Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/18-36
O. Babelyuk
INTRODUCTION Style in literature might be defined as a special way a definite author uses different language units in his writing. According to Encyclopedia Britannica it is a technique that an individual author uses while producing a text. It varies from author to author, and depends upon one’s syntax, word choice, and narration. It can also be described as a “voice” that readers listen to when they read a work of this writer. 1 One may distinguish four types of style: expository or argumentative, descriptive, persuasive and narrative. On the other hand, style is, according to N. Chomsky’s nomenclature, the tension between deep structure and surface structure of the text. It can therefore be said that it is a relation between what the text means and what syntactic constructions mean. So, style is understood as a way of expressing a specific content. Authors often wonder how to achieve a good style of writing and whether it is the same as the author’s voice. The novelty here is that the essence of a good style is fluency of the language, correct use of words and grammatical rules, and the ease with which the reader can follow the story. For some time, among the creators of high literature, there was a manner for applying style far removed from the colloquial speech. In the criminal literature this could be a major obstacle in the reception of reading. Complex syntax, sophisticated descriptions, hermetic vocabulary and other author’s performances make it virtually impossible to create a story with the pace that readers expect. Definitions of a good writing style were created in all languages and in every epoch. Seneca believed that: Style has no protracted principles; it changes under the influence of use, it does not remain the same for a moment 2 . Aristotle claimed that: The basis of good style is linguistic correctness 3 . In our century, E. Waugh proposed three goals in order to work out a good style: clarity, which should be developed, elegance to which one should strive and a recognizable voice about which one can at least pray 4 .
{"title":"DECODING POETIC COLOURING OF DETECTIVE STORIES: PRINCIPLES OF READING","authors":"O. Babelyuk","doi":"10.36059/978-966-397-131-5/18-36","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/18-36","url":null,"abstract":"INTRODUCTION Style in literature might be defined as a special way a definite author uses different language units in his writing. According to Encyclopedia Britannica it is a technique that an individual author uses while producing a text. It varies from author to author, and depends upon one’s syntax, word choice, and narration. It can also be described as a “voice” that readers listen to when they read a work of this writer. 1 One may distinguish four types of style: expository or argumentative, descriptive, persuasive and narrative. On the other hand, style is, according to N. Chomsky’s nomenclature, the tension between deep structure and surface structure of the text. It can therefore be said that it is a relation between what the text means and what syntactic constructions mean. So, style is understood as a way of expressing a specific content. Authors often wonder how to achieve a good style of writing and whether it is the same as the author’s voice. The novelty here is that the essence of a good style is fluency of the language, correct use of words and grammatical rules, and the ease with which the reader can follow the story. For some time, among the creators of high literature, there was a manner for applying style far removed from the colloquial speech. In the criminal literature this could be a major obstacle in the reception of reading. Complex syntax, sophisticated descriptions, hermetic vocabulary and other author’s performances make it virtually impossible to create a story with the pace that readers expect. Definitions of a good writing style were created in all languages and in every epoch. Seneca believed that: Style has no protracted principles; it changes under the influence of use, it does not remain the same for a moment 2 . Aristotle claimed that: The basis of good style is linguistic correctness 3 . In our century, E. Waugh proposed three goals in order to work out a good style: clarity, which should be developed, elegance to which one should strive and a recognizable voice about which one can at least pray 4 .","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114065197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/252-266
O. Prikhodchenko
{"title":"THE ROLE AND PLACE OF EMOTIONS IN THE CREATION OF WORLDVIEW","authors":"O. Prikhodchenko","doi":"10.36059/978-966-397-131-5/252-266","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/252-266","url":null,"abstract":"","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134093050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/72-88
M. Fedurko
{"title":"MORPHONOLOGICAL UNITS IN THE SYSTEM OF UKRAINIAN WORD-FORMATION FROM THE NOUN","authors":"M. Fedurko","doi":"10.36059/978-966-397-131-5/72-88","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/72-88","url":null,"abstract":"","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126061302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/109-124
M. Ivanchenko
INTRODUCTION The work of the American poet and writer Edgar Allan Poe is of great interest to literary scholars and translators around the world. His contribution to world literature is unquestionable; his ideas still influence world culture. The iconic figure of world literature, the series of new genres founder, the first professional writer of America, a master who incomprehensibly combined poetic genius and mathematical harmony, a knight of logic, wandering in the labyrinths of the unconscious, a man whose work occupied little contemporaries and will forever remain in the memory of his descendants. World fame and recognition, which Poe received, alas, already after death, give rise to a misleading view of him as a prolific author. Meanwhile, he wrote quite a bit. The poetic canon of Po includes a little more than fifty works, among which we find only two relatively long poems – “Tamerlan” and “Al Aaraaf”. The rest are relatively small lyric poems of various denominations. Thomas Eliot once remarked that of all the poetic works of Edgar Allan Poe, “only half a dozen were truly successful. However, not a single poem, not a single poem in the world had a wider circle of readers and settled so firmly in people’s memory than these few poems by Po” 1 . His “Philosophy of Composition” (1846) confirms that in his poetry, when creating images and the entire artistic structure of the poetic work, E. Poe proceeded not from fiction, but based on reality, theoretically substantiating the need for a romantic expression of the beauty of life. One of the main aesthetic theses, which he constantly adhered E. Po to is the statement that: “If the first phrase does not contribute to the achievement of a single effect, it means that the writer failed from the very beginning. According to his opinion there should not be a single word in the entire work that would not directly or indirectly lead to a single purpose conceived. So, carefully and skillfully, finally, a picture is created
{"title":"REPEATITION AS A STYLISTIC DEVICE OF EXPRESSION IN E. PO POETIC SPEECH","authors":"M. Ivanchenko","doi":"10.36059/978-966-397-131-5/109-124","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/109-124","url":null,"abstract":"INTRODUCTION The work of the American poet and writer Edgar Allan Poe is of great interest to literary scholars and translators around the world. His contribution to world literature is unquestionable; his ideas still influence world culture. The iconic figure of world literature, the series of new genres founder, the first professional writer of America, a master who incomprehensibly combined poetic genius and mathematical harmony, a knight of logic, wandering in the labyrinths of the unconscious, a man whose work occupied little contemporaries and will forever remain in the memory of his descendants. World fame and recognition, which Poe received, alas, already after death, give rise to a misleading view of him as a prolific author. Meanwhile, he wrote quite a bit. The poetic canon of Po includes a little more than fifty works, among which we find only two relatively long poems – “Tamerlan” and “Al Aaraaf”. The rest are relatively small lyric poems of various denominations. Thomas Eliot once remarked that of all the poetic works of Edgar Allan Poe, “only half a dozen were truly successful. However, not a single poem, not a single poem in the world had a wider circle of readers and settled so firmly in people’s memory than these few poems by Po” 1 . His “Philosophy of Composition” (1846) confirms that in his poetry, when creating images and the entire artistic structure of the poetic work, E. Poe proceeded not from fiction, but based on reality, theoretically substantiating the need for a romantic expression of the beauty of life. One of the main aesthetic theses, which he constantly adhered E. Po to is the statement that: “If the first phrase does not contribute to the achievement of a single effect, it means that the writer failed from the very beginning. According to his opinion there should not be a single word in the entire work that would not directly or indirectly lead to a single purpose conceived. So, carefully and skillfully, finally, a picture is created","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127723757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/201-216
L. Matsevko-Bekerska
INTRODUCTION The problem of the reader occupies the leading position in the modern literary criticism discourse and becomes a focus of increasingly active interest, undergoing dynamic transformation in terms of research methodology and projections on the framework of a literary text. In terms of cognitive aspects of artistic and aesthetic phenomenon, the sequence of presentation of all conceptual elements occurs as a self-sufficient communicative process. At the same time, its integrity and authenticity is ensured, above all, by the reader, who is ready for an appropriate aesthetic dialogue. Hence, the problem of the reader / reading is particularly relevant in the context of developing a methodology, in particular, for the cognitive and narratological study of both individual literary works and the author’s style or certain parameters of poetics. The unfolding of a plot or significant problematics has a temporal and spatial paradigm characteristic of the literary world. The kaleidoscopic change of depicted images and the transition from one temporal projection to the next one occur primarily due to the personalization of the world of the literary work in the mind of the reader. The cognitive aspect implies that, in accordance with the general precept, “sentences of utterances that appear in a literary work” that “are not proper judgments, but only quasijudgments, whose function is to give the depicted objects only a certain aspect of reality, should be perceived, without stamping them with reality” 1 . The temporal plane of a literary work is phenomenally implemented in the imagination of the reader, where events or different perceptions of one event are gradually overlaid. The cognitive process is aimed at performance of an integral image of the development of some phenomenon and it acquires a semantic completeness in the artistic work when synchronizing all events transformations, existing in the text or ascribed by the reader. Thus, the literary continuum from the fictional
{"title":"THE READER’S DISCOURSE IN THE COGNITIVE AND NARRATIVE STRUCTURE OF A LITERTARY WRITING: RECEPTION AND INTERPRETATION IN THE AESTHETIC DIALOGUE","authors":"L. Matsevko-Bekerska","doi":"10.36059/978-966-397-131-5/201-216","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/201-216","url":null,"abstract":"INTRODUCTION The problem of the reader occupies the leading position in the modern literary criticism discourse and becomes a focus of increasingly active interest, undergoing dynamic transformation in terms of research methodology and projections on the framework of a literary text. In terms of cognitive aspects of artistic and aesthetic phenomenon, the sequence of presentation of all conceptual elements occurs as a self-sufficient communicative process. At the same time, its integrity and authenticity is ensured, above all, by the reader, who is ready for an appropriate aesthetic dialogue. Hence, the problem of the reader / reading is particularly relevant in the context of developing a methodology, in particular, for the cognitive and narratological study of both individual literary works and the author’s style or certain parameters of poetics. The unfolding of a plot or significant problematics has a temporal and spatial paradigm characteristic of the literary world. The kaleidoscopic change of depicted images and the transition from one temporal projection to the next one occur primarily due to the personalization of the world of the literary work in the mind of the reader. The cognitive aspect implies that, in accordance with the general precept, “sentences of utterances that appear in a literary work” that “are not proper judgments, but only quasijudgments, whose function is to give the depicted objects only a certain aspect of reality, should be perceived, without stamping them with reality” 1 . The temporal plane of a literary work is phenomenally implemented in the imagination of the reader, where events or different perceptions of one event are gradually overlaid. The cognitive process is aimed at performance of an integral image of the development of some phenomenon and it acquires a semantic completeness in the artistic work when synchronizing all events transformations, existing in the text or ascribed by the reader. Thus, the literary continuum from the fictional","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134305204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/142-159
V. KoliasaO., Harvest Hammett
INTRODUCTION In detective stories an important character is a detective. The authors of these stories, trying to write such books, must find out about duties and responsibilities of real detectives in the country they intend to write about, in England, for example, they cannot wave weapons. Most of their actions are free of tension: they look for thieves in stores, follow unfaithful husbands or wives, look for the missing and get all the information their clients cannot get. For the needs of this genre of literature, the detective must be involved in murder. In old-fashioned stories, it happens that the ruffled police inspector calls for help a private detective to solve the case. It is ironic that the stereotype of the method is transferred to the subject of research; there is an accusation here that detective story is schematic. A much greater sense of the essential features of the detective’s stories has a more naive approach, for example in Cawelti’s book 1 . In spite of the wide-scale theoretical assumptions and clear main weaknesses the results of typically American strain allowed Cawelti achieved more than the relatively narrow theoretical framework of his work. According to J.G. Cawelti Hammett is artistically more convincing than Chandler, because for Chandler a source evil is only social depravity, while Hammett presents a deep cosmic vision of evil: a source of unhappiness it is indifferent, condemned to the randomness of the universe without God 2 . On the other hand Cawelti of course must acknowledge that Hammett, speaking explicitly political views was a radical – while Chandler’s ideology is left-wing, although it still fits within the bourgeois limits of liberalism. From this contradiction Cawelti seems to rescue in such a way that contradiction for him simply means contradiction: against the radical political tendency Hammett has defined political tendencies as a deeper existential experience of the absurdity of human existence in a random universe without God. The absurdity of this, of course could not be finished by revolutionary upheaval in social relations, because it is deeper – it relies on the very deep relationship between the man and the universe. It might be considered as paradox, that it is Hammett who sees the source of evil in the universe, and not only in the demoralization of
{"title":"PRESENTATION OF IMAGES IN DETECTIVE STORIES","authors":"V. KoliasaO., Harvest Hammett","doi":"10.36059/978-966-397-131-5/142-159","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/142-159","url":null,"abstract":"INTRODUCTION In detective stories an important character is a detective. The authors of these stories, trying to write such books, must find out about duties and responsibilities of real detectives in the country they intend to write about, in England, for example, they cannot wave weapons. Most of their actions are free of tension: they look for thieves in stores, follow unfaithful husbands or wives, look for the missing and get all the information their clients cannot get. For the needs of this genre of literature, the detective must be involved in murder. In old-fashioned stories, it happens that the ruffled police inspector calls for help a private detective to solve the case. It is ironic that the stereotype of the method is transferred to the subject of research; there is an accusation here that detective story is schematic. A much greater sense of the essential features of the detective’s stories has a more naive approach, for example in Cawelti’s book 1 . In spite of the wide-scale theoretical assumptions and clear main weaknesses the results of typically American strain allowed Cawelti achieved more than the relatively narrow theoretical framework of his work. According to J.G. Cawelti Hammett is artistically more convincing than Chandler, because for Chandler a source evil is only social depravity, while Hammett presents a deep cosmic vision of evil: a source of unhappiness it is indifferent, condemned to the randomness of the universe without God 2 . On the other hand Cawelti of course must acknowledge that Hammett, speaking explicitly political views was a radical – while Chandler’s ideology is left-wing, although it still fits within the bourgeois limits of liberalism. From this contradiction Cawelti seems to rescue in such a way that contradiction for him simply means contradiction: against the radical political tendency Hammett has defined political tendencies as a deeper existential experience of the absurdity of human existence in a random universe without God. The absurdity of this, of course could not be finished by revolutionary upheaval in social relations, because it is deeper – it relies on the very deep relationship between the man and the universe. It might be considered as paradox, that it is Hammett who sees the source of evil in the universe, and not only in the demoralization of","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127611168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/235-251
G. Prihodko
INTRODUCTION Participating in acts of communication, we perceive what is said or create utterances by themselves. The perception of the acts of communication is a multifaceted process involving the use of a wide range of information. Communication is a two-way process in which participants not only exchange ideas, feelings and information but also create and share meaning for reaching mutual understanding. It is the exchange of ideas, thoughts, messages, or the like, by speech, signals or writing. It is to express oneself in such a way that one is readily and clearly understood 1,2 . It is a process of conveying information from the sender to the receiver with the use of the media in which the communicated information is understood. One of the means of communication is the mass media. In the life of modern society, the media play a significant role. Today’s life is unimaginable without the mass media. Many different printed as well as online newspapers try to attract the readers. The media open up access to new knowledge, introduce the latest news, and allow you to see the situation from various angles. The main feature of modern civilization is mass media or means of communication. The media include press (newspapers, magazines), and broadcasting (television, radio, advertisement and Internet). Mass media unite people all over the world into one global community. The implementation of these functions is possible only if the information provided by the press can be trusted. As the historical experience shows the media, which provide incorrect, false, non-argued information, eventually lose their readers, viewers, listeners and die out. Only accurate, truthful and reasoned information inspires confidence. So, professional journalists and professional press must possess the methods and means of argumentation, and submit their materials in a qualitative and reasoned manner.
{"title":"SPECIFIC FEATURES OF THE ARGUMENTATION IN MEDIA","authors":"G. Prihodko","doi":"10.36059/978-966-397-131-5/235-251","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/235-251","url":null,"abstract":"INTRODUCTION Participating in acts of communication, we perceive what is said or create utterances by themselves. The perception of the acts of communication is a multifaceted process involving the use of a wide range of information. Communication is a two-way process in which participants not only exchange ideas, feelings and information but also create and share meaning for reaching mutual understanding. It is the exchange of ideas, thoughts, messages, or the like, by speech, signals or writing. It is to express oneself in such a way that one is readily and clearly understood 1,2 . It is a process of conveying information from the sender to the receiver with the use of the media in which the communicated information is understood. One of the means of communication is the mass media. In the life of modern society, the media play a significant role. Today’s life is unimaginable without the mass media. Many different printed as well as online newspapers try to attract the readers. The media open up access to new knowledge, introduce the latest news, and allow you to see the situation from various angles. The main feature of modern civilization is mass media or means of communication. The media include press (newspapers, magazines), and broadcasting (television, radio, advertisement and Internet). Mass media unite people all over the world into one global community. The implementation of these functions is possible only if the information provided by the press can be trusted. As the historical experience shows the media, which provide incorrect, false, non-argued information, eventually lose their readers, viewers, listeners and die out. Only accurate, truthful and reasoned information inspires confidence. So, professional journalists and professional press must possess the methods and means of argumentation, and submit their materials in a qualitative and reasoned manner.","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114149893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/217-234
P. Matskiv
{"title":"UNDERSTANDING GOD IN FOLKLORE DISCOURSE: SEMANTIC OPPOSITIONS","authors":"P. Matskiv","doi":"10.36059/978-966-397-131-5/217-234","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/217-234","url":null,"abstract":"","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122141717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/334-348
Y. Yaremko
INTRODUCTION Concepts-politonyms clarify the Ukrainian understanding of freedom connected to the native land in both nation of sowers and nation of warriors’ consciousness. Thus, land for Ukrainians appears to be not just the provision source but also the source of vital internal power, invincibility of the national spirit as well as the personal territory of freedom. The Ukrainian cordocentric soul always considered the land to be sacred and consequently the vision of land-mother turns up. I. Franko says: My native land of fertility Give me the power living in you For not to fall in a battle 1 ... In this context it is clearly seen the unbreakable connection between the two concepts – freedom which is necessary to gain in a fight and land. The protection of mother-land becomes the issue of dignity and honor despite the obvious defeat in unfair struggle. The failure however is just physical and never moral or psychological. The realized duty to the godchosen land gives a human power to become undefeatable and free. A. Camus admitted in his book that freedom is not a privilege but responsibility. This is internal dimension of freedom. The internal freedom acquires the essential value in case of absence of external freedom (some rights given by the state, society and the support of their realization) when the native land suffers from hostile invasion. The vision was characteristic of the rebellious Ukrainians at the time of liberation struggle. “Their highest ideal which served the inspiration for the exploits of sacrifice” according to the participants of the liberation movement were God and Ukraine 2 . We may answer the question why the chthonic feature that is the unbreakable merge with the native land in need of being protected as well as the right to save the personality uniqueness on this land, the right of the national identity became the most relevant feature of the Ukrainian nature. The fundamental reason of the Ukrainian liberation movement was the moral requirement to protect the land of
{"title":"CONCEPTS-POLITONYMS AS A REVEAL OF THE POLITICAL “WE IMAGE”","authors":"Y. Yaremko","doi":"10.36059/978-966-397-131-5/334-348","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/334-348","url":null,"abstract":"INTRODUCTION Concepts-politonyms clarify the Ukrainian understanding of freedom connected to the native land in both nation of sowers and nation of warriors’ consciousness. Thus, land for Ukrainians appears to be not just the provision source but also the source of vital internal power, invincibility of the national spirit as well as the personal territory of freedom. The Ukrainian cordocentric soul always considered the land to be sacred and consequently the vision of land-mother turns up. I. Franko says: My native land of fertility Give me the power living in you For not to fall in a battle 1 ... In this context it is clearly seen the unbreakable connection between the two concepts – freedom which is necessary to gain in a fight and land. The protection of mother-land becomes the issue of dignity and honor despite the obvious defeat in unfair struggle. The failure however is just physical and never moral or psychological. The realized duty to the godchosen land gives a human power to become undefeatable and free. A. Camus admitted in his book that freedom is not a privilege but responsibility. This is internal dimension of freedom. The internal freedom acquires the essential value in case of absence of external freedom (some rights given by the state, society and the support of their realization) when the native land suffers from hostile invasion. The vision was characteristic of the rebellious Ukrainians at the time of liberation struggle. “Their highest ideal which served the inspiration for the exploits of sacrifice” according to the participants of the liberation movement were God and Ukraine 2 . We may answer the question why the chthonic feature that is the unbreakable merge with the native land in need of being protected as well as the right to save the personality uniqueness on this land, the right of the national identity became the most relevant feature of the Ukrainian nature. The fundamental reason of the Ukrainian liberation movement was the moral requirement to protect the land of","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127738295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.36059/978-966-397-131-5/317-333
N. Venzhynovych
{"title":"COGNITIVE AND ONTOLOGICAL PECULIARITIES OF REALIZING UKRAINIAN PHRASEOLOGICAL CONCEPS","authors":"N. Venzhynovych","doi":"10.36059/978-966-397-131-5/317-333","DOIUrl":"https://doi.org/10.36059/978-966-397-131-5/317-333","url":null,"abstract":"","PeriodicalId":276969,"journal":{"name":"TRADITIONS AND INNOVATIONS IN TEACHING PHILOLOGICAL DISCIPLINES","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131036700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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