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Introduction. The paper is devoted to the study of semantic innovations and peculiarities of the lexicographic interpretation of lexical units used to designate colors in Soviet times based on the analysis of the materials of the “Dictionary of the Ukrainian Language” in 11 volumes(1970–1980). The importance of this research is caused by the need of a thorough study of the influence of Soviet ideology on the semantics of words from various thematic groups, including those perceived as non-politically significant having initially neutral meanings.Purpose. The aim of the paper is to analyze the influence of Soviet ideology on the lexicographic description of the names of colors, to study the functional-semantic transformationsof the lexemes denoting the names of colors, that was induced by socio-political factors of the Soviet period.Methods. The investigation is grounded on the methods of descriptive and componential analysis, as well as contextual analysis.Results. It has been found out that the names of colors became ideologically connoted under the conditions of functioning in the Soviet totalitarian discourse. First of all, the changes were found in the semantics of archetypal color names such as red, white and black, as well as golden. Expansion of the compatibility of analyzed lexemes and formation of new figurative and symbolic meanings in them have been revealed. Changes in the antonymic relationshipsbetween the words used to designate colors as compared to their traditional semantic relationships in the national world view have been established.Analysis of vocabulary items aimed at revealing the semantic content of color names enabled to determine the lexicographic methods of their ideologization, namely, their use in the definitions and illustrative material of ideological-evaluative adjectives, pejorative components, illustrations from authoritative in the Soviet society sources characterized by an expressive valuation from the communist ideology point of view, use of contradistinction.Conclusion. Consequently, the names of colors in the Soviet period became the bearers of a distinct positive or negative valuation conditioned by ideological factors. They were verbal expressions of the value priorities of society and contributed significantly to the dissemination of mental stereotypes and the formation of the official linguistic picture of the world.

This article deals with the question of the diglossic code-switching in the Arabic spoken language and especially in learned discourses. I aim to explain the rhetorical inherent value in the diglossic code-switching in the Arabic spoken language and I will attempt to show through a series of examples drawn from an Aljazeera episode, how the juxtaposition of standard Arabic and colloquial Arabic can be a vehicle for messages that bear rhetorical / metaphorical values.

This paper examines the use of increments (Schegloff 1996, Ford et al. 2002) in naturally occurring Navajo discourse (conversation.) Navajo is a polysynthetic verb-final language belonging to the Athabascan family, spoken in the American Southwest. It finds that Navajo increments, specifically “glue-ons” (Couper-Kuhlen & Ono this volume) appear in the form of temporal or locative adverbial phrases as well as unattached NPs, as is the case in English and other languages. However, Navajo increments do not appear to serve two functions suggested by Ford et al.(2002) for increments in English: “pursuing uptake” in the case of lack of recipiency, and the indexing of a “stance display” toward the speaker’s own previous utterance. This is not surprising given other cultural differences in Athabaskan interaction which revolve around a value on individual autonomy, with important consequences for language use.

Wouter Schouten (1638-1704) is the well-known writer of Oost-Indische voyagie, published in 1676, where he relates in vivid detail his experiences as a chirurgijn (medical assistant) in VOC service from 1658 till 1665, during which years his inquisitive nature brought him to the Moluccas and Celebes, and the Indian subcontinent, including Arakan (Burma) and Ceylon. A number of times he miraculously survived—shipwrecks and war with European competitors or indigenous rulers made life a hazardous enterprise. However, his rock-solid Calvinist faith never left him, and God’s blessing was, according to Schouten, responsible for his survival and the VOC successes. Schouten must have intended to add a poem to each chapter of the printed text of his itinerary. This plan came to nought, but two versions of the 36 poems are preserved in Schouten’s handwriting in the Koninklijke Bibliotheek in The Hague. In a fine edition these are now published for the first time. In his often extensive poems Schouten summarizes the events related in the prose version, adding comments and professing his devoutness. He certainly harboured literary pretensions, was well aware of the literary conventions of the time and the greater value ascribed to poetry in comparison to prose. After a brief general introduction the poems are included, with a summary

The review article presents various views on the periodization of Russian literature in the 1920s and 1930s and provides arguments in favor of new, refined approaches to the boundaries of the period. Particularly noteworthy are the works of those authors who point to the need for an expanded understanding of the twenties. The concept of the Big Twenties is of particular value in connection with the centenary of the magazine Krasnaya Nov , which made a significant contribution to the literary process of that time.

The article is devoted to the analysis of the Semipalatinsk and Kuznetsk periods in the life and work of F.M. Dostoevsky. The purpose of the study is to reveal the Kazakh-Siberian periods in the fate of the Russian writer, their reflection in the letters and works of art by F.M. Dostoevsky. In the year of the 200th anniversary of the birth of the Russian writer, we cannot talk about the complete study of the indicated periods of the life of the prose writer, which, of course, to one degree or another, were reflected in his prose. This determines the degree of novelty of this article. Dostoevsky is dear to Kazakhstan. He not only served his exile, but also found a friend here, sincere and quivering - the historian, orientalist, ethnographer Ch. Valikhanov. The stories Uncle's Dream and The Village of Stepanchikovo and Its Inhabitant, the first chapters of Notes from the Dead House were written in Semipalatinsk. The story The village of Stepanchikovo and its inhabitants (1857-1859) has the author's clarification: From the notes of the unknown. Many works of fiction in world literature are the result of travel notes, diaries. Undoubtedly, the restoration of the history of the Kazakh-Siberian period of the life and work of F.M. Dostoevsky is of great value, because the greatest Russian writer experienced spiritual revival there, in Kazahstan. The works of F.M. Dostoevsky were included in the literature program of secondary schools in Kazakhstan, translated into Kazakh ( The Idiot, The Brothers Karamazov translated by N. Syzdykov). Dostoevsky scholars of Kazakhstan in the XXI century continue to study the writers works.

The Portuguese grammatical tradition generally assumes that -ecer is a suffix component characteristic of inchoative verbs, in other words, verbs that express the beginning of a state or process. In this article, we will seek to determine the extent to which this aspectual value of the verbs ending in -ecer is attested in both contemporary Portuguese and earlier stages of the language. For that purpose, we will analyse the meaning of five verbs ending in -ecer (adormecer ‘to fall asleep’, amanhecer ‘to dawn’, amarelecer ‘to yellow’, apodrecer ‘to rot’, endurecer ‘to harden’) along their diachronic path based on instances found in the CIPM - Corpus Informatizado do Portugues Medieval and lexicographic corpora published from the 16th century onwards. The available data allow us to conclude that as early as Ancient Portuguese, verbs ending in -ecer denote events that focus on the final stage of the change suffered by an entity, rather than expressing an event in its beginning.

Right from its foundation in 1540, the Society of Jesus recognised the value and role of visual description (ekphrasis) in the persuasive rhetoric of Jesuit missionary accounts. Over a century later, when Jesuit missions were to be found on all the inhabited continents of the world then known to Europeans, descriptions of the new-found lands were being read for the entertainment as well as the edification of their Old World audiences. The first official history of the Society's missions in the vernacular, the volumes authored by Daniello Bartoli (1608–1685), played an important role in communicating a sense of the distinctiveness of the order's global mission. Referred to by Giacomo Leopardi (1798–1837) as the ‘Dante of baroque prose’, Bartoli developed a particularly variegated and intensely visual idiom to meet the challenge of describing parts of the world which the majority of his readers, including himself, would never visit.

Professor of the Oriental Faculty of the Imperial University of St. Petersburg Vladimir F. Guirgass (1835–1887) is one of the founders of the Academic Arabic Studies in Russia and the first Russian Arabist of the European level. As a young man V. F. Guirgass carried out an extremely fruitful Academic journey to the Arab Orient, which was also eminent for him from the vie-point of areal studies. The results of this travelling experience produced a substantial effect upon the rest of the life of Guirgass as a scholar and as a professor. The legacy of Guirgass appears to be to a high degree fundamental. Among his exploits are educational supplies (on the Muslim Law and the Arabic Literature), readers for beginners in Arabic, as well as for advanced students (the latter is aimed at instructing future experts in divers genres of the Classical Arabic Literature) and the first Arabic-Russian Vocabulary, which still remains unique as a dictionary of the Classical Arabic in Russia. At the termination of his earthy life V. Guirgass prepared for the publication the text of a major classical Arabic Medieval work on History, that is Kitab al-Akhbar al-Tiwal (The Book of the Long Narrations) by al-Dinawari (9th c.). Some of the attainments carried out by V. Guirgass are shared by his disciple, who later was promoted to the membership of the Russian Imperial Academy of Sciences, V. R. Rosen (1849–1908). The two scholars were active at those times, when the essential Arabic sources, that they were anxious about, still remained unpublished in the form of manuscripts. All these items are under the discussion in the present article. In the course of the presentation, the Author analyses the works by Guirgass that became available to him for a study lake that. Special attention is paid to “The Sketch of the Arabic Literature” (1874), as there is a project of carrying out its new edition. The work is of a special importance, as it has been for a long time the only complete account of the Classical Arabic Literature in the Russian Language, aimed at the purposes of the Higher Education in the field of the Arabic Studies. While informing the present-day Arabists about the life and acts of a for-father of our contemporary Studies, the Author was striving to reveal their continual value for our profession.

Attention towards and interest in the genre of the tale began rather belatedly in Hungarian culture. The paper provides a concise overview of the history of assigning value to this narrative genre: how it transformed from a trivial genre of idle amusement of the uneducated people into a precious cultural item that is an essential part of national heritage being safeguarded and studied from a number of perspectives. Parallel with the rise of the genre, a decline of the earliest known tales has taken place due to certain authenticity criteria retrospectively applied by newly formed disciplines as well as the standardization and naturalization of a specific mode of narration.

El presente texto analiza un álbum fotográfico con un sentido religioso muy particular. A las fotografías contenidas en dicho conjunto se les atribuyó un sentido devocional en tanto que consisten en representaciones de José de León Toral —fanático católico que asesinó al presidente mexicano Álvaro Obregón en 1928—. De acuerdo con lo anterior, las fotografías son consideradas como reliquias por los creyentes, aspecto que nos permite cuestionar el valor de la fotografía como una extensión del cuerpo. El álbum no sólo reconstruye la memoria del personaje, sino que recupera la larga tradición de las vidas de los santos cristianos para presentarnos una vida modélica que, desde la materialidad del álbum y las fotografías, confecciona un cuerpo-objeto, el cual es posible considerar como una fotohagiografía de uno de los personajes más polémicos de la historia del siglo XX mexicano.

The Spanish benefactive verbal periphrasis dar ‘give’ + gerund is unique to the Spanish spoken in Ecuador and it seems to have emerged in the historical Ecuadorian context of multilingualism. The analysis presented sheds light to the intricacies of the construction, taking into consideration the inherent aspect of the gerundial verb. Oral data was collected during two months of participant observation in Ecuador. The aspectual theoretical analysis of Verkuyl (1993), González (2003) and González and Verkuyl (2017) is applied to the data in order to determine the inherent aspectual value of the gerundial verb in the predications. The results show that there is an overwhelming use of terminative predications. Additionally, some predications that prima facie seem durative can be interpreted as terminative. This finding can be partially explained by particular linguistic phenomena only appearing in the Spanish in contact with Kichwa. Moreover, this study adds empirical proof of how relevant discourse is in aspectual representations.

Te article provides a comprehensive culture-through-language analysis of the poetical cycle “Mexican Divertimento” by Joseph Brodsky. It describes the basic principles of its poems’ construction, their stylistic features, interconnections between them, as well as with further elements of the poet’s creative heritage and other authors’ works. Te author of the article analyzes the place and role of the IberoAmerican theme in Brodsky’s poetry, which has not previously been reflected in experts’ works. Brodsky’s reception of Mexican culture and history episodes from different periods demonstrates his deep knowledge of these issues, which before the trip to Mexico could hardly have been familiar to him. At the same time, the author of the article outlines a number of inaccuracies and errors in history, toponymy, onomastics and other areas, wondering about their intentional or accidental character. Based on the results of the analysis, the article concludes that the cycle under study, while remaining self-sufcient and self-valuable in form and content, organically fts into Brodsky’s stylistic and ideological paradigm of the 1970s-1980s. At the same time, the analyzed text not only has a high artistic value, but also in linguo-cultural terms reflects the peculiarities of Mexican culture, its history, as well as Russian-Mexican cultural ties.

The article studies the system of mythological names in I.A. Bunins poetic heritage. The relevance of the topic is due to the unexplored problems of word-formation motivation, semantics, structure, and the role of mythological names in I.A. Bunins prose and poetic texts. The aim of the paper is to analyze the connotative potential of different-structured mythological names which are significant for the artistic system of I.A. Bunin. The actual material of the study contains I.A. Bunins poetic texts written in 1888-1952. The main research methods are descriptive, etymological, contextual, semantic methods, and structural analysis. The inventory of more than 700 poetic contexts of I.A. Bunin made it possible to identify 152 mythological names from various sources. The selected units were systematized on four features: semantics, etymology, structure, and frequency of use. The analysis of the connotative potential of some simple, composite and complex mythological names allowed to come to the conclusion that they accumulate additional emotional-evaluative, symbolic meanings. New combinations of meanings, qualitative and quantitative changes in the connotative content of mythological names are provided by the individual authors reinterpretation of primary sources, the complexity of motivational relations between producing units and derivatives, and the semantic environment of a particular unit. Mythological names are associated with the key motifs, themes, ideas, and value oppositions of I.A. Bunins picture of the world. The study of the features of the system of I.A. Bunins mythological names with the tools of linguistics and literary studies, philosophy, and cultural studies is one of the undoubted prospects of research.

The article addresses several issues concerning a Japanese fan and the kimonos found in the collection of Ivan Skušek from Slovene Ethnographic Museum. They belonged to Ivan Skušek’s Japanese wife Marija Tsuneko Skušek, and were after her death donated to the museum together with other objects from the Skušek collection. With analysing these items and researching the life of Marija Tsuneko Skušek the article discusses the roles these objects had in transmitting Japanese culture to Slovene audience with a focus on the Japanese dances as one way of transmission. During her life in Ljubljana, Marija Skušek in one way adopted to the Slovene society very quickly, but on the other hand she presented Japanese culture and her identity in several lectures along with Japanese songs, dances and a tea ceremony. With researching the roles and values of these object in the museum collection, the article also discusses the importance of understanding not only the physical appearance of the items and their life, but also the wider background of items and collection, focusing also on the owner of these items in the relation to the collector. It is also important to stress how these objects transformed from daily objects of use to rarefied art after they were handed over to the museum, and within this process their value also changed.

The present article allows itself a slight transgression: to talk about drawings without showing them. It is proposed to show only one work, “Weekend House in Sao Paulo”, because through it, it is possible to infer the drawings that allowed us to think of it as a project. It is a kind of filter, a proof of the effective value of drawing applied to the project in its various forms and successive phases, that is, if in this “visit” to the work and its reasons the drawings do not emerge, it is because they were not necessary to the process. In the end, the drawings, those that really count for the process of project and work, remain printed in the work itself.

The purpose of this article is to compare the “heavenly” vocabulary used in the English and Russian texts of the same work in the conditions of the author's translation from the point of view of the writer's bilingualism and the problems of the theory and practice of translation. The main part of the article is a comparative analysis of the lists of lexemes of the "sky" cluster, selected from "Speak, Memory" and «Другие берега»; the study of the syntagmatic connections of sky/небо and their synonyms that characterize the sky in two cultural and linguistic codes of Nabokov, and a comparison of the source and translated contexts containing lexemes sky/небо. The scientific value of the work consists in the fact that the original lexicographic methods of the Kursk school of linguistic folklore study are applied to the proposed empirical material for the first time: the cluster approach, methods of concordance compression and application of dictionary entries. As a result, it is proved that when switching from English to Russian, V. Nabokov departs from his own principle of literal translation.

A postcard ‘craze’ engulfed the developed world and colonial world during the end of the nineteenth and the beginning of the twentieth century, when over 2.3 million picture postcards were mailed in 1904 alone. Formally published picture postcards can provide a rich source of information for heritage studies as they depict landscape scenery, towns, individual buildings and public plantings such as parks. The evidentiary value of late nineteenth and early twentieth century postcards depends on the veracity of the depicted image. While based on photographs, processes of postcard production allowed the publisher to modify the original imagery to improve the messaging entailed in the image. Modes of image manipulation, such as retouching, can sufficiently alter the content of the image to create limitations to using published postcard imagery as a tool for historic landscape and building analysis. This is the first paper to systematically discuss the process of postcard production and the manipulation of images depicted on the view size of picture postcards. It demonstrates that where evidentiary emphasis is placed on postcard images, it is imperative that a systematic search for variants is carried out.

As technical genres continue to grow and morph in promising new directions, we attempt an analysis of what are typically viewed as mundane genres. We use the term gray genres, which we find useful for interrogating texts that tend to fall in categories that tend toward a blandness that is invariably difficult to quantify. We use hedonism, along with a historical accounting for this value from its classical rhetorical lineage and run it up to contemporary applications. We posit that playful stylistic choices---while typically discouraged in more technical spaces---actually improves the rhetorical canon of delivery for informative documents. We close with case studies that offer close readings of a few attempts at employing hedonistic tactics within typical gray genres.

Las cómodas habaneras, clasificadas por la mayoría de los estudiosos como “cómodas de sacristía”, por su perfección y calidad, constituyen testimonio irrefutable de los valores alcanzados por el mueble cubano. Son representativas de los más significativos paradigmas de la cultura material cubana en particular y de la historia del arte cubano en general. El empleo de la caoba cubana en su elaboración, constituye la principal motivación en cuanto a la alta calidad de sus tallas y de su particular belleza. Fueron empleados otros materiales como la plata y el bronce para sus tiradores y bocallaves, así como el cedro en algunos interiores de sus cajones o gavetas. Clasificar estas cómodas a través de las comparaciones establecidas a partir de varios de los ejemplares estudiados y arrojar nuevas luces acerca de su alcance no sólo estético, sino también histórico dentro de la cultura cubana, es el principal objetivo de este trabajo.

La catedral de Guadix (Granada, España), es un magnifico edificio de gran valor histórico artístico, símbolo de identidad de esta ciudad y la joya de su patrimonio cultural. La historia de su construcción es compleja y estuvo marcada por diferentes circunstancias sociales, económicas y políticas que determinaron que se alargará en el tiempo, abarcando un arco cronológico que va desde el siglo XVI al XVIII. El objetivo de este artículo es acercarnos a la historia de este edificio mostrando los enigmas presentes en su construcción que a pesar de los numerosos trabajos de investigación publicados y la abundante documentación, aún en la actualidad están pendientes de resolver, así como las peculiaridades que hacen de ella una de las catedrales más bellas de patrimonio histórico artístico andaluz.

Oral and written traditions already existed a long time ago which are highlighted through various high value work. These works are processed as a medium to convey a words of advice, reprimand, satire and philosophy as a guide for the readers. The purpose of this study is to study the inquisitive semantics in strange conversational genre folklore. The objectives of this study are to identify utterances that display behaviors that were opposite to the norms of life and analyse the influence of culture and intelligence in folklore. This study is a qualitative study and an exploratory design by using a corpus data which is the Buku Antologi Enam Hikayat by choosing Hikayat Nakhoda Muda. The data were collected based on primary and secondary data and all the data were analysed based on three stages which is script semantics, resonans semantics and inquisitive semantics. Relevance Theory was used in this study. This study also includes the philosophy and intelligence of the previous society and the knowledge from other fields in order to get the concrete answer for every lexical that are used in the folklore. The results found that each lexical used in folklore has its own meaning and need to analyse by using inquisitive semantics analysis.

Based on a discussion of the relationship between history and archaeology, the author proposes a critical analysis of both written and material sources. All sources are considered textual and should be analysed (reread) on three levels: the conceptual, the intentional and the structural. In an example - an analysis of the meaning of the concept ’land'- the value of the analysis is shown to be the formation of a discursive and meaningful concept in an evolutionary and additive production of knowledge. Rereading ought to be the methodological approach of textual archaeology.

El canon androcéntrico en la Historia del Arte es analizado en este artículo, utilizando el ejemplo de la artista Sonia Terk, su relación con el también artista Robert Delaunay, así como su legado (escritos y obra plástica). Basado fundamentalmente en las fuentes primarias del diario de Sonia Terk Delaunay y en textos escritos por artistas y críticos del entorno, el texto adopta una perspectiva sistémica, desde los estudios sobre creatividad, la teoría del punto de vista feminista y el paradigma del reconocimiento de Nancy Fraser. Usando el estudio de caso de la vida de Sonia Terk, el artículo analiza los distintos estadios en la consecución del éxito y aceptación profesional de la artista. Este prestigio sera, sin embargo, eliminado tras su muerte, en aquellos textos y manuales al uso que recopilan los principales nombres de la historia del arte occidental. Aplicando el paradigma del reconocimiento, el artículo muestra el modo en que la historia canónica va disminuyendo el valor de las obras femeninas hasta reducirlas a anécdota, subrayando el carácter de dependencia, contingencia y subalteridad de las artistas.

In recent years, attempts have been made to unveil the role of women in the history of translation and have brought to light women’s contributions to translation, which had generally been overlooked in mainstream discourse on the history of translation. This study focuses on Zenobia Camprubí ’s (1887–1956) contribution to translation. Camprubí, the wife of the Spanish poet and Nobel laureate Juan Ramón Jiménez (1881–1958), translated literary and non-literary texts extensively from English into Spanish. In order to critically evaluate her impact as a translator, a thorough analysis is carried out, based on a mixed range of sources, such as newspapers, private correspondence, previous studies on Camprubí ’s work as a translator, and contemporary research on translation history. The results provide new insights regarding into the reception of Camprubí ’s translations at the time of publication (characterized by frequent comments with value judgments typically for women as well as unfounded questioning of her role as a translator), her unusual and distinctive (co-)translation method, and her presence in contemporary translation literature. Ultimately, this study reveals how, despite her undoubted commitment to translation, Camprubí never really stepped out of her husband’s shadow, which is, regrettably, the case of many other women translators.

This study aims to (1) describe the description of the legend of Buka Luwur the origins of Dukuh Pantaran, and (2) describe the potential of the legend of Buka Luwur the origins of Dukuh Pantaran as a medium for character education. This research is a qualitative descriptive study. The data in this study are words, phrases, clauses, and sentences that contain the value of character education in the legend of Buka Luwur the Origin of Dukuh Pantaran. Data sources consist of primary and secondary. Data collection techniques using observation, interview, recording, recording, and document analysis techniques. The data validation used source triangulation. Data analysis techniques with interactive models. The results of this research are (1) the legend of Buka Luwur The origin of the Pantaran Hamlet is a type of folklore legend because it tells the origin of the name Dukuh Pantaran; and (2) the legend of Buka Luwur the origins of Dukuh Pantaran contain fourteen values ​​of character education, namely: religious, honest, tolerance, discipline, hard work, creative, independent, curiosity, respect for achievement, friendly/communicative, love, peaceful, environmental care, social care, and responsibility. With these fourteen values, the legend of Buka Luwur the origins of Dukuh Pantaran has the potential as a character education medium that needs to be instilled in students.

The article is devoted to studies in the genre of the Christmas fairy tale, the «holiday story» as exemplified by a comparative analysis of individual works by the Ukrainian writers Zoya Vyshhorodska, Ivan Kernytsky and the classic of Croatian children’s literature Nada Ivelic. The study is aimed at analyzing the works of the Christmas cycle by the three original authors, viz. two writers of the Ukrainian diaspora – Zoya Vyshhorodska and Ivan Kernytsky – as well as the Croatian children’s author Nada Ivelic. The authors have in their oeuvre the same-titled works called «A Christmas Tale», differing much as to the contents, but, simultaneously, very close thematically. The research methodology is based on the involvement of comparative, intertextual, descriptive methods and that of analysis. Results. Based on the comparative analysis of works by the Ukrainian writers Zoya Vyshhorodska and Ivan Kernytsky, as well as the Croatian writer Nada Ivelic, the development of the genre of the Christmas fairy tale (holiday story) in Ukrainian and Croatian literature of the past century is studied and traced. Novelty of the research. The authoress offers a comparative literary research to study the genre of the Christmas fairy tale (holiday story) in Ukrainian and Croatian literature. Practical value. The works of the Ukrainian writers and the Croatian author, the classic of children’s literature, can be of interest to studies in university courses, viz. History of Literature, Children’s Literature. The comparative aspect of studying this problem can be used as illustrative material for different elective courses.

The questions of the content and genre poetics of the works of the Khabarovsk writers V. V. Sukachev (“At the hearth”) and T. I. Gladkikh (“Amur Cossacks Korenevs”) are considered. The relevance ofthe study is due to the value of the literary and regional studies material for the formation of a holistic picture of the national historical and literary process. The novelty of the research lies in the fact that the work of the named authors has practically not been studied, and their works, considered in the article, for the first time became the subject of literary study. Attention is paid to the themes and problems of the works that reveal the tragic events of the national history of the twentieth century: the deportation of the Russian (Crimean) Germans in 1941; post-revolutionary fate of the Amur Cossacks. The experience of analyzing the genre specificity of works connecting family chronicle, parable, fictionalized biography, memoirs is presented. Comparative analysis of the works made it possible to reveal the commonality of the organization of plot and compositional elements inherent in the genre of family chronicles. Particular attention was paid to the specificity of the author’s approach in the artistic processing of historical and biographical material (methods of aestheticization and fictionalization of documentary material, the embodiment of the author’s image, describing the fate of generations, creating the image of the “ancestor”, the use of symbolism). In the process of analysis, the idea was substantiated that the works have a pronounced value component, asserting the absolute value of the human person.

Across Aboriginal Australia, Aboriginal songs are often attributed to the spirit world rather than as compositions by the living. Deceased ancestors give songs to people and such a recipient is described as the %nder of a song. !is is particularly evident in ‘Puranguwana’ (‘Perishing in the Sun’), a song of the public ceremonial genre known by older men and women at Balgo and Bililuna communities in the south-east Kimberley in Western Australia. !e protagonist in the song is a Pintupi man called Yawalyurru Tjapangarti, who dies of thirst on Sturt Creek Station on Jaru country. !e %rst-person perspective in the lyrics is common in Aboriginal song, rendering the singers active participants in the event. !e words of the song are relatively easy to identify, which is consistent with the song’s purported recent origin. Yawalyurru is both the subject matter of the song and the song-maker. According to oral history, Yawalyurru’s spirit gave the song to the Jaru people before returning to its Pintupi country. ‘Puranguwana’ also resembles a song that was recorded at Balgo in 1981 by ethnomusicologist Richard Moyle. In 2019, Balgo residents were unfamiliar with the earlier recording and, on listening, regarded this as a di$erent song to ‘Puranguwana’. While not identical, an analysis and comparison of both their text and music suggests that the songs are cut from the same cloth. !is cloth re&ects the region’s multicultural history where both desert and Kimberley linguistic groups have co-resided since the 1930s. !e article aims to increase appreciation of the artistry of Aboriginal song, the complexity of its creation, and their value to Aboriginal history.

Este artículo esboza una lectura de Viagens na minha terra, del escritor portugués Almeida Garrett, centrada en la necesidad de una mirada crítica respecto a la situación portuguesa a mediados del siglo xix, en un contexto europeo de gran agitación política y desarrollo industrial. Esta lectura resalta la peculiaridad del viaje que da origen a la obra —es decir, un viaje al interior del territorio portugués que se presenta como una inversión de las narrativas nacionales tradicionales de viaje relacionadas con los descubrimientos y las expediciones ultramarinas—. Por otra parte, esta lectura atiende el valor simbólico de la ciudad visitada por el autor, Santarém, donde tiene lugar una visión del devenir nacional. A partir de esta visión, el autor señala un rumbo para el desarrollo del país y de sus autorrepresentaciones, entre las cuales se atraviesa el reconocimiento de que Portugal ha dejado de ocupar un lugar central en las dinámicas del mundo moderno y ha pasado a ocupar un lugar en la periferia, desde la cual habrá de esforzarse por construir una imagen de sí mismo, además de debatirse entre las representaciones tradicionales y una imagen de modernidad que será proyectada a la exterioridad, principalmente a través de la valoración de su patrimonio histórico y su sucesiva incorporación a una industria turística, aún en ciernes.

By bringing to the readers’ attention an unpublished Ottoman era document in Romanian, issued in 1861 in Rabrovo, a village in the Vidin region, back then under Ottoman rule, the article tries to shed light on the wider historical and sociolinguistic context of the Romanian-speaking population south of the Danube in the 19th century. The document is a donation-adoption act by which a Romanian man gives one of his sons for adoption to his brother, who does not have heirs. The document is handwritten in Romanian, using Cyrillic script, signed by the chorbaji, mayor and eight witnesses, and stamped by the Turkish administrator. Though very short, it reveals several important facts about the Romanian-speaking population in Ottoman Bulgaria and its origin, the language used in communication and writing, family relations, etc. Coming from a family archive, this document of great emotional value for its owner, has also undisputable linguistic and historical significance.

Not Only Bulla Gnieźnieńska. On the Importance of Zbylut’s Foundation Document (Issued in 1153) for Polish Historical and Linguistic Research. Part 1: Research Object The list of sources used in the research of the oldest period of development of the Polish language is very short. Only Bulla Gnieźnieńska exists in the common consciousness. Meanwhile, the foundation document issued in 1153 by knight Zbylut for the Cistercians in Łekno, called the Zbylut’s document, may be of value to historians of language for at least three reasons: first, it contains onomastic material from the mid-12th century; second, it is available in several versions (including two parallel originals from the mid-12th century and one copy from the end of the same century), which are fully legible and perfectly preserved; and third, it has been carefully studied by a few generations of historians who have carefully considered and resolved many issues related to the circumstances of creating the originals and the copies. The results of their research constitute an invaluable and basic context for historical and linguistic analyses. The aim of the article (the first one in a series) is to introduce the Zbylut’s document (its originals and copies) into the Polish historical-linguistic research, to verify and supplement the existing transliterations, to show the document as an object of studies, and to select historical information that may prove to be important from the historical-linguistic perspective. Further work is aimed at conducting historical-linguistic research on Polish language material, providing transcription (with linguistic justifications) of Polish words and formulating research perspectives. Further works are aimed at carrying out historical and linguistic analyses of Polish language materials, preparing transcriptions of Polish words with their justifications, and formulating research perspectives.

Within imagological approaches, paratexts can provide insights into how the Other of translated literature is presented to a new target audience. So, within a transnational context, such as Germany and Britain’s shared experience of the Second World War, can the source and target-culture paratexts invoke the same images? Through a case study of Er ist wieder da, a novel that satirises Germany’s relationship with its National Socialist past, and the British publication of the English translation Look Who’s Back, this article finds that while the novel’s humour is reframed by the British publisher, the novel’s controversial position within Germany’s Vergangenheitsbewältigung discourse remains intrinsic to the paratexts published in the British press. As such, this article demonstrates the transnational relevance of individual national characteristics to the paratextual framing of translated literature, the value of paratexts as objects of imagological study, and the methodological benefits of distinguishing between production- and reception-side paratexts.

The primary goal is to analyze the pragmatic value of lexemes marking names of animals and plants in Orhan Pamuk’s novel Kafamda Bir Tuhaflık. Besides, contrastive analysis was used to answer the question of whether lexemes marking names of animals and plants can have an identical pragmatic illocution in Turkish and Bosnian language. The initial language of the analysis is Turkish, which implies the fact that pragmatic functions of lexemes marking names of animals and plants in the Turkish language are compared to the translational equivalents in Bosnian. This is used to try to determine similarities and differences between the pragmatic values of names of animals and plants in two genetically and typologically different languages.

Svenn, a wild otter, has become an Instagram celebrity with over 140,000 followers around the world. Svenn has his own YouTube channel and Facebook page. Moreover, in December 2020, NRK, an influential Norwegian TV channel, released a series entitled “Oteren Svenn” (Svenn, the Otter), consisting of ten episodes. In addition to all of this, Svenn has his own picturebook for children, which is entitled Svenn the Otter and the Magic Rock (Villseth & Sletten, 2020). This article presents the picturebook and analyzes three of its significant spreads. The aim is to uncover aspects of the sociocultural context in which Svenn – along with other characters – is portrayed by images and verbal language in the book, and to provide a short discussion of how the book may be used in English Language Teaching (ELT). Our analysis builds on tools from multimodal text analysis (Kress & van Leeuwen, 2005; van Leeuwen, 2005) and Narrative Intelligence (Mateas & Senger, 2003). The analysis focuses on the significance of the picturebook to represent participants in actions, the relationship between the book’s participants and the reader, and the value of presenting images and verbal text together. Our analysis also touches on some implications for ELT, on the potential that visual literacy can have in language teaching.

The features of verbalization of the object of drinking in the artistic world of Alexander Grin are considered. The material for the research was the famous novels of the author “Scarlet Sails”, “The Golden Chain”, “Running on the Waves” and some stories. The novelty of the research is seen in the analysis of the individual author’s refraction of the wine drinking situation. Significant, from the point of view of the writer, aspects of the representation of this situation are highlighted. It is noted that the main dominant of the interpretation of the situation of wine drinking in the romantic works of Green is aesthetic. Particular attention is paid to the location of the wine, its “framing” in Bacchic descriptive contexts, in which the following elements are also significant: the golden-scarlet combination of the vessel and the contents, sophistication presented in the descriptions of the smallest details. It was revealed that the linguistic embodiment of such descriptions are epithets (qualitative and relative adjectives), comparative phrases and metaphors. It is shown that the aesthetic component is made up of visual (color), olfactory, tactile assessments, which together represent a feast, a celebration of life. When analyzing the axiological component in the representation of wine, it is noted that its value is determined by its “age”, which may correspond to the milestones of a person’s life or several generations.

This article presents a descriptive study of the English translations of the classic Chinese novel Jin Ping Mei in the context of the Anglo-American literary censorship of obscenity in the twentieth century. By scrutinizing the strategies employed in the English translations of Jin Ping Mei, this article uncovers the dynamic interactions between literary translation activities and the evolving socio-historical contexts in the target culture. The resurrection of the archaic source text, particularly its erotic component, in the Anglophone world in the twentieth century was based on the (re)discovery of its value in the contemporary target context. In the case of Jin Ping Mei, equivalence at the linguistic and textual levels was simply not a concern of the translators and publishers, who had to decide how they would deal with the social reality of literary censorship, by submissively conforming to its demands, or by creatively confronting them.

The article investigates the specifics of the musical and poetic consistent patterns of the ancient Ukrainian monody. An important role in the incarnation of the sacred meaning of the chants is played by a verbal-poetic text. Hence the need for a structural analysis, that combines the methodological achievements of literature and musicology. Integrated approach to the study of monody gives us the possibility to realize the value of the liturgical text and trace the logic of its musical development.KEY WORDS: monody, melodies, tune-intonation analysis, fret-board support, phoneme, phonemic analysis, support structure, popevka.

This paper proposes a parametric shape grammar for ancient Egyptian funerary monuments. The corpus of monuments includes ten rock-cut structures, duly documented. They exhibit different grades of completion and preservation and possess variant archaeological documentation. The generation of a design following the proposed grammar depends both on formal and functional aspects. Metadata indicates the evidential value and numerical occurrence of rules in the generation of designs. The developed grammar can be used to reconstruct unfinished tombs, extend an existing one, or generate new designs according to the rules. It denotes the linear and symmetric structure characteristic of the monuments and reflects the chronological sequence of construction. The proposed grammar encodes the typology of the studied monuments and suggests that ancient Egyptian architecture may have implied a clear set of canons that may be made explicit by developing additional grammars for other building types.

Agustín Espinosa es uno de los autores más importantes de las letras canarias. Escritor polifacético, es poco conocida su labor como recopilador de romances insulares. En este trabajo veremos cuál era el estado de la investigación del romancero canario a comienzos del siglo xx y valoraremos la aportación pionera del autor de Crimen a este campo. Para ello, revisaremos lo que otros investigadores como Maximiano Trapero o Diego Catalán han escrito sobre el tema y propondremos una nueva lectura del trabajo romancístico de Espinosa que parte de su contexto, es decir, una lectura que deriva de un momento en el que la literatura canaria se preocupaba por fundamentar su existencia uniendo tradición, insularidad y vanguardia. Agustín Espinosa is one of the most important authors of the Canary Islands. A multifaceted writer, his work as a compiler of island “romances” is little known. In this work we will see what was the status of the Canarian “romances” research at the beginning of the 20th century and we will value the pioneering contribution of the author of Crimen to this field. To do this, we will review what other researchers such as Maximiano Trapero or Diego Catalán have written on the subject and propose a new reading of Espinosa’s research that starts from its context, that is, a reading that derives from a time when literature of the Canary Islands was concerned with establishing its existence by uniting tradition, insularity and the avant-garde.

Renaissance scholars agreed that Virgil's canon included poems beyond the “Eclogues,” “Georgics,” and “Aeneid,” but the number of other authentic poems and their value were matters of debate. This article charts competing readings of the “Appendix Vergiliana” by Julius Caesar Scaliger and Joseph Justus Scaliger. Pseudo-Virgilian poems played a key role in J. C. Scaliger's “Poetices Libri Septem” (1561), providing a model of self-quotation and self-emulation for young poets to imitate. In a groundbreaking edition, J. J. Scaliger then discovers a neoteric, Catullan side to Virgil. Their influential readings of the “Appendix” offer radically revised conceptions of the Virgilian poetic career.

As a nationality without written language, the Qiang nationality had developed up to now with its own architectural characteristics, national culture and religious belief, which is of great research value . Because the Qiang people are located in a relatively closed area, so far they had been able to retain the original architectural features and show their unique architectural features, especially the symbolic symbols with national characteristics in architectural decoration, which express some specific meanings in the Qiang people’s architecture. The current research on the architecture of Muka Qiang is lack of the symbolism analysis of its architecture. The architectural decoration system of the Muka Qiang village was analyzed based on the theory of symbolism. This paper mainly takes the Muka Qiang village in Li County as an example, analyzes the architectural decoration system of the Muka Qiang village based on the theory of symbolism, include belief and symbolism meanings, and explores its value, including the inheritance of architectural skills and culture, in for the diversified development of China’s architectural culture.

Despite long lasting research on the new independent state period, the study on Soviet Ukrainian intellectuals’ activities, the Ukrainian histography has not developed unified methodological approaches. The same thing happened to Ukrainian intellectuals and historical proces in 1920s. The article analyses earlier unpublished sources of a Ukrainian writer, editor Oleksa Petrovych Varavva (Kobets). The Ukrainian intellectual environment of the Soviet Kharkiv is being analysed. The important figures and an atmosphere of Ukrainian renaissance is being described. The main source of the research became “The Materials to Correspondence Autobiography” of a writer and editor, published by his son Oleksandr Voronin. This exceptional source for Ukrainian researchers has not been published yet. We also use published earlier “Autobiography” of the writer dated 1929 and sent to literature specialist Mykola Plevako. Oleksa Varavva, being in the middle of literature and art life of Soviet Ukraine — in Kharkiv (lived in “Slovo” building), left us striking notes about the character of activities of humanitarian intellectuals as well as the atmosphere in which they were working. This includes the information about Mykola Khvyliovyi, Yurko Tiutiunnuk, Oleksandr Korniichuk and others. Well-known figures of Ukrainian culture of “red renaissance” are being easily traceable in his mail correspondence from immigration in the USA in circumstances unburdened by censorship and thus of more value for scientific research.

Corpus Linguistics has proved of great value as a methodological tool in shedding light on how discourse is constructed in different text types. This opening contribution to the special issue “Corpus-linguistic perspectives on textual variation” provides an account of some of the most common applications of Corpus Linguistics, describes some of the most widely used corpora, and pins down some of the most influential corpus-based research works. In so doing, we contextualise the contributions to this collection of articles. The main aim of this special issue is to showcase cutting-edge research on textual variation based on linguistic corpora, thus illustrating how Corpus Linguistics draws from but also feeds a multiplicity of linguistic branches, such as (Critical) Discourse Analysis, Register Studies, Historical Linguistics, and Dialectology.

Twelve phases of Baima Tibetan mask is the national first batch of national intangible cultural heritage, has high research and conservation value, this article from Baima Tibetan and religion, the relation of nature, life, an analysis of the symbolism, twelve-phase mask, to explore the twelve-phase under the mask of cultural symbolic meanings, namely respect religious symbol meaning of the deity, animal worship, hope peace symbol meaning of the human and nature, and yearning for a better life pursuit of symbolic meanings.

The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

The present study has been accomplished from the standpoint of the cognitive-discursive approach and is comparative by its nature. The material of the study includes Instagram publications of the Governor of Sverdlovsk Region E.V. Kuyvashev and the Governor of Chelyabinsk Region A.L. Texler for the period from March 2019 to February 2021. The cognitive-discursive analysis in its linguo-axiological version became the key research method used in the interpretation of the textual material. The comparative method, the method of statistical data processing, as well as the method of lexico-semantic, collocation and contextual analyses were used as accompanying and auxiliary research methods. The study has revealed that the space of regional identity is reproduced and constructed by the leaders of Sverdlovsk and Chelyabinsk Regions in a number of contexts containing various markers of identity, as well as means of expression of the author's (subjective) modality, projecting the value-based attitude of the subjects of discourse to the reproduced meanings and representations. The key markers of regional identity comprise axiologically marked toponyms and toponymic nominations — “Ural”, “ural'skiy”, “ural'tsy”, “Yuzhnyy Ural”, “yuzhnoural'tsy”, as well as “Ekaterinburg”, “Chelyabinsk”, “Tankograd”, “Magnitogorsk”, etc. Subjective modality is considered in the context of expression of the evaluative (valuebased) position of the subject of discourse and reveals itself in the system of means of evaluation and appeal to axiologically marked concepts and toponyms used by the politicians. In the process of analysis, the authors' thesis that the positioning of the region is based on the main identification markers of regional identity, which include the toponyms “Ural”, “Ekaterinburg”, “Chelyabinsk”, “Tankograd”, “Magnitogorsk” is confirmed.

This article is a follow-up to the one published by the author in 1994 under the title “Le musee des statues divines”. A few documents that had not been used then, along with literary texts, laws and inscriptions, make it now possible to clarify some points, for example the ambiguity of the legislation that states the conservation of the pagan artistic heritage and at times supports destructions and re-uses. Conversely, several epigraphical evidences, from Rome, Italy or Africa, show above all the scale of operations of transfer or restoration of statues, as sometimes the result of intentional or accidental destruction. Whereas these statues had lost their religious character, their artistic value appeared as an inescapable element of adornment and urban heritage, in Rome as well as in the cities of the Empire. The importance of the epigraphic dossier shows both that legislation prohibiting destruction of buildings and works of art was actually implemented, and that the civic ideal inherited from early Roman Empire lasted all the same for several centuries.

Shaanxi Opera is one of the oldest dramas of the Han nationality in China, and it is also included in the National Non-Material Cultural Heritage List. As a local culture, it is distinctive in the language features, and its lyrics are written in rhyme with the same number of characters in each line, which has strong value in translation research. Guided by conceptual metaphor theory, this paper analyzes the English translation of metaphor in the script of Women Generals of the Yangs from the aspects of structural metaphor, azimuth metaphor and ontological metaphor, in order to provide some reference and enlightenment for the translation of metaphor in Shaanxi Opera.

Summary In the first decades of the 20th century, fieldwork — collection of language data through direct interaction with a native speaker — was foundational to American linguistics. After a mid-century period of neglect, fieldwork has recently been revived as a means to address the increasing rate of language endangerment worldwide. Twenty-first century American fieldwork inherits some, but not all, of the traits of earlier fieldwork. This article examines the history of one controversial issue, whether a field worker should adopt a monolingual approach, learning and using the target language as a medium of exchange with native speakers, as opposed to relying on interpreters or a lingua franca. Although the monolingual approach is not widely practiced, modern proponents argue strongly for its value. The method has been popularized though ‘monolingual demonstrations’ to audiences of linguists, which, curiously, are not wholly consistent with the character of 21st-century fieldwork.