UKRAINIAN, CROATIAN AND POLISH PHRASEMES WITH SOMATIC COMPONENTS AS MEANS OF VERBALIZATION OF THANATOLOGICAL SEMANTICS

The article is devoted to semantic characteristics and structure of phrasemes in the Ukrainian, Croatian and Polish languages with a somatic component that verbalize the concept of “death” and their significance in the national and language worldview. In the article phraseology is seen in terms of its field structure, when its object is explored from the perspective of the phraseological periphery and core. Phrasemes with a somatic component are one of the largest groups in phraseology, because the anthropomorphic model of the world and human as its key element are among the oldest. The importance of the functions of сertain body parts and organs influences the ability of somatism to form phraseologisms: the more important the organ, the more productive it is in creating phrases. Awareness of the phenomenon of physicality allows people to explain and perceive the phenomenon of death. Сoncept is a complex of ideas about a certain object, which is a reflection of the cultural system in which it is represented. Сoncept is often verbalized in phraseologies, when its components present a particular concept. One of the significant elements of the picture of the world is the concept of “death”. The comparative analysis of somatic phraseologisms of the Ukrainian, Croatian and Polish languages confirms that the picture of the world of Ukrainian, Croatian and Polish people showed through phraseologies has a number of common and distinct features. Identical phraseologisms in form and content attest to the affinity of phraseological fund of the analyzed languages.

NATIONALLY ORIENTED FOREIGN LANGUAGE LEARNING IN THE CONTEXT OF THE LINGUO-DIDACTIC PARADIGM OF THE 21ST CENTURY

The article deals with modern views on the concept of “nationally oriented foreign language teaching”, presented in the linguo-didactic discourse of domestic and foreign scholars of the last decades. The author reveals and characterizes its evolution as one of the basic concepts of Russian and Ukrainian language education as foreign languages. It is found that they relate to the subject matter, content, and operational components of this phenomenon. There are significant changes in the views of scholars on taking into account students’ native language in teaching these languages by speakers of languages with different systems. There is a growing interest in didactic and linguistic data processing of the analysis of Chinese and Russian (Ukrainian) languages and their practical implementation. In terms of content, priority is given to culturally oriented and ethno-psychological aspects of mastering foreign language in a monocultural and multicultural educational environment. The innovative approach to this issue is also manifested in the increasing attention of researchers to the peculiarities of cognitive, mental and educational activities of Chinese-speaking students, formed by the national linguistic and methodological tradition, which is radically different from the national communicative and active lingvodidactic paradigm and needs appropriate methodological correction. Prospects for further study of the issues raised in our investigation are related to the research of a number of “new” terms in the terminological field of the basic concept of “nationally oriented foreign language learning”, as well as from the normative and codification side.

THE NATIVE LAND IN OLEKSII DOVHYI’S LINGUISTIC VIEW OF THE WORLD

The article found that the main component of a person’s view of the world are certain ideas about reality, which are formed in the mind of man in the form of concepts. Within the view of the world, such a basic value is defined as a «concept». The concept is interpreted in the study as a certain form of representation and understanding of knowledge in the mind of man. It is stated that the object of linguistic research is the specific linguistic forms of expression of concepts and ideas that express in the artistic text the author’s understanding of reality. Such linguistic units have two functions – representing the author’s worldview and shaping the worldview of the reader, influencing him. In the OleksiiDovhyi’s poetic language the outlook of his lyrical hero is represented by a series of tokens that denote groups of realities related to the image of his native land. In the conceptual view of the world of the author’s lyrical hero, this image is a sacred locus, a place rich in glorious history, filled with beautiful people, a place where history and the present are combined for the author against the backdrop of untouched nature. In some poetic contexts, the author sacralises the image of the native land by means of a series of units for the designation of environmental phenomena, which describe the external manifestations of certain objects of nature, their spatial characteristics in order to maximize their visualization.

IRONY AND FANTASY

The absence of a typology of irony in the theory of fiction stems from the fact that irony and fiction differently form and transform reality – fiction is a kind of fictional depiction of amazing worlds or phenomena. On the contrary, irony does not create worlds; in it, the subject comments on reality, adding another vision, a vision with a reassessment and deviation from what is said or presented. Irony can comment on the realities of different ontological status, that is, irony can relate to the real world and the fictional world, whether it is real or amazing. Fantasy transforms the world – it distorts, destroys or completes, or builds new worlds, and irony already adds a different vision to the ideas and views presented, regardless of whether they are real or fictional. The terminological and literary-theoretical aspects of the use of irony in works of literary fiction are discussed in the text. Dragan Stojanović’s book “Irony and Meaning” and the author’s terms “Ironical Focus” and “Meaning Pressure” are used as a theoretical starting point. After highlighting the touchpoints of irony and fiction and their special qualities and roles, is proposed a typology of the use of irony in fiction that separates ironic actions concerning the real world, the marvelous world and problematizing the relationship between the real and the marvelous world.

VOLODYMYR VINNICHENKO IN THE DISCOURSE OF FRENCH MODERNISM

The article explores the works of the famous Ukrainian writer Volodymyr Vynnychenko in the context of French literature of the first half of the twentieth century, and modernist trends in particular. The Ukrainian writer, philosopher, and public figure arrived in France in the mid-1920s to live there for almost three decades. He was interested in French literature, corresponded with A. France, A. Gide, co-translated with his wife his own works into French. His late-1940s translation of the novel Nova Zapovid (The New Commandment ) marked his engagement with the French literary process. The novel was awarded a prize by a literary clubs, and demonstrated resemblance to the major trends in French modernism. The article focuses on defining the typological correspondences in the interpretation by Vynnychenko and M. Proust of such components as subjective consciousness, mixed impressionism, memoir discourse. The author’s attention has been turned towards the specifics of the typological similarity of Vynnychenko and A. Gide’s aesthetic views, their assertion of the ideas of individualism, the quest for harmonization of the self, and symbolic “artistry.” Vynnychenko’s works are also analyzed in the context of French existentialism, including the study of such typological similarities of the aesthetic and philosophical views of the Ukrainian writer and A. Camus as undisguised moralizing, a claim to be perceived as teachers of life in solving practical ethical problems of the human condition. The author examines the methods and aesthetic constructions of such concepts of existentialism as freedom, choice, death, anxiety, relationships between the self and the Other in the works of Vynnychenko, J.P. Sartre, and S. de Beauvoir. The correlation between the works of Vynnychenko and A. de Saint-Exupéry is separately studied within the paradigm of existentialism, including “honesty with oneself” and honesty with others; the idea of community and the instinct of public responsibility. The critical optics of research combines the historical specificity of the development of French modernism, its philosophical foundations, the ethnic identity of the Ukrainian writer, and the inherent incorporation of his poetics into the paradigm of French modernism. For researchers, teachers, students of philology and those interested in V. Vynnychenko’s oeuvres and problems of literary modernism.

MOTIVES FOR POISONING, CURSING, SACRIFICE IN THE FOLK BALLAD OF THE SOUTHERN SLAVS

The proposed article analyzes the important motives presented in the folk ballads of the southern Slavs – the motive of poisoning, the motive of sacrificial sacrifice, the motive of the curse and their functional load. The introductory part discusses the importance of appealing to these motives for understanding the genre of the national ballad in general and the specifics of its existence in the Southern Slavic territories, in particular. The subject of research is Serbian, Croatian, Macedonian, Bulgarian, Bosnian folk ballads – all texts with similar motives and meaningful content. There are motives of poisoning, in particular, the poisoning of a woman by the husband’s persuasion of a lover, the poisoning of the bride’s son by his mother, the motive of sacral sacrifice in a whole group of works – about the sacrifice in the construction of structures, the sacrifice of the child in the ballads of his mythological load. In particular, it examines the motives of the curse that begets her maiden beauty, the curse that leads to infertility and unhappiness in family life. The motive of magic poisoning, widely used in Ukraine, is a slim figure for ballads on love and premarital relations in the South Slavic territories.

RECONSTRUCTION OF THE SEMANTIC STRUCTURE OF GERMANIC-BALTIC-SLAVIC WORD FAMILIES (INDO-EUROPEAN *BHLENDH-)

Being a research within the framework of the genetical word family approach to the comparative-historic study of Indo-European lexis and semantics, the article focuses on the semantic structure of the historical-etymological word family of the Indo-European root *bhlendh- encompassing words of the Germanic, Baltic and Slavonic languages. Analyzing the evidence provided by the reflexes of this word family’s underlying etymon, the author reconsiders the reconstruction of its primitive meaning and, outlining principal directions of its further semantic development, gives an explanation to certain peculiarities of this development which up till now remained unaccounted for.

IMAGE OF LAYOSH KOSHUT IN THE SLAV FOLKLORE TRADITIONAL

The question of historicism, historical authenticity of folklore works has long been of interest to researchers, since oral history not only complements historical sources, but often presents a mixed interpretation of events and characters. In their own way, the people also interpreted the events of the Hungarian liberation revolution of 1848-1849 under the leadership of Layosh Koshut against the Hapsburg dynasty, combined with such a pressing issue for peasants as the abolition of the serfdom. The slavic folklore about Layosh Koshut is represented by folk songs and legends, and reproduces the main points of the liberation war: the mobilization of the local population, its struggle for freedom, the arrival of the Russian army and defeat, the capitulation and escape of Koshut, etc., as well as such a pressing issue for peasants as the elimination of the serfdom, which peasants associate with Koshut or with the Cossier. People’s views on Koshut in songs are controversial. They partially contain anti-Hungarian motives, Koshut’s condemnation, in others his defeat is sympathy. The peasants are struggling for national and social freedom, as opposed to the serfdom, which is devoted to many places in the folk narratives of the region. Over time, in folk works, there is a permutation of time and space, some historical characters and places are replaced by others, changing and actualizing. The article addresses the problem of historical authenticity of folklore works, peculiarities of reproduction of events by artistic and poetic means, their parallels with Hungarian sources, transformation and actualization over time.

THE NARRATIVE STRUKTURE OF THE NOVEL BY MILAN KUNDERA IMMORTALITY

Novel Immortality of the famous Czech writer-emigrant Milan Kundera represents an organic combination of the Czech and West European tendencies of the novel development as well as demonstrates an adaptation process of the latest practice in the Czech literature, where emigrant literature plays a great role. The article studies poetics of the novel on the plot, composition and narrative levels. It is examined the philosophical and aesthetic character of the book, the interpenetration of the epic narrative forms and essay, the author’s communicative strategies. Intertextual and game modus of the novel is considered while game character is opposed to existential subject. Special attention is paid to the narrative composition of text characterized by the underlined subjectivity of narrative manner, the method of author’s mask, the meta-narrative judgments, the simultaneous use of different narrative forms.

ON THE HISTORY OF TRANSLATION OF SERBIAN PROSE IN UKRAINE: A DIACHRONIC ASPECT

The research is dedicated to the coverage of a diachronic aspect’s adoption of Serbian prose in the Ukrainian literature, especially the establishment and development of translation as one of the main forms of Serbian-Ukrainian cultural exchange. The beginning of interrelation between Serbian and Ukrainian culture comes into the circle of the researcher’s attention, and in this context – the beginning of Ukrainian writer’s translation practice, the first translations of Serbian prose are investigated. The special emphasis in the article is made on the Serbian translation works in the period from the 60s of the 19th century to the end of the 80s of the 20th century. This period of time is characterized by the works of V. Đorđević, L. Lazarević, O. Voinović, N. Marinković, V. Marinović, D. Kalić, B. Nušić, I. Andrić, B. Čopić, R. Domanović, S. Sremec, E. Koš, M. Kapor, M. Selimović. The dynamics of determinatives that influenced the translation works of Serbian fiction are investigated: from the effect of ideological criteria at the beginning of the 20th century in the conditions of created USSR to poetical, substantial and esthetical factors in the 70s-80s of the 20th century. The fiction of Serbian writers that was translated during this long-lasting period because of Pleiades of Ukrainian translators’ highly-professional work became a full-sized part of the Ukrainian literature process and got further literature understanding in the works of Ukrainian Slavicists.