Context and relevance. This article examines the translation of museum discourse signs as a complex semiotic process associated with the interpretation of signs in foreign cultural environments. The relevance of this study stems from the need for effective interaction between participants in museum discursive practices based on the semiotic space of museum exhibits. Objective. The aim of this study is to identify the specific functioning of signs in museum discourse and to analyze the mechanisms of their interpretation and transformation in the processes of intrasemiotic, intersemiotic, and interlingual translation. Hypothesis. The hypothesis of this study is that the perception and understanding of museum exhibits is achieved through the activation of intersemiotic and intrasemiotic translation mechanisms. Methods and materials. The study uses the descriptive method, the structural method, and the method of semiotic and discourse analysis. The research material is a set of museum texts presented in the State Tretyakov Gallery. Results. The result of this study is a comprehensive analysis of museum texts and translation decisions, aimed at identifying the specific features of sign transmission in different types of translation. Based on this analysis, methods for overcoming difficulties in sign interpretation associated with the transmission of culturally specific information are proposed. Conclusions. The study established that effective interpretation of museum artifacts is achieved through the integration of modern technologies and various semiotic systems. The use of translation techniques such as transliteration, transcription, and literal translation in some cases leads to the formation of lacunary signs in the target language.
Context and relevance. The article is devoted to a comparative analysis of the semantic meanings of the words "freedom", "equality", and "brotherhood" in the French and Russian languages. In a complex socio-political situation, the semantic context of well-known concepts and their meaning-making in different cultures are becoming more relevant. Objective. To identify the similarities and differences in the interpretation of these concepts in the Russian and French languages of two cultures that have closely interacted with each other since the early 18th century. Hypothesis. The ideas of the words "freedom", "equality", and "brotherhood", which came to the Russian language as a result of the French Revolution, already existed in the Russian language, but had a slightly different semantic content. Methods and materials. The comparative method was used as the leading method, which contributed to the identification of differences in French and Russian cultures, which helped determine the semantic non-identity of meanings in different traditions. The axiological method was necessary to identify the traditional value systems of various cultures. We used the dialectic method to analyze various forms of interaction between cultural phenomena. Results. It has been established and substantiated that the words «liberty», «equality», and «fraternity», which entered the Russian language as a result of the French Revolution, already existed in Russian, but had somewhat different semantic meanings. The social meaning of the French word «liberty» in the late 18th and early 19th centuries was primarily conveyed by the word «freedom», which in the Russian tradition was associated with the desire to transcend legal boundaries, with personal freedom, the realization of desires, and with strength. In the Middle Ages, equality was interpreted in its Christian context, as equality before God. Later, the French came to understand equality as the realization of civil rights. In Russia, the semantics of equality are tinged with value and ethical overtones. Brotherhood also moved from a religious context to a socio-political one. The understanding of brotherhood as a religious association was complemented by an understanding of brotherhood as an ideology. In modern culture, the idea of brotherhood is embodied in the activities of social organizations, whose representatives provide selfless moral and material assistance to those in need. Conclusions. The ideas of liberty, equality, and fraternity have deep traditions in Russian culture, and their semantics correspond to the specific development of Russian civilization. However, the new meanings brought by the French Enlightenment and associated with the idea of civil society have become deeply ingrained in Russian public consciousness and ingrained in the language. Many of their archaic meanings have retained their significance in contemporary Russian culture, reflected in linguistic symbolism.
Context and relevance. The relevance of the study is related to the clarification of the spiritual content of the images of the heavenly space and the principles of its aesthetic representation in Ivan Turgenev's short story "The Singers" (1850). The purpose of this article is to provide a systematic description of the coloristic epithets, visual comparisons, and metaphors, as well as the specific details of the story, through which the author visually represents the invisible inner world of the characters and allows the reader to experience the created world in its connection with God. Hypothesis. As a multifunctional image, the celestial landscape presented in the story not only reveals the beauty and harmony of the invisible world, but also has an inner meaning, reflecting the inner world of the main character. The celestial space in the story allows the reader to connect with the uncreated world and feel the connection between the visible world of nature and the mystery of the soul that aspires to eternity. Methods and materials. The study was based on the short story "The Singers" by Ivan Turgenev. The research methodology is based on the idea of the axiological content of a text as an aesthetic and spiritual phenomenon, and the logic of the structural-semantic approach, which is based on the understanding of the inseparable connection between form and content. Results. The heaven in the story is created through a variety of color shades, which are used to detail the state of space and time. In addition to natural phenomena characteristic of the sky, such as sunlight, wind movement and clouds, the image of the heaven, based on associative signs of a sense of freedom and infinity, absorbs symbols and attributes of the seascape. Conclusions. I.S. Turgenev depicts the visible world created by God in close connection with the protagonist's emotional impulses. Yakov's soul manifests itself in musical ekphrasis, which is directly reflected in the heavenly landscape. The visible space becomes a symbol of the hidden heavenly realm, accessible through the contemplation of nature and the perception of beauty.
Context and relevance. In political discourse, language functions not only as a means of conveying information but also as a tool of cognitive influence and persuasion. The relevance of this work is driven by the growing interest in cognitive strategies within political discourse and the need to understand the linguocognitive features of rhetoric used by representatives of different parties. This article presents an analysis of the cognitive mechanisms of persuasion used by the candidates for the 47th presidency of the United States, Donald Trump and Kamala Harris. Objective. To identify and compare the cognitive persuasion strategies of American politicians K. Harris and D. Trump, and to point out the most common mechanisms of persuasion and concepts that enable politicians to gain voter support. Hypothesis. Despite the external differences in rhetorical strategies of the candidates, in essence we can reveal common mechanisms of persuasion as well as identical concepts used by the politicians to influence the electorate. Methods and materials. The research material consisted of the original script of the 2024 political debates and a recording of the live broadcast with simultaneous translation into Russian. The methods employed included component analysis, associative analysis, conceptual analysis, frame analysis, contextual analysis, and comparative analysis. Results. Key frame structures shaping the politicians' images were identified. The active use of oppositions ("us – them", "hero – public enemy"), as well as appeals to cultural codes and ideologemes aimed at gaining electoral support, was noted. It has been shown that rhetoric, realized from a cognitive perspective through framing, oppositions, and ideologemes, serves as a powerful tool of persuasion. Conclusions. The research indicates that, despite the external differences in the rhetorical strategies of the candidates, their foundations rest on common cognitive mechanisms of persuasion. The rhetoric of D. Trump and K. Harris, realized through framing, oppositions, and ideologemes, serves as a powerful tool for persuading the electorate. For further verification of these findings, it is necessary to expand the analytical material to include other campaign speeches by politicians representing different parties.
Context and relevance. The visual interpretation of a literary text is considered one of the significant areas of contemporary philology, associated with the study of the interaction between verbal and visual modes of representation. In the field of children's literature, illustration increasingly performs not only a supportive but also an interpretative function, allowing for a renewed understanding of the work. The theoretical framework of the study is based on the intermedial approach, as well as on the concepts of the MacGuffin and iconographic analysis, which are used to examine recurring visual motifs. Objective. To identify the specific features of the visual poetics of Kirill Chelushkin’s illustrations to Alexander Pushkin’s The Tale of the Fisherman and the Fish and to determine their role in interpreting the text. Hypothesis. It is assumed that meaning in Chelushkin’s illustrations is formed primarily through a system of recurring visual elements (the image of the sea, the gesture of the hand, and the motif of the fish). In this context, the motif of the hand holding the fish functions as a central compositional and semantic element and may be interpreted in relation to both the concept of the MacGuffin and the iconography of the gift. Methods and materials. The material of the study consists of Chelushkin’s illustrations to Pushkin’s The Tale of the Fisherman and the Fish. The analysis employs semiotic, iconographic, and comparative methods. The intermedial approach is used to describe the transformation of meaning from the verbal text to the visual image. The study focuses on key motifs (the sea, the old man, the fish, and the gesture of the hand), as well as on their compositional and color organization. Results. The analysis shows that Chelushkin’s illustrations form an independent interpretative space. The sea functions as an indicator of the moral state and changes visually as the narrative develops. The recurring motif of the hand holding the fish acquires the role of a semantic center and is associated with the concept of the gift, combining the meanings of grace and temptation. The image of the old man gains a generalized character and goes beyond the limits of a purely everyday figure. Conclusions. It is demonstrated that Chelushkin’s illustrations do not reproduce Pushkin’s text but interpret it, revealing additional layers of meaning. The use of the concept of the MacGuffin and the iconographic tradition makes it possible to clarify the role of visual images in the structure of the work and to consider book illustration as an independent form of artistic expression.
