The Journal of V. N. Karazin Kharkiv National University, Series "Philology"

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ISSN : 22271864
Current Publisher: V. N. Karazin Kharkiv National University (10.26565)
Total articles ≅ 84
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O. Trumko
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 67-72; doi:10.26565/2227-1864-2020-84-10

Abstract:
The purpose of this article is to reveal specific features of the realization of the linguistic personality of I. Franko in the matrimonial directive discourse. The source base for the analysis was I. Franko’s letters to O. Khoruzhynskaya. The analysis of I. Franko's linguistic personality done within a cognitive-discursive paradigm, using discourse-analysis, intent-analysis, contextual analysis, methods of analysis and synthesis, descriptive method. Іt was established that the intension of directive in the speech of I. Franko was aimed at the expression of advice, requests and questions. The writer seeks a positive settlement at regulating his wife’s health problems, her life and scientific work, financial issues. It also prompts the wife to take care of oneself and children, to perform / not to perform certain actions towards him / other persons, to write a work or to engage in literary activities of family’s acquaintances. I. Franko asks wife to determine his further actions in certain everyday situations. The question is a means of getting new information about the wife's daily affairs, the children’s health state, domestic problems, weather conditions, common friends or the reasons for the absence of letters from his wife. I. Franko uses a question for reconciling family planning. Linguistic means: declarative, imperative and interrogative / interrogative-imperative sentences, verbs of the imperative / conditional mood, imperative verbs together with the infinitive / negative particle not, the verb ask in the 1st person singular, personal pronouns, adverbs, restrictive / emphatic particles and exclamation, etc. Complex sentences provide expressions of incentives and their argumentation. The speech is characterized by obsolete / colloquial words, dialecticisms, polonizms, russisms and chekhisms. The writer uses phraseologisms, metaphors, similes, words in figurative meaning. Terms of endearment and means of expressing courtesy show favor to the addressee. Consequently, the directive discourse ensures the realization of Ivan Franko’s linguistic personality in family communication on the motivational, linguistic-cognitive and lexico-grammatical levels.
Юлія Іванівна Калашник
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 49-55; doi:10.26565/2227-1864-2020-84-07

Abstract:
The article reveals the individual stylistic features of T. Melnychuk’s poetic language as represented in their semantic and syntactic organisation and stylistic functions. The task was to study the semantics of the aphorisms, their syntactic structure and stylistic means and to identify the compositional functions. According to the degree of the semantic dominant expression, the aphorisms of the analysed poetry are figurative and concentrate around the themes and motifs that have to do with Ukraine, its history, the destiny of the poet himself, with moral and ethical issues, with eternal values. The comprehensiveness of the aphoristic character of the analised poems is proved. T. Melnychuk’s aphoristic expressions are established to correlate with various syntactic constructions: from a simple sentence to overphrase unities. The registered poetic aphorisms are mostly equivalent to complex sentences of minimum structure with adverbial clauses of condition or cause as well as attributive clauses etc. The aphorisms are also represented by multicomponent complex sentences and coordinate constructions (the latter have mainly comparative-contrastive relations between the predicative parts) and, more seldom, by asyndetic sentences. Prevalence of the aphorisms equivalent to composite sentences and overphrase unities can be explained by their being not only sense-making but also compositional components of T. Melnychuk’s poems. There are whole strophes or poems of aphoristic character. T. Melnychuk’s aphoristics is characterised by folkloristic nature, by tending to maxims. The aphoristic character is based on paradoxical features and is created by various oppositions, repetitions, negation, chiasmus, is supported by rhyming.
Ніна Сімонівна Алексєєва
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 9-15; doi:10.26565/2227-1864-2020-84-01

Abstract:
The article focuses on analyzing such forms of intermediality as theatricality and carnival in the novels of M. Bulgakov The Master and Margarita and B. Pasternak Doctor Zhivago, intermediality being considered as an aspect of interdiscursivity. Theatricality in both novels is realized through the availability of «theatrical» vocabulary, theatric imagery and symbolism, and at the levels of the text structure and chronotope as well. The research shows that theatricality in Pasternak is of intimate, impressionistic character, while that in Bulgakov is explicit and features a carnival component. A common “theatrical” element in both novels is the motif of directing and the image of director. In Pasternak the director is life itself, unlike in Bulgakov, where life is directed by supernatural forces. In both novels the characters are actors and viewers at the same time, the stage and the floor of the house belong in the town. However, in Bulgakov, by contrast with Pasternak, there is no division of the town space. Theater in The Master and Margarita is related to the so called anticarnival, as it is conducted by the carnivalizer (Voland), rather than people. In Pasternak the unity «theatre ̶ life ̶ death» is a natural manifestation of life, unlike in Bulgakov, where the motif combination «theаter ̶ death» has an ominous and violent character. In Doctor Zhivago the final ruination of theatricality is of realistic character, while in The Master and Margarita it is of transcendent one. By and large it is possible to conclude that theatricality in Doctor Zhivago reminds of the theater of experience, when Bulgakov’s buffoonery is similar to the theater of performance.
Юрій Григорович Рожков
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 56-61; doi:10.26565/2227-1864-2020-84-08

Abstract:
The article deals with the cognitive mechanisms of using metaphor in veterinary terminology of English language. The material of the study was the terms-metaphors of the terminological field of "animal diseases". Based on the theory of conceptual metaphor, the main donor zones, which served as a source of metaphorical nominations for the designation of animal diseases, were identified within the field under study. The types of metaphorical transferences (structural, gestalt, diffuse) that exist in the terminological field "animal diseases" are characterized. The main categories of varieties of metaphorization of the studied terminological field are analyzed. It is concluded that the processes of metaphorization demonstrated extraordinary activity in terminology, being based on the use of signs of some subject spheres to refer to others. The Gestalt variety was dominant in the process. It was established that the donor zone HUMAN is the most productive one for making terms-metaphors to designate animal diseases since human consciousness is prone to percept an outer world in close association with personal experience of biological and social character. Productive to the English terms of the terminological field of "animal diseases" is the conceptual sphere ARTIFACT as a man-made object. Gestalt metaphorical variation based on the use of visual and auditory gestalt is relevant to this donor zone. For the formation of metaphor terms, the most typical one is visual gestures based on the external similarity of animal disease symptoms to man-made objects, or as a result of their associations with artifact coloring. In the terminological field "animal diseases", this group includes such names as coronavirus infection – "coronaviruses most commonly affect cattle, birds, cats, dogs and humans. The shape of the coronavirus is reminiscent of balls with large (about 20 nanometers) tentacle projections arranged in the form of a solar corona, for which they are called», pastous (from lat. Pastosus – doughlike ) – swollen, portals of infection – "place of penetration of pathogenic microbe in the body" drum belly –"excessive accumulation of gases in the intestine caused by increased fermentation processes and impairment of its motor-secretory function"), laky blood - «destruction of the stroma of erythra of oocytes with the excretion of hemoglobin. "
Григорій Олегович Савчук
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 29-33; doi:10.26565/2227-1864-2020-84-04

Abstract:
The article reveals the Intermedia aspects of the collection of V. Symonenko "Silence and thunder", in particular, the incorporation of cinematic elements. The relevance of the topic, its relationship with previous research are proven. The emphasis on the fact that in the sixties of the XX century in Ukraine the rapid development of all kinds of arts caused art diffusion. Poems that belong to the literary clips or contain their characteristics are analyzed: "Millstone", "Mower", "Lover", "Silence and thunder", "Oven". With the help of microanalysis, and the biographical method semantic structure of the poems, especially the clips, their role in the disclosure of the idea are disclosed. Particular attention is paid to the features of portraiture in the collection, portraits are shown in dynamics. The role of the eyes in the dynamic image is emphasized. The cinematic elements in the intimate lyrics of the collection Silence and Thunder are considered.On the basis of observations on literary clips of V. Symonenko a number of conclusions are made. Mini-movies of collection based on peasant subjects at least for two reasons. First, the poet himself is a native of the village, and secondly, there is the influence of Soviet cinema about the village. Obviously, the author proves that the topic of the village can be a ground for broad generalizations. The cinematic material is most often the basis for the author's thoughts, so some of the poems of the book "Silence and thunder" resemble the structure of the fable. Using cinematic elements, the poet emotionally claims his stance, moralize, makes philosophical insights. Literature clips in the book combines the realistic and neo-romantic beginning. Neo-romantic intentions especially filled with footage that cannot be removed through the resources of traditional cinema, need animated effects.
Марія Олександрівна Федосова
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 34-41; doi:10.26565/2227-1864-2020-84-05

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Фелікс Маратович Штейнбрук
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 42-48; doi:10.26565/2227-1864-2020-84-06

Abstract:
Oles Ulianenko, one of the most talented and controversial Ukrainian writers of these days, has been dead for ten years. His literary works did not receive any appropriate professional evaluation though because literary scholars and critics applied either the wrong or unproductive research methodology due to some objective and subjective reasons. The aim of the article is to suggest an alternative, in comparison to traditional variants, theoretical literary analysis which is grounded on the principles of the corporal-mimetic method to interpret fiction done on the extremely controversial novel “The Cross on Saturn” by O. Ulianenko. Having analyzed the idea and artistic content of the novel “The Cross on Saturn”, the conclusion is made that, first, the book characters seem to function as simulacra of their shallowness because they lack the depth of inner world. But despite this fact, despite parody, superficial dialogues and surrogate actions, the main characters of the novel and the peripeteia, they find themselves in, do not lose aesthetic appeal because these characters do not need deep inner world since their function is not determined by what these trivial characters reflect in the text mirror but by what the text mirror reflects in them. Second, the shallowness is filled with the content conditioned by the incest precedent which provides the basis of Oles Ulianenko’s novel to the degree to what the writer creates the tragedy in its exact, namely ancient Geek, meaning of the notion according to which tragedy is, on the one hand, a story determined by an utterly artificial form and content and, on the other hand, it is a story which does not simply end by death, it is a story which cannot end by anything else but death. It seems as if nothing but tragedy could make it impossible for a man to have their animal essence to supersede their human part.
Наталія Павлівна Євстаф’Єва, Карина Юріївна Чорна
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 16-21; doi:10.26565/2227-1864-2020-84-02

Abstract:
The article is dedicated to research of the motif of voice in the semantic structure of Gaito Gazdanov’s 1920–30 small prose. Stories, representing the author's intentional object in his early works, were considered. The use of the methods of motif and intermedial analysis has made it possible to establish that dynamics of the stories’ “Transformation” and “The disappearance of Ricardy” plot is connected with the paradigm of metaphysic existence. The main components of this paradigm are translated into auditory imageries in Gazdanov’s narrative. A study of the texts has shown that during multiple variations audial imageries become motifs that mark existential-ontological problematics of works and form multifaceted art space. The motif of voice is highlighted as one of the main carriers of meaning in the motif system of both stories, which explicate the processes of consciousness of narrating subject and endowed with function of other character attributes. The motif of voice is also a dominant element of the intermedial code. Author’s intermedial strategies are reflected through the references to “Elegy” by a French composer J. Massenet (“Transformation”) and to vocal and instrumental performances of crossover music textes, decoding the collision of opera singer Ricardy (“The disappearance of Ricardy”). Ultimately, both of Gazdanov’s stories are considered to be a testimony to the acceptance of inevitability of human existence in two planes of being: ontologically possible and empirically given. The art strategy of audial writing has proven to be the most productive way to objectify this type of author’s consciousness in the writer’s early prose. The next stages of Gazdanov’s art system evolution are also marked by the author's great focus on the potential of audial and intermedial narration techniques. It offers the clear prospect of studying them as dynamical integrity.
Ірина Володимирівна Роздольська
The Journal of V. N. Karazin Kharkiv National University, Series "Philology" pp 22-28; doi:10.26565/2227-1864-2020-84-03

Abstract:
The article analyzes the literary and critical speeches of the representatives of the riflemen generation – O. Babii, L. Lutsiv, Yu. Shkrumeliak, dedicated to the creativity of the natives from the riflemen cohort –- V. Bobinskyi, M. Holubets, M. Matiiv-Melnyk, V. Atamanyuk, V. Uhryn-Bezhrishnyi, O. Babii, R. Kupchynskyi, O. Haidukevych, M. Yevshan, the authors not only promote the work of their brothers and actualize educational works on the subject of riflemen heroics, but also act in defense of riflemen values as well as of each other’s, creating even here the expressive choices of riflemen fraternity. In the portraiture of the siblings, a key is the military-generational approach, which firstly generalizes the warrior’s posture, and then the writer’s one. Accordingly, it emphasized the need to create literature that would focus the moods and feelings of a riflemen army at different stages of its struggle - in the legion, UGA. The appearance of riflemen’s literature phenomenon, from a military source, a militaristic spirit and a rhythm of the era, is positively noted. In such writing, riflemen criticism expresses the consciousness of the whole paramilitary generation of Galician youth, who has renounced their everyday happiness in the name of higher national goals. Riflemen criticism reveals the need for its creators to continue in the new historical and political conditions of war between the generational intentions during the liberation war of 1914–1921 – by means of literature and nationally conscious action. Because of this, the «Literary-Scientific Bulletin» – «Bulletin» of D. Dontsov received significant support from the riflemen forces, and they mostly supported the nationalist ideological-literary direction, and movements of the national direction in politics. The literary-critical discourse of the «Vistnyk» («Bulletin») represents the expressive image of friendship and brotherhood in the literary-critical mutual reception that runs across the boundaries of literary societies. Riflemen criticism is a device of the generative solidarity of the reviewer and the reviewed in the defense of riflemen values.
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