Search

A typical assumption in formal studies of social networks is that interpersonal ties classified under the same label carry the same cultural connotation. As cultural meanings matter for the construction of ties, this premise can be problematic when labels attributed to relationships sustain the simultaneous coexistence of disparate meanings. I argue that the measurement and analysis of multiplexity is a useful tool for testing the validity of this assumption and exploring the cultural meanings of ties using traditional survey data. Employing loglinear models and a datamining technique called ‘association rules’, I analyze data from the 2004 social networks component of the General Social Survey, which gave subjects the option to classify confidants into multiple relational categories. Contrary to standard assumptions, I find that, subjects report viewing their ties multiplexly a little less than half the time. Familial labels are either perceived as intrinsically meaningful or more broadly as ‘friends’ and ‘advisors.’ Spouses are likely to be described as ‘friends’ only when they are also classified as ‘coworkers’ or ‘group members.’ ‘Friend’ and ‘advisor’ also display complex layering alongside other labels indicative of flexibility. I discuss implications of my findings for network structure and the cultural meanings of close personal ties.

The research revol ves around how to take advantage of typography as one of the design elements in order to enrich the communicative and intellectual dimension of the design. The visual language is the basis for constructing the design, as the design process achieves its objectives according to laws related to visual perception. Taking into account both sides of understanding and perception is the essence of the design process. Connotation and metaphors are among the means that are used to enhance the processes of understanding and perception, and then achieve a better response by the recipient. In this paper, the researcher intends to differentiate between connotation and metaphors and to clarify the difference between them in typographical applications. A full understanding of typography applications will have a role in guiding the designer to choose the appropriate typographic characteristics through which the message is shown and communicated. The research revolves around how to take advantage of typography as one of the design elements in order to enrich the communicative and intellectual dimension of the design. The visual language is the basis for constructing the design, as the design process achieves its objectives according to laws related to visual perception. Taking into account both sides of understanding and perception is the essence of the design process. Allusions and metaphors are among the means that are used to enhance the processes of understanding and perception, and then achieve a better response by the recipient. In this paper, the researcher intends to differentiate between allusions and metaphors and to clarify the difference between them in typographical applications. A full understanding of typography applications will have a role in guiding the designer to choose the appropriate typographic characteristics through which the message is shown and communicated. The research problem is limited to controlling the concepts of typographic semantics, which have an impact on establishing meanings for the recipient, and the researcher seeks, through the inductive approach, to determine the characteristics of typographic metaphors, and connotations, and to clarify the difference between them. The importance of the research is that it deals with a precise topic in the specialization, which helps many researchers in the field of typography in particular and visual communication in general in controlling their scientific terms. by the recipient.

الملخص عنوان البحث (( أسماء السيف في العربية: دراسة لغوية) يهدف إلى دراسة أسماء السيف التي ذکرها اللغويون وتجاوز عددها (70) اسما، والکشف عن الظواهر اللغوية التي تمثلت في الظواهر الصوتية، مثل: القلب المکاني، والإبدال، والمخالفة الصوتية. وظواهر صرفية، مثل: الأوزان الصرفية التي کان أغلب اشتقاقها من الثلاثي الصحيح والمعتل، ثم أوزان الرباعي من الصحيح السالم، والمعرب. کما اشتملت الدراسة على ظواهر دلالية تتمثل في الدلالات المتقاربة، والدلالات المتقابلة، والتضاد، والمشترک اللفظي، ومظاهر التطور الدلالي کتخصيص الدلالة، وتعميمها، وتغيير الدلالة لعلاقة المشابهة، ولغير المشابهة؛ مما يفسر ظاهرة تعدد الأسماء للشيء الواحد التي تعد رافدا مهما في إثراء العربية. Abstract This study (titled Names for ‘Sword’ in Arabic: A Linguistic Study) aims to explore the names of the sword linguists mentioned, exceeding (70) names, and to explore the linguistic aspects that were represented in phonetic representations, such as: metathesis, substitution, and assimilation; morphological phenomena, such as: morphological analogy, most of which were derived from the three-letter-stem verb, with or without vowels and morphological analogy of nominative and accusative cases from the four-letter- stem verb. The study also included semantic representations displayed in hyponyms, synonyms, antonyms, homonyms, and manifestations of semantic development such as specific connotation, general connotation, and changing connotation for similarity and non-similarity relationships. All of these phonemic, morphological and semantic aspects account for the phenomenon of multiple names for the same thing, which is an important source enriching the Arabic Language.

During the romanticism period, the two most explored motifs of poetry, besides others, were those of war and love. Many authors will deal with the first motif, but there will be no author at all in Albanian Romantic Literature that won’t involve in his creations love poetry. The erotic motif will lie somewhere more and somewhere less into the creativity of each representative of this period. Zef Sersembe is a Romantic ItalianArberesh writer, whom devoted his life to poetry. Most of his poems are dedicated to love and it can be said that these creations can be considered as the most prosperous ones of this poet. He brought in Albanian and Italian literature not only a beautiful poetry, but also a creative individuality characterized by a distinctive and representative style. It will be exactly erotic poetry and some of its features which will be subject of our survey. Will be analyzed some of the elements that emerge in these creations, elements that relate not only to the use of motives, but also to the particular ways in which this author's erotic poetry is constructed through the connotation of language. The chosen creations that are object of our work are written in variants; therefore the main focus will be the way language is used to create different meanings, from almost the same corpus of signs between these variants.

The question of the nature of speech modalization has been repeatedly considered in linguistics from various positions, which is partially reflected in the text of the article. The authors of the publication propose to look at the points of intersection of the process of metaphorization of statements within the framework of one type of discourse with the expression of the author's attitude to and/or assessment of its content. To substantiate the validity of this approach, the authors refer to the methodology of logical analysis of language, the theory of intersubjectivity and the theory of evaluativity, linking cognitive methods of analyzing the process of metaphorization with a broad understanding of the category of modality. This formulation of the problem fits into the modern scientific paradigm of interdisciplinarity and the actualization of interdisciplinary relations, which reflects the relevance of the proposed text. The scientific novelty of the topic is an attempt to determine the correlation of the category of modality in its axiological and ideological aspects with metaphorization as a means of actualizing evaluativity in economic discourse. Commonly, denoting phenomena, processes or results is not limited to their nomination, but the producer of the utterance gives them a modal assessment. The empirical material containing fragments of texts of the German-language mass media on economic topics reflects the validity of the proposed interpretation of the issue, shows the potential relationship of phenomena in the intersection of various connotative meanings of a cognitive metaphor, potentially serving to express the attitude to the proposition of an utterance at the level of intersubjective assessments that create a modal frame of the text. The given examples clearly demonstrate that cognitive metaphors in various forms of their implementation could serve to express ideological modality from the standpoint of intersubjectivity, since the producer of the text relies on the reflection of a fragment of reality in the communicative and cognitive activity of subjects of the national-cultural community of people. The article recognizes a certain ambiguity of the proposed interpretation of the category of modality, which is considered in the traditional grammar as an expression of possibility, ought and desirability, or as a confidence, doubt and assertion that the action is carried out at different time levels using phrases with modal verbs, modal words or adverbs, particles, etc. Thus, the article can be considered as an indirect invitation to a discussion on the issue.

The article studies the system of mythological names in I.A. Bunins poetic heritage. The relevance of the topic is due to the unexplored problems of word-formation motivation, semantics, structure, and the role of mythological names in I.A. Bunins prose and poetic texts. The aim of the paper is to analyze the connotative potential of different-structured mythological names which are significant for the artistic system of I.A. Bunin. The actual material of the study contains I.A. Bunins poetic texts written in 1888-1952. The main research methods are descriptive, etymological, contextual, semantic methods, and structural analysis. The inventory of more than 700 poetic contexts of I.A. Bunin made it possible to identify 152 mythological names from various sources. The selected units were systematized on four features: semantics, etymology, structure, and frequency of use. The analysis of the connotative potential of some simple, composite and complex mythological names allowed to come to the conclusion that they accumulate additional emotional-evaluative, symbolic meanings. New combinations of meanings, qualitative and quantitative changes in the connotative content of mythological names are provided by the individual authors reinterpretation of primary sources, the complexity of motivational relations between producing units and derivatives, and the semantic environment of a particular unit. Mythological names are associated with the key motifs, themes, ideas, and value oppositions of I.A. Bunins picture of the world. The study of the features of the system of I.A. Bunins mythological names with the tools of linguistics and literary studies, philosophy, and cultural studies is one of the undoubted prospects of research.

The article is devoted to one of the problems of literary onomastics — an inventory of onomastic units of literary texts as an integral part of the vocabulary of the language of a particular writer. The relevance of the chosen topic is due to the poorly studied issue of the mythonymicon of poetry and prose by I. A. Bunin. The novelty of the work is associated with the description of the mythological names of Bunin the poet as an integral system. The classification of mythonyms is based on five principles: the source from which the name was used (there were three such sources: etiological, anthropogonic, heroic, cult and other types of myths; religious and philosophical literature; multi-genre works of Slavic folklore); the nominated image of a fantastic object (eleven semantic groups are recorded: mythoanthroponyms, theonyms, demononyms, mythotonyms, mythohydronyms, mythoornithonyms, etc.); etymology (otonymic, otapellative and special contextual mythological names are marked); structural type (simple or oneword mythonyms, complex, represented by a bilexeme, and compound mythonyms, two-word and three-word ones are fixed); the presence of connotations in semantics (names with negative and positive connotative backgrounds were found). The author comes to the conclusion that mythonyms in I.A.Bunin's poetry become those stable linguistic signs that carry a huge amount of historical and cultural information and have a rich associative potential, accumulating the specifics of the writer's worldview, they contribute to the modeling of the text space.

Аbstract. This article discusses phraseological units with onomastic components in the English, Russian and Uzbek languages from the point of semantic pecularities. It is known that initially, onomastic components were used in their direct meaning but later, it had figurative meaning being as a component of phraseological units. From this point, onomastic components according to their dominant meaning, they expressed neagtive and positive connotations. Phraseological units with onomastic components in both languages were studied in 38 groups according to their meaning and content in terms of lifestyle, literature and folklore, and common religious beliefs of the English and Russian people

The article attempts to consider the semantics and connotative shades of the linguistic-aesthetic sign-symbol well in the poetic language of Vasyl Holoborodko. The peculiarities of the use of synonymous equivalents for the designation of hydro objects for water extraction and consumption, which are used by the artist as figurative-poetic signs-symbols, are clarified. The semantic and emotional-expressive load in the texts of the word-image is characterized. The specificity of the artist's figurative rethinking of the ethnonym is substantiated. In the process of analysis it was established that the well is a sign-symbol inherent in all civilizational cultures; the name of the well is poetic, characteristic both for everyday use and forfolklore. In V. Holoborodko's poetic discourse we mostly fix the word-image of a well in unity with the concepts of water, bucket and actions to drink water, go for water, dig a well, etc. Krynytsia - in the poetic world reproduction of V. Holoborodko - a symbol of earthly life, a symbol of eternal existence, a sign of cosmic existence. At the same time - it is a source of truth, the key to knowledge of the universe, its laws, the reality of ethno-being. The token well as a word-image in V. Holoborodko's poetry is attested with the seeds "memory", "genealogy", "succession of generations", "earthly life focused on high spiritual principles". The well is also a "measure of the honesty of the individual." The word-image well is also based on the seeds "quenching thirst", "source of inspiration", "life". The image-symbol is characterized by a positive emotional and expressive load. We record a significant expansion of the occasional semantics of the word-image in the idiolect of the artist of the sixties, which occurs due to the analogy: the depth of the well - the depth of thought, soul; purity of the well - purity of thought, soul; well - terrestrial life, reaching the cosmic heights (water cycle).

The role of mass media in the processes of interpretation and assessment of various fragments of reality is discussed in the article. The problem of the entry of legal concepts into the media discourse is raised and the task is set to study the changes occurring in this process, which ultimately lead to the formation of new conceptual units — media concepts. The designated task is solved in the process of analyzing one of the key legal concepts LEGITIMACY. It has been demonstrated that the Russian mass media significantly modify each of the three components of the legal concept, that is, the media virus is “implanted” into the conceptual, figurative and value layers. It allows us to speak of three strategies of mediatization: definitional, metaphorical and evaluative. It is shown that the definitional strategy contributes to the emergence of new features in the conceptual layer of the LEGITIMACY concept (‘trust’, ‘approval’, ‘support’, ‘respect’, ‘fairness’, ‘the phenomenon of consciousness’ and ‘subjective feeling’). It is noted that the metaphorical strategy additionally forms such linguo-culturally specific features as ‘defectiveness’ and ‘object of political manipulation’, the evaluative strategy gives the positively perceived concept of LEGITIMACY a negative connotation (conceptual signs of ‘doubtfulness’ and ‘imaginary’ develop), which is an alarming marker reflecting the current situation in Russian society. It is pointed out that the recorded changes indicate the importance of the discursive factor in the study of concepts.

This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on the syntagmatic axis of language (visual) interrelated to form associations or groups of narrative connotations on the paradigmatic axis (community knowledge system). This proposition, as well as several other formulations found in the analysis, has a significant contribution to the development of fine art, both theoretically and practically, both in Indonesia and the world.

Instagram es la red social favorita de los millennials. Sus normas comunitarias prohíben los desnudos, salvo en casos de mastectomías, lactancia materna, cuadros y esculturas. Su inteligencia artificial solo detecta porcentajes de piel en fotografías. Al no poseer inteligencia semántica, sus algoritmos no descubren otras formas de hipersexualización. En este subterfugio, niñas y chicas muestran sus cuerpos vestidos y cosificados, con uniformes escolares, rodeadas de elementos infantiles. Recrean el mito de Lolita y consiguen millones de seguidores. Este trabajo describe este oscuro fenómeno para investigar: los hashtags que emplean esa nueva forma de pornografía no censurable por los algoritmos; las percepciones objetivas y subjetivas de esas fotografías; y una propuesta de intervención en materia de género. El trabajo contiene dos fases: una exploración bibliográfica longitudinal, que ahonda en Instagram y sus condiciones de uso, la identidad personal y narratividad, y la inteligencia semántica para leer fotografías; y una indagación que correlaciona la reciprocidad de los hashtags, su denotación normal y su connotación hipersexualizada. Los resultados se ordenan en torno a dos modalidades: niñas que no tienen edad legal para tener una cuenta y chicas que sí tienen edad legal para tener una cuenta. La parte cuantitativa recoge: etiqueta, nombre de la cuenta, país y seguidores. La parte cualitativa explora: descripción de los elementos de las fotografías, significados normales y significados pornográficos implícitos. Se concluye que es necesario: detectar otros hashtags que describan otras pornografías; ampliar esta prospectiva internacionalmente; extrapolar esta investigación a otras redes sociales, como YouTube y TikTok; compartir los resultados con las redes sociales y las Fuerzas y Cuerpos de Seguridad; monitorizar el uso de las redes sociales por parte de los progenitores; formación en los entornos educativos; adquisición de inteligencia semántica por parte de las redes sociales y de los menores.

The article highlights and examines several important gender characteristics of the concept of „love” based on the material of Marina Tsvetaeva's epistolary texts, namely: immensity, spontaneity, conflict of body and soul, pain, maternal care. The activity characteristic of the immensity in the letters of M. Tsvetaeva testifies to the high degree of the author's entry into the spiritual sphere. The gender characteristic of the immensity in Tsvetaeva's texts correspond to the features of female love described by the philosopher N. Berdyaev. The characteristic of spontaneity is manifested in the fact that Tsvetaeva perceives love as an element, an independent force that a person is not able to control. The gender characteristic of the conflict of soul and body was highlighted on the basis that Tsvetaeva was often in a state of internal conflict, soul and body came into confrontation. The gender characteristic of the conflict of soul and body is also based on the fact that Marina Tsvetaeva reproached men that they are largely interested not in the soul of a woman, but her body. The gender characteristic of pain is manifested in the fact that, despite the fact that the words „pain”, „suffering” usually has a negative connotation, a woman has a unique ability to penetrate through them into the very depths of the phenomena of the inner and surrounding worlds, as both Marina Tsvetaeva and Russian philosophers write about. Pain and suffering, therefore, take an active part in shaping a woman's worldview. The gender characteristic of maternal care is highlighted as active in Marina Tsvetaeva's epistolary, and the connection between the female picture of the world and this sign of the concept of Love was also recorded by Russian philosophers. The study showed that the conceptual analysis of literary texts makes it possible to reconstruct and correlate the metagender and gender characteristics of cultural constants, taking into account the idiosyncratic features of a particular author. The inclusion of the gender parameter in the linguistic consideration of concepts allows us to significantly expand the idea of language as a means of constructing a picture of the world, including an artistic one.

The objective of this research is the pejorative connotation of lexemes denoting and qualifying people in the contemporary Serbian language. These nominal units with negative expressive tonality have a specific semantic structure where, apart from denotative components, connotative semantic components - evaluative, expressive and emotional semes - play a significant function in the forming of their lexical meaning. Pejorative terms for people have been analysed from different points of view, such as lexical-semantic, derivative and linguo-cultural at some points. The main goal was to establish parameters having a negative impact on certain individuals or social groups within the Serbian cultural and linguistic background - to reveal the collective negative assessment based on different associations, stereotypes, beliefs and prejudice incorporated in the Serbian linguistic and social community. The choice of speaker?s nomination units used to point to one?s ethnical or religious beliefs, age, sexual orientation, social or financial status, physical or intellectual shortcomings, mental handicap, personal characteristics, etc. is the index of the person?s negative and contemptuous emotional attitude to the members of the linguistic community within the aforementioned marks. Therefore, the classification of lexemes in this research is primarily based on the semantic criterion, where we have defined seven thematic categories of pejorative terms. On the other hand, we were also interested in some structural (derivative) characteristics of derogatory nouns referring to people in the Serbian language. It has been established that the pejorative meaning might be a product of semantic and affixal derivation. The traditional approach to studying lexical meaning in this research is related to the cognitive approach, combining componential and conceptual methods of analysis with the descriptive method.

Covid19 as global issue connects other social variables such as Bill Gates conspiracy issue that becomes the most predominant covid19 issue discussed globally in public (Shalini, 2020). Memes as meaningful entities exist to influence internet public in facing Bill Gates issue even without rational and empirical inquiry for some particular people that believe in them. Reddit website as easily accessible website becomes one of memes website that shares actively more numerous memes related to Bill Gates conspiracy issue than the other websites. The memes contain cultural values represented by verbal forms and visual forms to exchange belief and rational arguments.This study conducts interpretation data based on qualitative mtethod. Associating particular signifiers to Bill Gates in whole data refer to Bill Gates’ negative track record, past ideas, ambitions, and pace. Several data contain visual signifier and written signifier that support each other to acquire signified in a data such as Bill Gates in virus form who injects an old man. Signifiers reflect predominatly negative assosiations related to Bill Gates. It explicates negative connotation that exists consistently. Myths which exist represent that Bill Gates’s vaccine as a danger, Bill Gates as a mastermind behind the pandemic, and Bill Gates as an opportunist who concerns on expansion of business to reach vaccine business.

El objetivo del presente trabajo fue explorar las denominaciones conocidas para trastornos mentales en un grupo de estudiantes de medicina de Santa Marta, Colombia. Se diseñó un estudio cualitativo con estudiantes que iniciaban un curso de psiquiatría listaron palabras o frases escuchadas en la comunidad para denominar a las personas que reúnen criterios para un trastorno mental. Se realizó un análisis basado en teoría fundamentada. Participaron 21 estudiantes, 15 mujeres y 6 hombres entre 18 y 25 años. Se contaron 228 palabras que se reagruparon en 98 connotaciones similares: 40 correspondían términos peyorativos populares: loco o chiflado. Basados en los resultados se concluye que es alto el número de denominaciones para los trastornos mentales conocidas por este grupo estudiantes de medicina. Estas palabras generalmente tienen una connotación peyorativa.

Among the language units there are also words that have undergone phonetic changes in pronunciation. From a phonostylistic point of view, the pronunciation of such words have additional, i.e. connotative meanings. Phonetically modified words are divided into two, that is, the increase and decrease of speech sound in the pronunciation of words. The phenomenon of so-called sound acquisition includes the phenomena of prosthesis, epenthesis, epithesis. The so-called sound omission includes aphaeresis, syncope, apocope, elision. The article reveals the phonostylistic meanings associated with the omission of speech sounds in pronunciation of words in the comparison of the English and Uzbek languages. Connotation is an extra notional essence included in the semantics of language units, which expresses the emotionally assessed and methodologically defined attitude of the subject of speech to the being. Such relationships are manifested in the connotative meanings that occur in the pronunciation of words with the phenomenon of sound omission, such as aphaeresis, syncope, apocope, elision. In particular, because the pronunciation of apheresis has certain connotative meanings such as speech facility, gentleness, delicacy, they are actively used in the speech of the characters in the artistic image. The phonopragmatic phenomenon of syncope has been used not only in poetry but also in prose and drama. The phenomenon of apocope is characteristic of colloquial speech in both languages, revealing that they have a number of connotative meanings, such as love, caress, intimacy, diminution. The connotative meanings of the phenomenon elision in the comparative languages have been studied on the basis of examples taken from the fiction in both languages. Thus, the connotative meanings formed by the phenomenon of sound omission in the pronunciation of words are similar from point of variety and versatility. They express a number of connotative meanings in speech, such as brevity, excitement, rhythmic tone, rhyme adjustment, gentleness, passion.

Introduction. In mythologies of the world, the image of the snake ranks among the most studied characters and has various interpretations. In folklore of Turko-Mongols, it has also been a subject of multiple analyses. Still, the article makes a first attempt at revealing the image of the snake as a taboo sacred character in ritual folklore of the Mongolic peoples. Goals. The paper primarily seeks to identify functions of the snake therein, delineate the symbolic framework, reveal positive and negative connotations. Materials and Methods. The main research method employed is that of comparative analysis instrumental in examining the image of the snake as a semiotic sign. Interdisciplinary analysis of ethnographic and folklore materials, as well as comparisons to Turkic ritual actions, expand the boundaries of identifying the semantics of the image. Results. The snake in shamanic mythology of the Mongolic peoples appears in the hypostasis of the otherworldly Spirit closely associated with the shaman. Images of snakes in cave drawings, petroglyphs, shamanic ongons (sanctuaries), and costumes emphasize their sacred function. In shamanic practice, a snake image can be used as a protective element in the form of a walking-stick or whip. Symbolically, a snake in the form of straps implies a connotation of the animal’s magical abilities. The role of a mediator between worlds allows the snake simultaneously performing the function of a protective force. Functions of the snake in rites are interchangeable and complement each other. Shamanic texts of the Mongolic peoples consistently mention the main function of the snake is that of a carrier between worlds, which is closely related to its transforming abilities. Conclusions. The study resumes the snake in shamanic ritual actions of the Mongolic peoples — with positive connotations — functions as an assistant, intermediary, carrier, and envoy from another world that provides communication between realms. It also reveals patterns of transcoding the snake image in different semiotic systems, interconnectedness and interchangeability of sacral reptile functions.

This research aims to find meaning through the process of signification within the advertisement of Hot Ones and Lego Movie 2 by the use of verbal and visual expression. The focus of the analysis is the advertisement video. Using the process of signification, connotation, denotation and myth. These theories are used by the writer to analyze the meaning of the advertisement. Firstly, the writer finds meaning constructed in the advertisement. Then the writer discusses the findings. This research uses a descriptive qualitative method. Starting by compiling the data and transcribing the scenes into tables. The writer constructs meaning through verbal and visual data. Through the findings the writer found that meaning is created by the interaction of the characters. The index which was uncovered by using verbal and visual expression produces denotative and connotative meanings that are perceived by the audience as a myth. Keywords: process of signification, myth, advertisement, LEGO, Hot Ones.

Homogeneous texts are being replaced by heterogeneous texts that are called audio-visual ones; texts and teletexts belong to the most formed of them. On the ground of cinema and television the texts with the unique structure that combines verbal and non-verbal sense carriers apoeared. The aim of this work is to describe peculiarities of meaning articulation in the dynamic scope of such screen texts. To reach the aim the task to show how the basic elements of the screen “language” materialize in verbal and non-verbal units of the screen “speech” of polycode-multimodal text and how it constructs the general meaning of audio-visual narration is set. Also contamination of levels of meaning is being studied in this work and how it influences the trope. The research is being held on the case of the film text “Faust” by A. Sokurov. The analysis is being done on the space-time continuum, i.e. with the consideration of the movement in the film text. Units of the screen “speech” are being extracted from the chosen segments and analysed as the main sources of the meaning of audio-visual message as a whole; also the peculiarities of the meaning articulation on the denotational and connotational levels in space-time scope of polycode-multimodal text are being described. Apart from that, the process of semiotic interpolation of verbal and non-verbal units that leads to the generating of the transitional meaning and of the trope on the grounds of displacement and adjacency of the meanings is being studied. The author comes to the conclusion that integrity of verbal and non-verbal units in the space-time scope of the polycode-multimodal text, that results in trope generation, also leads to the semiotic situation of simulacrativity, whose main goal is to make the spectator believe that what is happening on the screen is real. This article is aimed at students, post-graduates, professors, linguists and others interested in general and linguistic semiotics.

Introduction. There are various means of expressing emotional expressiveness in language, one of which is onomatopoeia. Onomatopoeia refers to the sound or phonetic imitation of what is being described. In onomatopoeia, words express natural sounds and have different connotative meanings. Main part. Sound production in speech acquires the character of artistic expression and performs a certain methodological function. One or another element of the sound system of the language used in prose or poetic text (vowels and consonants, stressed and unstressed syllables, pauses, different intonations, syntactic techniques, repetition of words). Results and discussion.

Various of lawas Sumbawa encountered a connotative meaning of speech and contains a philosophical element. Similarly, the studies that have been encountered before, more raised elements of symbols and meanings semantically and philosophically. To get the hidden side through the lawas, then the study will be used semiotics fitting to find out what kind of relationships that exist in the structural side of the old language with the meaning of culture. In this case the researcher tries to study the text from the aspect of lawas structure to know its relation with local culture. This is done to find out what kind of system relation signature exists in the old. These signs produce the meaning of denotation, connotation. Semiology in this research was used to know the structure of lawas, cultural form and cultural messages system contained in lawas. Lawas of Kusaramen Lawas Sia had the structure of poetry consisted of physical structure and inner structure. Lawas physical structures consisted of figurative languages; rethorical language, images and inner structures, among them the poet's tone, poet's attitude, and themes.

This article examines the Kantian ideas on motion in his work Metaphysical Foundations of Natural Science. In that essay, Kant holds that motion as a concept—from its connotation as elemental and fundamental predicament of the material reality—mobilises in matter all the characteristics of its essence as a property. Nevertheless conceiving motion as a concept does not enable us to confirm the existence of motion itself in the natural world because ‘the possibility of specific natural things can’t be discovered from their mere concepts.’ (Kant in Principios metafisicos de la ciencia de la naturaleza. Tecnos, Madrid, 7. 1991). Therefore, the concept of movement does not evidence the existence of the movement or its characteristics and properties. Such claim would imply that motion as a concept is not evidence of the existence of motion as such and, therefore, the properties of matter cannot be mobilised based on that concept because they are characteristics of the essence of motion. Then, how does Kant intend to denote motion? Why pretend to explain matter form the concept of motion if a pure concept is, by definition, independent of the data obtained from the sensibility? (Colomer in El pensamiento aleman. De Kant a Heidegger. Herder, Tomo I. Barcelona, 114. 1986). Therefore, we will demonstrate that such weakness is the breaking point of the Kantian concept of motion in his “dynamic-metaphysical” model.

Squares are places containing, bringing together people from different classes and cultures, exhibiting the identity/culture of societies/individuals, and functioning as a meeting and trade area. In this context, as a public place, architectural structures surrounding the squares and the squares present intangible content to the observer, far from being a physical reality, include ceremonial forms of expression, various images and sign elements and multifaceted elements and they are important in terms of semiotics because they constitute values in the process of meaning. Although semiotic studies constitute a research area examined in the field of linguistics, in this article, semiotics are associated with public place, the architectural forms surrounding the public place are accepted as a language and from this point, the squares that constitute the focus point of the cities are evaluated as areas in which various symbols/images are produced. With this acceptance, Eyup Sultan square was evaluated in the context of semiotics and an original research has been created. The reason for determining the square as a research area; the square has a historical background and exists as a place that produces symbols/images. Square; It is a place covered with meaningful symbols, where the trade continues dynamically, functions as a religious visitor, and produces symbols/images with its religious/civil architectural presence. In context of the study, the theories of semiotics theorists Ferdinand de Saussure, Charles Sanders Peirce and Roland Barthes have been examined, Roland Barthes's approach regarding how the public place should be examined in the context of semiotics has been associated and determined as the method of the current research. Roland Barthes's semiology theory detonation and connotation principles have been taken as reference, the place has been examined through participatory observation, the data obtained have been associated with the historical background of the square/district and the public place literature, the relationship between the square and the indicator approach was evaluated.

This article considers abbreviations as signs widely used in the contemporary Russian media. The study aims at analysing abbreviations and their functions, finding their connotative meanings and defining their types alongside the reasons behind their appearance. The main aim of this paper is to study abbreviations from the point of view of receptive linguistics, i.e. their perception by readers and listeners. The methodological basis of the research is to prove that an abbreviation is used to: а) make a social factor underlying such a parameter of the secondary sign as a tendency to sacralisation of a particular field of knowledge and b) is independent both from the semantic and the stylistic points of view, which is explained by evaluative connotations that are not inherent in the producing base. The theoretical basis of the study of the word-forming structure and functions of abbreviations are works by E. Zemskaya and E. Klobukov. The research material includes contexts taken from such media sources as Ogonyok , Izvestiya , Kommersant , Literaturnaya Gazeta , Moskovsky Komsomolets , etc. alongside examples from linguistic studies on abbreviations (S. A. Nikishina, А. P. Skovorodnikov). The most important conclusions of the research are as follows: 1. The purely nominative function of abbreviations, which is used to determine their status as a secondary sign, is being replaced by the expressive function in the modern media, making them an independent sign, pragmatically different from their producing base; 2. The wide use of abbreviations in the modern Russian spoken language can be explained not only by the principle of the speaker’s need to save their linguistic effort, but also by the tendency to “corporatise” the language in certain spheres (power structures, bureaucratic apparatus); 3. The influx of abbreviations in modern political speech and media speech has made these language signs an object of aesthetic evaluation (often negative), primarily because of their dissonance ( УМДиДО , нацбест ) and/or emerging undesirable associations with negative vocabulary content ( МРОТ is associated with the Russian word mryot “dies”), or with stylistically reduced vocabulary ( МУДО , РЯФКА , педобр ). The attitude of native speakers to abbreviations (which is often negative) lets the authors consider these signs an object of receptive linguistics; 4. The way in which an abbreviation is introduced into the text is determined by the degree of its general familiarity. Good speech style and respect for the addressee always imply that an abbreviation should be decoded; 5. The abbreviation also can “re-produce meaning” by introducing it into a well-known word “container” ( коронОРВИрус ). The mechanism of such a word formation is paronymic attraction.

This research aims to reveal the visual meanings behind Cak Cuk product designs. Cak Cuk is a brand of clothing and accessories from Surabaya City. Its products such as T-shirts or bags typically display various designs with Surabaya-related themes. This research used the qualitative research method by gathering and analyzing the designs displayed on various Cak Cuk products. The data, which consisted of various visual textsand verbal texts, were analyzed using concepts from Roland Barthes’ semiotic theory: denotation, connotation, and myth. The results show that both visual texts and verbal texts contained in those Cak Cuk designs represent the condition and identity of Surabaya City. These visual meanings include Surabaya’s historical association with heroism,preservation of cultural objects such as historical buildings, the tough characteristic of the Surabayans and their great sense of brotherhood, and appreciation to Surabaya’s culinary traditions.

The purpose of the article is to analyze protective first names as anthroponymic universal phenomenon. The object of the study is protective first names. The subject of the study is the specificity of the protective first names’ functioning in anthroponomy of different peoples and their universal character. Methods of research are predetermined by the purpose and tasks put in the article. The main ones are observation method, analysis of the scientific literature, method of classification, descriptive, comparative, and historical methods as well as methods of generalization and abstraction. Protective personal names were derived from different common names and assigned to newborns to protect them from death, disease, and the negative influence of evil spirits. They are usually represented in the anthroponomy of different peoples by two main groups: the protective names that ancient people have created on the basis of various animals, birds, fish, and insects’ names and preventive first names derived from words with negative connotation. In order to protect children the Slavs used «unpleasant» first names, first names with direct denial positive signs, first names derived from the names of flora and fauna for disease prevention. The comparative analysis of the protective first names of Slavic and non-Slavic peoples revealed that they have in common names derived from words with a negative meaning, created to scare away or deceive evil spirits, as well as names derived from the names of animals and plants capable of resisting evil forces. The analysis of the protective names of different peoples has shown that it is appropriate to classify them as anthroponymic universal phenomenon, but not absolute, but as a phenomenon that occurs quite frequently. Further research could focus on analyzing the anthroponymic systems of other peoples in the world.

This research was conducted to determine the types of signs and the meaning behind the series of signs that appear in advertisements, so it can be seen whether the advertisement has used signs that can change people's views or not. The data was taken from the Public Service advertisement about the campaign to prevent Covid-19 spread. Data in the form of brochures, images, posters, billboards, and download advertisements from the website were used in this research. The analytical method used was verbal and visual communication semiotics. The collected data were analyzed qualitatively based on the theory from Barthes (1967). In visual signs, the data were analyzed based on the theory proposed by Wierzbicka (1996) to analyze the colors that appear in the signs presented. Based on the analysis of the data, there are three findings which are the results of this study: first, verbal signs that appear in every advertisement, contain connotation and denotation meaning. Second, the visual signs that appear show a number of images that have various meanings in accordance with the context behind the advertisement, even through ads that do not contain verbal signs can provide meaningful messages to the reader. Third, verbal signs and visual signs in addition to being able to support and interpret each other, these two signs can stand alone and show their own meaning of the message to be conveyed to the reader.

Настоящая статья посвящена определению пути музыки от композитора к слушателю в художественных текстах Энтони Бёрджесса. Цель настоящей работы заключается в выявлении и описании специфики музыкообразующих отношений в текстах художественных произведений Э. Бёрджесса. В качестве эмпирического материала были использованы тексты художественных произведений Э. Бёрджесса. Предметом исследования являются лексические единицы, номинирующие композитора, исполнителя и слушателя / адресата музыки. В процессе исследования применялись следующие методы: метод контекстуального анализа, метод компонентного анализа с опорой на словарные дефиниции. В ходе работы было установлено, что наряду с субстантивными лексическими единицами, использующимися для репрезентации композитора, исполнителя и слушателя, в текстах анализируемых произведений присутствуют имена собственные, а также дейктические средства (личные местоимения). Характерно, что дейктические средства наблюдаются преимущественно при указании слушателя, что, главным образом, объясняется превалированием местоимения I в качестве адресата музыки в романе «Заводной апельсин», поскольку повествование в нем ведется от первого лица. Исследование показало, что выявленные антропонимы делятся на имена реально существующих музыкантов и фиктивные онимы. С позиции оценочности отмечается положительная коннотация реальных имен собственных и негативная окраска вымышленных имен, прослеживающаяся как в процессе их этимологического анализа, так и на примере лексического окружения. Делается вывод о том, что для художественных текстов Э. Бёрджесса релевантным является коммуникативный музыкальный треугольник «Композитор – Исполнитель – Слушатель». Практическая значимость работы заключается в возможности использовать результаты проведенного исследования в теоретических курсах по лексикологии и стилистике английского языка, межкультурной коммуникации, лингвокультурологии, когнитивной лингвистике.

Karahanli Turkish forms one of the most important periods of Turkish literary language. The words in the five important works which have come up to now, are very important in the aspect of word formation and its meaning. The word tün and its variants are presented in the language works of the Karahanli period with its basic and connotative meanings., تورک تیلی­نینگ اۉنملی دورلریدنبیریسینی اېسه قراخانلی تورکچه­سی تشکیل اېتماقده­دیر. قراخانلی دوریگه عاید بېشاۉنملی اثرده­گی کلمه­لردن کۉپی کونیمیزگه قدر اولشیب کېلگندیر. بو سۉزلردنبعضیلری قوللنیلگن یېر و قوللنووچی­گه کۉره فرقلی معنالرنی قازانگن­دیر. قراخانلیاثرلرده­گی تون سۉزی­نینگ اصل معنیسی و یان معنیلری، ایتیلگن اثرگه کۉرهتورلری بیلن بیرلیکده بیان اېتیلگن­دیر

Figurative language in poetry is important to study because figurative language is one part of the physical structure of poetry that can animate or cause certain effect and cause certain connotation of words contained in poetry. This research was carried out to obtain figurative language description in Chairil Anwar's poems. The procedure that was passed from data collection to data interpretation were (a) identifying figurative languages in Chairil Anwar's poems, (b) understanding languages in figurative form, (c) understanding the description of meaning contained in it, and ( d) marking the units of segmentation in the form of figurative language. Data analysis was based on three processes, namely the reduction process, the data presentation process, and the verification process. Based on the result of the study obtained, the figurative language is closely related to reality life, poets have a specific purpose in using figurative language, reader must try to understand figurative language in an effort to intact the meaning of a poem, in the poems of Chairil Anwar a number of the beauty of figurative language that can help the reader interpret the meaning of the lines contained there in. Figurative language is presented in his poems to make it easier for reader to interpret the poem. In his poems, Chairil Anwar does not just mention figurative language so that the poems seem interesting, but the inclusion of figurative language was done carefully so that the reader is able to know the meaning of figurative language even though it is considered difficult to interpret. http://dx.doi.org/10.23960/aksara/v21i1.pp41-56

Advertisement is an important business tool that enables companies to promote their products, as well as delivering a message. In this research, I use Nature Republic posters entitled “Soothing Gel” and “Soothing & Moisture Aloe Vera 90% Body”. I used qualitative approach in this research. Next, I use the theories of Multimodal Discourse Analysis for the first research question and Denotative and Connotative for the second research question. I aimed to discover what the meanings that are constructed through the visual images and how the meanings are supported by the written texts. Through the poster, Nature Republic is building the feelings of being beautiful, young, confident, natural, pure, and trustworthy to its consumers. In conclusion, Nature Republic is trying to make consumers believe in their products and deliver many values through its posters. Keywords: Advertisement, marketing, poster, multimodal discourse analysis, denotation, connotation.

Usually a metaphor is encoded with rich cultural connotation, which signifies that culture plays a key factor in truly comprehending a metaphorically-used utterance. Given that, we developed a culture-related hierarchical semantic model to perform metaphor comprehension. Based on the character of a metaphor, to better represent context and background knowledge, we embedded word-level, attribute-level, perception-level, and context-level information into the model. Moreover, in the attribute-level, a culture mapping is developed to better use cultural information. We use a random walk algorithm to search for the most reasonable comprehension results. The model was tested in a nominal Chinese metaphor corpus. The results show the effectiveness of the model and demonstrate its advantages in understanding cultural metaphors.

The language is reflected in the culture and directs it. Culture is also fed by language and kneaded with language. There is an interaction between language and culture. The idioms, which are the products of this interaction, mostly exist as the carriers of the oral culture. The idioms that contribute to the ability of the individual to understand and explain are stereotypical, short and concise language associations that are accepted by the society and that bring liveliness to the expression by using them outside of their real meanings. In Turkology, idioms have been the subject of many studies both in terms of definition and concept. In this article, after mentioning how idioms are defined and interpreted in the field of Turcology, the connotation method that helps to reveal the implicit meaning in idioms and the principles of this method are mentioned. Later, some of the idioms that the concept of 'water' goes through are examined and these idioms are examined according to the similarity, closeness and contrast principles, which are the three main elements of the connotation method. Thus, it is tried to be determined according to the principle of the connotation method of the concept of 'water' in the idioms. Connotation is an important method to convey the real meaning in the text or the real plane to be expressed. As the idioms are tried to be presented with a little language unity in a multilayered meaning, the person can perceive the main message through his previous experiences. The principles of this method are important in the perception of this message

Historical, social and linguistic factors cause semantic changes that can narrow, broaden or completely alter the meanings of words. Frequency, syntactic and semantic variations are to be studied to examine such changes. Syntactic changes cannot be observed in many cases, if words have no POS variation. Context and connotation contribute more to semantic alteration. In addition, words have similar or related meanings in certain contexts, and the context is considered with diverse features such as co-occurrence and word association. The semantic change is generally related to the variation in n-gram context with a maximum of 5 g. However, distant context terms also play a prominent role in semantic change. There is also a link between the type of change and the use of lexical relations. This paper builds a knowledge-enhanced temporal word embedding model that utilizes ‘word-centric dependency relations’ for capturing context words irrespective of their n-gram position and ‘syntactic patterns for lexical relations’ for determining the type of semantic change. The joint learning of contexts with both dependency and lexical relations from diachronic corpora is performed to obtain temporal word embedding vectors. The proposed model outperforms other n-gram-based approaches when evaluated with standard diachronic corpora.

The research aims to illustrate and understand the meaning of the representation of masculinity of the main character in the film "Friendship Like a Cocoon" directed by Sentot Sahid. This research is qualitative research using primary and secondary data collection techniques obtained from reference books, scientific journals, and articles. The study used an analysis of Roland Barthes' Semiotics data that had three levels of tagging: denotation, connotation, and myth that focused on seven characteristics of masculinity expressed by Janet Saltzman Chafetz, namely: 1) Male Physical Appearance, 2) Male Functional, 3) Male Sexual, 4) Male Emotions, 5) Male Intellectuals, 6) Male Interpersonal, and 7) Male Personal Character.Keywords: Film, Janet Saltzman Chafetz's Concept of Masculinity, Semiotics Roland Barthes.

Neither the reader’s nor researcher’s interest in the works of the famous modern Kazakh poet Olzhas Suleimenov is fading, and, of course, most aspects of his rich and diverse works have received their due comprehension. One of the features of his work is foreign language; more precisely, Russian language. The study of this aspect of the poet’s work began back in the 1960s, and substantial research using diverse methodological dimensions has been devoted to questions about his ways and means of expressing the Kazakh artistic and aesthetic tradition, and the national originality of his works. The interest in the aspect of creativity formulated in the title of the article is associated with an attempt to read the picture of the world transmitted by the internal semiotics of O. Suleimenov’s texts as a modern Kazakh poet interpreting different linguistic and cultural discursive matrices. Poetry in this case acts as a Text understood in relation to Julia Kristeva’s concept of the text as a transformation of reality, and the process of text generation as its signification. The principles of semanalysis, the intertextual function of the ideologeme that sets the cultural and historical coordinates of the text structure, and the position of the sign character of the pre-linguistic space of the language are the main categories of Kristeva’s theory that correlate to the tasks of the analysis being undertaken. To this it is worth adding the arguments of Yuri Lotman, who is in favor of considering the semiotic space as a text that throws “whole layers of cultures out of itself”. And, finally, in accordance with the given strategy of the analysis, it is necessary to point out an important aspect of its methodological support – the term of concept-sphere, which was introduced into scientific circulation by Dmitry S. Likhachev; interpreted by him as a “set of concepts of the nation”, the concept-sphere is formed by all the potentials of the concepts of native speakers. It is also important to understand the idea of Likhachev that the conceptual sphere of the culture of each nation is wider than the semantic sphere “represented by the meanings of the words of the language”. Using the example of the methods of semiotic analysis of one of the first poetic works of O. Suleimenov, the short poem Argamak, the strategy of unfolding the basic units of the conceptual sphere of the oral traditional Kazakh culture as mental signs of national consciousness objectified in the language in its broad sense is considered. In particular, continuity at the level of the linguistic genre memory of the semiotic space of the zhyrau discourse is considered in the aspect of the features of the nomadic chronotope of the Kazakh worldview. The foreign language (Russian language) of O. Suleimenov’s creativity actualizes and strengthens the intention to embody its national connotations of spiritual, ideological universals of culture. The nomination of the created world and its connotation is based on concepts that represent the core of Kazakh language consciousness, which represents one of the levels of the world picture, the presentation of the world. The openness and use of the possibility of language synergy open up new horizons for the meaning generation of the conceptual sphere of the semiotic space of his poetic texts and, accordingly, the poet's picture of the world. The article was prepared within the project of the Ministry of Education and Science of the Republic of Kazakhstan AR09259280 “Languages of Kazakh culture as the basis of ethnic identity: semiotics and semantics”.

The article is devoted to the study of axiology of Covid-19 as a linguistic phenomenon on the material of The Economist Issues (March-May 2020). A comprehensive linguistic analysis of the research material was used, which includes the method of complex analysis, classification and description of the material and semantic method. The chosen method of linguistic analysis made it possible to establish that this lexeme in the mass media discourse acquires additional connotations and serves to form an informational picture of the world that reflects the national-cultural characteristics of worldview and the system of axiological relations. The processes of language development are invariably intensified in the period of social disruption. We draw a conclusion that Covid-19 pandemic can be seen as such a disruption, which made a considerable contribution to English vocabulary.

Modality, which exists in two manifestations – objective and subjective, is thoroughly studied from various perspectives, especially in grammar. Modality has recently been taken beyond the boundaries of the sentence and considered a textual category. The subjective mo dality of the text is considered an optional semantic and pragmatic factor of the content-related organization of the text (discourse), which is realized in a number of different attitudes of the addressee (speaker, author) to what is being reported. This interpretation of subjective modality correlates with the concept of connotation. An important component of the study of subjective modality, or connotation, of the text is analysis of the means of its formation, expression.

The article offers a comprehensive linguistic analysis of the poetic cycle by M.I. Tsvetaeva Sibyl with the involvement of ethnolinguistic information. Artistic and visual potential of units of all language levels (phonemic, morphemic, lexical, grammatical) is revealed. It is established that the dominant artistic technique in the cycle is expressive repetition, which is manifested at the phonemic, lexical and syntactic levels. The sound body of the cycle's poems is organized by alliterated consonants, repetitions of anaphoric and epiphoric sound complexes, sound dissonances and paronymic attraction. Semantically significant, recurring lexemes organize the lexical level of the texts of the poems. Repetitions of single-model parallel syntactic constructions provide rhythm to artistic speech. The selected multi-level text-generating structures, presented in the connotation of the poems, become semantic. The role of language means and their unity in the interpretation of the semantic body of the poetic text, as well as in the disclosure of the author's world views, is demonstrated. It is concluded that by crossing the mythological and Christian discourses in the image of the sibyl, the author conveys his understanding of the concept of creativity.

The subject of our paper are idioms of three unrelated Balkan languages, Albanian, Greek and Serbian, that contain some of the key lexemes that nominate sweet ingredients or dessert. For the purpose of our paper, we shall refer to any such lexeme as the “sweet component”. We analyse such idioms and their translation equivalents from a semantic point of view in order to determine the similarities and differences they show with the traditional conceptualization of sweet flavour as something very pleasant and satisfying. Based on our results, it is concluded that the phraseological units with sweet component belong both to the positive and negative semantic field. In terms of their motivation, the sweet taste plays an important role when it comes to the phraseological units with positive connotation, while, on the other hand, it does not affect idiom formation with negative meaning.

The article analyzes the structure of the East Slobozhansk dialect text, which motivates the origin of the nickname. The author argues that dialect texts on the origin, interpretation and history of rural nicknames have a similar structure, which allows in the text ‘origin of the nickname’ as a model of a separate class of texts with hierarchically organized prototype features (semiotic, structural, intentional, pragmatic and others) identify the following semantic and structural parts: nickname, word-motivator, motivational-interpretative text, additional evidence of the person, narrator, etc. The first two parts are usually required. Others may be either completely absent or characterized by varying degrees of detail. The motivational text usually provides a wide range of evidence about the features of mental traits, traditions, beliefs, preferences of the language community. Motivators of rural nicknames can be words of proprial vocabulary (name of father, mother, surname, reduced-loving forms of names of the bearer of a nickname, surnames of known actors, names of radio or TV programs) or appellation (names of birds, animals, any general names or derived adjectives, tokens used in children's speech, dialectisms, artificially created words, etc.). When a nickname occurs, there is a metaphorical rethinking of the meaning of the appellation. Texts about the origin of nicknames produced by a dialect carrier are based on the pretext (a certain event or situation in the life of the language community, which became the basis for the emergence of its own name; individual traits of a member of the language community, etc.). The macrotext „nickname” is a synthesis of thematic-semantic, pragmatic and functional-stylistic factors. It represents the intentions of the author, ie the purpose of creating the text of the nickname, the personal characteristics of the author, the nature of addressing. Most nicknames are characterized by stylistic and semantic significance, often crudely expressive. Therefore, the text, which explains the origin of the nickname, is marked mainly by a negative connotation, the center of which is the nickname itself, and on the periphery there are tokens that complement, clarify, express the nickname and the word motivator.

The article exposes the semantics and structure in neologisms of current US President Donald Trump. The analysis of Donald Trump’s authorial neologisms as a leading political figure on a global scale, whose language influences the English-speaking world, shaping his picture, seems significant and timely. The aim of the study is to identify and systematize the semantic and structural features of D. Trump’s neologisms. The tasks are to analyze the lexical content of public speeches, interviews and posts on D. Trump’s social networks in order to identify new lexical units created by him and to summarize them; to define the semantics and structure of D. Trump’s neologisms. The findings are 30 new lexical units attributed to D. Trump. Their analysis makes it possible to organize them into usual (which are already in the dictionaries of modern English), discursive (which function in the discourse but are not yet fixed in Oxford dictionary), and new lexical units of indefinite nature. The analysis of the semantics in found neologisms has revealed what they describe the new realities of contemporary political life in the United States of America. The analyzed neologisms have predominantly a negative connotation. The conclusion of the paper is D. Trump’s neologisms have structural differences as the following: they are either phraseological neologisms or morphological neologisms built by the affixed method, either as abbreviations, or as a play on words.

Intentional ambiguity refers to the linguistic phenomenon that the addresser consciously uses some indirect or ambiguous words to express illocutionary forces to the addressee in the specific context. By analyzing the intentional ambiguity from the perspective of pragmatic definition, pragmatic connotation, pragmatic theory and pragmatic value, it shows that the dynamic study of intentional ambiguity based on pragmatics is conducive to explain the phenomenon of intentional ambiguity in communication. As long as it is used skillfully in the specific context, intentional ambiguity can be an effective communicative strategy to help the communicators achieve their communication intention.

Some linguistic expressions do not have only a referential component, through which they refer to something in the world, but also (or exclusively) a connotative component, through which they express a speaker’s attitudes or feelings toward that which the expressions refer. Pejoratives are connoted expressions through which speakers express a negative attitude toward a person, a class of persons, or a state of affairs. Slurs, in particular, are pejoratives that express negative attitudes toward a class of people sharing the same race, sexual orientation, religion, health status, etc. The use of pejoratives and slurs is often impolite and offensive, but it is not clear to which degree their use in reported speech may also be offensive. On one hand, the reporter does not seem to express contempt toward the target by merely reporting what others have said. On the other hand, reporting a pejorative seems a form of association with the original speaker’s opinion anyway. Different theories on the status of the connotative component of slurs make different predictions about their offensiveness in reported speech. To investigate the matter, a questionnaire was designed with the aim of comparing the offensiveness of slurs and pejoratives directly addressed to their target with their offensiveness when they are used in reported speech. The findings collected through our questionnaire suggest that some of the theories on the connotation of slurs do not account for speakers’ intuitive judgments on the offensiveness of slurs in reported speech.

RESUMEN En Acerca de la adivinación, Aristóteles afirma que "la naturaleza es demoniaca". El adjetivo es difícil de traducir y tiene connotación sobrenatural tanto en griego como en español. Pero si Aristóteles no explica lo natural apelando a lo sobrenatural, ¿por qué utiliza este adjetivo? Para resolver la dificultad se propone una lectura mitigada del adjetivo demoniaco. "Maravilloso" es una buena traducción, porque sugiere que la naturaleza es sorprendente y no por ello carente de explicación natural. ABSTRACT In On Divination, Aristotle states that "nature is demonic". The adjective is difficult to translate and it has a supernatural connotation in both Greek and Spanish. But if Arsitotle does not explain the natural by appealing to the supernatural, why does he use this adjective? In order to resolve this difficulty, the article proposes a moderate reading of the adjective demonic. "Marvelous" is a good translation, because it suggests that nature is surprising but that this does not mean it lacks a natural explanation.

The essay argues that documentary and rhetorical functions of photography are present in all photographs. Thus to every advertising, or rhetorical photograph there is a documentary element. And to every documentary photograph, there is a rhetorical element. This argument is constructed by following Derrida and showing how the punctum (as found in the work of Roland Barthes) is actually not a point and that because it is not a point, the documentary function is not the only function: culture and therefore persuasive and rhetorical elements can now ‘get in’ to the photograph.

The purpose of the article is singling out and analyzing of language means expressing ironic modality in the non-fictional book «Dessine-moi un Parisien» («Paint Me a Parisian») by Olivier Magny. The object of the study is verbally expressed ironic modality. The subject of the research is language means providing ironic connotation in O. Magny’s book. The result of the investigation has allowed distinguishing and analyzing the author’s ironic modality colouring of the image of a modern Parisian both on the level of the micro-context and the whole text. The lexical-stylistic and logical-semantic means of conveying ironic modality (epithets, lexical occasionalisms, metaphor, hyperbole and oxymoron), as well as the means of creating associative irony (lexical repetition, allusion) have been described. The main conclusion of the paper is that the chief function fulfilled by irony in the work by O. Magny is creating ironic (auto)portrait, as well as expressing the author’s evaluation. The irony in the work under study is based on the unveiling a Parisian’s contradictory nature, the discrepancy between visibility and his true essence seen through the author’s eyes being a born and bred Parisian himself. Syntactic and stylistic tools are also effective actualizers of the ironic sense in O. Magny’s book. Their study seems promising in further exploration.

This study examines the pragmatic functions of the marker sawa in spoken Swahili. The data have been obtained from informal conversations made by Swahili speakers in informal social settings. These settings include “vijiwe vya kahawa” (setting of informal conversations created around people drinking coffee) and "vijiwe vya mamantilie” (setting of informal conversations created around women preparing and selling food on the streets). The analysis of the data, performed within the framework of the contextualization theory (Gumperz 1982), shows that, apart from its basic connotation of agreement, the marker sawa conveys other meanings, depending on these very contexts of communication, and therefore acquires also various pragmatic functions. The pragmatic functions identified in this work include: to show that the speaker agrees with what has been said but on a condition (I agree, but…), as a receipt marker, as a tag-positioned-comprehension check, as an answer to the question showing that the speaker has understood what has been said (Yes, I understand), as a continuer, as a negative releasing marker, and as a gap filler. Interestingly, the study shows also that intonation and other paralinguistic features (like gestures) play a role in determining the pragmatic functions of this marker. The article concludes that the pragmatic markers in spoken Swahili are rich in meanings and are used to show speakers’ attitudes and emotions, therefore manifesting a deep and meaningful interconnection between the language and its contextualized experience. DOI: https://doi.org/10.32690/SALC53.2

The study tested the semiotic approach to the system of evaluation marks allocated on the basis of pragmatic function. Traditional triad - semantics, syntactics, pragmatics - is accompanied by sigmatech as a branch of semiotics, determining the relationship between sign and object, which has not been properly studied yet. The system of evaluation of signs - function, connotation, pragmem, their functional and semantic differences are described through the prism of the semantic structure of the word influenced by the pragmatic function. Non-standard character of pragmatic mark is denotative-significative, expressing the nature convoluted judgment is focused on the subject of speech and its axiological intentions. The article demonstrates semantic, syntactic and pragmatic nature of Prameny sign evaluation with special feaches of its semiotic nature. Three types of evaluation signs - functions, connotations, pragmem -are compared and the role of pragmem in the system is defined. The leading role of pragmem in the axiological fragment of the linguistic picture of the world is determined.