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Документ Multimodality and transmediality: interdisciplinary studies : second international conference (19–20 april 2024, Kharkiv, Ukraine) : book abstracts [Electronic recourse](Kharkiv : V.N. Karazin Kharkiv National University, 2024) Shevchenko, Iryna; Krysanova, Tetiana; Meleschenko, Olga; Radchenko, Olena; Deviatova, Yelyzaveta; Шевченко, Ірина Семенівна; Крисанова, Тетяна; Мелещенко, Ольга; Радченко, Олена; Дев’ятова, ЛізаThis collection includes abstracts of reports devoted to interdisciplinary studies of multimodality, transmediality, and social semiosis. Conference contributors discussed the interaction of verbal (oral and written) and non-verbal (visual, auditory, olfactory, etc.) means involved in the construction of meanings transmitted in non-digital and digital formats and used in various spheres of social interaction. The authors are responsible for the content and reliability of the facts presented. All papers are checked for plagiarism using the StrikePlagiarism.com system. For scholars, teachers, graduate students, and undergraduates.Документ Multimodal representation of the English conceptual duplex HOUSE/HOME(2018) Davydenko, I.V.; Shevchenko, I.S.; Давиденко, Інна Володимирівна; Шевченко, Ірина СеменівнаThis paper focuses on the English conceptual duplex HOUSE/HOME, its conceptual properties and means of linguistic representation; and examines the contribution of the data of its multimodal discourse actualization to the cognitive linguistics framework. In cognitive semantics, HOUSE/HOME proves to be a conceptual duplex constituted by various meanings of the polysemantic nouns house and home, and elaborated by the meanings of their synonyms. Within a conceptual network, their common meanings are arranged according to the domains where they are profiled: HUMAN LOCATION / DWELLING, FAMILY. The study of their salience in speech (in literary texts) considers their contextual elaborations, and establishes groups of lexical-semantic variants which are finally blended together within a conceptual model of HOUSE/HOME. This model is a unity of an integral and two differential parts. The integral part is constituted by the meanings: "building where a person lives (with his family)", "dwelling place", family life", "family" shared by the lexemes house (n) and home (n). The differential parts of the model are formed by the meanings which are specific for each polysemantic lexeme. To analyse the HOUSE/HOME actualization in discourse the study adopts a broad perspective on multimodality. It relies on the interaction of verbal and graphic codes and reveals that these semiotic systems are non-isomorphic in representing various meanings of the concept duplex.Документ Інтерсеміозис негативних емоцій у кінодискурсі: психолінгвістичний ракурс(2019) Крисанова, Тетяна Анатоліївна; Шевченко, Ірина СеменівнаThis study of the psycholinguistic properties of negative emotions in the English cinematic feature discourse focuses on the establishment of their intersemiosis – the simultaneous multimodal construction of emotional meanings by means of heterogeneous sign systems. The means of meaning construction in the cinematic discourse include linguistic, non-linguistic (prosody, kinesics, etc.) and extra-linguistic (music and kineikonic means), and different modes – acoustic and visual channels for transmitting meanings. The main psycholinguistic properties of cinematic emotions are their inextricable connection with the physiological processes, rootedness in the common human embodied experience, motivational basis; emotions are read as the result of an assessment of the satisfaction degree of individuals’ needs. The construction of emotional meanings in the cinematic discourse is the result of the interaction between the real world of the film makers and the imaginary world of the action. In constructing negative emotional meanings in general and emotions of fear and anger, in particular, the collective author of the cinematic discourse uses different semiotic codes in a parity or non-parity way. In the first case, heterogeneous semiotic codes both serve to denote fear or anger, while in the second, advantage is given to one of heterogeneous codes – linguistic, non- linguistic, and extra-linguistic. Consequently, this leads to the domination of one of the modes of transmitting meanings to the collective viewer – acoustic or visual. According to the coherence parameter of the emotional meaning embodied by various means of the semiosis of fear or anger, individual episodes of the English cinematic feature discourse are either congruent or non-congruent. Being congruent, different codes simultaneously transmit the same emotional meaning; being incongruent, heterogeneous semiotic codes actualize different emotional meanings, which leads to higher expressiveness of such emotions and their more effective influence on the viewer.