FOLKLORE AS A FORM OF CONCEPTUALIZATION OF UKRAINIANS' MILITARY EXPERIENCE

[Kuzmenko O. M. Dramatical Existence of Human in Ukrainian Folklore: Conceptual Forms of Expression (Lviv : The Ethnology Institute of National Academy of Sciences of Ukraine, 2108. 728 p. 16 p. il.)]

WORDING OF AXIOLOGICAL DISTANCING IN MEDIA TEXTS ON POLITICALLY SENSITIVE TOPICS

The current state of linguistic pragmatics is at the stage of active development of the terminological basis and theoretical and methodological foundations. One of the notions used in the generally accepted methodology within this area is "axiological distancing". The use of this notion and the corresponding method of analysis allows us to fully disclose the strategies and tactics of constructing texts to influence the reader, analyse the manipulative strategies of the author, assess its objectivity and impact, etc. The results of the analysis of the selected texts allow us to make the conclusion that the ideological opponent in the texts under analysis is the abstract notion of a religious (Muslim) fanatic-terrorist in the eyes of a Christian and a European. It finds a concrete linguistic embodiment described and classified in the article. Having fixed the criteria of axiological classification of the opponent and the main value opposition, we passed to the analysis of the wording of the resistance to the opponent as an aspect of axiological distancing. The analysis of axiological distancing proved that the identification of the opponent's features by studying the semantics of lexical units used in the reference reveals a possible communicative effect and manipulative influence on the reader. According to the identified opposition pattern, the authors form a linguistic expression of the violation of the distance between the opponents, i.e. their physical influence and spatial approximation (we made the classification). The article describes the steps of building the axiological opposition "we" – "they", which is represented by such elements as "West" – "East", "Christianity" – "Islam", "freedom" – "dependence". Special attention is paid to the ways of providing objective reflection of events and keeping to the standards of journalistic ethics.

THE CENTER OF FOLKLORE AND ETHNOGRAPHY AS A PLATFORM OF PRESERVING, STUDYING AND PROMOTION OF UKRAINIAN FOLKLORE (TO THE 30TH ANNIVERSARY OF THE CENTER)

The article is devoted to the activity of the Center of Folklore and Ethnography of the Institute of Philology of Taras Shevchenko National University of Kyiv on the revival, preservation and popularization of the intangible cultural heritage of Ukrainians at the present stage. The history of development, the basic directions and results of work are characterized.

WORD FROM ABROAD

[Ethnographic Image of Ukrainians Abroad: the Corpus of Expeditionary Folklore and Ethnographic Materials. Part 1. Culture of Life Necessities and Traditional Socio-normative Practices (Еd. by H. Skrypnyk; National Academy of Sciences of Ukraine, M. Rylskyi IASFE. Kyiv, 2019. 676 p.: ill.)]

DIALECTS OF THE CHERNOBYL ZONE IN LEXICOGRAPHIC PROCESSING

Emphasis is placed on the need to record dialect material in various forms (text and answers to special programs) to ensure complete information about the structural features of reductive dialects of the Ukrainian language continuum and the importance of their study, because the relocation of people to other dialects leads to the destruction of the entire dialect area. In dialectology, a new concept appeared, a new term – reductive speech. The term is used outside the area of Northern Kyiv and North-Eastern Zhytomyr – the dialects of the Chornobyl zone. This conditional name is already firmly established in dialectology, and it wants to be shared on April 26, 1986, on the language map of Ukraine, and no one singled out a group of dialects. Migration movements from the Central Polis to other regions of Ukraine after the Chernobyl disaster led to the management of the entire dialect area, as a large 30-kilometer zone has been in the area for almost 35 years as almost depopulated, and its inhabitants have moved to villages and towns in several regions. Record, preserve and explore the actually lost language systems – this is the most important task of dialectologists. The representation of the Chornobyl zone dialects in various scientific hearings – descriptive, linguogeographical and lexicographic – is analyzed. The titles in the articles of the work to some extent represent data, factual material that can become one's own land, an empirical basis for publishing a dictionary of Chernobyl dialects. It should be noted that ethnographers and ethnographers found it difficult to collect and publish extremely rich material on the dialects of the Chornobyl zone. And although there are no requirements in their hearings (no transcription record is given, phonetic variants cannot be traced), they can significantly help lexicographers-dialectologists when teaching dictionaries as interpretations of individual tokens.

THE POEM "BEOWULF": NEW HORIZONTS OF STUDYING

[Karlova V. О. Cognitive-matrix Modelling of Borrowed Vocabulary in the Old English Poem "Beowulf" (Specialty 035 Philology. Kyiv, 2020. 303 p.)]

CULTURAL UNIQUENESS OF THE COMIC MODE: ARTISTIC STRATEGIES AND SIGN CODE (BASED ON THE PLAYS OF N. KOLYADA AND O. BOGAEV)

In the modern socio-cultural space, which is based on globalization processes, the principles of transculturalism and technocentrism, the idea of comprehension of the cultural code and value absolute manifestly comes itself to the forefront. The comic beginning as an aesthetic and cultural phenomenon is a way of expressing the value worldview system, it is verbalized as an ethno-marked substrate in the axiological picture of the world of the people. The article is devoted to the comprehension of the mode of the comic on the basis of the plays "The old hare" of N. Kolyada and "33 happiness" of O. Bogaev. This category is studied in the aesthetic and philosophical context as a way of dialogue with traditions, the search for national archetypes and overcoming the socio-cultural crisis. The dominant features of the poetics of the comic beginning, which is significantly complicated by philosophical searches are determined using the following artistic strategies: carnivalization (a system of images, models of heroes, linguistic experimentalism, plot-compositional beginning), irony, grotesque, binary opposition (tragic – comic), defamiliarisation, game intertextual beginning as a way of comprehending the cultural tradition and dialogue with the classics, mythologization, intermediality, artistic technique of the mask, trickster myth, the Menippean nature of the text canvas, the compositional structure of theater-in-the-theater, the motive of repetition. The signs of the semiotic system are analyzed as a way of expressing transitional thinking and the implementation of an axiological picture of the world: a goldfish (a symbol of deification of a miracle), an old man and an old woman (national archetypes, images of fairy-tale heroes), "Public Paradise", "Chungova Changa" (mythological codification, symbols of Paradise, resurrection of the soul), a hare (a symbol of a lost man in a crazy, insane world, a metaphor of a "little man"), a "dancing negrito" (a symbol of a "divine puppet", "a wonderful doll of the Gods"), a black beetle (a sign of an imminent meeting of heroes, a symbol of a lost soul, the semantics of crossing the semiotic border), a cat (a symbol of loneliness, wildness), "legs on a frosty window" (a symbol of a "little man").

ASPECTS OF STUDYING THE UKRAINIAN FOLK TALE IN THE LAST THIRD OF THE 20th CENTURY: FORMATION OF A NEW SCHOOL OF TALE SCIENCE

The last third of the 20th century in folklore is marked by the revival of methodology and editorial practice. International experience in studying fairy tales (creation of indexes, dictionaries, and theoretical research) had a positive effect on the development of Ukrainian storytelling, in particular its international character, but negatively created an atmosphere of national inferiority of Ukrainian science, inability to discover something new and original in its own folklore. The basis for writing our study was the work of Ukrainian storytellers (I. Berezovskyi, M. Gyrak, M. Zinchuk, L. Dunaevska), dating from the last third of the 20th century. The study also uses fairy tale works of domestic and foreign scientists in their consistent and logical interaction; points to the international issues raised by scholars in relation to the study of folk tales, its genre basis and poetics. Based on the review of collections of fairy tales, conclusions are made about the dynamics of improving the methodology of recording and publishing fairy tale narratives. Giving an assessment of the state of development of Ukrainian science of fairy tales, we can state: 1) Ukrainian storytelling of the last third of the 20th century developed in theoretical and practical aspects. The appearance of multi-volume collections of fairy tales by M. Gyrak and M. Zinchuk, as well as serial editions by L. Dunaevska laid the foundations for further theoretical research; 2) the participation of Ukrainian storytellers in international projects of indexes of plots and motives of fairy tales testified the high level of methods of studying the genre. The work of scientists has contributed to the emergence not only of textbooks, indexes and encyclopedias, but also university departments; 3) L. Dunaevska's theoretical works formed a new school of fairy tale studies, which focuses on the international context.

PAGANISM OF LITHUANIANS AND PRUSSIANS: RITUAL LAUGHTER

Ritual laughter is considered an integral part of the rituals used to make sacrifice to the ancient gods. This article analyzes instances of ritual humor in written sources from the 16th to 17th century and echoes of the joke in calendars, family traditions and folklore in the 19th and 20th centuries. The aim is to investigate how jokes and fun were understood in the religion and mythology of the ancient Balts; what influenced the expression of this sort of joke and how; and what forms and manners for eliciting jokes and fun are recorded in written sources, customs, traditions and folklore. Information in the written sources from the 16th and 17th centuries (even if it is fragmentary) shows Lithuanians and Prussians knew of ritual laughter which is a component part of rituals for making sacrifices to the ancient gods. The aim of ritual laughter was to succeed in making the gods happy (especially gods protecting agriculture and its different branches). From the examples presented, although there might not be many of them, we can nonetheless determine that the ritual laughter of the Lithuanians and the Prussians was divided into two categories: a) the happy god (with the request and wish the god would be happy) and b) the ritual laughter and fun of participants in rituals. After Christianity came to dominate in the late 17th century, ritual humor became an important part of calendrical, family and other customs, recorded in folklore and echoed in everyday speech and phraseology.

SEMANTIC-FUNCTIONAL CHARACTERISTICS OF CONCEPTUAL METAPHOR IN THE LANGUAGE OF WORKS OF POSTMODERNISTS POETS

The article is devoted to the study of the peculiarities of the functioning and creation of metaphors in the poetry of Oksana Zabuzhko, Yuri Izdrik and Serhiy Zhadan. The main contradiction in the understanding of metaphor lies in the ambiguous essence of this phenomenon: on the one and, metaphor is a means of speech, a linguistic unit, and on the other – it belongs to the figurative figures of language. A number of linguistic works in both Ukrainian and foreign linguistics are devoted to the study of metaphors. In particular, the language metaphor became the subject of scientific interest of N. Harutyunova; metaphor, its nature and role in language, and speech were studied by A. Gavrilyuk, the means of expression of metaphor became the main topic of research G. Sklyarevskaya and others. One of the important problems of linguistic stylistics is the study of the linguistic personality of writers, whose works are one of the stylistic sources of development of Ukrainian poetic language, so the importance of metaphor in poetic texts remains a relevant object of modern linguistic studies. The purpose of the article is to determine the features of semantics and the functioning of conceptual-semantic and structural-grammatical types of metaphors in the collections "Second Attempt" by Oksana Zabuzhko, "Quote Book" by Serhiy Zhadan and "Lazy and Gentle" by Yuri Izdryk. In accordance with the purpose, the following research methods were used: descriptive, using the methods of comparison and observation, as well as external and internal interpretation of linguistic material to determine the associations underlying metaphorical transference, contextual, conceptual and semasiological to analyze metaphor in the context of a poetry of postmodern writers. The article also clarifies the concept of metaphor and establishes its feature as a semantic linguistic unit. The focus is on the classification of metaphors used in the works of postmodern poets. The stylistic role and functions of language metaphors in poetic texts are investigated. This article can be used for further research in the field of conceptual metaphors in novel or poems.