The article studies the features and the techniques of conveying culture-bound words in Leo Tolstoy’s novel “Family Happiness”, translated into English by Aylmer and Louise Maude. Such lexical units, also known as realia, do not usually have lexical equivalents in other languages, implying objects or phenomena of material culture, ethnic and national characteristics, customs, rituals; consequently, they require a special approach while translating into other languages. We classify culture-bound words, found in the novel, according to their semantics. These words denote: proper names; everyday objects and routines (places, clothes and headdress, food products, types of activities, distance units, forms of addressing people); religion (religious morality, types of worship and items necessary for conducting church rituals according to the Orthodox calendar); elements of state and administrative system. Based on the analysis, the article identifies the main methods of translating realia into the English language, which include transcription and transliteration in the case of proper names, descriptive translation and selection of a functional analogue with such types of lexical and semantic transformations as generalization and specialization in all other cases.

   Realia, denoting culture-specific objects and phenomena, are included in the structure of the language picture of the world and constitute an integral part of literary text. However, the principles of their translation have not been sufficiently studied to date. The realia that function in the considered work of Leo Tolstoy have not been the object of special study so far.

   The purpose of our paper is to analyze and compare the possible methods of translating realia, related to different thematic groups in the novel “Childhood” by Leo Tolstoy.

   The analysis is carried out using a continuous sampling method based on the translation by Aylmer Maude (1858–1938) and Louise Maude (1855–1939), as well as the translation made by Rosemary Edmonds (1905–1998). The article identifies the main ways of conveying realia in this novel into the English language by the mentioned translators. The research results reveal the cases of complete coincidence of the choice of a word in the translated language, partial coincidence, when Aylmer and Louise Maude use the generalization technique to translate the original unit, while Rosemary Edmonds prefers the lexical addition technique in parallel with generalization. We also study the cases of absolutely different choice of lexical units in the translation of realia.

   The article considers the role of grammatical parallelism in text organization. Grammatical parallelism is defined as a technique that formalizes the structural and semantic correlation of constructions, implemented through the unity of grammatical forms and syntactic functions of related units and supported by repetitions of various linguistic units. For the analysis, we used the texts of Old Russian oratorical prose of the 11^th – 16^th centuries. At the level of organization of syntactic structures, we identified the following ways of including grammatical parallelism in the space of the text: the construction of homogeneous members of a sentence, the chain of predicative units (a period), the complex syntactic whole and the text as a whole. At the level of organization of text composition, we determined the role that the use of grammatical parallelism plays in the design of word series. Words, falling into similar positions of constructions, form a chain of linguistic units that allows the author of the text to express his/her thoughts, expand the ideological and thematic space of the text, and allows the reader to correctly understand the author’s standpoint. The uniformity of adjacent structures, on the one hand, simplifies the construction of the text; on the other hand, it enhances emotionality and allows you to influence the reader or listener. The possibilities of grammatical parallelism in text organization are shown based on various monuments of Old Russian oratorical prose.

   The article analyzes synonymic relations in German banking terminology. German banking system, as one of the basic sectors in modern economy, has its own terminology, which needs to be studied and investigated. We analyze the usage of banking terms, the problem of choosing and using synonyms correctly. For this terminology, the same nomination methods as for the common literary language are used. The definition and the order of synonymic relations in the German banking terminology can lay the foundation for its systemization and standardization. The use of terminological units and the choice of the right synonym are important for effective communication. The article makes an attempt to comprehensively analyze the ways of enriching banking terminology through borrowings, eponyms, abbreviations, polysemic terms and metaphors, and synonymic relations between them. We present time periods of borrowing terms in the banking terminology and suggest a principle for creating synonymic rows, fixing the place of every language item as a reflection of a term’s semantic specificity. We attempt to comprehensively analyze German synonymic relations based on the principles of historicism, systematicity and anthropocentrism. The article describes semantic, syntactic and pragmatic features of banking terminology.

   The article analyzes categorical-derivational and semantic features of adjectives with the suffixes -оват-, -охоньк-, -ошеньк- -ейщ-/-айш-, -ат-, -аст-, -ист-, which are used to express the semantics of ‘intensity’ and are considered as a means of realizing the intensity category in the modern Russian language.

   The relevance of the study is determined by the importance of the meaning ‘intensity’ in the Russian-speaking national community and the insufficient understanding of the role that the word-formation plays in realizing the attributive function of the intensity category.

   Based on the analysis, the article draws a conclusion that in Russian the intensity category is realized by means of two derivational categories: modificational and mutational. In derivatives of the modification category, the intensity is presented in a pure form, not complicated by additional components; while in the mutational category, the intensity of derivatives appears in conjunction with the meaning of objectivity. The modificational category is a direct and more vivid means of expressing the intensity category in Russian than the corresponding mutational category. Moreover, both categories have large semantic information and developed formal structures, which reflect a high degree of their importance in the linguistic consciousness of Russian speakers. The practical significance of the work is the systematization of a significant number of linguistic means, used to express the category of intensity. The article is intended for persons specializing in the field of word formation of the Russian language: derivatologists, young researchers, teachers of philological faculties.

   The article considers the typology of modern Tatar dictionaries, taking into account modern innovative changes in the theory and practice of dictionary studies that occurred in the early 21^st century. Our research is based on Tatar dictionaries, published in the period from 2001 to 2019 and placed on the site of the Tatzet project of the Academy of Sciences of the Republic of Tatarstan. The Tatar dictionaries to be described are subsumed into three groups according to the input language: Tatar, Russian and English. The article addresses the issue of dictionary typology, the problem that has been repeatedly discussed by such scientists as D. Geerarts, L. Zgusta, S. Landau, Al-Kasimi, R. S. Gazizov, F. A. Ganiev, L. T. Makhmutova, M. Z. Zakiev, F. S. Safiullina, A. A. Timerkhanov, A. Sh. Yusupova, K. R. Galiullin, R. N. Karimullina and others. We conducted a detailed analysis of the criteria for the typology of dictionaries, based on the communicative model of lexicography of an anthropocentric nature, the model is built on the interactions of the Compiler, the Text of the dictionary and the User of the dictionaries of the Tatzet project: the Tatar language: a large electronic collection developed by the G. Ibragimov Institute of Language, Literature and Art and the Institute of Applied Semiotics of the Academy of Sciences of the Republic of Tatarstan. The article identifies the aspects of typology necessary for compiling a dictionary, and directions for further work on processing the Tatar lexicography typology in the 21^st century.

   The article discusses ways to determine the endemicy of realionyms. Endemicy is understood as the limitation of the use of lexical units within the framework of a certain communicative environment. Realionyms are words and expressions that are common within a certain area. They also include proper names belonging to outstanding historical personalities, public and political figures, scientists, etc., who played a special role in the formation and development of this area. In onomastics, it is customary to distinguish categories (subclasses) of realionyms: phytonyms, ergonyms, urbanonyms, etc. Realionyms occupy an intermediate position between proper and common names and can be designated nomina realia. In the practice of identifying and describing realionyms, a bunch of environmental and onomasiological approaches is used, which allows, on the one hand, to outline the boundaries of the endemic vocabulary set and, on the other hand, to single out a number of designations for the realities of the surveyed area. The implementation of the environmental approach has a number of limitations: firstly, the popularity of endemic words outside the communicative environment; secondly, the objectivity of their identification, which depends on the researchers’ belonging to autochthons and their understanding of the endemicy of certain designated phenomena; thirdly, the archaization of the endemic register. The endemicy of realionyms should be understood as a gradual value, ranging from absolute to situational. The realionyms’ frequency of use index reveals not their endemicy, but the statistics of their popularity. There are two ways to determine endemicy: collocative and prototypical. The collocative method involves identifying the maximum number of contexts in which the endemic unit is used with a real hyperonym (Tomsk), and the prototypical implies the involvement of endemism in local semantic categories, in the center of which really significant prototypes should be located. When fixing endemicy, a system of labels can be used to mark the relevance of realionyms to the center or periphery of the lexical-semantic field of the endemic thesaurus.

   The article reveals the functional and semantic features of religionyms in the Tatar language. The study focuses on the influence of the Muslim religion and Sufi teachings on the formation of the Turkic-Tatar religious worldview, as well as on the evolution of the Tatar language in general. The article identifies the semantic transformation, acquisition, and functions of religious vocabulary, and the specifics of fixing it in the linguistic consciousness of the Tatars.

   The relevance of the work is due to the need to study sacral vocabulary in its functional and semantic aspects.

   The aim of the research is to study functional features of religious vocabulary in the Tatar language.

   Its scientific novelty is: to show the functional potential of the considered lexical-thematic group according to the data recorded in the Tatar language electronic corpuses.

   The research was carried out based on the factual material from the Explanatory Dictionary of the Tatar Language (2005). As a result, we have proved that the presence of such a large number of religious lexemes indicates that sacral vocabulary plays an important role in the worldview of the people, and, consequently, in their way of life and language. The study has revealed that from the point of view of semantics, the majority of Tatar religionyms are borrowings from other languages (mainly Arabic). They changed their meaning to a certain extent influenced by the worldview and religious beliefs of the Tatar people.

   There are obvious parallels in “The Anatomy of Misery” by J. C. Kenworthy and in “What Should We Do?” by Leo Tolstoy. Both works are critical manifestations of the current state of economic and moral decay in their countries. When in America, Kenworthy became acquainted with Tolstoy’s treatises “My Religion” and “What Should We Do?” Both writers participated in the census in Moscow and in London, and witnessed the life of the poorest population in those cities. In their research works “What Should We Do?” and “The Anatomy of Misery”, Leo Tolstoy and John Kenworthy recognize certain correlations between economic, ethical and religious problems. Both writers hope that the people would critically reconsider their disastrous situation. In “The Anatomy of Misery”, John Kenworthy develops Leo Tolstoy’s idea about the value of production, money, and the earth resources. The writers’ speculations on civilization and progress have much in common. They touch upon such significant issues as labour and property, and express their confidence that property is the source of all current problems and evils. They believe that violence breeds violence, so the only solution of the problem is not a violent revolution or a reform but the people’s moral awakening. Leo Tolstoy’s programme of moral recovery, described in his article “Where is the Solution?” (1900), in many ways coincides with Kenworthy’s programme, described in “The Anatomy of Misery”, about the truth being a beacon of human’s behavior and faith. Like Tolstoy, Kenworthy is sure that economic principles must be guided by moral considerations. Following one of his Russian friends’ advice, Kenworthy sent his book to Leo Tolstoy, who in the year of 1900, wrote a preface to the second and third editions of the book. In Leo Tolstoy’s personal library at Yasnaya Polyana there are thirteen books by Kenworthy in English, some of them autographed by Kenworthy.

   The article is devoted to the first translations of Leo Tolstoy’s works into Korean. Significant historical events that contributed to the opening of the country to the outside world, the rapid spread of Christianity and the emergence of the enlightenment movement in Korea have given impetus to broad transformations in the country. Communication with foreign countries has opened up the world of Western, Russian and modern Japanese culture and literature to Koreans. Christian missionaries introduce Koreans to religious literature, promote active translation activities, and introduce them to Western values. Educators strive to overcome the backwardness of the country by introducing compatriots to the modern type of education, creating a new culture and forming a national intelligentsia. Two powerful currents significantly affect the changes that have taken place in the spiritual life of Korean society. In this atmosphere, the first translations of foreign authors, including Leo Tolstoy, have appeared. Attention to his works is due not only to the tastes of the translators themselves, but also to the spiritual needs of Korean society. Among translated authors, Leo Tolstoy is undeniably popular, he was the first Russian writer that a Korean reader met. The translations, made by Tolstoy’s first translators, Choi Nam Son and Lee Gwang Soo, showed that they perceived him as their spiritual mentor, teacher and accepted his views as a guide to spiritual improvement, seeing his works from a didactic point of view.

   For the first time in literary criticism, the article examines the image of Marya Pavlovna Shchetinina – the epic heroine of Leo Tolstoy’s novel “Resurrection”, representing the ideal female type, which had not previously been found in the writer’s work. We assess various sources of certain Shchetinina’s features: hagiographic motives, images of revolutionaries, etc. By comparing the final text and the drafts, we analyze how Leo Tolstoy selected certain qualities that Marya Pavlovna was endowed with and how the writer worked on the creation of a consistent character of a kind, sincere and self-sacrificing heroine, whose whole life is aimed at transforming the world around and helping others. The article compares two pairs of characters: Nekhlyudov and Katyusha, and Marya Pavlovna and Simonson, analyzes the artistic connections that make it possible to assess their merits and demerits. The character of Marya Pavlovna is interpreted as an epic one – the heroine is fighting not for herself, but for a common cause, she is an example of a warrior maiden endowed with considerable physical and moral strength, fighting for the happiness of other people, for the Russian people.

   This article examines the variants of the artistic embodiment of female images in the work of the Tatar poet Renat Kharis and analyzes his poems created in different periods of his artistic career, assessing the extent of research on his poetry as a whole. The article concludes that this problem has not previously been the subject of a separate study, and the image of a woman in Renat Kharis’s work is differently embodied both in poetry and in his translation practices. Thus, we analyze a number of his poems (“The Artist” (1976), “Zuleikha” (1987), “Tukay’s Love Dreams” (2000), “Kadriya” (2006)), lyrical verses, poems dedicated to the image of the mother (“Flowers for My Mother”, “The Strongest Hand”, “Memories of My Mother”, etc.), and his translations. The research results show that the image of a woman in Renat Haris’s work is multifaceted: it is both a muse and a continuer of the human kind, an object of love and an image of a real Tatar woman. The poet provides a new interpretation of national female images-symbols and the image of the Mother (from the poet’s own mother to the personified image of the Mother-Earth, the Mother of a cosmic scale).

   In March 2019, the Tolstoy Research and Education Center (the official name: “The Center for Leo Tolstoy’s Heritage Studies”) was established at Kazan (Volga Region) Federal University. This event is significant in its own way, given that the name of Leo Tolstoy is associated not just with Kazan as a city,
a point on the geographical map, but also, above all, with Kazan Imperial University, where the writer studied. The Tolstoy Center has some distinctive features: as a structure, it seeks to occupy its own “cultural and ecological” niche. These features are determined, first of all, by the main research tasks that the center faces. Their totality can be narrowed down to one basic direction, namely: the Center aims to study the oeuvre of Leo Tolstoy in the regional context, especially in the context of the cultural and national reception of his works by the peoples of Russia (mainly the Middle Volga region, to a large extent, by the Turkic-Tatar ethnic group). This includes, among other things: the task of collecting and systematizing literary translations of Leo Tolstoy’s works into the languages of non-Russian peoples of Russia and CIS; comparative and contrasting coverage of Leo Tolstoy’s literary connections with regional writers, philosophers and publicists; descriptions of the activities, conducted by regional Leo Tolstoy Schools and their areas of scientific and critical thought (including the understanding of individual prominent personalities’ conceptions). At the same time, the Center will not ignore broader, global issues and approaches in the framework of East-West literary relationships. Thus, of importance are the issues of Leo Tolstoy’s perception of Eastern religious and philosophical teachings, and the understanding of Leo Tolstoy’s worldview and his artistic experiences by Eastern cultural figures (for example, the topic “Tolstoy and the World of Muslim Spiritual Traditions” presented in various vectors and hypostases: “Tolstoy and the Koran”, “Leo Tolstoy and the Classic Writers of the Arab-Muslim East”, “Tolstoy and Sufism”). It should be emphasized that the target setting of the Center is not limited to Leo Tolstoy. Since Leo Tolstoy is the pinnacle and integrative, synthetic magnitude of Russian classical literature, then, logically, all the issues listed above and their study, can be referred to the names of other writers and poets who make up the “golden fund” of Russian literature. The Center is also engaged in special educational projects, public initiatives, and other forms of external organizational work.

   Leo Tolstoy’s novel “Anna Karenina” has been translated into Persian several times. Such attention to the Russian classical text was (and still is) far from accidental. Among the many reasons for such a close interest in it by the Persian reader public, one can single out the “women’s question”. In a Muslim country, to which Iran officially belongs, the position of women in society is linked to the rules of Sharia – a codified set of legal norms, governing the diversity of social relations. A woman, according to Islam, is endowed with a large number of positive rights (contrary to the extremely popular opinion about her complete lack of rights, the inability to decide her own fate, which is caused mainly by regional traditions, called “adats” in Arab-Muslim theology). At the same time, the most important duty of every Muslim woman who is married is her respect for the spouse, loyalty to him, if he really keeps the family hearth and it is not proved in a certain order to the contrary. Hence, it is absolutely clear that the novel, which discusses the burning, ever-relevant issues of marriage and family vicissitudes, cannot but arouse a steady interest among enlightened Iranian readers. Of all the Persian translations, we focus on the translation of Kazar Simonyan, an ethnic Armenian who lived in Iran and spent a significant part of the 1950^s, when the translation of “Anna Karenina” was created, in prison for political reasons (participation in the nationalist antigovernment movement). Translated by K. Simonyan, the book was first published in 1956 in Tehran in in the publishing house “Gutemberg”, and then in a series of “Cheap Books for Everyone”. The article discusses some of the problems of this translation as a literary text: the ratio of accuracy and freedom of expression, semantic transformations, the adequacy of understanding and reflection of Leo Tolstoy’s ideas – in short, everything that somehow refers to the concept of “the originality of the translator’s interpretation”. Since it was impossible to present all the collected analytical material within the boundaries of one article, we have limited ourselves to the pointwise analysis of several episodes from Leo Tolstoy’s work.

   The work of Leo Tolstoy attracted the attention of Kalmyk writers from the first steps of the national literature development. The Kalmyk translators’ interest in Tolstoy’s stories contributed to the further development of Kalmyk children’s literature. Young readers were able to read them in their native Kalmyk language. The high poetry, compositional completeness and simplicity of the plot make each story by Leo Tolstoy instructive and loved by all children. The stories were translated not only by the classics of Kalmyk literature, but also by those who worked with children and taught them their native language. They are included in the circle of reading for children and have firmly occupied a place in school textbooks. Translations of Tolstoy’s works for children are widely used in pedagogical and educational practices. This article is devoted to the problem of the original meaning transformations in the translation of the story “The Bone” by Leo Tolstoy from Russian into Kalmyk. The problem is relevant in connection with the revival of the people’s spiritual culture and the intensification of ethno-cultural processes in the field of mutual enrichment of languages. The article provides a comparative analysis of the sentence structure in relation to the order of words in the original and the variant translated into the Kalmyk language. The article analyzes how the changes in the word order bring about the changes in the meaning of a sentence, as well as the grammatical aspects of the Kalmyk language.

   Religious philosophy and basic Koranic postulates began to emerge in fiction in the ancient period, reflected in numerous plots, themes and motifs of works. Spiritual and moral values of Islam determined the ideological and aesthetic content of Tatar literature. During the Soviet period, religious values in spiritual life were rejected, therefore, their place in literature was significantly reduced, and religious figures were frequently negatively portrayed. The younger generation is raised separated from religious views and Islamic values. At the end of the 20^th century, due to the socio-historical and socio-cultural changes in society, freedom to worship was returned to the people. At the turn of the century, the names of poets and writers who had been previously banned, and their works, filled with religious content, returned to be read and to be studied. From this time on, an active return of religious motifs has been observed in modern Tatar literature. Religious philosophy is strong in modern Tatar prose, poetry and drama has been enriched by works, based on the Islamic religion studies. This article deals with the problem of reflecting moral and ethical norms and religious values in the prose works of Fauzia Bayramova, the classic of modern Tatar literature. Her prose is filled with Islamic values; the characters are tested precisely with a view to reveal their attitude to these values.

   The article studies the originality of the artistic embodiment of Tatar national cultural codes in the poetry of Renat Kharis, the People’s Poet of the Republic of Tatarstan. The elements of Tatar national cultural codes clearly manifest themselves in the multifaceted work of Renat Kharis, their main components being the image of the motherland and one’s native land, national holidays (Sabantuy, for example), national colors (white, green), and national customs. In the work of Renat Kharis, the Tatar national code can be traced through leitmotif images, such as the image of a horse, which is the protagonist of his many verses and poems (the poem “A Tatar Horse”, 2020), as well as the image of the House, which is the symbol of spiritual and moral values of the Tatar people. The artistic world of Renat Kharis cannot be imagined without the images of Tatar cultural figures (poets, composers, artists), to whom special cycles of poetry are devoted. The historical past of the Tatar people, their national symbols, such as Syuyumbika and G. Tukay, are artistically embodied in his large-scale works, in poems, librettos, and are constantly found in other works of Renat Kharis. Tatar national cultural codes make it possible to reveal the organic connection between Renat Kharis’s work and Tatar national culture and literature.

   Despite the fact that the poetry of the outstanding poet and cultural figure of the Tatar people R. Kharis, the features of his poetic thinking, the means of creating literary images, and his style trends have been thoroughly studied by literary scholars, however, his critical and journalistic activities have remained unexplored. This article analyzes the literary and critical articles of the writer.

   The object of the research is his works devoted to the classics of Tatar literature, his contemporaries, outstanding writers of Russian and other Volga region peoples.

   The subject of our study is the problematics and topics of his critical articles, their genre diversity and the principles of evaluating literary work.

   Special attention is paid to the stylistic features and the originality of R. Kharis’s literary-critical texts. The paper evaluates the poet’s contribution to the development of Tatar literary criticism, made by his works, both in the Tatar and Russian languages, which promote the art of the national word and national poetry. We used the hermeneutic approach, semantic analysis, biographical, and cultural-historical methods when interpreting his literary texts.

   This article presents an attempt to answer two interrelated questions: 1) Is it possible to speak of Zakrzewski’s deliberate ignorance of the figure of Leo Tolstoy when analyzing the literary process? 2) Is there a way to explicate the critic’s views on the author, whose work, although having been read, was not included in the circle of his research interests? With the help of the historical-functional, hermeneutic methods and the method of comparative analysis, the article offers a variant of an answer to these questions. Based on Zakrzhevsky’s critical articles, a comparative analysis of such features as “antithetical” and “synthetic” thought, which are characteristic of religious and philosophical criticism, makes it possible to identify the cases, used by the critic to compare the writers and to oppose them. The historical-functional method enables us to single out the facts from the biographies of Leontiev and Tolstoy, which allow us to assert either the similarity or the opposition of the writers. The hermeneutic method aims to explicate Zakrzhevsky’s views on Tolstoy through the analysis of Zakrzhevsky’s statements about Leontiev.

   The article deals with the semantic function of the interaction between natural and everyday images in Leo Tolstoy’s novel “Resurrection”.

   The novelty of the research is due to the fact that for the first time in literary studies, it reveals the problem of the relationship and interdependence of images from opposing spheres: nature and everyday life in the work of Leo Tolstoy.

   This allows us to address the urgent issues of Tolstoy’s worldview of the late period of his literary work, based on the idea of the confrontation between nature and civilization, living life and social conditions that limit it. The article analyzes the key fragments of the novel, which present the adjoining natural and everyday images. The image of nature, as a rule, is contrasted to the domestic environment. This technique of contrast is used by Leo Tolstoy not only to emphasize the unnaturalness of social laws, existing in the Russian reality and the living conditions of the poor, but also to depict the changes in the soul of the main character, Dmitry Nekhludov. The beginning of the novel shows the luxury in which the nobility live, thus distancing themselves both from nature and from God, who appeals to their conscience. The transformation in Nekhludov’s soul is emphasized by the change in the interaction of nature and everyday life. The description of his living conditions fades into the background, the protagonist feels his connection with nature, experiences spiritual elevation and realizes the Divine truth. He overcomes this confrontation between nature and everyday life and defines his life path as an active service to people.

   The article discusses the technology of education in mathematics and literature with the use of modern information technologies (synthesis of scientific and rational forms of knowledge and art, focused on the subjective moment of the world perception). The article presents a fragment of a more general work related to the experience of reading Leo Tolstoy’s fictional works through the use of methods of exact (mathematical) sciences. Leo Tolstoy, as is known, was interested in mathematics. This is evidenced by his biographical data, as well as the literary works of the writer. The article traces the facts of Leo Tolstoy’s use of mathematical material. In addition, of particular interest is the description of horse racing on the Tsarskoye Selo meadow, depicted in the novel “Anna Karenina”. The writer’s statement that the races of horses took place on a circle of “a four–verst elliptical shape” is at odds with traditional mathematical concepts, according to which a circle as a geometric figure is not an ellipse. At the same time, Leo Tolstoy (probably, against his conscious creative will) introduced a new understanding of elliptical forms, which has every right to exist; you cannot call it a gross mistake. We propose assigning the name of Leo Tolstoy to a single closed curve (“a Tolstoy ellipse”) and introducing the concept of the “Tolstoy mathematical proportion”. The authors hope that the name of the new curve will be registered in the “Encyclopedia of Mathematical Curves” as a truly unique case of “an artistic error” that has enriched the field of modern mathematical knowledge.

   The review focuses on the concept of Leo Tolstoy’s phenomenon in scientific works of Vladislav Nikolaevich Azbukin (1932–1999), one of the patriarchs of the Kazan literary school in the 20^th century. Special attention is paid to the “Tolstoyan” section of the lecture course on the history of Russian literature of the late 19^th century, which was delivered to the students of Kazan State University by this wellknown literary scholar in the last quarter of the 20^th century.

   For V. Azbukin, the major tasks in the course of academic and research representation and analysis of Leo Tolstoy’s phenomenology were the following: – general characteristics of the great writer’s personality and his discoveries against the background of global and national literary culture;
– the problem of a dialogue between Leo Tolstoy, his creative heritage and his predecessors, contemporaries and descendants; – a system-oriented and chronological analysis of Tolstoy’s literary career stages from the perspective of his worldview genesis, evolution and typology as a writer-philosopher and enlightener.

   Of great importance is the constant correlation, carried out by the Kazan scholar, between the phenomenon of Leo Tolstoy’ personality and work, and Fyodor Dostoevsky’s discoveries and interpretations. The research is based on the materials from the personal archive of the author of the given article. The article is written in commemoration of the 90^th jubilee of the literary scholar in the year 2022.

   The article is devoted to the problem of stereotypes in the perception of Leo Tolstoy’s gender views. Unlike N. Nekrasov, I. Turgenev and I. Goncharov, Leo Tolstoy was not perceived by his contemporaries and is not perceived today as a writer who glorified the Russian woman. Researchers prefer to discuss only the family theme in the writer’s work, his skill of a psychologist, the creator of female images. Traditional approaches to the consideration of female images in the works of Leo Tolstoy are limited to the conclusions that the ideal heroine of Leo Tolstoy is “a faithful wife and a virtuous mother”, that the writer’s gender views do not go beyond Tolstoy’s approval of Anton Chekhov’s story “Dushechka”, which, as we know, Tolstoy interpreted in a very peculiar way. The main Tolstoy’s ideal was always assigned to Natasha Rostova, the heroine of “War and Peace”, which led and leads to a distortion not only of “a folk thought”, but also of “a family thought”. The article suggests some correction of the established views on Tolstoy’s heroines. We consider the reasons why Leo Tolstoy’s contemporary critics practically failed to notice the image of Princess Mary in “War and Peace”, and also suggest reading the theme “hero and people” in terms of female images in the work. The article proposes a new look at the paradoxical “Epilogue” of “War and Peace”, in which the “family thought” extends to the image of a peculiar Lysogorsky world-community. We consider Tolstoy’s paradoxical approach to the portrayal of the “femme fatale” in the light of his rejection of romantic and other literary cliches.

   The research studies the socio-political views of Leo Tolstoy and Pyotr Nikolaev. The article deals with Tolstoy’s “prophecies” and predictions, which are reflected in his journalistic articles and diary entries. These works and notes touch upon the events of the Russian history in the 20th century: the beginning of World War I in 1914, the inevitability of social upheavals and changes in Russia in the early 20th century, the feeling of Fin de siècle, and the development of militarism along with the emergence of new types of weapons in European countries. We analyze certain features of Tolstoy’s perception of international relations, the revolutionary movement, and the socio-economic progress. The article shows the main features of the outlook of Tolstoy’s follower, the spiritual monist P. Nikolayev, a philosopher, who denied the material conditionality of social relations, social injustice, and violence as methods of achieving political goals. The article emphasizes the consistency of Tolstoy and Nikolayev’s critical attitude to the main events of political history, wars, and revolutions. We reveal the features and essence of the alternative perception of the meaning and goals of the historical development in terms of their world outlook, and the social changes, based on nonviolence and anti-war views.

   The article studies an intellectual tendency in the poetry of R. Haris.

   The relevance of the study is due to a lack of studies that examine the intellectual tendency in the poet’s lyrical and lyrical-epic works, and the need to identify specific features of the intellectual tendency in certain works by Renat Haris.

   The object of the research is poetic texts, in which the intellectual tendency occupies a significant place, and its stylistic and poetic features.

   The scientific novelty of the work is determined by a different approach to the study of lyrical and lyrical-epic works by R. Kharis: the study focuses on identifying the stylistic and poetic features of the intellectual tendency in the poet’s works, as well as the peculiarities of his imaginative thinking.

   A structural and semiotic analysis of poetic texts makes it possible to highlight new facets not only in the poet’s work, but also in the development of Tatar poetry in the second half of the 20^th – early 21^st centuries. The study concludes that the intellectual tendency in the works of R. Kharis has become the basis of a new type of artistic style and poetic thinking. The poet enriches Tatar poetry with philosophical motifs, other stylistic, genre features and imaginative thinking, a new type of a lyrical hero, and transforms it within the framework of a non-classical paradigm.

   The article considers the character of Khadgy-Murat from of the same name story of Leo Tolstoy in the light of the writer’s views concerning the essence and purpose of man. Tolstoy reveals the ontological core of man at the crucial time in Russian History, the time of the Russian conquest of the Caucasus. Khadgy-Murat is a historical person of that time, but Leo Tolstoy is interested in him as a personality. Long before the twentieth century philosophical works, centered around the concept of “personality”, Leo Tolstoy described his legendary character as an ontological element of history. The human fate, as a prevalent factor in Khadgy-Murat’s decisions, becomes a cross-cutting motif of the story. In the author’s conception, Khadgy-Murat is capable of satisfying his imperious ambitions (to conquer Aviary and Chechnya) only in case his own private problems, the problems in the life of his inner self, are resolved. His human qualities make him a legendary hero of the Caucasus. Leo Tolstoy’s Khadgy-Murat is a person of huge vital force, broken up by the will of fate, determined by history itself. Our interpretation of Khadgy-Murat’s character emphasizes the idea that socio-historical circumstances become an emotional and psychological impetus for Khadgy-Murat to manifest his free will that determines him as a personality. It is important that Leo Tolstoy makes his own contribution to objectifying the images “foe-other” in literary texts. He destroys historically complicated image-cliché of a Caucasian that took shape due to the colonial ideology of Russia’s social consciousness.

   The article conducts a comparative analysis of the two novels, named in the title of the article, in the context of understanding a happening as an event in the lives of the characters. In our approach, we proceed from the idea that both writers in their novels about human fates present things, happening in their characters’ living situations, as existential comprehension of an event. Events, comprehended as acts of man, are the essence of his life – that is the main philosophical thought of both novels. We solve the identified problem based on the notion “family”. A textual analysis of the two novels enables us to understand that at the critical moments of our existence, family brings about the need to realize one of several supposed possibilities. These possibilities depend both on deterministic volitional decisions of man, striving for the linear development of his life, and on accidental events, which, being on the “threshold”, may become turning points. At the same time, in their novels, Leo Tolstoy and Fyodor Tyutchev showed that only man himself and his creative power are true reasons for generating events in his real life. This is mostly found in critical bifurcation situations of human life.

   Transhumanism is a philosophical concept that aims to change a person with the help of modern technologies to combat old age and death. The main problem of transhumanism in literature is reflections on the relationship between man and technology. The modification of a person can lead to the appearance of a posthuman, who has abandoned the usual human appearance as a result of the introduction of advanced technologies. The novel “Frankenstein; or The Modern Prometheus” (1818) by Mary Shelley describes the first attempts to create a possible posthuman. Victor Frankenstein’s Monster is one of the first monsters to be classified as a hybrid between organic creatures and technology. Continuing this theme, Jeanette Winterson, in 2019, writes the novel “Frankissstein: A Love Story”, which has not been researched either in foreign or in Russian literary studies. It should be emphasized that Janet Winterson’s novel is not just a remake of Mary Shelley’s novel, but is more like a parody. In the novel, the writer claims that transgenderism is one of the ways to go beyond human nature. This idea is expressed by a transgender doctor named Ry Shelley. The problem that Ry faces is the problem of borderline existence, he is between traditional categories, facing the misunderstanding and disapproval of others. Ry is experiencing a crisis of self-identification, constantly being in a kind of duality – he needs another operation, which he cannot decide on. Jeanette Winterson offers a feminist perspective, criticizing the possible transhumanist future created by men, with sex dolls instead of real partners, cryopreservation, and the possibility of a body-less existence. The writer emphasizes that the ordinary joys of life are much more important.

   “The Diary of a Madman” is the title chosen by two great writers of Russian literature, Nikolai Gogol and Leo Tolstoy to name two of their works separated by fifty years. The title is a primordial element in the composition of a creative work. It is the first level of contact between the reader and the author, the catalytic element that focuses our attention, as readers, from the very beginning of the story. In this paper we will analyse two works, a story and a short story by Nikolai Gogol and Leo Tolstoy respectively, starting from the fact of the coincidence in the title, with the aim of determining their similarities and differences and analysing how the author, through the composition of his text, conditions the reader's perception in each case. For our reader, a student of the Russian language and literature as a foreign language and literature, these initial coincidences are particularly striking. He will see, after analysing the composition, how each author, by means of different stylistic devices, provokes very different reactions in the reader. In the case of Gogol, by resorting to the fantastic; through irony, he achieves a distancing, while in the case of Tolstoy, in a realistic register and with a profound philosophical-religious subtext, he achieves a significant degree of empathy with the reader. As a result, the portraits of the two literary characters are diametrically opposed.

   The article systematizes the material on the extent of research into the dramatic poem genre in Russian literary studies as well as the genre of a poem in Tatar literary studies, and the extent of research into R. Kharis’s dramatic poem “Idegey”.

   The novelty of this study lies in the fact that the article contains information from the history of the creation of this work, and identifies its main genre characteristics.

   The poem is relatively short, and only the culminating events from the life of the characters are put to the fore. The author does not strive to achieve any logical sequence in the presentation of the plot. The article proves that the Tatar poet reinterpreted the folklore plot, which affected the concept of the leading images – Idegey and Nuradyn. The main characters act as carriers of a particular idea. R. Kharis makes the antithesis the basis of the composition. The folklore principle manifests itself both at the level of content and at the level of poetics. The essence of characters is revealed through emotional monologues.

   Hunting has always been an important craft in the life of our ancestors, as the quality of human nutrition, their lives and activities, depended on the skill and accuracy shown during the hunt. The ancient epic is the source that gives an idea of this craft in terms of its ideological, artistic and aesthetic perception. The varieties of its functions are found in different epics, depending on the period of their creation by the sesens-storytellers. Thus, in the archaic epic “Ural-Batyr” a more ancient form of hunting is represented, when, instead of tools and hunting tackle, the heroes used land predatory animals for amphibians and predatory fish for underwater animals. In the epic “Akbuzat”, the hunt takes on more distinct outlines, and the heroes use a flintlock. In “Zayatulyak and Khyukhylu”, this craft is perceived as a ritual of initiation and entertainment for young heroes. In all cases, it performs an important plot-forming, artistic and aesthetic function: the heroes find their personal happiness by marrying girls whom they met in the course of hunting.

   The article examines the vertical connection between fiction and classics expressed in the works of contemporary writers, Nikolai Karazin and Leo Tolstoy. Karazin’s prose becomes a breeding ground for Tolstoy. The social and psychological types of characters in Karazin’s works are transformed into individual characters in Tolstoy’s novels (“Anna Karenina”). The melodramatic situation in Karazin’s fictional plots turns into a reason for anthropological, psychological judgments in Tolstoy’s works (“The Kreutzer Sonata”). Describing the battle scenes, Karazin follows in the footsteps of Tolstoy. All the findings and discoveries of Tolstoy in the depiction of war, man in war (in “Sevastopol Sketches”) are comprehended by Karazin and refracted by him in the context of the Turkestan wars of conquest: the senselessness and spontaneity of military operations, the automatism of man in war, the loss of his moral qualities, while his career, ambitious concerns do not disappear even in the situation of mortal danger. The article presents a comparative analysis of fragments by Leo Tolstoy and Nikolai Karazin.

   The images of the Tatars are not represented in the early works of Leo Tolstoy, although the trilogy “Childhood”, “Adolescence”, “Youth” is largely based on the impressions of the writer’s life in Kazan. In “War and Peace”, there is an episodic figure of a wounded Tatar-Cossack, which is not ethnically clearly identified. It is in the process of working on “Anna Karenina” that Leo Tolstoy’s “turning point” ripens and the images of the Tatars, significant for the writer’s poetics, appear. In Leo Tolstoy’s late work, the ethnonym “a Tatar” turns out to be one of its key elements. This is exactly what this article focuses on.

   The relevance of the research is determined by the modern problems of the dialogue among cultures, Russian-Tatar imagology and literary ways of comprehending the “foe”.

   The purpose of the article is to identify the features of the ethnonym “a Tatar” usage in Leo Tolstoy’s poetics.

   The methodological basis of the research is the synthesis of traditional approaches that have withstood the test of time (historical-literary, system-typological, comparative-historical) and the involvement of relatively new research practices (the opposition of “friend – foe” within the framework of mythopoetics, imagology and postcolonial theories). The methodological principles of these areas are used depending on the specific material and the set tasks. Given, that many of Leo Tolstoy’s late works have a complicated chronology of writing and publication, the structure of this article is determined by the logic of the analysis. The study reveals a deep connection of the ethnonym “a Tatar” with Leo Tolstoy’s poetics and searches.

   The article studies the functional and nominative field of folklore symbolism in the civil lyrical poetry of R. Kharis.

   The relevance of the study is due to the fact that nominative functions of folklore symbolism in the poet’s civic lyrical poetry have not been examined in such depth and scope before, therefore, we need to identify specific features of semantic transformations of folklore images-symbols based on individual samples of civic lyrical poetry of the 1960^s–1980^s.

   The object of the research is poetic texts, in which folklore symbolism, undergoing semantic transformations, occupies a significant place.

   The scientific novelty is determined by a different approach to the study of civil lyrical poetry of R. Kharis: the study focuses on identifying the ideological, semantic and functional originality of folklore images-symbols, as well as their transformations.

   A structural-semiotic analysis of poetic texts, their assessment in ideological-nominative and functional integrity will make it possible to highlight new facets not only in the poet’s work, but also in the development of Tatar civic lyrical poetry of the 1960^s–1980^s. The article argues that the iteration of folklore images in the civil lyrical poetry of R. Kharis has become the basis of a new type of artistic style. Firstly, they act as custodians and disturbers of national traditions in the poet’s work. Secondly, they contribute to the two- or three-level organization of the poetic text, playing the role of subtext, providing their “double reading”. Thirdly, they make it possible to step over the ideological schematism of the Soviet era, expand and deepen both the philosophical and semantic ranges of works. In this way, the poet enriches civic lyrical poetry with philosophical motifs and transforms it within the framework of a non-classical paradigm.

   Metasubject competencies are the invariant basis of the educational process aimed at all round development of the student's personality and their effective activity in various spheres of life. Metasubject competencies help students to successfully acquire new knowledge and skills, as well as to master new methods of the metasubject cognitive activity. However, there is no singular universal definition of the concept “metasubject competences” either in the Federal State Educational Standards, or in Pedagogy. Based on the analysis of the existing approaches to the content of this concept, the author of the article suggests her own definition. Metasubject competencies are integrative skills of students enabling them to use subject and metasubject knowledge, methods of the metasubject cognitive activity and universal educational actions in one or several subject areas, as well as in real life situations. The article defines the methods for assessing the level of the metasubject competence development in secondary school students. The level of the metasubject competence development in 7th grade students was studied by using specially designed tasks. The article reports the findings of the research and formulates pedagogical conditions for the metasubject competence development in secondary schools.

   The work of GabdullaTukay as a multifaceted, brilliant personality, significant in the history of the Tatar nation, is included in the mandatory minimum of the Tatar literature curriculum. In the lessons, much attention is paid to the study of his verses and poems, while his personal qualities, the joys and sorrows of his life remain outside the scope of the students’ attention. Eight formers of Tatar groups have the opportunity to get to know Tukay not only as a poet, but also as a Person while studying the dramatic poem “GabdullaTukay’s Love Dreams” by Renat Haris. The success of the study of this poem depends on
the teacher’s creative approach to planning this lesson, as well as on the quality of the material and assignments for students by the authors of the textbook. The article suggests using the presentation as a means of a short visual excursion into G. Tukay’s childhood and the events that found a deep emotional response in the soul of the future poet in the lesson devoted to the poem. When constructing a conversation, based on the questions from the textbook, we propose to refer to additional fictional (lyrical) literature and present the results as a cluster. The study of the poem’s mythological images presupposes the use of comparative methods of research in the classroom.

   The use of digital resources in the learning process becomes a must for educators who strive to use most current instructional technologies and appeal to the needs and interests of young generations of learners. Currently, teachers are faced with the choice of high-quality digital resources that could be implemented in the educational process, because the success of distance learning directly depends on this. This is especially true when it comes to digital tools for children. Unfortunately, not all educational materials, offered to young children, are developmentally appropriate, nor do they carry much educational value. Therefore, early childhood educators should have a tool that would provide them with a clear guidance on selecting and using the resources that would match their educational goals and benefit their learners’ cognitive, psychological and physical development. Based on the general principles of educational design and the study of Nielsen Norman Group Company, the research team has created an evaluation scale for assessing digital resources for children of preschool and primary school age. This scale enables educators to evaluate existing digital learning resources
for young language learners in terms of content (various tasks for the formation and improvement of speech activities, presence/absence of digital characters, quality of the texts, font), interactivity (animation, games, instructional recommendations for parents, feedback) and form (multimodality of presenting information).

   This article characterizes the case study as an effective tool for the development of metasubject skills of high school students in the English lesson. The research considers various definitions of the case study, variable forms of cases in the projection of educational goals, defines the structural elements of cases and identifies the stages of work with them. The article presents the results of a pedagogical experiment with the use of the case study in the English lesson. This allowed us to gauge its effectiveness. The study developed methodological recommendations and determined the role of the teacher in a foreign language lesson based on the case study. We focused on the choice of the case topics that reveal everyday current problems of society in order to increase students’ motivation. It is experimentally proved that the case study allows us to effectively systematize students’ knowledge in a specific subject area, use the studied material in practice, comprehend real situations and think critically. The main methods of research are the methods of theoretical analysis of scientific literature and Federal Educational Standard II, the method of pedagogical modeling and experimental testing, the method of mathematical and statistical analysis of research results.

   The article explores the methodological problem concerning the improvement of the English language learners’ communicative competence, namely, their ability to choose a target language lexical unit from the synonymous series, the one, which would adequately verbalize the speaker’s communicative intention, and, at the same time, improve their ability to adequately perceive the shade of the meaning, conveyed by a synonym in a specific situation of oral communication, or in a written context. Despite significant research conducted in the field of the relations between sense and meaning (Yu. D. Apresyan, V. L. Zvegintsev, A. A. Zalevskaya, Ch. Fillmore, A. Wierzbicka et al.), the problem of choosing the right synonym remains relevant. Our analysis of the interpretations of English lexical units from the synonymous series “beautiful” demonstrates the difficulty of predicting the associations of a native speaker when perceiving or uttering a particular word or phrase due to insufficient linguistic or culturological experience of the language learner. The ethnospecific nature of the linguistic picture of the world and the worldview as a whole largely determine the meaning of each of the words that make up the synonymous series, and suggest special attention to the culturological component of the learners’ communicative competence. The article examines the conditions that ensure the correct choice of a synonym when verbalizing a communicative intention and its adequate interpretation when perceived by an English learner.