Style Of Author Research Articles

PROBLEMS OF ADAPTATION OF KAZAKH FICTION (ON THE EXAMPLE OF DIRECT AND INDIRECT TRANSLATIONS OF A. NURPEISOV'S NOVEL "SONGY PARYZ")

The need for language mediators dates back to ancient times. It was caused by the lack of society to establish cultural, commercial, political, and other contacts between geographically and linguistically distant communities. Indirect translation served as a bridge between “small or regional” languages through a global language. In the modern world, indirect translation remains a pervasive form of interaction in a wide range of human spheres. Due to the globalization of international contacts, in the organization of international conferences and forums, communication is conducted through international languages. The article aims to consider ways of adaptation of Kazakh fiction through comparative analysis of direct translation into Russian and indirect translation into English of Nurpeisov’s novel “Songy Paryz”. Objectives 1) to generalize and substantiate the approaches of comparative analysis of the source text, the intermediary text, and the target text in modern translation studies; 2) to determine the causes, specificity, and role of indirect translations; 3) to carry out structural-system analysis aimed at identifying translation transformations and techniques as strategies used in two translations, to identify their appropriateness and significance and objective need for representation of the writer’s authorial style. The authors offer their translation of the excerpts under consideration to identify discrepancies between translations and the source text. The study results would be interesting for scholars in linguistics, translation studies, linguocultural studies, and literary criticism.

Musical culture of screen direction

The article examines the phenomenon of music in audiovisual art. The work of Ennio Morricone in world cinema is analyzed. This approach made it possible to deeply reveal the role of music in the screen arts and to show the peculiarities of the collaboration between the director and the composer. Signs of collective authorship in the screen arts have been identified, which provoked the emergence of creative tandems, a director-composer. In addition, the director's creativity was studied in the context of the composer's practices of creating music for audiovisual art. Composer practices of Ennio Morricone in different directorial models are analyzed. The main features of the author's style of the composer are revealed, his innovative approaches in creating music for the screen and symphonic music are revealed. The experimental music of a prominent composer is characterized. The main techniques of E. Morricone's tonal music are singled out and the specifics of the use of musical instruments in the artist's scores are clarified. The artist's use of various composing technologies is analyzed. It is substantiated that the composer tried to reform film music and modern music in general. The composer's unique ability to work in a cinematographic production team has been proven. It is shown that sometimes the screen music of the maestro became more popular than the films for which it was written.
 In the development of the topic, the methods of scientific analysis, comparison, and generalization were comprehensively applied. Analytical and systematic methods in their unity were involved to consider the art-historical aspect of the problem.
 As a result, the specifics of the use of musical means in screen arts are determined through the study of creative models of the director and composer, the relevance of using the systematic method in studying the peculiarities of composers' creativity in the context of audiovisual art and production is proven.

ВЕРБАЛЬНА РЕПРЕЗЕНТАЦІЯ ЕМОТИВНИХ КОНЦЕПТОСФЕР У ХУДОЖНІХ ТВОРАХ ВОЛОДИМИРА ЛИСА

Modern linguistic research is increasingly directed towards the stream of cogni-tive expressiveness. Emotionality is an important part of language, it is inherent in all four linguistic levels: phonetic, morphological, syntactic and lexical. It is also worth taking into account that each level has its own system of means of expression.As for the phonetic level, scientists put forward a hypothesis that there are con-nections between the inclusion of a particular phoneme in a lexeme and the meaning of this lexeme. They claim that a phoneme is able to awaken a certain meaning in the subconscious of readers, is able to replace objects or actions, becoming a certain sym-bol. And due to the fact that the phenomena in the real world are characterized by the one who perceives this information, the evaluation of the subject is also transferred to the phonemes that accompany the given phenomena.The syntactic level can be expressed through the use of interrogative, exclama-tory, elliptical, inverted sentences, interjectional elements. This is used by the author to express emotionality in his works. It should also be noted that the higher the level of emotional tension, the higher the level of disorganization in the syntactic structure. With the help of repetitions, interruptions, unfi nished syntactic constructions, the de-gree of concentration of emotions increases.The syntactic level can be expressed through the use of interrogative, exclama-tory, elliptical, inverted sentences, interjectional elements. This is used by the author to express emotionality in his works. It should also be noted that the higher the level of emotional tension, the higher the level of disorganization in the syntactic structure. With the help of repetitions, interruptions, unfi nished syntactic constructions, the de-gree of concentration of emotions increases.We conclude that the vocabulary of the analyzed novels is emotional, expres-sive, full of lexemes with the suffi xes of diminutiveness, caressing, and rudeness. The interrelationship of emotions, ideas and themes forms a complex and emotionally saturated structure of the work, which deeply aff ects the readers. Saturation is an important feature of the writer’s authorial style

Струнные квартеты С. И. Танеева в аспекте взаимодействия фактуры и жанра

The article is devoted to the analysis of texture as the most important constituent of the style of Sergei Taneyev’s string quartets. Up to the present time in Russian musicology texture in the composer’s chamber instrumental music has not formed a subject for special study, which is what especially stipulates the relevance of the chosen theme. The aim of the article is to define the specificity of the genre revealing itself on the textural level of the quartet’s artistically organized integrality, which may shed light on the sphere of its evolution in Taneyev’s music. The following issues are resolved in correspondence with the aim: to establish the correlation of the texture with the form, to research the means of this interaction with the thematicism, to disclose the most characteristic indications of the individual authorial style, having examined them in the aspect of the processes of form-generation. The author arrives at conclusions about the formation of the styles of the quartets. It is indicated that the compositions absorb into themselves various types of polyphonic and homophonic expounding of the musical material, the varieties of its strata, as well as the modulation processes in the sphere of texture based both on the suppleness of its transitions and on the effects of suddenness and unexpectedness. Both types of textural modulations present a distinguishing feature of Taneyev’s artistic manner that is connected with the stages of formation of form.

Способы сохранения эстетического воздействия при передаче авторского стиля (на материале немецкого языка)

The article is dedicated to the problems of conveying aesthetic information in literary translation. The aim of this research is to determine the translation strategy for preserving the aesthetic impact when translating the authorial style of German writer Martin Spiess from German to Russian. The article explores the aesthetic function of literary translation and argues for the importance of gathering information about the author in order to describe his/her idiolect and understand the context of the authorial text. The main characteristic of Martin Spiess’s idiolect is the intense internal monologue of the main character, which is realized through comparisons, figurative expressions, modal assessment means, jargon, anglicisms, allusions, and intertextual references. The scientific novelty of the research lies in applying a comprehensive approach to describing the translation strategy in literary translation, taking into account three interconnected factors: structural-linguistic, cultural, and communicative-pragmatic. As a result of the research, it has been established that identifying and analyzing the peculiarities of the authorial style contribute to understanding and interpreting the text, and determine the choice of translation decisions for preserving the aesthetic impact of the target language and culture.

INTRODUCING A WRITER IN A FOREIGN CULTURAL SPACE THROUGH THE PARATEXT: FUNCTIONS OF THE BACK-COVER BLURBS IN THE ROMANIAN EDITIONS OF MISHIMA YUKIO’S NOVELS

In the case of literary translations from Japanese into Western languages, paratextual elements such as book blurbs are one of the tools through which the contact between the target-culture readers and the literary work is mediated. The purpose of this study is to determine the role of back-cover blurbs in the process of introducing and promoting a foreign author in a new culture – in our case, the Japanese writer Mishima Yukio (1925-1970) in Romania. Throughout this article, I will present six functions of blurbs which contribute to creating a specific image of a foreign writer and his work in the target cultural space: 1. (re)confirming his literary value and including him in a literary canon; 2. presenting the book-to-screen adaptations of his novels; 3. illustrating similarities between Mishima’s style and the style of some famous authors from the European cultural space; 4. marking the cultural difference; 5. referring to other valences of Mishima Yukio’s literary works; 6. exposing the universal character of Mishima Yukio’s literary work.

Features of the early tintinnabuli style in the works by Arvo Pärt: interaction а word and a number

Relevance and scientific novelty of the selected topic of the research. The work of Arvo Pärt is regularly covered in Ukrainian musicology, however, the issue of the interaction of his compositional technique with the verbal text used to be a part of a broader scientific problem—such as the author's style, modern choral writing, etc. At the same time, a comparison of the methods of applying the tintinnabuli technique in works with and without text was not undertaken yet. Indeed, the comparative method allows a better understanding of how word and number—two main compositional factors in the works of A. Pärt—work. The opportunity to clarify our ideas about the creative method of one of the most performed contemporary composers, as well as the use of rare works by A. Pärt as research material, ensures the relevance of the article. In addition, the performer's view of the choral work of A. Pärt, reflected in the article, has a certain novelty.
 The aim of the article is to identify the specifics of the composer's work with the verbal text, to establish the ways of interaction between the number and the word in the choral works of A. Pärt, to substantiate the choice of performing means that are adequate in terms of style.
 Main results and conclusions: 1) both instrumental and choral works by A. Pärt are algorithmic compositions based on numerical series as the fundament of the melodic voice; 2) in both groups of works, the numerical series are not formed on immanent musical patterns, but are borrowed from outside; 3) the numerical series of the instrumental compositions “Für Alina” and “Cantus in Memory of Benjamin Britten” are increasing and/or decreasing arithmetic progressions: each subsequent modus-block of the melodic voice contains a tone more/less than the previous one; 4) the numerical sequences of works with verbal text are based on the syllabic structure of the word: in the works "Missa Syllabica", "Cantate Domino" the number of sounds in each modus-block corresponds to the number of syllables in the word. A hypothetical judgment is made that the work “Summa” is a creative experiment of Arvo Pärt: the composer uses the method of forming numerical series not on the basis of the word (as in other choral compositions), but on the basis of number (as in instrumental compositions). Later, the composer revised this approach to working with the word, he’s created an instrumental version of this work for string quartet. The way the tintinnabuli technique presents in A. Pärt's choral works emphasizes the priority of the verbal text.

Ukrainian Military Themes in the Historical Battle Painting of Andrii Kholomeniuk

The purpose of the work is to investigate the topic of Ukrainian military history in the historical-battle painting of A. Kholomeniuk; analyse the main cycles and their plot, imagery, author's interpretation. The research methodology consists in the application of the historical-chronological method, comparison and generalisation, art analysis, with the application of the principles of systematicity and historicism. The scientific novelty of the study consists in the systematic generalisation and analysis of the artistic works of the famous artist-battalist A. Kholomeniuk, which reproduce various historical periods of the military history of Ukraine, mainly the late Middle Ages and the Cossack region. Conclusions. As a result of the conducted research, it was established that in his work A. Kholomeniuk addresses various topics and plots of Ukrainian military history, among which the large cycle of works "The Khotyn War of 1621" (approx. 80 paintings) occupies a prominent place, which serves as a kind of pictorial encyclopaedia of Ukrainian Cossacks. A. Kholomenyuk's battle paintings have a distinct author's style of painting, with an expressive manner and play of colour, light and shadow, characterised by perfect composition and a deep study of historical details and context. The battle-historical works of A. Kholomeniuk belong to the important examples of modern Ukrainian historical-battle painting, which vividly reflects Ukrainian military themes.
 Keywords: A. Kholomeniuk, battle-historical painting, battle studies, historical themes, military history of Ukraine, Cossack period.

Dramatism of Cossack life in the works of F. Kryukov

The research is aimed at analyzing the works of Fyodor Kryukov, in which he describes Cossack life. We explore the dramatic aspects of this topic, including the internal conflicts of the characters, the sociocultural aspects of Cossack life and its influence on the fate of the heroes. The Cossacks have unique values and traditions, which shape the characteristics of dramatic events. The works of F. Kryukov are deeply concerned with the psychology of the characters, which makes the drama more intense. The structure of the works, the author's style and the use of literary means to convey the drama of Cossack life will also be considered. The works of F. Kryukov leave a significant mark on literary history. This study is original in that it attempts a deep analysis of the drama of Cossack life and its expression in the works of F. Kryukov. Previous studies of Cossack folklore and literature have focused on the general features of Cossack culture, but our study focuses on moments of dramatic tension and personal conflict, which represents a new research approach to the work of F. Kryukov and Cossack themes in literature in general. By analyzing specific aspects of drama, we are able to more deeply understand how Kryukov conveyed the complex emotional and moral aspects of Cossack life in his works. In a study on the drama of Cossack life in the works of F. Kryukov, the following conclusions were found: drama occupies a central position in the works.

THE ARTISTIC CONCEPT OF "FORESIGHT" IN THE SPACE OF THE TEXT AND WAYS OF OBJECTIFICATION OF ITS MEANING

The article is devoted to revealing the role of the artistic concept in the formation of the deep meaning of the text and its conceptual space. The purpose of the work is to clarify the concept of "artistic concept", describe its features, study its conceptual space within the text. The study of the artistic concept is relevant due to the lack of identification of its features, the lack of clarification of its status as an object of any science, the unresolved issue of its conceptual space, the lack of a methodology for analyzing a literary text and the author's style. Methods used in the work: conceptual analysis, associative experiment. Results: the artistic concept is considered, its structure (which includes the following components: conceptual, significant, figurative, cultural-mental, nominative), the features of the artistic concept are described, its conceptual space is studied, the methods of its objectification are identified. The scientific novelty of the article lies in the study of the still insufficiently studied problem of the artistic concept, its functioning within the framework of the text and the study of various methods of objectification, the identification of its functions. The authors determined the associative links of the main and specific concepts, considered as associative-cognitive and associative-figurative. The associative experiment made it possible to identify associate concepts, its associative field, in which it acts as the core, and species functions as peripheral concepts. Conclusions are drawn about the need to study the artistic concept within the framework of an integral paradigm that combines the knowledge of different sciences, using their methods, which contributes to the study of the properties of this concept, to identify its role in the formation of the conceptual space of the text, actualizing the concept, various meanings of the text.

КӨРКӨМ КОТОРМОНУН ТҮРЛӨРҮ ЖАНА АЛАРДЫН СПЕЦИФИКАЛЫК ӨЗГӨЧӨЛҮКТӨРҮ

In the article, the similarities and differences in the language are based on the true nature of the language, its historical path, its relationship with neighboring languages, and its etymology, which cause a certain degree of difficulty in artistic translation, often forcing a tireless search, as well as getting into a situation where the original is not damaged. , increases responsibility. There are several ways and methods of translating literary texts from one language to another. Stylistic means in the work are presented correctly, the unity and integrity of content and form are preserved, the uniqueness of the author's style is clarified. The theme, ideological content, artistic-emotional level of the work has a positive effect on the reader. When you read S. Zhigitov's translation in this article, you will feel that it is not a Turkish poet, but a poem by a Kyrgyz poet who sang in his native language. After all, despite the similarities and differences between the Turkish language and the way of life of the Turks, the text of the song was translated into Kyrgyz in a flexible, clear, imaginative way, close to the traditions and way of life of Kyrgyz people. The poems in the work are interwoven with the grammatical and stylistic-semantic units, linguistic phenomena of the Kyrgyz language, thus absorbing the fluency and beauty of our mother tongue.

CONSTRUCTIVE-SYNTHESIZING MODELING OF NATURAL LANGUAGE TEXTS

Means for solving the problem of establishing the natural language texts authorship were developed. Theoretical tools consist of a constructors set was developed on the basis of structural and production modeling. These constructors are presented in this work. Some results of experimental studies based on this approach have been published in previous works by the author, the main results should be published in the next ones.
 Constructors developed: converter of natural language text into tagged, tagged text into a formal stochastic grammar and the authors style similarity degree establishment of two natural language works based on the coincidence of the corresponding stochastic grammars (their substitution rules).
 The proposed approach makes it possible to highlight the semantic features of the author's phrases construction, which is a characteristic of his speech. Working with a sentence as a unit of text to analyze its construction will allow you to more accurately determine the author's style in terms of the use of words, their sequences and characteristic language constructions. Allows not to be attached to specific parts of speech, but reveals the general logic of building phrases.

The idiostyle of Andrey Kolesnikov as an Author of the Reportage Genre

The article is devoted to the lexical and stylistic analysis of Andrey Kolesnikov's political news reportage in terms of its compliance with the traditional genre characteristics. The author's speech techniques of building a dialogue with the reader are evaluated in the light of their pragmatic potential. The paper concludes that not only does Andrey Kolesnikov's reportage acquire analytical features, but also it turns into a multifunctional genre, in which the convergence of such art and journalistic genres as feuilleton and essay is observed. The reporter's communication strategy is based on irony and it forms the individual author's style of Andrey Kolesnikov, which consists in a specific selection and organization of linguistic means: formal topic is covered by informal means. The reportages’ nature is entertaining. This allows the author to realize the main communication goal, i.e. to critically describe and evaluate the events that make up the information occasion.

On Valerii Antoniuk’s "Testament" Choir based on Taras Shevchenko’s Poem

The purpose of the article consists in the study of modern Ukrainian composer V. Antoniuk’s reading of T. Shevchenko's program poem “Testament” using the means of musical expressiveness inherent in his individual manner with the use of the arsenal of artistic and technical tools of choral writing. Research methodology comprises a cultural approach, structural-systemic, complex and musicological analysis with generalisation of the results. Scientific novelty. Valerii Antoniuk's choral writing has been explored for the first time through the prism of the thesaurus of musical symbols and the concept of neo-romanticism (symbolism) in the context of the Ukrainian musical tradition. Conclusions. The genre of this work has been determined as “choir fresco”. The authors have found that neo-romanticism is an important component in V. Antoniuk's artistic worldview and philosophical paradigm, so the influence of romanticism poetics can be traced in the work. The archetypal images of Ukrainian artistic culture embedded in the work are analysed, which are simultaneously identified with reality, but also remain certain generalising symbols of the musical thesaurus of the author's style. The mood of the lyrical hero of the work is represented – the narrator-protagonist with the entire spectrum of his feelings, philosophical perception of the depths of the life fullness, merging with the surrounding world, feeling a part of it. The personal feelings and moods of the Ukrainian composer of the beginning of the 21st century are outlined and characterised. V. Antoniuk's understanding of the artistic and aesthetic idea, time-space, height and power accentuation of traditional singing of his native Shevchenko region by birth and origin, conglomerated with the means of modern compositional technique, revealed a deep level of the artist's individual mentality, which vividly certifies the ontological genesis of his creative identity.
 Key words: mentality, image, symbolism, thesaurus, choir fresco, shevchenkiana.

Graphic and visual means of creating an individual author's style (based on the texts of Umberto Eco)

In this article, the author considers such means of creating an individual author's style as graphons and phonetic-graphic means. The subject of the study is both deviations from the norm, graphically designed, and purely graphic techniques subordinated to the idea of creating a language game. Among the phenomena considered by the author are italics, typeface variation, author's punctuation, capitalization, strikethrough, underlining, bold, solid writing, as well as special lettering of some characters. The research is based on the material of Umberto Eco's novel "Baudolino" and "Diario minimo". As the analysis has shown, Eco resorts to special character designs to create irony, as well as to enhance the expressiveness of the artistic text. The novelty of this study lies, first of all, in the choice of material that had previously remained outside the limits of linguistic research, as well as beyond the attention of domestic linguists. The novel "Baudolino" has hitherto been the subject of research exclusively among literary critics, semiotics and medievalists, but has not been considered from a linguistic point of view. The same can be said about humorous experiments of Umberto Eco. The theoretical significance of the research lies in attracting the attention of researchers to such means of creating an individual author's style as graphic and visual, based on the material of Umberto Eco's creative heritage.

The Significance of P. I. Tchaikovsky’s Journalistic Activity in the “Russian Vedomosti”

The article examines the features of the author's style of Pyotr Ilyich Tchaikovsky as a music critic and the impact of his journalistic works on the development of music journalism in Russia. It analyzes in detail his texts contained in the newspapers “Russian Vedomosti”, “Moscow Vedomosti”, “Modern Chronicle” and reviews the assessment of his musical and critical activity provided by the outstanding Russian music critics G. A. Laroche and A. N. Serov. The article concludes that despite his obvious literary talent, Tchaikovsky did not consider music journalism his profession. The composer's work in musical journalism became a bright discovery for his contemporaries as well. The sharpness of his gaze as the music critic caught those details of acting, instrument skills, or composing techniques that an ordinary spectator did not know about, considering all fashionable musical trends from an idealistic perspective, and professional musicians and actors did not want to share, concealing their omissions. Tchaikovsky did not follow the tastes of the high society of Moscow and St. Petersburg and was not afraid to denounce world-famous opera singers, openly pointing out their sometimes lack of talent or undisguised lack of desire to improve their artistry. Complaining about the attacks on his critical activity, Tchaikovsky noted that this work, no matter how difficult it was, not only for him but also for any critic, played a crucial role in leveling up music education, which is the key to the development of music and journalism.

Masked transformer through knowledge distillation for unsupervised text style transfer

Abstract Text style transfer (TST) aims at automatically changing a text’s stylistic features, such as formality, sentiment, authorial style, humor, and complexity, while still trying to preserve its content. Although the scientific community has investigated TST since the 1980s, it has recently regained attention by adopting deep unsupervised strategies to address the challenge of training without parallel data. In this manuscript, we investigate how relying on sequence-to-sequence pretraining models affects the performance of TST when the pretraining step leverages pairs of paraphrase data. Furthermore, we propose a new technique to enhance the sequence-to-sequence model by distilling knowledge from masked language models. We evaluate our proposals on three unsupervised style transfer tasks with widely used benchmarks: author imitation, formality transfer, and polarity swap. The evaluation relies on quantitative and qualitative analyses and comparisons with the results of state-of-the-art models. For the author imitation and the formality transfer task, we show that using the proposed techniques improves all measured metrics and leads to state-of-the-art (SOTA) results in content preservation and an overall score in the author imitation domain. In the formality transfer domain, we paired with the SOTA method in the style control metric. Regarding the polarity swap domain, we show that the knowledge distillation component improves all measured metrics. The paraphrase pretraining increases content preservation at the expense of harming style control. Based on the results reached in these domains, we also discuss in the manuscript if the tasks we address have the same nature and should be equally treated as TST tasks.

WAYS OF FORMING PERFORMING STYLISTICS IN THE HISTORICAL DYNAMICS OF CHINESE PIANO ART

The article is devoted to the understanding of the problems faced by the performer of the works of Chinese composers. The lack of performance analysis of such works complicates their understanding and full implementation on stage. The purpose of this study is to identify the universal mechanism of piano interpretation of program pieces by Chinese composers, which functions in the entire variety of author's styles. At the same time, the issue of performance stylistics of piano works by Chinese composers appears in all its problem complexity: from understanding the figurative sphere, issues of pianistic implementation to the stylistic authenticity of performance. The process of formation of performance style in the works laid down by composers during the development of piano art in China is considered. A key role in the formation of the performance style of Chinese pianists was played by the activities of luminaries musicians who demonstrated the universality of musical creativity. The creative-aesthetic and didactic principles acquired by these musicians in different schools affected the manner of their individual writing, which, in turn, influenced the performance style of their works. Specific performance formulas of playing, uncharacteristic for European art sound coloristic techniques on the piano require the pianist to be able to choose a fingering that provides pianistic comfort and contributes to actual intonation and construction of melodic lines. The constant updating of the musical language of many piano works by Chinese authors allows talking about the continuous process of evolution of the national performing style.

INTERLINGUAL PLAY OF WORDS AND ITS REPRODUCTION IN TRANSLATION

Objective. The objective of the article is to study the influence of interlingual word play on fiction translation, to provide practical recommendations and strategies for this stylistic device rendering in he process of translation; to expand the understanding of the complexities and peculiarities of language game elements transfer, which will help preserve the original meaning and emotional impact of the text. Methods. The main scientific results are obtained with the help of such methods as the analysis and generalization of scientific and educational and methodological literature on the problems of functioning and translation of stylistic means of an literary work, interlingual play of words in particular; system analysis; combination of cultural and linguistic methods in research; separation of subsystems of complex objects and their systematic analysis, an integral approach to the study of linguistic phenomena. Results. Interlingual wordplay plays an important role in fiction translation, adding elements of humour, suspense, and cultural depth to the text. It can cause different emotional reactions and influence readers’ perception and interpretation of the work of art. However, the translation of wordplay creates certain difficulties related to lexical, semantic, cultural and stylistic limitations. The translator needs to balance skillfully between preserving the original effect and adapting the wordplay to the target language and culture. Analysis of recent studies demonstrates the importance of understanding and accounting for cultural features, context, stylistic features, and semantic fields during the translation of interlingual wordplay. Various methods and strategies, such as adaptation, substitution, use of equivalent word games, are applied to convey cultural information and emotional effect in translation. The authors consider the meaning and effect of puns in literary texts, analyze their semantic and contextual complexity, translation problems, and consider different methods and strategies used to convey puns. The study emphasizes the importance of cultural and linguistic competence of the translator, as well as a deep understanding and consideration of the context, semantic field, stylistics and emotional component of the original text when translating interlingual wordplay. Only by taking into account all these factors one can achieve an accurate and adequate translation that preserves the author's style.

Determining the Authorship of a Ukrainian-Language Literary Text by Means of Artificial Intelligence from Ultra-Short Excerpts

Purpose. The intelligent search engine Bing can be used as a method and a means of determining the author of a Ukrainian-language test. Bing helps to find information about a text fragment and its author, but the search results may be inaccurate or incomplete. The main purpose of the paper is to study the effectiveness of establishing the authorship of literary texts by state-of-the-art artificial intelligence tools based on ultra-short excerpts. Methodology. Ten Ukrainian authors with a rich body of fiction reflecting various aspects of Ukrainian culture and history were selected, as well as random fragments of 3–7 words each from different works of these authors. An experiment was conducted to determine the authorship of 2,000 fragments. Findings. Using the Python programming language and the skpy package, we developed software that sends questions and receives answers from the Bing bot built into Microsoft Skype. The answers were checked for the name of the author of the phrase and the corresponding title of the work. According to the results, Ivan Franko has the highest percentage of answers where the author's name was mentioned (65%), and Oleksandr Dovzhenko has the lowest result (23%). The answers were analyzed by the length of the fragments. Of course, the longer the length of a text fragment, the greater the likelihood of accurately identifying its authorship. Features of the author's style are manifested in 20–40 % of short fragments. The remaining 60–80% may be commonly used language constructions that the author relayed from the external environment. Originality. In this work, for the first time, the method of checking the authorship of fragments of Ukrainian-language text using the Bing bot with artificial intelligence is presented. A comparative analysis was performed and experiments were given to determine the authorship of short fragments of 3–7 words. It has been established that even quite small fragments of the text have signs characteristic of the original style of the author of artistic works. Practical value. It has been determined to what extent experts in determining the authorship of natural language texts can rely on existing state-of-the-art artificial intelligence tools in combination with an extensive database of texts in the Internet space.