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Background. Studying and understanding stylistic devices, and, in particular, the epithet, is an integral part of the world linguistic picture. The epithet is inextricably linked with all literary works and is therefore a key part of any language. It reveals the attitude of native speakers to certain phenomena, which is manifested in the use of words stable for epithets. However, the lack of certainty in various aspects of the study of the epithet determines the need for its further study. The subject of the study is the linguistic and stylistic features of the epithet in English and Russian fairy tales. Purpose. The article identifies and compares the linguistic and stylistic features of epithets in the English and Russian fairy tales. Materials and methods: The material for the study comprises 150 epithets from the fairy tales of O. Wilde the fairy tales of M.E. Saltykov-Shchedrin. When analyzing the material, the following methods of linguistic analysis were used: semantic, stylistic, cultural, comparative and quantitative analysis, as well as the continuous sampling method. Results. As a result of a comparative study, identical and distinctive pecularities of epithets in two languages were identified. It was determined that the stylistic characteristics of epithets are largely similar, but it is emphasized that the English-language epithets are more unique and concise than Russian-language ones, which, in turn, are characterized by repetition and figurative meaning. In the English-language examples, there was greater neutrality and an emphasis on the positive and neutral qualities of the characters. Negative connotations were noted in the Russian-language epithets. Practical implications. The results of the study can be used in the study of the courses in stylistics, foreign literature, as well as in foreign language classes.

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ur study focuses on the cult of Apollo Didymeus in the Milesian colonies of the Propontis and the Euxine Pontus. The sanctuary at Didyma, a toponym of Carian origin, was one of the main centers of the cult of Apollo in Asia Minor. The cult of Apollo would have been established in Didyma sometime between the 11th and 8th centuries BC., during which Apollo would probably have adopted the Didymeus epiclesis, derived from the homonymous toponym. Beginning in the Archaic period, Milesian territory included the famous sanctuary of Apollo at Didyma, a settlement located 18 km south of Miletus. The importance of the sanctuary at Didyma resides in the major role it played in the colonization movement initiated by Miletus, around 700 BC, under the patronage of Apollo Didymeus. The name of Apollo from Didyma is associated with a multitude of epiclesis: Didymeus or occasionally Didymaios, Branchidai (Branchides, Branchiades, etc.), Branchios. Hekatos is one of the ancient cult epiclesis of Apollo the Didymean. The name Hekatos is used to denote the oracle god of Didyma. Apollo from Didyma is worshiped in the posture of Ἀρχηγέτης which means «founder». The term archegetes is synonymous with oïkistes and designates the leader of the colonists who is at the same time the founder of a colony. Archegetes also functions as Apollo’s cult epiclesis. Apollo Didymeus is worshiped with the epiclesis Προκαθηγεμών. This epithet characterizes Apollo of Didyma in his function as ruler, master and protective deity of the city. Apollo of Didyma is worshiped in the pose of Philesios / Philios which refers to the relationship between Apollo and Branchos, the founder of the oracle of Didyma. The bronze statue of Apollo of Didyma or Apollo Philesios, executed in the 6th century BC by the Peloponnesian sculptor Canachos of Sicyon, served as a cult image of Didyma until the Imperial era. The name of Apollo Didymeus appears on a bone plaque found at Berezan, dating from the third quarter of the 6th century BC. According to A. S. Rusjaeva and W. Burkert, the text of this inscription is a copy – probably private – of an oracle regarding the foundation of Olbia, issued by the sanctuary of Apollo Didymeus Milesius of Didyma. At Istros there is so far no definite evidence of the existence of the cult of Apollo Didymeus. And in the case of Apollonia Pontica it is expected that the oracle of Didyma played a special role in the foundation of the city. In this context, it is therefore plausible that the cult of Apollo Didymeus was transferred to Apollonia directly from Didyma. The very presence of the temple of Apollon Hégèmôn at Phasis is a direct testimony to the existence of the cult of Apollo Didymeus in this city, a cult that had been imported from the metropolis of Miletus. It is expected that this cult of Apollo Didymeus of Phasis was closely connected with the foundation of the colony in the first half of the 6th century BC. The Oracle of Apollo Didymeus sanctioned the founding of Cyzicus by Milesian colonists. In the Milesian colonies, as in Miletus, Apollo Didymeus fulfills the function of guarantor and initiator of the colonial movement and, at the same time, leader, master and protective deity of the newly established cities.

This article explores the use of rhetorical devices in the epic imagery of Yakutian epic poetry. The study focuses on the continuity of tropes such as epithet, hyperbole, simile, metaphor, and metonymy, drawing upon various recordings of Olonkho texts from different time periods. The main attention is given to tropes found in the earliest texts (1840-1860s), as this was a period of greatest diversity and variation in their usage. The author proposes a classification of tropes based on their period of usage and spread. It is noted that in the diachronic analysis, there is a demythologization of the image of the “milk lake” and an evolution of the artifact of the “bone bow”. The conclusion is drawn that by the mid-19th century, Yakutian epic art, with its already established regional traditions, possessed a highly developed arsenal of rhetorical devices for epic imagery. It is suggested that the peak of mutual influence among storytellers occurred during the heyday of gold mining in the Bodaiibo residence (1870-1900s), as many Olonkho performers have biographical data indicating their involvement in mining activities in Bodaiibo, where they would have encountered other prominent Olonkho performers. After this period, similarities in the use of tropes can be observed in Olonkho texts. The relevance of this research is driven by the increasing interest in contemporary Russian society towards the ethnocultural diversity and uniqueness of different peoples.

Данная статья посвящена изучению способов передачи эмоционально-экспрессивной информации при переводе с английского на русский язык. Объектом исследования являются эпитеты как средство передачи эмоционально-экспрессивной информации в переводном тексте. Особое значение отводится выявлению основных способов передачи экспрессивности оригинального текста в переводе для достижения его адекватности. В работе приводятся определения экспрессивности и эпитета, применяются методы компонентного и сравнительно-сопоставительного анализа для выявления общих и специфических черт эмоциональной лексики на языке оригинала и перевода. Новизна исследования заключается в выявлении ключевых способов передачи приемов создания экспрессивности текста оригинала в тексте перевода на материале коротких рассказов английской писательницы Дафны Дю Морье: «The Lordly Ones» (Красавцы), «Kiss me again, Stranger» (Поцелуй меня еще, незнакомец) и «The Alibi» (Алиби). Анализ эпитетов проводится с использованием классификации И.Р. Гальперина, основанной на принципах закрепленности-незакрепленности, семантики и морфолого-синтаксической структуры эпитетов в языке, а также с применением лексических трансформаций по классификации В.Н. Комиссарова. В результате исследования выявлена частотность трансформаций и сделан вывод о сложности и актуальности сохранения и передачи авторского смысла при переводе эпитетов.

According to Mallet's perspective, the crux of an editorial lies in its embodiment of the social, moral, or political stance of the publisher, acting on behalf of the newspaper, concerning specific issues. The author's standpoint on the subjects at hand must be lucidly evident, necessitating a firm position taken related to the problem under consideration. Although editorials commonly appear without individual attribution, the ethical and legal responsibility in such cases rests with the publication's editorial board. It remains pivotal that the editorial commentary remains distinctly separate from the news content. This study aims to elucidate the author's demeanor when composing an editorial, setting it apart from other genres within journalism where the journalist traditionally abstains from personal inclinations and focuses solely on presenting facts. Adjectives lend color and nuance to nomenclature; however, the application of adjectives that convey particular attitudes is primarily reserved for subjective texts, impressionistic depictions, commentaries, and narratives. Similar classifications extend to adverbs as well (L. Rugova & Bardh Rugova, 2015: 169). The theory (Witaker et al., 2004: 1010) referenced through Rugova (2009: 199) suggests a principle for written media - encompassing newspapers, broadcast outlets, and public relations - advocating for prudence in the use of adverbs and adjectives. Hence, we posit that within this chosen analytical framework, attribution will be abundant, yet the extent of usage will fluctuate amongst different authors. [ABSTRACT FROM AUTHOR]

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В статье рассматриваются особенности употребления средств художественной выразительности с эмоциональной коннотацией в художественном дискурсе Великобритании и Австрии первой четверти XX века. В качестве материала исследования были определены англоязычный роман «Узорный покров» Сомерсета Моэма и ряд новелл и рассказов австрийского писателя Артура Шницлера. Произведен лингвостилистический и интерпретативный анализ случаев эмотивных тропов. Выполнен количественный подсчет сравнений, конкретизирующих и оценочных эпитетов, метафор в рассматриваемом материале. Проведен сопоставительный анализ употребления указанных средств художественной выразительности. Выявлены количественные соотношения случаев употребления эмоционально-коннотированных тропов в контекстах рассматриваемых художественных произведений. В результате исследования было установлено, что эмоционально-окрашенные тропы в текстах изученных авторов функционируют как инструменты авторского нарратива и служат экспликации внутреннего мира персонажей.

In Afrikaans and other Germanic languages there is a subcategory of exocentric compounds that can be used evaluatively as personal names. The focus of this article is on such exocentric compounds that are used pejoratively as epithets (i.e., epithetic exocentric compounds (EECs)), and even more specifically on EECs that are based on one of two conceptual metonymies: BODY PART FOR PERSON (for example, skinder÷bek gossip÷mouth 'gossiper') and (PART OF) GARMENT FOR PERSON (for example, slaap÷kous sleep÷sock 'sleepy head'). These kinds of metonymic exocentric compounds are also sometimes referred to in the literature as bahuvrihi or possessive compounds (Booij, 2020). The article empirically examines the potential offensiveness of EECs. An online questionnaire with nine questions was filled out by 98 respondents, of which 92 respondents' responses were usable. In this questionnaire, respondents had to rank the items (words) from least offensive to most offensive. For each of the nine questions, the rankings were converted to numerical values, so that the median per word could be quantified as a relative offensiveness value. Next, a Friedman test was performed for each question, which showed that there were indeed statistically significant (p < 0.05) differences between the items in each question. To determine where exactly the differences lie (i.e., which word pairs' medians differ statistically significantly), Wilcoxon's signed-rank test was used, and the p-values were adjusted with the Bonferroni method (for adjusted *p-values). This information could then be used to accept or reject the null hypotheses. The first research question was: "Are metonymic EECs more or less offensive than semantically equivalent non-EECs?" The null hypothesis, which stated that there is no distinction to be made between the potential offensiveness of EECs and semantically equivalent non-EECs, could be rejected in a few cases (for example, that vet÷gat (fat÷hole 'fatso'), and dik÷gat (thick÷hole 'fatso') are more offensive than seekoei ('hippopotamus') and vark ('pig') (question 1), as well as dik÷sak (thick÷sack 'fatso') and vet÷sak (fat÷sack 'fatso'), versus dikk·erd (thick·NMLZ 'fatso') and vett·ie (fat·DIM 'fatso') (question 5). Nevertheless, there was not enough convincing evidence to be able to say with the necessary certainty that non-EECs are less offensive than EECs. One of the possible reasons for this is that non-EECs such as dwaas ('fool') and ghwar ('fool') also have other, additional, negative meaning elements than their EEC counterparts (dwaas÷kop foolish÷head 'fool', and dom÷kop stupid÷head 'fool'). Our conclusion is therefore that non-EECs ≈ EECs. The second research question was: "Are suffixoids that are references to body parts more or less offensive than suffixoids referring to articles of clothing?" To compare the potential offensiveness value of suffixoids, it was stated as a null hypothesis that there is no distinction to be made between suffixoids referring to body parts versus suffixoids referring to articles of clothing. Although we could here too not simply reject the null hypothesis, we could still order the investigated suffixoids on a spectrum of potential offensiveness, namely: ÷nose ≈ ÷trousers < ÷sack < ÷hole. [ABSTRACT FROM AUTHOR]

The article deals with the problematic and thematic projections of the work of Alexander Arapov (1959-2011), one of the most prominent representatives of modern Mordovian literature. The author focuses on the complex reality of Erzya-Russian poetic bilingualism, the study of which allows us to conclude that each of the languages has certain motive-figurative complexes, aesthetic ideas, ethno-psychological attitudes, linguo-poetic features, “voices” of traditions. So, the central place in the Russian-language poems of A.V. Arapova is occupied by existential-psychological motives, the “I”-subject analyzes the events of his life, gives them an assessment, while a negative emotional background prevails, a discrepancy between the desired and the actual is indicated. It is indicative that the theme of ethnic identity, almost obligatory for the national literature, is practically not revealed in the poems created in Russian, there are no examples of “connection” of the ethno-cultural component. One of the identified linguistic and poetic details is the representativeness of the infinitive writing. The Erzya texts analyzed by the author are far from social contexts, urban life, they have little reflection on the acutely experienced modernity. In the Erzya texts, landscape lyrics are dominant, the figurative and symbolic elements of the Mordovian ethnoculture are updated, the influence of national folklore is felt. The author’s desire for linguistic purism is noticeable in the poems in the Erzya language. Thus, it has been established that the reality of the Erzya-Russian poetic bilingualism of Alexander Arapov is not just two genetically different languages, but also two different artistic worldviews, the intersections between which are not so many.

The article deals with the peculiarities of epithets translation in the advertising texts for children’s goods which are determined by the necessity of correct manipulative intentional message rendering. Epithets are regarded by the authors of the article as actualizers of mass recipients’ manipulation targets which are used by text producers for necessary perlocutionary effect achieving. Human vital needs, some basic emotions and parental instinct are specified as basic mass recipients’ manipulation targets. The goal of the article is to reveal the main peculiarities of epithets translation in the advertising texts for children’s goods being the actualizers of certain manipulation targets. The article is relevant as studying of translation strategy of advertising texts from the point of view of their intentional equivalents on all the speech act levels is not widely studied yet. Background. Thorough level by level analysis of the manipulative speech acts of advertising texts is necessary for achieving equivalent and adequate variants of manipulative texts translations through revealing certain manipulation targets actualizers which are epithets. Purpose. Peculiarities of epithets translation in the texts of advertising goods for children are revealed and studied in the article. Epithets are regarded in the article as specific manipulation targets actualizers which function in the advertisements. Materials and methods. The material of the study is a bulk of the advertising texts for children’s goods which are posted on the official websites of these goods on the Internet. Intentional analysis and translation analysis of the text are used in the study. Results. As a result of the study the role of epithets as a significant means of actualizing certain mass recipient manipulation targets in the texts of advertising goods for children was proved. The results show that preservation of the translated advertising text content is achieved through using epithets which actualize the same targets of manipulation as in the original text: parental instinct, basic emotions and the anticipation of the social ideal realization. This preservation of intentional message in the texts under study becomes one of the main skills of a translator or interpreter. Practical implications. The results of the study can be used while teaching practice of translation in the universities and in the process of preparing recommendation on advertising texts translation.

This article is devoted to the study of the stylistic resources in literary discourses of the Austrian writer Stefan Zweig and the British writer William Somerset Maugham. The study is conducted on the material of the novel «Impatience of the Heart» (Ungeduld des Herzens), as well as on the material of the novel «The Painted Veil». The purpose of the work is achieved by applying a comprehensive method of comparative, interpretative and stylistic analysis. It is established that one of the most common approaches to the study of texts is a discursive approach. The essential components in this approach are such subjects as the author, the reader, as well as the text itself. A distinctive feature of the texts of literary discourse is the active use of means of stylistic expression and of other stylistically marked linguistic units. The article examines the usage features of metaphors, epithets, and comparisons from the standpoint of the discursive study of literary texts, as well as their functional specifics. A quantitative comparative analysis of the studied material is carried out. It is established that the means of literary expression in belles-lettres discourse realize the following functions: description of the internal and external portrait of the characters of the work, description of the actions of the characters, description of the plot events of the literary work, as well as detailing landscapes and various objects of the realities of the literary work. The analysis of the material showed that the literary discourse of the two authors under study has certain similarities and differences. Both in the text of the novel «Ungeduld des Herzens» and in the text of the novel «The Painted Veil», the most frequent function of stylistic devices was the function of portraying characters. The study showed that the quantitative ratio of stylistic devices among the authors is different: the most frequent means of expression in a German-language novel was an epithet, in an English-language novel – a comparison. The scientific novelty of the research consists in the study of the functional specificity of stylistic devices with the help of discursive study in a comparative aspect of different linguocultures. The prospect of the research is further consideration of the means of literary expression in literary texts of various genres in a comparative aspect.

В статье рассматривается вопрос о том, какие языковые средства используются при создании имиджа в логистической отрасли. Исследование проведено в русле формирующейся междисциплинарной отрасли знания – имиджелогии, стремительное развитие которой в значительной мере под влиянием расширяющихся межгосударственных социальных, политических и экономических отношений привело к появлению множества частных разновидностей имиджелогии, в числе которых – лингвоимиджелогия, использующая в качестве средства создания образа (имиджа) составные элементы национального языка.Целью проводимого анализа является исследование отбора языковых средств и способов их применения, использованных для конструирования положительного образа в английской и в русской языковых картин мира, связанных с понятием «воздушный пассажирский транспорт».Языковым материалом послужили текстовые контенты, представленные на русском сайте ПАО «Аэрофлот» и на англоязычном сайте авиакомпании British Airways.Результаты исследования средств говорят о том, что авиалинии заинтересованы в позиционировании своей компании как весьма успешной и очень надежной. Следовательно, отобранные языковые средства, выбор которых исходит из интенции имиджмейкеров, способны создать ожидаемый соответствующий положительный образ, воздействующий на сознание целевой аудитории.Изучение английского и русского сайтов с позиций сравнительно-сопоставительного метода позволило выявить, с одной стороны, определенные совпадения в использовании языковых средств при формировании имиджа международных транспортно-логистических компаний как прогрессивных, успешных и влиятельных авиалинии, с другой – и существенные различия, вытекающие из различий в менталитете, культуре и мировосприятии русских и британцев.Новизна проведенного исследования определяется выбором объекта и предмета анализа: вербализация компонентов логистической сферы в настоящее время изучена не в полной мере.Теоретическая значимость и практическая ценность полученных результатов определяется вкладом в развитие имиджелогии и ее частной подсистемы – лингвоимиджелогии.

Copyright of Bulletin of Botanical Research is the property of Bulletin of Botanical Research Editorial Department and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article summarizes studies identifying linguistic means of implementing manipulative influence in English fiction. The article discusses various scientific views on the essence and main characteristics of manipulation, the levels of analysis of linguistic means of manipulation, the methods of speech influence that are used in linguistic manipulation, and the types of manipulation. The authors consider linguostylistic means of manipulative influence. The article presents the results of an empirical study of linguistic means of manipulative influence at the lexical and syntactical levels as exemplified by the classic plays by B. Shaw. It is concluded that the above-mentioned verbal means are pragmatically conditioned and have a high manipulative potential. Having emotive and associative semantics, they attract the attention of the addressee, create positive imagery, and stimulate emotional-associative reactions. [ABSTRACT FROM AUTHOR]

Maqolada terminlarning epitet sifatida qo‘llanilishi xususida ilmiy fikrlar keltirilgan. She’riy asardan olingan misollar yordamida terminlarning epitet xosil qilishi lingvopoetik jihatdan tadqiq etilgan. Shuningdek, epitet orqali muallifning narsa-hodisalarni o‘ziga xos qiyoslash darajasi hamda tasvirlanayotgan voqelikka nisbatan munosabati namoyon bo‘ladi. Epitet murakkab tasvir vositasi sifatida o‘xshatish va metaforaga juda yaqin turadi. Shunga qaramay, o‘ziga xos belgi-xususiyatlariga ko‘ra ulardan farq qiladi.Epitet – sifatlashning bir turi. Ammo u doimiy sifatlashdan ekspressivligi, ko‘chma ma’noda ishlatilishi bilan farq qiladi. Epitet – poetik aniqlovchi. Epitetning oddiy aniqlovchidan yana bir farqi shundaki, u ayni paytda tasvirlanayotgan narsaning so‘zlovchi nuqtai nazaridan muhim hisoblangan tomonini ta’kidlab, bo‘rttirib ko‘rsatadi. Ayniqsa, she’riy asarlarda bu ko‘proq talab qilinadi. Chunki she’riy asarda prozaik asarga nisbatan so‘zning estetik va emosional ta’siri kuchliroq bo‘lishi kerak.O‘zbek tili lug‘at tarkibining ma’lum bir qismini tashkil etuvchi terminlar badiiy adabiyotda epitet sifatida qo‘llanar ekan, ma’lum narsa- hodisalarga xos xarakterli belgini emosional tarzda bo‘rttirishga xizmat qiladi. Maqoda filologiya,matematika va astronomiyaga oid ilmiy terminlarning epitet xosil qilishi tahlil qilingan, epitet badiiy tasvir vositasi sifatida nutq jarayonida til materialida bo‘lgan ichki imkoniyat asosida yuzaga keladi.

This article considers the phenomenon of emotional evaluation in sports media discourse, with a particular focus on its stylistic features in the English and Italian languages. The topic has received much attention recently due to the growing interest both in sports and in the ways emotional evaluation is expressed in different types of discourse. Our study is based on sports media texts published by 17 English newspapers and 11 Italian periodicals during the 2020 UEFA European Championship. Continuous sampling revealed 1444 cases of emotional evaluation expressed by means of epithets: 720 and 724 units in the English and Italian texts, respectively. A comparative survey of the language units selected as the ones expressing the subjective attitudes of the authors of the newspaper articles was conducted. The textual features of the newspaper articles were examined. The meaning of each unit and its most likely semantic interpretation were determined by the method of semantic analysis. The contextual use of the units was revealed by the method of contrastive stylistic analysis. The obtained results led to a number of generalizations. They demonstrated that epithets are widely used to express emotional evaluations and thus effectively influence interlocutors in sports media discourse. Furthermore, the comparative analysis showed that English and Italian linguistic cultures are generally similar in terms of expressing subjective evaluations, both positive and negative, which could indicate the universality of sports events coverage and commentary. Finally, we found that the models of emotional evaluation typical of sports discourse that are based on the use of epithets can be considered universal categories employed to describe other stylistic devices and tropes as well.

В статье рассматриваются особенности употребления средств художественной выразительности в литературе модернизма Австрии и Великобритании. В качестве материала исследования были определены немецкоязычный роман «Человек без свойств» Роберта Музиля и англоязычный роман «Улисс» Джеймса Джойса. Произведены лингвостилистический и интерпретативный анализ контекстов употребления некоторых тропов, количественный анализ метафор, сравнений и эпитетов в рассматриваемом материале, а также сопоставительный анализ их употребления в австрийском и британском художественном дискурсе эпохи модернизма. В результате исследования было установлено, что средства художественной выразительности функционируют в текстах модернистской литературы обеих лингвокультур вкупе с экспериментальными повествовательными техниками. Установлены основные функции употребления средств художественной выразительности в романах на немецком и английском языках. Выявлены сходства и различия в стилистике модернизма в художественном дискурсе Австрии и Великобритании начала XX века.

This paper investigates the less discussed null argument – the null clausal complement in Taiwan Southern Min (TSM). The discussion issues include the derivation, status, and replacement of null clausal complements in TSM. This paper applies four tests to prove that the null clausal complement in TSM is a type of deep anaphora, which has no internal structure and is not derived through deletion. Moreover, possessing features such as not being A-bound, and possibly being but not required to be A-bar-bound, the null clausal complement in TSM is argued to have the status of a null epithet. As null clausal complements are not allowed with all kinds of verbs, in some cases where clausal complements cannot be null, an obligatory pro-S an-ne ‘so’ is then required.

The article deals with the description of the specifi c features of attributive constructions (epithet complexes) in M. Tsvetaeva’s texts. The Collected Works of the poet, as well as the Dictionary of Poetic Language served as the material for this research. The purpose of the research was to establish the structural and semantic idiostyle features of constructions containing words of attributive semantics in the poet’s texts. The research establishes that in the M. Tsvetaeva’s idiostyle, characteristic phrases and attributes occupy one of the leading places; some semantic groups of epithets (color, emotional evaluation and some others) and concepts defi ned by words refl ect the conceptual poetic picture of the world. In the process of analyzing the linguistic material, consistent patterns were revealed in the compatibility of epithets and defi ned objects. The conclusion has been drawn on the predominance of occasional forms of epithets of anthropomorphic semantics as part of attributive constructions. The paper proves that the structural and semantic features of attributive constructions revealed during the analysis refl ect in M. Tsvetaeva’s texts the specifi c features of the poet’s worldview, built on emotionality, particular expressiveness. Such confi gurations of epithet complexes built on repetitions of epithets, their mirror semantic refl ection, phonetic similarity, are a striking feature of M. Tsvetaeva’s texts. It is noted that the investigation of the epithet complex as a semantic unity of the epithet and the defi ned word (the object of epithetation) is an important stage in the study of the poet’s idiolect. The conclusion is made about the necessity for further linguistic analysis of the corpus of epithets and attributive constructions in the M. Tsvetaeva’s texts in order to provide a multidimensional description of the linguistic specifi city of poet's idiostyle, which will serve as an indispensable contribution to the epithet theory and the study of Tsvetaeva`s oeuvre.

Introduction. Lamentations remain an enduring national treasure of the Mordovian ethnos. They do not only offer the richest cultural and historical information, but also represent a living existence of the past in modern times. Based on the research and the folklore material, it gives a generalized characteristic of poetic devices and visual and expressive means used in the texts of the lamentations of the funeral and memorial cycle of Mordva-Erzya. Materials and Methods. The study combines methods of description and comparative analysis. The basis of the empirical material was reliable folklore collections with exceptional historical, cultural and research value, borrowed from the oral and poetic creativity of the Mordovian people, the vocabulary of the Erzya language, traditions and rituals. Results and Discussion. Lamentations is the most important component of the verbal and musical codes of the funeral and memorial complex. The poetry of lamentation, which has preserved archaic features, gives the national culture a special charm, emphasizes its lively sound, primordial independence and originality. Lamentations are used to express grief at the loss of a beloved one, and they are characterized by a well-developed system of comparisons and metaphors that perform the functions of imagery and allegory. Special colorfulness, brightness and expressiveness in lamentations are given by the traditional techniques widely used in lamentations: appeals, comparisons, metaphors, artistic parallelisms and other visual and expressive means. Conclusion. The Mordovian religious tradition is rich in means of expression and poetic techniques, the functioning of which in the structure of folklore work gives its best samples a unique national flavor. The manner of performing lamentations has local traditions, lamentable melodies typical for a particular locality. The considered images, motives, appeals, comparisons, metaphors, personifications, contribute to understanding the depth of the spiritual world of the people, their worldview.

В данной статье рассматриваются лингвокультурологические особенности концепта «Мечта» в русской художественной картине мира. Основным материалом для анализа послужили поэтические произведения великого русского поэта А.С. Пушкина. Вышеназванный концепт был рассмотрен с позиций когнитивной лингвистики. В процессе исследования мы проанализировали художественный концепт через призму индивидуально-авторского восприятия и, на основе этих данных, провели параллель между индивидуально-авторскими и универсальными чертами концепта «Мечта». Актуальность выбранной темы заключается в определении места и роли концепта «Мечта» в русской художественной картине мира. Объектом исследования является определение роли лингвокультурного концепта «Мечта» в выбранных для анализа произведениях и на основе полученных результатов подведение итогов с помощью индуктивного метода. В данном исследовании применялись следующие методы: семантический анализ, сравнительный анализ, метод сплошной выборки. Практическая ценность заключается в том, что выводы, полученные в ходе данной работы, могут быть полезны для исследователей, работающих в следующих направлениях: когнитивная лингвистика, лингвокультурология, философия языка, теория языка и т.д. Результаты данной работы позволяют сделать вывод о том, что концепт «Мечта», наравне с такими концептами как «Любовь», «Небо», «Одиночество», «Смерть», является одним из ключевых художественных концептов русской культуры в целом и литературы в частности.

Based on the criticism of the translation of Constantine's Proglas, this study contains an argument advocating a new translation of the Old Slavonic fragment ï... ("ot ognja goreshtago"). When applying our proposal, taking into account the micro-stylistics, the semantics of the word combination with the lexeme fire will change thanks to the epithet from the simple semantics of the property of fire to an anthropologically relevant expression, naming the human condition, i.e. in the Slovak translation the whole expression will sound mučivého ohňa (tormenting fire). We identify the attribute in Old Slavic as a present active participle, which can be declined as an adjective. Such a translation is also supported by the relation of the expression with the verb ..., which occurs seven times in the paschal sermon of St. John Chrysostom. [ABSTRACT FROM AUTHOR]

This article is devoted to the study of epithets and their translation in fiction. It is vital to transfer epithets properly, preserving the function and intent realized by the author in the original text by using proper semantic parallels and ensuring pragmatic equivalence in the target language of translation. Stylistic adequacy in translation presupposes the choice of appropriate language units in the target text, requiring a pre-translation analysis of the literary traditions of the target culture. There can be no doubt that the realization of the function of impact which is dominant in verbal creativity must be provided by the implementation of the translation strategy of remetaphorization, though, depending on the norms of valency in the target language, the occurrences of some culturally-bound changes turn out to be inevitable in the translation process. The application of the linguo-stylistic method of analysis within the frame of the comparative approach allows to bring out the semantic, pragmatic, and stylistic nuances of the linguistic elements both in the source text and the target text. In the meantime, it underscores the predominance of the context which shapes those overtones to convey the specificities of the historical-cultural traditions reflected in the original text. [ABSTRACT FROM AUTHOR]

The paper discusses an official response provided by the spokesperson of the Romanian Orthodox Church (ROC), addressing previous criticism by a popular Romanian journalist of several statements by Patriarch Daniel, the head of the ROC. Taking its cue from previous research by van Dijk (1995), the paper examines the lexical choices in the representation of an outgroup in the text, which include the abundant use of derived words based on a rich range of negative prefixes, most of which are salient to Romanian speakers. Emphasizing the role played by these evaluative prefixes to create "epithets" which target the group represented as holding views different from those of the Romanian Orthodox Church, the paper argues that the text, which does not include direct insults, and which relies on "sarcastic irony" (Dynel 2016), emerges as an instance of covert hate speech. The paper goes on to discuss the role of Romanian dictionaries in identifying instances of "overt" and "covert" hate speech. [ABSTRACT FROM AUTHOR]

In 1997, the name Skermania piniformis (Blackall et al. 1989) comb. nov. was proposed by Chun et al. on transfer of the species Nocardia pinensis to the newly established genus Skermania as its type species. The appearance of the epithet in S. piniformis was quite different from that in its basonym N. pinensis. This could be seen, at first glance, as an unnecessary epithet change that may render S. piniformis and its generic name Skermania illegitimate according to the International Code of Nomenclature of Prokaryotes (ICNP). But in this paper, the author argues that for this particular case, ' pinensis ' and ' piniformis ' are better treated as different spellings of the same epithet. And if so, the change from ' pinensis ' to ' piniformis ' will not give rise to a case of illegitimacy under Rule 41a of the ICNP. Several possible counterarguments are discussed, which are shown to be based on a misinterpretation of the ICNP, particularly in relation to Rule 20a. As this is a non-trivial issue, the author requests a final decision by the Judicial Commission according to Rule 58 of the ICNP. An additional request for clarifying Rule 54 is also made.

Background. In the context of the Covid-19 pandemic, the pragmatic function of special customs publications is put forward in the first place, which consists in transmitting information about the activities of the customs in a crisis, new concepts within the framework of the crisis plan, models of perception of reality. To achieve this goal, all kinds of expressive means are used, including lexical ones. Purpose. The article deals with the lexical means used to increase the expressiveness of information transmitted in special texts and its impact on recipients in the pandemic. Materials and methods. The material for the research was two special issues of French customs publications: the magazine “Douane. Magazine” (No. 16), the press organ of the General Directorate of Customs and Indirect Duties of France and OMD Actualités (No. 92) (News of the World Customs Organization). The functional and semantic research method was used in the analysis of the material. Results. The results of the study showed metaphor, including verbalized metaphor, to be one of the main lexical means of expressiveness of industry texts during the pandemic. The epithets-adjectives enhanced the effect of the significance and transcendence of passing events is characterized with a high frequency of use. The important role of the verb in increasing the expressiveness of the text and the impact on the addressee, including even neutral verbs such as répondre, is noted due to the frequency of their use in various phraseological constructions. The study revealed that the authors of the texts prefer analytical constructions as more imaginative and to some extent metaphorized. Practical implications. The results of the study can be used in compiling a corpus of expressive vocabulary when teaching students French in the specialty “Customs”.

В статье в рамках антропологической парадигмы современного отечественного языкознания представлен анализ женских образов в произведениях выдающейся хантыйской поэтессы М. К. Вагатовой. Типология женских образов в хантыйской литературе весьма разнообразна и многопланова. Цель данной работы – выявить своеобразие женских образов., представленных в авторских сказках. Задачи исследования – представить классификацию и описать особенности языковой репрезентации выделенных женских образов на разных уровнях языка. Предлагаемый материал и результаты анализа могут быть использованы в лингвокультурологических исследованиях, работах по антропоцентристской семантике, а также в проектах по изучению особенностей идиостиля писателя.

Introduction. In the system of artistic and visual means, the epithet occupies one of the important places. To create a heroic image, the narrator uses epithets that characterize the status of the hero, age and heroic merits of the heroes. Goal and tasks. The purpose of the article is to study artistic-identifying combinations - epithets in the recordings of the song “Shara Gyurgyu” at different times, to identify their preservation and change over time. To achieve the goal, the following tasks were solved: epithets were identified in three different-temporal texts of the song “Shara Gyurgyu” (1862, 1970, 1971), a comparative analysis of artistic-identifying combinations in the texts of different dzhangarchi was carried out. Method. To study the poetical and stylistic texture, we applied the comparative method. The material of the research was records of different times: 1) “The Song about how the famous Ulan Shovshur of the mangas khan of the Ferocious Shara Gyurgyu reproached the Maloderbet cycle of 1862; 2) an audio recording of “Songs about the duel of a lion [-the hero] Ulan Khongor the Beautiful with the Ferocious Shara Gyurgyu” by Jangarchi Telty Lidzhiev 1970; 3) audio recording of “Song of Shara Gyurgyu” by jangarchi Mikhail Mandzhiev 1971. Results. The study of epithets in recordings of the song “Shara Gyurgyu” at different times showed that over more than a century that has passed since the first recording, the epic text in its artistic embodiment has undergone changes. The song “Shara Gyurgyu” of the Maloderbet cycle of 1862 is distinguished by an abundance of epithets, while in the recordings of the late tradition of the epic, there is a transformation of the artistic level of the text. Storytellers Teltya Lidzhiev and Mikhail Mandzhiev adhere to the main plot structure in the process of performance, without sharpening attention to poetic tropes. Observations of the texts of different storytellers at different times show that Dzhangarchi, having a wider epic knowledge, performs the song in accordance with the criteria of fidelity of reproduction, following the tradition of the epic school to which he belonged. A comparative analysis of recordings of the song “Shara Gyurgyu” at different times allowed us to identify constant units at the level of textual embodiment, which accumulate the poetical and stylistic basis of the epic narrative and mark the key links of the epic narration of the Kalmyk heroic epic “Dzhangar”.

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.

This article focuses on the linguistic-rhetorical phenomenon massively present in medieval Arabic poetry, which consists in obliterating a noun to replace it with an epithet. After analysing such a theoretical discourse of the medieval tradition, dealing with this process called ṣifa li-mawṣūf maḥḏūf , the article examines the links that it has with what this same tradition calls abyāt al-maʿānī , those abstruse verses that cannot be understood immediately and require interpretation. Then, with a view to apprehending the specificity of this phenomenon of the obliteration of the noun and accounting for the privilege conferred on it by its remarkable recurrence in poetic discourse, the article attempts to situate it in the more general framework of the ilġāz. To this end, it interrogates some ḫabar s reported by Abū l-Faraǧ al-Iṣfahānī in the Kitāb al-Aġānī (The Book of Songs), which testify to the fact that the obliteration of the noun constitutes a decisive factor among those that allow a line of poetry to be used as a riddle or puzzle, in a kind of game or test in which it is submitted to the knowledge and sagacity of one or more people, in order to test their competence in poetry. The hypothesis guiding this work is the following: the remarkable frequency of the obliteration of the mawṣūf in the medieval Arabic would testify that poetry is conceived as a discourse in which the speaker avoids naming, and avoids mentioning the name of what he is talking about, in order to entrust the mention of it to the addressee (listener or reader). Such is the essentially sibylline dimension of poetic speech. Without always or even often presenting itself as an enigma, this speech is nevertheless structured as an enigma. [ABSTRACT FROM AUTHOR]

It is common knowledge that reading literature in the proper sense of the word is rather difficult as it presupposes the ability of the reader not to confine one's perception to what can be seen on the surface of the text only. The reader's ability to go deep into the text and reveal the intention of the writer is of prime importance. Many prominent philologists in different countries have referred to this question, and their investigations have established that the real understanding of a piece of verbal creativity is a step by step process and can be achieved only gradually. This, in fact, is the underlying methodological basis of the present research which aims at studying the use of epithets in O. Henry's short stories and their role in the linguopoetic organization of the stories. Of particular investigative interest have turned out to be The Last Leaf and The Gift of Magi. [ABSTRACT FROM AUTHOR]

The subject of the article is the study of the epithet in part of the Bulgarian poetry. The purpose of the work is to determine the predominant types of epithets from the Renaissance to the Symbolists. In accordance with a basic division of epithets as traditional and deviant, an attempt has been made to see the predominant types of epithets. It turns out that objective, non-individualizing epithets predominate next to symbolists. The work is saturated with sufficient source material. [ABSTRACT FROM AUTHOR]

Данная статья посвящена лингвистическому анализу и интерпретации понятия «лес» в русских и немецких сказках. В фокусе внимания находятся народные сказки. Целью данного исследования было установить сходство и различие в восприятии сказочного леса в разных языковых картинах мира, а также определить его лингвопрагматическую функцию в сюжете сказки. Методом сплошной выборки были зафиксированы примеры, выделены лингвистические средства, например, эпитеты, помогающие понять и передать восприятие леса в различных народных сказках. В статье также рассматриваются разные интерпретации символического значения слова «лес», анализируются символические значения некоторых деревьев, например, дуба, который часто упоминается в русских и немецких сказках, например, в русской сказке «Царевна-лягушка», где сундук находится на высоком дубе.

The article considers the image word хмара which is among the important constituents of Ukrainian linguocultural space; the peculiarities of its semantic content are defined, the specific character of the way the mythological implications are expressed in various folk literature genres is outlined. Special attention is paid to the nominative polyphony of the concept ʻхмараʼ (literary ‘cloud’), to the existing variations in the naming units and to image representations. In the national linguistic worldview, there are numerous common-language naming units with the meaning ‘cloud’, which accentuate the specific character of the visual perception of the named phenomena. Very diversified evaluative characteristics of the analised image serve as markers of the linguocultural significance of the semantics of the word хмара. Among the secondary nomination units that denote cloud, attention should be paid to the zoomorphic images which are closely connected with the myths that are fundamental to archaic cultures and are condensedly represented in the mythologems of the sky serpent, sky cow and sky horses. The value significant opposition of the black and white clouds that is realised in the stereotypical folk images of horses is singled out. Folk texts register the historic dynamics of the mythological characters connected with cloud (serpent → witch). The extensive nominative field of the cloud denotatum registers the rootedness of the anylysed phenomenon in the folk culture and literature. The functional specialization of the image word хмара in the texts of incantations, folk fairy tales and lyrical songs is analysed. The evaluative ambivalence of cloud is emphasized. The paradigm of poetic use of the image word хмара in folk poetic texts and texts of fiction shows the peculiarities of the development of its evaluative semantics towards detailed representation of mental states, emotions. The derivational nest with the root -хмар‑ is given, its denotative versatility is pointed out.

The article is devoted to the study of the epithets used by the modern German writer Siegfried Lenz to build a storyline and create images of his characters in the story “Der große Wildenberg”, which reveals social problems, disappointments, worries and fears of an ordinary person waiting for a meeting with a high-ranking person. The novelty of the research is seen in the fact that the epithets that serve as a means of realizing the artistic space, determining the place in it and forming ideas about the main character — as stated in the title “the great Wildenberg” is analyzed and de-scribed with special attention in this work. It is shown how, throughout the story, with the help of characterizing words, the authority, greatness and power of Wildenberg are generated, maintained and at the end unexpectedly collapsed, which deceives the reader’s expectations. Relevance is associated with the identification of functional and structural features of the epithets available in the work. The following types of qualifying lexemes were found: pictorial and emotional epithets; epithets with direct meaning and tropical; evaluative and psychological epithets; simple and extended epithets; free and included in phraseological units epithets; common language epithets.

This article focuses on the peculiarities of emotional and expressive aspects of the regional media vocabulary (Ulyanovsk region newsportals). The authors analyzed publications from the leading sites of Ulyanovsk newsportals – ulpravda.ru, ulgrad.ru, ultoday73.ru, and ulpressa.ru from July 2020 to January 2021. The authors examined the regional broadcasting language, characteristics of printed media and lexical connotation of provincial publications. To study the emotional and expressive peculiarities of the regional newspapers, we analyzed about 100 pages of various newspaper articles (180,000 printed characters with spaces). The conducted content analysis revealed five basic types of vocabulary with emotional and expressive coloring. The results of the analysis showed the dominance of metaphors, epithets, phraseological units, personification, and allusion. According to quantitative estimation, the most widely-used group of vocabulary with emotional and expressive connotation are epithets (250 lexical units). It proves that epithets still remain the leading linguistic tool to express emotions. Within the group of metaphors most lexical units were connected to the forthcoming New Year. Phraseological unit are also widely-spread in regional news portals, as they underline brightness and expressiveness of the language and contribute to its expressiveness. Personification and allusion are used less often. The most examples of allusion refer the readers to the Bible.

This paper considers the nature of time and temporality in Homer. It argues that any exploration of narrative and time must, as its central tenet, take into account the irreducible plurality and interconnectedness of memory, the event, and experienced time. Drawing on notions of complexity, emergence, and stochastic behavior in science as well as phenomenological traditions in the discussion and analysis of time, temporality, and change, and offering extensive readings of Homer, of Homeric epithets and formulae, and of key passages in the Iliad and Odyssey, the paper argues against chronological notions of linear ("numbered") time and progression and in favor of a complex, dynamic temporal "geometries" of Homeric temporality. The paper concludes by briefly extending the argument to the wider domain of ancient time in general. Homer is a fundamental point of reference in the ancient world. Thus, Homeric temporality--irreducibly complex--affects the cognition and perception of time throughout the whole of antiquity. [ABSTRACT FROM AUTHOR]

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Based on the materials o f the works of the Belarusian writer Vladimir Korotkevich and their translauons into Russian, the problems of linguistic organization o f tropes are consiucred, their generating features o f the idiostyle and creative manner o f mastering words are defined, < ..nilarities and dilferences in national stylistic Systems of the Russian and Belarusian languages are presented, and the categorical character o f trope implicitness is revealed.

The article is devoted to the study of evaluative lexis used by the English-language mass media, The Economist journal in particular, while creating a figurative portrait of Russian President V. Putin. While the investigation, typical evaluative situations in which President of Russia is presented, were revealed as well as the relevant qualities of V. Putin, highlighted in the English-language mass media and forming his figurative portrait, were identified. Four thematic groups BELLIGERENT AND DANGEROUS, LEADER OF A WEAK COUNTRY, WEAK BUT PRETENDS TO BE STRONG, and CUNNING AND DECEIVING were formed. Nicknames given to Putin by the English-language mass media mostly have negative evaluative connotations or ironical implication. Nickname periphrasis both rational and figurative ones hyperbolize the traits of the figurative portrait of Russian President.

In this article, the author addresses the issue of nomenclatural illegitimacy of Paenimyroides aquimaris (García-López et al . 2020) Zhang et al . 2023. This name was formed without re-establishment of the earlier legitimate epithet marinum and should be considered to be illegitimate according to Rule 41a. As required by Rule 54, the author proposes Paenimyroides marinum (Song et al . 2013) as a new combination to replace the illegitimate name Paenimyroides aquimaris .

The elite group of Indian English Poetry today congregates into a house where there is an excess of precariously good-humored diversity addressing on or after a peer pedestal the chronicles of an exceptional unity. The multiplicity explicit in the craftsmanship of creative potentates likewise is inimitably one of its own kind. The rhythmic patterns also appear to boost up larger than life profiles. Verbal skill and phraseology ebbs and flows as per native milieu. Indigenous ecology and strong sense of cultural/traditional ethos appear in a flux. However, everywhere and in everybody the theme of national integration appears affably lofty in spite of being cantankerous. Anil K. Sharma based at Chandigarh eruditely edits (Now no more with us) CONTEMPORARY VIBES, a quarterly devoted to literary pursuits besides being a well-known poet, critic and author of genuine-feelings. That is why his poetry is a greater challenge to contemporary peers, scholars, poets and avid readers of our post-millennium era bubbling in multi-media and globalization. The linguistic, social, political, economic and environmental aspects along with other salient features find a leading place in this study. The democratic, philanthropic and humanitarian standpoints are amply discussed alongside the lines cited from the poems. Above all what enhances the dignity of his poised and self-assured poetic output is the incorporation of great souls and creative visionaries of India whose ever-widening mystique, charismatic imagination and forethoughts have not only inspired the contemporary humanity but also will continue to do so in the days yet to dawn. Thus his poetry creates a revolutionary stream that flows gracefully to sanitize our age-old edifice of ritualistic and sacramental settlement historically known as Bharat, Hindustan or India. Alas! this affectionate soul of exceptional caliber untimely bereaved and left us bewailed on 15 October 2021, just a day before Vijayadasami, all of a sudden, unexpectedly to meet his sad demise. A true pilgrimage to heavenly abode! Adieu to dear departed poet [ABSTRACT FROM AUTHOR]

On the 211-212 coinage from the Thracian peregrine city of Topeiros, the city-title featured the Trajanic nomen gentilicum Οὐλπία. This offers an opportunity to study the reasons behind this practice in Thrace as Topeiros had obtained municipal status long before the Trajan's times. The inquiry leads to the conclusion that it is linked to the imperial visit of Caracalla and Julia Domna, also involving local propaganda advertise restoration of lands which had been incorporated into the city's territory during the reign of Trajan. [ABSTRACT FROM AUTHOR]

The disparate and fragmentary states of Cyclic poems make quantitative studies of their features impossible. However, qualitative methods exist for comparing the mobility of their formular language to that of known oral-derived epic. The common noun-epithet formulaic expressions in surviving fragments of the Cyclic Thebaid , when they do not appear verbatim in Homeric poetry, only vary along lines well-established in early epic tradition, not in other ways. This suggests a position for the Thebaid within the development of epic relatively close to that of the Homeric poems and not from a later stage either of literacy or of self-consciously archaizing orality. [ABSTRACT FROM AUTHOR]

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.

This article deals with the interpretation of an ideographically written epithet of Anubis and its possible phonetic transliteration and reading. The list of epithets of Anubis occurs in the inner inscriptions of the ancient Egyptian coffin of Merneby in Bratislava. They were written on the bottom of the coffin lid as well as the coffin trough. In regard to the specific role of Anubis in ancient Egyptian religion it is argued that the epithet in question, partly written in an abbreviated ideographical form, may identify Anubis as a lord (nb) of the divine sancturary or shrine (STyt or kAr), purification tent (ibw), burial (krst), coffin (qrsw) or chest (hn). [ABSTRACT FROM AUTHOR]