Artistic Speech Research Articles

Integrative approach to the quality of preschool education in the development of the creative potential of preschool children

The requirements imposed by society also apply to modern preschool education. First of all, it includes the need to create optimal conditions for the education of a dynamic and creative personality, which contributes to a full-fledged interaction with the environment in accordane with their age characteristics and capabilities. In the concept of preschool education and upbringing, the formation of creative and creative potential is an essential task in preschool education. In this regard, it is crucial to create an atmosphere of freedom of expression, encourage children to be proactive and independent, and approve original creative solutions, according to leading scientists such as L.S. Vygotsky, V.V. Davydov, A.V. Zaporozhets, E.I. Ignatiev, T.S. Komarova, N.P. Sakulina, I.V. Strakhov, E.I. Fleerin, the foundations of creative activity and creative potential are laid at preschool age. Therefore, preschool age is more sensitive to the formation of this personality quality. The article discusses the issues of an integrative approach to the quality of preschool education in developing children's creative potential. The essence of the integrative approach is the combination of knowledge from different fields that complement each other. According to T.S. Komarov, "integration is a deeper form of interconnection, interpenetration of different content of upbringing and education of children. It covers all types of children's activities (artistic and creative activities, various games: didactic, mobile; dramatization games, plot-role-playing; visual activity, artistic speech, music).
 Keywords:an integrative approach, preschool children, creativity, creative potential, development

АВТОРСЬКІ ЛЕКСИЧНІ НОВОТВОРИ ВІДФРАЗЕМНОГО ПОХОДЖЕННЯ В УКРАЇНСЬКІЙ ПОЕЗІЇ

The study of innovative processes and phenomena in language is always relevant. A peculiar group of innovations consists of author’s neologisms of phraseological derivation origin, which demonstrate the close relationship between lexical and phraseological levels of language. The proposed article analyzes the ways of appearance, methods of creation, semantic features of the author’s neologisms of phraseological derivation origin, clarifies the features of their use and functioning in the poetic text. The terms “author’s neologisms of phraseological derivation”, and “author’s phraseological derivations” are used as synonyms. The main ways of creating author’s phraseological derivations are described: prefix-suffix, basic compounding, juxtaposition, merging. The most productive way to create author’s neologisms of phraseological derivation origin is compounding in combination with a suffixation. It has been found that poetic speech most often uses phraseological derivations neologisms with the following semes: ‘character trait’, ‘mind’, ‘emotional state’, ‘space’, ‘time’. It is observed that most of the author’s phraseological derivations are created based on phrasemes of folk origin. Some author’s neologisms, which arose because of structural modification of established expressions from the Old and New Testaments and from ancient myths, were also revealed. It is stated that the main reason for the emergence of phraseological derivation neologisms in artistic speech is the desire to influence the emotions of readers.

ЕНДОФАЗНЕ МОВЛЕННЯ В ПОСТМОДЕРНОМУ ДИСКУРСІ (НА ПРИКЛАДІ ПОВІСТІ С. АНДРУХОВИЧ «ФЕЛІКС АВСТРІЯ»)

The article deals with the works, the objects of which are different forms of improper direct speech representation by the example of Ukrainian and foreign language artistic discourses. Turning to human inner world, the ambiguity of his thoughts, feelings, behavior encourages writers to choose a certain style of presentation, where endophasy, ie internal, improperly direct, forms of actors' speech played an important role. The lack of single clear structure, typology and definition of the essence of improper direct speech in scientific research is due to the constant evolution of artistic speech, individual styles of writers who, even in their own works, can change the ways of representing a foreign language. The purpose of the article is to characterize the specifics of improper direct speech construction, to find out the functions of endophasy (inner) forms which Sofia Andrukhovych used in the novel “Feliх Austria”. The analysis focuses on the syntactic (availability of specific syntactic constructions), lexical (the use of subjective-evaluative lexemes with positive and negative connotations), morphological (the use of appropriate verbal-pronominal units), structural (representation of a certain number of sentences – from syntactically unarticulated construction to a complex syntactic integer) aspects that are inherent in the design and separation of inner speech in postmodern discourse. Thus, endophasy (inner) forms of speech in the novel is aimed at understanding their “I”, knowledge of the inner world, determining their own place in society, trying to find motivation for their own actions and people around them.

ENGLISH CONCEPT HAIR AS A FRAGMENT OF PROFESSIONAL PICTURE OF THE WORLD

The article is devoted to the consideration of the features of the verbalization of the concept HAIR in the English language. The purpose of the work is to examine the structure of the English concept HAIR as a fragment of the English-language picture of the world of the English-speaking society. The main attention is focused on the analysis of the language embodiment of the given concept in the professional variant of the picture of the world. This goal of the study led to the use of such general methods of analysis as descriptive method and method of observation, analysis and inductive generalization, which made it possible to systematize and present an objective linguistic classification of the processed factual basis. Among the special linguistic methods we use componential, definitional and conceptual analysis, as well as contextual-interpretative and quantitative methods. The English concept HAIR is a fragment of the conceptual picture of the world, which is reflected in the language picture of the world, namely in its three fragments, verbalized by the constituents of the lexical-semantic groups, distinguished according to the somatic feature. They are head hair, facial hair, body hair. The analysis of the language and speech material showed that the structure of the English concept HAIR in the picture of the world is a three-component formation, which consists of a core, a nuclear zone and a periphery. The core of the concept HAIR in the professional picture of the world includes such conceptual features as somatic, gender, structure and development. The nuclear zone includes objective conceptual features, namely: health, age, protection. The periphery of the concept consists of professional, religious, and social-group social-identifying functions. The prospects for further research are seen in the consideration of the mentioned aspects of verbalization on the material of English artistic speech as well as professional discourse.

Presentation of artistic speech in anecdotes

This article goes on to give anecdotes that are an example of a small genre in artistic discourse and their compositional structure. First of all, folklore genre art, type ofform are distinguished. In the narration and delivery of anecdotes from antiquity, the various structures of monologue, dialogue, narrator's story (speech) and its subjective judgement are of paramount importance. One of the main directions in the study of the style of fiction is the study of “different forms of storytelling and the interaction of the story with dialogical parts”, solving the problem of “speech character traits of the image of the characters”. The narrator pays great attention to their language in order to embody the image of the characters. Therefore, the power, charm, meaning, beauty or the speech of people from different professions and social circles is clearly seen in the anecdote. The characters pointed out in the speech become more specific in the actions and attitudes of the characters. The anecdote also begins with an exposition or narration that introduces the listener to a world of strange laughter in the first place.

ИМЕНА И ОБРАЗЫ В РАННЕЙ ГОТИЧЕСКОЙ ПРОЗЕ ГРАФА А.К. ТОЛСТОГО (НА МАТЕРИАЛЕ РАССКАЗА "ВСТРЕЧА ЧЕРЕЗ ТРИСТА ЛЕТ")

The purpose of the publication is to concretize the idea of the artistic speech and style of the language of A.K. Tolstoy (1817–1875) in the verbal embodiment by revealing the specifics of using their own names in one of the early stories of his Gothic dilogy “Meeting in Three Hundred Years”, as well as considering the figurative system of the work through the prism of the name – usage by Tolstoy. The main methods are a historical-literary one, ideological-thematic analysis, observation, continuous sampling, contextual analysis, classification. The results of the study are associated with the disclosure of the distinctive features of the onomastic storytelling space: the specifics in the use of onomastic classes, the participation of names in modeling the chronotope and the formation of a retrospective text, in the creation of the French coloring of the work, the implementation of the author’s picture of the world, determined by aesthetic positions. The features of the figurative system of the story are revealed on a semiological basis, taking into account the leading principle of mirroring (enantiomorphism). The article shows that the parallel mirror-shaped oppositions of anthropoetonyms created by A.K. Tolstoy, along with topopoetonyms and other onomastic classes, serve as the compositional core of the story, determine the originality of the ideological-thematic plan and space-temporal relations, express the motive of duality and the concept of romantic two-worldness. Names and images, respectively, play a key role in the “Meeting in Three Hundred Years”, since they form an idea of the features of Tolstoy’s idiostyle and serve as the basis for the implementation of author’s intentions. The novelty of the study is determined by the results of the study in the use of poetonyms and the construction of a figurative system in Tolstoy early romantic prose.

Poetics of artistic speech in small prose works

Poetics of artistic speech in small prose works

Осмысление лингвокультурного потенциала имен славянских мифологических птиц в русской лирике XX столетия

The paper analyzes the principles of introducing in lyrical contexts (in individual author’s interpretation) of the images of magic birds, representing one of the sectors of the East Slavic mythological space: images of Sirin and Alkonost. Based on the material of lyric works of a number of authors of the twentieth century. (B. K. Semenov, V. A. Rozhdestvensky, M. Vega) the study demonstrated how poets develop the tradition of a “twofold” (in their close relationship) understanding of these images, laid down by the lyrics of A. Blok, which, in turn, goes back to ideas formed over a long period of time in a linguistic picture of the world of the Eastern Slavs. In keeping with this tradition, Sirin and Alkonost symbolize opposite states of the human soul, which the representative of the Slavic culture often experiences as interacting inextricably, complementing and conditioning each other. The development of this tradition by lyricists of the twentieth century is carried out in accordance with an individual author's way, which in each case gives the lyrical work a conceptual aesthetic and linguistic-stylistic originality. It appears that the results obtained represent an interest for further research both in the field of stylistics of artistic speech as in the field of ethnolinguistics.

Verbalization of indirect speech in the epistolary discourse of Lesya Ukrainka

The article deals with the specifics of constructions with indirect speech in the epistolary of Lesya Ukrainka in terms of the structure of syntactic units and semantics of introductory verb tokens. In addition, attention is drawn to the syncretism of constructions with indirect speech, due to the peculiarities of the epistolary style. In the process of expressing opinions, Lesia Ukrainka used various forms of transmission of another’s speech, including indirect speech and its peripheral version – free indirect speech, the design and structure of which differs from indirect.
 Compound sentences with an explanatory part and complex sentences with several subordinate clauses, representing homogeneous subordination or consecutive subordination, are quantitatively predominant in constructions with indirect speech. Sentences-microtexts, built on the schemes «text – the author’s words – indirect speech», «text – the author’s words – indirect speech – text», «author’s words – indirect speech – text» are the next group. Sentences with double indirect speech, where the thoughts of one speaker, which testified by introductory verbs, or two speakers, or sometimes several, are highlighted separately. Indirect speech in letters is introduced using verbs of speech and thinking or their equivalents. Among the neutral verbatives-introductory words that represent live speech, the most productive are the tokens to speak, to think, to write, and among the implicit introductions – to be afraid and to hear. In addition, a number of implicit tokens that introduce indirect speech into the epistolary are highlighted. Thus, the epistolary style, although it has a number of common features with colloquial and artistic speech, but in the field of representation stands out among others with a bright set of linguistic means.

Modernist interpretation of the image of the sun in the European literature of the late 19th and early 20th centuries

The article is devoted to the clarification of the semantic and text-creating potential of linguistic cultures in the european and ukrainian artistic speech. The research was carried out in several directions: a) on the material of texts of european and ukrainian authors of the beginning of the twentieth century revealed semantic-stylistic features of the linguistic culture of the sun; b) considered the semantic structure of the text through the projection of this image into the context; c) through the description the modernist features of the interpretation of the image in the European literature of the early twentieth century. In the work, a comparative method of analysis was used, which allowed to find out the common and excellent in interpreting the image, revealing its deep meaning. Modern linguistics defines the concept of linguistic ethnocentrism. It becomes the background for the development of an ethnic group as an original phenomenon, acts as a uniting beginning of each individual nation, a marker of the national language, traditions, and culture. The history of its formation is dynamic. The philosophical origins are hidolen in the idea of anthropocentrism. Human being is regarded as an organic part of nature, and its surrounding animals, birds, trees, plants, rivers, rocks – as living beings endowed with a human soul The formation of linguistic ethnocentrism was significantly affected by the geographical and climatic features of the ethnic group's residence (natural landscape, climate, natural phenomena, flora and fauna). The natural origin caused the occurrence of a system of cult concepts associated with phyto-and dendrological symbols. It is expedient to analyze the historical and social conditions of the formation of an ethnic group and its culture (economic activity, occupation, relations with neighbors, social and political forms).The distinctive features of any ethnic group affect its psychological behavior and mental traits. Among the most characteristic features of Ukrainians, it is appropriate to name humanity, individualism, emotionality, sentimentalism, receptivity, hospitality, a kind of sincerity, lyricism. Formation of national-marked language units (epithets, metaphors, comparisons, proper names, compound words, associative language relations, specific vocabulary and phraseology) becomes the background of individualization of any ethnic culture, and Ukrainian especially. Ethnic language pictures of the world, which all members of society are involved in, affect the way people think and behave.

Проектування системи автоматизованого генерування віршованих творів

Features of designing a system of automated generation of poetic works, which opens up new opportunities for artistic speech and show business, especially the preparation of poems and songs have been considered. Quite often lyrics without special content become successful due to the lack of complex plots, as well as due to the unobtrusiveness and ease of perception by listeners. Well-known literature sources and available software products that can generate poetic works by combining different methods and algorithms are analyzed. It has been established that none of them is able to ensure the content and uniqueness of the poetic work at the same time, especially in the Ukrainian language. The existing approaches to the generation of poetic works are analysed, among which the relevant is a method based on templates, generation and testing, evolutionary algorithms and the method based on specific cases. Peculiarities of generating poetical works, first of all rhyming rules, types of strophes, poetic rhythms and sizes have been investigated. An approach to automated generation of poetic works using evolutionary algorithms and a method based on specific cases have been developed. Their combination resembles a sequence of actions for creative personalities when creating poems or writing lyrics. Peculiarities of neural network organization for automated generation of poetic works have been considered. It is proposed to perform neural network training using the method of inverse propagation and using a genetic algorithm. The principle of operation of algorithms for finding optimal solutions which contain such consecutive stages as initialization, evaluation of solutions, population selection, evolution of solutions, is analysed. Their interaction and various opportunities for neural network learning have been investigated in detail. An algorithm has been developed according to which the software application will analyse the poetic works offered by the user and generate new variants of it on the basis received from the neural network of logically connected words or lines of the verse in the poem. The user can edit both the components of the poem and the generated poetic works, and thus can train the neural network. The specification of requirements to the software application has been developed, the basic requirements to the user interface are defined, and also potential classes of users who will use it are established. Keywords: computational linguistics; Artificial Intelligence; neural network; genetic algorithm; optimal solution.

Metonymy is a Cognitive Mechanism of News Discourse

The paper considers metonymy as a cognitive mechanism widely used in news discourse. Views of different scholars on the concept of metonymy were analyzed in this paper. The problem of metonymy in linguistics is associated with two functions: 1) as a means of creating artistic speech; 2) as a means of nomination. The second part of the paper deals with different trends of metonymic transfer: psychological, logical and semiotic. In the third part, different classifications on the types of metonymic transfer are given. Finally, the fourth part of the paper considers the cognitive approach to metonymic study. The cognitive mechanism of conceptual metonymy operates within a single conceptual domain, one element replacing another. The replacement element is called a vehicle. It opens up access to another conceptual structure called the concept target within a single conceptual domain at the mental level. In news discourse, metonymy is used to express a concept economically. A shift in focus in metonymic nomination creates a positive or negative assessment, distortion of information, and depersonalization of individual referents to influence the reader. Thus, metonymy has a referential function, i. e. it allows one entity to replace another. But metonymy is not only a referential device. It also serves to understand.

Genre-forming function of factic elements of language in Russian and Tatar lyrics

The article identifies linguistic "initial phenomena" of lyrical genres, forming the core of genre identity of the work and having universal character - supernatural and supranational. It has been concluded that the non-literary "other" in relation to which artistic speech, first of all its lyrical subsystem taken in the aspect of its genre structure, is self-determined, is deixis. On the basis of the analysis of the philosophical lyrics of Russian and Tatar poets of the XIX-XX centuries, it has been established that the genre of "definitions" goes back to the deuttic elements of language. In Russian and Tatar literatures it has similar features: the focus on the process of knowledge (dominance of the hermeneutic code), the reflection in the subject architect of the works of the processes of identification and self-identification of the lyrical subject, the use of tropical and mythopoetic figurative "languages." At the same time in Tatar poetry this genre has distinctive features related to the specifics of the manifestation of personal origin in Tatar literature, its characteristic forms of authorship, procedures of meaning inherent in this type of culture.

LEXICAL MEANS OF VERBALIZATION OF THE ENGLISH CONCEPT HAIR

The article is devoted to the consideration of the features of the verbalization of the concept HAIR in the English language. The purpose of the work is to examine the structure of the English concept HAIR as a fragment of the English-language picture of the world of the English-speaking society. The main attention is focused on the analysis of the language embodiment of the given concept in the naïve and professional varients of the picture of the world. The English concept HAIR is a fragment of the conceptual picture of the world, which is reflected in the language picture of the world, namely in its three fragments, verbalized by the constituents of the lexical-semantic groups, distinguished according to the somatic feature. They are head hair, facial hair, body hair. The analysis of the language and speech material showed that the structure of the English concept HAIR in the naive picture of the world is a three-component formation, which consists of a core, a nuclear zone and a periphery. The core includes such conceptual features as somatic and gender. The nuclear zone includes objective and various associative conceptual features, namely: age, thinness, protection, beauty, strength / success, value. The periphery of the concept consists of socially-identifying functions - professional, religious and social-group. The core of the concept HAIR in the professional picture of the world includes such conceptual features as somatic, gender, structure and development. The nuclear zone includes objective conceptual features, namely: health, age, protection. The periphery of the concept consists of professional, religious, and social-group social-identifying functions. Thus the periphery of the given concept in the two variants of the picture of the world is identical. The prospects for further research are seen in the consideration of the mentioned aspects of verbalization on the material of English artistic speech as well as professional discourse.

Zeugma as a Method of Pragmatic Focusing in a Literary Text (Based on the Material of the German Language)

Introduction.The article analyses the specifics of the functioning of the zeugma in artistic speech. Despite the popularity of this rhetorical figure since ancient times and its use in various spheres of communication, there is still no complete clarity about the essence of this linguistic phenomenon.Methodology and sources.The article considers various interpretations of the zeugma, determines its place in the circle of other rhetorical figures, conducts a structural analysis of zeugmatic constructions, identifies its syntactic and morphological variations, analyzes the stylistic potential. As an empirical material, lyrical and prose texts of German-language literature of the XIX–XX centuries are used, including works by H. Heine, A. Döblin, G. Trakl, G. Benn, K. Edschmid, H. Böll and other authors.Results and discussion.As a rhetorical figure, zeugma is built on the conflict of syntax and semantics, representing several syntactically homogeneous, but semantically heterogeneous elements. Zeugma, as a rule, has a nuclear word in its composition, in which, in conjunction with various actants, different meanings/shades of meanings are actualized, although “non-nuclear” zeugmas are also found. The role of the reference element is most often a verb-predicate, less often the core of the construction becomes an adjective, participle, adverb, noun. The elements of the paratactic series are usually nouns (homogeneous subjects, additions, circumstances), but the analysis also reveals cases of illogical combinations represented by other parts of speech, as well as examples with heterogeneous morphological forms within the same zeugmatic construction. The functional analysis of the zeugma demonstrates the rich stylistic potential of this rhetorical figure, which acts as a means of humor and satire in literary texts, serving to convey emotional states, semantic saturation of the utterance, and the increment of new meanings.Conclusion. Zeugma acts as a significant method of pragmatic focusing in a literary text, being especially widely represented in modernist literature, characterized by semantic multilayering and intensity of artistic expression.

Text-Forming Function of Addition in the Later Stories of V. G. Lidin

The subject of analysis is addition as a phenomenon of language and speech, as well as the specificity of the text-forming function of addition in artistic and speech creativity. The relevance of the study lies in the fact that until now in the theory of syntax there is no generally accepted view of the essence of addition and how it is produced in speech, and it is also not considered that the text-forming function of addition is unique in different speech spheres, in particular in artistic speech creativity. The novelty of the research lies in the fact that addition is presented as a special syntactic form, characterized by its semantics and formally constructive organization and determining the assumptions and limitations of its speech implementation. The dual manifestation of the text-forming function of attachment in artistic and speech creativity is shown. The research material is based on the late stories of V. G. Lidin, included in the collection “Melting Snows” (1980): this writer, whose metapoetics is characterized by close attention to syntax, used addition with extraordinary skill. When analyzing addition constructions in three stories, it was found that the addition is produced intentionally, counting on a textual perspective. It has been established that the text-forming function of addition is manifested in the organization of compositional-semantic communication on the one hand, and in the creation of an artistic detail on the other hand.

About phonetic transformations of words in modern Russian poetry

This article aims to determine the types and role of phonetic transformations of words as an active tactics applied in modern Russian poetry. This problem has not received sufficient theoretical attention, which is significant for an adequate analysis of artistic speech. The methods of functional and contextual analysis were applied allowing the phenomenon under study to be considered as an element of an integral literary text. As a result, the functions of phonetic transformations of words in poetic speech were revealed, in particular: 1) rhythmic (primary associated with the nature of poetic speech); 2) iconic, including the function of creating sound imagery (contributing to an enhanced expression of the author’s intention and ensuring the participation of phonetic transformations in certain types of stylisation); 3) compressive (reflecting the tendency towards speech economy, focused on spoken speech and incomplete pronunciation style); 4) text-forming (sound transformations as the main expressive means of a text can determine its structure); 5) euphemistic (the transformed version of the word constructs a phonetic allusion to its original version); 6) comic (the original sound can generate new versions including game, ironic and other meanings). It is concluded that there is a tight connection between phonetic experiments and the semantic accents made in poetic texts. The results of the study contribute to the existing scientific literature on phonemic transformations. The results can be applied when conducting a philological analysis of a text and at Russian language and literature lessons.

Ոչ գրական (բարբառային և խոսակցական) լեզվաշերտը Հրանտ Մաթևոսյանի «Աշնան արև» ստեղծագործության մեջ

The article examines the non-literary (dialectal and colloquial) language layer of «Autumn Sun». The purpose of the staudy is to present the linguistic-stylistic expression of the elements that include that language layer. In order to achieve the goal, the objective of investigating the peculiarities of textual reality has been set forth. The colloquial and dialectal realities that deviate from the existing literary norms in the field of research are mainly general of the Araratian and Karabakh dialects and typical, the Lori dialect in particular. They are verbal and grammatical phenomena formed as a result of different types of an alternation. In this work, the words and phrases of a non-literary language layer have been used mainly to create an artistic environment and characters. Especially the speech of heroes is rich in such examples. Folk-colloquial and dialectal language layers differ from literary ones in nominal and verbal forms, which are also common in the examined work. The word forms and grammatical realities that are included in the dialect vocabulary have a localized nature, the proper use of which gives an emotional expression to the artistic speech. Methods of synthesis and comparison have been used during the research. In the studied language material, currently after the literary forms, the folk-colloquial and then dialectal versions have a significant weight, and only the words and phrases specific to the Lori dialect are few.

Communicative and pragmatic features of dramatic text as a kind of artistic speech

The article formulates the theoretical foundations of the study of dramatic text, distinguishes between the concepts of “dramatic text” (affects the reader) and “dramatic work” (verbalizes the theatrical action for the viewer), because these linguistic realities are in the relationship of inclusion. A dramatic text is a unity organized according to certain laws, which has a clear structure: a certain number of lines, designed with the help of the author's remark, forms a dialogical unity; the combination of dialogic units forms a scene; the set of scenes constitute an act; several acts create a complete work. Obligatory factors of expressiveness of the dramatic text that influence the development of dialogic parts of the characters are pragmatic components of speech which are considered as certain rules of successful communication. In the communicative-pragmatic paradigm dramatic text is defined as a specific type of artistic text that has its own structural and speech features due to a combination of informational, pragmatic, stylistic and cognitive aspects, where the pragmatic aspect is found in speech acts, syntactic organization of cues. The scientific novelty of the research is DT of Bukovinian’s writers of the late nineteenth – early twentieth century that have not yet been the subject of analysis. The relevance of scientific research requires a holistic analysis of the dramatic text and difference between the concepts of “dramatic text” and “dramatic composition”, the study of mandatory factors of expressiveness of dramatic text, influencing the development of dialogic parts. The following methods and techniques of linguistic analysis are used in the article: system-functional analysis, method of discussion analysis, contextual-interpretive method. Conclusions. Dramatic text is a complex phenomenon with its own peculiarities of functioning. It is possible to penetrate into the structure of a dramatic text, to reveal the meaning of the author's intentions due to the volume-pragmatic division of the text. The communicative-pragmatic organization of DT influences the processes of active aesthetic influence of a work of art on the consciousness of the addressee. We see the prospect of the represented research in the further deepening of knowledge about the categorical features of the text in the communicative-pragmatic aspect.

To the poetics of the narrative: the challenges of linguistic narratology

The proposed article systematizes and characterizes the most defining theoretical positions on the problemsof the theory of literary narrative. A new approach to the study of fictional narrative is presented from the perspectiveof modern text-centered researches, in particular, it is clarified and supplemented the scientific scope of itsmain categories, such as voice, temporality, spatiality and modality, as well as explained the scientific meaningof the term “narrative strategy”. The formation of the latest linguistic-narrative tradition in the interpretationof the literary text took place through the integration of traditional and structuralist views on a literary narrativeas a set of textual units united by semantic and temporal connections, and its positioning as a cognitive and,consequently, mental activity of the author and the reader, who in this case act as co-creators of a certain narrativereality. In the modern interpretation, the narrative appears as a polycode semantic plurality, which is expressedin the narrative structure of the fictional text by its semiotic coding. Linguistic narratology as an independentinterpretive theory has many points of intersection with cognitive linguistics and cognitive psychology andactively develops two main narrative aspects of the fictional text – cognitive and semiotic – related to suchcategories as consciousness / thinking and artistic speech. From the point of view of linguistic narratology,the fictional text should be analyzed not in terms of what is presented in it, but in terms of how the author constructsand semiotizes the world around him or his own experience in the categories of literary narrative.