Сінтаксіс і семантыка інфінітыва ў беларускіх народных песнях пра каханне

The author discovers the syntactic roles of the infinitive allowing for its semantic peculiarities in the language of the Belarusian folk songs about love.\ud Keywords: semantics, syntax, infinitive, sentence, the part of the sentenceАўтар выяўляе сінтаксічныя ролі інфінітыва з улікам яго семантычных асаблівасцей у мове беларускіх народных песень пра каханне

“Зямное непаўторнае каханне”: паэтычны дыскурс любові

У артыкуле разглядаюцца розныя азначэнні і характарыстыкі кахання ў беларускіім паэтычным дыскурсе, прыводзяцца шматлікія метафарызаваныя кантэксты, якія выяўляюць сутнасць гэтага глыбокага і непаўторнага пачуцця

Мастацкая інтэрпрэтацыя вобраза Кастуся Каліноўскага ў беларускай драматургіі ХХ–ХХІ стст.

The person of Kastuś Kalinoŭski is of major importance for Belarusian culture: the image of the legendary insurgent is found in many literary works, adorns artists’ canvases, and periodically appears on the stage of Belarusian theatres. On the wave of the renaissance movement and policy of Belarusification in the 1920s the dramatist and producer Jeuścihniey Mirovič wrote and brought to the stage of BDT-1 a historical drama Kastuś Kalinoŭski (1923). In the 1930s the image of Kalinoŭski became dangerous for the Communist government, and the next time the public were able to see the rebel on stage was only in 1947 in an opera by Dźmitry Lukas, Kastuś Kalinoŭski, with a libretto by Michaś Klimkovič. A vivid example of romantic drama was the production by Valery Mazynski at the Jakub Kolas Belarusian Academic Theatre, based on the play of the same name by Uladzimir Karatkievič. Karatkievič’s idealization of the main hero exactly suited the metaphoric and symbolic style of the director. Staged in 1978 – fifteen years after the play was written – Mazynski’s production became a model representation of the image of Kalinoŭski in the second half of the 20th century. Great possibilities for an excellent theatrical embodiment were given by the dramatic poem by Arkadź Kuliašoŭ, Chamucius (1975), in which he painted a deep psychological portrait of the hero. It is symptomatic that contemporary Belarusian theatres do not feel the need for Aleś Pietraškievič’s play Rytsar svabody, written in 2003.Artykuł nie zawiera abstraktu w języku polski

Representation of the concept “Love” in the Belarusian and English phraseology, or Once again about love

У статті досліджено репрезентацію концепту “Любов” на матеріалі білоруської та англійської фразеології крізь призму порівняльного й лінгвокультурологічного аспектів. Акцентовано на основних параметрах інтенсивності прояву відповідного почуття. Виявлено загальні риси та національні особливості культурного образу, закодованого у внутрішній формі білоруських та англійських фразеологічних одиниць. З’ясовано, що аналіз фразеологічної вербалізації концепту “Любов” допомагає відтворити етнокультурний образ і особливості менталітету носіїв білоруської та англійської мов.The article examines the phraseological representation of the concept of “Love” by native speakers of Belarusian and English, which is one of the basic concepts that appear in representatives of various cultures. Attention is focused on the main parameters of the intensity of this feeling. Common features and national features of the cultural image encoded in the internal form of Belarusian and English phraseological units are established. The analysis of phraseological verbalization of the concept “Love” helps to recreate the ethno-cultural image and features of the mentality of Belarusian and English speakers. The results of the research demonstrate that the Belarusian and English phraseological units representated the concept of “Love” are divided into several semantic groups. These groups describe the degree of depth and strength of the feeling, or certain stages of it. For example, phraseological units characterize the origin of love, the highest degree of this feeling, and its completion: to fall in love ‘to fall in love’ – with all one’s heart <and soul> ‘(to love, believe, be proud, etc.) sincere, heartfelt)’ (1 st meaning) – to fall out of love ‘to stop loving’. Linguistic meaning and cultural content of the phraseological units cause their special role in the speaking – to characterize the person’s attitude to the feeling of love and pay attention to the different ways of their display. The national-cultural interpretation of the concept “Love” in phraseology of native speakers of Belarusian and English shows that to imagine the part of their language picture of the world could be exactly through the description of the stereotypes in the inner form of the phraseological units. The conclusions of the article can be used in giving courses in the field of phraseology, cultural linguistics, inter-language communication, theory and practice of translation and compiling of phraseological dictionaries

Репрезентація концепту “Любов” у білоруській та англійській фразеології, або Ще раз про кохання

У статті досліджено репрезентацію концепту “Любов” на матеріалі білоруської та англійської фразеології крізь призму порівняльного й лінгвокультурологічного аспектів. Акцентовано на основних параметрах інтенсивності прояву відповідного почуття. Виявлено загальні риси та національні особливості культурного образу, закодованого у внутрішній формі білоруських та англійських фразеологічних одиниць. З’ясовано, що аналіз фразеологічної вербалізації концепту “Любов” допомагає відтворити етнокультурний образ і особливості менталітету носіїв білоруської та англійської мов.The article examines the phraseological representation of the concept of “Love” by native speakers of Belarusian and English, which is one of the basic concepts that appear in representatives of various cultures. Attention is focused on the main parameters of the intensity of this feeling. Common features and national features of the cultural image encoded in the internal form of Belarusian and English phraseological units are established. The analysis of phraseological verbalization of the concept “Love” helps to recreate the ethnocultural image and features of the mentality of Belarusian and English speakers. The results of the research demonstrate that the Belarusian and English phraseological units representated the concept of “Love” are divided into several semantic groups. These groups describe the degree of depth and strength of the feeling, or certain stages of it. For example, phraseological units characterize the origin of love, the highest degree of this feeling, and its completion: to fall in love ‘to fall in love’ – with all one’s heart ‘(to love, believe, be proud, etc.) sincere, heartfelt)’ (1st meaning) – to fall out of love ‘to stop loving’. Linguistic meaning and cultural content of the phraseological units cause their special role in the speaking – to characterize the person’s attitude to the feeling of love and pay attention to the different ways of their display. The national-cultural interpretation of the concept “Love” in phraseology of native speakers of Belarusian and English shows that to imagine the part of their language picture of the world could be exactly through the description of the stereotypes in the inner form of the phraseological units. The conclusions of the article can be used in giving courses in the field of phraseology, cultural linguistics, inter-language communication, theory and practice of translation and compiling of phraseological dictionaries