ROLE OF ENGLISH AFFIXOIDS IN MODERN UKRAINIAN, RUSSIAN AND FRENCH

Background. The article is devoted to the influence of borrowed affixoids on the wordbuildingsubsystems of the target languages. Purpose. The aim of the article is to reveal the peculiarities of the influence of borrowingsfrom English on the word-building subsystem of the target languages and namely to define the roleof affixoids in productive ways of modern word-building. The aim preconditions the performing ofthe following tasks: analysis of the nature of affixoids; revealing peculiarities of borrowed affixoidsfunctioning in target languages. Methods. In the article the following methods are used: 1) for detecting the volume andmeaning of the term affixoid the method of the review of the existing literature has been used; 2) forrevealing the constituent parts of the lexical units the method of distributive has been used; 3) fordescribing the peculiarities of quasi-composites and existing word-patterns the methods ofonomasiological and formal analysis have been used. Results. If one analyses the appearance of the affixoid. -gate, it is necessary to take intoconsideration, that it is formed due to the so-called “intercalated” or “telescopic” formation ofnew words, when one word is “inserted” into another, as a result of which an unusual, occasionalformation appears. In modern Ukrainian and Russian we can reveal the development of newmeaning which is absolutely different from the primary meaning. Some people are even sure that -gate is the synonym of the word scandal. Borrowing word-forming models is another character feature of language that causes theappearance of quasi-composites. In French, for example, it is possible to observe the interestingphenomenon of borrowing not structural parts, but word-building samples. The presence of “falseEnglishisms” in the French language proves once again that very often not only separate words areborrowed, but also word-forming material. Discussion. Processes of borrowing influence the target languages in many different ways.The most common of them is direct borrowing, assimilation of concrete lexical units. But recentlythe facts of influence of the source language have become more and more common, so processes ofborrowing have an impact not only on the lexical subsystem of the target language, but also on theword-building level by assimilating productive affixes and affixoids, as well as common wordbuildingpatterns and models. The field of affixoids still requires new linguistic research, especiallyin connection with the processes of borrowing and the tendency of the modern languages tosimplification. It is very important to observe new ways of enriching vocabulary where assimilationof foreign affixoids is becoming more and more productive. The independent functioning ofaffixoids in target languages is also worth describing and analyzing.

DISCOURSE DIRECTION OF RESEARCH OF ARTISTIC TEXT IN MODERN LANGUAGE UKRAINIAN STUDIES

Background. One of the main issues of linguistics of the XX – early XXI century is a comprehensive study of the concept of discourse, which reflects a variety of real manifestations of human language communication in certain social spheres of its communicative space. The actualization of this concept in various scientific fields, the representatives of which study the essence and mechanisms of interaction of constants of such linguistic and philosophical dichotomies as “language and society”, “language and man”, has led to the need for its clear definition and typology of discourses etc. Despite the fact that linguists use a number of methods of discursive analysis of linguistic units, there is currently no single approach to their study within the theory of discourse.The purpose of the article is to identify and substantiate the features of the literary text in terms of modern discourse. The main objectives of the article: to determine the typological and categorical features of artistic discourse, to establish and describe the most important aspects of the study of artistic texts of different genres within discourse.Methods. The paper uses general scientific methods of observation, analysis, synthesis, comparison; linguistic methods, including the descriptive method – to interpret the discursive status of the literary text; the method of integrative analysis, which is the basis of a comprehensive study of a set of different aspects used in the study of the literary text as the embodiment of individualauthorial communicative intentions; the contextual-interpretive method – to identify probable reading strategies of reception of the literary text and its components.Results. The concept of discourse in the broadest sense is associated with all manifestations of communication. Discourse is a consequence of modeling knowledge structures that provide strategic planning, flow and control of communication, the operation of mechanisms of communicative competence, regulation of interactivity processes and more. An important communicative-semantic segment of the holistic nature of the analyzed concept is its interaction with various factors that reflect the essence of communication, in particular with the concept of the text. The linguistic tradition still has a great influence on the development of theoretical principles of categorization and typology of the concept of discourse, because until recently the discourse was often identified with the text as a complex linguistic sign that arises as a result of the process of language formation. Currently, researchers outline the structural and semantic parameters of the text with a number of features that also appear relevant and objective for the discourse: completeness; coherence; integrity; lexical, grammatical, logical, stylistic, semantic coherence; compositional completeness; communicative and pragmatic orientation, etc. Differentiation of discourses is one of the most important issues of modern discourse, which is currently a problem that researchers, based on a wide range of different socio-linguistic manifestations of communication, solve differently. To establish a typology of discourses, as well as texts, it is necessary to develop common criteria for their classification and determine the main categories of text and discourse. Artistic discourse, in contrast to other discourses, involves indirect communication of the author (sender) with numerous readers (addressees). When creating a text, the writer predicts the expected reaction to its content from readers, instead of “translating” the literary text into the discourse, the recipients carry out in their own way, based on their own knowledge, experience, feelings and emotions. The interaction of the addressee author with numerous addressees is devoid of real communicative factors, in particular temporal and local fixation. Despite the lack of direct contact, the writer's communicative influence on readers is obviously effective: if the artist has a deep knowledge of the language, individualizes and emphasizes linguistic means, it evokes a certain attitude to his literary texts and their evaluation by readers.Discussion. At the present stage of development of texts of any styles and genres requires discursive analysis, because in the language of fiction recorded authorial intentions that should “decipher” speakers in the process of dynamic cognition of semantic and semantic depths of a text, involving their own practical experience and knowledge during its decoding. We see prospects for further research of this topical problem in the study of features of artistic discourses of classic writers and famous contemporary artists, whose language creation is organically connected with the development of the Ukrainian literary word as an important component of the linguistic and cultural universe.

COMMUNICATIVE-PRAGMATIC POTENTIAL OF THE MEANS OF EXPRESSION OF FUTURAL MEANING IN PUBLICISTIC DISCOURSE OF THE FRENCH LANGUAGE

Background. The article under consideration focuses on the comprehensive research of CF,integrating stylistic, lexico-grammatical and communicative contexts of its realization in publicisticdiscourse of the French language. The purpose of the study is to investigate the stylistic and communicative peculiarities ofthe publicistic type of discourse, research the discourse differences between publicistic and literarytypes of discourse, define the types of futural semantics in publicistic type of discourse in theFrench language and specify their communicative potential. Methods of the research. The article under discussion applies comprehensive approach toCF research: interpretation procedure to differentiate modus components and separate modalmeanings of CF, method of semantic generalization to study the CF tense forms usage, thediscourse analysis operations to discover the remote structure with futural meaning, contextual andfunctional-stylistic analyses to discover CF semantics in separate microcontexts. Results of the investigation. The notions of strategy and tactics of language communication,overall context of utterance and speaker’s communicative aim producing, realized within a singlecommunicative act, are the foundation of the communicative-pragmatic analysis of the types ofdiscourse, implementing CF. Publicistic discourse is regarded as a certain type of discourse, as acorrelate of publicistic style. The communicative-pragmatic effect realization in a certain type ofdiscourse may involve the combination of semantic-stylistic and contextological analysis of theutterance. The analysis of the factual material proves that predictive publicism makes a significantpart of CF rate of usage. Discussion. It has been found out that publicistic discourse feeds into existential discoursebasic model. Its essence is in semiotization of the future reality in the long term or near-termperspective. The comparison of the tenses usage in publicistic and literary texts has demonstratedthe difference in their temporal structure – publicistic style, as opposed to literary style, ischaracteristic of preservation of frequency of the timeframe. Publicistic style, as well as literarystyle, contains futural contexts, which include integrative combinations of the verbs of movement,semantics of verbs, conveying different types of aspectual situations and grammar means.Publicistic type of discourse of the French language contains all four moods of French, able torealize two major forms of futural semantics – “future prediction” and “volitive future”. Prospectsof the future investigations lie in the study of CF expression in different types of language acts suchas: emotional-evaluative, declarative, directive, commissive, representative, in particular, wishes,permissions, demands, hints. Moreover, it seems highly potential to research CF in different typesof discourse, namely, in esoteric, culinary, advertese, intensional, etc.

COGNITIVE TRANSLATION STRATEGIES (ON THE MATERIAL OF COMIC BOOK “THE DESTINY OF NUMANTIA”)

The background of the article are the aspects of the problem solving in the process oftranslation, as well as the aspect of cognitive metaphor translation Theoretical background goes tothe works dedicated to intersemiotic translation of the comics, particularly the comic book “Aius.El Destino de Numancia (Ayus. The Destiny of Numantia)” from Spanish into Russian. The purpose of the article is to discuss problem of equivalency characterized in generalterms of the theory and practice of translation. The research material has been specified with the methods of description and analyticalobservation of the process of problem solving in the translation process. Results. The material of the article is the original book and the original publishedtranslation of Spanish comics based on the Numantia real story, historical fight against Romanexpansion led by ancient people of Numantia, modern territory of Castille and Leon, Spain. Thedifficulties of translation, mainly, stylistic, cognitive, cultural conflicts in the process of translatingare discussed and analyzed.Based on the identified typological characteristics, types, components,functions of the source language, the most commonly used problem solving model has beenconstructed and most usable translation strategies are highlighted, as well as there wererecommended solutions to emerging problems of the lacunarity concept problem solving, complexasymmetric constructions translation solutions. Discussion. The emotional-cognitive component, the value of intercultural adaptation, in theframework of heuristic theory in the process of further developing of the theory and practice ofprofessional translation was substantiated. It has been outlined the perspectives of the current studywith a cognitive component included, gaining relevance in the process of general globalization andtrends of modern society as well as the role of the translation in it.

LANGUAGE OBJECTIVIZATION OF THE ADJECTIVAL PHRASE OF CONCEPT “SUCCESSFUL WOMAN” IN UKRAINIAN PROSE OF THE END OF THE XX – BEGINNING OF THE XXI CENTURIES

Background. The article under discussion focuses on the analysis of the dictionarydefinitions of adjectival group as a means of verbalization of concept successful woman inUkrainian prose of the end of the XX – the beginning of the XXI centuries. The major features ofconcept successful woman have been distinguished, its model has been recreated with the help ofthe theory of conceptual blending. The purpose of the study has been to recreate the peculiarities of the languageobjectivization of linguocultural concept successful woman in Ukrainian prose of the end of the XX– the beginning of the XXI centuries, analyse the facts of usage of the dictionary definitions ofadjective “successful” (“успішний”) and compare them to the real cases of usage, as well asrepresent the language objectivization of the adjectival group successful woman. Methods. The methods, belonging to the lexicographic approach to the language facts study,have been applied in the investigation, namely – continuous lexicographic sampling method and themethod of contextological analysis, feeding into the overall paradigm of the investigations,dedicated to the text study as of a complicated communicative unity. Results. It has been found out, that from the perspective of the theory of conceptualintegration (blending) in the role of methodological principle, concept successful woman is ablended space (output space or blend), formed from the generic term “успіх” through the agency ofthe input spaces “успішна людина” and “жінка”, containing their conceptual features.An important feature of successfulness is the notion of “positive result” of any activity.Successfulness as a social phenomenon is regarded from two sides – from the speaker’s side – asfor their successfulness and from the public opinion side – concerning someone’s successfulness.There is a substantial difference between the definitions in the language dictionaries and in thepsychology sources: success in psychology is a source, potential resource for further aimachievement, and success in language is a result, final stage of a certain business or activity. Discussion. The investigation of the adjectival group of concept successful woman hasdemonstrated the semantic deviation between lexicographic data, obtained by the continuoussampling method and the data from illustrative sources. In particular, the row of the dictionarydefinitions to the notion “успішна” can be extended by the following adjectives from illustrativematerial: талановита, активна, енергійна, динамічна, щедра, щира, сильна, заповзятлива,завзята, хазяйновита, гарна, розкішна, крута, etc. As the analysis has proved, the adjectivalgroup has conceptually changed – some adjectives have gone and the others – added.

MAIN TYPES OF AMERICAN SLANG AND ITS TRANSLATION INTO UKRAINIAN

Background. Today, issues related to the study of slangisms are gaining new perspectives as slang is becoming an integral part of modern linguistics. Slangisms gradually become part of the language, function in it, and then disappear, giving opportunity new ones to exist (so new slang expressions can be formed). However, American slang is peculiar and unique, created in different social and age groups as a desire for brevity and expressiveness, sometimes as a protest against long words or as a desire to name an object or its properties in its own way. Therefore, considering the fact that linguistics of the 21st century is characterized by a tendency to analyze live communication, and oral language communication is still the most important aspect of language, we consider the study of American slang and the identification of its major groups to be relevant at the present stage of the development of linguistics and translation.Purpose. In our scientific study we aim to investigate the specifics of using American slangisms.Methods. In the context of studies, a descriptive method was used, which made it possible to theoretically generalize the results, systematize and interpret the functioning of slang units at a particular stage of language development, continuous sampling method was used to distinguish modern American slang units from the total number of lexemes as well as the method of translation transformations to achieve the adequate transmission of the content of these slangisms.Results. Scientists mainly distinguish two types of slang – general and special. However, there is currently no unanimity in distinguishing between special slang. Some researchers believe that special slang encompasses argo, kent, rhyming slang, social jargon and professional speeches, back slang. Others are convinced that special slang is a specific vocabulary and phraseology of social jargon, professional speeches, and the argo of the criminal world. However, in our opinion, special slang is basically a national phenomenon that has no analogues in another culture. Therefore, within our study we distinguish 4 types of slang: 1) rhyming slang; 2) mobile slang; 3) student slang; 4) everyday slang.Discussion. The issue of slang translation is one of the most difficult ones in translation theory. At the same time, it is important for any translator, because it is related to a number of elements, in particular, the translation variety of country studies, the culture of the translator, the availability of equivalents, context, education and knowledge of the translator. In our view, promising areas include the study of gender features in the use of American slang

FATHER FIGURE IN VASYL STUS’ LYRICS

Background. Literary study of Vasyl Stus’s lyrics doesn’t deal with conceptual meaning ofthe lyric’s hero psychical reactions to the realities of the world correlated with father’s andmother’s figures. Intimate and personal sense of relationship between a son and a father depictedin Vasyl Stus’s poems extrapolates on the different things, defines civil, patriotic and religiousfeelings. Though this sense destroys the “iconic” image of the poet it discovers worldview’sgrounds of the author’s consciousness, expends the opportunities to the interpretation. Purpose. The specificity of art presentation of the father’s figure embodied inautobiographic image of the father, in the images of the totalitarian leaders and God in VasylStus’s lyrics is studied. Methods. The question of the reflecting consciousness in lyrics concerns the field of theanthropological literary. The methodical complex of psychoanalysis is effective for the coverage ofthe mechanisms of the author’s consciousness’s emergence. The basic literary methods such asanalysis of images and motives, structural and semantic analysis need to discover artrepresentation of relationship between a son and a father in Vasyl Stus’s lyrics. Results. Ambiguous relationship with the father’s figure according to the son’s Oedipuscomplex is expressed in Vasyl Stus’s lyrics. Autobiographic image of the dead father complementedby son’s feelings of love, sad, shame, remorse is presented in the Stus’s poem “One hundred blackdogs have barked. One hundred dogs…”. Son’s feelings of love and respect are extrapolated for theimage of Stus’s friend I. Svitlychniy in the poem “I can’t do without Ivan’s smile…”. It’sremarkable, that sharply negative lyric hero’s attitude to totalitarian leaders, particularly toYo. Stalin, is implemented within the Cruel Father archetype and very often is transformed intoanti-colonial, dissident motives in Stus’s poems. Ambiguous relationship between lyric hero andGod in Stus’s collections “Creativity Time”, “Palimpsests” demonstrates such type of son’sOedipus complex as Christ Way and Prodigal Son’s Way leaded to submit to God-as-father orLucifer’s Way opposing His Power. Discussion. Father’s figure expresses wide autobiographic, civil, religious meaning in VasylStus’s lyrics. Ambiguous son – father relationship bases on the Oedipus complex, archetypes Fatherand Son and correlates with moral and ethic, patriotic and religious believes of the author’sconsciousness. Psychoanalytic view on Vasyl Stus’s lyrics expends its interpretative field.Keywords: Vasyl Stus’s lyrics, lyric consciousness, figure of a father, Oedipus complex,son – father relationship.

POSTMODERN NON-LAUGHTER IRONY IN OŚCI BY I. KARPOWICZ AND FRUTCHEN BY T. HAVRYLIV

Background. Irony and laughter in postmodern carnival prose are interrelated, yet notinterdependent. Irony is traditionally defined in terms of its laughter-causing trend; however,postmodern irony can be not funny. Its predominating sign is meaning ambiguity resulting from thegap between pronounced and non-pronounced. Irony is traced both in a meaning-shaping aspect(in which case both a message, and a code matter, and separate fragments of an ironic utterancegain significance), and in an intertextually-formal aspect of irony as a stylistic device and anexpression of the overall postmodern ironic mind. Purpose. The article seeks to trace the narrative forms of the ironic game’s domination as anarrative pattern and composition principle of the prose by postmodern writers. The research employs the methods of narrative analysis and receptive aesthetics. Results. The meaning vector of Ignacy Karpowicz’s narrative strategy in his Ości tends tocreate a peculiar range of polysemy, which, among other meanings, is implied in the book title. Thetitle’s polysemy transits to the level on non-pronounced, to “ness”, which indicates a leftover fromthe verbalized. The intertextually-formal aspect of the irony determines the novel’s receptivestrategy. The reader has to read characters’ “true” story following the picture provided by thenarrator. The reader is offered a detailed picture of their thinking and self-analysis. The authorseems to be kidding at the techniques innate in formula-based genres, inheriting them and breakingstereotypes at the same time. An ironic effect is produced via hints, understatements, unexpectedapproaches to representation. The “narrative” irony is combined with irony over contemporarytrends in literary studies and postmodern philosophical discussions. Irony becomes not onlypolysemic, but multidimensional: it unfolds on the surface of the text like language and narrativegame and alludes to other texts, emphasizing the need for professional interpretation. Frutchen byTymofiy Havryliv is explored in terms of conceptual comparison with “S / Z” by R. Barthes, wherehe outlines the principles of deconstructive analysis. T. Havryliv seems to be following reverselogic; he constructs his text as a reflection of the way to read a hermeneutic code declared by R.Barthes, he walks his reader through all “twists” of deconstructive thinking. A complex system ofnarrators and narrative in the story makes a multidimensional irony over the theme, forms andnorms of academic presentation and formula-based fiction texts. Discussion. The article outlines the forms of non-laughter irony and traces its impact on thecreation of polysemy of the postmodern fiction text. Besides, it indicates narrative devices andreceptive strategies used by the authors. In future, it is necessary to focus on the correlationbetween laughter and non-laughter poetics to emphasize ironic postmodern thinking in fiction texts.

LINGUISTIC ATTRACTION OF CHRLES DICKENS’ BOOKS

Background. The relevance of the theme is determined by the fact that really high qualityworks of any style and genre are always attractive, which is why they deserve the attention of thereader. This attraction is achieved to a great extent due to the use of certain linguistic and speechmeans: lexical, syntactic, stylistic, etc. We consider that it is possible to speak about universal andindividual means of creating attraction or their peculiar combination in the creativity of aparticular author. The problem of attraction has been studied by such researchers as O. Gryva,V. Grigoriev, I. Kryvko, M. Makovsky, E. Naugolnykh, Y. Poltavets, T. Filchuk, I. Frinberg andothers, who considered the attraction between word elements, between words, between parts of asentence, or as an element of the technique of a particular author. But the linguistic attraction ofCharles Dickens’s work has not yet been the subject of special study. The purpose is to identify lexical and stylistic means of attaining attraction that are typicalof Charles Dickens’ novels. In order to achieve this, we consider it appropriate to solve thefollowing tasks: to define the concept of attraction of a work of art; to accumulate factual materialselected from the novels of C. Dickens; to classify the found ways of reaching the attraction. Methods. The purpose and objectives of the work have led to the use of a comprehensivemethodology involving the use of general scientific methods, within which procedures aimed atsolving specific research problems, in particular the continuous sampling method, are used – toisolate fragments of texts that can be perceived as attractive; classification method – forsystematization of lingual means of attraction creation; functional analysis – to identify the role ofthese attractive fragments; quantitative method – to determine the frequency of these or thoseattractive means. Results. We define linguistic attraction as the focus of a work on its reader (listener), whichdetermines the reader’s interest in the text, according to it the individual increases (or in itsabsence) interest in a particular work of art. According to our observations, the most typical meansof creating the linguistic attraction of Charles Dickens’s works, which make his works easilyrecognizable, are the following: 1) irony as the most common stylistic tool; 2) a diverse word playthat encompasses sound levels, morphemes, words, bright flashes of foreign or altered units, etc;3) individualization of the character’s speech at the level of vocabulary, grammar, creation ofspecific lexical-syntactic units. Discussion. As time has proven, Charles Dickens’s works have been and remain attractiveto any reader. The analysis of the linguistic means of achieving this attraction indicates that theycan be classified as follows: irony as the most common stylistic technique inherent in Dickens’swork; a variety of words at the sound level (including rhyme), morphemes, words, phrases;individualization of the character’s speech, which is accomplished through certain words orsyntactic constructions. We see the prospects for further research in the analysis of theconservation or loss of the mentioned means of attraction during translation.

LANGUAGE STYLISH BASES OF CATEGORIES IMPLICITNITY AND IDIOSTYL F. M. DOSTOVSKOGO

Background. The description of the concepts “text”, “style”, “idiolect”, “idiostyle” indicates how much their content does not coincide. In the process of perceiving and understanding the text, the presuppositions and implications, which are components of the implicit information of the entire text, must be restored by the recipient in whole or in part, otherwise the understanding of the text will be incomplete, partial or not achieved at all. Therefore, the mechanism for reconstructing implicitness is one of the most important and universal laws of understanding a work.The purpose of the article is to define the concept of “idiostyle” and consider various approaches to this concept due to the peculiarities of the creative manner of writing of F. M. Dostoevsky, in particular the category of implicitness.Methods. In this work, we resort to such methods as descriptive and linguo-stylistic analysis, because the question of idiostyle in the last decade has acquired a complex character, in accordance with which the analysis of F. M. Dostoevsky’s idiostyle requires a multilevel approach. The research methods are determined by the concept of studying the integrity of the artistic image of a work of art, determined by the intersection of semantics and stylistics.Results. The article gives a general representation of the main features and mechanisms of text formation, exposing the characterological features of F. M. Dostoevsky’s idiostyle, in particular the place and role of the category of implicitness. We perceive discourse as the nature of the presentation of the writer’s works and his distinctive linguistic features. We recognize idio discourse as the communicative and artistic space of the author and the reader, which, in the aggregate and interaction of all its aspects, forms an integral communicative environment into which everyone who participates in the process of communicative activity immerses. The principles of the discourse – text – idiodiscourse – idiostyle correlation are described, idiostyle is defined as an object of linguistics research, the idiostyle and linguistic picture of the world of F. M. Dostoevsky are analyzed, the category of implicitness in the writer's idiodiscourse is considered, the concepts of implicitness, subtext, implication and presupposition are distinguished.Discussion. The appeal to the implicative potential of the detail made it possible to trace the mechanisms of its generation and actualization associated with the process of interpretation, which affects the perception of information by the addressee. Perception factors are associated with the socio-cultural environment, education, character of a person, his worldview and personal experience and form different models of perception, interpretation and reaction. Implicitness in F. M. Dostoevsky’s idiodiscourse is a complex, multifaceted and universal linguistic phenomenon that is responsible for creating depth of subtext and new information, not expressed verbally, but at the same time conjectured (remembered), understood by the reader using various linguistic means, background knowledge, and processes of thinking and is of great importance for understanding the meaning and meaning of the text. Thus, the peculiarities of the interaction of implicitness with the explorer and its manifestation in the writer’s idiodiscourse make it possible to draw a conclusion about a peculiar feature of Dostoevsky’s idiodiscourse.