The article critically analyzes various approaches to the ironic effect of judgments developed in different linguistic disciplines. In addition to the traditional definitions of irony dating back to antiquity, as well as modern linguistic models, we describe a psychological point of view on this mechanism of influence on the interlocutor. As the analysis shows, all the discussed approaches reflect exclusively monological speech; therefore, they do not provide a holistic view of the communicative functions of ironic judgments in the everyday Russian language usage. In this regard, a dialogical perspective is proposed, emphasizing communicative effects of ironic speech, neglected by the identified models.

The article concludes that in the format of Russian-language communication, irony is used by the speaking subject not so much to avoid direct criticism, a conflict dialogical situation or psychological inconsistencies in the emotional and volitional state of the communication participants, but to play a role of a skillful pragmatic technique that encourages the interlocutor to act for the benefit of himself or others. The basic properties of irony can be attributed to the expression of rhetorical, satirical and heuristic categories. As a rhetorical device, it strengthens the meaning of a statement, as a satirical device it is used to discursively attack the interlocutor’s point of view, and its heuristics allows the interlocutor to see that the discussed state of affairs is not as difficult as it seems to be at first glance. Irony is a kind of technical device used for deeply heuristic cognition of objective reality, through which the addressee is confronted with the inconsistencies that surround him/her. Irony acquires illocutionary force through an implicitly expressed negative meaning and, consequently, through the denial of the actual state of affairs.

This article investigates the issue of interpreting cultural codes from a linguistic perspective, as well as the strategies for decoding these codes with a particular focus on the works of P.G. Wodehouse. The discussion centers on the interrelationship between language and the national cultural code, analyzing the latter’s role as a linguistic marker that influences the formation and preservation of linguistic identity. It is a reflection of the British worldview, which makes it possible to use the works of the humorist as a basis for decoding ethnocultural information encrypted in the fictional text. The work is based on cultural, comparative-historical and historical-biographical analysis of the literary text to determine the ethnocultural specificity of the meanings embedded in the language of the author and his characters. The language of P.G. Wodehouse is a striking example of how literary text can serve as a means of transmitting and preserving a national cultural code. The study demonstrates that the cultural codes, embedded within linguistic units and their interactions, are crucial for understanding the specificities of national thought, information perception and its expression in speech. The practical significance of the work is the possibility of using the results of the research both in translation practice and in the study of the ethnocultural features of the foreign language information transmission by means of a cultural code.

The article presents the results of our analysis of intertextual inclusion functions in the headlines of the French press during the 2024 Olympic Games in Paris. Within the framework of intertextuality theory, it examines the role of intertextual figures – such as allusion, quotation and paraphrase – in shaping associations that activate the cultural memory and background cultural knowledge of readers. The study is based on publications from “Le Monde”, “L’Humanité”, “Libération”, “Les Echos”, “Le Figaro” and “Le Parisien”. By analyzing 700 texts, published from May to September 2024, the research identifies the mechanisms through which intertextual inclusions influence the audience perception and their emotional responses.

The results indicate that the inclusion of intertextual elements in media texts serves to create interpretative resonance by appealing to the cultural experience of the reader and activating associations and memories related to previously familiar statements, events or cultural phenomena. Out of 300 identified inclusions, allusions and quotations are the most frequently used, each accounting for 20%, while paraphrases and textual applications are significantly less common, each representing only 5%. This prevalence may be attributed to the fact that allusions and quotations tend to reference well-known texts or expressions, rendering them more accessible to a broader audience compared to paraphrases and textual applications.

For the first time, based on online editions of the Yakut print media, an attempt has been made to re-think lexical symbols, idioms and parodies as powerful factors in understanding the unique cultural characteristics of the Sakha people from the perspective of linguoculturology. By looking through the prism of ethnic culture at the original linguistic means of Yakut online publications, we better understand their cognitive aspect and the figurative abstraction both of an individual and the entire people as a whole. In this study, the mechanism of forming our picture of the world depends on the information of modern media, its implementation being related to the property of these texts, and this is a key factor. An important result of the study is that in media texts, the words-symbols of the Sakha people’s original culture represent a non-equivalent vocabulary, their analogues are absent in other languages; moreover, Yakut phraseological expressions and proverbs help to avoid truisms and cliches, making the language of Sakha Internet publications more vivid and convincing. The identified Sakha language tools reflect the national identity of the ethnic group and connect people with their cultural and historical experience. In general, the specific lexical symbols, phraseological units and proverbs of the Yakut print online media reflect the worldview of the ethnic group, being a powerful factor in the formation of the national cultural code.

This research aims to investigate the graphic features of the central streets’ ergonimicon in Kazan through the application of the linguistic landscape description method, etymological analysis and the method of continuous sampling, which have not been combined in the research of commercial names so far. Their combination is conditioned by the need to confirm the Research Hypothesis: The choice of the alphabet, representing an ergonym, depends on its origin and linguistic affiliation. The relevance of the study is conditioned by the close attention to the linguistic landscapes of the Russian Federation due to the fact that foreign languages and Latin often dominate in this case. The hypothesis and purpose of the study generate the following research questions: RQ1 – Is there an explanation for such an extensive use of Latin script in the linguistic landscapes of the Russian Federation; RQ2 – Is there a pattern in the use of Latin and Cyrillic; RQ3 – Is the prospect of more names in Cyrillic likely to be implemented. The Research Results demonstrated the fruitfulness of combining these methods in ergonimicon research, the hypothesis of the study was confirmed: RR1 – Names belonging to the native lexicon of official languages are transmitted in Cyrillic in the predominant number of cases; RR2 – For ergonyms-internationalisms, the word of the foreign language corresponding in external form and content is almost always chosen; RR3 – Еrgonyms-proper names are written in Latin more often than in Cyrillic; RR4 – Ergonyms-foreign words are represented in Latin. The obtained results led to the following conclusions and opened directions for the research (Conclusions and Directions for Future Research): CDFR1 – the hypothesis of the study should be confirmed on a larger research material; CDFR2 – the search for new approaches to nomination with an emphasis on the native lexicon is recommended; CDFR3 – the need exists for a diachronic approach to the research of linguistic landscapes of the Russian Federation; CDFR4 – the application of programming methods to the description of ergonyms with the aim to solve linguistic problems is required.

This research aims at studying the semantics of the English preposition “over” in English journalistic texts. Existing scientific theories, describing the principles of conveying the meaning of movement in an English sentence, indicate the important role of the interaction between the verb, preposition and other elements of the sentence. Their relationships fall within the scope of syntagmatics and paradigmatics. We determined the semantic connections of the preposition “over” in terms of conveying the meaning of movement and path. The terms “trajectory”, “landmark” and “path”, introduced by researcher R. Langacker, were used as the basis for constructing a pattern of interaction between prepositions and verbs in a sentence from the point of view of semantics. The analysis of the semantic component is carried out using image-schemes. The semantic field, created by the preposition “over”, was studied separately and in-connection with verbs of motion, including the trajectory of motion, the meaning conveying motion, the interaction of the trajectory with the reference point and the horizontal extension. We have provided examples of sentences containing the preposition under study and their semantic analysis.

The subject of study of this article is the substantives, which represent the name of a person in the novel-essay by M. Houellebecq “Expansion of the Space of Struggle.” The work examines the word formation and stylistic originality of the substantives that characterize both the appearance of the characters and their material and spiritual life, professional activities and social status, racial-ethnic differences and other features. The substantives have been divided into groups and lexical-thematic classes, based on their derivational peculiarities. The main focus is on morphological word formation, in which the base of the word is modified using various formal means. The substantives, denoting names of individuals, are chosen as the subject of our study due to the growing interest in humans as a system that reflects various aspects of their existence. Thanks to substantives, one can vividly and emotionally describe a person. A significant number of lexemes in the analyzed work that characterize a person’s appearance have a negative connotation, which is due to the writer’s desire to give his characters a negative description. The suffixes of subjective evaluation are widely used by the author and add the appropriate color to the lexemes. The results of the study may prove useful in examining the features of M. Houellebecq’s literary language and in the linguistic analysis of his works.

The article examines French borrowings, nominating the audience hall in theatrical terminology. We investigate the semantic history of linguistic modules related to the temple of art, the ones that affect such issues as interference and assimilation of linguistic units in written and oral speech. The relevance of the research is determined by the fact that the rapidly changing architecture of the spatial environment transforms the perception of personality in their awareness of spiritual values. A linguistic and cultural analysis was carried out in order to actualize the semiotic approach to architecture and reactivate the appeal to cultural heritage by studying the lexeme evolution in the sphere of art. In the study, we use the texts of the bilingual author and creator of the modern Russian literary language Alexander Pushkin, whose works contain the considered lexical units in the dynamics of the language system evolution at the semantic and phonetic levels. Our study also includes elements of comparative and contextual analyses (correlation of the analyzed phenomena in Pushkin’s context). The article presents a number of examples proving the historical relationship between the proto-language and the theatrical structure form, illustrating the phonographic and semantic changes of French units, and draws a parallel between the modern semantic complex and the archaic version of lexemes. Based on the results of the study, the article draws conclusions about the substitution of morphemic and non-morphemic segments in the process of contact between the French and Russian languages, presenting the most frequent variants of phonographic changes in the nomination of the auditorium. The results obtained are important for the revival of cultural values, the study of the lexeme interference in specific terminology and the activation of interest in both the work of A. Pushkin and theater building architecture.

The article considers the image of the Cossack and Cossack culture in general, based on Russian proverbs and sayings. The relevance of the study is conditioned by the significance of socio-cultural studies devoted to closely related peoples and conducted through the prism of the Russian language paremiological fund. The article identifies and describes the main characteristic traits of the Cossacks’ everyday life, reflected in Russian proverbs, which indicates the significance of these characteristics. The research sample includes over 150 paremi, presenting proverbs with the ethnolinguistic marker ‘Cossack’, lexical units directly related to Cossack formations (‘ataman’) and four proverbs of Cossack origin. The article reveals the following perceptions of the Cossacks, inherent in the carriers of Russian culture: for the Cossack society the role of the ataman is paramount, Cossacks strive to promote themselves and become worthy continuators of their traditions; the territories, occupied by the Cossacks, include the banks of the Don River and neighbouring regions; Cossacks are characterized by vitality and firmness of spirit, but they are prone to fatalism; Cossack temperament is characterized by severity, intransigence and even stubbornness; Cossacks are unsurpassed in military affairs, as they are considered to be brave and hardy warriors, the fact noted even by Russian commanders; the serious attitude of Cossacks to military affairs determines the high importance of ‘horse’ in the Cossack picture of the world - the animal is not just a means of transport for a Cossack, but a reliable comrade in arms. The results presented in the article allow us to model the image of a Cossack representative in the way the bearer of Russian linguoculture saw it.

The article is devoted to the linguocultural study of the concept zhil (‘wind’) based on Tatar proverbs, in which the concept under study is verbalized as a reflection of national consciousness and culture. This element is one of the universal categories of the conceptual picture of the world. The study of concepts in the paremiological system provides a better understanding of ethnic consciousness and mentality as the reproduction of a paremiological unit creates a certain image in the mind of a native speaker.

This article considers the symbolic understanding of wind in the Tatar linguistic consciousness taking into account its characteristic features, such as air movement, strength, elusiveness, possible harm and wind energy. In the minds of the Tatars, the wind is perceived not only as the embodiment of everyday problems, poverty and hunger, but also as a powerful force that relieves grievances and sorrows, heals people’s body and soul.

In Tatar proverbs, one can also define the functions of the wind: it can lead to the loss or destruction of something, acts as an intermediary for the transmission of information and brings good luck.

In the article, zhil (‘wind’) as a linguocultural concept, is interpreted in conceptual, figurative and axiological aspects.

The article is an overview of the current and controversial topic concerning the consideration of the author as a creative person who creates a fictional artistic world. The article is theoretical in nature, as it is directly devoted to describing the concept of text analysis with a focus of research attention on the study of a linguistic personality. The purpose of the work is to determine an approach to analyzing the processes of creating works of art and modeling fictional artistic worlds.

The work rethinks and complements the concept of describing a linguistic personality proposed by Yu. Karaulov. The novelty of the work is determined by the shift in focus from attempts to interpret and describe the result of linguocreative activity to the study of the processes that determine it. The change in the subject in the paradigm of linguistic personality research allows us to expand the boundaries of the theory’s applicability, to formulate a more effective methodology in the interdisciplinary space, adapted to modern research into human consciousness.

Further development of this approach to the text analysis and accumulation of empirical data in the future will allow formulating an adaptation theory of text, which is currently being developed by the research team. The results of this work have interdisciplinary potential for use not only in linguistics, general text theory, pragmatics, psycholinguistics, but also in the subject area of cognitive sciences.

The assassination of John F. Kennedy is known as the “murder of the century” and is firmly embedded not only in political and media discourse, but also in fiction, nonfiction and cinema. Literary nonfiction discourse is characterized by a special “hybrid nature”, which combines factography, on the one hand, and a high degree of emotional impact, on the other. In this regard, the authors of literary nonfiction texts often develop a special set of linguistic means that allow them to influence the recipient in the absence of an opportunity to turn to the aesthetic potential of artistic fiction. This paper studies the functions of sovietisms as a special layer of vocabulary in the literary nonfiction book “Oswald’s Tale: An American Mystery” (1995) by N. Mailer. The classification of sovietisms is given according to the thematic principle and is based on their word-formation, semantic and stylistic features. We also analyze adaptation features of sovietisms when translated into English. The article concludes that the sovietisms, used in the speech utterances of numerous narrators, as well as in written documents related to Lee Harvey Oswald’s case, not only allow the author to convey the national and cultural features of the life in the Soviet Union, where Oswald spent several years before the assassination of Kennedy, but also act as “status” details. They are used to characterize the identities of witnesses and eyewitnesses who participated in the literary investigation conducted by N. Mailer.

The article examines the linguo-pragmatic characteristics and function features of the substandard level vocabulary units in the fictional discourse of the early 21^st century. The substandard units of the language include slang and jargon from the prison camp and thieves’ jargon, as well as the jargon of military and youth groups. We analyze the discursive fictional space taking into account the ambivalence of the discourse concept and its characterization in terms of the cognitive approach, the semiotic and communicative-pragmatic approach, the sociolinguistic, cultural and psycholinguistic approaches. By discourse, we mean a multidimensional linguistic phenomenon that combines linguistic and speech practices, discourse activities and the text as the product of this activity. The study of the Russian-speaking discursive fictional space in the early 21^st century is based on the idea that its essence is associated with the understanding of a linguistic (discursive) personality of a communicative event, which is actualized by speech consciousness as an associative-figurative part of communication reflected in the text. Among the main functions of substandard units in the discursive Russian fictional space of the early 21^st century, the article highlights the following: expressing part of the modern society axiological values; reflecting social and ethnic stereotypes; representing the polycode, associated with intertextual categories of a literary text, and the cognitive and cumulative functions characteristic of the characters’ speech individualization.

The article examines the discursive space of the novels “The War of the Saints” and “Gabriela, Clove and Cinnamon” by Jorge Amado. We consider speech activity to be a discourse as both the text generation process and the result of this speech activity are the text itself. The ambivalent understanding of discourse in modern linguistics reflects the complexity of studying this phenomenon, since there are a number of scientific trends interpreting its essence in different ways. The article studies the discursive space of literary texts as a complex system of discourse pieces, which is determined by the discursive personality of the author. The discursive personality of the author of these novels expresses his own system of attitudes through the creation of fictional texts, while simultaneously representing the system of axiological values of the multinational population of Brazil. The discursive personality determines the representation of the diversity of worldview contradictions and creates a fictional text, counting on creative cooperation with the reader. The discursive space of J. Amado’s novels is structured by a special chronotope, directly related to the literary trend of magical realism, within which descriptions of real social contradictions, life situations and unreal mystical events are bizarrely combined. The extralinguistic factors are of particular importance, being associated with the description of the Candomble religious cult, which is a symbol of ethnic identity.

The article reveals the essence and specifics of applying artificial intelligence technologies in the translation into English of Russian phraseological units used in the context of poetic works (based on the poems of S. Yesenin). The experiment tests the translation engines of statistical, neural and hybrid types represented by the DeepL API, Google Neural Machine Translation and PROMT platforms, respectively. The article presents a comparative analysis of the translations made with the help of each of the engines under consideration and the literary translation performed by people. The engines that exist at the moment are not perfect, which determines their popularity at the pre-translation stage, while professional literary translation still remains the prerogative of relevant specialists, implying the need for careful editing of the machine translated product. Special attention in the article is paid to the pragmatic component, which, when working with machine translation, is one of the key characteristics of phraseological constructions, in particular, the possibilities of preserving it in a context adequate to the original. The research was carried out due to the significance of the topic, the active introduction of artificial intelligence technologies into the life of a modern person and the rapid growth of popularity of digital translation, which has confidently defined its position in global translation practice and relevant theoretical developments.

The article studies the problem of interpreting nonverbal expression of emotions, which is considered at the intersection of psycholinguistics, intercultural communication theory, linguoculturology, emothiology and nonverbal semiotics. A universal, supra-cultural system for nonverbal character decoding has not been developed so far. However, there are local interpretive systems created by the expert community. We believe that the study of non-verbal expressions of emotions by the politician’s language personality is possible through the integrated application of such research methods as discursive analysis and critical discourse analysis, allowing us to consider the peculiarities of the dialectical interaction between discursive acts and situations, institutions and social structures, in which they are integrated. Modern artificial intelligence technologies can be applied in the analysis of nonverbal expressions of emotions, in order to evaluate the “average” public opinion. The purpose of this article is to analyze non-verbal ways of expressing emotions by the American political linguistic personality (exemplified by Kamala Harris, Donald Trump and Hillary Clinton) and to highlight their transformations and existing trends. The article concludes that the non-verbal expression of emotions of the American linguistic personality as a phenomenon has a high level of social significance and has already become a part of the American value system. This process is not static, it is in progress today. In general, positive emotions and their nonverbal manifestations are becoming key factors, most often observed by researchers in the modern media environment.

The article deals with one of the most controversial problems of Turkology, the problem of indivisible syntax, which manifests itself at the level of a simple and complex sentence. The relevance of the research is due to the fact that the linguistic analysis of the structure and semantics of communication makes it possible to substantiate the status of indivisible sentences in the syntactic system of the Tatar language and to identify the structural-semantic, grammatical, pragmatic aspects of indivisible sentences. The paper analyzes emotional and evaluative communicemes with affirmative and negative semantics in the Tatar language. The research material is semantic and emotionally expressive meanings of communicemes. The aim of the work is to identify and describe the most commonly used communicemes with affirmative and negative semantics in the Tatar language. The object of the study is the communicemes from the works of Tatar fiction, obtained by the continuous sampling method. The corpus of examples is represented by speech units of an indivisible structure, which we refer to the class of communicemes, that is, non-predicative units of syntax. The work revealed 15 affirmative and 10 negative communicemes in various lexical and grammatical variations. It has been established that communicemes with positive and negative semantics arise spontaneously in speech and are an expressive reaction of the speaker, accompanied by the intonation of delight, joy, surprise, anger, threats, etc. These syntactic units, being set phrases, express national specifics, therefore they are difficult to perceive for native speakers of other languages.

The article analyzes the explication of the spatial model of the world in modern women’s fictional discourse. The focus of attention is on the ways of constructing space and their linguistic representation in the works of A. Matveeva and E. Gilbert, modern women authors of Russian and English literature. A 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 research is aimed at identifying the influence of gender identity on the formation of a spatial model of the world. The novelty of this work lies in the fact that for the first time it has examined the peculiarities of space perception by modern female authors. As a result of the research, we determined the parameters of space perception by the female authors. The analyzed material showed that the main features of A. Matveeva and E. Gilbert’s space are “length”, “volume”, “livability”, “openness”, “evenness” and “spaciousness”. The article highlights the following parameters in the spatial model of the analyzed authors’ world: features of the objects’ location; binary signs of space characteristics; correlation of the category “ours-theirs”; horizontal and vertical perception of space; temporal significance of space. The spatial model of A. Matveeva is built in the form of a straight line; among binary oppositions, “top-bottom” and “in front-behind” prevail; the key spatial loci are apartment, temple, camino and albergo; the discourse describes the space that surrounds her, where she is in the center. In her fictional discourse, the key binary opposition is “heaven-earth”. To achieve the goal, we used the following methods: descriptive, comparative, contextual and a stylistic analysis.

This article describes linguistic creativity in modern gift marketing. The study analyzes the verbal design of alcoholic products’ packaging, which contains creative texts aimed at the mass consumer – a modern linguistic personality, for whom non-standard language solutions have acquired particular value. The author connects the change in the linguistic design of product packaging with the development of mass linguistic creativity, which extends to various types of discourse, including the gift discourse analyzed by the author. The article proves that the creativity of texts on gift alcoholic products is achieved by various linguistic means: violation of language norms, non-standard linguistic combinations, the use of language games that create unpredictability of meanings. Particular attention is paid to the functional aspect of linguistic creativity (attracting consumers’ attention, creating a positive brand image, promoting a product), as well as the axiological component of the analyzed texts. The article concludes that the linguistic design of a product is an effective tool for its promotion, while marketing communication in general and gift marketing communication in particular, reflect the axiological parameters of modern society, for which alcohol products act as an integral attribute of any festive event and/or a desired gift.

This article analyzes the religious confrontation and mutual ethnostereotypes of the Russians and the Danes in Vsevolod Solovyov’s historical novel “The Princess’s Groom” (1893). The novel is based on real events of the 17^th-century Russian history – the matchmaking of Prince Valdemar of Denmark to the Tsar Mikhail Fyodorovich Romanov’s daughter Irina. The marriage failed to take place because Valdemar refused to accept the Orthodox faith. The confessional debates were intensive and uncompromising and ended up with Valdemar’s eighteen month’s confinement in Moscow. The article investigates the mutual perception of the Danes and the Russians, which was influenced by ethnostereotypes and confessional contradictions. We analyze the process of negotiations of the parties and their minor concessions to each other, based on historical research which sheds light on the events of that distant epoch. We have found that Vsevolod Solovyov added some fictional elements to the factual historical basis – the episode of Valdemar and Irina’s secret date, which was organized by her maid Masha (who, according to the author’s idea, was to become Valdemar’s beloved one and leave for Denmark with him). Vsevolod Solovyov was very well acquainted with the circumstances of the events depicted (first of all owing to his father – the famous historian Sergey Solovyov), however, he introduced psychological motivation of the characters’ behavior and described their inner feelings. The article concludes that in the 17^th century, religion played a major role in the conscience of a person (both Russian and West European) since the interconfessional faith collision could not be solved by the parties. By depicting the religious conflict, the author, at the same time, shows the stereotypes of mutual perception of the Russians and the Danes.

The Arabic language is a linguistic phenomenon marked by its various dialectal forms coexisting with a unified literary form, which calls for innovative lexicographic and sourcing approaches. Aiming to create a new type of dictionary, we examine the film text of Syrian series as a source of dialectal vocabulary, recorded in the speech of the characters. The recording of dialectal lexical units in the film text occurs, among other things, in the form of subtitles with equivalents in literary Arabic provided by the film makers. The research material consists of historical series in the Syrian dialect; the methodology involves a comprehensive sampling of lexical and paremical units followed by comparative, semantic, componential, etymological and linguocultural analysis. The novelty of the research lies in the proposed methodology for using film discourse as a source of dialectal vocabulary in the Arabic language, with subsequent processing of the lexical material: 1) distinguishing between dialectal and literary words; 2) creating phonetic, grammatical and etymological commentary; 3) interpreting; and 4) giving illustrations based on the materials from the series; analyzing paremical units. An additional block of the dictionary entry may include equivalents of the headword from other Arabic dialects (lexical network) with possible indications of their connection to the literary source.

The article presents the results of our study on manipulative techniques based on a large amount of linguistic data from social media and focused on the implementation of a major urban development project in the field of road transport construction in Moscow. The research was conducted using data from social networks, video hosting platforms, microblogs, blogs, forums and review websites (3,358,590 tokens, the audience of 17,688,221). Created during the study, the database contains user-generated content and their digital footprints reflecting user reactions. The data analysis was conducted from a cognitive perspective, employing a neural network text analysis, content analysis, sentiment analysis, digital aggression analysis and lexical association analysis. The Brand Analytics monitoring system was used for data collection, while GPT-4o, GPT-4o mini, GPT-4, TextAnalyst 2.32 and AutoMap were used for the data analysis and interpretation, with the Tableau platform used for visual analytics. The analysis of the data revealed mythological manipulation, speech and psychotechnologies. When manipulative techniques are employed in the media space, rhetorical tropes and figures, sophisms and eristic tricks are actively used. The adaptation of these techniques to the specifics of digital communication allows for indirect influence on the audience, significantly increasing the effectiveness of the impact, which can, in turn, lead to heightened conflict potential and social tension.

The article studies active processes occurring at the word-formation level of the language; it analyzes the borrowed prefixes frequently used in recent decades within the modern media space, namely: super-, hyper-, mega-, ultra- with the intensifying meaning, anti-, counter- with the meaning of opposition and quasi-, pseudo- with the meaning of falsity (fake). Based on examples from the National Corpus of the Russian Language, the article describes new trends in the development of semantics and grammatical properties of these prefixes, highlighting the autonomous nature of prefixes and their ability to be used as different parts of speech – as an adjective (both in postposition as a predicate and as a detached attribute), as a noun (declinable and indeclinable), including proper names (names of various stores, companies, etc.), as adverbs, interjections and, syncretically, combining the features of several parts of speech. Apart from that, we focus on their different graphic design: quotation marks, brackets, a hanging hyphen, an ellipsis; in addition, the analyzed prefixes perform accentuating functions and the functions of attracting and holding the addressee’s attention; they set a certain system of intra-textual connections and the reader’s orientation in the text space.

Linguistic studies, related to the emergence and life of phraseological units, show the importance of a neological trend in their investigation, which allows you to see the fragments of the picture of the world relevant to speakers, and the variety of ways used to verbalize ideas about them. However, the meanings of neofraseologisms, recorded in dictionaries, do not always adequately reflect the real picture of their speech functions. The article considers a neological unit whose spectrum of semantic interpretations is far from being unambiguous. The contexts of the National Corps of the Russian language, illustrating the active usage of the phrase “na zubakh” (“on the teeth – gave it one’s all”), show that it has developed quite clear syntagmatic connections that speak in favor of at least two possibilities of its interpretation - with dictionaries fixating only one of the versions. A stable collocation with the verbs to pull out, to win, etc., on the one hand, and contextual supports, united by the meaning “to win, to achieve a goal," on the other, gradually form a different meaning of the idiom, very typical of sports discourse. It characterizes sport competition, excitement, manifestation of perseverance, stamina, etc. In the course of its functioning in speech, it is gradually “magnetized” by the semantics of “win”, “at any cost”, “by all means”. All this requires the need to seriously correct the modern semantics of the phraseological unit in the dictionary.

Modern linguistics assumes a comprehensive study of language as a means of forming and reflecting the picture of the world. In the course of communication, the transfer of information about an object is realized, among other things, through the use of parametric adjectives. A group of lexical units, united by the common semantics of size, acts as one of the main tools for describing reality. Based on the material of the newspaper sub-corpus of the National Corpus of the Russian Language, this article examines the frequency of parametric adjectives usage in political news texts. Functional and semantic specificity expands the sphere of parametric adjectives usage, which explains the prevalence of qualitative adjectives with the meaning of size. The aim of the study is to reveal the quantitative features of parametric adjectives usage in the newspaper sub-corpus of the National Corpus of the Russian Language. The study is based on the political texts from such newspapers as “The Pravda”, “The Novaya Gazeta”, “The Kommersant”, published from 2020 to 2024 and selected by the method of continuous sampling. In the course of the study, we gave a quantitative description of parametric adjectives with the meaning of size; on its basis, we rated the nominative fractionality and frequency of parametric adjectives’ thematic groups in the newspaper sub-corpus of the National Corpus of the Russian Language. As a result of the analysis of the most frequent parametric adjectives with the meaning of size, we determined and described the regularities of these lexical units usage in political news texts. This article reveals the reasons for the active use of parametric adjectives in the modern Russian language and their role in the process of collective consciousness formation.

The paper is focused on the structural and semantic characteristics of eponyms in the sublanguage “Artificial Intelligence” in English. The study’s relevance is determined by the rapid advancement of artificial intelligence systems and information technology in almost all spheres of human activities, which in turn leads to the creation of new lexical units. This finding highlights the necessity of conducting both theoretical and applied studies in this area of lexicology.

We have found that in the sublanguage “Artificial Intelligence”, the names and surnames of individuals who have made significant contributions to the formation and development of this field of knowledge are used as a productive basis for creating new terms. We have also succeeded in revealing that anthroponyms can both undergo certain morphological transformations during the deonymization process and be used in their initial form. The most productive word-formation models are the use of an eponym in the possessive case and the formation of an eponym-based adjective. In contrast to anthroponyms, toponyms and names of literary and mythological characters shift into the category of common nouns without changing their form, but acquiring a new meaning. The study’s findings highlight the significance of eponyms as fundamental components of the language of science and technology and their impact on the way artificial intelligence concepts are understood.

The article investigates the discursive organisation of novels by our contemporary writer Vladimir Sharov (1952–2018). As a model of such an organisation, typical of V. Sharov’s works in general, we study the structure of the novel “Return to Egypt” (2013). It combines the thematic discourse of national consciousness and culture (on the role of Russian literature, on the cyclical nature of Russian history, on the significance of its split, on the nature of Russian revolutions, etc.), which are translated into the author’s novelistic discourse. According to the author, palimpsest interposition of discourse pieces creates a model of national identity. In the work, discourse analysis is carried out in the paradigm of M. Foucault’s interpretation of discourse. Discursive interactions determine the historiosophy of the author, based, as the analysis has shown, on the ideas of Russian religious philosophy. Within the novel, the discursive model works as a hierarchy, where the metanarrative (usually based on a biblical motif or other mythologeme) is immersed in the diverse pieces of national history discourse, manifesting their archetypal meanings.

The article explores instances of actual ekphrasis (verbal representation of actual works of art) in biographies of the 18^th century British socialite Georgiana, Duchess of Devonshire. Through the case study approach, we argue that ekphrasis serves as a stylistic device in biographies and helps shape the reader’s perception of the subject. Published in different decades of the 20^th century, the four biographies of the Duchess illustrate historical move of the biography from novelization towards factual narrative. The study leads to a conclusion that, in the analyzed biographies, the use of ekphrasis is linked to their stylistic aspect. Extended descriptive-interpretive ekphrases prevail in the novelized biographies of I. Leveson Gower and A. Calder-Marshall. Ekphrases are lexically expressive, they can be used to create antithesis or introduced into the narrative through free indirect speech. B. Masters, the author of one of the two factual biographies, desists from using ekphrasis. A. Forman favours condensed descriptive ekphrases that she introduces into the narrative through letter and newspaper excerpts. As is the case with novelized biographies, ekphrasis in Forman’s factual biography acts as a stylistic device that creates imagery in a factual narration yet preserving its authenticity.

The article examines the memoirs of Vladimir Alekseevich Ivanov (1886–1970), a prominent Russian orientalist, the founder of Ismaili studies, a branch of Islamic studies that explores Ismailism as a religious and ideological movement within the Shiite branch of Islam. Written in the mid-1960s, these memoirs cover the period from 1918 to 1968 and convey the researcher’s impressions of the Eastern countries he visited (Central Asia, Iran, Iraq, India, Egypt, Syria and Palestine). The handwritten notes of the scientist are kept in the archival collection of the Institute of Oriental Manuscripts of the Russian Academy of Sciences (Moscow, St. Petersburg). In 2015, they were published as a separate book with a preface and comments by B. Norik, a Russian Iranian scholar, translator, textual critic, employee of the Institute of Oriental Studies of the Russian Academy of Sciences (Moscow). The memoirs of V. Ivanov have so far been studied as a fact of his scientific life and fate, as a certain addition to the researcher’s work, a kind of appendix to them, explaining what usually lies beyond strict studies, in the field of subjective experience and impressions. Meanwhile, it seems that they represent a completely independent literary work, so that the circle of their readers cannot be limited only to narrow specialists. The literary part of the memoirs is determined by a whole set of features: its language (style register), the image of the author and his subjective position, genre features of the work combining elements of diary prose and detective story, as well as a conditionally “hagiographic” canon (ancient Russian literature) with the traditions of ethnographic descriptions of everyday life, which dates back to “Walking across Three Seas” by Afanasy Nikitin. The memoirist, as a rule, records the past selectively (this is due not only to the conscious desire of the author to highlight some events, obscuring others, but also to the specifics of human memory as such). V. Ivanov was no exception, for him of primary nature was the opinion taken from the point of view of the interests of science.

The paper explores functions of communicative strategies in the female English-language biographical discourse in the second half of the 20^th century. The analyzed works are biographies written by British and American women writers: “Emily Bronte. Her Life and Work” by M. Spark (1953), “Sartre: Romantic Rationalist” by I. Murdoch (1953), “Saint-Exupéry. A Biography” by S. Schiff (1994) and “Blonde” by J.C. Oates (2000). The objectives of the study were to analyze the genre characteristics of the texts, to identify their linguistic and extralinguistic means of presenting the main character and to reveal the gender-marking of English-language biographical discourse. In the course of the analysis, we formulated the main verbalization techniques of the female view on the image of the Other in its historical, national, social and cultural perspective. The article focuses on the ways authorial communicative strategies affect the reader’s perception of the main character in the presented biographies. We have come to the conclusion that the gender-marked text is characterized by the accentuated female subjectivity and the domineering evaluative component in creating the image in the realistic discourse (M. Spark, S. Schiff) and gamification in the postmodernist one (I. Murdoch, J.C. Oates). The choice of the main character is determined by national features, so while the English biographical discourse is characterized by its appeal to the phenomenon of creative consciousness, American biographers focus on the mechanisms of mythologization and demythologization of a cult personality.

The article determines the mythopoetic chronotope functions in Rudolfo Anaya’s short novel “The Village the Gods Painted Yellow” (1982). The study focuses on the elements of magical realism, which allows us to expand our understanding of the features characterizing creative thinking of the twentieth-century Mexican-American (Chicano) writer. The methodological basis of the work is formed by E.M. Meletinsky, A.F. Kofman and V.N. Toporov’s works concerning the concepts of “myth”, “mythopoetics”, “mythopoetic chronotope” and “magical realism”. The mythopoetic method is used to explore the literary appropriation ways of mythological images and motifs and their functions. The structural-semiotic method helps to determine the properties of space and time in the literary text with the identification of significant binary oppositions (according to Y.M. Lotman). The analysis reveals the features of the mythopoetic chronotope in the narrative, embodied in the text through the introduction of mythologems associated with the ancient Mayas’ ritual practices and archetypal oppositions (“friend – foe”, “north – south”, “life – death”). The article defines the specificity of the characters’ images in their interrelation with the principles of “poetics of supernormativity” typical of Latin American magical realism, the peculiarity of the author’s worldview and the substantial depth of the literary text.

The contemporary American postmodernist playwright Don Nigro engages in a dialogue with Shakespeare, deconstructing the texts of his plays. Nigro uses transtextuality and intertextual references, expanding the dialogic field to new meanings. At the same time, the author explains his (and not only) creativity irrationally, since he expresses ideas about the writer’s inability to control what happens in his work. The article attempts to scientifically substantiate the enigmatic emergence of images and plots in the writer’s head and gives a brief overview of the understanding of intertextuality in scientific consciousness. The terminological apparatus used is the concepts introduced by the French literary critic and philosopher J. Genette. As an example of Nigro’s palimpsest, we analyzed his play “The Boar’s Head”, supplementing Shakespeare’s historical chronicle “Henry IV” in two parts. The characters of the work, written by Shakespeare, continue to exist in Nigro’s play “autonomously”, according to the modern play-wright, however, their personalities and destinies fully correspond to the original text. This irrational, at first glance, process is determined by the professional experience of the playwright-philologist Nigro, which allows generating transtextual space in a natural way.

For the first time not only in Tukay studies, but also in Tatar philology, the article has studied the representation of the human body and its individual parts based on the works of G. Tukay, the great poet of the Tatar people. Although there are no works in Tatar literary studies specially devoted to the problems of corporeality, some observations can be found on this topic in the works where the body acts as a material object. The analysis of research and the specific features of covering this topic in the works of the poet is the novelty of this paper. G. Tukay criticized the negative aspects of society and national reality, as well as negative character traits of representatives of upper classes or an individual person by using a metonymic image of the body and its individual parts. We find an active use of such parts of the body as the nose (boryn), head (bash) and stomach (korsak) with various shades of evaluation. At the same time, in the poet’s work, female beauty is the subject of inspiration and suffering, that is, it acts as an object of culture. In these poems, eyes, lips, teeth, face and hands express the lyrical hero’s intimate feelings and the beauty of his beloved. In some of G. Tukay’s works, individual parts of the body, the hand for example, are used as symbols, enabling to display various experiences and philosophical and existential thoughts of the lyrical hero.

Language play is a common device in literary works. The article studies language play in British animal studies in the second half of the 20^th century. We analyze how British writers use language to create images of animals and to convey their characteristics. The article examines various techniques of language play, such as puns, metaphors, comparisons, etc. We also draw attention to how language play helps create a unique style of narration and conveys the peculiarities of British culture. The article will be of interest to literary researchers, as well as to anyone interested in British culture and literature of the 20^th century. In this article, we trace how language play is realized in the works of British animal writers such as Gerald Durrell, Richard Adams and Harry Kilworth. Depicting two parallel developing worlds – the human and the animal one, British animalists endow the latter not only with psychological characteristics, but also with their own language. As a result, their world is perceived as a certain civilization with its own cultural characteristics, which can serve as an example for humanity.

In his story “The Blizzard” (1856) and the novel “Anna Karenina” (1873), Leo Tolstoy consistently reinterprets the motifs of Petr Grinev’s dream in Pushkin’s novel “The Captain’s Daughter” (1836) and through its prism – the key motif of the novel: the winter path as a metaphor for a life path. Grinev’s path is his service with the aim to fulfil the principle of noble honor, included in the epigraph of the story. The educational content of this path is his choice between “duty” and “will”. Grinev subordinates the “will” of his desires to “duty”, but follows his “will”, protecting the life and honor of his betrothed. Pugachev, embodying the elemental principle of nature as the source of human “will”, acts as a paradoxical assistant to the hero in affirming his “will” as the highest level of the “norm”. By reproducing the image of Pugachev as the robber from Grinev’s dream in the protagonist’s second dream of “The Blizzard”, Tolstoy presents him as the embodiment of the folk-nature existence, only intuitively indicated in the blizzard movement without a path. The further reinterpretation of this image in the dreams of Anna Karenina and Vronsky was determined by the fact that the cultural and behavioral norm of nobility, stated in “The Captain’s Daughter”, became a historical past for Tolstoy in the 1870s. In particular, it was the motif of “heroic hedonism”, varied by Pushkin in his late works, which allowed taking a wife away from her unloved husband and a bride from her unwanted groom. For a nobleman, the “family thought” in “Anna Karenina” made the only possible way back. The “man with a black beard”, referring us to Pugachev, appeares in the winter dreams of Anna and Vronsky, who betrayed the “family thought”, and symbolizes their boundless and fatal “self-will”.

In 1932–1933, M. Bulgakov simultaneously worked on a novel about Moliere for the series “Life of Remarkable People” and the second edition of his future novel “The Master and Margarita”. In our opinion, the creation of the images of King Louis XIV and Moliere had a tremendous impact on the formation of the theme “the artist and power” in the novel “The Master and Margarita”. This article is the first attempt to investigate the influence of the novel “The Life of Mr. de Moliere” on the development of the theme “the artist and power” in the novel “The Master and Margarita” based on the creative history and the textual analysis of the designated works. In our work, we rely on the system of the novel editions that we have found and its main text, reflecting the last creative will of the author to the fullest extent: the first (1928–1930), the second (1932–1936), the third (1936), the fourth (1937), the fifth (the last handwritten one, 1937–1938), the sixth (the final one, 1938–1940). For the first time, the fragments of the novel drafts about Moliere are introduced into the scientific circulation. The draft texts of the two novels are presented be means of dynamic transcription, which will make the process of the writer’s creation work visible and allow us to see the formation of the author’s conception. Graphic conventions are used for this purpose: 1) a piece of text crossed out by the writer – [text] (italics), 2) an insert during the writing process – text (bold font), 3) a later insert – {text} (bold font), 4) a later insert crossed out – {text} (italics and bold font), 5) a conjecture – <text> (italics), 6) reliability of the transmitted author’s text – <sic>, 7) the end of a page and the transition to the next one indicated by two straight vertical lines – ||. When quoting draft texts, we preserved the author’s spelling and punctuation.

This article examines the transformation features of the archaic motif of sending the main character into the forest and its connection with the cultural model of initiation in E. Dvoretskaya’s novel “Olga, the Forest Princess”. The choice of this work is connected with the author’s personality, as E. Dvoretskaya is considered to be one of the founders of “Slavic” fantasy, the fact raising interest in the degree to which the author engages with archaic cultural models in a historical novel. The research is based on a text analysis supported by V. Propp’s works, discussing the connection between the fairy-tale structure and initiation rituals. The image of the forest, explicitly reflected in the title of the novel, is associated with the images of deceased ancestors, a shaman in an animal skin and a witch living away from people. The characteristics of these figures, such as lameness and zoomorphic traits, indicate their belonging to the “world of the dead”. When the main character Elga enters the forest, she finds herself in this “world of the dead” and undergoes trials comparable to ancient initiation rituals. The author describes the ritual in detail, striving for maximum realism; however, in the finale, Elga behaves not as a bearer of mythological consciousness, ready to repeat the fate of her ancestors, but as a literary heroine, capable of resisting circumstances and making her own choices. The cyclical nature of time, associated with mythological consciousness, is repeatedly emphasized at the plot level through embedded “fables” depicting recurring situations in Elga’s family, it is also verbally referenced through the theme of rings and circles. The study concludes that the author of the fantasy, by utilizing archaic cultural models in a historical novel, portrays the process of the heroine’s coming of age in traditional society. However, the transformation of the final stage of initiation and its essential substitution demonstrates that Elga represents a romantic rather than a mythological type of heroine.

The subject of our study is invariant genre parameters of the intellectual novel. The purpose of the study is to identify and describe the theoretical model of the intellectual novel genre, implemented in the novelistics of V. Nabokov, whose works have a strong intellectual source. The methodology of the research is based on the theory of genre, developed by M. Bakhtin and significantly supplemented and refined at the school of theoretical poetics by N. Tamarchenko (the concepts of “internal measure” and the invariant of genre). In the analysis of texts, we used the methods combining elements of structural-semiotic and functional approaches, and the method of hermeneutical interpretation to characterize the genre parameters of the intellectual novel. The conducted research made it possible to study the theoretical potential of the intellectual prose concept based on V. Nabokov’s novels “The Gift”, “Lolita” and “Pale Fire”. The article identifies the structural and semantic model of the intellectual novel genre whose matrix can contribute to clarifying and deepening the interpretation of the poetics of some modernist and postmodern texts focused on intellectualism as a genre strategy. We highlight the following invariant parameters: a narrative strategy of provocation that creates an occasional world and programmatically complicates the composition of the text (generating textual riddles, puzzles and secrets); an intellectual protagonist as a narrating (interpreting and world-modeling) instance in the narrative; a stable thematic complex (aestheticization of themes of art, love, fate of a fictional world and death); the permeability of the boundary between the world of the text and the world of the reader, leaving the choice of a strategy for constant reinterpretation of the work and relativizing the philosophical, aesthetic and ideological context of the text.

Based on the five-volume novel “Leningrad Fairy Tales” by Y. Yakovleva, the article systemically identifies multidimensional relationships between stereotypical relevant knowledge and scenarios of the child characters’ physical and psychological development, examines the problem of a growing individual’s operative memory and its cognitive role in the process of linguistic embodiment of current events. We have established that the reader’s attention is focused on the strategies for interpreting objective reality, which are effective for a growing child character in the context of culturally defined children’s literature discourse. The processes of growing of a child character are conceptualized in the texts of children’s literature based on cultural scenarios and embodied metaphors. In this regard, we can trace the interrelationships between the metaphorical embodiment and the structure of the narrative, in particular, how a child’s knowledge of the surrounding reality influences the architectonics of the narrative. The article concludes that textuality is generated and perceived through the prism of physicality, being based on audiovisual channels, and the child-reader maintains communicative contact with the author by activating memories, predetermined by the cultural context, which cause intense emotional reactions. Of essential importance in the format of children’s literature are such aspects of age-related cognizing of the current eventuality as stereotypical background knowledge and cognitive scripts, which, in turn, are predeter-mined by physical and cultural vectors, embodied models of consciousness as developed patterns of expression that exist in the discursive construction of childhood. Child-readers rely on cognitive functions such as memory, perception and emotion to analyze cause-and-effect relationships in a storyline. All of these cognitive functions work together to convey information about the emotional potential and collective nature of storytelling.

The article is dedicated to the modern Russian writer E. Verkin. His novel “Snark Snark” was analysed using the methods of a motif analysis and the elements of a comparative and mythological approach. Verkin’s work is examined from the point of view of its use of horror techniques and motifs. The article considers intertextual connections with precedent texts of Russian classical literature and works of horror (for example, the works of S. King). We identify the sources of the cinematografic allusions of the novel and highlight the references to classic horror films. The article studies the transformations of the horror chrontope, refractions of traditional horror characters and the inclusion of folklore components. We have established that the author uses both genuine folklore motifs and the folkloresque, i.e. imitation, narrative. The theme of sacrifice, popular in the horror genre, is analyzed, suggesting that in the novel “Snark Snark”, the theme of sacrifice is pushed to the periphery of the plot, encrypted in the intertextual code. The article proves that the writer uses horror genre clichés to create certain genre expectations, but often subverts them without leading the plot to a horror ending. Verkin deconstructs horror clichés, violates genre expectations, thus creating a distinctive fictional world.

Retardation plays a significant role in A. Ostrovsky’s artistic universe, being prevalent in his works and indicating the intermedial nature of the author’s oeuvre. The strengthening of intertextual connections between literature, theatre, painting and music has contributed to the evolution of traditional genres. In terms of genre, Ostrovsky highlighted the importance of capturing static space, referring to his comedies as paintings, scenes and so on. Small dramatic forms are characterized by a substantial conflict, owing to the fact that the playwright’s focus is not on the development of intrigue but rather on the characters. We discuss the fusion of arts, bringing the static quality inherent in literary paintings and scenes closer to the genre painting. Retardation as the emphasis on the lack of significant movement in a play allows the audience to enter the portrayed space from a distant perspective. The purpose of this article is to examine the artistic time and space in Ostrovsky’s paintings and scenes. The study has found that Ostrovsky frequently employs index retardation within the narrative of his characters. Event-based retardation, which builds tension prior to the climax, differs from index-based retardation. In Ostrovsky’s dramaturgy, index-based retardation serves as a means of emphasizing relaxation, introducing characters into the realm of everyday concerns. The playwright slows down the action in the play by incorporating extraneous elements into the plot, such as repetitions, parallels, quotations and reminiscences. Additionally, he employs plot devices such as metaphors representing unreal spaces (both conscious and unconscious dreams), as well as visual cues such as mirrors, maps, imagery of water and so forth. Focusing on the states rather than actions, as the primary category of fine arts, enables us to imbue the intratextual space in Ostrovsky’s dramaturgy with pictorial art characteristics.

The article is devoted to the formation mechanism of national cultural myths about Europe in “Letters of a Russian Traveler” by N. Karamzin. Using the example of four countries, visited by the Russian traveler (Germany, Switzerland, France and England), we explore the main models for creation of national cultural myths. The example of Germany shows the importance of the traveler’s empirical experience in the absence of literary cultural mythology concerning this country. The experience of Switzerland allows the traveler to project his own personal experience on the myth already established in literature, describing Switzerland as the Arcadia of modern times, the country where the “golden age” reigns. The national cultural mythology of France allows the traveler to compare the 18^th-century myth of Francocentric Europe, when France performed the role of cultural hegemon, with the historical realities of the French Revolution, which gradually turn France into an outsider country in the eyes of other European monarchies. N. Karamzin’s world image of England is the most complex version of the national cultural myth. On the one hand, the Russian traveler compares the realities of genuine English life with the image of foggy Albion and its inhabitants, which he formed under the influence of reading English novels in the context of the Enlightenment bibliophilic cultural myth. On the other hand, his analysis of the main national features of the English people allows the traveler to think about identifying himself as a Russian person, to compare the English world image with the Russian one, stating the existence of a number of differences between them.

This article analyses the graphic novel adaptation “Crime and Punishment” (2019) written by a French writer and artist Bastien Loukia. This analysis has been conducted for the first time in Russian literary studies. The aim of the work is to identify the main features of modern graphic adaptation based on the book by B. Loukia. The relevance of our work lies in the study of one of the most currently popular genres – the genre of the graphic novel. It is also relevant to consider Loukia’s work as the most common subgenre of the graphic novel - a graphic novel adaptation. The study uses comparative and structural methods. We analyze the system of characters and compare them with the characters of Dostoevsky. We have come to the conclusion that in Loukia’s book the crime, committed by Raskolnikov, is connected with the dominance of violence in his reality. For this reason, the central character commits murder. The analysis of the spatial and temporal organization of the work proves that the events of Dostoevsky’s novel are being projected to B. Loukia’s contemporary reality. The article concludes that by referring to a famous work, the authors of graphic novel adaptations, in their books, comprehend philosophical and socio-psychological problems of their own time. We identify the following features among the main characteristics of the graphic novel adaptations of the last decade: remaking of the plot, character system and the chronotope of the precedent text in order to represent themes and problems relevant to the author of the 20^th century and complicating the graphic component. The analysis of the graphic component allows presenting several possible interpretations of the graphic novel and its problematics.

The article examines the method of “detachment” in Leo Tolstoy’s trilogy “Childhood”, “Boyhood” and “Youth” (“Detstvo”, “Otrochestvo” and “Yunost’”) as one of the theoretical concepts characteristic of Tolstoy’s entire creative work. This method first appeared in the works of Russian formalists R. Yakobson and V. Shklovsky who made their contributions to the literary theory. Their imagery system perception of a literary work is based on the conviction that in fiction language is removed from the ordinary automatic perception. As the formalists believe, the goal of art is to give a sense of a thing as vision, not as recognition. The creation of art should bring forth the truth about existence. This “emergence of truth” (a term coined by M. Heidegger) is conceivable only on the basis of creation, i.e., on the basis of the “making” of a literary work. Tolstoy’s “strange” perception of the material world and ordinary phenomena speaks not of recognition, but of sensitivity, when one sees a particular object or a phenomenon for the first time. The method of “detachment”, to which Tolstoy came through his own artistic sense, allows one to grasp the actual deep essence of ordinary objects and phenomena within the author’s conception of his work. Thus, an ordinary object (a flapper), seen by the author with a “strange” perception of things, provides the impetus for the formation of an artistic creation about the world of childhood, boy-hood and youth.

The reception of a literary work in a foreign culture continues to be a topical issue for both literary scholars and linguists. Researchers study the facts of the texts’ primary and subsequent reception and their entry into a new language environment. The first translations of Henry James’s novels into Russian appeared at the end of the 19^th century (“The Portrait of a Lady” and “Daisy Miller”). In the 1950s–60s, Russian literary criticism believed that the writer preached sophisticated psychologism, a cult of form, that he was far away from the current problems of life. It was in the second half of the 20^th century, when Henry James’s novels and stories were available to Russian readers, that the importance of the American writer’s work in world literature became obvious. This is evidenced by the international conference “Henry James Today”, held by the American University of Paris in 2002. The article shows that in one of his best novels “The Wings of the Dove”, James revealed a more complex view of the inner world of man and the nature of his perception of reality. We continue the study of the writer’s psychological mastery and show the variety of interpretations of the novel “The Wings of the Dove” given by Japanese and French scholars.

The article systematizes information on the work of the screenwriter, the Honored Artist of the Republic of Tatarstan I.A. Mukhamatgaliev. We reveal the contribution of the playwright-translator to the development of Tatar children’s drama. The research is based on the plays “Kiyok Kaz yuli” (“The Formula of Beauty”, 2022), the fairy tale play “Myraubatyr Maҗaralary” (“The Adventures of Myraubatyr”, 2023) and the kaleidoscope play “MakarҗAd Theater” (“Once Upon a Time at the Fair...”, 2024). The work of I.A. Mukhamatgaliyev is an interesting experience of thorough work conducted by theaters with specific authors to satisfy repertoire hunger. We prove that when creating dramatizations in order to reflect his author’s and director’s vision of reality, the actor-playwright reworks “someone else’s text”, sometimes several plots by completely different authors. I.A. Mukhamatgaliyev can preserve the main storyline and rework the text to make it completely unrecognizable. During the analysis of I.A. Mukhamatgaliyev’s plays, we came to the conclusion that staging was part of the literary process. The works of I.A. Mukhamatgaliyev are author’s dramatizations reflecting his worldview and conducting a dialogue with the original text.

The article examines the conflict structure in the song lyrics of “The Man Who Would Be King” (2004) by the American rock musician R.J. Dio. The article emphasizes the cross-interference of literary framework and grammar. The high compression of the song lyrics intensifies the polysemantic potential of words, pronouns in particular. The choice of pronouns, in turn, allows spaciously depicting the status and progress of the lyrical character, conveyed by Dio in singular and plural simultaneously. The pronouns help to designate different aspects of the conflict within the lyrics: “we and the infidels”, “me and (Holy) Father/God”, “me and my allies in faith”, and to escalate the conflict of the lyrical character with himself. In the absence of response, Dio’s narration becomes an unrequited dialogue, a one-sided reasoning of the lyrical character with himself. The article draws parallels with the story “The Man Who Would Be King” (1888) by R. Kipling, which for Dio serves an intertextual reference, taking us back to earlier events in British history, revealing a common motif of the White Man’s Burden, a colonial mission, and the archetype of the crusader and liberator for both stories. The article concludes that it was “them”, the defeated infidels, who were the dragging force that made the lyrical character grow as “I” and “we”. “Them” also served a basis for the uneasy changing authority of “him”, the super-ego – (Holy) Father/God, King, the Devil, the Man – testifying to the important role of pronouns in the progress of the song’s plot.

The article presents an overview of works on Confucianism prepared by researchers from the Institute of China and Modern Asia (Institute of Far East) in the post-Soviet period. Particular attention is paid to the history of scholars’ translation activities, which in this period became increasingly intensive. The article focuses on the translations of the classical canons 四 书 “The Four Books” and 五 经 “The Pentateuch”, which had a great influence on the spiritual culture of China. Translations of Confucian works are compared in the framework of “scientific - poetic, special - popular, full – partial”. The aim of the study is to determine the role of translation in the study and popularization of Confucian philosophy. The paper demonstrates that the translations by scholars from the Institute of China and Modern Asia are based on a deep theoretical analysis of Confucian philosophy, the study of original sources in Chinese, taking into account the scientific results of Chinese textual scholars and clarifying previous Russian-language translation versions. Thus, many years of research on Confucianism have prepared the ground for the rapid development of translation in this sphere. At the same time, the appearance of new translated versions and translations of Chinese monuments, previously unknown to Russian readers, on the one hand, contribute to the deepening and intensification of scientific research on Confucianism; on the other hand, they popularize an important component of Chinese spiritual culture due to the accessibility of the presentation of postulates and a wide-range-of-readers orientation of new translations. The article concludes that the bidirectionality (scholarly research - translation, translation - scholarly research) and mutual enrichment of scholarly and translation activities have contributed to the emergence of a large number of good books that synergistically combine scholarly accuracy and objectivity with a popular style of presentation that is close to modern readers.

The article discusses the issue of studying the Bashkir language as a state language in Russian-language educational institutions. The relevance of the study lies in the fact that the tasks of language education, as a factor in an individual’s adaptation in the social environment, are among the most in demand. They are considered by scholars, methodologists, and are reflected at the legislative level. The article defines the concepts of “a communicative competence”, “a cultural competence” and “a regional studies competence”. We analyze programs and textbooks on the Bashkir language, included in the current Federal List of Textbooks, to determine the study content, designed to develop appropriate competencies, and the role of regional studies competence in the development of speech activity and students’ coherent speech, and discuss the regional studies scope of Bashkir language lessons in primary school. As a result of the analysis of textbooks, we identify the need to experimentally substantiate methodological ways of developing regional studies competence of junior schoolchildren in Bashkir language lessons; the development, systematization and adaptation of didactic materials related to the formation of regional studies competence of junior schoolchildren; the elaboration of practical recommendations and experimental learning results that can be used in the course of theory and technology of teaching the Bashkir language in primary school, etc.

The article presents the results of the development and implementation of a methodological system of tasks aimed to develop grammatical competence of international students on the basis of the animate/inanimate category, which is a unique linguistic phenomenon ‘built’ on the opposition of ‘the animate’ to ‘the inanimate’. The study of this grammatical category in the linguodidactic aspect has a great potential due to the specifics of the category under consideration, as it requires not only the knowledge of grammatical rules, but also the ability to evaluate the semantic characteristics of nouns in a particular context. The presented linguodidactic system includes the following types of tasks – preparatory (imitative, substitutional, transformational and retelling) and speech tasks. In addition, when preparing educational materials, the principle of clarity is taken into account, which we believe to be a key element of working with the Russian grammatical category under consideration.

During the experimental work it was revealed that the developed system of exercises in combination with theoretical material enabled students from other language backgrounds to gain a deeper and more systematic understanding of the grammatical material and prepare them for the effective application of the acquired knowledge and skills in real communication.

The results of this study will be in demand by teachers of RFL and students from other language backgrounds studying Russian both at the initial and more advanced stages of learning in order to form and improve their grammatical competence in Russian.

The article examines the content of the work on the sentence in the process of teaching Russian as a non-native language. Despite the availability of methodological works on the study of syntax in the Russian language school course, we believe that insufficient attention is paid to the sentence as a syntactic unit. We propose to consider a sentence as a complex, multidimensional linguistic and speech unit. In our opinion, the central link in the process of learning a sentence in Russian lessons is mastering the mechanism of a sentence construction. At the same time, we note that this work should begin as early as at the stage of studying morphology to be later consolidated in syntax lessons. As the core ones in educational practices, we propose to highlight three aspects of working on the sentence, in particular, when working on language acquisition: 1) syntactic connections of words, 2) word order, 3) intonation. In our opinion, not all these aspects are implemented in practice. Each of the three aspects has its own specifics; at the same time, they are organically interconnected. This relationship contributed to the emergence of the idea of multidimensional (complex) teaching of the Russian language based on a syntax. In this methodology, the sentence is considered to be a component of a coherent text, which implies the use of the text as the main didactic material when teaching Russian as a non-native language.

The relevance of the article is justified by the fact that in the modern world it is difficult to overestimate the importance of speaking a foreign language. Speaking is becoming key in the process of learning foreign languages, especially English. Modern realities present students with new tasks that can cause difficulties. Foreign language teachers need not only to teach the basic components of speech activity, but also to prepare students for interaction in real life. For many students, speaking is one of the most difficult aspects of learning. Our research is devoted to identifying the potential of the direct method in teaching students. Research methods include an analysis of theoretical sources, generalization and systematization of key concepts, an oral interview of students, an analysis of the data obtained and a plan of further research. A theoretical review of the literature on the research topic helped to establish that despite some disadvantages, the direct method has many supporters and many advantages. In the study, we propose to launch an experiment in which students of beginning levels of English will be tested, divided into groups, and during the academic year they will learn the language using the direct method. The practical part of the work was the collection of data and their analysis using the criteria of the IELTS exam.

The article presents the concept, developed at Pskov State University: The regional component implementation in teaching the Russian language to foreigners. The relevance of the topic under consideration is determined by the need to optimize the process of foreigners’ socio-cultural adaptation in the region of study and residence. The article shows the variety of implementation forms of the regional component of education and the used teaching tools, which are developed taking into account the communicative needs of the addressees and their level of proficiency in Russian. The principles of drawing up the regional linguoculturological minimum and the techniques of its activation in speech are described in relation to international students of the pre-university level of training. Much attention is paid to the issues of adaptation of bachelors who have undergone pre-university training in other regions: an adaptation crash course of the Russian language including a regional component and an extensive program of activities in extracurricular regional studies are offered to students of non-philological specialties. A special discipline has been developed for international students of philology, preparing them to work with Pskov folklore and dialect material; during their educational practice on the streets of the city they master its toponymic space. International undergraduates and graduate students of philology who are competent in regional linguoculturology participate in projects of the University Lexicographic Laboratory. The article emphasizes that the proposed system for developing a regional component in teaching Russian as a foreign language can be implemented based on other Russian cities and regions, which determines the practical significance of the concept and the article presenting it.

The article considers the importance of Russian as a foreign language in the professional training of medical students studying at Ammosov North-Eastern Federal University. The article indicates the importance of cooperation between the Department of Russian as a Foreign Language of the Faculty of Philology and specialized departments of the Medical Institute as an effective tool in linguistic and professional training of international students, future doctors. We present the system of training international medical students from the countries of the Middle East, Africa and the Asia-Pacific Regions based on the academic discipline “History of Medicine”. The article describes the joint work of a medical teacher and a teacher of Russian in drawing up a “road map” for teaching Russian to international students who, as a rule, do not speak this language. We recommend the teacher of Russian as a foreign language to use tasks on working with a thematic thesaurus, to expand professionally oriented vocabulary and to develop oral coherent speech, based on adapted educational texts, using modern information technologies. The article concludes that this approach to training enables international medical students to actively participate in the educational process in such forms as: collage compiling on the topics and sections under study, reports on the history of medicine in their countries for participation in the conference “A Week of Youth Science” and in various versions of the business game “Medicine Yesterday and Today”. The methodology presented in the article can be used to create an educational and methodological complex unity that contributes to a more effective teaching of the Russian language to international medical students. Thus, interdepartmental cooperation in teaching the Russian language to international medical students plays an important role in the professional development of future doctors.

The article actualizes the problem of finding effective forms of organizing students’ activities at a university in a polylingual educational environment. We focus on systematizing the valuable experience gained in organizing the university polylingual environment, based on analyzing the forms of students’ involvement in this environment as the subjects of pedagogical interactions. The paper presents theoretical provisions concerning the content of the concepts “polylingual educational space” and “polylingual environment”. These concepts are considered to be systemic, based on a set of such structural components as information-content, activity-event, value-orientation and communication-norm. The results of the study provide data on various types of research, cultural, leisure and creative activities of students on a polylingual basis, in which they exploit their potential through their immersion in the linguistic environment and the diversity of cultural relations. In a systematic form, we compare the components of the polylingual environment, highlighting their target characteristics and the corresponding forms of the KFU students’ organized activities. The article can be recommended to teachers, employees of institutions organizing leisure activities and the students themselves for their involvement in the polylingual space of the university on a multilingual basis.