important for deepening the study of literary translation, cognitive linguistics, and poetics.

TARAS AND LYKERA: A WELL-KNOWN STORY IN THE VERSIONS OF THE SHEVCHENKIANA NOVEL

V. T. Polishchuk — 2025-10-16

The article is part of a systematic research project on intimate and love discourses in Ukrainian literary Shevchenkiana, in particular in novel prose. It is noted that the creative interpretation of Taras Shevchenko’s relationship with Lykera Polusmak requires broader and more systematic studies despite the numerous documentary and memoir sources and artistic and documentary works about that relationship. It is noted that it is in the “great” prose, short stories and novels that the studied topic is most widely and diversely embodied, and certain evolutionary trends are traced in works written in different time periods. The article consistently analyzes the artistic embodiment of history in the novels of the 1960s (the novel by O. Ivanenko, B. Vadetsky), Vas. Shevchuk’s dilogy “Son of Freedom” (1980s) and a number of novels of the 1990s–2010s (the works of H. Tarasiuk, A. Tsvid, V. Chemerys, etc.). It is noted that the features of the artistic embodiment of the history of the relationship between Shevchenko and Polusmakivna were influenced, firstly, by the “addressability” of the work (O. Ivanenko’s novels are “for middle and high school age”), and secondly, and most importantly, by the creative freedom of writers (novels of Ukraine’s independence period). Special attention is paid to the interpretation of the studied history in Vas.Shevchuk’s dilogy “Son of Freedom”, where it is written out in an artistic way, with a deep psychologization of images and collisions. In the novels of the 2010s, writers resorted to fiction and conjecture much more widely in the embodiment of the theme, to the depiction of intimate and love pictures and scenes, but each of the authors in a special way. It is also pointed out a certain decrease in artistry in the latest novels, compared, for example, with the dilogy of Vas. Shevchuk, a certain excess of authorial subjectivism in fictional operations. At the same time, it is concluded that the analyzed novels have become a noticeable contribution to the entire Shevchenkiana and to the artistic comprehension of a specific story in the life of Taras Shevchenko.

FRAGMENTATION OF WORLD PERCEPTION AND SYNTAX INNOVATIONS: PARCELATION IN POETRY

O. M. Pokhyliuk — 2025-10-16

The article is devoted to the study of syntactic innovations, in particular parcellation, in modern poetic discourse, revealing its role in creating expressiveness, rhythmic tension and reflecting a fragmented worldview. The relevance of the work is due to the need for in-depth study of the dynamic aspects of language, its ability to reproduce complex cognitive processes and aesthetic searches of artists.The study examines the theoretical principles of the functioning of parcellation, based on the works of leading linguists. In particular, it is emphasized that parcellated constructions represent a way of reflecting a fragmented worldview, typical of existential poetry, which testifies to the close connection of syntactic form with deep philosophical and psychological aspects. It is highlighted that parcellation is a powerful tool for actualizing information, contributing to the accentuation of a certain fragment of the message and the intensification of the meaning of non-nuclear components, which expands the information saturation of the sentence. It is shown that connecting constructions, related to parcellation in terms of the actualization function, are used to achieve the effect of sequential, linear stringing and ensuring the combination of structurally autonomous quantities, which contributes to the creation of multilayered and intensively saturated semantic structures.Special attention is paid to the contribution of linguists who distinguished parcellation and connection as different, but complementary syntactic phenomena. It is emphasized that, although parcellation violates syntactic integrity for the sake of expression and drama, connecting constructions help to develop the thought, clarify and detail it, forming a multi-aspect, multi-level information structure of the statement. This allows us to speak about their universal potential in modeling the rhythm and emotional atmosphere of a literary text.The conclusions of the work confirm that parcellation and connecting constructions are key syntactic innovations that play a significant role in the formation of expressiveness, rhythmic tension and the reflection of a fragmented worldview in poetic discourse. Further research into these phenomena is important for deepening the understanding of the relationship between syntactic structure, cognitive processes and the aesthetic function of language in the context of modern linguistics and literary studies. The material of the article can be useful for philologists, literary critics, as well as everyone who is interested in the issues of the functioning of language in a literary text.

ARTISTIC AND CREATIVE THEMATIC SEGMENT OF MYKHAILO KOTSІUBYNSKYI`S LETTERS TO OLEKSANDRA APLAKSINA

V. A. Prosalova — 2025-10-16

This article presents, for the first time, a systematic and holistic scholarly interpretation of the artistic and creative thematic dimension in Mykhаilo Kotsiubynskyi’s letters to Oleksandra Aplaksina.Since the publication of this epistolary corpus, the themes of art and creativity addressed therein hаve attracted the attention of researchers, writers, and the broader reading public. These topics have often been emphasized in biographical studies, memoir literature, and textological research within Kotsiubynskyi studiеs. However, they have not undergone focused scholarly analysis and have at times been overshadowed in favor of various “sensational” interpretations of the writer’s “private diary.” This research demonstrates that the themes of art and creativity permeate the entire body of correspondence, covering its full chronological span (1904–1913). Kotsiubynskyi articulates these ideas on a conceptual level: love becomes a poem, a drama, a song, a source of inspiration, and catharsis; whereas separation from his beloved is likened to the artist’s painful loss of sensitivity, talent, and creative capacity. The writer’s imagination frames time spent with his beloved as one of shared literary engagement, conversations about art and cultural preferences, and thoughtful listening to the opinion of his most cherished “first recipient” of his works.Art in the letters is portrayed as an еssential attribute of the author’s existence – a subject of his interest and admiration, and a sphere of creative practice. It functions as a core element of human cultural life, a means of influence, and a vehicle for personal and intellectual enlightenment. Kotsiubynskyi expresses deep interest in artistic disciplines such as literature, music, song, dance, thеatre, sculpture, architecture, photography, and cinematography.At the same time, he reveals himself as a keen appreciator of natural landscapes, human beauty, clothing, and everyday aesthetics.Creativity in the epistolary corpus is presented as a beloved literary pursuit, encompassing the psychological aspects and working phases of the writing process. It also takes the form of epistolary critique and self-crіtique, and is reflected upon in the context of literary fame. The correspondence reveals Kotsiubynskyi’s artistic personality – characterized by strong emotional intelligence, a deeply internalized aesthetic worldview, an enduring creative impulse, and a profound desire for the synergy of beauty in both life and art.

PRACTICAL IMPLEMENTATION OF THE CONTRASTIVE APPROACH OF COMPARATIVE GRAMMAR WHEN TRANSLATING FROM ENGLISH INTO UKRAINIAN

V. M. Puzanov — 2025-10-16

The article is devoted to the practical application of the contrastive approach of comparative grammar, as well as the views within it when translating English grammatical structures into Ukrainian. The influence of basic and secondary grammatical categories on the translation decision is considered, and typical isomorphisms and allomorphisms are established, which determine the need to adapt syntactic constructions. The focus of the analysis is two main views on the practical application of the contrastive approach of comparative grammar to the translation of grammatical structures: template and creative. The author outlines the scope of each of them depending on the functional style of the text, the purpose of communication and the expectations of the recipient. Particular attention is paid to contrastivity as the basis for describing interlingual grammatical equivalents, as well as the stylistic factor as the main regulator of translation transformation. Through the analysis of practical examples from official business, journalistic and artistic discourse, it is shown how the structure of the statement changes depending on the pragmatic function of the message. The advantages and limitations of each view are considered, and the importance of functional analysis is emphasized, in which the translator focuses on semantic and communicative adequacy, rather than formal literalness. The conclusion attempts to assess the correlation of lexical and grammatical components of translation, proving that it is the grammatical structure that in many cases determines the logic and content of the statement. The idea of exaggerating the role of transformations in translation theory is also critically analyzed, taking into account the automatism and intuitiveness in the actions of an experienced translator. The material is based on domestic and foreign theoretical works, as well as educational sources and scientific articles, which allows forming a holistic idea of the problem under study.

LOANWORD-NEOLOGISMS IN CONTEMPORARY GERMAN AS A MIRROR OF INFLUENCES

L. F. Rys — 2025-10-16

The article is devoted to the study of loanword neologisms in contemporary German as a linguistic phenomenon reflecting external influences on the language. As we live in a globalized world, language inevitably undergoes foreign influence due to constant linguistic contact. Among the key factors contributing to the penetration of borrowings into the language are the globalization of the world economy, the formation of an international media space, and the emergence of the global computer network. Language is an open, dynamic, and flexible system, which naturally absorbs external influences from other languages. This is reflected in the widespread use of borrowed lexical units that meet the need to name new concepts, realities, and phenomena. Based on a quantitative and qualitative analysis of 439 neologisms recorded in the Duden, Neologismenwörterbuch, and GfdS sources, it was established that 44% of the new lexical items are of borrowed origin. The study describes the main forms of borrowing, including direct borrowings, calques, partial calques, and derivational borrowings. A distinctive feature of loanword neologisms, especially direct borrowings, is their adaptation to the grammatical system and orthographic norms of the German language. In order to determine the influence of other languages and cultures on German, the borrowings were analysed by their origin, revealing that English plays a leading role, reflecting the influence of the United States and Anglo-American culture. Loanwords frequently appear in the social sphere, leisure, nutrition, and modern technologies, indicating changes and innovations in these domains that enter the German language and culture along with new designations. The findings demonstrate that loanword neologisms not only enrich the German lexicon but also reflect sociocultural and technological transformations of the modern world. The article contributes to a deeper understanding of the mechanisms of linguistic adaptation, intercultural interaction, and the trends in the development of contemporary German vocabulary in the context of a globalized society.

MAIN NARRATIVES IN EDWARD SAID’S WORK: POSTCOLONIAL CRITIQUE, CULTURE, AND IDENTITY

K. R. Sava — 2025-10-16

This article presents a comprehensive analysis of four key narratives in Edward Said’s work that have shaped the development of postcolonial criticism and cultural studies. The aim of the study is to determine the conceptual role of these narratives in the formation of contemporary approaches to the study of representation, power, and identity.The first narrative, the representation of the “Other”, explored in Orientalism, demonstrates how Western intellectual and cultural practices construct the East as subordinated and exoticized, thus providing the ideological foundation for colonial domination. The second – the cultural-imperial narrative, developed in Culture and Imperialism, examines how literature and the arts serve as instruments of symbolic control, reproducing and legitimizing power discourses within the cultural sphere. The third – the narrative of exile and emigration – rooted in Said’s personal experience, reveals the impact of displacement and living between cultures on the development of sensitivity to identity-related issues and postcolonial trauma. The fourth – the narrative of intellectual responsibility, articulated in Representations of the Intellectual, defines the role of the intellectual as a moral opponent of dominant structures, capable of resisting the hegemony of knowledge and defending alternative voices.The methodological basis of the study combines discourse analysis with cultural and philosophical approaches, providing a holistic interpretation of Said’s ideas in the broader context of the humanities. These narratives not only explain the mechanisms of colonial and postcolonial discourse but also remain highly relevant for current interdisciplinary research on culture, politics, and identity.

THE IMAGE OF THE WARRIOR-HERO OF THE RUSSIAN- UKRAINIAN WAR IN CONTEMPORARY ARTISTIC DISCOURSE

N. L. Senovska — 2025-10-16

The article presents the representation of the image of a warrior-hero in works of art about the contemporary Russian-Ukrainian war; outlines the moral, ethical and psychological dimensions of literary portraits of the heroes of our war. Based on a general analysis of artistic texts created «under the bullets», a new type of patriot − Man- Humanity, which is pervasive in modern artistic discourse, has been identified. Based on semi-structured (in-depth) interviews with specialists from a cohort of contemporary Ukrainian writers, critics, literary scholars, publishers, journalists, and librarians (Vasyl Vanchura, Dara Korniy, Vitaliy Zapeka, Olena Mokrenchuk, Tetyana Pylypets, Nadiia Senovska, Hanna Skorina), who actively promote the work of warrior artists and monitor the development of contemporary war literature, artistic models of war representation and the image of a warrior-hero are summarized.The artist's (military or civilian) values are also revealed: what war is for him – an event, a trauma, an existential test, a mission. A generalized analysis of the motivation of the author's writing was carried out: why write about war today and how the language of literature changes under the pressure of disaster. The specifics of genre and stylistic decisions in modern Ukrainian war literature are characterized (poetry, diaries, notes, autofiction, nonfiction, documentary, reports, stories, essays, therapeutic tales and other genres of short prose predominate, fewer examples of long prose with artistic and analytical interpretation of what was experienced are recorded). Individual receptive strategies have been recorded, that is, the vision of how war literature should be perceived by readers, what its educational and nurturing function is. An authorial classification of modern military literature has been developed (classical – by genres and genres; logical – by themes; specific – by authorship; value-oriented – by direction).

PRIVATE DEDICATIONS OF UKRAINIAN LITERATURE OF THE 1920S–1930S: FROM GIFT TO SYMBOLIC CAPITAL

L. V. Skoryna — 2025-10-16

In this article analyzes the changes in the structure and functions of private dedications and dedicatory titles in the literary field of the 1930s compared to the 1920s. The relevance of this research is due to the need to update methodological approaches to the study of dedications in Ukrainian literature, and besides, to deepen understanding of this paratextual element functioning in the works of Ukrainian writers of the 1920s–1930s. The object of study are the dedications and dedicatory titles found in the works of Ukrainian writers of the “Executed Renaissance” era.Comparing the development trends in Ukrainian literature in the 1920s–1930s, the direct influence of social and political processes on dedicatory formulas, motives and forms of dedication can be marked. The cultivation of collectivism, the priority of public over personal led to a decrease in the number of private dedications (from 104 in the LF of the 1920s to 68 in the LF of the 1930s). In the works of Ukrainian writers of the 1920s, private dedications were an emotional expression of friendliness, gratitude, love for parents, brothers, sisters, a wife, a beloved one, children, friends. Young amateur writers: Komsomol members and party members, former workers and peasants, being conscious repeaters of party instructions, joined the literature on the wave of the “draft of strikers” at the end of 1920s – early 1930s. This had a noticeable effect on the nature of dedications. In the works of young, ideologically engaged authors, family members become the dedication addressees only if they are active participants in “socialist building”. Private dedications of the 1930s are more emotionally restrained, laconic, sometimes contain an indication of the addressee’s status (e.g., “To brother Andrii, the Komsomolets”, “To brother Yurko, the Red Guard – I dedicate”).In the conditions of political “turbulence” and systematic persecution of dissidents, a dedication became a dangerous act, because no one was immune from accusations of disloyalty, anti-Soviet agitation, or espionage.A personal dedication could become proof of acquaintance with the “enemy of the nation” or a reason for false accusations, so the writers more often used unspecific and collective dedications, for example: “To a Friend”, “To a Comrade”, “To a woman – a citizen of the Socialist Motherland, to a woman-friend, to a woman-mother I dedicate this work with love”, “To Parents”, etc. In the literary field of the 1920s, private dedications can be interpreted as an example of gift, but in the 1930s in the works of the apologists of socialist realism they are transformed into “symbolic capital”, which can be converted into prizes, positions, titles, and material values.

NEOROMANTIC IMAGERY IN POEMS ABOUT THE HOLODOMOR

O. V. Smyrnov — 2025-10-16

The article examines the neoromantic mode of being of the heroes of lyrical-epic poems about the Holodomor through formal and content-based stylistic markers. The research relies on the principle of recurrence in artistic processes, where romanticism, the core of neoromanticism, functions as a timeless component of a meta-imagistic construct. It stands in contrast to the realist's analytical outlook and generally aligns with the value paradigm of the Ukrainian mentality. Thus, the focus falls on cordocentric, voluntaristic, and individualistic, yet altruistically oriented, impulses of characters, lyrical subjects, and narrators. Their actions arise from intense emotional upheavals stirred by the 1932–1933 catastrophe across multiple dimensions. Primarily, the analysis highlights rebellious, sacrificial, heroic, and stoic acts performed by the protagonists. Despite the pressure of famine and political repression, when the psyche collapses under primal fears and basic instincts, they transcend the mundane through service to higher ideals: God, nation, freedom, family, homeland, and inner purity. As a result, their daily existence acquires the features of a sacred feat, reaching beyond the boundaries of rational life and aspiring toward metaphysical heights.To intensify this, the texts employ a traditional neoromantic device: contrast. Hence, the antagonists appear as demonic officials who clamp the people in the system’s grip and destroy the sprouts of freedom in the Ukrainian soul. Opposing them stand martyr-like heroes – less often in physical confrontation, but more often on the spiritual level, where the conflict of meanings rages especially fiercely. This clash reveals the central neoromantic conflict, around which revolves another layer of experiencing the Holodomor: the inner intentions of the lyrical heroes. They observe the crime of genocide with pain in their hearts, bow before the resilience of their compatriots, carefully preserve the moments of their martyred lives, and seek to rally others against national amnesia. At the intersection of these dimensions emerges a distinctive atmosphere of locations imbued with spiritual essence. Thus, the neoromantic facet of the poetic world of Holodomor-themed works takes shape.

STEREOTYPING OF THE UKRAINIAN LANGUAGE AS A FACTOR OF LINGUISTIC ENVIRONMENT DEFORMATION

K. V. Taranenko — 2025-10-16

The article explores the stereotyping of the Ukrainian language as one of the factors contributing to the deformation of the linguistic environment. The relevance of the study stems from the need for a deeper understanding of the phenomena that influence the language behavior of modern Ukrainians, shape their linguistic consciousness, and determine communicative practices. The main focus is on the analysis of widespread stereotypes about the Ukrainian language in mass consciousness, their origins, and their impact on language identity, information and communicative security, and the ecology of the language environment. The article outlines ecolinguistic approaches to studying the linguistic environment, which consider language as an integral part of the information ecosystem of society. The analysis of common stereotypes about the Ukrainian language includes such widespread perceptions as beliefs about the instability of language norms; the conviction that the Ukrainian language has an artificial or mixed origin; prejudices regarding the widespread use of “surzhyk” (mixed language); and everyday myths about the “borrowed” or “simplified” nature of the language. Particular attention is paid to the analysis of a sociolinguistic survey, which confirmed the wide presence of such prejudices among Ukrainians. The study shows that these stereotypes are often reinforced both by historical traumas (colonial past, Russification, language repressions) and by modern ideological narratives aimed at lowering the status of the Ukrainian language. At the same time, everyday communication practices, the lack of systematic language education, and a simplified attitude toward language norms play a significant role in reproducing language stereotypes. The article argues that the stereotyping of the Ukrainian language is one of the factors of information and communicative toxicity, which leads to the distortion of linguistic consciousness, linguistic insecurity, and the devaluation of the Ukrainian language’s prestige in society.This phenomenon is identified as a factor that complicates the formation of a sustainable language environment and requires systematic efforts to overcome it.

EUPHEMISMS AND DYSPHEMISMS IN CINEMATIC TEXT: THEORY, PRAGMATICS, TRANSLATION

D. S. Temchenko — 2025-10-16

The article explores the theoretical foundations for analysing euphemisms and dysphemisms in English- language cinematic texts, as well as the translation strategies used for rendering them into Ukrainian. The relevance of the study is driven by the growing popularity of audiovisual content, particularly films and television series, in the global information space, as well as the insufficient level of research into lexical, grammatical, and lexico- grammatical changes that occur during the Ukrainian-language rendering of these phenomena in cinematic texts.The article defines the concepts of “euphemism” and “dysphemism” and identifies their structural, semantic, and pragmatic features. Particular attention is paid to the specificity of their use in cinematic texts, their communicative functions, and their sociocultural impact on the audience. Existing classifications of euphemisms and dysphemisms, which are mainly based on semantic and lexico-semantic factors, are analysed. Approaches to their translation into Ukrainian are examined. The illustrative material for translation analysis includes scripts of the English-language films Deadpool (2016) and Venom (2018), along with their Ukrainian translations.The article also highlights the role of social, cultural, moral-ethical, psychological, and linguistic factors influencing the choice of translation strategies that accompany processes of euphemisation and dysphemisation.Examples of relevant translation transformations are provided (including calque, modulation, explicitation, and compensation). The paper discusses cases where the Ukrainian translation is more complex or expressive than the original, demonstrating the phenomenon of dysphemisation, as well as contexts in which English invective vocabulary is rendered through more neutral Ukrainian equivalents, indicating euphemisation in translation.The conclusion emphasizes the need for further research into dysphemisms in the translation of cinematic texts, the development of a generally accepted unified classification, and the importance of an interdisciplinary approach that encompasses both linguistic and sociocultural dimensions. The article may be of interest to specialists in linguistics, translation studies, media communication, and cultural studies engaged in the in-depth examination of the outlined topic.

COGNITIVE AND CULTURAL INTERPRETATION OF METAPHORICAL ANIMAL IMAGES IN THE TURKISH AND UKRAINIAN LINGUISTIC SPACES

T. M. Timkova — 2025-10-16

The article presents a comparative cognitive-cultural study of zoomorphic metaphors in Turkish and Ukrainian, which function as a means of verbalizing the ethnic worldview of the respective communities. The analysis focuses on metaphorical names of domestic animals that, in figurative usage, denote human qualities. A corpus of 38 lexical units – 18 from each language – has been identified and categorized into universal, unique, equivalent, equivalently synonymous, antonymous, and non-equivalent zoomorphisms. The study is grounded in dictionary definitions, contextual examples from literary sources, and current linguistic theories of semantic and cultural analysis.Special attention is paid to the national encoding of animal imagery and the stereotyping of zoosemantics within the linguistic consciousness of Turkish and Ukrainian speakers. Zoomorphic metaphor is shown to be a significant element of idiomaticity, evaluative expression, and person conceptualization through animal traits. Metaphorical modeling based on such traits reflects collective cultural memory, activates symbolic archetypes, social stereotypes, and the axiological framework of the ethnos.The findings reveal the deep integration of zoomorphic metaphors into the linguistic worldview, highlighting their functional diversity, emotional connotation, and capacity to convey national values through linguistic means.Future research is expected to expand the material by including metaphorical representations of wild animals in both Turkish and Ukrainian, enabling deeper cross-cultural analysis of zoosemic connotations.

WORD ORDER IN SENTENCES OF MILITARY DISCOURSE: FUNCTIONAL AND STYLISTIC ASPECT (BASED ON UKRAINIAN AND FOREIGN MEDIA)

O. V. Turko — 2025-10-16

The article analyses the functional and stylistic potential of word order in sentences of modern military discourse as a factor of communication between the speaker and the recipient. The article reviews Ukrainian and foreign studies on word order in sentence constructions within the framework of functional grammar and discourse analysis.The article focuses on the variability of direct and indirect word order, which contributes to the realisation of a wide range of stylistic functions: representative, pragmatic, imperative, rhythmic, melodic, emphatic, focusing, ideological. The models of sentence structures are described, which allow to realise in the discourse canvas a certain communicative intention of the speaker, the content of which is produced by the stylistic function. The article substantiates the interpretation of word order in military discourse as a grammatical, communicative and pragmatic tool for the purpose of targeted speech influence. The author identifies and describes the linguistic means of modern military discourse that emphasise communication as a marker of actualisation of national values, shaping public opinion, maintaining the morale of the population, strengthening unity and counteracting the destructive information influence of the aggressor. Particular attention is paid to the change of neutral word order as a factor of communicative actualisation, increasing the emotional load of the statement and expressing the ideological message. On the example of media sources of Ukrainian and foreign origin, the author reveals inversion, parallelism, rhetorical questions, anaphora, and modal constructions as effective means of semantic focus and strategic influence on the audience. It is concluded that word-order transformations in military discourse are one of the key tools of linguistic influence on the recipient.

MASCULINIZATION OF FEMININE (WOMEN'S) DISCOURSE IN CONTEMPORARY UKRAINIAN DRAMATURGY

T. O. Fedyk — 2025-10-16

The article is devoted to understanding the phenomenon of masculinisation of the female image in contemporary Ukrainian drama during the period of Russia's full-scale invasion of Ukraine in 2022 based on the material of “2: Anthology of the IX Play Competition ‘Drama.UA’ ”.The article identifies the key artistic strategies that transform feminine discourse in the direction of strength, mobilisation, determination, and readiness to act and defend. Particular attention is paid to how the war provokes a revision of gender roles and leads to new types of female subjectivity in the dramatic text. The theoretical basis of the study is the concepts of J. Butler (performativity of gender), R. Braidotti (post-gender subjectivity), and C. Caruth (traumatic repetition). Within these approaches, the masculinisation of the female image is not interpreted as an artistic deviation, but as a new type of representation – a subject capable of speaking, acting, making decisions, and protecting in the face of disaster. The study focuses on female characters in a new heroic paradigm that combines emotional sensitivity and effective responsibility. Masculinisation is seen not as an attempt to imitate ‘masculine’ behaviour, but as an adaptive strategy of survival in the face of traumatic experience. The article analyses several aspects of the representation of female action: bodily-spatial activity, linguistic organisation of action, emotional and ethical rhetoric. The author highlights how the female body turns into ‘armour’, an instrument of direct action, not as an exception, but as a new norm in wartime. Of particular importance is the theme of motherhood as a source of strength, endurance, and strategic self-forgetfulness, which forms an internal ‘front’ – a battlefield not only for the physical but also for the psychological survival of the child. It is shown that contemporary Ukrainian drama records the formation of post-gender heroics based on a combination of strength and empathy, action and care, strategy and vulnerability. Thus, the texts under study do not reduce the female image to masculine forms, but expand its boundaries by incorporating feminine experience into the logic of the heroic. A heroine who speaks briefly, moves quickly, and makes decisions in critical conditions does not go beyond the feminine, but creates its renewed, hybrid form. Masculinisation in Ukrainian drama appears as a form of literary resistance, an artistic tool for an ethical response to the war, and an attempt to capture a new female presence in the theatre of memory and testimony.

SEMANTIC DERIVATION IN THE TERMINOLOGY OF LEGAL SCIENCES IN THE FRENCH LANGUAGE

O. M. Fedyshyn — 2025-10-16

Semantic derivation is one of the most prominent mechanisms for generating new terminological units in the French legal language. This process involves the secondary reinterpretation of existing lexemes within a professional legal context through metaphorical, metonymic, euphemistic, generalizing, and other cognitive mechanisms. The article examines typical strategies of semantic derivation used in the legal discourse of France, including the metaphorization of general vocabulary, semantic narrowing or broadening, lexical transformation, referential shift, and the creation of compound terms.The aim of the research is to identify semantic patterns involved in the formation of new legal terms and the transformation of existing ones in response to social, legal, and cultural changes. The study is based on authentic French legal sources, such as codes, statutes, regulations, court decisions, and specialized legal dictionaries. The methodological framework combines cognitive linguistics, terminology studies, functional stylistics, and legal lexicography. Special emphasis is placed on analyzing terms that have undergone conceptual shifts as a result of legislative reforms.The findings indicate that semantic derivation in the French legal language not only facilitates the creation of new terms but also enables the legal language to flexibly adapt to contemporary challenges. This enhances the precision of legal discourse, improves communication between legal professionals and the public, and contributes to the unification of terminology at the international level. The results may be applied in teaching legal French, legal translation, terminography, and further linguistic research.

VARIETIES OF CEREMONIAL BREAD IN LINGUOCULTURAL REPRESENTATION (BASED ON UKRAINIAN PROVERBS)

Yu. V. Khozhaienko — 2025-10-16

The article examines the paremias of the Ukrainian people with the component «bread» and the names of varieties of ceremonial bread from the standpoint of their ethnocultural semantics. These proverbs and sayings can be considered the golden fund of our national language. The circle of linguists, researchers who study conceptual linguistics, the culture of Ukrainians is outlined. The scientific investigations of linguists interested in the issue of the paremic fund of the Ukrainian language have been analyzed. The work presents the most commonly used paremias in speech with the names of varieties of ceremonial bread: kalach, knysh, korovai, palyanitsa, paska, which in their content reveal the character traits, behavior, moral qualities, traditions and customs of our native people through the culture of healthy eating, present a linguistic picture of the world, etc. After all, in today's conditions, interest in studying the language and native culture has grown rapidly, which argues for the relevance of the choice of the topic of the proposed scientific research. We can argue that significant cultural and national potential is endowed with paremias with the component-glutoneme «bread» and its varieties, which are found in the rituals of Ukrainians, because the national Ukrainian cuisine is not only biological, but also a cultural value, which is associated with ethnolinguistics, ethnology, culturology, linguocultural studies, folklore and other sciences.The paper examines the verbal expression of the component «bread» through the study of dictionaries of various types: dictionary of signs of Ukrainian ethnoculture, dictionaries of proverbs and sayings, explanatory dictionaries of the Ukrainian language, dictionary of epithets of the Ukrainian language, dictionary of synonyms of the Ukrainian language, a linguistic and regional dictionary-reference book; the meanings of the lexemes are revealed: kalach, korovai, knysh, palanytsia, paska. Examples of synonyms, epithets for the lexeme «bread» in different meanings, winged sayings of famous Ukrainian writers about the cultural term «bread» are given.

EMOTIONALITY – EMOTIVITY – EXPRESSIVENESS: TERMINOLOGICAL MULTIVARIANCE OF EMOTIONS EXPLICATION IN FICTIONAL DISCOURSE

V. P. Khoma — 2025-10-16

The article studies the distinction and correspondence between such notions as emotionality, emotivity and expressiveness, which are deemed some of the most complex, contradicting and ambiguous linguistic categories used to name and characterize the emotional state and behavior of characters in fiction. As well-known, emotions accompany almost all facets of individual’s activity in their everyday life. They form the category which represents ingenuous feelings, emotional experience, and sensibility as immanent psychological states of a person. Currently the attention of linguists is paid to the investigation of personal emotional states in terms of language as a combination of linguistic, literary and psychological categories to trace the use and explication of emotive vocabulary in fictional discourse. Fiction encompassing author’s individual style appears to be an inherent, limitless, constant source of providing characters’ emotions. Within the research, it is stated that emotionality conveys psychological state of a character, emotivity is manifested by linguistic means and expressiveness becomes apparent through semantic means respectively. The study of emotional potential of a wide range of means for expressing emotions on various language levels of fictional discourse, namely, phonographic, lexical and syntactic, is effective and productive. The complex of punctuation marks (exclamatory mark, interrogative mark, dash, suspension point, period), means of font variations (font size, color and weight modifications, capitalization, hyphenation, underlining), accent and intonation means, voice tempo and timbre on phonographic level adds special emotional coloring to fictional discourse. Lexical level is characterized by lexical units (nominatives, affectives, expressives, occasionalisms, neutral and phrasal emotives, as well as synonyms, antonyms and poetic tropes) which reproduce character’s emotional state and behavior and have various emotional meanings only in a certain context. Syntactic level is presented by special syntactic constructions of the sentences (repetitions, exclamatory and interrogative sentences, inversion, ellipsis, parcelling and emphatic use of certain lexemes) that convey both the thoughts and emotional attitude to them.

GENDER ASPECTS OF LINGUISTIC REPRESENTATION OF WOMEN IN THE MILITARY CONTEXT: LEADERSHIP, EXPERIENCE, SUPPORT

T. Ye. Khraban — 2025-10-16

The objective of the present study is to examine linguistic units pertaining to the role of women in military discourse, with the aim of identifying overarching thematic areas that embody the essence of female leadership, experience, encountered challenges, and the transformative influence of women in the context of the present war in Ukraine. The empirical base of this research consists of a corpus of texts collected from publications posted on the Facebook page of the community “Women’s Veteran Movement”. The study employed a linguistic approach to examine the portrayal of female subjectivity in contemporary military discourse within Ukraine.Empirical evidence has demonstrated that in conditions of full-scale war, not only does the social status of women in the Armed Forces undergo transformation, but also the nature of their linguistic presence. It is evident that women are progressively establishing their own narratives, operating not as objects of description but as full- fledged communicative subjects who exert a significant influence on the content and structure of military discourse.A comprehensive analysis of the textual productions of female military personnel reveals the presence of five overarching thematic dimensions. These include combat experience, professional identity, female solidarity, challenges and barriers, and the aspiration for personal realization. It has been determined that these prevalent interpretations constitute a multifaceted discursive domain indicative of shifts in gender roles and an augmentation in the linguistic representation of women within the domain of national security.A close examination of the discourse reveals a deliberate circumvention of conventional feminine forms, thereby illustrating the intricate relationship between official language norms, the expectations of the military hierarchy, and the individual attitudes of the speakers. This phenomenon can be interpreted as both an attempt at integration into a conventionally masculinized professional environment and, conversely, as a manifestation of depersonalization or symbolic denial of female presence.The necessity to reevaluate language policy in the domain of military communication, with the objective of ensuring equitable and legitimate representation of women has been substantiated. Such an approach will contribute to the formation of an inclusive discourse that reflects real changes in the social structure of the Armed Forces.

PHRASEOLOGICAL REPRESENTATON OF FLORONYMS' SEMANTICS IN THE UKRAINIAN LANGUAGE

A. V. Cherniavska — 2025-10-16

The study is an attempt to analyse the semantics of floronyms embodied in Ukrainian phraseological units. It has been revealed that the floronym barvinok (periwinkle) has the following semes: “beauty”, “youth”, “love”, “decoration”, associations with a young man, a beloved, a Cossack, a wedding, death, and can symbolise happiness, love, marriage, vitality, and eternity. It has been analysed that the seme “smell/fragrance” is dominant in the semantics of most floronyms, myata(mint) and vasylky (basil) in particular. In addition, the former is associated with beauty and happiness, while the latter is associated with death and weddings and serves as a symbol of life, youth, tenderness, beauty, modesty, and kindness.It has been determined that the floronym ruta (rue) has the seme “decoration”, and its semantic components serve as the basis for the proverbial embodiment of the binary oppositions “girl – woman”, “youth – old age”; it is associated with youth, a beautiful girl, and serves as a symbol of beauty, strict moral values, and marriage.The floronym under study may have a pejorative connotation, since in literature it is a symbol of longing for the homeland, oblivion, unhappy love and married life, and a meliorative association with Ukraine, its language, and striving for freedom. The floronym-binomial ruta-myata (rue-mint) creates an image of maiden chastity, while ruta y maruna (rue and feverfew) has the seme “remedy” and can be associated with illness and death. It has been researched that the floronym ryast (corydalis) is a symbol of life, it has the seme “health”, and its semantic components may provide the basis for the objectification of the binary oppositions “health – illness”, “life – death”.One of Ukraine's national symbols is the kalyna (guelder rose), whose blossoms are associated with motherhood and innocence. The beauty of Ukrainian women is expressed through figurative comparisons with the guelder rose. The symbolic meaning of the floronym lyubystok (lovage) has been established. It embodies love and is associated with happiness, beauty and romance. The associations of the floronym pivoniya (peony) with a beautiful girl have been identified, as well as its semes “blush”, “shyness”. The floronym cheremkha (bird cherry/Mayday tree) posesses the semes “aroma, fragrance, white colour” and is associated with inexperience. Buzok (lilac) can imply the colour blue, at the same time the white one symbolises modesty and family life. The floronym paslin (nightshade) is associated with suddenness, inappropriateness, and refuge, while the floronym shafran (saffron) contextually verbalises the assertiveness of women. As a result of metaphorisation, certain floronyms acquire an association with revolution.

PSYCHOLINGUISTIC PARAMETERS OF PERCEPTION AND INTERPRETATION OF LINGUISTIC CONTRAST

L. P. Yuldasheva — 2025-10-16

The article presents a psycholinguistic interpretation of linguistic contrast as a cognitive mechanism involved in meaning-making, information accentuation, emotional influence on the recipient, and memory consolidation of a message. The aim of the article is to identify the psycholinguistic parameters of perception and comprehension of contrastive constructions in the process of speech activity.It has been established that the psycholinguistic mechanism of contrast formation constitutes a complex, multi-level process that includes conceptual construction, realization of communicative intention, lexico-syntactic structuring, as well as the involvement of memory and contextual prediction mechanisms. This mechanism simultaneously enhances the semantic intensity of an utterance and increases its communicative effectiveness, performing functions of semantic differentiation, aesthetic expressiveness, and stimulation of the recipient’s interpretative activity. Based on recent psycholinguistic studies, the stages of contrast reception are described – from initial perceptual recognition to cognitive structuring and affective response. The study substantiates the role of contrast in focusing attention, activating mental representations, developing linguistic intuition, and intensifying cognitive engagement.Special attention is paid to the psycholinguistic aspects of contrast in text – its ability to disrupt expectations, provoke cognitive amplification through the juxtaposition of polar concepts, form associative links, and support deeper interpretation of artistic messages. The interpretation of contrast in literary discourse is viewed as a means of intensifying meaning, creating aesthetic impact, and provoking non-standard understanding.The article outlines the influence of contrast on speech prediction processes, reaction speed, and subconscious emotional processing.This study opens new prospects not only for advancing psycholinguistic theory but also for practical applications in education, communication, creative writing, and intercultural dialogue. Further exploration of contrast as a psycholinguistic category should focus on the creative deployment of contrast in literary language.

LANGUAGE GAME AND MEMES IN BLOGGER TEXTS: MEANS OF INFLUENCE ON THE AUDIENCE

L. V. Yursa — 2025-10-16

In modern digital discourse, blogging emerges as a unique communicative phenomenon that blends features of both spoken and written language, verbal and nonverbal means. One of the key tools bloggers use to influence their audiences is language play, which is often realized through internet memes–concise, ironic, and frequently visualized units with high communicative and emotional potential. This article investigates the functioning of language play and internet memes in bloggers’ texts, identifies their main types, methods of content integration, and the ways they impact the audience. By analyzing examples from the Ukrainian-speaking segments of YouTube, Instagram, and TikTok, the author shows that memes and language play not only help capture and maintain audience attention but also shape a blogger’s communicative tone, support informal interaction, and activate both intercultural and intracultural codes. Special attention is paid to stylistic and pragmatic aspects of meme usage in blogging discourse. This study is of practical value for researchers in media linguistics, stylistics, as well as specialists in digital communication. In the digital age, blogging has evolved into an independent linguistic and social phenomenon that combines features of various communication modes. Blog discourse intertwines elements of spoken and written language while also relying heavily on multimodal resources – visuals, sound, and graphic elements. One of the most powerful tools bloggers employ to engage with their audience is language play, frequently expressed through internet memes.These brief, ironic, and often visually framed units possess high emotional, stylistic, and intertextual potential.Memes serve not only as entertainment but also as communicative, cultural, and stylistic instruments that help structure content, build rapport with followers, and maintain a casual, engaging atmosphere. This article explores the mechanisms of language play and meme usage in the content of Ukrainian-speaking bloggers across platforms such as YouTube, Instagram, and TikTok. It identifies the main types of memes, their functions, and methods of integration depending on genre, format, and audience.

STYLISTICS AND TRANSLATION OF MILITARY-POLITICAL DISCOURSE: THE CASE OF FIELD MARSHAL MONTGOMERY’S MEMOIRS

O. A. Yasynetska — 2025-10-16

The article is devoted to the study of stylistic and translational features of military-political discourse based on the memoirs of Field Marshal Bernard Law Montgomery, particularly the chapter “My Doctrine of Command”. The main focus is on the peculiarities of translating lexical, syntactic, and pragmatic devices that shape the specific authorial style, combining the analytical nature of military reports with elements of a subjective memoir narrative. The rhetorical structure of the English text is examined, emphasising persuasion, logical argumentation, and emotional appeal to the reader. Typical translation challenges are identified, relating to the conveyance of military terminology, idiosyncratic stylistic traits, and culturally conditioned realities.Key translation strategies are highlighted, ensuring both semantic accuracy and stylistic adequacy: syntactic transformations, adaptation of rhetorical figures, the use of conventional Ukrainian military vocabulary, and preservation of intonational and emotional tone. The article outlines examples of translation choices that illustrate comparisons between the original English text and its Ukrainian equivalent. It places special emphasis on cultural adaptation and on preserving the author’s voice, both of which are crucial for a holistic perception of military-political discourse in translation. The study emphasises the importance of understanding discursive and cultural factors when translating texts that combine military precision with individual authorial experience. The material may be useful for researchers in military linguistics and translation stylistics, as well as practitioners, particularly within the framework of practical courses in military and socio-political translation. The text reflects current trends in translation studies, emphasising the need for an interdisciplinary approach to fully disclose the content of military-political texts.