This article categorizes random loanwords-Turkisms functioning in the Russian-language musical discourse. The work analyzes the existing approaches to the categorization of random loanwords, establishes their similarities and differences with a related phenomenon – foreign-language inclusions. We propose to differentiate these concepts within the framework of a new, psycholinguocultural approach, based on the methods of linguocultural studies, cognitive linguistics and ethnopsycholinguistics. We study the cases of using random loanwords in the texts of musical compositions in Russian by means of such special methods as the definitional analysis, contextual-situational analysis, component analysis, comparativecontrastive method, linguocultural analysis, cognitive-semantic analysis, discursive and axiological analyses. The study is based on the texts of musical compositions in Russian by Turkic-speaking and some non-Turkic-speaking performers. When selecting the text material, its compliance with the time criterion (publications for the period from 2019 to 2024) and the ethnic status of the performers of musical compositions (the origin of the performer, the origin of the parents, self-determination, the region of performances) were taken into account. The sources of the study are the Internet sites MUSIC.YANDEX.RU, TXTSONG.RU, GENIUS.COM, and SHAZAM.COM. During the analysis of random loanwordsTurkisms in the texts of musical compositions in Russian, the categorization of the concept “random loanwords” was tested. We found that the loanwords subjected to the analysis have equivalents in the Russian language, while in the donor languages, they do not have nationally cultural specific connotations. The analysis reveals the following differential features of random loanwords-Turkisms, functioning in the Russian-language musical discourse: the lexical and grammatical essence of random loanwords can be characterized by belonging to both independent and auxiliary parts of speech, to interjections; from a communicative point of view, the purpose of using random loanwords is an aggressive demonstration of linguistic competence, increasing the prestige of the speaker within the framework of the self-presentation tactics implementation. Prospects for further research are determined by the need to clarify and expand the concept of “random loanwords”, its application in the field of research into loanwords in general, and Turkisms in particular.

The article investigates allusive anthroponym’s functions in a literary text in the context of cognitive stylistics, studying the features of the conceptosphere formation in a fiction text and the interaction of cognitive entities. The relevance of the study is determined by the search for new ways used to analyze the tropes’ functions, by the need to deeply penetrate into the semantic structure of a text and to study the actualization features of cognitive mechanisms underlying the stylistic technique of allusion and allusive anthroponym as its variety. The research questions of the study include the analysis and generalization of scientific sources on the issue of allusive anthroponym functions as a means of verbalization of allusive anthroponymic concept in a literary text, selection of empirical material of the study from the text of R. Bradbury’s novel ‘Fahrenheit 541°’, research of the obtained allusive anthroponyms in terms of sources of allusive references, typology of concepts and their layer structure. The results show that the analyzed novel is dominated by allusive anthroponyms with reference to the fields of poetry, prose, politics and philosophy. The predominant types of allusive anthroponymic concepts in the novel are allusive concepts–prototype images of culturally significant individuals, forming the representation and storage of cultural values, created by man. Structurally, the notional, associative and axiological layers are accentuated in the concepts. Allusive anthroponymic concepts are characterized by a general positive assessment of the activities of allusive anthroponyms’ referents and the results of their creativity.

Oppositional potential is the fundamental substance of communication. The significance of oppositional relations allows us to qualify them as an essential and promising specificity in the context of creating meta-language descriptions. Of particular interest in this regard is the representation of the possibilities of oppositional modeling of computer-mediated communication. The language relations oppositionality, mediated by the semiotic resources of computer systems, has its own logic of using language means and the tools of their representation and interpretation. Accordingly, both the tasks of recording language production are solved and a multi-faceted information exchange is ensured. Computer-mediated communication has not changed the essence of language, but has made its deep architecture visible. In this regard, the growing interdisciplinarity of science requires methodologically appropriate assignment of the accents and identification of the fundamental frameworks of communication problem domain. Linguistically correct systematization and presentation of the computer-mediated communication oppositional potential is relevant as the goal of this study. The article outlines the arrangement of categorial reflection of the oppositional issues, which is essential for the modern communication meta-descriptions, and proposes a conceptual justification for the parameters of its general scientific and linguistic representation. This study is applicable to the formation of a research apparatus for a wide range of works, devoted to communication topics, it can also serve as a theoretical and practical resource for their verification.

The article explores neologisms in Viktor Pelevin’s works as a tool for satire and philosophical deconstruction of post-Soviet reality. The relevance of the research is determined by the fact that word-formation innovations are a significant part of contemporary literary language, reflecting profound social, cultural and philosophical changes in society. In the modern era, where language plays a crucial role in shaping worldviews, the study of linguistic innovations holds particular importance. The aim of the study is to identify the main functions of neologisms in Pelevin’s texts, analyze their semantic structure, cultural symbolism and their role in creating an artistic space rich in interpretive possibilities. The article examines key aspects of the postmodernist approach, including the play with meanings and the deconstruction of traditional concepts. Special attention is paid to neologisms such as Evraikh, basurmanger, pusor and ayfak, which illustrate the criticism of globalization, technologization and cultural transformations. A comparison is conducted between Pelevin’s coinages, entries in Russian language dictionaries and specialized neologism dictionaries, confirming their uniqueness and originality. The findings demonstrate that Pelevin’s word-formation innovations not only enrich the literary language with new terms, but also serve as tools for deconstruction, defamiliarization and satirical critique of social processes. These conclusions are valuable for further studies of contemporary Russian literature, the philosophy of language, and sociolinguistics, as well as for analyzing the impact of language on the formation of modern cultural codes.

The article studies the function features of the military lexemes “fight” and “fighting” in the poetic works of A. Pushkin. These words had ceased to be used as military terminology by the 17 th  century, but they were often found in the poet’s lyrical works. The novelty of the study lies in the identification of semantic, functional-stylistic and contextually determined usage patterns of the words “fight” and “fighting” in the poetry of A. Pushkin. The research is based on selected works of the poet and the data from the “Dictionary of Pushkin’s Language”. The main cases of using the military lexemes “fight” and “fighting” were identified based on the methods of continuous sampling, contextual analysis and description. These words predominate in poems and verses dedicated to wars and battles, they are used to depict long-past events, in fairy tale narration, in the context of philosophical reflections on the role and place of the poet and poetry, as an imitation of great predecessors, as well as for a perky and ironic understanding of the obsolete Old Church Slavonicism in the language. These Old Church Slavonic words are freely combined with high, neutral and low vocabulary. The stylistic latitude in the use of the lexemes “fight’” and “fighting” is also reflected in the diversity of lyrical motifs in the poems. In quantitative terms, the use of the Old Slavonic word “fight” in the language of A. Pushkin’s poetry is significantly less frequent than the use of its synonyms “battle”, “struggle” and “warfare”. However, due to the polysemy of abstract semantics, it is more expressive in comparison with commonly used synonyms and allows the author to realize his poetic intentions to a greater extent.

The article is devoted to the structural and component analysis of phraseological units - ill-wishes, addressed to the deceiver / slanderer, in the modern Tatar language. Besides the new dialectal material used in our research, its novelty is due to the appeal to one of the little-studied topics in Tatar phraseology. The study of ill-wishes as a fragment of archaic beliefs allows us to reveal the deep cultural values of the Tatar people. To this day, ill-wishes have preserved elements of sacredness and ritualism.

The analysis of the phraseological units - ill-wishes, addressed to the deceiver / slanderer, showed: 1) they are addressed to the offender for undeservedly inflicted mental or physical pain; 2) from the point of view of the presence/absence of connotation, phraseological units of ill-wishes are classified as emotionally expressive ones, conveying a negative assessment; 3) these units are formed according to two models “subject + predicate (the verb in the imperative mood)” and “subject + predicate (the verb in the optative mood)”; 4) two-component and three-component phraseological units prevail; 5) when forming ill-wishes somatisms are frequently used: авыз ‘mouth’, баш ‘head’, йөз ‘face’, күз ‘eye’, тел ‘tongue’, урт ‘inner part of the cheek’, эч ‘belly’.

The present article studies function features of intertextuality in contemporary marketing texts in the Russian language, based on the categorical apparatus of the intertextuality theory and V. P. Moskvin method of intertextual analysis. About one and half thousand texts of television, outdoor and internet advertising over the period from 2012 to 2022 served as a reference. The method of intertextual analysis identifies the following stages of the research: firstly, pre-texts are identified, to which marketing texts can be referred. These are mostly works with high recognizability. Musical works (popular music), literary texts (Russian classic literature) and film texts (“Golden Collection” of the Soviet cinema) especially often function as sources of intertextual connections. Secondly, we define intertext figures and the hierarchy of their activities. The most common figures are textual application (reproduction of a text fragment without the source indication), travestying imitation (imitation of the best aspects of a particular writing style or work) and paraphrase (inconsequential change in the vocabulary of the text); less common are allusion (sign of a particular text), travesty (text paraphrase), parody (reproduction of features for the purpose of mockery) and stylistic transcript (borrowing the main stylistic markers of a prosperous idiolect). Thirdly, the article highlights the functions of intertextuality in the contemporary marketing text. The main functions of intertextual inclusions are text-forming, adaptive and attractive. The conclusion is made about multifunctional and syncretical nature of the intertextuality functional meanings in the contemporary marketing text.

The article analyzes speech strategies of oral utterances used in Zakhar Prilepin’s biographical novel “Yesenin: Promising a Meeting Ahead” as a tool for fictionalizing documentary sources, which occurs not only at the junction of journalistic and fictional discourse, but also on the boundary of interpenetration of oral and written utterances.

The article notes various ways of including a document in the fictional space: direct citation, history or retelling, evaluative interpretation and hidden polemics. We analyze the rhetorical strategies, used by the author for the artistic organization of individual macro-themes of the work, as well as the forms of dialogization characteristic of oral discourse. We identify lexical and syntactic means of colloquial speech, which, when introduced into the book text, make the manner of presentation more expressive, while the images of the author and narrator are brought closer together, reducing the distance between the author and the reader.

In addition, the use of rhetorical patterns for constructing an argumentative statement allows Z. Prilepin to include documentary evidence of the era in the narrative, which maintains dynamism through the construction of a polemical context.

The writer’s experience of oral presentations in the media environment helps him to organize the text based on the features of lively, natural speech with an open expression of the author’s position, it is aimed at a mass audience and an interested reader – his interlocutor.

This research investigates intertextual elements as the basis of genre modifications for producing comic effect. The research material includes 12 texts from the Russian literary parody of the 17^th century. We have chosen intertextual elements to be analyzed in this research, because they transfer the context of original texts to new texts, which is considerably important for literary parody. Consequently, intertextual elements work as markers of content and compositional-structural features of parodying a genre. The relevance of the research is determined by the interest in the culture of the past, in particular, the culture of 17^th-century Ancient Rus in terms of the anthropocentric paradigm of modern scientific knowledge. The analysis of the research material makes it possible to identify mechanisms of producing comic effect in the Russian literary parody of the 17^th century. Intertextual elements, that refer to written genres (religious literature and official documents) are used more frequently (248 out of 307 intertextual elements). Intertextual elements, referring to oral genres (proverbs and sayings, folktales, etc.), are used four times less (59 out of 307 intertexual elements). The Russian literary parody of the 17^th century tends to combine intertextual elements of both types of genres (oral and written) in one text. It leads to the situation, in which a discrepancy arises between the element of content and the element of expression. It is clearly seen when comparing new texts against original texts (or genres).

This article compares idealized cognitive models in Russian and English, using the example of words denoting people’s chronotypes. The purpose of this study is to establish the way of structuring the mental space to which the names of people’s chronotypes in Russian and in English belong, and to identify the patterns according to which such structuring occurs. The main research method is a comparative analysis of the concepts denoting chronotypes in the context of cognitive linguistics. As a result of the research, we have revealed that the most common way of structuring the mental space is metaphorical projections, although we can also observe cases of metonymic projections and propositions. This is due to the fact that it is easier for native speakers of both Russian and English to form their own linguistic picture of the world by using metaphorical projections. We have also found that in English there are more ways to express the same chronotype, since it has a more developed conceptual apparatus. The results of this study can be used in translation studies to improve the quality of translations as the translator will strive to transfer the meaning of the text, contained in mental spaces, from one language to another.

This article studies the comic category and considers the key theoretical approaches to understanding the nature of laughter, its role in culture, as well as the function of the comic as a form of critical reflection on reality, analyzing the aesthetic aspects of laughter as a phenomenon reflecting the contradictions of human existence and social life. The article emphasizes that the comic is an integral part of artistic creation, capable of performing entertaining and cognitive, moral and evaluative functions. Considerable attention is paid to the phenomenon of national humor, its cultural specifics, reflecting the mental characteristics of the people. The concept of a frame is also explored as a cognitive structure that shapes the perception of the comic in a certain socio-cultural context. The article focuses on the linguistic and cultural approach, which allows us to consider the comic through the prism of linguistic and cultural codes, fixed in the national consciousness. Our linguistic analysis is based on the texts by M. Zadornov and M. Zhvanetsky. Special emphasis is placed on highlighting the key forms of comic realization, which have specific artistic and expressive means and perform various functions in the context of cultural communication. In addition, the article presents the typology of humorous statements, taking into account the peculiarities of the modern discursive space, formed by the processes of digitalization, and analyzes the classification of constitutive types of humorous statements.

Managing the dynamics of action helps the author to weaken or intensify the intensity and expressiveness of events in the plot of a literary work. This tactical device is closely related not only to the categories of tense and aspect in Russian verbs, but also to the lexical system of the Russian language. This article, from the perspective of communicative grammar, examines various means of enhancing the dynamics of action in the Russian language based on Korney Chukovsky’s poetic fairy tales. The analysis of this material is relevant because in Chukovsky’s tales, the means of intensifying action dynamics are used not only actively but in direct connection with the author’s artistic objectives. Moreover, as children’s literature, Chukovsky’s tales train young readers to perceive action dynamics in fictional texts. The aim of the study is to identify the lexical and grammatical means, used by Chukovsky, to enhance action dynamics, and to analyze the characteristics of their application and interaction. The study was carried out using the methods of communicative-grammatical analysis within the framework of G. A. Zolotova’s communicative-functional grammar. Several groups of tools for enhancing action dynamics are identified and illustrated with examples – syntactic, morphological, lexical, word-formation, etc. The article reveals the important role of verbal predicates and verbless constructions. A comparison is made between different fairy tales by Chukovsky in the context of the topic under consideration, showing that the means of intensifying action dynamics are tied to specific plot moments. The article concludes that the investigation of tools for enhancing the dynamics of action in Chukovsky’s tales is a key to understanding how language can become a conduit into the world of imagination – where grammatical rules and poetic freedom merge into one single whole, captivating both children and adults alike.

The article studies the characteristic features of military words in the poetry of A. Pushkin. The research is related to the study of military vocabulary and terminology in the language of classical Russian literature of the 19^th century. The relevance of the topic is determined by the focus on the linguistic and stylistic resources of poetic speech, in particular the influence of stylistically diverse words on the text. The research is based on A. Pushkin’s poetic works dating from 1815 to 1836, presented in a collection of his selected works and a 10-volume complete collection of his works (1950–1951). We selected and analyzed frequent lexemes, related to military topics, using the methods of continuous sampling, contextual analysis and description. To systematize the material, we used the classification of A. Kozhin, which provides the main sections of military vocabulary in the Russian language. In 696 poems by A. Pushkin, military vocabulary was found in 70 works, of which 10 poems were selected for a more detailed analysis. We have established that the military vocabulary in the poems of A. Pushkin includes: a) ranks and positions that are used to convey realistic details of military life and to create satirical images; b) elements of military activity and c) weapons that represent war as an arena of heroism, trials and fateful decisions, but at the same time – as chaos, tragedy and inevitable destruction. In a poetic context, military words acquire an epic and philosophical meaning, revealing the historical stability of Russia and the fate of individuals in the whirlpool of wars and upheavals.

The paper explores the correlating principles of fictional and non-fictional narration in memoir novels “Speak, Memory” and “Look at the Harlequins!” by V. Nabokov and their artistic features. His memoir-philosophical novel “Speak, Memory” is a correlation of fictional and non-fictional reflections on “time and myself”. Using the associative style of narration, the author effectively reconstructs the lost “time pattern”, overlapping three time layers in the novel “Speak, Memory” with the help of symbolic images and leitmotifs generated by them. “Look at the Harlequins!” proves to be a grotesque postmodern autoparody on the “biographie romancée” of the mentally insane author – Russian emigrée V. V. Irisin (the anagrammatic twin of V. V. Sirin). Envious of his fortunate compatriot’s fame, Irisin takes credit for a number of this author’s already published novels surrealistically distorting them in his own whimsical way. As a result, it becomes a postmodern novel with such tendencies as: deliberate anti-aesthetics in delineation of illness and personal decay, presence of the untraditional mentally insane marginal narrator, taboo themes, double characters and spreading intertextuality. By creating such a postmodern writer’s biography, Nabokov vented his spleen after the long conflict with the young American researcher A. Field, the author of the book titled “Nabokov: His Life in Part” that contained innumerable absurdities and various speculations on the writer’s biography.

The article examines the conceptualization features of historical narrative in modern Russian literature and identifies the main lines of the historicism concept transformation in Russian literature at the turn of the 20^th–21^st centuries and in the latest literature. At the same time, the article identifies a significant difference between both the substantive foundations of the past reflections and the forms of its artistic conceptualization. The interest in deconstructing metahistorical discourse, which dominated historiographical prose at the turn of the century, is currently being replaced by the interest in the problem of historical memory, which acts as a form of the traumatic Soviet experience representation, perceived as a variant of cultural trauma at the present stage. The article highlights the main strategies for the representation of historical memory: the strategy of post-memory, the strategy of discursive production of the past, and the strategy of reflective nostalgia. The strategy of post-memory turns out to be the most in demand, declaring itself both in feminist prose and in the literature of the grand canon. In general, the texts under consideration demonstrate the interaction of various practices of commemoration. In novels that implement the strategy of post-memory, the appropriation of family history results in unblocking memory and elaborating the traumatic experience of the Soviet Union, which forms the basis for completing the identification processes of the narrator. In the novels that carry out the discursive production of the past, or rather in the novel by G. Yakhina, the formation of a variant of postcolonial memory reveals itself.

The article is devoted to such a phenomenon of contemporary culture as social theatre, which can be attributed to the most important phenomena of the theatrical process of the last two decades in Russia. Social theatre exists on the border of art and sociological, pedagogical and psychological practices. Social theatre has a great potential for a performative twist, because along with classical and avant-garde performative techniques, the theatre actively uses the techniques of ‘new documentarism’: storytelling, verbatim, elements of forum theatre, play-backs, theatre therapy, and others. Social theatre or theatre of social change brings to light people with mental, social, age, etc. characteristics. Along with ‘participatory theatre’, professional playwrights try to find new artistic (verbal and non-verbal) forms to reflect in a text, intended for production in professional theatre, the possibilities of developing empathy in society towards a wide variety of socio-medical populations. As an example, the article analyses plays by contemporary authors that address the problems of inclusion, in particular, the possibilities of socialization of adolescents with special needs, and also the ones realizing the potential of new performativity: Dana Sideros ‘To Whom It May Concern’, Marta Raitses ‘I Am a Fist. I Am A-N-N-A’, Alexander Ignashov “Special People”.

The article examines the novels of the contemporary English writer Rosamunde Pilcher (1924–2019) in terms of continuing the “Kailyard school” tradition. This literary phenomenon appeared in Scottish literature at the end of the 19^th century and gained popularity at the turn of the 19^th–20^th centuries. However, it was immediately criticized by its contemporaries, in particular, by Hugh MacDiarmid (1892–1978), one of the most prominent representatives of Scottish literature of the early 20^th century, a constitutor of the “Scottish Renaissance”. Thus, the “Kailyard school” was accused of creating an overly romanticized and idealized image of Scotland, without revealing the social and political problems that the Scottish community had to face. References to the traditions of Kailyardism can also be noted in such works by R. Pilcher as “Snow in April” (1972), “Wild Mountain Thyme” (1979), “September” (1990) and others. Their action takes place in the Scottish countryside. As in the case of the Kailyard literature, these works are characterized by an idyllic chronotope, atemporality, an emphasis on the moralizing principle based on the religious consciousness attributed to the Scots. In addition, the writer addresses the stereotypes common among the English about the Scots and Scotland.

The article considers “Notes (1881–1916)” by B. Sadovsky as a multifaceted text, combining the features of a family chronicle, biographical fiction and a chronicle of everyday life, which makes it possible to classify it as “ego documents”. The article analyzes the structure of the work, consisting of seven parts, each covering a certain period of B. Sadovsky’s life, and notes its stylistic features: the balance between documentary accuracy (dates, historical facts) and fictional imagery (everyday details, elements of a fairy tale, jokes). The article highlights the integration of personal and historical features in “Notes (1881– 1916)”, balancing the importance of public events and private stories. The text contains references to key figures of the Silver Age (V. Bryusov and K. Balmont), as well as the tragic fates, such as the suicide of poetess N. Lvova. Special attention is paid to the mosaic character of the author’s narrative, where documentary facts are intertwined with fiction techniques. The study is based on the concept of the “ego document” (J. Presser, A. Kravtsov), emphasizing that B. Sadovsky’s “Notes (1881–1916)” serve as an example of a synthesis of memoir, autobiographical and biographical genres. The work contributes to the discussion about the nature of ego documents, demonstrating how the author’s personal experience becomes part of the historical and cultural context at the turn of the 19^th –20^th centuries.

In contemporary Anglophone literature, there is an increasingly evident trend toward the integration of non-fiction techniques into fiction writing. This not only facilitates a deeper exploration of postcolonial critique and industrial motifs but also contributes to the formation of a new model of literary expression that merges aesthetic and analytical strategies. Such a synthesis enables fiction to function as a form of cultural analysis and reflection on socio-historical experience. At the same time, Chinese diasporic literature of the 21st century serves as a vivid example representing the search for ethnic identity within the frameworks of history, national and cultural heritage, politics and more. The work of Chinese American writer Rebecca F. Kuang stands out as one of the most representative examples of engaging with a broad spectrum of postcolonial and multicultural issues within the context of contemporary American literature. This article analyzes how the author employs elements of documentary style to enhance the satirical and critical orientation of her narrative, as well as to deconstruct myths related to authorship, cultural appropriation and the literary market. The study also addresses questions of ethnic identity representation in the context of contemporary Anglophone publishing, thereby revealing mechanisms of power and privilege within the literary field.

The article examines the conceptual foundations of democracy in E. M. Forster’s journalism, primarily in the collection “Two Cheers for Democracy”. Special attention is paid to the problem of ambivalence of democracy: Forster recognizes its imperfection, but considers it to be the most acceptable form of the government system. The author analyzes the key contradictions of the democratic system, including its exposure to the pressure of mass consciousness, the commercialization of political processes, and the danger of majority tyranny. The research focuses on the humanistic concept of individualism, proposed by Forster as a counterweight to state control and unification. The aim of the work is to identify the evolution of Vorster’s views on democracy under the influence of historical events in the first half of the 20^th century and the aspects of his criticism relevant to modern political discourse. In the course of our study, we analyzed the writer’s key essays, which allowed us to conclude that his democratic skepticism was combined with a conviction of the need to protect the individual in a mass society. The results obtained make it possible for us to consider Forster’s journalism to be an important source for understanding modern challenges to democracy, including the issues of civil liberties, political responsibility and the moral foundations of power.

The article deals with Arkady Karlovich Konchevsky’s eight short stories, united by the Crimean theme. Their creation is connected with the singer-ethnographer’s long-term collection, study and promotion of the Crimean peoples’ folklore and music. The publication of Konchevsky’s short stories in the magazines “Vsemirnyi sledopyt”, “Vsemirnyi turist”, “Mir priklyuchenii”, “Vokrug sveta”, “Na sushe i na more” requires consideration in the context of the local history movement active development and the formation of cultural and educational tourism in the USSR in the 1920s. The presence of certain genre features allows us to assign Konchevsky’s short stories to the local history short story or essay of a mixed type genre subdivision about natural, historical, ethnographic and economic aspects of the southern coast of Crimea. The language of the stories is close to the colloquial type. There are real people behind the characters, and the narrator is identical with the biographical author. The inclusion of legends and fairy tales that poeticise reality in the composition of short stories is their integral feature. The fictional nature is weakened, and the representational function clearly prevails over the aesthetic one. In connection with the system of mass tourism formation, Konchevsky’s stories are of an obvious ideological and educational character and are largely determined by the young Soviet society’s social objectives.

The article analyzes the deconstruction of genre strategies of the historical and historiosophical novel in the work of Vladimir Sharov, one of the most significant representatives of Russian postmodern prose. The research focuses on the specifics of the historical narrative literary reinterpretation, which in Sharov’s works loses its linearity and objectivity, turning into a field of multiple interpretations. The methodology is based on Linda Hutcheon’s concept of historiographical metafiction, which makes it possible to reveal the nature of a postmodern text that questions traditional ways of representing the past. The article demonstrates how Sharov transforms the genre canons of a historical novel, replacing documentary accuracy with a game of authenticity, and chronological sequence with discrete temporal models. The textual nature of the history perception in Sharov’s novels is embodied through the construction of a quasidocumentary narrative that conveys a deliberately subjective perception of history. A kind of literary projection of the historical narrative discreteness in Sharov’s novels is the contamination of native narratives and quasi-documents. At the same time, their semantic load and degree of reliability are equalized. Special attention is paid to the violation of temporal linearity: retrospective narrative, chronological collapses and palimpsest structures. The destruction of the chronicle element, the identification of two interconnected reference points, becomes the basis for the formation of metahistorical discourse in Sharov’s novels. The content of the metahistorical discourse becomes the Messianic narrative, deconstructed in Sharov’s novels. The pseudo-Messianic idea does not yield a positive result, showing the emptiness of the historiosophical episteme. A universal version of the metahistorical narrative deconstruction becomes a palimpsest, which is carried out by the repetition of plot structures and the correlation of sacred and national history.

The article is devoted to an urgent problem of modern humanitarianism – narrative strategies in literary biographies. We summarize and systematize literary and methodological studies devoted to representations of documentary and biographical material in the works aimed at the child reader. The article identifies basic principles of constructing such narratives: describing mainly the events of childhood and adolescence of the person being portrayed, omitting facts that can traumatize the child’s psyche, as well as controversial ones in their ethical and historical assessment. The realization of these attitudes is traced in the collection of memoirs “Tolstoy’s Garden”, the popular science essay by K. Lomunov and the fictionalized biography by A. Strokina. The article emphasizes the genre traditions of anecdote, heroic legend and parable, which are genetically embedded in biographical narratives. Special attention is paid to the intersection of the semantic dominants of Leo Tolstoy’s own memories of his childhood and the memories about the writer left by his descendants, students of his school and the children who met with him in Yasnaya Polyana and Khamovniki. We note that the child’s point of view determines the specific features underlying the literary world of A. Strokina’s book and reveal additional meanings that arise due to presenting a real person as a narrator, who is part of the Tolstoy family. The conclusion is made about the combination of documentary principles and the tendency to mythologize the writer’s personality in the works aimed at a children’s readership.

The paper identifies the specifics of reflecting the mafia image in literary nonfiction books “Honor Thy Father” (1971) by G. Talese and “The Good Rat: A True Story” (2008) by J. Breslin. G. Talese and J. Breslin often addressed the phenomenon of organized crime in the United States, continuing the muckrakers’ traditions of the early 20^th century. In “Honor Thy Father”, G. Talese traces several generations of the famous Bonnano family in the form of a nonfiction novel, its main motif being the mafia families’ adherence to traditions. J. Breslin studies the current state of the mafia, to a certain extent mythologizing the images of major Mafiosi of the past. One of the important motifs in this work is the influence that the press exerts on the formation of public perceptions of the mafia, which, in turn, influences the fate of the clan representatives. Based on these books, the article concludes that, unlike some fiction books, in which the given image is either romanticized or demonized, literary nonfiction books by G. Talese and J. Breslin present a more multidimensional image of a well-known criminal organization and its members.

Enlightenment Realism is one of the most important phenomena in national culture of the second half of the18^th and the beginning of the 19^th centuries. By its inward nature, this school belongs to the so-called “reconstructing type of creative writing” (according to the conception of N. A. Gulyaev, one of the authors of the genesis and evolution holistic conception of early realism synthesis trends with the Enlightenment philosophy). It was this modifier that essentially stimulated priority attention to a specific sort of documentalism entering into a specific relationship with the laws of fictional value in ideology of Russian Enlightenment Realism. Taking as a vivid example the creative writing of such leading representatives of this school as D. I. Fonvizin, A. N. Radishchev, I. A. Krylov, M. V. Milonov, we can trace clearly enough several variants-models of documentary and literary principles. The literary scope of our analysis can be classified into three key ideological and thematic groups: a) a document, included in the literary work, preserves its relatively self-sufficient being in any context. This fact results in characteristic dialectical contradiction with the principles of fictional value and becomes an additional method in the writer’s laboratory. This tendency is observed in the literary works of A. N. Radishchev and I. A. Krylov; b) a document, finding itself in a new fictional environment, intertwines, interacts with it, thus creation of new quality is stimulated either in a relatively neutral key of interpretation-elucidation or with already welldefined parodic aims. Illustrations in the literary works of D. I. Fonvizin and A. N. Radishchev demonstrate this fact; c) the fictional world “is transferred” according to the author’s will to a rigid documentary aura and “mixes” with it. As a rule, either “disillusionment”, disclosure of literature as the world of fantasy (in I. A. Krylov’s “Oriental Tale”) or advancement of the program of requirements on “adjusting” literary pathos to documentary contemporary context (in M. V. Milonov’s satires) are possible in this case.

This article is devoted to identifying and understanding the “Kazan text” in the biography and works of Aleksey Tolstoy. Having got acquainted with the city in his youth, the writer visited Kazan many times, mentioned it in his letters to the loved ones, and described it on the pages of fiction - in the trilogy “The Road to Calvary” and in the story “The Viper”. However, in Tolstoy’s case, close knowledge of the city and urban realities did not prevent the artistic rethinking and mythologization of the Kazan episodes of his own biography, on the contrary, it implied such a rethinking: this was precisely the writer’s method of working with historical material drawn from non-fiction reality. Encrypting the facts of his own biography and the biographies of his loved ones, shifting accents and mixing reality and fantasy, Alexey Tolstoy created a complex and voluminous artistic image of the city and himself as part of this image, living in the space between fact and fiction.

Georgy Venus was a Russian and Soviet writer, participant in the First World War and the Civil War, and a first-wave emigrant. He is still little known to readers and literary scholars. Georgy Venus’s prose is not documentary, but it contains documentary elements at the poetic level. In particular, the author reveals the documentary element in his prose using the compositional technique of montage. This article discusses the documentary element in G. Venus’s novels. The documentary element of the novel “Finches in Armor” is created at two poetic levels: the compositional technique of montage and the pointwise introduction of “authenticity” into the text of the novel, such as toponymy, autobiography, and some events and details that indicate historical accuracy without explicit references to historical events. The novel shows the change of eras, a turning point in the consciousness and destinies of people. Using the technique of montage, the author puts disparate fragments together, which helps him depict the picture of an entire historical layer, a geographical whole with many of its realities. What G. Venus creates is not just a novel, his work resembles a war chronicle, created on the basis of real events. Thus, by applying the techniques, related to composition, formation of images, and descriptive series, used to understand the text of the novel “Finches in Armor”, we realize the historical events through a work of art.

This article identifies the features of impressionism in V. Garshin’s prose, their functions and role in the literary process of the late 19^th century. No evidence is necessary to prove the fact that impressionism developed in literature as an independent trend, since it is combined with other methods, such as naturalism, symbolism and, to a greater extent, realism; however, we can identify its features in the work of Russian writers, in particular V. Garshin’s. This article analyzes in detail V. Garshin’s fiction in terms of impressionistic poetics, paying attention to the comparison of V. Garshin and A. Chekhov’s works. The analysis is based on the following works by Garshin: “Nadezhda Nikolaevna”, “Red Flower”, “Four Days”, “A Very Short Novel”, “Incident”, “Coward”, “Night”, “Artists”, “Signal” and Chekhov’s “Steppe” and “The Lady with the Dog”. Analyzing impressionistic techniques in Garshin’s works, we identify a range of themes used in their disclosure. The abundance of impressionistic elements, used by Garshin who is considered to be a realist, gives grounds for revising his place and role in the literary process of the late 19^th – early 20^th centuries.

The article examines A. Thorpe’s novel “The Rules of Perspective” (2005), its action takes place in Germany in 1945. Dedicated to the theme of War World War II, this novel is one of many, which appeared in Great Britain at the turn of the 20^th and 21^st centuries. Our aim is to provide, based on this novel, one of the possible answers to the question of this theme’s popularity at that time. In the novel, the war becomes an accurately depicted historical background, allowing one to examine significant social, national and psychological problems. Thorpe expands the historical “field” of the novel by introducing a retrospective, which allows him to focus on the exhibition of the “degenerate” art in Germany in 1937. The problem of the relationship between free art and totalitarianism becomes one of the most important in the novel. The author uses a lot of historical facts, refers to the work of a number of German expressionist artists, as well as those artists who worked for the regime, the fact that did not interfere with their further careers in the post-war period. The article comes to the conclusion about the complex function of the historical narrative in the novel.

The article is devoted to the problem of the frontline diary genre transformation into fiction, documentary and autobiographical prose. The military diaries of the Tatar writers-veterans: Gusman Fatkhullovich Bakirov (1896–1962), Adip Malikovich Malikov (1921–2009), Muzagit Khairutdinovich Khairutdinov (1901–1944) and Amirkhan Nigmetzyanovich Yenikeev (1909–2000) provided the material for this study. The article studies the history of the existence of these writers’ military diaries and reconstructs the history of their publication. We consider various strategies for the transformation of the texts into works of fiction: a portrait essay, poem and an autobiographical novel. We prove that the logic of the author’s thought transformation depends on the nature of public and social life during the creation of literary texts. Comparative analysis allowed us to comprehend the logic of the text transformation. The archives have preserved the original texts of the diaries, which were not distorted by self-censorship and censorship. We prove that the writers resorted to nonlinear time during the transformation in order to convey the depth of life; they renamed the characters in order to reach artistic generalizations; their observations of contemporaries turned into artistic images built in accordance with Soviet archetypes. The presentation of these diaries’ authors in posthumous editions depended entirely on the will of their compilers-editors who transformed these texts depending on their own tasks.

Russian literature occupies one of the leading places in world literature. Every country knows and loves Dostoevsky, Tolstoy and Chekhov. These writers had a powerful impact on the entire world literature of the twentieth century. Russia and Turkey are neighbors, so knowing the culture of neighboring countries is necessary in every sense of the word. Turkey understood this back in the Ottoman period. It was in the Ottoman Empire in the 19^th century that the first translations of Russian literature into Turkish appeared. With each decade, the number of translations kept growing. Three stages are distinguished in Russian classical literature translations: 1) the Ottoman period (XIX – the first decades of the 20^th century, before the collapse of the empire), 2) the Republican period, which is divided into two stages: a) the 1930s–1980s, b) the 1990s – the beginning of the 21^st century. Each of them was largely determined by the pressing tasks of the socio-political development of Turkish society. Thus, the main objective of the article is to give a general idea of Russian literary classics translations into Turkish. This task is justified for two reasons: firstly, our insufficient knowledge about Turkish translations of Russian literature, secondly, translations of Russian literature in Turkey are currently among the rapidly developing humanitarian practices. Hence, our experience of systematization of translations, their interpretation in historical and cultural terms.

The article considers using children’s innate sensitivity to linguistic phenomena – their linguistic intuition, in school education, which makes it possible to spontaneously acquire many spelling rules. The article presents the results of an experimental study involving 42 informants, first graders studying in two schools. In the study, even before studying linguistic rules, the first-graders’ abilities were tested to intuitively determine the word-formation and inflection structure of words, and to sensate the semantic unity of morphemes. Relying on morphemes with strong vowel sounds, children use them as a model when choosing letters in the same parts of the word (roots, prefixes, suffixes and endings) with weak vowel sounds. The article concludes that only a small part of those tested demonstrated these abilities (less than one fourth of the total number of participants in the experiment). The rest of the children were either not affected by the given model or were slightly affected. Based on the results of the study, the article highlights the need to develop a feel for language and language reflection in children by organizing linguistic and didactic environment, including games and tasks aimed at developing linguistic intuition.

The article discusses the concept of oral communication in a foreign language, which we define as the mastery of speaking (lexical, pronunciation, grammatical) skills and speech competence. The implementation of linguo-information technologies is examined with the aim of identifying the potential of the PechaKucha technology and its value while developing students’ speaking skills at university. The research methods include the analysis of theoretical sources, description and exercise development. The literature review has established that the digital generation is capable of easily creating their own internet products, such as video clips, texts and presentations, which justifies the use of the PechaKucha multimedia presentation as a linguo-information technology. This presentation format is characterized by the following feature: a thesis-idea accompanied by visual elements is aimed at revealing the topic within 20 slides, each displayed for 20 seconds, with the total duration strictly limited to 6 minutes and 40 seconds, eliminating the possibility of returning to previous slides or skipping ahead.

The practical part of the research is devoted to analyzing the functionality of the platform, used to make this kind of presentation format. The article proposes a speech exercise as part of a system of exercises for developing speaking skills and describes the algorithm for implementing the speech exercise by using this presentation format. The outcome of the study is the identified potential of this type of linguo-information technology in developing speech competence on the topic ‘’Do It Yourself’’, exemplified by its usage with 4^th-year students majoring in Pedagogy at Kazan (Volga Region) Federal University.

The article is devoted to the methodological aspects of the communicative competence development in 5th grade students at Russian language lessons based on an ethnoregional test – the works of Shor folklore and literature.

The topical issue of the role the national-regional component plays in the formation of basic national values allows integrating the cultural characteristics of the region into the educational process, contributing to the preservation and development of national identity. In the context of the educational process, the national-regional component includes knowledge about the native land, its history, culture, traditions, as well as its language and folklore.

The implementation of the national-regional component in education is an important condition for the preservation and development of cultural heritage, as well as for the formation of a sense of belonging to their nation and region in the younger generation. Particular attention is paid to the study of the native land characteristics, its nature, culture and history to form respect for their small homeland and cultivate a sense of patriotism in students.

The article presents the results and conclusions of experimental training on the ability of ethnoregional texts to expand the schoolchildren’s linguacultural knowledge, to enrich their understanding of their native land as a complex of its ethnohistorical and cultural characteristics.

The article will be of interest to teachers of the Russian language implementing the ethnoregional component in education, teachers of native languages, and teachers of additional education in multicultural regions.

The digital transformation of society requires the introduction into the educational process of modern teaching aids, one of which is an electronic textbook. Literature occupies a special place among school subjects, since this subject contributes, to a greater extent, to the spiritual and moral development of the younger generation. However, not all children are interested in works of art, so the main task of the teacher is to get schoolchildren interested in the subject and try to awaken in them a love for literature, which becomes possible through the use of an electronic textbook. The purpose of this work is to identify the effectiveness of using an electronic textbook in literature lessons in Grade 8, based on studying the story “Lilac Bush” by A. Kuprin. We have developed a model of an electronic textbook on literature, including the sections “Theory”, “A Look at What You Have Read” and “Interactive Exercises”. The methodology for creating and using this model is demonstrated in this article, based on studying the story “Lilac Bush” by A. Kuprin in literature lessons in Grade 8. The use of an electronic textbook has contributed to the increased efficiency of the educational process, including better acquisition of the educational material, which allows us to think about creating a full-fledged electronic textbook on literature that can be used in literature lessons on a regular basis.

The article is devoted to the problem of linguistic competence formation in the process of teaching Russian to children in Grade 5. We examine the potential of using the principle of reliance on the native language and suggest a justification for the effectiveness of a comparative analysis of the systems of the native (Shor) and Russian languages in developing linguistic competence based on the native language in school practices.

The principle of reliance on the native language, as an important methodological principle, provides for the organization of the educational process taking into account the knowledge and experience gained by students in their native language, in our case - Shor. Considering the importance of the native language in shaping the student’s personality and general culture, the implementation of the principle of reliance and consideration of the native language in the process of teaching Russian will contribute to the formation and development of linguistic competence.

The article provides examples of reliance on the native (Shor) language in the process of learning Russian in Grade 5 to optimize the personal development, achieve a number of relevant educational goals and be an effective means of stimulating language development. Also, the proposed methods contribute to the expansion of linguistic horizons, improvement of 5th grade students’ memory and imagination, the formation of their introspection skills and self-esteem.

This article is intended for teaching staff of educational organizations, students and methodologists.

The article is devoted to the problem of finding effective educational environment formats, focusing on such innovative practices as the “educational ecosystem” and the diversity of its capabilities in comparison with traditional systems. The article analyzes the concept of “educational ecosystem”, its development trends, and describes the functional capabilities of the appropriate education format, using the example of some types of educational institutions (hub schools, immersive, growing and other schools). The article focuses on the assessment of new architectural and spatial design of modern schools, operating on the principle of ecosystems. We provide some requirements, taking into account the new training format. Based on the study of existing assessments of a number of educational ecosystems’ effectiveness, the article systematizes the risks of transition to a new model of the educational environment. The practical part of the study summarizes the practices of schools in the Republic of Tatarstan, operating with a focus on creating educational ecosystems. The article concludes that modern schools and educational centers are certainly not fully capable of abandoning the traditional system, but there is no doubt that educational ecosystems give ample opportunities to provide special comfortable conditions for the learning and development of schoolchildren and require further study.

The article presents the main facts of the biography and scientific and pedagogical activity of Nellifer Abdullayevna Asanova (1935–2000), a professor in the Department of Russian and Foreign Literature of Kazan State University. We analyze the scholar’s most important research works: her dissertation study on the revolutionary romance in Alexander Fadeev’s works; the monograph “Jean Christophe” by R. Rolland and the problem of interaction in art; her monographic study of the genre of the philosophical novel by one of the classics of modern French literature, Michel Tournier, namely his novels “Friday, or the Limbes of the Pacific Ocean” (“Vendredi ou les Limbes du Pacifique”) and “The King of the Forest” (“Le Roi des Aulnes”). N. A. Asanova raised a galaxy of talented students, including the leading scientists and teachers of the Institute of Philology and Intercultural Communication, as well as of other departments of Kazan Federal University. Her wide scientific erudition, her desire for everything that is new and original in accordance with the spirit of the times and her talent, the depth of her theoretical and research thinking is evidenced by the diverse topics of the candidate theses defended under N. A. Asanova’s guidance at leading universities of our country, and the creation of her own scientific school.