Names Of Characters Research Articles

T. S. ELIOT’S “OLD POSSUM’S BOOK OF PRACTICAL CATS” IN THE CONTEXT OF “NURSERY RHYMES” TRADITION

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.

Записные книжки Ахматовой: к немецкой речи

Articles from the author’s cycle “From the Name Index to Akhmatova's Notebooks” demonstrate the experience of extensive commentary on Akhmatova's working notes, organized around the names of characters entered on her notebooks’ pages. It is a kind of free Akhmatova encyclopedia, where the onomasticon combines different times of her long life. This (fifty-first in the cycle) article is organized around the “German theme” and is dedicated to the 80th anniversary of the outstanding philologist Konstantin Azadovsky and concerns the characters, one way or another, touched upon in his scientific works. These are poets-Germanophones (V. Zubov, R.M. Rilke), translators of Akhmatova's poems into German (I. von Gunther, Felix Zelinsky, Frans Leschnitzer, Maximilian Schick), a German visitor (Heinrich Böll).

«Мгновенный старик» в романе Константина Вагинова «Гарпагониана» (к вопросу о «возвращенной молодости» как сюжете эпохи социалистической реконструкции)

The paper examines the image of Lokonov, a character in Konstantin Vaginov’s novel “Garpagoniana,” a “mechanical citizen” of the socialist reconstruction era who wants to regain his youth. Starting from the text of “The returned youth” by Zoshchenko, Vaginov creates a double of the main character on the principle of mirroring. This idea is supported by several facts: similarity of characters names, opposite ages, social and financial status, portrait characteristics. Unlike Volosatov (“The returned youth”), striving to follow the trends of the era and keep up with the times, Lokonov makes a number of unsuccessful attempts to rejuvenate himself in order to regain subjectivity. In the desire to regain his youth, Lokonov refuses a retrospective image of himself as he considers the projection reflected in the diaries as well as the possibility of nuancing memories through things to be unsatisfactory. Deliberately cutting off his past, Lokonov bets on the present: through his love for Yulenka, he hopes to regain his youth, but he does not succeed. Failures accompany Lokonov because he consciously emasculates his own past, remains inactive in the present, and, according to the author, cannot count on the future. For Lokonov, being young is a vague ideal of feeling young. He tries to “resurrect” these feelings by means of others without understanding the reasons.

The Inheritance by Matthew Lopez

Reviewed by: The Inheritance by Matthew Lopez Eric Jorgensen THE INHERITANCE. By Matthew Lopez. Directed by Stephen Daldry. Ethel Barrymore Theatre, New York City. January 8, 2020. One may as well begin with waiting in line to enter the theatre. Volunteers for the Buttigieg campaign seeking signatures of New York voters to ensure Mayor Pete’s name on the primary ballot was a reminder of changed times for the LGBTQ+ community. The unplanned prelude was fitting for The Inheritance, which, at its best, gracefully managed to occupy today while breathing air from the past, reinvigorating a need to understand the opposition of generational time. The Inheritance is a new American AIDS play (it is many other things as well, but it certainly meets the epidemiological and cultural criteria). But while it is a new addition to that particular corpus of drama, The Inheritance is not The Normal Heart (1985) or Love! Valour! Compassion! (1994), although Matthew Lopez’s two-part, seven-hour play owes much to the dramatic voices of both Larry Kramer and Terrence McNally. And despite the frequent (perhaps unfair) comparison to Tony Kushner’s epic two-parter, The Inheritance stands on its own as a significant window into how a millennial outlook reconciles the livability and invisibility of HIV/AIDS in the current era of preventative treatments (PrEP) with a desire to occupy a place in the shared history of the pandemic—to embody the best and expose the worst of humanity, while coming to know what happened during the most devastating days of the plague. Structurally, the inspiration for The Inheritance comes not from American AIDS plays, but from E. M. Forster’s 1910 novel Howards End. The participants in the relationship hexagon that propels the action of the play are mostly drawn directly from the novel’s characters. The play reimagines the Edwardian novel as the story of a group of gay men in New York City in the present day, all with a longing to either know or forget the 1980s and ’90s. Forster himself (joyously played by Paul Hilton) enters the scene to conduct a metatheatrical masterclass, as if to say that in order to know the past, one must first hear the voices of the still more distant past. A young writer (Samuel H. Levine) begins his story with Forster’s gentle prompting, “As you are now, a link in this chain of gay men teaching one another, loving one another, hurting one another, understanding one another.” And like the novel, the play’s story begins, “One may as well begin with . . .,” but here, “Toby’s voicemails to his boyfriend.” Toby Darling and Eric Glass’s tenuous relationship fractures when one’s career booms and the other loses his family claim to Manhattan rent control (the excellent performances of Andrew Burnap and [End Page 101] Click for larger view View full resolution Tony Goldwyn (Henry Wilcox) and Kyle Soller (Eric Glass) in The Inheritance. (Photo: Matthew Murphy for MurphyMade, 2020.) Click for larger view View full resolution The cast of The Inheritance. (Photo: Matthew Murphy for MurphyMade, 2020.) [End Page 102] Kyle Soller guided these shallow plot beginnings to soulful depths). Alone, Eric builds a friendship with the ailing Walter Poole (Hilton again) in his final days. Eric listens to how Walter and Henry’s home upstate served as a sanctuary for dying men while Walter held the hands of friends (then acquaintances, then strangers) during their dying hours. Halfway through its seven-hour running time, The Inheritance cuts its most breathtakingly indelible moment of theatricality when innumerable ghosts of the past greeted the play’s moral center and accepted him into their midst, “Eric, welcome home.” With no curtain call for part 1, a stunned final silence (one longer than I have ever experienced) was broken by sobs from the audience. Where the first part glides to its emotional height, part 2 is more labored in finding dramatic peaks; its rewards, however, are plenty. As the wealthy Henry Wilcox (the one character name unchanged from Forster’s original, solidly played by Tony Goldwyn), who grew rich while turning away from all signs of death and grief, invites Eric into his world...

Cross-Linguistic Comparison of Screen Translations of Names in Hayao Miyazaki’s Animated Films

This article discusses the screen translation, into English and Chinese, of some of the names in Hayao Miyazaki’s animated films. In particular, in drawing onomastic examples from Miyazaki’s six animated fantasies, this study provides insights into the naming practices and strategies adopted by the screen translators into languages of distinct linguistic families. The analysis of names sorted into four categories yields the following results: (a) each screen translator used diff erent approaches to the translation of names, and (b) shared similarities with the source language and culture play a crucial role in the translation task. In brief, the first category concerns the films’ protagonists, for which the strategy of diminution is observed in Chinese but not in English translation. The second concerns the names of supporting human characters. Here, screen translators adopt several strategies, including direct phonetic transfer and incorporation of courtesy titles. The third comprises names of anthropomorphic and non-human creatures, and translated samples are shown more likely to be denotative and descriptive. Finally, there is no loss in translation with respect to the symbolic implication of location names. In general, screen translators utilized various linguistic strategies to produce onomastic substitutes that are acceptable to the local audience. Concurrently, they strived not to deviate too much from the original character names, in form and meaning.

Onomastics in Pushkin Studies: The Names Larin, Larina, Lariny in Eugene Onegin

The paper discusses the literary proper names Larin, Larina, Lariny (the Larins) from Pushkin’s novel Eugene Onegin, aiming to identify the most important factors behind the choice of this surname. To this end, the researcher establishes a reference for each of the poetonyms, considers their distribution in the text, examines the contexts of the primary and repeated character naming, and explores the semantic potential of these names for characterization and revealing the author’s attitude to his characters. The study has identified six factors that determined the relevance of poetonyms in the given work and, respectively, explain their choice by the writer. The first factor is the commonality of usage which adds to the realism and credibility of the literary image. Another significant factor is the word-formation pattern the name follows. The surname Larin comes from the folk anthroponymic forms Larya, Lara, which, in turn, are derived from the personal name Larion that goes back to the anthroponym Ilarion (from ancient Greek ἱλαρός, ‘cheerful, joyful’). The third factor is related to using the etymological meaning of the personal name Ilarion for characterization purposes. The fourth factor is its associative flow, that is, the ability to trigger associations that describe the surname bearers in the general context of the work. This associative background of the poetonyms evolves in two possible directions: Larin (-a, -y) — lar’ and lary. Both of these perform characterization functions, affecting the reader’s understanding of the poetonym. The fifth factor is the syllabic structure of the surname. The male form Larin is a choreic foot, the female and collective forms of Larina / Lariny form a dactylic foot. Both easily fit into the iambic tetrameter used in Pushkin’s novel. The sixth factor is the phonetic aspect of the surname. The phonosemantic analysis of the poetonyms provides convincing evidence that their exponents have positive ratings across a number of scales. The positive axiological coloring of these poetic names contrasts with the negative coloring of the names of other landowners, which is consistent with the author’s assessment of the characters.

A COGNITIVE STYLISTIC ANALYSIS OF THE GAME “LAUNCHA LIBRE”

Playing games are the common activities among teenagers nowadays, especially when smartphone becomes massive devices for every communication. Playing games on smartphone can be either a killing-time activity or a wasting time activity depends on the people who use that facility. However, games nowadays can be used for educational learning materials which make the students more engaged to the class. This analysis offers an insight to use the game as the one of materials in teaching linguistics. By analyzing the language use in the names of the game characters and the conceptual system of the game, this research can be brought into the linguistic class. This research not only focuses on the names of the game characters but also to the game’s conceptual system which is used to promote the Mexican culture. The research method uses the screenshot feature of smartphone to collect the data and then the data were analyzed using cognitive stylistics. The names of the characters are created mostly by using puns and the game conceptual system is built basically by using metonymy.

DISNEY’S SEXIST LANGUAGE: FEMINIST STYLISTIC APPROACH IN BEAUTY AND THE BEAST (2017)

Through the feminist stylistic on Walt Disney’s Beauty and the Beast (2017) Live-Action remake, the paper argues that Walt Disney is not as inclusive and progressive as rumoured, but sexist. The study aims to uncover the characteristics of sexism in the context of linguistic derived from a gender-specific term. This study is qualitative research. The objects and data of this analysis are determined by purposive sampling. The object of this study is the text that appeared in the film Beauty and the Beast (2017) on a live-action remake. The data for this study are lexical items (single word, chain of words, and part of a word) that relate to gender-specific. The data analysed using the linguistic determinism theory of Sara Mill's feminist stylistic framework. This study reveals the presence of sexism at the word level. The findings are Walt Disney’s Beauty and the Beast (2017) Live-action remake shows the use of generic-noun and generic-pronouns appear in a sexist way, diminutive naming of gay and female characters, and negative terms used to portray female characters.

Translation of Character Names in Le avventure di Pinocchio by Carlo Collodi

Translating character names in fiction can be difficult, as names can perform different functions: not only naming, but also highlighting characteristic features. Translators of fiction have to make certain decisions how to render names in the Target Text and retain the functions and meanings they serve in the Source Text. The aim of this article is to analyse the translation of character names in C. Collodi’s Le avventure di Pinocchio into Lithuanian, Polish and Russian and to compare the translation startegies chosen by the translators. The results of this analysis show that the most common rendering method in the Lithuanian, Polish and Russian versions was direct translation. Also, it can be concluded that character names were rendered most accurately in their translation into Lithuanian, the second in terms of accuracy of rendering character names is the translation into Russian, and the third – into Polish.

Kaidah Memahami Kisah Dalam Al-Quran Perspektif Mutawali al-Syarawi

The study of the Koran's stories focused on the excavation of its historical aspect. This was done to prove the existence of such narratives in the Koran as historical facts that happened. On the other hand, it is often the precautionary care of the story, even to be neglected. Mutawalli al-Sya'rawi came by offering insight into the story in the Koran, not only by digging out its heart, but also creating a similar story in every place and time. The study USES a descriptive approach. The things accredited by al-Sya'rawi is written in the code that doesn't give the character's real name, and that story will be repeated everywhere and every time. Like pharaoh that zalim, dictator, and raised himself. So did the dzulqarnain, who is good and empowering the weak. The personages of these two characters will continue to exist in life, wherever and wherever.

The Intertextual Use of Greek Mythology in Agatha Christie’s Detective Fiction

This study investigates the intertextual use of Greek mythology in Agatha Christie’s short stories Philomel Cottage, The Face of Helen, and The Oracle at Delphi, a short story collection The Labours of Hercules, and a novel, Nemesis. The results of this research based on the hermeneutical and comparative methods reveal that A. Christie’s intertextual formula developed over time. In her early works, allusions were based on characters' appearances and functions as well as on the use of motifs and themes from Greek myths. Later on, she turned to using allusory character names; this would mislead her readers who thought they already knew the formula of her stories. Although not a postmodern writer, A. Christie enjoyed playing games of allusion with her readers. She wanted them not only to solve a case but also to discover and interpret the intertextual references.

Номінація локусів та персонажів в оповідях про примусове переселення із зони затоплення

The article analyses the names of loci and characters in the memoirs about forced relocation from flood zones due to the construction of hydroelectricity. This is a continuation of the study of resettlement vocabulary, that is nominative constructions of different types (tokens, phrases, idioms, phraseologies, descriptive frames), which function in the migrants’ memories and represent the verbal image of forced resettlement. The nomination in the memoirs reveals the special vision of the experienced event by its participants, classifies their gained experience. In the studied autobiographical narratives, the most common location nominations are the names of the spatial objects in the flooded places and in the new place. In this semantic category of nomination, as well as in other analysed categories, the following regularity operates: the more nominative density of this or that territory indicates the more mastered, native locus. In the studied texts the different density of the spatial nomination of these two contextually oppositional loci is striking. Thus, a telling feature is the presence of numerous microtoponyms in stories about the lost territory and the almost complete absence of such nominations in the description of the new settlement. Descriptions of the resettlement place are concise, stingy, with a tangible contrast in favour of the lost place. In the memories of people who have personally gone through all the stages of resettlement, the arrangement of characters often occurs through the opposition ‟we — the perpetrators of resettlement” (in memories about preparation and resettlement) and through the opposition ‟we — neighbours” (in memories about adaptation to a new place). A typical place of memories is the presentation of the resettled village community as friendly and cohesive. Autonomy of direct participants in forced evictions is most often formed from the verb creative basis переселяти (resettlement): переселенці, переселенські люди, переселені (migrants, displaced people, displaced persons). At the opposite pole of the contextual semantic opposition ῾immigrants — performers of resettlement’ are numerous characters who are direct performers. The figures of people are folklorized — most often old men and women, who had been refusing to move until the last minute. Today, these images have been symbolizing the people’s resistance to the forced migration.

Film Naming: Book Titles and Film Titles

The studies of a film text as a polycoded textual phenomena involve the studies of its integral components, such as film story and screenplay, reflecting storyline or plot of a literary text that serves as a precedential text to filming and as an immediate constituent of a film itself. Film title combines the features of a book or story title and functions as a precedential phenomenon as well, but is an integral part of the process of film promotion and release, and in cinematographic sphere it’s of crucial importance. In fact, the original book or story titles used to change especially with time and audience involved, when filming remaking changes to TV series and miniseries, or films are followed by sequels and prequels so that not to make something like Jaws 3 or Indiana Jones 5 . Anyhow, most of film titles fully repeat or at least conserve the title of a literary text, still it’s often amplified to make difference or to emphasize the idea that the screenplay is a new one just the story to be continued, e.g., Jaws-3D: The Revenge. Not very often the changes are marked graphically as of Romeo + Juliet or Romeo & Julie t, so that to hint a new turnoff the plot to the audience. It’s obvious that film titles often use names of main characters either for series or episode titles or to form a film franchise like that of Jurassic Park or Indiana Jones ones. As people started to use different IT gadgets they used to read books less and less, and film stories tend to make a new book form when a book is no longer a precedent to a film. Thus the cycle of “book title → film title” was completed by a part of “film title → book title (or book itself” to reflect the reverse trend, which is known worldwide.

WORD FORMATION PROCEES OF THE GIANTS’ NAMES IN THE BFG - A CHILDREN BOOK WRITTEN BY ROAL DAHL

The aim of this research was to find out the types of word formation in the names of the giants; the fictional characters in children's book entitled The BFG written by Roald Dahl. This research was designed as descriptive qualitative research.To investigate the language phenomenon, the writer employed Yule's theoretical framework regarding the word-formation process. There are 10 types of word-formation processes proposed by Yule (2010), such as coinage, borrowing, compounding, blending, conversion, acronym, derivation, back-formation, clipping, and multiple processes. But apparently, in creating names for the giants characters in the story, Dahl only used 3 types of word formation, they are an acronym, compounding, and multiple processes.

ОСОБЛИВОСТІ ПЕРЕДАЧІ АНГЛОМОВНИХ ПРОМОВИСТИХ ТА КАЛАМБУРНИХ ІМЕН У ПЕРЕКЛАДІ ПРАЦЬ Т. ПРАТЧЕТТА

The relevance of our research is based on the growing popularity of the fantasy comedy genre. Since modern readers are more and more interested in foreign literature, translators are faced with the task of creating an adequate translation that will accurately reproduce the personal style and all the elements of a separate universe created by an author, as well as convey the meaning that the author puts in his works to his readers. Since the main feature of Terry Pratchett’s personal style is the use of pun and tell-tale names in his works, thus arises the question of proper translation of this particular vocabulary. This work is devoted to the study of the culture of English proper names, mostly pun and tell-tale names; and analysis of translation choices for such vocabulary in the works of Russian translators. The dominance of the semantic translation method is determined by extensive use of occasionalism in Pratchett’s works. As for transcription/transliteration or their mixing — the translator uses them if he doesn’t see any meaning behind a particular character name. In some cases, it is possible to talk about the creative component of the translated text, about bringing a translator’s personality to the novel. This individuality does not distort Pratchett’s personal style and his original solutions, which appear in translation. The purpose of this work is to analyze the linguistic and stylistic specificsof proper names translation techniques in a series of fantasy comedy «Discoworld» from English into Russian. The paper presents an analysis of the specifics of the interpretation of pun names taking into account difficulties and cases where the translation does not match the original. The results of the study will help to avoid possible difficulties in the future and find new ways to solve them. This will help to optimize the quality oftranslation, which in turn will lead to an improvement of the quality of the final product.

Implicit signs in character names in children’s literature and their (in)transmissibility in translation

Character names in children’s literature can be seen as quite innocent at first glance. However, they can affect readers’ interpretation of a text based on their connotations. A semiotic analysis of the meanings of character names and the implicit signs they may comprise may provide a deeper understanding of the text. Accordingly, how these names are translated into a target language is equally important. A semiotic analysis of a text may have a significant effect on one’s interpretation. It is essential to take into account any probable meaning transformations, especially if the text is to be translated. In this study, character names in Roald Dahl’s Charlie and the Chocolate Factory, their connection to the character traits representing the seven deadly sins, and their Turkish translations are analyzed. Due to lingual constraints, implicit meanings of the names in the source text are not transferable. For this reason, while the ideal readers of the source text can understand the implications of the names, some of the readers of the target text are unable to do so, which results in insufficient meaning. Even so, readers may understand the character traits that can be attributed to the seven deadly sins based on descriptions in the text. The analysis follows some of the operations of analysis compiled by Sündüz Öztürk Kasar (Kasar, 2009, pp. 166-172) for translation-oriented semiotic analysis purposes from the studies of Paris School of Semiotics. Moreover, Jan Van Coillie’s classification of ten strategies concerning the translation of character names in children’s literature (Coillie, 2014, pp. 125-129) is also used in this study to specify the translator’s decisions and their consequences. In these ways, this study examines the importance of the translation of names for readers’ perception and reception of the text.

What’s Behind a Name? Origins and Meaning of Some of the Recurrent Characters in Terry Pratchett’s Discworld

Nominative symbolism in fantasy is a tool to attribute certain traits to literary characters and thus to convey meaning which enriches the readers’ comprehension of the fictitious personality. Proper names in the English naming tradition are not generally seen as means of alluding to the character of a person, yet they have sometimes been chosen purposefully by writers so as to reveal the idea that a symbolic name tries to convey. The paper therefore aims at investigating the origin and author’s intended meaning behind the names of some recurrent literary characters in Terry Pratchett’s Discworld series from the viewpoint of their structure and the allusions they evoke in the reader’s imagination. The analysis includes five names presenting three different structures: neologisms based on syntactic composition, imitations of borrowed structures that are foreign to the English model of naming, and typical English naming models where name symbolism is due to the lexical choice of the components in the name.

ПОЭТИКА ДВОЙНИЧЕСТВА В ТЕТРАЛОГИИ Ф. АБРАМОВА «БРАТЬЯ И СЕСТРЫ»

The work is devoted to the poetics of duality in F. Abramov’s tetralogy Brothers and Sisters. The analysis of the duality models allows to imagine historical, social, political reality, the minimal structure of the human community: one and the other. At the center of the study are the key characters of the tetralogy, namely, Mikhail Pryaslin and Yegorshi Stavrov, who embody the eschatological Russian model of duality. The analysis of these characters is carried out against the background of the character structure as a whole. Within a Christian context, the Mikhail — Yegorsha twin pair is included in a broad semantic field. Yegorsha compares his sworn brother with Christ. According to the legend, the latter’s twin was apostle Thomas, whose name coincidentally means ‘a twin.’ If Mikhail is firmly associated with Christ, then Egorsha can be semantically identified with both Judas and Thomas (in all connotations). The destruction of the “country model,” the Russian schism also actualizes another version of duality: George the Victory-bearer and Yegoriy the troublebearer, which is already reflected at the level of character naming. The struggle of the “twin” heroes over a woman, ancestral land and the house, which is interpreted as a confrontation between Christ and the Antichrist, St. George and the “bad Yegorka” (changeling), is also implemented as the “Russian” version — Foma and Erema, in which the doubles lose to the circumstances. Peasant Russia is in captivity of civilization, and no one is able to protect it: the warriors die, the saints abandon the icons. This leads to the general sense of anxiety, of a life “between homes,” when the “prodigal son,” who has nowhere to go back to, becomes the modern hero.

Experiment with the images containing a recurring character: bilingual narrative analysis

This article analyzes the French-language and Russian-language discourse of bilingual children of different types. The goal consists in examination of specificity of correlation between the name and image in a bilingual discourse, as well as in description of the action depicted on the image. The respondents for this research became the natural bilinguals from mixed Russian-French or Russian families in France. The authorial corpus of Russian-French speech of bilingual children served as the material for this study. The corpus consists of the stories based on stimulus material. The research was conducted individually with each respondent in Russian and French separately. The respondents could select the initial language for conversation (Russian or French). The scientific novelty of this work is defined by the fact that the tradition of studying narrative was applied in the context of analysis of the bilingual French-Russian speech. The author examined the Russian-language and French-language names of characters and objects in different groups, and drew parallels between them. The results demonstrate that the name of a character within the framework of a single language could vary from image to image. At the same time, variability of names of the main character is greater in the Russian-language block. The most frequent name version for the main character in the Russian-language block was the cat, while in the French-language block it was “chat” with the definite or indefinite article. It is notable that initially some respondents had other options (cat, squirrel), but in the process of the experiment, they also changed the name of the character to corresponding to the author's concept of the name of cat. Due to the fact that the respondents were asked to adhere to the selected language, there was very few instances of code switching. However, their presence indicates that the respondents are lacking lexical tools in their weaker language.

Lexical phrases with anthroponymic components in medical terminology

This article analyzes anthroponymic component language chunks in medical terminology. The research focuses on a large group of medical fixed phrases containing anthroponyms in their component composition. The main attention is paid to structural, semantic and etymological analysis. The basic lexical sets of anthroponymic component language chunks have been distinguished. The main sources and models of lexical phrases used in the formation of medical terms have been defined. The collected material allows us to state that the words syndrome, symptom and disease, being the structural core of medical phraseological units, are often distinguished in the phraseological units analyzed. The dependent component in a noun phrase is represented by an anthroponym. As a rule, this is the name of the scientist who made important discoveries in the medical field. Much attention is paid to the proper name semantics as part of a phraseological unit. Based on the etymological analysis of the material under study, the classification of medical phraseological units with a proper name component has been developed. The analysis showed that the origin of phraseological units with a proper name is based on real personalities, scientists, ancient and biblical mythology, literary works associated with the names of characters. Phraseological combinations associated with national and cultural specifics are of outstanding interest for linguistic analysis. The study showed that a proper name is a special linguistic sign that involves ethnic culture. The article discusses lexical chunks formed by metaphorical transfer in detail. The metaphorical transfer of names in the terminological system is noticed regularly, which is due to the constant development of medical terms’ new names and meanings formation through the scientific rethinkingof common words.