This article is devoted to the study of the communicative-pragmatic aspect of conflict discourse as a specific type of linguistic interaction aimed at realising the opposing communicative intentions of the participants in the interaction. Based on lexicographical sources, a definition of conflict is provided and a working definition of this concept is derived. The author analyses the semantic and pragmatic aspects of conflict discourse in communicative interaction, as the scope of contemporary communicative linguistics encompasses various forms of verbal communication, different types of relationships between participants, situations of verbal communication, and the specifics of the norms and rules of interactive communication. The article examines the main approaches to interpreting the concept of ‘conflict discourse’ and identifies its structural, communicative and pragmatic characteristics. Particular attention is paid to the analysis of communicative strategies and tactics used by the speaker to achieve their own goals in a conflict situation, as well as linguistic means of expressing confrontation, evaluation, manipulative influence and emotional tension. It has been established that the pragmatic specificity of conflict discourse lies in the realisation of intentions to dominate, discredit the opponent, defend one’s own position or reach a compromise. It has been established that the effectiveness of conflict communication depends to a large extent on the choice of speech strategies, the sociocultural context and the communicative competence of the participants. Conflict discourse is viewed as a dynamic system of verbal and non-verbal means that ensure the formation, development and conclusion of conflict interaction.
The article examines the analysis of lexical-semantic and stylistic asymmetry emerging in the process of translation of Ioannikii Haliatovskyi’s Ukrainian Baroque prose, produced by the 17th-century Athonite hieromonk S. Bakachich for South Slavic Orthodox readers. The study focuses on the text of the Marian miracles collection, which is included in the appendix to the Kyiv edition of Haliatovskyi’s book “Kliuch Rozumiennia” — “Kazania prydanyia do knyhy “Kliuch razumiennia” nazvanoi” (Kyiv, 1660), and its manuscript translation performed by S. Bakachich. The subject of the study is identified as the lexico-stylistic transformations and asymmetric correspondences arising in the process of transmitting the Ukrainian Baroque text into the linguistic-cultural tradition written tradition of South Slavs of the period under study. The study draws on the manuscript fifth (Venetian) autograph of S. Bakachich from the second half of the 17th century, which belongs to the Giuseppe Praga collection and is kept in the Oriental fund of the National Library of St Mark in Venice (Marc. MS. Or. 297), as well as the early printed book of the 1660 Kyiv edition of the appendix to Haliatovskyi’s “Kliuch Rozumiennia”. The study employs the comparative-textological method, transformational analysis, contextual-stylistic analysis, and the linguocultural approach. The paper analyzes examples of lexico-stylistic asymmetry manifested in the translator’s deliberate avoidance of reproducing specific Old Ukrainian elements, including Polonisms, Latinisms, vernacular idioms, and metaphors. It is established that, to compensate for this asymmetry, Samuil Bakachich employed the strategies of stylistic substitution, demetaphorization, and confessional adaptation, replacing locally marked Baroque expressions and loanwords with established high-register liturgical formulae, biblical phraseology, and lexemes of the Byzantine-Orthodox tradition deeply rooted in the Orthodox Balkan cultural environment. The analysis demonstrates that this approach enabled the translator to bridge differences between the two linguistic systems, neutralize Western and vernacular influences present in the Ukrainian Baroque original, elevate its stylistic register, and successfully adapt the Baroque narrative to the traditional ecclesiastical literary tradition and the South Slavic post-jer orthographic tradition of Slavia Orthodoxa.
The article examines the semantic and grammatical features of phraseological units with the component “head” in the Ukrainian language. The relevance of the study is determined by the active development of modern phraseology and the growing interest of linguists in phraseological units as important representations of the national linguistic worldview. These units form a substantial layer of Ukrainian phraseology and reflect specific features of folk thinking, the evaluation of human qualities, emotional states, intellectual abilities, and behavior. The object of the study is phraseological units with the component “head”, while the subject includes their semantic and grammatical characteristics. The research is based on Ukrainian phraseological and explanatory dictionaries. The study employs the descriptive method, elements of component analysis, as well as observation, comparison, and systematization of linguistic material. The scientific novelty lies in the comprehensive systematization of structural and semantic features of phraseological units with the component “head”. In the course of the study, it has been established that the component “head” within phraseological units functions in both its literal and figurative meanings. Most frequently, it is associated with the designation of a person’s intellectual activity, cognitive abilities, psycho-emotional state, and behavioural patterns. The analysis reveals that the majority of these phraseological units are monosemantic; however, some units demonstrate polysemy. Particular attention has been paid to the structural and syntactic modelling of phraseological units with the component “head” in the Ukrainian language. The study identifies the main structural patterns of their formation, among which verbal phraseological units are the most productive, along with nominal and comparative constructions. It has been revealed that such units are characterized by variability and optionality of components, which ensures their structural flexibility. Furthermore, phraseological units with the component “head” most often function as simple verbal predicates, less frequently as compound nominal or verbal predicates, and in some cases, they are used as adverbial modifiers. Prospects for further research lie in the study of other phraseological microsystems with somatic components, as well as in the comparative analysis of phraseological units with the component “head” and their equivalents in other languages.
The article explores the specificity of verbalization and functioning of thanatological concepts in the lyrical heritage of the famous Ukrainian writer Petro Soroka. The relevance of studying the corresponding linguomental formations, which reflect the ethnocultural identity and the individual picture of the world of the artist, is substantiated, particularly the representation of thanatological concepts, primarily such as DEATH, in the lyrical heritage of P. Soroka. The object of the study is the poet’s lyrical heritage, presented in the first volume of his “Selected Works” (2020), while the subject is the linguocognitive and lexico-semantic features of expressing the mentioned units in the analyzed artistic texts. As a result of the research, conclusions are formulated proving that in Petro Soroka’s idiostyle, the core concept of DEATH does not describe a feeling of hopelessness but unfolds in four interconnected dimensions. Within the material dimension, physical decay is captured, reproduced through a set of words with a mournful emotional coloring. The transcendent dimension reveals a Christian model of world perception, where the biological end is transformed into a gentle plea of the soul to return to the “Lord’s warm lands” (Hostodnii vyrii). The socio-cultural dimension highlights the departure of other cultural figures through necrological descriptions and direct poetic dialogue, resulting in the realization of the higher mental categories of memory and gratitude. The logical culmination of the lyrics is textual immortality, where the artistic word acquires signs of staticity. The combination of these four dimensions reflects the integrity of the author’s perception of the world. In such a system, the physical decay of a person is overcome through spiritual memory and the power of the artistic word. The conducted observations prove that it is the philosophical transition from the perishable material world to eternity that determines the originality of Petro Soroka’s individual style. Prospects for further research are related to the study of the interaction between thanatological motifs and adjacent linguomental units (ETERNITY, FATE, MEMORY).
The aim of the study is to identify and compare the linguocultural characteristics of phraseological units originating from magical discourse (incantations, oaths, curses) containing the name of an unreal being, and to establish the ways they are reflected in the modern linguistic worldviews of Ukrainians and English speakers. The object of the study is the phraseological fund of the Ukrainian and English languages, which includes names of unreal beings and genetically originates from magical folklore genres. The subject of the research is the semantic, ethnocultural, and pragmatic features of the reflection of magical genres in these units from a comparative perspective. To achieve this aim, a complex of methods was employed: the method of continuous sampling to form the research corpus (over 180 units); component analysis to decompose phraseme meanings into semes; conceptual analysis to reconstruct the content of the ‘unreal’ concept; the comparative-typological method to identify cross-linguistic parallels; and discourse analysis to study the functioning of phrasemes in modern digital communication. As a result of the analysis, it is established that the concept of ‘reflection’ explains the mechanism by which archaic magical rituals are recoded into modern linguistic systems, transitioning from a performative act to an emotional invective. It is proven that magical discourse is institutional, as it possesses a strict canon and fixed roles (addresser, addressee-being, beneficiary), which has ensured the stability of phraseological units over centuries. The process of desacralisation is identified, where a real appeal to higher powers is transformed into a means of expressing intense feelings (e.g., in digital communication). Comparative analysis revealed differences in ethnocultural codes: the Ukrainian language reflects a tendency towards anthropomorphisation and animism (chort, domovyk, mavka), while English reflects hierarchy and euphemisation (devil, spirit, elf, fairy). Research prospects are seen in the further study of the manipulative potential of magical reflections in the context of cyberbullying and hate speech, as well as in a deeper analysis of the transformation of verbal aggression in modern media practices.
