Artistic Text Research Articles

ІНТЕРПРЕТАЦІЙНА МОДЕЛЬ ДЕТЕКТИВУ(ЗА ПРОГРАМОЮ З ЛІТЕРАТУРИ НОВОЇ УКРАЇНСЬКОЇ ШКОЛИ)

The interpretive model of HalynaVdovychenko’s detective story «36 and 6 detective cats» (studied according to the program of Ukrainian literature by M. Chumarnaia, N. Pastushenko in the 5th grade of NUS) is based on the definition of the genre-creating features of the detective story, novel, fable, fairy tale; combination of theoretical conclusions and the practice of literary analysis. A new work of art in the program is interpreted with the involvement of current knowledge, skills, attitudes that belong to a whole range of educational subjects (Ukrainian language, Foreign literature, Biology and Ecology, Economics, Financial literacy, History), students acquire the ability to argue reasoning about what they have read, citing examples from various specialties, spheres of life. It is substantiated that reading and interpreting detective stories not only contributes to the awareness of universal values on which social laws and norms are built, it is important for the understanding and application of typical formal-logical elements (hypotheses, versions, proofs); is an opportunity to work on the comments published in the National PISA-2022 results report on reading about the under development of our schoolchildren’s abilities to analyze, systematize facts, and form logical conclusions. Does not contribute to the students’ understanding of the concept of the detective genre: the proposal of the program compilers to read the work abbreviated, problems of accessibility for reading in full, appropriateness of the age of fifth-graders; information redundancy due to the same works (excerpts) in the programs; conceptual inconsistency in the content of terms, ill-conceived system of questions and tasks in the school textbook; critical comments on the aesthetic quality of H. Vdovychenko’s detective story «36 and 6 detective cats». To a certain extent, the analysts of current model programs on Ukrainian literature are right about the formal nature of the reform. Practical application of the content of the article: the development of innovative educational, methodological and literary support for the systematization of the study of Ukrainian literature, the organization aimed at achieving the specified educational results of the activity of students, in particular, in the current State Standard of basic secondary education of general skills: «perceive, analyze, interpret, critically evaluate information in artistic texts of various genres», including an explanation of experts' comments regarding non-compliance with the criteria of artistic and aesthetic perfection.

The role of the «Yuletide story» in genre diffusion: Poverty is Not a Vice by A. N. Ostrovsky

Purpose. The purpose of the study is to consider the role of the Yuletide story in the poetics of A. Ostrovsky’s play Poverty is Not a Vice, the tasks are to identify the Yuletide elements in this play, analyze inserted objects (artistic texts of poems and songs), plot, system of characters, lines, etc.Results. Ostrovsky depicts a tragic situation (an irreconcilable enmity between an older brother and a younger brother who is an alcoholic; a father who gives his daughter to a rich old man without love) and leads it to a comedic outcome. The Christmas miracle has no logic, it happens suddenly – hence the implausibility of Gordey’s forgiveness of the ir-reconcilable «enemy for life» Lyubim. Yuletide elements create a festive atmosphere on stage and in the text of the work, during which good magic is possible.Conclusion. Pride becomes a turning point in the development of intrigue in A. Ostrovsky’s play Poverty is Not a Vice. This play as a comedy is primarily characterized by a positive outcome of intrigue, enhanced by a Yuletide story so confident in genre diffusion. But the miracle here, in the genre-generic diffusion «drama (comedy) – Christmas story», is not the wedding of Mitya and Lyubov Gordeevna, but the reconciliation of Gordey Karpych with his brother Lyubim, the return of the plot of the prodigal son to its original biblical course. Under the influence of the Christmas story, the play, which is close to drama and even tragedy, turns into a comedy.

Gesture, ostension, and relevance: pragmatics of semantic gesture

Semantic gesture is considered one of Jan Mukařovský’s key conceptual contributions to the theory of (artistic) communication. It is also a contribution that is still commented on and further expanded upon today. As a semantic-synthetic principle of dynamic unification of a work of art, the mechanism of semantic gesture defies reduction to pure intention, content or simply coded meaning. This paper develops the view that semantic gesture represents a pragmatic mechanism with potential for elaboration within the framework of a pragmatic theory of relevance. In the first part, it attempts to substantiate the view that semantic gesture exhibits a distinctly pragmatic character, as it is both (i) dependent on the under-determination of linguistic input and (ii) applicable outside the domain of artistic texts. The second part attempts to define the context of relevance theory as a suitable field for further exploration of semantic gesture beyond traditional semiological boundaries, especially by pointing out two types of dynamism and by relating the notion of semantic gesture to the pragmatic mechanisms of poetic effects.

Manifestation of the Phenomenon of Interspecific Transposition (Analysis of Examples Within Prose Texts)

This study explores interspecific transposition in Uzbek artistic prose, addressing a gap in current linguistic research. While grammatical and semantic transposition have been studied, their role in artistic texts remains underexamined. The research aims to analyze how shifts in word categories, such as nouns to adjectives, influence the style and meaning within selected prose. Using syntactic and semantic analysis, the findings reveal that transposition enhances the expressiveness of Uzbek prose, enriching its stylistic variety. These insights offer valuable contributions to both linguists and literary scholars, highlighting the fluid and dynamic nature of linguistic systems.

“Incommensurable Airspace”: Image of Russia in Travelogue of Maxim Nezvorov

This article analyzes the image of Russia in Maxim Nezvorov’s travelogue “Journey to Kazan, Vyatka, and Orenburg in 1800.” Based on theoretical frameworks, we identify three aspects of analysis: genre, spatiality, and subjectivity. The study employs structuraldescriptive and cultural-historical methods, alongside the foundational principles of N. L. Leiderman’s genre theory, V. L. Kagansky’s concept of cultural landscape, and B. O. Korman’s ideas on the subject of artistic text. Our findings indicate that the choice of a quasi-documentary epistolary form allowed the author to establish a commitment to authenticity, combined with a characteristically sentimental intention of the “sensitive traveler.” It is demonstrated that Nezvorov delineates a system-forming dichotomy of “centerperiphery,” within which the cultural landscape is (re)constructed. We conclude that the author evaluates a key component of this landscape — urban planning and architecture — while the landscape itself serves a supportive role. Nezvorov pays particular attention to the extraordinarily diverse ethnic composition of the empire’s population. Although he rarely grants his “interlocutors” a voice, their comments and judgments enable a partial reconstruction of the worldview of a person in the early 19th century, one of the key elements of which is the image of Russia.

COGNITIVE ORGANISATION OF LITERARY IMAGE: METAPHORICAL FRAMING

Topicality of studying the artistic image, its ontological status and complex of functions in the paradigm of modern linguistics is determined by the need to understand the specifics of an artistic text as a result of the verbal and mental activity of the author and the receptive-interpretative activity of the reader in the process of aesthetic communication. An artistic image embodies the main qualities of an artistic text – its conceptual inability to reflect objective reality within the framework of conventionality or life-like strategies. A literary text appeals to the network of associative connections that arise for the addressee of an aesthetic statement in the process of perceiving such a text on the basis of everyday and spiritual experience, background knowledge, including those determined by the general cultural outlook of the individual. In the process of research, it was proven that an artistic image arises in the process of abstraction and in an artistic text can be realised through metaphors, as a result of which the reader gets the opportunity to decode implicit meanings with the help of visual representations and verbalise them. Based on the texts of novels by Vladimir Orlov “Danilov, the Violist”, “Pharmacist” and “Shevrikuka” it is established that the cognitive organisation of an artistic image is determined by metaphorical framing, which forms the foundation of artistic fiction: there is a transfer by similarity in relation to situations, events, characteristics of characters represented in artistic text, and knowledge, values and meanings that form the foundation of the addressee’s worldview.

The Role of the Symbol in the Formation of Plot

Along with its own component of the plot, the symbol can be considered as one of the active components in its construction, development and illuminating (clearing). The symbol, which initially acts as an image, realizes the dynamic development of the artistic text, the process of bringing the language components together and realizing the idea. In the article, the role of the symbol, which has a multifaceted and complex function within the plot, in the construction of the literary text, in revealing thoughts and ideas, and the author’s object and purpose is considered. At the same time, image-symbol relations, the function of the symbol in the literary text, and its relationship with other poetic categories are widely studied and analyzed.The artistic text manifests not only its poetic aspects, but also the historical and social conditions and the demands of the time. A symbol, as an artistic system, can be changed and get renewed from time to time in terms of idea-artistic vision in relation to time. In this, the symbolic function is performed by various means. One of the main means of determining the dynamic development in the process of establishing plot-symbol relations in a literary text is natural manifestations, events and objects. They are symbolized within the text; the construction of the plot allows the author’s position and idea to be revealed.In the research work, diverse function of the symbol in the formation of the plot is followed by referring to many theories and concepts, and based on the application of the scientific-theoretical literature available in this field to the artistic material, the main leading function of the symbol in the artistic text is revealed.In the article, with reference to the theoretical views of scientists V.F.Hegel, A.F. Losev, A. Potebnya, Y. M. Lotman, A.Auer, A. Avarentsev, A.V.Korpenko, P.D.Minichkin and others, analyzes are conducted by applying comparative-analysis, generalization research methods, and finally our thoughts and opinions are summarized.

Sociocultural discourse of the theory of socialist realism and its reflection in village prose

In the work, in the light of the dominant ideas of modern cultural studies, the issues of reflecting the principles of socialist realist art in the artistic texts of the so-called “village prose”, in particular, in the works of V. Shukshin, are considered. Based on the analysis of the early Shukshin stories, it is shown that, contrary to established ideas, the canons of the theory and practice of the art of socialist realism did not restrict the creative freedom of the bright Soviet novelist, did not conflict with his author's will and creative task. It is demonstrated that Shukshin’s stories of the 1960s and 1970s, unlike the avant-garde trends of underground literature of those years, remained in the general mainstream of socialist realism literature, without opposing it. On the contrary, in the historical situation of the heyday and strengthening of socialism, the rustic writer continued to work in the tradition of realistic literature, on the one hand, inheriting classical foundations, on the other hand, at the creative level expanding the boundaries of ideological, thematic and moral-psychological principles of socialist realism literature.

THE TOPONYMY OF THE NOVEL "RECREATION" IN THE CONTEXT OF ANDRUKHOVYCH’S POSTMODERNIST DISCOURSE

The article is devoted to the study of the functional and stylistic features of toponymy, which is observed in the novel of Yu. Andruhovich, who is considered to be a bright representative of the postmodern artistic discourse. In modern linguistics, the potential possibilities of literary and artistic onymes of postmodern works have not yet been sufficiently studied, this vocabulary has been occasionally the object of linguistic analysis. Namely, in the toponymicon (and more broadly, the onomasticon) of the "new Ukrainian novel" there have been reflected postmodern masquerade, irony, grassrootsness and emotional markedness. The study of toponyms appears to be quite interesting and relevant, because the creation of such units is a creative process that depends on the artistic intention of the author; toponyms determine the chronotope of the work, take an active part in the creation of images, cause certain associations, develop symbolic meanings. Therefore, the study of onymia, and in particular the toponymy of the novel, is crucial for the study of the writer’s authorial idiostyle, the peculiarities of the linguistic picture of the world created by him. The purpose of the presented investigation is the analysis of the toponymicon of the novel "Recreation" by Yu. Andruhovich, aimed at clarifying the semantic and functional specifics of this important category of onyms as markers of the writer’s idiostyle. The object of the study was the onomasticon of the novel "Recreations", and the subject of consideration was various categories of toponyms as structural components of the idyllic complex. Descriptive, statistical methods, as well as the method of contextual analysis have been used in the analysis. It has been revealed that the toponymy in Yu. Andruhovich’s novel constitutes a solid lexical layer, has a wide range of action in the artistic text and is determined by a rich symbolic semanticization due to the spread of the connotative meaning of toponyms. By generating new meanings of his own vocabulary, the writer expands the semantic-pragmatic parameters of the artistic text and proves that the toponymic space units have inexhaustible resources for solving the artistic tasks of postmodernism. It has been proved that toponyms in the novel "Recreations" perform the function of not only a local-temporal identifier, but also a certain symbolic reinterpretation. The results of the study of the toponymic space of Yu. Andruhovich’s novel showed that, due to the high activity and a kind of "playing" in the text, toponyms constitute an important element of the writer’s idiostyle, his language palette, and at the same time reveal the author’s own manner of onomastic writing, his postmodern intentions. A systematic analysis of the onomastic code of the Ukrainian postmodern discourse as a promising direction can be the subject for further research.

LINGUISTIC AESTHETISM IN NEOREALIST UKRAINIAN FICTION OF THE BEGINNING OF THE XX CENTURY

The purpose of the article is to analyze the linguistic aestheticism of neorealist works of art of the beginning of the ХХ century. Attention is focused on certain tasks: to determine the positions of neorealism in Ukrainian literature; to prove the legality of consideration of linguistic aestheticism in neorealist works; find out the linguistic specificity of neorealism; to reveal the features of neorealist aestheticism in the language of the artistic text. The works of Ukrainian artists and scientists of the ХХ century were chosen as the object of research. The subject of the study is to find out the specifics of the linguistic and aesthetic-worldview foundations of neorealism. The theoretical and methodological principles of the research are based on some concepts and ideas of domestic philologist scientists O. Potebny, O. Biletskyi, L. Bulakhovskyi, D. Chyzhevskyi, I. Franko, Lesya Ukrainka, M. Zerov, M. Kodak, V. Lesyn and O. Pulynets, V. Fashchenko and others. The work uses comparative, descriptive, comparative, and structural research methods. The scientific novelty of the work lies in the fact that, for the first time, attention is drawn to the linguistic aestheticism of neorealist works of Ukrainian authors using the examples of linguistic and stylistic concepts of well-known linguists, literary critics, and artists. The paper offers a review of theoretical explorations and positions of well-known domestic scientists on linguistic aestheticism in neorealist Ukrainian fiction of the beginning of the ХХ century. Based on these considerations, one can turn to the artistic word in the author’s text, which reveals the unique beauty and mystery of human life, movement in the world, the author’s worldview and worldview through the magic of words. The prospects of researching the linguistic aestheticism of neorealist works of art of the beginning of the ХХ century provide an opportunity for the development of scientific horizons and experimental freedom in investigative creativity.

THE VISION OF STYLE WITHIN THE LIMITS OF THE LITERARY GRAMMAR DISCOURSE

In the proposed article, we turn to one of the directions in the modern academic theory of literature — personalist discourse, which gravitates towards metalinguistics, that studies the word (or the language), in its concrete and living entirety, and not the language as a specific subject of linguistics. The purpose of the research is to indicate the features of this discourse and to explain what the vision of style is within the framework of the personalist discourse. The object of research is the personalist theory of literature, the personalist discourse; the subject of research is style within the limits of personalist discourse. The following methods were used to achieve the goal: information analysis method, synthesis method, descriptive method. In contrast to literary grammar, which strives for accuracy and specificity and personalist constituted on the border with linguistics, personalist discourse is constituted on the border with metalinguistics. For the personalist theory of literature, style becomes a way of being of creative individuality, or more precisely, a way of being of a person-author in his work. Personalist discourse gives style a "unifying energy". Within the personalist discourse style becomes a formative center that concretizes the relations. To understand the essence of style, personalists distinguished between compositional and architectural forms. It is characteristic that architectural forms are not forms in the personalist discourse, but are the "content of aesthetic activity" and understood as purely meaningful. So, equating "aesthetic" and "meaningful" in the artistic style, M. M. Bakhtin defines it as "a set of techniques for the formation and completion of a person and its world". In the artistic style, the "internal style" and the content revealed in the images are interconnected. For personalism, "artistic style works not with words, but with moments of the world, values of the world and life", it is a "way of processing" a person and its world, a way of "aesthetic completion". The author of the article concludes that "aesthetic completion" is impossible without the finalizing ability of the image. In the personalist discourse, all problems related to the perception and interpretation of the artistic text are transferred to the sphere of intersubjective relations. The object in personalism is precisely the relations between the subjects of the statement — dialogical relations. In the personalist theory of literature, the constitutive moment of artistic creativity is the author-creator. But personalism deprives the artistic style of its main essence — inner core, the image, that is why the idea of style in the personalist discourse is post-aesthetic. The relevance of the research is determined by the need to clarify the multiplicity of style concepts in their originality in modern literary theory and modern linguistics. One of the fundamental features of artistic creativity is denoted by the concept of "style". First of all, style is a defining way of revealing the aesthetic essence of poetic art. But there are quite different understandings of style. The perspective of further research is to reveal the semantic content of the category of style within the limits of various theoretical and literary discourses.

SOUND IMAGES IN POETICS BY O. F. BERGHOLZ

The sensory poetics of O. F. Bergholz’s artistic texts has not yet been specifically studied. Since childhood, the poetess was immersed in the folk song element and had a keen perception of the auditory sphere; for her, the “memory of sound” was the most important associative link in building an artistic picture of the world. When creating the image of the Valdai arc in the autobiographical novel “Day Stars,” it is the sound substance that has a function of meaning generation. The author’s distinct sound image of the Orthodox prayer read by nannie Avdotya in the “Day Stars,” is considered in the article in comparison with the icon of St. Seraphim of Sarov, described by Bergholz. The sound metamorphosis of the prayer functions as a conductor of the sacred meaning of the iconographic ecphrasis in the text of the story. Leningrad is the most representative image in Bergholz’s work; the city’s acoustic space is modeled by the author based on the historical context. The heightened perception of the sonosphere of the post-revolutionary city contributes to the creation of unusual sound metaphors in the “Day Stars” (talking, screaming walls; crying stone). In the Leningrad Symphony screenplay, the sound of a metronome, which arose on the eve of the blockade ordeal, is associated with Shostakovich’s Seventh (Leningrad) Symphony. In blockade-related lyrics, the visual (color) characteristics of images are replaced by auditory ones; the sounds of war — whistling, screeching, clanking, grinding, crunching — carry a negative connotation of destruction and death, and the creaking of the runners of blockade sleds is a sign-marker of death. The semantics of silence are ambivalent; at the same time, silence and soundlessness are semanticized in different ways: soundlessness in an existential sense is juxtaposed to sound as the death of life; the beginning of “universal death” occurs when sound “died” in space; the sound/ringing/noise returned to the world is isomorphic to life.

التكرار الصوتي في شعر بدوي الجبل

The research seeks to study one of the important phenomena of the Arabic language, which is the phenomenon of vocal repetition in the poetry of Badawi al-Jabal. It is no secret that the voice has great importance in Arabic, as language is nothing but “sounds with which every people expresses their purposes,” and repetition is a distinctive stylistic phenomenon in poetry. Semantic value and condensing energies that complete the images and perform their suggestive function in a consistent manner with the general purpose intended by the speaker. It is also considered one of the most prominent stylistic phenomena for understanding the literary text. Its aesthetics are highlighted in the artistic text through alternating words and repeating them in the context of poetic expression, and forming a melody. Musically, it is intended by the composer in his poetry or prose, as repetition highlights something important to the poet that he reveals by repeating it, in addition to the fact that repetition is one of the tools that increase the beauty and beauty of the text. This study has clarified the meaning of phonetic repetition in language and terminology and the opinions of ancient and modern Arabic scholars regarding it, and its most important benefits in the poetic text - in the collection of the poet Badawi Al-Jabal - such as emphasis, increased alertness, and repetition of the related to negate heedlessness and others, in addition to mentioning the most important levels of repetition, which are repetition at the level of the letter and at the letter level. Word level, sentence level, and passage level. The researcher relied on a descriptive and analytical approach, and the study concluded with a conclusion that included the most important results reached by the researcher.

THE SERBIAN LANGUAGE IN THE EYES OF FOREIGNERS: ANALYSIS OF THE MOST COMMON DOUBTS OF LEARNERS ON THE SOCIAL PLATFORM REDDIT

The subject of this paper is the analysis of posts on Reddit about foreigners’ confusions related to learning Serbian as a foreign language. The aim of the research is to clarify the most common questions of foreigners who are interested in learning the Serbian language. A descriptive method and a method of theoretical analysis with the technique of content analysis have been used in the paper. The analysis of research results has shown that there has been a lot of interest among foreigners for learning Serbian as a foreign language. The most common questions related to mastering the Serbian language include: 1. issues of integration into the social community (solving administrative problems, studying and working, finding friends, finding information about the character and mentality of the Serbian people, getting to know the culture and history of the Serbian people, life in Serbia without knowing the Serbian language, etc.), 2. issues of finding language learning modalities (accredited study centers, private schools, online platforms, private lessons), 3. issues of learning Serbian as a foreign language (difficulty in learning, time needed to master the language, differences between the eastern and western variants of the language), 4. issues of finding and using appropriate teaching tools (textbooks, language learning apps, podcasts, adapted folk and art texts, music, films and TV shows with foreign language translation, flash cards, illustrations and tables) and 5. the issue of mastering certain grammatical and lexical contents (Cyrillic, cases, difference between perfective and imperfective verbs, getting to know colloquial expressions).

Other and Alien: Faces of Medea in Dramatic and Stage Interpretations of 20th-21st Centuries

This study analyzes the discourse of the Other and the Alien in transformations of the Medea narrative from the 20th to the 21st centuries, prominently seen through binary dramaturgical parallels in the works of H. H. Jahnn, G. Butler, H. Müller, L. Gaudé, M. Kurochkin, V. Klimenko, J. Anouilh, and T. Lanoye. This contributes to a productive understanding of how the constant components of the myth are perceived by different national mentalities within the context of this opposition. The relevance of this work lies in examining artistic texts through the lens of the national code phenomenon within historical epochs. The Medea archetype is reinterpreted in the context of contemporary life, encapsulating the struggles of women for intellectual and social independence. Diachronic typological parallels of this discourse are identified across all levels of the ethological structure of dramatic and stage adaptations as modern art becomes increasingly visualized and dramatic works require both verbal and visual, auditory perception. It is argued that the interaction of artistic codes from various art forms enhances the multifaceted meanings of Medea’s narratives, intensifying emotional effects and contributing to a psychologically nuanced characterization of the heroine.

FEATURES OF FUNCTIONING OF EXPRESSIVE REDUCED VOCABULARY IN CONTEMPORARY FICTION TEXTS

This article is devoted to the consideration of the category of expressiveness and its embodiment in literary language and art text. Expressive lexical units belonging to the reduced lexicon in fiction works of the first quarter of the 21st century (“Textˮ by Dmitry Glukhovsky, “Earthˮ by Mikhail Elizarov and “Hijackingˮ by Danil Korecki) are singled out and their functions are determined. The analysis is carried out on the material of various lexicographic editions, among which both explanatory dictionaries and highly specialised dictionaries (dictionaries of argot, jargon) are used. The most common functions that were identified in the context of the named works are the following: characterisation of the linguistic picture of the world of the hero and the author, the “anti-aestheticˮ artistic picture of the world of the author (author’s intention) and a means of characterisation of the character – speech or author’s when using non- self-directed speech. It is indicative that some functions can be combined in the text, which is confirmed by the examples from contemporary works of fiction given in the article. It is concluded that the use of reduced expressive vocabulary in the modern fiction text demonstrates both general linguistic processes and methods of creating artistic imagery, the specificity of which is associated with a kind of “anti-aestheticˮ.

THE CONCEPT AND PROBLEM OF CODE IN MODERN LITERARY STUDIES

With increasing popularity in literary studies, linguistics, cultural studies, and anthropology, the concept of code remains undefined, which automatically translates a significant part of the results of these works into a polemical plane. Literary studies has already become accustomed to a similar situation in the field of research on mythopoetics, the author’s myth, having developed a certain immunity (M. Zuienko, O. Kobzar, etc.). The plurality of proposed interpretations of the code term in literary studies, which are sometimes mutually contradictory, on the one hand, and the large body of studies based on this term, on the other hand, determine the relevance and perspective of our article. The purpose of this article is to clarify the semantics of the concept of code in literary studies, based on a significant number of its interpretations in the most notable humanitarian and actually special studies of the end of the XX – the first decades of the XXI century. In this case, we see the main tasks as a) to highlight the general tendencies in the interpretation of the concept of code in current research with the identification of advantages and disadvantages by means of comparison; b) identify semantic clusters at different levels of the organization of an artistic work, which can function as elements of a semantic code. Proceeding from the outlined semantics of the code in the content plane of the artistic work and relying on the practice of studies related to this problem, we can talk about the code (of various degrees of structuring) at the different levels. This is the level of a) intention, imperative, archetypality in Ukrainian literature; the code of demythologizing, westernization, postcolonial or gender, eschatological, etc.); b) the level of thematic dominants of the intertextual content of the artistic work (mythological, in particular biblical, ancient, etc.; autobiographical; zoomorphic, plant; invariant of the matrix work in relation to its mash-up version, etc.); c) the level of expression of the environment where events take place or are associated with it (rural, urban, in particular Kyiv, London, etc.; Gothic; cemetery; industrial; otherworldly; parallel world, etc.), as well as d) code-canon, including occasional (codes by T. Shevchenko, G.G. Byron and other national authors in the texts of successors, code by J.R.R. Tolkien, Narnian code by C.S. Lewis – in fantasy, etc.). Code in the sense of intertextual content can appear as a formal expression of intentional or imperative (in cases of, say, gender, post-colonial coding of the artistic work). In particular, investigating the peculiarities of the national myth-making code of Ukrainian fantasy 2000–2020s in a multinational context, we take into account the spectrum of mythopoetic characteristics of the named prose, including accompanying ones. The correct interpretation of fantasy, as well as any other myth-making – its artistic genesis, ideological orientation, structural organization, etc., involves the analysis of the construction, functioning and reception of a system of variable semantic components (more often – legendary and mythological images, motifs, symbols, mythologems, general cultural signs or other elements in the corresponding occasional functionality); these components are the key for the fantasy modeling of this or that work or group of works of art. According to the degree and potential of reinterpretation, conceptual load, configuration, chronotopic orientation of the work, etc., the named components in a certain way program, encode the artistic text, are able to serve as identifiers of its mythopoetic paradigm, and as a result we speak of its myth-making code. The definition of the concept of code in literary studies that we have given can be considered optimal and a compromise at the same time, because it takes into account numerous attempts to define this concept by specialists – representatives of various fields of research. In this case, myth- making is naturally chosen as an important indicator, because it is in myth- making that the principle of the code can be realized most fully. The proposed provisions can be clarified in the process of practical work with specific artistic material and, in general, can serve as an element of correction and unification of complex comparative studies on the problems of the development of Ukrainian and foreign literature, particularly in the XXI century.

Ədəbi-filoloji hermenevtika bədii mətndə mənaların interpretasiya texnikası kimi

Literary hermeneutics studies the problem of interpreting the meanings of an artistic text, considers it at the intersection of a number of philological fields and thus creates new criteria for philological/critical approach to an artistic text. The necessity that gave rise to literary hermeneutics as a field of philology was to reveal the depth of meanings of the artistic text. It also explains the aesthetic convergence and divergence between classical and modern literary texts, noting the points of intersection of both. The modern artistic text does not arise on dry land, although it originates from the soul of the artist composing it, it is linked to tradition, it reflects a shared spiritual communion by visiting the past, specifically its past. It is clear that every poet who has traveled a certain creative path has his own definition of poetry. In forming this definition (the concept of poetry-!), the poet acts from his own experience and writes more with the intention handed down by tradition. Your own emotion can merge with, modify, or negate the thought of hundreds of years in an artistic text, and as a result, the layer of meaning in artistic texts expands to encompass the whole world.

TILSHUNOLIKDA BADIIY MATN TADQIQI

This article discusses the process of studying the issue of artistic speech in Uzbek linguistics. At the same time, the artistic and scientific speech is comparatively studied and the aspects of relation of fiction to artareanalyzed.Inaliterarytext,theauthor’sgoalofaestheticimpacton the reader or reader is in the foreground, while in a non-fiction text, the main goal of the author is to have a communicative impact on the reader or reader. In other words, if the content of certain information and its ex-pression is primary in a non-fiction text, such information is not primary in an artistic text, but the aesthetic expression of the thought -idea that is tobeexpressedonthebasisofthistextisabsolutelydecisive.Artisticand non-artistictypesoftextdifferfromeachotheraccordingtotheweightof the aesthetic function of the language.

PSYCHOANALYTIC DIMENSIONS OF IVAN FRANKO’S GREAT PROSE OF 1887–1893

In the article, elements of mythopoetics in Ivan Franko’s great prose of 1887–1893 are explored using the methodology of psychoanalysis. The writer’s projection of prototypes (in Jungian terms) anticipated the discoveries of psychoanalysts in the artistic text, and its precondition was Ivan Franko’s personal interest in the issue of the artist’s unconscious mental activity, as evidenced by his work “Secrets of Poetic Creativity”. The psychoanalytic vector of Franko’s works has been studied to a greater or lesser extent by scholars such as K. Dron, B. Tykholoz, Van Xiaoyui, T. Hundorova, N. Zborovska, R. Pikhmanets, and others. However, as of today, there is essentially no separate study of certain archetypal images and mythologems, like the Great Mother or the twin myth, in the artistic world of Ivan Franko, which is why the novelty and relevance of this article are justified. Despite the fact that the psychoanalytic and mythopoetic aspects of Ivan Franko’s prose have been thoroughly investigated, there remains an obvious interconnection of these aspects on the periphery of scholars’ interests, which, in our opinion, is worthwhile to consider as a poetological synthesis, constituting one of the most interesting characteristics of the writer’s artistic method. It is precisely in this that we see the novelty of the presented research. The purpose of the research is to study the psychoanalytic discourse in the great prose works of Ivan Franko from 1887 to 1993, including various aspects of the twin myth and the archetype of the Great Mother. The following tasks arise from the objective: To analyze the key vectors of the twin myth in the novel “Lel and Polel”; characterize the ambivalent manifestations of the Great Mother archetype in the image of the main heroine in the novel “For the Home Hearth”; identify transformations of Freudian ideas in the artistic structure of the novel “Foundations of Society”, considering their animistic component. The implementation of the set tasks necessitated the use of such methods as receptive-interpretative, psychoanalytic, mythopoetic, hermeneutic, and biographical. The study analyzes the psychoanalytic discourse in Ivan Franko’s great prose from 1887 to 1993, focusing on the diverse aspects of the twin myth and the archetype of the Great Mother. This takes into account the peculiarities of the development of early Ukrainian modernism with its characteristic mythologization of reality, stylistic experiments, and more. In the novel “Lel and Polel”, the dominant theme is the twin myth, through which the principle of the parity and duality of the world is realized. Love for one woman led to the decay, violating the maternal directive to “stick together”. The romantic rivalry between the twins over love for the same woman resulted in the violation of maternal directives, intense psychological experiences, and led to withdrawal from social activities and rejection of the role of enlightener. The novel “For the Home Hearth” is characterized by ambivalent manifestations of the archetype of the Great Mother. The image of the main heroine varies from the Lady of the Heart, Woman-Protectress, to the Terrifying Mother as the “instrument of temptation and vessel of sin”. Antos feels the influence of Anela’s animistic force, thus referring to his wife as “alternately an angel and a demon”. To enhance the sense of fear and the fatal ending, the author introduces the image of a widow carrying the imprint of “mortal anxiety”. The psychoanalytic discourse in Ivan Franko’s novel “Foundations of Society” correlates more with Freudian ideas. The article analyzes the imitation in the exposition of the person’s experiences during a psychoanalytic session with all its characteristic manifestations (“feeling of cold anxiety”, erotic dream, the effect of the film of dreams, a terrifying conversation with a man-“devil”, etc.), as well as hints at the son’s infantilism conditioned by the influence of the mother. It is noted that in the relationship between Olympia and Adas, the animistic component of the archetypal semantics of the Great Mother is manifested: a sense of powerlessness before the mother, admiration for her strong character, leading to a readiness to follow her instructions unquestionably. In his great prose, 1887–1893, the writer emerges as a true psychoanalyst, an expert on the unconscious factors of human mental activity. It seems that Ivan Franko, in modelling the inner world of his characters, to some extent, anticipates the discoveries of psychoanalysts in artistic texts. The modernist reevaluation of mythological and archetypal images, which often lose their integrity, embodying the disharmony between the world and the individual, attests to a new level of poetological synthesis, reflecting one of the most interesting features of the writer’s artistic method.