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The article is devoted to the analysis of the linguistic representation and functional features of the metaphorical complexes death and movement in the German-language novel discourse. The research was based on the novel «Tyll» (2017) written by the modern German writer D. Kehlmann. The novel tells about the character of German medieval legends Till Eulenspiegel portrayed as vagabond and artist, placed in the landscape of the Thirty Years’ War. The relevance of the research is due to the lack of systematic studies of the novel metaphor and its dominant role in the process of meaning generation in literary texts at the «new turn of the century». The author used an integral approach to the problem under study. The initial theoretical premise of the study is the recognition of the serious cognitive potential of metaphor, realized in the process of artistic cognition. As a result of the research, it was found that the metaphorical complex death is embodied by D. Kehlmann in the novel by sequence of figurative rows that create a metaphorical connection between the arrival of the harbinger of death Till Eulenspiegel and the onset of War. The author suggests considering the process of formation of the metaphorical complex movement in a series of text fragments created with the participation of verbs with semantics of movement, spatial prepositions and adverbs of repetition. Attempting to characterize the rhythmic specificity of the novel text under study, the author comes to the conclusion that the main method used by D. Kehlmann is justification of rhythmic expectation. The rhythm of the text is consistent with the conceptual dance of the main character through subjectively ranged gradation rows with an ascending increment of semantic and emotionally expressive significance, which determine the author’s modality. Metaphorical complexes death and movement have prognostic and compositional functions. The results obtained confirm the metaphoricity of the novel under study and the necessity to analyze other metaphorical complexes as part of the central novel metaphor as an important category of modern German literature.

This article is devoted to the consideration of the titles of modern German-language novels after 1989, expressed by a substantive phrase, from the standpoint of structural analysis. The purpose of the study is to identify lexical-pragmatic potential of the most frequent models of titles. The phrase in the process of speech is not reproduced in its entirety, but is constructed by the speaker in the process of speech. This allows us to treat the phrase as a free lexical unit. The relationship between the components of a phrase is characterized by greater freedom than the relationship between the components of a compound word. This freedom is expressed in the possibility of replacing each full-valued word as part of a phrase with another word of the same class without losing the grammatical essence of the phrase. However, such grammatical unlimited compatibility is opposed to the limitations in lexical compatibility of words. In this regard, phrases differ from phraseologisms, which are characterized by lexical and grammatical idiomatic. The semantic integrity of the phrase is manifested in the semantic gravitation of the components towards each other. The presence in the phrase of the organizing core and its subordinate component confirms the thesis about the structural closure of the phrase. The relevance of this study is due to the special status of the phrase in the grammar of the German language and the rich pragmatic potential for creating successful communication between the author and the reader of novel literature. The results of the study revealed the characteristic features of the titles of the above type and identified a group of titles with greater intertextuality for further study.

The story of Medea has exerted a powerful influence on creative artists since the time of Euripides. It is a tale that has been told in many ways and in several genres. This article offers a discussion of Christa Wolf's 1996 novel, Medea.Stimmen (Medea. Voices), a modern retelling through the voices, and conflicting perspectives, of the major characters involved with Medea, including Jason, Agameda, Akamas, Leukon, Glauce and Medea herself. Medea's role within feminist literary reception and women's literature cannot be overlooked because of the crucial archetype she represents. One task of Feminist criticism has been to expose, deconstruct and rectify prevalent male (mis) interpretations of female archetypes, such as Medea, Medusa and others, and the patriarchal distortions they introduced through 3 000 years of male literature. In the patriarchal realm, Medea represents the Witch, the black Sorceress, and the archetype of the Negative Mother. These negative interpretations or archetypes may be attributed to misogynist perceptions of Medea as the vilest of women, because she committed the most despicable of all crimes - killing her children, the patriarchy's heirs - to take revenge on Jason, the husband who abandons her in Corinth (her place of exile) to marry Glauce, King Creon of Corinth's daughter, for reasons of political expedience. As a writer with her roots in the former East-German regime, Wolf perceives the Medea story as an account of a woman with both extraordinary powers and human shortcomings, who is misunderstood by the Colchians and the Corinthians alike. Wolf explores the distorted patriarchal motives for their loathing of Medea and Medea's ultimate powerlessness to do anything more than accept her tragic destiny. In doing so, Wolf does not attempt to manipulate the Medea story to suit the one-sidedness of some more radical feminist ideologies. [ABSTRACT FROM AUTHOR]