Alfred Nobel University Journal of Philology

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Translation-Oriented Metaterminography as a Scientific Field: Theory, Methodology, Practice
(Alfred Nobel University, 2025-12-02) Mykhailo A. Saiko; Oksana I. Nika
The increasing complexity of specialized knowledge and the need for effective intercultural professional communication have intensified interest in the theoretical foundations of terminography. However, the lack of systematic research in dictionary studies has highlighted the need to explore metaterminography, particularly in its translation-focused dimension. This study postulates translationoriented metaterminography as a specialized theory within metaterminography, as well as a convergent research field that synthesizes theoretical and applied principles from terminology and translation studies. The combined findings establish the theoretical foundations for systematic research of specialized translation dictionaries and their optimization for translation activities. The aim of this research is to determine the fundamental principles of translation-oriented metaterminography, specifically focusing on the German-Ukrainian language pair, with particular emphasis on its critical importance in the context of national interests. This investigation adopts a systemic-instrumental paradigm, integrating general and special theories of terminology-related studies. The research is based on a descriptive-quantitative approach, employing analysis and synthesis to identify and consolidate foundations and perspectives of translation-oriented metaterminography, analogy to distinguish its subject domains, systematization and classification procedures for bibliographic compilation, and inductive-deductive methods for theoretical generalizations. The study has defined the object, subject, tasks, and positions of translation-oriented metaterminography, established its conceptual and terminological apparatus, and developed a methodological coordinate system for empirical research. A comprehensive bibliographic index of 120 German-Ukrainian terminographic sources has been compiled, providing substantial empirical material for future translation-oriented metaterminographic studies. The present analysis has also demonstrated the relevance of extrapolating the methodological coordinate system of translation studies to metaterminographic research. This coordinate system is built on the principle of hierarchy and includes six core components: (1) orientation, (2) paradigm, (3) theory, (4) design, (5) data collection methods and procedures, and (6) data analysis methods and procedures. The main design parameters include: (1) hypothesis, (2) conditions, (3) approach, and (4) type of research. The article proposes the most comprehensive classification of data collection and analysis methods and procedures to date. The applicability of the proposed coordinate system has been confirmed through empirical testing. Consequently, translation-oriented metaterminography emerges as a convergent scientific field that integrates theoretical and practical foundations of terminology-related studies to evaluate and optimize the quality and applicability of terminographic sources in translation activities. The field’s significance lies in its contribution to national terminological systems development, enhancement of special translation quality, and facilitation of effective intercultural professional communication. The research opens new avenues for exploration, particularly in the context of national terminological systems development. The outlined future research perspectives involve multi-paradigmatic approaches, the development of methodologies and criteria for evaluating the quality of specialized translation dict ionaries, and the investigation of German-Ukrainian terminographic sources in the context of Ukraine’s post-war reconstruction, particularly in the fields of construction, architecture, and infrastructure development.
Visual Metaphor in Paratranslation of Literary Image.
(Alfred Nobel University, 2025-12-02) Anna V. Khodorenko
This study significantly broadens and deepens the investigation of paratranslation in illustrated literature, foregrounding the complex and multifaceted ways in which visual storytelling intersects, converges, and sometimes diverges from textual translation to generate intricate, layered, and dynamically evolving networks of meaning. This study aims to determine the complex interplay between textual and visual elements in illustrated literature, focusing on the role of paratranslation and metaphor in shaping meaning across linguistic, cultural, and historical contexts. Specifically, it seeks to examine how illustrations, peritextual elements, and multimodal strategies in Jean de La Fontaine’s fables contribute to the creation, transformation, and negotiation of narrative meaning, and how these processes facilitate cross-cultural interpretation, reader engagement, and the dynamic evolution of stories over time. Moving beyond traditional translation studies that primarily focus on linguistic equivalence and textual fidelity, this research positions itself at the intersection of translation theory, visual culture studies, and multimodal discourse analysis to examine how meaning-making processes unfold across multiple semiotic registers simultaneously. As a central and paradigmatic case study, this research undertakes a comprehensive multimodal and diachronic analysis of Jean de La Fontaine’s fables and their extensive peritextual ecosystems, focusing particularly on the remarkably diverse visual interpretations, adaptations, and reimaginings provided by illustrators across different historical periods, cultural contexts, and artist ic traditions. The study traces how these visual interpretations have evolved, transformed, and responded to changing cultural sensibilities, aesthetic movements, and readership expectations, revealing illustrat ion not as a static or subordinate accompaniment to text but as a dynamic and generative force in the ongoing reconfiguration of narrative meaning. Metaphor emerges as a multifaceted connecting tool in this complex process, operating simultaneously across linguistic and visual registers to mediate meaning, facilitate cultural translation, and generate new interpretive possibilities and layers of understanding. The study demonstrates how metaphorical thinking functions not merely as a rhetorical device but as a fundamental cognitive mechanism that enables the translation of abstract concepts, emotional states, and cultural values across different semiotic modes and cultural contexts. The methodological approach adopted here draws extensively upon cutting-edge interdisciplinary frameworks that recognize and theorize the inherently multimodal nature of contemporary literary experience and cultural transmission. This perspective necessitates moving decisively beyond conventional translation studies paradigms to embrace a more expansive, nuanced, and theoretically sophisticated understanding of how meaning travels, transforms, and adapts across cultural, linguistic, and visual boundaries. The research methodology integrates insights from semiotics, visual rhetoric, cultural translation theory, and reader-response criticism to develop a comprehensive analytical framework capable of addressing the complexity of multimodal textual production and reception. At the theoretical core of this inquiry lies the innovative framework of paratranslation, understood in productive dialogue with Gérard Genette’s foundational analysis of paratexts and peritexts, while simultaneously extending and challenging these concepts to accommodate visual and multimodal dimensions. This approach transcends traditional notions of linguistic equivalence to encompass the material, graphic, spatial, and embodied dimensions of meaning-making processes. Through this sophisticated theoretical lens, the study explores how illustrations, paratextual elements, layout choices, typography, colour schemes, and spatial arrangements collectively shape the semantic and cultural mediation of the text, profoundly influencing how readers interpret narrative space, character dynamics, emotional tone, and thematic significance across linguistic and visual boundaries. The analysis demonstrates with particular clarity that space within the fable functions not as a passive, neutral backdrop but as a dynamic, socially and culturally constructed element that is actively informed by the viewer’s interpretive framework, cultural background, and embodied experience. Visual strategies such as the deliberate partial depiction, strategic cropping, or complete omission of key narrative elements like the camel in certain fables represent sophisticated paratranslational interventions that shift the narrative’s emotional register, symbolic resonance, and interpretive possibilities. Rather than signifying mere absence or artistic limitation, these calculated omissions function as deliberate paratranslational interventions that foreground abstraction, encourage active reader participation, and invite open-ended, culturally situated interpretation, thereby fundamentally reshaping the affective landscape and emotional geography of the fable. These visual choices create interpret ive spaces that readers must actively fill, transforming the reading experience from passive consumption to active meaning construction. By systematically comparing more representational visual strategies with highly interpretive, abstract, or stylized approaches, the study reveals the remarkable diversity of meaningmaking approaches available within visual peritexts and demonstrates their considerable power to mediate, transform, and sometimes completely reconceptualize narrative significance.
Lingua-Pragmatic Mode of Social Advertising.
(Alfred Nobel University, 2025-12-02) Olena M. Medvid; Kateryna M. Vashyst
The mission of social advertising is to change the behavioral model of society. The purpose of social advertising is the humanization of society and the formation of moral values. This task is implemented within the linguistic-pragmatic mode of social advertising. The article reveals the functional-pragmatic features of socially oriented advertising texts based on specific linguistic phenomena of the English and Ukrainian languages. The scientific analysis of the advertising phenomenon requires some conceptual and methodological approaches, in particular: the communication approach. According to the socio-cultural approach, advert ising is characterized as a kind of public communication; it considers the interdependence and interaction of social and cultural aspects of social activity, and it is presented as a social phenomenon that expresses the values and principles of society. The crucial attention is focused on the study of psychological and cultural aspects of this type of communicative activity. The language component that contributes to the implementation of the other components of communication with society is considered applied but of great interest to linguistics; hence, it is relevant in our research. The goal of it is to analyze the language of advertising (which is rapidly evolving under the influence of various social and other extralingual phenomena), in particular, the linguistic and pragmatic uniqueness of English / Ukrainian social advertising texts and the impact of language means on social advertising effectiveness, regarding the multimodal semiotic nature of advertising in general. This paper aims to identify and analyze linguistic means that perform a lingua-pragmatic function in the texts of social advertising, creating conditions for the implementation of social tasks through this form of communication with society as a whole and with each citizen individually. The studying of advertising discourse (in our case) involves the integrated application of scientific research methods, particularly: the system-structural approach to analyze the structure as a whole and its component patterns of socially oriented advertising texts; discourse analysis, stylistic analysis and contextual analysis of the message texts within advertising; structural-linguistic analysis, as well as the elements of structural-semiotic analysis; functional and comparative methods, and the quantitative analysis to show the linguistic means potential for the pragmatic value of advertisements under consideration; to summarize the results of the research generalization method is used. The study is based on a broad corpus of English and Ukrainian texts (150 samples) of visual-graphic social advertising, available in print and online. The data is collected from the media’s online portal through the available search engines, found on banners, posters, street advertising structures, and the Internet. Conclusions. The findings prove that the illocutionary force of social advertising messages affects the recipient’s consciousness and encourages social activity. To enhance the informational and expressive pragmatics of social advertising texts, such types of speech influence on a potential recipient of the message as cognitive, suggestive, conative, and affective (as well as their mixed types) are widely used, being realized through various linguistic means of different language levels: in particular imperative, negative, rhetorical grammar forms; non-standard implicit syntactic structures, stylistic metaphorical deviations, as well as often used clear explication of statistical and legal information, appealing to both the mind and feelings of the addressee. It is important to emphasize that the effectiveness of an advertising text is based on a successful combination of all components of an advertising creolized message, namely: the text (its lexical, stylistic, grammatical and syntactic means), as well as extralingual / metagraphemic components, the integrated use of which is a prospect study, leading to a more accurate understanding of the role of nonverbal means in creating the content and effectiveness of the communication process.
Compositional Architecture and Syntactic Features in Anglican Sermon Discourse: A Corpus-Based Analysis.
(Alfred Nobel University, 2025-12-02) Iryna V. Rudik; Maryna G. Ter-Grygorian
The study aims to identify the compositional structure and syntactic-stylistic features of Anglican sermons based on authentic texts within the framework of theolinguistic research, as well as to determine the functional role of linguistic means in fulfilling the communicative tasks of each structural component of the sermon. The methodology combines structural-compositional, syntactic, and quantitative-statistical analysis, which makes it possible to reveal consistent patterns in the use of syntactic constructions and rhetorical devices. The theoretical basis is theolinguistics—an interdisciplinary field of linguistics that studies the interaction between language and religion and the mechanisms of verbalising theological meanings in religious discourse. The results reveal that Anglican sermons follow a four-part compositional structure: introduction, narration, interpretation, and conclusion. Each part exhibits distinct syntactic patterns: introductions typically use quotations, rhetorical questions, and anaphoric repetition to engage the audience; narration employs simple sentences and polysyndeton to create dynamic storytelling; interpretation develops complex logical reasoning through parallel constructions and logical connectors; and conclusions utilise parallelism, exclamatory and imperative constructions to summarise ideas and inspire action. Statistical analysis shows significant differences between sermon types, particularly in introductions and conclusions. Festive sermons demonstrate a higher frequency of emotional and figurative language, direct address, and exclamatory constructions, while sacramental sermons show increased use of non-biblical quotations and personalised addresses. Interpretation sections remain the most stable across all sermon types, indicating the universality of argumentative structures in religious preaching. The study also highlights how Anglican sermons balance traditional rhetorical models inherited from classical rhetoric with contemporary linguistic strategies to enhance engagement and persuasion. Overall, the findings contribute to the understanding of religious discourse as a distinct, cohesive, and pragmatically oriented communicative phenomenon, emphasising how linguistic choices shape spiritual meaning within faith communities. Future research is suggested to compare Anglican sermon discourse with that of other Christian denominations and explore historical changes in religious language use. The conclusion generalises the main content, using parallelism, repetition, imperatives, and exclamations to motivate spiritual reflection. The stability of the interpretation and the variability of the introduction confirm the consistency of the logical-discursive core of the genre, while the syntax and stylistics of Anglican sermons are determined by rhetorical aims directed toward the informative, persuasive, emot ional-expressive, and ethical functions of religious discourse.
Verbal and Non-Verbal Means of Archetypal Images Representation in US Presidential Campaign ADS.
(Alfred Nobel University, 2025-12-02) Alla A. Kalyta; Nataliia V. Derkach
In recent years, a considerable upsurge of the interdisciplinary research of the means of suggestive influence, exerted on the electorate through various products of political discourse, has been displayed. Though there have already been attempts to employ the Jungian conception of the archetypes in the studies of politicians’ personas, they were mostly concentrated in the sphere of analytical psychology, sociology and political marketing. At the same time, few attempts have been made to apply linguistic methods to the identification of the politicians’ archetypal images encoded in their campaign ads, specifically audiovisual ones, where the interaction of means of different language levels and non-verbal means should be taken into consideration. The paper aims at identifying the specificity of verbal and non-verbal means interaction while actualizing archetypal images, embodied by the US presidential candidates in their campaign ads to project a suggestive influence on the voters. This aim is achieved by means of fulfilling the following tasks: summing up the scientific views on the archetypes as universal mental forms, represented in certain archetypal images; outlining a set of archetypal images, serving as the conductors of the suggestive influence on the voters; reviewing the semantics of the archetypal images presented by the English lexemes ruler, hero, sage, outlaw, magician, caregiver, everyman, innocent; identifying the nomenclature of lexical-and-semantic and phonetic means actualizing the archetypal images in the US presidential campaign ads of J. Biden (2020), D.J. Trump (2020, 2024) and K. Harris (2024), as well as the peculiarities of their interaction. The following methods were applied to achieve the aim and the tasks of the study: a hypothetico-deductive method, which allowed us to identify the key desirable features of a presidential candidate and divide them into a pro-social and power-related types; the analysis of the dictionary definitions of lexemes nominating the archetypal images, as well as the respective archetypes’ descriptions by M. Mark and C. Pearson; outlining the sets of logical predicates, characteristic of the analyzed archetypal images, and their further thematic sorting into basic propositional schemas; the establishment of semantic correlation between the schemas’ content and the texts of political ads on the basis of words, phrases, sentences and whole texts; a linguostylistic analysis of the campaign ads samples; their contextual analysis in cases when finding the correlat ion between the semantics of an archetypal image and the text of the ad requires additional background knowledge; a perceptual analysis of the campaign ads phonetic realization and the character of their incidental music to assess their ability to support the archetypal images, projected on the textual level. Sets of basic propositional schemas, formed to outline the semantics of the following archetypal images: the Ruler, the Hero, the Sage, the Caregiver, the Outlaw, the Magician, the Everyman and the Innocent, served a theoretical basis for their identification in the texts of the US presidential candidates’ campaign ads. It was revealed that the effective predictions of the encoded archetypal images’ emotional influence on the addressees, can be performed exclusively due to the analysis of a complex interaction of the campaign ads’ verbal and non-verbal means. Phonetic means of segmental and supra-segmental levels can support the archetypal images, encoded in the texts of ads, discord with them, emphasize their unpleasant negative aspects and actualize certain archetypal images, unforeseen in the text of the ad. The study of the selected samples of the US presidential candidates’ campaign ads demonstrated that the leading archetypal images conveyed by D. Trump include the Ruler and the Hero (2020) and the Outlaw (2024), and that of J. Biden – the Sage and the Hero (2020), and by K. Harris – the Hero and the Caregiver (2024). The auditory analysis of the campaign ads’ phonetic means showed that they support the textual archetypes in D. Trump’s and J. Biden’s ads, help to manifest additional archetypal image of the Everyman in J. Biden’s ads, mostly through segmental means, and produce a certain discord between the textual image of the Hero and its phonetic actualization in K. Harris’ ads. A suggested complex analysis of verbal and non-verbal means’ interaction in the process of the archetypal images actualization can be employed in the linguistic research of audiovisual products of political and advertising discourses to identify the encoded archetypal images and predict their possible positive and negative suggestive influence on the public.
Self-Presentation Strategy in Small Talk: Evidence from English-Language Fiction
(Alfred Nobel University, 2025-12-02) Natalia O. Bigunova; Irina V. Bazarova
This study explores small talk in modern British and American fictional discourse, focusing on the ways in which communicative strategies and tactics shape the interaction of characters. The aim of the research is to identify the communicative strategies of fictional small talk, with special attention to the strategy of self-presentation. The objectives are: (1) to determine the strategic guidelines that govern small talk; (2) to identify the communicative tactics employed by characters to implement the strategy of selfpresentation; and (3) to describe the linguistic resources that verbalize these tactics. To meet these objectives, the study applies both general scientific and linguistic methods. Observation was used to identify characteristic features of phatic communication, while the descriptive method enabled their systematic classification. Within special linguistic methods, conversational and contextual analysis were employed, which made it possible to determine intentions of fictional characters engaged in small talk. In addition, stylistic and hermeneutic methods were used to examine the literary text. The empirical material consists of 340 episodes of fictional small talk drawn from contemporary English-language novels and films. The results reveal that participants in fictional small talk maneuver between two main strategic guidelines: (a) politeness, aimed at protecting the interlocutor’s “face,” and (b) self-presentation, aimed at portraying oneself favorably. Ten key communicative tactics of self-presentation have been identified: expressing opinion, platitude, advice, bragging, joke, quip, evasion, changing the subject, reporting news and rumours, and gossip. Each tactic is associated with specific linguistic markers. Expressing opinion relies on evaluative language, hedges, and rhetorical questions; platitudes are characterized by concise generalizations and formulaic expressions; advice is implemented through imperatives, modal verbs, and interrogatives; bragging employs hyperbole, intensifiers, and humble-brags; jokes exploit alogism, irony, and periphrasis; quips use sarcasm, emphatic structures, and rhetorical questions; evasion employs vagueness, hedges, and reformulations; topic change is facilitated by parenthetical words and imperatives; reporting news and rumours frequently involves verbs like hear or know in general questions; gossip relies on formulaic openers (If you ask me, Have you heard), evaluative lexis, and in-group alignment. The carried out conversational analysis shows that these tactics implement the strategy of selfpresentation: some highlight individuality and competence (opinions, advice, jokes, bragging, quips), others underscore solidarity and cooperation (platitudes, gossip, news-sharing), while still others preserve tact and harmony (evasion, topic change). Thus, small talk in fictional discourse emerges not as “empty talk,” but as a strategic practice where language is mobilized to construct identity, maintain relationships, and balance personal distinctiveness with social harmony.
Expression of Joy and Sadness Emotions in English, Kazakh and Chinese: Representation of Metaphorical Asymmetry.
(Alfred Nobel University, 2025-12-02) Aidana Mutalip; Perizat Balkhimbekova
The purpose of this study was to identify the manifestation of metaphorical asymmetries in the expression of joy and sadness across English, Kazakh, and Chinese and how these asymmetries reflect cultural, cognitive, and sociolinguistic frameworks. Emotions like joy and sadness are fre�uently challenging to convey explicitly, and metaphors function as vital instruments for expressing these intricate experiences. This study delineates universal and culture-specific metaphorical constructs, illustrating that joy and sadness often utilise identical source domains (light / darkness, rise / fall, burden / release), yet manifest asymmetrically regarding intensity, prominence, and symbolic elaboration. The research utilises cognitive linguistics, psycholinguistics methodology, and conceptual metaphor theory to analyse a multilingual corpus comprising literary texts, journalistic discourse, conversational speech, and digital communication. A statistical analysis of over 1,000 metaphorical expressions revealed that spatial metaphors were the most prevalent across all languages (30.2%), succeeded by temporal metaphors (20.1%) and emotion-assensation metaphors (16.7%). Significant cross-linguistic variation was identified. English data indicated a pronounced inclination towards metaphors of brightness and verticality (p=0.021), Kazakh texts revealed a statistically significant prevalence of burden metaphors (U=112.5, p=0.008), and Chinese metaphors for sadness demonstrated strong correlations with weather and imbalance imagery. Correlation analysis indicated that in Kazakh, the metaphor “sadness is a burden” fre�uently co-occurred with intensifiers (r=0.61, p=0.013), illustrating that metaphors are pragmatically reinforced in discourse. These findings validate the claim that metaphors convey emotions and represent socio-cultural perspectives. Kazakh metaphors illustrate a profound relationship with nature and kinship, and Chinese metaphors highlight harmony and balance, whereas English metaphors prioritise individuality and psychological conditions. The research shows that metaphorical asymmetry serves as an effective framework for comprehending the conceptualisation of emotions across languages. In addition to cultural influence, metaphors serve as semiotic evidence that facilitates the reconstruction of cultural orientations and cognitive preferences. These findings are pertinent to cognitive linguistics, translation studies, and intercultural communication, underscoring the necessity of including metaphorical asymmetry into language instruction and crosscultural study.
Gender und Krieg im Diskurs: Sprachliche Konstruktion von Männlichkeit und Weiblichkeit während der russischen Invasion in die Ukraine
(Alfred Nobel University, 2025-12-02) Mariia P. Lozytska
This paper addresses the topic of gender representation in armed conflicts and investigates how masculinity and femininity are linguistically constructed and represented under exceptional circumstances. The object of the study is to examine how gender is portrayed in war-related German-language journalistic discourse, with particular attention to lexical units, metaphorical expressions, and argumentative structures. The research draws on linguistic discourse analysis, which serves not only as a methodological tool but also as a theoretical and interpretive framework. A specialized corpus was compiled for the analysis, consisting of 64 journalistic articles (totaling approximately 241,000 tokens) published between January 2022 and April 2024 in the German newspapers Der Spiegel and Taz. These articles deal with the discourse surrounding the Russian military aggression in Ukraine. The corpus was subjected to both quantitative and qualitative analysis in order to gain deeper insight into the language used to construct gendered narratives. The findings demonstrate that both male and female figures are linguistically represented in the discourse, though in distinct ways. Women are frequently associated with semantic fields such as “vulnerability” and “resistance”, particularly in the context of fighting for their rights. The lemma _Opfer_ (victim) is predominantly used in reference to women, although it does occasionally appear in relation to male subjects. In contrast, masculinity is often constructed through associations with military service and heroic acts, which are framed as spheres traditionally dominated by men. This framing is reinforced through frequent collocations involving the lexemes kämpfen (to fight) and Mann/Männer (man/men). Meanwhile, female figures are more commonly mentioned in contexts involving flight, caregiving, or emotional and logistical support. The metaphor analysis revealed five major metaphorical domains: hero metaphors, protector metaphors, victim metaphors, combat metaphors, and additional metaphorical constructs. Men are predominantly associated with metaphors emphasizing heroism, protection, and combat, reinforcing traditional masculine roles in wartime narratives. In contrast, women are more frequently linked to victim metaphors, highlighting their perceived vulnerability and suffering. In terms of argumentative structures, the discourse often reproduces traditional gender roles. Men are typically portrayed as active persons, fighters, and national heroes, with these representations supported by linguistic patterns and established cultural narratives. These portrayals are legitimized through references to historical traditions, moral duties, and illustrative examples. Women, by contrast, are frequently depicted as multifunctional contributors to the war effort—engaged in a variety of supportive roles, often behind the front lines. This framing positions them as flexible, adaptable, and indispensable, but still secondary to the male figure as combatant and hero. The overall findings suggest that under conditions of social crisis and armed conflicts societies tend to revert to conventional gender norms. The persistence of gender stereotypes in journalistic representations appears to serve several social functions: they facilitate rapid cognitive processing, help individuals identify with collective roles, and contribute to social cohesion by reinforcing familiar cultural patterns. Moreover, these stereotypes offer narrative and moral orientation, enabling readers to interpret complex and chaotic events through established frameworks of meaning.
Cognitive Metaphor as a Means of Mental Representation of Reality in Taras Prokhasko’s The UnSimple
(Університет імені Альфреда Нобеля, 2025-12-02) Olena M. Turchak; Hennadii A. Onyshchenko
The article is devoted to the analysis of cognitive metaphor as a means of mental reflection of reality in Taras Prokhasko’s novel UnSimple. It focuses on how metaphorical models structure the artistic world of a literary work and convey the peculiarities of the author’s worldview. The aim of the study is to identify the peculiarities of cognitive metaphor functioning as a means of mental reflection of reality in Taras Prokhasko’s literary work, to determine its role in the formation of the f igurative system of the novel and the author’s vision of reality. The following tasks are subordinated to the aim: to consider the theoretical foundations of cognit ive metaphor analysis within cognitive linguistics as a methodological basis for the study of literary texts; to analyse existing classifications and types of cognitive metaphors in language; to determine which types of cognitive metaphors are represented in the work, how the relationship between conceptual structures and metaphorical thinking manifests itself; to investigate the role and functions of cognitive metaphor in the constructing and representating the mental picture of the world depicted in the novel. The material for the study is the text of the novel UnSimple, which stands out for its high metaphorical density, multi-layered symbols and internal philosophy. The analysis is carried out by means of cognitive and contextual analytical methods, taking into account philosophical-anthropological and ontological approaches to the interpretation of a literary work. In the course of the work, a number of conceptual areas have been identified that organise the artistic space of the novel: memory, history, nature, path, destiny, voice, love, space. Each of these spheres is constructed through metaphorical models that add dynamism, inner depth, and existential content to these domains. Groups of structural, orientational, and ontological metaphors have been identified. Structural metaphors such as “life – journey,” “history – place,” and “letter – memory” shape the narrative logic of the novel: the characters’ lives are understood as a path connected with the exploration of space, a return to their origins, and a search for identity. The orientational metaphors “upward movement – enlightenment” and “downward movement – darkness” reflect the internal changes of the characters and their spiritual experience. Ontological metaphors, including “man – universe,” “love – balance of the world,” and “voice – life force,” emphasise the philosophical and existential dimension of the literary work, where the inner state of the individual determines the quality of their connection with the world. Special attention is paid to how metaphor is used to construct the image of memory as a means of returning to, collecting and reinterpreting ancestral and individual history. Memory in the novel is a space capable of both preserving the existing and transforming it, while letters and voices act as material carriers of this memory. It has been established that in T. Prokhasko’s novel, metaphor performs the following functions: cognitive (conceptualising) (structures the characters’ experiences, allows them to comprehend reality: “life – path,” “fate – direction”); interpretative (helps the protagonists to rethink the history of their own family and the events that determined their existence: “history – place”); emotional and value-based (conveys inner states, spiritual shifts, existential experiences: “movement in darkness – search for truth”); aesthetic (poetic) (creates artistic imagery and unique poetics of the text); philosophical-existential (shapes the author’s understanding of existence, human relations with the world: “man – universe”); identifying (connects the individual with the landscape, family, memory of place: “place – key to history”); communicativememorial (ensures the transfer of experience between generations, the preservation of voice, the persistence of memory: “letter – memory,” “voice – life”). The results of the study prove that metaphor in the novel is foundational to constructing artistic reality, serves to form the author’s picture of the world, and is a tool for representing the characters’ experiences. Cognitive metaphor thus bridges the physical and spiritual, individual and collective, historical and mythological dimensions of human existence. The novel ultimately models a world where language does not describe reality, but creates it.
Interdiscursivité et intertextualité dans Brèves De Solitude et La Pleurante Des Rues De Prague de Sylvie Germain.
(Alfred Nobel University, 2025-12-02) Anastasiia V. Lepetiukha
The article is dedicated to the studies of interdiscursive and intertextual relations in the literary works by Sylvie Germain Brèves de solitude and The Weeping Women on the Streets of Prague. The goal of this research is to distinguish the types of intertextemes and interdiscursemes and to determine their co(n)textual (linguistic and / or situational) functions in the considered novels, to analyze their interference in the interdiscursive and intertextual referential networks with a view to create a polyisotopic text and to define polyphonic relationships between the extra- and intradiegetic protagonists. The methods of polyphonic and referential analysis help to prove that homo- and heterodiegetic characters act on intra- and extradiegetic levels of the narration creating and ramifying intertextual and interdiscursive referential networks with the aim to form a hierarchical intertextual and interdiscursive polyisotopy: the anticipatory and iterative interdiscursemes (fragments of novels, poetic stanzas, quotat ions, song lyrics, film scenes, сounting rhymes, legends, biblical dogmas, etc.) include intertextemes (titles of books, articles, films, names of writers, painters, philosophers, national heroes, victims of concentrat ion camps, gods, fictional characters from books, cartoons, mythical beings, name of a virus etc.) of three types, which do not break the intratextual coherence, taking immediate, distant pre- and post-textual, immediate and distant post-textual position: 1) intertextemes maintaining meronymy – holonymy relations with interdiscursemes; 2) semantically and / or syntactically “superfluous” intercalations in interdiscursemes of the texts recipients; 3) “alien” objects, beings, abstract notions. They intertwine and interpenetrate in the form of microthemes or microthematic chains developing the hypertheme of the analyzed works and the macrothemes of their chapters. Linguo-stylistic and interpretative analyzes show that in order to create a global intertextual and interdiscursive space Sylvie Germain implements four ludic strategies: subjective perception, reminder, explanation / elucidation, obligation : a) pseudoobligation (the actualized intertextual referent is assumed to be known by all readers, and therefore its identification does not require a great cognitive effort) ; b) attenuated obligation (a single non-elucidated intertexteme is present in a textual fragment accompanied or not by referential markers helping the receiver to some extent to identify it) ; c) strong obligation (a series of intertextemes co(n)textually non-elucidated or accompanied by allusive, vague referents, complicating the correct interpretation of a textual fragment) which complement each other and interfere controlling and guiding readers’ perception of the play of correspondences and of semantic-syntactic relationships between concrete texts and / or their fragments allowing them to identify the components of referential networks and to correctly interpret discursive formations containing interdiscurseme + intertexteme pairs.
Potential of Figurative Language in Italian and Azerbaijani: Idiomaticity and Semio-Cognitive Perspectives.
(Університет імені Альфреда Нобеля, 2025-12-02) Gunel M. Bayramova
This article presents a comparative analysis of figurative language in Italian and Azerbaijani, arguing that idioms operate as semio-cognitive devices linking embodied experience to cultural-historical norms. Integrating conceptual metaphor theory, mental spaces and blending, frame semantics, and semiotics, the study models cross-linguistic mappings across FIRE / HEAT, CONTAINER, JOURNEY, VERTICALITY, and ENERGY. The aim of the study is to identify the semio-cognitive models of figurative language and to determine their similarities and differences within a cultural-historical context, to establish how these models are shaped by the typological structures of both languages, and, ultimately, to develop new theoretical generalizations. The study is based on the synthesis of cognitive-semantic, semiotic, and comparative-historical methods. The corpus concentrates on canonical texts (Dante, Petrarch, Ariosto, Manzoni; Nasimi, Fuzuli, Vagif, Zakir) and on established Azerbaijani phraseology. Methodologically, idioms are treated as stabilized signpackages with layered denotative, connotative, and symbolic values; each item is mapped from source to target domains and situated in discourse frames that mediate social roles and ethical normativity. Findings reveal robust universals alongside salient local filters. Universally, emotional and evaluat ive meanings recruit shared schemas—ANGER IS FIRE / HEAT, MIND / SELF IS A CONTAINER, LIFE / LOVE IS A JOURNEY, SOCIAL POWER IS UP / SUBMISSION IS DOWN, LOVE IS ENERGY / FORCE—realized through language-specific resources: graded thermal lexicons (Italian caldo→bollente→rovente; Azerbaijani isti→qızmar→ yandırıcı→büryan), container states and overflow, and vertical-motion patterns. Locally, Italian discourse foregrounds visual-theatrical staging and intratextual legitimization of folk wisdom as proverbio (e.g., Ariosto’s “cader de la padella ne le brage”; Manzoni’s “Ambasciator non porta pena”), encoding institutional and juridical norms. Azerbaijani classics privilege mystical-soteriological semantics around can / od / könül and exploit agglutinative morphology to fine-grade intensity (e.g., sinə büryan olmaq, içi yanmaq, can vermək, ayağına düşmək – En.literal “to have one’s breast burned,” “to burn inside,” “to give one’s soul / life,” “to fall at someone’s feet”). Parallel readings align Petrarch’s “picciol foco” with Fuzuli’s “eşq atəşi,” (the fire of love) and Manzoni’s fuori di sé (to be outside oneself) with Azerbaijani özündən çıxmaq (to go out of oneself). Analytically, idioms function on two interconnected planes. At the psychosemantic level, they crystallize embodied experience into portable mappings; at the socio-discursive level, they normalize roles and values, turning proverbs and fixed epithets into interpretive institutions. The proposed three-axis framework — (i) source→target mapping, (ii) semiotic stratification, (iii) discursive-cultural embedding—yields a reproducible procedure for comparison. Practical implications span didactics (model-based teaching of idioms), translation (equivalence by mapping rather than lexical parity), lexicography (dictionary fields for conceptual model, discourse function, scalar degree), and NLP (annotation layers such as THERMAL_ SCALE, CONTAINER_STATE, VERTICAL_MOVE, INSTITUTION_ROLE). Limitations include a classical-text focus and the absence of psycholinguistic testing; future work will expand to modern media, broaden Romance/Turkic coverage, and evaluate model-guided annotation in multilingual transformer pipelines. In sum, figurative language in both traditions emerges as a semio-cognitive nexus: universals provide the skeleton (FIRE / HEAT, CONTAINER, JOURNEY, VERTICALITY, ENERGY), while local codes dress it in culturally specific forms. Idioms and metaphors thus act not as ornament but as operational mechanisms that bridge cognit ion and cultural order, offering a unified account of how poetic form encodes social and ethical meaning. In addition, the article operationalizes its claims with a replicable annotation scheme that links idiom tokens to explicit source–target mappings, scalar degrees, and discourse functions, enabling quantitat ive corpus work and explainable NLP. By aligning parallel examples (e.g., Petrarch—Fuzuli; Ariosto—Zakir; Manzoni—Vaqif), the study demonstrates how identical conceptual skeletons yield distinct stylistic realizat ions under divergent cultural constraints. This dual lens—universal templates filtered by local codes—offers practical guidance for curriculum design, translator training, and culturally aware language technologies. As such, the framework advances an integrated, testable agenda for future research at the intersect ion of cognitive linguistics, semiotics, and comparative philology.
The Principle of Symmetry in William Blake’s Poem The Tyger and Its Reproductoin in Ukrainian Translations.
(Alfred Nobel University, 2025-12-02) Tatyana A. Pakhareva; Olena M. Borovska
The article is devoted to the analysis of Ukrainian translations of William Blake’s poem The Tyger made by V. Koptilov, V. Keis, and V. Bohuslavska, focusing on the embodiment of the principle of symmetry as an organizing principle of the poem, which ensures the integrity of its artistic world. The relevance of this research is determined by the popularity of Blake’s poem in the Ukrainian cultural space, evidenced by its inclusion in literature curricula at secondary and higher educational institutions across Ukraine, as well as by the continuous appearance of new Ukrainian translations. In this context, it becomes important to determine the degree to which the existing translations correspond both to the spirit and the letter of the original, and, in particular, to examine how well they reflect the world-modeling elements inherent in Blake’s poem. Consequently, the article aims to identify how the dominant principle of symmetry is realized across all levels of Blake’s work, and to determine to what extent and through which translation strategies this dominant feature has been preserved in several representative Ukrainian versions selected for analysis. The research employs the methods of structural-semantic and rhythmic-metric analysis of a poetic work, combined with a comparative and translation approaches applied to the Ukrainian translations of Blake’s poetry. In the first part of the article, a comprehensive analysis of the original text of The Tyger is conducted, revealing the forms and means by which the principle of symmetry is manifested on all levels of the poem – figurative, lexical, stanzaic, rhythmic, phonic, compositional, and syntactic – and demonstrating its systemforming role in both the semantic organization and the poetic structure of the work. The analysis shows that the principle of symmetry is actualized not only through its literal realization in numerous elements of the artistic world and text, which are placed in direct symmetrical correspondence or opposition, but also through pronounced cases of symmetry violations. One of the most striking examples of such violation is the deliberate disruption of rhyme in one of the poem’s strongest compositional positions – at the end of the first and last stanzas, on the word ‘symmetry’. This technique foregrounds the very concept of symmetry in the text, while the rhyme of symmetry with itself – similar to the medieval poetic tradition, where the word ‘God’ was allowed to rhyme only with itself – symbolically frames the artistic world of the poem by appearing both at its beginning and its end. Furthermore, the lexical analysis of the poem reveals previously unnoticed intertextual parallels between The Tyger and Psalm 91 from the Psalms of David in its English version in the Douay-Rheims Bible. The second part of the article examines the degree to which the principle of symmetry is preserved in the analyzed translations and explores how this principle interacts in the poetics of the translated texts with other stylistic emphases shaped by individual artistic decisions of the translators. The study finds that the principle of symmetry, as a world- and system-forming factor, is not consistently implemented in any of the examined translations. While all the translations preserve only the most evident figurative-lexical, stanzaic, and syntactic symmetrical structures, the translators’ choices often suggest an intention not so much to render Blake’s poem as faithfully as possible, but rather to convey distinctive features of Blake’s poetic style as a whole. In conclusion, the systematic analysis of The Tyger presented in this article has revealed a variety of methods for implementing the principle of symmetry at all levels of the poem’s poetics: in the system of rhyme and rhythm, in the imagery of “strong points,” in lexical, figurative, and syntactic repetitions and contrasts, and in the “mirror-like” composition, where not only the first and last stanzas but also other elements of the stanzaic structure appear symmetrically (in particular, a correlation of imagery, syntax, and phonetics was observed between stanzas 2 and 5 and stanzas 3 and 4). The realization of the principle of symmetry is further reinforced by the biblical intertext of Blake’s poem, in which, as the analysis has shown, there is not only the Book of Job but also the 91st Psalm of David, with which Blake’s poetry enters into similarly symmetric relations of echo and contrast. Thus, the analysis of all levels of The Tyger confirms the status of the principle of symmetry as a dominant factor of the poem’s artistic integrity, governing the entire system of its poetics. At the same time, the examination of the selected Ukrainian translations of The Tyger has demonstrated that the recreation of that “fearful symmetry,” which permeates Blake’s work at all levels of its art istic structure and fundamental principles of its artistic universe, has not yet been achieved with unequivocal artistic conviction in any of the translations. Nevertheless, each of them, in grappling with the decept ively “simple” material of the original, demonstrates profound and non-trivial translation strategies that are essentially consonant with the artistic philosophy and creative temperament of the English poet.
Shadows of Forgotten Ancestors: Ideological and Artistic Consonance of Literary Text and Ballet
(Alfred Nobel University, 2025-12-02) Larysa M. Horbolis
The study compares the artistic features of Mykhailo Kotsiubynskyi’s novella Shadows of Forgotten Ancestors and the ballet of the same name staged at the Lviv Opera (libretto by Vasyl Vovkun). The aim of the article is to determine how the artistic content of Kotsiubynskyi’s work is transmitted and reinterpreted in the ballet production by Ihor Nebesnyi and Vasyl Vovkun. The research tasks include clarifying the role of stylistic and figurative factors in shaping the artist ic originality of the literary source and its ballet adaptation. To achieve this, the study uses a complex methodological approach: the hermeneutic method allows for the systematic analysis of the structure, imagery, and artistic techniques of both the text and the ballet; intermedial analysis is applied to ident ify similarities, differences, and unique features that contribute to the realization of the artistic intent ions of the writer and the librettist, and to determine the degree of correspondence between the stage interpretation and the conceptual and aesthetic principles of the original. The cultural-historical method enables an understanding of the aesthetic significance of both works in the Ukrainian cultural context of the 20th and early 21st centuries. Principles of reader-response aesthetics support reinterpretat ion at multiple structural levels, emphasizing conceptual meanings, symbolic centers, details, and artist ic techniques in both works. The study reveals how the novella is transformed in the ballet on thematic, semantic, and figurative levels. It highlights the functional role of music, scenography, choreography, costumes, and other theatrical components in developing the work’s themes, building characters, and reconstructing everyday and ritual life of the Hutsul community. The analysis demonstrates poetic exchange between the two works and identifies the crossing of medial boundaries that underline their uniqueness and mutual complementarity. The musicality, impressionistic features, and folkloric-ethnographic dimension of Kotsiubynsky’s novella f ind vivid expression in Nebesnyi’s music, choral and solo parts, and the colour and light palette of the performance, thus reinforcing their shared central idea—the grandeur of love. The colour scheme of the novella corresponds to the light-colour paradigm of the ballet. As a synthetic art, the scenography of the ballet emphasizes the multifaceted relationship of the Hutsuls with nature and conveys the distinctive worldview of Carpathian inhabitants. Costumes, stage design, and detailed visual elements, along with refined choreography, individualize the characters and highlight their connection to ancestral heritage. The thematic unity of human–natureculture is achieved in both works through picturesque landscapes (mountains, forest, river), symbolic elements (e.g., water, wood in the ballet), and the complex emotional experiences of the characters. The Lviv Opera production affirms the relevance and adaptability of Ukrainian literary classics, demonstrating their capacity to be effectively reinterpreted within contemporary stage art.
The Poetics of Religious Faith Image in Christian and Islamic Literary Traditions: Dimensions of Interrelation (Based on Western European and Azerbaijani Literary Works).
(Alfred Nobel University, 2025-12-02) Kyzylgul Yasin Abbasova
The article examines the interpretation of religious theme in nineteenth- and early twentieth-century Western European and Azerbaijani literatures, drawing on the works of Prosper Mérimée, Jalil Mammadguluzadeh, Ethel Lilian Voynich, and Mammad Said Ordubadi. At the center of this inquiry lies the question of how religious discourse is transformed amid the formation of new ethical systems and social consciousness, and how artistic forms respond to the crisis of traditional faith and the search for moral orientation beyond ecclesiastical dogma. The aim of this study is to identify the dimensions of interaction, similarity, and mutual influence between the poetics of Western European and Azerbaijani literatures in their engagement with religious themes. The research employs comparative, historical-literary, cultural-historical, and hermeneutic methods. The findings demonstrate that in P. Mérimée’s The Woman Is a Devil, or The Temptation of St. Anthony (Une femme est un diable, ou La tentation de Saint Antoine) and J. Mammadguluzadeh’s The Dead (Ölülər), the religious theme manifests through the exploration of the motifs of genuine and feigned sanct ity. In Mérimée, the inversion of the sacred and the profane shapes a poetics of individual-psychological conflict, wherein the motif of sin and temptation acquires a comic dimension. In Mammadguluzadeh’s The Dead, the exposure of false holiness and hypocrisy assumes a social dimension, expressed through a satirical and grotesque poetics. In E.L. Voynich’s The Gadfly and M.S. Ordubadi’s Foggy Tabriz (Dumanlı Təbriz), the collision between religious faith and revolutionary struggle attains a tragic-philosophical resonance. Through the fate of Arthur Burton, Voynich reveals an individual conflict between faith and revolution, between love for God and belief in humankind. Religious symbols are reinterpreted here through the lens of secular humanism, while the novel’s structure reproduces a Gospel-like paradigm of suffering and sacrifice. In Ordubadi’s Foggy Tabriz, religious problematic unfolds within a socio-historical and national-historical framework: the Islamic tradition is portrayed as a realm in which the confrontation between dogma and reason becomes a driving force of the people’s spiritual awakening. The symbolism of fog, light, prayer, and lament acquires a philosophical significance, shaping a poetics of symbolic realism. The study concludes that in all four texts, the religious theme serves not a confessional but rather a philosophical and ethical function. The authors treat faith as an inner moral state distinct from outward ritual. Within the poetics of each work, religious motifs are reinterpreted as artistic expressions of spiritual quest: prayer becomes an act of conscience, sacrifice, a form of self-affirmation, and lament—a sign of historical memory. Thus, the article demonstrates that in the literature of the late nineteenth and early twentieth centuries, religious themes emerge as a field of artistic experimentation, wherein the genuine spirituality of the individual—one who seeks meaning beyond dogma, within the moral and ethical domain, yet retains an inner need for faith—is revealed.
Narrative-Mentative Organisation of Memoirs and Reflections Collection Miloszʼs Abcʼs by C. Milosz
(Alfred Nobel University, 2025-12-02) Tetiana M. Shevchenko; Liliia D. Chykur
The article explores the narrative-mentative organisation of the collection of memoirs and reflect ions Miloszʼs ABCʼs (Abecadło, 1997) by Nobel Prize laureate C. Milosz. The object of the study is the collection Miloszʼs ABCʼs, which contains around 200 essays, different in subject and narrative structure. The aim of the article is to determine the specifics of these essays from the point of view of their narrativementative organisation, the factors of their text formation in postmodern discourse. The novelty of the scientific research is the chosen perspective of analysing the narrative-mentative nature of C. Milosz’s essay texts, which have not yet been studied from this point of view in modern literary studies. The chosen perspective involves the application of an appropriate research methodology based on the principles of narrat ive, biographical and structuralist methods. In the course of the study of the collection Miloszʼs ABCʼs by C. Milosz, the following methodological steps have been completed: 1) the structure of the book has been analysed, in particular from the perspective of the interaction of narrative and reasoning components; 2) a classification of the Miloszʼs ABCʼs texts is proposed in terms of text-creation factors (narrative, narrative-mentative, mentative essays). The classification determined the author’s self-identification as a witness and participant in the cultural, historical and social life of the 20th century and at the same time its observer through philosophical, historical, theological, literary, topological, ethnic, and personal discourses; 3) representative samples of all text variants have been investigated in order to demonstrate the artistic (narrative and reflective) techniques of C. Milosz as an essayist. Conclusions are drawn about the uniqueness of the collection Miloszʼs ABCʼs as a postmodern work in terms of the practices of uniting reflection, fixation and testimony of facts and events of the past, ideas of openness of one’s own cultural map, rooted in the combination of personal history and the general memory of the era, as well as the depiction of time and space. In the texts, time and space are inextricably linked and form a unique memoir-reflective discourse of the essay collection. Space in the essays appears both physical (a specific place of events) and psychological (the space of the narrator’s thoughts, memories, feelings). It is determined that the collection presents the author’s biography as a deconstruction of his life against the background of the 20th century in cultural, historical, and philosophical registers. The biography itself appears in scattered fragments, in the format of a private encyclopedia, and the narrator is reproduced as a “self” dissolved in many images, locations, time slices, and figures, based on constant multiplicity, variability and construction depending on the described circumstances. This “self” is presented in various guises: as a writer, a philosopher, a lecturer, a critic, an essayist, whose narratives often turn into mentatives, and sometimes even demonstrate an exclusively reflexive type of consciousness. The prospects of the study open up new possibilities for narrative-mentative analysis, which can be further applied in the process of studying ego-documents (letters, memoirs, diaries, essay collections, interviews) in European literatures.
Chronotope as a Means of Satire in Thomas Nashe’s Novel The Unfortunate Traveller.
(Alfred Nobel University, 2025-12-02) Liudmyla D. Fedoriaka
This article examines the role of the chronotope as a key means of constructing satirical meaning in Thomas Nashe’s novel The Unfortunate Traveller, or The Life of Jack Wilton (1594). While Nashe’s works have long attracted scholarly attention, most research has focused on genre classification, the controversial figure of the author, and the stylistic heterogeneity of the text. The present study shifts the emphasis toward spatial-temporal structures, demonstrating how time and space function as active instruments of social critique. The novelty of the research lies in the interpretation of the chronotope as a satirical mechanism that shapes the ideological message of the novel. The aim of the study is to determine the role of time and space organization in forming the satirical modus of Nashe’s novel. To achieve this aim, the article addresses several specific tasks: defining the concepts of topos and locus; identifying the biographical, geographical, and historical chronotopes in the text; analysing the specifics of the chronicle narrative mode; clarifying Jack Wilton’s dual role as narrator and character; examining the temporal structure of the plot, including chronological distortions; and exploring strategies of chronotope construction in the French and Italian episodes of the novel. The methodology of the research is complex and interdisciplinary, combining cultural-historical, stylistic, biographical, comparative-historical, and hermeneutic approaches. This methodological framework makes it possible to consider both the historical context of the novel and the internal textual logic of how space and time are represented and transformed. The article argues that Nashe employs the chronotope dynamically, using shifts in spatial perspective and temporal rhythm to intensify satirical effect. In The Unfortunate Traveller, time is not linear: historical events are reordered, accelerated, condensed, or suspended. This distortion of chronology serves as a deliberate rhetorical strategy. By rearranging events such as the Anabaptist uprising in Münster or references to English epidemics, Nashe creates a form of “satirical prophecy,” demonstrating that the moral and social failures of one era are inevitably repeated in another when ethical lessons are ignored. Space functions similarly. The novel’s structure moves from broad geographical panoramas (France, Germany, Italy, England) to narrowly defined local settings (military camps, university halls, banqueting houses, streets, chambers). These open spaces (topoi) and enclosed spaces (loci) allow Nashe to modulate the intensity and focus of his satirical commentary. For instance, the military camp in France serves as a microcosm of London, enabling Jack to expose greed, ambition, and opportunism within a confined environment where social hierarchy collapses. In contrast, the Italian chapters are notable for their concentration on cultural and ideological critique through descriptions of monuments, public spectacles, and intimate domestic chambers. These spatial structures reveal Nashe’s satirical engagement with literary fashions such as Petrarchism and chivalric romance, which he transforms into targets of parody. The article also emphasises the narrative role of Jack Wilton. As both protagonist and narrator, he embodies a mobile and ambivalent observer-participant position. His shifting roles—as manipulator, witness, traveller, commentator—enable the text to alternate between storytelling and critical reflection. Through Jack’s perspective, Nashe exposes European social and cultural realities, while simultaneously addressing contemporary English audiences. The study concludes that the chronotope in The Unfortunate Traveller functions as a central artistic device that shapes the novel’s satirical discourse. The interplay of temporal disruption and spatial localisation allows Nashe to connect historical events with contemporary Elizabethan concerns, demonstrating the cyclical nature of moral and social decay. The chronotope thus becomes the medium through which satire unfolds, transforming narrative movement into critique and moral warning.
The Numerological Code in Contemporary Ukrainian War Poetry: Maksym Kryvtsov’s Poems from the Embrasure and Anthology Love 2.0: Love and War.
(Alfred Nobel University, 2025-12-02) Tetiana M. Starostenko
The article examines the numerological code and numerical symbolism in the Ukrainian poetic tradition of the military discourse within the period of the full-scale invasion. The research focuses on the ways numbers operate as semiotic, mnemonic, and existential categories, mediating between trauma, language, and memory. The purpose of study is to identify the functional potential of numerical markers in shaping the artistic and semantic dominants, as well as the ontological dimensions of modern war poetry, based on the collection Poems from the Embrasure by Maksym Kryvtsov and the anthology Love 2.0: Love and War. The main objectives include detecting and systematizing the types of numerical symbolism, tracing the transformation of archetypal numerical images under traumatic experiences, establishing correlations between numerological codes and the existential states of the lyrical subject, and substantiating the significance of the numerological code as a means of artistic representation of collective trauma and postmemory. The methodological framework integrates structural-semiotic, hermeneutic, comparative, and contextual approaches, as well as motif and symbolic analysis. The study draws on the Western tradition of numerical criticism (W.F. Hopper, A. Fowler, C. Butler) and adapts its conceptual tools to the Ukrainian literary context, where numbers function as a hybrid of linguistic signs, mythopoetic archetypes, and ethical categories. Enkvist’s distinction between statistical and symbolic numbers, Waterfield’s archetypal interpretations of numerical triads, and Pythagorean integrity, as well as Godwin’s analysis of completeness in sacred numerology, have been incorporated. The study employs Batts’s approach to numerical structures in literary texts along with Medieval transcendent significance, while adopting Fisher’s methodology for detecting the “noble numbers” within the poetic architecture and kabbalistic semantic layers specific to individual poetics. Hopper’s cultural-contextual framework for numerical symbolism and Major’s analysis of symbolic systems across traditions inform the cross-cultural dimension of this investigation, complemented by Moretti’s quantitative methodologies for analyzing numerical distribution patterns. Focusing specifically on lyrical poetry, this research examines how numerical codes operate within the poetic systems at both structural-compositional and symbolic-archetypal levels, studying how contemporary lyrical texts may employ deliberate semantic ambiguity in their numerical architecture, wherein meaning becomes fluid and participatory, transforming numerical language into an existential poetic gesture that embodies postmodern interpretive multiplicity. Thus, the approach enables the interpretation of numerical symbolism not merely as an element of poetic form, but as a dynamic mode of cognitive and emotional processing of wartime experiences. The results demonstrate differentiated numerical paradigms that fluctuate according to the speaker’s discursive position. The combatant discourse reveals somatic numerology (50×50 cm, 120 kg), militarytechnical codification (200, 300, b/k, MARCH), and the metrics of liminal endurance (500 meters under fire, counting to one hundred before the attack), expressing the bodily and procedural nature of survival. Conversely, the rear discourse features blurred numeration (endless days, countless strings) and symbolic temporal dilation (50 days as half a century), articulating the psychological stretching of time and the instability of perception under prolonged uncertainty. It has been established that the numerological code performs several core functions: depersonalizing (numbers instead of names, like 234, 457, 451), sacralizing (biblical and archetypal numbers, including 3, 5, 14, 33), temporal-traumatic (dates 2014, 24.02.2022 as mnemonic nodes of collective experience), and existential-meditative, where counting becomes a ritual of resistance and a means of preserving mental integrity. Numbers thus transcend their quantitative nature, transforming into ontological markers of war, mediating between speech and silence, presence and absence, memory and oblivion. The study concludes that the numerological code in Ukrainian war poetry after 2022 constructs a distinctive semiotic and philosophical model through which poets articulate the ineffable dimensions of trauma and convert loss into a form of symbolic creation. The number emerges as a vehicle of apophatic expression, a language of the unspeakable that preserves the sacred memory of war within the evolving cultural space of Ukrainian resistance.
Mythopoetic Factors in Formation of Early Modernist Discourse in Ivan Franko’s Long-Form Prose (1876–1884)
(Alfred Nobel University, 2025-12-02) Svitlana M. Lutsak; Nataliia M. Vivcharyk
The article analyzes Ivan Franko’s long-form prose of 1876–1884 from the perspective of mythopoetics, which played an important role in shaping the writer’s early modernist aesthetics. In the author’s stylistically diverse texts, a high degree of reflexivity is observed, which opened the way to mastering the mythological codes of collective memory and contributed to the formation of a synthetic individual creative method, one manifestation of which was Franko’s concept of the “whole man.” The aim of the article is to reveal the significance of mythopoetic structures (images of folkloric or archetypal types, cultural codes, plot-compositional models, etc.) in the formation of the modernist discourse of Franko’s early long prose. From this aim arise the following objectives: to analyze the influence of mythology as a dominant factor on the processes of shaping the early modernist artistic discourse in the novel Petriis i Dovbushchuks, as well as in the so-called Boryslav Dilogy (the novels Boryslav Laughs and Boa Constrictor); to determine the relationship between the writer’s modernist experiments and the synthetic features of his individual creative method; to highlight the impact of mythological semantics on the representation of the theme of the leader; to characterize the interaction of mythopoetic topoi with the binarity of artistic images and techniques of plot construction; to outline the mythological parameters of the chronotope and their influence on the plot-compositional structure and the genre-stylistic features of Franko’s long-form prose of 1876–1884. The implementation of these objectives required the use of the following methods: mythopoetic, receptive-interpretive, and hermeneutic. The analysis of Franko’s long-form prose of 1876–1884 provides grounds to claim that the appeal to diverse mythopoetic structures (images of folkloric or archetypal types, national cultural codes, etc.) and their poetological manifestations (artistic conventionality, fantasy, the unreal, philosophical ideas, cyclical and parabolic techniques of plot construction) played a decisive role in the formation of the modernist discourse of Ivan Franko’s early long prose. It has been revealed that mythopoetic factors influenced the innovative style-shaping already in his first romantic novel Petriis i Dovbushchuks, which manifested itself at various levels of the text. The image of Dovbush is represented as an immortal forefather, an eternal wanderer, whose timeless presence in the Carpathian region ensures unity among the descendants of two feuding families. In the scene where the 119-year-old Dovbush appears to his heirs, there is a mythological gesture reminiscent of the sacred symbolism of a mandala, which urges the bewildered descendants to cease their struggle over “bloody money.” In this episode, the real and the timeless interact to such a degree that cyclical mythopoetic factors become decisive in the chronotope of the novel. This is evident on multiple levels of the artistic structure of the text, particularly through plot techniques such as retrospection, prospection, the creation of a detective intrigue, an open ending, and the overcoming of conventional plot structures. Mythological syncretism is also observed in the genre structure of the novel, which partially includes elements of heroic epic, historical ballad (duma), parable, and fairy tale. Among the important structureforming elements of the text is the type of imagery based on oppositions such as good/evil, light/darkness, divine/demonic, spiritual/material, which establish a sense of binarity in the fictional world. In Franko’s realist major prose dealing with the Boryslav theme (Boa Constrictor and Boryslav Laughs), a similar type of genre structure is observed, where the author’s idea of the people’s guide is revealed more strongly through a social lens. In the description of the “just war” in Boryslav, a lofty ideal contrasts with the real methods of its implementation, resulting in the ideological conflict in Boryslav Laughs acquiring a mythologized context characteristic of naturalism. The image of the Boryslav land combines opposing ideas: the joy of Boryslav’s social awakening and the foreboding demonic laughter of a city on the verge of collapse. In analyzing the concept of laughter, its grotesque nature is characterized as being based on a web of binary oppositions (good/evil, real/unreal, laughter/snickering, etc.). In the naturalistic discourse of the Boryslav Dilogy, the repetition of horrifying grotesque death images is noted (ruin, fire, an underground monster, day of reckoning, etc.), the dominant one being the image of the boa constrictor. This image is rich in biblical and mythological reminiscences, including ouroboric ones. The ideological conflict of the works acquired a mythologized naturalistic context precisely through the depiction of Boryslav as a living organism that balances on the boundary of polar visions – from the titular image of laughter to the final apocalyptic guffaw. The analysis of Ivan Franko’s prose of 1876–1884 revealed the writer’s artistic tendency toward the implementation of mythological topoi, the most striking example of which is the representation of the problem of the popular leader, associated with biblical and mythological figures such as Moses, the Wise Old Man, the Trickster, and the Serpent-Temptor. The artistic structure of these texts is dominated by a poetics of binary images immersed in the transcendent, as well as elements of psychoanalytic confession of the characters and the repetition of terrifying, grotesque, deathly images. The identified plot-compositional features create an impression of a cyclical chronotope, mythologizing it and modifying the generic and stylistic characteristics of the works. Given the frequent intersections of the mythological and the unconscious in Franko’s synthetic creative method of 1876–1884 – which significantly anticipated both the development of theories of the unconscious and the formation of early modernist discourse in Ukrainian literature – we see promising prospects in a comprehensive study of the psychoanalytic dimensions of Franko’s artistic legacy and their influence on the emergence of Ukrainian modernism as a mature phenomenon.
Autofiction in a Decaying World: Temporality, Uncertainty, and Narrative Power in Dodie Smith’s I Capture the Castle.
(Alfred Nobel University, 2025-12-02) Nataliia M. Lukianenko
The aim of the article is to identify the narrative mechanisms of written self-creation in Dodie Smith’s novel I Capture the Castle, with a focus on autofiction and temporality as key artistic devices in shaping identity amid cultural, historical, and existential decline. The study re-evaluates the novel through the lens of modern autofict ion theory, integrating narratological and feminist approaches in order to explore how the chronotopic structure, diary form, and narrative indeterminacy function as tools for the transformation of the female subject. The methodological foundation of this study is based on an interdisciplinary combination of hermeneutic analysis, poststructuralist theories of subjectivity (including the work of Jacques Derrida and Judith Butler), classical narratology (Gérard Genette and Paul Ricoeur), and contemporary theories of autofiction (Serge Doubrovsky, Manuel Alberca, and Philippe Vilain). Special attention is paid to the diary genre as a medium for self-reflection and the literary practice of staging the writing self. The methodology also includes comparative analysis with contemporary female autofiction writers to situate Smith’s novel within a broader genealogical and thematic framework. The analytical focus lies on the interrelation between narrative time and identity construction, examining how the protagonist Cassandra Mortmain employs the diary form not merely to record experience but to perform and revise the self. Through close reading and theoretical contextualisation, the article investigates the novel’s representation of gendered identity, class instability, and narrative authority. Results of the research. The findings of this study reveal that I Capture the Castle exhibits a sophist icated temporal structure characterised by instability, fragmentation, and retrospection. These temporal qualities not only reflect the protagonist’s psychological state but also establish a space for constructing identity in opposition to a deteriorating external reality. Cassandra’s writing serves multiple functions: as catharsis, as reconstruction, and occasionally as simulation. This triadic function corresponds with the core gestures of autofiction, which blends real and imagined elements in order to preserve the narrator’s sense of wholeness amidst disintegration. The research demonstrates that the diary form facilitates a continuous reworking of selfhood. Cassandra’s reflections and revisions of earlier entries highlight the performative nature of writing, whereby identity is not discovered but enacted. Her diary becomes a space where past, present, and anticipated futures intersect, allowing for a fluid and dynamic self to emerge. This aligns with Ricoeur’s notion of narrat ive identity and Bruner’s theory of self as a storytelling construction. Furthermore, the novel’s treatment of gender and class reveals how narrative can serve as both a site of constraint and a mode of resistance. Cassandra’s position as a young woman in a declining aristocratic family reflects broader societal tensions in interwar Britain. Her use of the diary to assert narrative control is interpreted as a feminist gesture of self-authorship, challenging patriarchal and class-based limitations. Through comparative analysis with later autofictional works by Rachel Cusk, Sheila Heti, and Deborah Levy, the study underscores I Capture the Castle’s anticipatory role in the development of the genre. Cassandra Mortmain, though fictional, functions as a proto-autofictional narrator whose self-reflexivity, temporal manipulation, and narrative authority prefigure many of the formal and thematic concerns of contemporary literary autofiction. This article positions I Capture the Castle not merely as a nostalgic coming-of-age novel but as a richly layered text that engages deeply with questions of identity, temporality, and authorship. By situating the novel within the frameworks of autofiction, feminist narratology, and narrative identity theory, the research highlights its contribution to literary traditions of self-writing and its relevance to ongoing scholarly debates on narrative form and subjectivity. Moreover, the novel invites a rethinking of the boundaries between fiction and autobiography, demonstrating how imagined characters can inhabit the same ontological space as real authors through shared concerns of memory, selfhood, and authorship. This blending foregrounds the potential of autofiction not merely as a literary technique but as a mode of being that resonates with readers navigating their own fragmented and uncertain realities. The findings underscore the continued importance of studying under-recognised literary texts that innovate subtly, contributing to the evolution of genre and theory alike.
Stylistic Innovation and Modernist Tendencies in the Poetic School of Rasul Rza
(Alfred Nobel University, 2025-12-02) Dayanat Jumanov; Afiqa Aliyeva
The purpose of the study is to determine the artistic and stylistic innovations in Rasul Rza’s poetic style, with particular attention to his adoption of free verse, engagement with modernist aesthetics, and the broader literary significance of these developments within Azerbaijani poetry. The research has employed methods of stylistic and comparative analysis of selected poems by Rasul Rza and key representatives of his literary school to identify genre features, linguistic innovations, and deviations from traditional poetic forms in Azerbaijani literature. Focusing on the works of four central figures, Rasul Rza, Alekbar Salahzade, Ali Karim, and Ramiz Rovshan, the research analyses their poetic output to highlight the transformation of poetic form, language, and thematic concerns that distinguished this school from traditional Azerbaijani poetry. The representatives of Rasul Rza’s literary school consciously moved away from classical poetic genres such as the ghazal and qasidah, embracing European-influenced free verse, which offered freedom from fixed rhyme schemes and metrical patterns. This liberation enabled poets to explore novel rhythmic structures, intonations, and sound patterns that contributed to a more flexible and expressive poetic language. The study reveals that the school’s poetry encompasses a broad spectrum of themes including urban life, nature, and profound philosophical reflections, thereby broadening the thematic scope of Azerbaijani literature. Stylistically, the poets employed colloquial vocabulary and various rhetorical devices such as anaphora, epiphora, and syntactic parallelism to intensify emotional resonance and enhance musicality. A notable feature is the frequent use of short, laconic, and nominative sentences that impart dynamism and immediacy to the verse, reflecting the rapid pace and fragmented reality of modern existence. The research situates Rasul Rza’s school within the broader context of global modernism, demonstrating how it synthesized national poetic traditions with international avant-garde trends. This fusion contributed to the emergence of a uniquely Azerbaijani modernist poetic identity that resonated with intellectual and aesthetic currents worldwide. The findings underscore the school’s role in revitalizing Azerbaijani poetry by dismantling rigid formal constraints, expanding thematic boundaries, and integrating a conversational tone that made poetry more accessible and socially relevant. Through these innovations, the Rasul Rza school contributed to the development of intellectual poetry in Azerbaijan, characterized by philosophical depth, linguistic experimentation, and stylistic freedom. This study offers valuable contributions to literary history, stylistics, and theory by elucidating the processes of poetic modernization and the evolution of literary forms in Azerbaijan. The study affirms that Rasul Rza’s poetic school remains a cornerstone of Azerbaijani literary modernization, bridging the gap between national tradition and global literary innovation, and shaping the future directions of Azerbaijani poetry.

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