Naukovij časopis Nacìonalʹnogo pedagogìčnogo unìversitetu ìmenì M.P. Dragomanova. Serìâ 09. Sučasnì tendencìï rozvitku mov, Dec 29, 2023
The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international... more The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international and local organizations in their host countries for help with daily problems of integration. One such aspect of charitable work is providing translation services. This article analyses the challenges and strategies of English, Ukrainian, and Russian document translation for charitable organizations assisting Ukrainian refugees. Drawing on professional experience of collaboration with a charitable organization, the author discusses communication that ensures efficient management of translation projects, outlines the certification procedure that confirms the translator's responsibility for the accuracy of translation, and examines the types of documents that Ukrainian refugees commonly need to have translated. The author describes in detail the formatting of the translated documents that is required to make them accessible and easily comprehensible. The article delves into the challenges that the translator is faced with when working with the documents of Ukrainian refugees, focusing on such issues as illegible handwriting and stamps, the low quality of the images of the original documents, typographical errors, abbreviations and terms, formatting intricacies, temporal limitations, and confidentiality. Analysing the process of proofreading that improves the quality of translation, the author argues that translation is a social activity that requires collaboration between the translator, fellow professionals, legal experts, clients, local actors and stakeholders. Finally, this article explores the tools and strategies that enable translators to work consistently and efficiently. It examines how the translator can use machine translators, online corpus dictionaries, document translation templates, guidelines, and other aids to provide reliable, timely, accurate, and helpful translation services to Ukrainian refugees.
The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances... more The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances of canonical works. Two of the productions in question are based on Ukrainian classical texts, namely Taras Shevchenko’s “mystery poem” “Velykyi Lyokh” (The Great Dungeon) and Lesya Ukrainka’s dramatic poem Cassandra. The other two productions, based on Sophocles’ tragedy Oedipus Rex and Albert Camus’ play Caligula, consciously seek answers to the challenges of the new Ukrainian reality in the canon of world drama. The full-scale Russian invasion has made the well-known meanings in these works more clearly visible and added new ones. Against the backdrop of media discussions about the mental health of the Russian president, Caligula by the Ivan Franko Theater (Kyiv) reflects on the psychology of an authoritarian ruler. Oedipus Rex by the Theater on Podil (Kyiv) shows why the demand for justice is growing in wartime society and the moral side of actions is becoming increasingly important. The Great Dungeon by the Poltava Puppet Theater tells the dramatic story of the Russo-Ukrainian War through the prism of Shevchenko’s historical analogies. Cassandra by the Ivan Franko Theater creates the atmosphere of a vulnerable, open-air space where every inhabitant, except for the protagonist, prefers to protect themselves with fanciful constructions of ephemeral illusions. While the tragic reality of the Russо-Ukrainian War has led to the emergence of a large body of contemporary drama that interprets the new experience of Ukrainian society, the war reality has become a prerequisite for a significant rethinking of theatrical texts from the Ukrainian and Western European canon. Thus, Ukrainian theater is actively engaging with the new reality, intervening in various ways in current public discussions that aim to comprehend the drama of the war, and creating a safe space for a common emotional response to the latest tragic experience.
Vìsnik Harkìvsʹkogo nacìonalʹnogo unìversitetu ìmenì V.N. Karazìna, Dec 21, 2023
This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and Wil... more This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and William Schwenk Gilbert's Pygmalion and Galatea (1870). The versions of the myth in Ovid and Gilbert are regarded as attempts at demythologization, which paradoxically introduce their own mythology. The author argues that the myth serves as both a reality and an illusion f or the protagonists, blurring the lines sbetween critical knowledge and mythological worldview. Drawing on conceptual metaphor theory, the author suggests that the Pygmalion myth can be regarded as an allegory within the cognitive paradigm of embodied realism, and the unconscious metaphor behind the myth presents the metamorphosis as rationally explainable yet resistant to critical thinking. The article delves into Pygmalion's mythical consciousness, highlighting his self-deception and the dialectic between animation and petrification. In Ovid, Pygmalion's mastery achieves a perfect delusion. He believes in the possibility of animating his statue because it is so lifelike. The original story-as we know it from Ovid's Metamorphoses-treads the line between a miracle and self-delusion. After Ovid, its nature has remained ambivalent over the centuries. Gilbert demythologizes the myth by allowing it to become authentic reality. Pygmalion's dream is realized to reveal its paradoxical consequences, which change the phantasmagoria of animation into a waking nightmare. The dialectic of the myth is realized through legitimating the magical act of creation and challenging its ramifications. Animation is possible in its initial stage, but the education and socialization of Galatea seemingly fail. The only way out of this predicament appears to be the reverse act of petrification. Pygmalion's illusion has to come full circle in order to restore the balance. The article concludes that the understanding of the Pygmalion myth requires balancing between mythologizing and demythologizing, knowing and notknowing. Key wor ds: meta ph or , my th olo giz ation a nd de myt h ologiz atio n, ani m ation a nd petr ificatio n, P yg malio n a nd Galatea , Ovid, W illiam S ch w enk Gilber t.
Naukovij časopis Nacìonalʹnogo pedagogìčnogo unìversitetu ìmenì M.P. Dragomanova, Jun 29, 2023
Although translators can make mistakes, they would definitely prefer to avoid conveying the oppos... more Although translators can make mistakes, they would definitely prefer to avoid conveying the opposite of what the source text has intended. Thus, students who learn to translate texts in writing should be made aware of typical cases, when translation might lead to the creation of opposite meaning. This paper analyses opposite meanings in the translations from English to Ukrainian of popular articles, done by the students under the author's supervision and published between 18 May 2018 and 20 June 2022. Having access to the draft version of these translations, the author compares the initial student works with the final published texts and discusses thirty cases when translators produced opposite meanings. The article examines such tentative groups of opposition as causation (subject and object, agent and patient), quality, modality, time, space, quantity, and grammatical gender. The reasons for these mistakes appear to be misunderstanding of voice (passive versus active), modality (e.g., necessity, prohibition), idioms, negation, as well as strong reliance on local collocation of words while disregarding the context of the sentence and the overall message of the text. The categorization of mistakes appears to be problematic because oppositions are often multilayered and simultaneously touch upon various linguistic issues. Further, different languages have different oppositions, which complicates the identification and categorization of translation mistakes. The article concludes that opposite meanings present both significant challenges and creative opportunities to translators. Understanding how oppositions work in different languages is essential for successful translation. Thus, translators should learn how to deal with oppositions and consider their context in order to avoid misunderstanding.
The Journal of V N Karazin Kharkiv National University Series Philology, 2024
The article analyzes the causes of mistakes made by students when translating German pronouns int... more The article analyzes the causes of mistakes made by students when translating German pronouns into Ukrainian and the ways to avoid such mistakes. The relevance of the study lies in the fact that students regularly make mistakes when translating German pronouns into Ukrainian, which leads to misunderstanding and significantly decreases the quality of the translated text. This research paper will help make translation training more effective and improve the results of students’ translation work. The materials of the study are translations from German into Ukrainian made by student translators as part of the work of the academic student circle Translation Practice in Action in the Department of Applied Linguistics, Comparative Language Studies and Translation at the Mykhailo Dragomanov State University of Ukraine. The research methodology is based on the analysis and comparison of original texts, drafts, and published translations. This approach made it possible to identify a number of mistakes and categorize them into the following groups of German pronouns: personal pronouns, the indefinite personal pronoun man, possessive pronouns, interrogative pronouns, the negative pronoun kein, the reflexive pronoun sich, and the demonstrative and relative pronouns. The study resulted in the identification of the main causes of mistakes in the translation of German pronouns into Ukrainian: misunderstanding or inattention to the context; the same forms of the indicative and relative pronouns and articles in German; the ability of the pronoun man to indicate a specific person; the ambiguity of German pronoun forms (e.g., sie, ihr); changes during translation in the grammatical gender, number and case of the pronouns and the nouns to which they refer. To avoid such mistakes, translators should carefully read and understand the original text and context, take into account the specific meaning and function of pronouns, and consider the differences in grammatical gender, number, and case between Ukrainian and German nouns and pronouns. The translation of German pronouns into Ukrainian requires a comprehensive understanding of not only language structures but also the context in which they are utilized.
The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances... more The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances of canonical works. Two of the productions in question are based on Ukrainian classical texts, namely Taras Shevchenko’s “mystery poem” “Velykyi Lyokh” (The Great Dungeon) and Lesya Ukrainka’s dramatic poem Cassandra. The other two productions, based on Sophocles’ tragedy Oedipus Rex and Albert Camus’ play Caligula, consciously seek answers to the challenges of the new Ukrainian reality in the canon of world drama. The full-scale Russian invasion has made the well-known meanings in these works more clearly visible and added new ones. Against the backdrop of media discussions about the mental health of the Russian president, Caligula by the Ivan Franko Theater (Kyiv) reflects on the psychology of an authoritarian ruler. Oedipus Rex by the Theater on Podil (Kyiv) shows why the demand for justice is growing in wartime society and the moral side of actions is becoming increasingly important. The Great Dungeon by the Poltava Puppet Theater tells the dramatic story of the Russo-Ukrainian War through the prism of Shevchenko’s historical analogies. Cassandra by the Ivan Franko Theater creates the atmosphere of a vulnerable, open-air space where every inhabitant, except for the protagonist, prefers to protect themselves with fanciful constructions of ephemeral illusions.
While the tragic reality of the Russо-Ukrainian War has led to the emergence of a large body of contemporary drama that interprets the new experience of Ukrainian society, the war reality has become a prerequisite for a significant rethinking of theatrical texts from the Ukrainian and Western European canon. Thus, Ukrainian theater is actively engaging with the new reality, intervening in various ways in current public discussions that aim to comprehend the drama of the war, and creating a safe space for a common emotional response to the latest tragic experience.
Scientific Journal of Mykhailo Dragomanov State University of Ukraine. Series 9. Current Trends in Language Development, 2023
The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international... more The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international and local organizations in their host countries for help with daily problems of integration. One such aspect of charitable work is providing translation services. This article analyses the challenges and strategies of English, Ukrainian, and Russian document translation for charitable organizations assisting Ukrainian refugees. Drawing on professional experience of collaboration with a charitable organization, the author discusses communication that ensures efficient management of translation projects, outlines the certification procedure that confirms the translator's responsibility for the accuracy of translation, and examines the types of documents that Ukrainian refugees commonly need to have translated. The author describes in detail the formatting of the translated documents that is required to make them accessible and easily comprehensible. The article delves into the challenges that the translator is faced with when working with the documents of Ukrainian refugees, focusing on such issues as illegible handwriting and stamps, the low quality of the images of the original documents, typographical errors, abbreviations and terms, formatting intricacies, temporal limitations, and confidentiality. Analysing the process of proofreading that improves the quality of translation, the author argues that translation is a social activity that requires collaboration between the translator, fellow professionals, legal experts, clients, local actors and stakeholders. Finally, this article explores the tools and strategies that enable translators to work consistently and efficiently. It examines how the translator can use machine translators, online corpus dictionaries, document translation templates, guidelines, and other aids to provide reliable, timely, accurate, and helpful translation services to Ukrainian refugees.
The Journal of V. N. Karazin Kharkiv National University. Series “Philology”, 2023
This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and Wil... more This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and William Schwenk Gilbert's Pygmalion and Galatea (1870). The versions of the myth in Ovid and Gilbert are regarded as attempts at demythologization, which paradoxically introduce their own mythology. The author argues that the myth serves as both a reality and an illusion f or the protagonists, blurring the lines between critical knowledge and mythological worldview. Drawing on conceptual metaphor theory, the author suggests that the Pygmalion myth can be regarded as an allegory within the cognitive paradigm of embodied realism, and the unconscious metaphor behind the myth presents the metamorphosis as rationally explainable yet resistant to critical thinking. The article delves into Pygmalion's mythical consciousness, highlighting his self-deception and the dialectic between animation and petrification. In Ovid, Pygmalion's mastery achieves a perfect delusion. He believes in the possibility of animating his statue because it is so lifelike. The original story-as we know it from Ovid's Metamorphoses-treads the line between a miracle and self-delusion. After Ovid, its nature has remained ambivalent over the centuries. Gilbert demythologizes the myth by allowing it to become authentic reality. Pygmalion's dream is realized to reveal its paradoxical consequences, which change the phantasmagoria of animation into a waking nightmare. The dialectic of the myth is realized through legitimating the magical act of creation and challenging its ramifications. Animation is possible in its initial stage, but the education and socialization of Galatea seemingly fail. The only way out of this predicament appears to be the reverse act of petrification. Pygmalion's illusion has to come full circle in order to restore the balance. The article concludes that the understanding of the Pygmalion myth requires balancing between mythologizing and demythologizing, knowing and not-knowing.
The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and J... more The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and Jean-Jacques Rousseau can be studied as a metaphor for the modern subject, highlighting the ambivalence of modernity. By closely reading the texts, the authors show that the Enlightenment versions of the Pygmalion myth present both a reality and an illusion, and the balance of knowing and not-knowing allows for their critical assessment. Drawing on academic publications on the subject of modernity, the study posits that it is split between myth and enlightenment, and the Pygmalion myth sheds light on this dichotomy. In the framework of conceptual metaphor theory, the study demonstrates that artists use this myth to contemplate on their works and present the mythical consciousness of the subject but they also strive to demythologize it according to their understanding or not-understanding of the miracle. Mythical consciousness enables Pygmalion to realize the miracle of animation either th...
Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, 2023
Although translators can make mistakes, they would definitely prefer to avoid conveying the oppos... more Although translators can make mistakes, they would definitely prefer to avoid conveying the opposite of what the source text has intended. Thus, students who learn to translate texts in writing should be made aware of typical cases, when translation might lead to the creation of opposite meaning. This paper analyses opposite meanings in the translations from English to Ukrainian of popular articles, done by the students under the author's supervision and published between 18 May 2018 and 20 June 2022. Having access to the draft version of these translations, the author compares the initial student works with the final published texts and discusses thirty cases when translators produced opposite meanings. The article examines such tentative groups of opposition as causation (subject and object, agent and patient), quality, modality, time, space, quantity, and grammatical gender. The reasons for these mistakes appear to be misunderstanding of voice (passive versus active), modality (e.g., necessity, prohibition), idioms, negation, as well as strong reliance on local collocation of words while disregarding the context of the sentence and the overall message of the text. The categorization of mistakes appears to be problematic because oppositions are often multilayered and simultaneously touch upon various linguistic issues. Further, different languages have different oppositions, which complicates the identification and categorization of translation mistakes. The article concludes that opposite meanings present both significant challenges and creative opportunities to translators. Understanding how oppositions work in different languages is essential for successful translation. Thus, translators should learn how to deal with oppositions and consider their context in order to avoid misunderstanding.
The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and J... more The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and Jean-Jacques Rousseau can be studied as a metaphor for the modern subject, highlighting the ambivalence of modernity. By closely reading the texts, the authors show that the Enlightenment versions of the Pygmalion myth present both a reality and an illusion, and the balance of knowing and not-knowing allows for their critical assessment. Drawing on academic publications on the subject of modernity, the study posits that it is split between myth and enlightenment, and the Pygmalion myth sheds light on this dichotomy. In the framework of conceptual metaphor theory, the study demonstrates that artists use this myth to contemplate on their works and present the mythical consciousness of the subject but they also strive to demythologize it according to their understanding or not-understanding of the miracle. Mythical consciousness enables Pygmalion to realize the miracle of animation either through the materialist philosophy of André-François Boureau-Deslandes or the sentimentalism of Jean-Jacques Rousseau but the sculptor risks becoming a slave to mythology or instrumental reason. The dialectic of the myth captures the moment when Pygmalion may either give in to the illusion or doubt the credibility of the miracle.
The evolution of the pygmalion myth through time and its modern interpretation Works of art are t... more The evolution of the pygmalion myth through time and its modern interpretation Works of art are the main source of cultural phenomena which enter the public sphere and transform it in the diachrony of language and culture development. They embrace preceding mentalities of different eras and are part and parcel of transcultural flows. Ancient artists built the grounds for the modern European arts and the study of one of the most symbolic ancient artistic myths may help scientists understand the evolution of the Western creative mentality. Thus, the purpose of the project is the study of asymmetric interpretation of the Pygmalion myth in different cultures and at different times and analysis of the Western mentality reflected in the myth. The research demands complex methods to be used and envisages a highly interdisciplinary approach which involves cultural studies, cognitive sciences, gender studies, linguistics, literature, literary criticism, psychology, semiotics, sociology, etc. According to the hypothesis of the research, there are two opposite tendencies in the evolution of the Pygmalion myth, which will be studied on the basis of literary works, visual arts, works of music and other cultural phenomena, and they both correlate with the transformation of the modern mass consciousness. Firstly, the contemporary interpretation of the myth reveals the archetype of the almighty mankind, the all-potent creative human being which is the core basis of the European mentality, stemming from the Renaissance period, and perhaps the main factor of the Western domination. Secondly, the work is given priority over the artist and thus the Western mentality has started the process of dehumanizing the act of creation which is becoming one of the most salient features of the modern public spheres.
Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, 2021
Herta Müller writes about suffering caused by social oppression, often depicting the dictatorial ... more Herta Müller writes about suffering caused by social oppression, often depicting the dictatorial regime of Nicolae Ceaușescu. Her literary works are marked by her first-person narrative perspective and a principled confrontation with totalitarianism and illiberalism. She is deeply interested in language and regularly uses metaphors to illuminate its functioning in the conditions of suffering and subjugation. This paper will focus on metaphors for silence and categorise them into those sensory modalities and concrete phenomena (vision, touch, smell, eating, speaking, somatic experience, force, space, motion, container, physical objects, manipulation, destruction, life, and death) that serve as source domains. Despite its limitations, this categorisation will help understand the motivation behind the associations between the target domain of silence and its vehicles. Müller highlights the figurative nature of the relationship between silence and more concrete concepts, establishing co...
The article deals with the issues of memory and identity in the latest novel by Serhiy Zhadan. Th... more The article deals with the issues of memory and identity in the latest novel by Serhiy Zhadan. The author argues that the novel operates according to the productive divergence between modern narrative structure and postmodern narrative strategy. From the classical modernity’s vantage point, the novel can be read as a grand narrative of a redemptive journey of the main protagonist, which serves the purpose of familiarizing the readers with Ukraine’s recent past and its forgotten, neglected borderland inhabitants. As a postmodern work of art, however, Voroshylovhrad opens up new gaps in the interpretation of cultural memory and revisits the common understanding of the past, memory, forgetting, and the possibility of integrating Ukrainian society. While not unconditionally debunked, the modern narrative structure is destabilized by the postmodern narrative strategy, which is deployed most effectively in the trope of memory in the novel.
In this article, the author analyzes spatial metaphors for voice in the work of Herta Müller. His... more In this article, the author analyzes spatial metaphors for voice in the work of Herta Müller. His analysis shows how she evokes spatial experience to convey her vision of voice. Drawing on conceptual metaphor theory and Viktor Shklovsky’s concept of defamiliarization, the author argues that Müller defamiliarizes conventional spatial language used to make sense of voice. She encourages her readers to recognize the figurative meaning of such language and invites them to build new and original associations between space and voice. The analysis focuses on verticality, figure-ground organization, motion, and container image schema as source domains for voice. The author’s research demonstrates that voice is associated with different sensory experiences and does not exist as a purely acoustic image. He claims that metaphorical conceptualization helps understand voice because the latter has different meanings depending on the context and is a complex physical, linguistic, and cultural phen...
This dissertation is the result of my own work and includes nothing which is the outcome of work ... more This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text.
Herta Müller creates sophisticated metaphors to convey her vision of language and its relationshi... more Herta Müller creates sophisticated metaphors to convey her vision of language and its relationship to suffering and subjugation. With reference to both her fiction and non‐fiction, this essay explores how she uses the idea of forceful language. It delineates how the trope of force illuminates the power of language. I analyse the metaphorical conceptualisation of forceful language that makes survival possible through resistance to social oppression. Language is understood as a force that provides support and protection to the author and her characters. The metaphorical image of force enables Müller to represent language as a means by which to lighten the burden of oppression, to put up resistance, and to help the victims of persecution cope with their suffering and survive
's fiction and non-fiction use the trope of silence to make sense of more abstract concepts. Draw... more 's fiction and non-fiction use the trope of silence to make sense of more abstract concepts. Drawing on conceptual metaphor theory, I argue that Müller employs silence as a means to personify phenomena and to realise the communicative potential of the environment. Language and meaning become inherent in the nature of things. Müller humanises the world when she ascribes to its inanimate entities the ability to keep silent. Silence can also metonymically stand for the mental states of those keeping silent or for their complex social actions; it serves as a central reference point for trauma, fear, guilt, suffering, writing, and collaboration. Metaphor and metonymy can interact, and contribute to the understanding of silence. Müller consistently highlights the figurative meaning of silence by estranging the trope linguistically and conceptually. Silence refers to the absence and failure of (but also implies the potential for) language and communication; and its use as a trope brings to the fore the search for meaning, expression, and social interaction.
Naukovij časopis Nacìonalʹnogo pedagogìčnogo unìversitetu ìmenì M.P. Dragomanova. Serìâ 09. Sučasnì tendencìï rozvitku mov, Dec 29, 2023
The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international... more The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international and local organizations in their host countries for help with daily problems of integration. One such aspect of charitable work is providing translation services. This article analyses the challenges and strategies of English, Ukrainian, and Russian document translation for charitable organizations assisting Ukrainian refugees. Drawing on professional experience of collaboration with a charitable organization, the author discusses communication that ensures efficient management of translation projects, outlines the certification procedure that confirms the translator's responsibility for the accuracy of translation, and examines the types of documents that Ukrainian refugees commonly need to have translated. The author describes in detail the formatting of the translated documents that is required to make them accessible and easily comprehensible. The article delves into the challenges that the translator is faced with when working with the documents of Ukrainian refugees, focusing on such issues as illegible handwriting and stamps, the low quality of the images of the original documents, typographical errors, abbreviations and terms, formatting intricacies, temporal limitations, and confidentiality. Analysing the process of proofreading that improves the quality of translation, the author argues that translation is a social activity that requires collaboration between the translator, fellow professionals, legal experts, clients, local actors and stakeholders. Finally, this article explores the tools and strategies that enable translators to work consistently and efficiently. It examines how the translator can use machine translators, online corpus dictionaries, document translation templates, guidelines, and other aids to provide reliable, timely, accurate, and helpful translation services to Ukrainian refugees.
The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances... more The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances of canonical works. Two of the productions in question are based on Ukrainian classical texts, namely Taras Shevchenko’s “mystery poem” “Velykyi Lyokh” (The Great Dungeon) and Lesya Ukrainka’s dramatic poem Cassandra. The other two productions, based on Sophocles’ tragedy Oedipus Rex and Albert Camus’ play Caligula, consciously seek answers to the challenges of the new Ukrainian reality in the canon of world drama. The full-scale Russian invasion has made the well-known meanings in these works more clearly visible and added new ones. Against the backdrop of media discussions about the mental health of the Russian president, Caligula by the Ivan Franko Theater (Kyiv) reflects on the psychology of an authoritarian ruler. Oedipus Rex by the Theater on Podil (Kyiv) shows why the demand for justice is growing in wartime society and the moral side of actions is becoming increasingly important. The Great Dungeon by the Poltava Puppet Theater tells the dramatic story of the Russo-Ukrainian War through the prism of Shevchenko’s historical analogies. Cassandra by the Ivan Franko Theater creates the atmosphere of a vulnerable, open-air space where every inhabitant, except for the protagonist, prefers to protect themselves with fanciful constructions of ephemeral illusions. While the tragic reality of the Russо-Ukrainian War has led to the emergence of a large body of contemporary drama that interprets the new experience of Ukrainian society, the war reality has become a prerequisite for a significant rethinking of theatrical texts from the Ukrainian and Western European canon. Thus, Ukrainian theater is actively engaging with the new reality, intervening in various ways in current public discussions that aim to comprehend the drama of the war, and creating a safe space for a common emotional response to the latest tragic experience.
Vìsnik Harkìvsʹkogo nacìonalʹnogo unìversitetu ìmenì V.N. Karazìna, Dec 21, 2023
This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and Wil... more This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and William Schwenk Gilbert's Pygmalion and Galatea (1870). The versions of the myth in Ovid and Gilbert are regarded as attempts at demythologization, which paradoxically introduce their own mythology. The author argues that the myth serves as both a reality and an illusion f or the protagonists, blurring the lines sbetween critical knowledge and mythological worldview. Drawing on conceptual metaphor theory, the author suggests that the Pygmalion myth can be regarded as an allegory within the cognitive paradigm of embodied realism, and the unconscious metaphor behind the myth presents the metamorphosis as rationally explainable yet resistant to critical thinking. The article delves into Pygmalion's mythical consciousness, highlighting his self-deception and the dialectic between animation and petrification. In Ovid, Pygmalion's mastery achieves a perfect delusion. He believes in the possibility of animating his statue because it is so lifelike. The original story-as we know it from Ovid's Metamorphoses-treads the line between a miracle and self-delusion. After Ovid, its nature has remained ambivalent over the centuries. Gilbert demythologizes the myth by allowing it to become authentic reality. Pygmalion's dream is realized to reveal its paradoxical consequences, which change the phantasmagoria of animation into a waking nightmare. The dialectic of the myth is realized through legitimating the magical act of creation and challenging its ramifications. Animation is possible in its initial stage, but the education and socialization of Galatea seemingly fail. The only way out of this predicament appears to be the reverse act of petrification. Pygmalion's illusion has to come full circle in order to restore the balance. The article concludes that the understanding of the Pygmalion myth requires balancing between mythologizing and demythologizing, knowing and notknowing. Key wor ds: meta ph or , my th olo giz ation a nd de myt h ologiz atio n, ani m ation a nd petr ificatio n, P yg malio n a nd Galatea , Ovid, W illiam S ch w enk Gilber t.
Naukovij časopis Nacìonalʹnogo pedagogìčnogo unìversitetu ìmenì M.P. Dragomanova, Jun 29, 2023
Although translators can make mistakes, they would definitely prefer to avoid conveying the oppos... more Although translators can make mistakes, they would definitely prefer to avoid conveying the opposite of what the source text has intended. Thus, students who learn to translate texts in writing should be made aware of typical cases, when translation might lead to the creation of opposite meaning. This paper analyses opposite meanings in the translations from English to Ukrainian of popular articles, done by the students under the author's supervision and published between 18 May 2018 and 20 June 2022. Having access to the draft version of these translations, the author compares the initial student works with the final published texts and discusses thirty cases when translators produced opposite meanings. The article examines such tentative groups of opposition as causation (subject and object, agent and patient), quality, modality, time, space, quantity, and grammatical gender. The reasons for these mistakes appear to be misunderstanding of voice (passive versus active), modality (e.g., necessity, prohibition), idioms, negation, as well as strong reliance on local collocation of words while disregarding the context of the sentence and the overall message of the text. The categorization of mistakes appears to be problematic because oppositions are often multilayered and simultaneously touch upon various linguistic issues. Further, different languages have different oppositions, which complicates the identification and categorization of translation mistakes. The article concludes that opposite meanings present both significant challenges and creative opportunities to translators. Understanding how oppositions work in different languages is essential for successful translation. Thus, translators should learn how to deal with oppositions and consider their context in order to avoid misunderstanding.
The Journal of V N Karazin Kharkiv National University Series Philology, 2024
The article analyzes the causes of mistakes made by students when translating German pronouns int... more The article analyzes the causes of mistakes made by students when translating German pronouns into Ukrainian and the ways to avoid such mistakes. The relevance of the study lies in the fact that students regularly make mistakes when translating German pronouns into Ukrainian, which leads to misunderstanding and significantly decreases the quality of the translated text. This research paper will help make translation training more effective and improve the results of students’ translation work. The materials of the study are translations from German into Ukrainian made by student translators as part of the work of the academic student circle Translation Practice in Action in the Department of Applied Linguistics, Comparative Language Studies and Translation at the Mykhailo Dragomanov State University of Ukraine. The research methodology is based on the analysis and comparison of original texts, drafts, and published translations. This approach made it possible to identify a number of mistakes and categorize them into the following groups of German pronouns: personal pronouns, the indefinite personal pronoun man, possessive pronouns, interrogative pronouns, the negative pronoun kein, the reflexive pronoun sich, and the demonstrative and relative pronouns. The study resulted in the identification of the main causes of mistakes in the translation of German pronouns into Ukrainian: misunderstanding or inattention to the context; the same forms of the indicative and relative pronouns and articles in German; the ability of the pronoun man to indicate a specific person; the ambiguity of German pronoun forms (e.g., sie, ihr); changes during translation in the grammatical gender, number and case of the pronouns and the nouns to which they refer. To avoid such mistakes, translators should carefully read and understand the original text and context, take into account the specific meaning and function of pronouns, and consider the differences in grammatical gender, number, and case between Ukrainian and German nouns and pronouns. The translation of German pronouns into Ukrainian requires a comprehensive understanding of not only language structures but also the context in which they are utilized.
The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances... more The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances of canonical works. Two of the productions in question are based on Ukrainian classical texts, namely Taras Shevchenko’s “mystery poem” “Velykyi Lyokh” (The Great Dungeon) and Lesya Ukrainka’s dramatic poem Cassandra. The other two productions, based on Sophocles’ tragedy Oedipus Rex and Albert Camus’ play Caligula, consciously seek answers to the challenges of the new Ukrainian reality in the canon of world drama. The full-scale Russian invasion has made the well-known meanings in these works more clearly visible and added new ones. Against the backdrop of media discussions about the mental health of the Russian president, Caligula by the Ivan Franko Theater (Kyiv) reflects on the psychology of an authoritarian ruler. Oedipus Rex by the Theater on Podil (Kyiv) shows why the demand for justice is growing in wartime society and the moral side of actions is becoming increasingly important. The Great Dungeon by the Poltava Puppet Theater tells the dramatic story of the Russo-Ukrainian War through the prism of Shevchenko’s historical analogies. Cassandra by the Ivan Franko Theater creates the atmosphere of a vulnerable, open-air space where every inhabitant, except for the protagonist, prefers to protect themselves with fanciful constructions of ephemeral illusions.
While the tragic reality of the Russо-Ukrainian War has led to the emergence of a large body of contemporary drama that interprets the new experience of Ukrainian society, the war reality has become a prerequisite for a significant rethinking of theatrical texts from the Ukrainian and Western European canon. Thus, Ukrainian theater is actively engaging with the new reality, intervening in various ways in current public discussions that aim to comprehend the drama of the war, and creating a safe space for a common emotional response to the latest tragic experience.
Scientific Journal of Mykhailo Dragomanov State University of Ukraine. Series 9. Current Trends in Language Development, 2023
The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international... more The Russian-Ukrainian war displaced millions of Ukrainians many of whom now rely on international and local organizations in their host countries for help with daily problems of integration. One such aspect of charitable work is providing translation services. This article analyses the challenges and strategies of English, Ukrainian, and Russian document translation for charitable organizations assisting Ukrainian refugees. Drawing on professional experience of collaboration with a charitable organization, the author discusses communication that ensures efficient management of translation projects, outlines the certification procedure that confirms the translator's responsibility for the accuracy of translation, and examines the types of documents that Ukrainian refugees commonly need to have translated. The author describes in detail the formatting of the translated documents that is required to make them accessible and easily comprehensible. The article delves into the challenges that the translator is faced with when working with the documents of Ukrainian refugees, focusing on such issues as illegible handwriting and stamps, the low quality of the images of the original documents, typographical errors, abbreviations and terms, formatting intricacies, temporal limitations, and confidentiality. Analysing the process of proofreading that improves the quality of translation, the author argues that translation is a social activity that requires collaboration between the translator, fellow professionals, legal experts, clients, local actors and stakeholders. Finally, this article explores the tools and strategies that enable translators to work consistently and efficiently. It examines how the translator can use machine translators, online corpus dictionaries, document translation templates, guidelines, and other aids to provide reliable, timely, accurate, and helpful translation services to Ukrainian refugees.
The Journal of V. N. Karazin Kharkiv National University. Series “Philology”, 2023
This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and Wil... more This article examines the ambivalent nature of the Pygmalion myth in Ovid's Metamorphoses and William Schwenk Gilbert's Pygmalion and Galatea (1870). The versions of the myth in Ovid and Gilbert are regarded as attempts at demythologization, which paradoxically introduce their own mythology. The author argues that the myth serves as both a reality and an illusion f or the protagonists, blurring the lines between critical knowledge and mythological worldview. Drawing on conceptual metaphor theory, the author suggests that the Pygmalion myth can be regarded as an allegory within the cognitive paradigm of embodied realism, and the unconscious metaphor behind the myth presents the metamorphosis as rationally explainable yet resistant to critical thinking. The article delves into Pygmalion's mythical consciousness, highlighting his self-deception and the dialectic between animation and petrification. In Ovid, Pygmalion's mastery achieves a perfect delusion. He believes in the possibility of animating his statue because it is so lifelike. The original story-as we know it from Ovid's Metamorphoses-treads the line between a miracle and self-delusion. After Ovid, its nature has remained ambivalent over the centuries. Gilbert demythologizes the myth by allowing it to become authentic reality. Pygmalion's dream is realized to reveal its paradoxical consequences, which change the phantasmagoria of animation into a waking nightmare. The dialectic of the myth is realized through legitimating the magical act of creation and challenging its ramifications. Animation is possible in its initial stage, but the education and socialization of Galatea seemingly fail. The only way out of this predicament appears to be the reverse act of petrification. Pygmalion's illusion has to come full circle in order to restore the balance. The article concludes that the understanding of the Pygmalion myth requires balancing between mythologizing and demythologizing, knowing and not-knowing.
The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and J... more The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and Jean-Jacques Rousseau can be studied as a metaphor for the modern subject, highlighting the ambivalence of modernity. By closely reading the texts, the authors show that the Enlightenment versions of the Pygmalion myth present both a reality and an illusion, and the balance of knowing and not-knowing allows for their critical assessment. Drawing on academic publications on the subject of modernity, the study posits that it is split between myth and enlightenment, and the Pygmalion myth sheds light on this dichotomy. In the framework of conceptual metaphor theory, the study demonstrates that artists use this myth to contemplate on their works and present the mythical consciousness of the subject but they also strive to demythologize it according to their understanding or not-understanding of the miracle. Mythical consciousness enables Pygmalion to realize the miracle of animation either th...
Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, 2023
Although translators can make mistakes, they would definitely prefer to avoid conveying the oppos... more Although translators can make mistakes, they would definitely prefer to avoid conveying the opposite of what the source text has intended. Thus, students who learn to translate texts in writing should be made aware of typical cases, when translation might lead to the creation of opposite meaning. This paper analyses opposite meanings in the translations from English to Ukrainian of popular articles, done by the students under the author's supervision and published between 18 May 2018 and 20 June 2022. Having access to the draft version of these translations, the author compares the initial student works with the final published texts and discusses thirty cases when translators produced opposite meanings. The article examines such tentative groups of opposition as causation (subject and object, agent and patient), quality, modality, time, space, quantity, and grammatical gender. The reasons for these mistakes appear to be misunderstanding of voice (passive versus active), modality (e.g., necessity, prohibition), idioms, negation, as well as strong reliance on local collocation of words while disregarding the context of the sentence and the overall message of the text. The categorization of mistakes appears to be problematic because oppositions are often multilayered and simultaneously touch upon various linguistic issues. Further, different languages have different oppositions, which complicates the identification and categorization of translation mistakes. The article concludes that opposite meanings present both significant challenges and creative opportunities to translators. Understanding how oppositions work in different languages is essential for successful translation. Thus, translators should learn how to deal with oppositions and consider their context in order to avoid misunderstanding.
The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and J... more The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and Jean-Jacques Rousseau can be studied as a metaphor for the modern subject, highlighting the ambivalence of modernity. By closely reading the texts, the authors show that the Enlightenment versions of the Pygmalion myth present both a reality and an illusion, and the balance of knowing and not-knowing allows for their critical assessment. Drawing on academic publications on the subject of modernity, the study posits that it is split between myth and enlightenment, and the Pygmalion myth sheds light on this dichotomy. In the framework of conceptual metaphor theory, the study demonstrates that artists use this myth to contemplate on their works and present the mythical consciousness of the subject but they also strive to demythologize it according to their understanding or not-understanding of the miracle. Mythical consciousness enables Pygmalion to realize the miracle of animation either through the materialist philosophy of André-François Boureau-Deslandes or the sentimentalism of Jean-Jacques Rousseau but the sculptor risks becoming a slave to mythology or instrumental reason. The dialectic of the myth captures the moment when Pygmalion may either give in to the illusion or doubt the credibility of the miracle.
The evolution of the pygmalion myth through time and its modern interpretation Works of art are t... more The evolution of the pygmalion myth through time and its modern interpretation Works of art are the main source of cultural phenomena which enter the public sphere and transform it in the diachrony of language and culture development. They embrace preceding mentalities of different eras and are part and parcel of transcultural flows. Ancient artists built the grounds for the modern European arts and the study of one of the most symbolic ancient artistic myths may help scientists understand the evolution of the Western creative mentality. Thus, the purpose of the project is the study of asymmetric interpretation of the Pygmalion myth in different cultures and at different times and analysis of the Western mentality reflected in the myth. The research demands complex methods to be used and envisages a highly interdisciplinary approach which involves cultural studies, cognitive sciences, gender studies, linguistics, literature, literary criticism, psychology, semiotics, sociology, etc. According to the hypothesis of the research, there are two opposite tendencies in the evolution of the Pygmalion myth, which will be studied on the basis of literary works, visual arts, works of music and other cultural phenomena, and they both correlate with the transformation of the modern mass consciousness. Firstly, the contemporary interpretation of the myth reveals the archetype of the almighty mankind, the all-potent creative human being which is the core basis of the European mentality, stemming from the Renaissance period, and perhaps the main factor of the Western domination. Secondly, the work is given priority over the artist and thus the Western mentality has started the process of dehumanizing the act of creation which is becoming one of the most salient features of the modern public spheres.
Scientific Journal of National Pedagogical Dragomanov University. Series 9. Current Trends in Language Development, 2021
Herta Müller writes about suffering caused by social oppression, often depicting the dictatorial ... more Herta Müller writes about suffering caused by social oppression, often depicting the dictatorial regime of Nicolae Ceaușescu. Her literary works are marked by her first-person narrative perspective and a principled confrontation with totalitarianism and illiberalism. She is deeply interested in language and regularly uses metaphors to illuminate its functioning in the conditions of suffering and subjugation. This paper will focus on metaphors for silence and categorise them into those sensory modalities and concrete phenomena (vision, touch, smell, eating, speaking, somatic experience, force, space, motion, container, physical objects, manipulation, destruction, life, and death) that serve as source domains. Despite its limitations, this categorisation will help understand the motivation behind the associations between the target domain of silence and its vehicles. Müller highlights the figurative nature of the relationship between silence and more concrete concepts, establishing co...
The article deals with the issues of memory and identity in the latest novel by Serhiy Zhadan. Th... more The article deals with the issues of memory and identity in the latest novel by Serhiy Zhadan. The author argues that the novel operates according to the productive divergence between modern narrative structure and postmodern narrative strategy. From the classical modernity’s vantage point, the novel can be read as a grand narrative of a redemptive journey of the main protagonist, which serves the purpose of familiarizing the readers with Ukraine’s recent past and its forgotten, neglected borderland inhabitants. As a postmodern work of art, however, Voroshylovhrad opens up new gaps in the interpretation of cultural memory and revisits the common understanding of the past, memory, forgetting, and the possibility of integrating Ukrainian society. While not unconditionally debunked, the modern narrative structure is destabilized by the postmodern narrative strategy, which is deployed most effectively in the trope of memory in the novel.
In this article, the author analyzes spatial metaphors for voice in the work of Herta Müller. His... more In this article, the author analyzes spatial metaphors for voice in the work of Herta Müller. His analysis shows how she evokes spatial experience to convey her vision of voice. Drawing on conceptual metaphor theory and Viktor Shklovsky’s concept of defamiliarization, the author argues that Müller defamiliarizes conventional spatial language used to make sense of voice. She encourages her readers to recognize the figurative meaning of such language and invites them to build new and original associations between space and voice. The analysis focuses on verticality, figure-ground organization, motion, and container image schema as source domains for voice. The author’s research demonstrates that voice is associated with different sensory experiences and does not exist as a purely acoustic image. He claims that metaphorical conceptualization helps understand voice because the latter has different meanings depending on the context and is a complex physical, linguistic, and cultural phen...
This dissertation is the result of my own work and includes nothing which is the outcome of work ... more This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text.
Herta Müller creates sophisticated metaphors to convey her vision of language and its relationshi... more Herta Müller creates sophisticated metaphors to convey her vision of language and its relationship to suffering and subjugation. With reference to both her fiction and non‐fiction, this essay explores how she uses the idea of forceful language. It delineates how the trope of force illuminates the power of language. I analyse the metaphorical conceptualisation of forceful language that makes survival possible through resistance to social oppression. Language is understood as a force that provides support and protection to the author and her characters. The metaphorical image of force enables Müller to represent language as a means by which to lighten the burden of oppression, to put up resistance, and to help the victims of persecution cope with their suffering and survive
's fiction and non-fiction use the trope of silence to make sense of more abstract concepts. Draw... more 's fiction and non-fiction use the trope of silence to make sense of more abstract concepts. Drawing on conceptual metaphor theory, I argue that Müller employs silence as a means to personify phenomena and to realise the communicative potential of the environment. Language and meaning become inherent in the nature of things. Müller humanises the world when she ascribes to its inanimate entities the ability to keep silent. Silence can also metonymically stand for the mental states of those keeping silent or for their complex social actions; it serves as a central reference point for trauma, fear, guilt, suffering, writing, and collaboration. Metaphor and metonymy can interact, and contribute to the understanding of silence. Müller consistently highlights the figurative meaning of silence by estranging the trope linguistically and conceptually. Silence refers to the absence and failure of (but also implies the potential for) language and communication; and its use as a trope brings to the fore the search for meaning, expression, and social interaction.
Herta Müller represents physical suffering and repression in her works, often reflecting on the r... more Herta Müller represents physical suffering and repression in her works, often reflecting on the regime of Nicolae Ceaușescu, and her constant interest in language and reflexivity towards writing have led her to develop sophisticated metaphors that she uses to illuminate language and its functioning under such subjugation. With reference to her fiction and non-fiction, I demonstrate how she uses concrete ideas to understand linguistic phenomena. She evokes injury, destruction, force, life, space, touch, silence, and other bodily experiences to make sense of language in the condition of suffering from social oppression. Drawing on conceptual metaphor theory within the framework of cognitive literary studies, I argue that Müller both relies on and estranges the ways in which people speak and think about language. Language is imagined differently depending on the circumstances and in close relationship with various sensory experiences. The complexity of the relationship between language and thought problematises the process of metaphor building and makes it difficult to identify its key aspects across different contexts and sensory modalities. Müller’s tropes are easy to experience, but difficult to analyse. The idea of language does not exist as a stable concept and is regularly reimagined in her texts; but its meaning is not arbitrary and depends on bodily experience. While Müller evokes such experience to understand language in the condition of suffering, she can also use linguistic concepts to elucidate more abstract ideas. Language can be regarded as an abstract or concrete phenomenon depending on the relevant bodily, linguistic, and cultural contexts. This project contributes to the study of Müller’s poetics as well as to the literary critical interpretation of embodied cognition, and develops the use of conceptual metaphor theory for literary analysis. It also seeks to develop understanding of the role of bodily experience in the metaphorical conceptualisation of language.
Camp is an autobiographical novel by Austrian writer, journalist and doctor Angela Rohr (1890-198... more Camp is an autobiographical novel by Austrian writer, journalist and doctor Angela Rohr (1890-1985). It recounts the author's experiences as both a prisoner and a doctor in the Soviet Gulag.
Ці методичні рекомендації допоможуть краще зрозуміти і навчитися долати виклики перекладу особови... more Ці методичні рекомендації допоможуть краще зрозуміти і навчитися долати виклики перекладу особових документів з української мови на англійську, з якими стикаються під час надання таких послуг. Переклад – це суспільно значима діяльність, яка вимагає співпраці перекладача з колегами-професіоналами, правниками, клієнтами та місцевими акторами і зацікавленими сторонами. Спираючись на професійний досвід співпраці з благодійними організаціями, які допомагають українцям за кордоном, методичні рекомендації детально описують форматування перекладених документів, необхідне для того, щоб зробити їх доступними та зрозумілими. Запропоновані рішення не є єдино правильними, а радше правлять за приклад та носять рекомендаційний характер. Розглядаючи виклики, з якими стикається перекладач під час роботи з особовими документами, увагу зосереджено на таких проблемах, як нерозбірливий почерк і печатки, низька якість зображень оригіналів документів, друкарські помилки, абревіатури, скорочення і терміни, тонкощі форматування, часові обмеження і конфіденційність. Нарешті, ці методичні рекомендації розглядають інструменти та стратегії, які допомагають перекладачам працювати послідовно та ефективно: використання машинних перекладачів, корпусних онлайнових словників, шаблонів для перекладу документів, інструкцій та інших допоміжних засобів для надання надійних, своєчасних, якісних і корисних перекладацьких послуг.
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Papers by Pavlo Shopin
While the tragic reality of the Russо-Ukrainian War has led to the emergence of a large body of contemporary drama that interprets the new experience of Ukrainian society, the war reality has become a prerequisite for a significant rethinking of theatrical texts from the Ukrainian and Western European canon. Thus, Ukrainian theater is actively engaging with the new reality, intervening in various ways in current public discussions that aim to comprehend the drama of the war, and creating a safe space for a common emotional response to the latest tragic experience.
While the tragic reality of the Russо-Ukrainian War has led to the emergence of a large body of contemporary drama that interprets the new experience of Ukrainian society, the war reality has become a prerequisite for a significant rethinking of theatrical texts from the Ukrainian and Western European canon. Thus, Ukrainian theater is actively engaging with the new reality, intervening in various ways in current public discussions that aim to comprehend the drama of the war, and creating a safe space for a common emotional response to the latest tragic experience.