Characteristics of Volatile Compounds and Sensory Properties of Mixed Organic Juices Based on Kiwiberry Fruits

Nowadays, the trend related to healthy eating is constantly growing among consumers. The juices based on kiwiberry containing over 20 vital nutrients may have a potential for usage in developing innovative products targeting health-concerned consumers. The aims of the study were: (1) to identify the volatile compounds of kiwiberry juice and its mixes with basic organic juices; (2) to determine the sensory characteristics and level of liking with regard to the tested samples and (3) to select the juice-mix with the highest sensory quality properties and liking. The measurements of volatile compounds in juices were made using a Heracles Neo ultrafast gas chromatograph (HS-GC). The sensory characteristics of the juices were assessed by Descriptive Quantitative Analysis, whereas the consumers’ overall liking was assessed on a 9-point hedonic scale. It was stated that the examined juices differed in the pattern of volatile compounds as well as in the sensory properties and the level of liking. The increasing addition of apple and pear juice to kiwiberry based juices in different ratios contributed to the exposed volatile compounds responsible for floral, sweet and fruity odours. The juice mixes with higher addition of apple or pear juices were more harmonized in terms of sensory image and represented higher levels of overall liking among consumers.

THE ROLE OF SINESTHESIA IN CREATIVE ACTIVITY OF COMPOSERS

The paper examines the problems of researching the scientific knowledge of synaesthesia and its role in creative compositional activity. An analysis of various approaches to the definition of the phenomenon of synaesthesia as a concept reflecting the form of perception, the connection between feelings in the psyche, the results of their manifestations in specific art fields: the art-aesthetic culture of the 20th century, reflects the culturological component of the phenomenon; the ratio of synaesthesia with a sensory impression having a certain color. The role of synaesthesia in creative musical activity is defined and the relationship with the general features of the style of the Romantic era and the individual psychological qualities of the composers is indicated. Consideration is given to belonging to a certain national musical culture, which bears one or another national style. An example of the manifestation of synaesthetic tendencies in the musical art in the direction of impressionism is given. V. Moskalenko distinguishes three versions of reconstruction by the performer of the composer's plan: real, conditionally real and hypothetical. One of the main distinguishing features of the composer's letter of the first half of the twentieth century is the submission to the general technocratic tendencies inherent in the culture as a whole. In the second half of the XX - beginning of the XXI centuries, the intuitive beginning in the creative process was updated. The ultimate manifestation of the intuitive and sensual principle in the process of composing practice is reflected in the ideas of the Russian composer D. Kurlyandsky, which testifies to the extreme actualization not only of the intuitive beginning, but also of the bodily, sensual experience in creating a musical work. A productive method of constructing the components of the composer's intention is the method proposed by N. Kolyadenko for establishing synesthetic models of the stages of the artistic process, where the synaesthetic model of the artistic process corresponds to the composer's intention. The role of timbre and harmony in the music of the twentieth century is noted. The texture reflects the many-sided changes in the musical paradigm of the twentieth century. The simplest example of fixing the composer's spatial thinking is the notation record. The tendencies of the graphic nature of the musical texture, which only became apparent in the works of K. Debussy, were transformed into an important component, and sometimes the predominance of textured graphics in the music of the twentieth and early twentyfirst centuries. T. Krasnikova points out such forms: a point, a line, a strip, a stream, a stain, a scattering, a cloud, a sound rain. The special research devoted to this phenomenon testifies to the potential of researching composer's remarks as an embodiment of the "semantic" palette of the "stylistics of the composer's musical speech", as well as the "artistic" picture of the world of the "composer" (by A. Sokol's definition). Thus, the remarks being the "key" to understanding the compositional sense of music, in this classification once again demonstrate the inclusion of both emotional and synesthetic components in the sensory image of the sound of a musical work. The synaesthetic analysis objectifies musical sounding with the help of synaesthetic markers, capable of directing an understanding of its meaning. However, the significance of the above mentioned components of the creative process increases when studying the composer's intention of a synesthetic character - the synesthetic concept laid down by the composer - and his performing realization.

IMAGE COMPONENT OF THE ENGLISH LANGUAGE LINGUOETIC CONCEPT DIGNITY

Purpose. The purpose of this article is to highlight the image component of English-language concept of DIGNITY. The stated goal is realized by inventory of the main verbalizers of English concept of DIGNITY, analysis of their etymology, identification of the semes that form the basis of the verbalizers’ internal form, highlighting the figurative component of the macrostructure of the analyzed concept as a set of images of its verbalizers.Methods. The application of the lexicographic analyses method allowed to inventory the key verbalizers of the analyzed concept, the methods of semantic and etymological analysis were used to highlight the semantics of selected verbalizers in the diachronic aspect. The method of linguocognitive interpretation allowed to identify the image component in the internal form of the studied nominative means and to establish the features of the figurative component of the macrostructure of the concept DIGNITY.Results. The presence of an image component in the concept is proved by the neurolinguistic features of human cognition: the sensory image encodes the concept, forming a unit of universal subject code. There are two types of image: perceptual – formed in the human mind on the basis of data obtained through human senses and cognitive – reconsidered by comparing new concept with the already known one and making associative metaphorical parallels. The image component of the concept is based on the internal form of its verbalizers. The study of the figurative aspect of the internal form of the word makes it possible to study the cognitive mechanisms of nominations in language. Separate research attention is focused on the peculiarities of the representation of various features (shape, color, structure, location in space, temporal features, purpose or function, structure, nature of application) in the internal form of the word.Conclusions. The macrostructure of the concept consists of three main constituents: content, image and interpretation field. The image component of the macrostructure is expressed by the internal form of its key verbalizers. Elucidation of the conceptual image allows us to trace how the concept is represented in the minds of speakers in synchronous and diachronic sections and to establish its metaphorical potential for rethinking. The analysis of the image component of the English-language concept DIGNITY proved that it is based on the trait “acceptability”, and the derived traits that complement the image are “praise”, “high esteem”, “pleasure”, “attractiveness”.Key words: etymological component, internal form, macrostructure, metaphorical potential, semantics. Мета. Метою статті є висвітлення образного компоненту англійськомовного лінгвоетичного концепту DIGNITY. Реалізація заявленої мети відбувається шляхом інвентаризації основних вербалізаторів англійськомовного концепту DIGNITY, аналізом їх етимології, виявлення сем, які покладені в основу їх внутрішньої форми, висвітлення образного компоненту макро-структури аналізованого концепту як сукупності образів його вербалізаторів.Методи. Застосування методу аналізу лексикографічних джерел дозволило інвентаризувати ключові вербалізатори аналізованого концепту, методи семантичного та етимологічного аналізу були застосовані для висвітлення семантики відібраних лексем в діахронічному аспекті. Метод лінгвокогнітивної інтерпретації дозволив виявити образний компонент у внутрішній формі досліджуваних лексем та встановити особливості образного компоненту макроструктури концепту DIGNITY.Результати. Наявність образного складника у концепті доводиться нейролінгвістичними особливостями людського пізнання: чуттєвий образ кодує концепт, формуючи одиницю універсального предметного коду. Виокремлюють два типи образу: перцептивний – сформований у свідомості людини на основі даних, отриманих через людські органи чуття, та когнітивний – переосмислений шляхом його порівняння із вже відомими концептами та проведенні асоціативних метафоричних паралелей. В основу образного компонента концепту покладена внутрішня форма його вербалізаторів. Дослідження образного аспекту внутрішньої форми слова уможливлює дослідження когнітивних механізмів номінацій у мові. Окрема дослідницька увага спрямована на особливості представлення різних ознак (форма, колір, структура, розташування в просторі, місцезнаходження, часові ознаки, призначення чи функція, устрій, характер застосування) у внутрішній формі слова.Висновки. Макроструктура концепту складається з трьох основних конституєнтів: змісту, образу та інтерпретаційного поля. Образний компонент макроструктури виражається внутрішньою формою його ключових вербалізаторів. Висвітлення концептуального образу дозволяє простежити, яким чином концепт репрезентовано у свідомості мовців у синхронному та діахронному зрізах та встановити його метафоричний потенціал для переосмислення. Аналіз образного компоненту англійсько-мовного концепту DIGNITY довів, що в його основу покладена риса «прийнятність», а похідними рисами, що доповнюють образ, є «похвала», «висока оцінка», «приємність», «привабливість».Ключові слова: внутрішня форма, етимологічний компонент, макроструктура, метафоричний потенціал, семантика.

The Latest Forms and National Models of Regulation by Fundamental Scientific Research

The purpose of the publication is to generalize approaches to understanding the essence of the processes of fundamental scientific research in the context of studying the peculiarities of the use of traditional and modern forms of their regulation, as well as national emphases of administrative administration models in academic fields. The form of public regulation of fundamental scientific research is considered as a means of influencing the subject of regulation on its object, which is embodied in a specific way of exercising powers to streamline the activities of social networks to encourage the desired model for the formation of fundamental cognitive social competences and inclusive competences. Social capital within the functioning of innovation-oriented sociovital ecosystems of the post-industrial economy. The national varieties of neoliberal, conservative-corporatist (continental), social-democratic and paternalistic models of fundamental scientific research optimization in the context of the implementation of the state's socio-economic policy on the regulation of intellectual services markets are studied. The functions of the process of formation and application of forms and models of fundamental scientific research regulation are the constant expansion of public consumption resources and the formation of knowledge-intensive sources of increasing the level of collective welfare; management of the design and structure of the complex of unproduced assets of national wealth, goods produced by the real sector of the national economy/services provided by the social sector of the national economy, tangible and intangible assets with high potential for value added; formation of high-tech services based on the use of basic concepts and meeting consumer expectations in them; development of logically substantiated fundamental scientific theories of formation, updating and use of fundamental scientific knowledge, concepts and sensory-image models of the scientific picture of the world with the possibility of further use in social practice.

THE ETHNO-CULTURAL ESSENCE OF LINGUISTIC CONSCIOUSNESS

Each culture is based on a specific system of subject meanings, social stereotypes and cognition patterns. The “worldview” invariant is determined by socially developed supports (by meanings, in the first place). In its turn, there may be a worldview which is common for the whole society (for a socio-cultural community or ethnos) or an individual one typical of a specific group (a socio-cultural group) within a given ethnos. In the process of ontogenesis, a child learns words in its native language, while lying behind these words is an integral image of consciousness comprising two layers. The first layer is the existential one. It includes the bio-dynamic tissue of live movement and action, as well as a sensory image. The second layer is the reflexive one, which includes meaning and sense. Behind a language sign, there is an organic cell, which is part of a worldview typical of a specific culture. The systemic character of meanings reflects the system of concepts existing in a given culture, in a Universe structure (worldview) formed within this culture. It is the association component represented by figurative and metaphoric connotations that determines the semantic content of a cultural concept.