Verbal Text Research Articles

DECODING MULTIMODAL TEXTS OF MEDIA DISCOURSE

In modern print and online media, the verbal text is increasingly being replaced by a multicode material, whose verbal component is illustrated, supplemented, and multiplied by the visual component. At the same time, the value and impact of the visual component increases immeasurably: vivid images are imprinted in the mind, making a powerful effect on readers and viewers. Since most media texts being multicode, special studies of such texts have become especially relevant today. Hence, based on the descriptive, analytical, non-verbal-culturological methods of research, this article discusses the role and relationship of visual and verbal texts, the advantages of the visual code as a carrier of implicit information on the covers of periodicals. The decoding of the multimodal text from The Economist magazine demonstrates clearly that, as a rule, the non-verbal component attracts more attention and inspires more confidence in the recipient. Because the non-verbal component is quite difficult for the addressee to track consciously, the additional manipulative potential of the metaphorical image is used in the text.

Linguistic means of advertising text

          Advertising will use a rich range of expression techniques at all levels of language. Not so rarely, tropes are used in advertising. Types of the most common types of tropes: allegory, hyperbole, irony, metaphor, metonymy, comparison, epithet. The phraseological expressions are no less expressive. Journalists often use phraseology as not only in the language but also in the changed form. By updating the structure of the phraseological expressions, semantics, they create a new content. Different stylistic figures are also used in advertising. The most common speech figures are: anaphora, antithesis, gradation, inversion, parallelism, rhetorical question, ellipse and epiphora. Language expressions revitalize and promptly expresses the text. In linguistic literature it is highlighted that advertisements mostly contain simple sentences. Simple sentences are a universal rule, as it is related to briefly, clearly, clearly, dynamic, expressiveness, as it is related to advertising text because it should be quickly and effectively read by the reader / listener. It is also related to the influence of spoken language. The use of effective exclamatory sentences, which plays a role of a signal in the text, calls for action. The exclamatory modal constructions are also good, which express offers, invitations, convincing.  Effectiveness of the advertising text depends on all its components: successful reunification of image, sound, type and verbal content. In addition, researchers note the verbal importance of the verbal component of the advertisement - the verbal text. For an in-depth analysis of the issue, we will look at the structure of advertising texts in detail: There are two categories of advertising text: selected and basic. The selected text contains all the elements that the audience notices immediately after viewing the ad. These elements are grouped in a large font to attract attention and capture the reader in a quick manner. The main text of the advertisement contains the elements that the reader can read and understand. The basic text of the advertisement consists of five main elements that are almost always used in advertising: 1. title; 2. subheading; 3. Basic Text; 4. Signatures and comments; 5. advertising slogan.

Analisis Literasi Multimodal Buku Cerita Anak Bergambar Sebagai Upaya Pemilihan Bahan Ajar Membaca Permulaan Siswa Sekolah Dasar

Illustrated children's story books are a construction of the world, a perspective that is the result of processing and reading by the creator of the book on other texts he consumes. Picture story books are a medium to offer a view of how the world should be seen and understood. In relation to picture story books, children who are the readers of the stories conveyed in this book will very likely have views of the world around them as views offered by picture story books. Therefore, children and parents should be equipped with the ability to read critically the message conveyed by this picture story book. They must have abilities that allow them not only to be able to critically read narrative texts but also understand how to read pictures, as a mode that appears with verbal texts in storybooks. Multimodal literacy is defined as the knowledge and skills that children must possess, especially, in critically reading verbal texts and especially visual texts. Through this multimodal literacy analysis, it is hoped that we can interpret the messages conveyed by picture story books for elementary school students

Communicating health advice on social media: A multimodal case study

Social media represent new arenas for health communication. Platforms such as YouTube, Instagram, Snapchat, and TikTok provide unique opportunities for health workers to build understanding, engagement, and trust among a broad and young audience. At the same time, such platforms demand of health workers a careful balance between social closeness and professional distance. The article is based on a case study in which the award-winning Norwegian psychologist Maria Abrahamsen’s practice of health communication on Instagram is studied through the lens of multimodal discourse analysis. Following a bottom-up method, the study starts with a close reading of a single Instagram post, where video and written verbal text interact closely. The entire account is then studied as a complex case of mediated health communication. Conclusively, after a discussion of genre implications, the article suggests possible solutions to key challenges concerning the followers’ engagement and trust.

Pro-innovation discourses in Geography and History classes

Currently, educational innovation is an unavoidable premise for teachers, school headteachers and families. This contribution aims to provide better understanding of the configuration of pro-innovation discourses from a lexicometric perspective. To this end, we applied various textual statistical strategies to the analysis of a corpus made up of twelve verbal texts from four discursive fields: the education policy, the school, the Social Sciences Department and the Geography and History class in which, finally, pro-innovation discourses become practices. The results obtained, which focus on the discursive associations of innovation (collocations, combinations, concordances and co-occurrences), indicate that the meaning of educational innovation is taken for granted, that it has only positive connotations and that it functions as an argument to justify educational reform. In addition, it is noted that innovation is especially linked to new technologies and business vocabulary. We conclude this paper with a defence of the usefulness of the techniques used, but also with a warning of the need to complement the analysis carried out with other linguistic and interpretative techniques.

Media portrayal of people with autism spectrum disorder in an official Chinese newspaper

Abstract News media play a potentially vital role in promoting how people perceive and evaluate people with autism spectrum disorder. While there is an extensive literature on verbal texts of media representations of people with autism spectrum disorder, there is little on the way that such discourses are realized and disseminated visually. This study, based on the framework of multimodal critical discourse analysis, examines the features of images in media coverage of people with autism spectrum disorder within an official Chinese newspaper from 2008 to 2019. The findings indicate that people with autism spectrum disorder are portrayed in the corpus as deficient in communication, deviating from the norm, pathological, and in need of medical intervention and family assistance, as well as having somewhat special talents. The findings also demonstrate that images in the corpus seem to reinforce stereotypes of people with autism spectrum disorder to a greater or lesser extent.

Interpretation, Commercialisation, and Eighteenth-Century Frontispieces: Tobias Smollett

ABSTRACT Tobias Smollett's works were among the most frequently illustrated in the eighteenth century. Smollett's eclectic output encountered equally diverse types of illustration that both accompanied these works and inhabited their own independent creative identity. Frontispieces occupy a unique place within this wider context. This article investigates two main points: first, booksellers deemed Smollett a saleable author, deserving of potentially expensive illustrated additions that enhanced his works' circulation on a competitive book market; second, these illustrations were considered useful visual tools in deciphering the verbal text, with frontispieces serving their own specific introductory function. Two types of publication by Smollett—his translated texts, Gil Blas (1748) and Don Quixote (1755), and original prose fictions, Roderick Random (1748) and Peregrine Pickle (1751)—and their earliest frontispieces (by Francis Hayman, Henry Fuseli, and an anonymous artist) shed new light on Smollett's early reception, and on the wider forms and functions of eighteenth-century frontispieces.

CULTURE AND GENDER REPRESENTATION IN VISUAL AND VERBAL TEXTS: AN ANALYSIS OF NATIONALLY ENDORSED INDONESIAN EFL TEXTBOOKS FOR UPPER SECONDARY STUDENTS

This study aimed to analyze the representation of culture and gender in visual and verbal texts in English as a Foreign Language (EFL) textbooks used by upper secondary school students. A content analysis was conducted on three EFL textbooks for upper secondary school students, using Xiao's (2010) framework to guide the analysis of culture “small-c”representation, and Brugeilles and Cromer's (2009) study to examine gender character according to their roles portrayed in the textbooks. The findings revealed that the highest number of visual illustrations was predominantly presented in the lifestyle aspect, followed by customs, values, holidays, hobbies, and food. It was also observed that gender representation was equally represented in the verbal text, but not proportionally in the visuals. The findings indicate that culture and gender awareness among students could be improved if textbooks provided a more balanced representation of various cultures encompassing source culture, target culture, and international target culture, and paid more attention to the equal treatment of genders.

The semiotic and modern hermeneutic review of the online Covid-19 public service advertisement texts

The Indonesian government works closely with other agencies to intensely campaign for the movement against the virus corona in various ways, one of which is through Public Service Advertisements (PSAs). PSAs have verbal and non-verbal elements that contain meanings, both explicit and implicit meanings. This article aims to analyze three samples of PSAs concerning Covid-19 retrieved from three online website media, namely (1) the website of the Ministry of Education, Culture, Research and Technology of the Republic of Indonesia; (2) Republika online; and (3) Kompas.com. This research was conducted using qualitative descriptive methods referring to the semiotic theory developed by Roland Barthes and Charles Sanders Peirce, and the modern hermeneutics theory developed by Paul Ricoeur. The analysis of the PSAs in this study was focused on verbal texts, while non-verbal texts were not analyzed deeply. From the three PSAs analyzed, the study found that the explicit meanings lying in the PSAs were to fight the coronavirus by complying with health protocols. Meanwhile, implicitly, the PSAs imply that the Indonesian people are under threat of death, the coronavirus is not a lie, nor is it a conspiracy.

Realization of Cultural Values and Trans-Languaging in The Visual Images of an Indonesian Picture Book

This study investigated the realization of cultural values and trans-languaging in a picture book. The current discussion of trans-languaging has been focused on the verbal texts found in school textbooks, children’s comics or conventional novels. On the other hand, the study offers insights into trans-languaging that is realized in a different semiotic mode, namely visual images. The primary data for the study is a picture book written by an Indonesian writer Clara Ng entitled ‘Kancil Yang Baik’.’. The main methodological tools for the study are Wei’s (2018) concept of translanguaging and Kress and Van Leuween’s (2006) concept of the grammar of visual design, focusing on the compositional function. The data analysis is conducted to elaborate on the features of cultural values and trans-languaging in the visual image format of the picture book. Further, interpretation will be made on the implications of how these features may be used in various reading activities. The results of the study indicate that visual images in a picture book are a rich source of cultural content. Therefore, it is advisable to optimize reading activities that also focus on the visual images of picture books.
 Keywords: translanguaging, picture books, visual images, cultural values

Mykola Lysenko’s «Kupalo Case»: Concert and Choral Implementation of Folk Rite

The purpose of the article is to identify the peculiarities of concert and choral implementation of the cycle of Kupalo songs in the interpretation by Mykola Lysenko. Research methodology is based on the synthesis of the folkloristic and art-studying approaches, which enable us to prove the fruitfulness of complementarity of various types of the artist’s creative activities. Cultural-historical, system-analytical and didactical methods are used in order to study the ways of concert reinterpretation of the folk-rite performance presented by a mixed choir with piano accompaniment, as well as to generalise the cognitive and spiritual values of that type of the repertoire. The scientific novelty of the research lies in the first analysis of the conformity of the composer’s idea and its implementation through the selected set of the expressive means to the content and essence of the ancient ritual authenticity on the example of a specific choral work. Conclusions. The ritual-choral cycle «The Kupalo Case» is a synthesis of folk archaism and innovative ways of concert enrichment of music language. Three folk songs under the common title are united by a dramatic idea, based on folk philosophy of the summer fest of Kupalo, its symbolism of purification through fire, water, and pairing of youth. The general cyclicality of the composition is cemented by an optimistic idea of glorifying the life. The piano part plays an important formative role, makes the verbal text more detailed and enriches the choral score in figurative and meaningful aspects. The harmonious language of the work contributes to the preservation of the archaic coloration. The general homophonic and harmonic texture sometimes reveals the signs of polyphonic layers, differentiated by male and female voices. Their layering reflects the contrast of timbres, registers, and character of melodies. As a result a peculiar style of choral theatricalisation is achieved, which coincides with the syncretism of the primary calendar-ritual performance.
 Key words: composer, folklore, calendar ritual, Kupalo, choral texture, piano part.

FAIRY-TALE MOTIFS OF HINKO SMREKAR

<p><span>The article presents the artistic work of the illustrator Hinko Smrekar from the point of view of literary studies. In his illustrations, which are a synthesis of visual and verbal text (M. Nikolajeva), Smrekar often used motifs from folk tales (merman, dwarf, fairy...) and thus recreated them. With the illustrations of </span><em>Andersen’s Fairy Tales</em> (1940), he expressed social criticism, e.g. in the <em>Zrcalo sveta</em> (<em>Mirror of the World</em>) series (1932-1933). The illustration of the classic Martin Krpan (1917) in picture book form represents the first picture book “for children” and at the same time marks a turning point in Slovenian youth literature. From the point of view of literary science, Smrekar's style could be defined as carnivalesque, as the author ridicules cultural figures, politicians, religious representatives, and above all, visionarily predicts the time of dystopia and the Second World War, including his own tragic death.</p><p><strong>Keywords:</strong> Hinko Smrekar, fairy tales, ATU, Fran Levstik, Martin Krpan, H. C. Andersen, carnival, Mihail Bakhtin.</p>

Preliminary Investigation into the Affordances of Evaluative Resources in Multimodal Texts of an Established Textbook Series in Vietnam

The paper aims to initially examine the deployment of Attitude in multimodal reading texts in Solutions (Falla & Davies, 2013), an English textbook series being used as textbooks in most universities in Vietnam. To reach its aim, it first deployed the Appraisal framework proposed by Martin and White (2005) to examine evaluative resources in the fifteen verbal texts of the five genres of Anecdote, Biographical recount, Exposition, Narrative, and Review (Rose & Martin, 2012). A closer examination of how images contribute to articulating evaluation is then conducted on five of these multimodal reading texts in light of the Visual Appraisal frameworks suggested by Economou (2009) and White (2014) and the terms Convergence and Divergence proposed by Painter, Martin and Unsworth (2013). It was found that various aspects of Attitude are exploited with a range of frequency in different genres. It was also indicated that Convergence tends to be more frequently deployed than Divergence. In the same multimodal text, both cases of Convergence and Divergence may occur or only one of the two types. In any way, they all have the function of co-articulating attitude. The paper concludes by highlighting the necessity of selecting appropriate images in textbooks among editors and deploying images in effectively teaching multimodal texts among lecturers and teachers.

Method, techniques and stylistic features of S. Pasichnyk’s stage direction (based on the performances of 2010–2020)

Statement of the problem. The article examines the performances of the chief director of the Kharkiv Taras Shevchenko State Academic Ukrainian Drama Theater, Honored Artist of Ukraine Stepan Volodymyrovych Pasichnyk (born in 1965). Stepan Pasichnyk is an actor, a director with a philosophical mindset, a theater teacher, a poet, a playwright, who has an unparalleled multifaceted talent, a unique worldview, tireless creative energy, and his performances arouse the interest not only of theater critics and theater historians, but also of a large audience, including youth. At the same time, there is currently only one scientific article that examines the creative method of the artist on the earlier material of 1990–2000 (Kovalenko, 2012b), also the articles of same author in periodicals (Kovalenko, 2012a, Shchukina-Kovalenko, 2021). Another scientific article is devoted to the musical component of one of the director’s performances (Liubchenko, 2021); there are also reviews of selected S. Pasichnyk’s performances (Lohvynova, 2016; Chepalov, 2018; Shvets, 2013; Poliakova, 2016). Therefore, the question remains almost unsolved. Objectives and methods of the research. The purpose of this study is to reveal the peculiarities of S. Pasichnyk’s stage techniques, his method and style of work on the play, which are characteristic of his staging culture. The methods of systematization and generalization of scattered information are applied, in particular, from our own theater-critical experience of analyzing S. Pasichnyk’s plays, as well as biographical, historical-chronological, comparative and interpretive approaches with elements of the reconstructing the performances. Results and conclusion. S. Pasichnyk’s directing has undergone a significant evolution, from the “demonstration” type (1990–2000) to deeply realistic and, at the same time, theatrically imaginative performances, in which the director seeks to reveal and present the personality of the actor. As a director, S. Pasichnyk gravitates towards the genre of tragicomedy, however, due to the individualization of the techniques used, the form of his dramatic performances is always changing, and his philosophical views correspond to the existential directing in the art of dramatic theater. In a triumvirate with the painter Tetiana Medvid and the composer Hennadii Frolov, the director aims to recreate an ambivalent environment and a variable musical and intonation sphere on the stage, which help the viewer to perceive not only the plot, but also the parable behind it. The director uses music as a component of the dramatic plan of his performances, widely applying the leitmotiv principle. Musical accompaniment often appears in his performances as a “counterpoint” to the action, revealing the director’s subtext of the verbal text. Over the years, S. Pasichnik developed his own unique method of text analysis. The actor in his performance is not only a character, but also a personality. The director skillfully uses, in particular, such a technique as “activated character”. Over the last decade, S. Pasichnyk’s repertoire includes world and Ukrainian classics, as well as the best modern European dramas. At the same time, in his performances, he acts not only as their director, but as a thoughtful interpreter, subjecting to revision both the genre and the style of the author’s work. In the context of modern theatrical searches, Stepan Pasichnyk’s directing is a reflection of the essence of the period when (in the 1930s) the natural path of Ukrainian theater development was interrupted or artificially suspended. In his opinion, in order to move forward, it is necessary to restore an important link that was roughly torn from the chain of Ukrainian culture. The director brings back the modernist means of theatrical expressiveness developed on the basis of national ethical and aesthetic traditions, and conveys them from the stage in a unique creative manner. So, the activity of the Kharkiv artist undoubtedly deserves further fundamental research.

Tools Of Non-Verbal Internet Communication

The purpose of the article is to study the tools of expressing non-verbal signals when communicating on the Internet. The research methodology involved the use of general scientific and special methods of cognition: analysis, synthesis, comparison, generalization, system-structural analysis. The scientific novelty of the research lies in the fact that for the first time information on the main tools of non-verbal communication used in electronic messages has been summarized, in particular, the role of font, color, text background, means of spelling, punctuation, and iconic printed symbols in the transmission of emotions in Internet communication has been investigated. Conclusions. The unit of communication in Internet communication is an electronic message, the meaning of which the interlocutors can convey by both verbal (speech) and non-verbal means. In conditions of a shortage of non-verbal means of communication, additional network tools that ensure the transfer of an emotional component in Internet communication are means of creolization (color, font, colored or illustrated background of the text, means of punctuation, spelling and word formation, smileys, emojis, emoticons, memes, etc., graphic design of verbal text, etc.). A special role in non-verbal Internet communication is played by iconic printed symbols, among which smileys, emojis, and emoticons have gained great popularity, which are additional linguistic tools for strengthening messages in Internet communication and by themselves are unlikely to become a meaningful means of communication between two parties. This in no way diminishes the value of what they can offer, first of all, the opportunity for every average Internet user to include feelings and emotions in the text in a new, specific way. Secondly, communication in the form of emojis, smileys and emoticons can also perform a cognitive function, sometimes replacing a verbal message. Keywords: communication, Internet communication, non-verbal communication, creolization, emoji, smiley, emoticon, meme.

Writing to Undo

Abstract This study investigates protestations as a unique lens into the workings of coercion and resistance in the early modern period. Protestation was a wide-ranging genre of document, written to counter the consequences of coercive forces in myriad forms: familial, economic, religious, and political; on the levels of micro and macro; and across social and geographical space. This remarkable scope has paradoxically proven an obstacle to realizing the historiographical potential of the phenomenon, which remains largely uncharted and familiar only to a few specialists separated by sub-disciplinary divides. This article thus offers a unifying conceptual, analytic, and methodological framework. It interrogates protestations as material objects as well as verbal texts; follows them throughout their lifecycle; and explores their spectra of producers, protagonists, and functions. A variety of case studies from the ancien régime illustrate the significance of the phenomenon on both the micro and macro levels, whether in the struggles of young people against the abuses of patriarchal and familial authority or in the subversive use of protestations in the constitutional crises of absolute monarchy. Protestation is thus shown to be of wide interest to a broad swath of scholars, including historians of gender, family, working-people, elites, high politics, law, and writing.

Visualization of Modern Digital Communication: Emoji Instead of Words

The article analyzes emoji as a story-containing discursive practice of digital communication, which has a sign nature and replaces the verbal sign. The study describes the semantic, syntactic and pragmatic features of emoji functioning in digital communication. Syntactically, emoji act as punctuation marks, signaling a change of topic within a conversation, or completing it. The semantics of emoji are mostly determined by the message context and their connotative meanings, the interpretation of which depends on various linguistic and extra-linguistic factors. The pragmatic potential of emoji is manifested in the demonstration of human attitudes towards the surrounding reality, the interlocutor and oneself. It was found that the use of emoji is aimed not only at saving language and time in the process of communication, but also at establishing new semantic nuances and evaluative components of the text of the message. However, it is noted that communication based solely on the use of emoji cannot be full-fledged. In the context of the story concept, emoji implement plot characteristics, revealing the plot construct created by the verbal text. In addition, emoji are characterized by metaphoricity, acting as a kind of symbols, metaphors expressing an emotional state, action, phenomenon or process. The analysis of the factual material also allowed to draw a conclusion about the dual nature of emoji, which can both express universal emotions, stereotypes and values, and have a national and cultural specificity

Между читателем и текстом: инструментарий для изучения понимания имплицитных смыслов вербальных текстов. Часть 2

The article describes the second part of the research aimed at developing the framework for studying the comprehension of implicit meanings of verbal texts. The uniqueness of the proposed framework stems from the combination of psychological and linguistic methodologies. We outline the current approaches to the phenomenon of text comprehension along with its classifications available to date. Special emphasis is made on the analysis of the gradual approach to comprehension studies linking various levels of texts’ text comprehension with certain types of underpinning intellectual operations. In addition to the theoretical analysis, we present the results of empirical study aimed at piloting the previously developed research tool for testing the comprehension of texts’ texts’ implicit meanings. During this pilot, the stimulus text – a short story with a complex structure of implicit meanings – was analyzed at the initial stage of this research in order to identify the elements of its meaning and then subjected to an independent linguistic expertise. The results of this stage validated the results of the initial analysis and, thus, confirmed the structure of the text meanings. Next, we presented the text to ‘naïve’ participants (N = 30) in order to reveal the variety of its interpretations and compare them in terms of the extent of comprehension as well as quality of reconstruction of elements of implicit meanings. We used in-depth semi-structured interview and the grounded theory methods which allowed to distinguish and qualitatively describe five levels of comprehension of implicit meanings in verbal texts. The lowest level corresponds to the recipients’ inability to identify the semantic invariant of the text and filter it from their own subjective projections. The highest level corresponds to the ability to articulate both central and peripheral themes of the text and control the impact of subjective projections. The examples of the interpretations corresponding to each level are presented. The suggested research framework provides a tool for online-tracking the dynamics of the comprehension of the text’s implicit meanings and draw connections between the level of comprehension reached by a recipient and specific types of elements of implicit meanings which were/were not reconstructed. Overall, the use of framework proposed might increase the validity of empirical data obtained in psycholinguistic studies on comprehension of implicit semantics.

Metateātris un tā izpausmes kultūras krīzes laikā

The aim of this study is to analyse productions that have theatre as the object of their examination and reflection and which thus fit into the metatheatre paradigm. The research focuses on the theatre practices in Latvia and Lithuania during the last two years, when the socio-political situation has been affected by the global pandemic and, since February 2022, by the war in Ukraine. The geopolitical situation has had a devastating impact on the cultural and creative sectors, according to both research and surveys of theatre practitioners. One of the most pronounced trends during this period is the self-reflection of the theatre. The article includes both works whose literary source material reflects on theatre as a kind of microcosm (“More about life. Theatre”, “A performance that meets butter”, “Dubliners on Miera Street”, “Smiļģis”), as well as productions where the manifestations of metatheatre can be observed not in the verbal text, but in the details of staging or acting, also in the genre, and the way of staging (“for a better world”, “Othello”). A semiotic approach is used for the analysis of performances, which allows studying both the formal structure and content of the performance. There are various theories about metateatrality. The most radical is a view included in Richard Hornby’s research “Drama, Metadrama, and Perception” (1986) that drama always has metatheatrality because any drama is a part of a broader culture that cannot be seen in isolation because theatre uses the codes of that culture. Respecting Hornby’s opinion, the study analyses the current productions of theatres in a narrower sense – the central object of viewing and reflection of the production is the theatre itself, or the production includes allusions to life that resemble a theatre. In order to determine whether the current events of the time are reflected in the message of the production to the audience, attention is also paid to the socio-political situation, which showed signs of a cultural crisis during the period under research. The research concludes that different postulates of metatheatre theory can be identified in Latvian and Lithuanian theatre practice. However, the self-reflection of theatre does not exclude the influence of real life on the concept of directing and the perception of the production. Consequently, the intended message can take on a more contradictory tone or even become an allegory for the existing reality. Metatheatrality as a dramaturgical or directorial tool also makes sense in relation to the genre of the production. Metatheatre is a way of presenting art as a medium for human communication.

The Evocation of P. Eluard’s Poetry in F. Poulenc’s Little Cantata “Snowy Evening”

The relevance of the research topic. The topicality of the issues of the cantata “Snowy evening” is due to the terrible events of the full-scale war that is currently going on in Ukraine. Society painfully reacts to the cruel realities of today, and art helps humanity to overcome these problems.
 The purpose of the study. To reveal the peculiarities of the composer’s reading of Paul Eluard’s poetry in the cantata “Snowy evening” by Francis Poulenc, using a complex analysis of the musical work.
 The methodology. Methodological principles are based on historicism, genre-style, intonation-dramaturgical and interpretive types of analysis; in the article we have used the hermeneutic method, which makes it possible to understand the content features of the figurative interpretation of the work.
 The scientific novelty. Cantata “Snowy evening” by F. Poulenc is analyzed for the first time in Ukrainian musicology, as well as features of the evocation of P. Eluard’s poetry in it.
 The practical significance of this study lies in the expansion and deepening of theoretical knowledge about the choral work of Francis Poulenc.
 The results. The small cantata “Snowy evening” is a psychological portrait of a man whose life was cut short by a terrible war. The first part of the work talks about the hero’s disappointment in a cruel life; in the second part, the author condemns the moral beliefs of society to destruction and war; the third part is shown as the final destruction of the inner and surrounding world; and at the end, in the fourth part, death is presented to the listeners as the only hope for salvation. The allegorical nature inherent in Eluard’s poetry provided ample opportunities for subtle interpretation of the images and symbols depicted in the work. With the methods of musical expressiveness, harmony and rhythm, Poulenc vividly depicted the psychological state of man during the war.
 The compositional unity of the literary and musical layers of the cantata is determined by the logic of the evolution of the feelings and emotions of the lyrical hero. Poulenc uses a detailed approach to the verbal text, based on the music-text principle of formography. Music expands the content of poetry, brings it to a new figurative and meaningful level. The composer subordinates the music to the free metric of the poem. The original cantata style combines the stylistic principles of different eras. The composer uses the expressive means of ancient genres and the principles of modern choral writing.
 The search for new harmonic structures and combinations allowed Poulenc to expand the timbral colors of the choir. The author uses different types of texture in the cantata. This tool helps to reveal the author’s message about the inseparability of personal and civic sense of self, the inseparability of the fate of every citizen from the fate of the nation. Despite the numerical structure, the cantata has many common intonation connections that pass through all parts of the cycle and create a unity of plot and space.