Based on the novel “Pale Fire”, synesthesia is defined in this publication as Vladimir Nabokov and his characters’ metaphorical way of thinking, in which the linguistic form and its meaning, as signs of a stimulus, inevitably lead to a conscious perception of the form’s additional meaning. We have established that the associations, described by Vladimir Nabokov in the text of this novel, are interpreted as “nomination-color” synesthesia, where nomination is a stimulus for the surrounding world metaphorical reproduction, coloring the accompanying experience of the reader’s perception of this world. The article analyzes the problems associated with the excessive use of metaphorical color categories, the importance of memory for the characters in interpreting synesthetic vision of reality, and the definition of identity from the point of view of synesthesia and irrationality of perception of the objective phenomena. In this regard, the use of synesthetic metaphors in the text of the novel is interpreted as a symptom of Vladimir Nabokov’s creative inclination to think at the junction of simultaneous activation of various sensory modules, since the author’s metaphor implies the ability to think in one modality, at the same time projecting another modality. The article concludes that in the novel “Pale Fire”, color plays a constructive role in determining the identity of the synesthetic poet J. Shade’s image. The character’s synesthetic consciousness functions in a highly poetic manner, and his language in describing the perception of the world around him corresponds to the poetic use of metaphors. The predisposition of a character with a synesthetic gift to metaphorical nominations is explained by his instinctive substratum, which, in turn, sheds light on the cognitive foundations of imagery in the language system as a whole. Art with a synesthetic dimension (due to the fact that a creative person is a natural synesthete, has the ability to stimulate feelings to intersect when perceiving the world around them) expands ideas about the metaphorical predestination of fictional discourse.

The article is a comprehensive theoretical and methodological study of the evolution of the linguacultural type concept in linguistics for the period from 2002 to 2025. The work systematizes and critically rethinks the basic approaches to the study of linguacultural types developed by V. I. Karasik and his scientific school, as well as subsequent theoretical developments in this area. Particular attention is paid to the conceptualization of hybrid types: to describe them we propose new theoretical categories – socio-ideological syncretism and polythematicity. Based on the analysis of the “classic writer” type, we demonstrate the limitations of traditional classification schemes and substantiate the need to develop more complex models that take into account the syncretism and multi-aspect nature of such phenomena. The central place in the study is occupied by the revision of the linguacultural type structure: the traditional triad of components (conceptual, figurative, axiological) is supplemented by a value-conceptual component, which allows for a more accurate reflection of the cognitive-axiological relationship in the perception of the type by culture bearers. Empirical data, obtained in the course of an experimental study of the “classic writer” type, indicate the dominance of axiological characteristics over conceptual ones, which requires adjustment of existing analysis methods. The article also considers the evolution of classification models of linguacultural types, including the criteria for social, temporal, evaluative and thematic differentiation. However, as the study shows, existing taxonomies are often insufficient for describing complex hybrid types. The work contributes to the development of linguacultural studies, offering innovative tools for studying complex sociocultural phenomena. Prospects for further research are related to the application of the proposed categories to other hybrid types, as well as to the analysis of their functioning in the intercultural media space.

The English language is characterized by various modes of expression in ergonyms. The latter may contain an English lexeme not found in the official languages of Kazan, Russian or Tatar. Furthermore, ergonyms may also include English-associated vocabulary, to which international and non-international loanwords from English refer, as well as international vocabulary found in Russian, Tatar, and English dictionaries. The hypothesis of the Research is: The English language, in any of its manifestations, is represented in commercial names which are formed according to cognitive models of a specific structure, and constructs the consciousness of the target audience. Our study of the names of food service establishments on Chistopolskaya, one of Kazan’s longest and busiest streets, identified dominant models of nomination: direct (by a product) and metonymic (by a subject, by raw materials used for production, by a target audience, by a part of the product’s country of origin, by a specific room in the establishment, by a piece of professional equipment, and by the result of the activity). Direct nomination models “include” the population in a shared global gastronomic space, while metonymic transfer nomination attests to the high degree of Anglicization of Kazan residents’ consciousness, as well as their good lexical proficiency in English. The limited use of metaphorical models, however, suggests the lack of vitality in the English language for expressing national specifics and cultural codes.

The problems of cognitive processing of units describing various diseases are relevant to modern linguistics and interdisciplinary fields. Individuals with high levels of alexithymia experience particular difficulties in adequately perceiving units denoting sensations. Alexithymia is a specific type of cognitive status characterized by difficulties processing sensations, emotions, and feelings, as well as difficulties in their verbal externalization, which poses a significant challenge to clinical practices. A series of linguistically valid diagnostic instruments (scales and questionnaires) have already been developed for use in clinical practices for adult Russian-speaking alexithymic respondents, and a toolkit for children and adolescents is being developed. This article describes a procedure for studying how adolescents with low and high levels of alexithymia understand the descriptors used to diagnose dizziness and analyzes free descriptions of units associated with this state. The study included 50 adolescents aged 13 to 17 with low levels of alexithymia (control group) and 50 adolescents aged 13 to 17 with high levels of alexithymia (study group). Alexithymia was measured using the Alexithymia Questionnaire for Children (Russian version). Based on the linguistic analysis of the data, a dizziness questionnaire for adolescents with high levels of alexithymia was developed.

The article is devoted to the problem of a literary text comprehension whose nature is determined by the text regulatory function– the impact on the reader’s worldview at its moral level. The prerequisites for the generation and development of such texts’ structure are the contradiction in the reflection of reality in everyday consciousness and the authorial ideal. The specificity of the author’s reflection of reality, or idea, in a literary text is its non–verbality. The isolation of figurative meaning becomes possible by correlating linguistic units in the structure of the text in a certain way, their selection is functionally determined, the author selects the linguistic units that are most adequately able to express their intention, on the one hand, and be adequately decoded by the reader, on the other hand. A core element stands out in the text structure, which becomes the key to understanding the text and interpreting the authorial worldview, as it experiences a semantic shift that expands the reader’s worldview by identifying new, previously unknown figurative meanings, including those contained in conventional vocabulary. The article concludes that the functional approach to understanding and interpreting the text of the poem by A. Blok takes into account the prerequisites for the creation of the text, the unity of form and content, which makes it possible to identify the regulatory function of the moral text, and to expand the understanding of the fate of Russia and the role of the poet-prophet in the fate of the people.

The theory of collocations is actively evolving in modern Russian linguistics with the definition of the term and its status in the lexical system being in the spotlight. Researchers also carry out comparative and contrastive analyses of collocations with a particular base or collocations united by a common theme. This article focuses on studying adjectival collocations with such bases as air, water, fire and earth in English and German (n=196) with the aim of discovering cases of isomorphism and non-isomorphism. Two types of inter-language equivalents have been revealed – full and partial. The ratio of full equivalents to partial equivalents varies; it is dependent on the base of a collocation. However, it can be stated that the compared languages show significant similarities in the formation of adjectival collocations with the indicated components. Inter-language similarities can be explained primarily by the universal meaning of the basic components and their general functional and semantic compatibility. The reason for partial equivalence mostly lies in the semantic features of collocators, which can indicate either a different degree of a feature manifestation or include additional semes that are absent in the other language. Partial equivalence is occasionally caused by differences in the components of collocations. 

The article investigates cross-language contacts within Ufa ergonyms. The material of the investigation is represented by Ufa signboards recorded in 2025. Ufa, the capital of the Republic of Bashkortostan, is a hub of cross-cultural and cross-language processes, which include the interpenetration of IndoEuropean, Turkic, and other languages. The investigation, classification and quantitative parameterization of such multicultural and multilingual processes on the ergonymic material of Ufa make up the aim of the conducted investigation. The investigation is based on such parameters as the number of languages engaged in the ergonymic representation of Ufa signboards and the character of interlingual relationships within an ergonym. Three types of ergonyms, presented on the signboards of Ufa, have been discovered on the basis of the first parameter – unilingual, bilingual, and trilingual. We have elicited two types of cross-lingual relations on the basis of the second parameter: 1) an ergonymic unit of one language is embodied on the signboard by means of alphabetic symbols of a different language; 2) a language changeover is implemented within an ergonym. Two sub-types of a language change-over within an ergonymic unit have been singled out: 1) a morphemic language switch within the boundary of an ergonymic lexeme; 2) a lexemic language switch within the boundary of an ergonymic phrase. The article presents the results of a quantitative analysis of the detected taxonomic types and provides percentage ratios of the languages, involved in the representation of Ufa ergonyms and hierarchized according to their frequency. 

The article considers interlanguage as a cognitive object of scientific research using the example of a polylingual Buryat, representing the younger generation and studying foreign languages as special subjects. The function peculiarity of the interlanguage as the subject under consideration is that the Buryat language, being native by birth, however, has the lowest degree of functional activity compared to Russian and the studied foreign languages. The purpose of the article is to theoretically substantiate the inclusion of the so-called “artificially studied foreign languages” in the structure of interlanguage as a significant component of polylingualism within the framework of cognitive competition. The author comes to the following conclusions: 1) as one of the factors of the subject’s (bi-)polylingualism, one should consider the level of language proficiency that allows for successful communication, which is possible without achieving absolutely free or perfect proficiency; 2) since the subject uses their languages unevenly (in general, and during the day in particular), the aim of our research is to study the cognitive reasons for the imbalance of their functioning both in the natural environment and in the educational environment; 3) the interlanguage of a polylingual Buryat, who speaks his native (functionally second) Buryat, Russian (functionally first) and foreign languages, represents a cognitive space of relationships between these languages, constructed by the principle of competition; 4) in cognitive competition, the code of the Buryat language is inferior in the volume of functions performed and therefore is in the reversible stage of the subject’s (bi-)polylingualism. The results of the study may be of interest to researchers of (bi-) polylingualism in psycholinguistic and sociolinguistic aspects.

The article is devoted to a comprehensive study of the word-formation potential of German adverbs with the suffix -maßen. The study was conducted using the DWDS German corpus and corpus analysis methods. The article specifies the origin of the modern suffix -maßen, used to form adverbs, and traces its historical connection with the proper feminine noun mãze. The main content of the study is the description of the word-formation models of derivative adverbs with the suffix -maßen. When systematizing the empirical material, we distinguished models with a productive base expressed by participle I and II / adjectival participle I and II / adjective / pronoun / adverb / article / numeral + -maßen. The work reveals the content of the concepts of productivity and frequency, analyzes the possibilities of quantitative measurement of the identified models’ productivity using statistical methods of corpus linguistics. Through a quantitative analysis of types, tokens and hapax legomena, it was determined that the most productive word-formation models are “participle II / adjectival participle II + -maßen” and “adjective + -maßen”. Unproductive but frequent models include models with a base expressed by a pronoun or an article. In conclusion, the idea is substantiated that the adverbial suffix -maßen carries a certain functional load, in particular, it shows the belonging of a word to the class of adverbs and marks passivity.

The article presents the results of the study devoted to the use of people’s names according to their occupation and profession in Russian and English folk signs and proverbs. We determine the role of labor activity and its social significance in the organization of a team and society as a whole. Human activity is determined by the variety of roles in society; while in the labor sphere, the person is inseparably represented with their instrument and labor location. Of great importance is the mastery of performed labor actions and the distribution of labor activity by gender. The article reveals the main combinability groups of people’s nominations according to their occupation: actor + action; actor + instrument of labor; characteristic features + actor; actor + the name of one’s work place. The study has shown the presence of 22 variants of people’s nominations by occupation in the corpus of paremias of the languages being compared. 

Our analysis identified national originality in the professional environment, which is confirmed by the presence of specific Russian and English nominations of people by occupation and profession. The corpus of Russian paremias reveals frequent people’s nominations by occupation related to the agricultural cycle. In the corpus of English paremias, we identified frequent names associated with marine craft, gaming and entertainment activities.

The article proposes a linguistic model of a dream narrative as a propositional network and a practical marking scheme aimed at identifying and systematically describing the opposition “I remember – I don’t remember” in online discourse. The relevance of the study is determined by the rapid growth of specialized Internet platforms for sharing dream experiences: In the context of collective interpretation, individual dreams cease to be private experiences and are transformed into socially significant texts, which raises the task of developing methods for analyzing the cognitive-pragmatic mechanisms of memory and oblivion in these narratives. The aim of the work is to develop and test a model of a propositional network for describing dream narratives and to propose a working marking procedure that allows the poles of “memory/oblivion” to be reproducibly recorded in a corpus of forum texts. The following tasks are solved within the framework of our goal: 1) to form and describe a corpus of forum dream narratives; 2) to identify and annotate propositional units and their corresponding frames, in particular “memory” and “oblivion”; 3) to analyze the semantic-pragmatic functions of the opposition “I remember – I don’t remember” as a selective, epistemic, and communicative mechanism; 4) to develop recommendations for the marking and interpretation of dream texts for further use in linguistics, psychology, and cultural studies.

The novelty of the study is the integration of the propositional approach with frame semantics and research on computer-mediated communication as applied to dream discourse: first, an operational procedure is introduced for identifying propositional units and comparing them with the frames of “memory” and “oblivion”; second, the role of epistemic markers and temporal-spatial anchors in the reconstruction of semantic coherence is formalized; third, a practical text markup is proposed that is suitable for subsequent corpus processing and interdisciplinary use. Methodologically, the study is based on corpus and qualitative discursive analysis of authentic messages from Russian forums about dreams (including Tonkimir.ru, Somn.ru, etc.): The identification of propositional units, the categorization of frames, the identification of temporal and spatial markers, the fixation of epistemic and affective means, as well as the analysis of the authors’ pragmatic strategies (persuasion, invitation to interpretation, pragmatic fixation of authenticity).

The vocabulary of the Russian language, characterized by its richness in cultural meanings and a ramified system of categories, exhibits original features in the sphere of terminology, lexical composition and semantic structures. This study analyzes the names of musical instruments from the standpoint of the lexical-semantic approach. Within its framework, we use the methods of structural analysis, categorical comprehension, etymological study and the theory of semantic transformations, which allows for a comprehensive examination of the mechanisms of this lexical subsystem formation and the identification of its semantic patterns.

For the first time, we have carried out a systematic description of the historical background and models of the formation of words, denoting musical instruments in the Russian language. We have established that their development was shaped under the influence of both internal cultural tradition and external borrowings from other languages. A typology has been developed based on semantic features, allowing us to track the formation of generalized meanings and conceptual structures, reflecting the characteristic sound features, vocal functions and performance specifics of the instruments.

Special attention is paid to the study of metaphorical mechanisms underlying the names of instruments, as well as the diversity of their semantics in the context of interdisciplinary interaction. These features not only illustrate the figurative and symbolic potential of the Russian language, but also demonstrate the significant influence of cultural factors on the development of terminological vocabulary.

The main objective of this study is to establish the internal principles of specialized vocabulary functions in the Russian language through the analysis of its semantic organization, cognitive foundations and cultural aspects. The results obtained can be used both in theoretical research and in practical areas – such as standardization of terms, teaching Russian, translation activities and comparative linguistic study of musical terminology. 

The article presents a linguacultural analysis of the lexeme cosmonaut, which is considered not merely as a name for a job, but also as the name of a complex linguacultural concept, encapsulating the key meanings and values of Soviet and Russian culture during the space exploration era. The core issue lies in identifying the national-cultural specificity and the value-based meanings attached to this word within the Russian linguistic worldview. The aim of the research is to examine the image of the cosmonaut as a phenomenon of Russian culture, combining the archetype of the hero-pioneer, the ideals of progress, and national pride. To achieve this goal, the author examines dictionary definitions, the word-formation nest, set phrases, and artistic representations. Particular attention is paid to the evolution of the word’s meaning and its cultural-national connotation in the post-Soviet period, which is marked by a transition from a sacralized symbol to a more professional and multifaceted image. The study reveals that the concept of cosmonaut accumulates the key meanings of the space age and crystallizes the core meanings and values of Soviet and Russian culture. Furthermore, its figurative and value-based components have evolved in the post-Soviet period while retaining their status as an important element of national identity.

The article provides a systemic analysis of Kayum Nasyri’s contribution to the historical and linguistic evolution of the Tatar literary language in the second half of the 19^th century, focusing on its importance in the processes of lexical normalization and semantic expansion of Tatar vocabulary, including the formation and transformation of the terminological fund of the Tatar language in this period. The study revealed that Kayum Nasyri’s lexicographic publications played a multidimensional role that went beyond the traditional functions of reference and information resources. They functioned as comprehensive educational and methodological tools designed to systematize and facilitate the assimilation of Russian-language scientific terminology in a Tatar-speaking communicative and educational environment. These publications contributed not only to the lexical adaptation of terms, but also to their semantic transformation in accordance with the cultural and linguistic norms of the Tatar language. K. Nasyri’s dictionaries are considered to be important means of cognitive and linguistic integration, playing a key role in the process of linguistic modernism and the formation of Tatar-language scientific discourse. Special attention in the study is paid to the importance of Kayum Nasyri’s lexicographic works as a key factor in the transformation and standardization of the literary Tatar language norms. The article highlights their role in the formation of stable linguistic norms that contribute to the unification and systematization of the lexical and terminological composition of the language. In addition, we reveal the importance of these publications in the process of consolidating Tatar national culture, which acts as a dynamic system integrating both traditional linguistic and cultural practices and innovative linguistic processes. Thus, lexicographic monuments are considered to be an organizational tool that ensures the interaction of historical and cultural heritage with modern trends in the linguistic development and cultural identity.

The article is devoted to the development of a concept for lexicographic representation of commercial enterprises’ names in the city of Pskov. The relevance of the study is determined by the need to analyze and systematize the dynamically developing socially significant corpus of onomastic units – the names of Pskov commercial enterprises – for the purpose of the city’s ergourbonymy comprehensive representation in a linguacultural dictionary. The aim of the study is to develop a structure and present a model of a dictionary entry for a cultural dictionary based on the names of commercial establishments in Pskov. The scientific novelty consists in the development of the dictionary entry structure and the presentation of sample dictionary entries based on new regional factual material. The dictionary entry includes five mandatory and one optional parametric zones. An optional parametric zone is introduced to display additional encyclopedic (cultural-historical, regional, and socially significant) information about the object of nomination. The zone of linguistic and cultural commentary is introduced to reveal the motive of nomination and the cultural background. An illustrative parametric zone demonstrates the functioning of names in modern speech. The proposed dictionary entry model can be implemented using ergourbonyms of other cities, and the dictionary entries can be used in university courses in linguistic and cultural studies.

The present research is based on a comparative analysis employing semiotic interpretation of symbols and Paul Verlaine’s reinterpretation of “Art Poétique” (1885) aiming to prove the influence of Verlaine’s conception of the nature of art on Osip Mandelstam. The analysis of the poems has shown that Mandelstam did not merely adopt but also rethought Symbolist techniques. The analysis revealed that sound dominates in Mandelstam’s lyric poetry, becoming its primary language. Drawing upon the results of translational reception, we were able to identify that for Verlaine, the sea serves as a metaphor for infinity and enigma, whereas in Mandelstam’s case, rhyme – his central structural component – is sacralized within the image of the sea. Notably, there is a shift towards the corporeality of the representation of Aphrodite. Of particular interest here is the actualized symbolism of the shell and the pearl, wherein the shell represents the poet himself and his oeuvre, serving as a repository of profound meaning, while the pearl contained within embodies the wonder and splendor of poetry itself.

This article examines the poetic work of Alexander Arapov, one of the most prominent representatives of the modern Mordovian national literature, and explores structural, compositional, and content aspects of his poetry. We have established that his poems are strictly rhymed, and free verse elements are almost nonexistent in his text. This may be due to the fact that the author presented himself as a bard, performing many of his poems to the guitar. The article notes that Arapov’s poems make extensive use of infinitive writing techniques, their frequent use can be explained both by the influence of Russian “infinitive” poetry and by the “Erzya agglutinativeness” of the poet’s linguistic personality. We analyze in detail the motifs and imagery of this author’s poetry, exploring the semantic contexts of the symbols’ artistic actualization of winter, snow, trains, train stations, and silence, as well as the love lyrical poetry examples, illustrating the existential and psychological depth of A. Arapov’s work. In addition to Russian-language poems, our analysis includes texts written by the poet in the Erzya language, revealing their artistic, content, and compositional independence. The article concludes that the most promising aspect of studying Arapov’s artistic phenomenon is a comparative one, involving the analytical approach to the development of the literatures of the peoples from the Volga region and Russia.

This article analyzes autobiographical motifs in the novel “From the Book of Genesis” (1916) by the renowned Russian and Soviet writer V. Yazvitsky, the theme dating back to his time as a journalist for Kazan periodicals (1903–1905). Kazan-related themes from Yazvitsky’s prose are examined within the context of the “Kazan text”, a particular case of the “urban text”, which has become a significant research topic in modern literary studies. The article identifies typical features and elements of the “Kazan text” of the early 20^th century in Yazvitsky’s works. V. Yazvitsky’s autobiographical stories are interpreted in the context of the history of the Kazan press, the history of the Kazan Russian literary environment, and the history of Marxist societies in Kazan in 1905. Moreover, V. Yazvitsky’s literary texts contain interesting data that convey the atmosphere and mood of the first Marxist societies and left-wing newspaper editorial offices, although they have never before been used in research on the history of Kazan Marxist societies and early Marxist journalism.

A defining characteristic of the Russian feminist prose problem field is the issue of female traumatization, both collective and individual. A specific form of its artistic embodiment is the plot of violence, vividly represented in M. Stepnova’s novel “The Women of Lazarus”. In this case, the author’s attention is focused on the process of the female body degradation under the influence of the authoritative history discourse, which becomes an agent of patriarchal discourse. The plot-compositional organization of the novel thus becomes a structural principle, reflecting the dynamics of the traumatic event’s development. The image of the repressed female body is formed in the novel as a result of the sequential shift of discursive planes, each presenting the story of one of the female main characters. If the plot logic in depicting Maria Chaldonova’s fate is determined by the use of a traditional system of motifs exposing the negative nature of the story, the development of Galina Petrovna’s fate is governed by the logic of an adventurous narrative, while in Lidochka’s case, it is melodramatic storytelling. Such an organization, with its characteristic gradual reduction of the characters’ psychological motivation, demonstrates an increasing expansion of the motif of the oppressed, repressed corporeality, forming into a single dynamic image of a broken, defective body. Thus, in the novel, the plot of violence is presented primarily at the author’s level through increasing the manifestation of oppressed corporeality, embodying the objective inadequacy of patriarchal power discourse, which becomes “a place of power, oppression, and regulation”, responsible for the traumatization of the body, thereby undermining the foundation for the female subjectivity formation. 

The article examines the reception of Alexander Artemyev’s novel “Salambi” (1954–1955) in Turkish literary criticism. In 2019, the work, which is part of the golden treasury of Chuvash literature, was translated into Turkish by the folklorist and translator Bülent Bayram. The relevance of this study lies in the lack of research on the reception of this translation by Turkish critics and literary scholars. The analysis is based on the translator’s preface and interview, reviews by Ertuğrul Karakuş (2019), Dilara Dolkun (2021), and a research article by Ayşe Şener (2020). The study reveals the nature of the translator’s personal attitude towards the culture of the Chuvash people, and determines the role of the reviews in promoting the novel “Çuvaş Kızı Salambi” (“The Chuvash Girl Salambi”) in Turkey. The article proves that Turkish scholars consider this work to be an example of Chuvash realism with a strong social orientation and democratic focus. Turkish critics and literary scholars focus on the patriarchal ideal of the Chuvash woman in the context of Turkic literary traditions and the issue of folklore in Alexander Artemyev’s novel.

This article explores the representation of Yemelyan Pugachev in the poem “Yemelyan Pugachev” by Viktor Bagrov (Bestemennikov), a forgotten and little-studied Middle Volga writer of the 1920s-30s who died tragically during the Great Terror. The poem was influenced by the novella “The Captain’s Daughter” and the historical narrative “The History of Pugachev” by A. S. Pushkin and A. Yesenin’s poem “Pugachev”. The poet draws extensively on the facts from “The History of Pugachev”, but imbues the events and the characters with the artistic expressiveness of a folk historical song. Bagrov also sets the tone of a distinctly epic quality in his work, using the epigraphs from “The Tale of Igor’s Campaign” to create the epic vector and introduces the character of the storyteller Alyosha Bayan who could have become a chronicler of the peasant war and the Pugachev rebellion. The poem makes extensive use of artistic parallelism to convey the complex, contradictory, fickle, and protean character of Pugachev, simultaneously a tsar of hope and a free Cossack, a peasant tsar and a fugitive thief, a “wanderer”. Compositionally, the poem’s plot is influenced by Pushkin’s story “The Captain’s Daughter”. Pugachev does not appear from the very start, not under his own name; he is characterized indirectly, “through hearsay”. The first six chapters of the poem lead the heroes to Cossack freedom; the remaining five chapters lead them to defeat and disillusionment.

The article analyzes Sh. Galimov’s play “The Gold Bracelet”. It was written in 1940, but only recently, this play has reached us. The play continues folk traditions, medieval dastans and tales. One of the important themes of the play, that depicts the epoch of khans, is the theme of love, personal freedom and social contradictions. In the play, the khan’s daughter loses her golden bracelet and the heroes are looking for it. All these events are shown in a symbolic meaning that is a struggle for personal freedom and social equality. However, literal and cultural ideology of the 1930s (the time, when the play was created) made a great impact on the events and the characters’ actions. Unlike medieval Turkic-Tatar works, the author makes a commoner rather than a member of the upper class the main character of the play. As the conflict unfolds, Amanzabi Khan, portrayed as a greedy and cruel tyrant, is killed by Bibi’s daughter. Thus, Sh. Galim departed from the traditions of Tatar literature and acted in accordance with the ideological requirements of his time. The romantic foundation of the play is revealed through rich literary devices and artistic details such as antithesis and exaggeration. The theme of love is shown with help of night dreams and different challenges, that the heroes have to face.

The article analyzes the song tradition of the Tatar wedding ceremony in Western Siberia (the Tyumen, Tomsk, Omsk, Novosibirsk Regions). Based on the field recordings of I. Sh. Kadirov and I. G. Zakirova, archival materials and folklore collections, the systematization of ritual songs is carried out in accordance with the stages of the wedding - from matchmaking and lamentation of the bride to braiding, ransom, escorting the bride to the groom’s house and table dignifications. The study highlights the history of the Tatar folklore collection and study in Siberia, starting with the second half of the 19^th century (the works by V. Radlov and M. Sadri) and continuing with expeditions in the 1960s and 1970s (H. Yarmi, I. Nadirov, and others). The last recordings were made in the first quarter of the 21^st century. The article defines the key functions of the songs as magical (incantatory), initiatory (reflecting a change in the status), communicative-exchange, emotional-cathartic (expression of grief / optimism) and entertaining. The classification of songs includes lamentations, ritual, lyrical and entertaining forms, with an emphasis on their composition: Symbolic and real parts, idealized images and avoidance of direct appeals due to taboos. The peculiarity of rituals and wedding songs is related to people’s belief in the magical power of words and rituals. The songs, performed during the wedding feast, are often playful and constructed in a dialogical form. The poetics of the songs, which comment on ritual situations, are full of Turkic parallels, optimistic motifs and symbols, emphasizing harmony and continuity of traditions. The relevance of the work is related to the role the revival of rituals plays in preserving the cultural heritage of the Siberian Tatars and their national identity in the context of globalization. Wedding ceremonies and songs reflect the worldview of the people, they combine sacral and universal values.

The article analyzes the genre and stylistic originality of L. Gibadullina’s novel “Әлиф ләм мим” (“Alif Lam Mim”). The novel lacks a pronounced storyline. The choice of narrative events and the author’s reflection determine the intra-literary synthesis: the dramatic, lyrical, and prosaic aspects of the life story of the educators and enlighteners S. Vagizov and R. Valitova. The birth and death of the main character are the key structural components of the biographical prose. The protagonist’s life is presented in fragments. The motif of the family plays an important role in revealing the plotlines of the spouses. The real biography of the Tatar primer creators serves as a prototype for the story. The genre feature is revealed in the plot and compositional stability of the family image. We argue that this work is similar in form to a “small novel” characterized by understatement. The author uses “expansion” of the content by describing the life of the characters from the protagonists’ environment. An important role in expanding the content is played by the chronotope (real biographical time, the chronotope of the road, crisis, etc.). The author resorts to historical inversion, in which artistic thinking localizes the values of the Jadid era in the past and presents a gallery of national enlightened figures. The internal “compression” of the text in “Alif Lam Mim” manifests itself in the author’s deliberate pursuit of brevity, conciseness, and the multifunctional nature of the techniques used to create the fictional world of the work.

The article analyzes the works of modern Tatar prose devoted to the theme of the Special Military

Operation (SMO) in the Ukraine. The analysis is based on Golyusha Zakirova’s short story “Enekash” (“My Little Brother”), Rafis Kurban’s documentary novel “Tankistlar” (“Tankers”), Fakil Safin’s novel “Yau” (“The battlefield”), and Firdus Himaletdinov’s novella “Ulemnan ber adim aldarak” (“One Step Ahead of Death”). The relevance of the study is the fact that these works embody new sociocultural trends. The purpose of the study is to establish continuity with the previous literary tradition and to explore the individual interpretations of the Special Military Operation topic by each of the writers. The works are examined in their conceptual unity and genre-stylistic diversity. In literary studies, this corpus of texts has been analyzed for the first time. The study was conducted in accordance with the principles of the historical and functional approach to the study of literature. The article proves that modern Tatar battle prose has incorporated the traditions of Leo Tolstoy’s Russian war prose. Critical circumstances provide an opportunity for the characters to reflect on their civic and ethnic identities.

The article is written within the framework of contextual poetics – a current trend of modern literary studies. It identifies aesthetically immanent factors of national identity in Mari and Tatar poetry based on the works of the modern Mari and Tatar poetesses S. Esaulova and Sh. Zigangirova, revealing characteristic features of the national mentality and features of the individual authorial worldview. The role of context in national literatures is clearly manifested by the specific socio-cultural space and the unique ethnoworld of a particular nation. This determined our interest in the context of the national world in fiction and the ways of its presentation in modern Mari and Tatar lyrical poetry. The study of contextual poetics, deciphering the national picture of the world, makes it possible to present its general/special features, the specificity of ethnocultures and creative individuals representing them. The concept of “the national image of the world” is especially relevant in the era of globalization in connection with the problems of ethnic and cultural communities’ self-identification. The methods of presenting contextual content are described in the article by such elements of contextual poetics as symbolic images, mythologemes, quotations, elements of the frame text, epigraphs, folklore intertextemes, etc. The main research method is the comparative one; in its implementation, historical-genetic, structural-semantic and contextual analysis of lyrical texts is of great importance. The empirical basis of the study is the poetic works of the Mari poet Svetlana Nikolaevna Esaulova (1958-2011) and the lyrical works of the Tatar poetess Shamsia Gatufovna Zhigangirova (1951). The subject of the study is the ways of representing the national world in modern Mari and Tatar poetry. The lyrical poetry of S. N. Esaulova and Sh. G. Zhigangirova has remained unexplored so far, the existing works are just the attempts to outline some of its features; the problems of contextual poetics, in particular, those of representing the national world based on the poetic works of Svetlana Esaulova and Shamsia Zhigangirova, have been presented in this article for the first time. This explains the relevance of our work.

This article analyzes A. Tolstaya’s novel “The Restless Heart” from the author’s perspective of the personal and family happiness concept. Written in the late 1870s and early 1880s, A. Tolstaya’s novel was a response to the questions posed by the author of “Anna Karenina” and an attempt at a dialogue with him. Each of the three female main characters of “The Restless Heart” has her own idea of “happiness”, striving to achieve it. For one of them, happiness is an eternal search, difficulties of choice and internal doubts; for another, it is work and sacrifice; for the third, it is an orientation towards self-esteem and the desire to achieve harmony with the surrounding world. Some situations, in which the main characters of the novel find themselves, refer to the biography of A. Tolstaya, since she experienced similar difficulties. We can find these facts in the works of A. Tolstoy’s biographers, as well as in the letters and memoirs of A. Tolstaya and her relatives. Our analysis of the documentary element and fiction synthesis helps us more accurately define the ideological scope of the novel “The Restless Heart” and understand the author’s point of view. The author of the novel admits that each of the three models of happiness is somewhat one-sided, and their combination is beyond human power. That is why, the reader’s heart remains “restless” in the end – having touched upon the possibility of happiness, but not having found the path to achieving it. 

The article presents the results of a comparative analysis of representation and transformation of mythological and folkloric characters and motifs in Tatar and Chuvash children’s drama of the late 20^th and early 21^st centuries. The object of the study is fairy tale plays by T. Minnullin, F. Yarullin, G. Gilmanov, R. Sagdi (the Tatar tradition), I. Trer, O. Turgay, and E. Narbi (the Chuvash tradition). We apply the historical-literary, comparative-typological, and structural-semiotic methods to identify the specifics of the archetypal images’ adaptation (Shurale/ Arçuri, Diyu/Aslă Tură, Ubyrly/Ukh, Buka/Ama) in a new sociocultural context. The scientific novelty is the introduction of a number of little-studied texts into the scientific circulation (for example, the plays “Savtepi” by O. Turgay and E. Narb’s play “Ukh Starik”), as well as a systemic comparison of two national traditions, which allows us to identify common mechanisms of mythopoetic modelling and ethno-specific features (individualism/collectivism, the extent of sacredness). As a result, we have established that the authors use archaic plots and characters as a tool for actualizing ecological and ethical discourse, forming cultural identity and retransmitting moral values. Despite the general trend towards humanisation and demythologisation of images, Tatar drama emphasizes a socially adaptive function of myth, while Chuvash drama preserves its connection with cosmogonic ideas and ritual practices. 

The article analyzes Ravilya Shaydullina-Murat’s novel “The Monologue of an Old Bird Cherry Tree” in two volumes (2019, 2020) as an example of contemporary Tatar historical prose. The history of the country is shown through the prism of the lives of several generations from a Tatar family – the clan of Gabdrakhman Muratov. The writer correlates the individual fates of members of this clan with the history of the Tatar people and the country as a whole, encompassing the events from the beginning of the 20^th century – the years of the Soviet power establishment, collectivization, the Great Patriotic War and the post-war years. A philosophical understanding of human destiny in the context of historical events allows the author to discuss the lives of several generations of people experiencing emotional pain and trauma. The article reveals the plot-forming function and moral significance of the category of generational and historical memory. The internal conflicts and existential search for meaning in life in tragic circumstances of the main characters from the two-part novel grow into ethnic trauma and an attempt to preserve cultural identity in the terrible conditions of the historical cataclysms that took place in the country in the 20^th century. Tracing the lives and fates of four generations of one large clan, who are the residents of one village, in the context of complex historical events, allows us to draw conclusions about the power of ancestral memory in preserving national identity, spiritual, ethnic, and cultural values. 

The paper analyses the main features of Peter I’s image representation in the poem “The Northern Star” (1718) by Aaron Hill, a prominent English poet, playwright and critic of the first half of the 18^th century. The paper considers this problem in the context of general trends in the reception of the Russian monarch’s image in the early Enlightenment literature (in the works of D. Defoe, R. Steele, M. Stringer and others) and in connection with the imagological content of the “Petrine text” in English literature. We study the stable motifs and themes of the poem from the functional point of view together with the elements of imagery that contribute to the creation of Peter the Great image as an enlightened monarch, military leader and civilizator of the “barbaric” Russia and a defender of the Christian world. The paper also considers the artistic means of Peter I’s image deification (the poem’s allusive plane, historical parallels, etc.). The positive reception of the czar’s image in “The Northern Star”, and in English literature of the first decades of the 18^th century in general, affected the hetero-image of Russia valorization and inclusion of new imagemes in its structure, in particular those associated with the country’s messianic role. On the other hand, the reception of Peter I was concerned with myth-making, which resulted in the emergence of a reduced and schematic image of the monarch and a simplified conception of Russian history. 

The current sociocultural situation of modern Russian poetry has a number of specific problems: The absence of a mainstream and an acute shortage of general analytical studies on the main poetic development trends. Another important feature of the modern period is the effect of the masses revolt: There are many more people who write poetry than those who regularly read poetry and know how to understand it professionally. Generally, it can be stated that despite the oversaturation of the cultural space with the gross poetic product, Russian poetry in the early 2020s entered a period not so much of pluralism of aesthetic opinions and polystylistics, but of disintegration, disorientation and partly even deprofessionalization – due to the loss of a sense of vibrant hierarchy and coherence within the cultural space. At a time when many cultural and social processes are determined predominantly by trends of globalization and digitalization, paradoxically, the disintegration of the Russian poetic context predominates. Only a few cultural figures are consciously overcoming this: some poets who cherish the poetic tradition, a number of philologists striving to create analytical and conceptual works, and individual publishers and editors of poetry journals who publish anthologies of contemporary Russian poetry, presented to varying degrees, as a coherent whole.

The paper examines the methods of synthesizing non-fictional and fictional content in the literary and critical treatise “Reflections on the Difference between Highflown, Grandiloquent, Stately, Loud and Pompous Styles” by M. Muravyov, one of the leading Russian figures of literary culture in the second half of the 18^th–early 19^th centuries. The research is conducted in the context of the problem concerning the artistic understanding of the role of style, style in aesthetics, moral philosophy and rhetoric. To provide a complete review, we use data on the aesthetic views of M. Muravyov, revealing the relation of the formal organization of the text to its content, the role of the documentary genre features and literary and artistic techniques. The article determines the innovative vector of the author’s thought in solving the classical theory of three styles. We investigate the ways the individual author’s style influences the language of the critical treatise and the complex of his artistic and expressive means. The attitude to the style and its power gradually reveals M. Muravyov’s poetics in his deeply personal perception of art as a way of comprehending the artist’s soul. In the treatise under study, the word is presented as a central object of thought, as well as a tool for declaring an individual author’s attitude to the problem of the highflown style function in literature. Against the background of the broad context of the historical and literary process, we analyze the role of the writer’s personality, located on the periphery of two time periods, at the junction of two trends, documentary and fictional. M. Muravyov, the author of the treatise, actualizes the problem of the synthesis of documentary and fictional principles through the selection of material, the selection of key texts by ancient authors and their representation in the system of new artistic tasks of Russian literature. The study of the literary-critical treatise through the biographical, structural-typological, historical-typological methods and the methods of complex analysis serves as an additional basis for confirming the key theoretical provisions of our work.

Research into the poetics of a writer’s titles is highly sought after in Russian literary studies. Anton Chekhov created over five hundred works, allowing for a comprehensive exploration and understanding of the title poetics phenomenon. The novelty of this study is its analysis of the poetics of ethnically charged titles in Anton Chekhov’s short stories (“The Daughter of Albion”, “The Grateful German”, “Russian Coal”, “The Stupid Frenchman”, “The Kind German”, and “The Cossack”). All of them were written in the early period of his creative work (1883–1887), when they were primarily based on comical or semi-comical situations. In accordance with the genre nature of the joke, the national specifics of foreign characters was depicted, as a rule, within the framework of existing ethnic stereotypes. The methodological basis of the study is a synthesis of traditional approaches that have stood the test of time (historical-literary, system-typological, comparative-historical) with the involvement of relatively new research practices (the opposition of “friend or foe” within the framework of mythopoetics, receptive aesthetics, imagology, and intertextuality). The study reveals the unique poetics of ethnically charged titles of Anton Chekhov’s stories. In them, the poetics of titles is associated with genre and plot lines, intertextual references, as well as the idea and creative concept of the work. 

The article is devoted to the folklore of modern Tatar literature. The choice of film texts, addressing oral folk art as the subject of our analysis, is not accidental: The modern cultural paradigm manifests a special type of attitude to folklore images and to their embodiment in a literary text. The research is based on Pavel Moskvin’s screenplays “The Soldier’s Hat” (2020) and Airat Orazov’s “Korab” (“The Ship”) (2024). The article proves that many of the images in the analyzed film texts have their roots in folk mythology and folklore (Mari and Tatar). By engaging in a dialogue with ancient folk traditions, the screenwriters enrich the original sources with new artistic interpretations of traditional images. The analysis revealed intertextual connections between the scripts, film texts and iconic works of Tatar and Russian literature. The article concludes that the analyzed film texts by P. Moskvin and A. Orazov are creolized ones where visual and verbal elements are equal in importance.

The article analyzes the ideological and artistic features of the work by Sagidulla Khafizov, a prominent representative of Tatar prose in Bashkortostan. The study is based on the novel “Alman Küçtänäche” (“Sweet Treat from Germany”, 2011), which was published in 2011 in the magazine “Kazan Utlary” (No. 12) and later included in the writer’s book (Khafizov S. There Is No Mercy in Love: A Novel, Novellas. Ufa: Kitap, 2020). Special attention is paid to the philosophical issues of the novel related to the fate of the individual, the theme of war and memory, as well as the system of symbols. The article analyzes in detail the multidimensional image of “gifts”, which is a key to interpreting the author’s intention. It reveals the depth and psychological complexity of the work and allows proposing a new hermeneutical model for reading the text. The scientific novelty of the work is the consideration of the ideological content and artistic form of the work as an inseparable unity, where the theme, idea, system of images, motifs, and details mutually condition each other. This comprehensive approach allows us to identify the internal patterns of the fictional world in the novel “Alman Küçtänäche” (“Sweet Treat from Germany”) and reveal new layers of meaning that were previously overlooked by researchers.

The article explores the specifics of adapting historical narratives for children in a theatrical performance by the Arkhangelsk Puppet Theatre. We analyze key strategies for transforming complicated texts, including material selection, plot simplification, introduction of game elements, and visual images. Attention is paid to dramatic techniques such as time scale compression, mythologization of historical events, and changes in the narrative structure to preserve the essence of the literary work while making it accessible to children’s understanding. We show how metaphorical images, interactive elements and a multilayered sound score contribute to the involvement of young viewers and their emotional acquisition of the complex material. The work reveals the educational potential of such adaptations, which transmit historical knowledge and form axiological orientations through gaining artistic experience. The research is based on a comprehensive methodology that combines theatrical, narrative, and pedagogical approaches to identifying effective mechanisms for interacting with children in the theater. 

The article studies the features of the mythological plots’ transformation and functioning in Tatar poetry of the second half of the 20^th century based on the poetic works of I. Yuzeev and Z. Mansurov. Mythological plots in Tatar culture of the 20^th century manifest themselves in different forms: intensive use of mythological plots, their transformation and creation of “authorial myths”. This feature of the national culture is clearly seen in the poetry of the second half of the 20^th century when classical types of creative thinking are intertwined with non-classical - avant-garde ones mutually enriching each other. Tracing the main trends in the artistic interpretation of mythological plots, determining their features of transformation and functioning in the poetic texts of I. Yuzeev and Z. Mansurov allows us to identify specific features of the national literature development in the second half of the twentieth century, to interpret its general and particular features in the patterns of the literary process development. Moreover, the methodological ambiguity of the studies in the field of national poetry in this period actualizes research interest in the problem of Tatar literature interaction with mythological traditions. The article focuses on the study of transformation and features of the mythological plots’ functioning in the poetic texts of I. Yuzeev and Z. Mansurov as a holistic phenomenon in literary criticism. The object of the study is I. Yuzeev and Z. Mansurov’s poems, which clearly demonstrate the main trends in the use of mythological plots in Tatar poetry in the second half of the twentieth century; the subject of the work is the features of mythological plots’ transformation and functioning. As a result of our study, we argue that in the second half of the twentieth century, mythological plots became both a means of conveying the author’s position, and a means of structuring the organization of poetic texts, which indicates the beginning of a new stage in the artistic interpretation of mythopoetic plots in the development of Tatar poetry.

This article explores the problem of organizing extracurricular activities for schoolchildren studying the prose of Boris Ekimov, one of the most significant contemporary writers whose works address pressing moral and social issues. The focus is on finding effective forms and methods of extracurricular activities that promote a deeper understanding of literary texts, develop a reading culture, and shape students’ axiological views. The purpose of the article is to propose methodological approaches to organizing extracurricular activities for eleventh-graders aimed at increasing their interest in the works of Boris Ekimov and developing analytical, creative, and communication skills. The article substantiates the combination of traditional methods (conversations) and interactive technologies (such as “association clouds” and “a heroine’s diary”), research projects, the role-playing game “The Court of Time”, a poster with key topics, debates, and interdisciplinary connections that facilitate students’ personal understanding of the contemporary writer’s prose. In this article, we examine in detail an extracurricular reading lesson for 11^th-grade students in reading and analyzing Boris Ekimov’s story “The House and the Old Woman for Sale”, which explores the issues of human spiritual quest and intergenerational relationships. We selected techniques, methods, and technologies for teaching literature to motivate students to independently read contemporary literature and develop literary analytical skills and moral values. The novelty of this article lies in getting the students interested in Boris Ekimov’s story “The House and the Old Woman for Sale” and in developing methodological recommendations for organizing an extracurricular reading lesson that fosters their interest in reading and addresses the issue of student sociologization.

The purpose of this study is to actualize the numerical code of culture in the process of improving the linguocultural competence of advanced-level learners of Russian as a foreign language – TORFL-2, TORFL-3. The article examines such fundamental concepts of linguoculturology as “cultural code” and “linguocultural code” in connection with their linguodidactic potential. Particular attention is paid to organizing instruction in the numerical code of Russian culture, which, being fundamental, enters as a constitutive component into linguocultural competence. In doing so, the motivational, cognitive, activitybased, and reflective components of instruction are taken into account. Fixed expressions (phraseological units and proverbs) with numeral components, selected through continuous sampling from lexical minimums of the corresponding levels, served as the teaching material. We demonstrate the effectiveness of the following sequence for presenting fixed expressions: from perception (phonetics, listening) to the analysis of lexical-grammatical forms and further on to speech-oriented tasks – production of oral and written texts. A system of exercises and tasks is proposed that, on the one hand, develops international students’ skills and abilities in the area of normative pronunciation of sounds, sound combinations, and intonational patterns of sentences, selection of lexical units in accordance with meaning and communication situation, and identification of grammatical features of fixed expressions; on the other hand, allows students to gain speech experience based on monologic and dialogic texts.

The article discusses the role of linguistic intuition in mastering the rules of spelling words with unstressed stem vowels by junior schoolchildren and describes the results of an experimental study conducted with four groups of children working with “The School of Russia” coursebook: monolingual third graders, bilingual third graders, monolingual fourth graders, and bilingual fourth graders. The children wrote down spell-checked words, dictated by the teacher, and performed a series of tasks demonstrating their ability to apply all the spelling components: they highlighted the roots of the words being checked, stressed them, and selected test words. Our analysis of the results suggests that students in Grades 3 and 4, both monolinguals and bilinguals, rely more on their linguistic intuition than on the algorithm proposed by the rule. At the same time, monolingual children’s experience of independent writing and other textbased activities allow them to practically avoid mistakes in the spelling being checked, while bilingual children with less language experience make more mistakes. Thus, we come to the conclusion about the need to develop schoolchildren’s (especially bilingual children’s) linguistic intuition by means of linguistic and didactic environment. 

The article discusses the features and advantages of children’s literature texts for organizing a discussion as part of post-text work in teaching reading. The study determines psychological specifics of reading children’s literature by adult students and its influence on the effectiveness of using the technology of free discussion in the framework of teaching to read fiction methodology. Particular attention is paid to the process of reader’s reflection on the text and the features of involving the reader’s own life and reading experience in the semantic perception of children’s literature texts. Theoretical comments are supported by practical experience in conducting lessons on reading children’s poems by V. A. Levin and D. I. Kharms and a teenage story by M. Kolmykova in multilingual audiences. We have come to the conclusion about the constructive role of texts addressed to children and adolescents in teaching adult students to read fiction, about the advisability of using such texts along with classics and modern literature addressed to an adult reader. The results of the study allow us to continue studying the role of children’s literature, especially modern literature, in teaching Russian as a foreign language, teaching reading and, in the future, to clarify the information obtained and the possibilities of its practical application in teaching.

This article describes the role and function of Tatar poetry created during the war years (1941-1945) in the spiritual, moral, and patriotic education of students, and the specifics of integrating general and supplementary education in this process. The relevance of this study is determined, firstly, by the insufficient methodological development of this topic in light of contemporary literary education strategies. Secondly, in the year of the 80^th anniversary of the Great Victory, the study of war poetry from a methodological perspective takes on particular significance. Understanding and emotionally engaging with the issues of patriotism, loyalty to the Motherland, and spiritual values are particularly important, which underscores the relevance of our research.

The article focuses on the spiritual, moral and patriotic potential of Musa Jalil and Fatih Karim’s poetic texts, included in the curricula and textbooks on native (Tatar) literature, and on the integration of general and supplementary education in the spiritual, moral and civic-patriotic development of students in Grades 5-11. This explains the article’s scientific novelty.

The object of the study is Musa Jalil and Fatih Karim’s poetic texts, included in the programs and textbooks of basic and secondary general education. The subject of our work is the place and role of Tatar poetry of the war years (1941-1945) in the spiritual, moral and patriotic education of students, and the characteristic features of integration of general and supplementary education.

The study concludes that the educational, spiritual, moral, and patriotic potential of war poetry remains relevant in school literary education today. Furthermore, the integration of general and supplementary education is a crucial element in the spiritual, moral, and patriotic development of students through the study of M. Jalil and F. Karim’s works. Organizing discussions and debates about eternal spiritual and moral values, patriotism, and the meaning of life in the name of defending the Motherland, in both classroom and extracurricular activities, is essential within the context of studying Tatar poetry of the war years (1941-1945).

This article presents a linguodidactic model for the development of the Russian-language lexical competence in Chinese university students (level B1-B2), based on the National Corpus of the Russian language. The relevance of the research is due to the high potential of corpus technologies in teaching Russian as a foreign language and their insufficient use in the pedagogical practices of language universities. The purpose of the research is to theoretically substantiate, develop and experimentally verify the effectiveness of linguodidactic modeling used to develop lexical competence of international students by means of corpus technologies. The article considers the concept of “lexical competence”, the features of using corpus technologies in classes of Russian as a foreign language, and a model for the development of the lexical competence in Chinese students using the National Corpus of the Russian language. We present the results of the experimental verification of the model using the example of Russian gastronomic vocabulary. The implementation of the pedagogical experiment was conducted with two groups – the control group and the experimental group – revealing the development dynamics of receptive and productive aspects of the lexical competence in international students (3.42 in the control group and 21.2 points in the experimental group). The results prove the effectiveness of the use of corpus technologies in the development of the lexical competence in international students. Additionally, we offer methodological recommendations on the implementation of the developed model in classes of Russian as a foreign language for students of language faculties. In the final part, the article outlines the prospects for further integration of corpus technologies into the educational process.

This article analyzes the genre of compliment in the vein of its utility in teaching Russian as a foreign language. We analyze the genre itself, its place in Russian speech etiquette, its functions and significance in the process of intercultural communication. While studying Russian as a foreign language, it’s crucial to give students the chance to know the specifics of Russian speech etiquette – namely, to inform them about the compliment genre in all its complexity – starting from the beginner level. 

The article presents several specifics of studying compliment as a genre of speech by non-speakers. We offer different methods and know-hows to teach foreign students to use compliments in different communicative situations.

The article describes the ways to improve communicative competence and to form regional-knowing competence while studying compliment and offers the examples of compliments. We have come to the conclusion that studying compliments is a meaningful part of improving foreign students’ communicative competence. Knowing the specifics of this genre of Russian speech etiquette helps to overcome cultural and language barriers, is useful in students’ communicating and adapting to the Russian-speaking environment. This article might be useful to those who teach Russian as a foreign language.

Teaching native languages is a pressing and complex task in the modern world. In the context of pervasive global trends, native languages are emerging as a special area requiring institutional, societal, and educational understanding and support. This article provides an overview of current methods and practices for teaching native/regional languages. One successful example of institutional, societal, and educational implementation of native language teaching is the annual Tatar language courses for the general public, funded by the Republic of Tatarstan at Kazan Federal University and hosted by the Institute of Philology and Intercultural Communication. The article presents an overview of a case study implemented at the Naberezhnye Chelny Institute. The authors describe its methodological framework, the specifics of listening and game activities, and visual components. The emphasis on the linguistic and cultural aspect, described in the case, is determined by the most relevant practices in the field of teaching native languages. The paper highlights the role of university teachers and their scientific and metalinguistic perspectives in improving the effectiveness of native language teaching and stimulating student interest. The paper examines innovative practices, motivation, and ethical aspects of the need to develop methods for teaching native languages, offering recommendations for optimizing these processes. The article is intended for a wide range of readers: teachers, heads of educational institutions, innovative scientists, educators, etc

The article studies the integration of artificial intelligence technologies into blended learning to improve bilingual education in the Russian-Tatar context. The relevance of the research is the need to overcome the digital inequality of languages in the educational space of multicultural regions of Russia. The paper identifies the specific challenges that students face when studying technical disciplines in a bilingual educational environment, including an imbalance of digital educational resources, academic inequality, and increased cognitive load. Based on system analysis and pedagogical forecasting methods, a comprehensive model for using AI tools to create an adaptive educational ecosystem has been developed. The main focus is on developing adaptive learning methods that take into account the individual language profile of each student. The practical significance of the work is the creation of an integrated system that makes it possible to bridge the existing gap between technological progress and the real needs of bilingual education. The developed model can be adapted for other regions of Russia with similar educational challenges.

The article explores the possibilities of applying the brainstorming method in teaching Tatar as a nonnative language. It provides a detailed analysis of how this interactive technique can be effectively adapted to the linguistic and structural characteristics of the Tatar language. The study emphasizes the importance of integrating brainstorming into the system of the communicative-oriented language teaching where students’ active participation and creative thinking serve as key factors in mastering linguistic and speech competencies. Particular attention is given to the comparative analysis of the brainstorming method with similar practices used in teaching foreign languages, which allows identifying universal and culturally specific methodological tools. The research highlights a number of techniques aimed at stimulating students’ cognitive activity, enhancing their motivation, and fostering initiative in speech production. Specific methodological recommendations are proposed regarding the organization of brainstorming sessions, the selection of linguistic material, and the step-by-step inclusion of creative tasks into the lesson structure. Various modifications of the method are discussed in relation to the agglutinative nature of the Tatar language, the sociolinguistic conditions of its functioning, and the diversity of learners’ linguistic backgrounds. Overall, the article substantiates the potential of the brainstorming method as an innovative and effective means for developing communicative competence and supporting intercultural understanding in the process of teaching Tatar as a non-native language. 

The method of problem-based learning has long been the focus of attention of both educators and psychologists. The effectiveness of its application at different stages of learning and in different age groups is not questioned by any researchers. However, in the case of a foreign-language audience studying Russian, this method has been mainly used in the form of small problem-solving tasks, which is largely due to the lack of students’ communicative skills. In this article we share our experience of using problem-based learning in Russian as a foreign language classes based on the subject matter of natural sciences. A problem-solving situation is created through a direct experiment related to the physics topic “Gravity”, followed by a text that allows the situation to be resolved and the new vocabulary and grammar to be activated and reinforced. We conducted a study that demonstrated the effectiveness of using a problemsolving situation in classes of Russian as a foreign language.

The aim of the article is to highlight modern approaches to teaching the Russian language in the context of linguo-regional studies with a focus on using the cultural heritage of regions as a methodological resource in school philological education. The article emphasizes the importance of integrating the works of famous Yelabuga writers into the educational process, demonstrating how this integration can enrich the Russian language teaching through the prism of culture and identity. We propose practice-oriented approaches, promoting the development of students’ linguistic and cultural competencies. These approaches are based on the experience gained while working with literary works reflecting the unique aspects of Yelabuga’s historical and cultural context. The methods and assignments considered are applied within the “Morphemics and Word-formation” section of the textbook, which not only deepens students’ knowledge of the language, but also fosters their respect for the regional cultural heritage. Thus, on the one hand, the inclusion of linguo-regional material in the process of teaching the Russian language creates a more multifaceted and holistic educational environment based on the students’ culture, history, creativity, and identity. On the other hand, it enhances their motivation, activates genuine interest in their native region (particularly through regional texts), and deepens their knowledge of the language.

The article examines complex multi-component sentences with a component-block of predicative units from the structural and semantic point of view. The difficulties in studying this pattern are related to the lack of generally accepted terminology, which creates problems with studying them both in school and in university. Our analysis of a number of university textbooks and teaching aids on syntax suggests that the topic of identifying sentences of a complex type has not yet been properly explored. The purpose of this research is to identify and describe the most productive complex constructions in the Russian language, to propose recommendations for solving the issue of their classification, and to systematize the main features of complex sentences containing predicative unit blocks. We have established that the difficulties that arise, while studying this topic in a university classroom, are primarily due to the fact that the syntactic features of such sentences are not sufficiently taken into account, and complex sentences of minimal structure and complex structure are not distinguished. That problem leads to errors in their classification. At the same time, the final phase of studying this topic allows both reviewing previously studied material and familiarizing oneself with this material through the analysis of previous topics.

The aim of this article is to reveal the linguo-methodological potential of fine art works in teaching Russian as a foreign language. The relevance of the research is determined by the sustained interest in the integration of art into the practice of teaching RFL, and the need to develop an effective methodology for studying a painting in order to develop linguistic, cultural, and communicative competencies in international students. The work examines the possibilities of a painting as a source of authentic linguistic material, a means of developing communicative competence, and a tool for conveying the cultural and historical experience of the Russian people. The article presents the criteria for selecting works of art to be used in the RFL instruction and identifies the main stages of working with them. The study substantiates the expediency of including K. Vasiliev’s artistic heritage in the RFL educational process as a means of accumulating and representing key cultural meanings and spiritual constants of Russian society. A thematic classification of K. Vasiliev’s paintings has been developed to optimize their use for educational purposes. We propose methodological techniques, aimed at expanding the cultural horizons of international students, developing and activating various types of speech activities through the means of Fine Arts in RFL classes. The research concludes that the application of works of Russian art is effective in teaching Russian to international students.

The relevance of the research topic arises due to the frequent questions asked by the new generation that might determine how well or how poorly the individual’s socially oriented personality has been formed:

Who am I? My “I-Concept”.

What is my place in society?

What do I want my homeland to be like? and so on.

We attempt to find answers to these and other questions related to the process of forming a socially oriented personality by conducting an interdisciplinary study at the intersection of psychology, sociology, pedagogy, didactics, and methods of teaching foreign languages. The research task of the study is to identify the role of foreign language learning in the formation of a socially oriented personality. 

The hypothesis that learning foreign languages can help students navigate the complex and ambiguous multilingual world of today, has been validated by the results of the conducted pedagogical experiment, which included a pre-experimental stage: a content analysis of scientific and educational-methodological literature, questionnaires and a test for 3^rd year students majoring in pedagogical education. 

These days, Russian Goncharov studies (the scientific works devoted to Ivan Goncharov) are characterized by two aspects of their development. On the one hand, the traditional approach, focused on studying the ideological outline of the writer’s works, retains its strength and significance. On the other hand, there is a noticeable desire to identify new vectors of classical heritage research by either searching for a new methodological program or systematizing the fully mastered material at a qualitatively new level of understanding. It is this second way of understanding the artistic world of Ivan Goncharov that was adopted in the recent (2024) scientific monograph “The Poetics of Non-novel Prose by I. A. Goncharov”, written by Gulzada Bagautdinova, a lecturer at Mari State University (Yoshkar-Ola), and published in the printing house of the named educational institution (its volume is 296 pages). This article is a detailed review of the book. The review notes the undeniably positive aspects of the research interpretation of Ivan Goncharov’s “non-novel prose” (its “ornamentation”, a special rhythmic pattern that manifests itself both at the level of purely linguistic means of expressing thought and at the level of the general organization of the meaningful and semantic parts of an “unromantic” genre work, the cumulative “effect” with its folklore basis, etc.). The article emphasizes the importance of the specifically empirical approach, which is the texts of medium and small epic form, created by the author of “Oblomov” in the period from the 1830s to the 1890s. The monograph takes into account a significant layer of works on Ivan Goncharov (those past and present), its concept is logically presented in a coherent manner, interesting and quite convincing interpretations of Goncharov’s works are given based on “immanent” poetics, quantitativestatistical tables and fundamental conceptual-terminological tools are placed in appendices. The review discusses polemical aspects of conceptual constructions, which are inevitable in any major monograph. G. Bagautdinova’s book about Ivan Goncharov is undoubtedly a milestone in the development of Russian Goncharov studies.