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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 functions of the title in theoretical and practical interpretation are considered. Problems and mistakes of naming are pointed out from the point of view of actual requirements to the information presentation. Recommendations for creating title complex optimal in the situation of information glut are offered. The main conclusions are supported by the results of a group survey of journalism students. [ABSTRACT FROM AUTHOR]

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Актуальность работы обусловливается ролью заголовка, имеющего несомненную ценность и определяющего структуру целого текста с трех основных ракурсов: семантического, формального и информативного. Заглавие придает единство тексту, где данный компонент занимает доминирующую позицию, что привлекает внимание читателя и создает бо́льшую восприимчивость текста. Цель – выявить общие и специфичные функции заголовков франкоязычных и русскоязычных беллетристических художественных произведений XIX в., а также структурные особенности и семантическую составляющую названий анализируемых произведений. Материалом исследования послужили тексты художественных произведений беллетристического жанра: «Парижские тайны» Э. Сю, «Петербургские трущобы» В. Крестовского и «Лондонские тайны» П. Феваля. Исследование проводилось с использованием комплексной методики, включающей следующие методы анализа: наблюдение, систематизация, структурный анализ, функциональный анализ, стилистический анализ. В данной статье рассматриваются и анализируются различные трактовки понятия «заголовок» отечественными и зарубежными учеными; определяется роль заголовка в тексте художественного произведения в целом и в анализируемых романах трех авторов – Э. Сю, П. Феваля, В. Крестовского; выявляются основные функции заголовка; классифицируются виды заголовков относительно их структуры, семантики и стилистического наполнения; анализируются тексты заголовков, иллюстративная зона которых выявляет причины сходства не только заглавий самих произведений («Парижские тайны», «Лондонские тайны», «Петербургские тайны (трущобы)»), но и названий глав. Заглавие – это неотъемлемая часть любого текста. Заглавие позволяет читателю увидеть основную проблему, идею произведения. События, происходящие в мире, нередко находят свое отражение в художественных произведениях, состоящих из множества сюжетов, объединенных определенными темами или подзаголовками. Эти подзаголовки раскрывают ассоциативные, эмоциональные и оценочные компоненты значения, являясь своеобразным планом произведения, где задействованы время и место событий, внешность и характер персонажей, образы, формирующие картину всего произведения. Любой заголовок представляет собой закодированный текст, включающий в себя некую подсказку, о чем дальше пойдет речь. Заголовок является отражением исторического и социального развития общества и замысла автора. Идиостиль авторов передает образ и дух эпохи, национальные особенности и языковую моду. В текстах заголовков используется лексика с различной стилистической окраской, каламбуры, разложение фразеологических единиц и другие стилистические приемы.

The title of the story is the first path through which the writer and the reader communicate with each other. This type of short paratext, directly or indirectly implying the subject of the story, is the first factor that guides the reader to the world of the story, its meaning, and the selection of a specific approach to it. This is more evedent when it coms to the short story because of its shortness, each and every word is used sparingly and functionally from the very beginning. In the current research, the author seeks to examine the functions of the titles in a number of short stories by prominent Iranian fiction writers using a descriptive-analytical procedure. The results show that among the descriptive functions, the titles that are related to the content of the work have a much more significant use compared to the titles that address the form or format of the work. Also, among the thematic titles, metaphorical, thematic, ironic, and descriptive titles have been noticed more by authors. In terms of the evaluation function, referring to the author's moral and worldview, cultural issues such as the Iranians beliefs, political-social issues such as the westernization of Iranians, the domination of foreigners over them, and the failure and disappointment resulting from the August 28th coup, the issue of Intertextuality and finally, climateism are among the most prominent implicit and hidden values in the titles. They are provided in two opposite categories comprising; unfavorable situation against favorable situation and Westernism against nationalism. With respect to the function of attraction, content strategies such as universality, questioning, and norm-breaking have been worthy of special attention to story writers, and based on their appearance, strategies such as brevity, admonition, and rhetorical issues have been widely used. [ABSTRACT FROM AUTHOR]

The preparation of a written diploma work is often a prerequisite for completion of one’s academic studies. The requirements that it must comply with, require targeted and systematic instruction in developing academic writing skills. This article introduces the concept of academic writing and effects of developing it, based on the simulation of the editing processes of a scholarly text. [ABSTRACT FROM AUTHOR]

The article researches the influence of the original English film title to forming the genre and contents presuppositions of the viewers. It’s very important for studying the process of choice of the film to view from the cognitive, translation, advertising, commercial perspectives. The empirical research with Russian-speaking recipients was conducted which aimed at investigating the process of creating the presuppositions to genre and contents of the film only perceiving and translating the title of the film and then the process of correcting the opinions after watching the trailer of the film. Understanding the title faces some barriers connected as the research shows with the direct literal interpretation of the title which happens due to several factors: lack of linguistic and cultural background by the viewers belonging to another culture and due to failure of the original title because of its inadequateness, ambiguity or inexpressiveness. These barriers are fully or partly leveled by the trailer. The sufficient level of destroying misunderstanding depends on the linear development of the trailer plot and enhancing the wish to view the film is supported by a complex parallel and spiral development of plot lines in a trailer [ABSTRACT FROM AUTHOR]

Translation of English‑language movie titles and their functioning on the Polish market A title is a very important part of a work, not only functioning as a proper name, and informing about the content, but also attracting potential customers. Moreover, the titles are often deeply culture‑rooted, they refer to the specific events, places, or other texts popular in a given culture. This paper analyzes the selected sample of several dozens of movie titles translated from English into Polish with particular emphasis on transfer methods that are most commonly used. This paper investigates the various functions fulfilled by the titles rendered by each of the described methods. The article examines how the different methods are received by the viewers, and how they function in the target culture.

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