The article deals with the phenomenon of Latin as a universal cultural code that continues to be actively used in various spheres of life. Knowledge of Latin not only facilitates the study of many languages, but also allows to attach oneself to the world cultural values, promotes the establishment of links between Latin, ancient culture, and European civilization, gives access to the perception and understanding of works of literature and painting, enhances general erudition and professional competence, expands the cultural horizons. Using non-traditional linguo-cultural forms enables to form traditional ideas about the subject, and to synthesize the information received, integrate it into the modern world and start the replication process in real life situations. The formation of a holistic view of the world around involves not only mastering a number of special disciplines of the chosen specialty, but also the awareness of the connection between them, the addition of one science to another. That is why the use of the interdisciplinary approach is a prerequisite for the organization of the educational process. The interdisciplinary approach allows us demonstrating the ways of meaningful use of the gained knowledge and providing an exhaustive answer to the question: Why should I know this? What is the benefit of this? Where can I apply it?It is impossible to overestimate the role of the Latin language, which it played in the life of Europe. It still has a significant component of world culture -even after leaving live conversation it has retained its ability to develop. Its history has about three thousand years: from the language of a small Italian tribe, Latin was originally the language of the whole Italy, but later the expansion of Rome led to the expansion of the Latin language space and language functions. According to R. Jhering, the Roman law historian, Rome dictated the laws of the world three times, as well as brought the peoples to unity three times: the first time when the Roman people were still in full force -to the unity of the state; the second time after this people had already disappeared -to the unity of the church; third, as a result of the acquisition of Roman law in the Middle Ages, to the unity of law; the first time by external coercion, i.e. by force of arms and two other times -by force of spirit (Jhering, 1875: 1). The Roman Empire was the most powerful state of the ancient world, its borders extending from the shores of the Atlantic Ocean in the west to the eastern shores of the Euphrates River in the east, from the deserts of Africa in the south to the northern borders of Britain in the north. Latin is the language of communication in Spain, Gaul, Iberian Germany, Pannonia, Dacia, North Africa, Asia Minor, functioning at the same time as a state language and as a language of ethnic communication, with Latin relations being formed in different languages.After the fall of Rome in 476 lingua Latina vulgaris gradually formed new languages that are part of the Romanic group -Spanish, Itali...
Ancient fable is one of the most notable phenomena of European literature. Many monuments of this genre are distinguished by high artistic skill and have not lost their aesthetic value to these days. Short stories with a moral component, the protagonists of which were the representatives of animate or inanimate nature, were known in ancient times. Aesop is considered the founder of fable’s genre, according to the legend he first made them in literary processing. The most commonly among the works of the ancient Greek fabulist there are the themes of hypocrisy and human recklessness, lies and greed, fame and its consequences. The traditional structure of fables usually has two components – a morality and a narrative, and its main elements are an instructive, figurative, concise presentation, the introduction to the plot of various species of animals, plants, natural phenomena, gods, etc., which endowed with traditional allegorical image. The events described in the fables have an instructive content, in which the negative social phenomena and the human traits are ridiculed with help of allegory. Each fable of the legendary master is a separate episode, not related to the rest of the fables. The article defines the concept of a fable, provides a theoretical justification for choosing the object of study, takes into account a state of the linguistic researches of a chosen topic, outlines the artistic features of the genre, determines a compositional, stylistic and speech structure of Aesop’s fables and their translations into Ukrainian. Yuri Mushak’s translations are distinguished by the desire to preserve the artistic features of Aesop’s fables with a detailed transfer of their individual linguistic and stylistic elements. At the same time, the translator manages to bring his translations closer to the living conditions and morals of the Ukrainian people, he widely uses abbreviations or, conversely, additions to the text, replacement, concretization, and so on.
The article considers the literary and stylistic peculiarities of Neo-Latin poetry in seventeenth to eighteenth-century Ukraine. Latin poetry of that time is marked by variability and diversity of genres, for it logically continued the classical traditions and at the same time was influenced by the aesthetics and poetics of the Baroque due to the interlingual contacts. The Latin language was supposed to be the main criterion of the high style in a poetry. As for the genre peculiarities, Neo-Latin poetry tended to panegyrics as the literature "fashion" of that epoch, when the poets expressed their gratitude and admiration to the philanthropists, whereas the elegic poems were the part of poetic courses to illustrate the genre. It explains the freedom and fantazy which are present in panegyric poetry and classical canon which served for writing elegies. The period of the seventeenth to the eighteenth century was an absolutely disparate one in both the political and social life of Ukraine. Rapid development of events, dramatically changing realia and values shaped very special attitudes to life with the contemporaries, in particular with Kyiv intellectual poets who wrote a significant number of works in Latin. Analysis of these works enables to characterize the development of the Latin language in Ukraine and consider Neo-Latin poetry of Ukraine as a part of the Western European literary and language unity.
статьи-выявление вербального воплощения зоны персонажа в тексте художественного произведения, специфики взаимодействия всех факторов его проявления с закреплёнными номинациями в масштабах целого мегатекста. Объект анализа-образ героя художественного произведения в пределах мегатекста. Предмет исследования-кореферентные номинации и зона обозначения героя, определяющая композиционное и идейное представление персонажа. В работе использованы методы описательного, герменевтического, композиционного и интертекстуального анализа. Результатом работы стало исследование совокупности представлений образа героя-референта в пределах мегатекста, выраженной парадигмой: образ персонажа-референта в тексте → образ персонажа-референта во вспомогательном тексте → образ персонажа-референта в мегатексте. Образ персонажа мегатекста создаётся из совокупного представления референта во всех компонентах его структуры с помощью различных номинаций, сохраняющих ядерную, ведущую характеристику «герой основного сообщения». Использованы некоторые художественные тексты А. И. Куприна. Выводы. С тематической точки зрения, мегатекст представляет собой сложную многофокусную систему, вбирающую в себя полииерархичную взаимосвязь всех номинаций, представленных в исходном и вспомогательных видах текста, которые, в свою очередь, сопряжены в едином концептуально-информативном комплексе их культурно-и/или идейно-художественного рассмотрения. Практическое применение результатов исследования возможно при анализе художественного текста, исследовании интертекстуального представления художественного образа, а также на занятиях по интерпретации текста. Ключевые слова: зона обозначения персонажа, мегатекст, референтные связи, персонаж-референт, А. И. Куприн.
The article explores changes in the lexical system of the Latin language that have resulted from the close long-term interaction of several linguistic cultures. Latin was a spoken language which was under the influence and at the same time itself influenced other national European languages. As a result, the Latin language of one time period in different geographical areas had certain peculiarities. Particularly interesting is the example of Ukrainian version of Latin because it was used in Ukraine simultaneously with a language of another group with its own grammatical system and lexical composition. Despite the fact that Latin in Ukraine of the XV-XVII centuries inherited grammatical and lexical systems of classical Latin, the level of which among the authors was rather high, the Latin language underwent certain changes due to the influence of Ukrainian and Polish.
The results of ancient Greek phraseological units study, which represent the emotional and evaluative characteristics of different professions and activities by ancient Greeks, are presented. 138 ancient Greek phraseological units were analyzed, which include lexemes of the semantic field "professions and activities" (in particular, those that denote the object, result, tool, place of (professional) activity, as well as people's proper names – representatives of a profession that have become a precedent). The lexemes of the semantic subgroups "musical art", "judiciary", "poetic art" have been found to have the highest phraseological productivity, "military affairs", "philosophy", "criminal activity", "medicine" and "sports" have the lowest one. It is important to emphasize that the core lexemes in the analyzed proverbs do not have an evaluative component in their semantics, but in the structure of phraseological units represent a socially fixed assessment or certain social stereotypes due to previous historical experience and cultural preconditions. Quite often stereotypical ideas of the ancient Greek linguistic and cultural community about the representatives of a certain profession or type of activity and their assessment depending on their place of residence or origin are verbalized in phraseological units. Quantitative analysis of phraseological units by type of axiological component revealed a significant advantage of proverbs with a negative connotation over positively or neutrally marked units. Professions and activities in the ancient Greek proverbs are evaluated in two aspects: the relationship between the subject and activity (matching skills, abilities of the subject of activity, effectiveness and benefit to society from the work performed) and personal characteristics of the subject of activity those that are associated in ethnic consciousness with representatives of certain professions and activities, that affect the quality and performance of work (such as mental abilities, taciturnity, truthfulness, ambition, greed, etc.).
Украинская традиционная культура является самобытным явлением, которая органично «вписывается» в мозаическую картину мирового культурного наследия. Человечество на протяжении своего существования выработало множество вариантов культурных практик обращения с телом умершего человека: от каннибализма, «проводов» в страну предков еще живого немощного человека до кремации или захоронения в землю. У каждого этноса есть своя история погребальной культуры, которая зависит от многих факторов: географического положения, ландшафтных условий, религиозных верований. Цель этой статьи определить культурные универсалии и самобытные черты украинской погребальной традиции. Исходным материалом стали фольклорные сборники XIX-XX века, собственные наблюдения автора. Предметом авторского исследования является выяснение принципов смыслогенерации культурного текста «смерть», выявление инициальных черт погребального ритуала и «прочтение» смысловых интенций актантов погребальной практики. В ходе изучения проблемы автор пришел к выводам о том, что основным источником информации о древних формах погребения является устно словесная культура, где в метафорической форме кодируются смыслы смерти и перехода в инобытие; инициальным текст культуры, главной темой которого является смерть, можно считать достаточно условно, так как основная дифференциация происходит не между статусами («кто он»), а между локусами («где он»), в пространствах бытия и инобытия; осевым компонентом, вокруг которого концентрируется творческая деятельность социума, является транзитность.
[Kuzmenko O. M. Dramatical Existence of Human in Ukrainian Folklore: Conceptual Forms of Expression (Lviv : The Ethnology Institute of National Academy of Sciences of Ukraine, 2108. 728 p. 16 p. il.)]
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