The article examines the poetics of artistic representation of the Holocaust in British writer Martin Amis’s novel “The Zone of Interest” (2014). The complex narrative structure of the work, built on the principle of internal multiple focalization through three diff erent perspectives of central characters, is analyzed. Special attention is paid to the implementation of Hannah Arendt’s concept of the “banality of evil,” the symbolic system of the novel, linguistic and stylistic features, and intertextual connections. The features of the chronotopic organization of the work and the genre characteristics of the novel are revealed. Particular emphasis is placed on the study of the concept of memory and testimony as a form of cultural memory about traumatic historical experience. The research is conducted based on a comprehensive integrative approach that combines historical-literary, structural-semantic, and narratological methods of analysis. The “close reading” method is used for detailed analysis of the artistic features of the text, as well as the comparativehistorical method for juxtaposing the novel with other works of Holocaust literature. The theoretical and methodological foundation consists of concept of heterotopia, chronotope theory, and narratological approach. It is proven that Amis’s novel represents an innovative postmodernist approach to the representation of the Holocaust, combining historical authenticity with highly artistic form and profound philosophical content. The study reveals that the novel demonstrates an innovative approach to representing traumatic historical experience through the use of multiple narrative structure, and creates a complex symbolic system including coloristic metaphors, zoomorphic images, and spatial symbols that form a multi-layered artistic structure. The linguistic and stylistic analysis demonstrates the author’s masterful use of contrasts between high and low language registers, euphemistic discourse, and multilingual elements that eff ectively reproduce the atmosphere of the era. The fi ndings contribute to understanding the mechanisms of artistic representation of traumatic experience and the role of literature in forming historical memory about the Holocaust, offering new perspectives on postmodernist historical fi ction. Key words: Holocaust, memory, banality of evil, chronotope, war, postmodern poetics, Martin Amis.

This paper examines gender diff erences in employing linguistic expressive means in celebrity talk show interviews on The Ellen DeGeneres Show. It aims to investigate how female and male celebrities use phonetic, morphological, lexical, semantic, and syntactic means to construct gender identities in media discourse. Framing theory and media discourse analysis approaches were used as a methodological basis of this research. Ninety-eight examples taken from 20 interviews were qualitatively analysed. The results show that both genders tend to use semantic strategies. Still, males prefer phonetic and syntactic structure, and females prefer lexical means, which testifi es to the attempt to conform to the created gender expectations of the public. The study contributes to the general research on the role of expressive language in creating gendered public selves within the intersection of linguistics, gender, and media. Key words: expressive means, gender discourse analysis, framing theory, media linguistics, celebrity talk shows, public persona construction.

СЛОВАЦЬКИЙ СЛОВНИК ПЕРЕКЛАДАЧІВ ГУМАНІТАРИСТИКИ (рецензія на: Slovník prekladateliek a prekladateľov: vedy o človeku a culture / eds. Katarína Bednárová, MáriaKusá, Silvia Rybárová. Bratislava : Ústav svetovej literatúry SAV, VEDA, 2024. 461 s.)

This article explores the lexical and etymological designations of “oak” within the Indo-European language family. The analysis identifi es three primary etymological roots associated with the oak: The following words are of particular interest in this study: *deru-/doru- *perkw/perg-, and *aik-. The study utilises a range of methodologies, including comparative-historical and etymological approaches, to examine the distribution and semantic evolution of these roots across various branches of the Indo-European language family. Specifi cally, the investigation encompasses Greek, Latin, Indo-Iranian, Celtic, Slavic, Baltic, and Germanic. The root*derṷ-, meaning “tree” or “wood,” is widely refl ected in ancient languages: Greek (δρῦς), Sanskrit (dā́ru), Avestan (dāuru), Old Irish (daur), Gothic (triu), Old Church Slavonic (drěvo), and Latin (durus). This root evolved to encompass notions of strength and reliability, which later developed metaphorically into meanings like “faith” in Germanic languages. The second root *perkw- is preserved in Latin, Celtic, and in Germanic and Slavic references to mountainous, forested areas. This root, with a basic meaning of “to strike,” was extended to thunder-related deities (e.g., Perkunas, Perun) and phenomena, emphasizing oak’s symbolic role as the “thunder tree.” The third root, *aik’-, appears mainly in Germanic languages), and may result from taboo replacements of older terms. This root is less widespread and likely of later origin. The semantic shift and lexical taboos have resulted in the replacement of older oak designations, particularly in Germanic and Balto-Slavic languages. The article also examines the connections between IndoEuropean and non-Indo-European terms for oak, particularly in Uralic and Kartvelian languages, suggesting limited but signifi cant cultural contact. The study posits that *deru- and *perkw- are representative of ancient Indo-European oak terms, while *aik’- is a subsequent innovation, possibly resulting from lexical taboo or geographic shift. These fi ndings contribute to a broader understanding of the Indo-European dendronymic system and its mythological underpinnings. Key words: Indo-European languages, oak, etymology, semantic shift, dendronyms, lexical taboo.

This article delves into the nuanced interplay between suspense and negation within narrative frameworks, employing a comprehensive analysis of literary theories and exemplar texts. It has been established that suspense, a pivotal narrative mechanism, is intricately woven with forms of negation to enhance reader anticipation and emotional involvement. The exploration encompasses a detailed examination of academic perspectives alongside practical examples to delineate the combined eff ects of suspense and negation in engrossing readers. The exploration includes a close linguistic and pragmatic analysis of three British psychological thrillers – “B ehind Closed Doors” by B.A. Paris, “The Girl on the Train” by Paula Hawkins, and “Before I Go to Sleep” by S.J. Watson – to show how negation operates in real narrative environments. Notably, the investigation uncovers that negation – whether metalinguistic, implicit, or pragmatic withholding—signifi cantly amplifi es the suspense element, maintaining high engagement, particularly within thriller genres. The fi ndings assess these narrative strategies’ cognitive and emotional resonances, underscoring their critical role in modern storytelling. The research off ers enriched insights into their operational mechanisms by characterising the interdependencies of suspense and negation, contributing profoundly to narratology and literary analysis. Key words: suspense, negation, suspenseful negation, types of negation, storytelling strategies, literary linguistics.

Negation is a pragmatic universal of human language that allows speakers to deny, contradict, or invert statements. Syntactically, negation can be realised in various ways, depending on the language and its grammatical rules. This article examines syntactic comparative constructions of negation, exploring diff erent types, their functions, and their signifi cance in linguistic theory. Negation is a multifaceted syntactic device in postcolonial literary discourse that shapes narrative structure, character development, and reader engagement. Its study off ers valuable insights into the complex interplay between language and literature, highlighting the interplay between form, meaning, and interpretation. Analysing empirical material also allows us to assert that such constructions in expressing negation fi nd their imprint in situations where the decisive moment is a special emotional mood between communicants. Key words: post-colonial literature, negation, discourse, comparative construction, syntax, pragmatic universal.

The article reveals real examples of the inaccurate use of paronymic terms, which can be found even in professional and reference publications in both Ukrainian and English. The analysis of the actual use of the terms monopoly power and monopolistic power in professional texts revealed the frequent specifi c hypernym in both languages: market power. The dynamics of the use of the all three abovementioned terms throughout the 20th and early 21st centuries were traced based on the analysis of digitized English-language book sources. We found that in the fi rst half of the 20th century, monopoly power and monopolistic power were used almost equally often, while market power was still in its infancy. However, from the 1970s and 1980s onwards, the term market power became by far dominant. In Ukrainian economic discourse, some uses of the term monopolistic power were traced in translations of A. C. Pigou, who himself preferred this wording. We have also identifi ed 3–4 component terms that more accurately describe this economic phenomenon and clearly distinguish it from the paronymic term thanks to additional semantic components, but they have not become widespread due to their cumbersomeness. In addition, over the past fi fty years, the frequency of monopolistic power has declined, now occurring 8–10 times less often than monopoly power in English and nearly 20 times less often in Ukrainian. The actual frequency of use of the analyzed terms was estimated both in scientifi c texts and in everyday language using language corpora and data from Google Scholar indexing of scientifi c articles. It was found that in both languages, the hypernym term market power is used several times more often than monopoly power; and this frequency predominance is more pronounced in scientifi c texts compared to everyday language, which is consistent with the higher precision of scientifi c discourse. Finally, the highest relative dominance of this term is found in English-language scientifi c articles (used almost 7 times more often), while the prevalence in Ukrainian-language scientifi c articles is 4 times higher, which is also signifi cantly more than in everyday language (2 and 3.6 times higher for English and Ukrainian, respectively). This positively contributes to greater precision in scientifi c discourse and helps to avoid confusing paronymic terms. Key words: paronymy, paronymic terms, market power, monopoluy power, monopolystyc power.

Analysis: English in Academic and Research Settings."In this book, he formulated his genre concept based on the vision of genre as a class of communicative events, all members of which share same communicative purposes.According to Swales, this set of shared purposes is a criterial feature that turns a collection of communicative events into a genre.In other words, "genres are communicative vehicles for the achievement of goals" [10, p. 46].He also identified and formulated other important characteristics of genres (such as a various degree of their prototypicality and constraining conventions) as well as the role of discourse communities in forming genre nomenclatures.The notion of discourse community, also introduced by Swales, emphasizes that such groups of individuals are formed based on mutual goals and share the ways (genres and discourses) of communicating about them.This engagement into genre practices requires rhetorical and linguistic knowledge of genre structures which can be revealed through the textual analysis.Such an analysis suggested by Swales has become known as genre analysis, or rhetorical genre analysis, or move-step analysis.It consists in identifying functional textual units which show the conventionalized structuring of genre governed by its communicative purpose.Swales called these units "moves", while the "steps" in his terms are smaller functional fragments which realize the moves.John Swales used moves and steps in his CARS (Create-a-Research-Space) model of research article Introductions [9] which became not only extremely popular but was also extended to the study of other academic genres (see, for example, [8; 20]) as well as the genres of various social spheres (for instance, press releases [21], female personal accounts [7], or webchats [17]).It was also expanded to incorporate cross-cultural and cross-linguistic research (e.g., [3,22]).Although Swales himself admitted that his move

Based on the theoretical framework of intermediality, focusing on literature studies and related ideas of poststructuralism, media studies, and theatre studies, the concept of writing and, more broadly, a literary text as an intermedium is substantiated. Employing the method of close reading, the research examines Lesia Ukrainka’s “Cassandra”, highlighting its engagement with the mythological fi gure whose name it bears in the title. This theoretical approach enables the consideration of Lesia Ukrainka‘s dramatic text as part of the global culture, tracing the functioning of the mythological fi gure of Cassandra, which is “embedded in a forbidden and persecuted language“ (Oksana Zabuzhko). The research studies the following fundamental dimensions of a literary text: visuality, sonority, and performativity. The sonoric dimension is examined through the interplay of voice and cry. The voices in Lesia Ukrainka’s “Cassandra” are viewed as unique linguistic events that integrate oral and written discourse. The visual aspect is explored through its use of symbolic imagery, color schemes, of light and shadow contrasting, ornamentation through motif connections, and artistic space arrangement. Text performativity is revealed through recurring acts such as weaving, spinning, sewing, and cutting, which deepen meaning and evoke cultural memory. These elements form a poetics of gesture, linking Cassandra’s speech to ritual acts and collective experience. Furthermore, the study asserts the signifi cance of text performativity, as evidenced by the recurring motifs of weaving, spinning, sewing, cutting, intertwining, quilting, and combing. These performative acts contribute to the text’s layered meaning and its engagement with broader cultural narratives. It is shown that the focus on voices, cry, colors, motif patterns, optics, and the performative process of creation to establish a connection with the World serves as a foundation for understanding Destiny as an active process of self-affi rmation. Key words: dramatic text, intermedium, sonority, visuality, performativity, “Cassandra”, Lesia Ukrainka.

The paper focuses on the crucial role that philosophy and science have not failed to stress: the role of the semiotic lens in the constitution of a general theory of meaning. It presents another attempt of a semiotician to pay a visit to the territory of semantics and to show the origin of some controversies arising from diff erent solutions to basic problems. As the constitutive center of any semiotic enterprise is the interrogation of the fundamental matrix of the sign, the discussion is centered on the three basic claims: fi rstly, a general semiotics is nothing else but a philosophy of language and the ‘good’ philosophies of language are concerned with the semiotic questions; secondly, contemporary semiotics faces the same challenges as the theory of language and communication and the challenge is to gain intellectual mastery of diff erent facets of the phenomenon of meaning; thirdly, refl ection on the graphical models of signs represented by semiotic triangles can provide an explicit evaluation of the way that scholarship in semiotics aff ects semantics. Some decisive implications are diffi cult to perceive except retrospectively; thus, the fi rst claim is substantiated by showing how from the time of the inferential theory of the Stoics to the present-day theories of semiosis, the semiotic enterprise has always been aimed at fi nding scientifi c abstraction in posing the sign and in so doing, allowing the constitution of science (including linguistic science) as systematization and formalization. The second claim emphasizes the absence of a neutral conceptual framework within which to conduct the comparison of the semantic theories. Our choice of which theories to compare is justifi ed by focusing on those where ends-oriented modeling of description and representation (Anderson, Merrell 1991) results in the ability to explain the relation of three basic components of all phenomena of signifi cation including language. The third claim consists in discussing the impact of the Peircean triadic model on the semantic triangle of Ogden and Richards and how the latter was “motivated” by the former. The paper seeks to outline a theoretical framework for creating ‘semiosic theory’ of meaning proceeding from the conviction that any semantic theory is incomplete without a full appreciation of semiosis as (paraphrasing Eco) semantic entities exist only insofar as they have been semiotically posited. Key words: semiotics, semantics, sign, modelling, semantic triangle of Ogden and Richards, Charles Peirce.