The linguistic and aesthetic comprehension of Daniil Harms’s texts should, first of all, be interpreted based on the postulates of avant-gardeism, to which the literary and theatrical group OBERIU belonged – an association of real art. Harms, as the founder and a prominent representative of this group, modeled his own linguistic and poetic concept of constructing literary texts paying fundamental attention to the semantemes of the lexemes absurd, antinorm, abstruse and alogism. We turn to Harms’s discourse and identify the fundamental principle of his life and work – total inversion. Total inversion appears at all linguistic levels, which, as a result, leads to a narrative deviation, the destruction of the actual formation of words and meanings in the writer’s linguopetics. In this regard, it is important to note that the author’s linguistic picture is based on his own socio-political worldview. Harms perceived the reality around him extremely keenly, which is why he created his own artistic world, a world that has the ability to maximally interpret the real one, in which the writer had to exist. In this fictional, unreal world, “the purity of order” comes into action when the reader is invited to forget about the laws of language and comprehend harmony - with the work, the world and oneself.

This paper examines the lexemes of Arabic origin that entered the Russian language via French at different periods of time. The aim of the study is to identify the changes that have occurred as a result of their entry and assimilation into the Russian language. There are insufficient studies of borrowed lexemes of Arabic origin in the Russian language, which accounts for the scientific novelty of our research. The article presents the phonetic system of the Arabic language in comparison with the Russian phonetic system. The existing differences are analyzed based on lexemes of Arabic origin that entered the Russian language indirectly, through other languages, in this case through the French language. These differences are examined based on Arabicisms that entered the Russian language through French. An analysis of morphological, phonetic and semantic changes of borrowed lexemes is provided in comparison with the prototype. We analyze the semantic field of lexemes in the source language (Arabic), in the intermediary language (French), and in the receptor language (Russian). The results obtained showed that the lexemes that penetrate into the Russian language through an intermediary language are transformed, experiencing the influence of the intermediary language.

The article is devoted to the competition of borrowed and native vocabulary in the Russian language in the 18th–20th centuries. The relevance of the study: due to the large number of non-native speakers, the etymological picture of Russian vocabulary is somewhat shifted towards the dominance of internationalisms, characterized by their universality and conventionality in most languages. This fact predetermines a spontaneous transformation of the typical lexical tools of scientific, official business and journalistic speech, and calls for the need to change the lexicographic norms.
Our analysis has shown that internationalisms, denoting already existing concepts, can displace native words, especially in literary speech. The article identifies linguistic patterns in lexical combinability of native and borrowed words, and determines stylistic differences between them. When working with text corpora, we have revealed discrepancies in syntactic combinability between synonyms, which allows us to state the stylistic demarcation of borrowings and native Russian words. Etymological synharmonism and connotation show the way words of different genesis form context. We studied the change in the frequency of native and borrowed words’ usage in diachrony using text corpora.
As a result, we have come to the following conclusions: borrowed words have a clearer semantic orientation in the Russian language; they are characterized by a lower frequency and narrow combinability. We have analyzed the cases of native lexemes’ displacement by foreign-language borrowings from the point of view of their frequency growth dynamics in the corpus. We have determined the average duration of the period, during which a foreign word exceeds its analog frequency of the Slavic origin in book speech – 40-60 years. The results obtained are important for studying the deep changes in society, since we are talking about internationalisms that denote already existing social phenomena or objects.

The article considers the concept of “function” in linguistics as the essence of language which determines its nature. The purpose of the study is to define the main concept of language “function” in linguistics and to identify the invariant function of language in functional linguistics. Language, acting as an instrument of exteriorization both of thinking, knowledge and of consciousness, performs many functions. Thus, monofunctionalists believe that the fundamental function of language is its communicative function, which is a derivative for other functions, subfunctions and epifunctions. The interest of polyfunctionalists is primarily focused on determining the number of inherent functions of language and their hierarchical relationship and interdependence. Today, the question of the concept “function” semantic content in linguistics remains open, since there is no exact definition of the term primarily due to the “multidimensionality” of language itself; therefore, disputes arise in the definition of this concept both between linguistic schools and within the framework of one linguistic circle. On the basis of the conducted research, we give the definition of the concept of language “function” as the essence, the meaning (purpose) of language existence. The function, having predetermined the nature of language, forms both the structure of language and its elements, as well as the connections between these elements. In the process of language “functioning”, linguistic units are selected, which are capable of realizing a certain communicative task (meaning) that the subject of speech wants to achieve in the process of a communicative act. In addition, the article concludes that in the modern linguistic paradigm, which is based on the concept of “function”, the regulatory function acts as an invariant function of language. At the initial stages of the human development, the trigger that provoked the emergence of an iconic instrument for regulation of social interaction was the collision of the “due” and the “given”. In the course of evolution, “regulation” expands its scope from influencing the behavior to influencing the consciousness of a person and society by expanding their “ordinary” picture of the world.

The author’s hypothesis proceeds from the fact that the ethnolinguocultural value code can serve as the basis for translating psychophysiological communication signals of TCM into verbal concepts; with their help signs of the body “behavior” are translated into a specific dialogue of the organism and a person. The purpose of the work is to analytically examine the euphemistic space of the TCM terminology in the interpretative practice of decoding information in TCM. The need to translate terms, representing metaphorical euphemisms of philosophical and linguistic-cultural content, is a serious challenge for specialists who must coordinate different worldviews in order to accurately convey the content. The results of the study are related to the search for new approaches to the postulates and terminology of TCM from the standpoint of communication studies and psycholinguistics, allowing us to analyze the terminology of TCM in terms of the axiological ethnocultural code. We have found that the mythologization of the TCM concepts is due to the taboo and sacralization of the human body physiological processes, which predetermined the use of multiple metaphorization of “the body language” as neuro-psychophysiological communication, expressed through verbalization of the physical manifestation of the body through a euphemistic and metaphorical definition of this physiological problem with subsequent interpretation by a TCM specialist to build harmonization of human communication with one’s body and psyche.

The current article analyzes the sacred vocabulary functioning in the Russian language. Based on the lexical-graphical sources and the Russian National Corpus, we examine the history of the adjective adskii (hellish), which demonstrates typical ways of religious vocabulary desacralization and the juxtaposition of the conceptual meanings of sacred and profane. The diachronic method of research allowed us to trace back the mentioned adjective’s history; the descriptive method, with reference to the written sources first and foremost, helped with the description of this lexeme’s function specifics in different periods of the Russian language development. We used the materials of explanatory dictionaries of different eras to establish the chronological borders of the word’s semantic changes, such as the “Materials for a Dictionary of Ancient Russian” by Izmail Sreznevsky, the “Dictionary of the Russian Language of the 11th–17th” edited by Stepan Barhudarov, the “Dictionary of the Russian Language of the 18th century” and the data from the “Dictionary of Russian Idioms” by Galina Kustova created on the basis of the Russian National Corpus. The most important stages for the desacralization of the adjective adskii are its usage in an uncharacteristic context, as well as the changes in its semantics caused by the similar changes in the semantics of the noun it was derived from. As a result of our research, we have come to the conclusion that the adjective adskii in the modern Russian language serves a pragmatic function of the evaluative intensifier, while saving its figurativeness and negative connotation.

The article analyzes linguistic means by which temporal characteristics are represented in Old Russian and Old Belarusian 15th-century court documents. The purpose of the work is to characterize the verbalization features of temporal characteristics in the 15th-century court verdicts, created in various Russian territories and in the Grand Duchy of Lithuania. To achieve this goal, the following tasks have been solved in the work: 1) the means of representing calendar and descriptive time in the 15th-century judicial texts have been characterized; 2) the similarities and differences in the use of various verbalization means of time characteristics in Old Russian and Old Belarusian texts have been revealed. The relevance of the work is determined by the fact that a comparative study of judicial texts can clarify the development features of business writing in two closely related East Slavic languages. The descriptive and comparative methods are used in the work.
We have established that the similarity of the considered texts in the use of linguistic means, characterizing time, is manifested in the presence of identical constructions denoting the date and the use of such adverbs as потом (later), ныне (now), the adjectives давний (long-ago), извечный (eternal), the nouns год (year), лето (summer), день (day), the adverbial participial constructions отходя сего (leaving this) / того света (of that world) and verbs in the past tense. Local differences are determined by the use of different lexemes denoting the terms of judicial actions and court sessions, the mandatory indication of the document compilation date in Old Belarusian texts and its optional nature in Old Russian texts, and the presence of time-rich segments in Old Belarusian texts.

The composition, structure and subject of philological sciences were different in different epochs, so were their names. This is important to know in order to properly understand the state of the scientific theory in the period under study. The system of modern philological sciences, which is based on the division into sciences of language and sciences of fiction, was formed at the beginning of the 19th century. It differs significantly from the system of “sciences of language arts [slovesnost]” created by Mikhail Lomonosov in the second half of the 18th century. It represented a slightly modified late antique trivium of grammar, dialectics (logic) and rhetoric, which, together with the quadrivium of mathematical sciences, was part of the classical cycle of “seven liberal arts”. This cycle presupposes a certain sequence, a method of teaching sciences (arts) relevant in Lomonosov’s epoch: “sciences of language arts [slovesnost]” (trivium) were the first stage forming the speech and thinking skills of a linguistic personality. The article analyses the content, subject and names of each “science of language arts [slovesnost]” in the second half of the 18th century, starting with Mikhail Lomonosov, and traces the development and modifications of Lomonosov’s trivium and the names of sciences in his followers’ works, from N. Kurganov to I. Davydov, up to the 1840s.

The article analyzes the semantics of photo-participants’ nominations, the principles and reasons for their distribution in Russian and English versions of the photographers’ institutional discourse. We assume that the analysis of photo-participants’ nominations is relevant, because it reveals the socioprofessional and status-role relations of the communication participants by means of creating units using the associative ability of words. Moreover, it indicates emotional-evaluative relations within the institution of the photo activity participants and a linguo-creative potential of the communicants. The result of the study is a classification of nominations, based on the denotative macrocomponent, which made it possible to identify groups of photography subjects, demonstrating 1) complementary signs of professionalism and social status; 2) certain brands of photographic equipment; 3) certain events, objects and locations. The photographed people are represented by a group of nominations classified according to their professional criteria, events or emotions. The connotative macrocomponent indicates a socio-professional confrontation expressed by a dismissive, derogatory or abusive seme. The mechanisms of semantic transformation, when creating nominations for participants in the photo process, are diverse and actualize images, both obvious and difficult to identify and interpret. The appearance of the photographers and other participants' nominations in the photographic process is due to extralinguistic (to give designations for persons performing new activities) and intralinguistic factors (inconsistency of the existing nomination with the requirements of communicants).

This work is carried out within the framework of anthropocentric linguistics, which focuses on the “man in language”. The main purpose of the study is to reveal specific ways of identifying men and women images in the modern female linguistic picture of the world. The research is based on the fictional discourse of Olga Slavnikova and Sarah Hall, contemporary female authors of Russian and English literature. The comparative analysis of the two pieces of discourse helps to reveal the individual characteristics of the female authors, as well as the national characteristics of the two linguistic worldviews. The novelty of this work is the first identification of men and women images from a female point of view. The study revealed that in the modern woman’s linguistic picture, the images of men and women differ from the established stereotypes due to their negative assessment and degradation of images. In lexical-semantic terms, female authors use various methods, the most active being connotative tropes and evaluative adjectives. The authors often refer to the zoomorphic image when identifying themselves and representatives of the opposite sex, and the assessment of a man is given through his comparison to a woman. To achieve the goal, the following methods were used: the descriptive, comparative, contextual methods and the stylistic analysis.

The lexicographic portraiture method can help in implementing a comprehensive project of a functional-semantic description of the modal verbs system in Scots. The integrity principle of the lexicographic description of a word can be successfully implemented on Scottish material due to a wide “line” of dictionaries of Scots, despite the total lack of its codified standard variety. The historical and etymological constituent of the lexicographic portrait of words, including modal verbs, is of independent significance. In this regard, it seems possible and necessary to describe this group of verbs in the light of the integral principle precisely by considering their origin and family relationships according to the data of the corresponding dictionaries. The article characterizes, on the basis of lexicographical sources, the general picture of the modal verb “can” origin and historical development in the Scottish language. Based on the material of historical, etymological and dialectological dictionaries, we obtained a general picture of the verb “can” existence in Scots during the period from the 14th to the 17th centuries. The most reliable and complete historical information about the lexeme “can” is provided by the DOST dictionary, based on material from the Scots language corpora. The use of “can” as a modal verb, according to this dictionary, is already observed in the text of the poem “Bruce” (second half of the 14th century). According to the data of the examined dictionaries, it is also possible to add to the lexicographic portrait of the verb “can” the fact that in Scots, like in English, the semantics “to be able to” and the functions of the modal verb itself began to predominate, which is not a differential, but an integral feature of both languages.

On the one hand, the memoir heritage of Nadezhda Yakovlevna Mandelstam turns out to be a significant source for studying O. Mandelstam’s literary heritage; on the other hand, it reveals unique linguistic examples that help identify the idiostyle of the writer herself. It is interesting that N. Mandelstam was not only the wife of a prominent poet, but also an elitist linguistic personality; therefore, her texts are characterized by artistic storytelling, deep reflection and intent attention to details. These and other characteristics of the memoirist’s text encourage a thorough study of her works, in particular the first book, “Memoirs,” and the second, “The Second Book.” The memoirs of N. Mandelstam are not only a story about the life of a person living in the twentieth century, but also an attempt to preserve the memory of the writer’s contemporaries who, as well as she did, had to go through a series of severe trials. The article considers the methods of the author’s self-identification, presented from a linguistic point of view, in N. Mandelstam’s ego-documents. The specificity of Mandelstam’s works allows us to highlight several features of “female” writing, salient for the memoirist.

The paper considers the use of demonstrative pronouns sei and onyi in the treatise “The History of the Present State of the Ottoman Empire” (the manuscript of the Academy of Sciences Library, No. 31.3.22), translated from Italian into Russian by P. Tolstoy at the beginning of the 18th century. The purpose of the study is to determine the principles Tolstoy was guided by when choosing a particular pronoun and the facts that could have influenced his translation technique.
We have determined that some regularities could be found: for instance, Tolstoy preferred to translate Italian proximal deictic pronouns (questo and etymologically proximal ciò) using sei, while quello, a distal deictic pronoun, was translated using onyi, which indicates that the pronouns retain their ancient meaning, although they are not opposed as a means of anaphora either in the Russian or in the Italian text. However, when there is no demonstrative pronoun in the original text, of the two pronouns Tolstoy preferred to add onyi in the anaphoric function and sei in the common deictic expressions preže sego ‘before’, vyše sego ‘above’ and niže sego ‘below’.
While the manuscript was being prepared for publication, some grammatical corrections were made; in general, it did not concern the pronouns sei and onyi, except for one fact: the inconsistent replacements of onyi with tot when the pronoun related to a subordinate clause. The change, in our opinion, could be explained by the features of the Russian demonstrative pronouns system: since at least the 14th century up to the present time, this function has been performed by tot. Having appeared in this role under the influence of the Italian pronoun quello, the pronoun onyi, which consistently performs this function in Italian, in the eyes of the editor, was to be replaced.

This paper completes the study of the synaxarion redaction dedicated to St. Alexander of Svirsky. At the moment, I know three manuscript and one old-print editions. The focus of the paper is a brief history of each edition. For the 1st redaction, an additional source has been found - the synaxarion redaction of Varlaam of Khutynsk. The 2nd, 3rd and Early Printed Synaxarion redactions have the Menaion redaction of the Lifе of Alexander Svirsky as their source. All of thеm appeared independently of each other, none of the manuscript redactions was used in the compilation of The Early Printed Synaxarion redaction. All titles are given according to the dates of the manuscripts, in which they were found. The third edition, preserved in a single copy from the collection of the Russian State Library F. 37, No. 194, greatly damaged, has been partially reconstructed. This manuscript is a Prologue, which differs in composition from the known manuscript and The Early Printed Synaxarion redactions. It is clear from the inscription that for some time this Prologue was in the Alexander-Svirsky monastery courtyard. A preliminary examination revealed a group of texts known only from this manuscript or rarely spread in the manuscript tradition of the corresponding hagiographies. It is quite possible that all of them were created for this complex. All four Synaxarion Redactions have been prepared for publication in the appendix.

The article analyzes individual authorial new-formations from the collection of stories “The LowSpeed Barge ‘Nadezhda’” by Evgeny Popov. The work presents a comprehensive analysis of the writer’s occasionalisms from the point of view of their semantic content, word-formation structure, functions performed and stylistic coloring. As a result of the study, We have established that the author’s neologisms are created mainly using traditional methods of word formation, which include prefixation, suffixation, confixation, addition and its varieties. Linguistic units, created by non-traditional means, are rare. We are mainly discussing phonetic occasionalisms. As for functional features, Evgeniy Popov’s occasionalisms can perform nominative, aesthetic, stylistic and emotionally expressive functions. These functions are in one way or another connected with the language game, or game function, which occupies an important place in the author’s work. In general, we can say that in Evgeny Popov’s novels, occasionalisms were created with the aim of attracting the readers’ attention, involving them in a game and making the stories more imaginative and expressive. This also explains the transparent derivational structure of individual authorial new-formations, which in most cases allows the reader to easily interpret the author’s intention.

The article considers derived substantives in terms of ethnolinguistics, they serve as designations of the Russian house “cloth” decoration elements. The purpose of the work is to identify and describe lexical and word–formation semantics, typical word-formation models, as well as the internal form specifics of outdated household names. The study has found that the use of various nominative techniques, and above all, morphological methods of word formation, indicates that the objects of naming are involved in the sphere of social and everyday relations, their names reflect familiar to the Russian ethnic group view of things and their interrelationship. The semantics of such words focus on associative signs and representations related to spiritual, social and industrial activities of native speakers. The considered wordformation models and the range of word-formation meanings (of a concretizing or, conversely, generalizing type) allowed us to take a fresh look at the process of lexicalization of the internal word form and characterize the formation dynamics and the entry of a nominative unit into the vocabulary of the language. The derived names of artifacts, their semantic and linguistic-cultural features, as well as idioethnic labeling confirm the fact of the word formation selectivity. The subject’s signs and properties most relevant for linguistic consciousness are subject to lexical transformation and modification, which indicates the pragmatic orientation of nominative processes. The obsolete derivative words, being designations of the realities of material culture, allow describing the national and cultural originality of the lexical, semantic and derivational space of the Russian language.

The article analyzes the functions of the concept leader based on contemporary Russian-language business discourse. The objectives of the study are to describe its essential semantics and to identify the place of this concept in the system of key concepts of business media discourse, as well as its main and secondary functions. Being a universal socio-political concept, which is characteristic of different types of discourse and world views and used to comprehend various spheres of social life, the concept leader is easily adapted to the needs of business media discourse. In business media discourse, the analyzed concept both serves as a tool for comprehending social reality and performs a number of additional functions, specifically, the function of providing coherence to the world view of business media discourse, reflecting a wide range of phenomena and events in economic, political, social, cultural, sporting and scientific life. The concept leader predominantly represents the subjective layer of the business world view, but in some cases it acquires objective semantics. The article pays special attention to the interaction, including the implicit one, of the concept leader with the business world view attitudes (agonality and shop solidarity) and other key concepts of business media discourse (company, struggle, competition, business environment, etc.), which seems essential from the perspective of conceptual modelling of business media discourse and the business world view as a whole.

In the process of analyzing the works of English writers, we came to the conclusion that two types of gentlemen can be distinguished: “an Englishman” and “a Briton”. The proposed typology is based on the reflections of J. Fowles on the conflicting identities of the island’s inhabitants. In their novels, Ch. Dickens and Th. Hardy, with all the differences, created a classic image of an English gentleman, possessing such basic features as amateurism and rejection of professionalism, adherence to the norms of the moral and ethical code, the etiquette, a special attitude towards a lady, etc.
Sherlock Holmes from the stories of A. C. Doyle can be seen as a transitional character, representing the image of a gentleman-Briton. For him, the prestige of the state is of great importance, so the political component is included in his activities, remaining on the periphery of the amateur detective’s interests. The image of a gentleman serving exclusively the political interests of Great Britain appears in Ian Fleming’s James Bond novels. Traditional, even archetypal features of a gentleman in this image are found in the usual gentleman’s attributes: his attractive appearance, the membership in a club, his loyalty to duty and devotion to ideals. But the professionalism of the counterintelligence officer and his lack of amateurism, as well as an ungentlemanly attitude towards a woman allows you to see him not as an Englishman, but as a Briton.
Christopher Banks, the protagonist of K. Ishiguro’s novel “When We Were Orphans”, has been dreaming of becoming a “true Englishman” since his childhood. But the certainty that the fate of the world depends on him makes us see him as a Briton. His returning from the line of military conflict between Japan and China forces Christopher Banks to reconsider his position and return, although not completely, to the lifestyle of a gentleman-Englishman.

The article analyzes Vardvan Varzhapetyan”s (born in 1941) novel “The Smell of a Wild Rose” (1974–1978), a biographical narrative about Omar Khayyam, the medieval Persian thinker, mathematician and poet. The novel is part of a trilogy about writers from different national cultures and historical eras: in addition to O. Khayyam, V. Varzhapetyan artistically recreated the images of Li Bai (“The Traveler with a Candle”, 1981–1984) and Francois Villon (“The Ballad of Fate”, 1978–1981). There are practically no literary works studying the named text (as, indeed, the entire trilogy). This determines the scientific novelty of the article. It clarifies the genre nature of V. Varzhapetyan’s work and traces the mechanisms of O. Khayyam’s image embodiment through the ratio of documented factual and aesthetic (imaginary) elements; discusses the issues related to the ways of conveying the oriental flavor in the work (“oriental style” as a component of poetics); draws attention to its structural plan (a compositional ring as one of the techniques for coupling episodes and chapters). In the novel, O. Khayyam is not just a cheerful reveler, a regular of drinking establishments. He is a man with a subtle, receptive soul, suffering from the imperfections of the surrounding world, from the evil spread in it in the broadest sense of the word (ranging from ignorance and bad taste to the horrors of violence, murder and deception). It reflects the “Mozartian” context of a creative personality’s fate: on the one hand, the ease of acceptance of being (hence the game motif of the Khayyam model of everyday behavior), on the other – the tragedy of the situation arising from the inability to fully realize good intentions, to purify the world from the filth of total recklessness. “The Smell of a Wild Rose” (the symbolism of the name is obvious) is the novel version of the universal “matrix” of human life as an eternal search for truth and beauty, set out on Iranian cultural material.

The article provides a comparative and contrastive analysis of Leo Tolstoy’s essay “The Buddha” in Tatar and Persian translations. We briefly describe the history of “The Buddha” creation and characterize the Tatar translation of Leo Tolstoy’s work, made at the beginning of the 20th century, as well as the Persian translation, carried out much later. In addition, in a concise form, we present creative portraits of the Tatar and Persian translators, providing their biographical data. On the one hand, the conceptual and substantive “core” of the article reflects the need to highlight, based on textual examples, the history of Tatar and Persian appeals to Leo Tolstoy; on the other hand, it seeks to understand the strategy of translation skills oriented towards the exact rendering of the Russian original. Both translations can be classified as adequate. At the same time, in some cases, there is “subjectivization” of Tolstoy’s philosophical-religious and figurative-literary wording, due to the fact that the translators belong to the area of Eastern spiritual and cultural traditions. The article identifies some particular research problems. In the Tatar part, they are associated with the importance of studying the life and work of Nazip Khalfin (1886–1937), the translator of “The Buddha” (there is still very scarce information about him). In the Persian part, similarly, it is necessary to collect and systematize information about Arbob Rukhi (1914–1973), a figure of Iranian culture, the translator of “The Buddha” (and other works of Russian and Western classics). The gaps in their biographies and oeuvre are due to the historical events. In one case, for Tatar culture, they were caused by the tragic circumstances of the October Revolution of 1917 (repressions against the Tatar intellectual elite, anti–Muslim propaganda, the change of the Tatar alphabet); in the other, by certain ideological “excesses” that arose in Iran after the Islamic Revolution of 1979 (at the same time, the attitude to social changes that it brought about is beyond any doubt).

Based on Elena Chizhova’s novel “The City Written from Memory”, the article examines the nature of the memory problem function in modern Russian literature. The problem of memory has become one of the dominant ones in Russian literature since the second half of the twentieth century. The turn of the 20th–21st centuries is characterized both by a change in the content of the problem of historical memory and its structure. The problem of memory is beginning to give way to the problem of post-memory, characteristic of a fairly wide range of texts, their greater part consisting of the works of femme prose. The problematization of post-memory, in the form presented in modern works of femme prose, takes place in the context of Marianne Hirsch’s ideas, primarily her work “The Generation of Post-Memory. Writing and Visual Culture after the Holocaust”. This concept involves the consideration of commemorative practices in the transfer of inter- and trans-generational experiences as the basis for the formation of affiliation memory. Along with Maria Stepanova’s “Memory of Memory”, Elena Chizhova’s novel is one of the most representative texts in post-memory literature. The article examines the strategies that make up the “family romance” and reveals the performative nature of memory: family photographs, audio recordings of the stories of the narrator’s mother, Vera, and the dumbness of her grandfather and father. The main plot of the novel becomes the narrator’s reflection on the process of developing family and affiliation post-memory, which simultaneously performs an identification function. Both processes are metaphorized, the first option is metaphorized by the “fabric theme”, the second by the metaphor of lifting the blockade.

American fiction is deservedly considered to be one of the largest collections of literary objects dealing with the theme of searching for and gaining national self-identity. American writers, belonging to different ethnic groups, bring elements of folk culture, nostalgia for their roots and reflection on the relationship between generations into their works. They express their point of view on the events, taking place in the world, and their place in it. The purpose of this article is to consider, in the context of the given problem, the characters of American alternate history novels, based on a detailed analysis of the works by R. Conroy “1942“(2009) and D. Quinn “After Dachau“ (2001), united by the point of bifurcation that occurred during the Second World War and directed the historical flow along a new path. The main focus of the article is the consideration of the alternative historical context of literary texts and the analysis of the characters’ personal features, their perception of themselves against the backdrop of crisis events. The relevance of the study is ensured by the keen interest of modern science in the genre of the alternate history novel, which has become one of the leading genres in the literature of the 20th-21st centuries, associated with the recent tendency to rewrite real history and place a new emphasis in understanding historical events, as well as the undying increased attention to the issues of national identity.

The article considers the specificity of the image typology in Vladislav Krapivin’s cycle “Fairy Tales and True Stories of Deserted Spaces’. We highlight the change of cyclisation principles in the late works of the writer; the interrelation of the last two cycles – “In the Depth of the Great Crystal” - is achieved by isolating the unified principles of cyclisation, the leading place among which is occupied by the spatialtopological principle. The chronotopic models - the Great Crystal, the Deserted Spaces - become symbolic embodiments of a certain philosophy of life, oriented towards overcoming the disharmony of existence. As a consequence, the plot of initiation, which is the dominant feature of the writer’s artistic world, undergoes significant changes. The social aspect gives way to the philosophical and psychological aspects. The change of the initiation plot causes the transformation of the image typology. Firstly, it is associated with a change in the figurative system: the binary of “adult – child”, traditional for Krapivinsky’s works (including the cycle “In the Depths of the Great Crystal”), is replaced by the model “child – child”. The latter, unlike in earlier texts, does not trigger the emergence of two plot lines, forming a different plot pattern. Secondly, the figurative type of the cycle “In the Depths of the Great Crystal” gets further development – “koivo”. Thirdly, the traditional type of “Krapivinsky boy” is significantly transformed.

The article studies the narrative strategies in English women’s novels of the second half of the 20th century. The research is based on the novel “Jerusalem the Golden” by Margaret Drabble (1967). The scientific novelty of this study is explained by the research methodology. We study the main principles and techniques in the transformation of the established canons in English women’s realistic novel. Our analysis of the ideological, thematic, structural, semantic and compositional levels of the text through the prism of the dialogical relationship between the author and the reader helps to identify the organization of the inner world of the text. It allows us to explore Margaret Drabble’s contribution to the development of intellectual prose by women writers in the 1960–1970s. The article pays attention to the importance of changing the points of view, the significance of the home topos in understanding the problems raised in the novel, and interprets the figurative structure of the text. The study revealed that this novel was a turning point in the writer’s work. Despite the fact that Margaret Drabble still relies on the traditions common in Victorian prose at the ideological level, the writer has started to rethink the genre strategies inherent in the English realistic novel inputing into her artistic work the techniques that will become characteristic features of postmodern prose. In the work “My Golden Jerusalem” the author appeals to the reader in the communication chain “author-text-reader” in solving the problem of “being and seeming”, using a woman’s fate as an example.

American author Hubert Selby Jr. develops the topic of painful addictions and moral and physical degradation. Although the author declared he was not religious, his novels are filled with biblical motifs and allusions emphasizing the opposition between justice and mercy. Selby’s characters – urban marginalized people – lose their own vision of life and existential control in pursuit of the deceptive “American dream”. Selby’s favorite artistic device – stream of consciousness and parenthetically broken writing style, create the effect of authenticity and aim to demonstrate the functioning of consciousness. The article analyzes the little-studied novels “The Room” and “Waiting Period”, which differ in time of writing but are related thematically and stylistically. The type of the central character – an unnamed middle-aged American who suffers from arbitrary government, bureaucracy and societal restrictions, also unites the novels. The characters punish those they consider malevolent by the available means: the prisoner in “The Room” does so in his dreams, the computer specialist in “Waiting Period” – in reality. Messianic ambitions allow them to consider themselves entitled to destroy the “enemies of humanity” – mainly the servants of the law. The characters seek support from higher powers, constantly crying out to God: the prisoner does not receive an answer, while the murderer constructs one himself, but both find themselves in a state of categorical godforsakenness.

The article is devoted to the philosophical understanding of the cultural and historical myths in K. Sluchevsky’s cycle “Ballads, Fantasies and Tales”. The object of the study is his poems on historical topics: “Peter I on the Canals”, “About Tsarevich Alexei”, “About the First Soldier”, “The Novgorod Tradition” and “The Crown of Patriarch Nikon”. In the lyrical microcycle, which includes the first three poems, the image of Peter I is considered to be the ideal of a ruler who cares for the Fatherland, the creator of the Russian army and, at the same time, a person who is characterized by ordinary human feelings. Along with the image of Peter, the poet creates the image of people, who are a driving force and who support the reformer king. The next two works describe historical events, in which the famous figures of Ivan III and Patriarch Nikon are interpreted by the poet in a negative way. The figure of Nikon is indicative, characterized by the poet as an ambitious, powerful person with a demonic essence. The people in these works are shown by K. Sluchevsky as a force that creates history and preserves its spiritual memory. Thus, on the one hand, the texts examine two opposing concepts of relations between the authorities and the people that are connected with the cultural and historical myth of Peter as the defender of the Russian Fatherland; on the other hand - with the legends about the destruction of the Novgorod independence by Ivan III and the split of the Russian church as a result of Nikon’s reforms.

The article examines the dialogue between modern Russian and Tatar poets from the Republic of Tatarstan and classical writers. In the works of Renat Kharis, Mark Zaretsky, Nikolai Belyaev, Sergey Malyshev, Timur Aldoshin, Rustem Sabirov and Lyudmila Ufimtseva, the dialogue with Russian and Tatar classical literature is built on a wide literary and cultural background, turning into a polylogue. Often, modern Tatar and Russian poets turn to the works of A. Pushkin, M. Lermontov and G. Tukay, traditionally comparing G. Tukay with Russian classics. In the work of the poets from the Republic of Tatarstan, a dialogue is built with the poets biographically associated with our region. In the poetic dialogue, we can identify two main trends: first of all, modern Tatar and Russian poets from the Republic of Tatarstan comprehend the associative connection with the biographical facts and the personality of classical poets, finding moral support in their work, comparing their work and the work of their contemporaries with standards of high poetry. Often, this comparison is not in favor of the modern poets; however, the poets turn to traditional themes, genres, images, transforming them at the present stage of the literary development.

The article depicts anti-colonialism in modern Chinese literature based on Mo Yan’s novel “Death Smells of Sandalwood”, its translation into Russian was published in 2024 (translator - I. A. Egorov). The work is considered in the aspect of anti-colonialism, which is applicable to the situation of protests against the introduction of foreign corporations into China, subjugating the lives of the Chinese at the turn of the 19th–20th centuries. The article examines the depiction of the Chinese people self-identification, their view of “strangers” and identifies the artistic techniques, used by the author to depict the characters’ self-identification. The novel by the Chinese writer is analyzed in the context of the folk and musical art of China. The article examines the transformation of motifs and images in the modern novel of Chinese classical literature. The main characters are examined in terms of their attitude to the colonial policies of foreign countries and the actions of their own Chinese government. The article presents Mo Yan’s view of the traditions, mentality and way of life of the Chinese people. The purpose of the work is to identify ideological and artistic manifestations of anti-colonial themes in the text of Mo Yan’s novel “Death Smells of Sandalwood.” As a result of the study, we describe the plot motifs and the characters’ images, illustrating the author’s position regarding colonial policy.

The article is devoted to the problem of searching for personal identity in Vadim Levanov’s dramatic works. Having set this goal, the playwright takes his characters through situations built on social, historical and literary myths, which gives him the opportunity to closely approach the definition of personal identity through a kind of the national myth understanding. The article proposes to trace the formation of the national myth ideas, based on the analysis of Levanov’s dramatic works. This is reflected in the ontological opposition of good and evil in the dramatic diptych “The Life of St. Blessed Xenia of St. Petersburg” and “The Most Possible Authentic and Plausible Biography of the Bloody Lady (Krovavaya Barynya) Daria Saltykova, a Moscow Noble Woman”. The stories about two real women, who became part of national mythology, served for the author of the diptych as the basis for thinking about the nature of good and evil, about the rights and responsibilities of a person to make an informed choice between these poles. From specific, seemingly very local, purely Russian stories, Levanov goes to the universal, non-national phenomena. In the paradoxical interpretation of the well-known historical events in the play “Foundation,” the author sees a kind of the Russian code. In the play “The Slavic Bazaar,” the postmodern projection of the cultural myth is seen as an ironic understanding of the way out of crisis situations, found by the Russian intelligentsia. Thus, Vadim Levanov’s plays are a vivid example of how contemporary art works along with contemporary myth-making.

The article studies the artistic space of house in E. Katishonok’s novel “There Lived an Old Man and His Wife” (2006) in the context of a typical family chronicle, which emphasizes the resonance between personalities (family members) and their social environment. The aim of the study is to reveal the representative features of house by means of a structural-semiotic description and by exposing the construction identities of the author’s individualized model of the world. The article determines the specificity of the house locus in the novel and analyzes the immanent constructions that ensure the integrality and organisation of its inner space. We underline the relativity of the boundedness of the house, which, in fact, remains in dynamic movement, and represents the energetic interaction of the Ivanov family’s self-space with the surrounding society. The house, first of all, turns into an Old Believers’ model of the world, it correlates with their traditional way of life, family and lineage. The conducted research proves that the house locus is conceptualized by E. Katishonok as a special world with its own internal rules, committed to the transformation due to the impact of both internal causes and external forces, which leads to a spontaneous adaptation to the dominant societal perceptions.

The article is devoted to the problem of the Russian literature national code in the late 20th – early 21^st centuries, which in its artistic interpretation is inseparable from the concept of “cultural code”. The artistic embodiment of the national picture of the world is one of the most pressing problems in modern literary criticism. The article shows that the conceptuality of the “national code” concept and its semantic content make it possible to deepen the understanding of domestic literature at the present stage of its development in the context of its national and cultural traditions. Based on the works of V. Rasputin and Y. Buyda, this study reveals the main ideological and spiritual components of the concept of “national code”. One of them is the national idea as a basic idea in the Russian people’s consciousness (the story “The Last Term” by V. Rasputin). Another idea is the idea of Home, which is a reflection not only of the contrasting opposition between “our own” and “their” world, but also the beginning of a new world formation (Yu. Buida’s collection “Osorya Chronicles”). As a result, the article concludes that the features of the national cultural code embodiment in Russian literature, regardless of time and space, are a result of artistic comprehension of the traditional values of Russian national culture in its historical development.

Nima Yushij’s oeuvre is a crucial prerequisite to the emergence of modern type poetry in the Persian language. Studying his work is relevant for an Iranian philologist who strives to develop a holistic model of the literary process in modern Iran. Many facts, related to the achievements of the poet-innovator, have not been introduced into the scientific circulation and still remain beyond the research gaze. The elimination of such lacunas turns out to be a challenge of paramount importance for the experts in modern Iranian poetry. This article is devoted to the functional analysis of the dialogue form in one of Nima Yushij’s famous poems named “Maneli” There are two characters (a sea maiden and a fisherman) who reflect on the conflict of material and spiritual principles in human life, and each of the characters acts as a personification of the opposing points of view. The artistic world of the poem is based on the 20th-century Iranian author’s reinterpretation of Urashima Taro’s ancient Japanese tale, which tells of the fateful meeting between a fisherman and a charming sea-dweller. The purpose of this study is aimed at identifying the poetic basis that determines the conceptual structure of the considered text and distinguishes it from previous Persian translations of the Japanese story. The analysis is carried out using the comparative-historical, structuralist and other literary methods. The analysis has revealed the predominance of lyrical features over narrative ones in the poem, which result from the author’s realization of the borrowed material in the patterns of the Persian classical genre of debate (munazara) and the exchange of monologues in the medieval Iranian love-romance epic. The form of dialogue in the poem “Maneli” is the main vector of its lyrical plot movement. The semantic organization is conveyed with the creative strategy of “free ‘aruz’”, developed by Nima Yushij as his own creative “know-how”. The ideological concept of ‘Maneli’ appears similar to the poet’s early work, the manifesto of “new poetry” in Iran (i.e. ‘Afsane’), and the artistic structure of the former demonstrates the evolution of their author’s creative manner.

The article examines the distinctive features of Robert Minnullin’s translation practice within the context of children’s literature. This study analyses the methods employed by the poet to convey the cultural and ethnic aspects of the original works in translations. The study demonstrates how R. Minnullin strikes a balance between the precision of the translation and the necessity of adapting the text for a young audience, taking into account their cognitive and emotional characteristics. The article highlights the manner in which the translator incorporates elements of national identity and cultural heritage into the adapted texts, thereby fostering respect for multiculturalism among children. Furthermore, the article highlights the significance of R. Minnullin in fostering a positive perception of other cultures through children’s literature. This contributes to the strengthening of intercultural ties and understanding. We highlight that the poet translates works from a multitude of languages, including Russian, Karakalpak, Turkmen, Kazakh, Udmurt, Mari, Chuvash, Georgian, Armenian and Lithuanian. The article considers specific examples of translated works that demonstrate successful strategies of ethno-cultural adaptation, and their impact on the development of reading literacy and creative thinking in children. Thus, the article not only highlights Robert Minnullin’s contribution to the field of children’s translation, but also emphasises the importance of his work for the formation of cultural competence in the younger generation.

The image of a bird is one of the traditional images in world culture. For the texts of Russian and foreign literature, a bird is one of the most complex, polysemantic and semantically full images. The purpose of the article is to study the mythopoetic image of a bird. The article examines the system of ornithological images in the novel “Finches in Armor” by Georgy Venus, revealing the semantic content of the ornithological images found in the text. The title of the novel immediately sets a certain “ornithological” semantic vector. Finches in the novel turn out to be wearing greatcoats - these are young soldiers, for whom the world happens to be tragic, it collapses. The birds, mentioned by the author, at first glance appear in the text by chance, become part of the landscape, but the moments when they appear next to the characters of the work, accompanying them in reality and in their thoughts, create the impression of no accident; the frequency of their mention makes one think about their symbolic semantic meaning for the entire novel. The images of birds in the novel by Georgy Venus carry certain meanings that expand the figurative system of the novel, becoming messengers, their appearance in the work is associated with a premonition of trouble, which activates their mediator functions.

The article analyzes the translations into Russian of Siberian-Tatar folklore recorded in the second half of the 19th century by the turkologist V. Radlov. While working as a teacher in Altai, the young scholar annually conducted scientific expeditions to the territories, inhabited by Turkic peoples, to collect and record texts from native speakers for further comparative study. Over ten years, he collected a wealth of material on samples of oral folklore among numerous Turkic peoples, living in the Russian Empire, including the Siberian Tatars. The object of our research is the 4th volume of the famous ten-volume work “Samples of Folk Literature of the Turkic Tribes Living in Southern Siberia and the Dzungarian Steppe,” compiled by the future founder of Russian Turkology V. Radlov. The presented volume incorporates various genres of folklore recorded among the Tatars living in the Novosibirsk, Omsk and Tyumen Regions. The purpose of the article is to study the folklore material translations into Russian, presented in the specified volume and made by a group of researchers under the guidance of the Kazan University Professor, dialectologist and turkologist Yusupov Farit (Ferits). It was done to familiarize with Siberian-Tatar folklore a wide range of philologists, interested in the work of the turkologist V. Radlov, and to expand its readership. The article analyzes a series of books, which present the originals of folklore texts, collected by Radlov, as well as their translations into Russian, and reveals the genre diversity of the material, noting some features of their translations.

The article describes a special verbal-visual narrative, realized in Anton Chekhov’s short story “The Lady with the Dog”. In particular, the article focuses on the portrait code, which was first selected by the method of complete sampling and substantiated by the methods of contextual and phenomenological analysis. The visual allegory allows us to build up the integral semantic reality, described in the study with the help of the phenomenological concept of ekphrasis. Recognizing the text-forming role of the title, the author initially turns to a direct analysis of the position of the text absolute nature, revealing a method of prospection for the introduction of figurative discourse. The structure and semantics of the title of the story by Anton Chekhov obviously repeat the structure of the name of the secular female portrait, which is later realized in the dynamic system of the literary text. The article notes that the understanding of the art space as a communicative process allows us to consider the ekphratic units in “The Lady with the Dog” as coded messages or visual narratives that require a special algorithm and culture of interpretation. Particular attention is paid to the specific data of the figurative discourse, received and reconstructed in the prose statement; at the same time, the data of the proposed interpretation do not contradict the ideas existing in Chekhov studies about the usual forms of the psychological portrait in Russian realistic prose; the data of the two types of discourse are distinguished by the author.

The aesthetic position of Alisa Ganieva is close to that of the “new realists” generation (Z. Prilepin, R. Senchin, S. Shargunov, D. Gutsko and G. Sadulaev) who recorded the feeling of a deep modern culture crisis in prose. Turning to the traditional themes of a national character and a folk hero in Russian prose, the writers introduce new connotations into their interpretations. Soviet writers (Ch. Aitmatov, V. Rasputin, R. Gamzatov, etc.) interpreted mythology and folklore as part of the people’s historical experience, passed on from generation to generation rationally and meaningfully. Modern writers are focused on identifying archetypes of mass consciousness that are inherited unconsciously and give rise to neomyths. Alisa Ganieva’s novel “Bride and Groom” (2015) is based on the ancient version of the androgyne myth. At the same time, the author transforms all elements of mythopoetics. The plot of the novel is structured as the movement of the characters towards each other and its logical outcome – a wedding. However, the ending is rethought: the wedding does not happen. A harmonious worldview, typical of mythological consciousness, is unattainable; the world appears to be illogical, and happiness is unattainable. This interpretation of the myth reflects the author’s perception of folk and mass cultures. In the novel, people’s consciousness is presented as mythological, the one which is irretrievably lost. Modern mass culture is shown as a distorted copy of mythological consciousness – a quasi-myth, in which the formal properties of myth are preserved but its content is emasculated. In mass consciousness, the essential properties of the archaic worldview are deformed: the harmony of man and the cosmos, the intra-clan unity, the cyclical nature of time stages as the law of cosmic renewal, the festive and carnival components are distorted. The result is a quasi-myth of a consumer society devoid of national characteristics but actively exploiting the ethnic component. Universal human values – love, pursuit of happiness, family based on spiritual closeness, search for truth – are represented by constants of existence that are not subject to time and fashion.

Australian literature, which has long developed within the framework of the British literary tradition, is increasingly turning to (re)thinking the history of the continent, acquiring the features of a special type of postcolonial literature - the literature of settler communities. This is clearly manifested in the novels of contemporary Australian writers. The article examines how the contemporary Australian novel reflects the continent’s colonial history and the ambivalent role of the settlers who were both colonizers and were colonized. The novels by P. Carey, K. Grenville and R. Flanagan show how settlers, having displaced the aborigines, assumed the role of an indigenous nation and formed their own national identity. The article notes that images of Aboriginal people begin to appear in Australian novels only at the end of the 20^th century. Particular attention is paid to R. Flanagan’s 2014 Booker Prize-winning novel “The Narrow Road to the Deep North”, which explores Australia’s recent history of the WWII period. We show that the author defines Australian identity against the background of British and Japanese national characters, using universal archetypal myth elements to create the image of a national hero.

The article analyzes the poetry of the Khanty author R. Rugin. The relevance of the article lies in characterizing the features of the artistic picture of the world of the writer – an original representative of regional literature. The work uses cultural-historical and structural-semantic types of analysis. Based on the material of more than 30 poems, including the image of the Khanty as a small indigenous people of the North, the article reveals its main elements: features of national character and mentality, stages in the history of the formation and development of the people, their mythological consciousness, the focus on everyday details of the people’s way of life. The key values that form the original worldview of the Khanty include their connection with the clan, their careful attitude to natural resources, preservation of language, traditions, customs, beliefs and other components of the material and spiritual culture of the people. The loss of modern man’s roots, connections with his ancestors and traditions, laid down by them, is seen by the author as a source of threat not only to the preservation of the cultural identity of the indigenous peoples of the North, but also to their physical survival. The article concludes that in R. Rugin’s poetry, the image of the people is one of the means of representing an ethnic group in world culture, as well as the formation of national identity.

The article examines the traumatic and mythological contexts of I. Murdoch’s novel “The Good Apprentice”. On the one hand, we describe the stages of the main character’s traumatic experiences and his ways of overcoming the trauma in the novel; on the other hand, we focus on the analysis of one of the described stages when the protagonist finds himself in a kind of a “magical” female world, a world of oblivion and recreation. The article puts forward and proves the assumption that the characteristics of this world were created based on the culture of the “Celtic Revival” at the turn of the 19th-20th centuries, largely inspired by William Morris’s “Arts and Crafts” movement, at the same time Murdoch was ironic about this part of English culture. The deeper roots of the novel’s reminiscent field go back to Celtic mythology with its images of “enchantresses” who hinder the protagonist and pursue him. In Iris Murdoch’s novel “The Good Apprentice”, the female world appears illusory and dangerous for the protagonist as one of the obstacles on his path.

The article studies the genre originality specifics of the work by Marcel Bayanovich Galiev, a People’s Writer of the Republic of Tatarstan. We systematize the material according to the extent his work has been studied. The analysis is based on Marcel Galiev’s unfinished work “Tima, yashasen” (“Leave Him Alone, Let Him Live”). The book was conceived as a work in two parts, but for personal reasons, the author limited himself to creating the first part. Marcel Galiev defined the genre of his book as a novelnovella. The article proves that novel-oriented thinking is inherent in the writer. In terms of content, this is an autobiographical work, in which the general is intertwined with the personal, the concrete with the individual and the universal with the national. Marcel Galiev uses a multi-level structure where biographical, family-everyday, socio-historical and natural-cyclical forms of artistic time are harmoniously intertwined. As the plot develops, the novel turns into a mirror of the era, showing family life and social life, the patriarchal life of the Tatar village and the capital life of Kazan and Moscow. The reader forms an idea of the material values and spiritual culture of Soviet citizens. The writer’s creative manner is characterized by deep psychologism, analyticity and lyricism. Genre displacement occurs through marginalia and individual inserts in other genre forms. This frame novella incorporates an autobiographical novel.

The article emphasizes the importance and relevance of a regional component in teaching international students Russian as a foreign language. The purpose of the study is to demonstrate the didactic potential of texts with regional components for the development of culturally determined linguistic competence of foreigners studying the Russian language in a particular Russian region (based on the example of the Republic of Tatarstan). We find that the use of such texts may solve two important didactic goals: forming both linguistic and cultural competences of students. Theoretical conclusions are illustrated with examples from the original methodological development: an authentic text about the capital of Tatarstan and three types of exercises are presented. The exercises reflect the stages of working with culturally determined regional linguistic material (pretextual, textual and posttextual stages). The article focuses on the fact that a culturally determined linguistic competence is a necessary component of the key communicative competence. Communicative competence acquisition is a fundamental goal of teaching Russian as a foreign language. Due to this, the presented tasks are communicatively oriented.
The obtained results may be useful for teachers of foreign languages, Russian as a foreign language and for all researchers interested in linguistic and regional cultural studies.

This article considers media resources as a means of forming international students’ socio-cultural competence in classes of Russian as a foreign language. The development of communicative and sociocultural competence is one of the main tasks in teaching Russian as a foreign language. The effectiveness of their development depends on how successfully and quickly students adapt to the new social environment and carry out intercultural interaction. The article presents educational resources that combine authentic linguistic and socio-cultural materials with the interactivity and versatility of modern digital technologies. Particular attention is paid to the analysis of the Internet resources linguodidactic potential, we provide examples of typical tasks aimed at the formation and development of SCC at different stages of training. We have come to the conclusion about the need to continuously improve the methods used when working with media resources. The theoretical basis of the study is the works of Russian and foreign authors devoted to the issues considered in the article. The empirical base consists of observations and generalizations of personal professional experience, as well as methodological developments of the authors in the field of teaching a number of disciplines within the framework of the bachelor’s degree program in the specialty 45.03.02: Linguistics (Russian as a Foreign Language) at Kazan Federal University.

This article analyzes both typical difficulties that the majority of international students encounter while mastering the academic style, and specific problems, caused by the differences between Russian and international students’ languages, mindsets and national cultural characteristics, and discovered in the process of working with Chinese students. The researchers’ vast experience, gained while teaching Chinese students both in Russia and China, allows them to identify the errors of students mastering the academic style, specify these errors, formulate and summarize problems in this field and propose ways of resolving them. As the leading method of the research, we used the descriptive method, as well as the methods of summarization and observation. Thus, we have found that the inclusion of academic texts in the process of teaching a foreign language gives students the opportunity to learn typical communicative situations in the academic area and expand their vocabulary and terminology. The inclusion of various learning exercises on the style of academic writing as part of the future linguists’ training enhances their teachers’ possibilities in terms of lesson planning, allows them to recreate professional language environment, as well as increases the effectiveness of mastering communicative skills in typical communicative situations. As a result of our study, we have come to the conclusion that the integration of academic texts into the teaching process requires a special approach to the material selection and highlights the need for the additional development of methodological recommendations and the creation of new teaching aids.

The article analyzes the vocabulary of epics and the ways to form and enrich secondary school students’ vocabulary when studying epics. Texts of ancient Russian literature introduce students to the culture of Ancient Rus' and contribute to their aesthetic, moral and patriotic education, the development of their language and communication skills, and linguocultural competence; moreover, they contain rich lexical and grammatical material. However, the ancient text possibilities are not fully realized in modern textbooks of the Russian language, since they do not contain exercises aiming to study the vocabulary denoting cultural and everyday realities of Ancient Rus'. The purpose of this work is to identify the lexical composition features of epics and determine effective methods for including epic lexis in the students’ vocabulary. The study is based on the Novgorod epic “Volga and Mikula Selyaninovich,” which the seventh grade students are introduced to in literature lessons. The analysis showed that the text of the epic contains 21 obsolete words and 21 words, whose understanding may be difficult. All the vocabulary is subsumed into groups: names of persons, socio-political, everyday and natural phenomena, words characterizing humans and animals. The article contains the forms of work effective in enriching students’ vocabulary.

The article examines the socio-cultural potential of the “urban” text as an educational material in the course of learning Russian as a foreign language. We consider the features of socio-cultural principles in teaching Russian as a foreign language. The article presents three traditionally practiced stages of text work, based on a modern “urban” text (the story by E. Bunimovich), giving examples of exercises aimed at developing “urban” text interpretation skills, and improving the knowledge and skills of Russian vocabulary and grammar. Special attention is paid to the use of phraseological units and words, meaning realities that help to learn more about the Russian language and the features of Russian culture.
The article concludes that the “urban” text as a widespread and accessible communicative material serves as an illustration of the living Russian language for international students and ensures their contact with the modern cultural and linguistic realities of the Russian linguistic community. The socio-cultural context of such texts directly affects their process of perception and adaptation in the Russian-speaking environment. As “urban” texts are oriented towards various spheres of communication, foreign communicants accumulate the necessary vocabulary for successful communication.

The article is devoted to Russian reduplication as a multilevel language mechanism and its presentation in the lessons of Russian as a foreign language. The article provides examples from colloquial speech and fiction, which present various units of repetition (sound, syllable, morpheme, word, phrase and sentence) that correspond to the levels of language (phonetic, morphemic, lexical, syntactic). Some units can be repeated inside different segments, or frames (inside a word, sentence or text). Based on the analysis of the linguistic material, the article concludes that reduplication is a widespread phenomenon that probably has a field structure, suggesting the presence of a core, periphery and areas of intersection with other linguistic phenomena. We propose to consider lexemes formed by repeating a word (большой-большой, много-много, кофе-кофе etc.) as the core of reduplication, since they are most often found in colloquial speech. Not being proper vocabulary units, such lexemes, as a rule, present difficulties for foreign students, they are characterized by productivity rather than reproducibility. The article presents a fragment of a set of exercises and tasks aimed at developing the skill of correct perception of Russian reduplicates by foreign speakers. This didactic material can be used in courses and seminars of Russian as a foreign language.

The problem of a young teacher adaptation to modern school realities is currently one of the most pressing in education. Scientific research in this area covers the issues of social and psychological assistance to young teachers, the need to assign a mentor and the task of providing additional forms of professional development at the initial stage of teaching at school. The purpose of our article is to improve the university stage of future teachers’ preparation so that the professional focus of pedagogical training allows them to creatively use the wide range of methodological tools to solve non-standard problems that arise when organizing educational activities in a modern classroom. In our work, we relied on both the research of domestic and foreign researchers, devoted to acquiring pedagogical skills, and on the results of a senior students’ survey, conducted immediately after their teaching practice at schools. The unique opportunity of the pedagogical education makes it possible, from the first days of a student at a university, to involve them in professionally-oriented practical activities within the framework of the chosen major subject through quasiteaching and reflective practice, that will contribute to gaining individual professional experience.

This article analyzes the problem of communicative-speech and linguocultural competences in classes of Russian as a foreign language. We discuss the organization of work with linguocultural texts using visualization and game elements to simultaneously develop speech and linguocultural competencies when teaching Russian as a foreign language.
The article provides methodological recommendations for teachers on the selection of certain types of work with linguocultural texts.
As a result of the review, we have come to the conclusion that communicative-speech and linguocultural competences in teaching Russian as a foreign language are closely connected and dependent on each other. A necessary element of the educational process is educational texts characterized by a linguocultural component. The organization of classes aimed at developing linguocultural and communicative-speech competencies in their interrelation and interdependence involves the use of text materials, visual materials and game elements.
The results of the study may be useful for the further development of educational materials aimed at developing linguocultural competence and communicative-speech competence in Chinese audiences.