Suchergebnisse

The present article deals with the means of expressing subjective modality of any literary text inthe process of studying a foreign language. The method of text analyzing and interpreting in order toevaluate and to mark the idea of the author is the main purpose of the scientific paper. The original versionof the antiwar pamphlet "The Conduct of the Allies and of the Late Ministry in Beginning and Carrying on the Present War" written by Jonathan Swift, an Anglo-Irish satirist, essayist and political pamphleteer, is the major source that the research has been conducted on. ; Данная статья рассматривает средства выражения субъективной модальности художествен-ного произведения на иностранном языке. Центральное место в статье отводится методике ана-лиза художественного текста на предмет определения оценочного аспекта. Для предлагаемой ме-тодики оценки и интерпретации текста основополагающими являются два фактора: смысловойили синтаксический рисунок текста и отношение автора произведения к излагаемому материалу.Посредством вышеназванных факторов, автор художественного произведения прибегает к опре-деленным языковым средствам, передающим смысл текста и воздействующим определеннымобразом на читателя. Материалом данного исследования послужил оригинал антивоенного пам-флета англо-ирландского писателя-сатирика и публициста XVII–XVIII веков Джонатана Свифта«Поведение союзников и министерства в настоящей войне».

В статье рассматривается проблема многомерности реализации политических идей в художественных текстах.

Статья посвящена изучению пространства возможных миров в художественном тексте с позиций лингвосемиотического анализа. Рассмотрение формирования возможных миров в художественном тексте в терминологии референциальности высказывания дает возможность автору сделать вывод о перспективности изучения экстенсионала и интенсионала художественного текста в отношении его содержания и смысла, что позволяет описывать возможные миры с позиций экстенсиональных элементов мира и их интенсиональных функций. В статье доказано, что пространствовозможных миров – это не только пространственные координаты действия, событий художественного текста, но и пространство авторской интенциональности, реализующее художественный вымысел. Лингвосемиотическое функционирование возможных миров мыслится автором статьи двойственным образом – с позиций автора и читателя. В процессе исследования выявлено, что в тексте романа В. Орлова «Альтист Данилов» основной функцией маркеров художественного пространства является соотнесение возможных миров с художественной реальностью, по своим семиотическим признакам близкой к советской действительности 1970-х гг., и с фантастическим миром, который дифференцируется от этой условной реальности, но свободно проникает в нее. Определено, что пространственные координаты маркированы в художественном тексте на лексическо-грамматическом и синтаксическом уровнях; для зоны авторской интенциональности свойственен более широкий репертуар средств, применяемых для создания художественного пространства, включая активное воздействие на эмоции читателя, а также использование его фоновых знаний, культурного и обыденного опыта.
The article is devoted to the study of the space of thinkable worlds in a literary text from the standpoint of linguistic and semiotic analysis. Consideration of the formation of thinkable worlds in a literary text in terms of the referentiality of an utterance allows the author to conclude that it is promising to study the extension and intension of a literary text in relation to its content and its meaning, which makes it possible to describe thinkable worlds from the standpoint of the extensional elements of the world and their intensional functions. The article proves that the space of thinkable worlds is not only the spatial coordinates of the action, events of a literary text, but also the space of the author's intentionality, which realizes fiction. The linguistic and semiotic functioning of thinkable worlds is thought by the author of the article as dual – from the positions of the author and the reader. The study revealed that in the text of V. Orlov's novel "Violist Danilov" the main function of markers of artistic space is the correlation of possible worlds with literary reality, in its semiotic features close to the Soviet reality of the 1970s, and with a fantastic world that is differentiated from this conditional reality, but freely penetrates into it. It is determined that spatial coordinates are marked in a literary text at the lexical-grammatical and syntactic levels; the zone of authorial intentionality is characterized by a wider repertoire of means used to create an artistic space, including active influence on the reader's emotions, as well as the use of his background knowledge, cultural and everyday experience.

This article will address issues related to the translation of fiction as derivative works. The current legislation defines translation as a type of derivative work. Therefore, the translation is subject to copyright. All the features that are characteristic of any other copyright object are inherent in translation, i.e. the creative nature of labor and the objective form. To carry out actions aimed at translating a work of fiction from one language into another requires the application of the creative efforts of the translator. A technical (interlinear) translation will not be subject to copyright as it does not reflect the artistic intent of the original author. The main task of the translator, in our opinion, is to convey as much as possible the artistic message that the author of the original work wanted to convey to the reader. If the translator allows the text of the original author to be changed, distorts the images of the work, then the personal non-property rights of the author of the original work are violated. Any literary work of fiction created by the author must convey to the reader thoughts, images that allow the audience to understand the intention of the original subject of copyright. Moreover, translations are protected on an equal basis with the original works, without prejudice to the rights of the author (paragraph 3 of article 2 of the Berne Convention), but the translator must respect the rights of the author of the original work. The article also indicates that the translation of a work of art in the classification of types of translations takes place as authorized and author's. This article will reveal the main features of translation as a derived literary work. ; У статті розглянуті питання, що стосуються перекладу художньої літератури як похідних творів. Чинне законодавство визначає переклад як вид похідного твору. Отже, переклад є об'єктом авторського права. Перекладу властиві всі ознаки, які характерні для будь-якого іншого об'єкта авторського права (творчий характер праці й об'єктивна форма). Для вчинення дій, спрямованих на переклад художнього твору з однієї мови іншою, потрібні творчі зусилля перекладача. Технічний (підрядковий) переклад не буде є об'єктом авторського права, тому що він не відображає художнього задуму первісного автора. Основним завданням перекладача, на нашу думку, є максимальна передача читачу того художнього посилу, що хотів донести автор первісного твору. Якщо перекладач допускає зміну текступервісного автора, спотворює образи твору, тим самим порушуються особисті немайнові права автора первісного твору. Будь-який літературний художній твір, створений автором, має донести до читача думки, образи, які дадуть змогу аудиторії зрозуміти задум первісного суб'єкта авторського права. Крім того, переклади охороняються нарівні з оригінальними творами, без шкоди правам автора (п. 3 ст. 2 Бернської конвенції), але при цьому перекладач має зважати на права автора оригінального твору. Також у статті вказується, що переклад художнього твору в класифікації видів перекладів позначається як авторизований і авторський. Стаття розкриває основні особливості перекладу як похідного літературного твору.

В статье рассмотрены лингвометодические аспекты, связанные с обучением студентов-иностранцев (инофонов) русскому языку как иностранному на продвинутом уровне на примере работы с текстами А. И. Солженицына. Художественные тексты писателя изобилуют индивидуально-авторскими единицами, созданными по неизвестной или знакомой в современном русском языке модели. Подчеркивается, что сложность обучения инофонов русскому языку на базе художественных текстов А. И. Солженицына вызвана необходимостью самому преподавателю в полном объеме владеть тонкостями стиля писателя. Лингвистический аспект данной статьи позволяет осознать специфику структурного состава индивидуально-авторских единиц А. И. Солженицына. В рамках методического аспекта подобные слова с измененным правописанием или семантической природой расширяют кругозор студента-иностранца, повышая не только уровень его владения русском языком, но и культурный уровень в целом. Активизируются широкие возможности для общения со студенческой аудиторией и преподавателями, а также для наиболее полного понимания всех коннотативных признаков коммуникативной ситуации. Нами выявлено, что при создании индивидуально-авторских единиц прослеживается определенная поэтапность, которая может быть положена в основу разработки ряда приемов обучения, отражающих факт поэтапной концептуализации в сознании студентов-иностранцев значимых особенностей менталитета русскоговорящих людей - носителей языка.
The article deals with the linguistic and methodological aspects related to teaching foreign students Russian as a foreign language at an advanced level by the example of working with the texts by A. I. Solzhenitsyn. Literary texts of the writer abound in individual author units created according to an unknown or familiar model. It is emphasized that the complexity of teaching Russian to foreign speakers based on the texts by A. I. Solzhenitsyn is caused by the need for the teacher to fully master the subtleties of the style of A. I. Solzhenitsyn. The linguistic aspect of this article allows us to get into the specifics of the structural composition of the individual author's constructions of A. I. Solzhenitsyn. Within the methodological aspect, such words with a changed spelling or a changed semantic nature expand the horizons of a foreign student, increasing not only the level of Russian language proficiency, but also the cultural level in general, giving a foreign student greater opportunities not only to communicate with the student audience and teachers, but also to better understand all the connotative signs of a communicative situation. We found that when creating individual author units, there is a certain step-by-step approach, which can be used as a basis for developing a number of teaching methods that reflect the fact of step-by-step conceptualization in the minds of foreign students of significant features of the mentality of Russian native speakers.

The purpose of this scientific article is to highlight the importance of using the text and working with it as a central component of the educational context of a foreign language, and particularly the importance of working with the text for the formation of language competencies. Literary text is considered as a methodological and didactic tool for learning a foreign language. The importance and necessity of using literary texts in the process of learning a foreign language is explained by a few factors. Literary text is, firstly, a source of linguistic and cultural information about the people whose language is being studied (history, culture, social order, economic and political characteristics, and secondly, a source of knowledge about functioning of the language system and its manifestations during the creation of a literary work.The necessity to use a literary text in foreign language classes is also explained by the fact that working with the text contributes to the formation of worldview, own opinion, helps to develop statements about various situations in a foreign language. Working with the text forms, develops and improves all language competencies, if the text is selected methodically correctly. The main criteria for selecting a text for a foreign language lesson are compliance with the level of knowledge and compliance with the learning objective at a particular stage. Each literary text is in fact an inexhaustible source of information, and it is the teacher whose main responsibility is to teach a student how to extract, analyze and be able to use this information for discussion. Work on any literary text must be thoroughly thought through and logically planned. At the initial stage of learning a foreign language, one of the best literary genres is a fairy tale, which involves imagery, abstraction and teaching. It is particularly interesting to elaborate on a fairy tale, the content of which carries information about the national-linguistic picture of the world. Based on the selected fairy tale, just as on any other literary text, a number of practical tasks are offered, which are recommended to be performed in foreign language classes before, during and after getting acquainted with the content of the text. This type of activity allows you to reveal the creative potential of students, encouraging them to think creatively and comprehend the hidden content. Therefore, the reading aspect, through which we learn both the language and culture of another people, should be given special attention in the educational process.Keywords: foreign language classes, work with text, language competencies.

The purpose of this scientific article is to highlight the importance of using the text and working with it as a central component of the educational context of a foreign language, and particularly the importance of working with the text for the formation of language competencies. Literary text is considered as a methodological and didactic tool for learning a foreign language. The importance and necessity of using literary texts in the process of learning a foreign language is explained by a few factors. Literary text is, firstly, a source of linguistic and cultural information about the people whose language is being studied (history, culture, social order, economic and political characteristics, and secondly, a source of knowledge about functioning of the language system and its manifestations during the creation of a literary work.The necessity to use a literary text in foreign language classes is also explained by the fact that working with the text contributes to the formation of worldview, own opinion, helps to develop statements about various situations in a foreign language. Working with the text forms, develops and improves all language competencies, if the text is selected methodically correctly. The main criteria for selecting a text for a foreign language lesson are compliance with the level of knowledge and compliance with the learning objective at a particular stage. Each literary text is in fact an inexhaustible source of information, and it is the teacher whose main responsibility is to teach a student how to extract, analyze and be able to use this information for discussion. Work on any literary text must be thoroughly thought through and logically planned. At the initial stage of learning a foreign language, one of the best literary genres is a fairy tale, which involves imagery, abstraction and teaching. It is particularly interesting to elaborate on a fairy tale, the content of which carries information about the national-linguistic picture of the world. Based on the selected fairy tale, just as on any other literary text, a number of practical tasks are offered, which are recommended to be performed in foreign language classes before, during and after getting acquainted with the content of the text. This type of activity allows you to reveal the creative potential of students, encouraging them to think creatively and comprehend the hidden content. Therefore, the reading aspect, through which we learn both the language and culture of another people, should be given special attention in the educational process.Keywords: foreign language classes, work with text, language competencies.

Success is an important factor in the increase of teacher competence, its implementation as a person, as the professional approach to teaching provides not only the appropriate level of knowledge, but also affects the formation of individual qualities of students. Therefore, the image created by the teacher plays a fundamental role in teaching students, thus, this article shows the implementation of the paradigm of "success" through the prism of pedagogical image. Russian scientist and writer of Ukrainian origin Yevgeny Vodolazkin (1964), based on his own experience of studying in Soviet schools and universities, in the novel "Brisbane" emphasizes the most important qualities that a successful teacher must have. The factors create the image of a teacher who (does not) lead to educational success (a teacher-despot LesiaKirillovna, a teacher-romantic Vira Mykhailivna, favorite teacher of solfeggio Claudia Vasylivna, a teacher and a close friend Olena Markivna, inconspicuous Pavlo Sergeev ,a moralist-director of the school, a gossip teacher of social sciences, psychologically stable Katya, nonconformist Ivan Sergienko, experienced professor Besedin , a relative of Lisa). Instead, the peculiarity of the observance of ethical relations in the scientific community among fellow philologists can be traced through the character of Associate Professor Chukin. Through the prism of the image of the protagonist of the work - Glib Yanovsky -, the way of the formation of his pedagogical skill and professional perfection is considered. In particular, the significant influence of the experience of relationships with teachers on the teaching practice of the protagonist has been established. The difference between university and school teaching has a particular importance. It is proved that political ideology (in particular, of the Soviet Union) directly influences teaching practice. Based on opinion polls and the novel «Brisbane», it is highlighted the most necessary professional, individual features and appearance of the teacher ...

В статье рассматривается феномен взаимодействия дискурсов в англоязычной металитературе второй половины XX - начала XXI в. с позиций когнитивно-дискурсивного подхода. Актуальность исследуемой проблемы определяется ее включенностью в круг современных научных разработок в рамках когнитивно-дискурсивной парадигмы, в частности исследований, в основе которых лежит теория интердискурсивности, которая активно развивается на стыке теорий текста и дискурса. Материалом исследования являются лексические единицы, а также синтаксические и словообразовательные модели, полученные в ходе выборки из англоязычных научных и художественных текстов. Используемые в работе методы исследования включают комбинирование общенаучных методов дедукции и индукции, методов классификации, моделирования и интроспекции при анализе эмпирического материала, методов концептуального, компонентного, трансформационного анализа и анализа дискурса. Последовательное применение методов концептуального анализа и анализа дискурса позволяет восстановить исходную структуру и содержательное наполнение ментальных единиц, стоящих за репрезентантами научного дискурса в художественном тексте и репрезентантами художественного дискурса в научном тексте, а также проследить ход трансформаций, которым они подвергаются в нехарактерном для них дискурсивном окружении. Все вышесказанное свидетельствует о значительном функциональном потенциале репрезентантов научного дискурса, который делает возможным многовариантное декодирование зашифрованных в тексте смыслов субъектом дискурса, выражающее специфику конструирования и моделирования отражения того или иного фрагмента действительности членами определенного языкового коллектива, выступающими субъектами взаимодействующих дискурсов.
The object of the article is the study of discourse interaction in English metafiction of the second half of the 20th century - beginning of the 21st century in cognitive-discoursive aspect. The topicality of the research is determined by its involvement in the sphere of cognitive-discoursive paradigm, including in particular the theory of interdiscoursivity that exists at the confluence of theory of text and theory of discourse. The material for research is constituted by lexical units, as well as syntactic and word building patterns used in English scientific and literary texts. The methods of research include the deductive and inductive methods, classification, model analysis and introspection as well as methods of conceptual, component, transformation and discourse analysis. The use of these methods allows to reconstruct the structure and the content of concepts represented by interdiscoursive markers in the frames of discourse not characteristic of them. The results of the research allow to make the conclusion about the significant functional potential of representatives of scientific discourse and their role in the process of decoding the author's information in heterogeneous discoursive space by the reader who acts as a subject of interacting institutional discourses.

Ivan Franko's epistolary legacy has been carefully scrutinized. Special attention is drawn to the secrets of the writer's laboratory, creative stimuli and minute aspects of researching literary texts. The article contains biographic information about the writer, reveals his internal world, ideological and aesthetic views and individual peculiarities of literary thinking. While analyzing Franko's epistolary legacy, it was ascertained that his letters appear a valuable source to gain perceive his biography, in particular literary one, literary-aesthetic and political views, and his participation in public and literary and in revolutionary-liberation movement. Franko's letters provide ample material for understanding leading socio-political and aesthetic thought in Ukraine. Keywords: epistolary legacy, epistle, epistolary form, letter, correspondence, literary process. ; Проаналізовано та досліджено епістолярний спадок Івана Франка. Особливу ува-гу приділено секретам письменницької лабораторії, творчим стимулам, деталям праці над літературними творами. У дослідженні містяться біографічні відомості про митця, розкривається його внутрішній світ, ідейні та естетичні погляди, індивідуальні особливості художнього мислення. Ключові слова: епістолярій, епістола, епістолярна форма, лист, листування, літературний процес.

The article is devoted to the study of the genre of literary epitaph in Tabasaran poetry. In the water part, which has a theoretical character, the difference between the cemetery and literary epitaph is shown, the constitutional signs of two genre varieties are revealed, the degree of mastering of the genre in the literatures of the peoples of Dagestan is stated.
In the main part of the work, the thematic, structural and compositional analysis, as well as the analysis of the subjective organization of the texts of the Tabasaran literary epitaph were carried out on the material of the poetic texts of poets G. Hajiyev and R. Ramazanov. The author comes to the conclusion that the literary epitaph in Tabasaran poetry has an edifying and satirical character; it condemns the actions and qualities of people who contradict the national ideal of a woman, mother, highlander — adultery, violence against people, selfishness and indifference, depravity and perseverance in committing sins. Also in the epitaphs, the problems of retribution for earthly life, gratitude are raised.

The article is devoted to the study of the originality of literary anthroponyms in the works of Boris Ukachin. This problem has been little studied and requires further research. The relevance of the research is determined by the need to interpret the artistic anthroponymicon in order to comprehend the deep meaning of the text. The anthroponymic vocabulary of Boris Ukachin's artistic works has a significant potential for understanding the ways of the individual author's organization of the artistic space and the system of subtext connections. Therefore, the study of the anthroponymy of the author's works makes it possible to expand and streamline information about the traditional and new in the writer's artistic heritage.
Literary anthroponyms serve as a means of designating characters, isolating and distinguishing them, concretizing and generalizing. The anthroponymic space of Boris Ukachin's works is extraordinarily rich, there are names in it that reflect the customs, traditions and worldview of the Altai people, which are formed by different ways of word formation. The name and her appearance largely determine the artistic thought of the author, it is closely related to the plot, portrait, landscape of
Boris Ukachin's works. Since people call an object by their personal names, they do not attribute any properties to it, however, in a literary text, thanks to anthroponyms, the writer hides a certain meaning that reflects the character of the hero. It is thanks to proper names that the reader becomes clear which character is in front of him. Anthroponymic semantics manifests itself especially vividly and profoundly in the title of the stories.
According to the author, anthroponyms are widely and variously represented in the work of B. Ukachin. Many of them are divided by lexical and semantic characteristics into descriptive names, wish names and names that give some information about a person's personality.

The article explores the phenomenological aesthetics of Hans-Georg Gadamer, specifically focusing on its application in the context of timbral text analysis. The study thoroughly investigates how Gadamer's phenomenological perspective can enhance the understanding and interpretation of texts, by viewing them as intricate, multi-layered constructs that require analysis of their emotional and expressive elements. The authors delve into such fundamental concepts, as the fusion of the author's and reader's horizons, the hermeneutic circle, and the dynamic nature of these horizons within timbral analysis. A significant portion of the paper is dedicated to examining the role of historical context and personal preconceptions in the interpretation process. It underscores the importance of acknowledging historical and cultural horizons to achieve a comprehensive understanding of texts. The article presents an innovative approach to the interpretation of literary texts, merging Gadamer's phenomenological aesthetics with timbral analysis techniques. This research redefines traditional text analysis methodologies by attempting to bridge the gap between philosophical aesthetics and practical text analysis. This work offers a novel perspective on text analysis and interpretation. The authors' approach not only deepens the understanding of Gadamer's phenomenology but also demonstrates its utility in text analysis. The study is poised to influence future research in text interpretation, encouraging a more nuanced and holistic approach that takes into consideration both the aesthetic and emotional components of texts, as well as the cultural and historical context in which they are embedded.

The author of the article analyses how literary text can be a cultural instrument for overcoming the traumatic experience of war. Ongoing events in the Donbass prove that manipulating with the historical consciousness of the inhabitants of this region of Ukraine and important events from the past have become the reasons for a new military implosion between the colonized and colonizer. Literary texts published in the last few years not only reflect the Russian-Ukrainian war in eastern Ukraine but also shed light on the consequences of Soviet colonization, which played the main role in the process of mental separation of this region. In the context of post-communist society transformations, the Donbass war is similar to the military conflicts in Transnistria, Georgia and, above all, to the war in former Yugoslavia. Contemporary literary texts are the most accurate examples of it from the point of view of the traumatic experience of culture. ; Przedmiotem przedstawionego artykułu jest analiza tekstu literackiego jako instrumentarium przezwyciężenia traumatycznego doświadczenia wojny. Współczesne wydarzenia w Donbasie dowodzą, że manipulacja historyczną świadomością mieszkańców wskazanego regionu i nieprzepracowane ważne wydarzenia z przeszłości stały się przyczyną nowej militarnej implozji między skolonizowanym a kolonizatorem. Publikowane w ostatnich latach teksty literackie nie tylko odzwierciedlają realia wojny rosyjsko-ukraińskiej na wschodzie Ukrainy, ale także naświetlają konsekwencje sowieckiej kolonizacji, które odegrały główną rolę w procesie mentalnej separacji tego regionu. W kontekście postkomunistycznych przemian społecznych wojna w Donbasie przypomina konflikty zbrojne w Naddniestrzu, Gruzji, a przede wszystkim wojnę w byłej Jugosławii. Z punktu widzenia traumatycznego doświadczenia kultury współczesne teksty literackie są tego znakomitym przykładem.

We investigate the specificity of the literary text as a form of anti-utopian theory, means that convey the essence of the anti-utopian systems and mechanisms for their interpretation. An important place is given to the essential characteristics and ways anti-utopian disclosure in fiction. Substantiated the necessity to include literary anti-utopia to the field of political science research as a special form of existence of political thought. Key words: anti-utopia, anti-utopian system, literary form, value, subjectification of policy. ; Розглянуто специфіку літературного тексту як форми вираження антиутопічної теорії, засоби, що передають сутність антиутопічної системи та механізми їхнього трактування. Важливе місце належить сутнісним характеристикам антиутопії та способам їх розкриття у художньому тексті. Обґрунтовано необхідність включення літературної антиутопії до сфери дослідження політичних наук як особливої форми існування політичної думки. Ключові слова: антиутопія, антиутопічна система, літературна форма, цінності, суб'єктивація політики.