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COMMUNICATIVE STRATEGIES OF CONTEMPORARY UKRAINIAN AND FRENCH-LANGUAGE DRAMATURGY: DIALOGUE THROUGH TRANSLATION

The purpose of the article is to study the communicative strategies involved in the texts of plays by Ukrainian and French contemporary authors that are performed on the stages of Ukraine and France. Comparative analysis is carried out for the first time, which gives our research novelty and relevance. In scientific research, comparative and typological methods of analysis were used; in relation to translation, translators use strategies of domestication, i.e., manifestation and foreignization – alienation.Communication in modern postdramatic theater is defined as performative interaction, discourse between all participants in a communicative act. When translating French authors into Ukrainian, strategies of “intimacy” and intellectual dialogue are most often used. The communicative strategy of distancing and archaization, which Estelle Delavois uses in her translation, preserves a sense of magical realism, but reproduces it with purely French social and linguistic concepts and realities. This creates the effect of “sacred detachment”, archaic language creates a distance that evokes respect and mystical awe, complicated phrases give the translation the rhythm of a ritual, so this is not a communication of equal with equal, but of a prophet with a crowd. “Archaeology of language”, detachment and the effect of alienation help to recreate the metaphorical nature, magical realism of the text of Ukrainian authors.Conclusions. Odile Belked and Estelle Delavois translate plays by Ukrainian authors, resorting to the destruction of the literary norm, adaptation to slang, “low” vocabulary, dialects. They ensure the accessibility of Ukrainian works for the French viewer, this is facilitated by the documentary, reportage nature of the text. Communicative strategies in modern Ukrainian and French dramaturgy move from classical dialogue to postdramatic forms. French drama in Ukrainian translation demonstrates an expressive psychological game, and Ukrainian drama in France, through the documentary nature of the texts and the emotional and suggestive explosion, transforms the theater into a platform and place for expressing current traumatic experiences. An analysis of translations of plays by Ukrainian and French playwrights in both languages ​​and the communicative strategies involved in this demonstrate that the communicative strategies of French drama in Ukraine enrich our theater with a culture of dialogue and psychologism, while Ukrainian drama in France acts as a “voice of truth,” destroying the traditional boundaries of stage convention.

Oriental Studies, Comparison, and Translation at the Origins of the Italian Nation

Realia of Russian Culture in Tolstoy’s Anna Karenina and their Translation

This article explores the translation of Russian cultural realia in Leo Tolstoy’s "Anna Karenina"and their interpretation in English versions. The study focuses on four major categories of cultural realia: everyday life, social hierarchy, religious practices, and symbolic elements. The central problem lies in the fact that translating such realia goes beyond lexical substitution and becomes an act of intercultural communication, where the translator’s choices determine whether the national identity is preserved or lost. The aim of the research is to identify the specific strategies used by Constance Garnett (1901) and Richard Pevear and Larissa Volokhonsky (2004) in rendering cultural realia, and to assess how adaptation versus preservation influences the perception of the novel in the English-speaking world. The analysis reveals that Garnett employed domestication, replacing Russian realia with familiar analogues (tea-urn, count, christening), which facilitated comprehension but reduced authenticity. In contrast, Pevear and Volokhonsky retained original terms (samovar, graf, moleben, troika), creating a sense of foreignness while preserving cultural specificity. The findings confirm Vlakhov and Florin’s thesis that the translation of realia is a “test for the translator.” The choice between adaptation and preservation directly shapes the image of Russia in the minds of foreign readers. Thus, the translation of cultural realia in Anna Karenina functions not merely as a literary task but as a medium of intercultural dialogue, influencing the transmission of national identity across linguistic boundaries.

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Vernacular Modernism and the Colonial Tongue: Narrative Strategies, Language, and Decoloniality in O.V. Vijayan and R.K. Narayan

This article does a comparative study of the narrative strategies of O.V.Vijayan (1930-2005) and R.K.Narayan (1906-2001), two towering figures in Indian Literature who worked in fundamentally different linguistic registers and with divergent aesthetic and political commitments. Vijayan, writing primarily in Malayalam, is positioned here as a practitioner of vernacular modernism whose linguistic experimentation with dialect, myth, and indigenous oral forms constitutes a form of decolonial praxis. His self-translations into English, rather than smoothing the rough edges of the vernacular, are read as acts of rewriting that negotiate the politics of translation and postcolonial representation. R.K. Narayan, by contrast, operated exclusively within the English literary tradition, adopting what might be termed a domesticated realism shaped in part by his relationship with Western publishing and mentorship. This paper argues that while Narayan’s Malgudi fiction performs a subtle resistance to colonial epistemologies through irony and humor, his narrative form remains embedded in Eurocentric realist convention that limits the scope of his decolonial critique. The paper subjects that claim to rigorous factchecking, nuancing the comparison where necessary, and situates both writers within the broader frameworks of postcolonial theory, Global South literary studies, and the politics of literary language. 

Across Languages and Revolutions: A Conversation with Julia Alekseyeva

How does multilingualism function not just as a biographical condition but as a political, aesthetic, and pedagogical practice? In this interview, Julia Alekseyeva, a multimodal scholar, graphic memoirist, translator, and leftist activist whose scholarship spans Soviet, French, Japanese, and US cultural contexts, reflects on language acquisition through displacement, translation across media, and the role of comics and documentary forms in antifascist politics. The conversation foregrounds Alekseyeva’s perspective as a post-Soviet Jewish immigrant to the US working across four languages and multiple artistic registers, from graphic memoir to academic monograph and public-facing essays. It offers an account of how multilingualism shapes intellectual formation, creative practice, and political commitment, while also advancing a critical argument that multilingualism can challenge ethnonationalist identity frameworks. The interview presents multilingualism as a form of intellectual and political bridging that unsettles fixed identities and speaks directly to urgent contemporary cultural debates.