Language. Literature. Folklore

UKRAINIAN IDIOMS WITH SOMATIC COMPONENTS IN KOREAN SUBTITLING: SPECIFICS OF TRANSLATION

O. S. Alimenko, D. S. Yevenko — Tue, 01 Jul 2025 00:00:00 +0300

This article examines the translation peculiarities of Ukrainian idioms with somatic components in audiovisual translation into the Korean language, specifically in the process of creating subtitles. The study’s relevance stems from the increasing intercultural communication and the need for an adequate representation of the original language’s national and cultural characteristics during translation. Somatic idioms play an essential role in the Ukrainian linguistic worldview, reflecting the nation’s perception, values, and cultural traditions.The article aims to highlight the specifics of rendering Ukrainian idioms with somatic components into Korean when creating subtitles for Ukrainian films.The research material consists of the Ukrainian feature films “The Legend of the Carpathians” (2017) and “Dovbush” (2023) and their Korean subtitles.The study analyzes the characteristics of Ukrainian idioms with somatic components and their communicative function, explores the main translation strategies, and identifies the specific features of idiom adaptation in Korean, considering cultural and linguistic differences.The research results suggest that the translation of Ukrainian idioms with somatic components into Korean faces several challenges associated with the culturally specific perception of the human body and the expressiveness of the idioms. In many cases, in the absence of direct idiomatic equivalents, translation requires adaptation, replacement of metaphorical imagery, or the use of descriptive strategies to ensure adequate understanding by Korean viewers.Effective translation requires the translator to have a deep understanding of the cultural contexts of both languages, a creative approach, and consideration of the pragmatic aspects of subtitling. The article provides recommendations for the effective rendering of Ukrainian idioms with somatic components in Korean subtitling translation.

FIXED FOLK-SPEECH COMPLEXESIN THE “PHRASOLOGICAL DICTIONARY OF THE DIALECTS OF THE LOWER DNIPRO REGION” BY V. CHABANENKO

N. O. Zubets’, R. O. Khrystianinova — Tue, 01 Jul 2025 00:00:00 +0300

The article examined the question of dialect phraseology using the example of the Lower Dnipro dialects. The source of factual material was a thorough work in the field of phraseology of the southeastern area – the differential “Phrasological Dictionary of the Dialects of the Lower Dnipro Region” by V. Chabanenko, from which the traditional contexts that exist in the form of fixed language formulas and short texts were selected, the study of which is important for establishing the scope of phraseology, as well as the socio- and psycholinguistic foundations of dialectal speech expressiveness. The introduction of such units into phraseological units is justified on the basis of a broad understanding and the choice of the term for their designation – “fixed folk-speech complexes”. As a result of the analysis of the factual material, the characteristic features of phraseological folk-speech complexes are established: anthropological orientation, thematic richness, eloquent emotional and expressive coloring, dynamism, variability, easy memorization.The speech formulas reproduced by different people in traditional situations (feasts, farewells, holidays, working days, etc.) are characterized – parting words, exclamatory and interrogative-rhetorical turns; dialogical puns and jokes; mini-texts that consist of one, two or three connected sentences, which may be incomplete, uncommon, having semantic completeness, contain information of a mythological, philosophical, religious, folklore nature, typical for the Lower Dnipro region, which is sometimes veiled and based on background knowledge, experience of speakers. It was emphasized that in the era of globalization, artificial intelligence and digital technologies, the dialect dictionaries, which are called reserves of the folk language, a reliable hiding place of the native word are important.

MULTISEMIOTIC RESOURCES FOR PERSUASION IN TOURISM ADVERTISEMENTS: A DISCOURSE PERSPECTIVE

T. O. Kozlova — Tue, 01 Jul 2025 00:00:00 +0300

This article investigates the persuasive and expressive potential of multisemiotic means and strategies within tourism advertising discourse. The study aims to explore how the interaction of verbal and visual elements contributes to the effectiveness of promotional messages by appealing to the recipient’s emotions, imagination, cultural awareness, and decision-making. Tourism advertising, as a form of mass communication, frequently employs a combination of linguistic tools (evaluative vocabulary, imperatives, metaphor, hyperbole, and code-switching) and visual resources (composition, culturally loaded imagery, etc.) to achieve communicative goals such as attracting attention, generating interest, and encouraging action. The paper adopts a multimodal discourse analysis approach to identify how these semiotic modes work together to construct meaning and influence the target audience. Particular emphasis is placed on the semiotic principles of authenticity, semiotic economy, and cohesion, which guide the integration of textual and visual components into a coherent message. The study analyses a selection of tourism advertisements to reveal how verbal and visual codes function synergistically to enhance persuasive appeal. By focusing on specific cases that illustrate culturally embedded messages, identity-building techniques, and emotional appeals, the article demonstrates that multimodality not only enriches the communicative value of advertising but also fosters a stronger sense of connection between the product, the brand, and the potential consumer. The findings may contribute to further research on semiotics, advertising linguistics, and cross-cultural marketing communication.

CHROMATONYM “BLACK” AND “WHITE” IN SEMANTICS OF POLISH AND UKRAINIAN PHRASEOLOGICAL UNITS

I. L. Matsegora, A. V. Muravin — Tue, 01 Jul 2025 00:00:00 +0300

The article deals with the role of colour designations ‘black’ and ‘white’ in the semantic structure of phraseological units of Ukrainian and Polish. Using the methods and techniques of comparative and component analysis, the universal, typological and idioethic properties of the components of the semantic structure of the phrases with colour components were established.Today, colour is an object of study in many sciences: Linguistics, Physiology, Psychology, History, Ethnology and others, which can be explained by the importance of this phenomenon in human life. Colour can be used to determine mood, emotions and even important events in a person’s life. Colour carries important information separately from language, but as part of linguistic units, including stable ones, this component becomes even more important and acquires certain symbolism.Each colour carries a certain information code. No doubt that phraseological units with a colour component make it possible to understand the peculiarities of the worldview and world perception of a particular nation. Phraseological units are a unique phenomenon of every language of the world, as they contain information about the extra-linguistic reality, which makes it possible to reflect the material and spiritual life of a particular nation quite accurately and figuratively, to convey its spirit and colour. The study of colour names takes a leading place in linguistic Comparative Studies, since colouratives represent a significant layer of the lexical vocabulary of a language and are actively used in various linguistic phrases.The results of this article have demonstrated that the symbolism of black and white colours in Ukrainian and Polish phraseology has both similarities and differences.The semantic analysis of these chromatonyms in the structure of the respective units shows a wider quantitative palette of available components of the meaning of the colour “black” in Ukrainian paremics. According to the results of the comparative analysis, the colour signification “white” reveals a wider complexity and a wider range of functioning in Polish phraseological units. This demonstrates the existing models of meaning transformation, which are more productive in the lexical and semantic system of the modern Polish language.

FUNDAMENTAL PRINCIPLES OF THE THEORY OF COMMUNICATION IN THE CONTEXT OF AXIOLOGY PHENOMENA

G. I. Prihodko — Tue, 01 Jul 2025 00:00:00 +0300

Language communication, that is, communication between people in society, does not occur by combining separate isolated units, but in the form of integral statements, starting with a sentence and ending with a text. A person’s speech activity is an organic, integral part of his or her general activity. Therefore, speech processes should be studied not in isolation, but taking into account the conditions and situation of the course of speech. Clarification of motives contributes to the understanding of the specific intentions of the subject of activity. A person should always know what he or she is doing and why. The mechanisms of speech inherent in a person and used by him or her are put into action by the speaker himself or herself. In the theory of speech activity, the process of creating and perceiving speech is carried out with the aim of organizing the establishment of communication between communicants.The subject of speech activity is a thought which is considered as a form of reflection of reality. Speech actions and operations are subject to strict social control. Speech as a type of human activity is constantly oriented towards the fulfilment of a certain communicative task. Any speech communication and speech interaction take place in the form of an exchange of statements, where the speaker always takes into account the presence of the interlocutor and his evaluative perception. An utterance that actualizes the potential of evaluation is understood as a semantic-pragmatic type that not only conveys a certain state of affairs, but also expresses the opinion, feelings, attitude of the speaker (subject) to the outside world, therefore, making it possible to show the means of connecting the utterance with the situation and the means of describing the latter. Indirect speech acts are based on the same mechanism of indirect expression of the speaker’s intention. Indirect speech acts are based on the rule of implication: one meaning is explicitly manifested, and another is implicitly conveyed. The final perception of an utterance as a fully defined speech act in most cases must be based on the analysis of the utterance itself, which represents the evaluative potential.

THE ENGLISH LANGUAGE TERMINOLOGY OF REGENERATIVE AGRICULTURE: LINGUISTIC ANALYSIS AND SPECIFICS OF TRANSLATION

O. M. Khavkina — Tue, 01 Jul 2025 00:00:00 +0300

The article presents a comprehensive linguistic analysis of the English language terminology in the field of regenerative agriculture, which is actively developing amid the globalization of agricultural production and the growing interest in sustainable technologies. The study of the terminological system of regenerative agriculture is essential for shaping the national agricultural discourse in line with international environmental standards. The research examines terminological units related to both general principles of regenerative agriculture and specific technological practices, particularly no-till technology.The morphological structure of terms, their word-formation models, semantic features, and functioning in professional context are analyzed. The terminology under study includes simple, derivative, complex, and compound units; however, two- and multi-component constructions dominate. A classification of terms by word-formation models is carried out, with particular attention given to multi-component structures. The main translation strategies from English into Ukrainian are described: calque, transcoding, use of functional equivalents, and descriptive translation, with an emphasis on the importance of a comprehensive approach in selecting strategies. Special attention is paid to the specifics of translating multi-component and metaphorical terms, which require flexible application of translation techniques, considering the norms of the Ukrainian language and sector-specific context. Challenges associated with conveying highly semantically saturated terms and innovative word- formation models are identified. The article highlights the importance of developing bilingual terminological dictionaries and unifying the Ukrainian terminological system of regenerative agriculture. The results of the study can be used for the further standardization of professional vocabulary, improvement of agricultural text translation, and promotion of international scientific communication in the field of sustainable agriculture.

SEMANTIC AND SYNTACTIC STRUCTURE OF SENTENCES WITHDOUBLE PREDICATES WITH VERBS OF MOTION AND CHANGES OF LOCATION

R. O. Khrystianinova, O. M. Kolpakchi — Tue, 01 Jul 2025 00:00:00 +0300

The proposed article analyses the semantic and syntactic structure of sentences with double predicates formed by verbs of motion and location change in space.It was established that sentences with the considered double predicates are correlated with polypropositional statements, that are characterized by union of two predicative features into a close semantic block - actional, expressed by the first component, and qualitative, conveyed by the second component. It was revealed that the role of the first component of such predicates is usually played by verbs of translational motion, the most common of which are іти, ходити, бігти, бігати, повзати, повзти, текти, летіти, літати, плавати, пливти, їхати, вертатися, повертатися, рушати. It was established that the subject in sentences with double predicates formed by verbs of motion and location change mainly denotes people, more rarely other creatures and only occasionally inanimate objects that can change location in space – vehicles, liquids. It was traced that the second component of the considered double predicates is mainly expressed by adjectives in the nominative or accusative case, less often – by nouns in indirect cases, syntactically indecomposable word combinations or idioms. It denotes various temporary qualitative features, which are inherent to a subject during its movement, which cover: mental (emotional, intellectual), physiological and physical state of the subject; order of performance of the action by the subject among other performers of the same action; location of the subject in a certain system; characteristic of the subject by social status and environment; presence or absence of certain details of clothing, footwear; feelings of hunger, satiety, thirst; results of the impact of alcoholic beverages or other harmful substances on the body; peculiarities of posture, appearance caused by the impact of external factors, etc.

CLERIHEW IN TERMS OF TITROLOGY AND TRANSLATION

I. M. Shama — Tue, 01 Jul 2025 00:00:00 +0300

The article attempts to determine the degree of obligatory nature of the clerihew title and the extent of its influence on the genre canon. The emphasis is made on those features of a title that may potentially be important for the pre-translation analysis of the source text, as they may create some difficulties in the future process of reproducing clerihews in Ukrainian.The author concludes that clerihew is a genre with a stable canon, one of the features of which is either the absence of a title as such or the so-called “zero character title”, when the title contains the first line of a quatrain, which in the classical version consists only of the name of the clerihew character.The main function of such titles is imitative. Clerihews are pseudobiographic by their nature, and thus any collection or anthology of such verses looks like a biographical dictionary that includes nonsensical stories about prominent representatives of humanity. Clerihews are easily catalogued by their ‘name’ titles, and so they resemble dictionary entries and indexes.All other types of titles (apart from the personalised ones) can lead to blurring of the boundaries of the genre due to: a) excessive allusiveness; b) introduction of additional projections on people who are not the heroes of a particular pseudobiography; c) bringing in negative connotation (forbidden in clerihews).Clerihew titles may cause some genre shift or even substitution of a genre.Due to the requirements for the adequacy of the target text translators have no right to omit titles when translating. The main issue in reproducing clerihew titles (if they are already present in the original version) is that there is a danger of going beyond the genre canon by introducing elements into the translation that are not characteristic of the genre-and-style core of the source text.

WAR AS A FACTOR IN FORMING AN INCLUSIVE CULTURE IN Y. ILIUKHA’S SHORT STORY “SANYA”

N. V. Horbach, T. S. Pustovoitenko — Tue, 01 Jul 2025 00:00:00 +0300

The article is devoted to the analysis of the short story “Sanya” by the contemporary Ukrainian writer Y. Iliukha in terms of its focus on the situation of people affected by the war. The relevance of the study is conditioned by the need to humanise Ukrainian society, to form a national inclusive culture considering the increasing number of representatives of vulnerable categories of people in the context of Russian aggression against Ukraine, and the important role of fiction in these processes. In this study, inclusive culture refers to the spread of the principles of tolerant attitude towards every member of society, regardless of their physical or psycho-emotional state, place of residence, financial status, congenital or acquired features of appearance, as well as gender, age, culture, religion, behaviour, language or any other characteristics. In the context of a full-scale invasion, the writer’s work has not only remained timely but has also acquired a new poignancy.The article reviews the author’s prose works about the war, in particular, the short stories “The Separatist March” and “She Chooses Life”, the novels “Eastern Syndrome” and “Zero”, the book “Мої жінки/My women”, emphasising their consonance with the ideas of inclusion by drawing attention to the soldiers and civilians who suffered from the war but remain invisible to society. The analysis of the story “Sanya” focuses on the ways in which the writer achieves a convincing portrayal of war as a humanitarian tragedy that causes material damage, affects the psycho-emotional and physical state of people, has an impact on their relationships, generates or exacerbates existing social problems, etc. Through the story of the protagonist and his grandmother, who remain living near the demarcation zone, Iliukha raises the problems of the lack of proper social support for people from the frontline areas in general and the elderly in particular, the lack of palliative care for them, organised evacuation from the frontline areas, providing young people with education and work, etc. The artistic value of the story “Sanya” is determined by the fact that it can be a factor in the formation of a compassionate, tolerant attitude of representatives of vulnerable categories caused by the war.

CHRONOFICTION NARRATIVE OF THE T.I.M.E STORIES BOARD GAME AS A LITERARY EXPERIMENT

M. O. Iliuchenko — Tue, 01 Jul 2025 00:00:00 +0300

This article explores the chronofiction narrative of the board game T.I.M.E Stories as a form of literary and philosophical experiment. The game uses temporal constructions and mechanics of replayability to model a non-linear perception of time and problematize the boundaries between subjective memory, history, and reality. Unlike in traditional science fiction, where time travel primarily serves as a plot device, in T.I.M.E Stories time becomes a key structural element, affecting not only the narrative but also the very process of the player’s interaction with the game world and their interpretive strategies.The article examines T.I.M.E Stories through the lens of the philosophy of time and narrative theory, revealing how game structures imitate, challenge, and reshape traditional ways of constructing reality. It argues that the game presents time as a hybrid entity: mechanical (regulated by Time Units that measure in-game actions), experiential (shaped by the players’ decisions, memory, and strategizing), and mythological (depicted in the game lore as a symbolic and chaotic force that transcends rational comprehension).The study focuses on how speculative fiction, cognitive engagement, and philosophical reflection converge in the game’s design. It considers how board game mechanics and multi-layered narratives expand the discourse of chronofiction, introducing novel temporal logics and participatory storytelling.Rather than presenting time as a fixed continuum or a controllable tool, T.I.M.E Stories encourages players to explore temporal uncertainty and contradiction.Ultimately, the article proposes that games like T.I.M.E Stories represent a new form of narrative where time functions not only as a plot axis but also as a mechanism of interaction, meaning-making, and reality modeling.

GENRE STRUCTURE TRANSFORMATION OF H. DE BALZAC’S NOVEL “FATHER GORIOT” IN GRAPHIC ADAPTATION

Y. P. Kravchenko — Tue, 01 Jul 2025 00:00:00 +0300

The article analyzes genre transformations of the classic narrative structure of the 19-century novel in the modern graphic adaptation. The comparative analysis of H. de Balzac’s novel “Father Goriot” and its graphic implementation reveals the peculiarities of plot deconstruction, narrative organization, characterology, and principles of reality mapping within the verbal-visual paradigm. The article also studies the ways the traditional features of the realistic prose are graphically recoded – social and psychological determinism, analytism, objectivism, objectivism, typification, universalism, and author’s demiurgism.The key characteristics of Balzac’s literary method, such excessive detailing of the subject world, absolutization of everyday life, social analyticalism, polyphony, aphorism, and polemical pathos, undergo transformations caused by the weakening of the main socio-cultural function of realistic writing, which is to ensure the truth of life. The experience of creating the graphic version of Balzac’s novel is viewed in terms of the modern culture’s aspiration to rediscover the ways of reconsidering the classics, similar to postmodernism game principles (nonlinearity, inversion, shifting the center of meaning, segmentation). The verbal-visual paradigm of the graphic novel is regarded as a sign of epistemological uncertainty, denial of logocentrism, distrust of classical narrative models, and destruction of boundaries between elite and popular cultures. The internal reality of the graphic novel is based on denying the aesthetics of life-likeness. The fragmentation, mosaic structure, and the characters representation as pictured, conventional, and grotesquely exaggerated are evidence of the deconstruction technique, plausibility rejection, and sticking to the writer’s ideological intentions. The epistemological realism discourse relies on the dominating cognitive function of art, emphasis on the true-to-life reflection of the reality, the essence of which is to preserve the scale and proportions of life situations and circumstances, whereas the graphic novel loses its cognitive orientation since it focuses on criticizing the aesthetics of life-likeness, non-canonicity, and denying the author’s demiurgism and omnipotence. The genre deconstruction of the classics as a cultural field is evaluated as a complex and multilevel process, which not only destroys the boundaries between high and mass culture, but also, due to the selection method, ruins the logic of hierarchy – the renewal and reactualization of the classics in accordance with the contemporary context.

INTERTEXTUAL STRATEGIES AND MEDIA PRACTICES IN MARK LIVIN’S NOVEL “SPACE, COME IN”

T. V. Mykhalchuk — Tue, 01 Jul 2025 00:00:00 +0300

The article attempts to outline the specifics of intertextual strategies and media practices in contemporary Ukrainian literature for adolescents, shaped by new modes of storing and transmitting information and influencing the text’s receptive potential.Based on Mark Livin’s young adult novel “Space, Come In”, the article outlines the specificity of intertextual strategies and media practices, which are presented in the work on intratextual and extratextual levels. Constructing of the main character’s image Zoriana, endowed with significant reading experience, are analyzed: from emotional perception of the text to critical interpretation.The study examines how reading experience and emotional engagement with the main character’s personality in her favorite book influences Zoriana’s identity formation and stimulates her interest in music.Special attention is focused on the author’s experiments with the communicative space of the work, which appears as a complex semiotic system, particularly through the paratextual elements such as QR code with a soundtrack to the book, lyrics from a song for the epigraph, guitar chords, etc. These and other components deepen the internal conflict, change the emotional coloring of different parts of the work, and expand the narrative structure. The author creates a complex intermedial model where the literary work enters into dialogue with music and digital technologies.The analysis showed that intertextual strategies and media practices play a key role in forming a multi-level composition of the work. Reading is depicted as a central cultural practice that branches into other forms of cultural consumption and self-expression. This model meets the demands of contemporary adolescent readers, for whom interaction with various media is an integral part of everyday experience.Further research could include the study of contemporary Ukrainian literature for children and adolescents in the context of metaliterary problematics, as well as the investigation of digital technologies’ influence on the development and transformation of literary forms and on the specifics of literary reception.In the sociology of literature, conducting surveys on whether character-readers can serve as role models for the formation of reading practices among real adolescent readers could be productive.

INTERMEDIAL PROJECTIONS OF THE SONG VIDEOCLIPS (THE BAND “VIVIENNE MORT”, “BIRDIE”)

I. Ya. Pavlenko, A. O. Mironov — Tue, 01 Jul 2025 00:00:00 +0300

The article deals with different approaches to the definition of intermediality in national and foreign discourse of the Humanities, shows the differences in the interpretation of the nature of the relationship between various media in Philology and Art History, and outlines the authors’ view on the nature of the relationship between different media in a сlip, which is determined by the nature of the material under study. The article aims to explore the synergistic possibilities of combining the codes of different media in song visualisation based on a specific work – the video clip by Vivienne Mort “Birdie”. The clip is analyzed as an intermedial phenomenon that functions as an integrated system rather than a combination of separate parts. The analysis of the development of the main motifs of the song being visualized suggests that a new aesthetic quality arises by combining different media. The synergy of different media does not reformat the original text, does not retell the same thing using different arts, but creates a new artistic phenomenon while preserving the original meanings, rethinks some of them, and creates new accents. In the video clip, music and video deepen the main antitheses of the poems and their expression; by the content of the song, the external silence of the lyric heroine is visualised, while at the same time the singing, which “no one heard”, is “voiced”; the motif of song creation becomes peripheral in the process of visualisation, and the motif of loneliness is expanded beyond boundaries, as it is extrapolated to other characters in the video, on the one hand, and to the change of locations, on the other. The expression of a verbal postmodern poetic work is deepened and expanded due to musical rhythm, tonality, pauses, change of instruments, singing features, and visualisation, making it possible to provide a visual image of internal hesitations and searches. The iconic sign system, in synthesis with the verbal-musical system, deepens the expression of the work of art and gives new connotations to the imagery.

THE TIME-SPACE OF MOSCOW IN LESYA UKRAINKA’S DRAMATIC POEM «BOYARYNIA» AND Z. TULUB’S HISTORICAL NOVEL “MAN EATERS”

G. M. Pletnyova — Tue, 01 Jul 2025 00:00:00 +0300

The article compares some elements of the biographies of Ukrainian writers, Larysa Petrivna Kvitka-Kosach (Lesya Ukrainka, 1871–1913) and Zinaida Pavlivna Tulub (1890–1964). The author analyzes the vision of the history of Ukraine and its place in world history in the works of both writers. Lesya Ukrainka made the events of world history the main topic of her first dramatic poems, in the end of her carrier she studied Ukrainian history. Zinaida Tulub placed the history of Ukraine at the heart of her work and analyzed through it the events of world history.The article studies the time-space of Moscow in two works from the women- writers under study: the dramatic poem “Boyarynia” (1910) and the historical novel “Man eaters” (1934–1937). In these works the figure of Moscow as a city is the epicenter of the forced assimilation of two female characters in the works: a Ukrainian woman named Oksana, who accompanies her husband Stepan, a Moscow employee of Ukrainian origin, during the period called The Ruin (from 1657 to 1687), and a Crimean Tatar woman named Medzha, who finds herself in Moscow not of her own free will but because of the tragic events of the Cossack-Tatar confrontation (at the end of 16th and the start of 17th centuries).In Moscow, the characters first were deprived of their national identity and then their physical lives. The article discusses such stages of assimilation as the ban on wearing national clothes, the rejection of household traditions, and religious convictions. The article’s author considers that all the described stages of loss of national identity are manifestations of gender-based violence against women.The time-space of Moscow narrows to a single house in which moral and physical torture is carried out on the characters. For example, in the dramatic poem “The Boyarynia”, it is either “the rooms”, “Stepan’s House” or “the Terem” (a specific room in the traditional house of Russia, called “Muscovy” in the past).The conflict “friend or stranger”/”myself or the other” is central to both works.Researchers of Lesya Ukrainka’s work consider this conflict as the main one in her dramatic works. The same conflict can be studied in the novel “Man eaters”.The author of the article believes that the study of the tragic influence of Russia on the fate of Ukraine through the prism of the depiction of the destructive power of the Moscow patriarchal society in the Ukrainian literature of the twentieth century is promising.

“OH, THE REAPERS ARE REAPING ON THE MOUNTAIN” AS AN EXAMPLE OF FOLKLORE VARIABILITY

L. M. Lytvyn — Tue, 01 Jul 2025 00:00:00 +0300

The article examines variations of the historical song “Oh, the reapers are reaping on the mountain”. For this purpose, a wide range of texts collected by researchers within the period from the 19th century to the early period of the 20th century is involved. The above-mentioned process engages the records by M. Maksymovych, Marko Vovchok, Y. Holovatsky, D. Yavornytsky, B. Hrinchenko, P. Hnidych, S. Tobilevich, H. Tantsiura and others. The firm accent is put on the song, whose first line is “Oh, the reapers are reaping on the mountain” from the poetry collection by D. Rudnytskyi in 1713. The arguments are given in favor of recognizing it as a variant of the named song, not as the original text. The purpose of the article is to analysis the variants of the song “Oh, the reapers are reaping on the mountain”, the establishment of its core and variable parts, and the determination of the factors influencing their formation. All variants, regardless of the time of their recording, are considered to be equally valuable.Within the scoped area, the core of the text with the main ideological and artistic features, as well as its value characteristics, is determined. The song retains genre integrity, reflecting the events of Ukrainian history, and the activities of the hetmans, each of whom is mentioned by name, and glorifies the Cossacks as a crucial factor in the construction of the statehood. At the same time, stylistic formulas and constant epithets are preserved in the variants of the song as well. A significant feature of the variant is the fact that it is being recorded by P. Hnidych in the Sumy region in 1916, where the term “Cossacks” is replaced with “chumaks”, which led to certain changes in the plot of the opus. Although the song was recorded in all territories of Ukraine in the 19th century, starting from the beginning of the 20th century, folklorists record its variants mainly in the territories on the Left Bank of Dnipro River and on the region of Podillia. Regional variations of the song are reduced to differentiations based on phonetic dialectisms natural for different regions. It may be safely concluded that the variability of the song “Oh, the reapers are reaping on the mountain” was influenced by historical events associated with the loss of Ukrainian statehood and social factors, particularly the regional spread of the Chumach craft, the specific features of popular historical memory, which actualizes the events of previous eras to various degrees. The improvisational nature of folk art, among other things, provoked the presence of certain linguistic features of the variations, which are mainly phonetic dialectisms.

REVIEW OF THE MONOGRAPH BY OLESA VASILIVNA TATAROVSKAYA “DISCOURSE OF CONTRADICTION IN ENGLISH-SPEAKING LITERATURE POSTCOLONIALISM”

S. I. Terekhova — Tue, 01 Jul 2025 00:00:00 +0300

REVIEW OF THE MONOGRAPH BY OLESA VASILIVNA TATAROVSKAYA “DISCOURSE OF CONTRADICTION IN ENGLISH-SPEAKING LITERATURE POSTCOLONIALISM”