The article presents an analysis of etymological component of the concepts summer and autumn in the Russian and English languages with the aim to identify the archaic core of these concepts and their comparison in Russian and English languages, the identification of similar and different components in their structure. Russian and English native speakers have similar concepts that can be grouped according to various criteria. Often similar concepts of different linguistic cultures are not completely the same in terms of their content and that proves their national identity. Such discrepancies can be significant for intercultural communication. The concepts summer and autumn are concepts with perceptual and sensory cores, therefore their multidimensional analysis is important and interesting from the point of view of identifying the general and national-caused elements of these concepts among representatives of the Slavic and Germanic language pictures. Such concepts are archetypal, ambivalent in their content and express the specifics of the world picture of the ethnos. In addition, historical-cultural approach taken in this study is the least developed area in the study of the concept. And etymology -is the source from which develops the conceptual content, reflection of the initial "naïve" ideas about the denotation, that are the "core" from which any concept in any language develops.
The object of the research is the specificity of neurolinguistic programming language techniques. Scientific novelty of this work lies in identifying the consistent link between the practical realisation of neurolinguistic programming techniques and their pragmatic potential with the dominant functions of the media discourse: informative, manipulative, communicative, expressive and aesthetic ones. The authors specify the classification of neurolinguistic programming language techniques, which include additionally introduced ones: expressions with a universal quantifier, explication of causal relations and affirmation.
The article analyzes different types of space-time organization patterns in the Stream of Consciousness texts (SCT) to determine communicative equivalence in translation. The study focuses on two novels by J. Joyce -Ulysses and Finnegans Wake, and their German and Russian translations. The conclusion can be made that there are two types of patterns realizing stream of consciousness technique in J. Joyce's works: SCT with space-time hyperlinearity and SCT with chaotic-cyclic dominant, which can be conveyed in a communicatively equivalent way in target languages (TLs) with the reference to different translation strategies. Literal hyperlinear equivalents prevail in translation of first type SCT (equivalents or transcribed source language (SL) lexemes), while the translation of second type SCT features hermeneutic reflection of a translator actualized in the search of the most adequate way of form generation which conveys multidimensional sense of the author's intentions to maximum extent.
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