Phraseological Units With The Meaning Of Movement: Semantic-Ideographic And Linguocultural Approaches In The Discourse Of Innovative Museums’ Art Practices

Abstract

The article explores phraseological units with the meaning of movement through the integration of semantic-ideographic and linguocultural approaches within the discourse of innovative museum art practices. The study focuses on multilingual material derived from English, Ukrainian, and Czech exhibition texts associated with contemporary dynamic installations. Movement is examined as a multidimensional concept manifested simultaneously in visual, spatial, and linguistic domains. The research analyzes real museum practices involving kinetic and interactive installations characterized by directional, oscillatory, rotational, flow-based, responsive, and accelerative movement. These types of motion are interpreted as visual structures that correspond to specific phraseological and lexical patterns in multilingual discourse. Particular attention is devoted to the expansion of traditional linguistic perspectives on movement beyond verbal forms to include nouns and adverbs as essential components of motion representation. A conceptual hierarchy of movement meanings is proposed, demonstrating the synergy between physical motion in dynamic installations and linguistic representation in exhibition texts. This hierarchy integrates visual movement types, grammatical expression, and semantic-ideographic clusters into a unified linguocultural framework. The comparative

analysis reveals both universal cognitive patterns and culturally specific features in the representation of movement across English, Ukrainian, and Czech languages. The findings contribute to interdisciplinary research at the intersection of phraseology, linguocultural studies, discourse analysis, and museum communication. The proposed model enhances understanding of how language participates in the interpretation of dynamic artistic environments and supports the development of multilingual strategies for museum communication. The results may be applied in exhibition design, cultural interpretation, and the creation of visitor-oriented narrative systems in contemporary museums