Phonetic Means Research Articles

PHONETIC MEANS OF EXPRESSING NEGATION IN MODERN BULGARIAN

The object of the current study are the phonetic means that express negation in Contemporary Bulgarian and that are part of the formal inventory of the functional and semantic category of polarity (and more precisely – part of the periphery of the negative polarity). Our interest on this topic was promoted by the lack of detailed research. The main goal here is to present a description of these specific characteristics by paying more attention to the role of intonation and stress in the speech realization of the phrases of interest. To achieve this goal, we have employed a variety of technological resources for rhythmic and melodic analysis, with the help of which we have conducted experimental research on our targeted phrases and provided graphic representation of melody and intensity of pronunciation, as well as spectrographic analysis of speech. Our data shows that stress and intonation are indeed differentiating factors in the meaning of the phonetic explicators we observe. Stress and intonation make t

PSYCHO-PHONO-SEMANTIC POTENTIAL OF A FEMALE NAME: AN ALGORITHM OF ATTRIBUTIVE GRADATION

The article is devoted to the study of the psycho-phono-semantics of female names by the author’s algorithm. The purpose of the study is to find out the functions of the sound of female names according to a gradation algorithm based on phonetic content and colour associations of vowel sounds. Objectives of the study are: to present the psycho-phono-semantics of vowel sounds based on empirical studies; to substantiate the phonetic content of the female noun according to the attributive algorithm gradation (names with the status of very, more, the most); to present the colour range of the female noun based on the stressed vowel(s); to find out the role and functions of the psycho-phono-semantics of the female noun. The object of the study is the psychological features of the sound organisation of female names. The subject of the study is the phonetic content and colour of the most popular names according to the author’s algorithm. The actual research material was based on data from the Ministry of Justice, which lists the most popular female names. Using the author’s algorithm of attributive gradation, the phonetic content of female names based on vowel sounds was studied for the first time. For the first time, the colour scheme of a female noun was studied based on all vowel sounds of the name. The common attributive meaning beautiful in all of female names may be related to the phonetic properties of the vowels or perhaps historical associations that these names have. Differences in other associations and attributes may be due to other phonetic details of each name and the specifics of their cultural usage. Analysis of colour associations and semantics of names with different vowels but with unstressed [i] is interesting. The sound [i] can have different correlations with colours that arise as a result of phonetic features. Names with vowels can have a wide range of colours. The psycho-phono-semantics of the feminine noun plays an important role in the perception and understanding of names, determining what associations, impressions and emotions female names evoke. The phonetic meaning of names is subjective and may vary depending on the on the perception of the individual. A proper name, in addition to its phonetic properties, always carries a personal identity and history, and this is also an important aspect of its semantics. Prospects for further research of the stated problem are in a thorough study of the psycho-phono-semantics of masculine and feminine nouns based on the phonetic content and colour associations of vowels and consonants using the algorithm of attributive gradation.

Decoding Phonetic Meaning in a Semantically Meaningful Lexicon: Sound Symbolism in Steam Game Titles

It is widely believed that the marriage between a word’s sound and meaning is not an arranged one. A major exception to this, however, is sound symbolism. Inspired by previous research on the extensive use of sound symbolic associations in naming practices, this study directed attention towards the titles of popular games on Steam, which, unlike brand names, are mostly composed of semantically meaningful lexical items. The results showed that Action/Adventure/RPG game titles contained more voiced obstruents and fewer low vowels than Strategy/Simulation game titles. Additional research could delve into the interplay between semantic and phonetic meanings conveyed by names and titles.

Onomatopoeia Types and Translation Strategies

Translating webtoon poses a challenge for the translator. However, many research focus on the application of comic translation instead of webtoon translation. Due to this, the research focused on finding out the translation technique used to translate the onomatopoeia in Lore Olympus from English to Indonesian. This case study was employed to analyze and interpret the translation techniques used, with case study to analyze the onomatopoeia. Content analysis and purposive sampling method was used to interpret the data between chapter 1 to chapter 50. The result of this study showed a total of 356 onomatopoeias in English and 355 in Indonesian; direct onomatopoeia was dominantly used, followed by exemplary onomatopoeia, and associative onomatopoeia as the least used. Out of seven translation technique, four was used: equivalence was used 69.5% times, borrowing was used 17.37% times, literal translation was used 11.8% times, and modulation was used 1.3% times. These translation techniques were applied to achieve meaning transfer and naturalness for the readers. However, some issues were found, for readers reading the translated webtoon, which might affect their reading experience negatively: typo, loss in artist’s intended phonetic meaning, improper expression of message, etc. The research proposed some recommendations for future researchers and translators.

Pragmatic potential of phonetic means of the German language

Pragmatic potential of phonetic means of the German language

Yezidi Alphabet: The Way to Unicode

The Yezidi (Yazidi) script gained widespread recognition in 1911 when Anastase Marie Al-Karmali published two ancient manuscripts: Maṣḥaf Raš (Black Scroll) and Ktébī J̌alwe̱h (Book of Revelation). The exact time of their creation remains unclear. These manuscripts were written in an original consonantal alphabet, comprising 33 letters. Despite its significance, this early Yezidi script version is inadequately documented within the literature on the history of writing. Furthermore, information regarding its prolonged usage gap—spanning between the aforementioned classical manuscripts and the early 2000s when attempts to revive the Yezidi script commenced—is rather scarce. It is important to highlight that, for various reasons, the Yezidi clergy do not acknowledge the texts of Maṣḥaf Raš and Ktébī J̌alwe̱h as authentic sources of faith. Nevertheless, the script itself is recognized and has recently seen utilization among certain Yezidi groups. A renewed version of the Yezidi script, constituting a full-fledged alphabet, was introduced in 2013 by representatives of the Yezidi community in Georgia. This new alphabet encompasses 42 characters, denoting both consonants and vowels. The classical consonantal alphabet was extended by certain modifications of the existing letters, in particular, by adding diacritical marks and changing some phonetic meanings. Alongside letters, we provide an extensive exploration of Yezidi writing’s characteristics, with particular emphasis on aspects such as numbers, punctuation, and diacritical marks within both classical and contemporary contexts. Throughout the article, we incorporate examples from classical manuscripts and modern instances of the Yezidi alphabet’s application, offering illustrative support to the text. The article’s content is based on Unicode proposals prepared by the authors between 2018 and 2019. The insights garnered from interactions with the Unicode Technical Committee, as reflected in the article, grant readers an enhanced understanding of the intricacies surrounding the encoding of novel writing systems. Consequently, the Yezidi alphabet was integrated into the Unicode standard, version 13.0, released in March 2020.

Phonetic word transformation as a language play technique in modern Russian poetry

The article aims to analyse the specific features of using metaplasms and technically related devices as language play means in modern Russian poetry. Additionally, the study determines their functions in literary texts. The study is relevant as the functions of a language play created with the help of various sound transformations of words have not been studied thoroughly enough. Nevertheless, the extensive use of metaplasms and similar changes in modern Russian poetry indicates the need for a more detailed investigation of this issue. The study relied on the methods of functional, contextual, and semantic analysis. This choice is determined by such poetic text features as the non-randomness of the author’s choice of linguistic means and the fundamental importance of context in their interpretation. The research made it possible to identify the following functions of metaplasms and related linguistic phenomena: 1) comic; 2) gnostic, including its variety – the function of rethinking; 3) hedonistic; 4) pragmatic; 5) iconic; 6) text-forming; 7) stylization function. Recognizing the high importance of metaplasms and related devices as a means to preserve rhyme and meter, the article concludes that it is advisable to consider other functions significant for analysing the meaning of poetic texts. The analysis results complement the theoretical information about the phonetic means of language play available in the scientific literature, thus enabling a detailed philological analysis of poetic text in school and university teaching.

Фоностилистические приемы аргументации в аудиорекламе

The aim of the study is to identify the features of phonostylistic argumentation means in an advertising audio text that influence the effectiveness of the transmission of factual information. Audio advertising is one of the striking examples of emotionally charged speech, where the presented information is perceived through an acoustic channel. Argumentation in audio advertising is carried out not only at the lexical and syntactic level, but also at the phonetic level. Phonostylistic techniques optimize the perception of an audio text and also contribute to the memorization of the advertising message. The paper provides examples of the use of phonostylistic techniques in audio advertising that have an argumentative effect on the addressee. The scientific novelty lies in the description and systematization of phonostylistic techniques of sounding speech as elements of argumentation in audio advertising. It is the first time that auditory analysis has been used to establish the dependence of intonation characteristics and nonverbal audio means on the type of speech (monologue or dialogue) presented in audio advertising. As a result, it has been proved that argumentation in an audio advertising text is a way of speech influence on the audience, which is implemented with the help of emotional and psychological arguments. Linguistic means of expressiveness and phonetic means of speech influence make advertising more convincing and attention-getting.

LANGUAGE MEANS OF MEDICAL ADVERTISING DISCOURSE

The article updates the opinion of the relevance of a comprehensive study of the phonetic and lexical units functioning peculiarities in medical advertising discourse as a means to influence the consciousness of a potential consumer. The linguopragmatic orientation of linguistic means in the given discourse is revealed and their frequency of use in medical advertising texts is determined.
 It has been proven that phonetic and lexical means of expression have the significant suggestive potential for creating an effective advertising discourse. They are used to enhance the emotional impact of the advertising message, attract the attention of the addressee, and stimulate memorization of the content of the text. Due to phonostylistic means, a bright image of a medicine is created.
 The peculiarities of the phonetic means functioning were investigated through the analysis of the most common techniques: rhyme, alliteration, assonance, anaphora, epiphora, onomatopoeia, phonemic repetition, and anadiplosis. The features of the lexical means persuasive effect on the recipient are considered on the example of the most commonly used stylistic figures, namely: metaphor, metaphorization, epithet, comparison, antonyms, euphemisms, anaphora, epiphora, inversion, oxymoron, wordplay (pun), etc.
 It was established that phonetic and lexical means serve to achieve the advertiser's manipulative goal. The use of expressive techniques in medical advertising discourse is aimed at quick involuntary memorization of the advertised medicine. The phonostylistic means increase the expressiveness of the advertising text, stimulate the addressee's interest, contribute to the coherence of statements, and have a mnemonic and suggestive effect, which contributes to the realization of the addressee's motivational goal.
 The methodological basis of the research consists of descriptive, functional, structural and semantic, quantitative and statistical methods.
 More than 400 advertising texts from the Ukrainian mass media (television, Internet) and printed advertising publications (booklets, leaflets) became the material for linguistic investigation.

Northern Russian intonation: Prosodic breaks

This paper analyzes prosodic phrasing in Northern Russian dialects spoken in the Pinezhsky, Plesetsky, Verkhnetoemsky, Mezensky, Leshukonsky, Konoshsky, and Vinogradovsky districts of Arkhangelsk Oblast based on the material of dialectal speech corpora and the author’s tape recordings of dialectal speech made in 1987–1999 (49 hours in total). It deals primarily with the issues related to the local markers of prosodic phrasing, their hierarchy and phonetic means of realization. Based on the performed analysis, I suggest the following break index scale in Arkhangelsk dialects: 0 — break index showing strongest cohesion (absence of prosodic break), typical of boundaries internal to prosodic words (e.g., boundaries between clitics and hosts); 1 — break index marking prosodic word boundaries: marked on the right edge of a prosodic word followed by another prosodic word within the same accentual phrase (by means of reset of the word’s rhythmical structure); 2 — break index marking accentual phrase boundaries: marked on the right edge of an accentual phrase followed by another accentual phrase within the same intermediate phrase (phonetically manifested as a signifi cant — more than 1.5 semitones — tonal drop on a voiced consonant and/or on a poststressed vowel); 3 — break index marking a boundary between an intermediate phrase with nuclear pitch accent and an accentual phrase with non-nuclear pitch accent within the same intonational phrase (using a long, 300–1500 ms, interruption in articulation and high or low boundary tone); 4 — break index marking intermediate phrase boundaries: marked on the right edge of an intonational phrase (by means of high or low boundary tone and an optional pause); 5 — break index marking intonational phrase boundaries: marked on the right edge of an intonational phrase (by means of low boundary tone and an optional pause). The most characteristic features of Arkhangelsk dialects from the perspective of prosodic phrasing are 1) the accomodationof microprosodic features (tonal drop on voiced consonants) for macroprosodic purposes (marking accentual phrase boundaries); 2) the use of lasting physical breaks in articulation to mark prosodic phrasing within an intonational phrase; 3) the absence of a sraightforward correlation between the pause duration and the depth of prosodic breaks.

Stylistic features of the Chinese-language artistic and scientific Internet discourse

The article examines stylistic features of Chinese-language fiction and scientific Internet discourse. It considers the concept of "internet discourse", as well as the concepts of "fiction discourse" and "scientific discourse", gives an explanation of certain lexical and grammatical features of the Chinese language. Their manifestation in the considered types of Internet discourse is analyzed. It is noted that the vocabulary of fiction Internet discourse tends to simplification, abbreviations, the use of idioms and catchphrases for greater concentration of information. The authors also use onomatopoeia to imitate the sounds of the surrounding reality by phonetic means of speech. It is shown on examples how, in contrast to popular science texts, the authors of fiction works use reduplication much more often, thereby creating a language more favorable for communication. It is explained why there are quite a lot of slang words in the artistic works of online discourses, which decorate and distinguish the work of the authors. This phenomenon reflects the existence of many dialects and changes in the language, the use of slang words depends on the origin of the author, as well as the emotional color that the author wants to reproduce. The use of linguistic stylistic means is highlighted on the examples of popular scientific and fiction texts. The lexical and grammatical means of expressiveness of the Chinese language of the texts published on the Internet are analyzed. It is indicated that an important feature of Internet works is the use of emoticons and various signs in the texts (smiley of tears, emoticon of shyness, etc.). The functioning of linguistic and stylistic means in the scientific and artistic type of Internet discourse is shown in the comparison. At the grammatical level, fiction and popular science texts are almost the same, there is the use of exclamation points for greater unity between the author and the reader, but in popular science texts they are more restrained and occur only when the author quotes his clients. There is a significant difference between popular science text and fiction. It is noted that the authors of the fiction discourse try to have more contact with the readers, conditionally involve them in the creation of the finale of the fiction work.

Авторская модальность и способы ее репрезентации в поэтическом дискурсе (на материале стихотворения американского поэта Э.А. По «Ворон»)

The article is devoted to scrutinizing the ways of manifesting the author’s modality in the poetic discourse as exemplified by E.A. Poe’s poem «The Raven». The relevance of the study is determined by the anthropocentric perspective of modern linguistics, which focuses on the problem of the implementation of «a person within a language». Being one of the most relevant objects for research, literary discourse is regarded in terms of identifying the specifics of the idiolect and idiostyle of a creative linguistic personality. In this respect, the author’s modality, based on the implementation of modal and evaluative meanings in the text, is verbalized by means of semantic dominants of the author’s individual worldview. The article is aimed at studying multi-level linguistic means of representing the category of author’s modality in the poetic discourse of a narrative poem. A complex set of methods has been applied in the course of the study, including those of linguapoetic, component, stylistic analyses as well as certain elements of the structural and semantic, communicative and pragmatic, and interpretative approaches. It has been found that the specific features of E.A. Poe’s idiostyle are manifested within the framework of the author’s modality, while the modal dominants of the author’s idiolect can be spotted based on the analysis of the author’s choice of modal means. The study has also revealed that textual (author’s) modality is implemented on all the levels of poetic text organization. Alliteration and assonance, the internal rhyme and the rhymes at the end of the lines being the phonetic means of textual modality; lexical means of verbalizing the author’s modality are represented by the frequently used emotionally colored verbs, adjectives and adverbs (including those with negative connotations), as well as verbs with voluntative semantics, alongside with a very limited use of explicit grammatical means (e.g., the imperative). Syntactic means of the author’s modality are characterized by the use of a variety of syntactic repetitions. The author’s subjective worldview is explicated by the frequent use of the first person singular pronoun within the modal sphere of E.A. Poe’s poem “The Raven”.

DOGMATIC EQUIVALENCE: A KEY TO LITURGICAL TRANSLATION?

The article presents the fundamentals of liturgical translation in search for the core of this partial translation theory. Liturgical texts are known to combine three dimensions of religious discourse: semantics (especially dogmatic exegesis), poetics (the specifi c poetics of original Hebrew and Greek texts) and performability (covering particular features of aural perception). The history of investigating liturgical translation counts at least a century. Exactly 100 years ago, Ukrainian researcher Ivan Ohiyenko published a seminal paper whose issues and ideas were repeated and reverberated in most further studies which directly and specifi cally dealt with biblical phrasing cited in the Liturgy, doctrinal correctness and ideological infl uences, matters of interpretative and temporal retranslations, the problem of the correlation between the poetics of the original languages and that of the target language, relevant sound and music qualities of the text. Linguistic patterns and theological hermeneutics shape a special type of equivalence which is applicable to texts for liturgical use – dogmatic equivalence, which can be viewed from four perspectives: terminological essence; lexical or cultural ortheological interpretation; grammatical meaningfulness; phonetic means for theological interpretation and liturgical performability. It is a diffi cult task to keep a proper balance between the attitude of linguists (who concentrate on relations between a sacred text and a reading community) and that of theologians (who stress on the authoritative status of a sacred text although overlook cultural historicity). Thus, dogmatic equivalence is a structural phenomenon which can be divided into diff erent levels, components or dimensions. The interconnection of translation problems will have to deploy the approbated solutions from sci-tech, poetry and literary translation. The revoiltinary principle which is to be acknowledged properly is that even liturgical translation can benefi t from linguistic experimenting. Key words: translation theory, liturgical translation, interpretation, equivalence, cultural norms.

Nomen Est Omen Socialis

Abstract Functioning in media discourse as reference points for shaping people’s worldview, sociocultural stereotypes are considered cognitive-linguistic phenomena, formed in the process of evaluative categorization. A lexical item that represents a sociocultural stereotype in media discourse is determined in the study as a nomen of a stereotype. The aim of the paper is to outline strategies of nomen formation that are found in American media discourse. Nomina of stereotypes are formed by phonetic, morphologic, and semantic means. As phonetic means, onomatopoeia creates a nomen on the basis of a sound representation of a stereotyped group. Morphological nomina are conditioned by available in the language through word formation means such as suffixation, compounding, blending, and acronymization. Semantically motivated nomina of sociocultural stereotypes are formed according to logical, allusive, and figurative strategies. Logical strategy is based on the unbiased perception of a social group, regardless of its emotional and evaluative perception. Transference of a well-known name of a figure or an event to a sociocultural stereotype determines allusive strategy. Figurative strategy lies in the sensory portrayal of stereotypes, which takes place according to metaphorical, metonymic, and eponymous patterns. The results of the research can be applied in lexical discourse analysis, media linguistics, and cognitive semantics studies.

GRAPHIC REALIZATION OF THE PHONETIC MEANS OF EXPRESSING EMOTIONS IN D. H. LAWRENCE'S SHORT STORIES

Introduction. Emotions are essential in D. H. Lawrence’s literary texts. He lived inthe period of industrialization and materialism, when emotions were in the state of stagnation.That is why his short stories make the readers feel real emotions and be the part of narrated events.Lawrence’s short stories are full of expressive means which evoke certain feelings in readers’minds and serve a very productive field for the investigations aimed at analyzing emotive spaceof textual world. Lawrence’s works such as novels, poetry, essays are always in the focus ofstudying in different facets: linguostylistic, phonological, pragmatic, semantic. As for the givenpaper it studies Lawrence’s short stories which haven’t been the subject of linguistic andphonological analysis yet. Purpose. The purpose of this paper is to shed light on the graphicrealization of the phonetic means of expressing emotions in D. H. Lawrence's short stories.Methods. The descriptive analysis of the graphic means which form the emotiveness in selectedsamplesfrom Lawrence’s short stories was applied. Results. Close investigation of graphic meansof expressing emotions in Lawrence’s short stories showed that for expressing different emotionsand feelings of the characters Lawrence often uses such graphic devices as exclamation mark,dash and full stop and italics, which in literary texts usually create an additional emotional levelof utterance. The paper also demonstrates how different graphic devices can affect the emotivemeaning of the utterance. Conclusion. Having examined the graphic means of expressing emotionsin Lawrence’s short stories, we can classify the author’s literary style as hyper-emotional one,as it is distinguished with different language means of expressing emotions in analyzed texts.

Реализация принципа социокультурной направленности в обучении иноязычному произношению в вузе

This article is an interdisciplinary study of the currently relevant problem of co-studying language and culture in the aspect of linguodidactic interpretation of the sociocultural orientation principle of teaching foreign-language pronunciation. The aim of the study is to develop methods and techniques for implementing the principle of socio-cultural orientation in teaching foreign-language pronunciation at the university. The scientific novelty of the study lies in the description of the sociocultural orientation principle in relation to the phonetic aspect of the English language, the introduction of the new notion of “phonocultureme” into the practice of teaching foreign-language pronunciation at the university. As a result, it is proved that the analysis of the features of cultural meanings manifestation in the system of phonetic means of English speech arrangement contributes to the definition of methods and techniques for teaching foreign-language pronunciation at the university, taking into account the principle of socio-cultural orientation.

For Never Was a Mazier Mystery Than That of Phoneme and Its History

The aim of the research is to study and systematize etymological, historical-linguistic and historiographic information about the terms fonema / phoneme / Phonem based on the results of the analysis of Russian, English and German theoretical and lexicographic sources published in the 19th—20th centuries. Sources in French are used where necessary. The methods of historical-linguistic, historiographical, definitional, etymological, semantic and lexicographical analysis are used in the study. It has been established that in the ancient Greek language, which is the source of the origin of the word φώνημα, the latter was used in two general meanings: (1) ‘voice, sound’, (2) ‘word, speech’. In the second half of the 19th century, in the new European languages, the word underwent adaptation, subsequent semantic rethinking and acquired a terminological status. The term phonème was first used by the French amateur linguist A. Dufriche-Desgenettes in 1861 in the generalized phonetic meaning ‘sound’. In the phonological sense, this term is found by F. de Saussure in 1879. The term fonema (phoneme) was introduced into Russian linguistic terminology in 1880 by N. V. Krushevsky and, starting from 1881, was widely used in the works of I. A. Baudouin de Courtenay, V. M. Dobrovsky and others. The first use of the English term phoneme in the meaning of ‘sound’ should presumably be attributed to 1914, and not to 1894, as evidenced by English lexicographical sources. In a highly specialized (phonological) sense, the term was fixed in English linguistic terminology already in 1919, when the corresponding word usage was recorded in the work of G. Perera and D. Jones. In the vocabulary of the German language, the term Phonem in the meaning of ‘sound’ appeared in 1855 thanks to the Bulgarian philosopher P. Beron. In a similar sense, the desired term is found in 1875 by E. Boehmer. In its phonological meaning, the German term Phonem occurs for the first time in the works of I. A. Baudouin de Courtenay in 1895.

PHONETIC MEANS EXPRESSIONS OF CONNOTATIVE SEMANTICS IN ARTISTIC TEXT (based on the works of Myroslav Dochinets)

The article describes and analyzes the phonetic means of expressing connotative semantics in the literary texts of the modern Ukrainian writer and scholarly thinker Myroslav Dochinets. Particular attention is paid to lexemes with phonetic indicators of connotation, i.e. such language units (sound-symbolic words) that have markers of qualitative and quantitative sound expression. Words with quantitative intensification of respective sounds and sound combinations in them are interpreted as phonetically expressive, which is elucidated in emphatic sound stretching. It was found that connotative semantics is better manifested in qualitative intensification of certain elements of the phonetic-phonological system of the modern Ukrainian language, which is connected with the theory of sound symbolism. Here, sound intensity of either the first or the last word in a sentence acts as a vivid expression of connotation.The research results showed that phonetic units being structural components of text formation, in particular prose, in combination with other components (lexical-semantic, grammatical, etc.) play an important role in the organization of the integral connotative semantics of the literary text with all its elements (emotionality, intensity, semantic element and figurative constituent). In addition, they contribute to the expression of the literary text dynamics and aesthetics.The obtained research results may be employed to expand the possibilities of studying connotative semantics in literary discourse and deepen the effectiveness of linguistic research in the field of ethno-, socio- and psycholinguistics.

Trump’s image in a political cartoon: analysis of expressive potential

This study is an attempt to describe the expressive means used in American political cartoons covering the most prominent events before and during Donald Trump’s presidency. Political cartoon as a type of political text is widely adopted in political communication with the aim to manipulate people’s minds. The results of the study show the functioning of verbal units at all language levels and nonverbal means (visual metaphors and symbols) that help cartoonists show the Trump’s presidency in a humorous way and shape public opinion about the 45th president of the United States. The graphical means comprising capitalization, font and red colour captivate the reader’s attention by emphasizing the key issues in the cartoons. Phonetic means which are sound effects and sound repetitions stress Trump’s emotional condition, underlying his immediate reactions to any criticism. The lexical means such as comparison and antithesis draw the parallel between Trump and other political actors stating Trump’s role in American politics as a leader. Syntactic techniques (exclamatory, interrogative, and rhetorical sentences) point at Trump’s problem solving skills, and his original ideas. Symbols, hidden in the cartoons, contain extra linguistic information that is necessary for understanding the cartoonist’s message. Visual metaphors transmit the information through easily recognized vivid images and comparisons.

Wordplay in Spanish and Ukrainian ergonyms: ways of creation and functions

The paper focuses on wordplay in the ergonymic names of Madrid, Malaga, Cadiz, Salamanca, Kyiv, Chernihiv and Odesa. The aim of the research is to study ways of creation of wordplay in ergonyms. The author suggests the term словогра / wordplay in Ukrainian and analyses lexico-semantic, grammatical, phonetic, graphic ways of wordplay in Spanish and Ukrainian ergonyms. The material of the study is ergonymic names (names of restaurants, cafés, shops, hairdressing salons / barbershops) of Kyiv, Chernihiv, Odesa, Madrid, Salamanca, Malaga and Cadiz. The research methods applied embrace lexico-semantic, lexico-grammatical, phonetic and graphic analyses of Ukrainian and Spanish ergonyms. Among lexico-semantic means of wordplay formation we single out metaphors, pseudo-paronyms as ways of creation of allusive names. Phonetic means of wordplay creation include alliteration, assonance, rhyme. Graphic means of wordplay creation feature capitalization, paragraphemic signs, use of letters instead of words inside the name. Lexico-grammatical and syntactic ways of wordplay creation in ergonyms are represented by regrouping of syllables, in particular, in the names with the structure of a word combination. The author reveals there are more verb ergonyms in Spanish compared to Ukrainian, where nominative ergonyms are predominant. The distinctive feature of Ukrainian ergonymics is the combination of Cyrillic and Latin letters in one name or writing foreign words in Cyrillic. Wordplay with a humorous effect is more characteristic of Ukrainian ergonyms. It is stated that the main function of wordplay in ergonyms is expressive nomination to attract clients’ attention. Further studies may comprise analysis of wordplay in ergonyms in other regions to reveal local tendencies of wordplay creation and inclination to humour in word formation.