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One potential disadvantage of social tagging systems is that due to the lack of a centralized vocabulary, a crowd of users may never manage to reach a consensus on the description of resources (e.g., books, users or songs) on the Web. Yet, previous research has provided interesting evidence that the tag distributions of resources may become semantically stable over time as more and more users tag them. At the same time, previous work has raised an array of new questions such as: (i) How can we assess the semantic stability of social tagging systems in a robust and methodical way? (ii) Does semantic stabilization of tags vary across different social tagging systems and ultimately, (iii) what are the factors that can explain semantic stabilization in such systems? In this work we tackle these questions by (i) presenting a novel and robust method which overcomes a number of limitations in existing methods, (ii) empirically investigating semantic stabilization processes in a wide range of social tagging systems with distinct domains and properties and (iii) detecting potential causes for semantic stabilization, specifically imitation behavior, shared background knowledge and intrinsic properties of natural language. Our results show that tagging streams which are generated by a combination of imitation dynamics and shared background knowledge exhibit faster and higher semantic stability than tagging streams which are generated via imitation dynamics or natural language phenomena alone.

In this article, we propose an automatic method of constructing multilingual lexico-semantic resources to navigate by meaning through information contained in textual bases of different languages. This method is based on a mathematical model of representation of the meaning called semantic Atlas, which consists of exploiting linguistic relationships between lexical units to construct graphics, projected in a semantic space which is a map denoting the tendencies of a given word. Based on the morpho-syntactical analysis of a corpus, and using the syntactical relationships between the items in the corpus, it is possible to constitute a lexico-semantic resource that describes all the meanings documented in the corpus for the whole of the globe depicted there, thanks to the syntax contexts typical of the entries described. It is also possible to maintain a systematic link between the trends in meaning depicted and the statements that have been used to construct them, and thus to connect all the instances of a word in a given sense to navigate between them. It is also possible, using different language corpus, to build matching resources between languages and navigate between texts through even partial translation of syntax contexts. ; International audience In this article, we propose an automatic process to build multi-lingual lexico-semantic resources. The goal of these resources is to browse semantically textual information contained in texts of different languages. This method uses a mathematical model called Atlas sémantiques in order to represent the different senses of each word. It uses the linguistic relations between words to create graphs that are projected into a semantic space. These projections constitute semantic maps that denote the sense trends of each given word. This model is fed with syntactic relations between words extracted from a corpus. Therefore, the lexico-semantic resource produced describes all the words and all their meanings observed in the corpus. The sense trends are expressed by ...

International audience ; Compounds such as actress-cum-model, pub-cum-hotel or military-cum-religious represent mainly an alternative construction to coordinative compounds of the singer-songwriter type. Although most of them are double-headed, some can show semantic left-headedness. We have detected six main semantic groups out of a corpus of 300 types of -cum- nominal compounds. They correspond, in descending order of frequency, to people's professional or leisure activities; buildings, rooms, and other places; literary and audio-visual genres; pieces of furniture, clothes, and other objects; abstract nouns; and toponyms, and anthroponyms. Under the heading "People", we consider two main subheadings: team-sports players and antonymous occupations or functions.

International audience ; Compounds such as actress-cum-model, pub-cum-hotel or military-cum-religious represent mainly an alternative construction to coordinative compounds of the singer-songwriter type. Although most of them are double-headed, some can show semantic left-headedness. We have detected six main semantic groups out of a corpus of 300 types of -cum- nominal compounds. They correspond, in descending order of frequency, to people's professional or leisure activities; buildings, rooms, and other places; literary and audio-visual genres; pieces of furniture, clothes, and other objects; abstract nouns; and toponyms, and anthroponyms. Under the heading "People", we consider two main subheadings: team-sports players and antonymous occupations or functions.

The article examines the features of communication in the plays of the Theatre of the Absurd. The absence in the act of communication of the most important components such as objectives, motives and needs - leads to communication breakdown. The consequence of communication breakdown is language disintegration, which we observe in the case of lack of lexical and grammatical connections, the absence of semantic connection between the objects of conversation, in the illogical inferences of the heroes, in the multidimensional dialogue. The material of the research is the plays "The Bald Singer" by E. Ionesco and "Waiting for Godot" by S. Beckett.

Данная статья посвящена исследованию аллюзий в текстах современных англоязычных песен на примере популярной американской певицы Пинк в жанре поп-рок и R&B. Выделяются наиболее часто встречающиеся виды аллюзий в текстах песен данной исполнительницы аллюзии на социальные, политические и религиозные (библейские) факты с разной семантической и эмоциональной окраской. ; The article is devoted to the study of allusions in the texts of modern English language songs by the example of a popular American singer Pink in the genre of pop-rock and R&B. The more frequently met kinds of allusions in the texts of songs of this performer allusions on social, political and religious (Biblical) facts with a various semantic and emotional coloring, are highlighted.

The paper deals with the use of vocal translations in music education. As it is widely known, in the modern world practice there are two ways of performing foreign vocal music. The first one is to perform in the author's language and the other one is to perform in the language of the listeners. Both of them have the right to exist and nobody could claim one of them as an inadmissible or prohibited. On the contrary, world tendencies towards democratization, pluralism and tolerance for coexistence of opposing points of view imply the performer's right to interpret musical works including opera in different ways.While usage of vocal translations in concerts and stage is partially described, their uses in training still need an approach. This paper presents how we use vocal translation in following disciplines: vocal (solo singing), opera studio, conducting class, accompaniment, music literature (music history). It is shown that Ukrainian language translations are widely used as directly (for singing in translation) and indirectly (for understanding the content of musical works). According to G. Hansburg one should prefer a semantic layer, while preserving the phonetic layer is problematic if the singer is trying to sing in a foreign language. This is a reason for Kyiv Operetta Theatre and Kyiv Municipal Opera Theatre for using vocal translations for opera performing. On the other hand a lot of theatres, like Kyiv National Opera perform operas in original language only. This situations means that singer should able to perform operas both in original language and in translation. Moreover, even while singing in original language singer should fully understand what do he (or she) sings about. Ukrainian translations are needed for this purpose. This is also significant for students who learn conducting or accompany opera areas. However, the lack of educational and methodological and textbook literature in the Ukrainian language is noted, as well as registers of vocal translations of opera and chamber vocal music. These problems of Ukrainian educational have to be resolve in next years. ; Присвячено питанням використання вокальних перекладів у музичній освіті. Розглянуто використання вокалу (сольного співу), оперної студії, класу диригування, акомпанементу, музичної літератури (історії музики). Показано, що україномовні переклади знаходять широке застосування як безпосередньо (для співу в перекладі), так і опосередковано (для розуміння змісту музичних творів). Разом із тим відзначено, що проблемою лишається недостатня кількість видань навчально-методичної та хрестоматійної літератури українською мовою, а також реєстрів вокальних перекладів оперної та камерно-вокальної музики.

The paper deals with the use of vocal translations in music education. As it is widely known, in the modern world practice there are two ways of performing foreign vocal music. The first one is to perform in the author's language and the other one is to perform in the language of the listeners. Both of them have the right to exist and nobody could claim one of them as an inadmissible or prohibited. On the contrary, world tendencies towards democratization, pluralism and tolerance for coexistence of opposing points of view imply the performer's right to interpret musical works including opera in different ways.While usage of vocal translations in concerts and stage is partially described, their uses in training still need an approach. This paper presents how we use vocal translation in following disciplines: vocal (solo singing), opera studio, conducting class, accompaniment, music literature (music history). It is shown that Ukrainian language translations are widely used as directly (for singing in translation) and indirectly (for understanding the content of musical works). According to G. Hansburg one should prefer a semantic layer, while preserving the phonetic layer is problematic if the singer is trying to sing in a foreign language. This is a reason for Kyiv Operetta Theatre and Kyiv Municipal Opera Theatre for using vocal translations for opera performing. On the other hand a lot of theatres, like Kyiv National Opera perform operas in original language only. This situations means that singer should able to perform operas both in original language and in translation. Moreover, even while singing in original language singer should fully understand what do he (or she) sings about. Ukrainian translations are needed for this purpose. This is also significant for students who learn conducting or accompany opera areas. However, the lack of educational and methodological and textbook literature in the Ukrainian language is noted, as well as registers of vocal translations of opera and chamber vocal music. These problems of Ukrainian educational have to be resolve in next years. ; Присвячено питанням використання вокальних перекладів у музичній освіті. Розглянуто використання вокалу (сольного співу), оперної студії, класу диригування, акомпанементу, музичної літератури (історії музики). Показано, що україномовні переклади знаходять широке застосування як безпосередньо (для співу в перекладі), так і опосередковано (для розуміння змісту музичних творів). Разом із тим відзначено, що проблемою лишається недостатня кількість видань навчально-методичної та хрестоматійної літератури українською мовою, а також реєстрів вокальних перекладів оперної та камерно-вокальної музики.

This article analyses strategies for cultural appropriation and the appropriation of Push­kin's personality and oeuvre by the Russian avant-garde. The treatment of Pushkin by the avant-garde is considered as a peculiar variant of cultural apophaticism when the object of reflection is asserted through its consistent negation. The factography of the Russian avant-garde proves that, from its earliest stages the creative system has been constructing its own Pushkin myth, within which the poet has the role of both an object of cultural overcoming and the reference point for the development of a new art. Through negation, the avant-garde strives to 'discharge' Pushkin and to show his strangeness to classical cultural models. By making the poet its own, the avant-garde uses him to secure its position in the literary field. Another focus of the article is the place and role of the Pushkin substrate in the poetry and theoretical treatises of Aleksei Kruchyonykh. In his works Pushkin is an object of poetical overcoming and a pole of attraction-repulsion. He is a touchstone, a reference point for the conceptualisation of a new literature. In developing his theory of the shift, Kruchyonykh views Pushkin as a 'sound-poet'. That analytical position made it possible to move from dis­missing him as 'a deaf singer' to the avant-gardist glorification of Pushkin as a genius who worked with the sound texture of the poem. Kruchyonykh demonstrates that for Pushkin the shift is a powerful semantic generator of poetry, a tool that makes an error 'the rule of break­ing rules': semantic deviations turn into neologisms, whereas the shift itself enters the realm of productive poetic techniques.

ABSTRACT: Popular wisdom asserts that you can't teach an old dog new tricks. But is this proverbial lesson applicable to its own material? The proverb is generally defined as a frozen linguistic object, in terms of both form and meaning. The frozenness is therefore a formal and semantic framework that is supposedly immutable. In practice, however, this theoretical framework is very often altered, whether intentionally or not, when it collides with other, more extensive frameworks into which it naturally fits (collections of proverbs, the immediate linguistic environment, the spatio-temporal and social context of compilers or speakers). The aim of this work is to present a taxonomy of all possible types of alteration of the Spanish-speaking proverbial framework, diachronically and synchronically, as well as in language and discourse, placing the notion of intentionality and the signifier-signified pair at the heart of the analysis. Our approach is thus at once linguistic and pragmatic, and is based on a variety of corpuses.
RÉSUMÉ : On dit que ce n'est pas à un vieux singe qu'on apprend à faire des grimaces. Mais cette leçon proverbiale est-elle applicable à sa propre matière ? On définit en effet généralement le proverbe comme un objet linguistique figé, tant au niveau de sa forme que de son sens. Ce figement est donc un cadre formel et sémantique prétendument immuable. Or, il s'avère que dans la pratique, ce cadre théorique est très souvent malmené, intentionnellement ou non, lorsqu'il rentre en collision avec d'autres cadres à l'extension plus importante dans lesquels il s'insère naturellement (recueils de proverbes, environnement linguistique immédiat, contexte spatio-temporel et social des compilateurs ou locuteurs). Ce travail tâche ainsi de présenter une taxinomie de tous les types possibles d'altérations du cadre proverbial hispanophone, en diachronie et en synchronie, mais aussi en langue et en discours, en plaçant la notion d'intentionnalité et le couple signifiant-signifié au cœur de l'analyse. L'approche envisagée est donc à la fois linguistique et pragmatique et s'appuie sur des corpus variés.

This work is about women who sing rap and are involved in Hip Hop culture in Mexico. These are women who, having a constructive position towards the world, recover daily experiences while denouncing the implications of social disarticulation in the immediate surroundings. In this work, a semantic approach to the content of the songs they produce is carried out, as well as a historical-discursive recovery of their participation in this culture that emerged in the Bronx, in New York, and is now appropriate for the Mexican youth. This research represents an effort to direct gender studies and the political participation of women within art-oriented youth corporations. ; El presente trabajo versa sobre las mujeres que cantan rap y están involucradas en la cultura Hip Hop en México. Se trata de mujeres que al tener un posicionamiento constructivo frente al mundo recuperan experiencias cotidianas al tiempo que denuncian las implicaciones de la desarticulación social en los entornos inmediatos. En este trabajo se lleva a cabo un acercamiento a nivel semántico del contenido de las canciones que ellas producen, también se hace una recuperación histórico-discursiva de su participación en esta cultura que emergió en el Bronx, en Nueva York, y que ahora es apropiada por la juventud mexicana. Esta investigación representa un esfuerzo por encaminar los estudios de Género y la participación polí­tica de las mujeres al interior de corporaciones juveniles orientadas al arte. ; Este trabalho é sobre mulheres que cantam rap e estão envolvidas com a cultura Hip Hop no México. São mulheres que, por se posicionarem construtivamente diante do mundo, resgatam vivências cotidianas ao mesmo tempo em que denunciam as implicações da desarticulação social em seu entorno imediato. Neste trabalho é feita uma abordagem semântica do conteúdo das canções que produzem, faz-se também um resgate histórico-discursivo da sua participação nesta cultura que surgiu no Bronx, em Nova Iorque, e que agora cabe. para a juventude mexicana. Esta pesquisa representa um esforço para direcionar os estudos de gênero e a participação polí­tica das mulheres nas corporações juvenis voltadas para a arte.

Исследование направлено на выявление актуальности компонентов пропозициональной структуры производного имени в языковом сознании носителя языка посредством лингвистического эксперимента, активизирующего метаязыковой компонент языкового сознания. Метаязыковой компонент проявляется в получаемых от респондентов дефинициях как результат выбора различных лингвистических стратегий: использование мотивирующей основы и единицы, синонимичной мотивирующей основе, экспликация оценочных компонентов пропозициональной структуры производного. Полученные результаты эксперимента подтверждают выдвигаемую гипотезу об активации метаязыкового сознания при восприятии производного имени и ставят новые задачи перед исследователем. ; Morphologically complex words are presently regarded in cognitive science as valuable resources for language and cognition studies. The intricate implicit semantics of a derivative reflects basic mechanisms of categorization, characterization, mental representations and nomination. The research combines propositional and experimental paradigms in studying the metalinguistic cognitive activation potential of derivative semantic components. Propositional approach to the study of implicit semantics results in a detailed motivational formula of the derivative explicating the cognitive grounds of the nomination ((S2) believes that (S1) is characterized by (?),where Р=N (М1=0), but S1 is characterized by P always, often, is prone to, likes and, consequently, Р'>N ^2qn) and does it well or badly (Mql) => and it causes reaction good/bad (М3).). The issue under discussion is to what extent implicit propositional components of a derivative activate the metalinguistic cognition of a native speaker in the reverse naming task. The reverse naming task makes the respondent provide an extended definition of the derivative under study. The study is based on semantic components of a specific language material Russian derivatives of a syncretic type which combine nominative and evaluative functions in their semantics in their semantics. The material under investigation includes derivatives of the following derivational patterns of the Russian language: Verb + suffix -ok, -ach, -uh(a), -k(a), -ulj(a), -sh(a) ush(a), -oh(a), ah(a), -jag(a), -ak(a), -l(a), ug(a). E.g.: p'et' (to sing) pev-uha; pisat' (to write) pis-aka; hohotat' (to laugh loudly) hohot-un; strel'jat'(to shoot) strel-ok. Adjective + suffix -ak, -ach, -k(a), -uh(a), -ush(a), -yshk(a), -ish, -ag(a), -ug(a), -uk(a), -ul'(ja). E.g.: lovkij (crafty) lovk-ach; veselyj (jolly) veselch-ak. Noun + suffix -ach, -an, -jag(a), -un, -juh(a), -jush(a). E.g.: politika (politics) politik-an; nos (nose) nos-ach; stil'(style) -stil-jaga. In the frame of a specially designed experiment the explication of implicit components of a derivative motivational formula is checked and linguistic means of such explication are described: e.g.: veselch-ak is a person who likes (М2 qn) to enjoy life and does not care about other people (M3). The main concern is to reveal whether verbalization of propositional components is copied from the root word or whether it can be a product of activated metalinguistic cognition. The results show linguistic evidence of activation in 50% cases which provides grounds for further speculations on the topic of the specific cognitive nature of morphologically complex words.

The relevance of the article. "Psalms of David" in the poetic adaptation of Taras Shevchenko have long been a part of the choral culture of Ukraine. More than 20 composers have created musical versions of these texts, using separate verses or the entire work.
The latest version of the Psalter is the choral cycle of the Ukrainian conductor, singer, composer and teacher Ruben Tolmachov.
The first nights of the work took place under his leadership in May 2023 and had great success and public resonance. That is why the introduction of this work to scientific discourse is relevant.
The purpose of the article is to reveal the specificity of musical shaping in R. Tolmachov's "Psalms of David" choral cycle in its relationship with textual semantics.
The methodology. With the help of textual analysis, the semantic types of psalms (didactic, pleading, laudatory, accusatory) and the peculiarities of their musical structure were determined. By the means of structural, musicological and intonation analysis, the implementation regularities of the semantics of the psalms into specific musical forms have been established.
The results. The musical structure of all psalms was analyzed, the patterns of musical shaping were revealed, and the specifics of the relationship between the musical form and the content of the poetic text were described.
The scientific novelty. For the first time, the analysis of the structure of Ruben Tolmachov's choral cycle based on Taras Shevchenko's poem was introduced into scientific discourse.
The practical significance. The results of the research have practical value for performers of works by R. Tolmachov, as well as composers and researchers of choral music.
Conclusions. In R. Tolmachov's "Psalms of David" cycle the principle of strophic composition of parts prevails.
In general, four main types of musical shaping can be highlighted, which are partially correlated with the thematic focus of the psalms.
Didactic (enlightening) psalms, which depict the pious life of the community, have more "stable" forms (two-part, three-part).
Psalm 12 and Psalm 149 have signs of a thorough development based on monothematism.
The accusatory psalms, dedicated to the future Judgment Day (52, 93, 81), are made up using strophic forms with elements of reprise. At the same time, the 81st psalm is characterized by a less active dramatic development and contains a solo episode of a cathartic nature, which is designed to emphasize one of the central ideas of the cycle about the mortality of a person, regardless of his/her status, about higher moral and spiritual values.
It is also worth noting that the architectonics of R. Tolmachov's psalms is mostly characterized by the final position of the climaxes.