=Paper=
{{Paper
|id=Vol-3608/paper25
|storemode=property
|title=Studying Semantic Transformations of Deterministic Vocabulary in Artistic Discourse Using Corpus Technologies
|pdfUrl=https://ceur-ws.org/Vol-3608/paper25.pdf
|volume=Vol-3608
|authors=Zoriana Kunch,Liliia Kharchuk
|dblpUrl=https://dblp.org/rec/conf/scia2/KunchK23
}}
==Studying Semantic Transformations of Deterministic Vocabulary in Artistic Discourse Using Corpus Technologies==
https://ceur-ws.org/Vol-3608/paper25.pdf
Studying Semantic Transformations of Deterministic Vocabulary
in Artistic Discourse Using Corpus Technologies
Zoriana Kunch and Liliia Kharchuk
Lviv Polytechnic National University, Bandera Str., 12, Lviv, 79013, Ukraine
Abstract
The research is based on the General Regionally Annotated Corpus of the Ukrainian Language
(GRAС) analyzed the semantic transformations of deterministic vocabulary in Oksana
Zabuzhko's works “Museum of Abandoned Secrets”, “Fieldwork in Ukrainian Sex”, “Album
for Gustav”. The possibilities of achieving stylistic effects through the use of technical
determinations are analyzed. It was found that technical terminology in artistic discourse,
thanks to semantic transformations, contributes to the achievement of accuracy and clarity of
speech, helps to structure abstract thoughts and materialize them, and the involvement of
deterministic vocabulary, in particular in the composition of tropes or stylistic figures,
contributes to the ornamentation of speech, reveals the author's attitude to the named objects
and saturates the text with expression. Three types of semantic transformations based on
semantic and stylistic processes of determining scientific vocabulary are identified:
comparison, epithet, and artistic metaphor. The technical determinologisms selected by
identification from the annotated corpus proved that the term vocabulary functions organically
in the artistic text and becomes an important component of the writer's idiostyle.
Keywords
Corpus linguistics, text corpus, concordance, text analysis, metaphor, epithet, comparison,
determination, deterministic vocabulary.
1. Introduction
Perhaps the main feature of modern society is its technocratization, which involves the acceleration
of migration processes of vocabulary between the general literary language and industry terminology
systems. Such mobility of lexemes reflects changes in the national linguistic picture of the world at the
speech level and causes qualitative and quantitative semantic changes in the language as a system. A
term is a unit of the lexical system, the use of which is one of the characteristic features of the scientific
style of the literary language. However, the high intellectual level of modern society and the wide
erudition of speakers in the most diverse spheres of human knowledge contributed to the fact that term
vocabulary becomes an integral component of other styles, including artistic ones. When used in
different discourses, terms serve different needs of speakers, while changing their own functional,
lexical-semantic and semantic-stylistic characteristics. In works of art, terms lose their clear
conceptuality and undergo determinism, that is, the term is assimilated to a commonly used word, and
various semantic transformations of the deterministic lexeme arise on the basis of metaphorical
reinterpretation.
Despite the large number of linguistic studies related to determinism, there are still a number of
linguistic issues that have not been studied yet. Among them is the involvement of technical
terminology in the artistic discourse, in particular the use of deterministic vocabulary from the technical
sphere in works of modern fiction. We emphasize that the application of the latest methods for technical
SCIA-2023: 2nd International Workshop on Social Communication and Information Activity in Digital Humanities, November 9, 2023, Lviv,
Ukraine
EMAIL: zoriana.y.kunch@lpnu.ua (Z. Kunch); liliia.v.kharchuk@lpnu.ua (L. Kharchuk)
ORCID: 0000-0002-8924-7274 (Z. Kunch); 0000-0003-0063-1956 (L. Kharchuk)
©️ 2023 Copyright for this paper by its authors.
Use permitted under Creative Commons License Attribution 4.0 International (CC BY 4.0).
CEUR Workshop Proceedings (CEUR-WS.org)
CEUR
ceur-ws.org
Workshop ISSN 1613-0073
Proceedings
detection and quantitative research of deterministic lexemes based on an electronic corpus of texts
makes it possible to intensify language research and multiply the effectiveness, reliability, and
verifiability of the studied linguistic phenomena. In our previous research, we analyzed the stylistic role
of medical terms-substantives in Oksana Zabuzhko's work and found out that term vocabulary
organically enters the artistic and journalistic context and becomes an important component of the
writer's individual creative handwriting [1].
Note that the use of technical terminology in the artistic style is also of considerable scientific
interest. Our scientific hypothesis is as follows: the involvement of technical terminology in artistic
discourse aims to achieve at least two results:
1. Clarity of content, accuracy – technical terminology, thanks to semantic transformations, makes
it possible to structure abstract thoughts and materialize them;
2. Expressiveness, artistic perfection – the use of deterministic vocabulary, in particular as part of
tropes or stylistic figures, contributes to the ornamentation of speech, reveals the author's attitude to
the named objects, and ultimately saturates the text with expression.
The relevance of our research lies in the fact that thanks to the use of corpus technologies, we are
able to examine the technical terms found in the text in the context of their use and trace the various
semantic modifications they undergo. The research material was the technical terms extracted from
Oksana Zabuzhko's novels “Museum of Abandoned Secrets”, “Fieldwork in Ukrainian Sex” and the
short story “Album for Gustav”. In the analyzed material, we observe the presence of a complex
hierarchy of stylistic devices based on the determination of scientific vocabulary, because, as stated in
the literary criticism of the language of this work, “forgotten and invented constructions, unexpected
lexical combinations and other things make the language imaginative and colorful” [2].
The purpose of the work is to identify and analyze the stylistic role of technical determinations in
the work of the Ukrainian writer Oksana Zabuzhko using corpus technologies. Achieving the specified
goal involves the following tasks:
1. to select, with the help of the General Regionally Annotated Corpus of the Ukrainian Language
(GRAC), quotes from Oksana Zabuzhko's works “Museum of Abandoned Secrets”, “Fieldwork in
Ukrainian Sex”, “Album for Gustav”, in which technical terms are involved in the analysis are used;
2. to classify the selected term units according to the method of semantic modification;
3. to find out the semantic and stylistic changes caused by the use of term vocabulary in the artistic
style;
4. to analyze the possibilities of achieving a stylistic effect thanks to the use of technical
determinations.
The object of the research is technical terms in the context of their use, extracted from the works
“Museum of Abandoned Secrets”, “Fieldwork in Ukrainian Sex”, “Album for Gustav” based on the
General Regionally Annotated Corpus of the Ukrainian Language GRAC [3].
In order to avoid urgent misunderstandings, in this research we distinguish between the concepts of
metaphor (metaphorization) and artistic metaphor. The term metaphor (metaphorization)
corresponds to the definition formulated by George Lakoff and Mark Johnsen: “The essence of
metaphor is understanding and experiencing one kind of thing in terms of another” [4]; we use the term
artistic metaphor in the meaning of a stylistic device, a trope, which consists in transferring the name
of one concept to another based on similarity (by color, shape, purpose or other feature).
2. Related Works
Termination, determinism, as well as the use of deterministic vocabulary to create artistic means
(tropes, stylistic figures) – these linguistic phenomena are interesting for their expression in certain
types of discourse and pragmatic-communicative orientation. It has been studied that modern fiction
actively includes deterministic lexemes, thus testifying to the intellectualization of the literary language.
Saturation of the text with determinations, which are not just components of stylistic means, but also
become elements of the meaning-making process itself, enables artists to make the language of their
works more expressive and vivid. A review of linguistic research gives reason to assert that the study
of deterministic lexemes in view of their use in different styles is of deep scientific interest not only to
linguists. In the modern stage of linguistic development, it can be asserted that the study of this issue
takes on an interdisciplinary nature, as deterministic vocabulary is investigated from a multifaceted
perspective. Numerous scholarly investigations by both Ukrainian and international researchers,
specialized monographs, textbooks, dissertation works, and professional and general lexicographic
publications [4; 5; 6; 7: 8; 9; 10; 11; 12; 13; 14] testify to this fact. In the works of the last decades of
the 20th century and the beginning of the 21st century, scientists have developed a number of theoretical
and practical approaches to understanding determinism in the text. They include stylistic, cognitive,
semantic, cultural, neurolinguistic, and pragmatic aspects in the works of famous linguists [11; 12; 13;
14; 15; 16; 17; 18; 19; 20; 21; 22; 23]. A direct contribution to the theory of metaphor as a process was
made by Kövecses, Z., Szelid V. [17; 19; 24]. In the scientific work “Metaphor in Culture: Universality
and Variation”, Zoltán Kövecses proposes a new theory of metaphor variation: defines the main
dimension of metaphor variation, i.e. those social and cultural boundaries that signal ruptions in human
experience; describes which components or aspects of the conceptual metaphor are involved in the
variation of the metaphor and how they are involved; singles out the main reasons for the variation of
metaphors, and also examines the question of the degree of cultural consistency in the interaction
between conceptual metaphors, embodiment and reasons for the variation of metaphors [24].
Related to the topic of our research is a scientific work based on the corpus of texts by Levchenko O.,
Karasov V., Dilai M. In the article entitled “Qualitative and Quantitative Markers of Individual
Authorial Conceptualization”, the scientists proposed a methodology for the study of idiolect/idiostyle,
which is based on the identification of quantitative and qualitative markers of individual and author's
conceptualization. They presented statistical and metaphorical profiles of the concept of “sadness” in
the Ukrainian language in general in the corpus of artistic texts, as well as in the idiolects of individual
writers. The functioning of concept verbalizers in literary texts is analyzed using a statistical grouping
of data, dividing the population into homogeneous groups based on a certain feature. In addition, the
authors turned to the specifics of the metaphorization of the studied concept and focused attention on
the metaphorical attributes of the verbalizers of the concept [25]. The study “Statistical characteristics
of O. Zabuzhko's” highlights the statistical characteristics of O. Zabuzhko's idiostyle. The authors
investigated such characteristics of the writer's idiolect as the length of sentences and words, the
frequency of punctuation, parts of speech, and the index of lexical diversity. The researchers compared
the obtained results with those of other authors and determined the peculiarities of her idiostyle [26].
Despite the intensification of scientific research on deterministic lexemes and artistic tropes in
various functional styles, the study of semantic transformations of deterministic vocabulary in artistic
discourse has almost not been implemented yet, in Ukrainian studies these phenomena have not been
systematically analyzed at a sufficient level from structural and functional-grammatical perspectives.
3. Methods and Materials
The basis of the proposed research was general scientific and linguistic methods:
methods of abstraction and generalization were used among the general scientific ones – to
highlight the most essential theoretical data related to the problem under study;
the corpus method of text research, is widely used in modern linguistics, particularly applied
linguistics, because it is a set of techniques and principles according to which linguistic units are
collected, systematized, processed, and interpreted to obtain scientific and practical conclusions.
Therefore, these methods, as targeted, are considered to be one of the most effective research
methods in applied linguistics;
the structural-semantic method, which made it possible to reveal the associative sema of the
original concept, which is reinterpreted and troped in the derivative;
the method of cognitive interpretation, which reveals the interdependence of the features of
the formation of mental structures based on comparison and regularities of their verbalization at the
semantic level;
the analysis of dictionary definitions was used to establish the denotative values of the lexical-
semantic variants of keywords selected from the corpus of the text;
syntagmatic analysis is used to identify the contextual environment that brings the
deterministic word to the fore;
discursive analysis made it possible to integrate the interpretation of a certain passage of the
text, its semantic connections, and the purpose of the statement;
pragmatic analysis, which made it possible to reveal the functions and intentions of the writer
in each specific speech situation, which involves the use of deterministic vocabulary in the function
of tropes..
The research methodology is schematically reflected in в Figure 1.
Figure 1: Research Methodology
4. Results and Discussions
The research was made on the material of text fragments selected using the 15th version of the
General Regional Annotated Corpus of the Ukrainian Language (GRAC-15) [2]. In the corpus, there is
a subcorpus Oksana_Zabuzhko, which contains 910,775 tokens. Creating a frequency list based on
metadata and analyzing this subcorpus for genres and titles of works that are included, we found that it
consists of 10 works by Oksana Zabuzhko, including 3 major novels: “Museum of Abandoned Secrets”,
“Notre Dame d'Ukraine: Ukrainian Woman in the Conflict of Mythologies” and “Field Research of
Ukrainian Sex”, as seen in Figure 2.
Figure 2: List of works used for the research
The text you’ve provided mentions that the thematic content of these works by Oksana Zabuzhko
suggests that the technical terms she uses may undergo semantic modifications. To investigate this
further, you selected the most frequent technical determinations such as “дріт” (wire), “клема”
(terminal), “струм” (electric current), “система” (system), “конвеєр” (conveyor), “апарат”
(apparatus), “мотор” (motor), “кнопка” (button), “пружина” (spring), ”комп’ютер” (computer),
and so on. Each of the determinations included in the research was used as a lexeme for searching, and
a collection of quotes using the determined vocabulary was compiled. This collection served as the
primary database for our research. For example, the term “струм” (electric current) was found in 15
citations in the corpus, as shown in Figure 3.
Figure 3: Collection of Quotes for the Lemma/ Lexeme “струм” (electric current)
The materials of our research allow us to identify three types of semantic transformations based on
semantic-stylistic processes of determining scientific vocabulary:
1. 1st type is a comparison. This stylistic device uses the simplest model of semantic
transformation: based on the identification of a common (integral) seme between two compared
concepts, a semantic connection is established, which syntactically takes the form of a comparative
construction. The differentials of the seme objects of comparison recede into the background and
are not taken into consideration.
Figure 4: Types of Semantic Transformations
2. The 2nd type is an epithet. The use of this artistic tool manifests itself in two models: the basis
of the first model is the use of a determinate lexeme in the function of an epithet, which usually has
a distant semantic connection with the signified word; the second model is based on the fact that the
lexeme is used in the attributive function, which, thanks to the combination with the denoted word-
term, acquires certain semantic and emotional shades.
3. The 3rd type is an artistic metaphor. It demonstrates the most complex model of semantic
transformations of deterministic vocabulary in an artistic style: a deterministic lexeme is directly
involved in a context that is not characteristic of its term meaning, and thanks to this, the new context
is expressed by the semantics of this deterministic lexeme, acquires a certain artistic aestheticism,
and is saturated with expression according to the creative intention of the author.
4.1. Comparison
The simplest manifestation of the metaphorization of thought using the deterministic vocabulary of
the technical sphere is comparative phrases. This linguistic device is characterized by the fact that
thanks to its use, attention is focused on one feature common to both compared objects, and all other
features of the comparator become insignificant. At the same time, it is extremely important to
understand the author's thoughts to understand the term meaning of the comparator. Let's consider
examples:
”…під’єднала до мене своє життя, мов обірваний дріт” (“She connected her life to mine,
like a broken wire rejoined”) (“Museum of Abandoned Secrets”). The achievement of the
meaningful transparency in this phrase occurs through the understanding of the technical process:
when two elements of a broken wire are connected, the healing of the two systems that this wire
unites takes place, and they begin to function in their usual mode. Through the use of the comparative
phrase, the reader is metaphorically transported to the semantic field of the life activities of two
individuals, and it becomes clearer that both objects connected by this wire gain the possibility to
coexist harmoniously. Thus, the integral theme of this phrase is the connection to the restoration of
normal life activity. In this process, the reader can emotionally perceive with precision both the fact
that such a connection existed before but was disrupted, and the understanding that without the
connection, life activity could not have been restored in any way. These additional semantic layers
provide the basis for the expressiveness of the phrase.
“Це її дар – добувати з людей заховану інформацію, як натискати на кнопку” (“It's her
gift – extracting hidden information from people, just like pressing a button”) (“Museum of
Abandoned Secrets”). The integral theme in this comparison is the simplicity of the action: pressing
a button is an activity that doesn't require significant effort, skills, or expertise, so extracting hidden
information is also a straightforward action. At the same time, from the semantic context, the reader
understands that this simplicity of action is a unique gift possessed by the heroine. Extracting this
information requires effort, implying that significant exertion is necessary to accomplish this
complex task. Consequently, the reader emotionally sympathizes with the heroine due to this
understanding.
“Навіть почув приховане стукотіння його думки, як заведеного бомбового механізму”
(“Even heard the concealed ticking of his thoughts, like a wound-up bomb mechanism”) (“Museum
of Abandoned Secrets”). The mechanical process, with which the author compares thinking activity,
is characterized by the seme of active monotonous activity that carries a threat, so the lexeme
“думка” (thought), reinforced with the help of an artistic metaphor with the lexeme “стукотіння”
(ticking), actualizes this integral seme and, as it were, materializes its meaning. At the same time,
the comparison of the thinking process with a bomb mechanism suggests the expression of the threat
that this device carries, and therefore the thoughts of the hero; since the thought is ticking, this threat
is felt as materialized, so an additional emotional load appears.
Schematically, the mechanism of semantic transformations using comparative inflections can be
depicted as follows:
Figure 5: Semantic Transformations of Deterministic Vocabulary in Comparative Phrases
Having analyzed the entire array of comparative phrases extracted from the novels “Museum of
Abandoned Secrets”, “Fieldwork in Ukrainian Sex” and the short story “Album for Gustav”, we notice
an important, in our opinion, detail: in different contexts, the author, using the same comparator, can
emphasize its different semes, integrating each time others to the compared object. For example, the
deterministic lexeme “струм” (electric current), used in three comparative phrases, each time
actualizes a different semantic field to enhance the meaning of the compared object:
In the quote “Закляк, як струмом ударений, посеред кухні з недонесеною до плити туркою
в руках” (“Stuck like someone struck by an electric current in the middle of the kitchen with an
unfinished teapot in hand”) (“Fieldwork in Ukrainian Sex”), the integral seme is immobility arising
after a strong impact of an electric current.
In the phrase “Тьма задрижала й збіглась круг них двох у блискавичний вогненний контур
– мов навіч явлене замкнене коло струму” (“Darkness quivered and converged around the two of
them in a lightning-bright fiery circuit – as if an eternal closed loop of electric current had appeared”)
(“Museum of Abandoned Secrets”), there is an emphasis on two integral semes: trembling and fiery
brightness. These attributes are demonstrated by the electric current during its active passage through
a closed circuit.
In the sentence “Вперше те побачив, – наче струмом його вдарило, і впала в голові
заслінка” (“For the first time he saw it – as if he was struck by an electric current, and a veil fell in
his mind”) (“Museum of Abandoned Secrets”), the author actualizes the seme of unexpectedness
present in the interpretation of the term “струм” (electric current), when it refers to an unforeseen
electric shock.
The structure of semantic transformations of the term “струм” (electric current) in comparisons
with different contextual surroundings is depicted in Figure 6.
Figure 6: Semantic Structure of the Deterministic Lexeme “струм” (electric current)
The use of corpus technologies helps to find different examples of the use of the comparator term
with different semantic modifications. For example, Oksana Zabuzhko also uses the technical term
“пружина” (spring) in comparative phrases with an emphasis on those semantic fields that, according
to her author's vision, stand out in the relevant context in a particularly expressive way. In the quote “а
тимчасом його мама підробляє дешевими репортажами на українській “Свободі”, яку Клінтон
усе не збереться закрити, – витьохкує колись рідною мовою з тими, наче пружини з матраца,
випираючими чужинськими інтонаціями, які мають засвідчити, що вона вже – бери вище! – не
з нашого села: вирвалась!” (“Meanwhile, his mother fakes cheap reports on Ukrainian “Svoboda”,
which Clinton can't seem to shut down – she exclaims in her native language, with those springs
protruding from a mattress, bearing foreign intonations that are meant to signify that she's no longer
from our village – she's escaped!”) (“Fieldwork in Ukrainian Sex”), the deterministic lexeme
“пружина” (spring) is used to emphasize that it deteriorates the quality and aesthetics of the mattress
by protruding on its surface, similar to how foreign intonations deteriorate the quality and aesthetics of
the native language. Notably, in this context, the comparative phrase takes on an ironic-satirical tone,
as the protrusion of a spring from a mattress is a negative phenomenon disliked by the users of that
mattress. In the sentence “і, бачачи, як вона перемінилась на виду, підхоплюється, мов підкинутий
пружиною, Адріян, ніби вона й справді сновида, що ступає по карнизу й леда-мить може
впасти й розбитись” (“And seeing how she changed visibly, Adrian catches on, as if sprung up by a
spring, as if she truly is a somnambulist, treading on the cornice, and in a second, she could fall and
shatter like ice”) (“Museum of Abandoned Secrets”), the deterministic lexeme “пружина” (spring) is
used to emphasize the integral theme of sudden rapid vertical movement. The usage of this comparative
phrase with the determination of “пружина” (spring) elicits an entirely different emotional response
than the previously mentioned quote. It doesn't carry negative associations; instead, it confirms the
author's favorable attitude towards the character who reacts so quickly to a threat.
Thanks to the application of corpus technologies, we have the opportunity to discover that the
effectiveness of comparative phrases in achieving the intelligibility and persuasiveness of a phrase is
due, firstly, to their simplicity in building a logical chain, and secondly, to the transparency of the
internal form of the technical term used in the comparator function: the reader forms his an opinion
about something abstract based on a comparison with known mechanical objects based on certain
integral features. At the same time, choosing an object for its use as a comparator, the author is able to
express her own attitude to the compared object, to evoke certain emotional reactions in the reader's
imagination. Therefore, the comparative phrases create a certain artistic effect.
We observe that the deterministic lexemes Oksana Zabuzhko employs in her literary works,
particularly in comparative phrases, are usually names of well-known objects. However, these words
often originate from foreign languages: “те, що було твоїм і нічиїм більше, відсунулося кудись на
задній план, зависло, як програма на моніторі в чеканні перезавантаження системи, бо перед
лицем загрози, що насувалася, у своєму житті не могло більше бути сховку, ні в домі, ні в
роботі” (“What was yours and no one else's has receded into the background, hung like a program on
a monitor waiting for the system to reboot, because in the face of the impending threat, there could no
longer be any refuge in your life, neither at home nor at work”) (“An Album for Gustav”); “бачив
морду вівчура, що заходивсь гавкотом, натягуючи повідка, і Гелин профіль за два кроки перед
собою, й траєкторію її погляду, як на балістичному графіку” (“he saw the snarling muzzle of a
wolf, who started barking, pulling on the leash, and Helin's profile two steps ahead of him, and the
trajectory of her gaze, as on a ballistic graph”) (“Museum of Abandoned Secrets”); “Адріян загалом
не надто схвалював, коли колеґи заручалися або женилися; вважав, що тепер на те не час.
Проте годі було заперечити, що жонаті боролися ніби з подвоєною силою. Ніби їхні жінки
підживляли їх додатковою енергією. Як акумулятори” (“Adrian, in general, didn't approve much
when colleagues got engaged or married; he believed that now was not the time for that. However, it
was hard to deny that the married ones fought as if with double the strength. As if their wives fueled
them with additional energy. Like batteries”) (“Museum of Abandoned Secrets”); “Я просто
посередник, Лялюсь. Щось як провідник струму, розумієш? Ну, ще часом каталізатор
процесу… І так воно весь час, із самого початку це триває: я працюю додатком до вашого
проекту. Проекту, пов’язаного з моєю родиною, для якого тобі просто потрібен був провідник”
(“I'm just a mediator, Lyalus’. Something like a conductor of electricity, you understand? Well,
sometimes a catalyst for the process... And that's how it's been all along, from the very beginning: I
work as an add-on to your project. A project related to my family, for which you simply needed a
conductor”) (“Museum of Abandoned Secrets”). The use of determinations of foreign origin in the
function of comparisons confirms the idea present in the scientific literature regarding the unwavering
intellectualization of the modern Ukrainian language [27].
Summarizing the analysis of comparisons in the investigated material, we note that this literary
device, through the juxtaposition of two objects and the emphasis on a particular attribute of these
objects, not only serves for more precise clarification – it effectively enriches the text with
expressiveness. As rightly noted in [6], “the peculiarity of comparison as an expressive-illustrative
means lies in the fact that it accentuates the specificity of the image of one object or phenomenon
through another, which is better known, brighter, evoking certain aesthetically oriented associations
and emotional evaluative reactions, as well as capturing attention and activating the imaginative
thinking of a person”. Based on the conducted analysis, we conclude that comparisons express the
author's attitude towards a certain object, as there is no real connection between the compared
(comparand) and the comparative object (comparator). This connection arises solely in the mind of the
speaker. It's the writer's creative imagination that selects the object of comparison and determines the
comparative attribute, i.e., the choice of the comparator and the integral theme for creating a
comparative phrase is always linked to the nature of the author's depiction.
4.2. Epithet
The research materials, collected on the basis of corpus technologies, confirm the presence in the
analyzed works of Oksana Zabuzhko of two models of using the artistic means of the epithet using
deterministic vocabulary with the quantitative prevalence of the first model.
The first model involves the use of a deterministic lexeme in the function of an epithet, which
typically doesn't have a pronounced semantic connection with the modified word. Let's consider this
model using the example of using the deterministic lexeme “віртуальний” (virtual) as an epithet. The
lexicographic publication “Slovnyk.ua” interprets this lexeme in two meanings: “1. Possible; capable
of occurring or manifesting. 2. Conditional” [28].
“…їх заганяють у камеру віртуальної реальності” (“They are placed in the chamber of
virtual reality”) (“Album for Gustav”). The lexeme “віртуальний” (virtual), combined with the
concept of “реальність” (reality), is used here, evidently, in the second meaning – conditional
reality. However, the context hints at additional semantic nuances of this epithet: invented,
fantastical, illusory. Moreover, we observe that this short phrase is enriched with profound artistic
thought: the use of the epithet віртуальний (“virtual”) aligns with the artistic metaphor “камера
реальності” (the chamber of reality). The lexical meaning of the word “камера” (chamber) in
this context is “An internal hollow part of a building, machine, or device” [28], so if reality is
confined within the bounds of a specific chamber, the epithet “віртуальний” (virtual) also takes
on a certain negative connotation, evoking a corresponding emotional response from the reader.
“В ту мить я зрозуміла, що, властиво, не знаю свого батька: він помер, коли мені ледве
сповнилося сімнадцять, і я запам’ятала його тільки таким, яким він був у стосунку до мене,
дитини й підлітка, – і з цієї ото пам’яти, лиш трохи доточеної посмертними, скупими (і з
роками кам’яніючими, бо ж нових не прибуває!) свідченнями – маминими, друзів, колеґ, його
студентів (які, здається, за ним шаліли – коли не брешуть), поступово змонтувала собі в
свідомості певного віртуального персонажа – із зовнішністю мого батька в
сорокап’ятилітньому, вже-лікарняному, віці й досить-таки похмурою житейською
“сторі”, яких у його поколінні було загалом не так-то й мало” (“In that moment, I realized that,
essentially, I didn't know my father: he died when I was barely seventeen, and I remembered him
only as he was in relation to me, a child and a teenager – and from this memory, slightly refined by
posthumous, sparse (and with the years, hardening, as no new ones come!) testimonies – my
mother's, his friends', colleagues', his students' (who, it seems, idolize him – when they're not lying),
I gradually constructed in my consciousness a certain virtual character – with the appearance of
my father at the age of forty-five, already a doctor, and with a rather somber life “story” that has
aged with time, because there aren't many of those in his generation”) (“Museum of Abandoned
Secrets”). The broad context of using the epithet “віртуальний” (virtual) to describe the character
indicates its positive semantic richness. This lexeme can be illustrated with synonyms like
“омріяний” (dreamt of), “довгожданий” (long-awaited), “жаданий” (desired). Thus, through
the author's assessment of this object, the reader perceives the lexeme “віртуальний” (virtual) with
a positive emotional connotation..
“Творитиме собі свою приватну віртуальну реальність, до який нічиї брудні лапи не
матимуть доступу” (“He will create his own private virtual reality, to which no dirty hands will
have access”) (“Museum of Abandoned Secrets”). The use of the epithet “віртуальний” (virtual)
is intensified in this context by the additional modifier “приватний” (private), thereby
reinforcing the semantic aspect of closure and inaccessibility to the general public of the imagined
reality being discussed. As a result of this semantic transformation, the determined lexeme-epithet
“віртуальний” (virtual) becomes associated with synonyms like “надумана для себе” (imagined
for oneself), “уявна” (imaginary), “особисто сконструйована” (personally constructed).
“я тоді ще не знав, що це необхідна умова творення всякої віртуальної реальності, і
екранної насамперед: щоб існувати, вона потребує від своїх творців постійної енергетичної
підживки, підкидання в огонь щоразу нових дровець, нових кілокалорій живого запалу, – це
так, як із брехнею, яку теж треба ввесь час підживляти, бодай тільки держачи її в пам'яті
постійним розумовим зусиллям, бо, полишена на себе, вона вмить здувається, як кожна
паразитична форма життя, як омела, коли падає виссане нею дерево, і з телевізією те саме”
(“At that time, I still didn't know that it was a necessary condition for creating any virtual reality,
especially a screen-based one: in order to exist, it requires constant energetic nourishment from its
creators, the continual feeding of new kindling, new kilocalories of living fervor into the fire — much
like lies, which also need to be constantly fed, even if just by holding them in memory through
constant mental effort, because if left to itself, it deflates immediately, like any parasitic life form,
like mistletoe when the tree it has drained falls, and the same goes for television”) (“Museum of
Abandoned Secrets”). In this context, the epithet “віртуальна” (virtual) conveys the dominant
sense of something imagined, but emotionally the reader senses that this is a delicate, tender reality.
These peripheral senses gain significant meaning thanks to the context, enriched with artistic
metaphors like “енергетична підживка” (energetic nourishment), “кілокалорії запалу”
(kilocalories of fervor), and comparisons such as “паразитична форма життя” (parasitic life
form), and idioms like “підкидання в огонь дровець” (feeding kindling into the fire), and so on.
The symbiosis of all these stylistic devices creates a pronounced artistic effect in this sentence.
“Не існує в просторі віртуальної аудіотеки відлуналих голосів у відкритому доступі”
(“In the realm of the virtual audiobook library, there are no echoes of voices in open access”)
(“Museum of Abandoned Secrets”). The use of the epithet “віртуальний” (virtual) in conjunction
with the term “аудіотека” (audiobook library) emphasizes the sema “вигадана” (imagined), and
“уявна” unreal. However, through the addition of the phrase “in open access”, the sema closure
and privacy, which we have observed in previous contexts, is further intensified. Thus, the epithet
“віртуальний” (virtual) accentuates the sema being created for oneself, for personal needs.
“Дорослі, часами підстаркуваті діти, яким доручено всерйоз бавитися в віртуальний
світ” (“Adult, sometimes old children, who are entrusted with seriously playing in the virtual
world”) (“Museum of Abandoned Secrets”). This context testifies to the dominance of the seme
“вигаданий” (fictional), “неправдивий” (unreal) world, and thanks to the predicative lexeme
“бавитися” (to play), we can observe the approach to the semes “казковий” (fabulous),
“фантастичний” (fantastic), and also feel a certain aesthetic satisfaction from the stylistic
devices that complement the general canvas of this artistic phrase: oxymorons “дорослі
(підстаркуваті) діти” (adults (aged) children), “всерйоз бавитися” (seriously play), an artistic
metaphor for “бавитися в світ” (playing with the world), etc.
So, summing up the analysis of quotes with the deterministic lexeme “віртуальний” (virtual) as
an epithet, we notice that in none of the given examples is this epithet used in the first, term meaning
of “possible; the one that can or should appear”, usually the semantics of this lexeme is close to the
meaning – imaginary, present in thoughts, moreover, in each specific context, the emphasis is on
various peripheral semes of the word “віртуальний” (virtual), which are designed to reproduce the
author's perception of the indicated object and cause an emotional impact on readers. Schematically,
the structure of semantic transformations of the epithet “віртуальний” (virtual), in different
contextual environments is shown in Figure 7.
Figure 7: Semantic Structure of the Deterministic Lexeme “віртуальний” (virtual)
The second model of using the artistic means of the epithet with the involvement of deterministic
vocabulary is the use in the attributive function of a lexeme, which thematically does not combine with
the signified word, but thanks to semantic transformation acquires such ability while conveying a
significant charge of expression as intended by the author. This type of semantic transformation can be
exemplified by definitions that accompany the deterministic lexeme “фаза” (phase) in various
contexts. Lexicographic sources interpret “фаза” (phase) in several meanings: “Phase” (Latin: phasis
from Greek φάειν – appearance): 1. Quantitative characteristic of oscillation, which defines the
difference between two similar oscillations starting at different moments in time. 2. Period, degree of
development of something: phase of a binary star's brightness, phase of the Moon. 3. In electrical
engineering, one of the conductors of a polyphase current. 4. In physical chemistry, a separate,
homogeneous component of a physic-chemical system is separated from other parts of the system by a
boundary surface (e.g., a mixture of ice and water at 0°C constitutes a physic-chemical system, and
separately, ice and water represent its solid and liquid phase respectively). 5. In materials science, a
homogeneous composition and structure part of an alloy is separated from other parts by interfaces. 6.
The thermodynamic phase is a thermodynamic equilibrium state of matter distinguished by its physical
properties from other states of the same matter [29]. The illustrations provided below allow us to trace
the use of the function of the epithet in extensive attributive constructions, including subordinate
attributive clauses, which influence the emotional perception of the term “фаза” (phase). It is worth
noting that the use of such common epithets is accompanied by the incorporation of other stylistic
devices into their composition, reinforcing the artistic effect and contributing additional expressive
layers.
“Глупо, вона ж іще маленька – її життя ще відцентроване на себе, вона ще навіть із
тілом своїм не цілком зжилася, не вийшла з фази ліплення себе за готовими кіно-
телезразками”, “я ж пам’ятала її в фазі закоханості – здавалось, це так недавно було, але
ні” (“It's silly, she's still little – her life is still self-centered, she hasn't even fully integrated with her
own body, hasn't moved past the phase of molding herself after ready-made movie and TV
prototypes”, “I remembered her in the phase of being in love – it seemed like it was just recently,
but no”) (“Museum of Abandoned Secrets”). In both of the provided quotes, an uncoordinated
definition is used as an epithet. Moreover, in the first example, it is extended and incorporates the
artistic metaphor “ліплення себе” (molding oneself) (due to the use of this artistic metaphor, the
abstract process of character formation, nurturing one's own intellectual and volitional qualities, is
transformed into the creative process of sculptural molding, acquiring certain material
characteristics, while also allowing one to feel the influence of the artist's talent on the outcome of
this process). Clearly, the term “фаза” (phase) is used here in its most neutral meaning “period,
degree of development of something”. However, an associative connection with the term's meaning
in physical chemistry “a separate, homogeneous component of a physico-chemical system separated
from other parts of the system by a boundary surface” can be sensed, as the phase of being in love
or of the phase molding oneself are singled out among other phases of the heroine's life activity.
Thus, the author emphasizes the peculiarities, uniqueness, and self-sufficiency of these phases,
enhancing their respective semes and evoking a favorable emotional response from the reader. The
structure of semantic transformations of the term “фаза” (phase) in comparisons with different
contextual surroundings is depicted in Figure 8.
Figure 8: Semantic Structure of the Determined Lexeme “фаза” (phase)
“я вже на тій фазі, коли втоми не чуєш, бо взагалі не чуєш тіла” (“I'm already at that
phase where you don't feel tiredness because you don't feel your body at all”) (“Museum of
Abandoned Secrets”). In this example, the function of the epithet is performed by subordinate
constructions, which are intensified by lexical repetition (“don't feel”) and an artistic metaphor
(“don't feel the body, don't feel tiredness”). By employing this common syntactic construction to
define the lexeme “фаза” (phase), a vivid emotional picture emerges, one that the reader can relate
to from their own experience.
“…вона й застрягла з Вадимом так небезпечно довго – на тій фазі, коли вже
перевертаєш свої дні важко, як мокру землю лопатою, бо на місце погаслої любові, чи
того, що нею було здавалося, приходить порожнеча” (“...she got stuck with Vadym
dangerously long – at that phase where you already flip your days as heavily as wet soil with a
shovel, because emptiness comes in place of extinguished love, or what it seemed to be”)
(“Museum of Abandoned Secrets”). In this example, the function of the epithet is attributed to a
series of subordinate clauses, which employ various stylistic devices. We observe the presence of
artistic metaphors (“flip your days”, “emptiness comes”), comparisons (“flip, like wet soil with a
shovel”), and epithets (“extinguished love”). Thus, a wide artistic canvas is depicted, enriched with
emotions of oppression, sadness, and intense experiences. Therefore, we can conclude that the author
aimed to express her own emotional evaluation of the lexeme “фаза” (phase) and actualized this
specific semantics to evoke a similar response from the reader. The schematic structure of semantic
transformations of the lexeme “фаза” (phase) in different contextual environments is depicted in
Figure 9.
“Десь невдовзі по Владиному похороні було – в ресторані, на якійсь урочистості, на тій
фазі, коли столи оголюються брудним начинням, мокрі від поту офіціанти
спотикаються, розляпуючи по паркету десерт, і розмови тратять зв’язність,
розсипаючись на хаос самотніх монологів” (“Somewhere shortly after Vlad's funeral, it was –
in a restaurant, at some event, at that phase when tables are stripped bare with dirty fillings, waiters
wet with sweat stumble, spilling dessert on the floor, and conversations lose coherence, dispersing
into the chaos of solitary monologues” ) (“Museum of Abandoned Secrets”). In this quoted passage,
the function of the epithet is carried by three coordinate constructions that descriptively characterize
people's behavior during a meal; these constructions are skillfully enriched with artistic metaphors
(“tables are stripped bare”, “stripped bare with fillings”, “conversations lose coherence,
dispersing into the chaos”), and epithets (“dirty fillings”, “solitary monologue”, “chaos of
monologues”), enhancing the expressiveness of the thought both in content and emotion. As a result,
the determination of the term “фаза” (phase) gains an ironic and sarcastic tone through this process.
Figure 9: Semantic Structure of the Determined Lexeme “фаза” (phase)
Certainly, through the analysis of a substantial volume of research materials, we observe that the
author skillfully combines various stylistic devices in specific contexts, thus introducing different types
of epithets using determined lexicon. For instance, the application of both models within a single
sentence can be illustrated with the following example: “Боже мій, як же я за сьогодні втомилася,
– невже оце тільки нині вранці я збиралася на зустріч до Вадима, повторювала подумки свій
заготовлений прокурорський спіч про дівчаче шоу, вмисне добирала піджак і ґольф – ті самі, в
яких була в нього на Тарасівській у день Владиної смерті, з розрахунком, що у Вадима спрацює
на них павловський рефлекс, увімкнуться підсвідомі механізми вини й пам’яти” (“My God, how
tired I am for today – could it be that just this morning I was getting ready for a meeting with Vadim,
mentally rehearsing my prepared prosecutor's speech about the girls' show, intentionally choosing a
jacket and turtleneck – the same ones I wore to his place on Tarasivska Street on the day of Vlada's
death, with the calculation that Pavlovian reflexes would work on Vadim, triggering subconscious
mechanisms of guilt and memory” (“Museum of Abandoned Secrets”). The technical term “механізм”
(mechanism) according to its terminological meaning is combined with the predicate “вмикатися”
(to activate), meaning to start working. However, this term does not have a semantic connection either
with the epithet “підсвідомий” (subconscious), as “механізм” (mechanism) refers to a material, not
an imaginary object, nor with the uncoordinated definitions of guilt and memory, which based on their
syntactic roles and stylistic content can also be considered epithets.
Indeed, summarizing the analysis of using epithets with the determined lexicon, we note that the
application of this stylistic device leads to the imposition of new semantic layers influenced by the
respective context. Consequently, the author is able to replicate and convey their own attitude towards
specific objects to the reader. Through artistic imagery, the author creates a corresponding mood and
influences the reader's emotions.
4.3. Artistic Metaphor
The application of an artistic metaphor in the artistic style, using a deterministic lexicon, involves
intricate models of semantic transformations accompanied by expressive stylistic and emotional
layering. The deterministic lexeme is transposed into a context thematically distant from its literal
meaning. Consequently, the new context undergoes semantic intensification through the overlay of the
deterministic lexeme's semantics, as well as according to the creative intent of the author who selects
appropriate analogies. This imparts a specific expressive hue to the text, creating an artistic effect on
the readers. “Metaphor is a tool that enables people to use what they know about their direct physical
and social experiences to understand more abstract things like work, time, mental activity, and feelings”
[4]. Let's delve into specific examples from the analyzed works.
“А тут у мені мов відбулося перезавантаження системи: я знову чуюсь собою” (“And
here it was as if a system reboot occurred within me: I feel myself again”) (“Museum of Abandoned
Secrets”). “Перезавантаження системи” (a system reboot) in the realm of modern technology
is a process where the operating system is shut down and restarted; this operation is useful to ensure
system stability, often recommended after installing new software or in cases of prolonged device
operation. The understanding of the technical meaning of this phrase intersects with an entirely
different semantic field – the psychological or mental stability of a person. As a result, the reader
envisions the mechanisms of changes that could take place in a person's consciousness more vividly.
Simultaneously, there's an emotional response to the realization that one can reboot their system and
discard all the emotions, thoughts, and experiences that overwhelmed the character's consciousness,
all without significant effort and in a short span of time.
The schematic structure of the semantic transformations of the phrase “перезавантаження
системи” (system reboot) is depicted in Figure 10.
Figure 10: Semantic Structure of the Phrase “перезавантаження системи” (system reboot)
“А на зворотному рейсі – вже знаючи, після того ранку з вікном на мокрі дахи, що з Р.
треба невідкладно рвати, і до якраз для здоров’я, принаймні душевного, – я, як на гріх,
завважила була якраз таку тугеньку лялю, недавно з конвеєра, хоч уже й не зовсім свіжу,
ледь підпсуту нальотом уживаності, з недвозначним, як уніформа, прикидом” (“And on the
return trip – already knowing, after that morning with a view of wet roofs, that R. urgently needs to
be broken away from, and precisely for the sake of well-being, at least mental – I, as if by sin, had
just noticed such a snug doll, recently off the conveyor, although not entirely fresh, slightly tainted
with the patina of usage, with an unambiguous, uniform-like appearance”) (“Museum of
Abandoned Secrets”). We observe the presence of a complex amalgamation of stylistic devices in
this quote: an artistic metaphor is used in the syntactic role of an attributive-epithet, intensified by
antithesis (“недавно з конвеєра” (recently off the conveyor) – not entirely fresh, tainted), and
expressed through other stylistic means (patina of usage, as if by sin, snug doll, uniform-like
appearance, etc.). The use of the term “конвеєр” (conveyor) (device for continuous movement of
product parts from one worker to another, for transporting goods, etc. during mass production [29])
as an artistic metaphor involves activating at least three semantic fields on a new thematic level:
newly made, fresh, as new products move on the conveyor; available in large quantities, as
conveyors are used in mass production; not too original, typical, since conveyor production entails
mass manufacturing of uniform products. Therefore, the lexeme “ляля” (doll) is enriched with the
corresponding semantics, as well as the expressiveness accompanying the use of these and other
artistic devices, resulting in an exceptional satirical effect.
“Довго ж мій [thinking – author's note] апарат чахкав – упорожні, як мотор без палива”
(“My apparatus wheezed for a long time – empty, like an engine without fuel”) (“Museum of
Abandoned Secrets”). The use of the comparative phrase “як мотор без палива” (like an engine
without fuel) contributes to the expression of semantic transformations through the artistic
metaphor. The reader can envision the activity of an engine that cannot start without fuel, hence
making corresponding sounds – wheezing. Thanks to understanding the technical process of how an
engine operates, the imagery of the functioning of “мислительного апарата” (thinking
apparatus) becomes clearer and more vivid. Additionally, a wonderfully ironic undertone arises
from the application of these stylistic techniques.
“…ми сумлінно балакали виключно на громадсько-політичні теми – про Кучму і про
Ґонґадзе, про переміни в уряді і закрутку гайок у нас на телебаченні” (“...we conscientiously
chatted exclusively about public-political topics – about Kuchma and Gongadze, about changes in
the government and the tightening of screws on our television”) (“Museum of Abandoned Secrets”).
The use of the artistic metaphor “закрутка гайок” (tightening of screws) in this context is a
frequently employed example of utilizing a deterministic lexicon as an artistic metaphor in literary
and journalistic works. In its technical sense, this phrase is used to denote the process of rotating
screws to create or enhance the strength and reliability of connections between parts. The
metaphorical meaning amplifies the sense of immobility, constraint, as when a screw is tightly
tightened, the part cannot move freely. Hence, transferring this determination to the thematic field
of television, and mass media, emphasizes the semantics of strict adherence to certain requirements
and standards, the impossibility of freely expressing one's opinions, thus acquiring a negative
emotional connotation.
The schematic structure of the semantic transformations of the phrase “закрутка гайок”
(tightening of screws) is depicted in Figure 11.
“…і прецедент був би для цілого журналістського цеху” (“...and it would set a precedent
for the whole journalistic guild” (“Museum of Abandoned Secrets”). In the quoted passage, the
determination “цех” (guild), which in technical terminology means “the main production unit of an
industrial enterprise (factory)” [29], has transitioned to the thematic field of journalism. This
transition emphasizes the author's opinion that the work of a journalist is no less complex and
exhausting than that of an industrial enterprise. Therefore, the expression is enriched with
expressiveness and gains a certain artistic framing.
“…ніби на те вони, кулі, й відливаються, щоби знаходити й поціляти в чиюсь живу
минувшину” (“...as if they, the bullets, are cast for that very purpose – to find and hit someone's
living past”) (“Museum of Abandoned Secrets). According to the technical meaning of the lexeme
”куля” (bullet), it is a small lead or steel projectile for shooting from handguns and machine guns
[28]. Bullets are deadly dangerous for humans and other living beings. In the given context, “кулі
поціляють у живу минувщину” (bullets are aimed at a living past). Through this artistic metaphor,
the reader realizes the mortal threat to this past. Additionally, the inclusion of the oxymoron “жива
минувшина” (living past) further intensifies the artistic effect and invokes a sense of concern, the
desire to make efforts to prevent danger.
Figure 11: Semantic Structure of the Phrase “закрутка гайок” (tightening of screws)
The schematic structure of the semantic transformations of the phrase “кулі поціляють у живу
минувщину” (bullets are aimed at a living past) is depicted in Figure 12.
Figure 12: Semantic Structure of the Phrase “кулі поціляють у живу минувщину” (bullets are aimed
at a living past)
“…бо ж, кохаючись по-справжньому, зливаєшся не з партнером, ні, – з розбуялою
анонімною силою, що протинає своїм струмами все живе, підключаєшся до неї з тим, аби
на кілька секунд – а-ах! – катапультуватися в вібруючу вогнистими контурами чорноту,
якій нема ні ймення, ні міри” (“...because truly falling in love, you merge not with a partner, no,
but with a raging anonymous force that cuts through all that lives with its currents. You connect
with it in order to catapult for a few seconds – ah! – into the trembling darkness with fiery contours,
to which there is neither name nor measure”) (“Fieldwork in Ukrainian Sex”). This remarkable
quote demonstrates an extensive metaphor using the deterministic phrase “протинати струмом”
(cuts through with its currents). Understanding the technical meaning of this phrase and recalling
that the human body is an excellent conductor of electric current, the reader realizes how under the
influence of electricity, heart rhythm can be disrupted or even stopped, and the person's level of
consciousness can change. By using this artistic metaphor, the reader feels certain analogies with
the action of the raging anonymous force, thereby intensifying the artistic effect of the masterfully
formulated idea.
The schematic structure of the semantic transformations of the phrase “протинати струмом”
(cuts through with its currents) is depicted in Figure 13.
Figure 13: Semantic Structure of the Phrase “протинати струмом” (cuts through with its currents)
Summarizing the analysis of the use of an artistic metaphor using the deterministic vocabulary of
the technical terminology system, we emphasize that the use of this stylistic tool contributes to the
visual expression of abstract thought through the understanding of the term meaning of the
corresponding deterministic lexemes. There is an overlay of term semes on a completely different
thematic field; immaterial, imaginary phenomena and processes are interpreted in the mind of the reader
as completely material, therefore the author vividly and accurately reproduces a complex abstract
thought and conveys a certain sensory and emotional load to the reader, actualizing individual mood
nuances in accordance with his creative intention. Thus, this stylistic device not only enhances the
expressiveness of the text but also adds depth and emotional richness to it.
5. Conclusion
The analysis of semantic transformations of deterministic vocabulary, extracted on the basis of the
General Regionally Annotated Corpus of the Ukrainian Language (GRAC) from Oksana Zabuzhko's
novels “Museum of Abandoned Secrets”, “Fieldwork in Ukrainian Sex” and the short story “Album for
Gustav” makes it possible to reveal the possibilities of achieving a stylistic effect thanks to the use of
technical determinations. It has been established that semantic transformations of deterministic
vocabulary in artistic discourse arise on the basis of the involvement of metaphorization, that is, the
expression of the essence of one type in terms of the essence of another type. The materials of the
research made it possible to distinguish three types of semantic transformations based on semantic and
stylistic processes of determining scientific vocabulary: comparison, epithet, and artistic metaphor.
The deterministic lexemes used by Oksana Zabuzhko in the comparisons attested in the selected
material are usually the names of well-known objects, even if they are words of foreign origin.
Determinations, which are the names of specific technical concepts and have a clear definition in the
scientific field, contribute to the avoidance of an excessive number of abstract thoughts in the artistic
style and make it possible to achieve clarity, expressiveness, and clarity of thought. It is thanks to the
juxtaposition of the abstract and the concrete, which are combined in comparative phrases, that the
author materializes and concretizes her opinion, and also due to the inclusion of integral semes
necessary for her subjective assessment, she fills the phrase with expression, achieves artistic
perfection. With her creative imagination, the writer chooses the object of comparison and determines
the comparative feature, that is, the choice of comparator and integral semes to create a comparative
phrase is always connected with the nature of the author's assessment of the image.
Research materials collected on the basis of corpus technologies confirm the presence in the novels
“Museum of Abandoned Secrets”, “Fieldwork in Ukrainian Sex” and the short story “Album for
Gustav” of two models of using the artistic device of the epithet using deterministic vocabulary: the use
of a deterministic lexeme in the function of an epithet, which usually does not have a clear semantic
connection with the indicated word, and the use of a lexeme in the attributive function, which is not
thematically combined with the signified word-term, but thanks to semantic transformation acquires
such an ability, and at the same time conveys a significant charge of expression according to the author's
intention. At the same time, semantic transformations are aimed at providing a deterministic lexeme
with an additional semantic load that reflects the author's attitude to the signified object and saturates
the text with expression.
The application in the artistic style of an artistic metaphor using a deterministic lexeme consists in
transposing it to a context that is thematically distant from the term meaning of this lexeme, so the new
context undergoes meaningful expression due to the imposition of the semantics of this deterministic
lexeme, as well as in accordance with the creative intention of the author, who selects the appropriate
analogies, the text acquires a certain expressive color and creates an artistic effect on readers.
The technical determinologisms selected by identification from the annotated corpus proved that the
term vocabulary functions organically in the artistic text, contributing to the achievement of lexical-
semantic expressiveness and expressiveness of speech, and becomes an important component of Oksana
Zabuzhko's idiostyle.
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