This study reveals the multimodal integration of cognitive and embodied processes in interpreting by examining the interaction of verbal, visual, and kinetic modalities, focusing on gestures, gaze, and eye contact in meaning formation, managing cognitive load, and communication effectiveness in both simultaneous and consecutive interpreting. The study reviews theoretical framework and previous research on multimodality, analyzes interpreter performance using integrated eye-tracking and gesture analysis, examines the coordination of visual attention and bodily movements at different stages of interpreting, identifies patterns of multimodal synchronization and their cognitive-pragmatic consequences, and proposes a multimodal model of interpreting process that integrates cognitive processing with bodily interaction. Using a mixed-methods design, the study analyzed conference speeches, simulated dialogues, and short texts, coding gaze and gestures to examine their coherence with speech and linking visual-kinetic behaviour to performance metrics groups of experienced professional interpreters and graduate student interpreters with different experience levels. The results reveal a dynamic interplay of bodily actions and cognitive processes. Gestures served as external memory aids: subtle pointing or rhythmic movements facilitated the structuring of information and the memorization of terminology, reducing cognitive load and freeing working memory for comprehension and retrieval. Gaze patterns reflected attentional strategies: experienced professional interpreters proactively anticipated key information, while graduate student interpreters demonstrated a reactive gaze, sometimes delaying paraphrasing. Brief gaze directed at the audience during the transmission indicated monitoring comprehension, maintaining alignment and pragmatic coherence. Gestures and gaze played a central role in regulating clarity, emphasis, and audience engagement. Rhythmic gestures enhanced prosody and highlighted key terms, synchronized gaze movements marked discourse segmentation, and deictic and iconic gestures facilitated referent tracking and discourse organization. Graduate student interpreters sometimes relied on spontaneous gestures misaligned with the rhythm of speech, which could reduce coherence. Differences related to mode were identified: simultaneous interpreting required minimalist, rhythmic gestures and brief, strategic gaze fixations due to its high cognitive load, whereas consecutive interpreting allowed for more focused multimodal orchestration, broader gaze movements, and a variety of gestures to structure discourse and enhance expressiveness. The study presents a multimodal model of interpreting as an integrated system of cognitive and bodily processes, where gaze cues attention, gestures serve as memory aids and communicative tools, and verbal output with prosody interact with these modalities to enhance clarity and coherence. Temporal synchronization of verbal, visual, and kinetic channels ensures effective coordination of multimodal resources, supporting accuracy, fluency, and pragmatic coherence. Overall, the findings confirm that interpreting is inherently multimodal process, and bodily behaviours serve as integrated cognitive strategies. Effective coordination of modalities improves cognitive control, clarity of delivery, and audience engagement, highlighting the importance of incorporating multimodal strategies into interpreter training.
This article examines the ways in which the subconscious is artistically expressed in the dramatic works of early twentieth-century Western European and Azerbaijani literature. The relevance of this work stems from the sustained interest in contemporary literary studies in interdisciplinary methods of analysing literary texts, as well as the need to broaden the intercultural context of the study of modernist drama. Despite a substantial body of academic research devoted to the psychoanalytic interpretation of literature, the issue of the representation of the unconscious in the drama of different cultural traditions remains under-explored from a comparative perspective. In this regard, an examination early twentieth-century Western European and Azerbaijani drama reveals both universal and culturally specific models of artistic representation of the subconscious. The aim of this study is to identify and compare the ways in which the subconscious is artistically expressed in dramatic texts from two literary traditions, and to determine the role of psychoanalytic mechanisms in the formation of internal conflict and the evolution of female characters. The methodological basis of this work is a synthesis of psychoanalytic and comparative-typological approaches, incorporating structural-semantic text analysis. The study found that, in the plays of D.H. Lawrence and H. Javid, the inner conflict of the female protagonists serves as a structuring element of the drama and reflects deep psychological processes. The experience of trauma (whether childhood, emotional or existential) is a key factor in shaping the characters’ behavioural strategies and the dynamics of the conflict. Pauses, fragmented speech, emotional outbursts and stage directions, and the fragmented nature of time function as artistic markers of the subconscious, capturing the characters’ inner turmoil and identity crisis. In this way, the dramatic form is viewed as a space where the conscious and subconscious levels of the personality interact. A comparative analysis has made it possible to identify universal psychodynamic patterns (ambivalence of feelings, the conflict between duty and passion, feelings of guilt) whilst also identifying culturally determined differences in the ways in which these are expressed artistically. In Lawrence’s play, internal conflict tends to unfold through a gradual build- up of psychological tension and the specifics of everyday life, whereas in Azerbaijani drama, it takes on a more expressive and symbolically rich character. However, in both cases, a general tendency towards deeper psychological exploration and a focus on the subconscious is evident. The findings confirm the effectiveness of combining psychoanalytic and comparative-typological methods for the analysis of dramatic texts and broaden our understanding of modernist drama as an intercultural phenomenon. This study contributes to the development of drama theory by refining our understanding of dramatic conflict as a form of artistic representation of internal psychological dynamics and by establishing the dramatic text as a space for intercultural dialogue.
This article examines the image of James Bond as a spy-hero in English-language popular culture and analyses the mechanisms behind his creation and subsequent transformation in literary and cinematic traditions. The aim of the study is to identify the characteristics of the construction of Agent 007 as a cultural archetype of the spy-hero, as well as to determine the artistic, ideological and cultural factors that influenced his evolution from a literary character into a stable, mythologised figure of popular culture. The methodological basis of the study comprises historical-literary, narrative, hermeneutic and comparative methods, which allow the image of Bond to be examined in the context of the interaction between the text and screen adaptations, as well as in relation to the socio-cultural and ideological conditions of various historical periods. The study finds that the image of James Bond, first established in Ian Fleming’s novels, originally combines the functions of a professional spy and a cultural symbol, which distinguishes him from traditional models of the spy novel. It is emphasised that the character is constructed as a “glamorous spy,” in whom professional activity is closely linked to the aesthetics of luxury, consumption and a demonstrative lifestyle. It is noted that the Bond narrative reflects the ideological and cultural changes of the second half of the 20th century, including the transformation of notions of masculinity, national identity and the role of the state. The image of the spy-hero gradually loses its rigid ideological certainty and becomes a more flexible cultural code, capable of adapting to changing social conditions. It is further established that the image of James Bond is formed at the intersection of the spy novel and popular culture aesthetics, leading to the creation of a hybrid artistic type that combines elements of adventure narrative and cultural myth. It is demonstrated that a key structural element of the image is the figure of the “gentleman-spy,” which combines traditional British cultural codes with modernised notions of professional efficiency. It is noted that this model contributes to strengthening the character’s recognisability and the formation of a stable media image within global popular culture. The analysis confirms that the spy-hero, in the form of James Bond, serves as a universal model of the cultural hero, reflecting the contradictions of the modern and postmodern eras. This allows us to view him as a key element in the study of the transformation of mass culture in the 20th and 21st centuries and the dynamics of the spy image in literature and cinema.
The article centres on the stylistic variants of translation of three politically salient expressions, namely “coalition of the willing,” “boots on the ground,” and “the shield of Europe,” which are widely used in news media, social networks, and official political statements in the context of Russian aggression against Ukraine. Besides being embedded in a sensitive sociopolitical environment, these terms also encode complex denotative, connotative, and culturally specific meanings, thus posing translation challenges. The aim of the article is to identify the main types of stylistic transformations in political translation and to examine their impact on the reconfiguration of cognitive models for representation and interpretation of political reality within the source and target linguocultures. To achieve the defined aim, the study addresses the following research objectives: to identify the denotative and connotative features of the selected political figurative expressions; to compare the English expressions with their Ukrainian equivalents in relevant contexts; to analyse translation transformations at both linguistic and cognitive levels that lead to semantic or ideological shifts and potential translation errors; and to propose translation variants based on the analytical findings of the study. Methodologically, the research draws on an agency-oriented approach, cognitive stylistics, and discourse analysis. The expressions under study are analysed in both English and Ukrainian using dictionaries, scholarly monographs, and examples from online news outlets, social media accounts of political figures, and official governmental and non-governmental websites. Semantic and associative analyses trace their denotative and connotative meanings, historical development, and cultural associations, while stylistic and cognitive analyses examine shifts in tone, evaluative force, and the mental representations activated through translation. Discourse analysis transcends linguistic boundaries, situating the expressions within broader contexts and highlighting how ideological priorities influence lexical choices and framing. Beyond descriptive analysis, the authors propose and systematically evaluate alternative Ukrainian translation variants for the expressions under study, explicitly commenting on the balance between semantic fidelity, stylistic naturalness, and evaluative impact. By juxtaposing multiple translation solutions, the study demonstrates how theoretical insights into cognition, style, and discourse can explain practical translation decisions. The study draws on the vision of translation adequacy as operating on both linguistic and cognitive planes. It encompasses not only formal, semantic, and pragmatic alignment between source and target texts, but also the cognitive processes underlying meaning interpretation and reconstruction in translation. Thus, translation adequacy and stylistic equivalence reflect how effectively translators exercise cognitive and interpretive agency to produce socioculturally and ideologically appropriate texts. This framework is further complemented through the identification of three types of stylistic transformations applied to translating conventional political metaphors and metonymies: reviving stylistic potential, ascribing additional stylistic value, and shifting referential focus. Common translation variants of “coalition of the willing”, e.g., “коаліція охочих” and “коаліція рішучих,” illustrate how latent stylistic potential can be activated through lexical options that enhance nuance, tone, and evaluative force in the target language. Similarly, “boots on the ground,” a trite metonymy in English denoting military presence, acquires negative or evaluative overtones when calqued as the image-bearing expression “чоботи на землі” in Ukrainian, prompting context-sensitive alternatives such as, “наземна операція” (a ground operation, “військовий контингент” (military contingent), or “присутність іноземних військ” (presence of foreign troops). The metaphor “the shield of Europe” likewise requires careful modulation, as it undergoes a reference shift through translation: from collective protection in European discourse to an emphasis on Ukraine’s defensive agency in Ukrainian contexts. The findings show that even seemingly transparent political catchphrases are sites of subtle interpretive work, where translators exercise cognitive, stylistic, and ideological agency. Translation thus emerges not as a mechanical transfer of meaning but as active modification of political discourse, shaping mental models, audience perception, and narrative framing, and underscoring the translator’s role as both mediator and co- creator of political meaning.
The article explores the poetics of irony in the Middle English poem Patience, a distinctive reinterpretation of the biblical story of Jonah and an important example of fourteenth-century alliterative poetry. Despite the growing scholarly interest in irony in medieval literature, the functioning of irony in Middle English religious poetry remains insufficiently investigated. The relevance of the study lies in the need to achieve a deeper understanding of the ways medieval authors combined didactic, religious, and comic- ironic elements, as well as to clarify the role of irony in the formation of medieval poetic consciousness. The aim of this article is to distinguish types and functions of irony in Patience, to trace the mechanisms through which its ironic effects are created, and to examine what ideas are conveyed by the poet through irony. Particular attention is paid to verbal irony, irony of situation, dramatic irony, and the narrator’s self- irony, as well as to the stylistic devices that reinforce ironic meaning. To achieve these objectives, the study relies on the method of close reading together with elements of stylistic analysis and comparative analysis. The comparative approach makes it possible to contrast the treatment of Jonah and selected narrative episodes in Patience, the biblical Book of Jonah, and the Latin fragment Carmen de Iona Propheta. The research demonstrates that the unknown author of Patience considerably intensifies the ironic potential already present in the biblical narrative. Unlike the Latin tradition, which emphasizes primarily the theological dimension of the prophetic mission, the Middle English poet foregrounds Jonah’s human imperfection, fears, emotional instability, and inability to comprehend divine design. The study reveals that irony in the poem operates on several interconnected levels. Verbal irony is realized through the use of words in opposite meanings, feigned approval, and the interaction of literal and figurical senses. Irony of situation emerges from the discrepancy between Jonah’s expectations and the actual consequences of his actions, since every attempt to avoid danger only worsens his condition. Dramatic irony is created through the reader’s familiarity with the biblical plot, which makes it possible to perceive contradictions hidden from the protagonist himself. An important role is also played by the narrator’s self-irony, which combines moral and religious reflection with references to personal poverty and human weakness. The article further demonstrates that the ironic effect in Patience is reinforced through the active use of antithesis, antonymy, repetition, parallelism, semantic contrast, and the interaction between literal and figurative meanings. Irony in the poem performs an interpretative function: it enables the poet simultaneously to expose human limitation and to affirm the necessity of patience, humility, and acceptance of divine will. The findings of the study contribute to a more precise understanding of Patience within the tradition of medieval ironic poetics and demonstrate that irony constituted an important element of artistic thinking in medieval English literature.
