The Journal of V. N. Karazin Kharkiv National University. Series “Philology”

Vegetal and zoomorphic imagery as a means of artistic embodiment of the natural/artificial opposition in Guy de Maupassant's novel "Our Heart"

2023-08-25T15:37:07+00:00

The article is devoted to the analysis of the vegetative and bestiary poetics of Guy de Maupassant's late psychological novel "Our Heart" (1890), which lacks the proper attention of literary scholars both in France and abroad (scientific reflection is focused on short stories and novels of the heyday of Maupassant's realism). Therefore, its poetic study and introduction into the modern literary context is an actual scientific task.

The purpose of the article is to define the semantics and symbolism of plant and bestiary imagery in the artistic structure of G. de Maupassant's novel "Our Heart" and to establish its functions in the realization of natural/artificial opposition, that is conceptual for the novel.

The research was carried out in the framework of the structural-semiotic method of analysis of the artistic text.

The analysis of the novel from the point of view of the artistic functions of floral and zoomorphic imagery proved the special place of these tools in deepening the psychological picture and expressive-emotional expressiveness of the images of the protagonists: André Mariolle and Madame de Burne. The range of these tropes is from vegetal and zoomorphic comparisons and metaphors to elaborate zoo- and dendroanthropomorphic images (Michelle de Burne is first a ‘bird of paradise’, a ‘wild bird’, then a ‘hawk of prey’ and, allusively, an ‘ostrich’, and also an old tired ‘horse’, a ‘nag’; Mariolle – is a ‘trapped wounded animal’, a ‘thrush in a cage’, a ‘small fish caught in a net’). The plant analogue of the heroine is a man-made flower garden, which gradually withers and decays, as her love for Mariolle fades away. Michelle's image is accompanied by numerous floral details that acquire a metaphorical meaning (these are cultural flowers of selected varieties – roses, orchids, carnations, geraniums, lilies of the valley, chrysanthemums, lilies etc.). In contrast to the “artificial” Michelle, the image of the “natural” Elizabeth is associated with wild forest plants – violets, gorse etc. The protagonist is correlated with ramified dendrosymbolism (chestnut, beech, oak, linden etc.) and the image of the forest as a secret liminal space. The symbolism of the wild forest is opposed in the novel by the symbolism of an orderly garden (as one of the options for embodying the natural/artificial opposition). Vegetal and zoomorphic images not only accompany the characteristics of the characters, but are also closely intertwined, passing one into the other (the anthropomorphic image of fused trees turns into the image of a battle between a predatory beast and its victim, plant juices become living blood). Subjective signs of the main character's “artificiality” are the images of stone flowers and stone animals decorating the central spatial locus of the novel – Abbey Mont Saint Michel.

So, florisms, dendrisms and animalistic images in the novel perform a characteristic function, convey the dynamics of the feelings of the protagonists, acquiring a metaphorical meaning, and fill the landscape with symbolic details.

Potebnya and his Followers in Roman Jakobson’s Lectures at the Masaryk University in Brno (1935)

2023-08-25T15:37:45+00:00

In 1935 Roman Jakobson gave a series of lectures in Czech titled “The Formalist School and Contemporary Russian linguistics”. It was only seventy years later that the Czech original was discovered and published, followed by a not always accurate Russian translation. This work by a prominent member of the Formalist School has until now not been analyzed by Ukrainian scholars. Its importance lies in the fact that in it a link is demonstrated between this school and the Kharkov Philological School.

The purpose of this article is to place this work by Jakobson among the group of sources of the current discussion about Potebnya and his followers. By contrasting Potebnya’s teachings with the fundamental ideas of the so-called psychological school of literary study (a name sometimes assumed to be a synonym of the Kharkov Philological School), in his lectures Jakobson himself occasionally, following Viktor Shklovsky’s example, polemicizes not with Potebnya himself, but with that view of his teachings that suited the Formalists themselves in order to in turn construct their own polemic (that poetry is not “thinking in images”, etc.).

Apart from the method of comparative analysis of scholarly texts (Jakobson’s lectures [1935); Shklovsky’s article “Potebnya” [1919]; Potebnya’s late works; the works of the followers of Potebnya D. Ovsyanniko-Kulikovsky, V. Khartsiev, А. Gornfeld, T. Raynov) the author of this article uses the biographical method a lá T. Raynov. This means taking into account the historical context of the scholarly work, the psychological state of the scholar while creating it etc. The basic result of such a combined approach to Jakobson’s polemic with Potebnya and his followers is a certain reassessment of the development of the doctrine regarding “poetic language” when viewed in its sources.

The Concept of Cossack Fantasy in Literary Studies Discourse

2023-08-25T15:38:25+00:00

The article is devoted to a general overview of the concept of fantasy and its typology, as well as to the results of research into the position of Cossack fantasy in the literary discourse. During the work on the article, materials devoted to the following main areas were used: fantasy in academic discourse; types of fantasy classifications; essential elements of a fantasy narrative; examples of Cossack fantasy in scientific research. The article uses a comparative research method. The author of the scientific study introduces the most common definitions of fantasy and the main types of classification of this type of literature. To confirm the originality of fantasy, as well as other vectors of intellectual activity that build their complex structure around the Cossack heritage, we proposed the concept of "Cossackopeia" to describe this complex and sometimes fragmentary phenomenon. In the article, we paid more attention to the artistic and literary vector of Cossackopeia. Based on the ideas of John Clute about taproot texts, Brian Atterbery about the "fuzzy set" of fantasy texts, Fara Mendelsohn and her thoughts about how the fantastic element penetrates the narrative, as well as Robert Boyer and Kenneth Zagorsky and their spatiotemporal system of events, we formed a definition of "Cossack fantasy". This allows us to say that the Cossack fantasy, using the Western European canon, has every opportunity to expand it to create original pseudo-historical worlds and even form a narrative projection of space-time far from Earth.

Cossack fantasy is unjustifiably in the shadow of scientific research; therefore, it deserves a detailed analysis of its genre and typological features. In the future, the article's author sees the development of the metaconcept of Cossackopoeia and the establishment of the Cossack fantasy in this artistic phenomenon.

Special Features of the Framework Text in the Novel “The Red and the Black” by Stendhal

2023-08-25T15:39:05+00:00

The authors of the article analyze Stendhal’s novel “The Red and the Black” from the standpoint of intertextuality. The main attention is focused on the paratextuality of the work, that is, on the relationship of the text with the titles, epigraphs, preface and afterword – its frame. The novel has all the elements of a framework: a title complex, a framework text, a division into chapters, parts.

The text is structurally divided into two parts and chapters (2 and 75 respectively). The element of the framework is the content at the end of the text (both in the original and in various translations). The authors of the article note that the content is used by Stendhal with a traditional purpose. The elements of the framework text in the novel are "Preface" – "To the reader" (explanation about the time of publication and writing of the work) and "Afterword" – section L, the author's notes related to artistic fiction. It is the "Afterword" that is connected with the genre subtitle of the novel and the main Epigraph, they form the additional frame of the text.

The authors pay special attention to the headings – to the main one and to each chapter (71 of 75 chapters are titled). The names of the chapters in Stendhal's novel "The Red and the Black" are diverse in terms of substantive and factual information: they indicate the characters of the work, convey chronotopic information, name the theme, concentrate the main idea of the work, present the plot of the work or name one culminating event, express the author's assessment of the work and its characters, etc. The headingss analyzed, the writer is noted to use various artistic means to nominate the chapters of the novel, which activates the reader's perception, creating a certain obstacle for understanding, and arouses interest: titles-symbols, titles-metaphors, titles-epithets. In such headings, the meaning is reinterpreted, expanded. Besides, extratextual information is used, when the essence of the heading is not only the content of the novel, but its associative connection with other aesthetic objects.

In general terms, the authors analyze the epigraphs to both parts of the novel, 71 chapters, and explain the writer's use of "own" and "other people's" quotations in the inscriptions before the text, their linguistic design and functions.

The chaos – the violin – the Сosmos in the I. Kalynets’s poem “Great-grandfather”

2023-08-25T15:39:41+00:00

In modern Ukrainian literary studies, the problem of researching intermedial relations in the artistic works of the Sixtiers, in particular, Ihor Kalynets, is relevant. At the same time, there is a lack of studies devoted to the analysis of separate texts. In our opinion, the poem ‘Great-grandfather’ from the collection ‘Kupala Fire’ demonstrates a harmonious interaction of the text levels, from the level of plot to the phonetic one. Therefore, the purpose of this article is a holistic study of the poem.

A structuralist approach was used to achieve the mentioned goal. The poem ‘Great-grandfather’ contains the signs of cinematography, and it is based on an external plot. The clipped image of the great-grandfather playing the violin is subtly nuanced and dynamic. The image of the violin, as an ancient sophisticated instrument symbolizing the soul of the great-grandfather, is analyzed. The examination of the dedication in the poetry (to ‘Oleg Krysa’ who is a world-famous Ukrainian violinist) gives reasons to assume that the great-grandfather was a virtuoso violinist. The images of a bow and rosin were analyzed as the attributes of a specific prayer-playing. The meaning of the violin playing is to help the nature and people to by pass the time of twilight with the minimum losses, to turn the chaos of dusk into the cosmic time of a starry night. At this point the great-grandfather becomes the centre of interaction, the final (the fifth) element which enables the transformation.

During the study of the colouring of the poem, we managed to conclude that the poetry was not so much of interest because of the colours, but because of their brightness. A noticeable development of brightness to the climax point was followed by a sinusoidal downturn. The last counterpoint in the colour chart is the image of the lemkas-‘soniakhs’ (sunflowers) who are under the influence of the maestro’s playing. The soundcode confirms the expressed ideas and demonstrates I. Kalynets’ virtuoso mastery of phonics.

It is concluded that the great-grandfather, who is a violinist, becomes the mediator of the cosmic processes at the moment when he loses the boundaries of his own personality and dissolves in art. The great-grandfather, turning the chaos of twilight into the Cosmos, opens up new spiritual perspectives for his fellow Lemks. It is about a mystical art that unites the day and the night, the heaven and the earth, the man and the God.

Modernism and avant-garde: considerations on the distinction of concepts

2023-08-25T15:40:19+00:00

The article discusses the difference between modernism and avant-garde as cultural-historical and philosophical-aesthetic phenomena.

The aim of the article is to show the main discrepancy between modernism and avant-garde in terms of reception and their relationship to reality.

The research method consists in the extrapolation of the evolutionary method (according to the classification of methods by V. M. Peretz) to the historical and literary situation of the 10-s and 20-s of the 20th century, in particular in the aspect of its consideration through the prism of the relationship and interaction of its iconic artistic and literary aesthetic phenomena of modernism and avant-garde. The evolutionary method involves the study of the natural development of phenomena, from their inception and through all stages of formation and development. Literature is considered in the dynamics of its historical development, taking into account cause-and-effect relationships between phenomena. Thus, the history of literature appears as an image of literary evolution on the basis of the general evolution of society and in connection with other separate evolutions that influenced it.

In addition to evolutionary methods, the following methods were also used: systematic analysis, historical-genetic, comparative-comparative.

The scientific novelty consists in an attempt to differentiate the concepts of modernism and avant-garde on the basis of their completely opposite reception and attitude to the contemporary reality, as well as in the analysis and systematization of already existing scientific positions on the specified problem.

It has been proven that modernism, even in its mature phase, remained in opposition to real reality, focusing attention on the self-worth of man and art, while avant-garde, adopting its destructive energy, dynamism, militancy, technical audacity, transformed all this into its own aesthetic program. The absence of a harmonious relationship between man and nature, the dominance of material values over spiritual values, technocratization, militarism and rebellion, avant-garde turned into its cultural and artistic paradigm, making all this its philosophical and religious worldview. It has been found that avant-gardeism with all the variety of its currents is a multifaceted reflection of this contradictory revolutionary aggressive reality. Moreover, he is her creation, her pain and mouthpiece at the same time.

Prospects for further research consist in the application of the evolutionary method in the analysis of poetic works of the era of mature modernism, with the aim of practical confirmation of the theoretical considerations proposed here.

The US migratory novel: toward the ideology of genre

2023-08-25T15:40:59+00:00

This article focuses on the US migratory novel and the reasons it has been overlooked in literary scholarship. It is emphasized that the study of migration experience is important as it represents the worldview of historical subjects who, although they contributed a lot to the building of the New World, always existed on the margins of both real life and fiction. Literary scholars concentrated on the fictional images of colonizers, builders of a new world order, pioneers, farmers, cowboys, but not immigrants as such, although all these identities of American history were rooted in the migration experience, whether of their own or of their parents or grandparents. The aim of this article is to draw attention to the genre of the American migratory novel, which is underrepresented in literary criticism, and to identify the connection between migration literary discourse and the ideological regimes of specific historical periods. Nevertheless, migratory fiction serves as a powerful tool for negotiating narrow group representations within the larger receiving community. By depicting the experiences, challenges, and aspirations of migrants, it offers a platform to explore the complexities of cultural identity, displacement, and assimilation. Migratory fiction challenges the dominant narratives and stereotypes imposed upon migrant communities, seeking to humanize their stories and promote empathy and understanding among the receiving community. These narratives navigate the fine balance between preserving the unique cultural heritage of migrants and engaging with the broader context of their new surroundings. They challenge existing notions of national identity, fostering a more inclusive and diverse understanding of what it means to be American. A perspective for further research is the analysis of migration experience in literary writings and its correlation with developments in other fields of humanities. As migratory fiction expands our horizons, encouraging us to embrace and celebrate the multifaceted nature of diversity in all its forms.

Structural organization and features of the use of multi-component complex sentences in the novel «On the humble field» by Valerii Shevchuk

2023-08-26T09:36:24+00:00

The article is devoted to the analysis of the structure and functioning of multi-component compound sentences in Valerii Shevchuk's speech. The novel "On the Humble Field" will serve as the research material. Since in modern linguistics there are still no scientific investigations, the subject of which was the analysis of multi-component complex sentences in Valerii Shevchuk's artistic texts, our research is relevant.

The goal of the article is to characterize the structural organization of multi-component compound sentences revealed in the novel "On the Humble Field" by Val. Shevchuk, to carry out their classification, to consider the peculiarities of the use of these constructions in the context of the work. In order to realize the specified goal, the following tasks must be solved: 1) identify the multi-component compound sentences recorded in the novel "On the Humble Field"; 2) analyze the structure of these sentences; 3) to classify the detected multi-component compound sentences; 4) trace the functioning of these sentences in the analyzed work.

As a result of examining the syntactic parameters of Valery Shevchuk's language production, there was revealed the use of complex constructions, in particular multi-component compound sentences. There was carried out the classification of these constructions by the method of modeling subordinating parts and their connections, three main varieties were distinguished: complex subordinate clauses with sequential subordination, complex subordinate clauses with subordination: homogeneous and heterogeneous, the most - with sequential subordination. In the novel "On the Humble Field" written by Val. Shevchuk multi-component complex sentences have different stylistic load. Often they characterize various circumstances under which events take place, depict nature. It was noticed that multi-component complex sentences often express the psychological state of the characters.

As a result of the analysis, it was found that in his works Val. Shevchuk actively uses multi-component compound sentences, among which compound sentences with sequential subordination are the most common. It was noticed that the writer most often uses these multi-component complex constructions with pictorial and emotional-expressive load.

Conceptual semantics of the adjective ленивый and stereotypical image of a lazy person (according to the National Corpus of the Russian Language)

2023-08-26T09:37:01+00:00

The purpose of the article is to reconstruct the stereotypical image of a lazy person on the basis of a linguo-cognitive analysis of different contextual meanings of the adjective ленивый. Research objectives: to present a typology of contexts for the use of the adjective and the corresponding contextual meanings of the word ленивый, as well as to determine the parameters by which different contextual meanings of a polysemic word can be differentiated. The relevance of the chosen topic is determined by the methodological guidelines of modern cognitive linguistics, which continues the study of verbalized concepts that demonstrate the relationship between language, human thinking and culture.

After analyzing the nature of conceptualizations, we identified three subjects and took into account their cognitive activity: the first subject is an outside observer, and the perceptual meanings of the adjective lazy reflect the results of contemplative-sensory knowledge by native speakers of the appearance and behavior of a lazy person, the second subject is the subject-bearer of the state, in the contextual meanings of the adjective, the description and evaluation of the internal state experienced by him is conceptualized; the third subject is the subject of active rational cognition, its conclusions are conceptualized in the inferential meanings of the adjective ленивый. In accordance with the parameter the nature of conceptualization, we differentiated the contextual meanings of the adjective ленивый and proposed our own typology of contexts. The conducted linguocognitive analysis allows reconstructing a holistic stereotypical image of a lazy person. Our reconstruction is based both on the results of contemplative-sensory cognition and on the inferential conclusions of native speakers.

Communicative tactics of self-presentation of the addresser in Lesya Ukrainka's epistolary discourse

2023-08-26T09:37:31+00:00

The article examines the communicative tactics of the addresser's self-presentation in Lesya Ukrainka's epistolary discourse. The study of letters belonging to one and the same linguistic personality, in the unity of linguistic and extralinguistic factors of text creation, makes it possible not only to learn about the facts of the biography of the author of the letters, but also to penetrate into the work of thinking, the mechanisms of communicative activity. This is the reason for the relevance of this investigation.

The purpose of the article is the analysis of communicative tactics that implement the general communicative strategy of self-presentation in Lesya Ukrainka's epistolary discourse.

The main tactics are: 1) self-characterization, in which the author of the letters describes her appearance, character, intellectual properties, physical and emotional state; 2) characteristics provided by other people, real or imagined; 3) comparison herself with other people; 4) comparison of different hypostases of one's personality; 5) self-identification by national identity; 6) self-identification through social and professional status; 7) self-identification through social and family ties; 8) self-nomination in the signature as a component of the end of the letter; 9) evaluation of one's own communicative activity; 10) formulation of own life principles; 11) description of her lifestyle, daily activities, household chores; 12) philosophical understanding of one's existence.

Thus, Lesya Ukrainka uses various communicative tactics of self-presentation in her letters to various persons. These tactics form pragmatic, semantic[1]structural and linguo-stylistic integrity within the framework of a single communicative strategy. The self-presentation of the author of the letters reflects her linguistic personality as a communicatively active, reflective, self-ironic, self-critical person who needs communication and self-realization in the field of literary creativity. The prospects for further research are linked to the analysis of the selection of communicative tactics depending on the specifics of the addresser and other extralinguistic factors.

Deviant expansion of neoanthroponyms in the speech of social media users

2023-08-26T09:38:03+00:00

The article analyzes modern ways of creating occasional anthroponyms in political media discourse as linguistic triggers of the slang level, aimed at modeling a certain type of perception of reality by the recipient, laid down and provided by the creator-speaking. The cause-and-effect relationships of going beyond the limits of the usus in the derivation of units in the historically conservative layer of anthroponyms are traced. There is a tendency towards active use of actual occasional and exotic word-formation patterns for derivation of derivatives. The orientation of derivational shifts towards the creation of pronounced invective lexemes and phrasemes in the context of the direct dependence of the degree of deviation on the expected communicative effect is stated. The exceptional significance for the described processes of action of structural-semantic analogies and associations with structurally similar lexemes from the normative dictionary is indicated. The processes of actualization of cognitive-affective triggers in recipients due to the connotative variability of non[1]derivatives have been investigated and described. The impossibility of establishing denotations of occasional derivatives in the case of their contextual isolation from a specific speech act is emphasized. Attention is drawn to the multiplicity of combinations of psycholinguistic meanings of derivatives and the blurring of their lexical semantics. The place of occasional derivatives-anthroponyms in modern political media discourse as deliberately used depressurizers of precedent statements is considered. The prospects for the development of the psycholinguistic aspect of occasional derivational processes for various communicative situations and spheres of human activity have been determined for the purpose of a comprehensive and more thorough study and description of the speech manifestation not only of an individual linguistic personality, but also of native speakers in general.

Contrastive analysis of linguocultural connotations of zoonymic imagery in English, Ukrainian and Russian proverbs

2023-08-26T09:45:03+00:00

The use of contrastive analysis as a linguistic research method is effective at all language levels, especially at lexico-semantic and lexico-phraseological levels. Zoonymic images fixed in the language are associated with national and cultural stereotypes, value standards, which testifies to the individuality of the figurative thinking of speakers of the language, as well as to differences and similarities of language worldview.

The article presents a contrastive analysis of the linguocultural connotations of zoonymic images in English, Ukrainian, and Russian proverbs.

In the analyzed languages, the imagery of the proverb with a zoonymic component is formed by two main ways: as the figurative meaning of the whole sentence with the direct meaning of its component parts; as the figurative meaning of the parts of the sentence with the figurative meaning of the whole sentence.

The following types of formal similarities and differences in English, Ukrainian, and Russian proverbs with a zoonymic image are identified: full logical and figurative similarity; logical and figurative similarity at the level of the whole statement and differences at the level of words; identity of logical meaning and complete difference in imagery; similarity of imagery and differences of logical meanings. Similarities and differences in zoonymic imagery are explained by a number of reasons: differences in folklore imagery system; differences in the national and cultural systems, which are reflected in proverbs; borrowing images from well-known religious or literary texts; typological and areal similarities and differences of the figurative systems.

In various languages, the symbolic meaning of zoonyms is based on the importance of a certain animal, bird or insect in economic activity, in social and everyday life, in the mythological and religious worldview of the people. Specific examples (bull / ox; бик /віл; бык / вол) show that zoonymic images in different languages can completely coincide in their semantic meaning, be similar, or completely different. Zoonyms are formed according to mental patterns based on metaphorical transference and have evaluative and linguocultural connotations.

Linguistic expression of emotional and mental state in Mykola Kulish’s correspondence

2023-08-26T09:40:43+00:00

The article presents the analysis of the collection of letters of the famous Ukrainian dramatist Mykola Kulish, representative of the generation Executed Renaissance. The writer’s correspondence is analysed as a component of his artistic heritage. The accent is made on the importance of studies of the writer’s correspondence, and the writer is seen as a representative of the inner world and the emotional and mental state of the word master, as it is exactly in the private correspondence that the author can be seen both as a writer and an ordinary person with his achievements, problems, and troubles.

The article deals with the linguistic units – words, collocations, and sentences –that were used by M. Kulish in his correspondence with his colleagues in writing as indicators of his emotional and mental state. It was discovered what emotional background the lettеrs to his brothers in pen have, especially those written to I. Dniprovkyi, as well the reasons for his state of mind that defines the choice of linguistics means for its expression. M. Kulish’s letters contain his aesthetic principles of literary art, standpoints regarding his contemporary literature, evaluation of his own texts and the works of other authors. At the same time the writer appears before the reader as an ordinary person, exhausted by not being particularly healthy, by impecuniosity, provincial life and hard work in the institution of public and social education which is quite often greatly bureaucratised.

It was found out that the inner state of Mykola Khvyliovyi is represented by means of lexical and phraseological groups with various semantic and stylistic, in particular vernacular colloquialisms, including the pejoratives, obsolete words from the ancient Slavonic language, cliché, ideologemes, some author’s neologisms. The role of phraseological units of different types such as idioms, literary quotations, set expressions in journalism writing and formal business style of speech is defined: to express the emotional and mental state of the writer.

Presidential Inaugural Speech: Traditional and Communicative Approaches to Its Study

2023-08-26T09:41:13+00:00

The objective of the paper in question is to make a multifaceted study of presidential inaugural speech using the basic concepts of communicative linguistics.

The presidential inaugural is defined as an essential element of the investiture ritual. Being closely connected with the ceremonial event this type of political speech is attributed to the epideictic rhetoric which distinctive features are the contemplation of the present moment by means of incorporating the past and future, the speaker’s praising and / or criticizing the situation, observing the orator’s skills by the audience.

The inaugural address is exploited to build trust in the newly elected president and his / her vision of the state prospects. To fulfill its main purposes of consolidating the nation after the election and establishing the values common for the audience, various engaging lexical and stylistic means are included into the text of the inaugural.

The matrix of seven parameters based on the components of communication is used to make a profile of presidential inaugural speech. The subject of this type of political communication is the president-elect who addresses the nation which is the recipient of the communication. The role of the audience in this ritual is to witness the transition of power and its legitimacy. The message transmitted in the form of monologue is the public realization of the written text prepared by the speechwriter in good time before the occasion. Regarding the functions of the inaugural address it is classified as ritual if we are to choose between this type and the other two – orientation and agonal types. With the information scope being taken into consideration, the presidential inaugural speech is attributed to the medium genre. In terms of the communicative goal of the utterance, the address of the president-elect is characterized as evaluative with the features of the informational type. As an additional aspect of analysis the historical context is suggested.

Galician literary space through the prism of the concepts of borderland, Galician borderland and Galician literary borderland

2023-08-26T09:41:43+00:00

The author set herself the goal of analyzing the concepts of Galicia, Galicianness, borderland, Galician borderland, Galician literary borderland and based on such an analysis characterizing the relationships between Galicia and the most famous Galician writer of the first half of the 20^th century Bruno Schulz.

The first article of the outlined cycle of publications is devoted to the disclosure of the essence of the cognitive concept of Galicia with an emphasis on the Schulz period – the end of the 19^th – the first half of the 20^th century; the goal of another scientific exploration of the conceptual cycle of the author’s research is ontologization in the scientific-research space of the concept Galicianness with actualization based on the knowledge and information represented by the concept.

In the offered publication, the author has become involved as a participant in the modern scientific discussion that is taking place around the phenomenon of «borderland» and has presented the term-concept Galician literary borderland in the cognitive and conceptual format, as a logical combination of the structural components of the borderland → Galician borderland → Galician literary borderland, in other words, in the format of the analysis of a single conceptual complex, the vivid representative of which is Bruno Schulz.

The analysis of the content load of the concept of borderland in all its diversity makes it possible to count it among cross-cutting interdisciplinary phenomena associated with various scientific branches and spheres of activity, and also allows asserting the presence of certain mutual influences of the borderland on the peculiarities of the literary and artistic creativity of its representatives and vice versa, in particular on the example of the characteristics of the two[1]component pair of nominaGalician literary borderland ↔ Galician writer Bruno Schulz, whose members are in difficult relations of similarity and opposition.

The final article of the cycle of publications about Galicia will be devoted to the generalization of the research on the relationships between Galicia and the works of art created in its context by bright representatives of the Galician literary borderland.

Cognitive semantics and polysemy of the verb predicate верить (on the material of religious and common discourse contexts)

2023-08-26T09:42:30+00:00

This article is devoted to the study of the polysemy of the verb predicate верить in the cognitive-discursive methodology. The relevance of the research is due to the irrelevance of the traditional approach, the impossibility of describing the mechanisms of the development of word meanings as metaphorical, metonymic, or functional transference, as well as the need to understand and explain the contradictions in the semantics of the verbal predicate that arise in the contexts of various discourses.

As a result of the analysis, a system of parameters was determined, which constitutes a single analytical apparatus of the cognitive-discursive methodology. On the basis of the analysis, we explicated cognitive features, which in our opinion, embodies the gestalt script of the religious conceptual space of Faith, determined the internal form of the concept of Faith, which acts as a cognitive script and induces all the contextual meanings of the verb predicate верить; compiled typology of the contexts of usage of the verb and differentiated several of its meanings.

The subject of our attention was the meaningful difference between the contexts of religious discourse (я верю в бога) and common (я верю в тебя/ прогресс компьютерной техники). The use of terms gestalt, background-figure, focusing-defocusing made it possible to compare the semantics of the verbal predicate in the contexts of religious and common discourses, as well as to trace the distribution of attention in the semantic-syntactic organization of different contexts and the game of cognitive focus at the conceptual level (gestalt scenario). Focusing the interlocutor's attention on the meanings required in the course of religious/common communication, as well as obscuring the background meanings ensures the polysemy of the verb predicate верить.