The article identifies the functions of the archetypal semiotic resource, based on archetypal plots, situations, characters, and symbols, in political discourse signification and mythologization. The value framework of the discourse of the Ukrainian party "Servant of the People" was laid down by the similarly-named TV series narrative, involving archetypal patterns, consonant with the values and needs of TV viewers. The stages in the formation of the main character are associated with the Hero's journey in Joseph Campbell's Monomyth: the search for yourself; the "initiation" experienced both oneirically and in firm reality, in a form of imprisonment; and the "return" in a renewing capacity. Plotlines-associated archetypes encompass a battle of Good and Evil, the transformation from Rags to Riches, and the theme of the Hero's Task related to a monomyth's circular principle. The image of the protagonist incorporates a set of archetypal characters of the Hero, Caregiver, Innocent, Rebel or Destroyer, Ruler, Seeker, Creator, Sage, Everyman, and Jester, consonant with the individual viewer's emotional and cognitive structures. Due to their correlation with basic human values, these archetypal patterns facilitate the development of a secondary level of signification or mythologization -that of discourse-forming values. These core discourse values are most closely related to the Caregiver archetype, ambivalently embodying either the need for belonging, concern, and assistance, as well as a confirmation of one's own sense of worth. The multimodal social semiotic analysis shows a certain rearticulation of the party's discourse values. Their main values are still associated with the Caregiver archetype, embodied in the party name itself, "Servant of the people", as these values unite different people into the widest possible "inner group". However, today the core functions in the construction of party discourse belong to the values associated with the Creator archetype, addressing the highest level in the hierarchy of needs -that of Self-Actualization.

This paper investigates the communicative act of justification as a multifaceted pragmatic and structural phenomenon. We argue that the properties of justification rely on the amount of face threat to be compensated by such an act, on the number of face-threatened communicators and the function of justification as a face threat-preventive or face threat-restoring device. Based on such criteria, the article identifies: 1) justification-prevention of the other's face-threatening act and 2) justification-explanation/repair of the own facethreatening act. Such acts have the same illocutionary point but differ in degree of their strength, determining their different structural and pragmatic features. Justification-repair iconically reproduces the awkwardness of the denoted situations and correlates with the conversational-analytical notion of dispreference. It involves complication in verbal arrangement and interplay of multifacet pragmatics: indirect speech acts, which affect a refusal strategy of justification, correlate with the strategies of negative politeness and their corresponding maxims, which, in their turn, involve the cooperative maxims' violation triggering the conversational implicature to communicate face-threats in an implicit way. Justification-prevention is subdivided into prepositional and postpositional types in regards to their auxiliary position in complex speech acts. They differ structurally and pragmatically, depending on the number of face-threatened participants. Prepositional justification is intended to compensate face-threats both to the interlocutor who may be imposed by the speaker's act and to the speaker, who takes risk to be faced with refusal or rejection. It is less distinct and more structurally and pragmatically complex as compared to the postpositional justification that prevents the damage only to the speaker's face.

The research is concerned with contrasting regularities vs. ambiguities in identity and quality face construction by Oscar winners in their acceptance speeches. The concept of “face” is viewed here from evaluative, socio-contextual, and interactive perspectives. The research focuses on determining the identity (social) and quality (personal) faces of the awardees as specified by the sets of the corresponding role invariants.

The paper identifies the similarities and differences between fairy tale and rap narratives from the viewpoint of their specificity in space. Three spaces with their structuring topoi and loci have been investigated in their metaphorical, narrative, and symbolic manifestations. First: the spatial organization of rap and fairy tale narratives may include several possible worlds: the world of the Hero's past before his journey through life and fairy tale transformation; the world of the Hero's present after his transformation, marked by new loci consistent with his new status of the Hero, as well as the intangible symbolic world, the contact with which is a prerequisite for the revival of the fairy tale hero and optional-for the lyrical hero of rap narrative. Second: the world of the Hero's past based on ambivalent 'ghetto' topos whose conceptual space is constructed by conceptual metaphors life is a broken boogie, ghetto is belly of a monster, living in ghetto is fighting on the line of fire. Ghetto topos correlates with the topos of the forest as the place of the tale Hero trials, rooted in the archetypal motive of initiation. Third: the locus of "home/house" is conceptualized in rap lyrics and a fairy tale as a familiar, closed and safe space, contrasted, respectively, with topoi of 'ghetto' and forest with their manifesting loci on criteria "open/closed", "unexplored/familiar", "mastered/unpredictable", "dangerous-safe". Fourth: loci in alternative worlds may acquire anthropomorphic properties, changing along the axis of "living/non-living" and "passive/active". Both in fairy tale and rap narratives, the symbolic "world" may involve the topoi of the road, sky, and forest based on archetypes, related to a spiritual search of the Hero.

The research introduces the notion of the additional illocution subdivided into illocution-expander, illocution-intensifier, and assessment illocution. Each component is characterized by a different type of correlations with conventional implicature and semantic presupposition. Two types of correlations have been specified: the match in meanings and triggers and the mediation by felicity conditions.