Структура концепта CHOICE/ВЫБОР в британской языковой картине мира (на примере романа А. Мердок «Черный Принц»)

The article is devoted to the consideration the problem of the phenomenon of an unreliable narration in the British intellectual prose of the second half of the twentieth century (Golding, Murdoch). The meaning of the words “narrator”, “unreliable narration” is investigated. The unreliable narration is reviewed based on the example of the novel “Rites of Passage” by Golding (1980). It is noted that the aforementioned work has a vibrant didactic component. It has been found that Golding uses a wide range of narrative techniques. The emphasis is made on the critical analysis by other literary scholars of the novel “Rites of Passage” by Golding. The use of narrative strategies in accordance with the scientific classification by Genette (1980) is investigated. The markers of unreliability of the narrators are emphasized. Attention is focused on the fact that a high degree of unreliability is based on the limited knowledge of the heroes, direct participation in the events, a problematic system of values. It is noted that the unreliability of narration in the novel “Rites of Passage” by Golding forces the reader to doubt not only the narrator but oneself. The use of the narrative method in the intellectual prose of the British writer Iris Murdoch is investi-gated. It has been found that the novel “The Black Prince” by Iris Murdock (2006) is one of the best examples of an unreliable narration. The genre specifics of the novel are emphasized, which combines the forms of the diary, of the memoir and of the confession. In addition, Murdoch creates a narrative strategy, which combines signs of various forms of “I am the narrator” within the framework of one narrative. In addition, “The Black Prince” is a unique model of modern artistic and philosophical metatext genre formation.

The Location of Literature:The Transnational Book and the Migrant Writer Rebecca L. Walkowitz (bio) Precisely where is English literature produced?" This is Gauri Viswanathan's question, from an essay about the transformation of English studies in the wake of postcolonial theory (22). Her answer—not only "in England, of course"—focuses on the genealogy of the discipline, its development within the British Empire and other dominions outside England through the education of colonial subjects and the efforts of strangers such as "Jews, Dissenters, and Catholics" (23). But her answer also focuses on the dynamic relationship between "sites of cultural production and institutionalization," the way that "English literature" names a mode of analysis and a collection of works as well as the way that modes of analysis establish collections. In fact, she suggests, there is no "English literature" before institutionalization: only with disciplinary protocols do cultural products become a field (20). "Where is English literature produced?" thus asks us to consider that the location of literature depends not only on the places where books are written but also on the places where they are classified and given social purpose. In its emphasis on critical geographies, Viswanathan's question remains important to continuing debates about the "national attributes" of literature (21). Yet today we would be likely to ask several other questions as well: In what language does English literature circulate? Where is English literature read? Who counts as a producer (writers, but also editors, printers, designers, publishers, translators, reviewers)? And how has the global circulation of English literature shaped its strategies and forms of appearance? These questions turn from production to circulation, and back again, reflecting a new [End Page 527] emphasis on the history of the book and what Leah Price calls "the geography of the book" within postcolonial studies and world literature ("Tangible Page" 38). This work reinvigorates and reframes Homi K. Bhabha's claim that disciplinary models of comparison and distinction will have to be tested by new ways of understanding community. In The Location of Culture, published in 1994, Bhabha argued, "The very concepts of homogenous national cultures, the consensual or contiguous transmission of historical traditions, or 'organic' ethnic communities—as the grounds of cultural comparativism—are in a profound process of redefinition" (5). A decade and more later, essays and reports about the future of literary studies assume the heterogeneity and discontinuity of national cultures, and many scholars now emphasize "networks" of tradition and the social processes through which those networks are established (Damrosch, "What Is World Literature" 3; Greene 216–21). Haun Saussy's essay on the state of comparative literature, published with replies as Comparative Literature in an Age of Globalization, marks and elaborates this turn. Like Saussy's volume, Immigrant Fictions suggests that literary studies will have to examine the global writing of books, in addition to their classification, design, publication, translation, anthologizing, and reception across multiple geographies. Books are no longer imagined to exist in a single literary system but may exist, now and in the future, in several literary systems, through various and uneven practices of world circulation. Consider, for example, the literary systems represented on the cover of this volume, which displays in miniature the covers of five contemporary works of fiction in English—or, really, the covers of five editions of those works: they are, from left to right, the U.S. paperback reprint of George Lamming's Season of Adventure (1999; first edition, 1960), the U.S. paperback reprint of Theresa Hak Kyung Cha's Dictée (2001; first edition, 1982), the British paperback translation of Iva Pekárková's Gimme the Money (2000; first edition, 1995), the Japanese paperback translation of David Peace's Nineteen Seventy-Seven (2001; first edition, 2000), and the U.S. paperback reprint of Monica Ali's Brick Lane (2004; first edition, 2003). These editions (as well as several others) are discussed in the volume's essays, which follow Contemporary Literature's stated mission by focusing only on literature in English. But as I have been suggesting, [End Page 528] it has become more difficult to assert with confidence that we know what literature in English is. Some of the books depicted...

The article analyzes the explication of the spatial model of the world in modern women’s fictional discourse. The focus of attention is on the ways of constructing space and their linguistic representation in the works of A. Matveeva and E. Gilbert, modern women authors of Russian and English literature. A comparative analysis of the two pieces of discourse helps to reveal the individual characteristics of the female authors, as well as the national characteristics of the two linguistic worldviews. The research is aimed at identifying the influence of gender identity on the formation of a spatial model of the world. The novelty of this work lies in the fact that for the first time it has examined the peculiarities of space perception by modern female authors. As a result of the research, we determined the parameters of space perception by the female authors. The analyzed material showed that the main features of A. Matveeva and E. Gilbert’s space are “length”, “volume”, “livability”, “openness”, “evenness” and “spaciousness”. The article highlights the following parameters in the spatial model of the analyzed authors’ world: features of the objects’ location; binary signs of space characteristics; correlation of the category “ours-theirs”; horizontal and vertical perception of space; temporal significance of space. The spatial model of A. Matveeva is built in the form of a straight line; among binary oppositions, “top-bottom” and “in front-behind” prevail; the key spatial loci are apartment, temple, camino and albergo; the discourse describes the space that surrounds her, where she is in the center. In her fictional discourse, the key binary opposition is “heaven-earth”. To achieve the goal, we used the following methods: descriptive, comparative, contextual and a stylistic analysis.

This work is carried out within the framework of anthropocentric linguistics, which focuses on the “man in language”. The main purpose of the study is to reveal specific ways of identifying men and women images in the modern female linguistic picture of the world. The research is based on the fictional discourse of Olga Slavnikova and Sarah Hall, contemporary female authors of Russian and English literature. The comparative analysis of the two pieces of discourse helps to reveal the individual characteristics of the female authors, as well as the national characteristics of the two linguistic worldviews. The novelty of this work is the first identification of men and women images from a female point of view. The study revealed that in the modern woman’s linguistic picture, the images of men and women differ from the established stereotypes due to their negative assessment and degradation of images. In lexical-semantic terms, female authors use various methods, the most active being connotative tropes and evaluative adjectives. The authors often refer to the zoomorphic image when identifying themselves and representatives of the opposite sex, and the assessment of a man is given through his comparison to a woman. To achieve the goal, the following methods were used: the descriptive, comparative, contextual methods and the stylistic analysis.

Recent advances in the field of network representation learning are mostly attributed to the application of the skip-gram model in the context of graphs. State-of-the-art analogues of skip-gram model in graphs define a notion of neighbourhood and aim to find the vector representation for a node, which maximizes the likelihood of preserving this neighborhood. In this paper, we take a drastic departure from the existing notion of neighbourhood of a node by utilizing the idea of coreness. More specifically, we utilize the well-established idea that nodes with similar core numbers play equivalent roles in the network and hence induce a novel and an organic notion of neighbourhood. Based on this idea, we propose core2vec, a new algorithmic framework for learning low dimensional continuous feature mapping for a node. Consequently, the nodes having similar core numbers are relatively closer in the vector space that we learn. We further demonstrate the effectiveness of core2vec by comparing word similarity scores obtained by our method where the node representations are drawn from standard word association graphs against scores computed by other state-of-the-art network representation techniques like node2vec, DeepWalk and LINE. Our results always outperform these existing methods

The article is devoted to the study and analysis of precedent names of three cultural spheres ("Bible", "Literature", "Mythology") in newspaper headlines. The subject of the study is a typology of precedent names in newspaper headlines. The object of it is newspaper headlines of modern English-language periodicals. The purpose of this work is to study the precedent names and analyze features of their functioning in the newspaper headlines. The study material includes Questia Online Library, where the newspaper headlines with precedent names extracted from The New Dictionary of Cultural Literacy were investigated (350 precedent names that were used in 12189 newspaper headlines). In order to achieve the purpose of the work a comparative analysis of precedent names was conducted within three cultural spheres ("Bible", "Literature", "Mythology") and discourses in American and British periodicals (37 American and 27 British newspapers). A descriptive method, a comparative method and a method of quantitative calculations were used. Having substantiated the concept of precedent names and studying their features and functions, it was proved that they are known mainly to representatives of a certain linguocultural community, and some background knowledge is needed to understand them. In order to study precedent names, their quantitative distributions by cultural spheres, years and discourses were made. The study found that the group "Literature" is one of the most productive sources of precedent names. It was proved that in the headlines for 2015-2019 the most common precedent names are the names of the cultural sphere "Literature", and the least common - "Mythology". In addition, it was determined what precedent names are the most popular in English newspaper headlines and which ones are not often used.

The article is devoted to the examination of phraseological units with author's transformations in the works of contemporary English writer J.K. Rowling. The study compares the approaches to defining the term "phraseological unit" by linguists A.V. Kunin, V.V. Vinogradov, V.M. Mokienko, and A. Naciscione, and describes a particular literary technique involving the transformation of familiar fixed expressions in artistic text. It presents the main types of changes in fixed expressions according to the typologies of leading phraselogists, including E.F. Arsentyeva, A.M. Melerovich, and V.M. Mokienko. The analysis investigates the methods and techniques of author's transformations of phraseological units J.K. Rowling's works and defines the role of contextual use of phraseological units in creating the writer's artistic world. The analysis is conducted based on original English texts from the Harry Potter series published between 1999 and 2003. A total of 76 phraseological units were analyzed, with author's transformation identified in relation to 33 idioms. The results of the study show that the transformation of phraseological units in J.K. Rowling's works is systematic, related to the plot and imagery structure of the text, enhancing expressiveness and individual authorial style. The writer employs a wide range of phraseological transformations, with examples of nearly all types of authorial transformations described in the typology of leading scholar from the Kazan Linguistic School, Professor E.F. Arsentyeva, and examples of idioms transformations described in the classification by A.M. Melerovich and V.M. Mokienko. The conducted research demonstrates the artistic value of J.K. Rowling's works for studying the diversity of author's transformations of phraseological units in the field of phraseology. Given that the novels of the English writer are popular among a wide audience, the material and results of this study may attract additional attention from students and serve as an illustrative basis for teaching English lexicology, phraseology, translation studies, and for courses in oral and written language practice.

Introduction. A phrasebook as a type of text is aimed at providing the basics of communication in situations when the knowledge of a foreign language is absent. It can not be classified as a type of a dictionary, textbook or manual for the development of speaking skills. The article examines the problem of determining the status of a phrasebook in the typology of text types. The study is aimed at a diachronic analysis of the texts and structure of phrasebooks to identify features that unite a phrasebook with a textbook, as well as to determine the properties inherent only to a phrasebook, allowing it to be distinguished as an independent type of text. The lack of works that consider the problem of determining the status of a phrasebook determines the relevance of the study.Methodology and sources. The research material – the texts of German-Russian and Russian-German phrasebooks of the XVIII–XXI centuries, covering the time period from 1795 to 2011, which were created both for teaching the German or Russian language, and for practical use during travel. The general (educational and tourist) phrasebooks were chosen because of the fact that they reflect different aspects of interaction between representatives of language communities in predetermined situations.Results and discussion. The comparison has shown that a phrasebook is an independent type of text, at different stages of its historical development having more or less similar features with a textbook, dictionary and a manual for the development of oral speech skills, but differing significantly from them. In the course of its historical development, the cohesive connections between the linguistic units of the phrasebook weaken: from a book containing coherent and logical dialogues on various topics (XVIII–XIX centuries), the phrasebook turns into a manual with a set of thematically organized template phrases and lists of words (late XX–XXI centuries).Conclusion. The phrasebook, thus, is a type of text that is closely related to the era of creation, which is reflected not only in the theme and structure, but also in the strength of the cohesive connections of the linguistic units that make up the phrasebook.

Background. The linguistic worldview theory stems from Humboldt’s ideas concerning the interdependence of language and its speakers. Since Humboldt’s time national linguistic worldviews remain a challenging aspect of linguistic research accounting for a significant number of publications. Since linguistic worldview is a multi-faceted phenomenon, studies differ in terms of the facets they investigate and applied methodology. The linguistic worldview research has covered a wide array of linguistic worldview fragments and utilised monolingual material as well as cross-linguistic analysis of worldview fragments. However, so far, little attention has been paid to the analysis of this ever-increasing body of research and quite few studies have attempted to review the literature in this field. Purpose. The subject field scoping review aims to overview the available literature on national linguistic worldviews and answers the three questions: What is a diachronic change of researchers’ interest in the issue? What fragments of linguistic worldview have been investigated comprehensively? What are the most frequently used methods of modelling the linguistic worldview? Methods. The literature for the scoping review was retrieved from the three electronic databases: SciVerse Scopus, Web of Science (Core Collection), and Google Scholar. Literature selection was performed in accordance with the Preferred Reporting Items for Systematic reviews and Meta-Analyses (PRISMA). To generate a list of current research directions, which rest on the analysis of fragments of linguistic worldview, the visualisation map of authors’ key words was created using the VOSviewer software. Results and Implications. The concise scoping review of the previously published literature on linguistic worldview shows that most publications date between 2015 and 2021 and the years yielding most publications are 2018 and 2019. The number of publications mentioning linguistic worldview grew each year within the study period. The analysis of linguistic worldview fragments helped to identify six directions of researchers’ interest in the linguistic worldview field which include lexical fragments, linguistic worldview and consciousness, phraseological fragments, reflection of linguistic worldview in different discourses, linguistic worldview in translation and teaching, and grammar fragments. The most frequently used methods of modelling the linguistic worldview are an associative psycholinguistic experiment, a conceptual analysis, and a comparative method.

The aim of the research is to identify the individual author’s features of the linguistic representation and semantic content of the MIND concept in the science fiction novel “The Mind Parasites” by the British writer C. Wilson. The scientific originality lies in the fact that the MIND concept in this work has become the subject of a special study for the first time, which made it possible to identify its content structure and ways of representation. Based on conceptual, descriptive-analytical methods and quantitative analysis, the main semantic features of the artistic concept under study and the means of its verbalization are being identified; the types of metaphors characteristic of C. Wilson’s texts representing the figurative layer of the concept are being highlighted. As a result of the research, it was found that the artistic concept of MIND differs significantly from the corresponding linguistic one, which is connected with the main idea of the novel about the limitless possibilities of the human mind. The concept under study is most often verbalized through multi-component individual-author figurative constructions – phrases, syntagmas, sentences and superphrasal unities containing metaphors and figurative comparisons.

While eighteenth-century efforts to standardize the English language have long been studied, less well-known are the era's popular collections of odd slang, criminal argots, provincial dialects, and nautical jargon. This book delves into how these published works presented the supposed lexicons of the “common people” and traces the ways that these languages, once shunned and associated with outsiders, became objects of fascination in printed glossaries, and in novels, poems, and songs. The book argues that the recognition and recovery of outsider languages was part of a transition in the eighteenth century from an aristocratic, exclusive body politic to a British national community based on the rhetoric of inclusion and liberty, as well as the revaluing of a common British past. These representations of the vernacular made room for the “common people” within national culture, but only after representing their language as “strange.” Such strange and estranged languages, even or especially in their obscurity, came to be claimed as British, making for complex imaginings of the nation and those who composed it. Odd cant languages, witty slang phrases, provincial terms newly valued for their connection to British history, or nautical jargon repurposed for sentimental connections all toggle, in eighteenth-century jest books, novels, and poems, between the alluringly alien and familiarly British. Shedding new light on the history of the English language, the book explores how eighteenth-century British literature transformed the patois attributed to those on the margins into living symbols of the nation.

The article examines the specifics of the work of the modern British writer Sarah Waters with Victorian canon. The author’s forms of interaction with the Victorian text are investigated with references to the author’s revisionist stand of a professional historian, to her creative reflection on Victorian canon in the spirit of the historiographical novel, and interest in popular genres of Victorian era (Dickens’ socio-psychological novel, sensational novel, publications in the popular magazine “All the Year Round”). Waters’ novels use the Dickensian code and popular sensational plots in order to rethink class and gender issues, to show the social topography of Victorian era from today’s perspective, with its close interest in social marginalities and outsiders (travesty actors, representatives of non-traditional communities, criminals, spiritualists, the secret life of respectable classes). The writer shows that the dynamism of urban social topography, the complexity of cultural and gender self-determination of a person of Victorian era not only existed, but also had paramount importance for him/her. The role of Dickens’ text in understanding the theme of social and urban landscape in Sarah Waters’ novels is not limited to creating a postmodern pastiche. The connection between Waters and Dickens is genetic: the social basis becomes a necessary coordinate system for the development of the plot (sketches of the life of representatives of different strata, the creation of documentary sketches of urban life; attention to specific circumstances and environment, which form a particular character). Waters’ use of the plots and motives of the sensational novel is also associated with a broad picture of the social troubles, that provoke criminal plots of this genre.

: Western science has developed powerful techniques for modeling and aiding important social decisions. One such technique is risk assessment. The relationship of risk to cultural context is apparent in a number of its facets, including its dependence on values and the (potential) clash between probabilistic versus deterministic views about states of the future. This paper is an examination of the concept of risk using as a lens ideas and concepts about risk that are prevalent in Western culture, and applying these concepts to existing literature (in English) on Arab culture that provides information relevant to risk. The goal of the paper is to amplify our understanding of how Arab culture conceptualizes elements of risk and its assessment as understood and practiced in the West. Current research on risk in Western literature is used to frame key risk issues in terms of their potential fit (or misfit) with features of Arab culture. The paper concludes with a number of recommendations for research and practice that suggest a cautious approach with regard to applying risk-related principles in Arab cultural contexts that place a relatively high value on traditionalism.

The article deals with the research of the concept as one of the key linguistic notions. The characterization of different approaches to the definition of the notion in "concept" is suggested. The role of the concept in the formation of the national conceptual sphere is discussed. It is noted that the persistent interest of scientists only in certain aspects of the study of the conceptual sphere of "food" necessitates a holistic study of the linguistic and cultural concept of WINE, the study of language units in the synthesis of their semantic and functional specificity, the identification of the peculiarities of the generation of a linguistic sign, as well as the need to outline linguosemiotic and linguocultural of the parameters of the concept, evidenced primarily in literary samples and paremias. The relevance of the chosen topic is determined by the need to expand and significantly deepen knowledge about the linguistic representation of the linguistic and cultural concept WINE in the formation of a model of the Ukrainian mentality, which helps to reveal ways of interaction between the verbal and cultural codes of the nation. The purpose of the scientific work is to study the linguistic and cultural specificity of the concept of WINE in the Ukrainian National Linguistic Worldview. The essence of the concept of "linguistic and cultural concept" and "gastronomic discourse" was clarified in the studio; the linguistic and cultural content of Ukrainian pairs with the concept of WINE is determined; the syntagmatic relations of the name of the concept were analyzed; the mechanism of respondents’ perception of the WINE concept was investigated. The authors researche into the concept WINE (vyno) in Ukrainian linguistic worldview. The scientific novelty of the work lies in the fact that it examines the linguistic and cultural concept of WINE in the Ukrainian linguistic picture of the world. In the work, the elucidation of the features of the linguistic and cultural concept and gastronomic discourse was further developed, the linguistic and cultural content of paremy with the concept WINE was determined, and the syntagmatic connections of the name of the concept were investigated. In the future, we plan to investigate the linguistic and cultural specificity of other concepts related to the gastronomic discourse.

The book introduces the reader into the world of mental perception of literary contents. Based on the research in modern semantics, functional stylistics and cognitive phonetics, it explores the way l