This article presents the results of a comparative typological study of the ethnocultural specificity of the Russian and German word-forming units in the light of the cognitive-discourse paradigm in current linguistic research. Based on the analysis of the word-formation model with the formant -usk/-yushk, namely, the derivatives with the formants -usk/-yushk in Russian and their translated equivalents in German, the study reveals the cognitive-mental nature of the actualization of the functional-semantic potential of derivatives with the formant -usk /-yushk in different types of Russian-language discourse in conceptualization of the external and internal world of native speakers and the resulting features of these units translated into German. The word-formation formant -ushk- / -yushk- is productive in relation to lexical units, whose denotative meaning is concepts in the Russian picture of the world. Functioning as important concepts of Russian linguoculture, neutral substantives fate, field, mother, will, etc. are actualized in the language in the form of derivatives with the formant -ushk- / -yushk-. The word-formation model with -usk/-yushk is productive in relation to Russian proper names or vocatives. The largest number of examples with proper names is found in the NKRYA, these proper names represent ethnocultural specifics and are used by native speakers of the Russian language in various types of discourse.
The article studies the phraseo-semantic group of English and Russian phraseological euphemisms denoting human vices and crimes. A review of the literature on the issue indicates the complexity of the euphemistic nomination in the field of phraseology. Phraseological euphemisms combine typical features of both phraseological and euphemistic units and are characterized by the rethinking of meaning, separability, stability (lexical and grammatical), imagery and high significance of connotation in the structure of their phraseological meaning. The main purpose of the euphemistic nomination is to soften and veil taboo or socially and morally condemned real denotations. A detailed study of this phraseo-semantic group indicates that phraseological euphemisms, designating human vices and crimes, successfully fulfill the role of mitigating and veiling the actions and behavior of a person condemned by human society both in English and in Russian. The vices and crimes, most condemned by human society, are murder, suicide and drunkenness. In many cases, the prototypes of the phraseological euphemisms under study are built on ameliorative or neutrally evaluated images. It is concluded that the euphemistic function of such units is largely due to the internal form of phraseological euphemisms, namely, their ameliorative or neutral (ambivalent) imagery, which in turn gives the prototypes of phraseological euphemisms a neutral or ameliorative assessment.
The article is devoted to the history of the Bulgaro-Tatar literary language. In the course of studying the history of the Kushan toponym functioning, we suggested our own version concerning the origin of the Tokuz-Oghuz elements in the literary language of the Volga Bulgaria. In previous scientific research, the originality of the Bulgarian literary language was associated only with the influence of the Karakhanids’ literary language. Based on the analysis of a number of historical sources, the work proves that the Toguz-Oghuzes (> Uyguro-Oghuz) penetrated into the Volga Bulgaria from the south-east and mixed up with the local population. The article shares the hypothesis, put forward by J. Almaz, that the “mixed language” of “Kyissai-Yusuf” in the Middle Volga region is partly explained by the possible appearance of Oghuz-Uighurs along with the Kypchaks in the pre-Mongol time. The work proves that the appearance of a significant layer of the Oghuz-Uyghur vocabulary in the Bulgaro-Tatar literary language and in the colloquial speech of the local population is a direct consequence of the Toguz-Oghuzes’ penetration into the territory of the Middle Volga region.
The article attempts to rethink regional and national features of the periodicals in Yakutia, as well as to explore the uniqueness of their language and expressive means. Since the transformation of the entire media sphere takes place in the context of global integration, the regional national media system is changing: the merging of traditional and new media is taking place. In addition, there is a tendency to cover the processes, occurring in ethnic culture, through mass media. The only republican newspaper of the northern peoples “The Ilken” covers the issues and problems of the indigenous population, living in the region. Ethnic publications, such as “Dalbar Khotun”, “Kye”, “Kyym”, “Tuymaada” in the Sakha language have the experience of conducting an interethnic dialogue, thanks to which they are included in the global network space, contributing to the rapprochement of peoples, their mutual understanding, and generating a tendency to preserve ethnic identity and national self-awareness. Since there are two official languages in the republic, newspapers and magazines are.mainly published in the Russian and Sakha languages. These publications are funded either by the state or by commercial, public structures. There are also publications established by corporations.
The purpose of this study is to identify the uniqueness of Yakut periodicals.
As a result, we observe a word-making activity, identify a special custom of the original language in the form of paired words, repetitions, as well as a desire to use idiomatic elements of the spoken language: epithets, metaphors, phraseological units and proverbs. In general, the language of periodicals with its cultural information is a kind of indicator of linguistic trends. This, we believe, affects the literary language of the Sakha people.
The study discusses some aspects of a verbal part of the graphic stories about Makar the Fierce, as a type of a creolized text, written by N. Oleynikov and published in the Leningrad children’s magazine “Yozh” (‘The Hedgehog’) in 1929‒1931. The article shows that graphic stories as a polycode genre demonstrate special type of visual and verbal coordination so that the text of a graphic story depends on its visual part and performs structural and compensatory functions. The text makes it possible to identify the beginning and the end of the story, to expand the temporal and geographic boundaries of the plot using temporal localized and non-localized predicates (usual and repeated actions). The text also helps to make the plot constituent and rhythmic, and to create the entire image of a character (because of unmistakable references and a cinematic trick of voice-over with the help of onomatopoeic words). Moreover, the narrative structure of graphic stories for younger children has something in common with a representative and iconic type of discourse but finds more lexical and syntax complexity so that it would correspond to the children’s communicative ability and, at the same time, improve their communicative competence.
A wedding lamentation, one of the oldest folklore genres, is a poetic improvisation of the bride in accordance with the defined traditional patterns. The article presents the characteristics of appeals in the wedding lamentations of Pinega by means of statistical and comparative analysis. In wedding lamentations, the address has a high artistry, expressiveness and is distinguished by its stereotyped and fixed forms in comparison with the address used in spoken speech. The form of appeals and the response to it are conditioned by generally accepted social conventions. The choice of appeals depends on the presupposition of the speaker about their social relations, and the reaction to the appeal is determined by the presupposition of the addressee. In wedding lamentations, the bride's speech loses its power, i.e. it does not trigger an appropriate action or response from the addressee. This phenomenon is justified by the fact that before the wedding, the social status of the bride is in the process of transition, the established relations of the bride with others are subject to change.
The object of our research is the appeal in Pinega wedding
lamentations, its pragmatic meaning acts as the research subject.
The purpose of our research is to identify the characteristic features of the appeal in Pinega wedding lamentations.
Researching appeals in wedding lamentations makes it possible to see how traditional symbolic practices (ceremonies and ritual speeches) help people adapt to new social roles.
The conducted research is devoted to the complex analysis of a complex syntactic whole, namely, the language units they are composed of, the interconnection of their components, the relationships between the parts of complex syntactic wholes and the expression of their unity.
The purpose of the study is to identify and analyze the types of syntactic relations between the components of complex syntactic wholes, their linguistic features at all language levels, as well as to prove their structural and semantic integrity.
Based on the analysis of complex syntactic wholes, selected by the continuous sampling method from the texts of Tatar fiction and folklore, the article concludes that linguistic features of complex syntactic wholes are activated at the phonetic, morphemic, lexical, morphological and syntactic levels. Taken as a whole, all these linguistic phenomena lead to the unity of the internal and external structures of complex syntactic wholes. Their internal and external structures and the content are closely interrelated. A changing or replacement of any structural component will lead to a reorientation of the emphasis in meaning, thereby changing the entire structure of a specific complex syntactic whole.
Despite the prevalence of research, based on the representation of language and culture as encoded sign systems, this scientific trend has remained relevant over the past several decades largely due to the ambiguity of the concept of the 'linguocultural code' itself. The article studies the flora cultural code in close relationship with the origin and evolution of the forms and types of money. In this way, we reveal the ontological essence of the flora cultural code in the Russian language culture.
The purpose of the paper is to identify the pragmatic potential of the flora code symbolic elements in the Russian linguistic culture.
To this end, we studied folk ideas about the plant and material world both in the historical and cultural context, identified, linguoculturologically described and analyzed the 'flora images' of money in the Russian language.
The cognitive analysis of the meaning-forming language units, which make up one of the basic codes in the Russian linguoculture, determines the relevance of our research.
Russian spells, folk rituals, proverbs and sayings, phraseological units, idioms, literary texts of classical Russian literature, modern fiction prose, and media texts formed the empirical basis of the research. The analysis of the material shows that the Russian flora linguocultural code contains the archetypes of money. It contains the axiological sense of the economic essence of money as a means of exchange and circulation (vegetabilistic money), a means of calculation and payment (usury). Thus, the flora code of Russian linguoculture is considered not only in the semantic aspect (which is the base of the analysis) – but also in terms of its pragmatic potential. Our research involves empirical, theoretical, etymological, linguocognitive and descriptive research methods, the methods of component and contextual analysis, used for the interpretation of meanings, disclosure of the internal form and content of language units – symbolic elements of the flora code in Russian linguoculture.
This article studies non-personal direct speech as a means of artistic expression in modern Russian literature. The text of the novel “Brisbane” by the popular writer Evgeny Vodolazkin was selected for our analysis. The novelty of the research is the study of its expressive syntax. The widespread use of non-personal direct speech in this work allows us to draw a number of important conclusions regarding the place of reception in the space of a literary text. Note that non-personal direct speech helps to convey the attitude of the characters to each other and to the events described, and also reveals the author’s standpoint. Uncertainty, that the words were uttered, blurs the boundaries between what was said and what was not, which transfers phrases into the field of mental comprehension of the world. In some examples, non-personal direct speech is an imitation of the flow of real time in an artistic space, it allows you to convey intonations of live, oral speech within the artistic text. Non-personal direct speech can form a monological and a dialogical unity and serve as a means of informing the reader about the described object. As frequent linguistic constructions that form non-personal direct speech in the novel “Brisbane”, one can name plug-in constructions, rhetorical questions and rhetorical exclamations. In general, the use of non-personal direct speech in the text increases the expressiveness of especially significant episodes and enhances the rhetoric of the statement.
The problem under discussion is the features of metaphorical and metonymic expressions with the English posture verbs sit, stand and lie. There is a growing interest in posture verbs in any language, so linguists are trying to systematize and discover the schemes of their usage depending on the shape and parameters of an object, the stand and surface on which this object is, etc. Metaphorical and metonymic expressions with such verbs require additional and thorough analysis as the criteria for the analysis of the verbs in their direct meaning (i.e. the description of the position in the space) might be applied indirectly. In our research, we try to identify basic source domains, target domains and situations when these posture verbs convey new meanings and to distinguish the structures when the transference from a direct meaning to an indirect one may occur. Based on the analysis of the language examples, taken from monolingual English dictionaries, it is possible to indicate that the metonymic transfer of the verbs sit, stand and lie is situationally limited and leads to their metaphorical transfer. This can be explained by the fact that posture verbs have a long semantic component of ‘animality’ and any changes in the sentence structure may lead to metaphorical and metonymic transfers.
The meanings of distributive repetition as one of the universal semantic types of repetition are represented in modern Russian by the verbs of distributive, cumulative, total, and excessive multiplicity modes of action (Aktionsarts), consistently characterized by different prefixes that introduce their own special actional shades. The study of Ossetian functional-translational correspondences to Russian verbs of the listed modes of action (Aktionsarts) reveals that the meanings of distributive repetitiveness of action are expressed in the modern Ossetian language by a group of multiplicative verbs, which include, along with the meaning of multiplicativity, the elements of distributive meanings. This is a certain part of repeated-reflexive Aktionsart multiplicative verbs, a part of the collective-multiact Aktionsart verbs, the verbs of the total-qualitative Aktionsarts, and also a huge layer of prefixed formations with fæ-, which, in combination with lexical, grammatical, and syntactic means, convey all actional nuances of the distributive nature of the action. It is this part of the Ossetian prefixed verbs that acts, first of all, as an equivalent of the meanings of summation, dispersion, distribution, cumulativeness, effective totivity, excessive multiplicity, and totality, represented in the modern Russian language by the corresponding Aktionsarts. With a complete coincidence of universal aspectual-actional meanings, unique differences are revealed in the degree of obligation and frequency of expressing categorical meanings, as well as in the arrangement of idioethnic accents, reflecting mental characteristics of the linguistic picture of the world.
The study of the ways to designate a universal sign of the action multiplicity in the modern Ossetian language, in comparison with Russian, indicates that multiplicativity, distributivity and iteration, as the main types of monotemporal and polytemporal repetition, are represented in the Ossetian language by several variants - different modes of action (Actionsarts). This fact confirms the universal nature of the content in the named types of repetition, reflecting the general patterns of the world perception by speakers of different languages. By analyzing the potential of the distributive repetition meanings in Ossetian, we reveal, along with a complete coincidence of universal aspectual-actional meanings in the languages being compared, unique idioethnic differences in the combinations of these meanings, in the degree of their actualization, obligation and frequency when denoting the same situation of extra-linguistic reality. Distributive repetitiveness is expressed in the Ossetian language by verbs of certain modes of action - distributive-total Actionsarts, characterized by the prefix фæ-, a part of the verbs of the multiplicative collective-multiact Actionsarts, characterized by the plural form of the name in the semantic part of the compound verb, a part of the multiplicative re-reflexive verbs with complex Actionsarts, the prefix formant of work- - ba-, total-qualitative Actionsarts, characterized by the prefix æр-, etc. The aspectual-actional meanings of these Actionsarts differ from their functionally translated Russian parallels in such nuances that reflect (with the unity of the world perception!) the interpretation of objective entities and the relationship between them characteristic only of the Ossetian language.
The article describes the features of the Brexit lexicon in the English language. The hypothesis of the research stipulates that the socio-political phenomenon of the United Kingdom’s departure from the European Union has generated and developed a unique layer in the English language, reflecting a deep split and contradictions in the British society. So far, the current vocabulary has not been properly examined by linguists and systematized by lexicographers. The paper describes the Brexit lexicon, as well as lexicographic approaches to registering these terms. There has been no lexicographic analysis or dictionary reviewing of the reference books, describing the lexical units of this socio-political phenomenon.
Thus, the significance of the work is determined by the fact that this issue is understudied and the data is original.
The previous research on the Brexit lexicon aims to state the dynamic process of coining new words in the English language and to distinguish key word-formation patterns. Moreover, the researchers note potential challenges for the endusers to understand the semantics of the new terms and compounds. The article examines various media publications on the given topic, online glossaries as examples of volunteer lexicography, registering this lexical layer, as well as the corpus of Brexit – the Brexit Corpus on Sketch Engine platform.
The article raises the issue of a current widespread linguistic phenomenon - the horoscope text. The study of this type of text has begun relatively recently, but the history of the horoscope has several millennia. Until now, the problem of attribution of this speech genre has remained unsolved, since horoscope texts possess the features of several discourses: astrological, magical, prophetic and media discourses. The article studies discursive features of horoscope texts at the semiotic, syntactic and pragmatic levels. From the point of view of semantics, the horoscope is characterized by archetypal images, verbalized in the signs of the Zodiac circle. For the first time, the 13th sign of Ophiuchus, which has been identified by astrologers relatively recently, is mentioned in the article. Nonverbal, verbal and creolized types of texts are distinguished based on the form of presenting the material in the horoscope. At the syntactic level, we consider common stylistic techniques and the structure of sentences in daily horoscopes. The structural organization, as a rule, complies with the functional dominant of the horoscope. The horoscope text consists of two compositional components: a description of the state of affairs and recommendations for further actions. From the point of view of pragmatics, we consider the main horoscope influence techniques, which empower these texts only with informative, but also with suggestive potential within the framework of the media discourse.
The article deals with the issue of etiquette forms of address in contemporary Russia. The change of political regimes in the country has eventually led to the loss of the pre-revolutionary extensive forms of address (your honor, sir, madam, miss, etc.). Later, the Soviet period address comrade disappeared as well. Nowadays, there is a lacuna in the literary language. The common polite form of address is absent, and this leads either to the violation of the norms when addressing a person by gender (man, woman, etc.), or forces a speaker to use various forms of apology when trying to arrest someone’s attention (excuse me, pardon me, etc.). This situation disrupts the effectiveness of communication, it does not allow the address to reveal its communicative potential, lowering the general cultural level of communication. In this respect, the article deals with the notions of ethics and etiquette, speech etiquette and speech act theory. The focus is on the address as an element of speech etiquette and speech act theory, its illocution and perlocutionary effects. The article highlights the notion of responsibility in communication, as it is closely connected with the notions of ethics and speech etiquette. In order to find out which address forms are used, which ones are acceptable and desirable, what attitude to the existing system of vocatives is, and what suggestions to improve it are, an Internet survey was conducted among people, aged 18 to 76, of both sexes and different education levels. The article presents the results of the survey that demonstrate the priorities of the society in relation to the forms of etiquette address and reveal problems, existing in the field of language ecology and culture.
The phraseological units with the -onym component are of particular interest to researchers as its features influence the development of the semantic structure of a phraseological unit and determine its structural, semantic and syntactic features. The semantic and grammatical meanings of the components, constituting a phraseological unit and organizing its semantics, contribute to the development of its meaning or meanings. Modern phraseology studies the features of the phraseological unit grammatical form in order to solve problems in the field of the phraseology development, since this approach allows us to identify structural patterns of phraseological units based on the syntactic units of the language, which are the productive basis for the development of phraseological units. This article analyzes polysemantic process and action phraseological units with the -onym component, taking into account the correlation of the proper name with national culture, namely, phraseological units with anthroponym, mythonym, and literary -onyms. Phraseological units with the -onym are also described according to the correlation type of the verb component meaning with the primary meaning of the phraseological unit. The structural models of the phraseological units with the -onym are classified according to the type of a word combination and a sentence. The article also presents the results of the structural and quantitative analysis of polysemantic phraseological units with the -onym component based on the primary meaning and selected from the Phraseological Dictionary of the Russian Literary Language, the Academic Dictionary of the Russian Phraseology and the Dictionary of Proper Names.
The study explores the problem of interpreting the image of the female protagonist in a fairy-tale. The structure of the images of the fairy-tale characters varies within the scope of its elements, their connections and role in the text.
The objective of the work is to identify linguistic mechanisms that reflect the development of the female protagonist’s image in a fairy-tale.
The analysis is based on the English fairy-tale “Tom Tit Tot”. The findings suggest that the linguistic feature is a key element in the structure of the female protagonist's image in this fairy-tale. The results have identified the author’s nomination as a tool for interpreting the development of the female protagonist’s image based on her self-presentation and from the point of view of other characters. The article specifies her permanent and flexible features in the structure of the image and their functions. While the self-presentation and the author’s presentation represent permanent features, characterizing the female protagonist's image, the forms of addressing her, used by other characters, refer to variable features of her image. Various forms of address, used by other characters, adjust to the transformations of her social roles and show the dynamics of her development. Particular attention is paid to the protagonist’s behavioral qualities, which undergo certain transformations - from carelessness and spinelessness to the endurance and guile, acquired as a result of going through trials.
The article discusses new omens of everyday life that are actively functioning in a number of television series. Our study reveals the main specific features of television discourse as a new telereality, created by the manipulative influence on the consciousness of the perceiving individual.
The purpose of the work is to investigate the main mechanism of formation and functioning of new everyday life omens in television discourse as a special type of signs, containing specifically formulated and structured knowledge about the modern world around an individual.
The article reveals the reasons for a particular form of the TV series organization and substantiates the reasons for the use of everyday life omens as a semantic dominant of the television series “The Blind”. The described paradigm of new superstitious signs, given against the background of traditional structural and semantic constructions, suggests that superstition is becoming part of a contemporary person’s mental space. Our main research method is the discourse analysis of more than a thousand episodes of the series “The Blind”; in addition, we used the method of an open questionnaire conducted over five years. The results of the study indicate that people of different age groups demonstrate increasing interest not only in the series “The Blind”, but also in other similar series.
The article explores the figurativeness of the month lexeme within the framework of the problem of language aesthetics, a promising trend of linguistics.
This lexical unit has not yet been the object of a comprehensive analysis in terms of its figurative potential, which determines the relevance of our topic.
The purpose of the study is a comprehensive analysis of the figurative possibilities of the word month, functioning in the poetic works of the 19th – 21st centuries.
Our research into the figurative potential was carried out with a focus on the concept of N. V. Pavlovich, who justified the idea of the image paradigmaticity. The study is based on the poetic texts contained in the “Russian National Corpus”. We mainly used the descriptive-analytical, semantic-stylistic and quantitative methods in our study and analyzed the poetic texts, in which the polysemous word month is used in the meaning of ‘the disk of the moon or part of it’. Sixteen paradigms have been identified, in which the noun month appears in the position of the left element, or the subject of a comparison. This article presents and describes ten of the most voluminous models, in which the lexeme month is intentionally close to the words related to the concepts of “a living object”, “an organ”, “a tool”, “substance”, “precious”, “light”, “transport”, “a plant”, “food” and “an object”. We have come to the conclusion that the greatest productivity and, consequently, stability is characteristic of the paradigm “month → a living object”. The remaining nine paradigms, considered by us, are less, although highly, productive and stable.
The article reviews the interpretive potential of zoomorphisms as a means of secondary representation of the “fear” concept in the detective novels written by Agatha Christie. Since the “fear” concept plays one of the main plot-forming roles in her works, the features of its secondary representation are the valuable material for a literary analysis. The frequent verbalization of the “fear” concept with the help of zoomorphic metaphors, comparisons and phraseological units is an incentive to classify and analyze the latter and identify the underlying characteristics of their formation. This enables to indicate what causes fear, how it is experienced and to highlight the characters’ features as the subject and object of the emotion of fear in the works under study. The used methods are: a conceptual analysis and the method of cognitive modeling. As a result, we identify zoomorphic metaphors, comparisons and phraseological units, reflecting the cause of the emotion: uncertainty, physical and mental threat; features of the emotion experience: internally and externally manifested panic; the following characteristics of the object of the emotion: spite, cruelty, shrewdness, and those of the subject of the emotion: cowardice, weakness, independence. The article notes that the characteristics, underlying the formation of zoomorphic analogies, create an extended metaphor, in which the object of the emotion is compared with a predator or hunter and the subject of the emotion – with a victim.
Currently, the next wave of culture medicalization, associated with the pandemic, has begun to vividly manifest itself with increasing attention to medicine and to the profession of a doctor. The article systematizes the material on the typology of the doctor images in Tatar literature. The study is based on the works created in the 20th–21st centuries. The image of a doctor is found in the literary works of different genres (poetry, epic, drama) and is most often developed by writers in a romantic way. By virtue of the profession, in the plots of the works, the doctor frequently appears during a crisis, in borderline situations, on the verge of life and death. The writers create the portrait of a doctor by depicting their professional activity, therefore an important place is given to the chronotope of the hospital and home. Masters of the word praise the doctors’ selfless work in the name of saving lives and health of their patients. They care not only about the health of the patients' bodies, but also about the state of their souls. The medical topic is widely revealed in the works of the writers of the post-war decades. In these works, the images of doctors are closely connected with the world of literature and music. Most often, their activities are presented as art under the guise of heroism and self-sacrifice.
The study of the travelogue as a historical source is carried out in the context of representation of the province artistic images, the Volga and Russia. The objects of our research are pre-revolutionary and Soviet guides to the Volga, chosen as a representative tourist destination. The factors that influenced the formation of Soviet travelogues are identified based on the comparison of the techniques of modeling the travel space in the imperial and Soviet discourse. The article discusses approaches to the study of travelogues in modern science and the history of Russian and Soviet guidebooks as a means for representing the socio-cultural space. The article examines characteristic features of guidebooks and travelogues in the early 20th century in the context of their influence on the specifics of Soviet guidebooks as phenomena of mass culture. Key trends in the development of the Soviet guide are identified: standardization, popularization of scientific knowledge, depersonification of the author, emphasis on ideologically soughtafter dominants of urban space. The article highlights the interrelation of the key texts in terms of the problem under study – the guidebooks by N. Bogolyubov, A. Beschinsky, G. Moskvich, V. Gilyarovsky, A. Subbotin and P. Kritsky, revealing the general content and stylistic features of Soviet guidebooks and travelogues of the 1920s - 1930s (M. Gorky, I. Ilf, E. Petrov). We describe the role of the guidebook in creating a new system of cultural landmarks, relevant for the Soviet state and localized in the travel space.
The paper discusses the various methods Paul Auster employs to incorporate historical, social and political realities –invariably having an important role to play in all his works – into his recent novel “4321”, constructed as a genre fusion between a family saga and Bildungsroman. Whatever the narrator tells about his family is meticulously dated and referenced with the facts and flow of American history in the first half and the middle of the 20th century. Auster explores various ways to combine documentary and fictional narratives. Thus, social and political context can be given occasionally as a summary list of newspaper headlines or as a diary kept by a reporter who witnesses and takes part in the described events, doing so either as a private citizen or as an accredited member of the press. The form of representation invariably offers highly personal perspectives on what is happening that multiply and come together to form a bigger picture of the world in action. Auster persistently emphasizes the fictional status of his work by casting characters from his previous novels as actual participants in historical events, demonstrating the important postmodernist concepts of inseparably entwined literature and reality, the blending of incompatibilities, the universality of Text and its game-playing modus.
The article studies the works, written by Fatih Amirkhan, Gayaz Iskhaki, Najip Gasri and others, which are dedicated to famous Tatar theologians. It gives a brief overview of the latest scientific monographs, devoted to the history of Tatar social and religious-philosophical thought.
The subject of the research is the topics and problems of these works, as well as the principles on which the publicists based their evaluation of the contribution that theologians made to the renewal and development of the Tatar nation in the late 19th- early 20th centuries.
The ideology, that prevailed in the USSR until the mid-1980s, ruled out the possibility of an objective study of huge layers of national history and culture, as well as journalism.
The comprehension of this heritage on a fundamentally new basis determines the relevance and scientific novelty of the topic under study.
The article also assesses the contribution of Tatar publicists to the study and promotion of these authoritative theologians’ scientific works and their life paths. Our analysis of the journalistic heritage of F. Amirkhan, G. Iskhaki, N. Gasri and others has revealed that their articles were created in accordance with the concept of the cultural-historical school. The Tatar publicists believed that their work should be a means of transforming national life.
The article is devoted to the concept of “underground writing”, which is new to Russian literary criticism. The authors describe its main features: oral (conversational) oriented trend, free writing without a clear plan, discreteness, inconsistency and narrative eclecticism. The article highlights the first person narration (skaz) and the image of a narrator. We study the social affiliation of the character-narrator through his language expression. Based on the revealed techniques of extravaganza, carnival grotesque, absurdity, satire and phantasmagoria, an attempt is made to identify the type of underground writing in the texts of the prose writer Yuz Aleshkovsky in his pre-emigrant period. As a result of our study of Yuz Aleshkovsky’s early novelettes narrative peculiarities, we have identified a special type of underground writing generally characteristic of the prose of forty-year-olds: oral, based on the effect of a reader’s eavesdropping; freely discoursing on sex; using science fiction, extravaganza; carnivally ridiculing Soviet reality and values; using techniques of grotesque, parody and irony. While analyzing underground prose texts, we spotted the hyperbole of ideologized society, when writers resorted to word creation, quotation thinking, literary allusions, when they chose a marginal narrator with his individual philosophy, the one who would be isolated from society. All these stylistic features of the prose work poetics, by the writers of the period under study, constitute a special, discrete, multi-level, multi-aspect underground writing.
This article focuses on a comprehensive review of Chinese literary scholars’ contemporary conceptions on the genesis, poetics, and typology of sentimentalism in the Russian literary culture of the late eighteenth and early nineteenth centuries. We are interested in five main thematic-typological models of the sought-after perception: (a) Consideration of Russian sentimentalism in the context of the Western European literary process; b) Analysis of the emergence and development of sentimentalism in Russia; c) Study of the system of sentimentalism views as a literary ideology; d) Study of the prospects of Russian sentimentalism in the literature of the nineteenth century and beyond; e) Overview of the problem of the so-called “Chinese sentimentalism” in the works on the history of Western and Russian sentimentalism, including those with a typological comparison of the Chinese understanding of sentimentalism and Western European views. One of the indicators of Chinese reception is the connection of several levels, several points of view, in one problem analysis. Also, of great importance is the simultaneous consideration of the socio-historical, moral-philosophical, and general culturological aspects of the issue in the studies of Chinese scholars. In general, it is this research base that becomes the main one when preparing Chinese philologists for analyzing the work of the major representative of Russian sentimentalism, Nikolai Karamzin. In the article we used such methods of research as: biographical, genetic, psychological, comparative-typological, historical-typological, as well as elements of the systemic approach.
The article describes religious views of the Russian rock bard A. Nepomnyashchiy. Based on the “Bread of the Earth” album, the blog “In hoc signo vinces!” in LiveJournal and the article “Orthodoxy and Rock Music”, the article reconstructs the poet’s Orthodox worldview, examines various aspects of his life and his perception of the world. In particular, it reveals the attitude of A. Nepomnyashchiy to the institution of the Church, to other religions, to the theme of faith in poetic art, to rock poetry and modern “industrial civilization”. The work identifies the possibility of studying the dialogical relationships between Christian culture and rock poetry, and presents A. Nepomnyashchiy’s view of this problem. In the course of this study, we found that in the early 2000s, the journalism, poetry and blog of A. Nepomnyashchiy revealed the rock poet’s well-rounded views on the relationships between Christianity and Russian culture, on the Orthodox Church and on the possibility of the coexistence of Orthodox ideology with protest sentiments, on the modern secular society, “industrial civilization”, other religions and Western culture. We highlight the contrast between the dominant moods in the diary and in his songwriting: in the poet’s LiveJournal simple positive entries prevail, but in the album “Bread of the Earth” eschatological motifs, the motifs of winter, cold, war, alienation and loss of love dominate.
The article reveals the formation of the epic style in the Turkic-Tatar Sufi poetry based on the works of A. Yasavi and S. Bakyrgani.
The relevance of this kind of research is due, firstly, to the little-studied nature of this problem, and secondly, to the need to identify the features of the formation and development of the epic style and its specific features in Turkic-Tatar poetry.
The object of the study is A. Yasavi and S. Bakyrgani’s poetic texts, in which the peculiarities of the epic style are clearly manifested.
The scientific novelty is determined by a different approach to the study of Turkic-Tatar religious-Sufi poetry: in the course of this study, we focus on identifying the features of the formation and development of the epic style, as well as its “national” specifics.
A purposeful analysis of poetic texts, their assessment in content and functional integrity will make it possible to identify new facets both in the works of A. Yasavi and S. Bakyrgani, and in the development of Turkic-Tatar poetry as a whole. Our study found that as early as in Tatar oral folk art, a certain foundation was formed for the formation and development of Sufi literature, and love lyrical poetry glorified divine-earthly love and female beauty. The epic style, as a literary phenomenon, was first outlined in the works of A. Yasavi and S. Bakyrgani. In their works, ethnic motifs are brought to the fore, the humanistic-didactic approach dominates, the main stages and steps on the way to the Almighty are identified, and the religious-Sufi picture of the world is recreated. In the structure of these works, religious and Sufi ideas often converge and seem to be inseparable.
The article studies the intermedial problem of the reception of French 17th and 18th century paintings in the novel “The Artificial Princess” by Ronald Firbank. We analyze the representation of visual material in fiction. The direct naming of the artists Nicolas de Largilliers and Jean-Marc Nattier and the identification of the paintings by Charles André Van Loo and Louis Tauquet, based on pictorial details, determine different forms of representing French paintings by Ronald Firbank. The ekphrasis of fictional and real classic and rococo paintings, the discrepancy between empire style and everyday life in the Princess’s environment reveal other characters’ perception of the Princess, the pretentiousness and irony of her character. The 17th and the 18th centuries are perceived via English decadence at the turn of the 19th–20th centuries. This is expressed in the stylization and pastization of John Collier, Charles Conder, William Morris and Oscar Wilde and their works. The visuality of the Princess’s image is emphasized by means of the ekphrasis of the paintings, portraying historical figures, and the corresponding behavior and emotions of the female protagonist, her perception of the surrounding space and events through color.
The article studies the main and the most interesting part of N. L`vov’s “The Italian Diary”, which is a coherent text with chapters and the author’s notes. The existence of “The Italian Diary” has been known for a long time, but it would not be an exaggeration to say that the theme of the synthesis of the documentary and fictional in the work of Nikolai L`vov has been insufficiently studied so far.
The main tasks of our study are: 1) to analyze the writer’s judgments about European fine arts and architecture; 2) to reveal, based on “The Italian Diary”, the synthesis of the documentary and fictional in N. L`vov’s work.
We begin by examining, in terms of a cultural dialogue, the important remarks of L`vov as an architect: the documentary and fictional elements in “The Italian Diary”. Here, N. L`vоv appears as a professional who vividly presents his architectural ideas and style when commenting on architectural monuments and natural reserves. Next, we focus on the image of L`vov as a connoisseur and aesthete, whose principles are clearly reflected in his remarks about some paintings. In the article, we use such methods of research as biographical, psychological and comparative-typological, as well as some elements of a systemic approach.
The article is a continuation of the scientific conversation about such a specific phenomenon of Russian prose as Russian noir. We explore the phenomenology of Russian noir, reveal genre-style tendencies within this voluminous contradictory phenomenon, attempting to comprehend the nature and origins of this genre-style tendency. Based on various traditions (a mystical novel, horror, psychological detective story, historical novel, utopia, dystopia, fantasy, black detective story, short story, etc.), the article proposes scientific approaches that are productive for studying the nature of the phenomenon, created at the junction of cinema and literature. The trilogy by Alexander Molchanov is investigated against the background of an extensive literary context, which is as close as possible to the genre-style model of noir.
The subject of our scientific interest is the novel cycle of the screenwriter and writer Alexander Molchanov (the novels “The Newshound” (2018), “The Writer” (2018) and “The Scriptwriter” (2018)).
The novel trilogy is examined from the standpoint of artistic unity.
The need to comprehend the genre and style tendencies of the Russian noir in its differential characteristics, including the most typologically close to the aesthetics of noir, determines the relevance of our work.
Following the ideas in the studies (including foreign ones), devoted to the poetics of cinematic noir and the previously tested analytical approach, which has demonstrated its productivity, we focus on the carriers of the genre and its cross-cutting principles that artistically unify the novels of Alexander Molchanov. As follows from the general aesthetic approaches, adopted in relation to noir, such features as its plot organization, the specifics of its protagonist, the special atmosphere, the particularities of the detail and the specific style of storytelling are significant for understanding the nature of the novel noir trilogy. The genre-style analysis of A. Molchanov’s novel trilogy makes it possible to trace the features of the noir transformation in modern Russian literature and to test productive analytical approaches to this phenomenon.
The article systematizes the information on the literary and critical heritage of the Tatar writer Fatih Husni (1908-1996), a master of Tatar prose, “a true wizard of language”. He has written dozens of articles in the genre of reviews, essays, literary-critical articles, creative portraits, open letters to writers, in which he raised the problems of literary creativity and reflected on the essence of the writer’s creativity. Our analysis is based on his collections of works “Uylanular” (“Thoughts Aloud”, 1961), “Ni aiterga? Nichek aiterga?” (“What to Say? How to Say It?”, 1974), “Karurmanga keram” (“I Will Enter the Dark Forest”, 1986). Contrary to the socio-logistical spirit of the Soviet era, F. Husni remained an “aesthete”, a champion of the unity of form and content. He was interested not only in “what” was written, it was more important for him to reveal in his works “how” it was written. The Tatar writer paid great attention to the study of creative laboratories of classics and his contemporary writers. In addition to theoretical assumptions, his works contain many practical tips for achieving the optimal artistic structure of literary works.
The article researches the specificity of Igor Chinnov’s lyrical poetry and highlights its intonational dominant principle and dialogism. We study the way Chinnov skillfully combines semantic and rhythmical intonations within the framework of the same text, so that poetry is naturally born, as a fragment of spontaneous speech. In those rhymes, full of tragic element and reflections on the 20th century discordant vicissitudes, Chinnov uses rhythmical shifts by intentionally destroying the melodic harmony of a regular meter. Chinnov’s desire to turn poetry into prose and his use of the natural speech intonation in such verses is compared with Russian concretists, who had to write poetry in the USSR in the second half of the 20th century by using the language, which discredited itself being exploited by the totalitarian rule when it was used as a tool of manipulation of millions of people. These reflections result in the minimal use of tropes, the use of cliches and quotations, as well as the emphasis on the intonational expression in verse, which means an attempt to create a poetic text by using extralinguistic methods.
Through Byzantium, Ancient Russia appeared to be the direct heiress to Ancient Greece. By studying interactions of these cultures, we study the history of preserving spiritual values significant in antiquity, perceived and rethought by Russian culture: beauty, harmony, calocagathy, eidos and many others. One of the important categories conceptualized by anthological lyrical poetry is the category of plastic beauty as a variant of a special ethical and aesthetic ideal. The article considers the genesis and development of the ekphrasis phenomenon, one of the variants of expressing “plastic beauty”, which from the 18th century was perceived as a phenomenon that arose at the intersection of arts. This phenomenon is analyzed based on the works of poets of various aesthetic views. We study the form of the painting ekphrasis embodiment in the anthological lyrical poetry of G. Derzhavin, K. Batyushkov and A. Polezhaev - an “imaginary portrait”. Owing to ekphrasis, the authors achieve the synthesis of painting and poetry in their poems. Derzhavin sees the ideal of plastic beauty in terms of calocagathy, in the harmony of external and internal, Batyushkov focuses on the earthly embodiment of the ideal of beauty, which contributes to the emergence of erotic motifs. Polezhaev creates an unattainable ideal that can cause pain and suffering to his character.
The article is devoted to the symbolically narrative aspect of A. Solzhenitsyn’s epopee “The Red Wheel”.
The object of research is the image of bread, loaded with historical and ontological meanings.
These meanings aim to depict the decay of the Russian national world. The word bread, in most cases used by Solzhenitsyn in his epopee in its direct meaning, has a concrete historical significance, since it is associated with the bread situation that took place on the eve of the revolution and after it .Historicism is mainly represented “In August 1914” and “November 1917” through the image of the bread noose. It reflects the situation of the bread crisis, one of the tragic milestones of the February Revolution. The metaphysical aspect comes to the foreground in “March 1917” and is related to the image of the bread line. In the system of characters from “The Red Wheel”, this image is inseparable from the demon heroes. It marks the intense flow of black, infernal force, aroused by revolutionary events. According to the writer’s worldview, this flow speeded the spin of the deconstructive red wheel and facilitated the destruction of Russian civilization.
This article studies the psychological function of details and their role in creating a national picture of the world in the novels of Altai writers in the second half of the 20th century. The focus of the article is the formation of psychological prose in the works of prose writers whose aim is a deeper understanding of the social and eventual essence of man. Based on the unfinished novels of Sazon Surazakov and Dibash Kainchin, the article reveals the role of artistic detail in the binary oppositions of “our” and “their” worlds, used to express the contradictory state of mind of the characters and their ideological aspirations. The study represents the psychological detail as the “microimage of the world” through the opposition of “our” and “their” world through the struggle of the representatives of different religions - shaman Karbysh and priest Mikola in D. Kainchin’s novels and through the details of ayil / yurt / hut and the episode of baptising Altaians by Father Makarii in S. Surazakov’s work, demonstrating a fundamental impossibility and unattainability of the spiritual and intellectual closeness of these characters. The studied works reveal significant contradictions in the religious relationships of the inhabitants of Gorny Altai in this particular era (pre-revolutionary and post-revolutionary), showing acute social, socio-religious and political conflicts. The psychological detail contributes to the creation of a conceptual, linguistic and individually-figurative national picture of the world.
The article studies the issue of choice with respect to an explanatory toolkit in a lesson of Russian as a foreign language in the context of the linguistic and cultural theory of the word.
The main objectives of this research are systematization of effective types of comments on linguistic and culturally significant information in the literary text and their implementation in teaching practice during the development of the linguistic and cultural competence of international master’s degree students. Linguocultural competence is understood as students’ ability to use linguistic means with a national cultural component in meaning-
ful communication activities with native speakers.
The article identifies the following functions of the commentary: informing, forming and systematizing (organizing). The choice of information for commentaries is based on the principles of reliability, sufficiency, accessibility, the student’s native language support and the potential of creative use in the process of intercultural communication. The article provides various types of comments on a literary text (linguistic, historical, cultural, literary criticism, etc.), which are used in classes of Russian as a foreign language in accordance with the specifics of the information and educational goals. Commentaries on the literary texts of I. S. Turgenev, I. P. Myatlev and I. Severyanin, united by one precedent phenomenon, became an illustrative material. The article presents a detailed description of techniques for working with poetic texts (the algorithm of a comprehensive analysis: title – composition – theme and idea – details – symbols – visual means), taking into account the peculiarities of the new information used in the comments.
Modern trends in education have affected the system of Islamic education. In this context, Islamic universities are consistently included into the general system of Russian education. They conduct comprehensive research and introduce educational standards, imposing multilevel requirements for the professional training of future bachelors in the system of Islamic education. The article is devoted to the application of interdisciplinary connections in teaching Arabic to students of non-linguistic specialties. The article studies the features of these interdisciplinary connections, their specifics and learning use cases for better acquisition of the Arabic language by students in a non-linguistic environment. It is argued that the disciplines of Oriental and Islamic studies are initially characterized by interdisciplinarity; therefore, the Arabic language and classical Islamic sciences complement each other, facilitating better acquisition of the educational material of all the disciplines under consideration. This article considers the features of interdisciplinary connections relevant to the teaching and learning of the Arabic language, and proposes implementations of these features for the successful acquisition of the Arabic language within the curricula of non-linguistic specialties. These proposals are successfully used in teaching Arabic to students of religious studies and theological specialties.
As far as its format allows, this article, for the first time, presents a system of factors that determines success in mastering the art of musical improvisation in its entirety. The problem of identifying these factors and their system has not been resolved yet, as evidenced by the lack of scientific research in this area. Our conclusions reflect the results of a critical analysis of the theoretical provisions presented in numerous sources and the sum of experiences in learning musical improvisation, based on which the main groups and categories of factors are summarized, revealing their content, structure and features. The results of the study make it possible to conclude that it is necessary to include personal, social, psychological, pedagogical, sociocultural, educational, professional and age status in the system of factors, as well as organizational, pedagogical and methodical conditions, which have a number of specific characteristics and unique content. This system of factors can be used in the theory and practice of learning musical improvisation and contribute to a more effective solution to the problems associated with the mastery of the musical improvisation art.
The problem of teaching Russian to migrant children is widely considered in modern science. Researchers are looking for effective approaches to teaching young foreign speakers in a language environment. The development of such approaches is impossible without the diagnosis of Russian language proficiency of children studying at modern Russian schools.
The purpose of this study is to analyze the results of the diagnosis conducted with the aim to test the Russian language proficiency of firstgraders, foreign speakers, and to identify the language aspects that should be included in the content of teaching Russian as a non-native language in the 1st grade.
To achieve this goal, we used such methods as a theoretical analysis and synthesis of scientific and methodological literature, a diagnostic testing of students and processing of its results using classification and analysis, the method of probabilistic forecasting to hypothesize the need to include specific language aspects in teaching Russian as a non-native language to first-graders. It was revealed that listening skills of first-graders are better developed than speaking. Accordingly, the additional course should include purposeful and systematically organized work on monologue speech, constructed in accordance with the methodological principles of teaching a non-native language. A correction course in the 1st grade should contain such grammatical topics, difficult for foreign speakers, as the gender and case of nouns and adjectives, the past and future tense of verbs. At the same time, the study should be organized in accordance with the functional approach to the Russian language grammar. Since students are proficient in elementary level vocabulary, the lexical material should be selected based on textbooks for the 1st grade. Special attention should be paid to the cognition of Russian culture. The results of the language diagnostics can be used in further scientific research into the methods of teaching Russian as a non-native language, in the creation of teaching materials for children of migrants, as well as in the course “Methods of Teaching Russian as a Non-Native Language” in higher education institutions.
The article examines linguistic properties and the linguocultural value of phraseological units with a floronym component (a component containing the name of a plant) and studies methods and motivational features of the floronym vocabulary nomination. We also explore the symbolic images, underlying this vocabulary, and their role in the formation of the vegetative code of culture. This article analyzes various examples of the floristic component use in the phraseology of the Russian, English and French languages, which makes it possible to draw a conclusion about the similarities or differences in the worldview of different nations, the peculiarities of their cultural consciousness. The article also discusses methodological issues of teaching Russian phraseological units to foreign students, not only in order to expand their vocabulary and develop phraseological competence, but also in order to improve their linguistic and cultural knowledge, as well as their general communication skills necessary both for the professional growth of students and for optimization of communication processes in a new cultural and linguistic environment as a whole. Thus, we provide examples of learning activities, aimed to master phraseological units with a floronym component in classes of Russian as a foreign language and prove the importance of studying this linguistic phenomenon within the framework of this discipline.
The article deals with the phenomenon of code switching in language teaching methods, the issue that has been widely discussed recently in national and foreign publications. Modern approaches to foreign language teaching, associated with the spread of bilingual education, consider code switching as a promising area of study. The article analyzes Russian and foreign research on the problems of code switching in teaching foreign languages: the functional and methodological possibilities of using code switching in teaching foreign languages in modern conditions; the results of our research, aimed at studying the attitude of non-linguistic students to code switching; the real and optimal volume of use of the native and target languages in foreign language classes. An analysis of the theory and practice of using code switching in teaching foreign languages allows us to draw a conclusion about the effectiveness of this approach and the need to develop methods for its use in teaching non-linguistic students.
