Names Of Characters Research Articles

The Linguistic Mix of Names in Lll

Abstract The names in Shakespeare’s Love’s Labour’s Lost present a delightful linguistic mix. The names of major characters are Anglicized names of actual French nobles, which emphasizes the thematic parallelism of historical and fictive events. Other names broaden the international landscape, including Nathaniel, a biblical association, Forester (which is French as well as English), and Armado, a Spanish tag. The length of this paper does not allow room to describe many names in detail. However, the cross-cultural puns make this play especially interesting; e.g., Moth has at least two meanings in English, but pronounced mot in French means ‘word,’ ‘remark,’ ‘cue,’ or ‘answer to a riddle’ – which points most clearly to a thematic meaning. A full analysis of this play will appear soon in my book Names as Metaphors in Shakespeare’s Comedies (Vernon Press).

Names of botanical genera inspired by mythology

The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names.

Innocent Texts Conspiring with Imperial Desire: A Critique of Nafisi’s Reading Lolita in Tehran

'Native informant' acclaims the transmission of stereotypical representation of Muslim society as a general rule and women specifically. The present work provides a comprehensive prospect of women status defined by religion Islam to build consciousness globally. Through qualitative inquiry, the present study critically analyzes Nafisi's Reading Lolita in Tehran (2003). Iranian writer Azar Nafisi assumes the role of 'native informant' who amplifies the narrative to authenticate her account. The study employs 'amplification' as apparatus to scrutinize fundamentalist perspective of religion Islam reflected in Iranian fiction. Spivak's concept of 'native informant' is reproduced in the narratives to establish the narrator's role as a hybrid character whose thoughts regularly record and oppose the assumed fundamentalist obligations set by the Islamic regime. The narrative begins in the narrator's house, who ardently assembles her university students and discusses various classical literary works. The memoir recounts a woman's experience in Tehran before, during, and after the revolution. Names of characters are concealed to keep individuals safe from probable vengeance and degradation. Primarily, the study enquires how knowledge production through writing personal narratives runs into mainstream culture, characterizing the representation of stereotypes. Narratives inform about a specific culture and mirror the role of 'native informant' in amplifying fundamentals of native culture and religion. Nafisi's account of extensive cultural and religious judgments from context-specific attempts to extrapolate that Islamic Republic Iran vehemently formed a desperate unobtrusive region, which maltreated women. Nafisi may have a self-protective standpoint for women, but she emerged more like a "native informant" rather than a social reformer by amplifying the situation.

The Representation of Emotion Inferences

ABSTRACT While research has repeatedly found evidence that readers infer characters’ emotions, we investigate three outstanding questions about the content and time course of such inferences. We ask whether even simple narratives give rise to emotion inferences, in what form such inferences are encoded into long-term memory, and whether they are uniquely bound to the character whose actions prompted the inference. To address these issues, we had participants read simple, sentence-long stories that allowed ready emotion inferences. Compared to performance on control stories, participants took longer to reject the implied emotion term in an immediate paradigm (Experiment 1) and were less accurate in a delayed paradigm when primed by the name of the character who experienced the emotion (Experiment 2). In Experiment 3, we primed participants in a delayed recognition paradigm with either the name of the character who experienced the emotion or a secondary character who did not. Participants were less accurate in rejecting the implied emotion term when primed by both character names. These results suggest that readers can encode emotion inferences based on simple narratives and that they encode those inferences into long-memory with minimal content. In addition, those emotion inferences may be activated from features of the general narrative situation, rather than only by the character whose actions or experiences prompted the inference.

Stylistic Analysis of Cryopoetic Elements In the Damn Yard by Ivo Andrić

The paper analyzes some of the cryopoetic elements in Ivo Andrić ‘s novel The Damn Yard from a stylistic aspect. Special attention is paid to the strong positions of the text, ie. analysis of titles, incoative and finite sentences, names of characters, as well as other interesting elements.

Anthia and Habrocomes in Full Bloom: A Literary Onomastic Analysis of Erotic <i>Andreia</i> and Lasting Beauty in Xenophon’s <i>Ephesiaca</i>

Ancient readers were highly attuned to etymologically and allusively significant character names, which helped shape their experience and understanding of narratives in a variety of ways. Authors frequently exploited that fact in their compositions. This paper capitalizes on that state of affairs by utilizing a literarily attuned onomastic analysis to explore two themes in Xenophon’s Ephesiaca. Specifically, I argue that Xenophon deploys several character names in interpretively important and sometimes sophisticated ways to serve the construction of themes relating to erotic andreia and lasting beauty. Regarding erotic andreia, this study largely supplements and corroborates conclusions that have been emerging in recent scholarship and offers a few fresh proposals for consideration. Xenophon’s interest in lasting beauty has not received much attention in contemporary scholarship outside of David Konstan’s Sexual Symmetry. The results of this study suggest that the theme deserves further examination. I offer a brief sketch, informed by onomastic analysis, of where the theme occurs and why it matters in the story Xenophon is telling.

Nommer les personnages perses dans le roman grec : les choix de Chariton, <i>Callirhoé</i>, et d’Héliodore, <i>les Éthiopiques</i>

This paper deals with the naming of Persian characters in two Greek novels, Chariton’s Callirhoe and Heliodorus’ Aithiopika. It is an attempt to consider how each novelist chooses Persian names. If Persian names are well-known, they give an impression of historical reality ; if they are new, they induce readers to look for their meaning. The part played by homonymy and intertextuality is pivotal. In Heliodorus, complexity is very great : Ethiopian characters have Persian names, as if Ethiopians were in fact Persians, that is to say descendants from the hero Perseus, who is also the ancestor of Persian people through his son Perses. It is significant that the queen of Ethiopia is called Persinna. Ethnic identities are therefore to be redefined.

A character social network relationship map tool to facilitate digital humanities research

PurposeDigital humanities aim to use a digital-based revolutionary new way to carry out enhanced forms of humanities research more effectively and efficiently. This study develops a character social network relationship map tool (CSNRMT) that can semi-automatically assist digital humanists through human-computer interaction to more efficiently and accurately explore the character social network relationships from Chinese ancient texts for useful research findings.Design/methodology/approachWith a counterbalanced design, semi-structured in-depth interview, and lag sequential analysis, a total of 21 research subjects participated in an experiment to examine the system effectiveness and technology acceptance of adopting the ancient book digital humanities research platform with and without the CSNRMT to interpret the characters and character social network relationships.FindingsThe experimental results reveal that the experimental group with the CSNRMT support appears higher system effectiveness on the interpretation of characters and character social network relationships than the control group without the CSNRMT, but does not achieve a statistically significant difference. Encouragingly, the experimental group with the CSNRMT support presents remarkably higher technology acceptance than the control group without the CSNRMT. Furthermore, use behaviors analyzed by lag sequential analysis reveal that the CSNRMT could assist digital humanists in the interpretation of character social network relationships. The results of the interview present positive opinions on the integration of system interface, smoothness of operation, and external search function.Research limitations/implicationsCurrently, the system effectiveness of exploring the character social network relationships from texts for useful research findings by using the CSNRMT developed in this study will be significantly affected by the accuracy of recognizing character names and character social network relationships from Chinese ancient texts. The developed CSNRMT will be more practical when the offered information about character names and character social network relationships is more accurate and broad.Practical implicationsThis study develops an ancient book digital humanities research platform with an emerging CSNRMT that provides an easy-to-use real-time interaction interface to semi-automatically support digital humanists to perform digital humanities research with the need of exploring character social network relationships.Originality/valueAt present, a real-time social network analysis tool to provide a friendly interaction interface and effectively assist digital humanists in the digital humanities research with character social networks analysis is still lacked. This study thus presents the CSNRMT that can semi-automatically identify character names from Chinese ancient texts and provide an easy-to-use real-time interaction interface for supporting digital humanities research so that digital humanists could more efficiently and accurately establish character social network relationships from the analyzed texts to explore complicated character social networks relationship and find out useful research findings.

Extraction of Key Motifs as a Preview from 2017 Nobel Prize Winning Novel, ‘Never Let Me Go’

Word clouds manifest interactive visuals along with their statistical data. Thus knowledge discovery and aesthetic data visualization interlink to produce interactive word cloud which is an interesting, textual, statistical and visual data. This study aims to generate interactive word cloud—Cirrus—on the basis of statistical data to preview text of the novel for readers. So cirrus tool is selected from Voyant open access tools to produce interactive statistical word cloud. Then the generated word cloud and statistical data are analyzed with mixed method and its analysis draws insight from Rakesh Aggrawal’s Knowledge Discovery Theory which seeks innovative and interesting knowledge patterns. This thematic word cloud verifies already known themes and discovers innovative interesting themes. Current study reveals that all mentioned key themes can be easily extracted from a voluminous novel with the help of Cirrus tool. Key motifs have been presented in the word cloud for the readers. On the other hand, unwritten themes can’t be extracted through machine learning tools, rather it is the task of human cognition. Primarily, this novel based study reveals names of chief characters, for instance “Tommy (496),” “Ruth (455)” and “I (Kathy) (355).” Furthermore, motifs of nostalgic memories with word “remember (143),” “thought (126)” about “Hailsham (203),” “carer (74),” “sex (80),” sex “lectures (8)” have been discovered as a preview. Previewing technique prepares reader’s mind and gives an epigrammatic digital view of the text. The visual themes as knowledgeable word cloud leave an indelible mark on the slate of memory.

Snake-like mythological characters of Shandong province (China) in comparision with Serbian ones

The article is devoted to the snake-like mythological characters, found in the mythology of Chinese Shandong province in comparison with South Slavic word on the example of the Serbian tradition. The article presents an analysis of the names of mythological characters through the two languages on the basis of the ethnic tradition. The images of snake-like mythological characters, etiological legends, local rituals and folk customs in the Shandong province and the Serbian tradition are also considered. This study shows how the mythological perception of reality is reflected in the cultural code and in the language picture of the world. The characters can be divided according to the appearance into zoomorphic and anthropomorphic ones. The names of various snake-like characters, corresponding to the presentational carrier of the ethnic culture in Shandong province and Serbia, show typological and individual differences. In the analysis of cultural vocabulary common linguistic phenomena were found, such as taboo words, euphemisms, etc. In the mythology of Shandong province and Serbia, the images of snake-like characters have similarities and differences, reflecting the human perception and cognitive process. The study uses the methodology of the Moscow ethnolinguistics school, aimed at the reconstruction of spiritual culture.

Итальянские мотивы в поэме Пушкина «Анджело» [Italian Motifs in Pushkin’s Poem _Andzhelo_

Pushkin’s poem Andzhelo (1833) is based on the plot of Shakespeare’s Measure for Measure (1623). However, Pushkin changed the location from Vienna to “happy Italy,” and the article offers some explanations of the change. Besides the location and names of characters, the poem has no Italian ethnographic details but instead includes several allusions to Dante absent in Shakespeare. It seems that through them Pushkin amalgamated Dante and Shakespeare, providing an intertextual substitute for the Italian couleur locale. Keywords: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Andzhelo (1833), Dante Alighieri (c. 1265—1321), William Shakespeare (1564—1616), Italy, Allusion, In memoriam: Larisa Georgievna Stepanova (1941—2009).

El mundo mitológico clásico en el poema Los Meses de José de Viera y Clavijo

"Los Meses is an interesting epic poem by Viera y Clavijo, make up of 3106 hendecasyllabic verses that are distributed in twelve parts: the twelve months of the year. In it, Viera y Clavijo weaves a perfect spider's web in which the names of characters from mythology and from the legends of the Greek and Roman world are entangled, with a rigorous literary care, with numerous knowledges of the time, converting, in this way, its composition in a veritable didactic mini-encyclopedia, full of technicalities and specialized knowledge on many subjects."

REFLECTION OF THE INTELLECTUALIZATION OF THE UKRAINIAN LANGUAGE OF THE END OF THE XIX CENTURY IN THE SHORT STORIES OF AHATANHEL KRYMSKYI

This article is dedicated to the linguo-cognitive comprehension of the intellectual sphere of language markers in the short stories of Ahatanhel Krymskyi. The author studies the function of scientific notions and language units of abstract semantics. The author studies lexical-semantical language field- the names of languages, thought-language processes, linguistic notions of orientalistics. The light is shed on the linguo-pragmatical personal names which reflect the political structure of the state, the level of science, education, culture, as well as the names of the educational purpose as the national space dominants whichprovide the local coloring to the described events, personal names of different famous people of different historical periods: politicians, philosophers, writers, composers, names of characters, names of fictional and scientific works as well as the notions and phenomenon connected to the famous people. The author studies nominations that reflect cultural and political life in Ukraine of the end of XIX century: ukrainophilism, liberalism, awareness and such, pragmatics of choosing not to transliterate Latin, French and Italian expressions. The author highlights Krymskyi’s linguosophy, who’s language universe contained scientific, artistic, esthetical, existential, moral and ethical aspects of the Ukrainian society in the end of XIX, the beginning of XX century. Ahatanhel Krymskyi’s intellect and his scientific erudition impacted the shaping of the lexical core of his prose.

Ломка ономастических стереотипов в онлайн-играх телефонного формата (на примере игры «Верховный Мандарин»)

The aim of the work is to identify the factors of national stereotypes destruction and onomastic formulas in online games of the telephone format (on the example of the game “Supreme Mandarin”). The relevance of the research lies in the fact that the analysis of the anthroponymy and ergonymy of online games allows us to judge the place of the national and international in the gaming space, and therefore in the minds of our contemporaries. We use structural and se-mantic methods of onomastics analysis, etymological analysis, and the psychological method of participatory observation. The scientific novelty consists in the collection of new linguistic materi-al (anthroponymy and ergonymy of the online game “Supreme Mandarin”) and its analysis from the standpoint of the proper names correspondence of the setting to the nationally oriented formulas for naming persons. We reveal that the programmed system of assigning game names, as well as the names of characters, supports and simultaneously destroys the authenticity of the game’s time and space. The setting is invaded by foreign or distorted ethnically oriented formulas for naming faces, parts of characters. The strengthening of breaking stereotypes “outerly” is due to the choice of gamers (in broad sense of the term) game names, ergonomics (alliance designation) without the intervention of the system. We determine that at the same time gender correlation is lost, stability and national authenticity of the personal name are eroded, and the fashionable ideas of communities dominate. Conclusions: analysis of anthroponyms and ergonomics of the game “Supreme Mandarin” shows violations of a number of nominative traditions: the ritual of naming and changing the name, ethnic onyms marking, gender identity. The violation of the authenticity of time and space reflects the mixed mass culture of the 21st century.

Must Anonymous Be A Woman? Gender and Discoverability in the Archives

Must Anonymous Be A Woman?Gender and Discoverability in the Archives Emily C. Friedman (bio) anonymity, Virginia Woolf, manuscript fiction, manuscript culture, novel, archives, provenance, controlled vocabulary, women's writing, women's and gender studies The Case of "Hampshire, England women's novel, [17—]" Duke University's Rubenstein Library acquired a manuscript from Sotheby's in 1971. Initially catalogued as "Anonymous novel, 18th century," it was later changed to "Hampshire, England woman's novel, [17—]" and described as a manuscript of an unpublished epistolary novel bearing some resemblance to the works of Jane Austen. The volume is accompanied by six pages of type-written notes discussing Austen's possible connection with the unknown female author of this novel.1 The Sotheby's catalogue description of item 611, "Eighteenth-Century Epistolary Novel," dated the work at "c. 1780" and argued, "There is considerable evidence to suggest that this apparently un-published novel was written by a Hampshire novelist belonging to the generation before Jane Austen's," noting "detailed parallels exist between place and character names in the novel and those in the Austen circle."2 Sotheby's "considerable evidence," as I have shown elsewhere, was based on six pages of speculation by the work's last private owner, Brent Gration-Maxfield, who believed it was written by a relative of Austen's.3 Those typewritten notes are a misleading mix of wish-fulfillment and presumption. An elementary search of Google Books reveals that every element of the novel's description is entirely incorrect or unsubstantiated. First, it was published; The History of Nancy Pelham appeared serially in The London Magazine and The Hibernian between 1777 and 1779. The novel, far from being "like Jane Austen," is in fact a reimagining of Samuel Richardson's 1740 novel Pamela, Or Virtue Rewarded.4 It is only Austenian in style in that Austen's "knowledge of Richardson's works was such as no one is likely again to acquire" and much of her juvenilia was epistolary.5 While it is possible the novel was written by a Hampshire resident, the editor of The London Magazine wrote to "our worthy correspondent Curiosus" that "all the information the publisher is able to give respecting the history of Nancy Pelham" is that "it was written by an American lady, but he never knew either her name or rank in life."6 The novel is signed by "Arpasia," [End Page 359] a pseudonym that appears periodically in the eighteenth-century: a viable catalogue entry for an authorial name but not proof of a female-identified author. Moreover, the partial manuscript copy now held by Duke University is likely not by Arpasia, whoever that pseudonym may be tied to, because it was produced decades after the novel's publication.7 The manuscript yields few clues, beginning without title page or prefatory material and having no conclusion. The two copyists' handwriting is not markedly gendered.8 What does it mean to call it "Hampshire, England woman's novel," attaching the subject headings "Austen, Jane, 1775-1817—Style" and "Women authors, English—18th century," considering what is known about this manuscript? 9 What interpretations does such description foster—and forestall? I face these questions from two perspectives: as a researcher using the catalogue records to understand the object, and as the creator of a database, Manuscript Fiction in the Age of Print, 1750-1900.10 With the database, I am trying to create a taxonomy of an oft-overlooked form of literary production: manuscript fiction created during the age of print (1750-1900), unpublished in its authors' lifetimes. As an unruly user of catalogues and finding aids, I early on learned that existing descriptive systems do not have language to describe what I sought. I read of more profound struggles to overcome archival silences in the work of Saidiya Hartman and Marisa Fuentes and of a model for generative data creation when working with archival traces in Imtiaz Habib's Black Lives in the English Archives.11 To understand how these silences occurred, I looked to archival studies, heeding the call of Bridget Whearty and Michelle Caswell to attend to the scholarship of archivists rather than Jacques Derrida's abstracted concept...

SACREDLY MARKED LANGUAGE UNITS IN THE POETIC DISCOURSE OF THE SECOND HALF OF THE ХХ CENTURY

The article is devoted to the consideration of sacredly marked language units (words and expressions) as components of the dictionary of the Ukrainian poetic language of the second half of the twentieth century. In the context of understanding the traditions of national artistic formation and text creation, they testify to the library-centric linguistic thinking of the authors, the rootedness of their creative consciousness in Christian linguistic culture. The stylistic functionality of several types of nominations is considered, which in poetic discourse reflect the linguistic practice of the religious sphere and form several main lexical and thematic groups: “names of saints”, “names of biblical characters”, “names of sacred books and their parts”, “names of religious rites”. and sacraments”,”names of religious buildings and their parts”, “names of religious objects”,”names of religious holidays”. It is emphasized that in the analyzed poetic texts the components of these lexical and thematic groups are presented with different intensity. The common tendency towards them is the preservation of the high stylistic tone implicitly inherent in them, the positive evaluation. The conducted research testifies to the stability of the tradition of using sacredly marked images and expressions in the national artistic discourse, which reflect the linguistic practice of the religious sphere. In the poetic language of the second half of the twentieth century, these units retain their implicit high stylistic tone, positive value and form a powerful layer of the national poetic dictionary.

Визначальні риси говірки села Делени (Бессарабія)

Background. The article deals with the basic phonetic morhological and lexical markers of Deleny village’s dialect which is one of the eastern Bulgarian dialects of the Balkanic type, examines rare lexemes and dialects of the village Deleny, Artsyz district of the Odessa region, which was founded in 1828–29 by settlers from village Devlet-Agach. Currently, the area from which the Delenians came from is located on the terri-tory of Turkey. Оn the phonetic level: yatya reflexes, stability of the consonants h and f, iotation vowel at the beginning of the words, reduction of unstressed vowels and others. The dialects are differentiated by the so-called cultural vocabulary, in particular, some names of mythical characters, ritual terminology, and some names of animals. Whereas ta-lasmi, samudivi, orisnitsi, irmenki are known to almost all carriers of migratory dia-lects, the lexeme karakondjol is recorded only in the southeastern dialects. Among the rare names, the lexeme ustrel should be noted, which we recorded in the Delenian dia-lect in the meaning of ‘strong wind’. Wedding terminology differentiates the dialects as well. Thus, the lexeme ustavani in the meaning of ‘matchmaking’ was not recorded in other Bessarabian Bulgarian dialects. One of the markers of the Delenian wedding ter-minology is the lexeme chepani, which means 'short dance'. Among the rare lexemes that have preserved the Old Bulgarian forms and meanings, the name of the snail in the Delenian dialect – oli-boli should be noted. The lexical markers of the Delenian dialect are also the name of the weasel – chervena mishka. Results. Our research shows that sub-ethnic elements of dialects are very stable. The dialects under study are not a conglomerate of different dialects, the so-called koine, but different dialects that differ mainly in phonetic and lexical features: the speakers of the dialect firmly retain the dialectal features of the mainland dialect. Key words: Bulgarian resettlement dialects, Delenian dialect, phonetic, morpho-logical, lexical and еthnocultural markers, sub-ethnic elements. Atlas of Bulgarian dialects in the USSR, 1958, 1. Introductory articles.Comments to the maps. Мoskow: АS USSR. (In Russian) Barbolova, Z. and Kolesnik, V., 1998. The dialects of the Bulgarians in the village of Kirnichki, Bessarabia.Bulgarian dialects in Ukraine. Odessa: Astroprint. (In Bulgarian) Barbolova, Z., Simeonova, M., Kitanova, M., Mutafchieva, N. and Legurska, P., 2018. Dictionary of the folk spiritual culture of the Bulgarians. Sofia: Science and Art. (In Bul-garian) Bulgarian etymological dictionary, 1971–2002, 1–6. Sofya: BAS. (In Bulgarian) Bernstein, S. B., 1978. Bulgarian-Russian Dictionary. Moscow: Russian Language. (In Bulgarian) Gerov, N., 1978. Dictionary of the Bulgarian language, 5. Sofia: Bulgarian writer. (In Bulgarian) Guyvanyuk, N. V., 2005. Dictionary of Bukovinian dialects. Ed. N., V. Guyvanyuk. Chernivtsi: Ruta. (In Ukrainian) Iliev, I., 2020. About the origin of the population in the villages of Loshchinovka and Suvorovo (Ukrainian Bessarabia). (In Bulgarian) Kalmakan, N., 2013. Greeks of Malyi Buyalyk: 200 years in Odessa region, 3. Odessa: Atlant. Kovachev, S., Totevski ,T. 1998. Dictionary of the Trojan dialect. Troyan: University Publishing House “St. Kliment Ohridski”. (In Bulgarian) Kolesnik, V., 2001. Evgenovka (Arsa). Onomastics. Dialect. Dictionary. Odessa: Her-mes. Slavic mythology, 2002. Encyclopedic Dictionary. Moskow: International relations. (In Russian) Stoyanov, I. A., Stoyanova, E. P. and Dadiverin, I. G., 2002. The language of the Bulgarians of Ukraine in its oral and written form. Odessa: Optimum. (In Ukrainian) Stoyanov, I. and Chmyr O., 1988. Bulgarian-Ukrainian dictionary. Kyiv: Naukova dumka. (In Ukrainian) Hitov, H., 1979. Dictionary of the speech of the village. Radovene, Vratsa region. Bulgarian dialectology. Studies and materials, 9. Sofia: Publishing House of BAS. (In Bulgarian) Shabashov, A. V., 1996. The system of kinship of the Bulgarians of Ukraine: PhD’s abstract. Kyiv. (In Russian)

Лингвокультурема как маркер идентичности (на примере перевода на английский язык романа Г. Яхиной «Зулейха открывает глаза»)

The article reveals the decoding mechanisms of linguoculturemes occurring in the translation of the novel “Zuleikha opens her eyes” by G. Yakhina into the English language. In the original text of the novel linguoculturemes express ethnical and socio-cultural identity of the main character Zuleikha. Working on the translation of the novel Lisa Hayden, the translator, uses different types of adaptive transcoding for interlanguage and intercultural communication. The translation is characterized by double transcoding that is based on three languages: Tatar, Russian and English. Tatar words and expressions with explicit national cultural elements form a cultural background in the novel and often have no equivalents or definitions in the English language. The comparative analysis of the original text and its translations highlight a number of different groups of linguoculturemes, such as terms for members of ethno-cultural community and types of address, names of mythical and religious characters, names of objects, elements of interior design of a peasant’s home, pieces of furniture, and clothes. Linguoculturemes also help to recreate the historical atmosphere in Russia in the 1920-1930s, as well as the relationships in a traditional patriarchal family, conventional values of a local ethno-cultural community and socio-political realia depicted in the novel. A complex hierarchy of contextual image levels of the novel in the process of translation of the novel. The outer level of the story (the plot) is being transformed and many story lines are translated into English without any significant semantic change. Universal human problems represented via archetypes are well received by the English-language readers regardless of their language and socio-cultural background. The inner levels of the story expressing specific social relationships and interactions, ethnocultural, religious, and ethnopsychological stands with the help of linguoculturemes appear to be “encoded” for readers with different language backgrounds, but open in their complete semantic value to the bearers of the given social, religious and ethnical cultures. The authors’ message is that the English translation of the text does not lack in national cultural identity or ethnocultural values, it is just that these values become secondary and, as a result, harm the intimacy of the unique world perception of the main character.

Avgust, Avgustin, Avgustaly: To the History of Russian Monastic Names Unmentioned in Menologies

The paper investigates the history, origin, and use of monastic names unmentioned in menologies (books of saints, their lives and veneration days arranged by months): Avgust / Avgusta, Avgustin, Avgustaly, Ioaram, Kesar, Fortunat / Furtunat. The author comments on use of each of the six names in the Russian monastic environment of the 17th–19th centuries and explores the ways how the monastic namebook could be added with new items. Specifically, the author suggests that the names Avgust (Avgusta), Avgustin, Avgustaly, and Kesar, originally mentioned as titles in hagiographic texts, later become accepted as a part of the saint’s name which made it possible to use them for naming monks. Particular attention is paid to the analysis of the functional use of the names Avgust (Avgusta), Avgustin, Avgustaly in the monastic sphere. It is described how these were included in the monastic namebook and a semantic equivalent (the reference to a particular saint) is established for each. Supposedly, they initially referred to Constantine the Great, St Catherine, and St Artemy of Antioch. The paper considers specific cases of these names’ usage in different sources: the missal of Patriarch Nikon of 1658, the supplementary letter of the Kiysk monastery, documents from other monasteries. With the analysis of literary sources, the author undertakes to study the relationship between the book tradition and the monastic namebook. The article assumes that the names Avgust / Avgusta are semantically related to the royal and imperial titles which explains why these monastic names became popular during the reign of Alexey Mikhailovich, as well as Peter the Great. It is also noted that such monastic names as Avgustaly, Kesar, Ioaram, have no direct parallels among the names of saints or biblical characters.

«ПОПУЛЯРНАЯ НАУКА О КОШКАХ, НАПИСАННАЯ СТАРЫМ ОПОССУМОМ» Т. С. ЭЛИОТА В КОНТЕКСТЕ ТРАДИЦИИ «NURSERY RHYMES»

This paper presents the results of a comparative study of the collection of poems Old Possum’s Book of Practical Cats (1939) by T. S. Eliot and the collection of children’s verses Mother Goose Old Nursery Rhymes (published in 1760), compiled and illustrated by A. Rackham (1913). Consisting of 15 poems, and distinguished by its frivolity against the background of other works by Eliot, the cycle Old Possum’s Book of Practical Cats has been overlooked by both Russian and foreign researchers for a long time. Recently a surge of interest in this book of verse has been provoked by the release of a feature film Cats (2019) based on the world-famous musical by Andrew Lloyd Webber. This fact as well as the lack of serious academic studies of Eliot’s book of verse has determined the urgency and novelty of this paper. It is also important to show the involvement of this segment of Eliot’s poetry into the English literary tradition. The aim of this research is to identify the influence of Victorian aesthetics of nonsense on the poetry of T. S. Eliot’s cycle. The method of comparative analysis has been chosen as the main research method. Besides, structural-semantic and linguistic-cultural methods have been used. In understanding and interpreting the term “tradition” the author relies on Eliot’s aesthetics, in which this concept is central. The terminological unit “nursery rhymes” is used in its original traditional meaning since its historical and cultural background disappears in any Russian translation or scholarly interpretation. In the course of work, certain features of nursery rhymes have been identified in the poetic texts by the great Modernist. The study of the specificity of this genre (the playful atmosphere of the text, the special rhythms and forms of coding historical events, animalistic perspectives, the use of various repetitions and imitations, the creation of author’s occasionalisms and unusual names of characters, etc.) confirms strong influence of the tradition of English nursery rhymes on T. S. Eliot’s works.