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DV;>;. =0C: (%0@:V2AL:89 =0FV>=0;L=89 C=V25@A8B5B V<5=V .. 0@07V=0) 4@5A0 @540:FV9=>W :>;53VW: #:@0W=0, 61077, <. %0@:V2, ?;. !2>1>48, 4, %0@:V2A:89 =0FV>=0;L=89 C=V25@A8B5B V<5=V .. 0@07V=0, D0:C;LB5B V=>75<=8E <>2 "5;.: (057) 707-51-44; dilovamova@mail.ru "5:AB ?>40=> 2 02B>@AL:V9 @540:FVW #AV AB0BBV @5F5=7>20=V @C:CTBLAO 70 @VH5==O< G5=>W @048 %0@:V2AL:>3> =0FV>=0;L=>3> C=V25@A8B5BC V<5=V .. 0@07V=0, ?@>B>:>; ! 11 2V4 30 6>2B=O 2009 @. !2V4>FB2> ?@> 45@6@5TAB@0FVN  ! 11825 696   2V4 04.10.2006. Š %0@:V2AL:89 =0FV>=0;L=89 C=V25@A8B5B V<5=V .. 0@07V=0, 2009. !" !# !/ 57C3;0 . . , ' "!" " ' !# ! ....................................................................... 7 .. CB>@>2 $&,!",  #' !# ! .............................................................................................. 14 R. Kritsberg SOCIAL ENVIRONMENT AND LANGUAGE IN THE MEDIEVAL ENGLAND ................................................. 23 .. @840A>20 ! "-& !!  ,  "& !" 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V0;>3 =0 D>@<0;L=><C @V2=V AB0=>28BL 4V0;>3VG=89 B5:AB, O:89 T @57C;LB0B>< @50;V70FVW 4V0;>3VG=>3> 48A:C@AC. V0;>3VG=89 48A:C@A CB2>@NT <>2;5==T20 4VO;L=>ABL ;N48=8, O:0 70 A2>TN ?@8@>4>N T :>3=VB82=>-:><C=V:0B82=>N, B0 @57C;LB0B FVTW 4VO;L=>ABV  4V0;>3VG=89 B5:AB. ;NG>2V A;>20: 04@5A0B, 4V0;>3, 48A:C@A, 48A:C@A82=89 EV4, <>25FL, B5:AB. . . 57C3;0O. 80;>3, 480;>38G5A:89 B5:AB 8 480;>38G5A:89 48A:C@A. !B0BLO ?>A2OI5=0 @073@0=8G5=8N ?>=OB89 480;>30, 480;>38G5A:>3> B5:AB0 8 480;>38G5A:>3> 48A:C@A0. :F5=B8@C5BAO @5H0NI0O @>;L D>@<0;L=>9 8 DC=:F8>=0;L=>9 B@0:B>2:8 480;>30. 80;>3 =0 DC=:F8>=0;L=>< C@>2=5 ?@54AB02;O5B A>1>9 @5GL 2 H8@>:>< ?>=8<0=88, :>B>@K9 O2;O5BAO >A=>2>9 O7K:0. 80;>3 =0 D>@<0;L=>< C@>2=5 ?@54AB02;O5B A>1>9 B5:AB, O2;ONI89AO @57C;LB0B>< @50;870F88 480;>38G5A:>3> 48A:C@A0. 80;>38G5A:89 48A:C@A >1@07C5B @5G520O 45OB5;L=>ABL G5;>25:0, :>B>@0O ?> A2>59 ?@8@>45 O2;O5BAO :>3=8B82=>-:><<C=8:0B82=>9, 8 @57C;LB0B MB>9 45OB5;L=>AB8  480;>38G5A:89 B5:AB. ;NG52K5 A;>20: 04@5A0B, 3>2>@OI89, 480;>3, 48A:C@A, 48A:C@A82=K9 E>4, B5:AB. L.R. Bezugla. Dialog, dialogical text and dialogical discourse. The article deals with the differentiation of the notions of dialog, dialogical text and dialogical discourse. The basic role of the formal and functional dialog treatment is highlighted. A dialog at the functional level is the speech in the wide sense and the foundation of language. A dialog at the formal level is a text as a result of the dialogical discourse realization. Dialogical discourse is formed by human speech activity, which according to its nature is cognitive-communicative, and the result of this activity is a dialogical text. Key words: addressee, dialog, discourse, discursive move, speaker, text. !CG0A=89, 0=B@>?>F5=B@8G=89 ?>3;O4 =0 <>2C 9 <>2;5==O 7C<>2;NT 725@=5==O ;V=32VABV2 4> 4V0;>3C, 4V0;>3VG=>3> B5:ABC B0 4V0;>3VG=>3> 48A:C@AC O: >1 T:BC [7; 12; 13; 17; 20; 25; 29], ?@54<5BC [5; 18; 32; 33] 01> <0B5@V0;C [2; 27] <>2>7=02G8E 4>A;V465=L. :BC0;L=VABL B0:8E @>72V4>: =5 28:;8:0T AC<=V2C, >A:V;L:8 4V0;>3VG=VABL V=35@5=B=> ?@8B0<0==0 :><C=V:0FVW, 25@10;L=><C A?V;:C20==N, <>2;5==T2V9 4VO;L=>ABV, O:V 7=0E>4OBLAO 2 F5=B@V C2038 ACG0A=>3> DC=:FV>=0;V7<C. @>B5, FV ?>=OBBO 70728G09 =5 @>7<56>2CNBLAO, B>6 VA=CT ?>B@510 2 A8AB5<0B870FVW WE B@0:BC20=L. 5B>N FVTW AB0BBV T 2AB0=>2;5==O <56 <V6 ?>=OBBO<8 4V0;>3C, 4V0;>3VG=>3> B5:ABC B0 4V0;>3VG=>3> 48A:C@AC, O:V 28ABC?0NBL >1 T:B0<8 0=0;V7C, 0 9>3> ?@54<5B>< T WE=T B@0:BC20==O 2 ACG0A=8E 48A:C@A82=> A?@O<>20=8E 4>A;V465==OE. 5@54C<>2>N 4;O @>7<56C20==O ?>=OBL <>=>;>3VG=>3> 9 4V0;>3VG=>3> 48A:C@AC 210G0TBLAO 287=0G5==O 4V0;>3C. V0;>3 @>7C<VTBLAO 2 ;V=32VAB8FV O: 4V0;>3VG=89 B5:AB (O:89 ?@>B8AB02;OTBLAO <>=>;>3VG=><C) [5; 29; 31] 01> O: @>7<>20, >1<V= 28A;>2;5==O<8, <>2;5==O [7, A. 5; 12; 18; 32; 33]. # FL><C 2V41820NBLAO 420 @V2=V 4V0;>3VG=>ABV  D>@<0;L=89, O:89 2V4?>2V40T @>7C<V==N 4V0;>3C O: B5:ABC, V DC=:FV>=0;L=89, O:89 :>@5;NT 7 9>3> @>7C<V==O< O: <>2;5==O. 0 DC=:FV>=0;L=><C @V2=V 4V0;>3VG=VABL ?>AB0T O: ?5@28==0 2;0AB82VABL <>28. @8=F8? 4V0;>3VG=>W ?@8@>48 <>28 1C2 AD>@<C;L>20=89 . D>= C<1>;L4B><:  # ?5@28==V9 ACB=>ABV <>28 =0O2=89 =57<V==89 4C0;V7<, V A0<0 <>6;82VABL <>2;5==O 7C<>2;NTBLAO 725@=5==O< V 2V4?>2V44N [28, c. 138]. @8=F8?C 4V0;>3VG=>ABV 4>B@8<C20;8AO B0:V 2840B=V ;V=32VAB8 O: .. 0EBV=, .!. 83>BAL:89, .. )5@10, .. /:C18=AL:89. >G8=0NG8 7 .!. 83>BAL:>3>, H8@>:> F8BCTBLAO 28A;V2 .. )5@18 ?@> B5,  I> <>=>;>3 T 2 7=0G=V9 <V@V HBCG=>N <>2=>N D>@<>N V I> A?@026=T A2>T 1CBBO <>20 28O2;OT ;8H5 2 4V0;>7V [4, A. 339f]). 0 4C<:C .. 0EBV=0, CAV >48=8FV <>2;5==T2>3> A?V;:C20==O  28A;>2;5==O  ?>2 O70=V >4=5 7 >4=8< 4V0;>3VG=8<8 2V4=>H5==O<8, ?@8G><C 4V0;>3VG=VABL <>65 1CB8 =02<8A=>N 9 =5=02<8A=>N [1, A. 488]. @V< B>3>, <>2;5==T20 4VO;L=VABL, =0 4C<:C F8E 2G5=8E, T 702648 AC<VA=>N 4VO;L=VABN CG0A=8:V2 <>2;5==T2>3> A?V;:C20==O, B>6 O28I5 4V0;>3C 28O2;OTBLAO 2:;NG5=8< 2 CO2;5==O ?@> :><C=V:0B82=C ACB=VABL <>28 O: ACA?V;L=>3> O28I0. V0;>3VG=89 ?@8=F8? T ?V4‘@C=BO< 4V0;>3V7<C O: <5B>4>;>3VW 3C<0=VB0@=>3> ?V7=0==O, O:0 ?5@5410G0T 4V0;>3VG=C <>45;L <>28  =5;V=V9=C, V=B5@0:FV>=0;L=C, :>=AB8BCB82=C <>45;L A?V;:C20==O O: <>2=>W B2>@G>ABV [18, c. 8]. 0 =L><C ‘@C=BCNBLAO 4>A;V465==O 2 @0<:0E 0=0;V7C 4V0;>3C (Gesprächsanalyse, Dialoganalyse, Konversationsanalyse) [13; 20; 25; 27, c. 1ff; 29; 31; 32; 33]. &59 ?@8=F8? >7=0G0T, I>  70AB>AC20==O <>28 702648 A?@O<>20=> =0 ?0@B=5@0 2 :><C=V:0FVW, @50;L=> ?@8ACB=L>3>, B0:>3>, I> <0TBLAO =0 C207V, 01> B0:>3>, I> >B>B>6=NTBLAO 7 <>2F5<. # FL><C @>7C<V==V 2AV B5:AB8 T DC=:FV>=0;L=> 4V0;>3VG=8<8, E>G0 2>=8 =5 702648 @50;V7CNBLAO D>@<0;L=> 4V0;>3VG=> , B>6 ?@>B8AB02;5==O 4V0;>3C 9 <>=>;>3C 2B@0G0T A5=A [33, c. 118]. B65, 48A:C@A 1C4L-O:>3> B8?C T DC=:FV>=0;L=> 4V0;>3VG=8< 70 A2>TN ?@8@>4>N [11, c. 228; 13, c. 6; 22, c. 28]. V4:@5A;8<>, I> B@510 @>7@V7=N20B8 ?>=OBBO  <>2;5==O B0  <>2;5==T20 4VO;L=VABL . >2;5==O H8@H5, =V6 <>2;5==T20 4VO;L=VABL: O2;ONG8 A>1>N  A?>AV1 D>@<C20==O 9 D>@<C;N20==O 4C<:8 70 4>?><>3>N <>28 [9, c. 41], <>2;5==O 2;0AB825 2AV< D>@<0< ;N4AL:>W 4VO;L=>ABV, A?5F8DV:0 O:>W  C 2AVE WW ?@>O20E, O:0 7C<>2;5=0 A>FV0;L=>-VAB>@8G=8<8 70:>=0<8 @>728B:C, B8< A0<8< >?>A5@54:>2CTBLAO A?5F8DVG=> ;N4AL:>N D>@<>N 2V4>1@065==O 4V9A=>ABV  25@10;L=8< <8A;5==O<, <>2>N  <>2;5==O< [9, c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c. 138]. ">6 48A:C@A T AC:C?=VABN <>2;5==T2>W 4VO;L=>ABV ;N48=8, O:0 70 A2>TN ?@8@>4>N T :>3=VB82=>-:><C=V:0B82=>N, B0 @57C;LB0BC FVTW 4VO;L=>ABV  B5:ABC. /:I> B5:AB T 4V0;>3VG=8< (=0 D>@<0;L=><C @V2=V), B> 9 48A:C@A T 4V0;>3VG=8<. V0;>3VG=89 48A:C@A ?>AB0T O: <8A;5==T2>-:><C=V:0B82=0 <>2;5==T20 4VO;L=VABL :><C=V:0=BV2 C H8@>:><C (A8BC0B82=>-:><C=V:0B82=><C, A>FV>-:C;LBC@=><C, :>3=VB82=>-?A8E>;>3VG=><C) :>=B5:ABV, 70DV:A>20=0 4V0;>3VG=8< B5:AB><. "0:8< G8=><, =0 D>@<0;L=><C @V2=V @>72545==O 4V0;>3VG=>3> 9 <>=>;>3VG=>3> 48A:C@AC 28O2;OTBLAO 28?@0240=8<. >AB0T ?8B0==O ?@> 287=0G5==O :@8B5@VW2 @>7<56C20==O 4V0;>3VG=>3> 9 <>=>;>3VG=>3> B5:ABC  4V0;>3C (C 2C7L:><C @>7C<V==V) B0 <>=>;>3C. 0728G09, 4V0;>3 V <>=>;>3 @>7@V7=ONBLAO 70 :V;L:VABN :><C=V:0=BV2: <>=>;>3 74V9A=NTBLAO >4=VTN >A>1>N, 4> 4V0;>3C 70;CG5=V I>=09<5=H5 420 :><C=V:0=B8, O:V ?> G5@7V T <>2FO<8, DV78G=> :>=B0:BCNBL V @>7C<VNBL >48= >4=>3> [12, A. 15; 13, c. 8]. 0 F8< :@8B5@VT< 284V;OTBLAO B0:>6 ?>;V;>3  B5:AB, I> ?@>4C:CTBLAO :V;L:><0 :><C=V:0=B0<8 [7, A. 5; 12, A. 15; 13, A. 16] B0 ?;5>;>3  B5:AB, 725@=5=89 4> =57G8A;5==>W 0C48B>@VW [11, A. 248]. @>B5, :V;L:VABL :><C=V:0=BV2 =5 <>65 1CB8 @5;520=B=>N 7 >3;O4C =0 ?>E>465==O B5@<V=C  4V0;>3  O:18 <0;8AO =0 C207V 420 :><C=V:0=B8, 9H;>AO 1 ?@>  4C>;>3 .  ;5<5=B  4V0 (3@5FL:. G5@57) 2:07CT =0 7030;L=C >7=0:C  <V=C @>;59 <>2FV2 V A;CE0GV2 [14, A. 381]. A=CT B0:>6 B>G:0 7>@C, 70 O:>N 4V0;>3 2V4@V7=OTBLAO 2V4 <>=>;>3C =0O2=VABN <V=8 :><C=V:0B82=8E E>4V2: <>=>;>3 28:;NG0T <V=C E>4V2  ?5@5EV4 3>2>@V==O 2V4 >4=>3> <>2FO 4> V=H>3>, 4V0;>3, =02?0:8, V=35@5=B=> ?5@5410G0T WW [8, c. 258; 26, c. 11]. "0:0 B>G:0 7>@C A?@>AB>2CTBLAO B8< D0:B><, I> <>=>;>38 =5 >1>2 O7:>2> <0NBL AB2>@N20B8AO >4=8< <>2F5<: ?@8<V@><, @>7?>2V4L 42>E G8 1V;LH5 :><C=V:0=BV2 ?@> ?52=C AC<VA=C 4VO;L=VABL 01> ?>4VN T <>=>;>3><, E>G0 9 AC?@>2>46CTBLAO <V=>N :><C=V:0B82=8E E>4V2. 0?52=5, 4>FV;L=> 3>2>@8B8 =5 ?@> <V=C E>4V2, 0 ?@> <V=C A?@O<>20=>ABV E>4V2: 74V9A=NNG8 <>=>;>3, >48= :><C=V:0=B ?>ABV9=> 28ABC?0T C @>;V <>2FO, V=H89  C @>;V 04@5A0B0; 2 @07V 4V0;>3C 2V41C20TBLAO <V=0 @>;59 :><C=V:0=B0<8, B>1B> 2>=8 ?> G5@7V 28:>=CNBL @>;V <>2FO 9 04@5A0B0 [17; 18; 29; 31; 32; 33]. ">6 4V0;>3VG=C AB@C:BC@C B5:ABC D>@<CT <V=0 A?@O<>20=>ABV E>4V2 01>, V=0:H5 :06CG8, <V=0 :><C=V:0=B82=8E @>;59 CG0A=8:0<8 A?V;:C20==O:  73V4=> 7 :@8B5@VT< A?@O<>20=>ABV 4V0;>38 702648 T 1V-48@5:FV>=0;L=8<8, <>=>;>38, =02?0:8,  C=V-48@5:FV>=0;L=8<8 [31, A. 242]. A=>2=V :><C=V:0B82=V @>;V ?>7=0G0NBLAO O: 04@5A0=B V 04@5A0B, <>25FL V A;CE0G, ?@>4CF5=B V @5F8?VT=B, 2V4?@02=8: V >B@8<C20G. # B5@<V=0E  04@5A0=B V  04@5A0B 2V4>1@065=> A?@O<>20=VABL 48A:C@A82=>3> E>4C, ?@>B5, 2>=8 T >@D>5?VG=> =5240;8<8: VA=CT <>6;82VABL B@C4=>IV2 WE=L>3> @>7<56C20==O C @07V A?@89=OBBO =0 A;CE B0 1V3;>3> G8B0==O. 81V@ B5@<V=V2  <>25FL V  A;CE0G >7=0G0T V3=>@C20==O B0:>3> :><C=V:0B82=>3> AB0BCAC, O: ?@8ACB=O >A>10, I> A?>AB5@V30T 70 4V0;>3><, 0;5 O:V9 =5 04@5A>20=> <>2;5==T289 0:B. ><C=V:0B82=89 AB0BCA 4>?>2=NT 1V>A>FV0;L=89 AB0BCA, O:89 ?5@5410G0T B5, I> :><C=V:0=B8 7=0E>4OBLAO C 2V4=>H5==V :><C=V:0B82=>W A8<5B@VW G8 0A8<5B@VW. 0 .. >340=>28<, A8AB5<0 :><C=V:0B82=8E ?@V>@8B5BV2 283;O40T B0:8< G8=><: <>25FL (=0928I89 :><C=V:0B82=89 AB0BCA)  04@5A0B  A;CE0G  B@5BV >A>18 [3, A. 206]. "5@<V=8  ?@>4CF5=B V  @5F8?VT=B B0:>6 T =54>FV;L=8<8 7 B>G:8 7>@C ?>A;V4>2=>ABV I>4> :><C=V:0B82=>3> AB0BCAC A?V2@>7<>2=8:V2: @5F8?VT=B>< (B8<, I> A?@89<0T 28A;>2;5==O) <>65 1CB8 V 04@5A0B, V A;CE0G. 0@5HBV, B5@<V=8  2V4?@02=8: V  >B@8<C20G AB>ACNBLAO :>4>2>W <>45;V :><C=V:0FVW, O:0 1C;0 7030;L=>?@89=OB>N 7 G0AV2 @8AB>B5;O 4> A5@548=8 20-3> AB>;VBBO, 0;5 22060TBLAO =5A?@><>6=>N ?>OA=N20B8 ?@03<0B8G=V 0A?5:B8 :><C=V:0FVW [15, c. 35]. ;O 0=0;V7C 48A:C@AC T @5;520=B=8<8 B@8 <>45;V: 73V4=> 7 :>4>2>N <>45;;N :>=AB@CNNBLAO 5:A?;VF8B=V (:>48DV:>20=V, 1C:20;L=V, ?@O<V, :>=25=FV>=0;L=V) A<8A;8, 73V4=> 7 V=D5@5=FV9=>N <>45;;N  V=B5=4>20=V V<?;VF8B=V (=5:>48DV:>20=V, =51C:20;L=V, =5?@O<V) A<8A;8, 73V4=> 7 V=B5@0:FV9=>N <>45;;N  =5V=B5=4>20=V V<?;VF8B=V (=5:>48DV:>20=V, =51C:20;L=V, =5?@O<V) A<8A;8 [2, A. 29]. # 72 O7:C 7 >:@5A;5=>N ?@>1;5<0B8:>N =0 ?>7=0G5==O :><C=V:0B82=8E @>;59 4>FV;L=8< C10G0TBLAO 281V@ B5@<V=V2  <>25FL V  04@5A0B , O:V 2V4>1@060NBL A?@O<>20=VABL 48A:C@A82=>3> E>4C, 2V4?>2V40NBL A8AB5<V :><C=V:0B82=8E ?@V>@8B5BV2 B0 =5 AC?5@5G0BL :>=F5?FVW A?V2VA=C20==O <>45;59 :><C=V:0FVW C 48A:C@AV. >25FL T 28@>1=8:>< 28A;>2;5==O, 74V9A=N20G5< <>2;5==T2>3> 0:BC, =>AVT< :><C=V:0B82=>W V=B5=FVW, O:0 ?>;O30T 2 ?@03=5==V H;OE>< 74V9A=5==O <>2;5==T2>3> 0:BC 4>=5AB8 ?52=5 ?@>?>78FV9=5 AB02;5==O 4> V=H>3> :><C=V:0=B0  04@5A0B0. 4@5A0B  >A>10 01> 3@C?0 >AV1, O:V9 / O:8< ?@87=0G0TBLAO 28A;>2;5==O 04@5A0=B0.  C@0EC20==O< >A>18ABVA=8E ?0@0<5B@V2 V :><C=V:0B82=8E DC=:FV9 .. >G5?F>2 284V;OT B0:V <>48DV:0FVW 04@5A0B0 O:: :207V04@5A0B  =568289 ?@54<5B, ?>:V9=8:, ?>B>91VG=0 A8;0 B>I>; 04@5A0B-@5B@0=A;OB>@  >B@8<C20G 28A;>2;5==O, O:5 2 A2>W9 :><C=V:0B82=>-ACBBT2V9 G0AB8=V ?@87=0G5=> =5 9><C (28A;>2;5==O  @>7?040TBLAO =0 42V G0AB8=8: 0) G0AB8=0, 04@5A>20=0 04@5A0BC-@5B@0=A;OB>@C, V 1) G0AB8=0, 04@5A>20=0 A?@026=L><C 04@5A0BC ); V=48@5:B=89 04@5A0B  A;CE0G, O:><C =0A?@024V ?@87=0G5=> 28A;>2;5==O [19, A. 217]. V=0 :><C=V:0B82=8E @>;59 2V41C20TBLAO C @0<:0E 48A:C@A82=>3> E>4C (4V0;>3VG=>W @5?;V:8) (move, turn, Zug, Schritt). >2;5==T289, :><C=V:0B82=89, V=B5@0:B82=89 01> 48A:C@A82=89 EV4  >48=8FO <>2;5==T2>W 270T<>4VW,  >4=>:@0B=89 <>2;5==T289 2=5A>: :><C=V:0=B0 <& >, O:89 V=VFVNT 2V4?>2V4=89 >4=>:@0B=89 2=5A>: ?0@B=5@0 2 <>2;5==T2V9 270T<>4VW (<>2;5==T289 01> =5<>2;5==T289) 01> A0< T 2V4?>2V4=8< <>2;5==T28< 2=5A:>< C :><C=V:0B82=C 270T<>4VN  [10, A. 9; 20]. 8A:C@A82=V E>48 <0NBL 7<VAB>289, 3@0<0B8G=89 V :><C=V:0B82=89 270T<=89 72 O7>:. AB0==V9 ?5@5410G0T @>7?>4V; E>4V2 =0 V=VFV0;L=V, @50:B82=V (I> 2V4?>2V40NBL AB8<C;NNGV9 V @503CNGV9 @5?;VFV 2 4V0;>3VG=><C B5:ABV [7, A. 27]) B0 @5-V=VFV0;L=V (B0:V, I> AB0=>2;OBL >4=>G0A=> @50:FVN =0 ?>?5@54=V9 <>2;5==T289 0:B B0 V=VFV0FVN =0ABC?=>3>)  B5@<V=8 . >;LD0 [31, c. 211]. @V< 48A:C@A82=>3> E>4C, 284V;ONBL <>2;5==T289 01> 48A:C@A82=89 :@>:, ?V4 O:8< @>7C<VNBL >48=8FN, 2C6GC 70 EV4  5;5<5=B E>4C, A?>;CG5==O <>2;5==T28E 0:BV2, ?@8<V@><, B570  >1‘@C=BC20==O B578 [10, A. 9; 17; 49], 01> >48=8FN, H8@HC 70 EV4  A?>;CG5==O V=VFV0;L=>3> 9 @50:B82=>3> E>4V2, I> T A8=>=V<VG=>N B5@<V=0< exchange, adjacency pair [21, A. 112]. . 0:0@>2 AB25@46CT @V7=>@V4=VABL @5?;V:>2>3> H03C 9 :><C=V:0B82=>3> E>4C  F5  >48=8FV @V7=>W ?@8@>48, B><C 2>=8 =5 2ABC?0NBL C A8AB5<=V 01> VT@0@EVG=V 2V4=>H5==O [15, A. 185]. 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"><C 4>A;V465==O @>7<>2=>3> 48A:C@AC =0 <0B5@V0;V EC4>6=L>W ;VB5@0BC@8 <>6=0 22060B8 4>A;V465==O< 4V0;>3VG=>3> 48A:C@AC O: =0 D>@<0;L=><C, B0: V =0 DC=:FV>=0;L=><C @V2=V. !;V4 ;8H5 GVB:> @>7<56>2C20B8 420 0A?5:B8 0=0;V7C EC4>6=L>3> 4V0;>3C: 0=0;V7 4V0;>3VG=>3> @>7<>2=>3> 48A:C@AC B0 0=0;V7 4@0<0BC@3VG=>3> 48A:C@AC, B>1B> V=B5@?@5B0FVO B5:ABC 4@0<8. &V 0A?5:B8 A?V22V4=>AOBLAO 7 42><0 @V2=O<8 :><C=V:0FVW 2 EC4>6=L><C 4V0;>7V  2=CB@VH=L><C 01> 3>@87>=B0;L=><C (:><C=V:0FVO ?5@A>=06V2 >48= 7 >4=8<) V 7>2=VH=L><C 01> 25@B8:0;L=><C (:><C=V:0FVO 02B>@0 7 G8B0G5<) [13, c. 20; 25, c. 8; 29, c. 91; 32, c. 194]. V4AC<>2CNG8 0=0;V7, <>6=0 AB25@46C20B8, I> ?>=OBBO 4V0;>3C T ?5@28==8< AB>A>2=> ?>=OBL 4V0;>3VG=>3> B5:ABC B0 4V0;>3VG=>3> 48A:C@AC. # @>7<56C20==V >AB0==VE 28@VH0;L=C @>;L 2V4V3@0T D>@<0;L=5 B0 DC=:FV>=0;L=5 B@0:BC20==O 4V0;>3C B0 4V0;>3VG=>ABV. V0;>3 =0 DC=:FV>=0;L=><C @V2=V ?>AB0T O: <>2;5==O C H8@>:><C @>7C<V==V, O:5 T ?V4‘@C=BO< <>28 O: ACA?V;L=>3> O28I0. V0;>3 =0 D>@<0;L=><C @V2=V AB0=>28BL 4V0;>3VG=89 B5:AB, O:89 T @57C;LB0B>< @50;V70FVW 4V0;>3VG=>3> 48A:C@AC. V0;>3VG=89 48A:C@A CB2>@NTBLAO <>2;5==T2>N 4VO;L=VABN ;N48=8, O:0 70 A2>TN ?@8@>4>N T :>3=VB82=>-:><C=V:0B82=>N, B0 @57C;LB0B>< FVTW 4VO;L=>ABV  4V0;>3VG=8< B5:AB><. 5@A?5:B82=8< C 0=0;V7V >:@5A;5=8E ?>=OBL T @>73;O4 >A=>2=8E :0B53>@V9 4V0;>3VG=>3> B5:ABC 9 4V0;>3VG=>3> 48A:C@AC. " "#  1. 0EB8= .. 8B5@0BC@=>-:@8B8G5A:85 AB0BL8 / .. 0EB8=.  . : %C4>6. ;8B., 1986.  543 A. 2. 57C3;0 . . 5@10;V70FVO V<?;VF8B=8E A<8A;V2 C =V<5FL:><>2=><C 4V0;>3VG=><C 48A:C@AV / . . 57C3;0.  %0@:V2 : %# V<5=V .. 0@07V=0, 2007.  332 A. 3. >340=>2 .. @54;>65=85 8 B5:AB 2 A>45@60B5;L=>< 0A?5:B5 / .. >340=>2.  !1. : $8;>;>38G5A:89 D0:C;LB5B !1#, 2007. 4. K3>BA:89 .!. KH;5=85 8 @5GL / .!. K3>BA:89 // !>1@0=85 A>G8=5=89 2 6 B><0E.  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C=-B0, 2001.  260 A. 13. 03CB8= .. @>1;5<K 0=0;870 EC4>65AB25==>3> 480;>30 ( ?@03<0;8=328AB8G5A:>9 B5>@88 4@0<K) / .. 03CB8=.  8H8=52 : (B88=F0, 1991.  97 A. 14. 8=328AB8G5A:89 M=F8:;>?548G5A:89 A;>20@L / 3;. @54. .. /@F520.  . : !>2. M=F8:;>?548O, 1991.  685 A. 15. 0:0@>2 .. A=>2K B5>@88 48A:C@A0 / .. 0:0@>2.  . : =>78A, 2003.  280 A. 16. >@>7>20 .. >6L :0: 48A:C@A82=>5 >1@07>20=85: ;8=32>:>3=8B82=K9 0A?5:B / .. >@>7>20.  %0@L:>2 : -:>3@0D, 2005.  299 A. 17. ;5:AVT=:> .. @03<0B8G=0 E0@0:B5@8AB8:0 B0 AB@C:BC@=0 >@30=V70FVO 0=3;V9AL:>3> 4V0;>3C / .. ;5:AVT=:> // VA=8: 8W2AL:>3> =0FV>=0;L=>3> C=V25@A8B5BC V<. ". (52G5=:0.  =>75<=0 DV;>;>3VO.  2001.  8?. 31.  !. 25 28. 18. ;5E0=>20 ".$. 8A:C@A82=>-480;>38G5A:0O :>=F5?F8O EC4>65AB25==>3> B5:AB0 : 02B>@5D. 48AA. & 4-@0 D8;>;. =. : A?5F. 10.02.04  5@<0=A:85 O7K:8 / ".$. ;5E0=>20 ; 8=A:89 3>A. ;8=328AB8G. 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AA;54CNBAO ?@>F5AA AC1AB0=B820F88 D8:F88 2 ?@>AB@0=AB25 =0CG=>3> A>7=0=8O 8 =0CG=>9 ?@0:B8:8 87 MDD5:B0 =5A>>B25BAB28O <5B>4>;>38G5A:>3> 8 >=B>;>38G5A:8E ?;0=>2, A>AB02;ONI8E =0CG=K9 3C<0=8B0@=K9 48A:C@A. ;NG52K5 A;>20: 3C<0=8B0@=>5 7=0=85, 8=B5@?@5B0F8O, :>=25=F8>=0;L=>ABL, =0CG=K9 48A:C@A, =>@<0, >=B>;>38O, D8:F8>=0;L=>ABL. .. 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 Gutorov. Fictionality in the Scientific Discourse. The oxymoronic nature of fiction and science is considered in their ontology and interpretational space. The paper approaches the principle of organization in the conflict relationship between the World and the stereotypes of its perception in terms of orthodoxality and normative conventionality, and studies the process of fiction substantiating from the effect of discrepancy between the methodological and ontological plans, which comprise the scientific humanitarian discourse, in the space of scientific consciousness and scientific practice Keywords: conventionality, fictionality, humanitarian knowledge, interpretation, norm, ontology, scientific discourse. 1J5:B>< 8AA;54>20=8O 2 40==>9 AB0BL5 O2;O5BAO :0B53>@8O D8:F8>=0;L=>AB8 2 5Q :>=AB@C:B82=>9 8 45AB@C:B82=>9 48A:C@A>>1@07CNI59 @>;8. @54<5B>< 8AA;54>20=8O O2;O5BAO ?@8@>40 2708<>459AB28O D8:F8>=0;L=KE 8 =0CG=KE ?@8=F8?>2 >@30=870F88 A>2@5<5==>3> :C;LBC@=>3> A>7=0=8O. &5;L 40==>9 AB0BL8  >A<KA;5=85 8 =0CG=0O 8=B5@?@5B0F8O >:AN<>@>==>9 ?@8@>4K A>?@O65=8O D8:F8>=0;L=KE 8 =0CG=KE ?@8=F8?>2 2 48A:C@A82=KE ?@>AB@0=AB20E =0CG=KE ?@0:B8:. 0B5@80;>< 8AA;54>20=8O O2;O5BAO A>2@5<5==0O =0CG=0O ?@0:B8:0 2 A;>25A=>< 8 :C;LBC@=>-287C0;L=>< 2K@065=88. :BC0;L=>ABL 8AA;54>20=8O >?@545;O5BAO 7040G0<8 A>2@5<5==>9 A8=5@35B8G5A:>9 ?0@0483<K 3C<0=8B0@=>3> 7=0=8O, >A<KA;820NI59 48A:C@A82=>5 <=>3>>1@0785 8@0 2 53> >=B>;>38G5A:>9 8 8=B5@?@5B0F8>==>9 ACI=>AB8 =0 >A=>25 <8@>2>77@5=G5A:8E, B5>@5B8G5A:8E 8 ?>MB8G5A:8E C=825@A0;89, >?@545;ONI8E <KA;L 8 A;>2>. 0CG=K9 48A:C@A A> 2A59 53> >B@0A;52>9 A?5F8D8:>9 8<55B >1ICN ?>AB>O==CN 157CA;>2=CN >A>15==>ABL  <>4CA A5@LQ7=>AB8, :>B>@K9 >1J548=O5B 8 ?;0= ?@>4CF8@>20=8O, 8 ?;0= 2>A?@8OB8O. -B> >?@545;O5BAO A?5F8D8:>9 40==>9 D>@<K >1I5AB25==>3> A>7=0=8O, 60=@>2K5 70:>=K :>B>@>9 >1CA;>2;820NB 3=>A5>;>38N, ?@03<0B8:C, MB8:C =0C:8, >@30=87CNI8EAO ?>4 7=0:>< 7025@HQ==>AB8 / @57C;LB0B82=>AB8 / ?>78B82=>AB8. 45>;>38G5A:0O AB@C:BC@0 =0CG=>3> 48A:C@A0 >1CA;>2;8205B 53> =0@@0B82 8 <5B0O7K:, ;8=328AB8G5A:85 >A>15==>AB8 :>B>@KE 1;87:8 : M=:@0B8G5A:><C O7K:C ( . 0@B) 8;8 O7K:C 4>:AK, O7K:C 2;0AB8. 07C<55BAO, 2;0ABL ?>=8<05BAO H8@>:>: =5 B>;L:> :0: 04<8=8AB@0B82=0O, ?>;8B8G5A:0O, 845>;>38G5A:0O, => 8 :0: 2;0ABL <KA;8B5;L=KE, :C;LBC@=KE, ?>2545=G5A:8E, MB8G5A:8E AB5@5>B8?>2. -B8 70:>=K =0CG=>3> 48A:C@A0, 8<5NI85 :>=AB8BCB82=K9 8 DC=:F8>=0;L=K9 A<KA;, A >4=>9 AB>@>=K, >?@545;ONB 2KA>:89 A>F80;L=>-:C;LBC@=>-845>;>38G5A:89 AB0BCA =0C:8, 0 A 4@C3>9, C?@>I0NB 8 8A:060NB ?@8@>4C =0C:8 :0: <KA;8B5;L=>3> D5=><5=0, 2K@060NICNAO 2 53> ?@>F5AAC0;L=>AB8, M2@8AB8G=>AB8, ?0@04>:A0;L=>AB8. 5B>4>;>38O 2;0AB8 8A:0605B >1J5:B A2>59 <>=>;>38G=>ABLN, >4=>7=0G=>ABLN, ?>78B82=>ABLN, 8A:;NG0NI8<8 53> <=>3><5@=CN 8=B5@?@5B0F8>==CN ?@8@>4C. 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G8B05B A2>9 4>:;04 A M?0B06=>9, 0 ?>MB><C :0: 1K D8:F8>=0;L=>9 CAB0=>2:>9, G8B0B5;L ?@>=8:05BAO <>4CA>< <5@F0NI59 =5>4=>7=0G=>AB8 A<KA;>2 48A:C@A82=KE D@03<5=B>2. Ť5?@O<>5ť, A<5E>2>5 72CG0=85 CB8E05B, 0 : Ť?@O<><Cť 2>A?@8OB8N CAB@5<;ONBAO A<KA;K, 1;87:85 : B@048F8>==K< =0CG=K< A5=B5=F8O<. 0AA<>B@8<, =0?@8<5@, B0:>9 D@03<5=B B5:AB0:  To understand a message is to decode it. Language is a code. But every decoding is another encoding. [5, p. 25].  4>:;045 5??0 A<5I0NBAO 2 =5:>=25=F8>=0;L=>5 ?@>AB@0=AB2> >1J5:B 8AA;54>20=8O 8 48A:C@A82=K9 D>=>2K9 <0B5@80;, => 0=0;8B8G5A:89 ?@8=F8? 8 :0B53>@80;L=K9 0??0@0B >AB0NBAO 2 B@048F8>==>< 2845. >;55 B>3>, B0:0O D8:F8>=0;L=0O 48A:C@A82=>ABL >B:@K205B 2>7<>6=>AB8 4;O ?>@>645=8O =0CG=KE A<KA;>2, 2:;NG05B 459AB285, <5E0=87< A<KA;>2>9 0BB@0:F88. <5==> B0:, :0: 682CN <KA;8B5;L=CN 40==>ABL, 2>A?@8=8<0NB B5:AB 4>:;040 ?5@A>=068 @><0=0, 3>B>2K5 @0728BL 53> 8458 2 A2>8E 8AA;54>20=8OE:  I m working on the subject of romance for my doctorate, said Angelica,  and it seemed to me that a lot of what you were saying applied very well to romance.  Naturally, said Morris Zapp.  It applies to everything.  I mean, the idea of romance as narrative striptease, the endless leading on of the reader, a repeated postponement of an ultimate revelation which never comes  or, when it does, terminates the pleasure of the text&   Exactly, said Morris Zapp. [5, p. 29]. " "#  1. 0<0@40H28;8 .. !B@5;0 ?>7=0=8O (=01@>A>: 5AB5AB25==>8AB>@8G5A:>9 =>A5>;>388).  .: (:>;0 Ť/7K:8 @CAA:>9 :C;LBC@Kť, 1997.  304 A. 22. 2. 0=>2 .. CAA:0O D>=5B8:0.  .: @>A25I5=85, 1967.  !. 438. 3. C4=52 . /7K: 8 A<5@BL. http://www.ruthenia.ru/logos/number/ 2000_1/ 2000_ 11.html. 4. Kant I. Kritik der praktischen Vernunft.  Leipzig: Verl. von Felix Meiner, 1922.  220 S. 5. Lodge D. Small World: An Academic Romance.  L.: Penguin Books, 1985.  338 p. Š .. CB>@>2, 2009 # 800.2:801.5 SOCIAL ENVIRONMENT AND LANGUAGE IN THE MEDIEVAL ENGLAND R. Kritsberg, Ph.D. (Kriviy Rig) Of two sets of physical and social factors, the latter have their decisive bearing on language. Such social factors can be divided into two groups: economy and politics, and ideology. They refer to social order, economy of a society and its beliefs, views, and superstitions. In the Medieval England, the striking semantic differences comparing to the Modern English pertain to notions of pecuniary relations, property possession, professions, superstitions, diversions, celebrations and pastime. Key words: environment, notion, semantic changes, symbolism, superstition. . @8F15@3. /7K: 8 A>F80;L=>5 >:@C65=85 2 A@54=525:>2>9 =3;88. 7 42CE 284>2 D0:B>@>2, ?@8@>4=KE 8 A>F80;L=KE, 8<5==> 2B>@K5 >:07K20NB @5H0NI55 2;8O=85 =0 O7K:. "0:85 A>F80;L=K5 D0:B>@K <>3CB 1KBL @0745;5=K =0 425 3@C??K: M:>=><8:0 8 ?>;8B8:0, 8 845>;>38O. =8 >B=>AOBAO : >1I5AB25==><C AB@>N, M:>=><8:5 >1I5AB20, 53> @5;8388, 2>77@5=8O< 8 AC525@8O<.  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There are two sets of environmental factors reflected in language  physical and social, as by E. Sapir [6, p. 90]. But it is the social set that brings to play all environmental influence in language that  reduces at last analysis to the influence of social environment” [ibid]. P. Trudgill elaborates on factors that have effect on language including environment, social structure, and values of a society [9, p. 17]. It goes without saying that political and economic systems of a society, its social order are closely connected with its ideology: religion, ethical standards, beliefs, superstitions, etc. Still, the social “forces” or “factors” and the way they affect language remain uncertain. They may be roughly referred to two groups “economy, politics” and “ideology”, and their actual content needs further study. That is the import of this paper. The objective of the present paper is highlighting changes of the notions belonging to economic and social order in the Medieval England, along with bringing to light the signatures of its ideology, especially beliefs and superstitions. The object of the study is the English language in the 14-17th cc. Its subject is lexical and semantic level. Corresponding lexical items gleaned from the Oxford English Dictionary (OED) [7] and literary specimens of G. Chaucer [2], W. Shakespeare [8], and J. Goethe [4] served as material for this paper. The notions of many words that reflected feudal order have undergone considerable changes in modern language. Thus, bachelor in Middle Ages was “a young knight who had few own vassals and followed the banner of another”. The original sense, according to OED, was probably connected with baccalaria “a division of land” with its adjective baccalarius applied in 8th c. to rustic who worked for the colonus or tenant of a mansion [7, p. 220]. Modern senses of the noun and verb ban, to ban have their sources correspondingly in the original notions of “summons to arms, the gathering of the (French) king’s vassals for war”, and “to proclaim, publicly announced”, then “to proclaim under punishment”. The original sense of banal is “belonging to compulsory military service”. Chief as in phrase in chief in Feudal Law was applied to a tenure held immediately from the Lord Paramount. Cheat (earlier escheat) under the Feudal Law originally meant a forfeiture of hereditary estate in England “reverted to the lord when a tenant died without leaving a successor qualified to inherit” the property [7, p. 531]. This happened as well in case of ‘corruption of blood’, according to this doctrine, a person who committed a treason or felony, an Attainder, could neither inherit nor transmit his property by descent from false association of ‘tainting’ his blood and that of his heirs. Later escheat acquired other senses “to forfeit”, “plunder”, “rob” before becoming the modern cheat. Another example of a notion that originally reflected feudal reality and gradually underwent sense changes is fee. According to OED, the modern meaning is a result of interplay of two words: fee 1 “live stock, cattle”, “moveable property, goods” and fee 2 “a heritable estate held on condition of homage to the lord”. The latter gave intermediate senses “the heritable right to an office, profit, pension or revenue granted by a superior lord”, “the sum which a public officer shall be paid for the execution of his official functions” [ibid, p. 576], e.g.: “Ang. Here is thy fee: arrest him, officer. I would not spare my brother in this case, If he should scorn me so apparently.” (The Comedy of Errors. IV. i. 77-79). The now obsolete combination fee-grief “a grief which has a particular owner” goes back to the idea of “somebody’s possession”, as: “What concerns they? The general cause? Or is it a fee-grief…?” (Macbeth. IV. iii. 195-197). The old set expression which relates to the sense in question is in fee “by a heritable right subject to feudal obligation”, as in Hamlet (about patch of land): “Nor will it yield to Norway or the Pole A ranker rate, should it be sold in fee.” (IV. iv. 21-2). The word cattle illustrates similar development. Originally, it referred to “money, capital”, but under the feudal system was restricted to “movable property, possessions” to end up in “livestock”. G. Chaucer in the 14th c. still uses the word as synonym to “property”: “This person of the toun, for she was feir, In purpos was to maken hire his heir, Bothe of his catel and his mesuage, And straunge he made it of hir marriage.” (The Reeve’s Tale, 3977-3980). “This village priest, because she was beautiful, Was going to make her his heir, Of both his goods and mansion, And he made her marriage in a strange way.” The original sense of the noun cheap (now obscure in the English language) was “bargaining, barter, exchange of commodities”, later the word acquired the meaning “cattle”, as special application of merchandise, stock or by using live-stock as its medium [7, p. 241], as in fee and cattle. The adjective cheap is a result of ellipsis of good cheap, and its derivative chapman “merchant, trader” was current in Middle English: “In Surrye whilom dwelte a compaignye Of chapmen riche, and therto sadde and trew, That wyde-where senten hir spicerye, Clothes of gold, and satyns rich of hew”. (The Man of Law’s Tale. 134-137). “Once upon a while in Syria lived a company Of rich merchants and hence very reliable and honest They sent their spices far and wide Clothes of gold and satin rich in hue”. This tendency is well supported by E. Benveniste’s research who argues that *pecu in Indo-Iranian, Italic and Germanic originally meant “personal chattels, movables” and by the result of successive specification it came to mean in certain languages “live-stock, sheep”, contrary to originally-held idea: “live-stock, sheep” into “wealth” [1, p. 50]. Conceal, as well, according to OED [7, p. 305], originally referred to “the duty of a vassal to conceal his lord’s counsel or secrets, and not to conceal matters to his lord’s injury”. The following sentence from Hamlet (I. iv. 19-20.) can be understood by bearing in mind that addition was either the title (or a person’s distinguishing mark) or in heraldry “something added to a coat of arms as a mark of honor”: “They clepe us drunkards, and with swinish phrase Soil our addition”. There have been considerable changes in people’s occupation that are reflected in the language. Thus, formerly barbers practiced dentistry and surgery. “The Company of Barber-surgeons was incorporated by Edward IV 1461. Under Henry VIII barbers and surgeons were restricted to the practice of dentistry; later in 1746 they were separated into two corporations” [7, p. 106]. Originally, apothecary was a storekeeper of spices, drugs and other imperishable commodities. And only in 1617 Apothecaries’ Company of London was separated from the Grocers’. Cadger in former time was an itinerant dealer who traveled around the country collecting domestic products (milk, butter, eggs) from farmers in remote areas bringing them some domestic ware in exchange. This occupation seems to have made an imprint on the current sense of the word, one that begs or makes his/her living by dubious means. Blackguard before acquiring the modern sense of opprobrium underwent considerable changes, as well. According to OED [7, p. 141], it was one of three professions that laid foundation for such connotation: torchbearers at funerals, linkboys on the streets of London (link was a torch in former times to light way at nights), or a guard of soldiers at Westminster that presumably enjoyed ill reputation. Later, the word was applied to the lowest menials of noble household who were in charge of pots and pans and used to carry those from one residence to another, as well as to attendants or camp-followers, henchmen. Scullion used to mean “a domestic servant of low social rank, kitchen help” along with opprobrious abusive sense. E.g.: “A scullion! Fie upon’t! foh! About my brain!” (Hamlet II. ii. 624-625). Broker before acquiring modern sense originally referred to a tapster who retailed wine from the tap (Old Northern French brokier “to broach, tap a cask”) then it changed to “any retail dealer, one who bought to sell again”, “second-hand dealer”, “jobber, middleman”. All these examples show how the changes in human professions and trades triggered semantic changes. Bellman formerly used to announce death and asked the fold to pray for the souls of the departed. He also worked as a night-watchman and called the hours [7, p. 124]. Lady Macbeth makes the allusion in the scene of murdering King Duncan (Macbeth. II.ii. 4-5): “It was the owl that shriek’d, the fatal bellman, Which hives the stern’st good-night.” Another town profession town-crier, a person who used to make public announcements by a stentorian voice, has come into disuse, with the remaining upshots in the language: “Speak thy speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines”. (Hamlet. III. ii. 1-4). Superstitions are part of the English culture and well attested in the language. Witchcraft, in particular, reached unprecedented influence on social, public and everyday life in the late Middle Ages, especially in the Shakespeare’s England. Samuel Harsnet in his “A Declaration of Egregious Popish Impostures” (1603) states, for example: But if A Peter-penny [annual penny tax paid to Rome, pre-Reformation] or a housel-egg [sacrament offering] were behind, or a patch of tithe unpaid to the Church (Jesu Maria!), then ‘ware where you walk, for fear of bull-beggars [bogeymen], spirits, witches, urchins [goblins, possibly in hedge-hog form], elves, hags [female spirits], fairies, satyres, Pans, fauns, sylvans [wood-spirits], Kit with the candle-stick, tritons, centaurs, dwarfs, giants, imps, calkers [magicians], conjurors, nymphs, changelings [fairies’ offsprings], screech-owl, incubus [male spirit], the spoorn [spectre],the mare [nightmare visitant],the man in the oak, hell-wean [devil’s child],the firedrake, the puckle [bugbear sprite],Tom Thumb, hobgoblin, Tom-tumbler, Boneless, and the rest. [5, p. 116]. This superstition reached an unprecedented degree during the time, “the infatuation had seized all ranks, with an influence which rivaled that resulting from an article of religious faith” [3, p. 566], and the ruling of superstition “was, for a time, not only upheld, but extended” among both the court and inferior orders of the people [3, p. 153]. King Henry VIII passed a Statute, which denounced “all Witchcraft and Sorcery to be Felony without Benefit of Clergy” [ibid], King James I, who was obsessed with witchcraft and sorcery, published his “Dćmonology”, which no matter how poor and primitive writing it was, made a profound effect on the beliefs of the society where ignorance, fears, credulity, fashion, and avid enthrallment fused into one. In the year 1584, R. Scot wrote “The Discoverie of Witchcraft”, a landmark work that elaborated on this gross superstition with description, classification of witches, and enumeration of their feats [ibid]. W. Shakespeare’s Macbeth is a good case in point in which this obsession has found its description. The Three Witches show the spirit of the time, as in the very beginning: First Witch. ‘I come, Graymalkin! Sec. Witch. ‘Paddock calls’…. All. ‘Fair is foul, and foul is fair’ (Macbeth. I. i. 8-9, 11). Here, graymalkin is a variant of grimalking “an old hag, she-cat, a fiend”, paddock “a familiar spirit in a shape of a toad”. Witches were believed to sail in sieves, as in the following: “But in a sieve I‘ll hither sail, And like a rat without a tail.” (Macbeth. I. iii. 8-9). The incantations were made as it reads: “The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about: Thrice to thine and thrice to mine, And thrice again to make it nine. Peace! the charm’s wound up.” (Macbeth. I. iii. 32-37). The expression witching time from Hamlet (III. ii. 413) stands now for “midnight”, “deep night, especially appropriate for this activity”. J. Goethe in his Faust describes other superstitions regarding witches: they got pregnant very often but brought forth dead babies because of the labors during their uncomfortable riddance (on the brooms), e.g.: “Der Weg ist breit, der Weg ist lang, Was ist das für ein toller Drang! Die Gabel sticht, der Besen kratzt, Das Kind erstickt, die Mutter platz.” (Faust. I. Walpurgisnacht. 3973-3976). “The way is broad, the way is long, What a great fuss! The pitchfork stings, the broom itches, The baby suffocates, it’s all over with motherhood.” Children were forced into obedience by admonishing them with elves, hags, satyrs, sirens, and the like. People used to shun the room where somebody had died, the spot where a drunken farmer had broken his neck, was considered to be haunted and impassible [3, p. 155]. N. Drake writes that “omens predictive of good and bad fortune” have no termination in popular belief [ibid, p. 171]. People attached too much significance to meeting a cat or hare on their ways, stumbling at a threshold, putting their shirt on the wrong side, etc. According to OED [7, p. 1038], the expression (God) bless (save) the mark first meant to avert an evil omen and has been used as something improper or indecent is mentioned. Originally it might be used by mid-wives at the birth of a child bearing a ‘mark’ [ibid]. E.g.: “…he had not been there – bless the mark”. (The Two Gentlemen of Verona. IV.iv.20-22) Having the teeth set wide apart in The Middle Ages was popularly regarded as a sigh that the person will be lucky and travel much [7, p. 659], as in the G. Chaucer’s quotations: “At Rome she hadde been, and at Boloigne, In Galice at Seint-Jame, and at Coloigne. She koude muchel of wandrynge by the weye. Gat-tothed was she, smoothly for to seye.” (General Prologue. 465-468). “She had been to Rome and Bologna, In Galicia at Saint James, and in Cologne. She knew a lot about wandering by the way. She was gap-toothed, to tell the truth.” The most current of other omens were “lamenting heard in the air; shakings and tremblings of the earth; sudden gloom at noon-day; the appearance of meteors, the shooting of stars, eclipses of the sun and moon; the shrieking of owls; the croaking of ravens; the shrilling of crickets, the night-howling of dog; the chattering of pies; the wild neighing of horses…and strange and fearful noises” [3, p. 659]. W. Shakespeare’s plays abound in such predictions. When in The Tempest the ship is sinking by Ariel’s witchcraft a Boatswain cries: “A plague upon this howling! They are louder than the weather or our office.” (I.1.41-42). In Macbeth, after King Duncan being murdered, Lady Macbeth says “I heard the owl scream and the crickets cry” (Macbeth. II.ii. 17). In the next scene Lennox enumerates the omens of that dreadful night: “The night has been unruly: where we lay, Our chimneys were blown down; and, as they say, Lamenting heard I’ the air; strange screams of death, And prophesying with accents terrible Of dire combustion [=disorder] and confus’d events New hatch’d to the woeful time.” (ibid. iii. 59-67). And Ross follows the suit: “On Tuesday last, A falcon, towering in her pride of place, Was by a mousing owl hawk’d and killed.” (ibid. iv. 12-13). Hamlet speaks that “croaking raven doth bellow for revenge.” (Hamlet. III. ii. 268-269.) In Hamlet in the opening scene Horatio compares the evil omens in the Old Rome before Julius Cesar’s fall to those in the Denmark: “The graves stood tenantless and the sheeted death Did squeak and gibber in the Roman streets; As stars with trains of fire and dews of blood, Disasters in the sun; and the moist star Upon whose influence Neptune’s empire stands Was sick almost to doomsday with eclipse.” (Hamlet. I. i. 113-124). In the same scene Marcellus speaks out the folk beliefs that at Christmas, supernatural forces shun away from apparition: “Some say that ever ‘gainst that season comes Wherein our Saviour’s birth is celebrated, The bird of dawning singeth all night long; And then, they say, no spirit can walk abroad; The nights are wholesome; then no planets strike, No fairy takes, nor witch hath power to charm, So hallow’d and so gracious is the time.” (ibid. 158-164). According to another belief, spirits and ghosts should disappear with the dawn and crowing of the cock was meant to be a signal of their retirement. E.g.: “I have heard, The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day; and at his warning, Whether at sea, or fire , in earth or air, The extravagant and erring spirit hies To his confine.” (ibid. 149-155). Owl was another unhappy symbol of The Middle Ages. As N Drake points out [3, p. 192], “it was firmly believed that the screech-owl was in the habit of destroying infants by sucking out their blood and breath” in the cradle, as illustrated in the following: “This is the fairy land: O! spite of spites. We talk with goblins, owls, and elfish sprites: If we obey them, this will ensue, They’ll suck our breath, or pinch us black and blue.” (The Comedy of Errors. II. ii. 193-196). The stigma attached to the owl was well supported by folk legend in Gloucestershire [3, p. 192]. The Lord came into the baker’s shop where mother and daughter were baking and asked for bread. The mother put some dough into the oven right away, but the daughter, being too frugal, dressed her down reducing the size of the dough. The piece immediately began to swell and soon became enormous causing the maid to cry in surprise owl-like ‘Heugh, heugh, heigh’ and this sound induced the Lord God to turn her into the owl. Ophelia refers to this legend when she says: “Well, God ‘ild you! They say the owl was a baker’s daughter.” (Hamlet. IV. v. 42-43). To the contrary pelican, due to the fable related by Epiphanius and St. Augustine, or Egyptian origin, according to OED [7, p. 1299], used to be in good books, believed to revive and feeds its young with its own blood, as: “To his good friends thus wide I’ll ope my arms; And like the kind life-rendering pelican, Repast them with my blood”. (ibid 143-145). Symbolism of plants finds its telling expression in the Ophelia’s mad monolog (IV. v. 163-219), where rosemary stands for remembrance, pansy – for thought, fennel is a symbol of flattery, columbine suggested allusion to cuckoldry [7, p. 290], rue has homonymic association with “sorrow, distress, repentance, regret” (due to archaic and dialectic item rue), daisy used to refer to frivolity, inconsistency, levity; and violet – to true love (“they withered all when my father died”. 184). Only plants (herbs) gathered at midnight under the moonlight were thought to possess either salubrious or deleterious effect, as in the following examples: “I bought an unction of a mountebank, So mortal that, but dip a knife in it, Where it draws blood no cataplasm so rare, Collected from all simples [= herbs] that have virtue Under the moon, can save the thing from death”. (ibid. IV. vii. 141-145) “Thou mixture rank, of midnight weeds collected, With Hecate’s ban thrice blasted, thrice infected, Thy natural magic and dire property, On wholesale life usurp immediately.’ (ibid III. ii. 272-275). Diversions, celebrations, and pastimes of people serve good examples of forming peculiar cultural patterns and their expression in language. One of those is The Morris Dance as part of Mayday celebration in Great Britain beginning in the XVth century. N. Drake points out that the dance was introduced about the reign of Edward the Fourth [3, p. 77], had its origin in the Spanish Moors and originally included Lady of the May, the Fool, a Piper and a few more dancers [ibid]. By the beginning of the XVIth century four new characters were introduced into the ceremony: Robin Hood, Little John, Friar Tuck, and Maid Marian, with Robin Hood becoming the King of May and Maid Marian assuming the office of the Queen of May [ibid, p. 78]. Two more figures were added: the Hobby-Horse and the Dragon, both manufactured in pasteboard, attached to persons and resembling the corresponding animals. In the literary works of that time numerous references are made to this famous celebration. Hamlet bemoans the demise of the old traditions, as: “…he must build churches then, or else shall he suffer not thinking on, with the hobby-horse, whose epitaph is, ‘For, O! for, O! the hobby-horse is forgot.’” (Hamlet III. ii. 142-146). Saint Valentine’s Day is well mentioned in the sources of late Middle early Modern English. Ophelia in her another song (IV. v. 49-56) mentions the custom of choosing a partner by a first person that appeared at the door. “To-morrow is Saint Valentine’s Day, All in the morning betime, And I a maid at your window, To be your Valentine”. Thus, summing up, in a whole gamut of social factors, two large groups “economy, politics” and “ideology” stand apart. Most of the notions that underwent changes refer to pecuniary relations, property possession, professions, superstitions, diversions, celebrations and pastime. The prospects of the study lie in further itemizing the social and environmental factors viewed in diachrony and synchrony, along with studying the ways they bear on language. REFERENCES 1. Benveniste E. Indo-European Language and Society / Benveniste E. – Univ. of Miami Press, 1973. – 450 p. 2. Chaucer G. The Canterbury Tales / Chaucer G. – NY: Alfred A. Knopf, 1992. – 607 p. 3. Drake N. Shakespeare and his times / Drake N. – NY: Burt Franklin, 1969. – 659 p. 4. Goethe J. Faust / Goethe J. – Deutscher Taschenbuch Verlag, 2001. – 413 S. 5. Pritchard R. (ed.). Shakespeare’s England / Pritchard R. – Sutton Publishing, 1999. – 248 p. 6. Sapir E. Selected Writings of Edward Sapir in Language, Culture and Personality / Sapir E.. – Univ. of California Press, 1985. – 600 p. 7. Simpson J., Weiner E. (eds.). The Compact Oxford English Dictionary / Simpson J., Weiner E. (eds.). – Oxford: Clarendon Press, 1994. – 2371 p. 8. The Complete Works of William Shakespeare. Craig W. J. (ed.). – London: Henry Pordes, 1993. – 1264 p. 9. Trudgill P. Sociolinguistics: An Introduction to Language and Society / Trudgill P. – London: Penguin Books, 1995. – 194 p. Š R. Kritsberg, 2009 # 811.111 42 ! "-& !!  ,  "& !" "%   # !# $"# !# ! .. @840A>20 (%0@:V2) !B0BBN ?@8A2OG5=> 0=0;V7C >4=>3> 7V A?>A>1V2 25@10;L=>W >1 T:B820FVW AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV. @>0=0;V7>20=> 70A>18 @5?@575=B0FVW @>;59 B0 WE=L>W >FV=:8 AC1 T:B>< 48A:C@AC. AB0=>2;5=>, I> 70 :@8B5@VT< =0O2=>ABV / 2V4ACB=>ABV >FV==8E <0@:5@V2 45A:@8?B82=>->FV==89 A?>AV1 >E>?;NT 2;0A=5->FV==89 B0 45A:@8?B82=89. ;NG>2V A;>20: 45A:@8?B82=>->FV==89 A?>AV1, @>;L, AV<59=89 :>=D;V:B=89 48A:C@A, AB5@5>B8?. .. @840A>20. 5A:@8?B82=>->F5=>G=K9 A?>A>1 25@10;L=>9 >1J5:B820F88 AB5@5>B8?=KE @>;59 2 0=3;>O7KG=>< A5<59=>< :>=D;8:B=>< 48A:C@A5. !B0BLO ?>A2OI5=0 8AA;54>20=8N >4=>3> 87 A?>A>1>2 25@10;L=>9 >1J5:B820F88 AB5>5@B8?=KE @>;59 2 0=3;>O7KG=>< A5<59=>< :>=D;8:B=>< 48A:C@A5. @>0=0;878@>20=K A@54AB20 @5?@575=B0F88 @>;59, 0 B0:65 8E >F5=:8 AC1J5:B>< 48A:C@A0. #AB0=>2;5=>, GB> ?> :@8B5@8N =0;8G8O / >BACBAB28O >F5=>G=KE <0@:5@>2 45A:@8?B82=>->F5=>G=K9 A?>A>1 >E20BK205B A>1AB25==>->F5=>G=K9 8 45A:@8?B82=K9. ;NG52K5 A;>20: 45A:@8?B82=>->F5=>G=K9 A?>A>1, @>;L, A5<59=K9 :>=D;8:B=K9 48A:C@A, AB5@5>B8?. Grydasova O. I. Descriptive-evaluative way of stereotype role verbal objectivation in English family conflict discourse. The article focuses on one of the verbal objectivation ways employed for stereotype roles representation in English family conflict discourse. The means used for presenting roles themselves and their evaluation are subjected to analysis. It is proved that according to the criterion of evaluative markers presence / absence descriptive-evaluative way includes evaluative proper and descriptive. Key words: descriptive-evaluative way, role, family conflict discourse, stereotype. 1 T:B>< =0H>3> 4>A;V465==O T 7@07:8 4V0;>3VG=>3> A?V;:C20==O 0=3;><>2=8E :><C=V:0=BV2 C A8BC0FVOE AV<59=>3> :>=D;V:BC, 9>3> ?@54<5B>< 28ABC?0NBL >A>1;82>ABV 25@10;L=>W >1 T:B820FVW AB5@5>B8?=8E @>;59, =>AVO<8 O:8E T CG0A=8:8 AV<59=>3> :>=D;V:BC. :BC0;L=VABL 4>A;V465==O 7C<>2;5=0 28:>@8AB0==O< 48A:C@A>;>3VW O: B5>@5B8G=>-<5B>4>;>3VG=>W 1078, I> 4>72>;OT >@30=VG=> ?>T4=0B8 :>3=VB82=V, :><C=V:0B82=V, A>FV0;L=V G8==8:8 25@10;L=>W 270T<>4VW C T48=5 FV;5. @C=BCNG8AL =0 F8E 70A040E B0 C@0E>2CNG8 4>A2V4 ;V=32VAB8G=>3> [1; 7; 8 B0 V=.] B0 =5;V=32VAB8G=>3> [3; 4; 5; B0 V=.] 0=0;V7C AV<59=>3> :>=D;V:BC, <8 A8AB5<0B87C20;8 BV @>;V, 2 O:8E 2ABC?0NBL 2 :><C=V:0FVN CG0A=8:8 AV<59=>3> :>=D;V:BC B0 287=0G8;8 2<VAB AB5@5>B8?=>3> 7=0==O ?@> :>6=C @>;L [2]. =0;V7 D0:B8G=>3> <0B5@V0;C 70A2V4G82 <=>68==VABL A?>A>1V2 25@10;L=>W >1 T:B820FVW F8E @>;59, 4> O:>W =0;568BL: 45A:@8?B82=>->FV==89  <>25FL >?8ACT 4VW =>AVO @>;V 71V6=V / =571V6=V V7 AB5@5>B8?=8<8 7=0==O<8 / CO2;5==O<8, >GV:C20==O<8, 28<>30<8 B0 =0 FV9 ?V4AB02V >FV=NT 9>3>; A?>=C:0;L=89  <>25FL A?>=C:0T =>AVO @>;V 4> 74V9A=5==O 4V9, ?5@5410G5=8E AB5@5>B8?=8<8 28<>30<8, >GV:C20==O<8, 7=0==O<8 / CO2;5==O<8; :0C70;L=89  <>25FL 74V9A=NT 25@10;L=C 4VN G5@57 1060==O / =51060==O A;V4C20B8 @>;L>28< 28<>30<, >GV:C20==O<, 7=0==O< / CO2;5==O<. 5B>N FVTW AB0BBV T 0=0;V7 25@10;L=8E 70A>1V2, 28:>@8AB0=8E 70 45A:@8?B82=>->FV==>3> A?>A>1C >1 T:B820FVW AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV. 8E>4OG8 V7 B>3>, I> >FV=:0, 70:>@V=5=0 =0 71V6=>ABV / =571V6=>ABV 7 5B0;>=>< 4VO;L=>ABV AC1 T:B0 48A:C@AC, D>@<CT >A=>2C 25@10;L=>W >1 T:B820FVW AB5@5>B8?=8E @>;59, =570;56=> 2V4 WW A?>A>1C, C <560E 45A:@8?B82=>->FV==>3> A?>A>1C 284V;OT<> 2;0A=5->FV==89 (70 =0O2=>ABV >FV==8E <0@:5@V2) B0 45A:@8?B82=89 (70 WE 2V4ACB=VABN). ;0A=>->FV==89 A?>AV1 ?5@5410G0T =0O2=VABL C 28A;>2;N20==OE @07>< V7 >1 T:B820FVTN @>;V ?>78B82=C G8 =530B82=C >FV=:C, 28@065=C 70 4>?><>3>N ?5@28==8E 01> 2B>@8==8E <0@:5@V2. > ?5@28==8E <0@:5@V2 2V4=>A8<> =><V=0B82=V >48=8FV, C AB@C:BC@V 7=0G5==O O:8E <VAB8BLAO A5<0 >FV=:8. # FL><C <8 ?>4V;OT<> 4C<:C . . /F5=:>, O:0 4>A;V46CNG8 0:BC0;V70FVN 0:AV>;>3VG=>3> 7<VABC :>=F5?BV2 <0A:C;V==VABL B0 D5<V=V==VABL C ACG0A=><C 0=3;><>2=><C EC4>6=L><C 48A:C@AV, A;CH=> AB25@46CT, I> ?5@28==8<8 <0@:5@0<8 T Ť<>2=V 70A>18, I> 157?>A5@54=L> :20;VDV:CNBL @5D5@5=B0, 2 B5@<V=0E  4>1@5 ::  ?>30=> (01> B5@<V=0E :>=:@5B=> >FV==8E 7=0G5=Lť [6, c. 63]. "0:>6 ?>3>46CT<>AO V7 B8<, I> ?5@28==V 0:AV>;>3VG=V <0@:5@8 <>6CBL 1CB8 ?@54AB02;5=V ?@8:<5B=8:0<8, 1> Ť C AB@C:BC@V 7=0G5==O 7030;L=> >FV==8E ?@8:<5B=8:V2 >FV=:0 T T48=8< A5<0=B8G=8< =0?>2=5==O< 45=>B0B0, V=H8<8 A;>20<8,  2>=8 =5 <VABOBL =VO:>W V=D>@<0FVW, :@V< >FV=:8 7V 7=0:><  4>1@5 01>  ?>30=> 7 1V;LH8</<5=H8< ABC?5=5< V=B5=A8DV:0FVW / 45V=B5=A8DV:0FVWť [6, c. 63]. "0: A0<>, O: V C 4>A;V465==V .. /F5=:>, C :>@?CAV =0H>W 281V@:8 =0O2=V 04 T:B82=V >FV==V <0@:5@8, O:V C6820NBLAO 0B@81CB82=>. 0?@8:;04, C =0ABC?=V9 A8BC0FVW >1 T:B82>20=0 107>20 @>;L ". 0;5=L:0 4V2G8=:0 >1C@5=0, B8<, I> <0B8 =5 ?@84V;OT WW 4>AB0B=L>W C2038: (1)  Bad Mommy, bad Mommy, bad Mommy.  Just calm down. No! No calm down! [16]. # FL><C ?@8:;04V =0O2=89 ?5@28==89 <0@:5@ (?@8:<5B=8: bad), O:89 35=5@0;V7>20=> ?>7=0G0T =530B82=C >FV=:C B0 28ABC?0T 0B@81CB>< 4> V<5==8:0 Mommy, :>B@89 >1 T:B82CT 107>2C AB5@5>B8?=C @>;L  ". 4=0:, 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV 04 T:B82=V >FV==V 70A>18 C6820NBLAO, O: ?@028;>, ?@548:0B82=> (?@548:0B8, I> <VABOBL 4VTA;>2>-72 O7:C, 2 01A>;NB=V9 1V;LH>ABV  F5 4VTA;>2> to be B0 ?@8:<5B=8: 01> V<5==8: 7 A5<>N =530B82=>W >FV=:8). # F8E 28?04:0E =0720 107>2>W / :;0AB5@=>W @>;V 2V4ACB=O, 25@10;L=> ?>7=0G0NBLAO 4VW / O:>ABV AC1 T:B0, I> (=5)AC<VA=V 7 @>;L>28<8 >GV:C20==O<8 B0 28<>30<8 B0 2>4=>G0A  >FV=:0 F8E 4V9 / O:>AB59 (=530B82=0). "0:, C =0ABC?=><C ?@8:;04V >1 T:B82>20=0 AB5@5>B8?=0 @>;L "- #, ?@8G8=>N :>=D;V:BC BCB AB0T =54>1@>78G;825 AB02;5==O <0B5@V 4> 7=09><>3> 4>=L:8: (2)   You were rude to my friend.   He s not you friend. He s a stranger. Don t forget that. And don t argue with me [17, c. 41]. 5@28==89 <0@:5@, 28:>@8AB0=89 C FV9 A8BC0FVW (?@8:<5B=8: rude) <VAB8BL C A2>W9 A5<0=B8G=V9 AB@C:BC@V A5<C =530B82=>W >FV=:8 (rude /rud/ adj. impolite, making people angry by one s bad behavior or unkind words; lacking refinement or delicacy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bad Mommy, bad Daddy). 0B><VABL ?@548:0B82=V 04 T:B82=V ?5@28==V <0@:5@8 >FV=:8 T 107>28<8 C 25@10;L=V9 >1 T:B820FVW AB5@5>B8?=8E @>;59: 45<>=AB@CNG8 DC=:FV>=0;L=89 A8=:@5B87<, 2>=8 >4=>G0A=> >?8ACNBL 4VW / O:>ABV AC1 T:B0, O:V (=5) :>@5A?>=4CNBL V7 70240=8<8 AB5@5>B8?>< >GV:C20==O<8, B0 :20;VDV:CNBL =>AVO >1 T:B82>20=>W @>;V O: E>@>H>3> (B0:>3>, I> 2V4?>2V40T 5B0;>=C) 01> ?>30=>3> (B0:>3>, I> =5 2V4?>2V40T 5B0;>=C). &V <0@:5@8 ?@54AB02;5=V 2 01A>;NB=V9 1V;LH>ABV A5@54 ?5@28==8E 04 T:B82=8E (99,97%) 9 70@5TAB@>20=V C A8BC0FVOE AV<59=>3> :>=D;V:BC 7 CAV<0 <>6;828<8 04@5A0=B=>-04@5A0B=8<8 :>=DV3C@0FVO<8. 07>< (0B@81CB82=V B0 ?@548:0B82=V) 04 T:B82=V <0@:5@8 A:;040NBL 78% 2V4 ?5@28==8E >FV==8E <0@:5@V2, 28:>@8AB0=8E 2 >1 T:B820FVW AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV. 0ABC?=8< B8?>< ?5@28==8E <0@:5@V2 T AC1AB0=B82=V  28@065=V V<5==8:0<8, 2 AB@C:BC@V 7=0G5==O O:8E =0O2=0 A5<0 >FV=:8. 6820==O V<5==8:0 O: ?5@28==>3> <0@:5@C =5 T B8?>28<, B0 G0ABVH5 70 2A5 O2;OT A>1>N 25@10;L=5 ?>7=0G5==O @>;V, 0=B>=V<VG=>W ?> 2V4=>H5==N 4> B8E, I> D>@<CNBL A8AB5<C AV<59=8E AB5@5>B8?=8E @>;59. 0?@8:;04, C =0ABC?=V9 A8BC0FVW >1 T:B82>20=0 @>;L  #-   " , <0B8 =0:07CT A8=>2V WE0B8 7 =5N, >1@065=0 48B8=0 =5 A;CE0TBLAO B0 728=C20GCT <0B8 C B><C, I> 2>=0 3C;OI0: (3)  Get out of the car! Go to the truck.  You are a whore, just like everyone says.  Don t ever talk to me like that! [12]. # FL><C ?@8:;04V V<5==8: whore T 5:A?;VF8B=8< ?>7=0G5==O< @>;V (, , O:0 ?@>B8AB02;OTBLAO 5B0;>==8< @>;O< 6V=:8, 7>:@5<0 @>;V  #-   " . 8:>@8AB0==O AC1AB0=B82=>3> ?5@28==>3> <0@:5@C C :>@?CAV =0H>W 281V@:8 T, O: C FL><C ?@8:;04V, ?@548:0B82=8< 2 CAVE 28?04:0E. $C=:FV>=0;L=>, O: V ?@548:0B82=V 04 T:B82=V ?5@28==V <0@:5@8, AC1AB0=B82=V T A8=:@5B8G=8<8: 2>=8 >4=>G0A=> V<5=CNBL B5, I> T 28EV4=>N B>G:>N @5D5@5=FVW 4> AB5@5>B8?=>W @>;V B0 :20;VDV:CNBL AC1 T:B0  =>AVO @>;V, 4> O:>W 74V9A=NTBLAO @5D5@5=FVO. :@V< V<5=V 0=B>=V<VG=>W @>;V AC1AB0=B82=V ?5@28==V <0@:5@8 B0:>6 ?@54AB02;5=V V<5==8:0<8, I> <VABOBL A5<C =530B82=>W >FV=:8. 0?@8:;04, C =0ABC?=V9 A8BC0FVW =0O2=0 >1 T:B820FVO @>;V "- #. >=L:0 =5 @>7C<VT A:@CB=5 AB0=>28I5 <0B5@V B0 =5 E>G5 28:>=C20B8 WW =0:078, 4>:CG0NG8 W9 A2>W<8 ?@>E0==O<8: (4)   You really are a crashing bore! I don t want to hear any more of your petit-bourgeois moanings. You are going to school tomorrow wearing this, and that s that!  No, Mammy, please [19]. 5@28==89 <0@:5@ BCB ?>40=> V<5==8:>< bore, AB@C:BC@0 7=0G5==O O:>3> <VAB8BL 2 A>1V A5<C =530B82=>W >FV=:8 (bore  one that causes boredom: as a tiresome person [11]). B65, F59 AC1AB0=B82=89 ?5@28==89 <0@:5@ ?>-?5@H5, T >A=>2>N @5D5@5=FVW, V<5=CNG8 O:VABL >A>18, =5AC<VA=C 7 AB5@5>B8?=8<8 CO2;5==O<8 ?@> ;N48=C-4@C30, ?>-4@C35, :20;VDV:CT =>AVO @>;V, 4> O:>W 74V9A=NTBLAO @5D5@5=FVO, O: ?>30=>3> =0 ?V4AB02V 5:A?;VF8B=> 28@065=>W =530B82=>W >FV=:8. 07=0G8<>, I> 2 =02545=><C ?@8:;04V ?@8:<5B=8: (crashing) =5 T 04 T:B82=8< >FV==8< <0@:5@><: 2V= 26820TBLAO O: V=B5=A8DV:0B>@ =530B82=>->FV==>3> 7=0G5==O V<5==8:0 bore. 0@B>N C2038 T 9 B0 >1AB028=0, I> B8?>2V 4;O 0=3;V9AL:>W ;09:8 A?>;CG5==O: ?@8:<5B=8: 7 =530B82=>->FV==8< 7=0G5==O< + V<5==8: 7 =530B82=>->FV==8< 7=0G5==O< (=0 :HB0;B stupid idiot, stupid fool) 7CAB@VG0NBLAO C A8BC0FVOE AV<59=>3> :>=D;V:BC, ?@>B5 2>=8 =5 :>@5A?>=4CNBL V7 25@10;L=>N >1 T:B820FVTN AB5@5>B8?=8E @>;59, 1> =5 74V9A=NNBL @5D5@5=FVN 4> O:>WAL A8BC0FVW / WW D@03<5=BC (2V4?>2V4=> V AB5@5>B8?=>W @>;V), 0 ;8H5 28@060NBL AB02;5==O AC1 T:B0 4> FVTW A8BC0FVW. "0:, C =0ABC?=><C ?@8:;04V :>=D;V:B 28=8:0T <V6 10BL:>< B0 4>=L:>N, G5@57 B5, I> 4>=L:0 >1C@5=0 =5B25@578< AB0=>< 10BL:0, 0 10BL:>  =51060==O< 4>=L:8 28:>=C20B8 9>3> =0:078. 1 T:B82CNG8 :;0AB5@=V @>;V ",-#, (This is my bloody  ouse) V ",-%"/ (I ll say when the winders are to be opened) <>25FL 2>4=>G0A >17820T 4>=L:C 4C@=>N :>@>2>N: (5)   You stink of beer!   Shut that sodding winder, you silly cow! This is my bloody  ouse, and I ll say when the winders are to be opened [14, c. 163]. @>B5 FO ;09:0 T ;8H5 25@10;L=>N >1 T:B820FVTN =530B82=8E 5<>FV9 10BL:0, 2>=0 =5 :>@5A?>=4CT 7 6>4=>N 7 :;0AB5@=8E @>;59 ". !C1AB0=B82V <0@:5@8 ?@54AB02;5=V C <5=H89 :V;L:>ABV =V6 04 T:B82=V, 2>=8 A:;040NBL  22% 2V4 CAVE ?5@28==8E FV==8E <0@:5@V2.  FV;><C 6, C :>@?CAV =0H>W 281V@:8 ?5@28==V <0@:5@8 ?5@52060NBL, 2>=8 A:;040NBL 68% 2V4 CAVE >FV==8E <0@:5@V2, =0O2=8E 2 >1 T:B820FVO AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV, B>4V O: 2B>@8==V  ;8H5 32%. B>@8==V <0@:5@8 T V<?;VF8B=8<8, . . /F5=:> 287=0G0T WE O: Ť<>2=V 28@078, I> :20;VDV:CNBL @5D5@5=BV2 < & > G5@57 <5B0D>@8G=V, <5B>=V<VG=V G8 V=HV >1@07=V 0A>FV0FVW, 465@5;>< O:8E T =530B82=V G8 ?>78B82=V D5=><5=8, 28@065=V 45=>B0B0<8 F8E =><V=0FV9ť [6, c. 64]. @>B5, F5, 70 40=8<8 =0H>3> 0=0;V7C, =5 2;0AB82> 25@10;L=V9 >1 T:B820FVW AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV. B>@8==V <0@:5@8, =0O2=V C :>@?CAV =0H>W 281V@:8 ?>2 O70=V V7 ?>@CH5==O< 3@09A>28E <0:A8< [9, c. 41-58] B0 >E>?;NNBL 420 B8?8. # ?5@H><C 28?04:C 2B>@8==89 <0@:5@ =5 <VAB8BLAO C 28A;>2;N20==V, 0 282>4OBLAO 7 =L>3>, I> :>@5A?>=4CT 7 ?>@CH5==O< <0:A8<8 A?>A>1C (Maxim of Manner) . . @09A0   State what you wish briefly and in an orderly manner, avoiding obscurity of expression, ambiguity [9, c. 41-58]. "0:, =0?@8:;04, C =0ABC?=V9 A8BC0FVW >1 T:B82>20=0 107>20 @>;L ",; 4@C68=0 728=C20GCT G>;>2V:0 C =5C207V 4> AV<59=8E ?@>1;5< V =53V4=V9 ?>254V=FV: (6)  Every day,  fix the world . How about fixing your family? What kind of father are you? And now you re drunk at church, for Christ s sake &  That a joke, Sara? Making a joke?  I m just saying it s enough [13]. FV==89 <0@:5@ C 28A;>2;N20==V 2V4ACB=V9 >4=0: 9>3> =5206:> @5:>=AB@CN20B8 (What kind of father are you? ’! You are a bad father); C B>9 65 G0A 107>20 @>;L ", ?>7=0G5=0 5:A?;VF8B=> (father).  ?@>F5=B=><C A?V22V4=>H5==V :V;L:VABL V<?;VF8B=8E <0@:5@V2, 70:>@V=5=8E =0 V<?;VF8B=><C 282545==V >FV=:8 AB0=>28BL (54%) 2V4 CAVE 2B>@8==8E <0@:5@V2. # 4@C3><C 28?04:C >FV==89 <0@:5@ =0O2=89, ?@>B5 7=0: >FV=:8, I> <VAB8BLAO C A5<0=B8G=V9 AB@C:BC@V ;5:A8G=>W >48=8FV 7<V=NTBLAO C @50;V7>20=><C 28A;>2;N20==V =0 ?@>B8;56=89, B>1B> A?>AB5@V30TBLAO ?>@CH5==O <0:A8<8 2V4=>H5==O . . @09A0 (Maxim of Relation or Relevance)   Only say that which is relevant to the topic at hand [9, c. 41-58]. "0:, 2 =0ABC?=V9 A8BC0FVW >1 T:B82CTBLAO @>;L  #- #. '>;>2V: 728=C20GCT A2>N 4@C68=C 2 B><C, I> ?>4@C66O 2B@0B8;> 4CE>2=89 72 O7>:: (7)  You re not hearing me. You re so goddamn critical!  It s hard with two kids. I don t need a third.  You re perfect, and I ve done nothing right in 15 years! You re not listening! You can t let go of anything! You never listen! You hold on to everything! Why should you be responsible for anything?! You re critical of every fucking thing! [18].  FL><C ?@8:;04V 704VO= 2B>@8==89 <0@:5@ perfect. 6820NG8 ?@8:<5B=8:, I> <VAB8BL C AB@C:BC@V A2>3> 7=0G5==O A5<C ?>78B82=>W >FV=:8 (perfect  being entirely without fault or defect; corresponding to an ideal standard or abstract concept; [11]) G>;>2V: >1 T:B82CT =5 ?>78B82=C, 0 =530B82=C >FV=:C: 2V= =02?@>B8 =5 22060T, I> 9>3> 4@C68=0 4>1@5 28:>=CT >1>2 O7:8, ?5@5410G5=V 28<>30<8 @>;V (You are perfect ’! You are bad). @8 FL><C, =530B82=0 V<?;VF8B=0 >FV=:0, 70:>@V=5=0 =0 ?>@CH5==V <0:A8<8 2V4=>H5==O ?>2 O70=0 V7 V<?;VF8B=>N >1 T:B820FVTN AB5@5>B8?=>W @>;V, 1> ?V4AB020 @5D5@5=FVW B0:>6 282>48BLAO V=D5@5=FV9=> (You are perfect ’! You are a bad friend). B65, <>6=0 AB25@46C20B8 ?@> ?>@CH5==O C B0:8E 28?04:0E >1>E <0:A8<, I> A?>AB5@V30TBLAO 46 % 2V4 CAVE 2B>@8==8E >FV==8E <0@:5@V2. 0 45A:@8?B82=>3> A?>A>1C >1 T:B820FVW AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV 28A;>2;N20==O =5 <VAB8BL 0=V 5:A?;VF8B=8E, 0=V V<?;VF8B=8E >FV==8E <0@:5@V2. # F8E 28A;>2;N20==OE =0O2=89 >?8A 4V9 / O:>AB59 AC1 T:B0 48A:C@AC, I> D>@<CT >A=>2C @5D5@5=FVW 4> AB5@5>B8?=>W @>;V. "0:, C =0ABC?=><C ?@8:;04V F59 >?8A T 5:A?;VF8B=8<: >1C@5=0 ?>254V=:>N 10BL:0, 4>=L:0 ?5@5;VGCT 9>3> 2G8=:8 =5AC<VA=V V7 FV;>N =87:>N :;0AB5@=8E @>;59 ' ('-   "   eyeing other women) B0 ", (",-#,  You spend your wages soon as you get  em, leaving her to do the best she can with what s left.) (8)   I hate you, Dad!   Little cow!   You re no good. You re allus drunk & eyeing other women when me mam s stuck at home with your bairns. You spend your wages soon as you get  em, leaving her to do the best she can with what s left. She said you were neither use nor ornament, and she were bloody right! [14, c. 245]. # V=HV9 A8BC0FVW >?8A T V<?;VF8B=8<: C4020=> 7482>20=0 4@C68=0 70?8BCT G8 F5 7 =5N 718@0TBLAO @>7<>2;OB8 G>;>2V:, AB25@46CNG8 B8< A0<8<, I> 70728G09 2V= FL>3> =5 @>18BL, B>1B> =5 2V4?>2V40T AB5@5>B8?=8< @>;L>28< 28<>30< '- #: (9)  What do you want?  I want to know what s going on.  Right.  You re obviously upset. If there s something you want to talk about &  Talk? Who, us? Oh, you mean to each other? [15].  >1>E 28?04:0E >FV=:0, =5 28@065=0 25@10;L=8<8 <0@:5@0<8, 2AB0=>2;NTBLAO =0 >A=>2V ?@5AC?>78FV9=>3> D>=4C AC1 T:BV2 48A:C@AC: 2V4?>2V4=VABL AB5@5>B8?C O: 5B0;>=C >FV=NTBLAO ?>78B82=>, =52V4?>2V4=VABL  =530B82=>. 8:;045=5 40T ?V4AB028 4V9B8 28A=>2:C, I> 70 45A:@8?B82=>->FV==>3> A?>A>1C 25@10;L=>W >1 T:B820FVW AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV 2;0A=5 @>;L ?>7=0G0TBLAO WW =072>N C:@09 @V4:>, B8?>28< T 5:A?;VF8B=89 / V<?;VF8B=89 >?8A 4V9 AC<VA=8E / =5AC<VA=8E 7 @>;L>28<8 >GV:C20==O<8 V 28<>30<8; >FV==V <0@:5@8 ?@8 FL><C T ?5@28==8<8 (5:A?;VF8B=8<8), V<?;VF8B=8<8 (282545=8<8 V7 7<VABC 28A;>2;N20==O) G8 =C;L>28<8 (282545=8<8 7 ?@5AC?>78FV9=>3> D>=4C AC1 T:B0 48A:C@AC). 5@A?5:B82>N @>1>B8 T 0=0;V7 A?>=C:0;L=>3> B0 :0C70;L=>3> A?>A>1V2 25@10;L=>W >1 T:B820FVW AB5@5>B8?=8E @>;59 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV. " "#  1. V30@V . . 8A:C@A ACG0A=>W 0=3;><>2=>W AV< W : 02B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O :0=4. DV;>;. =0C: : A?5F. 10.02.04  5@<0=AL:V <>28 / . . V30@V.  ., 2006.  21 A. 2. @840A>20 . . !?>A>18 25@10;L=>W >1 T:B820FVW AB5@5>B8?=8E @>;59  # 2 0=3;><>2=><C AV<59=><C :>=D;V:B=><C 48A:C@AV / . . @840A>20 // VA=8: 8B><8@. 45@6. C=-BC V<. 20=0 $@0=:0.  2009.  ! 45.  !. 148-151. 3. ;870@>2 . .  HYPERLINK "http://www.psychologia.narod.ru/genesis.htm" \t "_blank" =CB@5==85 :>=D;8:BK ;8G=>AB8 8 35=578A A5<59=KE 48ADC=:F89 / . . ;870@>2 // C@=0; ?@0:B8G5A:>3> ?A8E>;>30.  2005.  ! 5.  !. 192-206. 4. 5<;O=A:0O . A8E>;>38G5A:89 ?@0:B8:C< / . 5<;O=A:0O.  . : -:A<>, 2003.  280 A. 5. >@>ABK;Q20 . . 5=I8=0 8 <C6G8=0: >B :>=D;8:B0 : A>3;0A8N / . . >@>ABK;Q20.  . : 81;8>=8:0, 2005.  240 A. 6. /F5=:> . . :BC0;V70FVO 0:AV>;>3VG=>3> 7<VABC :>=F5?BV2 <0A:C;V==VABL B0 D5<V=V==VABL C ACG0A=><C 0=3;><>2=><C EC4>6=L><C 48A:C@AV : 48A. & :0=4. DV;>;. =0C: : 10.02.04 / /F5=:> 0@8=0 ;5:AVW2=0.  %0@:V2, 2008.  217 A. 7. Cummings E. M. Children and Marital Conflict: The Impact of Family Dispute and Resolution / E. M. Cummings, P. T. Davies. – New York : Guilford Press, 1994. 8. Emery R.E. Family Conflicts and Their Developmental Implications: A Conceptual Analysis of Meanings for the Structure of Relationships / R.E. Emery // In Conflict in Child and Adolescent Development. – [ed. C. U. Shantz and W. W. Hartup]. – Cambridge, UK : Cambridge University Press, 1992. 9. Grice H. P. Logic and conversation / H. P Grice // Syntax and semantics.  [ed. by P. Cole and J. L. Morgan].  N.Y. : Academic Press, 1975.  V. 3.  P. 41-58. 10. Heinle s Newbury House Dictionary of American English  [Electronic resource].  568< 4>ABC?C:  HYPERLINK "http://nhd.heinle.com/Home.aspx" http://nhd.heinle.com/ Home.aspx; 11. Merriam- HYPERLINK "http://list.mail.ru/site_jump.bat?site_id=144335&cat_id=16401&url=http%3A%2F%2Fwww.m-w.com%2Fmw%2Fnetdict.htm" \t "_blank" Webster dictionary  [Electronic resource].  568< 4>ABC?C:  HYPERLINK "http://www.merriam-webster.com/netdict.htm" http://www.merriam-webster.com/netdict.htm !!   .!" " " # 12. A thousand acres, by  HYPERLINK "http://www.imdb.com/name/nm0428630/" Laura Jones [Electronic resource].  . : " Ť54V0 0@:5Bť, 1997.  DVD 48A:, F2.  703>;>2>: 7 B8BC;. 5:@0=C. 13. Cinderella man, by Cliff Hollingsworth, Akiva Goldsman [Electronic resource].  . : B>2. Ť54V0 0@:5Bť, 2005.  DVD 48A:, F2.  03>;>2>: 7 B8BC;. 5:@0=C. 14. Cox J. Looking back / Cox J. – Polmont, Stirlingshire : Palimpsest Book Production Limited, 2000. – 436 p. 15. In the bedroom, by  HYPERLINK "http://www.google.com/cse?cx=014064250541637207752%3A2qf30w-w_8s&ie=UTF-8&q=Rob%20Festinger&sa2=Search" Rob Festinger,  HYPERLINK "http://www.google.com/cse?cx=014064250541637207752%3A2qf30w-w_8s&ie=UTF-8&q=Todd%20Field&sa2=Search" Todd Field [Electronic resource].  568< 4>ABC?C  HYPERLINK "http://www.script-o-rama.com/movie_scripts/i/in-the-bedroom-script-transcript.html" http://www.script-o-rama.com/movie_scripts/i/in-the-bedroom-script-transcript.html.  0720 7 B8BC;. 5:@0=C. 16. Little children, by Todd Field and Tom Perrota [Electronic resource].  568< 4>ABC?C http://www.scribd.com/doc/13382016/Little-Children-Script1.  0720 7 B8BC;. 5:@0=C. 17. Steel D. Safe Harbour / Steel D.  L. : The Random House Group Ltd, 2003.  322 p. 18. The story of us, by  HYPERLINK "http://www.hollywood.com/celebrity/197435/Alan_Zweibel" Alan Zweibel,  HYPERLINK "http://www.hollywood.com/celebrity/197441/Jessie_Nelson" Jessie Nelson [Electronic resource].  568< 4>ABC?C:  HYPERLINK "http://subscene.com/english/the-story-of-us/subtitle-192788.aspx" http://subscene.com/english/the-story-of-us/subtitle-192788.aspx. 19. Weir A. Onwords and Upwords / Weir A.  L. : Penguin Books, 1999.  480 p. Š .. @840A>20, 2009 # 811.112.2 42 '+ "+  /  &/+' !# ! ".. 02K4>20 (%0@L:>2)  AB0BL5 @0AA<>B@5=  =5>4>1@5=8O, :>B>@K9 2 7028A8<>AB8 >B <>48D8:0F88 CA;>289 CA?5H=>AB8 8<55B H5ABL B8?>2  ?>@8F0=85, :@8B8:0, C?@5:, >AC645=85, >128=5=85 8 >A:>@1;5=85. #AB0=>2;5=K >A=>2=K5 8;;>:CB82=K5 8=48:0B>@K =5>4>1@5=8O 2 =5<5F:>O7KG=>< 480;>38G5A:>< 48A:C@A5  M<>F8>=0;L=>->F5=>G=0O ;5:A8:0 8 ?>25AB2>20B5;L=K9, 2>A:;8F0B5;L=K9, 2>?@>A8B5;L=K9 8 ?>1C48B5;L=K9 :><<C=8:0B82=K5 B8?K ?@54;>65=8O. ;NG52K5 A;>20: =5>4>1@5=85, >F5=:0, ?@>?>78F8O, @5G52>9 0:B, M<>B82=>ABL. ".. 0284>20. >2;5==T2V 0:B8 =5AE20;5==O 2 =V<5FL:><>2=><C 48A:C@AV. # AB0BBV @>73;O=CB> <>2;5==T289 0:B =5AE20;5==O, O:89 70;56=> 2V4 <>48DV:0FVW C<>2 CA?VH=>ABV <0T HVABL B8?V2  4>30=0, :@8B8:0, 4>:V@, >AC4, 728=C20G5==O 9 >1@065==O. AB0=>2;5=> ?@>2V4=V V;;>:CB82=V V=48:0B>@8 =5AE20;5==O 2 =V<5FL:><>2=><C 4V0;>3VG=><C 48A:C@AV  5<>FV9=>->FV==0 ;5:A8:0 V @>7?>2V4=89, >:;8G=89, ?8B0;L=89 B0 A?>=C:0;L=89 :><C=V:0B82=V B8?8 @5G5==O. ;NG>2V A;>20: 5<>B82=VABL, <>2;5==T289 0:B, =5AE20;5==O, >FV=:0, ?@>?>78FVO. T.V. Davydova. Speech acts of disapproval in the German discourse. In this paper the speech act of disapproval is drawn, which has six types depending on the modification of the happiness conditions  blame, reproach, critics, censure, accuse, insult. The main illocutionary indicators of disapproval have been sorted out: emotional-evaluative vocabulary and declarative, exclamatory, interrogative and imperative mood. Key words: disapproval, emotivity, evaluation, speech act, proposition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Ť<KA;L AC1J5:B0 > F5==>AB8 >1J5:B0 4;O =53>ť [8, c. 37]. 5>4>1@8B5;L=K5  <>3CB 2K@060BL @07;8G=CN AB5?5=L ?@>O2;5=8O M<>F89 3>2>@OI53>, =5@07@K2=> A2O70==CN A 53> >F5=:>9 459AB289 04@5A0B0: A >4=>9 AB>@>=K, 2K@065=85 M<>F89 2:;NG05B >F5=>G=K9 :><?>=5=B (=0@O4C A 2>A?@8OB85< 8 ?A8E8G5A:>9 @50:F859 [12, c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c. 369; 12, c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ie Kinder kommen, sie setzen sich an den Tisch, essen. <& > Susi schüttet beim Schauen Himbeersaft aus. HILDE. Schau, was du gmacht hast, weist nicht aufpassn kannst! (Kroetz, S. 119) A;8 8<55B <5AB> =530B82=0O >F5=:0 459AB289 04@5A0B0, :>B>@K5 =5 70B@03820NB 8=B5@5AK 3>2>@OI53>, @50;87C5BAO  :@8B8:8: Janne. Gott, ich nähe mir Kleider, gehe ins Kino, lasse mich einladen& Arno: Können Sie denn mit Ihrer Zeit nichts Besseres anfangen? Sie verbummeln doch Ihr ganzes Leben. (Bieler, S. 17) A;8 459AB28O<8 04@5A0B0 70B@>=CBK 8=B5@5AK 3>2>@OI53>, @50;87C5BAO C?@5:: Dick geht zum Sofa, stellt eine Aktentasche auf den Kaffeetisch: Wie konntest du ihr etwas zum Geburtstag schenken und ich steh leer da? Warum hast du mich nicht gewarnt? Allan: Sie ist deine Frau. Ich dachte, du wußtest das. (Allen, S. 31) AC645=85 ?@54AB02;O5B A>1>9 >F5=:C 459AB289 04@5A0B0, :>B>@K5, ?> <=5=8N 3>2>@OI53>, O2;ONBAO =0@CH5=85< =@02AB25==KE =>@< ?>2545=8O: OTTO. Daß du was siehst von der Welt. Das is die Rotwand da hintn, und das is die Rückseitn von der Brecherspitz, wos im Winter ein Skiabfahrt ham, und wennst kein Dunst hast, siehst auf der österreichischen Seitn den Schinter. HILDE. Wennst früher auch manchmal an solche Plätz gfahrn w4rst, statt was anderes machen, wär vielleicht besser gwesn. FRITZ. Wo ich nicht Skifahrn kann. (Kroetz, S. 119) 128=5=85 E0@0:B5@87C5BAO =0;8G85< ?@>ABC?:0 04@5A0B0, :>B>@K9 ?@825; : ?>A;54AB28O<, =530B82=K< 4;O 3>2>@OI53> 8;8 4@C38E ;8F, GB> AB028BAO 3>2>@OI8< 04@5A0BC 2 28=C. WILLY. Das is meine Sach, wie ich das Geld verdien. Ich brauch erst wieder eine Kraft. MARTHA. Wennst nicht besoffn gwesn wärst, wärst nicht vom Moped gfalln. Wennst nicht vom Moped gfalln wärst, hättst nicht ins Krankenhaus müssn, tätst nicht hinkn. (Kroetz, S. 49) A:>@1;5=85 =01;N405< 2 A;CG05 =0;8G8O C 3>2>@OI53> ?5@;>:CB82=>9 F5;8 7045BL GC2AB20 04@5A0B0, >1845BL 53>: MARIE. Versoffn bist! KARL. Genau. MARIE. Asozial bist! KARL. Schiach bist! MARIE. Ein Hamperer bist! KARL. Eine Flitschn bist! (Kroetz, S. 200) 5>4>1@8B5;L=0O >F5=:0 ?@>O2;O5BAO, ?@5645 2A53>, 2 ;5:A8:5, 8A?>;L7CNI59AO 3>2>@OI8< 4;O O7K:>2>3> >D>@<;5=8O A2>53> , ?>MB><C M<>F8>=0;L=>->F5=>G=0O ;5:A8:0 ?@54AB02;O5B A0<K9 ?@O<>9 8 G5B:89 8;;>:CB82=K9 8=48:0B>@ =5>4>1@5=8O. 0: =>A8B5;8 =530B82=>9 >F5=:8 2KABC?0NB: 3;03>;K 8 3;03>;L=K5 :>=AB@C:F88, :>B>@K5 =530B82=> E0@0:B5@87CNB 04@5A0B0: ermordern, erpressen, fressen, (he)reinlegen, intrigieren, klauen, lügen, meckern, plündern, stehlen, verraten, an der Nase herumführen, jdn. auf dem Gewissen haben, sich dumm stellen 8 B.?., M:A?;8F8@CNB =530B82=>5 >B=>H5=85 3>2>@OI53> : 04@5A0BC: auf die Nerven gehen, jdn. satt haben, die Schnauze voll haben 8 B.?.; >F5=>G=K5 ?@8;030B5;L=K5 8 =0@5G8O, :>B>@K5 ?@8?8AK20NB 04@5A0BC =530B82=K5 :0G5AB20 (8=B5;;5:BC0;L=K5, D878G5A:85, G5@BK E0@0:B5@0): blöd, bescheuert, bekloppt, doof, dumm; dick, fett; brutal, feige, undankbar 8 B.?., ;81> 2K@060NB =530B82=>5 >B=>H5=85 3>2>@OI53> : 04@5A0BC: abscheulich, entsetzlich, ärgerlich, ekelhaft, unglaublich, unverschämt 8 B.?.; 8<5=0 ACI5AB28B5;L=K5 8;8 AC1AB0=B828@>20==K5 G0AB8 @5G8, A ?><>ILN :>B>@KE 04@5A0B E0@0:B5@87C5BAO ?> A2>5<C ?>2545=8N: Betrüger, Boss der Bande, Dieb, Erbschleicher, Mordbube, Schuft, Schurke 8 B.?. (GB> E0@0:B5@=> 4;O >128=5=8O), C:07K205BAO =0 @07;8G=>3> @>40 =54>AB0B>:: Blödmann, Dummkopf, (Voll)Idiot, Rotznase, Schwätzer 8 B.?., 04@5A0B A>>B=>A8BAO A >?@545;5==K< 682>B=K<: Affe, Esel, Hundesohn, Ziege 8 B.?. (GB> E0@0:B5@=> 4;O >A:>@1;5=8O), :20;8D8F8@C5BAO 459AB285 04@5A0B0: Blödsinn, Gemotze, Gemeinheit, Lüge, Quatsch 8 B.?.; =0@5G8O 2@5<5=8, :>B>@K5 ?@840NB E0@0:B5@8AB8:5 04@5A0B0 4C@0B82=K9 ?@87=0:, B0: GB> 2KA:07K20=8O ?@8>1@5B0NB >1>1I0NI89 A<KA;: immer, dauernd, ständig, wieder, häufig 8 nie, kaum, selten. ><8<> ;5:A8G5A:8E 8=48:0B>@>2 =5>4>1@5=8O 2K45;ONBAO B8?8G=K5 2>7<>6=>AB8 @50;870F88 =5>4>1@8B5;L=KE  A@54AB20< G5BK@5E :><<C=8:0B82=KE B8?>2 ?@54;>65=8O: ?>25AB2>20B5;L=>3>, 2>A:;8F0B5;L=>3>, 2>?@>A8B5;L=>3> 8 ?>1C48B5;L=>3>. ;;>:CF8O =5>4>1@5=8O, :>B>@0O @50;87C5BAO ?>A@54AB2>< ?>25AB2>20B5;L=>3> ?@54;>65=8O, 2A5340 8=48F8@C5BAO A>>B25BAB2CNI59 >F5=>G=>9 ;5:A8:>9. '0AB>B=0O D>@<0 B0:8E =5>4>1@8B5;L=KE   A;>6=>-?>4G8=5==>5 ?@54;>65=85 =5@50;L=>3> CA;>28O. 5>4>1@8B5;L=K9 A<KA; 2>7=8:05B 87 D0:B0, GB> Ť?>78B82=> >F5=5==>5 A>1KB85 >ACI5AB28;>AL :0: =5?>78B82=>5, 0 =530B82=> >F5=5==>5 A>1KB85 >ACI5AB28BAO A>>B25BAB2CNI8< >1@07><ť [13, A. 292]: wenn p, dann q: Wenn du früher auch manchmal an solche Plätze gefahren wärest, wäre vielleicht besser gewesen (Kroetz, S. 119). 4@5A0B 4>;65= 2K25AB8 ?@8 MB>< A>>B25BAB2CNI55 70:;NG5=85: Du bist nicht an solche Plätze gefahren und deshalb ist es nicht so gut mit dir. !B@C:BC@K p 8 q <>3CB C:07K20BL =0 @07;8G=K5 20@80=BK: wenn p, dann nicht q; wenn nicht p, dann (nicht) q: Wennst nicht vom Moped gfalln wärst, hättst nicht ins Krankenhaus müssn, tätst nicht hinkn (Kroetz, S. 49). #?CI5=85 04@5A0B0 2K@0605BAO G0AB> A ?><>ILN 3;03>;>2 können, müssen, sollen. >2>@OI89 8<?;8F8@C5B, GB> 04@5A0BC 8725AB=K 0;LB5@=0B82=K5 2>7<>6=>AB8 ?>2545=8O: Das hätt s euch früher überlegen müssen (Kroetz, S. 26), Hättst früher sagen müssen (Kroetz, S. 49). 1J5:B>< =5>4>1@5=8O AB0=>28BAO =5@50;87>20==>5 ?>;>65=85 45; q 8;8 =5@50;L=>5 65;0=85, 5A;8 >=> =5 >ACI5AB28;>AL ?> 28=5 04@5A0B0: ERWIN. Gibt s keine Suppn? HILDA. Heut nicht, sondern Leber und Kartoffel. ERWIN. Eine Suppn wär mir lieber gwesn. (Kroetz, S. 21-22) (wenn du mir eine Suppe zubereitet hättest) 5>4>1@5=85, ?@5645 2A53> >128=5=85 8 C?@5:, @50;87C5BAO B0:65 ?@8 ?><>I8 =07K20=8O ?@54?>;0305<>9 8=B5=F88 04@5A0B0. ;O MB>3> ACI5AB2CNB B0:85 2>7<>6=>AB8: wollen + 8=D8=8B82 >B=>AOI53>AO : >1J5:BC 3;03>;0: Du willst den Franz ins Verderben stürzn (Kroetz, S. 26); damit + =0AB>OI55 2@5<O / :>=JN=:B82 / um + zu + 8=D8=8B82: Du hast es gemacht, um mich zu ruinieren (Kroetz, S. 29). >A:;8F0B5;L=K5 ?@54;>65=8O, A ?><>ILN :>B>@KE @50;87CNBAO  =5>4>1@5=8O, G0I5 2A53> 8<5NB AB@C:BC@C Du bist / Sie sind / Ihr seid + 8<O ACI5AB28B5;L=>5 / ?@8;030B5;L=>5, :>B>@0O 2 @5G8 A>?@>2>6405BAO ?@57@8B5;L=K< B>=>< ?@>87=5A5=8O. !>>B25BAB2CNI0O 8=B>=0F8O ?>4G5@:8205B =530B82=CN >F5=:C. @8 MB>< C?>B@51;ONBAO <>40;L=K5 G0AB8FK vielleicht, schon, eben: Ihr seid s keine normalen Leut (Kroetz, S. 26), Du bist ein Schlingel! (Kroetz, S. 425), Bist eben ungeduldig in allem! (Kroetz, S. 102), Asozial bist!, Ein Hamperer bist! (Kroetz, S. 200).  DC=:F88 =5>4>1@5=8O C?>B@51;ONBAO M;;8?B8G5A:85 2>A:;8F0B5;L=K5 ?@54;>65=8O: Du Sau! (Kroetz, S. 423), Du Kuh! (Horváth, Bd. 2, S. 387).  2>A:;8F0B5;L=KE >?B0B82=KE ?@54;>65=8OE 3>2>@OI89 B5<0B878@C5B A2>5 459AB285 2 ?>4>1=>9 A8BC0F88, 8<?;8F8@CO =5>4>1@5=85 459AB289 04@5A0B0: Wenn ich so was vor meiner Mutter gsagt hätt! (Kroetz, S. 423).  Du hättest so was vor deiner Mutter nicht sagen sollen.  =5>4>1@5=8O, 2K@0605<K9 ?@8 ?><>I8 2>?@>A8B5;L=>3> ?@54;>65=8O A >B=>AOI59AO : ?@>H54H5<C 2@5<5=8 ?@>?>78F859, ?@54AB02;ONB A>1>9 @8B>@8G5A:85 2>?@>AK  2>?@>A8B5;L=K5 :>=AB@C:F88 A 3;03>;>< =0 ?5@2>< <5AB5 (2 87JO28B5;L=>< 8;8 A>A;030B5;L=>< =0:;>=5=88): Können Sie denn mit Ihrer Zeit nichts Besseres anfangen? (Bieler, S. 17)  Sie gehen mit Ihrer Zeit nicht gut um. 8B>@8G5A:89 A<KA; 8<5NB 8 A?5F80;L=K5 2>?@>AK A >@85=B8@C5<>9 =0 ?@>H54H55 8;8 =0AB>OI55 2@5<O ?@>?>78F859. A>15==> MB> A2>9AB2> ?@>O2;O5BAO 2 A?5F8D8G5A:8E 2>?@>A0E-C?@5:0E A warum, A ?><>ILN :>B>@KE A?@0H8205BAO > ?@8G8=5 >?@545;5==>3> =530B82=> >F5=5==>3> ?>2545=8O. >;55 8=B5=A82=K<8 B0:85 2>?@>AK AB0=>2OBAO 1;03>40@O <>40;L=K< G0AB8F0< bloß, eigentlich, aber, auch, nur, <564><5B8O<, =0@5G8O< 2@5<5=8 Na endlich!!! Warum kommst du abber aach so spät? (Deichsel, S. 213)  Du hättest nicht so spät kommen sollen. ><8<> =0720=KE D>@<, ;N1K5 2>?@>A8B5;L=K5 2KA:07K20=8O 2 A>>B25BAB2CNI5< 48A:C@A82=>< :>=B5:AB5 A 8=48:0B>@>< (8=B>=0F8O 8;8 ;5:A8:0) <>3CB 2K@060BL =5>4>1@8B5;L=K5 . '0I5 2A53> MB> warum/was-2>?@>AK, B> 5ABL 2>?@>AK > ?@8G8=5 459AB28O 8;8 C?CI5=8O 04@5A0B0. @>?>78F8O ?@8 MB>< >@85=B8@>20=0 =0 =0AB>OI55 8;8 1C4CI55, 0 >1J5:B 8<55B ?@87=0:, =5?@8OB=K9 4;O 3>2>@OI53>: Was verstehst du denn von der Gsundheit, wo dir nix fehlt? (Kroetz, S. 420)  Du verstehst nichts von der Gesundheit, weil dir nichts fehlt. >1C48B5;L=K5 ?@54;>65=8O, 2K@060NI85 =5>4>1@5=85, E0@0:B5@87CNBAO 8<?;8:0B82=K<8 =530B82=K<8 3;03>;0<8 (aufhören, lassen 8 B.?.) 8;8 :>=AB@C:F859 sein (8<?5@0B82) + >F5=>G=>5 ?@8;030B5;L=>5: Gehns, seins nicht rentiert und schlafens Ihren Rausch aus! (Horváth, Bd. 3, S. 170), Sei ned sentimental! (Kroetz, S. 420), Sei froh, daß man was denkt! (Kroetz, S. 422). 5>4>1@5=85 2K@0605BAO B0:65 ?@8 ?><>I8 A;>6=KE ?>1C48B5;L=KE ?@54;>65=89 A AC1>@48=0F8>==>9 A2O7LN, ?@8 MB>< ?@>?>78F88 ?@840B>G=KE ?@54;>65=89 >B@060NB =530B82=> >F5=8205<K5 ?@>H;K5 459AB28O 04@5A0B0: Schau, was du gmacht hast, weist nicht aufpassn kannst! (Kroetz, S. 119), Zahl die Schuldn, diest überall hast (Kroetz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(0E>2A:89 ; 874. 2-5, 8A?@. 8 4>?.  . : , 2008.  208 A. 10. Hundsnurscher F. Streitspezifische Sprechakte: Vorwerfen, Insistieren, Beschimpfen / F. Hundsnurscher // Intention  Bedeutung  Kommunikation.  Opladen : Westdt. Verlag, 1997.  S. 363 375. 11. Ivaneti N. Missbilligende Sprechakte im Kroatischen und Deutschen / N. Ivaneti // Zagreber Germanistische Beiträge.  1993.  Nr. 2.  S. 195 210. 12. Marten-Cleef S. Gefühle ausdrücken. Die expressiven Sprechakte / S. Marten-Cleef.  Göppingen : Kümmerle, 1991.  371 S. 13. Wunderlich D. Studien zur Sprechakttheorie / D. Wunderlich.  Fr. am M. : Suhrkamp, 1976.  416 S. AB>G=8:8 8;;NAB@0B82=>3> <0B5@80;0 1. Allen W. Spiel s nochmal, Sam / Woody Allen // Spectaculum 63. Moderne Theaterstücke.  Fr. am M. : Suhrkamp, 1997.  S. 9-50. 2. Bieler M. Drei Rosen aus Papier / Manfred Bieler // Hörspiele.  Berlin : Henschel, 1964.  S. 7 39. 3. Deichsel W. Bleiwe losse / Wolfgang Deichsel // Wunschkonzert : Stücke aus der BRD, Österreich und der Schweiz.  M. : Raduga, 1983.  S. 181 218. 4. Horváth &. v. Mord in der Mohrengasse / Ödon von Horváth // ders. Gesammelte Werke. Bd. 2 : Schauspiele. – Fr./M : Suhrkamp, 1978. – S. 383–406. 5. Horváth Ö. v. Die Unbekannte aus der Seine / Ödon von Horváth // ders. Gesammelte Werke. Bd. 3 : Komodien. – Fr. am M. : Suhrkamp, 1978. – S. 139–200. 6. Kroetz F.X. Gesammelte Stücke / Franz Xaver Kroetz. – Fr. am M. : Suhrkamp, 1972. – 504 S. Š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ryzhanivska. Evaluative potential of nouns in the interview-monologue genre of modern English magazines for women. The article presented by investigates the role of nouns in the popular genre of modern women’s press – the interview-monologue genre. The quantitative distribution of main semantic types of nouns and their functions in the texts are analyzed. Key words: discourse, evaluation, genre, interview-monologue, noun, pragmatics. 0B53>@VO >FV=:8 =0;568BL 4> =09206;82VH8E :0B53>@V9, 157 O:8E ;N48=V =5<>6;82> 28@>18B8 ?@028;L=C >@VT=B0FVN C A2VBV, =0;56=> @>7C<VB8 O28I0, O:V 28=8:0NBL C ?@>F5AV @>728B:C ACA?V;LAB20 [7, A. 7]. #=V:0;L=VABL :0B53>@VW >FV=:8 ?>;O30T C WW 740B=>ABV =5 ;8H5 2V4>1@078B8 FV==VA=C ACB=VABL >1 T:B0 4;O AC1 T:B0, 0;5 9 D>@<C20B8 A2VB>3;O4 B0 2?;820B8 =0 ?>254V=:C 25;8:>W :V;L:>ABV ;N459.  >3;O4C =0 F5, ;V=32VAB8G=V @>72V4:8 <>2>7=02FV2 A?@O<>20=V =0 @V7=>1VG=5 282G5==O 0A?5:BV2 >FV=:8 B0 >FV==>3> 7=0G5==O: >FV==>W <>40;L=>ABV B0 ;>3V:8 >FV=>: [1; 5], A5<0=B8:>-?@03<0B8G=8E >A>1;82>AB59 @50;V70FVW >FV==>3> 7=0G5==O [7; 8], >FV=:8 O: B8?C <>2=>3> 7=0G5==O B0 A?V22V4=>H5==O 5<>FV9=>3> 9 >FV==>3> :><?>=5=BV2 C AB@C:BC@V 7=0G5==O [1; 2; 6; 12], <>2=8E 70A>1V2 28@065==O >FV=:8 [7; 10]. 030B> ?@0FL ?@8A2OG5=V 4>A;V465==N 70A>1V2 28@065==O >FV=:8 C  [6; 8]. 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V4?>2V4=>, @V7=>0A?5:B=5, 2 B><C G8A;V ;V=32VAB8G=5, 282G5==O 48A:C@AC F8E 2840=L =01C20T ?V428I5=>W 0:BC0;L=>ABV [11; 15]. 5B>N FVTW AB0BBV T 4>A;V48B8 0:AV>;>3VG=89 ?>B5=FV0; V<5==8:V2 2 >4=><C V7 =09?>?C;O@=VH8E 60=@V2 6V=>G8E 6C@=0;V2  60=@V  V=B5@2 N-<>=>;>3 (). 0B5@V0;>< 4>A;V465==O A;C3C20;8 200 B5:ABV2 FL>3> 60=@C 7 B0:8E 2V4><8E 6V=>G8E 2840=L O: Marie Claire (. !.), Cosmopolitan (Cosmo), Woman & Home (W&H) B0 SHE 70 2005  2008 @>:8. ;O ?>G0B:C A;V4 707=0G8B8, I> =0 ?>7=0G5==O FL>3> 60=@C C 0=3;><>2=V9 6V=>GV9 ?@5AV VA=CT 45:V;L:0 =072  first-person narrative, first-person story, personal story.  >A=>2V 60=@C ;568BL >4=5 70?8B0==O 6C@=0;VAB0 4> :>=:@5B=>W 6V=:8, :>B@0 ?@54AB02;5=0 O: @50;L=> VA=CNG0, =0 ?>B5=FV9=> FV:02C 4;O 6V=>G>W 0C48B>@VW B5<C. !0<5 B0:5 B@0:BC20==O FL>3> 60=@C =01;860T 9>3> 4> V=B5@2 N-<>=>;>3C, C O:><C B0:>6  7040TBLAO >4=5 70?8B0==O =0 7=0GCIC B5<C, I>1 >B@8<0B8 =0 =L>3> @>7;>3C 2V4?>2V4L [4, A. 163]. 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"01;8FO 1 V;L:VA=89 @>7?>4V; >A=>2=8E A5<0=B8G=8E B8?V2 01AB@0:B=8E V<5==8:V2 C B5:AB0E 60=@C  !5<0=B8G=V 3@C?8V4=>A=0 :V;L:VABL, %<5==8:8 4VW42,5%<5==8:8 AB0=C30,8%<5==8:8 2V4=>A8=13,1%<5==8:8 2;0AB82>AB598,9%<5==8:8 ?>4VW4,7% 07>< 100% /: ?>:07CNBL @57C;LB0B8 0=0;V7C, 4><V=CNG8<8 C 60=@V  28O28;8AO 01AB@0:B=V V<5==8:8 4VW (42,5%) B0 AB0=C (30,8%), I> =5 ;8H5 28?;820T V7 ?>B5=FV0;C F8E A5<0=B8G=8E B8?V2, 0 9 C73>46CTBLAO 7 =0@0B82=>N ?@8@>4>N 60=@C B0 >A>1;82>ABO<8 6V=>G>W 0C48B>@VW: WW C203>N 4> 45B0;V, 5<>FV9=VABN. @8ACB=VABL C 60=@>2><C 2>:01C;O@V >FV==8E ;5:A5<, O:V =0;560BL 4> V=H8E A5<0=B8G=8E B8?V2 01AB@0:B=8E =072, =040T 60=@C 28@07=>3> 0:AV>;>3VG=>3> 72CG0==O. 5>4=>@V4=VABL A5<0=B8:8 707=0G5=8E A5<0=B8G=8E B8?V2 V<5==8:V2 4>72>;OT 284V;8B8 C <560E :>6=>3> ?52=V A5<0=B8G=V 3@C?8. !5<0=B8G=89 B8? V<5==8:V2 4VW <>65 1CB8 ?@54AB02;5=89 V<5==8:0<8 <>2;5==T2>W, DV78G=>W, <5=B0;L=>W, 5<>FV9=>W 4V9 [2, A. 140]. >A;V4=8:8 =5>4=>@07>2> =03>;>HC20;8 =0 =5>1EV4=>ABV A?V;:C20==O 4;O 6V=:8, I> 48:BCTBLAO WW ?A8E>;>3VG=8<8 >A>1;82>ABO<8 [15, A. 87]. A?5:B>< >FV=:8 ?@8 281>@V V<5==8:0 T =5 ;8H5 E0@0:B5@8AB8:0 <>2;5==T2>W 4VW, 0 9 ?@03<0B8G=0 A8BC0FVO, 70 O:>W FO <>2;5==T20 4VO <0T <VAF5: WW B@820;VABL, @>7?>4V; @>;59 B>I>: Just a single conversation with him had made me feel adult (M. C. Jan 2007); If we weren t having flirty chats, he was giving me lingering sidelong glances (M. C. Jan 2006); She d steal cash from his wallet which sparked even bigger rows (M. C. March 2008). # =02545=8E ?@8:;040E A5<0=B8G=> =59B@0;L=89 V<5==8: conversation >B@8<CT ?>78B82=C :>=>B0FVN G5@57 2V4ACB=VABL C 9>3> 45DV=VFVW A5<8 4><V=C20==O, 2:07CNG8 =0 =5D>@<0;L=VABL A8BC0FVW A?V;:C20==O. 8:>@8AB0==O V<5==8:0 chat A2V4G8BL ?@> ?@8OB5;LAL:V AB>AC=:8, 4>2V;L=C <0=5@C A?V;:C20==O, =528<CH5=C 0B<>AD5@C, =040NG8 <>2;5==T2V9 4VW <5;V>@0B82=>3> 7010@2;5==O. <5==8: row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he general consensus was that Andria, Bambos and I had to draw up an agreement (Cosmo Jan 2006). @03<0B8:0 ;5:A8G=>W >48=8FV agreement ?>;O30T 2 0:F5=BC20==V A?V;L=>ABV 7CA8;L I>4> 28@VH5==O ?@>1;5<8. 06;82C @>;L C  2V4V3@0NBL V<5==8:8 DV78G=>W 4VW. 024O:8 A2>W9 :>=F5?BC0;L=>ABV, 2>=8, ?>@O4 7 V=H8<8 V<5==8:0<8, A:;040NBL :;NG>2V A;>20 BVTW G8 V=H>W @>7?>2V4V. FV==89 ?>B5=FV0; F8E ;5:A8G=8E >48=8FL ?>;O30T C 740B=>ABV V<5==8:0 =0720B8, 9 B8< A0<8< >FV=8B8, BC G8 V=HC DV78G=C 4VN O: 4>1@C G8 ?>30=C 4;O 6V=>G>3> A?@89=OBBO. 0?@8:;04, C , I> ?V4=V<0T ?@>1;5<C 2V4=>A8= G>;>2V:0 B0 6V=:8, ?@03<0B8:0 V<5==8:V2 DV78G=>W 4VW ?>;O30T C E0@0:B5@8AB8FV DV78G=8E 4V9 O: ?@89=OB=8E 01> =5?@89=OB=8E, I> T ?V4AB02>N 4;O >FV=:8 AB>AC=:V2 7030;><: There was no tenderness, just some humiliating shoves, after which he accused me of not being a virgin (M. C. Dec 2005). 8:>@8AB0==O 5:A?;VF8B=>-?59>@0B82=>3> V<5==8:0 shove 4;O ?>7=0G5==O 4V9 G>;>2V:0 =040T =530B82=>W >FV=:8 AB>AC=:0<. V4B25@465==O< B0 ?>A8;5==O< 9>3> =530B82=>3> ?>B5=FV0;C A;C3CT >7=0G5==O humiliating, O:5 4>2>48BL, I> B0:0 3@C10, =5410;0 ?>254V=:0 G>;>2V:0 T ?@8=87;82>N 4;O 6V=:8. 1AB@0:B=V V<5==8:8 5<>FV9=>W 4VW =07820NBL 4VN O: B0:C, I> ?5@5410G0T 70;CG5==O 5<>FV9. '0AB> 5:A?;VF8B=0 >FV=:0 5<>FV9=>W 4VW 28?;820T 157?>A5@54=L> V7 45DV=VFVW ;5:A8G=>W >48=8FV: I just wanted the hurt to stop (M. C. May 2006). !5<0 H:>48 C 7=0G5==V V<5==8:0 hurt E0@0:B5@87CT ?@54AB02;5=C 4VN O: =530B82=C. &V ;5:A8G=V >48=8FV B0:>6 ?52=8< G8=>< ?@>3=>7CNBL 5<>FV9=89 AB0= <>2FO G8 2:07CNBL =0 9>3> V=B5=A82=VABL: After the explosion of feelings I felt a little tremor of excitement (W&H Aug 2005). 8:>@8AB0==O V<5==8:0 explosion, O:89 C A2>W9 45DV=VFVW <VAB8BL A5<C =5A0<>28B>ABV, E0@0:B5@87CT 3>AB@>BC ?>GCBBV2, I> 2V4GC20NBL 35@>W . <5==8: tremor V=B5=A8DV:CT AB0= 71C465==O 35@>W=V, 0465 A5<0 =5A?>:>N T E0@0:B5@=>N 4;O >1>E (tremor B0 excitement) A;V2. 1AB@0:B=V V<5==8:8 AB0=C ?5@540NBL 7030;L=89 5<>FV9=89 AB0= 35@>W=L C B5:AB0E 60=@C . 09G8A;5==VH>N BCB T 3@C?0 01AB@0:B=8E V<5==8:V2 5<>FV9=>3> AB0=C, I> 28?@024>2CTBLAO ?@03<0B8:>N 60=@C  G5@57 5<>FVW 2?;8=CB8 =0 0C48B>@VN. &V ;5:A8G=V >48=8FV ?>:;8:0=V 2V4>1@078B8 5<>FV9=V ?>GCBBO 6V=:8 C <560E BVTW G8 V=H>W A8BC0FVW, ?>4VW 9, B8< A0<8<, >FV=8B8 WW. >=8 T A2>T@V4=8<8 10@><5B@0<8 5<>FV9=>W 0B<>AD5@8, 2:07CNBL =0 ?>@>465==O, ?V: G8 A?04 =0?@C38: I became aware of a new tension in the house. <& > It triggered a deep pain in me. <& > I was about to learn about the true horror of their lives (M. C. Dec 2005). >7?>2V40NG8 ?@> 2?;82 @568<C !0440<0 %CA59=0 =0 A2>N AV< N, 35@>W=O 28:>@8AB>2CT V<5==8:8 tension B0 pain, I>1 ?5@540B8 =0?@C3C B0 AB@0640==O @>48GV2. 81V@ V<5==8:0 pain A2V4G8BL ?@> A?@>1C ?5@540B8 =5 ;8H5 DV78G=5, 0;5 9 4CH52=5 AB@0640==O B0 1V;L F8E ;N459; ?59>@0B82=5 7010@2;5==O V<5==8:0 horror ;O30T =0 CAN ?>40;LHC >?>2V4L. >O20 >4=VTW 5<>FVW ?@>2>:CT B0 0@3C<5=BCT ?>O2C V=H>W, =040NG8 B5:AB0<  5<>FV9=>3> 72CG0==O. @8ACB=V<8 C  T 01AB@0:B=V V<5==8:8 DV78G=>3> AB0=C ;N48=8, ?@>B5 287=0G0;L=C, 60=@>@5;520=B=C @>;L 2V4V3@0NBL BV ;5:A8G=V >48=8FV, O:V @5?@575=BCNBL ACB>  6V=>GV <><5=B8 @50;L=>ABV: bleeding, pregnancy, lactation B>I>. >2V@;820 0B<>AD5@0 A?V;:C20==O 60=@C 40T <>6;82VABL B>@:=CB8AO =09V=B8<=VH8E ?>4@>18FL B0 45B0;59 68BBO ACG0A=>W 6V=:8. 572060NG8 =0 @V7=><0=VBBO 2V4GCBBV2, I> AC?@>2>46CNBL B0:V @V7=V DV78G=V AB0=8 O: @04VABL 203VB=>ABV B0 ?VA;O?>;>3>20 45?@5AVO, ?@03=5==O DV78G=>W 1;87L:>ABV B0 >@307<, 2>=8, C ?52=V9 <V@V, 2V4><V 1V;LH>ABV 6V=>:, B><C ?>O20 C @>7?>2V4V V<5==8:0, O:89 =07820T B>9 G8 V=H89 DV78G=89 AB0= 35@>W=V, 28:;8:0T 2 0C48B>@VW ?52=V 0A>FV0FVW, ?>2 O70=V 7 F8< AB0=><. &V ;5:A8G=V >48=8FV T :;NG>28<8 C @>7?>2V4OE, I> ?V4=V<0NBL ?@>1;5<8 ?>2 O70=V 7V 74>@>2 O< ACG0A=>W 6V=:8. 0 AB>@V=:0E 6V=>G8E 6C@=0;V2 G8B0GV <0NBL <>6;82VABL ?@>G8B0B8 ?@> ?@8G8=8, ?5@51V3 B0 =0A;V4:8 B0:8E  ACG0A=8E =54C3V2 O:, =0?@8:;04, 0=>@5:AVO, 4V7=0B8AO ?@> =>2V <5B>48 1>@>BL18 7 157?;V44O<, =>28=:8 ?;0AB8G=>W EV@C@3VW, 2?;82 3>@<>=0;L=8E ?@5?0@0BV2 =0 DV78G=89 AB0= 6V=:8 B>I>. 0?@8:;04: Living with ME  myalgic encephalopathy, or chronic fatigue syndrome  is like permanently walking a tightrope. ME brings exhaustion, muscle weakness, night sweats, flue-like symptoms, difficulty concentrating, mood swings and depression (She Aug 2005). 87:0 A8<?B><V2 707=0G5=>3> 70E2>@N20==O 2:;NG0T =5 ;8H5 ;5:A8G=V >48=8FV DV78G=>3>, 0 9 5<>FV9=>3> AB0=V2, 2:07CNG8 =0 BVA=89 270T<>72 7>: 5<>FV9=>3> B0 DV78G=>3> C ?A8EVFV 6V=:8. 030;><, V<5==8:8 DV78G=>3> AB0=C 7 O2;ONBLAO ?>1V6=> V T ;8H5 4>?>2=5==O< C >FV=FV A8BC0FVW G8 ?>4VW. 06;82>N T WE=O @>;L C ?;0=V V=B8<V70FVW @>7?>2V4V, :>;8 >?8ACTBLAO 2?;82 >1AB028=, O:V >:@V< DV78G=8E, <0NBL I5 9 5<>FV9=V =0A;V4:8. 1AB@0:B=V V<5==8:8 A>FV0;L=>3> AB0=C A:;040NBL =09<5=H89 2V4A>B>: 2V4 CAVE V<5==8:V2 AB0=C, I> T ;>3VG=8< ?V4B25@465==O< :><C=V:0B82=>-@>72060;L=>W A?@O<>20=>ABV 60=@C. 5I> 28I89 2V4A>B>: =0;568BL ;5:A8G=8< >48=8FO<, I> =07820NBL AB0= @5G59. 0 ?@>B8;56=8E ?>;NA0E 0:AV>;>3VG=>W H:0;8 T ;5:A5<8, A5<0=B8:0 O:8E 2V4@V7=OTBLAO 2:07V2:>N I>4> A?@8OB;82>ABV G8 =5A?@8OB;82>ABV 40=>W A8BC0FVW / AB0=C 4;O 4>AO3=5==O ?52=>W <5B8 [2, A.145]. :AV>;>3VG=5 7010@2;5==O F8E ;5:A8G=8E >48=8FL 2V4>1@060T B0 D>@<CT AB5@5>B8?8 A>FV0;L=8E FV==>AB59 ACG0A=>W 6V=:8, =0?@8:;04: The hardship made me fight. <& >It focused on poverty and violence, which I could relate to because of my own childhood (M. C. July 2006). 81V@ V<5==8:V2 hardship, poverty 287=0G0T A>FV0;L=89 AB0= 35@>W=V O: =5?@89=OB=89, B0:89, I> =5 40T <>6;82>ABV 6V=FV @50;V7C20B8AO 9 68B8 ?>2=8< 68BBO<. V4B25@465==O< T =0O2=VABL A5<  B@C4=>IV ,  =5AB0G0 C A;>20E hardship B0 poverty, I> =040T W< ?59>@0B82=>3> 72CG0==O. FV==V 01AB@0:B=V V<5==8:8 2V4=>A8=, AB02;5==O, AB>AC=:V2 @5?@575=B>20=V 42><0 >A=>2=8<8 B8?0<8  A>FV0;L=8< B0 5<>FV9=8< [2, A. 148]. <5==8:8 A>FV0;L=>3> B0 5<>FV9=>3> AB02;5==O <0NBL =0 <5BV =5 ;8H5 >E0@0:B5@87C20B8, 0 9 40B8 >FV=:C >1 T:BC, A8BC0FVW B0 ?>4VW 7030;><, =0?@8:;04: As our addiction grew, we shut ourselves off from the world. <& > We d look at each other with mischievous guilt <& > I felt trapped by my addiction (M. C. June 2006); My obsession with food also had side effects. <& > Anorexia became my friend and obsession (Cosmo Jan 2007). 59>@0B82=V A5<8  H:V4;82VABL B0  =5A?@><>6=VABL A0<>ABV9=>3> 281>@C ;560BL 2 >A=>2V 45DV=VFVW V<5==8:0 0ddiction, 5:A?;VF8B=> E0@0:B5@87CNG8 728G:C 35@>W=V 26820B8 =0@:>B8: O: =530B82=C. !5<8  >45@68<>ABV ,  70;56=>ABV V<5==8:0 obsession B0:>6 A?>=C:0NBL 4> @V7:> =530B82=>3> AB02;5==O 4> ?@>O2V2 0=>@5:AVW. A>1;82>W C2038 C <560E FVTW A5<0=B8G=>W 3@C?8 70A;C3>2CNBL V<5==8:8 A8;L=>3> ?>GCBBO, I> AC?@>2>46CT >FV=:C C AB02;5==V. "0:, A;>2=8:>20 45DV=VFVO V<5==8:0 lust E0@0:B5@87CT 9>3> O: >48=8FN @V7:> =530B82=>3> AB02;5==O, ?@>B5, O: ?>:070;> =0H5 4>A;V465==O, C B5:AB0E  FO ;5:A8G=0 >48=8FO =01C20T ?>78B82=>W :>=>B0FVW: Lust soon overtook the nerves (M. C. Feb 2006).  >A=>2V B0:>W 45A5<0=B870FVW ;5:A8G=>3> 7=0G5==O T =0O2=VABL C A5<0=B8FV A;>20 >A=>2=>3> ?>=OBV9=>3> B0 @V7=8E ?>1VG=8E AC?CB=VE A5<0=B8G=8E B0 5<>FV9=8E <><5=BV2 [2, A. 150]. <>FV9=>->FV==V >15@B>=8, O: AB@C:BC@=89 :><?>=5=B ;5:A8G=>3> 7=0G5==O V<5==8:0 lust, D>@<CNBLAO =0 >A=>2V ABV9:>3> 72 O7:C C A2V4><>ABV <>2FO ?>=OBBO 2 FV;><C B0 =5>1<565=>3> ?@028;0<8 ?>GCBBO 704>2>;5==O, I> 0A>FVNTBLAO 7 =8<. =B8<=VABL, 4>2V@;820 A8BC0FVO A?V;:C20==O 60=@C 4>72>;OT 35@>W=O< 157 ?5@5AB>@>3 >?8A0B8 A2>W =09?>B0T<=VHV 2V4GCBBO, 1060==O B0 4C<:8. 8:>@8AB0==O V<5==8:0 lust, 7>:@5<0 C >?>78FVW 7 V<5==8:>< nerves, 3>2>@8BL =5 ;8H5 ?@> 9>3> ?>78B82=5 7010@2;5==O, 0 9 A2V4G8BL ?@> B5, I> C <560E 60=@C 0:AV>;>3VG=89 70@O4 ;5:A8G=>W >48=8FV 2 1V;LH>ABV 28?04:V2 28?;820T 7 B>3>, 7<V=NTBLAO AB0= 35@>W=V =0 :@0I5 G8 =V. 5@5945<> B5?5@ 4> 01AB@0:B=8E V<5==8:V2 2;0AB82>AB59, O:V =07820NBL O:VA=V E0@0:B5@8AB8:8 A2>WE 6828E V =56828E =>AVW2. :AV>;>3VG=89 0A?5:B ;5:A8G=8E >48=8FL FL>3> A5<0=B8G=>3> B8?C 2V4>1@060T ?52=V 5AB5B8G=V, ACA?V;L=V B0 =>@<0B82=V E0@0:B5@8AB8:8 ACG0A=>W ;N48=8 7 B>G:8 7>@C 6V=>G>3> A?@89=OBBO. >:@5<0, :>6=0 7 35@>W=L  284V;OT >4=C G8 :V;L:0 @8A, O:V T 206;828<8 4;O 28@VH5==O A8BC0FVW G8 ?@>1;5<8, 7 O:>N 2>=0 7VB:=C;0AO: She s been a great source of wisdom at some of my lowest moments (She August 2005). ;O 35@>W=V, :>B@0 AB@0640T 2V4 A8=4@><C E@>=VG=>W 28A=06;82>ABV, B0:>N @8A>N T <C4@VABL: 2<V==O @>7C<=> ?V4V9B8 4> ?@>1;5<8 <>65 AB0B8 WW G0AB:>28< 28@VH5==O<. <5==8:8 2;0AB82>AB59 ?@82=>AOBL C @>7?>2V4L >FV=:C @V7=><0=VB=8E A8BC0FV9, C O:8E >?8=ONBLAO 35@>W=V, A?@8ONG8 45B0;V70FVW, V=B8<V70FVW B0 4@0<0B870FVW B5:ABV2 : I d do a striptease to get us in the mood and break up the initial awkwardness (M. C. Feb 2006); I work for a different practice now, and I have much more flexibility (SHE Sep 2005). <5==8: awkwardness <VAB8BL C A2>W9 45DV=VFVW A5<8  =57@CG=VABL ,  =VO:>2VABL , :>=>BCNG8 =0?@C3C C A?V;:C20==V 9 E0@0:B5@87CNG8 A8BC0FVN O: =5A?@8OB;82C 4;O A?V;:C20==O 9 =0;03>465==O AB>AC=:V2. <5==8: flexibility 2:07CT =0 D>@<C20==O ?@89=OB=>W A8BC0FVW 4;O 4VO;L=>ABV 35@>W=V: A5<0  040?BC20==O ?@82=>A8BL C :>=B5:AB ?>78B82=C >FV=:C A8BC0FVW, >A:V;L:8 B0 ?5@5410G0T 7<V=8 2V4?>2V4=> 4> 1060=L B0 ?>B@51 35@>W=V. "0:8< G8=><, ?@03<0B8:0 V<5==8:V2 2;0AB82>AB59 C B5:AB0E 4>A;V46C20=>3> 60=@C A?@O<>20=0 =0 0:F5=BC20==O B0 D>@<C20==O 206;828E @8A E0@0:B5@C ACG0A=>W 6V=:8, C =8E 7=0E>48BL 2V4>1@065==O A8AB5<0 WW 5B8G=8E, <>@0;L=8E B0 ACA?V;L=8E FV==>AB59. !5<0=B8G=5 B;C<0G5==O >FV==8E 01AB@0:B=8E V<5==8:V2 ?>4VW B0 A8BC0FVW ?5@5410G0T =072C B>3>, I> 2V41C20TBLAO [2, A. 143]. :@V< 7030;L=>->FV==8E V<5==8:V2, O:V <VABOBL V=B53@0;L=C A5<C  ?>4VO (tragedy, miracle, misfortune), AN48 B0:>6 2V4=>A8<> V<5==8:8, O:V ?>7=0G0NBL A8BC0FVW, I> <0NBL >A>1;825 7=0G5==O 4;O 6V=:8  date, flirt, affair, funeral, marriage, fling B0 V=. :AV>;>3VG=89 ?>B5=FV0; F8E ;5:A8G=8E >48=8FL 2V41820T ?>78B82=VABL G8 =530B82=VABL 5<>FV9, O:V ?5@56820T 6V=:0 ?@8 BV9 G8 V=HV9 ?>4VW, A8BC0FVW V 25;8:>N <V@>N 70;568BL 2V4 :>=B5:ABC. # 1030BL>E 28?04:0E 0:AV>;>3VG=>-=59B@0;L=V V<5==8:8 =01C20NBL >FV==C 7010@2;5=VABL, O:I> 2>=8 28@060NBL BV A8BC0FVW, 70 O:8E 6V=:0 <0T <>6;82VABL @50;V7C20B8 1060=V <>6;82>ABV. "0:8< G8=><, C <560E 60=@C C AB@C:BC@V ;5:A8G=>3> 7=0G5==O 2V41C20NBLAO 7<V=8 V =0 ?5@H89 ?;0= 28E>48BL >1@07=>->FV==89 :><?>=5=B, O:89 3@C=BCTBLAO =0 @V7=8E DV78G=8E, A>FV0;L=8E, ?A8EVG=8E >7=0:0E 6V=>G>W 0C48B>@VW. B65, O: ?>:070;> 4>A;V465==O, 0:AV>;>3VG=89 ?>B5=FV0; V<5==8:V2 C B5:AB0E 60=@C  ‘@C=BCTBLAO =0 @V7=8E DV78G=8E, A>FV0;L=8E, ?A8EVG=8E >7=0:0E 0C48B>@VW 6V=>G8E 6C@=0;V2, A?@8OT D>@<C20==N C A2V4><>ABV G8B0GV2 GVB:8E =>@< B0 ?@V>@8B5BV2, 0 2V4B0:, 4>2>48BL, I> >FV==V V<5==8:8 T 5:A?;VF8B=8< 70A>1>< D>@<C20==O V45>;>3VG=>3> ?>B5=FV0;C FL>3> 60=@C.  >3;O4C =0 F5, ?5@A?5:B82=8< 2840TBLAO 4>A;V465==O V=H8E :;0AV2 A;V2 C <560E 60=@C, 7>:@5<0, WE 60=@>B2V@=89 ?>B5=FV0; B0 @>;L C 2V4>1@065==V V45>;>3VG=>W A?@O<>20=>ABV ACG0A=8E 0=3;><>2=8E 6V=>G8E 6C@=0;V2. " "#  1. @CBN=>20 . . "8?K O7K:>28E 7=0G5=89: F5=:0. !>1KB85. $0:B / . . @CBN=>20.  . : 0C:0, 1988.  341 A. 2. TAA>=>20 . . FV==89 B570C@CA 0=3;V9AL:>W <>28: :>3=VB82=>-35=45@=V 0A?5:B8 / . . TAA>=>20.  >=5FL: : >=#, 2002.  362 A. 3. V;>2CA . V=:0 O: B5:AB: 35=45@=89 0A?5:B / . V;>2CA // 0C:>2V 70?8A:8.  !5@VO  VB5@0BC@>7=02AB2> .  2006.  8? 21.  "5@=>?V;L : "#.  !. 19 24. 4. 0A8;5=:> . . 8=0<V:0 @>728B:C V=D>@<0FV9=8E B0 0=0;VB8G=8E 60=@V2 2 C:@0W=AL:V9 ?@5AV / . . 0A8;5=:>.  . : #, 2006.  238 A. 5. >;LD . $C=:F8>=0;L=0O A5<0=B8:0 >F5=:8 / . >;LD ; [2-5 874., 4>?. ].  . : 48B>@80; # !!, 2002.  280 A. 6. @CA528G . . <>FV9=>->FV==0 ;5:A8:0 7 5:A?@5A82=8< 7010@2;5==O< C 4@C:>20=8E <54V0B5:AB0E / .  @CA528G // !;>2 O=AL:89 2VA=8:.  8?. 6. !5@VO  $V;>;>3VG=V =0C:8 V2=5: #, 2006.  !. 67 73. 7. >A<540 ". . :AV>;>3VG=V 0A?5:B8 ?@03<0;V=32VAB8:8: 70A>18 28@065==O :0B53>@VW >FV=:8 2 C:@0W=AL:V9 B0 @>AV9AL:V9 <>20E : 02B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O 4>:B. DV;>;. =0C: : A?5F. 10.02.01  #:@. <>20 B0 10.02.02.  >A. <>20 / ". . >A<540.  %0@:V2, 2001.  32 A. 8. @0<0@5=:> . . :AV>;>3VG=0 ?@03<0A5<0=B8:0 0=3;><>2=>3> @5:;0<=>3> B5:ABC: 02B>@5D. 48A. =0 74>1CBBO =0C: ABC?5=O :0=4. DV;>;. =0C: : A?5F. 10.02.04  5@<0=AL:V <>28 / . . @0<0@5=:>.  >=5FL:, 2005  21 A. 9. 0@B8=N: . . >=AB@CN20==O 35=45@C 2 0=3;><>2=><C 48A:C@AV / . . 0@B8=N:.  %0@:V2 : >=AB0=B0, 2004.  292 A. 10. @8E>4L:> . . !?>A>18 28@065==O >FV=:8 2 ACG0A=V9 0=3;V9AL:V9 <>2V / . . @8E>4L:>.  0?>@V66O : #, 2001.  362 A. 11. %@V?C=:>20 . .. >2=V >A>1;82>ABV :>=AB@CN20==O 35=45@=8E >1@07V2 C ACG0A=8E 4@C:>20=8E  / . .. %@V?C=:>20 // >AB>G=>C:@08=A:89 ;8=328AB8G5A:89 A1>@=8:.  >=5F:: "  .3>->AB>: B4 , 2006.  K?. 10.  !. 471 479. 12. (0E>2A:89 . . 0B53>@870F8O M<>F89 2 ;5:A8:>-A5<0=B8G5A:>9 A8AB5<5 O7K:0 / . . (0E>2A:89.  >@>=56 : 7-2> >@>=56A:>3> C=-B0, 1987.  190 A. 13. (5930; . . !5<8>B8:0 ?>;8B8G5A:>3> 48A:C@A0 / . . (5930;.  . : "  =>78A , 2004.  326 A. 14. Coates J. Women, Men and Language: A Sociolinguistic Account of Gender Differences in Language / J. Coates.  Peardon Education Limited, 2004.  245 p. 15. Litosselity L. Gender and Language: Theory and Practice / L. Litosselity.  London : Hodder Arnold, 2006.  190 p. Š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ohyla. Semantics and pragmatics aspects of temporal reference. The article deals with the general characteristics of semantics and pragmatics of temporal reference of the Present Indicative, the central structural component in the language system organization, which determines its potential functions in speech. Temporal reference is analysed as semantic-pragmatic interaction taking into consideration the opposition deixis/anaphora, autonomons and non-autonomons temporal expressions are distinguished. Key words: actual reference, virtual reference, anaphora, deixis. 70T<>4VO A5<0=B8:8 V ?@03<0B8:8 O2;OTBLAO >4=8< 7 F5=B@0;L=8E ?8B0=L ;V=32VAB8G=>W B5>@VW. >AB0=>2:0 B0:>3> ?8B0==O 7C<>2;5=0 B8<, I> ACG0A=5 B;C<0G5==O 45O:8E <>2=8E >48=8FL ?>2 O70=5 BV;L:8 2 ?;0=V A5<0=B8:8. @>B5, O: ?>:07CT 0=0;V7 :>@?CAC ?@8:;04V2, B;C<0G5==O B5<?>@0;L=8E D>@< BV;L:8 2 A5<0=B8G=><C ?;0=V =54>AB0B=T 4;O ?>2=>W E0@0:B5@8AB8:8 ?@>AB>3> B0 A:;04=>3> <>2=>3> 7=0:C. =H8<8 A;>20<8, A5<0=B8G=89 ?V4EV4 (A5<0=B8G=0 =><V=0FVO) =54>AB0B=V9 4;O 0=0;V7C B8E 7=0G5=L B5<?>@0;L=8E D>@<, O:V 28:>@8AB>2CNBLAO 2 <>2;5==V (?@54<5B). &5 7C<>2;NT 0:BC0;L=VABL =0H>3> 4>A;V465==O. 5B0 AB0BBV ?>;O30T 2 B><C, I>1 @>73;O=CB8 45O:V 7030;L=V E0@0:B5@8AB8:8 @5D5@5=FVW B5<?>@0;L=8E D>@< 2 0A?5:BV 270T<>4VW WE A5<0=B8:8 V ?@03<0B8:8 7 C@0EC20==O< 48E>B><VW <>20/<>2;5==O. 0B5@V0;>< 4>A;V465==O >1@0=0 D>@<0 B5?5@VH=L>3> G0AC V=48:0B820, 0 B0:>6 45O:V V=HV B5<?>@0;L=V D>@<8. !5<0=B8:0 B5?5@VH=L>3> G0AC V=48:0B820 =5 >B@8<0;0 >4=>7=0G=>3> 28B;C<0G5==O 2 B@048FV9=8E D@0=FC7L:8E 3@0<0B8:0E. &5 7C<>2;5=> B8<, I> D>@<0 B5?5@VH=L>3> V=48:0B820 ?>7102;5=0 7=0G5==O, O:5 ?5@54020;> 1 A8=E@>==VABL 4VW 7 <><5=B>< <>2;5==O (B>4V O: Present Continuous 0=3;V9AL:>W <>28 B0:5 7=0G5==O <0T). >=OBBO ŤB5?5@VH=V9 G0Ať 4C65 H8@>:5 V >E>?;NT B5?5@VH=V9 G0A ?@>4C:C20==O 28A;>2;5==O, A?@89=OBBO, 4VW B>I>. &5 B0: 720=0 @5D5@5=B=0 ?@03<0B8G=0 AB>@>=0. @V< B>3>, VA=CT I5 :>=25=FV>=0;L=5 7=0G5==O 2 <>2=V9 A8AB5<V, I> >7=0G0T BV;L:8 4VN. !B@C:BC@>B2>@G0 5:A?0=AVO B5?5@VH=L>3> G0AC 2 <>2=V9 A8AB5<V 7C<>2;5=0 B8<, I> 2;0A=5 7=0G5==O B5?5@VH=L>3> G0AC O2;OT A>1>N A8=B57 <8=C;>3> 9 <091CB=L>3>, O:V 2V4?>2V40NBL <><5=BC @50;V70FVW 4VW 2 B5?5@VH=L><C G0AV. 4=0: C @50;L=>ABV A0<5 7=0G5==O B5?5@VH=L>3> 2V4ACB=T, 2>=> <>65 1CB8 28@065=5 BV;L:8 ?5@8D@07>N B8?C ętre en train de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n 1455, le 5 juin, Villon se prend de querelle avec un prętre, Philippe Sermoise, et le tue. Je prends rendez-vous demain et explique par téléphone au médecin la raison de ma visite.  ?5@H><C ?@8:;04V ?@575=A 26820TBLAO 4;O ?>7=0G5==O <8=C;8E 4V9, 2 4@C3><C  <091CB=VE. 57 C@0EC20==O A?V22V4=>H5==O <>28 V <>2;5==O, 157 4>A;V465==O A8AB5<8 <>28 =5 <>65 1CB8 @>72 O70=>N ?@>1;5<0 287=0G5==O B5?5@VH=L>3> G0AC. 030;L=89 ?5@5;V: B8E 7=0G5=L ?@575=A0, I> 26820NBLAO 2 <>2;5==V, =5 28G5@?CT 2AVE 7=0G5=L (5:A?;VF8B=8E B0 V<?;VF8B=8E), O:V =01C20T FO D>@<0 2 <>2;5==V. &5 O2;OTBLAO 2V4>1@065==O< WE=VE @5D5@5=B=8E 2;0AB82>AB59 (>1 T:B 4>A;V465==O). 2B>=><=VABL/=502B>=><=VABL B5<?>@0;L=>W @5D5@5=FVW. 87=0G5==O B5<?>@0;L=>W @5D5@5=FVW  >4=0 7 >A=>2=8E ?@>1;5< ?@03<0B8:8, I> ?>2 O70=0 7 <>2>N V <>2;5==O<, 0 B0:>6 V7 A?V22V4=>H5==O< 7=0G5=L G0A>28E D>@<.  <>2;5==V V=B5@?@5B0FVO B5<?>@0;L=>W @5D5@5=FVW 28A;>2;5==O ?>2 O70=0, =0A0<?5@54, 7 287=0G5==O< WW V=B5@20;C. =H8<8 A;>20<8, 7@>7C<VB8 28A;>2;5==O >7=0G0T 7@>7C<VB8 9>3> B5<?>@0;L=C @5D5@5=FVN, B>1B> 287=0G8B8 B5<?>@0;L=89 V=B5@20;, =0 O:89 2:07CT 28A;>2;5==O [3, A.43]. 0TBLAO =0 C207V, I> B0:89 V=B5@20; 2AB0=>2;NTBLAO 2V4=>A=> <><5=BC 28A;>2;5==O 01> G5@57 ?>A5@54=8FB2> V=H>3> B5<?>@0;L=>3> <0@:5@C (B5<?>@0;L=>3> ?@8A;V2=8:0, >1AB028=8 G0AC, ?V4@O4=8< B5<?>@0;L=8< @5G5==O< B0 V=.).  =02545=8E =86G5 ?@8:;040E 4VTA;V2=89 G0A =5 <VAB8BL ACBBT2>W V=D>@<0FVW 4;O B5<?>@0;L=>W @5D5@5=FVW [3, A.50]: Hier, je rencontre Marie. En 1982 Paris était encore habitable. Lorsque j étais ŕ Paris, l inflation était de 13%. VTA;V2=V G0A8 2V4V3@0NBL =5 287=0G0;L=C, 0 BV;L:8 V=D>@<0B82=C @>;L 4;O 2AB0=>2;5==O B5<?>@0;L=>W @5D5@5=FVW. 06;82> 2V47=0G8B8, I> 28A;>2;5==O 7 B>G:8 7>@C 48E>B><VW <>20/<>2;5==O E0@0:B5@87CTBLAO 2V@BC0;L=>N V 0:BC0;L=>N B5<?>@0;L=>N @5D5@5=FVTN. :BC0;L=0 @5D5@5=FVO  F5 A53<5=B @50;L=>W 4V9A=>ABV (G0A>2>3> ?@>AB>@C), I> ?>7=0G0TBLAO @50;V7>20=>N 2 <>2;5==V <>45;;N @5G5==O V <>2=8<8 <0@:5@0<8 7V 7=0G5==O< G0AC. V@BC0;L=0 @5D5@5=FVO 287=0G0TBLAO O: C7030;L=5=5 A8AB5<=>-<>2=5 7=0G5==O <>45;V @5G5==O, O:5 740B=5 @50;V7C20B8AL 2 <>2;5==V ?@8 ?52=8E C<>20E [2, A.64]. :BC0;L=0 B5<?>@0;L=0 @5D5@5=FVO >7=0G0T BC G0AB8=C 7<VABC 28A;>2;5==O, O:0 4>?>2=NT A8AB5<=5 7=0G5==O <>45;V @5G5==O V 70;568BL 2V4 :>=B5:ABC A8BC0FVW <>2;5==O B0 2V4 V=B5=FVW <>2FO. :BC0;L=0 @5D5@5=FVO 2V4?>2V40T B><C, I> B@048FV9=> =07820NBL @5D5@5=FVTN, B>4V O: 2V@BC0;L=0 @5D5@5=FVO 2V4?>2V40T 7=0G5==N (sens). V4?>2V4=> 4> B0:>3> B;C<0G5==O @5D5@5=FVW 4>A;V4=8:8 @>7@V7=ONBL 02B>=><=V V =502B>=><=V B5<?>@0;L=V :>=AB@C:FVW. 2B>=><=V :>=AB@C:FVW, 2 >A=>2V O:8E <VAB8BLAO 2V@BC0;L=0 @5D5@5=FVO, <>6CBL 28:>@8AB>2C20B8AO, I>1 @5D5@C20B8 0:BC0;L=>. @8:;04>< 02B>=><=>ABV <>6CBL 1CB8 :0;5=40@=V 28@078 B0:V O: en 1963, le 22 novembre 1963, I> 287=0G0NBL B5<?>@0;L=C @5D5@5=FVN 28A;>2;5==O 02B>=><=8< A?>A>1><: 2>=8 =5 <0NBL ?>B@518 2 V=HV9 V=D>@<0FVW 4;O 287=0G5==O B5<?>@0;L=>W @5D5@5=FVW: Nous sommes mercredi le 10 mars, demain il n y a pas de classe (Troyat). # ?5@HV9 ?@548:0B82=V9 G0AB8=V =02545=>3> ?@8:;04C :0;5=40@=89 28@07 le 10 mars 2AB0=>2;NT 02B>=><=C 0:BC0;L=C @5D5@5=FVN, 45 DV:ACTBLAO B>G:0 @5D5@5=FVW, 2 4@C3V9 ?@548:0B82=V9 G0AB8=V 287=0G0TBLAO =502B>=><=0 0:BC0;L=0 459:B8G=0 @5D5@5=FVO. 502B>=><=V :>=AB@C:FVW =5 <0NBL 2V@BC0;L=>W @5D5@5=FVW 01> 2V@BC0;L=0 @5D5@5=FVO 2:;NG0T C<>28 WE=L>W 0:BC0;V70FVW [3, A.90]. A:V;L:8 B5<?>@0;L=V 28@078 B0:V O: maintenant, ŕ huit heures, demain, dans huit jours, il y a une semaine =5A0<>ABV9=> DV:ACNBL B5<?>@0;L=C @5D5@5=FVN, 2>=0 70;568BL 2V4 <><5=BC 28A;>2;N20==O. B65, B5<?>@0;L=V 459:B8G=V 28@078 =502B>=><=V [4, A.156]. > =502B>=><=8E 2V4=>AOBLAO B0:>6 0=0D>@8G=V A?>;CG5==O B0:V O: ce jour-lŕ, le lendemain: 2V4=5A5==O B5<?>@0;L=>W @5D5@5=FVW 4> D@078, O:C 2>=8 287=0G0NBL, 70;568BL 2V4 V=H>3> 02B>=><=>3> G8 =502B>=><=>3> 28@07C [B0< 65]: Le lendemain j embarque Sophie dans son avion (Cardinal). "0:8< G8=><, <>6=0 284V;8B8 420 B8?8 B5<?>@0;L=8E =502B>=><=8E :>=AB@C:FV9: 459:B8G=V B5<?>@0;L=V A?>;CG5==O, O:V >B@8<CNBL B5<?>@0;L=C @5D5@5=FVN 2V4=>A=> <><5=BC <>2;5==O, V 0=0D>@8G=V, O:V ?>B@51CNBL 4>?><>38 V=H>3> B5<?>@0;L=>3> 28@07C 4;O 2AB0=>2;5==O A2>TW @5D5@5=FVW. >@O4 7 F8< VA=CNBL 02B>=><=V A?>;CG5==O: G0A>2V ?@8A;V2=8:8, B5<?>@0;L=V 28@078 G8 @5G5==O (il était une fois, un jour, lorsque Jean arriva, en 1997, le 5 avril, au coucher du soleil, la nuit), I> 4>72>;ONBL =5V=45:A0;L=8< A?>A>1>< 287=0G8B8 B5<?>@0;L=C B>G:C 2V4;V:C (B>G:C @5D5@5=FVW), 2V4=>A=> O:>W V=HV B5<?>@0;L=V <0@:5@8 (4VTA;V2=V G0A8) 2AB0=>2;OBL A2>N B5<?>@0;L=C @5D5@5=FVN: Et puis, un jour, William Bagot ouvre ses ailes et vole vers Londres oů l attend la gloire. Justin Merlin imagine les adieux, les chevaux qui attendent devant le perron (Triolet).  =02545=><C ?@8:;04V ?V4:@5A;5=5 A;>2> DV:ACT 02B>=><=C 0:BC0;L=C @5D5@5=FVN. =0;V7CNG8 =02545=V =86G5 ?@8:;048 . 5H;5@ @>18BL ?@8?CI5==O, I> 4VTA;V2=V G0A8 <0NBL BV;L:8 2V@BC0;L=C @5D5@5=FVN [4, A.160]: 1. Jean a mangé de la choucroute. 2. Jean mangeait de la choucroute. >70 :>=B5:AB>< F8< 42>< 28A;>2;5==O< 7 B>G:8 7>@C 2V@BC0;L=>W @5D5@5=FVW 2;0AB820 B5<?>@0;L=0 V=D>@<0FVO: ?>4VO (Jean mange de la choucroute), I> >?8ACTBLAO, 2V41C20TBLAO 4> <><5=BC <>2;5==O. >B@V1=> 725@=CB8 C203C, I> 2 F8E 42>E ?@8:;040E T 2V4<V==>ABV <V6 passé composé i imparfait. 5@H0 @V7=8FO AB>ACTBLAO 284C: 28A;>2;5==O 2 passé composé ?5@5410G0T ?5@D5:B82=VABL, 28A;>2;5==O 2 imparfait ?>70 :>=B5:AB>< =5 28@060T ?5@D5:B82=89 G8 V<?5@D5:B82=89 E0@0:B5@ 4VW. !0<5 :>=B5:AB 40T 2V4?>2V4L =0 0A?5:B @5D5@5=FVW. @V< B>3>, 28A;>2;5==O 2 passé composé T 02B>=><=8<: 4;O 2AB0=>2;5==O 0:BC0;L=>W @5D5@5=FVW 2>=> =5 <0T ?>B@518 2 V=H><C 02B>=><=><C 28@065==V. 8A;>2;5==O 2 imparfait =502B>=><=5, >A:V;L:8 7 B>G:8 7>@C 9>3> V=B5@?@5B0FVW, 2>=> =5 O2;OTBLAO ?>2=8<, =5 740B=5 A0<>ABV9=> 2AB0=>28B8 0:BC0;L=C @5D5@5=FVN. V6 passé composé i imparfait VA=CT DC=:FV>=0;L=0 V @5D5@5=B=0 2V4<V==VABL. "0:8< G8=><, 7>=0 0:BC0;L=>W @5D5@5=FVW  F5 @57C;LB0B 26820==O B5<?>@0;L=>W D>@<8. &59 @57C;LB0B 28=8:0T ?@8 @50;V70FVW 28A;>2;5==O< A2>WE =><V=0B82=8E DC=:FV9 2 <>2;5==V. >70 F8<8 DC=:FVO<8 G0A>2V D>@<8 <0NBL BV;L:8 2V@BC0;L=C @5D5@5=FVN. =0G8BL, 3@0<0B8G=5 28@065==O (4VTA;V2=89 G0A) <0T BV;L:8 2V@BC0;L=C @5D5@5=FVN. @8 2V4ACB=>ABV C 28A;>2;5==V V=45:A0 A0<5 :>=B5:AB 4>72>;OT 2AB0=>28B8 B5<?>@0;L=C @5D5@5=FVN 28A;>2;5==O. >A;V4=8:8 2V4<VG0NBL, I> 0=0D>@8G=V B5<?>@0;L=V 28@078 ?>T4=0=V :>@5D5@5=FVTN 7 B5<?>@0;L=8< @5D5@5=FV9=> 02B>=><=8< 28@07><, 4;O B>3>, I>1 287=0G8B8 0:BC0;L=C @5D5@5=FVN [3, A.91]. >@V2=O9<> 420 ?@8:;048: Jean mangeait de la choucroute. Avant son ulcčre ŕ l estomac, Jean mangeait de la choucroute. >6=0 2V47=0G8B8, I> 2 ?5@H><C ?@8:;04V 2V4ACB=O B5<?>@0;L=0 B>G:0 2V4;V:C (point de repčre), O:0 4>72>;OT V=B5@?@5BC20B8 B5<?>@0;L=C @5D5@5=FVN.  4@C3><C ?@8:;04V 0vant son ulcčre ŕ l estomac 287=0G0T B5<?>@0;L=C 0:BC0;L=C @5D5@5=FVN. G5284=>, >?8A0B8 ?@>F5A B5<?>@0;L=>W @5D5@5=FVW 4@C3>3> ?@8:;04C <>6=0 =0ABC?=8< G8=><: son ulcčre ŕ l estomac  ?>4VO, I> <VAB8BL B5<?>@0;L=89 >@VT=B8@ (repčre temporel); 0vant son ulcčre ŕ l estomac  ?5@V>4, I> <VAB8BL 0:BC0;L=C @5D5@5=FVN; Jean mangeait de la choucroute  <8=C;0 ?>4VO >4=>G0A=0 ?5@V>4C, I> <VAB8BL 0:BC0;L=C @5D5@5=FVN; ;5:A8G=89 :>@5;OB: x mange y V<?;V:CT ;V<VB>20=C B@820;VABL ?>4VW, I> >?8ACTBLAO; 3@0<0B8G=89 :>@5;OB:  ait 2V4<VG0T, I> >?8AC20=0 ?>4VO ?>2B>@N20;0AO :V;L:0 @07V2 2 ?5@V>4V, I> <VAB8BL 0:BC0;L=C @5D5@5=FVN. =H8<8 A;>20<8, 0:BC0;L=C @5D5@5=FVN B5<?>@0;L=>3> 28@07C 287=0G0NBL O: ?5@V>4 (<><5=B G8 V=B5@20;), I> ?@87=0G0TBLAO 28A;>2;5==N, 2 O:><C 2>=0 ?@>O2;OTBLAO. V@BC0;L=0 @5D5@5=FVO 28@065==O ?@54AB02;OT AC:C?=VABL C<>2, I> 4>72>;ONBL 287=0G8B8 0:BC0;L=C @5D5@5=FVN. V4?>2V4=> 4> B0:>3> 287=0G5==O, B5<?>@0;L=0 @5D5@5=FVO =><V=CT ?52=89 <><5=B G0AC, O:89 <>65 1CB8 2:070=8< (?@>F5A 0:BC0;L=>W @5D5@5=FVW) 01> 7304C20B8AO, =5 1C4CG8 287=0G5=8< (2V@BC0;L=0 @5D5@5=FVO). 87=0G5==O B5<?>@0;L=>W @5D5@5=FVW ?>2 O70=5 V7 >A=>2=8<8 DC=:FVO<8 ?@03<0B8:8, O:0 287=0G0T 7030;L=C =0?@02;5=VABL 28A;>2;5==O, I> 7C<>2;NT 459:B8G=5 G8 0=0D>@8G=5 26820==O 4VTA;V2=8E G0AV2. ?>78FVO 459:A8A/0=0D>@0 ?@8 B5<?>@0;L=V9 @5D5@5=FVW. "5<?>@0;L=0 @5D5@5=FVO <>65 =01C20B8 42V @V7=V D>@<8  459:B8G=C G8 0=0D>@8G=C.  ACG0A=V9 ;V=32VAB8FV 284V;ONBL ?@O<C, =5?@O<C, 2:07V2=C, 459:B8G=C V 0=0D>@8G=C @5D5@5=FVN [5, A.349]. ;0A=V =0728 A;C60BL 4;O 74V9A=5==O ?@O<>W @5D5@5=FVW: Marco Polo est aussi un personnage des Villes invisibles d Italo Calvino.  =0ABC?=><C ?@8:;04V ?V4:@5A;5=5 A;>2>, O:5 26820TBLAO 2 ?5@5=>A=><C 7=0G5==V, 287=0G0T =5?@O<C @5D5@5=FVN: L omlette au jambon est parti sans payé. A>1>2V 709<5==8:8 ?5@H>W >A>18 A;C60BL 4;O 74V9A=5==O 459:B8G=>W @5D5@5=FVW: J ai mal aux dents. :07V2=C @5D5@5=FVN @>73;O40NBL O: D>@<C 459:B8G=>W @5D5@5=FVW: A montrant de la main C: ŤCet enfant a de la fičvreť. 0 2V4<V=C 2V4 709<5==8:V2 ?5@H>W >A>18, >A>1>289 709<5==8: B@5BL>W >A>18 2:07CT =0 0=0D>@8G=C @5D5@5=FVN: Pierre a perdu son chapeau. Il est distrait. =0;V7 ?@8:;04V2 ?>:07CT, I> B5<?>@0;L=0 V >A>1>20 @5D5@5=FVO AB0=>2;OBL ?0@0;5;V7<, 0@3C<5=B0<8 O:>3> AB0NBL >A>1>20 V B5<?>@0;L=0 0=0D>@0. ;O ?>OA=5==O B0:>3> ?0@0;5;V7<C 2 3@0<0B8G=V9 ;VB5@0BC@V 28:>@8AB>2CNBLAO =0ABC?=V B5@<V=8: =5;V=32VAB8G=89 0=B5F545=B, 287=0G5=89 0=B5F545=B, =5287=0G5=89 0=B5F545=B [3, A.83]. 5;V=32VAB8G=89 0=B5F545=B B;C<0G0BL =0ABC?=8< G8=><: ?0@0;5;L=> 4> 709<5==8:0 B@5BL>W >A>18, O:89 <>65 26820B8AO 157 ;V=32VAB8G=>3> 0=B5F545=B0, <8=C;V G0A8 <>6CBL @5D5@C20B8 4> ?5@V>4C, I> =5 7304CTBLAO 2 <>2;5==V: Elle m a quitté. Je n ai pas éteint le four. @8 FL><C <8=C;V G0A8 DC=:FV>=CNBL O: 709<5==8:8 B@5BL>W >A>18, B5?5@VH=V9 G0A O: 709<5==8:8 ?5@H>W >A>18: 2>=8 T V=45:A0;L=8<8 V 0CB>@5D5@5=B=8<8. V4=>H5==O <V6 0=0D>@8G=8< 5;5<5=B>< V 9>3> 287=0G5=8< 0=B5F545=B>< 7C<>2;NT 0=0D>@C. "0:, 2V4=>H5==O <V6 709<5==8:>< B@5BL>W >A>18 il V 2;0A=>N =072>N Sam ?0@0;5;L=5 4> B>3>, I> VA=CT <V6 B5<?>@0;L=>N <>@D5<>N passé B0 V=H>N B5<?>@0;L=>N @5D5@5=FVTN, I> DC=:FV>=CT O: 0=B5F545=B: Sam est marié. Il a trois enfants. Sheila a donné une réception vendredi soir et Sam s est saoulé. Lorsque Jean vit Marie, elle traversait la rue. Le 21 juin 1960 ŕ 3 heures de l aprčs midi, Marie eut une idée brillante. >;8 0=B5F545=B =5287=0G5=89, 0=0D>@8G=5 il >B@8<CT A2>N @5D5@5=FVN 2V4 =5@5D5@5=FV9=>3> 0=B5F545=B0, :>;8 <0NBLAO =0 C207V 45:V;L:0 @5D5@5=BV2 4;O ?>7=0G5==O 4>AB>2V@=>ABV 28A;>2;5==O: Pedro possčde un âne. Il le bat. # FL><C 28?04:C D@070 4>AB>2V@=0, O:I> 54@> <0T 1V;LH =V6 >4=>3> >A;0. A=CNG0 V=B5@?@5B0FVO ?0@0;5;L=0 4;O B5<?>@0;L=>W 0=0D>@8. 5E0=V7< B5<?>@0;L=>W 0=0D>@8 ?>OA=NTBLAO G5@57 A?5F8DVG=V 2;0AB82>ABV A5<0=B8:8 V ?@03<0B8:8 G0AC. @8ACB=VABL =5;V=32VAB8G=>3> 0=B5F545=B0 4;O B5<?>@0;L=>W 0=0D>@8 <>6;820 B><C, I> 2 :>6=V9 D@07V <8=C;>3> G0AC 287=0G0TBLAO B5<?>@0;L=0 @5D5@5=FVO, O:0 70157?5GCTBLAO :>=B5:AB><. # 28?04:C 2V4=>H5==O <V6 0=0D>@>N V 287=0G5=8< 0=B5F545=B><, 0=B5F545=B 2AB0=>2;NT G0A @5D5@5=FVW D@078. >73;O40NG8 B5<?>@0;L=V 0=0D>@8G=V 2V4=>H5==O, .5H;5@ A8AB5<0B87CT WE 2 =0ABC?=V9 B01;8FV [3, A.85]: 1 phrase 2 phraseMorphčme temporelConjonction temporelAdverbe temporelMorphčme temporelIl se déshabilla, entra dans la salle de bain, prit une douche et se mit au lit.Lorsque Suzanne entra, Pierre partait.Sheila a donné une réception vendredi dernier et Sam s’est saoulé.Conjonction temporelLorsque le garçon apporta le vin, ils remarqučrent qu’ils avaient oublié leurs chéquiers.Lorsque tous les cars sortirent aprčs que le concert fut terminé, il y eut un gros embouteillage.Sam5di passé, lorsque le Salon de l automobile a débuté, tous les hôtels de Genčve étaient complets.Adverbe temporelIls me conduisirent dans la salle d opération et me mirent sous narcose. Trois heures plus tard je me réveillais.Lorsque Melissa quitta la réception, je venais de rencontrer la femme de ma vie un quart d heure plus tôt.Cette semaine j ai visité Paris. Mardi je suis allé au Louvre.'5@57 2V4=>H5==O B5<?>@0;L=8E <>@D5< (morphčme temporel) V;NAB@CTBLAO ?@>1;5<0 B5<?>@0;L=>3> ?>@O4:C: G0A ?@>3@5ACT V B>G:0 @5D5@5=FVW 7<V=NTBLAO ?@8 :>6=><C 28A;>2;5==V 2 <8=C;><C: Il se déshabilla, entra dans la salle de bain, prit une douche et se mit au lit. @8 0=0;V7V 2V4=>H5==O conjonction temporelle  morphčme temporel 2G5=89 725@B0T C203C =0 B5, I> G0A ?5@H>W D@078 DV:ACT B>G:C @5D5@5=FVW V ?5@5410G0T =5 2V4=>H5==O B5<?>@0;L=>3> ?>@O4:C, 0 ?>:@8BBO (recouvrement): Lorsque les hommes partent au travail, les femmes restent chez elles.  A2>N G5@3C ?@8 ?>@V2=O==V 2V4=>H5=L <V6 morphčme tempor5l  conjonction temporelle V morphčme tempor5l  adverbe temporel ?@>F5A 2AB0=>2;5==O B5<?>@0;L=>W @5D5@5=FVW =5 T >4=0:>28<: 1. Lorsque Suzanne entra, Pierre partait. 2. Sheila a donné une réception vendredi dernier et Sam s est saoulé. # ?5@H><C 28?04:C <>6=0 28O28B8 ?@>1;5<C B5<?>@0;L=>3> ?>@O4:C: A0<5 7 ?@03<0B8G=>W B>G:8 7>@C V=B5@?@5BCTBLAO B5<?>@0;L=5 2V4=>H5==O <V6 42><0 28A;>2;5==O<8.  4@C3><C 28?04:C, =02?0:8, F5 A?@026=T 0=0D>@8G=5 2V4=>H5==O, :>;8 B5<?>@0;L=89 ?@8A;V2=8: =5 BV;L:8 DV:ACT B>G:C @5D5@5=FVW, 0;5 9 4>72>;OT 287=0G8B8 @5D5@5=FVN B5<?>@0;L=>W <>@D5<8. V47=0G8<>, I> A0<5 4VTA;V2=V G0A8 V B5<?>@0;L=V ?@8A;V2=8:8 <>6CBL 2ABC?0B8 C 2V4=>H5==O B5<?>@0;L=>W 0=0D>@8. &5 7C<>2;NT =5>1EV4=VABL :;0A8DV:C20B8 4VTA;V2=V G0A8 V B5<?>@0;L=V ?@8A;V2=8:8 2 0A?5:BV >?>78FVW 0=0D>@0/459:A8A. /: 1C;> 2V47=0G5=>, ?@8 :;0A8DV:0FVW B5<?>@0;L=8E ?@8A;V2=8:V2 @>7@V7=ONBL 459:B8G=V ?@8A;V2=8:8 (semaine passé, il y a une semaine, hier, maintenant, en ce moment, dans trois jours, demain), I> DV:ACNBL B>G:C @5D5@5=FVW 2V4=>A=> <><5=BC <>2;5==O, B0 0=0D>@8G=V (la semaine précédente, la veille, au męme moment, plus tard), ?>ABV9=> 70;56=V 2V4 :>=B5:ABC. "0:C :;0A8DV:0FVN 4>?>2=NNBL :0;5=40@=V 28@078 (au 19 sičcle, en 1977, en janvier 1965, le 2 mars 1980), 1C4CG8 :>=B5:ABC0;L=> =570;56=8<8, FV A?>;CG5==O A0<>ABV9=> 287=0G0NBL 459:B8G=C 01> 0=0D>@8G=C @5D5@5=FVN V 2V4V3@0NBL @>;L 0=B5F545=B0 2 B5<?>@0;L=V9 0=0D>@V [3, A.87]. A=>2=>N 2 B5>@VW B5<?>@0;L=>W 0=0D>@8 284V;ONBL ?@>1;5<C :;0A8DV:0FVW 459:B8G=8E G8 0=0D>@8G=8E 4VTA;V2=8E G0AV2. "0:, @O4 ;V=32VABV2 2:07CNBL =0 0=0D>@8G=89 E0@0:B5@ imparfait (4;O 2AB0=>2;5==O B5<?>@0;L=>W @5D5@5=FVW 28:>@8AB>2CT B>G:C @5D5@5=FVW ?>?5@54=L>3> 28A;>2;5==O) V 459:B8G=89 passé simple (=570;56=> DV:ACT @5D5@5=FVN) [B0< 65]. @>B5, 0=0;V7CNG8 =0ABC?=V ?@8:;048, <>6=0 ?>10G8B8 ?@>B8@VGGO 2 B0:><C B;C<0G5==V: Lorsque Marie entra, Jean téléphonait. Alors que les joueurs discutaient avec l arbitre, une bagarre éclata entre spectateurs. G5284=>, 945BLAO ?@> 459:B8G=89 E0@0:B5@ PS V 0=0D>@8G=89 IMP 2 (1), V =02?0:8, 459:B8G=89 E0@0:B5@ IMP V 0=0D>@8G=89 PS 2 (2). >73;O40NG8 =0ABC?=V ?@8:;048, <>6=0 25AB8 <>2C ?@> 459:B8G=89 V 0=0D>@8G=89 E0@0:B5@ B5?5@VH=L>3> G0AC 2 <>2;5==V: En une seconde je vois les enfants sur l échelle d incendie. Dorothée est encore dans la cuisine (Cardinal).  =02545=><C ?@8:;04V A?V2?040T G0A 4VW V G0A <>2;5==O, 2AB0=>2;NTBLAO 459:B8G=0 @5D5@5=FVO. Elle arrive au milieu de la nuit, trčs tard, c est presque l aube. Elle dit qu elle est en retard ŕ cause de l >rage. Elle se met dans les draps, elle se retourbe contre le mur. D un seul coup elle sombre, elle dort (Duras).  FL><C 28A;>2;5==V =0 D>=V ?5@H>W ?@548:0B82=>W G0AB8=8, 45 DV:ACTBLAO B>G:0 @5D5@5=FVW, @>72820NBLAO 0=0D>@8G=V 4VW =0ABC?=8E D@07. V4AC<>2CNG8, 2V47=0G8<> 459:B8G=89 E0@0:B5@ ?@575=A0 2 A8AB5<V <>28 V 0=0D>@8G=89/459:B8G=89 E0@0:B5@ 26820==O FVTW 4VTA;V2=>W D>@<8 2 <>2;5==V. &5 >7=0G0T, I> =5 A0< ?> A>1V 459:B8G=89 G8 0=0D>@8G=89 :;0A 4VTA;V2 O2;OTBLAO 287=0G0;L=8<, 0 D0:B8G=> ?@03<0B8G=0 2;0AB82VABL 9>3> 26820==O. #<>28 0=0D>@8G=>3> 2V4=>H5==O =5 T GVB:8<8 V A0<5 ?@03<0B8G=0 V=B5@?@5B0FVO 287=0G0T 2V4=>H5==O B5<?>@0;L=>W @5D5@5=FVW V :>@5D5@5=FVW. =B5@?@5B0FVO 28A;>2;5==O 70;568BL 2V4 :>=B5:ABC. 8A;>2;5==O 9 :>=B5:AB C AC:C?=>ABV AB2>@NNBL ?5@54C<>28 4;O ?@03<0B8G=>W V=B5@?@5B0FVW. "578A ?@> 270T<>70;56=VABL :>=B5:ABC B0 V=B5@?@5B0FVW .5H;5@ AD>@<C;N202 B0:: Ť28 7<V=NTB5 :>=B5:AB, 28 7<V=NTB5 V=B5@?@5B0FVNť [4, A.26]. 06;82> ?V4:@5A;8B8, I>, =572060NG8 =0 >A>1;82C AB@C:BC@>B2>@GC @>;L ?@575=A0 2 <>2=V9 A8AB5<V, 2 <>2;5==V 2V= Ť@>74V;OTť 7030;L=V 70:>=><V@=>ABV V=B5@?@5B0FVW B5<?>@0;L=8E D>@<, 7>:@5<0 WE 459:B8G=V G8 0=0D>@8G=V @5D5@5=B=V 26820==O. 5@A?5:B828 4>A;V465==O ?>;O30NBL 2 ?>40;LH><C 0=0;V7V A5<0=B8:8 V ?@03<0B8:8 B5<?>@0;L=>W @5D5@5=FVW. " "#  1. 8=:8= . . 57=8G5=:> .. >3=8B82=>-?@03<0B8G5A:0O 8=B5@?@5B0F8O >1I52>?@>A8B5;L=>3> 2KA:07K20=8O 2 A>2@5<5==>< D@0=FC7A:>< O7K:5 / 8=:8= . . 57=8G5=:> . // VA=8: %# V<. . . 0@07V=0.  2008.  !805.  !. 15  21. 2. Milner J.- C. Réflexions sur la référence / Milner J.- C. // Langue française.  1976.  !30  p.63  73. 3. Moeschler J., Reboul A., Luscher J.-M. Langage et pertinence. Référence temporelle, anaphore, connecteurs et métaphore / Moeschler J., Reboul A., Luscher J.-M..  Nancy: Presses Universitaires de Nancy, 1994. – 301 p. 4. Moeschler J. Théorie pragmatique et la pragmatique conversationelle / Moeschler J. – P.: A.Colin Masson, 1996. – 255 p. 5. Moeschler J., Reboul A. Dictionnaire encyclopédique de pragmatique / Moeschler J., Reboul A. – P.: Seuil, 1994. – 579 p. Š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ydorova. The implicit speech acts in reactive moves of the German dialogical discourse. The article deals with establishment of illocutionary types of the implicit speech acts, realized in the moves, which are reactive remarks in the German dialogue. Reactive implicit speech acts represent in the German dialogical discourse reactions on quesitives, directives, comissives and assertives, which assume intending of a corresponding implicature (informative answer, consent, refusal (disagreement, objection)). Key words: dialogue, implicit speech act, illocution, reaction. 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Ť@5?;8:0-@50:F8O  O2;O5BAO >B25B>< Y-0 =0 2>?@>A  4;O A;CH0NI53> % 2 B><, 8 B>;L:> 2 B>< A;CG05, 5A;8 % <>65B >?@545;8BL, : :0:><C 8AB8==>AB=><C 7=0G5=8N >B=>A8BAO :0640O 87 0;LB5@=0B82, 7040205<KE 2>?@>A><, 2 A8AB5<5 7=0=89 >B25G0NI53> Y-0ť [9, A. 142]. 0?@8<5@, >B25B=K9  <>65B 8<5BL ?@8G8==>-A;54AB25==K5 A2O78 A 2>?@>A><:  Aber Sie haben nicht gesehen, dass die beiden zur PGH hinübergefahren sind?  Die Straße macht vor dem Abzweig einen Knick . (+> Nein, ich habe das nicht gesehen) (Steinberg, S.150) @8G8==>-A;54AB25==K5 A2O78 <564C 8<?;8:0BC@>9 @50:B82=>3>  8 8=8F80;L=K<  O2;ONBAO 25AL<0 G0AB>B=K<8, GB> >1JOA=O5BAO B0:8< A2>9AB2>< ?@8G8==>AB8, :0: A?>A>1=>ABL A;C68BL 8=48:0B>@><, =0 GB> C:07K205B . 5=4;5@: ŤA0<8 ?@8G8=K, ?>4>1=> D0:B0<, <>3CB C:07K20BL =0 4@C385 25I8, 25AB8 : =8< 8;8 >1JOA=OBL 8E (indicate, lead to, explain)ť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alle, GB> >1CA;>2;8205B 0:B820F8N A:0;O@=>9 8<?;8:0BC@K:  Wollen Sie nun mitmachen oder immer noch nicht?  Dumme Frage. Er ist mein Bruder. Alle hier wollen helfen. Aber es gibt auch Schweinehunde unter ihnen. Deswegen müssen Sie verstehen&  (+> Ja, ich will mitmachen) (Schneider, S. 194) B25B =0 ?>1C645=85 <>65B A>45@60BL 8 8<?;8:0BC@C >B:070.  A;54CNI5< ?@8<5@5 >=0 0:B828@C5BAO A ?><>ILN 3@04C0;L=>9 G0AB8FK nur, >3@0=8G820NI59 AD5@C 45OB5;L=>AB8 04@5A0B0:  Tinko, willst du bei uns mitmachen?- fragen mich die Jungen Pioniere am nächsten Nachmittag.  Ich will nur zugucken. (+> Nein, ich will nicht) (Strittmatter, S. 194)  A;CG05, 5A;8 @50;87C5<K9 3>2>@OI8<  >B=>A8BAO : :><8AA82=><C 8;;>:CB82=><C B8?C, @50:B82=K9  04@5A0B0 O2;O5BAO 48@5:B82><. 0?@8<5@, B0:>9 B8? :><8AA820, :0: ?@54;>65=85 CA;C38, 8<55B ?@>?>78F8N, 2 :>B>@>9 AC1J5:B=K< 0@3C<5=B>< O2;O5BAO A0< 3>2>@OI89, 0 ?@548F8@C5<>5 459AB285 4>;6=> A>25@H8BLAO 2 1C4CI5<  3>2>@OI89 15@5B =0 A51O >1O70B5;LAB2> A>25@H8BL =5:>B>@>5 1C4CI55 459AB285 8;8 65 A;54>20BL >?@545;5==>9 ;8=88 ?>2545=8O.  7028A8<>AB8 >B B>3>, ?@8=8<05B ;8 04@5A0B MB> >1O70B5;LAB2>, 53> @50:B82=K9  :20;8D8F8@C5BAO :0: A>3;0A85 8;8 =5A>3;0A85.  MB>9 A2O78 :><8AA82K O2;ONBAO A?5F8D8G5A:>9 8;;>:CF859, ?>A:>;L:C 8E CA?5H=0O @50;870F8O 7028A8B >B @50:F88 04@5A0B0: Ť5A;8 04@5A0B ?> :0:8<-;81> ?@8G8=0< >B:;>=8; >15I0=85, 53> C65 =5;L7O AG8B0BL B0:>2K<ť, GB> 45;05B 8E Ť=081>;55 A>F80;L=K<8ť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uitt: Was darf ich euch anbieten? Klaren Schnaps oder Cognac? Koerber-Kent: Das verträgt mein Magen nicht. (+ > Ich will nichts trinken) (P. Handtke, S. 64) >;>68B5;L=K9 >B25B =0 :><8AA82  A>3;0A85 A B5<, GB> 3>2>@OI89 2K?>;=8B ?@548F8@C5<>5 459AB285,  8;;NAB@8@C5B A;54CNI89 ?@8<5@:  Darf ich, Monsieur Dunant? stammelt der Korporal verwirrt, während sich Dunant und der Vetturin um den Schwerverwundeten bemühen.  Dürfen? Der Genfer lächelt.  Dürfen? Es gibt keine Verbote, darf sie nicht geben, die der Nächstenliebe und Barmherzigkeit Grenzen setzen könnten . (+> Ja, Sie dürfen mithelfen) (Legčre, S. 31) 08<5=55 G0AB>B=K<8 O2;ONBAO 8<?;8F8B=K5 , ?@54AB02;ONI85 A>1>9 @50:F88 =0 0AA5@B82K.  MB>< A;CG05 =01;N405BAO A>3;0A85 04@5A0B0 A ?>;>65=85< 25I59, 2K@065==K< 2 @5G52>< 0:B5 3>2>@OI53>, ;81> 2>7@065=85, ?@54?>;030NI55 8=CN B>G:C 7@5=8O 04@5A0B0. 0?@8<5@, M<>F8>=0;L=0O @50:F8O 04@5A0B0 =0 >F5=>G=>5 A>>1I5=85 3>2>@OI53> A2845B5;LAB2C5B > B><, GB> 04@5A0B @0745;O5B >F5=:C 3>2>@OI53>:  Olof hat ein neues Lieblingsspiel: Kürbisjagd“. „So neu ist das nun auch nicht“. „Verrückt ist nur, Knud will plötzlich mitmachen“. ŤKnud und Olof wollen zusammenarbeiten? Glaubst du an den Weihnachtsmann?“ (+> Du spinnst wohl, das soll doch nicht die Wahrheit sein) (Reich, S. 83) >7@065=85 04@5A0B0 G0AB> A>45@68B 0@3C<5=BK, >?@>25@30NI85 ?>;>65=85 25I59, CB25@6405<>5 3>2>@OI8<, GB> B>65 O2;O5BAO ?@>O2;5=85< ?@8G8==>-A;54AB25==KE A2O759 2 @5G50:B>2>9 A5<0=B8:5:  Sie können uns also nicht helfen? fragt der Hauptmann, er wartet die Antwort nicht ab, er fährt fort: “Möglicherweise handelte es sich um eine augenblickliche Verlegenheit, es ist nur eine geringe Summe, unbeträchtlich eigentlich…“ „Seine Frau arbeitet doch auch!“ stößt Pilarzyk hervor. (+> Er kann nicht bei dem Ermordeten Geld ausgeliehen haben) (Steinberg, S. 95) "0:8< >1@07><, <>6=> A45;0BL 2K2>4, GB> @50:B82=K5 8<?;8F8B=K5  2 =5<5F:>O7KG=>< 480;>38G5A:>< 48A:C@A5 ?@54AB02;ONB A>1>9 @50:F88 =0 :25A8B82K, 48@5:B82K, :><8AA82K 8 0AA5@B82K, :>B>@K5 ?@54?>;030NB ?5@540GC A>>B25BAB2CNI59 8<?;8:0BC@K (8=D>@<0F8>==>3> >B25B0, A>3;0A8O, >B:070 (=5A>3;0A8O, 2>7@065=8O). 5@A?5:B82K 8AA;54>20=8O CA<0B@8205< 2 =5>1E>48<>AB8 CAB0=>2;5=8O ;>38G5A:8E B8?>2 ?@>?>78F8>=0;L=>3> ?5@5>A<KA;5=8O ?@8 @50;870F88 8<?;8F8B=KE , @50;87CNI8EAO 2 E>45 @50:B82=KE E>4>2 2 =5<5F:>O7KG=>< 480;>38G5A:>< 48A:C@A5, 0 B0:65 :>3=8B82=KE >A>15==>AB59 8E DC=:F8>=8@>20=8O. " "#  1. 0F528G $.!. @> >48= B8? ?@03<0B8G=8E 0=><0;V9, 01> G8< <>6=0 7V?AC20B8 =0BO:? / $.!. 0F528G // >2>7=02AB2>.  2000.  ! 2-3. !. 16 23. 2. 57C3;0O . . 5@10;V70FVO V<?;VF8B=8E A<8A;V2 C =V<5FL:><>2=><C 4V0;>3VG=><C 48A:C@AV / . . 57C3;0O  %0@:V2 : %# V<. .. 0@07V=0, 2007.  332c. 3. T;>7L>@>20 .. 8A:C@A82=V 2;0AB82>ABV <>2;5==T2>3> 0:BC =0BO:0==O (=0 <0B5@V0;V ACG0A=>W =V<5FL:>W <>28) : 02B>@5D. 48A. & :0=4. DV;>;. =0C: : 10.02.04 / .. T;>7L>@>20 ; %0@:V2AL:89 =0F. C=-B V<. .. 0@07V=0.  %0@:V2, 2007.  20 A. 4. 5=4;5@ 3. @8G8==K5 >B=>H5=8O // >2>5 2 70@C156=>9 ;8=328AB8:5.  . : @>3@5AA, 1986.  K?. 18.  392 A. 5. @09A .. >38:0 8 @5G52>5 >1I5=85 / . >; @09A // >2>5 2 70@C156=>9 ;8=328AB8:5.  . : @>3@5AA, 1985.  K?. 16.  !. 217 237. 6. @0?820 ... @03<0B8G=0 V<?;V:0FVO 2 ?C1;VF8AB8G=><C B5:ABV (=0 <0B5@V0;V :>@>B:8E 6C@=0;L=8E AB0B59 C:@0W=AL:>N, 0=3;V9AL:>N B0 @>AV9AL:>N <>20<8) / ... @0?820 // >2=V V :>=F5?BC0;L=V :0@B8=8 A2VBC.  8?. 21, G0AB8=0 2.  . : &  8W2AL:89 C=V25@A8B5B , 2007.  !. 107 112. 7. 5=8=0 ".. B25B=K5 @5?;8:8 A 8<?;8F8B=K< A<KA;>< =5A>3;0A8O 2 AB@C:BC@5 480;>38G5A:>3> B5:AB0 : 02B>@5D. 48AA. & :0=4. D8;>;. =0C: : 10.02.01 / ".. 5=8=0.  !B02@>?>;L, 2003.  18A. 8. C4@>2AL:0 ".. >2;5==T2V 0:B8 >D5@0B82 V 45:;V=0B82 C A8AB5<V <>2;5==O (=0 <0B5@V0;V ACG0A=>W 0=3;V9AL:>W <>28) : 02B>@5D. 48A. & :0=4. DV;>;. =0C: : 10.02.04 / ".. C4@>2AL:0 ; %0@:V2. =0F. C=-B V<. ..0@07V=0.  %0@:V2, 2000.  18 A. 9. 07;>3>20 .-. >3=8B82=K5 CAB0=>2:8 2 ?@O<KE 8 =5?@O<KE >B25B0E =0 2>?@>A / .-. 07;>3>20 // >38G5A:89 0=0;87 O7K:0: @>1;5<K 8=B5=A8>=0;L=KE 8 ?@03<0B8G5A:8E :>=B5:AB>2.  . : 0C:0, 1989.  !. 133 155. 10. !5@;L 6. . ;0AA8D8:0F8O 8;;>:CB82=KE 0:B>2 / 6. . !5@;L // >2>5 2 70@C156=>9 ;8=328AB8:5.  . : @>3@5AA, 1986.  K?. 17.  !. 170 194. 11. !KI8:>2 .!. <?;8F8B=>ABL 2 45;>2>< 48A:C@A5 (=0 <0B5@80;5 B5:AB>2 :><<5@G5A:8E ?8A5<) : 02B>@5D. 48A. & :0=4. D8;>;. =0C: : 10.02.19 / .!. !KI8:>2 ; >;3>3@04A:89 3>A. ?54. C=-B.  >;3>3@04, 2000.  23 A. 12. %2>@>AB8= .. 50AA5@B82=K5 :><?>=5=BK A<KA;0 2KA:07K20=8O :0: A@54AB2> :>@@5:B8@>2:8 O7K:>2>9 :0@B8=K <8@0 / .. %2>@>AB8= // !;>2>, 2KA:07K20=85, B5:AB 2 :>3=8B82=><, ?@03<0B8G5A:>< 8 :C;LB>@>;>38G5A:>< 0A?5:B0E.  '5;O18=A: : 74-2> '5;O18=A:>3> 3>A. C=-B0, 2003.  !. 203 205. 3. (52G5=:> .!. >3=VB82=>-?@03<0B8G=V 4>A;V465==O 48A:C@AC / .!. (52G5=:> // 8A:C@A O: :>3=VB82=>-:><C=V:0B82=89 D5=><5=. " %0@:V2 : >=AB0=B0, 2005. " !. 105 117. !"' .!" " "  1. Handke P. Die Unvernünftigen sterben aus / Peter Handtke.  Fr./M. : Suhrkamp, 1973.  100 S. 2. Legčre W. Der Ruf von Castilglione / W. Legčre.  Berlin : Volk und Welt, 1985. – 142 S. 3. Reich Th. K. Sinobara / Thomas K. Reich. – Berlin : Das neue Berlin, 1986. – 182 S. 4. Steinberg W. Ein Mann namens Nottrodt / Wolfgang Steinberg. – Berlin : Das Neue Berlin, 1972. – 280 S. 5. Schneider H. Hochzeit mit dem Tod / Helmut Schneider. – Berlin : Das Neue Berlin, 1974. – 293 S. 6. Strittmatter E. Tinko / E. Strittmatter. – Berlin : Volk und Welt, 1985. – 142 S. Š .. !84>@>20, 2009 !"!!, !"  !/ # 811.133 367 LES ANGLICISMES DANS LE LEXIQUE DU FRANCAIS CONTEMPORAIN P.V. Djandoeva, docteur čs sciences (Kharkov) .. 60=4>T20. =3;VF87<8 2 ;5:A8FV ACG0A=>W D@0=FC7L:>W <>28. # 40=><C 4>A;V465==V @>73;O40NBLAO VAB>@8G=V ?5@54C<>28 ?>O28 0=3;VF87<V2 C D@0=FC7L:V9 <>2V. @>?>=CTBLAO B5<0B8G=0 :;0A8DV:0FVO 0=3;VF87<V2, 28E>4OG8 7 WE ?@54<5B=>-;>3VG=8E 7=0G5=L. ;NG>2V A;>20: 0=3;VF87<8, 70?>78G5==O, ?@54<5B=>-;>3VG=V 7=0G5==O 70?>78G5=8E >48=8FL, B5<0B8G=0 :;0A8DV:0FVO. .. 60=4>520. =3;8F87<K 2 ;5:A8:5 A>2@5<5==>3> D@0=FC7A:>3> O7K:0.  40==>< 8AA;54>20=88 @0AA<0B@820NBAO 8AB>@8G5A:85 ?@54?>AK;:8 ?>O2;5=8O 0=3;8F87<>2 2> D@0=FC7A:>< O7K:5. @54;0305BAO B5<0B8G5A:0O :;0AA8D8:0F8O 0=3;8F87<>2, 8AE>4O 87 8E ?@54<5B=>-;>38G5A:8E 7=0G5=89. ;NG52K5 A;>20: 0=3;8F87<K, 708<AB2>20=8O, ?@54<5B=>-;>38G5A:85 7=0G5=8O 708<AB2>20==KE 548=8F, B5<0B8G5A:0O :;0AA8D8:0F8O. P. V. Djandoeva. Anglicisms in Modern French Lexics. The research deals with the historical background to the emergence of Anglicisms in modern French. A thematic classification of Anglicisms based on their subject and logical meanings has been presented. Key words: anglicisms, loan-words, subject and logical meanings, thematic classification. Cet article est consacré au sujet des emprunts anglais dans la langue française comme source d’enrichissement de son vocabulaire, ce qui est une question d’actualité dans les études contemporaines des linguistes nationaux et étrangers. L’objet d’étude de notre travail sont les anglicismes dans le lexique du français contemporain. L’importance actuelle de cette étude est conditionnée par le fait que dans plusieurs langues du monde le procédé de l’apparition des mots nouveaux grâce aux emprunts, ainsi qu’aux mots nommés Ťinternationalismesť, est une particularité caractéristique des lettres modernes et un des objets des recherches linguistiques. Le but de notre travail consiste en étude des anglicismes et des mots de caractčre international au niveau paradigmatique autrement dit au niveau du vocabulaire. Montrer comment la langue anglaise influençait le français dans son développement historique et présenter la classification thématique des emprunts anglais, telle était la tâche de notre travail. Les questions soulevées dans cet article, en particulier celles qui concernent la classification thématique des emprunts anglais dans le français n’ont pas été auparavant envisagées. Le matériel d’étude sont les anglicismes tirés de différents dictionnaires spécialisés, les travaux de recherches des célčbres linguistes nationaux et étrangers, ainsi que les textes contenant des mots d’origine anglaise. Dans cette étude nous nous sommes servis avant tout des travaux des auteurs classiques ayant une importance toute particuličre pour la théorie et la pratique linguistique: V. M. Gak [4], R. A. Boudagov [2], V. M. Komissarov [7], L. L. Koutina [9], ainsi que des recherches récents de Z. P. Kréssin [8], A. V. Arolovitch [1], E. F.Volodarskaia [3], G. S. Onoufrienko [11],O. Lougova [10], E. I. Chlékova [12]. Les liens économiques, politiques, culturels entre les nations trouvent leur expression dans leurs langues; les nations plus développées sous un tel ou tel rapport peuvent fournir ŕ d’autres nations toute une série de mots de contenu correspondant. Donc, les emprunts sont une des sources de l’enrichissement lexical d’une langue. Le rôle et la place des emprunts dans le lexique d’une langue sont déterminés par les conditions historiques du développement de la langue donnée. La langue ŕ la quelle le français emprunts les mots dépend étroitement de l’époque et des conditions d’interaction des pays différents. Le vocabulaire français contient un certain nombre de mots anglais. Il est naturel que les objets et les notions pénčtrent dans l’ensemble des mots qui les désignent, et réciproquement. Historiquement, l’anglais a peu pénétré le français (moins de 4 % du vocabulaire est d’origine anglo-saxonne). Cependant son influence croît depuis une cinquantaine d’années du fait de la mondialisation des échanges commerciaux et technologiques, dominés par des grandes puissances parlant cette langue, le Royaume-Uni et les États-Unis notamment. C’est pourquoi l’utilisation des anglicismes est notable dans les secteurs comme l’informatique, les télécommunications et l’économie, comme le fut l’italien jadis pour la musique. Un autre phénomčne est lié ŕ cet expansionnisme: l’anglais tend ŕ ętre utilisé ŕ la place d’autres langues. Ainsi le français était ŕ l’époque la langue privilégiée des relations diplomatiques et des relations contractuelles, mais l’influence des États-Unis a fait tomber cet usage en désuétude. Étant la premičre langue étrangčre apprise dans le monde, elle bénéficie d’une base unique des locuteurs dans tous les pays sur tous les continents. C’est enfin la seconde langue officielle de trčs nombreux états. Il est vrai que les emprunts se sont accélérés depuis une cinquantaine d’années. Un sondage effectué par le Journal officiel montre que 14 % des anglicismes d’usage courant ont été introduits en français avant 1800, 22 % entre 1800 et 1850, 9 % entre 1850 et 1900, 22 % entre 1900 et 1950, 32 % depuis 1950. En outre, on a relevé dans le Petit Larousse, entre l’édition de 1949 et celle de 1960, 105 nouveaux emprunts ŕ l’anglais contre 86 ŕ l’ensemble des autres langues étrangčres [5]. Pendant la période du IX-ičme aux XV-ičme sičcle les emprunts anglais n’étaient pas nombreux malgré les relations prolongées avec les Anglais durant la guerre de cent ans. A titre d’exemple on peut citer tels que Ťbigotť, Ťmilordť et quelques autres. Depuis le XVIII-ičme sičcle les emprunts ŕ l'anglais se multiplient. Le développement politique et économique de l'Angleterre, le commerce, l'industrie, les sports ont inondé le lexique du français de mots, tels que: cabine, chčque, doker, express, interview, reporter, revolver, smoking, square, touriste, trammway, tunnel. Les emprunts les plus caractéristiques pour le XVIII-ičme sičcle furent les anglicismes; car la société française s’intéressait vivement aux questions politiques et économiques, ainsi qu’aux institutions politiques de l’Angleterre. Citons quelques emprunts de cette époque: budget, congrčs, club, gentleman, square, toast, wagon. Il est ŕ noter un phénomčne curieux. Un certain nombre de mots empruntés ŕ l'anglais sont en réalité des mots français apportés en Angleterre lors de la conquęte des Normands au XI-ičme sičcle et qui reviennent aujourd'hui plus au moins modifiés ŕ leur pays d'origine. Tels sont: Mot anglais Mots en ancien français budget (terme de finance) bougette – petit sac crochet (terme de sport) crochet – petit croc humour (terme littéraire) humeur – état d’âme shokhing (qch qui blesse l’honneur) choc (choquier) – heurt ticket étiquette – petit écriteau  trust truste – ensemble des guerriers qui suivaient le roi. tunnel (canal souterrain) tunnelle – berceau, voűte. Il ne faut donc pas s'étonner que l’anglais, aujourd'hui, ne cesse de se répandre partout. Ce facteur externe d'une diffusion mondiale est beaucoup plus sérieux que tous les autres. C’est presque toujours pour des raisons contingentes, c’est-ŕ-dire liées aux événements fortuits de l'histoire et non ŕ la nécessité des systčmes linguistiques: puissance militaire, domination politique, dynamisme et succčs économique, toutes causes qui font rayonner une culture et par conséquent la langue qui l’exprime et la porte. La langue profite de la conquęte des marchés. Selon les recherches de N. Gueunier [6] les investissements américains ont augmenté de 250 % entre 1960 et 1980; ils constituent aujourd'hui plus de 3 % du revenu national [1]. L’internationalisation de l’anglais comme langue du commerce favorise les échanges. De cette situation, la langue française en tire nécessairement profit. Une autre cause est la puissance et l’efficacité supérieures des recherches scientifiques américaines, qui ont une conséquence logique: l’anglais tend ŕ devenir la langue de la science pour le monde entier, y compris pour les chercheurs francophones. Donc, le monde savant a toujours favorisé, parce qu’il en tirait profit pour la communication, une langue internationale. Ce fut jusqu'au début du XX-ičme sičcle le français, en concurrence, cependant, avec l'allemand et l'anglais. C’est l’anglais ŕ peu prčs seul depuis lors. La mode s’en est męlée par snobisme (encore un mot, emprunté ŕ l’anglais qui veut dire Ťfatuitéť) on emploie sans aucune nécessité des emprunts anglais: baby, lady, OK et autres. Lorsqu’on parle d’un emprunt d'une langue ŕ une autre, ou de pénétration d'une langue dans une autre, il convient de préciser si les faits dont il s’agit appartiennent ou non aux domaines les plus structurés de la langue emprunteuse. Ces domaines, que l’on peut considérer comme noyau de la langue, sont la prononciation et la grammaire. Le français est une langue ŕ morphologie riche. Les formes des verbes, en particulier, varient selon le temps, le mode, la personne, et, le cas échéant, le nombre. Il est bien connu que le vocabulaire est beaucoup plus ouvert ŕ l’emprunt et aux influences extérieures que ne l'est la grammaire. La raison principale de cette situation est que le vocabulaire est beaucoup plus souple parce que moins rigoureusement structuré. On ne peut donc pas considérer qu’en y pénétrant, les anglicismes mettent en péril les structures de la langue et rien n’indique que la langue française soit aujourd’hui submergée d’anglicismes. Depuis plus d’un millénaire, les usagers du français, surtout ceux qui le parlent avec la spontanéité traitent de plus en plus les emprunts. La Seconde Guerre mondiale, a également donné une impulsion importante aux anglicismes dans les décennies qui ont suivi. Le mot étranger pénčtre avec la chose lorsque celle-ci appartient ŕ un environnement technique ou culturel trop nouveau pour qu'un mot autochtone la traduise adéquatement. Cela vaut pour le français comme pour toutes les langues. Cette extension des emprunts ŕ l'anglais tient au fait que la langue la plus parlée du monde, l'anglais est aussi la langue de la premičre puissance économique, politique et militaire, et l'instrument de communication des spécialistes de divers sciences et techniques. Si le Dictionnaire des anglicismes de 1990 enregistrait moins de 3000 unités lexicales dont prčs de la moitié sont déjŕ vieillies, le Dictionnaire des mots anglais de 1998, plus vaste, évalue les emprunts ŕ l'anglais de 4 ŕ 5 % par rapport au lexique français courant. Il est cependant ŕ constater que beaucoup d'anglicismes appartiennent ŕ des domaines spécialisés sont donc assez peu fréquents dans la langue courante. Notre étude permet de conclure que la langue est le reflet de la vie du peuple. L’assimilation du lexique étranger est positive, car elle favorise l’enrichissement de la langue. L’histoire de la pénétration du lexique étranger dans le français est le reflet de l’histoire des relations du peuple français avec d'autres peuples du monde. Nous partageons l'opinion du savant G. Walter selon laquelle tous les mots empruntés peuvent ętre subdivisés en quelques groupes dont le premier renferme Ťles emprunts tels quelsť qui sont translittérés strictement sans intermédiaire d’une langue en une autre en gardant leurs formes linguistique, phonétique et graphique. On peut citer entre autres de tels termes techniques que: buldozer, broker, dealer. Il est ŕ noter que le mot emprunté ne garde pas toujours sa premičre signification. Citons ŕ titre d’exemple le terme de commerce Ťdealerť qui signifie en anglais Ťcommerçantť et qui a pour équivalent français Ťtrafiquant de drogueť. Le deuxičme groupe est constitué par les emprunts nommés dans la linguistique française Ťnouvelles dérivationsť dont le trait spécifique consiste en ce que les mots dérivés sont des emprunts ŕ l’anglais, tandis que les unités lexicales qui ont servi de base de formation des nouvelles dérivations ne le sont pas. Ainsi, les adjectifs Ťsentimentalť et Ťromantiqueť sont empruntés ŕ l’anglais, tandis que les noms Ťsentimentť et Ťromanť qui ont servi de base de dérivation ne le sont pas. Le troisičme groupe contient les unités lexicales qui ont acquis de nouvelles significations empruntées sur la base des mots déjŕ existants dans le français. A titre d'exemple on peut citer l'adjectif Ťcultivéť signifiant dans le français Ťlettré, éruditť et employé quelque temps aprčs ŕ côté de son analogue Ťculturelť. Enfin, le quatričme groupe renferme les emprunts nommés Ťtraductions et calquesť dont la spécificité se réduit ŕ ce que le français emprunte parfois aux autres langues des mots d’origine latine ou grecque. Citons ŕ titre d’exemple le mot anglais Ťskyscraperť ayant pour son équivalent français Ťgratte-cielť qui est la traduction calquée de l’emprunt anglais. Les autres calques: guerre froide, cols blancs et cols bleus, homme de la rue. Notre tentative d’effectuer une classification thématique des anglicismes compte tenu de leurs significations analytiques ou logiques dans le vocabulaire français contemporain nous a permis de relever dans leur corps deux groupes principaux dont le premier renferme les termes desservant divers systčmes terminologiques et le second réunit les unités lexicales désignant toutes sortes de notions se rapportant ŕ la vie sociale. L’étude du premier groupe des emprunts anglais permet de dégager: les termes techniques: artefact, buldozer, by-pass, dissector feeder, interfare, gaz-oil, nylon, rang, rotary, spot, stock-car, push-pull, tunnel, tuner et beaucoup d'autres; les termes scientifiques et ceux d’informatique: ALGOL, alias, alteration, autocode, BASIC, bit, byte, clause, computer, débit, laser, maser, multiplexeur, terminal, utilisation, volume; les termes économiques et ceux de commerce: business, chčque, marketing, supermarket (supermarché), superproduction, trust; les termes de brevet: booklet, cash flow, ca veat code, gap, label, know how; les termes sportifs: football, boxe, butterfly (=papillon, style de notation, vriquet, croquet, goal, golf, jiu-jitsu, jogging, hockey, match, poquer, record, ring, sport, sportsman, sprint, station-service, stress, steeple-chose, tennis, volleyball; les termes politiques: bill, boycottage, clearing, gangsterisme, impeachment, interview, leader, lobby, lock-out, miting, outsiders, UNESCO. Parmi les anglicismes du second groupe renfermant les unités lexicales nouvelles auparavant absentes dans la langue emprunteuse on peut nommer les suivants: les mots désignant des produits d’alimentation: bifteck (beefsteak)' brandy, cocktail, jin, grog, rosbif, sandwich, whisky, tea; les mots des objets de toilette: bikini, jersey, jean, pull-over, redingote, shorts, smoking, tweed, twin-set, top; les mots de la vie courtoise: dandy, gentleman, lady, flirt, milord, miss, mister, lunch, snob, speech, spleen, strip-tease, twist, top; les mots désignant les moyens de transport: autobus (bus), express, jeep, liner, missile, paquebot, tramway, wagon; les mots de professions ou d’occupation: broker, cameraman, clown, dispatcher, docker, cow-boy, dealer, gangster, reporter, speaker, policeman; les mots désignant les réalités de la vie quotidienne: bar, briefing, broiler, camera, camping, campus, cocktail, confort (comfort), hall, club, hobby, shoping. La classification thématique proposée n’a prétention d’ętre ni complčte, ni unique et elle pourrait ętre complétée ou modifiée aprčs les études supplémentaires ultérieures. Les perspectives des études ŕ réaliser pour l’ensemble des problčmes concernant les emprunts anglais dans le français consistent, selon l’auteur, en étude du processus d'adaptation des anglicismes aux niveaux phonétique, grammatical et sémantique du français contemporain ce qui n’a pas été abordé dans cet article. A partir de l’étude effectué on peut noter que les contacts entre les peuples amčnent inévitablement ŕ l’interaction de leurs langues. La suite de ces contacts est l’échange actif des lexies qui pénčtrent souvent d'une langue dans quelques autres. C’est pourquoi le fond des anglicismes s'accroît toujours dans tous les domaines de connaissances et mérite d’ętre profondément étudiés dans les travaux ŕ suivre. " "#  1. @>;>28G . . 1I55 8 @07;8G=>5 2 8=B5@=0F8>=0;L=>9 ;5:A8:5 @><0=A:8E O7K:>2 / . . @>;>28G // 5AB=8: >A:. C=-B0. !5@. 19: 8=328AB8:0 8 <56:C;LBC@=0O :><<C=8:0F8O.  2003.  ! 2.  !. 38-56. 2. C403>2 . . '5;>25: 8 53> O7K:.  2-5 @0AH8@. 874.  .: 74-2> >A:>2A. C=-B0.  1976.  430A. 3. >;>40@A:0O -. $. 08<AB2>20=85 :0: >B@065=85 @CAA:>-0=3;89A:8E :>=B0:B>2 / -. $. >;>40@A:0O // >?@>AK O7K:>7=0=8O.  2002.  ! 4.  !. 96-118. 4. 0: . ., L28= .. . C@A ?5@52>40. $@0=FC7A:89 O7K:: >1I5AB25==>-?>;8B8G5A:0O ;5:A8:0.  2-5 874.., ?5@5@01.  .: 564C=0@. >B=>H5=8O.  1970.  400A. 5. Grandsaignes d Hauterive R. Dictionnaire des racines des langues européennes =!;>20@L :>@=59 52@>?59A:8E O7K:>2.  Paris: Librairie Larousse.   1999.   363A. 6. Gueunier N. Role of hypercorrection in French linguistic change / N. Gueunier.  Berlin.  1986.  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(;K:>20 ..  2>?@>AC > E0@0:B5@5 2708<>459AB28O O7K:>2 2 A8BC0F88 708<AB2>20=8O / . . (;K:>20 // 5AB=8: OB83>@. 3>A. ;8=328AB. C=-B0.  2004.  ! 2-3.  !. 202-204. Š P.V. Djandoeva, 2009 # 811.111:81 373   !  !, " ' !!" (##/ .. 8B28=:>, :0=4. DV;>;. =0C: (!C<8) 0O2=VABL ?>;VA5<VW C B5@<V=>;>3VW T >G5284=>N. > A:;04C 0=3;V9AL:>W B5@<V=>;>3VG=>W ;5:A8:8 ?V4A8AB5<8 <0H8=>1C4C20==O 2E>4OBL G8A5;L=V ?>;VA5<0=B8G=V >48=8FV. V;LHVABL :;NG>28E B5@<V=V2 <0H8=>1C4C20==O T ?>;VA5<0=B8G=8<8. # B5@<V=>;>3VG=V9 ?V4A8AB5<V <0H8=>1C4C20==O <5B>=V<VO T >A=>2=8< 465@5;>< ?>;VA5<VW. ;NG>2V A;>20: :;NG>2V B5@<V=8, <5B>=V<VO, ?>;VA5<VO, ?>;VA5<0=B8G=V >48=8FV, B5@<V=>;>3VO <0H8=>1C4C20==O. .. 8B28=:>. @>1;5<0 ?>;8A5<88 2 0=3;89A:>9 B5@<8=>;>38G5A:>9 ?>4A8AB5<5 <0H8=>AB@>5=85. 0;8G85 ?>;8A5<88 2 B5@<8=>;>388 O2;O5BAO >G5284=K<.  A>AB02 0=3;89A:>9 B5@<8=>;>38G5A:>9 ;5:A8:8 ?>4A8AB5<K <0H8=>AB@>5=85 2E>4OB <=>3>G8A;5==K5 ?>;8A5<0=B8G5A:85 548=8FK. >;LH8=AB2> :;NG52KE B5@<8=>2 <0H8=>AB@>5=8O O2;ONBAO ?>;8A5<0=B8G5A:8<8.  B5@<8=>;>38G5A:>9 ?>4A8AB5<5 <0H8=>AB@>5=85 <5B>=8<8O  >A=>2=>9 8AB>G=8: ?>;8A5<88. ;NG52K5 A;>20: :;NG52K5 B5@<8=K, <5B>=8<8O, ?>;8A5<8O, ?>;8A5<0=B8G5A:85 548=8FK, B5@<8=>;>38O <0H8=>AB@>5=8O. O.A. Litvinko. The Problem of Polysemy in English Subsystem of Terms  Mechanical Engineering. Polysemy in terminology is an evident factor. The English terminology of mechanical engineering subsystem contains numerous polysemantic lexical units. Most of key terms of mechanical engineering terminology are polysemantic units. Metonymy is the main source of polysemy in mechanical engineering subsystem. Keywords: key terms, mechanical engineering terminology, metonymy, polysemy, polysemantic units. # 1V;LH>ABV ACG0A=8E <>2 =09G8A;5==VH>N V =09@CE;82VH>N G0AB8=>N A;>2=8:>2>3> A:;04C T B5@<V=>;>3VG=0 ;5:A8:0, ?>ABV9=89 @>728B>: B0 71030GC20==O O:>W T =5>1EV4=>N C<>2>N V ?@O<8< =0A;V4:>< ?@>3@5AC C B8E 30;C7OE 4VO;L=>ABV ;N48=8, 7 O:8<8 FO B5@<V=>;>3VO ?>2 O70=0. 06;825 <VAF5 ?>AV40T =0C:>2>-B5E=VG=0 B5@<V=>;>3VO, I> >1 T:B82CTBLAO AB@V<:8< @>728B:>< =>28E 28@>1=8G8E B0 ACA?V;L=8E @50;V9. (284:5 7@>AB0==O >1AO3C A?5FV0;L=>W V=D>@<0FVW C @V7=8E 30;C7OE =0C:8 V B5E=V:8 =5<8=CG5 ?>2 O70=5 7 :V;L:VA=8< 7@>AB0==O< V O:VA=8< C4>A:>=0;N20==O< B5@<V=>;>3VW. 8B0==O ACB=>ABV B5@<V=0 V B5@<V=>;>3VW =0;568BL 4> 0:BC0;L=8E ?@>1;5< ;V=32VAB8:8. 0 ACG0A=><C 5B0?V 2G5=V ?@84V;ONBL >A>1;82C C203C A8AB5<0B870FVW B5@<V=>A8AB5< >:@5<8E 30;C759 V 282G5==N @V7=8E 0A?5:BV2 WE CB2>@5==O B0 DC=:FV>=C20==O C A8AB5<V <>28. >7@>1;5=V >:@5<V ?8B0==O 30;C7528E B5@<V=>;>3V9: N@848G=>W B5@<V=>;>3VW  .. C<>2AL:0 [5], 5:>=><VG=>W  .. I5=:> [6], .. C45;L:> [11], <548G=>W  .. !>;>3>@ [14], DV78G=>W :C;LBC@8 V A?>@BC  .. >@>2AL:0 [3]. # =0720=8E ?@0FOE 7 OA>20=V ;V=32VAB8G=V :@8B5@VW V45=B8DV:0FVW B5@<V=V2, 2>=8 2V4<56>20=V 2V4 =5B5@<V=>;>3VG=8E <>2=8E >48=8FL, 28A2VB;5=V V ;5:A8:>-AB@C:BC@=V 0A?5:B8 2V4?>2V4=>W B5@<V=>;>3VG=>W ;5:A8:8. >A;V465==O ?@8@>48 B5@<V=0 O: >A>1;82>3> B8?C A;>20 71030GCT V @>7H8@NT @>7C<V==O :>3=VB82=>3> 0A?5:BC B570C@CAC [20, A. 249]. :BC0;L=VABL 40=>W @>1>B8 7C<>2;5=0 2V4ACB=VABN A?5FV0;L=8E ‘@C=B>2=8E 4>A;V465=L 0=3;V9AL:>W B5@<V=>;>3VG=>W ?V4A8AB5<8 <0H8=>1C4C20==O. 5B>N FVTW AB0BBV T 282G5==O ?@>1;5<8 ?>;VA5<VW C 707=0G5=V9 B5@<V=>;>3VG=V9 ?V4A8AB5<V. 1 T:B>< 4>A;V465==O T B5@<V=>;>3VG=0 ?V4A8AB5<0 <0H8=>1C4C20==O ACG0A=>W 0=3;V9AL:>W <>28. @54<5B>< 40=>W @>1>B8 T D5=><5= ?>;VA5<VW 2 0=3;V9AL:V9 B5@<V=>;>3VG=V9 ?V4A8AB5<V <0H8=>1C4C20==O. 0B5@V0;>< 4>A;V465==O A;C3C202 :>@?CA B5@<V=>;>3VG=>W ;5:A8:8 >1AO3>< 5000 ;5:A8G=8E >48=8FL, 2V4V1@0=8E <5B>4>< ACFV;L=>W 281V@:8 7 ;5:A8:>3@0DVG=8E 465@5; (B;C<0G=8E A;>2=8:V2 B5@<V=V2 <0H8=>1C4C20==O; ?5@5:;04=8E A;>2=8:V2 B5@<V=V2 <0H8=>1C4C20==O), 7 @5:;0<=8E ?@>A?5:BV2 DV@<-28@>1=8:V2 ?@>4C:FVW <0H8=>1C4C20==O B0 7 ?5@V>48G=8E 2840=L C 30;C7V <0H8=>1C4C20==O. 030;L=89 >1AO3 >?@0FL>20=>3> <0B5@V0;C  1;87L:> 9500 AB>@V=>: B5:ABC. 030B>7=0G=V, ?>;VA5<VG=V ;5:A8G=V >48=8FV A:;040NBL 7=0G=C G0AB8=C 0=3;V9AL:>3> A;>2=8:0. V4 ?>;VA5<VTN @>7C<VNBL =0O2=VABL C >4=VTW V BVTW 6 ;5:A8G=>W >48=8FV :V;L:>E ?>2 O70=8E <V6 A>1>N 7=0G5=L, I> 70728G09 28=8:0NBL O: @57C;LB0B 284>7<V=8 V @>728B:C ?5@2VA=>3> 7=0G5==O 40=>W ;5:A8G=>W >48=8FV [15, A. 48]. # ;V=32VAB8FV VA=CT 4C<:0 ?@> B5, I> 1030B>7=0G=VABL A;V2 <>28 =5 T 28?04:>2>N.  >4=>3> 1>:C, =5>1EV4=VABL >1<565=>3> >1 T<C ;5:A8:8 ?>2 O70=0 7 O:VA=8<8 >A>1;82>ABO<8 DV7V>;>3VG=>3> <5E0=V7<C ;N4AL:>3> <>7:C (?0< OBV), 0 7 V=H>3> 1>:C  7 ?@8@>4>N ;N4AL:>W <>28 O: 70A>1C ?V7=0==O, 2V4>1@065==O @>7<0WBBO O28I =02:>;8H=L>3> A2VBC. 030B>7=0G=VABL 25;8:>W :V;L:>ABV A;V2 22060TBLAO ;V=32VAB8G=>N C=V25@A0;VTN [16, A. 307]. 5O:V 2G5=V =5 70?5@5GCNBL ?>78B82=>W @>;V ?>;VA5<VW, 7>:@5<0, .. C<?O=AL:89 707=0G0T, I> A0<5 1030B>7=0G=VABL <>2=8E D>@< A?@8OT 5:>=><VW <>2=8E 7CA8;L, >A:V;L:8 4>72>;OT 70AB>A>2C20B8 C ?@>F5AV :><C=V:0FVW >1<565=C :V;L:VABL <>2=8E 70A>1V2 4;O ?>7=0G5==O =5>1<565=>W :V;L:>ABV ?>=OBL. 0 4C<:C =0C:>2FO, ?>;VA5<VO T >A=>2>N C4>A:>=0;5==O <>28 [12, A. 83]. !5@54 ?>;VA5<VG=8E A;V2 0=3;V9AL:>W <>28 >A>1;82> 28>:@5<;NNBL ;5:A5<8, A5<0=B8:0 O:8E 107CTBLAO =0 H8@>:V9 ?>=OBBT2V9 >A=>2V. >;VA5<VG=0 ;5:A8G=0 >48=8FO <0T VT@0@EVG=> >@30=V7>20=C AB@C:BC@C 7=0G5=L, I> A:;040TBLAO 7 =040;V =5?>4V;L=8E 5;5<5=B0@=8E 7<VAB>2=8E >48=8FL, O:V @50;V7CNBLAO >4=>G0A=> C :>6=><C :>=B5:ABV. 5:A8G=V >48=8FV B5@<V=>;>3VG=>W ?V4A8AB5<8 <0H8=>1C4C20==O 7=0G=>N <V@>N 2V4?>2V40NBL >A=>2=8< 28<>30<, I> 28AC20NBLAO 4> B5@<V=V2. @>B5 707=0G8<>, I> B5@<V=>;>3VO 707=0G5=>W ?V4A8AB5<8 =5 ?>7102;5=0 ?>;VA5<VG=8E 2V4=>H5=L, O:V 287=0NBLAO =51060=8<8 4;O B5@<V=>;>3VG=>W ;5:A8:8. 5O:V B5@<V=8 <0H8=>1C4C20==O =5 <0NBL GVB:> >:@5A;5=8E A5<0=B8G=8E <56 V 2ABC?0NBL 2 A5<0=B8G=V 2V4=>A8=8 7 V=H8<8 B5@<V=>;>3VG=8<8 >48=8FO<8. =:>;8 B5@<V=8 A?V22V4=>AOBLAO 7 42><0 G8 1V;LH>N :V;L:VABN @V7=8E ?>=OBL, 28O2;ONG8 45:V;L:0 ?>2 O70=8E <V6 A>1>N 7=0G5=L, O:V 28=8:0NBL, O: ?@028;>, C @57C;LB0BV @>728B:C ?5@2VA=>3> 7=0G5==O 40=>W B5@<V=>;>3VG=>W >48=8FV.  @>:0<8 ?>;VA5<VG=VABL B5@<V=0 @>72820TBLAO =5 BV;L:8 =0 @V2=V 2AVTW B5@<V=>A8AB5<8, 0;5 9 =0 @V2=V 30;C7528E B5@<V=>;>3VG=8E ?V4A8AB5< [2:20]. =>4V <>6=0 A?>AB5@V30B8 :>=B5:AB=C ?>;VA5<VN [13, A. 104]. A=C20==O ?>;VA5<VW C =0C:>28E V B5E=VG=8E B5@<V=>;>3VG=8E ?V4A8AB5<0E 287=0TBLAO =51060=8< 4;O B5@<V=>>48=8FL. 030B>7=0G=VABL >A>1;82> =5?@8?CAB8<0 4;O =0C:>28E B5@<V=V2, I> ?>7=0G0NBL 25;8G8=8. V4><>, I> 2840B=89 2G5=89 5;L<3>;LF ?@>BO3>< 20 @>:V2 =5 ?V4>7@N202, I> B0 25;8G8=0, O:C 2V= @>7C<V2 ?V4 B5@<V=><  2515@ , C 20 @07V2 <5=H0, =V6 ?@89=OB0 2 0=3;V9AL:V9 =0C:>2>-B5E=VG=V9 <>2V. # B5@<V=>;>3VG=V9 ?V4A8AB5<V <0H8=>1C4C20==O I5 4>AV ?V4 B5@<V=>< amplitude  0<?;VBC40 @>7C<VNBL O: ?>;>28=C @>7<0EC, B0: V ?>2=89 @>7<0E, I>, 157C<>2=>, CA:;04=NT A?V;:C20==O <V6 D0EV2FO<8. !;V4 707=0G8B8, I> 1V;LHVABL =0C:>2FV2 =040T ?5@H>G5@3>2>3> 7=0G5==O <>=>A5<VW B5@<V=V2 [15, A. 129]. >G5284L, @50;V70FVO ?@8=F8?C  >4=5 ?>=OBBO  >48= 7=0: 70157?5GCT B>G=VABL ?5@540=>W V=D>@<0FVW, 4>72>;OT H284:> 7=09B8 B5@<V=>;>3VG=89 5:2V20;5=B C <>2V, I> 7=0G=> ?>;53HCT :><C=V:0FVN C AD5@0E =0C:8 V B5E=V:8. 572060NG8 =0 >G5284=V ?5@52038 >4=>7=0G=8E B5@<V=V2, ?>;VA5<VO =0O2=0 <0965 C 2AVE ACG0A=8E B5@<V=>;>3VG=8E ?V4A8AB5<0E. "5@<V=>;>3VG=0 ?V4A8AB5<0 <0H8=>1C4C20==O =5 T 28:;NG5==O<. !5@54 :;NG>28E B5@<V=V2 707=0G5=>W 30;C7V ?@520;NNBL ?>;VA5<VG=V. 0?@8:;04: gear 1)  <5E0=V7< ; 2)  7C1G0AB5 :>;5A> ; 3)  7C1G0AB0 ?5@540G0 ; 4)  ?@82V4 ; 5)  @54C:B>@ ; machine 1)  <0H8=0 ; 2)  25@AB0B ; screw 1)  328=B ; 2)  1>;B ; 3)  HC@C? ; shaft 1)  20; ; 2)  2VAL ; 3)  H?8=45;L ; 4)  HB>: ; 5)  AB5@65=L ; 6)  BO30 ; tool 1)  V=AB@C<5=B ; 2)  @V75FL ; 3)  ?@8;044O . # 4>A;V465==OE, ?@8A2OG5=8E ?@>1;5<0< ?>;VA5<VW C B5@<V=>;>3VG=V9 AD5@V, 2V47=0G0TBLAO, I> @>728B:C A5<0=B8G=>W AB@C:BC@8 B5@<V=V2 A?@8ONBL BV 6 <>2=V ?@8G8=8, O:V ?>@>46CNBL 28=8:=5==O 1030B>7=0G=>ABV C 7030;L=>26820=V9 <>2V [4, A. 49]. >;>2=>N ?@8G8=>N 28=8:=5==O ?>;VA5<VW 22060NBL 0A8<5B@8G=VABL 7=0:0 V 7=0G5==O. >2V;L=VABL 72 O7:C <V6 ?;0=>< 28@065==O V ?;0=>< 7<VABC ?5@5410G0T 2V;L=5 20@VN20==O >4=>3> 7 =8E [19, A. 136]. # A2>T<C 4>A;V465==V <8 28E>48<> V7 ?>;>65==O ?@> 0A8<5B@VN <>2=>3> 7=0:C, B>1B> 287=0T<>, I> D>@<0 7=0:C ?5@5206=> :>=A5@20B82=0, 0 7<VAB 7=0:C, =02?0:8, 48=0<VG=89 [10, A. 106]. =H>N ?@8G8=>N 1030B>7=0G=>ABV 22060NBL >1<565=VABL A;>2=8:>2>3> <0B5@V0;C, 7 >3;O4C =0 B5, I> C <>2V 1@0:CT :>@5=528E A;>2>B2V@=8E 70A>1V2, I>1 :>6=5 =0C:>25 ?>=OBBO =><V=C20;>AO >:@5<8< B5@<V=>< [19, A. 136]. !;>2>, 70728G09, 28=8:0T 7 ?52=8< 7=0G5==O<, O:5 =07820TBLAO ?5@28==8< [8, A. 195]. 5@28==5 7=0G5==O T ?@O<8<, >A:V;L:8 ?@O<> =07820T ?>7=0GC20=89 @5D5@5=B. 030B>7=0G=VABL A;>20 @>72820TBLAO H;OE>< ?5@5=5A5==O =0728 7 >4=>3> ?@54<5B0 =0 V=H89. >25 7=0G5==O ;5:A8G=>W >48=8FV C B0:><C 28?04:C T ?5@5=>A=8< B0 <>B82>20=8<. 65@5;>< ?>;VA5<VW B5@<V=V2 <>65 28ABC?0B8 D5=><5= <5B>=V<VW [8, A. 196]. /28I5 <5B>=V<VW T >4=8< 7 =09402=VH8E C ;V=32VAB8FV  9>3> >?8A 7CAB@VG0TBLAO 265 C ?@0FOE 0=B8G=8E 3@0<0B8ABV2 [17, A. 42]. @>B5 C ACG0A=><C <>2>7=02AB2V =5 VA=CT T48=>3> 287=0G5==O <5B>=V<VW, =572060NG8 =0 B5, I> VA=CNBL ?@0FV 7V AB8;VAB8:8, A5<0AV>;>3VW, A5<0=B8:8, A;>2>B2>@C, D@075>;>3VW, :>=B@0AB82=>W ;V=32VAB8:8, 2 O:8E 4>A;V4=8:8 ?@84V;ONBL 7=0G=C C203C FL><C D5=><5=C. .. @=>;L4 287=0G0T <5B>=V<VN O: B@>?, I> >A=>20=89 =0 0A>FV0FVW 70 AC<V6=VABN, :>;8 70<VABL =0728 >4=VTW @5GV 26820TBLAO =0720 V=H>W, O:0 ?>2 O70=0 V7 ?5@H>N ?>ABV9=8< 2=CB@VH=V< 01> 7>2=VH=V< 72 O7:>< [1, A. 85]. .. @>=30C7 707=0G0T:  5B>=V<VTN =07820TBLAO 28:>@8AB0==O A;>20 ?> 2V4=>H5==N 4> =>2>3> ?>70<>2=>3> >1 T:BC, AC<V6=>3> 7V AB0@8< 45=>B0B>< C G0AV V ?@>AB>@V 01> 70;CG5=>3> =8< 2 >4=C A8BC0FVN. # FL><C 28?04:C 3>2>@OBL ?@> ?5@5=5A5==O =09<5=C20==O 7 >4=>3> >1 T:BC =0 V=H89 70 AC<V6=VABN [9, A. 156]. .. %C4>@;V9 :20;VDV:CT <5B>=V<VG=89 ?5@5=>A O: A:>@>G5==O, 73>@B0==O A;>2>A?>;CG5==O C A;>2>, >A:V;L:8 <5B>=V<VG=5 7=0G5==O A;>20 <>65 4>@V2=N20B8 7=0G5==N FV;>3> A;>2>A?>;CG5==O [18, A. 194]. #AV B;C<0G5==O <5B>=V<VW >1 T4=CNBLAO B8<, I> <5B>=V<VO T >4=8< V7 B8?V2 A5<0=B8G=8E 7<V= V O2;OT A>1>N ?5@5=>A V<5=V ?@54<5B0 G8 O28I0 =0 >A=>2V @50;L=8E (V=:>;8 CO2=8E) 72 O7:V2 <V6 2V4?>2V4=8<8 ?@54<5B0<8. 07=0G5=89 D5=><5= ?5@5410G0T @V7=V B8?8 ?5@5=>AV2 =><V=0FV9: 7<VAB  D>@<0, :>=:@5B=0 =0720  01AB@0:B=0, 4VO 01> AB0=  AC1 T:B, 2;0A=5 V< O 4>A;V4=8:0  ?@54<5B, <VAF5 ?>E>465==O  ?@>4C:B, ?@8G8=0  =0A;V4>:, G0AB8=0  FV;5, FV;5  G0AB8=0 B0 V=. [21, A. 71-95]. 5B>=V<VG=V ?5@5=>A8 2V41820NBL >A>1;82>ABV A?@89=OBBO B0 ?V7=0==O B8E 01> V=H8E D@03<5=BV2 4V9A=>ABV A2V4><VABN. >6=89 0:B =><V=0FVW T ?>7=0G5==O< >1 T:B0 4V9A=>ABV, B>1B> 28@065==O 7=0=L ?@> =L>3> C 7=0:>2V9 D>@<V. 5B>=V<VG=V ?5@5=>A8 7C<>2;5=V ?@03=5==O< <>2FO 4> ?@>AB>B8 28@065==O B0 5:>=><VW <>2=8E 7CA8;L. 5B>=V<VG=5 ?5@5=5A5==O C B5@<V=>;>3VG=V9 ?V4A8AB5<V <0H8=>1C4C20==O 2V41C20TBLAO =0ABC?=8<8 H;OE0<8: 1. 5@5=5A5==O< =0728 <0H8=8, ?@8AB@>N, V=AB@C<5=B0 =0 ?@0FV2=8:0, I> WE 28:>@8AB>2CT. 0?@8:;04: borer  A25@4;C20;L=89 25@AB0B  borer  A25@4;O@ ; caster  ;820@=0 <0H8=0  caster  ;820@ ; engraver  3@02V@C20;L=89 V=AB@C<5=B  engraver  3@02V@C20;L=8: ; grinder  H;VDC20;L=89 25@AB0B  grinder  >?5@0B>@ H;VDC20;L=>3> 25@AB0B0 ; turner  B>:0@AL:89 25@AB0B  turner  B>:0@ . 2. 5@5=5A5==O< =0728 FV;>3> =0 G0AB8=C. 0?@8:;04: body  :>@?CA  body  :>@?CA=0 45B0;L ; compensator  :><?5=A0B>@  compensator  5;5<5=B :><?5=A0FVW ; gland  A0;L=8:  gland  :@8H:0 A0;L=8:0 ; lever  206V;L  lever  ?;5G5 2065;O ; piston  ?>@H5=L  piston  HB>: ?>@H=O . 3. 5@5=5A5==O< =0728 G0AB8=8 =0 FV;5. 0?@8:;04: foot  =V6:0  foot  >?>@=0 ?>25@E=O ; bender  738=0;L=89 V=AB@C<5=B  bender  738=0;L=0 <0H8=0 ; changer  ?@8AB@V9 02B><0B8G=>W 70<V=8 (V=AB@C<5=BV2)  changer  25@AB0B 7 02B><0B8G=>N 70<V=>N V=AB@C<5=BV2 ; subassembly  A:;040;L=0 >48=8FO  subassembly  A:;040;L=89 :><?;5:B . 4. 5@5=5A5==O< 7030;L=>W =0728 B5E=VG=>3> ?@>F5AC =0 9>3> A:;04>2V. 0?@8:;04: attribution  287=0G5==O DC=:FV9 (=0?@. @>1>B0)  attribution  287=0G5==O >1 T:B0 DC=:FVW ; commutation  7<V=0 7 T4=0=L 2 5;5:B@8G=8E ;0=FN30E  commutation  ?5@5EV4 AB@C<C 2V4 >4=>3> 25=B8;O 4> =0ABC?=>3> C 28?@O<;OG0E . C4L-O:0 ?>;VA5<VO T VAB>@8G=> >1C<>2;5=>N, 2>=0 702648 T @57C;LB0B>< 48=0<V:8 <>28. @8 1030B>7=0G=>ABV, I> 28=8:;0 =0 >A=>2V <5B>=V<VG=>3> ?5@5=5A5==O, 72 O7:8 <V6 7=0G5==O<8 ?>;VA5<VG=>3> A;>20 T ?@>7>@8<8 V 2848<8<8. "0:5 A?V2VA=C20==O 7=0G5=L AB2>@NT 2@065==O 2?>@O4:>20=>3> [10, A. 108]. @8 @50;V70FVW D5=><5=0 ?>;VA5<VW @V7=V 7=0G5==O >4=>3> V B>3> 6 A;>20 4>?>2=NNBL >4=5 >4=5, ?@8 FL><C :>6=5 ?>-A2>T<C 28A2VB;NT @8A8 @V7=8E ?@54<5BV2. 0728G09 VA=CT <>6;82VABL ?@>AB568B8, O:V 72 O7:8 @50;V7CNBLAO <V6 @V7=8<8 7=0G5==O<8 ?>;VA5<VG=>W >48=8FV. 0?@8:;04 B5@<V= iron <0T B@8 7=0G5==O: 1)  70;V7> ; 2)  70;V7=V 28@>18 ; 3)  <VF=VABL ,  B25@4VABL . >;>2=8< 7=0G5==O< ;5:A8G=>W >48=8FV iron T 7=0G5==O  70;V7> , 2V4 O:>3> ?>E>4OBL 420 V=H8E 7=0G5==O. =0G5==O  70;V7=V 28@>18 28=8:;> =0 >A=>2V <5B>=V<VG=>3> ?5@5=5A5==O. V4‘@C=BO< 4;O 28=8:=5==O 7=0G5==O  <VF=VABL ,  B25@4VABL A;C3C20;8 2;0AB82>ABV 70;V70. "5@<V= <0H8=>1C4C20==O finisher <0T =0ABC?=V 7=0G5==O: 1)  V=AB@C<5=B 4;O G8AB>2>W >1@>1:8 ; 2)  25@AB0B 4;O G8AB>2>W >1@>1:8 ; 3)  >?5@0B>@ 25@AB0B0 4;O G8AB>2>W >1@>1:8 . 5@H5 7=0G5==O ;5:A8G=>W >48=8FV finisher A;C3C20;> >A=>2>N 4;O 28=8:=5==O 4@C3>3> 7=0G5==O, O:5 7 O28;>AO 7024O:8 <5B>=V<VG=><C ?5@5=5A5==N =0728 G0AB8=8 =0 FV;5 (V=AB@C<5=B 4;O G8AB>2>W >1@>1:8 T A:;04>2>N 25@AB0B0 4;O G8AB>2>W >1@>1:8). "@5BT 7=0G5==O  >?5@0B>@ 25@AB0B0 4;O G8AB>2>W >1@>1:8 28=8:;> =0 >A=>2V 4@C3>3> 7=0G5==O  25@AB0B 4;O G8AB>2>W >1@>1:8 H;OE>< <5B>=V<VG=>3> ?5@5=5A5==O =0728 <0H8=8 =0 ?@0FV2=8:0, I> WW 28:>@8AB>2CT. >FV;L=> 707=0G8B8, I> ?>;VA5<0=B8G=VABL B5@<V=>>48=8FL =091V;LH @>728=CB0 C :>@5=528E A;>20E V <5=H @>7?>2AN465=0 C A:;04=8E ;5:A8G=8E CB2>@5==OE [7, A. 77]. "0:0 B5=45=FVO ?@>AB56CTBLAO V C B5@<V=>;>3VG=V9 ?V4A8AB5<V <0H8=>1C4C20==O. V 71V;LH5==O< :><?>=5=BV2, I> 2E>4OBL 4> A:;04C B5@<V=>>48=8FV, 2V@>3V4=VABL 28=8:=5==O ?>;VA5<VW 7<5=HCTBLAO, I> V;NAB@CNBL =02545=V =86G5 ?@8:;048. 0?@8:;04: load 1)  =020=B065==O ; 2)  20=B06 ; 3)  7020=B065==O ; 4)  70@O4 ; 5)  70?@02:0 ; chip load 1)  B>2I8=0 AB@C6:8, I> 7=V<0TBLAO ; 2)  A8;0 @V70==O ; 3)  ?>40G0 =0 7C1 (@V6CG>3> V=AB@C<5=BC) ;  ?>40G0 =0 >15@B (B>:0@=>3> 25@AB0BC) ; chip load per revolution 1)  ?>40G0 =0 >15@B (B>:0@=>3> 25@AB0B0) ; strip 1)  ?>;>A0 ,  AB@VG:0 ,  ?;0=:0 ,  @59:0 ; 2)  ?@>:;04:0 ,  =0:;04:0 ,  ?V4:;04:0 ; 3)  @53C;NNG89 :;8= ,  @53C;NNG0 ?;0=:0 (C =0?@O<=8E 25@AB0B0E) ; 4)  H8=0 ; adjustable strip 1)  @53C;NNG89 :;8= ; 2)  =0AB0=>2=0 ?@>:;04:0 ; adjustable jib strip 1)  @53C;NNG89 :;8= ; valve 1)  :;0?0= ; 2)  25=B8;L ; 3)  3V4@>0?0@0B ; air valve 1)  ?>2VB@O=89 :;0?0= ; 2)  ?=52<>:;0?0= ; air bleed valve 1)  :;0?0= ?5@5?CA:C ?>2VB@O ; @>2545=89 0=0;V7 ?>;VA5<VG=8E >48=8FL 0=3;V9AL:>W B5@<V=>;>3VG=>W ?V4A8AB5<8 <0H8=>1C4C20==O A2V4G8BL ?@> WE ?>H8@5=VABL C 707=0G5=V9 ?V4A8AB5<V, =572060NG8 =0 B5, I> ?>;VA5<VO T =51060=>N 4;O B5@<V=>;>3VG=8E ?V4A8AB5<, 28E>4OG8 7 28<>3, I> 28AC20NBLAO 4>  V450;L=8E B5@<V=>>48=8FL. 0<8 1C;> 28O2;5=>, I> ?@8 =0O2=>ABV ?>;VA5<VW B5@<V=V2 C 4>A;V465=V9 B5@<V=>;>3VG=V9 ?V4A8AB5<V ?@028;L=><C WE @>7C<V==N <>65 4>?><>3B8 :>=B5:AB. # ?5@A?5:B82V 210G0TBLAO 282G5==O 0=B>=V<VG=8E 2V4=>H5=L 2 0=3;V9AL:V9 B5@<V=>;>3VG=V9 ?V4A8AB5<V <0H8=>1C4C20==O. " "#  1. @=>;L4 .. !B8;8AB8:0 A>2@5<5==>3> 0=3;89A:>3> O7K:0 (AB8;8AB8:0 45:>48@>20=8O) / .. @=>;L4.  . : @>A25I5=85, 1990.  300 A. 2. 5;>3C1 ..  2>?@>AC > <=>3>7=0G=>AB8 B5@<8=>;>38G5A:>9 ;5:A8:8 (=0 <0B5@80;5 =5<5F:>3> O7K:0) / .. 5;>3C1 // 0B5@V0;8 A5C:@0W=AL:>W =0C:>2>W :>=D5@5=FVW  @C3V 0@07V=AL:V G8B0==O: 20 AB>;VBBO %0@:V2AL:>W ;V=32VAB8G=>W H:>;8  %0@:V2: %0@:V2AL:89 =0F. C=-B V<. .. 0@07V=0.  2003.  !. 20-21. 3. >@>2AL:0 .. !?V22V4=>H5==O =0FV>=0;L=8E B0 V=B5@=0FV>=0;L=8E B5@<V=V2 2 C:@0W=AL:V9 B5@<V=>;>3VW 30;C7V DV78G=>W :C;LBC@8 B0 A?>@BC : 02B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O :0=4. DV;>;. =0C: : A?5F. 24.00.02 / .. >@>2AL:0.  L2V2, 2003.  20 A. 4. >;>28= .. 8=328AB8G5A:85 >A=>2K CG5=8O > B5@<8=0E : CG51=>5 ?>A>185 4;O D8;>;>38G5A:8E A?5F80;L=>AB59 2C7>2 / .. >;>28=, ... >1@8=.  . : KAH. H:., 1987  104 A. 5. C<>2AL:0 .. =3;V9AL:0 N@848G=0 B5@<V=>;>3VO C B5:AB0E 7 5:>=><V:8 / .. C<>2AL:0 // =>75<=0 DV;>;>3VO.  L2V2, 1999.  !111  211 A. 6. I5=:> .. =3;V9AL:89 1030B>:><?>=5=B=89 5:>=><VG=89 B5@<V= : 02B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O :0=4. DV;>;. =0C: : A?5F. 10.02.04 / .. I5=:>  45A0, 2002.  18 A. 7. 8O: ". . $>@<0 V 7<VAB <>2=>3> 7=0:0 / ". . 8O: // VA=8: %0@:V2. =0F. C=-BC V<. .. 0@07V=0.  %0@:V2: >=AB0=B0.  2004.  ! 635.  !. 75-78. 8. >G5@30= .. ABC? 4> <>2>7=02AB20 / .. >G5@30=.  . : :045<VO, 2002  367 A. 9. @>=30C7 .. !5<0=B8:0: CG51=8: 4;O 2C7>2 / .. @>=30C7.  . : >A. 3>A. 3C<0=8B0@=. C=-B, 2001.  399 A. 10. @C:>2AL:89 .. =CB@VH=O ?>;VA5<VO D@0=FC7L:>3> N@848G=>3> 2>:01C;O@VO ) / .. @C:>2AL:89, /.. @8?8H=N: // 0C:>289 2VA=8: :0D54@8 .! 8W2. =0F. ;V=32. C=-BC.  8?. 6.  .: 8W2AL:89 45@6. ;V=32. C=-B, 2002.  !. 106-111. 11. C45;L:> .. =3;V9AL:0 B5@<V=>A8AB5<0 @8=:>28E 270T<8=: A8=B03<0B8G=V B0 ?0@0483<0B8G=V >A>1;82>ABV : 02B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O :0=4. DV;>;. =0C: : A?5F. 10.02.04 / .. C45;L:>.  L2V2, 2003.  19 A. 12. C<?O=A:89 .. @8G8=0 @07=KE 273;O4>2 =0 O7K:>2CN <=>3>7=0G=>ABL / .. C<?O=A:89 // >@D5<8:0 8 0DD8:A0;L=0O :><18=0B>@8:0 O7K:0.  0;8=8= : 74-2> #, 1982.  !. 80-87. 13. !:>@>E>4L:> .$. "5@<V=>;>3VG=89 ?@>DV;L =0C:>2>3> B5:ABC / .$. !:>@>E>4L:> // VA=8: %0@:V2. =0F. C=-BC V<. .. 0@07V=0.  %0@:V2, 2008.  ! 805  !. 100-105. 14. !>;>3>@ . @EVB5:B>=V:0 B2V@=8E >A=>2 70?>78G5=8E ACDV:A0;L=8E 4VTA;V2  =V<5FL:8E <548G=8E B5@<V=V2 / . !>;>3>@ // @0FV :>=D. 5:A8:>3@0DVG=V B0 <5B>48G=V :>=F5?FVW 28:;040==O GC6>75<=8E <>2 C 28I><C =02G0;L=><C 70:;04V.  '0AB. 1  L2V2, 1996.  !. 110-111. 15. !C?5@0=A:0O .. 1I0O B5@<8=>;>38O. >?@>AK B5>@88 / !C?5@0=A:0O .., >4>;LA:0O .., 0A8;L520 ..  .: 0C:0, 1989  243 A. 16. "><CAO: .. !5<0=B8:0 1030B>7=0G=8E A;V2 ACG0A=>W 0=3;V9AL:>W <>28 / .. "><CAO: // !CG0A=V ?@>1;5<8 B0 ?5@A?5:B828 4>A;V465==O @><0=AL:8E V 35@<0=AL:8E <>2 V ;VB5@0BC@: <0B5@V0;8  <V62C7V2AL:>W :>=D5@5=FVW <>;>48E CG5=8E.  >=5FL: : >=#, 2004.  !. 307-309. 17. #48=AL:0 .. 5B>=V<VO V A8=5:4>E0 =0 ?>7=0G5==O ;N48=8 (=0 <0B5@V0;V 0=3;V9AL:>W B0 C:@0W=AL:>W <>2) / .. #48=AL:0 // "8?>;>3VO <>2=8E 7=0G5=L C 4V0E@>=VG=><C B0 7VAB02=><C 0A?5:B0E : 71. =0C:. ?@.  >=5FL: : >=5FL:89 =0F. C=-B, 2004.  8?. 10.  !. 42-56. 18. %C4>@;V9 .. V=32>:>3=VB82=V >A>1;82>ABV <5B>=V<VG=>3> ?5@5=>AC 2 ACG0A=V9 0<5@8:0=AL:V9 ?C1;VF8AB8FV / .. %C4>@;V9 // 0C:>289 2VA=8: :0D54@8 .! 8W2. =0F. ;V=32. C=-BC.  8?. 6.  . : #, 2002.  !. 193-197. 19. 'CTH:>20 .. =0;VB8G=V =><V=0FVW 2 5:>=><VG=V9 B5@<V=>A8AB5<V (AB@C:BC@=>-B8?>;>3VG=89 0A?5:B) : 48A. & :0=4. DV;>;. =0C:: 10.02.01 / .. 'CTH:>20.  %0@:V2, 2002.  189 A. 20. (20G:> !.. "5@<V=>;>3V70FVO V 45B5@<V=>;>3V70FVO A;V2 <V@8 V 2038 / !.. (20G:> // $V;>;>3VG=V ABC4VW.  CFL:, 2004.  ! 2  !. 248-252. 21. Barnden J.A. Consciousness and Common-sense Metaphors of Mind / J.A. Barnden // Two Sciences of Mind: Reading in Cognitive Science and Consciousness.  Amsterdam : John Benjamins.  1997.  P. 311  340. 22. Leech G. Semantics / G. Leech.  England, Harmondswordth, Middlesex : Penguin Book Ltd, 1974.  386 p. Š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ntipova A.V. Syntax equivalence of the components of the multiple nomination in the modern French language. The paper examines the criteria of the syntax equivalence of the multiple nomination in the French language particularly determinates, coordination, word order which gives possibility to distinguish multiple nomination constructions among such constructions as apposition, enumeration, comparison. The paper determines the main syntax relations which are characteristic of the multiple nomination constructions. Key words: apposition, constellation, determination, endocentric constructions, exocentric constructions, second predication.  A>2@5<5==KE 8AA;54>20=8OE CGQ=K5 >B=>AOB : O2;5=8N ?>2B>@0 :0: :>=AB@C:F88 A>1AB25==> ?>2B>@=>9 =><8=0F88 (40;55  ), B0: 8 @O4 ?>AB@>5=89 (0??>78F8O, ?5@5G8A;5=85 8 4@. [11; 16; 27; 28]), 2 :>B>@KE 4C1;8@C5BAO >48= 87 ?>;=>7=0G=KE ;5:A8:>-3@0<<0B8G5A:8E :><?>=5=B>2. "0:>9 =5A:>;L:> >4=>AB>@>==89 AB@C:BC@=>-D>@<0;L=K9 ?>4E>4 : 87CG5=8N  157 CGQB0 A8=B0:A8G5A:8E 8 A>>B25BAB2CNI8E 8< A5<0=B8G5A:8E >B=>H5=89 ?@82>48B : B><C, GB> AB0BCA  >AB0QBAO =5>?@545;Q==K<. ><?;5:A=>5, ?@5645 2A53> A5<0=B8G5A:>5 8 A8=B0:A8G5A:>5 8AA;54>20=85 , >?@545;5=85 5Q AB0BCA0 =5 1K;> ?@54<5B>< >B45;L=>3> 8AA;54>20=8O [!<. ?@8<5G0=85]. & 5 ; L N 40==>9 AB0BL8 O2;O5BAO >?@545;5=85 ACI=>AB8 A8=B0:A8G5A:>9 M:2820;5=B=>AB8 =0 D>=5 F5;>3> @O40 A8=B0:A8G5A:8E >B=>H5=89 B0:8E, :0: 0??>78F8O, ?5@5G8A;5=85, A@02=5=85, 8 2KO2;5=85 >A=>2=KE A8=B0:A8G5A:8E >B=>H5=89, A2>9AB25==KE ?>2B>@=>9 =><8=0F88 8 1;87:8< : =59 ?>AB@>5=8O<.  : B C 0 ; L = > A B L 40==>9 AB0BL8 70:;NG05BAO 2 B><, GB> 2 =59 A>45@68BAO ?>?KB:0 >B45;8BL O2;5=85  >B B0:8E :>=AB@C:F89, :0: 0??>78F8O, ?5@5G8A;5=85, A@02=5=85, :>B>@K5 @0=55 >E20BK20;8 8 :>=AB@C:F88 . =0;87 A8=B0:A8G5A:8E >B=>H5=89 M:2820;5=B=>AB8 :><?>=5=B>2  =52>7<>65= 157 ?@5420@8B5;L=>3> CB>G=5=8O A0<>3> ?>=OB8O M:2820;5=B=>AB8 8 2KOA=5=8O 53> A2O78 A :0B53>@8O<8 A>G8=5=8O, ?>4G8=5=8O, A>?>;>65=8O, @0AA<>B@5=8O A8=B0:A8A0 MB8E :0B53>@89, 0 B0:65 0=0;870 B0:8E A8=B0:A8G5A:8E :>=AB@C:F89, :0: =0?@8<5@, 0??>78F8O, ?5@5G8A;5=85, :>B>@K5 1;87:8 : , => A8=B0:A8G5A:8 @048:0;L=> >B;8G0NBAO >B =5Q =0 C@>2=5 A8=B0:A8G5A:>9 A2O78. 1I55 ?>=OB85 M:2820;5=B=>AB8 2 O7K:5 ?>72>;O5B 2K@078BL 1;87>ABL, AE>4AB2>, A>740NI85 >1I89 :>=B8=8C<, => 157 >1>7=0G5=8O 845=B8G=>AB8 8 01A>;NB=>3> @025=AB20. @8 B0:>< B>;:>20=88 O7K:>2>9 A2O78, :>B>@CN -. 0=3 @0AA<0B@8205B :0: Ť>4=>@>4=>ABL >1J548=Q==KE :><?>=5=B>2ť, Ť& >1J548=Q==K5 :><?>=5=BK 4>;6=K 1KBL 845=B8G=K 8;8 M:2820;5=B=K >B=>A8B5;L=> =5:>B>@KE E0@0:B5@8AB8: <5B0O7K:0 [& ]. 4=>@>4=>ABL O2;O5BAO @57C;LB0B>< A;>6=>3>, => GQB:> >?@545;Q==>3> @02=>25A8O <564C >1I8< 8 @07;8G=K< 2 A>45@60=88 >1J548=Q==KE O7K:>2KE 548=8Fť [24, A.171-172]. -:2820;5=B=>ABL B@51C5B, 2>-?5@2KE, GB>1K 425 =><8=0F88 =0E>48;8AL 2 >B=>H5=8OE ;8=59=>9 A<56=>AB8 8 GB>1K ?@8 MB>< 1K;> =52>7<>6=> CAB0=>28BL :0:CN 1K B> =8 1K;> 85@0@E8N <564C =8<8 =8 =0 >4=>< 87 C@>2=59  A8=B0:A8G5A:><, A5<0=B8G5A:><, @5D5@5=B=>< 8;8 ?@548:0B82=>< [3]. >-2B>@KE, M:2820;5=B=>ABL B@51C5B CB>G=5=8O A?>A>10 A2O7K20=8O =><8=0F89 <564C A>1>9 (<>@D>;>38G5A:>3> 8;8 A8=B0:A8G5A:>3>), GB> ?>72>;O5B 40BL B>G=>5 >?@545;5=85 ?>=OB8N M:2820;5=B=>AB8 ?> >B=>H5=8N : A>G8=5=8N [24, A. 171-172] 8;8 A>?>;>65=8N 8 >B;8G8BL 5Q >B B0:8E D>@< :0: >1>A>1;5=85, 0??>78F8O 8 A@02=5=85, 2>7=8:H8E =0 >A=>25 ?>4G8=8B5;L=>9 A2O78. !8=B0:A8G5A:0O M:2820;5=B=>ABL ?>4@07C<5205B A8=B0:A8G5A:89 ?0@0;;5;87<, :>B>@K9 2K45;O5B  2 @0<:0E A>?>;>65=8O 8 A>G8=5=8O. B<5B8<, GB> A A>1AB25==> :0B53>@80;L=>9 B>G:8 7@5=8O ACI=>ABL A>G8=5=8O 8 A>?>;>65=8O :0: 107>2KE A8=B0:A8G5A:8E >B=>H5=89 @0A:@K205BAO G0I5 2A53> 2 AD5@5 >B=>H5=89 <564C 2KA:07K20=8O<8. @8 MB>< @07;8G8O <564C A>G8=5=85< 8 ?>4G8=5=85< 8=>340 =5 B0: >G5284=K 2A;54AB285 <=>65AB20 C@>2=59 0=0;870. 0:>=5F, 3@0=8FK A>?>;>65=8O O2;ONBAO =5GQB:8<8 8 2?>;=5 <>3CB ?5@54020BL >B=>H5=8O A>G8=5=8O 8 ?>4G8=5=8O. $>@<K  <>6=> 2K45;8BL =0 A8=B03<0B8G5A:>< C@>2=5, ?@8 MB>< Ť<564C A8=B03<0B8G5A:8<8 3@C??0<8 ACI5AB2C5B 2708<>7028A8<>ABL; >=8 2708<>>1CA;02;820NB 4@C3 4@C30 [31, A.177]. >7<>6=> >ACI5AB28BL @07;8G=K5 284K MB>9 2708<>7028A8<>AB8 A ?><>ILN ?@54;>65==KE . ;L<A;52K< B@QE 284>2 >B=>H5=89, @07;8G8<KE >4=>2@5<5==> =0 C@>2=5 ŤA8AB5<Kť (O7K:0) 8 Ť?@>F5AA0ť (B5:AB0): 2708<>7028A8<>ABL, 45B5@<8=0F8O 8 :>=AB5;;OF8O [20, A. 38]. Ť@8 2708<>7028A8<>AB8 420 B5@<8=0 ?@54?>;030NB >48= 4@C3>9. 5B5@<8=0F8O  MB> >4=>AB>@>==O 7028A8<>ABL, :>340 B>;L:> >48= 87 B5@<8=>2 ?@54?>;0305B 4@C3>9. 0:>=5F, :>=AB5;;OF8O @0AA<0B@8205BAO :0: 1>;55 A;010O 7028A8<>ABL, :>340 420 B5@<8=0 2708<>A2O70=K, => B0:, GB> =8 >48= 87 =8E =5 ?@54?>;0305B 4@C3>3>ť [B0< 65, A. 38]. !;54>20B5;L=>, 2  A8=B0:A8G5A:0O A2O7L 8<55B E0@0:B5@ :>=AB5;;OF88, ?>A:>;L:C =><8=0F88 2708<>A2O70=K, 0 =5 A>AB>OB 2 >B=>H5=8OE 7028A8<>AB8 (2 >B;8G85 >B 45B5@<8=0F88): (1) comme pour empęcher de pénétrer, pour endiguer, contenir la poussée extérieure (A 144); (2) Puis dans la męme langue, l’un de ceux qui suivaient cria aussi – mais cette fois ŕ l’adresse de l’homme -, toujours dans cette męme langue sauvage, violente, et il (le premier homme) se tut, ramena sa charrette dans la file. En fait, ŕ la vitesse oů les deux colonnes se croisaient (c’est-ŕ-dire le double de la vitesse d’un cheval au pas) ce fut ŕ peine si chacun des cavaliers put saisir quelques mots, ou plutôt quelques sons articulés qui ressemblaient eux aussi ŕ quelque chose de boueux, primitif, lourd, c’est-ŕ-dire comme une ébauche de langue, un patois, ou plutôt une corruption de la langue, un de ces dialctes ŕ travers lesquels se comprennent les populations ŕ cheval sur deux forntičres (A 246). A;8 :>=AB5;;OF8O, 4;O :>B>@>9 2 G0AB=>AB8 E0@0:B5@=0 2>7<>6=>ABL 8A:;NG5=8O >4=>3> 8;8 4@C3>3> A53<5=B0 B0:, GB> MB> =5 2;8O5B =0 A8=B0:A8G5A:CN AB@C:BC@C, >G5=L GQB:> 284=0 2 ?@8<5@5 (1), B> 2 ?@8<5@5 (2), :>B>@K9 A>45@68B 2 >A=>2=>< , A>548=Q==K5 <0@:5@0<8 @5D>@<C;8@>20=8O, >G5284=0 2708<>7028A8<>ABL. . ;L<A;52 ?@54;0305B >1J548=8BL :>=AB5;;OF8N 8 2708<>7028A8<>ABL ?>4 >1I8< B5@<8=>< Ť2708<=>ABLť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ŤM;5<5=B0<8 CA;>6=5=8O ?@>AB>9 D@07Kť. "0:85 M;5<5=BK CA;>6=5=8O A2>4OBAO : 42C< D5=><5=0< @07;8G=>3> E0@0:B5@0: A2O7K20=8N 8 B@0=A?>78F88. #GQ=K9 AG8B05B, GB> A>548=5=85, A2O7K20=85 8 B@0=A?>78F8O O2;ONBAO B@5<O 3;02=K<8 A8=B0:A8G5A:8<8 ?@5>1@07>20=8O<8, A>3;0A=> :>B>@K< AB@>OBAO 2A5 >AB0;L=K5 O2;5=8O AB@C:BC@0;L=>3> A8=B0:A8A0. "@0=A?>78F8O 70:;NG05BAO 2 ?5@5E>45 >4=8E A>AB02=KE M;5<5=B>2 D@07K 2 4@C385. [36, A. 323]  A>>B25BAB288 A> 273;O40<8 . "5A=L5@0, 4;O 2A5E D>@<  E0@0:B5@=> A2O7K20=85, 0 =5 A>548=5=85 8;8 B@0=A?>78F8O [B0< 65, A. 325]. 0 >A=>25 A5<0=B8G5A:>3> :@8B5@8O . "5A=L5@ @07;8G05B A>548=5=85 A A>548=8B5;5< 8 157 A>548=8B5;O. !@548 D>@< A>548=5=8O A A>548=8B5;5< 2K45;ONB 2 >A=>2=>< A>G8=8B5;L=CN A2O7L A et 8 A@02=5=85  :>=AB@C:F88, :>B>@K5 =5 >B=>AOBAO :  [B0< 65, A. 351-352]: (3) ce qu elles avaient consenti de sacrifices et de renoncements, (A 70); (4) l horizon hérissé de cheminées d usine comme les arbres d une foręt (A 175). !@548 D>@< A>548=5=8O 157 A>548=8B5;O . "5c=L5@ 2K45;O5B ?5@5G8A;5=8O A >1>1IQ==K< G;5=><, :>B>@K5 ?@54AB02;ONB A>1>9 =5A:>;L:> A?>@=CN D>@<C , B0: :0: A?>@=K< O2;O5BAO 2>?@>A > A8=B0:A8G5A:>9 8 A5<0=B8:>-@5D5@5=B=>9 M:2820;5=B=>AB8. !@02=8B5: (5) le chauffeur leur permettait de monter, les deux soeurs debout sur le plateau, renvoyées d un côté ŕ l autre, se cramponnant aux ridelles, la femme et l enfant dans la cabine, (A 12). 1@0I0OAL =5?>A@54AB25==> : , . "5A=L5@ @0AA<0B@8205B 5Q :0: ŤA;>65=85ť, >B;8G0O 5Q >B A>548=5=8O 157 A>548=8B5;O. 07=8F0 <564C >B=>H5=8O<8 7028A8<>AB8 (8;8 ?>4G8=5=8O  2 MB8<>;>38G5A:>< A<KA;5 A;>20) 8 >B=>H5=8O<8 @025=AB20 (8;8 A>G8=5=8O  2 MB8<>;>38G5A:>< A<KA;5 A;>20) [36, A. 328] ?>72>;O5B @07;8G8BL A>?>;>65=85 8 A>G8=5=85 (>B :>B>@KE ?@>8AE>4OB D>@<K ) >B ?>4G8=5=8O: Ť >A=>25 42CE ?5@2KE ;568B ?0@0B0:A8G5A:>5 AF5?;5=85 (:>B>@>5 8A?>;L7C5BAO <564C A;>20<8 8 A8=B03<0<8) 2 B> 2@5<O, :0: B@5BL5 >A=>20=> =0 38?>B0:A8G5A:>< 2:;NG5=88 ?@54;>65=89ť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ť [29, A. 519]. #G8BK20O, GB> A>?>;>65=85 O2;O5BAO =081>;55 G0AB>9 D>@<>9 A8=B0:A8G5A:>9 A2O78, :>B>@0O >1J548=O5B M;5<5=BK , B>, >G5284=>, =5>1E>48<> 1>;55 B>G=> >E0@0:B5@87>20BL A0<8 A?>A>1K AF5?;5=8O 8;8 2:;NG5=8O <564C =><8=0F8O<8. @8 MB>< <>6=> 27OBL 70 >A=>2C ?@54;>65==>5 . ;C<D8;L4>< @073@0=8G5=85 <564C M=4>F5=B@8G=K<8 8 M:7>F5=B@8G=K<8 :>=AB@C:F8O<8: Ť[& ] :>=AB@C:F8O O2;O5BAO M=4>F5=B@8G=>9, :>340 48AB@81CF8O >4=>3> 87 A>AB02;ONI8E M:2820;5=B=0 A>2>:C?=>AB8 :>=AB@C:F88, 8 M:7>F5=B@8G=>9, :>340 >1I0O A8=B03<0 ?@8=04;568B : 4@C3><C D>@<0;L=><C :;0AAC 2 A@02=5=88 A 548=8F0<8 5Q A>AB02;ONI8<8ť [5, A. 183-186]. >A:>;L:C A>N7 O2;O5BAO A>AB02=>9 G0ABLN M=4>F5=B@8G=KE :>=AB@C:F89, :>B>@K5 ?>4@0745;ONBAO =0 420 1>;LH8E B8?0  A>G8=8B5;L=K5 (8;8 A5@89=K5) 8 ?>4G8=8B5;L=K5 (8;8 :20;8D8F8@CNI85) [25, A. 180], B>  >B=>A8BAO : A>G8=8B5;L=K< M=4>F5=B@8G=K< :>=AB@C:F8O<, GB> >B;8G05B 5Q >B 0??>78F88 [22, A. 425]. @8=8<0O 70 >A=>2C ?@54;>65=85 . 0B0E @07;8G0BL 70?OBCN-?;NA (A>548=8B5;L=CN ?0C7C), :>B>@0O @50;87C5B :>=AB@C:B82=CN DC=:F8N, ?>E>6CN =0 :>=AB@C:B82=CN DC=:F8N A>G8=8B5;L=KE, 0 8=>340 8 ?>4G8=8B5;L=KE A>N7>2, 8 2 A;CG05 ?5@5G8A;5=8O ?@8A>548=O5B A53<5=BK ?>4>1=>3> E0@0:B5@0, 8 70?OBCN-<8=CA (@0745;8B5;L=CN ?0C7C), :>B>@0O 2A5340 A>?@>2>6405BAO :0:8<-;81> 5IQ @0745;8B5;L=K< 7=0:>< (?@8 =0;8G88 G;5=>2 ?@54;>65=8O 2 A:>1:0E, 70?OB>9 ?@8 8=25@A88 8 B.4.) [9, A. 64-68], <K ?@8E>48< : 2K2>4C, GB>, >G5284=>, D>@<K  A 70?OB>9 @0A?>;>65=K =0 ?5@5A5G5=88 42CE 284>2 70?OBKE. "0:, 5A;8 =><8=0F88 =0E>4OBAO =0 C@>2=5 A8=B0:A8G5A:>9 M:2820;5=B=>AB8 (70?OB0O-?;NA), B> 2B>@0O =><8=0F8O <>65B 70G0ABCN ?@54AB02;OBL A>1>9 :><<5=B0@89 8;8 4065 >1>A>1;5==K9 :><?>=5=B <5B048A:C@A82=>3> E0@0:B5@0 (70?OB0O-<8=CA): (6) comme si [...] elle avait vertigineusement remonté le temps, transportée dans un primitif Eden, un primitif état de nature, au côté de l homme ŕ la barbe sauvage (A 146); (7) il vit sans doute, ou plutôt il entrevit, au-delŕ de ses genoux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Ť3@0=8FK :>B>@>9 >AB0NBAO [& ] =5GQB:8<8ť [26, A. 11]. >=OB85 >1>A>1;5=8O, > :>B>@>< 3>2>@8;8 5IQ (. 0;;8 [4] 8 . !5H5M [32], >1>1I5=> 2 @01>B0E . ><15BB0 [10] 8 A. >==0@, ?> <=5=8N :>B>@>3>, >1>A>1;5=85 D0:B8G5A:8 <0@:8@>20=> Ť70?OB>9 <8=CAť . 0B0E [9, A. 66]. 0 A8=B0:A8G5A:>< C@>2=5 >1>A>1;5=85 >A=>20=> =0 >B=>H5=8OE ?>4G8=5=8O, 7028A8<>AB8 8 ?@>B82>?>AB02;O5BAO A>G8=8B5;L=>9 A2O78, ?>A:>;L:C ?0C70, 3@0D8G5A:>5 >1>A>1;5=85 O2;O5BAO ?@87=0:>< 8=>9 ?@548:0F88, :>B>@CN =07K20NB Ť2B>@8G=>9ť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Ť>1>A>1;5==K5 :>=AB@C:F88ť . ><15BB0 8 Ť0??>78B82=K5 :>=AB@C:F88ť $. M2Q, . 048> 8 . $C@C:020 2A5340 A2O7K20NB MB8 AB@C:BC@K A> 2B>@8G=>9 ?@548:0F859, :>B>@0O, ?> <=5=8N MB8E CGQ=KE, @50;87C5BAO >?@545;Q==K< 284>< ?>A;54>20B5;L=>AB59 8, 1C4CG8 A0<0 ?> A515 A8=B0:A8G5A:8 8=B53@8@>20==>9, A5<0=B8G5A:8 2K@0605B A>45@60=85 D@07K 2=CB@8 A0<>9 D@07K [8, A. 3; 17, A. 7]. !8=B0:A8G5A:8 8=B53@8@>20==K9 AB0BCA E0@0:B5@5= B0:65 8 4;O  [188, A. 3], >4=0:>  =5 ?@54AB02;O5B A>1>9 ŤD@07>2>5 A>45@60=85 2=CB@8 A0<>9 D@07Kť. ??>78F8O >E20BK205B 7=0G8B5;L=>5 :>;8G5AB2> :>=AB@C:F89, GB> ?@82>48B : B><C, GB> >=0 ?5@5A5:05BAO A  8;8 @048:0;L=> >B =5Q >B;8G05BAO.  A2>8E 8AA;54>20=8OE . 8C;L ?@82>48B G5BK@5 >?@545;5=8O 0??>78F88, :>B>@K5 7=0G8B5;L=> @0AH8@ONB =0H5 ?@54AB02;5=85 > E0@0:B5@5 A8=B0:A8G5A:>9 A2O78 <564C :><?>=5=B0<8 0??>78B82=>9 :>=AB@C:F88 [30, A. 21]. 'B> :0A05BAO E0@0:B5@0 A8=B0:A8G5A:>9 A2O78 <564C :><?>=5=B0<8 0??>78B82=>9 AB@C:BC@K, 206=> >B<5B8BL, GB>, ?> 548=>4CH=><C <=5=8N 1>;LH8=AB20 3@0<<0B8AB>2 [26, A. 67; 23, A. 12], 0??>78F8O O2;O5BAO ?>:070B5;5< ?>4G8=8B5;L=KE >B=>H5=89, >@85=B8@>20==>9 7028A8<>AB8. @8 MB>< $. 52Q >B<5G05B, GB> 0??>78B82=0O :>=AB@C:F8O O2;O5BAO :><?;5:A=>9 48=0<8G=>9 :>=AB@C:F859, 2:;NG0NI59 >?>@=K9 A53<5=B 8 4>?>;=ONI89 A53<5=B, B> 5ABL @5GL 84QB >1 >4=>AB>@>==59 7028A8<>AB8 >4=>3> A53<5=B0 (>1>A>1;5==>3> A53<5=B0) ?> >B=>H5=8N : 4@C3><C A53<5=BC (>?>@=><C A53<5=BC), 2 >A=>25 :>B>@KE ;568B 2B>@8G=0O ?@548:0F8O [26, A. 67]. 5A<>B@O =0 =5:>B>@K5 @07=>3;0A8O 2 B>;:>20=88 E0@0:B5@0 A2O78 <564C :><?>=5=B0<8 0??>78B82=>9 :>=AB@C:F88, <K 2AQ 65 A>3;0A=K A <=5=85<, GB> A8=B0:A8G5A:0O A2O7L <564C 42C<O M;5<5=B0<8 0??>78B82=>9 AB@C:BC@K O2;O5BAO ?>4G8=8B5;L=>9 A2O7LN, >4=>AB>@>==59 7028A8<>ABLN 4>?>;=ONI53> A53<5=B0 >B >?>@=>3> A53<5=B0. "0: :0: 2B>@8G=0O ?@548:0F8O :0: B8? A8=B0:A8G5A:>9 A2O78, D>@<0;L=> >B<5G5==K9 >1>A>1;5=85<, O2;O5BAO ?@87=0:>< ?>4G8=8B5;L=>9 A2O78, B> , 2=CB@8 :>B>@>9 ACI5AB2C5B =5 ?>4G8=8B5;L=0O A2O7L, 0 >B=>H5=8O M:2820;5=B=>AB8, >B;8G05BAO >B 0??>78F88, E>BO 8 1;87:0 : =59 8 G0AB> @0AA<0B@820;0AL :0: >4=0 87 5Q D>@<.  @0<:0E =0H53> 8AA;54>20=8O : 0??>78F88 <K >B=>A8< B>;L:> A;54CNI85 :>=AB@C:F88: (8) leurs robustes cheveux d armes qui n étaient plus maintenant que des ombres de cheveux, assemblages d os pesants et de muscles ne tenant sans doute plus ensemble, (A 32) (9) le grand-pčre du patriarche, une sorte de colosse, non seulement de taille gigantesque mais d un poids si monstrueux (A 113) 1>A>1;5=85, >B<5G5==>5 70?OB>9, O2;O5BAO 2 MB8E ?@8<5@0E ?@87=0:>< 2B>@8G=>9 ?@548:0F88, :>B>@0O E0@0:B5@87C5BAO 48AA8<5B@859 45B5@<8=0=B>2: \=5>?@545;Q==K9 45B5@<8=0=B + 45B5@<8=0=B 0 \ 2 ?@8<5@5 (8) 8 \>?@545;Q==K9 45B5@<8=0=B + =5>?@545;Q==K9 45B5@<8=0=B \ 2 ?@8<5@5 (9) [12, A.248]. A;8 =0 A5<0=B8:>-@5D5@5=B=>< C@>2=5 <564C 42C<O A8=B03<0<8 >ICI05BAO =5:>B>@0O M:2820;5=B=>ABL, B> 45B5@<8=0=BK 45<>=AB@8@CNB ?>;=CN 48AA8<5B@8N <564C ?>;=>ABLN @5D5@5=B=K< 45B5@<8=8@>20==K< 2K@065=85< 8 =5@5D5@5=B=K< =545B5@<8=8@>20==K< 8;8 =5>?@545;Q==K< 2K@065=85<, :>B>@>5 8=>340 =C6405BAO 2 ?>AB>O==>9 @5D5@5=B=>9 >?>@5 [21; 34; 35]. 5B5@<8=0=BK 8=>340 A>740NB 8;;N78N A8=B0:A8G5A:>9 48AA8<5B@88, :>@@5;8@CNI59 A A5<0=B8G5A:>9 @5D5@5=F859. =>9 ?@>1;5<>9, 2>7=8:0NI59 ?@8 @073@0=8G5=88  8 0??>78F88, O2;O5BAO ?@>1;5<0 :>@5D5@=F88. K;> >B<5G5=>, GB> =0 C@>2=5 :>@5D5@5=F88 3@0=8FK 0??>78F88 ?5@5A5:0NBAO A 3@0=8F0<8 : 2 7028A8<>AB8 >B B>3>, 1C45B :@8B5@89 :>@5D5@5=F88 AG8B0BLAO >?@545;ONI8< :@8B5@85< 0??>78F88 8;8 =5B, >1;0ABL @0A?@>AB@0=5=8O 0??>78F88 1C45B 1>;55 8;8 <5=55 H8@>:>9, 0 A2O7L 0??>78F88 A  1C45B 1>;55 B5A=>9 8;8 65 =0>1>@>B 1>;55 A;01>9.  1>;LH8=AB25 =5402=8E @01>B ?> 0??>78F88 [7; 13; 18; 22; 26; 30] :>@5D5@5=F8O 8 @5D5@5=B=K5 >B=>H5=8O AG8B0NBAO 2B>@8G=K< :@8B5@85<, :>B>@K9 A;C68B B>;L:> 4;O B>3>, GB>1K :;0AA8D8F8@>20BL 0??>78B82=K5 :>=AB@C:F88, 0 =5 @0A?>7=020BL 8E 8 >B;8G0BL >B 4@C38E ?>AB@>5=89 [13, A. 140; 26, A. 68].  A2>N >G5@54L . 03> =0AB08205B =0 206=>AB8 :@8B5@8O :>@5D5@5=F88 2 A2>Q< >?@545;5=88 0??>78F88, AG8B0O, GB> :>@5D5@5=F8O E>BL 8 O2;O5BAO =5 A>2A5< 4>AB0B>G=K<, => B5< =5 <5=55 Ť=5>1E>48<K< CA;>285<ť. > <=5=8N CGQ=>3>, A8=B03<K 0??>78B82=>9 AB@C:BC@K 4>;6=K 8<5BL >48=0:>2CN Ť@5D5@5=B=CN A8;Cť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Ť!5<0=B8:>-@5D5@5=B=0O M:2820;5=B=>ABL :><?>=5=B>2 ?>2B>@=>9 =><8=0F88 2 A>2@5<5==>< D@0=FC7A:>< O7K:5ť [1]. " "#  1. =B8?>20 .. !5<0=B8:>-@5D5@5=B=0O M:2820;5=B=>ABL :><?>=5=B>2 ?>2B>@=>9 =><8=0F88 2 A>2@5<5==>< D@0=FC7A:>< O7K:5 / .. =B8?>20 // VA=8: %0@:V2. =0F. C=-BC V<...0@07V=0.  %0@:V2 : %#, 2009.  ! 848.  !.165-168. 2. Antoine G. La Coordination en français / G. Antoine.  Paris: d Artey, 1959, réédition du tome 1 chez Mittard, 1996.  V.1, 2.  1408 p. 3. Authier-Revuz J. L auto-représentation opacifiante du dire dans certaines formes de Ťcouplageť / J. Authier-Revuz // DRLAV.  1987.  ! 36-37.  . 55  103. 4. Bally C. Linguistique générale et linguistique française / C. Bally.  Berne : A.Francke S.A., 1944.  440 p. 5. Bloomfield L. Langage. / L. Bloomfield.  Payot, 1970. – 524 p. 6. Bonnard H. 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Š .. =B8?>20, 2009 # 811.111.1 366 !  / "  !"#  !#'! !, : $#&,   ' % (70 <0B5@V0;0<8 BNC) .. 0=V2AL:0 (L2V2) # AB0BBV @>73;O=CB> :0B53>@VN 0A?5:BC 0=3;V9AL:>3> 4VTA;>20, 2848 0A?5:BC0;L=8E 7=0G5=L V 70A>18 WE 28@065==O. @>0=0;V7>20=> G0AB>B=VABL 28:>@8AB0==O @V7=8E 70A>1V2 C @V7=><0=VB=8E 60=@0E CA=>3> V ?8AL<>2>3> <>2;5==O 7 C@0EC20==O< 2V:C :><C=V:0=BV2. 5@53;O=CB> 20@V0B82=VABL ?@>AB8E V A:;04=8E G0A>28E D>@< V 28O2;5=> ?52=C G0AB>B=VABL WE 28:>@8AB0==O, I> ?V4B25@46CT CO2;5==O ?@> 5@3>=><VG=V E0@0:B5@8AB8:8 <>2=8E >48=8FL. AV 4>A;V465==O ?@>2545=V =0 >A=>2V 40=8E @8B0=AL:>3> =0FV>=0;L=>3> :>@?CAC (BNC) H;OE>< 0=0;V7C 26820==O 4VTA;V2=8E :>=AB@C:FV9 2 02B5=B8G=8E <0B5@V0;0E ACG0A=>W 0=3;V9AL:>W <>28. ;NG>2V A;>20: 0A?5:BC0;L=5 7=0G5==O, V=E>0B82=89 0A?5:B, VB5@0B82=89 0A?5:B, >4=>:@0B=>-<8BBT289 0A?5:B, ?@>3@5A82=89 0A?5:B, ?>AB?>78B82. .. 0=82A:0O. !@54AB20 2K@065=8O :0B53>@88 0A?5:B0 2 A>2@5<5==>< 0=3;89A:>< O7K:5: DC=:F8>=0;L=K9 8 M@3>=><8G5A:89 ?>4E>4 (?> <0B5@80;0< BNC).  AB0BL5 @0AA<>B@5=0 :0B53>@8O 0A?5:B0 0=3;89A:>3> 3;03>;0, 284K 0A?5:BC0;L=KE 7=0G5=89 8 A@54AB20 8E 2K@065=8O. @>0=0;878@>20=0 G0AB>B=>ABL 8A?>;L7>20=8O @07=KE A@54AB2 2 @07;8G=KE 60=@0E CAB=>9 8 ?8AL<5==>9 @5G8 A CGQB>< 2>7@0AB0 :><<C=8:0=B>2. @>A<>B@5=0 20@80B82=>ABL ?@>ABKE 8 A;>6=KE 2@5<5==KE D>@< 8 2K2545=0 =5:0O G0AB>B=>ABL 8E 8A?>;L7>20=8O, GB> ?>4B25@6405B A>>1@065=8O >1 M@3>=><8G5A:8E E0@0:B5@8AB8:0E O7K:>2KE 548=8F. A5 8AA;54>20=8O ?@>2545=K =0 >A=>20=88 40==KE @8B0=A:>3> =0F8>=0;L=>3> :>@?CA0 (BNC) ?CBQ< 0=0;870 8A?>;L7>20=8O 3;03>;L=KE :>=AB@C:F89 2 0CB5=B8G5A:8E <0B5@80;0E A>2@5<5==>3> 0=3;89A:>3> O7K:0. ;NG52K5 A;>20: 0A?5:BC0;L=>5 7=0G5=85, 8=E>0B82=K9 0A?5:B, 8B5@0B82=K9 0A?5:B, >4=>:@0B=>-<3=>25==K9 0A?5:B, ?@>3@5AA82=K9 0A?5:B, ?>AB?>78B82. O.I. Vanivska. Means of expression of the category of aspect in modern English: functional and ergonomical aspects (on the BNC material). The article deals with the category of aspect in modern English, kinds of aspectual meaning and means of its expression. The frequency of usage of different means in different genres of oral and written communication is analyzed taking into consideration speaker’s age. Variation of simple and composite tense forms is considered and revealed some frequency of their usage, which confirm the idea about ergonomical characteristics of language units. The investigation is based on the data of British National Corpus (BNC) analyzing the usage of verbal constructions in the material of modern authentic language data. Key words: aspectual meaning, inchoative aspect, iterative aspect, momentous aspect, progressive aspect, postpositive. 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ndefinite  Continuous. 3V4=> 7 ?@>D5A>@>< ... ;C:B5=:><, 4@C389 :><?>=5=B =5 28@060T ?@87=0:C 4VW, O:0 18 >7=0G0;0 I>AL 2V4>:@5<;5=5 2V4 BVTW 4VW, O:0 <VAB8BLAO 2 ?5@H><C :><?>=5=BV 4VTA;>20. VTA;>20 7 ?>AB?>78B820<8 (?@8A;V2=8:0<8) 7;820NBLAO 2 >4=5 A5<0=B8G=5 FV;5 V 28@060NBL T48=5 ?>=OBBO. "><C ?@8 28;CG5==V 4@C3>3> :><?>=5=B0, 70728G09, <V=OTBLAO 7=0G5==O 4VTA;>20 [5, A. 105]. 06;828<8 T V45W .. 0T2AL:>W, O:0 707=0G8;0, I>  ?><VB=>N E0@0:B5@8AB8:>N ACG0A=>W 0=3;V9AL:>W <>28 T 28:>@8AB0==O ;5:A8:>-3@0<0B8G=8E 70A>1V2 4;O 28@065==O @V7=><0=VB=8E 0A?5:BC0;L=8E 2V4<V==>AB59. =0G=0 :V;L:VABL AB0=40@B87>20=8E 4VTA;V2=8E D@07 A;C60BL 70<V==8:0<8 4;O B8E 4VTA;V2, O:V =5045:20B=> 28@060NBL 0A?5:BC0;L=89 E0@0:B5@ 4VW, 0 A0<5: 1) V=E>0B82=89 (?>G0B:>289), 2) ?5@D5:B82=89 (7025@H5==O), 3) VB5@0B82=89 (?>2B>@N20;L=89), V 4) >4=>:@0B=>-<8BBT2V (4VW, I> B@0?;ONBLAO >48= @07) [10, A. 130]. 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Just had a battle with Cutler. (Steve Martini). !5<0=B8G=89 2V4BV=>: D>@<8 Present Perfect Tense  =5402=VABL ,  =01;865=VABL 4> ?@>AB>@C ACG0A=>ABV 2 F8E 28?04:0E 5:A?;V:CTBLAO 70 4>?><>3>N >48=8FL ;5:A8G=>3> @V2=O (just, this moment) [6, A. 10]. 8 @>7?>G8=0T<> =0H 0=0;V7 V7 V=E>0B82=>3> 0A?5:BC. !5<0=B8G=> 7=0G5==O  ?>G8=0B8 T >A=>2=8< :><?>=5=B>< CAVE B@L>E D07>28E 7=0G5=L  ?>G0B:C, ?@>4>265==O B0 70:V=G5==O. >=OBBO ?>G0B:C, >G5284=>, 2E>48BL 4> 2AVE 7=0G5=L D07>28E ;5:A5<, 45 =02VBL 7025@H5==O <>65 B@0:BC20B8AO AC1`T:B>< <>2;5==O O: ?@8@>4=89 ?5@5EV4 AC1`T:B0 A8BC0FVW 4> WW =>2>W D078. ';5=C20==O AC1:0B53>@V9 D078 70G8==>ABV  AC1`T:B82=5, 45 2A5 70;568BL 2V4 B>3>, I> A0<5 22060B8 3@0=8FO<8 D07  @50;V70FVN 4VW, 4>AO3=5==O <56V, 70:V=G5==O B5@<V=C B0 O: B@0:BC20B8 =52?8==VABL A?;820==O 4VW. $070 ?5@540T 2AV =N0=A8 AC1:0B53>@V70FVW A?;820==O 4VW, I> A?@8OT B>G=VH><C 28@065==N :><C=V:0B82=>3> =0<V@C <>2FO, =V6 ?@>AB5 26820==O 284>28E ?0@ 4VTA;V2 V A8AB5<8 G0AV2, >A:V;L:8 =5 2AV 4VTA;>20 740B=V 26820B8AO C 284>-G0A>28E @>7@O40E 0=3;V9AL:>W <>28, B>4V O: AD5@0 26820==O D07>28E 4VTA;V2 ?@0:B8G=> =5>1<565=0 [4]. =E>0B82=89 0A?5:B <>65 1CB8 28@065=89 70 4>?><>3>N A;>2>A?>;CG5=L 4VTA;V2 come, get, begin, commence, grow, fall, set V take V7 4VTA;>20<8. Come to-Vinf <>65 2:07C20B8 =0: 0) ?52=C 4VN G8 AB0=, 4> O:>W ?>ABC?>2> =01;860;8AO (1C;8 <0965 =0 @V2=V) V 2;0A=5 B5?5@ FO 4VO =0ABC?8;0, =0?@.: Decisions on priorities between these groups can generate some heat, particularly if students come to believe that their needs are taking second place to those of numerically smaller groups of faculty and researchers. You begin to hate yourself for what you're doing. I will make a brash prediction: that by the year 2000 the social sciences, in conjunction with brain studies, will commence to replace biology in the central role (7=0945=> 2 ?@8:;048 28:>@8AB0==O FVTW :>=AB@C:FVW). 030;>< :>@?CA ?>40T 60 ?@8:;04V2 V7 4VTA;V2=>N :>=AB@C:FVTN come to believe, ?@8 G><C 2AV 2>=8 28:>@8AB>2CNBLAO ;8H5 2 ?8AL<>2><C 283;O4V (:=86:8 (49) V ?5@V>48G=V 2840==O (11)). >:@5<0, =091V;LH5 B0:8E ?@8:;04V2 70DV:A>20=> 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW  28 28?04:V2, 2 0:045<VG=V9 ?@>7V  10, 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E  10, 0 B0:>6 3 28?04:8 2 3075B0E V 9  2 V=H8E >?C1;V:>20=8E <0B5@V0;0E. A=>2=0 2V:>20 0C48B>@VO  4>@>A;V 7 E>@>H>N >A2VB>N (C 5-B8 28?04:0E). # 1V;LH>ABV 28?04:V2 FO 4VTA;V2=0 :>=AB@C:FVO 28:>@8AB>2CTBLAO =0 ?>G0B:C @5G5==O (26), 0 B0:>6 2A5@548=V (15); V ;8H5 C 42>E 28?04:0E come to believe 28:>@8AB>2CTBLAO 2 :V=FV @5G5==O, 0 C ? OBL>E  709<0T ?>78FVN  whole text . "0:>6, come to believe 28:>@8AB>2CTBLAO C Past Simple, Present V Past Perfect, 70DV:A>20=> 39 28?04:V2 26820==O Past Simple, 0 B0:>6 ?> 14 28?04:V2 28:>@8AB0==O :>6=>3> 7 ?5@D5:B=8E G0AV2, I> ?>7=0G0NBL 4VN C A2>W9 FV;VA=>ABV (7025@H0;L=5 G8 :V=F525 7=0G5==O), =0?@.: Conservatives had come to believe that they were the rightful rulers of the country. I have come to believe that the soft occult more often than not leads to the hard stuff.On Christmas Eve a candle-lit procession, led by Matron, came to sing carols. 06;82> 73040B8 B0:>6, I> C 728G09=><C <8=C;><C G0AV (Past Simple) B0:0 4VTA;V2=0 :>=AB@C:FVO 28:>@8AB>2CTBLAO @V4H5 (39), =V6 C 728G09=><C B5?5@VH=L><C (Present Simple) G0AV (60), 0;5 C ?>@V2=O==V V7 ?5@D5:B=8<8 G0A0<8 (14)  28:>@8AB>2CTBLAO G0ABVH5. 0?@. I came to believe that I had been responsible for those terrible things, that I was to blame, that I must be very bad. 0 2V4<V=C 2V4 ?>?5@54=L> 27OB8E ?@8:;04V2, came to believe 7CAB@VG0TBLAO 2 =5>?C1;V:>20=8E ?8AL<>28E <0B5@V0;0E. 8:>@8AB0==O 4VTA;>20 come C Past Continuous >7=0G0B8<5 ;8H5 ?>ABC?>289 ?V4EV4 4VW, =0?@..: Well, like, I can remember when the word went round that someone was coming to do research on the RUC.  B0:8E 20@V0=BV2, ?>40=8E :>@?CA>< T 420, ?@8 G><C >48= 27OB89 V7 ?8AL<>28E B5:ABV2 0:045<VG=>W ?@>78, 0 4@C389  7 CA=>3> <0B5@V0;C. 6820==O come to-Vinf 7 @V7=8<8 4VTA;>20<8: "01;8F0 1 ;0A8DV:0FVO B5:ABV2 Verb phrase (combination)TotalWrittenTranscribed speechcome to understand52466came to understand 1313-had come to understand55-have come to understand55-has come to understand11-will come to understand541come to think21318627came to think4646-had come to think77-have come to think22-has come to think11-come to play 25232came to play18171have come to play88-has come to play22-had come to play---will come to play---come to desire 11-came to desire---had come to desire11-come to climb 11-came to admire55-come to admire1313-come to realize19136came to realize27261come to realise65641came to realise2626-had come to realize55-had come to realise1010-will come to realize22-came to like22-come to like981come to sing11-had come to know2929-have come to know16 151was coming to know 11-come to live60555come to know97916came to know67661come to appreciate25232come to join16151come to seem28271come to adopt44-come to see28724838came to see 33330726had come to see3938-have come to see34331is coming to see541come to grief25241come to recognize 18171come to work463610came to work47425come to represent2424-come to do432716came to do33258come to rely2222-come to resolve11-come to dominate3939-come to rest5454-come to pass56515 /: <8 10G8<>,B0:V A;>2>A?>;CG5==O 28:>@8AB>2CNBLAO O: 2 ?8AL<>28E <0B5@V0;0E, B0: V 2 CA=><C <>2;5==V, E>G0 2 4@C3><C  7=0G=> <5=H5. 091V;LH5 B0:8E A;>2>26820=L 7CAB@VG0TBLAO 2 EC4>6=V9 ;VB5@0BC@V  362 ?@8:;04V2; 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW  182 ?@8:;04V2, 2 0:045<VG=V9 ?@>7V  99 ?@8:;04V2, 0 2 3075B0E  ;8H5 41 ?@8:;04; V 2 V=H8E >?C1;V:>20=8E ?8AL<>28E <0B5@V0;0E  140 ?@8:;04V2, 0 2 =5>?C1;V:>20=8E ?8AL<>28E <0B5@V0;0E  23 28?04:8. )> AB>ACTBLAO CA=>3> <>2;5==O, B> BCB 7CAB@VG0TBLAO =01030B> <5=H5 B0:8E A;>2>26820=L V =5 7 CAV<0 B8<8 4VTA;>20<8, O:V ?@54AB02;5=V 2 ?8AL<>28E <0B5@V0;0E, I> ?@54AB02;5=> C B01;8FV. "0:, =0?@8:;04, 2 CA=><C <>2;5==V 70DV:A>20=> B0:C 4VTA;V2=C :>=AB@C:FVN O: come to understand 7CAB@VG0TBLAO 1 @07 C A?V;:C20==V V 5 @07V2  2 V=H8E @>7<>2=8E <0B5@V0;0E; come to think  21 28?04>: C A?V;:C20==V V 6  2 V=H8E @>7<>2=8E <0B5@V0;0E; come to realize  3 28?04:8 C A?V;:C20==V V 3  2 V=H8E @>7<>2=8E <0B5@V0;0E; come to realise  ;8H5 1 28?04>: 2 V=H8E @>7<>2=8E <0B5@V0;0E; ?>@V2=O=> G0AB> 2 CA=><C <>2;5==V 7CAB@VG0TBLAO come to see  18 @07V2 C A?V;:C20==V V 20  2 V=H8E ?8AL<>28E <0B5@V0;0E. 030;><, :V;L:VABL 28:>@8AB0==O come to-Vinf 2 CA=8E <0B5@V0;0E AB0=>28BL 123 28?04:8, I> <0965 2 7 @07V2 <5=H5 2V4 :V;L:>ABV B0:8E ?@8:;04V2 28:>@8AB0==O 2 ?8AL<>28E <0B5@V0;0E (7030;>< 847 ?@8:;04V2). /:I> :;0A8DV:C20B8 ?V43@C?8 CA=>3> :>=B5:ABC, B> @>7?>4V; G0AB>B=>3> 28:>@8AB0==O =0ABC?=89: >A2VB=V9 G8 V=D>@<0B82=89 @>74V;  15 28?04:V2, @>74V; 1V7=5AC  17 28?04:V2, @>74V; 3@><04AL:>ABV  14 28?04:V2 V @>74V; 2V;L=>3> G0AC  17 28?04:V2, 0 2AV V=HV 28?04:8 (60 7 123-E. A=>2=89 :>=B8=35=B, O:89 >?5@CT B0:8<8 A;>2>A?>;CG5==O<8  F5 4>@>A;V C 724 28?04:0E; ?V4;VB:0<8 B0:0 :>=AB@C:FVO 28:>@8AB>2CTBLAO 2 33 28?04:0E; 12 28?04:V2 28:>@8AB0==O =0;568BL 4VBO<. 28G09=>, =5>1EV4=> 70C2068B8, I> =09G0ABVH5 28:>@8AB>2CTBLAO 728G09=89 B5?5@VH=V9 G0A (Present Simple), ?>BV< <8=C;89 (Past Simple), 0 2AV A:;04=V G0A>2V D>@<8 28:>@8AB>2CNBLAO 4C65 @V4:> V BV;L:8 2 ?8AL<>2><C 283;O4V, 0 7 CA=>3> <>2;5==O 2>=8 ?>2=VABN 7=8:0NBL. >6=0 2V47=0G8B8 ;8H5 42V 4VTA;V2=V :>=AB@C:FVW, O:V 2 ?8AL<>2><C <>2;5==V 2 Past Simple 26820NBLAO G0ABVH5, =V6 C Present Simple  F5 came to see V came to work  Past Simple 333::Present Simple 287 V Past Simple 47::Present Simple 46 2V4?>2V4=>, 0 >B 2 CA=><C <>2;5==V, O: V 2 V=H8E 28?04:0E, G0AB>B=VABL 28:>@8AB0==O F8E A;>2>26820=L 2 Past Simple ?@0:B8G=> 242VGV <5=H0 70 :V;L:VABL ?@8:;04V2 C Present Simple. Get to-Ving V get to V-inf 2:07CNBL =0 4VN G8 AB0=, O:0 I>9=> 70?>G0B:>20=0, 0 A0<5: But what if you get to thinking, are nuclear weapons good? or are they bad? are the political events we are experiencing good or bad? Some women who have always had a career only get to think about the need for closer relationships after that finishes.Ordinary couples get to resemble each other. Get to-Ving V get to V-inf 7CAB@VG0NBLAO 2 :>@?CAV ?> 4 @078 :>65=, 0;5 T GVB:0 2V4<V==VABL C 28:>@8AB0==V, >A:V;L:8 :>=AB@C:FVO get to-Ving 7CAB@VG0TBLAO ;8H5 2 ?8AL<>2V9 D>@<V, 0 :>=AB@C:FVO get to V-inf  V 2 ?8AL<>2V9, V 2 CA=V9 D>@<0E >4=0:>2> (?> 2 @078). &V:028< T B5, I> <8=C;89 G0A (Past Simple) B0:8E 4VTA;V2=8E :>=AB@C:FV9 7CAB@VG0TBLAO G0ABVH5, =V6 B5?5@VH=V9 (Present Simple). 0?@8:;04 get to think (4)::got to think (92), get to thinking (4)::got to thinking (7). @8 G><C got to think @V7:> 284V;OTBLAO =5 ?@>AB> B8<, I> 25;8:0 :V;L:VABL ?@8:;04V2 26820TBLAO 2 <8=C;><C, 0 9 B8<, I> >A=>2=0 1V;LHVABL 28?04:V2 AB>ACTBLAO CA=>3> <>2;5==O (2 ?8AL<>28E <0B5@V0;0E 70DV:A>20=> 31 ?@8:;04, 0 2 CA=8E  61). G5284=>, A0<5 B0:C :>=AB@C:FVN 4C65 G0AB> 28:>@8AB>2CNBL ;N48 @V7=>3> 2V:C 2 CA=><C :>=B5:ABV: 2 @>74V;V >A2VB8 (18), 1V7=5AC (11), 3@><04AL:>ABV (12) B0 2V;L=>3> G0AC (5). :@V< CA=>3> <>2;5==O, got to think B0:>6 7CAB@VG0TBLAO I5 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E  21 28?04>:, 2 0:045<VG=V9 ?@>7V  5 28?04:V2, 2 3075B0E  3 28?04:8 V ?> 1 28?04:C 2 =50:045<VG=V9 ?@>7V V V=H8E >?C1;V:>20=8E <0B5@V0;0E. 8:>@8AB>2CNBL B0:C 4VTA;V2=C D@07C 4>@>A;V ;N48, V ;8H5 C 3 28?04:0E 70DV:A>20=V ?V4;VB:8 V 2 1 28?04:C  4VB8. 5<>6;82> =5 2V47=0G8B8 B0:V 42V 4VTA;V2=V :>=AB@C:FVW O: get to be V got to be, B>1B> I>9=> 70?>G0B:>20=C 4VN 2 B5?5@VH=L><C G8 <8=C;><C. 8@065==O V=E>0B82=>3> 0A?5:BC B0:8< G8=>< 26820TBLAO 2 B@84FOBL @07 G0ABVH5 2 Past Simple (1346 28?04:V2 28:>@8AB0==O), =V6 2 Present Simple (45 28?04:V2).  2 40=><C 28?04:C B0:>6 ACBBT2> ?5@52060T CA=5 <>2;5==O, 2 O:><C got to be H8@>:> 28:>@8AB>2CTBLAO (767 28?04:V2), 7>:@5<0 C A?V;:C20==V (268), 0 B0:>6 F59 28@07 >E>?;NT @V7=V 60=@8, B0:V O: EC4>6=O ;VB5@0BC@0 (210), 3075B8 (107), =50:045<VG=0 ?@>70 V 1V1;V>3@0DVO (99), 0:045<VG=0 ?@>70 (23), V=HV >?C1;V:>20=V <0B5@V0;8 (105) B0 =5>?C1;V:>20=V (35). )> AB>ACTBLAO @>74V;C @>7<>2=>3> :>=B5:ABC, B> got to be G0AB> 7CAB@VG0TBLAO V 2 AD5@V >A2VB8 (144), V 1V7=5AC (131), V 2 @>74V;V 3@><04AL:>ABV (123) B0 2V;L=>3> G0AC (101). '0A>20 D>@<0 Present Perfect B@5BL>W >A>18 >4=8=8 has got to be B0:>6 G0AB> 28:>@8AB>2CTBLAO 2 CA=><C V ?8AL<>2><C <>2;5==V (CA=V 67::62 ?8AL<>2V <0B5@V0;8 ) V 7030;L=0 D>@<0 Present Perfect have got to be (CA=V <0B5@V0;8 48:: ?8AL<>2V <0B5@V0;8 36), I> @V4:> 2V41C20TBLAO 7 B0:8<8 G0A>28<8 D>@<0<8. 01CBL, =02VBL ?V4A2V4><>, :>@8ABC20GV <>28 2V4GC20NBL, I> A0<5 B0:V 28A;>28 4C65 1;87L:V 2AV< <>2FO<, V, 7024O:8 B0:><C 0=0;V7C, <8 <>65<> ?V4B25@48B8 =0HV ?@8?CI5==O. 030;><, :>=AB@C:FVO get to-Ving 7CAB@VG0TBLAO ?@81;87=> 15 @07V2 ;8H5 2 ?8AL<>28E <0B5@V0;0E  2 >A=>2=><C 2 :=86:0E, 0 >B get to V-inf  766 @07V2 C ?8AL<>28E <0B5@V0;0E (679)  F5 EC4>6=O ;VB5@0BC@0 V ?5@V>48G=V 2840==O, V 2 CA=><C <>2;5==V (195 28?04:V2 28:>@8AB0==O 2 CAVE CA=8E :>=B5:AB0E ?@81;87=> >4=0:>2>). !B>WBL B0:0 4VTA;V2=0 :>=AB@C:FVO, O: ?@028;>, =0 ?>G0B:C 01> 2A5@548=V @5G5==O. A=>2=0 2V:>20 :0B53>@VO, O:0 >?5@CT =5N  F5 4>@>A;V, ;8H5 2 ?>>48=>:8E 28?04:0E WW 28:>@8AB>2CNBL 4VB8 V ?V4;VB:8. Grow to-Vinf V grow+Adj.  28@060T ?52=C 4VN G8 AB0=, O:C ?>ABC?>2> 4>AO3=CB>:  I hope he will grow to be finer than his father, may God bless him. Eventually they may grow to like each other, especially if there is some other link they can make with each other such as matching colour. Though never legalised, the bicheiros' sport grew to be Brazil's most lucrative lottery. =0;V7CNG8 28:>@8AB0==O :>=AB@C:FVW grow to-inf (42 28?04:8) B0 grew to-inf , A;V4 707=0G8B8, I> 2 Past Simple 2>=0 26820TBLAO 2 ?V2B>@0-420 @078 G0ABVH5, =V6 2 Present Simple, V 7CAB@VG0TBLAO BV;L:8 2 ?8AL<>28E <0B5@V0;0E. "0:, =0?@8:;04, grow to be 7CAB@VG0TBLAO 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (6), 2 EC4>6=V9 ;VB5@0BC@V (3) V 2 V=H8E >?C1;V:>20=8E V =5>?C1;V:>20=8E <0B5@V0;0E (2); grow to become  2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (1) V 2 V=H8E >?C1;V:>20=8E <0B5@V0;0E (1); grow to love  2 3075B0E (2) V =50:045<VG=V9 ?@>7V V EC4>6=V9 ;VB5@0BC@V (?> 1 @07C). ">1B>, 7030;><, B0:0 :>=AB@C:FVO 26820TBLAO 2 CAVE 60=@0E ?> :V;L:0 ?@8:;04V2 C :>6=><C.  ;8H5 2 ?@8:;048 7 grow to appreciate, I> 28:>@8AB>2CTBLAO 2 CA=><C <>2;5==V V ?> 1 ?@8:;04C 7 grow to be V grow to meet, I> B0:>6 70DV:A>20=V O: B0:V, I> 26820NBLAO 2 CA=><C <>2;5==V. /: V 1C;> 73040=> @0=VH5, G8< 1V;LH5 CA:;04=NTBLAO G0A>20 D>@<0, B8< @V4H5 B0:V :>=AB@C:FVW 28:>@8AB>2CNBLAO, 0 45O:V 7 =8E 27030;V =5 7CAB@VG0NBLAO 2 Past Simple, =0?@..: grew to possess, grew to meet, grew to trust, grew to cause, grew to provide, grew to replace.  45O:V =02?0:8: 2 Past Simple 7CAB@VG0NBLAO G0ABVH5, =V6 2 Present Simple, 0;5 2A5 6 B0:8 BV;L:8 2 ?8AL<>28E <0B5@V0;0E, =0?@..: grew to hate (Present Simple(2):: Past Simple(4)), grew to love (Present Simple(4):: Past Simple(6)). A=>2=0 2V:>20 :0B53>@VO, O:0 28:>@8AB>2CT B0:C :>=AB@C:FVN  4>@>A;V. !E>65 0A?5:BC0;L=5 7=0G5==O <0T 28:>@8AB0==O 4VTA;>20 to grow @07>< V7 ?@8:<5B=8:0<8, I> 28@060T ?52=89 AB0=, O:89 ?>ABC?>2> 4>AO3=CB>, =0?@8:;04: The pull of the invisible creature grew stronger. His face softened, his pupils grew bigger, and his irises went deep green like olive oil. I like a bit of clear water and the chance to grow attractive aquatics like lilies. Eventually, if given enough care and space, the new cuttings will grow stronger and larger than the mother plant herself. (70DV:A>20=> 5 B0:8E 28?04:V2 28:>@8AB0==O C <091CB=L><C G0AV). VTA;>2> grow 7 ?@8:<5B=8:0<8 26820TBLAO G0ABVH5 (401 ?@8:;04), =V6 7 V=DV=VB82>< (42 ?@8:;048). V;LHVABL 28?04:V2 28:>@8AB0==O 4VTA;>20 grow V7 ?@8:<5B=8:0<8 7CAB@VG0TBLAO 2 ?8AL<>28E <0B5@V0;0E (380 ?@8:;04V2)  1V;LH5 2 :=86:0E V <5=H5 2 ?5@V>48G=8E 2840==OE, 0 2 CA=><C <>2;5==V WE ?>@V2=O=> <0;> (21)  =0?@8:;04, grow big 7CAB@VG0TBLAO 1 @07 2 @>74V;V 1V7=5AC V 1 @07 2 @>74V;V 2V;L=>3> G0AC; grow older  2 1 @07 2 @>74V;V >A2VB8, 0 grew older  1 @07 2 @>74V;V >A2VB8 V 3 @078 2 @>74V;V 2V;L=>3> G0AC. !;V4 707=0G8B8, I> 2 @>7<>2=><C :>=B5:ABV @>74V;C 3@><04AL:>ABV B0:>W :>=AB@C:FVW =5 70DV:A>20=> V FO =525;8:0 :V;L:VABL 26820=L WW 2 CA=><C <>2;5==V =0;568BL ;8H5 @>74V;C >A2VB8, 1V7=5AC V 2V;L=>3> G0AC. "0:>6 206;82> 707=0G8B8, I> O:I> ?VA;O grow AB>WBL ?@8:<5B=8: C 28I><C ABC?5=V ?>@V2=O==O, B> C 1030BL>E 28?04:0E B0:8E 4VTA;V2=8E :>=AB@C:FV9 V7 ?@8:<5B=8:0<8 C 28I><C ABC?5=V ?>@V2=O==O T 1V;LH5, =V6 V7 728G09=8<8 ?@8:<5B=8:0<8: Let him grow stronger before you break the news. Chicken, if you eat chicken it makes you grow strong cos it's got protein in, if you it makes you. B65, G0AB>B=VABL 28:>@8AB0==O =0ABC?=0: grow strong (4) :: grow stronger (15), grow old (66) :: grow older (71), grow fast (7) :: grow faster (21), grow long (6) :: grow longer (9), 0;5 grow big (21) :: grow bigger (17), grow tall (12) :: grow taller (5) V V=. !;V4 2V47=0G8B8, I> grow to-Vinf V come to-Vinf =5 T 01A>;NB=8<8 A8=>=V<0<8 : He come to believe  2V= ?>2V@82; He grew to believe  2V= ?>G02 2V@8B8 [10, A.131]. Fall to V-ing 2:07CT =0 @0?B>25 70?>G0B:C20==O 4VW, =0?@8:;04: Sometimes, sitting in Sadie's room, temporarily energetic, talkative  cups of tea, coffee, perhaps a madeira  she would fall to thinking, looking at Sadie  and imagining. # FL><C 28?04:C 206;82> 2V47=0G8B8, I> :>@?CA 2840T ;8H5 6 ?@8:;04V2 28:>@8AB0==O B0:>W :>=AB@C:FVW 7 HVABL<0 @V7=8<8 4VTA;>20<8.  >A=>2=><C B0:V :>=AB@C:FVW 7CAB@VG0NBLAO 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E B0 2 =50:045<VG=V9 ?@>7V. )> AB>ACTBLAO 28:>@8AB0==O FVTW :>=AB@C:FVW 2 Past Simple, B> :>@?CA 70?@>?>=C202 ;8H5 >48= B0:89 28?04>: 28:>@8AB0==O: He fell to thinking of the shape in the well-pit, and then dropped into a drowsy half-dream, in which El-ahrairah said that it was all a trick of his to disguise himself as Poison-tree and put the stones in the wall, to engage Strawberry's attention while he himself  7CAB@VG0TBLAO 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E. When temperatures fall to freezing, they're ready to go  C =5>?C1;V:>20=8E <0B5@V0;0E. =E>0B82=89 0A?5:B T >G5284=8< C D@070E V7 4VTA;>2>< to fall, ?VA;O O:>3> 26820TBLAO 2V44VTA;V2=89 V<5==8:, 0 A0<5: However, while searching the many rooms for signs of the species Homo Sapiens, Daisy caught herself on a mystic spinning wheel and fell into a sleep so deep it would surely last for a hundred years (zzzzzzzz!— Ed). Before the storm broke he fell into a sleep so peaceful and deep that he heard nothing of the thunder crashing overhead or of the rush of waters as the lake filled and spread and crept and grew like a living thing. !;V4 707=0G8B8, I> fall into a sleep =5 28:>@8AB>2CTBLAO C D>@<V B5?5@VH=L>3> G0AC, BV;L:8 2 <8=C;><C G0AV fell into a sleep.  FV 420 ?@8:;048 T T48=8<8, 281@0=8<8 7 :>@?CAC, 2 O:8E <0T <VAF5 28:>@8AB0==O B0:>W :>=AB@C:FVW. Take to-Ving  2ABC?=89 (ingressive) E0@0:B5@ 4VW G8 ?>G0B>: 728G:8, =0?@8:;04: How he would take to having somebody prying she dared not think.  ?@8:;04 7 EC4>6=L>W ;VB5@0BC@8; As they grow larger, they take to eating fish. It was at this point, when I was twelve years old, that I took to reading junk books the way some people take to eating junk food.  2 ?@8:;048 V7 =50:045<VG=>W ?@>78 V 1V1;V>3@0DVW. AL>3> 70DV:A>20=> 13 28?04:V2 28:>@8AB0==O B0:>W :>=AB@C:FVW V7 12-<0 @V7=8<8 4VTA;>20<8, 1V;LHVABL 7 O:8E 7CAB@VG0NBLAO 2 EC4>6=V9 ;VB5@0BC@V V =50:045<VG=V9 ?@>7V B0 1V1;V>3@0DVW. 8H5 420 ?@8:;048 :>=AB@C:FVW take to-Ving 28:>@8AB>2CNBLAO BV;L:8 2 CA=><C <>2;5==V, C A?V;:C20==V. 5@H89 ?@8:;04 70DV:A>20=89 C @>74V;V 2V;L=89 G0A, 0 4@C389  2 1V7=5AV: 1) And there's an awful lot of polishers take to drinking methylated spirits.2) What I'd like to introduce lastly now is an approach that you can take to training to help yourselves and to help make it more effective and more systematic and what I'd like to introduce to you is, is something called the training cycle and the rest of the course is actually based around the training cycle and I know Margaret. Past Simple 26820TBLAO B0:>6 7451V;LH>3> 2 EC4>6=V9 ;VB5@0BC@V V =50:045<VG=V9 ?@>7V: He took to eating and drinking too much also, that most gentle of all the sins (1 28?04>:). He really took to reading at a very early age (2 28?04:8). After that Syl took to walking from his garden along the edge of the golf course to my mother's garden (128?04>:). She took to drinking more than she should, and most nights she would cry herself to sleep, thinking of what might have been (3 28?04:8). Ultimately I took to wearing them all the time, only whipping them off when approached by a boy I vaguely fancied, or at the door of a friend of my mother's with a boy she fancied for me inside (10 28?04:V2). 6820NBL B0:C 4VTA;V2=C :>=AB@C:FVN ;8H5 4>@>A;V ;N48 7 E>@>H>N >A2VB>N. Set to-Ving 28:>@8AB>2CTBLAO 4;O 28@065==O 4VW, O:0 0:B82=> G8 =0?>;53;82> @>7?>G0B0, B>1B>: Because I found historical films about men on horseback so moving I was pleased when my then wife, Jenni, set to writing a book about the wild west. The rest of the company set to unsaddling the horses and building a fire. >@?CA 2840T 8 ?@8:;04V2 26820==O B0:>W :>=AB@C:FVW 7 @V7=8<8 4VTA;>20<8 ?> >4=><C @07C 7 :>6=8<, ?@8 G><C 2AV 28?04:8 28:>@8AB>2CNBLAO 28:;NG=> 2 ?8AL<>28E <0B5@V0;0E V ;8H5 2 B0:><C G0AV: 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E (4), =50:045<VG=0 ?@>70 V 1V1;V>3@0DVO (3), V=HV >?C1;V:>20=V <0B5@V0;8(1). # 28?04:C, :>;8 set 28:>@8AB>2CTBLAO O: B@0=78B82=5 4VTA;>2>, ?VA;O O:>3> 26820TBLAO 35@C=4V9, V=E>0B82=0 4VO ?>2 O70=0 V7 :0C70B82=8< 7=0G5==O<: But I have to admit that with the exception of the quick GTi and certainly the new 2.8-litre VR6, the latest Golf is not the kind of car to set the pulses racing. Leroy May got the first goal…that set the fans dancing…and United went thro on penalties…it was one of their best nights of the year… It would be up to God to wind up the clockwork and set the universe going in any way He wanted. The ebbing tide swells to set the loin cloth flying. This first part of a scholarly and sometimes challenging book contains plenty to set the pavilions buzzing with discussion. 030;><, 70DV:A>20=> 28 28?04:V2 B0:>3> 28:>@8AB0==O. AV, >:@V< >4=>3> 28?04:C, O:89 7CAB@VG0TBLAO 2 CA=><C <>2;5==V, 2 @>74V;V >A2VB8, 28:>@8AB>2CNBLAO C @V7=8E ?8AL<>28E <0B5@V0;0E: 2 0:045<VG=V9 ?@>7V (3), 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E (4), 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (3), 2 3075B0E (7), 2 V=H8E >?C1;V:>20=8E <0B5@V0;0E (7) V 2 =5>?C1;V:>20=8E <0B5@V0;0E (4). =E>0B82=VABL 28@060B8<5BLAO B0:>6 V B0:8<8 D@075>;>3VG=8<8 >48=8FO<8 7 4VTA;>20<8 break, burst, fall V put: to break into song, to break into a laugh, to burst into laughter, to burst forth into song, to break into a run, to fall into talk, to fall into a flutter, to put into a flutter, to fly into a passion, to fly into rage V V=.. 0?@8:;04: Its face was blunt and furred and screwed up as though about to burst into tears. Deborah turned away from the signpost and began wading back through the deep undergrowth to the main path, intending to break into a run when she reached it; but just as she turned off she heard a faint, distant, reedy cry, which stopped her in her tracks. Images captured from TV, sent back from space, or more prosaically produced by a document scanner, are likely to fall into the same category. It is, however, easy to say; much more difficult to put into practice. Sendei turned the final corner and emerged into a small circular space. Mitch was going to fly into a rage. Presumably, this is what moths are doing when they fly into a candle and are burnt to death. "01;8F0 2 ;0A8DV:0FVO B5:ABV2 Verb phrase (combination)TotalWrittenTranscribed speechto burst into60558520to break into29025040to fall into94990643to put into14381248190to fly into52484broke into44642917 !;V4 707=0G8B8, I> B0:V 4VTA;V2=V :>=AB@C:FVW T 4C65 ?>?C;O@=8<8 O: 2 ?8AL<>2><C, B0: V 2 CA=><C <>2;5==V, 7 O2;ONBLAO 2 @V7=8E 60=@0E, 28:>@8AB>2CNBLAO ;N4L<8 @V7=>3> 2V:C. 09G0ABVH5 28@07 to burst into 7CAB@VG0TBLAO 2 EC4>6=V9 ;VB5@0BC@V (300) V 3075B0E (107), 0 B0:>6 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (83), @V4H5 ?@>A;V4:>2CTBLAO 2 V=H8E >?C1;V:>20=8E (57) V =5>?C1;V:>20=8E (21) <0B5@V0;0E, 2 0:045<VG=V9 ?@>7V (17) V 2 A?V;:C20==V (10) B0 V=H8E @>7<>2=8E A8BC0FVOE (10).  @>7<>2=><C :>=B5:ABV ?5@52060T @>74V; >A2VB8 (5), 3@><04AL:>ABV (4) V 2V;L=>3> G0AC (1). &59 28@07 =091V;LH5 26820NBL 4>@>A;V (503) V 7=0G=> <5=H5, 0;5 2A5 6 26820NBL ?V4;VB:8 (31), 4VB8 (24) V ;N48 1C4L-O:>3> 2V:C (27). >78FVO 2 @5G5==V ?5@5206=> A5@548==0 (156), ?>G0B:>20 (127), :V=F520 (38), 0 @5HBC 28?04:V2 :;0A8DV:CTBLAO O: ?>78FVO =52V4><0 (unknown sampling  191), ?>78FVO, I> 709<0T FV;5 @5G5==O (whole text  57), 0 B0:>6 :><1V=>20=0 ?>78FVO (composite sampling  16). 8@07 to break into 7CAB@VG0TBLAO 2 EC4>6=V9 ;VB5@0BC@V (61), 2 3075B0E (57), 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (63), 2 V=H8E >?C1;V:>20=8E (42) V =5>?C1;V:>20=8E (10) <0B5@V0;0E, 2 0:045<VG=V9 ?@>7V (17) V 2 A?V;:C20==V (10) B0 V=H8E @>7<>2=8E A8BC0FVOE (30).  @>7<>2=><C :>=B5:ABV G0AB>B=VABL 28:>@8AB0==O FL>3> 28@07C =0ABC?=0: @>74V; >A2VB8 (6), 1V7=5AC (4), 3@><04AL:>ABV (15) V 2V;L=>3> G0AC (5). &59 28@07 =091V;LH5 26820NBL 4>@>A;V (209) V 7=0G=> <5=H5  ?V4;VB:8 (8), 4VB8 (5) V ;N48 1C4L-O:>3> 2V:C (28). 8@07 to fall into 7CAB@VG0TBLAO 2 EC4>6=V9 ;VB5@0BC@V (120), 2 3075B0E (62), 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (262), 2 V=H8E >?C1;V:>20=8E (208) V =5>?C1;V:>20=8E (38) <0B5@V0;0E, 2 0:045<VG=V9 ?@>7V (216) V 2 A?V;:C20==V (10) B0 V=H8E @>7<>2=8E A8BC0FVOE (33).  @>7<>2=><C :>=B5:ABV G0AB>B=VABL 28:>@8AB0==O FL>3> 28@07C =0ABC?=0: @>74V; >A2VB8 (4), 1V7=5AC (9), 3@><04AL:>ABV (11) V 2V;L=>3> G0AC (9). &59 28@07, 728G09=> 6, =091V;LH5 26820NBL 4>@>A;V (867) V 7=0G=> <5=H5  ?V4;VB:8 (15), 4VB8 (5). 091V;LH5 ?>78FVO 2 @5G5==V :;0A8DV:CTBLAO O: ?>78FVO =52V4><0 (unknown sampling  301), A5@548==0 (195) V ?>G0B:>20 (274), :V=F520 (40), ?>78FVO, I> 709<0T FV;5 @5G5==O (whole text  82), 0 B0:>6 A:;045=0 ?>78FVO (composite sampling  14). >73;O=5<> 45B0;L=> I5 28@07 to put into, >A:V;L:8 G0AB>B=VABL 9>3> 28:>@8AB0==O T =091V;LH>N 7 28I5 ?>40=8E D@075>;>3VG=8E 4VTA;V2: 7CAB@VG0TBLAO =09G0ABVH5 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (392), 2 0:045<VG=V9 ?@>7V (213), 2 EC4>6=V9 ;VB5@0BC@V (132), 2 3075B0E (126), 2 V=H8E >?C1;V:>20=8E (312) V =5>?C1;V:>20=8E (73) <0B5@V0;0E, V 2 A?V;:C20==V (27) B0 V=H8E @>7<>2=8E A8BC0FVOE (163).  @>7<>2=><C :>=B5:ABV G0AB>B=VABL 28:>@8AB0==O FL>3> 28@07C =0ABC?=0: @>74V; >A2VB8 (32), 1V7=5AC (38), 3@><04AL:>ABV (44) V 2V;L=>3> G0AC (49). &59 28@07, 728G09=> 6, =091V;LH5 26820NBL 4>@>A;V (1166) V 7=0G=> <5=H5  ?V4;VB:8 (23), 4VB8 (8) V ;N48 1C4L-O:>3> 2V:C (51). B65, =091V;LH5 B0:8E 28@07V2 <>6=0 7=09B8 C :=86:0E V ?5@V>48G=8E 2840==OE. )>4> CA=>3> <>2;5==O, B> V BCB B0:V :>=AB@C:FVW H8@>:> 28:>@8AB>2CNBLAO 2 @V7=8E @>74V;0E <>2=>3> :>=B5:ABC. >:@5<0, put into =09G0ABVH5 26820TBLAO C 2V;L=89 G0A, 40;V 94CBL 3075B8, 1V7=5A V >A2VB0; 0 >B break into V fall into =09G0ABVH5 <>6=0 ?>10G8B8 2 3075B=8E <0B5@V0;0E. /:I> A?>AB5@V30B8 O: 7<V=NNBLAO AB0B8AB8G=V ?>:07=8:8 V7 20@VN20==O< G0AC, B> <>6=0 A:070B8, I>, O: V 2 1V;LH>ABV ?>?5@54=VE 28?04:V2, 7 CA:;04=5==O< G0A>28E :>=AB@C:FV9 7<5=HCNBLAO ?>:07=8:8 WE=L>3> 28:>@8AB0==O, 0 7 CA=>3> <>2;5==O 2>=8 ?@0:B8G=> 7=8:0NBL. 48=8< 28=OB:>< T G0A>20 D>@<0 Past Simple  broke into, :V;L:VABL 26820==O O:>3> T 45I> 1V;LH>N (446) 70 26820==O 9>3> 2 Present Simple (290). 0 2V4<V=C 2V4 FVTW :>=AB@C:FVW 2 B5?5@VH=L><C G0AV, B0:0 :>=AB@C:FVO 2 <8=C;><C =09G0ABVH5 28:>@8AB>2CTBLAO 2 EC4>6=V9 ;VB5@0BC@V (170) V 3075B0E (165). 5HBC 2AV D@07>2V 4VTA;>20 2 Past Simple, Present V Past Perfect 28:>@8AB>2CNBLAO 7=0G=> @V4H5, =V6 2 Present Simple, 0 28:>@8AB0==O WE 2 Present V Past Continuous 7CAB@VG0TBLAO 2 ?>>48=>:8E 28?04:0E. =E>0B82=VABL 28@060TBLAO B0:>6 70 4>?><>3>N 28:>@8AB0==O 4VTA;V2 to come V to go, ?VA;O O:8E 26820TBLAO participle (4VT?@8A;V2=8:, 4VT?@8:<5B=8:), =0?@8:;04 come flying, come running, go flying, go bumping,go doing V B. V=.: Well, I just hope no more aeroplanes come flying around, that's all. Philip had shouted to the others and they'd all come running up. Niall Taylor, 33, of Billingham, Cleveland, persuaded Carol Kennedy to go flying after saying he had won the trip on the four-seater Cessna in a raffle. ‘It's no worse than driving in mist,’ I said, to comfort him, though in fact it was hard to see the road; I was afraid that at any moment the car would go bumping off it, into the surrounding desert. We all have to die some time and would like to go doing what we enjoy most. 030;><, 2>=8 28:>@8AB>2CNBLAO O: 2 CA=><C <>2;5==V (51), 0 A0<5 C A?V;:C20==V, B0: V 2 ?8AL<>28E (87) <0B5@V0;0E, <0965 2AV ?@8:;048 ?>40=V 2 EC4>6=V9 ;VB5@0BC@V. @0<0B8G=V V4V><8 B0:>3> B8?C T =091V;LH 28@07=8<8 V @V7=><0=VB=8<8. @8:;04>< <>6CBL 1CB8: Her shoes went flying as she kicked them off her feet (G0AB>B=VABL 28:>@8AB0==O went flying (30::18::12) 242VGV 1V;LH0 70 G0AB>B=VABL 28:>@8AB0==O go flying (16::10::6), ?@8 G><C O: 2 CA=><C, B0: V 2 ?8AL<>2><C <>2;5==V (7030;L=0 :V;L:VABL:: ?8AL<>2V <0B5@V0;8 :: CA=5 <>2;5==O)). He drew deeply on his cigarette then sent it spinning away with a flick of his fingers. Shook newspaper off and the wind sent it whirling into the railings of the park.  It's no worse than driving in mist, I said, to comfort him, though in fact it was hard to see the road; I was afraid that at any moment the car would go bumping off it, into the surrounding desert (B0:89 28?04>: C :>@?CAV B@0?82AO ;8H5 >48= V BV;L:8 2 B5?5@VH=L><C G0AV). His head smacked firmly and noisily on the low metal ceiling of the tank, threatening to send him spinning back into unconsciousness almost straight away. &5 B0:>6 >48=8G=89 28?04>:, O:89 ?>40TBLAO BV;L:8 2 B0:><C G0AV. B5@0B82=VABL  F5 0A?5:BC0;L=5 7=0G5==O, O:5 E0@0:B5@87CT :V;L:VA=C AB>@>=C 4VW, F5  B0: 720=0 :V;L:VA=0 0A?5:BC0;L=VABL. B5@0B82=VABL T 0A?5:BC0;L=8< 7=0G5==O<, V D>@<0;L=> 2>=> 28@060TBLAO C <560E ?52=8E 0A?5:B>;>3VG=8E ?>=OBL.  >4=8E <>20E, 2:;NG0NG8 0=3;V9AL:C, 7=0G5==O VB5@0B82=>ABV =01C20T ;5:A8G=>3> >D>@<;5==O =0 @V2=V A?>A>1C 4VW, 2 V=H8E <>20E, >A>1;82> A8=B5B8G=8E, 73040=5 7=0G5==O <0T D>@<0;L=5 3@0<0B8G=5 28@065==O =0 @V2=V :0B53>@VW 284C. &5 I5 @07 4>2>48BL B>9 D0:B, I> >48= V B>9 65 7<VAB =0 @V2=V <8A;5==O <>65 2 >4=8E <>20E >B@8<C20B8 ;5:A8G=5, 0 2 V=H8E 3@0<0B8G=5 28@065==O, B><C =5 <0T GVB:>W <56V <V6 284>< B0 A?>A>1>< 4VW. [2] B5@0B82=89 0A?5:B 28@060TBLAO V7 will/would-Vinf V used to-Vinf. Will V would <>6CBL 28@060B8 728G:C G8 ?>2B>@N20=VABL (VB5@0B82=VABL), >A>1;82> :>;8 I>AL T G8 1C;> E0@0:B5@=8< 4;O ?52=8E >1AB028=, 0 B0:>6 ?@8@>4=0 AE8;L=VABL 4> G>3>AL, =0?@8:;04: A good policeman will sit you down and tell it you his way. Look, I've found a hostel that will take you for one night. A salesman at one licensed dealer used to read his clients' horoscopes for them. The system was self-organizing and the pattern would occur spontaneously. I was expecting that at any minute Mum would shout down to find out what was going on but she must have been preoccupied, trying on her new frock. That, and a few water spouts, but then boys will be boys. Girls will be girls as they say. (T48=89 20@V0=B, VA=CNG89 2 :>@?CAV) >@?CA ?>40T 4C65 1030B> ?@8:;04V2 (7030;>< 1;87L:> 182201), 45 26820NBLAO B0:V 4VTA;V2=V :>=AB@C:FVW O: 2 ?8AL<>28E (166789), B0: V 2 CA=8E <0B5@V0;0E (15412). )>4> ?8AL<>28E <0B5@V0;V2, B> G0AB>B=VABL 28:>@8AB0==O ?@81;87=> B0:0: 2 0:045<VG=V9 ?@>7V (25396), 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E (23814), =091V;LH5  2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (41624), 2 3075B0E (24928), 2 V=H8E >?C1;V:>20=8E <0B5@V0;0E (35679), 2 =5>?C1;V:>20=8E <0B5@V0;0E (12058), C A?V;:C20==V (3084), 2 V=H8E @>7<>2=8E <0B5@V0;0E (11901). >7<>2=89 :>=B5:AB 70?>2=NT =0ABC?=V @>74V;8 B0:>N G0AB>B=VABN 26820==O: >A2VB0 (2793), 1V7=5A (2383), =091V;LH5  3@><04AL:VABL (4524), 2V;L=89 G0A (2197). A=>2=0 2V:>20 :0B53>@VO, I> 26820T B0:C :>=AB@C:FVN  4>@>A;V (150347), 7=0G=> <5=H5  ?V4;VB:8 (2367), 4VB8 (970),0 B0:>6 ;N48 1C4L-O:>3> 2V:C (9697). /:I> 0=0;V7C20B8 :>=AB@C:FVN will be, B> 2>=0 =09G0ABVH5 28:>@8AB>2CTBLAO 2 @V7=8E >?C1;V:>20=8E <0B5@V0;0E (17807), 0 B0:>6 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (14002), 2 3075B0E (12169), 2 0:045<VG=V9 ?@>7V (10270), 2 =5>?C1;V:>20=8E <0B5@V0;0E (7121), 2 EC4>6=V9 ;VB5@0BC@V (3720), 0 B0:>6 C A?V;:C20==V (951) V V=H8E @>7<>2=8E <0B5@V0;0E (3652).  A2>N G5@3C would be B0:>6 28:>@8AB>2CTBLAO 2 CAVE 73040=8E 28I5 60=@0E, 0;5 CA=5 <>2;5==O 2 40=><C 28?04:C ?5@52060T.  V=H>3> 1>:C, B0:0 4VTA;V2=0 :>=AB@C:FVO O: will have 28:>@8AB>2CTBLAO <0965 2 B@8 @078 @V4H5, =V6 would have. B65, B0:8< G8=>< <8 <>65<> @>18B8 45O:V 28A=>2:8 I>4> B>3> O:V A;>2>26820==O T 1V;LH 5@3>=><VG=8<8 70A>10<8 28@065==O :0B53>@VW VB5@0B82=>3> 0A?5:BC. >?><V6=V 4VTA;>20 would V would not 28:>@8AB>2CNBLAO, B0: 18 <>28B8, V@>=VG=> C @5G5==OE B8?C: He tore his hair with his hands.  He would (= =0 F5 A?>4V20;8AO). She doesn t say anything.  She wouldn t (= =5 A?>4V20;8AL, I> 2>=0 I>AL A:065). Used to Vinf 28:>@8AB>2CTBLAO 4;O ?>@V2=O==O <8=C;>3> V B5?5@VH=L>3>, 70728G09 @07>< V7 V45TN 728G:8 G8 ?>2B>@5==O. 0?@8:;04: Old-fashioned amateurs used to admire colours with a golden glow, which conservators have demonstrated were the effect of discoloured varnish. Those who think that Jenny herself is a little dull at times might conclude that Patrick has impaled himself on that point, like one of those Romans whose language he used to teach. 030;><, used to 28:>@8AB>2CTBLAO 2 0=3;V9AL:V9 <>2V 4C65 G0AB>  25763 28?04:8, 7 O:8E 17367  C ?8AL<>28E <0B5@V0;0E V 8376  2 CA=><C <>2;5==V. /:I> @>74V;8B8 :V;L:VABL B0:8E A;>2>26820=L ?> @V7=8E 60=@0E, =5 2@0E>2CNG8 @>7?>4V; =0 CA=V V ?8AL<>2V <0B5@V0;8, B> A;V4 707=0G8B8, I> =09G0ABVH5 used to 28:>@8AB>2CTBLAO 2 @V7=><0=VB=8E @>7<>2=8E A8BC0FVOE (5557), =0ABC?=8<8 T =50:045<VG=0 ?@>70 V 1V1;V>3@0DVO (4973), V=HV >?C1;V:>20=V <0B5@V0;8 (3697), EC4>6=O ;VB5@0BC@0 V 2V@HV (3213), 0 B0:>6 2 0:045<VG=V9 ?@>7V (2964) V A?V;:C20==V (2819), V 265 <5=H5 B0:8E :>=AB@C:FVW 28:>@8AB>2CTBLAO 2 3075B0E (1356) V =5>?C1;V:>20=8E ?8AL<>28E <0B5@V0;0E (1176). !5@54 ?8AL<>28E 70A>1V2 ?5@52060NBL :=838 V ?5@V>48G=V 2840==O, 0 A5@54 CA=>3> :>=B5:ABC  2V;L=89 G0A. V:>20 :0B53>@VO ;N459, O:V 26820NBL FN :>=AB@C:FVN :>;820TBLAO, O: 702648, ?>G8=0NG8 2V4 4>@>A;8E (16164), 40;V 94CBL ?V4;VB:8 (523), ;N48 1C4L-O:>3> 2V:C (458) V 4VB8 (234). !B>WBL B0:0 :>=AB@C:FVO 70728G09 =0 ?>G0B:C G8 2A5@548=V @5G5=L. /:I> 72060B8 =0 B>9 D0:B, I> <0B5@V0;V2 CA=>3> <>2;5==O 2 :>@?CAV T 7=0G=> <5=H5, =V6 ?8AL<>28E, B> 20@B> 2V47=0G8B8, I> used to T =04728G09=> G0AB> 26820=>N 4VTA;V2=>N :>=AB@C:FVTN, O:0 26820TBLAO 7 =09@V7=><0=VB=VH8<8 4VTA;>20<8 V T 2?52=5=8< 5@3>=><VG=8< 70A>1>< 28@065==O :0B53>@VW VB5@0B82=>3> 0A?5:BC0;L=>3> 7=0G5==O. A=CT 2V4<V==VABL <V6 would V used to, 0 A0<5: =0 2V4<V=C 2V4 used to, would =5 =03>;>HCT =0 ?>@V2=O==V <V6 <8=C;8< V B5?5@VH=V<; used to =5 >1>2 O7:>2> 28@060T ?>2B>@5==O; 2 B>9 G0A O: used to 2:07CT =0 ?><VB=89 2V4@V7>: G0AC 2 <8=C;><C, 4VO G8 AB0=, I> 28@065=V would + Vinf <>6CBL >E>?;N20B8 ;8H5 4C65 :>@>B:89 2V4@V7>: G0AC G8 1CB8 <8BBT28<; would + Vinf 70728G09 2:07CT =0 >A>18AB5 70FV:02;5==O (>A>18AB89 V=B5@5A), 0 >B used to T 1V;LH >1 T:B82=5 [10, A.132]. Used + to-Vinf <>65 2:07C20B8 =5 BV;L:8 =0 ?>2B>@N20;L=V 4VW 2 <8=C;><C, 0;5 9 =0 ?>ABV9=89 (4>23>B@820;89, ?5@<0=5=B=89) AB0= C 40;5:><C <8=C;><C:  A mad professor I used to know. This used to be a lot easier to do than it is now: for one thing, working in the profession means that you have to belong to the actors' union, Equity. There's prezzies all wrapped up under the tree, just like we used to have when I lived with Annie and Mum and Dad. There is a consensus among the public that cars should not be used to go to work. # ?8B0==OE V 70?5@5G=8E (=530B82=8E) @5G5==OE V7 5=:;VB8G=8< (enclitic) not, used <>65 1CB8 2V4>:@5<;5=8< 2V4 to. 0?@..: Used he always to go out into the garden after dinner? [10, A. 133] # @>7<>2=V9 0=3;V9AL:V9 <>2V 7 O2;ONBLAO D>@<8 7 4>?><V6=8< 4VTA;>2>< did, V B>4V 70<VABL used to 26820TBLAO use to: What did they use to say at Pontins? "0:V 28?04:8 28:>@8AB0==O used to ;53:> @>7@V7=8B8, ?V4AB0282H8 D>@<C to be used to = accustomed to, B>1B> C 7=0G5==V 728G:8: Even though I am used to playing at a higher level I still feel under pressure when I entered county cricket, so I needed the guys to rally round. PAMELA: Bad you take me to be, madam, I am not used to such language or reflections as this gentleman bestows upon me. @8 ?>HC:C 28?04:V2 28:>@8AB0==O be in the habit of , A;V4 2V47=0G8B8, I> 7030;>< 70DV:A>20=> 139 ?@8:;04V2. "0:0 :>=AB@C:FVO 26820TBLAO 2 @V7=8E G0A0E, 0 2 ?5@D5:B=8E  28:>@8AB>2CTBLAO =09<5=H5. :@V< G0A>2>3> ?>4V;C, 206;828< T B0:>6 ?>4V; =0 >A>18, 2V4 O:>W 70;560BL =0ABC?=V :>=AB@C:FVW am (am not) in the habit of, are (aren t) in the habit of, was/were (wasn t/weren t in the habit of),is (isn t) in the habit of. 6820NBLAO 2>=8, 2 >A=>2=><C, C EC4>6=V9 ;VB5@0BC@V V 2V@H0E, B0:>6 C42VGV <5=H5 WE T 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW, V I5 <5=H5 2 V=H8E >?C1;V:>20=8E <0B5@V0;0E, 0:045<VG=V9 ?@>7V V B.4. )> AB>ACTBLAO CA=>3> :>=B5:ABC, B> B0:0 :>=AB@C:FVO 26820TBLAO 2 @>74V;V 3@><04AL:>ABV. V4A8;5==O VB5@0B82=>3> 0A?5:BC0;L=>3> 7=0G5==O <>65 1CB8 28@065=5 70 4>?><>3>N ?0BB5@=V2: 4VTA;>2> + on and on B0 4VTA;>2> + over and over again G8 time and time again, G8 again and again, =0?@8:;04: He went on and on about it until I could cheerfully have strangled him. The trauma captured in splitting is that one isn't there; the same trauma that castration comes to symbolise is that one is incomplete; the trauma that can be lived over and over again in the endless by-ways of life's failures and imperfections. They prove time and time again the risks they are prepared to take. Around his trial you will hear it again and again. 030;><, ?@8:;04V2 V7 B0:8<8 ?0BB5@=0<8 T 4>A8BL 1030B>: =091V;LH5 7 again and again  654, 7 O:8E 597  C ?8AL<>28E <0B5@V0;0E V 57  2 CA=><C <>2;5==V; 70 =8<8 ?> :V;L:>ABV AB>OBL ?@8:;048 V7 28:>@8AB0==O< on and on  502, 7 O:8E 357  C ?8AL<>28E <0B5@V0;0E V 145  2 CA=><C <>2;5==V, A;V4>< V4CBL ?@8:;048 V7 over and over again  337, 7 O:8E 300  C ?8AL<>28E <0B5@V0;0E V 37  2 CA=><C <>2;5==V V =09<5=H5 7CAB@VG0NBLAO @5G5==O V7 time and time again  174, 7 O:8E 147  C ?8AL<>28E <0B5@V0;0E V 27  2 CA=><C <>2;5==V. /: <8 10G8<>, =091V;LH 26820=8< ?0BB5@=>< 2 CA=><C <>2;5==V 7 CAVE 28I5 ?>40=8E T on and on. V4AC<>2CNG8 WE 7030;L=5 28:>@8AB0==O 2 ?8AL<>28E <0B5@V0;0E, A;V4 707=0G8B8, I> 2AV 2>=8 28:>@8AB>2CNBLAO 2 @V7=8E 60=@0E. &V:028< T B5, I> B0:V ?0BB5@=8 O: on and on V over and over again G0ABVH5 28:>@8AB>2CNBL 4VB8, =V6 ?V4;VB:8 (0;5 4>@>A;V  =091V;LH5), 0465 B0:>3> D0:BC AB>A>2=> G0AB>B=>ABV 28:>@8AB0==O B8E G8 V=H8E 28@07V2 A0<5 4VBL<8 V ?V4;VB:0<8 4>AV <8 =5 7CAB@VG0;8. B65, B0:V ?0BB5@=8 T =5 ;8H5 2V4=>A=> ?>?C;O@=8<8, 0 9 ;53:8<8 V FV:028<8 C 28:>@8AB0==V, 0465 2>=8, >G5284=>, B0:>6 ?V4E>4OBL 4;O =09<5=H>W 2V:>2>W 0C48B>@VW.  CA=><C :>=B5:ABV WE =091V;LH5 T 2 @>74V;V >A2VB8, 1V7=5AC V 3@><04AL:>ABV. B5@0:B82=89 E0@0:B5@ 4VW G0AB> ?V4A8;5=89 A8=B0:A8G=8< ?>2B>@5==O<, =0?@8:;04: So excuse me a moment while I cry, cry, cry. Speak, speak, thou vision of hell! @8:;04V2 V7 B0:8< A8=B0:A8G=8< ?>42>T==O< 4C65 <0;>, 2>=8 E0@0:B5@=V 4;O CA=>3> <>2;5==O.  ?>>48=>:V 28?04:8 28:>@8AB0==O WE 2 >?C1;V:>20=8E ?5@V>48G=8E 2840==OE. "0:, =0?@8:;04, speak, speak 7CAB@VG0TBLAO ;8H5 2 3075B0E (1) V 2 CA=><C <>2;5==V (3), 0 A0<5 2 @>74V;V >A2VB8 V 2V;L=>3> G0AC V 28:>@8AB>2CNBL WE 28:;NG=> 4>@>A;V. "@820;89 (?@>3@5A82=89)  F5 0A?5:B, 2 O:><C B@820;89 E0@0:B5@ 4VW 28@060TBLAO =5 ;8H5 ?@>3@5A82=8<8 (continuous) G0A>28<8 D>@<0<8 0=3;V9AL:>3> 4VTA;>20. 45O B@820;>ABV <>65 28@060B8AO 70 4>?><>3>N: 4VTA;V2=8E D@07 V7 4VTA;>20<8 stand, stay V lie + Ving, 0 A0<5: But the painting said nothing at all to me as I stood gazing at it. Then he lay trembling on his stone bed and listened to the clock striking the hours. Athelstan stared across at a group of dicers who sat playing noisily on the other side of the tavern. Meanwhile Maggie stayed sitting at the kitchen table. So it might seem as if Snow could lie purring in his grave, and as if the two cultures were coming together. "0:8E 4VTA;V2=8E :>=AB@C:FV9 2 ACG0A=V9 0=3;V9AL:V9 <>2V T 2V4=>A=> <0;> (?@81;87=> 39), 7 O:8E ;8H5 2 28?04:8 AB>ACNBLAO CA=>3> <>2;5==O. >=8, O: ?@028;>, 7CAB@VG0NBLAO: =091V;LH5 2 EC4>6=V9 ;VB5@0BC@V V 2V@H0E (16), 0 B0:>6 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (8); V 265 @V4H5 7CAB@VG0NBLAO 2 0:045<VG=V9 ?@>7V (4), 3075B0E (5) V V=H8E >?C1;V:>20=8E <0B5@V0;0E (3).  CA=><C :>=B5:ABV >48= ?@8:;04 B0:>W 4VTA;V2=>W :>=AB@C:FVW 28:>@8AB>2CTBLAO 2 @>74V;V 2V;L=>3> G0AC. A=>2=0 2V:>20 :0B53>@VO  F5 4>@>A;V, V ;8H5 2 ?>>48=>:8E 28?04:0E WE 26820NBL ?V4;VB:8 V 4VB8. &V:028< T B5, I> 2 Past Simple stood facing, stood staring, stood gazing, lay waiting, lay dying 28:>@8AB>2CNBLAO 2 :V;L:0 @07V2 1V;LH5, =V6 C Present Simple, 0 ?5@D5:B=V D>@<8 B0:8E A;>2>26820=L ?@0:B8G=> =5 28:>@8AB>2CNBLAO. 4VTA;V2=8E D@07 V7 4VTA;>20<8 continue V go on, 0 A0<5: Organisations like ACET need this support to enable people like myself to retain maximum control and continue to live at home as independently as we can. He promises to continue speaking his mind to try to raise the profile of athletics a sport he believes should rank alongside soccer and cricket. I later realized that I had posed during a crucial period, and the tiny bronzes that resulted (for that size prevailed) continue daily to touch me. These short filmmakers are the people who will go on to be the Jarmans, Greenaways, Jarmuschs of the Nineties; see their work now and tell your friends you discovered them first! Agents don't want deadwood and if they are interested in you it is because they feel they can sell you into the market, so that you can go on and make money both for yourself and them. We believe strongly that we should go on working together in full partnership in a Union that has served every part of the United Kingdom well. >40=V 28I5 4VTA;V2=V D@078 H8@>:> 28:>@8AB>2CNBLAO 2 ACG0A=V9 0=3;V9AL:V9 <>2V (19170), >A>1;82> 2 ?8AL<>28E <0B5@V0;0E (15708), 0 B0:>6 7=0G=> <5=H5, 0;5 2A5 6 B0:8 28:>@8AB>2CNBLAO 2 CA=><C <>2;5==V (3462). VTA;>2> continue (11629) ?> G0AB>B=>ABV 28:>@8AB0==O ?5@52060T =04 4VTA;>2>< go on (7554). A>1;82> 1030B> ?@8:;04V2 V7 26820==O< B0:8E 4VTA;V2 <>6=0 7CAB@VB8 2 =50:045<VG=V9 ?@>7V (3991) V V=H8E >?C1;V:>20=8E <0B5@V0;0E (3927), 1030B> WE T 2 EC4>6=V9 ;VB5@0BC@V (2737), <5=H5  2 3075B0E (1973) V 2 0:045<VG=V9 ?@>7V (1948), 0 2 =5>?C1;V:>20=8E <0B5@V0;0E (1105) V 2 A?V;:C20==V (1769, 7 O:8E 1732 ?@8:;048 V7 28:>@8AB0==O< 4VTA;>20 go on) B0 V=H8E @>7<>2=8E <0B5@V0;0E (1693). )> AB>ACTBLAO CA=>3> <>2;5==O, B>, =0?@8:;04, continue =091V;LH5 28:>@8AB>2CTBLAO 2 @>74V;V 3@><04AL:>ABV (263) V 1V7=5AC (165), V <5=H5  2 @>74V;V >A2VB8 (128) V 2V;L=>3> G0AC (78), 0 >B go on, =02?0:8, =09G0ABVH5 7CAB@VG0TBLAO 2 @>74V;V >A2VB8 (338), 2V;L=>3> G0AC (284) V 3@><04AL:>ABV (221), V 265 <5=H5  C @>74V;V 1V7=5AC (206). 28G09=>, I> >A=>2=C 2V:>2C :0B53>@VN 70?>2=NNBL 4>@>A;V (14424), ;8H ?>45:C48 7CAB@VG0NBLAO 28?04:8, 45 DV3C@CNBL ?V4;VB:8 (352) V 4VB8 (169). >7<VI5==O B0:8E 4VTA;V2=8E D@07, O: ?@028;>, ?>40TBLAO O: =52V4><5 (unknown sampling  7262), 0 B0:>6 28?04:8, 45 2:070=5 ?>G0B:>25 (3263), A5@548==5 (2654), :V=F525 (817) G8 A:;045=5 (composite sampling) @>7<VI5==O (425). !;V4 707=0G8B8, I> ?0BB5@=8 V7 go on+Vinf <>6CBL B0:>6 2:07C20B8 =0 ?>G0B>: =>2>W 4VW. A) keep + Ving:  I keep looking at her face and saying  Are you mine?  Every time I write a letter to him now I say keep smiling, turn them corners up cos they all go on at him. =0;V7CNG8 B0:C 4VTA;V2=C D>@<C 2 ACG0A=V9 0=3;V9AL:V9 <>2V =0 >A=>2V 40=8E BNC, <>65<> 707=0G8B8, I> =0<8 7=0945=> 293 ?@8:;048 WW 28:>@8AB0==O 7 @V7=8<8 4VTA;>20<8. C65 ?>?C;O@=>N B0:0 :>=AB@C:FVO T 2 ?8AL<>28E <0B5@V0;0E (195), B0:>6 4>AB0B=L> ?@8:;04V2 ?>40=> 2 CA=><C <>2;5==V (98). 5;8:0 :V;L:VABL WE T 2 EC4>6=V9 ;VB5@0BC@V (74),C A?V;:C20==V (56) V V=H8E @>7<>2=8E <0B5@V0;0E (42), <5=H5  2 V=H8E >?C1;V:>20=8E <0B5@V0;0E (48), 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (30), 2 3075B0E (24), V 7>2AV< <0;>  2 =5>?C1;V:>20=8E <0B5@V0;0E (14) B0 2 0:045<VG=V9 ?@>7V (5). "0:, =0?@8:;04, 4C65 G0AB> 26820=8<8 T 4VTA;V2=V :>=AB@C:FVW keep coming B0 keep looking. # ?>40=8E :>=AB@C:FVOE ?5@52060NBL ?@8:;048 2 ?8AL<>28E <0B5@V0;0E, C EC4>6=V9 ;VB5@0BC@V, =50:045<VG=V9 ?@>7V B0 V=H8E >?C1;V:>20=8E <0B5@V0;0E, 0 B0:>6 2 3075B0E V CA=><C <>2;5==V.  >B B0:0 4VTA;V2=0 D@070 O: keep doing =09G0ABVH5 28:>@8AB>2CTBLAO 2 CA=><C <>2;5==V, >A>1;82> C A?V;:C20==V (1030B> 2 @>74V;V >A2VB8, 1V7=5AC, 3@><04AL:>ABV). 28G09=>, I> B0:0 4VTA;V2=0 :>=AB@C:FVO 26820TBLAO 2 728G09=><C <8=C;><C G0AV (Past Simple), E>G0 B0:8E 28?04:V2 T =01030B> <5=H5 V 1V;LHVABL 7CAB@VG0NBLAO =0 ?8AL<V. )>4> A:;04=VH8E G0A>28E D>@<, B0:8E O: ?5@D5:B=V, B> 70DV:A>20=> ;8H ?>>48=>:V 28?04:8 B0:8E A;>2>26820=L, 28:;NG=> 2 ?8AL<>28E <0B5@V0;0E V ;8H5 2 Present Perfect. A=>2=0 2V:>20 :0B53>@VO :>@8ABC20GV2  4>@>A;V ;N48. 0BB5@=8 V7 keep + N/Pron + gerund 2:07C20B8<CBL =0 B@820;VABL V7 :0C70B82=8< 7=0G5==O<, =0?@8:;04: This album here, it's about making things last, how to keep that interest, how to keep the fire burning. And, purely to keep the story progressing, he has to be one of the laziest criminals in screen history, scattering clues with such recklessness that he seems subconsciously determined to be discovered. I might just give him another run — if only to keep the stable going’. Martin O'Neill, Wycombe's manager, said: ‘The result has given us a real chance of the championship as long as we can keep the momentum going.’ @>3;O=C2H8 B0:V 28?04:8 28:>@8AB0==O ?>40=8E ?0BB5@=V2 (20), A;V4 707=0G8B8, I> 2AV 2>=8 26820NBLAO 28:;NG=> 2 ?8AL<>28E <0B5@V0;0E (19) V ;8H5 1 ?@8:;04 1C2 ?>40=89 7 CA=>3> <>2;5==O. CAB@VG0NBLAO 7451V;LH>3> 2 =50:045<VG=V9 ?@>7V V 1V1;V>3@0DVW (10), <5=H5  2 V=H8E >?C1;V:>20=8E <0B5@V0;0E (6), 2 3075B0E (2) V 2 EC4>6=V9 ;VB5@0BC@V (1). >78FVO 2 @5G5==V, 2 1V;LH>ABV 28?04:V2 ?>40TBLAO O: =52V4><0, 0 >A=>2=0 2V:>20 :0B53>@VO :>@8ABC20GV2, 157 AC<=V2C,  4>@>A;V ;N48. !;V4 707=0G8B8, I> keep + Ving <>65 B0:>6 2:07C20B8 =0 VB5@0B82=89 E0@0:B5@ 4VW, 0 A0<5: And his name kept coming up all the time didn't it, Harvey Jones? I kept reading and my knowledge kept growing, but I still wanted to see an owl's nest and experience the thrill of actually seeing one in flight, in the feather, so to speak. # :>6=><C 28?04:C =5>1EV4=5 7=0G5==O 1C45 A83=0;V7C20B8AO ;5:A8G=8< 7=0G5==O< A<8A;>2>3> 4VTA;>20. 4=>:@0B=>-<8BBT2V 4VW (4VW, I> 2V41C20NBLAO >48= @07) 7030;>< 28@060NBLAO 70 4>?><>3>N AB0;8E ?0BB5@=V2 V7 4VTA;>20<8 to have, to take, to make, to give, ?VA;O O:8E AB>OBL =5?>EV4=V V<5==8:8: to have a smoke, to have a wash, to give a wash, to have a try, to have a way, V B.4. [10, A.134]: We used to go on a tram-car and have a smoke, and a councillor was on there once, and noticed us having a smoke. Mummy I don't think it's such a good idea for me to have a wash in the morning. Annette says she wanted to encourage the boys to have a try at something different. Besides, you have a way of chatting innocently to people. You don't have to make a firm commitment but obviously we like you to give us some idea of your availability. They heard him give a cry of wonder from the other side and followed him. # B0:8E 28?04:0E =5>7=0G5=89 0@B8:;L 26820TBLAO 7 :V;L:VA=>N <5B>N [10, A. 134]. A>1;82> ?>H8@5=8<8 T ?0BB5@=8 1) have a go (569), 2) have a look (1914), 1V;LHVABL 7 O:8E 28:>@8AB>2CTBLAO 2 CA=><C <>2;5==V (1)302; 2)1469), C A?V;:C20==V, 0 B0:>6 take a look (401), 0;5 BCB ?5@52030 2A5 6 B0:8 C ?8AL<>28E <0B5@V0;0E (364). 030;>< <8 @>73;O=C;8 3809 ?@8:;04V2 28:>@8AB0==O B0:8E ?0BB5@=V2 C @V7=8E G0A>28E D>@<0E. /: V 2 ?>?5@54=VE 28?04:0E, ?5@52060NBL ?@8:;048 C Present Simple, =01030B> <5=H5 T ?@8:;04V2 C Past Simple, 0 2 Present G8 Past Perfect 01> 2 B@820;8E (Continuous) G0A>28E D>@<0E B0:V ?0BB5@=8 7CAB@VG0NBLAO 2 ?>>48=>:8E 28?04:0E, 28:;NG=> 2 ?8AL<>28E <0B5@V0;0E. E <>6=0 7CAB@VB8 2 @V7=8E 60=@0E: =09G0ABVH5 2 EC4>6=V9 ;VB5@0BC@V (743), <5=H5 2 V=H8E >?C1;V:>20=8E <0B5@V0;0E (428), 2 =50:045<VG=V9 ?@>7V (199), 2 3075B0E (175), 2 =5>?C1;V:>20=8E <0B5@V0;0E (121) V 2 0:045<VG=V9 ?@>7V (42).  CA=><C <>2;5==V =0<8 70DV:A>20=> 2103 ?@8:;048 28:>@8AB0==O, 7 O:8E 1181?@8:;04 26820TBLAO C A?V;:C20==V. )>4> CA=>3> :>=B5:ABC, B> BCB ?5@52060T @>74V; >A2VB8 (398), 40;V 945 @>74V; 1V7=5AC (205), @>74V; 3@><04AL:>ABV (200) V 2V;L=>3> G0AC (119). ;5, 7=>2C 6 B0:8, 2AV FV 28?04:8 H8@>:> 28:>@8AB>2CNBLAO, 2 >A=>2=><C, 2 B5?5@VH=L><C G0AV V >A=>2=0 2V:>20 :0B53>@VO :>@8ABC20GV2  F5 4>@>A;V (1536), B0:>6 T =51030B> 28?04:V2 28:>@8AB0==O ?V4;VB:0<8 (49), 4VBL<8 (55) V ;N4L<8 1C4L-O:>3> 2V:C (56). # @5G5==OE B0:V ?0BB5@=8 709<0NBL @V7=C ?>78FVN, B>1B> V =0 ?>G0B:C, V 2A5@548=V, V 2 :V=FV. >7@V7=ONBL <8BBT2V (momentaneous) 4VW ?>>48=>:>3> E0@0:B5@C V :>@>B:>B@820;V >4=>@07>2V 4VW. "0:, =0?@8:;04, to make a jump, to give a cry, to cast a glance, to steal a glance, to steal a glance, to shoot a look, to make a start V B.4., I> 28:>@8AB>2CNBLAO V7 ?>A8;0==O< =0 <8BBT2V 4VW [10,135A.], =0?@8:;04: A further way of treating an article about an exhibition is to make a comparison with another artist. She stared at the receding shoreline and wondered if she should make a jump for it. They heard him give a cry of wonder from the other side and followed him. (T48=89 ?>40=89 :>@?CA>< ?@8:;04) There is just time and I will make a start. 0BB5@=8 B8?C to give a wash, to have a wash, to have a run, to have a swim, to give a thought, V B.4. ?>7=0G0B8<CBL >4=>@07>2V 4VW >1<565=>W B@820;>ABV, 0 A0<5: You may not listen, but give it a thought. It's a perfect opportunity to have a swim. I've heard, the people that are local, just have a run out on a Sunday afternoon to find out where it is. 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'8< 1V;LH5 CA:;04=NTBLAO G0A>20 D>@<0, B8< <5=H5 ?@8:;04V2 WW 28:>@8AB0==O, ?@8 G><C, 2 CA=><C <>2;5==V 28:>@8AB0==O A:;04=8E G0A>28E D>@< ?@0:B8G=> =5<0T. 4=0:, A;V4 707=0G8B8, I> D@07>2V 4VTA;>20 T B0:>6 >4=8< V7 70A>1V2 28@065==O 0A?5:BC0;L=8E 7=0G5=L V B><C =0H5 4>A;V465==O ?@>4>26C20B8<5BLAO 2 FL><C =0?@O<:C. " "#  1. <>A>20 .. A=>2K 0=3;89A:>9 D@075>;>388 / .. <>A>20.  ., 1963.  !. 131-135.2. VA:C1 .. 5:A8:>-3@0<0B8G=5 ?>;5 VB5@0B82=>ABV 2 ACG0A=V9 0=3;V9AL:V9 <>2V: 48A. & :0=4. DV;>;. =0C: / .. VA:C1.  CFL:, 2003.  281 A. 3. ;>E ./. "5>@8O 3@0<<0B8:8 0=3;89A:>3> O7K:0 / ./. ;>E.  >A:20 : KAH. H:., 1983.  383 A. 4. >65A:C .. =3@5AVO B0 V=E>0B82=VABL O: :>@5;OB8 70G8==>W D07>2>ABV C ACG0A=V9 0=3;V9AL:V9 <>2V : 48A. ... :0=4. DV;>;. =0C: / .. >65A:C.  '5@=V2FV, 2007. 5. ;C:B5=:> ...  B0: =07K205<KE A;>6=KE 3;03>;0E B8?0 stand up 2 A>2@5<5==>< 0=3;89A:>< O7K:5 / ... ;C:B5=:> // >?@>AK O7K:>7=0=8O.  ., 1954.  ! 5.  !. 105-113. 6. A0:>20 .. @3>=><VG=V E0@0:B5@8AB8:8 :0B53>@V9 0=3;V9AL:>3> 4VTA;>20 : 02B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O :0=4. DV;>;. =0C: : A?5F. 10.02.04 Ť5@<0=AL:V <>28ť / .. A0:>20.  ., 2001.  20 A. 7. >@A0:>2 .. 0B53>@8O 2840 2 A>2@5<5==>< 0=3;89A:>< O7K:5 : 02B>@5D. 48A. =0 A>8A:0=85 CG5=>9 AB5?5=8 4>:B>@0 D8;>;. =0C: / .. >@A0:>2.  "18;8A8, 1970.  65 A. 8. 0A;>2 ..!. 84 / ..!. 84 // 8=328AB8G5A:89 -=F8:;>?548G5A:89 A;>20@L ; ?>4 @54. .. /@F52>9.  >A:20 : !>25BA:0O -=F8:;>?548O, 1990.  685 A. 9. 030T20 .. ;8B5;L=>ABL 2 AD5@5 ?5@540G8 284>2KE >B=>H5=89 2 A>2@5<5==>< 0=3;. O7K:5 : 02B>@5D. 48A. =0 A>8A:0=85 CG5=. AB5?5=8 :0=4. D8;>;. =0C: / .. 030520.  852, 1972.  23 A. 10. 0T2AL:0 .. "5>@5B8G=0 3@0<0B8:0 ACG0A=>W 0=3;V9AL:>W <>28 / .. 0T2AL:0.  . : 8I. H:.  1976.  304 A. .. 0=V2AL:0, 2009 # 811.133 367 @8A;V2 O B0 ?@8:07:8 O: 465@5;> :@0W=>7=02G>W V=D>@<0FVW .. AB@>CH:>, .!. !;T?G5=:> (%0@:V2) !B0BBO ?@8A2OG5=0 0=0;V7C B0 A8AB5<0B870FVW ?@8A;V2 W2 B0 ?@8:07>:, I> 28ABC?0NBL A:;04=8:0<8 C ?@>F5AV ;V=32>:@0W=>7=02G>3> 282G5==O <>28, >A:V;L:8 =5ACBL C A>1V :C;LBC@=C, VAB>@8G=C V=D>@<0FVN, :>=45=ACNBL 25AL A:;04=89 :><?;5:A :C;LBC@8 B0 ?A8E>;>3VW 40=>3> =0@>4C, =5?>2B>@=89 A?>AV1 9>3> >1@07=>3> <8A;5==O. 25@B0==O 4> ?@>1;5<8 282G5==O <>28 V :C;LBC@8 >4=>G0A=> 4>72>;OT 240;> ?>T4=C20B8 5;5<5=B8 :@0W=>7=02AB20 7 <>2=8<8 O28I0<8, I> <VABOBL 2 A>1V 25;8G57=V <>6;82>ABV 4;O 28:;8:C B0 ?>40;LH>3> ?V4B@8<0==O <>B820FVW =02G0==O. ;NG>2V A;>20: ;V=32>:@0W=>7=02AB2>, ?@8A;V2 O B0 ?@8:07:8, D@075>;>3V7<8. .. AB@>CH:>, .!. !;5?G5=:> >;>28FV 8 ?>3>2>@:8 :0: 8AB>G=8: AB@0=>254G5A:>9 8=D>@<0F88. !B0BLO ?>A2OI5=0 0=0;87C 8 A8AB5<0B870F88 ?>A;>28F 8 ?>3>2>@>:, :>B>@K5 O2;ONBAO A>AB02;ONI8<8 :><?>=5=B0<8 2 ?@>F5AA5 ;8=32>AB@0=>254G5A:>3> 87CG5=8O O7K:0, ?>A:>;L:C =5ACB 2 A515 :C;LBC@=CN. AB>@8G5A:CN 8=D>@<0F8N, :>=45=A8@CNB 25AL A;>6=K9 :><?;5:A :C;LBC@K 8 ?A8E>;>388 40==>3> =0@>40, =5?>2B>@8<K9 A?>A>1 53> >1@07=>3> <KH;5=8O. 1@0I5=85 : ?@>1;5<5 87CG5=8O O7K:0 8 :C;LBC@K >4=>2@5<5==> ?>72>;O5B C40G=> >1J548=8BL M;5<5=BK AB@0=>2545=8O A O7K:>2K<8 O2;5=8O<8, GB> A>45@60B 2 A515 >3@><=K5 2>7<>6=>AB8 4;O ?@>1C645=8O 8 40;L=59H59 ?>445@6:8 <>B820F88 >1CG5=8O. ;NG52K5 A;>20: ;8=32>AB@0=>2545=85, ?>A;>28FK 8 ?>3>2>@:8, D@075>;>387<K. V. Ostroushko, L. Slepchenko Proverbs and saying as a source of knowledges about history and culture of country. This article covers the analysis and the systematization of proverbs and sayings that components of the linguistic-cultural language study process because they carry a cultural and historical information, condense all difficult complex of culture and psychology of the people, a unique way of their creative thinking. An appeal to the problem of studying language and culture allows at the same time to unite successfully the elements of culture study with language phenomena that comprises huge possibilities to provoke and to support the motivation of studying in future. Key words: culture-oriented linguistics, proverbs and sayings, phraseological units. >65= =0@>4 2>;>4VT 1030BNI8< 70?0A>< ?@8A;V2'W2 B0 ?@8:07>:, O:V A:;040NBL =52V4'T<=C G0AB8=C 9>3> 4CE>2=>W :C;LBC@8 B0 <>2=8E 1030BAB2. N48=0, O:0 1060T >?0=C20B8 1C4L-O:C <>2C =0 28A>:><C @V2=V, >1>2 O7:>2> ?>28==0 >7=09><8B8AL B0:>6 7 <>2=8<8 D@075>;>3V7<0<8 (?@8A;V2 O<8, ?@8:07:0<8, 0D>@87<0<8) 2V4?>2V4=>W <>28. V=32>:@0W=>7=02G89 0A?5:B 282G5==O V=>75<=>W <>28 @>73;O40T H;OE8 B0 A?>A>18 282G5==O, 7024O:8 O:8< <>6=0 ?>7=09><8B8 V=>75<FO 7 >1@07>< 68BBO, VAB>@VTN B0 :C;LBC@>N :@0W=8, <>2C O:>W 2V= 282G0T. V=32>:@0W=>7=02AB2> 282G0T B0 >?8ACT =0FV>=0;L=>-:C;LBC@=C A5<0=B8:C AB@>9>28E >48=8FL <>28, B>1B> 709<0TBLAO A5<0=B870FVTN. 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(0=AL:8<. 4=0: 2AV 2>=8 C A2>WE @>1>B0E ?@84V;ONBL 45I> <5=H5 C2038 ?@8A;V2 O< B0 ?@8:07:0< C ?>@V2=O==V 4> V=H8E B8?V2 D@075>;>3V7<V2. @V< B>3>, 1V;LHVABL =0C:>28E 4>A;V465=L B0 A;>2=8:V2, ?>2 O70=8E V7 B;C<0G5==O< B0 ?5@5:;04>< D@0=FC7L:8E ?@8A;V2 W2 B0 ?@8:07>:, @>AV9AL:><>2=V. >AB0=>2:0 ?@>1;5<8 4>A;V465==O D@075>;>3VW <>28 2 ;V=32>:@0W=>7=02G><C 0A?5:BV AB0;0 <>6;82>N C 72'O7:C V7 AB0=>2;5==O< B5>@VW ;V=32>:@0W=>7=02AB20, 22545==O< ?>=OBBO Ť:C;LBC@=89 :><?>=5=B 7=0G5==Oť, O:89 ?@54AB02;5=89 2 @>1>B0E .. 5@5I038=0, .. >AB><0@>20, ..0A;>2>W, .. 0;LFT2>W B0 V=H8E 4>A;V4=8:V2. .. 0A;>20 [7, A. 58] ?@8 @>73;O4V @>AV9AL:>W D@075>;>3VW 28AC=C;0 45:V;L:0 =0ABC?=8E 3V?>B57, O:V, =0 =0H ?>3;O4, <>6CBL 1CB8 70AB>A>20=V V 4> 282G5==O D@0=FC7L:>W D@075>;>3VW B0 ?0@5<V>;>3VW: 1. # 1V;LH>ABV D@075>;>3V7<V2 T ŤA;V48ť =0FV>=0;L=>W :C;LBC@8, O:V <0NBL 1CB8 28O2;5=V. 2. C;LBC@=0 V=D>@<0FVO, 715@565=0 C 2=CB@VH=V9 D>@<V ?@8A;V2 W2 B0 ?@8:07>:, T >1@07=8< CO2;5==O< ?@> A2VB B0 715@V30T :C;LBC@=>-=0FV>=0;L=89 :>;>@8B. 3. @8A;V2 O B0 ?@8:07:8 - D@03<5=B <>2=>W :0@B8=8 A2VBC. >=8 28=8:0NBL =5 ABV;L:8 4;O B>3>, I>1 >?8AC20B8 A2VB, A:V;L:8 4;O B>3>, I>1 9>3> V=B5@?@5BC20B8, >FV=N20B8 V 28@060B8 4> =L>3> AC1'T:B82=5 2V4=>H5==O. V=32>:@0W=>7=02G89 0=0;V7 ?@8A;V2'W2 B0 ?@8:07>:, =5<8A;8<89 157 72 O7:C V7 7>2=VH=V<8 G8==8:0<8: 7 VAB>@VTN :@0W=8, WW :C;LBC@>N, ?>1CB><, >A:V;L:8 D@075>;>3VO :>=45=ACT 25AL A:;04=89 :><?;5:A :C;LBC@8 B0 ?A8E>;>3VW 40=>3> =0@>4C, =5?>2B>@=89 A?>AV1 9>3> >1@07=>3> <8A;5==O. 0@:8@>20==VABL =0FV>=0;L=>W  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ŤC est un coup de Jarnacť.  (C40@ 0@=0:0) - E8B@89, =5?5@5410G5=89, =5A?>4V20=89 ?@89><, ?V4ABC?=89 C40@, C40@ =8H:><. @8:07:0 <0T A2>T ?>E>465==O 7 1547 @>:C. V4 G0A 4C5;V <V6 10@>=>< 0@=0:>< V 9>3> 28A>:>?>AB02;5=8< AC?@>B82=8:><, O:89 <02 =0 A2>T<C 1>FV CAV ?5@52038, O: =09:@0I89 D5EBC20;L=8:, 0@=0: =0E8;OTBLAO, @>18BL @V7:89 28?04 B0 70240T 1;8A:028G=89 C40@ ?V4 ;V25 :>;V=>. !C?@>B82=8: ?040T, =5A?@><>6=89 ?@>4>26C20B8 4C5;L. # 2008 @>FV 3075B0 ŤLe Mondeť ?C1;V:CT V=B5@2 N 7482>20=>3> :0=4840B0, O:89 =5 <>65 ?@89=OB8 @57C;LB0B8 281>@V2, 22060NG8 WE 7@04>N 7 1>:C A2>WE >4=>?0@BV9FV2, 2 O:><C FO D@070 7=0E>48BL A2>T <VAF5: Ť C'est un véritable coup de Jarnac!ť tel a été le cri lancé par André Gerin en plein congrčs du PC lorsqu'il a pris connaissance du score qu'il avait obtenu en tant que candidat ŕ la tęte du parti. - &5 A?@026=V9 C40@ 5@=0:0, 283C:=C2 =4@5 5@5= C E>4V 7 W74C A>F?0@BVW, >7=09><82H8AL 7 @57C;LB0B0<8 3>;>AC20==O. ŤFaire le zouaveť - E>@>E>@8B8AL, 3@8<0AC20B8, 1;07=N20B8 (1C:2. @>18B8 O: 7C02). !L>3>4=V F59 28A;V2 26820NBL <0NG8 =0 C207V =5?>A84;828E, =5A;CE=O=8E, 4>A8BL 7=5@2>20=8E 4VB59. 0?@8:;04, ŤArręte de faire le zouave, tu vas tout faire tomberť- dit la mčre ŕ l' enfant. &V:02> 9>3> ?>E>465==O, O:5 ?>2 O70=> 7 @8<AL:>N 2V9=>N (1854  1856 @.), C O:V9 >A>1;82> 284V;82AO :>@?CA 7C02V2, O:V ?@825@B0;8 =0 A515 C203C. ( 7C02  ?>E>48BL 2V4 15@15@AL:>3>  zwawa =0720 :01V;LAL:>3> ?;5<5=V). ŤTravailler pour le roi de Prusseť - ?@0FN20B8 70@048 ?>H0=8  40@<0. &59 28@07 ?>OA=NNBL ?>-@V7=><C; 1V;LH>N G0AB8=>N 22060NBL, I> BCB <>20 945 ?@> $@V4@VE0 5;8:>3>. # ;>B5@5W G8A;> 31 =07820TBLAO (60@BV2;82>) misčre en Prusse, B><C I> 31 G8A;0 ?@CAL:V A>;40B8 =5 >B@8<C20;8 ?;0B=V, B>1B> A;C68;8 :>@>;52V 40@<0.  <8, 3@0NG8 40@<0, B>1B> 157 3@>H59, 3>2>@8<>, I> 3@0T<> =0 @0EC=>: ?@CAL:>3> :>@>;O. @8:07:0 ŤPas d argent  pas de Suissesť (1C:2. 5<0T 3@>H59  =5<0T H259F0@FV2) ?>2 O70=0 7 B8<, I> 7 %V 4> :V=FO XVII AB. C D@0=FC7L:V9 0@<VW A;C68;8 H259F0@AL:V =09<0=FV. 0NG8 25;8:C 604V1=VABL 4> 3@>H59, 2>=8 30;0A=> 28<030;8 A2>3> 60;C20==O :>6=>3> @07C, :>;8 9>3> 28?;0BC 70B@8<C20;8. # ?@>B82=><C @07V, 2>=8 ?>3@>6C20;8 :8=CB8 A;C61C, 283C:CNG8: ŤPas d argent  pas de Suissesť. # 1521 @. H259F0@AL:V =09<0=V ?>;:8, =5 >B@8<02H8 A2>TG0A=> 60;C20==O, :8=C;8 A2>N A;C61C C :>@>;O $@0=FVA:0 , 28<>282H8 2:070=V 28I5 A;>20 . ŤUn quart d'heure de Rabelaisť - Ť'25@BL 3>48=8 01;5ť - =5 B@820;0 , <0;5=L:0 =5?@8T<=VABL. 8@07, I> ?>7=0G0T A:@CB=89 <><5=B, >A>1;82> ?@8 3@>H>28E @>7@0EC=:0E. 3V4=> 0=5:4>BC <0TBLAO =0 C207V A:@CB=5 3@>H>25 ?>;>65==O, 2 O:5 ?>B@0?82 01;5 ?V4 G0A A2>TW ?>W74:8 4> V>=0, B0 7 O:>3> 2V= 289H>2 7024O:8 A2>T<C 240;><C @>783@0HC. =0 107V VAB>@8G=8E D@07 01> F8B0B. 0?@8:;04: $@070 0?>;5>=0 , I> ?>E>48BL 7 1805 @>:C, :>;8 $@0=FVO 1C;0 >4=VTN 7 =09A8;L=VH8E =0FV9 A2VBC Ťmpossible n est pas françaisť (1C:2. 5<>6;82>  F5 =5 ?>-D@0=FC7L:8)  1C;0 A:070=0 ;N48=>N, O:0 ;N18BL B0 2V@8BL C A2V9 =0@>4. 82G0NG8 F59 28A;V2, 1C;> 1 4>FV;L=8< 7@>18B8 4>?>2V4L ?@> G0A8 5@H>W <?5@VW. ŤLe mot de Cambronne!ť - A;>2> 0<1@>==0. V9 ?@8 0B5@;>>. AB0==V9 @575@2 0?>;5>=0, AB0@0 =0FV>=0;L=0 320@4VO 2ABC?0T 2 1V9, @>7C<VNG8, I> A<5@BL =5<8=CG0. 5=5@0;C  T@C 0<1@>==C 0=3;V9FV B@8GV ?@>?>=CNBL A:;0AB8 71@>N, C 2V4?>2V4L ?>GC2H8 "A;>2> 0<1@>==0", O:5 2@OBC20;> 3V4=VABL $@0=FVW: ŤMerde! La garde meurt mais ne se rend pas!ť - Ť09=>! 20@4VO 2<8@0T, 0;5 =5 740TBLAO!ť "0:, 7 ;53:>W @C:8 . N3>, I> 70;8H82 =0< >48= 7 :@0I8E >?8AV2 18B28 ?@8 0B5@;>> 2 @><0=V Ť=54>;5=Vť, F59 28A;V2, C B><C G8A;V V 28I573040=5 =5 ;VB5@0BC@=5 ŤA;>2> 0<1@>==0ť (mot de Cambronne), AB0;> =52V4'T<=8< 0B@81CB>< =0?>;5>=V2AL:>W ;535=48. 8@07 Ťl n y a que le premier pas qui coűteť (1C:2. 206:89 ;8H5 ?5@H89 :@>:; 3>;>2=5  7@>18B8 ?5@H89 :@>:) =0;568BL <0@:V7V N45D0= (1697 - 1780), 2V4><>N A2>TN ?5@5?8A:>N 7 >;LB5@>< B0 V=H8<8 ?8AL<5==8:0<8 XVIII AB. &N D@07C N45D0= A:070;0 :0@48=0;C ;V=LO:C, :>;8 2V= ?V4:@5A;82 4>268=C H;OEC, O:89 =V18B> ?@>9H>2 >1573>;>2;5=89 A2. 8>=VAV9. @8:07:0 ŤNoblesse obligeť - AB0= 7>1>2 O7CT (1C:2. H;OE5B=VABL 7>1>2 O7CT). &59 28A;V2 =0;568BL D@0=FC7L:><C ?8AL<5==8:C 0AB>=C 45 52VAC (1764 - 1830). C4CG8 =0I04:>< AB0@>28==>3> 42>@O=AL:>3> @>4C, 45 52VA C 73040=><C 28I5 28@07V E>BV2 ?V4:@5A;8B8, I> =0;56=VABL 4>  H;OE5B=>3> AB0=C 7>1>2 O7CT ;N48=C 1CB8 3V4=8< A2>3> V<5=V B0 ?>E>465==O. =0<5=8B89 28A;V2 5=@VE0 IV ?V4 G0A F5@5<>=VW ?@89=OBBO :0B>;8FL:>W @5;V3VW ŤParis vaut bien une messeť - Ť0@86 3V4=89 <5A8ť) A?>=C:0B8<5 4> @>7C<V==O VAB>@8G=8E ?>4V9 C ?5@V>4 5;V3V9=8E 2V9=. @8:07:0 ŤAprčs moi le délugeť - ŤVA;O <5=5, E>G ?>B>?ť  T D@07>N :>@>;O N4>28:0 %V (1710-1774), B>1B> 68B8 >4=8< 4=5<, 157 AB@0B53VW, 157 4C<>: ?@> <091CB=T :@0W=8. # XVIII AB>;VBBV :>@>;V2AL:0 2;040 ?5@5B2>@NTBLAO =0 @50:FV9=C A8;C. @8 7@>AB0NGV9 5:>=><VG=V9 :@87V V =524>2>;5==V =0@>4C 42>@O=AB2> ?@>4>26CT 715@V30B8 7>2=VH=V9 1;8A:. ?>2 O70=V 7 ?>2AO:45==8< 68BBO<, =>@>2>< B0 728G0O<8 ;N459. 0?@8:;04: Ť endre la crémailličreť - A?@02;OB8 =>2>AV;;O ?>E>48BL 2V4 VA=CNG>3> 402=L>3> 728G0O, 73V4=> O:><C ;N48, I> 70A5;O;8AO C =>2C E0BC, C ?5@HC G5@3C 2AB0=>2;N20;8 C :0<V=V 30G>: 4;O ?V42VHC20==O :>B;0 =04 2>3=5< (crémailličre). =H0 4C65 2V4><0 C ACG0A=V9 <>2V ?@8:07:0  Ťętre tiré ŕ quatre épinglesť - >4O3=CB89 7 3>;>G:8 ?>E>48BL 2V4 AB0@>28==>3> 728G0N 70BO3C20B8 >4O3 ?> DV3C@V 70 4>?><>3>N G>B8@L>E 3>;>:. Ťntre la poire et le fromageť - ( 1C:2. <V6 3@CH5N B0 A8@><), B>1B> C A0<89 A?@8OB;8289 <><5=B. 0;V7=5 ?@028;> ?@8 W6V: ;8H5 ?VA;O B>3>, O: 2AV 7'W4OBL >A=>2=5 1;N4>, <>6=0 3>2>@8B8 ?@> A?@028. $@C:B8 702648 ?>40NBL ?VA;O A8@C, 0;5 B0: 1C;> =5 702648; ?>2 O70=V 7 B8?>2>N ?@8@>4>N :@0W=8 B0 WW O28I0<8. 0?@8:;04: ŤQuand les hirondelles voient la Saint-Michel, l hiver ne vient qu ŕ Noelť (1C:2. >;8 ;0ABV2:8 10G0BL 45=L !2OB>3> VH5;O, B> 78<0 ?@8945 BV;L:8 =0 V742>). V3@0FVO ;0ABV2>: 2V41C20TBLAO 3>;>2=8< G8=>< C ?5@HV9 ?>;>28=V 25@5A=O, B><C WE ?@8ACB=VABL C :V=FV <VAOFO 2:07CT =0 B5, I> 78<0 1C45 ?V7=L>N. ŤS'il pleut ŕ la Saint Médard, il pleut 40 jours plus tardť (/:I> 7;820 ?>G8=0TBLAO =0 !5=-540@, 4>I8B8<5 =0ABC?=V 40 4=V2), B>1B> <8 7=09><8<>AO 7 =0@>4=8<8 ?@8:<5B0<8, I> 4> ?@>3=>7C ?>3>48; ?>2 O70=V 7V A2VB>< B20@8=. 0?@8:;04: ŤMalin comme un singeť - E8B@89, O: <02?0. /:I> 4;O @>AVO=, 0=3;V9FV2 B0 V=H8E, <02?0 T A8<2>;>< A?@8B=>ABV, B> C D@0=FC7L:V9 <>2V B0 D>;L:;>@V 2>=0 2BV;NT B0:>6 E8B@VABL B0 ;C:02AB2>, O: E8B@89 ;8A 4;O A;>2 O=. /: ?@8:;04 <>6=0 ?@825AB8 10A=N 0D>=B5=0 Ť02?0 B0 :VH:0ť, C O:V9 <02?0 ?@8<CHCT :VH:C 4VAB020B8 4;O A515 :0HB0=8 7 2>3=N. >;8 7 O2;OTBLAO A;C30 3>A?>40@O, B> 2>=0 ;53:> C=8:0T :0@8, C B>9 G0A, O: :VH:C 6>@AB>:> 1 NBL. V4AC<>2CNG8 28I5 A:070=5, <>6=0 7@>18B8 28A=>2>:, I> :@0W=>7=02GV 2V4><>ABV, I> <VABOBLAO 2 A5<0=B8FV ?@8A;V2 W2 B0 ?@8:07>:, <0NBL =5 ;8H5 7030;L=>>A2VB=T, 0;5 9 28E>2=5 7=0G5==O. =0==O ?@> :@0W=C <0NBL 28EV4 2 V=B5@:><C=V:0FVN, E>G 45:V;L:0 9 A?5F8DVG=89, C ?>@V2=O==V 7 <>2=8<8 C<V==O<8 B0 =028G:0<8. @0W=>7=02G>>@VT=B>20=V D@075>;>3V7<8 70AB>A>2CNBLAO 4;O 71V;LH5==O T<:>ABV 28A;>2C, 28@060NBL 5<>FV9=V B0 5AB5B8G=V ?>78FVW B>3>, EB> 3>2>@8BL. V=32>:@0W=>7=02AB2> 3@0T 206;82C @>;L V ?@8 =02G0==V ?5@5:;04C B0 70157?5GCT 045:20B=5 @>7C<V==O B5:ABC. 57=0==O B>3> 01> V=H>3> :@0W=>7=02G>3> 5;5<5=BC, O:89 7=0E>48BLAO 2 >A=>2V >1@07C ?@8A;V2'O 01> ?@8:07:8, <>65 ?@825AB8 4> =52V@=>3> @>7C<V==O 7<VABC 28A;>2C 2 FV;><C. 25@B0==O 4> ?@>1;5<8 282G5==O <>28 V :C;LBC@8 >4=>G0A=> 4>72>;OT 240;> ?>T4=C20B8 5;5<5=B8 :@0W=>7=02AB20 7 <>2=8<8 O28I0<8, I> <VAB8BL 2 A>1V 25;8G57=V <>6;82>ABV 4;O 28:;8:C B0 ?>40;LH>3> ?V4B@8<0==O <>B820FVW =02G0==O. ;0A8DV:0FVO ?@8A;V2 W2 B0 ?@8:07>: 70 28=8:=5==O<, 4>?><>65 :@0I5 7@>7C<VB8 WE 7<VAB B0 C 7=0G=V9 <V@V @>7:@8T 01> ?>3;818BL 7=0==O 7 VAB>@VW B0 :@0W=>7=02AB20. 5@A?5:B82>N =0H>W @>1>B8 2 FL><C =0?@O<V T AB2>@5==O T48=>3> ;V=32>:@0W=>7=02G>3> C:@0W=AL:>-D@0=FC7L:>3> A;>2=8:0 ?@8A;V2 W2 V ?@8:07>:, O:89 18 ?@825@B02 C203C, ?@>2>482 ?0@0;5;V B0 B;C<0G82 VAB>@8G=V ?>4VW, 2V4>1@065=V C ?@8A;V2 OE B0 ?@8:07:0E , O:V T A2>3> @>4C Ť:@8=8F5N ?@5<C4@>ABVť =0@>4C, 715@V30NBL V 2V4B2>@NNBL 9>3> <5=B0;VB5B, 9>3> :C;LBC@C 2V4 ?>:>;V==O 4> ?>:>;V==O. 57C;LB0B8 FVTW @>1>B8 <>6CBL 1CB8 28:>@8AB0=V ?@8 ?@>2545==V 70=OBL 7 :@0W=>7=02AB20 B0 VAB>@VW $@0=FVW. A5 F5 A?@8OB8<5 70;CG5==N 4> :>=F5?BC0;L=>W A8AB5<8 A2VB>3;O4C =>AVW2 <>28, VAB>@VW :@0W=8, :C;LBC@8, @>728B:C C<V==O 045:20B=> V=B5@?@5BC20B8 V ?@89<0B8 =0FV>=0;L=C :C;LBC@=C A2>T@V4=VABL ?0@B=5@V2 ?> :><C=V:0FVW, 2 FV;><C A?@8OB8<5 D>@<C20==N 3>B>2=>ABV 2ABC?0B8 2 <V6:C;LBC@=5 A?V;:C20==O. VB5@0BC@0 1. 5@5I038= . ., >AB><0@>2 . . /7K: 8 :C;LBC@0. 8=32>AB@0=>2545=85 2 ?@5?>4020=88 @CAA:>3> O7K:0 :0: 8=>AB@0==>3> / . . 5@5I038=, . . >AB><0@>2.  .: KAH. H:., 1979.  168 A. 2. 8=>3@04>2 . . 71@0==K5 B@C4K: 5:A8:>;>38O 8 ;5:A8:>3@0D8O / . .8=>3@04>2.  .: 0C:0, 1977.  312 A. 3. 0: . . >2K9 1>;LH>9 D@0=FC7A:>-@CAA:89 D@075>;>38G5A:89 A;>20@L / . . 0:.  .: CAA:89 O7K:, 2005.  1625 A. 4. 2G5=:> . . #:@0W=AL:0 =0@>4=0 D@075>;>3VO: 0@50;8, 5B8<>;>3VO / . . 2G5=:>. %.: :>, 1996.  160 A. 5. @8BA:0O . . $@0=FC7A:85 ?>A;>28FK 8 ?>3>2>@:8 / . . @8BA:0O.  .: KAH0O H:>;0, 1962.  96 A. 6. 0;LF520 . . !B@0=>2545=85 G5@57 D@075>;>387<K: CG.?>A. / . .0;LF520.  .: KAH0O H:>;0, 1991.  106 A. 7. 0A;>20 . . 8=32>:C;LBC@>;>38O: #G51. ?>A>185 4;O ABC4. 2KAH. CG51. 702545=89. / . . 0A;>20.  .: 740B5;LA:89 F5=B@ Ť:045<8Oť, 2001.  208 A. 8. 8=LO@-5;>@CG52 . . 8=32>AB@0=>2545=85 8;8 8=>AB@0==0O :C;LBC@0 / .  8=LO@-5;>@CG52. // =>AB@0==K5 O7K:8 2 H:>;5.  1993. ! 6.  !. 54-57 A. 9. 8H:> !.. V=32>:@0W=>7=02G89 0A?5:B C 282G5==V V=>75<=>W <>28 O: G8==8: @>72820NG>3> =02G0==O / !.. 8H:>.  . : 8I0 H:>;0, 2002.  153 A. 10. 070@O= .. AB>@8O @0728B8O D@0=FC7A:>9 D@075>;>388 / .. 070@O=.  .: KAH0O H:>;0, 1981.  190 A. Š .. AAB@>CH:>, .!. !;T?G5=:>, 2009 # 811.111:81 373 !!"  /# $#& "  $!$ #  $! #& " %# " "#  . . 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eredyuk. Peculiarities of the Manifestation of the Philosophical Term Functions in the Professional Sphere and Literature. This article deals with the problem of philosophic term functions. We ve determined the philosophical term functions in the professional sphere. We’ve focused our attention on the disputable aspects of the problem namely on the definition function. We’ve analyzed the realization of the potential functions of the philosophical term in the literature. The research is based on the material of the modern British intellectual novel. Key words: philosophical term, functions of philosophical term. >AB0=>2:0 ?@>1;5<8 C 7030;L=><C 283;O4V. "5@<V=>7=02AB2> @>72820TBLAO 70 7030;L=8<8 B5=45=FVO<8 =0C:8 ?@> <>2C. !B@C:BC@=C ?0@0483<C C =0CFV ?@> A?5FV0;L=V ?@>D5AV9=V =><V=0FVW, F59 5B0? 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"0:8< G8=><, ?@03<0B8G=0 DC=:FVO 2;0AB820 V B5@<V=C, ?@>B5, 728G09=>, 2>=0 =5 ?@>O2;OT A515 B0: OA:@02> C ?@>D5AV9=><C A5@54>28IV, O:, =0?@8:;04, C EC4>6=V9 ;VB5@0BC@V. %>G5<> B0:>6 ?@84V;8B8 C203C B0:><C 48A:C@A82=><C ?8B0==N 2 B5@<V=>7=02AB2V O: 2>;>4V==O B5@<V=>< 45DV=VB82=>N DC=:FVTN. >;8 ?@> =5W 3>2>@OBL C ?5@HC G5@3C 2V4HB>2ECNBLAO 2V4 B25@465==O . . 8=>3@04>20: ,,A;>2> 28:>=CT =><V=0B82=C, 01> 45DV=VB82=C, DC=:FVN, B>1B> 01> T 70A>1>< GVB:>3> ?>7=0G5==O, V B>4V 2>=>  ?@>AB89 7=0:, 01> 70A>1>< ;>3VG=>3> 287=0G5==O, B>4V 2>=> =0C:>289 B5@<V= [3, A. 20]. . . 5<>2 287=0G0T, I> 2AO 48A:CAV9=VABL I>4> =0O2=>ABV C B5@<V=0 45DV=VB82=>W DC=:FVW ?>2 O70=0 7 =5?@028;L=8< B@0:BC20==O< A;V2 . . 8=>3@04>20 B0 1030B>7=0G=VABN A0<>3> ?>=OBBO  45DV=VB82=0 DC=:FVO . >A;V4=8: 2V47=0G0T 420 ?><8;:>28E B@0:BC20==O 28I5 707=0G5=>3>. >-?5@H5,  ?V4 45DV=VB82=>N DC=:FVTN @>7C<VNBL 9>3> (B5@<V=0) <>6;82VABL A0<>287=0G0B8AO [8, A. 73]. # FL><C 28?04:C 2V41C20TBLAO 7<VHC20==O DC=:FVW B5@<V=0 V7 DC=:FVTN 45DV=VFVW. ,,C;> GVB:> ?@>45<>=AB@>20=> @V7=8FN <V6 B5@<V=>< V 287=0G5==O< (B>G=VH5 :06CG8, A?V22V4=>H5==O ;V2>W V ?@02>W G0AB8= 287=0G5==O: Definiendum a (Dtd) V Definiens a (Dtn))  V ?>:070=>, I> 2>=8 =5 <>6CBL 70<V=OB8 >4=5 >4=>3> [7, A. 65]. "0:8< G8=><, ACBL B5@<V=0 =5 @V2=>FV==0 45DV=VFVW. @8 FL><C E>G5<> 70C2068B8, I> =5 A;V4 28<>3C 4> ?@03=5==O <0B8 45DV=VFVN ?;CB0B8 V7 <>B82>20=VABN, B0: O: F5 @V7=V :0B53>@VW. ><8;:>28< B@0:BC20==O< 45DV=VB82=>W DC=:FVW . . 5<>2 2V47=0G0T V =0ABC?=5 @>7C<V==O: ,,F5 740B=VABL B5@<V=0 1@0B8 CG0ABL 2 B5:ABV 45DV=VFVW, 1CB8 WW ;5:A8G=8< 70A>1>< [8, A. 73]. >A;V4=8: V=B5@?@5BCT F5 B0:8< G8=><: C B5@<V=>;>3VG=V9 45DV=VFVW ?>28==V 28:>@8AB>2C20B8AO BV;L:8 B5@<V=8. $0:BV2 =0 A?@>ABC20==O FL>3> B25@465==O T 4>AB0B=L>, 0465 4>1@5 2V4><8< T B5, I> O: C A;>2=8:>28E 45DV=VFVOE, =0C:>28E B5:AB0E, B0: V 2 CA=><C <>2;5==V ?>@O4 V7 B5@<V=0<8 B0 V=H8<8 ?@>D5AV9=8<8 >48=8FO<8 28:>@8AB>2CNBLAO 7030;L=>26820=V A;>20. "0:8< G8=><, 45DV=VB82=0 DC=:FVO B5@<V=0 T DV:FVTN. 8?@0240=8<8 T A;>20 . /. 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he Message to the Planet . 5@4>: 26820T B5@<V= psychoanalysis, O:89 >7=0G0T the method of therapy for psychological disorder pioneered by Freud [11, A. 309]. 2060NG8 =0 ?>H8@5==O ?A8E>;>3VG=8E ?@0:B8:, F59 B5@<V= ?>B@0?82 C 0:B82=89 A;>2=8: AL>3>45==O, B><C V 28:>@8AB>2CTBLAO 02B>@0<8 157 9>3> B;C<0G5==O: For himself, Ludent was content to be puritanical and withdrawn and left-handed and fond of animals. He was not a vegetarian. His sexuality was  normal but late (Jack said retarded) and unpromiscuous (Jack said unambiguous). He didn’t mind being called ‘timid’, sex was not a great subject for him. He didn’t want to mess up his life. He was certainly ‘romantic’ and hoped to meet her one day. When time passed and he did not, he was not unduly perturbed. He was not drawn to psychoanalysis. His great patron led him toward the skeptical discipline of history [15, A. 52]. 0O2=V 28?04:8, :>;8 02B>@ 157 ?>OA=5=L 70;8H0T V 2C7L:>A?5FV0;V7>20=V B5@<V=8. >73;O=5<> B0:89 ?@8:;04: But this view she in turn rejected on the general a priori principle that Mischa never failed to mean something in particular [14, A. 258]. "5@<V= a priory . 5@4>: 28:>@8AB>2CT C ?@O<><C ?@>D5AV9=><C 7=0G5==V: prior to or independent of experience [11, A. 21]. A=CT :V;L:0 A?>A>1V2 22545==O :><5=B0@O 4> =52V4><>3> B5@<V=0: B5@<V=+B;C<0G5==O, B5@<V=+A8=>=V<. # 1V;LH>ABV 28?04:V2 02B>@8 A?5FV0;L=V B5@<V=8 B;C<0G0BL. /: =0?@8:;04,  At the moment of death you are given a total vision of all reality which comes to you in a flash. To most of us this would be well just a violent flash, like an atom bomb, something terrifying and dazzling and incomprehensible. But if you can comprehend and grasp it then you are free.  So it s useful to know you re going. You mean free to ?  Just free Nirvana out of the Wheel. [16, A. 358]. "0:8< G8=><, DV;>A>DAL:89 B5@<V= Nirvana =5 <>6=0 70<V=8B8 7030;L=>26820=8< freedom, B0: O: F8< A;>2>< =5 ?5@540B8 25AL 7<VAB, ?>B@V1=89 . 5@4>:. ;O ?@028;L=>3> A?@89=OBBO G8B0G0<8, 4;O :>@5:B=>3> @>7AB02;5==O 0:F5=BV2 2 FV9 =><V=0FVW, 02B>@:0 =02>48BL @>73>@=CB5 ?@5?>78B82=5 B;C<0G5==O. )>1 @>7:@8B8 7<VAB B5@<V=0 ?8AL<5==8:8 ?@81V30NBL 4> 28:>@8AB0==O 7030;L=>26820=8E A;V2 C @>;V :>=B5:ABC0;L=8E A8=>=V<V2. 02545=89 ?@8:;04 T V;NAB@0FVTN B0:>3> 28?04:C: Surely there must soon be some break-through, some dialectical change [16, A. 296]. $0:B>@8, O:V >1C<>2;NNBL 28:>@8AB0==O B5@<V=V2 DV;>A>DVW C =><V=0B82=V9 DC=:FVW C EC4>6=L><C @><0=V <8 725;8 4> 42>E ?C=:BV2. &5, 2 ?5@HC G5@3C, AB2>@5==O =0C:>2>3> :>;>@8BC, =0?@8:;04,  Hello, Father .  Hello, son. Touching meeting. Austin sad down.  I suppose you two have been chatting about the Absolute [13, A. 174]. >B@V1=> 2=5AB8 OA=VABL: @>7<>20 2V41C20TBLAO <V6 B@L><0 35@>O<8, >48= 7 O:8E DV;>A>D 70 ?>:;8:0==O<, 4@C389  ?8AL<5==8:, 0 V=H89  ABC45=B 3C<0=VB0@=>3> 2V44V;5==O. "0:8< G8=><, 04@5A0=B >AB0==L>W D@078 =0BO:0T =0 =091V;LH 9<>2V@=C B5<C @>7<>28 <V6 DV;>A>D>< V ABC45=B><. '0AB8<8 T 28:>@8AB0==O B5@<V=V2 4;O E0@0:B5@8AB8:8 ?5@A>=06V2. 4=VTN ?@>D5AV9=>N ;5:A5<>N 02B>@ 740B=89 2V4B2>@8B8 @CE8, 72C:8, ?A8E>;>3VN 35@>O, 9>3> DV;>A>DAL:5 A?@89=OBBO C 2AV9 A:;04=>ABV. "0:, 6. $0C;7 28:>@8AB>2CT B5@<V=8 deist, pantheist 4;O >?8AC 7030;L=>W A8BC0FVW N=>ABV 35@>O: A hundred years earlier he would have been a deist, perhaps even a pantheist [12, A. 20]. >B@V1=> 70C2068B8, I> =><V=0B82=5 26820==O B5@<V=V2 C EC4>6=L><C @><0=V =5 B>B>6=5 9>3> 26820==N 2 A?5FV0;L=><C =0C:>2><C B5:ABV. /:I> 2 =0C:>2><C 268B:C B5@<V= 2V4?>2V40T ?>=OBBN =0C:8, 2:07CT =0 2AV ACBBT2V >7=0:8, B> C EC4>6=L><C :>=B5:ABV =><V=0B82=0 DC=:FVO ?5@5E>48BL =0 ?>1CB>289 @V25=L. ;81>:5 =0C:>25 7=0==O A?@8G8=NT 4> =>28E 2V4:@8BBV2, B>1B> =><V=0B82=0 DC=:FVO 2 =0C:>2><C 48A:C@AV AC?@>2>46CTBLAO ?V7=020;L=>N, B>4V O: C EC4>6=L><C  F59 72'O7>: 2B@0G0TBLAO. ><?@5AV9=0. $V;>A>DAL:0 :>=F5?FVO =0H>3> 1CBBO AB25@46CT ?@V>@8B5B V=D>@<0FVW =04 V=H8<8 A:;04=8:0<8. "5@<V= >A>1;82> 0:BC0;L=89 2 FL><C 0A?5:BV, 0465 2V4><>, I> ?@>D5AV9=0 =><V=0FVO =5A5 <0:A8<C< =0C:>2>W V=D>@<0FVW ?@> ?>7=0GC20=5 ?>=OBBO. 0< 1C;> 206:> 2V44V;8B8 :><?@5AV9=C DC=:FVN 2V4 =><V=0B82=>W, 1> 2>=8 4>A8BL G0AB> T BVA=> ?>2 O70=8<8: 70?>2=5==O <>2=8E ;0:C= 702648 AC?@>2>46CTBLAO 70:>=>< <>2=>W 5:>=><VW. 8 28>:@5<8;8 2A5 B0:8 FN DC=:FVN >:@5<8< ?C=:B><, I>1 B0:8< G8=>< ?V4:@5A;8B8 WW 206;82VABL 9 0:BC0;L=VABL. >73;O=5<> B0:89 ?@8:;04: Don t imagine you are that big complicated psychological buzz that travels around with you [13, A. 114]. "5@<V= psychological <0T H8@>:C A5<0=B8:C. &8< V A:>@8AB0;0AO . 5@4>:, :>;8 28:>@8AB0;0 FN =><V=0FVN C A2>T<C B2>@V, 0465 B0: 02B>@:0 >4=8< A;>2>< =03>;>A8;0 =0 V=B5;5:BC0;L=V9 V 5<>B82=V9 A:;04=>ABV 35@>O @03<0B8G=0. 5AL B5@<V=  ?@03<0B8:0 V ?>EV4=V 2V4 =L>3> >48=8FV T 1030B>7=0G=8<8 ?>=OBBO<8. 8 A;V4>< 70 . . @=>;L4 [2] ?V4 B5@<V=>;>3VG=>N V=D>@<0FVTN @>7C<VT<> @O4 270T<>70;56=8E DC=:FV9: 5:A?@5A82=C, 5<>B82=C, >FV==C. 3.1. :A?@5A82=0. W @>;L ?>;O30T C 28:>@8AB0==V B5@<V=0 4;O 2?;82C =0 ?A8EVG=89 AB0=, ?>254V=:C 04@5A0B0 H;OE>< 0:F5=BC20==O WE=L>W >1@07=>ABV, V=B5=A82=>ABV, =>287=8, =5728G09=>ABV 4;O A?@89=OBBO. &O DC=:FVO C<>6;82;NT <>48DV:0FVN =528@065=8E 2=CB@VH=VE ?5@56820=L C A;>25A=V 7>2=VH=V, 4>ABC?=V 4;O A?@89=OBBO :><?;5:A8. /A:@02>N V;NAB@0FVTN T B0:89 ?@8:;04: But at a certain moment, with the sudden alteration of quantity into quality which dialecticians speak of, he saw. One way of putting it was that Austin had simply stayed with Mavis too long and had contaminated her. Matthew felt stirrings of a sudden blind painful rage which made him feel, for the first time in his life, that he resembled his brother. With the strange precision Austin had taken his revenge for the pollution of Dorina [13, A. 438].  >A=>2V 5:A?@5A82=>ABV C 1V;LH>ABV 28?04:V2 ;568BL ?52=5 ?@>B8@VGGO, 7<VH0==O =5AC<VA=>3>: Like all emotional rationalists she had in her nature a certain streak of superstitious fatalism [14, A. 235]. 03040T<>, I> B5@<V= rationalists O:@07 ?5@5410G0T ?>2=C 2V4ACB=VABL 5<>FV9, ?5@56820=L, ?>GCBBV2. 3.2. <>B82=0. &O DC=:FVO ?>:;8:0=0 28:;8:0B8 ?52=V 5<>FVW C 04@5A0B0, A?@8G8=N20B8 5<>FV9=5 @503C20==O =0 BC G8 V=HC V=D>@<0FVN, 0 B0:>6 D>@<C20B8 5<>FV9=5 AB02;5==O 04@5A0B0 4> >1 T:BV2 @50;L=>W 4V9A=>ABV. Of course it was all natural and inevitable, the way it had worked out. Of course Charlotte had had to look after Alison, it had to be Charlotte, since Clara was married with two children, and two him that hath shall be given and from him that hath not shall be taken away even that which he hath. That bit of the Bible’s true anyway, thought Charlotte. The grace and the hope of the religion had withdrawn from her long ago. All that was left was fatalism and a special taste in the bitterness of truth. Her life had passed her by, not really lived, not really hers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ll you mean is that you like to have a wife and a mistress.  It s the principle of the Trinity, like in Christianity and Hegel [15, A. 21]. "5@<V= the principle of the Trinity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 >;>28=, ... >1@8=.  . : KAH. H:., 1987.  104 A. 5. 0F=89 ... >728B>: A;>2=8:>2>3> A:;04C 0=3;V9AL:>W <>28 2 80-90-BV @>:8 %% AB>;VBBO : 48A& 4>:B>@0 DV;>;. =0C:: 10.02.04 / 0F=89 .@V9 =4@V9>28G.  0?>@V66O, 1999.  403 A. 6. 0B8H ".. A>1;82>ABV DC=:FV>=C20==O B5@<V=>;>3VG=>W ;5:A8:8 2 <>2V C:@0W=AL:>W D0=B0AB8:8 : 48A& :0=4. DV;>;. =0C:: 10.02.01 / 0B8H "5BO=0 0;5=B8=V2=0.  =V?@>?5B@>2AL:, 2004.  202 A. 7. 59G8: .. "5@<8=>2548=85: ?@54<5B, <5B>4K, AB@C:BC@0 / ;048<8@ >8A5528G 59G8:.  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Š .. !5@54N:, 2009 # 811.112:398 $#&#/ %  "!"#,% !- " # &,# %#,# !# ! #  !"!"'# " "# !"%: !"   .. !C44O (%0@:V2)  AB0BBV @>73;O40NBLAO ?@>1;5<8 DC=:FV>=C20==O :>=B5:ABC0;L=8E A8=>=V<V2-?@8:<5B=8:V2. 02>48BLAO 287=0G5==O ?>=OBBO Ť:>=B5:ABC0;L=V A8=>=V<8ť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Ť:>=B5:ABC0;L=K5 A8=>=8<Kť, 0 B0:65 8E >A=>2=K5 E0@0:B5@8AB8:8. >=B5:ABC0;L=K5 A8=>=8<K @0AA<0B@820NBAO A ?>78F88 0A8<<5B@88 8E A>45@60=8O 8 DC=:F8>=8@>20=8O. 06=K< D0:B>@>< O2;O5BAO >1J548=5=85 A5<0=B8G5A:>3> 8 ?@03<0B8G5A:>3> ?;0=>2 7=0G5=8O C ?@8;030B5;L=KE 8 @50;870F8O ?>B5=F80;L=KE A5< 2 :>=B5:AB5. ;NG52K5 A;>20: :>=B5:ABC0;L=K5 A8=>=8<K, 0A8<<5B@8O D>@<K 8 A>45@60=8O, :>3=8B82=K9 ?>4E>4, ?@03<0B8:0. A.N. Suddia. Functioning of language and contextual adjectival synonyms in German literary discourse, pragmatic and cognitive aspects: problem definition. This article deals with problems of function of contextual adjectival synonyms. A definition for contextual synonyms as well as their characteristics is given. Asymmetry of meaning and function is taken into account. An important point is combination of semantic and pragmatic aspects of meaning of adjectives and realization of potential semes in context. Key words: contextual synonyms, asymmetry of form and meaning, cognitive approach, pragmatics. V7=8< 0A?5:B0< O28I0 A8=>=V<VW ?@8A2OG5=0 25;8:0 :V;L:VABL =0C:>28E 4>A;V465=L, O: 2VBG87=O=8E, B0: V 70@C1V6=8E. 5@5;VG8<> 0A?5:B8, 2 O:8E 25;8AO @>7@>1:8 C 40=V9 30;C7V ;V=32VAB8G=8E 7=0=L: A8=>=V<VO 2 ;5:A8:>3@0DVW (.. E<0=>20, .. 5G8B09;>, S. Ulmann, H. Gerner und G. Kempcke, J. Lyons), A8=>=V<VO @V7=>@V2=528E >48=8FL (.. %0=B0:>20), C A;>2>B2>@5==V (.. I5=:>), A8=>=V<VO C D@075>;>3VW (.. =VI5=:>), :>=B5:ABC0;L=0 A8=>=V<VO (.. 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"0:8< G8=><, C A0<V9 A5<0=B8FV ?@8:<5B=8:V2 28O2;ONBLAO ?>2'O70=8<8 2;0A=5 A5<0=B8G=89 V ?@03<0B8G=89 ?;0=8 28A;>2;5==O. /:I> 4;O V=H8E G0AB8= <>28 A5<0=B8G=89 V ?@03<0B8G=89 0A?5:B8, O: ?@028;>, @>7 T4=0=V V WE=V9 72 O7>: @50;V7CTBLAO C 28A;>2;5==V, B> C ?@8:<5B=8:V2 270T<>4VO F8E 42>E 0A?5:BV2 2V41820TBLAO 2 A0<8E WE=VE 7=0G5==OE [7]. 5B0 4>A;V465==O  282G5==O ?@03<0B8G=>3> ?>B5=FV0;C A8=>=V<V2-?@8:<5B=8:V2 B0 287=0G5==O WE=L>W @>;V C AB2>@5==V EC4>6=L>3> 48A:C@AC. 1 T:B>< =0H>3> 4>A;V465==O T A8=>=V<VG=V ?@8:<5B=8:>2V 3@C?8, <0B5@V0;><  B5:AB8 =V<5FL:8E 02B>@V2 %% AB>;VBBO. @54<5B 4>A;V465==O  DC=:FV>=0;L=>-A5<0=B8G=V B0 AB8;VAB8:>-?@03<0B8G=V >A>1;82>ABV 26820==O >:07V>=0;L=8E A8=>=V<VG=8E ?@8:<5B=8:V2 C EC4>6=VE B2>@0E =V<5FL:8E 02B>@V2 %% AB>;VBBO. :BC0;L=VABL 287=0G0TBLAO 70FV:02;5=VABN =0C:>2FV2 4> 282G5==O ?@03<0B8G=>3> ?>B5=FV0;C ;5:A8G=>3> 70?0AC <>28 C EC4>6=L><C 48A:C@AV. V4?>2V4=> 4> B@048FV9=>3> @>7C<V==O A8=>=V<8 @>73;O40NBLAO O: A;>20, I> 28@060NBL >4=5 ?>=OBBO, ?V4:@5A;NNG8, 284V;ONG8 @V7=V 9>3> AB>@>=8, @V7=V 9>3> >7=0:8. @8 FL><C A8=>=V<8 2V4@V7=ONBLAO 2V4BV=:0<8 7=0G5==O, 5:A?@5A82=8<8 B0 AB8;VAB8G=8<8 >A>1;82>ABO<8, 26820=VABN B0 A?>;CGC20=VABN [12, A. 73]. /: A8=>=V<8 728G09=> @>73;O40NBLAO A;>20, O:V =0;560BL 4> >4=VTW G0AB8=8 <>28 V 7@V4:0 A8=>=V<0<8 <>6CBL 1CB8 A;>20 @V7=8E ;5:A8:>-3@0<0B8G=8E @>7@O4V2, I> <0NBL 45O:V A?V;L=V >7=0:8 B0 28:>=CNBL >4=0:>2V A8=B0:A8G=V DC=:FVW, 7>:@5<0 B0:V, O: ?@8:<5B=8:  4VT?@8:<5B=8:, ?@8A;V2=8:  4VT?@8A;V2=8: [5, A. 15]. @C389 ?V4EV4 =0<8 210G0TBLAO 1V;LH :>@5:B=8<, >A:V;L:8 4;O A8=>=V<VW E0@0:B5@=0 A8<5B@VO / 0A8<5B@VO D>@<8 V 7<VABC, I>, 2;0A=5, V 40T ?V4AB02C 4;O 28>:@5<;5==O A8=>=V<V2 (2 B><C G8A;V V :>=B5:ABC0;L=8E). !5<0=B8G=0 0A8<5B@VO D>@<8 V 7<VABC <>2=8E >48=8FL A?@8OT @CE;82>ABV 9 3=CG:>ABV A8=>=V<VG=>3> @O4C, I> ?@54AB02;OT A>1>N 7@CG=89 D>=4 4;O 28@065==O CB2>@5=8E 7<VABV2 C ?@>F5AV 2V418BBO 2 ;N4AL:V9 A2V4><>ABV 2;0AB82>AB59 V 2V4=>A8= 7>2=VH=L>W @5D5@5=B=>W A8BC0FVW [8, A. 19].  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Ť?>2 O7C20B8ť =0 >A=>2V B>B>6=>ABV 7=0G5==O ;5:A5<, O:V =5 2E>4OBL 4> >4=>3> V B>3> A0<>3> A8=>=V<VG=>3> @O4C, B0:>6 A8=>=V<VO T ?@>O2>< 0=B8?>2B>@C. .. 0A>: [2] ?@>?>=CT 2V4@V7=OB8 2V4 <>2=>W A8=>=V<VW :>=B5:ABC0;L=C 725@B0NG8 C203C =0 B5, I> 2>=0 ?5@5410G0T A5<0=B8G=5 71;865==O =><V=0B82=8E >48=8FL, O:V 2 A8AB5<V <>28 =5 T A8=>=V<0<8 V 287=0G0T :>=B5:ABC0;L=C A8=>=V<VN O: <>2;5==T25 O28I5, O:5 ?5@5410G0T @5D5@5=B=C V45=B8G=VABL, A5<0=B8G=C ?>4V1=VABL, T4=VABL DC=:FV>=0;L=>-AB8;VAB8G=8E ?>:07=8:V2 B0 >4=0:>2C ?@03<0B8G=C A?@O<>20=VABL =><V=0B82=8E >48=8FL, O:V A8=>=V<V7C20;8AO 2 :>=B5:ABV.  A5<0=B8G=><C ?;0=V :>=B5:ABC0;L=V A8=>=V<8 E0@0:B5@87CNBLAO =57040=VABN A8AB5<>N <>28, =><V=0B82=>N D0:C;LB0B82=VABN, =52V4B2>@N20=VABN ?>70 :>=B5:AB>< V ?0=B5<?>@0;L=VABN, B>1B> =>287=>N, O:0 =5 70;568BL 2V4 G0AC: Und wenn Ludendorff einmal vor seinen himmlischen, nicht aus Preu˛en stammenden, also unbefangenen Richter tritt& ť (Das Tucholsky Lesebuch, S. 83).  40=><C ?@8:;04V :>=B5:ABC0;L=V A8=>=V<8 ?@54AB02;5=V ?@8:<5B=8:>< Ťhimmlischť, 4VT?@8:<5B=8:>28< 72>@>B>< Ťnicht aus Preu˛en stammendenť B0 4VT?@8A;V2=8:>< Ťunbefangenť, O:V 2E>4OBL 4> @V7=8E A8=>=V<VG=8E @O4V2 7 @V7=8<8 4><V=0=B0<8 V ?>2 O7CNBLAO C :>=B5:ABV 7024O:8 A5<V Ťunabhängigť, O:0, 2 A2>N G5@3C, 0:BC0;V7CTBLAO 2 7=0G5==V V<5==8:0 ŤRichterť. >=B5:ABC0;L=0 A8=>=V<VO E0@0:B5@87CTBLAO, 7 >4=>3> 1>:C, ?@03=5==O< 4> <>2=>W 5:>=><VW, O:0 ?>;O30T 2 C=8:=5==V 4C1;N20==O >4=0:>2>3> =01>@C A5< C <560E >4=>3> :>=B5:ABC, 7 V=H>3>  ?@03=5==O 4> @V7=><0=VB=>ABV D>@< 28:;045==O V=D>@<0FVW. 09206;82VH>N E0@0:B5@8AB8:>N :>=B5:ABC0;L=8E A8=>=V<V2 T, =0 =0HC 4C<:C, ?>@CH5==O <>2=>W =>@<8 B0 A8BC0B82=0 >1C<>2;5=VABL, 2V4?>2V4=>, =52V4B2>@N20=VABL ?>70 :>=B5:AB><. 5>1EV4=> 2V4<VB8B8, I> 2 ;V=32VAB8FV 0:B82=> @>72820TBLAO :>3=VB82=89 ?V4EV4 4> 282G5==O :>=B5:ABC0;L=>W A8=>=V<VW, 2 O:><C :>=B5:ABC0;L=0 A?V;L=VABL 7=0G5==O @>73;O40TBLAO 2 O:>ABV AC1 T:B82=> A?@89=OB>W =>AVT< <>28 1;87L:>ABV 7=0G5==O A;V2, 0 1;87L:VABL 7=0G5==O 287=0G0TBLAO =5 A8AB5<=8<8 2V4=>H5==O<8 C <>2=V9 ?0@0483<V, 0 7024O:8 2V4=>H5==N =>AVO <>28 4> >B>GCNG>W 4V9A=>ABV, ?>@V2=O==O ?@54<5BV2 01> O28I =0 >A=>2V A?V;L=>W >7=0:8. >=B5:ABC0;L=0 A8=>=V<VO >1C<>2;NTBLAO 71;865==O< D@03<5=BV2 4V9A=>ABV, O:V ?>7=0G0NBLAO F8<8 A;>20<8, C V=482V4C0;L=V9 :0@B8=V A2VBC 02B>@0 [4, A. 11]: & steht es uns an, mit sorgsamer, deutscher Gründlichkeit dieses neue Volkslied zu untersuchen & (Das Tucholsky Lesebuch, S. 94). =0G5==O A;V2 Ťdeutschť V Ťsorgsamť 0:BC0;V7CNBL CO2;5==O ?@> AB0@0==VABL V @5B5;L=VABL, 7 O:>N =V<FV 28:>=CNBL 1C4L-O:C @>1>BC.  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"0:>6 A;>20 O: 5;5<5=B8 B5:ABC @50;V7CNBL 9>3> ?@03<0B8G=C CAB0=>2:C B0 2?;820NBL =0 ?@03<0B8G=V E0@0:B5@8AB8:8 [1, A. 40-43].  =0HV9 @>72V4FV ?@8 A5<0=B8G=><C 0=0;V7V B0:>6 @>73;O40TBLAO ?0@0<5B@ ;5:A8G=>W A?>;CGC20=>ABV ?@8:<5B=8:V2, B><C I> :>=B5:ABC0;L=V A8=>=V<8 1C4CNBLAO =0 ;V=32VAB8G=V9 :><?5B5=FVW 02B>@0, :>B@0: Ť2:;NG0T 7=0==O =5 BV;L:8 =>@<0B82=8E 7=0G5=L <>2=8E >48=8FL, 70:>=><V@=>AB59 WE=L>W A?>;CGC20=>ABV B0 ?@8=F8?V2 AB@C:BC@=>-:><?>78FV9=>W >@30=V70FVW B5:ABC, 0 B0:>6 V :><C=V:0B82=8E ?>B5=FV9 <>2=8E >48=8FL B0 A?5F8DV:8 WE=L>W :><1V=0B>@8:8ť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as der General Ilse, Ťder Kindermörder von Ypernť, bei Langemarck in den Tod jagte, waren gutgläubige, frische deutsche Jungen & (Das Tucholsky Lesebuch, S. 70). /:I> A?>;CG5==O Ťgutgläubigť + ŤJungeť 40T ?@O<5 7=0G5==O, B> C A;>2>A?>;CG5==V Ťfrischť + ŤJungeť <0T<> <5B0D>@870FVN. V4AC<CT<>: 2 ACG0A=8E ;V=32VAB8G=8E ABC4VOE @>73;O40NBLAO <>2=V B0 :>=B5:ABC0;L=V A8=>=V<8, ?@8 G><C 45O:V 4>A;V4=8:8 22060NBL @0<:8 <V6 =8<8 4>2>;V @>7<8B8<8. 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Ť%@8AB>A 8 =B8E@8ABť: 02B>@5D. 48A. ... :0=4. D8;>;. =0C:: 10.02.01 / OB83>@A:89 3>AC40@AB25==K9 ;8=328AB8G5A:89 C=825@A8B5B.  09:>?, 2008.  21 A. 5. 5G8B09;> .. !8=>=V<8 2 ;5:A8:>3@0DVW / .. 5G8B09;>.  . : 0C:>20 4C<:0, 1987.  132 A. 6. "5@5I5=:> . 5:A8G=0 A8=>=V<VO: A?@>10 0=0;V7C DC=:FV>=0;L=>W B>B>6=>ABV / . "5@5I5=:> // VA=8: L2V2AL:>3> C=V25@A8B5BC. !5@VO DV;>;>3VG=0.  8?CA: 34.  '. .  L2V2, 2004.  !. 280-285. 7. ":0GV2AL:0 . . !?>;CGC20=VABL B0 DC=:FV>=0;L=V >A>1;82>ABV ?@8:<5B=8:V2 =0 ?>7=0G5==O ?>@B@5B=>W E0@0:B5@8AB8:8 ;N48=8 2 ACG0A=V9 =V<5FL:V9 <>2V: 02B>@5D. 48A. ... :0=4. DV;>;. =0C:: 10.02.04 / L2V2AL:89 =0FV>=0;L=89 C=V25@A8B5B V<. . $@0=:0.  L2V2, 2001.  20 A. 8. %0=B0:>20 . . !8=>=8<8O D>@< 8 A8=>=8<8O A<KA;>2: B5>@5B8G5A:0O <>45;L 0=0;870 8=B53@0B82=>3> 2708<>459AB28O A8=>=8<8G5A:8E 548=8F >4=>- 8 @07=>C@>2=52>9 ?@8=04;56=>AB8: 02B>@5D. 48A. ... 4-@0. D8;>;. =0C:: 10.02.04. / @:CBA:89 3>AC40@AB25==K9 ;8=328AB8G5A:89 C=825@A8B5B.  @:CBA:, 2006.  37 A. 9. %0=B0:>20 .. "5>@8O A8=>=8<88: >?KB 8=B53@0;L=>3> 0=0;870 / .. %0=B0:>20. >=>3@0D8O.  @:CBA: : @:CBA:89 3>AC40@AB25==K9 ;8=328AB8G5A:89 C=825@A8B5B, 2006.  211 A. 10. '5@=CE8=0 ./. -;5<5=BK >@30=870F88 EC4>65AB25==>3> ?@>708G5A:>3> B5:AB0 / ./. '5@=CE8=0.  >@>=56 : 74-2> >@>=56A:>3> C=-B0, 1984.  115 A. 11. Dixon R. M. W. A Semantic Approach to English Grammar / R. M. W. Dixon.  London : Oxford University Press, 2005.  543 p. 12. Fleischer W. Stilistik der deutschen Gegenwartssprache / W. Fleischer, G. Michel.  2., unveränderte Auflage.  Leipzig : VEB Bibliographisches Institut, 1977.  394 S.   .!" " " # 1. Das Tucholsky Lesebuch / ausgewählt von D. Keel u. W. Stephan.  Zürich : Diogenes Verlag, 2007.  971 S. Š .. !C44O, 2009 # 811.112.2 272 ><C=V:0B82=89 48=0<V7< C AC@O4=>-?V4@O4=><C ?>;V=><V =V<5FL:>W <>28 .. /F5=:> (0?>@V66O) !B0BBO ?@8A2OG5=0 4>A;V465==N :><C=V:0B82=>3> 48=0<V7<C AC@O4=>-?V4@O4=>3> ?>;V=><C, 4;O O:>3> E0@0:B5@=8< T @>73>@B0==O 2V4 ?>G0B:C 28A;>2;5==O 4> 9>3> 7025@H5==O. $070 =0?@C65==O, 4;O ?>A8;5==O O:>W :><C=V:0=B8 :>@8ABCNBLAO ?0@0=B57>N, 22545==O< ?V4@O4=8E @5G5=L B>I>, 7<V=NTBLAO D07>N @5;0:A0FVW. ;NG>2V A;>20: 48=0<V7<, =0?@C65==O, @5;0:A0FVO, AC@O4=>-?V4@O4=89 ?>;V=><. . . /F5=:>. ><<C=8:0B82=K9 48=0<87< A>G8=8B5;L=>-?>4G8=8B5;L=>3> ?>;8=><0 =5<5F:>3> O7K:0. !B0BLO ?>A2OI5=0 8AA;54>20=8N :><<C=8:0B82=>3> 48=0<87<0 A>G8=8B5;L=>-?>4G8=8B5;L=>3> ?>;8=><0, 4;O :>B>@>3> E0@0:B5@=K< O2;O5BAO @0725@BK20=85 >B =0G0;0 2KA:07K20=8O 4> 53> 7025@H5=8O. $070 =0?@O65=8O, 4;O CA8;5=8O :>B>@>9 :><<C=8:0=BK 8A?>;L7CNB ?0@5=B57C, 22545=85 ?>4G8=8B5;L=KE ?@54;>65=89 8 B.4., A<5=O5BAO D07>9 @5;0:A0F88. ;NG52K5 A;>20: 48=0<87<, =0?@O65=85, @5;0:A0F8O, A>G8=8B5;L=>-?>4G8=8B5;L=K9 ?>;8=><. P. I. Yatsenko. The communicative dynamism of the coordinative-subordinating polynom of the German language. The article is dedicated to the research of the communicative dynamism of the coordinative-subordinating polynom, for which the expansion from the beginning of the utterance up to he end is typical. The phase of tension, for which reinforcement the communicators use parenthesizes, adding of subordinate clauses etc., is changing into the phase of relaxation. Key words: coordinative-subordinating polynom, dynamism, relaxation, tension. V=32VAB8G=V 4>A;V465==O <8=C;8E AB>@VG :>=F5=B@C20;8AO ?5@5206=> =02:>;> ?@>AB8E @5G5=L B0 WE A8=B0:A8G=>3> V A5<0=B8G=>3> 0A?5:BV2, 0 A:;04=5 @5G5==T25 CB2>@5==O 70;8H0;8 ?>70 C203>N. A>1;82> @V4:> 4>A;V4=8:8 A?@O<>2C20;8 A2>W =0C:>2V ?>HC:8 C 1V: :><C=V:0B82=>3> 0A?5:BC, I> T =528?@0240=8< B0 ?>B@51CT 45B0;L=>3> 282G5==O. 0 FV9 ?V4AB02V >1 T:B>< 4>A;V465==O AB02 @V7=>284 A:;04=>3> @5G5==O  AC@O4=>-?V4@O4=89 ?>;V=>< (!) =V<5FL:>W <>28, <V=V<0;L=0 D>@<0 O:>3> 4>@V2=NT 42>< 3>;>2=8< () B0 >4=><C ?V4@O4=><C () @5G5==N, 0 ?@54<5B>< =0C:>2>W @>72V4:8 1C2 >1@0=89 :><C=V:0B82=89 48=0<V7< () C 2:070=><C 284V @5G5==O. 5B>N FVTW @>1>B8 T 282G5==O AC@O4=>-?V4@O4=>3> ?>;V=><C C :><C=V:0B82=><C 0A?5:BV, 0 A0<5 2AB0=>2;5==O A?5F8DV:8 @>73>@B0==O :><C=V:0B82=>3> 48=0<V7<C B0 >A>1;82>AB59 D078 =0?@C65==O C 28A;>2;5==OE 2:070=>3> B8?C. 0B5@V0;>< @>1>B8 AB0;8 B2>@8 =V<5FL:><>2=8E 02B>@V2 %% AB., AB0BBV 7 =0C:>28E G0A>?8AV2 (;V=32VAB8G=>3>, <548G=>3>, N@848G=>3>), =>@<0B82=V 0:B8 >AB0==VE 45AOB8@VG, >DVFV9=>-4V;>2V ?0?5@8. !CG0A=89 =V<5FL:><>2=89 <0B5@V0;, =54>A;V465=89 @0=VH5 >1 T:B B0 ?@54<5B FVTW @>72V4:8 >1C<>28;8 0:BC0;L=VABL =0C:>2>W @>1>B8. ><C=V:0FVO, A?@O<>20=0 =0 ?5@540GC 4C<>: 2V4 :><C=V:0=B0 4> :><C=V:0=B0 ?V4 2?;82>< V=B5=FVW <>2FO, C<>2 A?V;:C20==O B>I>, VA=CT C ?52=><C G0A>2><C ?@>AB>@V. # @07V ?@8@>4=>3>  2BV;5==O @CEC 4C<:8 [3, A. 59] 3>2>@OBL ?@> :><C=V:0B82=C WW 48=0<V:C, 0 ?@8 =5@V2=><V@=><C D>@AC20==V :><C=V:0FVW [3, A. 59; 9, c. 54]  ?@> :><C=V:0B82=5 =0?@C65==O B0 48=0<V7<. 0?@C65==O  die Spannung [9, c. 9], 1C4CG8  >A=>2=>N ?>B@51>N ;N48=8 B0 >4=8< 7 107>28E ?@8=F8?V2 68BBO 27030;V [9, c. 9], ?V4 G0A <>2;5==O AB2>@NTBLAO <>2F5< C <560E @5G5==O B0 7<V=NTBLAO D07>N @5;0:A0FVW ( tension and relaxation [9, c. 10]), I> ?@8 ?>2=V9 2V4ACB=>ABV @CEC 4C<>: ?@872>48BL 4> 7025@H5==O A?V;:C20==O [3, A. 58]. V=V<V7C20==O =0?@C65==O H;OE>< 22545==O V=D>@<0FV9=8E :;0AB5@V2, ?@> I> 7304C202 . . $V;; [9, c. 20], G0AB:>2> AB2>@NTBLAO ?@8 C?0:C20==V ?>2V4><;N20=>3> C D>@<C !. &5 V=:>;8 =V25;NTBLAO <>2;5==T28<8 V=B5=FVO<8 B0 AB@0B53VO<8 <>2FO, 0465 1C4L-O:5 ?>2V4><;5==O T ?@03<0B8G=> >@VT=B>20=8< V7 E0@0:B5@=>N 9><C  :><C=V:0B82=>N 48=0<V:>N, 01> @CE>< V=D>@<0FVW , O:0  >E>?;NT CAV 0A?5:B8 :><C=V:0FVW: :>=AB@C:B82=>-7<VAB>2=89 (A8=B0:B8:>-A5<0=B8G=89) B0 5D5:B82=>-7<VAB>289 (?@03<0B8G=89) [3, A. 57-58]. 84V;5=5 2?5@H5 /. $V@10A>< ?>=OBBO :><C=V:0B82=>3> 48=0<V7<C [8. A. 58], I> 1;87L:> 4> =0?@C65==O, ?@54AB02;OT A>1>N 206;8289 0A?5:B 4>A;V465==O @5G5==O. %0@0:B5@=8< 4;O  T  V<>2V@=0 AB>E0AB8G=0 <>45;L , B0: 720=89  <0@:>2AL:89 ?@>F5A [7, A. 36], 73V4=> 7 O:8< :>6=5 =0ABC?=5 A;>2> 28:;8:0=> ?>O2>N ?>?5@54=L>3>, B>1B> 2AB0=>2;NNBLAO ?>ABV9=V 2V4=>H5==O  AB8<C; ”! @50:FVO , 284V;5=V I5 6. @8=>< (482. [4, A. 295]). 0 <>2;5==T2><C @V2=V 48=0<V7< @50;V7CTBLAO C :>=F5=B@0FVW A<8A;V2 C 28A;>2;5==V, 2 CA:;04=5==V 9>3> A8=B0:A8G=>W AB@C:BC@8, C A?>;CG5==V A<8A;V2 C AC<V6=8E 28A;>2;5==OE, CB2>@5==V <>=>;>3VG=8E ;0=FN3V2 [3, A. 59], I> G0AB> 5A?;V:CTBLAO C D>@<V !. >@V2=O=> V7 A:;04=>AC@O4=8<8 @5G5==O<8, ! AB0=>2;OBL 1V;LH =0?@C65=C AB@C:BC@C, 0465 2>=8 >1>2 O7:>2> <VABOBL AC1>@48=0B82=> ?>2 O70=V , I> 28:;8:0=> VT@0@EVG=8<8 2V4=>H5==O<8 <V6 :><?>=5=B0<8 [9, c. 42]. @V< B>3> 2V4><>, I> =09<5=H =0?@C65=>N T B5<0 [5, A. 19; 8, 58; 10, c. 436], C B>9 G0A O: @5<0 (?@548:5<0) [5, A. 19] 2V4@V7=OTBLAO <0:A8<0;L=8<  [1, A. 41-42; 5, A. 19; 8, A. 58]. ><C=V:0B82=0 >@30=V70FVO !, O: ?>;V?@548:0B82=>3> CB2>@5==O, ?@>O2;OTBLAO =0 @V2=V >:@5<>W  B0 @5G5==O 2 FV;><C. 0 =09=86G><C @V2=V @>7@V7=ONBL 420 >A=>2=8E H;OE8 @>73>@B0==O . 5@H89 ?@>O2;OTBLAO C 3>;>2=><C V E0@0:B5@87CTBLAO ?>ABC?>28< =0@>AB0==O< =0?@C65==O V 9>3> 7=OBBO< =0?@8:V=FV. # B><C 28?04:C, :>;8  <0T ?@O<89 ?>@O4>: A;V2, :>65= =0ABC?=89 G;5= @5G5==O ?@872>48BL 4> AB2>@5==O 7030;L=> 48=0<V7<C 2AVTW :>=AB@C:FVW, O:0 @>73>@B0TBLAO 7 :>6=8< =0ABC?=8< :@>:><: (@8A. 1.):  Die Stadt geriet mehr und mehr in Aufregung /B. Kellermann/. 8A. 1. >73>@B0==O :><C=V:0B82=>3> 48=0<V7<C C 3>;>2=><C @5G5==V V7 ?@O<8< ?>@O4:>< A;V2 "0:, 7 <5B>N 71V;LH5==O <0965 =V25;L>20=>3> ?@O<8< ?>@O4:>< A;V2 =0?@C65==O . 5;;5@<0== CA:;04=NT :>=AB@C:FVN ?>2=8< ?>2B>@>< mehr und mehr, I> T 48=0<VG=8< :20=B8B0B82><   V=B5;5:BC0;L=8< :20;VDV:0B>@>< V=D>@<0FVW [3, A. 58-59] B0 ?>@O4 7 48=0<VG=8<8 45A:@8?B820<8 B0 :20;VB0B820<8 [3, A. 58] E0@0:B5@87CT :><C=V:0B82=C 48=0<V:C 28A;>2;5==O. >2B>@ 2V4><>3> A?@8G8=OT ?52=89 10@ T@, ?VA;O ?>4>;0==O O:>3> 7=V<0TBLAO =0?@C65==O 28A;>2;5==O, @>73>@B0==O 48=0<V7<C 2V41C20TBLAO H284H5 V <>25FL ?5@5E>48BL 4> D078 ?>2=>W @5;0:A0FVW. /:I> 3>;>2=5 D>@<CTBLAO H;OE>< V=25@B82=>3> @>7B0HC20==O G;5=V2 @5G5==O, B> >A>1;828< :><C=V:0B82=8< =020=B065==O E0@0:B5@87CTBLAO ?5@H89 9>3> :><?>=5=B, 0 A0<5 4@C3>@O4=89 G;5= @5G5==O (@8A. 2.):  So liebten den Siddhartha alle /H. Hesse/ 8A. 2. >73>@B0==O :><C=V:0B82=>3> 48=0<V7<C C 3>;>2=><C @5G5==V V7 V=25@B82=8< ?>@O4:>< A;V2 @V< 0:F5=BC =0 ?5@H><C 5;5<5=BV @5G5==O 02B>@, AB2>@NNG8 :><C=V:0B82=> 48=0<VG=5 28A;>2;5==O B0 AB8;VAB8G=> :>@53CNG8 9>3>, @>7B0H>2CT ?V4<5B =0 >AB0==L><C <VAFV. "0:0 ;>:0;V70FVO >4=>3> 7 >A=>2=8E G;5=V2 @5G5==O ?@872>48BL ?>42V9=>3> =0?@C65==O: 2?5@H5 2>=> AB2>@NTBLAO G5@57 @>7B0HC20==O so =0 ?5@H><C <VAFV 2 @5G5==O, ?>-4@C35, ;>3VG=5 >GV:C20==O ?V4<5B0 ?VA;O ?@8AC4:0 ?>4>26CTBLAO @>7<VI5==O< 4>40B:C =0 =5AB0=40@B=><C <VAFV. =OBBO =0?@C38 2V41C20TBLAO 2 :V=FV ?@548:0B82=>W >48=8FV.  >73>@=5==O  C ?V4@O4=><C 2V41C20TBLAO 70 B@048FV9=>N AE5<>N: 2V4 =09<5=H =0?@C65=>3> 4> =0?@C65=>3> 5;5<5=BV2. "0: C A?>;CG=8:>2><C ?V4@O4=><C =091V;LH =0?@C65=8< AB0T 5;5<5=B ?5@54 ?@8AC4:><, O:89 @>7B0H>2CTBLAO 48AB0=B=> ?> 2V4=>H5==N 4> V=H8E :><?>=5=BV2 ?V4@O4=>3>, 2<VICNG8 =093>;>2=VHC V=D>@<0FVN: (@8A. 3.):  ... daß sie ihre Fülle schon in sein wartendes Gefäß gegossen hätten /H. Hesse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ist das übertragende Unternehmen eine Produktionsgenossenschaft /BMJ/ 8A. 4. >73>@B0==O :><C=V:0B82=>3> 48=0<V7<C C 157A?>;CG=8:>2><C ?V4@O4=><C @5G5==V /:I> C @5G5==V 26820TBLAO 157A?>;CG=8:>25 4>40B:>25 G8 >7=0G0;L=5 @5G5==O,  2 =L><C <0T B0:V 6 E0@0:B5@8AB8:8, I> 9 728G09=5 ?@>AB5 @5G5==O. C4CGV ?>1C4>20=8<8 70 B@L><0 @V7=8<8 <>45;O<8 B0 2@0E>2CNG8 <>6;82VABL D>@<C20==O ! 70 7<VH0=8< B8?><, CAV ! =0 @5G5==T2><C @V2=V 4V;OBLAO =0 42V >A=>2=V 3@C?8. > ?5@H>W 2V4=>AOBLAO ! AC@O4=>F5=B@8G=>W <>45;V B0 7<VH0=>3> B8?C. >73>@B0==O  C =8E 283;O40T B0::   Siddhartha sah, wie schön sie war, und sein Herz lachte /H. Hesse/ 8A. 5. >73>@B0==O :><C=V:0B82=>3> 48=0<V7<C C AC@O4=>-?V4@O4=><C ?>;V=><V AC@O4=>F5=B@8G=>W <>45;V >G8=0NG8AL 7 ?5@H>3> A;>20, =0?@C65==O C ! 7@>AB0T, 0 ?@8 22545==V 4> A:;04C ?5@H>3> :>= N=:BC () ?V4@O4=>3>, I>, 2V4>:@5<;NNG8AL 2V4 3>;>2=>3>, A?@8G8=OT ?5@5@820==O V=B>=0FV9=>W  <5@56820 28A;>2;5==O B0 ?0C70FVN, =03=VB0TBLAO 7 1V;LH>N A8;>N. !?>;CG5==O :>= N=:BV2 T4=0;L=8< @5;OB82><, O:89 =5 A?@8OT =0?@C65==N [9, c. 42], 0 G0AB> A83=0;V7CT ?@> 7025@H5==O 28A;>2;5==O 2 FV;><C, 28:>@8AB0=89 A0<5 7 FVTN DC=:FVTN. 0?@C65==O ?>2=VABN 7=V<0TBLAO >AB0==V< 5;5<5=B><  ?@8AC4:>< 4@C3>3> :>= N=:BC, ?VA;O G>3> =0AB0T @5;0:A0FVO. !E>68< G8=>< @>72820TBLAO  C ! 7<VH0=>W AB@C:BC@8, >4=0: 2 >AB0==L><C 702648 T ?V4@O4=5, O:5, @>7B0H>2CNG8AL ?5@54 :V;L:><0 3>;>2=8<8, ?>A8;NT =0?@C65==O, V ?VA;O O:>3> =0?@C65==O ?5@5E>48BL C AB04VN H284:VA=>3> @>73>@B0==O (@8A. 6.):  1    2  n 8A. 6. >73>@B0==O :><C=V:0B82=>3> 48=0<V7<C C AC@O4=>-?V4@O4=><C ?>;V=><V 7<VH0=>3> B8?C (1) Ich bitte um Entschuldigung, wenn es brennt, so nimmt man Wasser und löscht und denkt nicht weiter /B. Kellermann/. 0?@C65==O C @5G5==V B8?C (1) ?@>E>48BL AB04VN ?V428I5==O 4> 1;>:C 3>;>2=8E, 0 >AB0==V<8, ?@8 26820==V 5;V?A8AC, ?V4B@8<CTBLAO 4> 7025@H5==O 2AL>3> @5G5==T2>3> CB2>@5==O, 0465 2>=8 T  2V4:@8B8<8 B0 A?@8ONBL =5287=0G5=>ABV [9, c. 41]. @8 D>@<C20==V ! 4@C3>W 3@C?8 D078  GVB:> @>7<56>20=V B0 2AB0=>2;5=V. /: ?@8 ?@5?>78FVW ?V4@O4=>3> C A:;04=>?V4@O4=><C @5G5==V [2, A. 344; 9, c. 40], C ?V4@O4=>- B0 1VF5=B@8G=8E ! =0?@C65==O 7@>AB0T C <560E ?V4?>@O4:>20=>3> G8 WE 1;>:C, B0 H2V4:VA=> 7=V<0TBLAO C 4@C3V9 ?>;>28=8, 2 O:V9 @>7B0H>20=V 3>;>2=V (@8A. 7., @8A. 8.), C?0:>2CNG8 :><?>=5=B8 C  70:@8BC AB@C:BC@C [2, A. 344]. 5G5==O B0:>3> B8?C =0 4C<:C . . @CBG8:>2>W, <0NBL  <0:A8<0;L=5 :><C=V:0B82=5 =0?@C65===O , ?@>B5 7 B8<, I> B0:5 @5G5==O <0T <V=V<0;L=89 ABC?V=L :><C=V:0B82=>3> 48=0<V7<C (=0?@. Willst du lang leben und bleiben gesund, iss wie die Katze und trink wie der Hund) [6, A. 10], ?>3>48B8AO =5<>6=0, 0465 ?VA;O D078 =0?@C65==O 48=0<V7< ?@8 5;V?A8AV ?V4<5B0 B0 45:V;L:>E 3>;>2=8E T 7=0G=8<:       8A. 7. >73>@B0==O :><C=V:0B82=>3> 48=0<V7<C C AC@O4=>-?V4@O4=><C ?>;V=><V ?V4@O4=>F5=B@8G=>W <>45;V (2) Bleibt es bei der isolierten Schwangerschaftshypertonie, dann wird der Kreislauf hyperdynamisch und das gesteigerte Herzminutenvolumen bleibt bis zur Entbindung abnorm erhöht /Hypertonie 2007-2/. >74V;5==N D07 =0?@C65==O C (2) A?@8ONBL A5<0=B8G=> B0 A8=B0:A8G=> 2V4>:@5<;5=V V=D>@<0B82=V 1;>:8. 0965 ?>2=VABN B0:5 @>73>@B0==O  A?V2?040T V7  ?>;V=><0 1VF5=B@8G=>W <>45;V, T48=>N 2V4<V==VABN AB0T ?V4@O4=5 2 >4=><C 7 :>= N=:BV2 ! (@8A. 8.):    1 (  )  2 8A. 8. >73>@B0==O :><C=V:0B82=>3> 48=0<V7<C C AC@O4=>-?V4@O4=><C ?>;V=><V 1VF5=B@8G=>W <>45;V (3) Soweit es zu diesem Zweck erforderlich ist, kann es verlangen, dass ihm die geschäftlichen Unterlagen vorgelegt werden, und kann es Prüfungen bei den Auskunftspflichtigen vornehmen /BMJ/. # @57C;LB0BV ?>T4=0==O C (3) AC@O4=>- B0 ?V4@O4=>F5=B@8G=>W <>45;59 ! C ?V4@O4=><C, A?V;L=><C 4;O 3>;>2=8E, 28=8:0T D070 =0?@C65==O, ?@>B5 A;01:>3> [9, c. 42], I> 2 ?>40;LH><C 7<V=NTBLAO D07>N H284:VA=>3> @>73>@B0==O C 3>;>2=8E B0 <VAB8BL  10@ T@ , O:89 AB2>@NTBLAO ?V4@O4=8<, ?VA;O G>3> 7025@HCTBLAO ! B0 >AB0B>G=> 7=V<0TBLAO =0?@C65==O. B65, >4=8< V7 A?>A>1V2 AB2>@5==O 4>40B:>2>3> =0?@C65==O G8 ?V4B@8<:8 =0?@C65==O C ! T 2:;NG5==O ?V4@O4=>3> <V6 3>;>2=8<8 (3). @V< FL>3> ?>A8;5==O =0?@C65==O 4>AO30TBLAO 22545==O< ?0@0=B578 (4), 2V4>:@5<;5=8E G;5=V2 @5G5==O, =0?@., C D>@<V 0??>78FVW (5), ?>2B>@>< (3) B>I>, 0 ?V4B@8<CTBLAO 5;V?A8A>< (1, 5), 0465 704;O ?>2=>3> @>7C<V==O V=D>@<0FVW @5G5==O @5F8?VT=B ?>28=5= B@8<0B8 2 ?0< OBV 28?CI5=89 1;>: 4> 7025@H5==O :>=AB@C:FVW: (4) Zuerst fürchtete ich mich - ich habe so viel Schreckliches von Kokain gelesen und gehört -, doch dann, als Fernando zum erstenmal fortfuhr, da hatte ich so schreckliche Angst um ihn /H. Konsalik/; (5) Beckstein, der Beliebtere, kriegt das Regierungsamt, Huber, der ihm in Sachen Sympathie etwas nachsteht, der aber das dank seiner bisherigen Ämter das breitere politische Spektrum repräsentiert, wird Parteichef und bleibt Wirtschaftsminister /Stern 18.01.2007/. "0:, C (4) . 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 . . ><<C=8:0B82=>-?@03<0B8G5A:89 0=0;87 A;>6=>3> ?@54;>65=8O / . . 10H8=0. // !;>6=>5 ?@54;>65=85 : B@048F8>==K5 2>?@>AK B5>@88 8 >?8A0=8O 8 =>2K5 0A?5:BK 53> 87CG5=8O : <0B5@80;K =0CG=. :>=D.  . , 2000.  K?. 1.  !. 231-235. 2. 4<>=8 . . !8=B0:A8A A>2@5<5==>3> =5<5F:>3> O7K:0 : A8AB5<0 >B=>H5=89 8 A8AB5<0 ?>AB@>5=89 / 4<>=8 . .  . : 0C:0, 1973.  366 A. 3. ;03>;52 . . KG;5=5=85 A5<0=B8G5A:8E M;5<5=B>2 :><<C=8:0B82=>9 AB@0B5388 2 B5:AB5 / . . ;03>;52 // $8;>;. =0C:8.  1985.  ! 2.  !. 55-62. 4. @8= 6. A8E>;8=328AB8:0. %><A:89 8 ?A8E>;>38O. A8E>;>38G5A:85 M:A?5@8<5=BK / 6. @8= // . !;>18=. A8E>;8=328AB8:0 : %><A:89 8 ?A8E>;>38O/ 6. @8= / [?5@. A 0=3;. . . 53=528F:>9] / [>1I. @54. 8 A ?@548A;. . . 5>=BL520.].  [74. 4-5 AB5@.].  >A:20 : URSS : ><:=830, 2006.  !. 216-332.  (. :  ""). 5. 2H8= . . ><<C=8:0B82=K9 A8=B0:A8A A>2@5<5==>3> 0=3;89A:>3> O7K:0 (0:BC0;L=>5 G;5=5=85 ?@54;>65=8O) : 02B>@5D. 48AA. =0 A>8A:0=85 =0CG=. AB5?5=8 4>:B>@0 D8;>;. =0C: : A?5F. 10.02.04  5@<0=A:85 O7K:8 / . . 2H8=.  ., 1990.  47 A. 6. @CBG8:>20 . . !5<0=B8:>-DC=:FV>=0;L=V >A>1;82>ABV =V<5FL:8E 28A;>2;5=L-?@8A;V2 W2 : 02B>@5D. =0 74>1CBBO =0C:. ABC?5=O :0=4. DV;>;. =0C: : A?5F. 10.02.04.  5@<0=AL:V <>28 / . . @CBG8:>20.  %0@:V2, 2003.  20 A. 7. !;>18= . A8E>;8=328AB8:0 / !;>18= . // . !;>18=. A8E>;8=328AB8:0 : %><A:89 8 ?A8E>;>38O/ 6. @8= / [?5@. A 0=3;. . . 53=528F:>9] / [>1I. @54. 8 A ?@548A;. . . 5>=BL520].  [74. 4-5 AB5@.].  >A:20 : URSS : ><:=830, 2006.  !. 17-215.  (. :  ""). 8. $8@10A /. $C=:F88 2>?@>A0 2 ?@>F5AA5 :><<C=8:0F88 / /. $8@10A // >?@>AK O7K:>7=0=8O.  1972.  ! 2.  !. 55-65. 9. Fill A. D. Das Prinzip Spannung : Sprachwissenschaftliche Betrachtungen zu einem universalen Phänomen / Fill A. – Tübingen : Gunter Narr, 2003. – 206 S. 10. Weiyun He A. Discourse Analysis / A. Weiyun He  // The Handbook of Linguistics / [ed. by M. Aronoff, J. Rees-Miller]. – Oxford : Blackwell publishing, 2004. – 428-445 pp. !?8A>: 465@5; V;NAB@0B82=>3> <0B5@V0;C 11. BMJ : Bundesministerium für Justiz [;5:B@>=89 @5AC@A].  5AC@A 4>ABC?C 4> A09BC :  HYPERLINK "http://www.bmj.bund.de" http://www.bmj.bund.de 12. Hesse H. Siddhartha [;5:B@>=89 @5AC@A] / Hesse H.  München : Terzio  LiteraMedia.  568< 4>ABC?C 4> :=838 : http:// HYPERLINK "http://www.terzio.de" www.terzio.de 13.  HYPERLINK "http://www.kup.at/journals/hypertonie/" Journal für Hypertonie [;5:B@>=89 @5AC@A]   2008.  ! 1.  5AC@A 4>ABC?C 4> 6C@=. :  HYPERLINK "http://www.kup.at/journals/hypertonie/" http://www.kup.at/journals/hypertonie/ 14. Kellermann B. Der Tor / Kellermann B. – Berlin : Volk und Welt, 1974. – 443 S. 15. Konsalik H. Der Mann, der sein Leben vergass / Konsalik H. – Berlin : Heyne Verlag, 1982. – 189 S. 16. Stern : Stern.  2007.  ! 32, 43. Š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herednychenko. Mykola Lukash  Translator from Romance Languages. The article is highlighting some aspects of Mykola Lukash creative activities, connected with his translations from romance literatures. The importance of his experience for the development of Ukrainian poetical translation is emphasized. Key words: Mykola Lukash, romance literatures, Ukrainian poetical translation. VB5@0BC@=0 @><0=VAB8:0  B2>@8 VA?0=AL:8E, VB0;V9AL:8E B0 D@0=FC7L:8E 02B>@V2  ?>AV40T GV;L=5 <VAF5 C ?5@5:;040FL:><C 4>@>1:C 8:>;8 C:0H0. ;0A=5, C:0H O: ?5@5:;040G 7=0G=>N <V@>N A:;02AO A0<5 7024O:8 ?5@5:;040< 7 @><0=AL:8E <>2, E>G0 ?5@5:;0402 B0:>6 7 0=3;V9AL:>W ((5:A?V@, 5@=A), =V<5FL:>W (5B5, 59=5, (V;;5@), ?>;LAL:>W (VF:528G, "C2V<), @>AV9AL:>W (CH:V=, ;>:, @NA>2), C3>@AL:>W (040G) B0 1030BL>E V=H8E <>2. 5 28?04:>2>, I> :>;> C:0H528E ?5@5:;04V2 C =09?>2=VHV9 71V@FV 1990 @. [2] >:@5A;NNBL V<5=0 VB0;V9FO >::0GG> V D@0=FC70 ?>;;V=5@0. >G8=0NG8 7 50-E @>:V2 <8=C;>3> AB>;VBBO V 4> :V=FO A2>3> 68BBO 8:>;0 C:0H =5 ?5@5AB0202 FV:028B8AO @><0=AL:8<8 ;VB5@0BC@0<8 V ?5@5:;040B8 =09?><VB=VHV B2>@8 F8E ;VB5@0BC@. >3> ?5@5:;040FL:89 451NB 2V41C2AO 1953 @>:C, :>;8 289H>2 4@C:>< C:@0W=AL:>N <>2>N 2>T==89 @><0= D@0=FC7L:>3> ?8AL<5==8:0 =4@5 !BV;O Ť5@H89 C40@ť.  444 ?>78FV9 >?C1;V:>20=8E C:0H528E ?5@5:;04V2, O:V 2<VI5=> C 1V1;V>3@0DVG=><C ?>:06G8:C 2003 @. [3], 237 (53,6%) ?@8?040T =0 B2>@8 @><0=AL:8E ;VB5@0BC@  ;0B8=AL:>W, VA?0=AL:>W, VB0;V9AL:>W B0 D@0=FC7L:>W. &5 4>72>;OT AB25@46C20B8, I> C A2V9 G0A 8:>;0 C:0H 1C2 =09287=0G=VH8< C:@0W=AL:8< ?5@5:;040G5< @><0=AL:8E ;VB5@0BC@.  4>AV 9><C =5<0T @V2=8E C FV9 F0@8=V. !5@54 ?5@5:;04V2 8:>;8 C:0H0 7 @><0=AL:8E <>2 G8<0;> B2>@V2 A2VB>2>W :;0A8:8. &5, 7>:@5<0, 42V A;025B=V ? TA8 VA?0=FO >?5 45 538 Ť25G0 :@8=8FOť V Ť!>10:0 =0 AV=Vť, >?C1;V:>20=V 2 >4=V9 71V@FV 1962 @., 7=0<5=8B89 Ť5:0<5@>=ť 6>20==V >::0GG>, O:89 2?5@H5 289H>2 4@C:>< 1964 @., @><0= .$;>15@0 Ť040< >20@Vť, C?5@H5 2840=89 C 1961 @., ?>57VW >;O 5@;5=0, I> C2V9H;8 4> 71V@:8 Ť>;L 5@;5=. V@8:0ť (1967 @.), $545@V:> 0@AVW >@:8 (71V@:0 ŤV@8:0ť 1969 @.), V:B>@0 N3> (71. Ť81@0=V ?>57VWť 1953 @.). 30409<> >:@5<> 2V4B2>@5=V C:@0W=AL:>N C@82:8 7 @><0=C !5@20=B5A0 Ť>= VE>Bť, ?>2=89 ?5@5:;04 O:>3> C:0H52V =5 240;>AO 7025@H8B8 70 68BBO. 0 I0ABO, F59 704C< 09AB@0 2BV;82 9>3> CG5=L =0B>;L 5@5?04O. /: C65 707=0G0;>AO, =09?>2=VH8< 7V1@0==O< ?>5B8G=8E ?5@5:;04V2 8:>;8 C:0H0 AB0;0 2840=0 ?VA;O 9>3> A<5@BV 71V@:0 ŤV4 >::0GG> 4> ?>;;V=5@0ť. > =5W C2V9H;8 B0:V ?5@5:;048 7 @><0=AL:8E <>2: :0=F>=8 7 Ť5:0<5@>=0ť 6. >::0GG> (A. 15  23); ?>57VW 7 @><0=C Ť>= VE>Bť V35;O 45 !5@20=B5A0 (A. 24  34); 4V0;>3 $@>=4>A> B0 02@5=AVW 7 4@0<8 >?5 45 530 Ť25G0 :@8=8FOť B0 A>=5B8 7 9>3> :><54VW Ť!>10:0 =0 AV=Vť (A. 35  36; 36  39); <>=>;>3 !83V7<C=40 7 4@0<8 Ť8BBO  F5 A>=ť 54@> 0;L45@>=0 (A. 42  43); ?>57VW V:B>@0 N3> V7 71V@:8 Ť0@8ť (A. 193  203); @0==V 2V@HV >;O 5@;5=0 B0 ?>57VW 7 9>3> 71V@>: Ť!0BC@=VG=V ?>57VWť, Ť8HC:0=V A2OB0ť, Ť>1@0 ?VA=Oť, Ť ><0=A8 157 A;V2ť, ŤC4@VABLť B0 V=. 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Empieza el llanto de la guitarra Es inútil callarla Es imposible callarla. /: 70@840;0 <>O 3VB0@0,  @>718;0AL 4>A2VB:C :@8HB0;L=0 G0@0. 9 70@840;0 <>O 3VB0@0& %>GC CBVH8BL  =040@<>. %>GC CB8H8BL  =0<0@=>. 5@. .C:0H0 [2, 407]. 5@5:;04 2@060T ?5@54CAV< ?VA5==VABN D>@<8. )>4> A5<0=B8:8, B> ?@8 715@565==V 7030;L=>W 7<VAB>2>W AB@C:BC@8 >@83V=0;C 2V= 45<>=AB@CT B@0=AD>@<0FVW >:@5<8E >1@07V2, O:V, >4=0:, =5 AC?5@5G0BL 02B>@AL:V9 :>=F5?FVW B2>@C. 2B>@AL:C <5B0D>@C empieza el llanto de la guitarra, O:C 42VGV 268B> =0 ?>G0B:C ?VA=V, C:0H ?5@5B2>@NT =0 4VTA;V2=89 <5B0D>@8G=89 72>@>B, 70<V=NNG8 V<5==8: el llanto Ť?;0Gť =0 4VTA;>2> Ť@840B8ť (O: / >9 70@840;0 <>O 3VB0@0& ). 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"0:, C ?5@5:;04V 2V@H0 >@:8 Ť>;0ť 7 F8:;C Ť2V 4V2G8=8ť C:0H 240TBLAO 4> 040?B0FVW >@83V=0;L=>3> <V:@>>1@07C en el olivarito cant0ba un gorrión (1C:2. 2 >;828=V A?V20T 3>@>15FL), 70<V=NNG8 9>3> =0 ?@8@>4=VH89 4;O C:@0W=AL:>W ?>5B8G=>W B@048FVW >1@07 A>;>2 O (Ť0 A>;>259 2 >;828=V: Ť"L>E, BL>E, BL>@>@>E!ťť [2, 422]. 2VA=>, <>6=0 70:8=CB8 ?5@5:;040G52V C:@0W=V70FVN B5:ABC V 4>25AB8 =5<>6;82VABL C6820==O ?>4V1=>3> >1@07C 2 VA?0=AL:><C :>=B5:ABV (0465 2 ?V245==89 :@0W=V =5@50;L=> ?>GCB8 A?V2 A>;>2 O). ;5 G8 <>65 1CB8 >4=0:>2> A?@89=OB89 >1@07 3>@>1FO 2 C:@0W=AL:><C ?>5B8G=><C :>=B5:ABV? G5284=>, ?@> 6>4=C B>B>6=VABL 5<>FV9=8E @50:FV9 G8B0GV2 >@83V=0;C V ?5@5:;04C BCB =5 9B8<5BLAO. "><C, =0 <V9 ?>3;O4, <>6=0 28?@0240B8 FN C:0H52C 70<V=C, B8< 1V;LH5, I> 2>=0 =5 =04B> ?>@CHCT >1@07=>-A<8A;>2C AB@C:BC@C 2V@H0 V 9>3> VA?0=AL:89 :>;>@8B, 1> 2AV >A=>2=V A:;04=8:8 FVTW AB@C:BC@8 2V4B2>@5=> 4>A8BL B>G=> H;OE>< 4>1>@C ?@O<8E 2V4?>2V4=8:V2. >@V2=O9<>: La Lola >;0 Bajo el naranjo, lava 5@5 1V;87=C >;0, pańales de algodón. F2VB5 :@C3>< A04>:. Tiene verdes los ojos 5;5=V 2 =5W >GV, y violeta la voz. 0 3>;>A  O: 1C7>:. i Ay, amor, @8948, <8;89, ?@8;8=8, bajo el naranjo en flor! ?><0@0=GV 70F2V;8! El agua de la acequia 5A=O=89 I8@8< A>=F5< iba llena de sol, E;N?>G5BLAO AB@C<>:, en el olivarito 0 A>;>259 2 >;828=V: cantaba un gorrVón. Ť"L>E, BL>E, BL>@>@>Eť i Ay, amor, @8948, <8;89, ?@8;8=8, bajo el naranjo en flor! ?><0@0=GV 70F2V;8! Luego cuando la Lola /: 7<8;8BL <8;> >;0 gaste todo el jabón, (VI5 >48= 1@CA>:), vendrá los torerillos. ?@894CBL B>@504>@8 4> =5W C A04>:. i Ay, amor, @8948, <8;89, ?@8;8=8, bajo el naranjo en flor! ?><0@0=GV 70F2V;8! 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L2V2 : & # V<. .$@0=:0, 2003.  356 A. 4. '5@520B5=:> . Ť65 E>G O:, 0 =C4L38 >4 AL>3> C1C45!ť / >::0GG> 6. 5:0<5@>= / 7 VB0;. ?5@. .C:0H; #?>@O4:C2., @5403C20==O . '5@520B5=:0.  .: & Ť@>A2VB0ť, 2006.  !. 5-30. Š .. '5@54=8G5=:>, 2009 # 811.111 25 >45;L ?5@5:;040FL:>W :><?5B5=B=>ABV D0EV2FO C 30;C7V ?@02>28E 2V4=>A8= .. >@AL:0, 4>:B. ?54. =0C: ("5@=>?V;L) # AB0BBV ?@>0=0;V7>20=> ACB=VABL ?>=OBBO ?5@5:;040FL:>W :><?5B5=B=>ABV D0EV2FO C 30;C7V ?@02>28E 2V4=>A8= B0 >1‘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orska. The Model of Translation Competence of a Legal Translator. The notion of translation competence of a legal translator has been analyzed in the article. Basic structural components of translation competence of a legal translator or interpreter have been defined: subject and communicative competencies, the latter consisting of language and strategic competencies. Their content peculiarities have been characterized by the author. Key words: legal interpreter, legal translator, translation competence, translation fluency. 1 T:B 4>A;V465==O  ?@>D5AV9=0 ?V43>B>2:0 ?5@5:;040G0 C 30;C7V ?@020. @54<5B 4>A;V465==O  ?@>F5A D>@<C20==O ?5@5:;040FL:>W :><?5B5=B=>ABV D0EV2FO C 30;C7V ?@02>28E 2V4=>A8=. 5B>N AB0BBV T B5>@5B8G=> >1‘@C=BC20B8 :><?>=5=B=C AB@C:BC@C <>45;V ?@>D5AV9=>W :><?5B5=B=>ABV ?5@5:;040G0 C 30;C7V ?@02>28E 2V4=>A8=. >AB0=>2:0 ?@>1;5<8. !CG0A=89 @V25=L @>728B:C F82V;V70FVW 7C<>282 =>2V ?V4E>48 4> ?@>1;5<8 B@0=A;OFVW :C;LBC@8, 7=0=L V ?@>D5AV9=8E C<V=L G5@57 A8AB5<C >A2VB8, 0 B0:>6 ?>AB0282 ?5@54 ACA?V;LAB2>< 70240==O C 28O2;5==V 3;818==8E ?@8G8= =54>A:>=0;>ABV B@048FV9=>W 28I>W ?@>D5AV9=>W >A2VB8. 0 FL><C 5B0?V =0 ?5@54=V9 ?;0= 28AC20NBLAO =>2V 28<>38  V==>20FV9=0 >A2VB0, V=B53@>20=0 7 V=B5=A82=>N =0C:>2>-4>A;V4=8FL:>N 4VO;L=VABN, <V648AF8?;V=0@=89 E0@0:B5@ >A2VB8 9 =0C:>28E 4>A;V465=L C =0?@O<:C 4> 3C<0=V70FVW B0 3C<0=VB0@870FVW <>2=>W >A2VB8, >A:V;L:8 A0<5 FO 30;C7L 707=0;0 7=0G=>W <>45@=V70FVW 2 #:@0W=V ?V4 2?;82>< 7<V= 35>?>;VB8G=>W B0 A>FV>:C;LBC@=>W A8BC0FVW C ACG0A=><C A2VBV 9 ?@>F5AV2 <V6 :C;LBC@=>W V=B53@0FVW =0 =0FV>=0;L=><C B0 <V6=0@>4=><C @V2=OE. 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ao D. Translating Law (YTopics in Translation) / D.Cao.  Clevedon, 2007.  189 p. 6. Salmi-Tolonen T. Legal Linguistic Knowledge and Creating and Interpreting Law in Multilingual Environments / T. Salmi-Tolonen // Brooklyn Journal of International Law.  2004.  !29 (3).  . 1167-1191. Š .. >@AL:0, 2009 # 811.111 25 The translation of hamlet by YurI Andrukhovych: revision of shakespeare or of the preceding translations? A. M. Savenets, Ph.D. (Lublin, Republic of Poland) The paper focuses on the most recent translation of Hamlet into Ukrainian. The author questions the typical perception of Yuri Andrukhovych’s translation as a postmodern experiment, providing examples of the translator’s decisions which illustrate the greater consistency of Andrukhovych the translator and his fidelity to Shakespeare’s text even when compared to the ‘canonized’ translations of the tragedy. Key words: consistency of translation, forms of address, puns, translation as revision. =4@V9 !025=5FL. 5@5:;04 Ť0<;5B0ť .@VO =4@CE>28G0: @52V7VO (5:A?V@0 G8 ?>?5@54=VE ?5@5:;04V2? !B0BBN ?@8A2OG5=> =09=>2VH><C ?5@5:;04>2V Ť0<;5B0ť C:@0W=AL:>N <>2>N. 2B>@ AB028BL ?V4 AC<=V2 B8?>25 A?@89=OBBO 25@AVW =4@CE>28G0 O: ?>AB<>45@=>3> 5:A?5@8<5=BC, =02>4OG8 >:@5<V ?@8:;048 ?5@5:;040FL:8E @VH5=L, O:V V;NAB@CNBL 1V;LHC ?>A;V4>2=VABL =4@CE>28G0-?5@5:;040G0 V 9>3> 2V@=VABL (5:A?V@>2><C B5:ABC =02VBL C ?>@V2=O==V 7 Ť:0=>=VG=8<8ť ?5@5:;040<8 B@0354VW. ;NG>2V A;>20: 3@0 A;V2, ;>3VG=VABL ?5@5:;04C, ?5@5:;04 O: @52V7VO, D>@<8 725@B0==O. =4@59 !025=5F. 5@52>4 Ť0<;5B0ť .@8O =4@CE>28G0: @52878O (5:A?8@0 8;8 ?@54K4CI8E ?5@52>4>2? !B0BLO ?>A2OI5=0 ?>A;54=5<C ?5@52>4C Ť0<;5B0ť =0 C:@08=A:89 O7K:. 2B>@ ?>425@305B A><=5=8N B8?8G5A:>5 2>A?@8OB85 25@A88 =4@CE>28G0 :0: ?>AB<>45@=8ABA:>3> M:A?5@8<5=B0, =02>4O >B45;L=K5 ?@8<5@K ?5@52>4G5A:8E @5H5=89, 8;;NAB@8@CNI85 1>;LHCN ?>A;54>20B5;L=>ABL =4@CE>28G0-?5@52>4G8:0 8 53> 25@=>ABL (5:A?8@>2A:><C B5:ABC 4065 ?> A@02=5=8N A Ť:0=>=8G5A:8<8ť ?5@52>40<8 B@035488. ;NG52K5 A;>20: 83@0 A;>2, ;>38G=>ABL ?5@52>40, ?5@52>4 :0: @52878O, D>@<K >1@0H5=8O. The present paper takes as its subject of study the 20th century practice of translating William Shakespeare’s works into Ukrainian, its more narrow object of inquiry being the peculiarities of Yuri Andrukchovych’s approach to translating Hamlet. The aim of the research is to compare the most recent translation of Hamlet into Ukrainian accomplished by Yuri Andrukchovych to the ‘canonized’ versions by Hryhoriy Kochur and Leonid Hrebinka as well as to another complete 20th century translation of Hamlet by Yuri Klen. The comparison will provide suggestions as regards further perspectives for the analysis of the translation of Shakespeare’s works into Ukrainian. The research material includes the texts of the Ukrainian translations of Hamlet by Yuri Andrukhovych, Hryhory Kochur, Leonid Hrebinka and Yuri Klen. The topicality of the research is determined by the necessity of establishing the framework and the criteria for the analysis of the contemporary practice of translating Shakespeare into Ukrainian. The most recent translation of Shakespeare’s Hamlet into Ukrainian by Yuri Andrukhovych attracted the attention of researchers even before it was first published. So far, scholars have focused their attention on the translation strategy of Andrukhovych in general [15], as well as on particular aspects of his translation, such as interpretation of Biblical motives [14, p. 219–224], and intertextual signals including references to the translator’s own prose works [13, p. 235–236]. At the same time this most recent Ukrainian version of the Shakespearean tragedy, prepared for the Kyiv Academic Molodyi Theatre performance, has been labelled ‘postmodern’ and even ‘populist’ [18, p. 113; 15, p. 350;], its ‘low’ style being emphasized [13, p. 235; 15, p. 349], especially against the backdrop of the ‘canonized’ versions by Leonid Hrebinka and Hryhory Kochur. The general opinion about Andrukhovych’s Hamlet as a postmodern experiment was partly due to the perception of the translator’s original oeuvre regarded as a model example of the Ukrainian literary postmodernism. Providing a deeper account of Andrukhovych’s translation’s position in the Shakespearean canon in Ukrainian, however, requires considering a number of aspects. Given the limits of the present paper, we shall concentrate on two aspects of Andrukhovych’s approach to translating Hamlet which are significant for the theatrical perception of the tragedy and which serve as an evidence of the translator’s success in improving what might be considered the failures of his predecessors. The first aspect is that of the tragedy’s consistency as seen by the target reader or viewer, and the second one covers the issue of rendering Shakespeare’s puns. The first issue will be considered on the example of several cases of inconsistency concerning rendering the T-V distinction by the earlier translators of Hamlet. As it is generally acclaimed, whenever the contrast between the pronouns is used on purpose by Shakespeare, you is typical when addressing social superior or one’s parent and thou when addressing social inferior or one’s offspring. Besides, thou indicates close intimacy [1, p. xvii; 3, p. 18; 5, p. 48–49]. Switching between the two pronouns served as a means of emphasizing the nuances of the characters’ relationship. One of the most noticeable shifts in Hamlet is that of Horatio who uses the pronoun you addressing Hamlet throughout the play, but switches to thee in his cue at the moment of Hamlet’s death, And flights of angels sing thee to thy rest [V.ii.365] (all the quotations from Hamlet in the present paper are given according to the Arden Second Series edition [9]). The more intimate form of address emphasizes Horatio’s deep attachment to the prince which had been constrained in his speech by the norms of the court discourse throughout the play, but which Horatio excuses himself of when Hamlet is no more party of this discourse. This obvious shift is consequently rendered by all of the translators and is perceived natural in the translations. At the same time, scholars mark Shakespeare’s inconsistency in this matter and note the cases in which the difference between these pronouns of address in Shakespeare’s dramas is not meaningful [3, p. 18–19]. But no universal solution is possible as regards Shakespeare’s forms of address. The dialogue between Hamlet and his mother in Act 3 Scene 4 featuring Gertrude’s shift to a more formal register [III.iv.8–11] may serve as an evidence of the impossibility to draw a clear parallel between the usage of you/thou and B8/28 in the play in order to render shades of emotional attitude between the characters. All of the Ukrainian versions of the dialogue show the translators awareness of this impossibility. The conclusion is that the translators of Hamlet into Ukrainian have to choose separate forms of address in every particular case of two characters’ interaction throughout the play. The pattern of relations between Hamlet and Ophelia as presented in different Ukrainian versions of the tragedy may serve as an example of such a case, all the more so as it does require using different forms of address on the part of Hamlet throughout the play. Not using both forms of address, the one corresponding to the norm of the court discourse, and the one violating it, it would be almost impossible for a translator to render the range of Hamlet’s attitude to Ophelia including both faked disregard and passionate affection. Different models of Hamlet’s attitude to Ophelia were offered by the earlier 20th century translators of Hamlet into Ukrainian on the one hand, and by Yuri Andrukhovych, on the other. Kochur’s and Hrebinka’s choice of the plural second person pronoun 28 in the prince s address to Ophelia throughout the play, fetched out by the shift to a more intimate form of address in his reference to Ophelia as a nymph at the end of his third soliloquy [III.i.89] and in Get thee to a nunnery passages [III.i.121 139], corresponds to the usage of you and thou in Shakespeare’s text [19, p. 413–414; 21, p. 55–56]. This violation of the normal usage is interpreted by Maria Azhniuk as Hamlet’s involuntary unmasking himself [12, p. 94]. The Hamlet of Andrukhovych’s translation, in turn, addresses Ophelia in the second person singular with the only exception in the play scene where it is used in a most ironic way just to stress his distance to her: 0=V, G8 <>6C ?>:;0AB8AO =0 20H5 ;>=>? [23, p. 115]. The decision of Andrukhovych qualifying Hamlet s insults addressed to Ophelia as the violation of the normal discourse corresponds to Shakespeare scholars observations concerning Hamlet s cruelty to Ophelia in the play scene [2, p. 105; 9, p. 151], underestimated, however, by some other scholars [16, p. 115]. These are, however, two different interpretations based on two different, but consistent reasonings. At the same time, in a number of situations, the earlier translators’ attempts at following literally the T-V distinction of Shakespeare resulted in parallel usages which can be well noticed as early as Act 1 Scene 1, in the first exchange of phrases between Barnardo and Francisco. In one of his first cues Barnardo addresses Francisco, Get thee to bed, Francisco [I.i.7], but later shifts to you. Both Barnardo and Marcellus use you while addressing Francisco, and the latter uses you while addressing both of them. The frequent usage of you by the sentinels makes it impossible to state whether the T-V distinction was intended by Shakespeare to mark the difference in their position. Barnardo’s relieving Francisco of his watch, in fact, suggests their equal or at least comparable status [17, p. 443]. According to H. Jenkins’s conclusion, “Shakespeare, not untypically, leaves their exact status undefined” [9, p. 423]. However, Klen, Kochur and Hrebinka persist in differentiating the forms of the singular and the plural second person pronouns as they follow the 18th century addition characterizing Barnardo and Marcellus as officers and Francisco as a soldier. In Kochur’s translation we have, in fact, the first cue of Francisco addressed to Barnardo featuring the singular form B8: V, B8 A:068 @0=VH5, EB> B8 A0< [19, p. 323], but it does not disrupt the consistency as Francisco does not know at the moment being whom he is speaking to. The most striking, however, is Kochur s choice of the second person plural in Marcellus address to Francisco: 4VBL 74>@>2V, 4@C65. // %B> 20A 7<V=82? [19, p. 325]. The same solution is found in Yuri Klen s translation. As a result, the translators who chose to emphasize different positions of a soldier and an officer on the social ladder using two different forms of address, allowed the latter to address the former using the pronoun not suitable to his presumably higher position. Yuri Andrukhovych, in turn, decided to neutralize the presumable social difference between the officers and the soldier. In his translation, Barnardo, Francisco, and Marcellus address one another in the second person singular. Other examples of parallel usage of the singular and the plural second person pronouns by one character addressing another may be found in the translation by Hryhoriy Kochur. The first Claudius address to Hamlet, But now, my cousin Hamlet, and my son [I.ii.64] is rendered A B8, <V9 @V4=89 0<;5B5, <V9 A8=C, but almost immediately, after Hamlet s riposte %>G <8 9 @V4=O, ?@>B5 =5 @V4=V 7>2AV< shifts to the second person plural pronoun: '><C F5 9 4>AV I5 =04 20<8 E<0@8? [19, p. 335 336]. The shift only might have been used by the translator to show Claudius reaction at Hamlet s reply resulting in the choice of a more formal register, but Kochur follows the Theobaldian tradition [9, p. 183] of marking Hamlet’s cue as an aside. So, from Claudius’ perspective the shift is illogical. Andrukhovych also makes Hamlet speak aside, but in his version, as well as in Hrebinka’s translation, Claudius consequently uses the singular second person pronoun B8 while referring to Hamlet. In a similar way, Kochur renders the parallel usage of the two forms of address by Claudius in the duel scene. In his version, Claudius who uses the plural second person pronoun while addressing Hamlet throughout the scene, switches to B8 in the translation of the line Stay, give me drink. Hamlet this pearl is thine. // Here s to thy health [V.ii.284 285]: !BV9, 0<;5B5, >F5 B2>O ?5@;8=0. // 8=0! 0 B515 28? N! 89 V B8 [19, p. 523]. A similar observation may be made as regards Kochur s and Hrebinka s uncritical copying of Hamlet s parallel usage of you and thou in his addresses to Horatio. In Kochur s translation, Hamlet who at first obsessively uses the second person pronoun: >@0FV>! 5265 F5 28 =0A?@024V!; 8 7 20<8 4@C7V; )> 6 A?@024V 7 VBB5=15@30 ?@825;> 20A? [19, p. 339 340] and so on, reacts to Horatio s declaration about arriving to see the funeral with the words: !BC45=B5-4@C65, =5 :5?:C9 B8 7 <5=5. / 068 265, I> ?@8WE02 =0 25AV;;O [19, p. 340]. Later on, the Hamlet of Kohur s translation chooses the more intimate form of address right after the play scene in Act 3 Scene 2 when the two friends stay alone: N189 >@0FV>, O 3>B>289 70:;0AB8AO =0 B8AOGC DC=BV2, I> ?@8284 3>2>@82 ?@024C. "8 ?><VB82? [19, p. 432]. Keeping using the second person singular in the churchyard scene (>@0FV>, A:068 <5=V >4=5, 1C4L ;0A:0 [19, p. 501]), at the beginning of the last scene Hamlet addresses Horatio, 8 =5 701C;8 I5 B>3>, H> AB0;>AL? [19, p. 507] A similar observation may be made as regards Hamlet’s addresses to his friend in Hrebinka’s version. Both of the translators, as it is clearly seen, stick to the T-V distinction as provided by Shakespeare. Summing up the issue, one has to admit that the strategy of accurate following Shakespeare’s usage of pronouns of address proves to be not adequate in the target language, since the functions performed by thou and you in the Shakespearean tragedy do not fully correspond to the functions performed by the singular and the plural second person pronouns in modern Ukrainian. Given the earlier translators’ strategy of accurate rendering of Shakespeare’s parallel usage of the two pronouns, it is almost impossible for the target language audience to get a clear, consistent notion of the characters’ relations. The translation of Yuri Andrukhovych, while introducing a less formal way of communication between the characters, retains a consequent attitude to presenting their relations. Let us now consider two examples which illustrate both some inconsistencies of the earlier translations of Hamlet which so far passed unnoticed by critics, and the more adequate solutions provided by Yuri Andrukhovych. In Act I, Hamlet confesses to Horatio: Ham. (...) My father—methinks I see my father— Hor. Where, my lord? Ham. In my mind’s eye, Horatio [I.ii.184–185]. Hrebinka’s translation of the passage reads, 0<;5B (& ) V9 10BL:>... O =5<>218 10GC 10BL:0... >@0FV>. 5, ?@8=F5 <V9? 0<;5B. G8<0 4C<:8, 4@C65 [21; 17]. Horatio s question implying the place clause and Hamlet s answer featuring the clause of manner create a striking contrast emphasizing the failure in communication, never meant by Shakespeare. The correspondence of the question and the answer, however, is preserved in the versions of Yuri Klen: /: 10G8B5 9>3>, <V9 ?@8=F5?  G8<0 4CEC [20, p. 34], Hryhoriy Kochur: 5, ?@8=F5, 45?   >G0E 4CHV <>TW [19, p. 341], as well as Yuri Andrukhovych: 5, ?0=5 <V9?  8H5 2 CO2V, 4@C65 [23, 29]. Another example is the beginning of Act 4, Scene 1. Gertrude who has just communicated Claudius about Polonius death, is asked by Claudius where her son is. To draw apart the body he hath kill d, Queen answers [IV.i.24]. The translation by Kochur reads, >=VA 2V= B@C? :C48AL [19, p. 455]. At the same time, the stage direction at the end of Act 3, Scene 4 of the same translation states, 0<;5B 2>;>G5 70 A>1>N B@C? >;>=VO [19, p. 453]. Even if there were no any stage direction, Queen s words seem highly improbable, given the enormous effort required on the part of the prince to perform the action according to his mother s cue. In the translations by both Hrebinka and Andrukhovych we can find a more obvious equivalent, ?>BO3 [21, p. 78; 23, p. 151]. The second issue this paper addresses is rendering Shakespeare s puns in the Ukrainian translations of Hamlet. In order to get an idea of the significance of puns in Shakespearean works and the functions they play in Hamlet, let us pay attention to the interpretation of Jacques Lacan who noticed that essential roles were often given in Shakespeare’s plays to the court fools whose status allowed them to uncover the hidden motives of the characters’ actions and their traits which otherwise could not be presented without violating the norms of proper behavior. Such characters’ language performs the function of subversion and serves to revealing the truth which is not recognized by the ordinary language. Hamlet, whose functions in the play include playing on ambiguity using punning and double entendre, may be considered one of these clowns [7, p. 85, 89]. Such interpretation of Hamlet’s use of language is similar to that of Michael Hattaway who concludes that in Act 1 Scene 2 (76–83) Hamlet makes his mother and the audience aware of the certain system of signification based on the court practice. Being alienated from the discourse practice of the court, Hamlet refuses to recognize its signs and vocabulary [3, p. 66–67]. Such an approach allows us, first, to perceive Hamlet’s language as a discursive expression of his rebellion directed at subversion of the court discourse, and next, to note his affinity to the clowns in this regard. In order to provide thematically relevant examples, let us consider first the gravedigger’s pun concerning the notion of nobility and then one of Hamlet’s mocking comments addressed to Osric. First Clown. (...) There is no ancient gentleman but gardeners, ditchers, and grave-makers: they hold up Adam’s profession. Second Clown. Was he a gentleman? First Clown. A was the first that ever bore arms. Second Clown. Why, he had none. First Clown. What, art a heathen? How dost thou understand the Scripture? The Scripture says Adam digged. Could he dig without arms? [V.i.29–37]. In Kochur’s translation, the logics of the dialogue may be recognized as satisfactory only if the reader assumes that the nouns 70ABC? and 71@>O in the two clowns sentences: VO:>W 71@>W C =L>3> =5 1C;> and  G8< 2V= WW :>?02, O: =5 70ABC?><? have identical meanings [19, p. 492]. Leonid Hrebinka based the reasoning of the gravedigger s pun upon the hypothetic synonymy between the notions of iron and weapon as well as between the notions of iron and any instrument for digging. His translation of the fragment reads, 2-9 3@>1>:>?.  2V= EV10 6 1C2 ?0=? 1-9 3@>1>:>?. "06 2V= ?5@H89 C A2VBV >71@>W2AO 70;V77O<. 2-9 3@>1>:>?. VO:>W 71@>W 2 =L>3> =5 1C;>. 1-9 3@>1>:>?. (& ) '8< 18 2V= :>?02 157 70;V70? [21, p. 98 99; 22, p. 161 162]. Another correspondence which makes Hrebinka s solution seem rather far-fetched is that between the notion of a landlord evoked by the Ukrainian word ?0= and the notion of a man who has armed himself with iron. At last, the gravedigger of Yuri Klen s translation reinforces his question with an explicit commentary:  G8< 18 2V= :>?02, O: =5 71@>TN  70ABC?><? [20, p. 198 199]. Yuri Anfrukhovych, while enriching his version with an additional play on words (1;03>;V?=89, 28;V?;5=89 B>1B>), establishes a more logical reasoning: !:070=> 6: Ť40< >1@>1;O2 75<;Nť. 1@>1;O2, A51B> :>?02, 0 O: :>?02, B> 7=0G8BL V <02 [23, p. 194]. In the next scene, Hamlet, perplexed by Osric’s obscure usage of the word carriages, asks, Ham. What call you the carriages? Hor. I knew you must be edified by the margin ere you had done. Osric. The carriages, sir, are the hangers. Ham. The phrase would be more german to the matter if we could carry a cannon by our sides—I would it might be hangers till then [V.ii.151–157]. Either Yuri Klen’s equivalent, =0@O48 [20, p. 222], or Hrebinka s one, H>@8 [21, p. 110; 22, p. 184], as well as Kochur s @8HBC=:8 [19, p. 515] in no way provide the ground for Hamlet s association with a cannon. As a result, from the recipients perspective, not Osric s excessively refined manner of speech, but Hamlet s inconsistent reasoning is exposed in their translations. In a more logical way, Andrukhovych allows his Hamlet to aptly comment Osric s use of 0@B5D0:B8 with a cue, !;>2> Ť0@B5D0:B8ť 1V;LH5 ?0AC20;> 1 4> 0@B8;5@VW, E>G0 2 B0:><C @07V <8 7<CH5=V 1C;8 1 E>48B8 7 30@<0B0<8 ?@8 1>FV [23, p. 221]. The above examples prove Andrukhovych s commitment to re-creating internal logic of potent play on words which sometimes appears rather far-fetched in the earlier translations. The similar conclusion may be arrived at as regards the issue of rendering obscene puns integral to the dramatic works of William Shakespeare [6, p. 53]. Hamlet’s cues addressed to Ophelia in the play scene (Act 3, Scene 2) may serve a vivid example of this Shakespearean trait [6, p. 110, 132, 136; 8, p. 88; 9, p. 294–95; 10, p. 305, 11, p. 17–18]. The comparison of the translations by Yuri Klen, Hryhoriy Kochur and Leonid Hrebinka demonstrates that in rendering Hamlet’s bawdy innuendos they were a step forward as contrasted with some 19th century translations [16, p. 115]. On the other hand, post-romantic and neo-classical approaches to understanding Shakespearean drama being dominant in the 20th century Ukrainian culture, these translations are marked by the translators’ attempts to preserve the literal meaning and to efface additional erotic undertones. This strategy was the natural result of the target culture’s unwillingness to accept a new understanding of decorum in Shakespeare’s works. Yuri Andrukhovych’s usage of puns, in turn, points out the undertones of Hamlet’s allusions establishing a new approach to translating Shakespeare into Ukrainian (the issue is covered in detail in my forthcoming paper [7]). Consideration of the above aspects allows for the conclusion that the translation of Hamlet by Yury Andrukhovych may be perceived rather as an attempt to restore the authentic style and poetics of the tragedy in the Shakespeare’s canon in Ukrainian than a mere provocative postmodern gesture. At the same time, we are fully aware of the limited character of every selective text analysis, the present paper being not exception. 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D8;>;. =0C: (5;3>@>4)  AB0BL5 @0AA<0B@8205BAO 0@E8B5:B>=8:0 :>=F5?B>AD5@K EC4>65AB25==>3> B5:AB0 8 @5?@575=B8@CNI85 5Q AB0B8G=K5 :>3=8B82=K5 AB@C:BC@K. #AB0=02;8205BAO AB5?5=L 040?B8@C5<>AB8 AC1D@59<0, @50;87CNI53> AB0B8G=K9 A53<5=B =><8=0B82=>3> ?>;O AC1:>=F5?B0  ?@84C=09A:89 ?59706 . ;NG52K5 A;>20: 040?B8@C5<>ABL, 0@E8B5:B>=8:0, :>3=8B82=>-A>?>AB028B5;L=>5 <>45;8@>20=85, :>=F5?B>AD5@0, AC1:>=F5?B, AC1D@59<. . 3=520. 40?B>20=VABL 0@EVB5:B>=V:8 :>=F5?B>AD5@8 EC4>6=L>3> B2>@C (=0 <0B5@V0;V .. ">;AB>3> Ť>9=0 8 <8@ť). # AB0BBV @>73;O40TBLAO 0@EVB5:B>=V:0 :>=F5?B>AD5@8 EC4>6=L>3> B5:ABC B0 AB0B8G=V :>3=VB82=V AB@C:BC@8, I> WW @5?@575=BCNBL. AB0=>2;NTBLAO ABC?V=L 040?B>20=>ABV AC1D@59<0, I> @50;V7CT AB0B8G=89 A53<5=B =><V=0B82=>3> ?>;O AC1:>=F5?BC  ?@84C=09AL:89 ?59706 . ;NG>2V A;>20: 040?BCTBLAO, 0@EVB5:B>=V:0, :>3=VB82=>-?>@V2=O;L=5 <>45;N20==O, :>=F5?B>AD5@0, AC1:>=F5?B, AC1D@59<. Helen Ogneva. Adaptability of architectonics of fiction`s concept sphere (B the material of L. Tolstoy  War and Peace ). The article deals with the architectonics of fiction`s concept sphere and its static cognitive structures. It clarifies the degree of subframe`s adaptability to realize the static segment of subconcept s nominative field. 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A25B5 2KH5A:070==>3> 2>7@0AB05B @>;L 8=B5@?@5B0F88 :0: :>3=8B82=>3> ?@>F5AA0 [4; 7; 12] CAB0=>2;5=8O A<KA;0 B5:AB0, >?@545;5=8O ?0@0<5B@>2 53> :>3=8B82=>-:><<C=8:0B82=>3> ?@>AB@0=AB20 [9, A. 118-124]. <5==> 8=B5@?@5B0F8O 405B 2>7<>6=>ABL >1JOA=8BL, ?>G5<C >:@C60NI0O G5;>25:0 @50;L=0O 459AB28B5;L=>ABL >B@078;0AL 2 B5:AB5 >?@545;5==K< >1@07>< [5; 6]. >3=8B82=>-A>?>AB028B5;L=K9 E0@0:B5@ =0H53> 8AA;54>20=8O ?>72>;O5B @0AA<>B@5BL 8 A<>45;8@>20BL B0:>5 O2;5=85 :0: EC4>65AB25==K9 :>=F5?B 2 :0G5AB25 3;>10;L=>9 <5=B0;L=>9 (<KA;8B5;L=>9) 548=8FK [13; 14] GC2AB25==>3> 2>A?@8OB8O <8@0 2 53> =0F8>=0;L=>< A2>5>1@0788, 8 >?@545;8BL 53> <5AB> 2 :>=F5?B>AD5@5 EC4>65AB25==>3> B5:AB0. >3=8B82=>-A>?>AB028B5;L=>5 8AA;54>20=85 EC4>65AB25==>9 :>=F5?B>AD5@K ?>72>;O5B 87CG8BL @5?@575=B0F88 :>=F5?B>2 2 ?@>872545=88, 2K45;8BL B8?K 8E A>>B=5A5=8O A O7K:>2K<8 D5=><5=0<8 [A@.: 1, A. 7; 11, A. 78] 8 ?@8=F8?K B@0=A;OF88 =0 AB@C:BC@=> 8=K5 O7K:8, B0: :0: >?@545;5=85 A?>A>1>2 O7K:>2KE A@54AB2 25@10;870F88 EC4>65AB25==>3> :>=F5?B0 ?>72>;O5B >?8A0BL 53> ?@8@>4C. 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B>1@078< 2 B01;8F5 2708<>A2O7L 8 2708<>>1CA;>2;5==>ABL :>3=8B82=KE >1@07>20=89 8 @50;87CNI8E 8E AB@C:BC@, D>@<8@CNI8E :>=F5?B>AD5@C EC4>65AB25==>3> B5:AB0. "01;8F0 1 >3=8B82=K5 >1@07>20=8O>3=8B82=K5 AB@C:BC@K, 2 @0<:0E :>B>@KE DC=:F8>=8@CNB :>3=8B82=K5 >1@07>20=8O :>=F5?B>AD5@0<530D@59<, AF5=0@89, AF5=0:>=F5?BD@59<, AF5=0@89, AF5=0AC1:>=F5?BAC1D@59<, AF5=0@89, AF5=0:>=F5?B-M;5<5=BD@59<-M;5<5=B, AF5=0@89, AF5=0:><?>=5=B A<KA;0=><8=0=B > =0H5<C <=5=8N, A2>9AB20 :>3=8B82=>3> >1@07>20=8O ?@54>?@545;ONB D>@<0B @5?@575=B8@CNI59 53> :>3=8B82=>9 AB@C:BC@K, :>B>@CN <>6=> A<>45;8@>20BL, ?@8<5=82 02B>@A:CN <5B>48:C :>3=8B82=>-A>?>AB028B5;L=>3> <>45;8@>20=8O :>=F5?B>AD5@K EC4>65AB25==>3> B5:AB0, 2KO2;ONICN C@>25=L 040?B0F88 ?@>872545=8O ?@8 ?5@52>45 8 2A:@K20NICN ?@8G8=K =5A>>B25BAB289 ?0@0<5B@>2 :>=F5?B>AD5@K >@838=0;L=>3> B5:AB0 8 ?5@5254Q==>3>.  AB0BL5 ?@54AB02;O5BAO 8=B5@5A=K< >?@545;8BL AB5?5=L B@0=A;OF88 =><8=0B82=>3> ?>;O :>=F5?B0  ?@8@>40 , :>B>@K9 83@05B 7=0G8<CN @>;L 2 :>=F5?B>AD5@5 @><0=0 .. ">;AB>3> Ť>9=0 8 <8@ť 8 @0A:@K205B 3;C18=C E0@0:B5@>2 35@>52 8 A>1KB89. 0: ?>:07K20NB 8AA;54>20=8O =><8=0B82=>5 ?>;5 :>=F5?B0  ?@8@>40 <=>3>:><?>=5=B=>. A=>2K20OAL =0 A>740==>9 <5B>48:5 :>3=8B82=>-A>?>AB028B5;L=>3> <>45;8@>20=8O :>=F5?B>AD5@K EC4>65AB25==>3> B5:AB0 @0AA<>B@8< AB@C:BC@C >4=>3> 87 AC1:>=F5?B>2, 2E>4OI8E 2 A>AB02 =><8=0B82=>3> ?>;O :>=F5?B0  ?@8@>40 , 0 8<5==>, AB@C:BC@C AC1:>=F5?B0  ?@84C=09A:89 ?59706 , =0 D>=5 :>B>@>3> @072820NBAO 2>5==K5 459AB28O 2 1805 3>4C, >?8A0==K5 .. ">;ABK< 2 8AA;54C5<>< =0<8 ?@>872545=88. #AB0=>2;5=>, GB> =><8=0B82=>5 ?>;5 AC1:>=F5?B0  ?@84C=09A:89 ?59706 A>AB>8B 87 B0:8E :>=F5?B>2-M;5<5=B>2 :0:  C=09 ,  3>@K ,  ;5A0 ,  =51> ,  A>;=F5 ,  ?@8ACBAB285 G5;>25:0 ,  ?@>AB@0=AB2> . 0AA<0B@8205<>5 =0<8 :>3=8B82=>5 >1@07>20=85  AC1:>=F5?B  ?@84C=09A:89 ?59706  @50;87C5BAO AB0B8G=>9 :>3=8B82=>9 AB@C:BC@>9 AC1D@59<><.  A>>B25BAB288 A> A;54CNI8< MB0?>< A>740==>9 <5B>48:8 A>?>AB028< =><8=0B82=K5 ?>;O AC1D@59<0  ?@84C=09A:89 ?59706 2 53> 8=20@80=B=>< 8 B@0=A;8@>20==>< D>@<0B0E. @8<5@ 1: 0: E>@>H> ?>:070;>AL =51>, :0: 3>;C1>, A?>:>9=> 8 3;C1>:>! 0: O@:> 8 B>@65AB25==> >?CA:0NI55AO A>;=F5! 0: ;0A:>2>-3;O=F528B> 1;5AB5;0 2>40 2 40;5:>< C=05!  5I5 ;CGH5 1K;8 40;5:85, 3>;C15NI85 70 C=05< 3>@K, <>=0ABK@L, B08=AB25==K5 CI5;LO, 70;8BK5 4> <0:CH BC<0=>< A>A=>2K5 ;5A0 [15]. . (;>75@ ?5@52Q; MB>B B5:AB A;54CNI8< >1@07>< =0 D@0=FC7A:89 O7K: [fr.]: Qu`il était beau le ciel, bleu, calme, profond! Qu`il était lumineux et solennel le soleil déclinant! Comme les eaux du Danube brillaient dans le lointain, lisses et caressantes! Mais plus attrayantes encore lui paraissaient les montagnes bleutées au-delŕ du Danube, les gorges mystérieuses, les foręts de pins baignant dans la brume [16, A. 249].  0=3;89A:>< ?5@52>4=>< 20@80=B5 G8B05< How beautiful the sky looked; how blue, how calm, and how deep! How bright and glorious was the setting sun! With what soft glitter the waters of the distant Danube shone. And fairer still were the far away blue mountains beyond the river, the nunnery, the mysterious gorges, and the pine forests veiled in mist to their summits [17, A. 114].  @57C;LB0B5 8AA;54>20=8O <0B5@80;0 1K;> 2KO2;5=>, GB> :>=F5?B-M;5<5=B  C=09 @50;87C5BAO 2 B0:>9 >4=>8<Q==>9 AB0B8G=>9 :>3=8B82=>9 AB@C:BC@5 :0: D@59<-M;5<5=B  C=09 . $@59<-M;5<5=B  C=09 A>AB>8B 87 =><8=0=B>2 2>40, ;0A:>2>-3;O=F528B> (1;5AB5BL), 40;5:89 (C=09). >3=8B82=>-A>?>AB028B5;L=K9 0=0;87 2KO28;, GB> =><8=0B82=>5 ?>;5 D@59<-M;5<5=B0  C=09 ?>425@3;>AL 1ó;LH5<C :>;8G5AB2C B@0=AD>@<0F89 ?@8 B@0=A;OF88 =0 D@0=FC7A:89 O7K:, G5< =0 0=3;89A:89 O7K:. KO2;5=>, GB> D@0=:>3>2>@OI89 G8B0B5;L 8AA;54C5<>3> =0<8 ?@>872545=8O 2>A?@8=8<05B :0@B8=C C=0O, >B;8G0NICNAO >B A>740==>9 .. ">;ABK< 2 >@838=0;5, 2A;54AB285 A;54CNI8E 87<5=5=89, >ACI5AB2;Q==KE ?5@52>4G8:>< (Boris de Schloezer): 2>-?5@2KE, =><8=0=B 2>40, C?>B@51;5==K9 2 >@838=0;5 2 548=AB25==>< G8A;5, B@0=A;8@>20= ;5:A5<>9 <=>65AB25==>3> G8A;0  les eaux. "@0=A?>78F8O 3@0<<0B8G5A:>9 :0B53>@88 ;5:A5<K (54. G8A;> 8<. ACI5AB28B5;L=>3> ’! <=.G8A;>) ?@825;0 : 87<5=5=8N 5Q A5<0=B8:8, B0: :0: A;>2>A>G5B0=85 2>4K @5:8  MB> 5Q ?>B>:, 0 A;>2>A>G5B0=85 2>40 2 @5:5 E0@0:B5@87C5B >48= 87 :><?>=5=B>2 @5:8, =0@O4C A 15@53><, 4=><, @K1>9 8 4@.. >-2B>@KE, =><8=0=B ;0A:>2>-3;O=F528B> B@0=A;8@>20= 0A8<<5B@8G=>: lisses et caressantes [A?>:>9=0O 8 ;0A:>20O], 345 2 ?5@52>45 CB@0G5=0 ;5:A5<0 3;O=F528B>, 8<5NI0O 2 @CAA:>< O7K:5 @O4 >4=>:>@5==KE A;>2 [18, A. 95]. >4G5@:=5<, GB> ;5:A5<5 3;O=F528B> 2> D@0=FC7A:>< O7K:5 A>>B25BAB2C5B M:2820;5=B brillant, :>B>@K9 <>3 1K ?@81;878BL A<KA;>2>5 =0?>;=5=85 B@0=A;8@>20==>3> =><8=0=B0 : >@838=0;C, => =5 1K; C?>B@51;Q= ?5@52>4G8:><. -B@5BL8E, 87<5=8;0AL ?@>AB@0=AB25==0O A>AB02;ONI0O =><8=0=B0 40;Q:89 (C=09)] 2 @57C;LB0B5 B@0=A?>78F88 G0AB8 @5G8 ?@8 ?5@52>45 =0 fr.: les eaux du Danube <& > dans le lointain (2>4K C=0O 2 40;8): 8<O ?@8;030B5;L=>5 40;Q:89 B@0=A;8@>20=> 8<5=5< ACI5AB28B5;L=K< le lointain.  @57C;LB0B5 2 B5:AB5 >@838=0;0 @5GL 84QB >1 C40;Q==>9 @5:5, B>340 :0: 2 ?5@52>45 3>2>@8BAO C65 B>;L:> > G0AB8 @5:8, C40;5==>9 >B =01;N40B5;O. 5:A5<0 40;Q:89 <>65B 1KBL B0:65 8=B5@?@5B8@>20=0 :0: GC6>9 (C=09), => MB>B A<KA;>2>9 :><?>=5=B 2A;54AB285 2KH5>?8A0==>9 B@0=AD>@<0F88 ?@8 ?5@52>45 CB5@O=, GB> ?@825;> : =5B>G=><C 2>A?@>872545=8N :0@B8=K >@838=0;0. "0:8< >1@07><, B@8 =><8=0=B0 87 B@5E @0AA<>B@5==KE 040?B8@>20=K 0A8<<5B@8G=> 2 ?@>F5AA5 ?5@52>40. AA;54>20=85 ?>:070;>, GB> 0=3;>3>2>@OI89 G8B0B5;L 2>A?@8=8<05B :0@B8=C C=0O, >B;8G0NICNAO >B >?8A0==>9 .">;ABK< 8 >B ?@54AB02;5==>9 >@8A>< (;>75@>< 2=8<0=8N D@0=:>3>2>@OI53> G8B0B5;O. KO2;5=K A;54CNI85 87<5=5=8O AB@C:BC@K =><8=0B82=>3> ?>;O D@59<-M;5<5=B0  C=09 2 ?@>F5AA5 53> B@0=A;OF88 =0 0=3;89A:89 O7K:: 2>-?5@2KE, =><8=0=B 2>40, C?>B@51;5==K9 2 >@838=0;5 2 548=AB25==>< G8A;5, ?5@52545= ;5:A5<>9 <=>65AB25==>3> G8A;0 the waters (0=0;>38G=K9 20@80=B ?5@52>40 =><8=0=B0 2KO2;5= 8 2 B5:AB5 =0 D@0=FC7A:>< O7K:5); 2>-2B>@KE, =><8=0=B ;0A:>2>-3;O=F528B> (=0@5G85) B@0=A;8@>20= 8<5=5< ?@8;030B5;L=K< soft (;0A:>2K9, <O3:89) 8 8<5=5< ACI5AB28B5;L=K< glitter (O@:89 1;5A:)  B@0=A?>78F8O G0AB8 @5G8, =5A<>B@O =0 =0;8G85 ;5:A5<K glossy (3;O=F52K9) 2 0=3;89A:>< O7K:5; 2-B@5BL8E, ?@>AB@0=AB25==0O A>AB02;ONI0O =><8=0=B0 40;Q:89 C=09  the distant Danube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fr.: [le ciel] bleu, calme, profond, B0: 8 =0 0=3;89A:89 O7K: [Engl.] blue, calm, deep, GB> ?@54AB02;O5B A>1>9 A8=B5B8G5A:CN B@0=A?>78F8N G0AB8 @5G8 8 ?@82>48B : 0A8<<5B@88 2 ?;0=5 2K@065=8O =><8=0=B0-8=20@80=B0 8 53> ?5@52>4=>3> 20@80=B0. "5< =5 <5=55, 2 0=3;89A:>< B@0=A;8@>20==>< 20@80=B5 A>E@0=Q= AB8;L >@838=0;0 ?CBQ< C?>B@51;5=8O ;5:A5<K how  how blue, how calm, how deep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fr.  lumineux, solennel 8 =0 Engl.  bright and glorious. ACI5AB2;5==K5 ?@5>1@07>20=8O ?@54AB02;ONB A>1>9 A8=B5B8G5A:CN B@0=A?>78F8N G0AB8 @5G8, :>B>@0O ?@825;0 : 0A8<<5B@88 2 ?;0=5 2K@065=8O =><8=0=B>2-8=20@80=B>2 8 8E ?5@52>4=KE 20@80=B>2, => =5 8A:078;0 8E A<KA;>2CN =03@C7:C, B.:. ?;0=K A>45@60=8O 040?B8@>20=K A8<<5B@8G=>. ><8=0=B >?CA:0NI55AO (A>;=F5) ?5@5254Q= ?@8G0AB85< =0 fr.: déclinant (le soleil) 8 =0 Engl.: the setting (sun), GB> A?>A>1AB2>20;> 53> A8<<5B@8G=>9 040?B0F88. 7 B@QE @0AA<>B@5==KE =><8=0=B>2 B>;L:> >48= A8<<5B@8G5= ?> AB@C:BC@5 2 8AE>4=>< B5:AB5 8 ?5@5254Q==><. KO2;5=> B0:65 =0;8G85 =><8=0=B>2 O@:>, A?CA:0;>AL, :>B>@K5 2E>4OB 2 A>AB02 =><8=0B82=>3> ?>;O :>=F5?B0-M;5<5=B0  A>;=F5 , 2 A;54CNI5< >?8A0=88: @8<5@ 2. !>;=F5 O@:> A?CA:0;>AL =04 C=05< 8 >:@C60NI8<8 53> B5<=K<8 3>@0<8 [15], GB> ?5@52545=> =0 fr.: le globe rayonnant du soleil descendait vers le Danube et les sombres cimes environnantes [16, A. 240] 8 =0 Engl.: The sun was descending brightly upon the Danube and the dark hills around it [17, A. 110]. !>?>AB028B5;L=K9 0=0;87 <0B5@80;0 ?>:070;, GB> =><8=0=B-=0@5G85 O@:> B@0=A;8@>20= 8<5=5< ?@8;030B5;L=K< =0 fr.: rayonnant [;CG570@=K9, A8ONI89], B>340 :0: =0 engl.: brightly =><8=0=B 040?B8@>20= A8<<5B@8G=>. ><8=0=B A?CA:0;>AL B@0=A;8@>20= A8<<5B@8G=> :0: =0 fr.: descendait, B0: 8 =0 Engl.: was descending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fr.: plus attrayantes (1>;55 ?@82;5:0B5;L=K5) 8 =0 Engl. fairer still (5I5 :@0A8255). ><8=0=B 40;5:85 (3>@K) =5 8<55B 0=0;>30 2 B5:AB5 =0 D@0=FC7A:>< O7K:5, 0 ?5@52>4=>9 20@80=B =0 0=3;89A:89 O7K: 42CEA>AB025=  far away, GB> ?@82>48B : 0A8<<5B@88 53> ?;0=0 2K@065=8O 8=20@80=BC. ><8=0=B 3>;C15NI85, E0@0:B5@87CNI89 48=0<8:C F25B0, ?5@540= 0A8<<5B@8G=> =0 D@0=FC7A:89 O7K: ;5:A5<>9 bleuté  A8=520BK9, :>B>@0O AB0B8G=0 2> 2@5<5=8 8 ?> A5<0=B8:5 =5@02=>7=0G=0 ;5:A5<5 3>;C15NI85. >4G5@:=Q<, GB> 2> D@0=FC7A:>< O7K:5 5ABL ;5:A5<0 bleuâtre  3>;C1>20BK9, :>B>@0O ?> A5<0=B8:5 1>;55 1;87:0 @0AA<0B@8205<><C =><8=0=BC, => B0:65 =5 A>45@68B 2 A515 48=0<8:8. @8 ?5@52>45 =0 0=3;89A:89 O7K: blue mountains 48=0<8:0 =><8=0=B0 A<5=8;0AL AB0B8:>9. ><8=0=B BQ<=K5 (3>@K) B@0=A;8@>20= =0 fr.: sombres cimes (BQ<=K5 25@H8=K). 0<5=0 ;5:A5<K 3>@K ;5:A5<>9 25@H8=K 8A:078;0 :0@B8=C ?@8@>4K, A>740==CN .. ">;ABK< 2 8AA;54C5<>< ?@>872545=88, B0: :0: D@0=:>3>2>@OI89 G8B0B5;L 2>A?@8=8<05B ?@8 ?@>GB5=8O B5:AB0 B>;L:> G0ABL ?597060, 0 8<5==>, 25@H8=K 3>@, => =5 A0<8 3>@K.  0=3;89A:>< ?5@52>4=>< 20@80=B5 the dark hills (BQ<=K5 E>;<K) B0:65 >ACI5AB2;5=0 70<5=0 ;5:A5<K 3>@K ;5:A5<>9 E>;<K, GB> ?@825;> : D>@<8@>20=8N 2 2>A?@8OB88 0=3;>3>2>@OI53> G8B0B5;O :0@B8=K ?@8@>4K, =5 A>>B25BAB2CNI59 A>740==>9 . ">;ABK<. >;55 B>3>, G5@57 G5BK@5 AB@0=8FK B5:AB0 0=3;>3>2>@OI89 G8B0B5;L 2=>2L 2>A?@8=8<05B :0@B8=C B5E 65, ?> 70<KA;C ?8A0B5;O, 3>@, => Ť1;03>40@Oť ?5@52>4C >= G8B05B the mysterious gorges (B08=AB25==K9 CI5;LO). Ť> :0:85 <>3CB 1KBL CI5;LO 2 E>;<0E!ť  2 =54>C<5=88 <>65B 2>A:;8:=CBL G8B0B5;L. "0:8< >1@07><, 87 G5BK@QE =><8=0=B>2 =><8=0B82=>3> ?>;O D@59<-M;5<5=B0  3>@K B>;L:> >48= ?5@540= A8<<5B@8G=> 2 ?;0=5 A>45@60=8O =0 0=3;89A:89 O7K:. 0 D@0=FC7A:89 O7K: B@8 =><8=0=B0 B@0=A;8@>20=K 0A8<<5B@8G=>, 0 >48= ;0:C=0@5=. >=F5?B-M;5<5=B  ;5A0 @5?@575=B8@C5BAO >4=>8<5==K< D@59<-M;5<5=B><, =><8=0B82=>5 ?>;5 :>B>@>3> A>AB02;ONB B0:85 =><8=0=BK :0: 70;8BK5 4> <0:CH BC<0=><, A>A=>2K5 (A<.:    1). ><8=0=B 70;8BK5 4> <0:CH BC<0=>< [;5A0] B@0=A;8@>20= =0 fr.: (les foręts) baignant dans la brume (?>3@C65==K5 2 ;53:CN 4K<:C). ?CI5=85 ;5:A5<K <0:CH 2 AB@C:BC@5 @0AA<0B@8205<>3> =><8=0=B0 8 ?>O2;5=85 ;5:A5<K 4K<:0 ?@825;> : 87<5=5=8N :0@B8=K, 2>A?@8=8<05<>9 D@0=:>3>2>@OI8< G8B0B5;5<, :>B>@K9 2848B ;5A0, ?>;=>ABLN ?>3@C65==K5 2 4K<:C, B>340 :0: ?5@54 @CAA:>3>2>@OI8< G8B0B5;5< ?@54AB0QB 8=0O :0@B8=0  284=K B>;L:> <0:CH:8 ;5A0. =3;89A:89 ?5@52>4G8: 70<5=8; BC<0= =0 ;Q3:89 BC<0=, GB> =5 2 ?>;=>< >1J5<Q ?5@540QB :0@B8=C, A>740==CN .. ">;ABK<: veiled in mist to their summits (702C0;8@>20==K5 ;Q3:8< BC<0=>< 4> 25@ECH5:). ><8=0=B A>A=>2K5 (;5A0) B@0=A;8@>20= A8<<5B@8G=> =0 Engl.: the pine forests. 0 fr.: les foręts de pins =><8=0=B ?5@540= 0A8<<5B@8G=> 2 ?;0=5 2K@065=8O, GB> >1CA;>2;5=> >B;8G8O<8 2 ?>@O4:5 A;>2 2 A;>2>A>G5B0=88 2> D@0=FC7A:>< 8 @CAA:>< O7K:0E. ><8=0=BK 8AA;54C5<>3> :>=F5?B0-M;5<5=B0  ;5A0 2KO2;5=K 8 2 A;54CNI5< <0B5@80;5  ?@8<5@ 3: 84=5;8AL 10H=8 <>=0ABK@O, 2K40202H53>AO 87-70 A>A=>2>3>, :0702H53>AO =5B@>=CBK<, 48:>3> ;5A0 [15], GB> ?5@52545=> =0 fr.: Les tours d`un monastčre émergeaient d`une foręt de pins si dense qu`on eűt dit que l`homme n`avait jamais pu y pénétrer [16, A. 231]. KO2;5=>, GB> =><8=0=BK :0702H53>AO =5B@>=CBK< [;5A0] 8 48:89 [;5A] B@0=A;8@>20=K =0 D@0=FC7A:89 O7K: A;54CNI8< >1@07>< dense <& > l`homme n`avait jamais pu y pénétrer (3CAB>9 <& >, G5;>25: =5 A<>3 1K BC40 ?@>=8:=CBL). >4>1@0==K5 02B>@>< M:2820;5=BK >B;8G0NBAO >B 8AA;54C5<KE =><8=0=B>2-8=20@80=B>2 2 ?;0=5 2K@065=8O 8 2 AB8;5 ?5@540G8 A<KA;>2>9 A>AB02;ONI59, => 2 ?;0=5 A>45@60=8O >=8 A8<<5B@8G=K.  ?5@52>45 =0 Engl. G8B05<: The turrets of a convent stood out beyond a wild virgin pine-forest [17, A. 105]. 0AA<0B@8205<K5 =><8=0=BK B@0=A;8@>20=K A8<<5B@8G=> a wild virgin pine-forest. >;55 B>3>, 2KO2;5= =><8=0=B pine, :>B>@K9 >BACBAB2C5B 2 >@838=0;5 @0AA<0B@8205<>3> ?@8<5@0. "0:8< >1@07><, 87 G5BK@QE =><8=0=B>2 =><8=0B82=>3> ?>;O D@59<-M;5<5=B0  ;5A0 2 ?;0=5 A>45@60=8O :0: =0 D@0=FC7A:89 O7K:, B0: 8 =0 0=3;89A:89 ?5@540=> A8<<5B@8G=> B@8 87 G5BK@QE, 0 =0 0=3;89A:89  2A5 G5BK@5, B>340 :0: 2 ?;0=5 2K@065=8O A8<<5B@8O 2KO2;5=0 B>;L:> C >4=>3> =><8=0=B0 87 G5BK@QE B@0=A;8@>20==KE.  @0AA<0B@8205<>< ?@8<5@5 3 2KO2;5= B0:65 =><8=0=B =><8=0B82=>3> ?>;O :>=F5?B0-M;5<5=B0  ?@8ACBAB285 G5;>25:0 , 0 8<5==>, =><8=0=B <>=0ABK@L, :>B>@K9 0?B8@>20= A8<<5B@8G=>  un monastčre (fr.), a convent (Engl.). -B>B 65 =><8=0=B 2KO2;5= 2 @8<5@5 1, 345 ?@8 ?5@52>45 =0 D@0=FC7A:89 O7K: ;5:A5<0 <>=0ABK@L ?>?0;0 2 @07@O4 ;0:C=, B>340 :0: 2 0=3;89A:>< B5:AB5 =><8=0=B 8<55B M:2820;5=B nunnery (65=A:89 :0B>;8G5A:89 <>=0ABK@L). ">B D0:B, GB> @5GL 845B 8<5==> > 65=A:>< <>=0ABK@5 87;>65= 2 4@C3>9 3;025 ?@>872545=8O. 0AA<0B@8205<K9 =><8=0=B ?@8<5G0B5;5= B5<, GB> >4=0 8 B0 65 ;5:A5<0 <>=0ABK@L C?>B@51;5=0 . ">;ABK< B@864K ?@8 >?8A0=88 ?@84C=09A:>3> ?597060, B>340 :0: 2 B5:AB5 =0 D@0=FC7A:>< O7K:0 >=0 C?>B@51;5=0 ;8HL 42064K: un monastčre [16, A. 231] 8 le couvent [16, A. 232]; 2 B5:AB5 ?5@52>40 =0 0=3;89A:89 O7K: 2KO2;5=K 420 M:2820;5=B0 a convent [17, A. 105], a nunnery [17, A. 105, A. 114], ?>A;54=89 C?>B@51;Q= 42064K. ><8=0=BK AC40, 7á<>:, ?0@: =><8=0B82=>3> ?>;O :>=F5?B0-M;5<5=B0  ?@8ACBAB285 G5;>25:0 B0:65 2KO2;5=K 2 A;54CNI5< <0B5@80;5  ?@8<5@ 4: 84=5;8AL =0 ?>2>@>B5 C=0O AC40, 8 >AB@>2, 8 70<>: A ?0@:><, >:@C65==K9 2>40<8 2?045=8O -=A0 2 C=09, 284=5;AO ;52K9 A:0;8ABK9 8 ?>:@KBK9 A>A=>2K< ;5A>< 15@53 C=0O A B08=AB25==>N 40;LN 75;5=KE 25@H8= 8 3>;C15NI8<8 CI5;LO<8 [15], GB> B@0=A;8@>20=> =0 fr.: Dans la courbe du Danube on apercevait des bateaux, une île au confluent de l`Enns et du Danube, avec un château dans un parc entouré d`eau. Au-delŕ de la rive gauche du Danube, rocheuse et couverte d`une foręt de pins, dans un mystérieux lointain apparaissaient des cimes verdoyantes et des defiles bleutés [16, A. 230-231] 8 =0 Engl.: At the bend of the Danube, vessels, an island, and a castle with a park surrounded by the water of the confluence of the Enns and the Danube, became visible, and the rocky left bank of the Danube covered with pine forests, with a mystic background of green tree-tops and bluish gorges [17, A. 104-105]. >3=8B82=>-A>?>AB028B5;L=K9 0=0;87 ?>:070;, GB> =><8=0=B AC40 ?5@52545= A8<<5B@8G=> :0: =0 fr.: des bateaux, B0: 8 =0 Engl.: vessels. ><8=0=B 7á<>: B@0=A;8@>20= B0:65 A8<<5B@8G=> :0: =0 fr.: un château, B0: 8 =0 Engl.: a castle. ><8=0=B ?0@: 040?B8@>20= A8<<5B@8G=> :0: =0 fr.: un parc, B0: 8 =0 Engl.: a park. "0:8< >1@07><, 2A5 B@8 =><8=0=B0 040?B8@>20=K 2 ?>;=>< >1JQ<5 : 2>A?@8OB8N D@0=:> 8 0=3;>3>2>@OI8E G8B0B5;59.  8AA;54C5<><    4 2KO2;5=> ?5@5A5G5=85 A<KA;>2>9 A>AB02;ONI59 =><8=0B82=KE ?>;59 :>=F5?B>2-M;5<5=B>2  3>@K 8  ;5A0 2 =><8=0=B5 75;5=K5 25@H8=K, :>B>@K9 B@0=A;8@>20= 0A8<<5B@8G=> =0 fr.: des cimes verdoyantes (25@H8=K 75;5=5NI85). !;54C5B ?>4G5@:=CBL B>B D0:B, GB> ?5@52>4G8:>< B@0=AD>@<8@>20=0 AB0B8:0 =><8=0=B0 75;5=K5 2 48=0<8:C ;5:A5<K verdoyantes (75;5=5NI85).  ?5@52>4=>< 0=3;89A:>< 20@80=B5 =><8=0=B0 green tree-tops 2KO2;5=0 ?>OA=ONI0O ;5:A5<0 tree, GB> ?@825;> : 0A8<<5B@88 2 ?;0=5 2K@065=8O B@0=A;8@>20==>3> =><8=0=B0 8 53> 8=20@80=B0. A5 2KH5 @0AA<>B@5==K5 :>=F5?BK-M;5<5=BK B5A=> A2O70=K 2 =><8=0B82=>< ?>;5 @0AA<0B@8205<>3> AC1:>=F5?B0  ?@84C=09A:89 ?59706 1;03>40@O :>=F5?BC-M;5<5=BC  ?@>AB@0=AB2> , O@:8<8 =><8=0=B0< :>B>@>3> O2;ONBAO =><8=0=B 40;5:89 (C=09), >B=>AOI89AO B0:65 : =><8=0B82=><C ?>;N :>=F5?B0-M;5<5=B0  C=09 , =><8=0=B 40;Q:85 (3>@K), >B=>AOI89AO 8 : =><8=0B82=><C ?>;N :>=F5?B0-M;5<5=B0  3>@K , =><8=0=B B08=AB25==0O 40;L (A<.: ?@8<5@ 4). AA;54>20=85 2KO28;>, GB> =><8=0=B B08=AB25==0O 40;L B@0=A;8@>20= A8<<5B@8G=> =0 fr.: un mystérieux lointain 8 0A8<<5B@8G=> =0 Engl.: a mystic background (B08=AB25==K9 D>=), 0 @57C;LB0BK 040?B0F88 4@C38E =><8=0=B>2 @0AA<0B@8205<>3> :>=F5?B0-M;5<5=B0 87;>65=K 2KH5.  8AA;54C5<>< ?@>872545=88 1K;> 2KO2;5=> 5IQ >4=> ?5@5A5G5=85 =><8=0=B>2 =><8=0B82=KE ?>;59 @07;8G=KE :>=F5?B>2-M;5<5=B>2  ?@8<5@ 5: 8:>;09 >AB>2 <& > AB0; A<>B@5BL =0 40;L, =0 2>4C C=0O, =0 =51>, =0 A>;=F5! ><8=0=B 8:>;09 >AB>2 =><8=0B82=>3> ?>;O D@59<-M;5<5=B0  ?@8ACBAB285 G5;>25:0 , =><8=0=B 40;L =><8=0B82=>3> ?>;O D@59<-M;5<5=B  ?@>AB@0=AB2> , =><8=0=B 2>40 C=0O =><8=0B82=>3> ?>;O D@59<-M;5<5=B  C=09 , O45@=K9 =><8=0=B =51> D@59<-M;5<5=B  =51> , O45@=K9 =><8=0=B A>;=F5 D@59<-M;5<5=B  A>;=F5 A>740NB 2 A>2>:C?=>AB8 >48= 87 A53<5=B>2 8AA;54C5<>3> =0<8 AC1:>=F5?B0  ?@84C=09A:89 ?59706 . @>254Q==K5 :>3=8B82=>-A>?>AB028B5;L=K5 8AA;54>20=8O =><8=0B82=>3> ?>;O AC1:>=F5?B0  ?@84C=09A:89 ?59706 , A>740==>3> ..">;ABK< 8 B@0=A;8@>20==>3> =0 D@0=FC7A:89 O7K: B. de Schloezer 8 =0 0=3;89A:89 O7K: L. and A. Maude, CAB0=>28;8 AB5?5=L 040?B8@C5<>AB8 53> :>=F5?B>2-M;5<5=B>2. >;CG5==K5 @57C;LB0BK <>6=> ?@54AB028BL 2 B01;8F5 2: "01;8F0 2. 84 040?B0F88 =><8=0=B05@52>4 =0 0=3;. O7K:!B5?5=L A8<<5B@8G=>3> ?5@52>40 2 % 5@52>4 =0 D@. O7K:!B5?5=L A8<<5B@8G=>3> ?5@52>40 2 % !8<<5B@8O ?;0=0 A>45@60=8O 1762,6%1456 %A8<<5B@8O ?;0=0 A>45@60=8O1037,4%1144 %!8<<5B@8O ?;0=0 2K@065=8O933,3%832 %A8<<5B@8O ?;0=0 2K@065=8O1867,7%1768 %0:C=K    2  A53> 8AA;54>20=> =><8=0=B>22727A?>;L7CO ?>;CG5==K5 @57C;LB0BK 040?B0F88 :><?>=5=B>2 =><8=0B82=>3> ?>;O AC1D@59<0  ?@84C=09A:89 ?59706 , <>6=> ?>AB@>8BL 3@0D8G5A:CN <>45;L, 8;;NAB@8@CNICN AB5?5=L 040?B0F88 AC1D@59<0 [A<. ?>4@>1=> ?@>F5AA <>45;8@>20=8O: 10, A. 96-110]. "0:8< >1@07><, :><?;5:A=>5 87CG5=85 A8AB5<>>1@07CNI8E :><?>=5=B>2 =><8=0B82=>3> ?>;O AC1:>=F5?B0, @5?@575=B8@C5<>3> @07=>C@>2=52K<8 AB0B8G=K<8 :>3=8B82=K<8 AB@C:BC@0<8, 2KO2;O5B AB5?5=L 8E 040?B8@C5<>AB8 =0 D@0=FC7A:89 8 0=3;89A:89 O7K:8, GB> ?>72>;O5B A45;0BL 2K2>4K > A>>B25BAB288 ;8B5@0BC@=>3> >1@070 ?@84C=09A:>3> ?597060, A>740==>3> .. ">;ABK<, B@0=A;8@>20==K< 20@80=B0< MB>3> >1@070. AA;54>20=85 ?>:070;>, GB> ?5@52>4 =0 0=3;89A:89 O7K: 1;865 : >@838=0;C, G5< ?5@52>4 =0 D@0=FC7A:89. A;54AB285 ;8=328AB8G5A:8E B@0=AD>@<0F89 87<5=Q==0O :>3=8B82=0O 0C@0 A?>A>1AB2>20;0 D>@<8@>20=8N 2 2>A?@8OB88 8=>:C;LBC@=KE G8B0B5;59 ;8B5@0BC@=>3> >1@070, =5045:20B=>3> 8AE>4=><C. 5@A?5:B82=>ABL 8AA;54>20=8O >1CA;>2;5=0 =5>1E>48<>ABLN 2KO2;5=8O D0:B>@>2, >:07K20NI8E 2;8O=85 =0 =5045:20B=>ABL 2>A?@8OB8O :C;LBC@=>-<0@:8@>20==>3> A;>O :>=F5?B>AD5@K G8B0B5;O<8 EC4>65AB25==KE ?@>872545=89 @CAA:>9 :;0AA8:8, ?5@52545==KE =0 D@0=FC7A:89 8 0=3;89A:89 O7K:8, A F5;LN 8E ?>A;54CNI53> <>45;8@>20=8O. " "#  1. ;5D8@5=:> .$. !?>@=K5 ?@>1;5<K A5<0=B8:8 : <>=>3@0D8O / .$. ;5D8@5=:>.  . : =>78A, 2005.  326 A. 2. D0=0AL520 .. A>15==>AB8 ;5:A8G5A:>9 @5?@575=B0F88 EC4>65AB25==>3> :>=F5?B0 [=0 ?@8<5@5 :>=F5?B0 2@5<5=8 2 ?@>872545=88 .. 45;L 0;L5-=:;0=0 Ť5A5==OO A>=0B0ť] / .. D0=0AL520 // CAA:0O 8 A>?>AB028B5;L=0O D8;>;>38O: A>AB>O=85 8 ?5@A?5:B82K: 564C=0@. =0CG. :>=D5@5=F8O : "@C4K 8 <0B5@80;K: / >4 >1I. @54. . . 0;8C;;8=0.  070=L : 74-2> 070=. C=-B0, 2004.  C.43-44. 3. A:>;L4>2 !.. >=F5?B 8 A;>2> / !.. A:>;L4>2 // CAA:0O @5GL. >20O A5@8O.  ., 1928.  K?. 2.  !. 28-44. 4. >;4K@52 .. >=F5?BC0;L=>5 ?@>AB@0=AB2> :>3=8B82=>9 ;8=328AB8:8 / .. >;4K@52 // >?@>AK :>3=8B82=>9 ;8=328AB8:8.  2004.  ! 1.  !. 18-36. 5. 0@?CE8=0 .. :A8>;>38G5A:85 AB@0B5388 B5:AB>?>@>645=8O 8 8=B5@?@5B0F88 B5:AB0 : 02B>@5D. 48A. =0 A>8A:0=85 CG5=. AB5?5=8 :0=4. D8;>;. =0C: / .. 0@?CE8=0.  0@=0C;, 2001.  24 A. 6. 0@?CE8=0 .. >;L ?@548:0B>2 @5G52>3> 459AB28O 2 :>3=8B82=>9 AB@C:BC@5 B5:AB0 / .. 0@?CE8=0  HYPERLINK "http://www.auditorium.ru/aud 7" http://www.auditorium.ru/aud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roft W. and Cruse D.A. Cognitive Linguistics / W Croft, D. A. Cruse.  Cambridge : Cambridge University Press, 2004.  356 p. 13. Jackendoff R. Languages of the Mind. Essays on Mental Representation / R. Jackendoff.  Cambridge, Massachusetts; London, England : The MIT Press, 1996.  200 p. 14. Jackendoff R. Language, consciousness, culture: essays on mental structure / R. Jackendoff.  Hardcover, MIT Press, 2007.  403 p. !! !"' .!" " "  15. ">;AB>9 .. >9=0 8 <8@ / .. ">;AB>9.  . : !>25BA:0O >AA8O, 1982. 16. Tolstoď L. La guerre et la paix / L. Tolstoď / Tr. du russe par Boris de Schloezer.  P. : Gallimard, 2007.  2078 p. 17. Tolstoy L. War and Peace / L. Tolstoy / Tr. from Russian by Louise and Aylmer Maude.  London : Wordsworth Editions, 2001.  964 p. ! $'! !"' 18. %0@G5=:> .. !;>20@L F25B0: @50;L=>5, ?>B5=F80;L=>5, 02B>@A:>5: A2KH5 4000 A;>2 2 8000 :>=B5:AB0E.  . : 74-2> 8B5@0BC@=>3> 8=AB8BCB0 8<. .. >@L:>3>, 2009.  532 A. Š .. 3=520, 2009 # 811.2 42 ./ # "  "   "' "!"# .. 8:>BL ('5@:0A8)  AB0BBV =0 <0B5@V0;V ?>57VW 0<5@8:0=AL:>3> ?>5B0 >15@B0 $@>AB0 B0 WW C:@0W=AL:8E V @>AV9AL:8E ?5@5:;04V2 @>73;O40TBLAO 0;N7VO O: AB8;VAB8G=89 ?@89><, I> 15@5 CG0ABL C D>@<C20==V ?V4B5:ABC ?>5B8G=>3> B2>@C O: A:;04=8:0 <0:@>>1@07=>W AB@C:BC@8 >AB0==L>3>. >A;V465==O ?@>2>48BLAO 7 <5B>N 28O2;5==O ?5@5:;040FL:8E ?>E81>: ?@8 2V4B2>@5==V 0;N7VW, 0 B0:>6 H;OEV2 70157?5G5==O ?>2=>FV==>3> 2V4B2>@5==O 2 ?5@5:;04V ?>5B8G=>3> ?V4B5:ABC, I> T >1>2 O7:>2>N C<>2>N 045:20B=>ABV ?>5B8G=>3> ?5@5:;04C. ;NG>2V A;>20: 0;N7VO, <0:@>>1@07, ?5@5:;04, ?V4B5:AB, ?>57VO. .. 8:>BL. ;;N78O 2 A>740=88 8 ?5@52>45 ?>MB8G5A:>3> ?>4B5:AB0.  AB0BL5 =0 <0B5@80;5 ?>M788 0<5@8:0=A:>3> ?>MB0 >15@B0 $@>AB0 8 55 C:@08=A:8E 8 @CAA:8E ?5@52>4>2 @0AA<0B@8205BAO 0;;N78O :0: AB8;8AB8G5A:89 ?@85<, :>B>@K9 ?@8=8<05B CG0AB85 2 D>@<8@>20=88 ?>4B5:AB0 ?>MB8G5A:>3> ?@>872545=8O :0: A>AB02=>9 G0AB8 <0:@>>1@07=>9 AB@C:BC@K ?>A;54=53>. AA;54>20=85 ?@>2>48BAO A F5;LN 2KO2;5=8O ?5@52>4G5A:8E =54>@01>B>: ?@8 2>AA>740=88 0;;N788, 0 B0:65 ?CB59 >15A?5G5=8O ?>;=>F5==>3> 2>AA>740=8O 2 ?5@52>45 ?>MB8G5A:>3> ?>4B5:AB0, GB> O2;O5BAO >1O70B5;L=K< CA;>285< 045:20B=>AB8 ?>MB8G5A:>3> ?5@52>40. ;NG52K5 A;>20: 0;;N78O, <0:@>>1@07, ?5@52>4, ?>4B5:AB, ?>M78O. Valeriy Kykot. Allusion in poem sense implied forming and rendering. The article deals with allusion as a stylistic device forming a poem sense implied as its macro-image structure constituent. The analysis is done with the aim of allusion translation errors reveal as well as finding ways of full poetic sense implied reconstruction what is obligatory for adequate translation. Robert Frost poetry and its Ukrainian and Russian translations are used to illustrate the poetic sense implied creation and translation problems. Key words: allusion, image, poetry, sense implied, translation. !B02;OG8 70 <5BC ?@>A;V4:C20B8 ?@>F5A AB2>@5==O 2=CB@VH=L>B5:AB>28E 72 O7:V2 70 4>?><>3>N ;0=FN30 >4=>ABC?5=528E AB8;VAB8G=8E ?@89><V2 =0 :>=:@5B=8E ?@8:;040E, <8 >1@0;8 >1 T:B>< 4>A;V465==O FVTW AB0BBV 0;N7VN, 0 ?@54<5B><  ?V4B5:AB ?>5B8G=>3> B2>@C, 2 B2>@5==V O:>3> 15@5 CG0ABL 0;N7VO. 0B5@V0;>< 4>A;V465==O A;C3CT ?>57VO 0<5@8:0=AL:>3> ?>5B0 >15@B0 $@>AB0 B0 WW C:@0W=AL:V 9 @>AV9AL:V ?5@5:;048. ;N7VO O2;OT A>1>N 70?>78G5==O 7 V=H>3> B5:ABC ?52=>W >48=8FV, 0 @07>< V7 B8< V V=D>@<0FVW, I> <VAB8BLAO 2 WW A5<0=B8G=V9 AB@C:BC@V. &5 A2>3> @>4C AB>@>==V9 5;5<5=B, O:89 ?@82=5A5=89 02B>@>< 7 V=H>3> 465@5;0. !?5F8DV:0 AB8;VAB8G=>3> ?@89><C 0;N7VW ?>;O30T 2 >1>2 O7:>2>ABV 28:>@8AB0==O 02B>@>< 7030;L=>2V4><>W V=D>@<0FVW, I> 70157?5GCT 045:20B=5, E>G0 9 =5 28G5@?=5 45:>4C20==O V=D>@<0FVW, 70:;045=>W 2 FL><C AB8;VAB8G=><C ?@89><V. ;N7VO AB2>@NT ?>B5=FV9=V <>6;82>ABV @V7=>W V=B5@?@5B0FVW 7<VABC B5:ABC, B8< A0<8< 28O2;ONG8 2A5 AB8;VAB8G=5 1030BAB2> EC4>6=L>3> B2>@C. &O 2V4=>A=0 A2>1>40 V=B5@?@5B0FVW A<8A;>2>3> 1>:C B5:ABC >1C<>2;5=0 B8<, I> ?>2=5 B0 28G5@?=5 45:>4C20==O V=D>@<0FVW, 70:;045=>W 2 AB8;VAB8G=><C ?@89><V, 2V41C20TBLAO O: =0 >A=>2V 0A>FV0FV9, 70:@V?;5=8E C ACA?V;L=V9 A2V4><>ABV, B0: V =0 >A=>2V 0A>FV0FV9 V=482V4C0;L=>3> ?>@O4:C. >B5=FV9=0 <>6;82VABL 2AB0=>2;5==O 0A>FV0B82=8E 72 O7:V2 A?@8OT 2AB0=>2;5==N A?>@V4=5=8E A5<0=B8G=8E 72 O7:V2 <V6 <>2=8<8 >48=8FO<8, =0 >A=>2V O:8E CB2>@NNBLAO 0;N7VW. !?V;L=5 C 2AVE B8?0E 0;N7V9 B5, I> 2>=8  O28I5 42>G0AB:>25. > B2>@V2 2=>AOBLAO 2V43>;>A8 7=09><8E ;VB5@0BC@=8E V 68BBT28E D0:BV2 V  =0:;040NBLAO =0 ?52=5 <VAF5 B5:ABC. V41C20NBLAO A5<0=B8G=V :>;820==O  ?@82=5A5=5 7=09><5 O28I5 28:;8:0T ?@8@>I5==O G8 ?5@5B2>@5==O A<8A;C. # 2AVE 28?04:0E 2V41C20TBLAO  ?V7=020==O =>2>3> O28I0 70 4>?><>3>N AB0@>3>, 7=09><>3>, I> 2?;820T =0 5<>FV9=5 7010@2;5==O 7>1@065=>3> 5?V7>4C. "0: 70 4>?><>3>N 0;N7V9 @50;V7CTBLAO 206;820 2;0AB82VABL ;VB5@0BC@8   =04<>2=0 2;0AB82VABL [4:111]. ;N7VW T  1C4V25;L=8< <0B5@V0;>< 2AVE @V2=V2 B2>@V2 V 28:>=CNBL G8A;5==V DC=:FVW. C4CG8 ?><VI5=8<8 2 ?@548:0B82=8E G0AB8=0E B5:ABC (703>;>2>:, 5?V3@0D, 70G8=, :V=FV2:0), 2>=8 287=0G0NBL V A?@O<>2CNBL @>728B>: >A=>2=>W B5<8 B2>@C, 0 B0:>6 ?@>O2;ONBLAO O: 0A>FV0B82=V 2=CB@VH=L>B5:AB>2V 72 O7:8, 15@CG8 CG0ABL C A:@V?;5==V 9>3> @V7=><0=VB=8E G0AB8=. ;N782=V 703>;>2:8 =040NBL C207V G8B0G0 ?52=>W A?@O<>20=>ABV, =0BO:0NG8 =0 3>;>2=5 C B2>@V G8 :>=B@0ABCNG8 7 9>3> 7<VAB><. "0:V :>=AB@C:B82=V DC=:FVW 0;N7V9. ;N7VW =5ACBL V E0@0:B5@8AB8G=V DC=:FVW, 287=0G0NG8 G8 4>?>2=NNG8 E0@0:B5@8AB8:C @V7=><0=VB=8E >1@07V2 E0@0:B5@V2 G8 3@C?8 >1AB028=. 0@5HBV, A5@54 >A=>2=8E DC=:FV9 0;N7VW =07820NBL V A5<0=B8G=V [5:283]. >20 945 =5 ?@> ?@8@>I5==O G8 ?5@5B2>@5==O A<8A;C, 2;0AB82VABL 2AVE AB8;VAB8G=> 7010@2;5=8E <>2=8E >48=8FL, 0 ?@> CG0ABL 0;N7VW C AB2>@5==V ?V4B5:ABC B0 D>@<C20==V :>=F5?FVW B2>@C. ;N7VO  O28I5 1030B>;8:5. :@V< 2:070=8E B@048FV9=8E D>@< (0;N7VO-V< O 2;0A=5, 0;N7VO-@50;VO, 0;N7VO-F8B0B0) G0AB> 7CAB@VG0NBLAO 1V;LHV D>@<8: 0;N7VO <>65 ;>:0;V7C20B8AO 2 @V7=8E 2V4@V7:0E B5:ABC  2V4 =04D@07>28E T4=>AB59, 0170FC, AB@>D8 4> @>74V;C B0 FV;>3> B2>@C. C20NBL  7<VH0=V 0;N7VW  @07>< V7 >7=0:0<8 0;N7V9 2>=8 =5ACBL >7=0:8 9 V=H8E B@>?V2 B0 AB8;VAB8G=8E ?@89><V2. 0 0=0;>3VTN 7 <5B0D>@8G=8<8 @O40<8 A?@0254;82> 3>2>@8B8 ?@> 0;N782=V @O48. >6=0 3>2>@8B8 9 ?@> 5<>FV9=5 7010@2;5==O 0;N7V9  1C20NBL 3C<>@8AB8G=V, A0@:0AB8G=V 9 A0B8@8G=V 0;N7VW, 0 >B65  V ?V4B5:AB, C B2>@5==V O:>3> 2>=8 15@CBL CG0ABL. /: 10G8<>, VA=CT <0A0 @V7=>284V2 0;N7V9. 0 2AVE 2V4<V==>AB59 <V6 =8<8 2 >48= B8? <>2=>W >1@07=>ABV WE >1 T4=CNBL 42V A?V;L=V >7=0:8: =0O2=VABL C =8E =0BO:C =0 68BBT2V G8 :C;LBC@=V O28I0 B0 7@>7C<V;VABL 40=>3> =0BO:C. @89>< 0;N7VW T =04728G09=> <VAB:8< 284>< A5@54 B8E AB8;VAB8G=8E 70A>1V2, :>B@V 15@CBL CG0ABL C AB2>@5==V V=B53@0FVW B5:ABC.  B>9 G0A :>;8 AB8;VAB8G=V ?@89><8, =0?@8:;04 <5B0D>@0, ?>@V2=O==O, 5?VB5B 740B=V AB2>@N20B8 2=CB@VH=L>B5:AB>2V 72 O7:8 ;8H5 =0 >A=>2V A5<0=B8G=8E 72 O7:V2, 0;N7VO 28:>@8AB>2CT >:@V< F8E G8AB> ;V=32VAB8G=8E 72 O7:V2 B0:>6 72 O7:8 B5<0B8G=V B0 0A>FV0B82=V. =0G5==O >48=8FL, I> CB2>@NNBL 0;N7VN V ?5@2VA=> 70157?5GCNBL DC=:FV>=C20==O AB8;VAB8G=8E ?@89><V2 C B5:ABV, 2 <V@C =0:>?8G5==O :V;L:>ABV ?>:07=8:V2 72 O7:C 2V4ABC?0NBL =0 704=V9 ?;0=, 0 ?5@5B2>@5=89 B0:8< G8=>< 2 O28I5 B5:ABC AB8;VAB8G=89 ?@89>< @50;V7CT 9 V=HV A2>W 7=0G5==O, A?@8ONG8 B8< A0<8< @>7:@8BBN ?V4B5:ABC. "0: 2V41C20TBLAO 2 B5:ABV ?@8@>I5==O V=D>@<0FVW. 25@=5==O 4> ;VB5@0BC@=>W 0;N7VW T >4=VTN V7 B@048FV9 0=3;>-0<5@8:0=AL:>W ;VB5@0BC@8. ;N7VO, I> 28:;8:0T FV;:>< ?52=C, >4=>7=0G=C 0A>FV0FVN, 5:>=><8BL EC4>6=V 70A>18, 4>72>;OT ?8AL<5==8:>2V 28@078B8 4C<:C 2 <0:A8<0;L=> ;0:>=VG=V9 D>@<V, B>1B> AB2>@8B8 ?V4B5:AB. 52=89 V=B5@5A 28:;8:0T ?@>1;5<0 ?5@5:;04=>ABV ?>5B8G=>W 0;N7VW, O:0 265 =5 >4=5 45AOB8;VBBO 4510BCTBLAO 2 ?5@5:;040FL:V9 ;VB5@0BC@V [6].  07>< 7 287=0G0;L=8<8 A5<0=B8G=8<8 B0 DC=:FV>=0;L=8<8 5;5<5=B0<8 B5:ABC 28EV4=>W <>28, O:V ;53H5 70 2A5 ?V440NBLAO ?5@5:;04C, 2 :>6=V9 <>2V VA=CNBL  ?5@8D5@V9=V 5;5<5=B8, :>B@V =5 702648 240TBLAO ?5@540B8 157 2B@0B C ?5@5:;04=V9 <>2V. "0:8<  ?5@8D5@V9=8< 5;5<5=B>< T V ?>5B8G=0 0;N7VO [2:81]. @8:;048 0;N7V9 C B2>@G>ABV $@>AB0 G8A;5==V. "0: 9>3> 4>A8BL 7=0G=89 70 >1AO3>< 2V@H  West-Running Brook [9, A. 257] ?5@53C:CTBLAO 70 4>?><>3>N 0;N7V9 7 >1@070<8 B2>@V2 C:@5FVO B0 5@0:;VB0. AL G8AB> 5@0:;VBV2AL:0 <5B0D>@0 2 FL><C 2V@HV: A<5@BL 75<;V ?>@>46CT 2>3>=L, A<5@BL 2>3=N ?>@>46CT ?>2VB@O, A<5@BL ?>2VB@O ?>@>46CT 2>4C, A<5@BL 2>48 ?>@>46CT 75<;N. ">1B> <0T<> 157:V=5G=89 F8:; =0@>465==O B0 A<5@BV C ?@8@>4V. 0AB>A>2CNG8 2 B0:89 A?>AV1 ?@89>< 0;N7VW, ?>5B =0BO:0T 2  West-Running Brook =0 A2>T CA2V4><;5==O B>3>, I> =@V 5@‘A>=, A8;L=>3> 2?;82C O:>3> 2V= A2>3> G0AC 707=02, C A2>WE 28A>:> ?>5B8G=8E B5>@VOE  :@50B82=>W 52>;NFVW 040?BCT 1030B> DV3C@ B0 >1@07V2 7 C:@5FVO B0 5@0:;VB0. @89=O2H8 0;53>@VN 68BBO O: @VG:8 (C:@5FV9), =5206:> 7=09B8 C 2V@HV  West-Running Brook 0;53>@8G=5 7>1@065==O 52>;NFV9=>W B5>@VW '. 0@2V=0: It is from that in water we are from Long, long before we were from any creature; [9, A. 259] ... G5;>25: @>87>H5; >B ?5=8AB>9 2>;=K, >AAB02H59 ?@>B82 >1I53> ?>B>:0, >B>< C6 B>;L:> >B <>E=0BKE ?@54:>2. [7, A. 227] ?>3;O4V2 0=3;V9AL:>3> ?A8E>;>30 %52;>:0 ;VA0 ( 68BBO O: B0=5FL ): Some say existence like a Pirout And Pirouette, forever in one place, Stands still and dances& ; [9, A. 259] >@>N 3>2>@OB, GB> 1KB85 >E>65 =0 15A?5G=K9 E>@>2>4. [7, A. 227] V45W  68BBT2>3> ?>@82C . 5@‘A>=0: It is this backward motion toward the source, Against the stream, that most we see ourselves in, The tribute of the current to the source. [9, A. 260]  ;N1>< ?>B>:5 5ABL ?@>B82>B>:, !B@COI89AO =0?5@5:>@ B5G5=LN,  MB> 40=L 8AB>:C A2>5<C. [7, A. 229] $V;>A>DAL:5 B0 @5;V3V9=5 :>;> G8B0==O $@>AB0 ?V4:07CT @>7H8D@C20==O 0;N7V9 V 2 =0ABC?=8E C@82:0E: It has this throwing backwards on itself So that the fall of most of it always Raising a little, sending up a little. [9, A. 259]  ?>B>:5 =587<5==> 5ABL 871KB>:, ;03>40@O :>B>@><C B5G5=L5 0: 1K 2>AE>48B =04 A0<8< A>1>9. [7, A. 229]   5@H><C ?>A;0==V 4> >@V=BO= 0?>AB>;0 02;0 3>2>@8BLAO:  ... "5, I> B8 AVTH, =5 >6825, O: =5 C<@5 (15:36) [3, A. 221]. Our life runs down in sending up the clock. The brook runs down in sending up our life. The sun runs down in sending up the brook. And there is something sending up the sun. [9, A. 259-260] #E>48B 25:  ?@8E>48B 25: 8=>9, 0E>48B A>;=F5  ?;5ICB @>4=8:8  A=>20 ?>AK;0NB A>;=F5 2 =51>. [7, A. 229] C:@5FV9 C ?>5<V  @> ?@8@>4C @5G59 3>2>@8BL, I> A<5@BL =5 T 7=8I5==O, 0 ;8H5 ?5@5@>7?>4V; <0B5@VW 2 :>A<>AV (A<5@BL 75<;V ?>@>46CT 2>3>=L, 0 A<5@BL 2>48 ?>@>46CT 75<;N). /:18 @>AV9AL:89 ?5@5:;040G FL>3> B2>@C . %;T1=V:>2 45I> 3;81H5 ?5@59=O2AO 282G5==O< 0;N7V9 2 40=><C B2>@V $@>AB0, B>, <>6;82>, =5 7 O28;>AO 1 C @>AV9AL:V9 25@AVW B2>@C 5:A?@5A82=>3>  @>87>H5; >B ?5=8AB>9 2>;=K B0  <>E=0BKE ?@54:>2 70<VABL 2V4?>2V4=>  0@2V=V2AL:>3> AB8;VAB8G=> =59B@0;L=>3>  It is from that in water we are from B0  from any creature , 5<>FV9=>->FV==>3>  >E>65 =0 15A?5G=K9 E>@>2>4 70<VABL  ;VAV2AL:>3> :>=AB0BCNG>3>  in one place, / Stands still and dances , :0B53>@8G=>3>   ;N1>< ?>B>:5 5ABL ?@>B82>B>:, / !B@COI89AO =0?5@5:>@ B5G5=LN 70<VABL  5@‘A>=V2AL:>3> 7=0G=> < O:VH>3>  It is this backward motion toward the source, /Against the stream, that most we see ourselves in V B. 4. ;N782=>N T V <5B0D>@8G=0 0=0;>3VO  fire  desire C 2V@HV $@>AB0  Fire and Ice [5, A. 220], 45B0;L=VH89 0=0;V7 O:>3> 1C45 ?@>2545=> 45I> 40;V. AL =525;8:89 C@82>: V7 45-3> A>=5B0 (5:A?V@0: The other two slight air and purging fire, Are both with thee, wherever I abide; The first my thought, the other my desire, These present-absent with swift motion slide. [8, A. 86] >@V2=O9<> 7 ?5@5:;04>< !. 0@H0:0, O:89 T >4=8< V7 =09240;VH8E V=B5@?@5B0B>@AL:8E B;C<0G5=L FL>3> A>=5BC: @C385 425 >A=>2K <8@>740=LO  3>=L 8 2>74CE  1>;55 ;53:8. KE0=L5 <KA;8 8 >3>=L 65;0=LO / H;N : B515, ?@>AB@0=AB2C 2>?@5:8. [8, A. 86] 5@53C:C20==O 7 F8< B2>@>< 2V41C20TBLAO C $@>AB0 O: =0 ;5:A8:>-7<VAB>2=><C @V2=V, B0: V =0 @V2=V :><?>78FV9=8E >A>1;82>AB59: 28>:@5<;5==O C (5:A?V@0 2>3=N B0 ?>2VB@O, 0 C $@>AB0  2>3=N B0 ;L>4C O: >A=>2=8E AB8EV9 2A5A2VBC, O:V, AC4OG8 7 2V@H0 $@>AB0 B0 7024O:8 9>3> =5?@O<><C ?>A8;0==N =0 B2V@ (5:A?V@0, AB2>@NNBL >1@07 AB8EV9, I> <>6CBL, 7 >4=>3> 1>:C, AB2>@8B8 2A5A2VB B0 7=8I8B8 9>3>, 7 V=H>3>. ">1B> BCB $@>AB, <>6=0 A:070B8, 70 4>?><>3>N B0:8E A:;04=8E ?>5B8G=8E 70A>1V2 :>4CT 4C0;V7< A2>3> A2VB>A?@89=OBBO. AB>@8:>-:C;LBC@=V 0;N7VW @07>< V7 ?>;VA5<VTN A;>20 15@CBL CG0ABL C B2>@5==V ?V4B5:AB>2>W >1@07=>ABV $@>AB>2>3> 2V@H0  After Apple Picking   VA;O 718@0==O O1;C: (:=830  North of Boston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ne can see what will trouble / The sleep of mine, whatever sleep it is. &V @O4:8 $@>AB0 28:;8:0NBL 2 ?0< OBV A;>20 0<;5B0 7 9>3> 7=0<5=8B>3> <>=>;>3C  To be, or not to be&  (Act III, sc. 1): To sleep  perchance to dream: ay, there s the rub! For in that sleep of death what dreams may come& [10, A. 57]. $@>AB, ?@>B5, 7=V<0T A5@9>7=VABL @>74C<V2 >1@07>< 1010:0, I> A?8BL: AFTER APPLE-PICKING My long two-pointed ladder’s sticking through a tree Toward heaven still, And there’s a barrel that I didn’t fill Beside it, and there may be two or three Apples I didn’t pick upon some bough. But I am done with apple-picking now. Essence of winter sleep is on the night, The scent of apples: I am drowsing off. I cannot rub the strangeness from my sight I got from looking through a pane of glass I skimmed this morning from the drinking trough And held against the world of hoary grass. It melted, and I let it fall and break. But I was well Upon my way to sleep before it fell, And I could tell What form my dreaming was about to take. Magnified apples appear and disappear, Stem end and blossom end, And every fleck of russet showing clear. My instep arch not only keeps the ache, It keeps the pressure of a ladder-round. I feel the ladder sway as the boughs bend. And I keep hearing from the cellar bin The rumbling sound Of load of apples coming in. For I have had too much Of apple-picking: I am overtired Of the great harvest I myself desired. There were ten thousand thousand fruit to touch, Cherish in hand, lift down, and not let fall. For all That struck the earth, No matter if not bruised or spiked with stubble, Went surely to the cider-apple heap As of no worth. One can see what will trouble This sleep of mine, whatever sleep it is. Were he not gone, The woodchuck could say whether it’s like his Long sleep, as I describe its coming on, Or just some human sleep. 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[1, A. 70] #:@0W=AL:><C V=B5@?@5B0B>@>2V FL>3> 2V@H0 0;5@VN >9G5=:C 240TBLAO, =0 =0HC 4C<:C, ?>T4=0B8 B>G=VABL V EC4>6=VABL, B>1B> ?5@540B8 ACB=VABL $@>AB>2>W ?>57VW C 2V4?>2V4=V9 EC4>6=V9 D>@<V, I> 2 >A=>2=8E @8A0E 045:20B=0 ?5@H>B2>@C. 572060NG8 =0 B5, I> C:@0W=AL:0 25@AVO 2V@H0 <0T >4=5 ACBBT25 >1@07=5 C?CI5==O (2 ?5@5:;04V 4@018=0 AB@8<8BL  C 1V;89 A2VB , 0 =5 2 =515A0, O: C 2V@HV $@>AB0), 2 CAL><C V=H><C ?5@5:;040G 4>=>A8BL V459=5 1030BAB2>, >1@07=VABL, 5<>FV9=VABL, 7030;L=5 72CG0==O >@83V=0;C V, O: =0A;V4>:, 7=0G=C G0AB8=C 3;818==>W 4C<:8 B2>@C, I> ;568BL C 9>3> ?V4B5:ABV, O:89 AB2>@5=> 02B>@>< >@83V=0;C 70 4>?><>3>N @V7=><0=VB=8E 70A>1V2 B2>@5==O, 2 B><C G8A;V 9 70 4>?><>3>N 0;N7V9. "0:8< G8=><, 0;N7VO T 4VT28< G8==8:>< B2>@5==O ?V4B5:ABC ?>5B8G=>3> B2>@C, V WW ?>2=>FV==5 2V4B2>@5==O C ?5@5:;04V T =5>1EV4=>N C<>2>N 70157?5G5==O 045:20B=>ABV >AB0==L>3>. A51VG=89 0=0;V7 CG0ABV 0;N7VW C B2>@5==V ?@8E>20=>3> A<8A;C 2V4:@820T ?5@A?5:B828 4>A;V465==O 2V4B2>@5==O 2 ?5@5:;04V ?>5B8G=>3> ?V4B5:ABC O: A:;04=8:0 <0:@>>1@07=>W AB@C:BC@8 2V@H>2>3> B2>@C. " "#  1. >9G5=:> . . >;VBBO / 0;5@V9 5B@>28G >9G5=:>.  . : >;>4L, 1977.  80 A. 2. 5:@OG ". . 5:>B>@K5 0A?5:BK 2>AA>740=8O ?>MB8G5A:>9 0;;N788 / ". . 5:@OG // "5>@8O 8 ?@0:B8:0 ?5@2>40.  . : 8I0 H:>;0, 1980.  8?. 3.  !. 80 85. 3. !2OB5 8AL<> !B0@>3> B0 >2>3> 02VBC. >2=89 ?5@5:;04, 74V9A=5=89 70 >@83V=0;L=8<8 T2@59AL:8<8, 0@0<V9AL:8<8 B0 3@5FL:8<8 B5:AB0<8.  United Bible Societies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he Poetry of Robert Frost. The collected poems, complete and unabridged / Robert Frost / [Edited by Edward Connery Lathem]. – New York : Henry Holt and Company, 1979. – 610 p. 10. The Portable Shakespeare / William Shakespeare. – Kingsport, Tennessee : Kingsport Press Inc., 1982. – 792 p. Š .. 8:>BL, 2009 # 811.255:81 # !,   , &, #   $!  %/ .!. 0:0@ (L2V2) # AB0BBV 945BLAO ?@> 2V4><V C:@0W=AL:V ?5@5:;048 402=L>3@5FL:>3> @><0=C  0D=VA V %;>O , =0?8A0=>3> C  AB. =.5. >=3><. 4V9A=5=> ?>@V2=O;L=89 0=0;V7 <>2=8E >A>1;82>AB59 B@L>E C:@0W=AL:8E ?5@5:;04V2 (. 5@6028=0, .. CH0:0, . 0A;N:0) B0 @><0=C. 03>;>HCTBLAO =0 7=0G5==V ?5@5:;04V2 4;O @>728B:C C:@0W=AL:>W :C;LBC@8 V <>28. ;NG>2V A;>20: 0=B8G=0 ;VB5@0BC@0, >=3, ?5@5:;04>7=02AB2>, @><0=. .!. 0:0@. #:@08=A:85 ?5@52>4K 4@52=53@5G5A:>3> @><0=0 >=30  0D=8A 8 %;>O . !B0BLO ?>A2OI5=0 8AA;54>20=8N 8725AB=KE C:@08=A:8E ?5@52>4>2 4@52=53@5G5A:>3> @><0=0  0D=8A 8 %;>O , =0?8A0==>3> 2>  2. =.M. >=3><. ACI5AB2;5= A@02=8B5;L=K9 0=0;87 O7K:>2KE >A>15==>AB59 B@5E C:@08=A:8E ?5@52>4>2 (. 5@6028=0, .. CH0:0, . 0A;N:0) 8 @><0=0. :F5=B8@C5BAO 7=0G5=85 ?5@52>4>2 4;O @0728B8O C:@08=A:>9 :C;LBC@K 8 O7K:0. ;NG52K5 A;>20: 0=B8G=0O ;8B5@0BC@0, >=3, ?5@52>4>2545=85, @><0=. Inesa Makar. Ukrainian translations of the ancient greek novel “Daphnis and Chloe” written by Longus. The article deals with the well-known Ukrainian translations of the ancient Greek novel “Daphnis and Chloe” written in the second century by Longus. It carries out a comparative analysis of the language peculiarities of the interpretations of the novel and the novel itself. It also underlines the value of the interpretations for the development of the Ukrainian culture and language. Key words: ancient literature, Longus, novel, theory of translation. >G8=0NG8 7 5?>E8 ?V7=L>3> V4@>465==O V 4> =0H8E 4=V2 @><0= >=30  0D=VA V %;>O  >48= 7 :@0I8E 28A>:>EC4>6=VE 7@07:V2 ?V7=L>W 3@5FL:>W ?@>78  28:;8:0T =5018O:89 V=B5@5A =5 ;8H5 O: ?@>>1@07  ?0AB>@0;L=8E @><0=V2 , 0 O: 2VG=>68289 ?0< OB=8: 0=B8G=>W :C;LBC@8. !5:@5B 9>3>  4>23>2VG=>ABV =5>4=>@07>2> =0<030;8AO @>73040B8 4>A;V4=8:8 C <8=C;><C. :BC0;L=8< F5 ?8B0==O 70;8H0TBLAO V AL>3>4=V. 1 T:B>< 4>A;V465==O T ?5@5:;048 402=L>3@5FL:>3> @><0=C >=30 C:@0W=AL:>N <>2>N. @54<5B 4>A;V465==O  <>2=V >A>1;82>ABV B@L>E C:@0W=AL:8E ?5@5:;04V2 @><0=C >=30 (.5@6028=0, .0A;N:0, ..CH0:0). 5B0 =0H>3> 4>A;V465==O  ?@>AB568B8 VAB>@VN ?5@5:;04V2 402=L>3@5FL:>3> @><0=C >=30  0D=VA V %;>O , ?@>0=0;V7C20B8 <>2=V >A>1;82>ABV C:@0W=AL:8E ?5@5:;04V2 B0 >:@5A;8B8 WE 7=0G5==O 4;O C:@0W=AL:>W :C;LBC@8 B0 4CE>2=>ABV. 0B5@V0;>< 4>A;V465==O ?>A;C68;8 ?5@5:;048 . 5@6028=0 (%0@:V2, 1936), . 0A;N:0 (L2V2, 1989; @>3>18G, 2004) B0 .. CH0:0, ( V<.. !B5D0=8:0, @C:>?8A, 40B>20=89 1973 @.). 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Some Ancient Novels (Leucippe and Clitophon, Daphnis and Chloe, The Satiricon, The Golden Ass) / F.A. Todd.  New York : Books for libraries Press Freeport, 1968.  144 p. Š .!. 0:0@, 2009 # 811.111 25:811.161.2  ' # ! (=0 <0B5@V0;V @V7=8E ?5@5:;04V2 Ť V742O=0 ?VA=O 2 ?@>7Vť '. V::5=A0 B0 Ť>E0=5FL 54V '0BB5@;Vť .. >C@5=A0) ".. @8H5G:> (8W2) # AB0BBV @>73;O40NBLAO B0 ?>@V2=NNBLAO ?@89><8 ?5@5:;04C 0=3;V9AL:8E 5<>B82=8E 283C:V2, 283C:>28E D@07, V<?5@0B82=8E 283C:V2 B0 72C:>=0A;V4C20=L 2 <=>68==><C ?5@5:;04V, 28O2;5=> =091V;LH 240;V DC=:FV>=0;L=V 2V4?>2V4=8:8 2 <>2V ?5@5:;04C. ;NG>2V A;>20: 0=3;V9AL:0 283C:>20 ;5:A8:0, <=>68==89 ?5@5:;04, ?@89><8 ?5@5:;04C, DC=:FV>=0;L=89 2V4?>2V4=8:. ".. @8H5G:>. 5@540G0 <564><5B=>9 ;5:A8:8 @07=K<8 ?5@52>4G8:0<8 >4=>3> 8 B>3> A>G8=5=8O.  AB0BL5 @0AA<0B@820NBAO 8 A@02=820NBAO ?@85<K ?5@52>40 0=3;89A:8E M<>B82=KE <564><5B89, <564><5B=KE D@07, 8<?5@0B82=KE <564><5B89 8 72C:>?>4@060=89 2 <=>65AB25==>< ?5@52>45, 2KO2;5=K =081>;55 C40G=K5 DC=:F8>=0;L=K5 A>>B25BAB28O 2 O7K:5 ?5@52>40. ;NG52K5 A;>20: 0=3;89A:0O <564><5B=0O ;5:A8:0, <=>65AB25==K9 ?5@52>4, ?@8Q<K ?5@52>40, DC=:F8>=0;L=>5 A>>B25BAB285. T.A. Oryshechko. Rendering Interjections in One and the Same Fiction Work by Different Translators. The article deals with the identification and comparison of techniques of translating English emotive interjections, interjection phrases, imperative interjections and onomatopoeias in multiple translations and the most adequate functional equivalents in the target language. Key words: English interjections, functional equivalent, multiple translation, translation techniques. >AB0=>2:0 =0C:>2>W ?@>1;5<8 B0 7=0G5==O. &V==8< 4;O B5>@VW B0 ?@0:B8:8 ?5@5:;04C T VA=C20==O :V;L:>E ?5@5:;04V2 >4=>3> 9 B>3> A0<>3> B2>@C. . >GC@ [3], $. 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A>1;82>ABV ?5@5:;04C 283C:>2>W ;5:A8:8 ?>2 O70=V 7 =5>1EV4=VABN 2V4B2>@5==O 5<>FV9=>3> =0?>2=5==O, B><C 4;O 283C:>2>W ;5:A8:8 ?@89=OB=8< T 2V41V@ @V7=8E <>6;82>AB59 9>3> ?5@540GV. 0 =0HC 4C<:C, ?@02><V@=8< ?5@5:;04 283C:C T B>4V, :>;8 <>2>N ?5@5:;04C 2V4B2>@5=V 9>3> 5<>FV9=V E0@0:B5@8AB8:8. 54>A:>=0;VABL ?5@5:;04V2 A;V2 40=>W G0AB8=8 <>28 C ?5@5:;04=8E ;5:A8:>3@0DVG=8E 465@5;0E 7<CHCT ?5@5:;040G0 74V9A=N20B8 ?V41V@ 045:20B=>3> 5:2V20;5=BC 2 FV;L>2V9 <>2V. 5B>N FVTW AB0BBV T 28O2;5==O =091V;LH 240;8E DC=:FV>=0;L=8E 2V4?>2V4=8:V2 B0 <>B82V2 WE 281>@C 2 0=3;>-C:@0W=AL:><C EC4>6=L><C ?5@5:;04V 283C:V2 V 28:>@8AB0==O FL>3> <0B5@V0;C 4;O C:;040==O ?5@5:;04=>3> A;>2=8:0 283C:>2>W ;5:A8:8. 0240==O< 40=>3> 4>A;V465==O T ?>@V2=O;L=89 0=0;V7 ?5@5:;040FL:8E @VH5=L AB>A>2=> >4=>3> 9 B>3> A0<>3> 0=3;V9AL:>3> 283C:C 2 B><C A0<><C :>=B5:ABV @V7=8<8 ?5@5:;040G0<8 B0 28O2;5==O =091V;LH 240;8E 20@V0=BV2 ?5@5:;04C, >?8A ?@89><V2 ?5@5:;04C 283C:>2>W ;5:A8:8 2 0=3;>-C:@0W=AL:><C =0?@O<:C =0 ?@8:;040E <=>68==>3> ?5@5:;04C B0 >1;V: AB0B8AB8G=8E 40=8E I>4> G0AB>B=>ABV 28:>@8AB0==O ?@89><V2 ?5@5:;04C 283C:>2>W ;5:A8:8. 1 T:B>< 70?@>?>=>20=>W @>72V4:8 T ?5@5:;048 C:@0W=AL:>N <>2>N 0=3;V9AL:8E 283C:V2 C B2>@V '. V::5=A0  V742O=0 ?VA=O 2 ?@>7V , 7@>1;5=V ?5@5:;040G0<8 . >:@>2>;LAL:8<, !. C;8:V2=>N B0 . =4@CAO:>< B0 C B2>@V .. >C@5=A0  >E0=5FL 54V '0BB5@;V , 7@>1;5=V !. 02;8G:> B0 . 04VT=:>. @54<5B>< T 0=0;V7 ?5@5:;040FL:8E @VH5=L ?@8 2V4B2>@5==V C:@0W=AL:>N <>2>N 0=3;V9AL:>W 283C:>2>W ;5:A8:8 B0 >:@5A;5==O ?@89><V2 ?5@5:;04C 40=>W 3@C?8 A;V2. 8:;04 >A=>2=>3> <0B5@V0;C 9 >13@C=BC20==O >B@8<0=8E @57C;LB0BV2 4>A;V465==O. # =0H8E ?>?5@54=VE 4>A;V465==OE [5] 1C2 ?@>0=0;V7>20=89 ?5@5:;04 0=3;V9AL:>W 283C:>2>W ;5:A8:8, V <8 4V9H;8 28A=>2:C, I> =09?>H8@5=VH8<8 ?@89><0<8 WE ?5@5:;04C T: A;>2=8:>289 2V4?>2V4=8:; 20@V0=B=89 2V4?>2V4=8:; 70<V=0 283C:C =0 A;>2>, A;>2>A?>;CG5==O 01> @5G5==O. >73;O=5<> =0ABC?=V ?@8:;048 ?5@5:;04C 0=3;V9AL:>W 283C:>2>W ;5:A8:8: 1. Bah! said Scrooge,  Humbug! (DC. CCP. p.48) - C@=8FV!  ?@><8<@82 !:@C46.  C@=8FV! ('. . / ?5@. !>DVO C;8:V2=0, A.16) - E5!  A:@8282AO !:@O6.  /:V 4C@=8FV! ('. . / ?5@. . >:@>2>;LAL:89, A. 16) - C@=8FV! @>1C@G02 !:@C46.  VA5=VB=8FO! ('. . / ?5@. . =4@CAO:) 83C:  bah ?5@540T, 70 :>=B5:AB><, ?@578@;825 @>74@0BC20==O. 5@5:;04 FL>3> 283C:C 2AV ?5@5:;040GV 74V9A=8;8 H;OE>< ?V41>@C 20@V0=B=>3> 2V4?>2V4=8:0. !>DVO C;8:V2=0 B0 . =4@CAO: 28:>@8AB0;8 ?>EV4=89 283C:  4C@=8FV! , . >:@>2>;LAL:89 2682 C ?5@5:;04V ?5@28==89 283C:  ?E5! . AV 20@V0=B8 ?5@5:;04C T ?@02><V@=8<8, >A:V;L:8 2>=8 045:20B=> ?5@540NBL 5<>FVW >@83V=0;C. 83C:  humbug ?5@540T, 70 :>=B5:AB><, 5<>FVW =524>2>;5==O, >1C@5==O. !>DVO C;8:V2=0 28:>@8AB>2CT 283C:  4C@=8FV! , I> ?>2B>@NT ?>?5@54=V9 283C:. . >:@>2>;LAL:89 28:>@8AB>2CT 283C:>2C D@07C  /:V 4C@=8FV! , . =4@CAO: ?5@5:;040T 0=3;V9AL:89 283C: ?>EV4=8< 283C:><  =VA5=VB=8FO! . "CB 2 >@83V=0;V FV:02> B5, I> 283C:  humbug =01C20T 1V;LH>3> 5<>FV9=>3> =0?>2=5==O, >A:V;L:8 2V= AB>WBL ?VA;O 283C:C  bah . # A2>T<C ?5@5:;04V !>DVO C;8:V2=0 =5 ?5@540T FL>3> =0@>AB0==O 5<>FV9, 0 ?@>AB> ?>2B>@NT B>9 A0<89 283C:. . >:@>2>;LAL:89 1V;LH5 =01;8782AO 4> ?5@540GV 5<>FV9 >@83V=0;C, A?>G0B:C 28:>@8AB02H8 ?5@28==89 283C:, 0 ?>BV< 283C:>2C D@07C. . =4@CAO: 2;CG=> 28:>@8AB02 @V7=V 2B>@8==V 283C:8. 2. 'Ugh! Humiliation and abomination. (LDH. LCL.) #E! 5@7>B0 9 >3840! (. '. / ?5@. !. 02;8G:>, A. 95) "LEC!.. @84>B0 O:0! (. '. / ?5@. . 04VT=:>, A. 92) 0 :>=B5:AB><, 283C:  ugh 28@060T >384;82VABL B0 2V4@07C. . 04VT=:> 74V9A=NT 9>3> ?5@5:;04 H;OE>< ?V41>@C 20@V0=B=>3> 2V4?>2V4=8:0  283C:C  BLEC! , O:89 ?5@540T 5<>FVW >@83V=0;C [1, 307], O:V ?V4B25@46CNBLAO =0ABC?=8< 28@07><  @84>B0 O:0! . !. 02;8G:> 2 ?5@5:;04V =5?@02><V@=> 28:>@8AB>2CT 283C:  CE! , O:89 71V30TBLAO 70 72CG0==O<, 0;5 <0T V=H5 5<>FV9=5 =0?>2=5==O [8]. "8< A0<8< 283C:  CE 28:>=CT ;8H5 DC=:FVN ?V4A8;5==O 5<>FV9=>-=0A8G5=8E V<5==8:V2  <5@7>B0 ,  >3840 . 3. He gave the wry, quick hiss of a laugh.  Oh, in that way!... May I hold your hand for a minute? (LDH. LCL.) V= 70A<VO2AO 7 GC45@=0FL:8< ?@8A28AB><. - E, >B0:!... >6=0 =0 E28;8=C 27OB8 20HC @C:C? (. '. / ?5@. !. 02;8G:>, A. 38) V= :@82> 2A<VE=C2AO: - = O:! & >6=0 <5=V E28;L:C ?>B@8<0B8 20A 70 @C:C? (. '. / ?5@. . 04VT=:>, A. 47) 83C:  oh , 70 :>=B5:AB><, 5<>FV9=> ?V4A8;NT =0ABC?=5 AB25@465==O B0 28@060T 4>A04C 01> =524>2>;5==O. !. 02;8G:> ?5@5:;0;0 F59 283C:, 28:>@8AB02H8 ?@89>< ?V41>@C 20@V0=B=>3> 2V4?>2V4=8:0  283C:C  0E , O:89 ?5@540T BV A0<V 5<>FVW [8], 0;5 =5 28:>=CT DC=:FVN ?V4A8;5==O AB25@465==O. 5@5:;040G . 04VT=:> 28@VH8;0, I> 4>FV;L=VH5 70<V=8B8 D@07C 7 283C:>< =0 5<>FV9=>-7010@2;5=5 >:;8G=5 @5G5==O  = O:! , O:5 ?>2=VABN 2V4B2>@NT 5<>FVW >@83V=0;C B0 DC=:FVN ?V4A8;5==O AB25@465==O. &59 ?5@5:;04 T, =0 =0H ?>3;O4, 240;VH8< 70 ?>?5@54=V9. 4.  You do believe in love then, Tommy, don t you?  You lovely lad! said Tommy.  No, my cherub, nine times out of ten, no! (LDH. LCL.) - =0G8BL, B8, "><V, A?@024V 2V@8H C ;N1>2, ?@0240?  8;89 E;>?G5!  A:0702 "><V.  V, <V9 E5@C28<5, C 452 OB8 28?04:0E 7 45AOB8  =V! (. '. / ?5@. !. 02;8G:>, A. 58) - ;5 6 B8 2V@8H C :>E0==O, "><<V, EV10 =5 B0:?  E B8 30@=N=V9 E;>?G8:C!  A:0702 "><<V.  V, O=3>;OB:> B8 <>T, 2 452 OB8 28?04:0E V7 45AOB8  =V! (. '. / ?5@. . 04VT=:>, A. 63) 0 2V4<V=C 2V4 !. 02;8G:>, . 04VT=:> 2 ?5@5:;04V 4>40T 283C:  0E 4> 5<>FV9=> 7010@2;5=>3> 725@=5==O  B8 30@=N=V9 E;>?G8:C . &5 4>4020==O, =0 =0HC 4C<:C, ?@872>48BL 4> ?5@5=0A8G5==O 5<>FVO<8 28EV4=>3> 28A;>2;N20==O B0 T =528?@0240=8< C 40=><C :>=B5:ABV. 5.  But if someone starts making love to Julia, you begin to simmer; and if he goes on, you are soon at boiling point, & Julia was Hammond s wife.  Why, exactly! So I should be if he began to urinate in a corner of my drawing-room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why ?5@540T =5B5@?V==O, V@>=VN B0 =524>2>;5==O. # ?5@5:;04V !. 02;8G:> :840TBLAO 2 >:> 45O:0 =5410;VABL I>4> ?5@540GV 5<>FV9=>3> D>=C 28EV4=>3> B5:ABC. 5@5:;040G:0 28;CG0T 283C: 7 =C;L>2>N 70<V=>N, B8< A0<8< 71V4=NT 5<>FV9=5 =0?>2=5==O >@83V=0;C. . 04VT=:> 74V9A=8;0 ?5@5:;04 H;OE>< 28:>@8AB0==O 20@V0=B=>3> 2V4?>2V4=8:0  =C , O:89 045:20B=> 2V4B2>@NT 5<>FVW >@83V=0;C [1, 331]. 6. The grandmother looked around swiftly at the child:  Why, wheer was yer Dad? The little girl clung to her grandmother s skirts and simpered. (LDH. LCL.) 01CAO H284:> >78@=C;0AO =0 4V2G8=:C: - C, 0 45 1C2 B2V9 B0B>? V2G8=:0 AE>?8;0AO 70 A?V4=8FN 101CAV 9 70E;8?0;0. (. '. / ?5@. !. 02;8G:>, A. 90) 01CAO H284:> ?>25@=C;0AO 4> 4V2G8=:8: -  45 6 F5 B2V9 B0B>, 30? V2G8=:0 2G5?8;0AO 70 101CA8=C A?V4=8FN V 7=>2 4C@=C20B> 2A<VE=C;0AL. (. '. / ?5@. . 04VT=:>, A. 88) 83C:  why ?5@540T 5<>FVW @>74@0BC20==O, =5B5@?V==O B0 @07>< 7 B8< <0T, 70 :>=B5:AB><, A?>=C:0;L=89 E0@0:B5@. !. 02;8G:> 74V9A=8;0 ?5@5:;04 H;OE>< [1, 331]. . 04VT=:> 2 ?5@5:;04V 283C: ?@02><V@=> 70<V=NT ?8B0;L=>N G0AB:>N  30 , O:0 268B0 4;O ?V4:@5A;5==O >1C@5==O [8] B0 @07>< V7 B8< A?>=C:0T 4> 2V4?>2V4V. 7. Why, isn t Lady Chatterley good to yer! (LDH. LCL.) - )> 70 4>1@0 ;54V '0B5@;59! (. '. / ?5@. !. 02;8G:>, A. 91) - "8 10G, O:0 ;54V '0BB5@;V 4> B515 4>1@0! (. '. / ?5@. . 04VT=:>, A. 89) 0 :>=B5:AB><, 283C:  why ?5@540T 5<>FVN 7482C20==O. . 04VT=:> 74V9A=NT ?5@5:;04 H;OE>< 70<V=8 283C:C  why =0 283C:>2C D@07C  B8 10G , O:0 2V4B2>@NT 5<>FVW ?5@H>B2>@C. !. 02;8G:> 70<V=NT 283C: =0 ?V4A8;N20;L=C G0AB:C  I> , O:0 268B0 4;O C28@07=5==O =0ABC?=>3> A;>2>A?>;CG5==O  4>1@0 ;54V '0BB5@;59 . 18420 20@V0=B8 28:>@8AB0=V ?@02><V@=>. 8.  Why, he began, in the broad slow dialect. (LDH. LCL.) - B0:>->W!  ?>G02 2V= =0 A2>T<C BO3CG><C ?>2V;L=><C 4V0;5:BV. (. '. / ?5@. !. 02;8G:>, A. 143) - "0 G>3>->?  ?>G02 2V= 7=>2C =0 A2>T<C ?@>BO6=><C 4V0;5:BV. (. '. / ?5@. . 04VT=:>, A. 129) 83C:  why 28@060T, 70 :>=B5:AB><, 5<>FVW 70E>?;5==O, =5A?>4V20=:8. !. 02;8G:> 2 ?5@5:;04V ?@02><V@=> 28:>@8AB>2CT 2B>@8==89 283C:  >B0:>->W! . . 04VT=:> 70<V=NT 283C: =0 ?8B0;L=5 5<>FV9=>-7010@2;5=5 @5G5==O  "0 G>3>->? , O:5 =5 ?@872>48BL 4> 45D>@<0FVW 28EV4=8E 5<>FV9. 5@5:;040GV 1C;8 7<CH5=V 28:>@8AB0B8 2;0A=5 B0:V 20@V0=B8 ?@8 2V4B2>@5==V >@83V=0;L=>3> 28A;>2;N20==O, O:V 28@060NBL =5 BV;L:8 5<>FVW ?5@H>B2>@C, 0;5 9 2V4B2>@NNBL <0=5@8 <>2;5==O 35@>O,  in the broad slow dialect . 9.  Oh damn it all! If a fellow s going to trade on his disabilities, I might begin to say how lonely I am, and always have been, and all the rest of the my-eye-Betty-Martin sob-stuff! (LDH. LCL.) - , G>@B 7 =8< CAV<! /:I> G>;>2V: B>@3CT A2>W< :0;VFB2><, B>4V O B56 <>6C A:070B8, O:89 O A0<>B=V9, O:8< A0<>B=V< 1C2 702648, V @>7?CA:0B8 =N=V 2 B0:><C 6 4CAV. (. '. / ?5@. !. 02;8G:>, A. 80) - '>@B8 1 9>3> 27O;8! /:I> EB>AL B0: B>@3CT A2>TN =5<VGGN, B>4V 9 <5=V B@510 ?>G0B8 60;VB8AO, O:89 O A0<>B=V9 V O:89 O 702648 1C2 A0<>B=V9& V @>7@N<A0B8AO, I>1 EB>AL 28B8@02 <5=V A>?;V! (. '. / ?5@. . 04VT=:>, A. 80) !?>;CG5==O 283C:C B0 283C:>2>W D@078  Oh damn it all! 28@060T =04728G09=C 4>A04C, @>74@0BC20==O. !. 02;8G:> 2 ?5@5:;04V 28:>@8AB>2CT A?>;CG5==O 283C:C B0 283C:>2>W D@078  , G>@B8 7 =8< CAV<! , 0 . 04VT=:>  '>@B8 1 9>3> 27O;8! . &V 20@V0=B8 ?5@5:;04C T 045:20B=8<8 2 40=><C :>=B5:ABV, B0: O: 2V4B2>@NNBL =5 ;8H5 7<VAB, 0 9 D>@<C >@83V=0;C. 10. The curious, suspicious, false amiability with which the miners wives met her overtures; the curiously offensive tinge of  Oh dear me! I am somebody now, with Lady Chatterley talking to me! (LDH. LCL.) 5AB5@?=8<8 74020;8AO FV:020, ?V4>7@V;820, D0;LH820 ?@8O7=L, 7 O:>N 4@C68=8 H0EB0@V2 7CAB@VG0;8 WW A?@>18 @>73>2>@8B8AO, 70FV:02;5=89 >1@07;8289 ?@872C::   >65! "5?5@ O I>AL >7=0G0N, O:I> 7V <=>N @>7<>2;OT A0<0 ;54V '0B5@;59. (. '. / ?5@. !. 02;8G:>, A. 21) 0GC4>20=C, ?V4>7@V;82C D0;LH82C 4@C6=VABL, 7 O:>N 4@C68=8 H0EB0@V2 7CAB@VG0;8 WW A?@>18 ?>10;0:0B8 7 =8<8, B>9 482=89 ?V4B5:AB  >65 6 <V9, B0 2V4B5?5@ O =5 018EB>, O:I> A0<0 ;54V '0BB5@;V 703>2>@8;0 4> <5=5! (. '. / ?5@. . 04VT=:>, A. 33) !?>;CG5==O 283C:C B0 283C:>2>W D@078  Oh dear me! 28@060T 5<>FVW >1C@5==O, @>74@0BC20==O. !. 02;8G:> 74V9A=8;0 ?5@5:;04 H;OE>< 70<V=8 283C:C B0 283C:>2>W D@078 =0 A?>;CG5==O 283C:V2   >65! , 0 . 04VT=:> 2 ?5@5:;04V 28:>@8AB0;0 283C:>2C D@07C  >65 <V9! V7 4>4020==O< ?V4A8;N20;L=>W G0AB:8  6 . >6=0 ?>3>48B8AO 7 F8<8 20@V0=B0<8 ?5@5:;04C, >A:V;L:8 2>=8 4>AB0B=L> ?5@540NBL 5<>FV9=V E0@0:B5@8AB8:8 28EV4=>3> B5:ABC. ;5, @07>< V7 B8< ?5@5:;04,  >65 6 <V9! <8 22060T<> 5<>FV9=> 1V;LH =0A8G5=8< 7024O:8 G0ABFV  6 . !0<5 F59 ?5@5:;04, =0 =0HC 4C<:C, T 2;CG=VH8< 2 40=><C :>=B5:ABV. 11. My word, that was a slap back at the high-and-mighty Chartterleys! (LDH. LCL.) E V ;O?0A, 40N A;>2>, 28A>:>@>4=8< V A8;L=8< '0B5@;5O< (. '. / ?5@. !. 02;8G:>, A. 221) >65 6 <V9, >F5 B0: 30=L10 4;O 2A5<>3CB=VE '0BB5@;V! (. '. / ?5@. . 04VT=:>, A. 188)  My word C FL><C :>=B5:ABV ?5@540T 5<>FVW 7482C20==O B0 7;>2BVE8. !. 02;8G:> 2 ?5@5:;04V 28:>@8AB>2CT 2AB02=5 @5G5==O  40N A;>2> , O:5 B>G=> 2V4B2>@NT  1C:2C , 0 =5  4CE >@83V=0;C. 2545==O FVTN ?5@5:;040G:>N 283C:C  >E =0 ?>G0B:C @5G5==O ;8H5 G0AB:>2> 2V4B2>@NT 5<>FVW >@83V=0;C, 0 A0<5 ?5@540TBLAO 5<>FVO ?>482C. . 04VT=:> 2 ?5@5:;04V 2;CG=> 2V4B2>@8;0 5<>FV9=89 D>= >@83V=0;C H;OE>< ?V41>@C 20@V0=B=>3> 2V4?>2V4=8:0  >65 6 <V9! . &59 ?5@5:;04 T, =0HC 4C<:C, 1V;LH 240;8<. 12. At length it broke upon his listening ear.  Ding, dong!  A quarter past, said Scrooge, counting. (DC. CCP. p. 67) @5HBV 4> 9>3> =0H>@>H5=>3> 2CE0 4V9H;>: - V<, 10<! - V2 =0 ?5@HC!  A:0702 !:@C46. ('. . / ?5@. !>DVO C;8:V2=0, A. 44) 0@5HBV 4> 9>3> =0?@C65=>3> A;CEC 4>;8=C;>: - V=-4>=! - '25@BL 70?V2=VG, - ?@><>282 !:@O6, @0ECNG8. ('. . / ?5@. . >:@>2>;LAL:89, A. 34) ;5 >AL 4> 9>3> =0AB>@>65=>3> A;CEC 4>;5BV2 ?5@H89 C40@. - V=L-4>=! - '25@BL =0 ?5@HC, - 27O2AO ;VG8B8 !:@C46. ('. . / ?5@. . =4@CAO:) 2C:>=0A;V4C20==O  Ding, dong! ?5@540T 72C:8 18BBO 3>48==8:0 [1, 84]. # 2AVE B@L>E ?5@5:;040E ?@02><V@=> 28:>@8AB0=V @V7=V >4=>A:;04>2V 72C:>=0A;V4C20==O, O:V 70 D>@<>N =01;865=V 4> >@83V=0;C. !>DVO C;8:V2=0 ?5@5:;04 74V9A=8;0 H;OE>< ?V41>@C 20@V0=B=>3> 2V4?>2V48=8:0  1V<, 10<! , =5 70DV:A>20=8< C ?5@5:;048=8E A;>2=8:0E. . >:@>2>;LAL:89 C A2>T<C ?5@5:;04V 28:>@8AB02 A?>AV1 B@0=A:>4C20==O  4V=-4>=! , O:89, =0 =0HC 4C<:C, T @CA87<><. . =4@CAO: B0:>6 28:>@8AB02 @CA87<  4V=L-4>=! , O:89 ?@8ACB=V9 2 0=3;>-@>AV9AL:><C A;>2=8:C 283C:V2 [6, 428]. 13. There goes Friday, running for his life to the little creek! Halloa! Hoop! Halloo! (DC. CCP. p. 73)  >AL V  OB=8FO <G8BL 7 CAVE =V3 4> 1CEB8! (284H5! C<>! (284H5! ('. . . =4@CAO:)  >AL V  OB=8FO  ;5B8BL I>4CEC 4> 1CEB8! 0209! (284H5! 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B0 V=.]  .: =V?@>, 2003.  536 A. 2. 5E .. 1J5:B >B@065=8O 2 ?5@52>45 / .. 5E // "5>@VO V ?@0:B8:0 ?5@5:;04C : C:@. =0C:. 71. / 8W2. C=-B V<. ".. (52G5=:0.  . : 8I. H:.  8?. 7.  !. 15-24. 3. >GC@ .. 09AB@8 ?5@5:;04C / .. >GC@ // A5A2VB, 1966.  ! 4.  !. 17. 4. 8:> $. 5@540G0 72CG0=8O ?@8 ?5@52>45 ;8@8G5A:>9 ?>M788 / $. 8:> // >MB8:0 ?5@52>40 : A1. AB0B59 / !>AB. !.$. >=G0@5=:>.  . : 04C30, 1988.  !. 124-136. 5. @8H5G:> ".. 5@5:;04 0=3;V9AL:8E 283C:V2 C:@0W=AL:>N <>2>N / "..@8H5G:> // >2=V V :>=F5?BC0;L=V :0@B8=8 A2VBC : 71. =0C:. ?@.  2009.  8?. 26, G. 2.  !. 392-396. 6. CAA:>-0=3;89A:89 A;>20@L <564><5B89 ; [ ?>4 @54. .. 25A5;528G0].  . : AB@5;L, 2001.  510 A. 7.!025;L520 ".!. 5:>B>@K5 0A?5:BK EC4>65AB25==>3> ?5@52>40 A ?>78F89 ?A8E>;8=328AB8:8 / ".!. !025;L520 // 5@52>4 8 ?5@52>4>2545=85: <0B-;K :>=D.  #D0 : 0H:. C=-B, 1997.  !. 61-63. 8. !2VB A;>2=8:V2, 5=F8:;>?54V9 B0 ?@>D5AV9=>3> ?5@5:;04C ABBYY Lingvo x3 // "@8 <>28, 69 A;>2=8:V2. " Ť #:@0W=0ť, 2008 @.  1 5;5:B@>=. >?B. 48A: (DVD-ROM) : :>;L>@.; 12 A<.  !8AB5<.28<>38: @>F5A>@ 7 B0:B>2>N G0AB>B>N 1 F, Microsoft Windows Vista, Microsoft Windows Server 2003, Microsoft Windows XP, 512  >?5@0B82=>W ?0< OBV, Microsoft Internet Explorer 6.0, 7.0. 9. Konnolly D. Poetry Translation // Routledge Encyclopedia of Translation Studies / Ed. Mona Baker.  London, NY: Routledge, 2001.  P.171-177. 10. Ortega-y-Gasset J. The Misery and the Splendor of Translation // The Translation Studies Reader / Ed. L. Venuti.  London, NY: Routledge, 2000.  P. 49-63. !! .!" "%   11. DC. CCP.  Dickens Ch. A Christmas Carol in Prose. // The Christmas Books Vol. 1 Penguin Books Ltd, England, 1994.  P. 23- 135. 12. '. .  V::5=A '. V742O=0 ?VA=O 2 ?@>7V. !2OB>G=0 ?@>70 7 ?@82840<8. / ?5@. 7 0=3;. !>DVO C;8:V2=0. L2V2: '5@2>=0 0;8=0, 2007.  140 A. 13. V::5=A '. V742O=0 ?VA=O 2 ?@>7V. / ?5@. 7 0=3;. . >:@>2>;LAL:89 // V742O=V ?>2VABV. "5@=>?V;L: Ť02G0;L=0 :=830ť - >340=; ., Ť5A5;:0ť 2007.  !. 22-94. 14. V::5=A '. V742O=0 ?VA=O 2 ?@>7V (>?>2V40==O) / ?5@. 7 0=3;. . =4@CAO:  HYPERLINK "http://chtyvo.org.ua/authors/Dikens/Rizdviana_pisnia_v_prozi.htm" http://chtyvo.org.ua/authors/Dikens/Rizdviana_pisnia_v_prozi.htm  HYPERLINK "http://books.google.com/books?id=7omCI6IBPrQC&dq=lawrence+lady+chatterley%27s+lover&printsec=frontcover&source=bn&hl=en&ei=VU9MSrWEHpGPsAbD6fy1BA&sa=X&oi=book_result&ct=result&resnum=4" http://books.google.com/books?id=7omCI6IBPrQC&dq=lawrence+lady+chatterley%27s+lover&printsec=frontcover&source=bn&hl=en&ei=VU9MSrWEHpGPsAbD6fy1BA&sa=X&oi=book_result&ct=result&resnum=4 15. . '. - >C@5=A .. >E0=5FL 54V '0BB5@;V: ><0= / ?5@. 7 0=3;. . 04VT=:> - %0@:V2: $>;V>, 2005.  382 A. 16. . '. - >C@5=A .. >E0=5FL 54V '0BB5@;59 / ?5@. 7 0=3;. . 04VT=:> - .: A=>28, 1999.  462 A. Š ".. @VH5G:>, 2009 # 811.111 25  "' &&/ . ! # / " !$ &/  &, && % "# .. /:8<GC: (%0@:V2)  4>A;V465==V ?@>AB565=> B@0=AD>@<0FVN ?5@5:;040FL:>W AB@0B53VW >GC65==O 2V4 @><0=B8G=>W :>=F5?FVW $. (;OT@<0E5@0 4> ?V7=L>@><0=B8G=>W :>=F5?FVW . 5=LO<V=0 B0 =5>@><0=B8G=>W :>=F5?FVW . 544VA >C7, WW 7=0G5==O 4;O @>728B:C FV;L>2>W <>28, :C;LBC@8 B0 =0FVW, @>73;O=CB> @V7=V 2848 GC6>ABV ;VB5@0BC@=>3> B5:ABC 70 :;0A8DV:0FVTN . C;V=‘0 V . C=B5<0==0 B0 70A>18 WW 2V4B2>@5==O 2 B5:ABV ?5@5:;04C, ?@>2545=> ?>@V2=O==O =5>1C:20;VAB8G=>3> B0 @><0=B8G=>3> ?5@5:;04C V ?@>0=0;V7>20=> ?>=OBBO ŤG8AB>W <>28ť B0 ŤAB5@5>A:>?VG=>3> G8B0==Oť. ;NG>2V A;>20: <5B>48 ?5@5:;04C, <V6?>@>3>289 ?@>ABV@, >GC65==O, ><0=B87<, AB5@5>A:>?VG=5 G8B0==O, G8AB0 <>20, GC6VABL. .. /:8<GC:. 5>@><0=B8G5A:0O :>=F5?F8O . M448A >C7 :0: B@0=AD>@<0F8O ?5@52>4G5A:>9 :>=F5?F88 M?>E8 @><0=B87<0.  8AA;54>20=88 0=0;878@C5BAO B@0=AD>@<0F8O ?5@52>4G5A:>9 AB@0B5388 >GC645=8O >B @><0=B8G5A:>9 :>=F5?F88 $. (;O5@<0E5@0 4> ?>74=5@><0=B8G5A:>9 :>=F5?F88 . 5=LO<8=0 8 =5>@><0=B8G5A:>9 :>=F5?F88 . M448A >C7, 5Q 7=0G5=85 4;O @0728B8O F5;52>3> O7K:0, :C;LBC@K 8 =0F88, @0AA<0B@820NBAO @07=K5 284K GC65AB8 ;8B5@0BC@=>3> B5:AB0 ?> :;0AA8D8:0F88 . C;8=30 8 . C=B5<0==0 8 A?>A>1K 5Q 2>A?@>872545=8O 2 B5:AB5 ?5@52>40, ?@>2>48BAO A@02=5=85 =5>1C:20;8AB8G5A:>3> 8 @><0=B8G5A:>3> ?5@52>40, 0=0;878@CNBAO ?>=OB8O ŤG8AB>3> O7K:0ť 8 ŤAB5@5>A:>?8G5A:>3> GB5=8Oť. ;NG52K5 A;>20: <56?>@>3>2>5 ?@>AB@0=AB2>, <5B>4K ?5@52>40, >GC645=85, AB5@5>A:>?8G5A:>5 GB5=85, ><0=B87<, GC65ABL, G8ABK9 O7K:. A. Yakymchuk. M.Gaddis Rose s neoromantic conception as the transformation of translation conception of romanticism. The study deals with the transformation of foreignizing translation strategy from Romantic conception of F. Schlei5rmacher to Late Romantic conception of W. Benjamin and Neoromantic conception of M. Gaddis Rose, the role of this srtategy in the development of target language, culture and nation, presents different kinds of foreignness of literary work according to the classification of L. Ruhling and W. Huntemann and the means of its reflection in the target text, the comparison of translation strategies of Neoliteralism and Romanticism as well as such notions as “pure language” and “stereoscopic reading”. Key-words: foreignizing, foreignness, interliminal space, methods of translation, pure language, Romanticism, stereoscopic reading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544VA >C7. 5B0 4>A;V465==O  ?@>AB568B8 B@0=AD>@<0FVN ?5@5:;040FL:>W AB@0B53VW >GC65==O B0 WW 7=0G5==O 4;O @>728B:C FV;L>2>W <>28 B0 :C;LBC@8 C @V7=V VAB>@8G=V ?5@V>48. 0B5@V0;>< 4>A;V465==O AB0;8 ;5:FVO $. (;OT@<0E5@0 Ť@> @V7=V <5B>48 ?5@5:;04Cť, ?5@54<>20 . D>= C<1>;L4B0 4> ?5@5:;04C Ť30<5<=>=0ť AEV;0, 5A5 . 5=LO<V=0 ŤVAVO ?5@5:;040G0ť, AB0BBO . C;V=30 B0 . C=B5<0==0 Ť'C6VABL O: ?@>1;5<0 B0 ?@>3@0<0 ?5@5:;04Cť B0 28ABC? . 544VA >C7 =0 7 W74V <5@8:0=AL:>W 0A>FV0FVW ?5@5:;040GV2. >A;V465==O B@0=AD>@<0FVW @><0=B8G=>W :>=F5?FVW ?5@5:;04C 2 =5>@><0=B8G=C T 0:BC0;L=8<, >A:V;L:8 AE>6C B5=45=FVN <>65<> A?>AB5@V30B8 V 2 C:@0W=AL:><C ?5@5:;04V. # 1813 @>FV 7 V45TN ?5@5:;04C->GC65==O 28ABC?82 $. (;OT@<0E5@ C ;5:FVW Ť@> @V7=V <5B>48 ?5@5:;04Cť [6, A. 225-238]. 0 9>3> 4C<:C, VA=CT ;8H5 420 <5B>48 ?5@5:;04C: <5B>4 >4><0H=5==O, 2 @0<:0E O:>3> ?5@5:;04 <>65 1CB8 A?@O<>20=89 =0 FV==>ABV :C;LBC@8 4@C3>B2>@C, :>;8 ?5@5:;040G 28:>@8AB>2CT 0A8<V;NNG89 ?V4EV4 4> ?5@H>B2>@C, B0 <5B>4 >GC65==O, 73V4=> 7 O:8< ?5@5:;04 <>65 ?@54AB028B8 V=>75<=89 B5:AB 157 C@0EC20==O :0=>=V2 <>28 4@C3>B2>@C. # 1816 @>FV C ?5@54<>2V 4> ?5@5:;04C Ť30<5<=>=0ť AEV;0 . 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Ť8W2AL:89 C=V25@A8B5Bť, 2004.  522 A. 2. Hölderlin F. Anmekungen zur Oedipus / Friedrich. Hölderlin. Werke. Briefe. Dokumente. – München: Winkler Verlag, 1990. – S. 618-624, 676. 3. Huntemann W. 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Translation and Literary Criticism: Translation as Analysis / Marilyn Gaddis Rose – Manchester: St. Jerome Publishing, 1997. – 101 p. 9. Venuti L. Strategies of translation / Lourence Venuti // Routledge Encyclopedia of Translation Studies / d. M. Baker.  L., N.Y.: Routledge, 1998.  654 p. Š .. /:8<GC:, 2009 " C4: 811.111 25 3:372.8 5B>48:0 =02G0==O <091CB=VE DV;>;>3V2 CA=>3> 0=3;><>2=>3> 42>AB>@>==L>3> ?5@5:;04C C 30;C7V ?@02 ;N48=8 ".. 0=VG520, :0=4. ?54. =0C: (%0@:V2) # @>1>BV B5>@5B8G=> >1‘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anicheva. Methodology of Teaching Students Majoring in Philology to Interpret English and Ukrainian Texts in the Area of Human Rights. The research provides substantiation and elaboration of the methodology of teaching students majoring in Philology to interpret English and Ukrainian texts in the area of human rights. The effectiveness of the suggested methodology was verified and confirmed during the experimental teaching. Key words: area of human rights, interpreter’s competence, interpreting English and Ukrainian texts. 5B>N AB0BBV T 72VB ?@> @57C;LB0B8 4>A;V465==O ?@>1;5<8 D>@<C20==O :><?5B5=FVW <091CB=VE DV;>;>3V2 2 CA=><C 0=3;><>2=><C 42>AB>@>==L><C ?5@5:;04V C 30;C7V ?@02 ;N48=8. 1 T:B>< 4>A;V465==O T ?@>F5A =02G0==O <091CB=VE DV;>;>3V2 CA=>3> 0=3;><>2=>3> 42>AB>@>==L>3> ?5@5:;04C. @54<5B 4>A;V465==O AB0=>28BL <5B>48:0 =02G0==O <091CB=VE DV;>;>3V2 CA=>3> 0=3;><>2=>3> 42>AB>@>==L>3> ?5@5:;04C C 30;C7V ?@02 ;N48=8. :BC0;L=VABL ?@>1;5<8 ?>OA=NTBLAO =87:>N G8==8:V2.  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AB0==V9 G5B25@B89 =02G0;L=89 <>4C;L ?@87=0G5=89 4;O ?5@5=5A5==O ?5@5:;040FL:8E =028G>: B0 C<V=L, AD>@<>20=8E C ?5@H8E B@L>E <>4C;OE, =0 =>2V B5:AB8 7 ?@>1;5<0B8:8 ?@02 ;N48=8.  :>=B@>;L=><C <>4C;V >FV=NTBLAO @V25=L 73040=8E =028G>: B0 C<V=L, 4>AO3=CB89 ABC45=B0<8 2 ?@>F5AV =02G0==O. 8E>4OG8 7 <5B8 =0H>3> 4>A;V465==O, ?@8 @>7@>1FV :><?;5:AC 2?@02 4;O =02G0==O CA=>3> ?5@5:;04C (?>A;V4>2=>3> B0 7 0@:CH0), <8 2V4V1@0;8 B0:V 2848 ?V43>B>2G8E 2?@02: =0 ?5@5:;040FL:89 0=0;V7 B5:ABC >@83V=0;C (4;O 287=0G5==O 9>3> 60=@C, DC=:FVW, B5<0B8G=>W A?@O<>20=>ABV, @5F8?VT=B0, 0 B0:>6 4;O V45=B8DV:0FVW 4><V=CNG8E <>2=8E 70A>1V2 B5:ABC), =0 @>7?V7=020==O V ?>OA=5==O 70AB>A>20=8E ?@89><V2 C B5:ABV ?5@5:;04C (4;O CA2V4><;5==O 7<VABC 73040=8E ?@89><V2), =0 >FV=:C O:>ABV B5:ABC ?5@5:;04C B0 9>3> @5403C20==O (4;O @>728B:C =028G>: :@8B8G=>3> >FV=N20==O), =0 >4=><>2=V ?5@5D@07C20==O, :><?@5AVN 9 0=B8F8?0FVN (4;O @>728B:C 2V4?>2V4=8E =028G>:), =0 >2>;>4V==O ?5@5:;040FL:8< A:>@>?8A>< (4;O @>728B:C =028G>: ?>1C4>28 AE5<8 B5:ABC ?5@5:;04C) B0 =0 @>728B>: H284:>ABV <>2;5==O. $@03<5=B >4=>3> 7 284V2 ?V43>B>2G8E 2?@02 ?>40=89 40;V. @8:;04 1. 5B0: $>@<C20==O =028G>: @>7?V7=020==O B0 ?>OA=5==O ?@89><V2, 70AB>A>20=8E C B5:ABV ?5@5:;04C. 0240==O: @>0=0;V7C9B5 ?0@8 5:2V20;5=BV2 2 0=3;V9AL:V9 B0 C:@0W=AL:V9 <>20E 2 B5:ABV, ?>40=><C =86G5. 87=0GB5 ?@89><8, 70AB>A>20=V ?@8 ?5@5:;04V F8E 5:2V20;5=BV2 V 2?8HVBL =><5@8 A;V2 B0 A;>2>A?>;CG5=L C 2V4?>2V4=C :0B53>@VN. !;>2=8:>2V 2V4?>2V4=8:8: "@0=A:>4C20==O B@0=A:@81C20==O: B@0=A;VB5@0FVO: 7<VH0=5 B@0=A:>4C20==O: 040?B82=5 B@0=A:>4C20==O: 0;L:C20==O: >=B5:ABC0;L=0 70<V=0 A<8A;>289 @>728B>::0=B>=V<VG=89 ?5@5:;04: :>=:@5B870FVO A;>20: 35=5@0;V70FVO A;>20: 4>4020==O A;>20: 28;CG5==O A;>20: 70<V=0 >4=VTW G0AB8=8 <>28 =0 V=HC: ?5@5AB0=>2:0 A;>20: ?8A>289 ?5@5:;04:Article 10. Everyone is entitled in full equality (1) to a fair and public hearing (2) by an independent and impartial tribunal (3), in the determination (4) of his rights and obligations (5) and of any criminal charge (6) against him.(1) =0 >A=>2V ?>2=>W @V2=>ABV (2) A?@0254;8289 V ?C1;VG=89 @>73;O4 A?@028 (3) 157AB>@>==V9 AC4 (4) 287=0G5==O (5) ?@020 V >1>2'O7:8 (6) :@8<V=0;L=5 >128=C20G5==O;O D>@<C20==O ?5@5:;040FL:8E =028G>: 4> A:;04C =0H>3> :><?;5:AC <8 2:;NG8;8 >?5@0FV9=V 2?@028 =0 ?>HC: B0 281V@ 5:2V20;5=BV2, =0 26820==O 045:20B=8E A?>A>1V2 ?5@5:;04C B0 =0 ?5@5:;NG5==O 7 >4=>3> <>2=>3> :>4C =0 V=H89. $@03<5=B >4=VTW 7 >?5@0FV9=8E 2?@02 ?>40=89 40;V. @8:;04 2 (482. B5:AB C ?@8:;04V 1). 5B0: >?5@54=T 70A2>T==O 5:2V20;5=BV2 2 0=3;V9AL:V9 B0 C:@0W=AL:V9 <>20E, @>728B>: =028G>: 281>@C 5:2V20;5=BV2 C 42>E <>20E. 0240==O: >1>B0 2 ?0@0E. !BC45=BC : 0:@89B5 ;V2C (0=3;><>2=C) G0AB8=C B5:ABC. !?@>1C9B5 ?5@5:;0AB8 C:@0W=AL:V A;>20 B0 A;>2>A?>;CG5==O 0=3;V9AL:>N <>2>N. !BC45=BC : :>=B@>;N9B5 ?@028;L=VABL ?5@5:;04C ABC45=B0  70 4>?><>3>N 0=3;><>2=>3> B5:ABC. >?><0309B5 BV;L:8 ?@8 A5@9>7=8E CA:;04=5==OE. >BV< >1<V=O9B5AO @>;O<8. 848 >?5@0FV9=8E 2?@02 <>6CBL 20@VN20B8AO, 70;56=> 2V4 4>40B:>28E >7=0:: <>2=>3> @V2=O, =0 O:><C 2V41C20TBLAO B@5=C20==O (2V4 @V2=O A;>20 4> @V2=O B5:ABC), >?>@8 =0 ?0@0;5;L=89 B5:AB (2 CA=><C ?5@5:;04V 7 0@:CH0) 01> =0 4@C:>20=89 B5:AB >@83V=0;C (2 CA=><C ?>A;V4>2=><C ?5@5:;04V), 0 B0:>6 ?>?5@54=L>W A5<0=B870FVW =>28E . !:;04=VABL 28:>=0==O >?5@0FV9=8E 2?@02 <>6=0 @53C;N20B8, 20@VNNG8 73040=V >7=0:8. # ?@8:;04V 2 2?@020 28:>=CTBLAO =0 @V2=V A;>20 B0 A;>2>A?>;CG5==O 7 >?>@>N =0 C:@0W=AL:V 5:2V20;5=B8 284V;5=8E C B5:ABV 0=3;><>2=8E . 3040=V 5:2V20;5=B8 28:>=CNBL B0:>6 DC=:FVN A5<0=B870FVW 284V;5=8E 0=3;><>2=8E  C ;V2V9 :>;>=FV B01;8FV. ?@028 =0 @V2=V A;V2 B0 A;>2>A?>;CG5=L <>6CBL B0:>6 28:>=C20B8AO 157 1C4L-O:>W >?>@8 =0 C:@0W=AL:V 01> 0=3;><>2=V 5:2V20;5=B8, O: C ?@8:;040E, =02545=8E 40;V. @8 FL><C <>6=0 >:@5<> B@5=C20B8 26820==O @V7=8E A?>A>1V2 ?5@5:;04C, ?>G8=0NG8 7 ?@>ABVH8E V 70:V=GCNG8 A:;04=VH8<8 (?@8:;04 3). @8:;04 3. 5B0: >728B>: =028G>: ?5@5:;NG5==O 7 >4=>3> <>2=>3> :>4C =0 V=H89 B0 281>@C 5:2V20;5=B=8E (C:@0W=AL:8E V 0=3;V9AL:8E) ?0@, I> ?5@5:;040NBLAO 70 4>?><>3>N A<8A;>2>3> @>728B:C, :>=:@5B870FVW, 28;CG5==O, ?5@5AB0=>2:8 A;V2 B0 70<V=8 G0AB8= <>28. 0240==O: >1>B0 2 ?0@0E. !BC45=BC : '8B09B5 23>;>A 0=3;><>2=V A;>20 B0 A;>2>A?>;CG5==O ?>40=V 40;V. !BC45=BC : ?5@5:;04VBL C:@0W=AL:>N <>2>N 0=3;><>2=V A;>20 B0 A;>2>A?>;CG5==O, O:V =0725 ABC45=B . 0AB>A>2C9B5 A<8A;>289 @>728B>:, :>=:@5B870FVN, 28;CG5==O, ?5@5AB0=>2:C A;V2 B0 70<V=C G0AB8= <>28. >BV< >1<V=O9B5AO @>;O<8: advent; shall; have recourse to; rule of law; result in; outrage; common people; peace in the world; human rights; human beings; freedom from fear; inherent dignity; disregard; contempt; highest aspiration. ?>@0 =0 ?0@0;5;L=89 B5:AB V, 2V4?>2V4=>, ?>?5@54=O A5<0=B870FVO =>28E  ?>A;V4>2=> 7<5=HCNBLAO C :>6=><C =0ABC?=><C F8:;V. "0:, 2 F8:;0E 1-2 ABC45=B8 A?8@0NBLAO =0 ?>2=89 ?0@0;5;L=89 B5:AB, 2 F8:;0E 3-4 B5:AB @>7@V70TBLAO =0 D@03<5=B8, ?@8G><C ?>@O4>: @>7B0HC20==O D@03<5=BV2 C 0=3;><>2=><C (C ;V2V9 G0AB8=V 0@:CH0) B5:ABV =5 A?V2?040T 7 2V4?>2V4=8<8 D@03<5=B0<8 C:@0W=AL:>N <>2>N C ?@02V9 G0AB8=V 0@:CH0.  F8:;0E 5-6 C ?@02V9 G0AB8=V B01;8FV 40NBLAO ?5@5:;04=V 5:2V20;5=B8 ;8H5 , 284V;5=8E C ;V2V9 G0AB8=V (482. ?@8:;04 2), C F8:;0E 7-8 ABC45=B8 <0NBL 281@0B8 5:2V20;5=B8 284V;5=8E  7 =87:8 70?@>?>=>20=8E, 0 2 F8:;0E 9-12 <>45;NNBLAO A8BC0FVW, :>;8 ?5@5:;040G 7<CH5=89 70?>2=N20B8 ;0:C=8 ;8H5 70 @0EC=>: 0=B8F8?0FVW B0 :>=B5:ABC0;L=>W 74>304:8. $@03<5=B >4=VTW 7 ?>4V1=8E 2?@02 ?>40=89 40;V. @8:;04 4. 5B0: >728B>: 740B=>ABV :><?5=AC20B8 ;0:C=8 2 B5:ABV 70 @0EC=>: 0=B8F8?0FVW B0 :>=B5:ABC0;L=>W 74>304:8. 0240==O: AB02B5 1C4L-O:V A;>20, I> ?V4E>4OBL 70 7<VAB><, C 2V4?>2V4=V ?@>?CA:8 2 B5:ABV: Everyone has the _____ (1) to education. Education ________ (2) be free, at _______ (3) in the elementary and fundamental _______ (4). Elementary _____ (5) shall be compulsory. Technical and _____ (6) education shall be made _____ (7) available and higher education shall be _____ (8) accessible to all on the _____ (9) of merit. Education shall be _____ (10) to the full development of the _____ (11) personality and to the _____ (12) of respect for human _____ (13) and fundamental freedoms. !?V;L=8<8 284>28<8 >7=0:0<8 FV;VA=8E 2?@02 CA=>3> ?5@5:;04C 7 0@:CH0 B0 ?>A;V4>2=>3> T @V25=L 28:>=0==O 2?@028 (0170F 01> B5:AB), @568< @>1>B8 (>4=>AB>@>==V9 01> 42>AB>@>==V9 ?5@5:;04), =0O2=VABL 01> 2V4ACB=VABL G0A>28E >1<565=L, ?>?5@54=L>W A5<0=B870FVW =>28E , G0AC =0 ?>?5@54=T >7=09><;5==O 7V 7<VAB>< B5:ABC, 70?8AC ?5@5:;04V2 ABC45=BV2 =0 72C:>=>AVW 4;O ?>40;LH>3> 0=0;V7C. !?5F8DVG=8<8 >7=0:0<8 2?@02 4;O @>728B:C C<V=L CA=>3> ?>A;V4>2=>3> ?5@5:;04C T =0O2=VABL 01> 2V4ACB=VABL 7>@>2>W >?>@8 =0 4@C:>20=89 B5:AB >@83V=0;C ?V4 G0A A?@89=OBBO B5:ABC =0 A;CE; ABC?V=L V45=B8G=>ABV 4@C:>20=>3> B5:ABC B><C, O:89 A?@89<0TBLAO =0 A;CE; 70AB>AC20==O 01> =570AB>AC20==O ?5@5:;040FL:>3> A:>@>?8AC ABC45=B0<8 ?V4 G0A ?@>A;CE>2C20==O B5:ABC; 465@5;> ?>@>465==O B5:ABC  72C:>2V4B2>@NNG89 ?@8AB@V9 01> 28:;040G, 0 4;O 2?@02 4;O =02G0==O ?5@5:;04C 7 0@:CH0 B0:>N >7=0:>N T ABC?V=L >?>@8 =0 ?0@0;5;L=89 B5:AB <>2>N ?5@5:;04C.  <560E :><?;5:AC FV;VA=8<8 T >AB0==V 2?@028 C :>6=><C 7 F8:;V2 1-12, 0 F8:;8 13-16 <VABOBL 28:;NG=> FV;VA=V 2?@028. # F8E 2?@020E ABC45=B8 ?5@5:;040NBL 7 0@:CH0 (F8:;8 13-14) B0 ?>A;V4>2=> (F8:;8 15-16) 2 C<>20E, <0:A8<0;L=> =01;865=8E 4> A8BC0FV9 @50;L=>3> ?@>D5AV9=>3> ?5@5:;04C. !:;04=VABL 28:>=0==O FV;VA=8E 2?@02 2 CA=><C ?>A;V4>2=><C ?5@5:;04V ?>ABC?>2> =0@>ICTBLAO 2V4 ?5@H>3> 4> 2>AL<>3> F8:;C, 45 CA=89 ?>A;V4>2=89 ?5@5:;04 74V9A=NTBLAO 7 >?>@>N =0 4@C:>20=89 B5:AB >@83V=0;C (I> G0AB> B@0?;OTBLAO 2 @50;L=><C ?>A;V4>2=><C ?5@5:;04V, >A>1;82> ?V4 G0A 28ABC?V2 B>I>).  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"01;8FO 3 57C;LB0B8 CA=>3> ?5@5:;04C 7 0@:CH0 C ?VA;O5:A?5@8<5=B0;L=><C 7@V7V 2  A5@VW, C HB@0D=8E 10;0E @C?8@>?CA:8 V=D>@<0FVW<V=0 7<VABC B5:ABC0C78>2B>@8!0<>- 28?@02-;5==O>2=V ?><8;:8#AL>3> HB@0D- =8E 10;V2>5DVFVT=B =02G5=>ABV:V;L-:VABL B@820-;VABL 2 A5:.410,000,000,010,030,030,090,350,510,91420,000,070,010,570,050,070,270,470,92430,200,100,064,500,010,080,530,980,84440,100,000,094,400,030,080,540,840,86EMBED Unknown0,080,040,042,380,040,080,420,700,88#<>2=V ?>7=0G5==O: EMBED Unknown A5@54=T 7=0G5==O. 57C;LB0B8 4@C3>W A5@VW 5:A?5@8<5=BC ?V4B25@48;8 7030;L=V B5=45=FVW, 70DV:A>20=V C ?5@HV9 (482. B01;. 2-3). 57C;LB0B8  4>25;8 5D5:B82=VABL @>7@>1;5=>W =0<8 <5B>48:8 V ?V4B25@48;8 3V?>B57C 4>A;V465==O: 70 C<>2 =0C:>2> >1‘@C=B>20=>3> 2V41>@C <0B5@V0;C B0 7<VABC =02G0==O, 0 B0:>6 70AB>AC20==O F8:;VG=>3> :><?;5:AC, <>6=0 70157?5G8B8 740B=VABL <091CB=VE DV;>;>3V2 74V9A=N20B8 CA=89 42>AB>@>==V9 ?5@5:;04 (?>A;V4>2=89 B0 7 0@:CH0) C 30;C7V ?@02 ;N48=8 7 :>5DVFVT=B>< =02G5=>ABV 28I5 0,70 (70 H:0;>N .. 57?0;L:0 [2]). !B0B8AB8G=0 >1@>1:0 40=8E 5:A?5@8<5=BC A2V4G8BL ?@> B5, I> 70AB>AC20==O @>7@>1;5=>W 2 48A5@B0FVW <5B>48:8, =570;56=> 2V4 20@V0=BC @50;V70FVW (AB0=40@B=89 G8 V=B5=A82=89), 70157?5GCT A8AB5<=5 ?>;V?H5==O ?5@5:;040FL:8E =028G>: B0 C<V=L, 0 B0:>6 7=0G=89 ?@>3@5A ABC45=BV2 CAVE 3@C? 70 >1><0 2840<8 CA=>3> ?5@5:;04C (?>A;V4>2=>3> V 7 0@:CH0). >7@>1;5=0 <5B>48:0 <>65 28:>@8AB>2C20B8AO 28:;040G0<8 B0 C:;040G0<8 ?>AV1=8:V2 4;O =02G0==O CA=>3> ?5@5:;04C, 2 B><C G8A;V 9 4;O ?5@5:;04C 7 V=H8E <>2 B0 2 V=H8E AD5@0E (=0?@8:;04, 5:>=><VG=V9, B5E=VG=V9 B>I>). @>2545=5 4>A;V465==O =5 ?@5B5=4CT =0 >AB0B>G=5 @>72 O70==O ?@>1;5<8 =02G0==O CA=>3> 42>AB>@>==L>3> ?5@5:;04C C ACA?V;L=>-?>;VB8G=V9 AD5@V. 45@60=V @57C;LB0B8 4>2>4OBL =5>1EV4=VABL V ?5@A?5:B82=VABL ?>40;LH>3> B5>@5B8G=>3> B0 5<?V@8G=>3> 4>A;V465==O, =0?@O<8 O:>3> <>6CBL, 7>:@5<0, AB>AC20B8AO 282G5==O ?@>1;5<8 A?V22V4=>H5==O @V7=8E B8?V2 V 284V2 2?@02 B0 G8==8:V2, O:V 2?;820NBL =0 7<V=C B0:>3> A?V22V4=>H5==O. VB5@0BC@0 1. ;5:A5520 . !. 2545=85 2 ?5@52>4>2545=85 : [CG51. ?>A>185 4;O ABC4. D8;>;. 8 ;8=32. D0:. 2KAH. CG51. 702545=89] / . !. ;5:A5520.  !1. : $8;>;>38G5A:89 D0:C;LB5B !1#; . : :045<8O, 2004.  352 A. 2. 5A?0;L:> . . ?KB @07@01>B:8 8 8A?>;L7>20=8O :@8B5@852 :0G5AB20 CA2>5=8O 7=0=89 / . . 5A?0;L:> // !>25BA:0O ?5403>38:0.  1968.  ! 4.  !. 52-69. 3. 0;52A:0O . . 2545=85 2 ?A8E>;8=328AB8:C : [CG51=8: 4;O 2KAH. CG51. 702545=89] / 0;52A:0O . .  . : #, 2000.  382 A. 4. 8<=OO . . 8=32>?A8E>;>38O @5G52>9 45OB5;L=>AB8 / 8<=OO . .  . : !; >@>=56 : -, 2001.  429 A. 5. 0BKH52 . . 5@52>4: B5>@8O, ?@0:B8:0 8 <5B>48:0 ?@5?>4020=8O: [CG51. ?>A>185 4;O ABC4. ?5@52>4. D0:. 2KAH. CG51. 702545=89] / . . 0BKH52, . . !5<5=>2.  . : :045<8O, 2003.  192 A. 6. 5>=BL52 . . A=>2K ?A8E>;8=328AB8:8 / 5>=BL52 . .  [3-5 874.].  . : !<KA;; !1. : 0=L, 2003.  287 A. 7. @>3@0<0 :>=B@>;N B5>@5B8G=>W V ?@0:B8G=>W ?V43>B>2:8 ABC45=BV2 B0 <5B>48G=V @5:><5=40FVW 4> A0<>ABV9=>W @>1>B8 ABC45=BV2 7 ?5@5:;04>7=02G8E 48AF8?;V= V ?>@V2=O;L=>W B8?>;>3VW / [C:;04. . . >@C=5FL, !. . 0:AV<>2].  . : 5=2VB, 2004.  94 A. 8.  >1>G0 ?@>3@0<0 7 B5>@VW B0 ?@0:B8:8 ?5@5:;04C 4;O ABC45=BV2 0=3;V9AL:>3> ?5@5:;040FL:>3> 2V44V;5==O D0:C;LB5BC V=>75<=8E <>2 : [?@>3@0<0 :C@AC  "5>@VO B0 ?@0:B8:0 ?5@5:;04C / C:;04. . .  51@V9].  %0@:V2: %# V<5=V . . 0@07V=0, 2005.  86 A. 9.  C18=HB59= !. . A=>2K >1I59 ?A8E>;>388 / C18=HB59= !. .  !1. : 8B5@, 2003.  713 A.  (!5@8O  0AB5@0 ?A8E>;>388 ). 10. '5@=>20B89 . . A>1;82>ABV =02G0;L=>-<5B>48G=8E <0B5@V0;V2 4;O ?V43>B>2:8 ?5@5:;040GV2 / . . '5@=>20B89 // VA=8: !C<AL:>3> 45@602=>3> C=V25@A8B5BC. !5@VO: $V;>;>3VG=V =0C:8.  2002.  !4 (37).  !. 184-188. Š ".. 0=VG520, 2009 C4: 811.111 25:37.02  &! &./  % " " '/ .. !25@4;>20, :0=4. ?54. =0C: (%0@:V2) C;8 282G5=V >A>1;82>ABV ?@>F5AC >FV=N20==O 2 C<>20E V=B5@0:B82=>3> =02G0==O. >2545=>, I> =0 2V4<V=C 2V4 B@048FV9=>3> >FV=N20==O, ?@8 0:B82=><C =02G0==V >1 T:B0<8 :>=B@>;N 28ABC?0NBL =5 BV;L:8 <>2;5==T2V =028G:8 B0 2<V==O, 0;5 9 =028G:8 :@8B8G=>3> <8A;5==O B0 :><C=V:0FVW. >7@>1;5=V :@8B5@VW >FV=N20==O CG=V2 O: ?@8 V=482V4C0;L=V9 @>1>BV, B0: V 2 C<>20E @>1>B8 2 3@C?0E A?V2?@0FV; 70?@>?>=>20=0 B5E=V:0 >@30=V70FVW @>1>B8 CG=V2 2 B0:8E 3@C?0E. >:070=>, I> ?@8 @>7@>1FV 28<V@=8:V2 4;O >FV=N20==O >:@5<8E ?@89><V2 0:B82=>3> =02G0==O 4>FV;L=> ?V4:;NG0B8 A0<8E CG=V2. ;NG>2V A;>20: V=B5@0:B82=5 =02G0==O, :@8B5@VW >FV=N20==O, <>2;5==T2V =028G:8, :@8B8G=5 <8A;5==O, :><C=V:0FVO. .. !25@4;>20. @>F5AA >F5=820=8O 2 E>45 8=B5@0:B82=>3> >1CG5=8O. K;8 87CG5=K >A>15==>AB8 >F5=820=8O ?@8 8=B5@0:B82=>< >1CG5=88. >:070=>, GB> 2 >B;8G85 >B B@048F8>==>3> >F5=820=8O, ?@8 0:B82=>< >1CG5=88 >1J5:B0<8 :>=B@>;O O2;ONBAO =5 B>;L:> @5G52K5 =02K:8 8 C<5=8O, => 8 =02K:8 :@8B8G5A:>3> <KH;5=8O 8 :><<C=8:0F88. 07@01>B0=K :@8B5@88 >F5=820=8O CG0I8EAO, :0: ?@8 8=48284C0;L=>9 @01>B5, B0: 8 2 CA;>28OE @01>BK 2 3@C??0E A>B@C4=8G5AB20; ?@54;>65=0 B5E=8:0 >@30=870F88 @01>BK CG5=8:>2 2 B0:8E 3@C??0E. >:070=>, GB> : @07@01>B:5 =5:>B>@KE :@8B5@852 >F5=820=8O F5;5A>>1@07=> ?>4:;NG0BL A0<8E CG0I8EAO. ;NG52K5 A;>20: 8=B5@0:B82=>5 >1CG5=85, :@8B5@88 >F5=820=8O, @5G52K5 =02K:8, :@8B8G5A:>5 <KH;5=85, :><<C=8:0F8O. I.O. Sverdlova. The assessment in the course of interactive teaching. The peculiarities of assessment in the course of interactive teaching have been investigated. It was proved that in contrast to traditional assessment speech, critical thinking and communicative skills should be in the focus of control. Assessment criteria for individuals and groups have been worked out; teaching techniques for a group work have been suggested. It was shown that in some cases it’s reasonable to involve students into the process of designing criteria. Key words: interactive teaching, assessment criteria, speech habits, critical thinking, communication. !CG0A=0 >A2VB0 E0@0:B5@87CTBLAO >A>18ABVA=> 7>@VT=B>20=8< ?V4E>4>< 4> >@30=V70FVW ?5403>3VG=>3> ?@>F5AC B0 A?@O<>20=VABN =02G0==O =0 @57C;LB0B V =01CBBO CG=O<8 <>2;5==T28E :><?5B5=FV9. :BC0;L=VABL @>1>B8 ?>;O30T 2 =5>1EV4=>ABV ?>40;LH>3> 282G5==O ?>B5=FV0;C ?5403>3VG=8E V==>20FV9, 7>:@5<0 B5E=>;>3V9 @>728B:C :@8B8G=>3> <8A;5==O =0 70=OBBOE 7 V=>75<=>W <>28.  ?>?5@54=VE @>1>B0E [4; 5; 6] <8 @>73;O=C;8 ?@8=F8?8 0:B82=>3> =02G0==O B0 5B0?8 D>@<C20==O =028G>: :@8B8G=>3> <8A;5==O; <>6;82>ABV V=B53@>20=>3> ?V4E>4C 4> D>@<C20==O 2:070=8E 28I5 =028G>:; =040;8 ?@0:B8G=V @5:><5=40FVW I>4> =02G0==O :@8B8G=>3> G8B0==O. 5B>N AB0BBV T 282G5==O >A>1;82>AB59 :>=B@>;N B0 >FV=N20==O 2 C<>20E 0:B82=>3> =02G0==O. 3V4=> 287=0G5=L !. . 653>20 [1], :>=B@>;L  F5 ŤA?>AB5@565==O 7 <5B>N ?5@52V@:8ť, 0 >FV=:0  F5 Ť2AB0=>2;5==O ABC?5=V, @V2=O, O:>ABVť. >=B@>;L 2E>48BL A:;04>2>N G0AB8=>N 4> A8AB5<8 =02G0==O i=o7e<=8x <>2. /: A:;04=8: A8AB5<8 =02G0==O :>=B@>;L <0T A2>W DC=:FVW. 84V;ONBL =0ABC?=V DC=:FVW :>=B@>;N: 72>@>B=>3> 72'O7:C, =02G0;L=C, @>72820NGC V >FV=>G=C [2]. $C=:FVO 72>@>B=>3> 72'O7:C 70157?5GCT :5@C20==O ?@>F5A>< =02G0==O i=o7e<=oW <>28. 32>@>B=89 72'O7>: =5A5 2G8B5;52V V=D>@<0FVN ?@> @V25=L CA?VH=>ABV CG=V2. 02G0;L=0 DC=:FVO @50;V7CTBLAO =0 >A=>2V A8=B57C =01CB8E =028G>: i 2<V=L 2 >?5@C20==V 70A2>T=8< <>2=8< B0 <>2;5==T28< <0B5@V0;><, B0: O: ?V4 G0A 28:>=0==O :>=B@>;L=8E 70240=L ?@>4>26CTBLAO i ?@>F5A =02G0==O. >72820NG0 DC=:FVO ?5@5410G0T @>728B>: V=482V4C0;L=8E, ?A8E>;>3VG=8E >A>6;82>AB59 CG=V2 ?V4 G0A 28:>=0==O =8<8 :>=B@>;L=8E 70240=L. &O DC=:FVO @50;V7CTBLAO 2 =0?@O<V @>728B:C V=B5@5AC, <>B82V2 CG=O 4> 282G5==O V=>75<=>W <>28. 5@A?5:B820 CB@8<0==O 28A>:8E @57C;LB0BV2 C 28:>=0==V :>=B@>;L=8E 70240=L 70>E>GCT yG=i2 4> 24>A:>=0;5==O 2o;o4i==O =8<8 V=>75<=>N <>2>N. 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(V4@CG=8: 4;O ABC45=BV2 28I8E 70:;04V2 >A2VB8). 3. ><5BC= . . =F8:;>?54VO V=B5@0:B82=>3> =02G0==O / ><5BC= . .  ., 2007.  144 A. 4. !25@4;>20 . . =B53@8@>20==K9 ?>4E>4 : @0728B8N =02K:>2 :@8B8G5A:>3> <KH;5=8O / . . !25@4;>20 // HYPERLINK "file:///\\\\VA=8:"  VA=8: %#.  2003.  ! 611.  !.217-221. 5. !25@4;>20 . . @8=F8?8 0:B82=>3> =02G0==O B0 5B0?8 D>@<C20==O :@8B8G=>3> <8A;5==O / . . !25@4;>20 //  HYPERLINK "file:///\\\\VA=8:" VA=8: %#.  2007.  ! 772.  !.143  147. 6. Sverdlova I. O. Teaching students to read critically / I. O. Sverdlova //  HYPERLINK "file:///\\\\VA=8:" VA=8: %#.  2004.  ! 636.  .227-232. Š .. !25@4;>20, 2009 C4: 811.112.2 25:37.02  " "  ' #  # /.. 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Y.V. Byalkivska. Methodology of project-based teaching sectoral translation. This article deals with the perspectives of using project-based teaching sectoral translation and interpretation in the fields pertaining to humanities and technical sciences, giving a special focus to its priorities in building up professional translator’s competence within the constraints of the higher educational establishment curriculum. Furthermore, the main ways of modeling the teaching process with the help of the linear and integrative approaches have been put under close scrutiny of psychology, pedagogy and translation studies, thus bringing into light the apparent advantages of the latter when training field translators and interpreters. Key words: integrative approach, communicative memory, competence in translating and interpreting, project-based teaching, technolect. !L>3>45==O <5B>48:8 =02G0==O ?5@5:;04C  F5 ?@>F5A AB0=>2;5==O, ?>HC:C >?B8<0;L=8E @VH5=L V =>28E ?V4E>4V2. @>1;5<0B8:0 40=>W 30;C7V ;8H5 =5I>402=> 73C@BC20;0 =02:>;> A515 <5B>48ABV2, ;V=32VABV2 V ?5@5:;04>7=02FV2, O:V 73>;>A8;8AO 9B8 C =0?@O<:C ?V43>B>2:8 28A>:>:20;VDV:>20=8E ?5@5:;040FL:8E :04@V2. 0@07 =52482>286C ?>GCB8 ?@> :>=D5@5=FVN (0 =8=VH=T ACA?V;LAB2> BO6VT 4> V=B53@0B82=>3> ?V4E>4C), 45 ?@54AB02;5=V 0:BC0;L=V ?8B0==O ?5@5:;04C O: :><?;5:A=>W A8AB5<8, 4> A:;04C O:>W 2E>48BL V 3@0<0B8:0, V AB8;VAB8:0, V B5>@VO :><C=V:0FVW, V B5@<V=>7=02AB2>, V =02VBL ?A8E>;V=32VAB8:0. 4=0:, =572060NG8 =0 28I573040=V =0C:>2>-?@0:B8G=V 70E>48 B0 ?52=C :V;L:VABL AB0B59, I> 7 ?52=>N @53C;O@=VABN 7 O2;ONBLAO C D0E>28E 2840==OE, 48A5@B0FV9=V 4>A;V465==O 7V A?5FV0;L=>ABV Ť5B>48:0 =02G0==O ?5@5:;04Cť >1G8A;NNBLAO >48=8FO<8. 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A8E>;>38O <=5<8G5A:8E O2;5=89 / ... 30D>=>2, .. >;G5:.  !0<0@0: Ť#=825@A-3@C??ť, 2005.  120 A. 2. @20=VB>?C;> .. @>5:B=0 <5B>48:0 =02G0==O 0=3;V9AL:>W <>28 =0 AB0@H><C ABC?5=N ;VF5N: a2B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O :0=4. ?54. =0C:: A?5F. 13.00.02 Ť"5>@VO B0 <5B>48:0 =02G0==O: 35@<0=AL:V <>28ť / .. @20=VB>?C;>.  8W2, 2006.  17 A. 3. 8=G5=:> ". . >3=8B82=0O 8 ?@8:;04=0O ?A8E>;>38O / "0BLO=0 5B@>2=0 8=G5=:>.  .: -, 2000.  608 A. 4. '5@=>20B89 .. @>1;5<0B8:0 4>A;V465=L C 30;C7V <5B>48:8 =02G0==O ?5@5:;04C O: A?5FV0;L=>ABV / .. '5@=>20B89 // VA=8: %#.  2004.  ! 635.  !. 192-197. 5. Manfred Huth. Welche Möglichkeiten bietet projektorientierter Unterricht für die Entfaltung der sprachlichen Fähigkeiten migranter Schülerinnen? / Manfred Huth // Deutsch als Fremdsprache. 1993.  Bd.4.  S. 414-427. Š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olub. Experimental check results of sociocultural competency formation methodology of future translators. The article focuses on analysis of experimental German language teaching results of future intercultural communication translators to form their sociocultural competency by means of sociocultural sensibilisation methodology. The author considers the following aspects: problem of sociocultural competency control, preparation and conduct of the experiment, description, analysis and interpretation of the results. Key words: methodical experiment, sociocultural competency, sociocultural sensibilisation. :BC0;L=VABL: $>@<C20==O C B8E, EB> 282G0T V=>75<=C <>2C (), A>FV>:C;LBC@=>W :><?5B5=FVW (!) 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".. 8@8G5=:> (8W2) # AB0BBV ?@54AB02;5=0 7030;L=0 E0@0:B5@8AB8:0 CA=>W ?5@5:;040FL:>W :><?5B5=FVW, 287=0G5=V >A=>2=V =028G:8 B0 2<V==O, O:8<8 <0T >2>;>4VB8 ABC45=B 2 ?@>F5AV D>@<C20==O ?@>D5AV9=>W ?5@5:;040FL:>W :><?5B5=FVW; @>73;O=CB> A?5F8DV:C =028G>: V 2<V=L CA=>3> ?5@5:;04C, 284V;5=> =87:C >A=>2=8E A?5F8DVG=8E ?@>D5AV9=8E C<V=L V =028G>: CA=>3> ?5@5:;04C; ?@54AB02;5=0 :;0A8DV:0FVO =028G>: 9 C<V==L CA=>3> ?5@5:;04C, 70 ABC?5=5< WE 1;87L:>ABV 7 =028G:0<8 9 C<V==O<8 2;0A=5 <>2;5==T28E C<V=L 0C4VN20B8, G8B0B8 9 3>2>@8B8. ;NG>2V A;>20: =028G:8 9 C<V==O CA=>3> ?5@5:;04C, A8=E@>==89 ?5@5:;04, CA=0 ?5@5:;040FL:0 :><?5B5=FVO. ".. 8@8G5=:> Ť$>@<8@>20=85 ?@>D5AA8>=0;L=>9 ?5@52>4G5A:>9 :><?5B5=F88 C 1C4CI8E ?5@52>4G8:>2-A8=E@>=8AB>2ť.  AB0BL5 ?@54AB02;5=0 >1I0O E0@0:B5@8AB8:0 CAB=>9 ?5@52>4G5A:>9 :><?5B5=F88, >?@545;5=K >A=>2=K5 =02K:8 8 C<5=8O :>B>@K<8 4>;65= >2;045BL ABC45=B 2 ?@>F5AA5 D>@<8@>20=8O ?@>D5AA8>=0;L=>9 ?5@52>4G5A:>9 :><?5B5=F88; @0AA<>B@5=0 A?5F8D8:0 =02K:>2 8 C<5=89 CAB=>3> ?5@52>40, 2K45;5=> @O4 >A=>2=KE A?5F8D8G5A:8E ?@>D5AA8>=0;L=KE C<5=89 8 =02K:>2 CAB=>3> ?5@52>40; ?@54AB02;5=0 :;0AA8D8:0F8O =02K:>2 8 C<5=89 CAB=>3> ?5@52>40, ?> AB5?5=8 8E 1;87>AB8 A =02K:0<8 8 C<5=8O<8 A>1AB25==> @5G52KE C<5=89 0C48@>20BL, G8B0BL 8 3>2>@8BL. ;NG52K5 A;>20: =02K:8 8 C<5=8O CAB=>3> ?5@52>40, A8=E@>==K9 ?5@52>4, CAB=0O ?5@52>4G5A:0O :><?5B5=F8O. T.G. Kyrychenko ŤThe formation of professional interpreter s competence of future simultaneous interpretersť. The article provides a general definition of oral interpreter s competence; the basic skills and sub-skills to be mastered by students in the process of interpreter’s competence formation are determined; the specificity of oral interpretation’s skills and sub-skills is examined, a number of basic, specific and professional skills and sub-skills of oral interpretation are determined; a classification of oral interpretation’s skills and sub-skills is presented, in accordance with it’s vicinity to the skills and sub-skills of general speech skills like to listen, read and speak. 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C4VN20==O, G8B0==O 9 CA=5 >D>@<;5==O ?5@5:;04C, O: :><?>=5=B8 ?@>D5AV9=>W ?5@5:;040FL:>W 4VO;L=>ABV, 74V9A=NNBLAO 2 CA:;04=5=8E C<>20E. >6=5 7 28I573040=8E C<V=L CA=>3> ?5@5:;04C 2 C<>20E 74V9A=5==O ?5@5:;040FL:>W 4VO;L=>ABV <0T =87:C A?5F8DVG=8E >A>1;82>AB59, O:V 2V4@V7=ONBL WE 2V4 728G09=8E <>2;5==T28E C<V=L 0C4VN20==O, G8B0==O 9 3>2>@V==O. 024O:8 A2>W9 A?5F8DVFV, 2<V==O CA=>3> ?5@5:;04C ?5@5410G0T C A2>T<C A:;04V =0O2=VABL A?5F8DVG=8E =028G>: V 2<V=L, DC=:FV>=C20==O O:8E 70157?5GCT CA?VH=5 74V9A=5==O CA=>3> ?5@5:;04C =0 28A>:><C ?@>D5AV9=><C @V2=V. >=F5?FVO ?5@5:;040FL:>W :><?5B5=FVW ?@54AB02;OT 25;8:89 B5>@5B8G=89 V ?@0:B8G=89 V=B5@5A V ?>B@51CT ?>40;LH>3> 2A51VG=>3> 4>A;V465==O. " "#  1. ;5:A5520 .!. @>D5AA8>=0;L=>5 >1CG5=85 ?5@52>4G8:0 : CG51=>5 ?>A>185 ?> CA=><C 8 ?8AL<5==><C ?5@52>4C 4;O ?5@52>4G8:>2 8 ?@5?>4020B5;59 / ;5:A5520 @8=0 !5@3552=0.  !1. : 740B5;LAB2> Ť!>N7ť, 2001.  288 A. 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M.Yu. Nechyporenko. Translator as the first reader of postmodernist fiction. This article discusses an essential characteristic a postmodernist fiction translator has to possess, namely their particularly strong reader competence. The major point emphasized is the fact that a translator is firstly a reader and only after that a co-creator of a text, thus all the range of their functions has to be studied when identifying the role of their personal abilities and professional skills in the process of a target language text genesis. Key words: the death of the Author, reader, postmodernist fiction translation, translator functions. @> O:89 18 0A?5:B ?5@5:;04C =5 9H;>AO, I>@07C 5:A?;VF8B=> G8 V<?;VF8B=> C D>:CAV 4>A;V465==O >?8=OTBLAO 70240==O ?5@5:;040G0. 0 F59 <><5=B C DV;>;>3VG=V9 =0CFV VA=CNBL C65 =02VBL A?5FV0;L=V <0AHB01=V @>72V4:8, ?@8A2OG5=V 28A2VB;5==N 28=OB:>2>W @>;V <>2=>3> ?>A5@54=8:0 C =0@>465==V ?5@5:;04=>3> B2>@C. 1 T:B>< FVTW @>72V4:8 B0:>6 T ?>AB0BL ?5@5:;040G0 EC4>6=L>W ;VB5@0BC@8, 0;5 ?5@5:;040G0 =5 O: ?52=>W =0C:>2>W 01AB@0:FVW, 0 O: DV3C@8, ACG0A=>W ;VB5@0BC@=8< @50;VO< 4>18  @50;VO< ?>AB<>45@=V7<C. @54<5B>< 4>A;V465==O, C A2>N G5@3C, T DC=:FVO G8B0G0, 2 O:V9 ?>28=5= 240;> 28ABC?0B8 ?5@5:;040G ?>AB<>45@=VABAL:8E EC4>6=VE B5:ABV2 C 72 O7:C 7 CA:;04=5==O< AB@C:BC@=>-AB8;VAB8G=>W >@30=V70FVW 2V4?>2V4=8E ;VB5@0BC@=8E 7@07:V2. 5B>N FVTW @>1>B8 T 287=0G5==O >A=>2=8E E0@0:B5@8AB8:, O:8<8 ?>28=5= 2>;>4VB8 ?5@5:;040G ?>AB<>45@=VABAL:>3> ?8AL<0, 018 <0B8 7<>3C 045:20B=> ?@54AB028B8 B5:AB >@83V=0;C V=H><>2=V9 G8B0FL:V9 0C48B>@VW. 0B5@V0;>< 4>A;V465==O 3V?>B5B8G=> <>65 1CB8 25AL :>@?CA ?>AB<>45@=VABAL:8E EC4>6=VE B5:ABV2, I> 7024O:8 ?5@5:;04C AB0NBL =0410==O< A:0@1=8FL V=H8E =0FV>=0;L=8E ;VB5@0BC@. :BC0;L=VABL ?>4V1=>3> 4>A;V465==O 7C<>2;5=0 ?>B@51>N @>72820B8 B5>@VN EC4>6=L>3> ?5@5:;04C 2V4?>2V4=> 4> 52>;NFVW ;VB5@0BC@=8E =0?@O<:V2 V D>@<. 7 >DVFV9=>3> B25@465==O ?@> B5, I> Ť=0 ACG0A=><C 5B0?V 2?;82 =>2VB=VE ;VB5@0BC@>7=02G8E B5>@V9 =0 D>@<C20==O B5>@VW EC4>6=L>3> ?5@5:;04C 287=0TBLAO 15770?5@5G=>N C<>2>N WW @>728B:Cť [3, A.1], 28?;820T, I> FO @>72V4:0, 2V4?@02=8< ?C=:B>< O:>W AB0;0 ;VB5@0BC@>7=02G0 ?@0FO, 28:>=0=0 C @VG8IV =09=>2VH8E ?5@5:;04>7=02G8E B5=45=FV9. 0?@C65==O V=B5;5:BC0;L=8E B0 4CE>2=8E A8; ?5@5:;040G0 C ?@>F5AV @>1>B8 ?@8@V2=NNBL 4> =0BE=5==>ABV B2>@FO >@83V=0;C, =07820NG8 9>3>, ?5@5:;040G0, ?@0FN ?5@5A>B2>@5==O<, 0 9>3> A0<>3> =0@V:0NG8 4@C38< 02B>@>< (482., =0?@8:;04, <>=>3@0DVN ==8 T‘568=AL:>W (Anna Lege|yDska)  TBumacz i jego kompetencje autorskie ). 4=0: I5 1968 @>:C >;0= 0@B >3>;>A82, I> 2B>@ ?><5@. 0 7<V=C 2B>@>2V C @>7C<V==V 9>3> O: B0:>3>, I> ?0=CT =04 <>2>N, 0 2V4B0: A2>TN 2;04=>N >A>18ABVABN =0:;040T =0 :>65= 2;0A=>@CG =0?8A0=89 B2V@ 2V418B>: A2>3> 4>A2V4C, C?>4>10=L V 2@065=L, =0 ?5@5:>=0==O D@0=FC7L:>3> AB@C:BC@0;VAB0, C ACG0A=8E C<>20E ?@8E>48BL A:@8?B>@. !:@8?B>@  F5 2AL>3> ;8H5 B>9, EB> ?8H5, 0 =5 B>9, EB> ?@><>2;OT, ?@><>2;OT  1> <>20 O: B0:0. # F0@8=V ?8AL<0 2AO:89 AC1 T:B82=89 3>;>A 3C18BLAO. 8AL<> @>7G8=OT 2 A>1V >A>1C 02B>@0, 70<VICT WW, 70ABC?0T WW A>1>N. 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" "#  1. 0@B . !<5@BL 02B>@0 / . 0@B // 71@0==K5 @01>BK: !5<8>B8:0: >MB8:0 ; ?5@. A D@. [A>AB., >1I. @54. 8 2ABC?. AB. . . >A8:>20].  . : @>3@5AA, 1989.  !. 384-391.  616 A. 2. @01>2AL:89 !. >AB<>45@=89 48A:C@A V :@87>25 1CBBO ;N48=8 / !. @01>2AL:89 // . 570;56=89 :C;LBC@>;>3VG=89 G0A>?8A.  L2V2 : "7 Ť....ť, 2002.  ! 26.  !. 9-31. 3. @5: .. =B5@B5:ABC0;L=VABL O: ?@>1;5<0 ?5@5:;04C (=0 <0B5@V0;V 0=3;><>2=8E ?5@5:;04V2 C:@0W=AL:>W ?>AB<>45@=VABAL:>W ?@>78) : 02B>@5D. 48A. =0 74>1CBBO =0C:. ABC?5=O :0=4. DV;>;. =0C: : A?5F. 10.02.16 Ť5@5:;04>7=02AB2>ť / .. @5:.  . : 2006.  18 A. 4. 659<VA>= $. >AB<>45@=V7< V ACA?V;LAB2> A?>6820==O / $. 659<VA>= // . 570;56=89 :C;LBC@>;>3VG=89 G0A>?8A.  L2V2 : "7 Ť.. . .ť, 2000.  ! 19.  !. 132-153. 5. 2B8G . >7<>28 7 028G5< (C@82:8 7 :=838) / . 2B8G // . 570;56=89 :C;LBC@>;>3VG=89 G0A>?8A.  L2V2 : "7 Ť....ť, 1999.  ! 15.  !. 91-112. 6. >210A5=:> .. VB5@0BC@0 ?>AB<>45@=V7<C: ?> B>9 1V: @V7=8E 1>:V2 / .. >210A5=:> // A5A2VB=O ;VB5@0BC@0 B0 :C;LBC@0 2 =02G0;L=8E 70:;040E #:@0W=8.  . : 4@C:0@=O " Ť04@C30ť, 2003.  ! 12.  !. 2-12. 7. >210A5=:> .. . @EV?5;03 Ť'ť, >AB@V2 Ť!ť/ ... >210A5=:> // A5A2VB=O ;VB5@0BC@0 B0 :C;LBC@0 2 =02G0;L=8E 70:;040E #:@0W=8.  . : 4@C:0@=O " Ť04@C30ť, 2003.  ! 12.  !. 33-49. 8. C;LBC@>;>38O. XX 25: : A;>20@L.  !1. : #=825@A8B5BA:0O :=830, 1997.  631 A. 9. 028G . %>70@AL:89 A;>2=8: / . 028G.  L2V2 : ;0A8:0, 1998.  280 A. 10. -:> #. 0<5B:8 =0 ?>;OE Ť<5=8 @>7Kť / #. -:> // =>AB@0==0O ;8B5@0BC@0.  . : 725AB8O, 1988.  ! 10.  !. 88-104. Š ... 5G8?>@5=:>, 2009 # 811.133.1 25:37.02  "/   !" / " ! /""/ "!"# $"  .. C30G (%0@:V2) !B0BBO ?@8A2OG5=0 A?@89=OBBN B5:ABC 5D5:B82=>W @5:;0<8. C;8 28O2;5=V ?A8E>;V=32VAB8G=V E0@0:B5@8AB8:8, I> 2?;820NBL =0 5D5:B82=VABL A?@89=OBBO @5:;0<=>3> B5:ABC. C2 ?@>2545=89 0=0;V7 45O:8E >1@07>B2>@G>-28@07=8E 70A>1V2 <>28 @5:;0<=>3> B5:ABC, I> B>@:0TBLAO 5<>FV9=>W AD5@8 ;N48=8, 0 B0:>6 ?A8E>;>3VG=V >A>1;82>ABV 9>3> A?@89=OBBO. ;NG>2V A;>20: 5D5:B82=VABL @5:;0<8, <>2=V 70A>18, =530B82=V 5<>FVW, ?>78B82=V 5<>FVW, A?@89=OBBO. . . C30G.  2>?@>AC > A>740=88 8 2>A?@8OB88 B5:AB0 MDD5:B82=>9 @5:;0<K. !B0BLO ?>A2OI5=0 2>A?@8OB8N B5:AB0 MDD5:B82=>9 @5:;0<K. K;8 @0AA<>B@5=K ?A8E>;8=328AB8G5A:85 E0@0:B5@8AB8:8, :>B>@K5 2;8ONB =0 MDD5:B82=>ABL 2>A?@8OB8O @5:;0<=>3> B5:AB0. K; ?@>2545= 0=0;87 =5:>B>@KE 87>1@078B5;L=>-2K@078B5;L=KE A@54AB2 O7K:0 @5:;0<=>3> B5:AB0, :>B>@K5 :0A0NBAO M<>F8>=0;L=>9 AD5@K G5;>25:0, 0 B0:65 ?A8E>;>38G5A:85 >A>15==>AB8 53> 2>A?@8OB8O. ;NG52K5 A;>20: 2>A?@8OB85, =530B82=K5 M<>F88, ?>78B82=K5 M<>F88, A@54AB20 O7K:0, MDD5:B82=>ABL @5:;0<K. B. V. Pugach. To the question of the creation and the perception of the effective publicity text. Perception of the effective publicity text is discussed. Some psycholinguistic characteristics influencing the efficiency of perception of publicity text are examined. Certain figurative and expressional means of language of the publicity text touching human emotional sphere and psychological particularities of its perception are analyzed. Key words: efficiency of the publicity, means of language, negative emotions, perception, positive emotions. 5:;0<0 2 =0H G0A T >4=8< 7 =091V;LH @>7?>2AN465=8E 70A>1V2 V=D>@<0FVW, B>1B> >4=8< 7 D0:B>@V2 =0H>3> G0AC, I> ?@54AB02;OT A>1>N =5>A>18ABV D>@<8 :><C=V:0FVW, O:V 74V9A=NNBLAO 70 4>?><>3>N ?;0B=8E =>AVW2 ?>H8@5==O V=D>@<0FVW. 1 T:B>< =0H>3> 4>A;V465==O T @5:;0<=89 B5:AB. @54<5B>< " >A>1;82>ABV ?>1C4>28 B0 A?@89=OBBO 5D5:B82=>3> @5:;0<=>3> B5:ABC. 5B0 4>A;V465==O " 0=0;V7 V 45<>=AB@0FVO 5<>FV9=>W A:;04>2>W 5D5:B82=>3> @5:;0<=>3> B5:ABC, 70A>1V2 WW ?5@540GV B0 >A>1;82>AB59 A?@89=OBBO. 0B5@V0; 4>A;V465==O " @5:;0<=V B5:AB8 D@0=FC7L:8E B0 C:@0W=AL:8E ?5@V>48G=8E 2840=L. :BC0;L=VABL ?>;O30T 2 4>A;V465=V 5<>FV9=>W A:;04>2>W 5D5:B82=>3> @5:;0<=>3> B5:ABC, 0 B0:>6 70A>1V2 WW ?5@540GV 2 @5:;0<=><C 48A:C@AV. 030B> 4>A;V4=8:V2 @5:;0<8 2 A2>WE @>1>B0E 45B0;L=> 0=0;V7CNBL 28@07=V <>2=V 70A>18, I> 28:>@8AB>2CNBL 2 @5:;0<=><C B5:ABV, 0 B0:>6 ?A8E>;>3VG=V >A>1;82>ABV A?@89=OBBO 04@5A0B>< @5:;0<8 F8E B5:ABV2 [2; 4; 5; 6]. 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ŤLa nuit tombe, les garçons aussiť, ŤIl n y a que Maille qui m ailleť. !;>20-Ť<>B@V9:8ť - F5 ?> ACBV 3@0DVG=89 :0;0<1C@. &5 B5:AB, 2 O:><C G0AB8=0 >4=>3> 7V A;V2 284V;5=0 3@0DVG=>, O2;OT A>1>N A0<>ABV9=5 A;>2> V7 2;0A=8< 7=0G5==O<. "0:, 2 @5:;0<V Fanta: ŤLa nouvelle bouteille Fantastiqueť C A;>2V Ťfantastiqueť 284V;5=> 3@0DVG=> ŤFantať. C65 ?>H8@5=V C D@0=FC7L:V9 @5:;0<V D@075>;>3V7<8, =0?@8:;04, @5:;0<0 ?@>F5A>@V2 Intel Pentiu: ŤDit " faitť; :@8;0BV A;>20 B0 28@078, V4V><8: @5:;0<0 :@5<C 2V4 7<>@H>:: ŤLes rides peuvent attendreť, ŤQui goűtera, croirať, ŤL appétit vient avec Vivagelť; ?>A8;0==O 4> 2V4><8E B2>@V2, DV;L<V2, ?VA5=L V B.4.: ŤLe rouge et le soirť, ŤA la recherche du teint perduť. 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C30G, 2009 # 811.111 25:37.02 "  ' # !$   $! #& . . !2VB;8G=0 (=V?@>?5B@>2AL:) >73;O40TBLAO ?8B0==O 4>FV;L=>ABV ?@>D5AV9=>->@VT=B>20=>W ?V4a3>B>2:8 ABC45=BV2 ?@8 =02G0==V CA=>3> ?5@5:;04C C A2VBV VA=CNG8E :;0A8DV:0FV9 ?@>D5AV9=>->@VT=B>20=>W A?5FV0;V70FVW ?5@5:;040GV2 C 3;>10;L=8E AD5@0E ;N4AL:>W 4VO;L=>ABV 7 C@0EC20==O< A>FV0;L=>3> 70<>2;5==O. ;NG>2V A;>20: ?@575=B0FVO, @>7C<V==O ACBV ?@54<5B0 >13>2>@5==O, A8BC0B82=89 :>=B5:AB :><C=V:0FVW, A>FV0;L=5 70<>2;5==O, B5@<V=>;>3VO. . . !25B;8G=0O. >43>B>2:0 ?5@52>4G8:>2 2 AD5@5 ?@>D5AA8>=0;L=>9 :><<C=8:0F88. 0AA<0B@8205BAO 2>?@>A F5;5A>>1@07=>AB8 ?@>D5AA8>=0;L=>->@85=B8@>20==>9 ?>43>B>2:8 ABC45=B>2 ?@8 >1CG5=88 CAB=><C ?5@52>4C 2 A25B5 ACI5AB2CNI8E :;0AA8D8:0F89 ?@>D5AA8>=0;L=>->@85=B8@>20==>9 A?5F80;870F88 ?5@52>4G8:>2 2 3;>10;L=KE AD5@0E G5;>25G5A:>9 45OB5;L=>AB8 A CG5B>< A>F80;L=>3> 70:070. ;NG52K5 A;>20: ?>=8<0=85 ACB8 ?@54<5B0 >1AC645=8O, ?@575=B0F8O, A8BC0B82=K9 :>=B5:AB :><<C=8:0F88, A>F80;L=K9 70:07, B5@<8=>;>38O. O. Svitlychna. Professional specialization in training of the future interpreters. Tackles upon the problem of professional specialization in teaching interpreting in accordance with existing classification of fields of interpretors’ specialization in global spheres of human activity taking into account social order. Key words: presentation, situational context of communication, social order, terminology, understading of the subject discussed. 5@5:;040FL:0 4VO;L=VABL 3@0T CA5 1V;LH 7=0G=C @>;L O: C 68BBV =0H>W 45@6028, B0: T2@>?59AL:>3> 9 A2VB>2>3> A?V2B>20@8AB20 2 FV;><C V ?@8G8=0 B><C  B@820NG89 @>728B>: V :C@A T2@>V=B53@0FVW, O:89 >1@0;0 =0H0 :@0W=0, 0 B0:>6 ?@>F5A 3;>10;V70FVW 5:>=><VG=>3> ?@>ABV@C.  >3;O4C =0 >AB0==V B5=45=FVW @>728B:C =0H>3> ACA?V;LAB20 <>6=0 V7 C?52=5=VABN A:070B8, I> ?@>D5AVO ?5@5:;040G0 2 =0HV9 :@0W=V B0 70 WW <560<8 AB0;0 7030;L=>T2@>?59AL:>N, 3;>10;L=>N.  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ƒ „ … † ‡ ˆ ‰ Š ‹ Œ  Ž   ‘ ’ “ ” • – — ˜ ™ š › œ  ž Ÿ   Ą ˘ Ł ¤ Ľ Ś § ¨ Š Ş Ť Ź ­ Ž Ż ° ą ˛ ł ´ ľ ś ˇ ¸ š ş ť ź ˝ ž ż Ŕ Á Â Ă Ä Ĺ Ć Ç Č É Ę Ë Ě Í Î Ď Đ Ń Ň Ó Ô Ő Ö × Ř Ů Ú Ű Ü Ý Ţ ß ŕ á â ă ä ĺ ć ç č é ę ë ě í î ď đ ń ň ó ô ő ö ÷ ř ů ú ű ü ý ý˙˙˙ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.„h„˜ţĆh^„h`„˜ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„h„˜ţĆho(.„h„˜ţĆho(.„Ë„MţĆË^„Ë`„Mţo(.€ „P„˜ţĆP^„P`„˜ţ‡hˆH.‚ „ „L˙Ć ^„ `„L˙‡hˆH.€ „đ „˜ţĆđ ^„đ `„˜ţ‡hˆH.€ „Ŕ „˜ţĆŔ ^„Ŕ `„˜ţ‡hˆH.‚ „„L˙Ɛ^„`„L˙‡hˆH.€ „`„˜ţĆ`^„``„˜ţ‡hˆH.€ „0„˜ţĆ0^„0`„˜ţ‡hˆH.‚ „„L˙Ć^„`„L˙‡hˆH.„h„˜ţĆho(.„Đ„˜ţĆĐ^„Đ`„˜ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.h„Đ„˜ţĆĐ^„Đ`„˜ţB*OJ QJ o(ph˙‡hˆH" h„ „˜ţĆ ^„ `„˜ţOJ QJ ^Jo(‡hˆHoh„p„˜ţĆp^„p`„˜ţOJQJo(‡hˆH§đh„@ „˜ţĆ@ ^„@ `„˜ţOJQJo(‡hˆHˇđh„„˜ţĆ^„`„˜ţOJ QJ ^Jo(‡hˆHoh„ŕ„˜ţĆŕ^„ŕ`„˜ţOJQJo(‡hˆH§đh„°„˜ţĆ°^„°`„˜ţOJQJo(‡hˆHˇđh„€„˜ţĆ€^„€`„˜ţOJ QJ ^Jo(‡hˆHoh„P„˜ţĆP^„P`„˜ţOJQJo(‡hˆH§đ„h„˜ţ^„h`„˜ţ5B*ph˙‡hˆH.€ „ „˜ţ^„ `„˜ţ‡hˆH.‚ „p„L˙^„p`„L˙‡hˆH.€ „@ „˜ţ^„@ `„˜ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.„h„˜ţ^„h`„˜ţ5B*ph˙‡hˆH.€ „ „˜ţ^„ `„˜ţ‡hˆH.‚ „p„L˙^„p`„L˙‡hˆH.€ „@ „˜ţ^„@ `„˜ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.„Đ„˜ţĆĐ^„Đ`„˜ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.h„Đ„˜ţĆĐ^„Đ`„˜ţB*OJ QJ o(ph˙‡hˆH" h„ „˜ţĆ ^„ `„˜ţOJ QJ ^Jo(‡hˆHoh„p„˜ţĆp^„p`„˜ţOJQJo(‡hˆH§đh„@ „˜ţĆ@ ^„@ `„˜ţOJQJo(‡hˆHˇđh„„˜ţĆ^„`„˜ţOJ QJ ^Jo(‡hˆHoh„ŕ„˜ţĆŕ^„ŕ`„˜ţOJQJo(‡hˆH§đh„°„˜ţĆ°^„°`„˜ţOJQJo(‡hˆHˇđh„€„˜ţĆ€^„€`„˜ţOJ QJ ^Jo(‡hˆHoh„P„˜ţĆP^„P`„˜ţOJQJo(‡hˆH§đ„h„˜ţĆhCJo(.h „Đ„˜ţĆĐ^„Đ`„˜ţ‡hˆH.h „ „˜ţĆ ^„ `„˜ţ‡hˆH.’h „p„L˙Ćp^„p`„L˙‡hˆH.h „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.h „„˜ţĆ^„`„˜ţ‡hˆH.’h „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.h „°„˜ţĆ°^„°`„˜ţ‡hˆH.h „€„˜ţĆ€^„€`„˜ţ‡hˆH.’h „P„L˙ĆP^„P`„L˙‡hˆH.h„ „˜ţĆ ^„ `„˜ţOJQJo(‡hˆHˇđh„p„˜ţĆp^„p`„˜ţOJ QJ ^Jo(‡hˆHoh„@ „˜ţĆ@ ^„@ `„˜ţOJ QJ o(‡hˆH§đh„„˜ţĆ^„`„˜ţOJQJo(‡hˆHˇđh„ŕ„˜ţĆŕ^„ŕ`„˜ţOJ QJ ^Jo(‡hˆHoh„°„˜ţĆ°^„°`„˜ţOJ QJ o(‡hˆH§đh„€„˜ţĆ€^„€`„˜ţOJQJo(‡hˆHˇđh„P„˜ţĆP^„P`„˜ţOJ QJ ^Jo(‡hˆHoh„ „˜ţĆ ^„ `„˜ţOJ QJ o(‡hˆH§đh„Đ„˜ţĆĐ^„Đ`„˜ţOJQJo(‡hˆHˇđh„ „˜ţĆ ^„ `„˜ţOJ QJ ^Jo(‡hˆHoh„p„˜ţĆp^„p`„˜ţOJ QJ o(‡hˆH§đh„@ „˜ţĆ@ ^„@ `„˜ţOJQJo(‡hˆHˇđh„„˜ţĆ^„`„˜ţOJ QJ ^Jo(‡hˆHoh„ŕ„˜ţĆŕ^„ŕ`„˜ţOJ QJ o(‡hˆH§đh„°„˜ţĆ°^„°`„˜ţOJQJo(‡hˆHˇđh„€„˜ţĆ€^„€`„˜ţOJ QJ ^Jo(‡hˆHoh„P„˜ţĆP^„P`„˜ţOJ QJ o(‡hˆH§đh „Đ„˜ţ^„Đ`„˜ţ‡hˆH.€ „ „˜ţ^„ `„˜ţ‡hˆH.‚ „p„L˙^„p`„L˙‡hˆH.€ „@ „˜ţ^„@ `„˜ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.„'„˜ţ^„'`„˜ţ.€„÷„˜ţ^„÷`„˜ţ.‚„Ç „L˙^„Ç 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^„@ `„˜ţ‡hˆH. „„˜ţĆ^„`„˜ţ‡hˆH. „ŕ„˜ţĆŕ^„ŕ`„˜ţ‡hˆH. „°„˜ţĆ°^„°`„˜ţ‡hˆH. „€„˜ţĆ€^„€`„˜ţ‡hˆH. „P„˜ţĆP^„P`„˜ţ‡hˆH.h„Đ„˜ţ^„Đ`„˜ţ6^J.€h„ „˜ţ^„ `„˜ţ^J.‚h„p„L˙^„p`„L˙^J.€h„@ „˜ţ^„@ `„˜ţ^J.€h„„˜ţ^„`„˜ţ^J.‚h„ŕ„L˙^„ŕ`„L˙^J.€h„°„˜ţ^„°`„˜ţ^J.€h„€„˜ţ^„€`„˜ţ^J.‚h„P„L˙^„P`„L˙^J.„h„˜ţĆh^„h`„˜ţ.h„Đ„˜ţĆĐ^„Đ`„˜ţo(.„ „˜ţĆ ^„ `„˜ţ.„p„L˙Ćp^„p`„L˙.„@ „˜ţĆ@ ^„@ `„˜ţ.„„˜ţĆ^„`„˜ţ.„ŕ„L˙Ćŕ^„ŕ`„L˙.„°„˜ţĆ°^„°`„˜ţ.„€„˜ţĆ€^„€`„˜ţ.„P„L˙ĆP^„P`„L˙.„€„˜ţĆ€^„€`„˜ţo(.€ „P„˜ţĆP^„P`„˜ţ‡hˆH.‚ „ „L˙Ć ^„ `„L˙‡hˆH.€ „đ „˜ţĆđ ^„đ `„˜ţ‡hˆH.€ „Ŕ „˜ţĆŔ ^„Ŕ `„˜ţ‡hˆH.‚ „„L˙Ɛ^„`„L˙‡hˆH.€ „`„˜ţĆ`^„``„˜ţ‡hˆH.€ „0„˜ţĆ0^„0`„˜ţ‡hˆH.‚ „„L˙Ć^„`„L˙‡hˆH. „X„äţĆX^„X`„äţOJQJo(ˇđ€ „Ü„˜ţĆÜ^„Ü`„˜ţOJ QJ o(o€ „Ź„˜ţĆŹ^„Ź`„˜ţOJ QJ o(§đ€ „| „˜ţĆ| ^„| `„˜ţOJQJo(ˇđ€ „L„˜ţĆL^„L`„˜ţOJ QJ o(o€ „„˜ţĆ^„`„˜ţOJ QJ o(§đ€ „ě„˜ţĆě^„ě`„˜ţOJQJo(ˇđ€ „ź„˜ţĆź^„ź`„˜ţOJ QJ o(o€ „Œ„˜ţĆŒ^„Œ`„˜ţOJ QJ o(§đ„Đ„˜ţĆĐ^„Đ`„˜ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„h„˜ţĆh^„h`„˜ţOJQJo(‡hˆHˇđ „Đ„˜ţ^„Đ`„˜ţ‡hˆH.€ „ „˜ţ^„ `„˜ţ‡hˆH.‚ „p„L˙^„p`„L˙‡hˆH.€ „@ „˜ţ^„@ `„˜ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.„ě„˜ţĆě^„ě`„˜ţOJPJQJ^Jo(-€ „ź„˜ţĆź^„ź`„˜ţOJ QJ o(o€ „Œ „˜ţĆŒ ^„Œ `„˜ţOJ QJ o(§đ€ „\ „˜ţĆ\ ^„\ `„˜ţOJQJo(ˇđ€ „,„˜ţĆ,^„,`„˜ţOJ QJ o(o€ „ü„˜ţĆü^„ü`„˜ţOJ QJ o(§đ€ „Ě„˜ţĆĚ^„Ě`„˜ţOJQJo(ˇđ€ „œ„˜ţĆœ^„œ`„˜ţOJ QJ o(o€ „l„˜ţĆl^„l`„˜ţOJ QJ o(§đ„„˜ţĆ^„`„˜ţo(.€ „ᄘţĆá^„á`„˜ţ‡hˆH.‚ „ą„L˙Ćą^„ą`„L˙‡hˆH.€ „ „˜ţƁ ^„ `„˜ţ‡hˆH.€ „Q„˜ţĆQ^„Q`„˜ţ‡hˆH.‚ „!„L˙Ć!^„!`„L˙‡hˆH.€ „ń„˜ţĆń^„ń`„˜ţ‡hˆH.€ „Á„˜ţĆÁ^„Á`„˜ţ‡hˆH.‚ „‘„L˙Ć‘^„‘`„L˙‡hˆH. „€„˜ţĆ€^„€`„˜ţo(.€ „P„˜ţĆP^„P`„˜ţ‡hˆH.‚ „ „L˙Ć ^„ `„L˙‡hˆH.€ „đ „˜ţĆđ ^„đ `„˜ţ‡hˆH.€ „Ŕ „˜ţĆŔ ^„Ŕ `„˜ţ‡hˆH.‚ „„L˙Ɛ^„`„L˙‡hˆH.€ „`„˜ţĆ`^„``„˜ţ‡hˆH.€ „0„˜ţĆ0^„0`„˜ţ‡hˆH.‚ „„L˙Ć^„`„L˙‡hˆH.h „„„˜ţ^„„`„˜ţ‡hˆH.h „J„˜ţ^„J`„˜ţ‡hˆH.’h „ „L˙^„ `„L˙‡hˆH.h „ę „˜ţ^„ę `„˜ţ‡hˆH.h „ş„˜ţ^„ş`„˜ţ‡hˆH.’h „Š„L˙^„Š`„L˙‡hˆH.h „Z„˜ţ^„Z`„˜ţ‡hˆH.h „*„˜ţ^„*`„˜ţ‡hˆH.’h „ú„L˙^„ú`„L˙‡hˆH. „h„˜ţĆh^„h`„˜ţ‡hˆH. „ׄ˜ţ^„×`„˜ţ5CJ aJ )€„§ „˜ţ^„§ `„˜ţ.‚„w „L˙^„w `„L˙.€„G„˜ţ^„G`„˜ţ.€„„˜ţ^„`„˜ţ.‚„ç„L˙^„ç`„L˙.€„ˇ„˜ţ^„ˇ`„˜ţ.€„‡„˜ţ^„‡`„˜ţ.‚„W„L˙^„W`„L˙.„h„˜ţĆho(.„Đ„˜ţ^„Đ`„˜ţsH"‡hˆH.€ „ „˜ţ^„ `„˜ţ‡hˆH.‚ „p„L˙^„p`„L˙‡hˆH.€ „@ „˜ţ^„@ `„˜ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.h„Đ„˜ţĆĐ^„Đ`„˜ţOJQJo(‡hˆHˇđh„ „˜ţĆ ^„ `„˜ţOJ QJ ^Jo(‡hˆHoh„p„˜ţĆp^„p`„˜ţOJ QJ o(‡hˆH§đh„@ „˜ţĆ@ ^„@ `„˜ţOJQJo(‡hˆHˇđh„„˜ţĆ^„`„˜ţOJ QJ ^Jo(‡hˆHoh„ŕ„˜ţĆŕ^„ŕ`„˜ţOJ QJ o(‡hˆH§đh„°„˜ţĆ°^„°`„˜ţOJQJo(‡hˆHˇđh„€„˜ţĆ€^„€`„˜ţOJ QJ ^Jo(‡hˆHoh„P„˜ţĆP^„P`„˜ţOJ QJ o(‡hˆH§đ„h„˜ţĆh^„h`„˜ţOJQJo(‡hˆHˇđ„¤„˜ţƤ^„¤`„˜ţB*OJPJQJ^Jo(ph €„t„˜ţĆt^„t`„˜ţOJ QJ ^Jo(‡hˆHo€„D„˜ţĆD^„D`„˜ţOJ QJ o(‡hˆH§đ€„ „˜ţĆ ^„ `„˜ţOJQJo(‡hˆHˇđ€„ä „˜ţĆä ^„ä `„˜ţOJ QJ ^Jo(‡hˆHo€„´„˜ţĆ´^„´`„˜ţOJ QJ o(‡hˆH§đ€„„„˜ţĆ„^„„`„˜ţOJQJo(‡hˆHˇđ€„T„˜ţĆT^„T`„˜ţOJ QJ ^Jo(‡hˆHo€„$„˜ţĆ$^„$`„˜ţOJ QJ o(‡hˆH§đh„Đ„˜ţĆĐ^„Đ`„˜ţCJaJ‡hˆH.h „ „˜ţĆ ^„ `„˜ţ‡hˆH.’h „p„L˙Ćp^„p`„L˙‡hˆH.h „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.h „„˜ţĆ^„`„˜ţ‡hˆH.’h „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.h „°„˜ţĆ°^„°`„˜ţ‡hˆH.h „€„˜ţĆ€^„€`„˜ţ‡hˆH.’h „P„L˙ĆP^„P`„L˙‡hˆH.„Đ„˜ţ^„Đ`„˜ţ.€„ „˜ţ^„ `„˜ţ.‚„p„L˙^„p`„L˙.€„@ „˜ţ^„@ `„˜ţ.€„„˜ţ^„`„˜ţ.‚„ŕ„L˙^„ŕ`„L˙.€„°„˜ţ^„°`„˜ţ.€„€„˜ţ^„€`„˜ţ.‚„P„L˙^„P`„L˙.„Đ„˜ţĆĐ^„Đ`„˜ţo(. „ „˜ţĆ ^„ `„˜ţ‡hˆH. „p„L˙Ćp^„p`„L˙‡hˆH. „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH. „„˜ţĆ^„`„˜ţ‡hˆH. „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH. „°„˜ţĆ°^„°`„˜ţ‡hˆH. „€„˜ţĆ€^„€`„˜ţ‡hˆH. „P„L˙ĆP^„P`„L˙‡hˆH.h „„„˜ţĆ„^„„`„˜ţo(‡hˆH. „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH. „Đ„˜ţĆĐ^„Đ`„˜ţ‡hˆH. „ „˜ţĆ ^„ `„˜ţ‡hˆH. „p„˜ţĆp^„p`„˜ţ‡hˆH. „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH. „„˜ţĆ^„`„˜ţ‡hˆH. „ŕ„˜ţĆŕ^„ŕ`„˜ţ‡hˆH. „°„˜ţĆ°^„°`„˜ţ‡hˆH. „€„˜ţĆ€^„€`„˜ţ‡hˆH. „P„˜ţĆP^„P`„˜ţ‡hˆH.„7„˜ţĆ7^„7`„˜ţo(.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ׄL˙Ć×^„×`„L˙‡hˆH.€ „§ „˜ţƧ ^„§ `„˜ţ‡hˆH.€ „w „˜ţĆw ^„w `„˜ţ‡hˆH.‚ „G„L˙ĆG^„G`„L˙‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.€ „焘ţĆç^„ç`„˜ţ‡hˆH.‚ „ˇ„L˙ơ^„ˇ`„L˙‡hˆH.„Đ„˜ţ^„Đ`„˜ţo(.€ „ „˜ţ^„ `„˜ţ‡hˆH.‚ „p„L˙^„p`„L˙‡hˆH.€ „@ „˜ţ^„@ `„˜ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.„h„˜ţĆho(.„„˜ţ^„`„˜ţo(.€ „ᄘţ^„á`„˜ţ‡hˆH.‚ „ą„L˙^„ą`„L˙‡hˆH.€ „ „˜ţ^„ `„˜ţ‡hˆH.€ „Q„˜ţ^„Q`„˜ţ‡hˆH.‚ „!„L˙^„!`„L˙‡hˆH.€ „ń„˜ţ^„ń`„˜ţ‡hˆH.€ „Á„˜ţ^„Á`„˜ţ‡hˆH.‚ „‘„L˙^„‘`„L˙‡hˆH.„h„˜ţĆh^„h`„˜ţ56. „Đ„˜ţĆĐ^„Đ`„˜ţ‡hˆH.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„,„˜ţ^„,`„˜ţo()€ „ü„˜ţ^„ü`„˜ţ‡hˆH.‚ „Ě „L˙^„Ě `„L˙‡hˆH.€ „œ „˜ţ^„œ `„˜ţ‡hˆH.€ „l„˜ţ^„l`„˜ţ‡hˆH.‚ „<„L˙^„<`„L˙‡hˆH.€ „ „˜ţ^„ `„˜ţ‡hˆH.€ „Ü„˜ţ^„Ü`„˜ţ‡hˆH.‚ „Ź„L˙^„Ź`„L˙‡hˆH.h„h„˜ţĆh.h„ „˜ţĆ .h„p„L˙Ćp.h„@ „˜ţĆ@ .h„„˜ţĆ.h„ŕ„L˙Ćŕ.h„°„˜ţĆ°.h„€„˜ţĆ€.h„P„L˙ĆP.„Đ„˜ţĆĐ^„Đ`„˜ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„8„˜ţĆ8^„8`„˜ţOJPJQJ^Jo( €„„˜ţĆ^„`„˜ţOJ QJ ^Jo(‡hˆHo€„Ř „˜ţĆŘ ^„Ř `„˜ţOJ QJ o(‡hˆH§đ€„¨ „˜ţƨ ^„¨ `„˜ţOJQJo(‡hˆHˇđ€„x„˜ţĆx^„x`„˜ţOJ QJ ^Jo(‡hˆHo€„H„˜ţĆH^„H`„˜ţOJ QJ o(‡hˆH§đ€„„˜ţĆ^„`„˜ţOJQJo(‡hˆHˇđ€„č„˜ţĆč^„č`„˜ţOJ QJ ^Jo(‡hˆHo€„¸„˜ţƸ^„¸`„˜ţOJ QJ o(‡hˆH§đh„„˜ţ^„`„˜ţ^J.€h„ׄ˜ţ^„×`„˜ţ^J.‚h„§ „L˙^„§ `„L˙^J.€h„w „˜ţ^„w `„˜ţ^J.€h„G„˜ţ^„G`„˜ţ^J.‚h„„L˙^„`„L˙^J.€h„焘ţ^„ç`„˜ţ^J.€h„ˇ„˜ţ^„ˇ`„˜ţ^J.‚h„‡„L˙^„‡`„L˙^J.„h„˜ţĆho(.„Đ„˜ţĆĐ^„Đ`„˜ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH. „Đ„˜ţ^„Đ`„˜ţOJ QJ o(.€ „ „˜ţ^„ `„˜ţ‡hˆH.‚ „p„L˙^„p`„L˙‡hˆH.€ „@ „˜ţ^„@ `„˜ţ‡hˆH.€ „„˜ţ^„`„˜ţ‡hˆH.‚ „ŕ„L˙^„ŕ`„L˙‡hˆH.€ „°„˜ţ^„°`„˜ţ‡hˆH.€ „€„˜ţ^„€`„˜ţ‡hˆH.‚ „P„L˙^„P`„L˙‡hˆH.„Đ„˜ţĆĐ^„Đ`„˜ţOJQJo(‡hˆHˇđ „ „˜ţĆ ^„ `„˜ţ‡hˆH. „p„˜ţĆp^„p`„˜ţ‡hˆH. „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH. „„˜ţĆ^„`„˜ţ‡hˆH. „ŕ„˜ţĆŕ^„ŕ`„˜ţ‡hˆH. „°„˜ţĆ°^„°`„˜ţ‡hˆH. „€„˜ţĆ€^„€`„˜ţ‡hˆH. „P„˜ţĆP^„P`„˜ţ‡hˆH.„Ÿ„˜ţ^„Ÿ`„˜ţo(.€„o„˜ţ^„o`„˜ţ.‚„? „L˙^„? `„L˙.€„ „˜ţ^„ `„˜ţ.€„ß„˜ţ^„ß`„˜ţ.‚„Ż„L˙^„Ż`„L˙.€„„˜ţ^„`„˜ţ.€„O„˜ţ^„O`„˜ţ.‚„„L˙^„`„L˙.h „h„˜ţĆh^„h`„˜ţ‡hˆH.h „8„˜ţĆ8^„8`„˜ţ‡hˆH.’h „„L˙Ć^„`„L˙‡hˆH.h „Ř „˜ţĆŘ ^„Ř `„˜ţ‡hˆH.h „¨ „˜ţƨ ^„¨ `„˜ţ‡hˆH.’h „x„L˙Ćx^„x`„L˙‡hˆH.h „H„˜ţĆH^„H`„˜ţ‡hˆH.h „„˜ţĆ^„`„˜ţ‡hˆH.’h „č„L˙Ćč^„č`„L˙‡hˆH. „ „˜ţĆ ^„ `„˜ţ‡hˆH. „ „˜ţĆ ^„ `„˜ţ‡hˆH. „p„˜ţĆp^„p`„˜ţ‡hˆH. „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH. „„˜ţĆ^„`„˜ţ‡hˆH. „ŕ„˜ţĆŕ^„ŕ`„˜ţ‡hˆH. „°„˜ţĆ°^„°`„˜ţ‡hˆH. „€„˜ţĆ€^„€`„˜ţ‡hˆH. „P„˜ţĆP^„P`„˜ţ‡hˆH.„Đ„˜ţ^„Đ`„˜ţ.€„ „˜ţ^„ `„˜ţ.‚„p„L˙^„p`„L˙.€„@ „˜ţ^„@ `„˜ţ.€„„˜ţ^„`„˜ţ.‚„ŕ„L˙^„ŕ`„L˙.€„°„˜ţ^„°`„˜ţ.€„€„˜ţ^„€`„˜ţ.‚„P„L˙^„P`„L˙.„h„˜ţĆhB*CJOJQJo(ˇđ „ „˜ţĆ OJ QJ o(o „p„˜ţĆpOJ QJ o(§đ „@ „˜ţĆ@ OJQJo(ˇđ „„˜ţĆOJ QJ o(o „ŕ„˜ţĆŕOJ QJ o(§đ „°„˜ţĆ°OJQJo(ˇđ „€„˜ţĆ€OJ QJ o(o „P„˜ţĆPOJ QJ o(§đh„Đ„˜ţ^„Đ`„˜ţOJQJo(‡hˆHˇđh„ „˜ţ^„ `„˜ţOJ QJ ^Jo(‡hˆHoh„p„˜ţ^„p`„˜ţOJ QJ o(‡hˆH§đh„@ „˜ţ^„@ `„˜ţOJQJo(‡hˆHˇđh„„˜ţ^„`„˜ţOJ QJ ^Jo(‡hˆHoh„ŕ„˜ţ^„ŕ`„˜ţOJ QJ o(‡hˆH§đh„°„˜ţ^„°`„˜ţOJQJo(‡hˆHˇđh„€„˜ţ^„€`„˜ţOJ QJ ^Jo(‡hˆHoh„P„˜ţ^„P`„˜ţOJ QJ o(‡hˆH§đ„-„˜ţĆ-^„-`„˜ţOJPJQJ^Jo(-€„ý„˜ţĆý^„ý`„˜ţOJ QJ ^Jo(‡hˆHo€„Í „˜ţĆÍ ^„Í `„˜ţOJ QJ o(‡hˆH§đ€„ „˜ţƝ ^„ `„˜ţOJQJo(‡hˆHˇđ€„m„˜ţĆm^„m`„˜ţOJ QJ ^Jo(‡hˆHo€„=„˜ţĆ=^„=`„˜ţOJ QJ o(‡hˆH§đ€„ „˜ţĆ ^„ `„˜ţOJQJo(‡hˆHˇđ€„Ý„˜ţĆÝ^„Ý`„˜ţOJ QJ ^Jo(‡hˆHo€„­„˜ţĆ­^„­`„˜ţOJ QJ o(‡hˆH§đ„€„˜ţĆ€^„€`„˜ţo(.€ „P„˜ţĆP^„P`„˜ţ‡hˆH.‚ „ „L˙Ć ^„ `„L˙‡hˆH.€ „đ „˜ţĆđ ^„đ `„˜ţ‡hˆH.€ „Ŕ „˜ţĆŔ ^„Ŕ `„˜ţ‡hˆH.‚ „„L˙Ɛ^„`„L˙‡hˆH.€ „`„˜ţĆ`^„``„˜ţ‡hˆH.€ „0„˜ţĆ0^„0`„˜ţ‡hˆH.‚ „„L˙Ć^„`„L˙‡hˆH.h „Đ„˜ţ^„Đ`„˜ţ‡hˆH. „Đ„˜ţ^„Đ`„˜ţB*o(ph.. „8„0ý^„8`„0ýB*o(ph... „8„0ý^„8`„0ýB*o(ph.... „ „Čű^„ `„ČűB*o(ph ..... „ „Čű^„ `„ČűB*o(ph ...... „„`ú^„`„`úB*o(ph.......  „„`ú^„`„`úB*o(ph........  „p„řř^„p`„řřB*o(ph.........„„˜ţ^„`„˜ţ.€„ „˜ţ^„ `„˜ţ.‚„p„L˙^„p`„L˙.€„@ „˜ţ^„@ `„˜ţ.€„„˜ţ^„`„˜ţ.‚„ŕ„L˙^„ŕ`„L˙.€„°„˜ţ^„°`„˜ţ.€„€„˜ţ^„€`„˜ţ.‚„P„L˙^„P`„L˙.„Đ„˜ţ^„Đ`„˜ţ.€„ „˜ţ^„ `„˜ţ.‚„p„L˙^„p`„L˙.€„@ „˜ţ^„@ `„˜ţ.€„„˜ţ^„`„˜ţ.‚„ŕ„L˙^„ŕ`„L˙.€„°„˜ţ^„°`„˜ţ.€„€„˜ţ^„€`„˜ţ.‚„P„L˙^„P`„L˙.„¤„\ţƤo(.„8„0ýĆ8o(..„ „0ýĆ o(...„p„ČűĆpo(.... „Ř „ČűĆŘ o( ..... „¨ „`úƨ o( ...... „x„řřĆxo(....... „ŕ„řřĆŕo(........ „°„÷Ć°o(.........h„h„˜ţĆh^„h`„˜ţ.h„„˜ţĆ^„`„˜ţ.h„Ř „L˙ĆŘ ^„Ř `„L˙.h„¨ „˜ţƨ ^„¨ `„˜ţ.h„x„˜ţĆx^„x`„˜ţ.h„H„L˙ĆH^„H`„L˙.h„„˜ţĆ^„`„˜ţ.h„č„˜ţĆč^„č`„˜ţ.h„¸„L˙Ƹ^„¸`„L˙.„h„˜ţĆho(. „ „\ţĆ ^„ `„\ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„Đ„˜ţĆĐ^„Đ`„˜ţOJPJQJ^Jo(-€„ „˜ţĆ ^„ `„˜ţOJ QJ ^Jo(‡hˆHo€„p„˜ţĆp^„p`„˜ţOJ QJ o(‡hˆH§đ€„@ „˜ţĆ@ ^„@ `„˜ţOJQJo(‡hˆHˇđ€„„˜ţĆ^„`„˜ţOJ QJ ^Jo(‡hˆHo€„ŕ„˜ţĆŕ^„ŕ`„˜ţOJ QJ o(‡hˆH§đ€„°„˜ţĆ°^„°`„˜ţOJQJo(‡hˆHˇđ€„€„˜ţĆ€^„€`„˜ţOJ QJ ^Jo(‡hˆHo€„P„˜ţĆP^„P`„˜ţOJ QJ o(‡hˆH§đ „Đ„˜ţĆĐ^„Đ`„˜ţ‡hˆH. „ „˜ţĆ ^„ `„˜ţ‡hˆH. „p„˜ţĆp^„p`„˜ţ‡hˆH. „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH. „„˜ţĆ^„`„˜ţ‡hˆH. „ŕ„˜ţĆŕ^„ŕ`„˜ţ‡hˆH. „°„˜ţĆ°^„°`„˜ţ‡hˆH. „€„˜ţĆ€^„€`„˜ţ‡hˆH. „P„˜ţĆP^„P`„˜ţ‡hˆH.„‚„˜ţ^„‚`„˜ţ.€„R„˜ţ^„R`„˜ţ.‚„" „L˙^„" `„L˙.€„ň „˜ţ^„ň `„˜ţ.€„„˜ţ^„Â`„˜ţ.‚„’„L˙^„’`„L˙.€„b„˜ţ^„b`„˜ţ.€„2„˜ţ^„2`„˜ţ.‚„„L˙^„`„L˙.„n„ÉýĆn^„n`„ÉýOJQJo(‡hˆHˇđ„ „˜ţĆ ^„ `„˜ţOJ QJ ^Jo(‡hˆHo„p„˜ţĆp^„p`„˜ţOJ QJ o(‡hˆH§đ„ „˜ţĆ ^„ `„˜ţOJQJo(‡hˆHˇđ„„˜ţĆ^„`„˜ţOJ QJ ^Jo(‡hˆHo€„ŕ„˜ţĆŕ^„ŕ`„˜ţOJ QJ o(‡hˆH§đ€„°„˜ţĆ°^„°`„˜ţOJQJo(‡hˆHˇđ€„€„˜ţĆ€^„€`„˜ţOJ QJ ^Jo(‡hˆHo€„P„˜ţĆP^„P`„˜ţOJ QJ o(‡hˆH§đ„Đ„˜ţ^„Đ`„˜ţo(.€„ „˜ţ^„ `„˜ţ.‚„p„L˙^„p`„L˙.€„@ „˜ţ^„@ `„˜ţ.€„„˜ţ^„`„˜ţ.‚„ŕ„L˙^„ŕ`„L˙.€„°„˜ţ^„°`„˜ţ.€„€„˜ţ^„€`„˜ţ.‚„P„L˙^„P`„L˙.„Đ„˜ţ^„Đ`„˜ţOJQJo(‡hˆHˇđ€„ „˜ţ^„ `„˜ţOJ QJ ^Jo(‡hˆHo€„p„˜ţ^„p`„˜ţOJ QJ o(‡hˆH§đ€„@ „˜ţ^„@ `„˜ţOJQJo(‡hˆHˇđ€„„˜ţ^„`„˜ţOJ QJ ^Jo(‡hˆHo€„ŕ„˜ţ^„ŕ`„˜ţOJ QJ o(‡hˆH§đ€„°„˜ţ^„°`„˜ţOJQJo(‡hˆHˇđ€„€„˜ţ^„€`„˜ţOJ QJ ^Jo(‡hˆHo€„P„˜ţ^„P`„˜ţOJ QJ o(‡hˆH§đ„„˜ţ^„`„˜ţo(.€„℘ţ^„â`„˜ţ.‚„˛„L˙^„˛`„L˙.€„‚ „˜ţ^„‚ `„˜ţ.€„R„˜ţ^„R`„˜ţ.‚„"„L˙^„"`„L˙.€„ň„˜ţ^„ň`„˜ţ.€„„˜ţ^„Â`„˜ţ.‚„’„L˙^„’`„L˙.„¤„\ţƤo(.„8„0ýĆ8o(..„ „0ýĆ o(...„p„ČűĆpo(.... „Ř „ČűĆŘ o( ..... „¨ „`úƨ o( ...... „x„řřĆxo(....... „ŕ„řřĆŕo(........ „°„÷Ć°o(.........„h„˜ţĆho(.„h„˜ţĆh^„h`„˜ţo(.€ „8„˜ţĆ8^„8`„˜ţ‡hˆH.‚ „„L˙Ć^„`„L˙‡hˆH.€ „Ř „˜ţĆŘ ^„Ř `„˜ţ‡hˆH.€ „¨ „˜ţƨ ^„¨ `„˜ţ‡hˆH.‚ „x„L˙Ćx^„x`„L˙‡hˆH.€ „H„˜ţĆH^„H`„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „č„L˙Ćč^„č`„L˙‡hˆH.„„„˜ţ^„„`„˜ţo(.€ „T„˜ţ^„T`„˜ţ‡hˆH.‚ „$„L˙^„$`„L˙‡hˆH.€ „ô „˜ţ^„ô `„˜ţ‡hˆH.€ „Ä „˜ţ^„Ä `„˜ţ‡hˆH.‚ „”„L˙^„”`„L˙‡hˆH.€ „d„˜ţ^„d`„˜ţ‡hˆH.€ „4„˜ţ^„4`„˜ţ‡hˆH.‚ „„L˙^„`„L˙‡hˆH.„Đ„˜ţĆĐ^„Đ`„˜ţo(.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„h„˜ţĆho(. „Đ„˜ţĆĐ^„Đ`„˜ţ‡hˆH.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„Đ„˜ţĆĐ^„Đ`„˜ţ.€ „ „˜ţĆ ^„ `„˜ţ‡hˆH.‚ „p„L˙Ćp^„p`„L˙‡hˆH.€ „@ „˜ţĆ@ ^„@ `„˜ţ‡hˆH.€ „„˜ţĆ^„`„˜ţ‡hˆH.‚ „ŕ„L˙Ćŕ^„ŕ`„L˙‡hˆH.€ „°„˜ţĆ°^„°`„˜ţ‡hˆH.€ „€„˜ţĆ€^„€`„˜ţ‡hˆH.‚ „P„L˙ĆP^„P`„L˙‡hˆH.„°„˜ţĆ°o(.„ž„˜ţĆž^„ž`„˜ţ.€„ „˜ţĆ ^„ `„˜ţ.‚„p„L˙Ćp^„p`„L˙.€„@ „˜ţĆ@ ^„@ `„˜ţ.€„„˜ţĆ^„`„˜ţ.‚„ŕ„L˙Ćŕ^„ŕ`„L˙.€„°„˜ţĆ°^„°`„˜ţ.€„€„˜ţĆ€^„€`„˜ţ.‚„P„L˙ĆP^„P`„L˙.h„넘ţĆë^„ë`„˜ţOJQJo(‡hˆHˇđh„ť„˜ţĆť^„ť`„˜ţOJ QJ ^Jo(‡hˆHoh„‹ „˜ţĆ‹ ^„‹ 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