When human society reached a certain historical stage, one cultural phenomenon appeared - religion. The influence of religion on various aspects of social life and activities is undeniable, in particular – its influence on art and literature: we can say that religion determined their aesthetic principles and thematic directions. Despite the fact that in many countries religious institutions are secularized, it cannot be said that religious topics are not reflected in art and literature. In this regard, in our opinion, it is relevant to trace the influence of religion on children’s literature, not only in terms of its ideological and imaginative component, but also in the linguistic aspect, namely, the use of religious names in the texts of works for children. Currently, the key trends in the spread of religious names in Russian children’s literature are hardly studied; respectively, the goal of our study is to fill in this gap in the study of the functioning of religious names in modern Russian. The article gives a definition of the term “religious vocabulary”, delineating its lexical and semantic field, and analyzes religious names found in the works of modern Russian children’s literature. The article presents a classification and determines the activity of religious lexemes in the novel “Yulianna, or the Kidnapping Game” by Y. Voznesenskaya.
The article examines the influence of the Russian language femininity category on foreign-language names of female persons, which we conventionally designate by the term “feminitive”, as these feminitives have no indicators of femininity accepted in the Russian language. We analyze such borrowings as babysitter, hostess and cheerleader, characterized as unique words for Russian grammar, since they, being the designations of women, are masculine nouns. Тhe process of their feminization – the formation of neo-derivatives with the help of the suffixes of femininity, is explained by the law of analogy, according to which isolated forms acquire formal indicators characteristic of the recipient language. To designate new derivatives (neo-derivatives), the article uses the term “neofeminitive” (our term – S. I., E. P.), as they, for the most part, are not represented in the dictionaries of the modern Russian language. Individual lexemes are recorded in such a mobile lexicographic source as Wiktionary. The adaptation of foreign language borrowings is usually accompanied by the appearance of variants. Neofeminitives, motivated by a borrowed feminitive, enter into word-formation competition relations – neo-derivatives with various suffixes of femininity participat in it. The most active derivational processes occur in the language of the Internet communication, which is explained by its behavioral attitudes – democracy, verbal freedom, a tendency to strengthen the gaming content – all these are clearly expressed in neofeminitives’ stylistic effect, high emotionality and expressiveness.
This paper is a part of the scientific project “Tell about God, Speak with God: The Language of Christian Mysticism in Russia – between Russian and Church Slavonic”, which is investigating three translations of the 18th century treatise “About the Divine Hierarchy” by Dionysius the Areopagite: 1) the manuscript of the State Historical Museum, Symon Collection No. 5, translated by Paisiy Velichkovskiy, 2) the manuscript of the Russian State Library, Museum Collection (F. 178) No. 1345, unknown translator, 3) the edition of 1786, translated by Moisey Gumilevskiy.
The aim of our research is to analyze traditional compounds with the derivational element “начал-” ‘begin’ in three translations and define their role in the translators’ dialogue with God. The research results clarify that each of the three texts of Slavic Areopagitica contributes to the family of words with the stem word “началo” - ‘beginning’.
The number of compound words in the family of words prevails, which is typical of religious texts. In his translation,elichkovskiy used nine compound words, which are not used by Gumilevskiy and the unknown translator, but they have five – six other compounds. In the manuscript by the unknown author there are less compound words with the stem “начал-” than in other translations. The presence of words that distinguish these translations and complement not only the investigated family of words but also the linguistic and religious world-image may be connected with the translators’ art of coining new words, or the linguistic features of Greek texts used by them in their work.
The study explores the nominations of drugs, presented on the modern pharmaceutical market, more precisely, it considers non-traditional methods of their formation.
The aim of the study is to analyze specific productive ways that function in this area.
Based on the names selected by the method of continuous sampling from the Register of Medicinal Products of Russia, the paper concludes that pharmaconyms, being a type of pragmatonyms, perform various functions, aiming to attract the attention of the consumer. This leads to the emergence of non-traditional ways of word production: prefixation, based on truncated stems; the formation of compound abbreviated words by arbitrary abbreviation of their parts, truncation of the ending or the middle part of a word, occasional metathesis, the mix of the main ways of word formation, fusion, etc. A common feature of these methods is a tendency for compressing linguistic material and violating word formation norms. The name of the active substance most often acts as a producing base, as the most practically-oriented source of information for a professional consumer - a doctor and a pharmacist. The results of the study can be used in special university courses and seminars on medical and pharmaceutical terminology.
The article discusses the principles and tendencies of language corrections, made by Nikon’s scribes under the leadership of Epiphany Slavinetsky in the Psalter during the preparation of the Moscow (“First Printed”) Bible of 1663 for publication. The scope of imperative corrections, fixed in the Psalter turned out to be wider than the scope of corrections in the New Testament books of the Moscow Bible. In addition to the grammatical positions that were subjected to the book correction in the Gospel texts, some other forms and constructions were recognized as “defects”, requiring correction in the Psalter: the form of the accusative case of plural demonstrative pronouns, the homonymous form of the genitive case of plural “ихъ”, the forms of the genitive case of plural masculine nouns with the inflection -ъ, the homonymous forms of the singular nominative case (such as “врагъ”), the simple preterite in the position of the second person singular, the single target infinitive, constructions with relative pronouns whose case agrees with the word being defined in the main clause. Among the corrections characteristic of the Psalter text, we can find various motivations: aspiration for unification limiting the free variability of the forms from the source text – the Ostrog Bible of 1581, overcoming of grammatical homonymy, reproduction of Greek linguistic models and adherence to traditions. But regardless of the influence exerted by one factor or another, corrections in all grammatical positions demonstrate adherence of the editors to the system of grammatical norms that was codified by Melety Smotritsky and corrected in the Moscow edition of his grammar.
The article studies the mythopoetics of Yuri Buida’s prose.
Its task is to identify the author’s myth that structures the artistic world of the prose writer - it is based on archetypal structures and cultural mythology.
We have revealed the reasons for commonality of Yuri Buida’s fundamentally different texts: his cycle “The Jungle” (2010), the novels “The City of Executioners” (2003), “Blue Blood” (2011), etc. are based on the authorial mythology, on the motif of a harlot city, at the same time, on reinterpreting Hieronymus Bosch’s family history and his paintings, which determines Bosch’s aesthetic code in the writer’s style, embodied in the techniques of the grotesque, hyperbole and absurdity. The article investigates the system of Buida’s characters: it is derived from the nature of space, and each character embodies his myth in a name that unfolds into a narrative in the separate stories of the cycles. We examine the use of narrative strategies in legends and anecdotes, reflecting the genre features of Buida’s work: his works form a textual unity that goes beyond genre boundaries, uniting cycles of stories and novels. Such an unconventional polygenre cyclization constitutes a special mechanism of genre formation characteristic only of Buida.
The paper examines “fiction” and “non-fiction” in John Woolman’s Journal (1774), a spiritual autobiography by a prominent 18th century American Quaker minister. The integration of “non-fictional” traits with attributes of “fiction” has been somewhat underexplored in Woolman scholarship. Employing the approach of historical criticism, the study addresses some of the key characteristics of the Quaker literary tradition and the paramount importance of non-fiction within this tradition. The analysis provides a list of “non-fictional” elements of John Woolman’s Journal: 1) declaration of the autobiographical intention with which the text begins; 2) chronologically organized records; 3) references to historical events, phenomena and people, and to geographic objects; 4) copious quotations from various documents. The “fictional” part of The Journal appears to include the following: 1) careful selection of life facts to include into the text, instrumental in the moulding of the autobiographical “exemplary self” [Banes, 1982]; 2) implementation of a parable form in some episodes; 3) figurative elements in descriptions of landscapes; 4) “emblematic” language of dream narrations; 5) recurring motif of travelling, which encompasses the semantics of “pilgrimage”, “work”, and “journaling.” These findings corroborate the idea of autobiography as a genre able to combine “fiction” with “non-fiction.”
The action of the novel “The Days of Savely” by G. Sluzhitel' is laid at an exact geographical address. The events begin to unfold in Moscow, in Shelaputinsky Lane, in a banana Chiquita box near Savva Morozov’s mansion and the Klara Zetkin maternity hospital. Further on, all the movements of the main character, all the mentioned places are strictly documented and recognizable. Savely is a Moscow onlooker, philosopher and a subtle lyricist. Judging by the type of openness and confidentiality of his conversation with the reader, he is undoubtedly the Alter Ego of the author. But you need to use this definition with a reservation. Gregory Sluzhitel' entrusts his amazing, stylistically impeccable vision of modern Moscow … to the Cat. Savely the Cat is decidedly different from its glorious predecessors – the Hofman’s cat Murr; the Hippo (Begemot), M. Bulgakov’s cat, T. S. Eliot’s cats and the other worthy representatives of this breed in literature. Savely is interested in people’s relationships, their psychology, the mystery of life and death, beauty, and most of all – love. Savely’s worldview, his life story, from the moment of birth to his death are presented in an organic unity of the author’s imagination, based on the accuracy of the document of today’s life and the great author’s talent.
The paper studies the interaction of fictional-documentary aspects in two S. Sokolov’s famous novels “A School for Fools“ (1976, 1977) and “Palisandria“ (1985) published in the USA. We analyze the means and methods of narration, which are very characteristic of Nabokov’s poetics: keywords, stable leitmotifs, associative links, marginal images, the combination of various temporal layers and the author’s subjective interpretation of history. Therefore, the study posed and successfully solved the problem of the possible influence exerted by the poetics of Nabokov's novels on the formation of Sokolov as a novelist. In a comparative analysis of the texts, the conclusion is drawn that, despite the similarity of the poetic elements, the first novel by S. Sokolov is a vivid example of multifaceted typological convergence. While working on “Palisandria” in emigration and having already read Nabokov’s work, the writer aimed not only to create a parody novel of his “Lolita”, but also to put an end to the novel as a genre by grotesquely reflecting in it the main values of the Soviet epoch. In terms of genre, “Palisandria” parodically combines specific features of the later Nabokov novels (“Ada” and “Pale Fire”), representing both a family chronicle, a political adventure-detective novel, and a love-erotic story about the adventures of a representative of sexual minorities. It satirically plays out Nabokov’s theme of incest (a parody of “Ada”), widely uses irony, grotesque, hyperbole, multi-layered parodic intertextuality and other features of postmodern poetics.
This article studies the novelized biography genre based on the works by the famous British representative of the 20th-century female prose.
The aim of the research is to explore the problem of female subjectivity in the two books by M. Spark.
The study is based on the works “Child of Light: A Reevaluation of Mary Shelley” (1951) and “Emily Bronte: Her Life and Work” (1953). The research focuses on the principles of selecting and structuring the materials, presenting the life story of two prominent English writers. Both books focus on the problem of female subjectivity. These texts make it possible to get an idea of the irreconcilability of patriarchal discourse and the behavior model of Muriel Spark’s heroines. The first of the books presents this way out of the accustomed discourse through the intimate sphere that challenges the established canons and determines the exclusivity of M. Shelley in the emotional sphere, while in the second book the emphasis is on the “strangeness” of the heroine and E. Brontë’s philosophical habit of mind, which also goes against the generally accepted ideas about the mental capabilities of women. The problem of female subjectivity is revealed at ideological and thematic levels through the actualization of the idea of the heroine’s exclusiveness. Moreover, a departure from the principle of objec-
tive presentation and the presence of the polyphony technique determine the significance of the stated problem at the structural and compositional levels of the texts.
The article studies, from the perspective of past conceptuality, the modern young adult story based on the works of L. Romanovskaya “The Blind Chicken” and presents a version of the image reception, marked in the collective memory of the Russians in the “dashing nineties”. Our analysis of the work, introducing adolescents to the indicated historical era, shows that the author of the story focuses on verbal and visual signs of the time and everyday experience of the teenager of the 1990s, and the mentioned historical events do not determine the plot and problems of the work. The article suggests that the visual code of everyday life and the “media background” of the era are conceptualized in the story: the image of the “dashing nineties” becomes a symbolic embodiment of the hero’s maturity. The text of the story “The Blind Chicken” by Larisa Romanovskaya allows us to determine conceptually significant markers of the 1990s in the consciousness of a Russian person familiar with the era, those who survived it, that is, to reproduce the image of the 1990s. According to our observations, significant/iconic constructs of the image of the nineties are updated in a Russian person’s language consciousness, including moral (value) characteristics and elements of everyday culture that are reflected in the story “The Blind Chicken”. We propose to conditionally subsume them into semantic classes: 1) proper names from different spheres of life: politics, music, publishing projects, television, cinema, etc.; 2) geographical loci; 3) historical events; 4) realities (attributes) of time, including the realities of everyday culture; 5) language markers.
This article is an experience in analyzing the authorial conception of the formation and development of the statehood in Old Russia, presented in the first volumes (historical and fictional) of Boris Akunin’s project “The History of the Russian State” in terms of a multidisciplinary approach, rethinking of historical chronology, stories of chronicles or historical personalities, presentation of ancient pre-Mongol Russia in socio-cultural and near-political aspects. Some of the author’s personal references, notes, opinions and methods are caused by the needs of potential readers and the current socio-political situation. The original synthesis of history and literature, proposed by the author in a multi-volume work, allows us to consider familiar things from a new angle, to speak about the revival of updated historical prose and of interest in the historical process. A comprehensive analysis of the scientific and literary texts of the work indicates the formation of a new stage in the development of interdisciplinary processes, which made it possible to present a kind of postmodern historical concept of the formation of the Russian state.
The article analyzes the features of the representation of the Soviet literary biographical canon in the modern artistic process. The author notes the extrapolation of the literary canon to the genre of biopic and examines the reasons for using the Soviet literary tradition in modern culture. The article analyzes the genesis and evolution of the features of the Soviet literary biographical canon, pointing out the controversial nature of the biography genre in literary studies, which is associated with the dual attitude of biography to fiction and fact. The creation of a literary biographical canon is considered in the context of the formation of the Soviet culture ideological paradigm, characterized by heroization and mythologization. The study indicates the paradoxical nature of the biographical canon, which requires the idealization of positive characters and their predictability, it presents biography as a type of the character development, revealing a connection with hagiography. The article considers the typology of the characters from the genre of biography, based on the typology of a person’s heroic deeds: a hero of labor (a cultural hero), a hero-warrior, a political figure and a hero-victim. The features of the literary canon representation in modern Russian cinematography are associated with the actualization of two types of heroes: a cultural hero and a hero-warrior. The article indicates a new semantic paradigm of the Soviet literary canon representation, determined by the life phases of the formation and existence of the literary canon in the history of literature, as well as the transition from literary-centricity to visual culture.
The article studies how a historical anecdote becomes not only a source of a dramatic parabola, but also, along with a document, acts as evidence of its time. Edward Radzinsky began writing in the genre of a dramatic parable in the 1970s. History becomes a plot-forming element in his parables. In history, the playwright finds the possibility of a parable paradox and generalization. In Radzinsky’s plays-parables there are always several stylistic layers, several speech discourses. These are: a historical document, correspondence, a diary, literary quotes and reminiscences. One of them is definitely an anecdote; literary and historical anecdotes in “Pushkin’s sense of the word” as L. Grossman wrote in his “Studies on Pushkin” (1928). Translated from ancient Greek, the word “anecdote” means unknown, unpublished evidence. This definition is extremely accurate. Because at the moment of the live functioning of a real historical anecdote, it is perceived as a kind of half-truth. A true anecdote is simply not printable and does not require documentary evidence; this is a hidden episode of the past (E. Kurganov). And in the process of the “crisis of the genre”, the anecdote suddenly becomes evidence of an era.
The article analyzes Vadim Levanov’s play “Romance with Onegin”, based on A. S. Pushkin’s novel in verse “Eugene Onegin” and the opera by P. I. Tchaikovsky of the same name. In the collection of Levanov’s works, the play is placed in the section “Dramatizations”. However, this work can be attributed to dramatizations only conditionally. Viewers’ attention is drawn to the subtitle: “A Game in Four Acts Based on A. S. Pushkin and P. I. Tchaikovsky’s Works”. It is obvious that we have an independent dramatic work, for which Pushkin’s novel in verse, Tchaikovsky’s opera, and many other classical works of Russian literature serve only as source text material, that is, the documents that are connected to each other in a certain way, destroying stereotypes that have developed over many years forming new meanings. Intertextuality appears in the play as an intentional technique, as well as an explicit game with texts and meanings. Vadim Levanov appeals to the cultural experience of his readers/viewers, inviting them to actively participate in the game. He combines many texts, meanings, voices using the musical technique of counterpoint as the central plot-forming device.
The paper deals with the impact of muckraking on of the American writer and journalist Gay Talese’s creative work, based on his literary nonfiction book “Thy Neighbor’s Wife”. This book is one of the most representative pieces of writing in the framework of muckraking traditions in American literary nonfiction of the second half of the 20th century.
The relevance of the article is based on the role that muckrakers played in the formation of the national tradition of fiction and nonfiction synthesis in American literature.
However, the traditions of muckraking in American literary nonfiction have not yet become the subject of a comprehensive literary analysis. We believe the 20th century literature in the USA developed three typologically similar phenomena, which were in close connection with each other: muckraking of the turn of the centuries, New Journalism of the 1960–1970s and New “New Journalism” of the 1980–1990s. G. Talese, in line with other New Journalists, created literary nonfiction, which combined factual documentary basis and fictional means of its representation, following the traditions of muckrakers. We have come to the conclusion that this writer’s work synthesizes such features of muckraking as sensationalism, social orientation, the author’s personal participation in the “investigation” and depiction of urban space peculiarities.
The article deals with a widely used term ghost story which causes some problems in Russian translation, although its understanding is essential for meaningful discussions of late Gothic fiction. In English, this term can refer to three different types of text: a folk narrative about ghosts, a literary story on a similar theme and a kind of documentary prose. All these genres are genetically related to each other. The interest in folk oral narrations generated literary stories in which ordinary people encounter the world of supernatural; they often include a complex narrative frame that presents the figure of the narrator and makes the reality of the story problematic. Later on, non-fiction books appeared, containing allegedly true ghost stories. All the three genres are different not only in function, but in form, e. g., short stories are always full and detailed, for it is important not only to convey information, but also to create a certain atmosphere. In Russian academic tradition there is no relevant terminology, and a mere literal translation would be verbose and would show no difference between the genres. The article proposes to call one of them, a fictional story, ‘a Gothic novella’ because of its structure and its being a part of late Gothic tradition in literature.
A. K. Goldebaev (1863–1924) was a writer and a journalist who spent most of his life in Samara. As a rule, at the turn of the century, many writers were actively involved in the process of creating the media agenda. In this regard, there was a problem of maintaining a balance between fiction and reality.
The purpose of this article is to reveal the extent of artistic distortion of reality, based on the comparison of real newspaper publications and historical facts in the works of Goldebaev, devoted to the “newspaper” theme, such as “Ivan Stepanovich” and “Po ‘Brachnoy Gazete’” [“According to the ‘Marriage Newspaper’”].
Our research is based on these particular works because newspapers are their acting characters. Thus, the protagonist of the first story is misled by the provincial media, and he begins to fight against the public order. The protagonist of the second story dreams of meeting his love and turns to the “Brachnaya Gazeta” for help. The article concludes that the characters in the story are fictional; however, the historical background, against which the events of the story unfold, is true to life. As real as the newspapers, which are minor characters of these fictional works.
The article studies religious discourse in the novella “Running to Light” by A. Yoldyrim (2013) and the novel “Hiҗrәt” (“Exodus”) by F. Bayramova (2017). The authors focus on the fates of Tatar immigrants in Turkey who, in the early twentieth century, left their native Siberia to preserve their faith. The article proves that the religious picture with its system of values prevails in the analyzed works. Developing the chronotope, A. Yoldyrim and F. Bayramova make the arrival of Bukharans to Siberia the starting point of the religious storyline. Through depicting private fates, the authors move towards
showing big history. An important place in the works is given to the interpretation of the concept of “hiҗrәt”. The religious discourse, stated in the titles of the books, is made up from fragments of the Koran surahs, hadith and texts of prayers in Arabic. A significant role is played by Muslim holidays and rituals (Eid al-Adha, funerals, naming, nikah, etc.). Muslim motifs are transmitted through the worldview of the characters of the novels.
The article is focused on the problem of correlation between myth and document in M. Shishkin’s novel “Maidenhair”. The main character-narrator – a writer and an emigrant – uses, firstly, various forms of documentary genres (diary, letter, interrogation protocol) as a way of discursive cognition of reality, an attempt to objectify it. Secondly, these are different cultural myths (biblical and fairy tale stories, images of eternal love – Daphnis and Chloe, Tristan and Isolde, etc.) as universal models and meanings of life. The neomodernist nature of the novel actualizes the mythological as the basis of reality and human consciousness, the inevitability of myth-making, which has both destructive and salvific meanings. Therefore, the use of a more objective and documentary form allows the protagonist to overcome the limitations of the myth, to get closer to the phenomenality of life. However, the translation of consciousness into the text does not give rise to a document-fact, but creates a version of reality accepted as genuine (in this case the document becomes a subjective myth), or deconstructed by consciousness in search of a new version of being. The hermeneutic circle of the writing hero’s knowledge does not stop at the recognition of the mythological fundamental principle of life, there is demythologization of the myth, its constant correction by reality and the creation of a new myth.
The article analyzes the specifics of N. Polevoy’s theme of the feast in historical prose based on the story “Feast of Svyatoslav Igorevich”. The motif of the feast has already been considered by researchers as a kind of cultural language of the “Golden Age” of Russian poetry, a transitional era when the historical consciousness of Russian society was formed and, at the same time, the rhetorical (“ready”) word was gradually destroyed. In this situation, writers and poets turn to the feast as a plot-forming motif, which makes it possible to convey the situation of “the time of one’s life” and the tragedy of a person’s life on the eve of death. From our point of view, the image of the feast, presented as a real process, taking place in real space, can be interpreted as “a place for unfolding meanings”, actualizing the semantics of the ancient topos of the feast, meaning a ritualized exit into the world of freedom and unpredictability. In the story by N. Polevoy the feast of Svyatoslav and his guests becomes a symbolic image of the unity of peoples, different in “national spirit” (Slavs, Pechenegs and Varangians), around one idea. However, when contextualizing the events shown in the story, the image of the feast as a topos reveals its semantic polyvalence, expresses the romantic concept of the author’s story, whose participant in the events is believed to fail to “guess” their true meaning and his/her place in them. Even prophecy, both magical and poetic, cannot be fully understood by man. The feast as an outlet to sacred knowledge turns out to be only an illusion, demonstrating the limitations of a person’s consciousness.
The article deals with the problem of using fact in modern drama. Based on the real impressions of participants in World War I, Asya Voloshina creates a character whose remarks initially set the background of the love and death story of the principal character in the play “The Choir Is Dying”. Gradually, the chorus lines become an important part of the dialogue between the doctor and the nurse. This dialogue allows the playwright to present to the reader / viewer her own understanding of the tragedy of our time. The analysis of the play by Asya Voloshina shows the possibilities of using the verbatim technique in non-verbatim drama and demonstrates its development in modern drama not only to achieve a tragic effect, but also to present the author’s own concept of the world and man in the absence of a lyrical author’s subject and the minimized role of the remark in the play. The use of living evidence of history brings the play about the horrors of war experience closer to the classic works of the twentieth-century Russian literature. This is also proved by the analysis of Asya Voloshina’s tragedy “The Choir Is Dying”.
The article is based on J. Harris’s novel “Five Quarters of the Orange” (2001) and traces the tendencies in depicting World War II in English literature; it examines the problem of the traumatic experience of World War II in modern British literature, as this war was one of the most traumatic episodes of world history. In the 20th century, according to trauma studies, the theme of World War II received a new development in fiction, the writers’ focus shifted from a large-scale description of the war horrors to the private lives of certain social groups, namely children. In her work, J. Harris examines the period of collaborationism, traumatic for France, in the way children, direct participants of the relationship between the French and Germans, viewed it. J. Harris creates a number of “tricks” that help reconcile the reader with the characters’ peaceful interactions with the Germans; the author does it by using traditional narrative techniques: introducing a heroine-narrator, connecting two temporal layers (the past and the present of Framboise Dartigen), as well as using an additional narrative basis in the form of a handwritten book. One of these tricks is the constant narrator’s commentary, explaining her childhood actions and motives. At the plot level, traumatic events are associated not only with the actions of the Germans (for example, violence against Ren-Claude), but also with the actions of the French villagers, who take revenge on the protagonist’s family for their own relatives. Thus, the article deals with the representation of traumatic experience in the novel; moreover, we face various forms of trauma in it. Such multilevel organization of the text allows J. Harris to realize the generally accepted point of view associated with the disfavor of collaborationism at the plot level and, at the same time, to provide an opportunity for a complex and ambiguous characterization of the historical events at the narrative and authorial level.
The article analyzes Vladimir Nabokov’s famous novel “Lolita” from the point of view of its intertextual connections. “Lolita” is studied as a hypertext, that is, a work that has absorbed reminiscences from another work, in this case from the poem “Annabel Lee” by the American writer and poet Edgar Allan Pо. In Nabokov’s novel, there is not only a reference to this poem, but also its direct quotation, the use of the main character’s name, Annabel Lee. The scene of the hero and heroine’s solitary meeting seems to illustrate some lines of the poem. Moreover, the characters’ obsession with the girl and her premature
death are the same. “Lolita” became a hypothetical text, that is, the text that served as a source for borrowing, by the end of the twentieth century. The article explores intertextual connections of the novel with the contemporary works of the Peruvian writer Mario Vargas Liosa “In Praise of the Stepmother” and the Iranian writer Azar Nafisi “Reading Lolita in Tehran”. If the former uses a mirror plot (“Lolita” on the contrary), the latter interprets Nabokov’s novel symbolically, becoming a banner of freedom against religious fanaticism.
The article analyzes B. Akhmadulina’s poems, written in Tarusa in February–March 1981.
The aim of the work is to compare the real life situation and its representation in a lyrical work.
The author suggests that all the poems, created during the poet’s stay in Tarusa in February-March, 1981, should be considered as a single lyrical cycle. The article proves that the parts of this cycle are chronologically (precisely dated by B. Akhmadulina), spatially (the image of Tarusa is found in all the works) and also plot related. According to the author, they consistently unfold the plot, describing the spiritual awakening of the lyrical heroine and the return of the opportunity to write poetry. Much attention is paid to the biographical context, which is used to create the necessary commentary. The study proves that the texts are largely based on her autobiography, creating the effect of diary writing. In the poems, the real life situation of parting with loved ones transforms into a situation of a spiritual hibernation, internal discord and, as a result, the impossibility to create. In this context, the Tarusa space is endowed with healing fairy-tale properties that help the heroine to return the state of inner harmony and gain the ability to express herself in creative work.
The process of dialogization in the modern information society of the early 21st century combines such concepts as speech behavior and socialization of the individual; digital and functional literacy; cultural and historical memory of native speakers; language and the linguistic picture of the human world. The ability to communicate is the basis of the student’s communicative and educational-cognitive competence. This article discusses some general academic listening skills. By “general academic” listening skills, we understand the abilities that act as a certain indicator of individual independence, one’s ability to live in society and the graduates’ readiness for professional activity. The goals of listening include – comprehension, information processing, knowledge acquisition, truth pursuit, communication with the outside world, mutual assistance, participation and involvement with other people in the process of communication. Therefore, the development of listening skills is based on the dialectical method of analyzing the surrounding reality. Since meaningful listening is a form of cognitive activity, we will consider listening as a type of speech activity, in which the “center of responsibility” for the quality of the acquired knowledge is shifted towards the student, towards self-learning. In the course of the Russian language learning, the development of listening skills, hinging on the cognitive approach, in our understanding, is based on achievements in the field of psychology, linguistics, sociology, pedagogy and philosophy. We come to the conclusion that listening skills are generally academic, therefore, the patterns of cognitive thinking are interdisciplinary, functional and cognitive.
The purpose of the article is to analyze the theoretical foundations of systematizing primary school Kazakh students’ lexical skills and substantiate the didactic conditions for developing their lexical competence in the context of the language learning modern paradigm, which includes not only a cognitive but also a functional-communicative way of language learning.
To achieve this goal, the following tasks are solved: to summarize the available theoretical and practical material for structuring and systematizing lexical material in order to use more rational and logical memorizing techniques, identify the principles of the thesaurus minimum selection and the features of its presentation.
The study of the extralinguistic and general linguistic nature of the thematic group and the description of the associative relationships of words in its composition would solve not only the problem of the systemic organization of lexical material, but also consider the thematic differentiation of vocabulary as a linguistic phenomenon. The article concludes that the significance of the cognitive description of vocabulary is based on the use of the thesaurus method and the method of presenting lexical semantics in the frame theory, taking into account the addressee - primary school students, through the use of systemic-functional, cognitive and thematic approaches. In organizing thematic vocabulary, it is necessary to take into account, in addition to cognitive activity, their relatively stable, generalized structures of past experience, which are based on anticipation.
In the coming era of our country’s continuous digitalization, the article highlights the problem of preparing a new generation of Russian language textbooks for general education institutions of the Russian Federation. The Russian language is considered as the highest value of the Russian people’s multinational culture, contributing to the improvement of the primary school students’ intellectual, emotional and cultural level through the formation and development of their theoretical thinking, positive worldview, and traditional cultural values, based on the didactic material of the Russian language textbook addressed to the modern digital generation of students (generation Z).
The purpose of the work is: 1) to describe modern grades 8-11 (generation Z) students as a subject / user of the Russian language textbook: to identify, based on the analysis of the works of neuropsychologists, linguists, didactic teachers, sociologists, and psychologists, their value orientations,
psychoemotional features, life views, long-term plans for professional activities, and attitudes to the digitalization of zetas; 2) to conduct a survey of the Moscow region main school students in order to identify their attitudes to the current paper / digitized Russian language textbooks and study their proposals for creating future digital ones and analyze the written answers of the students to the question: “What topics of the texts would you like to see in a Russian language textbook?”; 3) to develop criteria for the selection and compilation of authorial texts in new Russian language textbooks.
The results of the study are as follows: reliable data on the social and psychological well-being of schoolchildren (zetas), belonging to the digital generation, on their perception of the modern Russian language textbook, and their vision of the digital future, its pros and cons; systematized proposals of high school students for the preparation of new digital textbooks; proposed criteria for the selection and compilation of authorial texts on a thematic basis for Russian language textbooks that meet the challenges of digital time and modern tasks of Russian education.
