Социолектная идиоматика и юмор (на материале шутливых и иронических сленговых фразеологизмов конца XX - начала XXI в.)

This article is devoted to the study of phraseological units that represent the cosmic chronotope in the Russian poetic world view in the poetry discourse of the 19th – 21st centuries, based on the conceptual paradigm “human – globe – space”. The article considers the peculiarities of the system organisation, the originality of the concept-forming and style-forming functioning of the main components of the conceptual paradigm within the context of some particular poetry and within a certain poetic discourse, presented by a number of poems of the 19th – early 21st centuries in the dictionary “Phraseological Units in Russian Poetry”. The choice of poetry is determined by a descriptive and philosophically generalised expression of the concept. The biggest attention is paid to the way the main ideas, that are figuratively reflected in this poetic discourse, are realised. The considered phraseological units are grouped around the following ideas – anthropocentrism, immortality and life in eternity, posthumously reward for a person’s lifetime exploits, ascetic nature of inspiration.

Phraseological Dictionary of Russian dialects of the Tyumen region was prepared by E. P. Bagirova and S. M. Belyakova and published in 2020 by Tyumen State University. The dictionary covers the phraseological spectrum of dialects of all districts of the Tyumen region, including almost 2,400 phrases recorded in the second half of the 20th - early 21st centuries. The material collected reflects a broad understanding of phraseology, with phraseological units, ritual terminology, proverbs, riddles, omens, and well-wishes presented in the dictionary. This paper considers the phraseological material of the dictionary from the point of view of its lexicographic development, with the main attention paid to the micro-structure of the dictionary. Each of the nine parameters proposed by the authors to describe the Tyumen phraseology is commented on. It is worth noting that most of these parameters are presented quite systematically and correspond to the principles declared. However, some critical remarks and suggestions have been made concerning the lexicographical presentation of some facts, which may be useful for a possible reissue of the dictionary. These comments focus on determining the initial form of idioms, distinguishing variant and synonymy, stating combinability, accuracy of definitions, and the selection of illustrative material. It should be pointed out that the dictionary under review significantly enriches modern Russian dialect phraseography and can undoubtedly be useful to scientists, teachers, local historians, and all those concerned with the fate of the folk word and traditional culture of the region.

The purpose of the article is to analyse the phenomenon of fear from the standpoint of phenomenology and existentialism, to examine the reflection of fear in European and Ukrainian art of the 20th and early 21st centuries. The research methodology includes the general scientific principles of systematisation and generalisation of the problem under study, which made it possible to identify and scientifically substantiate existing theories, conceptual approaches to understanding the phenomenon of fear, such as "metaphysical fear", "existential fear", "ontic fear", "spiritual fear", and "moral fear". The phenomenological method allowed us to study the internal nature of fear, in particular, different states of fear: anxiety, fear, horror. The historical and cultural approach has been used to examine the evolution of fear theories from ancient times to the present. A significant role in understanding the phenomenon of fear is played by an interdisciplinary approach, which allowed us to analyse this phenomenon with the wide involvement of the scientific achievements of a number of humanities, including cultural studies, philosophy, aesthetics, art history, and psychology. The scientific novelty lies in the cultural analysis of reflections in the fine arts of the 20th and early 21st centuries on the phenomenon of fear. Conclusions. The tragedy of human destiny is expressed in such philosophical terms as fear (Kierkegaard, Jaspers, Heidegger), nausea, anxiety (Sartre), longing, boredom (Camus). The ontological significance of such mental states lies in the collision of consciousness with nothingness, with the abyss of existence. Metaphysical fear is related to time. Temporality is the main characteristic of human existence. Fear always appears to us in two guises: as a useful warning and at the same time as an obstacle. In a state of fear, a person faces the abyss of Nothingness. Those who experience existential fear feel the emptiness between themselves and the world of everyday relationships. However, it is only by experiencing fear and a sense of abandonment in the world that one finds true freedom. The theme of fear has inspired and continues to inspire many artists of the 20th and early 21st centuries. Unlike artists of previous generations, they try to show fear in their works. The fine arts of this period can be called an encyclopaedia of symptoms of fear, pain, and horror. Fear motivates us to act, to create. Therefore, the role that fear plays in our lives depends on the role we allow it to play. We can try to resist the impulses that cause fear to manifest, and we can try to replace fear with hope. Hope is stronger than fear because it is active and free from any bondage. The charge of hope expands a person's capabilities, not limits them. The more opportunities and creative potential a person has, the less fear they experience.

This article explores the role of phraseological units in reflecting the culture and mentality of an ethnic group. The study analyzes linguistic, cultural, and cognitive aspects of phraseological expressions. Russian and Uzbek phraseological units were compared, revealing their semantic, pragmatic, and cultural characteristics. The results show that phraseological units are not only a means of linguistic expression but also reflect historical experience, moral values, and national mentality. The examples illustrate how archaic meanings coexist with modern metaphorical interpretations and how phraseological units are intertwined with culture and collective mentality. The comparative approach helped identify universal and national features, emphasizing the importance of phraseological units in language teaching and translation practice. This research contributes to a deeper understanding of the interrelation between language, culture, and the mentality of the people.

Being a complicated interweaving of intentional, cognitive, and moral aspects, deception accompanies human communication and is realized in it. Deception as a concept is a component of the conceptual picture of the world and linguistic, in particular, phraseological means of objectification of this concept create a linguistic picture of the world. The relevance of the research subject is determined by the great significance of the concept of DECEPTION, objectified by the analyzed phraseological units for the English-speaking community, by the correspondence to the major directions of modern linguistic research, and by the need to identify the cognitive basis of phraseological units denoting deception for the reconstruction of conceptual and linguistic picture of the world. The article considers a cognitive aspect of the analysis of phraseological units denoting deception. The core of the phraseological units denoting deception was systematized and the specificity of phraseological units denoting deception in the cognitive aspect was defined. The analysis of the phraseological units representing the concept of DECEPTION is presented in the form of a frame consisting of slots, subslots, and components. First of all, we tried to analyze and differentiate the concept (meaning) of deception. To indicate the concept of deception a model of cognitive-semantic analysis of phraseological units which can be used in the study of other groups of phraseological units was proposed and substantiated. The object of the study is English phraseological units denoting deception selected by the method of continuous sampling. The subject of the study is the cognitive characteristics of phraseological units denoting deception. The purpose set also considered the task to denote cognitive features of the concept of deception being represented by the phraseological units and denote the connection between the conceptual sphere of DECEPTION and other spheres that correspond to the concept chosen.

B a c k g r o u n d . According to the genre characteristics, the article is a form of publicizing analytical conclusions from the experience of research in the field of the philosophical Chinese studies at the National Academy of Sciences of Ukraine from 1991 to the present day. The material for understanding was supplied from the environment of scientific professional activity of prominent figures of Ukrainian philosophical Sinology from the H. Skovoroda Institute of Philosophy of the NAS of Ukraine and the A. Krymskyi Institute of Oriental Studies of the NAS of Ukraine. The scientific achievements of academic Sinologists, who are leading researchers of Chinese philosophical education, science and culture from the archaic to modern times, are highlighted. They are, namely: V. Kiktenko, V. Pyrohiv, V. Hamianin, S. Kapranov, Y. Hobova and A. Usyk. M e t h o d s . The article uses an analytical approach based on the study of historical and philosophical sources. The methodological basis of the research is the main methods of historical and philosophical science: problem-categorical analysis, socio-cultural analysis and biographical analysis. At the same time, the methods of situational and contextual analysis of scientific texts are applied. R e s u l t s . Four conditional thematic vectors of the progress of academic philosophical Sinology in modern Ukraine are classified, namely the study of: 1. the history of ancient Chinese philosophy, especially Confucianism; 2. the history of Chinese philosophy in the 19th – early 21st centuries; 3) the history of Ukrainian Sinology in the 18th – early 21st centuries; 4. the history of modern foreign Sinology. The director of the A. Krymskyi Institute of Oriental Studies of the NAS of Ukraine and the head of the Ukrainian Association of Sinologists V. Kiktenko very effectively studies all these vectors, especially the last three of them. His colleagues at the institute V. Pyrohiv, V. Hamianin and Y. Hobova mainly research the first of these vectors, and primarily the history of Confucianism. Employees of the H. Skovoroda Institute of Philosophy of the NAS of Ukraine S. Kapranov and A. Usyk are also focused scientific attention on the history of Confucianism, in particular, the second of them studies social ethics and anthropology of Confucius. C o n c l u s i o n s . As a result it was established that modern domestic philosophical academic Sinology is a qualitatively new and innovative direction of Oriental studies in independent Ukraine. This discipline was formed as a result of the two-century progress of Ukrainian Chinese studies from the era of Hetmanshina until now. V. Kiktenko and his colleagues have made a significant and already internationally recognized contribution to the study of both the classical philosophical schools of Ancient China and their ideological heirs, in particular, the leaders of the PRC and the CCP from Deng Xiaoping to Xi Jinping during these thirty years. V. Kiktenko also laid the foundations for the study both of the history of Ukrainian Chinese studies and of modern foreign, primarily Western European and North American, Sinology.

The article is devoted to the problem of national style and national form in the work of the modern Ukrainian painter Viktor Gontariv. Today, this problem is acutely relevant due to the threat of losing national uniqueness due to the spread of globalization processes in the world, and the high spiritual values preserved in the centuries-old traditions of national culture are often rejected in favor of the market, fashion, the advance of information technologies, mass culture. This leads to the spread of eclecticism, clichés and simply bad taste. For the first time, the painting of V. Gontariv is considered in the context of the direction of creativity of representatives of the Ukrainian line in Ukrainian fine art of the late 20th – early 21st centuries – A. Antonyuk, F. Humanyuk, I. Marchuk, M. Popov, etc. It is emphasized that the basis of the personal variants of the modern Ukrainian national style of these masters is an appeal to the traditions of Ukrainian folk art, the use of images-symbols and images-metaphors. During the analysis of Gontariv’s paintings, special attention was paid to their close connection with traditional Ukrainian mythology and peasant artistic naivety in the works of folk painters of the 1940s – 1950s in the village Sotnytsky Kozachok, in Slobozhanshchyna, where V. Gontariv was born and spent his childhood, and at the same time his national mentality was formed, which ultimately determined the main line of his work. For the first time, common and distinctive features of the variants of the national style of M. Boichuk’s school and V. Gontariv’s school, though these artists worked in different periods of Ukrainian history, were analyzed. Attention is also drawn to the specifics of the direction of the workshops of V. Gontariv at KSADA and M. Storozhenko at the NAFAA. The article reveals that the peculiarities of the national form in the work of V. Gontariv consist not only in the appeal to the principle of convention in the reflecting the shape of objects and building the compositional space, but also in creating a new type of images of the Ukrainian peasantry of the Soviet era.

The author of the article makes an attempt to analyze the Russian idiom согнуться в три погибели in the cognitive aspect. The work identifies the prerequisites for the conditionality formation of lexical and grammatical meanings of phraseological units on material this idiom. Taking into account the conditions for the transition of free phrases to related ones (loss of reality, metaphorization, deformation of phrase parts and primary grammatical structure failure), including etymological analysis, semantic relations are defined within the phraseological unit requiring a specific grammatical form of certain words. The idiom в три погибели is built on the basis of metaphorical transference in appearance. The anthropomorphism of metaphor on the ground of external similarity, as well as the reality, received some metaphorical interpretation in the analyzed phraseological unit, retains its significance for understanding this idiom. The given examples from the Slavic languages have confirmed that in this phraseological unit the word погибели reflects the archaic semantics “to be bent”. The lexical and grammatical meanings in phraseological units are preconditioned. This phenomenon can be explained by etymology features and formation pattern of semantic links between components of phraseological units. For complete idioms understanding, it is often necessary not only to perform linguistic analysis, including etymological, but also to use cognitive approach, involving appeal to history, anthropology and cryptology, and other subjects. Key words: phraseological unit согнуться в три погибели, an idiom, etymology, semantics, symphysis, grammatical form of the word.

The linguocultural worldview is clearly manifested in gender-marked phraseologisms. Phraseology is a most effective means for representing the national specificity of a language. The article is devoted to the problem of actualization of the gender component of phraseological units semantics in modern German. The aimof the research is to study phraseological units with the concept “a single man/woman”. The given work characterizes conceptual markers actualized in phraseological units of the German language, taking into consideration the influence of cultural, historical and biological factors on theconcept content. Gender stereotypes that have an impact on the formation of the concept “a single man/woman” in German was found out by means of the survey. On the basis of the phraseological fund the author has traced representation of the sphere “way of life”, namely “a single man/woman” from the point of view of the gender linguistics. The reinterpretation of the forms of life in German phraseological field has been emphasized in the article. As a result of the investigation it was discovered that verbalization of the stereotyped national ideas about the way of life of single people is not gender-neutral. The formation of gender stereotypes is influenced by various factors. The main of them include social and economic conditions, psychobiological characteristics of a person, and value orientations.The analysis of the language material certifies that traditional patriarchal views on the woman’ place in society, the tradition to attribute lots of negative feminine qualities to women and unwillingness of them to live according to old traditions in many cases causes the choice of a way of life. Based on the culturally meaningful content and connotations of German phraseological units, an attempt has been made to explain universal and specific features of the concept “a single man/woman”.Keywords: German language discourse, concept, phraseological unit, gender, “a single man/woman, linguistic and cultural aspect.

Background. Addressing the issue of the birth of Pushkin as a reader is relevant in many aspects. In the historical and cultural aspects, it can be considered as the approach to identifying the genesis of his work. In the historical psychological and general psychological aspects, this issue is addressed as a way to clarify and expand the factors involved in the formation of a genius. In the pedagogical aspect, it needs research in order to overcome the reading crisis of the late 20th — early 21st centuries. Objective. The aim is to present the experience of psychological analysis of Pushkin's early reading biography and identify the role of reading as one of the factors contributing to the development and formation of a genius. Methods. Retrospective and historical-biographical methods as well as the analysis of the poet’s creative products are applied. Results. In the early reader's biography of Pushkin, three periods are distinguished: 1) 1799–1803. (“pre-reading”) — infancy and early childhood, during which the child Pushkin gains the experience of listening to folklore small genres and mastering speech as a prerequisite for future reading skills; 2) 1804–1806 — early learning to read and first independent experiences in reading; 3) 1807–1811 — “a hunt for reading” (A. Pushkin), the role of his father’s library in the poet’s reading biography. The main features of Pushkin's reading development in childhood have been identified: accelerated development, bilingualism, breadth of reading interests, initiative, obsession with reading, connection with early poetic experiences. Conclusions. The understanding of social factors influencing the development and realization of the personality of a genius in the early years has been expanded. Such factors, in particular, include the “reading factor”, which, together with others (favourable historical and cultural context, the role of the literary gifted Pushkin family and their immediate environment) and with the obligatory action of a genetic factor, participates in the formation of Pushkin’s genius.

Phraseological units directly or indirectly carry cultural information about the world and pass it from generation to generation, reproduce the national culture and its mentality, show the features of the national figurative way of thinking. A phraseological unit is the soul of each national language, in which the spirit and specificity of the nation are revealed in a unique way. The article deals with the role of English and Ukrainian phraseology as a means of national cultural reflection. It is pointed out that the phraseological units are a means of reflection of national culture and a valuable source of information about the culture and national character of the nation. The specific features of English and Ukrainian phraseology, which are reflected in the pictorial thinking of the nation, have been depicted and the examples of their written interpretation have been given. The linguistic and cultural features of phraseological units in English and Ukrainian which contain such components as: „God” – the object of comparison, „nationality” and „toponym” have been presented and analyzed. It has been proven that toponymical phraseological units detect certain features of verbalization in different cultures and these features are determined by the subjective way of the environmental interpretation. The linguistic and cultural aspects of phraseology in Ukrainian and English have been analyzed only in some cases, taking into account the cultural and literary bases of the idioms origin. This problem can be also studied on the examples of the phraseological units where the culture is reflected through the connection with cultural and national connotations, standards, symbols, stereotypes and associations specific only for one language. English and Ukrainian languages possess a variety of idioms of such type, which need further and thorough investigation

The last lifetime poetry collection of Vladimir Narbut was published in 1922. Started by the poet in the 1930s, work on the preparation of the book of selected poems Spiral was interrupted by his arrest and, subsequently, tragic death in Kolyma in 1938. Since then, separate editions of Narbut’s works have been published three times: in 1983 the poet Leonid Chertkov compiled a collection Vladimir Narbut. Selected Poems in France; in 1990 N. Panchenko and N. Byalosinskaya published the book Vladimir Narbut. Poems in the USSR; in 2018 the OGI publishing house published the book Vladimir Narbut. Collected Works. Poems, Translations, Prose. The third, latest in nearly a hundred years, reference to the works of one of the most distinctive poets of the era in the context of preparing a separate collection of his oeuvre actualized the issue of developing approaches to be guided by when compiling the forthcoming collection. The key element here seemed to be the comprehension of the experience of preparing the previous separate editions of 1983 and 1990, as well as the scientifically commented publications of Narbut’s works made by researchers in the literary periodicals of the late 20th - early 21st centuries. The closest correlation of the tragic ups and downs of Narbut’s life with the “geological upheaval” of the 1917 Revolution and the Civil War led to the ambiguous dependence of the posthumous fate of the poet’s creative heritage on the context of the era, diametrically opposed and mutually exclusive attitudes in the perception of key events in Russian and world history of the 20th century. The preparation of Narbut’s collected works was planned in the interconnection of two directions: (1) the continuation of work to eliminate the “blank spots” in the poet’s biography, and (2) the formation of the most complete collection of Narbut’s fiction for the first time supplemented, in addition to poetic texts, with prose and translations. In preparation for the publication of Narbut’s literary texts included in the collected works, the issue of using a real commentary as the main approach in preparing notes was updated, taking into account the biographical, historical, literary, folklore, mythological, and linguistic aspects. Directions were set by the thorough work that began in the 1983 edition, and especially in the 1990 edition. The bulk of research on Narbutov’s texts and biographical facts was carried out in the funds of the Odessa Literary Museum and the Odessa National Library named after A.M. Gorky (Odessa periodicals of the 1920s), in state and private archives and funds of Moscow, including the Manuscript Department, the main and newspaper funds of the Russian State Library, in the department of manuscripts of the Russian State Archive of Literature and Arts, in the archives of the Federal Security Service, the Russian State Archive of Socio-Political History, the State Archive of the Russian Federation.

Relevance of the study. lies in study of the concept of “compositional technique”, identifying its specificity as a linguistic mechanism. The technique of composition is functioning between language and text and thereby finds its concretization at the level of the composer, his thinking and style. In the typological similarity of the elements of each technique and, at the same time, in constant renewal, the understanding of the composition technique as a tradition is manifested, which seems essential for understanding the development of music in the 20th — early 21st centuries. The analysis of technique reveals its participation in the process of transition of language into speech at the moment of creating a certain work, which is also extremely important in modern musical culture. Scientific novelty. For the first time in Ukrainian musicology composition techniques have been analyzed in the aspect of language and the functioning of technology as a linguistic mechanism has been investigated. The purpose of the study is to analyze the specifics of the composition technique as a linguistic mechanism, the peculiarities of its functioning in the creative process in the linguistic aspect, to consider typical techniques in well-known established techniques as the corresponding rules for the embodiment and development of the material. Methods. The research is based on systemic and functional methods. The results and conclusions. The study of the composition technique in the aspect of the musical language allows us to renew our understanding of its specifics. The moment of selection of parts and the rules for their further combination emphasize the “general” nature of the composition technique. Being between language and text, technology functions as a linguistic mechanism, out of all the variety of a huge number of elements of the language, choosing only “its own” number, limits and concretizes the possible combination of these elements. The systemic nature of the compositional technique determines the functionality of the parts of each technique. With all the difference in established techniques, it is the functionality of the elements that reveals the general nature and similarity of processes in each technique. Significance of these results consists in the statement of the fact that reception in technology due to repetition and recognizability becomes the rule, offering options for its embodiment. The typing of techniques is very important for the composition technique. Simultaneously, each new incarnation of this technique renews and develops it.

The purpose of the study is to establish the causes, ways and mechanisms of substitution of linguistic units that are a component of phraseological units functioning in multilingual texts of canonical versions of the Bible, in comparison with their modified versions in modern versions of the translation. The scientific novelty of the research lies in an integrated approach to the study of the process, trends and causes of modification of biblical phraseological units in the texts of the Bible translated into English, German, French and Spanish in diachrony; over the course of four centuries (XVII-XXI centuries), individual linguistic units that are components of quoted phraseological units have been subjected to substitution under the influence of both linguistic and extralingual factors, which in turn makes it possible to note the possible cultural recoding of these nations in the future. This article presents the results of a comparative analysis of biblical phraseological units and their modifications in the linguistic and cultural aspect. The linguistic factors of substitutions of components of quoted biblical phraseological units include such phenomena as the development of national languages, the phenomenon of polysemy, as well as the modernization of the religious language and the democratization of the presentation of the Holy Scriptures of Christians. Changing in the conditions of social and ordinary life of European nations are considered to be the extralinguistic factors.

This paper examines mechanisms found in verbal fixation of the national specifics of the Swiss German language based on a categorical-grammatical group of adjectives related to a wide association of signified words. The objects of the analysis are adjectives collected from lexicographic sources as well as
 journalistic and artistic texts by the continuous sampling method.
 The main attention is paid to the features of the qualitative composition and semantic valence compatibility of segmental root and non-root derivational morphemes within the two main word-formation models of adjectives that are
 characteristic of the modern German language in its synchronous state, they are derivatives and composites. The functioning of adjectives in phraseological units
 is also analyzed. This group consists mainly of single-morpheme root lexemes. Phraseological units used as a research material allows us to more fully represent the functional potential of adjectives in the linguistic and cultural aspect.
 The study concludes that in Swiss German, compared to the German language, root morphemes and postfixes more widely realize their potential of mutual compatibility, which leads to an enrichment of paradigmatic meanings and reveals additional discursive and pragmatic adjective values of Swiss German.