Cultural Codes Research Articles

Linguacultural and Cognitive Peculiarities of Linguistic Universals.

The discussion about linguistic universals, initiated over 50 years ago by J. Greenberg, remains a topic of significant interest today. While there's an ongoing debate on the universality of linguistic forms - with some supporting the notion and others dismissing it as baseless-the idea of a unifying linguistic essence stands firm. The article aims to explore the linguacultural values of language, particularly how they enable the reconstruction of ideas and stereotypes within specific segments of a language system. The research found that universal language characteristics serve as a rich source of information for those studying linguacultural aspects. These traits offer nationally determined interpretations of words, drawing from associations rooted in either tangible or cultural codes. When delving into cultural codes present within every culture, the study discerned the presence of basic and universal codes. The existence of these codes provides insights into the formation of stereotypes, which encapsulate the experiences and knowledge intrinsic to the bearers of a culture. Linguistic universals, underpinned by universal grammar and semantic foundations, occupy a central position in linguacultural examinations, especially when reconstructing cultural ideas and stereotypes. Basic and universal cultural codes inherent in each culture facilitate the creation of linguistic worldviews.

Linguocultural Aspect of Hypotaxemes with Conditional Components in English and Uzbek Languages

In modern linguistics, there is a great interest in the analysis of linguistic and cultural material in the process of teaching languages, an anthropocentric paradigm is formed, and the language is considered not only within its communicative and cognitive function but as a kind of cultural code of individual linguistic and cultural communities. The purpose of this scientific article is to study the manifestation of linguistic and cultural worldviews and to study the linguistic and cultural aspects of hypotaxemes with conditional components in English and Uzbek languages. The study of the conceptual structure allows us to identify deeper and more significant properties of hypotaxemes with conditional components. The object of this scientific article is conditional sentences that express statements discussing known factors or hypothetical situations and their consequences. Complete conditional sentences contain a conditional clause (often referred to as the if-clause) and the consequence in non-related languages such as Uzbek and English.

EVOLUTION OF THE REALISTIC ARTISTIC AND AESTHETIC METHOD

This article delves into the evolution of the realist method, examining its interrelation with various artistic trends and currents. The impact of socio-political processes on the method's development is explored, emphasizing the dynamic nature of the artistic method and its continuous modifications in the expression of the author's ideas. The concept of 'realism' as a primary method in art is expounded, with an analysis of the perspectives of philosophers, art critics, and artists on its understanding throughout different epochs of cultural development. Characterizing features of realism are delineated, and a conceptual framework is presented, positing "realism" as a means of engaging with and comprehending spiritual and practical reality. The study establishes that realism serves as a conduit for unveiling the social and historical essence of humanity. Realistic painting, in particular, plays a pivotal role in transmitting the cultural code, illustrating the reciprocal interaction between individuals and their surrounding reality. This interaction contributes to a holistic representation of a specific historical period. The research paper encompasses a comprehensive examination of artistic methods, trends, and concepts, including romanticism, impressionism, symbolism, cubism, modernism, postmodernism, and metamodernism. The article underscores the significance of studying the evolution of realism in the visual arts and posits that the phenomenon in realistic art centers on the symbiotic relationship between individuals and their environment. In conclusion, the article asserts that realism not only unveils national traits but also communicates authentic facts that subsequently contribute to the shaping of historical mentality. The research interest in this exploration stems from a profound concern for understanding the nuanced evolution of realism in the visual arts.

ТРАНСФЕР КУЛЬТУРНЫХ КОДОВ В СОВРЕМЕННЫЕ ЦИФРОВЫЕ МЕДИА (на примере басенных сюжетов)

The article is devoted to studying national cultural codes. The purpose of the article is to describe and analyze the axiological potential of fable plots as cultural codes in the modern mass media space. The illustrative material was provided by I.A. Krylov’s fables, online dictionaries, as well as examples from the National Corpus of the Russian Language and the personal card index of mems, representing realization of fable plots in various aspects of modern human life. The research combines such traditional methods as: descriptive, comparative and continuous sampling methods for systematization and typology of winged phrases used on the Internet sites of modern digital space. The method of diachronic analysis allowed us to trace the relationship between their dictionary interpretations and modern increments of meanings and transformation into cultural codes. The SPSS Text Analytics Program was applied for quantitative analysis. The obtained results demonstrate correlation of fable inclusions with the transfer of ideas and experience within the same linguistic culture. We see the significance of the study in substantiating the status of socio-axiological relevance of fable plots when they are transferred to a heterogeneous digital space. We found out that fable plots subjected to actualization undergo various transformations both at the linguistic and conceptual levels, and the transformation degree depends on the register of a chosen discursive practice. The conclusion we made concerns the predominant preservation of archetypal characteristics in aspects reflected by various discursive registers due to the codes embedded in them, which are in one way or another adapted to the situational contexts of modern times.

Паблик-арт в историческом городе: визуализация локального культурного кода

The article analyses public art within the framework of the cultural approach – as a form of visualization of the city’s cultural code. The author examines the variants of public art comprehension existing in the Russian academic discourse and identifies the two most common approaches to the interpretation of art in the public space. According to the first approach, public art is interpreted as “commissioned” art, which is an instrument of the state’s ideological policy, and is therefore evaluated negatively. According to the second approach, public art is understood in a less evaluative and more meaningful way, emphasizing the variability of artistic practices existing within it, their focus on communication with society, participation of residents and reflection of locally significant meanings. The article emphasizes the commemorative functions of public art and comprehends its role in the actualization of the city’s cultural memory and representation of urban identity. The author explores what historical, cultural and mythological narratives are depicted on the murals in Veliky Novgorod, created within the framework of the All-Russian Street Art Festival “Pages of History” (2019– 2023). The article proposes to categorize Novgorod murals into the following thematic groups: 1) genius loci; 2) historical subjects; 3) myths and legends; 4) cultural heritage; 5) natural objects; 6) modern heroes. Art in Veliky Novgorod’s public spaces, especially located in typical Soviet districts, serve to individualize the urban environment and create new points of attraction for the city dwellers. Murals have become part of new excursion routes that run both through the symbolic city center and the city outskirts. The author argues that the subjects represented on the murals are authentic for Veliky Novgorod, contribute to the formation of local identity, enhance the imagery of the urban environment and emphasize the uniqueness of the Novgorod cultural landscape.

ОТАНДЫҚ МЕДИАӨНІМДЕРДІҢ ГЕНДЕРЛІК ИДЕОЛОГИЯСЫНЫҢ ТАБИҒАТЫ

In recent years, Kazakhstan has seen active discussions regarding gender equality and children's rights in the media. A scientific article conducts an analysis of the manifestation of gender ideas in materials published in domestic media. The aim of this research is to determine the level of discussion of gender equality issues in Kazakhstani media and to understand how gender ideologies are disseminated among the audience through the media. Gender ideology is represented in Kazakhstani media through various methods and genres. Films, articles and other media products shape images not only through visual representations but also through text, cultural codes and connotations that influence perception and the formation of public opinion. Therefore, understanding gender ideology is crucial when creating informational products and shaping public opinion. It is also important to study the influence of informational products on the audience. As part of the scientific approach, a textual analysis of media materials was conducted. From 2020 to 2023, research was conducted on gender processes in the republican newspaper "Ulan" and domestic series on the Gakku TV channel, where an analysis of historical, cultural, philosophical, psychological, and comparative aspects was conducted. As a result of the research, it was found that in some media, certain humanitarian and democratic principles of protecting women's and children's rights were violated. This finding underscores the need to form a humanitarian view on the issue of gender equality and to ensure ethical and aesthetic evaluation of informational products.

Cultural Code: The Fusion of Russian Culture in Chinese Gaming Worlds

In recent years, many Chinese game manufacturers have chosen to reflect the national culture of the real world when establishing their game worldviews. Many Chinese games contain elements of Russian culture. This is because Russia is a country with great influence and strong regional characteristics. Out of a strong curiosity about the intersection between Russian culture and the Chinese video game world, we explore many Russian Video Games, and how Russian cultural elements are reflected in Chinese games. This survey studies Chinese video games that contain Russian cultural elements. Through case studies and player reception analysis, it explores how Chinese video game manufacturers selectively use Russian cultural elements to enrich their game content and how these elements are integrated with their game worldviews.

IMAGES-SYMBOLS OF TRADITIONAL ARTISTIC CRAFTS IN THE FORMATION OF THE CULTURAL CODE OF THE CITY

The article is devoted to the analysis of the use of images-symbols of traditional applied arts for the Ryazan region (embroidery, lace weaving, weaving) in shaping the appearance of the city, reflecting its cultural code. Based on semiotic studies of the phenomenon of the concept in question, the author aims to trace the ways of symbolic expression of the cultural code of the city and their role in creating the mental sphere of culture in the elements of the urban environment. The assumption that the formation of the cultural memory of the city is carried out in two interrelated directions, allowing you to feel involved in your own history, culture and create unique images-symbols characterizing the cultural values of a particular region in order to identify it, is confirmed in the extensive illustrative material of the article. The author explores both historically established ways of broadcasting such elements in the urban environment (architraves, house decorations, bridge fences), stylized as recognizable elements of lace weaving, embroidery, weaving, and modern elements of urban space (design of fountains, light structures, festive decorations) with these symbols expressing the cultural memory of the city. The techniques used to identify a place from the point of view of its history and culture through characteristic, iconic elements in traditional applied art, lead the researcher to the conclusion that symbolic images can be not only markers that increase the level of patriotism of the city's indigenous inhabitants, but also business cards of the city, which are part of the geocultural space, capable of forming, including tourist the area code, which increases the importance of semiotic research in the framework of the formation of a cultural spatial environment.

Socio-cultural (re) presentations of Wall Street in Tom Wolfe’s The Bonfire of the Vanities (1987) and Michael Lewis’s Liar’s Poker (1989)

Wall Street's historical journey, from the Buttonwood Agreement to the Great Depression and the latter half of the 20th century, unfolds as a dynamic tale of growth and challenges. The Agreement of 1792 beneath a buttonwood tree marked a transformative moment, laying the foundation for organized trading and shaping Wall Street into a global financial hub. The 19th century saw the rise of diverse financial institutions, solidifying Wall Street's role in the American financial system. Despite facing challenges like the Panic of 1873, Wall Street demonstrated resilience, becoming instrumental in financing the nation's industrial expansion. The Gilded Age propelled Wall Street to global prominence, with the emergence of the New York Stock Exchange contributing to the myth of the "Master of the Universe." The Roaring Twenties brought both prosperity and societal flaws, as the pursuit of material wealth and excess sowed the seeds for moral decay. Understanding this historical context is crucial for exploring evolving cultural representations. Focusing on literature from the 1980s, specifically Tom Wolfe's The Bonfire of the Vanities (1987) and Michael Lewis's Liar's Poker (1989), this study adopts a structuralist approach. Through evaluating symbols, archetypes, and cultural codes, the analysis contributes to a nuanced understanding of the intricate relationship between finance and broader societal and cultural contexts.

Cultural Сode Figurative Picture of War in the Poetic Work of Blockade Children Evacuated to the Omsk Region

The subject of research is the poetic creativity of blockade children. The purpose of the work: setting the problem of studying the cultural code of a huge layer of the poetic heritage of children-blockades evacuated to the Omsk region. The methodology of research consists in the use of a problem-semantic approach to the analysis of poetic creativity. The results of the work: significant factors of perception, a system for encoding moral and patriotic meaning poetic images of war and rear through a figurative picture of historical memory, moral and patriotic meaning of images of war and rear. The field of application of the results: the field of patriotic education in extracurricular and extracurricular work of secondary and higher educational institutions. The novelty of the study lies in a new formulation of the problem of poetic reflection and reflection of war in children's and adult poetic perception. New is also the methodology for analyzing impressions and experiences concentrated in the totality of ideas of children-blockade, aimed at identifying moral and patriotic meanings and dichotomy of images of war and rear. An extraordinary methodology of a problem-semantic approach to the analysis of poetic creativity. Conclusions: 1. The figurative picture of the war, created by the children's blockade in adult and children's poetry, expresses the wartime cultural code, which is to strive to protect their homeland, to accomplish a feat in the name of life, in which the moral and patriotic features of genuine heroism are concentrated. 2. At the same time, the cultural code of the figurative picture of the rear and military childhood of blockade children was manifested in a number of noble qualities of Siberian saviors. 3. At the same time, the decoding of the moral and patriotic meaning of the figurative picture of historical memory created by the blockade children includes the transition from figurative signs of memory, a culture of love for the Motherland, enclosed in figurative clichés to symbols of struggle, images of selflessness, archetypes of heroism, exploits to universal human values, expressed in identical poetic means.

The cultural codes of Tunisia in the work of G. A. Makhrova "My Tunisia"

The subject of this article is the linguistic means of creating a linguistic and cultural image of Tunisia in the memoirs of Galina Aleksandrovna Makhrova "My Tunisia". The studied linguistic units are considered as representatives of the linguistic and cultural codes of Tunisia – subject, spatial, biomorphic, temporal, spiritual. The linguistic and cultural code in the article refers to the verbally implemented code of national culture. The functions of such linguistic units as vocabulary with a national cultural component (vocabulary of the thematic groups "Clothes", "Cosmetics", "Food and drinks"), proper names (toponyms and anthroponyms), adjectives with a color component in the space of the Russian literary text are analyzed. The influence of the author's linguistic personality as a representative of another (Russian) linguistic culture and a representative of a certain profession (artist) on the choice of linguistic means of creating an image of the country as both his own and someone else's space is assessed. Research methods: descriptive method, methods of analysis and synthesis, linguistic and cultural analysis of a literary text, the method of continuous sampling of linguistic units with a national cultural component and the method of component analysis to identify culturally specific semes of their lexical meaning. The novelty of this study is related to the research material (memoirs of G.A. Makhrova) - the subject of the study (the linguistic and cultural codes of Tunisia are studied in terms of its perception by a native speaker of a different linguistic culture, who feels himself a part of both Tunisian and Russian linguistic cultures) - description of the linguistic and cultural code of Tunisia, taking into account the peculiarities of the linguistic personality of the author of the text: G.A. Makhrova perceives many linguistic and cultural details in a special way, since he is a professional artist. The analyzed language material allows us to draw the following conclusions: 1.In the Tunisian subject code, the linguistic units of the thematic groups "Clothing", "Cosmetics", "Food and drinks" are of particular importance. 2.The spatial code is mainly represented by toponyms, among which the names of hills, as well as beaches and resort towns predominate. Among proper names, a group of names associated with the history of Tunisia stands out, which creates the image of Tunisia as a country with a rich past, located at the crossroads of civilizations. 3.The phytonymic symbol of Tunisia in the work is jasmine. 4. G.A. Makhrova is a professional artist, and therefore adjectives of color play a significant role in creating the image of Tunisia. 5.The names of the deities are associated with the spiritual code of Tunisia.

ОБРАЗЫ ВТОРОЙ МИРОВОЙ ВОЙНЫ В СОВРЕМЕННОМ КИНО ЖАНРА ХОРРОР: КОДЫ КУЛЬТУРЫ

This article addresses the problem of contemporary European vision of the results of World War II through the prism of cinema, namely, a specific genre: horror. The images created in this genre by Norwegian and French directors are analyzed: Standartenführer, Germans, Soviet soldiers. The material is two relatively well-known films of the horror-comedy (black humor) subgenre («Operation "Dead Snow" (2009), «Operation "Dead Snow 2" (2014) (Norway) and the slasher «Underground Horror» (2022) (France, Belgium). The balance of power in these films, when the victory over zombies (German soldiers who have turned into the living dead) is won either by Europeans and Americans, or by representatives of national minorities, is, from the author’s point of view, the code of modern culture in the West, when the role of Soviet troops in the Victory over fascism is hushed up, when gays or representatives of national minorities act as heroes; when the Second World War becomes the subject of a comedy comprehension with an admixture of trash. Such a code differs significantly from the one that existed in literature and cinema of the immediate post-war period (in the second half of the 20th century), when living witnesses (war participants) were more numerous and moral values were somewhat different. This prism of artistic vision of the Second World War is justified by the nature of postmodern thinking and the demand for this kind of film production among Western viewers.

ГАСТРОНОМИЯ КАК СИМВОЛИЧЕСКИЙ ФЕНОМЕН

The article considers gastronomy/gastronomic culture as a symbolic phenomenon. Within the framework of intercultural communication the attitude to food is expressed symbolically as well. The symbolism of gastronomic culture reflects the peculiarities of a particular epoch in the development of both mankind and a separate state. Thus, primitive people, eating the meat of a predator, acquired its strength, hence strength became the symbol of food; etc., or in the Soviet period the symbols and signs of gastronomic culture reflected the existing political system.From linguistic and cultural point of view, gastronomic culture is a certain set of characteristic groups of words that denote symbols, signs and codes of gastronomic culture. It is in the symbolic nature of this culture, expressed by symbols and signs, that the most important difference between culture itself and its components (for example, cooking), which are taken by ordinary people for gastronomy.

Метафора дыма: реконструкция культурных смыслов (на материале якутской лингвокультуры)

The paper examines the linguistic and cultural semantics of the Yakut word buruo (smoke) by exploring its metaphorical manifestations in vocabulary, phraseology, and folklore. The folklore text is analyzed using a structural-semiotic approach to examine language as a cultural verbal code. For the first time, the smoke metaphor is recognized as a source of riddles, proverbs, good wishes, incantations, euphemisms, and others. Otherwise, the metaphor is found to have meaning- and text-forming functions. In the Yakut linguoculture, the smoke metaphor creates a micro paradigm of linguistic units with the general semantics of “descendants, a continuation of the family.” The metaphor under study is suggested to be a cultural element of the Sakha people’s folklore, specifically related to the patriarchal family structure and the roles of sons and daughters in procreation. The smoke metaphor, a tool for creating new concepts and pictorial means in language and culture, proves to be an element of the informational structures of oral collective memory. It preserves the principle of patrilineage, gender stereotypes, and traditional ideas of the Sakha people about the succession of generations and procreation, understood as “development, advancement through stages of development.” A significant finding is that a polysemous word, phraseology, paremy, epithet, folklore formula, symbol, and others can preserve considerable information in a coiled form and serve as an optimal way of its oral transmission in time and space. To conclude, folklore text metaphors are not only emotionally rich but also involve “condensed” meaning, with a symbol representing the information compression.

К вопросу о семиотической интерпретации пространства неопротестантского богослужения

The article attempts to conduct a semiotic analysis of the space of neo-Protestant worship. For this purpose, as a methodological tool, general cultural spatial codes were used. The danger of semiotic error in determining the hierarchy of levels of expression and content is noted. The object of research is considered – the space of neo-Protestant worship. A semiotic comparative analysis of this space and the traditional Christian temple is made. Groups of spatial codes are considered in detail, their denotative and connotative interpretation is carried out. The emphasis is placed on the elements of visual semiotics of the space of neo-Protestant worship. The semiotic transformation of the hierophanic code is noted. The problem of aesthetics of neo-Protestant worship is posed.

ФИЛОСОФСКОЕ НАСЛЕДИЕ Д. В. ПИВОВАРОВА: ВЕКТОРЫ РЕЛИГИОЗНОЙ ДУХОВНОСТИ

The relevance of the study of D. V. Pivovarov’s philosophical heritage, his proposed approach to under¬standing religious spirituality, the developed concept of forms of religion and religiosity (cosmocentrism, egocentrism, sociocentrism) is related to the fact that today Russia is in search of that spiritual foundation that could unite all Rus¬sians. The purpose of the article is to show the methodological possibilities of applying D. V. Pivovarov’s concept to com¬prehend the phenomenon of «new spirituality» expressed through such concepts introduced by modern Russian legal acts: «Russian nation», «all-Russian civil identity», «common cultural (civilizational) code of the Russian people». To describe the approach of D.V. Pivovarov, the principles of system analysis are used, which allows us to evaluate the contribution of an outstanding Ural scientist to Russian religious studies; the judgments and conclusions of the author of the concept are used as methodological guidelines for the analysis of the phenomenon of «new spirituality». As a result of the study, the authors came to the conclusion that it is possible to interpret the phenomenon of «new spirituality» as an attempt to create such a «solid core» of sacred values of the unified Russian culture, which will en¬sure the non-conflict coexistence of the ideals of cosmocentrism, sociocentrism and egocentrism. The practical significance is seen in the fact that, being an important methodological tool, the approach proposed by D. V. Pivovarov will find application in the study and explanation of new religious ideas and spiritual practices ad¬equate to the needs of the time, in the teaching of historical and religious studies courses, in assessing the effectiveness of mechanisms for strengthening Russian identity.

Cankar’s name code (novel “Nina”)

The article deals with the novel “Nina” (1906) by the prominent Slovenian writer Ivan Cankar (1876–1918), which researchers and critics refer to as the most unusual and complex of his works. Trying to unravel one of the mysteries of the Slovenian classic and starting from the code of the name that became the title of the work, the article aims to show how the process of changing the axiological paradigm was going on in the writer’s creative laboratory, which was accompanied by a change in the onomastic code. This process is demonstrated by the history of the creation of the drama “Beautiful Vida” (1911), originally titled “Hrepenenye” – “Hrepenenje”), the work on which was going on simultaneously with the creation of the text of “Nina”. In the conceived drama, Nina acts as a character who carries all the nuances that make up the essence of this capacious term: from dreams of love and homesickness to a feeling of transcendent love that takes a person away, aspirations for everything beautiful in life. However, at the final stage of work on the play, I. Cankar deviates from the original idea and connects the symbolism of hrepenenje with the name of Beautiful Vida, a mythologem that is significant for Slovenian culture, while emphasizing in letters to friends and brother that “it will be something completely new and ours.” Thus, there is a change in the value artistic paradigm in the work of the writer, who, living in the multicultural environment of the European capital, and creating works in his native language, refuses the literary and cultural European code in favor of his national one.

Culinary code of Maslenica (Shrovetide) rites in Belarus and Podlasie

The article aims to research how the culinary code of culture manifests itself in the Shrovetide rituals of Belarus and Podlasie (a region in eastern Poland, where ethnic Belarusians live on the border with Belarus). The tasks are to analyse the names of the festive period whose origin is motivated by the culinary code, to identify Shrovetide dishes, and to characterise the role of feasts in the Shrovetide ritual cycle. The article uses ethnolinguistic methodology. The text is written based on published sources, archival and field materials collected in Belarus and Podlasie. The culinary code is one of the main elements of the Shrovetide ritual cycle: it is used to “program” the prosperity of the peasant household for the coming year and to form the majority of local names of the holiday in Belarus and Podlasie (Maslenitsa, Zapusty, Zapusti, Zagaviny, and their variants). Abundant feasts symbolically influence the prosperity in the next year according to the principles of similarity magic. Throughout Belarus dairy products and pancakes are used as festive Shrovetide food, but in local traditions, other dishes can be considered Shrovetide. The consumption of meat products in the week before Lent has religious and local peculiarities: Catholics, as well as informants whose confessional affiliation is not specified, mostly from western Belarus, consider meat dishes obligatory, while the prohibition of meat consumption is due to the influence of the Orthodox Church and local traditions. In Podlasie, during the 2022–2023 field research, informants made almost no mention of special Shrovetide dishes. The common Polish tradition of eating donuts on Fat Thursday is gradually spreading to Podlasie. Shrovetide feasts in Belarus were more often family and less often friendly-neighbourly, while in Podlasie – vice versa. The feasts remain a characteristic feature of the week before Lent in Podlasie, but dishes do not differ from those on the feasts on other holidays

Творча біографія Івана Котляревського в жанрово-крайовому контексті перших десятиліть ХХІ століття

In the article, for the first time, samples of Ukrainian artistic and biographical Kotlyarevskiana of the first decades of the 21st century are analyzed holistically in a typological and regional aspect. Biographical, cultural-historical, comparative, and psychological methods of scientific research are applied. The main object of study is the biographical literary, artistic and popular science works «The Choice of Captain Kotlyarevsky» (2020) by V. Dobryansky and «Ivan Kotlyarevsky: Between the Empire and Ukraine» (2021) by P. Kraljuk; contextual component of intelligence – biographical novels and essays of the latest writing «P. S. of Hryhoriy Skovoroda...» (2009) by M. Shtelmak, «All angels of the Triangle. Apocrypha of Grigory Skovoroda's Travels» (2012) by V. Eshkilev, «Black Apple» (2013) and «Moon, Moon» (2022) by S. Protsyuk, «Secret Agent Mykola Gogol» (2016) P. by Kraljuk, «Iron Water» (2021) by M. Layuk. They represent figures of the classics of Ukrainian literature, whose lives are connected with the Poltava region, and were created and published in the postmodern period. The intensification of scientific and literary-artistic biography (in particular, writer's) nowadays is noted, the humanitarian and civilizational importance of this process is emphasized; the academic, scientific, popular science, and artistic formats of purely literary biographies are outlined and the special spread of the biographical novel (a type of artistic biography) and creative biography (a popular historical-literary mix) is indicated; the term «creative biography» is used with a scientific and universal meaning that is remarkable for today. It has been noted that Poltava Kotlyarevskiana, as well as regional writer biographies in general, is currently actively developing; its creators – mainly writers from the western region of Ukraine – time biographical novels and historical-publicist essays to the jubilee dates of outstanding writers, rethink and often interpret freely their biographies, causing public resonance and discussions.P. Kralyuk and V. Dobryanskyi in their works dedicated to I. Kotlyarevsky subtly depict and interpret in an original way, ideologically actualize in an anti-colonial and civic-patriotic way the image and achievements of the «father» of Ukrainian literature, emphasize his psychoworld, the alleged splitting of the spirit, but integral soul, interpreted as a national cultural code that clearly resonates in the tragic present.

The Student-Athlete Scholarship Agreement in the Transfer Portal Era: An Examination of Cultural Codes of Silence

The Student-Athlete Scholarship Agreement in the Transfer Portal Era: An Examination of Cultural Codes of Silence