The aim of the study is to determine the role of emotive speech acts in cross-cultural language learning environments, revealing the complex interplay between universal emotional markers and culturally specific expression patterns. In the course of the research, data analysis methods were applied (acoustic analysis, facial expression analysis using the Facial Action Coding System (FACS), lexical analysis, correlational and regression analysis). Through comprehensive analysis of acoustic features, facial expressions, and lexical patterns, the research demonstrates that emotional expression follows dual patterns: universal elements remain consistent across languages while others undergo significant cultural adaptation. Results indicate that language learners develop an “emotional interlanguage” that synthesizes native expression strategies with target language norms. Spanish learners exhibited greater facial expressiveness when expressing happiness, suggesting adoption of the target culture’s more overt emotional display rules. Anger was more explicitly verbalized across all language learning groups, indicating that different emotions utilize distinct channels of expression. Principal component analysis and hierarchical clustering revealed discrete emotional expression profiles across language groups, while multiple regression models identified predictive relationships between linguistic proficiency, cultural exposure, and emotional adaptation. Our findings support a nuanced theoretical model that integrates universalist and relativist perspectives on emotional expression, suggesting that language learners navigate a dynamic space between these poles. The research confirms that certain aspects of emotional expression — such as increased vocal intensity for anger and decreased speech rate for sadness — remain relatively consistent across language groups, supporting the universality hypothesis. However, other aspects — particularly facial expressiveness for happiness and lexical choices for emotional states — show significant adaptation to target language norms, supporting the cultural relativity perspective. Our data reveals that language learners develop what might be termed an “emotional interlanguage” — a dynamic system of emotional expression that incorporates elements from both their native emotional repertoire and the target language’s cultural norms. This emotional interlanguage evolves with increased language proficiency and cultural exposure, but the adaptation process varies across different channels of emotional expression and across different emotions. The finding that cultural familiarity mediates the relationship between language proficiency and emotional expressiveness suggests that emotional adaptation in language learning is not simply a function of linguistic knowledge, but requires deeper cultural learning and engagement.

The article examines the temporality of narrative in the discourse of contemporary travel literature in the context of socio-cultural dynamics associated with the digitalization of life forms, socio-cultural interactions and new models of comprehension, description and representations of reality in literary texts. The emergence of a new picture of the world in the transformations of literary discourse and narrative is problematized. The phenomenon of travel prose by the Dutch writer С. Nooteboom is considered from the perspective of representing the problems of transformation of the temporality of narrative in the contemporary meta-genre of travel literature. The aim of the article is to determine the directions of transformation of the temporality of the narrative in the discourse of modern travel literature in the context of the transformation of life forms of human world and the genre specificity of this meta-genre. The task of the study is to clarify the content of the ontologizing functional of travel literature and its humanistic potential, which is revealed in the existential, axiological, identity and transcendental aspects of the temporal narrative. The research methodology is comprehensive and interdisciplinary. To achieve this goal, historical- literary, historical-philosophical, hermeneutic, narratological, phenomenological, comparative, and narrative methods were used. Research results. In connection with the transformations of the horizon of meanings of modern man (homo digitalis) and the development of the meta-genre of travel literature, we must emphasize the relevance of the worldview influences of literature as an individual and social practice, a segment of social communication and culture on the formation of the identity of modern man and communities. Perhaps, in this context, we can talk about the ontologizing function of travel literature, which, by recording existentials of being here-here in the subjective time of meaning generation, symbolically returns to man the objective space lost by him, expanding the world depicted by new modes of operating with information. The time, the temporality of the narrative of travel literature determines the space of human self-awareness, which also means the problematization of the logical structure of the statement and paradoxically makes the eventfulness of travel not a predicative function of the subject, but an autonomous entity. In the case of travel literature, the temporality of the narrative algorithmizes and structures the reception of reality, which is relevant even for such linguistic constructions that do not directly have markers of temporality, and the ability of such a narrative to configure and reconfigure formats of understanding and meanings of a work of art is emphasized both at the formal and at the content levels. The humanistic potential of travel literature is revealed in the existential, axiological, identity and transcendental aspects of the temporal narrative. The temporal narrative in travel literature is essentially correlated with the principle of intertextuality, fixing modes of interaction, peculiar trigger zones between texts, narratives, discursive and speech practices. The temporal narrative involves the practice of commemoration between the subjects of the texts, including the reader. The temporality of modern travel literature seems to be organized according to the principle of nonlinear discreteness, when the plot unfolding in time and the change of the characters’ localization points necessarily implies a sequence of events that is differentiated by the spheres of somatic presence, reception of empirical reality, and imaginary construction of this reality. The temporality of the narrative of modern travel literature also implies an increased role of the imagological aspect, that is, visualization based on images or descriptions, which reflects the emergence of virtual subgenres of the meta-genre. Also relevant for the modern temporal narrative of travel literature are the oppositions syncretic/ discrete and temporality as a phenomenological marker of human perception and experience of reality and spatiality as a medium of interaction with the Other and Others. The work of С. Nooteboom represents the total optics of travel as a mode of human existence, indissolubly linked to transcendental inquiry and meaning generation, as well as the discovery of identity at all levels – from cultural to gender. Regarding the work of С. Nooteboom, two main approaches can be distinguished, which we can designate as spatial-semiotic and existential-phenomenological. One of them emphasizes the detachment of the Nooteboom traveler as a sign of the meaninglessness and timelessness of travel as a simple change of geographical coordinates, the other interprets travel not as an escape from oneself, but as a search for oneself. The temporal narrative in the writer’s texts can be characterized as extra-historic and transcendent, as well as one that uses the tools of ritual and play. The ontologism of the temporality of narrative in the works of С. Nooteboom is represented in the deployment of simultaneous practices of narrative construction, the use of inversive game techniques and methods inherent in modern and postmodernism. In the later works, there is an influence of the aesthetics of metamodernism, in particular the principle of meta-axis.

The purpose of the article is to identify the distinctive features of the narrative code of Nathaniel Hawthorne’s novel The Scarlet Letter. The research methods include historical and literary methods, receptive and comparative methods, and close reading techniques. The study draws on narratological frameworks developed by R. Barthes, G. Genette, W. Schmid. It has been established that the complex narrative structure of the novel is evident even at the lev- el of its framing apparatus: the work is intertwined with an essay originally conceived as a preface rather than as a separate, independent text. Trying to internally distance himself from the depicted events that took place more than 100 years ago, the writer creates the image of an impartial fixer of information that he gets from direct observers, which allows us to speak of multiple narrators. The author’s distancing from the events is achieved through two techniques common in 19th-century European literature: the “text within a text” approach and the technique of mystification. The essay is presented from the perspective of the narrator of the framing story – the primary diegetic / homodiegetic narrator – who is expressed gram- matically in the first-person singular. The woman’s life story functions as a text within a text, attributed to the secondary narrator (the narrator of the internal story), who is a character in the framing narrative but serves as a primary non-diegetic / extradiegetic narrator in the main narrative, positioned outside the fic- tional world and recounting events from a third-person perspective. It is noted that, in establishing a relia- ble narrator, the primary diegetic / homodiegetic narrator assigns the primary non-diegetic / extradieget- ic narrator a name, biographical details, and even official documents. By emphasizing his role as the editor of an authentic story, the primary diegetic narrator acknowledges having invented the characters’ motives and emotions, indicating a blending of perspectives and leaving it to the reader to determine whose view- point is being presented. The events in Hawthorne’s novel are presented from the perspective of a primary non-diegetic / extradiegetic narrator, while the first-person plural appears in the text through various con- structions. Consequently, the form “we” can encompass the author as well as narrators of all types repre- sented in the text. It is highlighted that the main character, Hester Prynne, possesses a remarkable personality and un- intentionally integrates into a world foreign to her with new principles unfamiliar to that society. Because she bears a child out of wedlock, she finds herself socially isolated. In developing the theme of the towns- folk’s psychological and emotional torment of Hester, motifs of her uncanny ability to perceive the sin of others, the ostensible piety, and hidden sinfulness of the entire community – including children – are em- – including children – are em- including children – are em- – are em- are em- ployed. The theme of social isolation of mother and child is linked to the motif of the circle, symbolizing en- trapment and hopelessness. Hawthorne’s fictional portrayal underscores that the social isolation of moth- er and child enabled the emergence of individuals with a new value system within a fanatically religious community. The motif of sin is further intertwined with that of atonement. The novel emphasizes the theme of the relativity of the meaning behind the scarlet letter. If we con- sider that “A” is the first letter of the alphabet, Hester Prynne’s character gains symbolic significance as the woman from whom the story of American identity begins. On the other hand, the word English “letter” can also mean “message,” so combined with the semantics of “scarlet,” the title The Scarlet Letter may be in- terpreted as “The Precious Message,” with the novel itself serving as a message to both women and men settling in a new country. In Hawthorne’s interpretation of the theme of sin’s atonement, the portrayal of the illegitimate child becomes particularly significant. Through the behavior of the girl and her unique interactions with her mother, the novel consistently shows that, even at a young age, the heroine displayed individuality and was capable of standing up to a harsh crowd. It is emphasized that Hester Prynne rejects the Old Testament notion that children should bear the consequences of their parents’ actions. She refrains from imposing an ascetic lifestyle on her daughter, allows her the joys of childhood play, and lets her follow her own impuls- es. In building the images of Prynne as mother and child, the narrator compares the heroine to Divine Ma- ternity, referencing the prophet Nathan, David, and Bathsheba. Subtle references to two fi gures born out- Subtle references to two fi gures born out- Subtle references to two figures born out- side of marriage yet symbolic for humanity suggestively evoke the idea that young Pearl is an apostle of a new, future world free from dogma. In this light, the episode where the girl dances on the gravestone of one of the most respected settlers becomes significant. Her innocent playfulness is perceived as a symbolic rejection or devaluation of everything that the former Europeans are trying to forcibly implant in American society – a past that must fade away to make room for something new. The impersonal note that the law was broken with the girl’s birth, combined with her ultimately fortunate fate, suggests that through their severe judgment, the colonists unknowingly altered the course of life, paving the way for the development of new principles of social existence. Puritan society in The Scarlet Letter is, in part, embodied by the elderly scholar Roger Chillingworth / Prynne, who could be described in modern terms as an abuser. Chillingworth’s character aligns with the Byronic hero type, popular at the time the novel was written. On one hand, he is a knowledgeable scien- tist with a broad perspective and a free-thinking mind; on the other, he is somber and resentful toward a world in which he believes he is unloved due to his physical deformity. His pursuit of a rival begins as a psy- chological puzzle and eventually turns into a cruel game. Scattered throughout the text are details pointing toward the archetypal image of Faust and the recurring motif of the devil in the novel. The character of Ar- The character of Ar- The character of Ar- thur Dimmesdale is perhaps the most complex in The Scarlet Letter. The novel’s depiction of events as mystical and characters as extraordinary, endowed with irration- al abilities and even demonic qualities, directs us toward the aesthetics of Romanticism, which dominated literature at that time. Considering the thematic elements of The Scarlet Letter, it can be interpreted as an effortless didactic story about new feminine values on the American continent. At the same time, the work can be classified as both a romance and a psychological novel that artistically examines how guilt influenc- es a person’s behavior, emotions, and worldview. The use of mystification and the play of authorial masks invite the reader to decide whether such a woman truly existed or if she was fictional.

The article sheds light upon the problem of rendering English horror literature genre peculiarities into Ukrainian within the scope of translation studies not only in Europe but all over the world. The investigated genre has been marginal towards the other literature genres as it has been considered the one to have no aesthetic effect on the reader. Horror literature as an object of translational studies has been declared only during the last decades. Most of the studies are aimed at exploring horror literature relevantly by studying its roots, especially the gothic novel. The issue of reproducing the lexical peculiarities of classical horror literature is of great importance as they form the basis of the genre itself. The aim of the present paper is to reveal the most frequently used ways of depicting DEATH in classical examples of horror fiction by B. Stoker’s novel “Dracula”, D. Stoker’s novel “Dracula. The Un-Dead” and M. Shelley’s novel “Frankenstein; or, the Modern Prometheus” and determine the efficient translation strategies of rendering them into Ukrainian. Thus, the primary objective within the research framework is to disclose the language representation of main cognethemes in depicting DEATH in the ST and to find out translation techniques applied to reproducing them in the TT. There is still a certain mistrust concerning the power of literature to deliver socially adequate information related to death. The analysis of rendering language representation of DEATH cognethemes in classical horror literature paves the way to applying the singled-out results to translating modern horror fiction. The current investigation attempts to remedy the huge potential of fiction to provide a distinctive explanation of death as inevitable human reality. The methodology of the paper is multifaceted and involves general scientific, philological and translational methods of analysis. Among linguistic and translation-specific methods are comparative- translational, contrastive, definitive, contextual, linguistic and stylistic, descriptive and method of quantitative calculations. Horror fiction is determined by its genre-forming register, therefore maintaining lexical stylistic devices is prioritized. Emotionally colored lexemes, epithets, lexical repetitions are the key devices used by B. Stoker, D. Stoker and M. Shelley in the process of describing death. Stylistic equivalent is the prevailing translation technique while rendering stylistic devices in the horror genre, while stylistic weakening and stylistic intensification that result in domestication play crucial roles in bridging the emotional intention of a source text. The results of the research show the domination of the stylistic equivalent in the translator’s repertoire witnesses the translator’s desire to go deep into the plot and preserve the genre forming lexemes. According to the quantitative calculations of the corpora selected – language representation of the concept DEATH has been rendered as follows – stylistic weakening prevails in 33,3 %, in 20,4 % dominates stylistic emphasis, that shows the translator’s willingness to be as close to the source text as possible and the biggest percentage is stylistic equivalent – 46,3 %, proving that the translator does his/ her best to be equivalently close to the original and doesn’t want to be an illegal co-author of the original.

This article aims to identify poetic implied sense markers in the original poetry of American poet Rob- ert Frost and means of their reproduction in translation, in particular, translation transformations. Among the methods applied in this study is the newly devised method of poetic work analysis em- ploying its macro-image scheme, which involves comparison of the original and translated texts at the level of autosemantic, synsemantic and subsemantic (implied sense) images and, in particular, original text anal- ysis to identify linguistic implied sense markers for its decoding and reproduction in translation; the psy- cholinguistic method of factor analysis (principal components method) to determine semantics of the orig- inal and translated poetic texts as well as the transformational method (to identify the translation transfor- mations that images and the figurative structure of a poetic work undergo in translation). The article briefly outlines the results of a long-term study of the means of forming and reproducing the implied sense in translation of a poetic work as its important image component. The paper studies lin- guistic means of creating and translating implied sense images that is a constituent of a poem’s macro-im- age structure, in particular, such as distant repetition, symbol, arty landscape, intonation, act of silence, and artistic detail. This work is aimed to improve the pre-translational interpretation of the original poetic work and finding the means of its adequate reproduction in translation. The work pioneers the concepts of conceptual implied sense and local implied sense, which appropri- ately make primary and additional content of a poem and is considered dominant images in poetic translation. Implied sense in a poetic work is revealed through markers that signal it to the recipient and the degree of correspondence between the translated work to the original depends on their quantitative and qualitative reproduction in target language. Poetic implied sense is qualified as having an image nature and functions, it is decoded and reproduced within the macro-image structure of the poem. Reliable decoding and adequate translation of the implied sense image require the study reproduction of the system of intratextual and extra- textual contextual relations and, as well as the linguistic aspects of poetic discourse. It has been revealed that among the markers of the poetic implied sense are dispersed distant repetition, poetical landscape, commonly accepted and author-specific symbolism, poem title, name, artistic detail, poem intonation, an act of silence, verbal expression of non-verbal means, contrast and others. To ensure translation adequacy, these markers must be reproduced by means of direct equivalents or various transformations at phonetic, morphological, syntactic, and lexical language levels as well as formal-content transformations involving a pragmatic component.

This article seeks to challenge the commonly held belief that silence primarily signifies consent. In contrast to traditional assumptions, it argues that silence can function as a powerful and intentional act of negation in communication. The research focuses on the phenomenon of silent negation — a form of disagreement or refusal conveyed not through direct verbal means, but rather through silence itself or linguistic representations of silence in written discourse. The aims of this study are: first, to define a typology of silent negation that reflects the pragmatic functions of silence within communicative acts; and second, to identify the strategies by which silent negation is expressed linguistically, particularly in literary texts. To achieve this, the article applies a combination of contextual analysis, cognitive analysis, typological classification, and hermeneutic interpretation. These methods are used to trace how silence operates pragmatically in literature, where authors cannot rely on non-verbal cues and must instead “verbalize” silence through various linguistic devices. The theoretical foundation of the article is based on the works of Adam Jaworski, who views silence as a strategic and context-dependent communicative act, and Abbé Joseph Dinouart, who introduced an early typology of silence in the 18th century. Their contributions are revisited and extended through the development of a new classification system more suitable for written discourse. The study suggests four main categories of silent negation: Descriptive Silent Negation (DSN), where authors narrate a character’s deliberate silence and refusal; Elliptical Silent Negation (ESN), in which punctuation and unfinished sentences imply negation; Silent Disagreement through Action (SDA), conveyed via gestures and behaviors described narratively; and Silent Interpersonal Negation Monologue (SINM), where internal thoughts of characters reject ideas without verbalizing them. Each of these types is supported with examples from literary texts. The findings emphasize that silent negation is not only a frequent but also a pragmatically rich feature of discourse. It is especially relevant in cultural or hierarchical contexts where open disagreement may be regarded as inappropriate. Silent negation plays a vital role in narrative dynamics, character development, and interpersonal tension. This study thus addresses a gap in linguistic pragmatics by systematizing the ways in which silence can negate and by demonstrating that the absence of speech can convey complex meaning. The findings emphasize that silent negation is not only a frequent but also a pragmatically rich feature of discourse. It is especially relevant in cultural or hierarchical contexts where open disagreement may be regarded as inappropriate. Silent negation plays a vital role in narrative dynamics, character development, and interpersonal tension. This study thus addresses a gap in linguistic pragmatics by systematizing the ways in which silence can negate and by demonstrating that the absence of speech can speak volumes.

This review discusses the scope and extent of the volume Cross-Disciplinary Horizons of In- termediality: Linguistics ‒ Literary Studies ‒ Translation Studies, edited by Olga Vorobyova, Rusla- na Savchuk, and Larysa Taranenko (Kyiv, 2024), which brings together the contributi on of twen- Kyiv, 2024), which brings together the contributi on of twen- 2024), which brings together the contributi on of twen- , which brings together the contribution of twen- ty prominent scholars from Ukraine, Poland, Japan, Italy, and New Zealand. The review aims to examine, while applying a comparative analysis, the argument postulated in the volume as its objective that intermedial studies tend to mark a paradigm shift in the Humaniti es while address- that intermedial studies tend to mark a paradigm shift in the Humaniti es while address- tend to mark a paradigm shift in the Humaniti es while address- mark a paradigm shift in the Humanities while address- while address- address- ing related terminological issues in the area, relying upon a multi disciplinary methodology. Dis- related terminological issues in the area, relying upon a multi disciplinary methodology. Dis- , relying upon a multidisciplinary methodology. Dis-. Dis- Dis- criminating between mediality and modality, the review highlights their symbiotic relationship grounded the interaction of various media (literary, cinematic, theatrical, musical, political, po- lemic) and arts (architecture, fiction, music, visual arts, feature movies, documentaries, rheto- ric, political cartoons, book illustrations, drama, photography) as well as a multimodal approach to artistic artefacts. Suggesti ng a detailed overview of the chapters writt en in English, which fo- Suggesti ng a detailed overview of the chapters writt en in English, which fo- uggesting a detailed overview of the chapters writt en in English, which fo- of the chapters written in English, which fo- , which fo- cus on the language of and about architecture, resistant public speeches in cinematographic and musical rendering, particularly addressing the rhetoric of war, the image of pillars in EU related discourse as well as poetics of photography and the issues of intersemiotic translation, the re- viewer outlines some pedagogical applicati ons linked to a few relevant studies in the fi eld, in- pedagogical applications linked to a few relevant studies in the fi eld, in- linked to a few relevant studies in the fi eld, in- relevant studies in the field, in- , in- cluding those that are aimed to cultivate the university students’ literary awareness. Such appli-. Such appli- Such appli- cations, the outining of which is an additional objective of the review, may concern developing stylistic sensitivity to traditional and innovative contexts and media, while approaching artistic works placed in the field of social interactions and establishing links between language and cul- ture through fictional worlds they create. Commenting upon the structure of the monographic study, the review indicates that the volume, whose cover vividly mirrors the melding of arts and media represented in its chapters, is a much welcome publication which situates intermediality as a phenomenon involving aesthetic, political, and social reflections of our times.

The proposed article deals with revealing the syntactic profile of the Old Germanic languages, name- ly, the particularities of the functioning of the syntax and grammatical framework structure of sentences with concessive semantics in the Germanic languages of the ancient period (Old English, Old High German, Old Saxon, Old Norse (Old Icelandic), Gothic, Old Frisian). The study aims to outline the models of syntactic structures of complex sentences with a subordinate / coordinate concessive action in four semantic types of concessive sentences with pure (concessive), conditional, contrastive, and causative semantics of con- cession across six Old Germanic languages. To meet this objective, a seven-stage methodology was devel- oped based on the use of interdisciplinary tools involving such methods as the method of internal recon- struction, comparative-historical, structural-syntactic, semantic, descriptive methods, analytical and syn- thetic analysis, and the method of continuous sampling. Based on the internal grammatical reconstruction of Old Germanic concessive sentences of various semantic types, three basic types of their internal framework structure with the governing position of the main V-finite verb in the principal and concessive (or subordinate / coordinate) clauses have been identi- fied as: 1) VXS- / VSX-model with a V-finite verb in the initial position; 2) SVX- / XVS-model with a V-finite verb in the secondary position; 3) SXV- / XSV-model with a V-finite verb in the final position. It has been de- termined that the syntax of concessive sentences with various semantics of concession in the dynamic syn- chrony demonstrates the functioning of the identified syntactic models in most semantic types of conces- sive clauses depending on the specific Old Germanic language. Common and distinctive syntactic particularities of Old Germanic concessive clauses are observed in six configurations as SXV / XSV / VXS / VSX / SVX / XVS with an emphasis on the initial / secondary / final slot positions of the main V-finite verbs in the principal and subordinate (coordinative) clauses. Common syn- tactic particularities are identified by way of the presence of the same syntactic slot position of the main fi- nite verb – V-initial, V-secondary, V-final as a mutual signal syntactic function or feature in all or certain se- mantic types of the concessive action in the ancient languages under study. Distinctive syntactic particular- ities are established by the absence of a certain syntactic slot position of the main finite verb – V-initial, V- secondary, V-final as a unique signal syntactic feature of the functioning of a certain type of a concessive clause in a certain Old Germanic language. The framework structure of concessive sentences is outlined in terms of the syntactic coherence between pure (concessive), conditional, contrastive, and causative concessive clauses and their corre- sponding main clauses within the concessive sentences as: “contact – distant” arrangement of the inter- nal framework slot positions of the clausal conjunction with “contact – distant” arrangement of the exter- nal framework clause allocation within the whole concessive sentence. The syntactic coherence of conces- sive / non-concessive conjunctions within clauses of concessive sentences is established as: “contact – dis- tant” arrangement of internal framework conjunction concordance slot positions with “contact – distant” arrangement of internal framework conjunction position within the frame. It was found that the contact clausal conjunction slot positions were common across all Old German- ic languages in four semantic types of sentences with pure (concessive), conditional, contrastive, and caus- ative concession. The distant clausal conjunction slot positions prevailed in Old High German sentences of pure (concessive), contrastive concession; in Gothic sentences of conditional, contrastive, and causative concession. The contact conjunction concordance slot positions are witnessed only in Gothic conditional and Old Frisian causative concessive clauses. The distant conjunction concordance slot positions were com- mon in Old High German conditional, causative concessive clauses, Gothic contrastive concessive clauses, Old Frisian contrastive, causative concessive clauses, and Old English causative concessive clauses.

The article presents a generalized program and methodology for the experimental study of the energy interaction system between verbal and non-verbal means of adolescents’ suggestive speech. The study is conducted within the framework of Speech Energetics Theory and employs its idea of emotional- and-pragmatic potential, which is believed to accurately convey the idea of adolescents’ suggestive speech and therefore further facilitate successful interaction of its verbal and non-verbal means. The relevance of the study is defined by general scarcity of current enquiries highlighting the necessity of the additional development of partial methodological provisions and procedures directly aimed at substantiation of the generalized program and methodology of experimental research on verbal and non- verbal means’ interaction in adolescents’ suggestive speech. The article theoretical basis is a systematic methodological concept that serves as the main elements of a comprehensive methodology for studying psycho-energetic interaction of verbal and non-verbal means in human communicative behavior in general and speech communication in particular, set out by the Ukrainian author of a new speech energetics theory, Professor Alla Kalyta. The research methods employed in the article are generalization, formalization, abstraction, modeling, as well as descriptive, systematic, and theoretical analyses. The study demonstrates that the elements of the classification of universal features characterizing adolescent suggestive speech can be differentiated into seven hierarchical levels, namely: types of communication, speaker’s environment, speaker’s communicative status, speaker’s type of temperament, gender, speaker’s age and period or phase of development, emotional and pragmatic potentials of the acts of speech behavior. Four systems of interrelated factors are considered as follows: 1 – social and political, 2 – situational and communicative, 3 – psycho-genetic, 4 – physiological and state. Considering this, the article advances a model that depicts the influence of the system of these factors on psychic mechanisms underlying actualization of the adolescent’s suggestive speech behavior, emerging in the system of their spiritual being. The model is differentiated into three autonomous spheres: existential, mental, and transcendental. The model of a supervenient interaction of verbal and non-verbal means of adolescent’s communicative behavior reflects the mechanism generating the alternative utterance meanings, being actualized by the adolescent through concepts-notions and concepts-actions acquired by their memory due to previous communicative and social experience. The results demonstrate that the program and methodology of the experimental study of the interaction between verbal and non-verbal means in adolescents’ suggestive speech can serve as methodological guidelines for comparing, verifying, and generalizing the results of various studies on communicative behavior.

The proposed article is devoted to the development of the methodology that can serve to identify cases of incorrect rendering of EC names in Ukrainian-German and German-Ukrainian translations of literary works. The aim of the study is to test this methodology on the example of “sad and wistful” ECs of the Ukrainian “cult of suffering” – сум, смуток, туга, журба, жаль, скорбота, печаль, зажура, хандра, and бентега. The sample of linguistic material consists of 1384 parallel contexts selected on the basis of the data from the Ukrainian-German parallel corpus, which is a part of the ParaRook parallel corpus group. The tested research methodology is based on the procedures of a number of methods of linguistics and translation studies: definitional analysis, contextual analysis, comparative analysis, translation analysis, statistical analysis The analysis of the sample material and the comparison of dictionary definitions of Ukrainian lexemes сум, смуток, туга, журба, жаль, скорбота, печаль, зажура and their German equivalents Trauer, Traurigkeit, Wehmut, Kummer, Heimweh, Sehnsucht, Weltschmerz, Melancholie, Betrübnis, Jammer revealed that the explanatory dictionaries do not provide full information about (a) the linguo-cultural specificity of the studied lexemes (e.g., Sehnsucht, Weltschmerz, Heimweh), (b) arousal and valence of the emotion they denote (e.g., Wehmut, Melancholie), (c) their relevant meaning, (d) stylistic labelling, as well as (e) frequency at the current stage of language development (only corpus data helped to determine the rare usage of the German lexeme Betrübnis). This means that the use of dictionary material cannot fully ensure the identification of the best translation equivalents in the target language. The comparison of definitions did not provide, in particular, a proper idea of the semantic shades that distinguish very similar words – Trauer, Traurigkeit, Kummer, and Jammer. The fact that in German-Ukrainian and Ukrainian- German translations, the lexeme Trauer is used mainly to convey the semantics of sadness, melancholy or sorrow remains unexplained, but according to the dictionary entry, this lexeme contains mainly semantic shades of mourning. This means that using only dictionary data does not ensure objectivity in determining the best translation equivalents in the TL. This is the reason for the semantic loss of German/Ukrainian ECs during their transfer to the Ukrainian/German-speaking society. It is established that the most frequent cause of semantic losses is the failure of translators to take into account the deeper meanings of the EC that create a peculiar emotional atmosphere of the SL text. At the same time, translators often focus on finding interlingual equivalents, forgetting that interlingual equivalence does not always ensure intercultural equivalence. The fact that the attempt to find intercultural equivalents requires considerable intellectual effort means that translators deliberately simplify their task by only partially conveying the emotional palette of the source text, thus depriving the Ukrainian/German recipient of the slightest idea of the specifics of the emotional world of Germans/Ukrainians. The differentiation of those ECs of the source culture whose name definitions are very close to each other is a particular problem for the recipients of the target culture. The distinction between such words is based on the frequency indices of the occurrent forms of the query words Trauer, Traurigkeit, Kummer and Jammer that made it possible to determine the dominant meanings of the close German ECs trauer, traurigkeit, kummer, and jammer, and helped to establish differences in the conceptual structures of the latter. The developed research methodology made it possible to determine the level of equivalence of those German ECs that are most often used to reproduce Ukrainian “sad and wistful” ECs, and vice versa. The criteria for the proposed equivalence – close, sufficiently close and admissible equivalences – are based on the premise that there is no complete equivalence among ECs, even in closely related cultures.