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Dominant choices are linked to the magical atmosphere in J. K. Rowling’s Harry Potter novels, including a productive Adj+Adj compounding pattern and specific stylistic functions such as expressiveness and humour.",{"@graph":14,"@context":77},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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Học","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-30","2026-10-15",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",5,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69,73],{"name":60,"@type":61,"acceptedAnswer":62},"Which colour lexemes are analyzed in the study?","Question",{"text":63,"@type":64},"The study analyzes 11 basic colour lexemes (e.g., black, white, red, blue, green, etc.) and 16 non-basic colour lexemes (e.g., sallow, auburn, scarlet, gold/golden, amber, emerald, and others).","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How do the basic and non-basic colour lexemes differ in thematic combinability?",{"text":68,"@type":64},"Basic colour lexemes demonstrate combinability with twelve thematic word-groups, while non-basic colour lexemes combine with only five thematic groups, showing a narrower range of associations.",{"name":70,"@type":61,"acceptedAnswer":71},"What word-building pattern is identified as predominant for forming the colour lexemes?",{"text":72,"@type":64},"The analysis shows that compounding with the pattern Adj+Adj (such as white-blond, goldenbrown, light-blue) is the predominant formation method.",{"name":74,"@type":61,"acceptedAnswer":75},"How are colour lexemes used stylistically in Rowling’s novels?",{"text":76,"@type":64},"Colour lexemes enhance narrative expressiveness, provide additional characteristics for people and objects, create humorous effects, and support rhythmic patterns in utterances, reflecting Rowling’s individual authorial 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K. ROWLING’S NOVELS  \nIryna Mykytiuk  \nYuriy Fedkovych Chernivtsi National University, Chernivtsi, Ukraine  \n[i.mykytiuk@chnu.edu.ua](i.mykytiuk@chnu.edu.ua)  \nOksana Lesinska  \nYuriy Fedkovych Chernivtsi National University, Chernivtsi, Ukraine  \n[o.lesinska@chnu.edu.ua](o.lesinska@chnu.edu.ua)  \nThe article explores lexical units denoting colour in English. The study focuses on colour lexemes in a literary text in terms of their combining potential, structure, and stylistic properties. The undertaken analysis of 11 basic colour lexemes (black, white, grey, red, blue, orange, yellow, green, purple, pink, brown) testifies to their combinability with twelve thematic word-groups that denote: appearance, footgear, dress, headgear, fauna, flora, parts of the body, natural phenomena, objects, magic, substances, food. Sixteen non-basic colour lexemes (sallow, auburn, blank, swarthy, silver, livid, scarlet, gold / golden, blond, amber, emerald, aquamarine, violet, lilac, turquoise, crimson) demonstrate combinability with only five thematic word-groups: appearance, objects, magic, dress, substances. The prevailing usage of the basic colour lexeme black and non-basic colour lexeme gold / golden is explained by the general magical atmosphere created by J. K. Rowling in the novels featuring adventures of the young sorcerer Harry Potter. The analysis of word-building specificity of colour lexemes proves that compounding of the pattern Adj+Adj (white-blond; goldenbrown; light-blue) is the predominant way of their formation. Stylistic devices involving colour lexemes in the analysed literary texts are used with the aim to enhance the expressiveness of the narrative pieces, provide additional characteristics to the people and objects described, produce a humorous effect, and arrange the rhythmical pattern of the utterances. Rowling’s choice of certain colour lexemes is illustrative of her individual author’s style.  \nKeywords: colour lexeme; thematic group; word-building; stylistic device.  \nIntroduction  \nThe study of lexical units denoting colour has recently been in the limelight of linguistic research. The diverse nature of this layer of vocabulary stipulates the necessity to analyse it from various viewpoints. Since colour naming may be treated as one of the elements in the semantic structure of a text, scholars investigate characteristics of colour names semantics as well as their stylistic functioning in poetry and prose (Babiy, 2016; Babych, 2013; Vasiutenko, 2012; Kopus’, 2015; Tykha, 2014) . Functioning of colour lexemes in the structure of phraseological units is elucidated in the works by Semashko (2008), Komanova and Zimovets (2016) .  \nKul’pina (2002) views linguistics of colour as an “independent scientific paradigm in modern linguistics”(p. 655) and asserts that “linguistics of colour as a scientific research area has clearly defined the object of its scientific study – lexical units comprising colour semes, the object which adequately substantiates the main subject of linguistic research – language and thought, language and society”(p. 655) .  \nOur survey of literature on colour lexemes touches upon only the most influential works, one of which is Berlin and Kay’s book Basic Colour Terms: Their Universality and Evolution (1969) . In this work, the authors argue against the theory of relativity advanced by Sapir (1921) and Whorf (1956) and formulated by Bloomfield (1933) . They advance the idea that unlike physicists, who view the colour-spectrum as a continuous scale of light-waves of different lengths, ranging from 40 to 72 hundred-thousandths of a millimetre, languages mark off different parts of this scale quite arbitrarily and without precise limits, in the meanings of such colour-names as violet, blue, green, yellow, orange, red, and the colour-names of different languages do not embrace the same gradations (p. 140) .  \nContrary to Bloomfield’s views, Berlin and Kay (1969) speak in favour of","cbCais8oMEtavHLv","https://ap.wps.com/l/cbCais8oMEtavHLv","pdf",1001431,"English","# Introduction\n## Colour lexemes as a focus in linguistic research\n## Universality vs relativity in colour naming\n## Colour term systems and dimensions\n## Ukrainian perspectives on colour naming\n## Prior studies and scholarly sources","[{\"question\":\"Which colour lexemes are analyzed in the study?\",\"answer\":\"The study analyzes 11 basic colour lexemes (e.g., black, white, red, blue, green, etc.) and 16 non-basic colour lexemes (e.g., sallow, auburn, scarlet, gold/golden, amber, emerald, and others).\"},{\"question\":\"How do the basic and non-basic colour lexemes differ in thematic combinability?\",\"answer\":\"Basic colour lexemes demonstrate combinability with twelve thematic word-groups, while non-basic colour lexemes combine with only five thematic groups, showing a narrower range of associations.\"},{\"question\":\"What word-building pattern is identified as predominant for forming the colour lexemes?\",\"answer\":\"The analysis shows that compounding with the pattern Adj+Adj (such as white-blond, goldenbrown, light-blue) is the predominant formation method.\"},{\"question\":\"How are colour lexemes used stylistically in Rowling’s novels?\",\"answer\":\"Colour lexemes enhance narrative expressiveness, provide additional characteristics for people and objects, create humorous effects, and support rhythmic patterns in utterances, reflecting Rowling’s individual authorial style.\"}]","ENGLISH COLOUR LEXEMES IN J. K. ROWLING’S NOVELS - Colour Lexeme Analysis and Combinability | PDF",1792066338,23]