Соціолінгвістичні засади історичних етапів становлення діалектів в англійській мові (Sociolinguistic principles of the historical stages of the formation of dialects in the English language)

У статті аналізуються особливості вживання діалектів в англійській мові. діалектологія, якій приділяється значна увага, вивчає не тільки фонетичні, граматичні та лексичні особливості окремих діалектів, а й взаємозв’язки між діалектами. Вивчення сучасних діалектів в основному проводиться шляхом інтерв’ю з респондентами (різної статі, віку та соціальних відносин), принцип, який слід вважати найбільш яскравим методом спостереження та безпосереднього вивчення використання живих діалектів у мовах, про які йдеться.дослідження давньої діалектичної лексики часто базується на досить нестійких засадах – наявності в тій чи іншій мовній пам’ятці поодиноких лексем, діалектна приналежність яких є досить суперечливою. (The article analyzes the peculiarities of the use of dialects in the English language. dialectology, to which is given considerable attention, to studies not only the phonetic, grammatical and lexical features of individual dialects, but also the relationships between dialects. The study of modern dialects is mainly conducted through interviews with respondents (of different sexes, ages and social relations), a principle that should be considered the most vivid method of observing and directly studying the use of living dialects in the languages. the study of ancient dialectic vocabulary is often based on rather unstable foundations – the presence of single lexemes in one or another linguistic monument, the dialectal affiliation of which is quite controversial.

Stacking Interactions in Denaturation of DNA Fragments

A mesoscopic model for heterogeneous DNA denaturation is developed in the framework of the path integral formalism. The base pair stretchings are treated as one-dimensional, time dependent paths contributing to the partition function. The size of the paths ensemble, which measures the degree of cooperativity of the system, is computed versus temperature consistently with the model potential physical requirements. It is shown that the ensemble size strongly varies with the molecule backbone stiffness providing a quantitative relation between stacking and features of the melting transition. The latter is an overall smooth crossover which begins from the \emph{adenine-thymine} rich portions of the fragment. The harmonic stacking coupling shifts, along the $T$-axis, the occurrence of the multistep denaturation but it does not change the character of the crossover. The methods to compute the fractions of open base pairs versus temperature are discussed: by averaging the base pair displacements over the path ensemble we find that such fractions signal the multisteps of the transition in good agreement with the indications provided by the specific heat plots.Comment: European Physical Journal E (2011) in pres

“Little Trio” for clarinet, bassoon and piano

The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.</jats:p