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В статье дается дифференцированное обобщение образа автора как важнейшей категории лингвопрагматики в политическом дискурсе.

The increasing development of the printer has created a fruitful field of social relations leading to the appearance of the manuscript. Mass production together with the renewed concept of the author, due to the recently implemented writing legislation, pushes the creator to seek for the public recognition of himself. The author set himself apart of the guilds and started to be in contact with many other professional sectors with the final intention of obtaining fame and renown. Lope de Vega is the main promoter of this new tendency that relates poetry and its' market focused on the author as a professional. The portrait is one of the genre mostly used as self-affirmation as well as other types of visual arts. The use of the portrait is so extended that its own definition gets modified and it even reaches the level of being the most trustful proof of authorship of the manuscript. Many different writers use it both for seeking a professional fame or a social standing, as for example Rebolledo. The concern for not being able to show a picture of himself leads Cervantes to state the first literary self-portrait, not only describing the physical aspects but also tracing the psychological sketch of the creative process. Many different authors have had concerns to represent the psychology of the creator either in a visual way or in a literary mode. A brief approach to these creators proves this fact. ; El aumento y desarrollo del uso de la imprenta genera relaciones muy fructíferas creando importantes redes de sociabilidad en el camino hacia la salida del manuscrito a la luz. La producción en masa confluye con la nueva concepción del término de autor al asentarse las bases de la escritura en entorno a una legislación autorial recién implantada, en la que el creador se encuentra en plena búsqueda de reconocimiento ante el público. Los autores se desvincularon de las antiguas agrupaciones gremiales y comenzaron a relacionarse con otros sectores, con intención de impulsarse en su empeño por ganar relevancia y reconocimiento. Lope de Vega es el propulsor más destacado de esta propuesta relacional entre poesía y mercado, centrada en la profesionalización del autor. En su cometido, plantea un acercamiento a las artes plásticas, concretamente al género del retrato, y se vale de un imaginario como vía de autoafirmación. La utilización del retrato se consolida reescribiéndose prácticamente su significado y actuando incluso como prueba fehaciente de originalidad del ejemplar. Numerosos escritores se valen de él, ya sea por búsqueda de notoriedad a nivel profesional o de posicionamiento social, como ocurre con Rebolledo. La preocupación por la imposibilidad de dejar constancia de su efigie lleva a Cervantes a plantear el primer autorretrato literario, dejando constancia no solo una descripción de su rostro, sino vinculándolo además a un retrato psicológico de la profundidad del acto creativo. Distintos autores han mantenido esta preocupación por la representación de la psicología del creador, tanto plásticos como literarios. Un breve acercamiento a estos creadores da constancia de este hecho.

Durch
seine Selbstinszenierung als nonkonformistischer Autor trug Wolfgang Koeppen zu
Beginn der fünfziger Jahre maßgeblich dazu bei, dass die Rezeption seiner aus
den Romanen Tauben im Gras, Das Treibhaus und Der Tod in Rom bestehenden Nachkriegstrilogie anfangs fast
ausschließlich unter gesellschaftspolitischen Vorzeichen stand. Indes war
Koeppen ein stark an ästhetischen Gesichtspunkten orientierter Schriftsteller.
In der Nachkriegstrilogie lässt sich der Versuch einer Einordnung in den
Kontext der sogenannten Klassischen Moderne erblicken. Koeppens inhaltliche
Ausrichtung auf Themen, wie sie in den genannten Romanen zur Darstellung
kommen, lässt sich auf die Bedingungen des damaligen Literaturbetriebes
zurückführen: Aufgrund der hohen Erfolgschancen, die nonkonformistische
Literatur in der neugegründeten Bundesrepublik hatte, war er nicht schlecht
beraten, seine Autorschaft durch einen entsprechenden Einschlag zusätzlich zu
legitimieren. Nach Erscheinen von Das
Treibhaus aber fiel es ihm zunehmend schwer, seine poetischen Interessen
mit seiner nonkonformistisch geprägten Autorrolle bzw. den mit ihr
einhergehenden öffentlichen Erwartungen in Einklang zu bringen. Dieser von
Schreibhemmungen begleitete Rollenkonflikt des Autors ist der Ausgangspunkt der
vorliegenden Untersuchung. Die zentrale These lautet, dass seine Reisebücher Nach Rußland und anderswohin, Amerikafahrt und Reisen nach Frankreich eine Art Gegenentwurf zu der wenige Jahre
zuvor erschienenen Romantrilogie bilden. Im Zuge ihrer Rezeption erweiterte
sich die Sicht der Leser auf Koeppens Prosa insgesamt, sodass man durchaus von
einem Wandel seines Autorimages sprechen kann.

The paper features the role of the author's image as a factor that determines the variable functioning of the text in the process of its interpretation by a native speaker. A linguistic experiment conducted by the author revealed semantic versions of the source text as a result of the influence of the author's image on the interpreting activity of the addressee. The image of the author is viewed as a portrait of a political leader modeled by the addressee and his or her communicative intentions on the basis of the analysis of interpretive texts as the result of perception and interpretation of the source text. The research proves that the image of the author influences the addressee's interpretation of the text. The author used the method of linguistic analysis to prove that the image of the author of the political text is shaped in mundane political consciousness under the impact of various factors and influences mundane linguistic consciousness and the interpreting activity of the addressee. This is confirmed by the fact that the same text, attributed to different politicians, received different interpretations depending on how the recipient perceived the politician designated as the author of the text. ; Статья посвящена рассмотрению роли образа автора как фактора, детерминирующего вариативное функционирование текста в процессе его интерпретации рядовым носителем языка. Исследование выполнено на материале лингвистического эксперимента, в ходе которого были выявлены смысловые версии исходного текста как результат влияния образа автора на интерпретационную деятельность адресата. Новизна реализуемого в данной статье подхода заключается в том, что образ автора рассматривается в качестве моделируемого адресатом портрета политического лидера и его коммуникативных интенций на основании анализа интерпретирующих текстов как результата восприятия и интерпретации исходного (интерпретируемого) текста. Целью работы является обоснование положения о том, что образ автора влияет на интерпретацию текста адресатом. При исследовании материала применялся метод лингвистического анализа текста. Полученные интерпретирующие тексты показывают, что сформировавшийся в обыденном политическом сознании под влиянием различных факторов образ автора политического текста влияет на его восприятие рядовым носителем языка и на интерпретационную деятельность адресата. Это подтверждает тот факт, что один и тот же текст, авторство которого мы приписали разным политическим деятелям, получает разные интерпретационные модели в зависимости от того, как реципиент воспринимает политика, который указан как автор текста.

На материале интерпретационного эксперимента раскрывается восприятие рядовыми носителями языка содержания политического текста о модернизации. Исследуются языковые и экстралингвистические факторы его смысловой множественности. Рассматривается влияние образа автора — В. В. Путина и Д. А. Медведева — на восприятие содержания политического текста. На основе анализа смысловых версий исходного текста, приписываемого этим политикам, моделируется образ политического лидера и его политические интенции в сознании рядового носителя языка. ; The paper, based on the results of an interpretational experiment, studies Russian students' perceptions of the content of a political text on modernisation. Linguistic and extralinguistic factors of the complex semantics of the text are taken into account. A further consideration is how the identity of the author, Vladimir Putin or Dmitry Medvedev, influences the interpretation of the text. On the basis of different variants of interpretation, it is possible to draw conclusions about how an ordinary citizen construes the image and the intentions of a political leader.

Despite social changes that started at the time of the system breakthrough in 1989 in Po-land, for a long time, family entrepreneurs have felt concerns related to the social percep-tion of private enterprise. In the light of the studies carried out by the Authors, after 2014, a fundamental change in the perception of entrepreneurship has occurred. In the opinion of the respondents, family businesses are associated with high quality, tradition and relia-bility. In turn, according to 40 percent of the participants of the survey, a family entrepre-neur is an honest person.

The purpose of the study — to analyze the phenomenon of the author's style "multiculturalism" in the painting of the Canadian-Ukrainian artist W. Kurelek, as well as to characterize the unique author's artistic technique.
The methodology. Symbolic-metaphysical and philosophical aspects of the artist's work are studied on the basis of art analysis of individual paintings. The method of formal and stylistic analysis helped to identify the appearance of individual works, characterized the artistic processes that took place in the Canadian-Ukrainian environment, which had a significant impact on the work of W. Kurelek. This method effectively helped in the stylistic characterization of the canvas, in particular in identifying the formal organization of the work: space, time, color, light, rhythm, composition, perspective.
The scientific topicality. The role of W. Kurelek in the formation of the multicultural process in Canada is proved, in particular the importance of his art — chronicles of the formation and development of Canadian emigrants (Frenchmen, Irishmen, Ukrainians, Jews, Poles), as well as the first comprehensive study of the author's creative method "multiculturalism".
The practical significance. Theoretical material can be used in scientific art and cultural studies, as well as for teaching courses in: history of Ukrainian culture in the diaspora, art of the Ukrainian diaspora, the development of Ukrainian art in Canada, in the preparation of textbooks and manuals.
The conclusions. The author's creative method "multiculturalism" of the Canadian artist, the grandson of the first Ukrainian emigrants W. Ku-relek has been studied. The uniqueness of this creative method lies in the system of abilities of the artist. First of all, it is a comparative approach to the selection of ideas and thematic outlines of works, which was based on a long analysis of the historical context, socio-cultural environment and futuristic predictions, which the artist observed and tried not just narratively capture in his work.
From childhood, from his first emigrant grandparents, and later from his own experience of "dual" identity, it was very important for the artist to record in painting the presence and contribution of each emigrant group that was a member of multicultural Canadian society. In order to properly crystallize the author's style, W. Kurelek traveled to all twelve provinces of Canada, capturing the geopolitical, climatic, natural and social characteristics of each province. He studied the histories of the aboriginal tribes, the arrival of the first emigrants, and the stages of the "multiplication" and integration of the various waves of emigrants on Canadian land. The uniqueness of this style was that the artist did not generalize the standard image of "Frenchman", "Irishman", "Pole", but went by inductive method, studying the history of a person, his life, as well as the history of a country, its art , traditions, music, literature, customs, even cooking.
The unique artistic author's "mixed" technique obtained by long-term experiments and the influence of Nikolaides' artistic method on the compositional structure of W. Kurelek's work are also analyzed.

John Apokaukos (ca. 1155–1233), the metropolitan of Naupaktos, was a church and political figure of the early thirteenth century and an outstanding Byzantine writer. So far the collection of Apokaukos' letters has been studied mainly as a historical source. This paper has made a philological analysis of his epistles with the question raised how the author's self is portrayed. This research has shown that Apokaukos' letters formed an individual image of the author extending beyond epistolary clichés. This image is not without internal contradictions: on the one hand, Apokaukos portrays himself as a decrepit old man, enduring punishment for his sins, and on the other, he appears proud of his achievements and erudition, ready to stand up for his rights or defend the interests of his eparchy. Moreover, when the author speaks of his weakness and insignificance, he is not always serious, for the self-abasement sometimes turns into a caricature: for example, the author emphasizes his gluttony using grotesque comparisons. The author's image is not static: Apokaukos often portrays himself as a doubter, hesitating over two opinions and changing his position under the influence of circumstances. This paper has analysed the author's image in Apokaukos' letters in the context of Byzantine epistolography in the Komnenian renaissance. Some common tendencies have been determined in the epistles of John Apokaukos, Michael Psellos, John Tzetzes, and Theodore Prodromos. ; Митрополит Навпактский Иоанн Апокавк (ок.1155–1233) – церковный и политический деятель начала XIII в., выдающийся византийский писатель. Эпистолярное собрание Апокавка, включающее 156 писем, до сих пор исследовалось в основном как исторический источник. В настоящей статье проводится филологический анализ писем – ставится вопрос о том, как в них изображается авторское «я». Исследование показывает, что в письмах Апокавка складывается индивидуальный образ автора, выступающий за рамки эпистолярных клише. Этот образ не лишен внутренних противоречий: с одной стороны, Апокавк изображает себя ветхим, больным и страдающим за свои грехи, а с другой – предстает гордым своими достижениями, ученостью, готовым вступиться за свои права или защищать интересы митрополии. При этом, когда автор говорит о своей слабости и ничтожности, он не всегда серьезен – самоуничижение порой превращается в карикатуру: например, автор подчеркивает свое чревоугодие, прибегая к гротескным сравнениям. Образ автора не статичен: Апокавк зачастую изображает себя сомневающимся, колеблющимся между двумя мнениями, меняющим свою позицию под влиянием обстоятельств. Образ автора в письмах Апокавка рассматривается в контексте византийской эпистолографии Комниновского ренессанса. Отмечается ряд общих тенденций в письмах Иоанна Апокавка, Михаила Пселла, Иоанна Цеца и Феодора Продрома.

The novel «Resurrection» by Leo Tolstoy It is regarded as an epic one in the article. What is attributed to its specific features, includes – the fundamental importance of the common, folkish in the value system of the book, as well as the encyclopedic coverage of the late 19th century Russian life. What became the starting point for considering the material, is raising the problematic question of the inevitable contradiction between the objective re-creation of contemporaneity and the heightened subjectivity of Leo Tolstoy's late creative work, which the increased ethical pathos is characteristic of.
The article argues that the «removal» of the contradiction is due to the nature of the novelist's approach to depicting the facts of contemporaneity. This approach implies the scale of generalisations, the correlation of the facts of contemporary life with
folkish life, immersion of the facts in a voluminous historical and cultural context, including the historical and literary one. It is stressed that the author's subjective coverage of St. Petersburg life paradoxically becomes a handwriting of the image of
an objective picture. This is due to the fact that the author, who describes and evaluates the processes of contemporary life from the point of view of substantial and «due», relies on the folkish «view of things». In general, the coverage and assessment
of trends in the development of contemporary Russian society are given in the novel «Resurrection» in an epic perspective.

A linguistic analysis of V.S. Solovyov's autobiographical short story "At the Dawn of Foggy Youth" is proposed, as a result of which some features of the interaction between the author and the main character-narrator are revealed. This perspective of the study allows us to consider the ways of artistic use of language by the writer, his principles of building literary and artistic unity and conducting a dialogue with the reader. Methodologically significant for the proposed analysis was the theory of artistic speech by V.V. Vinogradov, largely determining the main directions of research. As a result of the analysis of the language layer associated with the image of the main character of the story, a conclusion is made about the variety of linguistic means peculiar to the hero's speech: expressive vocabulary, evaluative vocabulary, colloquial syntax, nonverbal language, individual features of oral dialogue. The characterization of the narrator's language as mainly literary is justified by the features of the author's idiosyncrasy, the high level of his education, the task of artistic representation of certain aspects of his own philosophy. As a result of the study of the author's features in the text, a conclusion is made about the conscious veiling of the author's image, which allows implementing a game strategy in the author's dialogue with the reader: through comments to the characters' replicas, through the ideological content of the text, in which some provisions of Solovyov's philosophy of love are artistically embodied and thus tested through composition, the choice of genre form.

В статье дается дифференцированное обобщение образа автора, важнейшей категории лингвопрагматики, в политическом дискурсе. Авторское начало в текстах политического дискурса может быть коллективным и индивидуальным. Коллективное авторское начало отражает позицию группы, стоящей за текстом: партии, общественной организации и государства в целом и анализируется через понятия «речевое действия» и «пафос» текста, под которым понимается тип авторской эмоциональности. Индивидуальное авторское начало исследуется по этим же параметрам, однако при анализе иронизирующего автора учитываются и жанрово-стилистические приемы текстообразования, которые являются средством субъективизации авторского облика. Коллективный автор представлен в политическом дискурсе репрезентациями таких доминирующих речевых действий, как констатация факта и манифестация предложений, решений, перспектив. Пафос высказываний коллективного автора варьируется в рамках «категоричность сдержанное уважение эмоциональное одушевление». Индивидуальный автор отличается от коллективного большим разбросом доминирующих речевых действий и вариантов пафоса. Это автор обещающий, автор осуждающий, автор разоблачающий, автор-историк, автор-прогнозист, автор, в равной мере использующий различные речевые действия. В современном политическом дискурсе одним из ведущих является иронический пафос, определяющий различную интерпретацию ликов автора. Это автор жесткий, злой иронист, автор маскирующийся иронист, автор-пародист и ряд других разновидностей авторского речевого облика. В заключение статьи намечены перспективы лингвопрагматического исследования образа автора и иных категорий политического дискурса. ; The article describes the general image of the author, which is a most important category of linguo-pragmatics, in political discourse. Political discourse texts may be written by collective and individual authors. Collective authorship reflects the position of a group behind the text a party, a social organization and the nation as a whole and is analyzed through the concepts of "speech act" and "pathos" of the text, the latter of which is considered to be a certain type of authorial emotionality. Individual authorship is studied along the same lines, but the analysis of the ironical author also takes into account the genre stylistic means of text formation, which are used to create the subjective image of the author. The collective author is represented in political discourse by such speech acts as establishing facts and manifestation of propositions, solutions and prospects. The pathos of statements of a collective author varies within the framework of "sharpness reserved respect emotional animation". The individual author differs from the collective one by a wider choice of dominant speech acts and pathos variations. This author is promising, blaming, dismantling; it is an author-historian, author-predictor, and author equally using various speech acts. In the modern political discourse, one of the leading positions is occupied by the ironical pathos, defining an interpretation of the author's images. This author is a tough, vicious ironist, author-parodist and a number of other author's images. The article outlines the possibilities of further linguo-pragmatic analysis of the author's image and related categories of political discourse.

The purpose of the article is to justify the linguistic-and-cognitive basis of an author's identity in poetic discourse. The analysis of linguistic-and-cognitive mechanisms of artistic idiosyncrasy individuality representation is carried out on the basis of Arseny Tarkovsky's works. The hermeneutic analysis of poetics in the works by Tarkovsky allowed confirming the assumption about a Gestalt-type cognitive structure that might generate meanings erasing in image-bearing systems and depict them as the system of interpenetrating motifs. The specificity of the above named structure is in its ad hock production, which does not allow to represent it as a pattern of a syntactic type that consists of some elements. This structure has the status of a fundamental (world-forming) cognitive model, which seems immanent to a prior structure of the poet's subjectivity and acquires the highest value rank in its axiological universe. Its status of immanent mediation between powerful faceless meanings circling in the sphere of the unconscious, and the manifest (created) aspect of the artistic world, that is, its sophianic, substantive (text-forming) nature, is confirmed in the article. The semiotic and cognitive specificity of Arseny Tarkovsky's idiosyncrasy is predetermined by the fact that the metaphysical source of his texts is introspection, immanent to insight, in which the "intelligent face" of the world is revealed, that determines the gnostic character of the conceptually defining motives of his poetics.

This study examines the phenomenon of social media segments functioning, focused on the presence of high-quality author's visual content in publications. It is the originality of the visual accompaniment of posts that becomes the basis for the popularity of the resource. It sets such a trend as the autonomous power of images in communication and giving a chance for the development of "pictorial" information exchange. The study analyzed the publication of the Russian popular science community "Educator" ("Ovrazovach") on the social network "VK". The main findings of the study is: 1) there is an autonomy of images and their independency in the process of creating interest to resource for audience; 2) the analysis of comments reveals a reduction of the content side of the popular science public; 3) user comments show the preservation of a high percentage of text messages, but this comments are related the picture, not on a scientific event. The authors believe that the phenomenon of autonomization of original images requires a detailed analysis on a wider number of examples.

В статье рассматриваются некоторые закономерности процесса апеллятивации авторских антропонимов в процессе их функционирования в художественных и публицистических текстах. Исследование выполнено на материале трех функционально близких образов - Плюшкин, Гобсек и Гарпагон. Анализируется употребление этих слов в функции оценочной характеристики человека, их использование в качестве метафор. Рассматриваются также устойчивые сравнения, в структуре которых вышеназванные антропонимы функционируют в роли образной основы. При этом поэтонимы постепенно приобретают способность выражать понятия, становятся «предикатными» именами. Автор приходит к выводу, что данные образы выражают не только ядерный признак крайней скупости, но и целый ряд других качеств; они могут иметь в тексте не только отрицательную, но и положительную коннотацию. В статье выявляется общее и особенное в употреблении образов скупости: они сопоставляются по контекстной семантике, по частотности, по сочетаемости. Функционирование в составе устойчивых сравнений и в качестве общеупотребительных метафор - важные факторы постепенного преобразования антропонимов в апеллятивы. Поэтонимы, становясь знаками вторичной номинации, претерпевают семантическую эволюцию - от идентифицирующей семантики к предикативной. Такая динамика определяется, с одной стороны, использованием в текстах ядерных семантических признаков номинативных единиц Плюшкин, Гобсек и Гарпагон, с другой стороны, - актуализацией периферийных признаков данных антропонимов.
The article examines some regularities of the process of the author's anthroponyms appeal in the process of their functioning in literary and journalistic texts. The study was carried out on the material of three functionally similar images - Plyushkin, Gobsek, and Harpagon. The use of these words in the function of the evaluation characteristics of a person, their use as metaphors is analyzed. Stable comparisons are also considered, in the structure of which the above-mentioned anthroponyms function as a figurative basis. At the same time poetonyms gradually acquire the ability to express concepts, become "predicate" names. The author comes to the conclusion that these images express not only the nuclear sign of extreme avarice, but also a number of other qualities; they can have not only a negative, but also a positive connotation in the text. The article reveals the general and special features in the use of images of avarice: they are compared by contextual semantics, by frequency, by compatibility. Functioning as part of stable comparisons and as commonly used metaphors are important factors in the gradual transformation of anthroponyms into appellatives. Poetonyms, becoming signs of secondary nomination, undergo semantic evolution - from identifying semantics to predicative semantics. Such dynamics, on the one hand, is determined by the use of nuclear semantic features in the texts of the nominative units Plyushkin, Gobsek, and Harpagon, on the other hand, by the actualization of peripheral features of these anthroponyms.