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Divine epithets are short nouns, adjectives, and participles which are in apposition to the actual name of a deity or which even replace it. Since incantations and incantation-prayers must be effective, they are enhanced by a variety of strategies. Divine epithets can be understood as strategies used to improve the effectiveness of ritual speeches. They evoke divine qualities that are relevant for a particular context and allow for a more effective interaction with the deities. Divine epithets may also refer to successful mythical deeds of the gods which provide positive analogies for the present situation and, therefore, guarantee the achievement of the supplicant’s request.

Henry Adams’s autobiography The education of Henry Adams employs a consistent third-person narrative technique in which the author refers to himself by various epithets such as “the boy,” “young man,” “the private secretary,” “the historian, “Henry Adams,” or simply “Adams.” His pronoun of choice is invariably “he.” While this practice undoubtedly imbues the text with a comic tone and a certain wry outlook, the third-person narration also provides a blended situation in which Adams is able to refer to himself and his actual experiences, but at the same time develop his complicated theory of history in which he places himself as an insignificant actor among much larger historic forces. Third-person reference thus creates an awareness of the author in simultaneous stages of his life via conceptual blending.

Introduction. The language of the folk magic tale is characterized by a wide use of artistic means, including epithets; this may be explained by the worldview, aesthetic ideas, certain concepts that developed in the course of the people’s history, as well as with folk philosophy and the specific features of the language. So far there has been no special study devoted to imaginative-expressive means of Bashkir magic tales; hence, to fill in the gap, the present article undertakes the study of epithets of the stock of artistic means characteristic of the Bashkir folk magic tale that add to the expressiveness of the language in magic tales. Thus, the study aims at identifying and analyzing epithets that characterize the main character of the magic tale from different sides; A. I. Aliyeva’s method has proved useful for this part of the research, while the examination of their structural types draws on the method elaborated by the Altai researcher M. A. Demchinova. Data and research methods. The sources for the research data were the texts of magic tales published in the Bashkir language in the two books of the scholarly collection Bashkir Folk Art; the analysis of the data was carried out with the help of textual and analytical methods. Results. The texts of the tales were examined first to identify epithets; then, the analysis focused on the epithets that characterize the main character: their appearance, marital status, social status, clothing, housing, etc. It appears that the epithets that characterize the protagonists in Bashkir magic tales have a systemic character. There is a certain sequence in the complex portrayals of personages that help to create the image of an ideal hero who may be poor but, also, kind, generous, and always ready to help those in need. The second part of the article focuses on the structural types of the items, including simple and complex epithets. Each of the type is illustrated with examples.

The article looks at the Vedic pravargya ritual and associated mythology in light of recent studies on the ancient Indian vrātyas, consecrated warriors who were thought to impersonate the deities Rudra, Indra, the Maruts, and the Aśvins (also known as Rudras). It is argued that vrātya elements in pravargya include Rudra as Mahāvīra (a heroic character, also an epithet of the vessel containing the offering), the sattra (collective ritual) setting of the paradigm myth, the motif of the unstrung bow, the minimal presence of females in pravargya, and divinisation of man as a goal of the ritual. The superhuman status attributed to the Mahāvīra is comparable with that of Atharvavedic characters like the vrātya and the brahmacārin (celibate student); the affinity between these figures may be derived from a common ascetic ideology, the roots of which some are to be sought in the warrior society.

The article presents an overview of the contexts and functions of using the names of mythological creatures found in the Samogitian daily discourse of the second half of the twentieth century, paying attention to the dual – rational or subconscious – nature of naming a mythological creature. The overview is based on the material provided by the Samogitian dialect dictionaries (see Aleksandravičius 2011, Vanagienė 2014–2015) and by the collection of authentic Samogitian speech texts (see Girdenis 1996). Special attention is paid to the types of expressions formed with the name of the devil. In the Samogitian daily discourse the name of the devil (or the name of another mythological creature subordinate to the devil) is used not only in cursing but also to show one’s ignorance (the type of constructions ‘the devil knows what’ is very popular), to convey comparisons, epithets, to reinforce the meaning of certain words. The word vel’(n’)s ‘the devil’ and some of its synonyms are chosen as a distinctive, but quite common substitute for a personal name or are used as an address (addressing a person). Usually, such descriptions are related to a person’s energy and otherness or changes in his/her behaviour patterns.

Modern linguists do extensive research on the functioning of religious vocabulary during the Soviet period, but the material of Western Ukrainian newspaper speech of this time has not yet been the object of linguistic study. It determines the relevance of this study. Its purose is to reveal the specifics of the preservation and development of the semantics of religious lexemes in the media of nationalists in Western Ukraine during World War II against the background of their lost-of-meaning in the Soviet newspapers of that time. As a result of the analysis of the printed Western Ukrainian mass media of 1939–1945 (Ostanni visti, Volia Pokuttia, Vilne Slovo, Holos Pidkarpattia, Ukrainski visti, Rohatyтske slovo, Samostiina Ukraina, Stanislavske slovo, Chervonyi prapor), the author concludes, that the publications of the Organization of Ukrainian Nationalists consistently propagated sacred vocabulary in the articles, even on non-religious subjects (often to reproduce the elation and triumph of what was being said). Textual syntagmatics of biblical-phraseological level unfolded both in familiar biblical situations (often through the introduction of colloquial elements in publicist speech, such as exclamatory units with religious components), and metaphors which retained the sacral dimension of the original semantics. A specific feature of the functioning of the religious lexicon in this newspaper material was the departure of religious lexemes beyond the traditional usage in the process of shaping ironic-satirical periphrastic units with their participation (червоний / большевицький / інтернаціональний рай ‒ the red/ Bolshevik/international paradise; червоне царство сатани ‒ the red kingdom of Satan; Сталінове “царство” / царство темряви, гніту і голоду ‒ the Stalin “kingdom” / the kingdom of darkness, oppression and hunger). The editorial policy of Krasnoye Znamya, the Soviet-era press organ, was aimed at avoiding religious themes, apparently without any political-ideological guidelines for this in the years 1939-1945. Only in the spring issue of 1945, this newspaper published a totally biased and lengthy article “With a cross or with a knife?” by V. Rossovych (Iaroslav Halan), targeting the Vatican, the Greek Catholic Church and Andrei Sheptytskyi. Sensitive metaphors and metonymies, epithets and hyperboles, phraseology and neologisms, which included religious vocabulary (релігійний лубок ‒ religious bast, боги свастики і тризуба ‒ gods of swastika and trident, ультракатолицька шляхта ‒ ultra-Catholic szlachta, etc.), the extraction of words reserved for the religious sphere with the “weathering” of their semantics (вірник ‒ believer → neologism довірник), biblical allusions, religious words in inverted commas as markers of irony were deployed to fulfill an order of defamation of Andrei Sheptytskyi and Catholicism altogether.

In both Catullus 63 and 35, Catullus refers to Cybele as the Domina Dindymi. I show that this epithet and noun collocation is only found in Catullus and argue that he purposely chose to rep...

Fiction style in literature means a special speech style that is common in both world fictions in general and in copywriting in particular. It is characterized by high emotionality, a wealth of direct speech, colors, epithets, and metaphors, and it is also designed to influence readers’ imagination and serve as a stimulus to their imagination. Sometimes, in an artistic text, the author expresses his/her feelings in order to form readers’ correct attitude to certain things described. Such an attitude can be either positive or negative. The detail we analyze in our article is an element that serves to draw readers as close as possible to the textual environment being described, to complement the content of the artistic text, and to enrich it with different colors. The article discusses this topic in the example of famous Chinese novelist Pu Sung-ling. His short stories are very popular and have been published in many languages around the world. In the writer’s lifetime and beyond, intellectuals read these short stories, and street storytellers turned them into lively spoken language, the plots in these short stories were presented on stage, reflected in paintings and miniatures. In Pu Sung-ling’s short stories we find the author’s elaboration of details, i.e., specialization in literature. In other words, the main idea of this article is the author's attention to details. As we become acquainted with the analyses related to the details of the work in the stories, we see that this topic is of a special importance in Chinese literature. Although Pu Sung-ling's “Liao Jai's Stories of strange” was written in Venus under the pseudonym Liao Jay, his work also reached such heights because of its simplification of Venetian and the simplification of the vernacular, which was much easier and more methodologically simple. Although Pu Sung-ling is the author of other works, “Lyao Jai’s Stories of strange”, which we cite as examples in the article, was widely known in Pu Sung-ling’s land and later all over the world, gaining people’s interest and respect.

In this paper I argue that the Mio Cid epithet, most widely associated with the Castilian warrior exile Rodrigo Diaz and traditionally believed to have been bestowed upon him by Arabic speakers, is in fact an autochthonous Castilian formula closely related to equivalent hybrid formulas such as Mi Anaya and Mi Echa. Close attention to the charters of the Northern Meseta allows us to flesh out a small but significant corpus of such references and also observe such names being used in a second idiosyncratic way as generic witnesses. By framing the Mio Cid usage within this broader onomastic tradition, a more solid geography and chronology emerge and these in turn indicate a relatively widespread use of such terms in late eleventh and early twelfth-century Castile, initially in aristocratic circles, before the epithets morphed into personal names.

The study of the specifics of publicistic style and its linguistic and stylistic peculiarities is relevant and it is caused by the linguists’ increased attention to mass media texts as a means of influence on the audience and the importance of a more complete examination of the linguistic text features. The lexical composition of newspaper texts is extremely diverse as the newspaper is a means of reflecting modern language development, and the periodical press uses various expressive means. The following English-speaking newspapers The Daily Mail, The New York Times, The Telegraph, The Guardian, The Times, Daily News, BBC News, Los Angeles Times, Esquire and The Washington Post , provide analysis of expressive means used with a view to distin-guishing epithets and examining their distribution and use in the periodical press. The article researches and illustrates different types of epithets distinguished on a variety of principles: in terms of their semantics, structure, nature of nomination and type of connotative meaning. From the semantic perspective there exist common language and individual epithets. In terms of nature of nomination epithets are classified into metaphoric and metonymic. The periodical press verifies use of all the structural epithet types, viz. simple, compound and epithet chains. The expression of the author’s viewpoint can be communicated with the help of epithets with meliorative, pejorative or neutral connotative meaning.

In the early strata of Buddhist literature, the Buddha is depicted as the man perfected, who is sometimes referred as ‘one who endowed with eye’ (cakkhumanta). (Suttanipāta verses 160, 405 & 540; Dīghanikāya II 123, 166, 167 & 256; Dhammapāda verse 273). ‘Endowed with eyes’ could be interpreted as ‘spiritual insight’ or ‘wisdom’. In the later Pāli literature, this concept was allegorically referred to as ‘fivefold’. However, the epithet has not always been associated with the Buddha, and other mendicants were often referred to as cakkumanta (Dīghanikāya II 254; Dhammapāda verse 273). For example, in the Mahāsamaya sutta of Dīghanikāya, it had been used to describe monks in general. In the modern field of the Theravāda Buddhalogy, less attention has been given to the concept of the fivefold eye of the Buddha. An extensive search for scholarly works in this area will startle a serious researcher by its glaring omission. A brief mention is found in Toshiichi Endo’s book on ‘Buddha in Theravāda Buddhism: A Study of the Concept of Buddha in the Pāli Commentaries’ (2002). He touched on the concept as explained in the Pāli commentaries, skipping over the issue of origins and development of the concept. Therefore, my primary goal here is (i) to explore the concept of the fivefold eye of the Buddha in the Pāli commentaries, and (ii) to attempt to trace its origins and development. I argue that the fivefold eyes of the Buddha developed in the process of apotheosis of the Buddha, which was prompted by emerging challenges of different religious and social challenges, particularly devotionalism of Brahmanism. It is a textual study. The main source of this study is Pāli canon and commentaries. It also referred to the Mahāvastu-Avādana in order to show a historical development and a comparative analysis of the fivefold eyes of the Buddha.DOI: http://doi.org/10.31357/fhss/vjhss.v06i01.03

The article deals with the analysis of the cosmonyms (sun and the related concepts, phenomena, and actions - rays, sky, darkness, dawn, dusk, sunset, sunrise, ghost, mist, evening star, constellations, moon), using as a case study the works by S. Vasylchenko, a native of Chernihiv region. The study has revealed the use of such artistic means as the metaphor, epithet, oxymoron, comparison, and their informational and aesthetic significance in the texts. Astronominations in the tropes are used mostly to reproduce pictures of nature, the surrounding reality, as well as to characterize the inner experiences, the appearance of the characters, to describe the events taking place around them. The author achieves expressiveness by conveying the essence of an object or phenomenon through the features of another on the basis of their similarity. Metaphorical images are created via the use of words in their figurative sense ("The sun warmed... kissed the boy....", "...looked out the edge of the moon from behind the cloud…"). Bright synonymous series of nouns ("star", "aurora", "girls-stars", "sunshine", "hedgehog in the sky", "ball", "crescent moon", "fire-bird", etc.), adjectives ("diamond", "evening", "shiny", "bright", "hot", etc.), verbs ("shines", "burns", "soars", "glows", "warms", "entertains", "bakes", "blazes", etc.) have been revealed. Epithets-coloratives are used to create the image of the moon ("silver", "pale", "gold", "yellow", "reddish", "white", etc.). Impersonal verb forms are actively used to add some mystery, uncertainty to the portrayed (e.g. “getting dark”). The study lays emphasis on the usage frequency of the astrolexemes in S. Vasylchenko's works. The names of the sun and the concepts related to sunrise and sunset are the most numerous lexical-semantic groups. Most of the analyzed tokens are commonly used words inherent in the modern Ukrainian literary language, and the rest are the nouns used in dialects.

The main task of an artistic text interpretation is to get maximum ideas and feelings of an artist blocked up there. Interpretation is always a version which can be disproved. F. ScottFitzgerald is one of the greatest American writers notable for his unique originality. He is well – known not only for his famous novels but also for his brilliant short stories where hereproduced the crucial moment in the consciousness of the American people. His individual style is considered to be one of the best in American literature. He was a reformer of theAmerican short story as far as the plot structure is concerned. Many of his short stories have unexpected or symbolic endings ruining the traditional «happy end».

Langston Hughes (1902‒1967) is considered to be paradoxically one of the most ambiguous as well as under- standable writers of the American «Harlem Renaissance». His short stories as a key genre of his literary paradigm brought him a world fame and he is remembered now thanks to the peculiar author’s manner of writing. In this article the investigators deal with the problem of L. Hughes’s individual style, – a criterion, which, indeed, made this literary man a wide popularity among his famous contemporaries and future generations of writers. This constituent part of his creative work deserves a separate deep and detailed analysis. The authors of this article make an attempt to trace the uniqueness of L. Hughes’s style on the example of his well-known fragment «On the Road». As a result of the scientific work it was proved that the author widely used all stylistic levels – phonetics, lexicology, syntax and semasiology. On the level of phonostylistics the author of the story widely uses alliteration, onomatopoeia, graphon and italicized words which are helpful to demonstrate natural phenomena and to portray the main hero. From the viewpoint of lexicology, L. Hughes’s story is specific because the author prefers words of neutral and colloquial origin as he wants both to illustrate characterological features of Sargeant and to show the key addressee of the story. Here, we deal with the fact that L. Hughes wrote his fiction about ordinary people to be read by them, so, the choice of his word-stock is logical. Syntactically, the story «On the Road» is very representative as is considered to be suitable for realization the author’s goal. L. Hughes uses many stylistic figures in this piece of prose. Elliptical and nominal sentences, detached and parallel constructions, inversion, anaphoric sentences, repetitions, enumerations serve to reveal the main hero’s physical and psychological state. Means and devices depicting the imaginary background of the story are also presented in the text by the author. In this regard, L. Hughes uses epithets, similes, but they are frequently used in the laconic text of the story and create the image of winter and the destiny of the main hero. So, having explored stylistic peculiarities of the story «On the Road», the authors of this article came to conclusion that the author uses language media of all linguistic levels, he obtains the capaсity to combine them in a comparatively short textual space, and this combinability leads to the birth of a particular, extra-ordinary style of the author. One should take into account that this non-traditional manner of Hughes’s expressing thoughts also testifies about the fact that the usage of such style of writing is very powerful and appropriate to realize his global aim – to raise the racial problem, which was spread in America in the 30s, and which, moreover, L. Hughes was personally survived and, therefore, cordially sympathized himself. That’s why, in this story L. Hughes declares himself not only as a brilliant linguist but and as a convinced fighter against racism in the USA also with the help of his unique style of writing.

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’ ( rangin ), appears alongside with criteria of previous period, expressed with epithet ‘sweet’ ( shirin ) and step by step gets leadership. Lyric poetry ( qhazal ) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal . These motifs serve one of the regular contexts of author’s name ( takhallus ) and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino (1569-1625).

A fairy tale is a piece of folk work (or literary/ author’s fairy tale) with the elements of fantasy, which has its own peculiarities of reading. The formation of the primary school pupils’ expressive reading skills at the lessons of literary reading is a complex process. Contemporary methodologists have introduced a system of methodological techniques of learning a fairy tale, taking into account its genre peculiarities. In the process of work at a fairy tale the «Grandmother-narrator» /picture № 2/ technique is being realized: at the lesson the text of a fairy tale is being expressively read by a teacher, some fragments are being read by the pupils, preserving the peculiarities of folk performing manner. The peculiarities of a fairy tale structure: the presence of the beginning, main part, ending, triple repetitions is caused by the usage of the technique («I, II, III bricks») in picture № 3). Permanent epithets, emotional and evaluative words create the unique atmosphere of magic in fairy tales. While listening to or reading the fairy tales pupils figure out and use these lexical units in order to characterize fairy heroes, this way realizing the technique in picture № 6. Working at characteristics of positive and negative heroes an important role is given to: «pupils’ questions to the text» (What? Who? Where?); «tricky questions» – a technique in picture № 4). In order to express their attitude to the fairy characters the pupils select «tooltips» (picture № 8). A fairy tale has a didactic nature. The characters are punished for being evil and rewarded for the kindness in it. In some fairy tales the moral is formulated, in others the moral of the tale is not formulated. In such case the technique «Make a note of that» /picture № 7/: it is suggested to the pupils either to formulate the tale’s idea by themselves, or to choose the second corresponding name of the fairy tale from the list of some proverbs. There are some elements of fantasy in the structure of a fairy tale. One of the techniques in the process of work at a fairy tale is the pupils’ looking for the elements of fantasy, a teacher’s talk about the fact that the main spell is a human being’s kind heart will also be appropriate here. Working with a book exhibition will help the pupils to differentiate a folk and a literary tale, to understand in what respect they differ, what groups they are divided into /the technique in picture № 1/. In the process of work at the fairy tale an efficient technique will be a lesson of creativity «Making up a fairy tale independently». Such lesson will help the pupils to notice the peculiarities of a fairy tale plotting best.

Alliterative phrases, along with traditional poetic words and substantivized epithets, are considered to be a typical feature of the diction of alliterative revival in England and Scotland, a special marker of this tradition. Formulaic alliterative phrases are quite a different phenomenon than traditional oral poetic formulas; their formulaic character is expressed in potential variation of their elements provided that the semantics and the alliteration scheme are preserved, which allows poets to create individual author variants on the basis of traditional phrases. The paper discusses the use of formulaic alliterative phrases as illustrated by two alliterative Scottish poems that were written nearly at the same time (second half of the 15th century) and belong to the same tradition, but to different genres: the romance Golagros and Gawain and the allegorical poem The Buke of the Howlat. Golagros and Gawain is a poem composed in the decline of the genre of romance, which glorifies the virtues of chivalry and the heroic world becoming a thing of the past. A characteristic feature of the poem is the extensive use of variation between the elements of set phrases typical of the tradition of alliterative revival. A large number of alliterative phrases in Golagros and Gawain are individual author variants describing an ideal chivalric hero. In The Buke of the Howlat, on the contrary, most phrases are fixed and stereotyped. The author of this poem prefers to exploit formulas as a satiric device, putting typical phrases in an unusual context and thus altering their meaning.

Aim. Describe the semantic content of the house's chronotopic image in the poetic texts of I. Bunin. Methodology. The author analyzed the corpus of texts from different years, in which the subject of research was identified by a continuous sampling method, the description of which was carried out based on a complex methodology. Results. According to the research results, it is concluded that the axiologically significant image of the house becomes a translator of the author's worldview in the poetry of I. Bunin due to the contextual environment. Research implications. It consists in the formulating of individual author's semantic increments. The article's material may be of interest in the preparation of lecture materials on the language of fiction and has access to the practice of the author's lexicography.

The article considers the poem by S. A. Yesenin «You have been used by someone else ...», which was included in the «Hooligans’s Love» cycle. In an attempt to determine the place of autumn motives in the poet’s love lyrics, the author of the article seeks to characterize the place of this poem in the poet’s work in the early 20th century. The author carries out a linguostylistic analysis of the text using the methods of comparative and associative analysis. The article shows the transformation of love lyrics in Yesenin’s work, the relationship of the poem with the «Tavern Moscow» cycle and his subsequent works. The author focuses on the linguistic means of realizing the inner self of the lyrical hero and his connection with the image of his beloved and the world around him. The article draws a conclusion about the significance of the poem «You have been used by someone else ...» in Yesenin’s creative work; it is shown that the poet perceives the autumn of life as a turning point associated with gaining clarity in understanding of the world, the advent of calm, but sad wisdom.

A brief scholion allusion to a “Selenite” community in Arcadia raises a question concerning this epithet and its meaning on the background of similar expressions denoting extreme antiquity. The better known term associated with the Arcadians is Proselēnoi, namely, pre-lunar, people who preceded the moon. This term is examined through several options of understanding. At the core of this analysis stands the Classical tendency to highly appreciate early periods of time and early peoples. This opens up a discussion of autochthony and the concept of extreme antiquity, particularly associated with Arcadia. The result is an etymologically based mythographic study centred on the Arcadians’ existence in relation to the first appearance of the moon. The conclusion offers a new interpretation of a neglected term.

The epithets pal “pale” and palid “pallid” could have been linked here by a conjunction. Instead, they are placed at the same level (pal/ palid) because of their semantic identity in Eminescu’s lyrics. Their importance has been already highlighted by several critics, and especially by I. Negoițescu, who referred to the epithets of pallor as a symbol, and systematically returned to them. By simply identifying these epithets with death or the myth of death, with the angelic purity, but also with the purity of the demon, within expressions such as androginie difuză a morții “diffuse androgyny of death” and demonul palorii “the demon of pallor”, there is no poetic symbol, but only a vague image. Associating these adjectives with characters such as the Poet, the Monarch, the Sleep and the Demiurge, usually at an intuitive level, does not reveal the intended meaning. These epithets appear in Eminescu’s poetry with non-metaphorical meaning as well, that is with denotative or connotative meaning. Instead, the metaphorical meaning belongs to the extra-existential world. The strong occurrence of these adjectives in Mortua est! and the debates around them within this poem since its first publication focused the attention not only to the final version of the text but also to its variants. Pal/ palid does not have a unique meaning in this poem, but we may assume that the connotative meaning is not transcended in any of its versions, including the last one. As a metaphorical epithet, pal/ palid is associated with the lyrical creation as act and as purpose, as well as with the pure ideal which is situated outside the dichotomy of life–death (being–non-being), either as a reality of the poetic thought or as a mythical reality. The poems in which pal/ palid carries this metaphorical meaning are: Venere și Madonă/ Venus and Madonna, Epigonii/ The Epigons, Luceafărul/ The evening star, Povestea magului călător în stele/ The story of the magician who travels to the stars, Mureșanu. Tablou dramatic/ Mureșanu. Dramatic tableau and Memento mori. The metaphorical ʻextra-existential’ meaning differs from any concept of overcoming the antagonism being–non-being which is highly represented in Eminescu’s poetry. It supposes placement outside this antagonism.

The article analyzes the features of the figurative means functioning in online advertising (primarily metaphors and metonyms). It has been proved that in the structure of the advertisement on the Internet, commonly-used or trite metaphorical models (the world of smth, a key to understanding of smth, a family of smth, the style of smth, the art of smth, and others) predominate. The level of imagery of a language means in this case significantly depends on the context and creative approach of the author. Original imaginary figurative means in online advertising appear much less often, which is due to the increased complexity of their interpretation and the complicated structure of connotations. In online advertising, the distinctive personification metaphors and various metonyms dominate. They form positive connotations, enhance the emotionality and expressiveness of advertising, as well as save language resources by deepening the semantics and imagery of the text. Quite often metaphorical epithets appear in advertising texts, although in general the specifics of advertising are determined by ugly definitions. Comparisons and hyperboles are elements rarely used in advertising. In general, every second message in online advertising contains figurative language means.

Based on the epistolary heritage of Metropolitan Benjamin (Fedchenkov), this article examines the functioning of spiritual recollection letters in the religious and ecclesiastical style and determines their linguistic status. Analysing the epistles combined in the work Letters on Monasticism, the author studies the particularities of the ideological content, thematic sphere, authorship and addressees of such texts, as well as reveals their intentional and linguistic-stylistic features. It is noted that the most characteristic features of the genre are: realization of spiritual and religious intentions, assertion of Christian ideas, and emphasis on Orthodox themes. The author shows that many religiously marked language units are used in this type of text, including theonyms, agioanthroponyms, iconyms, ecclesionyms, names of Christian sacraments, Orthodox holidays, items of liturgical vestments, as well as theological studies and disciplines. In addition, the paper demonstrates that the religious and ecclesiastical nature of spiritual recollection letters is manifested in the use of language units designating Christian texts and belonging to the corpus of Orthodox vocabulary with spiritual and moral meaning and religious formulae. In considering the linguistic incarnation of the genre, the author focuses on the figurative and tropeic organization of the spiritual recollection letter and demonstrates that particularities of the functioning of epithets, metaphors, allusions, comparisons, enumerations, repetitions, rhetorical questions, questionanswer constructs and rhetorical exclamations are connected with their religious and ecclesiastical signification (that is, these means of expression are either religionyms or include religionyms). The problem of Christian intertextuality is also touched upon: intertextemes, which are present in the studied letters, refer to the Old and New Testaments, patristic texts and prayers. It is concluded that the spiritual recollection letter is a hybrid epistolary genre of the religious and ecclesiastical style, a text created by an ecclesiastic writer and targeted at a concrete (individual) Christian addressee. Moreover, it contains elements of dialogization and has a retrospective narrative organization.

One is struck at first by the luxuriance of Keats’s colour. When we come to analyse it we find it is very largely verbal colour. His colour-words are not epithets of colours he has seen; they are w...

The article deals with the translations of Fyodor Tyutchev’s poems into English made by the British poet and translator Charles Tomlinson (1927–2015). Poetic works present a serious challenge for those engaged in literary translation. Until the present day, the criteria for estimating the adequacy of poetic translation have been a question under discussion and deep consideration; the issue of poetic translation has been studied by both Russian and foreign scholars. In this regard, the works of Charles Tomlinson as a poetry translator from Russian into English offer new opportunities for a detailed study of his translation method, characterized by the desire to penetrate into the essence of the original works and preserve their lyrical and aesthetic components, as well as by Tomlinson’s intention to introduce Russian classical literature to English- speaking readers. The article analyzes in detail the main characteristics of literary and in particular poetic translation, shows different approaches to translating poetry and reveals both the specific features of translation transformations and the principles of their use. It also provides a comparative analysis of Tomlinson’s English translations of poems by Tyutchev, namely Silentium! and Spring, and the original texts. This study shows that the English poet often imparts his own unique and recognizable style to Tyutchev’s works, which is manifested in omitting repetitions and epithets in the original poems and adding new details to his translations. Tomlinson’s style can also be seen in the overcomplicated syntax of the transformed poems. On the other hand, there is a strong similarity between Tomlinson’s translations of Tyutchev’s famous poems and the original poetic works due to the translation transformations used. As the research reveals, modulations and transpositions are the most frequent transformations in Tomlinson’s modified versions of the original.

New interpretation for the three hiero-glyphs following the name of Astarte on the stela of the overseer of horses Betu discovered at Tell el-Borg in 2006. In all likelihood, these signs form a variant writing for the name of an Egyptian god-dess. The resulting syncretic combination is dis-cussed.

Scholars have read Tertullian of Carthage, especially his obsessions with Roman officials and juridical procedures, as a window into early Christian martyrological discourses and the concerns of real Christian communities. Conversely, this article argues that Tertullian is better understood as an unexceptional part of a larger cultural phenomenon of fantasies of Roman power and juridical scenes. The Roman Empire took hold in the minds of its provincial subjects through its curious combination of symbolic presence and concrete administrative absence. Various geographic and genre-specific examples suggest a prevalence of fantasy life around certain articulations of Roman power, as colonial subjects tried to make sense of intensified social change. Juridical scenes in particular promised truth, resolution, and clarity where there was little to be found. This article situates Tertullian within such social ambiguities, ones that defined life in Roman Carthage, and demonstrates that Tertullian's stark renditions of Roman authorities in confrontation with Christians are largely fabricated from literary sources. This context and Tertullian's writings paint a historical picture of the emergence of the term "Christian" (as epithet and then self-identification) as simply one concentrated instance of such fantasies and juridical attachments.

In this paper I scrutinize epithets and metaphors used for war in ancient Greek poetry up to the end of the fifth century. War may be spoken of directly and literally (πόλeμος) or in a religious and metonymical sense (Ἄρης, Ἐνυάλιος). I focus on all these ways of rendering it, while being aware of the fact that the latter prevail in poetry. My objective is to create a catalogue of expressions pertaining to the term ‘war’ in order to map the range and possibilities of language in this respect. Nonetheless this undertaking should not be taken as an attempt at comprehensive analysis of the discourse of war.

The article analyzes epithets as one of the aestheticization means of baroque text, used to characterize panegyrics addressee of the XVII century. The functional load of epithets and their main source have been found out. As most individuals to whom panegyrics are devoted had high church status and/or have expressed themselves in matters of faith and church support, the epithets of religious orientation prevail. A review of epithets compatibility is made, which is divided into direct and indirect according to the addressee. The epithets of direct compatibility are mainly correlated with the name of the addressee or his metaphorical characteristic. Indirect compatibility occurs when epithets do not form a phrase with the name of the addressee, but characterize its virtues on a semantic level. Also, an analysis scheme of epithets variable compatibility with the words in panegyrics of the XVII century is given. In accordance with the text-centric principle, the article presents the epithetical characteristics of specific addressees in comparison with other texts (panegyrics or sermons of the XVII century). The virtues of panegyric addressees, mainly clerics, were determined based on the analyzed text material (Mykhailo Rohoza, Yelysei Pletenetskyi, Petro Mohyla, Arsenii Zhelyborskyi, Petro Konashevych-Sahaidachnyi). The analysis of the epithets shows that the mental space of the Baroque conditioned the epithetical characteristics of the panegyric addressees of the ХVІІ century, emphasizing such constants as piety, the defense of faith, devotion to faith and a church, justice, patronage, mercy, leniency, strength of character, etc. Thus, the specificity of epithets in panegyrics is defined by the religious discourse of the Baroque times. Holy Scripture as a source of epithets guaranteed the authoritativeness of the characteristics attributed to the addressees of high church status (in panegyrics and sermons). Baroque innovations of epithets are in reinterpretation, creation of new meanings.

Aim of the article is the analysis of epithets in the poetic idiostyle of A. Tolstoy, the Russian poet of the 19 century. Methodology. The article deals with identifying the lexical-semantic originality and functioning of adjectives-epithets in the poet's lyrical discourse. Context analysis is the primary research method based on the semantic method. Results. Based on the results of the study, the author makes a conclusion about the variety of thematic groups of adjectives-epithets and the peculiarities of their semantics, their formation based on the direct and figurative lexical meanings of various adjective categories. Additional meanings, evaluative and connotative components in the meaning of epithets, individual-author epithets, their syntagmatics are revealed. All this emphasizes the originality of the author's picture of the world, the poetic consciousness of A. Tolstoy. Reserch implications. The analysis of epithets in Tolstoy's works allows a new way of looking at his poetry's semantic versatility and shows richness, diversity, and originality of his poetic language.

Este artigo pretende demonstrar como a figura do tirano Hierão de Siracusa é celebrada através da escolha de linguagem de Baquílides em seu Epinício 5. Apesar da notável obscuridade da ode em virtude da narrativa mítica e do pessimismo da gnṓmē, é possível notar os ecos da prosperidade, da vitalidade e da festividade que acompanham o momento da performance da canção e sua função primordial: o encômio. Valendo-se de epítetos originais, muitas vezes cromáticos, ou que denotem constantemente amplitude e movimento, observamos como o poeta transita nos limites da condição humana, retratando o auge da prosperidade para depois revelar os abismos da ruína.

The review considers A. Rudalyov’s book 4 Shots [ 4 vystrela ], devoted to the ‘new realism’, a trend in 2000s Russian literature, and more specifically, works of four ‘new realists’: Z. Prilepin, R. Senchin, S. Shargunov, and G. Sadulaev. The reviewer criticizes the author for an incomplete and biased presentation of ‘new realism’, which had been a focus of intense discussions among literary critics and scholars for over a decade. The same flaw blights the descriptions of the four chapters’ respective protagonists: Prilepin, Senchin, Shargunov, and Sadulaev. Rudalyov ended up writing a panegyric, albeit with very sparse language, mainly by repetition of flattering epithets from the press. He failed, however, to address the discussion of the ‘new realism’ by critics or supply a review of literary theoretical research on the subject. Therefore, the reviewer finds the book lacking in any historical-literary and philological value.

This paper examines one of the epithets throughout the texts of Edfu where adominating Horus of Behdety interacts with the forces of chaos as a lion bytrampling, retreating, smiting and devouring. The textual sources containlexical expressions of this epithet and provide the visual metaphors asdramatic scenes of the god's domination. Also they show Horus as theupholder of the legitimacy of the kingship and the defeater lion over anytransgressors. Furthermore he played a beneficent role toward the two landsof Egypt, his sacred mound, his chapel, his divine character and Osiris withIsis.

In his lengthy survey of the cosmic devastation wrought by Phaethon's disastrous chariot ride, Ovid includes two catalogues detailing the scorching of the world's mountains (Met. 2.217–26) and rivers (2.241–59). Ovid enlivens these lists through his usual play with sound patterns and revels in the opportunity to adapt so many Greek names to Latin prosody; for instance the opening line of the catalogue of mountains (ardet Athos Taurusque Cilix et Tmolus et Oete, 2.217) masterfully illustrates both of these features. The lists are also brimming with playful erudition. To take but a few examples: a dried-up Ida belies its standard epithet πολυπῖδαξ, ‘many-fountained’ (2.218); the sun's heat doubles the flames of volcanic Etna (2.220); burning Xanthus is destined to burn again (2.245; cf. Hom. Il. 21.330–82); and the famous gold-bearing sands of the Tagus are melting (2.251). These features not only ‘relieve monotony’; they warrant the catalogues’ inclusion in the category of Ovid's most entertaining.

The relevance of the problem is associated with the need to clarify the features of the creative method of G. R. Derzhavin. The novelty of the study is in the presentation of the colouristic polyphonism of Derzhavin’s poetics as a means of visualizing an artistic image. The article discusses the peculiarities of colour and black-and-white solutions of verbal portraits and landscapes in Derzhavin’s poetry, defines the technique for attracting pictorial elements into the poetics of the text, outlines a peculiar manner of Derzhavin’s vision related to the perception of the contemplated world as a picture. It is shown that Derzhavin, following his poetic doctrine that “poetry is speaking painting”, brings to the literature the techniques of visual art: the principle of color contrast, the reconstruction of a light-air perspective, the observance of the chosen colour palette. The article identifies the mechanisms of verbal colour transmission. It is proved that Derzhavin’s colour is represented in an abundance of semantic shades transmitted through complex colouristic epithets. Conclusions are drawn that, perceiving wildlife as an aesthetic object, Derzhavin represents the enormity of the universe in an abundance of variously coloured minute details. It is argued that the colours in Derzhavin’s poetry constitute a matrix of meanings. The dominance of the poetics of colour objectivity in Derzhavin’s work allows us to talk about colour realism as the basis of the poet’s artistic method.

Study of Christmas carols as an archaic ritual genre of Ukrainian folklore is an actual problem of modern linguistics. A comprehensive analysis of the attributive space of key images of a calendar ritual song, in particular sacred centers, will help reconstruct the mythological model of the Ukrainian world and allow the identification of fragments of folk culture that are present. The purpose of our exploration is to study the symbolic space of the sacred center of the carol songs, taking into account the semiosphere of the calendar holiday. The object of the research is the language of Ukrainian caroling texts. The subject is the semantic and functional features of the epithets on the designation of the mythological tree and the church in the Ukrainian carolytic texts. The tree is one of the main elements of the archaic picture of the world, embodying the spatial and temporal coordinates, symbolizing the structure of the universe. The mythological tree is denoted by a number of epithets that characterize it according to various parameters (height, latitude, diameter), indicate deep roots, crown delusion, flowering and simulate the triune vertical structure of the universe. Such definitions always have a symbolic meaning. It is determined that the image of the mythological tree is often transformed into an image of a church characterized by a greater structural variability. The image of the church is more representative of the higher space. It is proved that the symbolism of the images of the tree and the church is directly related to the semiosphere of Christmas and New Year holidays and the pragmatics of the genre, attributive space reflects the ancient mythological notions of the structure of the world. The proposed exploration outlines the prospects for further analysis of the peculiarities of the figurative system of calendar songs, taking into account the peculiarities of the mythological outlook and ritual contexts.

The functioning of a travelogue letter in Russian monastic literature is considered on the material of the spiritual epistolary heritage of Archimandrite Sergius (Stragorodsky). Analyzing the work “In the Far East (Letters of the Japanese Missionary)”, the author shows the features of thematic and ideological content, the elocutive organization of spiritual epistolary texts combining the traits of letter and travelogue. The work reveals the linguistic stylistic features of spiritual travelogue: its lexical and figuratively tropetic characteristic is given. It is shown that in the analyzed texts stylistically marked linguistic elements are used: words and superword units related to the “Orthodoxy” thematic sphere. It is established that the naming of persons associated with Christian religious activities, the names of liturgical objects, the names of Orthodox holidays become a stylistic marker of spiritual letters- travelogues. The author focuses on the intertextual connections of the work “In the Far East ...”, reveals the New Testament and prayer intertextems that contribute to the actualization of Christian meanings. It is revealed in the article that the tropetic features of the works studied are due to the use of metaphors, epithets, religious allusions; figurative peculiarities are due to the use of enumeration, question-response, repetitions with religionisms components. It is concluded that spiritual travelogues fit into the context of Russian monastic literature - a unique and unexplored phenomenon of national culture.

In theIliadthe Achaean ships play a prominent role in the narrative; they are foregrounded as Achilles sits by his vessels in anger and threatens to sail home; as the Trojans come close to burning them; and as Hector's body lies by Achilles’ ships until ransomed. Where not in the foreground, the ships remain a consistent background; without them the Achaeans would not have reached Troy; they are an essential component of the Greek encampment; and are the unrealized potential vehicle of the Achaean homecoming.

The article considers paremic allusions as units with rich cultural semantics, allowing to understand the information of cultural value provided in multicultural artistic discourse. It presents a detailed analysis of the examples of paremic allusions with the description of cases when allusion is combined with metaphor, simile, irony, sarcasm, epithet emphasizing expressive potential of allusive convergence.

The paper attempts to prove that Shevchenko’s remark in the story “A Walk with Pleasure and Not Without Some Moral” about the fourth bastion during the defense of Sevastopol in the Crimean War derives from the essay by Leo Tolstoy “Sevastopol in December”, as it has been already supposed earlier. The author of the paper focuses on Shevchenko’s awareness of the works by Tolstoy investigating if the Russian magazines in which the works of the Russian prose writer were printed belonged to the reading scope of the Ukrainian writer. As L. Khinkulov’s version saying that the publication of “The Tale of the Sorrow-Evil” in the journal “Sovremennik” (1856, No. 3) served as the source of Shevchenko’s series “Parable of the Prodigal Son” has been reasonably rejected, the Ukrainian poet’s awareness of the story by Tolstoy “Snowstorm” printed in the same issue may be considered only as hypothetical. Bolshakov's statement that Shevchenko, while writing the story, drew the material from the direct participants of the Crimean War is denied: when he met them in Astrakhan in 1857, the first version of the work had been already written. The publication of the essay by Tolstoy in the newspaper “Russkiy invalid” also could not be the source of the reminiscence, as it contained only the first part where the bastion was not discussed. The author of the paper comes to the conclusion that the epithet ‘strashnyi’ (‘terrible’), used twice in Shevchenko’s story (the second time – in the comparative degree) and at least 4 times in different forms in the essay by Tolstoy, is the key to connecting Shevchenko's phrase with the essay “Sevastopol in December”. According to the researcher, this word came into the poet’s mind while reading the essay in “Sovremennik” and association emerged when he mentioned the fourth bastion in his story. Shevchenko thus enriched his own narration with additional associations and semantic overtones, freeing himself from the need of using detailed descriptions and explanations.